Oleo

Dr. Bob Lawrence  0:32  
Welcome to jazz piano skills. I'm Dr. Bob Lawrence. It's time to discover, learn and play jazz piano. Well, I hope everyone had a tremendous Thanksgiving last week. Have you all enjoyed some time off family and friends and of course some, some delicious food my family, we celebrate as we do always, every Thanksgiving with a traditional Texas turkey. Which, of course is a perfectly marbled ribeye steak. Cooked to perfection on the Big Green Egg. Served with traditional sides a loaded baked potato sauteed asparagus perfectly cooked in olive oil drizzled with some butter. And of course an ice cold Shiner Bock Beer. perfect, absolutely perfect. And of course, topped off with a little homemade pecan pie, and a scoop of Bluebell vanilla ice cream. All you folks from Texas know exactly what I'm talking about. Wow, I might have to do that again. This weekend was so good. So all right Enough of all this food talk, let's get down to business. For this entire month. month of November, we have looked at five different jazz improvisation patterns. Based on the primary sounds of music right major dominant minor half diminished and diminished. Plus the altered sounds deriving from the harmonic and melodic minor scales, the altered dominant sounds sharp 11, flat 13, the flat nine flat 13, and the fully altered flat nine sharp nine, flat five sharp five, all from the root note of D. We apply these five jazz improvisation patterns through these iconic jazz sounds. We studied and applied proper fingerings to the patterns, of course making it possible to play with an authentic jazz articulation. The goal of our fingerings as always, as always, is to allow the continuous incremental shifting of our right hand across the keys so that we articulate correctly and never run out of fingers. It only makes sense. The continuous shifting of our right hand when plane establishes small movements, which are much more manageable and accurate than giant leaps. I've said it many times, understanding and applying this truth becomes paramount when in improvising and playing melodies of tunes especially bebop tunes. And that's that's exactly what we're going to do today. We're going to look at a bebop tune to help us discover, learn and play. So today, you're going to discover a classic by Sonny Rollins. Oleo and you're going to learn the chord changes harmonic function melody and fingerings for olio. And you are going to play multiple patterns extracted from Oleo for developing classic jazz language to use when improvising. So as I always like to say regardless of where you are in your jazz journey, a beginner an intermediate player, an advanced player, even if you consider yourself a seasoned and experienced professional. You're gonna find this jazz panel skills podcasts lesson exploring Oleo to be very beneficial. But before we get started, I want to as I always do. Welcome first time listeners to jazz panel skills. If you are new to jazz panel skills if you are a new listener to the jazz panel skills podcast welcome. I want to invite you to become a jazz panel skills member. Your membership grants you many privileges that will help expedite your discovered learn and play process. For example, as a jazz panel skills member you have access to all of the educational weekly podcast packets, the illustrations, the lead sheets and the play along backing tracks. Right these these materials these podcast packets are designed and developed to help you get the most Start of each weekly jazz piano skills podcast episode. You also have access to a self paced and sequential jazz piano curriculum loaded with comprehensive courses containing educational talks interactive learning media, there are video demonstrations and much more. You also have a reserved seat and my online weekly masterclass which is held every Thursday evening. And if you can't attend no problem master classes are recorded, and you can watch them and rewatch rewatch them whenever and as often as you wish. You also as a jazz piano skills member have access to an online interactive Fakebook containing the best jazz standards from the merch Great American Songbook with with excellent chord changes CT scan relationships, harmonic function analysis and and again much more. As a jazz piano skills member you can hang out with old New Jazz friends in the private jazz panel skills online community which hosts a variety of engaging forums. And finally, you will enjoy unlimited, private, personal and professional educational support. All of these amazing privileges are waiting to help you discover, learn and play jazz piano. So check it all out at jazz piano skills.com. And of course become a member. If you have any questions once you get there. If you have any questions, please do not hesitate to contact me. I'm always happy to spend a little time with you and answer any questions that you may have. All right, on to the question of the week. This week's question comes from Martin Gomez who lives in Madrid, Spain. And Martin writes, I am frustrated with my improvisation when listening to recordings of my practicing. My melodic ideas always sound tight. In other words, I do not swing. I continue to practice but I hear very little, if any improvement. Can you give me some practicing guidance that will help me loosen up and start swaying and begin to sound like a jazz pianist? Wow. Okay, Martin, the very first thing I want to say is that I am thrilled, I'm absolutely thrilled to hear that you are taking the time to record your practicing to record your plane. In fact, the only reason you can make the type of assessment that you have made regarding your plane is precisely because you actually recorded yourself and listen to your plane. I cannot stress enough how important it is to record your playing. So continue, by all means continue to do so even. Even if it can be painful to listen to yourself, I get it. Right, but there's no better way to get an accurate assessment of your plane, then through a recording. Now with that being said, if you are willing to send me some of your recordings, I will be able to answer your question with much more accuracy. But But let me take a blind stab at it because believe it or not, believe it or not, we all go through what you are experiencing. In fact, no one becomes an accomplished jazz pianist without dealing with the same frustrations you're currently dealing with. So my guess is that the problem lies not with your musical ideas. But with your sound, your feel your articulation. So the best way to begin fixing this problem is to stop improvising.

Dr. Bob Lawrence  9:18  
That's right. Let me say that again. The best way to begin fixing this problem is to stop improvising, right? Especially improvising through chord changes or through a song. Right and instead of improvising. I want you to begin isolating. I want you to isolate a chord and isolate a musical idea to go along with that chord. Just like what we're going to do in this podcast a little later on here with olio. So I suggest taking one of the primary sounds of music, major dominant, minor, half diminished, diminished, makes no difference and pairing it up With a single musical idea, once you have your sound selected and your musical idea, begin the process of playing the two, over and over and over again, of course recording yourself the entire time. Now you should begin to feel through this process, you should begin to feel and hear transformation taking place with regard to your playing. Let me try to let me try to simulate this process for you. I'm going to isolate a minor sound. And I'm going to play what is known as a Crimea River Lake right, it's right over my minor sound. Now I'm going to play the line tight as you described it, and then begin to loosen it up and swing it with each plane of the idea. Right. So here we go, I'm going to try to I'm going to try to demonstrate this for you. I'm going to try to take a process that may take weeks or months and content, condense it down to a minute, okay. But let me demonstrate this I'm taking a minor sound, I'm going to isolate a minor sound take a Crimea, the Crimea river lick. And I'm going to practice those two together, focusing on my articulation, my time my field, so here we go check this out.

Dr. Bob Lawrence  12:44  
Again, not easy to do, right, this process of, of developing a great sound, great feel articulation, like I said, may take weeks may take months, may take years, right. And I'm trying to condense it down here within a minute here to kind of demonstrate. But the idea here is that you want to get to the point that you experience, what it feels like, and what it sounds like when you play with an authentic jazz articulation. Another way of saying this is that you have to experience proper jazz articulation, so you know what it feels like, and what it sounds like. Let me give you an example outside of music, so it will make what I just said, make much more might become much more meaningful. My oldest son is a collegiate baseball player, but but when he was an eighth grade, eighth grade freshman in high school, he used to work out with Steve Kent, who pitched for the Seattle Mariners and Jose Trevino, who is currently the catcher for the New York Yankees. And one day, when my son Gardner and Jose were taking batting practice, with Steve Kent pitching, my son smoked a ball, and which means he hit the ball really well. My son hit the ball, and Jose yelled that ball is in the right field bleachers. My son, of course, smiled but looked very puzzled. He said, Jose, how do you know that? Now Jose looked at him and said, Wait a minute. If you never hit a home run, Gardner said, No, I haven't. Jose then smiled and said Oh, okay. So you don't know what it feels like? Or sounds like when you hit a home run. Jose went on to say, once you know what it feels like, and sounds like this In, you will try to repeat it, you will always be going after that proper feel of the swing. Plus that glorious sound when the bat squares up with the ball. See, it's, it's the same in jazz. Alright, give this illustration because it's exactly the same in jazz you, you have to be in search of the correct feel, so that you produce the proper sound. The best way to discover this feel and sound is to isolate, isolate a chord, right batting practice, isolate a chord, and melodic idea that you can repeat over and over and over again. Once you do experience the proper feel and sound, you can begin to transfer it to a progression or progressions and eventually to tunes. I hope this makes sense. Right, Martin? It was great question, feel free. Again, feel free to send me some of your recordings, and I will be able to give you more insight. But at least hope for now my answer is helpful. And of course, if further clarification isn't needed, please let me know. I'm happy to spend time with you, and help you in any way that I can. Okay, let's discover, learn and play. All you. You know, all of us at the beginning of our jazz journeys invest a lot of time, effort, energy, searching for the secrets to learning how to play jazz, right? I've mentioned this before, we all do it right. We'll try all kinds of approaches and gimmicks in hopes that we discover, really, in essence, what we're looking for is a shortcut. That's right, a shortcut that will shave years off of our of our developmental timeframe. And you you know, and I know, right, no shortcuts, we've all done it. And today, of course, it's easier than ever. With, you know, the internet and YouTube and a gazillion other sites that are out there. It's it's easier than ever to run down a million rabbit holes in search of that secret formula for playing jazz piano. And in doing so, we we end up with a ton of data, what I call data fragments, right maybe maybe good data may or may not be but but we get this date to get all this data frag these data fragments with no idea how to connect them or, or even determine if they should be connected at all right. Now on the other hand, don't get me wrong. Like I've said technologies is enormously beneficial. That you know, the fact that we can do this podcast and just It amazes me on a week to week basis and and we have these software applications that allow us to create backing tracks play alongs that simulate an ensemble experience, right all of this. It's amazing and without question, a huge benefit. But sometimes sometimes the old fashioned ways are still the best ways. And when it comes to developing good technique, articulation fingerings sound right feel all the stuff we're just talking about improvisation vocabulary, the study of study and playing of bebop tunes, bebop melodies. Wow. Hard to beat. And I believe it remains the best approach to this day. So the bottom line if you want to get good at playing jazz piano, there's no better way than studying it. Historically. And historically speaking, no better period of jazz will help you develop your time feel articulation fingerings, and improvisation of vocabulary. Nothing better than B but the Bebop period. So for those of you who may be listening and knew to be Bob, or Bob as it is often referred to, right, it's a period of jazz that developed and flourished during the 40s. And the Bebop style of jazz features tunes using fast tempos, challenging melodies and lots of chord changes, some of them being pretty complex, that move in move in and out of numerous key centers, all within a single tune. Right. So bebop is the perfect perfect formula for developing our jazz skills. And And again, there's no need to look any further right there. There's no practice Etude or, or exercises that you can do that are better than playing the melodies of bebop tunes. And that's why I always refer to the bebop tunes as jazz gold. So the educational agenda for today is as follows number one, we are going to explore oleo by Sonny Rollins. Number two, we're going to examine the chord changes and harmonic function of olio. Number three, we will play the melody of OLIO and explore proper fingerings. Number four, we will extract four classic patterns from the melody of OLIO that we're going to use for discovering and developing our very own jazz vocabulary. And number five, we will be playing all examples today only for the sake of time, at a tempo of 160, which is pretty snappy, right? But it's only for the sake of time. So if you are a jazz piano skills member, I want you to take a few minutes right now I want you to hit the pause button. Take a few minutes to download and print your podcast packets, the illustrations, the lead sheets and the play logs. Your membership of course grants you access to all the educational podcast packets for every weekly podcast episode, and I mentioned that every week, you should be using these podcast packets when listening to this episode. And of course, you should be using them when practicing. So if you are listening to this podcast on any of the popular podcast directories, such as Apple or Google, Amazon, Spotify, iHeartRadio, Pandora, the list goes on, then be sure to go directly to jazz piano skills. podcast.com That's jazz piano skills podcast.com To download your podcast packets, and you'll find the download links within the show notes.

Dr. Bob Lawrence  21:56  
One final, but very significant note message. If you think the various skills if you're listening right now, and if you're thinking that the various skills that we are about to discover, learn and play as we explore Sonny Rollins Oleo. If you're thinking all these skills are over your head, then I would say to you, no worries, please continue to listen and grow your jazz piano skills intellectually. By doing just that by just simply listening to this podcast episode. Every new skill is over our heads when first introduced. But this is how we get better. Right we place ourselves smack dab in the middle of conversations, where we are hearing things that we've never heard before. We're hearing words that we've never heard before. And so we're forced to grow intellectually. And I say it all the time, all musical growth begins upstairs, mentally, conceptually before it can come out downstairs physically in your hands. So sit back, breathe in, breathe out. Listen to this podcast, listen now to discover and learn. The play, as it always does, will come in time, I guarantee it. Okay, now that you have your lead sheets in your hands, I want to talk you through them quickly, you will see that lead sheets wanting to present the chord changes and harmonic function for olio. Right to help you truly discover, learn, discover and learn the changes and harmonic function for olio. I strongly recommend using the lead sheet templates found in your illustrations podcast packet. Okay, so that's lead sheets one and two. Now lead sheet three, you can see there has the chord changes along with the melody. And if you take a look at lead sheet four, you'll see that has the melody again. But this time you see that included with the melody are the fingerings that I use when playing Oleo spend time a lot of time playing the head, the melody over and over at slower temples, right. I'll be modeling for this for you here shortly. But anyway, so lead sheets three and four melody, Melody plus fingerings that lead sheets five through eight deal with four patterns that I have extracted from Oleo to use as launch pads for developing our own vocabulary and for improvising. And we're going to take those patterns and we're just kind of move it we're going to move them around within the sound. Right? Use the same pattern but move them around within the sound utilizing different entry points. And again, I'll be modeling for that for you here shortly. So Wow, we got we've got a ton to get through today. Nope. question about it. So let's get busy. But first things first, right as always, let's just take a minute right now and listen to the melody of Oleo as played by Sonny Rollins with the I don't know some guy on trumpet named Miles Davis, let's check this out enjoy

Dr. Bob Lawrence  25:59  
good wow you know, I'm playing everything today at 160 which is not as fast as that so don't worry about it we're going to play things that slipped much slower temples but anyway, that's that's only Oh, Sonny Rollins ollie on you may you may pick up on this as we go through today's lesson that this tune is based off the changes of George Gershwin's, I've got rhythm. So it's rhythm changes that we are dealing with today. And all of our demonstrations and all my demonstrations and all the stuff that we are going to be working through with Oleo we're really working through, I got rhythm as well. Okay. So now let's grab, I want you to grab lead sheets, one, lead sheet, two, lead sheet one, lead sheet two, and I want you to place them side by side. So on your left hand side, you have lead sheet one, you have the chord changes of olio. And on the right hand side, the lead sheet two, you have the harmonic function of olio. And as I just mentioned, these are the same, basically that I got rhythm changes. So you'll notice there right away letter A, you have, you know, the 1625 progression a lot, a lot of circle motion, in other words, a lot of circle movement in this in this piece. So I'm want to bring the ensemble in, and I'm going to play the chord changes for Oleo. And I'm going to play through them twice. Now, what I always like to do is when I'm looking at lead sheet one with the chord changes, I'd like to think harmonic functions. So that's why I would just mention that, you know, the first two measures 1625. So the idea is that when you're, we're looking at lead sheet one, you're seeing the chord changes, but you're thinking harmonic function. When you're looking at lead sheet two, you're seeing the harmonic function, but you're thinking the chord changes. Now, this is a big time skill that you practice. Okay, you practice this. So, I'm gonna play through the chord changes twice, May 1 time, look at lead sheet one, see how well you do with looking at the chord changes and identifying the harmonic function the second time through, look at lead sheet, two with the harmonic function and see how well you do at identifying the chord changes. All right, this is great ear training as well. Believe it or not. So here we go. Let's bring the ensemble I'm gonna play through Oleo just the chord changes two times through. You have lead sheet one and lead sheet two in front of you. Here we go.

Dr. Bob Lawrence  30:33  
Nice. Now, again, this is a big time skill to be able to look at the chord changes and think harmonic function, look at the harmonic function and see the chord changes. And it's really big time skill to be able to do that at one tempo 160. So, if you're going to practice this scale, I would do it at at much slower temples, right, much slower temples. So okay, so that's lead sheet one, lead sheet, two, now, I want you to grab lead sheet, three, and lead sheet for now we have, and I want you to put both of these lead sheets side by side as well. And you'll see lead sheet three is has the melody included volio. And lead sheet four has the melody included plus my fingerings. Now, as I mentioned earlier, we're dealing with I got rhythm here, right, so have tons of circle motion. You can see in the bridge there that the melody, there's no melody in the bridge. So this is very much like the tune we did last last month, do we square right? No melody in the bridge. So guess who provides the melody? You do? You improvise the melody through those chord changes when you get to the bridge, and if you look at the chord changes of the bridge circle, straight circle of fifths motion, right you we have our D seven go into the g7 g7 going to C seven C seven go into f7, which takes us back to our B flat major. Okay. So I'm going to play Oleo two times through again, and I'm going to play the melody in my right hand. And when I get to the bridge, I'll do a little improvisation as well. So maybe the first time through, you're just following the melody on lead sheet three. And when a second time through, you are focusing on the fingerings that I am using. And if you notice the fingerings just I want to point out a couple of things. A lot of three ones, a lot of three ones in this fingering. All right. And that should look very familiar to you. Since all the improvisational patterns that we have been doing throughout the year. That three one combination has been popping up all over the place. So here it is. We see it literally put into motion within attune a bebop tune within OLIO Okay, so I'm gonna bring the ensemble back in and play the melody now two times through. So check out lead sheet three and lead sheet four here we go.

Dr. Bob Lawrence  34:58  
Not an easy melody is not an easy melody at all. So I encourage you to utilize the fingerings that I have notated there. And I would practice, again, that melody at much slower temples. It is, again, it's not an easy melody at all. So be patient with yourself as you're working through it rhythmically. Okay. And then on the bridge, yes, you have improvisation to, to do there to create a melodic idea to connect that, you know, this is an ABAA form. So you got that bridge, that you got to connect the, the A's sections together, right. And I would encourage you to stick to chord tones, when improvising initially, right, keep it simple. And do not overplay and keep it relaxed. Right? Relax, less is more, so don't overplay during the bridge. All right, so now, I want you to grab the lead sheet five, skill five, pattern one. And what I'm doing today, I'm grabbing four melodic ideas from olio. If you take a look at measure three, you'll see a grouping of 4/8 notes that go along with G seven, that's going to be pattern number one, pattern number two is going to be in in measure four 4/8 notes that are grouped with C minor seven, pattern three, if you take a look at measure six, we have a 4/8 note group 4/8 notes grouped together again, that goes along with a flat seven. And then if you take a look at measure eight, we have 4/8 notes grouped together again that go along with f7. So those are our four melodic motifs that we are extracting today from Oleo that we're going to use as a launchpad to develop our improvisational vocabulary. And with each of these patterns, as you will soon find out with each of these patterns, I'm taking that motif. And I'm actually moving that motif around within the sound, different entry points. So if you take a look at, if you take a look at skill five leads sheet five, you'll see G seven. And I have notated their fifth entry, the idea the idea begins on the fifth of the sound. So we get this that's it on the fifth and sound. But we could actually play that same idea using various entry points, which I'm going to do off the root or off the third or off the seventh. Right. So what I want to do is bring the ensemble in right now and you're going to hear me do this. I'm going to play the g7 and I will play the original idea with the fifth entry a few times and then you'll start hearing me move that sound that motif around within the sound. Okay, so here we go. Let's check it out.

Dr. Bob Lawrence  39:20  
Nice, right. So how cool is that, right, we take a little motif extracted from a tune like Oleo we analyze it, we see what's going on there with that motif. And then we start moving that that melodic idea. We start moving it around with in the sound itself with in the g7 using different entry points. Now you'll notice on your lead sheet, I have it going to the very next key right so from G seven, we're going to see seven from C seven the F seven and I have a little note there on the lead sheet continue moving around the circle of fifths So it's not just taking this melodic idea and applying it over G seven as it is played within olio. But now it's, you move that motif around within the sound. And then you move to another sound. And you play that same melodic idea in relationship to that sound. And the idea is that you move through the entire circle of fifths, all 12 dominant chords, okay, wow, talk about developing vocabulary, that is a fantastic way to do it, it will transform your plane in a major way. So now, I want you to grab lead sheet six, skill six. Our second pattern comes from measure four, we have 4/8 notes that go along with the with the C minor seventh sound within olio. And it's this it's a great, it's, it's, it's so simple and so great, right, I guess that's maybe why it's great, because it's simple. So we're going to do the exact same process here. When I bring the ensemble in, I'm going to set up the C minor seven, I'm going to play that melodic motif, as played as found within olio. And in measure four there with the C minor seven, and then I'm going to start moving that melodic idea around within the sound using various entry points, right, various entry points, like the the seventh, or the fifth or the third or the nine. Right, I'm going to move it around. So let's bring the ensemble in. And let's check this out here we go.

Dr. Bob Lawrence  42:50  
I could literally do that all day, right, isolate a sound, take a melodic motif, move it around within the sound, explore, explore various rhythmic ideas, manipulate that motif using various rhythmic ideas. So much fun. So much fun. So okay, so now let's grab lead sheet seven, skill seven. Okay, now we have the 4/8 notes, I'm pulling from measure six 4/8 notes that go along with the A flat seven, the A flat seven. So we ended up with this idea.

Dr. Bob Lawrence  43:37  
Okay, again, I again, another really simple little idea. That's fabulous. So we're going to utilize the same approach that we've been doing today, right, we're going to take that melodic motif, I'm going to set up the A flat seven, I'm going to play the idea as the original idea has played in Oleo with the A flat seven, and then I'm going to move that idea around launching it from various entry points within the A flat seven sound. And once again, right, you'll see that I have it laid out on the lead sheet, a flat seven, and you see I have it been laid out for D flat seven. And then for F sharp seven. Again, the idea is that you're going to take these motifs, these melodic ideas, explore them within a sound using various entry points. And you're going to do this for all 12 dominant chords, right? Again, no better way to start really gain a familiarity with all the dominant chords, but also for developing your improvisational vocabulary. Okay, your jazz vocabulary. So let's bring the ensemble in and let's check this out. Skill seven lead sheet seven, A flat seven taken from Oleo Here we go.

Dr. Bob Lawrence  45:58  
Well, hard to believe we're already down to our final melodic motif that we're extracting from Oleo today. And it comes from measure eight, you'll see we have 4/8 Note grouping again, in relationship with relationship to the F seven in relationship to the F seven. So it's, again, it's a simple idea, right? It's just coming right down. Starting on the sixth of the sound, right? Again, it always amazes me, the simple ideas are always the best ideas. So we're going to take that same motif, right? I'm going to play the f7 I'm going to play it as originally stated within Oleo and then I'm going to move that same melodic idea that same motif around within the f7 sound. Okay? Just using different entry points, same idea, just different entry points. That's it. Okay, so here we go. Let's bring the ensemble in let's check this out.

Dr. Bob Lawrence  48:08  
Wow, well, as always, right. As always, we've unpacked a ton of information in one very short one very fast hour. Now again, I cannot stress enough the importance of practicing playing bebop heads melodies. Right so many gems are hidden within these melodies of bebop tunes, right. They're great for developing your fingerings technique, your time your articulation, and of course, are no better etudes for developing jazz vocabulary improvisational vocabulary than playing bebop tunes. Don't want you to skim over studying and learning the core changes in harmonic function right lead sheet one lead sheet two for Oleo. Right before tackling the melody. After all, the harmonic function that changes it's the foundation that the tune that the melody rests upon. So it needs to be solid. And again, use your illustrations podcast packet to help you gain a command of this essential skill. Once you do have a command of the changes of the harmonic function, then begin practicing the melody and of course, do so at slower tempos than 160 that I use today in all the demonstrations finally, I always love to take apart bebop melodies to find invaluable melodic ideas just like we did today with four, four ideas coming from the melody of Oleo. Right? I use those patterns as you as you witnessed today to discover, learn and play my own jazz vocabulary, right so, so important. And you know what? As always, I say this every week, but it's so important. Be patient. Be patient. Developing mature professional jazz piano skills takes time. It takes a lifetime. So begin structuring your study and your practicing after the plane demonstrations that I modeled for you today in this podcast episode, and I guarantee it you will begin to see you will begin to feel you'll begin to feel and hear your progress. Well I hope you have found this jazz panel skills podcast lesson exploring Sonny Rollins Oleo to be insightful and of course to be beneficial. Don't forget if you are a jazz panel skills member I'll see you online Thursday evening at the jazz piano skills masterclass at 8 pm Central time to discuss this podcast episode exploring Oleo in greater detail and of course they answer any questions that you may have about the study of jazz in general. For all you jazz panel skills members out there, be sure to use your educational podcast packets as always dive into the jazz panel skills courses that are out there online as well to maximize your musical growth. And also make sure that you are an active participant in the jazz piano skills community. Get out there, get involved, contribute to the various forums and make some new jazz piano friends it's always a great thing to do. You can reach me by phone 972-380-8050 my extension is 211 here at the Dallas School of Music if you prefer email. My email address is Dr. Lawrence drlawrence@jazzpianoskills.com. Or you can use the SpeakPipe widget that is found on every page of the jazz panel skills a website while there is my cue. That's it for now. And until next week, enjoy Sonny Rollins, Oleo, and most of all, have fun as you discover, learn and play jazz piano!