Jazz Piano College 201 There is no Greater Love - solo with blues scales

Soloing. In this video I show how to use blues scales in a jazz solo. The song is "There is no Greater Love" On the lead sheet I have circled a blues scale I think fits with the chord progression. However many other possibilities exist .... experiment!
lead sheet:
www.tonywinston.com/jazz%20pia...
open voicings:
www.youtube.com/watch?v=d5lEL...

[@plouf1969]

This is amazing. I know my 251 so I can deal with chords moving in fifths, but anything that's more bluesy and I am lost. These blues scale seems pretty straightforward and much better than how I would do it.

[@eitanethan]

It can have that very bouncy almost 2/2 feel when you groove it around I love this standard

[@anilec333]

Great lesson.i was confused about why I play haft whole scale on Bbmaj sound wrong.this lesson just told me the reason

[@lucianphipps5430]

Thanks Tony for sharing that, really nice solo work!
Lucian in London

[@TonyWinston]

Thanks for listening

[@eternalrainbow-cj3iu]

My Finding to day: on the #VII of a dominant we could play the b6majpent so on the Ab7#11 I thought the Bbminor bluesscale works of course because when the Ab7 would have been a dominant going to Dbmaj the Bbmis the relative minor of the Dbmaj so that works of course great but more tricky is to use the BbCD F Gb(with or without the Blue lol G)b15) so the G7 could also be played upon in my ears but weird I admit...the F#penta or blues scale with the b8 or the Amajb6 scale ABC# E F(F#blue note and anticipation for the F) or F ABC# E think of F# ABC# E and then change the root 8 in a b8 so E# or F according to G7...

[@chris1960ism]

This is a wonderful song and a very good lesson. Thank You so much! Unfortunately the links do not work. Can You make them run please?

[@hiromsaito1129]

thank u Tony
bluse scale very simple ur lesson
im understund

[@alexkain3702]

Does every jazz solo needs a solo?

[@eternalrainbow-cj3iu]

Also, because of the dominant of the dominant is often #11 in man keys. isn't it nice also to implement the F# and then take the b8 blues scale or b6 depending of which point of vew like BbCD F (G)>Gb or 12 3 5 b6this scale is not so much used because those are of course notes of the Lydian Dominant, so most of the time we play without considering that in those constellation with the vomiting of the other two notes we have a pentatonic scale...of course very close to hole tone scale too...so write this info maybe just telling it to the mountain, because for Tony this is of course more then well known but maybe for the other players...I think Tony played in the beginning Lydian Dominant over the C7 I'll check it now...

[@eternalrainbow-cj3iu]

Hi Tony i have a question(I liked your playing very much, those scales you play sound very in balance and you play very melodic, next Saturday I have for my own lesson to play this tune..)My question is how come that when you play rootless voicings that the IIm7b5 is played with the Root...Is it possible to play it without the Root too? It seems that Meldau and Jarrett do that, but lot of pianists play rootless instead halfdim, How come?

[@TonyWinston]

Dm7b5 can be played F Ab C E or Ab C E G . But not every chord needs to be rootless. What's important is that the progression sounds smooth. A m7b5 sounds pretty exotic no Matt how its played