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Hi!
I've just played Blue Train (comping and soloing). This is jazz-blues which differ a bit from shuffle blues. The chord progression is a bit different and the rhythm is more charleston. I played this song in a band and I also got help from blues pianist teachers. One teacher told me that those two style are kinda simmilar. How would you view this? Also, how do you just olay and just feel the music?I tend to loose track of where I am when soloing. How do ypu fellow pianist view this? Just play and do not worry as my teacher said, right?

I'll just comment on one issue you raised: losing track of where you are. There is no secret here, just keep playing the 12 bar blues form over and over, and eventually you'll just feel where you are without having to think about it. The form has an inevitability to it, but you just have to play it many times before that comes.

One tricky aspect of Blue Train is that it's a blues in Eb, which is rare. The vast majority of blues in the jazz world are in F or Bb.

That whole album may be my favorite Coltrane opus.

I think of it as a format more than a feeling.
There is a statement. i.e. "You ain't nothin' but a hound dog, snoopin round the door."
There is a repeat of the original statement. "You ain't nothin' but a hound dog, snoopin round the door."
Then there is a recapitulation. "You may wag your tail, but I ain't gonna feed you no more."

Consequently, there's no reason why there can't be a melodic phrase or phrases, presented in the same manner. With a format so simple, it leaves much room for individual expression. From the hoppinest boogie, to the lowest most deep dark Soulful Blues.

On the question of how do you feel the music as you're playing, I suggest singing along with your soloing. You'll be amazed at how it makes your playing more melodic and soulful.

jjo is right. If you keep playing the form, whatever it is, in the end you will feel when the changes occur, without having to think about it. And doing this with a basic 12 bar blues form is the easiest way to start to improvise (in a limited way). In fact after a while if you play the form wrong you will know straight away.

Blue Train is a 12 bar, but in C minor (not Eb) and of course has some added changes to make it a little more difficult.

BTW a straight 12 bar in Eb on Piano, whilst less common in Jazz is nevertheless a great key to play in. Try it out and you'll see why quite quickly.

Cheers

You actually talking about riffs of 4 bars length . In one chorus are three of those. You can shorten the riff to two bars, then of them will be six:

"Snoopin round the door." (pause)
"Yes ,snoopin round the door." (pause)

"Hound dog near the door." ( pause )
"Still barks, damned dog!

And now the conclusion:

"Now I'll grab a stick, a nasty beast,
and will cast out to the street! "

All 12 bars.

Simon: Not sure why you say Blue Train is in C minor. All the good fake books show the first chord as Eb7#9, and that certainly is how I hear it. The soloing is clearly a regular blues, not a minor blues.

Hi jjo

The version of the head I remember was C minor, but I'm frequently wrong! The difference may be down to tenor sax being a transposing instrument, not to mention that your ear is undoubtedly better than mine.

In fact looking around on-line I see people posting that the first chord is as you say.

But I also found it stated that the head it is in Eb minor, and the solos Eb major.

Whichever is the case I'm happy to be corrected.

Cheers

Simon: One of the old Real Books has Blue Train as a C minor blues. The older Real Books,however, are filled with errors (no criticism intended of the original authors who did great work), and its interesting how they have become gospel among a certain level of musician that simply opens the books and plays what's there.

I've been fortunate, not through my own talents, but in having teachers and higher level musicians that I've played with, plus reading a lot, who have shown be more accurate chord changes for some tunes, and also more interesting ones and commonly played variations. When I learn a tune now, I look at as many lead sheets as I can find, and then listen to try to hear what the original, or the variation I'm copying, does. My ear is way less than perfect, but it's truly a worthy venture. It's good to question whats in the old Real Books, although on some gigs and jam sessions, I play "wrong" chords because I know that's what everyone else is relying on.

In BT basic type of chords - 7 / # 9, which is representative for the blues, and allows playing on it, both major and minor blues.

I play with a drum machine that shuffles every 8 bars. Consequently, it shuffles every 16 and 24 bars also. So when I play in 12 bar form, I get a shuffle at the end of every other round. As 24 is devisable by both 12 and 8. This is not theoretical. It actually happens in real life/real time. So I must be playing it right.