The Omnibook is also great, as is transcribing any bebop or post-bop player. Do you listen to much Joshua Redman or Chris Potter? Those guys are really melodic but still have great lines.
The thing is that your request is a little vague - there are heaps of different styles, lots of which involves lines to some degree, and the notes, swing, articulation, time, and rhythm (plus tonal colours) all combine to make it more than the sum of its parts.
Running up and down scales generally sounds like crap although some guys (like Desmond) could make a major scale sound cool.
What I find has helped me is to play at a comfortable, even slow, tempo, and think of the lines I hear, and construct new and interesting lines that I don't hear. However, I assume you're in the first stage of this development and if you haven't immersed yourself in listening to bebop and post bop - do it. You can't play what you can't hear.
If you have the lines in your head, work at being able to translate them onto your instrument.
Does that help at all?
-Dan
The thing is that your request is a little vague - there are heaps of different styles, lots of which involves lines to some degree, and the notes, swing, articulation, time, and rhythm (plus tonal colours) all combine to make it more than the sum of its parts.
Running up and down scales generally sounds like crap although some guys (like Desmond) could make a major scale sound cool.
What I find has helped me is to play at a comfortable, even slow, tempo, and think of the lines I hear, and construct new and interesting lines that I don't hear. However, I assume you're in the first stage of this development and if you haven't immersed yourself in listening to bebop and post bop - do it. You can't play what you can't hear.
If you have the lines in your head, work at being able to translate them onto your instrument.
Does that help at all?
-Dan
