Jazz Trumpet Players Beginners Guide: Start Here!

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So, you want to try your hand at playing jazz trumpet. Well, you’ve come to the right place!

In this intro guide to jazz trumpet, we will explore everything you need to know to start playing jazz on the trumpet. While there are core principles of jazz that aren’t instrument-specific, to truly master jazz trumpet, we’ll need to focus on a few trumpet-specific things.

In this guide, we’ll focus on trumpet specifics and examine the techniques, nuances, and approaches that make this classic instrument so popular across multiple genres, from classical music, modern jazz, jazz-rock, and free jazz to hip-hop and neo-soul.

We’ll discuss—

  • Methods to cultivate your unique jazz trumpet tone, emphasizing breathing, buzzing, and articulation techniques.
  • Refine your practice routine specifically for jazz trumpet, enabling you to tackle common challenges and elevate your playing.
  • Offer key study points to enhance your jazz theory knowledge and practical musicianship as it applies to the trumpet.
  • Go over 15 famous jazz trumpet players you need to listen to.

What distinguishes most players from the jazz trumpet legends?

Dedication and the right approach.

With focused effort and intentional practice strategies, you’ll witness remarkable growth in your trumpet sound, technical skills, and understanding of jazz theory. And, if you are looking for a structured approach to mastering jazz, no matter what instrument you play…

…then you need to check out the Learn Jazz Standards Inner Circle.

When you join, you’ll gain access to an expansive collection of jazz educational materials, video lessons, masterclasses, courses, and workshops.

As a trumpet player, you don’t want to miss out on the Jazz Trumpet Accelerator course, which we’ve designed to take your technical trumpet skills to the next level.

Ready to supercharge your jazz trumpet skills? The Inner Circle has everything you need.

Improve in 30 days or less. Join the Inner Circle.

Constructing Your Jazz Trumpet Sound

At its core, jazz music is about self-expression. Some jazz artists spend their entire careers chasing their own personal sound. One thing you can do to get the ball rolling is to start thinking about what kind of trumpet player you want to be.

How do you want to sound?

Know What You Want To Sound Like

There is a big tonal difference between Louis Armstrong and Chet Baker. These and other jazz artists have given their sound a lot of thought. As a developing jazz trumpeter, you should consider how you want to sound.

It’s not to say that you should try to sound exactly like your favorite famous jazz trumpet players, but you should consider the styles, attitudes, and playing personalities that came before you to inform your sound, even if you do so to stand out from them.

Also, consider what you want to do with your trumpet. Maybe you want to lead your own jazz combo, or perhaps you want to play trumpet in jazz orchestras. Do you want to be avant-garde, or are you looking to preserve the traditions of jazz trumpet? Maybe you want to make ambient music or play Afro-Cuban jazz.

Maybe you’ll want to try your hand at all of these things.

It’s okay if you don’t know exactly what you want to sound like yet. It’s also okay if your sound goals keep changing and shifting. The Miles Davis from 1980 sounds way different than the Miles Davis from The New Sounds (1951), his debut album. Changing and evolving is a part of being a jazz artist.

Wind vs. Air

Before diving into specific jazz trumpet techniques, we should also briefly discuss the difference between wind and air. The trumpet physically produces sound by vibrating at different frequencies. But what makes the trumpet vibrate?

Your embouchure and the breath you push through it.

Air is static. It’s everywhere all around us, and it’s the medium through which sounds travel. Air is like oil paint you’d use to paint a portrait. However, paint without thought or direction is just a glob on a stretch of canvas.

Wind, on the other hand, is air with purpose and direction. It’s your breath, which you use to communicate (and also play wind instruments). In this sense, wind is like the act of painting or moving the paint around the canvas to create something intentional.

You have to think of the wind you generate as having a purpose. Each breath must be intentional.

How To Develop a Good Jazz Trumpet Tone in 3 Steps

With the philosophical aspects of being a trumpet player out of the way, let’s talk a bit more specifically about the physicality of playing the trumpet.

1. It All Starts With Breathing

You don’t need to overblow to produce a solid trumpet tone. Overflowing can lead to fatigue, blown chops, and bad tone. What is more important is your breath control, not how hard you can blow.

Breathe With Your Belly, Not Your Chest

Take in a deep breath. As you did so, your shoulders probably raised higher, and your spine may have stretched out a bit. However, you probably didn’t take as full of a breath as you could have.

Instead of breathing vertically, where your chest and shoulders rise, breathe horizontally. Expand your stomach fully when breathing in, and you will take in more air than you could with only your upper chest.

By fully expanding your belly, you are stretching your diaphragm down (and taking in much more air as a result). With more air, you’ll have more wind to create your jazz trumpet sound. Do this exercise to strengthen your diaphragm muscle.

Only try this breathing exercise while seated comfortably! If you haven’t breathed this deeply before, you can get lightheaded!

2. Buzzing Exercises: To Buzz or Not To Buzz

There tend to be two camps when it comes to practicing buzzing—those who are for it and those who are against it.

Those trumpet players who are against it suggest that it isn’t necessary to practice buzzing to play the trumpet and that it can lead to unnecessary tension.

Though this can be true, with the proper awareness, control, and approach, buzzing exercise can be an excellent tool for helping a trumpet player develop wind control, refine their sound, control pitch, and explore the function of the tongue.

The main idea behind practicing buzzing is to develop a technique that doesn’t rely on the trumpet to produce a clear, controlled sound.

Three Types of Buzzing
  1. Buzzing the Leadpipe: Where you remove the tuning slide so that air leaves the trumpet sooner. This is the most similar to playing the trumpet.
  2. Buzzing the Mouthpiece: Where you only blow air through the mouthpiece. This is harder than buzzing the leadpipe.
  3. Free Buzzing (Just Lips): This is the most challenging type of buzzing to practice. You are entirely relying on your lips to create the sound.

You don’t need to practice buzzing for hours a day. Too much buzzing practice can harm your form and cause you to overblow.

You only really need to practice buzzing for 2 minutes a day.

Buzzing Exercises

The following exercise combines singing, mouthpiece buzzing, and free buzzing. This will help you work on relating slight embouchure changes to different pitches. Be sure to do this exercise in time!

  1. Reference pitch
  2. Sing the pitch
  3. Buzz with lips
  4. Buzz with mouthpiece
  5. Buzz with trumpet
Buzzing exercises for Bb trumpet

3. Long Tones on the Trumpet

Long tones are essential to practice on any wind instrument—it’s no different for the trumpet. You can put all your buzzing and breathing exercises to work by practicing long tone exercises, which will help you build endurance, stamina, and pitch control.

Long Tone Tips
  1. Don’t rush through long tone exercises! This is when you can deeply analyze your sound and enhance your connection to the instrument.
  2. Use a Metronome! You should always be practicing time wherever you can. Long tones provide a great opportunity to work on time.
  3. Use a Tuner! You should use reference pitches to train your sense of pitch.
  4. Practice different attacks and articulations for the beginning, middle, and end of the note.

Refine Your Jazz Trumpet Technique

Breath is one vital aspect of playing trumpet, but it isn’t the only important thing you need to focus on. You also need to focus on how your breath interacts with the other essential aspects of playing the trumpet, such as your finger technique or your tonguing technique.

There are a few best practices you should keep in mind when practicing trumpet.

Getting to the Bottom of Bad Technique

Ask Yourself: Is it Just Your Fingers?

Jazz trumpet is comprised of five crucial components:

  1. The Fingers
  2. Wind Production
  3. The Lips
  4. The Tongue
  5. The Left Hand

These factors must work together to produce a clear and consistent trumpet sound. What you think is only a fingering issue might be a coordination issue between the fingers and tongue, the fingers and embouchure, or maybe between your air and fingers.

Practice Passages, Phrases, Lines, and Melodies with a Trumpet Berp.

A trumpet berp is a plastic device that screws onto the leadpipe of your trumpet. It’s designed to hold the mouthpiece so you can practice buzzing while holding the trumpet as usual.

The berp will help reveal what aspects of your technique are holding you back. (Again, with buzzing, it’s just you and the mouthpiece!) By practicing using a berp, you can refine your embouchure, wind, and tonguing techniques while practicing the fingerings.

Here is a blues head:

Chart for blues head Haighter's Blues by Chris Davis
  1. First, play it as you normally would and take note of problem areas you encounter.
  2. Then connect your mouthpiece to the berp and try it. It will be much harder to play convincingly.

By doing this, you’ll be able to feel whether it’s your wind, your embouchure, or your tongue.

  1. Spend time refining your technique on the berp until it sounds how you want it to.
  2. Move the mouthpiece back to the trumpet and try the passage again.

Here are 28 other blues heads you can try this on!

Mental Practice Off Of The Trumpet Is Also Crucial

Many jazz musicians don’t spend enough time with mental practice. Sure, we need to practice on the trumpet, but our brains also need time to practice off the instrument. That’s why you should run through jazz trumpet exercises mentally and on your trumpet.

A great way to do this is to play air trumpet and sing (or buzz to the best of your abilities) the exercise. This not only reinforces the correct fingerings but also builds your musicianship by forcing you to create the pitches.

Essentially, if you can sing a piece of music without hearing it first, it proves that you’re playing it with your mind and not just your instrument. You are strengthening the mind-music connection.

For the following exercises, read through them on your trumpet, then play the exercise on air trumpet with the correct fingerings, singing the music.

Clarke Studies; Exercise 1
Clarke Studies; Exercise 2
Clarke Studies; Exercise 3

Listen to Jazz Trumpet Players! Here Are 15 Jazz Trumpeters You Need to Check Out.

The following list contains some of the most famous jazz trumpet players. These jazz musicians span the decades, from early jazz trumpet players to contemporary trumpeters. This jazz trumpet players list isn’t in any particular order—as each has contributed much to jazz.

Also, plenty of jazz trumpet players are not listed here but deserve celebration and acclaim. I wanted to give a general overview of the jazz trumpet world, so this is not a “best of” list!

So, without further ado, here are 15 jazz trumpet players you need to check out.

BEFORE YOU CONTINUE...

If you struggle to learn jazz standards by ear, memorize them, and not get lost in the song form, then our free guide will completely change the way you learn tunes forever.

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1. Louis Armstrong

Louis Armstrong in 1955

image source: Wikimedia Commons

We have to start our list of jazz trumpet players with Louis Armstrong.

Often referred to as “Satchmo” or “Pops,” Louis Armstrong is arguably the most influential figure in jazz history. He significantly impacted trumpet playing and vocal stylings. His professional career began in the 1910s in New Orleans and lasted until 1971.

Louis Armstrong witnessed jazz from birth well into its maturity, and many consider him the best jazz musician ever. From “Potato Head Blues” and “West End Blues” to “It’s a Wonderful World,” Louis Armstrong had so much to offer the world.

His influence on other jazz trumpet players can’t be understated either. He influenced everyone from “Little Jazz” Roy Elridge to Dizzy Gillespie and Wynton Marsalis.

Check out:

  • Hot Fives and Sevens (2000)
  • Louis Armstrong Plays W. C. Handy (1954)
  • Ella and Louis (1956)
  • What A Wonderful World (1968)

2. Dizzy Gillespie

jazz trumpet players: Dizzy Gilespie in 1991

image source: Wikimedia Commons

Known for his swollen cheeks and bent trumpet, Dizzy Gillespie was a pioneer of bebop and Afro-Cuban jazz. Diz played alongside legends like Bud Powell, Charlie Parker, Sonny Rollins, Milt Jackson, and John Coltrane throughout his long career and acted as band leader for his own groups.

This jazz musician was extremely influential in the Bebop era and beyond.

Be sure to check out these Dizzie Gillespie albums:

  • Birks’ Works (1957)
  • World Statesman (1956)
  • Diz and Getz (1955)

Also, check out Dizzy Gilespie playing on A Night in Tunisia:

3. Miles Davis

jazz trumpet players: Miles Davis in 1984

image source: Wikimedia Commons

Perhaps the most famous of all jazz trumpeters (and maybe all jazz musicians), Miles Davis was a major figure in multiple jazz movements, including cool jazz, hard bop, and fusion. His long career began way back in the age of bebop and acoustic jazz and went well into the electronic era.

His trumpet tone and musical personality are instantly recognizable.

Check out these Miles Davis albums:

  • Kind of Blue (1959)
  • Bitches Brew (1970)
  • Birth of the Cool (1957)
  • Sketches of Spain (1960)

Check out this early recording of Miles Davis playing “So What:”

4. Chet Baker

Chet Baker in 1983

image source: Wikimedia Commons

Renowned for his lyrical and melodic trumpet playing style, Baker was also an accomplished vocalist. His career took off when he joined the Gerry Mulligan Quartet in 1952.

Be sure to check out these Chet Baker records:

  • Chet Baker Sings (1954)
  • Chet (1959)
  • Chet Baker & Strings (1954)

Check out Chet Baker and West Coast cool jazz tenor saxophone player Stan Getz playing together live:

5. Clifford Brown

Clifford Brown in 1956

image source: Wikimedia Commons

His life was tragically cut short, but “Brownie” is remembered as one of the best jazz trumpeters in jazz history. Clifford Brown played with famous jazz musicians like Max Roach, Miles Davis, and Horace Silver and was a founding member of the group that would become Art Blakey’s Jazz Messengers.

Check out these Clifford Brown albums:

  • Clifford Brown & Max Roach (1954)
  • Study in Brown (1955)
  • Brown and Roach Incorporated (1955)

Check out Clifford Brown playing in this rare TV clip:

6. Freddie Hubbard

Freddie Hubbard in 1977

image source: Wikimedia Commons

If you haven’t checked out this jazz trumpet player, now is the time to indulge!

Freddie Hubbard is a powerful player known for his role in hard-bop and post-bop jazz. He was an alumnus of the great jazz group Art Blakey and the Jazz Messengers. He also played on one of my favorite albums of all time—Wayne Shorter’s Speak No Evil.

Here are some Freddie Hubbard albums to check out:

  • Red Clay (1970)
  • Straight Life (1971)
  • Hub-Tones (1963)

Check out Freddie Hubbard playing on Joy Spring:

7. Lee Morgan

Lee Morgan in 1959

image source: Wikimedia Commons

Lee Morgan was a leading voice in hard bop and best known for his composition “The Sidewinder.” Also, an alumnus of Art Blakey’s Jazz Messengers, Lee Morgan released several albums with his own band.

Check out these Lee Morgan albums:

  • The Sidewinder (1964)
  • Search for the New Land (1966)
  • The Gigolo (1968)

Check out Lee Morgan playing with the Oscar Peterson Trio in 1961:

8. Wynton Marsalis

Trumpet Players: Wynton Marsalis in 2020

image source: Wikimedia Commons

Wynton Marsalis is a modern trumpet master who’s not only a virtuosic player but also an educator and advocate for preserving jazz music.

Check out these Wynton Marsalis albums:

  • Black Codes (From the Underground) (1985)
  • Standard Time, Vol. 1 (1988)
  • J Mood (1987)

Check out Wynton Marsalis playing traditional jazz with period-accurate instrumentation (banjo instead of guitar!):
https://www.youtube.com/watch?v=nCCwfl37k18

9. Art Farmer

Trumpet Players: Art Farmer in 1958

image source: Wikimedia Commons

Known for his warm and melodic trumpet and mellower flugelhorn playing, Farmer played with renowned saxophonist Benny Golsen.

He was too young to be drafted during World War II, which means he was available to play gigs in Los Angeles during the 1940s. Influenced by the swing era and big band musicians switching to bebop, Art Farmer took these new musical elements and developed his own jazz style.

Here are some Art Farmer albums to check out:

  • Meet the Jazztet (1960)
  • Blame It on My Youth (1988)
  • Modern Art (1958)

Check out Art Farmer playing in 1964:

10. Clark Terry

Clark Terry in 1981

image source: Wikimedia Commons

Clark Terry was a celebrated trumpeter and flugelhorn player and was recognized for his impressive technical prowess and rich, warm tone.

He had an expansive career that spanned many decades and included performances with some of the most significant big bands and musicians in jazz history (he was a member of the Count Basie Orchestra and Duke Ellington’s orchestra).

Check out these Clark Terry albums:

  • Serenade to a Bus Seat (1957)
  • Color Changes (1961)
  • Portraits (1989)
  • In Orbit (1958)

Check out Clark Terry playing with valve trombonist Bob Brookmeyer:

11. Arturo Sandoval

Trumpet Players: Arturo Sandoval

image source: Wikimedia Commons

Arturo Sandoval is a Cuban-born trumpet player who rose to jazz fame when Dizzy Gillespie took him under his wing and helped him establish a presence in the American jazz scene. This incredible musician has won several Grammy Awards and nominations.

Still active in the scene, he has appeared on numerous albums as a sideman and has released many albums as a band leader.

Check out these Artural Sandoval albums:

  • Straight Ahead (1988)
  • Hot House (1998)
  • Live at Yoshi’s (2015)

Check out Arturo Sandoval play the jazz standard “There Will Never Be Another You:”

12. Dave Douglas

Trumpet Players: Dave Douglas

image source: Wikimedia Commons

Dave Douglas is a modern jazz powerhouse. This contemporary jazz trumpet player is an esteemed composer, arranger, and performer who has worked alongside many household names in the contemporary jazz scene.

He got his start playing with Horace Silver in the late 1980s and hasn’t stopped since. Douglas has released numerous albums and has appeared on countless more. He formed a record label, Greenleaf Music, in 2005, which has put out 70 albums to date.

Be sure to listen to some of his albums!

  • Parallel Worlds (1993)
  • In Our Lifetime (1995)
  • Strange Liberation (2004)
  • Bow River Falls (2004)

Check out the Dave Douglas quintet:

13. Blue Mitchell

Trumpet Players: Blue Mitchell

image source: Wikimedia Commons

Blue Mitchell was one of the more lyrical of our trumpet players, having a distinctive voice and unique style. His composition “I’ll Close My Eyes” (embedded below) is one of my favorite tunes!

Blue Mitchell got his start playing with the Horace Silver Quintet but would soon play with a wide range of incredible musicians, from Chick Corea to Ray Charles! He was also a Blue Note session musician, playing with various jazz legends, from Grant Green to Dexter Gordon and Jimmy Smith.

Here are some Blue Mitchell albums to get you started:

  • Blue Soul (1959)
  • Blue’s Moods (1960)
  • Collision in Black (1969)
  • Bantu Village (1969)

Check out my favorite Blue Mitchell tune:

14. Nat Adderly

Nat Adderly with brother Julian Adderly in 1966

image source: Wikimedia Commons

Nat Adderly was the younger brother of Julian “Cannonball” Adderly, who rose to fame playing with the Miles Davis sextet on Kind of Blue.

Nat Adderly was an incredible composer, arranger, and performer who worked alongside his brother in the Cannonball Adderly Quintetand with other musicians.

Adderly is most famous for his contributions to hard bop and soul jazz. His iconic composition, “Work Song,” is a jazz standard.

  • Introducing Nat Adderley (1955)
  • To the Ivy League from Nat (1956)
  • Soul of the Bible (1972)
  • Double Exposure (1975)

Check out Nat Adderly playing his original tune “Work Song” in 1990:

15. Woody Shaw

Trumpet Players: Woody Shaw

Woody Shaw is one of the finest trumpeters of the 20th century. He was not only an accomplished jazz musician but also an incredible band leader and arranger. He played with many incredible jazz artists, like Chick Corea, Eric Dolphy, and Herbie Hancock.

His role as a session musician for Blue Note Records helped him play jazz with other incredible players and made him a first-call, in-demand player.

  • Love Dance (1976)
  • Little Red’s Fantasy (1978)
  • Woody Shaw Live Volume Four (2005)
  • Lotus Flower (1982)

Check out this audio recording of Woody Shaw soloing on “On Green Dolphin Street” in 1979:

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TAKE YOUR JAZZ PLAYING TO THE NEXT LEVEL.

We help musicians of all instruments start improvising confidently over jazz standards in just 30 days without mind-numbing hours of practice or the overwhelm.

TAKE YOUR JAZZ PLAYING TO THE NEXT LEVEL.

We help musicians of all instruments start improvising confidently over jazz standards in as little as 30 days without mind-numbing hours of practice or the overwhelm.

“Jazz music is the power of now. There is no script. It’s conversation. The emotion is given to you by musicians as they make split-second decisions to fulfill what they feel the moment requires.”
WYNTON MARSALIS

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Copyright Laws & Intellectual Property

This website contains some material which is owned by or licensed to us. This material includes, but is not limited to, the design, layout, look, appearance and graphics. Reproduction is prohibited other than in accordance with the copyright notice, which forms part of these terms and conditions.

All logos, trademarks, and other intellectual property found on LearnJazzStandards.com are the property of their respective owners. They do not indicate ownership, affiliation, sponsorship, or any other relationship with LearnJazzStandards.com.

In addition, this website may also include links to other websites. These links are provided for your convenience to provide further information. They do not signify that we endorse those websites, and we have no responsibility for the content of those linked websites.

Unauthorized Use

Your use of this website and any dispute arising out of such use of the website is subject to the laws of the United States of America. Any unauthorized use of this website may give rise to a claim for damages and/or be a criminal offense.

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Return Policy for Products

Refund Policy

For play-alongs and eBooks:

Because these are digital downloads, and not returnable, we have a strict no refund policy. All purchases are final and cannot be reversed. Please be sure that you fully understand the product you are purchasing and what is and what is not included. Of course, if you ever have any questions about a product feel free to contact usor visit our FAQ page.

For 30 Days to Better Jazz Playing eCourse

Please make sure you completely understand the product you are buying before purchasing.

14 Day 100% Money Back Guarantee

  • This guarantee lasts 14 days, which completely covers almost half of the course, enough for you to observe its’ effectiveness.
  • We can’t guarantee you will be Miles Davis, Charlie Parker, or John Coltrane in 2 weeks. We’d be suspicious of anyone who could promise that. Becoming a better jazz musician is a process and it requires work.
  • If you’re not happy with the quality of this program…send us an email and showing you did the work. We’ll refund 100% of your money (We’ll even eat the credit-card processing fees) and we’ll part as friends. We believe in the power of this course and so we’ll take responsibility for it.

Rights of use

All digital products are for the use of the individual customer only. Redistribution or reselling of our digital products is strictly prohibited and a violation of United States and New York State law.

Learn Jazz Standards Messaging Terms & Conditions

Effective Date:

This SMS message program is a service of Learn Jazz Standards. By providing your cell phone number, you agree to receive recurring automated promotional and personalized marketing text messages (e.g., SMS/MMS cart reminders, sale notices, etc) from Learn Jazz Standards. These messages include text messages that may be sent using an automatic telephone dialing system, to the mobile telephone number you provided when signing up or any other number that you designate. You give Learn Jazz Standards permission to send text messages to the enrolled cell phone number through your wireless phone carrier, unless and until you end permission per these Terms & Conditions. Consent to receive automated marketing text messages is not a condition of any purchase. Message & data rates may apply.

Message frequency may vary. Learn Jazz Standards reserves the right to alter the frequency of messages sent at any time, so as to increase or decrease the total number of sent messages. Learn Jazz Standards also reserves the right to change the short code or phone number from which messages are sent and we will notify you if we do so.

Not all mobile devices or handsets may be supported and our messages may not be deliverable in all areas. Learn Jazz Standards, its service providers and the mobile carriers supported by the program are not liable for delayed or undelivered messages.

By enrolling in the Learn Jazz Standards messaging program, you also agree to these messaging terms & conditions (“Messaging Terms”), our Learn Jazz Standards Terms of Use and Learn Jazz Standards Privacy Policy.

Cancellation

Text the keyword STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message to cancel. After texting STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message you will receive one additional message confirming that your request has been processed. If you change your preferences, it may take up to 48 hours for it to take effect. You acknowledge that our text message platform may not recognize and respond to unsubscribe requests that do not include the STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT keyword commands and agree that Learn Jazz Standards and its service providers will have no liability for failing to honor such requests. If you unsubscribe from one of our text message programs, you may continue to receive text messages from Learn Jazz Standards through any other programs you have joined until you separately unsubscribe from those programs.

Help or Support

Text the keyword HELP to the telephone number, long code, or short code that sends you our initial confirmation message to receive a text with information on how to unsubscribe.

No Warranty

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU ACKNOWLEDGE AND AGREE THAT THE MESSAGING PROGRAM IS PROVIDED ON AN “AS IS” AND “AS AVAILABLE” BASIS WITHOUT WARRANTIES OF ANY KIND, WHETHER EXPRESS OR IMPLIED.

Limitation of Liability

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU AGREE THAT IN NO EVENT SHALL EITHER OF Learn Jazz Standards OR ANY PARTY ACTING ON BEHALF OF Learn Jazz Standards BE LIABLE FOR: (A) ANY CLAIMS, PROCEEDINGS, LIABILITIES, OBLIGATIONS, DAMAGES, LOSSES OR COSTS IN AN AGGREGATE AMOUNT EXCEEDING THE GREATER OF THE AMOUNT YOU PAID TO Learn Jazz Standards HEREUNDER OR $100.00; OR (B) ANY DIRECT, INDIRECT, CONSEQUENTIAL, SPECIAL, INCIDENTAL, PUNITIVE OR ANY OTHER DAMAGES. YOU AGREE EVEN IF Learn Jazz Standards HAS BEEN TOLD OF POSSIBLE DAMAGE OR LOSS ARISING OR RESULTING FROM OR IN ANY WAY RELATING TO YOUR USE OF THE Learn Jazz Standards MESSAGING PROGRAM. Learn Jazz Standards AND ITS REPRESENTATIVES ARE NOT LIABLE FOR THE ACTS OR OMISSIONS OF THIRD PARTIES, INCLUDING BUT NOT LIMITED TO DELAYS OR NON-DELIVERY IN THE TRANSMISSION OF MESSAGES.

Indemnity

To the maximum extent allowed by applicable law, you agree to indemnify, defend and hold harmless Learn Jazz Standards, its directors, officers, employees, servants, agents, representatives, independent contractors and affiliates from and against any and all claims, damages, liabilities, actions, causes of action, costs, expenses, including reasonable attorneys’ fees, judgments or penalties of any kind or nature arising from or in relation to the these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers.

Dispute Resolution

  1. General. Any dispute or claim arising out of or in any way related to these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers whether based in contract, tort, statute, fraud, misrepresentation, or any other legal theory, and regardless of when a dispute or claim arises will be resolved by binding arbitration. YOU UNDERSTAND AND AGREE THAT, BY AGREEING TO THESE MESSAGING TERMS, YOU AND Learn Jazz Standards ARE EACH WAIVING THE RIGHT TO A TRIAL BY JURY OR TO PARTICIPATE IN A CLASS ACTION AND THAT THESE MESSAGING TERMS SHALL BE SUBJECT TO AND GOVERNED BY ARBITRATION.
  2. Exceptions. Notwithstanding subsection (a) above, nothing in these Messaging Terms will be deemed to waive, preclude, or otherwise limit the right of you or Learn Jazz Standards to: (i) bring an individual action in small claims court; (ii) pursue an enforcement action through the applicable federal, state, or local agency if that action is available; (iii) seek injunctive relief in aid of arbitration from a court of competent jurisdiction; or (iv) file suit in a court of law to address an intellectual property infringement claim.
  3. Arbitrator. Any arbitration between you and Learn Jazz Standards will be governed by the JAMS, under the Optional Expedited Arbitration Procedures then in effect for JAMS, except as provided herein. JAMS may be contacted at www.jamsadr.com. The arbitrator has exclusive authority to resolve any dispute relating to the interpretation, applicability, or enforceability of this binding arbitration agreement.
  4. No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding. You agree that, by agreeing to these Messaging Terms, you and Learn Jazz Standards are each waiving the right to a trial by jury or to participate in a class action, collective action, private attorney general action, or other representative proceeding of any kind.
  5. No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding.
  6. Modifications to this Arbitration Provision. Notwithstanding anything to the contrary in these Messaging Terms, if Learn Jazz Standards makes any future change to this arbitration provision, you may reject the change by sending us written notice within 30 days of the change to Learn Jazz Standards’s contact information provided in the “Contact Us” section below, in which case this arbitration provision, as in effect immediately prior to the changes you rejected, will continue to govern any disputes between you and Learn Jazz Standards.
  7. Enforceability. If any provision of these Messaging Terms is found to be unenforceable, the applicable provision shall be deemed stricken and the remainder of these Messaging Terms shall remain in full force and effect.

Changes to the Messaging Terms

We reserve the right to change these Messaging Terms or cancel the messaging program at any time. By using and accepting messages from Learn Jazz Standards after we make changes to the Messaging Terms, you are accepting the Messaging Terms with those changes. Please check these Messaging Terms regularly.

Entire Agreement/Severability

These Messaging Terms, together with any amendments and any additional agreements you may enter into with us in connection herewith, will constitute the entire agreement between you and Learn Jazz Standards concerning the Messaging Program.

Contact

Please contact us with any inquiries or concerns at [email protected]

OUR PROVEN PROCESS FOR LEARNING JAZZ STANDARDS LIKE A PRO

Get our FREE eGuide “Learn Jazz Standards the Smart Way” and follow the 5 simple steps for crushing it with jazz standards.

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OUR PROVEN PROCESS FOR LEARNING JAZZ THEORY LIKE A PRO

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OUR PROVEN PROCESS FOR IMPROVISING JAZZ SOLOS LIKE A PRO

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DOWNLOAD THIS CHORD CHART

Get our FREE "Jazz Trumpet Players Beginners Guide: Start Here!" chord chart and our entire library of 200+ jazz standards!

Chord Chart

DOWNLOAD THIS CHORD CHART

Get our FREE "Jazz Trumpet Players Beginners Guide: Start Here!" chord chart and our entire library of 200+ jazz standards!

Chord Chart

DOWNLOAD THIS CHORD CHART

Get our FREE "Jazz Trumpet Players Beginners Guide: Start Here!" chord chart and our entire library of 200+ jazz standards!

Chord Chart