50 Jazz Licks To Supercharge Your Jazz Solos

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Learning jazz licks is a great way to have a hands-on experience with the jazz language. Jazz licksโ€”especially ones taken from or inspired by the jazz greatsโ€”help you think like a great jazz improviser.

This article will put you in the pilot seat and help you to start thinking about harmony and melody like a jazz musician. Weโ€™ll explore 50 jazz licks you can use over common jazz chord progressions.

Some of these licks are inspired by the jazz licks of the great jazz masters. Other useful licks will utilize important aspects of jazz language, such as targeting important chord tones, playing extensions, and alterations. 

If you are ready to take your jazz playing to the next level and want unlimited access to more jazz material like this, check out the Learn Jazz Standards Inner Circle.

The Inner Circle has an incredible array of jazz education resourcesโ€”including masterclasses, workshops, jazz standard deep dives, and many courses on all aspects of jazz theory, improvisation, and philosophy. 

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Table of Contents

Why Learn Jazz Licks?

When learning a language, you often memorize phrases that help you express basic ideas and questions. โ€œWhere is the train station?โ€ or โ€œWhat is your name?โ€

You might not know the meaning and function of every word in the sentence, but you know what the phrase means as a whole and can use it to start speaking with others functionally.

Learning the jazz language works in the same way.

Licks are like sentences improvisers use to express musical ideas. They are the building blocks of jazz language.

If you learn these licks and transpose them into all twelve keys, youโ€™ll practice the jazz language in many different contexts and have 20 musical phrases you can use on a gig or at a jam session.

Then, eventually, youโ€™ll adapt and evolve these licks to better fit your own unique voice when you take improvised solos.

That’s why you should learn jazz licks!

Elements of Jazz Language

Before diving headfirst into these licks, letโ€™s talk a bit about the elements of jazz vocabulary. Though every player has a unique voice, some aspects of jazz language are fairly universal.

Apart from scales, the following jazz licks will be mainly comprised of the following elements:

  • chord outlines
  • chromatic passing tones
  • enclosure figures
  • chromatic approach tones

Chord Outlines

Chord outlines are precisely what they sound likeโ€”they outline the basic chord tones present in the harmony of the moment. These are your basic triad and seventh-chord arpeggios with occasional extensions and alterations.

Here is a line that outlines a D-9 chord:

Chord Tones for a D-9

If you are curious about what the numbers beneath the notes represent, I’ll explain more later. However, you might infer that they represent scale degrees or chord tones based on the particular harmony.

Chromatic Passing Tones

Chromatic passing tones are notes added to a scale or line to ensure that a chord tone falls on a strong beat. Chromatic passing tones are built into bebop scales and are a key part of any true bebop phrase.

Using chromatic passing tones, the soloist can keep D-7 chord tones on strong beats:

Chromatic passing tones over a D-7 Line

Enclosure Figures

This jazz device encloses or surrounds a target note, usually a chord tone. The enclosing notes can be chromatic or diatonic (meaning one or more of these notes can come from the scale, but they donโ€™t have to).

Here, the Ab and F# enclose the G, which comes in on beat 1 of the second measure:

An enclosure figure enclosing a G chromatically

Chromatic Approach Tones

Chromatic approach tones are another common feature of jazz language. As the name suggests, chromatic approach tones are often used to start a phrase (though they donโ€™t have to be). The chromatic approach tone is often placed on the upbeat, so the target note falls on a strong beat.

Here, the phrase starts on an upbeat and leads chromatically to the root of the D-7 chord.

Jazz lick showing a chromatic approach tone resolving a half step up to D

Want to explore jazz language in greater detail? Check out this article on jazz language.

Understanding the Numbers Beneath the Notes

Let’s review some tips for interpreting the numbers beneath the notes in each jazz lick.

Basic chord tones (1, 3, 5, and 7) are given underneath the staff. Youโ€™ll also see notes in parentheses. These represent the chord extensions and alterations that jazz musicians use to create tension or extend the harmony.

What To Expect:

  • Youโ€™ll see chord tones within the octave: 1, 3, 5, 6, and 7
  • And youโ€™ll see chord extensions and alterations in parentheses: (b9), (9), (#9), (11), (#11), (b13), (13)
  • You may also see other alterations like (m3), (b5), (#5), or (M7), which indicate alterations within an octave of the root. โ€œMโ€ is used for major, and โ€œmโ€ is used for minor. These refer to the musical interval away from the chord’s root.
  • As each chord changes, the numbers reset to the chord’s root in the chord progression.

Check out this article to learn more about musical intervals.

Do These Jazz Licks Work on Any Instrument?

Yes, these jazz licks will work on any instrument! These licks will still work if you play a Bb or an Eb instrument! You’ll need to transpose them to fit your instrument, but the licks are still solid, whether you are a jazz guitarist or a saxophone player.

It’s important to consider that different instruments articulate ideas and phrases differently. For example, the physical mechanics of arpeggios on jazz guitar are quite different than the mechanics of arpeggios on a piano or double bass.

Certain licks will be easier for sax players than for guitar players and vice versa. Don’t get discouragedโ€”remember why it’s important to learn licks in the first place and trust the process!

Easy ii-V-I and ii-V-I-VI Jazz Licks

Letโ€™s start with a few ii-V-I. ii-V-I-VI, and I-VI-ii-V jazz licks. We will provide all licks in concert C. However, itโ€™s up to you to take these licks through all keys!

Listen to the audio recordings when learning these licks and see if you can transcribe the lick yourself. Use the notation to check your work.

“Short” Jazz Licks

I’m using “short” jazz licks to refer to jazz licks whose ii-Vs are in one measure. The harmonic rhythm is two chords per measure.

1. Short ii-V-I Jazz Lick

Jazz Lick 1: major ii-V-I

This jazz lick uses a chromatic passing tone and chord outlines.

2. Short ii-V-I Jazz Lick

Jazz Lick 2: major ii-V-I

This jazz lick uses chord outlines and two enclosure figures.

3. Short ii-V-I Jazz Lick

3. Short ii-V-I Jazz Lick

This jazz lick uses chromatic passing tones and chord outlines.

4. Short ii-V-I Jazz Lick

4. Short ii-V-I Jazz Lick

This lick uses major scale modes, chord outlines, and altered chord extensions on the V chord.

Learn more about the major scale modes here!

5. Short ii-V-I Jazz Lick

5. Short ii-V-I Jazz Lick

This lick uses the Dorian minor scale, features the whole tone scale on the V chord, and features chord outlines.

Check out this article for more on the Dorian minor scale.

6. Short ii-V-I Jazz Lick

6. Short ii-V-I Jazz Lick

This lick features an enclosure figure and chromatic passing tones.

7. Short ii-V-I Jazz Lick

7. Short ii-V-I Jazz Lick

This lick features an enclosure figure, chord outlines, altered chord extensions over the dominant chord, and chromatic passing tones.

Learn more about altered chord extensions here!

8. Short ii-V-I Jazz Lick

8. Short ii-V-I Jazz Lick

This lick exhibits chromatic passing tones, chord outlines, and altered chord extensions.

9. Short I-VI-ii-V-I Jazz Lick

Jazz Lick 9: I-VI-ii-V-I

This jazz lick uses chromatic approach tones and chord outlines.

10. Short ii-V-I-VI-ii-V-I Jazz Lick

10. Short ii-V-I-VI-ii-V-I Jazz Lick

This lick uses chord outlines and major scale modes.

11. Minor iiรธ-V-i Jazz Lick

11. Minor ii-V-i Jazz Lick

This minor jazz lick utilizes chord outlines.

12. Short Minor iiรธ-V-i Jazz Lick

12. Minor iiรธ-V-i Jazz Lick

This jazz lick uses chord outlines and chromatic passing tones.

“Long” Jazz Licks

I’m using “long” jazz licks to refer to jazz licks where each chord lasts one measure. The harmonic rhythm is one chord per measure.

13. Long ii-V-I Jazz Lick

Jazz Lick: Major ii-V-I

This lick uses chord outlines, chromatic passing tones, and enclosures.

14. Long ii-V-I Jazz Lick

Jazz Lick: Major ii-V-I

This lick uses chord outlines and chromatic passing tones.

15. Long ii-V-I Jazz Lick

Jazz Lick: Major ii-V-I

This lick uses chord outlines.

16. Long ii-V-I Jazz Lick

16. Long ii-V-I Jazz Lick

This lick uses chromatic passing tones and imposes major triads over the dominant chord to hit altered chord extensions (Ab then Db).

17. Long ii-V-I Jazz Lick

17. Long ii-V-I Jazz Lick

This lick uses chromatic passing tones and quartal arpeggios over the ii and V chords.

18. Long ii-V-I Jazz Lick

18. Long ii-V-I Jazz Lick

This lick uses chord outlines and contains a repeated contour of the line between the ii chord and the V chord.

19. Long ii-V-I-VI Jazz Lick

Jazz Lick: Major ii-V-I-VI

This lick uses chromatic passing tones and chord outlines.

20. Long ii-V-I-VI Jazz Lick

Jazz Lick 3: Major ii-V-I

This lick uses chord outlines and altered chord extensions.

21. Long ii-V-I-VI Jazz Lick

21. Long ii-V-I-VI Jazz Lick

This lick uses chord outlines and chromatic passing tones.

22. Long Minor iiรธ-V-i Jazz Lick

Long Minor iiรธ-V-i Jazz Lick

This lick uses chord outlines and altered chord extensions.

23. Long Minor iiรธ-V- i Jazz Lick

23. Long Minor iiรธ-V- i Jazz Lick

This long minor ii-V-i jazz lick has five enclosure figures in it!

24. Long Minor iiรธ-V-i Jazz Lick

24. Long Minor iiรธ-V-i Jazz Lick

This lick uses a cool diminished pattern over the dominant chord, chord outlines, and an enclosure figure.

Learn more about diminished scales here!

BEFORE YOU CONTINUE...

If you struggle to play amazing jazz solos and want to learn the secret strategies the pros are using to improvise, our free guide will get you on the right track.

Jazz Improv Made Easy Fast Track Guide Ebook Cover

Jazz Licks Inspired By Jazz Greats

Charlie Parker 1947

image source: Wikimedia Commons

Now that weโ€™ve played a few basic ii-V-I and ii-V-I-VI licks letโ€™s explore how some of jazz musicโ€™s heavy hitters would approach these progressions. The recorded solos of those listed heavily inspired the following licks.

To learn more about famous jazz musicians, check out this article on the 50 most famous jazz musicians.

25. Short ii-V-I Jazz Lick in the Style of John Coltrane

John Coltrane 1963

image source: Wikimedia Commons

Short ii-V-I Jazz Lick

This short ii-V-I jazz lick uses intervallic leaps and chord outlines.

26. Lady Bird Turnaround Lick Back to the I. (John Coltrane “Giant Steps” Lick)

Jazz Lick 16: Lady Bird Turnaround to the I

This โ€œGiant Stepsโ€ lick can be imposed over turnarounds that lead back to the I. It is made from mostly chord outlines. Check out our article on improvising over Giant Steps changes.

27. Short Minor iiรธ-V-i Jazz Lick in the Style of Miles Davis

Miles Davis

image source: Wikimedia Commons

Jazz Lick 13: Miles Davis Minor iiรธ-V-i

This shorter minor iiรธ-V-i lick uses chromatic passing tones and chord outlines.

28. Long ii-V-I-vi Jazz Lick in the Style of Miles Davis

Jazz Lick 12: Miles Davis ii-V-I-vi

This lick uses chord outlines, chromatic approach tones, chromatic passing tones, and enclosure figures!

29. iiรธ-V-I Jazz Lick in the Style of Miles Davis (Resolves to Major I)

Jazz Lick 14: Miles Davis iiรธ-V-I

This crazy lick is full of enclosure figures and chromatic passing tones.

30. Long ii-V-I Jazz Lick in the Style of Charlie Parker

Charlie Parker

image source: Wikimedia Commons

Jazz Lick 7: Charlie Parker ii-V-I

This lick sounds cool because it imposes an F-7 chord over the G7. This gives you many altered extensions. This lick is also mostly made of chord outlines.

31. Long ii-V-I Jazz Lick in the Style of Charlie Parker

Jazz Lick 8: Charlie Parker ii-V-I

This lick uses three characteristics of jazz language we discussed above: chord outlines, enclosure figures, and Checkchromatic passing tones.

32. Long iii-VI-ii-V Jazz Lick in the Style of Sonny Rollins

Sonny Rollins

image source: Wikimedia Commons

Jazz Lick 9: Sonny Rollins iii-VI-ii-V

This lick uses chord outlines, chromatic passing pones, and enclosure figures.

33. Long ii-V-I-VI Jazz Lick in the Style of Chet Baker

Chet Baker 1955

image source: Wikimedia Commons

Jazz Lick 10: Chet Baker ii-V-I-VI

This lick is an example of classic bebop vocabulary and frequently uses chromatic passing tones.

34. Long ii-V-I Jazz Lick in the Style of Chet Baker

34. Long ii-V-I Jazz Lick in the Style of Chet Baker

This simple lick uses chord outlines to create a beautiful, melodic line.

35. Long ii-V-I Line in the Style of Kenny Burrell

Jazz Lick 11: Kenny Burrell ii-V-I

This lick uses chromatic passing tones, chord outlines, and chromatic approach tones.

36. Rhythm Changes Lick in the Style of Larry McKenna

Jazz Lick 15: Larry McKenna Rhythm Changes

This lick is mainly made of chord outlines and features an enclosure.

37. Short ii-V-I Jazz Lick in the Style of Dizzy Gillespie

37. Short ii-V-I Jazz Lick in the Style of Dizzy Gillespie

This lick uses chromatic passing tones, enclosure figures, and chord outlines.

38. Short Minor iiรธ-V-i Jazz Lick in the Style of Clifford Brown

Clifford Brown

image source: Wikimedia Commons

38. Short Minor iiรธ-V-i Jazz Lick in the Style of Clifford Brown

This lick utilizes chord outlines and chromatic passing tones.

39. Long ii-V-I Jazz Lick in the Style of Clifford Brown

39. Long ii-V-I Jazz Lick in the Style of Clifford Brown

This jazz lick uses chord outlines, chromatic passing tones, and enclosure figures.

39. Long Minor iiรธ-V-i Jazz Lick in the Style of Dexter Gordon

39. Long Minor iiรธ-V-i Jazz Lick in the Style of Dexter Gordon

This jazz lick uses chord outlines and chromatic passing tones.

Learn more about Dexter Gordon, Charlie Parker, John Coltrane, Sonny Rollins, and other famous saxophone players here!

40. Short Minor iiรธ-V-i Jazz Lick in the Style of Grant Green

40. Short Minor iiรธ-V-i Jazz Lick in the Style of Grant Green

This jazz lick uses chord outlines and an enclosure figure.

41. Short Major ii-V-I Lick in the Style of Grant Green

41. Short Major ii-V-I lick in the Style of Grant Green

This lick uses chord outlines and rhythmic motifs.

42. Long ii-V-I-VI Jazz Lick in the Style of Wes Montgomery

Wes Montgomery

image source: Wikimedia Commons

41. Long ii-V-I-VI Jazz Lick in the Style of Wes Montgomery

This lick uses chord outlines, chromatic passing tones, and rhythmic syncopation.

Learn more about Grant Green, Kenny Burrell Wes Montgomery, and other jazz guitar players here!

Blues Licks

Now, letโ€™s spend some time on blues licks. The blues is a vital component of jazz; therefore, many players will infuse their licks with motifs characteristic of the blues.

The most characteristic feature of the blues is the fluidity of the 3rd. Blues music is microtonal by nature. The โ€œblue noteโ€ is between a major third and a minor third. So, many players will opt for one or the other (or both) when improvising.

43. Blues Lick Over a C7 Chord

43. Two Bar Blues Lick Over a Dominant Chord

This blues lick uses the bebop dominant scale and plays with the blue note.

44. Blues Lick Over a C7 Chord

44. Blues Lick Over a Dominant Chord

This lick uses chromatic passing tones and imposes a minor pentatonic over the dominant.

Learn more about how to use the minor pentatonic scale here!

45. Minor Blues Lick Over a C-7 Chord

45. Minor Blues Lick Over a C-7 Chord

This lick uses chromatic passing tones and the minor pentatonic scale.

46. 16th-Note Minor Blues Lick Over a C-7 Chord

46. Minor Blues Lick Over a C-7 Chord

This 16th-note minor blues lick uses chromatic approach tones, chromatic passing tones, and the minor blues scale.

47. Minor Pentatonic Blues Lick in the Style of Kurt Rosenwinkel

Jazz Lick 17: Kurt Rosenwinkel Minor Pentatonic Lick

This whole lick is built from the minor blues scale. For more on the minor blues scale, check out our post on Blues Scales.

48. Jazz-Blues Lick for the Opening Four Bars of the Blues

The last three licks can be glued together to play over a chorus of the blues. Here is the first one:

Jazz Lick 18: Blues Licks

49. Jazz-Blues Lick for the Next Four Bars of the Blues

Jazz Lick 19: Blues Licks

50. Jazz-Blues Lick for the Last Four Bars of the Blues

Jazz Lick 20: Blues Licks

Piecing Blues Licks Together Over a Twelve-Bar Blues Form

You get a full blues solo when you piece together licks 18, 19, and 20! Take this solo through all 12 keys.

3 Jazz Blues Licks Used Over a Blues in C

Learn more about blues chord progressions here!

Transcribe Jazz Licks, Then Write Your Own!

Michael Brecker

image source: Wikimedia Commons

According to his biography, renowned saxophonist Michael Brecker wrote and practiced one blues solo every day for a year. Among many of his incredible practice routines, that act contributed to his prowess as a jazz improviser.

Composing and improvisation share a special relationship. When we improvise, we are composing on the spot. There is hardly any time to think, plan, or edit when we are in the middle of a solo.

However, by listening to and transcribing the jazz solos of musicians we admire and then composing our own jazz licks and solos, we are strengthening that improvisational neural pathway in our brains.

Composing jazz solos is like improvising outside of time. We can change what doesnโ€™t work and keep what we like. Then, by practicing these composed solos as etudes, we are priming our brains for when itโ€™s our turn to solo on the gig.

To master jazz improvisation, you should practice writing your own jazz licks! Check out this podcast episode on 9 chord progressions you need to know and write licks over them using the devices we discussed above.

Want To Master Jazz Licks and Become The Best Jazz Player You Can Be? Join the Learn Jazz Standards Inner Circle!

Ready to blast through practice plateaus that are holding you back from reaching your jazz improvisation and musicianship goals? 

The Inner Circle is designed to help players struggling to get it all together. We have courses designed to help you play what you hear, create melodic improvisational lines, and understand the theory behind what you are playing.

Want to level up your jazz chops? Join the Inner Circle.ย 

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.

โ€œJazz music is the power of now. There is no script. Itโ€™s conversation. The emotion is given to you by musicians as they make split-second decisions to fulfill what they feel the moment requires.โ€
WYNTON MARSALIS

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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 canโ€™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 youโ€™re not happy with the quality of this programโ€ฆsend 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 weโ€™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 (โ€œMessaging Termsโ€), 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 โ€œAS ISโ€ AND โ€œAS AVAILABLEโ€ 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 attorneysโ€™ 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 Standardsโ€™s contact information provided in the โ€œContact Usโ€ 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 โ€œLearn Jazz Standards the Smart Wayโ€ and follow the 5 simple steps for crushing it with jazz standards.

Learn Jazz Standards The Smart Way Cover

OUR PROVEN PROCESS FOR IMPROVISING JAZZ SOLOS LIKE A PRO

Get our FREE โ€œJazz Improv Made Easy Fast Track Guideโ€ and follow the 3 simple steps for improvising amazing jazz solos.

Jazz Improv Made Easy Fast Track Guide Ebook Cover

OUR PROVEN PROCESS FOR LEARNING JAZZ THEORY LIKE A PRO

Get our FREE “Jazz Theory Made Easy Fast Track Guideโ€ and follow the 4 simple steps that make learning jazz theory easy.

Jazz Theory Made Easy Fast Track Guide Ebook Cover

DOWNLOAD THIS CHORD CHART

Get our FREE "50 Jazz Licks To Supercharge Your Jazz Solos" chord chart and our entire library of 200+ jazz standards!

Chord Chart

DOWNLOAD THIS CHORD CHART

Get our FREE "50 Jazz Licks To Supercharge Your Jazz Solos" chord chart and our entire library of 200+ jazz standards!

Chord Chart

DOWNLOAD THIS CHORD CHART

Get our FREE "50 Jazz Licks To Supercharge Your Jazz Solos" chord chart and our entire library of 200+ jazz standards!

Chord Chart