Jimmy begins by explaining how five overlapping scale positions cover the neck and why he treats the available notes as one connected fretboard rather than isolated boxes.
Parker And Economy Picking
Charlie Parker phrases lead Jimmy away from strict alternate picking and toward the rule that ascending string changes use downstrokes and descending changes use upstrokes.
Parker's Pet - tk1
Parker's Pet Picked
Parker's Pet - tk2
Downstroke Strut
Blues Picking
Blues lines, repeated downstrokes, pedal tones, and inside-picked fragments show how tempo and articulation determine when Jimmy follows or bends his directional picking system.
Jimmy's Blues
Pedal Swipe
Where's The Pick
Scales And String Changes
Three-note-per-string scales, diminished shapes, pentatonics, and medium-speed tests expose the different combinations of alternate strokes and directional sweeps inside Jimmy’s lines.
Jimmy's Sweep + Scale
Scale Maj Diminished
Scale Maj Halves
Scale 3nps Sweep - tk1
Arpeggio Min11 - tk1
Scale Maj - tk1
Pentatonic 2Wps
Arpeggios And Melodic Cells
Three-octave major-seven and minor-nine arpeggios, circular bop lines, intervals, and compact melodic cells demonstrate the vocabulary Jimmy has internalized across the fretboard.
Arpeggio Min9 3oct Desc - tk1
Arpeggio Min9 3oct Desc - tk2
Arpeggio Min9 3oct Asc-Desc
Arpeggio Min9 3oct Asc
Scale 3nps Sweep - tk2
Circular Bop
Thirds Desc Downstroke
Chromatic Asc Downstroke
Jimmy's Sweep
Chromatic Desc Downstroke Swipe
Chromatic Desc Upstroke
Fours Desc
Sixths With Steps
Thirds With Steps
Fours Asc
Fours Desc Arpeggio
Arpeggio Maj Shift
Arpeggio Maj
Arpeggio Maj Demonstration
Arpeggio Maj7 - tk1
Arpeggio Maj7#5 - tk1
Arpeggio Maj7 Two Positions
Influences And Jazz Language
Jimmy names formative jazz guitarists, distinguishes his own language from traditional bebop and gypsy jazz, and shows how familiar triads and sevenths become personal melodic material.
Angular Thang
Diminished Cycle Triads
Thirds Upstroke Asc
Thirds Downstroke Asc
Moody Melody
Diatonic Triads
Diatonic Sevenths
Diatonic Sevenths Inversion
Jazz Identity And Originality
A discussion of critics, tradition, and Jimmy’s recordings explores why unusual note choices and structural ideas can matter more than fitting a familiar stylistic label.
Harmony By Ear
Jimmy demonstrates chromatic approaches, altered sounds, tension and release, and the twelve available notes as colors he hears against a chord rather than calculations performed while improvising.
Thirds Bop Chromatic
Altered Scale Bop
Picking Mechanics
Returning to scale tests, Jimmy and Troy examine directional pick lean, alternate-picked escapes, two-note-per-string figures, sweeping, and the unconscious adjustments that make each string change work.
Scale Maj - tk2
Green Dolphin Street
Scale Maj Desc Downstroke
Scale Maj Desc Upstroke Moderate
Scale Maj Desc Upstroke
2nps Downstroke
2nps Upstroke
Pedal Bounce
Arpeggio Min11 - tk2
Coltrane Harmony
Minor-eleven, diminished, and dominant arpeggios lead into the interval stacks and superimposed chords Jimmy extracted from John Coltrane through listening and trial and error.
Arpeggio Min11 Moderate - tk1
Arpeggio Min11 Moderate - tk2
Arpeggio Maj7 - tk2
Arpeggio Maj7#5 - tk2
Scale Diminished
Thirds Diminished Asc
Arpeggio Min13
Arpeggio Dom11
Outro
Jimmy closes the interview with an extended improvised performance that puts the fretboard, harmony, and directional picking vocabulary into a musical setting.
