OK, I started over again at the beginning to see if I could figure out what is going on in this tread. So I see reference to “Jamey Aebersold How to Play Jazz and Improvise, Volume 1, 8-bar Phrases CD Track #2”, well many of us know this very well (I have the track). JA has us playing Dorian scales over each of these three minor chords in the progression as he comps on piano with a bass player.



Much has already been said in this thread regarding the underlying chord tones to bring forward the Dorian mode with its emphasis on the raised 6th. So no need for me to muddy the water with my take. The question here is what is JA beating out on the piano and bass that causes him to focus this whole lesson on the Dorian scales for improvising. Not easily answered, since JA is a master accompanist and he freely sprinkles in tones beyond simple triads and tonal extensions (which he also used frequently on these tracks). Therefore, it will take better ears than mine to ID JA’s playing. But the bass player seems to really be hitting the dorian scale with quarter notes, so I suspect this has a lot to do with the modal vibe in the backing. Dorian - JA Short Demo Example


So I assume you are trying to recreate JA backing in BIAB. In this case you want the bass and piano to play with the understanding that you will be playing only the Dorian Scale (just like JA and his bass player). Here is where JA backing has an advantage over BIAB. JA knows the scale the soloist is using, BIAB does not. BIAB figures you can play any minor scale. JA is an exercise specific for dorian, while BIAB is playing a tune with minor chords.


Having said all that, I tried to set up BIAB with a Fm6, Ebm6 and Dm6 progression. Spend about an hour – tried many of the suggestions provided here. Bottom line. I could not force the bass player to stay on the dorian scale. This is the biggest difference between what I hear in JA and BIAB.

If someone can accomplish this then how about uploading the BIAB file as a "dorian exercise - ala JA"