Thanks for your +1's and comments all. Very insightful as always.

I agree the Jazz Pianist program is a good source of inspiration and Ive managed to make a couple of ok styles out of the tracks.

The threads about the bass not tracking chords are in line with what I've experienced especially in the older styles. I find I have to do a separate bass track with sub chords like an A9susb5 for CmMaj7 which doesn't so much eliminate the b7th but relegate it to an acceptable passing tone.

Chord masks are a continuing problem in BIAB. You cant lump CMaj7#5 with CMaj or Csus anymore than you can equate mMa7 with m7 but that's what BIAB does. As a result it continually plays riffs out of context forcing a regeneration in the hope of hitting a generic pattern.

My workaround was intially to check the option in stylemaker that forces the riff to transpose to the chord but the results were often unacceptable without further edits. Another better way is to reimport the patterns from an output midi file after mapping them to the C7 template.

@ Dzjang. Your styles seem like they're a good answer to some of the issues. The other thing I'd say is that modern jazz is also about breaking away from standard forms and importing a lot of classical music influences. Its also about a more collective band music with more interaction, dynamic variation, motivic ideas over a longer duration and modulations within the overall metre. etc That's hard to do convincing ly in midi without:

a) lot of different sub styles and changes but I think its worth the effort nonetheless.

b) patterns sounding like they're less. short, busy, choppy and block chordy. To that end patterns with more 8 bar sequences in the bar masks would be the way to go or supertracks/teal tracks with the same aim.

Alan