9 Must-Know Jazz Blues Heads for Jazz Cats

Let’s talk blues.

But not just any blues... I'm talking about the jazz blues heads that every serious player (aka, every cat) should have under their fingers. Why nine heads? Simple. Jazz musicians are cats. And cats, as we all know, have nine lives. So here’s one killer tune for each life!

These aren’t just riffs to memorize and forget—they’re foundations for your phrasing, comping, timing, and feel. If you’ve ever been at a jam session and someone calls Now’s the Time or Mr. PC and you go blank... this blogpost is for you!

1. C Jam Blues – Duke Ellington

We're starting simple—and I mean really simple. This head is just two notes: G and C. That’s it. But the swing feel? That's all Duke.

🎸 Why it matters:
This tune teaches you how less is more. If you can make two notes groove, you're doing something right. It’s also an awesome comping vehicle and a great place to experiment with riff-based phrasing.

🧠 Pro tip: Play it with one finger, then try adding slides, hammer-ons, and ghost notes to bring out some guitar magic.

2. Mr. PC – John Coltrane

Next up is a minor blues that’s a jam session staple. “Mr. PC” has a dead-simple melody—just a C minor scale ascending, followed by a classic blues lick.

🎸 Why it matters:
This is an incredible tune for phrasing and learning to “lay into the time.” The head helps you internalize eighth-note swing and teaches you how to make simple ideas sound powerful.

🧠 Pro tip: Practice it slowly, then try phrasing it differently each time. Great for building your improvisational vocabulary.

3. Tenor Madness – Sonny Rollins

If you're a tenor player, this one's a rite of passage. But even on guitar, “Tenor Madness” is a must. It’s built for blowing—simple melody, great groove.

🎸 Why it matters:
You’ll hear this called all the time. It’s in Bb and super open, so it’s a perfect platform for stretching out and experimenting with comping stabs.

🧠 Guitar bonus: Try comping the melody using shell voicings, with sliding top notes for a nice “stabby” effect.

4. Now’s the Time – Charlie Parker

A bebop blues classic. Simple melody, but make no mistake—it needs to swing hard or it falls flat.

🎸 Why it matters:
This head tests your rhythmic feel. Parker’s placement of notes, accents, and implied harmony are masterful. It's all about phrasing and intention.

🧠 Pro tip: Loop just the first 4 bars. If you can make that sound great, you’re well on your way to understanding bebop phrasing.

5. Honeymoon for Two – Sonny Rollins

A bit lesser known, but pure gold. This is a blues riff with tons of swagger.

🎸 Why it matters:
Great for experimenting with phrasing, dynamics, and groove. You can play it slow, medium, or fast—it always works. It’s especially good for working on triplet swing feel.

🧠 Phrasing tip: Check out Sonny’s recordings. There’s a push-pull rhythmic feel that makes the head come alive.

6. One for Daddy-O – Nat Adderly

This one’s in Bb minor, and it sits beautifully on the guitar. Classic “call and response” between the guitar (or horn) and piano lines.

🎸 Why it matters:
Playing blues in minor keys adds emotional depth. This head is soulful and full of subtle nuances. Also great for working on minor pentatonic phrasing.

🧠 Guitar focus: Emphasize the sixth (G) in your phrasing—it gives the melody that signature blues color.

7. Blues by Five – Miles Davis (via Red Garland)

Don’t sleep on this one! It’s deceptively simple, but it grooves hard. It’s often used in late sets or as a trio tune.

🎸 Why it matters:
It’s great for comping behind a soloist. Super laid-back, super hip, and full of subtlety. It's also one of the most underrated heads you’ll come across on setlists.

🧠 Listening tip: Check out how Red Garland comps on the Miles Davis version—it’s like a masterclass in tasteful support.

8. Blue Monk – Thelonious Monk

This one is iconic. It’s got that major-minor Monk vibe and it’s built around chromaticism and three-note voicings.

🎸 Why it matters:
This tune is a swing feel x-ray. If your time or phrasing is off, it’ll be painfully obvious. But when you get it right, it feels amazing.

🧠 Guitar approach: Use Monk-style “walking” chords to comp the head—voicings with movement and dissonance. Bonus points if you add weird Monk-style fills in between.

9. Blues March – Benny Golson (via Art Blakey)

A blues head with a marching band twist. Seriously. It’s got that military snare drum energy, but it’s still deeply jazz.

🎸 Why it matters:
This head forces you to feel the pulse in a totally different way. It’s tight, punchy, and great for working on articulation and rhythmic discipline.

🧠 Historical note: It was written a bit tongue-in-cheek, but it became a hard bop classic. You’ll hear it on Art Blakey recordings—no guitar in the band, but it sounds awesome on guitar.

🎯 Final Thoughts

These 9 blues heads aren’t just “tunes you should know”—they’re training tools for your feel, time, groove, and musical vocabulary.

👉 Pick two or three to start with.
👉 Learn them by ear if possible.
👉 Loop them. Jam on them. Make them yours.

And remember, if you're ever stuck in a jam session or you’re trying to fill a cocktail hour set, these heads are pure gold.

🎥 Watch the full lesson video here: https://youtu.be/yV5YGQK-GHM

Let me know in the comments which blues head is your favorite—or if I missed one that needs to be on the list. I read all the feedback and love discovering what you’re practicing.

Keep swingin’,
– Marc
JazzGuitarLessons.net 🎶