Collaborative creation between Denis DiBlasio (Native American flutes) and Kevin Stahl (Film composer). 12 meditative tracks for yoga, meditation or just plain relaxing.

A Denis DiBlasio (Baritone sax/flute) and film composer Kevin Stahl project. Stahl creates moods for DiBlasio’s improvisation inspired by the classic Stan Getz, Eddie Sauter LP ‘Focus’.

10 unaccompanied solo improvised tracks. All created in the moment with a specific intent for each. Inspired by Sonny Rollins, Yusef Lateef, Chris Potter and Steve Lacy.

Chord-less quartet in exciting live performance. DiBlasio (Bari Sax, scat), Jim Miller (Drums), Jim McFalls (Trombone) and Steve Varner (Bass).

Trio of Steve Varner (Bass and CD cover artist), Jim Ridl (Piano) and Diblasio (Sax and flute). Every piece derived from an image or event. This project has a sonic intimacy.

A mix of sextet, vocal, quintet, quartet, trio, duo, and solo creations with George Rabbai (Trumpet), Dean Witten (Marimba), Darryl Hall (Bass), Jim Ridl (Piano), Suzanne Cloud (VocL) and Jim Miller (Drums).

Chordless trio including Bob Shomo (Drums) and Andy Lalasis (Bass). Dixieland and Swing era tunes done with a completely different fun approach.

Quintet of all DiBlasio originals. Ron Thomas (Piano), Paul Klinefelter (Bass), Joe Mullen (Drums) and Jim McFalls (Trombone). Mostly first takes of very interactive, exciting group dynamics.

10 original DiBlasio song’s based from real life stories. Some have to be edited before putting in print to avoid prosecution!! Bob Shomo (Drums), Jim Ridl (Piano) and Andy Lalasis (Bass).

Eight unique intimate moments of flute and acoustic guitar. DiBlasio (flute) and Brian Betz Guitar) weave through a relaxed, mellow, and satisfying listening experience.


This étude book has two different sections. First five études are built on developing ideas from the chromatic scale using shapes and rhythms to codify a structure like development. 

The second part of the book contains etudes built of smaller ideas that go through all keys. This helps in hearing intervals which is so valuable for improvisation.

Jazz flute études created on chord changes from standard tunes. The etudes gets progressively more difficult as a player gets towards the end. Practice at different tempos going for as much nuance as possible.

Each of these 25 études for saxophone were created from one compositional approach or device. Whether it be a pentatonic scale, note cell or modes of limited transposition the idea of developing from a single ‘thing’ makes for fun collection of études.

A soloist can create an entire performance from the various études in this offering.

A repository of different Jazz improvisational materials. Nomenclature, slash chords, how to learn songs, first players to transcribe and more! 75% of the book is designed for group drills. An entire concert band can use this book.

A jazz improvisation primer to get young players up and running. Hilarious illustrations by Maynard Ferguson alumni Steve Wiest. In fact, this book was created on the Maynard bus when Steve and Denis were roommates. A fun book! (For beginners)

Same as the first Bop Shop but only with more fun stuff! And the illustrations by Wiest! Are you kidding?!?! (For beginners)

Guide for Jazz And Scat Vocalists – This book cracks the code of what to think about and what to avoid when it comes to getting started in scat singing. There are many wrong turns that one can take when getting involved with scat singing. These guidelines will help you stay straight.

Drills that help stabilize basic foundations that aid in improvisation are contained here. There’s drilling a technique and there’s how to create on a technique. Each concept needs the other.

Drills that turn basic scales and chord material into usable shapes for improvisation. The more ways you can play a scale the more creative directions you can go.

Published Music

An up blues ‘safety in numbers’ chart. Open Bb blues section to pass around and make everybody happy. Not rangy at all. It’s a great feature if you have a drummer who has the swing feel together. Solos can be played by anyone.

Flag waiver. Sections of the band trade ‘fours’ with each other with a fun shout. Challenging but doable sax melody, nobody gets hurt. Bb Rhythm changes in the solo section. Grade 4ish.

New Orleans Second Line drumming groove. Big fun. One scale fits over the solo section, make your soloists famous! Ha! If the drummer understands the style the chart takes off. A great opportunity for brass soloists to try out their plunger technique! Chart is not rangy. Solos can be played by anyone.

Old standard done in a swing style with some simple counterpoint and simple tutti moments. Chord changes makes it sound harder than it actually is. Solos can be done with one scale. Not rangy. Solos can be played by anyone.

Mambo around the house with octave sax lines and exciting brass punches. Sections all have their feature moments. Not rangy. Solo section can be played with one scale and by anyone.

Medium up waltz. Light brisk tight melody. Very playable. Solo section can be played on one scale or a more advanced soloist may chose to grab more of the changes. Not rangy. Solos can be played by anyone.

7/4 never grooved so hard! A repeating bass pattern along with a ‘Birdland type’ drum groove keeps this chart chugging along nicely. Solo section uses one scale for anyone who wants to give it a try. Designed in the way where the soloist doesn’t worry about the 74 groove. The cued solo backgrounds act as an ‘alert’ letting the soloist know when it’s time to wrap up. An exciting chart that finishes with a quick, tight ending.

Side Effects is an experimental, non-tonal swinging experience. The solo section can use the chromatic scale. This is not for beginners, however, intermediate/advanced players can have a lot of fun with this. The chart swings along nicely but never settles in any particular key. Contemporary compositional techniques are used that keep the tune sounding unique which is what makes it fun. It’s easier to play than it sounds.

The composition and arrangement is from Maynard Ferguson’s ‘Live From San Francisco’ LP. This is the original. Same key, same feel. Solos are written in but chord changes are included in case your soloist wants to ‘take off’.

From Maynard Ferguson’s ‘Footpath Cafe’ album. It’s a screaming up tempo ‘I Got Rhythm’ composition. Open solos and challenging ensemble. This is an advanced chart though it’s the tempo that makes the simple rhythms sound harder than they are. (It’s a writing trick).

The whole tune is in Phrygian. Sort of a funk/march that can become whatever your drummer settles on. It’s a lot of Phrygian so by the end of it you’ll feel as if you were in a bullfighting area. Solo is on one scale and there is a lot of safety in numbers writing going on. Some fun rhythms for horns.

Brass Quintet interpretation of Rome Italy. There are 5 movements and everyone gets equal billing. Gladiators, Trevi Fountain, Driving, Sistine Chapel and Circus Maximus. Publisher rates this a grade 5. Take a trip to the Eternal City.

Accessible clarinet duets below the ‘break’. Might as well have some fun before dealing with the ever dreaded ‘break’ on the clarinet. Simple rhythms and catchy lines.

Three clarinet duets below the break. You can’t have enough music for clarinet below the break can you? Rhythms are simple with plenty of time to breathe and look ahead.

A Concert Band composition that captures the mood, reverence and stillness of Arlington cemetery. The embedded development of the ‘Taps’ theme is prevalent throughout,  signaling an ending of farewell. Features trumpet soloists while not being difficult or rangy. Every player is in a comfortable range supporting contemporary restful harmonic exploration over a persistent distant field drum. 

Listen below to the United States Army Field Band performing Denis DiBlasio’s ‘Arlington‘ in a summer concert from the west steps of the Capitol Building, Washington, DC.

The classic Tiger Rag for percussion ensemble. Mallets for days! Very melodic, some safety in numbers ensemble writing and a wham bam ending. Experiment with different tempos. It works with almost any reasonable tempo.

Funk-type groove for sax quartet. Practice with a steady ‘Click’. Not rangy but contains some intermediate lines and rhythms. Everything lays nicely on the horn.