“Blues for Alice” was composed by Charlie Parker and recorded in 1951. It’s the most famous example of the “Bird blues,” a reharmonized 12-bar blues that replaces the simple I-IV-V chords with a chain of ii-V progressions. Learning it is the standard next step after you can play a basic jazz blues.
The tune is in F. The changes start on Fmaj7, then descend through a sequence of ii-Vs: Eø and A7, Dm7 and G7, Cm7 and F7, arriving at Bb7. From there, Bbm7 and Eb7 lead to Am7 and D7, then Abm7 and Db7, Gm7 and C7, and finally a turnaround back to F. Those descending ii-Vs, many moving down by half step, sound sophisticated while still following the blues form.
For improvisation, think about guide tones. The seventh of each ii chord moves down a half step to the third of the V chord, and the line keeps descending through the progression. If you can play that guide-tone line smoothly, your solo will outline the harmony clearly. Then add bebop vocabulary: enclosures, chromatic passing tones and arpeggios. Don’t forget to add blues inflections, especially in bars 5 and 6 over Bb7, to keep the tune grounded.
Practice by playing roots through the form, then guide tones, then arpeggios. Memorize the melody, which is a fluent bebop line. Then improvise slowly, increasing the tempo as you become comfortable. Writing out a guide-tone line and playing it with a recording is one of the most effective exercises.
Transposing tip: Bb instruments read it in G, Eb instruments in D. Many musicians also practice the Bird blues changes in Bb so they can use them at jam sessions.
Common mistake: trying to play a scale for every chord. Think in lines that connect the chords. Recordings to study: Parker’s 1951 Swedish Schnapps session. Learn more about the composer on Charlie Parker’s Wikipedia page, and find more blues lead sheets on Minedit.