Kind of Blue: The Making of the Miles Davis Masterpiece [Paperback] Review

A surprisingly brisk read for a book of such ambitious scope, the author begins a full decade before the recording it chronicles. A wide range of subject matter - the evolution of jazz, Miles as an artist and creative voice, recording techniques, even the business of jazz marketing - are covered engagingly, intelligently and leave the reader with a better context in which to place this seminal recording.
Long-time fans, who know the music and the myths inside out, will marvel anew at the dedication Miles showed not only to his music, but in what can only be called his sentimentality in working with the other artists on the dates. His relationship with pianist Bill Evans is especially poignant.
The rise of modal jazz and its off-shoot from bop, along with the impact on the post-war generation of players is juxtaposed against a record label system willing to actually bid for jazz artists(!) and put real thought and resources into promoting their works. There is a tinge of nostalgia to the writing, though the author is not a contemporary of the original recording's release. This tone is far out-weighed by the realization that Kind of Blue really did mark a second (or third) Golden Age in jazz and that men the likes of Miles Davis - or Babe Ruth or Marlon Brando - seem not to walk among us much anymore.
In an age of celebrity profiles and Behind the Music "documentaries", Kahn's book shows us that every story has many stories, and he tells each with a respectful touch.

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Product Description:
Now in paperback: "A small treasure" (The New Yorker) and the best-selling account of the creation of a jazz classic.
This critically and commercially acclaimed tribute to the most popular jazz album of all time is now available in paperback. With transcriptions of the unedited session tapes; in-depth interviews with musicians; freshly discovered Columbia Records files; never-before-seen photographs; and a foreword by the last surviving member of the band, drummer Jimmy Cobb, Kind of Blue is a vital piece of music history-and will be essential for fans and scholars for years to come.

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The Contemporary Keyboardist and Expanded (Instructional) [Plastic Comb] Review

John Novello is an amazing musician.Having a book that gives insite into his approach would be quite valuable all by itself, but he has put together a very comprehensive work that is a must have for any musician looking to expand his/her knowledge and abilities.In this modern age where the electronic keyboard provides the easiest access to the world of instrumentation, as a songwriter/arranger I find John's Contemporary Keyboardist to be an essential reference, especially as my main instrument is the guitar.

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This comprehensive, 562-page method, called "Solid, readable and relevant" by Keyboard magazine and "The major work for today's pianists" by International Musician, is divided into four sections. The first, "A Philosophy of Music," deals with communication, cause-effect principles and practice disciplines. The second section, "Mechanics," covers all the basics of keyboard music and playing (notation, harmony, improv, sight reading, etc.), as well as their applications. The third section, "The Business Scene," contains guidelines and industry advice for contemporary keyboardists. Section four, "Interviews," provides insights into the artistry and technique of famous players such as Herbie Hancock, Henry Mancini, Edgar Winter, Keith Emerson, Paul Shaffer and many more. Includes an index.

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The House That Trane Built: The Story of Impulse Records [Hardcover] Review

Ashley Kahn is carving out a serious niche for himself as a fans' chronicler of classic jazz CDs. I've found his works on "Kind of Blue" and "Love Supreme" helpful, and "House that TraneBuilt" expands the interviews and research he did for "Love Supreme" into a history that jazz fans will find insightful.

It's hard to move beyond Trane on Impulse. I've got most of his stuff for the label, and I'm hard pressed to think of albums that I listen to regularly outside of Trane from Impulse. Blues and the Abstract Truth comes to mind. Some Pharoah Sanders. I've been meaning to get Gil Evans Out of the Cool for awhile. But I haven't been collecting jazz much lately, and this book will inspire me to pick up some more stuff.

The story of this book is as much the producers of Impulse as it is 'Trane's work. I did not realize how Impulse differed from Blue Note in that it was born with the cash to make an immediate impact. Not only was it born with cash, but it was also born with an artist: Ray Charles, who hit with "One Mint Julep" on his album "Genius + Soul = Jazz". Creed Taylor, he of the more popular oriented CTI Records, shows a true heart for the music in his initial choices for impulse artists. Bob Thiele, however, is the costar of this book. Kahn goes through great pains to show how Thiele's opening up to Coltrane and avant-garde music helped give him the latitude and the courage to work with some of the more "out" artists like Archie Shepp and Albert Ayler.

For those readers who are new to jazz, a good way to decide whether you want to purchase the book would to be focus on the album sketches that are interspersed throughout the book. In the first two-thirds of the book, most of these are titles that jazz fans will recall with fondness. But there are some examples of albums that fell by the wayside like a Curtis Fuller orchestral session and some of the rock experiments that formed a small but significant part of Impulse's later years.

I dig this book. As a former musician, I'm always looking for background that helps to ground musicians in the history and tradition of the music. This book will help jazz fans understand how a jazz label can exist within a major conglomerate and still produce risk-taking music. One can only hope that somewhere someone can figure out to find similarly breathtaking music that can function as both commerce and art.

5 stars

--SD

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Riding On A Blue Note: Jazz And American Pop [Paperback] Review

When I was first getting seriously into jazz, this book (along with MartinWilliams's The Jazz Tradition) was the principal critical aid.Since thenI've reread it for pleasure countless times, for it's not only criticallyperspicacious but also has considerable literary merit.Da Capo isrighting a longstanding wrong by putting this book back into print, as theoriginal Oxford University Press edition has been unavailable forsometime.Not only new converts, but old sweats who happened to miss it thefirst time around should read this book, or just anyone who likeswell-written prose.One of the nice things about reprints is the chancefor an author to put in a contemporary word, and it's very nice to see thatthis book has a new preface by Giddins, written almost 20 years after theintroduction to the first edition.He comments with bemusement on theyounger writer represented in these pages, and gives valuble information onthe publishing history of Riding On A Blue Note, as well as updating theRed Rodney piece somewhat.
Though this is a book primarily about jazz, itlives up to it's subtitle (Jazz and American Pop) by including chapters onBing Crosby, Otis Blackwell, Bobby Blue Bland, the Dominoes, and FrankSinatra, though Giddins gives fair warning in the old intro that they arestudied from the viewpoint of a jazz critic.In fact, the chapter entitled"Just How Much Did Elvis Learn from Otis Blackwell?" is one ofthe most fascinating in the book as it attempts to uncover some of thetangled, subterranean back-and-forth influences between black and whitemusic.The chapter on Red Rodney ("Adventures of the Red Arrow")is funny as hell and functions as an entertaining short story even if it issomeday proved to be a Rodney-perpetrated hoax.I'm tempted to say thatGiddins is particularly sound on Ellington, Count Basie, and Dexter Gordon,but then I would have to add that he also does well by trombonist JackTeagarden, Irving Berlin, Ornette Coleman, Sonny Rollins, Dizzy Gillespie,and Charlie Parker... Though I hate to sound like a jacket blurb, the factis that this truly is one of those rare collections in which every essay isa gem, both informative on first reading and a delight to reread.The onlydrawback is that Da Capo charges top dollar for their paperback reprints,but it's worth it. Giddins has written several other fine books over theyears but there's something special about this one.

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Product Description:
"The most imposing figure in jazz writing today" (JazzTimes) on artists from Duke Ellington to Elvis Presley to Irving Berlin-all with that pervasive "blue note" of jazz in common
Gary Giddins, winner of the 1998 National Book Critics Circle Award, has a following that includes not only jazz enthusiasts but also pop music fans of every stripe. Writing here in a lyrical and celebratory style all his own, Giddins dazzlingly shows us-among many other things-how performers originally perceived as radical (Bing Crosby, Count Basie, Elvis Presley) became conservative institutions...how Charlie Parker created a masterpiece from the strain of an inane ditty...how the Dominoes helped combine church ritual with pop music...and how Irving Berlin translated a chiaroscuro of Lower East Side minorities into imperishable songs.
"Nobody writes with greater style and authority about American music than Gary Giddins. The great musicians are all here-from Professor Longhair to Charlie Parker-and it's a pleasure to enjoy their company with a fine writer." (Pete Hamill)

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How to Improvise [Paperback] Review

As a classically trained musician, jazz has been slow to reveal its secrets to me. I have enjoyed listening to it, but getting the hang of the jazz style in general and the art of improvisation in particular have been less enjoyable. However, the demands on musicians today makes it vital to have some understanding of all kinds of music, and this book is a great way to start your exploration of jazz. With a lot of short and well organized exercises, and a stress on learning to listen to what is happening, it tells the frustrated student how to master the mystery of making jazz happen. I know I have to work on the exercises to get where I want to, but the layout of this book makes it easy to organize my practice!

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Product Description:
by Hal Crook. Book/2CDs. What exactly are the steps that lead to ability? In which order should they been taken? What will be required to master each one? These are questions the author has explored in this book, resulting in a rather unique "one-thing-at-a-time" approach to studying improvisation - one that incorporates discipline, technique, creativity and musical intuition. Each topic is explained and demonstrated using written musical examples and it is accompanied by suggested exercises and a sample daily practice schedule, which can be modified to fit your own needs or liking. The book has been used by the Performance Studies Department of the Berklee College of Music in Boston for teaching improvisation since September 1988.

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Improvising Blues Piano (w/cd) (Music Sales America) [Paperback] Review

Martan Mann can most definately play piano.The accompanying CD may almost be worth the price to hear him play.However, you're looking for instruction if you're reading this.I don't want to slam his product too hard.I'll just say he doesn't teach well and there's not allot of real meat here for beginners.I've also purchased Andrew D. Gordon's 100 Ultimate Blues Riffs.Riffs in all keys with many many different basslines and virtually zero instruction.Then, finally, I got my hands on something I absolutely love and can recommend wholeheartedly to anyone without a vast musical background who wants to play the blues.Check out the book/cd combos level 1 and 2 by David Bennet Cohen.You won't be dissappointed.I just ordered "Improvising Blues Piano" by Tim Richards and am very excited about it as well.One more you might look into.

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Unlock the mystery of blues improvisation as you develop an understanding of different blues styles and express yourself through your music. Contains scores of exercises designed to get you playing the blues.

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The Artistry of Bill Evans Vol.2 [Paperback] Review

This is actually Volume 2 (1995), and contains EIGHT (not eighty) transcriptions of Bill Evans piano parts off the recordings. This collection is better than Vol. 1.First, vol. 1 did not transcribe thecomping behind the bass solos.Second, vol. 1 focused on the late Fantasy& early Warner Bros. recordings (1970s), while this collection rangesfrom the first trio on Riverside, some Verve solo and trio sides, and solosides from Fantasy. Gripe: when transcribing trio recordings, is it toomuch to ask that the bass part also be transcribed? Songs: "AutumnLeaves" (mono version), "Spring is Here," and "What isThis Thing Called Love" from PORTRAIT IN JAZZ; "Here's That RainyDay" from ALONE; "I Should Care" and "Make SomeoneHappy" from TOWN HALL; "The Touch of Your Lips" and"What Kind of Fool am I" from ALONE (AGAIN). No extras (vol. 1had a short essay and photos).

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Eighty transcriptions from the late, great jazz master Bill Evans. Titles are: Autumn LeavesHere's That Rainy DayI Should CareMake Someone HappySpring is HereThe Touch of Your LipsWhat Is This Thing Called Love?What Kind of Fool Am I?

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Raise Up Off Me: A Portrait of Hampton Hawes [Paperback] Review

If you like jazz, get your hands on this book and read it! Its humor, honesty, attention to detail, and readability put other autobiographies (mingus, miles) to shame.
Hawes was the bluesiest of the beboppers and could rightly be called the unrecognized father of hard bop.Unfortunately, he also had a herion habit that crippled his career.For more on that, read the book.Some of his recordings are still in print.Give them a listen, and then start calling DeCapo Press to get them to reprint this jazz literature classic!END

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Hampton Hawes [1928-1977] was one of jazz's greatest pianists. Among his peers from California the self-taught Hawes was second only to Oscar Peterson. At the time of his celebration as New Star of the Year by downbeat magazine (1956), Hawes was already struggling with a heroin addiction that would lead to his arrest and imprisonment, and the interruption of a brilliant career. In 1963 President John F. Kennedy granted Hawes an Executive Pardon. In eloquent and humorous language Hampton Hawes tells of a life of suffering and redemption that reads like an improbable novel. Gary Giddins has called it a major contribution to the literature of jazz. This book includes a complete discography and eight pages of photographs.

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FASTFORWARD: 12-BAR BLUES PIANO (Fast Forward (Music Sales)) [Audiobook] [Paperback] Review

This book provides a painless introduction to playing blues piano in six styles: Basic Shuffle, Boogie Woogie, Walking Bass, Stride, Jazz,and Rock. It presents the left and right hand parts separately, then throws them together. Each example has two tracks on the CD, with and without the piano part. The left hand parts are quite complete, but the right hand parts are a little thin, leaving out slides, crushed notes and tremelos. However, the backing tracks on the CD are outstanding. Once you master the material in the book, you can reuse the CD backing tracks with licks from other books like David Bennet Cohen's Blues Piano or Mark Harrison's Blues Piano. Had the author included more material, this could be a 5 satr book.

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Learn to play the 12-bar blues using authentic techniques to get the real blues sound.

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Improvising Blues Piano [Paperback] Review

This is a great book! I'm a beginning/intermediate piano player, I went through the first two Alfred's All-in-One Adult piano books and really enjoyed them (and recommend them!). But I found myself at a fork in the road: I was happy to continue memorizing "pieces", and practicing "technique", but I found myself wanting to know more about improvising. I play drums in a blues band, and I've had some music theory for keyboard percussion, so I'm not a total musical-novice. I tried out some other books (Mark Harrison's "Blues Piano: Hal Leonard Keyboard Style Series", but it's still a little over my head, perhaps in a year or so it'll be good for me. Also "David Bennett Cohen Teaches Blues Piano: A Hands-On Course in Traditional Blues Piano", but it really didn't light my fire either, and if I recall correctly, didn't have finger markings which I still find helpful.)This book pulls it all together for me: some blues music theory, some blues history, clearly-marked "assignments", a CD included, (a spiral binding that lays flat on the stand!) ... I'm hooked!

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The basic principles of blues piano explained for the intermediate-level pianist in an easy-to-grasp fashion.

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The Definitive Jazz Collection (Definitive Collections) [Paperback] Review

No "fake book", or "real book" this.You get full, well-thought-out harmonizations.This isn't how Jazz pianists acquire their numbers, but hey, this graduate of the weekly visit to the traditional read-the-music-and-play-it-exactly-as-written piano teacher likes it just fine this way.Having played through about 25% of the songs, I'll say there are no really bad arrangements, and quite a few very good ones.The technical difficulty is toward the higher end of the non-classical stuff you find in the music stores -- the average song is about as hard (if you want to play all the notes) as a Chopin Waltz or a Clementi Sonatina.

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A once-in-a-lifetime collection of 90 of the greatest jazz songs ever compiled into one volume. Includes: Ain't Misbehavin' * All the Things You Are * Birdland * Body and Soul * A Foggy Day * Girl From Ipanema * Here's That Rainy Day * The Lady Is a Tramp * Love for Sale * Mercy, Mercy, Mercy * Midnight Sun * Moonlight in Vermont * Night and Day * Skylark * Stormy Weather * Sweet Georgia Brown.

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Bebop: The Music and Its Players [Paperback] Review

It is gratifying to find such a carefully written study of bebop -- a study which focuses from start to finish on the music. We know that many of the musicians had troubled lives and suffered with drugs and discrimination. The social and personal dimensions of bebop, however, have received ample attention in books, movies, and TV shows. This book is almost unique in providing a readable and scholarly analysis of the music. Owens faced a number of choices as to how to present his material, and he made the intelligent choice each time: Focus on the music (rare), not the details of "personal problems" (common); present just the right level of technical detail, never vague but never overly pedantic; trace the historical development of the music rather than an abstract description or a "how to play bop" approach (also common); and my favorite: organize the discussion around the idioms and masters of specific instruments -- sax, trumpet, piano, and so on. This last choice enables him to provide fresh insights as to how specific stylistic innovations on different instruments finally produced the characteristic ensemble style of bebop. I've bought two copies and I'm constantly recommending this book to friends.

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FOUR LIVES IN THE BEBOP BUSINESS [Paperback] Review

Spellman, a lucid analyst of the avant garde jazz movement in the '60s (see his liner notes, for example, on the original release of Coltrane's "Ascension"), has contributed with this book four compellingportraits of musicians who gave and have given their lives tojazz.
"Four Lives in the Bebop Business" profiles two altoists,Jackie McLean and Ornette Coleman; and two pianists, Cecil Taylor andHerbie Nichols. Spellman skillfully crafts the narratives, while wiselyallowing his subjects to tell large chunks of their stories in their ownwords.
It becomes clear as one reads the book that it took a lot of gutsto be a jazz musician during the '50s and '60s (and still does). All fourof the musicians faced major obstacles in pursuing their art.
McLean,who enjoyed the greatest amount of commercial success of the four,especially early on, battled drug addiction. Taylor and Coleman faced openhostility because of their challenging, groundbreaking approaches toplaying their instruments. Nichols (the only one of the four who is notstill alive) was just plain ignored, despite his brilliantly originalplaying (check out the two-disk Blue Note compilation of his music), andspent much of his all-too-brief career playing in Greenwich Villagedives.
In spite of bad accommodations, poor pay, public indifference,critical hostility and difficulty finding gigs, these artists, the bookmakes clear, would never play anything other than jazz. In this sense, thebook has an underlying inspirational message. Still, it remains for Americato fully embrace its only true indigenous art form, something which to thisday has not occurred.
The book also offers insights from the musicians onthe creative process and about the historic changes in jazz that occurredduring the '60s, from the perspective of men who were on the front lines ofthe battles between critics, musicians, and the listening public.
Required reading for the serious jazz listener.

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This book offers biographical sketches and quotations from four black musicians: Herbie Nichols, Cecil Taylor, Ornette Coleman, and Jackie McLean. Photographs.

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Blue Note Records: The Biography [Paperback] Review

Richard Cook apologizes in his introduction for the limitations of his text, and well he should, for a reading of the book reveals a paucity of research, both in the available text materials and in the Blue Note Records catalog, both in print and out of print. There are numerous errors and omissions in the history, especially on interesting and revealing items such as how Frank Wolff got to the USA, what he did when he got here, how Alfred Lion met Sidney Bechet, Ike Quebec and Art Blakey and what their various relationships were, what Quebeec did for the label and when, Lion's and Blue Note's relationship with Miles Davis, Monk, Bud Powell, Duke Pearson, ... For a long time jazz enthusiast like myself, these omissions were maddening.
What's worse, it's obvious Cook has not listened to all the Blue Note Records! This is especially true of the out-of-print stuff, such as much of the swingtet material, the 10" stuff that hasn't been released on 12"/CD, etc. His critical judgements are therefore completly flawed-he really does not understand what Blue Note was about and what they produced. He seems to use minimal understanding of Lion's interests in jazz and trends in music (such as the craze arising from Olatunji/Drums of Passion) that explain Blue Note records like the early Dixieland stuff, Art Blakey and Sabu drum fests, Bossa Nova Baccanal (never mentioned), etc.
The great book on Blue Note Records has still to be written.

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Blue Note Records is the first full history of the most noted label in jazz. Cook lingers with record-collector zeal in analyzing everything from Sidney Bechet's 78s to Norah Jones' recent chart-topper. Insightful scenes abound.

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Rhythm-a-ning: Jazz Tradition and Innovation [Paperback] Review

DaCapo does it again, bringing back into print the best jazz criticism.I read this collection of Giddins' Village Voice essays a couple of years after it was first published by Oxford in 1985.The picture of jazz it captures from the early '80s is, for better or worse, not so different from the picture today.No revolutions, just an ongoing period of recombinations and the uneasy coexistence of various styles.

Giddins is catholic in his enthusiasms, but I was and continue to be more interested in the avant-garde.In addition to swing and bop players (including Monk, from whom he took his title), here are some of the players he writes about, mainly their recordings, but also some concerts -- Cecil Taylor, Ornette Coleman, Ronald Shannon Jackson, James Blood Ulmer, the Art Ensemble of Chicago, Muhal Richard Abrams, James DeJohnette, Andrew Cyrille, James Newton, Anthony Davis, Arthur Blythe, David Murray, Steve Lacy and Roswell Rudd, the William Breuker Kollektief, and Alexander von Schlippenbach's Global Unity Orchestra.

He concludes a review of the "Young Lions" performance, including the 21-year-old Wynton Marsalis, at the 1982 Kool Jazz Festival in NYC with these prophetic lines:"My intuition tells me that innovation isn't this generation's fate...the neoclassicists have a task no less valuable than innovation:sustenance. [M]usicians such as Marsalis are needed to restore order, replenish melody, revitalize the beat, loot the tradition for whatever works, and expand the audience.That way we'll be all the hungrier for the next incursion of genuine avant-gardists..." (161)Of course "this generation" cannot be reduced to the neoclassicalrevivalists, but to the extent that they have dominated the jazz world since the mid-'80s, Giddins had it right "on the money," in every sense of the word.

That tendency has now persisted long past the time it was (arguably) making a needed contribution.Contrary to Marsalis, the living soul of jazz is creative improvisation, not ossified composition!As of 2005, jazz is still in need of rejuvenation.Having a jazz museum at the Lincoln Center is fine, but jazz can only be kept alive outside of museums through constant innovation.

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Product Description:
In a companion to his collections Riding on a Blue Note and Faces in the Crowd, Gary Giddins has assembled a mosaic of pieces that provide an essential guide to the jazz world. Moving with ease from sweeping surveys of jazz history to precise, vivid assessments of individual performers including Thelonius Monk, the Marsalis brothers, Ornette Coleman, and David Murray, Giddins demonstrates once again why he is lauded as "the best jazz critic now at work" (Newsweek).

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Lee Konitz: Conversations on the Improviser's Art (Jazz Perspectives) [Paperback] Review

I am, briefly (on pages 164-5), a contributor to his book -- the author interviewed me several years ago about my feelings about Konitz, a longtime favorite of mine -- but the comments that follow, which I sent in an e-mail to the author, Andy Hamilton,a month or more ago, are ones that I would have made even if I had played no role in this book other than the minor one I did:

"Got it [the book] the other day and devoured it. You and Lee did a superb job, and as someone who used to be a journalist, I don't underestimate your contribution in terms of sound and creative organization of material,consistent attentiveness, ability to get along with/stimulate Lee, ability to set up and conduct intelligent interviews with all those other people, etc. I'm pretty sure there's no other book like it in jazz, and while some of that has to do with Lee's willingness to talk about things as much as and in the ways that he does, without your hard work and imagination and good heart, we wouldn't have this. Many thanks."

Larry Kart
Author of "Jazz In Search of Itself" (Yale University Press)

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"Meticulously researched, detailed and documented, this long awaited overview justly establishes Konitz as one of the most consistently brilliant, adventurous and original improvisers in the jazz tradition-a genius as rare as Bird himself."-John Zorn"Hamilton's work may well mark the inception of a format new to writing on Western music, one which avoids both the self-aggrandizing of autobiography and the stylized subjectification of biography."-The Wire"An extraordinary approach to a biography, with the man himself speaking for extended sessions. The main vibration I felt from Lee's words was total honesty, almost to a fault. Konitz shows himself to be an acute observer of the scene, full of wisdom and deep musical insights, relevant to any historical period regardless of style. The asides by noted musicians are beautifully woven throughout the pages. I couldn't put the book down-it is the definition of a living history."-David LiebmanThe preeminent altoist associated with the "cool" school of jazz, Lee Konitz was one of the few saxophonists of his generation to forge a unique sound independent of the influence of Charlie Parker. In the late 1940s, Konitz began his career with the Claude Thornhill band, during which time he came into contact with Miles Davis, with whom he would later work on the legendary Birth of the Cool sessions. Konitz is perhaps best known through his association with Lennie Tristano, under whose influence much of his sound evolved, and for his work with Stan Kenton and Warne Marsh. His recordings have ranged from cool bop to experimental improvisation and have appeared on such labels as Prestige, Atlantic, Verve, and Polydor.Crafted out of numerous interviews between the author and his subject, the book offers a unique look at the story of Lee Konitz's life and music, detailing Konitz's own insights into his musical education and his experiences with such figures as Miles Davis, Stan Kenton, Warne Marsh, Lennie Tristano, Charles Mingus, Bud Powell, and Bill Evans.Andy Hamilton is a jazz pianist and contributor to major jazz and contemporary music magazines. He teaches philosophy, and the history and aesthetics of jazz, at Durham University in the United Kingdom. He is also the author of the book Aesthetics and Music (Continuum 2007). Joe Lovano is a Grammy Award-winning tenor saxophonist. His most recent album is Streams of Expression.



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Jade Visions: The Life and Music of Scott LaFaro (North Texas Lives of Musician Series) [Hardcover] Review

Jade Visions is the first and only biography devoted to the too-brief life and meteoric career of jazz bassist Scott LaFaro. Known best as a member of pianist Bill Evans' dream trio, which included the still-vital drummer Paul Motian, LaFaro also performed across the entire spectrum of jazz in the '50s and early '60s, from the big bands of Benny Goodman and Stan Kenton, to romantic balladeer-trumpeter Chet Baker, to the free jazz adventures of Ornette Coleman and Gunther Schuller.

Little has been known about LaFaro's life off-stage until now. A private person, judged as aloof and even unlikeable by some who encountered him casually, he was already obsessed by music and the uncompromising pursuit of excellence by the time he reached high school. Jade Visions, written by his sister Helene LaFaro Fernandez, tells an engaging tale of their unconventional upbringing, along with their three younger sisters, by rather free-thinking parents in a large and affectionate Italian-American family.

LaFaro's short life was not dramatic compared to the well-chronicled meltdowns and often self-inflicted health problems of similarly gifted artists. He did not face racial discrimination, as did so many jazz stars of the era. He helped watch over his four sisters and mother after the premature death of his father. He sent playful postcards to his family from the road, and checked out his kid sister Helene's dates to make sure they measured up to his expectations. But on stage and in the practice room, he was, to sum up in a single word, intense.

Passages by the author describing their family life alternate with insights into LaFaro's prodigious musical gifts by Gene Lees, Eddie Gomez, Gary Peacock, Marc Johnson, Rufus Reid, Stanley Clarke, Herb Mickman, Jeff Campbell, Phil Palombi and dozens of others. The great classical soloist Gary Karr was also aware of LaFaro as he was launching his own fabled career, and relates how he was inspired to continue pushing the boundaries of what was considered possible on the double bass in part due to the example of LaFaro's innovations.

The book is written in an enjoyable, conversational style, and a number of never before published photos are included, as well as a complete discography, bibliography and archival magazine articles. Jade Visions is not only a snapshot of life as a working musician in the late 1950s and early 1960s, but also the intimate story of a single-minded young musician who transformed himself in seven short years from high school band student to DownBeat magazine rising star.

History has already passed judgment on his accomplishments and declared him a superstar for the ages. Christian McBride observes, "Scotty's playing was the bible for bass players...Jimmy Blanton the old testament, Scotty, the new." Almost a half century after his death, LaFaro's photo recently graced the cover of Bass Player magazine, along with a feature length essay on LaFaro's continuing relevance today by jazz historian and bassist John Goldsby. By the time you read this review, Jade Visions will be back on the presses for a second printing, less than six months after its release. Read it to the soundtrack of Pieces of Jade, a companion CD that includes rehearsal tape of Evans and LaFaro working out the changes to My Foolish Heart.

Jazz fans around the world owe Helene LaFaro Fernandez a huge debt of gratitude for sharing the personal story of her brother Scotty, whose artistry remains timeless.

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How To Play Chord Symbols In Jazz And Popular Music [Plastic Comb] Review

When you read and play the chords described throughout this beautiful, spiral bound (!) book, a world of expressive and gorgeous chords will be heard. Incredible harmonic and jazzy sounds that are easy to play are covered. These are the meat and potatoes of all fake (improvisation) books. This is how those musicians create such wonderful expressive chords and tones in gigs. Everything is clearly written, absolutely clearly illustrated, and comprehensive in description. I am amazed that for under $12. I found such a music book treasure. Go ahead, become a much better piano/keyboard player with this easy to afford and learn book. Amaze yourself!

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Product Description:
The purpose of this book is to develop facility in reading alphabetical chord symbols at the keyboard, with the ultimate goals being the ability to play fakebook leadsheets and understand popular sheet music chord symbols.

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Jazz Violin Glaser/grappelli [Paperback] Review

This book would a fantastic way to understanding how six great jazz violinists improvise - if only there was easy access to the recordings.Even when I have found cds available that have the same title as refered to for the transcriptions, they don't always have the track that has been transcribed.What this really needs is to be packaged with a cd recording of all the tracks transcribed in the book.If anyone can suggest an easy way of getting hold of all these tracks please do so.Perhaps Amazon could even compile a list of where to find these specific tracks on cd?Any one wanting a more tuitional guide that you can start using strait away, see Jazz Fiddle Wizzard.

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Product Description:
A comprehensive method for playing "hot fiddle," including accurate transcriptions of solos as played by Grappelli, Joe Venuti, Eddie South, Jean-Luc Ponty, and others. Plus revealing interviews and photos, many never-before published.

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Collected Works: A Journal of Jazz 1954-2001 [Paperback] Review

OK, Whitney Balliett never got into Miles Davis's electric stuff. So he's a Moldy Fig. To quote Miles, "So What?" For my money, he's still the greatest observer of the modern jazz scene. What makes him great is the accuracy of his observation: No other jazz critic ("Notes and Tones" was written by Art Taylor, a drummer) has been as generous as Balliett at letting the musicians speak for themselves. Reading his reviews, you often forget he's there. That never happens with Stanley Crouch, now does it? I don't like to think about how old Balliett is, nor do I like to think about what jazz criticism will be like without him. By the way: Balliett is not an exclusionary writer. You do not need a Hip Merit Badge to read and enjoy his work. He's a national treasure. Recognize his greatness while he's still here to enjoy it!

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