Oscar Peterson Plays Broadway (Artist Transcriptions) [Paperback] Review

I really loved this book and recommend it to everyone as a good, accurate, and packed set of piano transcriptions of oscar's piano-playing.Compared to others in this series, like the one of ellington, I think these versions are from earlier in his career, hence the playing is slightly simpler, less characteristic of oscar's later virtuosity.Nonetheless, when you consider how few of these jazz piano books there are available on the market, this is definitely another worth getting.

I'm particularly impressed with how many songs they pack into one book without apparently editing the solos excessively.

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Product Description:
17 songs transcribed from Peterson recordings, including: All the Things You Are * Baubles, Bangles and Beads * Body and Soul * Come Rain or Come Shine * Easter Parade * If I Were a Bell * Just in Time * The Lady Is a Tramp * On a Clear Day * People * Strike up the Band * Summertime * The Surrey with the Fringe on Top * There's a Small Hotel * 'Til Tomorrow * Who Can I Turn To * Wouldn't It Be Loverly.

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The Art Tatum Solo Book (Artist Transcriptions) [Paperback] Review

Yea, Tatum is magnificent! Reading the transcriptions while listening to the recordings just makes his playing even more amazing and enjoyable. This book is great and can keep you very busy.By the way, if you want to playlike Art there is a another book, "The Right Hand According toTatum" which has even more transcriptions, tells you how to finger anduse his runs,has some analysis etc. This book could have used a bit ofthat.Good Luck!

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Product Description:
Another folio of spectacular improvisations by one of the great piano masters of the century. Includes: All the Things You Are * Caravan * Cherokee (Indian Love Song) * In a Sentimental Mood * Stormy Weather (Keeps Rainin' All the Time) * Tenderly.

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The Herbie Hancock Collection (Artist Transcriptions) [Paperback] Review

It happens that I have bought several transcription books, and the one that I do have for jazz piano ("Poinciana" by Ahmad Jamal) is transcribed in a very different way to the Herbie Hancock book.

Most of the time these other (=not the ones in this book) transcriptions are written such that the piano line is the primary part (1), multiple keyboards are combined to be played by one keyboard (2), the vocal line or any secondary instrument parts appear directly above the piano staffs and are so noted (3). Very easy to follow.

Not so for this collection. There are 7 transcriptions in 68 pages, and they are all arranged something like: Piano Intro, Melody, Trumpet Solo, Sax Solo, Piano Solo. It did have the meatier parts of the piano solos, but none of the piano line that was played underneath the solos of the secondary instruments (and in most of the songs here, the secondary instruments solo first). And for that matter, it would have been useful for the saxophone player so that these songs could be PLAYED as written and the solos for the secondary parts wouldn't have to be improvised or re-transcribed. "Watermelon Man,"for example (a 7 minute song), was castrated down to 4 pages and none of the piano solo was written down after the final statement of the head. There was even a notational error in that piece (the saxophone solo was noted as a piano solo).

This book would have been a million times more useful if the transcribers had just written down the piano line note for note all the way through and then included an extra staff on top to detail the secondary instrument solos. It would have used several more pages, but it would have been worth it at least for clarity.

Metronome marks are also missing for EVERY SINGLE SONG. It is not that much trouble to go back and calculate the metronome marks with a stop watch, but how difficult would it have been to do that as a transcriber?

This book is worth about $5 for a second hand purchase.

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Product Description:
One of American music's most gifted and eclectic artists, Hancock's talent as a pianist and composer is highlighted in these 8 note-for-note solo piano transcriptions of his performances. Includes: Autumn Leaves (Les Feuilles Mortes) * Butterfly * Cantelope Island * Dolphin Dance * Maiden Voyage * 'Round Midnight * Speak like a Child * and Watermelon Man, plus a biography.

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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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Product Description:
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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The Vince Guaraldi Collection: Piano (Artist Transcriptions) [Paperback] Review

I bought this together with Vince Guaraldi - Greatest Hits, both containing a lot of songs I really wanted to play on the piano myself. That combination has allowed me to hear what Vince played while also reading through the music to see just what it is he played. Without exception, I've found the written music exactly true to what Vince recorded, including pick up notes, tricky min-maj-min progressions, arpeggios, diminished 9th chords, and what-not, and it has made some previously unapproachable passages much easier to understand. I've also been able to use the book as a sort of learning tool, getting a feel for what a jazz musician really tries to accomplish when he sits down and plays a piece. I would like to have seen some fingering indications included, and without those, I think some beginners will not be able to do much with this work. And personally, I didn't find the performance notations particularly useful ("laid back" doesn't really convey much to me), but like I said, I also purchased a CD of Vince's music, so I already have an idea of what sort of sound I want to achieve. Other than those two minor points, I can't find anything wrong with this edition. The binding is "lay flat" perfect bound, so the pages stay glued together but pull away from the spine, allowing this book to retain a crisp appearance and feel even after the pages are pulled open on a music stand. Guaraldi fans and aspiring jazz pianists will gain a lot from this work.

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Product Description:
Along with Dave Brubeck, Vince Guaraldi was one of the leading pianists to rise to prominence from the California Bay Area scene. Originally a Latin jazz musician, his recording of "Cast Your Fate to the Wind" is one of the best-selling jazz records of all time. Guaraldi later composed the beloved and timeless music for the Peanuts television specials. This folio spans Guaraldi's multi-faceted career, with note-for-note transcriptions of 9 terrific songs: Cast Your Fate to the Wind * Christmas Time Is Here * Greensleeves * Linus and Lucy * Manha De Carnaval * O Tannenbaum * Outra Vez * Samba De Orfeu * Star Song. Includes a biography and a discography.

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The Very Best of Oscar Peterson: Piano Artist Transcriptions [Paperback] Review

Any transcription of OP is worth serious attention especially when we should be doing our own... However, this book is a gem and kudos to the guy(s) who did the transcriptions.The Hal Leonard series of Artist Transcriptions are all uniformly excellent (I have many) and are absolutely indispensible for learning from the greats.What's more all the books are beautifully produced.For what it contains this book is essential.So, do not hesitate.Buy it now!

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Product Description:

18 transcriptions from one of the greatest and most revered jazz pianists, including: A Child Is Born • The Continental • The Girl from Ipanema • Gravy Waltz • I'm Old Fashioned • It Ain't Necessarily So • Little Girl Blue &b



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Thelonious Monk Plays Standards - Volume 1: Piano Transcriptions (Artist Transcriptions) [Paperback] Review

you have no vision of jazz piano until you see the Solo, away from the group who's keepeen the beat, and laying down the bass for you, this just frees you up a bit, Monk created his greea-test solos in the group, all those spiky chords, Ab-D-G, or cd-Ab-Db,also the suspension(S) of the beat attest to his interest in expanding what we call music, But if you've never heard Solo you really haven't heard anything, Also Cecil Taylor, needs a review of Solo, what he creates, the bonfires he sets with the Solo Piano,

But Monk equally did Solo Work,n'had a way of practicing, taking only one song and playing it for hours, to see what was in it, He did this with all the tunes here, and I guess you can say that what is here was the best reading of possibly I don't know 10 different reading of each tune. Still you get the interesting dimensions of what Monk could do with harmonies, and chords,-flatted and sharped 5ths and Ninths, is where the tension comes from, in a Blues progression you need to sharp the Ninth, as in C-Major, Tonic Chord is now E-Bb-D#, and F-Chord, is F-A-B-Eb, greet stuff.When he Went Solo he kept the traditional stride Left Hand, something if you look for it in group Work it remains but, He began to use his Left Hand in the Group as rhythm as percussion products, with cluster chords, even in "Bright Mississippi", he uses his whole arm for accents.

My favorite here is "everything happens to me", sums up the state of the globe now for us down here, you can play this over and over again and still find different voices between the hands, I found myself developing from what is written out, and it is fairly faithful to the recording, well one of them in that Monk always took multiple taks on all the Tunes herein. "Don't Blame me" as well, has great dissonances, that you can develop even more, and the classic now, "just a gigolo', who would think this Vegas tune could be made into a classic, but again the dissonances are incredible, it lives forever because of the unresolved tensions you have here;and there are more hesitations in Live than in the transcription; I found that you can really make your own half hour solos from what is written here, and apply the chords in and around the other tunes, like a paradigm that lives throughout all the tunes herein.There are other more strenuus as "devil and Deep Blue Sea", difficult to bring off, and Gershwin's "Liza" you really need to work with vision. . . This is the best book I've found thus far on Monk or any jazz transcriptions, the other are too skeletle,too obvious to do you any good, if you really want to learnnn jazz. But please listen to Monk play without the music first, and bring that experience internally inside yourself, then you can go and play from this Book. . . it will change the way you think about music. . .

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Product Description:
Volume 1 features note-for-note transcriptions of Monk's renditions of 11 jazz classics: April in Paris * Between the Devil and the Deep Blue Sea * Dinah * Don't Blame Me * Everything Happens to Me * I Should Care * I Surrender, Dear * Just a Gigolo * Liza (All the Clouds'll Roll Away) * Nice Work If You Can Get It * Sweet and Lovely. Includes a biography and a discography.

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Ferdinand Jelly Roll Morton: The Collected Piano Music: Piano Solo (Piano Collection) [Paperback] Review

The transcriptions of Jelly Roll's piano pieces are unbelievable; An exact (as far as I can tell) note-for-note transciption of piano rolls, recordings, solo's, and the majority - live performances. There is also great information on each piece. For Advanced piano players only.

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Product Description:
A stunning, comprehensive volume prepared in cooperation with the Smithsonian Institute. The world's first jazz critical edition. Contents: New Orleans Blues (New Orleans Joys) * Grandpa's Spells * Wolverine Blues (The Wolverines) * Mamanita * Frog-I-More Rag (Froggie Moore/Sweetheart O'Mine) * London Blues (London Cafe Blues/Shoe Shiner's Drag) * Shreveport Stomp * Big Foot Ham (Big Fat Ham/Ham and Eggs) * Tom Cat Blues (Midnight Mama) * Stratford Hunch (Chicago Breakdown) * Perfect Rag (Sporting House Rag) * Mr. Jelly Lord * Black Bottom Stomp (Queen of Spades) * Dead Man Blues * Cannonball Blues * Billy Goat Stomp * Wild Man Blues (Ted Lewis Blues) * Georgia Swing * Boogaboo * Seattle Hunch * Frances (Fat Frances) * Dixie Knows * Kansas City Stomp (Kansas City Stomps) * Jelly Roll Blues (Original Jelly Roll Blues/Chicago Blues) * Fickle Fay Creek (Soap Suds) * Jungle Blues * Sweet Peter * Hyena Stomp * State and Madison * Bert Williams * Freakish * Pep * Creepy Feeling * Spanish Swat * The Pearls * Fingerbuster (Fingerbreaker) * Honky Tonk Music * The Crave * Mister Joe (Buffalo Blues) * King Porter Stomp *

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Exploring Jazz Piano - Volume 2: Book/CD (The Schott Pop Styles Series) [Paperback] Review

This volume and volume 1 follow "Improvising Blues Piano," which you might look at first if you're just starting to search for ways to go beyond sightreading music.Definitely go through volume 1 of "Exploring Jazz Piano" before going on to this volume 2.This volume assumes you have that volume, and that you've learned what's in it.This volume seems like--after providing a foundation in volume 1 for how to play jazz (as opposed to just sightreading sheet music of jazz standards)--Tim Richards had a list of things he thinks you should also know, and he tossed them all in here: playing in modes, quartal harmony, bebop scales, various exotic chords, etc.There's a kitchen sink full of things to choose from.There are also jazz standards, with explanations of how they're made and how to improvise over them, and there's the CD that not only plays the exercises but also provides a drum and bass accompaniment to play along with.If you get this book and the other two, and put in the practice time to learn what's here, I'm thinking you'll be amazed.

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Product Description:
Volume 2 deals with more complex and colorful harmony, from suspended fourth, sharp eleven and thirteenth chords to diminished and altered scales. Advanced voicing, accompaniment and improvisation techniques are examined in detail, including the following topics: Quartal harmony, modal improvisation, long and short II V patterns, altered dominant chords, polychords, stride piano, Bossa Nova, clave and Partido Alto, Lydian and Locrian modes, how to make scales swing, building bebop lines, bebop scales, R235 patterns, the b3 pentatonic scale, rhythm changes, turnarounds, minor IIVI, playing in 3/4 time, playing in double-time, tension and release, transcribing, practice routines.32 pieces by the author appear alongside special arrangements of well-known jazz standards, including: Beautiful Love * Blue Bossa * Blue in Green * Caravan * Impressions * Ladybird * Misty * On Green Dolphin Street * Softly as in a Morning Sunrise * Summertime * Tune Up and Yesterdays. Also included are transcribed solos by Oscar Peterson, Wynton Kelly and Hampton Hawes.

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Bill Evans: A Step-by-Step Breakdown of the Piano Styles and Techniques of a Jazz Legend (Keyboard Signature Licks) [Paperback] Review

I have absolutely no idea what the first reviewer was complaining about with this book. The transcriptions are incredible and the accompanying CD was remarkably helpful. It helps not to have to go out and buy every piece of Evans music represented in the book if you don't have it already in your library of music. The musicians playing the pieces are very good. OK, the pianist does not sound exactly like Bill Evans but who would? I bought this book primarily for Peace Piece and the transcription is exact. So much so that when played on the accompanying CD it even came out to the exact same timing as on "Everybody Loves Bill Evans" where the original first appears. The slowed down examples are excellent. I suppose one could quibble that the author did not discuss each piece in depth measure by measure but I challenge anyone to find a more accurate set of transcriptions. As far as doing it yourself? Good luck!!! Of all the Evans music books out there that I have seen I would definitely rate this the best.

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Product Description:
An in-depth exploration of the playing style of one of the most influential pianists in jazz. This book/CD pack uses excerpts from a dozen of Evans' best songs to demonstrate his various trademark styles. The CD includes full performance examples, as well as some slowed-down piano solo parts. Songs: Five * One for Helen * The Opener * Peace Piece * Peri's Scope * Quiet Now * Re: Person I Knew * 34 Skidoo * Time Remembered * Turn Out the Stars * Very Early * Waltz for Debby. Includes an introduction by the author.

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Oscar Peterson Note for Note (Piano Solo) [Spiral-bound] Review

I bought this book since Peterson is my favorite jazz pianist, and I'm playing the piano as a small hobby. And - I'm pleased with the book!
The transcriptions, as you might expect, are from a particular recording - 2 performances of the same jazz piece by the same artist will usually sound different... And indeed I have a few CDs in which some of the pieces from the book are performed with different improvisations and in different rhythm. But I did get some of the recordings the book refers to, and indeed the transcriptions are accurate. Note-for-note, as declared in the book. At least for the right hand...
In any case, most of the pieces as they are in the book sound great and cool (if you manage to play them!). Great moves, passages and improvisation techniques that give you a good taste of the musical world of one of the best jazz pianist ever.
I found myself using the passages and the ideas from the book in other jazz pieces, such as those from the Real Books. So performing the pieces as they are isn't the only reward you'll get - it will also improve your improvisation capability and technique in general.
I recommend studying at least a basic jazz theory before trying play from this book, so that you can understand the scales used for improvisations, the progressions and the left hand work done in the book. Besides, some of the pieces don't contain a left hand transcription. But since the technique for the left hand used by Peterson and in the book (tensions and voice spreading, for example) is covered by most theory books, you can easily figure it out by yourself.
There are no transcriptions for the bass line. But chords are written all the way (not all are 100% accurate actually), which makes it easy to play with a bass/guitar player.
As to the required level of playing - all the pieces in the book are hard to very hard to perform. Oscar Peterson was a great virtuous. You'd better work on your technique if you'd like to master them! Those who come from a classical music background will probably find it easier to read and play such scores.
There are no fingering specified, so it might be better for you to write down the fingering for the hard passages and such.
The accompanying CD is pretty helpful. It contains the piano parts performed exactly as they are written in the book, in the left channel (not performed by Peterson, of course. And played in MIDI I believe. Still, pretty nice), and bass and drum lines for some of the pieces in the right channel - useful if you'd like to play along with the bass/drums.
To conclude, I highly recommend this book for any jazz pianist (with a good enough technique!) or a classical pianist who wishes to try a good jazz

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Product Description:
This fabulous book/CD pack features transcriptions of 18 piano solos by the legendary Oscar Peterson, taken directly from the original recordings. The solos are divided into two groups: eight Oscar Peterson Classic Originals (Chicago Blues ¥ Hymn to Freedom ¥ Nightingale ¥ Night Time ¥ and more) and ten selections in Oscar Peterson Plays the Blues (Blues Etude ¥ Greasy Blues ¥ OscarÕs Boogie ¥ R.B. Blues ¥ RonÕs Blues ¥ and more). Includes an intro by the editor complete with performance notes, a welcome letter from Oscar Peterson, and great photos, with OscarÕs captions, throughout. The CD contains performances of each transcription played by gifted jazz pianist Miles Black.

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Exploring Jazz Piano - Volume 1 (The Schott Pop Styles Series) [Paperback] Review

I've bought several books on improvising jazz piano and this is by far the best. It's a heavy, well bound book (my binding has not come apart), which could explain it's $40 list price tag. The book itself is worth $40, even if it was looseleaf!

I agree with the previous reviewer that Richards quickly covers basic chord theory, but that's what convinced me to try this book. Since I've been studying jazz theory (trying to learn to improvise) and have a fair level of knowledge, I didn't want another book that introduced chords and basic ii V7 I progressions. There's some excellent books on jazz theory out there - try Bert Ligon's books for the most thorough, and challenging, course on theory. I wanted a book that would teach me how to sound like my favorite jazz pianists.

To improvise jazz, you need a thorough command of chord voicings and progressions, and then an ability to improvise scale patterns against a strong left hand rhythm. Many books give examples of those components, but only give a few basic exercises and vague verbal instructions on how to apply them to a song. I have the knowledge needed and I can play great sounding chords and progressions, but I have not been able to play a respectable improvisation and haven't been able to find any real guidance up until now.

What makes this book different--and excellent--are the numerous exercises that show you how to apply the techniques presented in the lessons. Richards' book gives several etudes and exercises in each chapter to help you develop those skills. He offers excellent improvising suggestions and examples for each etude, and shows how to apply them. In addition, he provides 4 or 5 authentic jazz tunes in each chapter - from standards to bebop and all styles - and, again, offers detailed examples and suggestions to apply the techniques presented. In addition, the tunes and drills present various left-hand styles with an emphasis on latin styles.

If you can play piano at a late beginner or early intermediate level, and have a basic knowledge of chords, then you'll get a lot out of this book. If you're an experienced player and know chords thoroughly, this book - and the Volume 2 book - will help you improve and give you excellent training in improvising.

I first bought volume 2 thinking that volume 1 would be too basic for me. But after working with vol. 2 for a week, I decided to buy vol. 1 after all. I know all the theory in volume 1, but the exercises and drills provide so much excellent instruction in playing left hand rhythms or basic chord voicings against a right hand improvisation, that I don't feel that I'm wasting my time with elementary concepts.

The cd that comes with it provides an opportunity to play along with his band. However, the tempos are fast. If you have a keyboard or piano with built in rhythms, you'll be in better shape. You'd definitely want a metronome if you don't have built in backgrounds, so that you can practice slowly and work up to the finished speed. Band in a Box is a great software program that provides some excellent backgrounds to practice with.

Tim Richards is the best teacher - and on top of that a great jazz pianist. He and I are going to be tight for a long time.

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Product Description:
Volume 1 introduces the intermediate pianist to the basic chord-types used in jazz, from major and minor triads to seventh and ninth chords. Other topics include: Chord/scale relationships, modes, broken chord and scale patterns, pentatonic and blues scales, walking bass lines, Latin rhythms and bass lines, the diatonic cycle, secondary dominants, IIVI sequences, horizontal and vertical improvisation, tritone substitution, two-handed voicings, rootless voicings, technical exercises and fingering, accompaniment styles, ear-training, discography (suggested listening).28 pieces by the author appear alongside special arrangements of well-known jazz standards, including: Autumn Leaves * Fly Me to the Moon * In a Sentimental Mood * Mannenberg * On Green Dolphin St (Part 1) * Ornithology * Song for My Father * Straight No Chaser * Take the A Train. Also included are transcribed solos by Thelonious Monk and Horace Silver, an invaluable source of authentic jazz techniques.

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Berklee Jazz Piano BK/CD (Berklee Guide) [Paperback] Review

This book is a short, no-nonsense, accurate presentation of what everyone should know about playing jazz piano.The harmonic, melodic and rhythmic essentials are explained.When he covers modal playing, it is NOT the usual dorian/mixolydian/ionian on ii-V7-I progressions that you find in other method books.He explains them correctly; they are their own unique harmonic framework that is distinct from traditional major/minor key chord progressions.I also think that his information on jazz counterpoint is worth it's weight in gold and it's information that I've not encountered elsewhere.

One could spend many thousands of dollars on private lessons and not get the info presented here.It would probably be doubly beneficial if used as a study guide along with a good teacher.

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Product Description:
Play jazz piano with new facility and expression as Ray Santisi, one of the most revered educators at the Berklee College of Music - and mentor to Keith Jarrett, Diana Krall, Joe Zawinul, and thousands of others - reveals the pedagogy at the core of Berklee's jazz piano curriculum. From beginning through advanced levels, Berklee Jazz Piano maps the school's curriculum: a unique blend of theory and application that gives you a deep, practical understanding of how to play jazz. Concepts are illustrated by the accompanying practice CD, where you'll hear how one of the great jazz pianists and educators of our time applies these concepts to both jazz standards and original compositions, and how you can do the same. You will learn: * Jazz chords and their characteristic tension substitutions, in many voicings and configurations * Modes and scales common in jazz * Techniques for comping, developing bass lines, harmonizing melodies, melodizing harmonies, and improvisation * Practice techniques for committing these concepts to your muscle memory * Variations for solo and ensemble playing * Advanced concepts, such as rhythmic displacement, approach-chord harmonization, and jazz counterpoint

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