Just Jazz Real Book, E Flat Edition Review

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Just Jazz Real Book, E Flat Edition ReviewThis book has a great set of songs. We use it weekly at our jazz quartet gig. Make sure you get one with a comb or spiral binding. Some versions have a regular "songbook" binding which won't stay open well. This book has some overlap with the the "Just Standards" book, but there were enough differences to warrant me buying the book in addition to the "Standards" book in the same series.
I perform a weekly gig and this book and the "Standards" book are the only two I use. The changes are good and easy to read. Very few mistakes although it is not perfect. By getting C books for the piano and bass, we are reading the same charts and are literally on the same page. I also sing and lyrics are included and easy to read.
I like this better than other "real books." It uses "pop notation" rather then "jazz notation" No triangles here.
As a horn player I would recommend this book. It has jazz standards as well as bop songs and fusion songs. As a singer I would recommend the "Just Standards Real Book." I have both and use them as a gigging musician. For sitting at home and practicing, I would choose one or the other based on my needs.Just Jazz Real Book, E Flat Edition OverviewFrom classic jazz standards to bebop, cool, and modern jazz, the Just Jazz Real Book contains 250 jazz classics that are the core required repertoire for jazz musicians all over the world. Production teams in both the U.S. and U.K. took great care to ensure the accuracy and usability of each arrangement, and original composer sources were consulted to ensure that the arrangements remained true to the composers' intentions. Each book in the series is extensively cross-referenced with appendices that include a complete composer index, a complete discography of suggested recorded versions for each song, a section on how to play from a fakebook, chord theory reference pages, chord voicings, and a section on how to create interesting chord substitutions. Comb bound, approx. 400 pages.

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Just Jazz Real Book, B Flat Edition Fakebook(Real) Review

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Just Jazz Real Book, B Flat Edition Fakebook(Real) ReviewThis is a great book for the key of Bb brass. I noticed some reviews found that the book did not have a spiral binding. That is on the Key of C book of the same title and music inside. The Bb edition has the spiral. Easy to put on a music stand and read. I saw the C edition without the spiral at Barnes & Noble. Pain in the rear to try and read and would be difficult to put on a music stand. Over all, this book is great with a lot of the old standard jazz music. Would recommend this one.Just Jazz Real Book, B Flat Edition Fakebook(Real) OverviewFrom classic jazz standards to bebop, cool, and modern jazz, the Just Jazz Real Book contains 250 jazz classics that are the core required repertoire for jazz musicians all over the world. Production teams in both the U.S. and U.K. took great care to ensure the accuracy and usability of each arrangement, and original composer sources were consulted to ensure that the arrangements remained true to the composers' intentions. Each book in the series is extensively cross-referenced with appendices that include a complete composer index, a complete discography of suggested recorded versions for each song, a section on how to play from a fakebook, chord theory reference pages, chord voicings, and a section on how to create interesting chord substitutions. Comb bound, approx. 400 pages.

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A Love Supreme: The Story of John Coltrane's Signature Album Review

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A Love Supreme: The Story of John Coltrane's Signature Album ReviewI loved this book. In fact I was just ordering a few extra copies to give as gifts to serious jazz connoisseurs when I came across this drivel from Rich Fontana in the customer reviews section. I felt that as a fan of both the album and the book, I am compelled to reply to his assiduously prepared critique.
In taking the author to task for being a fan, he misses the point of the book entirely: it is intended as a passionate celebration as much as carefully researched study. The author admits it unabashedly, Coltrane himself stated that an "emotional reaction" to music was paramount (in a '64 interview with Leonard Feather) and how else can one measure the effect and influence of a spiritual album without engaging the emotional?
As stated clearly by the author, and Elvin Jones and McCoy Tyner - A Love Supreme was indeed a culmination of the quartet's three years together, not a culmination of Coltrane's career. Yes, Crescent was important and the author states that, even proposing it as an effective blueprint for the four-part suite that ALS is. Mr. Fontana's argument that his own perspective on Crescent is significantly different from the author's goes so far into the realm of picayune that - if it were deemed important enough to be published -- the vast majority of readers would end up scratching their heads and closing the book. (And while on the subject of hair-splitting, Crescent was recorded and released in 1964 - not 1963 - as Mr. Fontana maintains, an important matter in the hyper-charged Trane timeline.)
As to Kahn's use (another small matter apparently missed by someone who relishes detail: the author's name is K-A-H-N) of rock n' rollers (and minimalists, and world musicians) in gauging the reach and influence of ALS. One of the primary intentions of the book is OBVIOUSLY to show how Coltrane managed to transcend stylistic and categorical boundaries - and still does. In the same way the old Blindfold interviews in Down Beat - in which say, Coltrane would praise Lester Young, leading certain fans to ferret out and enjoy old Count Basie recordings - today's far-flung media allows a Carlos Santana oreven the dreaded Bono to help point their fans to the music of Coltrane
In the end, Mr. Fontana comes across as one who requires his music writing the same way: dry, analytical, single-minded. Jazz - and music in general - is NOT rocket science and should not be left to the cold, hard interpretation of one person (such as Mr. Fontana's own, opinion-as-fact portrayal of Coltrane's musical path.) In the virtual round-table Kahn has produced in this book, there is life and passion (and a helluva lot of great photographic images), powered by his own perceptions but mostly by the input of others: jazz musicians, jazz fans, even regular (G-d forbid -- non-jazz) listeners. He trusts his reader to figure it all out for him or herself, that somewhere among all those voices sits the general truth of music, Coltrane and A Love Supreme.
I applaud Ashley Kahn for making a very readable, authoritative book that exudes love and respect for its subject. This kind of writing will do more to breathe life into the jazz continuum than the boring tomes that more often pass for jazz writing. I can't wait to see what Kahn comes up with next.A Love Supreme: The Story of John Coltrane's Signature Album Overview

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