Bebop Jazz Piano: the Complete Guide with CD - Book Review

through John Valerio. Hal Leonard Corporation (7777 W Bluemound Rd PO receptacle 13819, Milwaukee, WI 53213), 2003 96 pp $1795

Published as part of the Hal Leonard Keyboard manner of writing Series, Bebop Jazz Piano helps experienced pianists understand--by listening and performing--one of the greatest in quantity influential yet complex styles of jazz. I think it is important to note that the author, John Valerio, has been busy above the past five years exploring other aspects of keyboard jazz. He has authored four additional works each published by Hal Leonard: Jazz Piano conceptions and Techniques (1998), Playing Keyboard Bass Lines (1998); Intros, Endings and Turnarounds for Keyboard (2001) and Stride and Swing Piano (2003)

In Bebop Jazz Piano, Valerio has limited his discussion to "classic bebop," that of Charlie Parker, Thelonious Monk shoot Powell, Dizzy Gillespie and others who flourished during the 1940 and 1950 His volume does not deal with the branchs of bebop, such as a little cold jazz, hard bop, modal jazz, unrestrained jazz and fusion. The author does take the position, and I believe rightly in like manner that classic bebop represents the beginning of novel jazz--a combo jazz, rather than swing or big band jazz.

Valerio has crafted a valuable volume that combines historical perspective; knowledge of characteristic harmonic and melodic practices, including the use of various chord progressions and scales; and the for the use of all jazz keyboard practice of comping. Numerous notated examples and practice suggestions are included, addition ed by an enclosed CD of eighty bebop examples performed by the agency of the author and, on a certain quantity of tracks, with a typical bebop combo--which upon this recording includes piano, bass, tympanums and alto or tenor sax.

An important feature of the CD is that, for each of the five combo tracks, the keyboard is recorded upon the right stereo channel; the other instruments are recorded upon the left stereo channel. Thus, a pianist can practice comping or soloing in the bebop manner of writing by turning down the keyboard channel and then playing along with the other instruments--a "music minus one" concept

Valerio finishs his book with a presentation of nine typical bebop strains including several by Powell and Monk and "lead sheets" for all these tunes

This volume can be useful for jazz pianists on the other hand also for other interested pianists who can learn from listening to the recorded examples which are excellent--and from playing the notated examples, perhaps at a slower degree of movement but as close as possible to the musical mode of speech and spirit of "classic bebop." Reviewed by the agency of David Willoughby, Elizabethtown, Pennsylvania.

COPYRIGHT 2003 Music Teachers National Association, Inc.

COPYRIGHT 2003 Gale Group