A step-by-step approach to solo jazz improvisation for piano. Learn to improvise using the techniques pioneered by piano greats Lenny Tristano and Dave McKenna. This methodical approach to learning the art of solo jazz piano improvisation will free your creative sense of music. It begins with a review of chord symbol interpretation, walks through bass line development, and ends with how to play several melodic lines simultaneously in stimulating musical conversation. You'll learn how to develop solos that embellish and support the melody, and use lead sheets to help you generate your own musical ideas. Twenty-one lessons present techniques, practice exercises, and tunes based on jazz standards. Notated transcriptions of sample improvisations illustrate each lesson's technique, and the accompanying CD lets you hear a master improviser put these ideas to work.

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Endorsed by Kenny Barron, Jamey Aebersold, Richie Beirach, and more, this book presents all the information a student of jazz piano needs in an easy-to-understand, yet thorough, manner. For intermediate to advanced pianists, written by one of the acknowledged masters of jazz piano playing.

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Although it is highly revered today, the music of the Miles Davis Nonet left the audiences of the late 1940s indifferent. The group was highly popular among other musicians, however, and served as an inspirational force to a multitude of other bands, as well as the different subsequent groups of the many musicians involved. Traces of the nonet?s music can be found in the early 1950s Miles Davis groups, the Gil Evans recordings (including the arranger?s wonderful collaborations with Miles), Mulligan?s pianoless quartet with Chet Baker, certain arrangements of the Stan Kenton orchestra and John Lewis? (another member of the nonet) posterior Modern Jazz Quartet.

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John Coltrane's most important and best selling album after "A Love Supreme", Blue Train gets with Rudy Van Gelder for a 24-bit mastering treatment. This edition features the complete session with alternate takes included.

JOHN COLTRANE: Tenor Saxophone
LEE MORGAN: Trumpet
CURTIS FULLER: Trombone
KENNY DREW: Piano
PAUL CHAMBERS: Bass
PHILLY JOE JONES: Drums

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Neil Diamond stars as Yussel in this tale of a young Jewish cantor who strives to make a career in music. Against the wishes of his rigid father and his loving wife, Yussel travels to California to play his music. Swept up by the excitement, he meets a woman who shares his dream. He grows apart from his family, and becomes confused about what he should ultimately do with his life.

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I never liked jazz music because jazz music doesn't resolve. . . . I used to not like God because God didn't resolve. But that was before any of this happened. In Donald Miller's early years, he was vaguely familiar with a distant God. But when he came to know Jesus Christ, he pursued the Christian life with great zeal. Within a few years he had a successful ministry that ultimately left him feeling empty, burned out, and, once again, far away from God. In this intimate, soul-searching account, Miller describes his remarkable journey back to a culturally relevant, infinitely loving God.

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Diana Krall's 12th album Quiet Nights is an intimate recording of ballads and bossa novas from the team that brought you her best-selling GRAMMY Award-winning CD The Look of Love. Accompanied by her quartet and orchestra, Diana turns her sensual vocals and consummate piano skills to "The Boy from Ipanema", "Walk on By"and other classic tunes. Quiet Nights is initially available as a limited edition CD including 2 bonus tracks - her stunning rendition of the Bee Gee's "How Can You Mend A Broken Heart" and the standard "Every Time We Say Goodbye". Also available on LP pressed on 180 Gram Vinyl.

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Product Description
In 1957, Eugene Smith, a thirty-eight-year-old magazine photographer, walked out of his comfortable settled world?his longtime well-paying job at Life and the home he shared with his wife and four children in Croton-on-Hudson, New York?to move into a dilapidated, five-story loft building at 821 Sixth Avenue (between Twenty-eighth and Twenty-ninth streets) in New York City?s wholesale flower district. Smith was trying to complete the most ambitious project of his life, a massive photo-essay on the city of Pittsburgh.

821 Sixth Avenue was a late-night haunt of musicians, including some of the biggest names in jazz?Charles Mingus, Zoot Sims, Bill Evans, and Thelonious Monk among them?and countless fascinating, underground characters. As his ambitions broke down for his quixotic Pittsburgh opus, Smith found solace in the chaotic, somnambulistic world of the loft and its artists. He turned his documentary impulses away from Pittsburgh and toward his offbeat new surroundings.

From 1957 to 1965, Smith exposed 1,447 rolls of film at his loft, making roughly 40,000 pictures, the largest body of work in his career, photographing the nocturnal jazz scene as well as life on the streets of the flower district, as seen from his fourth-floor window. He wired the building like a surreptitious recording studio and made 1,740 reels (4,000 hours) of stereo and mono audiotapes, capturing more than 300 musicians, among them Roy Haynes, Sonny Rollins, Bill Evans, Roland Kirk, Alice Coltrane, Don Cherry, and Paul Bley. He recorded, as well, legends such as pianists Eddie Costa, and Sonny Clark, drummers Ronnie Free and Edgar Bateman, saxophonist Lin Halliday, bassist Henry Grimes, and multi-instrumentalist Eddie Listengart.

Also dropping in on the nighttime scene were the likes of Doris Duke, Norman Mailer, Diane Arbus, Robert Frank, Henri Cartier-Bresson, and Salvador Dalí, as well as pimps, prostitutes, drug addicts, thieves, photography students, local cops, building inspectors, marijuana dealers, and others.

Sam Stephenson discovered Smith?s jazz loft photographs and tapes eleven years ago and has spent the last seven years cataloging, archiving, selecting, and editing Smith?s materials for this book, as well as writing its introduction and the text interwoven throughout.

W. Eugene Smith?s Jazz Loft Project has been legendary in the worlds of art, photography, and music for more than forty years, but until the publication of The Jazz Loft Project, no one had seen Smith?s extraordinary photographs or read any of the firsthand accounts of those who were there and lived to tell the tale(s) . . .

Click on thumbnails for larger images

Thelonious Monk and his Town Hall band in rehearsal, February 1959.	Zoot Sims (ca. 1957-1964).	Loft interior, fifth floor (ca. 1964).

The northeast corner of Sixth Avenue and 28th Street (ca. 1957-1964).	White Rose Bar sign from the 4th floor window of 821 Sixth Avenue (ca. 1957-1964).	W. Eugene Smith at 4th floor window of 821 Sixth Avenue (ca. 1957).

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