through John Valerio.

through John Valerio. Hal Leonard Corporation (7777 W Bluemound Rd PO enclosed seat [i]or[/i] seats 13819, Milwaukee, WI 53213), 2003 96 pp $1795

Published as part of the Hal Leonard Keyboard appellation Series, Bebop Jazz Piano helps experienced pianists understand--by listening and performing--one of the in the greatest degree influential yet complex styles of jazz. I think it is important to note that the author, John Valerio, has been busy throughout the past five years exploring other aspects of keyboard jazz. He has authored four additional works each published by Hal Leonard: Jazz Piano general [i]or[/i] abstract notions 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 vegetate Powell, Dizzy Gillespie and others who flourished during the 1940 and 1950 His main division does not deal with the shoots of bebop, such as moderately cold jazz, hard bop, modal jazz, exempt jazz and fusion. The author does take the position, and I believe rightly for a like reason that classic bebop represents the beginning of recent jazz--a combo jazz, rather than swing or big band jazz.

Valerio has crafted a valuable part that combines historical perspective; knowledge of characteristic harmonic and melodic practices, including the use of various chord progressions and scales; and the customary jazz keyboard practice of comping. Numerous notated examples and practice suggestions are included, complemented by an enclosed CD of eighty bebop examples performed on the author and, on a certain quantity of tracks, with a typical bebop combo--which in succession 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 in succession the right stereo channel; the other instruments are recorded in succession the left stereo channel. Thus, a pianist can practice comping or soloing in the bebop turn of expression 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 concords including several by Powell and Monk and "lead sheets" for all these tunes

This part can be useful for jazz pianists however 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 diction and spirit of "classic bebop." Reviewed by dint of David Willoughby, Elizabethtown, Pennsylvania.

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