Fresh arrangements in a wide range of keyboard styles including new age jazz pop and blues.

James Booker III was born in New Orleans in December, 17 1939. He was classically trained on piano from the age of six, at which time his astounding talents were already evident, and he was considered a child prodigy. He found his way into the local music scene as a young teenager recording his first single, Doin' the Hambone, at fourteen. Although it failed commercially, Booker got extensive studio work as a result, including uncredited 'ghost' piano tracks for Fats Domino. Throughout high school, booker played regularly with many local and regional bands, while still maintaining an excellent academic record. After graduating, Booker hit the road with Joe Tex, and spent the next several years gigging with various bands including Earl King, Dee Clark and Huey 'Piano' Smith and the Clowns (actually replacing Huey who preferred not to tour). In 1960, Booker recorded what would be his most commercially successful song, the organ-driven instrumental 'Gonzo'. Despite reaching number 10 on the Billboard RandB charts, the single failed to spawn a successful solo career for Booker, who spent the rest of the decade backing up many obscure acts and several better-known ones, including Wilson Pickett and Aretha Franklin. In 1970, Booker was arrested on drug charges, and went to prison for several years. Upon his release, he spent some moderately successful years in New York and los Angeles. He performed and recorded with such diverse artists as Ringo Starr, T-Bone Walker, Jerry Garcia, Lionel Hampton and even Dr. John, who'd been an informal student of Booker's several years earlier. At some point during this period, he lost his left eye. There are varied stories as to how this happened: a street fight over a financial dispute, a prison brawl, or the use of a dirty syringe. Ultimately no one knows for sure. Booker retuned to New Orleans in 1975, and played a highly successful solo set at the Jazz and Heritage Festival that same year. That performance proved to be a turning point in his career, leading to a

Following the best-selling books Jazz Piano Chords Jazz Piano Scales and Jazz Piano for the Young Beginner featured here are 12 pieces written in the styles of famous jazz pianists of the past. From Scott Joplin and Jelly RollMorton to Oscar Peterson and Bill Evans this collection is directed toward advanced level classical pianists who want to spice up their repertoire with the sound of Art Tatum or Erroll Garner without having to improvise. Everycomposition starts with a short biography of the featured pianist and is accompanied by a CD with complete trio recording.

Continuing the ever popular six book In Recital series this book showcases Jazz and Blues works for the early advanced pianist expertly arranged by Edwin McLean and Kevin Olson.Students will experience walking bass figures swing bebop boogie-woogie traditional blues stride bass as well as Latin Jazz and Jazz Ballads. The works are true crowd pleasers and will fill many hours at the Piano with delight!

The Billy Strayhorn Collection brings together 17 memorable pieces written arranged or made famous by the man of whom Duke Ellington said ‘(He) was my right arm my left arm all the eyes in the back of my head’.A shyman who realised early on that his dream of a career in classical music was unlikely to become a reality because of his race Strayhorn found a father figure and a lifelong employer in jazz man Ellington.The music presentedhere reflects the full range of Strayhorn’s talent and contains his two most famous compositions Take The ‘A’ Train and Lush Life. Either one would have granted Strayhorn immortality in jazz’s hall of fame buthe wrote and collaborated on so much more doing it all in the role of a highly-valued but low-profile member of Ellington’s entourage.Ellington a cultured man had succeeded despite racism - and the tacit deal he struckwith show business was to be the smiling guy in the spotlight. Strayhorn remained in the shadows and lived a life of quiet courage working in the civil rights movement living openly as a homosexual and using his abundant musicaltalent mainly for the good of the Ellington orchestra. Play his incomparable music and decide for yourself who got the better deal. The true answer is probably that we all did.

A spectacular and ambitious project for 2005 by the Pat Metheny Group in full band score. In collaboration with Lyle Mays the group have created a single 68-minute piece that the composers have compared to making a film. The musical shifts and turns are akin to a journey with moods changing with the passing landscape.

A jazz/swing inspired suite of pieces in the form of the classical sonata from the composer of those continuously popular piano collections In the Pink (CH60855) Lazy Days (CH55983) and On The Cool Side (CH59436). Brian Chapple studied at the Royal Academy of Music with Lennox Berkeley. He has had a distinguished career as a composer of concert works as well as educational music.

Piano-Time Remembered contains 14 works by the American jazz pianist and composer Bill Evans transcribed for solo Piano by Pascal Wetzel. This new collection features a foreword by Enrico Pieranunzi and includes the songs Maxine Since We Met Remembering the Rain and more.

Learn to play your favourite Stevie Wonder hits with this fantastic new songbook featuring 12 classics expertly arranged for Piano solo.Songs include: All in Love Is Fair • Ebony and Ivory • I Just Called to Say I Love You • Isn't She Lovely • and more!

Jazz Piano Solos Series Volume 40-This volume in the Jazz Piano Solos Series contains 20 selections of the greatest tunes from Charlie Parker in solo Piano arrangements with chord symbols. Jazz Piano Solos Series Volume 40: Charlie Parker includes the songs: April in Paris Au Privave Billie's Bounce (Bill's Bounce) Confirmation Donna Lee Lover Man (Oh Where Can You Be?) Ornithology Scrapple from the Apple Yardbird Suite and more.

Intermediate/Advanced. Harmonically speaking, Bill Evans remains one of the most influential musicians and composers in jazz. His compositions are among the richest and most original, laced with beautiful, lush alterations and passing chords. This set represents a sampling of Bill's illustrious career from Waltz For Debby, written in 1954, to Laurie, composed in 1979. Others provide unique challenges and give valuable insight into Bill's creative genius. The rhythm section skillfully plays each composition in the Bill Evans style, including his favorite piano voicings. All to provide you with a realistic sense of the Bill Evans mystic. Rhythm Section: Dan Haerle (p) Todd Coolman (b) Steve Davis (d) Includes: # Waltz For Debby # Walkin' Up # Laurie # Peri's Scope # Funkallero # Turn Out The Stars # Very Early # Interplay # Time Remembered

With introductory text, performance notes, standard notation and chord names (does not include words to the songs). A must for Evans fans, this book presents note-for-note piano transcriptions and performance notes for six songs played on February 21, 1966 at Town Hall, Bill's New York concert debut. As his father had passed away shortly before, Bill played a requiem to him, which was repeated for TV in 1968 in memory of Bobby Kennedy. Nine songs in all, including Epilogue, One for Helen, Who Can I Turn To and more, as well as a foreword from project editor Jeff Sultanof.

Written by Dominic Alldis, Jazz Piano Tutor at the Royal Academy of Music, this is an invaluable tutor for those wishing to incorporate their previous classical training into learning the Jazz idiom. Divided into two parts, part one begins with improvisation using pantatonic scales, this encourages an exploration of the keyboard using a rudimentary melodic and harmonic framework. Part two begins with an introduction to bebop by applying the melodic syntax found in a Bach prelude to aharmonic progression of a jazz standard. Features explanations and examples of: Pentatonic Improvisation The Blues Rock Piano Rhythmic Displacement Scale Theory Major Scale Theory Applied Melodic Syntax The Language of Bebop Minor Scale Theory Applied Pentatonic Scale Theory Applied Left-Hand Accompaniment Walking Bass Lines Thematic Development Performance Tips. This book represents the culmination of hundreds of hours spent teaching jazz piano, and should be an enjoyable course of study for anyone who loves jazz piano and who wants to make steps towards understanding the vast array of possibilities open to the improvising pianist.