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What our customer's say!

"Tough book", Great book but tough. This is not a book for people who simply want to learn about jazz or how to play in a jazz style. This is a book for people who want to play jazz and are familiar with jazz. The book consistently uses references to famous recordings that jazz fans will be familiar with. This is great in that if you know your jazz that you will be able to know what the author is talking about when he explains II-V-I progressions or how a sus chord leaves a suspended feel. Don't get this book if you: don't know how to play piano; are not familiar with jazz; can not read music; don't know all major and minor keys. I am on chapter 8 in this book, and sus chords, phrygian chords, rootless chords, tritonation, and right hand modifications to rootless chords has already been covered. If you are a jazz fan and want to not just play by feel but know what you are doing, this book will suit you.

"A review for the Beginner", My Background: I have played trombone in concert band in elementary school and high school. I could sight read for trombone. I have tinkered with the piano for years during that time. I would say no formal training in piano.
Now: After 4 years with this book I now play piano for two churches (by ear), one as a paid position the other as a volunteer. I have been playing at these churches for 2+ years. I owe a lot of where I am to the explanations, background, tips and practice suggestions in this book.

What you will need to know before being able to use this book:
* Being able to read music in both clefs (you do not necessarily need to sight-read but I'm sure it would help me).
* A decent sounding keyboard or piano to practice on
* A desire to practice (there are people who will buy this book and never practice expecting things to just enter their brains through osmosis).

This book takes you from the beginning and explains things in a concise manner. After 4 years, I have probably covered about 25% of this book in terms of things that I have internalized. The covers have ripped off because I use it so much. Things I am practicing right now:

* Upper structures
* 4th Chords
* Left hand voicings
* Chord substitutions

The best thing about this book for me, is that it has shown me how to interpret music that I see and chords that more advanced musicians play. For example, once you realize that a IV chord is so similar to a I chord (with the exception of the 4ths), then you realize that you can approach a IV chord just like you would a I chord by imitating a ii-V7-I. This would mean approaching the chord by playing a minor V, a dominant I and then IV. After buying the book and reading it, you will understand what I just wrote and also realize the beauty of that movement to spice up your older hymns (which have tons of IV chords with nothing to help you move to them).

If you are a hard working musician with a God-given talent for music and you are interested in Jazz Piano, I would advise you to purchase this book. Get a "Real Book" (search on Amazon) to help you along (I got one recently and realized that it would have helped a lot more if I knew this)

Things that made this book a great buy for me:
* Scale Theory
* Scale fingerings and how to practice scales (differs from classical practice and helps with improving)
* Adding notes to 3 note voicings
* Chord substitutions (Tritone substitution, phrygian chords, upper structures for Dominant chords)... these always impress people and are explained simply in this book.

And I'm not even done working on the other stuff.

Now, I need to learn how to sight-read.

""The" book for playing jazz on piano", This is not an easy book to get a handle on. Beginner's may be overwhelmed. Intermediate students will need help in structuring the topics and lessons. Advanced students will probably find plenty of nuggets of jazz wisdom to make the purchase of this book worthwhile. As a long time musician relatively new to jazz, I find this book extremely valuable for learning about jazz, but it isn't terribly helpful in improving my piano chops. I still give it five stars because I didn't buy it to learn the piano so much as to learn jazz, and obviously, jazz piano. That may sound crazy, but it makes sense when you realize there aren't many specific "drills" to learn the various aspects that Levine teaches about jazz and specifically, jazz piano. Yeah, he may say something like, "Be sure you can do this in all twelve keys", but you're not going to stop reading the book, rush to the piano and practice for four weeks before you continuing reading. The kind of stuff he "teaches" takes a lifetime of experience and playing to learn. So I appreciate being told about it, and I like having some perspective added to such a very deep field of music, but after you buy this book, you're still going to need to do some drills, (try Jazz Chord Hanon: 70 Exercises for the Beginning to Professional Pianist, Jazz Hanon (Private Lessons), Post-Bop Jazz Piano - The Complete Guide with CD!: Hal Leonard Keyboard Style Series (Hal Leonard Keyboard Style), and even Piano Essentials: Scales, Chords, Arpeggios, and Cadences for the Contemporary Pianist (Book & CD)), learn some songs (use The Real Book: Sixth Edition), and get some instruction (try your local community college or music store). In short, Levine's book is a wonderful map and a readable, useful guide for just about anyone with interest in playing jazz on the piano.

"you could do better than this", The author states (I don't know his exact words) that 6/9 chords are essentially equivalent to maj7 chords and throughout the book he uses them interchangeably. To me this is an example of slipshod thinking and therefore I wonder just how far one can trust this author. On the plus side, the discography is excellent.

"The definitive jazz piano instructional book", I have searched high and low for a comprehensive instructional book that contains equal parts application and exercises. This is the book. The book is replete with snippets of famous jazz songs that provide a window into the techniques of many great players, and Mr. Levine is thoughtful enough to provide source albums and songs for listening purposes.

Additionally, the book provides you, early on, with a method for interpreting songs out of the real book. With this easy method, you can instantly begin building a repertoire of material, and revisit these songs with the techniques learned in later chapters

Read this reviews before You buy...

"Great Book!", I am a Jazz keyboard beginner. I have taught traditional piano lessons for 24 years. But Jazz and other areas of piano are in very separate worlds of learning.
The book seemed to be something I could read to help my learning to play the Jazz styles.
It is a little more advanced than I had hoped. I am sure though, that I will eventually get to that level and then I can enjoy it.

"Great resource!", I love the fact the Levine's Jazz Piano book is very thorough. The layout is also very logical. One has to be very diligent to work through it, but if you do, there's no limit to the opportunities that will be available to you as a player. It's a lifetime of information for the price of one private lesson.

"High quality, much content, but. . .", I've dabbled in jazz piano for many years to augment my rock chops. Treating this as a sideline (Until recently - I've started accompanying a standards singer), I haven't had a lot of spare money to spend on it. I've run into several frustrations with learning jazz piano that this book addresses with varying degrees of success:

1. Buying bad materials - mistakes are expensive. Buying this book is not a mistake. It is much more generally applicable than the "jazzy" major scales, arpeggios and marginally useful patterns that some books throw at you.

2. Finding good materials - Some of the best hard-to-find materials/tips I have compiled over the years have been the result of long searching and sheer luck - a great find at a used book sale, an excellent teacher (trumpet player!!!) at the community college giving non-credit continuing ed to adults, isolated useful jewels on the web, and occasional inspirations from the ether. Most of those building blocks are laid out nicely in this book, particularly in early chapters. To think where I'd be now if I had found this book 20 years earlier. . .

3. Self-contained books - No book, standing alone, can take you from newbie to virtuoso. There are printing costs, size limitations, royalities to pay for reproducing songs, etc. and it gets expensive for publisher and consumer when a book tries to do too much. However, after years of staring at my almost unused Meheegan books, that are useless without expensive and (until recently) hard-to-find fake books, I am quite sensitive to jazz piano books like this one that say, "Go look in your fake book." Jumping between books is a distraction, and perfect matches between fake books and instruction books is unlikely unless the author draws from a specific book (On the bright side, the book recommends two popular fake books). Copyright laws need to be respected, but I prefer the approach of Solo Jazz Piano: The Linear Approach (Olmstead ISBN: 0634007610) to this issue - borrow chord progressions from a song like "Laura", and write a new tune ("Flora") to use for exercises/examples. As a bonus, the new tunes are useful resources for embellishing old tunes. Another minor frustration is when the book provides a pattern and merely says, "OK, do this in all 12 keys." I own Finale, and other books do the job for you, but it would be nice to have at least some of these exercises written out completely. I do like that the book provides a recommended list of recordings for supplemental study, so you know where to go for inspiration when you're not working through the book.

4. Density - I love to fly through books that give instant gratification. Who doesn't? However, such books do not stand up to repeated and extended study, so there is limited bang for the buck. This book is not that way. Some paragraphs can take a week or more to work through completely (The sentence, "Now go master this in all 12 keys," is contained in many such paragraphs). This appeals to my cheapskate side - for the price of one or two piano lessons, this book is packed material that will keep students busy and will reward repeated viewing.

With this book, you're getting high quality and much content for a good price, but save up for fake books and a library of CD's in order to reap the full benefit of this book.

"The best book about playing jazz that I own", I dont play piano, I don't own a piano, but I study piano to understand guitar and violin. About 15 years ago I started to get bored with popular music and started studying jazz and classical exclusively. I remember my first experience with trying to learn jazz, there were all these chords I had no idea how to play or what the symbols meant. A few years later I played bass in a jazz band and one of the horn players had this book and I bought it right away.

Since then I have bought many more books on playing jazz and this is the best one I own. This book starts with some basic review of chords scales and triads and then starts to explain the basics of forming 3 note chords and gradually gets into more advanced chord theory including the different styles of the most famous jazz pianists (powell, monk, hancock, tyner, and evans) who created their own style of forming chords. Even if you have an instrument that isnt capable of playing chords, this book will help you understand the mechanics of jazz and will help bring understanding to a page full of chord symbols that translates to any instrument.

I cant imagine how hard it would have been to learn to play jazz without this book, I give it my highest recommendation. Please remember the theory in this book can be applied to any instrument even if you have no desire to play the piano.

"Da Bomb!", The Point: Levine's book is truly great.

Levine gives you the real thing, and he explains it in a way that darn near everyone will be able to understand.

This book is not just for keyboard players. (I play the Trumpet, and Levine taught me more about Jazz harmony than any of my Jazz-trumpet-player buddies ever did.)

CAVEAT: To benefit from this book, you MUST know the fundamentals of music. Can you read music? If you had to (and you couldn't get out of it), could you tell me what note I was pointing to on a piece of sheet music? No matter what "key" it was in? Okay. Next, do you really KNOW your Major scales? Can you play them on your instrument? Don't BS yourself - could you really do it, even if your life depended on it?

If you said "yes" to the questions above, and you really want to play jazz, you are probably ready for this book.

Again, for those who want to play Jazz, if you know what a "staff" is, and a "clef," and you "know" your major scales, get this book. I beg of you, start here.

Levine clearly explains a whole bunch of the basic stuff regarding how to hear and play real Jazz. If you master Levine's lessons, you probably won't sound like a hack.

Levine's book gives you just what you need to know, right now. Real jazz involves relatively complex harmony, but it isn't nearly as hard or mysterious as many "jazz" books make it seem.

If this book had been around when I first started fumbling through all of those lousy "How to Play Just Like a Real Jazz Cat" books out there, I would have progressed in my jazz playing at a much faster pace.

I recommend this book to all intermediate/advanced musicians who are studying jazz without the guidance of a genuinely knowledgable jazz teacher.

Recommended!