Robert Schultz has selected and arranged thirteen great jazz hits for piano solo with complete lyrics and chords, ranging in difficulty from intermediate to more advanced. This is an essential edition for all jazz and professional pianists, and great for the advancing student. Titles include: Every Time We Say Goodbye * Moonlight in Vermont * More Than You Know * My Foolish Heart * Skylark * Someone to Watch Over Me and many more. Featured composers include George Gershwin, Cole Porter, Dizzy Gillespie, Hoagy Carmichael, and others.

The new standard in jazz fake books since 1988. Endorsed by McCoy Tyner, Ron Carter, Dave Liebman, and many more. Evenly divided between standards, jazz classics and pop-fusion hits, this is the all-purpose book for jazz gigs, weddings, jam sessions, etc. Like all Sher Music fake books, it features composer-approved transcriptions, easy-to-read calligraphy, and many extras (sample bass lines, chord voicings, drum appendix, etc.) not found in conventional fake books.

Arranged in sixteen musical categories, provides entries for twenty thousand releases from four thousand artists, and includes a history of each musical genre.

(Berklee Guide). Twelve arrangements for solo jazz piano of standard jazz tunes. These arrangements are fun to play, musically suitable for performance, and support the Berklee piano curriculum and other activities (e.g., auditions). They are organized by performance level, with examples from Levels 1 through 4, so this collection will support every pianist's journey through Berklee and other jazz piano programs. The accompanying recording features performances of the pieces by the arrangers. Tunes include: Autumn Leaves * Black Orpheus * Body and Soul * A Foggy Day (In London Town) * In a Mellow Tone * My Foolish Heart * Stolen Moments * and more.

Through curated essays, readers will experience a deeply personal and engaging survey of key figures in jazz in the book that Publishers Weekly calls "a cheerful celebration of an uniquely American musical form.” Whether in the compositions of foundational figures like Jelly Roll Morton, Thomas “Fats” Waller. and Earl “Fatha” Hines; swing pioneers such as Teddy Wilson and Joe Bushkin; torch-bearers like Mary Lou Williams and her student Thelonious Monk; technical masters including Bud Powell and Bill Evans; or modern mixologists such as Sun Ra and Keith Jarrett, the piano has been the site of historic innovations in jazz, and the stage on which some of its most colorful personalities have cemented their legacies. It’s no coincidence that several legendary pianists—Duke Ellington, Count Basie, Nat King Cole—are named after royalty. As one of the leading writers on jazz today, author, journalist, and historian Will Friedwald has witnessed over a half-century of epochal developments in the genre and the central role that the piano has played in its evolution. Nights at the Red Steinway collects key writings (from the Wall Street Journal and elsewhere) to form a deeply personal and engaging survey of key figures from Abrams to Zawinul. Irreverent when it wants to be but serious when it counts, Friedwald’s writing offers a wide-ranging, deeply considered tour through the history of jazz piano. It is an indispensable collection for fans of all stripes.