What is the Real Book? (a jazz shibboleth)

[@WhatTheKrakenKnows]

Hi Adam! I've been admiring your videos! Thank you! A few commenters here are talking about how jazz musicians are elitist jerks... Well: That's probably true a lot of the time. However, I think the "cutting session" or "jam session protocol" is a hang over from the days of segregation. Black musicians didn't want to make it easy for white cats to steal the music. Also, if you were a young black musician, you were going out to represent for your race, and needed to be tempered by flames from the elders. Between those two elements, it was important for both black and white musicians could show immediately that that they "could play" when daring to sit in. (The scenes of Eminem "sitting in" in 8 MILE are possibly relevant to this discussion.) I'm not saying that this kind of attitude should still be present at a casual jazz jam now, but that history might help explain how it came about. Taking this further to the 70's Real Book, there is definitely a discussion to be had about how black and white jazz artists are represented differently. Metheny, Swallow, Burton etc. handed over their charts. No major black musicians did -- why would they? so whitey could steal it? -- and as a result the charts to the heavy black jazz composers like Monk, Ellington, and Shorter are far more inaccurate than the Bostonians or Bill Evans. Swallow's comment in Kernfeld's book that the changes to Ellington were correct at last is ludicrous. Thelonious Monk's name isn't even spelled right, let alone the changes to his compositions... BTW I memorized the Fifth Edition Real Book in high school, I am certainly part of that honorable (?) tradition. Thanks again Adam for cool videos! Ethan

[@RyanRenteria]

The first recorded version of autumn leaves is in the 1946 movie "les portes de la nuit". it first appears in G# minor, and then later in D minor.

[@RyanRenteria]

how is posting some random guy's blog considered good proof? just because he thinks it was written in e minor doesn't mean its correct. he doesn't even cite his source for that claim. you can watch the film for your self, for free on youtube if you don't believe me. i actually provided proof. come back with some real evidence.

[@restructures]

"I miss the days of musicians like Thelonious Monk. Monk had no problem reading or writing music but hardly ever gave his sidemen charts. They had to learn his music by ear. Monk thought it made for better art, and of course he was right. The Thelonious Monk Quartet never used sheet music. Dewey Redman told me that Ed Blackwell once recommended him to Monk. But when Dewey called Monk and asked to get together to go over the tunes, Monk merely said, 'Do you know my music or don't you?' If Dewey had said yes, he could have had the gig: in other words, show up and play the book perfectly from memory, done and done. However, Dewey was used to a situation like Ornette Coleman, where you rehearsed everything over and over in advance, and so therefore unfortunately never played with Monk. It is extraordinary how little paper seems to exist from small group jazz of the 1940's, 1950's, and 1960's. There are bits and pieces around but really very little compared to how many songs and records there were. The best music of Ornette Coleman needs to be considered in that tradition. Like Monk, Charlie Parker, John Coltrane, and so many other composers, it never really existed on the page in the first place. ... [J]azz is far closer to a folk music than the academy. You can't write it all down -- and maybe by trying to do so, you lose something significant." - Ethan Iverson, August 24, 2010

[@davidhammers9708]

just saw The Bad Plus at The Jazz Standard last night, incredible show

[@greghansen4331]

Makes me think of medieval rockers like Corvus Corax. They study the profane music--the music of the streets and taverns, as opposed to courtly and sacred music--of the middle ages. It's a difficult subject because it was never written down! Those who could write music didn't care to record that stuff, and those who played it probably didn't see a need. The main source of information about it is letters from people who complained about it. Music from the 40s, 50s,and 60s was at least recorded, or much of it was. So it wasn't just lost. But there was a little group whose mission was to preserve folk music from around the United States, and they specifically transcribed it into books rather than just recording it because they thought that was the best way to preserve and distribute it over the long term.

[@Intenzity]

Hey man, I am totally not homophonic, some of my best friends are enharmonic. First inversion, second inversion, I don't judge, man.

[@isaaccoyle6885]

Intenzity 10/10

[@steve895]

I'm triggered, don't you know there is more than two inversions. According to Bill Nye there is a whole range.

[@sethroy4318]

the irony is that the chords used in common jazz parlance usually have at least three, and it is theoretically possible to as many as eleven. and that's not even counting voicings that aren't inversion related. so much for binaries.

[@MediHusky]

ALL CHORDS ARE JUST AMALGAMATIONS OF DIATONIC NOTE RELATIONS!!!!!!!!!! INVERSIONS ARE A LIE!!! DON'T DRINK THE KOOL-AID!!!!!!

[@garlicbug]

KZbin comments are nothing if not predictable

[@NotRightMusic]

A few years back a few friends and I created "The Fakest Book" - full of avant garde tunes, John Cage stuff, music games, and other weird stuff. Needless to say - it never caught on :(

[@behradiddle]

Not Right Music That's sound interesting... where could I get it? :D

[@ronbarzilai5705]

That actually sounds awesome, do you have a pdf version you can send me?

[@NotRightMusic]

Hahahaa! Thanks! I was actually thinking about going back to it - fixing some things, adding things, and cleaning it up a bit. I have to get permission from the people who were involved with it and helped me. Email me and I'll let you know when it's ready: [e-mail]

[@NotRightMusic]

Thanks man! See my above comment.

[@thomasj.780]

That's an awesome idea ! I'd love to see it if you decide to finish it !

[@TimothyRyanFisher]

My first Real Book I bought in New York City, I had to go to a store and say a secret password that I learned from another musician. I went to the counter and asked for an umbrella, they took me down the stairs to a hidden area of the store and had hundreds of Real Books. That was thirty years ago. It was a big deal to me to find it and I bound each page to preserve it. I still use it, work on tunes with students.

[@ashtar3876]

Huh, wonder why umbrella was the password

[@samuelhendricks4822]

Funny comment about the coffee stains. Don't know what inspired it, but the cover of Steve Swallow's 'Real Book' album has a big round coffee stain on it. At the time the record was made, I was friends with the art director, who asked to borrow my Real Book to work on the cover design. My copy had doubled as a coaster for a coffee mug at some point, and the telltale stain ended up on the album cover. Proud to have made such a profound contribution to a Steve Swallow record.

[@noahmay7708]

How do you have a real book that small?

[@June_Hee]

0:34 "All Star" the meme never ceases

[@danielcorrigan8805]

1:24 more all star

[@DenisMolla]

Wow! Much awesomeness! Great songz! Much references!

[@teekenny2965]

It's legit sheet music too

[@DonYurik]

The Meme must flow

[@jeffirwin7862]

Fake sheet music. Sad!

[@insaneintherainmusic]

What about the digital age bringing the real book to everyone's phones & tablets in the form of iReal pro? I see it everywhere, and it's a helpful practice tool, but I'm wondering how it fits into this story.

[@jungleandbass]

well, Ireal pro uses chords created by people, which can sometimes cause problems. For example, I am studying Caravan by Duke Ellington, and there are three different versions to choose from. Also, I think the "old" jazz people (not offending anyone!) wouldn't like it because you still play with a programmed backing track. They probably think it's better to play with a "real" combo, just because you experience the "real" thing. The problem is that this is difficult to organise, and you don't have as much freedom in what you practice, because the combo isn't going to repeat one part all the time for your sake.

[@CristobalSanhuezaMusic]

The melody!!! you dont have the melody on the ireal. And the meldy is the soul from a composition.

[@tmbs1139]

Cristobal Sanhueza well that's true but you can still find every head you need online

[@crono303]

Sometimes I feel like the iReal pro that people use on their phones sometimes can make things even worse. Now many people don't even have the melody rhythms to try to line up, it's just 32 measures of boxes with chord symbols. Sometime beginning jazzers play every song the same way, which can lead to 1-2 hour sets of generic comping, etc. However, at the same time, I love the iReal pro as a tool. When I'm on a gig and someone calls Stella by Starlight and I haven't played it in 6 months, it's a good "refresher," and usually by the 2nd chorus you hopefully don't need it anymore. Or if a singer wants a tune up or down a few keys, it can be a great aid for last minute fixes. I personally think the iReal is best used as a reminder tool for things you've already learned by ear or as a "use in case of emergency" sort of thing on the bandstand.

[@CristobalSanhuezaMusic]

@ray Rhythm Yeah! i know, but the goal here is to use your musical memory. Thats what makes the greats great. The trained their ears and memory. The key es to relate to a sound, not to a visual simbol. ...Now you will say what about classical music... and thats another world.

[@JensLarsen]

Didn't know All Star was a real book tune! 😁

[@joshuawong4801]

Jens Larsen all star is my favorite standard

[@lifeontheledgerlines8394]

@@joshuawong4801 Hm, extreme jazz reharm of All Star. Wait, people have done that. Well, in any case, it's my favorite standard as well. I also like "Africa," "Never Gonna Give You Up," "We Are Number One," "Megalovania," and "Crab Rave."

[@kennethellison9713]

I bought my first Real Book literally "under the table" at my local music store in the 70's. It was, and still is, a wonderful tool.

[@charlescoleman6896]

If it's Christmas time, the chord must be Am7b5

[@wingracer1614]

Indeed it must. I wonder how many people here will remember why?

[@breakingthemasks]

wingracer 16 ... eventually, please do come back and explain this, I'd like to learn :)

[@johnaayyy3424]

breakingthemasks its a reference

[@breakingthemasks]

NOAH KIVLER ... thank you, I'd never heard of that article. appreciate the info :)

[@dishwasherdetergent3366]

But that's the *W R O N G* m7b5 chord

[@zacharycohen89]

This attitude in jazz is super frustrating for me. I'm a beginner hobbyist to the genre. I have no desire to play music for a living for various reasons. I respect those who do immensely, but it's not for me. That said, I'd still love to occasionally jam with some people. I've jammed with people in different genres and it's a very fulfilling and fun thing to do. But for jazz? It feels like there's no gradient between pro players and the absolute beginners. And the beginners feel few and far between when you're getting into it in your late 20s. I just want to play with some people. And I get some pros might not want to deal with a beginner not knowing certain "givens". It can slow things down for them. But I just wish there was some space somewhere in the jazz scene for adults looking to explore the scene non professionally. /rant

[@crono303]

It's true that it's kinda hard to find people in the "intermediate" stage, but they're around. Are you taking lessons with someone? They can probably recommend a place to jam. Besides that, though, if you have a local university with a jazz program, some of the people there would probably be open to jamming together. It might feel awkward at first, but most "jazzers" I've met are pretty open to helping beginners.

[@zacharycohen89]

Yea probably is a good idea to ask my teacher for some suggestions. Though I'm curious if someone like him, who plays professionally, is even aware of a place for someone with my skill set to jam. I haven't tried the local university yet. Probably a bit on my end too... feeling inadequate and anxious to start playing with people who are in school doing this full time. But if I can get over that, it's probably also not a bad idea either. I live near a fairly large city known for jazz which also just adds to the anxiety as I feel like most people in the area who are playing the genre are REALLY good. That said, I have no plans on stopping anytime soon so eventually I'm hoping this all works out. Thanks for the tips.

[@CristobalSanhuezaMusic]

The message from pros basically is, listen to the records, use your ears, intuition and emotions. Thats the deal with "popular music" in contrast with classical musical. You always have to go to the source of the artistic activity. "Autumn leaves" doesnt lives on a paper, its source is a recording. If yo wanna play Debussy go for the score, thats is the source in that case.

[@crono303]

At least in my experience, your teacher is pretty likely to know of most any gig that is happening in town if they're performing regularly. The know the places that someone at your level can play and often will know the band playing there. I've invited my students to gigs before and then chatted with the band to ask if the student could sit it. Students are a great group to play with! There are probably a lot more people there at your level than you'd imagine. And sometimes just going to see a regular gig often will get you invited to sit in. I think most musicians are friendly and supportive of people learning to learn music. (If they're not, then you know to avoid those people from then on, haha) Keep up the good work!

[@zzzyzzzyzzzyxxx]

Hey Zachary I was (and still am) where you are. Some thoughts . . . . Are there any arts papers or magazines where you live? - Often they have a "musicians wanted" and "musicians looking" section. Go to local jazz clubs, there are likely like minded individuals there. Take a proactive step - be open and be humble and doors will open. Are there any public rehearsal spaces where you are where groups can go to practice - check 'em out and put up a "beginner jazz musician looking" ad - you might be surprised that there are many who are looking for you just as you are looking for them. I'll bet there is an adult amateur jazz scene where you are, and if there isn't, start one and you network of like-minded jazzers will grow! Perhaps look for short term jazz education workshops, like http(colon slash slash)vixcamps(dot)com. All ages all levels - besides the experience, it could seed your network. Perhaps at your current level, it may seem there is no gradient between pro and amateur, but I assure you there is, as as you improve, you will sense it. Your comment "And I get some pros might not want to deal with a beginner not knowing certain "givens". It can slow things down for them" has merit. Please realize that the "slow things down for them" part really means that they are probably not having as much fun as you might be having during a session. Like everyone, they too have limited time and they want to - and deserve to - have fun and explore too. Imagine you were a professional tennis player. How often would you want to train (practice) in a situation where your opponent couldn't even handle the speed of your second serve after a fault. Or how often would you want to have an in depth conversation about some world event, idea or technology with a young child? It would not be edifying for you nor would the child likely understand much of your opinion. Music, especially jazz, is a real time conversation. Depending on the level of the other musicians, you may not understand what they are saying, so your responses will not be in keeping with the conversation, and you are likely not adding anything new to it either. It is kind of like a college level vocabulary vs. primary school vocabulary - and just like those at the primary level, you don't yet even have a full awareness of what it is you don't yet know. I am no pro, but I can go into a local jazz club and tell you, just by listening, who has played with who before, who is new, and if a musician is not happy. Have fun and explore. If you don't have one - get a Real Book - but more importantly, get recordings of the tunes in the Real Book and listen. You will find what you are looking for.

[@sartoriusrock]

To my understanding, "Autumn Leaves" being written in E minor in the real book may have something to do with the fact that an alto saxophonist (unsure who) wrote out that particular chart. Alto saxophone is in Eb transposition (C written on the staff played on alto comes out as concert Eb). All music written on the page for an alto saxophone will come out of the instrument a minor third above (well, technically a major sixth below, but details...) Anyways, a piece in G minor (concert pitch) would be written for alto sax as E minor. Therefore, a saxophonist writing out a lead sheet may keep that chart in "their" key (rather than transposing to concert pitch). Not sure if this anecdote is accurate, but an interesting theory.

[@charlescoleman6896]

My guess was that guitarists like to play it in Em, and I had not considered your theory. Interesting!

[@wezzuh2482]

That makes sense. The sher publishing real book has Autumn Leaves in G.

[@proggigs]

cat scratches ear at 3:47 Edit 3 years later: why does this have 1000 likes 😂

[@TarksGauntlet]

I guess you could say he's got... cat scratch fever?

[@agent45267]

thank you so much

[@greghansen4331]

KITTY! Animals will always upstage you.

[@tuomashelin555]

Yes - and after ear scratching the cat teleported to another spot on the couch. Spooky.. probably a result of Adam's jazz theory.

[@melutox]

what do i do with this information

[@peanutbutteronmyguitar7005]

I had a very bad time at a Jazz-Jamsession for exactly that reason. I've been to countless Jamsession of other or of no Genre and everybody was warm and welcoming while in the Jazz-Jamsession nobody told me anything that they were playing. Just a title and something like: "it's a classic you'll know it." For somebody that just wants to Jam this was extremely frustrating. I really don't get the attitude why you are protective of music or art in general. If you love it so much, why don't you want to share that love? If you don't want to share it than it is not because you love it but because you have some connection with it that in it self isn't healthy or a good relationship. If for example you don't want to share it because your personality is based on that music and the struggle you had to go through to learn it. That's at least in my opinion not something that should define you as who you are. And just because you or most people learned it "the hard way" why force other people to go through this if there is an "easy way"? And as always... sorry for my bad english.

[@sarcasticommentator]

PeanutbutterOnMyGuitar once the old generations dies out, this will no longer be a problem

[@hainesworld1]

Sorry man, not every musician on the band stand can just cater to your needs.

[@incapacitaterd]

Hard ways make better musicians, and people. You're always better after you deal with problems this small.

[@matthewgamboa174]

bc no one wants to give a lesson on the bandstand

[@shanemullen8052]

en.wikipedia.org/wiki/Gentrification

[@tomdowlan2866]

These videos are so intriguing and so well done. I'm 72 years old and I am a self-taught piano player. You would think after all these years that I would know about all of this. Well, never too late. Thanks for teaching an old man new tricks.

[@blissmaster71]

It’s hard to discern a difference from “I’m protective of my art form” and “I am a snob”.

[@alestane2]

kzbin.info/www/bejne/r3fHio2HoranmdU

[@Uvouvo05]

The only difference between those 2 statements is who you ask

[@Plunkcown]

i guess just like jazz music itself, it's about context

[@TheCommonBear]

Upvoted because THE SPICE MUST FLOW. Interesting as always, thank you for existing, Adam.

[@thunderlight2004]

>upvoted It appears we have a redditor in the house.

[@pauldragusin]

You mentioned Aimee! Been following her for a couple of weeks now. Great video as always! I am but a humble pop piano player but I love your videos and I am starting to get really interested in learning more about jazz. Cheers! A loyal fan from Romania.

[@johnn7776]

That’s great, very interesting and funny. I bought my real book (beige cover so it’s C Major edition, it’s upstairs on my music stand, with the cover hanging off, but with many, many of the pages still pristine) at a mainly reed and brass music shop in London many years ago. They weren’t on display, I had to ask and the sales person enquired if I wanted it in a plain paper bag. They were kept - literally- under the counter. I only ever pulled it out once while sitting in, and I was told to put it away. On the same gig I suggested ‘The Girl From Ipanema’ and was told ‘not on this gig’. Needless to say, I don’t and haven’t ever earned my living through music.

[@DragonFlopp]

I think it's things like this that kinda made me stray away from jazz following my graduation. I never liked how it always felt like a competition. I'll knowingly admit that I'm not the best (or even a good) jazz guitarist by ANY means, but even to have a normal conversation with some jazz musicians felt like a test. Like, your worth as a human is measured by whether you know changes by heart or not. And I suppose I can understand the pedigree that comes with being a jazz musician, but it was never very welcoming and it kinda sucked the fun out of playing music for me during that time. That being said, studying jazz at university was a super helpful thing for my own playing and writing. I'm thinking about revisiting my old Real book if only to practice on my own time and get reacquainted with the way I used to play when I was still in school.

[@88KeysToPlay]

Your experience makes me extremely sad. I've been playing jazz for most of 45 years, and I teach it as well. It could be explained (not excused) as someone who put in an incredible amount of time working on their craft to become a player that is better than most, has a natural desire to be with and play with others who have done likewise. The converse (and inexcusable consequence) of this is this same person has a distain for (or at least doesn't take seriously) those who haven't put in as much time as he has. Some of the "testing" that goes on is a subconscious means of seeing if you "belong" in the tribe. Sometimes it's intentional. I went to a NY jam session several years ago (attending a conference) and Jean-Michel Pilc was playing piano, but was a total prick to other musicians. I've had my own bouts of snobbery, though now I try to be extra careful and intentional about not discounting anyone, just because they have less experience. Because I'm a teacher, I try to always acknowledge their efforts and encourage them to keep moving in the right direction, helping them understand what that means, instead of leading with judgement and condescension. I have been running a regular jam session for about 15 years. From the beginning my sit-in policy has been "everybody plays." They can call a tune, if they want (and pick the key and tempo), but they are also welcome to read their lead sheets or real/fake book. Even when they really suck, I ask the audience to give it up for them and I say "thanks so much for playing with us, please come back"... and they do and have often improved. Don't get me wrong, I love to play with other people at a high level and get that musical high, but playing with and encouraging less experienced players comes with its own rewards. You should come play with me!

[@donatolepore3520]

Jazz ...is a contact sport.

[@thegreatgambeeno]

Black Shibboleth - A jazz tribute to Black Sabbath

[@harambechungus5531]

thegreatgambeeno Black Shibboleth sounds like a God created by H.P Lovecraft

[@geezerbill]

[* insert high-hat intro to "Wicked World" *]

[@pontuserickson89]

Hi Adam! I have been following your channel for awhile now and in my opinion you have some of the best music theory content on KZbin. Really great lessons! A suggestion for a video: a video where you take us through the process of finding information on the subject you're going to talk about (e.g. explaining the method you use to scan articles/papers for relevant information) and then a quick walk through on the editing process. That would be really cool I think! Thank you and keep on doing your thing :)

[@ronzonirafael]

That's a great suggestion! I would also like to see this

[@TheBassMan533]

I think the role of the real book should be defined. If you approach it as a tool to ASSIST musicians in learning jazz (either beginners or approaching a new standard), or as tool to be used during performance when a tune that you don't know that well is being called out. If we treat it as a know-it-all book of jazz, essentially getting the job of learning and internalizing jazz "done for us", then it definitely is a curse more than it is a blessing.

[@johnbowen7150]

Hey Adam! My little Real Book story: I attended a Jazz workshop in London in the mid-80's (I was probably 17? - Just started at Berklee). My newly purchased Real Book (from the guy with the dog - who might have been before your time) was coveted by attendees (from all over Europe) and instructors (a bunch of great old British jazzers). Everyone over there had heard of it (t'was legend), but no one had one. I think I arranged to send about 50 of them back to Europe once I returned to the states, and got a lot of nice notes in return. It still makes me happy to think of how much great music that was likely responsible for (Shibboleth be damned!) Very much digging your content (particularly Coltrane Fractals!) I'm a Berklee MP&E grad from '89 (Doing audio-post here in NY, so will try to go catch a gig of yours at some point.)

[@ChadMojito]

Everything about this video is perfect. You were excellent already but you keep stepping up your game. Amazing!

[@Neymarinet]

I didnt think id see you here mr. Exploding fish

[@sengroagers1111]

Nice video. Kinda reminds me of a trumpet lesson I had back when I was a young trumpet player just starting to learn the basics of jazz. My teacher assigned me to transcribe the head for the jazz standard 'Four,' and gave me a chord chart. I responded by saying that I had a Real Book, and that Four was in that. He gave me a short lecture very similar to this one, and told me that although the Real Book was useful, I shouldn't rely on it for everything, and to listen to recordings every time I start learning a new standard. This video was very helpful and filled in quite a few of the gaps that were left by my teacher's short lecture. Keep up the good work!

[@aidanfischer2614]

I’m in my junior year as a jazz major in college and I own a couple of real books. In my experience there are very few songs I have not had to make corrections on. In this way they have become more of an educational tool in that constantly have to transcribe any given song to make sure the book is correct. I think once you realize that the books have the inaccuracies that they do you just end up learning by ear anyway. Apart from that they a great tool to practice sights reading.

[@oliviadonoghue4166]

Sorry for coming here three years later but do you recommend having one? I’m trying to practice my jazz, I’m a vocalist and my choir teacher told me to look it up because it has a lot of standards. So what do I do?

[@aidanfischer2614]

@@oliviadonoghue4166 I honestly don’t agree with my past comment as much now that I’m a bit further along in my academic career, so I’ll say this. I suggest getting the real book (or it’s vocal equivalent in your case). It’s just important to remember that is not the end all be all in terms of notation or performance, particularly in regards to harmony. They are a way to learn a lot of songs quickly and get you improvising. Most corrections I’ve made are based on really knit picky harmonic stuff that most people wouldn’t need to worry about (and to be honest I was likely exaggerating a bit). The real book is a tool and resource that can get you like 90% of the way there and the rest is really up to your ear, and your own interpretation of the material.

[@oliviadonoghue4166]

@@aidanfischer2614 thank you so so much, I had no idea what it was at first and then my teacher told me to look for it so I did and I found this whole new part of music history I had no idea about and was so lost haha!!

[@Wishuponapancake]

@@oliviadonoghue4166 since you're a vocalist, the issues with the real book probably basically don't even matter lol but the takeaway is, real book is fine, but make sure to actually listen to the original recordings when learning the pieces

[@JeffAnderson-jeffa]

Why stop at the Real Book? I pour gourmet coffees all over my cymbals and drum heads.

[@Uvouvo05]

I drink coffee straight out of my sound hole

[@jacobputnam5508]

I pour it on the shells, it make a really unique sound

[@starry_lis]

Here in Łódź, Poland, most musicians use tablets and such with realbooks on them during jam sessions. No grumpy grampas guarding the old order of things. It's not like it hurts to look up a chord once in a while.

[@latinumbavariae]

You guys in Poland do a lot of things smarter than other people. greetings from germany

[@voroldrwarfff8858]

@@latinumbavariae Are you really comparing the level of jazz musicianship in Poland with what's happening in New York...?

[@paprotkowa]

Vorol Drwarfff not the level, the attitude. Also, the level is not bad either, to say the least 😉

[@Ludvigvanamadeus]

​@@voroldrwarfff8858 Tomasz Stańko and Krzysztof Komeda were pioneers of European jazz and Polish jazz musicians are to this day among the world's best. Obviously when it comes to the tradition and cultural significance it's not even close to USA, but when it comes to musicianship - yes, I would say that Polish jazz has nothing to be ashamed of.

[@mmorseca]

And "looking up a chord once in a while" is *exactly* what TRB *prevents*..

[@JohnnyOlsson]

A good teacher is someone who can make his or her subject interesting (while, of course, being correct). Not necessarily by emphasizing it's importance, but rather by being good storytellers and sharing their passion. You sir, are a great teacher, and this video is a good example of it. I'm not into jazz, I had never heard of the Real Book and I will most likely never have any practical use of what I just learned. And yet, it just enriched me. Knowledge isn't that heavy to carry, and this was a fascinating story. So thanks, and keep up the good work!

[@KermodeBear]

That kind of attitude is why I don't bother to ask about playing with others. I want to have fun, not hang out with people who put others down.

[@ronzonirafael]

One of the things that i most like in your videos is understanding more of the popular and jazz music worlds, as i'm more oriented to classical and world music. Thank you so much!

[@JackSassyPants]

I'm a professional classical vocalist who's always had a warm spot in my heart for Jazz rep (and I'd say I perform it pretty 'aight) but I never understood the attitudes surrounding jazz performance: These older Jazz players are super protective of an art form they claim isn't elitist but then when new players want to continue the tradition of Jazz through the means available to them they can be practically ex-communicated for it? And in the same breath these people will complain that Jazz is dying and that there should be more people who appreciate the classics as they see fit? Do they want people to appreciate the artform that has apparently given them so much joy and meaning or do they want to "protect" is from outsiders in a way that ultimately contributes to the genre's demise? I'm just extremely frustrated that it's so goddamn difficult to break into the genre at all and while there's a lot of talk of elitism in universities and vilification of the written score a huge obstacle (in my experience) to even getting started in jazz is the community itself. It totally sucks because I love jazz but because I don't have encyclopedic knowledge of common rep it doesn't even feel worth pursuing anymore.

[@deemoore97]

As a jazz saxophonist this was the exact reason I stopped studying at university level.

[@aliensporebomb]

It's almost as if they are discouraging people for getting into the music for the "wrong reasons" not realizing they are in danger of causing an art form to vanish as they all age and die off. Yes the real book can just be like an "thin outline of tunes" and won't have the depth and resonance of someone who has also listen to the tunes for years who also studied it. But people need to get started somewhere. One of the best sax players I know bought a real book recently just to have it to work on tunes. A lot of this stuff is mentally internalized for me because my dad listened to it on repeat when I was a kid. The book helped me translate what I remember from being forced fed jazz when a tyke to finger-work.

[@davidvicari5139]

Here is how you handle it. You are in the drivers seat especially as the singer! They will ask you what you want to sing, they will not call the tune, you will! At that point, DO NOT show up scratching around a fake book or phone app! Have 2 or 3 tunes ready to go. Have a ballad or 2 memorized. Be able to swing a couple of tunes at a medium tempo. Have a Latin groove ready. You do not have to show up knowing a thousand tunes, that is what the rhythm players job is! You will be fine, just prepare a little!

[@truffeltroll6668]

@@davidvicari5139 worst case fuck everyone by hardcore skat

[@davidvicari5139]

@@truffeltroll6668 Sorry, I don’t speak gibberish.

[@YahualiMusic]

Thanks for the history lesson! As a self-taught guitarist exploring these lands, the Real Book has been instrumental for not only learning some standards but learning common patterns and how/when to 'add taste' to my liking.

[@jamesmanning5159]

"Some things in music are sacred" Me: The lick?

[@vetoedimpersonator4478]

James Manning James mate stfu

[@willlacy112]

I binge watched hours of your videos over the weekend. You create some of the most interesting, most well produced videos on youtube. Props, my dude!

[@willlacy112]

Taking advantage of my good comment position... For your next Q&A: Is it always the case that virtuoso musicians start early? Are there any examples of someone not starting until they are 30 or 40 years old and rising to the level of play of say, Dennis Chambers, or Tony MacAlpine, or (I was going to say Victor Wooten, but since I've incedentally listed 2 of the members of CAB) Bunny Brunel?

[@davismiles2449]

Question for next Q&A, when did you really start gigging as a musician? Was it High school, when you were at Berklee/Manhattan school of music or afterward? Is it more important in college to try to get gigs, or focus in your studies until you leave college and then start gigging regularly?

[@blahdelablah]

Can I ask you an honest question, what do you like most about music?

[@davismiles2449]

playing it and writing it

[@AMMstudios]

One of my saxophone instructors went to Berklee sometime in the 80's (around the time when Brandford Marsalis was enrolled). He told me this history about the real book years ago and it's stuck with me since. Cool to see that the story is documented in a video, we all appreciate it Adam.

[@JuanHiribarren]

Simplification is useful for learning complex stuff. I can't undestand why they get upset, instead they should be cheering people up in learning, because the interest of people is what makes great an art piece.

[@crimfan]

Yeah, I teach (not music) for a living and one thing you really need to do for most learners is to scaffold them. Over time they can take the scaffolds away and if they want to develop as a learner they have to. The Real Book is a scaffold, so one of the things that people learning jazz need to do is stop playing with their nose in a book. Start learning tunes by ear after you've worked through a bunch in the RB or go back and listen to a few different recordings and relearn the tunes you know from the RB. A lot of the old skool jazz people with the attitude I think are coming at it with the notion that you're going to be a pro and that you can dedicate your life to it. However, for a lot of people that's simply not practical. We can't. Of course we shouldn't sell ourselves as being able to, though I think if you see any amateur player and a pro player it's usually pretty obvious, even if the amateur is fairly good.

[@masterchain3335]

Because in the real world most people don't want to see others succeed, they just want to be better than them. There are unfortunately a lot of musicians and other types of artists who view their craft as some sort of arms race. They may not even consciously be aware of it, but it's at the root of their actions.

[@ThePacerX]

They get upset because grasping on to the last foothold they have before they and their art form disappears into the nothingness it deserves - trying to make it exclusive by keeping it "secret". For my instrument, Jazz hasn't been anywhere near the state of the art in guitar since the late-1970's, I would imagine it's the same for others. Overwrought, head firmly planted up its own ass, in many cases performed by second-rate players and downright boring do not make for a vibrant art form.

[@germanmartinez1994]

You should listen to Julian Lage! His last album Arclight, was such a treat to listen to. And its a telecaster plugged into a dimed Champ, not a choked jazzbox through a solid state. Super fun album!

[@rosiefay7283]

Too true. And setting a repertoire in stone is another way to kill an art form off. And it's no wonder that so many performers are second-rate (at ensemble playing, anyway) if existing jazz players put them off contributing to jam sessions and getting more experience.

[@davidjacobin2850]

Duuude how had I never seen your channel until September 2019!! Oh well, better late than never. Thank you for what you do!!

[@itsaUSBline]

Eyyyy, that was pretty clever how you highlighted the grammatical homophones in the bit where you were explaining homophonic chords. Anyone else catch that?

[@ornaterope8319]

No it was only you

[@jamespearson48]

This was really insightful and useful to know for a classically trained composer, like myself, who works now and again with jazz musicions. Thank you!

[@Michael-Oh]

You're a 'professional' when you're sound becomes your income not when you're 'good' at playing. Sounding professional can simply be busking pop tunes on the streets and earning £30/hr. If you want to survive that big bad world remember its thoughts who pay the piper who picks the tune.

[@newillyrian114]

Adam great video! Enjoyable and very informative. I'm not a bass player, I'm a saxophonist but I love your content and your intelligent commentary. Thanks, keep up the great work.

[@britshell]

I laughed out loud when you got to the gate keeping Jam musicians. no matter what activity you do there will always be gatekeepers.

[@nuprodigy1]

Your videos are always immensely helpful but this one hit home for me. I considered myself a serious musician and pretty good guitarist until I was asked to sit in with my friend's jazz band at his cookout two years ago and realized how little I knew. I decided to immerse myself in jazz and found out about the real book which has been extremely helpful. Lately I've been discovering more about the jazz "culture" and shibboleths (key of "Autumn Leaves," alto break in "Night in Tunisia") and this video let's me know to start ditching the real book in favor of ear training. Thanks, Adam! Hope I get good enough to jam with you next time you're in DC.

[@astorina]

Hello from Brussels I have a clue about the authors of the original edition and also some evidence If one owns the record from Steve swallow "always pack your uniform on the top" he can check what I say by himself Thx for your excellent contributions By the way I have invented a special tool to analyse jazz standards but analysis is just the top of the iceberg Brgds

[@CD-rt8wj]

Hey Adam, another cool video thanks! As a trumpet player, I've been vibed for showing up with a Bb Real Book to a session where Real Books were accepted and being used. I was surprised to find out that reading in concert pitch and live transposing was more valued by these guys than reading in Bb? I handled it by telling them to go jump off a bridge and the session went fine. Still though, do you think always reading in concert pitch is a valuable skill to practice? Seems like an extra step to me if Bb notation is available, but would like to hear your thoughts.

[@crono303]

Honestly, it doesn't hurt to be able to read concert pitch fluently. Unfortunately, in major scenes like in New York, many pros just read charts in concert pitch. Seems kinda silly given how easy it is to transpose digitally nowadays. I see no reason to be vibed just for having a Bb book. Honestly, I take it as a challenge myself to be able to communicate well with the transposing instruments (I play piano). If we ask transposing instruments to read concert, we should be able to speak in their key fluently, too.

[@MaggaraMarine]

I'm a trumpet player too. I think for someone who plays a transposing instrument, knowing how to transpose is a pretty valuable skill. You should at least know how to read in concert pitch. For example if you are handed a chord sheet, you can't expect people to transpose it for you. And the same thing applies to any kind of music that is more loosely arranged. But of course there is nothing wrong with reading in Bb. I obviously prefer reading in Bb, but I have no problem with reading in concert pitch. I don't understand why people would have a problem with you using a Bb Real Book. I mean, if you play a Bb instrument and a Bb Real Book exists, why would you not use it?

[@alio2269]

Clayton Davis transposing to Bb and back is easy Eb on the other hand ( ._ .) *go cries in corner*

[@CD-rt8wj]

RobinHood East maybe, really C -> Bb isn't even that bad and I've had to do it a lot for orchestra parts that are written for C trumpet. I just thought it was a pretty mild example of the cutting mentality that adam was talking about because like others have said - if a Bb book exists, why not use it? None of us in that room were gonna be tapped for the Grammy band or anything like that 😂 oh well

[@Stingetan]

Hey guys, so, what is the actual point of transposed instruments? Is it just because some keys are fucky on the layout of the actual instrument? As a guitarist it seems totally goofy to take what every tuner or pitch measuring apparatus would call a C and calling it a B flat. Let alone to say: "Hey man, from now on; just make believe that you're playing in another key than us, permanently." Granted, I didn't do much research and I have never actually played any wind instruments. Any answers (even snarky ones about my ignorance) are appreciated.

[@ItsNotAXylophone]

This was my favorite video. Thanks for this, and for the effort you put in to make videos that are uniquely eloquent, educational and accessible! Big fan!

[@aryotaheri7421]

As an up and coming jazz student, after seeing this even though I don't own a real book, I don't think I'll be going to a jam session anytime soon thank you very much.

[@martinkrauser4029]

Go and play, it's a great learning experience. It's also fun. Why would you care about what anyone thinks?

[@aryotaheri7421]

+Martin Krauser I mean, I would but from what people say the environment doesn't sound very friendly or welcoming :/

[@martinkrauser4029]

Doesn't matter. There are all sorts of people, so give it a shot. It's not the end of you if you get vibed by a few snobs.

[@aryotaheri7421]

Martin Krauser yeah, I guess you're right. Based on Adam's stories, as long as I don't have a real book with me I should be fine =)

[@martinkrauser4029]

Pah. Just bring that sucker and bash it on stage, then play Smoke on the Water to get things rolling! Man, I hate snobs.

[@peterharrison5833]

There's a lot to be said for learning tunes by ear, either on the fly, or slowly and steadily by listening to and paying with a recording. I highly recommend it. There's also a lot to be said for learning things by sight-reading them every day. A bit of a new tune here, a bit of a new piece or exercise there. As a friend of mine in college said (about a million years ago), learning to sight-read or sight-sing is "learning to hear with your eyes." There's nothing really inherently wrong with learning to do that--many of the finest studio musicians make their living reading music every day in the Hollywood studios laying down tracks for movies, TV shows, and commercials. Of course, it helps to learn to read in small steps so that you interpret the symbols on the page correctly. As a simple example that we all know, eighth notes in jazz swing are written straight, but are swung when played, and the heaviness or lightness of the swing depends on the tempo, among other things. Once a player learns this, it's easy to switch back and forth between a straight and a swung feel, even though the basic rhythms look the same on the page. Extrapolate that concept to rhythms in other styles--classical, funk, rock, country, world musics--and you have a whole discipline where you read every day to get better at "fitting in" with whatever band, orchestra, group, or ensemble you'll find yourself playing in, whether it's a jam session, recording session, or rehearsal. Think of it this way--if you can't read music, it would be kind of like not being able to read the English language. You would always have to depend on a recording or a live broadcast to learn your new tunes. And although there's a TON of of great recordings out there of all sorts of great music, there is still a lot of great stuff that hasn't been recorded, and you'd be left out. Conversely, I can't say enough about learning to play things by ear. Of course, learning a jazz standard is a different level of ear learning than, say, a Beethoven piano sonata. (I DID have a middle-school student who did that once. He learned the third movement from the Moonlight Sonata by ear. It's very rigorous, and it took him about a year to do, but he didn't read music, and he learned it off of KZbin videos.) For people who are getting their feet wet, a short, simple tune is best. My example to students is Happy Birthday To You. It's always fun when I tell this one to folks and they always have that "oh.....uh...yeah!" reaction when I bring this up. If a classical player wants to get their feet wet, use that, or Mary Had a Little Lamb, or whatever, as long as it's fairly short and simple. Proceed with baby steps, don't push them too hard or too fast, and then move to the next level. As for tunes from the Real Book, the classic jam session choices at the beginning could be Satin Doll, Take the A Train, Autumn Leaves (in both Em and Gm), Misty, etc. Save the bop tunes for later. Have them do it a little at a time, turn the page over, do four or eight bars without the music, and go on from there. I've taught kids as young as 10 and senior citizens as old as 85. Patience and positive attitude go a long way. I got my first Real Book (Second Edition) in 1979, and later got Book II, Book III, the Vocal Book, the Christmas Book, and also a ton of other fake books over the years, including a number of Aerbersold Books and the New Real, etc., which are all pretty good. The New Real, and some of the competitors' claim to fame is the accuracy of the forms, keys, chords, etc. A lot of them also cite recordings of the tunes for listening, which is good. I've also got a copy of the old fake book from the '40s called A Thousand and One Standard Tunes, which is a good one, and has a lot of tunes that used to be hard to find. Adam, you're right in that when the Real Book started to make it's way into the world, it became a bible of sorts and that the jam session repertoire got somewhat codified. Early on in my career as as Army and later USAF piano player, I found that if I called a standard tune from the Real Book, chances were that the guys my age knew it. But if I called a tune from the 1001 Standard Tunes book, a lot guys didn't. Tunes like Rosetta, Moon Over Miami, I Concentrate On You, and the like were great pieces of music, but the guys didn't know them. Eventually I made it my practice to say, "pick something you like. And tell what key, what style, and what tempo." Chances were that if they did that, it was a tune that they knew, at least somewhat, and had worked on, and if they picked a tempo they couldn't handle (usually on the fast side), well....they usually only made that mistake once. Another thing about keys. Learn the original keys, but....learn a tune in all twelve keys. Again, start simply and slowly, and build up that skill over many years. One time I had a singer call Autumn Leaves in Bm. Seriously. And, she told me just right before she started counting it off. (Yeah! That was fun!) It's usually the singers, especially the women, who need to sing a standard tune in a different key. It's because most of the song writers of the Great American Song Book were men, and most of them were baritones. Check it out, if you like. The ranges of most of those tunes lie very nicely in the baritone register. And most of the women who sing this music are altos, which means doing these tunes usually a fourth or a fifth away from the original key. So, if the singer, man or woman, needs it in Bm, Em, or Dm, well, that's what you're doing tonight. (Welcome to the joy in the rhythm section.) If you can do it in the original key, well, great. If not, you gotta go with the flow. And it'll be good for your facility on your instrument to play well in all keys. George Shearing felt he didn't know a tune until he could do that. Oscar Peterson and Art Tatum are two other pianists who did that well. Lastly, be kind to each other. I come from NY (State) and have been to cutting contests where the atmosphere is energetic, and lively, but also respectful. I've also been to cutting contests where people were so stuck on being purists, that no books were allowed, and if you couldn't keep up to a really high standard, they wouldn't even talk to you, much less let you sit in. Frankly, life is way to short to treat people that way or to be treated that way. I could study a person's strengths and weaknesses as a player for about a week, write a piece of music for them to play (arrangement or head tune), and have it make them either look like gold or like crap, depending on what I wanted to do them--public accolades or public embarrassment. If I embarrassed them, it wouldn't help them out any, and it's certainly not a way to make friends or allies with anyone. Try to be helpful to the folks coming up--we were all there at one time or another. Peace. PMH

[@abugfrommars4314]

I like watching your cat teleport in the background.

[@azaleajanemusic]

My dad is a guitarist and went to Berklee in the 60s. He never had a Real Book until I got him one in around 2003, I guess right before the legal one came out because the one I bought was under the counter. Now I understand why he never needed one! All his charts were handwritten, by him. I even have a few copies of his charts somewhere. (He also insists upon calling it SCHOOL of music. 🙃)

[@innocentoctave]

No Real Book is genuine that doesn't have small, filter-sized sections of the back cover missing.

[@alexeisavrasov888]

Amen brother. Best use for it

[@innocentoctave]

@@andrewbongiorno7494 If you have to ask, man, you'll never know ...

[@rickvosper7318]

I love this segment! Bought my Real Book in 1977 or 8 (orange cover) from a guy who walked into the music store where I taught. He had a goatee, so you knew he was a real musician. Still have the book 40 years later.

[@Santiagobateria]

There's something similar that happens within the culture of a uruguayan rythm called candombe, which is played with three different kind of drums (chico, piano, repique). A lot of people from the "old guard" resent it's widespreading because they feel a lot of people don't respect the drums and the music enough. They insist it should not be transcribed or written down, or explained even, just learned by watching and hearing. I know where they come from and why they could feel that way since it's one of the most fundamental aspects of uruguayan culture, but personally I don't share their views.

[@nachorand]

Qué bueno encontrar un compatriota seguidor de @Adam Neely. Entiendo lo que decís, pero aclaremos también que hay un montón de músicos de élite en nuestro país que se abrazan al candombe: Te recomiendo el disco Alta Definición de Horacio Di Yorio. Great to find a fellow citizen from Uruguay among @Adam Neely's followers. I get your point, but it's worth noting that there's plenty of elite musicians here in Uruguay embracing candombe tradition: I recommend you the album Alta Definición by Horacio Di Yorio.

[@Sofigarella]

vamo arriba la celesteee

[@Santiagobateria]

Estoy en la otra banda yo...candombeando desde buenos aires.

[@Santiagobateria]

vaaamo vamo vamo vamo

[@goliadkin830]

Arriba la celeste!!! (igual soy trucha, de Bs As, pero el amor a Uruguay es incondicional) Qué bueno encontrar compatriotas y hermanos uruguayos en el canal de Adam Neely. Creo que en muchas tradiciones pasa esto, la gente de antaño siente que su identidad se pierde cuando algo pasa a ser accesible a otras generaciones y sobretodo a más gente. La tecnología, internet, etc han hecho esto posible. Antes no había transcripciones disponibles de casi ninguna música, entonces solo "algunos pocos privilegiados" podían tocar candombe/tango/chamamé etc. porque sacaban todo de oído. Ellos quieren seguir siendo unos pocos, y mantener "sus códigos", la gente no quiere perder su sentido de pertenencia. Pero el problema es que la música no es una logia!!!!!!!! Hay que aceptar el cambio y las cosas nuevas!! Saludos!!

[@Stephen_Lafferty]

2:03 - Alan Partridge! The cherry on top of an interesting video on learning and jazz culture. Thank you!

[@IbanezLk]

Really it just feels like old timer jazz musician jealousy to me, I mean they had to work so so hard to internalize all of these tunes off the records by ear which is incredible! But that doesn't mean they should shit on a younger generation for having better tools, knowledge, and education available in this day and age to learn any form of music as long as the commitment is there.

[@mmorseca]

TRB is a "better" tool, huh? Bullshit and all?

[@hyp3rsqu1d81]

Gotta love the way you bash something without even giving a critique or explanation why that's the case. So far you've just told us that you don't like this guy's opinion​@@mmorseca

[@Lemwell7]

This was a fantastic video, generally unbiased, informative, and concise. Nice job.

[@JoshuaConnorMusic]

My favourite shibboleth comes from the Australians during WW2 in Papua New Guinea. Since they were in the forest and at night vision was minimal, there was no way to tell if someone approaching was Australian or Japanese. The Aussies would shout "woolloomooloo" (a suburb in Sydney), and if they got the same response, they were Australian. If however, they shouted back "Wooroomooroo", they were immediately shot.

[@AdamNeely]

+JimJamBanx Americans did that with "lallapalooza." I considered including that anecdote, but it came across as a little too vaguely racist, so I cut it.

[@chiu20044b122]

Wait so these two examples were real and not jokes about the Japanese not being able to differentiate l's and r's?

[@Wishuponapancake]

@@chiu20044b122 It's probably both tbh

[@Rikisballs]

​@chiu20044b122 I mean while it is a stereotype it is kinda true from what I've heard, I think it has to do with the "L" not existing in Japanese or something like that

[@03Venture]

As a 72 year old with over 60 years playing woodwinds and recently learning how to play jazz, this is extremely interesting. Thanks for sharing this knowledge!

[@Guitarisforgrins]

So in other words... Jazz musician's sometimes act just like the jocks you've been trying to avoid by becoming a musician in the first place. Guess it's back to punk rock for me...

[@jordannelson7911]

Or grow some balls and practice

[@bt3743]

@@jordannelson7911 Or stop being elitist and let people play music how they want as long as they're keeping to the tempo and in tune with Everyone else.

[@bt3743]

@Martin arguelles Most punk fans won't give a shit about amplifiers. if anything they'll give you shit for buying anything with better quality than a line 6

[@killergoose7643]

Leaving one elitist and insular scene for another elitist and insular scene. Odd move but ok.

[@richsackett3423]

I learned chords and piano from my dad's two old Tune-Dex books in the '70s. Sounding out chords, figuring out the mistakes and fixing them was part of the learning process.

[@Bassoondadcomics]

In addition to the coffee stains, make sure to rip off the cover and last 10 pages of the real book :). Thanks for the video Adam.

[@plusmin09]

As someone who plays music for a living, a big part of what determines what gigs I take is pay. It's probably different out on the Coast but here in the Midwest the average pay for top 40, Country, or Dance music gigs FAR outweighs the pay at a Jazz gig. The majority of the public Jazz music that happens around where I live is typically played for free, or maybe in exchange for lunch at the cafe that they're playing at. In the increasingly rarer event that a paying private party, or wedding etc that wants some Jazz in the background comes along, there are SO MANY players, (typically straight out of college studying for that Jazz degree), that want to take it so they can finally say "I play Jazz professionally". There's no union out here so it ends up that these events can find a band that will do it for very cheap. Jazz is fun, and it can really help develop your chops, but when it comes to a musician honestly trying to make some money, at least in this area, you're much better off prepping a huge catalogue of more popular and lucrative genres, so you're ready to sit in on a gig whenever you get called. I used to feel kind of guilty for busting out my real book in the rare event that I got a Jazz gig, but I don't anymore after honestly evaluating what is more likely for a higher return on my time in my job. From my experience, it seems like the audience finds it more taboo to be looking at a chart when you're playing to the people on the dancefloor at a corporate event than when you're wallpaper at a wedding reception. And in the end the customer is what really pays the bills, not some snobby Jazz major playing Sax on your left.

[@ReggaeBassCovers]

i cant even read music lol

[@Jrivera11893]

ReggaeBassCovers that's the beauty of real books! You can just read the chord changes and sort of wing it from there, unless you have a specific melody.

[@migs1336]

I can "Music"

[@VacantCityDrifters]

good video, man ... it's funny how there are inverted layers and layers about the Real Book ... i remember back in the late 80s when i was making the leap from being a play-by-ear rock hobbyist to a self-taught jazzy/fusion hobbyist (who would later study privately and at workshops), there was a prevalent snobbery from those of us with a real book who were striving to learn the canon looking down on guys still 'only' wanking on MTV hair metal, etc ... of course, we all learned the hard way that real players looked down on us with the same kind of disdain ... funny how folks spend so much time deciding who the 'other' is instead of just putting the energy behind getting better and spreading the art

[@niroda19]

is the coffee an inside joke?

[@johnnicholas7420]

Not really. Mine had coffee stains on it. I knew other people that had coffee or food stains on their real books. Just seems like sooner or later it's gonna happen.

[@niroda19]

ah okay, thanks for the reply!

[@RocknJazzer]

he just means if you make it look well used they may think you put serious time into it and can perhaps play well

[@Drewski22]

I don't play bass nor do I even play jazz, but Adam, these educational style music history videos are the highlight of my sub box. Thank you :)

[@_mrcrypt]

THE SPICE MUST FLOW! ha ha ha

[@AXPena]

Fantastic analysis! I feel that "shibboleth" applies to many topics in music and nice to have the perfect word for it!

[@manny75586]

The college I went to had jazz and classical. The jazz kids were basically consigned to a closet somewhere. The jazz side controlled who played at the faculty holiday parties (a coveted spot so you could kiss up to professors). They would basically pick us from the classical side to attempt to "take us down a peg" at the party. I was asked to play double bass a few times. The first time they pulled the "the usual key" bullshit with me. It turned out fine though since I have functioning ears and they weren't going into super Avant Garde stuff. Really annoying attitude though. We were always nice to jazz brass players we conscripted into orchestra and had to teach... basically everything to.

[@zackl8198]

Hey Adam, I've been watching for a few weeks now and I love the amount of work and knowledge you have in all of these interesting topics. I'm a bass player and I just graduated high school and am not currently playing any jazz. I'm very interested in continuing my education, but finding it hard to find a definitive guide to learning jazz theory as a whole. Would love it if you could cover hoe to go about this daunting task.

[@potatojesusomnipotat8634]

Gotta transcribe, gotta transcribe, gotta transcribe.

[@michaeldean9338]

Adam...GREAT video! I never knew the history of the book i've had for years. VERY intruiging! Thanks again

[@sickstone]

THEY'RE/THERE/THEIR, thank you Adam

[@kyley_wyley]

You're a great storyteller, Adam! thanks for sharing.

[@musicmode2217]

Jazz harder than anyone has jazzed before

[@TimothyRyanFisher]

I play a lot of jazz on the banjo. A tune like Blue Monk was made for the banjo. So many tunes cross over into Bluegrass. I play melodic banjo, where the gaol is not to repeat a string, you go to a lower string to play a higher note to always using a different string to get the next note. This smoothes the tones because you can hold them longer. Tunes like Pent Up House from Sunny Rollins, fit perfectly with melodic style banjo, which Bela Fleck made famous. Thats why I switched from jazz guitar to playing melodic banjo, I recognized that a simple technique, don’t repeat a string, could unleash a whole system of playing, which it has. In Bluegrass guitar they call it floating. If you play a note on a single string, the new note kills the note before. In melodic style the next note is on a different string so to first note is not killed. This is like pulling the hammers up on a piano. It makes the banjo notes smoother, they are not cut off, or choppy. Thats why I switched, I was looking for that simple idea that I couldn’t find in jazz guitar.

[@chrisofnottingham]

For me, that sums up jazz; it's more important to do things the hard way than play something anyone would want to listen to.

[@PhrygianPhrog]

Thing is, the best way to relly learn the standards is much harder than the "hard" way...the best way is to learn off the damned records using your ear, and not the crappy real book.

[@2FadeMusic]

More like - "It's more important to create something truly original, artistic, and unique that you can be proud of than it is to emulate others for cheap attention and quick success."

[@zzzut]

All your videos are extremely informative and well done. I am glad I subscribed to your channel.

[@slimbohernandez2827]

meh. Music is music man. How ever a person learns jazz or any form of music is up to them and different on the context. I use the real book and tabs in combination even though i can read music, just to save time. And it has helped me learn for what I want to do. I am a jazz guitar hobbyist and still very new to jazz guitar. I only have about 45-60 minutes of practice time per day. I don't have the time to sit down and learn jazz standards by ear to satisfy a social construct made up by jazz purists.

[@davidhauck7190]

Hi Adam! I recently watched your other channel. I really liked those videos and I am looking forward to see new videos on that channel! I am talking about the adamneelyeatsthings videos of course.

[@paulwirkus4182]

At 1:24 you should've really said "looking kind of dumb" :D

[@alfredoaran3372]

At 1:28 you wasted the oportunity to say "Looking kind of dumb" thus archieving double meme points

[@bryanlettow4389]

These "professionals" (not to say they're not good players) seem like they're more concerned with being condescending and/or belittling those who don't know everything under the sun.

[@RussellRodgers]

Hey Adam, I have become a huge fan of your work, Great stuff!!

[@probusexcogitatoris736]

I feel so frustrated every time I hear of these fucking Jazz snobs who ban people or ridicule people because they don't have the same musical perspective or background as they have. It's not like jazz music is thriving anyway. They should welcome people who want to play jazz with open arms. I'm not a jazz musician, but move in the same social circles as many professional musicians. So many times at parties or in pubs, these people laugh at or make derogatory comments about amateur jazz musicians complaining that they don't have a deep and true understanding of jazz. I always interpret this as some form of insecurity. But worst of all, it makes aspiring musicians afraid of playing jazz music. Jazz music has become almost like classical music. This elitist project that is fiercely guarded by both the musicians themselves and other self-proclaimed gate watchers.

[@EarToTheGroundMusic]

How cool. Thanks for sharing, man. Love your teaching style and unique content.

[@PolarTrance]

That fat cat place sure sounds like a bunch of fun. Seriously though, what is it about music that makes people in to such superior fart smellers?

[@XavierTheNerd]

PolarTrance they have jazz there but I don't​think that's why most people go. it's a bar/ping pong /billiards hall and is one of the only nightlife spots in Manhattan that is all-ages. it's so big and loud that I don't see the music being the focus there.

[@greghansen4331]

Superior fart smellers. *BRUMP* "Low-grade bean burrito, Taco Bell, I would think. But an excellent IPA with it."

[@AdamWoodhams]

The movement of the cat tells me the lengths of the gaps between your edits. Beautiful video as always.

[@thescowlingschnauzer]

1:39 Is that the start of the Simpsons?

[@stevenbowman2266]

This channel is great. I'm learning so much!

[@martinheath5947]

Q. What's the difference between a jazz musician and a pizza? er A pizza can feed a family! Just kidding. Love your fantastic videos (but there's some terrible snobs out there on the jazz scene!)

[@Drag0ncl0ud]

What pizza do you get? Even with an extra large at 18", it still takes more than 1 pizza in my experience.

[@thebestjarjarbinks7867]

I mean your not wrong

[@henryrichard7619]

That's wrong - you know how many calories are in a pizza compared to how many there are in a jazz musician?

[@pianobeard6403]

Beyond just a simple collection of tunes, the Real Book (or fake books in general) can provide a pathway for people with traditional classical training toward a better understanding of music. Most classical piano music, for example, would never have the chords or changes listed anywhere on the manuscript--perhaps to keep the pianist's focus on the exact notes to be played. It's like rowing a boat from below decks with no portholes to see where you're going. With the introduction of the chord symbols, the musician can begin to feel where the music is headed and it also opens the doors to being more creative with harmony. Since the charts in the Real Book are stripped down to generally melody notes, rhythm and little else, the musician can find a freedom of expression within a familiar tune unavailable to the strict note-by-note sight reader. I finally understood a lot more about my instrument (the piano) when I stepped back from my classical training and re-approached it with a chord-first view. It really opened my eyes and turned piano from a dilatory childhood chore into an exciting world of creativity. Chord-first is how the Real Book (fake books) are arranged, of course. Wish I'd had been introduced to that paradigm as a 5 year old playing Twinkle Twinkle Little Star and an 8 year old playing John Thompson's books. I'd have definitely developed much earlier and probably been a piano professional at a young age.

[@davidvicari5139]

When did Classical Training come to mean exclusion from knowledge of how music works, and the inability to improvise or play anything without a sheet of paper? I was taught figured bass as an undergraduate that was used starting 400 years ago to indicate harmony, or “chords”. The Realbook did not invent this.

[@garrisonpeters539]

What's the story behind coffee stains? Is it a joke flying over my head?

[@MrDimwits]

Again, thanks! This makes sense of John Goldsby's "no Real Book, please" comment in his excellent Jazz Bass Book.

[@ericbrown1292]

I thought this was going to be another parody of Bohemian Rhapsody.

[@andrewcowie4762]

Always inspiring and informative. I like your cat! Keep up the great work.

[@beemer9108]

Why coffee? Why spill coffee all over it? Did I miss the meme? If it looks old, it looks "original?" Seems like Jazz musicians are just hipsters. Jazz is played by ear, yea, but is not everyone's taste different? To play with a Jazz group, why should you know every single key to every single song? Why can't they just tell you the key and you play that way? It sounds good if you do certain things, and that's what is developed over time, but you can't develop if you don't get to play. I genuinely do not understand. I am not in music, but there are a lot of unnecessary problems, that you describe, that could easily be fixed if musicians didn't have a superiority complex.

[@jonmathis]

In the late 70's, I went to a Left Bank Jazz Society concert in Baltimore. Jon Faddis brought his Real Book. It sat, unopened, at his feet. The other players were Monty Alexander, Rufus Reid, and Mel Lewis!