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In a nutshell: if you're a piano newbie like me (I have played guitar since I was 13) and unless you can get a very good personal teacher (and I hope you know already that just because someone can play a piano does't mean they can teach you how to play, trust me on that one) this is the second best thing that can happen to you. Get this book - you won't regret it.
Also, Humphries shows how these recent styles are related to their influences, including "classical" composers like Debussy and Schoenberg, without making the styles seem like lesser entities of their "legit" ancestors. Now I can start giving my students this book, instead of continuing to promise them that I'll get my book done--and then not delivering for God knows how many years.
My critiques of this book are that I wish there had been more emphasis on ear training, application of jazz voicings and structures and improvisation. There is a CD included, which I love, of all the written material in the text. But while Mr. Humphries does write that ear training is vital, there is little in the text to work with. I have my own approach to this, so it's okay, but I'd love to see it in his book because not only was it the original way to communicate music, it is also the more effective. Don't get me wrong; I am into the whole sight reading thing, but it is so limited in conveying emotion and "feel" that you can get from learning music by ear.
Also, he has a few exercises dealing with jazz voicing, but only from Bill Evans (who happens to be a brilliant example), but I find that quite limiting--especially when the book refers to so many other Early Jazz, Swing, Bop, Post Bop, West Coast and Modern Jazz players. Perhaps a rounding out of these ideas that Humphries brings up would make the book more complete--and that would go for the discussion of Latin and Rock as well.
While I appreciate the discussion of the various scales used in improvisation, I was disappointed to find little or no discussion on improvisation itself, which might include sections on motifs, motif development, counterpoint improvisation, 'comping, and include some transcriptions of great improvisors such as a few lines from Jarrett's Koln Concert.
All in all though, Humphries' book is (to use the critic's ancient term) a TRIUMPH! Bravo; I look forward to a second edition with more cool stuff.
David Cannon
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