Greg Fishman-jazz Sax Duets

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JazzSaxophoneDuets Tableof Contents Preface. Credits. S u g g e s t e dU s eo f T h i s B o o ka n d C D S e t . S t y l ea n d A n a l y s i s .

13

DetailedOverviewof the Etudes

15

Duetsfor Two Altos or Two Tenors: C o l u m b u sD r i v e . LakeShoreDrive N o r t hA v e n u e . Ohio Street. AdamsStreet, H a r l e mA v e n u e l l l i n o i sS t r e e t . MadisonStreet.. WellsStreet, L i n c o l nA v e n u e

16 1B 20 22 24 26 2B 30 32 34

Duetsfor One Alto and One Tenor: C o l u m b u sD r i v e . LakeShoreDrive. NorthAvenue. Ohio Street. AdamsStreet. H a r l e mA v e n u e l l l i n o i sS t r e e t . M a d i s o nS t r e e t . . WellsStreet. L i n c o l nA v e n u e

42 44 46 4B 50 52 54

Aboutthe Author.

5l

02006 Greg Fishman All rightsreserved.International copyrightsecured.

36 3B 40

PREFACE

l'vealwaysbeena hugefan of the two-saxophone format.Al Cohn& ZootSims,Sonny Stitt& GeneAmmons,DexterGordon& WardellGray,Lee Konitz& WarneMarsh,and JohnnyGriffin& Eddie"Loc(aw" Davishaveall had a profoundinfluenceon bothmy playingand writing.I lovethe excitementgeneratedby the interaction betweenthe two saxophonists and theirrhythmsections. As a youngplayer,hearingthosefamoustwo-saxophone groupswas very inspiring.I wouldtranscribethe arrangements and playrightalongwiththe records.Later,when I startedplayinginjazz clubs,I formedmy own two-tenorgroup.lt was alwaysfun and exciting,and the interplaybetweenthe two saxophones was a constantsourceof new m u s i c aild e a s . I learnedso much on the bandstandplayingin this formatthat I decidedto createthis bookof duets.I wantto give studentsthe opportunity to experience the excitement of playingprofessional-level sax duetswith a greatrhythmsection. This bookoffersmaximumflexibility, givingsaxophonists the choiceof playingwithtwo altos,two tenorsor altoand tenor.Additionally, afterthe duet is playedoncethrough, thereare extrachorusesfor soloing.This allowsthe saxophonists to musically communicate with each otherby tradingchorusesor tradingphrasesduringthe solo sectionsof the play-along tracks. J a z z i s a l a n g u a g eW . e a r ea l ls t r i v i n g t o b e f l u e n ti n t h i sl a n g u a g ea, n d t h e b e s tw a y t o learnany languageis to be constantlysurroundedby nativespeakers.lf you'veever triedto learnto speaka foreignlanguagewith onlya bookas your source,you knowthat you'llneversoundauthenticunlessyou imitatethe actualsoundof nativespeakers.The s a m ei s t r u ei n t h e l a n g u a g eo fj a z z .J a z z i s a n a u r a la r t ,a n d i t c a n n o tb e d e v e l o p e b dy r e a d i n ga l o n e . One of the mostimportantthingsyou can do to improveyour own playingis to listento fhejazz greats.In the finalanalysis,we all play by ear.This bookwill helpyou develop your ear and mindso thatyou can becomeadeptat expressing yourselfthroughyour own improvisations. I hopeyou enjoyitl - - G r e oF i s h m a n

4

P E R S O N N ECLR E D I T S

Greg Fishman - Alto and Tenor Saxophone Saxophonist, recordingartistand educatorGreg Fishmanhas performedwith The woody HermanBand,LouisBellson,Lou Levy,SlideHampton,conte candoli,Don Menza,ClarkTerry,EddieHigginsand Jackie& Roy.He has performedaliazz festivals and clubsnationallyand internationally, includingthe NorthSea Jazz Festivalin the Netherlands, and the Fujitsu- ConcordJazzfestivalin Japan.Gregearnedhis master's degreein Jazz Pedagogyat Northwestern University. He is the authorof threeStan Getz transcriptionbooks (publishedby Hal Leonard)as well as Jazz SaxophoneEtudes ( p u b l i s h ebdy G r e gF i s h m a nJ a z zS t u d i o s ) . Web site:www.gregfishman.com Web site:www.gregfishmanjazzstudios.com E-mail: [email protected] Mark Colby - Tenor Saxophone Saxophonist, recordingartistand educatorMarkColbyhas performedand/orrecorded with GerryMulligan,FrankSinatra,ClarkTerry,MaynardFerguson,Jaco pastorius, c h u c k M a n g i o n el ,r a S u l l i v a nM , o s eA l l i s o nc, h a r l i eH a d e n a , n d B o b J a m e s .H e h a s also releasedcriticallyacclaimedalbumsas a leader,and recordsfor HallwayRecords. He has beena jazzfacullymemberat DePaulUniversitysince1983,and Elmhurst Collegesince1998.As a representative of SelmerSaxophonesand Vandorenreeds,he performsas a guestsoloistand clinician/adjudicator at highschoolsand colleges nationwide. Web site:www.markcolby.com E - m a i: lm a r k . c o l b y @ s b c g l onbeatl . Dennis Luxion - Piano Pianist,recordingartistand educatorDennisLuxiontouredand recordedwith Chet Baker,and has performedwith CurtisFuller,Von Freeman,Lee Konitz,lra Sullivan, WoodyShaw,ArchieShepp,and TootsThielemans. He studiedmusicat the University of lllinois,DePaulUniversity, lllinoisBenedictine University, and the RoyalConservatory of Musicin Liege,Belgium.He currentlyteachesj azz pianoat ColumbiaColleqein Chicago. E - m a i: ld e l u x m u s i c @ h o t m a i l . c o m

5

Eric Hochberg - Bass Bassist,recordingartistand producerEricHochberghas performedand/orrecorded with suchartistsas Cannonball Adderley,PharoahSanders,MarkMurphy,Pat Metheny, LyleMays,Bob Mintzer,DaveLiebman,Bob Sheppard,and RandyBrecker.He is the producerof severalacclaimedalbumson the BlueNoteand Emarcy/Sony Japanlabels. m u s i c l n d i a n a a n d e a r n e d h i s d e g r e e i n c o m m u n i c a t i o nf rso m Hestudied at University NorthwesternUniversity. Web site:www,erichochbergmusic.com E - m a i: le h o c h b e r g @ a o l , c o m Phil Gratteau - Drums Drummer,recordingartistand educatorPhilGratteaureceivedhis bachelor'sdegreein of lllinois,and his master'sdegreein Jazz Pedagogy MusicEducationat the University He has performedand/orrecordedwith Joe Henderson, University. at Northwestern FrankMantooth,DorothyDonegan, RichieCole,KevinMahogany,MarianMcPartland, of Music,and currently the American Conservatory Ellis. He has taught at Herb and Performing Arts at College of and the Chicago teachesat NorthParkUniversity, RooseveltUniversity. E-mail: [email protected]

CREDITS PRODUCTION Composedby: Greg Fishman , v a n s t o nl ,l l i n o i s P u b l i s h e bd y : G r e gF i s h m a nJ a z zS t u d i o sE Musiceditor:DennisLuxion Texteditor:Judy Roberts C o v e rp h o t o J: o s . L . K n a e p e n MortonGrove,lllinois Bookprinting:Omnigraphix, g u p p l i e sI,n c . ,S t a t e nl s l a n d N , e wY o r k C D p r i n t i n gU: n i v e r s aRl e c o r d i n S M u s i ce n g r a v i n gG: r e gF i s h m a n P r o o f r e a d i nP g :a u lM a s l i n Recordedat: Studiomedia, Evanston,lllinois mixedand masteredby: ScottSteinman Engineered,

RICO

The WorldJMost PopalarReed'"

Greg Fishman plays Rico reeds exclusively.

6

SUGGESTED USEOF THISBOOKAND CD SET

T H E I D I O M A T I CC O N G E P T This duet bookwas writtenwith the idiomatictendenciesof the saxophonein mind. Whilesometechnicalchallengesare present,theseetudeswill feel comfortable ano naturalfor all saxophoneplayers. lf you'veevertriedplayingan altosolotransposedfor tenor(or vice-versa), you know thatthe transposedversionof the solo neverseemsto "layright"on the non-native horn. This is becauseall of the fingeringsof the noteshavechanged.In additionto the fingeringchanges,some noteswill be beyondthe normalrangeof the saxophone. As a result,portionsof some phrasesneedto be transposedup or downan octave.This transposition disruptsthe naturalflow of the originalmelodicline. My solutionfor this problemis to havethe boththe altoand tenorsaxophonists readthe same writtenpart and have the rhythmsectiontransposeto accommodatethe saxophonists.

T H EA L T O & T E N O R One of my goalsfor this bookwas to ensuremaximumflexibility for all players.I needed to find a way in which I couldemploythe idiomaticconceptdiscussedabove,yet give saxophonists the optionto playthe duetswiththe combination of one altoand one renor in additionto the more commontwo-altoor two-tenorapproach. My solutionfor this challengewas to writeduetsin whichthe firstsax partfavorsthe upperrangeof the instrument. This meansthatwhatwas originallya high"F" in the "C" tenorpartwill now be a two ledgerlinesabovethe staffwhen transposed for alto. This minimizesthe negativeeffectsof playinga transposedpart,becauseall noteswill be in a comfortablerangeof the horn,and there'sno need to changeoctavesto accommodate the writtenmusic. Noticethat on pages36 through55, the two stavesof the duetsare in two differentkey signatures.The top staff is the alto part and the bottomstaffis the tenor part.The alto part has been transposeddown a fourthfrom the same writtenpartsthat appearin the first half of the book.The tenor part is exactlythe same as it was in the first half of the book. For ease of reading,letters"A" for alto and "T" for tenor have been used at the left side of each staff.

7

U S I N GT H E C D S Thereare threeCDs includedwith this book: Eb Alto SaxophoneVersion - Use this discto playthe duetswith two altosor two withthis CD starton page 16. The duetscorresponding baritones. Bb Tenor SaxophoneVersion - Use this discto playthe duetswith two tenorsor two withthis CD starton page 16. sopranos.The duetscorresponding Alto & Tenor Version - Use this discto playthe duetswith alto playingthe firstpart with (top staff)and tenor playingthe secondpart (bottomstaff).The duetscorresponding this CD starton page36. SELECTINGTHE CD TRACKS In orderto providethe playerwith multiplepracticeoptions,l've includedfour different recordedversionsof each duet. Each CD has forty-onetracks.Tracks 1 - 40 containfour differentversionsof each of the ten duets.Track41 is a tuningtrackwith a pianoplayingconcertA and concertBb. H O WT O U S E T H E F O U RG O R R E S P O N D I NCGD T R A C K S The firstCD trackincludesbothsaxophonepartsplusthe rhvthmsection.The duet is playedoncethrough,goingto the finalending. Use this track to becomefamiliarwith the way the two sax partsfit together.You can play eitherthe firstor secondsax part alongwith this track. The secondCD trackfeaturesthe secondsaxophonepartplusthe rhythmsection.lt's identicalto the firsttrack,but with the first sax part muted.This track can be used two ways: 1. Playthe firstsax partalongwiththe CD so that you can hearbothpartsof the availableto play even if you don'thaveanothersaxophonist duet simultaneously, "live." the duet 2. Playthe secondsax partalongwiththe CD, matchingthe recordedsax for tone, etc. style,adiculation, The thirdCD trackfeaturesthe firstsaxophonepartplusthe rhythmsection.lt's identical to the firsttrack,but with the secondsax part muted.This track can be used two ways: 1. Playthe secondsax partalongwith the CD so that you can hearboth partsof the availableto play even if you don'thaveanothersaxophonist duet simultaneously, "live." the duet 2. Playthe firstsax partalongwiththe CD, matchingthe recordedsax for tone, etc. style,articulation,

B

The fourthtrackis plavedwiththe rhvthmsectiononlv.and includesextrachorusesfor soloinq.Use thistrackto playthe duetwith anothersaxophonist present,as well as for soloingover the chordchanges.Afterplayingonce throughthe melody,improviseover the chordprogressions for the specifiednumberof chorusesbeforeplayingthe melody to concludethe pieceon the finalchorusof the track. When playingalongwith the fourthtrack,the duetsuse this format: Melody/ 4 Solo Choruses/ Melody This meansthat afteryou'veplayedthe melody,if thereare two playerspresent,you can each playtwo solo chorusesand then playthe melodyagain,or you can trade chorusesor eight-barphrasesfour timesthroughthe form beforeplayingthe melody again.Solosectionsare usuallyfour choruseslong,with the exceptionof lllinoisSfree/ and WellsSfreef,which have two chorussolo sections,and HarlemAvenue,which has just one chorusfor solos. Of course,if two playersare not present,the fourthtrack can still be used to practice soloingoverthe chordprogressions. Playthe top or bottomstaffof the duet and then solofor four chorusesbeforeplayingthe finalmelodychorus. CD TRACK SUMMARY lf you'dliketo playthroughthe entirebookwith one particularinstrumentation format, use the tablebelowto determinethe propertracksto programon your CD player. CD Instrumentation S a x e s1 & 2 + Rhvthm Section Sax 2 + Rhvthm Section Sax 1 + Rhvthm Section Rhythm Section Onlv

CD Track Numbers

13

17

21

25

29

33

37

10

14

18

22

zo

30

34

38

7

11

15

19

23

27

31

J3

39

8

12

16

20

24

28

32

JO

40

I

5

2

o

3 4

A B O U TT H E M U S I C TEMPOS The temposfor someof the duetsmay be fasterthanthoseto whichthe advancing playeris accustomed. However,thesetemposare actuallyquiteconservative by professional standards. Each duet was writtento be playedat the markedtempo. lf you'renot comfortable playingat thesehighspeeds,set your metronomeat halfthe markedtempoand play throughthe duet,circlingany passagesthat posea technicalchallenge.Practicethe circledareasuntilyou can playthem smoothlyand accurately.

9

a time'and As yourtechniqueimproves,increasethe metronomespeedone clickat duetat the play entire the goal is to Your tempo. slowlywork yourway up to the marked articulation. and style marfóOtempo with Ào mistakes,and with the correct S F NOTES S P E C I A LF I N G E R I N G O fingerings'However'thereare a Throughoutthis book I'veusedstandardsaxophone "s" oversome notes.lf the "s" is over a "c" few instancesin whichI've indicateda letter "s" is overa D naturalon the fourthlineof the natural,use the side C fingering.lf the staff,use the D palm key fingeringwithoutthe octavekey' DYNAMICS parts'As a The duetshavea naturaldynamicbalancebetweenthe two saxophone your ear be let but generalstarlingpointfor thó dynamiclevelof the duets,use forfe, or softer.Listencarefullyto the play-along iour guidetor úhen to playstighttylouder àynamicvariationsin the individuallinesas well as the bO, io'.an exampleof itre,suUlle dynamicbalancebetweenthe two saxophoneparts' SUBSTITUTECHORDCHANGES chordchangesduringthe melody,but use different some of the duetsutilizesubstitute the first chordsfor soloing.The substitutechordsare notatedin parenthesesbetween track' CD each of and secondstaves.They are only playedon the firstand lastchorus the fi the alw When partand the tenorplays ln the secondhalfof the book,when the alto playsthe firstsax players shouldreadthe chordsare not indicated'Both the secondsax part,substitute chordchangeswrittendirectlyover their own part' COURTESYACCIDENTALS l've Sincethe temposare on the fast sideand the duetshavemanyaccidentals' pafts' the of includedcourtesyaccidentalsto improvethe readability

OUTLININGTHE GOALS FOR THREELEVELS advanced This bookis designedto workwell for threelevelsof players:intermediate, the duets' practicing for approaches l've outlinedthreedifferent anJ protessional.-Below, LEVEL INTERMEDIATE playerusuallyhas severalyearsof experienceplayingjazzin big The intermediate to get comfortable bandsor combos,rrusmemoriiedchordsand scales,and is starting with the conceptof improvisation. player,this bookwill providea good modelof lazz phrasingand Forthe intermediate lt will also of musicalideas,as well as sometechnicalchallenges. logicaldevelopment sharpensightreadingskills-

10

The basicgoal of the intermediate playeris to emulatethe saxophoneplayingon the recordedexamples.Closeattentionshouldbe paidto all stylisticaspectsas demonstrated on the play-alongCDs, includingarticulation, time-feel,phrasing,etc. playerand you'd liketo moveup to the nextplayinglevel,you lf you'rean intermediate shouldpracticearpeggiating the chordsfor each duetfromthe rootup to the seventh. The rootof the chordis especiallyimportantfor ear trainingpurposes.I suggestplaying the rootsof each chordalongwith the CD. Onceyou'veplayedthroughthe duet likethis a few times,try to accuratelysingthe bass-notepitcheswith the differentversionsof the play-along tracks.Thiswill helptrain your ear to hearthe relationship betweenthe melodiesof the duetsand the root movementof the chords.Oncethesegoalsare accomplished, you'rereadyto moveon to the advancedlevel. ADVANCEDLEVEL The goal for the advancedplayeris to understand the way in whicheach phraseis developed,how the notesin the phrasesrelateto each chord,and how bothsax partsin the duet progresslogicallyfrom one ideato the next. As an advancedplayer,you shouldbe adeptat arpeggiating the chordsfromthe rootup to the thirteenth. You shouldalso practiceplayingisolatednotesin eachchordup to tempo.For example,you shouldbe ableto playall of the thirds,fifths,sevenths,ninths, eleventhsand thirteenths of each chordaccuratelyand in timewiththe rhythmsection. When improvising overthe rhythmsectiontracks,try to makeyour improvised choruses soundlikethey'rein the samegeneralstyleas the openingchorus,usingsomeof the musicalphrasesin your partof the duet as a pointof departurefor your own improvisation. To preparefor the next level,memorizethe chordprogressions as well as boththe first and secondsax partsof the duets.I also suggestchoosingyourfavoritephrasesor licks from each duet,and practicing them in all twelvekeys,up to tempo.Onceyou've achievedthesegoals,you'rereadyto moveon to the professional level. P R O F E S S I O N ALLE V E L By the time you'vereachedthis level,you'rean extremelyaccomplished player,probably a professional musicianand/oreducator,and are stilltotallyabsorbedand inspired,as I am, by this greatart form. Studythe duetsfrom an analyticaland compositional standpoint. I recommenddoinga measure-by-measure analysisof eachduet.Determinewhattype of writingis being usedto createa particulareffect.For example,parallelthirdsalwayssoundpleasingto the ear and producea uniformrhythmiceffect.On the otherhand,sometimesa countermelodyin the secondsax part will nicelyoffsetthe lead-linein the first sax part. In somesituations, the musicalfocusmightbe on a particularly dissonantinterval,such as a minorsecondor majorseventh.Analyzeeach intervalproducedby the two sax partsand notethe effectthey haveon the feelingof tensionor releasethroughout the

11

duets.Onceyou'vedone someanalysis,writeyourown duetsusingthesevarious devices. compositional Here are some strategiesfrom my own practiceroutine: Practicethe duetsin all twelvekeys.lt's a greatchallengeto both my ear and my the connectionbetweenwhat I hearin my headand technique,but it alwaysstrengthens what notesare comingout of my horn. I try to make each key soundas smoothand the melodiesof the duets,I also fluentas the originalkey. In additionto transposing in all twelvekeys. overthe chordprogressions practiceimprovising MORE RESOURCESAVAILABLEONLINE pleasevisitmy lf you'dliketo readmoreaboutmy conceptson jazz improvisation, find downloadable You'll Web site at: www.gregfishmanjazzstudios.com. educational as well as a varietyof licksand usefulpracticetips. articleson theoryand ear-trainìng, CLINICS,SEMINARSAND MASTERCLASSES pleasecontact in the U.S.and internationally, For clinics,seminarsand masterclasses me at the followingaddress: Greg Fishman Greg FishmanJazz Studios 824 CusterAve. Evanston,lllinois60202 (847)334-3634 Web site:www.gregfishmanjazzstudios.com E-mail: [email protected] PRIVATELESSONS transcription, , iazzimprovisation, Lessonsincludethe following:studyof the saxophone Students substitution. chord and theory, techniques, membrization ear{raining,repertoire, lesson. of each recording a CD receive studio area who studyfith me at my Chicago I offerprivatelessonsin personat my chicagoareastudio,and also by telephoneand overthe internetvia web-cam.Pleasecontactme by phoneor e-mailto schedulea private lesson. CONGERTAND FESTIVALPERFORMANCES To view my For concert andjazz festivalbookings,pleasecontactme at (847)334-3634. and CDs,pleasevisit: performance schedule,reviews,photos,bio information www.gregfishman.com

12

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W R I T I N GS T Y L E S Beloware examplesof some of the differentwritingstylesused throughoutthis book.These duetswere writtenin a postboplazzstyle,and I've adaptedthe writingstylesto fit the idiom.At times, I've used a liberalinterpretation of some of the strictrules usuallyassociatedwith these writingstyles.lt shouldbe notedthat the duets sometimesemploya particularwritingstylefor only a few beatsor measuresat a time.

lmitation lmitationis a device in which a theme is statedin one voice and repeatedin a differentvoice. In the example below,the upper voice statesa theme in measurenine,and the lowervoice imitatesthat theme in measure eleven.

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Parallel Motion With parallelmotion,the voicesmove in the same directionby the same interval.In the examplebelow,l've l o t i o ni n 3 r d s . u s e d p a r a l l em

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ContraryMotion by any interval. Withcontrarymotion,the voicesmovein oppositedirections

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ObliqueMotion With obliquemotion,one voice moves up or down whilethe othervoice stayson the same pitch.Oblique "Ohio Street."Noticethe smooth Motionis demonstratedin the firsttwo beatsof measure30 from the duet transitionbetweenparallel,obliqueand contrarymotionin the examplebelow.

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" O h i oS t r e e t ,m " m .2 9 - 3 0 Counterpoint Counterpointinvolvesthe use of two or more independent,simultaneousmelodies.The intervalsresulting str uctur e from the independentl i n e si mp l yth e so n g' shar monic

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DETAILED OVERVIEW OF THEDUETS

Ti t le

Tempo

Form

Length of Form

Saxophone Page Page CD Key Number Number Track for Signature TwoforAltos Numbers Alto or Iwo Tenors

and Tenor

AABA (Rhythm 32 Bars C h a n q e s)

G Major

16

36

1- 4

ABAC

32 Bars

F Major

18

3B

5-B

)= 132

ABAC

32 Bar s

C Major

20

40

9-12

Ohio Street

)= 192

ABAC

32 Bar s

G Major

22

42

1 3- 1 6

AdamsStreet

J= 216

Blues

12Bars

F Major

24

44

1 7- 2 0

HarlemAvenue

J =6 9

AABA

32 Bar s

B Minor

26

46

21-24

ll lin o isSt r e e t

)= 126

ABAC

32 Bars

Eb Major

28

4B

25-28

MadisonStreet

)= zl6

ABAC

32 Bar s

G Major

30

50

29 32

WellsStreet

) =1 s z

AABA

44 Bar s

E Major

32

52

33-36

LincolnAvenue

)= z4o

AABA (Rhythm 32 Bars C h a n q e s)

C Major

34

54

37-40

Colu m b u sD r i v e

)= 224

LakeShoreDrive

)=

NorthAvenue

200

@2006 Greg Fishman Jazz Srudios All Rights Reserved. InternationalCopyright Secured.

15

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(SAXES I (SAX 2 + (SAX I + (RHWHM

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COUNTOFF: 1 BAR (4 CLICKS)

qCÉq FIÉ|{MAN

l{neueu Avexue

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COUNT OFF: 2 BARS (6 CLTCKS)

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COUNT OFF: 2 BARS (6 CLTCKS)

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COUNT OFF: 1 BAR (4 CLICKS)

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gîeeeî luurxorí

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gCÉC' FIÉI{MAN

l[)euus $tzeet

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55

AbouttheAuthor

Saxophonist and flutistGreg Fishman is an accomplished performer,recordingartist, author,teacherand clinician.Bornin Chicagoin 1967,he beganplayingprofesiionally at age 14. He graduatedfrom DePaulUniversity in Chicagowith a bachelor's degreein Jazz Performance,and earneda master'sdegreein Jazz Pedagogyfrom Northwestern University. He is amongthe foremoslexpertson the musicof StanGetzand is the authorof three Getztranscription bookspublishedby Hal Leonard.Gregis a contributing authoroî jazz theory articlesfor Jazz lmprov magazine and ChicagoJazz Magazine,and wrote the liner notesfor the Verve reissueof the Getz recording,TheSteamer-. He is the authorand publisherof the book Jazz SaxophoneEtudes. Greg has touredworldwidewith his own group,and has performedand/orrecordedwith such artistsas LouisBellson,SlideHampton,the WoodyHermanBand,ConteCandoli, Lou Levy,clark rerry, Jackieand Roy,Don Menza,lra sullivan,Judy Roberts,Jeremy Monteiroand EddieHiggins.Greg is the co-founder, alongwith Brazilianguitarist/vocalist PaulinhoGarcia,of the duo Two for Brazil.They performinternationally, and have recordedfive CDs. He has been featuredat the Concord-Fujitsu jazz feslivalin Japan,the NorthSea Jazz Festivalín the Netherlands, and in numerousconcertsin HongKong,Bangkok,Singapore, Chinaand lsrael.When not on tour,Greg is basedin Chicago,wherehe pérformslocallv and teachesin Evanstonat Greg FishmanJazz Studios. Critic'sQuotes: "...His solosare shrewdlyconceivedyet deliveredwith apparenteaseand elegance.He developsharmoniesthat sometimesstartlethe ear as he forgeslinesthattakà unexpected twists and turns..."-Chicago Tribune "Mr. Fishman bringsa warm,soulful,singingtoneto balladsthat recallsthe logicand lyricismof Stan Getz."-Washinqton post

57

(w

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THls800K, tf YouEllf0YHl ||UT Tf|GHEGK BESURE

ETUDES JMZ SAXOPHONE

ÍISHMAII'S GNEG TIIIT! OTHER ETUDES JMZ SAXOPHONE "IHIS/S REALLY BOOK!!!!A powertú sight A GREAT reoding, eor troining, swinging, improvising iozz fool. Perfect for /he s/udent of iozz, WishI hod it when lwos growing up, Glod I hove it now," MichoelBrecker 'Ihis is one of fhe most concise ond eosy /o dtgesl collection of so/os over stondord tune chord chonges thot I hwe seen, All the elements of good voice leoding, possingnoles ond common sco/e usoge ore here. Veryenjoyoble!!" -D o ve L i e b mo n

SET BOOK& TWOCD PLAY-ALONG

'7 wrsht hod moteild tikethiswhen / wos coming up. Ihese eludes are liltle mosterpieces,Ihere is such o weolth of moteriol to leorn from here. Greot line constructionond greol concepfucl/ideos. Hoving the rhythm seclion continue ofter the etude ls o greol ideo! lwill be usrnglhese with virtuolly otl mV s/udenfsfrom now on. Greg Fishmonhos done o terrific job of pulling thisbook togefher,ond the ploy-olong rhythm secfion ls iirsf c/oss/" - MorkColby,DepoulUniversity, College Elmhurst "Ihisbook is o wrillen versionof the woy jozz ls supposed to be tought - leorning from o greot ployer who truty understandshow to distillthelonguoge into cleor understondobleferms.Chicogo-bosed soxophonislGreg Fishmonhos composed o sef of efudes bosed on slondord tunesfhof ore one of "lypel've seen. Ihe /ineshe composes ore textbook verslonso/ poslbop /he besf collections of thls soxophoneimprovising,ondwillgivesludenfsotollleye/soweolthof moteildîoprocticeondinternolize.FishmonisequollywelLversedos o teocher ond os o soxophonist- it'so rore combinotion thot lsshowcosedin thisbook." - Dovid Demsey,WilliomPotersonUniversity, SoxophoneJournql