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I felt a lot of stress and pressure during my years in college and graduate school, about jazz and Learning Tunes. Nobody who is anybody uses a fakebook! You have to Learn the Tunes! Do you know All the Tunes? Why don’t you know More Tunes?
My teachers told me I would never make it as a jazz player unless I knew hundreds of tunes by heart. Melodies, chord progressions, and “standard” intros and outros. And since I’m a reed player, I would need to know them in at least a couple of keys. I tried, but I found it pretty daunting. My teachers seemed to think that meant I was doing it wrong, in some way they could not specify.
And besides, fakebooks are bad! They have mistakes, unlike other kinds of sheet music! Plus, the fakebook version of that tune might not be the true and authentic secret original version, but merely a common and tasteful reworking! And if you’re looking at a fakebook, you’re trapped within the confines of the printed page, literally unable to play anything creative!
My university degrees are in “classical” performance, and in multiple instruments, so jazz has never been my sole concentration. If I had done more focused and advanced study of jazz, I suppose I would have had to Learn All the Tunes, or flunk out and fail to make it in the business.
But it was never my goal to be the next big name in jazz. I love to play jazz music, but I’m quite content to do my best impressions of my favorite players, take modest solos, and yes, use a fakebook. Of the musicians in the world who play jazz at some level, very few are recording on Blue Note or headlining at the Village Vanguard.
For hobbyist or part-time jazz players, a fakebook can be very useful. Using a fakebook on a gig means I can just play the tunes the group wants to play, rather than slinking away in shame at my failure to Know them All. It means we’re all on the same page, so to speak, about keys, chord changes, forms, intros, and endings. The practicality of low stress and high versatility wins out over the ideal of never looking at a music stand. I can Learn Tunes by playing them frequently in a relaxed atmosphere. And if I forget a chord or a melody note, I can fall back on my musical skill of reading notation.
Is learning tunes by heart preferable? Probably, ideally. If you’re in a jazz studies degree program, or trying to break into the top-level jazz scene in a major market, you may indeed find it necessary to memorize a whole lot of tunes as quickly as you can. But for the rest of us, there’s no shame in using a fakebook.
I tell students or people to get whatever works for them. Just because Michael Brecker played a Selmer doesn’t mean you have to as well. Heck, Phil Woods plays a Yamaha after decades on a Selmer.
Going to a lot of these “boards” (or rather “that board”), you get the arm-chair philosophers waxing poetic on everything and proclaiming winners left and right. I think it’s funny to read “that board” and the questions and answers people put there. I wish I had the money to own or have tried all these horns the “experts” there have.
Back on topic…….It is also good to consider that people tend to stick with what works, especially musicians. You find a sound or an instrument, and you stick with it. I know I do that. I very seldom try different brands of reeds, I buy the ones I’ve used for years and years. Instruments, honestly, I rarely try anything out. Why? I have no interest, and I don’t want to start chasing that “if I only had that ______ sax things would be better” thing. I have good instruments, I don’t need to get the latest Cannonball Alto or whatever. I don’t need to relearn all the little quirks it will have. I know the quirks my horn has. If I won the Lottery, sure, I’d go out and buy a bunch of horns…..probably….in addition to a boat, couple of cars, houses……
There are PLENTY of excellent instruments being made, even by people/companies not known. If you are shopping for something, for a first time purchase, then totally check them out. Cannonball, RS Berkeley, Barone, Yanigasawa, etc, etc. I’d be happy with any of these if I didn’t already own horns (I grew up in the era in the 80s/90s when there were not the plethora of good makers of instruments and for better or worse ended up with two Mark VI horns and a Yanigasawa soprano).
If I were shopping for horns, I’d not even consider Selmer……way way overpriced for what you get. You can get a whole set of horns from one of the other makers (say Barone) for the price of ONE Selmer horn. For $5K I could get an alto, and tenor Barone and maybe a Soprano…..