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Here's a nice article about NOT being a real book player.

http://www.jazzadvice.com/why-you-shouldnt-be-a-real-book-player/

Honestly if you don't mind. To me a realbook is the sign of one of a few things.

1. A pro doesn't know a tune and he's reading it because he has to.
2. It's a student who doesn't know enough tunes. (that's fine).
3. It's an amateur. Also fine.

Anyway this article sums it up perfectly!

Hey guys,

Summer is coming and I have more time for Skype Lessons. So I will offer some great deals for Subscribers of 3 months or more. That is a inexpensive Skype or in house lessons. They will be limited just because of my schedule.

I just put 4 up for the month of May. You purchase two lessons for a GREAT price. We do the first one and then give you things to do for the second lesson. You work hard and then we check in. You get better and vibesworkshop.com makes a few bucks. Win/win :-)

This version of My Wild Irish Rose is inspired by pianist Keith Jarrett. I love how he subtly shifts keys on familiar tunes. This version is an example of playing a tune by ear and then looking for interesting ways to change keys. I decided not to improvise on this one — just played the melody in slightly different ways that seemed to fit each key. Every chorus is the same, yet slightly different each time.

A student of mine needs a vibraphone in Argentina for future gigs. Does anybody know any vibes players there?

Any vibe resolutions out there?

Mine is to learn a bunch of the songs I have forgotten.

Hi everyone,

Tony and I discussed our new TOTMs. They will be "Giant Steps" and "There Will Never Be Another You." For Giant Steps, we'll discuss the various different treatments of the tune. If Giant Steps is a little too difficult, follow the lessons for There Will Never Be Another You.

Both these tunes are great, so do both if you can! Keep on the lookout for new lessons.

Behn

Hey Vibeworkshop
Since last spring I have been thinking a lot about the melodic contour in improvisation. Today I wanted to share some thoughts and systems on how to understand the ways phrases can be built using Cell Shapes (ideas that are created using small contour segments, c-segs for short).

This semester I have been working with my teacher on playing ballads in the solo style and wanted to share a system/ exercise that I've been using to begin developing orchestration ideas when playing the melody. The following exercise is based on a concept I modified from John Mehegan’s “Jazz Improvisation 4: Contemporary Piano Styles” called “Root – Chord Patterns”.

My pick is Gary Burton - Alone at Last

What's yours? Only one and you can of course talk about why.

For me the solo playing on this CD is unmatched to this day. I heard it when I was young and it blew me away.

Your turn.

HEY GUYS, I think it's great to include you all in some way. So I'll post questions and hopefully you guys will answer. I'll provide links to this stuff for the attendees when it gets close to the workshop.

What is a specific exercise someone can do to work on improvising. Be specific and short. You can link to something here that helped you of course.

Any Ideas?