Reddit mentions: The best jazz songbooks

One thing you'll need to do is lower your expectations. You might be good at classical, but so many things in jazz are skills you just haven't really practiced and while the technical ability you're bringing will definitely help, a huge part of jazz is mental. It's a ton of theory in application in real time. It took you years to be able to play what you can on the classical side, and it's going to take years more to learn what you're wanting from jazz. So you're just going to have to start with some baby steps and slowly build from there.

Particularly for those coming from a classical background, I highly recommend this book. And I'd highly recommend watching this video a few times along side the opening bits of the book. An important thing early on is to get three note or 3-7 voicings down for your ii-V-Is. In the book they are explicitly written out in every key in both inversions. That will help your reading side, but like the video mentions, you should get to where you're not relying on the page as soon as possible. Try to write out a chart of the changes around the Circle of 4ths or find one online.

You need to be associating the chord symbols you see with the actual chords you're playing the way you would associate a written chord with how its played, but in a looser and more complicated way. First off, you need to be able to instantly identify the 3rd and 7th of any chord and just know it and know how the voice leading works between the chords. But over time you'll have an increasingly broad interpretation including lots of potential voicings, or extensions and alterations. You might read Dm7 and play Dm9. You might read G7 and play G7b9. You might read Cmaj7 and play CMaj13#11.

While the ii-V-I is the cornerstone and the i-VI-ii-V turnaround is common, you really need to learn how functions work so that you can do something like apply a diminished chord in place of a dominant or insert a tritone substitution, or insert the ii-V of a given chord to give it more motion. Pop lends itself more to memorizing short bursts of repeated progressions, but jazz needs you to know why and how it works more. The book I mentioned will get you started applying these concepts to lead sheets so you can take the info in the first few chapters and apply it directly to your Real Book for infinite practice and the book itself is using actual very common standards.

As for playing by ear, I heavily subscribe to the method that both Bert Ligon and Mark Harrison suggest. Don't go learning your intervals in isolation because that's not how music works. You need to learn to hear the individual steps of a scale as the relate to the tonic of the key you're in. The short version is that you should be able to feel do-mi-sol (1 3 5) as settle and home. Everything else wants to go to one of those and they all feel a certain level of settled or unsettled.

A point Bert Ligon makes it that students often want to play by ear, but can't even dictate the melody of a simple song like "Twinkle, Twinkle." If you can't do that, they you can't possibly expect to be able to pick out much more complicated concepts. He has a list of folk tunes and children's songs in his book Jazz Theory Resources that he recommends doing dictation of. Even without the list you could just pick some well known tunes and force yourself to write them down without a piano for reference. Bonus points if you can also notate the chord changes by ear (usually pretty obvious by the highly melody notes in such tunes). But slowly building from this and knowing what's happening from a theory standpoint will get you past the wild guessing phase.

You can actually get good at purely diatonic ear playing just by a lot of trial and error, but it's going to be very difficult to move past that without some much deeper theory knowledge.

I'd also recommend that any time you find a progression you like, pick a comping pattern and go play that progression in every key. The pure repetition will seal it in your brain aurally. But also, forcing yourself to do it in every key will have several effects.

• You'll be better at playing in any key technically and identify your weak keys.
  
• You'll be forced to consider the harmonic relationships in every key.
  
• You'll get much better at transposing by forcing your brain to think in Roman numerals or functions rather than explicitly in one key.
  
  I'm sure you can tell me that I-vi-IV-V in C is C-Am-F-G, but how quickly can you tell me what it is in Ab? F#? Db? E?
  
  You can take that an extra step and pick simple songs (perhaps some of those your transcribed) and go play them in every key so you also are forced to think about the melodic notes as scale degrees rather than just note names and really understand their relation to the tonic of whatever key you're in.
  
  You might actually want to check out that Bert Ligon book. It gives a good review of the pre-requisite theory you should have (coming from common practice period background), covers ear training, and lays the ground work for jazz theory in a way that I think rivals the Mark Levine book that most jazz pianists endorse. The Bert Ligon book is a much more instructional book whereas the Mark Levine book is more of a deep reference book great for people who already have a pretty solid grasp on jazz.
  
  
  I also recently found this amazing book at a used book store and was surprised I'd never heard of it. It's full of great left hand comping patterns (in 3 and 4), right hand patterns, fills, progressions, and generally extra pizzazz for interpreting things from lead sheets. It's definitely not so much a jazz book, but it might be a good stepping stone for you since it involves the improv and comping without throwing you head long into the density of jazz theory and lets you get comfortable playing by ear in a more diatonic setting that you're likely more comfortable with.
  
  
  

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Remember that the Mixolydian scale had a structure of Root, major 2, major 3, perfect 4, perfect 5, major 6, and minor 7.

If our root is G that would be G, A, B, C, D, E, F, (G).

If we are to arrange this as a chord (by skipping notes) we get:
Root, major 3, perfect 5, minor 7, major 9, perfect 11, major 13.

(Remember that a 2nd becomes a 9th in the higher octave, so major 2nd = major 9th. A 4th becomes an 11th in the higher octave, so perfect 4th = perfect 11th. A 6th becomes a 13th in the second octave so major 6th = major 13th).

So now we can see how and why modes are used.

If you stack a Mixolydian scale as a chord, you can see how the first three notes spell out a major triad. Therefore, the Mixolydian scale can be used over a major triad. e.g. play a G major triad with the left hand, and improvise with the G Mixolydian scale in the right hand.

If you stack a Mixolydian scale as a chord, you can see how the first four notes spell out a major triad with a minor seventh: in other words, a dominant seventh chord. i.e. G Mixolydian works over a G7 chord, because the notes in the chord are contained within the scale.

If you stack a Mixolydian scale as a chord, the fifth note is a major 9th. A dominant seventh chord + a major ninth is a dominant ninth chord (usually just called a ninth chord). i.e. G mixolyidian works over G9.

We can keep going but you probably get the idea. A scale will work over any chord that contains the notes in the scale.

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If you stack a major scale as chord you get:
Root, major 3, perfect 5, major 7th, major 9, pefect 11, major 13.

Note that both the major scale and the mixolydian scale contain a major triad as the first three notes. Therefore, both scales will "work" over a major triad (i.e. both G major and G mixolydian will work over a G major triad).

However, look at the 4th note you get when the major scale is stacked as a chord. It is a major seventh. Major triad + major 7th = Major ninth chord. Here's where the major scale and the mixolydian mode differ. The G Mixolydian scale will not work over a G major 9th chord, and the G major scale will not work over a G dominant ninth chord.

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How to know when to use which scale?

Remember that the mixolydian mode was built off of the 5th note of the major scale. e.g. G mixolydian is the fifth mode of C major. So in the key of C the chord built off of the fifth note (the "V" chord) will naturally take the Mixolydian scale built off of that note.

However, for practical purposes, there's no need to think of modes when playing key-center based music: if you're in the key of C, playing the C major scale over the C major chord (the I chord) and then playing G mixolydian over the G major chord (the V chord) means that you're just playing the same scale over both chords--it will give you a different perspective, but the notes will be the same.

The real benefit of modes is that it gives you tools to play over songs that aren't necessarily major/minor key based; i.e. songs that use non-functional harmony. Imagine a song with a chord progression of G7 to Bb7 throughout the tune. These two chords don't belong to any one key: this is a situation where you'd want to think modally, i.e. play G mixolydian over the G7 and switch to Bb Mixolydian over Bb7.

(Note that chord-scale theory is not an improvisation method*. Many students are misguided when they are taught to play x scale over x chord. Chord-scale theory let's you understand harmony, which notes are strongest or most stable against a particular chord how to add extensions. Learning improvisation is more about learning how to target chord tones on the strong beats, and embellishing a melody using mostly chromatic devices.)
***
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So I used the major scale and the Mixolydian mode as examples in this essay. Since there are seven notes in the major scale, each one of those notes can be thought of as the root of a different mode; each one will be distinct, and the fully extended chord will be different for each mode.

The seven modes of the C major scale are:

C Major scale (a.k.a. C Ionian): C D E F G A B (Root, Maj2, Maj3, P4, P5, Maj6, Maj7)
D Dorian: D E F G A B C (Root, Maj2, min3, P4, P5, Maj6, min7)
E Phyrigian: E F G A B C D (Root, min2, min3, P4, P5, min6, min7)
F Lydian: F G A B C D E (Root, Maj2, Maj3, P4, P5, Maj6, Maj7)
G Mixolydian: G A B C D E F (Root, Maj2, Maj3, P4, P5, Maj6, min7)
A Aeolian (a.k.a the Natural Minor Scale): A B C D E F G (Root, Maj2, min3, P4, P5, min6, min7)
B Locrian: B C D E F G A (Root, min2, min3, P4, diminished 5th, min6, min7)

We can say these seven modes are relative to each other, because they use the same set of notes. In other words, D dorian is relative to C major.

If we build each of those 7 scales on C, and look at their structure, we get:

C Lydian: C D E F# G A B (Root, Maj2, Maj3, Augmented 4th, P5, Maj6, Maj7)
C Major/Ionian: C D E F G A B (Root, Maj2, Maj3, P4, P5, Maj6, Maj7)
C Mixolydian: C D E F G A Bb (Root, Maj2, Maj3, P4, P5, Maj6, min7)
C Dorian: C D Eb F G A Bb (Root, Maj2, min3, P4, P5, Maj6, min7)
C Aeolian/Natural Minor: C D Eb F G Ab Bb (Root, Maj2, min3, P4, P5, min6, min7)
C Phrygian: C Db Eb F G Ab Bb (Root, min2, min3, P4, P5, min6, min7)
C Locrian: C Db Eb F Gb Ab Bb (Root, min2, min3, P4, diminished 5th, min6, min7)

We can say that these 7 modes are parallel to each other, because they are built on the same root*. In other words C Dorian is parallel to C major, while C Dorian is relative to Bb major. (Also, try to figure out why I listed them in that order!)

It's up to you to go through them. Just remember what the important information is:

• What is the interval structure of the mode, and how does it compare with the major scale built on the same root?
  
• What are the chords produced by the mode when you skip every other note? What is the triad, what is the seventh chord, and what are the extensions?
  
• Learn to sing each of the modes from memory; this is how you will learn the individual character of each.
  
  ***
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  Beyond the modes of the major scale, (and aside from the chromatic scale) you also have the seven modes of:
  
  
• The Melodic Minor scale (a.k.a. the jazz minor scale)
  
• The Harmonic Minor scale
  
• The Harmonic Major scale
  
• The Double Harmonic scale
  
  And there are the three symmetrical scales:
  
  
• The symmetrical diminished (only two different modes)
  
• The symmetrical augmented scale (only two different modes)
  
• The whole tone scale (only one mode)
  
  These scales pretty much cover every possible scale/chord. Some people may include pentatonic scales, but those are really just derivatives, created by leaving out a couple notes from the other scales.
  
  (For a more in-depth resource on the theory/philosophy behind scales, see:
  TheTonalCentre.org, and
  Slonimsky's Thesaurus Of Scales And Melodic Patterns)
  ***
  (12)**
  
  The best general jazz chord-scale theory text I've seen (I've seen them all) is probably the Berklee book,
  Chord Scale Theory and Jazz Harmony;
  However, even better would be the Bert Ligon books, because they go into more detail about how to actually put it into practice:
  Connecting Chords with Linear Harmony
  Jazz Theory Resources Volume 1
  Jazz Theory Resources Volume 2
  Comprehensive Technique for Jazz Musicians
  

Alright, my last two comments on this sub were downvoted, so I'm going to give it one more shot.

One of the mainstays of jazz since the early days has been common repertoire, the songs that have come to be known as "standards." If you resurrected Louis Armstrong from the grave you could take him to a session anywhere in the world and he'd find common tunes to play with the jazz musicians there. I'm going to guess that a big part of what you're not getting about jazz is you have little or no familiarity with these songs, so learning them, even just as a listener, is going to be one of your main jobs right now. I posted a video the other day called Aimee's Top 25 Jazz Standards To Know that is as good a list as any to start with. I used Nat King Cole's vocal recordings to introduce my daughter to some of these when she was five, because Nat sticks with the melody but still has a jazz delivery. Frank Sinatra is another good source, because he recorded just about every damn standard that is a vocal tune and did it with great jazz musicians. Obviously there are a zillion great instrumental versions of these tunes as well. A good place to look for the songs' histories and seminal recordings is jazzstandards.com.

One resource that you really should purchase to help you get up to speed on standards is a good, legit fakebook. The most common one is called The Real Book, and I advise getting a hard copy. I actually prefer the Chuck Sher New Real Book and its sequels, but either it or the Hal Leonard RB will get you started. If I'm not mistaken all of the tunes on Aimee's list (25 standards) are in the HLRB.

Next you should select a song from the fakebook, an easy one such as Blue Bossa or Satin Doll, and learn it all the way down, soup to nuts. This means you should know the written melody and chord changes cold. If you don't know some of the chords get a chord encyclopedia and learn them (I used books such as the Mickey Baker's How To Play Jazz and Hot Guitar, The Joe Pass Guitar Style, Ted Greene's Chord Chemistry and other to learn what Howard Roberts called "garden variety jazz guitar chords.") Be able to strum the chords to whatever tune(s) you pick in quarter notes in every bar, and you can apply comping rhythms later. There's an app for the Android and iPhone called the iReal pro that plays backing tracks to practice to, and they have a forum where you can download a playlist of 1,300 jazz tunes. It's well worth the $14 or so.

One main reason I'm starting with telling you to learn songs right away is literally everything else - chords, scales, arpeggios, lines, substitutions, rhythmic concepts, and so on - can be applied to tunes. Learning tunes enables you to play with other people, and as you get better you can find work backing singers and horn players, playing in guitar-bass-drum trios, and playing solo guitar if you're learning the songs as chord melodies. Believe me when I tell you almost every jazz musician you can name went through this process of learning and studying standards.

Last, one element of becoming a competent jazz player is rhythm. A lot of the rhythmic vocabulary is acquired naturally by listening, but if you're serious about learning this art form you'll want to study rhythm as well. Over the years I've used a number of books designed to improve reading as tools to help improve my time, including Melodic Rhythms for Guitar, Louis Bellson's rhythm reading books, and most recently Gary Hess's Encyclopedia of Reading Rhythms. These won't necessarily help as far as developing a jazz "feel," but it's mandatory to be comfortable with all the basic units of time so you can have a solid rhythmic base to improvise and interact with other musicians.

I hope this helps, and I'm up for questions about anything else.

Depends what gaps you have. Standard classical theory is good enough for functional jazz harmony, although some terms are different. (No augmented 6ths or neapolitan chords in jazz; but lots of "tritone subs".)

[Jazzology] (https://www.amazon.co.uk/Jazzology-Encyclopedia-Jazz-Theory-Musicians/dp/0634086782) is a good survey of functional jazz harmony. It's somewhat dry in presentation, and it's a shame that all the examples of tunes (melody and chords) are written by the authors, not taken from jazz standards.

For post-functional jazz theory (modes and chord-scales), Mark Levine's [Jazz Theory Book] (https://www.amazon.co.uk/Jazz-Theory-Book-Mark-Levine/dp/1883217040/ref=sr_1_2?s=books&ie=UTF8&qid=1499166438&sr=1-2&keywords=jazz+theory+book) is the bible. As a standalone jazz theory text it has many drawbacks, which is what provoked Rawlins to produce the above book. So you could see them as companion texts.
The two great advantages of Levine's book are its easy readability and presentation, and its many quotes from jazz recordings (mainly chord voicings and licks from improvisations). However, Levine's interpretation of those quotes should be taken with a pinch of salt: he uses them to support his chord-scale theories, but they can be interpreted in other ways. It's by no means clear the players themselves thought in those terms.
A great scathing criticism of chord-scale theory can be heard [here] (https://www.youtube.com/watch?v=NehOx1JsuT4) (Not as a theoretical principle, note, merely as a system for improvisation.)

Bert Ligon's books are also highly respected - I see them recommended all the time, although I haven't read any myself. [This] (https://www.amazon.co.uk/JAZZ-THEORY-RESOURCES-1-BOOK/dp/0634038613/ref=pd_sim_14_1?_encoding=UTF8&psc=1&refRID=TK8Y6EQRPH62NAYVHB2G) is probably the best, and there is a [volume 2] (https://www.amazon.co.uk/Jazz-Theory-Resources-Harmonic-Organization/dp/0634038621/ref=sr_1_3?s=books&ie=UTF8&qid=1499166895&sr=1-3&keywords=bert+ligon).

In short, one gets the impression that "jazz theory" is a live body of knowledge that is still being worked out. Different authorities have different views and perspectives. In particular there is a tension between how the players themselves think (especially older ones), and how academics analyze the music produced. After all, the period of jazz that many people hold up as the zenith (the bebop era) was produced by musicians whose jazz training was on the bandstand, by example from older players. Some may have studied music at conservatoires, but it would have been exclusively classical theory. "Jazz" was learned by ear.

> I can read tablature but not music notation (I'm assuming this is the first step!)

Standard notation is important - and definitely learn it. But as important, or maybe more so, is being able to understand chords and progressions.

Here's a really simple lesson: https://www.youtube.com/watch?v=Ilh4uMAdss8 to illustrate how to get started. Scott's Bass Lessons has a lot more content, too. Christian McBride also has an online fundamentals course: https://www.openstudionetwork.com/project/fjb-overview/

To apply even a basic knowledge, I'd recommend getting one or more real books. The app, iRealPro is a digital version of this approach and has some nice features like being able to change key and tempo. At its heart, jazz is a performance and improvisational art, and these resources let you build up those playing skills.

I'd probably suggest this one, or maybe this one

In terms of walking bass, the only to get better at it is unfortunately just to keep working at it. Start on a not-too-complicated tune such as Satin Doll, or something else with lots of II-V-I progressions in it, or a 12-bar blues, and work up to more complicated charts.

Here's a "quick and dirty" method to work out some walking bass lines. It's a bit simplistic perhaps, but it will at least get you started, and it does work. Assuming a 4/4 time sig:

ON BARS WHERE THERE ARE TWO CHORDS PER BAR:

Beats 1 & 3: On the beats where the chords fall (1 & 3) play the root (at least at first).
Beats 2 & 4: On the other beats (2 & 4) play an approach note that gets you to the root of the next chord, so a note either a half-step or whole step above the note you want to get to. Use your ear to judge which is best. So if the chord on beat 3 is G7, on beat 2 you could play either A, Ab, F# or F.

ON BARS WHERE THERE IS ONLY ONE CHORD PER BAR:

Beat 1: Play the root (again, at first)
Beat 4: Play an approach note as above, so either a half or whole step above or below, whichever sounds best.
Beats 2 & 3: You have a few options:

a. outline the chord notes. For example root, 3, 5 then, or root, 3, 5 then to your approach note.

b. move by step (don't be afraid of chromatic notes, you'd be surprised how often they work). So going from Dmi7 to G7 you could move up be step playing D, E, F, F#.

c. Try going from the root on the first beat up or down to the 5th on the second beat, then keep going in the same direction to the root an octave above or below on the third, before hitting your approach notes.

d. Do something else entirely.

So a sample bassline for the first 8 bars of Satin Doll might look something like this. Note that in the last bar it moves completely by step while in the three bars before that it uses that root-fifth-root pattern. Obviously that's just one way to do it. When you're new to walking bass and learning a tune don't try and go right through straight away. Get from bar 1 to bar 2, then from 1 to 4, and so on. Build it up in stages, and try different ways to get there. If you can figure out how to get up by step to the next chord, then try moving down by step the next time.

Now, before anyone tells me that I am the awful spawn of satan and I have killed Jazz by explaining things this way and thus downvoting me to the diminished 7th circle of Hell, I know it's a very simple way of explaining it, I also know that walking bass can be a wonderfully nuanced thing with infinite variety. But we've got to start somewhere and the above will work. As with everything, the ear has to be the final judge.

I asked my university piano teacher a similar question. "What are the best transcriptions of common tunes?" His answer: "The ones you make yourself."

I think this is true. The only charts/transcriptions that you can really trust are the ones that you've created with your own ear. Real books and their many versions and electronic iterations (the irealbook ap is an amazing resource for learning tunes and transcribing simple chord charts) are invaluable sources for being introduced to tunes, but they are merely sketches. Choose an artist/version of a tune that you dig and learn that specific version using the real book chart as a starting point.

Recognizing those subtle differences and artistic choices is the beauty of learning jazz tunes.

That being said, I feel that the most accurate realbooks are the "New Real Book" series . They are based on specific recordings so they stay true to an actual version that a particular artist recorded or performed regularly.

Of course, not every tune is included so you have to rely on your faithful ears to figure out those Shorter tunes you're looking for.

Another resource is The Real Book Videos Subreddit . It has definitive versions of the Real Book tunes.

How much transcribing are you doing?

Do you have the hand independence of someone like Keith Jarrett or Brad Mehldau? Are you practicing that skill?

How's your re-harmonization ability? Can you take something simple and make it more complex or take a folk tune and make it jazzy?

How's your jazz theory? Do you recognize which scales are possible with each chord beyond the simple ones? Have you worked your way through The Jazz Theory Book or Jazz Theory Resources?

Are you active in your local music scene? The best way to find a teacher is to find someone who is out there playing who really impresses you. You're not going to find players at or above your level in the yellow pages or online, it's all word of mouth.

Girl from Ipanema is one of the easier songs to play, definitely a beginner level.

I would recommend this book -

https://www.amazon.com/Antonio-Carlos-Jobim-Bossa-Nova/dp/0634048899/ref=sr_1_1?crid=1E8YMSW7G556D&keywords=jazz+play+along+hal+leonard+bossa+nova&qid=1568768851&sprefix=jazz+play+along%2Caps%2C131&sr=8-1

All the songs are excellent. Playing at the same time as the recording of them playing makes it easy to get the timing right for someone who is a beginner.

Regarding Bill Evans' style, a google search for "Bill Evans Voicings" pulled up all kinds of info(Pages and pages worth).

For Gil, there's a little less but still enough to go off of from a google search. Here's one page I pulled that seems to have a lot of info

Here's an amazon link for transcriptions of the original Birth of the Cool

Other than that, Google will be your best friend.

They're scattered around the internet if you want free ones. I've heard you can go to a big sheet music website, like the one my instructor used, call them and get just the bass part instead of ordering the full set.

Real books are also great. They contain chord charts, and some notes, for classic jazz pieces. It's a great way to learn to improv, and you can pair up with say a saxophonist who has his real book for alto clef.

• I haven't used this but give it a try. It's a really dumbed down version of what a real book looks like.
  

I've had classical training on the piano for 10+ years, too, also on the church organ, and have only recently started to try and understand this new and modern thing called jazz.

I found Mark Levine's book on Jazz piano to be fairly nice and beginner friendly. Later on, I dove into a more theoretical and systematic German book that's more or less based on Berklee. I don't think it's been translated in english yet.

The Real Book is a popular one. I've also heard good things about the New Real Book.

http://www.amazon.com/Cutting-Changes-Jazz-Improvisation-Centers/dp/0849725941

This guy says that if you know scales, you can play jazz.

Shameless plug, he is a friend of mine.

Very solid advice. OP if you want to learn how to arrange for a quintet, listen to the Jazz Messengers or Horace Silver's quintet.

Horace Silver actually wrote a book on it.

http://www.amazon.com/Horace-Silver-Small-Combo-Playing/dp/0793556880

This one is pretty much the standard Real Book, based on my experience.

Personally, I'm partial to this version, but I don't think I've ever seen anyone else actually use it.

I would personally buy The New Real Book by Sher Music. It's much more accurate than Hal Leonard's Real Book.
http://www.amazon.com/New-Real-Book-1/dp/0961470143

A fake book is just a book of lead sheets. A lead sheet is the chords and melody of a song with usually little else. They're called fake books because they can be used to fake a tune one does't really know. By and large, the most popular jazz fake book is called the Real Book. There are 3 volumes and 5 editions; it was produced by students at Berklee School of Music in the 70's. That jazz style that is so often in music notation software is based on the Real book's handwritten sheets. It's illegal as the songs are unlicensed, but Hal Leonard has created a 6th edition that is updated and fully licensed. You can get it at amazon. You can find versions of the original at your local seedy music store and online with a bit of searching. There are a whole bunch of others. One really excellent one is the New Real Book published by Sher. The tunes are dead accurate and contain most of the arrangements.

the fifth edition is the classic 'illegal' version of the book. it has some errors but it also has a lot of the hipper changes in it. It will be hard to find in a store cuz its 'illegal' but you can find a pdf of it on piratebay no problem.

the 6th edition is the legal version published by hal leonard. It's designed to be a legal replacement for the 5th edition. the page turns are 99% the same and the errors have been fixed. Its usually priced lower than the original and can be bought or ordered easily from any dealer. Some of the changes aren't as hip but its a suitable replacement to the original, shady 5th edition. I reccomend getting the 6th edition first.

http://www.amazon.com/The-Real-Book-Edition-Instruments/dp/B000VZSOI4/ref=sr_1_2?ie=UTF8&qid=1394211867&sr=8-2&keywords=the+real+book

The Sherr music books are really good but they're not standard like the original illegal book or the 6th edition.

http://www.amazon.com/The-New-Real-Book-Volume/dp/0961470143/ref=sr_1_11?ie=UTF8&qid=1394211895&sr=8-11&keywords=the+real+book