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Jazz Improvisation Made Simple: Learn Jazz Faster, Improvise Effortlessly, and Become the Musician You’ve Always Wanted to Be
When it comes to learning jazz, many musicians feel overwhelmed. They are told they need to know a ton of music theory, have impeccable technique, mastery of their instrument, and lots of natural talent to succeed as a jazz improviser. The message of Jazz Improvisation Made Simple is that learning jazz doesn’t have to be so overwhelming and complicated. To get started, you need to know a lot less than you think. Even by learning just one jazz standard, you can unlock a treasure trove of incredible secrets for musical excellence. Jazz Improvisation Made Simple is not a music method book full of music notation and exercises. It's a self-help style book that dives deeper into things that will actually make a difference in your jazz playing, no matter what instrument you play. In this book, author, podcaster, and educator Brent Vaartstra reveals his proven processes behind learning jazz and skyrocketing your improv skills. As the jazz musician behind the internationally renowned jazz education blog and podcast Learn Jazz Standards, he’s helped hundreds of thousands of musicians reach their jazz potential, improve their skills, and accomplish their musical goals. Sharing lessons from his personal journey and successes of his students along the way, Jazz Improvisation Made Simple serves as a step-by-step guide for accelerating your jazz improvement, shortening the learning curve, and unlocking the musical potential you’ve always had.
- GenresMusic
168 pages, Kindle Edition
Published March 1, 2020
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Displaying 1 - 11 of 11 reviews
March 27, 2020
Now you can move forward at your own risk, slice by slice, until all that’s left is the grease-soaked cardboard for you to stare at and contemplate your life decisions.
Jazz. I remember chaperoning a field trip to New Orleans. As we strolled through the French Quarter, a student suddenly stopped out of frustration: “Good God! Everywhere we go they keep playing that stupid horn music!”
Brent wants to help you learn how to play this “stupid horn music,” which some term jazz. He has an excellent podcast and website (Learn Jazz Standards) where he has been teaching a few years now; he’s not new to this gig. I confess I am also a client of his services—I have taken his course 30 Days to Better Improv or whatever it’s called. It was difficult, but he’s right—at the end of the experience, I feel more comfortable with chord progressions and improvisation.
Having listened to all his podcasts, there’s not much that’s new in this book. In fact, I believe Brent’s methods are clearer in his podcasts than within these pages. I doubt if someone coming upon this book without any sense of how Brent operates would be able to cull much from this text.
The underlying problem is experience with the genre. Brent wants to de-mystify jazz, show that it’s not that complicated. Yet, again and again, his examples and expectations are daunting. For example, he advocates just listening closely to jazz musicians perform—and that makes sense. So you don’t need a lot of jazz theory; the music will teach you. Again, yes, I can see that. Then Brent puts himself in your shoes, listening closely to a jazz song, and pulls this out of his playbook:
For example, you may be listening to “So What” by Miles Davis and hear a cool two-bar phrase Cannonball Adderly played over the Dmin7 chord.
And I’m like: “What the F, Brent.” Obviously, what I’m hearing when I listen to jazz is not remotely what you think I’m hearing. And, in effect, this example is rooted in jazz theory and a high degree of ear training not common in people new to the genre. I have trouble distinguishing major and minor triads, I admit; I haven’t the foggiest notion where Adderly plays over the Dmin7 chord in "So What."
I appreciate all that Brent does, truly. The problem is he is often too esoteric for novices and too simplistic for veterans. There really isn’t any middle ground. Brent strives to take novices and make them veterans, or, to use one of his terms from his podcast which doesn’t make it into this book, “jazzers.”
Brent’s experience with jazz is atypical of many of his readers/students. He doesn’t feel all that practice he has done was necessary. In essence, his background blinds him from the challenges many of his student have. There’s a bias in his approach that, as complimentary as it is, we’re all a lot more knowledgeable and studious than we actually are. The musicians performing jazz are not a welcoming lot; they don’t have the patience for novices in their sessions. Despite Brent’s reassurances to the contrary, there is a very steep learning curve to the craft that will elude a majority of aspiring musicians.
But Brent soldiers on with his insistence that with a minimum of practice learning jazz by ear and playing improvisation techniques with the heart rather than the head is possible. It’s good stuff, and it’s very refreshing to find an accomplished jazz magician willing to show the novice how the tricks are done. I doubt this book will convince someone who doesn’t know Brent’s methodology to take him seriously, since the book seems contradictory in insisting jazz music theory is not that important in learning jazz while constantly referring to jazz music theory.
My recommendation? Listen to his podcasts from start to finish. If you find them helpful, sign up for his course and experience firsthand the techniques he advocates. This book is simply the outline of his methods and philosophy; it’s good stuff, but it’s not enough to establish a foundation in playing “stupid horn music.” Brent's an excellent, patient teacher, but this book doesn't allow him the opportunity to demonstrate it.
Jazz. I remember chaperoning a field trip to New Orleans. As we strolled through the French Quarter, a student suddenly stopped out of frustration: “Good God! Everywhere we go they keep playing that stupid horn music!”
Brent wants to help you learn how to play this “stupid horn music,” which some term jazz. He has an excellent podcast and website (Learn Jazz Standards) where he has been teaching a few years now; he’s not new to this gig. I confess I am also a client of his services—I have taken his course 30 Days to Better Improv or whatever it’s called. It was difficult, but he’s right—at the end of the experience, I feel more comfortable with chord progressions and improvisation.
Having listened to all his podcasts, there’s not much that’s new in this book. In fact, I believe Brent’s methods are clearer in his podcasts than within these pages. I doubt if someone coming upon this book without any sense of how Brent operates would be able to cull much from this text.
The underlying problem is experience with the genre. Brent wants to de-mystify jazz, show that it’s not that complicated. Yet, again and again, his examples and expectations are daunting. For example, he advocates just listening closely to jazz musicians perform—and that makes sense. So you don’t need a lot of jazz theory; the music will teach you. Again, yes, I can see that. Then Brent puts himself in your shoes, listening closely to a jazz song, and pulls this out of his playbook:
For example, you may be listening to “So What” by Miles Davis and hear a cool two-bar phrase Cannonball Adderly played over the Dmin7 chord.
And I’m like: “What the F, Brent.” Obviously, what I’m hearing when I listen to jazz is not remotely what you think I’m hearing. And, in effect, this example is rooted in jazz theory and a high degree of ear training not common in people new to the genre. I have trouble distinguishing major and minor triads, I admit; I haven’t the foggiest notion where Adderly plays over the Dmin7 chord in "So What."
I appreciate all that Brent does, truly. The problem is he is often too esoteric for novices and too simplistic for veterans. There really isn’t any middle ground. Brent strives to take novices and make them veterans, or, to use one of his terms from his podcast which doesn’t make it into this book, “jazzers.”
Brent’s experience with jazz is atypical of many of his readers/students. He doesn’t feel all that practice he has done was necessary. In essence, his background blinds him from the challenges many of his student have. There’s a bias in his approach that, as complimentary as it is, we’re all a lot more knowledgeable and studious than we actually are. The musicians performing jazz are not a welcoming lot; they don’t have the patience for novices in their sessions. Despite Brent’s reassurances to the contrary, there is a very steep learning curve to the craft that will elude a majority of aspiring musicians.
But Brent soldiers on with his insistence that with a minimum of practice learning jazz by ear and playing improvisation techniques with the heart rather than the head is possible. It’s good stuff, and it’s very refreshing to find an accomplished jazz magician willing to show the novice how the tricks are done. I doubt this book will convince someone who doesn’t know Brent’s methodology to take him seriously, since the book seems contradictory in insisting jazz music theory is not that important in learning jazz while constantly referring to jazz music theory.
My recommendation? Listen to his podcasts from start to finish. If you find them helpful, sign up for his course and experience firsthand the techniques he advocates. This book is simply the outline of his methods and philosophy; it’s good stuff, but it’s not enough to establish a foundation in playing “stupid horn music.” Brent's an excellent, patient teacher, but this book doesn't allow him the opportunity to demonstrate it.
March 9, 2020
A fresh approach to learning jazz
I’ve been following Brett Vaartstra’s work somewhat remotely for years. This book pulls together the wealth of content he has produced and gives it easy-to-grasp, practical meaning.
I thoroughly enjoyed the book and have already started applying the stair step method to my rehearsing. It’s exciting to see progress after just a few sessions!
A little suggestion: While it’s not a technique book or a workbook, example titles of tunes where the mentioned chord progressions appear would be helpful in a next edition.
I’ve been following Brett Vaartstra’s work somewhat remotely for years. This book pulls together the wealth of content he has produced and gives it easy-to-grasp, practical meaning.
I thoroughly enjoyed the book and have already started applying the stair step method to my rehearsing. It’s exciting to see progress after just a few sessions!
A little suggestion: While it’s not a technique book or a workbook, example titles of tunes where the mentioned chord progressions appear would be helpful in a next edition.
March 15, 2020
Do not mistake this book for providing exercises to learn jazz. It is talking more about the structure around which you can learn to play jazz. Actually doing practice work is beyond the scope of this book. However, it does present you with a good starting point to learn what to focus on, and most importantly on what NOT to focus. As jazz is a huge and wide universe, you can get lost easily in all the stuff you can practice. Brent describes ways of focusing, of strategy on getting ahead in what can seem like an endlessly large field. Much recommended as a starting point before you start collecting books with exercises.
May 8, 2020
It’s the tunes, stupid!
An interesting take on learning jazz. As a guitarist I can relate to what Brent discusses in this book, especially the part about being overwhelmed. I thought that I was overwhelmed trying to learn Delta Blues and then I made the decision to try to learn a little jazz. There’s no such thing as a “little” jazz, but a little practicing can go a long way. I am trying more and more to relax and realize that I don’t need to know every scale position and arpeggio under the sun. Hopefully this book will also help you on your journey. I will definitely be reading this again soon. Thanks, Brent. I owe you one.
An interesting take on learning jazz. As a guitarist I can relate to what Brent discusses in this book, especially the part about being overwhelmed. I thought that I was overwhelmed trying to learn Delta Blues and then I made the decision to try to learn a little jazz. There’s no such thing as a “little” jazz, but a little practicing can go a long way. I am trying more and more to relax and realize that I don’t need to know every scale position and arpeggio under the sun. Hopefully this book will also help you on your journey. I will definitely be reading this again soon. Thanks, Brent. I owe you one.
January 5, 2022
Good advice on what to pay attention to and what to ignore to start building improvisational skill, and a plan to get you there.
As another reviewer mentioned, Brent Vaartstra also has a podcast and online courses, so I think he's worth listening to regardless of your preference for media format.
As books go, this is among the best I've found on improvisation, along with Improvisation for the Contemporary Musician by Arnie Berle. The latter is more musically practical in giving guidelines to build phrases and melodies.
As another reviewer mentioned, Brent Vaartstra also has a podcast and online courses, so I think he's worth listening to regardless of your preference for media format.
As books go, this is among the best I've found on improvisation, along with Improvisation for the Contemporary Musician by Arnie Berle. The latter is more musically practical in giving guidelines to build phrases and melodies.
June 21, 2022
In terms of application, this book is absolutely above my level of musicianship. But I've heard so many good things about it, I was interested nonetheless.
Despite not being able to effectively apply its "lessons" (if you can even call it that) right away, I liked how practical and motivating this book's "don't think, DO!" approach is. Never have I been that motivated to learn songs by ear and actually analyze the theory behind what I've just learned.
Small steps, sure; but maybe one day, I will actually be able to appreciate every chapter in the book to the fullest. (One can dream...)
Despite not being able to effectively apply its "lessons" (if you can even call it that) right away, I liked how practical and motivating this book's "don't think, DO!" approach is. Never have I been that motivated to learn songs by ear and actually analyze the theory behind what I've just learned.
Small steps, sure; but maybe one day, I will actually be able to appreciate every chapter in the book to the fullest. (One can dream...)
December 26, 2025
Buku ini memberikan pandangan kepada kita terkait bagaimana cara untuk menyajikan musik Jazz dalam bentuk yang lebih indah dan enak didengar oleh penonton di mana untuk menampilkan ini membutuhkan bakat musik, imajinasi, dan naluri yang tinggi disertai pengalaman jam terbang tinggi dalam musik Jazz. Tetapi semua elemen ini hanya bisa disatukan jika seorang pemain musik Jazz berani menunjukkan kemampuannya di hadapan penonton tanpa ada keraguan apakah performance yang ditampilkan bagus atau jelek karena pada akhirnya bagian ini akan dinilai oleh penonton
April 7, 2020
There are no perfect books on this subject - and books, by themselves, can't be the only resource used to learn jazz improvisation. However, this relatively short book has the advantage of being authored by an experienced performer and educator that deals with a lot of students, and runs a well-organized site for students. Brent is a guitarist, but this is for any melodic instrument. I'd recommend this as part of any jazz student's library.
March 7, 2020
A first class introduction to jazz
With lots of fresh ideas and tons of enthusiasm, Brent Vaartstra gives the teach-yourself jazz market something it badly needs: a guide that encourages from start to finish, making this wonderful form of music truly accessible to anyone ready to push the boat out. Very fine.
With lots of fresh ideas and tons of enthusiasm, Brent Vaartstra gives the teach-yourself jazz market something it badly needs: a guide that encourages from start to finish, making this wonderful form of music truly accessible to anyone ready to push the boat out. Very fine.
May 24, 2020
Very good book about ... improvisation
No, this book does not give you exercises or a shortcut to becoming an improviser. It explains what improvisation is, that it is something for everyone, kills myths like: you have to be extremely talented.
As learning to improvise can be a daunting task, there's so much to learn and the internet can be overwhelming, you need someone who takes a step back and brings matters into perspective.
Brent does exactly that. This book is a handbook. Where to start, where to go and how to go about it. Step by step. The book has to be read and read again. Marking with a pencil whatever you think is important.
Don't kid yourself. Learning to improvise is not! easy, but it can be done and is enjoyable at any!!! level.
Practise, play, read the book, listen, practice etc.
This book gives you the structure to accomplish the goal you have set yourself.
(small quibble, sometimes the book is very American. ...great jazz improvisor... just read everywhere this occurs ...improvisor. Not only because the chances that you become a great jazz improvisor (touring the world) are very slim, but mainly because the book is useful for anyone interested in improvisation in general).
Great.
No, this book does not give you exercises or a shortcut to becoming an improviser. It explains what improvisation is, that it is something for everyone, kills myths like: you have to be extremely talented.
As learning to improvise can be a daunting task, there's so much to learn and the internet can be overwhelming, you need someone who takes a step back and brings matters into perspective.
Brent does exactly that. This book is a handbook. Where to start, where to go and how to go about it. Step by step. The book has to be read and read again. Marking with a pencil whatever you think is important.
Don't kid yourself. Learning to improvise is not! easy, but it can be done and is enjoyable at any!!! level.
Practise, play, read the book, listen, practice etc.
This book gives you the structure to accomplish the goal you have set yourself.
(small quibble, sometimes the book is very American. ...great jazz improvisor... just read everywhere this occurs ...improvisor. Not only because the chances that you become a great jazz improvisor (touring the world) are very slim, but mainly because the book is useful for anyone interested in improvisation in general).
Great.
December 28, 2025
Another Kindle book re-read on my new Kindle.
It's been some time since I read this book, although parts of it have resonated in my thinking over recent years. Sitting down with a real plan to practice seems to be the main message in the book. The initial goals are to become familiar with your instrument and the repertoire (material) you want to play. The ultimate goal is to be able to play and express yourself via the material and on on your instrument.
It's been some time since I read this book, although parts of it have resonated in my thinking over recent years. Sitting down with a real plan to practice seems to be the main message in the book. The initial goals are to become familiar with your instrument and the repertoire (material) you want to play. The ultimate goal is to be able to play and express yourself via the material and on on your instrument.
Displaying 1 - 11 of 11 reviews