That's Jazz, Book One: Getting Into It, w/CD; That's Jazz, Book Two: Digging Deeper, w/CD; and That's Jazz, Book Three: Let it Rip, w/CD.

That's Jazz, Book One: Getting Into It, w/CD; That's Jazz, Book Two: Digging Deeper, w/CD; and That's Jazz, Book Three: Let it Rip, w/CD, by Bradley Sowash. Neil A. Kjos Music Company (www.kjos.com), 2006, each. 40pp., 48pp. and 53 pp. respectively. $9.95 each.

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This series is a welcome addition to the growing body of jazz-oriented method supplements. One of the most difficult aspects of jazz to teach is its unique rhythmic "feel." A major strength of these books is their emphasis on jazz rhythms. Another strength of the series is the connection, especially in Books One and Two, to normal concepts and patterns found in every method book.

Each book in the series has eight jazz-oriented pieces with interesting and authentic syncopated jazz rhythms. Rhythmic patterns are introduced in a progressive and systematic manner, and each jazz-oriented piece is reinforced through a CD. Fast-tempo swing, Latin and rock rhythms are emphasized. The books are easy to read, with covers that might be particularly attractive to a teenager.

Book One, Getting Into It, begins at late-level three to early-level four. The pieces are in C, A Minor and D Minor, and use triad patterns. All pieces have an optional duet part (one hand) that can be played on the same piano as the student. Interspersed between the pieces are a variety of exercises to help the student learn the rhythms and experiment with improvisation or composition. The chord pattern I-IV-V7 is reinforced in several pieces. Book Two, Digging Deeper moves quickly into scales and seventh chords; the coordination level is similar to the C Major Clementi Sonatina. Book Three, Let It Rip moves ahead progressively into more challenging rhythms, with octave stretches and moving bass lines that almost require the coordination of a Bach Invention.

When students are exposed primarily to classical piano literature, they generally do not develop the ability to play and sight read jazz-oriented rhythms. This series would be an excellent supplement to any traditional piano curriculum, and teenagers who are interested in jazz could learn a great deal from it. Going though each of these books would also be an enjoyable way for teachers and adults to become more skilled in the area of jazz. Anyone who plays these pieces will enjoy the authentic jazz sound of the melodies and harmonies as well as the complex rhythms.--Janeen Larsen, Black Hills State University