The Story of Fake Books
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The Story of Fake Books : Bootlegging Songs to Musicians

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Description

Bootleg fake books - unauthorized anthologies of songs notated in a musical shorthand - have been used for decades by countless pop, jazz, and country musicians. Drawing from FBI files, newspaper accounts, court records, and oral history, Bootlegging Songs to Musicians reveals the previously unknown stories of the origins and prosecution of pop-song fake-book bootleggers, and of the emergence of the definitive jazz fake book, The Real Book.
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Product details

  • Paperback | 174 pages
  • 156 x 230 x 12mm | 295g
  • Lanham, MD, United States
  • English
  • 0810857278
  • 9780810857278
  • 1,958,616

Table of contents

Part 1 List of Figures Part 2 Editor's Foreward Part 3 Introduction and Acknowledgments Chapter 4 1. The Tune-Dex: A Card Catalogue for the Music Industry Chapter 5 2. The Growth of Cocktail Lounges: Musicians Need Tune-Dex, Too Chapter 6 3. Songs and Copyright and the Invention of Chord Symbols Chapter 7 4. The Tune-Dex Fake Books: Enter the FBI Chapter 8 5. Evidence Given in 4/4 Time Chapter 9 6. Legit Fake Books Chapter 10 7. The Making of The Real Book Part 11 General Index Part 12 Title Index Part 13 Song and Show Index Part 14 About the Author
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Review quote

This volume follows the history of fake books from the Tune-Dex subscription service used in the 1940s to the Real Book series now popularly used (the latter described in part by musicians Steve Swallow and Pat Metheny). Kernfeld details how chord symbols and the first fake books originated, the first copyright infringement case against bootlegging, and when authorized fake books began to appear. In addition to the general index, title and song/show indexes are also provided. Kernfeld is a saxophonist, editor of The New Grove Dictionary of Jazz and author of What to Listen for in Jazz. * Reference and Research Book News, November 2006 * The book is meticulously researched and of great interest to students of the American music industry, particularly in the post-Tin Pan Alley era. * VJM's Jazz and Blues Mart, No. 146 (Summer 2007) * Kernfeld succeeds in his intent to convey the importance of the fake-book and its historic placement contextually in the larger struggle of music piracy. The groundwork has been laid in The Story of Fake Books, and numerous threads of departure for future research have been introduced in this important study. * American Music *
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About Barry Kernfeld

Barry Kernfeld is a saxophonist, the editor of The New Grove Dictionary of Jazz (1988; 2nd ed., 2001), and the author of What to Listen for in Jazz (1995). He is also the staff archivist in the Historical Collections and Labor Archives within the Special Collections Library at the Pennsylvania State University.
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