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The versions with saxophone are the most valuable elements of the set. Fishman is an expert player whose versions show the true "official" approach to the jazz saxophone that nobody would dispute. Because of the situation of the written material accompanying the set, his sound, phrasing, attack and other elements are under very close scrutiny, and these recordings are beautiful representations
of all of these aspects. The lines Fishman composes are textbook versions of post-bop saxophone improvising, and will give a wealth of practice material to students at all levels.
 
Fishman's additional analysis provides a launching pad for students to progress to the next level. Intermediate players are instructed in hearing lines, imitating articulation and phrasing techniques. More advanced players are moved more in the direction of analysis, breaking apart the lines and their voice leading, watching the way they address the corresponding voice-leading in the harmony.
 
Fishman is equally well versed as a teacher and as a saxophonist. This is a rare combination that is showcased in Fishman’s Jazz Saxophone Etudes.
 
Reviewed by David Demsey, Saxophone Journal 

Jazz Improv Magazine's review of Jazz Saxophone Etudes
Summer 2005 edition:

I am always hesitant when I see jazz etude books. Although they have their place in jazz pedagogy, I often wonder why I should study some etude that "Sammy Jazzman" wrote and not a Clifford Brown or Sonny Stitt solo. Well, when an entire book is written as well as Greg Fishman's book, Jazz Saxophone Etudes, the reasons are obvious: organized and concentrated lessons combined with sound jazz language.

The book focuses on long bebop-oriented lines that utilize extremely nice voice leading, the epitome of bebop. Many of the bebop cliches or patterns can be seen, including surround tones, appoggiaturas, passing tones, etc. The twelve etudes presented often resemble jazz standards, in their harmonic progression--such as the blues, rhythm changes, "Take the A Train," and "Have You Met Miss Jones." After the student learns the solo, the principles or patterns can be applied to a real jazz tune. In addition to the solos, the book comes with two play-along CDs. On the CDs, students can hear Greg Fishman play the etudes or opt to play them with a rhythm section accompaniment.

I cannot even begin to praise this book enough! The solos are constructed of the nicest lines that I have ever seen from an etude book. This book needs to be a part of everyone's jazz practice, from beginners to advanced players, everyone can benefit from it.

Reviewed by Joshua Musselwhite

Chicago based saxophonist Greg Fishman has recently released an astounding publication for intermediate to advanced players.

The Book and Two CD Play-Along Set contains 15 well organized pages followed by the 12 wonderfully written and executed etudes. Fishman's sound is intoxicating - full, fat and robust. The rhythm section swings like crazy behind him and ultimately behind YOU on alternate background tracks.

This is among the best jazz saxophone publications I have seen in recent years. Every teacher and student of jazz needs this book in their practice room or studio ––get one!

Reviewed by Skip Spratt

Chicago has a long history of great tenor saxophonists. One of the truly great young champions of this tradition is Greg Fishman. Greg is a well-known player from Chicago whose recording work can be heard on the critically acclaimed recordings of the duo Two For Brazil, a band that he and Paulinho Garcia (guitar) formed in 1998. As an educator, he has taught jazz improvisation for more than twenty years and is the author of three best-selling Stan Getz solo transcription books. His latest educational offering is "Jazz Saxophone Etudes".

In "Jazz Saxophone Etudes", melodic master Fishman illustrates to students flowing lines that will help them get inside of a tune. To illustrate jazz as a language, Greg bases each of the etudes on standard tunes and progressions such as Take the 'A' Train, Satin Doll, Rhythm Changes, Autumn Leaves, Body and Soul, Green Dolphin Street, etc. The etudes are named after twelve well-known streets in Chicago. The student should be able to quickly discern which classic tune each etude is based upon.

The book has about eight pages of text that gives the student a guideline to get the most out of the etudes. Specific goals are given for the intermediate, advanced, and professional level saxophonist. This collection was written for the advancing student, and as a result, the tempos are at a brisk pace. As with any practice routine, Fishman reminds the reader that it may be necessary to take certain passages slower than marked and to work them up to tempo. Greg gives some wonderful examples of voice-leading and sequences. He also discusses the use of enclosures and thematic references within the etudes.

One of the most unique features of this book is the accompanying play-along CDs. Separate CDs are included for Bb instruments and Eb instruments. The rhythm section transposes so the player simply plays the notes on the page (which are the same for all horns) instead having two separate etudes which would have meant one of the parts wouldn't be placed as effectively in the range of the horn. On the CD, the odd numbered tracks have sax plus rhythm section and the even numbered tracks have only the rhythm section, with extra choruses for extended solos. While Fishman's reputation has been made playing the tenor for many years, he shows on the included discs that he also is a very accomplished alto player.

Listening to the play along CD's are a great lesson to students of all levels. I have found that they can be used in a multitude of fashions. First, they can be used as an illustration of the appropriate jazz tone and phrasing. Second, they are beneficial to the student as an example of feel and the use of space. Finally, they can be used for transcribing practice that can be checked against the written etudes. Each approach offers further insight and challenges to the advancing student. Furthermore, teachers can use the etudes as a learning tool to illustrate how a saxophonist could conceptualize a variation on a melodic line such as the melodies from any of the included etudes, and use a variation to build a complete alternative chorus or solo.

There's a select list of players who can play night in and night out and that can teach at the highest level. In the saxophone world that list generally includes the likes of Dave Liebman and Joe Lovano. Greg Fishman's "Jazz Saxophone Etudes" shows that he belongs with Liebman and Lovano not only for the quality of his playing but for the quality of his instruction. "Jazz Saxophone Etudes" is bound to become one of the classics of saxophone literature for the advancing player.

Reviewed by Ed Svoboda