The Cuban Fake Book. — 192 p.121 (mostly Latin) jazz songs.From "The History of Jazz and The Jazz Musicians", 2009 The Jazz Sippers Group
Origins of the name Fake book
Before the invention of the photocopier, copying papers or texts was often labor intensive. Therefore, fake books were collections of "lead sheets", usually grouped for a particular style of music. A lead sheet is simply a melody line marked up with chord symbols. This is the minimal information for musicians apt in improvising to "fake it", i.e., to make an impromptu arrangement of a song. The name fake book is derived from the aid the book provides musicians in extending their normal repertoire by "faking" ... The Real Book can refer to any of a number of popular jazz fake books, but is generally used to refer to one of two books: volume 1 of an illegal, semi-underground series transcribed and collated by students at Berklee College of Music during the 1970s, or a fully legal book published by Hal Leonard Corporation in 2005. Whether the book used is the older & illegal edition or the newer, professional, and legal edition, at least one copy of The Real Book has become an indispensable resource for all aspiring and current jazz musicians. Musicians find it convenient to work from "the book", because it is available in different editions to suit B, E, and C (concert-pitch) instruments, as well as a bass clef edition. A bandleader can literally call out page numbers, since each edition is also paginated identically.
From the Preface
Setting aside with respect our patriots and forefathers, Cuba has never had throughout the centuries a more prominent and loved ambassador or representative than the musician with his Art. That insatiable missionary, whose natural talent, humor and resourcefulness was the thunderous roar that went beyond our frontiers arousing the interest of other musicians in the world.
From simple songs to very complex musical structures we discover anecdotes, jokes and poetic dreams that we can not let fade into obscurity.
This compilation was done in the spirit of The Real book. An item so indispensable and so spread out among musicians, that has done so much for composers. The goal of this book is to fill the gap the years have left us, rescuing like this a little bit of cuiture, humor and the best of our people...their imagination.
If anybody feels offended by the existence of this book or thinks that such a book should be out of circulation among musicians, well tough nug-gies, “mi socio".The first and last fifteen songs of the collection:
Alardoso (Enrique Jorrín)
Alivio (Julio Cobo)
Alma con alma (Juan Marquez)
Almendra (Abelardo Valdés)
Andalucia (Ernesto Lecuona)
Aquella tarde (Ernesto Lecuona)
arroyo que murmura,El (Jorge Ankermann)
Bayamesa, La (Francisco Moreno)
Bayamesa, La (Sindo Garay)
bodeguero, El (Richard Egües)
Brussels In the Rain (Paquito D'Rivera)
Caiculadora (Rosendo Rosell)
cañafistula, La (Onente López)
Canclón para un festival (C. Portillo de la Luz)
Caridad (Oriente López)
Tu me acoatumbrastes (Frank Dominguez)
Tu, mi delirio (C. Portillo de la Luz)
Tú (E. Sanchez de Fuentes)
Tu, mi dosengaño
ûltima noche, La
Una rosa de Francia (Rodrigo Prats)
Y con tus palabras (Martha Valdés)
Y decidete (José A Mendez)
Y hoy como ayer (Pedro Vega)
¿Y tu que has hecho? (Eusebio Delfin)
Yo no quiero piedraen mi camino (Enrique Bonne)
La Guitarra (Amaury Pérez)
Amor esperame (Meme Solís)
Sin un reproche (Meme Solís)
To Brenda with Love (Paquito D'Rivera)
