Most Popular Books by James Aldridge

Captured, beaten and far from home, the Mitchell''s must fight their way free and start the long journey back. Once they finally make it home they find fences and foreign soldiers instead of the welcoming arms of their family. Will Clay and Hank rescue their family and take back their home or will they perish in another fight for their lives?

"This thesis examines the anticommercial ideology of Leonard Joseph (Lennie) Tristano (1919 - 1978) in an attempt to shed light on underexplored and misunderstood aspects of his musical career. Today, Tristano is known primarily for his contribution to jazz and jazz piano in the late 1940s and early 1950s. He is also recognized for his pedagogical success as one of jazz''s first formal teachers. Beyond that, however, Tristano remains a peripheral figure in much of jazz''s history. In this thesis, I argue that Tristano''s contributions are often overlooked because he approached jazz creation in a way that ignored unspoken commercially-oriented social expectations within the community. I also identify anticommercialism as the underlying theme that influenced the majority of his decisions ultimately contributing to his canonic marginalization. Each chapter looks at a prominent aspect of his career in an attempt to understand how anticommercialism affected his musical output. I begin by looking at Tristano''s early 1950s loft sessions and show how changes he made to standard jam session protocol during that time reflect the pursuit of artistic purity--an objective that forms the basis of his ideology. Next, I identify anticommercial themes in his criticism that indicate his reclusivity and general unwillingness to engage in public music making were acts of protest designed to promote jazz artistry. And finally, I identify his pedagogy as one steeped in anticommercially-oriented student expectations and show how that dynamic was thought by Tristano to develop artistically "ethical" improvisers. My intention is to illustrate that much of what is known of Tristano''s alleged eccentricity can be understood as the byproduct of a rational ideologically-oriented artistic objective. My goal then is to show that Tristano''s contribution may very well be of canonic importance if we are willing to acknowledge and accept that his limited discography and general unwillingness to perform in public was in fact a musico-ideological act of protest." --

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