Henry Martin directs music theory and composition for the Mannes-New School Jazz Program, and is the Associate Editor for the Annual Review of Jazz Studies. Martin is the author of Charlie Parker and Thematic Improvisation (Scarecrow 1996). In addition, his award-winning composition, Preludes and Fugues, was recently released by GM Recordings and features pianist David Buechner.

Martin's approach here as editor is an intelligent one; the articles tend to embrace several levels of theory at once, and the serious listener, player, or student should find this volume worthwhile.

• Chapter 1 MAIN ARTICLESChapter 2 Jazz Theory—An OverviewChapter 3 Blurring the Barline: Metric Displacement in the Piano Solos of Herbie HancockChapter 4 Blues for You, Johnny: Johnny Dodds and His "Wild Man Blues" Recordings of 1927 and 1928Chapter 5 Linear Intervallic Patterns in Jazz RepertoryChapter 7 Microrhythms in Jazz: A Review of PapersChapter 8 The Art of Charlie Parker's RhetoricChapter 9 John Coltrane's Meditations Suite—A Study in SymmetryChapter 10 Outrageous Clusters: Dissonant Semitonal Cells in the Music of Thelonious MonkChapter 11 PEDAGOGICAL SECTIONChapter 12 How Weird Can Things Get? (Maps for Pantonal Improvisation)Chapter 13 Hearing chordsChapter 14 Transcribing a Solo Using a Tape Constructed from a Compact Disc Player with A/B Repeat FunctionChapter 15 BOOK REVIEWChapter 16 Barry Kernfeld's What To Listen For in Jazz (Yale)Chapter 17 CO REVIEWChapter 18 Bill Kirchner's Big Band Renaissance (Smithsonian)

Henry Martin directs music theory and composition for the Mannes-New School Jazz Program, and is the Associate Editor for the Annual Review of Jazz Studies. Martin is the author of Charlie Parker and Thematic Improvisation (Scarecrow 1996). In addition, his award-winning composition, Preludes and Fugues, was recently released by GM Recordings and features pianist David Buechner.

Martin's approach here as editor is an intelligent one; the articles tend to embrace several levels of theory at once, and the serious listener, player, or student should find this volume worthwhile.

• Chapter 1 MAIN ARTICLESChapter 2 Jazz Theory—An OverviewChapter 3 Blurring the Barline: Metric Displacement in the Piano Solos of Herbie HancockChapter 4 Blues for You, Johnny: Johnny Dodds and His "Wild Man Blues" Recordings of 1927 and 1928Chapter 5 Linear Intervallic Patterns in Jazz RepertoryChapter 7 Microrhythms in Jazz: A Review of PapersChapter 8 The Art of Charlie Parker's RhetoricChapter 9 John Coltrane's Meditations Suite—A Study in SymmetryChapter 10 Outrageous Clusters: Dissonant Semitonal Cells in the Music of Thelonious MonkChapter 11 PEDAGOGICAL SECTIONChapter 12 How Weird Can Things Get? (Maps for Pantonal Improvisation)Chapter 13 Hearing chordsChapter 14 Transcribing a Solo Using a Tape Constructed from a Compact Disc Player with A/B Repeat FunctionChapter 15 BOOK REVIEWChapter 16 Barry Kernfeld's What To Listen For in Jazz (Yale)Chapter 17 CO REVIEWChapter 18 Bill Kirchner's Big Band Renaissance (Smithsonian)

Henry Martin directs music theory and composition for the Mannes-New School Jazz Program, and is the Associate Editor for the Annual Review of Jazz Studies. Martin is the author of Charlie Parker and Thematic Improvisation (Scarecrow 1996). In addition, his award-winning composition, Preludes and Fugues, was recently released by GM Recordings and features pianist David Buechner.

Martin's approach here as editor is an intelligent one; the articles tend to embrace several levels of theory at once, and the serious listener, player, or student should find this volume worthwhile.

• Chapter 1 MAIN ARTICLESChapter 2 Jazz Theory—An OverviewChapter 3 Blurring the Barline: Metric Displacement in the Piano Solos of Herbie HancockChapter 4 Blues for You, Johnny: Johnny Dodds and His "Wild Man Blues" Recordings of 1927 and 1928Chapter 5 Linear Intervallic Patterns in Jazz RepertoryChapter 7 Microrhythms in Jazz: A Review of PapersChapter 8 The Art of Charlie Parker's RhetoricChapter 9 John Coltrane's Meditations Suite—A Study in SymmetryChapter 10 Outrageous Clusters: Dissonant Semitonal Cells in the Music of Thelonious MonkChapter 11 PEDAGOGICAL SECTIONChapter 12 How Weird Can Things Get? (Maps for Pantonal Improvisation)Chapter 13 Hearing chordsChapter 14 Transcribing a Solo Using a Tape Constructed from a Compact Disc Player with A/B Repeat FunctionChapter 15 BOOK REVIEWChapter 16 Barry Kernfeld's What To Listen For in Jazz (Yale)Chapter 17 CO REVIEWChapter 18 Bill Kirchner's Big Band Renaissance (Smithsonian)