<DIV><DIV><DIV><P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%">?In <I>Lennie Tristano: His Life in Music</I><I>,</I> Shim has provided a comprehensive biographical and analytical account of one of jazz's most important and most frequently misunderstood figures. Her insights into Tristano's personality are well nuanced, and the focus on his teaching makes a unique contribution to the history of jazz. This vividly written study is likely to become a standard work.”<BR>?Brian Priestley, author of <I>Chasin' the Bird: The Life and Legacy of Charlie Parker</I> and coauthor of <I>The Rough Guide to Jazz</I></P><P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"> </P><P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%">?Eunmi Shim's book is clearly a labor of love. Her thorough examination of Tristano's teaching is particularly important, for no one previously has assembled the thoughts of so many former students. Her illuminating transcriptions of, and commentaries on, Tristano's solos are also valuable. <I>Lennie Tristano</I> is an important contribution to the literature on jazz.”</P><P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%">?Thomas Owens, author of <I>Bebop: The Music and Its Players</I></P><P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"> </P><P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%; TEXT-AUTOSPACE: ideograph-numeric; mso-layout-grid-align: auto; punctuation-wrap: hanging; mso-vertical-align-alt: auto">?Comprehensive, objective, and acute in its judgments, this is the biography of Lennie Tristano we have been waiting for.”</P><P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%; TEXT-AUTOSPACE: ideograph-numeric; mso-layout-grid-align: auto; punctuation-wrap: hanging; mso-vertical-align-alt: auto">?Larry Kart, author of <I>Jazz in Search of Itself</I></P></DIV><P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%; TEXT-AUTOSPACE: ideograph-numeric; mso-layout-grid-align: auto; punctuation-wrap: hanging; mso-vertical-align-alt: auto"> </P><P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%; TEXT-AUTOSPACE: ideograph-numeric; mso-layout-grid-align: auto; punctuation-wrap: hanging; mso-vertical-align-alt: auto">Lennie Tristano occupies a rare position not only in jazz history but in the history of twentieth-century music. Emerging from an era when modernism was the guiding principle in art, Tristano explored musical avenues that were avant-garde even by modernism's experimental standards. In so doing, he tested and transcended the boundaries of jazz.</P><P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%; TEXT-AUTOSPACE: ideograph-numeric; mso-layout-grid-align: auto; punctuation-wrap: hanging; mso-vertical-align-alt: auto"> </P><P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%; TEXT-AUTOSPACE: ideograph-numeric; mso-layout-grid-align: auto; punctuation-wrap: hanging; mso-vertical-align-alt: auto">In 1949, years before musicians such as Ornette Coleman and Cecil Taylor took credit for the movement, Tristano made the first recordings of ?free jazz,” a new kind of group improvisation based on spontaneous interaction among band members without any regard for predetermined form, harmony, or rhythm. Then, in the 1950s, Tristano broke new ground by his use of multitracking.</P><P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%; TEXT-AUTOSPACE: ideograph-numeric; mso-layout-grid-align: auto; punctuation-wrap: hanging; mso-vertical-align-alt: auto"> </P><P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%; TEXT-AUTOSPACE: ideograph-numeric; mso-layout-grid-align: auto; punctuation-wrap: hanging; mso-vertical-align-alt: auto">Tristano was also a pioneer in the teaching of jazz, devoting the latter part of his career almost exclusively to music instruction. He founded a jazz school?the first of its kind?among whose students were saxophonists Warne Marsh and Lee Konitz, and pianist Sal Mosca.</P><P style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%; TEXT-AUTOSPACE: ideograph-numeric; mso-layout-grid-align: auto; punctuation-wrap: hanging; mso-vertical-ali