Academy Award-nominated animated feature following the attempts of a pirate captain to outdo his rivals, featuring the vocal talents of Hugh Grant, David Tennant and Salma Hayek. Pirate Captain (voice of Grant) is determined to win the coveted 'Pirate of the Year' award. He is aware, however, that he will face stiff competition from other buccaneers including Black Bellamy (Jeremy Piven) and Cutlass Liz (Hayek). But the Captain has other issues as well. Queen Victoria (Imelda Staunton) is determined to capture him and hold him to account for his pirating, while the weight of history hangs over his encounter with a young man named Charles Darwin (Tennant).

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

The Annual Review of Jazz Studies is dedicated to scholarly research on jazz and its related musical forms. It recognizes the growing awareness of jazz as a cultural phenomenon. All volumes include numerous musical examples, a book review section, a portfolio of jazz photographs, and bibliographic surveys. This volume contains a particularly broad range of articles, both technical and non-technical, which should appeal to both the jazz fan and the scholar. ARJS 10 introduces a new feature: "Jazz Fiction: A Bibliography from Nonjazz Journals," which identifies many important jazz publications that might otherwise elude researchers. Researchers will find "Using e-commerce Music Sites for Discographical Research" a useful survey of Internet resources. The Louis Armstrong Centennial is heralded by a warm reminiscence by Dan Morgenstern and a gallery of rare photos from the files of the Institute of Jazz Studies. Musicological treatments include articles on McCoy Tyner, Bill Evans, Charlie Parker, and Jimmy Smith. Several articles examine Thelonious Monk's unique body of work from different perspectives. In addition, there are reviews of three recent works about this singular figure. Other book reviews cover such important contributions as Scott DeVeaux's The Birth of Bebop and Ingrid Monson's Saying Something: Jazz Improvisation and Interaction. " The 'Stardust' File" traces the evolution of one of the music's most enduring standards. Finally, "Busted" tells the full story of Gene Krupa's arrest in 1943.

The Annual Review of Jazz Studies (ARJS) is a journal providing a forum for the ever expanding range and depth of jazz scholarship, from technical analyses to oral history to cultural interpretation. Addressed to specialists and fans alike, all volumes include feature articles, book reviews, and unpublished photographs. This 14th issue contains four intriguing articles that to some degree contravene accepted precepts of jazz orthodoxy. John Howland traces the connection between Duke Ellington's extended works and the 'symphonic jazz' model of the 1920s as exemplified by Paul Whiteman and his chief arranger, Ferde GrofZ. Horace J. Maxile Jr. takes an unfashionably broad perspective of Charles Mingus's 'Ecclusiastics, ' applying recent developments in cultural theory as well as the formal tools of traditional music theory. Brian Priestley's exploration of the ties between Charlie Parker and popular music challenges the canonical depiction of Parker as a lone revolutionary genius, instead underscoring the saxophonist's ties to the popular music of his time. Finally, John Wriggle presents an extensive examination of the life and work of arranger Chappie Willet, an unsung hero of the Swing Era. The book reviews cover a cross-section of the burgeoning jazz literature, and Vincent Pelote has again compiled a list of books received at the Institute of Jazz Studies.

Counterpoint is a textbook for use as a stand-alone text in a course on species counterpoint or as a supplementary text for standard college-level courses in music theory. It is based on Heinrich Schenker's (1868-1935) two-volume study of counterpoint. It is intended to help all students of theory or composition to improve their musicianship by examining the voice-leading that underlies Western tonal music. The book proceeds by developing species counterpoint in the tradition of Johann Joseph Fux and his famous Gradus ad Parnassum (1725), but with attention to Schenker's more in-depth study. For the sake of brevity, musical examples are available on the Scarecrow Press website (www.scarecrowpress.com), rather than within the text itself. Everyone from beginning music theory students to composers to graduate composition students will greatly benefit from the methods presented here. Rather than actually teaching a student to compose, working through these exercises will improve musicianship as it applies to both composition and understanding music theory.

Now in paperback! Showcases professional work in the arena of jazz theory. Among the contributors are scholars of jazz theory as well as musicians, including four of the founding members of the jazz section of the Society for Music Theory. The articles offer a close analysis of a wide variety of jazz styles and span the years from the 1920s to the 1960s. Feature articles include analyses of the music of Johnny Dodds, Charlie Parker, Herbie Hancock, Thelonious Monk and John Coltrane, an overview of jazz theory that examines its history and purpose, a discussion of linear intervallic patterns in the jazz repertory, and a review of scientific analyses of jazz microrhythms. Of great interest to jazz theorists, performers, educators and critics.

Martin provides a new overall assessment of the importance of Charlie Parker through an analysis of his improvisations in a variety of genres. Earlier studies of Parker argue that his style is based on an extensive network of melodic formulas that are combined to create solos. Because the same formulas appear throughout his improvisations regardless of the theme, these studies concluded that the solos do not usually relate to the original melodies. Charlie Parker and Thematic Improvisation provides a much-needed reassessment by showing that Parker's solos are often related to the original themes in unexpected and sometimes ingenious ways. The conclusion sums up features of Parker's style and discusses his contribution in the context of Western music history. Numerous transcriptions are provided. This groundbreaking technical study will be of interest to musicologists and serious students of jazz.

William Brown is back in this 100th anniversary edition of More William, featuring fourteen funny, classic Just William adventures by Richmal Crompton - updated for a new generation of readers. This edition featurres timeless original artwork from Thomas Henry, and an introduction by Martin Jarvis. 'William is as fresh and funny as ever' - Chris Riddell 'Gloriously funny' - Sue Townsend, author of The Secret Diary of Adrian Mole Aged 13 3/4 There is only one William. This tousle-headed, snub-nosed, hearty, lovable ball of mischief has been harassing his unfortunate family and delighting his hundreds of thousands of admirers since 1922. William Brown and the Outlaws are up to their old tricks with more hilarious mischief, mayhem and muddles. When Aunt Lucy says that 'a busy day is a happy day', William does his best to keep himself very busy indeed. Unfortunately, not everyone appreciates his efforts. Including fourteen fantastic stories, More William is as funny as ever. This delightful children's classic features the original inside illustrations by Thomas Henry. Enjoy more of William's adventures in Just William, William Again, William the Outlaw and William at Christmas.