Edited by Claire Le Restif, Clément Dirié, Laetitia Chauvin.Texts by Claire Le Restif, Cy Lecerf Maulpoix, Elisabeth Lebovici, Fiona Corridan, Gerald Incandela, James Mackay, Jon Savage, Laetitia Chauvin, Marco Martella, Philip Hoare, Simon Fisher Turner, Simon Watney, Tilda Swinton. Published following Derek Jarman's exhibition Dead Souls Whisper (1986-1993) at Le Crédac, Ivry-sur-Seine, in 2021. JRP Editions, November 2024  Hardback, 272 pp (220 ill.)A tribute to Derek Jarman manifold and vital practice. Gathering together newly commissioned essays by international art critics and scholars devoted to specific—and sometimes lesser-known—aspects of the artist's life and work and extensive portfolios spanning his successive bodies of works, this monograph offers an accessible overview of Derek Jarman, one of the legendary cultural figures of the second half of the 20th century. Conceived as a reader, this volume includes essays by cultural critic Elisabeth Lebovici, Le Crédac Director and Curator Claire Le Restif, Manchester Art Gallery Curator Fiona Corridan, garden historian Marco Martella, and journalist and activist Cy Lecerf Maulpoix, a comprehensive interview with Jarman's collaborator James Mackay, as well as testimonies—among other Jarman's friends—by actress Tilda Swinton and musician Simon Fisher Turner, and an illustrated chronology. Jarman's militant "Queer Paintings" series (1992), his tender Super8 films from the mid-1970s, his emotional assemblages made at Prospect Cottage (Dungeness, Kent) whose cultivation was both a form of therapy and a metaphor for his own survival after he was diagnosed with AIDS in 1986, are considered together to focus on Jarman as a visual artist—a painter and an assemblagist—and how his artistic practice can be understood as a catalyst for his manifold activities and visions.

Edited by Stephen Barber.Introduction by Ros Murray.Translated from the French by Clayton Eshleman.   Diaphenes, November 2021 bilingual edition (English / French) softcover, 128ppThe translated transcripts of two radio broadcasts by Artaud: To have done with the judgement of god (1947-48) and Madness and Black Magic (1946). Correspondences from that period are also included. In the last two years of his life, following his release from the Rodez asylum, Antonin Artaud decided he wanted his new work to connect with a vast public audience, and chose to record radio broadcasts in order to carry through that aim. That determination led him to his most experimental and incendiary project, To have done with the judgement of god, 1947-48, in which he attempted to create a new language of texts, screams, and cacophonies: a language designed to be heard by millions, aimed, as Artaud said, for “road-menders”. In the broadcast, he interrogated corporeality and introduced the idea of the “body without organs”, crucial to the later work of Deleuze and Guattari. The broadcast, commissioned by the French national radio station, was banned shortly before its planned transmission, to Artaud's fury.This volume collects all of the texts for To have done with the judgement of god, together with several of the letters Artaud wrote to friends and enemies in the short period between his work's censorship and his death. Also included is the text of an earlier broadcast from 1946, Madness and Black Magic, written as a manifesto prefiguring his subsequent broadcast. Clayton Eshleman's extraordinary translations of the broadcasts activate these works in their extreme provocation.

edited by Steven Isoardi Duke University Press, 2001Despite his importance and influence, jazz musician, educator, and community leader Horace Tapscott remains relatively unknown to most Americans. In Songs of the Unsung Tapscott shares his life story, recalling his childhood in Houston, moving with his family to Los Angeles in 1943, learning music, and his early professional career. He describes forming the Pan Afrikan Peoples Arkestra in 1961 and later the Union of God's Musicians and Artists Ascension to preserve African American music and serve the community. Tapscott also recounts his interactions with the Black Panthers and law enforcement, the Watts riots, his work in Hollywood movie studios, and stories about his famous musician-activist friends. Songs of the Unsung is the captivating story of one of America’s most unassuming heroes as well as the story of L.A.'s cultural and political evolution over the last half of the twentieth century.

Softcover, 336pp Duke University Press, 2000In Blutopia Graham Lock studies the music and thought of three pioneering twentieth-century musicians: Sun Ra, Duke Ellington, and Anthony Braxton. Providing an alternative to previous analyses of their work, Lock shows how these distinctive artists were each influenced by a common musical and spiritual heritage and participated in self-conscious efforts to create a utopian vision of the future.A century after Ellington’s birth, Lock reassesses his use of music as a form of black history and compares the different approaches of Ra, a band leader who focused on the future and cosmology, and Braxton, a contemporary composer whose work creates its own elaborate mythology. Arguing that the majority of writing on black music and musicians has—even if inadvertently—incorporated racial stereotypes, he explains how each artist reacted to criticism and sought to break free of categorical confines. Drawing on social history, musicology, biography, cultural theory, and, most of all, statements by the musicians themselves, Lock writes of their influential work.Blutopia will be a welcome contribution to the literature on twentieth-century African American music and creativity. It will interest students of jazz, American music, African American studies, American culture, and cultural studies.

Volume 43, Number 3 Softcover, 288pp Duke University Press, November 2016The posthumous publication of Theodor W. Adorno’s works on music continues to reveal the special relationship between music and philosophy in his thinking. These important works have not, however, received as much scholarly attention as they deserve. Contributors to this issue seek to provide insight into some of the key themes raised in these works, including the sociology of musical genre, the historical transformation of music from the “heroic” or high-bourgeois era to late modernity, the meaning of both performance and listening in the era of mass communication, and the specific challenges or deformations of the radio on musical form, a theme that implicates many of the digital practices of our own age. There is much left to discover in these new publications, and they pose again, with renewed vigor, the question of Adorno’s Aktualität—his polyvalent, untranslatable term for, among other things, the intellectual relationship between the present and the past.

Softcover, 384pp, 17 B&W; photos Duke University Press, 2001Japan’s jazz community—both musicians and audience—has been begrudgingly recognized in the United States for its talent, knowledge, and level of appreciation. Underpinning this tentative admiration, however, has been a tacit agreement that, for cultural reasons, Japanese jazz “can’t swing.” In Blue Nippon E. Taylor Atkins shows how, strangely, Japan’s own attitude toward jazz is founded on this same ambivalence about its authenticity.Engagingly told through the voices of many musicians, Blue Nippon explores the true and legitimate nature of Japanese jazz. Atkins peers into 1920s dancehalls to examine the Japanese Jazz Age and reveal the origins of urban modernism with its new set of social mores, gender relations, and consumer practices. He shows how the interwar jazz period then became a troubling symbol of Japan’s intimacy with the West—but how, even during the Pacific war, the roots of jazz had taken hold too deeply for the “total jazz ban” that some nationalists desired. While the allied occupation was a setback in the search for an indigenous jazz sound, Japanese musicians again sought American validation. Atkins closes out his cultural history with an examination of the contemporary jazz scene that rose up out of Japan’s spectacular economic prominence in the 1960s and 1970s but then leveled off by the 1990s, as tensions over authenticity and identity persisted.With its depiction of jazz as a transforming global phenomenon, Blue Nippon will make enjoyable reading not only for jazz fans worldwide but also for ethnomusicologists, and students of cultural studies, Asian studies, and modernism.

Pilot Press, June 2025 92ppDerek Jarman’s unrealised film treatment, The Assassination of Pier Paolo Pasolini in the Garden of Earthly Delights, takes as its subject matter the events leading up to and including the murder of Italian film director Pier Paolo Pasolini following the making of his final film Saló, or the 120 Days of Sodom in 1975.   Written in 1984, the setting of Jarman’s film is inspired by the renaissance painter Hieronymus Bosch’s triptych, The Garden of Earthly Delights (1490-1500), a painting that depicts both the joys and perils of temptation, and which Jarman encountered on a visit to the Museo de Prado in Madrid the year he began working on the project. For the first time, a facsimile of the treatment is presented alongside reproductions from the film’s workbook, which show Jarman’s calligraphic notes towards the film’s sequences, themes, cinematography, lighting, sound, costume, casting and props. 2025 marks fifty years since Pasolini’s murder and thirty-two since Jarman’s death due to AIDS. Against a backdrop of funding cuts to the arts and the arrival of the HIV/AIDS epidemic that vanished away so many important artists and visionaries, The Assassination of Pier Paolo Pasolini in the Garden of Earthly Delights is a powerful elegy to the decadence of queer cinema and the tragedy of its last auteur. Derek Jarman was one of the most influential British artists of the twentieth century. His practice, as diverse as it was prolific, spanned painting, sculpture, film, writing, stage design, gardening and activism. He was an outspoken campaigner for LGBTQIA+ rights, and was one of the first public figures in the UK to raise awareness for those living with HIV/AIDS, announcing his own HIV diagnosis on the radio in 1986.

110 x 170mm, 224 pages, black and white printing, perfect bound, softcover, 2023A new revised version of the notebook of the legendary American dancer, artist and choreographer Simone Forti in which she shares her poetry as well as her thoughts on dance, the body, writing, the state of the world. A collection of experimental texts, imagined dialogues, news animations and poetic thoughts on life and politics. The book contains an afterword by Fred Dewey and a postscript by poet and Fluxus artist Jackson MacLow.

Transcribed exactly from his recorded solos Coilbound, A4, 280pp Hal Leonard Series, 2014This John Coltrane Omnibook includes 52 masterful solos, transcribed exactly as recorded, complete with chord symbols, metronome markings, and recording details–all spiral-bound for ease of use on the bandstand or in the studio.Explore 52 signature works transcribed exactly from the recorded solos of John Coltrane, including: Acknowledgement (Part I) • Airegin • Alabama • All Blues • All or Nothing at All • Bessie's Blues • Blue Train (Blue Trane) • Body and Soul • Bye Bye Blackbird • Central Park West • Chasin' the Trane • Countdown • Cousin Mary • Crescent • Eclypso • Equinox • Giant Steps • Grand Central • Impressions • In a Sentimental Mood • Just for the Love • Lazy Bird • Like Sonny (Simple Like) • Locomotion • Lonnie's Lament • Lush Life • Mr. P.C. • Moment's Notice • My Favorite Things • My One and Only Love • Naima (Niema) • Nita • Oleo • Paul's Pal • Pursuance (Part III) • Russian Lullaby • So What • Softly As in a Morning Sunrise • Some Other Blues • Spiral • Syeeda's Song Flute • Theme for Ernie • 26-2.

Transcribed exactly from his recorded solos Coilbound, A4, 285pp Hal Leonard series, 2013This John Coltrane Omnibook includes 52 masterful solos, transcribed exactly as recorded, complete with chord symbols, metronome markings, and recording details–all spiral-bound for ease of use on the bandstand or in the studio.Explore 52 signature works transcribed exactly from the recorded solos of John Coltrane, including: Acknowledgement (Part I) • Airegin • Alabama • All Blues • All or Nothing at All • Bessie's Blues • Blue Train (Blue Trane) • Body and Soul • Bye Bye Blackbird • Central Park West • Chasin' the Trane • Countdown • Cousin Mary • Crescent • Eclypso • Equinox • Giant Steps • Grand Central • Impressions • In a Sentimental Mood • Just for the Love • Lazy Bird • Like Sonny (Simple Like) • Locomotion • Lonnie's Lament • Lush Life • Mr. P.C. • Moment's Notice • My Favorite Things • My One and Only Love • Naima (Niema) • Nita • Oleo • Paul's Pal • Pursuance (Part III) • Russian Lullaby • So What • Softly As in a Morning Sunrise • Some Other Blues • Spiral • Syeeda's Song Flute • Theme for Ernie • 26-2.

Softcover, 371pp U of Michigan Press, January 2000John Coltrane was a key figure in jazz, a pioneer in world music, and an intensely emotional force whose following continues to grow. This new biography, the first by a professional jazz scholar and performer, presents a huge amount of never-before-published material, including interviews with Coltrane, photos, genealogical documents, and innovative musical analysis that offers a fresh view of Coltrane's genius.Compiled from scratch with the assistance of dozens of Coltrane's colleagues, friends, and family, John Coltrane: His Life and Music corrects numerous errors from previous biographies. The significant people in Coltrane's life were reinterviewed, yielding new insights; some were interviewed for the first time ever.The musical analysis, which is accessible to the nonspecialist, makes its own revelations--for example, that some of Coltrane's well-known pieces are based on previously unrecognized sources. The Appendix is the most detailed chronology of Coltrane's performing career ever compiled, listing scores of previously unknown performances from the 1940s and early 1950s.

Hardback, 464 pp  Verso Books, May 2025 A groundbreaking cultural history of 1960s New York, from the legendary writer on art and film Like Paris in the 1920s, New York City in the 1960s was a cauldron of avant-garde ferment and artistic innovation. Boundaries were transgressed and new forms created. Drawing on interviews, memoirs, and the alternative press, Everything Is Now chron­icles this collective drama as it was played out in coffeehouses, bars, lofts, storefront theaters, and, ultimately, the streets.The principals here are penniless filmmak­ers, jazz musicians, and performing poets, as well as less classifiable artists. Most were outsiders at the time. They include Amiri Baraka, Bob Dylan, Allen Ginsberg, Yayoi Kusama, Yoko Ono, Nam June Paik, Carolee Schneemann, Jack Smith, Andy Warhol, and many more. Some were associ­ated with specific movements (Avant Rock, Destruction Art, Fluxus, Free Jazz, Guerrilla Theater, Happenings, Mimeographed Zines, Pop Art, Protest-Folk, Ridiculous Theater, Stand-Up Poetry, Underground Comix, and Underground Movies). But there were also movements of one. Their art, rooted in the detritus and excitement of urban life, was taboo-breaking and confrontational.As J. Hoberman shows in this riveting his­tory, these subcultures coalesced into a counterculture that changed the city, the country, and the world.

"In May 1977 Derek Bailey gave me a press ticket for Company Week - a series of concerts of improvised music in London. I made some notes at the time, but there seemed to be nowhere suitable to publish the extended commentary I eventually produced. So I wrote it into a dummy book and it to Derek. Most of it is reproduced here." Peter Riley 1994  Original copies of this rare and invaluable document.

400 pp, paperback  29 × 23 × 3.7 cm  Publisher  Hatje Cantz Verlaz, Oct. 2024 by Anna Schneider (Editor).  Contributions by Andrea Lissoni, Rick Moody, Timothy Morton, Teresa Retzer, Beatrix Ruf , Adam Shatz This catalogue presents the first career encompassing, in-depth analysis of her work. Featuring never-before-pub lished archival material, musical notations, drawings, and photographs, as well as an insightful conversation with the artist, the essays underscore Monk’s lasting influence and affirm the relevance of her work for the present. “I WORK BETWEEN THE CRACKS, WHERE THE VOICE STARTS DANCING”To say that Meredith Monk is an outstanding singer, com poser, choreographer and filmmaker says a lot and yet too little. Monk works seamlessly across disciplines―pushing the boundaries of music, theater, dance, video, and installation, and is considered a pioneer of site-specific perfor mance. At the center of her oeuvre is the suggestive power of the human voice: the body becomes a resonating space for a universal language for which there are no words. Monk was the first artist to create a performance for the rotunda of the Guggenheim Museum, she performed in public car parks and on opera stages.

Edited by Harriet Rose & Kate Frances  Designed by Robyn McKenzie staplebound, 46pp 100 copies printed in Sussex, May 2025  Issues are sold by donation, and all profits will be sent to Medical Aid for Palestinians and The Poets Hardship fund.The chief aim of the review is to provide a space for critical discussion of, and enthusiasm for, new poetic work published by networks of small presses and/or by poets themselves; with a preference for reviews of work that is particularly ephemeral, hand-made, or limited in circulation. This is in order both to support new work (and poets) and celebrate the communities that make such publica(c)tion possible. Reviews can be academic but do not have to be. Likewise, all other guidelines are to be interpreted freely.  Submissions can be sent to baldanderspress@gmail.com Rolling deadline

Hardback, 336pp University of California Press, 2016Charles Mingus is one of the most important-and most mythologized-composers and performers in jazz history. Classically trained and of mixed race, he was an outspoken innovator as well as a bandleader, composer, producer, and record-label owner. His vivid autobiography, Beneath the Underdog, has done much to shape the image of Mingus as something of a wild man: idiosyncratic musical genius with a penchant for skirt-chasing and violent outbursts. But, as the autobiography reveals, he was also a hopeless romantic. After exploring the most important events in Mingus's life, Krin Gabbard takes a careful look at Mingus as a writer as well as a composer and musician. He digs into how and why Mingus chose to do so much self-analysis, how he worked to craft his racial identity in a world that saw him simply as "black," and how his mental and physical health problems shaped his career. Gabbard sets aside the myth-making and convincingly argues that Charles Mingus created a unique language of emotions-and not just in music. Capturing many essential moments in jazz history anew, Better Git It in Your Soul will fascinate anyone who cares about jazz, African American history, and the artist's life.

Paperback, 100pp Litmus Press, 2021HEARING is the long-awaited second book in a series of collaborations by Lyn Hejinian and Leslie Scalapino organized around each of the five senses. Their first collaboration in this series, Sight, was published by Edge Books in 1999. Hejinian and Scalapino were nearing the completion of HEARING when Leslie Scalapino died in 2010. Ten years later, the book is published for the first time with a preface by Hejinian and an afterword by Judith Goldman. "The forming of the five senses is a labor of the entire history of the world down to the present."--Karl Marx

Edited by Anaïs Ngbanzo paperback, 218pp Editions 1989, May 2025  Everybody’s Head is Open to Sound is the first publication devoted to Tom Wilson (1931–1978). Wilson started Transition Records in 1955, a pioneering label that painted a picture of vibrant jazz scenes from Boston to Memphis. Based out of Cambridge, Massachusetts, Transition came to prominence with releases featuring John Coltrane, Sun Ra, Cecil Taylor, and Donald Byrd, among others, before running out of money in 1958. Wilson then moved to New York and began an extensive career as an “A&R; man” (artists and repertoire) for indie and major labels, crafting innovative productions at Columbia for Bob Dylan and Simon & Garfunkel before signing the Velvet Underground, Nico, and the Mothers of Invention at MGM Records. His work as a record producer is as expansive as it is little known. Through newly commissioned essays from music historians Wolfram Knauer and Richie Unterberger, journalist Ignacio Juliá, and essayist Pacôme Thiellement, this book explores Wilson’s role in documenting avant-garde jazz, producing some of the key folk-rock recordings of the 1960s, and his daring collaborations with influential US rock bands. It also includes a rare full-length interview with Wilson and a selection of unpublished photographs. Everybody’s Head is Open to Sound tells the untold story of a visionary record producer.