A huge book on the equally-huge creative legacy of bassist William Parker – a musician who first arose in the loft jazz scene in New York during the 70s, but who's gone on to be one of its greatest surviving players, and one who's transformed the inspirations of that world into so many different modes of expression over the decades! Author Cisco Bradley really digs deep – following Parker from his southern roots to his childhood in the South Bronx, to his strong contributions to avant scenes, first in New York, then around the globe – all with a sensitivity to community and context that shows that Parker isn't just some genius musician, but both an evolving participant in creative activity, and one whose contributions have transformed the landscape as well! The book is softcover, 402 pages, and has copious notes, a discography, and even some black and white images as well. Book

A groundbreaking book from Greil Marcus – one that gets past some of the overblown histories of rock music, to look at the medium in a completely different way! Marcus eschews all the big name performers and movements – and instead looks at the music through ten different songs – all of them very unusual, very specific choices – but laid out by the author with a logic that's completely compelling as the book moves on. There's few folks that we'd trust with such a project – but given what Greil's given us in the past, we were already on board before reading – and as before, his creative approach is without parallel. And in case you're wondering, some of the songs include "Transmission" by Joy Division, "Shake Some Action" by The Flamin Groovies, "Crying Waiting Hoping" by Buddy Holly, "All I Could Do Was Cry" by Etta James, "Money" by Barrett Strong, and "To Know Him Is To Love Him" by The Teddy Bears. Book is 306 pages, hardcover. Book

A book that documents a compelling intersection of creative activity – the ephemeral light sculptures of Anthony McCall, and a set of improvising soloists who accompanied their exhibition – all presented here in a well-done volume that may well be the only physical trace of the project! The book is filled with photos like the image on the cover – examples of the way that Anthony McCall will shape light in a space, in order to create a semblance of structure, but in ways that are impermanent and uncontainable – as is the music created for the installations, performed by artists who include David Grubbs, Susan Alcorn, Ben Vida, Tomeka Reid, Nat Wooley, Yoshi Wada, and others. All musicians are interviewed in the book, and Grubbs and McCall have a long conversation about their own creative relationship and years of working together. Book