Now, jazz authority Robert O’Meally has collected the very best of Ellison’s inspired, exuberant jazz writings in this unique anthology.

    What could possibly go wrong? For fans of Nick Hornby, David Nicholls and Jonathan Tropper.Jaded music journalist Rick McLennan knows his life is going south when he loses his job, his apartment and his long-term girlfriend all on the same day. But then he is thrown a lifeline - a commission to write the story of his ex-rock-star brother, Stevie, and drive him from Austin, Texas, to New York to play one final gig. One small problem: the brothers haven't spoken in thirty years.Rick knows it's a bad idea. But he's out of choices. So he gets behind the wheel of a beaten-up 1985 Nissan Stanza and drives towards his destiny. He's about to find everything he didn't know he was missing. It's September 2001.From award-winning journalist and author Barry Divola comes a glorious, music-infused, rollicking road-trip novel - think High Fidelity meets The Big Lebowski meets The Darjeeling Limited. A smart, funny and wholly endearing story about how, though we may at times lose ourselves along the way, the road always leads back to family and the things that bring us joy.'Of course this road trip comes with a top-quality mix-tape - it's by Barry Divola - but it's the layers to this story, and its humour and its heart, that make this journey irresistible.' - Nick Earls'This book is the super f∗∗∗ing gnarly lead break of rock-lit novels.' - John Birmingham'Driving Stevie Fracasso reads as great as the fifth Replacements album sounds. It's a New York-centric, music-obsessive tale of humour and poignancy, the literary equivalent of hanging with folks who think going to church is finding a record fair. A+' - Stuart CoupeAn interpreter of the listening experience forced to listen to experience? This novel will be read in between flippin' records. Go for the ride. You'll be spent, you'll be grateful.' - Tim Rogers'If I could go back in time and take a different fork in the road, I would have lived like Barry Divola. But poor choices can't be unmade, and if Driving Stevie Fracasso is the only ride available I'll take it. Damn you, Barry Divola, you've been having everyone else's fun.' - Malcolm Knox

    These early works, characterized by a relentless pulse and static harmony, focused single-mindedly on the process of gradual rhythmic change. Throughout his career, Reich has continued to reinvigorate the music world, drawing from a wide array of classical, popular, sacred, and non-western idioms. His works reflect the steady evolution of an original musical mind.Writings on Music documents the creative journey of this thoughtful, groundbreaking composer. These 64 short pieces include Reich's 1968 essay Music as a Gradual Process, widely considered one of the most influential pieces of music theory in the second half of the 20th century. Subsequent essays, articles, and interviews treat Reich's early work with tape and phase shifting, showing its development into more recent work with speech melody and instrumental music. Other essays recount his exposure to non-western music -- African drumming, Balinese gamelan, Hebrew cantillation -- and the influence of these musics as structures and not as sounds. The writings include Reich's reactions to and appreciations of the works of his contemporaries (John Cage, Luciano Berio, Morton Feldman, Gyorgy Ligeti) and older influences (Kurt Weill, Schoenberg). Each major work of the composer's career is also explored through notes written for performances and recordings.Paul Hillier, himself a respected figure in the early music and new music worlds, has revisited these texts, working with the author to clarify their central narrative: the aesthetic and intellectual development of an influential composer. For long-time listeners and young musicians recently introduced to his work, this book provides an opportunity to get to know Reich's music in greater depth and perspective.

    When building a family, they complement the kids. But what happens when things get out of hand? For writer and house husband, Matt Whyman, it's a case of catastrophe management in coping with four children and all the ill-advised animals amassed by his career wife, Emma.

    From his earliest songs of the 1960s to his years with Island Records, these are the potent lyrics to the international reggae sound that was to make Bob Marley an unforgettable music legend.

    A Christian romance.

    Traces the evolution of the Dave Matthews Band, and describes their experiences on the road.

     In another condensed version of the series, we learn about forgotten sports, appendage amputations, suicide attempts, drunk and high patients, and you'll find yourself STILL asking why people do some of the things they do. If the dirty version isn't your cup of tea, don't fret! Swing on through Kerry's listings until you find the CLEAN version of this edition: 'Freakin' Seriously?'

      After inheriting the Post from her father, and assuming its leadership in 1963 after the death of her husband, Graham found herself unexpectedly playing a role in history. Here she recounts the riveting episodes that transformed a shy widow into a newspaper legend, as she defied the government to publish the Pentagon Papers’ secrets about the Vietnam War and then led the way in exposing the Watergate scandal. Graham gives us an intimate behind-the-scenes view of the tense debates and high stakes she and her editors faced, and concludes with a powerful argument for the freedom of the press as a bulwark against abuses of power. An ebook short.

    E. Poynor. For less than twenty percent of what you paid for that grande maple-choco-frappa-machacino latte you'll spew out your nose while reading this book, you can learn about an aspect of Alaska most people never think about: everyday life in Alaska. Of Moose and Men: A Skewed Look at Life in Alaska provides a unique insight into the Land of the Midnight Sun, where laughing about the trials unique to the country is better than giving up.

    This outcome, that conclusion. You get my drift. The uncertainty is what holds the story together, and that's what I'm going to talk about.--Rhythm ScienceThe conceptual artist Paul Miller, also known as Dj Spooky that Subliminal Kid, delivers a manifesto for rhythm science--the creation of art from the flow of patterns in sound and culture, the changing same. Taking the Dj's mix as template, he describes how the artist, navigating the innumerable ways to arrange the mix of cultural ideas and objects that bombard us, uses technology and art to create something new and expressive and endlessly variable. Technology provides the method and model; information on the web, like the elements of a mix, doesn't stay in one place. And technology is the medium, bridging the artist's consciousness and the outside world.Miller constructed his Dj Spooky persona (spooky from the eerie sounds of hip-hop, techno, ambient, and the other music that he plays) as a conceptual art project, but then came to see it as the opportunity for coding a generative syntax for new languages of creativity. For example: Start with the inspiration of George Herriman's Krazy Kat comic strip. Make a track invoking his absurd landscapes...What do tons and tons of air pressure moving in the atmosphere sound like? Make music that acts a metaphor for that kind of immersion or density. Or, for an online remix of two works by Marcel Duchamp: I took a lot of his material written on music and flipped it into a DJ mix of his visual material--with him rhyming! Tracing the genealogy of rhythm science, Miller cites sources and influences as varied as Ralph Waldo Emerson (all minds quote), Grandmaster Flash, W. E. B Dubois, James Joyce, and Eminem. The story unfolds while the fragments coalesce, he writes.Miller's textual provocations are designed for maximum visual and tactile seduction by the international studio COMA (Cornelia Blatter and Marcel Hermans). They sustain the book's motifs of recontextualizing and relayering, texts and images bleed through from page to page, creating what amount to 2.5 dimensional vectors. From its remarkable velvet flesh cover, to the die cut hole through the center of the book, which reveals the colored nub holding in place the included audio CD, Rhythm Science: Excerpts and Allegories from the Sub Rosa Archives, this pamphlet truly lives up to Editorial Director Peter Lunenfeld's claim that the Mediawork Pamphlets are theoretical fetish objects...'zines for grown-ups.