The graphic novel arm of Jonathan Cape is publishing a biography of John Coltrane, illustrated by Paolo Parisi. The book tracks events in Coltrane's personal life, cut with scenes from his time recording. Parisi is a Bologna based artist and illustrator, and his work includes illustration for Soul Jazz records, for whom he drew Invasion Of The Mysteron Killer Sounds and its accompanying graphic novel.

Coltrane will be published by Jonathan Cape in the UK, Forlaget Fahrenheit in Denmark, and Editions Sarbacane in France, and will be released in the UK on 12 January 2012.

Fire records are reissuing all 14 albums by Jad Fair's Half Japanese on CD, vinyl, and as downloads. The releases will be staggered throughout next year, with the first trio of reissues (Half Gentlemen/Not Beasts, Loud, and Our Solar System) expected to arrive in February, and the release schedule slipping into 2013.

Also being reissued are Sing No Evil, Music To Strip By, Charmed Life, The Band That Would Be King, We Are They Who Ache With Amorous Love, Fire In The Sky, Hot, Bone Head, Heaven Sent, Hello, and Boo. Half Japanese are playing the rescheduled ATP Festival in March, and Jad Fair plays London's The Lexington on 1 December. More info here, and listen to "All The Angels Said Go To Her" by Jad Fair below.

Jad Fair - All The Angels Said Go To Her by FIRE RECORDS

On the tenth anniversary of the release of Cold House, Domino are releasing a 6xCD collection of Hood material titled Recollected. The box set pulls together Rustic Houses, Forlorn Valleys, The Cycle Of Days And Seasons, Cold House and Outside Closer, plus a collection of Hood EPs from their Domino back catalogue, and a CD of 24 rare and unreleased recordings. Full tracklisting here.

The Hood albums and EPs have been remastered from the originals, and come packaged with a 32 page booklet. Domino note in the release info that Hood are still on "long-term hiatus". The box set will be released on 5 December.

Tracks from over 200 record labels will be removed from Spotify, Napster, Simfy, and Rdio. Labels distributed by STHoldings include Hessle Audio, Skull Disco and Mordant Music. Out of 238 labels distributed by STHoldings (which specialises in techno, grime, dubstep, and bass music), only four said they did not want their content removed from the streaming services.

STHoldings said in a statement: "As a distributor we have to do what is best for our labels. The majority of which do not want their music on such services because of the poor revenues and the detrimental affect on sales. Add to that the feeling that their music loses its specialness by its exploitation as a low value/free commodity. Quoting one of our labels "Let’s keep the music special, fuck Spotify.""

STHoldings said decision was prompted by a study conducted by NPD Group and NARM (reported by Digital Music News here) which claimed that Spotify and similar streaming services were detrimental to music sales.

Update: MusicAlly reports a response from Spotify, quoting a spokesperson as saying: “Along with NARM, we’re confused by the way this research has been interpreted, since Spotify was not referenced anywhere in the research questionnaire and had only been live in the US for a matter of days when the study was carried out. The deck also makes absolutely no reference to Spotify and certainly does not draw any conclusions about Spotify, such as those made in the article.”

EDIT: Hyperdub is not implicated in the decision made by STHoldings. While Hyperdub is listed as being distributed by STHoldings, the company does not manage digital distribution for the label, Cargo handles the main body of digital and physical distribution for Hyperdub.

British pianist and composer Michael Garrick died on 11 November 2011, after being admitted to hospital with heart problems last week. Garrick was born in Enfield on 30 May 1933, and formed his first quartet whilst studying at UCL. He was awarded an MBE in 2010. Below, Jonny Trunk writes a short tribute to Garrick.

Michael Garrick "For Sketches Of Israel"

Michael Garrick "For Moonscape"

The first time I encountered a Michael Garrick album was way back in about 1993. It was in one of London’s great lost record shops, Caruso And Company. I’d walked in on one of my usual lunchtime visits and seen this funny looking LP with a treated photograph of a mountain on the front, some peculiar typography and some arty facial hair on the back. It didn’t look quite like jazz, it didn’t look classical, and it was on Argo, a label famed for its folk and train recordings. I bought it for £2, and when I played it at home things started to change. I’d never heard such interesting piano, such non-jazz, such non-classical. It fell right between several musical stools and I really wanted to know more.

Very few people could tell me anything. There were no other Garrick albums anywhere. A quest for several years brought me other great Michael Garrick albums and an eventual meeting with him at the old Vortex club in Stoke Newington Church Street.

This was the late 1990s, a time when 1960s British modern jazz had still not really been appreciated (or reissued), and Garrick was a touch on the prickly side at our first encounter. In classic jazz style he was counting the pennies and I felt he was still waiting for that big jazz moment to happen. Fame and notoriety had alluded him and all his fellow jazzmen – Rendell, Carr, Harriott, De Silva, Keane – but the sound of jazz coming from his Big Band and endless trio, quartet and whatever-tet he’d started next kept him busy, on the road, and very much alive.

He’d started out in the late 1950s and been involved in the classic South Bank jazz adventures put on by Pete Burman. A fine and inventive pianist and arranger, he’d always been keen to mix the idea of traditional compositions with modern musical thoughts. He saw the future early and through early albums such as Moonscape, explored the new modern sound. Recordings with poetry, choirs and ethnic ideas followed, culminating in a set of rare and very sought after albums across the whole of the 1960s. As the great British jazz experiment closed in the early 1970s and the money for new albums dried up, Garrick carried on, with his inquisitive and educated mind always wanting to push his jazz in a new direction. He started his own label (Jazz Academy), started his own jazz school, and toured tirelessly.

Since the issue of Moonscape, I was lucky enough to get to know him better. He was witty, peculiar, sharp and full of fine jazz stories. I am very sad to see him gone, but I’d like to think he’ll be playing again with his musical hero, Joe Harriott, in the big jazz club in the sky.

And of course Michael Garrick made records, and these will outlast all of us. And I think his knowledge that both his early and later modern jazz recordings have been discovered by new generations of listeners will have made him feel happy and appreciated in his last few years with us.

- Jonny Trunk

Peaking Lights are launching an online radio station, 936.fm, which will be playing a week of music curated by the duo (Aaron Coyle and Indra Dunis). The broadcast starts today, and until Friday 18 November it will be looping a mix made by Peaking Lights.

On Friday the site will be playing a mixtape made up of reworks and remixes of tracks from 936, including versions by Adrian Sherwood, Patten, Dam Funk, Doldrums, Maria Minerva and others. Listen to a sample of the Main Attrakionz remix below.

Peaking Lights play in London and Manchester in the coming months. Dates are as follows: London Phonica (DJ set, 30 November), London Plastic People (6 December), London Rhythm Factory (8), London Rough Trade East (9), Manchester Deaf Institute (10).

Peaking Lights - Marshmellow Yellow (Main Attrakionz MAN WORLD remix prod. by Squadda B) by Weird World Record Co

The Opalio brothers join Wire contributor Ken Hollings at London's Resonance FM studios for Ghost Blood Spectrum, a live "mind clash" with Hollings reciting texts to the alien sounds of MCIAA. 23 November, 8–9pm, Resonance 104.4FM for Londoners, streamed live at resonancefm.com for the rest of the world.

An extra screening has been added to the UK premiere of Michael Rapaport's documentary Beats, Rhymes & Life: The Travels of A Tribe Called Quest. The first screening at KOKO on 21 November has now sold out and another screening has been added the following night at Cargo. Both nights will include a live performance from Phife Dawg following the ATCQ documentary (film starts at 8pm).

Beats, Rhymes & Life: The Travels of A Tribe Called Quest includes an original soundtrack by Madlib, interviews with De La Soul, Ghostface Killah, Mary J Blige, Q Tip and others. Listen to an A Tribe Called Quest mix below. London KOKO (21 November), London Cargo (22).

In October 2008 Julian Cope and the Black Sheep went on a three day busking tour of Britain, taking in 11 overlooked sites of historical significance. The tour was filmed, and is now due to be released as a documentary titled Revolution Blues. The forgotten historical locations visited by the busking clan included the site of the Peterloo Massacre in Manchester, the Carl Jung statue in Liverpool and the place Eddie Cochrane died.

There's no official date for the film's release, but stay tuned to Start Productions for more info. Watch the trailer for Revolution Blues below.

Mute records are branching out into electronics and releasing a a small handheld analog synthesizer, the Dirty Electronics Mute Synth, built by John Richards, host of the Dirty Electronics circuit bending workshops. The synth is controlled Lucky Dragons style, using the resistance of the human body, with the circuit completed by touching the copper etching.

The Dirty Electronics Mute synth was originally built for Mute's Short Circuit day at The Roundhouse in London, and has been designed and built by John Richards with Adrian Shaughnessy in collaboration with Mute. It will be stocked by Schneiders Buero in Berlin (which was decamped to The Roundhouse for the duration of Short Circuit), and Rough Trade. Watch a demo video of the synth below: