55 years on, Miles Davis’ 1970 opus, Bitches Brew remains as mind-bending as ever, but its most enduring influence may lie in its innovative construction. A deeper look at Teo Macero’s methods and madness, paired with a 2-hour collection of unused session reels expands its universe . . .
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Comme il faut. Via satellite, transmitting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays.
34.1090° N, 118.2334° W . . .
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Cooper Crain is a bandleader, band member, producer, engineer, mixer, songwriter, improviser, and a player of organs, synths, guitars, and much more. First coming up as a member of the psychedelic, grooved-based Cave and then gaining more prominence with the hypnotic, meditative, and powerful Bitchin Bajas. The Bajas return this month with their new LP , marking their second collaboration with Natural Information Society. We caught up with Crain to discuss this latest collaboration, the art of mixing and editing music, and a selection of the musical projects that he's worked on over the past several years . . .
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William Tyler joins Transmissions for a time-bending talk about his new record, Time Indefinite, out this week via Psychic Hotline. On this episode of the show, we toss out the script in favor of following Tyler’s thoughts; like the indefinite time his new album references, linearity isn’t always the focus in this talk. And while we touch on more than a few heavy topics, including addiction, climate change, and the sad state of satirical art, this one is an entry in our "hangout episodes" series . . .
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If there exists a more perfect reggae album than Rastafari to symbolize the rejuvenating, re-energizing power of spring we have yet to hear it. Turning 50 this year, this is far more than sound-system music, this is reggae as art form . . .
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Nine-minute psychedelic opus "Through With You" landing on the same record as 1968'a chart-topping pop gem "Green Tambourine" is the crux of the bizarre duality of the Lemon Pipers saga. Though gaining admiration from the likes of Moby Grape, the "Eight Miles High" meets "Interstellar Overdrive" ripper was the intentional antithesis of the polished bubblegum sound that the label had orchestrated. It's a real hidden reward for those who ventured to the end of the decisively mixed bag of a record . . .
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In July, 1946, a 28-year-old Herbie Nichols visited the apartment of the 30-year-old Thelonious Monk. Nichols was there on 63rd Street to interview Monk for the Black-owned entertainment periodical Rhythm: Music and Theatrical Magazine, a visit which culminated in Monk performing his “Ruby, My Dear” on his Klein piano, which Nichols wrote was, “one of the greatest pleasures I’ve had listening to jazz . . .
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Freeform transmissions from Radio Free Aquarium Drunkard on dublab. Airing every third Sunday of the month, RFAD on dublab features the pairing of Tyler Wilcox’s Doom and Gloom from the Tomb and Chad DePasquale’s New Happy Gathering. For April, Tyler kicks it off with an hour's worth of recent, semi-soothing instrumental zones, and Chad follows with a mix of dream pop, experimental rock and a splash of springtime bossa nova. Sunday, 4-6pm PT . . .
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Ken Brown ( Gastr del Sol, Tortoise, Pullman, Directions in Music) on the mysteries of Jungle Boogie, how the project fit into Brown’s trajectory as a musician, his interest in food, and more . . .
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Nova Scotian quartet Nap Eyes have the right stuff: eclectic and clattering rock & roll moves, a distinct zone, and best of all, sly and quixotic lyrics. On their latest, 2024's The Neon Gate, songwriter Nigel Chapman manages to pull in nods to Nintendo 64 games, Russian poets, French filmmaker Chris Marker, and Goo Goo Dolls megahits, resulting in a work that feels real and lived in in a way that so many of their indie rock contemporaries fail to achieve. For their second Lagniappe Session, they cover Kathy Heideman and The Tragically Hip . . .
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If Your Mirror Breaks is the Ex’s 19th full-length album. The band, extant since the late 1970s, has collaborated with everyone from the Mekons and Sonic Youth to Ethio-jazz saxophonist Getatchew Mekurya. Their music started in punk but has, over time, incorporated many other genres, including free jazz, noise and non-western music from Africa, Eastern Europe and the Middle East . . .
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Pacific rim. Via satellite, transmitting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays.
34.1090° N, 118.2334° W . . .
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"No matter how wise you think your ass is, life will have its way with you." The Dude hisself joins us on Transmissions to discuss his new archival record, Slow Magic, 1977-1978, plus his counterculture roots, touching on Buckminster Fuller, John Lilly, Ram Dass, Captain Beefheart, and more . . .
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Once championed to eclipse the likes of June Christy and Chris Connor, Beverly Kenney was found dead a few months after the release of Born To Be Blue (1959), wearing only a pink nightgown and surrounded by empty bottles and scattered pills. With this in mind, the album takes on a haunted quality, and Kenney becomes an enigmatic figure whose legacy exists in the twilight of myth and verity. If there were a Mount Rushmore of "Midnite Jazz" artists, Kenney would be on it, her short life as bittersweet as the songs she sang . . .
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In the latest permutation of the adventurous L.A. jazz group SML, guitarist Gregory Ulhmann and saxophonist Josh Johnson are joined by bassist Sam Wilkes, for an album that both deepens and expands the SML project. Looking back to bebop and drifting through post-rock, with pit stops at Jaco Pastorius, Lyle Mays and the Beatles, Uhlmann/Johnson/Wilkes is unafraid to embrace the beautiful, even as it remains committed to experimentation and smooth radicalism . . .
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