The Whitefield Brothers In The Raw remains as potent in 2022 as the day it dropped twenty years ago. Originally released in 2002, and later reissued via Now Again, the LP's panglobal brew of ragged psychedelic funk dripped different, defying easy markers of genre, era, and locality . . .
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When an artist dies young, we’re often left wondering what could have been and looking for clues among their final records and performances. In the case of Albert Ayler, the search is especially frustrating: his death by suicide in November 1970 cut short an intense and singular career, right as he started moving in a new direction. Revelations: The Complete ORTF 1970 Recordings, a new four-CD/Five-LP set provides a tantalizing glance at some of the saxophonist’s final performances: two full shows finally presented in complete form . . .
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For four and a half decades, guitarist Bill Frisell has folded his beautifully faded melodies into a tapestry that includes work high profile pop singers, raging jazz punk, folk, ballads, country and western. In Beautiful Dreamer: The Guitarist Who Changed The Sound of American Music, released this week by Faber books, author Philip Watson presents a sprawling biography of Frisell. Aquarium Drunkard is proud to present an excerpt from the book's first chapter, "The Searcher . . .
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Outré California. 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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On their debut EP, New England Trio, Kioea (pronounced KEY-O-E-AH) present a fresh take on instrumental, “world-music-inflected”, psychedelia. Informed by a wide spectrum of influences including indie, ambient, as well as artists like Erkin Koray and Sir Victor Uwaifo, Kioea’s sound is simultaneously modern and vintage . . .
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Welcome back to the stacks. It’s Aquarium Drunkard’s Book Club, our monthly gathering of recent (or not so recent) recommended reading. In this installment: the roots of the enigmatic Elephant 6 Collective, Sinéad O'Connor, utopianism, a Kim Gordon edited compendium of music essays, and more . . .
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Today on Transmissions, London-based jazz and beat artist Ben Marc. He’s known for his work with Ethiopian jazz legend Mulatu Astatke and with Jonny Greenwood of Radiohead and Shabaka Hutchings of Sons of Kemet. His new album is called Glass Effect and it’s a blend of classical, electronic music, and deeply felt spiritual jazz. He joined us to discuss his work with the Sun Ra Arkestra, Astake, working with Jonny Greenwood and his bandmate Tom Skinner’s work in Radiohead side project The Smile . . .
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Last year around Bob Dylan's 80th birthday, we celebrated with a megamix of various renditions of "One Too Many Mornings." Since there's no such thing as too many "One Too Many Mornings," here's a sequel of sorts for Bob's 81st — 24 different covers of the classic tune from a wide variety of artists, spanning the decades. Just as Bob never quite settled on a stock arrangement for this one, the interpretations here vary wildly, from gentle folk to raucous garage rock to soaring orchestral pop. Like the song says: "You're right from your side and . . .
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Wandering through the freakier terrains of psych folk, math fusion and afrobeat/chimurenga, if earlier Cambriana sounded anglophilic in its attempt at 'universality', now - as international indie seems itself closer and closer to MPB - Cambriana sounds more Brazilian than ever . . .
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Panamá 77, the debut album by Panamá-born, Chicago-based drummer and DJ Daniel Villarreal, arrives right on time—emitting earthy and humid spiritual jazz. Freewheeling and unmoored by genre, Villarreal and his cast of collaborators, all of whom helped compose the tracks they play on, revel in an improvisatory spirit which transcends the overdub and post-production elements of the recording process, resulting in something that feels truly organic and alive . . .
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With the help of pedal steel player Kurt Newman, Badge Époque drummer Jay Anderson, and producer Sandro Perri, Senior fleshed out fingerstyle instrumentals into a beaming ray of sunshine sound. He pays tribute to the late Harry Dean Stanton, plays one for Doc Dunn himself (present in name and spirit, even if not on these sessions), and stretches out for a blissfully meditative journey on 11-minute closer, “There’s Nothing I Like More Than Anything Else . . .
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Michael Coomers' Lace Curtains returns in 2022 with a new collection, Just Like In a Movie. You may recall Coomers from Harlem, that rubber band ball of a band whose infectious, washed-out sound evoked The Clean’s Boodle Boodle Boodle, yet felt at right at home within the mid-to-late '00s garage scene . . .
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When improvisor Bill MacKay spoke with Aquarium Drunkard before, he evoked the dim of the movie house in his work. "Cinema's always been important, and music that has that cinematic edge to it especially interests me. I think a lot of the things that have hit me really heavily have some of those filmlike qualities to them." Now American Dreams Records releases Movie House | Sala de Cine, a book of poems from Bill MacKay. The noted Chicago musician wrote in English and then translated each to Spanish, with editorial assistance from Luis Jorge Boone. Today, AD presents "Oddly colored . . .
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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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Toulouse based singer, songwriter and multi-instrumentalist, Julien Gasc, returns in September with the release of his fourth solo album, Re Eff. “Qui est cette femme qui danse tout autour de mon corps?” inquires Gasc on “Amour Velours”, the first taste from the forthcoming lp . . .
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