[ aquarius records

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Showing results 451 through 500 of 1400.

A truly solo album from stellar guitarist Frisell (he plays electric & acoustic guitars as well as as banjo, loops and bass). The material here ranges from Frisell's own compositions to pieces by John McLaughlin, Hank Williams, and the Gershwins. Very pretty, liquid, and appropriately-lonely sounding stuff.

Member of such classic "experimental" outfits as Henry Cow, Art Bears and Massacre, and frequent downtown (Zorn, Laswell) collaborator, Frith has enjoyed increasingly iconic status for the last quarter century (novices, check out 1980's Gravity). Clearing is the avant guitar-hero's first solo guitar record since 1974's seminal Guitar Solos. Very pretty, evocative (and

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Talk about a dynamic duo. Drummer Tatsuya Yoshida, the madman responsible for Japanese prog-core band Ruins' insane music, teams up here with pianist Satoko Fuji, a lady who seems equally excitable. In addition to their prowess on their respective instruments, both provide bizarre and even beautiful vocals. Recorded live at the 2002 Festival International de Musique Actuelle de Victoriaville, Quebec, this performance veers from precisely composed, hyper high-speed workouts to sheer improv weirdness (quite melodic much of it though). Piano music genres like boogie woogie and tango are bent into the Ruins realm. With its insistent repetitive rhythmic attacks and Morse code piano parts a la Yoshida's classic solo album "Magaibutsu", this is gonna satisfy fans of Yoshida's brand of musical mayhem for sure. Amazing. And nuts! I think Yoshida is playing a contact mic'd zipper in one song...

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Not. For. The. Faint. Of. Heart. Nosirree, you know this is gonna be wonderfully, brutally OUT. And you probably know if you want it or not already... Japanese psych-improv free rock masters Fushitsusha, lead by shamanic guitarist/vocalist Keiji Haino, teamed up with one of the true titans of saxophone skronk, Germany's legendary Peter Brotzmann, holy crap! Batten down the hatches!! Turns out this fancy new Utech triple cd release is not in fact a new recording, it's an archival find from the '90s, thus boasting the classic Fushitsusha lineup of the era, Haino accompanied by Jun Kosugi on drums and Yashusi Ozawa on bass. Plus of course a very special guest on saxophone. And y'know, they're not a band who can have just anybody sit in with them. No, any Fushitsusha guest (and there haven't been many) had better be heavy duty. Peter Brotzmann, he qualifies. Seriously, he's the guy whose perhaps best known album, from 1968, is called Machine Gun, and to this day he's famed for his uber-intense, scorched earth, red-in-the-head playing style. Who better really to collaborate with Fushitsusha, "the most important rock band of the past 25 years" (according to Haino hagiographer Alan Cummings, writing in this set's liner notes - our Allan also agrees). This triple cd set documents an entire concert (maybe the first complete Fushitsusha show on cd?), recorded April 26th, 1996 in Tokyo. That's two days after Haino and Brotzmann went into the studio to record their duo disc on PSF, Evolving Blush Or Driving Original Sin. As fans, it's amazing to find out now that, there's more, and with Haino's whole band, even better! When at full-bore roar, the Fushitsusha trio create a clangorous, cavernous environment for Brotzmann's sax to soar and slither around in, intertwining with the muzzy sheets of sound emanating from Haino's guitar/amp. Rather than the players competing for sound-space, it's a synthesis; you might not even be able to tell what's Haino and what's Brotzmann amidst it all. And despite the potential (often realized!) for noisier-than-thou onslaughts, there's subtle beauty here too, moody melodious moments, quiet stirrings before/betwixt the storm... disc one, for instance, begins with glistening chiming sounds and restrained percussive skitter-scatter, quite lovely. It's a while before Haino's trademark distorted guitar squall, let alone the saxophone of Brotzmann, even makes an appearance, and that's just fine. We can't rightly review the entirety of these three discs (approximately three hours), words fail. Plus, you should have your own experience of discovery - like finding out that Haino busts out the hurdy-gurdy for some drones on disc two! But as any Fushitsusha fan will expect, it's unique, abstract, massive, magnificent, building from delicate solos and duos amongst the players to HEAVY total group aktion, getting more 'rock' than Brotzmann even ever did in Last Exit. And really, that Brotzmann's on board is a bonus, but even if he wasn't, heck, it's a Fushitsusha triple live of uncommon beauty and power regardless. Utech's art and design is always really nice, but this one's especially elaborately packaged, with many, many inserts wrapped/folded together with the 3 discs (though, be careful with the outer plastic sleeve, as that's what's holding it all together).

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Another awesome find from the diggers at Finders Keepers / B-Music! This '70s Spanish (Catalan) band, as their name implies, plays freaky fusion jazz/rock, kinda like a (more) wacked out Return To Forever! It's psychedelically groovy stuff, high on classical gasses, that at times even reminds us a bit of Bollywood, and much else besides (a goofier Goblin, anyone? Le Orme? Wolfgang Dauner?). Fusioon is for sure fun. Ferinstance, the buzzy, bouncy synth and Spanish-languge chant of the quirky, rhythmic "Farsa Del Buen Vivir" is utterly delightful, deservedly drawing comparisons to old kid-friendly funk fave Stark Reality. The dozen selections here, drawn from Fusioon's singles and lps for the Belter Progressiva label in the early/mid '70s, are percussively propulsive, sometimes soundtrack-suspenseful, and always packed with surprises, including symphonic-sounding bits and electronic blitzes... And as always, the Finders Keepers folks fit this cd out with a booklet full of colorful photos, graphics, and extensive, expert liner notes (by Cherrystones and Andy Votel) delving into the details of Fusioon's career, and in general schooling us about the psych/jazz scene in Franco's Spain.

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In the voice of Comic Book Guy from The Simpsons: "Best band EVER." No, we're not actually implying an endorsement of Gallhammer by Comic Book Guy. But, IF Comic Book Guy was into old school death/black/doom metal and crusty punk (which, we'd imagine he probably isn't) -and- was really into cute Japanese girls (which, chances are, he is), then, well, Gallhammer would be one of his favorite bands. We can't help but like 'em lot ourselves. We reviewed their debut cd Gloomy Lights back on list 235, and pointed out then that while a trio of cute, Japanese girls with raccoon eyes playing in the style of '80s doom pioneers Hellhammer was an obvious high-concept selling point, from -listening- to it you sure couldn't tell they were cute or even female. But you could tell that their music was utterly grim and wretched and heavy as hell, which for us was enough to recommend it. Glacial riffs, pounding drums, atmospheric breaks, deathly croaks... raw and primitive and very effective! We also reported that they'd gotten signed to Peaceville, who have cleverly determined that the best way to introduce Gallhammer to the masses isn't with a new album (still upcoming) but with this, a collection of demos and rehearsal tracks. Oh, and with a DVD disc of live performances. That's the clever part. Once you see vocalist/bassist Vivian Slaughter in her Celtic Frost t-shirt, staring blankly into space and grunting inhumanly into the microphone, you'll be smitten. Or watch drummer Risa Reaper thrash her kit, providing back-up screams too. Or witness guitarist Mika Penetrator (Amebix t-shirt for her) crank out the riffage whilst contributing blood-curdling vokills as well... it's all over. Is there a fan club? Where do we sign up? Seriously, though, the live footage is convincing. They're a killer band. And have a great sense of theatrics, looking so much like those spooky girls you always see in Japanese horror films with their long black hair and hollow eyes. The DVD features 24 songs from six shows filmed at various venues in Japan between 2005 and 2006. Some are pro shot (the show at Okayama Pepper Land which is presented in its entirety) and others are more bootleggy lookin' but still perfectly acceptable. And there's also a photo gallery of stills to stimulate more fanboy drool. Meanwhile, on the audio disc, you get twelve tracks including two exclusive demos of (brutal) brand new songs, along with rarities going back to before the Gloomy Lights album. If you've heard Gallhammer before, you know this is gonna be crushing. Far from cartoonish. If you haven't heard 'em, this a good place to enter their haunted world of misanthropic moody metal. Imagine if Unsane, Corrupted and Zeni Geva got together in a cave to make the soundtrack to some freaky J-horror flick, after listening to nothing but Tom G. Warrior's earliest output and the occasional Velvet Underground album for inspiration. Cool, eh?

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British pianist and bandleader Michael Garrick is probably not too well known in these parts, but his 1964 debut, Moonscape is still something of a legend in England. Released as a 10" record in a run of 100 copies, it's probably one of the most collectable British Jazz records ever made and for good reason. Sprightly and pastoral, yet tightly wound and at times completely unhinged, the piano melodies, reminiscent of the best Vince Guaraldi albums, wrap swimmingly around your head while the drums and bass propel your body with mad-dog intensity. Perplexing titles like, "Music for Shattering Supermarkets" and "Man, Have You Ever Heard" coupled with the enigmatic titular cover art lend an intriguing figure to the sounds inside. Not quite cosmic, yet anything but pedestrian. Since this was originally a 10" record, this is rather a short set, clocking in about 22 minutes. We suggest you put your player on repeat, because it's worth hearing all day.

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SORRY. NYC free-jazz saxophonist Charles Gayle's latest. As always, intense, spiritual stuff.

As you may have already guessed, this is a disc of solo jazz piano by Charles Gayle, a NYC free jazz musician much better known for his saxophone playing. And, perhaps surprising given his propensity for way-out sax squalls, his piano playing is remarkably melodic, although quiet kinetic and restless. It sounds like someone tickling the ivories at a cheesy jazz piano bar getting bored

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SORRY. Free jazz spirituals from this heir to Coltrane and Ayler.

Rev-Ola brings us the sweet summer breeze early this year by reissuing this pop-jazz gem from Astrud Gilberto. Famous for her refreshingly lackadaisical vocal debut on Stan Getz's "The Girl from Ipanema", September 17, 1969 marks her last recording date with the Verve label (released in America as "Let Go", with a different song order), as the Bossa Nova craze that had invaded America since the mid-sixties was waning. Filled with more contemporary covers than Brazilian standards, including songs by the Bee Gees, The Beatles, The Doors and Harry Nilsson, the album's standout track is the eight minute opener, a cover of Chicago's "Beginnings", a beat-heavy groover that fans of Wax Poetics will drool over. But the Brazilian cuts are still strong with "Let Go (Canto de Ossanha)" popularized by Elis Regina, being a return to the soft samba vibe that made Gilberto famous. It'll be easy to cringe at some of the more obvious pop interpretations like "Light My Fire", but most of the time her choices work. It's better to think of it like this: without Astrud Gilberto, there would be no Nouvelle Vague!

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Verve sessions, many never before on cd, from the Brazillian jazz vocalist ("the dreamy she-voice of bossa nova" it says here) famous for "The Girl From Ipanema." Includes covers of songs by Chicago and the Bee-Gees, along with sambas in Portuguese, etc. Much fun.

One of the finest examples of bossa nova music, this record from 1973 was made just as its cultural influence was waning. But what makes this record special is its minimal qualities. It's just guitar, voice and some occasional soft drumming (by Sonny Carr), yet the performance is exceptional! Joao Gilberto is a legendary bossa nova star, right up there with Antonio Carlos Jobim, who wrote most of the genre's biggest hits. It was Gilberto's version of Jobim's "Girl From Ipanema" with Stan Getz that made bossa nova an international sensation in the mid-sixties (though Gilberto's fame may have been eclipsed in America by his wife, Astrid, who became an overnight star from that song). But Aguas De Marco, as this self-titled album is usually referred to, shows that one doesn't need a lot of window dressing to make a big impact. Gilberto's smooth melancholy vocals and complexly rhythmic but gently wistful guitar playing instantly takes us to far off luxurious tropical locales. Yet this isn't just background resort music, Gilberto brings a vital but downplayed longing to his performance that feels like remembrances of a time now past, giving it an unrequited quality that makes this record more endearing with each listen. Bossa Nova at its best!

Of all the 2014 Record Store Day releases, this might have been one of the most exciting. The vinyl version is already gone, but we still have some of the cds set, which is cheaper anyway. French pianist Jef Gilson, whose 'best of' comp on Jazzman we raved about a while back, spent the end of the '60s traveling to Madagascar, an island off the coast of Africa, studying the indigenous music, and spreading his love of jazz, and in the process, recording with some of the locals, playing a bunch of shows, all of which resulted in three albums, all of those are included here, along with two more collections of previously released material from the same era, and needless to say, if you're a fan of ethno and spiritual jazz, this is some sort of crazy sonic holy grail. As always there's plenty in the liner notes about the history of Madagascar, and the life of Gilson, but even without the backstories, the music here is incredible, a little bit Ethiopiques, a little bit European free jazz, a little classic bop, dark and sultry and groovy, one of the records here doesn't even feature Gilson, and is a record he produced for some of the guys he played with in Madagascar, and that one is a doozy, the most distinctly African sounding, extended Afro jazz jams that are so heady and hypnotic, often more world music in fact than jazz, but the fusion is otherworldly, and had us wanting more more more. The final record features Byard Lancaster (Magma's Christian Vander was played with Gilson too, pre Magma), and might be the wildest, and freest of the bunch, a handful of the tracks untitled, discovered on old unlabeled tapes, but some of those are the best here, super inspired spiritual jazz that totally transcends, lots of flute (!!!!), some of the tracks blissed out and super spacey, others wild and chaotic, the live tracks on the final disc especially fiery and intense. The whole set is pretty stunning. Three and a half hours, all of it fantastic. The discs are housed in a little box, each cd in its own sleeve, and accompanied by a big booklet with liner notes (in English and French) and loads of rare photos.

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The last time we were this jazzed (sorry, couldn't help it!) about a jazz reissue of an artist we had very little or no knowledge of beforehand, was the great Lloyd Miller collection, A Lifetime In Oriental Jazz. So it makes perfect sense that Jazzman, the amazing label who brought us Lloyd Miller, is now introducing us to the musical world of Jef Gilson, a talented French musician, arranger, band leader, sound engineer, music teacher, label owner, and multi instrumentalist. The songs that make up this best of collection are some of the most irresistible, suave, soulful and surprising that we've heard in any form in such a long time. Spanning a period from the early '60s into the '90s this shows so many different facets of Gilson's recording career. From bebop, to orchestral pop, to multi cultural intersections, to hypnotizing operatic excursions. This is forward thinking jazz, filled with exquisite playing but more importantly an endlessly creative and explorative mindset that has left every track on this collection feeling so fresh and alive all these years later. This is one of those records we would like Yo La Tengo to check out next time they were in the store, as we could really imagine Ira and Georgia at home in their living room reading and relaxing while the sounds of Jef Gilson provided the perfect ambience to a crisp fall morning. 80 minutes of music, 32 pages of in depth liner notes, this might just be a contender for jazz we'd never heard of before reissue of the year! Highly recommended.

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Fuzzed, flanged fusion fireballs, blowing shit up! Mentioned last list in our review of Gary Smith and Aufgehoben No Process's distorted death match "Magnetic Mountain", here's the Glass Cage cd: the instrumental improv trio of guitarist Smith, former Soft Machine bassist Hugh Hopper, and famed Japanese free jazz/rock percussionist Shoji Hano (you might know from collaborations with Keiji Haino, or his stint drumming with Nanjo Asahito's High Rise). The family tree that brought these three together must have some tangled roots indeed, but we're glad they found each other (actually, Smith and Hano have played together before, in a trio with Nanjo in fact, and presumably Hopper and Smith know each other from the UK avant-garde scene). The music they play is chaotic, but beautiful; noodly, but heavy (Hopper's thick fuzz bass sounds like that of the Ruins circa "Stonehenge"). Smith's "stereo" guitar veers wildly though the flak thrown about by the Hopper-Hano rhythm section. "Out" rock enthusiasts, like Nels Cline fans for instance, ought to investigate. Earplugs required.

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Alexander von Schlippenbach's Globe Unity Orchestra was a free jazz big band featuring what seems like a who's who of late '60s European improv -- Willem Breuker, Peter Brotzmann, Albert Mangelsdorf, Peter Kowald, Sven-Ake Johnasson, Evan Parker, Derek Fans of this era/style of out-jazz, you know what to do: grab your beards and hold on! And thank Atavistic's Unheard Music Series for a continued reason to live. Go, UMS, go!

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Fans of the damaged and deranged, the truly warped and mindbending, the freaky, fucked up and plain baffling, by now should be well acquainted with the mysterious master of the guitar synth, and his bevy of bewildering outfits, two of which we've reviewed on past AQ lists, this being the third, in what we can only imagine is some sort of insane trilogy. Xynfonica came first. A "classical" record, completely composed and performed on the guitar synthesizer. A tripped out, outsider slab of post Peter And The Wolf classical deconstructed, atonal and so so so difficult, oh and did we mention that the other part of the equation was seemingly incongruous raspy evil metal vocals? A totally not-right combination, but for those of us who dig that sort of stuff, it was pretty unbeatable. Then there was the HUGE booklet of lyrics, complete with FOOTNOTES!!! Then came Shevalreq, part two in the "trilogy", his 'world music' record, where the same atonal angular tones and notes, the howled raspy vocals, were this time wrapped around faux tablas and various other ethnic percussion instruments. If anything, it was even more fucked and amazing. Not to mention the over the top cover art, with miniature jousting knights on horseback ON TOP OF various dat machines and other studio gear. WTF? So while we anxiously awaited part three, we were fairly sure nothing could top Shevalreq. But oh were we wrong. The new one is called Gluttony, the name of the record: Collapse Of The Roman Republic, another epic tale of war and death and love and betrayal, this one being his quote unquote jazz record, and fuck if it's not the most amazingly fucked up record EVER. Now in addition to the metallic rasp, the stumbling angular melodies, are lots of synthesized horn stabs, crooning synthesizers, faux vibes and marimbas, synth oboes, synth bassoons, all peppered with some serious twisted tangles of Greg Ginn-esque guitar squall, usually draped over some woozy, smoky dive bar synthjazz. It still sort of sounds like Peter And The Wolf, but it also sounds like the score for some mystery noir z-movie thriller, ripe for some sort of Sam Spade voice over, but instead you get a voice over from some growling bile spewing demon, and the tracks lope on endlessly, the melodies, maniacally off kilter, the whole thing so brilliantly baffling it's almost impossible to listen to the whole thing, but we've come close. Very very close. Absolutely recommended, but ONLY for those who can handle stuff like this. You know who you are.

From the obi: "Two of the most creative composer/performers on the West Coast, Ben Goldberg (New Klezmer Trio) and John Schott (TJ Kirk) are joined by verstaile Brooklyn-based drummer Mike Sarin (Dave Douglas, Myra Medford) to create a delicate musical universe balancing space and movement with thoughts unimagined, feelings unfelt. These introspective pieces for guitar, clarinet and percussion touch upon Jewish life and philosophy in a manner both subtle and cruel."

Ben Goldberg on clarinet / bass clarinet with Trevor Dunn on bass and Elliot Humberto Kavee on drums.

For the past couple of years, we've really been digging the recent unearthing of little known private press new age music whether it be Collie Ryan, William Eaton or Iasos. Lately we've been especially excited about this reissue from Universal Sound, of Edward Larry Gordon's 1978 debut. Gordon, or Laraaji, as he is otherwise known, creates long-form trance-inducing compositions using electronically enhanced zithers, auto-harps, kalimbas and other acoustic instruments that shimmer and radiate in beautifully meditative pulses. This record comprised of two thirty minute tracks, "All Pervading" and "Bethelehem" gained little notice upon its initial release, but thankfully it caught the attention of Brian Eno who subsequently produced his follow-up Days of Radiance for the EG Editions Ambient series in 1980 to wider acclaim. You can tell that Gordon was much inspired by earlier progenitors of cosmic music from Sun Ra to John and Alice Coltrane. You can especially hear the harp-like shimmer of Alice Coltrane in his treatments of the open tuned zither that he plays while in a complete meditative state. Really gorgeous stuff!

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Sometimes aggressive, sometimes gentle, and as the title suggests, having to do with the destruction of a piano. Extended performance techniques reconfigured through a sampler. Features the Rova Sax Quartet. Quite nice.

If you were ever curious to hear how Moondog might have sounded had he been recorded by Joe Meek, then here is your chance! Trunk records rescues this exquisite rarity from complete obscurity that displays the early influence of The Viking of 6th St. on a group of Britain's finest jazz players. Recorded in 1956, and engineered by a young Joe Meek, the underrated alto saxophonist Kenny Graham assembled a band of amazing session players, including Stan Tracey, Phil Seamen, Danny Moss, and Ivor Slaney (who recorded the horror soundtracks Terror and Prey we reviewed awhile back, though he is here in less horrific mode), as well as the evocative vocals of singer Yolanda to record this two part tribute. The first part, The Moondog Suite, covers ten of Moondog's early compositions, five short percussive pieces and five longer songs including "Utsu, "Chant", "Fog On The Hudson" and Lullaby". The six pieces in the "Suncat Suite" (Suncat, get it?) are all originals inspired by Moondog's pieces. These range from short eastern influenced numbers to more complex compositions of mesmerizing exotica, sometimes swinging, and at other times more moody. The production for both is sharp. The percussion zings, the vibes crisply resonate and the horns and woodwinds sound impeccable. Trunk scores again with this amazing reissue.

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Another batch of essential and long overdue ESP reissues. This one is ALL drums. And like I've been saying all along, guitars and bass and piano, are all very nice and everything, and sometimes they even sound good in a band, but all you ever really need is

Second solo percussion album by veteran '60s free jazzer Graves to be released on Tzadik, and this is similar to his first: energetic free drumming and some vocal outbursts as well. The obi text describes him "playing with his hands, feet, elbows and head..." which is apparently true, but the obi also says that this is "absolutely riveting". Depends on your defintion of riveting I suppose. Perhaps best seen rather than just heard, although fans may enjoy.

Local clarinet/flute/saxophone whiz Philip Greenlief presents "music for 2 guitars and 2 wind instruments". Vinnie Golia is the other reedsman, and the guitarists are G.E. Stinson and the AQ-beloved Nels Cline (all LA new music scene stalwarts). The pieces (thoughtful, sometimes doleful, sometimes pretty) are inspired by Greenlief's experiences living in Russia, where he spent a year in '98. Both Greenlief and Cline are credited with the use of "ray guns" in the liner notes, which kind of makes you wonder about what Russia's like these days...

[ aquarius records — Jazz ]