I Listen To All Of This

Jul 16 2018

I am here for these solo percussion works on Ventor Records

 

Melbourne, Australia label Ventor Records states they are here for the rhythmically obsessed.  Nothing about the three solo percussion albums on their Bandcamp page would give any other impression.  Speaking from personal experience, this music will have no less appeal to those of us who consider ourselves more in the camp of incurable melody addicts.  It sure as hell applies to me.  I’m going to run each of ’em down for you.

Let’s begin.

 

Ronny Ferella – Invisible Skin

This album bleeds a magnetic personality.  Ronny Ferella holds court on Invisible Skin.  The pace is breezy and the chatter is light on its feet, but there’s a weight of importance to every little sound stirred up.  It’s an onslaught of sound, but it’s a measured aggression, the kind of thing where volatility doesn’t discharge a recoil kickback upon the listener.  The invitation is that it’s safe to immerse yourself in the music.  It’s easy.  Rivulets of percussion and the drone of melodica shape the path of drums, giving form to a state of pure momentum.  It has a run time just exceeding a half hour, and each instance of it reaching the finish line, I can’t believe it’s over so soon.    I am addicted to this recording.

Give the album a listen and purchase it on the artist’s Bandcamp page.

 

Sam Price – Rubicon

Now where Ronny Ferella was holding forth with conversation, Sam Price constructs a menagerie of cryptic messages.  On Rubicon, the pieces pulse with a lively energy, and their staggered tempos and intermittent signals of electronic effects hint strongly at a hidden meaning behind the seemingly random occurrences.  Even when the droning “Sehnsucht” opens things up for Price’s drum chatter to come through loud and clear, he delivers it as an urgent whisper… which has the effect of enhancing the sense of mystery that already hangs heavily in the air.  When “First Rodeo” lights things up with a foot-tapping tempo and a catchy melody, their gradual deterioration into dissonance by song’s end becomes yet another signal that all is not as it seems with Rubicon.

Give the album a listen and purchase it on the artist’s Bandcamp page.

 

Nat Grant – Marengo

It’s easy to miss at first.  Just for a moment, Nat Grant teases what will come much later.  If it gets past you, at first blush, it appears there’s no mystery to Marengo.  It comes off as the more straight-laced sibling to the wildly unconventional brothers Invisible Skin and Rubicon.  There’s no electronic effects nor any overdubbing of additional percussion instruments… just a musician with her drum set and something to say.  And that seems to be what Nat Grant is doing on Marengo.  It’s the most common of motivations for an artist of any medium… take all of the thoughts and emotions and ineffable ingredients that comprise who that artist is, and give them life through creative focus.  There’s a comfort to be gained from something grounded in the bare essentials.

But that’s not where things end up.  The hydrophone makes its presence known, and the first impression of a straight-ahead recording transforms into a new impression of something quite different.  The flame of intrigue starts to burn at the half way point of the recording, and what was hinted at so subtly in the first fifteen seconds begins to emerge.  It’s a slow reveal, and it gradually increases in speed.  It becomes more than just the dialog of a drum set.  The dialog achieves a richness that has subtlety as its foundation, where the addition of textures, though dramatic at times, burn brightest as nuance, and are best viewed not in how they drive the conversation, but, instead, how they surround it.

It’s a single track of just over thirty-seven minutes, and there ain’t a moment during that span when it seems like Grant is struggling to come up with something more to say.

Give the album a listen and purchase it on the artist’s Bandcamp page.

 

By • I Listen To All Of This, Jazz Recommendations - 2018 • 0 • Tags: , , , , ,

Sep 14 2017

Now seems like an ideal time to talk about Jean Lapouge

 

Jean Lapouge has a new album out, and he’s also dusting off some of his older recordings, too.  This seems like a good time to give a rundown of one of my very favorite guitarists, a musician who spins sonic beauty quite unlike anyone else.

It’s a curious beauty.  It’s not your typical pretty sounds, even though there are plenty moments that seem to embrace those qualities.  This Sarrazac-based guitarist endows his music with an affectation of populism and idealist postures, as if it were a cryptic equation capable of obliterating the veil between the waking and dream worlds.  His is music for the masses one individual at a time, and each in their own way.  It is not unlike how a blizzard affects the crowd, but each person views it only through their very own unique set of snowflakes.  That’s the music of Jean Lapouge.

Let’s begin…

 

Jean Lapouge – Temporare

Jean Lapouge – “Temporare”

Some music just sounds pretty when all evidence indicates that it shouldn’t.  Jean Lapouge’s 2011 release Temporare makes for an excellent Exhibit A.  As dreams can be both serene and terrifying, Temporare shows no inclination to draw a dividing line between the varied emotions this album evokes.  There is tension throughout the recording, even when tranquility rules the moment.  And there’s plenty of edge, to boot.  “My Song Goes Wrong” is just one example of many where a piece with a lullaby demeanor, at times, jabs and flails and speaks of anything but peaceful night’s sleep.  Lapouge’s guitar melts into a melody with Christiane Bopp‘s trombone while threading the rhythmic needle of Christian Pabœuf‘s vibraphone patterns.  It is haunting music, and yet terrifyingly beautiful.  It was also one of the very best things to come out in 2011, and it still is.

Your album personnel:  Jean Lapouge (guitar, guitar synthesizer), Christiane Bopp (trombone), and Christian Pabœuf (vibraphone, oboe).

Released on Musea Records.  Available at:  Bandcamp | Amazon | eMusic

 

Jean Lapouge – Des Enfants

What a cold person you must be not to fall in love with the lullaby melodies of Des Enfants. As opposed to the uneasy serenity of Temporare, this 2012 release employs a far softer touch.  And this applies to those tracks that let out a roar like “Les Américains” and those that stomp their boots like “Two Days Before,” just as it does the sing-song title track.  But the heart of this album is reflected in how “Les Soldats” lets linger the suggestion that the intensity could suddenly spike, but harnesses that energy, instead, to make a softly spoken melody resonate with incredible strength.

I could listen to this album forever, and I’ve spent the last handful of years proving it.  It received the #24 slot on this site Best of 2012.  Here’s a link to some reasons why.

Your album personnel:  Jean Lapouge (guitar, guitar synthesizer), Christiane Bopp (trombone), and Christian Pabœuf (vibraphone, oboe, bass flute).

Released on Musea Records.  Available at:  Bandcamp | Amazon | eMusic

 

Jean Lapouge Trio – Plein Air

Lapouge’s 2014 release Plein Air is about as close to a standard guitar album as he’s likely to get.  That said, his trio with drummer David Muris also has the cello of Grégoire Catelin, so perhaps even using the word standard is out of line.  But being that as it may, the amiable chatter of “Par la côte” and the get-up-and-go of “En Campagne” stray far from the contemplative ambiance and thickly-layered melodicism of previous collaborations.  That said, the addition of cello opens up all kinds of melodic possibilities, and the trio takes advantage of each and every one.  Tracks like “Acteur fétiche,” “Mario” and “Un hymne” open with languorous passages that eventually shift into weightier passages as they achieve a captivating volatility, and these are where to find the heart of this lovely recording.

I wrote more about the recording when it first came out.

Your album personnel:  Jean Lapouge (guitar), Grégoire Catelin (cello) and David Muris (drums).

Released on Musea/Great Winds Records.  Available at:  Bandcamp | Amazon

 

Noëtra – Neuf Songes

The word is that the music of Neuf Songes was destined for release on ECM Records, but it just never quite happened.  A shame, really, because not only would this older material from Lapouge’s Noëtra ensemble have fit in perfectly with ECM’s output back in the 80s, it might’ve had an impact on the label’s existing stable of musicians.  It has the dramatic orchestration and the introspective interludes, the prog-jazz hopscotch precision and the jazz-folk fusion that embodied a segment of the modern jazz scene of the 1980s… but Noëtra brings all of those elements together in remarkably vibrant ways.  It just resonates brilliantly.  And how nicely it would have sat beside ECM Records works by Eberhard Weber, Steve Tibbetts and Miroslav Vitous.

Thankfully, Lapouge has loaded this album up on his Bandcamp page and made it accessible to present-day listeners.  I gotta say, it holds up remarkably well.  This music’s ability to enchant hasn’t waned even a little bit.

Your album personnel:  Jean Lapouge (guitar), Christiane Bopp (trombone), Christian Pabœuf (oboe, flutes), Denis Lefranc (bass, tuba, voice), Daniel Renault (drums, percussion, violin), Pierre Aubert (violin), Pascal Leberre (clarinet, tenor & soprano saxes), Francis Michaud (flute, tenor & soprano saxes), Denis Viollet (cello), Claude Lapouge (trombone), Jacques Nobili (trombone) and Laurent Tardif (alto flute).

Released on Musea/Great Winds Records.  Available at:  Bandcamp | Amazon

And now, finally, let’s talk about the new release from Jean Lapouge…

Jean Lapouge Trio – Hongrois

Lapouge’s newest recording has him sticking with the same trio that led to the success of Plein Air.  It also reveals a clearer image for how Lapouge wants things to shake out.  This music sounds crisper and rings with clarity.  Revealingly, there isn’t the ebb and flow of melodic control between guitar and cello.  On Plein Air, there were the “guitar songs” and the “cello songs.”  That back and forth led to some intriguing moments.  But the synthesis between the two instruments on Hongrois utilizes those same tools of intrigue, and focuses them through a much sharper lens, leading to some necessary cohesion.

Opening track “Naples” gets right to the heart of the matter with two sections of guitar-cello unity book-ending a more conventional trading of ideas between all three musicians.  It doesn’t pick and choose which instrument will be in ascension; it simply allows shifts of focus to occur while keeping the entire picture in the spotlight.  But more to the point is the title-track “Hongrois” and how all three instruments come together in a way that makes it so the spotlight and the focus need not adjust or choose at all.  And “Illusion du Fond” is illustrative of how comfortable the trio has grown with this approach in the way a song-like structure is the foundation for both jazz and blues and chamber streaks to seamlessly wash over one another, time and again.

Your album personnel:  Jean Lapouge (guitar), Grégoire Catelin (cello) and David Muris (drums).

Released on Musea/Great Winds Records.  Available at:  Bandcamp | Amazon

And remember, you can explore all of this music and more on Jean Lapouge’s Bandcamp page.

 

By • Artist Overviews, I Listen To All Of This, Jazz Recommendations - 2017 releases • 0

Apr 18 2017

Now seems like a good time to talk about saxophonist Matt Otto

 

Saxophonist Matt Otto has a couple of new albums out, so this seems like a good time as any to feature the music of an artist that first hit my radar nearly five years ago.

Let’s begin…

 

Matt Otto with Ensemble Ibérica – Ibérica

Otto’s collaboration with the Ensemble Ibérica is a series of languid expressions, each possessing the potent combination of a stunning beauty and a disarming gentleness.  The delicate accents of Spanish and chamber add some compelling textures, and the inclusion of instruments like oud, steel guitar, cavaquinho, cello and Cuban tres brings a liveliness to the conversation that serves to emphasize the serenity, not threaten it.  And while Matt Otto’s tenor sax has a bold voice clear as day, his slight modulations between a sunny smile and a moody calm incites the prevailing serenity to resonate with a spellbinding intensity.  Ibérica is easily one of the most gorgeous things to be released in 2017, thus far.

Your album personnel:  Matt Otto (tenor sax) and Ensemble Ibérica: Beau Bledsoe (guitar, oud), Jordan Shipley (guitar, cavaquinho), Michael McClintock (electric guitar, Cuban tres, acoustic bass guitar), Brad Cox (Rhodes), Karl McComas-Reichl (bass, cello) and Mike Stover (steel guitar).

Released on Origin Records.

Available at:  Amazon | eMusic

 

Matt Otto & Andy Ehling – Reunion

Of particular interest on this straight-ahead session from Otto and Andy Ehling are the two compositions that are shared with Otto’s collaboration with Ensemble Ibérica.  On Reunion, “Elm” is a jaunty tune with a cheery disposition, and hearing how it’s transformed into a state of complete and utter tranquility on Ibérica is alone worth the price of the download.  The same could be said of “Du Bois,” and how its Middle-Eastern influence and hypnotic oud solo undergo a metamorphosis into fiercely burning embers on Reunion.  And then there’s a track like “Twain,” which is unique to this 2015 recording date, but which has the languid expressionism that marks the success of the Ibérica recording.  But, truly, the heart of this recording is a track like “Adler,” with its brisk pace and casual delivery that transmits the impression that these are simply good friends getting together to play and someone just so happened to have a recording device lying around.  Friendly music willing to reveal some depth behind the wide smile.

Your album personnel:  Matt Otto (tenor sax), Andy Ehling (alto sax), Leonard Thompson (Rhodes), Brad Williams (drums) and Ben Leifer (bass).

Released on Jazz Collective Records.

Listen to more of the album on the artist’s Bandcamp page.

Available at:  Bandcamp | Amazon

 

Matt Otto – Broken Waltz

Otto’s 2012 release Broken Waltz was my introduction to his music.  What immediately grabbed me was the interplay between Otto and the bass clarinet of Brian Walsh.  Otto clearly loves the conversations that occur with other reed instruments, and seems to delight in creating intertwined melodic lines and watching the array of patterns emerge.  A similar effect occurred on his Reunion collaboration with fellow saxophonist Andy Ehling, but hearing the light & dark contrast between tenor sax and bass clarinet is a seriously arresting element to Broken Waltz, and while it certainly isn’t the only compelling feature of this excellent recording, it possesses a gravitas that earns the attention it draws in.

On Rhodes, Leonard Thompson does some nifty shading around the edges of the solos, and gives them a presence of greater expanse and nuance, both.  Vocalist Sara Gazarek sits in on a few tracks, and strikes a nice balance between complementing the album’s inclination toward introversion and counterbalancing it with a tone that’s more outgoing.  There are moments, like on “Origin,” where the bass and drum combo of David Carpenter and Jason Harnell develop a chatter that borders on hypnotic.

It’s a strong album that deserves another round of attention.  Note to long-time readers:  Broken Waltz was a Jazz Pick back when I was writing for eMusic, so check your library first before hitting the download button to be sure you haven’t already scooped this album up.

Your album personnel:  Matt Otto (tenor & soprano saxophones), Leonard Thompson (Rhodes), David J Carpenter (bass), Jason Harnell (drums), Brian Walsh (bass clarinet) and Sara Gazarek (vocals).

Released on Jazz Collective Records.

Listen to more of the album on the artist’s Bandcamp page.

Available at:  Amazon | CDBaby | eMusic | Bandcamp

 

Innocent When You Dream – Celebrating the Music of Tom Waits

This 2010 collaboration with trumpeter Aaron Shragge has them embracing the Tom Waits songbook and giving it all of the melancholy tones, wry sense of humor and sudden bursts of cheery optimism that marks the source music.  The contributions of Greg Leisz on pedal steel go a long way to cinching the album’s success, but it clear right from the start that each musician is plugged in to what Waits is all about.

Your album personnel:  Matt Otto (tenor sax), Aaron Shragge (trumpet, shakuhachi), Brandon Bernstein (guitar), Jason Harnell (drums), Ryan McGillicuddy (bass) and Greg Leisz (pedal steel).

Released on Jazz Collective Records.

Available at:  Amazon | eMusic

And there’s plenty more to discover.  Give a listen to other Otto recordings on his Bandcamp page.

You can also give a listen on his Soundcloud page.

And then there’s also his main site.

By • Artist Overviews, I Listen To All Of This, Jazz Recommendations, Jazz Recommendations - 2017 releases • 0

Jan 8 2017

This is the Tzadik Label: Alhambra Ensemble

 

While it can be problematic to classify the music on John Zorn‘s Tzadik label, there do tend to be some general themes in which to bundle recordings up for presentation in a column such as this.  The titles loosely referred to as the Alhambra Ensemble sessions would be one example.

What began as a trio session with a specific framework and tone changed significantly over the arc of three recordings.  Yet, while each of the albums has its own personality, they possess core attributes that tie them all up as belonging to the same family of music.

What do I most love about these recordings?  Beautiful melodies that mainline straight to the heart, rhythms that make a cerebral connection, and a traceable evolution of sound as the personnel and thematic material expands.  And tranquility.  I love the tranquility that reigns supreme over this music, even when it flashes some edge and burns fiercely from within… there’s always a transcendent serenity that keeps bringing me back to these gorgeous, friendly recordings.

I have a whole bunch of Tzadik recordings on my shelf and digital library, and it’s been my intention for years to begin publishing some rundowns of what I enjoy and why.  This is the first of those columns.

Let’s begin.

 

John Zorn – Alhambra Love Songs

The 2009 release Alhambra Love Songs is one of my very favorite Tzadik releases.  It’s also proof of how diverse the label’s range of expression has grown.  This set from the trio of pianist Rob Burger, bassist Greg Cohen and drummer Ben Perowsky performs John Zorn compositions paying tribute to the Bay Area and the artists who call it home.  But while the tribute subjects range greatly from Vince Guaraldi to Mike Patton to Clint Eastwood, the album’s prevailing sound keeps to one where melodies generate a ton of warmth and tempos keep to a chipper, easy-going nature.

The album’s winning quality is the comforting flow that carries along from piece to piece, unhurriedly, and in which every facet of every melody is allowed to shine.  A track like “Novato” slips in a bit of old-school funk, while “Larkspur” adds some edge and both “Pacifica” and “Tiburon” possess a determined, serious tone, and all of it flows seamlessly into the album’s genial confluence, and none of it detracts from those gorgeous melodies, as vibrant as sunlight on a forest stream.

Your album personnel:  Rob Burger (piano), Greg Cohen (bass) and Ben Perowsky (drums).

Read more on the Tzadik site.  Available at:  Amazon | eMusic

 

John Zorn – In Search of the Miraculous

The scope and breadth of the Alhambra Trio grew for the 2010 release In Search of the Miraculous.  Gone were the associations with a specific place on planet Earth.  Zorn wrote compositions that would serve as odes for the new millennium.  And where Alhambra Love Songs had an almost quaint personality to express its gorgeous melodies, the reformatted Alhambra Quintet lets loose with dramatic flourishes and surges of intensity, and trades in a streak of nostalgia for a more abstract sense of mysticism.

Vibraphonist Kenny Wollesen and electric guitarist Shanir Ezra Blumenkranz join the original Alhambra trio.  Between the addition of personnel and compositions more open to thematic interpretation, it’s as if the entirety of the horizon line shot out exponentially in both directions.  But even with the amped up activity, there’s still an immensely contemplative atmosphere to this music.  Opening track “Prelude: From a Great Temple” gets right to dictating that tone with melodic lines that curl and twist and cycle in odd patterns, triggering daydream imagery that’s more suited for enchantment than interaction.

The thing is, with all of the changes, it’s still not that far removed from the original trio session.  A track like “Affirmation” shows how those melodies with the sunny disposition still find a home on the current recording.  And while the flow from track to track isn’t as prominent on the newest, it’s still alive & kicking in the duration of each individual piece.  The rhythmic approach lives to bring those melodies to full bloom, and yet the melodic development sounds to have the best interests of the rhythm at heart, and it’s why each quality goes hand-in-hand regardless of where the spotlight is aimed.

Your album personnel:  Rob Burger (piano, organ), Greg Cohen (acoustic bass) and Ben Perowsky (drums), Shanir Ezra Blumenkranz (electric bass) and Kenny Wollesen (vibraphone).

Read more on the Tzadik site.  Available at:  Amazon | eMusic

 

John Zorn – The Goddess: Music for the Ancient of Days

The third of the (to date) three Alhambra Ensemble recordings expanded the line-up while continuing the evolution of the theme.  The 2010 release The Goddess: Music for the Ancient of Days is a set of odes paying tribute to women of mythological significance.  Guitarist Marc Ribot and harpist Carol Emanuel sit in on this session, and both accentuate the melodies in ways not done previously, with the former bringing out their combustibility and the latter their potential for growth if allowed to go wandering.

The mystical sound that cropped up on In Search of the Miraculous is ratcheted up several notches on The Goddess, as are the tempos.  What’s remarkable is how the greater intensity of this recording doesn’t shatter the prevailing serenity… it’s just a case of experiencing it at higher speeds.  The melodies are still as crisp as ever, but they come from multiple directions on this session, and the patterns take on a cyclical shape and seem to wind about one another endlessly, obliterating the point where one begins and the other ends.  And all of it is beautiful.

Your album personnel:  Rob Burger (piano), Ben Perowsky (drums), Trevor Dunn (bass), Carol Emanuel (harp), Mark Ribot (guitar) and Kenny Wollesen (vibraphone).

Read more on the Tzadik site.  Available at:  Amazon | eMusic

*****

By • Artist Overviews, I Listen To All Of This • 0

Dec 8 2016

Allison Miller pretty much owned 2016 in new jazz

 

Lean – Lean

On Lean, the trio of Allison Miller, saxophonist Jerome Sabbagh and bassist Simon Jermyn move through influences like a chameleon across an ever-changing landscape.  The alluring drone of “Spotswood Drive” leads into the jaunty groove of “Electric Sun,” which, in turn, becomes the late night ballad “Lean.”  The furtive motions of “Olney” and “Bunker” are alike in their presence but on opposite ends as far as delivery, as are “Otis” and “Comptine,” but in terms of intensity.  And then there’s final track “Fast Fish,” a resting place of a straight-ahead post-bop.  And in each instance, with each different form of expression and influence, it sounds like trio is right at home in its environment, as if that were their sound all the time and the previous and subsequent album tracks hadn’t or won’t reflect any changes of any kind… just blending in, one tune at a time.

A supremely enjoyable recording.

Your album personnel:  Allison Miller (drums, “bike” and pedals), Jerome Sabbagh (tenor & soprano saxophones) and Simon Jermyn (electric bass and pedals).

The album is Self-Produced.

Listen to more of the album at the artist’s Bandcamp page.

Available at:  Bandcamp

 

Honey Ear Trio – Swivel

Every bit of this album leads to the impression that they’re having the most ever fun on Swivel.  Miller’s Honey Ear Trio of herself, saxophonist Jeff Lederer and bassist Rene Hart (plus cornetist Kirk Knuffke sitting in for a handful of tracks) keeps stepping up with the wildest expressions, and it’s the kind of thing that elicits both wonderment and smiles.  Whether it’s a seriously different take on Monk’s “Evidence” or an original like “Changeling,” the trio just blasts away before suddenly hitting the brakes for some rhythmic playfulness.  Some tracks open up seams of electronic effects, and how they pair with boisterous organic instruments makes for some intriguing compare and contrast.  Even on a track like “Lullaby,” when it seems like the trio is throwing a curveball with a peaceful, ambient tone, they still punctuate the silence with pointed saxophone bursts and rhythmic eddies… a sort of sunlight-on-the-water’s-surface effect, except that the light can burn and the water could pull you under if not careful.  And then there’s the rubber ducky squeak on “Squeaky Toy,” which is immediately eclipsed by a motorcycle roar, with the trio running on a full tank of gasoline for the entirety of the track.  But even at the other end of the spectrum, “Speak Eddie” has them taking a straight-ahead route and tempering their enthusiasm without lessening the excitement.

There’s nothing about this album that isn’t to like.

Your album personnel:  Allison Miller (drums, percussion), Jeff Lederer (saxophones), Rene Hart (acoustic bass, electronics) and guest:  Kirk Knuffke (cornet).

Released on Little (i) Music.

Listen to more of the album at the artist’s Bandcamp page.

Available at:  Bandcamp | Amazon

 

Allison Miller’s Boom Tic Boom – Otis Was A Polar Bear

What a seriously rich sound Miller and company conjure up on Otis Was a Polar Bear.  Her Boom Tic Boom sextet could masquerade as an ensemble twice that size, and probably still eclipse the larger group with its presence.  Some of this has to do with the pairings that create ideal situations where the sound of consequence is greater than the sum of the individual parts.  It’s why the contra-alto clarinet of Ben Goldberg, the violin of Jenny Scheinman and the piano of Myra Melford are able to jack up the intensity on “Shimmer” while maintaining the harmonic strength at something to fall softly into.  And it’s why Goldberg and cornetist Kirk Knuffke can surf the torrents of Melford’s piano and still muster up a wry blues on “Hoarding the Pod.”  But the success of this album also has a lot to do with the compositions and where the musicians take them.  How else to explain the subtle shift from cheery tunefulness to a thick introspection on “The Listener” or how the raindrops of melody on “Lullaby for Cookie” resonate as massively as any thunderstorm.  And then there’s the shadowboxing that goes on between bassist Todd Sickafoose and Miller, both in the foreground and behind the scene, and insinuating their will upon the tune in both instances.

This is one of the very best things to come out in all of 2016.

Your album personnel:  Allison Miller (drums, percussion), Ben Goldberg (clarinet, contra-alto clarinet), Kirk Knuffke (cornet), Jenny Scheinman (violin), and Todd Sickafoose (upright bass) and Myra Melford (piano).

Released on the Royal Potato Family label.

Available at:  Amazon | eMusic

By • I Listen To All Of This, Jazz Recommendations - 2016 releases • 0

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