Jazz Archives

:::Review from dripaudio.com:::

Inhabitants - The Furniture Moves Underneath (2007)

1. Kurt's Dirt 8:00
2. Sad Friend 4:56
3. Remember 7:25
4. The Rancher 5:49
5. Phototropism 6:18
6. A Part Of You 5:18
7. Drop Descender 9:03

Credits
Bass - Pete Schmitt
Drums - Skye Brooks
Guitar - Dave Sikula
Trumpet - JP Carter

Something was brewing in the lower east side of New York City in the spring of `66. Released on New Year`s Day 1967 this relic is probably the coolest, hippest and farthest out and overlooked recording of the `60s bar none. These cats ventured where no one dared tread in 1966, blowing every band away in their path with their galvanizing psychedelic performances that contained an uncanny concoction of blues, rock,folk, East Indian and be-bop. Considered by afficiados to be the first jazz-rock recording ever The Free Spirits`Out Of Sight An Out Of Sound was exactly as the title implied, radical stuff, as guitarist Larry Coryell would recall years later.
The band consisted of players who were mostly weaned on more traditional jazz stylings started out playing just that before being swayed by mastermind Coryell more in the direction of rock with his affections for the music of Bob Dylan and The Beatles. Reluctant at first, the other members which included Jim Pepper on woodwinds, Chris Hills on bass, Bob Moses on drums and second guitarist Columbus Baker, the only member with no jazz backround, eventually took his cues and consolidated their individual virtuosic musical abilities to create hybrid music that wasn`t heard until several years later by such groups as Tony Williams`Lifetime, Weather Report or during Miles Davis`Bitches Brew Sessions. Even so, at the time these young aspiring musicians could not be considered musical visionaries in the least, they were just five cats who hooked up and were just doing their thing much in the same way as many bands were doing back in the free thinking latter half of the sixties.
After a scant two month`s tenure at one of New York City`s east end`s grooviest clubs, The Scene, they were invited to cut a record for ABC records with veteran engineer Bob Theile who had previously worked with the likes of jazzmen John Coltrane and Charles Mingus. Unfortunately, Theile didn`t hold rock musicians in the same regard and the recording didn`t come off as most of the band expected and was hurriedly completed with none of the original compositions exceeding much more than 3 minutes which didn`t allow for much freaking out instrumentally. The album didn`t compare to the intensity of their live performances which , according to many who witnessed them, were full of improvisation and flair. Notwithstanding the shortsightedness of corporate types the album featured competent musicians who could hold their own in any jazz ensemble of the day while at the same time playing music which was socially and culturally in tune with the hippie generation, singing about peace and love which could be compared to The Byrds, The Mamas & The Papas and The Beatles complete with stoned out vocals and twangy guitar by Coryell who even played sitar on a couple of tracks. What really made the music jive was the inclusion of Peppers avant crazed tenor sax and flute cries on tracks like the acid soaked Don`t Look Now, the hippie anthem I`m Gonna Be Free and Storm which was certainly one of the first pop songs to feature the flute. Bob Moses` pertinacious be-bop tendencies on the drum kit, which are in evidece throughout, also gave their sound a certain smoothness which gave the record even more groovy hip feel.
Don`t expect any of the improvisational guitar wizardry of Larry Coryell here ( he hardly solos ), but it`s interesting to hear this early marriage of different musical sensibilities from a group of cutting edge musicians which just grooves and moves. One of the few examples of psychedelic jazz from the sixties. Imagine John Coltrane and Wes Montgomery meets The Beatles and Hendrix. Those who think Miles invented fusion should definitely give this gem a spin. A veritable unsung artifact of rock 'n roll history.

:::Review by Vibrationbaby:::

The Free Spirits - Out Of Sight And Sound (1967) (2006)

1. Don`t Look Now ( But Your Head Is Turned Around ) 2:19
2. I`m Gonna Be Free 3:30
3. Lbod 3:05
4. Sunday Telephone 2:57
5. Blue Water Mother 2:46
6. Girl Of The Mountain 2:42
7. Cosmic Daddy Dancer 2:36
8. Bad News Cat 3:26
9. Storm 2:15
10. Early Mornin`Fear 2:39
11. Angels Can`t Be True 2:43
12. Tattoo Man 2:59
13. I Feel A Song 2:36

Credits
- Larry Coryell / guitar, sitar, vocals
- Jim Pepper / saxophone, flute
- Columbus Baker / bass
- Bob Moses / drums

:::Review by Michael G. Nastos :::

Mikrokolektyw - Revisit (2010)

1. Revisit 5:34
2. Rocket Street 2:52
3. Running Without Effort 5:45
4. Tiring Holiday 5:40
5. Almost a Good Mood 2:06
6. Attention! 2:13
7. Lupiko 5:08
8. Casio 4:56
9. Tar Man 4:14
10. Watermelon From the 80s 2:16
11. Gift 1:35

Credits
Jakub Suchar: drums
Artur Majewski: trumpet

Elvis Schoenberg's Orchestre Surreal is a "twenty-five-piece group of daring top Los Angeles studio musicians, that fuse classical, jazz, rock hip hop, world music and just about anything else," founded in 1997. "Elvis Schoenberg" is the persona of Los Angeles-based composer Ross Wright, who has been described as "either a musical madman or an eclectic genius." The group has marched in the Pasadena Doo-Dah Parade. In a 2003 review of a performance at the Ford Amphitheater, the Los Angeles Times wrote that:

Not merely content to perform shotgun marriages between the likes of Wagner and Nancy Sinatra, Mussorgsky and Santana, etc., [Ross Wright] (er, [Elvis Schoenberg]) took on a more ambitious task Friday night at the Ford Amphitheatre -- a "book musical" of a sort called "Symphony of the Absurd!" It was, as Ed Sullivan would have said, "a really big shew" in which Wright incorporated many of his set pieces and some newer numbers into a hellzapoppin' revue, with an eclectic assortment of dancers, sexy girls, pulp novel narrations, lighting effects, dry ice.

Ross Wright AKA Elvis Schoenberg received a Masters of Music degree from California State University Los Angeles in addition to a variety of other degrees and certifications.

The Orchestre Surréal was created by Elvis Schoenberg AKA Ross Wright who Derived the name from Classical Music Icon Arnold Schoenberg and Pop Icon Elvis Aaron Presley. The name summarizes the spirit and content of the group much of the groups material are modern classical arrangements of Classic Rock Songs.
As if Arnold Schoenberg were hired to write arrangements for Elvis Presley.
The Group’s size and configuration was designed to (as efficiently as possible) be able to perform classical orchestral music, Big Band Jazz music and Rock and Roll all simultaneously. So for this task the ensemble consists of three woodwinds players who all double: ww1. Piccolo, Flute, Soprano and Alto Saxophone, ww2. Flue and Tenor Sax, ww3 Clarinet, Bass clarinet, Baritone Saxophone, Two French Horns, Two Trumpets, Trombone, Tuba, Electric Guitar player who also plays sitar, Pipa, and almost anything with strings and frets. Keyboards, Electric Bass, 2 Percussionists playing mallets, timpani and a wide assortment of hand percussion. Violin 1, violin 2, viola, Cello, and Contra Bass, The size of the string section varies from 6 to 1 on a part.
Elvis Schoenberg, writes all the music for the group and is the group’s conductor. Fronting the group are a variety of singers and performance artists.
Angela Carole Brown AKA The Fabulous Miss Thing, Dan O’Callaghan AKA Dangerous Dan, April Fissell AKA Diva Lynn, Susan Asbjornson AKA High-D, Jason Paige, Becky Baeling. The musicians are working studio musicians who perform regularly on Hollywood soundtracks of major feature films.
Schoenberg and company have made a name for themselves locally in Los Angeles over the last several seasons both as superb musicians and as performance artists who bring a robust theatricality and strong visual elements to the stage, while their music fuses traditional classical music with rock classics. Jim Morrison meets Stravinsky. Prokofiev mixes it up with John Fogerty. The Allman Brothers merge with Rossini. Mick Jagger encounters Ravel and Copeland. No genre is off-limits to Schoenberg and crew, equally adept at playing classical music, rock, jazz, hip-hop, samba, TV theme music and hard-driving rock-and-roll.
The Orchestre Surréal’s mission is to “boldly go where no orchestra has gone before.” The purpose is to blend musical styles and thereby blend cultures together equally. Demonstrating that if all musical styles can co-exist harmoniously then so can all people.
1998 and was immediately recognized by Music Connection Magazine as one of LA top unsigned bands two years in a row. The group earned: Best Rock Opera Of The Year, Best Orchestral Arranger, and Outstanding Performance Award by the Los Angeles Music Awards in 2003 and 2004. The group has written and produced three fully staged musicals. The first: “Dismembering the Classics” a Shakespearian twist that connected Classic rock tunes together in a The Next one was “Symphony Of the Absurd” Which ran one night at the John Anson Ford Theater “ Concerto For the Committed” Jon Pepper Music Connection Magazine Elvis Schoenbergs Orchestre Surréal plays an odd, yet entertaining musical blend of rock, classical, big band jazz, lounge, and just about every other type of music. Most of the lyrics are from rock songs like Purple Haze and Ramblin man, but the arrangements by Schoenberg are what set this band apart. Philosophical and humorous, this is music that while remaining entertaining, does not take itself too seriously.

:::Review by wikipedia:::

Elvis Schoenberg's Orchestre Surreal - It´s Alive! (2004)

1- these boots are made for walking (hazelwood / strauss)
2- interlude
3- live and let die (paul & linda mccartney / carl orff)
4- interlude
5- evil ways (clarence henry / modest mussorgsky)
6- interlude
7- nessun dorma (giacomo puccini)
8- interlude
9- blue suede shoes (carl perkins)
10- interlude
11- takin' care of business (randy bachman / georges bizet)
12- interlude
13- little wing (jimi hendrix)
14- interlude
15- jive talking (barry gibb, robin gibb, maurice gibb)
16- interlude
17- the stompin' five (ludwig von beethoven)

Credits
ross wright as "elvis schoenberg": conductor, arranger, vocals
angela carole brown as "the fabulous miss thing": vocals
daniel o'callaghan as "dangerous dan": vocals
chantelle louise krenn: soprano vocalist
tom vos: violin
ted falcon: cioling
elizabeth chorley: violin
rosio arron: violin
patrick morgan: violin
caroline buckman: viola
alma lisa fernandez: viola
sara rilling: viola
john krovoza: cello
david takahashi: cello
jean marinelli: french horn
danielle ondarza: french horn
ron king: trumpet
tim wendt: trumpet
larry williams: trumpet
john grab: trombone
brent fischer: electric bass
mike faue: percussion
chris wabich: drums and percussion
ken rosser: electric guitar, acoustic guitar, pipa
terry landrey: flute and tenor saxophone
robert kyle: flute and tenor saxophone
david arana: piano and keyboards
jennifer hall: piccolo, flute, alto and bartitone saxophone
mike nelson: clarinet, bass clarinet, alto and baritone saxophone

Well, I've been banging on about these chaps for months now and I've finally gotten round to adding them so I suppose a review is in order.
This album (to date the only one I've heard by the group) is just irresistable. Often complex, endlessly quirky and inventive yet accessible enough to play to just about anyone on one condition: That they possess a sense of humor. For, ladies and gents, I can think of few artists other than the great Zappa himself who are quite as relentlessly silly, whimsical and playful in their approach to music than Eskimo.
Right from the off you know you're in for a pretty crazy time of it as the first song "Bones of the Saints" leaps from style to style at least five times in just over two minutes. From its quirky avant-prog opening strains through metal to tribal beats and nonsensical a capella lyrics, it's a positively bewildering opener. And it doesn't get much more predictable through the rest of the album, either.
Really, there's little point me attempting to describe the myriad of sounds and styles showcased on this album, save to say that Eskimo still manage to build up an impressively distinct character by instrumentation alone - the dominant trombone and marimba call to mind the Magic Band (particularly around about the Shiny Beast era) and basically nobody else. As I mentioned in my the biography page, most of the stylistic changes are borderline-pastiche rather than a serious attempt to fuse countless genres. However, the album is none the worse for this playful attitude towards composition.
It's hard to pick favorite songs as most of their tracks are quite short and they simply allow the album to ebb and flow from one idea to the next. It's both a fragmented and deeply unified piece of work. However, if I'm forced to, I'd say the borderline jazz-hop/patriotic pomp of "Bughead", the out-and-out avant-funk of "Dado Peru" and the silly, mystical and at times even unsettling "Kill the Great Raven" are all stand-out tracks.
In conclusion, if you're anything like me then the terms I've used to describe Eskimo (such as quirky, complex, bewildering, playful) will have already got you salivating at the mere thought of this album. If those words do nothing for you, stay well clear. You'd simply be wasting everybody's time.

:::Review by The Hemulen:::

Eskimo - The Further Adventures of der Shrimpkin (1995)

1. Bones Of The Saints (2:04)
2. Bughead (3:18)
3. Count Rock(u-ass)ula (1:07)
4. The You're So Slender (1:30)
5. Dado Peru (5:46)
6. O Those Eyes (1:24)
7. Pumpkins (1:11)
8. Babykins (1:04)
9. Kill The Great Raven (2:57)
10. Young Mr. Plum (1:48)
11. Schmeknicolor (1:22)
12. McDung Lung Tongue (1:08)
13. (The Assassination Of) Principal Poop (1:10)
14. Ribbit (5:42)
15. Bellyup (0:53)
16. Buttplug (1:13)
17. Blue Pepper (Far East Of The Blues) (2:53)
18. Lil' Surfari Girl (0:53)
19. Oops (1:28)
20. Wooden Shoes (0:30)
21. Colonel Plank (0:14)
22. The Ho Chi Minh Trail (0:16)
23. Mammy, Cold And Clammy (0:43)
24. Electric Acid Pancake House (plus bonus track) (15:00)

Credits
- Eric Bonerz / drums
- David Cooper / vocals, marimba, vibes
- Mark Landsman / bass
- John Shiurba / guitar, vocals
- Tom Yoder / trombone

Guest appearances
- Ralph Carney / reeds
- John Yi / reeds
- Angela Coon / vocals
- Damien Rasmussen / vocals
- Lars Fox / vocals
- Arline Klatte / vocals

Claudia Heuermann's "A Bookshelf on Top of the Sky: Twelve Stories About John Zorn" is not quite what it seems. Expectations ran high, a documentary about John Zorn, the man who rarely grants interviews and when he does, seems to say everything and not say anything at all, whose music jumps genre to genre in a matter of seconds, captivates some, horrifies others, and has a strange sway over its fan.
What Heuermann did though was quite a bit different-- she told the story about her trying to make the movie, about her relationship with Zorn, from the moment she first discovered him (a friend playing her Naked City's "Torture Garden") to her meeting him for the first time, travelling to New York and deciding to make a movie about Zorn. It's really a piece about self-discovery, about learning to be one's "own parent".
Along the way, we get snippets of interviews with Zorn, brilliant statements, footage of rehearsals, recording sessions, remastering of "The Big Gundown" and live performances from Naked City, Painkiller, Masada, Bar Kokhba, Emergency, and "Rituals". We also get a brief explanation of game pieces and a picture of a frustrated artist who can't stop looking, who views music as problem solving, and who does it not for listeners, but for himself and the musicians.
This is the second time I've watched this-- the first time was when it first came out, and I was still in the process of discovering Zorn's work through a chance encounter at an independent movie theater (Naked City was the house music before the show, and somehow I knew who it was). Three months and a dozen or so Zorn CDs later and this came out to guide my way, to help put the pieces together.
A year after that and my Zorn collection is bordering on obscene and the piece still holds weight. It still is entertaining, and yeah, its not a lot of revelatory stuff, but it's a worthwhile viewing. Truth to be told, in many ways, the piece gave validity to my own view on my choice of career and my great passions. And I keep thinking that maybe when my coworkers ask why I'm making the four hour trip to New York City yet again to see some obscure musician who they've never heard of (and who if they did hear, they'd probably dislike), maybe in those situations I should let them borrow this and certainly Heuermann's experience isn't really that much different from mine. Isn't that powerful enough to merit a recommendation to someone else?
If you're just learning about Zorn, get this, it's critical. If you're already initiated, you probably already have it. It's got its flaw, but invariably, it's a deeply personal expression, how could it not? Either way, it's a fun film to watch. Recommended.

:::Review from amazon.com:::

John Zorn - A Bookshelf on Top of the Sky: 12 Stories about John Zorn, DVD (2004)

Credits
- Cyro Baptista
- Joey Baron
- Stefan Blum
- Anna Carewe
- Jennifer Choi
- Greg Cohen
- Anthony Coleman
- Ariadne Daskalakis
- Uwe Dierksen
- Dave Douglas
- Mark Dresser
- Yamataka Eye
- Mark Feldman
- Erik Friedlander
- Bill Frisell
- Fred Frith
- Mihoko Fujimura
- Joyce Hammann
- Wayne Horvitz
- Susie Ibarra
- Matthias Kaul
- Otis Klöber
- Briggan Krauss
- Bill Laswell
- Hartmut Leistritz
- Dave Lombardo
- John Medeski
- Ikue Mori
- Nele B. Nelle
- Mike Patton
- Jim Pugliese
- Marc Ribot
- Roberto Rodriguez
- Josh Roseman
- Jamie Saft
- Astrid Schmeling
- Michael Schröder
- Stefan Schäfer
- David Shea
- Chris Speed
- Jim Staley
- Mason Wendell
- William Winant
- Kenny Wollesen
- John Zorn

Releases information
DVD Tzadik (TZ 3001), Mar 2004

Top jazz rock ensemble with one of Germany's leading guitarists (Toto Blanke) and great jazz musicians in the band (Charlie Mariano, Joachim Kühn and others). The only drawback: it lacks originality. This could be a John McLaughlin & Mahavishnu Orchestra record.

Amazingly excellent heavy fusion or instrumental hard rock. Charlie Mariano is underutilized.  Great grooving playing from Blanke, John Lee on bass, Joachim Kühn on keys and Gerry Brown on drums. Very heavy.

Elegant prog fusion laced with latin touches. Recommended.

:::Reviews from rateyourmusic:::

Toto Blanke - Spider's Dance (1975)

A1. Lady's Bicycle Seat Smeller 7:00
A2. Intermission 6:58
A3. Rocbaron 2:45
A4. Toto 6:22
B1. Spider's Dance 4:33
B2. Prelude 0:58
B3. Slight Touch Of Hepatitis 14:28

Credits
Bass - John Lee

Drums - Gerry Brown
Guitar - Toto Blanke
Piano - Joachim Kühn
Saxophone, Flute - Charly Mariano

For decades, Crimsonheads around the world, if you wanted to know what the second-era KC sounded like, you either had to buy the USA live album with its rather muddy sound or had to rely on diverse quality bootlegs. One may understand that bootleggers are ripping off the artistes, but in Crimson's case, the fact that the only live albums available were rather poor quality (listen to Earthbound to dig what I mean), and the many improvisations that the group was experimenting on stage were excuses enough for fans dishing out money for pirated tapes. In the mid-90's, some groups became well aware that those bootlegs were of extreme quality and there was not reason for them to bootleg the bootlegs and making money of those now-finally legal tapes. ELP, Tangerine Dream and Crimson are three of the groups in progressive rock that have adopted this strategy, and are we not so happy they just jumped the gun?
But now Crimsonheads are faced with a dilemma: Which of the three main releases to get? The four CD box-set being reviewed here, the single concert release of The Nightwatch or the finally re-released (and improved sound wise and great bonus tracks) USA Live? Clearly on of the main criteria of selection will be the sound, which would almost automatically dismiss the third potion if it was not for the fantastically superb and superlative improv Asbury Park still not available elsewhere. Another criteria will be the price for a single Cd (USA), a double set (Nightwatch) and this heavy box-set (probably a limited edition too and a hefty price) and in this case the first eliminated in the previous criteria is the clear winner.
The first Cd from this set is made up of one concert in Providence (stretching on to the second Cd) where the sound is as pristine as the Concertgebouw in Amsterdam, but the track list contains absolutely awesome and one of the two improv Cosmos is simply astounding (and maybe the closest sounding to Asbury Park from USA), only two tracks for the patchy SABB album, a superb rendition of Easy Money and icing on the cake a version of Starless with David Cross on violin: fabulous. The Providence improv is much more entertaining than on the studio album too.
The second 2 finishes the Providence concert, gives a piece of a Penn State Uni concert (with a superb improv to closer off the disc) but is mostly concentrating on a Glaswegian concert ending with a rare Cat Food and the Peace theme from the Poseidon album. Even with those minor surprise and many improvs, this second disc is not as brilliant as the first one, partly because the track selection is less successful, but the continuity is broken by three separate entities. Only one declared improv but another four are just as well improvised.
The third disc is a bit less disjointed, but another piece of the Penn State concert ends it. A whopping four improvs (most of them average quality - which means they develop into nothing special - but great to hear anyway) grace this disc and one strange Doctor Diamond, which is (as far as I know) a full composition never available anywhere else - and a worthy one too. The closing improv is one hell of a scorcher too!!!
The last disc is certainly not the least of the four is also split in two concerts, one at Toronto's Massey Hall (I am just sick thinking I was only 10 when this gig happened around my turf) and a Swiss show. The Canadian gig has a demented improv and a calmer based on Trio. The Swiss has some rather unusual improvs on the No Pussyfooting theme but also another two part improv and a definitive version of Talking Drum as a closer.
As far as repeats arte concerned, throughout the four Cds, the only track you will hear more than twice is Easy Money (3.5 times) and Night Watch (three times), which out of 47 tracks total is rather fair.
But life is never that simple, and soon or later, the Crimsonhead will want the other releases, which is another debate altogether, is it not?
In my case, I consider this box-set indispensable and even more than absolutely essential (it has a superb booklet and tons of improvs), and I still like the USA live album for historical reasons, so The Nightwatch might just be the odd one out. Any takers for my copy of it? ;-)

:::Review by Sean Trane:::

King Crimson - The Great Deceiver Live 1973 – 1974 (1992)

CD ONE

Palace Theatre, Providence, RI

June 30th 1974

1. Walk On ... No Pussyfooting (0:49)
2. Larks' Tongues in Aspic, Part Two (6:24)
3. Lament (4:39)
4. Exiles (8:57)
5. Improv: A Voyage to the Centre of the Cosmos (15:03)
6. Easy Money (7:13)
7. Improv: Providence (10:19)
8. Fracture (11:14)
9. Starless (12:04)

CD TWO

Providence ... continued (encore)

1. 21st Century Schizoid Man (8:27)
2. Walk Off From Providence ... No Pussyfooting (1:21)

Walk On to Glasgow ... Glasgow Apollo

October 23rd 1973

3. Sharks' Lungs in Lemsip (3:22)
4. Larks' Tongues in Aspic, Part One (7:50)
5. Book of Saturday (3:03)
6. Easy Money (6:41)
7. We'll Let You Know (4:55)
8. The Night Watch (5:17)
9. Improv: Tight Scrummy (8:58)
10. Peace - A Theme (1:01)
11. Cat Food (4:36)

Penn State University

June 29th 1974

12. Easy Money... (2:20)
13. ...It Is for You, But Not for Us (9:12)

CD THREE

Pittsburgh, PA - Stanley Warner Theatre

April 29th 1974

1. Walk On ... No Pussyfooting (0:59)
2. The Great Deceiver (4:27)
3. Improv: Bartley Butsford (3:12)
4. Exiles (7:19)
5. Improv: Daniel Dust (4:09)
6. The Night Watch (4:40)
7. Doctor Diamond (5:12)
8. Starless (12:26)
9. Improv: Wilton Carpet (5:53)
10. The Talking Drum (5:29)
11. Larks' Tongues in Aspic, Part Two (abbreviated) (4:08)

Penn State University

June 29th 1974

12. Applause & Announcement (2:12)
13. Improv: Is There Life Out There? (14:51)

CD FOUR

Toronto, Massey Hall

June 24th 1974

1. Improv: The Golden Walnut (11:47)
2. The Night Watch (4:27)
3. Fracture (11:53)
4. Improv: Clueless and Slightly Slack (8:12)

Zurich Volkshaus

November 15th 1973

5. Walk On ... No Pussyfooting (0:53)
6. Improv: Some Pussyfooting (2:27)
7. Larks' Tongues in Aspic, Part One (8:16)
8. Improv: The Law of Maximum Distress, Part One (6:32)
9. Improv: The Law of Maximum Distress, Part Two (2:33)
10. Easy Money (7:32)
11. Improv: Some More Pussyfooting (5:53)
12. The Talking Drum (6:04)

Credits
- David Cross / violin, mellotron, electric piano
- Robert Fripp / guitar, mellotron, electric piano
- John Wetton / bass guitar, vocals
- Bill Bruford / drums, percussion

Hi Jazzlovers!

I have decided to suspend my blog. 

Bringing up my child have become more fun and responsibility, obviously.

Literally, It does not give me much time for my 'free time' projects at the moment. 

Another thing is, that I have moved to another place leaving my CD collection in hometown.

Sadly, my music backup HD broke down.

Links will be active for month or so.

After that time I am going to cancel my blog.

Hope you enjoyed my music experience.

Keep it real!

Peace!

jazzlover