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CHRIS THOMAS KING
Huge Gray Sky
twenty first Century Blues Data – 21CB-2142
It’s exceptional that it’s been 37 years since Chris Thomas King (as Chris Thomas) at age 24 launched his first album on Arhoolie Data. Throughout that point he has proved himself to be one of the vital important artistic forces working within the blues idiom. There’s no questioning his blues bona fides, having grown up in his father, Rockin’ Tabby Thomas’ Tabby’s Blues Field and Heritage Corridor juke joint in Baton Rouge, Louisiana. As a younger musician, he backed up his dad and his coterie of space blues artists, together with Raful Neal, Henry Grey, and Silas Hogan on no matter instrument was wanted to fill out the band—guitar, bass, drums, keyboards. King, whose essential instrument is guitar, added his second final identify in honor of the greats of the blues guitar, B.B., Albert, and Freddie. He’s steeped within the custom however not fettered to it, viewing the blues as type that invitations risk. Over time, he has performed all types of blues and included parts of soul, funk, hip-hop, and nation music into his “twenty first century blues.” As well as, he’s challenged the orthodoxy of blues scholarship together with his guide The Blues: The Genuine Narrative of My Music and Tradition (2021), the primary guide written by an African American blues artist, positing that the origin of the music was within the Creole tradition of nineteenth century New Orleans.
On seven of the ten tracks on Huge Gray Sky, King, who produced and mastered the album, employs multi-tracking to carry out on all of the devices—because of the flexibility he developed throughout his juke joint years. Clearly, he’s a super-talented man. A few of his musical range is on show right here, however that is above all else an electrical blues guitar showcase, and King is taking no prisoners. The title monitor units the tone as his blistering lead evokes namesake Albert King. The shuffle Get Behind Me offers him a possibility to weave collectively a number of crackling guitar components after which flash his slide guitar chops. The Jimi Hendrix–impressed sluggish 12-bar blues One Extra Scotch builds in depth, that includes a volcanic lead from King. It’s seemingly that King is conscious if he’s going to cowl Billy Myles’ Have You Ever Liked a Girl, there’s going to be comparisons to the Derek and the Dominos model; that actually doesn’t deter him as he slows the tempo down and delivers a tour de power. On Imply Previous World, King sidesteps the long-lasting Little Walter Jacobs strategy and reaches again to jazz-inflected blues of T-Bone Walker’s model.
King explores the borderline between R&B and nation with a canopy of Chokin’ Sort, which is ideal automobile for that on condition that excellent variations of the tune have come from Waylon Jennings, Willie Nelson, Joe Simon, and Snooks Eaglin. He opens with some lovely acoustic guitar and poignant vocal after which builds the depth with organ and electrical guitar. Joined by Danny Infante on bass and Jeff Mills on drums, King shifts to piano for a rocking, gospel-tinged cowl of Ray Charles’ I Received a Girl. Mills and bassist Eric Welch lock in a groove behind King on blues rocker Like a Cowboy Rambling. The ballad Residence has some echoes of Hendrix’s Angel, and there’s a little bit of a rustic really feel to Sunshine. With Huge Gray Sky Chris Thomas King delivers placing new music that when once more affirms his place as one of the vital gifted artists working within the modern blues idiom.
—Robert H. Cataliotti
JOHNNY RAWLS
Strolling Coronary heart Assault
Catfood Data – CFR-033
Johnny Rawls has traveled the world delivering his personal model of soul blues throughout a profession spanning greater than 50 years, however Mississippi Goals, from his new album, Strolling Coronary heart Assault, illustrates completely that his roots within the southern state run as deep because the river that provides it its identify. Over a smooth-as-butter groove with lush horns, swelling organ, and candy backing vocals, the tune pays homage to the pure great thing about the state of his start as he sings, “Mississippi desires preserve me goin’ / of a gentle breeze / gently blowin.’”
Whereas the Hattiesburg native takes time to replicate on the place he’s been on Strolling Coronary heart Assault, he doesn’t stray removed from the tried-and-true classes of therapeutic, redemption, and love gone fallacious which have been on the core of a profession relationship again to the Nineteen Seventies.
Within the mid-’70s, Rawls started studying the soul blues sport on the foot of one of many masters as a guitarist and band director for O.V. Wright. After Wright’s loss of life in 1980, Rawls and firm continued touring because the O.V. Wright Band—evolving into the Ace of Spades—and opened exhibits for the likes of Bobby “Blue” Bland, Little Johnny Taylor, and B.B. King. Rawls moved on to hitch Taylor’s band earlier than launching his solo profession within the mid-’80s.
With longtime collaborator Catfood Data founder/bassist Bob Trenchard, Rawls applies his nonetheless potent pipes to a ten-song mixture of covers and originals. He’s joined by a stellar backing unit of Dan Ferguson (keys), Richy Puga (drums), Johnny McGhee (guitar), Andy Roman (sax), Nick Flood (baritone, tenor, and alto saxes), Mike Middleton (trumpet), and Frank Otero (trombone).
Written by Rawls and Trenchard, the title monitor holds a pulsing, streetwise groove as Rawls settles into his well-worn function as a savvy purveyor of nighttime pleasures, albeit one who’s discovered a factor or two concerning the hazards of mentioned pleasures. “She’ll draw you want a moth to a flame / lie awake at evening calling her identify / while you fall asleep you’ll toss and switch / you beg for extra / you’ll by no means be taught.”
Rawls turns up the funk on Inform Me the Fact, whereas the soothing descending chord development within the refrain offers the quilt of the O.V. Wright single Born All Over a ’70s really feel. A smoldering organ solo provides steam to the redemptive Heal Me. The intense and buoyant horn chart and pressing organ make One Extra Sin a shot of triumphant soul.
Rawls’ cowl of Attempting to Reside My Life With out You stays true to the model that scored successful in 1972 for soul singer supreme Otis Clay, one in every of his former collaborators. The smokey ballad Free, with its heavenly backing vocals, is a spotlight.
Percussionist Jon Olazabal is the key weapon on Lies, one in every of simply two tunes with Rawls on guitar.
As at all times, Rawls is a professional’s professional: a singer unabashedly snug in his personal pores and skin, with vocals which can be by no means compelled and proper on time.
—Rod Evans
RISING STARS FIFE AND DRUM BAND
Evolution of Fife and Drum Music
No label – No #
This album may simply as nicely have been titled The Evolution of Sharde Thomas, as a result of that’s what it paperwork—Thomas, the gifted granddaughter of the late fife participant Otha Turner, carrying his musical legacy into the current day, evolving and adapting to include a variety of modernist influences and inspirations, but remaining true to his spirit, which she has devoted her life to honoring and maintaining alive.
She invokes that spirit by bringing his voice again to life within the set’s Intro, primarily a recording made at his Gravel Springs, Mississippi, farm in 2016. We hear the drumming—wealthy with Africanist rhythmic influences overlaid by Anglo-European navy cadences, the cross-cultural meld that defines the basic Mississippi fife-and-drum type—setting the tempo for the following monitor, Fly With Me, which finds Sharde singing and enjoying her fife over a guitar-drums-bass backing, the devices interweaving in melodic and percussive patterns that craftily replace these exact same rhythms, recast in a totally modern mode and seasoned with parts of the Afrobeat melodic and percussive concepts that Thomas and her bandmates encountered throughout their African sojourn earlier this yr. She’s an expressive singer who has clearly listened to pop chanteuses like Tracy Chapman in addition to earlier blueswomen such because the late Jessie Mae Hemphill, who additionally performed in fife and drum bands (together with the one led by her grandfather, Sid Hemphill) and was an essential early affect.
From there we journey by means of a actually timeless panorama, segueing from deep-rooted acoustic fife-and-drum work by means of electrified R&B/hip-hop-charged improvisations and gildings on these venerable themes, generally enhanced by samples from earlier Rising Star performances, on materials starting from Otha Turner originals (You Know That Canine Gon Chunk) by means of blues classics (Sittin On Prime of the World, a collaboration with Philly-based blues rapper G. Love, and Hidy Ho, a stark re-imagining of the Cab Calloway customary), to contemporary contributions from Thomas herself and numerous collaborators and compatriots.
Don’t count on any kneeling on the altar of “authenticity”—a number of of those tracks characteristic little or no fife and just about no “actual” drums in any respect, as digital beats, looped samples, and different modern-day methods (even together with, at one level, Sharde’s personal voice auto-tuned) replicate and elaborate on the primal sounds and cadences of the all-acoustic fife-and-drum music that Thomas continues to venerate and carry out on most of her stay gigs. There’s little hazard that she’ll abandon these roots, however, as forward-looking artists have at all times finished, she is going to develop and domesticate them, decided to discover new territory and blaze new trails fairly than hew obsessively to the tried-and-true. As her liner notes inform us—reflecting the saucy self-confidence that has characterised Sharde Thomas since she first started showing with the unique Rising Star Fife and Drum Band when she was about seven years previous—“Her life has at all times been the bomb-diggity and she is going to always remember her roots in Mississippi.”
—David Whiteis
COCO MONTOYA
Writing on the Wall
Alligator Data – ALCD 5014
Coco Montoya has been constantly delivering nice albums for many years now, and his popularity stays intact with this newest Alligator Data launch. Certainly, Writing on the Wall provides 13 tracks of blistering blues, that includes a few of Coco’s strongest authentic compositions, together with just a few particular friends who dropped in to assist transfer issues alongside.
Montoya kicks the door in proper on the outset with the slow-swaggering stinger I Was Incorrect, which options his razor’s-edge vocals, solely matched by his laser-sharp Strat on this minor key blues ballad. Save It for the Subsequent Idiot has a heard-it-through-the-grapevine funk really feel that gained’t allow you to sit nonetheless. In the long run he dismisses his temptress: “Reserve it for the following idiot, child, ’cuz now I’m gone.”
You Received Me (The place You Need Me) is a greasy Houston, Texas, shuffle—a tune by Don Robey, the person that helped put crooner Bobby “Blue” Bland on the map. Coco does this tune some critical justice, as he trades fast fireplace riffs with none apart from Ronnie Baker Brooks—it’s probably the greatest highlights of the complete set. Brooks reappears on each guitar and vocals on the medium-tempo shuffle Child, You’re a Drag. As soon as once more, they gleefully swap six-string photographs.
(I’d Somewhat Really feel) Dangerous About Doin’ It provides a unclean New Orleans strut to the proceedings, with keyboardist Jeff Paris supplying the intelligent lyrics about giving in to temptation and never regretting it in any respect (“Eve has stole a bit of forbidden fruit and took herself a big-ass chunk”).
Different highlights embody Cease, a honey-dripper of a tune made well-known by Lonnie Mack’s centerpiece from the 1985 Alligator Data Strike Like Lightning album. Coco Montoya performs and sings it in a better key, but it loses not one drop of depth—the truth is, it’s much more intense.
The title monitor, Writing on the Wall, is joint effort from Montoya, Dave Steen, and Jeff Paris (who serves up a significantly bluesy guitar solo). Montoya and Paris crew up once more on the laid-back rocker Late Final Evening in addition to the pensive What Did I Say?, a bit that has all of the flavors of one of the best sides within the Nineteen Sixties recorded by William Bell for Stax Data. Extra goodies come within the type of a cameo look from slide guitarist Lee Roy Parnell on guitarist Dave Steen’s authentic composition A Chip and a Chair.
The Three Kings and Me is a superbly penned Christmas tune by Dave Steen, dedicated to the holy guitar trinity of Freddie, B.B., and Albert, whereas Pure Born Love Machine sends listeners residence with the rollicking rhythm of the Montoya/Paris writing collaboration.
Produced by longtime West Coast good friend and drumming ace Tony Braunagel (who sits in on 4 tracks), there’s no scarcity of fabric to sink your enamel into. With 13 tracks to whet your urge for food, this album is sure to win some awards when trophy time comes round subsequent yr in Memphis. Appears to be like just like the left-handed bandit has struck once more.
—Wayne Goins
CHRIS BEARD
Go It on Down
Blue Coronary heart Data – BHR 033
In his debut launch for Blue Coronary heart Data, Chris Beard delivers Go It on Down, a becoming title that tilts his hat towards what he rightfully inherited from his guitar patriarch, Joe Beard, who makes his presence felt in a most significant approach for his son’s seventh album as a frontrunner.
Beard comes out firing with the funky drum intro of the primary tune, Let the Chips Fall. The perky, Tower of Energy–type horns and skunky rhythm guitar lets you recognize what sort of temper he’s in, and the jailbreak guitar solo immediately confirms your suspicions. He deftly travels the trail of Robert Cray when he delivers One Extra Cry for Love, a shifting tune a few woman who gave up her life on the streets as a result of she has a baby on the way in which.
The title monitor to the album, Go It on Down, was co-written by vocalist Johnny Rawls. It has a B.B. King–tinged blues riff, finds papa Joe singing lyrics again to Chris about how proud he’s of his son, and asks Chris to do the identical for the following era.
Home of Disgrace is likely one of the strongest tunes on the album—it’s a sluggish, 6/8 gospel groove in a minor key, written a few man who has no extra partitions to cover his dishonest methods (“I sit on their own on my home of disgrace / bought no safety from the driving rain”). An distinctive efficiency is delivered by the killer rhythm part of John Tucker on keyboards, Carlton Campbell on drums, Marvin Parker on bass. That is adopted by the up-tempo, funk-filled romp When Love Comes Knocking, a paean devoted to the irresistible temptations that overcome Chris’ interior urges.
Son I By no means Knew highlights Beard’s knack for excellent lyrics—this time it’s about an estranged relationship together with his personal offspring (“I simply desire a minute or two with the son I by no means knew,” he begs the mom). This ardour play is immediately harking back to the guitar enjoying and singing strategy of grasp bluesman Jimmy Dawkins and options Beard’s guitar tone that’s equally wealthy and spherical. Produced by none apart from Louisiana legend guitarist Kenny Neal, the complete clan from Baton Rouge is current: Kenny on rhythm, Darnell on bass, Gralin Hoffman on drums, Frederick on keyboards.
Issues ultimately settle to a simmer with a ravishing ballad, Retains Me Believing; Beard sings with a smooth-yet-gravelly voice à la Taj Mahal’s patented singing type. In the meantime, Who Do You Suppose You’re Foolin’ has a Love and Happiness horn riff cleverly tucked away contained in the tune—you’ll have to attend ’til the top to glean it. The closing monitor, Bitter Child, is the tastiest approach to land the aircraft—a medium-slow conventional blues, that includes a fully scrumptious acoustic piano solo by Jonathan Curry and a stinging, Albert Collins–impressed solo and lyrics in addition.
Beard’s penchant for storytelling is the primary ingredient that permeates the lyrics in his songwriting. It deserves mentioning that a number of tracks on the album have tight three-part vocal concord underpinning the tune lyrics that improve the complete sonic sensation served up by Chris Beard and his band of blues brothers.
—Wayne Goins
CANDICE IVORY
When the Levee Breaks: The Music of Memphis Minnie
Little Village Basis – LVF 1057
Residing Blues readers will hardly require an introduction to Memphis Minnie, born as Lizzie Douglas, one of the vital iconic artists of the golden period of the blues. She additionally ranks excessive on the favorites record amongst modern girls blues singers, who’ve coated the overwhelming majority of her songs. Candice Ivory isn’t the primary, and he or she gained’t be the final, however her tackle Memphis Minnie is joyously new, distinctive, and vibrant.
When the Levee Breaks packs a dozen of Memphis Minnie’s songs, recorded with a full band. The album was produced by Charlie Hunter, who additionally provides virtuosic guitar, supported by the swift pedal metal guitarist DaShawn Hickman. The rhythm part is held down completely by George Sluppick on drums, together with two percussionists—Brevan Hampden and Atiba Rorie.
Candice Ivory sings it sassy and sensuously, with simply the correct mix of ardour, energy, and confidence. No surprise they name Ivory the “Queen of Avant Soul.” She might belt out a tune that will make a block of stone weep from pleasure. The liner notes level out, “Her great-uncle was the singer and guitarist Will Roy Sanders of the Fieldstones, one of many premier Memphis blues bands from the Nineteen Seventies to the Nineteen Nineties. Ivory grew up within the church, and by the age of 11, she was singing in a choir that featured the soon-to-be-famous R&B artist D’Angelo.”
There are many gems right here. Take When You Love Me, a chic acoustic cowl as high quality because it has ever been recorded. Memphis Minnie followers will certainly discover songs to like on this album, maybe the 2 closing cuts: HooDoo Woman, a tune filled with emotive feeling, very good acoustic guitar choosing, and convincing singing by Ivory and New Bumble Bee with its cool reggae vibe.
When the Levee Breaks is a compelling and funky interpretation of Memphis Minnie, an superior album that Minnie would absolutely boogie to if she might hear it over yonder.
—Frank Matheis
NICK WADE
Feeling Good Is Good Sufficient
Nick Wade and Additional Sensory Productions – NWM-2301
Nick Wade has been enjoying the blues for greater than 30 years, since he was 5 years previous. However he hadn’t recorded and launched an album till now with Feeling Good Is Good Sufficient. The report doesn’t play like that of a first-time recording artist; it’s the sounds of a gentle hand and competent really feel for pre-war acoustic blues.
Wade presents 12 of his authentic compositions, carried out and recorded live-to-tape in his Inexperienced Springs, Virginia, hometown. Guided by his sturdy guitar enjoying and heartfelt vocals, Feeling Good Is Good Sufficient strikes gracefully from tune to tune. Album opener Sky Line Drive units the tone for the LP, an evocative piece of back-porch blues that strikes alongside at an informal, amiable tempo.
It’s onerous to consider Broke and Busted is a Wade-penned tune because it seems like a monitor that’s existed for a century. He performs a rhythmic little guitar lick and earnestly delivers the hard-luck story—out of money, heartbroken, and alone—specified by the lyrics. Lonesome Copperhead Snake receives a lift from some killer mouth harp courtesy of album co-producer Li’l Ronnie Owens, his runs on the harmonica resulting in some unbelievable interaction with Wade’s fingerpicking leads.
Wade additional showcases his dexterous contact as a guitar participant on the succeeding monitor, the instrumental Ragamuffin. It’s a jaunty quantity and a very good show of his musicianship. It pairs properly with the album nearer, Raggin’ My Blues Away. One other instrumental monitor, it’s a toe-tapper, readymade to bop a little bit jig to or simply sit again and revel in.
Total, Feeling Good Is Good Sufficient marks a powerful begin to Wade’s recording profession and is greater than worthy of your time.
—Jim Shahen
TOM HAMBRIDGE
Blu Ja Vu
Quarto Valley Data – QVR 0172
Tom Hambridge has a weighty résumé. A 1983 Berklee graduate, a lot of the Buffalo native’s work has been behind the scenes. As a composer, he’s offered songs for a wide selection of artists in lots of genres, together with Susan Tedeschi, NRBQ, Ana Popović, George Thorogood, Johnny Winter, Delbert McClinton, Shemekia Copeland, Steve Cropper and Felix Cavaliere, Buddy Man, Meat Loaf, Marcia Ball, Christone “Kingfish” Ingram, Keb’ Mo’, and lots of, many others. An in-demand producer and engineer, he has labored within the studio with a lot of these names plus scores of others. His credit as a drummer on these recordings—and, once more, many extra—are intensive as nicely.
But Hambridge’s releases beneath his personal identify have attracted comparatively little consideration. After releasing a string of albums as T.H. and the Wreckage, he launched his solo debut, Nonetheless Operating, in 1996. A serious label set, Balderdash, adopted in 2000. Subsequently, each few years—in between his initiatives with and for names from that huge roll name of marquee artists—he has returned with one other solo report. The NOLA Periods from 2018 marked his seventh solo providing.
As stable as these releases have been, there’s an inescapable sense that Hambridge—a a number of Grammy nominee and four-time Grammy Award winner—focuses extra on lifting up different artists than he does cultivating his personal profession as a recording artist.
Hambridge’s newest launch, Blu Ja Vu, presents a possibility for all of that to alter. Whether or not they got here to him or he dug into his Rolodex, a number of massive names—buddies and associates all—have pitched in to assist Hambridge make an album. On Blu Ja Vu, Hambridge does what he does finest: write songs, play drums, produce the classes, sing his songs. However his well-known buddies cease by so as to add their signature type to his songs.
Aided by a crack core band, Hambridge leads the band from behind his drum package. Of particular be aware amongst these gamers is rollicking pianist Kevin McKendree. Buddy Man sings a bit and performs guitar on the Stonesy opener Ain’t It Simply Like Love. Joe Bonamassa rips up the fretboard (and sings, too) on That’s My Residence. Kingfish contributes vocals and guitar on Blues Don’t Care. Elsewhere, the late James Cotton, Josh Smith, and Chuck Leavell assist out.
Nevertheless it’s a testomony to Hambridge’s artistry—and maybe an augur of his future—that he isn’t misplaced among the many celeb friends on Blu Ja Vu. The searing Johnny Winter is a plea for the late Texas blues grasp to obtain better recognition. That and tracks just like the ZZ Prime–ish Put on You Out—that includes simply Hambridge and his band—are among the many most incendiary moments on the entire set. The report is a cohesive assortment that showcases Tom Hambridge’s many items.
—Invoice Kopp
CLARENCE EDWARDS
Baton Rouge Downhome Blues (Louisiana Swamp Blues, Vol. 9)
Wolf Data Worldwide – CD.120.635
Clarence Edwards went largely unheralded as a working blues artist for many of his life, solely gaining recognition within the years instantly previous his loss of life in 1993. With few albums to his identify, he exists on the periphery as a minor determine who might play a variety of types throughout the blues style. A brand new launch from the Austrian label Wolf Data Worldwide, Baton Rouge Downhome Blues highlights these expertise, in addition to his dynamism as a stay performer.
What actually stands out concerning the high quality of the performances on Baton Rouge Downhome Blues is that it’s unknown after they occurred, past a 1990–1993 timeline, and who all of the musicians are enjoying on every monitor. Edwards had a core group of Steve Coleridge (who recorded and combined the report) on bass and drummer Ronnie Houston, however other people would sit in sometimes and play. No matter date and roster, Edwards and the assorted permutations of his band sound phenomenal.
Down Residence Blues includes a powerhouse vocal efficiency from Edwards, in addition to some killer lead guitar work and mouth harp. The model of Muddy Waters’ I Need You to Love Me is swampy blues perfection, whereas Hoochie Coochie Man is propelled by the band’s rhythmic vamp. Nicely, I Performed Received Over It, with its nation blues swing and playful vocal supply, gives a snapshot of Edwards’ musical versatility. Baton Rouge Downhome Blues concludes with Edwards’ interpretation of Freeway 61 Blues. His association is scorching, with Edwards providing up a tasty guitar solo and booming vocals.
From begin to end, Baton Rouge Downhome Blues is a vigorous and entertaining pay attention and an archival launch of be aware.
—Jim Shahen
AL BASILE
B’s Time
Sweetspot – SS9948
After carving out a stable, if behind-the-scenes, popularity as a first-rate trumpet and cornet participant with Roomful of Blues within the early Nineteen Seventies and once more with Duke Robillard’s band within the ’90s, Al Basile has had a second, extra public, profession as a frontrunner the final quarter century.
Starting with the 1998 launch with Robillard of Down on Windfall Plantation, Basile has issued a complete of 16 albums on his personal Sweetspot Data as chief or co-leader. Make that 17, with the discharge of the retrospective compilation B’s Time.
The 17 tracks discovered right here draw on most of these releases, offering a pleasant overview of a solo profession that’s been marked by his improvement as vocalist whereas nonetheless that includes his horn. There isn’t any discernible order on this assortment; fairly, Basile (who produced the discharge) appears to have chosen the songs a lot as he may construct a setlist, aiming to combine issues up a bit and preserve it fascinating.
Whereas most of his catalog is marked by an up-tempo, swing-infused bounce blues vibe, he takes in a broad swath of territory, which is richly captured right here: I Actually Miss You from that first launch with Robillard is a guitar-driven blues with Basile on vocals, whereas B.D. from 2003’s Crimson Breath is straight-ahead, post-bop jazz anchored by pianist Paul Odeh’s imaginative leads. Whereas We’re Dancing (The Tinge, 2007) finds Basile in a New Orleans retro jazz vein enjoying horn and singing atop pianist Bruce Katz’s gentle comping, whereas Inflicting Pleasure (Soul Blue 7, 2009) lays a sluggish blues atop a reggae beat. And his hovering vocal duet with Sista Monica Parker on Make a Little Heaven (Woke Up in Memphis, 2014) is a percolating little bit of classic R&B.
Basile wrote all of the songs besides Don’t Wait Too Lengthy, and if he’s but to have a crossover hit, he does have a pleasant contact at crafting heat melodic tunes filled with aural hooks. He additionally has a golden contact at assembling tight bands for every outing, and has enlisted Robillard to supply most of his albums.
That is, as is undoubtedly the goal for a retrospective compilation, a beautiful introduction to Basile’s music. Listeners new to his work will discover this a extremely helpful information to exploring his catalog.
—Jim Trageser
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