Formerly called Album of the Week

From time to time we will choose one album which represents a past gem that was either lost, forgotten, ignored or simply overlooked. Some may be difficult to find, but all will be worth the effort to acquire. Once owned, these recordings will make your existing music collection one for the ages. Listen for the love of it, and live with joy.  – June 3, 2012

 

November 16, 2014

Santana – Welcome (1973)

In 1972, Carlos Santana began to rework the Santana band, first with what would eventually become significant changes in personnel, and second with an equally significant change in music direction. The initial result was Caravanserai, an adventurous and groundbreaking attempt at both a new sound and a higher musical order. It was a stunning success on both counts.

That same year, Carlos Santana recorded an album with guitarist John McLaughlin titled Love Devotion Surrender, a collection of spiritual compositions in the fusion vein McLaughlin pioneered. It was a blistering display of guitar pyrotechnics passionately performed with white hot intensity.

Forward to 1973, and in the autumn of that year the Santana band releases Welcome. Building upon the foundation manifested so powerfully in both Caravanserai and Love Devotion Surrender, the album became – and remains – the crown jewel in Carlos Santana’s prolific recording career.

At the time of its release, Welcome greatly frustrated a large number of the original Santana fan base. I remember the days well, being one who wholeheartedly enjoyed all three recordings. Then again, those who embraced the influence of jazz into various rock genres welcomed the changes. (No pun intended.) Recorded in the spring of 1973 during a break in their almost non-stop worldwide touring schedule, Welcome captures a finely tuned band honed to razor sharp precision playing at the height of its powers.

Now, put all of that historical information to the wayside. Welcome is an album of powerful and stunningly rapturous music. Effortlessly crossing the line between rock and jazz, the music reveals greater levels of intricacy, intimacy and passion than any other release in the vast Santana catalog. Yet more than forty years after its initial release, it remains an overlooked and under appreciated gem.

The encompassed ideas reveal a wide palette. Changes in the lineup made this possible; Greg Rolie (keyboards) and Neal Schon (guitar) were gone to Journey. David Brown (bass) was also gone. Replaced by Tom Coster (keyboards), Richard Kermode (keyboards) and bassist Doug Rauch, (who first appeared on Caravanserai,) as well as vocalists Leon Thomas and Wendy Haas, the abilities of the new lineup skillfully manifested themselves across the newly adopted musical spectrum with a firm and familiar confidence.

Powerful Afro-Cuban rhythms remained (Samba de Sausalito) as did the passionate guitar pyrotechnics (see the aptly named Flame/Sky, an instrumental spiritual featuring McLaughlin as guest.) For sheer romantic beauty and resonance, When I Look into Your Eyes can help even the unenlightened attain nirvana; and for endeavors into space, the opening Going Home (co-written by Alice Coltrane) and the closing Welcome (composed by John Coltrane) remind us all of the musical heights Carlos was seeking to reach in those long gone days. Welcome cannot be considered a rock record by any stretch, and while it contains numerous and varied jazz sections it also cannot be considered a jazz recording. So what is Welcome? In the end, the strength of the material and the powerful performances will help to toss away the labels and immerse oneself in the music, with a disc which will likely finds its way to your turntable more times and in more ways than one would think possible.

If you have yet to hear it, put aside the old memories of Evil Ways and Oye Como Va for just a little while and savor the brilliance of a band at the height of its creative power; experience the beautiful fury that is Welcome.

 Jazzmanblue

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April 27, 2014

Soft Machine – Third (1970)

I can think of few other groups that wielded more influence over multiple genres of music than Soft Machine.  And yet, for all of the magic they placed into the grooves of LP’s during the late 1960’s and 70’s, I can think of no other musical entity of such significance to also suffer so markedly from the remorseless oven of anonymity.

Originally a psychedelic pop/rock band that toured the U.S. with the Jimi Hendrix Experience in 1968, they grew into a genre bending powerhouse of invention and expression. Third is the magnum opus of a group whose unique fingerprint remains on psychedelia, progressive rock and jazz fusion. It is both sad and unfortunate that so few listeners know who they are.

A two LP set with one composition on each side, Third is a heady idea for a group being targeted by their label for a rock audience.  Somehow, back in the day, it caught my attention. I bought a copy of the LP in that long ago December of 1970.  Columbia Records must have felt they had something good on their hands as print ads for the album appeared regularly in The Village Voice (NYC) and Rolling Stone for a number of months.

And so they did have something special – but not in the way the brass at CBS hoped. It is interesting to note that Columbia issued Miles Davis’s Bitches Brew only two months prior to the release of Third, and if they had hoped to catch the fusion wave Davis created with that landmark recording, they should have attempted to reach the same audience which digested Bitches Brew, bones and all. They did not.

The record was much hailed by the critics upon its release, although I can only remember the Rolling Stone review written by Lester Bangs, who spoke well of it.  Nice to know, but in the end, the music will live or die in accord with its own merits.  I hope this one will live forever.

And well it might.

In 2007, Sony remastered the album while adding an additional disc with a live recording from the Royal Albert Hall in 1970. This second disc was originally named Live at the Proms, and I own a late 80’s CD pressing of this performance on Reckless Records. I paid a good sum to get that disc at that time, but this bonus disc to Third has much improved sound in comparison to the one issued by the previously aforementioned label. The improvement in sound quality is reflected on Third as well, and if you happened to own or hear a copy of the album back in the day, you already know the improvement in sound quality is both needed and welcomed.

As for the music…

The four pieces are as distinct and unique as the individuals in the group.

The album opens with Facelift, composed by bassist Hugh Hopper.  Recorded live and culled from two separate performances, the piece begins with the hum of the amplifiers in your ear broken by the dew drop sound of Mike Ratledge’s organ, which quickly leads to his trademark fuzz organ attack. The ensemble of seven, including horns and violin, take the listener to vistas of sound which were desperately in need of exploration back in 1970.  The horn sounds are at times reminiscent of early King Crimson, especially In the Court of The Crimson King and Lizard, and other times to Ornette Coleman’s early 60’s work, sans the blues inflection which permeated Coleman’s work of the period.

At times blunt and other times angular, the music is both compelling and distinctive.  The edit at 10:28 is woven into the piece as the marker to the tunes’ multiple personalities. 

Slightly All the Time will be the piece most enjoyed by listeners of Progressive Rock.  Accessible and forceful, the four distinct sections highlight some interesting work by the rhythm section of Hopper and Wyatt and contain some brilliant, heart rending saxophone statements by Elton Dean.

Moon in June is the ever changing vocal piece written by drummer Robert Wyatt, a couple of years before creating his historic band Matching Mole.  (Machine Molle is French for Soft Machine.)

I say ever changing because the lyrics changed from performance to performance depending upon the venue and the occasion. All are a play on Wyatt’s whimsical wordsmithing and used for what he called his vocal experimentation. The lyric version here is especially humorous, and the band is both controlled and creatively interesting without detracting from the vocals.

Which leaves us with Out Bloody Rageous.

Amidst the various keyboard overlays of the piece, you will find three separate sections filled with various amounts of drama, tension and beauty. The keyboard sections can easily send a listener into new psychedelic spaces – no drugs needed.

All four pieces constitute an overlooked gem which often hides in plain sight, as I’ve seen it many times on the racks at J&R Music World in lower Manhattan. (J&R closed it’s doors in April of 2014 after 42 years in business.)

Don’t let it pass by unlistened. Soft Machine’s Third is the watermark achievement of a historically important band, and life is too short – and excellence too rare – to be ignored.

Jazzmanblue

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April 28, 2013

Edgar Froese – Epsilon in Malaysian Pale (1975)

Long known as the Grandfathers of modern electronic music, Tangerine Dream’s “classic” lineup of Edgar Froese, Chris Franke and Peter Baumann (1971 – 1977) gave us glittering, streaming soundscapes in numerous historic releases. Albums such as Alpha Centauri, Atem, Phaedra and Rubycon remain important historical touchstones as well as landmarks of inventive music.

During his time with Tangerine Dream, Froese occasionally broke off to create solo recordings, many of which contained elements of what TD was working on at the time.  Epsilon in Malaysian Pale is one of those albums, and it remains his best work.

Released in 1975, the album is composed of two sidelong (for LP) pieces of approximately seventeen minutes each, typical of the TD releases of that time.  Moody and atmospheric, the album finds Froese utilizing the melotron to create flowing soundscapes of a quiet and beautiful fury, bringing the listener to sonic realms then rarely explored. While all of Froese’s recordings carry a unique aural signature which separate them from each other (and the Tangerine Dream releases of the time), Epsilon in Malaysian Pale is singular among Froese’s work in both mood and tone.

Difficult to find as an individual release, it is available on the Edgar Froese compilation titled Solo: (1973 – 1983) The Virgin Years.  Remastered in 1995, the sound has improved significantly from the initial LP release. Happily, that original LP is still in my collection, and we had a wonderful afternoon comparing the two versions.

This recording will be of interest to all those who explore electronic music as well as those looking to investigate new sonic realms.  While it is short in length by today’s standards, (approximately 35:00) there is much here to enjoy and savor.   Add it to your collection without hesitation.

Note: The CD version of this recording was re-recorded and remastered in 2004. My recommendation is for the original LP pressings and for the version in Froese’s Solo compilation mentioned above.

Jazzmanblue

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June 22, 2012

Deuter – Silence is the Answer (1981)

Chaitanya Hari Deuter has been with us a long time.  A self taught multi-instrumentalist, Deuter, as he is professionally known, is well versed on guitar, flute, piano, organ, drums and numerous other sundry instruments. In a career that has spanned more than forty years and over 60 recordings, he is most well known for music that falls under the category New Age. This is unfortunate, if only because many of his earlier recordings contain elements of progressive rock and psychedelia of a scale beyond the ability of many famous rock musicians, including those who purportedly excel in either (or both) genres.

Silence is the Answer is a recording that crosses numerous musical boundaries to fulfill its raison d’etre.  To some listeners, the album appears upon initial hearing to be a meditational recording, but a number of people who listen to music for serious meditation have told me upon direct questioning this is just not so.  The aural landscapes of the album place too many demands upon the listener to allow for simple meditation.  The ebb and flow of particular pieces, like As Far as the Ear Can Listen and Divine Dust have far more in common with 2000 Light Years from Home and Pink Floyd’s Saucerful of Secrets than Tony Scott’s Music for Zen Meditation.

The title piece is divided into six parts, which occupied sides one and two of the original LP release.  Part One gives us a peek into Deuter’s ideas in that a pleasant and happy theme is played on the acoustic guitar while an electronic keyboard plays an ever widening drone, traditionally reserved for sitar and other similar instrumentation. Keyboards remain for the start of Part Two, which fade into various chimes to act as a herald to the introduction of Tibetan Bells.  Upon hearing the bells, it is easy to understand why some listeners will see this as meditational, but the music spills, overflowing, out of that category and into a realm of psychedelia that has suffered from a lack of exploration. Judicious use of synthesizers help in this regard, although the electronic character of the instruments is muted by character of the acoustic instruments without disturbing the essential energy of either, all the while maintaining the integrity of the musical ideas. It is an astonishing listen. All six parts are different in mood and tone, becoming spokes on a wheel to allow the rest of the album to be built around it.

Side Three opens with Gratitude, a rapturous piece which jumps with delight from beginning to end, highlighted by a well articulated acoustic guitar and unique keyboard washes.  Call of the Unknown is both upbeat and pensive, and one easily senses the intense concentration and determination of the main character in this aural story. The flute playing here is both precise and fluid; it is exceptionally well played.

Other highlights include My Best Friend is a Buddha and Aus Der Stille, the latter having lyrics (in German) which remain unsung during the recording, although they are printed within the gatefold cover of the LP.

Sonic wonders abound here, and the album, once heard, will call attention to itself in the form of repeated listens, until the listener is both familiar with the music and finding more to discover with each play.

June 15, 2012

Between – Dharana (1977)

An artistic wonder, music without compromise or category 

Recorded in the mid 1970’s, Dharana is a recording that contains the influence of many cultures, both oriental and occidental. The leader of the group, keybordist Peter Michael Hamel, had a vision of “World Music” long before it became a fashionable 90’s subtrend. This vision came to fruition in Dharana, a marvelous recording I purchased on LP by mail back around 1982. After listening to it for 20 years I still find it impossible to categorize. The side long title piece caught my attention on a public radio station at the time, and I understand the group is well known in Europe, especially Germany. African beats, Indian and Arabic modalities, touches of Jazz rhythm and American folk combine for a wonderful and unique recording that I have never found tiresome. The music is accessible without being simplistic and shows not the least bit of artistic compromise. Highly recommended for those with a taste for beauty and musical adventure. It has continued to amaze me over the years as well as those I have chosen to play it for.

I wrote the review above and posted it on Amazon.com in December of 1998. We here at the jazzmanblue offices are  pleased to post it here, as it is a brief but accurate synopsis of the album.

There is much to say about Dharana, but full understanding will come only with the hearing of it.  I first heard the album on WNYC in New York City around 1982. One of the evening programs on the station at the time was called New Sounds, and I turned it on one night to hear the title piece at about the seven minute mark. It was a long wait before the host, John Schaeffer, announced the names of the pieces he had just played, and upon stating the name of the piece also said the album could be purchased only by mail through a company called Vital Body Marketing.  (The company is now defunct.) I have had the CD since ordering it from Amazon in 1998, but took a look at the cover of the LP today and saw the VBM sticker in the bottom right hand side of the back cover.  The LP is on the Wergo Spectrum label, and clearly a German import; this is probably the reason why it could only be purchased by mail at that time.

Between had a vision of music back in the seventies that was well ahead of its time, but the remarkable beauty contained within is truly timeless.  Today, the album falls under the heading of World Music, but it remains as one of the original creations of the genre and probably its most shining example of excellence.

Of the five original pieces on the LP, I play Listen to the Light more than any other. With its trilling organ moving beneath two oboes, intertwined and intersecting in their spiraling, elongated lines, it portrays one’s entry into Heaven, or enlightenment, if your leanings tend towards the East.  Sunset – (Atardaceres) is a delicate piece, marvelously performed on nylon stringed acoustic guitar by Argentine Robert D?tr?e.

The title cut, Dharana, is a journey through air and waterfall, rising and falling gently with the orchestra filling in underneath, with the African drums firmly make their statement through the piece even as Robert Eliscu’s oboe winds in and through the keyboard and various other percussion instruments in polyrhythmic display. Hamel’s keyboard drone is there through the final ten minutes, along with his background vocal aphorism, gently moving the piece forward. 19:55 is too short for such majesty, and the journey softly ends with the listener wishing for more. (The CD version of Dharana is 22:55.) The CD version of the album includes a bonus piece titled The Voice of Silence, a serene, meditational work which clocks in at 17:32.  It blends into the ending of Dharana so well, new listeners will probably think them to be one composition.  While the other compositions on the record are unique and distinct, as an entity the album displays an almost uncanny crafting of sonic architectural precision, alloyed with unspeakable beauty.

Between recorded other albums in the 70s, all of which are worth owning, including And the Waters Opened (1973), The Silence Beyond Time (1980) and Contemplation (1977), but it is Dharana which shows the group at the height of their musical powers.

Difficult to find, all of the Between recordings will reward listeners for many years with a pleasure worth many times the cost of the CD or LP.

Happy Listening!

 jazzmanblue

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June 8, 2012

Jade Warrior – Floating World (1974)

 

No one could have been more surprised than Jade Warrior themselves when they entered the studio to record their fourth album, it also being their first for Island Records.  Formerly a disbanded trio, the newly minted duo of Tony Duhig (guitars, keyboards and percussion) and Jon Field (flutes, piano, drums, sundry percussion) began to follow through on a musical idea that came to fruition in Floating World. That idea was dubbed by the pair as their “sub-tropical sound”, and with this recording they not only achieved it, they blended it with rock, jazz and eastern melodies and motifs into a seamless whole.

While the album was not a bestseller in any sense, it did have a powerful influence upon the audience it did reach. Brian Eno, founding member of Roxy Music who influenced punk, new wave and ambient music to a significant degree as well as being an established producer and collaborator, found Floating World to be a significant influence on both how he approached music and heard it, describing it as an “important album.”

Duhig and Field took their inspiration from numerous sources, both in and outside of music, and brought them to light within the studio. Terry Riley and Philip Glass were but two, and Fields’ ability on flute found its way onto the Tubular Bells recording of Mike Oldfield in the early 70s, which was most notable for its opening section, best known as the theme to The Exorcist. Oldfield’s influence also finds its way into the grooves of Floating World.

The accompanying booklet to Elements: The Island Anthology, a 2 CD retrospective of the four Jade Warrior albums released by the label during the 70s, describes the album as a swirling sound trip through steamy rain forests, bubbling volcanoes and raft rides down majestic rivers, occasionally interrupted by an electrical storm of blasting guitars.

We agree.

Our own overview of the album is as such:

Clouds, the opening piece, begins with the voices of the Orpington Junior Girls Choir, followed by Fields’ acoustic guitar flowing down an ethereal wave. The gong which sounds one minute into the piece is the official gateway to a marvelous journey, which next passes through the Mountain Of Fruit and Flowers.  Flutes lead the melody softly to the meeting with the acoustic guitar at 1:20, working above the upright bass work of Coleridge Goode, when the electric guitar and flutes begin to play the melody in harmony, and allowing an electronically enhanced keyboard to float a solo above the group.

The flutes segue into a glockenspiel and acoustic guitar arpeggio, laying the foundation for the electric guitar’s elicitation of the melody on Waterfall. Two guitars play the melody together for the next few sections, floating the listener gently to the sudden appearance of multiple drums working in tandem until the flutes return with a short, pronounced and repeated statement.  Then we hear the drums alone once again, first pronounced and then fading into the background as the flute, Gaelic harp and gentle percussion bring us to the gong which closes the piece. No time to rest, as Duhig’s pronouncement at the beginning of Red Lotus is the cue for the metal guitar tomake its entry – be sure your speakers can handle it, as the volume jumps, bringing any listener to full attention in a short moment. The guitars and flutes work together at volume on the riff until the guitar break; then multiple guitars and flutes restate the riff until the 3:00 mark, allowing gentle flutes to float the listener out until the close of side one.

Clouds makes a return at the opening of side two, this time growing to a crescendo that ends with a drum beat, and the choir floats us out of the piece to segue into Rainflower, with its opening organ chord and electric guitar background.  Acoustic guitar lays a foundation for the electric, and the beautiful melody takes over, the guitars artfully woven together until the entry of Easty, with an appropriately eastern melody working over a jazzy vamp.

Monkey Chant follows, opening with the vocal chant of what sound like a thousand samurai preparing for battle. The chant falls slightly to the background as an electric guitar solo winds above it in a wail that Hendrix would have been glad to perform.

Gentle acoustic guitar brings us to Memories of a Distant Sea, and it’s wondrously beautiful melody played on an electronically enhanced flute. The acoustic guitar and Japanese flute lead you gently out into Quba, the final piece with its own heartbreaking melody played on two guitars, and enhanced by flutes.  The author of the piece, Martha Mdenge, lends a strikingly emotional background vocal aphorism until the album closes with the gong, much in the same way it opened on Clouds, allowing the final few seconds to gently fade into silence.

A masterpiece of studio artistry, Floating World is a unique album that stands alone in the pantheon of great recordings. And while no words that I or anyone else can write will adequately describe what Jade Warrior created with Floating World, the beauty of it forever remains in the ear of the behearer.

It is our hope that you will find and behear this remarkable album of your own accord.

jazzmanblue

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June 1, 2012

John Fahey – The Voice of the Turtle (1968)

A great innovator of the acoustic guitar, John Fahey arrived on the recording scene in the early 1960’s out of Takoma Park, Maryland as Blind Joe Death. He immediately began to create what was to eventually become one of the most unique and esoteric discographies of guitar music here in the United States.

The Voice of the Turtle was compiled from various recording sessions which took place in the mid 1960’s.  It is literally a potpourri of American regional styles, all centered around what sounds like Fahey’s unwavering search for the right sound for the right tune.

The album opens with Bottleneck Blues, the first few seconds of which sound as though Fahey is placing the microphone nearly atop the E string before beginning to pluck away in what sounds more like an old scratchy LP.  It is immediately followed by Bill Cheatum, a guitar and fiddle duet right out of Appalachia. A wooden flute opening follows on Lewisdale Blues, before breaking into a wonderfully upbeat duet with the guitar.

The tunes tend to begin and end a bit abruptly, and nearly all of them have an unusual air about them, including two ragas which appear to have been written for sitar.  Different plucking techniques and tunings are used throughout the record, along with various sound effects, vocal and otherwise.  The recording techniques involved sound fairly simple, but Fahey has a way of making the most of little to work with.

Lovers of acoustic guitar music would do well to find a copy of this gem for their collection. There are many recordings of interest in Fahey’s work, and this early and difficult to find release is a great place to begin. It stands out as a great work by an eccentric artist.

Jazzmanblue

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May 25, 2012

Pearls Before Swine – Balaklava (1968)

A masterpiece of otherworldly psychedelia, Balaklava arrived at the height of the Vietnam War carrying a powerful but soft spoken message of protest and pain. The folk music paradigm of the album carries within its compositions a transportive power unlike that of any other recording this listener has yet to hear.

Pearls Before Swine is, in essence, the vision of one Tom Rapp, who brought the group into fruition in 1967 with the release of One Nation Underground.   Rapp originally formed the group in Florida circa 1965 with his High School friends Wayne Harley, Lane Lederer and Roger Crissinger. This original lineup lasted for the first record, and sans Crissinger, was the lineup for Balaklava.  Included as well are number of studio musicians, including Joe Farrell on flute and English horn. 

Balaklava opens with the voice of Trumpeter Landfrey, who was, in his own words, “one of the surviving trumpeters of the charge of the light brigade, at Balaklava.” This appears to be from an Edison Cylinder recording of the late 19th century. After the trumpeter’s charge is heard, the listener is immediately taken to the opening acoustic guitar chords of Translucent Carriages, with its haunting vocals and whispered background treaties. The tune is credited to Herodotus as well as to Harley/Rapp.

The pieces which follow, including and especially Images of April, There Was A Man, I Saw the World and a cover of Leonard Cohen’s Suzanne, each hold their own self contained world, with each being a part of the whole realm that is Balaklava. 

The closing piece, titled Ring Thing, will immediately be recognized by Tolkien readers as the opening poem behind the title page of The Lord of the Rings. After the deliberately slow and spooky vocal, the listener hears the entire album tape played backward at high speed, essentially ending the trip until the next hearing.

Originally issued in 1968 on ESP Records, the LP cover contained brilliant artwork by Pieter Breugel and a lyric sheet.  Sections of his large 17th century painting, The Triumph of Death,which is on the front cover, appear on both side labels of the original LP pressing. The CD reissue on ESP remains loyal to the original LP in that all artwork and lyrics are included, albeit on a smaller scale and without the LP labels. It is clear that much effort was put into the release by ESP, both in 1968 and the 90’s CD reissue.  They remain true to the artist’s work.

Balaklava remains as one of the few recordings of any genre that both deserves and demands to be heard.  As a superior example of 60’s psychedelia, this is not to be missed.

Jazzmanblue 

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May 18, 2012

Peter Green – The End of the Game  (1970)

Those who bought this album in 1970 expecting to hear Green play in the mode of his former group, Fleetwood Mac, were in for a surprise.  This recording has Green improvising in a manner reminiscent of John Coltrane, (Sept. 23, 1926 – July 17, 1967) who in the ’60’s was leading a charge of invention and discovery previously unseen in modern music.  This put a lot of onus onto the backup musicians, who, as it turns out, were not up to improvisational par with Green at the time of this recording, despite the valiant efforts of drummer Godfrey Maclean and pianist Zoot Money. Green’s playing, however, is in fine form.

It has been said that Green was suffering from mental illness at the time, which necessitated his leaving Fleetwood Mac and landed him in the state of mind under which this recording was made.  It has also been said that LSD was his drug of choice, as well as the cause of his illness; considering the venturous nature of this record, it is easy to believe.  Whether this be true or not, it is interesting to note his next album, In the Skies, appeared in 1979, a good nine years later.  A long time to be away, Green has given us a lot of good music since that long ago return.  However, he has yet to approach the fire and creativity woven into this recording, and I heartily recommend it.

Lester Bangs shredded the album at its time of release in his Rolling Stone review, and critics have rarely stepped up to the plate over the years to give it any accolades whatsoever, often dismissing it.  All fine and dandy, but I am happy to give credit where credit is due.  Green wails in a manner not heard prior to or after this recording. Skillful use of the wah wah pedal in the Hendrix style permeates the proceedings, and his slippery lines contain a lethal, stinging tone that refuses to be denied.  My two favorites on the disc are Bottoms Up and the title track, although all the tunes contain varying amounts of Green’s blistering bite.

Do your ears a favor and find the CD (or LP if you are really lucky) and enjoy the 35 minute trip contained within.  While not for those lacking in adventure or the faint of heart, the meaning here is the journey itself, and what a journey it is.

All the best and Happy Listening…

Jazzmanblue