Emmet Cohen ‘Future Stride’ LP/CD (Mack Avenue) 4/5

‘Future Stride’ is the brand new album from pianist and composer, Emmet Cohen, released through the revered Mack Avenue Records.

It would be hard to imagine an artist of the stature and calibre of Emmet Cohen possibly needing to bring anything else to the table. On paper alone, his is a history bursting with accolades, awards and achievements – a Masters Degree from the Manhattan School of Music, a Bachelors Degree from the University of Miami’s Frost School of Music, mentorship by classical pianist Shelly Berg, curator of YoungArts programs that include creative writing, theatre, dance, visual arts, cinematography, music and jazz, an in-demand musician accompanying a wide range of artists from heavy-hitters like Christian McBride, Jimmy Cobb and Ron Carter to fellow Mack Avenue artists like vocalist Veronica Swift and saxophonist Troy Roberts. It’s a résumé of excellence and Mack Avenue – despite obviously boasting a roster par excellence in their own right – have a genuine master in their midst.

And then, of course, there’s his position as the centrepiece for his own Emmet Cohen Trio who now see their debut release forever etched within the hallowed walls of Mack Avenue – home, at one time or another, to luminaries including Freda Payne, Kenny Garrett, Stanley Clarke and Tower of Power.

Cohen’s music – while always progressive and forward-thinking – has always paid its respect to the paths that were paved for the contemporary generation. Amongst the earlier list of Cohen’s accomplishments, we neglected to reference his Masters Legacy series which, through recordings and interviews, seeks to showcase the timeless work of Cohen’s heroes. The music on ‘Future Stride’ seeks to continue paying homage while laying the groundwork for Cohen’s own legacy. The project is aided by Cohen’s long-time collaborators – bassist Russell Hall (Joey Alexander, Lauren Desberg) and drummer Kyle Poole (Mark Kavuma, Jon Boutellier) – as well as some additional star power in the form of Chilean saxophonist, composer and bandleader, Melissa Aldana, who guests on three of the album’s tracks and whose past ‘Visions’ album (Motéma, 2019) also scored a glowing review with UK Vibe. Trumpeter Marquis Hill, whose celestial take on love has spawned some wonderfully bold releases in the past couple years, guests on four of the album’s tracks delivering another fantastic contribution.

The music throughout is certainly a testament to the immeasurable talent involved in bringing it all to life: the playful title track, the nostalgia-driven ‘Reflections of Dusk’ and the celebratory ‘Toast to Lo’ are all exquisite; ‘You Already Know’ charges along at a joyful and fervent pace and ‘Little Angel’ serves as the perfect album closer with Hill’s trumpet just the icing on the already sublime cake.

Hopefully ‘Future Stride’ will stand as the first of many Cohen Trio projects through Mack Avenue as the album delivers as a stunning project befitting of the label’s incredible legacy.

Imran Mirza

Niels Munk ‘Fantasilaboratoriet’ LP/CD (Jaeger Community Music) 5/5

Danish trumpeter/composer Niels Munk’s debut album is a thrilling ride through the broad soundscapes of modern jazz. Adventurous, thoughtful, atmospheric and intimately rewarding, Munk successfully channels the inspiration from the Scandinavian countries he has studied in to return home to Northern Denmark to record for the excellent indie label Jaeger Community Music.

With an obvious passion for improvisation, the project’s musicians use the fundamental qualities of jazz as a starting point for cultivating their imagination. Alongside Munk, the session features prominent young upcoming Danish artists. Maybe it’s the freshness of youth, but I have to say there’s such a vibrant energy to this music that it’s wonderfully refreshing. As a listener one certainly wouldn’t know the age of the musicians as the music they make together is skillful, sublime and decidedly mature. Drummer Jonathan Jull Ludvigsen, bassist Jeans Mikkel Madsen and pianist Dan Hjort Jensen all combine so well with Munk that it would be easy to believe these guys had been performing together for decades.

As the opening tune “Laboratory Music” begins, the beautiful lyricism of the piano immediately draws me in. Munk’s trumpet sound, and his playing, draws comparisons with the likes of Christian Scott, Verneri Pohjola and Arve Henriksen. It is though Christian Scott that comes to mind on several of Munk’s compositions as he pulls together a combination of melancholy, storytelling and adventure in an engagingly emotive way. The longest track on the album, “Beginning Laboratory Blues” is defined by its atmosphere. Munk intelligently whispers and cajoles expressive sounds from his instrument as drums, bass and piano combine intuitively to create a gorgeous Scandinavian soundscape. And just when you think you know where the tune’s going, an inventive drum break leads us into a high-octane jazz blow-out from the band. There’s a unified spirit to “Colour of White” that speaks volumes of this quartet, with a melodic richness to its 21st Century jazz vibe. Munk’s compositions are incredibly strong, none more so than on the gorgeous “Song for July”. The bandleader’s muted trumpet intertwines perfectly with piano melodies as the subtle, deep tones of the bass work a lovely groove in unison with the heady mix of the acoustic and electric drums. The beguiling and contemplative “Dans Interlude” leads us perfectly into the intimate creativity of “August”. One of the things I really like about this album is how Munk allows his fellow musicians to shine. There are beautiful spaces created by a musical fellowship that obviously prevails here. Nothing is forced or out of place. And on this track, everything combines wonderfully in a warm and quietly passionate kind of way. The final track “Alt hvad jeg har gjort” features Estonian singer Karmen Rolvassepp, her natural, crystalline voice bringing just the right amount of vulnerability to this exceptional piece.

Munk’s debut album is wonderful. His writing is imaginative and creative, and the quartet’s musicianship is stunning throughout. What’s incredible is that along with his chosen group of musicians, he has forged his own identity immediately. This album is a compelling mix of Scandinavian atmospheres and European jazz at its best. If, like me, you have over the years listened to and enjoyed the music of EST, Verneri Pohjola, Charles Lloyd, Christian Scott, Keith Jarrett, Bobo Stenson, Jan Garbarek and Arve Henriksen, to name but a few, then I highly recommend you go check this album out. I don’t think you’ll be disappointed. It’ll enrich your day at the very, very least.

Mike Gates

John Morales presents Teena Marie ‘Love Songs & Funky Beats-Remixed With Loving Devotion’ 3LP/2CD (BBE Music) 4/5

Back in 1979, Teena Marie released her debut album ‘Wild and Peaceful’ for Motown’s subsidiary label Gordy alongside Rick James and his Stone City Band. In Minneapolis a few years later Sheila E joined up with Prince on his Paisley Park label. Both singers had acquired a particularly unique sound and collaboration that was creating attention and deserved recognition within the soul/R&B community. Teena Marie was not a perfect fit for Motown and yet there’s was something idiosyncratic and unforgettable about her artistry that Berry Gordy noticed. After a brief stint with the band Ozone, Rick James became the spark that helped launch Teena Marie’s career in the right direction with the hit song ‘I’m Just A Sucker For Your Love’.

A stream of memorable successful tracks including the ever-popular ‘Portuguese Love’, ‘Square Biz’, ‘It Must Be Magic’, ‘I Need Your Lovin’ and ‘Behind the Groove’, all carrying the distinctive driving force of Teena Marie’s distinctive soprano sound. Her fourth album ‘It Must Be Magic’ became her first Gold record which led to greater success and popularity in the subsequent years with her more commercial recordings for Epic Records. It’s those early albums on Gordy plus rare tracks that are the feature of this fitting tribute by John Morales and the BBE label. Legendary New York DJ John Morales gained an early reputation for re-edits and extended mixes long before digital means were around. He is one of the most important figures of the early years of pre-house studio work and a true originator of the extended mix, remix and re-edit idea. The precise splicing on reel-to-reel tapes to edit out and extend the length of records was a true art and a great way of shaping a dancefloor.

Returning to BBE Music, John Morales brings a special selection of reworked and updated tracks from Teena Marie’s important contribution to soul music with some of his personal favourites and lesser-known gems, subtly updated and reworked for this special double CD and triple album release. ‘Love Songs & Funky Beats’ explores a fascinating angle of the singer’s career.

‘Aladdin’s Lamp’ and ‘Now That I Have You’ air memories of Anita Baker and Minnie Ripperton and it’s no surprise that Richard Randolph was behind the production of these two tracks and the 1980 album ‘Lady T’. He wrote songs for his late wife Minnie Ripperton on her renowned 1974 album ‘Perfect Angel’. As well as the early classics from the four albums for Gordy, a couple of tracks feature Teena Marie’s collaboration with the highly esteemed singer-songwriter Ronnie McNeir, including the rare mid-tempo cut ‘You Got Away’.

This superb documentation of Lady T’s immense talent is lovingly captured by John Morales’ studio ingenuity, which creates a newly updated freshness to the original recordings without obviously losing any of the essences of the original recordings. As to be expected the release arrives with a high quality of packaging and sound quality to be expected from the BBE label. Highly recommended.

Mark Jones

Nick Walters and The Paradox Ensemble ‘Implicate Order’ LP/CD (D.O.T.) 5/5

‘Implicate Order’ marks the new album release from trumpeter Nick Walters and his Paradox Ensemble.

While the release of another project by Walters along with the Paradox Ensemble is cause enough for celebration, ‘Implicate Order’ also comes with the distinction of being the inaugural project for D.O.T. Records – the newly formed label from Walters.

With such strong ties to 22a Records over the years – the record label home established by Ed ‘Tenderlonious’ Cawthorne and serving as home to the revered quartet, Ruby Rushton, of which both Walters and Cawthorne are members – the move to branch out on his own is a decidedly bold one but one that the noble reputation of Walters can absolutely justify.

With the Paradox Ensemble having released their debut recording as far back as 2013 through Efpi Records – ‘Entanglement’ presented an iteration of the ensemble that back then featured Yussef Dayes amongst the line-up on drums. The project was subsequently put on hiatus until resurfacing in fine fashion in 2019 with their sophomore album, ‘Awakening’. The time in between releases was certainly busy for Walters as work with the hip-hop and electronica inspired outfit, Ruby Rushton, continued to ever-ascending heights as well as work with the Beats & Pieces Big Band and Riot Jazz Brass Band. And almost exactly a year following the release of ‘Awakening’, 22a Records was again blessed with an exciting Nick Walters project in the guise of ‘Active Imagination’ – an album billed as a “free and spiritual journey into avant-garde jazz”.

That “spiritual” connection, as a theme, has permeated so much of the trumpeter’s and composer’s music. The Paradox Ensemble projects themselves seek such a high level of inspiration from Greek and Hindu philosophy while delivering compositions that beautifully merge Eastern styles with African grooves. Aesthetically, so much of the Paradox Ensemble’s compositions are, in fact, a paradox: with the aforementioned combination of cultures that seem to find new life when intertwined together, the group’s music is also enhanced by the inclusion of an accordion amidst the eleven-piece collective as well as a high level of electronics introduced within the evolving sonic soundscape which all adds up to delivering something truly unique and special.

The Paradox Ensemble is comprised of a real dream team of musicians that have proven to be frequent collaborators on past projects with Walters. The wonderful players on ‘Implicate Order’ include Rebecca Nash on piano, a horn section that includes Tenderlonious, Sam Healey, Richard Foote and Ben Kelly, guitarist Anton Hunter, Aidan Shepherd on accordion, Paul Michael on bass, Kodjovi Kush on percussion and drums by Jim Molyneux.

As previously stated, these artists certainly constitute no less than a dream team assembly of talent for a project that is just bursting with life. The music on ‘Implicate Order’ is an absolute joy – ‘The Underdog’, ‘Volta Region’ and ‘Be Seeing You’ are sensational and benefit from the inclusion of electronics as they help to plunge the compositions into somewhat more unpredictable territory. The longer ‘Diminishing Returns’ and ‘Implicate Order’ are more introspective in their approach and just as equally effective.

D.O.T. Records have launched with a gem of a project so we tip our hat to, both, the ever-evolving wonders of the Paradox Ensemble and the boundless possibilities of D.O.T. going forward.

Imran Mirza

Read also:
Nick Walters ‘Active Imagination’ LP/CD (22a Music) 5/5

Bodo Maier Jazz Quintet ‘Approaching Change’ (QFTF) 3/5

Classic, groovin’ Hard-Bop. Bodo Maier knows how to Jazz.
This phenomenal trumpeter and composer from Switzerland delivers a promising debut, drawing inspiration from the Giants of Art Blakey and the Jazz Messengers.
This five-track album is entertaining. Maier makes use of interesting instrumental scenarios and delivers his musical message strongly driven by the groove. His straightforward musical attitude will get jazz enthusiasts excited. If you fancy the avant-garde, this will not be the band for you. There is no surprise regarding language or form. It’s jazz as you expect. Maier’s sound, attitude and skills will score on any bandstand around the world, no matter if dodgy or high-class.
The only downside: this super polished production, kills so much character of Maiers sound and energy. Why not go all the way, if old school is the way to go? For his next recording, Maier needs to switch producers, to make sure his vision fits the appearance.


Will Glaser ‘Climbing in Circles’ CD (Ubuntu Music) 4/5

I was recently discussing with a musician friend the qualities of a jazz performance and we both agreed that the sounds and attitudes that we enjoyed most in the greatest jazz musicians were joyfulness, a sense of humour, cheekiness and fun.

Drummer Will Glaser has a style which is rooted in the Jazz tradition and yet his influences range far and wide, taking in rock and experimental music. On this album, Glaser is joined by saxophonist Matthew herd and the renowned pianist Liam Noble, a musician with equally eclectic musical tastes.

Glaser has recorded with the saxophonist and the pianist before, both in duo settings; one with Herd and the other with Noble. All the material on this release is new and is intended to document the growth of the musical partnerships established previously and is the culmination of a three-year project. The repertoire includes music from fellow drummer Paul Motian, Don Cherry and Tom Waits, Duke Ellington and Johnny Mercer. There are four pieces created ‘in the moment’ and whilst free in nature, all seem to possess an internal form of logic.

Glaser says that “this record sums up everything I love about music. We play standards and compositions from my heroes, and spontaneously create new music in the moment.”

The set opens with ‘Pre Lewd’ which I take to be one of the ‘spontaneously created’ pieces and clearly shows the good humour radiating when the trio plays.

Other highlights include ‘Mood Indigo’ with a flavour of Thelonious Monk to the fore. A sense of fun pervades this rendition. The theme is deconstructed and gradually rebuilt in the trio’s likeness. This piece clearly shows the trio’s awareness of their shared musical heritage from which they create something new.
Later echoes of Sonny Rollins are in the air when the trio launch into ‘I’m an Old Cowhand’. This one also reminded me of a performance from an early Courtney Pine album. The alto playing on this one is magnificent.
‘Lonely’ is the Tom Wates tune and is a sumptuous ballad with more great playing from all.

Over the nine tracks on the album, variety is the key. The recorded sound quality is first-rate and the cover creates in vision a representation of the sounds created on the album. This kind of music demands the kind of musical telepathy which has been refined over the previous two albums.

As I return to that conversation with my friend, I can say that this album has joyfulness, a sense of humour, cheekiness and fun pervading it along with an element of risk-taking. These are all the ingredients for a fine jazz album.

Alan Musson

Tamil Rogeon ‘Son of Nyx’ LP/CD (Soul Bank Music) 4/5

For his first full-length album in three years, Melbourne based violist/violinist and orchestral composer Tamil Rogeon has drawn on the modal jazz tradition to produce one of the few viola-led jazz albums of our time. Taking inspiration from the cosmic energies embodied within the music of John Coltrane, Yussef Lateef and Pharoah Sanders, Rogeon has successfully incorporated the feel of these legendary musicians into his own modal adventures.

Whilst often not an instrument typically associated with jazz, violin greats such as Jean-Luc Ponty and Stephane Grappelli have gone on to become iconic figures in the jazz canon. On viola, Rogeon uses the deeper tone of his instrument to stunning effect and with the compositions and performances on this recording sounding so naturally integrated, Rogeon’s own voice shines through with refreshing originality.

“I wanted to make a modal jazz record and there just aren’t that many on viola.” says the composer. “I wanted to speak with a heavier voice, more akin to a tenor saxophone. The viola is darker and thicker. It speaks slower.” As a frontline instrument, Rogeon brings the viola to life, beautifully capturing an almost bygone sound in a modern setting. This album is clearly not just about one instrument though. Rogeon appears to have a very well thought-out vision for this album, resulting in a soulful 70’s jazz sound that reminds me of albums produced in that era by the Mizell Brothers, Donald Byrd’s “Places and Spaces” being a prime example. Lush, soulful vocals add such a cool vibe to the already mouthwatering licks that are feverishly created from a combination of synths, string instruments, bass, drums and percussion.

Carrying a cosmic freedom that was embodied in so many spiritual jazz albums of the ’60s and ’70s, “Son of Nyx” is named after the Greek God of Satire, Momus, who is twin of Oizys and son of Nyx, Goddess of the night. Rogeon’s swirling, dynamic exploration of modal jazz ranges from the delightful, easy-going chilled-out sounds of “House No Wheels”, to the deep grooves and transformative energy of “Banished” to the full-on Spiritual musical enlightenment of the astonishing “Horns No Eyes”. Six tunes in total, all of them engaging and creatively adventurous, it is for me the “Horns No Eyes” track that captures best the true spirit of the masters, encompassing everything that is so beautiful, spellbinding and uplifting with music such as this.

Mike Gates

Rez Abbasi ‘Django-shift’ LP/CD (Whirlwind Recordings) 5/5

One of the defining characteristics of a Rez Abbasi recording is surely his ability to weave threads from contrasting musical traditions and genres into a simultaneously familiar yet new sound. Over fifteen album releases the guitarist has found many ways to achieve this creative goal. His 2005 release Snake Charmer’s melding together of Indian music and jazz for example or his acoustic variations on jazz-rock themes from his band RAAK to his more recent soundtrack for the silent classic of Indian cinema: A Throw of the Dice or Suno Suno from 2011 which saw his group Invocation explore Qawali, the spiritual music of Pakistan. Of his fifteen releases, this is the third for Whirlwind Recordings as leader. Interestingly he also played on Michael Janisch’s 2019 Whirlwind album Worlds Collide.

Abbasi’s background has played its part in his musical approach. Born in Karachi in the mid-60s his family moved to California before the decade was out. He describes how he gradually became conscious of the cultural contrasts between his adopted country and his place of birth on extended visits to Pakistan as he grew up. He’s been New York-based for 25 years.

On his most recent release, Django-shift from August 2020 Abbasi surprises by giving another twist to the genre. This time he’s taken the compositions of Django Reinhardt as his starting point. His stated aim is to retain Django’s compositional character while infusing the music with his own compositional voice. He goes on to explain he kept the melodies intact as a foundation on which to build his voice in the form of harmony, meter changes and texture. Abbasi says ‘one of the strongest feelings I get from Django’s music is euphoria but I also enjoy the darker phenomena of the music’. Fascinatingly he also heard connections between the music of Reinhardt and Monk, in particular, the ‘joy and bounce within their styles’, so he set about arranging Django’s tunes with Thelonious Monk in mind.

On the recording, Abbasi is joined by Neil Alexander (organ, electronics and synthesisers) with Michael Sarin (drums). Of the nine tracks, seven are Reinhardt compositions, the remaining two: September Song and Anniversary Song are tunes chosen because of their strong association with Reinhardt.

Abbasi is possibly playing with audience expectations on the album’s opener ‘Diminishing’ with a teasingly smooth guitar sound and the familiar Django melody but pretty soon the tune’s familiarity is dismantled and reassembled with equal weight given to Alexander’s keyboards. This veers between something resembling a 60s organ trio and a prog’ rock-inflected riff to a sound reminiscent of a fairground Wurlitzer. The aural associations are multiple but enticingly hard to place, making for an exhilarating listening experience; this is true throughout the whole album.

On ‘Heavy Artillery’ Monk’s essence is most definitely in mind and expressed in the funkiness of the keyboard part which leads the tune. Abbasi’s guitar plays a supporting role for most of the track only coming to the fore in an exquisite solo during the songs concluding quarter.

After eight tracks of musical inventiveness the album eases its way out with a variation on Kurt Weill’s ‘September Song’; its low key with beautifully layered organ textures which gives Abbasi’s guitar part the frequency its low register needs to fully occupy the space. It’s the perfect way to round off this project but I’m left wanting more, so it’s time to dust off my only Django LP and listen again, this time from a new perspective.

James Read

Sam Newbould ‘Bogus Notus’ CD (ZenneZ) 4/5

‘Bogus Notus’ marks the new album release from saxophonist Sam Newbould and his Amsterdam-based Quintet. Initially having introduced themselves through their debut album ‘Blencathra’ in late-November 2019, the sophomore effort arrives in relatively quick succession, a mere sixteen months later. Hailed for its innovative concepts and distinctive approach, the album proved to be a strong success raising expectations for where Newbould and company would take their music next.

Originally brought up in the north of England – a fact that proves a heavy influence on the overall theme and direction of ‘Bogus Notus’ – before his studies took him to Berlin and, later, to the Netherlands by way of the Conservatorium van Amsterdam. With his roots now firmly in place, Newbould has solidified his position amongst a thriving musical soundscape with no shortage of world-class talent in which to surround himself with.

Which takes us to the players comprising Sam Newbould’s Quintet – a revered selection of European talent including tenor saxophonist Bernard Van Rossum (Vuma Levin, Julian Schneeman), pianist Youngwoo Lee (Youngwoo Lee Quartet, Sunmi Hong Quintet), drummer Guy Salamon (Guy Salamon Group, Jasper Blom), bassist Daniel Nagel (WELS), and of course rounded out by Newbould on alto saxophone. The album further benefits from a series of guest musicians from trumpeter Ian Cleaver, guitarist Billy Marrows and Frederico Calcagno on bass clarinet.

As alluded to earlier, ‘Bogus Notus’ seeks its inspiration from Newbould’s years growing up in the Yorkshire Dales. It’s an album that strives to capture the stark contrast of these beautiful surroundings while also addressing the somewhat harsh restrictions that come along with them.

‘Left Side of the Cove’ delivers as a fantastic opener with Youngwoo Lee’s sombre piano introducing proceedings before allowing the remaining players to slowly develop the song by adding their respective layers around him resulting in a real injection of energy by the song’s midway point. ‘Concrete Caterpillar’ serves as another album highlight with its uncompromising drums and stabbing horns, while Beth Aggett excels through her vocal contribution to ‘Song for Annie’ bringing an elegant folk-esque aesthetic to the noir jazz arrangement.

Released through the independent Netherlands-based label, ZenneZ Records, Sam Newbould is very much a perfect fit for the label’s expansive vision for contemporary jazz. Boasting an ever-increasing roster of artists including names like the Millennium Jazz Orchestra, Zapp4, S’Yo Fang and Rose Ellis, ZenneZ consistently strives to celebrate a broad range of styles like “fusion to modern creative, jazz-rock to world/global, funky groove to vocal”. And through his inventive perspective, and some world-class musicians, Newbould’s ‘Bogus Notus’ helps to set ZenneZ’s year off to a strong start.

Imran Mirza

Farhot ‘Kabul Fire Vol. 2’ LP (Kabul Fire) 3/5

Hip-hop producer Farhot lives and works in Hamburg but was born in Afghanistan arriving in Europe in the 80s. This new release, Kabul Fire Vol 2 is a follow up to his solo debut Vol 1 from 2013 and continues to seek to resolve his Western upbringing and existence to his Afghan roots. “Sampling Afghani sounds is a way of bringing us all back together”

The piano and beats intro of “Bale Bale” flows into “Kalun” set the tone of funky hip-hop with Afghan flavours with some old school arrangements. The subtle beauty of ‘Yak Sher” is a stand-out, framed with melancholic strings and melodic bass. “Kishmish” is a bass and beats instrumental which bridges the pedestrian rap/pop of “Check” featuring JuJu Rogers and Nneka and the lead single, the bluesy, gospely “Feel Ugly” with a croon from Tiggs Da Author. “Azadi” is a return to the pace and power from the earlier tracks with tough syncopated beats, fragmented keys and intelligent, evocative samples. “Pul” is more refined with swagger. “Sampling Watana” is exciting, really more soundscape than hip-hop instrumental and is vaguely reminiscent of 80s experimental artists such as Negativland. “Arusi” is a more conventional hip-hop instrumental with a loping beat. Flutes flutter around “Ahange Qadimi” and the bass is set to stun. Another top track, “Baqi Manda” like ‘Yak Sher” has a richness with a moving melody. The outro “Shirin” is a reprise of “Bale Bale”.

This is a more enjoyable and cohesive work than Vol 1 with more emphasis on Afghan sounds and issues. Farhot admits Vol 1 “felt more like a beats and pieces album”. The album is most successful where it more embraces the fusion of West and East especially on tracks like “Yak Sher”, “Ahange Qadimi” and “Baqi Manda”. There are a few tracks which don’t follow this concept which means that unfortunately, for me sometimes the album loses focus and coherence. However, there are a load of exciting and inventive tunes on here so I hope it’s not another 8 years before we can hear Vol 3.

Kevin Ward

Astral Travelling Since 1993