George Benson - Breezin'

Let’s get this straight: George Benson was one of the best guitarists of his age. Good enough to play with Miles Davis. Fuck, his guitar playing is good.

It’s worth reminding people of this, because Benson gets remembered for his career as a smooth mom-soul vocalist.

Although there’s nothing wrong with either aspect of his career, I think you do have to view the two as distinct.

This album was, apparently, where everyone (and by everyone, I mean producer, Tommy Lipuma) discovered he had a voice, hence the inclusion of This Masquerade. So, Breezin’ marks the transition between Benson the guitarist and Benson the vocalist who also plays guitar. And also, one would imagine, between Benson the doing OK financially and Benson the doing very nicely, thank you very much.

#NowPlaying
#Vinyl
#GeorgeBenson
#Breezin’
#Jazz
#Music

John Spithead

2025-08-19 00:14:18

23!

Miles Davis - Miles In The Sky

This was Davis’s first dip of his toes into what would come to be known as 'fusion'. Shit was going to get very real, very soon.

It feels incredible that this was recorded when I was two. It sounds so very now.

It's interesting that two players on this album, Herbie Hancock and George Benson went on to have massive popular success outside/alongside their jazz careers.

Worth mentioning that drummer, Tony Williams, was 23 years old when this was recorded. Twenty three. Fuck.

#NowPlaying
#Vinyl
#MilesDavis
#MilesInTheSky
#Jazz
#Music

Charles Mingus - Cumbia & Jazz Fusion

The first time I ran a marathon, I did everything wrong. Of course. Everybody does.

I went out too fast, smashing through the first 10k, largely to overcome the massive panic attack I was having. I completely underestimated the amount of nutrition I would need and didn’t start taking on fuel until I was hungry, which is way too late.

Come the 30k mark I was cooked. My glycogen levels were in my boots, I could hardly put one foot in front of the other. I was, as they say, ‘bonking’. If you’ve never experienced this, it’s hard to describe just how fucking awful you feel. I had taken my headphones with me, so decided to play myself the list of pick-me-up music I had made for just this occasion.

Somehow, Charles Mingus’s Cumbia & Jazz Fusion had found its way on to the list. It’s nearly 28 minutes long. It wasn’t what I needed at all. What I should have done was get my phone out and flip forward, but my brain had lost all sensible decision-making capacity, so I struggled through. It was a long 28 minutes.

I haven’t felt able to listen to it again until this morning. I still find Cumbia & Jazz Fusion a bit re-traumatising, to be honest. However, Music for “Todo Modo” is great.

This was written as a film soundtrack, but was left on the cutting room floor. The sleeve notes gloss over this and don’t mention that it was described as a “dump” of previously discarded material, preferring to say it was because of the director’s deadline problems.

I’ve run quite a few marathons and ultra-marathons since, and don’t even bother taking my headphones with me. I just make sure I have a plan and try to stick to it. If it still all goes to shit, which it occasionally does - because sometimes, man, it just ain’t your day - I suck it up and try to make the best of it. There’s probably a lesson for life there.

#NowPlaying
#Vinyl
#CharlesMingus
#CumbiaandJazzFusion
#MarathonRunning
#Jazz
#Cumbia
#Music

Kassa Overall - Cream

I’m not an expert on hip-hop. Apart from being very into the early DefJam stuff when it came out, it’s never been in the centre of my field of vision. I’m more likely to know the tunes sampled in hip-hop tunes than the actual songs themselves.

On this, his new album, Kassa Overall covers eight hip-hop tunes, seven of which I know nothing about and one I’m only vaguely familiar with. I don’t think this makes me the intended audience for this record. It means I get to hear it without the novelty of knowing the original.

This threw up a bit of a weird one: I have no prior knowledge of Big Poppa by The Notorious B.I.G., which gets a delicious bossa nova treatment on this album. However, I know the sample, Between The Sheets by The Isley Brothers, that was used in it really well because I bought the 12” when it came out, so, to me, it sounds like a jazz version of that. I wonder how many other old duffers are getting into this in such an arse-about-face way.

The tunes stand up as decent jazz workouts, with Overall’s unique, thoughtful and clever drumming front and centre. According to the sleeve notes, these were all one-take recordings. I look forward to hearing the originals in the wild one day and recognising them from this record.

#NowPlaying
#Vinyl
#KassaOverall
#Cream
#HipHop
#Jazz
#Music

The Miles Davis Quintet - 'Round About Midnight

When I was growing up, working class people would often have a sing-song. In pubs, social clubs, on coach trips...anywhere where people came together to socialise. You don’t see that any more. I guess it was already a remnant of a bygone age when I was a kid. Nowadays, pubs just seem to have some cunt in the corner with an amplified acoustic guitar singing Wonderwall, whilst people look at their phones. If I was on a long coach trip and I tried to get everyone to sing The Lambeth Walk (“Oi!”) with me, they’d put me off at the next stop and call mental health services.

I say this, because Bye Bye Blackbird, was one of the songs that would get sung on such occasions, because everyone knew at least some of the words, and hearing Davis’s ‘first great quintet’, including of course John Coltrane, play this has brought back some memories and made me realise that this kind of social interaction is now all but lost – apart, I suppose, from football matches and churches (Do they still sing in churches or do they have some cunt in the corner with a guitar singing Wondergod?)

The part of the activity which was important, I think, is that everyone did it. It didn't matter if you were young or old, a decent singer or not - the sum was greater than the parts. In fact, if you'd started displaying Mariah Carey-style melisma, you'd have faced the scorn of your peers after a while. It was good-old communist fun.

#NowPlaying
#Vinyl
#MilesDavis
#RoundAboutMidnight
#JohnColtrane
#Jazz
#Music

Scott Walker - Tilt

I used to love a music magazine. Even when I’d stopped buying them from newsagents or whatever, I’d still never get on a plane without one. I can’t remember the last time bought one now. Whenever I’ve looked at them in an airport over the past few years, it seems they’ve got either The Beatles or Led Zeppelin on the cover and neither are going to tempt me into making a purchase.

Back in 2005 however, I was tempted by an edition of Uncut magazine, which had an accompanying CD of 15 tracks chosen by Robert Plant stuck to the front. One of those tracks was Farmer In The City by Scott Walker. This was my introduction to his solo work. I later downloaded this album, but never had a vinyl version until this arrived in the post today. It had been bothering me recently that I didn’t actually own this (I never really play digital files nowadays).

And, my word, what a stunning piece of work this is. Hard to believe it’s thirty years old. This came out the year Robson & Jerome did Unchained Melody, Take That did Back For Good and Oasis did Wonderwall - not the best year for popular music.

#NowPlaying
#Vinyl
#ScottWalker
#Tilt
#UncutMagazine
#RobertPlant
#Music

Planxty - Planxty

I’ve talked a bit about Planxty before. This was their first proper album (all the members had appeared on a Christie Moore solo album previously.)

The cover has one of the all-time great live performance photos, up there with Johnny Cash flipping the bird or Paul Simenon holding his bass the wrong way round. The photo also gives the album its alternative name, The Black Album.

I’ve recently started re-listening to the Fire Draw Near podcast from the beginning. It was started by Lankum piper, Ian Lynch during covid days and gives a very broad look at Irish music. He’s so passionate about the pipes that it’s made me listen to this album with new ears. And fuck me, Liam O’Flynn’s playing is so good.

The final track on the album is one of my favourite songs of all time: The Blackmith – a traditional tune originating in the south of England. This song is donkey's years old, and it always makes me wonder about the first time someone came up with it, and if they thought, “Blimey, that’s a good one!”

#NowPlaying
#Vinyl
#Planxty
#Irish
#Trad
#Folk
#Music
#FireDrawNear

John Spithead

2025-02-24 03:11:59

And her mother heard the din - O

Planxty - Cold Blow and the Rainy Night

In case you're not already aware: all Planxty albums are great.

Things I love about this, their third LP, recorded in 1974:
- It was recorded in Whitechapel, a place close to my heart. (Although Bohemian Rhapsody was recorded in the same studio and I think that's wank.)
- The cover has a cartoon portrait of the band, which is...unflattering.
- It has a killer version of one of my favourite folk songs - the title track. What a timeless tale of humanity's flaws and mistakes that is?

#Planxty
#Nowplaying
#Vinyl

Sly & The Family Stone - Fresh

Whilst discussing bass playing the other day I named If You Want Me To Stay as my favourite bass playing on a tune ever: super-funky, understated but really clever. Unfortunately, I’d given Larry Graham the credit, but it turns out he’d been given the old heave-ho from the Family Stone just prior to this album being recorded and replaced by Rustee Allen. Perhaps it would have been a completely different track had Graham played on it. Incidentally, Rustee’s name is spelled incorrectly (Rusty) on the sleeve.

When I was about 18, my mate gave me this album. It had been given to him by a local smackhead in payment for giving them a lift and, as it had been robbed from someone’s car the previous evening, my mate didn’t want the bad karma and wanted to pass it on. I had no such karmic-qualms.

This is a really subdued funk album, which is surprising considering Stone had got stuck into the gak with considerable enthusiasm. You’d think it’d sound more coke-y.

#NowPlaying
#Vinyl
#SlyandtheFamilyStone
#Fresh
#Funk
#RusteeAllen
#Music

David Bowie - Scary Monsters (and Super Creeps)

I always feel a pang of guilt when I think of this album. It came out when I was 14 and I borrowed it off a kid at school called Jonathan, and have yet to give it back. Jonathan is dead now, having died in a tragic barbecue accident, so I heard (I know it sounds like I’m taking the piss here, but I’m not), so he has no further use for it.

This was Bowie taking stylistic-influence from the Blitz kids, and he was keen to get out of the Berlin Trilogy-doldrums, which – ironically – were partly due to his imitators getting all the record sales. It worked – the album contains two massive hits in Ashes To Ashes and Fashion and buoys him up for a split with both long-time producer, Tony Visconti, and long-time label, RCA, heralding one of the worst periods of his career.

I’ve always loved Robert Fripp’s guitar playing on this album (even before I knew who he was.)

Michi Hirota’s Japanese spoken vocal on It’s No Game (No.1) elevates the track to make it my favourite of the album. She is one of the two women on the cover of the best album sleeve ever, but you probably already knew that.

#NowPlaying
#Vinyl
#DavidBowie
#ScaryMonsters
#Music

John Spithead

2025-06-12 01:28:57

Lawns grow plush in the hinterlands

Sparks - Kimono My House

I can still clearly recall the impact of seeing Sparks on Top Of The Pops for the first time in 1974, performing the lead single from this album, This Town Ain’t Big Enough For Both Of Us, Ron’s Hitler moustache creating quite the stir, even in a pop world occupied by the frocked-up Bowie and Robbie from Mud, and Steve Priest from The Sweet dressed like a big gay fash on the Christmas Day TOTP episode.

This is the album in which Sparks set out their stall with the wares they will hawk, albeit in variations, until today. Wares that will be blatantly shoplifted by some of their contemporaries (looking at you, Queen.)

The front of the sleeve has to be one of the best album covers ever.

#NowPlaying
#Vinyl
#Music
#Sparks
#KimonoMyHouse

Beggar & Co. – (Somebody) Help Me Out/Rising Sun 12”
Light Of The World – Swingin’/The World Is Out 12”
Light Of The World – The Boys In Blue / This Is This 12”

Vale Chris Hill.

He was a generation ahead of me, so when I was a kid, he had already attained legendary status.

A genuine eccentric, he had been the DJ at the Lacy Lady in Gants Hill, where he played imported soul music at a time when almost every other disco was playing chart music. The venue drew a super-fashionable crowd of working class kids who really dressed up for the occasion. It’s seldom acknowledged that this was where‘77 punk borrowed its sartorial style from.

He later worked for Ensign Records and was instrumental in getting Brit-Funk bands signed, so I thought I’d have a morning of playing just Brit-Funk.

I saw him DJ a few times in the early eighties, and that highly performative DJ style had been nicked and done to death by others, who had sometimes made more money from it (Steve Walsh, for instance) . I can still remember him squeaking a pet toy or something along with Brass Construction’s Movin’ though.

As is often the way, the originators of the Brit-Funk sound only achieved a modicum of commercial success whilst those pop acts who co-opted their sound (looking at you Spandau Ballet, ABC, Haircut 100) got the glory. It’s a tale as old as time. Makes you wonder what it was about those acts that made them more palatable to the British pop market.

#NowPlaying
#Vinyl
#BritFunk
#EnsignRecords
#ChrisHill
#BeggarAndCo
#LightOfTheWorld
#Music

John McLaughlin With The One Truth Band - Electric Dreams

My copy of this is a US pressing, which has been ‘manually rebranded’ for CBS in international markets. I’ve read about this but never seen it in the wild before. The back cover has been redacted with a texta and the labels have black rings stuck over them, obscuring the Columbia logo. This would’ve been someone’s job, man.

Talking of shit jobs, L. Shankar, the violinist on this album, went on to play on Phil Collins’s Face Value album the following year.

This album came out the year after my favourite J.Mc album, and it’s a clear move further into the rock sphere, which for my ears, makes it a tad dull.

I’d never properly looked at the sleeve before today. The front photo is a sepia toned photo of old mate John sitting at a white Formica fold out kitchen table in his jim-jams and satin dressing gown. Before him is a coffee cup full of pitch black fluid, with a spoon standing up in it. Now this could be seen as uncouth, although please remember Johnny-boy comes from Donny, where this is probably OK. Also, the black fluid could be Yorkshire tea.

Behind him, his appliances seem to have gone boonta, have adopted ghostly manifestations, and are levitating. This is particularly worrying because what can only be described as a kettle/clock combo are plugged in quite high up the wall on a short cord. If it stopped levitating it would be just dangling there.

To make matters worse, ALL FOUR rings on his electric stove top are blaring. Turn them off, man!

As if all this isn’t bad enough, there’s a ghostly girl stood outside the window holding a suitcase. No-one wants that.

Nightmare.

Here’s an interesting snippet for you: the son of Fernando Saunders, who played bass on this album, represented Hungary in the Eurovision Song Contest in 2014.

#NowPlaying
#Vinyl
#JohnMcLaughlin
#OneTruthBand
#ElectricDreams
#JazzFusion
#Music

John Spithead

2025-03-05 02:52:58

We got one there. We got one there.

John McLaughlin - Electric Guitarist

I believe that this was the first proper jazz-fusion LP I bought. I remember picking it up in JiFS Records, Chadwell Heath in about 1984. (Man, I'd fucking love to go back and have a dig in that shop again!) I was an avid reader of guitarist magazines at the time and kept reading about McLaughlin and his Gatling gun playing-style, and just had to hear it. There was no way of hearing it before buying in those days, so it was a bit of a gamble, although to be fair, I knew I was going to love it.

All the big guns are wheeled out in support of McLaughlin on this album and they all get a fair shake of the sauce bottle.

The second track, Friendship, is a frequent spinner on my earworm jukebox, and has been for some 40 years now.

url=https://friendica.world/photos/johnspithead/image/120244070867c7bc835c083569008833][/url]

#NowPlaying
#Vinyl
#Jazz-Fusion
#JohnMcLaughlin

Various Artists - Blow the Man Down: A Collection Of Sea Songs & Shanties

If you want my opinion, there’s far too much flag-shagging going on at the moment, especially in my country of birth, where it seems to be all the (Fa)rage to paint the St George’s cross on every surface, Shankhill Rd style.

When I grew up in England, flag-waving was looked down on as something that was only practised in inferior nations who didn’t know they were the best. There is no greater indication that England is floundering than painting flags on mini-roundabouts. Also, surely no-one who loved their flag would paint it on the ground, amongst the dog shit, phlegm and fag-butts, would they?

The problem for English nationalism is that English culture is an eclectic culture. Its primary cultural achievement is taking on other people’s culture and re-purposing it. I’ll give you some examples: London – invented by the Romans and built by the Irish; The Beatles and The Rolling Stones – co-opted American music; fish & chips – brought in by Jewish refugees; baltis – adapted from Pakistani food; Farage – copying 1930s Germany. The important thing to say is that’s OK. The English can be proud of this.

The reason I’m stating the bleeding obvious here is that I’m playing this CD of sea shanties (work songs) and forebitters (chilling-out songs) from England’s great seafaring past. Nothing more English than that. Except there’s Irish, American, and Portuguese influence galore. And that’s the way it works.

Incidentally, there’s some fucking beautiful songs on here. For instance, Lovely Nancy, from the 18th Century, sung by Ian Campbell acc. Dave Swarbrick – a song that reprises an ancient theme of a woman who dresses as a man to go to sea. The fucking tofu-eating wokerati right there.

#NowPlaying
#CD
#BlowTheManDown
#VariousArtists
#Folk
#Shanties
#CD
#FlagShaggers
#englishnationalism
#Music

Go-Go's - Beauty And The Beat

The other day we watched Lolita (the 1962 Stanley Kubrick one). What a stunning film. Really discomforting. Brilliant performances by Shelley Winters, Sue Lyon (who really should be a household name) and James Mason. The reason I’m telling you this is because James Mason is Belinda Carlisle’s father-in-law.

A week or so later we were watching Trixie Motel and who should pop up as a guest, but Belinda Carlisle. Thought it was time to give this a spin.

This really is such a well-known album that there’s little left to say about it. However, on sitting down and giving it a proper listen, it struck me that it’s a much more vocal-rich recording than I’d previously heard: BVs galore.

Also, I like the fact that they returned the towels used in the cover picture to the shop afterwards.

I picked this copy up from the $5 bin at Mr V's in Semaphore years ago. It was previously owned by Lesley Hilgendorf, who had written her name across the top of the back of the cover. Somewhere in the Barossa Valley, I expect.

About ten years ago, we did a themed radio show, which featured people’s mondegreens (misheard lyrics). One of the finest examples was ‘alex the seal’ ('‘our lips are sealed’). This has stuck like the proverbial shit to a blanket. Thanks Dee.

#NowPlaying
#Vinyl
#Go-Go’s
#BeautyAndTheBeat
#StanleyKubrick
#JamesMason
#Lolita
#SueLyon
#Music

Khruangbin - Con Todo El Mundo

This is the second Fathers’ Day LP. I’ve never heard nor heard of them before.

They are a Texan trio who are big fans of Thai and Persian tunes and they’ve got that guitar sound nailed down, with minimalist funky drumming and the occasional bit of vocal or something else.

Firstly, I can see no reason why I would need my Persian funk filtered through an American lense.

Secondly, you know how music that’s meant to be chilled leaves you feeling more stressed? Yeah that. I could literally feel my arsehole clenching in irritation by the middle of side two. It’s fucking Muzak.

Oddly enough, it left me thinking of Fleetwood Mac’s Albatross – a piece of music I have always loathed.

The only time I could imagine playing this would be in the background whilst having a dinner party (if I had dinner parties) or something. Which is probably the worst thing I can say about a piece of music.

Astonishingly, it gets glowing reviews everywhere.

Now I have to work out how to not sound like a completely ungrateful cunt or hurt people's feelings when I get asked what I thought of the album. Whilst I do that I'm going to have to play some Discharge or something just to restore equilibrium.

#NowPlaying
#Vinyl
#Khruangbin
#ConTodoElMundo
#Music

Miles Davis - Live-Evil

It was Fathers' Day yesterday in Australia. I try my best to be a conscientious objector (I mean, the kids didn't ask for me to impregnate their mother, thus forcing them into existence, and so really have no need to thank me for doing my basic duty to them in the intervening years), but my bastard children won't have it. In an attempt to limit the proceedings, I suggested that - if they must - they just fill a Live-Evil shaped gap in my record collection and be done with it. It was a partial success, in that I do now own a Record Store Day reissue of the album on teal-splatter (What a time to be alive, eh?) vinyl.

I haven't heard Live-Evil before and it's quite a substantial work, so these are just my initial thoughts:

- Like I say, there's a lot of it. It's going to take time to digest.
- This is firmly in the On The Corner ballpark, although generally dialled up a notch or two. Davis is wah-wahing away like a man possessed.
- John McLaughlin's guitar sound, let alone his playing, took my breath away.

Anyway, I might add further comments in future as I get into this more.

#NowPlaying
#Vinyl
#MilesDavis
#LiveEvil
#JazzFusion
#JohnMcLaughlin
#Music

Dennis Brown - Money In My Pocket/Joe Gibbs And The Professionals - Running Irie 12"

In 1979 there was a Saturday morning kids’ television show called The Saturday Morning Show. It was presented by an affable-seeming chap called Steve Jones, about whom it’s hard to do any deep internet research due to his Sex Pistols namesake. My favourite part of this show was ‘hit or miss’-type evaluation of some of the week’s new single releases, called ‘Keep or Heap’. This was where I first heard Money In My Pocket. I bought it on 12” that afternoon.

Unfortunately, I later swapped it for a plastic carrier bag full of porno mags with a kid from school, later replacing it via discogs.

This is Brown/Gibbs’ reworking of their 1972 tune, engineered by Errol Thompson and with added toasting by Prince Mohammed, neither of whom even get a credit. Brown’s vocals are as smooth as a real estate agent run through a Nutri-Bullet. The A side is a proper extended version, and the B side, Runnings Irie, finds Joe Gibbs and the Professionals smashing through the instrumental with gay abandon.

In hindsight, lovers rock was charging over the hill like a big sexy bull. But none of us knew it yet.

#NowPlaying
#Vinyl
#DennisBrown
#MoneyInMyPocket
#Reggae
#SteveJones
#TheSaturdayMorningShow
#KeepOrHeap
#JoeGibbs
#PrinceMohammed
#ErrolThompson
#Music

Edwin Starr - Contact/Don't Waste Your Time 12"

Edwin Starr was American by birth and Polesworth by choice. I used to go to college with one of his backing singers.

I’d bought the 12” of this in 1978, then sold it to a girl at school. I later picked up this copy in a second hand shop down the south coast somewhere. It has ‘Toffs’ written in texta on the label.

The only Toffs disco I can find online is in Sligo, Ireland, but this is an Aussie pressing, so it’s unlikely to be from there. I can’t help thinking there would have been loads of discos with that name when this record came out. Fucking terrible name.

Contact is a cracking slab of disco: Starr’s roaring vocals, sweeping strings, bongos, hi-hats, open percussion breaks – wicked.

Lyrically, it tells the story of our protagonist seeing someone he fancies across the other side of the disco, where she is sitting quietly by herself. She meets his glance and Edwin locks eyes with her. He seems to have read an awful lot into her catching his glance, if you ask me, but that was the seventies, I suppose. He then describes his state of excitement as he crosses the dancefloor to bother this woman. Rather disturbingly, he says ‘I never took my eyes away from yours, not even for a moment’, which could be perceived as a bit odd, menacing perhaps, not to mention increasing the risk of bumping into people.

The B-side, Don’t Waste Your Time, is a dreary ballad, and is, rather ironically, a waste of time.

#NowPlaying
#Vinyl
#EdwinStarr
#Contact
#Disco
#Polesworth
#Music

Yussef Dayes - Black Classical Music

Because this album sits next to 'Davis' alphabetically on the shelf, it gets looked at more often than most and I think, “must play that again one day” more frequently than most other records.

Brownswood really splashed out on this album: double album, decent pressing, embossed sleeve (ooh-la-la!), cast of thousands. It feels like the concept was to do a British Kamasi album and the result is a highly competent funky, jazz album which shows off all Dayes’s influences. I remember when I gave it its first listen, thinking, “I know all the records you’ve been listening to, mate.”

I find it all just a bit underwhelming. Where are we going here? What are we hoping to achieve? How are we driving the art form forward? Because without this, it’s such a waste of talent.

Also, I’m of an age where the sound of a fretless bass through an octaver still sets my teeth on edge, thanks to the over-use of Pino Palladino as a bass player in the 80s (No Parlez, anyone?) Pino’s son, Rocco, plays on this album and has a remarkably similar sound which is slathered on all over the shop. Fucking horrible – it’s still too soon.

#NowPlaying
#Vinyl
#YussefDayes
#BlackClassicalMusic
#Jazz
#Music

The Comet Is Coming - Hyper-Dimensional Expansion Beam

I was lucky enough to see The Comet Is Coming live in Sydney, promoting this album, I reckon. The audience was roughly 50% super-cool young folk and 50% old white dudes who looked like they owned record shops. It really went off.

Whilst I acknowledge the hard work and talent of the other two members, Shabaka Hutchings is so fucking cool. Such a restrained yet imposing presence. His Caribbean-tinged, front-foot, Gatling gun blowing, marks him out as something really special.

The band called it a day after this album.

The band drew lazy comparisons to Sun Ra, which was largely based on them having a space/cosmic shtick, rather than it being a musical comparison. You’d be better served comparing them to Van der Graaf Generator musically.

I own three of their albums, but rarely fancy playing them, to be honest. I thought it might be because that speck of the zeitgeist on which they sailed had passed. However, playing this today, I’ve really enjoyed it.

#NowPlaying
#Vinyl
#TheCometIsComing
#HyperDimensionalExpansionBeam
#Jazz
#Electronic
#ShabakaHutchings
#Music