Thursday, 31 December 2009

Best of ‘09 Writeups at Passion of the Weiss.

I wrote several writeups for Passion of the Weiss’ 50 best albums and 50 best hip-hop songs. For the albums list, I contributed writeups of Oh No’s Dr. No’s Ethiopium, Playboy Tre’s Liquor Store Mascot, Bibio’s Ambivalence Avenue, the Flaming Lips’ Embryonic and Javelin’s Jamz & Jemz. On the best hip hop songs list, I did Big Boi’s “Shine Blockas” and Blu’s “GNG BNG”.

Click my writeup of Oh No’s Dr. No’s Ethiopium to read the albums list:

The second installment of Oh No’s series of world music beat tapes, Ethiopium really should’ve been called Further Exodus Into Unknown Rhythms. Here the still-breathing Michael Jackson creates 38 minutes of cervical-snapping beats sampling exclusively from the Ethiopian Golden Age of the 1960s and 70s. Pulling out odd snippets of horns, otherworldly vocals, strings and guitars and pasting them to classic breaks and gritty drums, the tracks range from straight loops to sophisticated chops.  Despite the inherently limited theme, there’s a lot of sonic variety, with beats running the gamut from dark bangers like “Concentrate” and Scary,” to Highlands headnodders like “Melody Mix” and album highlight “The Pain.” While big brother Madlib receives most of the accolades, Oh No has quietly continued to perfect his craft.  The breaks never outstay their welcome and in just under 40 minutes, Ethiopium takes you on a breathless and blunted ride through the Horn of Africa.

And click the excerpt of my “Shine Blockas” review to read the best songs list!

Somehow, Big Boi, one half of the most popular rap group of all-time, has leaked fantastic album material for over a year-plus and still Sir Luscious Lead Foot can’t get a release date. The latest gem from Daddy Fat Sacks’s solo album, “Shine Blockas” combines Gucci’s infectious energy and Big Boi’s unmatched flow over a superbly soulful beat with a distinctly Southern trunk thump. Gucci and Big make a natural pair, given the two’s mutual love for goofy similes and metaphors. Big awkwardly sprays like a skunk, while Gucci strives for Tyler Perry sales. Producer Cutmaster Swiff spit-shines Harold Melvin’s vocals until they glisten like a fresh coat of candy paint on a Caddie. Where Kanye used the same sample on Jay-Z’s “This Can’t Be Life” to convey sadness and lamentation, Big Boi turns it into a playful, triumphant kiss-off to the haters. Of course they can’t close the safe–there’s too much money in it.

Man, I can’t believe it’s 2010. Shana Tovah, y’all!

Friday, 13 November 2009

Masta Ace & Edo G. Interview at Metal Lungies

I had the opportunity to interview with Edo G. and Masta Ace earlier this week for Metal Lungies. I haven’t heard the whole A&E album yet, but “Ei8ht Is Enough” is bananas, especially Edo’s second verse:

I can understand an ocean by looking at a raindrop/we everywhere, you in the same spot/I’ma make so you rappers never ever name drop

You can read the whole interview by clicking the excerpt below. This part of the conversation really stuck out to me:

What does it mean to be a rapper past the age of 30 in a genre that fetishizes youth so strongly?
MA: For me, I definitely understand the obsession with youth but I think it’s something hip-hop has to get over. It’s new territory, rappers turning 40 and plus. People don’t know how to handle or deal with it. What they’ve been used to doing is just ignoring dudes. In the past, the rappers from the 70s that got old, they just kinda disappeared because they weren’t part of the new industry. Which was high record sales, big budget videos. They missed that whole era. A lot of them disappeared because they weren’t that visible. They didn’t come up in the video era. People knew their records but they didn’t have that visual to go with it. Edo and I came up in the video era where people know what we look like. We’ve had videos all over the television. For the first time, we’re starting to reach that age where people want us to disappear. We refuse to crawl under a rock. We feel like we’ve still got something to say.

Wednesday, 11 November 2009

Nosaj Thing, Oh No And The Virtues of Compact Experimentation

 

Nosaj Thing, ne Jason Chung, is a L.A. based producer who conducts gorgeous digital symphonies with drum machines and samples. His debut album Drift is one of my favourite records of the year, a 12-song soundtrack to a turbulent midnight flight. While all the songs do sound of a piece, Drift doesn’t have a cohesive texture as such; these songs have a slippery nothingness to them that demands close listening to contextualize them as more than sonic wallpaper. The bass thuds and pumps and cold synths glide past like streaks of light. The primitive 3D album cover perfectly fits music that shows the beauty in the simplicity of abstraction.

Nosaj owes some props to Ennio Morricone, who deserves some credit for figuring out how to make wordless vocals so damn unsettling.

Separated from language, the human voice is just air. The assorted gasps, incomprehensible murmurs, and ghostly choruses that swirl around Drift’s songs only make them sound more unearthly. “Lords” is built on a a sampled choir whose vocals circle the bass subterranean thump like vultures.

And yet there’s still a lingering air of hip-hop in the percussion and bass that dances around the edges of the songs. Take “1685/Bach”. A vaguely classical keyboard motif propels the song, stuttering and shuddering like a mechanical heart. A single disembodied tambourine grounds the melody and reasserts the idea of rhythm. Producer/dancer Lunice found the hip-hop subtly buried in the song’s staccato pulse.

“1685/Bach” reminds me of the weirder beats on Oh No’s pair of world music sampling beat tapes. 2007’s Dr. No’s Oxperiment and this year’s Dr. No’s Ethiopium are filled with fairly conventional head nodders. Typically there’s a choice loop complemented by some hard drums and a thick bass line. But each album has its share of odd snippets, one-minute loops that hold no pretense of drum patterning or break-downs. Ethiopium’s “Louder” is built on a brief discordant snatch of horns and strings off some forgotten Ethiopian record. Oh No tacks drums and the oft-used vocal snippet (“Louder!”) from Mountain’s “Long Red” on top of it, and miraculously it holds “Louder” together for its 1:37 runtime. Oh No wouldn’t try to sell these beats to rappers, because most of them don’t loop cleanly. The fragmented, distracted sound doesn’t lend itself to 16 bar verses. But as a single songs on a 31 minute album, songs like “Louder” and “Adventure” shine.

From a recent HipHopDX interview:

DX: You make a lot of instrumental albums, and that’s a sort of lost art. How does that creative process differ from making beats for other people?
Oh No:
When I’m making an instrumental album, first and foremost, I’m not making an instrumental album. I’m just going to make one beat out of something, and that’s that. when I start getting in a zone, I start to hear everything. Everything sounds good, and I get mad hype off of it. When it comes out, I’ve usually made double whatever the album is. Dr. No's [Experiment] came out with 30-something tracks, but I really made 60-something. Ethiopium, we put out 18 tracks, but I really made 45 of them. I like to take certain joints that are going to make people trip—I don’t want to trip them out too much, because I’ve got super crazy stuff, and I’ve got stuff they can understand. …I try to make whatever style, new style, off-beat shit, whatever. I like to have everything. Loops, chops, filters, no filters, mega basslines, no basslines, whatever. And from there, I just randomly pick whatever, and that’s that. And make it flow together.

While Oh No’s instrumental albums seem to come from more of a beat-making mentality than a compositional one, the tracks still work as songs. But like Nosaj, he finds a way to pack experimentation and general weirdness into a half-hour beat tape. Drift is only 38 minutes long, with none of the songs running longer than three minutes and change; their effectiveness comes in how much growth and mood they generate in three minutes or less.These albums are head trips for the ADD generation.

Saturday, 24 October 2009

Aaron Watches The Classics: Akira (1988)

Aaron Watches The Classics is a new feature on the blog where I share my thoughts on revered film classics. It’s just for shits and giggles right now, hopefully this can become a little more focused over time.

Akira is an important film for a number of reasons. The technical reasons are the previously unseen fluidity of its animation and the quality of the voice acting (Akira is considered the first anime film to use lip-synched dialogue). It is also tremendously influential on the integration of American cyberpunk themes into Japanese animation, borrowed from influential texts like Blade Runner and William Gibson’s Neuromancer. Finally and arguably most significantly, it served as an introduction to the world of anime for an entire generation of Americans. Whether this is a good or bad thing may depend entirely on your appetite for Pocky and fat Midwesterners dressed as Sailor Moon.

The film is set in 2019 in the city of Neo-Tokyo, an artificial island built after the real Tokyo is destroyed in the 1988 World War III.The city has become overrun with teenaged bike gangs and anti-government terrorist groups. Shotaro Kaneda leads a motorcycle gang called the Capsules. One night he leads the Capsules in a fight against a rival gang and his friend Tetsuo crashes his bike into a little child who looks like a shriveled alien. The little weirdo makes Tetsuo’s bike explode and a group of armed soldiers take the kid and Tetsuo away for questioning. Tetsuo is brought to a government building where the requisite evil scientists conduct strange experiments. That’s all I can really say without ruining the plot for you. Suffice to say, I’m leaving out a lot of explosions, Japanese mysticism and creepy psychic children.

Akira’s plot is not the main attraction. It’s an anime which imagines the animated film as spectacle. The hallucinatory sequences are particularly exciting. They’re reminiscent of the dream sequences in Paprika, but considerably more frightening. The cel animation is gorgeous. The charaction animation is astonishingly fluid, but the settings are just as important; Neo-Tokyo is all gleaming skyscrapers and spotlights, enveloped in eye-catching textures and colours. The soundtrack is fantastic, a worthy companion to the striking visuals. GeinĊ Yamashirogumi’s music complements the onscreen action perfectly with an array of traditional Japanese instruments and inventive leitmotifs. As Tetsuo begins to develop psychic powers, his appearance onscreen signified by ritual chanting and clattering Asian percussion.

There's a lot of thematic significance in Akira between the atom bomb allusions and modern dystopia setting, but I was most touched by the relationship between Kaneda and Tetsuo. Akira makes most sense to me as an exploration of the difficulty of growing up and the nature of friendship. There’s a reason this stuff ended up being so big with preteens. I recommend watching Akira late at night. There’s something about its futuristic cities and psychic teenagers that just seems more sensible at 2am.

Wednesday, 14 October 2009

Gaslamp Killer, Live at The Drake

Toronto, what what! Amazing live set. Where did he get the background visuals from?

Friday, 9 October 2009

Interview with director Punit Dhesi at Hip Hop Is Read.

I interviewed Fresno-based music video director Punit Dhesi for a two-part feature over at Hip Hop Is Read. Not only is Punit one of the most creative music video directors working right now, he also graciously agreed to let me interview for the site. Here’s an excerpt of Punit talking about his genius video for Gangrene’s “Under Siege.”

AM: How did you come up with the idea for Gangrene [Alchemist and Oh No]’s “Under Siege”?
PD: I had been talking to Alchemist a lot, we had been going back and forth. He really wanted to do something for the Gangrene [project], we talked about doing the
“Therapy” video, just trying to make something happen. I went down there and stayed with him for two days. We were just sitting there and we came up with it together. We just started watching riot footage and it just came to us. I said, “Can we just put you guys in the riot footage?” I got this documentary done by ABC on the L.A. riots from the library on VHS and just ripped all the footage. Some of it is from YouTube too. I just studied it, trying to match the shots. We shot it all on green screen one day in downtown L.A.

Go to HHIR to read the whole piece in two parts.

Bonus: Punit sent me some pictures of the VHS tapes he made of the “Under Siege” video. They actually sent these cassettes out to media outlets. Check the fly shit:

 

Sunday, 4 October 2009

Thursday, 24 September 2009

Bonus Blurbs @ Passion of the Weiss: Killer Mike - “I Pledge Allegiance To The Grind II”

Motherfuckers/I just bought some new chukkas/the old ones bloodied up from stomping out all suckas

I was upset when I read that Mike changed his rap name to Mike Bigga; not only is it super-generic sounding, Killer Mike sums the man’s rap persona so well. Unfortunate emcee titles aside, I Pledge Allegiance To The Grind II is one of my favourite albums of the decade. It demands your attention. I wrote a short piece on IPATTGII over at Passion of the Weiss. Click the excerpt below to read the whole thing.

Channeling Tony Robbins on the intro, Mike explains that the album is meant to soundtrack your success. He’s less interested in telling listeners how much money he has and more about talking about how to get that Yet hustling is only one facet of the grind and Mike wears many masks over the album’s 17 tracks: motivational speaker, preacher, and yes, hustler. But like his personal hero (early) Ice Cube (who appears on the polemic “Pressure”), Mike embodies all of these characters without being contradictory.

I also recently penned a Popscene feature on Blur’s self-titled 1997 album. Read it whenever you feel heavy metal.

Thursday, 27 August 2009

Ottawa Folkfest Concert Review at Exclaim!

Really had a good time at the three-day annual Folkfest in Ottawa. Joel Plaskett was the set I was most looking forward to, but I was really blown away by all of the shows I saw. Particular highlights:  Here’s a snippet of my review, click on it for the whole thing:

Picturesque Britannia Park was flooded with folkies of all ages for the 15th annual Ottawa Folk Festival, which offered stellar performances and workshops by some of Canada's finest roots and folk performers. The Sadies started Friday with a bang, as the brothers Good and the band blazed through a lively set of their signature blend of country, folk rock, surf and psychedelia. The Toronto quartet got the crowd stomping through blistering performances of originals, as well as covers of Merle Haggard and Pink Floyd. Amy Millan of Stars and Broken Social Scene took the stage later that day. Backed by stand-up bass and a pair of trombones, the songstress sang lovely, delicate ballads in her honey-soaked wisp of a voice. Former Barenaked Lady Steven Page closed out the first night with an acoustic set of BNL classics and newer solo material. Self-effacingly cracking wise about his exit from BNL, Page led the crowd through energetic sing-alongs of "Brian Wilson" and "The Old Apartment," and given the crowd's rapturous response, Page may just have a future as a solo artist.

My favourite set would probably be one-man band That 1 Guy, whose set was weird and wonderful in so many ways. Strangely danceable too. Here’s him doing "Butt Machine”, playing his self-invented instrument, the Magic Pipe.

 

Monday, 3 August 2009

Top 50 Rap Albums of the 00’s at Passion of the Weiss: #41 – De La Soul – The Grind Date

I was blessed with the opportunity to participate in this monumental Top 50 Albums of the 2000s list at Passion of the Weiss. Below is one of three writeups I contributed to the list, on De La’s The Grind Date. I won’t spoil the other two. In the meantime, click that blurb to read the whole spiel and the rest of the bottom 50.

Consider The Grind Date a guide to aging gracefully in hip-hop. It’s not that hard to do; let Pos and Dave show you how. Start with strong, sonically unified production. The Grind Date’s producer lineup is serious. De La are blessed with fantastic beats by Madlib, Dilla, Jake One and regular collaborator Supa Dave West, and a surprisingly dope 9th Wonder production on “The Future”. The tracks are filled with thick bass lines and hard drums. Dilla’s mix of turning signals, reverberating strings and pounding bass on “Verbal Clap” spurs Pos and Dave to spit their hardest verses since Stakes Is High. On “Shopping Bags”, Madlib slices and splices Just-Ice’s “Cold Getting Dumb” until it sounds like the beat was played on empty glass bottles. Jake One’s thunderous, piano-driven thump on “Rock. Co. Kane Flow”. Supa Dave West dependably provides soulful boom-bap backed by gorgeous vocal samples on “He Comes”, “The Future” and “The Grind Date”.

Wednesday, 29 July 2009

Popscene Feature at Passion of the Weiss: Pulp - “His N Hers”.

I keep forgetting to post this here. Back in May, I started a new regular feature at Passion of the Weiss, called Popscene (after the Blur classic). For each Popscene piece, I discuss an album of the Britpop era that has been overlooked by North America. I’ve already written about Super Furry Animals’ Fuzzy Logic (1996) and the Auteurs’ New Wave (1993). The latest  is on Pulp’s 1993 breakthrough album, His ‘N’ Hers. Click the blurb to read the whole piece:

Their Island debut, His ‘N’ Hers, saw release the following year, and signaled Pulp’s coming-out-party.  With Leonard Cohen the clear-cut inspiration for Cocker’s sex, love and class-obsessed narratives, and Scott Walker, David Bowie and Bryan Ferry, his obvious vocal progenitors, Cocker’s myriad influences finally coalesced into a cohesive sound and vision. Meanwhile, Pulp themselves settled into a definitive and seamless blend of glam-rock, post-punk and disco.

Strong shouts to Jeff for editing my rambles into something comprehensible and entertaining.

Also: I’m not an expert on the genre, I'm discovering a lot of stuff as I go. If anyone has any suggestions for future Popscene writeups, comment or send me an email.

Friday, 12 June 2009

The Organized Noize Beat Drop at Metal Lungies

I’m two days late, but I think it’s appropriate I’m posting this today – I’ve been listening to Goodie Mob’s Soul Food continuously over the last two days.For lack of a decent pic of Organized Noize, here’s a picture of most of the Dungeon Family. ONP are best known for their production for Outkast, Goodie Mob and the rest of the Dungeon Family collective, but their output goes further than that.

For the uninitiated, the Beat Drop is a regular feature on Metal Lungies, where we choose a producer and each of the site's contributor picks about 5 of their favourite beats by said producer and writes about them. This time we didn’t have any extra special guests, just several writers we respect. I’m proud of this one. My picks were "Watch For The Hook” by Cool Breeze, Goodie Mob’s“The Coming” and “Thought Process”, Outkast’s “Return of the G” and Bubba Sparxxx’s “Wonderful”. Click my blurb on “Watch For The Hook” to read the whole thing.

ONP expertly chop Merry Clayton’s cover of “Southern Man” into pieces and string snatches of its ominous keyboards and a ringing guitar riff together with these fantastic stuttering, stumbling drums. What’s incredible about “Watch For The Hook” is that the instrumental fits each emcee’s voice and flow perfectly — Witchdoctor’s blunted mumble, Cee-Lo’s helium babbling, T-Mo’s fiery bark, Big Gipp’s plain-spoken twang, Big Boi’s slick double-time spitting, Breeze’s authoritative drawl, and so forth. Of course, the lyrics to “Southern Man” share common ground with the more righteous Goodie Mob songs, too.

Saturday, 6 June 2009

Marco Polo & Torae Review and Interview at Exclaim!

I recently reviewed Marco Polo and Torae's album Double Barrel over at Exclaim! and did a short interview with the duo. Click the blurb for the full article.

Marco Polo and Torae are touting Double Barrel as a return to the gritty hip-hop coming from New York in the mid-'90s, embodied by groups like Gang Starr, Onyx and the Boot Camp Clik. It's fitting that Double Barrel is being released by Duck Down Records, home of Black Moon, Smif-n-Wessun and Heltah Skeltah. The duo work closely from the blueprint the aforementioned groups originated, with expertly scratched choruses, hard drums and forceful rhyming from MC Torae. NYC-by-way-of-T-Dot producer Marco Polo provides 14 perfectly dusty boom-bap instrumentals, which Torae rips to pieces. Those introduced to the Coney Island-bred rapper through his 2008 mixtape, Daily Conversation, will be surprised by his newly aggressive delivery. When Torae's rhymes equal the intensity of Polo's tracks, the results are hard to dispute. The swirling strings and clipped horns on "But Wait" are matched perfectly with a Sticky Fingaz vocal sample and Torae's potent rhyming. "Smoke" is a blistering posse cut with exemplary tough talk from Lil' Fame from M.O.P. and Rock from Heltah Skeltah, and "Hold Up" has an insistent spy movie theme groove with verses from Sean Price and Masta Ace. Torae delivers his best performance over the ominous, creeping thump of "Lifetime," backed by DJ Revolution's jaw-dropping scratches. Tougher than a pair of old Timbs, Double Barrel is '90s revivalism done right.

Thursday, 21 May 2009

Jens Lekman's 2009 Summer Mix Tape: "The Summer Never Ends"

Jens Lekman is one of my favourite singer/songwriters, and also probably the nicest guy ever. He graciously replied to a fan email I sent him a year ago, which grants him an eternal spot in my good book. If you're not familiar with Jen's work, he's a Swedish troubadour known for his sweet, hilarious lyrics who builds his songs out of samples. Jens put together a little mix for the warm weather, you can pick it up here (right click). You can also cop the other summer mix he put together a few years back here.

Here's the track listing:

1. “The Summer Never Ends” (excerpt)
2. “I Really Think That We Can Make It Girl”
3. Nicolette Larsson - “Lotta Love”
4. The Embassy - “State 08”
5. “New Directions” (excerpt)
6. Coke Escovedo - “I Wouldn't Change A Thing”
7. Filippo Trecca - “La Morte Dell'erminia”
8. “His name is Mikael Carlsson, her name is Alicia Keys”
9. Lamont Dozier - “Blue Sky and Silver Bird”
10. Cat Stevens - “If You Want To Sing Out, Sing Out”
11. Jeff Perry - “Love Don't Come No Stronger”
12. Good News - “Australia”
13. Baby's Gang - “America”
14. American Breed - “Always You”

For good measure, here's the great video for "Sipping On The Sweet Nectar", off 2007's Night Falls Over Kortedala.

I'm working on my own summer mixtape at the moment; so far I've got a lot of Brazilian pop, some reggae and Trick Daddy (natch). Stay tuned, I'll post it when it's done.

Sunday, 26 April 2009

"On The Show, You're A Dope": Letterman Deconstructs Reality TV.

I've been forced to watch The Hills exactly once. I think the show's success signals the decline of North American culture* but we are culturally compensated for it when the "stars" of the show appear on The Late Show. These appearances are a deep, plentiful vein of uncomfortable humour which, at its best, surpasses the greatest episodes of Curb Your Enthusiasm or the U.K. version of The Office. Letterman refuses to simply give reality TV stars the privilege to be considered celebrities; he toys with them and forces them to justify their presence on his couch. In his interviews with Lauren Conrad, Dave balances a clear infatuation with Conrad with a bemused sense of wonder that these people are being paid money for what they do.

Even better is Dave's interview with Spencer Pratt, where he makes no attempt to hide his utter contempt for Pratt as a human being.

Dave: What do you do, exactly?

The lack of any self-awareness on the part of the show's cast members takes the comedy to a level of high absurdity. I hope The Hills lasts for another 5 seasons just so Dave can continue to interview members of the cast.

*replace this with any other statement calling popular culture stupid here.

Tuesday, 14 April 2009

R. L. Stine, Trailer.

My fellow late 80s and 90s babies, I trust you remember R.L. Stine? This is a trailer for a fake biopic of Stine, brilliantly skewing all the classic biopic cliches. The Gene Shalit quote kills me.

You're scaring the children!

They're scaring me!

Related: Troy Steele has been steadily reviewing every single Goosebumps book at Blogger Beware. His reviews are hilarious and awesome, and I can't do them justice. Start here.

Wednesday, 25 March 2009

Exclaim! Magazine: Krumbsnatcha - "Hidden Scriptures" Review

This review will be printed in the April issue of Exclaim! This will actually be my first piece of writing to get into print, exciting times! This album is actually not that bad. The best tracks are really good. Krumb's flow seems to have weakened a bit since the days of Moment of Truth.

It's been 11 years since Krumbsnatcha's career-making appearance on Gang Starr's "Make 'Em Pay" and five years since the Boston MC's last album. While Scriptures features no DJ Premier beats, the presence of Mr. Walt (of Da Beatminerz), Pete Rock, Large Professor and Statik Selektah behind the boards makes up for it. Unfortunately the rest of the album's production is handled by unpromising no-names. For his part, Krumb is blessed with a throaty voice and a steady flow, and spits consistent, straightforward lyrics in the vein of fellow Bostonians Akrobatik and Ed O.G. Scriptures is hurt by its excessive one-hour-plus runtime and weak hooks, but the hits make up for the misses. "L.O.V.E." is a sincere dedication to hip-hop that succeeds despite its familiar sample. "Feeling" features Krumb flowing nicely over a smooth Mr. Walt beat, accompanied by a catchy Kanye vocal sample. Pete Rock's two contributions," Begins" and "Yesterday," see Krumb promising a fresh start and acknowledging past mistakes over engaging Pete beats. While the album is uneven and overlong, Hidden Scriptures' highlights present a strong argument for Krumbsnatcha's relevance in 2009. Let's hope we don't have to wait another five years for the follow-up. (Str8 Up)

Here's the video for album highlight, "Feeling":

Monday, 2 February 2009

Dilla Donuts Month @ No Trivia: "Workinonit"

Brandon at No Trivia invited me to contribute to a fantastic month long tribute to J Dilla's Donuts that he's running on his site.  Brandon is going to be posting tributes from an array of writers every day in February, each covering a single track off the 31 track album. The first installment went up yesterday, covering "Donuts (Outro)", "Light My Fire" and "Waves".

So far the tributes have encompassed everything from in-depth dissections of the beats to poetry. I wrote an brief autobiographical story for today's installment on "Workinonit." Take a gander here.

Here's the main sample for the track, 10cc's "The Worst Band In The World":

Sunday, 11 January 2009

John Coltrane Quartet - Alabama

Featuring McCoy Tyner, Jimmy Garrison and Elvin Jones. Beautiful.

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