CARL LUDWIG HÜBSCH'S PRIMORDIAL SOUP – Souped-Up (Live-2008)

Label: Jazzwerkstatt - Catalog#: jw096
Format: CD, Album; Country: Germany - Released: 25 Jan 2011
Style: avant-garde, free improvisation, Contemporary Jazz, Free Jazz
Recorded live at Jazzclub Karlsruhe on June 5th, 2008 by SWR2.
Artwork – Beatrix Göge, Jorgo Schäfer
Engineer – Alfred Habelitz, Matthias Neumann
Executive-producer – Ulli Blobel; Liner Notes – Christoph Wagner; Mastered By – Reinhard Kobialka

Hübsch s group is a German avant jazz supergroup that plays complex music at a meeting point between improv jazz and new music. Through the use of avant-garde and self-invented performance techniques, the tuba acquires completely new characteristics as a brass instrument.

Review:

Whither avant jazz in the waning years of the aughts? It's a tough question and the attempts at extending its great lineage are often problematic and sometimes result in a bit of head-scratching. Depending on one's frame of reference, a possible source of an especially wide shadow of influence is Anthony Braxton. All well and good, but there's a line between influence and over-emulation; to these ears, Hübsch largely finds himself on the wrong side of that marker.

This Braxton leaning is leant even more weight by the presence of clarinetist Frank Gratkowksi, an extremely able player whose own work is also much indebted to him. With the leader on tuba, the quartet is rounded out by the always-fascinating Axel Dörner (trumpet) and Michael Griener (drums), forming a nice three-horns plus percussion grouping that certainly lends itself to the intricacies of the pieces. Right from the get-go, on "Floater, Gesten Part 1", we're in Braxton territory, a bubbling start/stop theme that nods to Tristano-era bop while pointing outwards. It's just very hard not to hear it as an augmentation of, say, a Braxton/Lewis/Leo Smith/Altschul ensemble — the sonorities and approaches are quite similar, which isn't to say "bad", not at all, just a little odd in the overt referential character at such a late date. One could ask, "Why bother?" no matter how effectively the task is handled. And it's all done very well, to be sure. There's a fine nimbleness in play here, especially from Gratkowski and Dörner, who handle the jagged written lines with ease and grace and inject a decent amount of grit and spittle into what could easily have been a far more "clean" operation. Track three, "Vier", even strays into march territory, again causing one to wonder if you're in 1976.

The final cut, "Solist am Rand", ventures the furthest from the Braxton comfort zone and is, unsurprisingly, the most successful offering, a broad palette of breath tone lamina over skittering drums that pulsates with a life of its own that owes little to obvious precursors; one wants to hear much more in this direction. Elsewhere...well, I imagine there are Braxton aficionados who are quite happy with hearing replications of his ideas by the next generation of instrumentalists and those listeners will doubtless be well pleased by what's contained here, as engagingly and efficiently as it's served up. But those who value the great Chicagoan's creativity and advancement of new ideas might wonder why musicians who admire him so don't try to do the same thing instead of imitating him.

_ by Brian Olewnick, 2011-05-11


THE MUSICIANS:

Axel Dörner born 1964 in Cologne, 1988-89 studied piano at the Conservatory of Arnheim (NL) 1989-96 studied piano and trumpet (with Malte Burba) at the Academy of Music in Cologne. Has lived in Berlin since1994. Has worked together with numerous musicians of international import in the areas of improvised music, new music and jazz. He developed an exceptional, very personal style of trumpet playing, based partly on rare techniques mixed with his own inventive style.

Frank Gratkowski, Born in Hamburg, 1963. æAlto saxophone, clarinet, bass clarinet, contrabass clarinet, flute, composition Studied at the Hamburg Conservatory (Hamburger Musikhochschule) at the Cologne Conservatory of Music with Heiner Wiberny, graduating in 1990. Further studies with Charlie Mariano, Sal Nistico and Steve Lacy. Soloist in various international formations (Musikfabrik NRW, Tony Oxley Celebration Orchestra, Bentje Braam, WDR Big band etc.). Solo performances throughout Europe, Canada and USA. Duo w/Georg Graewe (CD "VicissEtudes"). "Frank Gratkowski Trio" w/ Dieter Manderscheid, Gerry Hemingway, +Wolter Wierbos. Duo w/ Sebastiano Tramontan, Trio w/ Wilbert De Jode + Paul Lovens.. Frank Gratkowski played on nearly every German and on numerous international Jazz Festivals. He has been teaching saxophone and ensembles at the Cologne, Hannover and Berlin Conservatory of Music and is giving workshops all around the world as well.

 Michael Griener moved from Nürnberg to Berlin some years ago and since then is one of the most demanded drummers for all cases. Played with traditional heroes like Herb Ellis, radikal players like Barry Guy, stars of the Berlin scene like Axel Dörner or sound explorers like Zeena Parkins. He proofed to be the perfect player for all oppourtunities as he understands to play the most special idea in his very own way finding the right balance between his own play and the given context. His selftought stile merging flow and fragility is unique as well as his coolness. Eric Mandel for the program of Jazz Fest Berlin `99.

 

Carl Ludwig Hübsch, tuba, composition drum- and singing studies Freiburg, south Germany, classical tuba training. Studies in improvisation, tuba (H.Gelhar) and composition (J.Fritsch) in Cologne. Played Jazz-, Improvised or New Music with Lester Bowie, W. Breuker, M. Schubert, Frank Gratkowski, Jasper vanÇt Hof, Arthur Blythe a.m.o. Numerous radio- und CD-produktions. Composes music for theatre . Toured India, Namibia and the USA. 2002: OMI fellowship in the USA. 2003: "Jazzpott"-award Essen.

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KAUFMANN, GRATKOWSKI, de JOODE – Unearth (Live - 2004)

Label: Nuscope Recordings - nuscope CD 1016
Format: CD, Album; Country: US - Released: 2004
Style: Free Improvisation
Recorded in Köln, Germany on September 28, 2004 at the LOFT 
Mixed in Köln, Germany on November 13, 2004 at Maarweg Sudios
Mastered in Cleveland, Ohio on Decembr 15, 2004 at the Cleveland Institute of Music
Recorded By, Mixed By – Wolfgang Stach
Design – Russell Summers; Painting [Cover] – Gabriele Guenther

On September 28th, 2004, pianist Achim Kaufmann, reedist Frank Gratkowski, and bassist Wilbert de Joode performed this marvelous session at the LOFT in Koln, Germany.
This release features an 8-page booklet with liner notes from Montreal-based journalist Marc Chenard, and very original cover art from Achim Kaufmann's wife, Gabriele Guenther

Excerpts from reviews:

According to journalist Marc Chenard, "Call them spur-of-the-moment pieces if you will, or instant compositions, these essays in spontaneous music are outgrowths of a collective playing experience. Since its inception almost three years ago, this unit has criss-crossed Europe on more than one occasion, one of its tours yielding enough material for a first recording on the Berlin-based Konnex label, a disc entitled Kwast.
In this follow up release, pianist Achim Kaufmann, reedist Frank Gratkowski and bassist Wilbert de Joode have succeeded in meeting one of the prime challenges of improvised music, i.e. of achieving a very different sounding set of music than in its previous effort. In Unearth, these musicians focus more so on discursive strategies, whereas its predecessor emphasized timbral explorations."

Bruce Gallanter of the Downtown Music Gallery says, "This is an extraordinary trio that had a superb disc out last year on the Konnex label. With instrumentation similar to the classic Jimmy Giuffre Trio (clarinet, piano & bass) from the mid-sixties, this current trio updates Giuffre's chamber-jazz sound in different ways. If this music is mostly improvised, it certainly doesn't sound like it. It is much closer to the restraint, thoughtfulness and sublime balance of contemporary classical music, than most modern jazz. At times it difficult to tell the bowed bass from the bass clarinet and the rubbing of objects inside the piano also comes from a similar sonic section. Pieces often move in slow motion so that the combined sounds can move and explore together, between space and suspense. Even when they start to swing more quickly, they always sail together as one solid force, no matter that they are still free at times. Like all releases on the consistently great Nuscope label, the production and balance is perfect, a marvel of warmth and attention to detail in just the right studio."

According to David Dupont in Cadence magazine, "Gratkowski, Kaufmann, and de Joode demonstrate on Unearth the kind of close listening needed to create a unified collective sound. Often that means they moderate the volume of the music, forcing the listener either to fade out of the proceedings or, if they're serious, to focus more intently on the musicians' interactions...For this trio, the musical poetry is found in the sawing song of de Joode's bass, the breathy tones of Gratkowski's horns, (and) the splashes and plinks of Kaufmann's piano. To draw on the rhetoric of the session's titles, it all has its own kinky logic, yet nothing seems remotely connected to any textbook."

See also on youtube video link: live at BIMhuis Amsterdam - excerpt
Live in "Pianolab.Amsterdam in BIMHUIS" 24.feb.2010
Achim Kaufmann - piano, Wilbert de Joode - bass, Frank Gratkowski - reeds
http://www.youtube.com/watch?v=5wg1MfS4V4M&feature=youtu.be




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GEORGE BURT / RAYMOND MacDONALD SEXTET featuring KEITH TIPPETT – Boohoo Fever (2006)

Leo Records – CD LR 472
Format: CD, Album; Country: UK - Released: 2006
Style: Free Jazz, Free Improvisation
Recorded in Spring 2005 in An Tobar, The Tobermory Arts Centre on the Isle of Mull
Producer [Recording] – George Burt, Gordon Maclean, Raymond MacDonald
Recorded By – Gordon Maclean; Painting – Ivo Perelman; Design – Lora Denis

Review:

Not many albums begin their journey towards completion by celebrating a town clock. Keith Tippett is the Sextet’s featured guest for this recording, having made his lengthy and winding way northwards to the Isle of Mull, where stands the town of Tobermory’s ticking time-piece. Booklet scribe Brian Morton will fill you in on the convoluted conceptual background to these pieces, but only after making a purchase of this disc. It’s good reading, but is certainly not needed to appreciate the music’s ever-shifting abstractions.

The opening “Rude Dwellings” is afire, and this flare-up will not diminish during the album’s entire progress. The band are vigorous and tensed, tightly contracted for maximum impact, feverishly burning to play. Tippett’s rolling runs wend their prepared-key way, barrelling through Alyn Cosker’s crashing drum strafes. George Lyle’s upright bass is so forcefully struck that it has the hardness of and electric axe. “Glen Eyric” goes for building suspense, as-droves of bruised tunes flee hither and thither, amidst a groaning and grinding suspension of tension. There’s a shift of tone again, as “Ito’s Vanity” has Burt playing like Derek Bailey, fresh out of his dance band days, with melodica chills courtesy of Nicola MacDonald. The space is open, as Raymond MacDonald sends out flurries of burred lowness. He remains at the forefront for “Mr. Dolphin’s Gig , his jabbering issuances not pausing for breath.

This sextet knows all about variety. They’re not averse to a premeditated tune, either. “The Forgotten Croft” is a crabbily melodic roll, and then a few numbers later Nicola MacDonald turns in a vocal float, lending further planned structure. These are radically differing soundscapes, all delivered with great emotional intensity and a strong sense of the importance of the moment. Risks have been taken, and the Sextet plunge and rise between Hades and Heaven, grinning madly all the time.

_ MARTIN LONGLEY, Jazz Review, December '07

BAND - History

George Burt and Raymond MacDonald are the leaders of the Burt MacDonald Quartet. The band is a jazz-based outlet for their compostions, their songwriting, their arrangements, and their guests.

George and Raymond first came across each other in the Bill Wells component of a Brian Wilson tribute gig. The tune was “ Wind Chimes ” , and in the mind of Bill this meant a dozen musicians distributed all over the club playing tiny fragments of the tune while Raymond did one of his mad solos over the top.Raymond used to come along to George ’ s free improvisation workshops, and they got the idea to form a duo to play standards with some of the freedom of the free stuff. They never got there, and years later Derek Bailey showed them how to do it with his “ Ballads ” album, but it was fun doing it, and we also gigged as a trio with the fantastic Sophie Bancroft.

The late Lindsay Cooper had a wonderful band at that time with Allan Pendreigh on drums, Robert Henderson on trumpet and John Burgess on tenor. They used to do their gigs with “ guests ” . It was a tabla player one time and George as narrator of Lindsay ’ s long poem “ A Madman ’ s Guide to Music ” another. Tempers could get a bit frayed in that band at times… We were getting a bit tired of the duo/trio format, and we got Lindsay and Allan as our rhythm section and started playing pub gigs. A lot of these were in the west on Sunday lunchtimes, and Lindsay was an Edinburgh musician. This was when George Lyle joined us, and it stayed like that for nearly six years until Allan retired in 2004. Sophie ’ s own career was revitalised by two excellent records, and Nicola MacDonald eventually joined us. She ’ s a songwriter and record producer, and has some of Sophie ’ s lightness of touch as well as a pop musician ’ s concern with melody. We made a record called Oh Hello at about this time made up of songs and tunes we ’ d written for the pub gigs as well as the occasional hang-over from our previous bands. A similar batch of stuff made up Big Brothers. We financed these by saving up money from the pub gigs. We strongly recommend this process to young musicians … and old musicians too.

In between times we got the opportunity to travel and take our music further a field. (Eg Texas, Shetland and Oxford). These trips, along with the first two CDs, were real milestones in the band's early development and were came out of each of these projects with new ideas and plans.
George met Lol Coxhill at a duo gig with Pat Thomas as part of the Glasgow Jazz Festival gig, later released on CD as One Night in Glasgow. He took the cds and tapes we offered, and said “If I like them I’ll give you a call, and if I don’t you’ll never hear from me again”.

He returned to Glasgow the following year for a couple of gigs, and we recorded Tsunami in an afternoon. We repeated the process with Coxhill Street the next year, and Popcorn the year after that. These are basically records of free improvisation, although Aileen Campbell ’ s popcorn machine imposes a structure on some pieces. The goal of combining the two approaches is still there, though and we had another go using studio technology on Hotel Dilettante, which was recorded a couple of years ago and released by the Textile label in 2005. This gave us a chance to play at the famous Les Instants Chavires club near Paris where Lol recorded his immortal version of “ Falling in Love Again ” for Winter & Winter. Working with Lol has had a huge positive impact on the band in so many ways.

While all this was going on we got involved with whole lot of other people in setting up and running of the Glasgow Improvisers ’ Orchestra. But that ’ s another story.In 2005 we not only got to work with Harry Becket but we spent a week on the Isle of Mull at the wonderful An Tobar (say “ unTOE-pur ” ) Arts Centre recording a new set of songs with Keith Tippett. We had played with Keith at the CCA in Glasgow late in 2004 which was very well received so we were really keen to work with him again. This CD was released on An Tobar ’ s own label, TOB Records, and is called A Day for a Reason. And that ’ s you up to date. There will be more….

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HESSION, WILKINSON, FELL – Two Falls & A Submission (2010)

Label : Bo'Weavil Recordings - weavil44cd
Format: CD, Album; Country: UK - Released: 2012
Style: Free Improvisation
Recorded 31 March 2010 at The Queen's Head, Monmouth, Wales
Composed By – Alan Wilkinson, Paul Hession, Simon H. Fell
Design, Photography By [Image Manipulation] – Damien Beaton
Engineer – Sean McGowan; Painting – Gina Southgate


Review:

The trio of Alan Wilkinson on alto and baritone saxophones, Simon H. Fell on double bass, and Paul Hession on drums first came together to play improvised music in 1989, releasing their first album, Bogey ’ s (Bruce ’ s Fingers) in 1991. Two Falls & a Submission was recorded in Monmouth, Wales, in March 2010 during their reunion tour of the UK to mark their 21st anniversary.

In their heyday in the ’ 90s, the threesome was an awesome prospect both live and on disc; all three played with the kind of wild freedom that had characterized ’ 60s free jazz (yes, jazz, not improv) but had not been heard much since. Around 2000, after the release of St. John ’ s on the Ecstatic Peace label (proprietor Thurston Moore was a fan), they went their separate ways. When their 2010 reunion tour was announced, many wondered if the three would still generate their former fire.

They need not have worried. Right from the first notes of the opener, “ First Fall, ” the years fall away as all three simultaneously hit top gear in a bravura display of high-energy improvisation. Wilkinson immediately grabs the limelight, straight away playing with a raw intensity that other saxophonists might hit once a night; for Wilkinson, that is the baseline from which he then builds. Alternating between saxophones, he solos relentlessly, keeping a seamless barrage of phrases flowing from his horns. When he does intermittently pause from blowing, he is likely to pour forth improvised, wordless vocals with as much gusto as he plays.

It seems entirely appropriate that Two Falls & a Submission takes its title from the parlance of all-in wrestling. Hession and Fell never act as support players. Throughout, the drummer matches Wilkinson ’ s intensity, never letting the pace flag so as to keep the pressure up. At times it sounds as if he and Wilkinson are involved in a one-on-one duel to see who will crack first; of course, neither of them does. For his part, Fell stokes the fire with his own propulsive phrases, constantly driving things forward and holding them together. The end result is an amalgam of three equal contributions that fit together perfectly; the absence of any one of them would make the whole feel incomplete.

Even when the three move down a gear — as they sometimes must, given the relentless pace they set — they still retain all the qualities that make this trio special: intensity, togetherness, equality. Awesome stuff.

_ By John Eyles (DUSTED REVIEW)
   date: Jan. 24, 2012

Excerpt from:
Ian Mann on the music of the extraordinary improvising saxophonist Alan Wilkinson

..." I’ll admit that I don’t always find improv the easiest of genres to get on with, I like the idea of it but don’t always find it easy to listen to, particularly on record. However it is thrilling to watch the process live, the thinking in the moment, the visual impact of extended instrumental techniques, the things that can’t always be appreciated on radio broadcasts or on album. Wilkinson initially requested that I cover “ Practice ” , an album of solo saxophone improvisations but I suggested that as a relative novice to the genre I might get along rather better with this. Good move. It’s satisfying to find an improv record I can really identify with, partly the result of having witnessed the members of the trio live (particularly the extraordinary Wilkinson, I’ve never heard another saxophone player quite like him) and partly the resonance that comes from the recording being located at the Queens Head.
Another analogy often used to describe the improv process is “ painting pictures in sound ” and there’s a certain irony in the fact that Wilkinson trained as a painter completing a Fine Arts degree at Leeds University before turning to music. Art’s loss was surely music’s gain.
Recommended, but not for the faint-hearted."

by: Ian Mann, Friday, May 18, 2012




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RUF DER HEIMAT – Sehnsucht nach Theo - Live (2006)

RUF DER HEIMAT - Recorded live, Juliy 2006

Dienstag, 04.07.2006, 21.00 Uhr  (I think, but..?)

Jazzclub Tonne, Königstraße 15, 01097 Dresden

Design by ART&JAZZ Studio

Artwork and Complete Design by Vitko Salvarica

Free, creative music - highly energetic and very sensitive

A legend lives again: 

After a few years of break, the quartet RUF DER HEIMAT was reorganized in 2003. In the original cast of Thomas Borgmann and Ernst-Ludwig Petrowsky the saxophones, Christoph Winckel on bass and drummer Willi Kellers they gave in Berlin and elsewhere enthusiastically received concerts, and then went back on tour. As if nothing had happened, but better than ever.

The quartet was founded in 1992, initially only with Petrowsky as second saxophonist, then a few years reinforced with Peter Brötzmann, or ever again. Formation in the enlarged with Petrovsky and Heinz Sauer In between there were also tours with Charles Gayle, Roy Campbell, John Bauer and Olaf Rupp.

Ernst-Ludwig Petrowsky is considered one of the fathers of jazz in the GDR. He coined here much since the mid-50s whose development. Unique profile he developed in groups such as "Synopsis" and "Zentralquartett" and as a member of numerous international top ensembles, such as the "George Gruntz Concert Jazz Band" or the "Globe Unity Orchestra". Petrovsky is awarded the German Jazz Award 1997 - Albert Mangelsdorff price.

Thomas Borgmann is the founder of "Ruh Der Heimat" and is actually a conservative. He belongs to the narrow portion of a generation progeny that preserves the legacy of those who in the sixties - inspired by Ornette Coleman, Don Cherry and others -. Interspersed demanded radical expressions in jazz, and this attitude is far from the end are "(Eric Mandel). His many years of work in a trio with Wilber Morris & Denis Charles and (after the death of Charles) Reggie Nicholson 'BMN' than many others his various collaborations with musicians such as Borah Bergman, William Parker, Peter Brötzmann, Roy Campbell, Thurston Moore has been extensively documented on CD's or presented at numerous international festivals. He is one of the most active and most sought after saxophonists on the scene.

Willi Kellers studied music at the Universities of Münster and Detmold. He worked as a composer at theaters in Bochum and Cologne, Basel, Hamburg, and at the Burgtheater in Vienna. Heard he was Luten at numerous concerts and tours with Peter Brötzmann, Tony Oxley, Frank Wright, Willem Breuker, Albert Mangelsdorff, Peter Kowald, Keith Tippett, Lol Coxhill, Marylin Crispel, Manfred Schoof, Fred Frith, Charles Gayle, Cecil Taylor, Petrovsky, Barre Phillips and many others

Christoph Winckel: considered to be the most stubborn and powerful bass in the whole of Germany, a free player, but with tremendous swing. In the former East Germany he was one of the busiest musicians, made in the 90's then a lot of theater work (including Hamburg, Bochum) and tours in the Charles Gayle Trio, with Phil Minton or Peter Brötzmann Trio.


Excerpts from reviews:

Stuttgarter Zeitung : "... Petrowsky responds to Borg's distinctive tenor voice in his way: a highly energetic and very empathetic. The drummer sparked real thunderstorm. The roaring sound suddenly fades thunderstorms that drum brushes sound like rain, and the woodwinds close your eyes, be very lyrical and lined a pastoral harmony to the other. Free music that reveals its beauty not lightly ... "

Weser-Kurier : [The concert] "... ends in a monumental noise soundscapes. Free jazz of the highest quality offered to the audience. Alluring tones use cookies inroads suddenly go completely to mimic in their game and offer jazz fans an incredible experience creative and experimental game. A performance that had earned a huge applause".




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Jazz Masters Presentation – Live At Bohemeo’s - 2007

Graphic Design:
Promotional Poster No.10 - Live At Bohemeo’s - 2007
(netlabel for improvised music)
Design by ART&JAZZ Studio SALVARICA – 2007
Artwork and Complete Design by Vitko Salvarica

Quote:

"Now I get to play that role again ... It doesn’t bug me, if anything it motivates me.
The fact that I’m kind of being looked past, it puts a little bit of a fire under my ass".
(C.C.)



Welcome to new prog-blog "Different Perspectives In My Room...!".
Enjoy the music, and please leave a comment. Thanks in advance.

Regards, Vitko

KENNY WOLLESEN + BEN GOLDBERG – The Relative Value Of Things (1992)

Label: 33¼ Records – none
Format: CD, Album; Country: US; Released: 1992
Style: Free Jazz, Contemporary Jazz

Recorded over at Ben's house, April 1992 except track 11 recorded at Berkeley Store Gallery, May 1991

Ben Goldberg – clarinets
Kenny Wollesen – drums

01 Introspection  6:25
02 The Voice  6:59
03 Hangman Roach  2:58
04 Salt Peanuts  3:36
05 Kabenny  18:52
06 Light Blue  4:38
07 Folleree Folleroo  2:17
08 Pursuit Of Facts  7:28
09 Two Nexters  5:03
10 Spot  5:39
11 Diagonal Man  3:35
12 Children's Song  4:02

Review:

On the surface, it might not seem like such a good idea, putting a duet session together between a clarinetist and a drummer. But that's the lovely thing about ideas often we are surprised at how wrong we are. This is a gorgeous little date between two of the downtown scene's most singing and adaptable personages. Here is a program of gently swinging originals and jazz nuggets that offer a startling view of all the tonal possibilities offered by such a stripped down pairing. Most notable are the Monk tunes, which lend themselves to almost any instrumental configuration but are seldom played correctly. Here, "Light Blue" and "Children's Song" are given the royal harmonic-bending treatment by creating Monk's rhythmic bass in the kit and his melodic and harmonic invention in Goldberg's single lines of shifting rhythmic length and texture. Goldberg's use of Monk's deceptively simple lyric line is anchored in a near contrapuntal harmonic one, so that as one element of the tune articulates itself, another complements and eventually undoes it to the point of extension. Meanwhile, Wollesen focuses on the syncopated accents and draws them out with small flourishes on the cymbals and snare fills to keep them anchored in time. Also groovy is the duo's reading of Dizzy Gillespie's "Salt Peanuts." What's amazing here is that Goldberg takes the original melody, without changing a note, only it's key and time signature, and makes it a near klezmer tune. The wild thing is that nothing sounds rushed or forced; it comes flying out of his clarinet like an old dance tune dusted off and put to use by the jazzers. Wollesen here has a running left hand tapping out the ride cymbal while using the other to syncopate the snare with a tom tom flare up once in a while. Amazing.

_ By Thom Jurek (All Music)



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