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Post by zircona1 on Feb 28, 2023 9:22:51 GMT -6
That is cool, but I'll only go to that if my schedule permits.
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Post by monasterymonochrome on Feb 28, 2023 9:24:13 GMT -6
That is cool, but I'll only go to that if my schedule permits. Which, speaking of that, the schedule is due to be released on Thursday |
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Post by monasterymonochrome on Feb 28, 2023 9:49:49 GMT -6
Better Know Big Ears #45: Sun Ra Arkestra
Who are they: Idk how to describe Sun Ra succinctly, so I won't really try. He was an original, an alien, a firebrand, and the leader of one of the most daring musical ensembles on Planet Earth. I did a deep dive on the world of Sun Ra two years ago while reading John Szwed's excellent biography, Space Is The Place. I'll drop the playlist of my favorite Ra cuts below. The Arkestra was Ra's ensemble and instrument of his own. At his height, the members of the Arkestra were strictly devoted to their leader. They lived communally, practiced at all hours, debated cosmology endlessly, and (were supposed to) abstain from drinking, drugs, and sex. Many major figures passed through the Arkestra, including John Gilmore (a major influence on Coltrane), Pharoah Sanders, and June Tyson. And when Sun Ra himself left the Earth in 1993 to explore other realms, his band carried on his legacy. Marhsall Allen has led the Arkestra for the last thirty years, himself joining up back in 1958. He's now 98 and is just as an iconoclastic reedist as he was in his youth. Other longtime members include Knoel Scott (sax since 1978), Michael Ray (trumpet since 1978), and Fred Adams (trumpet since 1982). The Arkestra is still at least a dozen members strong and is sure to take the stage in all their multi-colored, cosmic regalia.
What do they sound like: Sun Ra's music is unique in that it presaged, reacted to, or adapted to most of the major movements in jazz history. They started as a big band in the style of Count Basie or Fletcher Henderson (Ra's mentor). They branched out into hard bop, free jazz, collective improvisation, spiritual jazz, hard funk, and just about everywhere in between. Add it all together and you get something of a changeable yet consistent overall sound. Idk, call it cosmic jazz or something. The Allen-led Arkestra has also released two albums of their own compositions in the last few years, and both are excellent. Last year's Living Sky was one of my favorite jazz records of 2022, leaning deeply into spiritual jazz and classical influences.
To See or Not To See: If you haven't seen them before, they are a Must. If you're going to see one elderly jazz great at this festival, it should probably be Marshall Allen. Dude puts on a show, and his playing is still fucking wild live, tbh closer to John Zorn these days than nearly anyone else at this fest. I've been lucky enough to see the Arkestra twice recently, and they play NYC a couple times a year, so they are lower on my priorities. But it'll still be hard to pass up an Arkestra show.
What to listen to: Try their latest LP Living Sky, or at least the title track to give you a feel for where their general sound is at these days. Or dig into this Sun Ra playlist. Major cuts include "Enlightenment" (hard bop), "Rocket Number 9" (free-leaning goofiness), "Reflects Motion Part Two" (John Gilmore flexing on y'all), "Spontaneous Simplicity" (a gorgeous Marshall Allen feature), "Where Pathways Meet" (FUNK), and "Springtime Again" (my favorite). Also they're likely to play "Space Is The Place," "UFO," and/or "Nuclear War." So yea, if anyone on the Board wants a quick and dirty Sun Ra primer - just run through these tracks.
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Post by nanatod on Feb 28, 2023 11:52:40 GMT -6
Better Know Big Ears #45: Sun Ra ArkestraWhat do they sound like: Sun Ra's music is unique in that it presaged, reacted to, or adapted to most of the major movements in jazz history. They started as a big band in the style of Count Basie or Fletcher Henderson (Ra's mentor). I don't know what is in their setlist today, 30 years after Sun Ra's death, but at the Vic in late fall 1989, Sun Ra and his Arkestra started out very psychedlic / freeform / spac-y cosmic jazz for the first third or so, then slowly transitioned so that the last third of the set was straight ahead old fashioned swing jazz in the style of Fletcher Henderson. It really wowed the crowd at the end. |
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Post by monasterymonochrome on Feb 28, 2023 12:57:20 GMT -6
Better Know Big Ears #45: Sun Ra ArkestraWhat do they sound like: Sun Ra's music is unique in that it presaged, reacted to, or adapted to most of the major movements in jazz history. They started as a big band in the style of Count Basie or Fletcher Henderson (Ra's mentor). I don't know what is in their setlist today, 30 years after Sun Ra's death, but at the Vic in late fall 1989, Sun Ra and his Arkestra started out very psychedlic / freeform / spac-y cosmic jazz for the first third or so, then slowly transitioned so that the last third of the set was straight ahead old fashioned swing jazz in the style of Fletcher Henderson. It really wowed the crowd at the end. Daaaamn that's really cool - I'm jealous |
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Post by monasterymonochrome on Feb 28, 2023 13:35:47 GMT -6
Better Know Big Ears #46: Son Lux
Who are they: An art-pop / experimental-chamber pop trio? Is that how to describe what Son Lux does? It's tricky. One thing I can tell you is they are NOT an alt-country band, as I thought when the lineup dropped. Turns out I was confusing them with Son Volt. The group started as a solo project for leader Ryan Lott, up through 2013's Lanterns. From there the band became a trio, and they've put out a handful of albums in the last decade. Part of these were the Tomorrows series: a trilogy of albums sharing a similar sonic and visual aesthetic between 2020-2021. That said, they're probably most famous nowadays for their Oscar-nominated score to Everything Everywhere All At Once. Perhaps they'll be Academy Award winners by the time this fest rolls around? Tbh I wish they had booked Three 6 Mafia instead.
What do they sound like: Today I listened to Son Lux for the first time. I started with 2013's Lanterns, and thought - damn! This is great! It's very maximalist, very bold. Layers upon layers of strings, choirs, horns, and explosive drums. It's very carefully constructed and, at its best, gives off similar euphoric feels as Sufjan's Age of Adz or All Delighted People. I was sold. But then I looked up their setlists, and the only track they seem to still play from this record is "Easy" (a good one, not my favorite the production sounds like proto-Lorde, and sure enough - she later remixed it). Naturally, their setlists are heavy on the trio of albums they just put out. I listened to the dozen or so songs across the records that they play, and I was less enthusiastic. That intricate construction is still there, but their sound is much more minimalist than in the project's early days. Listen to "Plans We Made." It sounds more like latter day Bon Iver - glitches, manipulated vocals, lots of empty space in the arrangements - than Sufjan. And I normally wouldn't mind that, but their flavor of this style doesn't suit me as well as it did with, say, Low or Joe Rainey. When it works it's killer ("Honesty"), when it doesn't it feels more like... idk this is gonna sound waaay harsh but... Imagine Dragons?
To See or Not To See: Probably gonna be a skip for me - their new stuff just doesn't click with me. That said, maybe David Byrne will come out for his song on the EEAAO soundtrack!?
What to listen to: This track was my favorite from the Tomorrows albums, probably for the glitchy jazz guitar outro:
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Post by monasterymonochrome on Feb 28, 2023 15:04:55 GMT -6
Better Know Big Ears #47: Cécile McLorin Salvant
Who are they: One of the most talented singers in the world, and probably the most prominent jazz singer going today? I'm not normally a big fan of vocal jazz, but CMS is a huge exception. She debuted in 2013 with Womanchild has steadily risen in notoriety over the last decade, culminating in her fifth LP, last year's Ghost Song. Wikipedia is hard, but it seems like she's won the Best Jazz Vocal Album Grammy at least three or four times already. Her older albums were largely covers, but Ghost Song featured seven originals amongst its twelve tracks, and opens with a killer version of "Wuthering Heights." Her sixth album, Mélusine, is due out in March.
What do they sound like: Cécile McLorin Salvant has one of the smoothest, effortlessly beautiful voices you'll ever hear. Seriously, she's so good. And also, "effortless" is a descriptor only of how easy she makes the insane vocal runs seem on songs like "Optimistic Voices / No Love Dying" or the a capella Irish folk ballad "Unquiet Graves." She's also an accomplished piano player, and the moments I love most on this album are when she sounds like a musing singer-songwriter. The "No Love Dying" section in particular was one of my favorite bits of music in 2022. She isn't afraid to let things get experimental either, just check out the Laurie Anderson with a church organ swirl of "I Lost My Mind." Some elements of her style took me some time to warm up to. This being, the tracks that seem to take influence from showtunes (Optimistic Voices, The World Is Mean), but she's just so good that I end up digging them.
To See or Not To See: I really want to see her, but - again - she's on the incredibly stacked Saturday bill. I guess I'll know in two days how it will fall, but I'm expecting a lot of conflict carnage. Fortunately, I caught CMS this summer singing alongside Archie Shepp and Jason Moran. It was awesome.
What to listen to: Probably the only good Kate Bush cover I've heard. Eat your heart out, Rita Ora:
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Post by monasterymonochrome on Feb 28, 2023 16:03:18 GMT -6
Better Know Big Ears: Danielle Ponder
Who are they: Danielle Ponder is a rising soul star with one of the biggest voices you'll ever hear. She worked for a while as a public defender in Rochester, doing music on the side, before committing herself to music full-time in 2018. Her debut record - Some of Us Are Brave - came out last year. It's a concise collection of 8 songs in just under a half hour, and it's gotten her lots of buzz on NPR and an appearance on Seth Myers' show last year.
What do they sound like: I'd be willing to bet my life that WXRT loves this record. Her voice is a killer - capable of hitting the biggest notes, and dropping to a low, hushed register for sensitive moments. Actually, the third track here is straight-up titled "Someone Like You" and I was pretty sure it was going to be an Adele cover (it wasn't). The songs and instrumentals are right in that retro soul wheelhouse, big walking basslines, echo-ey drums, strings and backing vocals that occasionally arise from the track's depths at climactic moments. It's all pretty flawlessly executed. Maybe, like, a little too flawlessly? Something about this record gives me Danger Mouse vibes. Like, I should love it, but there's a cleanliness to it that puts juuust enough distance between me and the track. I end up appreciating it, but not returning to it as much as I should. Check out the track "Little Bit" from her single with Karate Boogaloo in 2020. That's the shit I like. It sounds like she's singing with an actual flesh-and-blood band, and it puts me right in the room with them. It's an awesome track, and she's an awesome singer. I hope her next record is more like that.
To See or Not To See: She's playing two shows (Friday and Saturday), and I'd bet the songs come off more immediately in a live setting. So if I'm free, totally. I'm there. But I'm not gonna prioritize her set.
What to listen to: "So Long" was my favorite from her debut record. I think because of that wicked slide guitar thing going on in the background. Felt more organic than the rest of the record (vocals obviously excluded).
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Post by monasterymonochrome on Mar 1, 2023 11:49:59 GMT -6
Better Know Big Ears #49: Bonny Light Horseman
Who are they: A supergroup of sorts, comprised of Anais Mitchell, Eric D. Johnson (of Fruit Bats), and Josh Kaufman (producer of records by Craig Finn, Taylor Swift, Cassandra Jenkins, Bob Weir). They were formed for a special performance at friend Justin Vernon's Eaux Claire Festival in 2018. Their first album, self-titled and released in 2020, was a set of re-imagined folk songs. Any fans of traditional British folk music is sure to recognize a song or two (Blackwaterslide, 10,000 Miles [aka Fare Thee Well]), or snippets here and there ("Lowlands," for example, was quoted by Joanna Newsom in Waltz of the 101st). BLH released a second album last year, Rolling Golden Holy, this time made of mostly original material. They were scheduled to perform at last year's Big Ears, but had to cancel last minute.
What do they sound like: If you're familiar with the Fruit Bats, or Anais Mitchell's solo work, or really any of the folk-leaning records from the Bon Iver / National camp of artists, then you'll have a feel for the sonic palette BLH works with. Warm, reverby acoustic strums, bright vocals out in the front of the mix. But still a very earthy, organic sound. I'm a big fan of Bonny Light Horseman, particularly their first album. It really hits a sweet spot for me with the old folk melodies amped up with fresh arrangements and production. And the trio are excellent curators - each of the songs on this record shine in their own way, and feel just as heartwrenching or moving as they may have 100+ years ago. That is to say, these sounds are not relics. Their second album I also thought was great, but I don't hold it in the same regard as their debut. Some of the tracks really stand out (Gone by Fall, Someone to Weep for Me), but the change in authorship means that - although the sound and ethos are the same - the project comes off more like a Fruit Bats record than something timeless. Which isn't a bad thing! It's just not as unique, per se.
To See or Not To See: They're a top-ish priority for me on Friday. A circle of my college friends are super into British folk and we were obsessed with their debut album last year. They'll be pissed if I skip them at the fest for anything less than, like, Los Lobos or Grouper.
What to listen to: I'm actually gonna throw in a non-album single here, their take on Tim Buckley's "Buzzin Fly," a great version of one of the best songs ever written:
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Post by monasterymonochrome on Mar 1, 2023 14:14:38 GMT -6
Better Know Big Ears #50: Terry Allen & the Panhandle Mystery Band
Who are they: One of the great "outlaw" singers of all time, and one of the few survivors from Texas's incredible 70s music scene. Terry Allen is arguably as famous for his visual art as he is as a musician. Dude has been exhibited in MoMA and was awarded a Guggenheim Fellowship and several NEA grants. I actually came across some of his art while interning in the New Museum's archive a few years ago. A native of Lubbock, the same town that birthed Waylon Jennings and Buddy Holly, Terry put out his first record in 1975. Titled Juarez, it was a highly conceptual song cycle about outlaws on the Mexican border. It's a good one, mostly piano based though so it can get wearisome after a while. Terry's second album, however, - 1979's Lubbock (Over Everything) - is one of the greatest country albums ever recorded. I'd have it somewhere in my personal top 10 for the genre. His songs would be recorded by folks like Robert Earl Keen, Bobby Bare, and Lucinda Williams, but commercial success was never in the cards for Terry. Nevertheless, he continued to put out great music.
His next two albums - Smokin' the Dummy and Bloodlines were reissued last year by Paradise of Bachelors. My guess is they'll work their way through the rest of his catalogue in the next few years. Terry's latest LP was 2020's Just Like Moby Dick, and it is a wonderful listen. Like, BLH, Terry Allen was scheduled to perform at last year's Big Ears, but had to cancel due to an illness.
What do they sound like: Terry Allen is the Randy Newman of country music. I'm about the 1,000th person to make that comparison, but it's cuz it's really apt. His songs are populated with cast of hard-luck, bumbling, and equally big-hearted and stone-hearted characters. Truck drivers, diner waitresses, football players, bootleggers, and all sorts in between. In Terry's hands, these people feel like flesh and blood - with stories that thread the delicate balance between making you laugh and making you cry. His Texas drawl is warm and direct, encouraging you to perk your ears up and listen, similar to John Prine's nasally croon. And tho the dude is in his 80s now, he sounds wonderful. His voice on Moby Dick standouts like "Sailin' On Through" or "Houdini Didn't Like The Spiritualists" is just as sensitive and evocative as 40+ years ago. He's a gem.
To See or Not To See: Terry Allen is one of my top priorities for the entire fest. I'm gonna see him on Thursday no matter who conflicts with his set.
What to listen to: Ahh so many good ones. I'm gonna go with "Lubbock Woman," the song that hooked me on his records years ago.
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Post by monasterymonochrome on Mar 1, 2023 15:32:22 GMT -6
Better Know Big Ears #51: Adeem the Artist
Who are they: A rising star on the alt-country / Americana scene - Adeem, born in North Carolina and now based in Tennessee, originally studied to be a pastor. They then decided to pursue music full-time, and released their first record Cast-Iron Pansexual in 2021. They crowdfunded $15,000 to record their second record, White Trash Revelry, last year, and have been starting to make waves - getting notice from Rolling Stone and going on tour with The Mountain Goats. Adeem even got a big writeup from the New York Times in November with the lede: "Adeem Bingham has wrestled for decades with their identity as a Southern, Christian, queer songwriter. Can modern country music make space for them and their experiences?"
What do they sound like: Adeem is very much following in the footsteps of modern country songwriters like Jason Isbell or Justin Townes Earle. If you're a fan of those guys, you'll probably enjoy this record. Adeem's melodies, inflection, and rootsy yet sweeping instrumental choices remind me a lot of Isbell's latest run of records with the 400 Unit. The major focus here, though, is Adeem's lyrics. Adeem is not afraid to tackle big themes - and especially those that have traditionally been taboo in country music. There's stabs at generational trauma, queer relationships, white guilt, systemic racism, and opioids. More well-trod topics like marriage, drinking, poverty, and God are also filtered through Adeem's lens, wrestling with the conflicts between their upbringing and their identity. Sometimes this really works! See: For Judas, Going To Hell, Books & Records, and My America. Sometimes it's a liiittle heavy-handed for my taste, sort of like a musical equivalent of those "In this house we believe..." signs. That said, I'm certainly intrigued to see where they go from here.
To See or Not To See: I'd be inclined to roll through this set if I'm free on Friday. But it's a mid-tier priority.
What to listen to: This song rocks, definitely the best one on the record:
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Post by nanatod on Mar 1, 2023 15:43:07 GMT -6
never seen terry allen. wouldn't necessarily be a priority if I was going to big ears. but... the musician I've seen most, joe ely, 16-17 times (it's tough to count acts in the tk) has covered allen's gimme a ride to heaven boy, the last 10 or so times I saw him and his own band, or him and the flatlanders, or him with teye, It'd be cool to see allen do his own song, but I'd rather see ely cover it again (ely seems to have reduced his touring lately now that he's 75 yrs old).
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Post by nanatod on Mar 1, 2023 15:44:44 GMT -6
in gimme a ride to heaven boy, joe picks up a hitchhiker who looks exactly like and seems to be jesus himself, but things don't go exactly as expected.
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Post by thisismyname on Mar 1, 2023 16:05:56 GMT -6
Hello! I may be attending this festival! These write ups are great! I have big ears! HUZZAH!
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Post by monasterymonochrome on Mar 1, 2023 18:17:30 GMT -6
in gimme a ride to heaven boy, joe picks up a hitchhiker who looks exactly like and seems to be jesus himself, but things don't go exactly as expected. This has made me realize that most Terry Allen songs would have awesome movie synopses like this one |
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Post by monasterymonochrome on Mar 1, 2023 18:17:45 GMT -6
Hello! I may be attending this festival! These write ups are great! I have big ears! HUZZAH! Let’s gooooooooooo!!! |
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Post by zircona1 on Mar 2, 2023 9:47:25 GMT -6
Well, on first glance, the biggest schedule conflict for me is Oneohtrix v. Painkiller on Sunday. Painkiller will get the win, but ugh.
Nice that they've moved all the Zorn performances to the TN Theater so more people can see them.
The David Byrne talk starts at 11:30am so that's good in that it doesn't really conflict w/anything.
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Post by rango420 on Mar 2, 2023 9:55:39 GMT -6
Two qs looking at the schedule. How early do you have to get to each venue? Like could I go see somebody for a bit between Terry Allen and Los lobos and could I see Allison Russell before Terry Allen and not have to leave early etc. also are there like food trucks and stuff lol
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Post by monasterymonochrome on Mar 2, 2023 10:04:43 GMT -6
Two qs looking at the schedule. How early do you have to get to each venue? Like could I go see somebody for a bit between Terry Allen and Los lobos and could I see Allison Russell before Terry Allen and not have to leave early etc. also are there like food trucks and stuff lol About to make my way through the schedule in a minute, but I didn't have much issues getting into venues last time. The big shows rarely hit capacity, and if they did it was only after the show started. I still got to some like 20-30 minutes early out of fear, but it was never super necessary. Especially at TN Theatre and Mill & Mine. The only shows that were "hard" to get into last year were the Zorn ones, and they were at the much smaller Bijou Theatre. Pretty much all the old jazz heads would be camped out there all day. I think a few others hit capacity (Jeff Parker at Standard, Bill Frisell at Mill & Mine (reduced capacity b/c they added chairs for the olds), and probably a few others I'm forgetting. Def download the app and the week of the fest you can see how many people "added" each performer to their schedule as a rough gauge of how crowded it'll be. But that said, I think last year's attendance will likely be higher than this year's, so maybe it'll be okay anyways? |
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Post by monasterymonochrome on Mar 2, 2023 10:06:54 GMT -6
Two qs looking at the schedule. How early do you have to get to each venue? Like could I go see somebody for a bit between Terry Allen and Los lobos and could I see Allison Russell before Terry Allen and not have to leave early etc. also are there like food trucks and stuff lol About to make my way through the schedule in a minute, but I didn't have much issues getting into venues last time. The big shows rarely hit capacity, and if they did it was only after the show started. I still got to some like 20-30 minutes early out of fear, but it was never super necessary. Especially at TN Theatre and Mill & Mine. The only shows that were "hard" to get into last year were the Zorn ones, and they were at the much smaller Bijou Theatre. Pretty much all the old jazz heads would be camped out there all day. I think a few others hit capacity (Jeff Parker at Standard, Bill Frisell at Mill & Mine (reduced capacity b/c they added chairs for the olds), and probably a few others I'm forgetting. Def download the app and the week of the fest you can see how many people "added" each performer to their schedule as a rough gauge of how crowded it'll be. But that said, I think last year's attendance will likely be higher than this year's, so maybe it'll be okay anyways? Also, not a ton of food trucks that I can remember, but there were probably some I just missed? I usually had a big breakfast, then popped into a couple sandwich shops for quick meals when I had free time. |
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Post by teekoh on Mar 2, 2023 10:21:59 GMT -6
I'd have a hell of a time figuring out my schedule if I were going. It looks awesome, though.
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Post by monasterymonochrome on Mar 2, 2023 10:37:23 GMT -6
Yeah damn this is a mess. Not thrilled with the addition of the Knoxville Civic Auditorium - it seems a little out of the way compared to the other venues. Also, I miss how last year the Standard and Mill & Mine traded off sets, made it really easy to bounce between the two venues.
That said, no absolute killer conflicts between my biggest must sees. But the whole thing's a challenge in time management. As I did last year, I'll def be cutting A LOT of sets 15 minutes short or rolling up 15 minutes late.
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Post by monasterymonochrome on Mar 2, 2023 10:39:21 GMT -6
I feel bad for Jake Xerxes Fussell b/c this mf is playing like every day, but I'm still not sure I'm gonna make one of his sets.
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Post by teekoh on Mar 2, 2023 10:42:55 GMT -6
That stretch with McCraven, Irreversible Entanglements, and Woods overlapping would be especially painful for me.
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Post by zircona1 on Mar 2, 2023 11:02:12 GMT -6
That stretch with McCraven, Irreversible Entanglements, and Woods overlapping would be especially painful for me. Yeah, I'm gonna have to split McCraven and Grouper. (altho maybe Grouper will be boring and I'll leave early?) |
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Post by rango420 on Mar 2, 2023 11:09:19 GMT -6
I feel bad for Jake Xerxes Fussell b/c this mf is playing like every day, but I'm still not sure I'm gonna make one of his sets. He was good a few weeks ago but mf tunes between every song forever |
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Post by monasterymonochrome on Mar 2, 2023 11:40:49 GMT -6
Two qs looking at the schedule. How early do you have to get to each venue? Like could I go see somebody for a bit between Terry Allen and Los lobos and could I see Allison Russell before Terry Allen and not have to leave early etc. also are there like food trucks and stuff lol Damn. This Allison Russell album just wrecked my shit. |
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Post by monasterymonochrome on Mar 2, 2023 12:40:29 GMT -6
Wow yeah - Friday night is a fucking mess. I have no idea how I'm gonna split this one up, other than definitely seeing Grouper. Gonna be splitting like almost all of the sets I see.
That said, I'm psyched that I'm gonna actually make both of the Los Lobos sets.
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Post by rango420 on Mar 2, 2023 22:22:46 GMT -6
Me and Thissy got the Suite with the water slide by the hooters.
Tentative schedule Monastery can tell me who I am fucking up by missing
Thursday:
Allison Russell
Terry Allen
Path 1 - Whatever closest to Los Lobos, Los Lobos,
Path 2 -Adeeem The Artst-Bill Orcutt Guitar Trio-700 bliss
Liturgy
Friday:
David Byrne Talk/Danielle Ponder if David Byrne talk boring
Edgar Meyer Trio
Steve Gunn/David Moore
Calexico
Los Lobos
Pino Palladino/Blake Mills
Marc Robot: The Jazz Bins
some combo of Grouper/Irreversible Entanglments/Billy Woods
Saturday:
Stephen Omalley/Wander around art museum maybe
Kevin Morby
Bill Orcutt/Chris Corsano
The Bad Plus
Ichiko Aoba or Sun Ra Arkestra based on vibes
Rickie Lee Jones
Bela Fleck
Charlotte Adigery
Sunday:
John Zorn Gnostic Trio
Etran De L'air
Sierraa Hull
Bill Frisell Four
Peter One
0PN
John Zorn: Painkiller
Algiers
Marc Riot Y Los Cubanos
John Zorn: Cobra
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Post by rango420 on Mar 2, 2023 22:35:20 GMT -6
I already feel like I gotta add more of these ancient jazz guys.
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