4 Innovative vibist Matthias Lupri issues an implied challenge with his latest album, Transition Sonic (Summit): to listen intelligently and repeatedly. His compositional style is so carefully woven that themes recur like old friends in different clothes. He has even written a brief "Sonic Prelude"-somewhat in the style of an opera overture that contains arias to be heard later. In fact, the prelude segues into "Sonic" without a break. Elsewhere there are many melodic and harmonic segues that bridge the breaks. The final chord of "Middle Zone" foreshadows the first in "The Day After," and "Deception" ends on a high-pitched D-minor chord, from where "Iceland Dark" begins a slow exploration of the same chord. "Iceland Dark" ends with a mysterious six-note motif in alternating 7/4 and 6/4, which opens "Chime Trance." And on it goes. In other words, Lupri has fashioned a 12-part suite of stunning beauty filled with atmospheric writing and virtuosic playing from a front line that in addition to the leader includes tenor/soprano saxophonist Mark Turner and trumpeter Cuong Vu, who are relentlessly exhorted by guitarist Nate Radley, bassist Thomson Kneeland and drummer Jordan Perlson. true 160 2007-06-07T14:05:44-04:00 15808 92 200506 true 0 105 2005-06-01T00:00:00-04:00

Innovative vibist Matthias Lupri issues an implied challenge with his latest album, Transition Sonic (Summit): to listen intelligently and repeatedly. His compositional style is so carefully woven that themes recur like old friends in different clothes. He has even written a brief "Sonic Prelude"-somewhat in the style of an opera overture that contains arias to be heard later. In fact, the prelude segues into "Sonic" without a break. Elsewhere there are many melodic and harmonic segues that bridge the breaks. The final chord of "Middle Zone" foreshadows the first in "The Day After," and "Deception" ends on a high-pitched D-minor chord, from where "Iceland Dark" begins a slow exploration of the same chord. "Iceland Dark" ends with a mysterious six-note motif in alternating 7/4 and 6/4, which opens "Chime Trance." And on it goes. In other words, Lupri has fashioned a 12-part suite of stunning beauty filled with atmospheric writing and virtuosic playing from a front line that in addition to the leader includes tenor/soprano saxophonist Mark Turner and trumpeter Cuong Vu, who are relentlessly exhorted by guitarist Nate Radley, bassist Thomson Kneeland and drummer Jordan Perlson.

2009-03-02T00:24:45-05:00

4 Terry Gibbs, the Energizer Bunny of jazz, has a loving tribute to his favorite language, undiluted bebop: 52nd & Broadway (Mack Avenue). It's a paean to bop's architects, Dizzy Gillespie and Charlie Parker, with ample solos by trumpeter Nicholas Payton, saxophonist James Moody, flutist Sam Most, pianist Tom Ranier and, of course, mallet man Gibbs, who seems to be growing younger. Phil Kelly's arrangement of "If You Could See Me Now" provides a lush background (20 strings and three French horns) for Gibbs and Most. Later, Kelly arranges the strings to re-create, at Dizzy-ing speed, Parker's original "Groovin' High" solo. Ranier, showing instrumental versatility on alto sax, dominates "Cherokee" as he and trumpeter Howie Shear resurrect Diz and Bird; and then Ranier takes a piano solo. Gibbs and Most offer Scat 101 on "Lemon Drop." Payton shines on "Night in Tunisia," but the impeccably phrased strings steal the track with an astonishing cloning of Bird's historic entry, again scored by Kelly. In fact, just check out those strings on any track. true 160 2007-06-07T14:05:44-04:00 15809 92 200506 true 0 105 2005-06-01T00:00:00-04:00

Terry Gibbs, the Energizer Bunny of jazz, has a loving tribute to his favorite language, undiluted bebop: 52nd & Broadway (Mack Avenue). It's a paean to bop's architects, Dizzy Gillespie and Charlie Parker, with ample solos by trumpeter Nicholas Payton, saxophonist James Moody, flutist Sam Most, pianist Tom Ranier and, of course, mallet man Gibbs, who seems to be growing younger. Phil Kelly's arrangement of "If You Could See Me Now" provides a lush background (20 strings and three French horns) for Gibbs and Most. Later, Kelly arranges the strings to re-create, at Dizzy-ing speed, Parker's original "Groovin' High" solo. Ranier, showing instrumental versatility on alto sax, dominates "Cherokee" as he and trumpeter Howie Shear resurrect Diz and Bird; and then Ranier takes a piano solo. Gibbs and Most offer Scat 101 on "Lemon Drop." Payton shines on "Night in Tunisia," but the impeccably phrased strings steal the track with an astonishing cloning of Bird's historic entry, again scored by Kelly. In fact, just check out those strings on any track.

2009-03-02T00:24:45-05:00

4 Ever listen to a CD filled with well-played music by first-rate, dedicated musicians whose credentials should justify its purchase and have to wait, and keep waiting, for something to happen? Vibist Steve Hobbs assembled a stellar group that includes trumpeter Tom Harrell, flutist Dave Valentin, tenorist Bob Malach and bassist Peter Washington for Spring Cycle (Random Chance). It's an adequate session, but one that lacks visceral excitement despite heroic efforts from Washington and drummer John Riley. Each track, except a blazing "On the Street Where You Live" and a cooking take on John Coltrane's "Mr. PC," is too mellow. Hobbs wrote five tunes, the best being "Spring Cycle" and "Jean," which both boast great changes, and pianist Bill O'Connell contributes three songs, the most imaginative being "Marionettes." true 160 2007-06-07T14:05:44-04:00 15810 92 200506 true 0 105 2005-06-01T00:00:00-04:00

Ever listen to a CD filled with well-played music by first-rate, dedicated musicians whose credentials should justify its purchase and have to wait, and keep waiting, for something to happen? Vibist Steve Hobbs assembled a stellar group that includes trumpeter Tom Harrell, flutist Dave Valentin, tenorist Bob Malach and bassist Peter Washington for Spring Cycle (Random Chance). It's an adequate session, but one that lacks visceral excitement despite heroic efforts from Washington and drummer John Riley. Each track, except a blazing "On the Street Where You Live" and a cooking take on John Coltrane's "Mr. PC," is too mellow. Hobbs wrote five tunes, the best being "Spring Cycle" and "Jean," which both boast great changes, and pianist Bill O'Connell contributes three songs, the most imaginative being "Marionettes."

2009-03-02T00:24:45-05:00

4 Imagine a front line of vibes and marimba-truly mallets in wonderland. On Mallet Jazz (Origin), Tom Collier, percussion-studies director at the University of Washington, and tireless L.A. session man Emil Richards switch between both instruments, backed by bassist Dan Dean and, variously, pianists Mike Lang and Don Grusin and drummers Joe Porcaro and John Bishop. Brubeck alumnus clarinetist Bill Smith makes a guest appearance. All the tunes are Collier originals, mostly translucent swing. "Double Bars, "Subito Sox" "Jupiter Jump" and the title tune, with great changes, bear his imprint. During "Jupiter," Dean manages to insert a double-stop quote from Grieg's "Piano Concerto." "Mutso Futso in Row 12" features Smith sans vibrato, plus a dodecaphonic exercise that begins fugally with a 12-note motif and ends in a free-form screech. "Pink Skies Over Carnaby," with Collier improvising on vibes over a marimba ostinato is a definite highlight. true 160 2007-06-07T14:05:44-04:00 15811 92 200506 true 0 105 2005-06-01T00:00:00-04:00

Imagine a front line of vibes and marimba-truly mallets in wonderland. On Mallet Jazz (Origin), Tom Collier, percussion-studies director at the University of Washington, and tireless L.A. session man Emil Richards switch between both instruments, backed by bassist Dan Dean and, variously, pianists Mike Lang and Don Grusin and drummers Joe Porcaro and John Bishop. Brubeck alumnus clarinetist Bill Smith makes a guest appearance. All the tunes are Collier originals, mostly translucent swing. "Double Bars, "Subito Sox" "Jupiter Jump" and the title tune, with great changes, bear his imprint. During "Jupiter," Dean manages to insert a double-stop quote from Grieg's "Piano Concerto." "Mutso Futso in Row 12" features Smith sans vibrato, plus a dodecaphonic exercise that begins fugally with a 12-note motif and ends in a free-form screech. "Pink Skies Over Carnaby," with Collier improvising on vibes over a marimba ostinato is a definite highlight.

2009-03-02T00:24:45-05:00

4 Tom Collier and Dan Dean show up again-this time up close and personal-on Duets (Origin). Joined at the hip (very hip) for four decades, they boast a passion for exploration and curiosity greater than Lewis and Clark's. This release, culled from four Seattle sessions recorded between 2001 and 2004, reveals a rich, swinging tapestry woven by vibraphone and electric bass. The leaders contributing two originals apiece, with the remaining seven coming from Miles, Coltrane, Gerry Mulligan, Victor Feldman, Larry Coryell, Dave Holland and Mick Jagger-the Rolling Stones' blues "What a Shame" is played unabashedly straightahead. Coryell's "Lines" is a chops-busting, mostly unison workout. Mulligan's "Five Brothers" provides Dean with a chance for impressive speed walking, during which he quotes "Flight of the Bumblebee." John Coltrane's "Giant Steps" is right up Coll-ier's alley due to its interesting changes, something Collier contributes himself in his soothing "Pacific Aire." Dean offers a remarkable mini tone poem in "Kill the Butler," in which Collier simply plays his derriere off. true 160 2007-06-07T14:05:44-04:00 15812 92 200506 true 0 105 2005-06-01T00:00:00-04:00

Tom Collier and Dan Dean show up again-this time up close and personal-on Duets (Origin). Joined at the hip (very hip) for four decades, they boast a passion for exploration and curiosity greater than Lewis and Clark's. This release, culled from four Seattle sessions recorded between 2001 and 2004, reveals a rich, swinging tapestry woven by vibraphone and electric bass. The leaders contributing two originals apiece, with the remaining seven coming from Miles, Coltrane, Gerry Mulligan, Victor Feldman, Larry Coryell, Dave Holland and Mick Jagger-the Rolling Stones' blues "What a Shame" is played unabashedly straightahead. Coryell's "Lines" is a chops-busting, mostly unison workout. Mulligan's "Five Brothers" provides Dean with a chance for impressive speed walking, during which he quotes "Flight of the Bumblebee." John Coltrane's "Giant Steps" is right up Coll-ier's alley due to its interesting changes, something Collier contributes himself in his soothing "Pacific Aire." Dean offers a remarkable mini tone poem in "Kill the Butler," in which Collier simply plays his derriere off.

2009-03-02T00:24:45-05:00

4 It was inevitable: "Take Five" was bound to surface in 4/4 time. Surprisingly, the reincarnation takes place in a Latin context on Jeff Niess and Ensemble Siete's Evolution (Mambo Maniacs). Translating the famous tune, arranger/ bassist Abiud Troche and pianist Elio Villafranca maintain rhythmic phrases of dotted quarter and eighth notes tied to half notes. Villafranca bypasses the usual "Take Five" vamp before the solos and instead inserts a montuno. And all this comes shortly after Troche converts Toots Thielemans' "Bluesette" from 3/4 to 4/4! Neither of those experiments is as successful as vibist Niess' arrangement of Duke Jordan's "Jordu," probably because the familiar pick-up notes fall on a mambo cushion of timbales, conga, guiro, bongo, clave and assorted percussion toys. The CD's balance is comprised of pure mambos, with the metronome set rigidly to dance tempos. Niess' arrangements and originals are first-class, but he takes only a few, short solos on vibes so that an evaluation of his chops is impossible. true 160 2007-06-07T14:05:44-04:00 15813 92 200506 true 0 105 2005-06-01T00:00:00-04:00

It was inevitable: "Take Five" was bound to surface in 4/4 time. Surprisingly, the reincarnation takes place in a Latin context on Jeff Niess and Ensemble Siete's Evolution (Mambo Maniacs). Translating the famous tune, arranger/ bassist Abiud Troche and pianist Elio Villafranca maintain rhythmic phrases of dotted quarter and eighth notes tied to half notes. Villafranca bypasses the usual "Take Five" vamp before the solos and instead inserts a montuno. And all this comes shortly after Troche converts Toots Thielemans' "Bluesette" from 3/4 to 4/4! Neither of those experiments is as successful as vibist Niess' arrangement of Duke Jordan's "Jordu," probably because the familiar pick-up notes fall on a mambo cushion of timbales, conga, guiro, bongo, clave and assorted percussion toys. The CD's balance is comprised of pure mambos, with the metronome set rigidly to dance tempos. Niess' arrangements and originals are first-class, but he takes only a few, short solos on vibes so that an evaluation of his chops is impossible.

2009-03-02T00:24:45-05:00

4 Fuller Nelson (Sunnyside) is the sequel to 1989's Full Nelson, which marked vibist Steve Nelson's leader debut. This follow-up was recorded in 1998, with the same rhythmic backing as the previous album-pianist Kirk Lightsey and bassist Ray Drummond-but wasn't released until 2004. It was worth the wait. Nelson is more introspective than he was in '89, and these tunes allow for more reflection. The vibist lavishes his delicate touch on ballads like "I Don't Stand a Ghost of a Chance With You," allowing ample opportunity for respectful interplay. When Nelson solos, he and Lightsey fill gaps without stepping on each other's ideas. When Lightsey plays, Nelson cuts out completely, and Drummond knows how to maneuver around either or both of his band mates. Lem Winchester's "Minor Blues" is a polite swinger with an interesting minor-mode construction. Lightsey's "Heaven Dance" devilishly alternates between 5/4 and 3/4. Sammy Cahn's "The Second Time Around" is such a surprisingly effective swinger; more instrumentalists should explore it. true 160 2007-06-07T14:05:44-04:00 15814 92 200506 true 0 105 2005-06-01T00:00:00-04:00

Fuller Nelson (Sunnyside) is the sequel to 1989's Full Nelson, which marked vibist Steve Nelson's leader debut. This follow-up was recorded in 1998, with the same rhythmic backing as the previous album-pianist Kirk Lightsey and bassist Ray Drummond-but wasn't released until 2004. It was worth the wait. Nelson is more introspective than he was in '89, and these tunes allow for more reflection. The vibist lavishes his delicate touch on ballads like "I Don't Stand a Ghost of a Chance With You," allowing ample opportunity for respectful interplay. When Nelson solos, he and Lightsey fill gaps without stepping on each other's ideas. When Lightsey plays, Nelson cuts out completely, and Drummond knows how to maneuver around either or both of his band mates. Lem Winchester's "Minor Blues" is a polite swinger with an interesting minor-mode construction. Lightsey's "Heaven Dance" devilishly alternates between 5/4 and 3/4. Sammy Cahn's "The Second Time Around" is such a surprisingly effective swinger; more instrumentalists should explore it.

2009-03-02T00:24:45-05:00

4 Arthur Lipner's Modern Vibe (Jazz-heads) is well named. Considering the nearly ubiquitous back beat-it is mercifully absent on "Flor de Lis," a pleasant, fast bossa, and modified on "Blue Tango," Lipner's best original-the overall sound is aggressively contemporary. Lipner's generally unimaginative writing is marked by lots of unison, on-beat and off-beat ensemble phrases, with their staccato lines doubled by the drums. His arrangements tend to be dragged down by the weight of the instrumentation-there's a strong reliance on electronics, like keyboardist Nick Bariluk's frequent use of a string choir patch. The results are more pleasurable when Lipner deviates, allowing for Nelson Faria's nylon-string guitar on "Montanha Russa" and "Flor de Lis," Bariluk's switch to organ on Bill Withers' "Ain't No Sunshine" and Lipner's excellent marimba solo on "Blue Tango." There is no question about Lipner's proficiency on vibes; check out "Love the One You're With" and "Ain't No Sunshine." Too bad it competes with so much tame funk. true 160 2007-06-07T14:05:44-04:00 15815 92 200506 true 0 105 2005-06-01T00:00:00-04:00

Arthur Lipner's Modern Vibe (Jazz-heads) is well named. Considering the nearly ubiquitous back beat-it is mercifully absent on "Flor de Lis," a pleasant, fast bossa, and modified on "Blue Tango," Lipner's best original-the overall sound is aggressively contemporary. Lipner's generally unimaginative writing is marked by lots of unison, on-beat and off-beat ensemble phrases, with their staccato lines doubled by the drums. His arrangements tend to be dragged down by the weight of the instrumentation-there's a strong reliance on electronics, like keyboardist Nick Bariluk's frequent use of a string choir patch. The results are more pleasurable when Lipner deviates, allowing for Nelson Faria's nylon-string guitar on "Montanha Russa" and "Flor de Lis," Bariluk's switch to organ on Bill Withers' "Ain't No Sunshine" and Lipner's excellent marimba solo on "Blue Tango." There is no question about Lipner's proficiency on vibes; check out "Love the One You're With" and "Ain't No Sunshine." Too bad it competes with so much tame funk.

2009-03-02T00:24:45-05:00

4 Mark Sherman is a dedicated jazzoid who simply wants to swing, or paint pretty pictures. He does both on his new CD The Motive Series (CAP). As he explains, he finds it easier to "groove on one motive or rhythmic idea." "Motive #1" is a simple interval of a fifth. The remaining tunes' structures are not that easy to detect, but the CD is still an excellent showcase for a straightahead, bop-oriented mallet meister who is blessed with both taste and technique. The same can be said for the rhythm section of pianist Allen Farnham, bassist Phil Palombi and drummer Tim Horner. As a bonus, tenor man Michael Brecker graces two tracks: "Judaican," written by Sherman as a tribute to Kenny Kirkland, and a pretty ballad, "Always Reaching." All motives/tunes are by Sherman except for the smoothest track, "Old Folks," and the swingingest, "Nature Boy." true 160 2007-06-07T14:05:44-04:00 15816 92 200506 true 0 105 2005-06-01T00:00:00-04:00

Mark Sherman is a dedicated jazzoid who simply wants to swing, or paint pretty pictures. He does both on his new CD The Motive Series (CAP). As he explains, he finds it easier to "groove on one motive or rhythmic idea." "Motive #1" is a simple interval of a fifth. The remaining tunes' structures are not that easy to detect, but the CD is still an excellent showcase for a straightahead, bop-oriented mallet meister who is blessed with both taste and technique. The same can be said for the rhythm section of pianist Allen Farnham, bassist Phil Palombi and drummer Tim Horner. As a bonus, tenor man Michael Brecker graces two tracks: "Judaican," written by Sherman as a tribute to Kenny Kirkland, and a pretty ballad, "Always Reaching." All motives/tunes are by Sherman except for the smoothest track, "Old Folks," and the swingingest, "Nature Boy."

2009-03-02T00:24:45-05:00

4 Recently retired from Berklee's faculty after 33 years, Gary Burton shows off his first new band since '97 on Next Generation (Concord). It's a group of talented youngsters. Ukranian pianist Vadim Neselovskyi, 26, comps unpredictably, from low-register ostinatos on "Ques Sez" to repeated chordal jabs on "Get Up and Go." "Clarity" is a brilliant duet between Burton and the precocious guitarist Julian Lage, 17, who came to Burton's attention at 12! If "Clarity"'s blend is smooth, it gets cerebral between Burton and Neselovskyi on "Prelude for Vibes" and "My Romance," where the two play tricky unison and harmony lines. "Romance" is so cleverly reharmonized that the tonal center nearly vanishes. The highlight is "Fuga," from Samuel Barber's 1949 "Sonata for Piano." Neselovskyi's arrangement of the theme swings intensely and intellectually with support from bassist Luques Curtis and drummer James Williams, both 21. true 160 2007-06-07T14:05:44-04:00 15817 92 200506 true 0 105 2005-06-01T00:00:00-04:00

Recently retired from Berklee's faculty after 33 years, Gary Burton shows off his first new band since '97 on Next Generation (Concord). It's a group of talented youngsters. Ukranian pianist Vadim Neselovskyi, 26, comps unpredictably, from low-register ostinatos on "Ques Sez" to repeated chordal jabs on "Get Up and Go." "Clarity" is a brilliant duet between Burton and the precocious guitarist Julian Lage, 17, who came to Burton's attention at 12! If "Clarity"'s blend is smooth, it gets cerebral between Burton and Neselovskyi on "Prelude for Vibes" and "My Romance," where the two play tricky unison and harmony lines. "Romance" is so cleverly reharmonized that the tonal center nearly vanishes. The highlight is "Fuga," from Samuel Barber's 1949 "Sonata for Piano." Neselovskyi's arrangement of the theme swings intensely and intellectually with support from bassist Luques Curtis and drummer James Williams, both 21.

2009-03-02T00:24:45-05:00

4 Steve Shapiro has been on the scene for 20 years playing vibes and marimba, composing, arranging, accumulating TV scoring credits and keeping a low profile as sideman with top names in jazz and pop. With guitarist Pat Bergeson as coproducer, Shapiro has issued his third album as leader, Low Standards (Sons of Sound). This is unpretentious, straightahead combo swing. Shapiro sculpts his solos well; his best efforts come on "Days of Wine and Roses" and Wes Montgomery's "Four on Six." But his frequent four-mallet comping doesn't go unappreciated, and neither does the firm, melodic walking of bassist Doug Weiss. Bergeson shines on "How Deep Is the Ocean?" and on Shapiro's moody jazz waltz "End of the Road." Tenor player Scott Kreitzer's smoothest moments come while playing over drummer Jeff Williams' tom-tom effects during Ellington's neglected 1954 gem "Reflections in D." Perky vocalist Annie Sellick, an original with her own way of phrasing that allows her tongue-in-cheek personality to emerge, sings "Ocean," "Wine and Roses," and "Everything Happ-ens to Me" over diaphanous backing by just Shapiro and Bergeson. She toys with time and takes risks playing catch-up but never sacrifices enunciation, breaks up vowels a la Anita O'Day and boasts a remarkable range. Shapiro's sharp, but keep your ears on Annie. true 160 2007-06-07T14:05:44-04:00 15818 92 200506 true 0 105 2005-06-01T00:00:00-04:00

Steve Shapiro has been on the scene for 20 years playing vibes and marimba, composing, arranging, accumulating TV scoring credits and keeping a low profile as sideman with top names in jazz and pop. With guitarist Pat Bergeson as coproducer, Shapiro has issued his third album as leader, Low Standards (Sons of Sound). This is unpretentious, straightahead combo swing. Shapiro sculpts his solos well; his best efforts come on "Days of Wine and Roses" and Wes Montgomery's "Four on Six." But his frequent four-mallet comping doesn't go unappreciated, and neither does the firm, melodic walking of bassist Doug Weiss. Bergeson shines on "How Deep Is the Ocean?" and on Shapiro's moody jazz waltz "End of the Road." Tenor player Scott Kreitzer's smoothest moments come while playing over drummer Jeff Williams' tom-tom effects during Ellington's neglected 1954 gem "Reflections in D." Perky vocalist Annie Sellick, an original with her own way of phrasing that allows her tongue-in-cheek personality to emerge, sings "Ocean," "Wine and Roses," and "Everything Happ-ens to Me" over diaphanous backing by just Shapiro and Bergeson. She toys with time and takes risks playing catch-up but never sacrifices enunciation, breaks up vowels a la Anita O'Day and boasts a remarkable range. Shapiro's sharp, but keep your ears on Annie.

2009-03-02T00:24:45-05:00

4 Vibist Khan Jamal's Don't Take No!, originally issued in 1989 on Vintage, has been reissued by Random Chance as Peace Warrior. Contemporary jazz hasn't changed that much in the past generation, so the sound of these 1982 and '89 sessions remains fresh. "Scandinavian Dawn" and "Don't Take No!" feature Khan on a KAT MIDI synthesizer. "Don't Take No!" is built on a whole-tone scale and never deviates. "One for Hamp" (Lionel Hampton was a mentor to Khan) is also built on a single change with Khan at his swinging best. "Scandinavian," like "Body and Soul," features good interplay between Khan and guitarist Monett Sudler. "Three for All" is a tour de force for pianist Mark Kramer. Another pianist on the session, Bernard Sammul, is equally astonishing. "Peaceful Warrior" is quite restful, as is Sammul's "Lovely Afternoon." true 160 2007-06-07T14:05:44-04:00 15819 92 200506 true 0 105 2005-06-01T00:00:00-04:00

Vibist Khan Jamal's Don't Take No!, originally issued in 1989 on Vintage, has been reissued by Random Chance as Peace Warrior. Contemporary jazz hasn't changed that much in the past generation, so the sound of these 1982 and '89 sessions remains fresh. "Scandinavian Dawn" and "Don't Take No!" feature Khan on a KAT MIDI synthesizer. "Don't Take No!" is built on a whole-tone scale and never deviates. "One for Hamp" (Lionel Hampton was a mentor to Khan) is also built on a single change with Khan at his swinging best. "Scandinavian," like "Body and Soul," features good interplay between Khan and guitarist Monett Sudler. "Three for All" is a tour de force for pianist Mark Kramer. Another pianist on the session, Bernard Sammul, is equally astonishing. "Peaceful Warrior" is quite restful, as is Sammul's "Lovely Afternoon."

2009-03-02T00:24:45-05:00