Record Reviews
📝 2096 reviews| Artist | Title | Review |
|---|---|---|
| Midnight Oil | Armistice Day - Live At The Domain, Sydney | <p>One of the best bits of news early in 2017, was that Midnight Oil had reformed, and was planning a global tour, including 13 dates in the U.S. Although, Australia's Midnight Oil had made a strong impression on alternative music fans in North America in the early 80's with albums like 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 and Red Sails in the Sunset, their commercial breakthrough didn't come until 1987 and the release of Diesel and Dust, with it's AOR hit song, "Beds Are Burning." It's unusual for a strongly political song to do so well on U.S. charts, even more so one about the abuse of aboriginal land rights in the Australian outback, but the song's high energy guitars, undeniable beat, and sing-along chorus became a global anthem. The Oil's led by singer Peter Garrett was often outspoken on other political issues, especially around the environment, and the band went on to further success around the world until coming to an end in 2002, when he decided to run for political office in Australia's federal government, where he served in several roles including Minister for the Environment, Heritage and the Arts. So the announcement that the band would play 77 concerts on The Great Circle World Tour, playing on 6 of earth's 7 continents was big news.</p><p>Thankfully, after 14 dormant years, someone thought that they should film and record one of the tour's final dates, not just for posterity but also for those of us fans who were unable to get to city they were playing (speaking personally). Armistice Day: Live At The Domain, Sydney, was filmed for release both on DVD and Blu-Ray, and there's an audio version, a 26 two-CD set (from which this review was written). One thing needs to be said right up front: this does not sound like a band of elder statesmen who once played in a rock & roll band, but took 14 years off to pursue other interests, and just got back together for a nostalgia tour, and to make some extra cash to cover their retirement. No, far from it. Midnight Oil in 2018 sounds just as potent, energetic and relevant as they did when I caught them on tour a couple times in the late 80's. If anything, drummer Rob Hirst and guitarists Jim Moginie and Martin Rotsey are attacking these songs with brutal force for a hometown Sydney crowd, as if to prove the point that this has always been a band that embodied the spirit of one of their best songs, "Power And The Passion."</p><p>And given the long time off, it's important to point out that this is pretty much the original 5-piece band, with the addition of bass player Bones Hillman, who came on board in 1987, and an additional backing musician, Jack Howard of the band Hunters & Collectors, who added keyboards, trumpet and flugelhorn, and didgeridoo on tour and for this show brought along the H&C horn section for tracks like "Power And The Passion." That last one is the long, wooden "drone pipe," a traditional instrument of the Aboriginal people of Australia, comes in handing on songs like "Treaty," where the Oils are joined by guest vocalist Yirrmal, an indigenous Australian artist.</p><p>Recorded on Armistice Day, November 11, 2017, and released a full year later, appropriately opens with the Midnight Oil song of the same name, the global celebration for the end of War to End All Wars, WWI, which is celebrated in the U.S. as Veterans' Day. All the bands hits are here, as you'd expect, "Beds Are Burning", "The Dead Heart" and "Dreamworld" from "Diesel and Dust", the title track from that album's follow-up, "Blue Sky Mine", and it's other singles, "Forgotten Years" and "King of the Mountain" and a few other songs that got airplay outside of their homeland, like "Truganini", "Redneck Wonderland" and "Golden Age."</p><p>But, of course, like most bands, Midnight Oil is most-loved and most successful in their native Australia, where fans are far more familiar with their complete 11 studio album catalog, so lots of the songs, lesser known here, got a great response from the hometown crowd, singing along with Garrett on "Power and the Passion," "King of the Mountain", "Ships of Freedom" and "U.S. Forces", which of course is a song protesting U.S. policies, the CIA and "bombs and threats". In many ways, the social justice themes of Midnight Oil's music is captured in the lyrics of "Warakurna", which state that "there is enough for everyone", and an acknowledgement that the very land that they live on really belongs to the indigenous people who were there before the Europeans arrived, which is true in many places of the colonized world. While there's no spoken commentary on the audio, no doubt one factor bringing Midnight Oil back at this time in the world's devolution, is to speak out about concern over climate change, and the growing influence of nationalism, in that sense this band's music is as timely and important as ever.</p><p>But finally, like any other rock band, it's the music that matters, and Midnight Oil delivers. Much of the time this band rocks, and rocks hard, as heard in the brutal riffs of "Redneck Wonderland", the torrential bass line of "Stand In Line", the dominating combination of Hirst's driving snare beat, and the interwoven guitars of Rotsey and Moginie, but they keep things interesting throughout with artful additions like Garrett's harmonica on "Blue Sky Mine", "Truganini" and "Kosciuszko" which starts off like an acoustic folk song but then is taken over by drums, or the lengthy piano break in "Short Memory". In 2017, Midnight Oil was as vital as ever, and they've announced more tour dates for summer of 2019, evidently that "Power And the Passion" lives on.</p><p>— <strong>Brian Newcomb</strong></p> |
| Lisa Miller | Pushover [EP] | |
| Tim Minchin | Apart Together | <p>Apart Together is the first traditional studio album by Australia's Tim Minchin, who built his reputation over the previous two decades as an award-winning comedian, actor, and composer/lyricist. Known for the stage musicals Matilda and Groundhog Day (both Olivier Award winners for Best New Musical) as well as for the comedic songs of his standup act, he alternates humor and earnestness on an album that reflects on four ultimately frustrating years spent living and working in Los Angeles before he moved to Sydney in 2018. Recorded with a host of studio musicians and multiple orchestrators, Apart Together comes off a lot like a rock opera, both in its scale and its mix of rousing power ballads and playful piano rock. A track that falls somewhere in between is "Leaving LA." A narrative piece, it combines poignant melodies, cynical remembrances, and wordplay like "a stoned Emma Stone" and "I've seen your sport and I don't wanna play." The livelier "Talked Too Much, Stayed Too Long" opts for a strutting, bluesy, funky rock, as Minchin, punctuated by female backing vocals, recalls playing keyboards in various clubs throughout his life. Elsewhere, the related "Airport Piano" settles into a catchy, Elton John-like pop/rock to set an evocative scene. While most of the album incorporates humor, he keeps things relatively sincere on songs including the title track and "I'll Take Lonely Tonight," a wistful, piano-based hotel ballad with only gentle, atmospheric accompaniment until it breaks open at the end. If moody and, for better or worse, steeped in theatrical instincts, Apart Together successfully captures the dissatisfaction of a writer separated from family in a grasping city. In fact, its overarching narrative and vivid imagery could have the makings of a show.</p><p>— <strong>Marcy Donelson</strong></p><hr/><p>The separation of performers from fans has been no laughing matter this year. Nowhere is that more audible than here, on Tim Minchin's first-ever studio album. Over 15 years, live in concert, he's recorded half a dozen collections of his scathing, satirical, self-deprecating, often brilliantly witty songs. His audiences adore him, and he bounces off them with the comic timing of a razor-sharp wordsmith alert to their every giggle and gasp.</p><p>Apart Together misses them enormously. For starters, the conversational charm is replaced by the echo-chamber affectations of A Guy Making A Record. Between his copious world travels and the stage musical characters the composer must inhabit for smash musicals like Matilda and Groundhog Day, it's almost as if he's forgotten how he might pronounce words like "Sydney" and "miserable" in normal conditions.</p><p>But it's the album's overarching theme that's most troublesome. "A nervous narcissistic best man at a long and slightly ponderous wedding" was Minchin's self-scripted introduction to the monologue-heavy launch performance streamed on Thursday night.</p><p>It's fair to say that compared to the more or less objective targets of his best work – God, shysters, redheads, inflatable lovers, popes, Christmas, Cardinal Pell – the personal tribulations of the mega-successful jet-setting entertainer's lifestyle don't resonate with his usual zing.</p><p>In his rather less economical Ben Folds way, he does hit the universal bullseyes of death and love in Apart Together and Carry You, the latter of which is a moving song of frailty and devotion as beautifully covered previously by Missy Higgins.</p><p>The Absence of You hits the plaintive keynote, humblebragging about a lonely wander from Pont Neuf to St Germain; watching the sunrise from the 30th floor of a Central Park hotel; taking morning coffee and newspapers in Soho Square, then soaring to an absurdly orchestrated chorus about the meaninglessness of it all.</p><p>The epic production job is more confetti-canon Broadway finale than crestfallen introspection: studio as folly rather than friend. The near-seven minutes of I'll Take Lonely Tonight ups those stakes with a stupendous climax celebrating the fact that, despite temptation, our pissed-up protagonist has opted not to cheat on his girl back home. Cheers! (Runs up minibar tab instead.)</p><p>Minchin's "I" might not always mean "me", but whoever sits in judgment of ladies in Porsches, ski-resort dads, bankers' wives named Bianca and other high-flying elites while frittering an idle hour on the Airport Piano shows a curious lack of self-awareness.</p><p>The trouble is that this time, by his own admission, Minchin isn't joking. The rapier wit is only ever half-sheathed, but even in the imagined last rites of If This Plane Goes Down (yes, lots of planes here), the impending carnage is all about this one guy in the centre of the storm.</p><p>Minchin's path hasn't all been roses. He suffered, for instance, a major Hollywood project being shelved a few years ago. The upshot of that is Leaving LA, in which he declares his raging boredom with all the glamorous locales many listeners would love to visit, just once, while torching the lot in a fit of the sourest grapes.</p><p>Going back to that narcissism thing though. It is, old timers will recall, a fairly new development in song craft. Didn't the masters strive to transcend the strictly personal to resonate eternal? Today, spoon-fed entitlement from self-obsessed idols, each new generation of singer-songwriters seems to feel more comfortable bedding down in the moist lint of their own navels.</p><p>Tragically and wonderfully, the tools to write and record are as close as their mouse. A tiny fraction of them get to travel the world, win big awards and make tonnes of money from adoring fans. Surely those lucky few owe us more than, I went to Paris and all I got was this lousy heartache?</p><p>"Here lies a clown who wrote some songs/ He talked too much and stayed too long," Minchin sings of himself, in one of the album's less serious slaloms of exacting wordplay: a long and slightly ponderous memoir spanning Perth to Melbourne, Edinburgh, Broadway and (did he mention?) Hollywood.</p><p>No Tim Minchin fan will think that when he is sadly laid to rest. But given all of his early, funny songs, it might not be these they'll remember.</p><p>— <strong>Michael Dwyer</strong></p> |
| Mingus And Taylor | Rare Broadcasts | |
| Joni Mitchell | Ladies Of The Canyon | <p>Joni Mitchell's third album offers a bridge between the artful but sometimes dour meditations of her earlier work and the more mature, confessional revelations of the classics that would follow. Voice and guitar still hew to the pretty filigree of a folk poet, but there's the giggling rush of rock & roll freedom in "Big Yellow Taxi," and the formal metaphor of her older songs ("The Circle Game," already oft-covered by the time of this recording) yields to the more impressionistic images of the new ones ("Woodstock"). The dark lyricism of her earliest ballads is intact (on "For Free" and "Rainy Night House"), yet there's a prevailing idealism here that sounds poignant alongside the warier, more mature songs to come on <A href="http://www.amazon.com/exec/obidos/ASIN/B000002KBU/104-4353206-7445506"><I>Blue</I></A> and <A href="http://www.amazon.com/exec/obidos/ASIN/B000002GXL/104-4353206-7445506"><I>Court And Spark</I></A>.</p><p>—<strong>Sam Sutherland</strong></p> |
| Joni Mitchell | Blue | <p>Sad, spare, and beautiful, Blue is the quintessential confessional singer/songwriter album. Forthright and poetic, Joni Mitchell's songs are raw nerves, tales of love and loss (two words with relative meaning here) etched with stunning complexity; even tracks like "All I Want," "My Old Man," and "Carey" -- the brightest, most hopeful moments on the record -- are darkened by bittersweet moments of sorrow and loneliness. At the same time that songs like "Little Green" (about a child given up for adoption) and the title cut (a hymn to salvation supposedly penned for James Taylor) raise the stakes of confessional folk-pop to new levels of honesty and openness, Mitchell's music moves beyond the constraints of acoustic folk into more intricate and diverse territory, setting the stage for the experimentation of her later work. Unrivaled in its intensity and insight, Blue remains a watershed.</p><p>—<strong>Jason Ankeny</strong></p> |
| Joni Mitchell | Blue | <p>Sad, spare, and beautiful, Blue is the quintessential confessional singer/songwriter album. Forthright and poetic, Joni Mitchell's songs are raw nerves, tales of love and loss (two words with relative meaning here) etched with stunning complexity; even tracks like "All I Want," "My Old Man," and "Carey" -- the brightest, most hopeful moments on the record -- are darkened by bittersweet moments of sorrow and loneliness. At the same time that songs like "Little Green" (about a child given up for adoption) and the title cut (a hymn to salvation supposedly penned for James Taylor) raise the stakes of confessional folk-pop to new levels of honesty and openness, Mitchell's music moves beyond the constraints of acoustic folk into more intricate and diverse territory, setting the stage for the experimentation of her later work. Unrivaled in its intensity and insight, Blue remains a watershed.</p><p>—<strong>Jason Ankeny</strong></p> |
| Joni Mitchell | Miles Of Aisles | <p>Like most live albums, this two-record set was a profit-taking release on which the artist re-presented many of her old songs for a new acceptance now that she had a larger pop audience. Backed by the pop-jazz ensemble the L.A. Express Mitchell reprised the best from her first five albums, pointedly ignoring Court and Spark, and including two new cuts, "Love or Money" and "Jericho."</p><p>—<strong>William Ruhlmann</strong></p> |
| Joni Mitchell | Court And Spark | <p>Joni Mitchell reached her commercial high point with Court and Spark, a remarkably deft fusion of folk, pop, and jazz which stands as her best-selling work to date. While as unified and insightful as Blue, the album -- a concept record exploring the roles of honesty and trust in relationships, romantic and otherwise -- moves away from confessional songwriting into evocative character studies: the hit "Free Man in Paris," written about David Geffen, is a not-so-subtle dig at the machinations of the music industry, while "Raised on Robbery" offers an acutely funny look at the predatory environment of the singles bar scene. Much of Court and Spark is devoted to wary love songs: both the title cut and "Help Me," the record's most successful single, carefully measure the risks of romance, while "People's Parties" and "The Same Situation" are fraught with worry and self-doubt (standing in direct opposition to the music, which is smart, smooth, and assured from the first note to the last).</p><p>—<strong>Jason Ankeny</strong></p> |
| Joni Mitchell | Court And Spark | <p>Joni Mitchell reached her commercial high point with Court and Spark, a remarkably deft fusion of folk, pop, and jazz which stands as her best-selling work to date. While as unified and insightful as Blue, the album -- a concept record exploring the roles of honesty and trust in relationships, romantic and otherwise -- moves away from confessional songwriting into evocative character studies: the hit "Free Man in Paris," written about David Geffen, is a not-so-subtle dig at the machinations of the music industry, while "Raised on Robbery" offers an acutely funny look at the predatory environment of the singles bar scene. Much of Court and Spark is devoted to wary love songs: both the title cut and "Help Me," the record's most successful single, carefully measure the risks of romance, while "People's Parties" and "The Same Situation" are fraught with worry and self-doubt (standing in direct opposition to the music, which is smart, smooth, and assured from the first note to the last).</p><p>—<strong>Jason Ankeny</strong></p> |
| Joni Mitchell | The Hissing Of Summer Lawns | <p>Joni Mitchell evolved from the smooth jazz-pop of Court and Spark to the radical Hissing of Summer Lawns, an adventurous work that remains among her most difficult records. After opening with the graceful "In France They Kiss on Main Street," the album veers sharply into "The Jungle Line," an odd, Moog-driven piece backed by the rhythms of the warrior drums of Burundi -- a move into multiculturalism that beat the likes of Paul Simon, Peter Gabriel, and Sting to the punch by a decade. While not as prescient, songs like "Edith and the Kingpin" and "Harry's House -- Centerpiece" are no less complex or idiosyncratic, employing minor-key melodies and richly detailed lyrics to arrive at a strange and beautiful fusion of jazz and shimmering avant pop.</p><p>—<strong>Jason Ankeny</strong></p> |
| Joni Mitchell | The Hissing Of Summer Lawns | <p>Joni Mitchell evolved from the smooth jazz-pop of Court and Spark to the radical Hissing of Summer Lawns, an adventurous work that remains among her most difficult records. After opening with the graceful "In France They Kiss on Main Street," the album veers sharply into "The Jungle Line," an odd, Moog-driven piece backed by the rhythms of the warrior drums of Burundi -- a move into multiculturalism that beat the likes of Paul Simon, Peter Gabriel, and Sting to the punch by a decade. While not as prescient, songs like "Edith and the Kingpin" and "Harry's House -- Centerpiece" are no less complex or idiosyncratic, employing minor-key melodies and richly detailed lyrics to arrive at a strange and beautiful fusion of jazz and shimmering avant pop.</p><p>—<strong>Jason Ankeny</strong></p> |
| Joni Mitchell | Hejira | <p>Joni Mitchell's Hejira is the last in an astonishingly long run of top-notch studio albums dating back to her debut. Some vestiges of her old style remain here; "Song for Sharon" utilizes the static, pithy vocal harmonies from Ladies of the Canyon's "Woodstock," "Refuge of the Roads" features woodwind touches reminiscent of those in "Barangrill" from For the Roses, and "Coyote" is a fast guitar-strummed number that has precedents as far back as Clouds' "Chelsea Morning." But by and large, this release is the most overtly jazz-oriented of her career up to this point -- hip and cool, but never smug or icy. "Blue Motel Room" in particular is a prototypic slow jazz-club combo number, appropriately smooth, smoky, and languorous. "Coyote," "Black Crow," and the title track are by contrast energetically restless fast-tempo selections. The rest of the songs here cleverly explore variants on mid- to slow-tempo approaches. None of these cuts are traditionally tuneful in the manner of Mitchell's older folk efforts; the effect here is one of subtle rolls and ridges on a green meadow rather than the outgoing beauty of a flower garden. Mitchell's verses, many concerned with character portraits, are among the most polished of her career; the most striking of these studies are that of the decrepit Delta crooner of "Furry Sings the Blues" and the ambivalent speaker of "Song to Sharon," who has difficulty choosing between commitment and freedom. Arrangements are sparse, yet surprisingly varied, the most striking of which is the kaleidoscopically pointillistic one used on "Amelia." Performances are excellent, with special kudos reserved for Jaco Pastorius' melodic bass playing on "Refuge of the Roads" and the title cut. This excellent album is a rewarding listen.</p><p>—<strong>David Cleary</strong></p> |
| Joni Mitchell | Hejira | <p>Joni Mitchell's Hejira is the last in an astonishingly long run of top-notch studio albums dating back to her debut. Some vestiges of her old style remain here; "Song for Sharon" utilizes the static, pithy vocal harmonies from Ladies of the Canyon's "Woodstock," "Refuge of the Roads" features woodwind touches reminiscent of those in "Barangrill" from For the Roses, and "Coyote" is a fast guitar-strummed number that has precedents as far back as Clouds' "Chelsea Morning." But by and large, this release is the most overtly jazz-oriented of her career up to this point -- hip and cool, but never smug or icy. "Blue Motel Room" in particular is a prototypic slow jazz-club combo number, appropriately smooth, smoky, and languorous. "Coyote," "Black Crow," and the title track are by contrast energetically restless fast-tempo selections. The rest of the songs here cleverly explore variants on mid- to slow-tempo approaches. None of these cuts are traditionally tuneful in the manner of Mitchell's older folk efforts; the effect here is one of subtle rolls and ridges on a green meadow rather than the outgoing beauty of a flower garden. Mitchell's verses, many concerned with character portraits, are among the most polished of her career; the most striking of these studies are that of the decrepit Delta crooner of "Furry Sings the Blues" and the ambivalent speaker of "Song to Sharon," who has difficulty choosing between commitment and freedom. Arrangements are sparse, yet surprisingly varied, the most striking of which is the kaleidoscopically pointillistic one used on "Amelia." Performances are excellent, with special kudos reserved for Jaco Pastorius' melodic bass playing on "Refuge of the Roads" and the title cut. This excellent album is a rewarding listen.</p><p>—<strong>David Cleary</strong></p> |
| Joni Mitchell | Don Juans Reckless Daughter | <p>A big chunk of the pop audience Joni Mitchell had earned with Court and Spark in 1974 deserted her in 1975 and 1976 when the follow-ups, The Hissing of Summer Lawns and Hejira, proved more difficult works. With this pretentious double album, Mitchell lost many of the loyal fans who'd stuck with her from the beginning but who now, as she spread her obscure poetic observations and thin melodies across whole sides of the album, found her disengaged from the close, personal observations that filled her best songs. This was Mitchell's last album to go gold.</p><p>—<strong>William Ruhlmann</strong></p> |
| Joni Mitchell | Mingus | <p>In the months prior to the passing of legendary jazz bassist Charles Mingus, Joni Mitchell had been personally summoned by the bop pioneer to collaborate on a musical version of T.S. Eliot's Four Quartets. The project would entail Mitchell to condense the text for Mingus to score instrumentally. He planned on utilizing a full orchestra, as well as the more traditional guitar and bass. They would accompany Mitchell's vocals and the narration of selected portions of the text. After a few weeks of consideration, Mitchell's reaction was that "[she]'d rather condense the bible." Mingus then bestowed Mitchell with six melodies -- "Joni I" through "Joni VI" -- penned specifically for her. Mitchell spent a few weeks with Mingus -- who was totally immobilized from amyotropic lateral sclerosis (aka Lou Gehrig's Disease) -- during the spring of 1978. Their partnership advanced the half-dozen tunes. More importantly, it shook Mitchell from a three-month long writer's block/drought -- yielding two of her best late-'70s compositions: "God Must Be a Boogie Man" and the revisitation and completion of a track she'd been wood-shedding, now titled "The Wolf That Lives in Lindsey." Incidentally, the former piece was inspired by the opening chapters of Mingus' autobiography, Beneath the Underdog. Initial recordings during Mitchell's stay with Mingus in New York City produced several interesting experimental sessions with the likes of Stanley Clarke (bass), Jan Hammer (keyboards), John McLaughlin (guitar), Gerry Mulligan (baritone sax), and Tony Williams (drums). A few of these recordings -- while rumored to have been lost, destroyed, or made otherwise unavailable -- were leaked into the trading community in the late '90s. Arguably, Mitchell could not have chosen any finer musicians than the sextet she ultimately incorporated into this work. The luminaries include Herbie Hancock (electric piano), Wayne Shorter (soprano sax), Jaco Pastorious (bass/horn arrangements), Peter Erskine (drums), Don Alias (congas), and Emil Richards (percussion). Sprinkled amongst these soulfully jazzy pieces are five "raps," or aural snapshots of the time Mitchell and Mingus spent together. Sadly, Charles Mingus passed before he was able to listen to this timeless and ageless paean to his remarkable contributions to bop and free jazz.</p><p>—<strong>Lindsay Planer</strong></p> |
| Joni Mitchell | Shadows And Light | <p>Shadows and Light is Joni Mitchell's second live album, and it serves as a good retrospective of her jazzy period from 1975-1979. As expected, she assembles a group of all-star musicians including Pat Metheny (guitar), Jaco Pastorius (bass), Lyle Mays (keyboards), and Michael Brecker (saxophone) who give these compositions more energy than on the studio recordings. The musicians are given room to jam, and they sound terrific on uptempo songs such as "Coyote" and "In France They Kiss on Main Street." If there is a general theme of these songs, it's about growing older and maturing after the failed idealism of the late '60s (the album opens with audio clips from the movie Rebel Without a Cause). Although this album is pleasing, the live arrangements are not different enough from the studio versions to warrant higher marks. In fact, Mitchell has always been an album artist who recorded studio albums that had a sound and feel all their own. While Shadows and Light provides a nice summary of her experimental period for casual fans, interested listeners should start with Hejira or The Hissing of Summer Lawns.</p><p>—<strong>Vik Iyengar</strong></p> |
| Joni Mitchell | Turbulent Indigo | <p>Joni Mitchell returned to the relatively spare style of albums like Hejira and her early folk collections on Turbulent Indigo, emphasizing her acoustic guitar strumming and singing on a series of songs that detail the political and social discontent she had previously explored on Dog Eat Dog and Chalk Mark in a Rain Storm. In the brief opener, "Sunny Sunday," a woman tries to shoot out a streetlight with a pistol and misses every night, a metaphor for the individual's futile struggle against civilization, and Mitchell repeats much the same message in songs like "Sex Kills," a generalized criticism of everything from lawyers to the hole in the ozone layer; "Turbulent Indigo," which describes the inability of people to understand artists; "Last Chance Lost," which treats romantic disappointment; and "Not to Blame," about spousal abuse. The low-key music and restrained vocals stand in contrast to the lyrics -- over and over, Mitchell's imagery refers to guns and violence. Turbulent Indigo provides a disturbing view of modern life made all the more compelling by its calm presentation.</p><p>—<strong>William Ruhlmann</strong</p>> |
| Thelonius Monk | Live At The IT Club | |
| Thelonius Monk | This Is Jazz |
Showing 1161–1180 of 2096 reviews
· Page 59 of 105