Toadies

The Charmer

Spaceflight, 2026

9/10

Listen The Charmer

We all remember “Possum Kingdom”, the mid ‘90s hit from Toadies, and the guttural line ‘Do you wanna die’ at the end. The Texas rockers broke up for a few years in the early 2000’s, but have consistently released records and toured since. The Charmer, their 9th album, was one of the last records Steve Albini worked on, and it brings some classic rock nods into the fold.

“Ash’s Theme” starts with Clark Vogeler’s mesmerizing guitar before the rugged rhythm section enters the swirling climate, and “Come To Life” follows with acoustic guitar and Vaden Todd Lewis’ familiar voice that helps balance gentle versus gritty ideas.

Moving closer to the middle, “Long Time” builds into the grungy rock of the ‘90s, where Mark Reznicek’s fluid drumming won’t go unnoticed, while the scrappy “Damage” thumps with precision and rawness that invites singing-along.

“Gasoline Jane” and “In Bandages” exit the listen. The former chugs densely and benefits from Doni Blair’s skilled bass, and the latter leads intimately before powerful singing and alt-rock bursts enter.

You’ve got to hand it to Toadies. Decades after most of their peers have moved on, they’re making diverse and timeless alt, grunge and ‘90s rock. As always, Albini’s presence was a huge asset and he sure does illuminate the many strengths of the band.

Travels well with: The Smashing Pumpkins- Machina/The Machines Of God; A Perfect Circle- Mer De Noms

Randy Trubitt Quartet

(Peace Is Not) An Awful Lot To Ask

Signbearer, 2026

9/10

Listen to (Peace Is Not) An Awful Lot To Ask

Chicago’s Randy Trubitt and his band bring their inimitable jazz ways to 7 songs that are sparked by the authoritarianism and rhetoric plaguing us today.

“What Are Their Names/Living The Dream” opens with a chilling atmosphere before Mike McCarthy’s dense guitar enters alongside Matt Riggen’s furious drumming for the animated 7+ minutes, and “PTW” follows with an initially softer climate that blends the playful bass from Jack Sundstrom amid the lively jazz bouts via Trubitt.

In the middle, “Held Down And Shot On The Surface Of The Moon” presents ambience and warmth in under 2 minutes of soulfulness, while “Machine Machine Gun Gun” mixes scrappy drums with rhythmic guitar, rich sax and strategic bass for the album’s best.

“All You Fascists Bound To Lose” exits with harmonic group vocals alongside the punchy jazz mood that pulls no punches lyrically and isn’t short on grooves.

A protest record of a different kind, Trubitt and company bring their jazz-rock and avant-garde spirit to songs of all substance, where they fight the good fight with their artistic medium.

Travels well with: Living With Tollways- Eponymously Titled; Amelia Ya’el’- Voices I

Dadjoke

Fun Intended

Stritch, 2026

9/10

Listen to Fun Intended

The award winning composer, educator and musician Dave Reminick brings his multi-instrumentalist ways to songwriting as Dadjoke, where these 12 playful tunes don’t require any forced laughs or partially concealed cringing.

The frisky and ‘80s nods of “We’ve Got The Squiggles” opens with upbeat synth and Reminick’s flowing voice, and “This Is A Duck” follows with John Carroll’s agile drumming that suits the hard hitting moments that surround the strategic repetition and post-punk traces.

Arriving in the middle, the warm acoustic guitar and Amanda DeBoer Bartlett’s pretty voice make for dreamy, folk friendly moment, while “What Did The Dinosaurs Say?” uses processed vocals to elicit a lively and fun quick blast.

Bartlett’s pipes return late alongside the buzzing guitar of the rock fueled “I’m Deciding To Be Brave”, and “I Tried To Use AI… But It Came Out WEIRD” exits with unpredictable keys and scrappy drumming as Reminick’s adaptable voice keeps us guessing.

Reminick says his vision is ‘weird music for weird kids’, and it’s hard not to agree with that thanks to the metal, punk and avant traces across a record that embraces curiosity, kindness and a passion for the unconventional.

Travels well with: Katie Dwyer Music- Warm Fuzzies; Dana’s Music Playground- Wonder FULL

Stoned Statues

Nothing Is Ever Over

Sakara, 2026

9/10

Listen to Nothing Is Ever Over

The dynamic metal trio Stoned Statues return with a 3rd album, where greater emphasis on songwriting from the Tampere outfit makes for their best set of tunes yet.

“What Can I Say” opens with Markus Makala’s dense guitar alongside Jenna Kosunen’s firm vocals that suit the thundering climate, and “Knock Knock” follows with a groove buried under the abrasive riffs and Allu Tanskanen’s thumping drums.

The middle spot belongs to “Seasons”, where a softer delivery benefits from the heartfelt singing and radiant guitar that gets powerful, while “Just A Vision”, the album’s best, is a busy and thick moment of soaring vocals and hard hitting yet tuneful musicianship where Makala growls a bit, too.

“Closure” and “Say What You’re Thinking” exit the listen. The former leads gentle before louder, anthemic bouts, and the latter balances metallic ideas with pretty moments of melody.

I assume these guys and gal are pretty well known in their home country of Finland, because this is excellent modern alt-metal that brings to mind System Of A Down and Karnivool with some punk and prog influence, too.

Travels well with: Traitrs- Possessor; Dear Boy- Celebrator

Grey DeLisle & Les Greene

Grey & Greene

Hummin’bird, 2026

9/10

Listen to Grey & Greene

Grey DeLisle and Les Greene bring their inimitable voices to these 10 timeless and diverse tracks that sound as great in 2026 as they would have in 1956.

The lively spirit of “Homewrecker” opens with Greene’s animated voice alongside frisky drums and rich brass, and “I’m Gonna Let You Call Me Baby” follows with a softer mood, where cozy guitar suits the soulful singing and warm melodies.

At the midpoint, “The Pieces” allows for DeLisle’s pretty voice to shine amid the Americana influences that are heartfelt, while “Shake That Thing” offers a lively bout that will get you searching for the dance floor thanks to the retro fun.

“That’s All” and “You’re The One That I Want” exit the listen. The former employs well timed keys and horns surrounded by Greene’s powerful pipes, and the latter gallops playfully and places a lot of energy into the duet of a song we all know.

DeLisle and Greene’s voices sure do complement each other well, where the songs touch on rock’n’roll, folk, country, R&B, rockabilly and soul in authentic and memorable ways.

Travels well with: Grey DeLisle- The Grey Album; Nathan Evans Fox- Heirloom

Joe Syrian Motor City Jazz Octet

A Blue Time

Circle 9, 2026

9/10

Listen to A Blue Time

The always impressive drummer Joe Syrian is joined by his octet for a fusion version of jazz that welcomes a couple of special guests.

The frisky mood of “Jordu” starts with Syrian’s crisp drums alongside Lorin Cohen’s precise bass and the rich sax, and “Agua de Beber” follows with Carl Maraghi’s warm bass lines amid Dave Riekenberg’s soulful tenor sax.

At the halfway point, “Black Magic Woman” enlists Luisito Quintero’s lively percussion that complements Paul Bollenbeck’s meticulous guitar licks, while “Charade” trims the pace back with Nick Marchlone’s light trumpet and Doug Beavers’ subtle trombone.

Landing late, “Sway” benefits from Boris Kozlov’s upbeat bass plus Syrian’s meticulous drumming, and “A Blue Time” exits with Tim Ries’ handling tenor sax and Adam Birnbaum’s piano making for an intimate finish.

A timeless effort that injects rock, pop, blues and Latin ideas into their distinct jazz formula, Lucy Yeghiazaryan’s vocals on a track add even more allure to this excellent covers album.

Travels well with: Joe Syrian Motor City Jazz Octet- Secret Message; Bobby Sanabria Multiverse Big Band- Arsenio And Beyond: Live At The Bronx Music Hall

Sarah Rothenberg

In Darkness And Light

Dacamera, 2026

9/10

Listen to In Darkness And Light

The inimitable pianist Sarah Rothenberg pens a musical response to the Covid pandemic, where anxiety and stillness are turned into eloquent songwriting.

“For My Father”, by Vijay Iyer, unfolds across 2 segments of rich and expressive key progressions that flow with intimacy and exploration in both gentle and firm gestures.

Beethoven’s “Sonata No. 32 in C minor” lands in the middle and offers complicated but melodic playing that’s exciting, often animated and executed superbly.

“Palais de Mari” exits, and emits often minimal qualities that are no less impactful in the 32+ minutes of the sublime Morton Feldman piece.

An effort that mirrors the extremes of the pandemic, Rothenberg conveys the fear, uncertainty and suspense of a very distinct period of history thanks to her trailblazing vision and meticulous attention to detail.

Travels well with: Sarah Plum- an expanding distance of multiple voices; Tyshawn Sorey- Monochromatic Light (Afterlife)

SoSaLa

1983 Live at the Montreux Jazz Festival and the Rathausplatz Bern

DooBeeDoo, 2026

9/10

Listen to 1983 Live at the Montreux Jazz Festival and the Rathausplatz Bern

The Sadato Group sure did entertain a Switzerland crowd for this set in 1983, where front man SoSaLa is joined by Mutsuhiko Izumi and Hitoshi Usami for 8 Japanese free jazz-punk noise selections.

“Confusing World” opens with 10+ minutes of ambience and noise, where Izumi’s manipulated guitar lends itself to psychedelic bouts, and “MJF’s When I’m Crazy, I’m Normal” follows and balances No Wave and indie-rock nods thanks to Usami’s thumping drums and SoSaLa’s firm vocals.

Deeper into the Montreux side, “MJF’s Ningen in Africa, Ningen in Nippon” offers a protest song with Afro-beat moments where SoSaLa contributes sax and rhodes to unique rhythms, while “MJF’s Sa Si Su Se So” exits this venue with no lack of grooves and prog-rock sensibilities that acts as an outtro.

The last 3 selections are from the Rathausplatz Bern, where the fusion filled “Paul Klee Musical Colors” showcases Izum’s acrobatic bass, Usami’s hard hitting drums and SoSaLa’s animated sax prowess.

Another iconoclastic outing for SoSaLa and company, the jazz-punk and atypical song structures prove they were ahead of their time, and that formula fits in well with today’s avant-garde scene, too.

Travels well with: SoSaLa- 1987- Hajime; SoSaLa- 1994 Live At CBGB

Bobby Sanabria Multiverse Big Band

Arsenio And Beyond: Live At The Bronx Music Hall

Jazzheads, 2026

9/10

Listen to Arsenio And Beyond: Live At The Bronx Music Hall

The multi-talented Bobby Sanabria recruits a large cast for these 9 songs that pay tribute to Arsenio Rodriguez and comes with plenty of worldly flavor.

“Tumba Y Bongó” opens the listen with Max Darche’s animated trumpet alongside plenty of frisky percussive ideas in the busy climate, and “La Fruta” follows with Noah Bless’ well timed trombone amid Kali Rodriguez’s vocals and much rhythm.

Landing in the middle, “La Cartera” benefits from Gabrielle Garo’s lively flute and Gerardo Contino’s expressive singing in the festive delivery, while “Mambo Diablo” enlists Danny Rivera’s bari sax and Peter Brainin’s tenor sax alongside plenty of voices that suits the mesmerizing album highlight.

Making our way towards the end, “El Elemento Del Bronx” layers brass, drums and winds with plenty of sing-alongs, and “Yo Naci En Africa/Anabacoa” exits with Nathan Eklund’s colorful trumpet and Andrew Gould’s well timed alto sax adding much to the dense and vibrant landscape.

A Big Band outing like no other, the Latin themes and body shakin’ instrumentation sure do justice to Arsenio’s vision, where Sanabria’s contributions are immeasurable and timeless.

Travels well with: Christopher Sánchez- Latin Jazz Meets Opera; Livio Almeida- Brasilia Sessions

SoSaLa

1987- Hajime

DooBeeDoo, 2026

8/10

Listen to 1987- Hajime

Originally released in 1987, the multi-faceted artist SoSaLa (aka Sadato) plays sax, synth, flute and sings across these 10 genre defying and improvised tracks.

“Sincro” opens with chanting before SoSaLa’s wind, drumming sounds and screeching enters the ambience, and “Ningen” follows with rhythmic percussion and talking and singing before plenty of free jazz exploration enters.

The middle spot belongs to “Sarariman Shine”, which showcases SoSaLa’s wild sax playing under a cosmic influence, while “Leila” blends Dennis Gunn’s guitar and plenty of rawness into a more rock focused moment where Toshika’s synth won’t go unnoticed.

“Bachan No Tea Time” and “When I’m Crazy I’m Normal” arrive at the end. The former is minimal and artistic and enlists Romi’s voice, and the latter, which is the best track, offers a noisy version of jazz-rock that sure has aged well.

An effort that captures SoSaLa at a very particularly creative time, the unpredictable chords, riffs and odd noises defy categorization but are certainly intriguing and unconventional.

Travels well with: SoSaLa- 1994 Live At CBGB; SoSaLa- 1983- Live at the Montreux Jazz Festival and the Rathausplatz Bern

Christopher Sánchez

Latin Jazz Meets Opera

Zoho, 2026

9/10

Listen to Latin Jazz Meets Opera

The baritone singer Christopher Sánchez and Soprano Jazmine Saunders take plenty of help for this personal album that tells the story of Sánchez’s life, which details how Latin rhythm, opera and jazz have influenced his identity.

“Quien Será” starts the listen with Sánchez’s animated voice alongside Edgar Martinez Ochoa’s lively percussion for the rhythmic climate, and “Carmen’s Habanera” follows with Dayramir Gonzalez’s mesmerizing keys amid Saunders’ soaring pipes for a colorful delivery.

“Unforgettable” occupies the middle spot and showcases Giovanni Siveroni’s rich trumpet that suits the cozy delivery of the classic tune, while “Bachata Rosa” blends the elegant strings with charming percussion and romantic singing.

Closer to the end, “The Shadow Of Your Smile” makes great use of Carlos Mena’s strategic upright bass that complements the violins and viola, and “The Christmas Song” exits with a global Christmas song that’s heartfelt and executed with much eloquence and warmth.

An album that a lot of work was put into, the setting moves from Afro-Caribbean rhythms, cinematic bouts and operatic storytelling all under a Latin jazz umbrella that’s textured superbly.

Travels well with: Roberto Montero- Todos Os Tempos; Livio Almeida- Brasilia Sessions

Doug MacDonald

Tribute To South Central

DMac, 2026

9/10

Listen to Tribute To South Central

The prolific jazz guitarist Doug MacDonald guides a quintet and sextet through 3 standards and 5 originals of his always creative vision.

The frisky mood of “Blues In The Desert”, an original, opens with MacDonald’s animated guitar alongside Eric McKain’s playful percussion and Wayne Cobham’s rich horn, and “Mr. Walker” follows with Richard Turner’s bright keys amid the colorful guitar progressions.

In the middle, “Self Portrait of the Bean” recruits Ronnie Kaufman’s strategic drumming alongside a cozy mood of elegance, while “GG”, another original, blends Cobham’s trumpet with Del Atkins’ upbeat bass and plenty of melody.

“Luces Azules” and “Sam-or-Eye” exit the listen. The former carries an infectious energy with no lack of rhythm, and the latter is textured superbly with sophistication and harmonics that you can’t not admire.

Now 30+ albums deep, MacDonald continues to play the sort of timeless guitar jazz that’s uplifting and memorable from beginning to end.

Travels well with: Doug MacDonald Trio- Live In Beverly Hills; Doug MacDonald Trio- Sextet Session

Satoko Fujii/Myra Melford

Katarahi

Rogue Art, 2026

9/10

Listen to Katarahi

The pianists Satoko Fujii and Myra Melford turn in a live record, where the 7 tracks see the pair complementing each other in playful, intimate and exciting ways via their distinct brand of jazz.

“Interlude I” opens with the pair emitting turbulent but also gentle piano playing amid the dynamic start, and “Signpost” follows with their rare chemistry making for percussive ideas, frisky gestures and both cohesive and seemingly distanced approaches with much awe.

“Chalk” and “Kaiwa” occupy the middle spots. The former carries a melodic undertone of dreaminess, while the latter captivates us for 10+ minutes with its explosive bouts, colorful patterns and sonic allure.

“From Sometime” exits, and embraces abstract, raw and a contolled chaos sort of approach that you’re not likely to hear anywhere else.

The title of the album means a heart-to-heart conversation between intimate friends, and Fujii and Melford seemingly have a lot more to discuss across this fascinating, avant-garde journey into piano fueled jazz.

Travels well with: Satoko Fujii Tokyo Trio- Dream A Dream; Satoko Fujii Tokyo Trio- Jet Black

Maisy Owen

Dark On A Sunny Day

Tompkins Square, 2026

9/10

Listen to Dark On A Sunny Day

The 23 year old Nashville native Maisey Owen makes an impression with this debut album, where some goth tendencies enter her distinct version of folk.

The bare finger picking of “My Youth Is All For You” opens with a Celtic feel amid the mesmerizing and intimate mood, and “Letters” follows with Robin Eaton’s gentle bass that suits the ominous yet melodic approach to desperate wordplay.

“The Rest Of Me” and “On My Way Down” arrive in the middle. The former is a warm moment that enlists Dan Seymour’s upright bass to complement the nostalgic climate, while the latter is a charming, folk strummer that benefits from Roger Mutano’s well timed lap steel.

“It All Ends The Same” exits the listen with James Russell’s piano present for a dreamy, somewhat haunting finish that’s a bit mysterious in its distinct beauty.

A youngster with an incredible amount of talent, Owen plays guitar, viola, bass and piano here, and pens songs that bare her soul in a dark sort of way that’s harmonic, melancholic and nothing short of captivating.

Travels well with: The Heart Collectors- Twilight Tales; Jamie Anderson- The Curves Are Still There

ES Pearl

Ed Snodderly Baggage Flies Free

Need To Know, 2026

9/10

Listen to Baggage Flies Free

ES Pearl, AKA Ed Snodderly, brings us 13 original, folk fueled songs that feature a handful of esteemed players and occasionally surround a conversation between a squirrel and a rabbit.

“Coming Down This Road” opens the listen with animated fingerpicking and Snodderly’s warm voice alongside Tim O’Brien’s colorful mandolin playing, and “Willow Green” follows with a lush mood via the warm guitar playing and heartfelt singing that reminds us of the first signs of spring.

Halfway through, “For Another” recruits Kenny Vaughn’s fluid guitar amid the talking and singing that pays tribute to Malcolm Holcombe, while “See You In The Morning” is heartfelt moment of poetic storytelling thanks to the cozy guitar and romantic singing of the album’s best.

Residing late in the listen, “The Grandest Tail” showcases rhythm and grooves via the bluegrass tinted energy that’s infectious, and “It’s Christmas Again” exits with a holiday tune of a different kind that's soulful and intimate.

The vocalists include Amythyst Kiah, O’Brien, Verlon Thompson and Eugene Wolf, who help illustrate Snodderly’s country, roots and folky ways with much charm and memorableness.

Travels well with: Dave Gunning- Field Notes; Tom Chapin- Songs Of Hope

Kathy Ingraham

Jazz Dreams

Peirdon, 2026

8/10

Listen Jazz Dreams

The jazz vocalist Kathy Ingram is in some excellent company for these 7 covers and originals that take inspiration from the 1944 Oscar winning best short film, Heavenly Music.

“Dream On” starts with Ingraham’s inviting voice alongside Pete Levin’s mature keys and Randy Brecker’s cozy flugelhorn for the warm climate, and “House Of The Rising Sun” follows with Evan Christopher’s rich clarinet adding much grace amid the expressive singing.

In the middle “Melusina”, an original, benefits from Elliot Randall’s flowing guitar in the layered and pretty album highlight, while “Ruby Tuesday” offers a heartfelt and harmonic moment thanks to Joel Rosenblatt’s strategic drums and Lily Del Rosso’s well timed backing vocals.

“Stairway To Heaven” exits, and it puts a charming jazz spin on the classic thanks to William Galison’s skilled harmonica that complements Ingraham’s engaging pipes.

A timeless body of work that turns classic rock tunes into thoughtful jazz and the originals blend in quite well with the rich, imaginative and melodic setting.

Travels well with: Marie-Paule Franke- Through The Cracks The Light Is Born; Bonnie J Jensen- Rise

Yiddish Glory

The Silenced Songs Of World War II

Six Degrees, 2026

9/10

Listen to The Silenced Songs Of World War II

The Grammy-nominated ensemble Yiddish Glory return with a sophomore album, where their folk and Yiddish ways surround abandoned songs of Jewish life under Nazi occupation that were penned by Jewish Red Army soldiers, ghetto survivors, and refugees across Ukraine, Moldova, and beyond.

The animated strings of “Obodivke Camp” opens with playful keys and expressive singing fueling the upbeat delivery, and “The Sad Camp” follows with mature piano and soulful singing for the graceful climate.

Moving along, “At The Jewish Cemetery” radiates a soft beauty via the stirring strings and poetic singing, while “Song Of Pechera Camp” enlists the moody cello and heartfelt singing amid much emotion.

Close to the end, “A Massacre In Zhabokrych” showcases vivid storytelling to complement the rich strings, and “Yom Kippur Without Fascists” pairs the cello and violin with powerful and relevant wordplay.

Although at its core this is a very despondent subject matter, the ensemble inject Yiddish wit while still focusing on the unimaginable experiences of the survivors with the Russian, Ukrainian, Romanian, and Roma folk traditions intact.

Travels well with: The Klezmatics- We Were Made For These Times; Daniel Kahn & The Painted Bird- The Butcher’s Share

Ezra

Whippersnap

Adhyâropa, 2026

9/10

Listen to Whippersnap

This 4th release in 2 years from the acoustic supergroup Ezra brings us more of their harmonic and rhythmic exploration across 11 authentic tracks.

“Milk On Tap” opens with Jacob Jolliff’s animated mandolin amid much warmth, and “Kting Ktang” follows with Craig Butterfield’s frisky, plucked bass that suits Max Allard’s meticulous and rich banjo playing in a calm climate.

Halfway through, “Taxiway Tossup” is a speedy moment of swirling strings and plenty of bluegrass fun, while the title track benefits from Jesse Jones’ flowing guitar and Xak Bjerken’s sophisticated piano playing via the textured album highlight.

Later on, “The Selsun Blues” pays close attention to mood thanks to the precise strings and cautious demeanor, and “Addatif” exits with all the members showcasing their inimitable talents in shifting tempos, evolving progressions and plenty of unpredictable songwriting.

An album with a youthful energy at its core, there’s also avant-garde and baroque hints present, as Ezra flesh out another unconventional and memorable newgrass effort.

Travels well with: Rafael Chamone- Sonoluminescence; Jeremy Bass - Cabin Songs

Devil's Cut

Roadkill

MNRK, 2026

8/10

Listen to Roadkill

This debut album from Louisville’s Devil’s Cut see the quartet’s ‘country metalcore’ formula across 10 very unique tracks with excellent production.

“Drink With The Devil” opens with a thundering presence, where Trevor Tressler’s hard hitting drums and William Landrum’s diverse vocals make it unclear if you should bang your head or dust off your cowboy boots, and “Drop Dead (End)” follows with Zach McConnell’s chugging guitar amid the busy versus calm bouts.

The title track arrives at the halfway point and enlists manipulated voices alongside the melodic and thick rhythm section and harmonic singing, while “Worth A Shot” benefits from Bailey Jones’ skilled bass for the raging mood that invites singing-along.

Closer to the end, “F U Anyway” leads gently before tense bursts enter the anthemic appeal and growling vocals, and “Bluegrass Burnin’” exits with rhythm and grooves leading into the searing metalcore pummeling.

You’ve got to hand it to these guys, cause this is truly a creative approach to rock. If you’re a little bit country and a little bit more metal and enjoy leaping into the most pit with your Tim McGraw shirt on, we’ll, this will likely be your new favorite band.

Travels well with: Soen- Reliance; Nuclear Messiah- Black Flame

Doug MacDonald

Califournia Quartet

DMac, 2019

8/10

Listen to Califournia Quartet

Some of the best of the best in Los Angeles come together on this accomplished listen as Harvey Newmark, Paul Kreibich, Kim Richmond and, of course, Doug MacDonald combine their respective talents on 6 originals and 4 covers where many forms of jazz are covered.

“A Beautiful Friend” gets the album right into tumbling percussion, soothing alto sax and winding melodies, and “Malapropisms” follows with a stylish, warm, blues spirit. Further along, “San Rafael” offers us a classic, waltz jazz feel with sweeping rhythm, while “Lakeside Drive” makes the most out of calming guitar lines and agile percussion.

The backside of the album offers us the playful, soulful “E Spot”, the brief, introspective “The Things We Did Last Summer”, and the swift and dynamic “Tenderly”. The album closes on the bop fun and brushed percussion of “I Want It”,

An enthralling journey of lovely solos, swinging sounds and proficient interplay, all players here have done fine work on their own and in other ensembles, but this debut together brings them into unparalleled chemistry that will hopefully continue.

Travels well with: Charlie Parker- The Charlie Parker Story; Jim Hall- Textures