Thursday, August 18, 2016
Dave Stryker - Eight Track II (Street Date: September 2, 2016) JAZZ PROMO SERVICES
Dave Stryker
“Eight Track II"
Dave Stryker –guitar
Steve Nelson - vibraphone
Jared Gold – organ
McClenty Hunter – drums
(Strikezone 8814)
Street Date: September 2, 2016
Upcoming Live Appearances
Tue Sept 6 The Bar Next Door
Dave Stryker Trio
Sun Sept 11 The Falcon Marlboro NJ
Dave Stryker Quartet with Steve Nelson
Fri Sept 16 The Nate Holden Theatre LA CA -Dave Stryker Quartet w/ Eric Alexander
Sat Sept 17 Wes Montgomery Tribute Day IUPUI Campus Center Indianapolis IN http://www.indyjazzfest.net/
Sun Sept 18 Monterey Jazz Fest
Dave Stryker Quartet w Eric Alexander
Wed Sept 21 Clark University Worchester MA
Dave Stryker and Friends w/ Steve Slagle,
Freddie Hendrix, Carolyn Leonhart
Fri Sept 23 Hendershots Coffee Athens GA
Dave Stryker Trio www.hendershotscoffee.com
Sat Sept 24 Savannah Jazz Fest -Dave Stryker Trio
Fri Sept 30 Trumpets Montclair NJ -Dave Stryker Quartet
w/ Steve Nelson
Dave Stryker “Eight Track II"
(Strikezone 8814)
Street Date: September 2, 2016
Dave Stryker –guitar, Steve Nelson-vibraphone,
Jared Gold – organ, McClenty Hunter – drums
Guitarist Dave Stryker hit on a ‘groovy’ idea with 2014’s Eight Track, his reimagining of classic pop tunes from the ‘70s with his working trio plus vibes. Their hip renditions of those tunes were eagerly received by audiences and critics alike. Eight Track was the #1 most-played CD on WBGO for the year and reached #3 on JazzWeek Radio chart. “Styker’s Eight Track is straight up fun,” wrote Dan Bilawsky in All About Jazz while Steve Greenlee declared in Jazz Times: “Forget those Time-Life collectors’ editions sold on late-night infomercials. Buy this.” Downbeat’s Ken Micallef called it ”a stone groove.”
Stryker put his own personal spin on Eight Track and now continues that successful formula on Eight Track II, his 27th recording as a leader. (His previous CD “Messin’ with Mister T” was #1 on JazzWeek and made many end-of-the-year lists including 4.5 Stars in Downbeat). Returning from Eight Track are Stryker’s longtime right-hand man Jared Gold on B-3 and the exciting McClenty Hunter on drums. Special guest this time out is vibraphonist Steve Nelson, a longtime member of Dave Holland’s quintet and big band who has also played and recorded with such giants as Jackie McLean, Kenny Barron, Johnny Griffin,George Shearing, and Mulgrew Miller. “Steve is a great cat and a very soulful player,” says Stryker. “I really like what he did on this album.”
“A lot of people like hearing these tunes that they grew up with,” says the guitarist, who remembers playing some of these ‘70s staples on the 8-track console in his ’69 GMC van with shag carpeting back in his youthful days in Omaha, Nebraska. “It brings people in and they’ll go with you when they hear a tune that they recognize. But the challenge, always, is to find tunes that I can do my thing to, improvise and play as creatively and musically as I would on any jazz standard. And I enjoy the challenge.”
Four years after moving from Omaha to New York in 1980, Stryker began playing on the organ circuit with bluesy Hammond B-3 organ master Jack McDuff, who had seen such great guitarists as George Benson, Pat Martino, Grant Green and Billy Rogers pass through the ranks of his band. So dealing in that earthy B-3 format on Eight Track and Eight Track II is like returning home for Stryker. But 30 years later, the guitarist’s six-string expression has deepened while his blues-and-bop chops remain razor sharp.
“I’m very grateful that I had the opportunity to play with masters like McDuff and Stanley Turrentine, guys who played that style and just had it in their blood. There’s nothing like being able to be on the bandstand with guys like that. Now I try to play my own way and stretch things a little bit. It’s still in the pocket but I feel like I’m trying to have my own take on things with this new group.”
The intrepid quartet kicks off Eight Track II with the Isley Brothers’ anti-war protest song “Harvest for the World,” which they handle as a vibrant shuffle with some hip reharmonizations. Stryker’s warm-toned flow of notes is mirrored by Nelson’s glistening vibes on the catchy head. The guitarist takes his time building an impressive solo, which is brimming with double-timed flurries and blues-soaked lines.
Their take on Marvin Gaye’s anthemic “What’s Going On,” title track of his 1971 song cycle addressing drug abuse, poverty and the Vietnam War -- themes that still resonate with relevancy today -- opens with a delicate balladic intro featuring vibes and guitar in unison. As they fall into the familiar theme, rendered here in 6/8, Stryker ‘sings’ the melody through his axe before developing that motif through the course of his probing solo. Nelson explores in introspective fashion on his vibes solo and Gold pushes the envelope on his own dextrous solo as Stryker comps pianistically behind him. The band shifts to a 4/4 groove for the last minute of the piece, giving the listener a little jolt.
Another Gaye staple, 1972’s “Trouble Man,” is given an earthy shuffle-swing treatment. Nelson channels his inner Bobby Hutcherson on his envelope-pushing solo here while Stryker remains firmly rooted in a blues ‘n hard bop bag, summoning up some Wes-like octaves along the way.
A mellow rendition of John Barry’s evocative “Midnight Cowboy,” the Grammy-winning instrumental theme from the 1969 movie of the same name, features nice octaves work and gentle extrapolation by Stryker. Nelson’s luminous solo is underscored by McClenty’s supple brushwork and Gold’s luxurious B-3 cushion.
Stretching the rules a bit, Stryker next leaps out of the ‘70s and into the early ‘80s for a killer uptempo swing version of Prince’s 1984 hit, “When Doves Cry,” fueled by McClenty’s rapid-fire ride cymbal work and Gold’s unerring walking basslines. Stryker’s cooking here, while both Nelson and Gold bring some heat of their own with incendiary solos. Hunter adds an exhilarating drum solo to put an exclamation point on this burner.
A gentle reading of Stevie Wonder’s “Send One Your Love” showcases Stryker’s lyrical side while the quartet digs into The Temptations’ “Can’t Get Next to You” with visceral intensity, spurred on by Hunter’s muscular backbeat. “That’s what I love about McClenty,” says Stryker. “He can swing but he’s got a serious pocket too, and he can slam!” Gold delivers the kind of show-stopping solo here that harkens back to the golden days of the organ lounges. “I played with McDuff, I got to play with Jimmy Smith and Dr. Lonnie Smith, and they were all masters,” says Stryker, “but of the new generation, Jared is my man. His harmony is heavy. His lines are not the typical thing you hear from organ players. I really think he’s special.”
Their rendition of The Zombie’s “Time of the Season” is handled as a cool shuffle swing number with the guitar-vibes combo upfront and Gold’s hip, syncopated basslines percolating underneath. Stryker lets it rip in his solo here and is followed by Gold and Nelson, who each turn in dazzling solos. The three exchange eights with Hunter at the tag in classic bop fashion.
A driving rendition of Stevie Wonder’s “Signed Seal Delivered” features one of Stryker’s most inspired solos on the record. From that dynamic number, they slide into the alluring James Ingram ballad “One Hundred Ways,” handled with relaxed soulfulness by the crew. They close with a tough shuffle-swing rendition of Cream’s ‘Sunshine of Your Love” that sounds like something Stryker might have played with McDuff up at Dude’s Lounge in Harlem back in the day. Everyone gets a taste on this foot-stomping finale. “I have a long history with that song,” says the guitarist. “I actually played it as a solo guitar piece in my 6th grade talent show!"
These nostalgic ‘70s anthems are deeply ingrained in Stryker’s consciousness. And the earthy feel of the organ quartet sound is imbedded deep in his bones after 30 years of playing on the scene. He successfully, joyfully combines the two on Eight Track II.
(condensed from the liner notes by Bill Milkowski)
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Wednesday, August 17, 2016
Scott Morgan - Songs of Life (September 12, 2016)
Vocalist Scott Morgan draws on a lifetime of experience and emotion for his moving debut recording, out September 12 on Miranda Music
Songs of Life features Fred Hersch, Joel Frahm and Janis Siegel
on a stunning set of Songbook and pop classics
“Scott Morgan’s singing is warm and loose. He has taste, heart, and musical intelligence.” —David Hajdu, Music Critic, The New Republic
“Scott Morgan’s voice wafts gently through your ears and heads straight to your heart.”– Janis Siegel, Manhattan Transfer
One advantage to making a belated debut is the depth of life experience that enriches an artist’s work. Scott Morgan may be a name new to listeners outside of New York City, where he’s garnered a devoted following for his moving live performances, but Songs of Life reveals a vocalist with a lifelong passion for and immersion in music. The title reflects both a songbook developed over a lifetime’s listening and performing, but also Morgan’s expressive interpretations, deeply imbued with the loves and losses that accumulate over a life well lived.
The repertoire on Songs of Life (due out September 12 via Miranda Music) span the spectrum from Great American Songbook standards to pop classics by revered songwriters like James Taylor and The Beatles to more recent contributions by pianist/composer Fred Hersch, Morgan’s partner in both life and music. Hersch’s sensitive accompaniment can be heard throughout Songs of Life, along with the singer’s flexible, supportive rhythm section of bassist Matt Aronoff and drummer Ross Pederson. The impeccably eloquent tenor saxophone of Joel Frahm graces three tracks, while Manhattan Transfer’s Janis Siegel is Morgan’s duo partner for the soaring “I’ll Follow,” with lyrics by Morgan to Hersch’s piece “Mandevilla.”
“Every song has its own story,” Morgan says, “and I hope that when people listen to the record they can identify with some if not many of the songs in a personal way. Everybody’s had unrequited love as well as fulfilling relationships. And I imagine most people have suffered existential angst as well - so Songs of Life is a musical photo album of the touchstones in our lives.”
Morgan brings the same profound humanity and empathy to all of his work. In part, his gift for storytelling and capturing character in song stems from his earliest experiences with music, performing in musical theater productions in his native Sarasota, Florida. “Without my musical theater background I wouldn't be able to tell the stories the way that I’m able to tell them, particularly in live performance,” Morgan says. “It’s very easy for singers to just get up and run through the songs jazz singers are expected to sing, but I try to make every song special and really engage the audience with what’s going on in the story.”
After playing piano and singing throughout his time at Florida State University, Morgan took a 15-year break from music while he concentrated on his career in the technology and then in the nonprofit sector, a pursuit that continues to be rewarding off the stage. It was his arrival in New York City in 2001 that led to his reengagement with music, which was only fueled further a few months later when he met Hersch and was ushered into the thriving NYC jazz scene. He studied with influential modern jazz singers like Kate McGarry, Peter Eldridge and Rene Marie, gaining confidence from their encouragement and from the enthusiastic response of audiences as he performed live. Hersch says, “I always knew Scott was a great musician – I am glad that he is now finding that out for himself.”
“I’ve always been close to music, and I was looking for a creative outlet to round out my life,” Morgan explains. “I felt like all I was doing was working, working, working, so music started calling me back. I never thought it would turn into anything initially, but I gradually got more serious and my desire to do something more with music than just sing around the house started to grow.”
The album closes with The Beatles’ “I Will,” rendered in Morgan and Hersch’s duo performance as a tender promise of devotion. Its sentiments are echoed in Morgan’s lyrics to Hersch’s music on “I’ll Follow,” with Morgan and Siegel painting a vivid portrait of two people in love worthy of a Broadway stage. “It’s a story about how when two lives and loves intertwine with each other, things can happen in a beautiful way,” Morgan explains.
All of the moments that have inspired Songs of Life are expressed with the same sense of beauty and passion. Like the love stories woven throughout the album, Morgan’s auspicious debut combines the thrill of the new with the wisdom and depth of feeling that can only come from a lifetime of experience.
Song of Life
Playlist Summary for Tom Ossana / Dane Brewer – The Thin Edge – August 17, 2016 MST 7:00 to 9:00p.m.
http://www.kzmu.org/listen.m3u ~ Use this link to access the show online.
Putting this show together I thought it would be interesting to take a look at "Conception," a tune written by Shearing concurrent with his first wife Trixie's pregnancy. I first listened to Shearing's MGM shellac back in 1950. During the same period I heard Mile's Birth of the Cool in which "Deception" was one of the cuts credited to Miles' pen. I listened to both often trying to decide if they were essentially the same tune. Google wasn't available at the time obviously. A record of which I was unaware at the time was Miles' The Last Bebop Session - Live at Birdland recorded in 1950. The all-star recording would have clarified the similarity since one of the tracks was "Conception/Deception." Let's begin tonight's program with George's quintet performing a remastered version of the original MGM pressing. George's crew included Chuck Wayne (g), Marjorie Hyams (vb), John Levy (b) and Denzil Best (d). Next we'll hear Miles' "Deception" from his wildly popular Capitol 1950 Birth of the Cool featuring Lee Konitz (as), Gerry Mulligan (bs), Kai Winding (tb) and Max Roach (d). Miles' 1950 The Last Bebop Session - Live at Birdland follows with one of our very few exposures to the very talented Fats Navarro on trumpet, Walter Bishop's seldom heard piano and Art Blakey. New from MM Records, we'll hear Jacám Manricks Band - Chamber Jazz covering Miles version of Shearing's melody, "Deception." Alto saxophonist Jacám leads an impressive quartet featuring Kevin Hays (p), Gianluca Renzi (b) and Ari Hoenig (d).
Satoh Masahiko Trio's Hyojun Gigaku (BAJ Records 2016), an unusually whimsical Japanese recording in which Satoh plays around with standards, goes so far as to give the tracks similar-sounding names. His cover of Monks "Well, You Needn't" is titled "Well I Need It." Pianist Satoh's effort follows Art Taylor's cover of Monk's original from his 1956 Prestige Taylor's Wailers featuring our friend Donald Byrd (tp), longtime Monk sideman, Charlie Rouse (ts), and Jackie McLean (as). Bassist Mats Eilertsen's Rubicon, new from ECM, closes this half with Mats' "March" with help from Trygve Seim's reeds, Rob Waring (vb) and Harmen Fraanje (p).
New from Gateway Music, Acouspace Plus - Tid (Tender) kicks off the third half with saxophonist Claus Waidtløw's "Cereal Killer," a two reed, bass and drums effort featuring Claus and Joakim Milder's reeds, Jesper Bodilsen (b) and Spejderrobot (electronics), all Danes. We became familiar with Milder when he appeared with piano favorite Marcin Wasilewski in ECM's Faithful. Joe Lovano's new Blue Note Classic (Live at Newport) is next with Joe's "Birds Eye View," an obvious nod in the direction of Charlie Parker. Old-timer Hank Jones shows up on piano, with George Mraz (b) and Lewis Nash (d). New from KARI-ON Productions, we get Sergio Pereira's Swingando. The all-star ensemble tackles Sergio's "Spring." Also new to the show is the highly praised Tori Freestone and her trio's cover of the Altman/Lawrence classic, "All or Nothing at All." Tori manhandles the tenor with help from Dave Manington's double bass and Tim Giles' drums.
Newcomer Ashleigh Smith gets our hearts fluttering with Chrisette Michele’s "Love Is You" from her freshman outing Sunkissed released by Concord this year. Bassist Nigel Rivers and guitarist Joel Cross lead the ensemble. Bill Evans only recording with famed bassist Gary Peacock is next from Bill's 1964 Verve Trio 64 covering Dietz and Schwartz's "Dancing in the Dark" featuring longtime Evans drummer, Paul Motian. Acting on a request from fan Jules, Joni Mitchell follows with "A Case of You" from her 2000 Warner Both Sides Now. The stellar group includes Wayne Shorter (ts), Mark Isham (tp), Herbie Hancock and drummer Peter Erskine. Gregory Porter follows with his "No Love Dying" from the 2011 Blue Note Liquid Spirit featuring Yosuke Sato (as), Tivon Pennicott (ts) and Chip Crawford (p). Nancy Wilson ties romance with dancing in her cover of Ivan Lins/Paul Williams' "Love Dance" from her 1994 Columbia Love, Nancy. Maria Pia De Vito, Danilo Rea, Enzo Pietropaoli, Aldo Romano's 2005 C.A.M. Jazz So Right brings this love-fest to a close with Maria singing "The Sweetest Medicine" (Vito/Rhea/Pietropaoli/Romano).
Let's have some fun!
Thanks to Music Director Serah and friends around the world for the program's content.
Tuesday, August 16, 2016
Jinchūriki - Kyūbi (2016) NAKAMA RECORDS
Violinists Håkon Aase and Adrian Løseth Waade is releasing their first record as a duo on Nakama Records
The two handsome guys above are Adrian Løseth Waade and Håkon Aase. These two remarkable violin players have put their wits and musicality together, borrowed both band name and album title from the Japanese cult-manga "Naruto", and made a curious piece of art entitled Kyūbi.
Jinchūriki says: "This album is a free exploration of sound within the bounds of two violins and the musicians playing them. Close interplay and together-ness permeates the 36 minutes of eclectic but hopefully cohesive music, ranging in expression from reductionist and sparse textures, to filmscore-like tonal landscapes with clear dramatic outlines. We feel that this record reflects both our dionysic and apollinian sides, and hope that the balance between the two can possibly create something universal which the listener can relate to."
CUNEIFORM RECORDS: Bent Knee & Deus Ex Machina at the 22nd Annual Prog Day, September 3 & 4, 2016
PROG DAY LINEUP DEUS EX MACHINA BENT KNEE
Directions: click here Lodging/Dining: click here Tickets: click here
Cuneiform Artist
DEUS EX MACHINA
Performing at ProgDay 2016 on 9/3/16
ProgDay headliners Deus Ex Machina are one of the most renowned bands on the international progressive rock scene, acclaimed for their high-energy live performances, astounding vocals & musicianship, and use of Latin in addition to native Italian lyrics. This legendary Italian group has not appeared in North America since its performance at Cuneiform Records' Label Spotlight, held June 26, 2001 in NYC at the Knitting Factory (Leonard St.), the turn-of-the-century epicenter for avant music in the US. Since then, Deus Ex Machina has performed on the European continent. Their ProgDay 2016 performance, celebrating their first album in 8 years and first U.S. appearance in 15, promises to be one of the top progressive rock concerts on any continent for the year 2016!
“…one of the most extraordinary bands in the entire music universe.” -All Music Guide
Deus Ex Machina formed in the late 1980s, when it hit the ground running by staging an ambitious rock opera. Garnering critical praise, the opera was recorded and released in 1991 as the album Gallium Cœli.
In the final decade of the 20th century, prior to signing with Cuneiform, Deus Ex Machina released three additional studio albums – 1992’s Deus Ex Machina, 1995’s De Republica and 1998’s Equilibrium da Insofferenza – along with two live albums: 1996’s Diachronia Metronomiche and 1997’s vinyl-only Non Est Ars Quae ad Effectum Casus Venit – all on the Italian Kaliphonia imprint. But it was upon joining the Cuneiform roster in 2002 with the release of Cinque – widely considered to be amongst the group’s best work – that Deus Ex Machina began to garner broader international praise.
Of Cinque, AllMusicGuide writes, “This remains pure Deus Ex Machina: lyrical, provoking, and genre-pushing.” In 2008, the band released a CD/DVD on Cuneiform, called Imparis. Exposé describes Imparis as, “Driving, aggressive fusion mixed with wickedly complex rhythms, hints of RIO/avant-garde sounds, and Alberto Piras’ unbelievable vocal skills,” while All About Jazz enthuses that, “what’s best about Imparis is the opportunity to follow Deus Ex Machina from its prog-metal beginnings to the more sophisticated group it is today. Everyone in DEM is a virtuoso.”
Following an eight-year absence, the Italian rock/progressive group has burst back onto the international scene with Devoto, its 8th album and first release since Imparis. Blazing into contemporary forcus with Devoto, Deus Ex Machina is poised to transcend the accomplishments of its past. In Devoto, this phenomenal band sharpens its musical focus and expands its conceptual depth to create a release that is nuclear in its power and universal in its spiritual, emotional, and musical appeal.
Deus Ex Machina's live shows are legendary; their incendiary 1996 ProgDay performance was a highlight in the history of the festival. Their ProgDay 2016 appearance promises to be equally memorable. Deus Ex Machina are also celebrating the release of Devoto with shows on the European concert and festival circuit, and are available for booking worldwide.
Deus Ex Machina is Alberto Piras (vocals), Mauro Collina (guitar), Luigi Ricciardiello (keyboards), Allessandro Poreca (bass), Alessandro Bonetti (violin), and Claudio Trotta (drums.)
Deus Ex Machina
Devoto
[In CD or Digital]
"Figli (Sons)"
Purchase @:
Deus Ex Machina's Previous Recordings on Cuneiform Records:
Deus Ex Machina
Imparis
[In CD/DVD Set or Digital]
"Il Testamento Dell'Uomo Saggio"
Purchase @:
Deus Ex Machina
Cinque
[In Digital]
"De Ordinis Ratione"
Purchase @:
[Listen to Deus Ex Machina's "Figli (Sons)" HERE]
[Watch Deus Ex Machina's "Coro" Live HERE]
Find Deus Ex Machina on: Bandcamp
Cuneiform Artist
Bent Knee
Performing at ProgDay 2016 on 9/4/16
“Across the span of its three full-length discs, the silo-smashing, Boston-based sextet taps into cabaret, ‘70s piano-based folk, chamber pop, industrial rock, metal and prog rock – with the snap of funk and hip-hop in some of its rhythms. Featuring the versatile, ever-appealing voice of Courtney Swain on top, Bent Knee’s unique mix is equal parts ingenuity and deliciousness…” – Wall Street Journal
Bent Knee is a band without frontiers. The Boston-based group seamlessly connects the worlds of rock, pop and the avant-garde into its own self-defining statement. On its Cuneiform debut release Say So, the band focuses on the sound of surprise. It’s rock for the thinking person. The group’s lyrics are dark and infused with themes focusing on the emergence of personal demons, unwanted situations and the difficulty of conquering them. Its mercurial sound matches its subject matter. It’s a thrilling aural roller-coaster ride with arrangements designed to make listeners throw their arms up in wild abandon as they engage with them.
“Say So resoundingly demonstrates the increasing refinement and confidence of a group that doesn’t quite fit any conventional pigeonhole, with emphatic crunch, a knack for complexity, mixed with lively wit,” said Steve Smith of The Boston Globe. “Live, the band projects visceral glee, exactingly harmonized and wholly infectious.”
Founded in 2009, Bent Knee is a true collective. The band operates as a democratic entity with sky-high standards and a determination to push boundaries. Frontwoman and keyboardist Courtney Swain’s acrobatic, multi-octave vocals are nothing less than extraordinary. Guitarist Ben Levin morphs between the hauntingly melodic and extreme, dissonant sonics – sometimes within a single verse or passage. Bassist Jessica Kion and drummer Gavin Wallace-Ailsworth deliver deep and thunderous grooves, full of engaging, intriguing ornamentation. Violinist Chris Baum’s driving melodic overlays and atmospheres further take the band’s sound into wild territory. And all of it is brilliantly processed and produced by sound designer Vince Welch.
“What Bent Knee does is fuse the most extreme ends of pop and avant-garde music together,” says Welch. “We feel those things aren’t nearly as mutually exclusive as most people think.”
One of the elements that significantly distinguishes Bent Knee is its adventurous arrangements. Each track is a true journey. In fact, pieces like “Eve” and “Counselor” are so diverse they reflect an almost “songs-within-a-song” approach.
“We try not to repeat ourselves within our structures,” says Kion. “It we find we’re creating a pattern such as ramping into a loud section and landing in a soft section right after it twice in a row, we’ll break it as soon as we notice it. We don’t want to bore ourselves. We also want to surprise and intrigue listeners. We’re always trying to do new things…”
And intriguing they are. Bent Knee has journeyed through adventurous music-making in order to arrive at Say So, that journey bringing them into Cuneiform’s orbit – a transition the band is thrilled with on every level.
“It means a lot for us to be on Cuneiform because of the incredibly high standards of the other artists on the roster,” says Levin. “It’s a world where music is treated as art. Working with Cuneiform means we can make the music we love and connect with a lot of like-minded listeners. It’s fantastic to be in such great company, both in terms of the musicians they work with, as well as the uncompromising vision the label adheres to.”
Bent Knee's New Recording on Cuneiform Records:
Bent Knee
Say So
[In CD or Digital]
"Leak Water"
Purchase @:
[Watch Bent Knee's “Leak Water” music video HERE]
[Watch Bent Knee's "Hands Up" Live HERE]
[Watch Bent Knee's "Good Girl" music video HERE]
Bent Knee are celebrating the release of Say So by touring extensively in North America and Europe. For information about the Bent Knee tour and other concert dates, visit the Cuneiform Artist Tour Page here.
Find Bent Knee on:
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