Friday, March 2, 2018

Anthony Braxton - Sextet (Parker) 1993 (TRI-CENTRIC FOUNDATION March 2, 2018)

"I think he exemplifies the spirit Charlie Parker had - the fact that he dares to do something different, to try another direction." (Max Roach discussing Anthony Braxton) 

On March 2nd, 2018, the Tri-Centric Foundation and New Braxton House Records will release Anthony Braxton's "Sextet (Parker) 1993" - an epic 11-CD deluxe box set meticulously documenting Braxton's now legendary European tour performing music composed by and associated with Charlie Parker. As Stuart Broomer writes in his extensive liner essay, "we've come across a signal here in which two of the greatest minds of African-American music have somehow crossed their signals, crossed and combined, fused, modulated, and combined with others." 

Widely revered as one of the most original composers and conceptualists of the past fifty years, Anthony Braxton has also pursued his own idiosyncratic path through the jazz repertoire throughout his career - from his 1974 recording "What's New in the Tradition" to his seven-album tribute to Lennie Tristano, "Quintet (Tristano) 2014". This Charlie Parker project stands as the centerpiece of that journey, a body of music that simultaneously acknowledges, expands, and explodes the bebop tradition, re-radicalizing Parker's musical revolution. 

As Braxton approaches his 75th birthday (arriving in 2020), and increasingly his own compositions became favored repertoire of emerging musicians from both the jazz and new music communities the world over, it is fascinating to see his in-depth examination of another artist's oeuvre. This recording offers insight on both Braxton and Parker - demonstrating the clear roots of a still-searching experimentalist, and reminding the listener of the joyful liberation inherent in Parker's genius. 

Braxton is joined by an extraordinary band well-versed in both the jazz tradition and creative music practice: pioneering Dutch pianist Misha Mengelberg, the undersung trumpet master Paul Smoker, Chicago tenor sax stalwart Ari Brown, the rock-solid bassist Joe Fonda, and the volcanic drummer Pheeroan akLaff. (Another Dutch jazz innovator, drummer Han Bennink, substitutes for akLaff on one disc). Representing multiple communities, styles, and generations, the interplay between the performers is sublime. Each musician is pushed to the height of their skills and rises to the challenge in this one-time only meeting - never again would this group assemble. (With the recent passing of Smoker and Mengelberg, the set also serves as a worthy tribute to their brilliance.) 

Near the 25th anniversary of the original recordings, this reissue massively expands upon the original two-disc set released in 1995 by Hathut Records under the title "Anthony Braxton's Charlie Parker Project 1993." The deluxe 11-CD box set, with a 26-page booklet including Broomer's insightful essay and rare historical photographs, will be solely available in a limited-edition run of 500 copies. (The music will also be available for streaming or digital download via Bandcamp.) As Broomer writes, "The music satisfies a special need, engendered by jazz as history and idea, for simultaneous movements in time, both forwards and back, these ecstatic arcs in time that link these musicians and this art in a thousand ways, the ways in which this music never sounds contrived, the way it shares with us its own expansive space."

1. Confirmation 10:27
2. Quasimodo 10:33
3. Don't Blame Me 12:05
4. Repetition 05:06
5. Klactoveedsedstene 06:44
6. Relaxin' At Camarillo 15:39
7. Darn That Dream 11:49
8. Hot House 14:06
9. Laura 08:43
10. Scrapple From The Apple 05:18
11. Bebop 17:06
12. Charlie's Wig 06:51
13. Klactoveedsedstene 06:49
14. Autumn In New York 09:10
15. Parker Melodies 34:47
16. Yardbird Suite 09:25
17. Ari/Misha Duo 01:48
18. Charlie's Wig 06:36
19. Klactoveedsedstene 06:51
20. A Night In Tunisia 08:30
21. Another Hair-Do 10:37
22. Sippin' At Bell's 04:10
23. An Oscar For Treadwell 09:00
24. Bongo Bop 07:14
25. Blues For Alice 11:13
26. Dewey Square 15:33
27. Mohawk 03:34
28. Repetition 04:17
29. An Oscar For Treadwell 07:56
30. A Night In Tunisia 06:23
31. Quasimodo 10:01
32. Cardboard 08:16
33. Koko 07:30
34. Milestones 07:47
35. Hot House 12:52
36. Klactoveedsedstene 07:07
37. Yardbird Suite 08:10
38. Passport 06:20
39. Repetition 04:20
40. A Night In Tunisia 06:22
41. Hot House 15:51
42. A Night In Tunisia 08:59
43. An Oscar For Treadwell 19:22
44. Dewey Square 12:25
45. Repetition 05:11
46. Klactoveedsedstene 10:49
47. Hot House 15:18
48. Another Hair-Do 16:26
49. April In Paris 04:59
50. An Oscar For Treadwell 28:32
51. Repetition 05:12
52. Don't Blame Me 10:37
53. Confirmation 13:03
54. A Night In Tunisia 11:41
55. Dewey Square 14:52
56. Klactoveedsedstene 05:34
57. Darn That Dream 12:05
58. Autumn In New York 07:56
59. Sippin' At Bell's 05:35
60. Bebop 08:25
61. Another Hair-Do 10:32
62. Koko 07:13
63. Repetition 05:03
64. Cardboard 10:10
65. Blues For Alice 10:34
66. Confirmation 10:12
67. Don't Blame Me 13:05
68. Cheryl 09:39

Released March 2, 2018 

Ari Brown - tenor and soprano saxophone
Paul Smoker - trumpet, flugelhorn
Misha Mengelberg - piano
Joe Fonda - bass
Pheeroan akLaff - drums (all tracks expect 41-46)
Han Bennink - drums (tracks 41-46 only)

Mathias Eick - Ravensburg (ECM 2018)

One of the pleasures of Mathias Eick’s Midwest album was hearing his vaulting trumpet supported by violin, an instrumental combination further developed on Ravensburg. The new violinist in Eick’s ensemble is Håkon Aase, one of the up-and-coming players of the new Norwegian scene, whom attentive ECM listeners will already know from his work with Thomas Strønen’s group. The core Eick road band is further shored up by the addition of Helge Andreas Norbakken, who interacts excitingly with fellow drummer Torstein Lofthus. Eick is in great form as a writer on this showing, deploying driving rhythm at the bottom end of his music and soaring melody at the top in this series of pieces which add up to a kind of collective family portrait. Ravensburg was recorded at Oslo’s Rainbow Studio in June 2017 and produced by Manfred Eicher, and is issued on the eve of European tour.

1 FAMILY (Mathias Eick) 04:12
2 CHILDREN (Mathias Eick) 05:42
3 FRIENDS (Mathias Eick) 06:14
4 AUGUST (Mathias Eick) 04:57
5 PARENTS (Mathias Eick) 05:12
6 GIRLFRIEND (Mathias Eick) 05:11
7 RAVENSBURG (Mathias Eick) 05:33
8 FOR MY GRANDMOTHERS (Mathias Eick) 02:49

Håkon Aase   Violin
Andreas Ulvo   Piano
Audun Erlien   Electric Bass
Torstein Lofthus   Drums
Helge Andreas Norbakken   Drums, Percussion

Free Kata - Live at the Record Crate (2018)

Recorded one electrifying night in Sydney. The 1st meeting in decades between the original members Eddie and Louis. Sydney guitarist and painter Dirk Kruithof joined them. A powerful performance.

1. Movement 1 05:18
2. Movement 2 11:58
3. Movement 3 13:39
4. Movement 4 24:16

Louis Burdett - Drums & Electronic Percussion
Edouard Bronson - Saxophone
Dirk Kruithof - Guitar

Recorded live at the Record Crate - June 10th 2017
Recorded, Mixed and Mastered by Mark Hall
Cover photo by Edouard Bronson

Owen Broder's American Roots Project debut "Heritage"

Saxophonist/Composer Owen Broder's American Roots Project Offers a Stunning New Vision of American Folk, Bluegrass, Spirituals and Blues Through a Modern Jazz Lens

Heritage, out March 1, 2018 from ArtistShare, features new compositions and bold arrangements inspired by the American musical tradition, with pieces by Ryan Truesdell, Jim McNeely, Bill Holman and other innovative composers

CD Release concert on Wednesday, March 14 at The Jazz Standard, NYC

Our roots run deep, and keep us connected to and nourished by the soil of our birth. But they also twist, tangle and intertwine while feeding our growth and evolution. With his American Roots Project, saxophonist/composer Owen Broder explores the weft and weave of American roots music - from Appalachian folk to early blues, spirituals to bluegrass - through bold and inspired new interpretations envisioned through the perspective of another distinctively American musical tradition: jazz. On the American Roots Project's debut album, Heritage, Broder combines several of modern jazz's most acclaimed composers and arrangers with an outstanding ensemble of gifted musicians to create a striking blend of tradition and innovation.

Heritage (due out March 1, 2018 through ArtistShare) calls on the talents of an impressive roster of composer/arrangers. They offer striking new twists on familiar American folk tunes as well as their own new pieces, each inspired by its creator's deeply personal take on the country's rich musical tradition. In addition to Broder, whose two originals open and close the album, there are contributions from Ryan Truesdell, founder of the celebrated Gil Evans Project, who also produced the album; Grammy-winning pianist/arranger Jim McNeely, known for his long tenure with the renowned Vanguard Jazz Orchestra; composer/arranger Bill Holman, long associated with the legendary Stan Kenton Orchestra; in-demand trumpeter/composer Alphonso Horne; and Tokyo-born bandleader/pianist Miho Hazama, whose m_unit ensemble melds big band jazz and classical chamber music.

Broder's American Roots Project interprets these remarkable pieces through the voices of an exceptional eight-piece ensemble: Broder on woodwinds; Sara Caswell, a violinist who regularly bridges the worlds of jazz and Americana; trumpeter Scott Wendholt; trombonist Nick Finzer; vibraphonist and percussionist James Shipp; pianist Frank Kimbrough; bassist Jay Anderson; and drummer Matt Wilson. On three tracks the band is joined by the transcendent vocal trio of Wendy Gilles, Kate McGarry and Vuyo Sotashe.

"It's an amazing group of people who all have great relationships with each other," Broder says. "All of these composers really brought the musicians' personalities into their writing. I think we all prefer to write for the people that are going to be playing rather than just the instruments."

That's certainly true of the bandleader himself, whose "Goin' Up Home" begins the proceedings with an entrancing, gradually expanding piece that works as an introduction to the ensemble and the concept. Sparked by the work of contemporary Americana innovators like Chris Thile, Gillian Welch and Alison Krauss, the song dawns slowly, with Caswell and Finzer intoning the folksy melody over Shipp's tick-tock pulse. As it proceeds, the song builds in complexity, layering in jazz harmonies and infectious swing rhythms. Broder just earned a 2018 Herb Albert Young Jazz Composer Award for the piece.

Hazama's first contribution, the original "Wherever the Road Leads," is a singular meld of perspectives, coming from the sole composer who doesn't share the others' American background. Taking on the role of the inspired outsider, Hazama borrows rhythmic and melodic themes from Appalachian tunes and reimagines them via a twelve-tone harmonic progression, leading to a kaleidoscopic collage of folk idioms. For her second piece, Hazama gives Gillian Welch's "I'm Not Afraid To Die" an impressionistic gloss pierced by the gorgeous melody sung by Wendholt's flugelhorn.

Hank Williams' familiar "Jambalaya," is transposed from the Crescent City to a more urban jazz environment in Bill Holman's rendition - as Broder writes, "this swinging re-imagination of the Cajun tune has closer ties to Birth of the Cool than the streets of New Orleans." McNeely, meanwhile, drew upon his love of bluegrass music for his radical remake of the folk song "Cripple Creek," taking a narrative approach that leads the tune on an adventure through an ever-changing landscape.

Frank Kimbrough's brooding piano sets the tone for Truesdell's take on the timeless "Wayfaring Stranger," which also introduces the sublime vocal harmonies of Gilles, McGarry and Sotashe. The cleverly-titled "Brodeo" is Truesdell's version of a foot-stompin' bluegrass tune, setting the scene for a somewhat abstract rodeo. Broder, who has worked with the composer's Gil Evans Project, praises Truesdell as a bandleader, composer, and as Heritage's producer. "Ryan's a leader on a level that few others are," he says. "He's such a perfectionist and so detail-oriented, with incredibly fine-tuned ears. As a producer he was invaluable."

Horne's soaring "The People Could Fly" looks at a different side of the American odyssey, taking a piece of Bantu folk music from South Africa through the travails of slavery as it survives to find a place in the African-American church. Broder returns to conclude the album with "A Wiser Man Than Me," a looser piece that reflects the improvisational storytelling tradition through a wistful group improvisation on a simple, gospel-tinged melody.

The American Roots Project scans the history of American music and, through the inspiration that Broder finds there, discovers a new path into a profoundly personal contemporary vision. Heritage is an apt name for this moving collection, at once an inheritance and a gorgeous new link in a continually growing chain.

"The strains of American musical tradition are as deep and diverse as the lands of our forebears," Broder writes in his liner notes. "Heritage celebrates that diversity and the different backgrounds that combined to shape an American cultural identity."

Lakecia Benjamin - Rise Up (ROPEADOPE RECORDS March 23, 2018)

From Washington Heights to Lincoln Center - that is how you do it. And that's just what Lakecia Benjamin did, using her Saxophone as a tool for growth. She's traveled the world as an ambassador - not just for Jazz but for Women of Color - and held her head high as a bandleader.  Benjamin has played with the best, from Stevie Wonder to Clark Terry, and now she is ready to release her latest work - Rise Up - to the world. Featuring a solid band and special guests Maurice Brown, China Moses, and more, Rise Up is a powerful statement both in Jazz and on the current state of our culture. The title track - March On - starts with the quote ' You can either live your dream, or live your fears', and that sums it up right out of the gate. Rise Up hits on March 23, with preorders opening February 23.

1. March On
2. On the one
3. Flashback
4. Stay
5. Juicy
6. Change the world
7. Lonely
8. Intro
9. Little Children
10. Takeback
11. Survivor
12. Cornbread intro
13. Cornbread

Releases March 23, 2018 

Shawn Whitley - Bass 
Devone Allison - Keys 
Yeissonn Villamar - Keys 
Chris Rob - Lead Synth 
Eric Brown - Drums 
Jamieson Ledonio - Guitar 
Jeremy Most - Guitar 
Brad Allen Williams - Guitar, Keys, Bass, and Drum Programming 
Solomon Dorsey - Percussion, Electric Bass, Acoustic Bass, Vocals, Guitar 
Bendji Allonce - Percussion 
Melusina Reeburg - Grand Piano 
Jaime Woods - Vocals 
China Moses - Vocals 
Akie Bermiss - Vocals 
Zakiyyah Modeste - Spoken Word 
Chandler - Vocals 
Nicole Phifer - Vocals 
Jessie Singer - Tambourine, Lead Synth, Wurlitzer, Bass, and Sound Design 
Jesse Klirsfeld - Trumpet 
Maurice Brown - Trumpet 
Gregorio Hernandez - Trombone 
Chris Soper - Sound Design, Guitar, and Keyboards 

Recorded at Kaleidoscope Studio 
514 Monastery Ave 
Union City, NJ 

Engineer Chris Parks 
Mixed @ Like Minds Studios Brooklyn, NY 
Mixing Engineers - Chris Soper, Jesse Singer 

Mastered at Zampol Productions 
161 Chrystie Street #2C 
New York NY 10002 
NY: (212) 966-3435 
México: (55) 8421-7553 

Mastering Engineer - Oscar Zambrano

Progger - Dystopia (ROPEADOPE RECORDS March 9, 2018)

Based in New York and Austin Texas, Progger united in a Brooklyn studio this summer for their fourth studio album. A frenetic session of serious hustle and creative collaboration brought fourth Dystopia, an epic journey into a land that only Progger can inhabit. Brian Donohoe's compositions are well suited for two lead guitars, and having both crews in one place put four guitars in the room. What do we call that? Progger heaven. The beats are funky, the chords are smooth, with just the right touch of swirling psychedelic Prog-rock laid on top. Oh, and some extra love from Nate Werth and Justin Stanton. Get ready to dig in on this one.

1. Oba-Bow
2. Housewives
3. Dystopia
4. Adryllanin
5. Adrenal Interlude
6. Morning Star
7. Choom
8. Sinister Decisions
9. Haunt
10. Sinister Postlude

Releases March 9, 2018 

Performing on this album are Daniel Watson (drums), Devin Collins (drums and electronic percussion), Steve Anthony Belvilus (drums on “Morning Star”), Nicholas Clark (electric bass and synth bass), Bryan Ladd (electric bass), Isamu McGregor (keyboards), Carter Arrington (guitar), Daniel Muniz (guitar), Akira Ishiguro (guitar), Matthew Muehling (guitar), Paul Deemer (trombone), and Brian Donohoe (saxophone, keyboard, drum loops, and additional guitar). 

Progger’s members gleefully use EarthQuaker Devices pedals, ThreeLeafAudio pedals, Macsax saxophone mouthpieces, Nord keyboards,TRX cymbals, Rath trombones, Warburton brass mouthpieces, Fodera guitars, D’Addario/Evans accessories, Maelo drums, Mogami cables, Colossal cables, Nordstrand pickups, Mono cases, Moody Leather straps, Epifani amplifiers, and Aguilar amplifiers. 

All pieces composed by Brian Donohoe (SESAC) except for “Oba-Bow” and “Choom,” composed by Matthew Muehling (SESAC). 

All tracks recorded by Diko Shoturma and Nic Hard at Atlantic Sound Studios, Brooklyn, NY. 

All tracks mixed by Matt Meli at Orb Studios, Austin, TX, except for “Adrenal Interlude” and “Sinister Postlude” which were mixed by Brian Donohoe. 

All tracks mastered by Sam Minaie at Birdfood Studios, Queens, NY.

Produced by Brian Donohoe.

The beautiful album artwork is by Emilia Canas Mendes.

Darryl Yokley: Darryl Yokley's Sound Reformation - Pictures at an African Exhibition (TRUTH REVOLUTION RECORDS April 20, 2018)

Picture yourself strolling through the doors of an art gallery or into the marble halls of an art museum. The walls are lined with bold, colorful images, some vivid abstracts, many assertively figurative. As you take in the striking landscapes and strong faces, a story emerges -- no less a story than the history of humankind, but also a story that resonates with today's headlines, a story still unfolding. Now what would that sound like?

Saxophonist/composer Darry Yokley has created the soundtrack to just such a gallery of images on his new album, Pictures at an African Exhibition. The album, due out April 20 via Truth Revolution Records, was created in collaboration with British-born artist David Emmanuel Noel, who painted pieces to accompany each of Yokley's 13 new compositions. The music supplements Yokley's band Sound Reformation -- pianist Zaccai Curtis, bassist Luques Curtis, and drummer Wayne Smith Jr. -- alongside special guest drummer Nasheet Waits and a 12-piece wind ensemble, assembling a group with a sound palette vast enough to match Noel's visual one.

The album's title points to its clear inspiration, Modest Mussorgsky's famed "Pictures at an Exhibition." But where Mussorgsky penned music inspired by the artwork of his friend Viktor Hartmann, Yokley decided to write his suite first and ask his friend Noel to create the exhibition to match. The ambitious suite begins with the dawn of the human species and traces an alternately triumphant and tragic tale of migration and enslavement, celebration and warfare, ending on a cautiously optimistic hope for the future.

"I wanted to explore themes that were universal," Yokley explains. "I based the story on Africa, because as far as we know that's where the human species was born, but I wanted to explore themes that everyone in every culture worldwide could relate to."

The album thus opens with the joyous melody of "First Sunrise," which shows the influence of African song and American gospel. Noel's accompanying painting collages bright colors to depict a pregnant woman and her partner looking to the sun on the horizon and its accompanying promise. Still celebratory but built on a more tumultuous rhythm, "Migration" is an anthem for the ancestors who braved the unknown to venture out to new lands, with Noel's illustration of a stark but troubling black and white image of a black man, his head bowed, bounded by an Egyptian pyramid and a Manhattan skyscraper.

"Ubuntu," paralleled by Noel's swirling abstract painting, takes its name from an African philosophy that means "I am who I am because of who we are," an emphasis on group identity that Yokley grasps in his stunning arrangements for this ensemble. He's led Sound Reformation since 2010, but the addition of a wind ensemble, inspired by his classical studies at Duquesne and Michigan State Universities, provides the opportunity for sweeping drama and surging power, reflective of his arrangements for Orrin Evans' Captain Black Big Band. Waits, the inventive drummer known for his work with Jason Moran and Fred Hersch among many others, adds rhythmic complexity in tandem with Smith's muscular swing.

"I've always wanted to work with Nasheet Waits, but Wayne is such a great drummer for the group," Yokley says. "Then it dawned on me that I could use two drummers because the drum is the predominant instrument in Africa. It ended up working out wonderfully because the rhythms they produced together provide a plethora of inspiration for the musicians to improvise to as well as being a representation of African culture."

The influence of African percussion is at its most emphatic on the gentle "Stories from the Village Elder," which honors the tradition of oral history before things begin to take a darker turn with "Ominous Nightfall." Reprising the theme from "First Sunrise" with foreboding harmonies, the piece begins a series of reflections on tribulations that continues with the ambiguously titled "Hunting Natives," whose tense rhythms suggest both the search for food and the danger of life in the jungle -- both literal and figurative.

Smith marks time with a set of chains on "The Birth of Swing," which traces the roots of jazz back to the clanking of slaves' irons on ships' decks. "Echoes of Ancient Sahara" is a ghost story of lost civilizations that reveals John Coltrane's imprint on Yokley's sound, while "Genocide March" is a martial ode to atrocities in Rwanda and Sierra Leone in particular, though acknowledging the fact of many more such tragedies across the globe. The blood diamond trade is referenced in the mournful "Mines of Diamonds, Crimson and Gold."

Things begin to take a turn with "Cry, the Beloved Country," which borrows the title of Alan Paton's 1948 title for a stirring ballad of revolution and resistance. "Blessings From the Bennu" refers to an Egyptian deity, a bird used as a symbol of rebirth that was the likely inspiration for the Greek myth of the phoenix. The "First Sunrise" theme emerges again to segue into "New Sunrise," which finds the composer finding hope despite the echoes of these past troubles in our current divisive times.

"The last two tracks are a vision for the future," Yokley concludes. "They express my hope that we can get past all the turmoil and inner conflict that we bring upon each other and unite. That's the arc of the story."

1. First Sunrise
2. Migration
3. Ubuntu 04:12
4. Stories From The Village Elder
5. Ominous Nightfall
6. Hunting Natives
7. The Birth Of Swing
8. Echoes of Ancient Sahara
9. Genocide March
10. Mines of Diamonds, Crimson, And Gold
11. Cry, The Beloved Country
12. Blessings From The Bennu
13. New Sunrise

Nick Biello - Vagabond Soul (TRUTH REVOLUTION RECORDS 2018)

Biello’s debut release “Vagabond Soul” deftly combines a modernistic sense of harmony with lyrical, heartfelt melodies. Fueled by a diverse combination of post-bop, electronica, and folk sentimentalities, “Vagabond Soul” weaves deeply personal stories for a set of daring, bold, and unique performances. Featuring luminaries Phil Markowitz (piano), John Benitez (bass) and Clarence Penn (drums) as well as special guests Vincent Lionti (viola), Paul Jones (tenor) and Andrew Renfroe (guitar).

1. V-Ology 06:45
2. Grandparents 07:22
3. Antonio 01:15
4. Vagabond Soul 08:46
5. Piccolo 07:53
6. You Stepped Out of a Dream 06:41
7. Dark Energy 08:05
8. Spiraling 06:38
9. Sojourn 01:17

gibberish, balderdash and drivel (NAKAMA RECORDS)

gibberish, balderdash and drivel

On the 2nd of March Nakama Records releases a new venture between Malaysian guitar player Goh Lee Kwang and Norwegian bass player Christian Meaas Svendsen. The album is entitled gibberish, balderdash and drivel and consists of three nonsensical musical conversations... and a custom made pencil!

The album was recorded in an independent art gallery close to Kuala Lumpur with a handheld device. It tells us the story of the first encounter between two different mindsets, nationalities and generations trying - and totally failing at - making any sensible dialogue with their respective musical languages.

Still, the music flows unobstructed, blissfully ignorant of the lack of mutual understanding. Just listen closely and ask yourself: does your skin connect you or separate you from the rest of the world?


The release will be available as LP, CD, digital download and can also be streamed from almost any streaming service. The CD is an exact mini-copy of the vinyl.

White - Black - White - Black

A white texturized surface perfect for drawing on, framed in UV-gloss with the artist and title subtly cut out, a black solid inner-sleeve holding a white vinyl with a black label to complete the circle!

How do you paint music?

This album is also partly an art project, and comes together with a custom made pencil which you can use to draw your own cover. If you do - and if you have an Instagram account - then be sure to hashtag it with #gibberishbalderdashdrivel

We got some profiled (and some aspiring) artists to show us how it can be done! Check out two of the contributions below, and go to for more!