Laura Baron - Scenes From The Avenue

Size: 142,9 MB
Time: 61:05
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz/Blues Vocals
Art: Front

01. Scenes From The Avenue (4:45)
02. Drivin' (4:19)
03. No Easy Way To Say Goodbye (4:33)
04. Butterfly (5:18)
05. Kindness Don't Rest Easy (6:07)
06. Open The Window (3:36)
07. North Star (5:57)
08. Winter Don't Own Me (5:55)
09. Skylark (3:28)
10. Laundry Man Blues (5:05)
11. No More Blues (3:25)
12. This Ain't Love (4:10)
13. Best Things In Life (4:23)

"Singer-songwriter Laura Baron lives in DC, but her latest CD would make you think she is from New Orleans or Paris. She belts out the blues in a primal, earthy way. But don't be fooled. As often as not, her voice is delicate, reed-thin, pleading, vulnerable -- breathtakingly beautiful. --Pam Rigaux, Frederick News Post, May 2008

‘‘Scenes from the Avenue” has a distinct, in-the-moment feel, as though recorded on the fly, surrounded by diners and dreamers, burning cigarettes and clinking glasses. And from a fan of all crooners, from Dino to Ella — yes, that’s a compliment.

I’m not accustomed to writing music reviews, favoring film as the medium most suited to my misguided opinions. But it’s possible Laura Baron could change my mind.

Most recently I received her latest CD, ‘‘Scenes From the Avenue,” and a note to take a listen. So I did.

Baron has an easy way with a lyric — she penned most of the songs, here, save for three tracks co-written with frequent collaborator Pat Quinn, and two covers — and an elusive voice. It’s easygoing, reminiscent of Keely Smith, but with the bite of Natalie Merchant by way of Sheryl Crow, all held together by a harmony best described as haunting – not a far cry from Sarah McLaughlin.

Baron and Company have certainly nailed the jazz element — upon playing the CD on my car stereo, images of an intimate, underground club filled with smoke and song were conjured." --Nathan Oravec, Frederick Gazette

Scenes From The Avenue

---

James Morrison Trio - Three's Company

Size: 138,5 MB
Time: 59:39
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz: Trumpet Jazz
Art: Front

01. I've Never Been In Love Before (4:52)
02. I'll Remember April (6:22)
03. The Way You Look Tonight (6:51)
04. Air (Bach) (5:17)
05. Every Time We Say Goodbye (6:02)
06. Greensleeves (5:50)
07. In Your Own Sweet Way (6:57)
08. My One And Only Love (6:41)
09. Prelude (Chopin) (4:14)
10. Blue Bolivar Blues (6:29)

James Morrison is, by anybody’s standard, a virtuoso in the true sense of the word. Besides the trumpet, this multi-instrumentalist also plays piano, all the brass, saxophones, and double bass.

At the age of six he began on piano, at seven, he was given his first brass instrument, at nine he formed his first band and at thirteen he was playing professionally in nightclubs. His international career developed just as quickly. At only age sixteen James debuted in the USA with a breathtaking concert at the Monterey Jazz Festival.

Following this were performances at the major festivals of Europe including Montreux, Pori and the North Sea, playing with many of the legends of jazz; Dizzy Gillespie, Ray Brown, Quincy Jones, Herbie Hancock, Cab Calloway, Woody Shaw, Red Rodney, George Benson, Ray Charles, B.B. King and Wynton Marsalis to name a few. There were also gigs in the world’s most famous jazz clubs – The Blue Note and Village Vanguard in New York, the New Morning in Paris, The Tokyo Blue Note and Ronnie Scotts in London.

Now 51, James Morrison’s career thus far has been diverse and perhaps not typical of most jazz musicians. He recorded Jazz Meets the Symphony with The London Symphony Orchestra conducted by Lalo Schifrin, performed concerts at the Royal Albert Hall with the London Philharmonic Orchestra and at the Royal Opera House, Covent Garden for Princess Anne. Royal command performances on two occasions for Her Majesty Queen Elizabeth II and for US Presidents Bush & Clinton at Parliament House in Australia. James has also performed his own ‘Concerto for Euphonium’ with the Tonkünstler Orchestra at the Muskverein in Vienna.

Other highlights include performing at the Hollywood Bowl with Bill Cosby’s All Stars and Dave Brubeck and guesting with artists as diverse as Phil Collins, Chaka Khan and rock legends INXS. In 2000 James composed and performed the opening fanfare for the Olympic Games in Sydney.

James was also the artistic advisor to the Sydney Symphony’s “Kaleidoscope” series, which has included performances by Chick Corea, Dianne Reeves, Gary Burton and Kristjan Jarvi.

James spends much time in education, doing master classes and workshops all over the world and presenting the James Morrison Jazz Scholarship at Generations in Jazz.

When not writing film scores, composing or being patron of several youth orchestras, James relaxes in some fairly unconventional ways for a musician – flying his private plane or driving in a rally championship. His love of cars is well known, as he was a host on the TV program Top Gear Australia.

In 2012 James was appointed Artistic Director of the Queensland Music Festival, a State-wide music initiative whose vision is to “transform lives through unforgettable musical experiences.”

In 2013 James conducted the World’s Largest Orchestra, breaking a Guinness World Record with 7,224 musicians at Brisbane’s Suncorp Stadium.

In 2014 James presented ‘A Tribute to Oscar Peterson’ at the Edinburgh Jazz Festival as part of the Commonwealth Games celebrations.

James has been recognized for his service to the arts in Australia by being awarded a medal of The Order of Australia by Her Majesty Queen Elizabeth II, with particular mention of his contribution to music education. He is a Doctor of the University at Queensland Conservatorium of Music and has received a Doctor of Music from the Edith Cowan University Western Australia. He is also an Adjunct Professor at the University of South Australia and Vice-Chancellor’s Professorial Fellow.

The latest chapter in his diverse career sees James in Mount Gambier, South Australia, establishing the James Morrison Academy of Music, an innovative school dedicated to teaching jazz and offering an Associate Degree in Music. This exciting initiative involves educators from all over the world, transforming young musicians’ lives with inspiration and a love of jazz.

With interests so broad and a career so filled with highlights it seems that James Morrison must have done just about everything he could want to do – but not so…

When asked, “What is there left to do?” James’ reply is typically “This is just the warm up!”

Three's Company

---

Ronald Baker Quintet - Celebrating Nat King Cole

Size: 148,5 MB
Time: 64:28
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. I'm Lost - Five Brothers (4:04)
02. That Ain't Right (Feat. China Moses) (5:05)
03. Walkin' My Baby Back Home - Swingin' My Baby Back Home (Feat. Michele Hendricks) (7:54)
04. L-O-V-E (Feat. Jesse Davis) (7:02)
05. Suite For Nat, Pt. 1 (Smile) (Feat. Jesse Davis) (4:06)
06. Suite For Nat, Pt. 2 (I Love You For Sentimental Reasons) (Feat. Jesse Davis) (4:15)
07. Suite For Nat, Pt. 3 (Nature Boy) (Feat. Jesse Davis) (5:10)
08. Suite For Nat, Pt. 4 (I'm Thru With Love) (Feat. Jesse Davis) (3:31)
09. Suite For Nat, Pt. 5 (The Christmas Song) (Feat. Jesse Davis) (3:38)
10. Gee Baby, Ain't I Good To You (Feat. China Moses) (4:06)
11. Come Along With Me (3:21)
12. Quizas, Quizas, Quizas (5:08)
13. Straighten Up And Fly Right (7:02)

It's pretty obvious that Ronald Baker belongs "body and soul" to the prestigious family of the trumpet singers. Just like Louis Armstrong (the pioneer), nearly a century ago. With a natural gift, influenced by Eddie Jefferson and Jon Hendricks, this amazing jazzman knows what he owes to the great Nat King Cole: the unrivaled crooner of all times. This was bound to happen, the quintet directed by Ronald Baker had to pay him a vibrating tribute. With his long-time sidemen, and the presence of the great drummer Mario Gonzi and prestigious guests(the alto player Jesse Davis, the singers Michele Hendricks and China Moses), Ronald Baker has made it a beautiful jazz session with the Strings of the Alhambra Colbert Orchestra. Nat King Cole is still alive!

Celebrating Nat King Cole

---

Alysha Umphress - I've Been Played: Alysha Umphress Swings Jeff Blumenkrantz

Size: 133,2 MB
Time: 56:46
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals, Broadway
Art: Front

01. Two Cents (3:11)
02. Why Can't I Kiss You (4:03)
03. I Don't Need Anything But You (3:35)
04. I've Been Played (6:03)
05. Mayday! M'aider! (4:39)
06. Time Does Not Bring Relief (3:10)
07. Celebrate (3:47)
08. Steal Away (3:12)
09. Spring Is Here Spring Can Really Hang You Up The Most (7:39)
10. Man In The Moon (4:29)
11. You Are Never Away/Ten Minutes Ago (5:58)
12. Giving Thanks (3:49)
13. You Smell So Good (Bonus Track) (3:06)

Alysha Umphress, currently dazzling Broadway theatergoers as the taxi driving Hildy in the revival of On The Town, is giving audiences the world over a reason to rejoice in her talent. I was luckily enough to see On The Town in late November, and I instantly fell in love with her plucky bravado and infectiously charismatic performance. That same energy and passion for performance is pristinely captured on Yellow Sound Label's I'VE BEEN PLAYED: ALYSHA UMPHRESS SWINGS JEFF BLUMENKRANTZ, making this album a sure-fire toe-tapping dazzler.

Jeff Blumenkrantz first met Alysha Umphress at the 2006 Raw Impressions Musical Theatre Festival, and she immediately became "one of [his] muses." Together, they recorded the album while she was in rehearsals for On The Town, and the end product is a swinging jazz compilation of mostly original music. Some of which you may recognize from places like SUBMISSIONS ONLY, as the track "Two Cents" was featured in the fifth episode of the second season and "Steal Away" was featured in sixth episode of the third season.

Whether you've heard them before or not, each of Jeff Blumenkrantz's original compositions and his arrangements of classics will have you dancing around your living room, snapping your fingers on your daily commutes, and grinning from ear to ear. His up-tempo and upbeat music radiates happiness and joy, filling the soul and heart with mirthful warmth. He also lends his own vocals to a handful of songs, pairing nicely with Alysha Umphress as well. Naturally, the album isn't wholly upbeat music, and his ballads, especially as sung by Alysha Umphress, are intoxicating. The musicality featured on these tracks is supple and sublimely gorgeous.

The star of the album is Alysha Umphress' wondrous and sparkling alto instrument. Across the recording her voice is sweet, landing on each pitch with a balanced and soft caress. She truly delights on each track, whether she has us bouncing along with her lively and energetic performances on numbers like "I Don't Need Anything But You" (Charles Strouse/Martin Charnin) or "Celebrate" (Jeff Blemnbrantz). Additionally, Alysha Umphress croons with devastating perfection on the stirring jazzy ballads on the disc. She makes songs like "Why Can't I Kiss You" (Blumenkrantz), "I've Been Played" (Blumenkrantz), "Spring Is Here" (Richard Rodgers/Lorenz Hart), "Spring Can Really Hang You Up The Most" (Tommy Wolf/Fran Landesman), and "Man in the Moon" (Blumenkrantz) simultaneously stunning and unforgettable.

With Alysha Umphress stealing the show as Hildy in On The Town, the jazzy throwback aural landscape of this album couldn't be more time appropriate. Since you'll have to wait until March 3, 2015 to get your hands on PS Classic's highly anticipated On The Town (New Broadway Cast Recording), let this at times effervescing and always lovely album scratch your itch for music that sounds as if it sprung from the pre-World War II era of 1940s nightclubs.

I've Been Played

---

Paul Bollenback - Portraits In Space And Time

Size: 180,1 MB
Time: 78:10
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Guitar Jazz
Art: Front

01. Call Of The Spirits (1:51)
02. Homecoming (7:45)
03. 3 Days (9:06)
04. Collective (2:06)
05. Sunset (8:23)
06. Jungle (1:16)
07. Little Island (7:24)
08. Bird In The Sky (6:00)
09. Open Hand (9:46)
10. Dance Delicious (4:25)
11. Joseph (1:31)
12. Dance Of Hands (5:46)
13. Lights (5:25)
14. Swingin' At Capones (7:21)

Guitarist Paul Bollenback is valued by listeners and musicians alike for his incisive and inventive guitar work, wholly in the tradition while simultaneously branching out beyond the same old same old. His playing has been a key ingredient—in some cases, the key ingredient—in much of organ kingpin Joey DeFrancesco's recorded output, saxophonist Jim Snidero's highly praised Savant dates, vocalist Chris McNulty's post-millennial releases, and elsewhere, but it's his own albums that truly provide a full picture of his talent(s). Bollenback doesn't subscribe to the churn-out-an-album-per-year philosophy, and he's never had to since he's remained extremely busy as a sideman and educator, so he makes each and every record count; this one, for example, comes seven years after his previous album—Invocation (Elefant Dreams, 2007)—and it's a doozy.

Portraits In Space And Time finds Bollenback in the company of bassist Joseph Lepore and drummer/percussionist Rogerio Boccato, spinning out everything from starry night music to Brazilian-tinged constructs. High-level communication is on display throughout, whether these three are delivering sophisticated sounds of the wild ("Jungle"), a winner in five ("Little Island"), a light touch John Scofield-ish jam number ("Open Hand"), or a slow moving waltz ("3 Days"). There's plenty of life and lift in this music ("Homecoming"), but it's sensitivity and a gentle(r) bearing that carry the day; background-foreground alternation between Bollenback and Lepore, the delightfully deft drumming of Boccato, and the marriage of all three personalities make the ears stand up and take notice.

Hints of everybody from Bill Frisell to John Abercrombie to Jim Hall to Vinicius Cantuaria come out at times in Bollenback's playing, but his work is never really derivative; it's simply in tune with so many different aspects of jazz language(s), so there's bound to be some crossover in vocabulary. Add to that the taut and focused bass work of Lepore and the inimitable drumming of Boccato and you have something truly special: three who play as one, listening, moving, and creating with the spirit of cooperation. ~Dan Bilawsky

Personnel: Paul Bollenback: electric guitar, acoustic guitar; Joseph Lepore: bass; Rogerio Boccato: drums, percussion.

Portraits In Space And Time

---

The Golden Gate Quartet - The Golden Gate Quartet: 80 Years

Size: 121,2 MB
Time: 51:30
File: MP3 @ 320K/s
Released: 2015
Styles: Blues, Gospel, Soul
Art: Front

01. The Golden Gate Quartet 80 Years (3:25)
02. Billie Jean (4:03)
03. Out Goes The Light (When Your Time Is Done) (3:09)
04. Part Time Lover (4:08)
05. On The Sunny Side Of The Street (2:37)
06. Shadrack (2:22)
07. Lonely (3:11)
08. It's A Good Day (2:32)
09. Wonderfull World (2:36)
10. Sitting On The Dock Of The Bay (4:21)
11. Stand By Me (3:27)
12. St Louis Blues (3:23)
13. Rock My Soul (2:17)
14. Joshua Fit The Battle Of Jericho (2:14)
15. Nobody Knows The Trouble I've Seen (2:54)
16. Soon Will Be Done (With The Trouble Of This World) (2:24)
17. Down By The Riverside (2:19)

Members:
Paul BREMBLY
Frank DAVIS
Terry FRANCOIS
Timothy RILEY

The Golden Gate Quartet is a part of History, but it is far from being history. Almost eight decades after they emerged in the segregated South of the Depression, the Gates prove their resilience singing music as cutting edge as anything they've done before.

In the course of an unwavering career, the Gates have seen members come and go; yet the Gates have maintained inordinate cohesion and consistency throughout their career, both in their personnel and artistic vision.

Unlike Motown groups such as the Four Tops and the Temptations whose current traveling versions are only remotely associated with the spirit of theirs founders, the Golden Gate Quartet is a continuum: every time Orlandus "Dad" Wilson and Clyde Riddick - respectively members from 1936 and 1940 until their demise in 1998 and 1999 hired a new recruit, they taught him the importance of both tradition and innovation.

The group's current leader, Paul Brembly ("Dad" Wilson's grandnephew), makes sure that the music of the quartet remains as relevant today as it's always been.4/18 For the Gates have spent their lives opening doors. Imagined by a neighborhood barber from Berkeley, Virginia, the quartet broke the mould and created a different approach from that of the African-American groups of old.

At a time when gospel music - a conjunction of the Holy Spirit with the blues spirit - wasbreaking new grounds, the Golden Gate revolutionized jubilee, no less, featuring a swing and groove clearly associated with jazz. Patterning themselves after the most popular secular quartet of the day, the Mills Brothers, they also added a sprinkling of pop tunes to their repertoire and introduced the church to vocalized "instrumental" riffs, a technique that allowed them to mimic trumpets, saxophones, and sounds from everyday life.

This original recipe drew the attention of the Victor Company and their very first 78 was an immediate success. Published under the Bluebird imprint, "Golden Gate Gospel Train" was a musical tour de force that put their career in orbit. The Gates soon found in New York an audience well outside the scope oftheir usual African-American following, especially in the wake of their appearance at Carnegie Hall on Christmas

Eve 1939, as part of the "From Spiritual to Swing" program. Yet the experience that brought the Gates mainstream success on an unprecedented level was their prolonged stay at Cafe Society, a famous New York cabaret where they became a mainstay until the mid forties, sharing the stage with icons like Big Bill Broonzy, Billie Holiday and Sister Rosetta Tharpe. After discovering them there, then First Lady Eleanor Roosevelt invited the Gates to the White House and they made history when they performed at Constitution Hall for President Roosevelt's inauguration in 1941.

Two years later, the Gold Gate made the news once again when it became the first Black religious group to appear on V-Discs, the records produced by the US government for the use of military personnel overseas. By the time the war was over, the name Golden Gate Quartet had become synonym with sophisticated harmonies in Europe and Japan.

Surfing on their global popularity, the Gates reinvented themselves as an international act and took Europe by storm, eventually settling In Paris.5/18Their biggest achievement for the past fifty years has been their unchallenged triumph as ambassadors of Afro-American music throughout the world. With the names of almost one hundred countries stamped on their passports, this is not a mere formula, but a fact confirmed by the large number of concerts they have given over the years at the request of the State Department.

More than anything else, the Gates' resume displays their will to innovate. After bridging the gap between spiritual and gospel, after announcing the hip-hop revolution with the long raps that have been the feature of their preaching style for three quarters of a century, the quartet is eager to demonstrate that modernity, unlike fads and fashions, is a state of mind.

The Golden Gate Quartet: 80 Years

---

Colette Wickenhagen - The Kick Of The Blues

Bitrate: MP3@320K/s

Time: 73:31

Size: 168.3 MB

Styles: Jazz vocals

Year: 1994

Art: Front

[7:20] 1. Isn't This A Lovely Day

[8:22] 2. Billie's Blues

[3:38] 3. Love Me Or Leave Me

[7:11] 4. The Shadow Of Your Smile

[7:15] 5. Cheek To Cheek

[5:31] 6. I Was Born To Be Blue

[5:22] 7. Nature Boy

[3:55] 8. I Thought About You

[7:31] 9. All Blues

[7:38] 10. Stormy Monday

[9:42] 11. 'round Midnight

Even if we would call Colette Wickenhagen just a singer, we wouldn't do her any justice at all. Even if we don't see her, if we only listen to the music on this cd, we can hear that she does a lot more than just use her vocal chords. She is one piece of dynamite that can make any stage rock and explode. She just forces the audience to listen. In view of the varied course of her career, it is not so strange.

She studied successively at the Conservatoir in The Hague (NL), the Arts Educational Scool in London / Tring Park (GB), at the renowned (amongst ex-students the cherished as well as notorious) Nel Roos Academy and the Art of the Cabaret Academy in Amsterdam. Furthermore she worked as a dancer with the ballet company Intro Dans (NL), as an actrice in the tv-series "De weg naar Peruwelz" (TROS / NL), as a Dramatic Arts & Musical teacher at cultural centres in Nijmegen and Harderwijk (NL) and as a singer in her own ensembles as well as in other peoples bands, ranging from trio's to big bands.
Of course she brings this enormous amount of stage experience with her; she knows how to move, how to send the right mimicry, in short she knows how body language can enhance her musical expression. Still, while performing she gives a lot more than just a professional sophisticated show; she gives herself.

That enormous physical expressiveness, the willingness to throw herself deeply into a song, the art of swingingly taking in tow a full concert hall, is part of her being. From the top of her head to the tip of her toes, she ís music. Even if we have to "make do" with just listening to this cd, she is an almost tangible presence. Especially since she won the Soloist / Polaroid Award in 1990 together with the Big Band Nijmegen, and was awarded the Breukelen Jazz Award in 1992, people often asked in vain about a cd of this impressive singer. The cd was of course recorded 'live' in the intimate jazz club atmosphere of the eminent CNM Studio in Hilversum (NL), situated in a stylishly altered farmhouse.

It is only logical that Colette Wickenhagen in her choice of repertory had a preference of songs that fit in with her extrovert radiation; bob-pieces saturated in blues like the swinging "Love me or leave me", the overly well known but still freshly interpreted "Cheek to Cheek", the humorous "I was born to be blue", or the passionate and in a somewhat slower tempo sung "Nature Boy". But also real ballads fit well into her program. You only have to listen to "Billie's Blues", (it is no coincidence that the word blues was used in the title of this cd) or with the slightly latin touch brought "The Shadow of your Smile". After the warmly coloured "'Round Midnight" with the melancholy sound of Jan Verwey's mouth-organ - which is the last song on this cd - there's only óne possibility left; to just start the cd all over again. ~jan Rensen

The Kick Of The Blues

---

Dave Green & Barry Green - Turn Left At Monday

Bitrate: MP3@320K/s
Time: 48:14
Size: 110.4 MB
Styles: Chamber jazz
Year: 2010
Art: Front

[5:20] 1. I'll Be Around
[3:00] 2. Where Do You Go
[3:27] 3. The Sounds Around The House
[5:54] 4. Turn Left At Monday
[4:41] 5. Johnny Come Lately
[4:13] 6. Ideally
[4:30] 7. Dreamsville
[3:52] 8. Unbelievable
[4:11] 9. I Wish I Knew
[2:07] 10. All My Life
[6:55] 11. The Ballad Of The Sad Young Men

No, they're not related, although pianist Barry and bassist Dave Green play together as though they were. You really need to be sitting down quietly to savour this set of 11 delicate improvisations on under-the-radar songs. Five of them, including the title piece, which is recorded here for the first time, are by the late Alec Wilder, the archetypal composer's composer. This kind of chamber jazz depends for its effect on sketching in elusive harmonies and keeping you hanging on as they unfold. It also keeps your ears busy while the rest of you relaxes. ~Dave Gelly

Turn Left At Monday

---

Chasing The Moon - Nuages

Styles: Jazz, Gypsy Jazz
Year: 2012
File: MP3@320K/s
Time: 62:11
Size: 142,8 MB
Art: Front

(4:05)  1. Noto Swing
(5:20)  2. Stomping at the Savoy
(3:41)  3. Minor Swing
(5:52)  4. Nuages
(3:36)  5. Daphne
(4:52)  6. I Can't Give You Anything But Love
(4:04)  7. Djangology
(4:46)  8. Night and Day
(4:29)  9. Douce Ambience
(3:27) 10. Undecided
(4:15) 11. O Pato
(4:52) 12. Do Nothing Til You Hear From Me
(4:03) 13. Swing 42
(4:45) 14. Fields of Gold

Chasing the Moon features Kathy Bluff on lead vocals and violin, Paul Burjan on saxophone and flute and Peter Malone on guitar with the rhythm section consisting of John Conley on double bass and Tony Keep on drums. For the CD they are joined by Garry Steel on accordion and keyboards. All members are highly accomplished musicians with previous engagements including Galapagos Duck, ABC Sinfonia, Castanet Club, Edinburgh Festival, Adelaide Festival, Hey Ba Ba Re Bop, Happening Thang, Chain of Hearts, Hippos, Bushwhackers and Musica Viva. They bring this wealth of diverse experience to this project blending a variety of influences into the gypsy jazz genre. 

The group has featured at a number of jazz festivals in Australia including Wagga, Dubbo, Illawarra and Moruya and has twice won the people's choice award at Moruya Jazz Festival. A beautiful Django Reinhardt ballad sung in French as well as English by vocalist Kathy Bluff, features sumptuous vocals, lyrical guitar, sweet soprano saxophone with a touch of Ravel, all supported by some atmospheric accordion and a shimmer of Hollywood strings.  http://airit.org.au/airit/Chasing-the-Moon-Nuages.html

Nuages

---