Home » Jazz Articles » Live Review » Ottawa Jazz Festival 2009: Days 1-3, June 25-27, 2009
Ottawa Jazz Festival 2009: Days 1-3, June 25-27, 2009
John Stetch TV Trio / Dave Douglas Brass Ecstasy / Roberta Gambarini
Toshiko Akiyoshi Trio / Jimmy Cobb's So What Band; S.M.V.
The Botos Brother / Trombone Shorty and Orleans Avenue / Al Green
TD Canada Trust Ottawa International Jazz Festival
Ottawa, Ontario, Canada
June 25-27, 2009
As festivals strive to stay afloat at a time when sponsorships are down due to the global recession, the 2009 TD Canada Trust Ottawa International Jazz Festival (OIJF) got a much-needed financial boost from the Canadian government—though the funding came in at the last minute. Still, that added funding, along with the unparalleled efforts of OIJF Executive Producer Catherine O'Grady, made it possible for a triple bill featuring Toronto flamenco guitarist Pavlo, Ottawa's Souljazz Orchestra and trumpeter 
Terence Blanchard
trumpetb.1962
But even if that weren't enough to make front page news (it did, in The Ottawa Citizen), when the festival line-up was announced back in April of this year, it was already clear that the 2009 edition had far and away the best roster of any in recent years. With an especially strong main stage line-up at Confederation Park (in downtown Ottawa just minutes from Parliament Hill) that includes 
Dave Douglas
trumpetb.1963
Stanley Clarke
bassb.1951
Marcus Miller
bassb.1959
Victor Wooten
bassb.1964
Gary Burton
vibraphoneb.1943
Pat Metheny
guitarb.1954
Maria Schneider
composer / conductor
Julian Lage
guitar, electric
Al Green
vocalsb.1946
Esperanza Spalding
bassb.1984
Chris Botti
trumpetb.1962
Wayne Shorter
saxophone1933 - 2023
Brian Blade
drumsb.1970
Charles Lloyd
saxophoneb.1938
And that's only part of the line-up. At the annual Connoisseur Series, in late afternoon at Library and Archives Canada about a mile away, the festival once again focuses on piano with a series of young pianists including 
John Stetch
piano
Toshiko Akiyoshi
piano
b.1929
Patricia Barber
piano
b.1955
Lenore Raphael
piano
Enrico Rava
trumpet
b.1939
Stefano Bollani
piano
b.1972
As if that isn't enough, in addition to daytime programming at a variety of indoor and outdoor locations to feature local talent, the Improv Series brings an experimental edge to the festival at the National Arts Centre's Fourth Stage, with double and triple bills including Trio M (
Myra Melford
piano
b.1957
Mark Dresser
bass, acoustic
b.1952
Matt Wilson
drums
b.1964
Andy Milne
piano
b.1967
Benoit Delbecq
piano
Christy Doran
guitar
b.1949Dave Douglas
trumpet
b.1963
- June 25: John Stetch TV Trio
- June 25: Dave Douglas Brass Ecstasy
- June 25: Roberta Gambarini
- June 26: Toshiko Akiyoshi Trio
- June 26: Jimmy Cobb's So What Band
- June 26: S.M.V.: Stanley Clarke, Marcus Miller, Victor Wooten
- June 27: The Botos Brothers
- June 27: Trombone Shorty and Orleans Avenue
- June 27: Al Green
Opening a six-date Canadian festival tour that will see him cross the country from Montreal to Vancouver, Canadian pianist John Stetch brought his touring group, featuring Ithaca, New York-based bassist Nicholas Walker and New Brunswick, Canada-based drummer Greg Ritchie, to the National Library, kicking off the 4:30 PM Connoisseur Series with a program largely culled from his recent release, TV Trio (Self Produced, 2009). Stetch feels that the '70s was "the golden age for TV music" and, while that contention might be arguable, there's no disputing the music he chose to adapt which, even when the actual shows they supported were less than high- grade television, worked well within the context of his complex arrangements.
There were plenty of "it's on the tip of my tongue" moments for the audience, as Stetch and his trio worked through everything from a quirky rendition of the theme to The Rocky and Bullwinkle Show and a 
George Gershwin
composer / conductor
1898 - 1937
In covering theme music for The Waltons, Sanford and Son and The Might Hercules, Stetch also broke the program up with three originals. The episodic and appropriately titled "Black Sea Suite" featured an especially impressive, Middle Eastern-tinged arco solo from Walker, and a tough chart that wound its way through multiple meters, feels and keys to make it one of the 90-minute set's highlights. "Oscar's Blue/Green Algebra" was a tribute to 
Oscar Peterson
piano
1925 - 2007
It's a good thing Walker works in the classical world as well as in jazz, as some of Stetch's charts were sufficiently complex to challenge even the most accomplished reader. Walker and Ritchie were often reading (though Walker, remarkably, had a surprising amount of the music committed to memory), it didn't stop them from playing "off the page." Still, while soloing and interplay were a part of Stetch's music, the emphasis was on the arrangements, which were filled with stops, starts and punctuations—a particularly entertaining one being a dark, dissonant chord that Stetch injected at the point in The Love Boat theme where the lyrics are "Love won't hurt anymore."
l:r: John Stetch, Nicholas Walker, Greg Ritchie
That ironic sense of humor imbued both the show and Stetch's between-song patter, especially his introduction to the closing Star Trek theme—delivered in his best, over-the-top William Shatner voice. It was a fitting ending to a set that may have leaned largely towards the cerebral, but never lost sight of the fun component.
class="f-right">
June 25: Dave Douglas Brass Ecstasy
Hot on the heels of recently released Spirit Moves (Greenleaf, 2009), trumpeter Dave Douglas
trumpet
b.1963
Luis Bonilla
trombone
Nasheet Waits
drums
b.1971
Otis Redding
vocals
1941 - 1967
While some of the material was kept relatively close to album length, the quintet stretched out more on tunes like "Bowie," an homage to the late trumpeter 
Lester Bowie
trumpet
1941 - 1999
There was plenty of room for everyone to solo, but some of the hour-long set's most exciting moments came when the trumpet/trombone/horn front-line soloed collectively. With Douglas' embouchure providing a surprisingly broad textural range, the combination was warmer, less brash than might be expected from a brass-heavy ensemble. Chancey soloed less than the rest, but with his horn being an especially difficult one on which to improvise, the challenge made his few features all the more striking. Bonilla delivered a set- defining solo that built to a fever pitch and an abrupt stop during which, it appeared, he considered continuing, then just waved his trombone and walked offstage to great applause and a slap on the back from Douglas.
Rojas, an equally superb player who managed to do things that probably shouldn't be allowed on tuba, was situated upstage, but his sound was a dominant force. Amplified onstage, it was a huge, meaty sound that anchored the group with Waits, capable of laconic melodic counterpoint but also surprising swing, as he walked like a double-bass at a surprising clip during one of the solo sections on "Bowie." He also soloed with surprising dexterity and fluidity. The tuba will never be the same again.
Waits, in addition to rooting the music with a combination of New Orleans funk and more sensitive brushwork, took a couple of characteristically powerful and melodic solos that demonstrated why he's in such demand with artists including 
Fred Hersch
piano
b.1955
Jason Moran
piano
b.1975
Andrew Hill
piano
1931 - 2007
l:r: Dave Douglas, Luis Bonilla, Marcus Rojas, Vincent Chancey
Douglas continues to evolve, year-after-year. For an artist who has worked with string groups, electronica- tinged ensembles, Eastern European-tinged quartets, acoustic septets and more, it's his impeccable playing that's set him apart in a category of his own making. Demonstrating incredible control—holding long, clear notes within which a soft vibrato occasionally phases in and out—he also displayed constant invention, making him impossible to ignore as one of his generation's most outstanding players. And his egalitarian writing, exploiting fully both the context he finds himself in and the players he chooses, turns every new project into one that may not last indefinitely, but ought to. Brass Ecstasy is Douglas at his most accessible- -even as his charts possess non-pandering harmonic depth and freedom of expression—and was a perfect festival opener to stretch the minds of those who'd come for the more mainstream headliner, Roberta Gambarini.
class="f-right">
Firmly planted she may be already, but 
Roberta Gambarini
vocals
b.1972
Diana Krall
piano and vocals
b.1964
Cyrus Chestnut
piano
b.1963
Neil Swainson
bass, acoustic
b.1955
Jimmy Cobb
drums
1929 - 2020
Miles Davis
trumpet
1926 - 1991
Unassuming and with an unforced stage presence that connected with the audience immediately, Gambarini and her trio worked their way through a range of standards, focusing heavily on music from her upcoming release, So In Love (Emarcy, 2009), ranging from the warmly balladic medley of a slightly reworded "Porgy, I's Your Woman Now" and "I Loves You Porgy," from George Gershwin
composer / conductor
1898 - 1937
Ira Gershwin
composer / conductor
1896 - 1983
Dizzy Gillespie
trumpet
1917 - 1993
Sonny Stitt
saxophone
1924 - 1982
Sonny Rollins
saxophone
b.1930
Dave Brubeck
piano
1920 - 2012
Billy Strayhorn
piano
1915 - 1967
Gambarini has chops, but she knows when and how to use them. Scatting with fluidity throughout her wide range, but never overplaying her cards, as the set progressed the singer became more adventurous, taking things "outside" harmonically on more than one occasion in a remarkable display of vocal acrobatics. But as impressive a technician as she is, it's all about the feel, and her emulated flugelhorn solo on the particularly soft and elegant Bruno Brighetti/Bruno Martino chestnut, "Estaté" was an understated high point of the performance.
Chestnut, whose star as a leader seems to remain in a holding pattern these days, proved himself to be an ideal accompanist, sensitive to Gambarini and the centrist nature of the music while still delivering no shortage of virtuosity and adventure. Swainson, one of Canada's great bassists, is no stranger to the festival and here locked, hand-in-glove, with Cobb, one of jazz's most refined players. And while Gambarini was clearly the focus of her audience's attention, she was a democratic and appreciative leader who was clearly more than happy to be working with such a finely tuned trio.
Despite the straight-ahead nature of the music, Gambarini managed to bring an unexpected sound of surprise to keep even the most familiar material fresh and contemporary. Easy on the years, yes; but with no shortage of substance, suggesting that the accolades being heaped upon Gambarini as one of her generation's great singers are absolutely well-deserved.
class="f-right">
June 26: Toshiko Akiyoshi Trio
It would have been enough that 79-year-old pianist Toshiko Akiyoshi and her trio put on what may turn out to be the sleeper hit of the festival—with the show far exceeding even the best expectations—but for the diminutive Japanese expat, it was about more than just the performance. While the trio navigated its way through a set of challenging mainstream charts (largely Akiyoshi originals) with great energy, nuance and grace, Akiyoshi's spoken introductions to the tunes were equally compelling.
Akiyoshi spent some time explaining how, growing up in Japan in her time (1929-1945), access to jazz music was very limited, and so, at the age of 16, she left for the United States in order to discover "my own idiosyncrasies," as she put it. It was later, in Paris, that she met and became a protegé of legendary pianist 
Bud Powell
piano
1924 - 1966
l:r: Mark Taylor, Toshiko Akiyoshi, Paul Gill
Akiyoshi also possessed a comedic tinge, giving an impromptu instruction to drummer Mark Taylor—a British expat now living in New York but spending much of his time in Japan these days—to play four bars ahead of the group coming in, turning to the audience and saying, "this is what we call 'instant arrangement.'"
As engaging as she was with the audience, her music was even more so. Most people who know Akiyoshi think of her longtime relationship with saxophonist/flautist Lew Tabackin and their Akiyoshi-Tabackin Big Band from the 1970s, but since 2003 she's returned to her activity of the 1950s, focusing more on small ensembles and solo performance reminiscent of her appearance in Concord's Maybeck Recital Hall Series (Volume 36, 1994). Her writing reflected the return to small ensemble and solo work with a number of unaccompanied solo piano passages worked into the material. Surprisingly powerful, Akiyoshi's most distinguishing "idiosyncracy" may well be her ability to create tight arrangements that, nevertheless, manage to breathe and, most importantly, swing. Whether it was on the bright and fiery "Long Yellow Road" or the at times subtle, at times boldly dramatic "Remembering Bud," Akiyoshi's flexibility and remarkable technique captured the near-capacity audience, with each successive solo receiving more applause, whoops and hollers than the last.
Akiyoshi chose two terrific players to round out her trio. Taylor, pianist Monty Alexander's drummer for the greater part of the past ten years or so, was a remarkably crisp drummer whose ears were wide open throughout, and he delivered a number of outstanding solos—especially his intro to "Drum Conference, Third Movement," part of a larger suite Akiyoshi was commissioned to write for the Lincoln Center Jazz Orchestra in 2001. While Taylor couldn't replicate the sound of the Taiko drums she used in the original performance, he did manage to evoke the feel of these large oriental drums in a solo of great dynamic breadth. Bassist Paul Gill was a firm but flexible anchor who also received a number of fine feature spots, delivered with lithe ingenuity, and excelled at working with Taylor to maintain the swing, even through some of Akiyoshi's more difficult charts.
Every year the festival has a show or three that fall into the category of "talked about, wish I was there." Those in attendance at the Akiyoshi Trio show witnessed an early contender for most memorable show of the year, while those who didn't may well have to live vicariously through the eyes and ears of those who did.
class="f-right">
June 26: Jimmy Cobb So What Band
With 2009 the 50th anniversary of a number of seminal jazz albums, it's no surprise that tributes and reissues have been flowing hot and heavy this year. Amongst the best would have to be drummer Jimmy Cobb—who accompanied singer Roberta Gambarini the previous evening—and his So What Band paying tribute, on the year of its 50th anniversary, to one of jazz's most definitive, enduring and seminal records, Miles Davis' Kind of Blue (Columbia, 1959). Cobb is the only remaining participant on that record still alive, and he put together a crack band that saluted Kind of Blue, doing so in a way that was reverent but not imitative.
Opening with the classic "So What" and performing the entire album in sequence, Cobb's sextet—trumpeter 
Wallace Roney
trumpet
1960 - 2020
Javon Jackson
saxophone
b.1965
Vincent Herring
saxophone, alto
b.1964
Larry Willis
piano
1942 - 2019
Willis was also a standout, working some of the same territory as Davis alum, 
Wynton Kelly
piano
1931 - 1971
Joe Henderson
saxophone
1937 - 2001
John Coltrane
saxophone
1926 - 1967
Buster Williams
bass, acoustic
b.1942
l:r: Larry Willis, Javon Jackson, Wallace Roney, Vincent Herring, John Webber, Jimmy Cobb
He may not have taken many solos, but it was a terrific opportunity to hear Cobb stretch out and go for it more fervently, as opposed to the more refined approach he demonstrated with Gambarini the previous night. Switching between brushes and sticks, he created the same sense of understated tension-and- release that so defined his work on the original album, but here he played with far more fire. Like the slightly older 
Roy Haynes
drums
1926 - 2024
With so many Miles tributes, the fact is that Cobb, as the last remaining member of the Kind of Blue sessions, has the greatest credibility in putting together a group to pay homage to the biggest seller in jazz history. It was the first smoking set of the festival, and will be a tough one to beat.
class="f-right">
June 26: S.M.V.: Stanley Clarke, Marcus Miller, Victor Wooten
Cobb's So What Band may have been the festival's first smoking act, but S.M.V.—the triumvirate of electric bass icons Stanley Clarke
bass
b.1951Marcus Miller
bass
b.1959Victor Wooten
bass
b.1964
l:r: Stanley Clarke, Marcus Miller, Victor Wooten
With three virtuosic bassists together in a quintet that also included drummer Derico Watson (who's appeared on Wooten's last couple of releases) and 
MeShell NdegeOcello
bass, electric
b.1968Chris Botti
trumpet
b.1962
But while there was no shortage of monster chops and staggeringly high velocity playing, S.M.V. was more about community and collaboration. Surprisingly, not only were there no train wrecks, but a show all about the bottom end remained clearly defined, with Clarke, Miller and Wooten splitting up duties and working parts that came together without ever getting cluttered—even when one of them was holding down things down while the other two played unison runs at light speed.
It was also a funkfest, with the grooves deep and wide. With nearly all the material culled from the trio's debut, Thunder (Heads Up, 2008)— even sticking with the running order for the first five tunes—it was a booty-shaking evening for some, a master class for others.
With Clarke the elder statesman, what was perhaps the most intriguing aspect of the performance was seeing just how each successive generation was affected by those that came before, taking the innovations and adding to them to create their own voices. Clarke was one of the first to make slapping and finger popping a popular technique; Miller grabbed onto that, but added a more full-bodied sound and his own harmonic mindset to the picture; Wooten capitalized on the strengths of both Clarke and Miller, and expanded the vernacular with his remarkable two-handled tapping, and even more prodigious right hand technique that evoked sounds not normally associated with the instrument.
Everyone got a chance in the spotlight, not just throughout the performance, as they passed solo and in tandem improvisations around like a hot potato, but in extended sections that included an especially mind- numbing feature for Wooten, "Hillbillies on a Quiet Afternoon." Miller's solo not only placed a spotlight on his bass playing—and the first of what will, no doubt, be many tributes to the late "King of Pop," 
Michael Jackson
vocals
1958 - 2009
l:r: Stanley Clarke, Victor Wooten
But as much as S.M.V.'s performance was exciting, also including an extended solo from Gonzalez- Peñ that was a dynamic respite from, as AAJ photographer John Fowler put it, "the storm that came before and the one that's coming," it was also the closest thing to a rock and roll aesthetic as will likely be seen at this year's festival. The show might have been engaging had the three bassist been seated on stools across the front of the stage, but it was the coming together as a stage center tour de force trifecta, and the bassists' moving around the stage to work together in various combinations, that made the show as thrilling to watch as it was to hear.
class="f-right">
Since emigrating to Canada in 1998 from his home in Budapest, Hungary, pianist Robi Botos has been gathering accolade after accolade, winning (amongst them) the Montreux Jazz Festival Jazz Piano Prize, not to mention playing with a bevy of artists including the late 
Michael Brecker
saxophone, tenor
1949 - 2007
Toots Thielemans
harmonica
1922 - 2016
Kurt Rosenwinkel
guitar
b.1970
Robi is an astonishing talent who came to piano at an early age and now, at only 30, is mature beyond his years with an ability to write meaningful material and put a new, fresh face on a number of well-known standards. At first reminiscent of 
Keith Jarrett
piano
b.1945
Chick Corea
piano
1941 - 2021Oscar Peterson
piano
1925 - 2007
Art Tatum
piano
1909 - 1956
Kenny Barron
piano
b.1943
Of course he'd not be able to drive songs into new places if it weren't for the empathic support of brothers Lojas and Frank. It was as if there were a visible cord running between the three as they played, a palpable connection that, while creating some intensely exciting moments, also resulted in passages of great nuance and beauty—not to mention some apparent "gotcha" moments, as one brother would suggest an idea and the others would catch on almost instantaneously, but look at each other with surprise and clear affection.
Robi's compositions—many of them documented on The Botos Brothers (Independent, 2000)- -were as challenging as those from early Connoisseur Series performances, but as complex as they were, they also possessed an effortless sense of composure; unpredictable yet somehow inevitable. Robi largely favors his right hand, keeping his left hand for comping, but he also built his own voice out of the various channeled references with unique use of the piano pedals and dampening of the strings inside the piano to create concurrent staccato melodies and an ethereal backwash. Lojas swung hard, but was a supple soloist and, on the closing number, proved capable of some unexpected funk as brother Frank dug in with a solid backbeat. Frank was equally flexible, and his solo features—especially those when he traded eights with Robi—were stunning, often favoring his snare and using space to great effect.
l:r: Robi Botos, Lojas Botos, Frank Botos
Space, in fact, was also a defining characteristic of the group and Robi in particular. Virtuosic he may be, but his appreciation of the power of a decaying note or chord drove not just gorgeous ballads like his reharmonized "Someone to Watch Over Me," but a brighter and equally reworked version of Sonny Rollins
saxophone
b.1930
class="f-right">
June 27: Trombone Shorty and Orleans Avenue
Saturday nights at Confederation Park are usually reserved for dance parties, and the double bill of New Orleans' Trombone Shorty and the legendary Al Green
vocals
b.1946
Kermit Ruffins
vocals
b.1964
Donald Harrison
saxophone, alto
b.1960
Ellis Marsalis
piano
1934 - 2020
Jason Marsalis
vibraphone
b.1977
Irvin Mayfield
trumpet
b.1977
Left to his own devices, however, Trombone Shorty's recent music leans hard on New Orleans funk with a rock edge, delivering an instrumental version of The Guess Who hit "American Woman" early in the set, driven by guitarist Pete "Freaky Pete" Murano and encouraging people to hit the dance section of the park. Shorty and Orleans Avenue—Murano, bassist Michael "bass" Ballard, drummer Joey "In and Out" Peebles, percussionist Dwayne "Big D" Williams, baritone saxophonist Dan Oestreicher and tenor saxophonist Clarence "Trickséy" Slaughter—may have been a little less polished, a little less than perfectly tight, but the excitement was infectious and not only was Trombone Shorty a charismatic front man, but his band mates were equally magnetic, especially Murano and the two saxophonists, who delivered some fine solos throughout the set.
Shorty wasn't just a good trombonist; he had a fine, soulful voice and even picked up trumpet for a few tunes. His tribute to Michael Jackson—a medley of the more relaxed "Rock With You" and more up-tempo and booty shaking "Don't Stop 'Til You Get Enough"—was clearly thrown together in soundcheck, but the audience didn't care. And while the emphasis was on the funk, Trombone Shorty knows his history, delivering a surprisingly tender version of 
Louis Armstrong
trumpet and vocals
1901 - 1971
Any shortcomings the group may have had in terms of tightness were more than made up for in energy and intent. Shorty had the crowd in the palm of his hand, encouraging plenty of audience participation and not just filling the dance area, but getting the entire crowd on its feet early in the set, singing along, waving their arms and clapping on command. A great time was truly had by all, and if his show was any indication of how he's bringing it each and every night, there's little doubt that a lot more will be heard from Trombone Shorty and Orleans Avenue, and very soon.
class="f-right">
Trombone Shorty may have warmed up the capacity audience, but like the night before with S.M.V., it was clear they were in the park for Al Green, and the legendary soul/R&B singer—surprisingly only 63 years old, having started out very young, with his first album released at the age of 19—didn't disappoint. He may be a senior, but after a rocking fanfare by his crack band, Green emerged with surprising verve and didn't let up until the 90-minute set was over, an animated performer who captivated the crowd from the moment he took the stage. Throwing roses into the crowd and holding onto a few himself for much of the show, it was a dancing love fest, with a crowd that seemed to know every hit he sang—and he delivered a seemingly endless stream of them, though he did play some material from his latest album, Lay It Down (Blue Note, 2008).
With a career as long as Green's, the challenge of making sure that everyone in the audience goes home hearing the song they came for is an almost insurmountable challenge, but in addition to full-length versions of early hits like "My Girl," the singer—whose range doesn't appear to have been affected the least by the passing of time, his seductive falsetto reaching nearly stratospheric notes throughout the set— delivered a medley that was more like sound bites, though the brevity of the material didn't matter to the crowd. On their feet for the entire set, the audience sang along, clapped along, responded to every cue from Green, and just flat out had a wail of a time.
Green's group—a large ensemble with horns, two keyboardists, two guitarists, bass, drums, percussion, singers and even two male dancers—was well-oiled, not a note out of place, with a rhythm section that kept the engine running at optimum efficiency. Both guitarists got the chance to solo, including some Hendrix references as one launched into playing with his teeth. The crowd went wild.
But at the end of the day it was all about supporting Green, and support Green they did. 90 minutes and countless hits later with no encore, the group wrapped up soon after Green left the stage and began tearing down just as quickly after the applause died down. Clearly this is a group on a mission and a grueling schedule, but for those 90 minutes, the rigors of the road didn't seem to matter. All that counted was assuring the delivery of an outstanding performance by a true legend that surely left everyone in the audience sated...and happy.
Coming up on days 4-6 of the Ottawa International Jazz Festival: Amina Claudine Meyers, Gary Burton Quartet Revisited with Pat Metheny, John Roney and the Silverbirch String Quartet, Julian Lage Group, Maria Schneider Orchestra, Enrico Rava/Stefano Bollani Duo, Andy Milne/Benoit Delbecq Duo and Sylvain Kap Quartet.
Visit John Stetch, Dave Douglas, Roberta Gambarini, Jimmy Cobb, S.M.V., Trombone Shorty, Al Green and the Ottawa International Jazz Festival on the web.
Photo Credits
Stanley Clarke/Victor Wooten and Trombone Shorty: John Kelman
All Other Photos: John Fowler
Days 1-3 | Days 4-6
Tags
Comments
PREVIOUS / NEXT
Support All About Jazz
All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.
Buy Now
