Art Pepper: Promise Kept – The Complete Artists House Recordings

 

Art Pepper: Promise Kept – The Complete Artists House Recordings is a five CD boxed set.

Art Pepper’s widow Laurie Pepper put these recordings into perspective:

"Art had had a brilliant career as a jazz soloist and band leader until the mid-1950s, when he started using heroin. After that, incarcerations and treatments in prisons and hospitals kept him off the stages and out of the studios. He was only able to record sporadically until he got (relatively) sober in Synanon in 1972 and married — me. Then in the last ten years of his life he composed recorded and toured more ambitiously than ever before, focused on securing his place among the true jazz greats — where he knew he belonged."

Producer John Snyder had long wished to record Art, and to that end, booked him into a week at the Village Vanguard in New York.  But Art was under contract to Contemporary Records label, whose head honcho, Les Koenig opted to record the stint himself.  Art, however, remained committed to recording for Snyder, the result of which was four albums recorded in 1979 and released in the ensuing years.

The albums that make up 'Promise Kept – The Complete Artists House Recordings' are the original releases: 'So in Love', 'Artworks', 'New York Album', 'Stardust' plus a bonus CD titled 'Sessions'.  All albums have all been remastered and expanded for this release, while an additional 11 session takes appear on the bonus album.

As for the title 'Promise Kept', Laurie Pepper explains:

"John and Art both kept their promises. John brought Art into the wider world; he put him on the road. Just as he said he would, he brought him to New York and to the Village Vanguard, got his picture in the papers, got him on the radio.  From Art, John got his dearest wish. He made these recordings."

The quality of Art's playing remained unchanged throughout the years, despite his many personal ups and downs.  From the first note of his debut album to the last note he ever recorded, he was phenomenal, and this box set proves the point.

If you like jazz, you’ll like this set.  If you like Art Pepper, you’ll love this set.

The freeload is 24bit/44.1kHz, and it sounds sweet.
 
For the freeload, tell us what was the very first album you owned? (LP, CD, Cassette, whatever you had)

Steppin' Out with the Grateful Dead: England '72

 

Europe in 1972 was not the Europe that exists today; it was still a handful of little countries that had been trying to kill each other a generation earlier.  There was new money every hundred miles, and new cops and officials to give that money to: Europe was a collection of borders with countries separating them.

It was also farther away, and expensive to reach in any medium.  Air mail required a whole different set of tools than regular mail: obscure stamps and special envelopes with red-and-blue wainscoting and see-through paper to save on weight.  You could not call Europe.  I mean, you could if someone else was paying for it, but if the phone line was in your name, you could not call Europe.

Ron "Pigpen" McKernan in Copenhagen, 1972

Pig’s deathly ill? Let’s schlep him around Europe on a cold and damp bus for six weeks. [Solid plan, there, guys! - Ed.]

An imaginary conversation between Jerry and Pig Pen, in Copenhagen, 1972…


Jerry: "How do you like Denmark, Pig?
"

Pig Pen: "The Pig don’t like it!  I’m a damn California boy.  How can a man sing the blues when he’s turnin’ blue?  It just ain’t natural, Jer!"

Jerry: "I agree. How'ya feeling?
"

Pig Pen: "Not so hot."


Jerry: "Ha!"

Pig Pen: "Yeah, I made a li’l joke.  Nah, I ain’t so great.  It’s okay, though, touring Europe’s just what the doctor ordered."

Jerry: "Really?"

Pig Pen: "Hell, no, peabrain!  The doc said to me the exact opposite thing!  Was specific ’bout it, too!  Pig, he said, Whatever you do: don’t let no one drag you ’round Europe on a bus, and then make you stand out in the cold all afternoon."

Jerry: "Well, what do doctors know?
"

Pig Pen: "That’s right, Jer, the Pig's schedule ain’t made by no sawbones!"

Jerry: "Seriously though, you look cold, Ron.  Do you want some hot chocolate?"


Pig Pen: "Aw, you know they don’t make it right over here, probably all fancy."

Jerry: "I’ll find you some Nestles Quik.
"

Pig Pen: "And if you could rustle up some of them itty-bitty marshmallows, then I wouldn’t mind."

Jerry: "Sure man, hang tight."

[60's Garcia was hep; he was a real beat cat.  80's Garcia was a mess, and 90's Garcia was just plain sad, but 70's Garcia was a cool mofo. - Ed.]

But seriously,
The liver problems that plagued "Pigpen" for most of his life became more severe in 1971, of course the Southern Comfort didn't help.  Against doctor’s orders, "Pigpen" hit the road one more time with the Grateful Dead.  The band’s 1972 tour of Europe is legendary, but at the time, "Pigpen" was just trying to stay above ground.  You could hear it in his voice when he took the mic onstage.  Close your eyes and his voice was a window into the past.  But listen closer, and you’d hear something else. Something you couldn’t quite put your finger on.  A distance.  Some pain.  Truth was, Pigpen was on borrowed time.  Rest In Peace, Ron "Pigpen" McKernan.

'Steppin' Out with the Grateful Dead: England '72' is a live 4 CD box that collects performances from seven of their eight shows in England during their spring 1972 tour of Europe (their first tour of the UK and continental Europe)

The band visited England three times on the tour.  They had booked four concerts in London (condensed to two) and one for Newcastle before touring mainland Europe. After the tour began, an opportunity came to return to England to play the stormy Bickershaw Festival, in between dates in Paris and Amsterdam.  To make up for the poor sound and crowded shows at the last-minute replacement venue, the Empire Pool, they added more dates at the end of the tour, returning again to London for four performances at the acoustically favorable Lyceum Theatre in the West End.

Jerry Garcia - lead guitar, vocals
Bob Weir - rhythm guitar, vocals
Ron "Pigpen" McKernan - organ, harmonica, vocals
Phil Lesh - bass guitar, vocals
Bill Kreutzmann - drums
Keith Godchaux - piano
Donna Jean Godchaux - vocals

For the freeload, what was your favorite "blotter art"?

Coleman Hawkins - 'The Hawk Flies High'

By the time he recorded 'The Hawk Flies High' in 1957, Coleman Hawkins had already been playing music professionally for over 35 years.  Coleman made his reputation as the first great tenor saxophonist, essentially validating the instrument as a jazz horn, and was an important figure in swing, big band, and bebop.  Not content to fade into irrelevancy like many other swing and big band players, by the 1950s he was still holding his own against young players.  His style and improvisational ability was so versatile, that he managed to transcend trends.

During his 40-plus year career, he recorded and toured with such jazz legends as Thelonious Monk, Miles Davis, Sonny Rollins, John Coltrane, Dizzy Gillespie, Max Roach, and Duke Ellington.  His improvising skill was legendary, having considerable influence on younger players such as Sonny Rollins and John Coltrane.  Despite his relative late age at the time of recording, "Hawk", as he was commonly known, was still hip to the avant-garde, and even surrounded himself with some younger players to be his sidemen.

'The Hawk Flies High' is filled with memorable melodies, exciting interplay, and furious solos, there is no doubt that this is a landmark jazz album.  In 2008, for its 50th anniversary, the Riverside label revived this classic record as part of the Keepnews Collection series with a much needed remastering.

Most of the songs on the record were recent compositions, some of which were written by the band members themselves, though  "Laura" an old standard, is included towards the center of the six-track album.  Songs, such as "Juicy Fruit" and "Blue Lights" demonstrate how Hawk's brilliant powers as an improviser could hold up to more modern material.  Filled with memorable melodies, exciting interplay, and furious solos, there is no doubt that this is a landmark jazz album, that still sounds fresh 67 years later.

Along with Coleman Hawkins on tenor saxophone, are:
J.J. Johnson on trombone
Idrees Sulieman on trumpet
Hank Jones on piano
Barry Galbraith on guitar
Oscar Pettiford on bass
Jo Jones on drums

If you are already familiar with 'The Hawk Flies High', you will appreciate the 24-bit remastering by Joe Tarantino, with its increased clarity and instrument separation.

For the freeload what types of birds do you see where you live?

The Kinks - 'At The BBC: Radio & TV Sessions And Concerts: 1964-1994'

 

'At The BBC: Radio & TV Sessions And Concerts: 1964-1994' is a 5CD - 1DVD set that was released in 2012 (the freeload is the 5CDs). 

Essentially this new box is an expansion of the 2001 'Kinks BBC Sessions 1964-1977', with more thorough selections from the early mid-60s sessions, the full live sets from Golders Green Hippodrome 1974 and Finsbury Park 1977, a handful of mid-90s Radio 1 appearances, plus a few performances that were wiped from the BBC archives but have been recovered from fan recordings.

The music for this set was remastered by Kinks aficionado Andrew Sandoval with Dan Hersch.  The excellent booklet (included in the freeload) by Peter Doggett, tells the story of the band’s history at the BBC

This is the proverbial treasure trove of seminal recordings over a variety of years and periods from The Kinks career.

If you compare the English to the Japanese, you can teach yourself another language!

For the freeload, answer two questions:
What are your favorite Kinks albums?
What are your favorite Kinks songs?

Skip James - 'Hard Time Killin' Floor'

 
Skip James was one of the finest and most refined masters of the Delta blues tradition.  He plays the guitar with grace and nuance, and his rather rustic, eccentric piano style makes up with charm for whatever it may lack in technical virtuosity.

Skip James is one of the most important figures in The Blues, whose shadow still looms large.

The performances on 'Hard Time Killin' Floor' are nothing less than superb.  If you haven't heard Skip James before, hearing this CD you will get the feeling that you've heard these songs somewhere before, probably because you have; Cream, Jimi Hendrix, and countless Rock acts have covered, drawn inspiration from, or just plain "borrowed" parts of the songs that are found here.

To my ears, this is the definitive collection of Skip James' early recordings. Yazoo Records has always had the best sound on old Blues 78s, mostly because of the label's judicious use of noise reduction (in the old days, that meant no noise reduction).  Now they've apparently used the latest tools to remove most of the intermittent noise, while leaving the music and some high-end background noise intact.  Whatever process was used, sound engineer Richard Nevins has created the best sounding versions of these songs that I've ever heard. [and I've heard quite a few - Ed.]  On the old Yazoo compilation, songs like "Special Rider Blues" and "Illinois Blues" were almost completely buried in noise.  Somehow, Richard Nevins has resurrected them.  In particular, the guitar parts are much clearer.  There is still quite a bit of noise and distortion, as these records are notoriously rare and in poor condition, but this is probably the best they'll ever sound.  This CD has all the Skip James 1930 Paramount recordings that are known to exist.  It also includes four cuts by Son House from the same year.  These recordings are also extremely rare in and in very poor condition.  Once again, Richard Nevins has made them sound better than ever. As for the music, it is some of the most evocative music ever recorded in the Blues genre.

For the freeload, tell us about some of your favorite songs that were "borrowed" from other songs.

Talking Heads - 'Brick'

 

To my ears, the Talking Heads were not just the biggest, but most consistently listenable of the so-called "New Wave" (a tricky term, I know) acts.  Releasing eight commercially successful albums over a decade, they broke ground with Byrne's electronic funk and World Music affectations, and always retained enough musical integrity to make them the darlings of critics (not to mention coke heads everywhere).  Musically, they didn't have the chops of their counterparts in bands like XTC and Television, but on the other hand, most of the New Wave groups were nothing more than attitude to start with - just look at the B-52's.  Not unlike Blondie and the Police, the Talking Heads had an imaginative and easily recognizable lead vocalist in David Byrne, who could also enliven even the most dull backing tracks.

'Brick' is an eight DualDisc box set containing the band's eight studio, with high resolution stereo remastered mixes on the CD layer and extra tracks from the recording sessions and video and 5.1 mixes on the DVD layer.  This is a body of work that makes the so-called "Arty" younger bands sound timid, even without any live material.

The outtakes on 'Brick' are often wilder than the cooler-headed, more deadpan versions chosen for the original releases.  Highlights include four rhythmically-charged, unfinished 'Remain in Light' outtakes (including one that eventually evolved into the band's signature "Once in a Lifetime") that allow insightful glimpses into Brian Eno's innovative production techniques on the album (and I say that as not much of an Eno fan), alternate versions of "Cities," "Life During Wartime" and "Mind" from 'Fear of Music', a countrified version of "Thank You For Sending Me an Angel" from 'More Songs About Buildings and Food' and a strangely muted early version of another Heads staple, 'Speaking in Tongue's', "Burning Down the House."  An early demo of "And She Was" from 'Little Creatures' demonstrates that the whole of a glorious pop song can be the assembly of its simple parts.

The Talking Heads catalog was in desperate need of remastering, with the original CD attempts sounding pretty poor.  Thanks to Jerry Harrison's supervision, the new mixes really add a lot, are tastefully done and give us state-of-the-art audio.  If you're a Talking Heads fan, you really should have these sonic upgrades.  The freeload is the high resolution stereo remastered mixes.

To freeload the Talking Heads in all their nervous energy and jittery glory, tell us who are some of your favorite "New Wave" or "Post Punk" albums are.

Stanley Clarke - 'School Days'

 

You can count on your fingers the bass players whose legacy comes close to Stanley Clarke, who has done more for the electric bass guitar than almost anybody else.

Jaco Pastorius gets a lot of credit (and rightly so) for revolutionizing the electric bass, putting it front and center, but Stanley is equally important.  While Jaco relied more on harmonics and standard (yet extremely challenging) bass playing, Stanley delved far more into bass chording and slapping, and to my ears, all while staying in the boundaries of good taste, which many times is lacking in Jaco's playing.

Stanley's bass slapping, can be traced back to William Manuel "Bill" Johnson, who is generally considered the father of the "bass slapping" style, in early 1900s, New Orleans.  George and Ira Gershwin were fans of the style, wrote a song about it titled, "Slap That Bass" for the 1937 movie 'Shall We Dance'.  The slap bass went technique went on to be used by Western Swing and Hillbilly musicians, and became an important component of an early form of rock and roll that combined blues and what was then called hillbilly music, we know now as rockabilly.  In the 1960s, Larry Graham, of "Sly and the Family Stone" became the first electric bass guitarist to use the technique, which he called, "thumpin' and pluckin'".  Inspired by Larry Graham, Stanley made it an art, and pushed it to the limits.

School Days' album cover is a painting by Lynn Breslin.
Stanley's white flares aside, it has a very Hip Hop-esque quality about it.

'School Days' released in 1976 (the same year as Jaco’s legendary debut album) was Stanley Clarke’s third solo album, and it was the one on which his compositional skills and his flamboyant bass solos really caught the bass world’s imagination.  Stanley had already demonstrated his double bass chops on the first two albums with Chick Corea's Return to Forever, but with the advent of his custom-built Alembic bass guitars, he now had a distinctive tone.  The grooves are phenomenal, the playing is impeccable.  'School Days' always puts a smile on my face.

Track list

1. School Days
2. Quiet Afternoon
3. The Dance
4. Desert Song
5. Hot Fun
6. Life Is Just A Game

The Players
Stanley Clarke on electric bass guitar, piccolo bass guitar, acoustic bass, acoustic piano, vocals, hand bells, gong, and chimes.
Raymond Gomez on electric guitar.
David Sancious on keyboards, mini-Moog synthesizer, organ, and electric guitar.
Gerry Brown on drums and hand bells on tracks 1 & 3.
Billy Cobham drums and Moog 1500 on track 6.
George Duke all keyboards on track 6.
Steve Gadd drums on tracks 2 & 5.
Milton Holland percussion on tracks 3 & 4.
Icarus Johnson electric & acoustic guitar on track 6.
John McLaughlin acoustic guitar on track 4.

Produced by Stanley Clarke and Ken Scott.

For the freeload, tell us who a few of your favorite bass players are

Some Of My Favorite Lightnin' Hopkins

 

I first heard Lightnin' late one night in 1961, listening to my transistor radio that was under my pillow (so my parents wouldn't be able to hear it), on either WWRL a.k.a. "The Big RL" or WLIB, both stations' target audience, was African Americans in New York City.  The late night DJs were hipper than hip, funny and spoke in "Jive".  The station's formats were then current R&B, Soul, Blues and sometimes a little Jazz.  This was where I first heard B.B., Muddy, John Lee, Elmore, Wolf and many, many more Blues Artists.

What first struck me about Lightnin' was that his lyrics were fun; not as macho, one-dimensional and misogynistic as with many other blues guys.  The first time I heard "Katie May", with the line, "You know she walks just like she got oil wells in her backyard", the double entendre was not lost on my 14-year-old self, it literally made me laugh out loud, and wake my mother up, who yelled, "GO TO SLEEP, ALREADY!".  I also liked his style of guitar playing that's simultaneously loose, and yet somehow tight... AND with a guitar that's always in tune (which is not always the case, with others)!

During his lifetime, Lightnin' recorded 200 singles and 85 albums on over twenty different labels.  Due to such things as, while under contract to the Aladdin label, he cut records for the Goldstar label with the same songs. Things like that make collecting Lightnin' Hopkins records a complex problematic, and a daunting task to unravel.  I've encountered similar difficulties with John Lee Hooker.

Here are some of my favorites from Lightnin' Hopkins, all three have wonderful performances, and excellent audio.

'Lightnin' (The Blues Of Lightnin' Hopkins)'

Recorded for Prestige's Bluesville subsidiary in 1960,  'Lightnin' (The Blues Of Lightnin' Hopkins) is among the most rewarding acoustic dates Lightnin' delivered in the early '60s. It's a little like being in a small club with Lightnin' as he shares his experiences, insights and humor with you.

The session has an informal, relaxed quality with bassist Leonard Gaskin and drummer Belton Evans, both of whom play in an understated fashion and do their part to make this intimate setting successful. They also do a remarkable job of navigating Lightnin's irregular bar patterns and abrupt song endings.

You'd think the best place to record "Texas Blues", would be, well, in Texas.  But you'd be wrong, this was recorded in Englewood Cliffs, New Jersey, on November 9, 1960, by (you guessed it) Rudy Van Gelder.

This was the first Lightnin' Hopkins I ever bought.

The freeload is a 24 bit/192khz vinyl rip of the Analogue Productions reissue from 2023 on180gram vinyl.

'Goin' Away'

On June 4, 1963, Lightnin' returned to Rudy Van Gelder's studio in Englewood Cliffs, New Jersey, with bassist Leonard Gaskin and drummer Herbie Lovelle, in tow.

Musicians today spend lots of money, and months of their time to try and produce something this profound.  And yet Lightnin' went into the studio, sat down and knocked it out in three hours on a Tuesday evening....live with no overdubs (or Auto-Tune).  Once again, the sensitive support of bassist Leonard Gaskin and drummer Herbie Lovelle, are not befuddled by Lightnins' distinctive sense of "country time", unlike more than a few studio musicians, who came before and after.

The freeload is The freeload is a 24 bit/192khz vinyl rip of the Analogue Productions reissue from 2022 on180gram vinyl.

Broken Hearted Blues

These are the 1950–52 recordings done for the "Sittin In With" and "Jax" labels, that were both owned by Bobby Shad (Bobby worked with, Charlie Parker, Janis Joplin, Shelly Manne, Dizzy Gillespie, Roy Haynes, Blue Mitchell and Ted Nugent [of all people], to name just a few). The song selection is strong, and the audio is phenomenal. The freeload is a copy of the SACD. For the freeloads, tell us about a bad storm (hurricane/tornado/tsunami/snow etc.) you've experienced.

Kris Kristofferson - June 22, 1936 - September 28, 2024

 

Rest In Peace

The Austin Sessions
https://workupload.com/file/kBGZKbahxck

Two Classics Of "Country Rock"

There are many albums I play back to back, they’re usually by the same artist, but sometimes by artists of the same subgenre, as is the case with today's freeloads, by The Marshall Tucker Band, and The Ozark Mountain Daredevils.



In 1973 both bands released their debut self-titled albums.  Back then, when I bought a new album, I would make a cassette tape of it on my beloved Nakamichi 1000 Tri-Tracer, which was the first truly Hi-Fi cassette deck, leaving me with pristine albums.  I used to use 90-minute cassettes, since most albums in 1973 were under 45 minutes, I could put a full album on each side.  So I had The Marshall Tucker Band on one side, and The Ozark Mountain Daredevils on the other side.  I guess I got used to hearing them together, by flipping the tape (auto-reverse was a few years away).



While both bands sound nothing like each other, they do have a similar vibe to them.  Both albums were categorized as "Country Rock" but that doesn’t tell the whole story as there are many influences at play other than country music.  If these two albums were released today, they would more than likely be classified as "Americana".


'The Marshall Tucker Band'
There was no member of the band named Marshall Tucker, they named themselves after a piano tuner.  The songs "Take the Highway" and "Can't You See" were FM radio staples from the album.

'The Ozark Mountain Daredevils'
Many people only know the band from their biggest hit, 1975's "Jackie Blue", a song that sounds nothing like the band's usual sound.  The FM staples from this 1973 album were "If You Wanna Get To Heaven" and "Chicken Train"




For the freeload, what are some of your favorite subgenres of music?

'The Complete Billie Holiday On Verve, 1945-1959'

In her recording career, Billie recorded for four labels, and with every label we saw and heard a different incarnation of Billie.  Myself, I can't think of another so prominent singer who went through so many changes.

On the Columbia recordings Billie was young, spirited, startlingly original and enjoyed hit after hit with often unremarkable material she made remarkable, as only she could.

On the Commodore recordings, Billie became a singer of torch songs and dramatic ballads.  At this point, she had become a glamorous and sophisticated "supper club" star, as well as a more polished and mature artist.

On the Decca recordings, label owner Milt Gabler (whom she worked with at Commodore) told her he wanted to try her as a pop singer.  The Decca recordings are drenched in strings by the brilliant Gordon Jenkins, who adored Billie as an artist and as a person.  Given the topnotch material, she proved a captivating, luxurious stylist worthy of her international fame she achieved and so deserved.

Then came the subject of today's post, Billie's Verve recordings.  Billie's voice was deeper, rougher, harder, her style had turned into a bag of affectations, her stylings were totally predictable and by all rights her recordings should have been unimportant.  Not so.  She had become a world-weary, wise actress in song, and virtually everything she recorded for Norman Granz was compelling. 

When I first listened to song after song in this collection I realized, having never heard the music in order in its entirety, I had missed a point.   I think Billie was simply incapable of being uninteresting.  There isn't a record here that isn't just fascinating.  By the time we get to the final album, on M-G-M, when she was literally on her last legs, the wonder is the album is so hypnotic (and at the time of its release was a big deal).

Billie's life did not turn out the way it should have, it should have ended healthy and wealthy.  But at the very least, she ended up celebrated and loved.  The records can't show her beauty, elegance, terrific taste in fashion, beautiful grooming and hypnotic presence as a performer, but this is music you can listen to over and over, year after year and still discover something new.

'The Complete Billie Holiday On Verve, 1945-1959' is one of my favorite boxed sets. It has wonderful sonics, and one of the best booklets I have ever seen, it's a 220-page book featuring recording information, interviews and rare photographs (it's included in the freeload in .pdf format)

CD1:

• Jazz at the Philharmonic concerts 1945-47
• 1952 Los Angeles Studio Sessions

CD2:

• 1952 Los Angeles & New York Studio Sessions
• 1954 Jazz Club USA Concert - Germany

CD3:

• 1954 Jazz Club USA concert (conclusion)
• 1954 Los Angeles & New York Studio Sessions
• 1955 New York Studio Sessions

CD4:

• 1955 Rehearsal at Artie Shapiro's Home

CD5:

• 1955 Los Angeles Studio Sessions

CD6:

• 1955 Los Angeles Studio Sessions (conclusion)
• 1956 Rehearsal at the Duffys' Home

CD7:

• 1956 New York & Los Angeles Studio Sessions

CD8:

• 1956 Carnegie Hall Concert
• 1957 Los Angeles Studio Sessions

CD9:

• 1957 Los Angeles Studio Sessions

CD10:

• 1957 Newport Jazz Festival
• 1958 Seven Ages of Jazz Concert
• 1959 New York Studio Sessions with Ray Ellis

The "Sidemen"
Alto saxophones: Willie Smith, Benny Carter
Tenor saxophones: Illinois Jacquet, Wardell Gray, Charlie Ventura, Coleman Hawkins, Lester Young, Flip Phillips
Trumpets: Howard McGee, Buck Clayton, Charlie Shavers, Harry "Sweets" Edison, Roy Eldridge
Trombone: Trummy Young
Vibraphone: Red Norvo
Pianos: Milt Raskin, Ken Kersey, Oscar Peterson, Sonny Clark, Billy Taylor, Jimmy Rowles, Wynton Kelly, Tony Scott, Mal Waldron
Acoustic guitar: Freddie Green
Electric guitars: Tiny Grimes, Barney Kessel, Herb Ellis
Basses: Charles Mingus, Curly Russell, Al McKibbon, Ray Brown, Red Mitchell, Milt Hinton, Joe Benjamin
Drums: David Coleman, J.C. Heard, Alvin Stoller, Ed Shaughnessy, Cozy Cole, Jo Jones

For the freeload tell us what day is your favorite holiday.