Patti Smith at the 92nd Street Y

We spent an enjoyable evening with¬†Patti Smith and special friends Wednesday night at the 92nd Street Y on Lexington Avenue in New York City. This event was rescheduled from January 6th which worked out in everyone’s favor, especially when you consider the blizzard we had in January. Last night was almost balmy as we walked around the area finding a restaurant and stopping in Crumbs Bake Shop for an Artie Lange cup cake ūüėȬ†

This was our second annual event featuring Patti Smith at 92 Y. Last year we saw Patti in a dual reading with her friend, Sam Shepard, thoroughly enjoying each other’s company. (Sam is a playwright, actor, television/¬†film director, folk singer and short story writer.)

As we found our way to our seat we were handed a blank 3×5 index card to ask Patti Smith a question for Q&A. ¬†I came up with a question, jotted it down and handed it to the usher just before Patti Smith made her entrance.

Patti Smith was delightful as her improvisational and comedic¬†selves were in harmony. She started the evening with the song I was hearing in my head,”My Blakean Year” which aptly portrays her poetic soul. Patti then switched to readings from Just Kids, which recently won the National Book Award for¬†Non-Fiction. I really love when she shares Robert Mapplethorpe and the time they spent together at the Chelsea Hotel. ¬†They have a beautiful, eternal friendship.

Photo by Joyce Culver for 92Y (Thank you for the picture, Joyce)

Patti then introduced Lenny Kaye through a passage of her book. Lenny Kaye has played 40 years with her as a member of The Patti Smith Group. Patti paid tribute to the late actress Maria Schneider by performing with Lenny a poignant, engaging version of “Redondo Beach” from Horses.

She then switched back to readings from her  book, interspersing her poems, injecting fun with impromptu asides with the audience. She read another passage from Just Kids, which set the stage to introduce Sam Shepard who was a surprise guest. Sam played guitar with Patti and Lenny, as we saw Sam Shepard the folkie emerge.

Our favorite part of the evening was when Patti recalled that she had to do Q&A. Lenny Kaye took the question cards out ¬†of the front pocket flap of his sport coat. Much to our joy Lenny Kaye soon read our question. Lenny said, “Patti, this question is from Ed & Rosemary Jennings, who write, “What are your sentiments about Saint Francis of¬†Assisi?” The audience chuckled at what seemed a random and obscure question. I had asked it¬†purposely because I had read that Patti Smith’s next record will have a song about Saint Francis of Assisi.We love to know what influences artists to write and record their songs. Patti said that this was another commercial announcement (she lovingly promoted her friend and photographer Judy Linn’s book several times that evening.) Patti cautioned the audience that this was an important question as she graciously spoke about Saint Francis’s warm way with matter of the heart making significant contributions as an environmentalist and animal activist. ¬†Patti was fair in saying that people of various faiths have come to respect Saint Francis’s contribution to the planet over the centuries. We smiled at Patti’s answer as devout Catholics, who hold the saints of the church in high esteem.

A person in the audience then asked Patti, “When will the record be coming out?”. ¬†She shot right back at them, “When it’s ready.”

The music performed was a combination of poetry, as well as early influences. We especially liked the rendition of the first song Patti Smith and Lenny Kaye collaborated on in 1971, “Fire of Unknown Origin”.

My favorite moment was when Patti couldn’t find the eclectic passage in the book about her first meeting with Allen Ginsberg at the Horn and Hardart Automat. A fan finally yelled out, page 122. Patti replied. “You’re the best.” I love the beat generation and poet connection between Patti Smith and Allen Ginsberg. I had the rare privilege of meeting Allen Ginsberg in 1973 at the University of New Haven. ¬†I sat next to him at a press conference before he performed “Howl” in our campus entertainment room. As Patty points out in her book, “I looked into those intense dark eyes punctuated by his dark curly beard…”. That image Patti described is just how I recalled Allen Ginsberg as I watched him answer questions posed by local reporters in the student conference room.

Here is a color handbill of a memorial tribute to Allen Ginsberg held in Ann Arbor, Michigan that we keep in our home office ūüôā

The evening was capped off by Patti Smith, Sam Shepard, Lenny Kaye and the audience, singing and clapping to “People Have The Power“. Patti dedicated it to freedom and Egypt.


Brothers and Sisters
we are with you
The People have the Power
To redeem the work of fools
Upon the united
the graces shower
It’s decreed the
People rule.

(Courtesy of, ihavesomeinformationforyou,

We then got online to have Patti Smith sign Just Kids in paperback and the new Judy Linn photography book, that Judy Linn also signed for us. We were privileged to get the book before its March 1st general availability date. Great keepsakes for a beautiful evening of literary musical expression.

We thanked Patti for answering our question and she said to us, “I hope you’ll like the song when you hear it.” We have a feeling we will, Patti ūüôā

Jimi Hendrix, Band of Gypsys

Jimi Hendrix Band Of Gypsys
Image by basspunk via Flickr

The Fillmore East established a rich heritage of live rock music with groundbreaking acts and hosting legends in an intimate setting. When Jimi Hendrix decided to premier his new musical group, Band of Gypsys he chose the house that rock built, The Fillmore East as the venue to record the historic New Years Eve concert on December 31, 1969.

It was more than fitting that Jimi Hendrix’s Band of Gypsys ushered in the next decade 1970, which proved to be a monumental year for the music industry. Jimi Hendrix had broken the mold of The Jimi Hendrix Experience and was seeking a new live sound and direction for his music. He partnered with ex-Electric Flag drummer Buddy Miles (who also appeared on Electric Ladyland) and his old Air Force buddy Billy Cox, on bass.

My personal memories about these concerts are that a late friend of mine, Rudy Graham attended the New Years Show. I’ll never forget bumping into Rudy on New Years Day. He had spent the previous evening and most of the next morning hanging out at a special after party hosted for Jimi Hendrix. Rudy was always in the know for music happenings. He and I ran the concert committee at Norwalk Community College later that year. Rudy was smiling ear to ear. He said to me, “Ed, man you missed a great show at the Fillmore East last night. I caught Jimi Hendrix bringing down the house with his new group, The Band of Gypsys.” ¬†I was excited to get first hand information about Jimi Hendrix fresh from the show from Rudy. I’ll never forget talking to Rudy on the street as he wore his Fillmore East green and yellow Fillmore jersey he was given as a present at the party. He was soaring about Hendrix’s guitar playing. All he would say was. Hendrix hit the stratosphere last night into today.” ūüėČ

There is the now famous Band of Gypsys recording available as well as a DVD of The Fillmore East concerts, Band of Gypsys: Live at the Fillmore East which features film shot by a fan in attendance on a hand held movie camera. Find a copy and rent it or better yet own it. 

Here are the real set lists of all four shows on December 31, 1969 and January 1, 1970.

Wednesday, December 31, 1969 (First Fillmore East set)

  1. “Power of Soul”
  2. “Lover Man”
  3. “Hear My Train A-Comin'” ~ +
  4. “Them Changes” +
  5. “Izabella” +
  6. “Machine Gun”
  7. “Stop”
  8. “Ezy Ryder”
  9. “Bleeding Heart”
  10. “Earth Blues”
  11. “Burning Desire”

Wednesday, December 31, 1969 (Second Fillmore East set)

  1. “Auld Lang Syne” +
  2. “Who Knows” +
  3. “Stepping Stone”
  4. “Burning Desire”
  5. “Fire” ^
  6. “Ezy Ryder”
  7. “Machine Gun” +
  8. “Power of Soul”
  9. “Stone Free/Nutcracker Suite/Drum Solo/Outside Woman Blues/Cherokee Mist/Sunshine Of Your Love” ^
  10. “Them Changes”
  11. “Message of Love”
  12. “Stop”
  13. “Foxy Lady” ^
  14. “Voodoo Child (Slight Return)”
  15. “Purple Haze”

Thursday, January 1, 1970 (Third Fillmore East set)

  1. “Who Knows”¬†*
  2. “Machine Gun¬†*
  3. “Them Changes”
  4. “Power of Soul” +
  5. “Stepping Stone” +
  6. “Foxy Lady” ~
  7. “Stop” ~ +
  8. “Hear My Train A-Comin”
  9. “Earth Blues”
  10. “Burning Desire” +

Thursday, January 1, 1970 (Fourth Fillmore East set)

  1. “Stone Free/Little Drummer Boy” +
  2. “Them Changes”¬†*
  3. “Power of Soul”¬†*
  4. “Message of Love”¬†*
  5. “Earth Blues” +
  6. “Machine Gun” +
  7. “Voodoo Child (Slight Return)” +
  8. “We Gotta Live Together”¬†* +
  9. “Wild Thing” +
  10. “Hey Joe”
  11. “Purple Haze”

(I plan to update this blog post with more specifics when my schedule permits later this week….)

Fillmore East Poster and Handbill Art

Bill Graham had east coast poster artists who he commissioned to design posters and handbills for The Fillmore East concerts. The most notable poster artists were Helen Hersh and David Byrd.


The poster and handbill for the  first concert at The Fillmore East, March 8, 1968, Big Brother with Janis Joplin, Tim Buckley and Albert King.

Helen Hersh

David Byrd

I was living on a multi-media commune outside Manhattan when several of my schoolmates from Carnegie-Mellon were opening the Fillmore East at the old 2nd Avenue Theatre in the East Village with Bill Graham from San Francisco. Manager Kip Cohen called to say they needed a poster artist and they all thought to call me, as I was the one visual artist amongst a group of theater graduates. At the time I was interested in crystal matrices and used a hex grid to create the hair as a mass of psychedelic photons in orange, yellow-green, magenta and black. Unlike the San Francisco Fillmore, we did not do a poster every week, but only for major stars like Hendrix. Film positive painted from behind in acrylic.

Joe Cocker, Mad Dogs and Englishmen Tour

Cover of "Mad Dogs & Englishmen"
Cover of Mad Dogs & Englishmen

“Zee Mad Dogs, Zee Englishmen and Joe Cockerrrr”

Staying with The Fillmore East blog post theme as it relates to historic concerts, the focus now shifts to events that took place on March 27 and March 28 1970. This is the point in music history when the Joe Cocker & The Mad Dogs & Englishmen Tour, complete with 40+ family members and a video/audio production crew took over The Fillmore East to record for posterity their unique travelling circus and medicine show experience. This rag-tag nucleus of talented potpourri made a significant contribution to the annals of live rock music with its synthesis of blues, country and soul music.

Copyright Amalie R. Rotschild Photography



The four concerts held at 8 and 11 p.m. respectively, produced a rich treasure trove of musical heritage. There is a full length feature film on DVD that exhibits the various stops on the tour as well as the backstage sounds and scenes.

In addition to a double album of the Fillmore East shows, there is also a rarities CD. Rhino’s Hip-O label has also produced the definitive 6 CD set of all four Fillmore East recordings as a limited edition pressing of 2500 units, which is sold out but available on Amazon through authorized sellers. Hip-O also produced a 3 CD set of each evening as a limited edition of 5000 units which are still available for purchase on the Hip-O Web site.

It’s equally fascinating that this tour not only launched the greater success of Joe Cocker but also promoted the careers of Leon Russell as producer/arranger, Rita Coolidge singer, Chris Stainton on keyboards, Jim Price and Bobby Keys on horns (who went on to play with the Rolling Stones), Carl Radle on bass and Jim Gordon on drums (went on to play in Derek and the Dominoes).¬†As Leon Russell sings in “The Ballad of Mad Dogs and Englishmen”…


Kids, planes, runway strikes
Flashy pimps and family fights
Spotted dogs, blood-shot eyes
Our space captain laughs and tries
To understand the scheme of things

But just in time the scene has changed
The bus is here, bring the beer
Sherman’s reading Shakespeare
Movie makers, boobie shakers
And Saxy airplane ticket takers

Union members
Leo Fender’s pride and joy
Electric toy
Teachers, learners
Incense burners
Religious leaders and chronic bleeders
Thieves and pirates on a ride
It’s a hippie commune bonafied

But Okies and Limeys, curtain climbers
Stones and future Dominoes
Know which way the wind blows
Stolen cola no one knows
The shadow do
But it’s still a shady crew

‘Cause I love her, and she loves me
Just myself and forty friends
In the name of Cocker Power
Out here on the road again
With Mad Dogs and Englishmen

Taj Mahal

Taj Mahal is ever-expanding his musical capabilities with rich textures gathered from across the world stage. Taj ranges with natural motion from the blues, through calypso, diving into reggae and swaying us  like palm trees with island music.

It has been 37 years since I last saw Taj Mahal perform live at The Westport Country Playhouse in Westport, Ct on October 30, 1974.  I spent quality time with Taj Mahal that evening as I interviewed him for a local music magazine. He played a National Steel Guitar underneath the interview as we talked in his dressing room. Sitting right outside his dressing room that night was James Cotton who joined Taj Mahal  softly on his harp. That is one of my fondest backstage moments when two pivotal blues musicians broke out in improvisational song as background accompaniment in my presence.

I also saw Taj Mahal open for the Mahavishnu Orchestra at Staples High School in Westport, Ct. 1973. Taj Mahal had Howard Johnson on Tuba with him that evening and Taj’s set was reminiscent¬†of The Real Thing recorded live at The Fillmore East in 1971.

My lovely wife Rosemary purchased tickets to see Taj Mahal and Los Lobos live at The Klein Memorial Auditorium in Bridgeport, Ct. on Saturday February 19th. My modus operandi before I attend a concert is to immerse myself in that artist’s music and read as much as ¬†I can about them and their art. I enjoy researching the artist’s Web pages, catching up on¬†what has been written and learned about the artist. Its going to be both¬†fun and a challenge assimilating Taj Mahal’s 40+ year legacy in the next 10 days ūüėČ Thankfully I have Zune to help me do that ūüėČ

When I attended the University of New Haven(1972-1974) I took a music course that covered the blues extensively. I chose to write my term paper that semester about Taj Mahal. Having established a nice working relationship with Ed NaHa at Columbia Records in New York City, I availed myself of CBS Record’s research department utilizing press release and extensive artist background information files. Ed was a tremendous help to me in 1973 and 1974 when I needed background information on Mahavisnhu John McLaughlin and Taj Mahal. Ed made me feel right at home at the Big Black Rock as CBS was known as in those days. He understood it was my desire as a student majoring in business and minoring in music that I wanted to work for CBS Music when I graduated. That dream never did materialize for me but I always stayed in direct touch with music as best I could over the years.

So today’s WordPress post is dedicated to old friends and the ever unfolding music of Mr. Taj Mahal. ūüôā

Taj Mahal’s latest recording is Maestro, give it a listen soon ūüėČ


Jeff Beck and Rod Stewart Together Again

In the summer of 1969, July 3rd to be precise, I saw my first rock concert at the age of 17. We scored tickets to see, Soft White Underbelly (who would become Blue Oyster Cult), Jethro Tull and The Jeff Beck Group at The Fillmore East in the East Village section of New York City.

It was the first and only time I ever attended a rock concert at Bill Graham’s Fillmore East. It’s a fantastic memory in the annals of my 42 years of attending concerts.

The concert was held on the eve of the Newport Jazz Festival going Rock. Jethro Tull and The Jeff Beck Group were scheduled to change jazz festival history by being on that lineup in Newport, Rhode Island.

The Jeff Beck Group headlined The Fillmore East concert. I recall vividly 42 years ago watching Jeff Beck guitar slinging against the Lights by Pablo light show extravaganza. Rod Stewart was the vocalist extraordinaire. He was the dandy with a long scarf that he threw about his neck as he strutted the stage like a peacock.

The Jeff Beck Group that night also featured Ron Wood on bass guitar, Nicky Hopkins on piano and Tony Newman on drums. They tore the roof off The Fillmore East venue that night. Here is a vintage YouTube  video from that evening.

The concert left a lasting impression on my psyche.  I recall that on the way to the subway station we stopped at The Gramophone Record Store and I bought The Jeff Beck Group album Beck-Ola. I wore the needle down on my hi-fi system playing that record that summer.

The Jeff Beck Group broke up the following month just before Woodstock which they were scheduled to play.

A lot can happen in 42 years. Jeff Beck had a fantastic 2nd comeback year in 2010 with his recording, Emotion & Commotion which is nominated for five Grammy awards to be announced on Sunday, February 13th. Rod Stewart has being having great success with his Great American Songbook recordings. Ron Wood is the bassist for The Rolling Stones and a highly successful painter in his own right.

I was elated to learn that Jeff Beck and Rod Stewart decided over dinner in late December of 2010 to reunite and record an album together. To pick right up where they left off 42 years ago. Never say never in this life. ūüėČ For more specifics about this future collaboration please refer to the February 1st Rolling Stone Magazine article, Exclusive: Rod Stewart and Jeff Beck Getting Closer to Recording Together Again.

As it stands now Jeff Beck has sent Rod Stewart some tapes of the new album and Rod Stewart is adding the vocals. Should be real sweet when this recording is complete later this year.

This YouTube video will give you a taste for Jeff Beck and Rod Stewart live. Rod Stewart made a surprise appearance at Jeff Beck’s 2009 concert in Los Angeles at the El Ray, watch Jeff Beck’s reaction ūüôā

The Light at the Edge of the World Through Three Unique Lens

I visualize the light at the edge of the world through three unique lens. Light defines our greater purpose as we travel ever towards it.

Sunset Over Water - Belize City, Belize
Copyright Brian Lewis


The first unique lens reveals rich textures of sound swirling in depths of dimensionality. The origin of the light at the edge of the world is an exquisite, ethereal instrumental written and composed by jazz saxophonist, Pharoah Sanders. Santana put me on to this jazz composition when it was included on the Hymns for Peace DVD filmed at Montreux Jazz Festival in 2004.

The video clip features Salvador Santana on piano ably leading an eclectic quartet that features Ravi Coltrane on tenor sax, Benny Rietveld on bass and Dennis Chambers on the drums. Once you connect with this instrumental you will embark upon a special journey.

While the first lens is still open I share a complimentary video of a hoped for documentary about Pharaoh Sanders.

The second lens opens wider to introduce us to worldwide indigenous cultures that have been reported studied, photographed, filmed and documented by the provocative mind of anthropologist, ethnobotanist, Wade Davis.

“The measure of a society is not only what it does, but the quality of its aspirations. – Wade Davis”

Wade Davis authored a book The Light At The Edge Of the World, A Journey Through The Realm of Vanishing Cultures. I happen to own and treasure this book. Again a direct influence from Santana, from the bookshelf of Carlos Santana.

Wade Davis produced, wrote, and hosted Light at the Edge of the World, a four-hour ethnographic documentary series shot in Rapanui, Tahiti, the Marquesas, Nunavut, Greenland, Nepal, and Peru.

Wade Davis is someone you want to listen to speak as well as read his books, study his photographs. You will gain such an appreciation for the preservation of societies, languages, cultures when you listen to his passionate articulations.

Here is Wade Davis talk from TED Ideas Worth Spreading, be ready to deeply educated. altered and changed when you open your mind and heart to indigenous cultures and how we are all one.

The third lens opens to a 1971 movie entitled The Light At The Edge of the World, starring Kirk Douglas, Yul Brynner and Samantha Eggar. The movie is based on the adventure work by Jules Verne 1905, The Lighthouse at the End of the World.

I’ll leave the connecting of the dots to these three unique lens about The Light At The Edge of the World to your discretion. Feel free to leave a comment about this blog post and let us know what you see the dots connecting to and why ūüėČ

Garland Jeffreys

ECS on Central Park West
Image via Wikipedia

I drift back to the time when we listened perpetually¬†to FM radio, in particular Metromedia affiliate WNEW-FM 102.7 ¬†out of New York City. The year was 1973, Rosemary and ¬†I were newly married and living in an apartment in South Norwalk, Ct. ¬†We were very in league with the NEW-FM disk jockeys such as Dave Herman in the morning and Scott Muni (Scottso) in the afternoon. It was Dave Herman who turned us on to Garland Jeffreys and his anthem-like song, “Wild in the Streets”. Garland’s 45 r.p.m record got a lot of airplay on the station that year, deservedly so ūüėČ

Rolling ahead to 1977, Garland Jeffreys recorded and released Ghost Writer on A&M Records. I used to go on record buying binges to J&R Music World and other record haunts throughout NY City, sometimes buying 10-12 albums at a clip. I recall purchasing¬†Ghost Writer in the Village¬†and playing it extensively on my Sunday morning radio show on WVOF-FM 88.5 at Fairfield University. ¬†I would lean strongly on “35 Millimeter Dreams”, “Lift Me Up” and “Why-O” in my playlists. I was just going through my vinyl collection recently, thinking the next time I see Garland Jeffreys I’ll ask him to sign Ghost Writer for me so I can frame it for my home office ūüėČ

Rolling forward to October 9, 2010, we saw Garland Jeffreys perform live as part of Happy Birthday John, An Informal Celebration of John Lennon’s 70th Birthday in NY City. Here is the video clip of his poetic reading of “Help”, which was very moving to witness.

I was very honored to have a chance to talk to Garland Jeffreys on the steps of the Society for Ethical Culture before the show and again after the concert at the after party at Gibson Studios. I loved his sincerity and the sense of excitement I felt about his career revival.

I’m making a solemn pledge to spend quality listening time with ¬†Garland’s music and his official video channel on YouTube. ¬†I want to become more in harmony with Garland’s music in anticipation of his new recording (which is in production). ¬†He’s stepping up his touring schedule as a result and we hope to catch him live again real soon. ūüôā

Garland’s discography is courtesy of Wikipedia.


  • 1969:¬†Grinder’s Switch Featuring Garland Jeffreys
  • 1973:¬†Garland Jeffreys
  • 1977:¬†Ghost Writer
  • 1978:¬†One Eyed Jack
  • 1979:¬†American Boy & Girl
  • 1980:¬†Escape Artist
  • 1982:¬†Rock ‘n’ Roll Adult
  • 1983:¬†Guts for Love
  • 1992:¬†Don’t Call Me Buckwheat
  • 1992:¬†Matador & More…
  • 1997:¬†Wildlife Dictionary (only released in Europe)
  • 2007:¬†I’m Alive (only released in Europe)

Contributions To Others

Ebony and Ivory – Paul McCartney & Stevie Wonder

This song has been playing in my head and heart all day.  We caught Paul McCartney and Stevie Wonder performing Ebony and Ivory at the White House on CT-PBS this past weekend. I think its the first time in 30 years they have ever performed this song together live. We love them both!

Ebony and Ivory live together in perfect harmony
Side by side on my piano keyboard oh lord why dont we?

We all know that people are the same where ever you go
there is good and bad in everyone
we learn to live we learn to give each other what we need to survive together alive

Written by Paul McCartney 1982

Tagi – Charles Lloyd

Charles Lloyd wrote on his Web site,

Music is a healing force. It has the ability to transcend boundaries, it can touch the heart directly, it can speak to a depth of the spirit where no words are needed. It is a most powerful form of communication and expression of beauty. Whether in context of my “New Quartet” with Jason Moran, Reuben Rogers, and Eric Harland, or Sangam, with Zakir Hussain and Eric Harland, and more recently with Maria Farantouri, it gives me great joy to make music with each of them. Each time we play together there is a healing wholeness that permeates the atmosphere.

We must go forward, all the great ones that went before us insisted on this. For each generation, it is incumbent upon us to rise up and sing the song – the journey and pursuit is unending. I will always remember that from his death bed Master Higgins told me ‚ÄúWe must continue to work on this music,‚ÄĚ and as long as I am able, I will continue to do so. Each of us has his own experience, and from that experience, something is transmitted. For me, the purpose of life is to know God and the struggle of spiritual life will go on as long as I have breath. The pursuit and the music are one.

Yours in the music,
Charles Lloyd

The most reflective, uplifting moment of the Charles Lloyd New Quartet concert at Wesleyan University, now two days hence, ¬†was the performance of the spoken word meditation, “Tagi.”

Pianist Jason Moran pulls up another chair to the piano and Charles Lloyd sits next to him swinging the microphone close to allow for his poetic narration to flow from his guiding light voice to our ears and senses.

“Tagi” is a¬†Bhagavida Gita inspired Lloyd composition¬†where Charles Lloyd poetically speaks in a meditative chant-like mantra on top of the arco bass of Mr. Rogers, the delicate piano¬†tinkling¬†of Mr. Moran and the ‚ÄúOm-like‚ÄĚ baritone chants of Mr. Harland. The moment that Lloyd’s spiritual narration over the soft¬†accompaniment¬†creates is deeply inspiring yogi.

He knows bliss in the Atman

And wants nothing else.

Cravings torment the heart:
He renounces cravings.
I call him illumined.

Not shaken by adversity,
Not hankering after happiness:
Free from fear, free from anger,
Free from the things of desire.
I call him a seer, and illumined.

The spirituality and the healing power of “Tagi” is further accented by Charles Lloyd on tenor sax. His instrument flows with a cornucopia of colors as we regale in the splendor of the illumination.

Ah at last it has all become abundantly clear, the mirror is a reflection of our inner soul.

Namaste,¬†Charles Lloyd and the New Quartet, until we meet again on the astral plane, Peace be with you ūüôā

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