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GA Russell
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Posts posted by GA Russell
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LIFO - My CDs and LPs are filed merely by how recently they have been played.
Except...
I file my bossa nova, surf guitar and surfing records separately (We've discussed this elsewhere.) for summer listening.
I also file separately my newest (to me) albums, by year.
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Dan, I don't see much difference between #2's first and third options. But thanks for this!
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24 minutes ago, JSngry said:
Yeah, looking that site over, it's full of anti-Jewish and other racist crap. I am removing the link so that there will be no more direction to a site such as this from the Orgnissimo board.
My apologies. I didn't look beyond the article mentioned. The site was from bing. I thought they avoided that sort of thing.
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6 hours ago, Rooster_Ties said:
Most likely a coincidence, which is being exploited for a false narrative, imho.
Rooster, I saw a comment the other day which you might enjoy. It said...
Nowadays you have only two options. You can either be a conspiracy theorist, or you can be a coincidence theorist.
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Late last week the CFOs of both Pfizer and Moderna resigned.
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Gossip!
https://3downnation.com/2022/03/30/insider-talk-x/
https://3downnation.com/2022/04/06/insider-talk-canadian-qb-tre-ford-salary-projections-giving-young-guys-a-chance/
https://3downnation.com/2022/04/13/insider-talk-the-ratio-positional-draft-needs-advice-for-prospects/
https://3downnation.com/2022/04/20/insider-talk-x-2/ -
Twitter's board has agreed to sell the company to Elon Musk.
This is a "definitive agreement," so I guess that means that it is now too late for another bidder to come along. Will Musk reinstate the banned accounts?
The other day, Twitter shares closed only 18 cents above their 2013 IPO price.
https://townhall.com/tipsheet/spencerbrown/2022/04/25/breaking-elon-musk-buys-twitter-n2606302
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Daryle Lamonica passed away Thursday at 80. RIP. He was a favorite of mine.
I was surprised to learn last year that of all the starting US-pro quarterbacks in history, Lamonica is #2 behind only Otto Graham in winning percentage. To me, that is hall of fame-worthy.
https://profootballtalk.nbcsports.com/2022/04/21/daryle-lamonica-dies-at-80/
https://www.si.com/nfl/talkoffame/state-your-case/lamonica-hall-of-fame
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3 hours ago, medjuck said:
yes. Who he?
54 minutes ago, Teasing the Korean said:Leatherwood may be sgcim, based on the story he told.
Ray Leatherwood has a Wikipedia page (which mentions Cry Me a River)! He died in '96.
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2 Russian oligarchs were found dead one day apart alongside their wives and children
https://www.businessinsider.com/2-russian-oligarchs-found-dead-spain-moscow-reports-2022-4
Looks like something is going on.
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RIP.
I remember his scene with Jayne Mansfield in Guide for the Married Man.
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Two hunters are out in the woods when one of them collapses. He doesn't seem to be breathing and his eyes are glazed.
The other guy pulls out his phone, and calls the emergency services.
He gasps, "My friend is dead! What can I do?"
The operator says, "Calm down. I can help. First, let's make sure he's dead."
There is a silence, then a shot is heard.
Back on the phone, the guy says, "OK, now what?"
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RISING JAZZ PHENOM JULIUS RODRIGUEZ
TAKES ON STEVIE WONDER’S CLASSIC “ALL I DO”
NEW SINGLE SHIMMERS WITH OSCAR PETERSON-ESQUE JAZZ LYRICISM AND MOTOWN FLAIR
Artist Title Time Julius Rodriguez All I Do 04:41 RODRIGUEZ BLAZES HIS OWN SONIC PATH ON DEBUT ALBUM
LET SOUND TELL ALL SET FOR RELEASE JUNE 10 ON VERVE RECORDS,
AFTER DROPPING OUT OF JUILLIARD TO TOUR WITH A$AP ROCKY, CAUTIOUS CLAY AND MORE
"Beginning with a woozy synth pattern and what sounds like the whir of field crickets, the song tumbles into gear about 20 seconds in, shifting from waltz time into a relaxed yet sharply syncopated groove…this is music that prioritizes a vibe, rather than the mechanics of a plot.”
“a cosmic jazz saga that starts with a mesmeric two-chord cadence and expands into something colossal yet sleek and reserved”
Julius Rodriguez, “rising jazz phenom” (NPR) and multi-talented pianist/drummer/producer, today releases “All I Do”, the second single from his forthcoming major label debut album Let Sound Tell All set for release June 10 on Verve Records. Rodriguez takes on the beloved Stevie Wonder classic, referencing Tammi Terrell’s 1966 version of the song and infusing it with a shimmering lyrical jazz pianism. The single is accompanied by an official lyric video, watch here: https://juliusrodriguez.lnk.to/AllIDoLyricVideo. Pre-order Let Sound Tell All here: https://juliusrodriguez.lnk.to/LSTA. Plus, an exclusive translucent LP as well as standard versions of the LP/CD will be available at the Verve Records Center Stage store.
Julius Rodriguez tapped his childhood friend and singer Mariah Cameron to sing lead vocals on this track, which she handles with a mid-century Motown take, belting with a purity of sound, backed up on vocals by South African jazz artist Vuyo Sotashe. Ben Wolfe, Rodriguez’s Juilliard professor and legendary bassist (Wynton Marsalis, Harry Connick, Jr.) adds a swinging, walking backbeat, buoyed by Stay Human drummer Joe Saylor. Julius takes the lead on piano, deftly weaving from supporting comps to Oscar Peterson-level laid back excellence.
Whereas his first single “Gift Of The Moon,” was as The Fader described it, “a cosmic jazz saga,” this track calls to mind Rodriguez’s early days at Smalls Jazz Club, embracing a more traditional jazz sound but infusing it with the rich tapestry of soul and gospel sounds.
Photo: Avery J. Savage
On his debut album Let Sound Tell All, 23 year old musician Julius Rodriguez stirs a cauldron of gospel, jazz, classical, R&B, hip-hop, experimentation, production and sheer technical wizardry to create a stunning debut that commands attention. As an 11 year old kid, Rodriguez honed his jazz chops at Smalls Jazz Club, wowing audiences with his rendition of his favorite Ellington tune “Take the A Train.” Fast forward to 2018 when he dropped out of Juilliard, shimmying off the rigid curriculum to tour with A$AP Rocky. Now, in 2022, Rodriguez is on the cusp of a stellar release that weaves his life and influences - from Monk, Coltrane, Solange, James Blake, Sampha and more. This music is as much at home in Smalls Jazz Club as it is at Gov Ball.
Let Sound Tell All is a complex combination of live improvisation weaved with high-level production. A song may start out in a well-oiled, Coltrane classic quartet energy and fed through distortion pedals to culminate in an exhilarating trippy meltdown of sheer sonic genius.
Call him Gen-Z jazz, but when you hear Julius Rodriguez play “the music,” as he calls it, it’s a modern Sound, as fluent in history as it is aware of its contemporary context. His music dares to imagine a future of new standards and musical trailblazing. This vanguard was raised in an atmosphere where pop and hip-hop and dance influenced their approaches to melody and harmony and rhythm, so of course it is part of their improvisational DNA. And that’s what Julius Rodriguez’s Sound tells to whoever will choose to listen.
Follow Julius Rodriguez
Facebook | Instagram | Website
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San Francisco Bay Area Guitarist/ComposerGeorge CotsirilosDeepens His Explorations with"Refuge,"Due May 20 on OA2 RecordsAlbum Is His Seventh, &Second with His Highly Interactive Quartet ofBassist Robb Fisher, Drummer Ron Marabuto, Pianist Keith SaundersCD Release Shows at Bird & Beckett, San Francisco, Sat.. 5/21;Mr. Tipple's Recording Studio, San Francisco, Sat. 5/28;The Backroom, Berkeley, Sat. 6/4
April 18, 2022
George Cotsirilos pushes into new frontiers with the May 20 release of Refuge (OA2). The guitarist and composer’s follow-up to his acclaimed 2018 album Mostly in Blue again features his quartet—pianist Keith Saunders, bassist Robb Fisher, and drummer Ron Marabuto—but repositions them both in pursuit of new challenges and, if anything, even more “in blue.”Cotsirilos added piano to his longtime trio in 2018, hoping to express the denser harmonies he was hearing in his writing. The success of the experiment encouraged him to keep moving forward, creating a group of compositions that are more complex and more seasoned in the blues. (He comes by that seasoning honestly: Though based in the San Francisco Bay Area, Cotsirilos was born and raised in Chicago.)The lockdowns and isolation of the COVID-19 pandemic gave him opportunities to explore a variety of music and assimilate it into his own work. However, it also hampered his ability to workshop the new tunes with the band. “It became more and more difficult to try out the pieces, so it took a while to get them to a point where we were all happy with them,” Cotsirilos says. “But I was confident … that everything would come together.”Indeed, come together it did. From the sumptuous melody and harmonies of “Refuge,” to the sly, sexy Latin groove of “Igualmente,” to the alluring intricacies of “Aftermath” and “Let’s Make a Break for It,” Refuge is every inch the work of an adept and highly attuned ensemble. It’s clear that the players are intimately familiar with not just the compositions, but the possibilities they offer.While Cotsirilos is the album’s leader and composer, the quartet functions very much on a level playing field. The pieces require close interaction among all four musicians—the entirety of “A Faint Light” hinges on the pocket they create—and even the solos achieve their high caliber through the full band’s chemistry. Cotsirilos’s Byzantine line on “Planet Roxoid” succeeds by virtue of Saunders’s anticipating his every step, and the guitarist pays it forward with an equally empathic accompaniment of Fisher’s bass solo on “The Three Doves.”Cotsirilos claims to receive inspiration from recordings of Beethoven’s cello sonatas—because, he says, they were written with an aim “for instruments to enhance each other.” His work with his quartet on Refuge leaves no doubt that this is so.
George Cotsirilos was born in Chicago in 1951. His passion for music was stimulated by an aunt and an uncle—the former was a classical music lover who encouraged him to play the violin; the latter was an erstwhile drummer who took him to hear Louis Armstrong. The renaissance of Chicago blues during his teenage years ensured that George grew devoted to the electric guitar.In 1969, Cotsirilos enrolled at UC Berkeley. A sociology major, he briefly left school halfway through his studies to play guitar in a blues band. When he re-enrolled at Berkeley, he separately became a student of Warren Nunes, a legendary guitarist in East Bay musical circles. Nunes brought Cotsirilos under the sway of jazz, learning about the great guitarists as well as the ideas and techniques of other instrumentalists like Miles Davis, John Coltrane, and Chick Corea.Even as he studied music more seriously—training on classical guitar through the San Francisco Conservatory of Music—Cotsirilos completed his sociology degree, then attained a law degree. He maintained a dual career for years working as a criminal defender and lecturer at Berkeley’s prestigious School of Law, while also performing alongside Pharoah Sanders, Etta James, renowned drummer Eddie Marshall, and Bay Area stalwarts Mel Martin and Mark Levine. He released his first solo album, Silenciosa, in 2003, followed by three trio albums with Fisher and Marabuto.In 2017, around the same time he expanded his trio to a quartet (with Saunders on piano), Cotsirilos retired from the law profession and devoted himself full-time to music. Refuge is one of the beneficiaries of that decision—and so is the jazz audience.The George Cotsirilos Quartet will be performing CD release shows on Sat. 5/21 at Bird & Beckett, San Francisco (7:30pm); Sat. 5/28 at Mr. Tipple’s Recording Studio, San Francisco (6:00pm); and Sat. 6/4 at The Backroom, Berkeley (8:00pm).Photography: Billy Douglas
George Cotsirilos EPK - "Refuge"
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Happy Easter everyone!
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Specialty Records' Art Rupe has died at 104. RIP.
https://www.nytimes.com/2022/04/16/arts/music/art-rupe-dead.html
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On 4/15/2022 at 6:34 PM, Ken Dryden said:
I am pretty sure it was after I got started in jazz radio and journalism. Rob Gibson, later of Lincoln Center, comped our tickets. Two pieces that stand out in my memory were Pine’s version of “Giant Steps,” where he soloed on tenor first, than soprano, along with “Zaire.”
1989 it was! I remember now. Soon after the concert I bought one of Pine's CDs. Perhaps it was his only one at that time. It was one of the first CDs I bought. I got my first CD player in November of 1988.
You will recall that Pine was billed as "the new Coltrane." I remember at the concert his playing one note (maybe a half note) that had precisely Prestige Coltrane's tone. I thought, Aha! That's why.
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11 hours ago, Ken Dryden said:
I want to say 1988 or 1989, but I can’t say with certainty.
I trust you. I would have said '86, but I don't remember years any more.
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17 hours ago, Ken Dryden said:
If that Courtney Pine concert you mentioned was in the Buckhead section of Atlanta, just off Peachtree, I was there, too. Cyrus Chestnut, Charnette & Cody Moffett made up Courtney Pine’s rhythm section.
He died far too young.
Yes!
Thanks, Ken. What year was that?
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RIP.
I saw him in Atlanta in '85 with Stanley Jordan, and really enjoyed his work.
Sometime later, I saw Courtney Pine with Cyrus Chestnut on piano, and Moffett may have been on bass for that one too. But I can't say for sure.
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I once saw Annie Ross in an episode of The Saint with Roger Moore.
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True story:
Many years ago a young lawyer told me that a judge once him that...
Most people think that the hard part of being on a jury is deciding who to find for when both sides have good arguments; when in reality the hard part is having to find for someone when they think everyone is lying.
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My apologies to Michael. When I started this thread and the Savant thread last month, I did not realize that he had started a similar thread in May, 2014.
Mods, if you wish you are welcome to combine the three threads.
*****
Alternative Guitar Summit
Honoring Pat Martino, Volume 1
Format(s): JazzArtist Title Time Alternative Guitar Summit – Adam Rogers & Peter Bernstein Inside Out 06:43 Alternative Guitar Summit – Kurt Rosenwinkel Black Glass 04:13 Alternative Guitar Summit – Fareed Haque Line Games 06:36 Alternative Guitar Summit – Sheryl Bailey & Ed Cherry Willow 07:00 Alternative Guitar Summit – Rez Abbasi & Jeff Miles Noshufuru 07:19 Alternative Guitar Summit – Russell Malone Lament 05:30 Alternative Guitar Summit – Dave Stryker & Paul Bollenback On the Stairs 06:35 Alternative Guitar Summit – Nir Felder & Oz Noy Joyous Lake 09:22 Alternative Guitar Summit – Joel Harrison Country Road 05:49 New from HighNote Records
Alternative Guitar Summit - Honoring Pat Martino, Volume 1
HighNote Records HCD 7333
There are a mere handful of guitarists that have changed the way we think about the guitar over the past five or six decades. Pat Martino is perhaps one of the greatest and best-known of those icons. The term “genius” is overused today, but Pat Martino was definitely one. His life story was the very definition of the word. Before Martino's passing in November, 2021, the Alternative Guitar Summit honored him and his enormous contribution to jazz in this set of studio recordings by 14 jazz guitarists playing selections from his imaginative and varied catalog of compositions. Producer Joel Harrison is thrilled to have brought together this crew of great musicians to show their love for Martino while HighNote Records is proud to present this first volume of their recordings.
Playing Pat Martino's music is daunting. We know we can't do better, we can only do it differently, part tribute, part self realization. This is the beauty of the jazz tradition. We can infinitely explore each other's work, and the lens changes each time. As a team we marvel at the different ways each explores and navigate the master's work. Egos are left behind, it becomes about love. This CD is just a small beginning. We'll all be playing his music for a long, long time. – Joel Harrison
Like our stuff? Let’s hear from you.
Record Company Contact
Barney Fields • HighNote Records, Inc.
jazzdepo@ix.netcom.com
• (212) 873-2020 • www.jazzdepot.com
Jeremy Pelt
Soundtrack
Impacting
April 4th, 2022
Format(s): JazzArtist Title Time Jeremy Pelt Picking Up the Pieces 06:21 Jeremy Pelt Soundtrack 05:59 Jeremy Pelt Be the Light 06:36 Jeremy Pelt Part 1: The Lighter Side 00:28 Jeremy Pelt Part 2: The Darker Side 03:56 Jeremy Pelt Elegy 03:17 Jeremy Pelt I'm Still Standing 03:46 Jeremy Pelt I Love Music 04:19 Jeremy Pelt Shifting Images 05:26 Jeremy Pelt You and Me 04:10 New from Jeremy Pelt on HighNote Records
Jeremy Pelt - Soundtrack
HighNote Records HCD 7346
Jeremy Pelt - trumpet
Chien Chien Lu – vibraphone • Victor Gould – piano & Fender Rhodes
Vicente Archer – acoustic & electric bass • Allan Mednard – drums
Anne Drummond – flute (tracks 4 & 5)
Brittany Anjou – Mellotron (track 5), Moog Sub 37 (track 7)
AIRPLAY STARTS NOW
SUGGESTED TRACKS
1. Picking Up the Pieces • 3. Be the Light
7. I’m Still Standing • 9. Shifting Images
Jazz trumpeter, composer and author Jeremy Pelt has certainly never shied away from themed albums so one might expect something cinematic from the enigmatically-titled Soundtrack. However, as Pelt himself explains, “I've certainly done plenty of concept albums, but in this case there's nothing I'm on a soapbox about. It's been a tough time for all of us, so let's not worry about sending messages for a minute. Here we are, playing some songs and having some fun.” Having fun the band may be but along the way they make some compelling jazz weaving a beguiling tapestry of kaleidoscopic colors with Pelt's sultry and communicative trumpet to the fore surrounded by Chien Chien Lu's hypnotic vibraphone and pianist Victor Gould's subtle splashes of the Fender Rhodes. The inclusion of Brittany Anjou on Moog synthesizer and the rarely-heard Mellotron may imply a real electronica aspect present on the recording but, quite to the contrary, Pelt uses them sparingly and incorporates them brilliantly into the group's tonal palette. Their appearance does occasionally bring a certain 70s independent jazz vibe to the proceedings but they far from define the sound of the group. Anne Drummond's silvery flute on two tracks adds yet another dimension to the already wide spectrum of colors on this latest album in the discography of the sometimes surprising but always inspired Jeremy Pelt.
Like our stuff? Let’s hear from you.
Record Company Contact
Barney Fields • HighNote Records, Inc.
jazzdepo@ix.netcom.com • (212) 873-2020 • www.jazzdepot.com
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CRAFT LATINO ANNOUNCES THE 30TH ANNIVERSARY REMASTERED REISSUE
IN HI-RES DIGITAL FORMAT OF MIS MUEVAS BALADAS BY RENOWNED COMPOSER AND SINGER JOAN SEBASTIAN
Craft Latino is proud to announce the release of the 30th Anniversary Edition of Mis Nuevas Baladas, in digital format, by renowned Mexican composer and singer Joan Sebastian.
The remastered digital album is out now, and available in hi-res digital for the first time, including 192KHz/24-bit and 96KHz/24-bit formats. In addition, new official lyric videos for the songs “El Perdedor” (on 4/22), “Pirata” (on 4/26), “Nube Gris” (on 4/29) and “Ella Esta Casada” (on 5/2) will premiere on the Musart YouTube channel.
Mis Nuevas Baladas (My New Ballads) was originally released in 1992 and included ballads and pop songs all written by Joan Sebastian. The ten-track set included unforgettable gems that were fan favorites like “El Perdedor,” “Pirata,” “Nube Gris,” “Todavía Creo” and of course the beautiful and joyful poem about country living by Joan, “Bule De Agua Fresca.”
Joan Sebastian was a singer-songwriter born in Juliantla, Guerrero, Mexico who wrote, performed, and recorded Latin pop music, in addition to various regional Mexican styles, specifically banda, mariachi and norteño. He is known as "El Rey del Jaripeo” (The King of the Rodeo), "El Poeta del Pueblo” (The People’s Poet), "El Poeta de Juliantla" (The Poet of Juliantla) and "El Huracán del Sur" (The Hurricane of the South). He wrote more than 1,000 songs and was awarded seven Latin Grammys® and four Grammy® Awards, making him the most awarded Mexican performer in Grammy® history. During his successful career he also landed on the Billboard Hot Latin Songs chart 42 times. Sebastian died on July 12, 2015, after a 13-year battle with bone cancer. He was 64 years old.
About Craft Latino:
Craft Latino is home to one of the largest and most prestigious collections of Latin music master recordings and compositions in the world. Its rich and storied repertoire includes legendary artists such as Antonio Aguilar, Joan Sebastian, Pepe Aguilar, Celia Cruz, Héctor Lavoe, Willie Colón, Ray Barretto, La Lupe, Ruben Blades and the Fania All Stars, to name just a few. Renowned imprints with catalogs issued under the Craft banner include Musart, Fania, TH, Panart, West Side Latino and Kubaney, among many others. Craft creates thoughtfully curated packages, with a meticulous devotion to quality and a commitment to preservation, ensuring that these recordings endure for new generations to discover. Craft Latino is the Latin repertoire arm of Craft Recordings. For more info, visit CraftRecordings.com and follow on Facebook, Twitter, and Instagram.
Artist Title Time Joan Sebastian El Perdedor 03:08 Joan Sebastian Esa 02:38 Joan Sebastian Nube Gris 02:48 Joan Sebastian Bule de Agua Fresca 03:13 Joan Sebastian El Último Jinete 03:10 Joan Sebastian Ella Está Casada 02:54 Joan Sebastian Buena Amiga 03:15 Joan Sebastian Pirata 03:10 Joan Sebastian Todavía Creo 03:07 Joan Sebastian A Medio Metro 02:12
Mingus Three expanded
in Re-issues
Posted
CELEBRATE MINGUS' CENTENNIAL BIRTHDAY TODAY
REFRESH YOUR JAZZ PLAYLIST WITH
MINGUS THREE
DELUXE EDITION OUT NOW
INCLUDING JAZZ STANDARDS "YESTERDAY," "I CAN'T GET STARTED" AND "LAURA"
TWO MINGUS ORIGINALS "BACK HOME BLUES"
AND "DIZZY MOODS"
Rhino / Parlophone Celebrate Jazz Month And Honor The Icon’s Legacy With A New Deluxe Edition Of His 1957 Album, Mingus Three, Featuring Eight Recently Discovered Unreleased Session
2CD, 2LP, And Digital Versions Are Available Today, On His Birthday
“I look forward to the day when we can transcend labels like jazz and acknowledge Charles Mingus as the major American composer that he is.” – Guggenheim Foundation
“For sheer melodic and rhythmic and structural originality, his compositions may equal anything written in Western music in the 20th century.” – The New Yorker
“Mingus was something else, man. A pure genius, I loved him.” – Miles Davis
LOS ANGELES – Rhino / Parlophone is celebrating Jazz Appreciation Month with one of the most influential figures in 20th-century American music, Charles Mingus, who would have turned 100 today, April 22. This year, Mingus’ legacy is in the spotlight with the release of the deluxe edition of his album, Mingus Three, for his centenary as a virtuoso bass player, an accomplished pianist, bandleader, and composer.
Rhino/Parlophone salutes Mingus with an updated version of his 1957 trio recording with pianist Hampton Hawes and drummer Dannie Richmond. The seven original tracks have been expanded for the upcoming release, with eight previously unreleased session recordings discovered by chance recently in the London Parlophone vaults. The bonus tracks include different takes for all but one album track (“Laura”), plus two blues originals.
MINGUS THREE: DELUXE EDITION is available today, April 22 – Mingus’ birthday – as a 180-gram double-LP set ($34.98) and as a double-CD set ($24.98). The music is also available on digital and streaming services today.
The music comes in a replica of the original record sleeve issued by Jubilee Records and a booklet featuring photos from the era. The set also includes new liner notes written by jazz arranger and pianist Sy Johnson, who collaborated with Mingus in the 1970s and helped arrange his 1972 album, Let My Children Hear Music.
He writes: “The Mingus Three session was booked for July 9, 1957. Mingus and Hawes brought their histories to the studio: Mingus with a long, powerful record of activism, outrage, and political attack anchored in serious music-making, and Hawes’ fanfare of jazz awards and huge success—and he could play!! The date would ultimately become a dialogue between Mingus and Hawes with punctuation from Richmond.”
Mingus recorded the session in a day with Hawes, a childhood friend who’d been in bands with Charlie Parker and Dexter Gordon, and drummer Dannie Richmond, whose association with the bassist lasted over two decades. Mingus Three included four standards (“Yesterdays,” “I Can’t Get Started,” “Summertime,” and “Laura”), two Mingus originals (“Back Home Blues” and “Dizzy Moods”), and a group jam “Hamp’s New Blues.”
The bonus material provides a fresh glimpse into the principal players and offers alternate – not lesser – versions of album tracks, including swinging takes of “Summertime” and “Hamp’s New Blues.”
Mingus’s music continues to reach new audiences through artists like Mingus Big Band (directed by his widow Sue Mingus), Kamasi Washington, Chrissie Hynde (whose latest album includes a Mingus cover), Candace Springs, Elvis Costello, Gang Starr (who samples him), and Joni Mitchell (who wrote lyrics to his music). His musical legacy is still ongoing and will continue to play an essential role in music history for many generations to come.
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