El Show de Fernandito w/Marisela Marrero & Leonard Caplan

Welcome to my first Year-in-Review.  All of the names words with underlines are links.  Please check out the amazing collaborators, awesome publications and very cool video and recordings.   Enjoy,

-Aaron

2011 started off with a bang with a program titled, “A Minor Concert of Major Works”.  The last third featuring the awesome Kai-Ching Chang on piano for the Concierto de Aranjuez.  The concert earned my first review with the Boston Musical Intelligencer (Read Here). I also returned to El Show de Fernandito for a performance & interview (Watch).  Got moving on Twitter:  @AaronLC

John McDonald

February: A return to Harvard University’s Pusey Room Series, directed by Carson Cooman with the wonderful Duo Diavolo (Orlando Cela).  My debut at the Currier Museum of Art in Manchester (cupcakes included) was followed by a return to John McDonald’s Composition Seminar at Tufts University for a new lullaby sharing, and a trip out west to CSU Bakersfield, where Jim Scully & Roger Allen Cope hosted me for a recital and master class on their Guitar Arts Concert Series. Reviews of my New Lullaby CD appeared in Classical Guitar Magazine, Fanfare Magazine (2x), The Triangle, American Record Guide.

Woodville H.S., New Hampshire

Explaining the magic of nails at Lakeway Elem., Littleton, NH

March: A concert of contemporary music and a master class at the University of Nevada at Las Vegas was made possible by the wonderful New Lullaby composer Nolan Stolz (listen & watch on YouTube).  I returned to Colorado for concerts with the Alamosa Live Music Association (go Lucas Salazar!) at Adams State College, house concerts in Denver and Boulder, as well as much needed downtime in some amazing hot springs.  My return to Boston heard concerts for the Ligue Francophone and one of the most fantastic endeavors of 2011: a 13-performance, 3-concert and 3-workshop (20 events!) residency in one week in Northern New Hampshire (900 miles of driving!), sponsored by the Arts Alliance of Northern New Hampshire (AANNH) and NEFA.  Amazing!

Alamosa after-party, Mexican style

Gabriela Granados

April: After a giant blizzard, the AANNH Residency finished with a concert by Duo Diavolo.  The magical dancer Gabriela Granados & I brought ¡Con Fuego! to Springfield for a lively concert with City Music Springfield.  I appeared solo on Canary Burton’s ‘The Latest Score’ on WOMR, Provincetown.  Reached 600 fans on Facebook!

May: Premieres of New Lullabies by Thomas Schuttenhelm and Michael Veloso in Cohasset & Boston, Mass.  Started Greater Boston House Concerts with the first performance by violinist Shaw-Pong Liu. Joined the faculty of the Boston Conservatory with Berit Strong and Olav Chris Henriksen to revamp the classical guitar program; a very cool month!

Thomas Schuttenhelm

June: Repeat performance of the May New Lullabies and ¡Con Fuego! was joined by cellist Rafael Popper-Keizer for its debut, during a downpour, at the International Festival of Arts & Ideas in New Haven, CT.  A repeat performance in Cambridge rocked!  WATCH Polo by De Falla (cello & guitar)

Rafael Popper-Keizer at Arts Ideas

July: Demonstrated how to say ¡Olé¡ at an Enrichment Program in the Berkshires (watch). Read review.  I gave a Spanish themed performance for the 2^nd Greater Boston House Concert. (Read review)

Teo Morca, Catherine, Gabriela, Cee Bearden

August: ¡Con Fuego! set out west with Gabriela Granados, Catherine Larget-Caplan as navigator, for performances in Taos, NM (Taos Academy of Arts), & Alamosa (KRZA), Leadville (Tabor Opera House) and Centennial, Colorado.

September: Hurricane moved concerts and I moved people, musically speaking, on Cape Cod and at the University of Vermont in Burlington, where I premiered the first two 12-tone New Lullabies by Jacob Mashak and Patricia Julien and a 3-voice lullaby by Alan Fletcher.

October: Performances with pianist John Thomas and a solo enrichment program on the Cape and New Hampshire.  A new lullaby by Canary Burton was premiered as well.  Went down to Texas for debut performances at Esquina Tango in Austin & the Greater Houston Guitar Guild (radio too LISTEN). Sadly, Fort Worth fell through thanks to United/Continental (not fun!).  Texas premieres by Hayg Boyadjian, Jonathan Feist, Alan Fletcher, and Michael Veloso.  My work as an Artist Entrepreneur was featured in an article in the International Music Fraternity Mu Phi Epsilon’s magazine, The Triangle:  Building a career through talent and savvy.

Valerie Hartzell & GHGG

Apple Store Boston

November: Duo Diavolo teamed up for more concerts with Greater Boston House Concerts performing in Boston, Newton and Cape Cod the awesome music of Ravi Shankar, Astor Piazzolla, Enrique Granados and Toru Takemitsu. Reached 800 fans on Facebook!

Aaron & Orlando - Duo Diavolo

December: Duo Diavolo performed for the NEFA Idea Swap. The awesome chamber work Sextour Mystique (Mystic Sextet) by Villa-Lobos was performed by myself and  students from the Boston Conservatory.
• I recorded & released my first digital single:  Summertime by Gershwin arranged by Takemitsu (click to listen).
New Lullaby Project Concert was featured in the Jewish Advocate and the Dorchester Reporter.
A solo performance at the Apple Store was followed by a New Lullaby Project Premiere Concert of 12 New Lullabies (#’s 18-30) in Cambridge, MA and at Studio 99 in Nashua, NH, with seven composers present and milk & cookies.  The year ended with a performance and interview on Jewish Perspectives, a monthly program on Boston NBC 7.

New Lullaby Concert, 12/10/11, Francine Trester, Hayg Boyadjian, John McDonald, Martin Schreiner, Demetrius Spaneas, Patricia Julien and Jacob Mashak

2011 turned out to be pretty darn awesome!

***I know none of this would not be possible with the great love and support I receive from my wife Catherine Larget-Caplan and her sister Caroline. Thanks to the amazing composers who entrust their music to me; my duo partner Orlando Cela; all the organizations and people listed for making the concert/piece/article possible.  And to each person who takes a moment to just listen.  You rock!

Most Photos & Video courtesy of Catherine

I had the great honor of being interviewed and performing a few pieces on the Boston’s NBC 7 for the monthly show, Jewish Perspective.  I spoke mainly about the New Lullaby Project but wonderful questions got me speaking about sound, how we listen and my own background prior to classical music.  Playing live, with only the camera as audience, is a wonderful challenge that was both exhilarating and daunting.  

I performed two New Lullabies from the New Lullaby CD, Leaky Roof and No Time (listen), both by Jonathan Feist.  I also performed a beautiful arrangement by Toru Takemitsu of George Gershwin’s Summertime (iTunes).  I had recently recorded Summertime and seeing that it was winter I found it timely.

Jonathan Feist & Aaron on Jonathan's pond

It aired at 6am on Sunday morning and though I was up working until 3:30am I did not get to see it.  I hope to have some video from the show in early January.  If you did see the show please tell me what you thought. Thanks!

“ps. I should add that it is a bit ironic to have Gershwin and Jonathan Feist on a Jewish show on Christmas. Born Jewish, both have no use for religion. Feist recommended “It Ain’t Necessarily So” for an encore…”

JP photos by Catherine

WATCH Aaron Larget-Caplan on YouTube perform  Mi Tango by Hayg Boyadjian, Live in Boston 2011 (click on title)

This collection of recent works by Hayg Boyadjian draws form the composer’s diverse musical and non-musical influences for compositional inspiration, and the result is very exciting.  Boyadjian was born in Paris to Armenian parents; he moved to Argentina as a young boy, and he spent most of his life in the United States.  Composed between 2003 and 2009, these six pieces were written for and dedicated to specific musicians, some of who perform on this CD.

Two pieces, “Mi Tango” and “Vientos,” reflect on Boyadjian’s Argentinean roots.  In homage to the modern tango created by Astor Piazzolla, the former utilizes the syncopated rhythms and sudden mood/style changes that are trademarks of Piazzolla’s beloved compositional style.  Boyadjian creates his own brand of concert hall tango by displacing accents and mixing meters, which takes the form further from the dance hall than even Piazzolla explored.  The latter is a reference to how Boyadjian’s music is blown from his diverse influence.  An excellent juxtaposition of Armenian and Argentinean musical elements permeates this work written for guitar, violin and mandolin.  There are moments when the conversation between the guitar and mandolin symbolize an East-West parley.

If your ears are longing for a fusion of sounds, you will be inspired by Boyadjian’s compositions.  Do not, however, expect to be able to dance on the dance-inspired moments or feel like singing along to the songs.  Do, however, be prepared for an interesting excursion into the passion that comes from so many different roots.

– Tess Miller

The Flutist Quarterly, Fall 2011, p. 72

The Flutist Quarterly, Fall 2011

for complete review click on thumbnail.

Classical Guitar Magazine (UK), February 2011, p. 47

“This disc of a programme comprised entirely of lullabies especially written for this recording project by a variety of American composers is sub-titled 14 Enchanting Ways to Fall Asleep; what a field-day any reviewer could have had with that title if only this was a poor, inconsequential recording.  As it is, here are 50+ minutes’ worth of attractive, mostly peaceful, compositions, music to sooth and relax to.

The liner notes tell of two distinct types of lullaby:  one which gives ‘warmth and protection to the listener’, the other being of a darker nature with ‘hints of fear’’ the greater part of New Lullaby is given to the former and due to the skill of the performer, the expertise of the writing and let’s not forget the first-rate quality of the recorded sound, this is an attractive package all-around.

Ideal late-night listening – recommended.”
– Steve Marsh

Purchase or Download New Lullaby at:  http://www.cdbaby.com/cd/AaronLargetCaplan

American Record Guide, January/February 2001, p. 227

New Lullaby

Composers: Job, Feist, Trester, Wheeler, Siegfried, Small, Stolz, Cooman, McDonald, Vayo, Leisner, Schwarts, Vigil
Aaron Larget-Caplan, guitar
Six String Sound 888-01 – 53 minutes

Mr. Larget-Caplan directs the New Lullaby Project from his home base in Boston.  Here he has collected 14 lullabies from 13 composers, most not well known (only David Leisner was familiar to me, and he as one of our finest guitarists who also composes).  All the pieces were composed between 2006 and 2009.  Each is well crafted, and each performance is well played and sensitive.  The notes include descriptions of each piece by its composer.

Larget-Caplan says in his introduction that the works are of two types, the first consoling and protective, but a second type that is quietly disturbing, as if on the edge of a sleep troubled with bad dreams.  They are presented in what might be described as ascending order of weirdness.  The early pieces are all fairly conventional, pretty, and soothing.  Others near the end have other qualities.  David Vayo’s ‘Berceuse’ is the longest piece, at seven minutes, and asks the performer to sing (or, in Larget-Caplan’s case, to moan) and whistle.  His notes don’t indicate that his intent was anything other than consoling, but the effect is rather creepy.

David Leisner’s ‘Disturbed, a Lullaby’ is indeed disturbing, with a non-tonal, pointillistic texture, as if he were attempting a quiet irony.  The final work, Ryan Vigil’s ‘Shhhh’, is done entirely in harmonics, with three strings tuned to alternate pitches.  The work is five minutes of nearly inaudible sounds that get even softer as the piece progresses.

It will come as no surprise that I don’t recommend that you hear this recording all in one sitting.  Every piece is quiet (don’t wake the baby!), and that can become monotonous.  Some pieces are charming, some disturbing.  –Keaton

Kenneth Keaton is a professor of music at a Florida university and has earned three degrees in classical guitar performance.

New Lullaby is available on Amazon, CDBaby and itunes

This is a recent note I received from author Glenn Kurtz regarding my New Lullaby CD.  If you have not read his book, Practicing: A Musician’s Return to Music, I highly recommend it.  Most of all he writes beautifully.  Though it centers on the guitar it is a story that can speak to professional musicians or general lovers of music.  It speaks about aspects of life in a conservatory and what can follow, it is personal, and informative regarding the history the most beautiful instrument in life:  the guitar.  Thanks Glenn!

“It’s not every musician who invites you to fall asleep during his performance. But while it often happens at recitals–by invitation or not–usually it’s for the wrong reasons. “New Lullaby,” despite its subtitle, “14 enchanting ways to fall asleep,” will not put you to sleep. On the contrary, it is a beautiful, perceptive, and evocative performance that earns and deserves your rapt appreciation. Most of all, however, it felt to me like a courageous exploration of a mood or a state that is rarely identified, and these days all-too rarely enjoyed: attentive peacefulness. It is the mood of listening to a story before you fall asleep, of letting your mind relax and attend. A calm, meditative, expansive, playful, serious mood of lingering with your imagination. Listening to these fourteen pieces, you have the feeling that anything might happen. Aaron Larget-Caplan’s playing is sensitive, assured, and spontaneous. Like a good storyteller, he keeps you listening and leaves you wanting more. And as with the best performances, “New Lullaby” wakes you up to a world of new experiences.”

– Glenn Kurtz, author of Practicing, A Musician’s Return To Music

New Lullaby CD Review by Sherry Kloss

This is a wonderful introduction to my New Lullaby CD, with a brief description of the project and  pieces.  What I find amazing is how each person hears the pieces so uniquely!

Click on the piece title to hear them via CDBaby.com

Upon Listening

Sherry Kloss, Epsilon Upsilon, Muncie Alumni
3510 West University Avenue, Muncie, IN 47303
Phone: 765-287-8469            email:  sherkl@excite.com

New Lullaby: Fourteen Enchanting Ways to Fall Asleep is an outgrowth of the New Lullaby Project, brainchild of guitarist and educator Aaron Larget-Caplan (Beta, Boston Alumni).  All of the CD’s short solo pieces are newly commissioned by the artist and performed by Larget-Caplan with music insight and fluent technical aplomb.  The appealing theme and some delightful surprises will attract a listening public that’s often unwilling to give new music a hearing.  Short character pieces, a popular inclusion in concert programs a hundred years ago, challenge both composer and artist to convey their essence in a few brief moments.  This not mere background music; rather, the soothing and provocative sounds are mood enhancing and beckon personal involvement.

Composer Lynn Job creates a wide variety of stylistic techniques in “The Sixth Night.”  Chordal strumming, influence of classic flamenco style, jazz flourishes, and harmonic patterns from major to minor tonalities complement this very satisfying work.  Jonathan Feist’s “Leaky Roof” contains wide rhythmic movement and harmonic interest in rock-ballad style.  The ostinato bass contrasts energetically with the melody, and his use of harmonics for the concluding theme leaves us with a sense of peace.  In “No Time,” Feist weaves a poignantly memorable ballad, reminiscent of the Beatles’ style of melding seemingly uncomplicated harmonies.

Similarly, the introduction of Francine Trester’s “My Darling’s Slumber” expands into a Beatlesque melody, develops with a bluesy line, and leads into interesting harmonies and phrasings.  In “Nachtlied,” Scott Wheeler spins an enchanting melody with cross rhythms, punctuations of harmony, and use of rhythmic space to create silences, transporting the listener to restful peacefulness.

“Cradle Song” by Kevin Siegfried is a true lullaby.  A pleasing melody creates a lulling, restful effect, and surprise modulations evoke emotional memories of different worlds.  In the melodically and harmonically rich “Descent to a Dream,” Mark Small employs broken chords, arpeggiated style, and chromatic interest to create a descriptive work.  Nolan Stolz’s “Lullaby for Sam” begins with a single motive and then embellishes it for interest, using portamenti to color the line.  Improvisational style and ostinato bass are the first sounds we hear in Carson Cooman’s “[Unfolding the Gates of Dawn, a] morning lullaby.”  Attractive use of characteristic guitar touches (strumming repeated notes, broken chords, silences, an dynamics) contribute to the effectiveness of the composition.

The sotto voce harmonics of John McDonald’s “You Are Alone to Sleep” set the melody with dissonant chordal punctuation, while in “berceuse” David Vayo produces an instant mood through human voice and whistling juxtaposed with guitar, an extremely clever listening adventure.  David Leisner’s “Disturbed, A Lullaby” begins on a Low A and then follows a single 12 tone-like pattern in playful movement, creating an intricate and thought-provoking experience that finds its final resting place on High A.  Eric Schwartz travels yet another area in his interesting compositional conception.  “Song Softly Sung, in Trying Times” opens with the sound of the ocean, builds a beautiful theme through the harmonic circle, silence, and the ocean once more.  Finally, Ryan Vigil focuses on the “other-worldly” timbre of the harmonic in “Shhhh” an innovative composition calling for scordatura tuning. — Sherry Kloss

About the Artist
Aaron Larget-Caplan is a graduate of the New England Conservatory and has been a pupil of Dmitry Goryachev, David Leisner, Eliot Fisk and flamenco guitarist Juanito Pascual.  His artistic achievements have been recognized by the D’Addario Foundation, American Composers Forum, Massachusetts Cultural Council, New England Conservatory and Mu Phi Epsilon.  His previous CD Tracing a wheel on water was released in 2006.  Currently on the faculty at the New School of Music in Cambridge, Massachusetts, he also maintains an active performing schedule and private studio.  His guitar was crafted of rosewood and German spruce by Stephan Connor.

This review appeared originally in the Triangle of Mu Phi Epsilon, Volume 104, Issue 3, page 9, Fall 2010

www.MuPhiEpsilon.org

The second of two reviews in Fanfare – The Magazine for Serious Record Collectors

FANFARE - FEATURE REVIEW by Jeremy Marchant

design Alex Fedorov

NEW LULLABY • Aaron Larget-Caplan (gtr) • SIX STRING SOUND 888-01 (52:46)

& Pieces by JOB, FEIST, TRESTER, WHEELER, SIEGFRIED, SMALL, STOLZ, COOMAN, MCDONALD, VAYO, LEISNER, SCHWARTZ, VIGIL

It would be too obvious to open this review with a remark about the impossibility of staying awake listening to a CD devoted to lullabies were the lullabies any good, so I won’t. In any case, the 14 lullabies presented here are too engaging to risk sleep. Aaron Larget-Caplan began seeking lullabies from composers in 2006. A smart idea: A relatively slight form requiring not too much time from composers is likely to generate returns. And so it has. This CD presents some of the first fruits of the New Lullaby Project (newlullabyproject.com) from some 13 U.S. composers. Perhaps subsequent volumes could trawl for pieces from outside the States. Incidentally, it is interesting that most of the composers represented are men and most of them seem to have been inspired by their own small children.

In his notes, Larget-Caplan suggests that “there are two basic types of lullabies: one gives the listeners warmth and protection, while the second tends to be darker with hints of fear.” An interesting idea since I, for one, approached this CD with the assumption that it would be entirely, and deliberately, soporific. However, the permission to add darker elements has stimulated the composers to depart from this norm, greatly to the benefit of the disc. In fact, the definition of lullaby would seem to be stretched beyond even Larget-Caplan’s prescription and perhaps it would be best to think of this disc as containing a set of miniatures, largely quiet and moderate in tempo, on the subject of falling asleep rather than as enticements to do so.

At the relatively boisterous end of the spectrum are Francine Trester’s My Darling’s Slumber, which has a strong climax, and Mark Small’s ambitious Descent to a Dream. This latter documents the various stages of falling asleep, including the arrival of the dream state in which “fantastic ideas and connections that don’t go together in our waking moments seem real.” These are followed by forte strummed chords, which I fear would have woken Baby had she managed to slip into the arms of Morpheus in the first place. No matter. It is an interesting piece that gets a lot into four and a half minutes.

The more elaborate works are carefully positioned in this recital so that they counterpoint the more conventional calls to sleep. Of these, Scott Wheeler’s Nachtlied and Kevin Siegfried’s Cradle Song particularly appeal: fresh and tender songs without words. Another clever piece of programming is the way that the pieces that include harmonics gradually predominate at the end, culminating in Ryan Vigil’s Shhhh, composed entirely of harmonics.

Only Berceuse by David Vayo seems unsuccessful to me. It starts magically—with harmonics—but unfortunately soon asks the player to sing “ooos.” Then, rather like the cook who discovered that adding a little salt to the food made it taste better so he added a whole lot more, Vayo asks the player to shhhh, exhale, and whistle at length (too loud on the recording). But what is performed vocally seems too thin, too seemingly extraneous to the music, while the guitar part is reduced to a vestigial accompaniment. Definitely a case, here, where less would have been more. And the penultimate track, Song Softly Sung, in Trying Times by Eric Schwartz, comes with an inexplicably high level of hiss.

However, these are minor cavils in what is otherwise a remarkably successful, imaginative release. Aaron Larget-Caplan’s playing catches every nuance of the music, making the most of a deliberately restricted palette of colors and textures. The recorded sound of the guitar is excellent, striking a perfect balance: intimate, but giving the instrument some space so that the disc doesn’t become oppressive. – Jeremy Marchant

This article originally appeared in Issue 34:3 (Jan/Feb 2011) of Fanfare Magazine.  www.Fanfaremag.org • www.NewLullabyProject.com • www.AaronLC.com

The first of two reviews from Fanfare – The Magazine for Serious Record Collectors.

New Lullaby, ad design Alex Fedorov

My comments follow the review.

Fanfare Magazine – FEATURE REVIEW by Barnaby Rayfield

NEW LULLABY • Aaron Larget-Caplan (gtr) • SIX STRING SOUND 888-01 (52:46)

& Pieces by JOB, FEIST, TRESTER, WHEELER, SIEGFRIED, SMALL, STOLZ, COOMAN, MCDONALD, VAYO, LEISNER, SCHWARTZ, VIGIL

I immediately took to Aaron Larget-Caplan, the moment I read his artist’s notes here: “I do not have kids,” he announces before explaining the harrowing experiences that followed the genesis of this lullaby project, four years ago. After the initial proposal to various composers for guitar lullabies, his house burned down, taking the new music with it. Then his wife was seriously injured two months later. Through these traumas, and with no fixed abode, Larget-Caplan has not been sleeping too well, and still the new lullabies kept coming in. His note of irony in the midst of genuine tragedy creates, in my mind, a very sincere musician. More importantly, he is a fine player, a classical guitarist with a keen ear for new music. He appears to have given his composers free rein with the lullaby form. This is not some, godawful, Classics-for-Baby CD, but 13 composers’ attempts at the lullaby form, not just in its healing wish to send someone to sleep, but also in its other, more folktale guise of the unsettling nighttime world.

Personal experience seems to be the overriding theme of these works. The wistful, sad No Time came from the composer [Jonathan Feist] waiting for his premature baby to be big enough to leave the hospital. Others take their inspiration from literature, like Wheeler’s Nachtlied, or McDonald’s You Are Alone To Sleep, while others can create little gems from the mundane, like the fast, drip-dripping of Leaky Roof [Feist]. Certainly, the first 30 minutes of this disc work as relaxation. If this sounds a little too soporific for some, there are darker works to pepper this sweet-toned album, like the urgent episode in the otherwise gentle Descent to a Dream [Small], the night excursions of a restless mind. Vayo’s Berceuse is actually quite frightening with its humming and whistling vocal line, lending the pleasant tune an eerie, otherworldly atmosphere. My one slight reservation is the order of the tracks, with these edgier works coming toward the end after an undemanding first half.

Many will think Song Softly Sung, in Trying Times bizarrely suffers from tape hiss, when in fact Schwartz is wittily trying to depict an urban lullaby, in a dirty apartment complete with off-air television snow. That could have been better conveyed, but otherwise the recital has been beautifully recorded, catching every expressive detail of Larget-Caplan’s playing. He is not afraid to change his sound for the right purpose; sometimes he achieves a harp-like sweetness, and at others he can be acerbic and unsettling. I am not usually a huge fan of solo guitar recitals, especially when it could have been so monotonously relaxing, but something new has been attempted here, and it makes me hope that Larget-Caplan looks both back and forward in time to gather up future volumes and create a Lullaby Almanac. Choose your tracks wisely, if want your child to sleep; for the rest of us, though, these make diverting nocturnal wanderings. – Barnaby Rayfield

Print Edition will be available in January 2011

This article originally appeared in Issue 34:3 (Jan/Feb 2011) of Fanfare Magazine.

www.Fanfaremag.com • www.NewLullabyProject.com • www.AaronLC.com

Needless to say, I am very pleased!  What do you think?  This is a review for music collectors, but does it connect to more than just the few?

I find his opening comments on my program notes, which he actually read (not always the case), spot-on.  And I am in complete accordance with his distaste for ‘music to relax to’.  I nearly puked when my hero, Julian Bream, came out with such a CD.  I know it is money but how ugly!  Sorry.
I wonder if adding a click (à la television) at the beginning of Song Softly Song, in Trying Times or a couple of snores in the middle would help Mr. Rayfield feel the television gone-to-snow that Eric created?  I would actually like more snow on the recording – a blizzard!

By the way, I added all of the italics and bold type.

Aaron

Audiophile review of New Lullaby CD, October 2010

by Victor Serinus

http://www.hometheaterhifi.com/media-music-movies-etc/44-music-reviews/936-cd-reviews-for-the-audiophile-october.html

AARON LARGET-CAPLAN, NEW LULLABY, SIX STRING SOUND 888-01

Performance: 4/5
Sonics: 4/5