Live Jazz

Apr 18 2019

Ralph Towner at Big Ears Festival 2019: Hearts go still

 

From the palpable shock and astonishment that swept through the church, it was obvious that most of us hadn’t known:  Not long ago, Ralph Towner had been through heart surgery.  The guitarist relayed this information on the wings of a joke, as he introduced the next piece of that evening… a rendition of the standard “My Foolish Heart.”  That’s the kind of evening it was.  Towner had the audience wrapped around his finger.  His guitar was simply a tool for enchantment, and all of us were locked in.  But he also kept a smile on our faces.  Sometimes because of a whimsical phrase on guitar.  Sometimes because a familiar tune elicited pleasant associations.  And, sometimes, the smile was the cause-effect pairing with a joke.  But he had us all, for any and every reason.

Towner performed on a Friday evening at St. Johns Episcopal Cathedral in downtown Knoxville, TN.  His show was one of the highlights of Big Ears Festival 2019, and one I’ll never forget.

All it takes are a couple phrases of a familiar song to send me adrift in memories, and back to a time when the music became imprinted my timeline.  And since all of these songs are familiar, it means I’m perpetually fighting the gravitational pull of the past, trying hopelessly to stay rooted in the moment.  Because, damn, Ralph Towner is thirty feet away, playing guitar in an environment of superb acoustics, stained glass all around, and nothing between me and the notes.  A minute into a new piece, and I’d suddenly hear it through stereo speakers in the shadows of the Rocky Mountains or an autumn day with a ceiling of cloudy Chicago gloom contrasting with the brilliant explosion of autumn colors and the crunch of leaves beneath my feet.  And then, suddenly, I’m transported back into the present moment of the church as the song reaches the homestretch.

[Ralph Towner’s 2017 ECM Records release My Foolish Heart is available at Amazon]

This was my second show of Big Ears Festival 2019, and both had taken place in a church.  And no different than the Harold Budd, Mary Lattimore & Nief-Norf show earlier that afternoon at Church Street United Methodist, the St. Johns Episcopal Cathedral was a gorgeous venue matched perfectly with this gorgeous music.

It’s impossible not draw comparisons between the masterful craftsmanship of the stained glass and church architecture and the musicianship of Towner with his guitar, and, by extension, the lofty plateaus of creativity aspired to, and achieved, by the artists on both building and music.

There’s a majesty to the music of Ralph Towner. If the totality of one’s interface is, like mine, through the vehicle of studio recordings, it’s easy to lose sight of the fact that all of this electricity is simply the product of this man and his guitar, hunched over in concentration, and channeling everything inside that yearns to manifest into the world as sound. It’s weeks later, and I still find myself astonished at having ended up in place I’d never imagined life would take me and it just so happens, Ralph Towner is thirty feet away and playing his guitar.  The memory freezes me in time, observing it all over again.

By • Live Jazz, Other Writing • 0 • Tags: , , , ,

Apr 17 2019

Harold Budd, Mary Lattimore and Nief-Norf at Big Ears Festival 2019: Off the road and straight to church

 

I’ve been obsessively searching the internet for news of an upcoming release by Harold Budd and Mary Lattimore.  I haven’t found anything yet, but I’m not giving up.  Nor would you, had you been lucky to witness the collaboration of Budd, Lattimore of the Nief-Norf ensemble at Knoxville’s Church Street United Methodist Church.

I had only just hit the exit, parked my car and began hustling across downtown Knoxville to get my ass in a pew.  I was on a mission.  Interstate 75 was crap for construction traffic slowed down to a crawl, already causing me to miss one of the Friday shows at Big Ears Festival 2019, but I’d be damned if I’d be late for Budd & Lattimore.  There was so much great music on the festival line-up, and I wanted to see it all, but if there were three acts I had to choose above all others, one of those would be the collaboration of keyboards and harp and percussion set amongst the stained glass and cathedral ceilings and wood rafters and archways.

[Harold Budd & Brian Eno The Plateaux of Mirror:  Available at:  Amazon]

For me, the music of Harold Budd has often had a reverential quality to it, and one album in particular has been there for me in troubled times like a proxy for god.  The quality of music that it can be the source of love and light and comfort when life grows dark and despairing, causing a temporary amnesia that everything will be okay cannot be overvalued.  For me, and many times, the Harold Budd & Brian Eno recording The Plateaux of Mirror has been that beacon to return to a state of well being and calm, a remembrance of all that’s good in the world and the beauty each of us is capable of producing.

But that music is not just a rescue mission.  It is also the perfect note on which to end a sublime evening, an enchanting kiss goodnight and into sweet dreams.  Many have been the night I’ve been done with the day job, then done with night writing, but my mind too active to go yet to sleep.  And so I wind down with a good book, some tea or whiskey, cats curled up beside me, and peaceful music on the stereo.  The music of Harold Budd has always been a wise choice in these conditions.  It has been something special that makes what might otherwise seem mundane become transformed, even if just a little bit, into the sphere of life where a sense of the momentous creeps in and reminds us that many of the moments we should be celebrating in our lives can slip by unnoticed if we don’t open ourselves up to them.  Creativity, whether it be our own or that of others, is one of the very best tools to make ourselves more receptive.

And Mary Lattimore, she’s a more recent development in my life, but has stood out lately as yet another example of why I never tire of racing down rabbit holes in search of new music.  I’ve become enamored with the harpist’s music and looking for an excuse to make the formal introductions with this site’s listeners.  Hello, please meet Mary Lattimore.  The Los Angeles-based harpist has most thoroughly captured my attention with her 2016 Ghostly International release At the Dam.

[Mary Lattimore At the Dam: Listen at: Bandcamp | Purchase at: Bandcamp – Amazon]

The sound of her harp is like predawn mist swirling above the undisturbed surface of a forest pond, strands of melody chasing one another to where it achieves a synchronicity with every breath, every heartbeat, every action.  And yet there abides an undeniable chasm between the melodic filaments, as if the elements might always hover nearby one another but never be united as one.  There’s a tension that comes from that kind of relationship, and it makes for the most alluring division of attention between the separate and distinct elements, and also on those moments that verge upon a state of unison.

So, yeah, I parked my car in a lot by the railroad tracks alongside the press check-in area, and then ran as fast my feet would take me and my dignity would allow (I look ridiculous when I run), and got myself over to church.

Knoxville’s Church Street United Methodist Church sits at the edge of downtown, and an easy hike from the opposite end where I had parked.  (A later installment of the Big Ears Fest will talk about the layout of downtown, the easy ways to traverse it, and how admirably simple the city and event organizers make it for people to get around… festival or otherwise).

After driving at a rate of 80mph for the hours just preceding, it was an odd sensation to sit perfectly still and listen to music that existed in a state of hushed anticipation, as if even the musicians weren’t sure what sounds would come next and were as likely to be as surprised as the audience.  But I was enraptured by this performance, and as I type this column up, it’s really sinking in just how strongly the show resonated with me… it’s like the electricity of the experience is firing right back up again, as if I just a minute ago stepped out of the church and back into the cool air of downtown Knoxville, TN.

The interior was gorgeous and couldn’t have been a more perfect fit for this specific performance.  This is music of an ambient nature, where sounds are meant to linger and breathe and drift through time and space with the patience of starlight stretching out to the naked eye here on Earth.  And it resonates with that same enduring strength, and so the space this room afforded was a perfect fit for the sonic intentions.

How long did they play for?  An hour, two?  I forget exactly, but I do remember that when it was over, it felt like it ended all too soon.  I could’ve sat there for hours and not stirred.

The isolated chirp of crickets.  A forest stream gurgling cheerfully to itself.  The rattle of leaves as a soft breeze glides on past.  The soft pulse of starlight, so far away yet so close.  Sound and motion that never rises above a whisper, yet so powerful as to cause an enduring tranquility to descend.  That’s what Budd, Lattimore and Nief-Norf did amongst the stained glass, raised archways and wooden beams that afternoon.  The flutter of harp, the purring of keyboards, and the murmur of percussion were a profoundly beautiful moment in time, over and over again.  This wasn’t music heard and seen so much as it was breathed in and out.  It was an intimate experience.  This was why I drove all morning to be in Knoxville.

The music was in my head after I left the church and began wandering Knoxville’s downtown streets.  The music is still in my head today, and it’s why I keep searching the internet for news of this music, or something like it, making its way to a recorded medium, and, soon after, into my music library.  I am so ready for it.

After the show, it was nice chatting with a few of my fellow listeners.  We talked about what we’d just heard, what we’d heard from these musicians previously, and what other shows we were looking forward to.  It was a kind of camaraderie that I experienced a handful of times during the festival weekend.  So enjoyable, even, that as I think back upon it, I’m a bit regretful that there wasn’t even more of it.  That kind of event, it’s a pleasant feeling to share with others what’s going through our hearts and minds.  And Big Ears Festival was exactly the kind of environment where those types of interactions would thrive.

I did go wandering the streets of Knoxville for a short time, and scoped out a place to eat a meal (covered in a later chapter of this story).  Also, as was the case for much of my festival experience… not much time to spend before the next show began.

Up next:  Back in church, and why not, because Ralph Towner is a god.

By • Live Jazz • 0 • Tags: , , , , ,

Apr 16 2019

And now we will talk about the 2019 Big Ears Festival

 

At something of the last minute, I received an invitation by the Big Ears Festival to cover their 2019 event, and at a minute that would qualify as the last of the very last, I was able to rearrange my plans and make the commitment to travel to Knoxville, TN for the weekend.

It’s one of the very best decisions I’ve made in some time, and, without doubt, the finest music event I’ve had the fortune to attend.

Bird is the Worm and Big Ears Festival are in perfect symmetry.  Ten years ago, I began focusing my time on bringing attention to the modern jazz and improvised music scenes, getting the spotlight on music that wasn’t receiving the recognition it deserved.  My platform to achieve this goal has changed over time, but even greater changes are reflected in the scope of music I’ve featured.  What began with an emphasis on old-school and new-school conventional jazz has evolved to writing about music forms, both composed and improvised, that have an increasingly tenuous connection to the jazz genre… even though it would get categorized as such.  And, too, I’d write about non-jazz albums recorded by musicians who’d previously received attention through a write-up that fit more snugly with that jazz designation.

Ultimately, the way I introduce myself to artists and labels when I seek music for possible review is a succinct pronouncement of my site’s raison d’etre:

My name is Dave Sumner.  I have a site called Bird is the Worm, which focuses on modern jazz, improvised music, and anything similar that sounds cool to my ears.

It was in the lead-up to the Best of 2017 year-end festivities when I introduced the quality of music being made by musicians of the tradition… the idea that this music’s defining characteristics is more suitably framed in the context of the musician themselves… that as the natural evolution of music, jazz and otherwise, continues unabated, the necessity to find the catch phrase that encapsulates it is no longer the imperative it once was, because it is being created by musicians who have come up through the tradition… of jazz and classical musics, and absorbing all of the other influences that particular musician has loved and learned over the course of their lives as music fans and students.  The premise that here are musicians who have dedicated much of their life to learning their particular instruments, the various music theories set in orbit around the instrument, and the collaborative environment in which the language and the craft grow.

Also ten years ago, Big Ears Festival was founded, and no different than Bird is the Worm, the festival founders and organizers have focused on music that was outside the spotlight, and which represented the voices who often go unheard.  Jazz and classical and spoken word and electronic innovation and ambient minimalism and avant-garde are just a few of the forms of expression scooped up in the festival’s embrace, and just as on my own site, the invited musicians are just as likely to hail from obscure locations as they are NYC or London or Paris, and they are likely to have personal experiences and backgrounds that are more representative of the diversity of the planet, measured in music and societal terms, both.

Me and Big Ears are birds of a feather.

When I initially pitched Big Ears Festival for a press pass, I began linking to write-ups of musicians appearing on the 2019 line-up.  I finally had to stop at something like ten links.  I could’ve gone on much longer.  Throw a dart at the 2019 Festival line-up, and it’s very likely I written something about that musician on Bird is the Worm, Bandcamp, Wondering Sound, eMusic, Music is Good, AllAboutJazz, featured a track as the AllAboutJazz download of the day editor, or simply wrote about them back in the day when I was active on any number of music forums.  It was as if Big Ears Festival staff went through my site exclusively to determine which musicians to invite (yes, I know that didn’t happen, but as I type this, I’m thinking pretty much all jazz etc music festivals should take that approach).  Everything about this festival was in my wheelhouse, and damn it all if I wasn’t going to find a way to see every show on the bill.

The problem (a word I am stretching as far as humanly possible)… the “problem” is that Big Ears Festival has multiple events going on at all times, spread out across downtown and running anywhere from 11am through 2am.  Consequently, I had to make some decisions.  Painful decisions.  Unless I devised a method for cloning myself while driving down I75 from Lexington, KY to Knoxville, TN, then there were going to be some shows I’d miss.  Do you hear that?  Carried along on the wind like the distant sound of a dying animal making its final sounds on the worldly plain?  Yeah, that’s me as I think back upon the music I didn’t hear.  Thank you, thank you, your sympathy is much appreciated, a gofundme account will be created shortly.

Here is all the music I saw:

  • Harold Budd & Mary Lattimore & Nief-Norf in a big church
  • Ralph Towner in a different big church
  • Spiritualized in this cool industrial looking venue down by the railyards.
  • Fire! (the trio, not the orchestra) in a sort of normal venue
  • Matt Wilson Honey & Wine in a fancy theater
  • Thumbscrew in the same place as Fire!
  • Dejohnette/Coltrane/Garrison in a different fancy theater
  • Makaya McCraven in that same venue by the railyards
  • Sons of Kemet immediately following McCraven in the same joint
  • Nik Bartch’s Ronin in the second fancy theater

Over the next week, we will be talking about all of this music and all of the excellent venues only vaguely alluded to above.  Look, they could’ve performed all of this music is a basement office cubicle like something out of Joe vs. The Volcano, and it still would have been the best festival ever… but the venues that hosted these shows were wonderful, the kind of places where seeing and hearing special music is made all the more special by the surroundings where it all goes down.  This, added to a very hip downtown Knoxville where these venues are located, it made everything fee momentous and come off as more than a music event… it was part of an overall experience that made it feel like the event was still occurring even when no music was actually being performed at any one time.  It’s settings like this that make it an imperative to attend, time and time again.

And Big Ears Festival is more than just music.  There is a holistic approach to art, where music is paired with museum works and film and poetry and the audience themselves, an interactive experience at many levels.  There are workshops and panels, movies and radio and ambient sounds in a coffee shop to soothe that hangover.

And I will be writing about my Big Ears Festival experience…  everything that seems remarkable or important or precious, and as much as I can.

So, today’s column is your intro to my Big Ears Festival 2019 experience.  I hope I can transmit some of the electricity I felt all weekend long, and that it leads you to discover some new music and new places to visit, and, perhaps, the motivation to head to Knoxville yourself in 2020.

Now, let’s begin.

Next up:  Off the road and surrounded by stained glass:  Harold Budd, Mary Lattimore and Nief-Norf at Church Street United Methodist Church.

By • Live Jazz • 2 • Tags: , , ,

Apr 15 2019

The Lexington scene has got two more shows for you this week: Rempis/Lopez/Packard at The Kentucky School; Keigo Hirakawa at TeeDee’s

 

Yet more evidence that Lexington, KY is a magnet for the modern jazz scene is displayed this week, with shows that’ll give you something to do midweek and for the weekend.

On Tuesday is the next installment of the Outside the Spotlight series, featuring the trio of saxophonist Dave Rempis, bassist Brandon Lopez, and percussionist-electronics specialist Ryan Packard performing at The Kentucky School. The trio are touring in support of their latest recording The Early Bird Gets.  If they’re anything in a live setting like they are on the recorded medium, then expect the kind of focused intensity that is as likely to bleed into a catchy groove as it is to explode into a thousand fragments of melody.

[Listen to more of the album, and purchase it, on Bandcamp]

And I’m sure they’ll also have stuff available at their merch table, which, really, is the best way to support the band.  Their album is released on Aerophonic Records, and if you like what you hear on this recording, you should go give some of the other music in their catalog a listen, because it’s all bird of a feather stuff.

This is the 15-year anniversary, and Event #209, of Ross Compton’s Outside the Spotlight series.  Ross is one of those local music scene heroes who devotes a ton of sweat work bringing great music to his community.  There have been a ridiculous wealth of talent from the experimental and jazz pool that has performed in Lexington because of Ross’s efforts.  And most of those shows, like this one, is free to the public.

I’m personally excited to go see another show at The Kentucky School.  I caught one there last week, and their outdoor area was an excellent spot to catch some live music and have a beer.  Check out my write-up of the Friends & Neighbors gig for a rundown of what it was like.  Also, if the weather looks like rain, the venue has an indoor option, too, so don’t let that dissuade you from coming on out.

If you want to read more about the artist, check out Lexington journalist Walter Tunis’s write-up for Under Main.  Nobody covers the Lexington music & arts scene like Walter, so be sure to bookmark him for future reading, too.

The show details:

When:  Tuesday, April 16th, 2019 at 7:00pm

Where:  The Kentucky School.  607 North Limestone, Lexington, KY.

It’s a free show.

The Facebook Event page-> LINK

The Kentucky School’s site-> LINK

The artist’s site-> LINK

And a shout-out of thanks to the local student-run radio station 88.1 FM WRFL for their part in helping bring this music to town.

Here’s a video from a recent gig at the Elastic Arts Studio, back in my old neighborhood in Chicago…

 

And your weekend plans are covered, too.  On Saturday night, the next installment of the Origins Jazz Series goes down at TeeDee’s Lounge over on 2nd & Elm, right next to The Lyric Theater.  Keigo Hirakawa will be in town with his trio performing two sets, at 7pm and 9:15pm.  The pianist brings a straight-ahead sound, like a fastball right over the heart of jazz.  My personal tastes trend toward the more experimental stuff on the scene, but when it’s Saturday night and I just want to be out on the town and hear some sounds, give me the kind of jazz that originally got me hooked on this music, y’know?  This right here is the stuff.

Here’s a video from a recent show at a cool jazz joint, the Greenwich, just up north in our neighbor city, Cincinnati.  It included a performance by JD Allen, who is an Origin Jazz Series alum, as well as a musician I’ve written some glowing words about previously.  Go buy all of his music.

As I mentioned previously, this show is brought to us courtesy of the Origins Jazz Series, a non-profit that has been bringing an impressive array of jazz to Lexington.  That includes all-stars like Christian McBride, The Bad Plus, JD Allen, Chris Potter, Tryptych, Kneebody, and in upcoming show, Regina Carter & Xavier Davis.  This is their second season, and it’s in Lexington’s best interests to support this organization so that the pipeline for all this excellent music keeps flowing.  And, hell, this is an ideal way to spend your Saturday night.

Hirakawa has some CDs retailing on Amazon.  I’m guessing, however, that there will be better opportunities to buy music at the show.

The show details:

When:  Saturday, April 20th, 2019 at 7:00pm (1st show), 9:15 (2nd show)

Where:  Tee Dee’s Lounge, 266 E. Second Street, Lexington, KY.

Tickets are $17.50 for each seating or $30 for the entire night (purchase here)

The artist’s site-> LINK

Learn more about the Origins Jazz Series-> LINK

Some other shows on the horizon:

  • Tuesday, April 30 – The Chicago Plan (of Steve Swell, Gebhard Ullmann, Fred Lonberg-Holm, Michael Zerang) plus the quartet of Keefe Jackson, Christoph Erb, Jason Roebke, Tim Barnes @ UK’s Niles Gallery
  • Friday, May 3 – Regina Carter & Xavier Davis @ First Presbyterian Church of Lexington
  • Wednesday, May 15 – Brian Krock’s liddle @ JGumbosLex

By • Jazz in Kentucky, Live Jazz • 0 • Tags: , , , , , , , , ,

Apr 7 2019

Why, yes, the Friends & Neighbors show at The Kentucky School was even better than I’d hoped it would be

 

This language typically gets included with any show preview I put out there:

We have no way of knowing what any one live show will ultimately sound like, but here’s a sense of what’s what…

And this, then, is followed by an embedded track of a recent album.

For the Friends & Neighbors show at The Kentucky School in Lexington’s North Limestone (NoLi) neighborhood, this was especially true.

Their previous releases could be summarized as updated visions of an Ornette Coleman free jazz era.  There are unconventional expressions that range from chaotic to whimsical, depending on your frame of mind while listening.  The recordings are exciting and fun, and the general sense was, were one to hear it live, the band would radiate all kinds of energy.

Well, that last part was true of Saturday night’s show in the outdoor area behind Al’s Bar, where the Kentucky School is setting down roots.  The wide open sky was filled with the quintet’s exuberance.  But the sound was more spiritual than spasmodic, or, to carry forward the jazz giant analogy as presented… more Coltrane than Coleman.

There was a solemn tone to much of Friends & Neighbors quintet’s sound, even at ita most frenzied, a sort of reverential approach to melody instead of one more whimsical.  There were a few exceptions to this in both the second piece of the night and the quintet’s finale.  But for the most part, the music expressed more soul than smile, and the result was quite beautiful and a little bit awe inspiring at times.

EDITOR’S NOTE:  CHECK OUT THE KENTUCKY SCHOOL’S FACEBOOK PAGE FOR SOME VIDEO FROM THE PERFORMANCE.

And it was a perfect fit for that outdoor stage.  Spring has finally begun to make its presence felt in Lexington, and that cool evening marking the start of the weekend, in that neighborhood which has so much culture in its roots and the essential qualities to a community… residents walking about, sitting on front stoops, an abiding sense of Home… the sound of Friends & Neighbors music filling the air with that solemn tone, a resonant cry of sax, trumpet, keys, bass and drums, it became, on that night, a part of the fabric of the community, a part of that neighborhood’s lives… whether they were sitting in the crowd, walking their dog down the nearby street or just distant notes carried on the warm breeze, the quintet’s music became of part of all that.  That the quintet calls themselves Friends & Neighbors couldn’t have been any more symbolic of their music’s presence that night.

The different sound is also reflected on their new album, What’s Next?  Released on Clean Feed Records just a few months ago, the quintet’s focused lyricism reveals a different facet to an already interesting group.  And where opening track “Influx” is symbolic of those changes to the groups sound, “WLB,” both in concert and on the new recording, show that their eccentricities and sense of humor haven’t gone anywhere.  But even in this instance, there’s a different kind of locomotion to the tune, a driving intensity where their previous recording would be more likely to hop and sway and dart side to side.  It’s always exciting to hear the evolution of a band, especially when the result is as rewarding as this one.

You can buy their new album on Amazon.  You can also purchase it direct from Clean Feed Records.

The band is:  Thomas Johansson (trumpet), André Roligheten (tenor sax, bass clarinet), Oscar Grönberg (piano), Jon Rune Strøm (double bass) and Tollef Østvang (drums).

Friends & Neighbors are currently touring the U.S.

Their Upcoming Shows (as best as I could find them):

  • April 7th: Hungry Brain (Chicago) !!!THIS IS HAPPENING IN JUST A COUPLE HOURS!!!
  • April 8th: Trinosophes (Detroit)
  • April 9th: Bop Shop (Cleveland)
  • April 10th: One Spirit Center (Rockford, IL)
  • April 11th: Arts & Literature Laboratory (Madison, WI)
  • April 12th: Popelka Trenchard Glass (Sturgeon Bay, WI)

But, again, please confirm for yourself where they’re performing and when.  But here’s a link to a Facebook post on the artist’s site.

They are selling their current CD, previous recordings, and related side project recordings at their merch table.  For me personally, this was pretty cool.  Look, I have lived in the middle of nowhere Kentucky for the last ten years, so seeing an array of Clean Feed Records label recordings spread out on a table before me is no longer the (relatively) common experience it was for me back in Chicago.  In addition to their new album, I also scooped up a copy of the ensemble All Included, which counts personal favorite Martin Küchen among its number.  Go check out my write-up of this album, Satan in Plain Clothes.

And take note, this show is just the precursor of many other excellent shows coming through Lexington over the next sixty days.  That list includes:

  • Friday, April 12 – TIm Daisy & Raleigh Dailey @ UK’s Niles Gallery
  • Tuesday, April 16 – Dave Rempis, Brandon Lopez, Ryan Packard @ KY Fun Mall
  • Friday, April 20 – Keigo Hirakawa @ TeeDee’s Progressive Bluegrass Club
  • Tuesday, April 30 – The Chicago Plan (of Steve Swell, Gebhard Ullmann, Fred Lonberg-Holm, Michael Zerang) plus the quartet of Keefe Jackson, Christoph Erb, Jason Roebke, Tim Barnes @ UK’s Niles Gallery
  • Friday, May 3 – Regina Carter & Xavier Davis @ First Presbyterian Church of Lexington
  • Wednesday, May 15 – Brian Krock’s liddle @ JGumbosLex

Details for all of the above shows to follow soon.

By • Jazz in Kentucky, Jazz Recommendations, Jazz Recommendations - 2019, Live Jazz • 0 • Tags: , ,

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