Sunday, March 21, 2021

The Rempis Percussion Quartet - Sud Des Alpes (April 13, 2021 Aerophonic Records)

This record is the tenth release by The Rempis Percussion Quartet, recorded during a 2019 European tour that celebrated their fifteenth anniversary as a working ensemble. Those are some pretty hefty milestones. So how do they push forward artistically with so much already under their belt? From what we hear on Sud Des Alpes, it’s all about digging deeper into the musical dilemmas they’ve been examining for years. These four improvisers continue to grind ideas and perspectives against one another, yielding an ever more refined version of their shared vision. This is patient work, done over a long period. In the rapidly shifting social media era, one whose gaze flickers back and forth like a cornered rat as it scans for the next big thing, this may seem archaic. So be it.

Listen to Flaten for example – one of the few bass players in the world with a sound and technique strong enough to drive, or contradict, a band this fiery when he chooses to. And he’s all about that grind. Notice how he sometimes deliberately pushes ahead, or pulls behind the drummers in a groove, or obstinately refuses to leave the beat as the others unravel around him into unmetered terrain. It’s this type of relentless questioning that keeps the band on its toes, as one member asks with a mischievous grin, “you sure about that?” And yet somehow they manage to hold the core together, these internal dialectics serving to ratchet up the tension and interest. The resolutions to these episodes coalesce like rays of sunshine pouring through the back end of a storm front. Check out the driving groove that closes out Evacuation, and the hollers from the live audience as the quartet slides into it.

Only a band with a history this long – that of a family – can get into some wrangling like this live onstage, and still produce something that’s both coherent and compelling. This is a straight up circus feat – a train engineer who reconstructs the locomotive as the train rockets down the line.

Unfortunately, the band wasn’t quite so lucky in their actual train travels on the day of this concert. The titles for these compositions come from their delayed arrival to Geneva that afternoon, since the train they were on somehow lost the use of its brakes. It came to a slow halt in the middle of the main line between Zurich and Geneva, blocking train travel in the country for several hours, to the embarrassed consternation of the entirety of the exquisitely punctual Swiss nation. When Rempis called the presenter to let him know they’d be quite late, he said in hushed disbelief “yes, there’s a train stuck on the track that’s blocking everything.” His tone made it clear that the nation’s gaze was fixed on its TV’s waiting for the latest updates to this calamity. Rempis replied “yes, we’re on it!”

Soon after, in a moment of absurdity that maybe only touring musicians could quite appreciate, Flaten was forced to carry his suitcase and enormous bass flight case up and down the stairs and through the narrow aisles in eight double decker train cars to reach the sole evacuation point at the far end of the train. The rest of the band didn't have it much better. Another episode of musical “Survivor,” all too familiar to musicians who travel for their work. The band then passed across a small platform to another train waiting on the opposite track, and continued on their way. Any relation to the music that took place that night? Could be.
1. There's A Jam On The Line 18:13
2. Theme De Yoyo / Evacuation 23:23
3. Late Arrival 11:41

Dave Rempis – alto/tenor saxophone
Ingebrigt Håker Flaten – bass
Tim Daisy – drums
Frank Rosaly – drums

Nicola Conte & Gianluca Petrella - People Need People (2021 Schema Records)

New music forms contaminated by various genres characterize our globalized world’s recent history; the intertwining of individual experiences creates new collaborations, as in this specifc case. Sixteen years after the release of “New Standards” (2001, SCEP336) Nicola Conte meets again his friend and colleague Gianluca Petrella, an eclectic Italian jazz scene talent, open to new experiences and collaborations: this encounter let to the publication of three new 12” EP’s in only three years, plus the recent single “The Higher Love” and the release of “Let Your Light Shine On” by Nicola Conte & Spiritual Galaxy.

The exchange between the two musicians / producers takes place not only on a songwriting level but also on a research one: vinyl rarities, the diggin’ activity, the use of samples, sounds, rigorously vintage instruments and sounds deliver a product brave enough to communicate the club culture enthusiasm to conquer a new market capable of soliciting new interests in the nu-soul and jazz scene. From Detroit future dance to afrobeat and spiritual jazz through a nu-disco sound, the unique vibe of “People Need People” drags us in search of deep music in a spiritual and mantric context. In a peculiar historical moment Nicola Conte and Gianluca Petrella send a message of hope, of aggregation and Universal Love.

A feeling of elevation and solidarity is shared Through Raashan’s poetry, something that can predict winds of change for humanity, a feeling that flows from a higher love. “People Need People” is more than just a new album, it’s a collective experience wisely directed by Nicola and Gianluca that sees the participation of numerous artists from different parts of the world: Raashan Ahmad (USA), Nduduzo Makhathini (South Africa), Magnus Lindgren (Sweden), Débo Ray (USA), Bridgette Amofah (England), Abdissa Assefa (Finland/Ethiopia), Teppo Makynen (Finland), together with young Italian promising stars Davide Shorty, Carolina Bubbico, Tommaso Cappellato, Seby Burgio, Marco Rubegni, Pasquale Calò, and the already known Pasquale Mirra and Simone Padovani. “People Need People” is the mature fruit of an unstoppable and constantly evolving work of research and exchange that’s been able to break down every possible distance during its long and complex making-of process.

The songs taken from the previous EP’s have also been further revised, reworked and expanded, with the addition of six new tracks. Looking at the past and fetching sounds, rhythms and instruments typical of tribal / African traditions, soul / spiritual jazz and cosmic music from it, Nicola and Gianluca have performed an operation of strong contamination with modern electronic sounds, disco and hip-hop, creating a completely original hybrid. Their goal is to accompany the listener through a collective spiritual elevation path, guided by the only true universal language: music. In a historical period marked by contrasts, lack of communication and forced social distancing, “People Need People” proves to be even more essential and necessary.

1. Hold On To Your Dreams (feat. Debo Ray) 04:54
2. The Higher Love (feat. Raashan Ahmad) 04:15
3. Imani River (feat. Bridgette Amofah) 04:59
4. Nigeria 05:09
5. People Need People (feat. Davide Shorty & Carolina Bubbico)) 04:19
6. Inner Light (feat. Raashan Ahmad) 06:22
7. New World Shuffle (feat. Bridgette Amofah) 06:39
8. Good Juju (feat. Raashan Ahmad) 03:53
9. African Spirits 06:44
10. Tribes (feat. Nduduzo Makhathini) 06:46
11. Mother Of The Earth (feat. Debo Ray) 05:01

Produced by Nicola Conte and Gianluca Petrella
A1 written by N. Conte, G. Petrella and D. Sciortino
A2 written by N. Conte, G. Petrella and P. Mirra
B2, C1 and D2 written by N. Conte, G. Petrella and R. Ahmad
B1 written by N. Conte, G. Petrella and B. Amofah
A3, B3, C2, D1 and D3 written by N. Conte and G. Petrella
Davide Shorty: Vocals on A1
Carolina Bubbico: Vocals on A1, B2
Pasquale Mirra: Vibraphone on A1
Tommaso Cappellato: Drums on A1, A3, D3
Abdissa Assefa: Congas & Percussion on A1, B3, C2
Débo Ray: Vocals on A2, D3
Pasquale Mirra: Vibraphone & Percussion on A2
Seby Burgio: Wurlitzer Electric Piano, Tiger Electric Organ, Synth on A3
Pasquale Calò: Tenor Sax on A3, B3
Bridgette Amofah: Vocals on B1, D1
Raashan Ahmad: Vocals on B2, C1, D2
Magnus Lindgren: Flute on B2, D3
Nduduzo Makhathini: Fender Rhodes Electric Piano on B3, D2
Simone Padovani: Congas & Percussion on C1, D2, D3
Teppo Makynen: Drums on C2, D2
Marco Rubegni: Trumpet on D2
Recorded in
Bari at Sorriso Studio | Sound Engineer: Tommy Cavalieri
Milan at Blue Spirit Recording Studio | Sound engineer: Francesco Borrelli
Lecce at Sud Est Studio | Sound engineer: Filippo Bubbico
Mastered by Giovanni Versari at La Maestà
Magnus Lindgren appears courtesy of ACT Music
Nduduzo Makhathini appears courtesy of Blue Note Records
Artwork by Mzwandile Buthelezi
Photography by Giovanna Sodano
Layout by Eugenio Crippa
Publishing by Edizioni Ishtar Srl
except A1 publishing by Edizioni Ishtar Srl / Totally Imported Srl

The Afro Soul Prophecy - Heat In The City (2021 Schema Records)

The Afro Soul Prophecy is an atypical musical project, out of time and trends, as evidenced by a several years gestation that has finally ended with the release of “Heat in the City”, an album that includes all the songs ever recorded, some of which have already been published in 2017 on 7” (SC716, “Red Light District / The Game of Love” - SC717, Daddy’s Groove / Let Me Be your Lover”) and 10” records (SCEB002, with three different versions of “The Devil Made Me Do It”). The Afro Soul Prophecy was born thanks to the initiative of Luciano Cantone, co-founder of Schema Records, here also spiritual leader and producer of the project.

“Heat in the City” is an almost completely instrumental album that finds its strength in its simplicity and balance between parts. The songs’ composer is Alex Puddu, well-known especially for his “Golden Age of Danish Pornography” disco-sex-funk triptych, surrounded by a long series of international artists who gave musical life to his ideas: Abdissa “Mamba” Assefa (Ethiopia, drums and percussion), Antti Lötjönen (Finland, double bass), Georgios Kontrafouris (Greece, Wurlitzer and Hammond), Timo Lassy (Finland, saxophone), Gendrickson “Pucci” Mena (Cuba, trumpet), Massimo Martellotta (Italy, guitar) and Morten Grønvad (Denmark, vibraphone).

The Afro Soul Prophecy’s sound and groove are exquisitely black, but so rich of shades that require in-depth listening to be fully assimilated and to understand the overall range of “Heat in the City”, a record that draws inspiration from The Meters, War and Roy Ayers’ downbeat funk, but also indulges in afrobeat (The Devil Made Me Do It), Latin (Let Me Be Your Lover, The Game of Love, Daddy’s Groove) and disco contaminations (Everybody’s Going Uptown, Fire in Acapulco, Mean Street), while “Summer of ’75” and “The Crowd Pleaser” evoke pure urban blaxploitation scenarios.

All these influences are fully rooted in this album, making it almost mystical and visionary, as if the aforementioned music genres scenarios could materialize in front of the listener’s eyes. “Heat in the City” owes most of its qualities to the fundamental contribution of Abdissa Assefa on percussion and Antti Lötjönen on double bass - a particular and atypical instrument in a context like this, as well as to Pietro Ciancaglini’s arrangements. 

The overall result, wide-ranging and full of hidden details, is the ultimate consequence of the multi-ethnic nature of this project, which involved musicians from all over the world; once again, the language of music has contributed to unite different cultures and to erase distances in the creation of “Heat in the City”, an album that needs multiple listenings to be discovered in full.

1. Everybody's Going Uptown 03:50
2. Daddy's Groove (Album Version) 04:52
3. Fire In Acapulco 04:00
4. Heat In The City 03:59
5. Let Me Be Your Lover (Album Version) 04:43
6. Mean Street 04:21
7. Red Light District (Album Version) 04:58
8. The Crowd Pleaser 05:35
9. The Devil Made Me Do It (Album Version) 04:30
10. The Game Of Love (Album Version) 04:01
11. Summer Of '75 05:53

Conceived and produced by Luciano Cantone/The Invisible Session
Arrangements by Pietro Ciancaglini
All tracks written by Alex Puddu
Publishing by Edizioni Ishtar Srl
Recorded in Milan at Edizioni Ishtar/Blue Spirit Recording Studio
in november 2012
Sound Engineer: Francesco Borrelli
Mixed by Luciano Cantone and Francesco Borrelli
Mastered by Giovanni Versari at La Maestà
Abdissa “Mamba” Assefa – drums and percussion
Antti Lötjönen – double bass
Georgios Kontrafouris – Wurlitzer and Hammond
Timo Lassy – tenor saxophone
Gendrickson “Pucci” Mena – trumpet
Massimo Martellotta – guitar
Morten Grønvad – vibraphone
Duane Hobson – backing vocals
Alex Puddu – Moog synthesizer and electric guitar on
“Fire in Acapulco”, “Mean Street” and “Heat in the City”
Picture by Milo taken from a mosaic in Pompei
Design and layout by Eugenio Crippa

Malnoia / Jorn Swart - Hello Future (March 2021)

Malnoia, an unorthodox trio led by pianist Jorn Swart that mixes jazz and chamber music, is presenting their new album “Hello Future”.

Drawing on science-fiction film and literature, each track is accompanied by an original short story. Through colorful compositions, emotive improvisations, and the unique combination of piano, viola, and bass clarinet, the album explores what it means to be human in a technological age.

1. First Ocean 05:01
2. Paultjuh 05:07
3. DemocrApp 06:14
4. TimeSaver3050 04:55
5. New Religion 05:14
6. The Ghost 04:55
7. Choro Humano 04:56
8. The Last Snowstorm 05:52
9. Tubifoot 05:36
10. Prelude to Singularity 02:52
11. Tears in Rain 03:42

Jorn Swart - piano
Benjamin von Gutzeit - viola
Lucas Pino - bass clarinet

All compositions by Jorn Swart, except ‘Tears in Rain’ by Vangelis

Recorded on March 18 and 19, 2019 at Power Sound Studio in Amsterdam, The Netherlands
Recorded by Paul Pouwer
Edited by Jorn Swart
Mixed by Alex Venguer
Mastered by Oscar Zambrano

Jeff Coffin & Helen Gillet - Let It Shine (March 2021)

1. The Sun Never Says 02:03
2. Lazy Drag Jig 04:53
3. Round And Around 03:31
4. Unzen 05:42
5. Sometimes Springtime 05:37
6. Lampsi 05:25
7. Second Wings 05:34
8. The Sandman 06:53
9. Should I Stand 04:57
10. Do You Still 07:00

Jeff Coffin - bass flute, alto flute, D whistle, tenor sax, soprano sax, bass clarinet, clarinet, percussion, didgibone, voice
Helen Gillet - cello, cello looping, cello slaps, percussion, voice, lyrics

Jeff Coffin & Derek Brown - Symbiosis (2021)

Jeff Coffin is a globally recognized saxophonist, composer, educator, and is a member of the legendary U.S. rock group, Dave Matthews Band. You may also know him from his 14 years, and 3 Grammy Awards, with the genre-defying Bela Fleck & the Flecktones. Jeff fronts numerous groups when not touring with DMB and has released 15+ solo CD's on Ear Up Records.

Coffin is known for his musical passion, his melodically driven compositions, his deep involvement with music education, and his continued dedication to the improvisational musical art form some call Jazz. 

He is one of the top, in demand, saxophonists in the world as well as a first call studio musician in Nashville, Tennessee, where he has lived since 1991. 

Jeff has released 17+ solo recordings, is a Yamaha Performing Artist & Clinician, a Boston Sax Shop Ambassador, teaches improvisation at the prestigious Vanderbilt University, authored four books, produces, engineers, mixes, and runs his own critically acclaimed record label, Ear Up Records.

In 2020, Jeff began a streaming concert series during the global shutdown to benefit his fellow Nashville musicians called IN THE STUDIO from, where all the proceeds go to local out of work musicians and their families.
1. Chunk 03:39
2. The Belly Crawl 04:43
3. Up Jump 01:35
4. Roundabout 03:50
5. The Mirage 04:19
6. The Mess Around 03:39
7. Somewhere I Can't Recall 04:29

Jeff Coffin - tenor sax, bass flute, bass clarinet, clarinet
Derek Brown - tenor sax, baritone sax, sax percussion, wind

Spike Wilner Trio - Aliens & Wizards (April 23, 2021 Cellar Live)

Celebrated Pianist and Impresario Spike Wilner to Release Aliens & Wizards with Cellar Music Group on April 23, 2021 

Made possible by a grant from the SmallsLIVE Foundation

Cellar Music Group, in association with the SmallsLIVE Foundation, is thrilled to announce the release of Aliens & Wizards, the new album by the Spike Wilner Trio. Recorded at the height of the pandemic,  Aliens & Wizards features newly composed music by jazz veteran and impresario Spike Wilner, with the addition of several thoughtful renditions of jazz standards.  This spirited release is the follow-up to the trio’s 2017 Cellar Music Group recording Odalisque. 

Steadfast pianist, bandleader and club manager Spike Wilner has enjoyed a long tenure on the New York City and global jazz scenes, performing with the likes of The Artie Shaw Big Band, The Glenn Miller Orchestra, Maynard Furgeson & Lennie Cuje while remaining highly active as a bandleader all while managing iconic NYC Jazz shrines Smalls and Mezzrow. Wilner is joined here by two long-time collaborators, bassist Tyler Mitchell (Art Taylor, Jackie McLean, Barry Harris) and drummer Anthony Pinciotti (James Moody, Dr. Lonnie Smith, John Abercrombie).

This electrifying release marks the beginning of a fruitful collaboration between Cellar Music Group and The SmallsLIVE Foundation. The foundation will carry out its mission to support artists by funding album releases through the Cellar Music Group. As Cory Weeds, the label’s founder, notes “2020 has been a year to forget, yet in the most difficult of times, Spike continues to inspire with his unwavering dedication to the presentation of this music through his clubs, Smalls Jazz Club and Mezzrow, and through recordings, streaming and other important initiatives that serve this music. It’s fitting that the first release – in what we hope will be one of many – is a date led by Spike himself.” The SmallsLIVE Foundation is dedicated to the creation and propagation of jazz music in New York City through recording, live streaming, archiving, educational initiatives and live performances.

In March 2020, tragedy struck and Smalls and Mezzrow were closed to the public. Wilner took the opportunity to stay in Pennsylvania for several months with family and, like many musicians during this time, focused on practicing and composition. Informed by great change and isolation,  Aliens & Wizards was born.
Aliens & Wizards begins with the bright-tempoed “Righty – O!”, Wilner’s piano-centric rendition of a piece by the late drummer and friend of Wilner, Johnny Ellis. Right out of the gate, Wilner demonstrates his seamless integration of ragtime, bop and contemporary stylings.  Also on full display is the interplay of a trio with an unmistakably rich history of collaboration. While these three players have worked together in various incarnations since they were quite young, this iteration of the Spike Wilner Trio was first assembled in 2012/2013 and has been a working band ever since, touring Europe and performing regularly throughout New York City.

“Non Troppo” and “Adagio” are both Wilner pieces inspired by the artist’s study of Bach and Beethoven. “Non Troppo” specifically is inspired by the movement of a Beethoven sonata, and the title refers to the musical tempo marking “allegro ma non troppo” meaning “at a brisk tempo, but not too much!”. Fittingly on this third-stream inspired piece, Wilner’s melodic refrains flow from his fingers with ease and a beautiful simplicity, each statement answering the last. Similarly, “Adagio” refers to a slow tempo marking. The intro is bowed beautifully by Tyler Mitchell, setting the tone for a moody and wistful piece with a supple melody wrife with harmonic intrigue. “Adagio” is a heartfelt tribute to Wilner’s wife and daughter.

Lush interpretations of standards mark the center of this album, with Wilner’s take on “Blue Gardenia” and “Stella by Starlight”. “Blue Gardenia”, written by Lester Lee and Bob Russell and later popularized by Dinah Washington, features a deeply soulful improvisation by Wilner, showcasing the band’s dynamic sensibilities. “Stella by Starlight” features fiery improvisations from both Wilner and bassist Tyler Mitchell. The album’s title track “Aliens & Wizards” is a free improvisation, demonstrating the enormous range and cohesion of the ensemble.

Wilner notes “We are grateful to partner with Cory Weeds and The Cellar Music Group on presenting artist projects commissioned by the SmallsLIVE Foundation”. Until we can once again venture to Greenwich village, descend the narrow stairway of smalls’ heralded hall and sit elbow to elbow with fellow jazz lovers, taking communion from the luminaries of our times, Wilner is dedicated to bringing the music to the people in a multitude of mediums, supporting the artist community that he has gone far to cultivate over his illustrious career.
1. Righty-O! 3:54 (Johnny Ellis)
2. Non Troppo 6:55 (Spike Wilner)
3. Adagio 6:31 (Spike Wilner)
4. Mindset 4:36 (Spike Wilner) 
5. Blue Gardenia 4:22 (Lester Lee, Bob Russell)
6. Stella by Starlight 4:34 (Victor Young)
7. Aliens & Wizards 3:18 (Spike Wilner)
8. Prayer for Peace 6:09 (Spike Wilner)
9. Trick Baby 5:45 (Spike Wilner)

Spike Wilner piano
Tyler Mitchell bass
Tyler Pinciotti drums

Recorded at GB'a Juke Joint, Astoria, NY on August 16th and 22nd, 2020

Alyssa Allgood - What Tomorrow Brings (April 9, 2021 Cellar Live)

On her third studio album, Chicago vocalist Alyssa Allgood wields her instrument with depth, nuance & sophistication. Through refined interpretations of classics and the debut of four stunning originals, What Tomorrow Brings invites listeners on a personal journey of despair, determination and discovery.

Style. Substance. The music that matters invariably boasts one of the two. But when style and substance share the spotlight, in admirable balance and sure conviction, you’ve got something to remember.
Substance first: What Tomorrow Brings, her third album, reflects a couple years of enormous personal growth for Alyssa Allgood. New apartment, new jobs; a dedicated commitment to long-distance running; rigorous teaching of the jazz vocal tradition; and increased visibility beyond her Chicago base, with appearances in New York and Shanghai that have bolstered her confidence.

And then the pandemic. “I’ve had a lot more time alone, getting to know myself better,” says Allgood: “Time to be outside, to read, and to deal with moments of change and loss. They’re all opportunities to grow closer to who we are.” Allgood is still in her 20s, and despite her impressive self-possession, she’s still in process.

The substance of these songs reveals her deepening connection to life’s kaleidoscopic emotions, as does her placement of each song within the overall narrative. “I hope the listener will feel the harder emotions at the beginning,” she says, “and then a shift about halfway through [right around the beguiling “Time Found” and “Bridges,” the haunting Milton Nascimento classic]. And then comes the sense that we're getting into something uplifting – that even though what tomorrow brings is unknown, there's still hope.”
As for the style that animates this substance, it ripples with newfound depth and power. Allgood has systematically mined the music of her idols, including Abbey Lincoln, Dinah Washington, Carmen McRae, and Billie Holiday. They all funneled their considerable technique into making the words as meaningful as the melodies, and their example has steered Allgood toward greater nuance in service of storytelling. “I’m trying to make lyrical expression the focal point of what I'm doing,” she explains.

Give a listen to “This Bitter Earth,” where she bends notes and commands the rhythm to etch each twist of the dark/light lyrics. In her duo version of “For All We Know,” her rain-pure timbre and heartbreaking inflections dovetail with Mike Allemana’s genius for accompaniment. On “Passing Glance,” Allgood uses her lovely control of dynamics to bring the song into subtle bas-relief before a high-flying coda. But as her interpretative authority continues to flourish, she needn’t shout to tell every story; she can also whisper.

And on the eastern-tinged arrangement of “Mad About the Boy” (perhaps the album’s highlight), she does both. With liberal phrasing and tonal flutters, Allgood lets you see a raised eyebrow here, a rueful smile there – and finally, with daring swoops into the upper register, a level of passion that blows to hell the cool composure the lyrics strive to maintain.

Allgood works here with three of Chicago’s finest, all of them many years her senior, and she stands effortlessly with them in this compact, thrillingly interactive quartet. They too embody style and substance, either of which have propelled plenty of lesser bands. But put those two together and you’re in rare and wonderful company indeed.

-NEIL TESSER, Grammy-award winning writer and critic, author of The Playboy Guide to Jazz

1. There Are Such Things
2. Enclosure
3. Should Have Been
4. Memories
5. This Bitter Earth
6. Mad About The Boy
7. Time Found
8. Bridges
9. Try Your Wings
10. Light Of Darkness
11. For All We Know
12. Passing Glance

Alyssa Allgood – voice
Mike Allemana – guitar
Dennis Carroll – bass
George Fludas – drums

Executive Producer: Cory Weeds
Produced by Alyssa Allgood
Recorded at JoyRide Studio, Chicago, IL on August 5th and 6th, 2020
Engineered mixed and mastered by Brian Schwab

9ms - Pleats (2021 Squama Recordings)

9ms is the duo of Simon Popp and Florian König.

On their wide ranging debut album ‚Pleats‘ the tech-savvy drummers offer grooves from the dubbier realms of World Music and Krautrock - some meditative and light, some thick as wall and steady as a clock.

The album was recorded live in a large wooden hall in the Bavarian Alps with only three microphones. Using various infrared and magnetic field sensors, Popp and König were able to translate their movements into control voltage, which they then used to trigger and tweak synthesizers and a myriad of effects. A way for two humans to become one with their mystic machinery.

1. Tome 06:46
2. Kii 05:56
3. Carla 05:06
4. Rosi 07:28
5. Raul 03:03
6. Carom 04:56
7. Joan 04:40