Hot on the heels of Impulse’s recently unearthed Coltrane number one hit album comes another beauty from Jazz’s ‘Holy Trinity’. This is a previously unreleased, precious lost treasure from Monk’s most critically acclaimed line-up; Charlie Rouse on saxophone, John Ore on double bass, and Frankie Dunlop on drums. The music was recorded live in Copenhagen in 1963 at the peak of Monk’s career. A year later he was to feature on the cover of TIME magazine, one of only for 4 Jazz artists ever to do so. The performance, a mixture of Monk originals and interpretations of standards, showcases Monk at his prime: full of avant-garde flair and wit, but always with a swinging feel that explains his title as the 'High Priest of Bebop'. The original tapes, saved from a skip and blessed with the approval of the Monk estate, have been faithfully restored, mastered and cut using Gearbox's legendary all-analogue process.
Beverly Glenn-Copeland was born in Philadelphia USA but this cult jazz folk album was recorded in Canada for the CBC in-house label and only released to CBC radio stations. In the intervening years the album has become highly sought after by collectors. Stand out tracks include the amazing ‘Don’t Despair’ and ‘Good Morning Blues’, both written by Copeland, and psych jazz reprise of the first track ‘Don’t Despair’. Copeland’s sound is a wonderful mix of Terry Callier with hints of Joan Armatrading and Joni Mitchell. Incredibly rare, originals of this LP have been known to sell for up to USD$1500 in the market place. Having now transitioned to a man, Glenn Copeland is still recording and playing his incredible music today.
1. Don't Despair 02:59
2. Untitled (Make The Answer "Yes") 04:31
3. Song From Beads 02:17
4. Nothing Beautiful 05:27
5. Good Morning Beautiful 04:37
6. Durocher 04:36
7. Northwind 03:21
8. Swords Of Gold 02:51
9. Interval 04:41
10. Reflections 08:05
11. Don't Despair (Jazz Version) 02:59
Producer: Ramona Randall
Remix Engineer: Gilles Vaudeville
Recording Engineer: Robert Guay
Music Consultant: Neil Chotem
Recorded in Montreal at the CBC Studios on March 24th and 25th, 1970.
All tracks remastered at The Warehouse Studio by Eric Mosher with Sidechain™.
Edmonton born singer Judy Singh’s 1970 CBC album is one of the most sought after sunshine pop by collectors with originals selling for upwards of $500 a copy. This wonderful mix of influences from Sergio Mendes to Burt Bacharach features breezy jazz and bossa tinged arrangements by Tommy Banks of songs by the Bergmans, Johnny Mandel, Jimmy Webb as well as contemporary Canadian songwriters.
“Recording this album with my brilliant, dear friend Tommy Banks, was an absolute highlight in my career. What a uniquely creative period in music history it was. I love seeing how vinyl is being resurrected with such passion. I’m grateful to Majik Bus for including me in it all.”
- Judy Singh
1. So I'm Wrong Again 02:56
2. Raggedy Anne And Raggedy Andy 04:17
3. Look Around 02:40
4. Up And Down 03:38
5. A Time For Love 04:13
6. Yesterday I Heard The Rain 03:08
7. Samba Del Sol 03:08
8. Songs Under The Sun 04:57
9. Another Woman 03:24
10. Forever Waits Beyond 03:17
11. Everybody Gets To Go To The Moon 03:09
12. Their Hearts Were Full Of Spring 02:36
Producer: Duncan McKerchar
Recording Engineer: Gary Radcliffe
Audio Re Mix: Ian Jacobson
Recorded by CBC Edmonton in July 1970.
All tracks remastered at The Warehouse Studio by Eric Mosher with Sidechain™.
"I Don’t Know Where I Stand" is a classic album of sunshine pop with incredible jazz infused vocals of covers including Lennon/McCartney, Paul Simon, Leonard Cohen and Joni Mitchell with musical backing arranged and conducted by Doug Riley. Little is known of Stephanie Taylors’s career outside of performing in the 60s as a member of the girl vocal group ‘The Girlfriends’ on the CBC's rock 'n' roll show Music Hop and a handful of songs recorded in connection with CBC projects as a member of vocal group ‘Liberation’ for Keith Hampshire's Music Machine in the 70s and as lead singer with Hagood Hardy's Montage in 1969.
1. I Don't Know Where I Stand 03:32
2. Suzanne 03:06
3. Working On A Groovy Thing 02:49
4. Feeling Groovy 01:29
5. Marion's Theme 03:01
6. Windmills Of Your Mind 03:29
7. Chelsea Morning 02:41
8. Long And Winding Road 03:41
9. I'm Going To Make You Love Me 02:39
10. Softly As I Leave You 02:52
Producer: Dave Bird
Recording Engineer: Larry Morey
Assistance of: Ray Sora
Arranged & Conducted: Doug Riley
Recorded in Studio G CBC Toronto, August 12th and 13th, 1970.
All tracks remastered at The Warehouse Studio by Eric Mosher with Sidechain™.
A true legend of the psych-folk rock genre, the very first album by Canadian band Perth County Conspiracy was conceived, recorded and designed to look and sound like the product of a commercial record label. But with only 250 copies produced the record quickly reached mythic status as the band went on to begin a commercial career with Columbia Records. Defining the zeitgeist as the 60s became the 70s, the band sound has touches of Nick Drake, Donovan and Terry Reid as well as more acid folk influences. Pure commune folk music and one of Canada’s most intriguing psychedelic artifacts. Heavy (vibes) and extremely rare. All tracks recorded at Studio G CBC Toronto on August 14 and 15, 1970.
1. Welcome Surprise 03:11
2. Take Your Time 03:21
3. If You Can Want 04:29
4. Woman For All Seasons 04:13
5. Hurdy-Gurdy Man 04:38
6. Mr. Truthful Licks 02:47
7. So Many Things 02:51
8. Hindsight 03:39
9. Lace And Cobwebs 02:41
10. I Shall Be Released 06:32
Producer: Dave Bird
Recording Engineer: Ian Jacobson
Repertoire Consultant: Gary McGeehan
Artists: Cedric Smith, Richard Keelan, Michael Butler
Recorded at Studio G CBC Toronto on August 14th and 15th, 1970
All tracks remastered at The Warehouse Studio by Eric Mosher with Sidechain™.
Former child star Barbara was only 18 years old when she recorded this slice of sunshine pop for CBC Records. ‘What The World Needs Now’ was recorded at Eastern Sound Company in Toronto on May 12th and 28th, 1969. The orchestra was arranged and conducted by Rick Wilkins and the record was produced by Dave Bird. A regular performer for the CBC, Barbara had appeared on most of the CBC Networks shows and her winning song ‘Colours Of The Rainbow’ at the CBC Song Market 1968 contest is included on this album.
1. I'll Never Fall In Love Again 03:14
2. Evening Of Roses 02:31
3. Who Am I 02:29
4. Sunrise, Sunset 02:56
5. Reunion With The Reserves 02:59
6. One Child 03:30
7. If I Were A Rich Girl 03:36
8. Jerusalem Of Gold 03:42
9. Don't Give Up 02:08
10. Colours Of The Rainbow 02:44
11. What The World Needs Now 02:32
12. People (Lovers) Such As I 03:06
Producer: Dave Bird
Recording Engineer: Ian Jacobson
Executive Producer: Jury Krytiuk
Orchestra arranged and conducted by: Rick Wilkins
Recorded at Eastern Sound Company in Toronto on May 12th and 28th, 1969
All tracks remastered at The Warehouse Studio by Eric Mosher with Sidechain™.
This soul meets spiritual jazz album by vibes and marimba master Emile Normand is a super rare treat. Never released commercially until now, the LP features super covers of Yusef Lateef, Horace Silver and Jorge Ben. Recorded in 1968 only for internal use on CBC radio stations this holy grail for jazz collectors is released for the first time ever.
1. Morning 04:37
2. Watch What Happens 02:52
3. Mais Que Nada 06:16
4. En Roulant Ma Boule 03:49
5. Sorcery 04:51
6. Man From South Africa 07:48
7. Tracy Rose 03:28
8. Manteca 03:58
9. O Barquinho 02:22
10. Senor Blues 03:39
Artists:
Emile Normand
Rejean Emond
Art Roberts
Joe Christie
Tony Romandini
Bill Gagnon
Arnie May
Producer: Ted Farrant
Sound: Gilles Vaudeville
Recorded in Montreal on June 25th, 26th, and 27th, 1969
All tracks remastered at The Warehouse Studio by Eric Mosher with Sidechain™.
Homeless Melody: Minor Empire Uses Psychedelic Guitars and Traditional Turkish Melodies to Paint a Portrait of Migrant Heartache on Uprooted
Minor Empire’s Ozgu Ozman and Ozan Boz felt a visceral loss as the movement that started in Istanbul’s Gezi Park was crushed by the Turkish government. They felt a similar loss at the dispersal of the Standing Rock protests as indigenous people were silenced. Then they felt this same loss’s echoes in Ontario, where they least expected it. Though they had lived in Canada for years, they watched their sense of home evaporate before their eyes. “It was a living hell for us, watching these young hopeful people die in protests, watching governments cave to corporations and destructive goals. It is hard to convey how angry we were. I wanted to bring the world down on the heads of these politicians,” recalls Ozman, the group’s poignant vocalist and lyricist. “It was a powerful feeling of total injustice, of homelessness, when home had had such potential and such promise. It’s a feeling people are grappling with everywhere.” The Toronto-based group harnesses lithe folk-inspired melodies, lush guitar, and stunning percussion to convey the disorientation, the grief, and the remaining embers of hope on Uprooted, a progressive testament to the heartache of alienation. “It was like an avalanche. The country changed from that moment,” Boz recounts. “We couldn't go back to Turkey and be comfortable. I suddenly felt homeless, that I don't’ belong there anymore with my ideas or lifestyle. I really felt uprooted, roots pulled up and thrown into the sea. It broke my heart.” From this pain flowed a beautiful, boundary-pushing suite of songs that artfully juxtapose the raw yearning of regional traditions with sophisticated, multi-layered arrangements hinting at ambient and psychedelic explorations. The combination, supported by some of Toronto’s strongest musicians, has won the group acclaim in Canada. Now Minor Empire is bringing its latest recording and live repertoire to the US for an early autumn tour. It all began with Ozman humming and murmuring folk songs. The duo, who had migrated to Canada at the same time, had been away from their native country for three or four years. Yet suddenly, Ozman was haunted by snatches of song that she kept revisiting under her breath.
The duo realized that in that humming, a new artistic direction lay. “The idea did not come from the void,” says Boz. “In Turkey, Turkish music is everywhere; it’s the soundtrack of your life. You hear it in a cab, a restaurant, your friend's house, you hear it even when you really don’t want to. But you don’t hear it at all here. This silence cleansed our ears and we started missing what we remembered.” Minor Empire evolved quickly from that realization, as Ozman and Boz had already been collaborating musically for some time. “We wanted to reflect our needs, to address what we needed to express, a true expression of ourselves,” reflects Ozman. “Because at the time we were ready to record this trip-hop/art-pop project, but we decided we had to shelve that.” Their approach to working with the traditional melodies they remembered from their youth departed from that of other artists, be they Western musicians dialoguing with Turkish forms or Turkish bands tackling Western pop or rock. A talented and exploratory guitarist, Boz heard something completely different underpinning Ozman’s gorgeous vocals. “I don’t play a traditional instrument, I play electric guitar,” he explains. “What I listened to was psychedelic rock music, not traditional Turkish songs. Our music had to sound like who and what we are, which is a very defined combination of things. We tried to keep it that way without molding Turkish music into Western forms, or vice versa. We wanted the elements to coexist, not be forced together.” This approach bears bold fruit on original tracks like the “Yurtsuz” and the sweeping album opener, “Dunya.”
The group draws on more than folk melodies and lyrics, however. Ozman often turns to the rhythmic feels associated with Turkey’s regions. She felt especially drawn to the particular pulse of her coastal home province of Mersin, with its mellower, more laid-back rhythms. “My hometown is on the southern coastline and has a very different pace. The folk songs are almost reggae-like, very happy,” she says. “I realized I loved that feel, so I started listening to a lot of music from my hometown and to sing and internalize them. They had a lot of joyfulness, offering some solace amid my troubles.” Ozman’s renditions of traditional songs boldly hold their own, not bending to fit the sensibilities of Boz’s instrumental arrangements on tracks like “Iki Keklik,” even when going head-to-head with electronic beats and trip-hop vibes. (“Mendilimin Yesili”) Boz’s sometimes slinky, sometimes ethereal, sometimes bluesy guitar forms a bridge between the vocal melodies and the soundscapes they float over, especially on the Saharan blues-inspired “Gunes Turkusu.” Boz’s stylistic freedom translates into a broad instrumental palette as well. Taiko drums and timbales join traditional Turkish instruments like the qanun (zither) and bendir (frame drum), if the song’s emotional narrative is enriched by that sound. (“Tutam Yar Elinden”) At the same time, he balances the epic moments and crescendos with atmospheric interludes, a way for listeners to catch their breath amid the intensity. “By the time you finish the third track, there has been so much to absorb, so many peaks and valleys,” Boz notes. “We like to include ambient tracks and begin crafting tracklists as we write songs. The connecting pieces are not random. They are composed to walk a listener from one tune to the next.”
The complexity and careful structure serve first and foremost to communicate the urgency of the feelings that the events of 2013 sparked in Minor Empire’s core duo. Though years have passed, the urgency and resonance remain. “The feeling of homelessness is a constant struggle,” Ozman says. “I had this energy in me, running and running but didn’t know what I would find at the end. I lost my home country and didn’t feel like there was any point in continuing to try. I felt directionless.” Yet through it all, Ozman and Boz see moments of hope, a small light that may inspire other migrants, exiles, and refugees. “You struggle to create your own space, your own home, your own oasis,” Ozman muses. “I always thought you carry your home with you, that I could live anywhere, I just needed to be at peace with myself. That’s still there, even though I feel this bitterness.”
"A musician-drummer rather than a drummer-drummer, Gray is interested in making music that is deeply evocativeŠ shaped by a fizzing, often restless push-pull energy." - Jazzwise
Oct. 1 - Bowdoin College, Brunswick, ME
Oct. 2 - University of New Hampshire, Durham, NH
Oct. 3 - University of Maine, Augusta, ME
Oct. 4 - SPACE, Portland, ME
Oct. 5 - Firehouse 12, New Haven, CT
Oct. 6 - An die Musik, Baltimore, MD
Oct. 7 - The October Revolution Festival, Philadelphia, PA
There are times when music lovers can just feel a talent coming into his or her own, when that artist is someone to catch onstage or on record at every opportunity. Drummer-composer Devin Gray has arrived at such a moment. The Brooklyn-based artist made his leader debut in 2012 with the Skirl Records release Dirigo Rataplan, which featured him fronting the eponymous band with tenor saxophonist Ellery Eskelin, bassist Michael Formanek and trumpeter Dave Ballou, each a master improviser renowned far and wide among fans of creative music. Cadence magazine declared that initial disc to be "fantastic," while JazzTimes said that Gray's debut represented "the work of a young artist who knows who he is." Now, after six years of intensive experience as a leader and sideman on both sides of the Atlantic, Gray has reconvened this all-star group for Dirigo Rataplan II, which will be released on CD, vinyl, digitally and for streaming via Rataplan Records on Sept. 21, 2018. Time Out New York has praised Gray's compositions for balancing "formal elasticity with a meticulous sense of pacing." The new album brims with more earworm melody, richly implied harmony and a loose-limbed sense of rhythm as something physical and flowing - as blood, as breath. Fans of jazz from Ornette Coleman and Henry Threadgill to Dave Holland and Craig Taborn will dig this organic mix of composition and improvisation, structure and freedom, atmosphere and dynamism. About the evolution of Dirigo Rataplan and his writing for the band, Gray says: "I've become more at ease with following my natural artistic impulses. The experiences I've had over the past six years have been so inspiring - in the intense, ultra-energized New York jazz scene, of course, but also in Europe, where players in improvised music are so open to different genres and have this holistic approach to art and creativity. With Dirigo Rataplan II, there is more free improvisation in the music, but I also think the melodic fluidity between the composition and the improvisation is more seamless, with one flowing into the other in a way that I really like. This music is personal for me, but I want Mike, Ellery and Dave to do what it is they do, to maximize the pieces in the way that I know they can." About working with Gray, Formanek says: "Devin has grown as a composer since that first quartet recording session in 2011, but most important, he has a much more evolved sense of who he is_ as a musician, and also of who we are in the band as improvisers. These instincts take time to develop, and it has been great to see that process unfold in both his playing and his composing. This music is free and open with a lot of room for improvisation, but the tunes also have an intrinsic rhythmic and melodic character to them, a color and energy. With the quartet having played together more now, the sessions for the new album felt even better."
For Gray, what is most vital about Formanek "is not just that his tone and sense of time are so incredible. It's also that he cares so much about doing whatever he can to ensure the quality of the music in front of him. He's a composer's improviser, in that way. I feel this total, unspoken trust with him." About Eskelin, Gray says: "Ellery sets the bar so high for improvisation. The fluidity of his solos, the intense forward motion - that's what New York musicians have more than anyone else." Regarding Ballou, the drummer adds: "I've known Dave's playing intimately since I was a kid. I don't think he has ever sounded better, with that beautiful tone and wide palette of expression. He brings a strong interpretive sense to my music in that he anticipates what I'm looking for, yet via his own sensibility. Working with cats like this, you don't have to worry about individualism - it's in everything they do. They bring what are just notes on a page to real life." Reflecting further on Dirigo Rataplan II, Gray concludes: "I don't set out to make jazz records, per se. I set out to make music, period - to capture the moment, the contemporary feel of the music, hoping that it can reflect in some small way how we live now and what we all have to deal with as human beings in the world." In addition to Dirigo Rataplan, Devin Gray leads the quartet Relative Resonance, featuring Chris Speed, Kris Davis and Chris Tordini. Reviewing that band's eponymous Skirl Records album, All About Jazz said: "The vitality of Relative Resonance can't be deniedŠ the music here literally sparkles with wit and resourcefulness." On record, Gray has also led his Cloudsounds trio (with Ingrid Laubrock and Corey Smythe) and his quartet Fashionable Pop Music (with Tordini, Jonathan Goldberger and Ryan Ferreira). He recently released a hard-grooving digital single fronting his quartet Meta Cache with Jeremy Viner, Elias Stemeseder and Kim Cass. As a sideman, Gray has recorded recent albums as part of Nate Wooley's Argonautica sextet, trumpeter Daniel Levine's trio Knuckleball (with Marc Hannaford) and a trio led by pianist Santiago Leibson (with Drew Gress). Of late, the drummer has played with Dave Liebman and Tony Malaby, along with touring Europe at the head of a trio with Speed and Gress. Gray's recent collaborators also include Gerald Cleaver, Uri Caine, Andrea Parkins, Satoko Fuji, Richard Bonnet, Daniel Guggenheim, Marc Ducret, Frank Gratkowski, Jacob Anderskov, Eve Risser and Susana Santos Silva.
L'action des chansons de l’album se déroule entre 1845 et 1847, période où Thoreau s'est retiré dans les bois tout près de l'étang de Walden. Vous rencontrerez Henry David Thoreau, John Brown, leadeur du mouvement abolitionniste; Lidian Emerson, amie et confidente de Thoreau; et enfin William, personnifiant l’Africain mis en esclavage, en fuite vers le Canada.
Des collaborateurs de renom ont accepté l’invitation de Richard. À l’interprétation des personnages, outre Richard Séguin, vous retrouverez Jorane, Élage Diouf et Normand D'Amour. Normand Baillargeon signe un texte sur la pièce Guerre et tempête, créant ainsi le lien entre hier et aujourd’hui. Enfin, Hugo Perreault et Guido Del Fabbro signent les arrangements et la réalisation.
« J’avais dans la vingtaine lorsque j’ai lu pour la première fois Walden ou La vie dans les bois de Henry David Thoreau. Depuis quelques années, l’envie d’écrire des chansons autour de l’univers de cet homme de Concord s’est faite de plus en plus pressante. Aujourd’hui, j’ai l’immense plaisir de vous offrir avec l’album Retour à Walden, sur les pas de Thoreau un peu de la vie et de l’œuvre de ce philosophe. »
Créé à La Nouvelle-Orléans, NOLA French Connection Brass Band s'est directement inspiré des légendaires brass band locaux. NOLA, contraction de New Orleans Louisiana, s'est donné le défi de jouer et transmettre le plus fidèlement possible la musique des second lines néo-orléanaises. Mêlant hip-hop, funk et jazz, le brass band combine les rythmes entraînants des percussions aux puissants riffs des cuivres, avec une énergie contagieuse.
Le 21 septembre, le NOLA French Connection Brass Band est de retour avec son second album à l'énergie incroyable et au groove très entraînant. Grâce à la puissance de sa section cuivre et à une rythmique sans faille, l'auditeur se retrouve vite entrainé dans la multitude des influences qui fait l'originalité de leur musique où l'on retrouve des clins d'oeil à Bootsy Coolins, Parliament, George Clinton ou Maceo Parker. Mêlant hip-hop, soul, funk et jazz, les neuf musiciens du NOLA Brass Band proposent un jeu d'ensemble très énergique qui prend toute sa dimension dans ses performances live. On pourra les retrouver les 15 et 16 octobre en concert à la Boule Noire pour la sortie de l'album, puis en tournée dans toute la France. NOLA French Connection, créé en Nouvelle-Orléans en novembre 2016, est un groupe de 9 musiciens parisiens. NOLA s’inspire directement des brass band locaux et fait un premier passage remarqué dans l'émission de Dan Meyer sur la radio Louisianaise WWOZ. Mêlant hip-hop, funk et jazz, le groupe se focalise sur le jeu d'ensemble, ce qui lui permet de déployer une énergie « puissante » en live. Partis effectuer une sorte de pèlerinage initiatique où les brass band sont rois, les musiciens fondateurs de NOLA ont pu boire à la source la musique qu’ils aimaient. Tremper leurs instruments dans ce creuset culturel, s’imprégner des conventions musicales de ces formations issues des quartiers de La Nouvelle-Orléans et oser jouer avec les musiciens locaux, voilà le résumé de ce que fût ce premier passage sur les terres de leurs idoles. S’ils connaissaient les grands papas de cette musique (Dirty Dozen Brass band, Rebirth Brass Band, Hot8, etc…) il leur fallait pouvoir sentir la pulsation de cette musique. À leur retour , la décision était prise pour que ce passage en Louisiane ne soit pas simplement une découverte mais une mise en appétit pour lancer un projet : NOLA (New Orleans Louisiana) French Connection Brass Band était né.
Le groupe signe un premier album survitaminé de 7 titres composés par Hippolyte Fevre, le leader et trompettiste du groupe. Des titres d’une énergie cuivrée que la mise sur support numérique n’a pas dénaturée, une rythmique implacable, des chorus enlevés, autant d’ingrédients réunis dans une marmite prête à exploser pour déclencher la danse et la fête où se mêlent le funk, la soul, le hip hop et le jazz. Les compositions s’articulent autour de questions/réponses entre les 9 instrumentistes de Nola et dans lesquelles s’intercalent des chorus d’instruments ou des riffs de cuivres où les clins d’oeil aux maîtres Bootsy Coolins, George Clinton ou Maceo Parker sont nombreux ! Le Nola French Connection sera en concert le 20 septembre à Vitry-le-François (L’Orange Bleue), le 29 septembre à Paris (Disney Love Jazz), le 12 octobre lors du Nancy Jazz Pulsations à Nancy, le 15 & 16 octobre à Paris (La Boule Noire) et le 18 octobre à Tourcoing lors du Tourcoing Jazz Festival.
Blue Engine Records is proud to announce our next release: Una Noche con Rubén Blades by the Jazz at Lincoln Center Orchestra with Wynton Marsalis featuring Rubén Blades. This record captures a historic 2014 meeting of New York's house band and the nine-time GRAMMY winning singer, songwriter, actor, and activist. For one very special night—music-directed by the JLCO's bassist and "emerging master in the Latin jazz idiom" (DownBeat) Carlos Henriquez—the worlds of salsa and swing collided. The result was a performance that the New York Times called "radically beautiful." Make sure you'll have Una Noche as soon as it's released on October 19th! Preorder it today from our webstore as a standalone CD featuring a limited-edition maraca. You'll also get a discount to our 2018–19 opening weekend concerts!
Una Noche on RollingStone.com
Learn more about the album—and hear the first single, "Ban Ban Quere”—on RollingStone.com. The fiery salsa tune was composed by Calixto Varela Gomez and originally made famous by Ray Barretto's 1975 Fania Records release, Barretto.
TRACK LISTING:
Carlos Henriquez Introduction
Ban Ban Quere
Too Close For Comfort
El Cantante
I Can't Give You Anything But Love
Apóyate en Mi Alma
Pedro Navaja
Begin the Beguine
Sin Tu Cariño
Ruben's Medley: Ligia Elena / El Número 6 / Juan Pachanga
