Sunday, January 26, 2014

1 Sem 2014 - Part Two

Ethan Iverson, Lee Konitz, Larry Grenadier, Jorge Rossy
Costumes Are Mandatory

By Greg Simmons
Costumes Are Mandatory is very collegially advertised as a collaborative album featuring Ethan Iverson, Lee Konitz,Larry Grenadier, and Jorge Rossy. And while the music may indeed be collaborative, even multi-improvisational at times, it's Iverson's date and he's very clearly the leader.
The record is envisioned as an homage to—"a dialogue with," according to the liner notes—the late blind pianist Lennie Tristano, who in addition to generally being credited as a founder of the 'cool school' (an oversimplification, to be sure), and an early avant-garde pioneer, was also a primary teacher and influence on Konitz (as well as tenorist Warne Marsh). Though he is often thought of as being a somewhat separate musical line from bebop, he was nonetheless a great admirer ofCharlie Parker, playing on many of Bird's early recordings in the late 1940s, and later serving as a pallbearer in his funeral. Strangely, given its stated intent, there isn't a single composition credited to Tristano on the record.
Iverson is well represented though, opening with his "Blueberry Ice Cream take 2" a relatively conventional blues with a quick walking bass line and catchy melody. The direct connection to Tristano is, of course, Konitz who's own playing in recent years has become freer, with very little melodic structure. Iverson lays out for Konitz' compact solo which has an airiness to it that floats above the straight-ahead structure of the tune. Iverson's piano work is, in places, more reminiscent of Thelonious Monk than Tristano.
The intro to "Try A Little Tenderness" is very reminiscent of Tristano's melancholy "Requiem" featuring broad, well- sustained chords before Konitz and the rhythm section rejoin with the melody. Konitz' straight ahead statement of the tune is uncharacteristic of much of his recent playing, and he barely deviates at all leaving the improvisation to Iverson.
"It's You (Tempo Complex)" pulls a Tristano trick right out of the hat by overdubbing two pianos to psychedelic, effect. At only one minute long it's enough to convey the effect without overpowering the surrounding tracks. The following straight acoustic version of the song delivers some of Konitz' best most Konitz-like improvisations: loose and searching, endlessly inventive, but still melodic and delightful.
According to the liner notes Konitz declined to play on "Blueberry Hill" stating "Sounds like something The Bad Plus should play instead."
Costumes Are Mandatory might work best because the music and the musicians have either approached Tristano with completely different competing musical influences, or in the case of Konitz, having completely absorbed then transcended his former mentor. They're not trying to imitate Tristano, but they forge just enough of a connection to make a truly interesting record that's worth seeking out.
Track Listing: 
Blueberry Ice Cream take 2; Try A Little Tenderness; It's You (Tempo Complex); It's You; What's New; 317 East 32nd; Body And Soul; Blueberry Hill; A Distant Bell; Bats; Mr. Bumi; My New Lovers All Seem So Tame; My Old Flame; Blueberry Ice Cream take 1.
Ethan Iverson: piano; Lee Konitz: alto saxophone, vocals (track 13); Larry Grenadier; Jorge Rossy.

Leandro Braga Trio
Fé Cega - A Música de Milton Nascimento  

By Divulgação
Em meio às comemorações pelos 50 anos de carreira de Milton Nacimento, o pianista, maestro e compositor Leandro Braga reúne temas consagrados de Bituca no delicado “Fé Cega”. Construído em formato de suítes, o CD traz versões instrumentais para sucessos como “Ponta de Areia”, “Maria, Maria”, “Fé Cega, faca amolada” e “Nada será como antes”, além da participação especialíssima de Milton em “Beco do Mota”. Como um dos mais requisitados músicos e arranjadores da atualidade, Leandro Braga participou de musicais como “Evita” e de inúmeros projetos de Ney Matogrosso, Chico Buarque, Edu Lobo, Adriana Calcanhotto, Marcos Valle, Simone e tantos outros. O CD “Fé cega”, sétimo na discografia de Leandro, termina com um tema composto pelo maestro, chamado “Sonho de Juventude”.
1. Suite 1 (Fé Cega / Faca Amolada / Maria Solidária / Noites Do Sertão / Ponta De Areia)
2. Cais
3. Suite 2
4. (Abertura / A Lua Girou / Encontros E Despedidas / Saudade Dos Aviões Da Panair / Cravo E Canela / Maria, Maria)
5. Beco Do Mota
6. O Que Será
7. Suite 3 (Milagre Dos Peixes / Nada Será Como Antes)
8. Sonho De Juventude

Sergio Wagner & Alan Zimmerman Sexteto
Backstage Sally

By Jakob Baekgaard
Those listeners enamored with the classic sound of hard bop modernism that Blue Note propelled in the '50s and early '60s will be well served by Argentinian label Rivorecords whose catalog basks in the swinging sounds of the past, but adds a contemporary touch of urgency.
Label boss Justo Lo Prete has found a winning formula: top-notch Argentinian jazz musicians playing hard bop classics and standards in sophisticated arrangements, with the occasional original thrown in for good measure. All packaged in luxurious digipacks with distinctive design and beautiful photos. This must be the dream of every collector and music lover who wants to relive the past in the present.
Backstage Sally is another classy entry in the catalog of Rivorecords. Trumpeter Sergio Wagner and pianist Alan Zimmerman lead a sextet that discovers new magic in old themes like Jimmy Van Hausen's "Darn That Dream" and Jimmy Mchugh's "On the Sunny Side of the Street."
It's a band that smokes and a tune like trombonist Curtis Fuller's "The Egyptian" is right in the moment, with fiery, razor-sharp brass exchanges between trombonist Juan Canosa, saxophonist Juani Méndez and Wagner. Trumpeter Kenny Dorham is also saluted on congenial interpretations of "Sao Paulo" (misspelled Sao Pablo) and "Lotus Blossom," but Backstage Sally isn't so much an homage to a particular artist as it is a revitalization of an entire sound and tradition. The spirit of hard bop lives on Backstage Sally.
1. Backstage Sally; 2. Sao Paulo; 3. Caravan; 4. Darn That Dream
5. Lotus Blossom; 6. On The Sunny Side Of The Street
7. The Egyptian; 8. So Sweet My Little Girl
Sergio Wagner(tp); Juan Canosa(tb); Juani Méndez(ts)
Alan Zimmerman(p); Germán Lamonega(b); Sebastián Groshaus(ds)

Mariano Loiacono
What's New ?

By Miguel Bronfman / Buenos Aires Herald
Mariano Loiácono is one of the newest personalities on the scene. I Knew It, his début album with original compositions, was releaed in 2008. Loiácono has an interesting voice in the neohard-bop style. What´s New? Works in that same direction too, evoking the formidable sound of groups form the late1950s and 1960s, like Art Blakely and the Jazz Messengers, or the combos led by Max Roach-Clifford Brown, and Julian Adderley. Here the group is made up of Gustavo Musso on tenor sax; Francisco Lo Vuolo, again, on piano; the ever inspiring Jerónimo Carmona; and Pepi Taveria, the master of modern jazz drummin here. Sebastián Loiácono and Ramiro Flores join the group onseveral tracks, both on alto sax. Together with the band, they play a superb version of Work Song , a classic from the hard-bop era, rendered at high speed and keeping the spirit needed by this emblematic tune, which sounds good and lifts up even the laziest soul.
Mariano Loiacono: Trompeta; Gustavo Musso: Saxo tenor; Francisco Lo Vuolo: Piano
Jerónimo Carmona: Contrabajo; Pepi Taveira: Batería
Sebastián Loiacono: saxo alto en 2,6 y 7; Ramiro Flores: saxo alto en 2; saxo soprano en 4
Grabado en estudios Sound Rec, Buenos Aires, el 9 de agosto de 2011
INGENIEROS DE GRABACIÓN: Ricardo Sanz y Carlos Melero
ARTE DE TAPA: Juan Sbaraglia
FOTOGRAFÍAS: Horacio Sbaraglia
PRODUCCIÓN ARTÍSTICA: Mariano Loiacono, Sebastián Loiacono y Justo Lo Prete

6 In Jazz
Tributo a Lucio Battisti

By MiPiaceIlJazz
Per la serata inaugurale prevista la band campana 6 In Jazz con "Omaggio a Lucio Battisti".
Tutte le domeniche di febbraio, il prestigioso teatro salernitano vedrà avvicendarsi sul proprio palco grandi nomi del panorama jazzistico nazionale del calibro dei fratelli Deidda e Scannapieco, A.Vigorito, J.O.Mazzariello, P.Bisogno, Walter Ricci e Armanda Desidery, il tutto accompagnato dalle ottime specialità culinarie del posto.
La serata inaugurale del 5 Febbraio, vedra' sul palco la band campana 6 In Jazz che presentano "Omaggio a Lucio Battisti" con i musicisti Sandro Deidda, (sax tenore & soprano), Alessandro Castiglione (chitarra), Guglielmo Guglielmi (pianoforte),Pierpaolo Bisogno (vibrafono, vibrandoneon e percussioni), Aldo Vigorito(contrabbasso), Peppe La Pusata (batteria); un viaggio musicale e un omaggio alla canzone d'autore con un repertorio battistiano all’insegna dell’improvvisazione jazz.
In programma Emozioni, Perché no, I giardini di Marzo, Prendila così, Con il nastro rosa, Sì viaggiare, Aver paura di innamorarsi troppo, e tanti altri successi dell’indimenticabile cantautore, che hanno fatto epoca e che trovano nuova luce in una veste diversa dalle sonorità jazz.
Il progetto nasce dall’amore per la musica di due giovani musicisti, Daniele Borrelli e Anna Maria Fortuna, e dalla voglia di diffondere il jazz nella loro città:sogno realizzato grazie alla collaborazione con Pupi&Pupi Management, da anni protagonisti del by night salernitano.

1 Sem 2014 - Part One

Esperanza Spalding
Radio Music Society

By Mark F. Turner
If there's to be an unofficial ambassador for contemporary jazz then Esperanza Spalding could fit the bill nicely. The young bassist, singer, and composer brings a fresh exuberance marked by prodigious talent; honoring those who have paved the way, yet seeking to pursue her own path. Whether receiving the 2011Grammy for "Best New Artist" or shining bright at the 2012 Academy Awards , in an unusual yet memorable performance, she's riding a wave of deserved recognition.
Where 2011's Chamber Music Society (Heads Up International) fronted a jazz trio with classical strings and voice, its companion release Radio Music Society reveals Spalding's passion for pop music forms. There was a time when jazz and pop music sometimes shared the airwaves on the same program lists, but that's an entirely different topic. As already proven on previous releases, she's quite convincing in almost any setting, while bringing her own whimsical and sophisticated style to the program.
The set is a veritable songbook as Spalding delivers her dual threat of sublime singing and swinging basses, with some help from an impressive roster of artists. There's the ebullient "Radio Song" that spins an infectious arrangement with vocal harmonies in the vein ofThe Manhattan Transfer and Take 6, or pleasant surprises such as Michael Jackson's hit "I Can't Help It," written by Stevie Wonder, with raspy notes from saxophonist Joe Lovano.
Yet there are multilayered qualities at work in Spalding's compositions. Contrapuntal harmonies are present in "Cinnamon Tree," which switches from balladry to dark toned funk provided by guitarist Jef Lee Johnson. But there's also awareness of social issues in the uplifting words of "Black Gold," dedicated to young boys of color, or the bittersweet irony of "Land Of The Free"—sweetness found in Spalding's supple voice yet bitter truths heard in lyrics that speak about injustices in the criminal justice system.
If there's one song that stumbles, it's the lighthearted tale of an inevitable breakup in "Let Her." But there are also moments of weightier brilliance such as "Vague Suspicions," whose video provided in the deluxe edition is simply riveting, as the music is brought to life in scenes of serenity and war casualties from opposing views. There's a plethora of good music throughout the set: funky horn vamps; an '80s electronic fusion-like grooves in Wayne Shorter's "Endangered Species," where Spalding shows here electric bass skills; and some Lena Horne-like glam on "Hold On Me," in a swanky big band setting.
Not fitting neatly into either a jazz or pop music box can present a conundrum for some fans and critics, but Spalding's interests are clearly diverse. She's more than just another pretty face who can sing and play what everyone wants. Her words and music, as continued in Radio Music Society, are telling new stories in her own voice.
Track Listing:
Radio Song; Cinnamon Tree; Crowned & Kissed; Land of the Free; Black Gold; I Can't Help It; Hold On Me; Vague Suspicions; Endangered Species; Let Her; City of Roses; Smile Like That.
Esperanza Spalding: vocals, electric and acoustic bass; Leo Genovese: piano, Rhodes, guembri, keyboards (1-3, 6,8-12); Terri Lyne Carrington: drums (1-3, 5,9, 11); Anthony Diamond: saxophone (11); Q-Tip: vocals, glockenspiel (11); Jamie Haddad: percussion (1); Gretchen Parlato: background vocals, spoken word (1, 6, 10); Raydar Ellis: spoken word, sounds (10); Leni Stern: background vocals (10, Becca Stevens: background vocals (1, 6); Justin Brown: background vocals (1, 6); Alan Hampton: background vocals (1); Chris Turner: background vocals (1); Darren Barrett: trumpet (1, 2, 3, 9, 10, 12); Jeff Galindo: trombone (1,3,8,10, 12); Daniel Blake: saxophones, flute, (1, 2 ,3 ,8 ,9, 10); Jef Lee Johnson: guitar (2, 9); Olivia Deprado: violin: (2); Jody Redhage: viola (2); James Weidman: organ (4); Algebra Blessett: vocals (5); Savannah Children's Choir: choral voices (5); Lionel Loueke: guitar, voice (5); Raymond Angry: organ (5); Tivon Penicott:tenor saxophone(5); Igmar Thomas: trumpet (5); Corey King: trumpet (5); Joe Lovano: tenor saxophone (6); Ricardo Vogt: guitar (6, 8, 10); Lyndon Rochelle: drums (6); Janice Scroggins: piano (7); Billy Hart: drums (7); Jack DeJohnette: drums (8, 10, 12); Lalah Hathaway: vocals (9); Gilad Hekselman: guitar (12).
American Music Program (Big Band): 
Kama Bell: clarinet (1, 7, 11); Andrew Olsen: alto saxophone (1, 7, 11); John Carey: alto saxophone (1, 7, 11); Adam Reihs: tenor saxophone (1, 7, 11); Kyle Zimmerman: alto saxophone (1, 7, 11); Renato Caranto: alto saxophone (1, 7, 11); Stanley Matabane: tenor, alto saxophone (1, 7, 11); Nicole Glover: tenor saxophone (1, 7, 11); Jeff Rathbone: baritone saxophone (1, 7, 11); Benjamin C. McDonald: trumpet (1, 7, 11); Benjamin Seacrest: trumpet (1, 7, 11); Sam Seacrest: alto saxophone (1, 7, 11); Noah Conrad: trumpet (1, 7, 11); Hayden Conrad:tenor saxophone (1, 7, 11); Tre Palmedo: trumpet (1, 7, 11); Noah Hocker: trumpet (1, 7, 11); Kiran Bosely: trumpet (1, 7, 11); Stan Bock: trombone (1, 7, 11); Dan Brewster: trombone (1, 7, 11); Jerry Stalnaker:bass trombone(1, 7, 11); Ian Garner: trombone (1, 7, 11);Javier Nero: trombone (1, 7, 11); Matt Warming: trombone (1, 7, 11); Ashton Summers: trombone (1, 7, 11); Aaron Reihs: tenor saxophone (1, 7, 11).

Bobby McFerrin
Spirit You All

By Steve Leggett
Bobby McFerrin will always be remembered for his 1988 omnipresent hit "Don't Worry, Be Happy," which is fine, really, because that song perfectly reflects McFerrin's belief that music should calm, heal, soothe, and redeem, and all of his recorded work before and after that breakaway hit fits right in line with that philosophy. On spirityouall, McFerrincenters things around black spirituals, a genre he sees as at the epicenter of American music, full of a kind of musical strength that puts joy, persistence, redemption, and a belief in personal and collective freedom up against the horrors, pressures, marginalization, and pure evil the world can generate in our lives. The album is also a tribute to his father,Robert McFerrin, whose 1957 album Deep River brought black spirituals into the world of the concert hall and high art, and like that groundbreaking release, this album opens with the same song, an easy rolling "Everytime." In all, there are seven traditional spirituals here, including "Joshua" (full of McFerrin's jazzy scat singing), a joyous and syncopated "Whole World," and the pulsing, nuanced, and flowing "Wade," alongside an intimate cover of Bob Dylan's "I Shall Be Released" and five McFerrin originals, and the whole sequence adds up to the audio version of a warm comforter blanket. By the time the closing track, "Rest/Yes, Indeed," a two-step spiritual hoedown, rolls in, the world seems not only bearable but better in all dimensions. Music can soothe the savage soul, goes the old adage. McFerrin believes it does even more than that, providing a bridge and a gateway to joy and redemption in a world that all too often seems to want to sweep all of our souls over a cliff. On spirityouall, McFerrin does what he has always done as an artist -- he makes this troubled world shine bright as a diamond.

Mané Silveira

By WorldJazz
1-Samba pro Mozar, 2-Choro para Omara, 3-A Dança do Arminha
4-Luazul, 5-Lumen, 6-Viagem a Saturno, 7-Viva Julia
8-Gira e roda, 9-Despretenciosa
Mané Silveira - Alto, Tenor, Soprano Sax/ Flute; Tiago Costa - Piano; Ricardo Matsuda - Guitars;
Zé Alexandre Carvalho - Bass; Cleber Almeida - Drums.

Geoff Eales Trio
Master OF The Game

By Ian Mann at TheJazzMann
Welsh born pianist Geoff Eales has been on the scene since the 1970’s but only started recording as a leader in 1999. He has mainly recorded in the piano trio format, most notably with bassist Roy Babbington and drummer Mark Fletcher, but there have also been a couple of solo piano ventures.
For “Master Of The Game” Eales has assembled a stellar new trio. Bassist Chris Laurence and drummer Martin France are among the very finest exponents of their respective instruments and it comes as no surprise that this album is probably Eales’ finest to date.
Classically trained and with an encyclopaedic knowledge of jazz piano Eales is a wonderfully versatile player. He has been a regular performer at Brecon Jazz Festival and it was here in 2007 that I saw him pay homage to the greats of jazz piano by playing in a myriad of styles from Art Tatum through Bill Evans to Keith Jarrett. “Master Of The Game” sees him stepping out of the shadows of his influences and truly stamping his own identity on an all original programme.
Given Eales’ jazz lineage the first thing that strikes the listener about “Master Of The Game” is just how modern and contemporary it sounds. The opening “Iolo’s Dance” features the implacable drum grooves of France, piano that changes from percussive to lyrical in the blink of an eye and masterful bass playing from Laurence, whether locking in with France or soloing fluently. The piece is a dedication to the Welsh poet and scholar Iolo Margannwg. It’s a splendid way to start the album.
“Magister Ludi” was inspired by writings of the German author Herman Hesse. The “Magister Ludi is the central character of Hesse’s final work “The Glass Bead Game”. Latin for “Master Of The Game” this is effectively the album’s title track. This richly dramatic piece opens with France’s eerie drum intro, building through Laurence’s rich, dark arco bass to Eales’ rhapsodic piano. The piece, like many others on the album is very much a musical journey, here cinematically travelling from minimalist beginnings to wide-screen magnificence. It’s something of a feature for Laurence who solos in both arco and pizzicato formats but the piece is best viewed as a complete entity, the writing and the performances are simply excellent.
“Awakening” initially explores a freer aspect of playing but achieves dramatic effect through Eales’ ghostly piano tinklings and Laurence’s low register arco flourishes. The trio later emerge from the darkness to lay down some joyous grooves that nod in the direction of e.s.t. (the later “Lachrymosa” is a more formal dedication to the late, great Svensson) France’s scintillating drum breaks are particular delight.
“Song For My Mother” opens with a lengthy passage for solo piano. The mood of the piece is celebratory and the trio play the beautiful, gospel tinged melody straight and with the minimum of ornamentation. There’s a typically lyrical solo from Laurence and France’s drums are subtly assertive, always pushing the music forward but never imposing too much. There are echoes of Keith Jarrett’s “My Song” in the style and feel of the piece but ultimately this is Eales’ song or , perhaps more accurately his mother’s.
Less dolorous than it’s title might suggest “The Saddest Journey” also has a beautiful melody, one that emerges from an improvised intro in the style of “Awakening”. Laurence once again impresses both with and without the bow and his pizzicato style is featured extensively in a lengthy solo. The bassist is the perfect foil for Eales and the pair sometimes perform concerts as a duo.
“Inner Child” opens with solo piano and evolves into a suitably airy melody sketched by Eales’ gently lyrical piano supported by Laurence’s purring bass undertow and France’s delicate brushwork. The trio embellish the melody with a number of dazzling runs from Eales and yet another fine solo from Laurence. Behind the relaxed atmosphere is a performance of consummate technical skill.
Next comes “Lachrymosa”, Eales’ dedication to the great Swedish composer and pianist Esbjorn Svensson who tragically died as the result of a diving accident in June 2008. Suitably reverent in tone the tune occasionally hints at e.s.t.‘s style on slower pieces but is not an overt attempt to mimic their approach. In the end “Lachrymosa” stands both as a fitting tribute and as a convincing piece of music in it’s own right.
“Sudden Departure” brings the album full circle, placing Eales’ Bill Evans influenced piano stylings into a contemporary rhythmic setting. It’s an invigorating way to close a marvellous album, a recording Eales can be very proud of. His writing is consistently imaginative and each item has a strong narrative thread that makes each composition unique.
The playing too, is excellent throughout with Laurence and France playing key roles. The bassist is brilliant with or without the bow, and functions both as a superb accompanist and a consistently interesting soloist. France too, is a master of his craft, his subtly propulsive style is just right for the music and his rhythmic shading and attention to detail exquisite. The interaction between the three players makes for genuine musical conversation. “Master Of The Game” is a great team effort.
However the ultimate credit must go to Eales for his masterful writing and excellent playing Like the great John Taylor (with whom France and Laurence have also worked) Eales just seems to get better with age. “Master Of The Game” is a highly distinctive album in an overcrowded field. It deserves to propel Eales into the piano premier league.

Dave Stapleton

By Chris May
Dave Stapleton is a multi-tasker of Olympian energy and talent. That is not a new observation, but as the pianist and record company director's outputs increase, it bears repeating. As well as operating the Edition label, which has released 30 albums of immaculately-recorded British and European jazz since he founded it in 2008, Stapleton has maintained his own career as a musician. Flight is his seventh album for the label as leader or co-leader, and is his most ambitious outing to date. It employs a jazz quartet and a string quartet—but is a long way from being a routine with-strings album.
As with most of Stapleton's albums, Flight is as much about his composing and arranging as it is about performance. The writing here conjures a serious atmosphere: sometimes wistful, sometimes somber; sometimes seeming to reach back into memory, at others forward towards resolution, or, perhaps, the unattainable—but always reaching. The melodies are strong and sharply turned; the harmonies tonal but flecked with astringency and flashes of dissonance, at times variously suggesting the chamber music of Antonin Dvorak, Benjamin Britten and Dmitri Shostakovich. To this pleasingly complex ambiance, the jazz soloists add another dimension.
The collective personnel is made up of young lions from across Britain, Europe and Scandinavia. Two are Edition artists in their own right: Danish tenor saxophonist Marius Neset and British double bassist Dave Kane have both released debut albums on the label, Neset's Golden Xplosion (2011) and Kane's Eye Of The Duck (2009). Alongside Matthew Bourne and drummer Steven Davis, Kane is also one-third of the Bourne Davis Kane trio, who released Lost Something on Edition in 2008. Neset, the chief soloist on Flight, more than justifies the excitement which greeted Golden Xplosion.
Finnish drummer Olavi Louhivuori is a less familiar name. Stapleton heard him playing with saxophonist Tore Burnborg at Jazzahead in Germany in 2011, got along well with him at a post-performance meal with the band, delved into his back catalogue and liked what he heard. Louhivuori has also performed and/or recorded with trumpeter Tomasz Stanko, bassistMats Eilertsen and pianist Alexi Toumarila. Violinist David Brodowski, born in Poland and brought up in Germany, formed the Brodowski String Quartet in London in 2005, with three British players. The quartet is an up-and-coming item on the country's chamber music scene.
Jazz/classical mixes are fiendishly difficult to pull off, and few of them are as deeply synthesized as the music on Flight. It is an album whose elegant surface sits atop real depth and substance. Highly recommended.
Before; Polaroid; Flight; Henryk Part 1; Henryk Part 2; Unity; OTS; Whisper; Running East; North Wind.
Dave Stapleton: piano, electric piano; Marius Neset: tenor saxophone; Dave Kane: double bass; Olavi Louhivuori: drums. Brodowski String Quartet: David Brodowski: violin 1; Catrin Win Morgan: violin 2; Felix Tanner: viola; Reinoud Ford: cello.