The Squid's Ear
Recently @ Squidco:

Georg Graewe Quintet:
Amsterdam, October 1998 (Random Acoustics)

Recorded in concert at Amsterdam's Stedelijk Museum in 1998, legendary pianist Georg Graewe's Quartet with Frank Gratkowski on alto saxophone & clarinet, Kent Kessler on double bass, and Hamid Drake on drums present a tour-de-force of passion, technique and creative drive in an epic 53 minute improvisation from high energy to reflective stretches; superb! ... Click to View


Georg Graewe:
Stills And Stories (Random Acoustics)

German pianist and Euro Free Jazz stalwart Georg Graewe in his first solo release in more than a decade, a remarkable set of succinct compositions balancing astonishing technical skills with beautifully expressive playing, presented in several series of "stills" and "stories". ... Click to View


Frederick Galiay (Viard / Sebastien / Boudart / Galiay):
Time Elleipsis (Ayler)

Dramatic, darkly thrilling with moments of sheer beauty, from French electric bassist Frederick Galiay and his Camaeleo Vulgaris ensemble, a sextet performing Galiay's compositions in a potent mix of electric guitar, electrified baritone sax, synthesizer, and two drummer/percussionists, recorded after a dozen live concerts honing the material to this riveting studio version. ... Click to View


Francois Carrier / Tomek Gadecki / Matcin Bozek / Michel Lambert:
Wide (FMR)

A burning album of collective free jazz from Canadian compatriots Francois Carrier on alto saxophone and Michel Lamber on drums, on a spring tour of Europe, performing at Polands MOZG in Byrgoszcz, hope of the MOZG Festival, with Polish tenor saxophonist Tomasz Gadecki amd bassist Mracin Bozen, also on French Horn, in an exhilarating set of three extended improvisations. ... Click to View


Thollem / Parker / Cline:
Gowanus Sessions II [VINYL] (ESP)

Free collective improvisation with an electronic edge from the trio of Nels Cline, double bassist William Parker and pianist Thollem McDonas, following up on their 2012 "Gowanus Session I" recorded in the same studio space, here expanding on the 1st session's shorter works with two large and evolving improvisations that balance reflective moments with intensive playing. ... Click to View


Werner Dafeldecker :
Parallel Darks [VINYL] (Room40)

Viennese-born, Berlin-based electro-acoustic composer Werner Dafeldecker (Polwechsel, Fennesz, &c) creates an intense and beautiful musique concrete and acousmatic journey in two parts, examining "perspective, extreme subjectivity and the specters that haunt our auditory worlds" through mysterious sound and enveloping sonic construction, a profound and riveting work. ... Click to View


Skeleton Crew (Frith / Cora):
Learn to Talk [VINYL] (ReR Vinyl)

Reissuing the first of two albums from the NY collaboration of guitarist Fred Frith and cellist Tom Cora, both providing vocals, percussion, violin, & bass, in a classic example of Downtown NY genre-merging of improvisation and rock with a vicious edge, in smart songs and even smarter instrumental sections, an insanely inventive and intelligent album as vital now as it was then. ... Click to View


Acid Mothers Temple & The Melting Paraiso U.F.O.:
Minstrel In The Galaxy [VINYL + DOWNLOAD] (RIOT SEASON)

... Click to View


Leap Of Faith:
Cosmic Distance Ladder (Evil Clown)

The core trio of the Leap of Faith Orchestra comprising multi-reedist & wind player David Peck, also on percussive devices, with Glynis Lomon on cello, aquasonic and voice, and Yuri Zbitnoff on drums & percussions, with special guests Kat Dobbins on trombone and Bob Moores on trumpet & flugelhorn, in an evolving set of strong harmonic, percussive & lyrical interaction. ... Click to View


Gen Montgomery Ken:
Endogeny [CASSETTE] (Tribe Tapes)

Sound and Visual artist Gen Ken Montgomery released this album on cassette on the Directions Music label in 1990, here reissued in 2020; the two side-long pieces were performed live and then remixed, using a mixture of tapes, concrete and mechanical sounds alongside love instrumentation of percussion, violin, voice, &c, sometimes stark, always fascinating. ... Click to View


Jean Derome:
Somebody Special (Ambiances Magnetiques)

Drawing on Steve Lacy's quintet, Montreal saxophonist Jean Derome pays homage to the late saxophonist through a selection of 9 Lacy pieces with lyrics from Brion Gysin, Lao Tseu, Herman Melville, &c, in a quintet with Derome on alto sax, bass flute & voice, Karen Young providing vocals, Alexandre Grogg on piano, Normand Guilbeault on double bass, Pierre Tanguay on drums. ... Click to View


Ensemble SuperMusique / Symon Henry:
voir dans le vent qui hurle les étoiles rire et rire (Ambiances Magnetiques)

Montreal's true supergroup since 1998 of some of the city's essential Musique Actuelle performers and composers, directed by Danielle Palardy Roger and including Jean Derome, Joane Hetu, Scott Thomson, Lori Freedman, Alexander St. Onge, &c. &c., take on Quebec composer Symon Henry's piece, performed in an exceptional and impressive concert in the Chapel in Bon-Pasteur. ... Click to View


Gabriel Dharmoo :
Quelques fictions (Ambiances Magnetiques)

Stunningly unusual vocal music from composer, music researcher and vocalist based in Montreal, Gabriel Dharmoo, collecting works from 2012 to 2019, performed with small and large ensembles using almost completely wordless voice, utterance, guttural sound, swoops and, melodic flights, augmented with physical percussion like stamping and clamping; brilliant and enthralling. ... Click to View


Prevost / Solberg / Pettersen / Moore / Brice / Hardie-Bick:
Plumes of Ash in Moonlight [2 CDs] (Split Rock Records)

Bringing together two innovative improvising percussionists--Eddie Prevost of AMM fame, and Stale Liavik Solberg (VCDC, John Butcher)--for a studio album of wide-ranging and sometimes hair-raising electroacoustic improvisation, recorded live and unedited with Olie Brice on double bass, Tony Hardie-Bick on piano & tapes, Ed Pettersend on lap steel, and NO Moore on guitar. ... Click to View


Ken Vandermark / Paal Nilssen-Love Duo:
AMR (NO LABEL)

The long-running duo of Chicago saxophonist and clarinetist Ken Vandermark and Norwegian drummer/percussionist Paal Nilssen-Love are heard in this live concert at AMR in Geneva, Switzerland in 2018, performing the first four letters of the alphabet ("A", "B", "C" & "D"), each letter a unique creative approach in evolving their remarkable and enthralling dialogs. ... Click to View


Decoy (Alexander Hawkins / John Edwards / Steve Noble) With Joe McPhee:
AC/DC (Otoroku)

The UK Decoy trio of John Edwards (bass), Steve Noble (drums) and Alexander Hawkins (keys) joins forces with pocket trumpet and saxophone player Joe McPhee during McPhee's residency at London's Cafe OTO, recording these two huge sets of brilliant free improv, Hawkins performing on organ adding a unique and soulful tone to the set that balances powerful energy with innate lyricism. ... Click to View


John Carter Octet:
Dauwhe [VINYL] (Black Saint Vinyl)

A much-needed reissue of John Carter's 1982 LP "Dauwhe", the first chapter in his "Roots and Folklore" saga, a 5-part epic through African American heritage, performed with Carter himself on clarinet, Bobby Bradford (cornet), James Newton (flute), Charles Owens (sax, oboe & clarinet), Red Callender (tuba), Roberto Miranda (bass), William Jeffrey (drums), and Luis Peralta (percussion). ... Click to View


Philip Samartzis / Eric La Casa :
Captured Space [CASSETTE] (Cronica)

Kruger National Park in the north-east corner of South Africa is the subject of Eric La Casa and Philip Samartzis's audio exploration, using field recordings made over 10 days in and around the park, and taking them into the studio to organize them into an aural representation of the park's exotic mystery, placidity and tension, with a tinge of the modern world nearby. ... Click to View


Laboratorio Della Quercia:
Laboratorio Della Quercia [VINYL 2 LPs] (Alternative Fox)

Documenting the 12-day Italian experimental jazz festival at the ancient amphitheater Tasso della Quercia in 1978, revolving around Italian improvsers Tommaso Vittorini, Eugenio Colombo, Maurizio Giammarco, Alberto Corvini, Danilo Terenz, with visiting players Steve Lacy, Steve Potts, and Evan Parker, trombonist Roswell Rudd, pianist Frederick Rzewski, and drummer Noel McGhee. ... Click to View


Turbulence:
Eddy Flux (Evil Clown)

The extended horn section for the Leap of Faith Orchestra from the Boston-area collective led by reedist/multi-instrumentalist David Peck, here with PEK on an assortment of saxophones, clarinets, flutes, game calls and percussion, the other horns from Michael Caglianone on sax, game calls, wind sirens and percussion, with drums, bells, bowls and other percussion from Yuri Zbitnoff. ... Click to View


Ratchet Orchestra:
Coco Swirl (Ambiances Magnetiques)

Active since the early 90's, the superb Montreal super-group Ratchet Orchestra under the direction of Nicolas Caloia with 19 performers presents 10 works including the title track, with soloists including Jean Rene, Lori Freedman, Jean Derome, Ellwood Epps, Sam Shalabi, Craig Petersen, Yves Charuest, Joshua Zubot, Scott Thomson, Isaiah Ceccarelli, &c. ... Click to View


Chris Pitsiokos :
Speak In Tongues And Hope For The Gift Of Interpretation (Relative Pitch)

Dedicating his pieces to Charlie Parker, Anthony Braxton, Roscoe Mitchell, Ornette Coleman, Eric Dolphy, and John Zorn, NY alto saxophonist Chris Pitsiokos is heard live at this solo concert in New Haven, CT in 2019, reflecting on the history of jazz through his intense playing style that deploys incredible technique balanced with abstraction and rapid lyricism. ... Click to View


Raoul Bjorkenheim :
Solar Winds (Long Song Records)

Paying tribute to his musical inspiration John Coltrane, Finnish/NY electric guitarist Raoul Bjorkenheim leads a quartet with Silvia Bolognesi on contrabass, Tiziano Tononi on drums & percussion, and Emanuele Parrini on violin, as they perform five Coltrane compositions and two Bjorkenheim originals, a superlative homage to technical brilliance and conceptual vision. ... Click to View


Eugene Chadbourne / Duck Baker / Randy Hutton :
The Guitar Trio In Calgary 1977 (Emanem)

A concert recording from 1977 in Calgary, CA captured during Eugene Chadbourne's time in Canada prior to his move to NYC, from the guitar trio of Duck Baker, Randy Hutton & Eugene Chadbourne, performing on acoustic guitars, using a variety of approaches to improvising in trio, duo and solo configurations, with original work, an Ornette Coleman mashup, and a piece by Charlie Haden. ... Click to View


Company:
1983 [VINYL 2 LPs] (Honest Jons Records)

Unreleased recordings from Derek Bailey's Company project, recorded at the BBC in 1983 with a stellar set of performers including Evan Parker (clarinet), Hugh Davies (electronics), Jamie Muir (percussion), Joelle Leandre (bass), J.D. Parran (winds), John Corbett (trumpet), Vinko Globokar (trombone), Ernst Reijseger (cello), and Peter Brotzmann (reeds). ... Click to View


Muhal Abrams Richard:
Celestial Birds [VINYL] (KARLRECORDS)

A compilation of works from the late Chicago multi-reedist, experimenter, and AACM founder Muhal Richard Abrams, focused on his widely unknown electronic compositions, in four recording from 1968-1995 with collaborators including Anthony Braxton, Leroy Jenkins, Amina Claudine Myers, Roscoe Mitchell, Maurice McIntyre, Yousef Yancey, Thurman Barker, &c. ... Click to View


Eric La Casa:
L'inspir du Rivage part 2&3 [VINYL 7-inch] (Povertech / Joe Colley)

First stock of this 1999 7" from French sound artist Eric La Casa created as part of Joe Colley's "Explorer" series, the title translating to "the shore breathing" where each composition develops from field recordings of water, the first part more naturalist and adhering to the initial recordings, the second using sound processing to create something unique and mesmerizing. ... Click to View


Rachel Musson / Naoko Saito / Audrey Lauro:
The Region Of Braille Responsibility [CD with English Braille Sheet] (Armageddon Nova)

Three female saxophonist from around the world--Rachel Musson (UK), Naoko Saito (Japan) and Audrey Lauro (Belgium)--in a compilation of solo saxophone works, two extended pieces from Musson and Satio, and four shorter works from Laura, with a CD insert with English Braille characters, and a QR code that, when scanned, plays the audio information for the album. ... Click to View


Musica Elettronica Viva:
United Patchwork [VINYL 2 LPs] (Alternative Fox)

A reissue of Musica Elettronica Viva's innovative 1978 open-structured album of free improvisation, United Patchwork, with the core performers of Frederic Rzewski on piano & electric piano, Richard Teitelbaum on synthesizer & conch shells, Alvin Curran on synthesizer & keys, plus Karl Berger on keys & vibraphone, Garrett List on trombone, and Steve Lacy on soprano sax. ... Click to View


Karkhana:
Bitter Balls [VINYL] (Unrock)

LP-only, no 7" single. The second full-length album from Karkhana, a septet featuring members of Dwarfs Of East Agouza, A "Trio", Konstrukt, Chicago Tentet, Land of Kush, among others in four compositions of "crystal clear and deep, dark, distorted unrock compositions" in both electric and acoustic instrumentation, an international genre-crossing album. ... Click to View


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  Peter Kowald and the New York Unity Village  


By Mike Heffley
Photo by Enid Farber 2002-12-20

In the months before Peter Kowald's death on September 21, 2002, at 58, the master bassist and dedicated organizer was in the process of relocating to New York City. He had taken an apartment in Harlem and was heavily involved in that year's Vision Festival, even working the concession stand any time he wasn't playing, methodically cutting bread and cheese and selling sandwiches.

Kowald was no stranger to New York, of course. He had helped to organize the Sound Unity Festival, the precursor to the Vision Festival, in 1984, and had a long-standing relationship with fellow bassist William Parker and his wife, dancer Patricia Nicholson, the driving force behind the Vision festival.

Just as he organized musical groups and festivals, Kowald was a builder of communities. And while no one can say what a life cut short might otherwise have brought, one thing seems certain: had he lived just five more years, the free music scene in New York would have been dramatically different.

The following selections show Kowald's interest in New York and in American jazz. They are excerpted from a remarkable 1,200 page manuscript on the history of FMP records and German jazz by Mike Heffley an English Professor at Rutgers University and author of The Music of Anthony Braxton and the forthcoming Northern Sun, Southern Moon: Europe's Reinvention of Jazz, due out in the Spring and based on his dissertation.

Thanks to Mike Heffley for allowing us to reprint sections of his work, and to Harold Meiselman for pointing us to this important document.

"I first met Peter Kowald in New York, when he performed at the Vision Festival in 1996. He was totally receptive to my desire to write a book about European improvisers centralizing him and his FMP colleagues. He invited me into his home in Wuppertal for several days while I interviewed him and his neighbor Peter Brtzmann. His opennessa nd generosity of intellect and soul opened the doors to other musicians in his circles from around the world, both for me and my project and for the music itself. More than anyone, it was he who put a face to what Western music might look like as just one flower, well placed, in the bouquet of the world's musics. I am grateful to have known him..." ?Mike Heffley, November, 2002

Kowald's impromptu summary of his history with groups paints him as the perfect personality type for the oft-noted European organizational preference for collective bands, in contrast to the individualistic leader-sideman constructs more typical of American groups (to say nothing of the fit such a personality is with the traditionally supportive role of the bassist in jazz).

Peter Kowald

"The trio with Pierre"?Favre?"and Irčne"?Schweizer, from 1968-69?"was more of a collective group," he says, "but I have to say that again I was the youngest in that group. Then I started playing with [Alexander] von Schlippenbach in both Globe Unity projects and in the quartet"?1973-78?"but still I felt more or less like a sideman. The quintet I led"?1970-72?"was an exception to the norm, and I gave it up largely because it was too early to do my own projects; they still lacked conviction.

"The first of my own projects was the trio with Leo Smith and Baby Sommer in '79. It was my choice of people; it was still basically a collective group, and we gave it a collective name. So I guess I'm not so much of a bandleader type anyway, to this day, even though I've had my own groups for a long time."

A glance at Kowald's resumé nonetheless reveals the strength and maturity that can issue from such a personality: collaborations with a vast network of well-known players, poets, painters a n d dancers from America, Asia, Indonesia, New Zealand and Australia, Russia, and Europe; recording projects such as Duos (1992 FMP, a 3-LP/1-CDset of short impromptu duets with thirty different instrumentalists/vocalists from Europe, Japan, and the U.S.); ongoing collaborations with a few of these combinations, including the Siberian singer Sainkho Namtchylak, the Global Village group of improvisers from Asia, America, and Europe; and a pattern of art activism that results in interdisciplinary and cross-cultural formations and organizations devoted to presenting and promoting their products, such as the Sound Unity Festival and Musicians Coop he set up in New York with fellow bassist (often Cecil Taylor's) and friend, William Parker. By comparison, the approach of a strong leader always forming groups and statements around his own personality and concept would conceivably miss a lot of ground Kowald has covered, even broken, for the music.

I ask him about a trip to Africa he had mentioned. It was an exchange of mostly visual artists organized by an African painter who had come to Wuppertal to study with German painter Joseph Beuys. Kowald was the only musician, with four German artists, who lived in a West African village for two-and-a-half months in 1992 to work with five artists there; the following year, the five came to Wuppertal.

"I draw a little bit, so I did some drawings there too, but I played with different people, a kora player and two drummers, and a singer regularly. They tried to teach me all these rhythms, and I couldn't learn them," he laughs, "but I didn't say no. It took awhile for us to get to a point of trust, after which we arrived where I wanted to arrive, which was for me to be able to do my thing and let them do theirs, and organize it only in terms of when to start and stop and roughly what to do-and it worked, in the end; we did a concert or two, and it worked out. I didn't have to leave my material and they di d n' t have to leave theirs...

"I have a group called the Global Village, after the Marshall MacLuhan term. Sainkho is one of the best examples from that group of this co-creative concept. There are different people from Japan too, and from Greece, and from anywhere, in the theory that people grow up in their tradition-but Sainkho is an interesting example because you can see it so obviously in her life. Her grandparents were still nomads. Both of her parents were already teachers, so she grew up with the music there in Mongolia, then she studied and learned some other things?but her early life, in her twenties, she was singing Tuvan folk songs, going on tour with four other women. Then at a point she went to Moscow and met other people and left the folk song. But now when she improvises with us?she's now part of the family, okay? She left the folk song, but she brought all the stuff she learned in it, except for that local form, to our improvised music.

"It's the same with the Japanese shakuhachi player who starts to improvise: he leaves the local folk song but brings the techniques and vocabulary. Or an African drummer, or a bandoneon player from Argentina?they all leave the traditional local forms behind and come into the open situation of free improvisation, basically, and then they make the step into modernity?die Moderne, we say?they make the step into the twentieth century, somehow.

"I mean, I don't mind folk songs, they're fine; let's just say that if you leave the folk song?what Sainkho brought, all the throat singing, the shamanistic breathing, all that is still there, but not in its original context. She plays with Butch Morris on this record we did [When the Sun is Out you Don't See the Stars, FMP 1990]; the first night they played together she did her stuff and Butch did his, and it works. This is wonderful to me, this is really wonderful. That's how I believe it works. It's a method that could be so m et hin g of a model, of how people can come from different cultures, different areas, with different characters, with all of that, and they bring what they bring,and it's okay?just throw it together with the other stuff, and it works. After just a little bit of figuring out how it works together, then it does."



But if New York was to be Kowald's next village, it was a very different one than his Wuppertal home And Kowald had a very different relationship with what might be called American folk music than he did with European and Asian traditional musics.

The relationship with American jazz has been as problematic in its own way as that with Western civilization as a whole, in terms of achieving healthy individuation. Kowald is a good source for this phase from FMP's first hour Emanzipation, because he is the one who articulated it with phrases such as Kaputtspielphase and "father-killing." The "fathers" in America's case included both European- and African-American aspects of the music and culture: the white side was the same Western diatonic tradition the FMP players were leaving behind in their own European culture, plus whatever particular musicians had been emulated for their mastery of that tradition in jazz terms; and the black side was whatever was peculiarly African in the American mix, an identity that could only be learned from, not drawn directly out of German musical/cultural soil.

"I remember in the studio we did a lot of things we'd never done, like playing with knives on the table, tapping," Kowald says. "So in this way I thought we did something of our own; but at the same time I remember thinking myself?I don't know if everyone else thought this?that I wondered if it would fulfill American standards... I think many of us wouldn't say that out loud; there was a point when we said we didn't want to be beholden to America?'father-killing,' as they say in psychology?so at that time it was sti ll no t cl ear....I remember when we played in Donaueschinger in '66 or '67 with Globe Unity: [Archie] Shepp was there, with Beaver Harris, a very good band, two trombones, Roswell Rudd and Grachan Monchur, Jimmy Garrison; they played after us. I think everybody admired Shepp in a way we wouldn't do now. I mean, we were still the young Europeans looking up to them, even if we didn't admit it, we did... I guess it's really normalized now. But those were phases of emancipation; you have to kill your father for awhile, or tell him to leave you alone. In the late '60s, early '70s, step by step we did that."

Of course, that is the same thing black Americans did with white musical culture to come up with jazz itself, and with advances in it all along the way.

"Let me go back for a minute to Machine Gun and that period," I say. "You gave me a good explanation of the GUO experience. For the smaller groups, and the records that came from them that have become classics, was there a feeling in you at the time of the kill-the-American-father thing, of leaving America aside for something better?"

"I remember when we played with Machine Gun, that band played live first," he says. "So we played in Frankfurt in the festival. And I think Jeanne Lee played with Gunter there, and she liked us, I remember that; and Lee Konitz was sitting in the audience, and he came up after the concert, and he liked it. So I wouldn't say we... it was more the feeling that we got respect from established Americans somehow, like Lee Konitz was. We didn't expect him to like Machine Gun, but he did. Maybe he was just being nice, but I think he was really interested in the movement of the late '60s and stuff, so he was open."

"So maybe you had a connection. Once you stepped out on a limb and killed the father, if the father says, yeah, it's okay, then maybe it's..."

"Well, it was two things at once. You still admired the American musici an s, b ut yo u also were saying you didn't need them. Very normal father relationship."



continued...




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reviews about releases
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Recent Selections @ Squidco:


Georg Graewe Quintet:
Amsterdam,
October 1998
(Random Acoustics)



Werner Dafeldecker:
Parallel Darks
[VINYL]
(Room40)



Skeleton Crew
(Frith /
Cora):
Learn to Talk
[VINYL]
(ReR Vinyl)



Frederick Galiay
(Viard /
Sebastien /
Boudart /
Galiay):
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(Ayler)



Decoy
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John Edwards /
Steve Noble) With Joe McPhee:
AC/DC
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Prevost /
Solberg /
Pettersen /
Moore /
Brice /
Hardie-Bick:
Plumes of Ash
in Moonlight
[2 CDs]
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Ensemble SuperMusique /
Symon Henry:
voir dans le vent
qui hurle les
étoiles rire
et rire
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Jean Derome:
Somebody Special
(Ambiances Magnetiques)



Raoul Bjorkenheim:
Solar Winds
(Long Song Records)



Ratchet Orchestra:
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Company:
1983
[VINYL 2 LPs]
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Muhal Abrams Richard:
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[VINYL]
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Astroturf Noise
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Brunhild Ferrari /
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Will Guthrie:
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Michael Formanek
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Aly Keita /
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