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Laubrock, Ingrid (w/ Halvorson / Davis / Wooley)

Contemporary Chaos Practices - Two Works For Orchestra With Soloists

Laubrock, Ingrid (w/ Halvorson / Davis / Wooley): Contemporary Chaos Practices - Two Works For Orche (Intakt)

Studio recordings of two startlingly impressive compositions for orchestra and improvisers, with four soloists--Mary Halvorson (guitar), Kris Davis (piano), Nate Wooley (trumpet), and Laubrock (saxophone)-- presenting "Vogelfrei" written for the 2014 second Jazz Composers Orchestra Institute Reading, and "Contemporary Chaos Practices" written for the 2017 Moers Festival.
 

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product information:


UPC: 7640120193140

Label: Intakt
Catalog ID: INT314
Squidco Product Code: 26696

Format: CD
Condition: New
Released: 2018
Country: Switzerland
Packaging: Jewel Case
Recorded at Power Station, Berklee, in New York City, New York, on December 15th and 16th, 2017, by Ron Saint Germain.


Personnel:

Mary Halvorson-guitar

Kris Davis-piano

Nate Wooley-trumpet

Ingrid Laubrock-saxophone

Eric Wubbels-conductor

Taylor Ho Bynum-conductor

Greg Chudzik-bass

Pat Swoboda-bass

Nanci Belmont-bassoon

Dana Jessen-bassoon

Talia Dicker-cello

Maria Hadge-cello

Katinka Kleijn-cello

Joshua Rubin-clarinet, bass clarinet

Katie Schoepflin-clarinet, bass clarinet

Bohdan Hilash-contrabass clarinet, clarinet, bass clarinet

Michel Gentile-flutes, piccolo

Zach Sheets-flute, piccolo, bass flute

Elizabeth Fleming-french horn

John Gattis-french horn

Christa Robinson-oboe

Katie Scheele-oboe, english horn

Tim Feeney-percussion

Clara Warnaar-percussion

Jacob Garchik-trombone

Mike Lormand-trombone

Gareth Flowers-trumpet, piccolo trumpet

Dan Peck-tuba

Miranda Sielaff-viola

Dominic DeStefano-viola

Hannah Levinson-viola

Sam Bardfeld-viola

Maya Bennardo-viola

Jean Cook-viola

Erica Dicker-viola

Mark Feldman-viola

Sarah Goldfeather-viola

Megan Gould-viola

Elena Moon Park-viola

Mazz Swift-viola

Roland Burks-vocals

Tomas Cruz-vocals

Chris DiMeglio-vocals

Walker J Jackson-vocals

Amirtha Kidambi-vocals

Kyoko Kitamura-vocals

Emilie Lesbros-vocals

Kamala Sankaram-vocals

Josh Sinton-amplified contrabass clarinet

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Artist Biographies:

"One of improvised music's most in-demand guitarists, Mary Halvorson has been active in New York since 2002, following jazz studies at Wesleyan University and the New School. Critics have called her "a singular talent" (Lloyd Sachs, JazzTimes), "NYC's least-predictable improviser" (Howard Mandel, City Arts), "one of the most exciting and original guitarists in jazz-or otherwise" (Steve Dollar, Wall Street Journal), and "one of today's most formidable bandleaders" (Francis Davis, Village Voice). The Philadelphia City Paper's Shaun Brady adds, "Halvorson has been steadily reshaping the sound of jazz guitar in recent years with her elastic, sometimes-fluid, sometimes-shredding, wholly unique style."

After three years of study with visionary composer and saxophonist Anthony Braxton, Ms. Halvorson became an active member of several of his bands, including his trio, septet and 12+1tet. To date, she appears on six of Mr. Braxton's recordings. Ms. Halvorson has also performed alongside iconic guitarist Marc Ribot, in his bands Sun Ship and The Young Philadelphians, and with the bassist Trevor Dunn in his Trio-Convulsant. Over the past decade she has worked with such diverse bandleaders as Tim Berne, Taylor Ho Bynum, Tomas Fujiwara, Ingrid Laubrock, Myra Melford, Jason Moran, Joe Morris, Tom Rainey and Mike Reed.

As a bandleader and composer, one of Ms. Halvorson's primary outlets is her longstanding trio, featuring bassist John Hébert and drummer Ches Smith. Since their 2008 debut album, Dragon's Head, the band has been recognized as a rising star jazz band by Downbeat Magazine for five consecutive years. Ms. Halvorson's quintet, which adds trumpeter Jonathan Finlayson and alto saxophonist Jon Irabagon to the trio, has released two critically acclaimed albums on the Firehouse 12 label: Saturn Sings and Bending Bridges. Most recently she has added two additional band members-tenor saxophonist Ingrid Laubrock and trombonist Jacob Garchik-to form a septet, featured on her 2013 release Illusionary Sea. Ms. Halvorson also co-leads a longstanding chamber-jazz duo with violist Jessica Pavone, the avant-rock band People and the collective ensembles Thumbscrew and Secret Keeper."

-Mary Halvorson Website (http://www.maryhalvorson.com/bio/)
8/19/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Pianist-composer Kris Davis has blossomed as one of the singular talents on the New York jazz scene, a deeply thoughtful, resolutely individual artist who offers "uncommon creative adventure," according to JazzTimes. The Vancouver-born, Brooklyn-residing Davis was dubbed one of the music's top up-and-comers in a 2012 New York Times article titled "New Pilots at the Keyboard," with the newspaper saying: "Over the past couple years in New York, one method for deciding where to hear jazz on a given night has been to track down the pianist Kris Davis." Reviewing one of the series of striking albums Davis has released over the past half-decade, the Chicago Sun-Times lauded the "sense of kaleidoscopic possibilities" in her playing and compositions.

Long favored by her peers and jazz fans in the know, Davis has earned high praise from no less than star pianist and MacArthur "Genius" Grant honoree Jason Moran, who included her in his Best of 2012 piece in Art Forum, writing: "A freethinking, gifted pianist on the scene, Davis lives in each note that she plays. Her range is impeccable; she tackles prepared piano, minimalism and jazz standards, all under one umbrella. I consider her an honorary descendant of Cecil Taylor and a welcome addition to the fold."

The newest album from Davis as a leader is Capricorn Climber (Clean Feed, 2013), with the pianist joined by kindred spirits Ingrid Laubrock (tenor saxophone), Mat Maneri (viola), Trevor Dunn (double-bass) and Tom Rainey (drums). Davis made her debut on record as a leader with Lifespan (Fresh Sound New Talent, 2003), followed by three progressively inventive and acclaimed albums for the Fresh Sound label: the quartet discs The Slightest Shift (2006) and Rye Eclipse (2008), then the trio set Good Citizen (2010). Davis's 2011 solo piano album on Clean Feed, Aeriol Piano, appeared on Best of the Year lists in The New York Times, JazzTimes and Art Forum. Davis wrote the extraordinary arrangements for saxophonist-composer Tony Malaby's nonet project Novela, with the album Novela released by Clean Feed in 2011 and appearing on Best of the Year lists in DownBeat and JazzTimes. The pianist is also part of the collaborative Paradoxical Frog with Laubrock and drummer Tyshawn Sorey; their eponymous 2011 album on Clean Feed was included on Best of the Year lists by National Public Radio, The New York Times and All About Jazz.

In addition to her work as a leader, Davis has performed with such top figures as Paul Motian, Bill Frisell, Tim Berne, John Hollenbeck, Michael Formanek and Mary Halvorson. Davis started playing piano at age 6, studying classical music through the Royal Conservatory in Canada and formulating her desire for a life in music by playing in the school jazz band at age 12. She earned a bachelor's degree in Jazz Piano from the University of Toronto and attended the Banff Centre for the Arts jazz program in 1997 and 2000. The pianist received a Canada Council grant to relocate to New York and study composition with Jim McNeely, then another to study extended piano techniques with Benoit Delbecq in Paris. She holds a master's in Classical Composition from the City College of New York, and she teaches at the School for Improvised Music.

The Jazz Gallery has given Davis a commissioning residency to write for her trio with Rainey and John Hébert to take place in May 2013, and the Shifting Foundation awarded her a grant to compose and record a large-ensemble project. About her art, JazzTimes has declared: "Davis draws you in so effortlessly that the brilliance of what she's doing doesn't hit you until the piece has slipped past." "

-Kris Davis Website (http://krisdavis.net/bio/)
8/19/2019

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"Nate Wooley was born in 1974 in Clatskanie, Oregon, a town of 2,000 people in the timber country of the Pacific Northwestern corner of the U.S. He began playing trumpet professionally with his father, a big band saxophonist, at the age of 13. His time in Oregon, a place of relative quiet and slow time reference, instilled in Nate a musical aesthetic that has informed all of his music making for the past 20 years, but in no situation more than his solo trumpet performances.

Nate moved to New York in 2001, and has since become one of the most in-demand trumpet players in the burgeoning Brooklyn jazz, improv, noise, and new music scenes. He has performed regularly with such icons as John Zorn, Anthony Braxton, Eliane Radigue, Ken Vandermark, Fred Frith, Evan Parker, and Yoshi Wada, as well as being a collaborator with some of the brightest lights of his generation like Chris Corsano, C. Spencer Yeh, Peter Evans, and Mary Halvorson.

Wooley's solo playing has often been cited as being a part of an international revolution in improvised trumpet. Along with Peter Evans and Greg Kelley, Wooley is considered one of the leading lights of the American movement to redefine the physical boundaries of the horn, as well as demolishing the way trumpet is perceived in a historical context still overshadowed by Louis Armstrong. A combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor has led one reviewer to call his solo recordings "exquisitely hostile".

In the past three years, Wooley has been gathering international acclaim for his idiosyncratic trumpet language. Time Out New York has called him "an iconoclastic trumpeter", and Downbeat's Jazz Musician of the Year, Dave Douglas has said, "Nate Wooley is one of the most interesting and unusual trumpet players living today, and that is without hyperbole". His work has been featured at the SWR JazzNow stage at Donaueschingen, the WRO Media Arts Biennial in Poland, Kongsberg, North Sea, Music Unlimited, and Copenhagen Jazz Festivals, and the New York New Darmstadt Festivals. In 2011 he was an artist in residence at Issue Project Room in Brooklyn, NY and Cafe Oto in London, England. In 2013 he performed at the Walker Art Center as a featured solo artist.

Nate is the curator of the Database of Recorded American Music (www.dramonline.org) and the editor-in-chief of their online quarterly journal Sound American (www.soundamerican.org) both of which are dedicated to broadening the definition of American music through their online presence and the physical distribution of music through Sound American Records. He also runs Pleasure of the Text which releases music by composers of experimental music at the beginnings of their careers in rough and ready mediums."

-Nate Wooley Website (http://natewooley.com/about)
8/19/2019

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"Originally from Germany, Ingrid Laubrock resides in Brooklyn, NY. Between 1989 and 2009 she was active as a saxophonist and composer in London/UK. She performed and/or recorded with: Anthony Braxton, Dave Douglas, Kenny Wheeler, Jason Moran, Tim Berne, William Parker, Tom Rainey, Mary Halvorson, Kris Davis, Tyshawn Sorey, Craig Taborn, Luc Ex, Django Bates' Human Chain, The Continuum Ensemble and many others.

Ingrid's current projects as a leader are Anti-House, Sleepthief, Ingrid Laubrock Orchestra, Ingrid Laubrock Sextet and Ubatuba. Collaborations include LARK,Haste,Paradoxical Frog and Ingrid Laubrock/Tom Rainey Duo.She is a member of Anthony Braxton's Falling River Music Quartet, Nonet and 12+1tet, Tom Rainey Trio and Obbligato, Andrew Drury's Content Provider, Mary Halvorson Septet, Kris' Davis Quintet, Nate Wooley's Battle Pieces and Luc Ex' Assemblée. Ingrid was one of the featured soloists in Anthony Braxton's opera Trillium J.

Awards include the BBC Jazz Award for Innovation in 2004, a Fellowship in Jazz Composition by the Arts Foundation in 2006, the 2009 SWR German Radio Jazz Prize and the 2014 German Record Critics Quarterly Award. Commissions include Jammy Dodgers for jazz quintet and dancers (2006), Nonet music for Cheltenham Jazz Festival 2007, SWR New Jazz Meeting 2011 and "Vogelfrei", a piece for chamber orchestra (ACO/Tricentric Foundation). She won Rising Star/soprano saxophone in the 2015 in the 'Downbeat Annual Critics Poll and won the 'El Intruso Critics Poll for tenor saxophone in 2013. Ingrid was Improviser in Residence 2012 in the German city Moers. The post is created to introduce creative music into the city throughout the year. As part of this she led a regular improvisation ensemble and taught sound workshops in elementary schools. Other teaching experiences include improvisation workshops at Towson University, Guildhall School of Music and Drama, Baruch College, University of Michigan, University of Newcastle and many others."

-Ingrid Laubrock Website (http://ingridlaubrock.com/about.html)
8/19/2019

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"Taylor Ho Bynum (b. 1975) has spent his career navigating the intersections between structure and improvisation - through musical composition, performance and interdisciplinary collaboration, and through production, organizing, teaching, writing and advocacy. As heard on over twenty recordings as a bandleader, Bynum's expressionistic playing on cornet and his expansive vision as composer have garnered him critical attention as one of the singular musical voices of his generation. He currently leads his Sextet and 7-tette, and works with many collective ensembles including a duo with drummer Tomas Fujiwara, the improv trio Book of Three, the UK/US collaborative Convergence Quartet, the dance/music interdisciplinary ensemble Masters of Ceremony, and the trans-idiomatic little big band Positive Catastrophe.

His varied endeavors include his Acoustic Bicycle Tours (where he travels to concerts solely by bike across thousands of miles) and his stewardship of Anthony Braxton's Tri-Centric Foundation (which he serves as executive director, producing most of Braxton's recent major projects). In addition to his own bands, his ongoing collaboration with Braxton, past work with other legendary figures such as Bill Dixon and Cecil Taylor, and current collective projects with forward thinking peers, Bynum increasingly travels the globe to conduct community-based large ensembles in explorations of new creative orchestra music. He is also a published author and contributor to The New Yorker's Culture Blog, has taught at universities, festivals, and workshops worldwide, and has served as a panelist and consultant for leading funders and organizations. His work has received support from Creative Capital, the Connecticut Office of the Arts, Chamber Music America, New Music USA, USArtists International, and the Doris Duke Charitable Foundation."

-Taylor Ho Bynum website (http://taylorhobynum.com/)
8/19/2019

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"Greg Chudzik is an active performer across numerous genres on the double bass and electric bass. Currently, he can be seen performing regularly with several new music groups, including Signal Ensemble, Wet Ink Ensemble, and Talea Ensemble. Greg is also a member of several bands, including Empyrean Atlas, Bing and Ruth, and The Briars of North America. He has worked with numerous influential figures in contemporary music, including Steve Coleman, Steve Reich, Pierre Boulez, George Benjamin, Helmut Lachenmann, Charles Wuorinen, Alex Mincek and Tristan Perich. Last January, Greg completed a tour opening for Jeff Mangum, formerly of Neutral Milk Hotel. Greg's recording credits include playing on the Grammy-nominated "Barcelonaza" by Jorge Leiderman, "Synovial Joints" by Steve Coleman on Pi Recordings, "Tomorrow Was the Golden Age" by Bing and Ruth on RVNG records, the album "Americans" by Scott Johnson (Tzadik records), multiple recordings with Signal Ensemble on New Amsterdam and Mode Records, the album "Grown Unknown" by Lia Ices (Secretly Canadian records), the album "Inner Circle" by Empyrean Atlas, and the album "High Violet" by The National on 4AD records. Greg's new album "Solo Works, Vol. 1" features original pieces of music written for bass guitar and electronics, and will be released this July on Panoramic Records."

-Greg Chudzik Website (http://www.gregchudzik.com/bio/)
8/19/2019

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"Katie Schoepflin is a clarinetist, vocalist, pianist and composer who lives in Chicago and works as a freelance musician. As a member of Ensemble Dal Niente, she has had the privilege of working with and performing the works of Hans Abrahamsen, Louis Andriessen, Raphael Cendo, Brian Ferneyhough, Lee Hyla, George Lewis, Enno Poppe and Augusta Reed Thomas. Katie has recently had the extraordinary privilege of performing Enno Poppe's clarinet concerto, Holz. She also performed with Dal Niente at the 2014 International Summer Courses for New Music in Darmstadt, Germany. Katie earned her Bachelor of Music degree from Indiana University where she won the IU clarinet concerto competition and was awarded a Performer's Certificate. As a participant of the 2006 Henry Mancini Institute in Los Angeles, Katie worked with many renowned artists including Tony Bennett and Jon Williams. In 2008, Katie spent a year abroad in Japan where she was principal clarinetist of the Kakogawa Philharmonic Orchestra in Hyogo prefecture. She also sang jazz sets regularly in Kobe. She earned her Master of Music degree in 2011 from McGill University where she was awarded a full Schulich School of Music scholarship. While studying at McGill, Katie was a participant in the 2011 National Youth Orchestra of Canada, touring and performing extensively throughout Canada. Her primary instructors have been John Bruce Yeh, Alain Desgagne, James Campbell, Frank Kowalsky and Mary Kantor. When she is not making music, Katie is designing and creating jewelry for her etsy.com shop."

-Ensemble Daliniente (http://www.dalniente.com/katie-schoepflin/)
8/19/2019

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"Improviser, composer, and interpreter Tim Feeney seeks to explore and examine the possibilities inherent in unstable sound and duration. Tim began working in this thread in 2002, within Boston's community of improvisers interested in austere combinations of sounds and silences, and has since performed and recorded with musicians throughout the United States and abroad. He frequently collaborates with artists including the trio Meridian, with percussionists Sarah Hennies and Greg Stuart, pianist Annie Lewandowski, cellist and electronic musician Vic Rawlings, vocalist Ken Ueno, saxophonist Andrew Raffo Dewar, banjo and electronic musician Holland Hopson, trumpeter Nate Wooley, sound artists Jed Speare and Ernst Karel, video artist Jane Cassidy, and many others.

He has presented work at experimental spaces throughout the United States, such as the Red Room in Baltimore, Boston's Institute of Contemporary Art, the Knitting Factory New York, and The Stone, as well as the Center for New Music and Audio Technology at UC-Berkeley, the Stanford Art Museum, Princeton University, and Dartmouth College. Within this community, he has recorded for the experimental Caduc, Accidie, Rhizome.s, Full Spectrum, Sedimental, homophoni, Audiobot, Soul on Rice, lildiscs, and Brassland/Talitres labels.

Tim also builds sound installations, concerned primarily with the acoustic properties and geographies of neglected or nontraditional spaces. His recent work has been presented by festivals at locations including Silo City, the abandoned grain complex along the Buffalo River in western New York, Boston's Metropolitan Waterworks Museum, the preserved steam pumping station that processed the city's drinking water, and the Bernheim Research Forest, outside Louisville, Kentucky, as well as by more formal events at the Contemporary Art Center New Orleans and the University of Richmond.

As an interpreter of contemporary compositions, Tim has performed at venues such as the Brooklyn Academy of Music, Zankel Hall, the American Academy in Rome, and the Norfolk Chamber Music Festival, and his work has been featured on WNYC Radio's New Sounds. A member of Boston's Callithumpian Consort, Tim appeared on the Musica Nova series at the Gewandhaus in Leipzig, Germany, and at New York's Tonic, as part of its 50th birthday celebration for John Zorn. As a founding member of So Percussion, Tim appeared in concerts and masterclasses at Columbia University and Williams College, and commissioned David Lang's The So-Called Laws of Nature, premiered at the 2001 Bang on a Can Marathon.

He was a co-founder of the duo Non Zero, with saxophonist Brian Sacawa, which performed American and world premieres of works in concerts at MIT, NYU, the University of Michigan, the Kerrytown Concert Hall, New York's Tenri Cultural Institute, and Eastern Nazarene College. As the percussionist in the onstage band for Rinde Eckert's chamber opera Orpheus X, Tim performed to great acclaim in stagings at Boston's American Repertory Theater, the 2008 Hong Kong International Festival for the Arts, and New York's Duke Theater at 42nd Street, praised by the New York Times.

Tim is currently Percussion Artist at the California Institute of the Arts, and is also a faculty member of the Chosen Vale International Percussion Seminar, a yearly chamber music-intensive workshop bringing students from the US and abroad to rehearse and perform at the Enfield Shaker Museum in New Hampshire. From 2012 to 2018 Tim served as Assistant Professor of Percussion at the University of Alabama, where he led the applied percussion studio and the Alabama Percussion Ensemble, served as the principal percussionist of the Tuscaloosa Symphony Orchestra, and was a frequent performer with the Alabama Symphony Orchestra. From 2007 to 2012 Tim directed the percussion program at Cornell University, where he taught the Cornell Percussion Ensemble, Cornell Steel Band, and CU World Drum and Dance Ensemble.

An active guest educator, Tim has given workshops on improvisation, chamber music and solo percussion performance, Ewe dance-drumming, and Balinese gamelan at schools including the Eastman School of Music, Oberlin Conservatory, the University of Tennessee, the University of Washington, Michigan State University, the University of Miami, the Longy School of Music, UC-Berkeley, UC-Davis, Bucknell University, and the Peabody Conservatory. He has presented new music and given invited lectures and workshops at the international conventions of the Percussive Arts Society in 2013, 2014, 2015, and 2017, and is a member of the PAS New Music Research Committee.

Tim earned a Bachelor of Music degree from the Cleveland Institute of Music, and Master of Music and Doctor of Musical Arts degrees from the Yale School of Music, where his teachers included Robert van Sice, Richard Weiner, and Paul Yancich. In addition, he has studied Balinese gamelan with Andrew McGraw of the University of Richmond, and the late Pak Wayan Konolan in Den Pasar, Bali, and Ewe dance-drumming with James Burns of Binghamton University, Johnson Kemeh of the University of Ghana at Legon, and with master drummer Kodzo Tagborlo of the Dzigbordi dance-drumming society, Dzodze, Volta Region, Ghana."

-Tim Feeney Website (http://www.timfeeney.com/about/)
8/19/2019

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"Jacob Garchik, multi-instrumentalist, composer, and arranger, was born in San Francisco and has lived in New York since 1994. At home in a wide variety of styles and musical roles, he has become a vital part of NYC's downtown and Brooklyn scene, playing trombone with the Lee Konitz Nonet, Ohad Talmor/Steve Swallow Sextet, The Four Bags, Slavic Soul Party, and the John Hollenbeck Large Ensemble. In 2012 he released the acclaimed solo CD "The Heavens: the Atheist Gospel Trombone Album".

Since 2006 Jacob has contributed dozens of arrangements and transcriptions for the Kronos Quartet of music from all over the world. His arrangements were featured on "Floodplain" (2009) and "Rainbow" (2010). He composed the score for Kronos for the documentary film "The Campaign" (2013) about the fight for marriage equality in California, which aired on PBS and at the frameline37 film festival in San Francisco.Complete list of arrangements for Kronos

As a trombonist Jacob has worked with many of the luminaries of the avant-garde, including Henry Threadgill, Laurie Anderson, Anthony Braxton, Anthony Coleman, Joe Maneri, Frank London, James Tenney, Josh Roseman, Don Byron, Terry Reilly, George Lewis, and Billy Martin. He has also played in ensembles led by rising artists such as Mary Halvorson, Dan Weiss, Miguel Zenon, and Steve Lehman. In 2013 he was named a "Rising Star" in the Downbeat Magazine Jazz Critic's Poll. Jacob also plays accordion, bass trombone, tuba, computer, and piano."

-Jacob Garchik Website (http://jacobgarchik.com/?page_id=8)
8/19/2019

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"Dan is a tubist currently living and working in New York City. Since his move there in 2005, he has been active as a soloist, improviser, and sideman in a wide variety of settings. Dan's current interests are in experimental music and improvisation, and he has performed at many of New York City's most respected venues for creative music including The Stone, Roulette, and Issue Project Room. Dan has collaborated with many New York artists, including Tony Malaby, Nate Wooley, Michael Attias, Ben Gerstein, Tom Rainey, Peter Evans, Kris Davis, Ingrid Laubrock, and Matthew Welch. Recent projects include recordings with Tony Malaby's Novela (Clean Feed), Harris Eisenstadt's Canada Day Octet (482 Music), and Jeff Newell's New Trad Band. Dan will also be on a forthcoming Anthony Braxton release, featuring music from the Falling River Series in small ensembles from Wesleyan University.

Dan currently leads a trio comprised of himself, Tom Blancarte (bass) and Brian Osborne (percussion). The group plays a mix of freely improvised music and his compositions, some of which are influenced by music of the Doom Metal genre. Their debut LP, "Acid Soil", is out on the Heat Retention Records label. In March of 2011, the Trio completed a 9 day tour of the midwest/east coast.

Equally at home in more traditional jazz settings, Dan plays in the old-timey jazz band Grandpa Musselman and His Syncopators. The Syncopators appear frequently at high society events in and around New York City, and in 2007 took part in the Jazz at Aspen Festival, directed by bassist Christian McBride.

Dan also plays a lot of contemporary music. He has premiered solo tuba works at St. Bartholomew's Church, Merkin Hall, and The Stone. In 2009, Dan was featured as part of Kagel Nacht, a celebration of the music of composer Mauricio Kagel, in which he performed two of Kagel's solo works, Atem and Mirum. As an orchestral performer, Dan has played under great conductors such as James Levine and Herbert Blomstedt, and has worked personally with composers such as Helmut Lachenmann and Alvin Lucier. Dan is a member of the International Contemporary Ensemble, and has also worked with the American Composers Orchestra, Signal Ensemble, New York City Ballet, New World Symphony, and the Tanglewood Festival Orchestra. Dan recently recorded a DVD of Iannis Xenakis' chamber music for Mode Records, with the International Contemporary Ensemble and percussionist Steven Schick conducting.

Currently, Dan plays on the Broadway musical Chicago, and is adjunct-faculty at New Jersey City University."

-Dan Peck Website (http://danpeckmusic.com/bio.html)
8/19/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"A native of St. Paul, Minnesota, violist Miranda Sielaff pursues a rich and varied musical career in New York City. She regularly performs and tours with several ensembles, including The Knights, the Caravel Trio, String Orchestra of New York City, and the composers' collective Wet Ink. She performed at Carnegie Hall's Making Music series with Pierre Boulez and the Lucerne Festival Academy. She has also played with Yo-Yo Ma and the Silk Road Ensemble, and appeared with The Knights and Itzhak Perlman at the 2012 Ravinia Festival. She can be heard with The Knights' albums on the labels SONY Classical and Ancalagon Records."

-Neither/Nor (http://www.neithernorrecords.com/neithernorrecords/artists.html)
8/19/2019

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"Jean Cook, violinist and Treasurer

Jean Cook has been playing violin since 1979. She is part of the 11tet, a New York based jazz composers workshop, and is a founding member of the PnR Salon in Washington, DC, which brings together post-punk rockers and classically trained musicians. In 2000, she appeared at the Kennedy Center's Hip-Hop Festival and the Smithsonian Folklife Festival with the Hip-Hop Philharmonic, a DC based live hip hop orchestra. Occasionally she plays around New York with the Dixieland group "Wriggle's Red-Hot Agate-Cracking Jassers". She currently records and performs with Beauty Pill, Gena Rowlands Band, Ida, Jenny Toomey, and Jon Langford/Ship and Pilot.

Jean produced and hosted "The Twentieth Century String Quartet" on WKCR-FM, New York from 1995-1996. She was the publicist for Washington Performing Arts Society for three years before moving to New York in 2000. Recently, she curated a western classical recital series for WPAS and produced the multimedia DIY opera, The Nitrate Hymnal. She currently works for a political group called Air Traffic Control that helps musicians to be more effective in the current election cycle."

-Antisocial Music (https://antisocialmusic.org/JeanCook.html)
8/19/2019

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"A proponent of new music, Erica Dicker is committed to creative collaboration with living composers and innovation in both the classical concert hall and nontraditional contexts. Erica is a founding member of the contemporary chamber music collective Till By Turning, an ensemble devoted to reinforcing the modern canon and linking educational programs to their repertoire. As part of the New York-based horn trio, Kylwyria, Erica and her colleagues, Julia Den Boer (piano) and John Gattis (horn), work to generate interest in and develop adventurous chamber music repertoire for their unique instrumentation through dynamic programming and commissioning. Erica is also violinist in Katherine Young's Pretty Monsters, as well as Vaster Than Empires, an electro-acoustic collaboration with composer and sound artist Paul Schuette and percussionist Allen Otte. She has premiered works by many composers including solo works written for her by Olivia Block, Turkar Gasimzada, Ryan Ingebritsen and Katherine Young. Erica also writes and performs her own music, exploring the idiomatic modalities and textures of her instrument. Taking Auspices, her debut solo album, is released by Tubapede Records as a digital download and limited edition vinyl LP.

Erica serves as concertmaster of Anthony Braxton's Tri-Centric Foundation Orchestra, an ensemble founded to document and disseminate the operas by composer and multi-reedist Anthony Braxton, and has also performed with Braxton's Falling River Quartet and Diamond Curtain Wall Quartet at festivals in Belgium, Germany, Italy, Macedonia, Poland, and Turkey and appeared with the 12 + 1-tet at the 2012 Venice Biennale. Erica also writes about and curates performances of Braxton's work, most recently for the International Contemporary Ensemble at the 2017 Ojai Music Festival.

A passionate advocate for preserving the vitality of orchestral performance, Erica also lends her talent to orchestras across the Midwestern United States, such as the Grand Rapids Symphony. She previously served as associate concertmaster of the Peoria Symphony and associate principal second violin of the South Bend Symphony, and held leadership roles in festivals including Spoleto USA and the National Repertory Orchertra. In Germany Erica was part of the Bergische Symphoniker and performed with the Bachakademie Stuttgart International Festival Orchestra under the direction of Helmut Rilling.

Erica received her training at the Oberlin Conservatory of Music (BM), the University of Minnesota (MM), and the Cincinnati Conservatory of Music (DMA). Her primary teachers include Gabriel Pegis, Marilyn McDonald, and Jorja Fleezanis.

Erica resides in Astoria, New York with her husband and creative collaborator, tubist Dan Peck."

-Erica Dicker Website (http://www.ericadicker.com/bio/cv)
8/19/2019

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"Mark Feldman (born 1955 in Chicago) is an American jazz violinist. Feldman worked in Chicago from 1973-1980, in Nashville, Tennessee from 1980-1986, in New York City and Western Europe from 1986. He has performed with John Zorn, John Abercrombie, The Masada String Trio, Dave Douglas, Uri Caine, and Billy Hart.

He was a member of the Civic Orchestra of Chicago and played in many bar bands in Chicago. He played on over 200 recordings in Nashville as a studio musician, was a member of the Nashville Symphony, and was a member of the touring groups of country western entertainers Loretta Lynn and Ray Price.

In 2003 he was soloist with Netherlands Radio Philharmonic Orchestra in Guus Janssen's Violin Concerto and with the WDR Jazz Orchestra in Concerto for Violin and Jazz Orchestra by Bill Dobbins. At New York's Lincoln Center he performed in duo with pianists Paul Bley and Muhal Richard Abrams.

He has recorded with Michael Brecker, Lee Konitz, Joe Lovano, and Chris Potter and has played on over 100 recordings in New York City as a soloist in contemporary music and modern jazz.

Feldman has released several albums, including Music for Violin Alone (Tzadik, 1995); Book of Tells (Enja, 2000); What Exit (ECM, 2006 with British pianist John Taylor; To Fly to Steal (Intakt, 2010) with bassist Thomas Morgan and drummer Gerry Hemingway; and Oblivia (Tzadik, 2010) with his wife, Swiss pianist Sylvie Courvoisier. In September 2012, he and violinist Jean-Luc Ponty produced the debut album of Scott Tixier. Feldman wrote the liner notes."

-Mark Feldman Website (https://en.wikipedia.org/wiki/Mark_Feldman)
8/19/2019

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"Violin/Vox/Freestyle Composition artist Mazz Swift is critically acclaimed as one of America's most talented and versatile performers today and engages audiences worldwide with her signature weaving of composition and improvisation called MazzMuse. Aside from her work as a performing artist, Ms. Swift is a composer. Her works include commissions by The University of Delaware, Neues Kabarett (through a Meet-the-Composer grant), The New Harmony Music School & Festival, and the Blaffer Foundation. Several of her pieces for atypical chamber ensemble have been performed live and also replayed on National Public Radio. Mazz is also a teaching artist with Carnegie Hall's Musical connections program, conducts workshops on free improvisation in the States and abroad, and has traveled to Suriname, Mozambique, C™te d'Ivoire, Ghana, Cameroon, Senegal, Albania and Siberia as cultural ambassador on behalf of the United States Department of State."

-Alisa Rose / Swift Rose Website (http://www.arosefiddle.com/swift-rose/)
8/19/2019

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"Amirtha Kidambi "takes a holistic approach to singing, which can mean treating every element as unfixed: Words can be opened up, rendered nonspecific. Melody can be repeated and frozen and stuck in place. Markings of rhythm can become utterly abstract, freed from cadence." (New York Times). Kidambi is the bandleader of Elder Ones and a soloist and collaborator in groups including Mary Halvorson's newest quintet Code Girl, Charlie Looker's early music inspired dark folk band Seaven Teares, Darius Jones' vocal quartet Elizabeth-Caroline Unit and Samesoul Maker and Pat Spadine's analog percussion and light ensemble Ashcan Orchestra. As Ben Ratliff wrote in the New York Times, "the aggressive and sublime first album by the band Elder Ones, Holy Science, is a kind of gauge for how strong and flexible the scene of young musicians in New York's improvised and experimental music world can be. At the center of it are drones and phonemes. The group's leader, the composer and singer Amirtha Kidambi, holds forth behind a harmonium, the small keyboard instrument with hand-pumped bellows; it's commonly used in bhajan, the Indian devotional-singing tradition that was central to her musical experience while growing up in a South Indian family." Kidambi formally trained in classical music, singing works by experimental composers including Robert Ashley and Luigi Nono, but the pull of free jazz and Alice Coltrane drew her toward a different path. The influence of both Alice and John Coltrane is especially apparent on the , as is her work with composer and saxophonist Darius Jones, and her study of Carnatic music. Kidambi formally trained in classical music, singing works by avant-gardists including Nono and Stockhausen, but the pull of free jazz and Alice Coltrane drew her toward a different path. The influence of both Alice and John Coltrane is especially apparent on the new album, as is her work with composer and saxophonist Darius Jones, and her study of Carnatic music. Elder Ones performed extensively nationally and internationally, on tours and at festivals such as NYC Winter Jazzfest, Berliner Festspiele in Germany and Festiwal Jazz Jantar in Poland, among other.

Kidambi is invested in the performance creative music, from free improvisation and jazz, to experimental bands, and new music. As an improviser, she has played with Matana Roberts, Tyshawn Sorey, Daniel Carter, Ava Mendoza, Sam Newsome, Peter Evans, Trevor Dunn, and many innovators in the New York scene. A life changing decision to create her own artistic work came from a collaboration with the late AACM founder, composer-pianist Muhal Richard Abrams', performing his Dialogue Social. Kidambi has also premiered Darius Jones' The Oversoul Manual at Carnegie Hall, Samesoul Maker at Roulette, LawNOrder at Winter Jazzfest, a premiere of electronic composer Ben Vida's work Slipping Control for voice and electronics with Tyondai Braxton at the Borderline Festival in Athens, Greece, the premiere of the late Robert Ashley's final opera CRASH at the Whitney Biennial, a Jazz Gallery commission for Mary Halvorson's Code Girl, the premiere of William Parker's Soul of Light and forthcoming recording project Voices Fall From the Sky and a commission from the Jerome Foundation for her quartet Elder Ones at Roulette and artist residency at EMPAC to record the group's debut album.

Amirtha earned a B.F.A. in Voice from Loyola Marymount University and an M.M. in Voice and Musicology from CUNY Brooklyn College, where she served as adjunct faculty. She is currently pursuing a PhD in Ethnomusicology at Columbia University."

-Amirtha Kidambi Website (http://www.amirthakidambi.com/bio/)
8/19/2019

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"A former journalist (Fuji Television Network Japan) with childhood piano training at Juilliard Pre-College and a stint as a Gulf War reporter on her résumé ('90-'91 working in Iraq, Kuwait, Jordan and Saudi Arabia), Kyoko Kitamura is an oddball vocalist, composer and bandleader who has worked with many distinguished musicians including Anthony Braxton, Taylor Ho Bynum, Steve Coleman, William Parker and Reggie Workman.

She is a featured vocalist on Anthony Braxton's opera Trillium J (New Braxton House 2015), 12 Duets (DCWM) 2012 (NBH 2014), Trillium E (NBH 2011, the first-ever studio-recording of an Anthony Braxton opera), and the Syntactical GTM Choir (NYC) 2011 (NBH 2012). Also known for her interdisciplinary projects, she released her first solo album Armadillo In Sunset Park in 2012, a collection of songs written for and choreographed by Mark Lamb Dance. She can also be heard on the critically acclaimed Taylor Ho Bynum & SpiderMonkey Strings release Madeleine Dreams (Firehouse 12 Records 2009), Jamie Baum's Solace (Sunnyside Records 2008), and Steve Coleman's Lucidarium (Label Bleu 2004) among others.

She currently works with Anthony Braxton as a vocalist in his Tri-Centric Orchestra and as the Director of Communications for his Tri-Centric Foundation. She studies counterpoint and Schoenberg harmony with Paul Caputo.

As for her own current projects, she leads Tidepool Fauna (Ingrid Laubrock on sax, Ken Filiano on bass) and co-leads Armadillo In Sunset Park (collaborative project with dancers of Mark Lamb Dance).

Kitamura has garnered critical praise for her "great vocal range, veering from wordless vocalese to near operatic feats" (AllAboutJazz) and All Music Guide describes her as "an expressive vocalist who knows how to be quirky and eccentric but is also quite musical." Most recently, in a performance with the Anthony Braxton Trio at the Angel City Jazz Festival in L.A. (Anthony Braxton, Taylor Ho Bynum, Kyoko Kitamura), Robert Bush of AllAboutJazz wrote, "Enough cannot be said about the stunning abilities of Ms. Kitamura-she functions at the highest instrumental level and was able to deal with pages of dense notation, acrobatic intervals and intricate layering with devastating surety." "

-Kyoko Kitamura Website (http://www.kyokokitamura.com/biography/)
8/19/2019

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"Josh Sinton, a native of Southern New Jersey, born in 1971, is a creative musician who specializes in playing the baritone saxophone and bass clarinet. Growing up, his musical inspirations were his father's record collection, his brothers' record collections and watching his father play stride piano at parties. There wasn't anyone else playing music so to this day Sinton remains mystified that the music bug stuck at all.

He studied composition at the University of Chicago and improvisation at the AACM in the 1990's and then proceeded to carve out a niche for himself in Chicago writing and performing music for dance (with Julia Mayer) and theater (at Steppenwolf Studio and Bailiwick Repertory) as well as performing and studying with local musicians such as Fred Anderson, Ken Vandermark, Ari Brown and Cameron Pfiffner. He would leave Chicago during this time for extended backpacking trips around Europe and India and found a lot of useful information for his later work.

Determined to overcome his technical shortcomings, he gave all this up and moved to Boston in 1999 to resume studies at the New England Conservatory. He spent five years in Boston and met, played and studied with a variety of folks including Steve Lacy, Ran Blake, Dominique Eade, Jerry Bergonzi, Bob Moses, Jim Hobbs and the Either Orchestra. Despite their encouragement, Sinton was overjoyed when he got to leave Boston in 2004.

Since then, Sinton has lived in Brooklyn, New York. He's been fortunate enough to be a long-standing member of Darcy James Argue's Secret Society, the Nate Wooley Quintet, the Andrew D'Angelo DNA Orchestra and Anthony Braxton's Tricentric Orchestra. With these groups he's travelled to several countries in Europe and South America as well as played many festivals (Moers, Newport, BMW, Bergamo, Tampere Jazz Happening, etc.). Sinton is proud of the collaborators he's been able to work with (Kirk Knuffke, Tomas Fujiwara, Chad Taylor, Mary Halvorson, Ingrid Laubrock, Jeremiah Cymerman, Josh Roseman, Harris Eisenstadt, Roswell Rudd, James Fei, Denman Maroney, Han-Earl Park, Greg Tate, Curtis Hasselbring, Mike Pride, Jon Irabagon) but the list of people he still hopes to play with is vast.

As a long-standing member of the Douglass Street Music Collective, Josh Sinton has hosted hundreds of concerts over the past 7 years Brooklyn. His work has been recognized by Downbeat (Critics' and Readers' Poll), Jazz Times (Critics' Poll) and El Intruso (International Critics' Poll) and has been discussed in The Wire, Signal to Noise, Point of Departure, the New York Times and the New York City Jazz Record.

Sinton defines himself as a "creative musician" rather than a jazz musician and has done so since 2011. His reasons for this are varied and personal, but some of them are outlined here and here. Suffice to say, friendly listeners can label him what they will. Sinton will just continue creating sounds with the goal of wasting nobody's time.

Currently Sinton leads the band Ideal Bread as well playing regularly with the Nate Wooley Quintet and the Tricentric Orchestra. He is busy writing new music for himself and his collaborators as well as contributing essays to the websites of Darcy James Argue, Ethan Iverson's Do The Math, Destination: Out and Sound American."

-Josh Sinton Website (http://joshsinton.com/about/)
8/19/2019

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track listing:


1. Contemporary Chaos Practices Part 1 and Part 2 15:57

2. Contemporary Chaos Practices Part 3 05:16

3. Contemporary Chaos Practices Part 4 02:42

4. Vogelfrei 17:48
sample the album:








descriptions, reviews, &c.

"Ingrid Laubrock's credentials as an ambitious, skillful composer of intricate yet visceral works for small ensembles is well established - not least on the evidence of her excellent, much-admired Intakt recordings. Whether writing for conventionally constituted assemblages like her quintet Anti-House, or for a more unusual complement, like the mix of tuba, koto, electronics, and more that she convened two years ago for Serpentines, Laubrock has demonstrated a formidable capacity for writing music of intricacy, integrity, and broad appeal.

The critic Steve Smith writes in the liner notes: "The present recording, recorded in a studio by an ensemble of first-call freelancers led by two ideally sympathetic conductors, Eric Wubbels and Taylor Ho Bynum, provides eloquent evidence of what Laubrock has achieved. Both of her orchestral pieces - Vogelfrei, with its variegated textures, animated rhythms, swooping vocals, and inexorable momentum; and Contemporary Chaos Practices, where four instantly distinguishable soloists (Mary Halvorson, Davis, Wooley, and Laubrock herself) retain their individuality while negotiating a brilliantly rendered aural landscape - serve notice of an estimable composer who has something to say, and knows exactly how to say it."-Intakt



With Contemporary Chaos Practices the celebrated saxophonist Ingrid Laubrock has provided a conclusive highpoint of creative music in 2018. The album combines Laubrock's excellent orchestral scores with improvisations from soloists Mary Halvorson, Kris Davis, Nate Wooley, as well as from the composer herself. I didn't have the chance to listen to this album properly before I submitted my year end list, as it should certainly have been included (it would have been an impossible task though, to choose one to drop, what a year!). According to Steve Smith's excellent liner notes Vogelfrei was written for the 2014 second Jazz Composers Orchestra Institute Reading, while "Contemporary Chaos Practices" was written for the 2017 Moers Festival, making both of recent vintage. Smith writes that Laubrock's initial inspiration for writing orchestral scores came from seeing Anthony Braxton and Walter Thompson at The Irondale center in Brooklyn. The trifecta of composition, improvisation, and conducting was a natural progression for Laubrock, who was already mixing composition and improvisation in her smaller ensembles and had been exposed to the creative functions of conducting via the London Improvisers Orchestra. On Contemporary Chaos Practices her combination of inspirations is seamless, drawing from classical, jazz, and experimental streams of expression and weaving them into a wonderfully strange and multifaceted whole.

'Contemporary Chaos Practices (Part 1 and Part 2)' begins with Halvorson's hiccupping, pitch shifted, guitar psychedelics bookended by powerful orchestral forays and resonant brass figures. Hovering over this are flute and woodwinds that flutter in quickening runs like dragonflies over the surface of a pond. The strings become more assertive, pushed along by the brass and the liquid guitar playing, culminating in the rapid arco of the contrabass, slowly dimming and taking on gravity as it goes silent. Laubrock takes skirting runs at the edges of the icy string playing, stirring up drama on soprano saxophone. At around nine minutes there begins a wonderful passage of orchestral dialogue that is quite cinematic in spirit, that slowly dissolves into almost pure texture over the second half, utilizing a broad palate of sounds to spectacular effect. 'Contemporary Chaos Practices (Part 3)' begins as the previous track finished, with high pitched textures from the instrumentalists that simultaneously suggest wind chimes, distant playground swings, and insect calls. Around the midpoint, the jaunty contrabass clarinet and trombone precede the return of the orchestra, which delivers powerful galloping passages interspersed with short colorful responses of strings. The shortest piece, 'Contemporary Chaos Practices (Part 4)', begins with a somber introduction from the brass and woodwinds, which carefully builds and grows into something large, dark, and slightly menacing before fading back into the silence. Vogelfrei begins probingly over bowed string harmonics, combining gorgeous orchestral swells with more pointillist playing from the soloists. A little after 7 minutes the orchestra is augmented with vocalists, who provide choral underpinnings for the piece. Kris Davis comes to the fore, dueling with the strings as Josh Sinton makes use of amplified contrabass clarinet to provide a dissonant and subtle counterpoint. The finale utilizes driven percussive statements with chorale accents to establish a churning undercurrent over which the brass and woodwinds combine in a discordant commotion that peels away and leaves a lone scratching fiddle bow.

What I enjoy the most about this album is its ability to surprise, as none of these songs evolved in a manner that was obvious to me. The soloists are also incorporated in a unique way as well. Rather than being provided a break to solo over, they're generally left to their own devices over specific portions of the arrangement, making them feel less like solos and more like organic outgrowths of the whole. This is a brilliant record in both concept and execution, and the recording quality is vivid, catching all of the subtleties furnished by the musicians across a large dynamic range. Perhaps the most exciting revelation of all is that Laubrock is just getting started with orchestral compositions, leaving a wake of excitement for what's to come."-Nick Metzger, The Free Jazz Collective


Get additional information at The Free Jazz Collective
Related Categories of Interest:


Intakt
Improvised Music
Jazz
Compositional Forms
Nate Wooley
NY Downtown & Jazz/Improv
Trio Recordings
Large Ensembles
Staff Picks & Recommended Items
New in Improvised Music
Recent Releases and Best Sellers


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(Tubapede)
Gate, The (Peck / Blancarte / Osborne)
Island Virus
(Tubapede)
Hopkins, Adam
Crickets
(Out Of Your Head Records)
Halvorson, Mary / Joe Morris
Traversing Orbits
(RogueArt)
Winged Serpents (Courvoisier / Davis / Taborn / Marsella / Ortiz / Coleman)
Six Encomiums For Cecil Taylor
(Tzadik)
Coleman's, Steve Natal Eclipse
Morphogenesis
(Pi Recordings)
Laubrock, Ingrid / Tom Rainey
Utter
(Relative Pitch)
Feeney, Tim
Burrow [CASSETTE]
(Marginal Frequency)
Earth Tongues (Moffett / Peck / Costa)
Ohio [2 CDs]
(Neither/Nor Records)

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