06 Wuorinen Vol 3Charles Wuorinen Vol. 3
loadbang; Anne-Marie McDermott; Group for Contemporary Music; Charles Wuorinen
Bridge Records 9490 (bridgerecords.com)

Among the most prolific of contemporary American composers, the 79-year old Charles Wuorinen’s catalogue of 260-plus compositions includes works for opera, orchestra and chamber music, as well as solo instruments and voice. He has received many awards, including the Pulitzer Prize and the MacArthur Fellowship. The 2014 Madrid premiere of Wuorinen’s opera, set on Annie Proulx’s Brokeback Mountain, was covered by international media and has had several subsequent European productions.

Anthony Tommasini in his 2014 New York Times review characterized Wuorinen as an “unabashedly complex Modernist.” And while in 2008 Wuorinen called the term serialism “almost without meaning,” nevertheless his career-long commitment to 12-tone composition is clear, with Schoenberg, Berg, late Stravinsky and Babbitt cited among primary influences. Fractals and Mandelbrot mathematical sets are also central to Wuorinen’s recent compositional procedures.

Much of Wuorinen’s music makes great technical demands on musicians, including tonal leaps, extreme dynamic contrasts, and rapid exchange of pitches, all requiring extreme precision and virtuosity. This is all on ample display in the three works on Charles Wuorinen, Vol. 3.

The album opens with Alphabetical Ashbery (2013) a song cycle/motet marked by the free-flowing, playful and often disjunctive poems by the American poet John Ashbery performed by the unique forces of loadbang: Jeffrey Gavett, baritone, Carlos Cordeiro, bass clarinet, Andy Kozar, trumpet and William Lang, trombone. The muscular and substantial Fourth Piano Sonata (2007), the latest and most traditionally structured of Wuorinen’s works in this genre, is definitively rendered by the brilliant pianist Anne-Marie McDermott. It Happens Like This (2010) closes the CD. At just over 39 minutes in seven bite-sized movements, this four-voice cantata is set to American modernist James Tate’s surrealistic poems, providing a charming close to our musical visit with one of America’s enduring elder statesmen of composition. 

07 Rhapsodies Around the WorldRhapsodies Around the World
Guy Yehuda; Deborah Moriarty
Blue Griffin Records BGR441 (bluegriffin.com)

An ambitious project launched by clarinetist Guy Yehuda resulted in six new works for clarinet and piano, all somehow influenced by Claude Debussy’s Première Rhapsodie. Rhapsodies Around the World is a fair description of the contents, as all the continents are represented by the diverse set of composers Yehuda chose to commission.

The disc opens with his performance of the model work, and Yehuda demonstrates a decent finesse with this always-difficult piece. His reading is marked by certain injections of personality, if that’s the right word. Over time a well-worn piece might seem to beg for reinterpretation, and one is always free to provide one, just as a listener is free to like or dislike the layering of liberties pasted on the original.

I’m grateful nonetheless to the performer for this collection. The various spinoffs most resemble the original only in duration, each between eight and ten minutes in length. The composers provide an accounting of their approach to the project’s requirements, some more prolix than others. The essay by Michel Petrossian describing his Timkat Song bears so much analysis on its own that one might forget the fine piece of music it describes. American violinist/composer Piotr Szewczyk’s Luminous Rhapsody reminds me of the music of Joan Tower. Yao Chen almost literally recalls the original Rhapsodie at the outset of Through Waters, By Mountains. Clare Loveday of South Africa wrote Heatwave during a real heat wave, gave up on trying to find a connection to the model work, and came up with a brilliant, jazzy number. It, Parish Ode (attention anagram lovers), by Liduino Pitombeira of Brazil, and The Three Alcids by Melody Eötvös are my favourites.

08 Cavell TrioNew Discoveries
Cavell Trio
Blue Griffin Records BGR447 (bluegriffin.com)

A trio named for a heroic WW1 nurse, or for the mountain named for Edith Cavell, I’m not sure which, has compiled more than their share of recordings of new works and released them on this disc. Sharing five reeds between them, they also share a deft rhythmic sense and more-than-decent pitch; nor is this surprising, as they work together as section mates of the Tuscaloosa Symphony.

The material is charming and spunky, matched by solid and able instrumental performances by Shelly Myers (oboe), Osiris Molina (clarinet) and Jenny Mann (bassoon). They are at their best in the more challenging works, the opening track Devil Winds by Greg Simon, Ron Wray’s Trail Mix and Trois Pièces by Jeanine Rueff. Much of the other material suffers from an amiable sameness, exacerbated by unremitting reediness. The virtue of blend becomes somewhat a cloying sin over the course of this remarkably large collection. It is as though the composers who interest the group all choose similar movement durations, and stick to conventional sequences of mood and tempi. Or perhaps the group has developed a sort of signature set of tempi for slow, medium and fast. Or maybe there is simply too ample a range of pieces featuring this same group and too narrow a stylistic range of composers presented for it to be something to listen to straight through.

Carping aside, the playing is consistently good: their blend, pitch and rhythmic unity serve the composers well. The disc provides a resource for other trios who might want to pick and choose among the material presented.

09 John Mackey windsAntique Violences: Music of John Mackey
Michigan State University Wind Symphony; Kevin Sedatoale
Blue Griffin Records BGR449 (bluegriffin.com)

John Mackey (b.1973) is a much-commissioned American composer. On this disc the vocal writing and instrumentation of Songs for the End of the World (2015), written for the outstanding soprano Lindsay Kesselman, is appealing. It vividly re-imagines part of the Odyssey from the point of view of Kalypso on her island. Mackey’s setting of A.E. Jacques‘s text reflects her weariness from isolation, leaving room for Kesselman’s rich voice to grow vocally throughout the performance. In the second movement Kalypso recalls Odysseus washing up on shore after his shipwreck and, in Lydian mode phrases extending into Kesselman’s radiant top range, her healing of him and the love they developed. Bright harp, vibraphone and piano tones add lustre. But after seven years Odysseus leaves for Ithaca where Penelope awaits. The third movement’s title At Sea indicates Kalypso’s memory-haunted despair, captured in Kesselman’s mournful tone backed by an evanescent harp.

Antique Violences (2017), a four-movement trumpet concerto premiered with panache by Justin Emerich, evokes and questions mass violence throughout history. While admiring the composer’s wind symphony mastery and idiomatic trumpet part, I question whether the work realizes its stated musical ideas. According to program notes for the second movement “The music begins in a decadent French Baroque style, then unravels its shimmering mask to reveal the barbarism beneath.” But to me it is poor musical pastiche, lacking compensating artistic value. Asphalt Cocktail (2009) is a high-class car chase, with the Michigan State University Wind Symphony conducted by Kevin L. Sedatole attaining peak form.

01 Andrew ScottThe Brightest Minute
Andrew Scott Quartet
Cellar Live CL022817 (cellarlive.com)

Skilled guitarist, composer, arranger and highly respected jazz educator Andrew Scott has just released his new Quartet CD under the fine auspices of the internationally noted jazz label Cellar Live. Co-produced by Scott and pianist Jake Wilkinson (who also engineered), the CD features eight tasty original, contemporary jazz compositions by Scott, as well as a fine lineup of players including Scott on guitar, Wilkinson on piano, Jon Meyer on bass and Jeff Halischuk on drums.

Kicking things off is My Ears Can’t Hear Your Voice. Scott’s swinging, soulful, full-bodied guitar sound brings to mind elements of Tal Farlow, Herb Ellis and Grant Green. Combine that with a tight, grooving, acoustic quartet, propelled by the jaunty, well-written material and Scott’s facile soloing, and you have a dynamic jazz track. Wilkinson’s rhythmic and emotional piano style is clearly featured here, and is reminiscent of a young Hampton Hawes.

A highlight of the recording (and in contrast to the rest of the high-octane tracks) is the thoroughly gorgeous ballad For Marilyn, dedicated to Scott’s late mother, Marilyn Elizabeth Scott, who died in 2016. Scott is capable of such direct communication through his music that one can easily feel the love that inspired this piece. Also of note is the title tune – a high-intensity, New York-ish cooker that features not only the musical tightness of the ensemble, but also the high level of unspoken communication between the band members. A final favourite is Dreamin’ – rendered with an almost Basie-like simplicity and Scott’s perfect, rhythmic comping and in-the-pocket soloing. Easily one of the best small jazz group recordings of the year.

02 Jamie ReynoldsGrey Mirror
Jamie Reynolds
Fresh Sound New Talent FSNT 528 (freshsoundrecords.com)

Canadian-born and New York City-based jazz pianist Jamie Reynolds has just released a challenging and deeply moving recording, featuring himself on acoustic piano and Wurlitzer as well as special guests Matthew Stevens on guitar (who also served as co-producer), Orlando LeFleming on acoustic and electric bass and Eric Doob on drums. Other key players on this project are the noted brass quartet, the Westerlies, featuring Andy Clauson and Willem de Koch on trombones, and Zubin Hensler and Riley Mulherkar on trumpets.

In the planning stages Reynolds determined that in order to achieve the artistic expression, depth and meaning that he was looking for, he would arrange most of his 14 original compositions on the CD to be played in two diverse ways – by his trio plus Stevens and also by a brass quartet… thereby illustrating in a very real way, the constant, and often distorted and contradictory mirror images of nature.

The opening track, The Earliest Ending, is first expressed as a brief intro of stunning, warm and moving brass lines, and later as an almost Satie-like piano solo which seamlessly melds into sensual, lush guitar lines. The same juxtaposition occurs with Small Worlds, a hard-driving, face-melting guitar-centric quartet take, followed later in the program by a smooth and beautiful brass arrangement of the same composition. Other superb tracks include the evocative title track, which features excellent solos from the quartet and the stirring Good Help, replete with the distinctive, percussive sound of the Wurlitzer electric piano as well as concise and solid bass work from LeFleming.

03 Kite TrioSlightly Higher in Canada
Kite Trio
Sunset Hill Music SHM-021703 (kitetrio.com)

With their third release, this fine Montreal-based jazz trio has pushed past the boundaries of contemporary jazz and into a zone of pure expression and freedom. Produced by Dave King (The Bad Plus), the recording is both raw and experimental. Of the 12 explorations here, half are composed by the trio, and half by the talented individual members of the ensemble, which include Eric Couture-Telmosse on guitar, Paul Van Dyk on bass and Eric Dew on drums, synthesizer and banjo.

On the opening track, Pidgin, the ensemble creeps in with a subtle, and then an insistent, guitar-defined rhythm and melody. The seemingly simple becomes complex as the composition dis-assembles into molecular form and re-assembles into kinesthetic harmonic and percussive exultation. The next track up is Paul Van Dyk’s Estranged – a solemn solo journey to the netherworld of the acoustic bass, where dark double-stops transport the listener deep into the chasm of the bass clef. The appealing That Good Old Feeling features the trio in an energetic and joyous light. Bombastic and masterful drum and guitar work as well as solid, innovative bass lines (arco and pizzicato) and some well-placed banjo embellishments define this fine arrangement.

The dynamic title track establishes a complex pulse of opposition and contrast, while lyrical sections seductively lure the listener into a thrilling guitar-infused realm of vibrancy, rife with the goose-bump raising excitement of possible danger. Another standout is Milkman, which represents the perfect integration of rock and free jazz sensibilities, and also features more superb Richter-scale musicianship from the trio a well as intriguing synthesizer sequences. 

Sometimes Y
Lina Allemano Four
Lumo Records 2017-7

Squish It!
Lina Allemano’s Titanium Riot
Lumo Records 2017-8 (linaallemano.com)

04a LinaAllemanoFour SometimesYTrumpeter Lina Allemano has been playing in Toronto for two decades, becoming a central figure among the city’s more creative musicians and developing enduring musical associations that tip over into a variety of bands. In recent years, Allemano has been splitting her time between Toronto and Berlin, where her musical life includes work with improvising ensembles from duos to the Berlin Improvisers Orchestra as well as studies with Axel Dörner, whose exploration of extended techniques has given the trumpet new life. On the home front, Allemano is releasing work by her two ongoing Toronto bands, each CD testifying to the virtues of longstanding partnerships combined with questing musical minds.

The Lina Allemano Four first recorded in 2003 and the current lineup has been in place since 2006, with alto saxophonist Brodie West, bassist Andrew Downing and drummer Nick Fraser. The group has apparent roots in classic free jazz ensembles like the Ornette Coleman Quartet, with similar emphasis on the leader’s compositions and an almost stark principle of dialogue consistently informing the music. There’s a frequent emphasis on speech patterns in Allemano’s compositions, sometimes consisting of short, emphatic truncated phrases, and their realizations here are just as conversational, with West consistently adding supportive counterlines to Allemano’s solos and the trumpeter returning the favour. Kanada, a high point, ends with an extended group dialogue that grows naturally from Downing’s arco lead.

04b TRiot SquishItAllemano first assembled Titanium Riot in 2013 and released the group’s debut Kiss the Brain a year later. Including Ryan Driver on analogue synthesizer, Rob Clutton on electric bass and Nick Fraser on drums, the group, devoted to free collective improvisation, undoubtedly benefits from the years working together in different contexts. The 2017 recording Squish It! is a dramatic continuation of the process. In this context, Allemano combines a distilled and pointed lyricism with striking timbral explorations to provide the music with an essential focus. It’s evident in the opening moments of the title track as she concentrates on long tones and a sound that’s a striking combination of subtle muting and the light buzz of air through the horn, the effect suggesting more than one trumpet. The quartet’s close listening and attention to texture consistently create an almost orchestral feel. Allemano’s focused concentration on sonority dovetails with Clutton’s rich sustained bass tones and mobile lines, Fraser’s shifting, energizing patterns and Driver’s creative mix of environmental, vintage cartoon and sci-fi sounds. The results range from the playful to the genuinely mysterious.

While the methodologies of Allemano’s two quartets differ, the groups share a collective passion for creative interaction as well as admirable results.

05 Heillig ManoeuvreThoughtful Fun
Heillig Manoeuvre
Independent HM2017 (heilligman.com)

Review

Canada’s one-time boy wonder of neo-mainstream, Henry Heillig, has now, unbelievably, spent over 30 years ploughing his fertile furrow across the continent and elsewhere with the Heillig Manoeuvre, among other well-known ensembles. With Thoughtful Fun, the Manoeuvre’s sixth album, the bassist continues to entertain and dazzle in his virtuoso playing together with the extraordinary musicianship of other members of this ensemble.

Every piece here is played by Heillig with a languid ease, each rhythmic variation following the other, quietly inexorabe, his sumptuous bass sound brilliantly caught in this recording. There is an unhurried quality to his approach, a lived-in character to his phrase-making that is very engaging; and while it might lack the fire and brimstone of youth, it is more than compensated for by the well-honed values of experience.

Stacie McGregor on piano and organ, Charlie Cooley on drums and Alison Young on saxophones also bring their own exceptional musicianship to the eight songs on this disc. Their own playing puts a special spotlight on these beautifully crafted arrangements of beguiling variety and sensuousness, each informed by lovingly caressed phrases at every turn.

Vocalist Alex Tait not only sings on Extreme Strolling and El Niño, but has also written poetic lyrics for the latter song. She too is completely attuned to the vision of the Heillig Manoeuvre. Hers is a voice whose mellifluous timbre beguiles and swings in the spacious arrangements of both songs.

06 Collective OrderVolume Two
Collective Order
Independent (collectiveorderjazz.com)

What separates Volume Two from the 2016 album Volume One by Collective Order is the fact that on this second edition the music comprises original charts written by members of the ensemble, a “community,” as it is referred to in the notes to this package. While it is impossible to imagine a group without at least a musical director, Collective Order prefers to keep that function anonymous in its determination to maintain the communal spirit of these large-ensemble works, no doubt. So far this strategy appears to be working to the group’s advantage, as these 12 charts prove yet again and with good reason.

Incredibly the work of composition too is well-spread, including contributions from Andrew McAnsh, Liam Stanley, Ethan Tilbury, Ewen Farncombe, Jocelyn Barth, Connor Newton, Chris Adriaanse, Laura Swankey, Jon Foster, Connor Walsh, Belinda Corpuz, Andrew Miller and Joel Visentin. This represents a total of 13 members from the 19-member ensemble; something unusually democratic in any configuration of a music group. Even more remarkable is the fact that despite coming from so many different pens, there appears to be a wonderful uniformity of sound suggesting a kind of rare musical intimacy between the members of the band.

Whether evocative of rarefied realms, such as in Laniakea, or for a deep attachment to terra firma, as in Outside My Window, each chart takes us into some wild or wonderful place with trusted and inspiring musical friends.

07 Brad CheesemanThe Tide Turns
Brad Cheeseman
Independent BCM1701 (bradcheeseman.com)

This exploratory borehole into the atmospheric stratum of contemporary music is only the second in the career of bassist Brad Cheeseman. Unlike other early recordings made by musicians of his generation, The Tide Turns redeems itself from self-indulgence by being original (all but one of the compositions is by Cheeseman) and moreover, each is accessible enough to not require any decoding on the part of the listener. Secondly, this is a musical snapshot captured in the process of – as the bassist puts it – “change, self-discovery and reinvention.” To those aspects of the music’s source one might also add a blending of idioms in music that also retains much emotional intensity and originality.

On this disc Cheeseman shows that a musician can set out to find his own voice; and coming ever closer to doing so, might still retain the early echoes of his idols and those who influenced his playing. Happily the accolade of winning the 2016 Montreal Jazz Festival’s Grand Prix de Jazz has not made Cheeseman either wool-headed or a musical stuffed shirt. This is immediately recognisable in the music, which is all born of a questing quality combined with a rhythmically rock-solid yet splendidly discursive style designed to create music that seems to be contemplative rather than chatty. Despite moments which are unnecessarily garrulous and interrupted by frequent solos, this is energetic music exemplified in the swinging of Falling Forward.

08 Tom RaineyFloat Upstream
Tom Rainey Obbligato
Intakt Records CD292 (intaktrec.ch)

There’s a special relationship between jazz and the Great American Songbook, that collection of old popular songs, Broadway show tunes and movie themes largely assembled from the 1920s to the 1950s. Whether approached casually, romantically, harmonically or ironically, that songbook links performers from Louis Armstrong to Anthony Braxton and almost everyone in between. Drummer Tom Rainey has explored it in depth in association with pianists Fred Hersch and Kenny Werner; with his band Obbligato, he has found a distinctive path, combining standards with collective improvisation.

Obbligato includes frequent Rainey collaborators, saxophonist Ingrid Laubrock and the émigré Canadian pianist Kris Davis, along with the similarly distinguished trumpeter Ralph Alessi and bassist Drew Gress. They establish an identity immediately, the collectivist Stella by Starlight extending the theme’s moody haze with the horns’ exchanges until Davis initiates a bright, fluid approach, animating the piece along with sparkling eruptions from Gress and Rainey as well.

The advanced harmonic language suggests composer George Russell at times, but Laubrock and Alessi also thrive on the original melodies, developing pointillist moments on Sam Rivers’ Beatrice and a pensive luminosity on I Fall in Love Too Easily. The counterpoint and sheer rhythmic energy of What Is This Thing Called Love? recall the invention of Sonny Rollins at his most exploratory, while the extended What’s New? takes the quintet furthest afield, a unique cross breeding of 50s cool jazz lyricism and contemporary impulses that’s at once familiar and fresh.

09 Bill EvansAnother Time – The Hilversum Concert
Bill Evans Trio
Resonance Records HCD-2031 (resonancerecords.org)

In 2016, Resonance released Some Other Time, an unknown studio recording by the Bill Evans Trio from 1968, only the second recording issued by the group that included drummer Jack DeJohnette as well as Evans’ longstanding bassist Eddie Gomez. The label has now released this live radio studio broadcast from the Netherlands, recorded just two days later. The recording quality is every bit as good and the presence of an audience adds to the performance’s vitality.

Evans was a master of ballad reveries that extended the harmonic language of jazz with a Scriabin-like passion for modes and chromaticism. On his greatest recordings, however, he thrived on the most aggressively creative supporting musicians that jazz ever had to offer, the bassist Scott LaFaro and the drummer Philly Joe Jones, who never appeared together in Evans’ recorded legacy. This trio with the relentlessly busy Gomez and DeJohnette, a highly inventive drummer between appointments with Charles Lloyd’s quartet and Miles Davis’ band, is as close as we’re liable to hear.

The complex dynamic exchange adds to You’re Gonna Hear from Me, Evans’ dense chords subtly ambiguating the song’s determined self-confidence, and it only develops from there, whether it’s illuminating the contemporary Who Can I Turn To? or animating the superior ballad Emily. The concert unfolds beautifully, through DeJohnette’s feature Nardis to superb renditions of Evans’ own Turn Out the Stars and a brief, explosive version of Five. It’s an essential recording for Evans enthusiasts. 

10 Vein RavelVein plays Ravel
Vein (featuring Andy Sheppard)
Challenge Records Int. DMCHR 71179 (vein.ch)

Claude Debussy was at the head of the re-emergence of a complete French school in music that began as a reaction against Wagnerism. His most famous lieutenant was Maurice Ravel who, however, never completely followed Debussy’s lead into the world of extreme formal and tonal ambiguity. It was Ravel who cultivated a style that combined the Classical with the contemporary and famously – especially in Le Tombeau de Couperin – fostered a more complex hybrid that included Romani music, jazz, Spanish culture and the music of the Far East. It is with that iconic suite composed originally for solo piano that Vein begin their unusual tribute to Ravel.

On Le Tombeau de Couperin Vein employs the jazz trio format to re-imagine Ravel’s suite, adding to the subtle colours and evanescent textures of the music. In the hands of pianist Michael Arbenz, bassist Thomas Lähns and drummer Florian Arbenz, the listener is not merely dazzled by sound, but rather introduced to Ravel’s marvellous sense of melody and structure. This tribute to the dead, written during World War I, is brought back to life by Vein with unconventional and progressive harmonies. A horn section on Bolero finds saxophonist Andy Sheppard its most skilful advocate. Florian Arbenz never loses concentration either, adopting a well-judged pulse and joining the full group in moulding a wonderfully rich orchestral texture. Vein plays Ravel is classic jazz.

11 DolphyFlauto Dolphy
Dominik Strycharski
Fundacja Sluchaj FSR 03/2017 (sluchaj.org)

Jazz avatar Eric Dolphy (1928-1964) was proficient playing alto saxophone, bass clarinet and especially flute in Charles Mingus’ and John Coltrane’s groups. Here, his compositions and improvisations are saluted by Dominik Strycharski. Moving confidently through the eight tracks during a live session that leaves little space for miscues, the Polish polymath serves up unaccompanied interpretations of the Dolphy canon using soprano, alto, tenor and bass recorders, as if this is the most normal musical showcase.

Such Dolphy classics as Gazzelloni (named for the classical flutist) and Hat and Beard (saluting Thelonious Monk) are sophisticatedly reconstituted. That’s because Strycharski’s technical skills allow him to build up the second piece from atom-sized bites that are both percussive and triple-tongued, to a selection of dissonant pitches. Meanwhile Gazzelloni divides into exploding multiphonics seemingly squalled from more than one recorder at once, only to descend into a delicately tonal coda. Screeching atonality that brings out the instruments’ pseudo-metallic buzz on Iron Man confirms Strycharski’s skilful appropriation of both solo and accompaniment functions. Meanwhile his own composition, the concluding Sam, sets up ecstatic airy whorls and whirls that are as vocalized as they are played, yet still manage to capture and salute the melodic as well as the militant attributes of Dolphy’s art.

12 GolanGolan Volume 2
Hubert Dupont
Ultrarack UT 1005 (ultrabolic.com)

More cosmopolitan than curious, French bassist Hubert Dupont’s idea is for his quintet to intertwine Arabic-rooted sounds with strands of improvised music. Golan does so by stripping away the tinge of exoticism, treating the Middle Eastern instruments and melodies no differ-ently than if both were part of the Western canon. Having players flexible in both idioms helps. Besides Dupont, who has worked in many jazz formations, the band includes countryman clarinetist Matthieu Donarier who has similar improvised music experience. Flutist Naïssam Jalal is French/Syrian, and she and Tunisian violinist Zied Zouari play jazz as well as traditional music. Meanwhile Palestinians, oud player Ahmad Al Khatib and percussionist Youssef Hbeisch, work both in Europe and the Middle East.

Accept the Changes, with its dual-meaning title, is a perfect example of this formula. Beginning with spiccato lines from the violinist that are quickly given jazz underpinnings by double bass strokes, a Maghreb-like rhythm from Hbeisch’s darbouka joins at the same time as contralto clarinet glissandi arrive as counterpoint. With cymbal slaps and conga-like raps added, the piece crosses and re-crosses figurative borders without losing fluidity.

Themes expressed by various soloists include a flamenco-like showcase for Al Khatib’s oud on Furatain completed by sly contemporary plucking from Dupont, plus a harmonized clarinet and flute lilt on Midday Promise that suggests 17th-century Graz more than present-day Gaza.

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