Dimitrije Vasiljevic to light up Carnegie Hall in celebration of modern jazz piano sound

Dimitrije Vasiljevic to light up Carnegie Hall in celebration of modern jazz piano sound

Fresh on the heels of a successful year 2013 culminating in the release of his first album, "The Path of Silvan", and several concerts both as soloist and with his quartet, Dimitrije Vasiljevic will be making his Carnegie Hall debut in a solo piano concert on Monday, March 24, 2014 at 8:00 pm.

Vasiljevic will showcase his original compositions from his upcoming solo piano album "Metaphor", to be released later this year. He will also perform works of some well-known American jazz masters in his own arrangements and premiere his original composition "Wardenclyffe" inspired by and dedicated to the great scientist and humanist, Nikola Tesla.

Vasiljevic received recognition of achievement from the Tesla Science Foundation for his contribution in promoting the life and legacy of Nikola Tesla through music. Vasiljevic is an award-winning (Montreux Jazz Festival), New York-based jazz pianist and composer whose "iridescent and captivating music” (All about Jazz) weaves together Balkan motifs with the subtle flavors of European jazz. Hailing from Serbia, this Berklee College of Music and NYU Steinhardt graduate is rapidly garnering international acclaim for his virtuosity and emotionally charged interpretations.

Preparing for his concert, Vasiljevic mused about selecting the program for this milestone career appearance:
“I am so thrilled to be making my Carnegie Hall solo piano debut. Performing for a New York audience my blend of modern jazz infused with Balkan rhythms and inspired by my classical music background - and in this amazing venue - is the opportunity of a lifetime for me. The audience can expect to hear a varied program and transporting interpretations.”

For more information about the concert visit the Carnegie Hall websitewww.carnegiehall.org/Calendar/2014/3/24/0800/PM/Dimitrije-Vasiljevic-Piano/
Website: www.dimitrijevasiljevic.com
Youtube: www.youtube.com/users/dimmypiano
Facebook: www.facebook.com/dimmypiano

Press/booking contact: LeitmotivArts@gmail.com

Pat Metheny Unity Group - Kin (<-->) (Nonesuch 2014)

In 2012, for the first time since 1980, guitarist Pat Metheny recorded with a band that highlighted tenor saxophone. Unity Band, which went on to win Metheny his 20th Grammy Award, featured Chris Potter on sax and bass clarinet, longtime collaborator Antonio Sanchez on drums, and Ben Williams on bass. Metheny added another musician, multi-instrumentalist Giulio Carmassi, and christened the ensemble Pat Metheny Unity Group. Their first record is Kin ( ). The vinyl includes two 140-gram LPs pressed at Pallas MFG in Diepholz, Germany, and a CD of the album.

Metheny says of this Group, "The core quartet of Chris, Ben, Antonio, and me played more than 100 concerts over the year that followed the release of our Unity Band record. Over the course of that period, the band became one of those rare combinations of players where the whole is greater than the sum of its parts; it gelled in every way, and that just seemed to beg for expansion and further research." He continues, "Simultaneously, I had been itching to write using more of a lush and orchestrated kind of concept that went beyond the sonic limits of what a straight-ahead quartet might invoke. But I really didn t want to lose the energy, focus, and intensity of what this band had developed. I wanted to take it further. If the first Unity Band record was a thoughtful, black and white documentary of four musicians in a recording studio playing, this record is more like the Technicolor, IMAX version of what a band like this could be but with that hardcore thing still sitting right in the middle of it all."

Over the course of more than three decades, guitarist Pat Metheny has set himself apart from the jazz mainstream, expanding and blurring boundaries and musical styles. His record-setting body of work includes 20 Grammy Awards in 12 separate categories; a series of influential trio recordings; award-winning solo albums; scores for hit Hollywood motion pictures; and collaborations and duets with major artists such as Ornette Coleman, Steve Reich, Charlie Haden, Brad Mehldau, and many others. His band the Pat Metheny Group, founded in 1977, is the only ensemble in history to win Grammys for seven consecutive releases.
Nonesuch

jazzColours: CONTENTS March 2014 (Year VII, issue n. 3)

4 -	Highlights
8 -	Alípio C Neto caos organizzato, progresso e libertà
14 -	Kaja Draksler tante vite da suonare
19 -	Jason Stein un ponte sulla creatività
23 -	jazz&arts: Jonathan Cusick caricature jazzistiche
26 -	Recensioni CD Focus on: Dave Holland "Prism" I 5 dischi imprescindibili di Greg Burk
33	Black&White: Nate Wooley "Seven Storey Mountain III & IV" (e inoltre: Zlatko Kaucic Trio, Tiger Hatchery, Albertucci/Ambroziak, Stazioni Sonore, Stranahan-Zaleski-Rosato, Mozdzer-Danielsson-Fresco, Taylor Ho Bynum, Die Hochstapler, Gordon Grdina & Mark Helias, ZZ Quartet, Roberto Ottaviano, LAB Trio)
34 -	Eventuali	http://www.jazzcolours.it

Montreal, Canada: 14e ÉDITION DU FESTIVAL JAZZ EN RAFALE

« MOLTO PIANO » :

Le piano sur toutes les gammes et tous les modes avec des maîtres jazzmen du Québec et de la scène internationale.

C’est cette semaine que débute la 14^e édition du Festival-évènement printanier Jazz en Rafale qui se déroulera cette année les 20, 21, 22 et 27, 28, 29 mars à l’Astral, Maison du Festival Rio Tinto Alcan, 305 rue Ste-Catherine Ouest, Montréal, sous le thème « Molto Piano ». Le Festival 2014 accueillera au cours de six soirées mémorables, 12 des pianistes de jazz les plus réputés du Québec, de France, d’Israël, du Luxembourg et du Mexique, vedettes montantes de la scène internationale.

PROGRAMMATION 1^er week-end

20 MARS - EN TROIS COULEURS : Marie-Josée Simard, percussionniste (marimba, vibraphone, cloches tubulaires, etc.), François Bourassa et Yves Léveillé, pianistes, reprennent le concert donné en 2013 au Conservatoire de musique de Montréal. Composé d’œuvres des trois musiciens et d’improvisations, le concert a obtenu le Prix du « meilleur concert jazz de l’année 2013 », lors du Gala des Prix Opus, du Conseil Québécois de la Musique. En première partie, groupe finaliste du Concours de la relève en jazz 2014.

21 MARS - CONNEXION : Rémi Bolduc, saxophoniste alto et compositeur montréalais, Baptiste Trotignon, pianiste français à la fois puissant et raffiné et Ari Hoenig, batteur et percussionniste, vedette new-yorkaise forment un brillant triangle musical « New York, Paris, Montréal ». En première partie, groupe finaliste du Concours de la relève en jazz 2014.

22 MARS - SOIRÉE-BÉNÉFICE AU PROFIT DE JAZZ SERVICES/JAZZ EN RAFALE : Sept pianistes de jazz québécois des plus réputés et le Jazzlab Orchestra vous convient à une soirée inoubliable tout en rafale – attachez votre tuque ça sera plus qu’en noir et blanc. François Bourassa, Yves Léveillé, Josh et Min Rager, John Roney, Félix Stüssi et Rafael Zaldivar joignent leurs talents, en solo, duo et piano à quatre mains et huit mains et interprètent Molto Piano, une composition pour piano sur tous les tons.Le Jazzlab Orchestra sera aussi de la partie en jouant des compositions de Yves Léveillé, Félix Stussi et John Roney. Le groupe sera composé de Samuel Blais (saxophones), Erik Hove (saxophone alto), André Leroux (saxophone ténor), Aron Doyle (trompette), Jean-Nicolas Trottier (trombone), Frédéric Alarie (contrebasse) et Kevin Warren (batterie).

Lors de cette soirée, vous aurez l’occasion de vous procurer des disques du label Effendi Records à un prix exclusif soulignant l’approche du 15^e anniversaire du label. De plus, vous risquez de bondir de votre chaise, en remportant des prix de présence spécialement prévus pour votre bien-être.« Une soirée inoubliable pour nous, mais surtout pour vous, cher public. »Merci d’encourager le festival Jazz en Rafale 2014 nous vous attendons en grand nombre. http://jazzenrafale.com

"The Chase," 2nd CD by David White Jazz Orchestra, Due for April 8 Release

"The Chase,"
Second CD by the David White Jazz Orchestra,
Due for April 8 Release
By White's Mister Shepherd Records

CD Release Shows Scheduled in NYC At  

Saint Peter's Church, 7/9 &
Harlem School of the Arts, 7/18   

   

March 18, 2014

 

Trombonist/composer David White formed his powerhouse 17-piece ensemble, the David White Jazz Orchestra, in 2007 and introduced them to the jazz world four years later with his well-received debut, Flashpoint. "White clearly knows his jazz history," wrote one reviewer, "and strikes a perfect balance by incorporating his musical influences while defining his own progressive style."

White now returns with a follow-up disc, The Chase, containing six new originals performed by his New York City-based orchestra, many of whose members have been associated with him musically since their high school days in Buffalo, New York two decades ago. The ensemble, while steeped in big-band traditions, takes the music in exciting new directions rife with vibrant voicings and rhythmic variety. White's Mister Shepherd imprint will release the disc on April 8.  

"There's a whole palette of orchestral colors within the big band that are not always tapped into," explains the 35-year-old leader. "When you take all the various colors and color combinations that are possible, it's like having a giant box of Crayolas where you can color and draw anything that you can imagine. Contrary to popular opinion, the big band has a rich palette for orchestration. A symphony orchestra has a standard instrumentation, but you wouldn't expect a symphony orchestra to sound a particular way. It's really up to the composer and the orchestrator use those colors in a unique way, and I don't want people to know what to expect when they hear my music."

On the new disc, White's robust trombone gets the solo spotlight on "Persistence," a song he says was inspired by minimalist composer Steve Reich's Music for 18 Musicians. Other highlights include the fast-burning "Mister Shepherd's Misadventures," with solos by tenor saxophonist Sam Dillon and trumpeter Miki Hirose; "The Shakedown," a funky 24-bar composition featuring alto saxophonist Andrew Gould (who's also worked with the Jon Faddis and Wallace Roney big bands); and "Blues for Sally Draper," a medium-tempo 12-bar blues named for the precocious character on Mad Men, White's favorite television show.

Growing up in Buffalo, David White played recorder and trumpet before settling on trombone. He played in both the jazz band and concert band in junior high school and was playing professionally by the time he was 14 with a big band at Buffalo's historic Colored Musicians Club led by baritone saxophonist Macy Favor.

"Macy was an important father figure since I had a single mother and my grandfather had passed," White says. "Music was always something that added discipline in my life. There's the discipline of practicing. There's the discipline of being in bands, which is more responsibility than a lot of 14-year-olds would have had. It let me get a lot of my trial and error out of the way at an early age. It was tuning my ear to blending with other musicians to playing in a trombone section to balancing the trombone section with the rest of the band."

After high school, White spent a year at the University of Buffalo, where he studied with noted classical trombonist Richard Myers, before transferring to the Purchase College Conservatory of Music, from which he would earn Bachelor's and Master's degrees in music. At Purchase he studied with onetime Woody Herman trombonist Jim Pugh and played in the school's big band, small jazz groups, Latin jazz band, trombone choir, symphony orchestra, brass band, and wind ensemble.

"If there was a trombone in it, I played in it," he explains. "I wanted to have the widest possible experience."  

White moved to the New York City area in 2003 and currently resides in Queens. He led his own quintet for seven years and has also played with Charli Persip's big band and currently with Valery Ponomarev's big band. Since its inception in 2007, the David White Jazz Orchestra has performed at such New York venues as Symphony Space, Garage Restaurant and Café, Tea Lounge, Somethin' Jazz Club, Saint Peter's Church, and the Full Gospel Assembly of Queens. The orchestra's membership has been, the leader says, "way more stable than I ever anticipated" over the past seven years.

The trombonist cites J.J. Johnson ("the father of us all"), Ray Anderson ("the anti-J.J."), Slide Hampton, Curtis Fuller, and Grachan Moncur III as influences on his playing and Maria Schneider, Steve Reich, Gerald Wilson, and Thad Jones as being among the composer-arrangers who have most inspired him.

As evidenced by 2011's Flashpoint and now The Chase, David White has become a jazz force to be reckoned with. He's a wonderfully innovative composer, the leader of a dynamic orchestra filled with brilliant soloists and section players, and a darn good trombone blower to boot. 

The David White Jazz Orchestra will celebrate the release of The Chase with performances at Saint Peter's Church, 619 Lexington Ave. at 54th Street, NYC, Wed. 7/9 at 1:00 pm; and at Harlem School of the Arts, 645 St. Nicholas Ave., NYC, Fri. 7/18, 6:30 pm. 

The Chase: The New Album by The David White Jazz Orchestra (Trailer)

 

Web Site:  

www.davidwhitejazz.com
 

Media Contact:

Terri Hinte
510-234-8781
hudba@sbcglobal.net
www.terrihinte.com
Follow:

Pianist Mike Bardash New CD "Polygon" and CD Release Events

Pianist Mike Bardash New CD "Polygon" and Upcoming CD Release Events NEW CD "Polygon" Featuring Mike Bardash-Piano/Electric Piano Gene Torres-Bass Tony Lewis-Drums Deji Coker-Sax and Flute Kenyatta Beasley-Trumpet Bongo Bruno -Percussion (Kenny’s Klave) (Rhombus 7120) Street Date March 4, 2014)   CD Release Events / Live Appearances   March 12 , 2014 Set Times: 7:30 and 9:00 PM Mike Bardash Greenwich Mean Time Trumpets 6 Depot Square, Monclair NJ 07042  (973) 744-2600 $10 Music Charge   $7 Minimum http://www.trumpetsjazz.com   featuring Mike Bardash-Piano Tony Lewis-Drums Gene Torres-Electric Bass   March 27, 2014 Set Times: 7:30 and 9:00 PM Rhonda Denet Quartet Trumpets $10 Music Charge   $7 Minimum Featuring Rhonda Denet –vocals Mike Bardash-Piano Charles Batton-Drums Derek Buchanen-Electric Bass NYC CD Release Event The Mike Bardash Quintet March 28 , 2014 Set Times: 11:00 PM Somethin’ Jazz Club 212 E 52nd  St.  between 2nd and 3rd Ave New York NY 10022  (212) 371-7657 Featuring Mike Bardash-Piano Tony Lewis-Drums Gene Torres-Electric Bass Deji Coker-Sax and Flute Kenyatta Beazley-Trumpet

From the opening strains of Polygon, pianist/composer Mike Bardash’s remarkable new Rhombus Records CD, the listener will be fully aware that an exciting and unpredictable journey lies ahead.  A pianist of consummate artistry, Bardash’s playing is placed totally within the context of the music, which showcases his extraordinarily imaginative vision as a composer.  Ten of the eleven compositions are Bardash originals and contain a broad palette of modern jazz expression within each highly distinctive piece.  Funky and straight ahead hard bop, soul jazz, structured avant-garde, and solid blowing are all flavors in this magical stew of creativity and adventure.             Although rooted in that progressive hard bop and beyond mode of the tradition that has made the Blue Note sound so timeless, the music on Polygon is fully of the moment and never allows looking back to stand in the way of looking forward.  Mike’s compositions are in constant motion - changing textures, shifting time signatures and altering moods in an organically evolving structure that tells vivid stories and creates an ideal canvas for the soloists.             Bardash has assembled an exemplary group of musicians for this music, locking the framework in place with a longtime collaborator, the brilliant bassist Gene Torres, along with the dynamic rhythms of drummer Tony Lewis. The powerful frontline consists of trumpeter Kenyatta Beasley and another longtime Bardash colleague, Deji Coker on tenor sax and flute.  All of the musicians are fully informed in the various stylistic elements and totally in command as they traverse the challenging music, telling compelling stories as they take the journey.  The full-bodied sounds of both hornmen and the no-nonsense dynamism of Mike’s piano playing create a huge sound that often makes the quintet sound like a larger ensemble – ideally suited to this music.  And while the music unquestionably stretches boundaries and pursues the adventurous, it never abandons the essence of musicality that is always front and center.             Seven of the highly imaginative Bardash originals are woven together into The Polygon Suite that comprises more than half of the album.   But the four pieces that precede it set the tone perfectly.  These include the one non-Bardash item, D’s Blues, written by Coker. A hard-boppish blues over a sprightly walking bass, it has a jocular, lopsided feel that is downright Monkish.  Fluidly swinging piano, tenor and trumpet solos highlight this short and sweet foray.             Fiery exuberance is the key to Impulse, an explosive take-no-prisoners excursion of tension-filled arcing lines in an upward spiral.  The scintillating rhythm section play sets off virile tenor and trumpet solos and a vigorous piano solo of cascading runs and thunderous block chords, then closes with an exceptionally musical drum solo.                      An easier, but no less emphatic mood is created on the funk-fest Brass Tacks, which opens the album – strikingly syncopated and darkly luminous in the manner reminiscent of Andrew Hill’s approach to funky hard bop.  Fueled by Torres’ throbbing electric bass and Lewis’s infectious backbeat, there are soul-drenched solos by Torres, a Lee Morgan-ish Beasley and Coker’s raunchy tenor that lead into an unexpectedly rubato turn by Bardash that still manages to evoke the spirit of Bobby Timmons within its free context.             An entirely different vibration is achieved with Late in the Game, an atmospheric, dramatic piece rooted by deep wood bass, freely punctuating piano, shimmering cymbals and dulcet malletry.  There is a distinct cinematic feeling as the musicians paint a portrait that shifts between serenity and turbulence, but always focused on beauty.             The Polygon Suite is launched with Kenny’s Klave, full of surprises and unpredictable twists and turns, with the fervently inventive percussion of Bongo Bruno adding special color on this track.  Primarily veering between free-bop and unabashedly Latin rhythms, the context shifts, twists, flows and dissolves in an ever changing narrative.  An arresting trumpet solo and rollicking tenor adds to the mix. 10 to 12 follows with its rapid-fire, boldly sinuous theme fueled by a perfectly unified rhythm section.  Punchy tenor, fluid trumpet and an edgy, rhythmic and adventurous piano solo are highlights.  A highly dramatic shift kicks in with the third movement, And then What (arranged by Coker).  A poignant ballad, the probing piece is layered over a sumptuous pillow provided by the rhythm section.  Exquisitely crafted and impeccably delivered, what could have been solemn is transformed into a message of hope and uplifting substance, posing important questions and seeking enlightened answers.  Leading Edge, a brief gentle rubato electric piano aperitif introduces Around the Edges. Also arranged by Coker, this is a jaunty smoldering groover built on an ostinato electric piano/bass vamp and playful backbeat, and features trumpet and flute in the unison lines.  A sprightly piano turn leads into Coker’s full-bodied flute solo that occasionally evokes Rahsaan.  Trailing Edge, a very short electric piano romp melds into Sugar High Rondo, which closes the suite.  A briskly punctuated theme stoked by nicely syncopated rhythms throughout provide the structure for a muscular, confrontational tenor solo that leads into a spectacular collective improv climax and the closing theme that brings this marvelous album to its conclusion.             For those who feel that contemporary jazz has lost the fire, urgency, jubilation and innovation of the earlier traditions, Polygon will be a delightful reminder that those classic traditions of this great art form are still alive and well.

For Interviews, photos and preview copies of the new CD Contact: Jim Eigo Jazz Promo Services 272 State Route 94 South #1 Warwick, NY 10990-3363 Ph: 845-986-1677 / Fax: 845-986-1699 Cell / text: 917-755-8960 Skype: jazzpromo jim@jazzpromoservices.com www.jazzpromoservices.com "Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

THE BIOGRAPHY OF LEGENDARY RECORD EXEC "BRUCE LUNDVALL: PLAYING BY EAR" HAS BEEN PUBLISHED BY ARTISTSHARE AND IS NOW AVAILABLE FOR ONLINE PURCHASE

 

THE BIOGRAPHY OF LEGENDARY RECORD EXEC

BRUCE LUNDVALL: PLAYING BY EAR

HAS BEEN PUBLISHED BY ARTISTSHARE AND

IS NOW AVAILABLE FOR ONLINE PURCHASE

Cover Photo Credit: Carol Friedman

AUTHOR DAN OUELLETTE - WHO WROTE RON CARTER'S BIOGRAPHY FINDING THE RIGHT NOTES - EXPLORES

THE REMARKABLE LIFE OF LUNDVALL WHO SERVED

AS PRESIDENT OF COLUMBIA RECORDS IN THE '70s, ELEKTRA RECORDS IN THE EARLY '80s AND

THEN REVITALIZED THE ICONIC

BLUE NOTE RECORDS LABEL IN 1984

LUNDVALL'S PHILOSOPHY OF "THE ART FORM

COMES FIRST" FACILITATED THE CAREERS OF A

WIDE ARRAY OF ARTISTS, INCLUDING JAZZ GREATS

(HERBIE HANCOCK, DEXTER GORDON, WYNTON MARSALIS,

JASON MORAN, CASSANDRA WILSON, DIANNE REEVES,

JOE LOVANO) AS WELL AS WILLIE NELSON, NORAH JONES, PHOEBE SNOW, BOBBY MCFERRIN, AND AMOS LEE

Bruce Lundvall: Playing by Ear, published by ArtistShare, is the authorized biography of the record business legend whose astounding career spans more than 50 years. Author Dan Ouellette has painted the portrait of one of the recording industry's most notable figures, who has been responsible for signing an array of top-flight artists from his years at Columbia/CBS, Elektra/Elektra Musician and Blue Note, where he still serves as chairman emeritus.

 

The Lundvall biography has been published in an unorthodox way--bypassing brick-and-mortar book stores (which are sadly disappearing in much the same way that record stores dwindled in number)--and being made available for purchase as a 400+-page, 50+-photos soft-cover book through either the ArtistShare website, the project Facebook site, Amazon.com, or at special book parties and events.

 

The book opens with one of Bruce's favorite stories (when Charlie Parker walked out of the Open Door club with the young fan's pork pie hat) followed by chapters on Bruce's childhood as a lover of music (including his teenage escapades from New Jersey into the New York hotbed of jazz) and his introduction to working in the record business at Columbia in 1960. 

Bruce Lundvall with Dexter Gordon

The Lundvall story is sketched chronologically, interspersed with chapters zeroing in on artists he signed, nurtured, promoted and in some cases discovered. Based on his recollections and on the reflections of those artists, there are in-depth "testifying" chapters on his relationship with Willie Nelson, Herbie Hancock, Norah Jones, Dexter Gordon, Wynton Marsalis, Bobby McFerrin, Amos Lee, Joe Lovano, Jason Moran, Cassandra Wilson, Rubén Blades, Paquito D'Rivera, Richard Marx, Dave Koz, Terence Blanchard and Kurt Elling. While his favorite music is jazz, Bruce had the ears to recognize talent across the genres--from country to adult pop.

 

There's also a comprehensive overview of Bruce's bold decision to break the western hemisphere's Iron Curtain by organizing and staging the Havana Jam in Cuba in 1979 (35 years ago) -- thus opening the door to several Cuban artists to record and perform in the U.S. In addition, there's a chapter on the true story of his discovery of Whitney Houston and how record label politics stymied him from signing her (he did orchestrate her very first recording session, singing on a Bill Laswell Material song with Archie Shepp as guest soloist), and a chapter on Bruce's biggest regret: not signing singer Eva Cassidy.

 

Arriving in the 75th anniversary year of Blue Note Records, Playing by Ear comprehensively covers Bruce's leadership in continuing the legacy of the label with several chapters devoted to events and artists.

 

A current running throughout the book is the changing development of the recording business, with Bruce ("I'm an analog man in the digital age") reflecting on its future from the perspective of a music lover who started out buying shellac 78s and today finds him listening to MP3 files. The book ends with an afterword by Bruce about the state of the recording business.

 

"What's totally special about Bruce is how he put art first and allowed artists to follow their own paths," says Ouellette. "That's a rarity in the record business world. He never dictated a career direction or forced a musician to be someone else or record certain songs. He's managed to not only allow artists to follow their own passion and intuition, but also has a keen ear for music that has commercial potential. As Norah Jones so articulately says, 'They call Bruce the best ears in town.'"

Playing by Ear tells the story of a much-loved man who unlike his extroverted contemporaries such as Clive Davis and the late Ahmet Ertegun made his mark on the recording industry as a behind-the-scenes force who believed in the art. As he likes to say: "Life is short, art is long, jazz is forever."

 

For more information, visit the project website and the Facebook page for exclusive audio and video content. This is where you can order a copy of the book. In addition, the book will be available on Amazon.

 

A limited number of review copies is available for writers who have a definite assignment for a significant publication or website. (Please do not contact DL Media or Blue Note Records re: "Playing by Ear.")

 

Contact:

Dan Ouellette 

· 

danouell@aol.com

917-748-2935 · @danojazzpop

 

Project info:

Twitter: @BLundvallBook

Facebook: www.facebook.com/PlayingByEar