[Dixielandjazz] Vintage Jazz Instrumnets Wall Handing
Tom Coleman
optiguytom at yahoo.com
Sun Nov 28 16:27:05 PST 2010
I have amassed a nice collection of vintage jazz era musical instruments and
combine them into nice wall hangings.
See the one over my grand piano here:
http://i940.photobucket.com/albums/ad241/optistuff/jaxxband2.jpg
I'd like to sell a few hangings before Christmas to get some bills paid. I was
wondering if you guys have some addresses of local jazz afficianado groups with
online newsletters where I could post these for sale. I'd appreciate it if you
could forward that info or any other ideas.
No instruments are harmed (no holes drilled) and each could easily be restored,
most play as they are. I do find the best wall art is to leave them in
tarnished, or "as is" state and not polished or cleaned up too much. Each one is
unique depending on the vintage and collect-ability of the horns and the buyer
can have input on which instruments are chosen from my collection.
Thanks!
Tom Coleman
423-432-2080
________________________________
From: "dixielandjazz-request at ml.islandnet.com"
<dixielandjazz-request at ml.islandnet.com>
To: Tom Coleman <optiguytom at yahoo.com>
Sent: Sun, November 28, 2010 3:00:01 PM
Subject: Dixielandjazz Digest, Vol 95, Issue 29
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Today's Topics:
1. Duke Ellington reviewed (Robert Ringwald)
2. Dan Hicks interviewed (Robert Ringwald)
3. Some Birthdays Nov 27 (Robert Ringwald)
4. Pronunciation of Gennett (Stephen G Barbone)
5. 1920's list worth checking (Bert Thompson)
6. OhYeahDay (Ittz?s Tam?s)
7. Re: Dixielandjazz Digest, Vol 95, Issue 28 (anichols at gis.net)
8. Ike Smith (Mabel's - or Maybelle's - Dream) composer info?
(David M Richoux)
9. Re: Dixielandjazz Digest, Vol 95, Issue 28 (EditWest at aol.com)
10. When music was fun! (Eddy)
11. Re: Dixielandjazz Digest, Vol 95, Issue 28 (Gluetje1 at aol.com)
----------------------------------------------------------------------
Message: 1
Date: Sat, 27 Nov 2010 12:10:34 -0800
From: "Robert Ringwald" <rsr at ringwald.com>
To: "DJML" <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Duke Ellington reviewed
Message-ID: <2875DAD5AD2A422BBBDEFF26D68C8791 at hplap>
Content-Type: text/plain; charset="iso-8859-1"
Duke Ellington reviewed
Duke Ellington: The Complete 1932-1940 Brunswick, Columbia and Master Recordings
of Duke Ellington and His Famous Orchestra (Mosaic, 11 CDs, $179, available only
at mosaicrecords.com)
by Nate Chinen
New York Times, November 26, 2010
For a certain breed of listener, this could be the mother lode: a painstakingly
assembled,
scrupulously annotated collection of Duke Ellington's Depression-era big-band
output
on the labels now owned by the Sony half of Sony BMG. It's music radiant with
uplift
and rich with possibility, a portrait of jazz's greatest composer-bandleader in
the
thrall of creative and commercial success. This is the era of "Solitude,"
"Sophisticated
Lady," "In a Sentimental Mood." And it's the era in which Ellington truly
adapted
his writing to the gifts of his band members, expressive masters like the
trumpeter
Cootie Williams and the alto saxophonist Johnny Hodges (and, on occasion,
sterling
vocalists like Bing Crosby and Ethel Waters). Most of the source material has
been
transferred from the original 78s, courtesy of the Ellington collector and
scholar
Steven Lasker, who also wrote the liner essay, as exhaustively detailed as you
could
possibly desire.
--Bob Ringwald
www.ringwald.com
Fulton Street Jazz Band
530/ 642-9551 Office
916/ 806-9551 Cell
Amateur (Ham) Radio K6YBV
There are two rules for success:
1. Don't tell all you know.
------------------------------
Message: 2
Date: Sat, 27 Nov 2010 12:15:00 -0800
From: "Robert Ringwald" <rsr at ringwald.com>
To: "DJML" <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Dan Hicks interviewed
Message-ID: <7F2ED5023C0E49C4BEF4D1A7E88699EF at hplap>
Content-Type: text/plain; charset="iso-8859-1"
Dan Hicks interviewed
Bay area singer-bandleader talks about his new holiday album and tour
by Lee Mergner
JazzTimes.com, November 26, 2010
Dan Hicks digs Christmas tunes. But it took him over 30 years in the music
business
to get around to doing his own album of holiday music. The
singer-songwriter-guitarist
and leader of the Hot Licks, a swinging band with a cult following in the rock
world
going back to the '70s, has just released "Crazy for Christmas" on Surfdog
Records
and is on his way around the country on a tour he calls "Holidaze in
Hicksville."
The group will perform at a mix of theaters, clubs and coffeehouses, including
the
Barns at Wolf Trap in Vienna, Va., the City Winery in New York City and McCabe's
Guitar Shop in Santa Monica, Calif.
Talking via phone from his home in Marin County, California, Hicks says that
he's
always done Christmas tunes during that time of year with his band, the Hot
Licks.
"I've been doing Christmas songs with the Hot Licks for a couple of decades. We
did
about eight or ten tunes, but we didn't do them all at once. We've been doing
shows
we call 'Holidaze in Hicksville.' We have a canvas backdrop with a cartoon scene
of Christmas."
During the holiday season, he also moonlights with a local group called the
Christmas
Jug Band. "It's a group of professional guys that play once a year and we've
been
doing that since the late '70s," Hicks explains. That's really where I got
started
doing the Christmas tunes. I think the first one I did is 'Somebody Stole My
Santa
Suit.' We started out with parodies and rewrites. We've done about five albums
through
the years. It started out as vinyl, then cassette and later CDs."
There are several of those parodies and rewrites on this album including "Santa
Got
a Choo-Choo" which uses the melody of "Choo Choo Ch'Boogie" and "Christmas
Morning"
with new holiday lyrics for Hicks' own "Where's the Money." In addition, he
covers
a few Christmas classics, such as Steve Allen's "Cool Yule," made famous by
Louis
Armstrong, and "Here Comes Santa Claus." "There are a bunch of those that fit my
style," says Hicks. "I also try to make my style go into Christmas songs." Sure
enough,
Hicks' rendition of "Run Rudolph" is a great example of refashioning a holiday
song
associated with a particular artist (in this case, Chuck Berry) and giving it
the
Hicks treatment, an easy-going swing style along the lines of Slim Gaillard or
Leon
Redbone, with warmth, humor and perhaps a touch of irony.
One tricky problem with Christmas albums is that in order to be released in time
for the holidays they have to be recorded at a less than wintry time of year.
Hicks
says that he recorded "Crazy for Christmas" in April, but he didn't find it too
hard
to get into the right state of mind for the material. "I knew the subject matter
and I knew what we had to do," says Hicks. "It was more like music, you know,
rather
than talking about Christmas." He also says that it may have helped that he
started
working on the album right after Christmas, doing arrangements and
pre-production.
"Maybe it was still Christmas for me," he adds.
Those arrangements feature your basic swing jazz band instrumentation (guitar,
piano,
bass and drums) with one noticeable addition: the kazoo. Hicks chuckles when
asked
about the inclusion of that populist and often scorned instrument. "I swore once
that the kazoo would never be on my bandstand," he says. "But somehow the two
girls
doing kazoos makes it. Now I got the kazoo every now and then with that 'kazoo
duo,'
but hardly ever a kazoo alone. The kazoo is a staple of the jug band so I hear
enough
of it with that band. I hear enough, period. Who doesn't? You never hear it and
it's
still enough." Given that pronouncement, can he think of anything particularly
positive
to recommend the kazoo? He thinks for a moment. "It's sort of like singing,
though
more like falsetto for a guy. You can scat on it and get musical ideas going.
You
can play it like an instrument and take a solo. That's a plus."
The kazoos are played by his back-up singers, the Lickettes, who are
accomplished
jazz singers in their own right: Daria and Roberta Donnay. Singing harmonies and
counter melodies, the two provide an important complement to Hicks' often
idiosyncratic
lead vocals. Pre-bebop era jazz may be the foundation of the group's sound, but
Hicks
himself has much broader interests. "Well, I'm glad to be talking with a jazz
magazine,"
he says, "because I've always wanted to be a jazz guy. I also do standards with
a
group called Bayside Jazz. I was a jazz drummer way back in my history."
The Hot Licks group is doing about a dozen shows on this tour, from Rhode Island
to California. That's a whole lot of Christmas, but Hicks says he finds the
shows
work best if they're not all painted in red and green, so to speak. "I'm going
to
sprinkle the set with Christmas stuff," he says. "I always do the songs that are
associated with me, 'I Scare Myself' or 'How Can I Miss You When You Won't Go
Away?'
or 'Canned Music.' I couldn't take it either if I had to do the whole night of
Christmas
music."
For his own Christmas celebration when he returns home, Hicks admits that he
doesn't
do anything particularly different from any of us. "I'll go over on Christmas
day
to my wife's parents' house. Most of my Christmas is wrapped up in the music,
but
I give presents to a couple of close people. I send out a postcard every year to
about 200 people. I either do a collage or graphic design drawing. For the last
few
years, I've been doing a takeoff on the word jumble that you see in newspapers."
But no falsely modest yet boastful newsletter, right? "No, I don't do that. No
newsletter
like 'Patty spent a year in Afghanistan and almost got arrested. Whew, that was
close.
She's now at MIT. Boy, are we proud.' No, thanks."
Hicks says that he has a few of his own holiday music favorites, including
Charles
Brown's Christmas album (the singer-pianist, not the cartoon character) and a
Django-style
gypsy guitar Xmas CD. He also confesses to owning the Chipmunks Christmas album.
He mentions one obscure album by an artist with whom he shares some sensibility.
"I've got one by Harry the Hipster Gibson," Hicks says. "It features a lot of
him
singing just by himself."
Speaking of hipsters, I tell Hicks about Armstrong's reading of "Twas the Night
Before
Christmas," said to be one of Pops' last recordings, in the hopes that Hicks
might
consider working his magic with that piece. After all, with his languorous and
sonorous
voice, Hicks would be a perfect narrator for such a piece. In the meantime,
audiences
can check out the Hot Licks getting Santa-fied at the shows listed below. And we
can all hope that that we won't have to wait another thirty years for the
followup
to "Crazy for Christmas."
--Bob Ringwald
www.ringwald.com
Fulton Street Jazz Band
530/ 642-9551 Office
916/ 806-9551 Cell
Amateur (Ham) Radio K6YBV
There are two rules for success:
1. Don't tell all you know.
------------------------------
Message: 3
Date: Sat, 27 Nov 2010 12:16:44 -0800
From: "Robert Ringwald" <rsr at ringwald.com>
To: "DJML" <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Some Birthdays Nov 27
Message-ID: <F91D1E5491B148038378F2892578D6EE at hplap>
Content-Type: text/plain; charset="iso-8859-1"
1911: David Merrick
1913: Liza Morrow
1927: Dick Wellstood
--Bob Ringwald
www.ringwald.com
Fulton Street Jazz Band
530/ 642-9551 Office
916/ 806-9551 Cell
Amateur (Ham) Radio K6YBV
There are two rules for success:
1. Don't tell all you know.
------------------------------
Message: 4
Date: Sat, 27 Nov 2010 17:06:51 -0500
From: Stephen G Barbone <barbonestreet at earthlink.net>
To: dixielandjazz at ml.islandnet.com
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Pronunciation of Gennett
Message-ID: <8F532ACF-833E-4B59-96DE-EB7DA5794A2D at earthlink.net>
Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes
> "Roy (Bud) Taylor" <budtuba at gmail.com> wrote
>
>
> I have always heard it pronounced as Gan - net. (that's with a hard
> G).
> The emphasis is slightly more on the second syllable.
I've also sometimes heard it that way Bud. However both the facebook
pages for Gennett Records and Starr Piano say it is pronounced with a
soft G. Note that the info on both pages is taken from Wikipedia which
also claims it is a soft G, though Wikipedia is not always 100% accurate
http://www.facebook.com/pages/Gennett-Records/107622029267163
If one google searches <Gennett Soft G> one comes up with numerous
websites that say; "Gennett (pronounced with a soft G) was a United
States based record label . . . etc" They all copy the Wikipedia
description almost word for word.
I do know a realtor in Media PA named Gennett. He pronounces it with a
soft G, like Je NET. <grin>
Cheers,
Steve Barbone
www.myspace.com/barbonestreetjazzband
------------------------------
Message: 5
Date: Sat, 27 Nov 2010 22:56:22 GMT
From: "Bert Thompson" <dr_bert at juno.com>
To: dixielandjazz at ml.islandnet.com
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] 1920's list worth checking
Message-ID: <20101127.145622.28197.0 at webmail07.dca.untd.com>
Content-Type: text/plain; charset=windows-1252
This from another list I am on but may prove of interest to some on DJML: "Matt
Chauvin is a 20s jazz fanatic.
For years, he's been combing the Internet for rare and wonderful tracks from
that era.
He's put his best discoveries on a web site called 20sJazz.com
The first clip he wants to share with us is from Jabbo Smith and his Rhythm Aces
performing "Take Your Time."
This is the original recording with images provided by Matt.
If you like 20s Jazz, make sure you sign up to get more ... this is a free
service."
Video:
http://www.20sjazz.com/page/723.html
Regards, Bert Thompson
____________________________________________________________
Job Scams (EXPOSED)
We investigated work at home jobs and what we found may shock you...
http://thirdpartyoffers.juno.com/TGL3131/4cf18cc6b76023d4b72st05duc
------------------------------
Message: 6
Date: Sun, 28 Nov 2010 04:52:39 +0100
From: Ittz?s Tam?s <bohem at fibermail.hu>
To: <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] OhYeahDay
Message-ID: <6EBBF043E1924BE78CC84ABBEEE64916 at bohem>
Content-Type: text/plain; charset="iso-8859-2"
Dear friends,
Very few people signed up at www.OhYeahDay.com although I believe, this
idea could do a lot for OKOM. So here it is again:
Let's make 4th of August International Day of Classic Jazz every year!
Aug 4 is Louis Armstrong's documented birthday (although he always
celebrated on the 4th of July and stated that he was born in 1900), so
his 110th anniversary in 2011 is a perfect date to start such a
movement. We have plenty of ideas of how to use this International Day
all year long for different projects that help generate more media
coverage for jazz events worldwide and would also draw young audience in
but to achieve this, we need plenty of supporters (not financial
support, only people who join the movement by signing it on the
website). So if you agree (and why wouldn't you?), please visit
www.OhYeahDay.com and support the idea. Our goal is to get 100,000 (yes,
onehundred-thousand) supporters (no, not Facebook Like's but people who
sign up at the website).
Note that there IS an International Day of Jazz but it is not connected
to any birthday of a jazz giant but to the Sacramento Jazz Festival as
the initiative came from the Jubilee's side decades ago. But almost
nobody knows about this today anymore and it would be a waste of time to
try to bring that back to life as it never really has been a worldwide
festive event. That's the reason that I found out about the day of
CLASSIC jazz; Armstrong's name is still known around the globe and his
anniversary would be a good starting point for such a festivity.
Therefore I really ask everyone not only to sign the idea but to send it
around to ALL of your friends so we can reach that high number of
supporters. Please, understand that I am only the initiator but this
movement is NOT for my benefit, this is for ALL OF US, jazz lovers, jazz
musicians.
Please sign up at www.OhYeahDay.com
Tamas
_________________________________________________
Tamas ITTZES
violin teacher, ragtime pianist, festival organizer
Bohem Ragtime Jazz Band
Kecskemet Jazz Foundation
Mailing address: H-6001 KECSKEMET, Pf. 652., Hungary
Phone: +36(20)82-447-82
E-mails: tamas at bohemragtime.com, bohem at fibermail.hu
Web site: http://www.bohemragtime.com
------------------------------
Message: 7
Date: Sun, 28 Nov 2010 10:27:00 -0500
From: anichols at gis.net
To: dixielandjazz at ml.islandnet.com
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Dixielandjazz Digest, Vol 95, Issue 28
Message-ID: <v0155010ac9181bc2826c@[69.87.199.52]>
Content-Type: text/plain; charset="us-ascii"
Steve,
Thanks for sending along Jonathan's youtube, and what ambition to
transcribe the Grappelli arrangements. A curse, I'll admit, but I find it
hard to listen too long to Jonathan and his occasional faulty intonation.
Probably a curse from Grappelli who was so precise where he landed on the
fingerboard. Still young, I hope Jonathan practices his scales.
Another Grappelli observation and why I think he ended up playing with
non brass small ensembles: the keys he played in mostly were fiddle
friendly keys: Stardust in C; Blue Moon in D; As Time Goes By in D; After
You've Gone in G; Out Of Nowhere in G; How High The Moon in G; Ain't
Misbehaivin in D, etc. Friendly keys aside, I think there's a clash of
sonorities listening to polyphony between a trumpet and a fiddle playing
jazz.
I played fiddle with a trad jazz band for a couple of years and excused
myself from their good front line. Besides lacking a certain technical
proficiency, I was feeling that clash. And say what one might, instrument
friendly keys make music so much easier to play.
Norman Nichols
BPOLR (Banjo Player of Last Resort)
>Message: 8
>Date: Sat, 27 Nov 2010 10:26:26 -0500
>From: Stephen G Barbone <barbonestreet at earthlink.net>
>To: DJML <dixielandjazz at ml.islandnet.com>, tradjazz at list.okom.com
>Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
>Subject: [Dixielandjazz] The Music of Stephane Grappelli
>Message-ID: <721076B4-6052-4BF8-957A-5724DAD03D31 at earthlink.net>
>Content-Type: text/plain; charset=US-ASCII; format=flowed;
>delsp=yes
>
>Listmates:
>
>Fantastic recreation of some arrangements of the Stephane Grappelli
>Trio. Presented on Jazz Night at the Harlem Yacht Club in New York
>City on November 20. Jon Burr (bass), Howard Alden Alden (guitar) and
>Jonathan Russell (violin) IT DOESN'T GET MUCH BETTER THAN THIS.
>
>http://www.youtube.com/watch?v=6CG1JhgDvZ8&feature=&p=42408CC568FBCCFE&inde
>x=0&playnext=1
>
>Jon Burr who, among other things (check his bio), played bass with
>Grappelli had this to say about the music.
>
>"This is a unique first-time appearance of a new project recreating
>the actual arrangements of the great Grappelli trios. Jonathan Russell
>has done incredible work transcribing the music. We're privileged and
>blessed to be joined by Howard Alden in this maiden outing of this
>special new presentation."
>
>Hey "J", if you are listening, you are big timing it now.
>Congratulations on your progress as a musician and a man. Will you
>still have time to jam with us lesser musos now and then? We are very
>fortunate to have been in the neighborhood to watch you grow.
>
>Cheers,
>Steve Barbone
>www.myspace.com/barbonestreetjazzband
------------------------------
Message: 8
Date: Sun, 28 Nov 2010 10:16:48 -0800
From: David M Richoux <tubaman at tubatoast.com>
To: DJML Jazz <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] Ike Smith (Mabel's - or Maybelle's - Dream)
composer info?
Message-ID: <E6F9DAC6-1E6C-4ADA-9F0D-ADFD7AF4829B at tubatoast.com>
Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes
Hi all,
Over on the Redhot Jazz list, the question about the composer of
"Mabel's Dream" has come up with a lot of blanks. I don't have access
to any of my reference books (moving again) and most Internet searches
don't yield much of value. Some modern groups that recorded the song
say the original title was spelled "Maybelle"s Dream" but I can't
prove that either. King Oliver released it as "Mabel's Dream" about a
year after the song was written.
Anybody have more info on this mysterious composer and the song?
Dave Richoux
------------------------------
Message: 9
Date: Sun, 28 Nov 2010 13:36:37 EST
From: EditWest at aol.com
To: dixielandjazz at ml.islandnet.com
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Dixielandjazz Digest, Vol 95, Issue 28
Message-ID: <5cfd0.7aa7ba3c.3a23fb35 at aol.com>
Content-Type: text/plain; charset="US-ASCII"
Jennifer's going and maybe Jeff. Thanks.
------------------------------
Message: 10
Date: Sun, 28 Nov 2010 14:32:29 -0500
From: Eddy <greenmeat at mac.com>
To: Dixie Mailing List <Dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] When music was fun!
Message-ID: <CBBD1DA4-EC5E-400D-AC6B-3FA1990B1055 at mac.com>
Content-Type: text/plain; CHARSET=US-ASCII
This is called making a living! You'll please take a note of Ms. Cynthia Sayer's
talent.
http://www.youtube.com/user/mrgreenmeat#p/u/0/yp4XpFWGiZc
http://www.youtube.com/user/mrgreenmeat#p/u/0/iIyexCIkvRs
http://www.youtube.com/user/mrgreenmeat#p/u/1/86NvKADX1ms
Eddy Davis
------------------------------
Message: 11
Date: Sun, 28 Nov 2010 14:37:58 EST
From: Gluetje1 at aol.com
To: anichols at gis.net
Cc: dixielandjazz at ml.islandnet.com
Subject: Re: [Dixielandjazz] Dixielandjazz Digest, Vol 95, Issue 28
Message-ID: <9ca26.2e231765.3a240996 at aol.com>
Content-Type: text/plain; charset="US-ASCII"
Norman, Thanks for some tips on understanding my own ears better. I
definitely enjoy well played classical music, love hearing a good symphony
live,
smaller ensembles, etc. I enjoy fiddling in country, mountain music,
Western Swing.
But I've not been able to find fiddle/violin pleasant with typical jazz
ensemble, indeed not even, Grappelli. It's nice to feel a bit validated by
your discussions of tonal issues because I always put the onus on me when
someone was waxing eloquent about such as Grappelli, and I'm instead feeling
in near pain.
So guess, I have to be empathic when someone else feels that way about my
banjo or Brodsky carries on about saxophones in "World in a Jug", etc.
Ginny
In a message dated 11/28/2010 11:35:27 A.M. Central Standard Time,
anichols at gis.net writes:
Steve,
Thanks for sending along Jonathan's youtube, and what ambition to
transcribe the Grappelli arrangements. A curse, I'll admit, but I find it
hard to listen too long to Jonathan and his occasional faulty intonation.
Probably a curse from Grappelli who was so precise where he landed on the
fingerboard. Still young, I hope Jonathan practices his scales.
Another Grappelli observation and why I think he ended up playing with
non brass small ensembles: the keys he played in mostly were fiddle
friendly keys: Stardust in C; Blue Moon in D; As Time Goes By in D; After
You've Gone in G; Out Of Nowhere in G; How High The Moon in G; Ain't
Misbehaivin in D, etc. Friendly keys aside, I think there's a clash of
sonorities listening to polyphony between a trumpet and a fiddle playing
jazz.
I played fiddle with a trad jazz band for a couple of years and excused
myself from their good front line. Besides lacking a certain technical
proficiency, I was feeling that clash. And say what one might, instrument
friendly keys make music so much easier to play.
Norman Nichols
BPOLR (Banjo Player of Last Resort)
------------------------------
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