Sam Rivers: Contours (1965) Blue Note

UPDATE April 17, 2020 – Sam Rivers, 1969, photos at end of post

An unusual Shoot-out : Blue Note Tone Poet Edition (2019) versus Liberty original (1967). Part of the Stay Home And Rediscover Overlooked Greats Series – SHAROGS. Pretty crap acronym really, but great records for an extraordinary time. There are a few mysteries on the way, have your magnifying glass to hand.

Selection: from Blue Note Tone Poet 2019 edition: Euterpe (Rivers)

.  .  .

Euterpe---1595----Henryk-Goltzius In Greek Mythology, Euterpe was one of the daughters of Zeus (Jupiter) and  Mnemosyne (Memory). The Muse of Music is usually pictured playing a flute. Two thousand years and jazz fans, as your muse, you get a chick with a FLUTE.  Bummer.

Artists

Freddie Hubbard, trumpet; Sam Rivers, tenor, soprano sax, flute; Herbie Hancock, piano; Ron Carter, bass; Joe Chambers, drums, recorded Van Gelder Studio, Englewood Cliffs, NJ, Friday May 21, 1965; released by Liberty in January 1967.

Stellar front-line under Sam Rivers leadership: Hubbard! Hancock!; Ron Carter and Joe Chambers man the engine room below. This is outstanding for a 1967 release,  because it is a 1965 recording, forged in the crucible of post-bop, from some of the best players of the day. And you though it was just a Sam Rivers album?

Sam Rivers

I’m going to have problems with the correct use of possesive apostrophes. Rivers’ early career was helped by his friendship with drummer Anthony Williams, who introduced him to Miles Davis. In 1964, Rivers served briefly as the replacement for George Coleman in the Davis Quintet, but was quickly stood down after only a couple of weeks to make way for Wayne Shorter. Miles was ruthless. However The Rivers-Williams connection  introduced Rivers to Blue Note, where he recorded on Williams’ 1964 debut Blue Note “Lifetime“. A record which coincidentally was the first ever original Blue Note I bought, thirteen years ago. One of those split second decisions that change your life forever. Forget that fumble in the back of a car, you never forget your first Blue Note.

A signing with Blue Note followed, and Contours was Rivers’ third and last recording for the label, after Fuschia Swing Song and New Conception. His small post-bop discography was supplemented by another deferred release,  United Artists excellent two-fer, Involution, released in 1975, and re-released with its intended artwork by Capitol in 1985, as Dimensions & Extensions.

Through the 70s, Rivers rode the free jazz wave, progressive cacophony to my ear. I try it from time to time, but it just doesn’t swing except by the neck, and only when the stool is kicked away underneath me. I have written before, “free” is a misnomer, unless you define it as free from melody rhythm and harmony, which tosses out most of the elements that make up music. These free jazz albums can be found on Discogs for under a tenner, so almost but not quite “free jazz”.  However, Rivers’ ’60’s work (three apostrophies?)  I like his timbre, dynamics, and risk-taking approach to the tenor in solo, a bad mutha. He also switches around between tenor and soprano, and flute, varying dynamics and textures, to good effect, and played with some great people.

Rather than my amateur ramblings, I sought out a more authoritative source on the relationship between tonal jazz, free jazz, and post bop, a musical education digression.  I found this explanation helpful – I understood most of the ideas, but it put them in correct order and in better shape.

Post-bop

By the mid-1960’s the rise of Free Jazz had shaken the very foundations of Jazz. So Mainstream Jazz had to somehow find a way to respond to the avant-garde – and this response was a genre called Post-bop. The Post Bop genre mixes elements of Bebop, Hard-bop, Modal and Free Jazz without necessarily being any one of these style.”

Ambiguity and Controlled Freedom

The way that Post-bop responded to this attack by Free Jazz was with ambiguity – writing songs that were:

  • Harmonically ambiguous
  • Metrically and Rhythmically ambiguous
  • Formally ambiguous

So, in effect, Post Bop sits half way between Free Jazz and Tonal Jazz. If Free Jazz was ‘complete freedom’; Post-bop is ‘controlled freedom’. It breaks some musical rules but retains others, and still maintains much more structure and form than Free Jazz. Post-bop took on some elements and ideas from Free Jazz but retained others from Traditional Jazz.

Credits: The Jazz Piano Site

Great. So now we are clear what Post Bop is, hopefully you found it helpful, on with the vinyl review…

Music

A post-bop session from 1965, recorded two months after Hancock’s  landmark Maiden Voyage. Hancock and Carter were three months into the life of the Second Great Miles Davis Quintet. Hancock is in marvelous discursive mode,  conversing with the other instruments, echoing, jabbing, shadow-boxing, occasionally arguing. Hubbard provides the more mainstream sensibility, Freddie is Freddie, but he tilts in the more free direction than usual.

On my selection, Euterpe, Rivers picks up the flute from the muse, partnered by Freddie on muted trumpet, in an ebb and flow piece that has a dream-like spaciousness, ethereal Hancock notes fill the spaces, and the melody and meter is … ambiguous. Got it.

Other tracks have Rivers’ in Coltranish fire and brimstone: Mellifluous Cacophony gives your ears a good workout, and  Rivers’ tenor reaches boiling point in the Dance Of The Tripedal, a clever choice of title conjuring up the gait of someone with three feet.

Vinyl: Blue Note Tone Poet (2019)

Vinyl Detective Briefing: a couple of things are a little odd. Glance at the run-out: it is absolutely huge, meaning the mastering lathe has been set to a very fine groove, pitch or whatever it’s called. You rarely see any record cut like this except when they remastered a 10″ for 12″, with short playing time. If there is anyone out there who knows what they are talking about, unlike me, perhaps they would like to explain the significance of packing the grooves in such little space. Seems intuitively not a good thing.

Possibly related, the track Euterpe is very quiet.  It required about 30% more gain to achieve normal full histogram during the rip, and turn the volume up two three notches more when playing. It sounds quite subdued unless you crank it up. Other tracks sound more normal, but still improve with a touch more volume. As a result, the rip of Euterpe  has a signal to noise ratio which magnifies background surface noise in the quiet opening passage, not entirely silent , though not a problem compared with my 1967 original.

Gatefold

Always the bonus with Tone Poet, like Music Matters, chiarascurro Francis Wolff portraits. Freddie and Herbie look so young to be making music this good.

Collector’s Corner

I sought out the Tone Poet edition of Contours because I was very impressed with two other Tone Poets I had recently acquired, and wanted a better experience of this great music without the accompanying surface noise of my 1967 original.

As they are both stereo, and both “mastered from the original tapes”, it seemed a perfect opportunity to line them up side by side,  in a grand shoot-out of the same track, Euterpe. They are both timed almost exactly 11 minutes, and with the WordPress player showing the running time you can A:B any section backwards and forwards,  more or less simultaneously. Factor out the surface noise, we are listening for comparative sonic impressions, albeit within the limitation of MP3 through a computer soundcard.

Selection: Euterpe  – original Liberty/ Blue Note stereo (warning, some surface noise)

.  .  .

To hear the Tone Poet and original side by side:

Selection: Euterpe – Blue Note Tone Poet 2019 edition

.  .  .

Vinyl: BST 84026, VAN GELDER stamps, original NY stereo labels

Contours was first issued by Liberty in January 1967, after the usual Christmas novelty season, and in the company of some very strong and fearless but earless  Blue Note titles. And there is the trusty trio Three Sounds as well.

Legacy NY labels prepared before sale to Liberty, accompanying inner sleeve 27 years.

Vinyl Detectives, pay attention.There is another red flag here, that may provide a clue to the Euterpe track volume issue. Observe, Side 2 matrix:

Original stereo press Side 2 which starts with Euterpe is a Van Gelder re-cut BNST 84206 B-1. The suffix -1 was Rudy’s way of keeping track of mastering re-cuts. When he wasn’t happy with the first cut, he would mastering it again, and designate the second acetate -1. Van Gelder decided another cut needed to be made of side 2, BNST 84206-B-1. Was there something amiss with the volume of tracks on the original tape?

When someone uses the Van Gelder original tapes today, and full credit to them for doing it, you have to think, the original tapes recorded by Van Gelder were then mastered by Van Gelder for the original release. He made adjustments on the fly to those original tapes during mastering. May be, just may be, the original tapes include original problems which Van Gelder corrected on mastering, but another engineer using the original tapes might not be aware of? Mere speculation…could be mere coincidence, but suspicious cat says “Meow!

This inner sleeve is almost exclusively associated with Blue Note titles released by Liberty. Dexter Gordon Getting Around on his bike, last column, row four

Collector’s Corner, Part 2

Contours is one of the few titles selected for the Tone Poet series from the main Blue Note catalogue rather than a remastering of titles first published by United Artists.

It claims to be mastered from the original tapes. I have since learned Sam Rivers was one of several hundred musicians whose tapes and masters were allegedly destroyed in the 2008 Universal Studios fire, which saw the loss allegedly of over 100,0000 recordings in the Universal Music Group vaults (Wiki). The number of losses have been hotly disputed by Universal, who turned to safety copies, back-ups, some tapes were on loan elsewhere, and some safe due to being digitised (!!!).

If you have any thoughts about Tone Poets, know anything about mastering lathe variable pitch settings, the works lost in that LA fire (allegedly included the masters of Coltrane’s Impulse recordings), your First Blue Note? or indeed anything in this post, the floor is yours, give me something to read in the morning.

Brother Jazz

 

 

Stay Home, Stay Safe, and most of all, SHAROGS.

 

 

UPDATE April 17, 2020

Once again, Harry M has the pictures: Jazz Expo 1969, Cecil Taylor Quartet

Jimmy Lyon, Sam Rivers, Andrew Cyrille, 1969

Sam Rivers, Jazz Expo 1969

Credits: Harry M., The Jazz Paparazzi

37 thoughts on “Sam Rivers: Contours (1965) Blue Note

  1. Just listened to the TP version of Contours. Considering the care BN puts into these releases, it is quite surprising that a note was not attached concerning the piano on Euterpe. If the master tape has problems due to storage or other mishaps over time, BN should have commented about this. What else could have caused such a change in the piano sound? LJC’s original rip of Contours is vastly different than the TP at the beginning, and my copy confirms this change. Curiously, the other instruments do not sound that different, which is a vote against a damaged tape, unless the piano is on one isolated track. Autocorrect is always available!

    • Hoffman Forum has hundreds of posters discussing the warbling piano.

      As often on SHF, some people have the knives out, others defending TP’s out of misplaced loyalty. Grey puts on a strenuous but unconvincing defence based on the general frailty of original tapes. No-one seems interested in identifying the real reason for the piano problem, or denies there is a problem, or admits there is a problem but it doesn’t bother them much.

      My theory is that the last user of that original tape stressed it in some way . Look back in the register of loans of the tape, might even be MMJ. I know nothing. Perhaps piano is the most pitch-sensitive instrument which displays wow and flutter that is present on other instruments.

  2. About the stereo spread and volume level: Van Gelder used a compressor and reduced the stereo spread to get a punchier in your face sound. Some say he did it because of lesser phonographs but that doesn’t strike me as his m.o. from what I know of the man. He wanted a record to have the excitement and energy of a live performance. The modern audiophile reissues eschew these techniques and aim for what’s on the tape. Hence the wider stereo spread. And with no compressor, the quiet parts as in Euterpe are quieter relative to the loud parts and sound it, because we judge loudness by the average level.

    These two issues of reduced dynamics and stereo spread were the main controversies about the RVG series of CDs, by the way, as he reduced both compared to existing versions.

  3. TP has a bit more HF extension for the right hand keys, and cymbal shimmer. Original has deeper and cleaner bass response, with greater instrument clarity. TP has a wider soundstage and what appears to me to be some room echo around the trumpet ? Original has a nice cohesive spread. TP gives more “room” ambiance, Original provides more focus on the musicians. The Original sounds closer miked ? Both are good, and I would be satisfied with the TP, but to my ears the Original sounds slightly better. I have a NY VanGelder NON Ear (Liberty) copy that I am listening to now because of your blog entry.

  4. The reason Tone Poets are cheaper than Music Matters is that Tone Poet doesn’t have to pay licensing fees, being owned by the mothership, EMI.

    • This is absolutely true.
      MM’s royalty rate will be about 25% on PPD (published price to dealer), and EMI’s artist royalty on 60s Blue Note material tops out at 10%

  5. Thank you for another good posting. As usual, it is interesting, informative, witty and thought provoking. I have an original CONTOURS album. To my ear (no sound meters here), the optimal volume setting for listening to the album has to be substantially increased for “Euterpe” to get a comparable level of sound. Virtually no detectable background surface noise on my mint copy (purchased new – unused, unopened). Side 2 has the dead wax inscription you show (BNST 84206 B-1) but about 2 cm after this is a number “2.” I wonder what this additional number might indicate? As to the head-to-head comparison of the original and the Tone Poet edition: for me, the first 20 seconds immediately eliminated the Tone Poet from any serious consideration. The piano sounds out of tune – but not at all on the original vinyl. I was amused by the chart of jazz genres. Should we imagine the “free jazz” players getting together before a session and saying to each other, “Now make sure you don’t play anything that could be identified as a chord progression, set meter or song form today?” There may have been an occasional player who picked up a horn and became a free jazz player, but most came to the form with a strong grounding in the more traditional forms and built on those strengths. Harmonic, rhythmic, or formal structures may not be imposed but that doesn’t mean they are not spontaneously, and transiently, developed during the performance. Hearing and appreciating these developments is part of the joy of listening to “free jazz,” at least for me.

  6. The pictures in is a reason enough to but this release. Andrew how does the sound quality of the tone poets compare to the other modern audiophile reissues?

    • Forget anything that doesn’t declare its source, as “mastered from the original tapes” and analog processes end to end. There is a lot of digital transfer to 180gm vinyl around. That narrows the field to a handful.

      From the limited sample I have, the TPs are on a par with MM33s: low surface noise, wide dynamic and tonal range, a very wide stereo soundstage, sometimes unnervingly so, and free from artificial bass enhancements – DJ-bottox.

      When the original studio recording is good, both provide a very satisfactory listening experience, though mostly I still prefer the original vintage vinyl, and mono editions. Unless you have sat down and A:B same recording original to modern, you don’t know how they differ.

      I rate TP and MM33 both as better than the older 2×45 issues, and the earlier Analogue Productions. No-one has every title and its just my impression from the few I have owned.

      • Seams like my experience too! The best sounding releases are the ones that are mastered by Van Gelder. The modern audiophile releases works fine for the releases that are impossible to get RVG etching in the dead wax. One thing that is strange though is the price difference between MM and TP as they are the same quality level. Little disturbed that TP focus more on the shelved records. Would be nice to see releases like Grant Green Idle Moments and Hank Mobley Soul Station on TP. So we that live in Europe have chance to buy them too and not for OG pressing prices!

        • I can understand MM not wanting to undercut their own editions through the TPs, hence the TP catalogue is in competition with the 70s vintage UA Jazz Classics editions, a nice niche, and good for us. It looks like they have dipped into the main catalogue with Contours, I guess because it was not slated for an MM release.

          I see TP have announced their planned 2020 release programme. Some tasty items there, but a red flag regarding the forthcoming TP edition of Lee Morgan’s The Cooker (1578) due out around 24th April.

          Before rushing to order, I recalled having a Japanese King edition of The Cooker, so I gave it a spin to decide if I wanted to double up with a TP. Oh dear, 81578 – recorded in September 1957, a Van Gelder tape that should neverhave been allowed out in Stereo. I had to check my left speaker leads in case they had fallen out. Rhythm section centred, Pepper Adams, Lee Morgan solos hard panned to right speaker. Horrible mix, I wonder how Kevin has handled it.

          Plus musically, way too much Pepper. I used to be a fan but his limited repertoire of stock phrases repeated over and over, predictable rests, not really an ensemble player here. I don’t feel I need another Pepper album. Just my take.

          • Ok, that was good to know! The Cooker is a record I am missing a decent pressing of and one I had ordered for sure! Lets wait and see what the verdict will be. At least they seem to press a huge amount of records so you have time to decide if you want it before the stock are sold out everywhere. That is really an advantage of the TP too!

          • The Cooker interests me, as I had a 70s Blue label copy once and loved the version of Just One Of Those Things. I don’t know what happened to that record, as I don’t have it anymore, but I’m sure it showed stereo and then played mono. This is because I included that track on a comp and was sent a master, which was clearly just copied straight from the two track stereo master and it sounded awful. I’d love to hear whether Kevin Gray has managed to solve this, but probably not enough to pay £30.

  7. Remember that no Blue Note tapes were affected by the Universal vault fire in 2008, since Universal acquired EMI, the former owner of Blue Note Records, only in 2012.

    The fact that so many Impulse tapes were destroyed is heartbreaking enough, though…

  8. having a modest amount of musical training, i find all of this taxonomy regarding different levels of rule-breaking in jazz to be unhelpful. these people are not classical composers. they knew theory and used it as a tool. but at the end of the day, they relied more on a sense of art and feeling than any rules, i think. more of a guidepost. just my opinion on the matter. something i’ve always liked about you, andrew, is that you rely more on your ears than on anyone else’s words.

  9. As for the Universal Fire, keep in mind that tapes were/are generally stored at a particular location based on label, not artist. So, if reports claim that there were Sam Rivers tapes lost in the fire, that doesn’t mean that all of Sam Rivers’ master tapes were lost – just the ones on any particular label that happened to be stored in that warehouse were lost. It seems that many/most of the Impulse master tapes were lost, and Sam made a few records on Impulse in the early 70s. These are likely the reason he was included on the list of artists whose tapes were affected by the fire. By all accounts, Blue Note’s master tapes were stored in a completely different facility, and were not affected by the Universal Fire. So the original master tape for Contours is safe and sound with the rest of the Blue Note masters, and that is what was used for the Tone Poet release.

    • As a tribute to Lee, who was one of the last jazz originals to be still alive, I played “Jazz at Storyville, vol. 2”. The two Britishers Ronnie Ball and Peter Ind complete his 1954 quartette in an admirable way.

    • Came across this site by chance.
      Saw your message concerning
      Lee Konitz.
      I saw Lee play once at, Club 43, Manchester, UK in 1966.
      Recall there was large audience
      at Club 43, that evening.

  10. I have to say, I’m appreciating the Tone Poet series highlighting titles that didn’t get proper treatment in their first go. I’m not a huge jazz guitar fan, but the TP pressing of Grant Green’s Nigeria rescued a great album from relative obscurity/ scarcity. Green, Blakey, Clarke et al swing so hard on “It Ain’t Necessarily So” I believe several southern states made it illegal back in the day. The TP pressing is I believe now sold out – when’s the last time THAT happened to a jazz edition still technically in print? The TP series also introduced me to Chick Corea’s early work w/ Now He Sings, Now He Sobs, and, remarkably, my first time listening to an album of Gil Evans sans Miles Davis.

    Still waiting to hear how they salvage the sound quality of Money Jungle. If they get that right, it will be a win for TP in the time of coronavirus.

  11. Another great post LJC of yet another of my favourite jazz titles (been diggin the Henderson posts of late).
    On the point regarding groove spacing I’d like to add that Kevin’s rig dynamically changes groove pitch on the fly so can bunch up the groove during quiet passages and space them for larger dynamic swings

    Speaking of pitch; what do you make of the opening piano notes (and throughout to be honest) of the TP sample you’ve posted compared to the original? The TP sounds like Stevie Wonder is playing and electric piano with a pitch-bender!

    • Yes, reacted immediately when I heard! Sound like either a mastering tape machine with un-even speed from TP, or LJC vinyl player had a temporary dipp in rip process….(?)

      • It’s not an issue with LJC’s setup, there is a long thread on the Hoffman forum discussing this wow/flutter/warble present on many Tone Poet releases. What is fascinating is that this issue is absent on the Music Matters versions of these releases from just a few years earlier from the same tape.

  12. The two things that struck me at first comparison, was the stereo image/ separation differences and the drums sound. Listening with headphones, imagine like on a clock where “9” is far left / “3” is far right / 12 is center/mono – Rivers on left and Hubbard on right: Tone Poet has a wider spread almost with a hole In center, compared to original from 1967. In original I would put Rivers at “11”and Hubbard at “1”, while in version from 2019 they dock at “10” & “14”.
    Also a very clear difference is the ride cymbal in the last minutes that rings much more clear and loudly- better balanced in my opinion!

    As for noise-to-signal v:s distortion, a riaa/phono stage output has quite a lot more noise than a cd or line output, so rising the volume to compensate low output groove also brings this quite audible noise up too….
    /Garry, Sweden

    • This observation is of great interest to me being a headphone user. I’ve also noticed this increased separation on Japanese King pressings of Blue Note titles. For years I’ve been slagging off RVG’s stereo mixes only to realise that maybe they aren’t so bad now – once you actually listen them on original Blue Notes. Still prefer mono though. Anyway, I would be very interested in any other experiences from anyone regarding this.

    • Sorry to ask but why did you mention Liberty original (1967) while there were prepressings with New York labels? Then New York label is original

      • Stocks of NY USA labels were inherited by Liberty and used tactically after mid 1966. Previously printed labels were held in stock and use on later pressings. The presence of an NY USA label is not the mark of an “original” Blue Note. The only proof is a Plastylite ear, which disappeared in mid 1966 as Liberty shifted pressing to All-Disc, Roselle, NJ. not the paper label.

  13. I’m quite surprised that when you talk about reissues the Disk Union series never comes up. I find them the best of the bunch…200 gram, mono, mastered by Kevin gray for the Japanese market…you can tell them by the blue obi across the top and the price tag which is quite high…that being said I own many of them and have yet to be disappointed…

    Brent

    • I have one of those Disc Union titles, Kenny Dorham’s “Afro Cuban.” I didn’t realize Kevin Gray mastered those. Iirc correctly, there wasn’t a lot of info about how they were mastered when they first appeared. I’ll have to look more into that series.

    • I love the Disk Union series, too. There is a reason their editions are getting more expensive these days. Great covers, replicated to the last details, and great sound. Earlier this year I got an original press of “Introducing Johnny Griffin” which was well loved and had really seen some action but still sounded mono-strong. But when I compared it to the DU copy I had had so far the Disc Union edition definitely won the shoot-out! It would probably be different with a mint original and of course I do not have the forensic hi-fi equipment LJC calls his own. Still, I would really love to know what a shoot-out on your desk would be like. So, in case you ever come across a Disk Union platter of one of your originals snap it up and let us know!

  14. Hi LJC,

    great post, as always. I’d like to give an answer to your question about the groove width in the Vinyl section of the Tone Poet version.

    So, the reason why cutting engineers (in this instance, Kevin Gray) cut the records this way is simple: the farther you stay away from the label, the less inner groove distortion (IGD) you get. Now modern day cartridges have much sharper stylus profiles that help tracking the most inner grooves better, but even those will never be able to track the inner grooves as well as the outer grooves. It’s simple physics. While the disc always turns at 33RPM, no matter where your cartridge is at the moment, the inner grooves have to be tracked “faster”, as each groove becomes less and less wide but carries just as much information as the most outer groove. This means your stylus has to do track the most insane curvatures in much less time – compared to “relaxed” curvatures in the outer grooves, which are longer and therefore easier on the stylus. Imagine a normal sized piano and one that would have been built for a toddler. Well, both have 88 keys (same information), but try to play as fast on the toddler piano without hitting 3 keys at once – and that’s what happens if the overall level on the disc is very high (distortion) and forcing you to cut close to the label. Your grooves becomes wider, therefore occupy much more space.

    There’s a point in cutting close to the label when you’re sure the pressing plant is going to use a noisy vinyl formula. As that was often the case in the 50’s and 60’s, engineers (RVG is the best example of all, actually) tried to cut the records as hot (loud) as possible to improve the Signal to Noise ratio = by how many decibel does the information (sound) overpower the noise. But, the downside is that you’ll lose much more high end approaching the label area and you’ll hear much more distortion. There’s no avoiding that if you choose to use every mm on the lacquer.

    With modern vinyl, such as the Tone Poet reissues pressed by RTI, cutting this hot isn’t necessary, as the quality is more consistent. And with “quieter” vinyl, the engineer can afford to cut less hot/loud and stay away from the inner grooves as far as possible. Less IGD, much more high-end (the closer to the label, the less high-end you have) and you can turn up the volume much higher since the vinyl is less noisy.

    Ideally, no album side should be longer than 20 minutes. Above that, the engineer has to lower the overall level and cut closer to the label.

    Hope that helped!

    Milan

    • Another great post LJC of yet another of my favourite jazz titles (been diggin the Henderson posts of late).
      On the point regarding groove spacing I’d like to add that Kevin’s rig dynamically changes groove pitch on the fly so can bunch up the groove during quiet passages and space them for larger dynamic swings

      Speaking of pitch; what do you make of the opening piano notes (and throughout to be honest) of the TP sample you’ve posted compared to the original? The TP sounds like Stevie Wonder is playing and electric piano with a pitch-bender!

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