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London Jazz News 0 More Next Blog» Create Blog Sign In Home Venues Can We Help? Team Tara Minton TWO­PART FEATURE on Sign up to the famous Weds newsletter! Art Ensemble of Chicago. (1) SUBSCRIBE HERE BOOK REVIEW: Message to email address Our Folks Subscribe LondonJazz ­ Facebook Songbook COMMENTS Thejazzbreakfast.Com commented on Cd Review Roberto Fonseca Abuc: “On a first listen I hadn't really got John Harle along with this album, much as We are publishing two pieces by Chris Parker which celebrate — slightly I have loved earlier…” belatedly — the fiftieth anniversary of the formation of the Art Ensemble of Chicago. The second piece (link below) is an interview with Lester Bowie from Arthur Bruce Crawford 1995. First is a review of a new book tracing the history of the group: commented on Congratulations Bill Bruford Phd: “Feels good BOOK REVIEW to him.” Paul Steinbeck ­ Message to Our Folks (University of Chicago Press, 358pp., £28. Book review by Chris Parker) Tony Kofi commented on Preview Legends Festival ‘This book is more than we could have hoped for, telling the complete history of the 2017: “Really looking forward Art Ensemble of Chicago in careful, engaging detail’ – thus Roscoe Mitchell, the to this one...” band’s founder, on this meticulously researched and carefully compiled work. Heidi Fleming commented on Author Paul Steinbeck is Assistant Professor of Music Theory at Washington NYJO Three Nations UK Tour Profile Sybille Kornitschky Of: University at St Louis, as well as a bassist, composer, improviser and recording artist, “Congratulations Sybille and and he has drawn sensitively on his knowledge and experience in all these related the team...my first JazzAhead fields to produce a thorough, learned, yet consistently readable account of one of the was in 2010, the year of the…” most long­lived and successful bands in the music. Mixing a wealth of biographical detail and an entertaining history of the band’s rise to international fame with close musical analysis of three key recordings (A Jackson in Your House, Live at Mandel Hall and Live from the Jazz Showcase), Naturistjazz commented on Preview Interview Videos Alex Message to Our Folks perfectly captures the band’s unique ethos by examining its Hitchcock: “Alex is also roots in the Association for the Advancement of Creative Musicians; its playing with Art Themen and experimentation with multi­media performance art; its travels around the world, most the Jack Honeyborne on day 3 importantly to 1970s Paris but subsequently to places such as Nigeria, Jamaica and of the Naturist Foundation…” Japan; its theory of group improvisation; and its pioneering approach to social relations. In short, this is a model study of one of the most influential bands in creative music. Tweets by PART TWO: 1995 interview with Lester Bowie @LondonJazz On Friday, March 17, 2017 LondonJazz … @LondonJazz Whirlwind Recordings Great singing ­ Low tide somewhere in Chiswick Mall / Hammersmith ? No comments: 3h LondonJazz … @LondonJazz Post a Comment PHOTOS: Courtney Pine plus Camilla George at Barbican Enter your comment... londonjazznews.com/201 7/03/photos… 3h Recent Comments Comment as: Select profile... LondonJazz News Retweeted Recent Comments Widget Stefano Bollani Publish Preview @StefanoBollani Le melodie di Subscribe #PinoDaniele sono oggetti preziosi. Pino Daniele ­ Il tempo resterà, Embed View on Twitter Subscribe with Bloglines Blog Directory Links We Like ­ UK Jazz bebop spoken here A very quiet disclaimer Thinking about Gabi & Steve @ Newer Post Home Older Post Sage Gateshead ­ March 17 LondonJazz is a not­for profit venture, but The Jazz Mann may occasionally take on work as a paid Subscribe to: Post Comments (Atom) WorldService Project, March publicist and/or sell advertising packages. 2017 Newsletter Where a piece published after 26th October 2012 appears which is linked to this activity, Jazz Yorkshire the text will be followed by the following BBC Jazz Record Requests with Alyn Shipton at Sage symbol: (pp) Gateshead, March 18th As regards liablity for consequences of any thebluemoment.com action taken in response to information The Judas thing provided on LondonJazz, we adopt clauses The Jazz Breakfast 8 and 9 of the Law Society Gazette's policy. LondonJazz: PREVIEW: March live highlights in Birmingham and surrounding areas Liam Noble's blog Strawberries The Size Of Footballs MARLBANK Friends from overseas.
Recommended publications
  • Art Ensemble of Chicago Thelonious Sphere Monk
    Art ensemble of chicago thelonious sphere monk Find a Art Ensemble Of Chicago* With Cecil Taylor - Thelonious Sphere Monk: Dreaming Of The Masters Vol.2 first pressing or reissue. Complete your Art. Thelonious Sphere Monk: Dreaming of the Masters Series Vol. 2 is an album by the Art Ensemble of Chicago and Cecil Taylor released on the Japanese DIW. Art Ensemble of Chicago, Cecil Taylor - Thelonious Sphere Monk: Dreaming of the Masters, Vol.2 - Music. This CD promises much more than it delivers, appearing to be a tribute to Thelonious Monk that features the Art Ensemble of Chicago and guest pianist Cecil. Find album release information for Thelonious Sphere Monk: Dreaming of the Masters, Vol. 2 - The Art Ensemble of Chicago on AllMusic. Thelonious Sphere Monk - Dreaming of the Masters Vol. 2 Recorded in , at Systems Two Studios, Brooklyn. Thelonious Sphere Monk: Dreaming of the Masters, Vol. 2, an Album by Art Ensemble of Chicago With Cecil Taylor. Released in on (catalog no. CK Albuminformatie voor Thelonious Sphere Monk: Dreaming of the masters ; vol.2 van Art Ensemble of Chicago. ART ENSEMBLE OF CHICAGO WITH CECIL TAYLOR ~ Thelonious Sphere Monk - Dreaming Of The Masters Vol. 2 []. C'est comme un. Thelonious Sphere Monk: Dreaming of the Masters, Vol. 2 by The Art Ensemble of Chicago release on May 06, Thelonious Sphere Monk: Dreaming of the. "Dreaming of the Masters"、"Intro to Fifteen"、"Excerpt from Fifteen, Pt. 3A" とその他を含む、アルバム「Thelonious Sphere Monk」の曲を聴こう。 . Acquista il CD album Thelonious Sphere Monk di Art Ensemble Of Chicago in offerta; album e dischi in vendita online a prezzi scontati su La Feltrinelli.
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  • 2011 – Cincinnati, OH
    Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers.
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  • Träumend Von Den Großen Schwarzen Schwänen“ (*)
    KULTUR UND GESELLSCHAFT Organisationseinheit : 46 Reihe : LITERATUR 0.05 Uhr Titel der Sendung: Träumend von den großen Üb schwarzen Schwänen – Die Ästhetik des Widerstands in Alejo Carpentiers Le Sacre du Printemps Autor : : Klaus Emrich Redaktion: : Sigried Wesener Sendetermin : 28.12.2014 Besetzung : Sprecher : Zitatorin : Zitator Regie : Urheberrechtlicher Hinweis: Dieses Manuskript ist urheberrechtlich geschützt und darf vom Empfänger ausschließlich zu rein privaten Zwecken genutzt werden. Jede Vervielfältigung, Verbreitung oder sonstige Nutzung, die über den in den §§ 45 bis 63 Urheberrechtsgesetz geregelten Umfang hinausgeht, ist unzulässig © Deutschlandradio Deutschlandradio Kultur Funkhaus Berlin Hans-Rosenthal-Platz 10825 Berlin Telefon (030) 8503-0 1 Klaus Emrich „Träumend von den Großen Schwarzen Schwänen“ (*) Die Ästhetik des Widerstands in Alejo Carpentiers „Le Sacre du Printemps“ (*) Alejo Carpentier, Le Sacre du Printemps, Frankfurt/Main 1993, S.11 18. März 2o14 2 MUSIK: Steve Coleman & Dave Holland Phase Space (track 2): Dream of the Elders (nach ca 25’ übersprechen) ZITATOR: Menschen von heute, die schon danach trachteten, Menschen von morgen zu sein. (1:529) SPRECHER: Alejo Carpentier. Le Sacre du Printemps. La Consagración de la Primavera: Alejo Carpentier schrieb sein opus magnum 1978 als „Epos der kubanischen Revolution“. Er verbindet die Geschichte der russischen Tänzerin Vera und des cubanischen Architekten Enrique mit den historischen Ereignissen während des spanischen Krieges 1936 bis 1939 und dem bewaffneten
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  • The Avant-Garde in Jazz As Representative of Late 20Th Century American Art Music
    THE AVANT-GARDE IN JAZZ AS REPRESENTATIVE OF LATE 20TH CENTURY AMERICAN ART MUSIC By LONGINEU PARSONS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2017 © 2017 Longineu Parsons To all of these great musicians who opened artistic doors for us to walk through, enjoy and spread peace to the planet. ACKNOWLEDGMENTS I would like to thank my professors at the University of Florida for their help and encouragement in this endeavor. An extra special thanks to my mentor through this process, Dr. Paul Richards, whose forward-thinking approach to music made this possible. Dr. James P. Sain introduced me to new ways to think about composition; Scott Wilson showed me other ways of understanding jazz pedagogy. I also thank my colleagues at Florida A&M University for their encouragement and support of this endeavor, especially Dr. Kawachi Clemons and Professor Lindsey Sarjeant. I am fortunate to be able to call you friends. I also acknowledge my friends, relatives and business partners who helped convince me that I wasn’t insane for going back to school at my age. Above all, I thank my wife Joanna for her unwavering support throughout this process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF EXAMPLES ...................................................................................................... 7 ABSTRACT
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  • THE KC Washington, DC 2000) PITCH List for $8.98 Unless Otherwise (Mr
    ALL THE NEWS THAT'S FIT TO PITCH FREE Baby" and "Atomic Love." "I was accused of being insane, film documents fifteen years of of being a drunkard, of being efforts by the U. S. government everything that you might ima­ and the media to pacify the pub­ gine a derelict to be," the pi­ DAJ1ClrG Duck and cover. That's all you lic about the dangers of nuclear lot says, "as a result of guilty to do to protect yourself war. conscience for doing this." atom bomb attack, says American soldiers in the Ne­ Filmmakers Jayne Loader, Kevin Turtle, a sprightly vada desert watch an Atomic bomb Rafferty and Pierce Rafferty WESTPORT character. He also tells test and then go in closer for a worked for five years on the Gershwin, Motown, Richard tUJO children UJho under­ bet ter look af ter hear ing a project, which began as a com­ Rodgers, Claude Debussy and the bomb can drop at chaplain describe the blast as prehensive history of American dancers in art deco blacks and and are alUJays on the "one of the most beautiful propaganda but ended up focusing whites and romantic tutus will a place to use as a sights ever seen by man." A con­ on the bomb. In These Times meet and mesmerize an outdoor basic, generic boy cerned father proudly displays quotes Pierce Rafferty as say­ audience at a series of free dOUJn a sideUJalk, the lead-lined snowsuit that ing, "We exhausted the Library performances by the Westport. stop in their tracks will protect his children.
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  • 1968, La Nuova Frontiera Del Jazz,Giorgio Gaslini, Il Maestro Del
    1968, la nuova frontiera del jazz Cosa succede nel jazz nordamericano nel 1968, cinquant’anni fa come da canonico anniversario? Molto. E parecchio di quanto va succedendo è sottotraccia, da decrittare con attento dosaggio di indagine. Perché il ’68 documentato dai dischi di jazz ci testimonia innanzitutto una grande, oceanica assenza: s’è spenta la voce del sassofono di John Coltrane, che ha conquistato fino agli ultimi mesi a suonare con un furor eroico e straziato assieme, come ci indicano due pubblicazioni postume sui suoi ultimi concerti. Aveva chiuso il cerchio della musica, Coltrane, e se si ascolta il concerto alla Temple University in diversi punti (ed è un serio attentato alla stabilità emotiva di un ascoltatore attento) si noterà che Coltrane depone il sax, e grida. Il grado zero della musica di homo sapiens ritrovato come anello finale di una catena che invece lui aveva proiettato nel futuro. A partire da quel ’68 che non ha fatto a tempo a vedere, ma con una lezione di amore per le creature del pianeta che scorre in perfetto parallelo con certe istanze pan-mistiche del «Movimento» mondiale, mentre le piazze si infiammano. CULTURE POPULAR Quando «Trane» se ne va, lasciando al mondo una discografia diventata oggi elefantiaca, ma certo non inutile, e una chiesa nordamericana a lui dedicata dove si suonano le sue note torrenziali alle funzioni e si onora la figura mite e pensierosa dell’uomo come un santo, il jazz sta scorrendo impetuoso per tanti torrenti vitali. L’immagine pacificata del «grande fiume» che domina la prima parte della storia del jazz, il Big River Mississippi dove giocava il monello Mark Twain va sostituita con una cartografia di rapide e secche, cascate e nuovi affluenti.
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  • The Art Ensemble of Chicago's
    twentieth-century music 10/1, 3–23 8 Cambridge University Press, 2013 doi:10.1017/S1478572212000394 The Art Ensemble of Chicago’s ‘Get in Line’: Politics, Theatre, and Play PAUL STEINBECK Abstract The music of the Art Ensemble of Chicago was often considered to be politically oriented, and many of their performances addressed controversial political issues. However, these political moments were counter-balanced by public pronouncements in which the members of the group denied that their music was motivated by politics. I interrogate this seeming contradiction by analysing the Art Ensemble’s ‘Get in Line’, a musical-theatrical piece from their 1969 album A Jackson in Your House. ‘Get in Line’ critiques Vietnam-era militarism and racism, and simultaneously proposes that African Americans respond to these issues in politically unconventional, oppositional, even playful ways. In so doing, ‘Get in Line’ challenges essentialist views of black experimental music and shows how the Art Ensemble – like their colleagues in the Association for the Advancement of Creative Musicians (AACM) – prioritized pluralism and individual agency over orthodoxy, whether in politics or in aesthetics. We were doing four nights at the Public Theater. Load-in would be at one o’clock, soundcheck would be at three o’clock, and around 1.30 I got a call from Lester [Bowie]. This was around the time the Ayatollah took over in Iran. He said, ‘We need you to get something in time for the soundcheck [. .] I need an official New York Mets uniform, I need a midget dressed up as the Ayatollah, I need two shot- guns, ten bags of confetti, and fifty firecrackers.’ I said, ‘Lester – listen, man, I’ve got an hour and a half before soundcheck, how am I going to get all this stuff?’ He said, ‘No man, you can do it! You can do it.’ So I called the Public Theater and said, ‘What are the rules about shooting off firecrackers and shotguns in the Public Theater?’ And the guy said, ‘Oh no, it’s completely against the rules.
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  • Novembre – Decembre 1999
    NOVEMBRE – DECEMBRE 1999 LESTER BOWIE NUMBERS 1 & 2 LP NESSA LESTER BOWIE THE 5TH POWER LP BLACK SAINT LESTER BOWIE BRASS I ONLY HAVE EYES FOR YOU / THE ODYSSEY OF CD ECM FUNK & POPUL. MUSIC S ART ENSEMBLE OF CHICAGO PEOPLE IN SORROW LP PATHE ART ENSEMBLE OF CHICAGO A JACKSON IN YOUR HOUSE LP BYG ART ENSEMBLE OF CHICAGO THE THIRD DECADE / FULL FORCE / CD ECM COMING HOME JAMAICA S ART ENSEMBLE OF CHICAGO LIVE IN JAPAN CD DIW 1.MICHEL F. COTE COMPIL ZOUAVE CD AMBIANCES MAGNETIQUES 2.THE RESIDENTS RESIDUE DEUX CD E.S.D. 3.PAPA BOA TÊTE A QUEUE CD AMBIANCES MAGNETIQUES 4.LADDIO BOLOCKO IN REAL TIME CD HUNGARIAN 5.VARIOUS ARTISTS with host PENN JILLETTE RALPH RECORDS 10TH ANNIVERSARY RADIO CD RALPH AMERICA SPECIAL! 6.UNIVERS ZERO THE HARD QUEST CD CUNEIFORM/ORKHESTRA 7.KEUHKOT RUSKEA AIKAKIRJA CD BAD VUGUM 8.VARIOUS ARTISTS STRINGS AND STINGS CD F.B.W.L. 9.LA SOCIETE DES TIMIDES A LA PARADE DES EXPERIENCES DE SURVIE CD PRIKOSNOVENIE OISEAUX 10.LÖBE ONDULATION CD F.B.W.L. 11.UN DEPARTEMENT DES NOUVELLES CD LES COMPAGNONS DE LA TÊTEDEMORT 12.ERIK M FRAME CD METAMKINE 13.BLAST A SOPHISTICATED FACE CD CUNEIFORM/ORKHESTRA 14.PAUL PANHUYSEN PARTITAS FOR LONG STRINGS CD XI 15.NORBERT STEIN PATA MASTERS PATA MAROC CD PATA MUSIC/AMF 16.MIGALA ASI DUELE UN VERANO CD ACUARELA/LABELS 17.YOSHIKAZU IWAMOTO L'ESPRIT DU CREPUSCULE CD BUDA RECORDS 18.N.L.C THE CEREAL KILLER CD EDT/GAZUL/MUSEA 19.MAJU MAJU-1 CD EXTREME 20.CHRIS & COSEY UNION CD CTI 21.ARNO A POIL COMMERCIAL CD DELABEL 22.THE JON SPENCER BLUES EXPLOSION ACME-PLUS CD LABELS 23.PETER FROHMADER/RICHARD
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  • GSAS Submission Aaslid.Pdf
    Interaction, Collaboration, and Improvisation in the Intersection of Jazz and Poetry Vilde Aaslid Trondheim, Norway Bachelor of Arts, University of Washington, 2002 Master of Arts, University of Washington, 2005 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Music University of Virginia May, 2014 ii ABSTRACT Interaction, Collaboration, and Improvisation in the Intersection of Jazz and Poetry By Vilde Aaslid In the simultaneous performance of poetry and jazz, artists bring the interactivity of jazz to texted music. This dissertation examines jazz poetry intersection as musicopoetic object and cultural practice. In improvisation, I argue, jazz poetry performance asserts an affinity between music and poetry—a bond based on sound and syntax rather than semantics. Jazz poetry intersection pushes at the boundaries of the music’s generic boundaries, and the performances often challenge barriers to artistic mobility that have emerged from discourses of genre, race, and cultural hierarchy. Four chapters put the overarching themes in dialogue with specific cases. In chapters on Charles Mingus and Vijay Iyer, I consider how two jazz composers structure the combination of music and word in improvisatory contexts. I examine the gendered politics of language in jazz in a chapter on Black Arts poet Jayne Cortez, reading her performances as a black feminist revision of the role of jazz singer. In the final chapter I survey the relationship between poetry and jazz in New York City between 2012 and 2014, situating the form within the jazz scene and the broader cultural landscape of the city.
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  • 1991 the International Newsweekly of Music and Home Entertainment
    $4.50 (U.S.), $5.95 (CAN.), !'3.50 (U.K.) IN THIS ISSUE 35 FM, 16.50 Dfl, DK 59.50, DM20, 12,000 Lire M # #>r* *******3 -DIGIT 908 000817973 441 9121 MR92 HHZ MONTY GREENLY APT A 3740 ELi1' LONG BEACH CA 90807 FOLLOWS PACE SO MAY 25, 1991 THE INTERNATIONAL NEWSWEEKLY OF MUSIC AND HOME ENTERTAINMENT ADVERTISEMENTS Sony Launching New Disc Format Clubs Getting nomad Recordable/Erasable Product Due In '92 The Music -Vid BY SUSAN NUNZIATA much data as an audio CD can hold inch, hard -plastic protective cover in one -fifth the space. This compres- designed for added durability. The Picture Again NEW YORK -The first recordable/ sion technology was developed ex- company is looking at a variety of erasable optical disc system for con- clusively for the Mini Disc, and different packaging options for the BY LARRY FLICK oO sumers is scheduled to hit the mar- Sony does not foresee other applica- software. and MELINDA NEWMAN ° Q ket in late 1992. tions for it at this time. Mini Disc will initially be market- A, Capable of storing up to 74 min- The Mini Discs, like 31/2-inch com- ed as a portable format, filling a NEW YORK- Video, a prime at- e" O 21/2 in a 2.7- (Continued on page 76) traction of dance clubs 10 years ,' ,z alagra N utes of audio data on a -inch puter discs, are encased magneto -optical disc, Sony Corp.'s ago, is resurging in nightspots all NOMAD Mini Disc system has the "enthusi- across the nation, helping to (i wanna give you) DEVOTION astic support" of Sony Music Enter- A Letter From The Publisher: break dance acts and other bands With a #1 club smash and a #2 hit in tainment, which will supply a wide that would not normally be heard the U.K.
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  • VINYL JAZZ 2011 08 20.Xls 20/08/2011 1/72
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  • With the Art Ensemble of Chicago. I'd Like to Introduce Famoudou Don Moye
    KL: Ladies and Gentlemen, welcome to OTO, welcome to this "In Conversation" with the Art Ensemble of Chicago. I'd like to introduce Famoudou Don Moye - DM: Hello, good evening. KL: Roscoe Mitchell. RM: Thank you, thank you, thank you. KL: And Hugh Ragin. Gentleman, it was a storming start to the residency on Sunday, a really beautiful gig, and you finished the set with 'Owalla' which is something of an Art Ensemble theme tune really. I know that it goes a long way back. I think the first recorded version that I know of is on the Bap-Tizm album in 1972, I mean maybe it was recorded before that...I don't know when it was written - DM: It was performed before that. In Paris at the Mutualite Theatre with, was it four bass saxophones? RM: Two bass saxophones. DM: Four basses, four drums I think. Two trumpets. Something like that. KL: Let’s talk a bit about the history of that piece then, because it comes back again and again. RM: Uh yeah, that's a piece that I wrote and we took it on to be our theme song for the Art Ensemble of Chicago, uh, not only that but there's a juice company in the United States who used the title for their juice company called ‘Odwalla Juice’. We also did a bunch of jingles for them because they had an idea that they wanted to have their juice in vending machines, but when they first started off the juice was totally local. They did not want to take it anywhere, they wanted to get it to you right from their factory, right to you fresh so you would have it.
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