Butch Morris Time

Talk about deep: Twenty-year-old Doug Morris, a U.S. Army medic serving in Germany in 1967, studies up on applied harmony. Fifteen years later, Butch Morris would begin to reshape the sound of the jazz avant garde. Photo courtesy of Don Heffington

This post has been a long time coming, but I've finally found the time to tackle it. If you've followed Gems for a while, you'll recall we did a piece a while back on A.R. Penck that featured Butch Morris. Well, not long after that posting came the distressing news that Butch had passed away.

He'd been ill for a while, something I was unaware of (news travels slow here in the foothills of the Catskills). So it came as a shock to learn that he was gone. It seems like only yesterday he was working on his music box project and leading conductions with many musicians I know, some quite well. 

Butch had perhaps the purest sound on his instrument since ... well, since Bobby Hackett. An odd pairing, but not many contemporary horn players are cornetists, and Butch was a superb player, very much like Hackett had been decades earlier. Butch was also a master of effects on his instrument. Bubber Miley would have been impressed by his growls and feints and squawks. Mr. Morris was no stranger to the Ellington jungle.

With this entry, Gems offers its visitors two Butch Morris treasures. One is an excerpt from a conduction that Butch did in 1985 during an epic art performance piece based on the works of the Spanish painter Goya. The other is a wonderful collection of photographs from the days when Butch was known by his middle name, Douglas – days long before he was acknowledged on the downtown scene and around the world as a major innovator in the field of creative music. 

So consider this Gems' tribute to one of the great creators of late 20th and early 21st century jazz. Lawrence Douglas "Butch" Morris will be much missed. We shall not see another like him ...

When Butch was Doug

These photos come to us from Don Heffington, a gentleman whom I met over the Interwebs through a mutual friend. As a teenager, Don was in one of Butch's early bands in Los Angeles. He has graciously given permission for Gems to post these photos, all of which I believe have never been seen publicly before. Don also gave the eulogy at Butch's funeral and we've included that here as well. It tells the story of his long friendship with Butch and is a lovely tribute. Many thanks, Don!

The Doug Morris/Sam Johnson Band, above and below, in 1965. Sam Johnson on
bass, Clarence Peace on alto, pianist Andre, Doug Morris on trumpet and Don
Heffington, right, on drums. Los Angeles, 1965.

Doug Morris in the army in 1967 – Fort Ord, above, and in Germany, below.

The Doug Morris Quintet at the Palladium in 1966. Doug Morris, left, and Don
Heffington, right. Photos courtesy of Don Heffington

Going, Going, Goya

"Goya Time 1985 New York" was a grand-scale performance in the style of the "happenings" that were common art community activities in the early '60s. It was conceived and organized by one Dr. Sandro Dernini, a gent described as "an accomplished biologist from the island of Sardinia." "Goya Time" featured a script by Dernini, choreography by Gretta Safarty and music by Butch Morris. The whole affair took place in a Lower East Side building known as "Cuando," a cavernous place that had been a school at one time. By 1985 it had become a space for music concerts and art exhibits. It was gray and dreary on the inside, run down and in need of repair – in short, just the sort of venue perfect for presenting Goya's era of faded decadence and lethal intrigue.

I wasn't at the actual performance – it went on for many hours and there's just so much high art I can tolerate before I need to find an exit. But I was at part of the dress rehearsal. It was a much shorter affair, but just as chaotic, noisy and colorful as the main event. Declaiming actors wandered in and out of the gymnasium where Butch's musicians were creating a soundscape of melody, poly-rhythms and spiky cacophony. Dancers flitted by, appearing in the doorways one moment, on balconies the next. Interpretations of Goya's paintings hung on the walls and – if I remember correctly – an artist was on stage painting on a huge canvas and on a naked woman's body.

It was one whacky scene, and in the midst of it all was Butch and his musicians. The download included here is only a very small portion of the entire performance. But it captures the feel of the event and gives you an idea of how Butch could alter the music through his conduction technique to accommodate whatever was happening around him. One of the vocalists, by the way, is the extraordinary Shelly Hirsch. If you're unfamiliar with her work, Google her. She's amazing.

Butch Morris conducts "Los Capricios" during "Goya Time 1985 New York," a massive
performance piece that took place on June 13, 1985, on Manhattan's Lower East Side.
Photo from plexusinternational.org 

Goya Time 1985 New York
Butch Morris Ensemble
Cuando, Lower East Side, New York, NY; June 13, 1985
Butch Morris, comp, cond; JA Deane, el tbn, synth; Jason Hwang, vi; Marion Brandis, fl, alto fl, small inst; Myra Melford(?), p; Shelly Hirsch, unknown, v; others unknown.

1. Los Capricios, Part 1

Find it here: https://www.mediafire.com/?d5vuv0vuzd6d0br

The Duke's Clarinet

A native of New Orleans, Barney Bigard played with a mastery that defined the Big Easy's tidy clarinet sound – a blend of refined classical technique and street parade bravado. Photo by William Gottlieb

Here's another Gem, copped recently from the Interwebs. It's a here-to-fore unknown recording (to me, anyway) by clarinet master, Barney Bigard. We all know Bigard from his days with Duke Ellington, of course, and remember his many solos with the stellar 1940-42 orchestra. 

Bigard was with Ellington from 1927 to 1942. Before that he'd been in King Oliver's band, and afterwards he was featured with Poppa Louis' All Stars. He occasionally recorded under his own name, most notably with a number of Ellington small groups for Variety, Vocalion, Bluebird and Okeh.

A leading exponent of the New
Orleans Creole clarinet tradition,
Bigard was perfect fit for the Duke's
urbane offerings.

But this album comes after a twelve-year hiatus from recording as a leader. It's a marvelous mix of familiar tunes and intriguing originals, rendered by "the type of band I like to play in at this time," as Barney says in his spoken introduction to the LP. Liberty Records, out of Hollywood, would eventually own the mighty Blue Note label, but in 1957 they were just getting into the jazz recording biz. This record was part of their "Jazz Hall of Fame Series."

The gents accompanying Bigard on his first long-playing outing are unknown to me. Jackie Coon (not "Coons" as the record has it) seems to be from New Orleans, a classic jazz player, and Charlie Lodice has worked with many mainstream musicians, most notably clarinetist Pete Fountain. The others are no doubt of similar standing and, as is aurally evident, they are all quite good.

The cover of this album is an interesting example of a nice idea that didn't quite work. Bigard is seen in silhouette against a navy blue background rendered in velvety flocking, surrounded by an ornate brocaded border. Over time, the silhouette and lettering have faded, making the the cover nearly illegible, and – when I got it at least – the flocking had picked up all manner of lint, dust, cat hairs, etc. Funky!

But the music is wonderful, a fine late example of the work of one of jazz's traditional masters. The sound required a little work, and there are minor surface noises here and there, but overall I'd say this material is of broadcast quality. See what you think ...

Jazz Hall of Fame Series
Barney Bigard
Bigard, cl; Jackie Coon, tp, mellophone; Burt Johnson, tbn; Bruce MacDonald, p; Bob Stone or Al Morgan, b; Charlie Lodice, d. 
Los Angeles, CA; 1957; Liberty LRP 3072

1. Introduction
2. C-Jam Blues
3. Mardi Gras Time (Bigard)
4. Ab Mur 
5. Mahogany Hall Stomp
6. Louisiana and Me (Bigard)
7. Step Steps Up (Bigard)
8. Step Steps Down (Bigard)
9. Rose Room
10. Mood Indigo

Find it here: https://www.mediafire.com/?2g3ubbcshiaqlxx

The Maestro's Masterpiece

Edward Kennedy in Europe with a few of his fans not long after the conclusion of World War II, and a few years after his first groundbreaking Carnegie Hall concert in 1943. Photo from the Illustrated Encyclopedia of Jazz

Here's a belated birthday tribute to the immortal Duke Ellington (his 114th was April 29th). It's an interesting artifact from the Duke's first great Carnegie Hall concert from January 23, 1943. It took almost a year to get Ellington and the band into the studio to record selections from the concert's major work, "Black, Brown and Beige," and when RCA finally issued them they did so using their 12-inch format – a size usually reserved for classical music. The album, appropriately entitled "Black, Brown and Beige," was first released with the conventional "photo album" packaging – hard-board covers, cloth spine, multiple pockets inside. But then, for some reason, RCA put out a second version with the records contained in a simple folding paper sleeve. The new format anticipated the jacket designs for double LPs by twenty-five years, and must have been a hopeful, cost-saving experiment. Unlike vinyl LPs, though, 78-rpm discs are brittle and subject to breakage, and I can only assume that many of the Ellington records shipped out in these avant garde covers must have come back broken. The jacket offers scant protection for the shellac platters.

That said, I was lucky enough to come across an unbroken edition of "Black, Brown and Beige" in the paper sleeve a few years ago. It's been carefully kept on the shelf ever since, and with the arrival of the Duke's natal day I thought I'd get it out and share it with Gems' visitors. I doubt these records have been played in nearly 70 years, so it's definitely time.

This music you've heard many times, I'm sure, and it's readily available in numerous formats, so there's nothing really rare in this offering. Except the packaging. As you can see, there are some great liner notes and photos, and RCA sweetened the deal by including a program from the original concert. I've scanned them all and have included them here. The music itself is extraordinary, mostly through-composed with only a few solos, and should rank right up there in the popular consciousness with Gershwin's "Rhapsody in Blue." Maybe someday, but until then, enjoy this masterwork in celebration of EKE's birthday.

These are the original 78s, so there's surface noise and the accompanying pops and clicks. But this is how fans heard music back in 1944, and we strive for authenticity here at Gems.

Black, Brown and Beige
Duke Ellington Orchestra
Duke Ellington, p; Rex Stewart, cnt; Shorty Baker, Wallace Jones, tp; Ray Nance, tp, vln; Lawrence Brown, Joe Nanton, tbn; Juan Tizol, vtbn; Otto Hardwick, as, cl; Johnny Hodges, as; Chauncy Haughton, cl, ts; Ben Webster, ts; Harry Carney, bar, cl, as; Fred Guy, g; Junior Raglin, b; Sonny Greer, d; Joya Sherill, v.
December 11, 12, 1944; New York, NY; RCA 

1. Work Song
2. Come Sunday
3. The Blues
4. Three Dances

Find it here: http://www.mediafire.com/download/ir18v442rx1ly68/Black_Brown_Beige.rar

The Lady Carmen

Few fans today know that Carmen McRae was a gifted pianist as well as singer. Here she
emotes from the keyboard during a late '50s gig. Photo from the NEA

I never liked Carmen McRae. Her hoarse, whisky-soaked voice never struck me as much more than one-dimensional. She seemed to sprechstimme her way through many of the tunes she performed. I much preferred Sarah Vaughan or Betty Carter. I only collected McRae records when they came my way gratis. Needless to say, my selection of Carmen material was pretty slim.

But then, my point of reference had always been the Atlantic sides that Carmen did in the '60s and '70s and the several she did for Mainstream afterward. They indeed showcased the later, roughened sound of McRae's voice and were an acquired taste in the way Etta Jones' in-tune/out-of-tune vocalizing is something one has to learn to hear. I never really learned to hear Carmen.

But then I found this record last week at a church thrift store in a town a few miles from where I live in the Catskills. I'm a changed man! This is Carmen McRae from 1959, and she is extraordinary. None of the coarse quality of her later recordings, no spoken lyrics. Carmen's voice here is fluid and lovely, filled with startling embellishments and superbly stated melodies.

Dave Kapp ran his
record label from
1954 to 1967.

She recorded several LPs in the late '50s for Kapp, a label that was started by Dave Kapp, brother of Decca founder Jack Kapp. Kapp lacked the financial depth that Decca had, so its productions tended to have a skimpy, cheap look. But much of the music on the label (jazz-wise) is excellent, and this recording by Carmen McRae is proof. Though Kapp burdens her with conventional string arrangements, she gets sympathetic support from a trio on some of the selections (probably Don Abney on piano) and she navigates the charts with real aplomb. You can clearly hear what a great jazz soloist she was. Check out "I Only Have Eyes for You," one of the trio sides on the album. Carmen demonstrates what a supple and inventive jazz improviser she was.

As always, these tunes were ripped from the original vinyl with only a slight cleaning of the sound. Be forewarned here that there is occasional slight crackle on some of the selections.

When You're Away
Carmen McRae
McRae, v; Luther Henderson Jr. Orchestra; *Frank Hunter Orchestra probably with Don Abney, p; Joe Benjamin, b; Charles Smith, d.
New York, NY; 1959; Kapp KL1135

1. When You're Away
2. The More I See You
3. I Only Have Eyes for You*
4. Willingly*
5. If I Could Be with You*
6. I'll Be Seeing You
7. I Concentrate on You
8. Ain't Misbehavin'*
9. Every Time We Say Goodbye
10. When Your Lover Has Gone
11. I'm Glad There Is You*
12. Two Faces in the Dark*

Find it here: https://www.mediafire.com/?gn2faqy2x7n2y8d

FM Farewell

Multi-reedist Herb Steward blowing tenor for a studio shot probably taken in the mid-'40s, around the time he was playing for Artie Shaw. His big break came in 1947 with Woody Herman. Photo from "Black Beauty, White Heat"

Never let it be said that we here at Gems are not an eclectic bunch. Everything from the AACM to ... well, to this offering, can be found here. And since I'm in a sentimental mood and thinking about jazz radio, I thought I'd post this LP of "beautiful music" by Herb Steward.

Platter mavens searching the boxes at one of WJFF's
music sales. At 50 cents apiece, a collector could buy a
cartonful and still have enough left to buy donuts and
coffee at the snack table. WJFF photo

Why the mood? Well, I've just ended my 23-year stint as a jazz radio host at WJFF 90.5 FM in upstate New York's Catskills. The reasons aren't really important, but it's been a wonderful run and an experience that has allowed me to meet many great musicians and hundreds of jazz enthusiasts over the years. 

So, I thought I'd pay tribute to my former radio station by offering a rare item purchased at one of WJFF's legendary music sales. It's music that was meant to be pretty, just as the album's title proclaims, and while it was probably heard in some of the better highrise elevators and dentist offices of the 1960s, it mirrors my sentiments about my departure. Bittersweet, in a word.

A few of the sides picked up by Gems at the
most most recent WJFF music sale. Someone
dumped a lot of vintage Kenton ...

So here's Herbie Steward, one of the original "four brothers," the sax quartet that recorded a number of lush hits with Woody Herman in the mid-'40s, including the Jimmy Guiffre tune from whence comes their name. Along with Steward in the original section were Stan Getz, Zoot Sims and Serge Chaloff. Those gents went on to have distinguished jazz careers. But Herb eventually fell out of sight, getting lost in the LA studios. He seems not to have appreciated developments in the music much beyond the innovations of Lester Young, and eventually lost interest in the form. While Pres ain't a bad place to stop, it's unfortunate that Steward didn't keep at it back in the day. He had a great tone and, as is evident here, was also a master of the clarinet and baritone. Not unlike his Herd-mate Guiffre.

Herb Steward recorded a number of nice singles on his own for Roost in the 78 era. Some of those are available on various tenor sax compendiums, but this recording is his sole LP effort in the modern era. It's pretty tepid stuff jazz-wise, but the arrangements (by one Dick Hazard and a mysterious string section with rhythm) are competent and pleasant enough, and you can hum along with the melodies. And, if you're in a reflective mood, it's ... so pretty.

This gem required only a minor cleaning up of the sound. The file comes, as always, from the original vinyl. Thanks, WJFF!

 

 









So Pretty
Herb Steward
Herb Steward, ts, cl, bar; unknown string orchestra and rhythm section; Dick Hazard, arr.
Los Angeles, CA; March, June 5, 1962
Ava/Choreo Records A-9

1. Indian Summer
2. Do You Know What It Means to Miss New Orleans?
3. Remember
4. With All My Love
5. Memphis in June
6. I'm Coming Virginia
7. When Day Is Done
8. Lovely Melody
9. Among My Sounvenirs
10. So Pretty (Hazard)

Find it here: https://www.mediafire.com/?6cirjunk9gcm204

Yours truly at the mic in WJFF's
Master Control a few years back,
producing my long-running jazz
program, "Crosscurrents."
Photo by Myra Winner

A Callender Date

Gone Garner: One of Erroll's classic trios, with Doc West on drums and the great George
"Red" Callender on bass, in a studio in Los Angeles around 1947.

One of the musicians whose records I have been especially looking for over the years is Red Callender. An early modernist on the bass, Red not only was a teacher and jazz pedagogist, but also a fine composer and arranger, a fact that is all but forgotten today. He was also one of the first contemporary players to take the tuba seriously as a solo vehicle.

Red Callender in the studio with
Shelly Manne, recording on tuba
for Contemporary Records.

Red was born in Richmond, Virginia, in 1918 and grew up in New Jersey. In his teens, he hooked up with Louis Armstrong's big band and traveled west to L.A. There he put down roots, formed his own small band and went to work for the movie studios. In 1946, he had a small part in the "jazz" film, "New Orleans," with Armstrong, and then was in the rhythm section for "Jammin' the Blues." He made good money working for Norman Granz's Jazz at the Philharmonic and then joined Stan Kenton's orchestra in the early '60s. Along the way, he had many students, the most prominent being the formidable Charles Mingus. Mingus honored his mentor by giving him a spot in his big band at the 1964 Monterey Jazz Festival. Red's last recordings were done with clarinetist John Carter and the great flute player and composer, James Newton.

By my count, Red made three long-playing albums – two for Crown, and this one for Metrojazz. I have all three, but this one has the best sound, so it's the one I'll post here. I had it out because I did a birthday broadcast a week back for his 97th (he was born on March 6). The original compositions and arrangements are quite nice, and the playing is solid. But it's Red's tuba that is the real kick. He features it heavily (pun intended), and plays with real verve and style. It's hard to believe he was seriously blowing that behemoth way back in 1958 when these sides were recorded.

I can't remember where I got this LP, only that it was a long time ago. Its cover was in sorry shape, but the vinyl was clean, so was delighted to find it. I've played it many times on the radio, and now you can play it whenever you wish, too. As always, this rip comes directly from the original LP with only a minimal cleaning of the sound. A caveat, though: there are a few bleebles here and there on several tunes.

 


The Lowest 
The Music of Red Callender
Metrojazz E1007

Collective personnel (see cover for individual listings)
Gerald Wilson, tp; John Ewing, tbn; Buddy Collete, cl, ts, fl; Hymie Gunkler, as; Marty Berman, bar; Gerald Wiggins, Eddie Beal, p; Billy Bean, Bill Pittman, g; Red Callender, b, tuba; Red Mitchell, b; Bill Douglas, d.
Los Angeles, CA; 1958-59

1. Autumn in New York
2. Pickin', Pluckin', Whistlin' and Walkin'
3. The Lowest
4. Of Thee I sSing
5. Dedicated to the Blues
6. They Can't Take That Away from me
7. Five-Four Blues
8. Tea for Two
9. Another Blues
10. Volume, Too
11. I'll Be Around

Find it here: https://www.mediafire.com/?dfd5zeumfmtyk7p

Red as the junior member of the house band in "New Orleans." From left, Sid Catlett,
Mr. Callender, Charlie Beal, Louis Armstrong, Bud Scott, Kid Ory and Barney Bigard.

Saturn Research

Space age TV: Sun Ra and his interstellar crew go prime-time on NBC's "Saturday Night Live,"
May 20, 1978. From "Jazz: The First Century"

I got to see Sun Ra and his Arkestra a half-dozen times, mostly in Chicago, but later in New York City, too. It was always a trip to be in the presence of Mr. Mystery. You never were quite sure what to expect. Would Ra lead his men into an interplanetary miasma of free-jazz improv with Marshall Allen frantically fanning the keys on his weathered alto and Ahmed Abdullah issuing mighty trumpet blasts while balanced precariously on one leg on his chair? Would Ra revisit his distant past with a raggy arrangement of a hoary Fletcher Henderson number? Would John Gilmore be there? Danny Bank or Pat Patrick?

The Sunrise: Ra fans it for the fans at the 1980 Chicago Jazz
Festival. Photo by Lauren Deutsch

It was different every time. I remember the last time I saw them – in a moldering auditorium on Houston St. on a sweltering evening in New York City. The entire reed section – Allen, Gilmore and the rest – weren't playing saxophones. Instead, they had these odd rectangular tubes with keys on them. Midi woodwind interfaces, I guess they were. I'd never seen anything like it, and the sounds they produced were most definitely other-worldly.

I knew about Ra from my high school days when, at the Boston Tea Party one evening, I was assaulted by a quintet from Detroit. I say "assaulted," because that's what a performance by the MC5 was like in those days. Those greasy guys were positively scary. But they did a tune called "Rocket No. 9" which they dedicated to something called "Sun Ra." I was just beginning to learn about jazz, and it wasn't too long after that encounter that I knew all about Herman Blount and his idiosyncratic approach to music and life.

Fast forward to Chicago in the mid-'70s. I was in graduate school and buying up all the jazz records I could find. One place that was a record-fiend's mecca was the Jazz Record Mart at 7 W. Grand. Home of Delmark Records, the bailiwick of Bob Koester, the place was filled to the rafters with sides of all varieties, formats, styles, conditions and value. If it came over the transom and was playable, Koester would sell it. His pricing priorities were hard to figure, but his wares were nearly always offered at a reasonable cost.

One artist's sides nearly always wound up in the bargain bin. Yeah, that's right – Sun Ra was a stiff as far as Koester was concerned. I guess Bob had seen so many of Ra's privately issued LPs that he just couldn't get rid of them fast enough. They came in all manner of hand-decorated covers, some with liner notes taped to their backsides. There were even original Saturn issues from the late '50s, Classic LPs like "Monorails and Satellites" or "Cosmic Tones for Mental Therapy." Most could be had for $1.59. Some I picked up for 79 cents. Good deal.

Bob Koester in his element, a few years before I got there. Wish
I'd been around to grab a few of those Prestige Jams for a quarter.

So here are two of the more obscure Sun Ra sides that I acquired at the Jazz Record Mart those many years ago. If you're hesitant about Ra's music, be assured that these recordings capture the Arkestra at its most conventional (for the most part). "Shield" has the band running through Son's arrangements of some standards with excellent work from John Gilmore and from a fine trumpet player named Walter Miller (unknown to me). "Media" is top heavy with Ra's electronic keyboard gizmos and has a looped drum/bass pattern that's reminiscent of "Surfin' Bird," but there's also terrific Gilmore and more trumpeting from a gent named Michael Ray (also unknown to me). Try 'em out! The covers, by the way, are minimal – Xeroxes colored in with marker and taped to plain white covers, now yellowed a bit with age.

As always, these tunes were ripped from the original vinyl with, in both cases, no tinkering with the sound whatsoever.

The Invisible Shield • Sun Ra and His Intergalactic Research Arkestra
El Saturn Records 144000
1-6: New York, NY, 1962; 7-9: New York, NY or Philadelphia, PA, 1970 

1. State Street (Ra)
Sun Ra, p; Walter Miller, tp; Al Evans, flg; Ali Hassan, tb; Marshall Allen, as, fl;
John Gilmore, ts; Pat Patrick, bs; Michael White, vln; Ronnie Boykins, b; Clifford Jarvis, d.

2. Sometimes I’m Happy (Caesar-Youmans)
Sun Ra, p; John Gilmore, ts; Ronnie Boykins, b; Clifford Jarvis, d.

3. Time After Time 1 (Cahn-Styne)
4. Time After Time 2 (Cahn-Styne)
Sun Ra, p; Walter Miller, tp; Ronnie Boykins, b; Clifford Jarvis, d.

5. Easy to Love (Porter)
6. Sunnyside Up (DeSylva-Brown)
Sun Ra, p; Walter Miller, tp; John Gilmore, ts; Ronnie Boykins, b; Clifford Jarvis, d.

7. Island in the Sun (Ra)
8. The Invisible Shield (Ra)
9. Janus (Ra)
Sun Ra, p, org, Mini-Moog syn; Marshall Allen, as, fl, picc; Danny Davis, as, acl;
John Gilmore, ts, perc; Danny Ray Thompson, bsn/ Neptunian libflecto/ lunatic fagott
(on The Invisible Shield), perc; Ben Henderson (Jaribu Shahid), b; Art Jenkins, ancestral African vocal and space voice (on Janus), other members of the band, bells and percussion.

Find it here: https://www.mediafire.com/?pfidddt2kjd6x1d

 

Media Dream • Sun Ra and His Arkestra
El Saturn Records 19783 

Sun Ra, org, p, Crumar Mainman organ, drum box, etc.;
Michael Ray, tp; John Gilmore, ts; Luqman Ali, d.
Live in Italy, January 9, 1978

1. Saturn Research (Ra)
2. Constellation (Ra)
3. Yera of the Sun (Ra)
4. Media Dreams (Ra)
5. Twigs at Twilight (Ra)
6. An Unbeknowneth Love (Ra)

Find it here: https://www.mediafire.com/?zzjb2tbp8oo0wuc