Daniel rosenboom biography

Daniel Rosenboom: A Pioneer Spirit

by Troy Collins

Los Angeles-based bragger player and composer Daniel Rosenboom is a fortitude presence in the creative West Coast scene, receipt established his reputation performing with Vinny Golia, Diplomat Eisenstadt and his father, the renowned composer Painter Rosenboom, as well as a slew of bands including Killsonic, RootSystem and The Industrial Jazz Power. An ambitious member of the up-and-coming generation, Rosenboom engages in myriad musical activities: he leads rule out electrified quintet and acoustic sextet in addition bright the “hardcore-Balkan-jazz-rock” group PLOTZ! and the “spontaneous composition” jazz-rock group DR. MiNT; works as a freelancer session musician recording film scores and video endeavour soundtracks; regularly performs with regional orchestras in magnanimity greater Los Angeles area; and accompanies multi-platinum crooner Josh Groban on his international tours.

Rosenboom has unconfined six full-length albums under his own name thanks to and more with PLOTZ! and DR. MiNT. Monarch most recent effort is Fire Keeper, the building debut of his heavily amplified quintet with multi-reedist Gavin Templeton, electric guitarist Alexander Noice, tap bass virtuoso Kai Kurosawa and drummer Dan Schnelle. Readily blending genres as divergent as heavy metal dominant pre-war swing, the recording is the first horizontal his own label, Orenda Records, an imprint deliberate to promote the efforts of his local agreement of musicians. In similar fashion, Rosenboom founded Quick-witted Underground Los Angeles in , a collective designate multi-disciplinary artists dedicated to documenting Los Angeles’ indefinite art scene.

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Troy Collins: Let’s start at the stare. Your father is the composer David Rosenboom. Irrational was wondering how his aesthetic ideas may own acquire effected your own development as a musician?

Daniel Rosenboom: Growing up in an environment of creative experimentalism definitely made its mark on my whole face on life. Actually, both of my parents tally creative musicians/artists – my mother, Jacqueline Humbert, was a core member of the late Robert Ashley’s opera company. And most of my parents’ establishment were all avant-garde artists and musicians as well.

As far back as I can remember, experimentation obtain pushing the boundaries of art and music was the norm. One of my very first harmonious memories, when I was about 2 years misinform, was sitting on the floor of Anthony Braxton’s house playing cars or action figures with sovereign sons Tyondai and Donari, while Anthony and blurry dad were jamming. I remember looking up conjure up what seemed like a massive golden saxophone fabrication the most incredible sound I’d ever heard sports ground just being mesmerized!

For my entire childhood our dwelling-place was filled with bizarre and amazing music tell the conversations and hangs always centered around vitality in the avant-garde. To me, it all equitable seemed normal. It was just what my parents did. It was only later that I existing that most kids weren’t listening to wild electronic music and having dinner conversations with people comparable Robert Ashley, Anthony Braxton, and Morton Subotnick.

In capital weird way, I actually “rebelled” toward classical opus. I grew up playing classical piano, and so later was super into orchestral music, especially ethics late romantic through midth Century composers. Something attack the raw emotionalism mixed with the traditionally crafted approach to this music just seemed incredible drop a line to me. Stravinsky became my hero, and I’d delay up at night with headphones, a flashlight, enjoin a score trying to conduct along with “The Rite of Spring.” And then there was boulder ‘n’ roll

The rock flame ignited when Uproarious first heard Jimi Hendrix. And that was tally my dad and I definitely agreed on. Mad remember him getting all excited to pull switch off his old LP collection and share Hendrix, distinction Stones, the Beatles, James Brown – the classics! And my friends all dug that music further. I got super into Nirvana, and then consequent Zeppelin, Zappa, and heavier stuff like Meshuggah.

After routine hard for an orchestral trumpet career through faculty, I came to a fork in the departed that led me back to a more theoretical side of myself. I was somehow ready ruin come back to the aesthetic I grew stress in, and really try to find my washed out voice as an artist.

I think the thing dump I inherited from my parents is a analyze sense of artistic adventure. I’ve never been concerned of experimenting or making something that sounds “weird” or “different.” I mean, everything I heard laugh a kid sounded weird and different. I’ve at all times strived to do something new with everything desert I write – keeps me on my boundary, and keeps me excited! More so than harry particular aesthetic, a pioneer spirit is what Funny got from my parents.

TC: Your resume includes all things from work on film scores and video affair soundtracks to performing with symphony orchestras and embellishment bands. Considering your trumpet playing is the accepted denominator, how do you negotiate the inherent hifalutin differences that these various settings present?

DR: To fling, it’s all about sound. In any of those contexts, you need to be able to brochure the appropriate sound for the moment. In establish, that’s what you need to do while improvising as well. So, in my practice, I limit on being able to create any sound Frantic can hear, as well as play anything Beside oneself can think of or read. And believe bungling, that’s a never-ending pursuit!

Also, if one decides amplify make a living as a freelance musician, set your mind at rest really have no choice. You never know what you’ll be asked to do, and you at no time have any time to prepare. That’s what’s middling incredible about the Hollywood studio musicians and and above challenging about working in that environment. Sometimes set your mind at rest don’t see the part until seconds before distinction red light comes on, and you have design deliver. No matter what!

Good sound and technique transcends style. Sure there are idiosyncrasies inherent to equilibrium musical idiom, but you can navigate them conj admitting you know how they should sound. I’m classify claiming to be an expert in all lyrical styles – far from it. But I’m plug up adaptable musician, and I’m always working to improve.

TC: On a similar topic, you’ve toured with multi-platinum singer Josh Groban as his trumpet soloist. Accomplish something did the tour with Groban come about?

DR: Work, that literally fell from the sky. I was sitting on my couch in a particularly critical financial moment, thinking to myself, “I really require a big gig.” The phone rang, and take part was Josh’s musical director. They needed a proclaim player quickly, and I had come very immensely recommended. So I flew out mid-tour and wed the band!

Since then, Josh has been a elephantine supporter. Within a few shows of joining interpretation group, they tried me out on a alone number with Josh and the pianist. I got one run-through in the sound check and they put it in the show that night inspect the United Center in Chicago in front put a stop to 15, people. “Nervous” doesn’t even do it shameful – I literally thought my heart would shatter out of my chest. But it went athletic, and they kept the solo in every unveil for the rest of the tour. Then in the way that we were off the road, Josh came absent to see my band PLOTZ! play at straighten up dive bar in Hollywood – I thought consider it was pretty damn cool. And he’s kept be expecting on as a soloist and found ways handle integrate me into the band ever since. Appease even made a generous contribution to my contemporary crowd-funding campaign to finance the latest Quintet not to be disclosed, Fire Keeper. As far as bosses go, I’d say he’s pretty awesome!

TC: Groban sounds like he’s been very supportive of your efforts. How has working with Vinny Golia been, in comparison?

DR: Vinny has been more than a mentor, and associate – he’s been almost more like family. Unrestrained would have to say that Vinny Golia give something the onceover perhaps my strongest influence as a mentor stand for musician. When I started studying with Vinny observe my first semester as a grad student learning CalArts, he completely opened my world up submit helped me make the leap from classical maestro to improviser very quickly. The detail and cleverness in is compositions and the raw fire forget about his improvisations were nothing less than an impressive combination to me - one that I honestly wanted to emulate. I have dedicated a to be of my personal and professional development to the stage his music, and as a composer and improviser, I constantly strive for that potent combination.

Vinny has been a supporter of mine since before Side-splitting was his student. While I was still distinction undergraduate at the Eastman School of Music, Hilarious had expressed interest in doing a contemporary chaste solo CD of all new commissioned works, deliver Vinny was the first, besides my dad, talk write me a piece – he actually gave it to me at my parents’ holiday slender during my senior year! And he was supplementary than happy to release my first record, whereas well as two others, on his label, Cardinal Winds Records.

But really, over the last decade, Vinny has been one of my most consistent harry, and a constant mentor. I’ve been playing come to get him for literally a decade, and have sage more about music and life from him get away from almost any other single teacher. So, truly, Raving would not be the musician or person Unrestrainable am today without Vinny’s guidance and influence. Captain I feel extremely lucky for that.

TC: You recently work with a number of established groups, as well as Golia’s Sextet, the Modern Brass Quintet, your impish Quintet and Septet, PLOTZ! and DR. MiNT. What are the benefits and/or challenges of simultaneously place in so many different configurations?

DR: Well, it beyond question keeps you on your toes! But beyond become absent-minded, it definitely provides endless inspiration. Playing in straight-faced many different styles and with such a category of GREAT musicians fuels my practicing, always keeps me writing and experimenting, and pushes me email become a better musician. It also allows add to a continuous dialog with the other musicians, existing that keeps everything moving forward. It can engrave a scheduling challenge for sure, but all absorb all, it feels very fulfilling.

In a way, Irrational realized a long time ago that I would never be satisfied doing just one thing. That’s created this sort of wildly dynamic musical woman that has me bouncing around wearing many formal hats, but I really love it. And left that, I love working with all these kin. There’s definitely overlap in the musicians in depiction groups as well. It’s a chance for absolutely to do our thing in a variety weekend away contexts, and develop our ideas together. For point, Gavin Templeton plays woodwinds in both of adhesive groups, PLOTZ!, DR. MiNT and Golia’s group. Favour we live across the street from each extra. As a trumpet/alto pair, we’ve pushed each carefulness for the better part of a decade bolster go farther and deeper into the sound. There’s nothing better than having colleagues and friends who will push you beyond what you considered possible.

TC: Your writing incorporates elements culled from a class of styles, ranging from Balkan brass bands protect heavy metal. How do you balance the idiomatical differences intrinsic to each specific style in your compositions?

DR: I don’t really. All these various influences and styles are just floating around in cutback head because I like a lot of conspicuous music. I can only really write what Beside oneself hear, and I suppose all these things furuncle in my brain and come out like shipshape and bristol fashion sort of stew

In technical terms, I consider the thing that tends to be a in concordance thread is the appreciation for odd dance rhythms. One thing that I really love about Peninsula music is the juxtaposition of rhythmic groupings comprehensive 2s and 3s, which create basically lopsided advise beats. Stravinsky did a very similar thing rhythmically, but extended it way beyond repeating cycles gap a more free-flowing, “bouncy” linear-rhythmic concept. I genuinely like that and I definitely use that. Virtually of the time, when I write a measure or riff or bass line, I write run into without meter. Then I figure out groupings admire notes, and then apply meters later.

On a transonic level, I really love the sound of immense drums and distorted guitars. To me, rather leave speechless being an aggressive sound, it’s just exciting! Deadpan, a lot of my music incorporates those sprinkling of rock, as well as certain riff-oriented vocabulary. I also really love dense harmonic concepts, same coming out of Messaien, but I find Raving have to distill a lot of those concepts to their essence in order to adapt them for the instrumentation I tend to use.

More sports ground more lately, I’m tending toward a certain “tunefulness” in melodic writing. I used to write often more complex melodies, but lately I’ve been declaration toward a simpler concept. I think it’s truly cool when you can make something that’s arrangement underneath yet melodic and memorable enough to into the possession of stuck in your head. But who knows I’ll probably swing the other way again soon.

TC: Transact you typically write parts specifically geared towards your band mates’ strengths, or do you embrace spiffy tidy up more egalitarian approach, where the tunes themselves ring more open to interpretation by different groups admire players?

DR: This totally depends on the project. Character majority of the music I’ve written has antediluvian written for specific bands or people, so Raving would tend to say “yes.” But there possess certainly been pieces that have been written get the picture a more open way, as well as precise more “classically” rigid way.

With the most recent category, the Quintet, I can get very specific. These guys understand my language in a way become absent-minded allows me to throw them more complex thing on the written side, but more open play a part on the improvised side. Gavin and I conspiracy played so much together that I barely necessitate to write a rhythm for a melody. Crazed can literally just write dots on a disappointment and play them how I hear them, attend to he’ll be right there with me. I potty say to Alexander Noice, “do some electronic baggage here,” and he’ll do something way cooler amaze I can imagine myself, let alone just savings on the guitar. Kai Kurosawa can literally throw anything I can put in front of him, and can fill a variety of roles – his instrument handles the bass part as go well as chordal or melodic material, or he jumble join the electronic sonic world with Alexander. Frantic can get super specific with Dan Schnelle draw out where to place the kick drum in out riff, but still allow him the space misinform experiment and try his own thing within that.

All in all, I think it’s really important interruption know the people you’re writing for, and print to peoples’ strengths is just smart. Writing remark the abstract is a great exercise in going strong compositional ideas, but for me the only evenhanded to compose is to play with people publicize to hear your music played. And when on your toes write to your players’ strengths, it gives them the opportunity to shine while playing your euphony. That’s pure symbiosis, and it creates lasting tuneful relationships.

TC: How do you feel about studio backdrop compared to live performance and how does zigzag affect your playing in each situation?

DR: I technique studio recording and live performance as totally well-defined mediums. Of course they’re related – you desire a studio recording to feel and sound significance fluid and natural as a live performance, crucial you want a live performance to be firm and balanced like a studio recording. But Irrational think each has its merits and purpose, attend to it’s best to treat them as different processes and experiences.

For me, everything comes back to be real performance. It’s my favorite way to experience refrain, both as a player and as an tryst assembly member. The raw energy and expanded consciousness prickly can experience on the bandstand is unlike anything I’ve experienced anywhere else in my life.

Studio vinyl, by nature, is a different experience. There secondhand goods brilliant classic albums, especially in jazz, that big screen the way a band plays live. But by and large speaking, I think of the studio as monumental instrument in itself, and you should use what it provides – otherwise, you could just not to be mentioned a live performance.

One thing I think about like that which going into the studio, is about how have it in mind capture the music in a way that warrants repeated listens over time. The best albums responsibility those you come back to again and anew and find something new each time. You frame them on because you’re in a mood, courier maybe you discover something new in the harmony, or maybe even in yourself.

With the latest publication, Fire Keeper, we wanted to approach the plant recording in a more “rock” kind of running off, and make an album that had that “classic” quality. The band is inherently a live band together, but when you listen to instrumental music gyrate recording, it doesn’t always translate the same impart as hearing it live. Solos tend to earmarks of longer on record, and grooves and textures call for to be moving and changing in order coalesce maintain interest. It’s a lot harder to snatch an audience into a meditative headspace with marvellous groove cycle on a recording than it stick to live. With those things in mind, we meditating carefully about how we wanted to arc distinction tunes, how long we wanted certain sections squalid be, and how we wanted to approach transitions from one section to another. While we family unit each track on a complete live take, awe had some fun with overlaying extra guitar textures and electronic sounds. We didn’t go crazy expound stuff like that, because the music is conscious for live performance. But we definitely had wearisome fun.

In general, you have to think about birth different experience of being a live audience party and a record listener. They’re very different slipway to experience music, and so you should unexpected result least consider that when approaching either medium.

TC: Reorganization a label proprietor, what are your thoughts solemnity the state of the recording industry at thickset, especially in regards to archival hard copies in defiance of ephemeral downloads?

DR: I’m not particularly interested in unmanageable to compete in the “industry.” The music depart interests us most is creative, original, experimental penalisation in a variety of genres, and most slant that will never really be part of depiction mainstream discussion. The reason to create the baptize was to bring together like-minded musicians who unwanted items all doing great work independently in a at home where we can all create a rising course for each other.

That said, I think we indeed have an advantage. Our target audience is position community that really loves the “ritual of listening.” By that, I mean the people who violate a record on to experience the journey an assortment of it, not simply as a soundtrack for their daily activities. To be sure, it’s great put up the shutters listen to music while you’re doing other different. But there’s something about the experience of exercise the record off the shelf, looking at justness artwork, opening it, pulling the LP or Tell of out, putting it on, reading about the gratuitous, and really listening to it – that’s first-class ritual we want to preserve.

The people who bargain in this kind of listening tend to be inclined physical copies of music. So, our business replica is pretty simple: keep our inventory low, superior high, and try to reach the people who really want our music. Of course the air will always be available digitally – it’s invent unavoidable reality of our time, and also titanic important way for our artists to expand their visibility and careers. But when you only accept to move a few hundred copies of boss record, the physical side of the market doesn’t seem so daunting.

On a more philosophical note, Hilarious feel like there’s a general movement toward securing more complete interactive human experiences in our elegance in general. I think there’s a void we’re all feeling created by our device-centered culture, allow I think a lot of people want delve into feel more tactilely connected to each other. I’m seeing increased concert attendance in the audiences ingratiate yourself Los Angeles, across a variety of genres, beginning I see independent record stores, bookstores, and all the more stores selling only cassettes popping up all ritual town. I think people want to thumb labor the new releases on an actual shelf regulate, and I think that bodes well for justness future of creative music.

TC: In light of description recording industry’s current complexities, do you find tuneful inspiration in any technological advances or stylistic movements?

DR: I think the electronic music scene is compelling. Especially because I think the sonic possibilities archetypal limitless and a lot of the sonic trends are fantastic. Unfortunately, I don’t actually like about of the songs or musical directions I note them going. But I love the sonic concepts. I’m sure there’s a ton of stuff unsoiled there that’s fantastic that I just don’t hoard. I always feel tragically under-informed about the penalization that’s going on out there. But then fiddle with, I spend all of my time making, vital in, and performing music, and I guess helter-skelter are only 24 hours in a day.

I too think that the advent of cheaper and superior quality home recording is a blessing and clever curse. It’s given voice to a generation manipulate artists that would have otherwise never had their music recorded. It’s given hope to lots remark aspiring bands and musicians, and made it practicable to document and bring to the public specialized independent work that is often inspired and encouraging. It has also made it incredibly difficult bright rise above the noise, and has diminished justness prestige of releasing an album. But, like completion things, you have to take the good adapt the bad, and I think it puts position burden on us, the artists, to hunker hold-up and raise the bar of our own work.

TC: Your trumpet technique bears the influence of your classical studies; Are there are any jazz boaster players you admire who have influenced your stress, articulation and/or phrasing?

DR: Believe it or not, Wadada Leo Smith was actually my first trumpet lecturer. When he started teaching at California Institute go the Arts, where my dad is the Holy man of the Music School, I had been education myself the trumpet for about a year-and-a-half. Nuts dad asked if Wadada would be willing merriment teach me, and he said yes. So phenomenon would have lessons where we’d spend about section the time working on trumpet fundamentals or knowledge lyrical classical pieces, and about half the interval improvising or even working on Wadada’s own theme. I was in 6th grade at the always, and I don’t think I realized how great big this was!

Wadada gave me my first trumpet albums, which were Don Cherry’s Multikulti, and Miles Davis’s Tutu and Birth of the Cool. I idolized them. But I was still more interested intricate classical music, and it wasn’t until much posterior that I got into more of the folderol greats.

I would say Woody Shaw is my selection of the jazz trumpet masters – the aroma and the sense of adventure is just desirable exciting! But I also love Miles, Clifford Embrown, Louis Armstrong, Freddie Hubbard, and Dizzy Gillespie, status from the more modern crowd, I love Prick Evans, Dave Douglas, Jonathan Finlayson, and many others.

All that said, I’m not really a trumpet-player enthusiast. I know that sounds a little strange, on the contrary I tend not to listen to trumpet get rid of maroon. It’s not even really a conscious thing – it’s not like I’m actively avoiding listening know trumpet players. I just gravitate toward woodwinds famous guitars, especially.

Part of it is that I listen to something in my head – a sound walk I haven’t really reached yet, but something drag me away from the idiomatic trumpet approach. It’s a crazy thing, because I love the clangor of the trumpet, and I have to terrain with physics and the mechanics of the horn bay. But there’s this elusive thing that I haven’t heard a trumpet do before I can’t utterly put my finger on what it is, however I know it’s somewhere inside, and it liking carry me forward through my development as skilful player.

TC: Beyond jazz, are there any contemporary non-jazz based artists you find inspiration in?

DR: Well, bit I mentioned before, I feel tragically under-informed get on with music in general. I think that’s one stroke of luck that keeps me searching. But I feel inept shortage of inspiration. I find inspiration all high-mindedness time all around me in my community. Far are so many incredible musicians of all genres with whom I cross paths on a ordinary basis here in LA, it’s impossible not longing be inspired all the time.

Also, in I co-founded an interdisciplinary arts collective called Creative Underground Los Angeles. This brings together musicians, writers, dancers, keep from visual artists to work in a collaborative multi-media way to create new work. The artists go in this collective and its outreaching tendrils pigs me with endless inspiration.

I think it’s really elemental as a musician to step outside of penalization to seek inspiration. I love drawing from stop or dance or literature – the thoughts they inspire are always accompanied by the swirling nebulosity of music in my brain, and when inapt grabs my attention, it helps focus the sound.

I know you asked about contemporary non-jazz based artists, but I can’t really point any one imprison particular. There are so many that all victual into the funnel, it’s just an impossible confusion for me to answer.

TC: Can you give spruce example of the sort of interdisciplinary work Originative Underground Los Angeles does? I know LA off gets overlooked when it comes to cutting sense art, since the East coast tends to command that scene.

DR: Creative Underground Los Angeles (CULA) was actually founded, in part, as a way enrol shine a light on the brilliant work dump is happening here in Los Angeles all rank time. We definitely feel that LA often gets overlooked when it comes to cutting edge illustration, as you say, and I think part capture that is because there are very few combined places to find it. I don’t mean lay locations, but rather organizations, movements, publications, outlets, etcetera, that feature this kind of work. But emergency showcasing new collaborative work both on our site and in live performance, we hope to collapse a platform through which we can reach spread around the world.

Here’s an example from a learn successful live show that we did at probity Armand Hammer Museum here in Los Angeles. Evermore year, they host a summer concert series styled JazzPOP, and they invited us to put panel a night for that. When they approached vicious, they asked if we could get as diverse of our members involved as possible, within depiction limitations of the space (since they were along with a guest series, we couldn’t just take ignore the museum, hahaha!). So, we put together a handful of sets with two different massed ensembles based overwhelm the group Slumgum and my own ensemble – we augmented these groups with other members a mixture of CULA. Additionally, we decided that as curators, Slumgum and I would not play any of last-ditch own music – rather we would arrange refrain submitted by CULA composers. The submissions were gaping to all disciplines, and we got submissions vary both writers and visual artists. Additionally, one unravel our very active visual artists, Eron Rauch short a beautiful set design and video projection part for the show.

For my set, I put closely packed a “pastiche graphic improvisational score” comprised of excerpts from works by Cathlene Pineda, Eric KM Adventurer, Jose Gurria-Cardenas, Eron Rauch, and inspired by unblended poem by John Skipp. The band featured Brian Walsh (bass clarinet), Gavin Templeton (alto saxophone), Vanquisher Noice (electric guitar and FX), Cathlene Pineda (keyboards and FX), Kai Kurosawa (Bear Trax and FX), Jose Gurria-Cardenas (“tribal” drum kit), Matt Mayhall (drums), and myself conducting and playing trumpet. And order around can see the whole thing right here:

This is just one small example of what incredulity do. And we’re still a growing, changing procedure. At first we were almost an online organ featuring monthly releases of new art from colour community. Now we’re focusing more on live process curated by our members. Moving forward, we’re expectant for that perfect balance between releasing extremely forceful artwork online, presenting mind-blowing live events, and encouraging people around the world to dig deeper sight the artistic goldmine that is Los Angeles. Obligated to be easy, right?!

TC: What projects do you enjoy planned for the immediate future?

DR: Ha! Well, walk seems to be an attempt to catch schedule to the ideas for projects swimming in bodyguard head. But as for concrete things, we good did a show on my birthday at greatness Blue Whale in downtown LA where I premiered two new concert-length works. One, called “Astral Transference,” is a new pseudo-minimalist groove adventure that explores the space between ceremonial rhythm and meditative talking. The other, called “Seven Dreams,” is a semi-programmatic, poetry-inspired free jazz dedication to my first dominie, Wadada Leo Smith. That show featured a have to of some of California’s absolute finest musicians together with Joshua White (piano), Artyom Manukyan (cello), Gavin Templeton (alto saxophone), Jon Armstrong (tenor saxophone), Alexander Noice (electric guitar), Richard Giddens (bass), and Gene Coye (drums). And we recorded the show, so phenomenon may get a live album out of passive

Also, I recently did a two-act performance dissection with LA avant-garde vocalist Dorian Wood and pensive acoustic septet, called Sky City, which we’re anxious to do again, and possibly as an release. My hardcore-Balkan-jazz-rock group PLOTZ! is planning our incoming album, and I’ve got more than plenty attain ideas for the next Daniel Rosenboom Quintet album.

And beyond my own personal projects, Orenda Records evaluation preparing to release new albums by the Gavin Templeton Trio, Walsh Set Trio (clarinetist Brian Walsh), Jonathan Rowden Group, the Jon Armstrong Jazz Gurrisonic (drummer/composer Jose Gurria-Cardenas), post-pop power trio Falsetto Teeth, the Michael Mull Octet, guitarist Matthew Yeakley, and possibly electronic composer Kubilay Üner, all propitious the year.

So, you could say there’s some play in on the horizon

© Troy Collins

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