Cece Teneal - Portrait Of A Queen: A Tribute To Aretha Franklin

Bitrate: MP3@320K/s
Time: 44:22
Size: 101.6 MB
Styles: Soul/Blues vocals
Year: 2016
Art: Front

[3:42] 1. Until You Come Back To Me
[3:52] 2. Daydreaming
[2:51] 3. I Never Loved A Man The Way I Love You
[3:42] 4. Spanish Harlem
[2:47] 5. A Natural Woman
[2:35] 6. Since You've Been Gone
[3:01] 7. Don't Play That Song
[3:31] 8. I Say A Little Prayer
[3:21] 9. Rock Steady
[3:15] 10. Do Right Woman Do Right Man
[3:24] 11. Dr. Feelgood
[2:39] 12. Respect
[5:37] 13. Bridge Over Troubled Water

Critics and fans have called CeCe Teneal “a musical force to be reckoned with”, and her achievements in the industry over the past decade are certainly testament to that view. A country girl blessed with a powerful voice that is filled with soul and resonance, CeCe began as a cover artist and is now planning to captivate the globe by performing her own original music that aligns with a blues/soul/funk soundtrack.

Born in Osteen, just outside of Orlando, Florida, CeCe never envisioned herself as a performer. Having inherited her voice from her mother, she was handed a microphone in the family church at the age of six and stunned people with her chillingly beautiful vocals. At first keeping her talent within the walls of her home, CeCe quickly felt something bigger beginning to emerge. God had a different plan from what she had first imagined, and after singing at venues throughout her region, her career skyrocketed when she was selected as the lead singer for B.B. King’s Blues Club in Orlando in 2007. CeCe succeeded in transforming B.B. King’s into the most frequented live music venue in Orlando, and in 2011 she released her debut blues album, “Train from Osteen”, performing to sold out crowds and eventually being dubbed the “Voice of Neo-Blues”.

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Lionel Hampton, Oscar Peterson - Jazz Masters 26

Bitrate: MP3@320K/s
Time: 64:50
Size: 148.4 MB
Styles: Vibraphone jazz, Swing
Year: 1994
Art: Front

[ 4:42] 1. Jam Blues
[ 7:58] 2. Always
[ 6:10] 3. Soft Winds
[ 9:54] 4. Star Dust
[ 6:29] 5. Je Ne Sais Pas
[10:10] 6. Tenderly
[ 6:20] 7. Hallelujah!
[ 7:08] 8. Sweethearts On Parade
[ 5:56] 9. Date With Oscar

Vibraphonist Lionel Hampton and pianist Oscar Peterson are the stars of this delightful collection of jazz recordings supervised by producer Norman Granz over an almost exactly 12-month period extending from 1953 to 1954. Granz's marvelous knack for bringing together excellent musicians resulted in the combined presence of trumpeters Roy Eldridge and Dizzy Gillespie, trombonist Bill Harris, clarinetist Buddy DeFranco, tenor saxophonists Ben Webster and Flip Phillips, guitarist Herb Ellis, bassist Ray Brown, and drummer Buddy Rich. The combination of musical minds is extraordinary, and Hamp's amazing wavelength is dependably positive and uplifting. ~arwulf arwulf

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Bruce Marini - Twist & Sabbath

Bitrate: MP3@320K/s
Time: 33:19
Size: 76.3 MB
Styles: Saxophone jazz
Year: 2018
Art: Front

[5:10] 1. Misirlou
[4:58] 2. My Girl
[4:39] 3. Chicago Connection
[7:29] 4. Twist And Sabbath
[5:35] 5. Rock 'n Roll
[5:25] 6. Scuffle

Bruno Marini (Verona, Italy May 18th 1958) is an Italian Baritone saxophone and Hammond organ player. He has performed with: Jack McDuff, Shirley Scott, Steve Lacy, Gary Bartz, Benny Golson, Joe Henderson, Sal Nistico, Hal Singer, Paul Jeffrey, John Tchicai, Joe Lovano, Clark Terry, Nat Adderley, Kenny Burrell, Mal Waldron, Donald Garrett, Bobby Durham, Jimmy Cobb, Joe Chambers, Albert "Tootie" Heath, Han Bennink, Steve Ellington, Jimmy Carl Black.

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Eddie Jefferson - Letter From Home

Bitrate: MP3@320K/s

Time: 36:42

Size: 84.0 MB

Styles: Vocal jazz

Year: 1962/1987

Art: Front

[2:59] 1. Letter From Home

[3:09] 2. Take The A Train

[2:45] 3. Billie's Bounce (Take 4)

[2:47] 4. Billie's Bounce (Take 3)

[3:06] 5. I Cover The Waterfront (Back In Town)

[2:49] 6. Soft And Furry

[3:30] 7. A Night In Tunisia

[3:08] 8. Things Are Getting Better

[2:57] 9. Keep Walkin' (Take 4)

[2:51] 10. Keep Walkin' (Take 1)

[3:09] 11. Body And Soul (I Feel So Good)

[3:27] 12. Parker's Mood (Bless My Soul)

This CD (which augments the original LP program with two alternate takes) is a fine showcase for vocalese master Eddie Jefferson. Backed by either a tentet or a quintet that gives solo space to altoist James Moody and the tenor of Johnny Griffin, Jefferson sings his lyrics to such numbers as "Take the 'A' Train," "Billie's Bounce," "I Cover the Waterfront," "Parker's Mood" (the latter differs from the famous lines immortalized by King Pleasure), "A Night in Tunisia," and "Body and Soul," among others. Jefferson is in prime form and these boppish renditions as a whole form a near classic. ~Scott Yanow

Letter From Home  

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Jacek Kochan, John Abercrombie, Pat LaBarbera, Jim Vivian - Standard Transmission

Bitrate: MP3@320K/s
Time: 54:43
Size: 125.3 MB
Styles: Contemporary jazz
Year: 2013
Art: Front

[8:54] 1. Nardis
[6:03] 2. Gonz's Mood
[6:53] 3. Lullaby
[9:37] 4. I Love You
[7:51] 5. You Don't Know What Love Is
[7:48] 6. I Wished On The Moon
[7:33] 7. Blue Forest

Jacek Kochan, composer, arranger, producer and drummer begun his adventure with music in seventies. In early 80-ties he moved to New York. There he have played and recorded with jazz, funk and r&b bands and studied among the others.with Jaco Pastorius, Mike Clark, Robbie Gonzales.

By the mid 80's, Jacek moved to Montreal, where he further expanded his musical lexicon to include writing for choirs and orchestra (Tudor Singers, Repercussion) as well as playing and recording ethnic music (latin , african , balkan). There he worked with Michel Donato, Karen Young, Andrew Leroux, Yannick Rieu, Oliver Jones, Jean-Pierrre Zanella, Michel Cusson, Katleen Dyson, Helmut Lipsky, Lazaro Saucedo, Geoff Lapp, Johnny Scott and many others, perfoming at the clubs and jazz festivals.

In 1990, after moving to Toronto, he started to work as a leader and sideman in countless live and recording projects with artists like John Abercrombie, Jerry Bergonzi, Pat Labarbera, Kenny Wheeler, Don Thompson, Mike Murley, Neil Swainson, Reggie Schwager, Lorne Lofsky, Bernie Senensky, John MacLeod, Dave Restivo and Brian Dickinson.

In 1995 he returned to Europe where he continues to compose, play, tour and record music with artists like Dave Liebman, Gary Thomas, Joey Calderazzo, Palle Mikkelborg, Eddie Henderson, Dave Tronzo, Briggan Krauss, Cuong Vu, Eric Vloeimans, Lars Danielsson, Eddie Schuller, Skerik, Tomas Stanko, Zbigniew Namyslowski, Adam Pieronczyk, Piotr Wojtasik, Assif Tsahar, Tomasz Szukalski, Maciej Sikala and Piotr Baron

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Sophisticated Lady - Crazy He Calls Me

Bitrate: MP3@320K/s
Time: 44:20
Size: 101.5 MB
Styles: Vocal, Swing
Year: 1999
Art: Front

[6:55] 1. Crazy He Calls Me
[3:07] 2. S Wonderful
[3:37] 3. Whatever Lola Wants
[5:35] 4. Sophisticated Lady
[3:40] 5. Kissing Bug
[5:50] 6. Tempus Fugit
[6:50] 7. Don't Explain
[5:05] 8. The Very Thought Of You
[3:39] 9. All Of Me

Birgit Ellmerer, vocals; Jérôme De Carli, piano; Reimund Gerstner, contrabass, Lukas Bitterlin, drums; Andreas Steiner, trumpet/flugelhorn; Rolf Häsler, saxophone.

Singer Birgit Ellmerer’s band takes its name from Duke Ellington’s famous jazz ballad, Sophisticated Lady. Established in the Swiss jazz scene for 20 years, its top-notch musicians bring verve and swing to the timeless songs of the Great American Songbook. Ellmerer has an extraordinarily well-modulated voice that breathes new life into the All Time Standards in an enjoyable way.

The rhythm section consists of the savvy and versatile pianist Stefan W. Müller, the tight, creative contrabassist Samuel Joss, and the master of beats, drummer Lukas Bitterlin. Together they create a solid groove floor buttressed by an outstanding wind section consisting of Rolf Häsler on the saxophone and Andreas Steiner on the trumpet, both of whom thrill with solo flights of musical fancy. Sophisticated Lady’s catchy big-band vibe has been known to spark the enthusiasm of the audience and envelop it in a wonderous feeling.

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Alex Sipiagin - Mirages

Styles: Trumpet Jazz
Year: 2009
File: MP3@320K/s
Time: 70:53
Size: 162,4 MB
Art: Front

( 8:57)  1. One For Mike I
(10:43)  2. Mirages
(10:01)  3. Live Score
( 7:14)  4. Levitin's Kingdom
(10:26)  5. Just One Of Those Things
( 8:10)  6. Tetragon
( 6:04)  7. Iris
( 9:15)  8. One For Mike II

With little muss or fuss, trumpeter Alex Sipiagin has been gradually building a first-call reputation. Since emigrating from Russia in the early '90s, he has played with everyone from the late Michael Brecker and James Moody to David Binney and the Mingus Big Band. But it's his association with Dave Holland that's garnered him the greatest name recognition. He's a charter member of the bassist's Big Band, he's gigged with Holland's as-yet-unrecorded Octet, and toured extensively with the Sextet responsible for Pass It On (Dare2, 2008). With a growing discography as a leader the majority released by the Dutch Criss Cross label it's remarkable that Sipiagin has managed to demonstrate palpable growth from album to album, given the label's somewhat restrictive approach usually allowing only one day to record. Seeming to peak both compositionally and performance-wise with the one-two punch of his more spontaneous Prints (Criss Cross, 2007), and ambitious Out of the Circle (ArtistShare, 2007), where Sipiagin was afforded the luxury of both more recording time and a larger ensemble, Mirages is a more straight-ahead affair, with emphasis on solos and in-the-moment interaction. An effervescent energy pervading the entire set provides Mirages with its own unique place amongst Sipiagin's remarkably consistent and appealing discography. Tenor saxophonist Seamus Blake, drummer Johnathan Blake and bassist Boris Kozlov who emigrated from Russia at the same time as Sipiagin have all appeared on one or more of the trumpeter's nine albums as a leader. Only pianist Mulgrew Miller is a seeming newcomer, though he's no stranger to Sipiagin, having clocked significant road time with the trumpeter as a member of Dave Holland's Sextet. 

The pianist's instantly recognizable sound stemming from McCoy Tyner's modal innovation but with a lighter touch and broader harmonic sensibility cranks up the heat on Sipiagin's four originals, including two takes of the high-octane "One for Mike" that bookend the disc with sheer modal energy, pushing the entire group towards unrelenting power and thrilling interaction. Sipiagin's writing may be less complex and long-form this time around, but these are still tough charts that set up a variety of contexts over which the ample solo space provided by Sipiagin is exploited by the trumpeter and his bandmates. Of the three cover tunes, Wayne Shorter's balladic "Iris" is a memorable respite from the album's largely relentless energy. Still, there's a simmering heat, with Blake's solo in particular feeling barely contained; Miller's a capella intro is a remarkable feat of contrapuntal beauty and rich harmonic ideation, while Sipiagin's unerring melodicism scores some of the album's most striking moments. Mirages may seem to be something of a detour for Sipiagin, but in truth it fits seamlessly into the trumpeter's discography. The emphasis may be on playing rather than writing this time around but it's still earmarked with Sipiagin's characteristically appealing melodicism. And with a group this hot, it stands out as one of the trumpeter's most passionate records to date. ~ John Kelman https://www.allaboutjazz.com/mirages-alex-sipiagin-criss-cross-review-by-john-kelman.php

Personnel: Alex Sipiagin: trumpet, flugelhorn; Seamus Blake: tenor saxophone; Mulgrew Miller: piano; Boriz Kozlov: bass; Johnathan Blake: drums.

Mirages

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Bob Mintzer Big Band - Latin From Manhattan

Styles: Saxophone Jazz, Big Band
Year: 1998
File: MP3@320K/s
Time: 60:15
Size: 141,5 MB
Art: Front

(4:50)  1. Oye Como Va
(6:04)  2. Al Caborojeno
(6:26)  3. Acha
(6:15)  4. Ellis Island
(6:02)  5. Carla
(7:35)  6. New Rochelle
(5:52)  7. Chant
(6:36)  8. San Juan Shuffle
(5:50)  9. New Mambo
(4:39) 10. Mambone

For this recording by Bob Mintzer's big band, the tenor saxophonist and his 17-piece ensemble perform ten numbers with an Afro-Cuban beat provided by percussionist Louis Bauzo. Although Mintzer's group does not really have its own distinctive musical personality, it is full of talented players. Best-known among the sidemen are tenor saxophonist Bob Malach, altoist Pete Yellin, trumpeter Mike Mossman, trombonist Dave Taylor and pianist Phil Markowitz. Mintzer and Markowitz have the best spots and although Mossman unfortunately does not get any solos, many of the lesser-known horn players are heard from. Other than "Oye Como Va" (which is given a fresh new arrangement) most of the pieces were newly-written. Overall this Afro-Cuban flavored effort serves as a strong change of pace for Mintzer's orchestra. ~ Scott Yanow https://www.allmusic.com/album/latin-from-manhattan-mw0000035907

Bob Mintzer Big Band: Bob Mintzer, Bob Malach, Lawrence Feldman, Pete Yellin, Roger Rosenberg (saxophone); Bob Milikan, Larry Lunetta, Scott Wendholt, Mike Mossman (trumpet); Larry Farrell, Keith O'Quinn, Sam Burtis, Dave Taylor (trombone); Phil Markowitz (piano); Jay Anderson (bass); John Riley (drums); Louis Bauzo (percussion).

Latin From Manhattan

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Gary Peacock & Marilyn Crispell - Azure

Styles: Piano Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 59:11
Size: 135,8 MB
Art: Front

(7:16)  1. Patterns
(6:18)  2. Goodbye
(5:47)  3. Leapfrog
(3:08)  4. Bass Solo
(9:23)  5. Waltz After David M
(6:38)  6. Lullaby
(2:44)  7. The Lea
(5:42)  8. Blue
(2:27)  9. Piano Solo
(3:40) 10. Puppets
(6:03) 11. Azure

Who leads a project is often nothing more than a matter of optics. Bassist Gary Peacock's name may come first on the cover of Azure, but there's no doubt that this is a collaborative affair, with pianist Marilyn Crispell an equal participant; the two even co-produced the recording, with label head Manfred Eicher nowhere to be found. Peacock and Crispell have worked as a duo for years, in addition to delivering two sublime trio recordings for the label with the sadly departed Paul Motian: the pianist's ECM debut, 1997's Nothing Ever Was, Anyway, and the even more impressive Amaryllis (2002). Still, even those recordings were shared affairs, with compositional contributions from all three on Amaryllis (Nothing Ever Was paid tribute to the music of pianist/singer Annette Peacock). Azure, however, represents the first time the work of this longstanding duo has been documented. Some have suggested that Crispell's more aggressive pre-ECM stance is evidence of artistic constraint by the label, but Azure proves nothing could be further from the truth. Peacock's discography as a leader/co-leader for the label including his landmark Voices from the Past Paradigm (1982) and duo date with guitarist Ralph Towner, A Closer View (1998) demonstrates his love of space, decay and melody. It also suggests a penchant for unfettered freedom, which nevertheless eschews aggression, instead occupying a sparer place where silence is an equal partner. That is no surprise, really, given Peacock and Crispell's shared connection in Buddhism and meditation. 

Crispell's ECM output has, indeed, been similarly predisposed towards the quieter end of the spectrum, but on recordings like One Dark Night I Left My Silent House, her completely improvised 2010 duo recording with clarinetist David Rothenberg, the pianist made clear that oblique strategies remain an essential part of her vernacular. As they do for Peacock. He may spend some of his time mining the Great American Songbook with Keith Jarrett and Jack DeJohnette recently on Somewhere (ECM, 2013) but at the end of the day it's all part of the same continuum; it's all just music. Here, the duo opens with Crispell's aptly named "Patterns," its series of knotty thematic constructs played with temporal flexibility by the pianist (in impressive unison, with both hands), acting as a foundation for some jerky interactions with Peacock, but four songs later her "Waltz After Dave M" explores melody in a most personal way; more clearly structured, it shows Crispell and Peacock at their most eminently lyrical and unashamedly beautiful. Peacock's tone is warmer than usual, and on his abstract "Puppets," he delivers a rare arco solo, reaching for the outer edges and pushing through them to a more rarefied space; still, as esoteric as his playing might seem, there's always an inner logic and unerring focus. Peacock returns to pizzicato on the closing title track, one of three completely free improvisations. Paradoxical in its combination of hovering stasis and forward motion, it feels both as structured and thoroughly open as all of Azure's eleven tracks. A long time coming, Azure demonstrates, with pristine clarity and utter transparency, a unique partnership now finally unveiled for a larger audience on the year's most superb and revealing duo recording. ~ John Kelman https://www.allaboutjazz.com/azure-gary-peacock-ecm-records-review-by-john-kelman.php

Personnel: Marilyn Crispell: piano; Gary Peacock: double bass.

Azure

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Monty Alexander - Fridaynight

Styles: Piano Jazz
Year: 1985
File: MP3@320K/s
Time: 49:57
Size: 116,2 MB
Art: Front

( 8:01)  1. Catwalk
( 9:50)  2. Never Let Me Go
( 8:28)  3. Renewal
(12:04)  4. Since My Baby Left Me
( 6:41)  5. River
( 4:51)  6. Milestones

Jamaican-born pianist Monty Alexander is a sophisticated, prolific performer with an urbane, swinging style informed by the bop tradition, as well as the reggae and Caribbean folk he grew up with. Born in Kingston, Jamaica in 1944, Alexander first started playing piano around age four and took classical lessons from age six. By his teens, however, he had discovered jazz and was already performing in nightclubs. Although his early career found him covering pop and rock hits of the day, it was his love of jazz-oriented artists like Oscar Peterson, Duke Ellington, Frank Sinatra, and Nat King Cole that brought him the most inspiration. In 1961, he moved with his family to Miami, Florida to better pursue his musical ambitions. It was there that Alexander met restaurateur and Frank Sinatra associate Jilly Rizzo, who eventually hired him as the house pianist at his New York nightclub, Jilly's. For the next several years, Alexander lived in New York and worked at Jilly's, where had the opportunity to befriend and perform with a bevy of stars including Sinatra, Ray Brown, Milt Jackson, and others. Buoyed by this success, in 1964 he traveled to Los Angeles, where he recorded several well-received albums for the Pacific Jazz label, including Alexander the Great and Spunky. A handful of additional efforts followed, including 1967's Zing! on RCA and 1969's This Is Monty Alexander on Verve. In 1969 he also appeared on vibraphonist Milt Jackson's That's the Way It Is. In the 1970s, Alexander built a long-lasting relationship with Germany's MPS (Musik Produktion Schwarzwald) label and released a steady stream of albums, including 1971's Here Comes the Sun, 1974's Perception!, and 1977's Cobilimbo with longtime friend and collaborator Ernest Ranglin. These albums found Alexander pushing his sound in new directions and often combining jazz with elements of the Caribbean musical traditions of his youth. During this period he formed working relationships with bassist John Clayton and drummer Jeff Hamilton. 

As a trio, they debuted to much acclaim on 1976's Live! Montreux Alexander, and would continue to work together in various configurations over the next several decades. The pianist also continued to record with Milt Jackson, and made appearances on albums by Quincy Jones, Dizzy Gillespie, Phyllis Hyman, and others. The '80s were also a fruitful period for Alexander, who continued to combine his love of straight-ahead jazz and Caribbean music with the release of such albums as 1983's The Duke Ellington Songbook, 1985's The River, and 1986's Li'l Darlin'. He also reunited with Clayton and Hamilton on 1983's Reunion in Europe and paired with bassist Ray Brown for several dates, including 1985's Full Steam Ahead and 1987's The Red Hot Ray Brown Trio. More albums followed, including 1994's Live at Maybeck and 1995's reggae-inflected Yard Movement. He rounded out the decade with 1997's Frank Sinatra-inspired Echoes of Jilly's and 1999's Stir It Up: The Music of Bob Marley. n 2000, Alexander's artistic achievements were recognized by the Jamaican government with his designation as a worldwide music ambassador and as Commander in the Order of Distinction for outstanding services to Jamaica. That same year, he collaborated with reggae giants Sly Dunbar and Robbie Shakespeare on Monty Meets Sly & Robbie, followed in 2001 by Caribbean Duet with pianist Michel Sardaby. He then paired again with Ray Brown and guitarist Herb Ellis for 2002's Triple Scoop and 2003's Straight Ahead. Two tribute sessions followed with 2008's The Good Life: Monty Alexander Plays the Songs of Tony Bennett and 2009's Calypso Blues: The Songs of Nat King Cole. Alexander then highlighted his fusion of reggae, ska, R&B, and jazz on 2011's Harlem-Kingston Express and 2014's Harlem-Kingston Express, Vol. 2: River Rolls On, both recorded at Dizzy's Club Coca-Cola at Lincoln Center. ~ Matt Collar https://www.allmusic.com/artist/monty-alexander-mn0000589256/biography

Personnel:  Piano – Monty Alexander;  Bass – Reggie Johnson;  Drums – Ed Thigpen

Fridaynight

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Solveig Slettahjell - Live At Victoria

Styles: Vocal And Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 47:03
Size: 108,1 MB
Art: Front

(3:23)  1. 12th Of Never
(5:18)  2. How Long Has This Been Going On
(3:25)  3. Visit
(5:29)  4. Be Steady
(5:57)  5. Take It With Me
(3:01)  6. Outlet
(5:33)  7. Is My Living In Vain
(6:37)  8. Come Healing
(4:48)  9. I Don t Feel No Ways Tired
(3:28) 10. A Day

A singer, alone, at a piano is not an unusual sight. But when that singer is Solveig Slettahjell, the rarity of the moment becomes vivid, and the expectation of what this moment could deliver is amplified. And, on a September night in 2017, at Nasjonal Jazzscene in Victoria, Oslo, Solveig gave such a performance. "Magical moments guaranteed" ran the tagline, and for once it was not advertising hyperbole. Guests joined for some songs: Pål Hausken provided percussive accompaniment on some tracks, while the choir Safari appeared to provide a whole new ambience to proceedings. However, their sparing use adds colour and drama at just the right moments, never resorting to mere chorus build-up and repetition. Featuring a set made of standards, original material, and settings of poems by Emily Dickinson, Solveig's performance is a masterful blend of emotional honesty and technical brilliance. Her delivery of classics by the likes of Gershwin, or more recent creations by Tom Waits and Leonard Cohen is bold and forthright, and her interpretations retain the spirits of the originals while marking them clearly with her own stylistic thumbprint. Her Emily Dickinson interpretations are much more than mere exercises they are charged with the energy of the original poetry, and often viewed through unexpected lenses, such as on "Visit" (where Solveig leaves the piano and is accompanied by Pål Hausken) which becomes a blues-washed chaingang song; "Outlet" again takes a view of the lyrics through a blues filter; and "A Day" presents an arrangement that Tom Waits at his Asylum Years best would be proud of.  This Solveig's second release through Jazzland Recordings, the previous being "Tarpan Seasons" (2009), a studio album that introduced a number of the tracks in this live recordings, perhaps most notably her interpretations of Emily Dickinson "A Day" and "Visit".

Personnel:  Solveig Slettahjell: Vocals, Piano;  Pål Hausken: Drums, Vocals; Safari (Eirik Kaasa, Åshild Kristin Stensrud Kaasa, Martha Sofie Eide, Malin Byberg, Åshild Sandvik, Nora Nesbakken, Tone Ravndal, Christoffer Holten Gidske and Johan Helland): choir;  Daniel Mikael Wold: live sound and recording.

Live At Victoria

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