The Squid's Ear
Recently @ Squidco:

Icepick (Nate Wooley / Ingebrigt Haker-Flaten / Chris Corsano):
Hellraiser [VINYL] (Astral Spirits)

The 3rd album from the improvising trio of Nate Wooley on trumpet, Ingebrigt Haker Flaten on bass, and Chris Corsano on drums is a live recording at the 2018 Experimental Sound Studio's Option Series, a smoldering session of collective improvisation that builds tension through impressive rhythmic texture and releases it in cathartic and passionate passages. ... Click to View


Das Rad (Archer / Robinson / Dinsdale):
Adios Al Futuro (Discus)

The 2nd release from the UK instrumental rock band Das Rad of Nick Robinson on guitars, keyboards & electronics, Martin Archer on woodwind, keyboards, synth bass & electronics, and Steve Dinsdale on drums, keyboards & electronics, expand their sound and referenes as they tug on the heartstrings of prog, krautrock and other advanced rock forms with modern and mellotron fueled orchestration. ... Click to View


Kaze (Fujii / Tamura / Pruvost / Orins) w/ Ikue Mori:
Sand Storm (Libra/ Circum-Disc)

The cooperative quartet Kaze of Satoko Fujii on piano, Peter Orins on drums, Christian Pruvost on trumpet, Natsuki Tamura on trumpet, joins with elextroacoustic improviser Ikue Mori for seven exploratory pieces recorded in the studio after a one-week tour in Austria, France, and Russia, their enthusiasm for their extraordinarily unique group sound clearly evident. ... Click to View


Gato Libre (Tamura / Fjuii / Kaneko):
Koneko (Libra)

The 8th album from Gato Libre with compositions from trumpeter Natsuki Tamura in a trio with Yasuko Kaneko on trombone and typically pianist Satoko Fujii on accordion, Koneko translating to kitten, as Tamura explores 8 new cats from strays to shop cats through deceptively simple pieces of melodic appeal of warm color, tone & texture; absolutely charming. ... Click to View


Phil Wachsmann :
Writing In Water (Corbett vs. Dempsey)

UK-based violinist Phillip Wachsmann, an essential player bringing contemporary approaches of indeterminacy, conceptualism and electroacoustics to the early community of improvisers and experimentalists, in a reissue of his 1984 Bead Records album, presenting his astute and sophisticated live solo performance for violin and electronics at the Actual Festival in July 1984, London. ... Click to View


Francesco Gregoretti :
Solid Layers, Deafening Shapes (Toxo Records)

A solo percussion album from Francesco Gregoretti, employing tradition instruments and unusual object to create unique audio environment that use predictable rhythmic elements against capricious approaches, giving his playing a personal style fueled by resonance and natural feedback; an album that balances chaotic and structured environments in riveting ways. ... Click to View


Musicworks:
#137 Fall 2020 [MAGAZINE + CD] (Musicworks)

Fall 2020 issue of Canada's finest new music magazine, focusing on guitars--hollow, heavy, bowed, cracked, pedalled, flung; trusty companions; feedback demons; Plus articles on Casey Koyczan, Susan Alcorn, Amy Brandon, Aidan Baker, Eliza Kavtion, C. Diab, Markus Lake, Catherine Debard, Cloud Chamber, &c; and an 11-track CD with music from the aforementioned. ... Click to View


Milford Graves / Don Pullen:
The Complete Yale Concert, 1966 (Corbett vs. Dempsey)

Originally issued in two volumes on their own SRP Records in 1966 & 67 as In Concert At Yale University and Nommo, the duo of drummer/percussionist Milford Graves and pianist Don Pullen are heard live in in this excitingly energetic and revelatory concert at Yale University, redefining the roles of their instruments during the most exploratory period of free jazz. ... Click to View


Schlippenbach Quartet:
Three Nails Left (Corbett vs. Dempsey)

Remastered and with the original cover, the expanded Schlippenbach Trio of pianist Alexander Von Schlippenbach, saxophonist Evan Parker on soprano & tenor, and drummer percussionist Paul Lovens, with German double bassist Peter Kowalds, a stellar group captured in two incredibly inventive concerts at Third New Jazz Festival Moers and at Quartier Latin in 1974 & 1975. ... Click to View


Peter Kowald Quintet:
Peter Kowald Quintet (Corbett vs. Dempsey)

First ever CD reissue of the only band under bassist Peter Kowald's own name, remastered; originally released by FMP in 1972, this is exemplary European Free Jazz from one of the orignal innovators in a quartet with Peter Kowald on tuba, bass, & alphorn, Gunter Christmann and Paul Rutherford on trombones, Peter van der Locht on alto saxophone, and Paul Lovens on drums. ... Click to View


Evan Parker / Agusti Fernandez:
Tempranillo (Fundacja Sluchaj!)

Reissuing this astonishing 1995 studio recording, capturing the first encounter between two legendary free jazz performers--UK saxophonist Evan Parker on tenor and soprano saxophones and pianist Augustí Fernández--in an 8-part dialog of mercurial speed balanced with moments of passionate introspection, resissued with new mastering restoring this essential meeting. ... Click to View


Ivo Perelman / Arcado String Trio:
Deep Resonance (Fundacja Sluchaj!)

Saxophonist Ivo Perelman declares that he "metamorphosed into a string instrument" himself while playing with the dynamic string trio drawn of NY Downtown luminaries--cellist Hank Roberts, violinist Mark Feldman and bassist Mark Dresser--blending technical mastery with profound creative impulse as the quartet weaves a tapestry of free jazz and instant composition. ... Click to View


Chris Dingman (May Han Oh / Tim Kelper):
Embrace (Inner Arts Initiative)

Finding rich warmth in NY vibraphonist Chris Dingman's melodic and optimistic compositions, several inspired by Dingman's interest in West African music traditions, performed in a trio with bassist Linda May Han Oh (Pat Metheney) and drummer Tim Keiper (Cyro Baptista, David Byrne); an inspiringly lyrical album with exceptional soloing and improvisation interplay. ... Click to View


Chris Dingman :
The Peace Project [5-CD BOX] (Inner Arts Initiative)

Vibraphonist Chris Dingman set up his vibraphones next to the bedroom where his father was under hospice care from a rare heart ailment, setting an atmosphere of calm and compassion to help soothe, heal, and carry him through his final challenges, released here as a 5-CD set of 5 hours of ethereal sounds through poignant melodies, swirling textures, and undulating pedal tones. ... Click to View


Plan Kruutntoone / Reinier van Houdt :
Pas Maar Op, Want Deze Tas Is Van Zorro (En Zorro Houdt Van Mij) (esc.rec.)

Plan Kruutntoone joins forces with avant-garde realm: Reinier van Houdt for a conceptual narrative blurring improvised music, compositional and rock forms with a narrative based around Zorro and Rosa, geography (and Spielberg) and Brodski, or in their terms: composed and deranged music and lyrics (and other words) on guitars, basses, drums and a piano. ... Click to View


Plan Kruutntoone / Reinier van Houdt :
Pas Maar Op, Want Deze Tas Is Van Zorro (En Zorro Houdt Van Mij)[VINYL] (esc.rec.)

Plan Kruutntoone joins forces with avant-garde realm: Reinier van Houdt for a conceptual narrative blurring improvised music, compositional and rock forms with a narrative based around Zorro and Rosa, geography (and Spielberg) and Brodski, or in their terms: composed and deranged music and lyrics (and other words) on guitars, basses, drums and a piano. ... Click to View


No Base Trio:
No Base Trio (Setola Di Maiale)

The trio of alto saxophonist Jonathan Suazo, guitarist Gabriel Vicens, and drummer Leonardo Osuna, formed in 2010 in San Juan, Puerto Rico, emerging from a standards-based band influenced by jazz, rock, electronic and ambient music to a fully free improv group, focusing on creative improvisation that balances lyrical moments with raw sound & energetic momentum. ... Click to View


Kidd Jordan / Joel Futterman / Alvin Fielder Trio:
Live At The Tampere Jazz Happening 2000 (CLM)

A superb live album recorded at the 2000 Tampere Jazz Happening, Pakkahuone, Finland, and the 4th release from the trio of Kidd Jordan on tenor sax, Joel Futterman on piano, soprano sax indian wooden flute, and Alvin Fielder on drums & percussion; improvisation performed like old friends, the album divided into six tracks plus an encore but performed as one long piece. ... Click to View


Tony Oxley:
February Papers (Discus)

Reissuing percussionist and electronic innovator Tony Oxley's 1977 Incus album, collecting works from Oxley's evolving approaches, including a quartet with bassist Barry Guy and violinists David Bourne & Philipp Wachsmann; a trio with Barry Guy and Ian Brighton on electric guitar; and solo pieces including a piece for Evan Parker emulating his sound through electronics. ... Click to View


Morton Feldman:
Triadic Memories [2 CDs] (ezz-thetics by Hat Hut Records Ltd)

The second of four connected solo piano works by Morton Feldman, Triadic Memories is about that reality, the acoustic space created by the piano's strings and soundboard, as Feldman attempted to expand the temporal frame of his music, heard here in Judith Wegmann's 2019 recording, where thThe second of four connected solo piano works by Morton Feldman, Triadic Memories is about the acoustic space created by the piano's strings and soundboard, as Feldman worked to expand the temporal frame of his music, heard her in Judith Wegmann's 2019 studio recording where that space is revealed by a magnificent Bosendorfer 280VC piano.at space is revealed by a magnificent Bosendorfer 280VC piano. ... Click to View


Marco Von Orelli :
The Unasked Answer (ezz-thetics by Hat Hut Records Ltd)

A remarkable album of solo trumpet improvisation of incredible and creative technique, performed on trumpet, cornet, piccolo trumpet and slide trumpet, from Swiss trumpeter Marco von Orelli, the album title referencing a work by Charles Ives for offstage string ensemble, woodwind quartet and, most significantly for this album, solo trumpet. ... Click to View


Zeena Parkins / Jeff Kolar:
Scale (Two Rooms Records)

Commissioned by choreographer Jennifer Monson, the collaboration of Downtown NY electric harpist and sound artist Zeena Parkins and Chicago sound artist Jeff Kolar explore the intersection of acoustic phenonema against electronic, synthetic & radio sounds, inspired by the timing of natural phenomena like ocean currents and daylight emergence; fascinating. ... Click to View


Zeena Parkins / Jeff Kolar:
Scale [VINYL] (Two Rooms Records)

Commissioned by choreographer Jennifer Monson, the collaboration of Downtown NY electric harpist and sound artist Zeena Parkins and Chicago sound artist Jeff Kolar explore the intersection of acoustic phenonema against electronic, synthetic & radio sounds, inspired by the timing of natural phenomena like ocean currents and daylight emergence; fascinating. ... Click to View


Alvin Lucier:
Works for the Ever Present Orchestra [2 CDs] (Black Truffle)

Pieces written for the Ever Present Orchestra, a 13-piece ensemble formed in 2016 exclusively to perform composer Alvin Lucier's works, with a core of 4 guitarists, 3 saxophones, 4 violins and piano, here presenting Lucier's continuing exploration of the behaviour of sound in physical space, blending electronic and acoustic sources with subtle tension and mystery. ... Click to View


Alvin Lucier:
Works for the Ever Present Orchestra [VINYL 2 LPs] (Black Truffle)

Pieces written for the Ever Present Orchestra, a 13-piece ensemble formed in 2016 exclusively to perform composer Alvin Lucier's works, with a core of 4 guitarists, 3 saxophones, 4 violins and piano, here presenting Lucier's continuing exploration of the behaviour of sound in physical space, blending electronic and acoustic sources with subtle tension and mystery. ... Click to View


Cyanobacteria:
From The Arabian Gulf [CASSETTE] (Toxo Records)

Francesco Gregoretti of the bands Strongly Imploded, Grizzly Imploded and Oddly Imploded (Shhpuma) joins forces with double bassist Renato Grieco (Carl Ludwig Hubsch) to create an unusual set of improvisations on the lower end, using drums and double bass, and described as "a primordial and grotesque sound; a clumsy symbiont of feedback, strings and skins"; intriguing. ... Click to View


Dreyblatt Arnold:
Star Trap [VINYL] (Black Truffle)

Previously unreleased 1990's recordings from Arnold Dreyblatt and his Orchestra of Excited Strings, including six pieces performed by three different iterations of the Orchestra; ensembles of modified percussion, string, and wind instruments; pieces using Dreyblatt's Dynamic Processing System; plus 2 pieces composed for the 10th anniversary of the Orchestra in Europe. ... Click to View


Masayuki Takayanagi New Direction Unit:
Axis/Another Revolvable Thing [2 CDs] (Blank Forms)

Reissuing the 1975 album of Japanese guitarist Masayuki Takayanagi's New Direction Unit with Kenji Mori on reeds, Nobuyoshi Ino on bass & cello, and Hiroshi Yamazaki on percussion, in a 2-CD set of the band's open-minded free-flowing and conceptual improvisation series "Fragments", captured live at Yasuda Seimei Hall in Tokyo, Japan and presented in performance order. ... Click to View


Okuden Quartet (Mat Walerian / Matthew Shipp / William Parker / Hamid Drake):
Every Dog Has Its Day But It Doesn't Matter Because Fat Cat Is Getting Fatter [2 CDs] (ESP-Disk)

Reed player Mat Walerian's 4th album as a leader, in a quartet with Matthew Shipp on piano, William Parker on double bass & shakuhachi, and Hamid Drake on drums, the name "Okuden" meaning "inner teachings, as Walerian's compositions vary from a fully free introspective opener to joyful jazz idiom, a perfect set for this versatile and enlightened set of musicians. ... Click to View


Triofolio (Chris Cundy / Paul K. Scott / Saul Scott):
Ordinary Evidence (FMR)

Performing a set of UK bass clarinetist Chris Cundy's compositions, along with one collective improvisation, TrioFolio is complemented with the father/son team of double bassist Paul K. Scott and drummer Saul Scott, exploring the borders between classic modern jazz and free forms of improvisation, all heard in the lower instrumental spectrum through rich lyrical jazz. ... Click to View



  •  •  •     Join Our Mailing List!



The Squid's Ear
Facebook: Squidco Sales

Heard In

Reviews of artist releases:
cd's, books, magazines, &c.


  Nate Wooley Quintet 
  (Dance to) The Early Music  
  (Clean Feed Records) 


  
   review by Phil Zampino
  2015-11-30
Nate Wooley Quintet: (Dance to) The Early Music (Clean Feed Records)

As a young(er) jazz listener in the 80s I was caught up in the excitement that met trumpeter Wynton Marsalis. After all, he was vetted by Art Blakey, whose music had driven me for years, and whose choice of sidemen brought some of the great 60s and 70s players forward. What went wrong with Wynton for many listeners, and for myself, is an interesting perspective of jazz history, a breaking point between tradition and creative freedom.

What diverted me from Wynton's music was the breadth of what was happening in improvised music at the time he emerged in the public eye. The mid-80s were a restive time, with musicians releasing explorative and conceptually fascinating albums. I followed artists like Woody Shaw, Chico Freeman, Alfred Harth, Steve Coleman, John Zorn, Dave Douglas, Jon Rose, Fred Frith; the list goes on and on, and I still listen to these players to this day. In comparison, I felt then that Marsalis wasn't a conceptual innovator, but more of an extremely technical player who also used the media to his advantage. His albums took on a tone of jazz homage, seemingly relegating it to the same realm that classical music exists in, while making declarative statements about jazz that didn't resonate with me personally. There seemed to be less future with Wynton, and at the time I didn't want to follow the safe path there's plenty of exciting music out there to listen to! So I put Marsalis' albums on the shelf for 3 decades to pursue those I felt were more innovative players.

Honestly, this was a very high school attitude acted out in a high brow way, and completely unnecessary. Wynton put out a number of fine albums in the 80s. I owned them and I played them over and over with enthusiasm. They sat next to my Miles and Blue Note albums, and for a while it was a musical high. A young(er) Nate Wooley also listened to those same albums, and was profoundly influenced by them I know this from his very clear liner notes, which are a model of honest concession about the complexities of pursuing modern music. For Wooley and me at that age it was about making his teen heart pound from the power of jazz music. Wooley states that this album is "simply, a person's attempt to look at his history and to remember what it feels like to be at home." He eschews any ironic interpretation of the album.

So I decided to write this review to do the same for myself. It's hard not to run a comparison between each song. Which is unfair, as few other artists would induce me to do the same, especially three decades after their albums were released. But then again, this album is an unexpected set of tunes that draws attention to itself because of Marsalis' influence on a player that few would think to compare him to: Wooley is a model of creative impulse, interested in acoustic, electronic, composed, conceptual and other outside forms. Marsalis continues to speak to the more stable traditions of jazz, producing solid but not innovative music.

So here are some comparisons. I write them because I am genuinely curious to compare the same songs I listened to 30-some years ago as interpreted by a cast of my current jazz heroes. And honestly, it seems like time to reinterpret my own feelings about Marsalis so many years later. Wooley covers tunes in the order that Marsalis released them, with numbers from the albums Wynton Marsalis, Black Codes (From the Underground) and J Mood.

The first thing that becomes clear is how much more, well, creative the arrangements, orchestration, and playing are. Everyone in Wooley's Quintet has been noted for imaginative and unusual approaches to their playing; expecting the unexpected is a hallmark of this class of player. So for "Hesitation" from the Wynton Marsalis album, Wooley puts an actual hesitation into the head of the tune, emphasizing the title. The orchestration is quite different, Josh Sinton's bass clarinet adding a textural dimension. Wooley's solos are a dream here, his smeary quick notes ripping apart the chord changes, while Harris Eisenstadt drops unexpected counterpoint to keep the listener guessing. No longer a clean jazz number, Wooley's Quintet adds depth and freedom to the soloing. Wooley actually presents two versions of this song, opening and closing the album with it. The first rendition ends with a fade and is shorter than the original; the closer offers a longer (10 minute) "Hesitation/Post-Hesitation" which gets to the solos much more quickly and allows for more interactive freedom from the players. The "Post-Hesitation" portion of the song (technically a Nate Wooley composition) slows the changes down into a dreamy haze, with Matt Moran's vibes chiming methodically as the band harmonizes over the chords.

"For Wee Folks" is a ballad from Black Codes (From the Underground), the original an accessible number with a hint of almost smooth jazz, particularly from Branford Marsalis' soprano sax. That's not a knock it's a lovely piece. Under Wooley's hands the work is almost unrecognizable; he slows the melody down to bring it out of focus and lets the soloists emerge in more mysterious ways. Eisenstadt's drumming and Opsvik's strong pulse add an intensity, especially in Matt Moran's vibe work. The performance is more succinct, shorter, with none of the cloying quality of the Marsalis' version.

"Blues" is the only original number on the album, written by Opsvik and Wooley, and played as a duo. Wooley gets a chance to shine here, showing impressive technique but also strong emotion. Opsvik's powerful sound anchors the work, moving around Wooley's playing. It's an oddity on the record, apparently inspired by Marsalis, but shows Wooley's profound technique in comparison to the album's inspiration.

"Delfeayo's Dilemma" was written by trumpeter Marsalis for his younger brother Delfeayo, a trombonist. It features a relatively complex head that breaks quickly for melodic and relatively safe solos. Wooley immediately changes the sound for this number, opening with a mute, bringing the trumpet forward in the mix, and then takes out the mute for a strong solo that takes as many sharp turns as Marsalis' takes the straight road. The band expands the reading by 3 minutes, allowing for longer and more thoughtful soloing. Again the orchestration provides more character, with Sinton standing out in timbre while adding a more aggressive character to the piece. The band comes back together at the end with a synchronized break, yielding to an Opsvik solo underpinned by Moran's vibes. The complexity of this reasonably straight number surprises by introducing many unexpected options. It is a great example of choices afforded the modern player, showing how heterogenous styles and ideas can inform and expand upon traditional concepts.

"Phryzzinian Man" is another Black Codes tune, very much in the Miles Davis hard bop mode (straight ahead working around a strong melody). Wooley's version couldn't be further from that tradition, opening the number with Josh Sinton soloing for more than 2 minutes, veritably wringing the neck of the instrument with intensity, then slowly introducing the melody as the band joins in. The original is almost unidentifiable, with only Opsvik carrying the tuneful portion of the song while the horns and vibes repeat figures. Wooley then smears his way to a solo that growls and burns, approaching the changes from unexpected angles. Opsvik ends the album bowing on the bass, a crying figure.

"Insane Asylum" from J Mood is a piece that by title promises a bit of, well, insanity. Marsalis' solo never quite reaches the high I expected, but it's a strong number propelled by an urgent rhythm; of the other pieces covered here it is the Marsalis composition perhaps closest to early 60s Miles Davis work. Wooley doesn't actually cover that tune, but creates a perspective of it titled "On Insane Asylum". Wooley's composition is a relatively brief and more assertive effort that affords a forum for him to solo over in a trio setting, with Eisenstadt and Opsvik providing strong and wonderfully capricious support.

"J Mood" takes Marsalis' straight ahead and lyrical number that was a showcase for both his trumpet work and for pianist Marcus Robert, and gives the song over to Harris Eisenstadt for an extended drum solo. The head is given dramatic pause, with breaks from Eisenstadt, allowing the brief melody a chance to flourish, and bookend Eisenstadt's solo. The resulting gesture is only about 10 seconds longer than the original, but demands that the listener pay attention to it through unusual phrasing and a less glib reading.

"Skain's Domain" is another strong Marsalis number from J Mood, traditional in nature but featuring good soloing, with a drum solo to open the piece as Kirkland introduces the chords that lead to Marsalis' playful melody. Wooley takes the opener himself with a tour-de-force of modern trumpet playing. If any number shows the difference in approach between Marsalis and Wooley this would be it, as Wooley spits, growls, smears and plays with the horn, employing modern technique and Wooley's unique approach. The melody gets a modern update, using the quintet in ways that would have been placed on a record from the India Navigation label in the 80s.

One wonders: 30 years ago, listeners thought Wynton's solos were extraordinary. What would we have thought of Wooley that same year? How can we measure the pace of jazz sophistication? 1985 contemporary players were using the tools that Wooley employs, but would they have taken on traditional numbers the same way? Would the results have anything to do with this informed album?

In the end I find myself enjoying the trip back to my own earlier listening habits. But more importantly, I'm placated that they led to the kind of players that could update something from my simpler past in cogent and sophisticated ways. I'm not sure when next I'll put on Marsalis' original records, but I'm sure to play Wooley's new one for many years to come.



Nate Wooley Quintet: (Dance to) The Early Music
Is On Sale at Squidco!
Squidco




Comments and Feedback:



The Squid's Ear presents
reviews about releases
sold at Squidco.com
written by
independent writers.

Squidco

Recent Selections @ Squidco:


Icepick
(Nate Wooley /
Ingebrigt Haker-Flaten /
Chris Corsano):
Hellraiser
[VINYL]
(Astral Spirits)



Das Rad
(Archer /
Robinson /
Dinsdale):
Adios Al Futuro
(Discus)



Kaze
(Fujii /
Tamura /
Pruvost /
Orins) w/
Ikue Mori:
Sand Storm
(Libra/ Circum-Disc)



Peter Kowald Quintet
(Corbett vs. Dempsey)



Kidd Jordan /
Joel Futterman /
Alvin Fielder Trio:
Live At
The Tampere
Jazz Happening 2000
(CLM)



Milford Graves /
Don Pullen:
The Complete
Yale Concert,
1966
(Corbett vs. Dempsey)



Schlippenbach Quartet:
Three Nails Left
(Corbett vs. Dempsey)



Chris Dingman
(May Han Oh /
Tim Kelper):
Embrace
(Inner Arts Initiative)



Plan Kruutntoone /
Reinier van Houdt:
Pas Maar Op
Want Deze Tas
Is Van Zorro
(En Zorro
Houdt Van Mij)
(esc.rec.)



Morton Feldman:
Triadic Memories
[2 CDs]
(ezz-thetics by
Hat Hut Records Ltd)



Tony Oxley:
February Papers
(Discus)



Zeitkratzer /
Mariam Wallentin:
The Shape of
Jazz to Come
(Zeitkratzer)



Michel Banabila:
All Connected
(StealthRec)



Phill Niblock:
G2,44+/X2
[CD + BOOK]
(Room40)



Hedvig Mollestad:
Ekhidna
[WHITE VINYL]
(Rune Grammofon)



Conny Bauer /
Matthias Bauer /
Dag Magnus Narvesen:
The Gift
[VINYL]
(NoBusiness)



Keune /
Lash /
Noble:
And Now
(FMR)



Charles Hayward:
Crossfade Estate
(Klanggalerie)



John Butcher /
Thomas Lehn /
Matthew Shipp:
The Clawed Stone
(RogueArt)



Tatsuya Nakatani:
Monochrome
(self-released)







Squidco
Click here to
advertise with
The Squid's Ear






The Squid's Ear pays its writers.
Interested in becoming a reviewer?




The Squid's Ear is the companion magazine to the online music shop Squidco !


  Copyright © Squidco. All rights reserved. Trademarks. (2445)