Eric Ewazen - "Bass Hits": Concert Pieces for Bass Trombone - Concertino for B.T. & Trombone Choir - Ballade for B.T., Harp and String Orchestra - Concerto for B.T. & Orchestra - Rhapsody for B.T. & String Orchestra - Capriccio - Alabany Records 2001

Those of you familiar with the music of Eric Ewazen, whether through my blog or as longstanding Ewazen fans-know how uniformly beautiful and lyrical his language is. This disc of works for Bass Trombones and Bass Trombone with string orchestra and full orchestra is no exception. It is one of best collections of his compositions imo. When I think of Trombone music, only Alan Hovhaness's

singing, often mystical applications offer me as much pleasure. I am typing out the booklet notes, as they are by the composer himself and he might just know his works better than me. Everything here is just gorgeous!! (Okay I do have an extra soft spot for the Rhapsody for Bass Trombone & Orchestra...)

Concertino for Bass Trombone and Trombone Choir

Having been a friend of David Taylor's since 1980 when he recorded my piece, Dagon II for 9 tracks of bass trombone, I have long known of his legendary playing in so many different musical styles—from classical to jazz to popular to experimental. With the Concertino, I wanted to write a work for him which captures many of his musical personalities. The piece was premiered by David Taylor with the University of Illinois Trombone Choir, conducted by Elliott Chasanov at the 1996 International Trombone Association festival at the University of Illinois. The one movement work alternates soulful chorales with hard-driving rhythmic passages. The trombone choir provides a buoyant intricate accompaniment for jazz influenced gestures and melodies in the soloist's line. At the culmination of the piece a virtuostic cadenza leads to a final rousing coda.

Ballade for Bass Trombone, Harp and String Orchestra

Ballade for Bass Trombone, Harp and String Orchestra began life as a work for clarinet. I made the arrangements for Charles Vernon, to whom the piece is dedicated in 1996. Charlie premiered the work at the 1996 ITA convention at the University of Illinois. I well knew of his reputation as one of the genuinely great orchestral and solo bass trombonists of our time. At that convention I had the pleasure of accompanying him on a program which included such diverse pieces as Mahler's Kindertotenlieder and the John Williams' Concerto. The Ballade showcases Charlie's wonderful ability to float long, lyric lines and to dazzle the listener with his energetic vitality and golden tone. In an ABABA form, these two polar extremes are highlighted. The piece seems to rise out of a mist…sing, dance and play… and quietly, peacefully disappear again into the mist.

Concerto for Bass Trombone and Orchestra

Stefan Sanders, whom I am proud to count as one of my music theory students at Juilliard, won the low brass competition held at the school in 1997, resulting in his premiere performance of my Concerto for Bass Trombone (or Tuba) and Orchestra. Stefan's commanding sonority and his heartfelt expression resulted in a premiere performance both riveting and soulful. This is a large 3 movement concerto—modeled after the concertos of the classical period. The first movement's introduction and coda is a lilting song framing an extremely playful sonata allegro form. Much of the movement is contrapuntal, allowing the bass trombone to combine and recombine with various soloists in the orchestra. The second movement is a genuine aria, a melancholy song without words. The final movement is frenetic and agitated, sometimes angry, sometimes heroic and even joyful…but always filled with momentum and drive.

Rhapsody for Bass Trombone and String Orchestra

John Rojak has been a friend for almost 25 years, since we were students together at Juilliard. As the extraordinary bass trombonist of the American Brass Quintet, he has performed on some of the most celebrated brass chamber music recordings of the 20th, now 21st centuries. Equally adept as a terrific soloist, John approached me about writing a piece for him in 1996. This resulted in the Rhapsody for Bass Trombone and String Orchestra which he premiered at the 1997 ITA Convention in Boulder, CO. All three movements of this work are in minor keys. Although pastorale, uplifting gestures and moments of sunlight appear, the net effect of this piece remains haunting, mysterious and dramatic. In the first movement, mournful, expressive bass trombone lines are supported by high shimmering string chords. The second movement is a melancholy waltz. The third movement contains thundering, agitated themes and gestures.

Capriccio for Bass Trombone and Trombone Choir

The finale of Bass Hits is a Capriccio for Bass Trombone and Trombone Choir. It was written for David Taylor as a companion piece to his Concertino which opens Bass Hits. The rapid, spinning compound meter calls to mind a wild, ecstatic tarantella. The bass trombone dances over the punctuated, aggressive trombone choir chords, creating a feeling of boundless energy and exhilaration.

-Eric Ewazen

Track listing:

1) "Concertino for Bass Trombone and Trombone Choir" [9:54]

David Taylor, Bass Trombone, Glen Cortese, Conductor. Trombone Choir: Joseph Alessi, Blair Bollinger, Glen Dodson, Otmar Gaiswinkler, Erik Hainzl, Dietmar Küblböck, Mark Lawrence, Hans Ströcker.

2) "Ballade for Bass Trombone, Harp and String Orchestra" [13:44]

"Concerto for Bass Trombone and Orchestra"

3) Andante con moto—Allegro Vivace [5:35]
4) Andante Espressivo [6:49]
5) Allegro Ritmico [7:02]

Charles Vernon, Bass Trombone, Jessica Zhou, Harp. International Sejong Soloists

"Rhapsody for Bass Trombone and String Orchestra"

6) Andante Misterioso [5:56]
7) Allegretto Cantabile [6:15] 
8) Allegro Molto [6:56]

Stefan Sanders, Bass Trombone, Paul Polivnick, Conductor Czech Philharmonic Chamber Orchestra

9) "Capriccio for Bass Trombone and Trombone Choir" [5:20]

John Rojak, Bass Trombone, Paul Polivnick, Conductor, Czech Philharmonic Chamber Orchestra

Enjoy!

Eric_Ewazen_Bass_Hits(Albany 2001)-Tzadik.zip

http://www75.zippyshare.com/v/wzeJZWNJ/file.html

Shadowcatcher - Eric Ewazen - Richard Danielpour - Kathryn Salfelder - Anthony Plog - University of Michigan Sym. Band - Western Winds - Western Brass Quintet - Robert Spradling, Dir. - Klavier 2013

Here's another disc from my circa 2013 "unopened discs pile". This particular pile is extremely structurally unsound; I have them in my clothing closet, where they are towering and nestled halfway up the legs of my pants...one wrong move-one poor decision-one chosen pair of dark jeans-and it's all over ;) This catastrophe happens all the time with many piles. So, I got this disc for the Ewazen and the Plog works in particular (I do have an earlier recording of the Ewazen) and have not heard the Danielpour or Salfelder (new name to me) yet. About to do so now. 

So, below I'm simply pasting what seems a good review from the Arkiv site:

As with many discs of concert band music, this one features an eclectic and intriguing mix of works in contrasting styles, three by well-established figures and one by a newcomer. Richard Danielpour himself hardly needs any introduction. His Icarus from 2009, written for the unusual combination of brass ensemble, two pianos, and percussion, takes its name from the ancient Greek legend of the boy who, with his father Daedalus, escaped imprisonment in the labyrinth of King Minos on Crete by means of wings made of bird feathers and wax, but fell to his death in the Aegean when he recklessly flew too close to the sun and his wings dissolved. The brief booklet notes state that although the myth provides “the background for this exciting work ... the music does not reflect a story line.” While the work is indeed exciting—almost incessantly violent in the syncopated fortissimo musical motives that constitute most of its content—and well constructed, it leaves me bemused as to any possible connection to the ancient story at all, either pictorially or metaphysically. It seems a far more fitting musical depiction of a scene of violent combat instead. However, taken purely as an abstract piece of music, it is quite engaging.

The centerpiece and eponymous work on this disc, Eric Ewazen’s Shadowcatcher from 1996 (the booklet mistakenly gives 1956 on the index page but gets the date right in the notes), for brass quintet and symphonic band, is an ambitious four-movement work of almost 35 minutes’ duration. “Shadow Catcher” is the name that Native Americans gave to the famed photographer and ethnologist Edward S. Curtis (1868–1952), who in the late 19th and early 20th centuries documented the lives of more than 80 tribes with over 40,000 photographs and over 10,000 wax cylinder recordings. Each movement is inspired by a particular photograph:

1) “Offering to the Sun” (Tewa, 1925)—Among the rock cliffs at the San Idelfonso Pueblo near Santa Fe, a tribal member offers prayerful supplication to the morning sunrise;

2) “Among the Aspens” (Chippewa, 1926)—A teepee stands within a grove of Aspen trees near a stream;

3) “The Vanishing Race” (Navaho, 1904)—A group of Indians on horseback, photographed in silhouette, slowly rides into the darkness, symbolizing an uncertain future;

4) “Dancing to Restore an Eclipsed Moon” (Kwakiutl, 1928)—This tribe of the Pacific Northwest coast believed that lunar eclipses occurred when a giant creature of the night sky swallowed the moon. However, the monster could be made to sneeze and disgorge the moon by the stench of a bonfire fueled with old clothes and hair. The photo captures a frenzied dance around such a bonfire.

Ewazen, a longtime professor of composition at Juilliard, is a gifted composer who writes music that remains thoroughly tonal and accessible to more general audiences without being condescending or slipping into banalities. Here, he employs a number of melodies and motives from Native American music, including the distinctive pentatonic scale patterns, and adroitly utilizes them to create larger movements of free-flowing variations without ever falling prey to the hoary clichés of film music for Hollywood westerns. While I quite enjoyed the work, the first couple times I listened through it I thought it a bit overlong for its contents, but with repeated hearings I become more and more convinced of its overall excellence. This is a major addition to the concert band repertoire.

Kathryn Salfelder, a young (b. 1987) and hence new compositional voice, is currently completing her doctorate at the New England Conservatory. Her Stylus Phantasticus was commissioned by the University Symphonic Band and premiered on February 17, 2013. The work’s title refers to a type of free-form composition found primarily in Baroque organ literature, and here Salfelder employs fragmented elements of Dieterich Buxtehude’s Toccata in D Minor, BuxWV155, for her thematic material in a Postmodernist musical pastiche. While Salfelder is clearly a talented composer, this piece strikes me as being considerably less than the sum of its parts, with a plethora of momentarily interesting effects never adding up to some more substantive unity.

Anthony Plog, a onetime member of trumpet sections in several orchestras in the USA and Sweden, has been a professor at the Staatliche Hochschule für Musik in Freiburg since 1993. Most of his compositions are for brass instruments, a genre to which he has made significant contributions. While his overall compositional style remains tonal, taking its point of departure from Stravinsky and Bartók, its vocabulary is considerably more dissonant than that of Ewazen. Like Ewazen’s Shadowcatcher , the Concerto 2010 is also scored for brass quintet and symphonic band. Its four movements, played without pause, virtually constitute a brief symphony, proportioned similarly to that of Prokofiev’s First but with the scherzo in second position. The first movement follows its stately slow introduction with an Allegro main section dominated by a skittering, agitated theme of rapidly running eighth and 16th notes, into which a jazz-like interlude momentarily intrudes, and then brings back the material of the slow introduction. The brief scherzo is dominated by rapid double-tonguing figures in the brass that take off from the theme of the preceding opening Allegro , backed by cascading woodwind runs and clattering marimba and woodblocks. A succeeding Adagio starts with a slow but flowing fugue tune, first stated on clarinets but gradually bringing in flutes and then brass. That is followed by a somewhat swifter, chattering second theme, closely related to the main theme of the Allegro section of the first movement, which at a quicker tempo them becomes the main motif of the Allegro finale, where marimba and woodblocks once again have a prominent supporting part. Overall I also greatly enjoyed this work, though the interludes of jazz in the first movement and of dissonant brass early in the finale strike me as ad hoc insertions lacking organic relations to any other facets of the work.

There are at least three other recordings of Shadowcatcher , and one apiece of Icarus and Concerto 2010 , whereas Stylus Phantasticus receives its debut recording here. I was unable to sample all of the alternatives, but compared to those I did hear I would say that the present disc equals or exceeds them for technical excellence and/or recorded sound. The Western Brass Quintet consists of faculty members of Western Michigan University; the Western Winds comprise that quintet along with a few other faculty members and a number of university students. Both of them and the larger University Symphonic Band are crackerjack ensembles that toss off even the most difficult passages with carefree insouciance, and they are showcased in ideally balanced recorded sound. The concert band repertoire continues to expand its footprint exponentially in the commercial recordings market, and this CD is a particularly fine entry; warmly recommended.

Enjoy!

Shadowcatcher_Ewazen_Plog_Etc._Tzadik.zip

http://www40.zippyshare.com/v/gn3wOAYi/file.html

Eric Ewazen - "Sejong Plays Ewazen" - Concerto for Violin & String Orchestra - Down A River Of Time, Concerto for Oboe and String Orchestra - Sinfonia for Strings - Int'l Sejong Soloists, Hyo Kang

I have already posted two discs of Eric Ewazen's music for Brass, so now let us explore his gorgeous and lush orchestral music; all three works on this disc are of great beauty, entirely accessible, and a feast for anyone who likes their "contemporary" music served up free from dissonance, full of fresh ideas and unabashedly tonal. Ewazen's music can often be described as conservative in the very best sense; much of his orchestral output could have very well been written 60 plus years ago (one can be reminded of the lyricism found in certain Vaughan Williams, in fact VW's Oboe Concerto would be almost too obvious a choice to program or record alongside Ewazen's own "Down A River Of Time" for Oboe and Strings...an overload of heavenly noise perhaps! And the third movement of the "Sinfonia for Strings" would instantly set the toes of Holst, Bridge or Warlock tapping I would imagine..) but that hardly matters as Ewazen always has a lot to say. Indeed, the moment the Violin Concerto begins (and intoxicates) one might find that the territory is a familiar one; but it's also new, full of bracing energy and radiance. It's music clearly full of heart...which in turn, ensures it's timelessness..

Here are the booklet notes by Eric Ewazen:

As a member of the faculty of The Juilliard School for over 25 years, I was delighted to find out that so many of my former students from my Literature and Materials of Music classes play in the world-class International Sejong Soloists. I have found them to be a group of amazing musicians. Their artistic director, Hyo Kang, one of the truly inspired violinists and violin teachers of our time is also a great friend. It has been a joy working with this extraordinary ensemble in the creation of this CD.

Concerto for Violin and String Orchestra

Concerto for Violin and String Orchestra was commissioned by the St. Lukes Chamber Ensemble of New York City and premiered by them with soloist Krista Feeney in May, 2000 during my tenure as their composer-in-residence. It is a large-scaled three-movement work exploring the incredible range of expressive possibilities and colors inherent in the violin. The first movement has a crackling energy, with dynamic, sweeping gestures in both the solo part and the accompanying string orchestra. Dramatic, rhapsodic motives are tossed back and forth and agitated accents permeate the movement. The energy creates a non-stop momentum through to the final chords, although there are moments of playfulness which contrast the more aggressive main themes. The second movement is a plaintive adagio, with the solo violin singing a somber, lyrical line. Contemplative and melancholy, this melody becomes the basis for a variation form in which it becomes ever more embellished and dramatic. A climactic middle section and quasi-cadenza lead to a final whispered statement of the opening theme. The final movement has a joyful energy. Contrasting the first two movements with their predominantly minor modes, the last movement is primarily sunny and bright with major modes and themes which skip and dance. I am delighted with Adele Anthony's bouyant interpretation of the concerto and grateful to her for introducing it to you.

Down a River of Time

Down a River of Time, a concerto for oboe and string orchestra, was a work which percolated for several years before being composed and premiered by the wonderful oboist and my dear friend, Linda Strommen with the American Sinfonietta, conducted by Michael Palmer at the Bellingham Summer Music Festival in Washington State in August, 1999. It was written at the suggestion of Linda, who commissioned the piece as a memorial tribute to her father. Having also recently lost my father, this piece became a very personal meditation on life and death. On Christmas Day, 1997, the day my father died in Cleveland, a beautiful essay coincidentally appeared in the Cleveland Plain Dealer by Richard Feagler in which he told poignant, funny and heartfelt stories of his relatives and parents — long since gone. Near the end of this essay, titled “Christmas Past Comes Alive at Aunt Ida's,” he describes these beloved souls “Moving, though they can't feel the current, down a river of time.” This became the title of the Concerto, a work which contemplates this inexorable rushing river. The first movement portrays that river of time with its ebbs and flows, hopes and dreams. The second movement portrays emotions felt during times of loss — powerful feelings running the gamut from sorrow to resignation to tenderness and peace at the remembrance of happier distant times. In the final movement, those happier memories flood the music, as feelings of strength and determination supercede all else, and the work comes to its virtuosic conclusion with a joyful intensity.

Sinfonia for Strings

Sinfonia for Strings is a rich and resonant celebration of the world of string orchestra sonorities. Capable of both great virtuosity and smooth-as-glass legato lyricism, the string orchestra provides the composer with a world of colors and varied musical emotions. The first movement is gutsy and rhythmic, with exciting moments of driving energy, syncopation and sonorous, ringing chords. The second movement, built on a melody which is soft and delicate, builds to a heroic climax, returning to the gentle and understated main theme at the end. The final movement opens with rousing and playful themes which pave the way for a joyful fugue, and a heroic finale.

Eric Ewazen

Track listing:

1. Concerto for violin & string orchestra: Allegro con brio
2. Concerto for violin & string orchestra: Andante Sostenuto
3. Concerto for violin & string orchestra: Allegro Molto
4. Down a River of Time, concerto for oboe & string orchestra: ...past hopes and dreams
5. Down a River of Time, concerto for oboe & string orchestra: ...and sorrows
6. Down a River of Time, concerto for oboe & string orchestra: ...and memories of tomorrow
7. Sinfonia for strings: Allegro Maestoso
8. Sinfonia for strings: Andante teneremente
9. Sinfonia for strings: Allegro molto

Enjoy!

Sejong_Plays_Ewazen_Concertos_&_Sinfonia_Tzadik.zip

http://www12.zippyshare.com/v/t3BmLfuB/file.html

Eric Ewazen - Chamber Music of Eric Ewazen - American Brass Quintet - St. Luke's Chamber Ensemble - Well Tempered Productions 1995 -

Here's a second disc dedicated to Ewazen's wonderful music for brass (and piano in a couple works, one of which also includes baritone William Sharp) from Well Tempered Productions. The whole disc is extremely fine however my favorite works here are "Frost Fire" for Brass Quintet (1990) and the "Quintet for Trumpet and Strings" (1990 also).

"Frost Fire" is dedicated to the ABQ in honor of their 30th Anniversary and was also commissioned by them. The work, based on traditional musical forms and models, is in three movements. The first, marked 'Bright and Fast' is a joyous celebration of sonorous chords, playful motives and rhythmic gestures.  It is in a strict sonata-allegro form. The second movement, marked 'Gentle and Mysterious' has a waltz-like feel to it. In a ternary (A-B-A) form, the outer sections consist of ribbons of melodies being gently passed from instrument to instrument. The middle section is a stately fugue which builds in intensity, volume and and rich-sounding resonance. The last movement, 'Tense and Dramatic' brings back material from the first movement, but sets it in a much more turbulent and frenetic environment. Although this movement is based on the skeletal outlines of a sonata-allegro form, it is much freer and more erratic, with shifting meters and contrasting, interpolated passages, ultimately leading the way to heroic and dynamic conclusion. 

"...to cast a shadow again" (1991) was commissioned by the St. Luke's Chamber Ensemble and premiered by the performers on this recording in 1992. The poetry is by Katherine Gekker (I do not have a pdf, I can write it out manually if anyone is really interested) in which the excitement, power, and mystery of love ultimately leads to the tragic and empty loss of love. The trumpet serves as a type of Greek chorus, commenting upon and highlighting the deeply felt and emotional words.

The fantastic "Quintet for Trumpet and Strings" is dedicated to Chris Gekker (trumpet) who commissioned the work. Throughout the four-movement work the trumpet provides the initial statements of the main melodic and gestural material, which are commented upon and developed by the string quartet. The first movement has a rhythmic pulse that continually builds in momentum and excitement. The second movement is a fast spinning scherzo in a compound meter. The third movement is an emotional dirge filled with plaintive and melancholy motifs. The final movement is a grotesque dance in complex meters, involving a struggle between strong dissonance and resonant consonance,  ultimately ending in an upbeat conclusion.

The "Sonata for Horn and Piano" (1992) is a large scale four movement work, neo-impressionistic in style. A gentle and ethereal introduction leads to a dramatic sonata-allegro form in the first movement. The second movement is plaintive, song-like and introspective, while the allegretto third movement is a scherzo consisting of constantly shifting meters and playful melodic motives. The finale has a motoric motion which grows and builds in intensity throughout, culminating in a heroic return to the first movement's intro theme and a presto coda.       

Track list:

1. Frost Fire: I. Bright And Fast

2. Frost Fire: II. Gentle And Mysterious

3. Frost Fire: III. Tense And Dramatic

4. '...To Cast A Shadow Again': I. Stopped By The Stream

5. '...To Cast A Shadow Again': II. Luminescent Moonlight

6. '...To Cast A Shadow Again': III. Two Bees

7. '...To Cast A Shadow Again': IV. That Didn't Take Too Long

8. '...To Cast A Shadow Again': Interlude

9. '...To Cast A Shadow Again': V. Everyone Says It Snowed Last Night

10. '...To Cast A Shadow Again': VI. Hands Underwater On My Body

11. Katherine Gekker: VII. Cordite Surrounded You - VIII. Lie Down And Cry

12. Quintet For Trumpet And Strings: I. Allegro moderato

13. Quintet For Trumpet And Strings: II. Allegro molto (Scherzo)

14. Quintet For Trumpet And Strings: III. Adagio (elegia)

15. IV. Allegro agitato

16. Sonata For Horn And Piano: I. Andante - Allegro molto

17. Sonata For Horn And Piano: II. Adagio

18. Sonata For Horn And Piano: III. Allegretto

19. Sonata For Horn And Piano: IV. Lento - Allegro molto - Presto

Enjoy..

Chamber_Music_of_Eric_Ewazen_Tzadik.zip

http://www56.zippyshare.com/v/14182055/file.html

Eric Ewazen - Music for the soloists of the American Brass Quintet and Friends

Eric Ewazen is another of my favorite American composers. His output includes gorgeous orchestral, piano, vocal, chamber, and many other works. The reason I'm posting this disc first is 2-fold; this is the first Ewazen cd I bought years ago-and then...well I cannot find all my others at the moment ha. This is a fine intro though to his sound world, for brass and chamber music anyhow. Ewazen has favored brass and wind instruments in many of his compositions, and it is with those forces especially that I am somewhat reminded, at times, of the music of my late friend Arnold Rosner. Ewazen exhibits a unique style, perhaps tinged with the spirit of Copland, Rosner as I mentioned or say Creston. 

The bracing "Fantasia for Seven Trumpets" is a sonic tour de force with fanfares that blossom like fireworks; I feel as if there's a major event taking place that corresponds to the music every time I listen. Next is the "Sonata for Trumpet and Piano", which I prefer. It is a mostly lyrical affair, and a substantial work, running about 20 minutes and packed with wonderful melodic lines, folk-like passages (the 1st and 2nd movements) and a restless, driving rondo (3rd movement) that is heroic and uplifting. "A Western Fanfare" is a short but popular work, a favorite among brass musicians and is joyful and especially "American" in spirit. The "Sonata for Trombone and Piano" is another substantial work, energetic and playful (although the 2nd movement is melancholy) and once again is a rondo 3rd movement that keeps things skitterish. 

The "Ballade, Pastorale and Dance" for flute, french horn and piano uses the simplest melodic and harmonic elements, but Ewazen's skillful manipulation of the materials makes their simplicity quite engaging and intriguing. It is my favorite piece on the disc. Especially the exuberant finale (Dance), which really displays Ewazen's gift for writing chamber music.

Tracks:

1. Fantasia - Ray Mase/David Krauss/Peter Bond/Robert Sullivan/Mark Gould/Kevin Finamore/Chris Gekker

2. Sonata for Trumpet & Piano: I. Lento-Allegro Molto - Chris Gekker/Eric Ewazen

3. Sonata for Trumpet & Piano: II. Allegretto - Chris Gekker/Eric Ewazen

4. Sonata for Trumpet & Piano: III. Allegro Con Fuoco - Chris Gekker/Eric Ewazen

5. A Western Fanfare - The American Brass Qnt

6. Sonata for Trombone & Piano: I. Allegro Maestoso - Micahel Powell/Eric Ewazen

7. Sonata for Trombone & Piano: II. Adagio - Micahel Powell/Eric Ewazen

8. Sonata for Trombone & Piano: III. Allegro Giocoso - Micahel Powell/Eric Ewazen

9. Ballade, Pastorale And Dance: I. Ballade - Barli Nugent/David Wakefield/Eric Ewazen

10. Ballade, Pastorale And Dance: II. Pastorale - Barli Nugent/David Wakefield/Eric Ewazen

11. Ballade, Pastorale And Dance: III. Dance - Barli Nugent/David Wakefield/Eric Ewazen

Enjoy.

Eric_Ewazen_ABC_and_Friends_Tz.zip

http://www77.zippyshare.com/v/82908087/file.html