THAT'S THE WAY I FEEL NOW - A TRIBUTE TO THELONIOUS MONK 1984

Producer's Note - by Hal Willner.
"Monk's Mood" according to Steve Lacy, was originally titled "That's the Way I feel Now". So, instead of trying to come up with something as clever at the time, we made it the working title for this album. Somehow it stuck; and somehow it seems appropriate.

The idea for the album came soon after Monk passed away in 1982. At all the tribute concerts I attended, only musicians from the jazz world were represented. It didn't seem quite right. Though Monk's music is categorized as jazz, it transcends the limitations of categories. I kept thinking about how far Monk's influence has ranged. For example, when NRBQ performs, rarely does a set go by without the band playing at least one Monk composition. Donald Fagen salutes Monk in almost every interview he gives. So why were these artists and others who loved Monk's music not invited to pay their respects? Surely an oversight rather than a slight. With this in mind I decided to produce an album of Monk's compositions with performers from various musical genres.

First I contacted Terry Adams, of NRBQ, and Donald Fagen. Both immediately sparked to the idea. Then I discussed the project with Carla Bley and Steve Lacy. They were very supportive and enthusiastically agreed to take part. A week later, Joe Jackson expressed interest. Thanks to Mediasound Studio's belief in the project (as well as some trusting musicians), a few sessions were recorded even before there was a deal. Then A&M Records picked up the project, and a few months later it was finished.

In retrospect, some incredible things happened during the sessions. At Joe Jackson's "'Round Midnight" session (which was recorded with all seventeen musicians playing live), Ken McIntyre's and Bob Cranshaw's enthusiasm was really something to witness. They were truly touched by Joe's love for Monk. When I played the Chris Spedding/Peter Frampton version of "Work" for Steve Lacy, he asked to hear it again. As we listened, a smile appeared on Lacy's face; he was very impressed that they actually played the song right - something he claimed he didn't do on his earlier recording of it.

The last session to be recorded was Barry Harris' version of "Pannonica," and Barry brought along the Baroness Nica de Koenigswater, for whom it was written. The feeling in that studio from both of them was an unbelievable way to end the recording of the album. I thank them both.

Throughout the making of this album I sensed a great feeling of mutual respect between the jazz and rock musicians. All of the artists were encouraged to record their pieces as they would for their own albums. Everyone was supportive of one another and the different styles worked together because the love for Monk's music was ever present.

I want to thank everyone who participated in the making of the album; I hope they're pleased with the result. Thanks to John Telfer for helping to make it happen. And to Jeff Gold and Gil Freisen at A&M for their enthusiasm. Special thanks to Karen White for helping in such an enormous way at the beginning - without her this album would not exist at this time.

Thanks to the owners and staff of Mediasound. And to Doug Epstein - I hope this is the first of many projects we do together.

Thanks to the Masked Announcer for the thunder. And special thanks to Steve Lacy for his enormous contribution to the record - he kind of ended up being the narrator. And finally to Thelonious Monk, for all he did to change the way many of us feel now. I hope he approves.

Tracks :

* Thelonious, Bruce Fowler & Phil Teele - tmbs, Tom Fowler - bass, Chester Thompson - drums.
* Little Rootie Tootie, NRBQ and the Whole Wheat Horns
* Reflections, Steve Kahn - guitars & Donald Fagen - synthesizers.
* Blue Monk, Dr John - piano
* Misterioso, The Carla Bley Band with special guest Johnny Griffin.
* Pannonica, Barry Harris - tack piano.
* Ba-lue-Bolivar-Ba-lues-are, Was (Not Was)
* Brilliant Corners, Mark Bingham, Brenden Harkein & John Scofield - guitars, Steve Swallow - bass, Joey Barron - drums.
* Ask Me Now, Steve Lacy - soprano, Charlie Rouse - tenor.
* Monk's Mood, Sharon Freeman - french horn.
* Four In One, Todd Rundgren - synthesizers, keyboards, guitar & drum machines; Gary Windo - alto.
* Functional, Randy Weston.
* Evidence, Steve Lacy - soprano, and Elvin Jones - drums.
* Shuffle Boil, John Zorn - game calls, alto and clarinets, Arti Lindsay - guitar & vocal, Wayne Horvitz - piano, organ, celeste & electronics, M E Miller - drums.
* In Walked Bud, Terry Adams & Friends. Terry Adams - piano, Roswell Rudd - trombone, Pat Patrick - alto, John Ore - bass, Frankie Dunlop - drums.
* Criss Cross, Shockabilly: Eugene Chadbourne - guitar, Mark Kramer - keyboards etc., David Licht - drums. (not on cassette)
* Jackie-ing, same personnel as Brilliant Corners plus David Buck - trumpet, Don Davis - clarinet, Mars Williams - clarinet & tenor, Ralph Carney - bass sax & whistle.
* 'Round Midnight, Joe Jackson - piano, and strings.
* Friday the Thirteenth, Bobby McFerrin & Bob Dorough - vocals, Dave Samuels - vibes, marimba & percussion.
* Work, Chris Spedding & Peter Frampton.
* Gallop's Gallop, Steve Lacy - soprano.
* Bye-Ya, Steve Slagle - alto, Dr John - piano, Steve Swallow - bass, Ed Blackwell - drums.
* Bemsha Swing, Steve Lacy - soprano, Gil Evans - electric and acoustic pianos.

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THE GROUP IMAGE - A MOUTH IN THE CLOUDS 1968

As much as collectors and critics can try to approach obscure albums on their own merits without unfairly comparing them to the giants of their era, sometimes a band's inspiration is just too blatant to ignore. So let's lay it on the line here: the Group Image's sole LP would not have existed were it not for the prior existence of the early Jefferson Airplane albums and concerts. It's not just the male-female vocal blend, with Sheila Darla approaching her singing very much like Grace Slick did, or the very specific echoes of Jorma Kaukonen's wiggly guitar tone. There are also echoes of specific Airplane songs, sometimes in passing references to the Airplane's arrangements of "The Fat Angel" or "Coming Back to Me," and sometimes in more obvious cops of "3/5 of a Mile in Ten Seconds," "It's No Secret," and (particularly in "Hiya") the Airplane's arrangement of "The Other Side of This Life." It's not all a trip in Jefferson Airplane economy class, but alas, there are also heavy imprints of the Mamas & the Papas, albeit in a more acid-folk-rock style, and a bit of the harmonies of the Association and the good-time cheer of the Lovin' Spoonful. If you're just an absolute sucker for those sounds, the record has its pleasant qualities as a psychedelicized folk-rock album of sorts, with heavily West Coast-influenced bittersweet melodies that are broken up by some freakier passages with jazzy tempo changes and searing distorted guitar. It's not just a lack of originality that disqualifies the record as a notable obscurity, however, but the fairly unexceptional quality of the songs, though it's better than many such largely forgotten psychedelic releases.

Tracks :

1. Hiya
2. Way to Love You All the Time, A
3. Moonlit Dip
4. Voices Calling Me
5. New Romancing
6. Aunt Ida
7. Banana Split
8. My Man
9. Grew up All Wrong
10. Treat, The

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MARSUPILAMI - ARENA 1971

Marsupilami followed up their excellent debut with this ambitious concept album about the extremely brutal and sadistic culture of ancient Rome. They had now also got an additional member on flute and saxophone, while keyboardist Leary Hasson (probably vocalist Fred Hasson's brother) had expanded his set of equipment to include Mellotron and el-piano beside the organ and piano, something that made their sound even better. Producer Peter Bardens also contributed with some percussion. The opener "Prelude to the Arena" opens with some vibrating organ sounds that leads right into a surprisingly heavy part with screaming and partly narrative vocals from Hasson, followed by wild drumming and guitar. But it quickly slows down to a melodic and harmonic part before a beautiful theme played on flute appears, and here we also hear the first tones of the holy Mellotron. The song then goes into a fast and catchy vocal part followed by a solo on el-piano and finally ends with the opening riff again. This is classic 70's progressive rock at its best, and the high standard lasts for the rest of the album. "Peace of Rome" is stuffed with themes that varies from mellow and beautiful to faster and more disharmonic stuff. The most complex track is undoubtedly the 13-minute "The Arena". The lyrics on the record are naturally full of gladiators, violence, fights in the arena, martyrs and evil emperors, and the band manages to capture all this drama very well in the music. The 11-minute "Time Shadows" starts with some echoing narration that sounds EXACTLY like what Michael Moorcock would do on Hawkwind's superb "Warrior on the Edge of Time" four years later. After that, the track goes into a jam where new member Mandy Reidelbanch is allowed to stretch out on saxophone. This is very efficiently followed by some themes from "Peace of Rome" and "The Arena". The album closes with "Spring" that is based around a nice melody on flute, but also features lots of chanting vocals and long duels between the two female flutists in the band. Marsupilami would unfortunately broke up after "Arena", but they left behind two obscure classics of 70's progressive rock.

Tracks :

1. Prelude To the Arena (5:23)
2. Peace Of Rome (7:01)
3. The Arena (12:55)
4. Time Shadows (11:16)
5. Spring (9:16)

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LUTHER GROSVENOR - UNDER OPEN SKIES 1971

Luther James Grosvenor (born 23 December 1946 in Evesham, Worcestershire) is an English rock musician, who played guitar in Spooky Tooth, briefly in Stealers Wheel and, under the pseudonym "Ariel Bender", in Mott the Hoople. Luther first began playing in local bands in his hometown of Evesham. He met Jim Capaldi, later known from Traffic, with whom he formed a group called Deep Feeling. Later he joined a group called The V.I.P.'s, in which Keith Emerson played for some time. The V.I.P.'s were renamed into Art, and by 1967 into Spooky Tooth. The years with Spooky Tooth (1967 to 1970), Stealers Wheel (1973) and Mott the Hoople (1973 to 1974) were the most successful years in his musical career. After leaving Mott the Hoople, Luther published a few solo albums, and formed a group called Widowmaker, that existed until 1977. In the 1990s Luther Grosvenor returned in a Spooky Tooth reunion. In 2005, he revived his pseudonym, forming the Ariel Bender Band. In 2007 and 2008 he is performing under the name Ariel Benders Mott The Hoople performing Spooky Tooth and Mott The Hoople classics as well as cover stuff. Retrieved from "http://en.wikipedia.org/wiki/Luther_Grosvenor"

Tracks :

01. Ride On
02. Here Comes the Queen
03. When I Met You
04. Love the Way
05. Waiting
06. Rocket
07. Under Open Skies

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DIXIE DREGS - FREE FALL 1977

Georgia's Dixie Dregs were one of the most popular fusion bands of the mid-'70s. By the time of this 1977 debut, fusion had become a distinct genre apart from the ... Full Descriptionjazz-rock that preceded it. On the surface, it may seem like hairsplitting, but fusion differs from jazz-rock in that it is really neither jazz nor rock, but its own unique paradigm with its own rules and trademarks. The Dregs were one of the first American bands to make that distinction, and certainly one of the few to do it with such prowess and individuality. The most unique aspect of the Dregs' sound, however, is the down-home country flavor that's added to the complex rhythmic and harmonic melee.

On such classic tunes as "Refried Funky Chicken," the band's Georgia roots are apparent, adding an earthy whimsy to a style that's often seen as too high-minded. The interactions among electric violinist Allen Sloan, guitarist and main (at this early juncture, sole) composer Steve Morse, and keyboardist Steve Davidowski (the famed T Lavitz had not yet arrived) are full of fire and ingenuity. While the Dregs' later albums may be more sophisticated, FREE FALL has an energetic freshness that can't be denied.

Originally released on Capricorn (189).

The Dixie Dregs: Steve Morse (guitar, banjo, guitar synthesizer); Allen Sloan (electric violin, viola, strings); Steve Davidowski (keyboards, synthesizer); Andy West (bass); Rod Morgenstein (drums, percussion).

Tracks :

01. Free Fall (4:41)
02. Holiday (4:26)
03. Hand Jig (3:18)
04. Moe Down (3:49)
05. Refried Funky Chicken (3:17)
06. Sleep (1:54)
07. Cruise Control (6:15)
08. Cosmopolitan Traveler (3:02)
09. Dig The Ditch (3:52)
10. Wages Of Weirdness (3:46)
11. Northern Lights (3:14)

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[WISHLIST] THE POINT - MAGIC CIRCLE 1983

My band was called The Point. The name came from the Harry Nilsson LP (remember "Me And My Arrow?"). All the members of The Point were from Livermore and attended LHS. Moving to L.A. was a calculated move because we couldn't relate to the Bay Area music scene at that time. To tell you the truth even though I'm a Bay Area boy I always felt more comfortable in L.A. and still do. Something to do with the vibe. I know, I know, you probably think I'm sick. I have a definite connection to both worlds and maybe that's why I ended up right in the middle on the Central Coast.
The Point's career spanned 1978 - 1985. During that time we played the club circuit all over So. Cal. We were a part of what was known as "The Paisley Underground" which was a group of 60's influenced bands that populated L.A. at that time. That scene was vibrant but completely overshadowed by post punk, disco, and dinosaur rock according to today's rock history. The only band out of the "Paisley Underground" to really hit the big time were the Bangles. When I knew them they were still the Bangs and playing the same clubs we were. We recorded a self titled four song EP released in 1980 that was acclaimed in print by the L.A. Times (who compared us to Love and The Beau Brummels)but sold very few copies. In 1983 our lone LP Magic Circle was released on the Warfrat label and did quite well. It garnered a good amount of radio play in certain FM markets, and rode high on the Independent/College charts for a short time. In late 1983 L.A.'s Music Connection magazine published their annual "Players Poll" Top Ten in which L.A.'s musicians vote for their fave bands. To our amazement we placed number 9. By the way in the same poll Red Hot Chili Peppers were number 7, and Los Lobos only made Honorable Mention! At that time they were just struggling club bands like my own.
Magic Circle ended up getting a European distribution deal and was released in France and Italy. At the absolute height of my modest music career I heard that Dennis had died. I was so wrapped up in my own sex, drugs, and rock and roll scene that I was too numb to really feel what he had meant to me. By that time I hadn't seen him in years. But I do remember feeling his potential was unrealized and frustrated that no one would ever know what a genius he really was. I hoped that someday someone would tell the world about his importance and waited year after year for the story to come out.
Back to The Point. As high as we were riding in 1983, it turned into a glass ceiling in 1984. We continued plugging away in L.A. and also played a few shows in the Bay Area that year, Mabuhay Gardens in S.F. and a HUGE outdoor show in Livermore that drew over a thousand people. But the momentum from the previous year seemed to disappear quickly. By '85 I'd had enough and surprised my partners by bowing out. The band never played a show without me and all went their seperate ways. We still are close and actually re-united in late '85 for a three song set at a friends wedding reception and then again in 1996 and '99 for ragged but fun acoustic sets at Livermore friends parties. There you have a brief but relatively accurate history of The Point. Jon Stebbins © 2002

Tracks :

Magic Circle

Strychnine

You're the Fix I Need

She's Gone Too Far

Pothead

All My Life

She's Only For Me

I Like Girls

Someday

Streets of Warsaw

Itch

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WHITE DUCK - IN SEASON 1978

John Hiatt made his first recording as a member of White Duck, a likable if unspectacular country rock band. Hiatt was on board for the band's second and final album In Season in 1972. The four band members (Hiatt, Don Kloetzke, Mario Friedel, and Paul Tabet) each contribute songs as singers and songwriters. Hiatt's two songs are the record's high points. "You Caught Me Laughin' " sounds like the type of song that would turn up on one of Hiatt's first two solo albums; the other one, "Sail Away", sounds almost like vintage Hiatt. If a John Hiatt box set ever comes to exist, "Sail Away" would be deserving of inclusion.

The songs contributed by Mario Friedel are almost as good as Hiatt's. Nearly half of the songs are written and sung by Don Kloetzke (who has a white duck sitting on his lap in the back cover photo); the quality of his contributions is inconsistent. Kloetzke shines on "Thank You" and "A Girl Who", but he overindulges on "Bull Island Boogie" and "Looney Tune", two oddball novelty songs in which Hiatt is not a credited player.

Overall, In Season makes for very pleasant listening, and should be regarded as more than just a curiosity piece for Hiatt's fans. The music on this record alternately resembles that of the Band and the Flying Burrito Brothers, but is more upbeat than either.


Tracks :

1. Carry Love (Don Kloetzke)
2. Firewater (Mario Friedel, Skip Rogers)
3. You Caught Me Laughin' (John Hiatt)
4. Thank You (Don Kloetzke)
5. Sail Away (John Hiatt)
6. Bull Island Boogie (Buzz Cason, Don Kloetzke)
7. Honey, You'll Be Alright (Do What Ya Gotta Do) (Paul Tabet, Mario Friedel)
8. Lazy Days (Mario Friedel)
9. A Girl Who (Don Kloetzke)
10. Again (Mario Friedel)
11. Looney Tune (Don Kloetzke)

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BRUCE HAMANA - HAMANA 1974

Hamana´s debut album, recorded in 1974, was issued on the local Phoenix label, Canyon Records. To most of the 60´s psychedelic rock/folk fans this is almost an unknown album, original pressings seem to be disappeared, only a few copies are known in collectors hands. Bruce Hamana, a native American, is member of the Indian Hopi Tribe and went in 1969 to college near San Francisco to live -in the white man's world. Instead of traditional native American themes he felt like writing modern, revolutionary, contemporary music. The result you hear on this album is powerful and melodic, and expresses perfectly the sunny California peace, love & freedom feeling, but also contains a social-critical message: 'One of these days everything is gonna change, things you take for granted will be taken away from you' - The music itself is emotive with strong vocals, lots of West Coast psychedelic guitar flashes, with a touch of garage flair and a smidgin of loner folk style. This album should appeal to fans of Quicksilver Messenger Service, The Byrds, X.I.T, Neil Young, Buffalo Springfield, Garrett Lund : almost unbelievably, on these recordings all instruments, bass, guitars, vocals and drums have been played by Hamana himself, to get overdubbed and to become finally a tasty and atmospheric stereo acoustic/electric mix.

Tracks :

The Meek Shall Inherit the Earth
Why Can't I Understand
Be Free With Me
I Remember
On the Road
One Night
Future Goodbyes
Show Me
Message to the Crystal
Shine On
Peace is Within you

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TOWER OF POWER - TOWER OF POWER 1973

Although this is not a current selection (which actually was origianlly recorded back in 1973), Tower of Power will remain one of funk/R&B's premier bands which used a massive horn section to highlight their work.

On this CD, the noteworthy "What is Hip?" stands out as their rocking, syncopated, break-induced tunes. AOR lit into this one, as well as the soulful "So Very Hard To Go." Both these individual tunes are worth the price of the CD, but it doesn't stop there.

AOR never quite latched onto "Soul Vaccination" but that doesn't detract from the signature sound of ToP. The horn section is what drove ToP, and to this day I cannot think of another band that accomplished what ToP was able to do, when it was able to do it.

Tower of Power still receives airplay, but on a much smaller scale, considering this style of music is now considered as what ToP said in their song "What is Hip?": "What you think might really be passe'."

It is unfortunate that ToP is not still riding the airwaves in it's former glory, but since times and tastes have changed with the generations, we can only hope that ToP will remain an icon to older boomers who remember hard-driving funk and R&B.
By R. S. Gilbert

Tracks :

1. What Is Hip? (LP Version)
2. Clever Girl (LP Version)
3. This Time It's Real (LP Version)
4. Will I Ever Find A Love? (LP Version)
5. Get Yo' Feet Back On The Ground (LP Version)
6. So Very Hard To Go (LP Version)
7. Soul Vaccination (LP Version)
8. Both Sorry Over Nothin' (LP Version)
9. Clean Slate (LP Version)
10. Just Another Day (LP Version)

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HAMMEL & VARGA - ZELENA POSTA 1972

Marián Varga and Fedor Frešo had previously played in Bratislava's premier flower-power pop band Prúdy, along with Pavol Hammel.

Marián Varga's musical concept for Collegium Musicum had some common ground with the classical rock of Procol Harum, Moody Blues, The Nice and Deep Purple's Concerto For Group & Orchestra. An EP named "Hommage a J. S. Bach" (on Panton) became their 1970 recordingdebut. Their first album (recorded in October 1970) also incorporated elements of jazz, blues and beat in a manner similar to Colosseum circa 1969 (and also had some brass arrangements). Marián Varga's organ was the principal instrument, playing motifs mostly derived from classical music. In addition to two of Varga's compositions (both more than 13 minutes in length) they also included a version of Haydn's "Concerto In D" with a string orchestra.

Konvergencie was released before the end of 1971, a double album with only one track each side. "P. F. 1972" showcased Marián Varga's distinctive organ style, sometimes in dialogue with ace guitarist František Griglák, soon to form Fermáta, the Slovakian equivalent of Mahavishnu Orchestra or Iceberg. The track was divided into several interrelated sections, including one sung by a children's choir. "Suita Po Tisíc A Jednej Noci" (The Thousand And One Night Suite) was a free interpretation of themes from Rimsky-Korsakov's famous "Scheher-azade" performed live with a lot of extended organ and guitar solos. "Piesne Z Kolovratu" was a suite of small songs inspired by Czechoslovakian folk music and with lyrics written by the poet Kamil Peteraj. They have a soft and romantic feel and are blended together by elegant musical ornaments. Those who enjoy this track should check out the first Prúdy-album (from 1969) and the later collaborations with Pavol Hammel. "Eufónia" was a more experimental track with Varga squeezing out even stranger noises from his organ than Mike Ratledge had done before him.

When Griglák left Collegium Musicum, the others made an album with Pavol Hammel. He had been singer and guitarist of the beat-pop group Prúdy of which Marián Varga had also been a member. Zelená Pošta (1972) was credited only to Hammel and Varga, but was very much a group effort with Fedor Frešo handling production. This is another collection of short songs connected to a suite, and again with lyrics by Kamil Peteraj.

Collegium Musicum's next move was a superb live album recorded by the powerhouse trio of Varga, Freso and Hájek. The 1975 album was also partly recorded live, this time adding a guitar player again. These two albums display the group closest to the classical rock idiom with free interpretations of themes by Bartok and Prokofiev, but mostly original compositions and crafty improvisations. Within this field, few others have done it better!

For the next two years, Varga and company made two more albums with with Pavol Hammel, Kamil Peteraj and others. Na Druhom Programe Sna (1976) featured noted guitarist Radim Hladík and is an excellent cycle of 13 songs, interspersed with the characteristic Collegium Musicum instrumental framework. This is just as good as their "own" albums. Cyrano Z Predmesta (1978) was a kind of pop opera with two female and two male singers, strings and brass. Some instrumental segments are good but the vocals are too close to pop music.

1978 also saw the release of a new album credited to Collegium Musicum (with long time member Fedor Frešo returning from Modrý Kfekt). Continuo was an attempt to renew their old formula using the latest synthesizer technology. Varga played long, experimental solo parts (trustworthy old themes but played in strangely bended keys), alternating with more steady rock rhythms and vocals. Two tracks went beyond 16 minutes but are in many ways overshadowed by their previous attempts. Still this is quite a good album.

On A Ona (1979) had a much stronger orientation towards conventional rock than its predecessor and lacked a bit of distinction. It contained nine tracks in all and a couple of them are still quite good.

Ten years after Konvergencie, Varga concluded the Collegium Musicum years with another double album named Divergencie (1981). This was, similarly, a work in four main parts (the separation created by old vinyl albums could be an advantage). While this skeleton was very much the same, the musical fleshing was more indicative of Varga's recent efforts. The eminent guitar player Luboš Andršt graced the jazz-rock side "Refrény". Old partner Pavol Hammel was once again the featured vocalist on this and "P. F. (1982. 1983...)", a sweet attempt to combine pop, folk music and progressive rock with orchestra and choir. "Musica Concertante" was a more serious and academic composition (mainly for symphony orchestra) written by Varga in collaboration with Vojtech Magyar. This was a remarkably successful fusion of classical and rock music, sounding like a revision of Martinu's symphonies. Parts of "Sadza Do Obálky" (a new song cycle by Varga and Peteraj) represented the most song-oriented and ordinary material. Overall, this was one of the best Collegium Musicum albums, totally different from the EL&P-oriented material of the mid-seventies. Varga's solo album Stále Tie Dni (1984) was certainly different too, with experimental compositions (including a 20-minute war requiem) centered around synthesizers and vocoders. Marián Varga's group was undoubtedly the leading progressive rock band from Bratislava.

Tracks :

01. Domáca úloha (M. Varga)
02. Z ďatelín (M. Varga - K. Peteraj)
03. Tenis (M. Varga - K. Peteraj)
04. Smutná ranná električka (M. Varga - M. Válek)
05. Krajina bielych dievčat (P. Hammel - K. Peteraj)
06. Páví ples (M. Varga, P. Hammel - B. Filan)
07. Cesty bláznov (M. Varga - B. Filan)
08. Nechtiac (M. Varga - B. Filan)
09. Slnečnice (M. Varga - K. Peteraj)
10. Pošta (M. Varga, P. Hammel - K. Peteraj)

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