Monday, February 27, 2017
(born January 19, 1931, Pittsburgh, Pennsylvania, USA;
died February 24, 2017, Korsør, Denmark)
A soulful hard bop pianist & Charles Mingus collaborator who passed away in Denmark at age 86. Parlan recorded 7 Blue Note sessions as a leader between 1960-63 including "Movin' & Groovin'" "Us Three" & "Speakin' My Piece," and appeared on Mingus classics like "Blues & Roots" & "Mingus Ah Um."
He also played with Dexter Gordon, Thad Jones, Booker Erwin, Lou Donaldson, Dave Bailey, Rahsaan Roland Kirk, Slide Hampton, and many more. However, the first time I heard him was on Stanley Turrentine's "Salt Song" for CTI. Explore Parlan's Blue Note catalog with the complete Mosaic set on Apple Music.
Thursday, February 23, 2017
Composer/bandleader Jihye Lee Turns Tragedy into Lavish, Heart-Wrenching Inspiration on Debut Orchestral Album
On the morning of April 16, 2014, tragedy struck South Korea when the ferry Sewol capsized and sank, killing more than 300 passengers. Half a world away, composer and native Korean Jihye Lee watched on in horror from Boston, where she was studying at Berklee College of Music. As the hours, days, weeks and now years have passed, reactions to the disaster have mingled grief and anger, sorrow and outrage, protest and sympathy as human tragedy collided with political controversy.
Not long before the wreck of the Sewol, Lee had written two pieces that came to prove eerily prophetic: "April Wind," which gradually builds from gentle and tender to majestic and powerful; and "Deep Blue Sea," through which Lee's soaring voice wends an emotional, wordless lament before being overwhelmed by swelling tides of sound. "Destiny is a big word," Lee admits, "but maybe I was meant to make this album."
Lee expanded upon those two compositions in the wake of the Sewol disaster, creating the heartfelt six-song suite that comprises her new album, "April." Performed by a 20-piece orchestra culled from Berklee faculty and Boston-area musicians, the album (due out tomorrow, February 24) explores the myriad conflicting emotions that a tragedy like the ferry crash can engender, vividly embodied by an orchestra that can navigate fluidly from visceral force to impressionistic beauty. Lee composes from a wide palette, at one moment lush watercolors, the next bold splashes of action painting.
Being so far away from home as events unfolded, Lee says that the worst feeling was being unable to contribute to rescue and relief efforts. "If I were in Korea I would have done something," she says. "But in Boston there was nothing to do. My mind was so chaotic, I couldn't help but write this music."
"April Wind" opens the album, the calm before the storm that sets the scene for the events of the day to unfold. Alain Mallet's piano solo rides the orchestra's cresting waves, while Shannon LeClaire's alto and Allan Chase's soprano usher in the rising tide. It's followed by "Sewol Ho," named for the ferry itself, which begins with John Lockwood's churning, ominous bass, soon joined by frantic, cross-talking horn lines which build in tension and urgency. "Deep Blue Sea" is an oasis of serenity, seemingly peaceful but perhaps suggesting the stunned silence following unimaginable horror. Rick DiMuzio's tenor offers a soulful elegy.
The brisk, manic rhythms of "Whirlwind" capture the chaos of the sinking's aftermath: the frenzied worry of victim's families, the unanswered questions and political turmoil that persist nearly three years later. "Guilty" is aimed squarely at those whose neglect, greed and politicking led to the tragedy and its staggering death toll, the composer's seething contempt for the deceit and disregard for human life mutedly expressed in the tug of war between Bruce Bartlett's guitar and Rick DiMuzio's soprano. Finally, "You Are Here (Every Time I Think of You)" is Lee's outpouring of sympathy for those lost and those left behind, highlighted by the aching, sweepingly gorgeous flugelhorn of guest soloist Sean Jones.
The band was assembled and the album co-produced by trumpeter and longtime Berklee professor Greg Hopkins. "Greg really believed in me and my music," Lee says. "When I shared my vision he was really supportive." Hopkins also helped Lee set up the Kickstarter campaign that funded the album's recording.
Given the singular vision of Lee's writing for big band, which calls to mind the bold narratives and colors of the Maria Schneider Orchestra along with the intricate arrangements of Jim McNeely, with whom she's now studying at the Manhattan School of Music, it's surprising to learn that Lee arrived in Boston with no intention of leading an orchestra and very little knowledge of jazz in general. She'd worked primarily as a folk and R&B-influenced pop singer-songwriter in Korea but came to Berklee hoping to expand her musical horizons.
"I wanted to see something that I didn't see when I was in Korea," she recalls. "I really loved complexity in harmony and rhythm, but I didn't know what genre I could find it in. I just followed my gut, and my gut said you have to go to Berklee. I got to see a lot of concert jazz orchestra music there, and I was overwhelmed. I was enchanted by the energy and complexity, the richness and diversity that we can mix and use in different ways. That's how I got into jazz big band writing."
One of the most striking elements of Lee's pieces throughout April is the way she interweaves her own voice into the orchestral palette. She doesn't write lyrics, uncomfortable with penning words in English, but doesn't see the lack of them as inhibitive of communicating her messages. "Lyrics are too specific to convey some images or emotions that I cannot really express with words," she says.
The use of voice, though, came naturally from her background as a singer. "It was only natural. I think people are very drawn to the human voice because we're all human, and there's some things that only voice can express."
While she doesn't draw on explicit influences from her native country, Lee says that her essential Korean-ness comes through in every note that she writes. "Korean people are very emotional, very expressive," she explains. She mentions a Korean expression, han, that connotes a sense of deep, restrained emotion rooted in the country's long history of war and colonization, similar to the melancholic/nostalgic Brazilian term saudade but in an earthier, more inward form. The stoicism they display on the surface means that their sadness comes through in art as a howl of sadness. "I think it naturally comes through in my melodies: dramatic, lyrical, very sad, that kind of emotional statement."
The title "April" ties into her adopted home of Boston as well, given that the Boston Marathon bombing took place one year almost to the day prior to the Sewol. Lee hopes that her music offers a path to healing from both incidents. "April is a beautiful month, the beginning of spring when everything is new and beautiful and blooming," she says. "I want to make April bloom again."
Tomorrow, Feb 24!!!
With Anna Mjöll (vocals), Bill Cunliffe (piano), Brandon Fields (sax), Clayton Cameron (drums), Willard Peterson (bass) and Joe Elliott (guitar).
Two shows 9:30 and 11:30.
This event will sell out FAST (!!) - for tickets call (818) 980-1615.
(born on February 16, 1940, Black Bottom, Detroit, Michigan, USA;
died on February 23, 2017, Marina del Rey, California, USA)
The fabulous North American singer & songwriter, recorded many great albums, but this self-titled r&b gem is my favorite. Recorded in 1982 for Elektra, arranged by Marty Paich & Jerry Hey, featuring Flora Purim, Airto Moreira, Laudir de Oliveira, Gato Barbieri, Janis Siegel, Nathan East, Chuck Rainey, David Paich, Jeff Porcaro, Rita Coolidge, Steve Lukather etc. There are two beautiful songs co-written with Marcos Valle: the haunting ballad Deeper Than Love (Mais Que Amor) and the infectious samba-funk Somewhere (later recorded by Emilio Santiago as Dentro de Você.)
Leon Ware's tunes were recorded by Michael Jackson, Marvin Gaye, Quincy Jones, Minnie Ripperton, Donny Hathaway, Isaac Hayes and many others, being sampled by Ice Cub, Tupac, Jay-Z, A Tribe Called Quest etc. Rest in Power.
Monday, February 20, 2017
Bianchini establishes this dexterous album as a collection of songs that have, in his own word, "the ability to encompass the tradition of this great American music and simultaneously push the boundaries for the next generation of jazz musicians". Gianni continues to explain that his principal obligation to both his audience and his band is to simply make the music feel good.
"I want everyone who listens or plays my music to feel good and also to understand that this music is very much alive and growing".
Inspirations for this album, and to Gianni as a musician in general, include Nat King Cole, Gene Harris, Diana Krall, Harry Conick Jr., Chet Baker, Oscar Peterson, Ray Brown, Bill Evans, Keith Jarrett, Carmen McRae, Nancy Wilson, Bill Charlap and countless others.
The 7th track of Bianchini's album, his interpretation of Sigmund Romberg and Oscar Hammerstein II "Softly, as in a Morning Sunrise" can be heard here.
He graduated magna cum laude with a Bachelor's Degree from Berklee College of Music, a Master's Degree from New York University, and a Doctorate in jazz piano performance from the University of Texas. Dr. Bianchini is currently on staff as a full professor of jazz piano at the Universidad de San Francisco de Quito, in Ecuador. Prior to accepting this position, Dr. Bianchini taught as a Teaching Assistant at the University of Texas and as an Adjunct Professor at New York University. In addition to teaching, Dr. Bianchini continues to perform with his piano trio, organ trio (GOT), and his quintet (The Quintini) across the globe.
Jazz Station Gallery: Hector Costita, Joseval Paes, Bebeto Castilho & Arnaldo DeSouteiro @ Bottle's Bar - Beco das Garrafas, Rio de Janeiro
(born Lorenz Albert Van DeLinder III on April 2, 1943, Galveston, Texas, USA;
died February 19, 2017, New York City, New York, USA)
Terrible news. Another idol & friend is gone, another jazz master. Had the honor to work with him during his CTI years ("Fallen Angel" was a best-selling on the Billboard jazz charts) and when I produced the album "Almost In Love / Ithamara Koorax Sings The Luiz Bonfá Songbook," recorded in 1996, on which he guested. The first time I saw him live was in 1978 in a brilliant duo concert with Philipe Catherine at the Sao Paulo Jazz Festival, during the "Twin House Tour." And the first Coryell album I got, as a gift from my aunt Elge Agricola, was "Introducing The Eleventh House" in 1974. It means I have been "connected" to his artistry for 43 years... Photo by Celso Brando (P. Mallagutti, Arnaldo DeSouteiro, Larry Coryell, Ithamara Koorax)
Sunday, February 12, 2017
Sunday, February 26, 2017, 7:00 pm
A bona fide guitar hero and perennial poll-winner, Al Di Meola has been recognized internationally over the past four decades as a virtuoso of the highest order. A prolific composer and prodigious six-string talent, Di Meola has amassed over 20 albums as a leader while collaborating on a dozen or so others with the likes of Chick Corea, Stanley Clarke, Lenny White, John McLaughlin, Paco de Lucia, Jean-Luc Ponty and more.
And while his dazzling technique on both acoustic and electric guitars has afforded him regal status among hordes of frettboard aficionados who regularly flock to his concerts, the depth of Di Meola's writing and compositions along with the soulfulness of his guitar expressions have won him legions of fans worldwide.
Meet and Greet Tickets Available!
Al Di Meola's "40th Anniversary Meet & Greet Package" includes:
Admission to sound check
20 Minute Q & A session delivered by Al Di Meola from onstage
Meet and Greet
Autographed 40th Anniversary Poster
Contact Box Office for details!
Paramount Hudson Valley is operated by Red House Entertainment LLC
Box Office Hours: Tues - Fri & Sunday: 1pm - 6pm - Saturday 12pm - 6pm
Address: 1008 Brown Street, Peekskill NY 10566 - For general inquiries phone: 914 739 0039
The Baylor Project charts on Billboard and announces dates in Boston, Alpharetta, Durham and Delray Beach
Fresh off the heels of their sold-out CD release mini tour throughout NYC, Philly and Washington, DC, The Baylor Project will be appearing in Boston, MA at Scullers Jazz Club on March 31; in Alpharetta, GA at the Velvet Note on April 28; at the Art of the Cool Festival in Durham, NC on April 29 and at The Art Garage in Delray Beach, FL on April 30.
Steeped in the heart and soul of jazz, Marcus and Jean Baylor's highly anticipated collaboration showcases the grace and glory, versatility and virtuosity of a truly extraordinary musical union. Joining Marcus and Jean on their self-produced debut is an expansive assemblage of top-notch collaborators including pianists Allyn Johnson and Shedrick Mitchell, guitarists Rayfield "Ray Ray" Holloman and Marvin Sewell, bassists Dezron Douglas, Chris Smith, David "DJ" Ginyard and Corcoran Holt, percussionists Pablo Batista and Aaron Draper, tenor saxophonists Keith Loftis and Bob Mintzer, trumpeters Freddie Hendrix and Keyon Harrold, trombonist Stafford Hunter and harpist Brandee Younger.
As the children of Pastors, Marcus and Jean's musical roots were planted deep within the church, and it was there that the road was paved for the influence of gospel, blues, soul, and jazz to make it's mark. On "The Journey", listeners are taken on a comprehensive musical journey that showcases as much versatility as it does virtuosity. A world-class drummer, Marcus' creativity and innovative storytelling ability expose his seasoned improvisation and musicianship. Jean, with her agile mezzo-soprano range, combines a fresh, whimsical, approach to phrasing with clever musicality resulting in soul-hugging vocal purity. Released around Valentine's Day in February, "The Journey" has as much to do with the The Baylor's 15 years of loving one another as it does with Black History Month. Their first feature recording together embodies the true spirit of love while also paying homage to their musical roots and those of the African American experience.
"The Journey is a true reflection of our childhood, the musical and cultural influence of the African American Church, and all the things that have become a part of our creative fabric from then until now," says Jean. As co-creators of their label Be A Light, Marcus and Jean served as the sole producers of "The Journey". "As producers, we were involved in every aspect of the project from inception to completion," says Marcus, adding, "...from songwriting, arranging and collaborating with great musicians to cultivate the sound we heard in our heads, we loved having the autonomy to create music from the inside out."
The buzz was certainly built; word-of-mouth brought packed houses at the famed Blue Note, Apollo Music Café, and DC's Blues Alley, leading to performances in premiere jazz festivals across the United States and Europe--a glamorous arrival for two people from humble beginnings. Marcus is a native of Ferguson, MO and Jean, a native of Moorestown, New Jersey. Both grew up in a tradition that imprinted itself upon their craft.
It is apropo that it was their craft that brought them together back in 2000. It was then that Jean was set to perform at a showcase and found herself in need of a new drummer. On a fellow musician's referral, Marcus and Jean were connected for the first time through music. As a close friend tells the story, Marcus fell in love with her that night on stage.
With "The Journey," the Baylor Project showcases their outstanding versatility with a dynamic collection of original compositions, newly arranged standards and reimagined hymns. Upon pressing play, listeners are transported into the heart of the black experience: inside a little church in the mountains of West Virginia built by Jean's ancestors, hands are clapping, feet are stomping on time tested hardwood floors, and voices testify to the power of prayer in song. "Block Party" is the joyful introduction to the Baylor Project rife with the church blues and jazz improvisation.
What follows is the Baylor's signature arrangement of the stalwart hymn "Great Is Thy Faithfulness" and their lush arrangement of the Herbie Hancock classic "Tell Me A Story", which is enhanced by original lyrics penned by Jean.
A restorative hymn for healing and forgiveness begins the original composition "Again" which then gives way to a full swing orchestration with horns and strings featuring explosive solos. On the following track, the Baylors present a beautifully moody arrangement of the Gershwin classic "Summertime" with the lush stylings of harpist Brandee Younger, thus providing a remarkable remedy for the familiar. On "Afro Blue", listeners are filled with an open palette of sound that brings forth a sincere spiritual offering of faith, strength and resolve. Afro Blue is a journey in and of itself through the collage of solos that express a deep connection to their cultural roots.
An interesting surprise, penultimate tune "Laugh and Move On" is a tribute to a simpler time in music. "This song reminds me of an era in music that focused on telling a story with a lot of soul and some good ole' fashioned singing about letting the tough times roll off your back," says Jean.
Likened to an aria, Jean's beautiful and sometimes haunting vocal arrangement is sung over Marcus' dramatic drum solo on the final track "Journey". Vacillating in and out of tempo and bound only to the rhythm of the soul, the two dance together telling their stories. Intertwined with voices of their personal lineage that give audible accounts of the discovery of their musical gifts, it is the perfect ending to the story and cleverly circles listeners right back to the beginning.
"We want to inspire, foster hope and ultimately, bridge the gap between generations in our culture," says Marcus. With "The Journey'', The Baylor project does just that. They are relatable, they are virtuosic, and for these reasons they captivate listeners and packed houses alike. "The Journey" pays homage to their wide-ranging musical influences, and in so doing; they generate an eclectic sound whose overall effect is spiritual, buoyant, and feel good music.
MORE ABOUT THE BAYLOR PROJECT:
"The Baylor Project" is an innovative collaboration merging the talents and creativity of this dynamic husband and wife duo, Marcus and Jean Baylor. Both artists have established themselves in the music community, Marcus as a jazz musician having toured and recorded with Kenny Garrett, John Scofield, Cassandra Wilson, Joshua Redman, Christian McBride and as a long-time member of the Grammy Award Winning, Yellowjackets. Jean first established herself in R&B as a platinum selling recording artist and later emerged in jazz having recorded and toured with Kenny Garrett, Marcus Miller, Yellowjackets, Jimmy Greene and legends, Harold Mabern and Buster Williams. The Baylor Project was founded in 2013.
MANAGEMENT: Gail Boyd Management
RECORD LABEL: Be A Light
(born on July 5, 1940; died on February 09, 2017 in Rio de Janeiro, RJ)
Brazilian singer, composer and guitarist. Besides this debut solo album recorded in 1975 for RCA with an all-star cast, Helio had his songs covered by such acts as Elis Regina, Azymuth, Zimbo Trio, Meirelles, Wanderléa, Doris Monteiro, Banda Black Rio etc. My favorite ones are the recordings of "Kriola" by Meirelles and "Que É Que Você Vai Fazer Nesse Carnaval" by Azymuth, which I've included in the volume 3 of the compilation series "A Trip To Brazil" that I produced for Verve. Rest in Power.
Wednesday, February 8, 2017
died on February 8, 2017 in Rio de Janeiro, RJ, Brazil)
Brazilian singer, composer and percussionist aka Orlann Divo. Recorded several albums as a leader, being recognized as one of the fathers of the "Sambalanço" style derived from bossa nova. He started his career as crooner of organist Ed Lincoln's band and co-wrote many songs with guitarist Durval Ferreira.
However, his biggest international hit, "Samba Blim" (aka "Tamanco No Sambo"), recorded by Cal Tjader and Tamba 4 among others, was co-written with Helton Menezes. Orlandivo also recorded as a percussionist on Deodato's "Os Catedráticos 73" albums, later retitled "Skyscrapers."
As a solo artist, his most famous album was released in 1977 by the Copacabana label and shamelessly bootlegged in UK during the Acid Jazz heyday. That album was arranged by keyboardist João Donato, also featuring Azymuth's members Alex Malheiros (bass) and Mamão (drums) plus Zé Menezes, Sivuca, Copinha, Durval Ferreira, Helcio Milito, Chico Batera, Ariovaldo, Papão, Hermes Contesini, Airton Barbosa, Geraldo Bongô and many others. Rest in Groove.
Tuesday, February 7, 2017
died on February 7, 2017, Dronningmølle, Denmark)
R.I.P. Svend Asmussen (1916-2017), one of the best violin players in jazz history, and an institution in Danish jazz. He passed away (today) a few days before his 101th Birthday! This is my favorite Svend album, recorded in 1972 with Toots Thielemans plus Red Mitchell, Ed Thigpen, Kjell Ohman and Stefan Brolund. A lovely bossa nova titled "Denise," written by Thigpen, used to receive a lot of airplay at JB-AM radio station in my native Brazil, at the time of the album release in 1973. The repertoire also includes great tunes by Toots, Milt Jackson and Duke Ellington. Besides the violin, Svend plays viola and cello. His career spanned eight decades, with over 80 albums as a leader or co-leader. Rest in Heaven.
Arnaldo DeSouteiro começa sua coleção de discos aos 4 anos de idade. O primeiro título foi presente da tia, Elge Agrícola: "Dominique", de Poly, brasileiro especializado em guitarra havaiana. Confira na segunda parte da entrevista ao Coisas da Música.
Entrevista realizada por Bernardo Costa em 11/07/2016.
Imagem e edição: Bernardo Costa
O material foi publicado em duas reportagens no portal Coisas da Música. Veja nos links abaixo:
As memórias de Arnaldo DeSouteiro - Parte I
As memórias de Arnaldo DeSouteiro - Parte II
Acompanhe COISAS DA MÚSICA no site (http://coisasdamusica.com.br/) e nas redes sociais
Celebrate the start of Valentine's Week and dance to your favorites with Matty and Amanda. Join everyone on Sunday afternoon at the historic C-Note club on Nantasket Beach. $10 at door. BYO-Food. and Cash Bar.
Sunday, February 12, 3pm-7pm
What's not to love? More info at www.MattyandAmanda.com
The C Note Hull
159 Nantasket Ave, Hull, Massachusetts 02045
(Pe. Severino Franciscus Severens, C.Ss.R.)
Dois anos depois do batismo, Padre Severino faleceu em 08 de Janeiro de 1925, às 22:30hs, no Convento de Santo Afonso, em consequencia de uma ensolação, levando a "Vice-Província Holãndico-Brasileira" a emitir uma nota comunicando a "grande perda". A nota, além de relatar a brilhante vida devotada a Deus, ao Cristianismo e aos fiéis, comentava "o caracter alegre na juventude, um brincalhão que gostava de alegrar os confrades".
Nascido Franciscus Severens a 04 de Maio de 1862 em Maastricht, Holanda, entrou para o Juvenato em Roermond, em 1874.
No dia 07 de Setembro de 1880 entrou no Noviciado e recebeu o hábito Redentorista a 15 de Outubro daquele mesmo ano. Emitiu os votos na Igreja de Wittem no dia 27 de Dezembro de 1881.
Foi ordenado Sacerdote a 08 de Outubro de 1886. Inicialmente foi nomeado Professor e depois Missionário. Granjeou renome de fenomenal pregador.
Nomeado para o Brasil, sacrificou tudo isso, e chegou a cidade mineira de Juiz de Fora no dia 06 de Maio de 1899. [No Brasil, os Redentoristas iniciaram suas atividades em 1893, através da Província holandesa].
Segundo o historiador Sergio Augusto Moreira Bastos, em 1907 chegaram a Montes Claros "os sacerdotes Severino Severens, Afonso Mathysen, Bernardo Willems, Theodoro Roosmalen, Sebastião Dorresteyn e Clemente Wildt, que aqui vêm pregar as Santas Missões. Reúnem-se nessa ocasião, na sede da Paróquia, 6 redentoristas holandesas, 5 sacerdotes premonstratenses e 2 padres brasileiros. Após 15 dias de pregações na cidade, partiram em grupos de três pregadores a fim de levar a palavra de Cristo às 9 Capelas existentes na Paróquia".
Trabalhador incansável, em seus quase 26 anos de Brasil, Padre Severino pregou 32 "Santas Missões", 63 Retiros Para Clero de várias dioceses. e mais 53 outros "exercícios". Ganhava a simpatia de todos, pois era considerado "um santo de simplicidade".
Em Belo Horizonte, o padre redentorista (pertencente à Congregação do Santíssimo Redentor, popularmente chamada de Congregação Redentorista), ficou conhecido como "O Catequista". Muito procurado como confessor, entre seus penitentes contaram-se os "Presidentes de Minas Gerais" Arthur Bernardes e Francisco Sales, com suas respectivas esposas.
Na cidade de Curvelo (então trabalhando na "Parochia de Santo Antonio de Curvello"), onde nasceu meu saudoso amigo Luiz Claudio de Castro, cantor e compositor da mais alta estirpe musical, fundou a revista "O Santuário de São Geraldo" que subsistiu por mais de 78 anos.
Segundo minha tia, um processo de beatificação foi iniciado alguns anos após sua morte, mas não sabia me dizer mais detalhes sobre o lento andamento. Procurei muito na internet e nada encontrei. Na verdade não existia, até agora, nenhuma biografia do Padre Severino na web. Agora há.
E agradeço a ele por toda a fé que transmitiu a várias gerações da minha família, inclusive a pessoas que não chegaram a conhece-lo, como minha mãe Delza Agricola, mas que o adotou em suas orações. Minhas tias-avós Aurette Palermo e Aurora Palermo, que conviveram com o Padre Severino, também o adoravam. À ele devo principalmente o milagre de ter conservado minha tia Elge Agricola em excelente estado de saúde física e mental durante 93 anos, preservando-a lúcida até três dias antes da morte, sem nunca ter sofrido uma fratura, um assalto, absolutamente nenhum mal grave; milagre do qual dou testemunho público em sinal de Fé, me colocando à disposição para manifestar-me no processo de beatificação. Certamente estaremos todos juntos no Dia da Ressurreição. Com a graça de Deus, Amém.
(O holândes P.e Severino Severens, padre redentorista)
died on February 06, 2017 in Rio de Janeiro, RJ, Brazil)
Brazilian classical pianist Elge Agricola just passed away. Also a piano teacher, painter, writer, decorator, photographer, illustrator.
My adored aunt, godmother and assistant/secretary.
All my eternal love, respect & gratitude.