_ ae oLtaraL6 ABOUT HERMETO PASCOAL diverse se of music in Brazil, the an Les an oui ike a comet, crossing sat ‘and musical circles, leaving astrong ee ethos ‘of musicians, and building a on Bs unbridled creativity and inspiration. ae as a genial multi-instrumentalist, he is pa extracting musicoutof the mast unexpected objets, while exhibiting his virtuosity on piano, flute, scrophones strings percussion and many other conver tional (and otherwise) instruments. Hemmeto| was bom in 1936 in Lagoa da Canoa, a ee initia a in taper the erfle tobacco-planting interior of: Northeastem Brazil. ‘The son of a peasant shopkeeper who moonlighted asan ‘accordionist at weekend parties, he was soon enveloped in the sounds and traditions of the rich culture of his birth- place. Asan albino child, he could not stand the fierce tropical sun, and spent his hours sitting in the shade of a tree listening to the binds while carving small makeshift flutes and whistles out of leaf stems, with which he would engage the binds and frogsin musical conversations, His grandfather was a blacksmith whose backyard shop ‘was a constant source of wonder for the young Hermeto, Who used to search for sonorous scraps of iron in the junk pile atthe back. A restless and inquisitive child, he soon found the place where his father kept his oifo baéxos (8- button diatonic accordion) and his first attempts on the {instrument were aimed at emulating the bell-like sounds ofthe seraps of fron he found in the yard, Within a few ‘months, Hermeto and his brother José Neto, who was also albino, were accompanying thei father in local partes and festivities, taking tums on the oto hatvas, triangle and Aithe ag of 14, Hemet left Alagoas for Recife, the h y sy Sapial of Pemambuco state Hs goal was to land a ob as sh colons tthe prestigious Joma do Comercio tao sation Inthe Stal of muse in Brazil happen in live ‘radio broadcasts. singers would tour the country Famous; Peforing th rl ers roms ragonate Te musicians in these ensembles had to be exy — 1 fearing new songs by ear and cresting oy however tumed Hermeto down. He could nap Stee | this albino teenager, wih his poo eyeigh en ee | for the task. Hermeto went instead to the inland be ea ' Caruana, where he was immediately birefor goat | Difusora radio station. During his yeas thy jg f° | favorite ofthe older musicias io one hg | affinity or music. Cartanu was also the cer cagreste region, and its local street market of farmers, artisans and the cantactores, Vocal in who created music on the spot in eXchange fo, Cole few years, Hermeto was summoned to Recife * Tay out about the young new accordion master, Making ca | impression through the air waves. be ae | From the mid-fifties on, Hermeto’s musical den | accelerated, as he came into contact with Musical ences from many different places, such as jaze tay French and Gypsy songs. He soon started toplay Piano ng his harmonic and melodic concepts expanded toalda modem twist to his growing knowledge of music. In the late 50s Hermeto moved to Brazil's Political ang cultural capital, Rio de Janeiro. He arrived there as mus. cians like Antonio Carlos Jobim, Luiz Bonfa, and Joao Gilberto were combining modem chord changes with a sophisticated samba beat to create what became known worldwide as bossa noua. Hermeto was there, playing at the same clubs, but he was careful not to associate his name to any kind of musical “movement”, His music needed more room to expand, and he found himselfin sia Paulo, where a vibrant music scene was being created. He took up the flute (as always, entirely self-taught), and som Created a unique sound that made him a favorite of recording studios, while playing at up to 3 different cubs every night. He was quickly developing his talent asan arranger, and worked with many popular artists ofthe tine as well asin commercial jingle production. During the famous song festivals of the late 605, where MPB (Brazilian Popular Music) was forged by composers such as Chico Buarque de Holanda, Milton Nascimento, Edu Lobo, Caetano Veloso and many others, Hermeto Wsconstant prtsence. His brilliant flute playing in Edu Lobo's ‘Ponteio, the winner of the 1968 festival, brought him national acclaim through TV broadcasting. At this time a new musical group was formed: The Quartefo Novo, With Hermeto on flute and plano, Airto Moreini on percussion, Heralde do Monte on guitars und Theo de Barres on bass, this was an ensemble devoted to creating instrumental music with a definite Brazilian flavor, blending serious sustistey with an eanhy devotion to the country’s rhythmic treasures, a deep mixture of African, Europeun, Native and Eastem historical arid cultural influences. Up until then, the music from the interior of Brazil was considered rude, uncultured and almest relegated to 2 secondary plane in comparison with bases nova and foreign styles. It was aaipéra, or hillbilly, music, The Quarteto Novo challenged thal assumption, steering clear of jazzy phrasing (even though all of the members were excellent jazzmen) and introducing new ways to produce sound, such asa donkey's aw and the ancient nila caipira, a 10-string guitar that yscended from the moors who onice colonized Portugal. oon after, Airto Moreira relocated froni So Paulo to New ork City, a move that led to an invitation for him to join files Davis’ group. Miles loved the different sounds and the ay Airto created rhythms and effects. When Airto told him bout the “crazy albino“ living down in Brazil, an invita- otk Wass quickly senit to Hermeto to come up, which he coeptedl. This visit fed to Miles’ recording of 2 of Hermeto’s unpesitions, Nem Line Teileex and Little Ghierch, for the ve Beil allen. Even with the language barrier (neither oke the other's tongue), a deep musical affinity was rated between Miles and Hermeto, Around that time meto also recorded his first album asa leader, origi- lly titled Hermeto, and featuring some of the finest in New York: Ron Carter, Joe Farrell, Hubert Laws, ad Jones and several others, creating a full big band plus ings, all written and arranged by Hermeto. e recording sessions became legendary, and musicians has Herbie Hancock, John’ Maclaughlin, Gil Evans and ers Came to pay their respect to Hermeto’s geniuis. An itation followed for Hermeto to stay in the United States {join Miles’ new electric group, but he declined and imped to Brazil. He intended to create his own group in Paulo, along with some young plavers he had met there. And that he did, starting a collective of musicians for which he wrote and arranged a wide variety of music, ranging from delicate woedkind ensemble work to all-out free explorations. His 1973 release: Aftiskas Livre de Hermeto Pascoal (The Free Music of Hermeto Pascoal) represents this period. Meanwhile, he did return oocasion- ally to the US, collaborating with Airto-annd his wife, singer Flora Purim, in a number of recordings that continued to establish his reputation as a musician's musician. He picked up the soprano, and later the tenorsaxophone, and again developed a strong personal style on the reed instru- ments. Back in Brazil, Hermeto’s Group went through several personnel changes, culminating with his move back to Rio de Janeiro in 1976, the same year he recorded Slaves Mass in Los Angeles, with Airto, Flora and a host of great musi- cians, and featuring the saund of live pigs grunting and squealing musically on the title track. In 1977, Hermeto invited me to join his group asa pianist, ‘and this marked a tuming point in my life as a musician. fn the following. years, a nucleus of young instrumentalists formed around, him, as-we started to develop a routine of daily rehearsals. Eventually, in the early 80's, the Grupo took its most constant form, with Itiben? Zsarg on bass and tuba, Carlos ‘Malta on flute and saxophones, Marcio Bahia on drums, Pernambuco on percussion, and myself on piano and flute. Hermeto’s son Fabio Pascoal joined the group, also on percussion, in 1988. We all ended up living as neighbors in the West Zone suburb of Jabour, an hour's drive from: downtown Rio, asthe Grapo became a literal full time activity for us. ‘This was an extremely fertile phase for Hermeto, He com- posed literally thousands of themes, exploring all aspects of the musicians’ talents, encouraging us to expand the boundaries of what we could do, He would offen write extremely elaborate arrangements, while urging us to play «as intuitively and creatively as possible. His strong presence: asa leader inspired and coaxed us to practice and rehearse more and more, while the Grpo went on several tours of ‘Europe and recorded a number of albums for the Som da Gente label. Hertneto’s own restless spirit ed him to write ‘music for jazz bigbands, symphony orchestras, string ee eeeached NE VE rT es and Ww a td play tension ae anes te form bral EY sme went through ins firstpersonnel change eee Carkas Malta and myself lft the bandto our individual careers in musk. J moved with my seh toseate, asad w organize a musical archive that [had been maintaining since the beginning of my tenure with Hemet, Tie keane ean and some music vin Seren Ta coe and hopefully players’ memories. This san ongoing the book you now hold in your hands willbe followed by others, focusing on the varied facets of the life of a tre rmusical genius the les of which our planet only rarely = ‘Today, Hermeto continues to be a major force in the music of the work. The Grago still plays in Brazil and abroad to laeye audiences, and Hermeto has been composing almost during all of his waking hours. In 1956 he celebrated his 60" birthday by writing one piece a day for a full year, resulting in a publication issued in Brazil, O Calenckirio do Som (The Calendar of Sound), with 366 themes (96 ‘Wasa leap year) arranged by date, so that, according to him, exeryone, regardless of date of birth, can have his or her own song. Recent collaborations have led him to England for a hig band concert of brand new music, and he recorded 1 solo CD, Su e Bles (Me and Them), where he plays over 60 diferent instruments, He continually ‘stretches the boundaries of music in all ic, melodic and harmonic. ea ‘Hehas developed 2 concept of harmony’ ies baaibnathahigticcene ree bated heer inear sof ales and profound knowledge of the hundreds of pets nl rele in hiss, wich ranges sublime and cal o intense and fierce. He also teated a new tp ei dit complete Gediication 10 MUSIC happened jug yg before I wrote this foreword, when Dona fing ile Hermeto's wife of 48 years, passed away jn, oe with pancreatic cancer The news came te Ty was about to play 2 concert in Copenh Be fe Chapa Hewes tol tos eae otk his enengy, and ended by dedicating aAbeautifyy thy tothe low of his fe. Only then the tine hoe what ad happened, nd they applauded hips the musicians retumed to the stape for a 3p, Tay, that expressed through music the enti Cy etnotions. c me a I came to know Hermeto and his music 15 years of my life worked on a daily ta nll most amazing persons {have ever met. contigs ingiedby hisbeauifulandchallengingconpag and he remains 2s an example of true dedication ang commitment to music. Below are some of his favor phrases: “Tdo not play Brazilian music. I am Brazilian proud of it, but the only Label Ietleeeacsapee music is Universal” * “Music holds the world together, as long as we lie” es don't create in this world, you will be created inte “Allis Sound, and all Sound is Music”__ ABOUT THE MUSIC Choosing the material for this first publication was not an easy task. Hermndto’s work is vast and covers many different styles and instrumentations. For most people, the first contact with Hermeto's music has been through the few recordings that are avaitable. 4 decided to focus on those compositions that could be played by musicians with basic reading and improvising skills, assembling a kind of “ral ook”, with the tunes represented as lead sheets. About half f the pieces have been recorded by Hermeto or by other tists (recortling titles and dates are indicated), and the ther half hits been road tested by the Gruypo on countless eformances and rehearsals. tried to notate the basic form feach tune, sometimes keeping most of Hermeto’s ar- ingement, but at other times leaving it outso that other ayers cant arrange them as they like it epi chord symbols simple. For instance, ifa panicular ord is notated 1s a major seventh (maj7), it usually has e sixth and the ninth built in it. Similarly, minor seven ons (min7) often will work well with the added ninth veleventh extensions. meto's harmonic concept views complex chonds as cked triads, so sometimes the chord notation reflects this, h as E/C instead of C maj7 (#5). At times | opted for a plification of this concept for the sake of comprehensi- ty, Such as when Hermeto writes an F# triad over an aval ofA and G: F#/47, This approach, clearly represent- the voicing of the chord, was replaced here by the more ventional A13(b9). reader will notice the absence of key signatures ughout the book. With Hermeto’s swift changing onies, a better result comes out of reading accidentals ey happen, their value lasting only for one measure. crafted song can be dressed up in: several ways without = losing its essence. The same applies to the tempo markings In each score, which can be altered either wag, aoconding to technical requirements and taste. One of the most rewand- ing aspects of studying Hermeto's music cones from playing passages that are meant to be played at a very fist ternpo really slow, because one can observe how 2 master Composer such as Hermeto takes the utmost care in the placement of notes and chords. Thus # fast samba ean become at lovely ballad, and vice-versa. The titles often have ‘an aneodote or story behind them, and 1 tried to illustraue the Portuguese titles by translating them into English, 4s I mentioned earlier, these songs are but a small sample of Hermeto Pascoal’s immense output as a composer. Itis my intention to follow this valume with more material from our archives, focusing on different aspects of his music- solo piano works, flute/piano duas, flute quartets, big band charts, symphonic and chamber music, and ‘combo arrangements. sf I would like to acknowledge the support from Robert ‘Thompson and Universal Edition for this project, and for realizing the importance of Hermeto Pascoal in the un- iverse of contemporary music. I thank Bruce Gilman from Brazil magazine, a serious fan of Hermeto's work, for his help with editing the text. Also, my gratitude is extendedito all the musicians who once were and still are part of the Grupo, because they were the ones that inspired Hermeto to. ‘write most of this material in the first place. To Hermeto himself, for having been a constant source of and commitment to music, I dedicate this work, in the ‘hope that many more musicians, beginners and veterans alike, will also be touched by his incredible artistry and wisdom, as 1 was. Jovino Santos Neto cated the basic fee ofeach tune using some ofthe most Stile, Decemeber 2000 known Brazilian styles: samba, batto, frevo, etc. These ations should be used as suggestions, and not ssarily as rigid stylistic requirements. In fact, in the po we might play the same composition as a samba, or vo, with minor adjustments. In Hermeto's view, a well-“TUNE DESCRIPTIONS __ Aquela Coisa('That Thing) - Reconled by HP& Gon Laggoe ha Carnot, Municipto ode Arapirac (Som da Gente, 1984) This energetic samba was composed in 1980, ut did not come to life until 1981, when it beeaime a staple iter te the Grrupo's concerts: We recorded it on a ate night session following an intense performance in So Paulo, Ieee cores nesaeels ea Pe s parities for espansion. The short interlude on page 2 challenging for piano sind bass, but itis certainly worth the practice. Balaio (Basket) Recorded by Jovino Santos Neto and Richard Boukas on Bakaio (Malandro Records, 2001) - This tune was written in 1977, and ithas had many versions since then. Itwas also recorded in a different form by Hermeto under the name Macia on his solo piano album Por Diferendes Gaminbes (Som da Gente, 1989), sand it lends itself to be played as a baizo, toads or even as a frevo, which was how Hermeto once arranged it (for a saxophone section in the soundtrack of the ilo Trindade). It's a good exarnple of how Hermeto can chain familiar chord sequences in an unexpected way. Itwinds its ‘way through many tonalities, creating different harmonic colors with this movesnent Bebé (Baby) - Recorded by Arto Moreira on Natal Feelings (Skye Reconis, 1970) and by Hermeto in 1973 0n 4 Misia Livre, (released in the US as The Pree Music of Hermelo Pascoal, Nerve 1991) this baido is one of the best {known of Hermeto’s compositions, havingbeen covered by many artists (Eumir Deodato, Assad Brothers, and more), Fe nae onthe gan! by his young on Flavio'sfirst attempts to speak, hence the repeated, stutter Hees in th relay Solosts may impmvise on the A ‘minor chonds ofthe first 4 measures, ar over the entire form of the tune. Samba do Belagua (Blaqua’s Samba) — Titsemamenacier oe lente by us) who represented a typical Campinas ~ Reconted by Joino Santos yx Boukas on Balaio OMalandr, 200), Nant ‘So Puulo State, this beautiful balla yoy Ra bus, as Hermcto cane to play a concert then a is Playing ithhas always been one of the ¢; ng ta tgs ways to end a day of intense rehearyals ie ny fay Sony winding melts, dre trical harany a Bs Captvara (Capybara)~ Recorded by Serpia Oceano (Polygram, 1996), this happy Samba ins Hermeto's ity in wing so-called aig 7A version nod ere eles ent change pee tothe tune. Meet Chorinho pra Ele (Chorinho for Hin) . Hemmeto on Sates Mass (WEA, 1977 Te by chorinho is one of the most Interesting styles of x from Brazil, blending sintsous melodies cites European dance forms of the 19* Century with, re: pated 2/4 beat It has been swinging in act singe the early 1900s, and almost al the gate from Brazil have written chorns. This tune js of Hermeto’s writing, with its sextupless on the B sec anda breath-taking double time: Fendition on thes, on the out head. This composition is dedicated = Hermeto's brother Enésio, a virtuoso eavaginky Plane ‘who passed away in the 70s, i Para Eliane Elias (For Eliane Elias) — Eliane Elias, the Brazilian pianis, when oe coming young, pianist in the Sao Paulo jazz scene Ths jazzy waltz was composed in 199}, ater the two met backstage in a Hermieto performance in New York Essa Foi Demais (That Was Too Much) — Writen this fnky mara atures th has aden the piano, with thesaxophone adding an extra Twist Its favorite concert opener for the ru, et Way to warm up the musicians and the audience, with i Salo section building over a G peal. Fatima — Reconted by HP&G on do View Montrect (WE, 1979). This 1978 chor s named arenes elds daughe presenting a challenging abentri both melodie and harmonic payers, wih ish ieection where chord changes fall chromatically, returning, pscefully 10 the beginning, joresta (Forest) ~ Composed int 1978, this lyrical theme is resented inx nibato form, and it picks up time to become a liad during solos, return ing to adreamy rubato on the uthead fra 0 Gil Evans (Long Live Gil Evans) — Henmeto and Gil vans had 4t beautiful musical affinity since the early 70s, hen Gil became enchanted with the arrangement of dério, a.compesition on Hermeto’s first recording. Since en, they met several times, In 1986 Hermeto wrote and ras an inaprornpts there for Gil’ Orchestra in Staly nis jac waltz was written in 1987, and we played it for Gil New York. ingz Carioca (Carioca Swing) — Recorded by HP&G on sda dos Deuses (Polygram Brazil, 1992), This samba sees a rhythmically challenging melody aver a slow mba groove. The solo chan ges are equally interesting, ; Guizos (The Bells) — Recorded by Hermeto on rmieto (1972) (re-released as Brazilian Adveriture, Muse conds, 1983) with Googie Coppola on vocals and a autiful orchestral arrangement, this expressive ballad ens up like a flower for the soloists. a Coragdo (Let there be Heart) ~ Another expression of emeto's romantic and lyrical writing, This song winds its y’ from. A minor to € minor ind back, providing many tions for the conscious improviser. meto —Recorded by Hermeto on Hermedo (Buddha, 72) (re-released as Brazilian Adventure, Muse Records, 83} and by Jovino Santos Neto and Richard Boukas on aio (Malaniro, 2001) This charming samba was the le track of Hermeto's first record as a leacler, and its slody and harmony indicate 2 feel that is close to bossa nk venal 110 Grumari —This 7/4 theme, another favorite m pleos for the Grupo was untitled until recently, in spite the fact that we played it every week in our rehearsals, ren Hermeto satin on clrums and challenged us all 10 {oltow his way of playing EN time without playing THE time. He sed me to name one of my favorite places in. Rio, and | suggested Grumari Beach. Juvenal is or of the nicknames he gave me). Para Miles (To Miles) ~ Hermete loves to desticate themes to his fellow musicians, and when he wrote this walte int 1989, he theuight of Miles right away. Miles had called him for a meeting in March of that year, but could not make the encounter due to his health. For Hermeto, this sang was the way for them to meet in music. Mente Clara (Clear Mind) — Recorded by HP&G on 56 ‘Ndo Toca Quem Nao Quer (Som da Gente,1987), this ballad was-a vehicle for Hermeto’s flugelhom playing, ina dialogue with Carlos Malta’s alto sax. He also wrote a poem, defining his relationship with music, which was read over the recording by Ana Marist Malta. ‘Montreux —Reconded by HP&G on Ao Viro ent Montreux (WEA Brazil, 1979). We arcived in Montreux to play at the Festival, and the first thing Hermeto did when he walked into his hotel room was to grab a laundry list, and as he looked outside of his window at Lake Laman, he drew some staff lines on the paper and wrote this tone poem dedicated to the city. We (Hermeto on flute, myself on piano and Ttiberé Zwarg on bass) read it at firs sight onstage later that evening, This themes yet another evidence of Hermeto's powerful intuitive and creative spirit, and of how he lets that spirit guide him in the musical composition process. Msica das Nuvens ¢ do Chilo (Song of the Clouds:and the Barth) - Recorded by HP&G on Gérebyro Magnético (WEA Brazil, 1980).-In- 1.980 the Grupo had gone through: another change of personnel, as Nené, Cacau and Zabelé left, and drummer Alfredo Dias Gomes joined us right as we started to work on a new studio album, Hermeto wrote this theme asa foada, with 2 different harmonies, then adapted it to a 7/4 beat he played on the drums for Alfredo, ‘and we tracked it. It soon became another one of Hermeto's signatureclassics. x Nas Quebradas — Wherever a musician is taking chances sph playing wih synenpaton asa it' “ 1 nex we say biplanes ay broken way" is fcr ast arc dos eS : with its melo. playing hide- and sk wth the beat. ft kama ity ea and poke awl Ce figure out where" was ‘This repeesents the essence ees cases 24 arch. The SE vraag the slo secon are lH 2 playon. This ast 34 bas a ul pentatonic 0 n earthy beat, over which simple, et powert nelody was built. It refers tothe Tu nan Nation that was strong when the firstcamne to Bil, and whose language became assimilated into many proper Brazilian names. In thischart kept Hermeto's original outhead arrangement, because it provides a beautiful contrast to the main theme. Vale da Rbeira (The Ribeira Valley) ~ Recorded by Sergio ‘Mendes on Ocersto (Polygram, 1996) and by Jovino Santos eto and Richard Boukas on Balaio (Malanclro, 2001). Hermeto wrote this baido in April 1985, as we were working on the soundtrack for'a documentary deep inside the rrinforest in So Paulo State, where the Ribeira River is bom. We setup our acoustic instruments on the dirt road at 5AM, and asthe sun came up, Hemteto composed the music right away. ‘Viva 0 Rio de Fanetro (Hora for Rio de Janeiro)- Reconted by the Jovino Santos Neto Quarteto on Cabocto (Liquid City Records, 1997). This canioca style samba was \writien in 1999, and itsoon became another staple item of the Grupo's performances. When I put together my own (Quartto in Seal this tune again captured the hearts of ‘the musicians, and we recorded it with Hermeto’s original ‘Arrangement, which is notated on this chart. Tacho (Mixing Pot)- Recorded by Hermeto Sermo cern eee theme opens up many possibilities for ie nate Coltrane's RRA oilemereniaiey i peel bea wer i 1980, hen we Free hee en ca and tis Le would welcome guests to our re- pearsal by composing 4 piece On the $0 for then 7 ‘This one vas 2 lot of Fun to play and impronsg Bi, n ‘Mata Verde (Groen Woods) + Another “indigenersc tion of Hermeto’s, tt reflects how smo bg ingpired by nature, The strong, melodic line puts ale other elements together, and the syncopated fijs te section prepare the way for a solid samba ches ae Rebuligo (tiproar) - Recorded by HP &G on 9. g, Quem Ndo Quer (Som: da Gente, 1987). This, ce minor hasall he usa challenges: 2 Winding mea inspired on European forms, played over a 2/4, herp lite groove and interesting re-harmonizattions. The yo can be expancded to the players’ preference, and agen option the last A.can be done in double tine, as we cur recording oft ten Yo Iiza (Ply. Iza) Even though Hermeto wmte hig bluesy bade in the late 70s, he renamed it recenthy, af the passing of his wife, Ila, He imagined her fying the sky, propelled by this powerful groove, as age can be played with a swing feel. e ‘A Grande Turné (The Great Tour) - This another one of the Greupo's favorite jam. bee 1982 on, we toured Europe several times, and in many different ways: by bus, train, van and airplane. These ve, always intense experiences for all of us as a group, lining together on the road and performing daily for diverse audiences around the world. No two concerts were ever’ alike, as Hermeto challenged himself and all of us with new ideas and ways to play his music. Santo Antonio (Saint Anthony) - Reconlesd Zabumbt-bum-d (WEABrazil, peste ‘Was composed as part of a tribute to Hermeto’s parents, Sia Jorge being for his father and Santo Antonio for his moter epics a sone in his hametown, where the People would go around the streets, asking for donatinsto Prepare the church-sponsored festival in honor of Saint Anthony the patron saints of weddings on ne 13. Ben ‘ough wed aimee nthe ogling thas great form and chord changes tha fer abt ‘oom for creativity. The thitsin the main themecanbe Daye by plano, guitar ory two tes,A Grande Tourné @ thal) ‘SULG OM Foti - Tate e00K ON Hid dor OwLYOw Aer Quen Aun? Gmc? Qua? fe Goin Fin? Eb sin? Ay Owe? Dvir? Chis? Arians Grd Quen oni) Go st | “a 7 Byrwns Cent Dre Esbe art 9 O00 Brent Chk me iG wet euctt h * ee ce i ee (8). Quer ort) ah ce feat S——=—5 Ss say (Food) or) gut og SS c aaa G70) = Cun? FIG) Fa) Ome? 709) (© Copyright 20 by Univeral Eon, tn. 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