Jazz / Jazz Fusion

FIJM | Anomalie and Lettieri: A New Musical Friendship, Developing in Real Time

by Harry Skinner

Montreal artist Nicolas Dupuis, better known by the moniker Anomalie, has been releasing music for over a decade now. He is known in the local scene for his infectious beats and virtuosic keyboard playing, and has collaborated with notable artists across multiple genres, such as Chromeo, Polyphia, and Rob Araujo. 

During the Montreal Jazz Festival this year, however, he brought a new type of performance to the stage: fully improvised sets of music. Having already performed a set with drummer Larnell Lewis on the second night of the festival, he took to Gesù again on July 2nd with guitarist Mark Lettieri, famously of Snarky Puppy, and his longtime collaborator Ronny Desinor on drums.

Before the music started, it was confirmed that this evening would mark just the second time the two would play together in any capacity (certainly the first time in a trio with Desinor), which presented the audience with the unique opportunity to watch a new musical friendship between two heavyweights take shape in real time.

The start of the set seemed to have an emphasis on improvising pieces that felt like fully formed songs. Members of the band took turns starting tunes, each time jumping in headfirst with a fully formed groove, chord progression, or bassline. They exchanged solos and came up with bridges to their pieces that did well to drive the music forward. There were points in the set where one could be forgiven for not having realized that the music hadn’t been written beforehand. While undoubtedly an impressive feat, this did come off as somewhat safe at times. The music could have used more space for spontaneity, as Dupuis, Lettieri, and Desinor were at times more loyal to their initial ideas than was necessary.

By the end of the set however, it was clear that a deeper sense of familiarity was brewing. The band gradually started taking more risks with their ideas, and didn’t seem in as much of a hurry to fill empty sonic space. This resulted in pieces that would gradually change over their duration and end in completely different places than where they began. One particular passage that illustrated this shift in approach was a vamp the group settled into towards the end of the set. Centered around a repeated keyboard motif, the vamp grew for a few minutes and approached a strong climax, before suddenly shifting into a double time feel and gradually decaying for a period. When the section seemed to have ended, it slowly shifted into something completely new without the music ever stopping.

While the start of the set could be called safe, this was clearly less of a conscious decision and more so a product of the new setting the musicians had entered. It made it all the more interesting to see how different the band as a unit sounded by the end. While Anomalie and Mark Lettieri both impressed, it should be said that Ronny Desinor’s undeniable presence at the kit was also central to plenty of interesting musical developments. Given a week’s residency in this setting, the group would be sure to open up new worlds for themselves.

Publicité panam
Contemporary Jazz

FIJM | Linda May Han Oh, A Role Model for Female Double-Bass Players

by Alain Brunet

Double-bass player Linda May Han Oh is renowned for her excellent playing, and this time we had the opportunity to discover the composer and bandleader. Her work with Cuban-American pianist Fabian Almazan (her husband, as it appears) and drummer Mark Whitfield Jr (son of the guitarist who was once a member of the Tonight Show house band) is exciting and adventurous, without abandoning the jazz groove.

There are several rhythmic changes within each work, hatching is part of his compositional language, and everyone’s improvisations are part of this aesthetic. Emitted in conjunction with her large instrument, her vocalizations add depth to her aesthetic, without suggesting exceptional singing.

The double bass playing is always melodic, the articulation exemplary, the sound not extremely rich but well above average. In short, this 40-year-old has become a model of accomplishment, and it’s no surprise that she plays with the best and leads an outstanding band.

As for Fabian Almazan, he’s an excellent pianist (and keyboardist), his angular signature carries beautiful harmonic charges, his phrases are very often singular, he can count on an agile and supple right hand, and you’d have to listen to him more to get a clearer idea of his left hand. Interestingly, he avoids many Latin piano clichés, preferring the jazz tradition as developed in North America with its classical-contemporary extensions.

To round things off, drummer Mark Whitfield Jr. listens attentively to his colleagues and never overdoes it, although this does not rule out a few polyrhythmic virtuosos.

Delayed by twenty minutes or so due to rain on this Wednesday, this 8pm concert was able to finish later, so we were treated to almost the full hour promised. The jazz gods convinced the cloud gods…

Suoni | The Spiritual Quest, The End in Transcendence

by Z Neto Vinheiras

Last day of Suoni. From hypnotic to ethereal, a sacred night took place in the Église Sacré-Coeur de Jésus – one that we won’t forget so easily.

Crossing the tall entrance of the church, the atmosphere is already another short minutes into the start – eyes shut, ears open, the ear becomes full-body and there’s a feeling of trespassing into another realm of sensing things, being the architecture of a sound wave or the acoustics of space, being yourself or another.

Surrounded by an enigmatic scenography of instruments, with two upward piano soundboards pairing with a set of objects and percussions on one side and the mystical Ondes Martenot one the other, Noam Bierstone and Daniel Áñez carry us through the threads of a caring dissonance and noise and melodies that seem being drawn in the air – a crossroad of sonorities, perhaps unattended ones, but clearly the translation of a very meticulous and wise listening. There is continuity, flow, there is texture, there is gravity, there is attention, care and definitely astonishment—one that traverses the space through the air towards the opposite side of the church—beast takes the relay in the smoothest transition between sets and fills the church in a holy sonic bath for the next 40 minutes.

Walking around the space one could truly feel the psycho and the physical acoustics through the flesh and spirit, the structure of a sound wave as it lives in the space; how sound is physical and perception is body + space; how listening is a full body experience, is active, and it is part of the organised system of sounding. Beast, the local duo composed by Katelyn Clark (organ/historical keyboards) and ben grossman (hurdy-gurdy/vielle à roue), reminded this in a way that felt grounding into a moment of collective introspection, self-reflexion, and deep listening.

After the break, the acclaimed organist Kara-Lis Coverdale gifts us with a 1 hour long set—synesthetic twirls transition into soft blankets of sound, a colour on top of another fusion into depth, sound waves flow and break through wall reflections—this was the sonic  voyage and spiritual cleanse we needed to feel at peace with the end of these two weeks of the most varied and groundbreaking musics and performances. Coverdale is a spectral sculptor and an aural alchemist – she crafts the harmonic lane in which one drifts away, finds their way and transcends. Deep, luminous, ethereal – life is blissful.

Thank you, Suoni.

Publicité panam
Funk / Hip Hop / jazz groove / Jazz-Funk / Soul/R&B

FIJM | Thundercat, A Feline on The Loose

by Jacob Langlois-Pelletier

If there’s one thing to remember about Thundercat’s appearance at Salle Wilfrid-Pelletier on Tuesday, it’s that there are two very distinct sides to this internationally renowned virtuoso: the one we discover on the album, and the one he offers on stage. Fans in attendance were quick to recognize the latter.

For almost two hours, the American bassist transformed each of his tracks into a springboard for long, heartfelt and hypnotic improvisational outbursts. Iconic orange Ibanez six-string in hand, Thundercat – real name Stephen Lee Bruner – drew from the four corners of his discography, concentrating mainly on his most recent project, It Is What It Is.

At centre stage, the Californian was having the time of his life in the company of his long-time acolytes and excellent musicians: Justin Brown on drums and Dennis Hamm on keyboards. With a smile on his face, and more often than not with his eyelids closed, the 40-year-old artist let himself be carried away by his creative impulses, navigating between jazz fusion, R&B, funk and hip-hop.

As he abandoned himself to the task, the audience followed, carried along by sudden but always controlled changes of direction.


Opening with “Lost in Space” / “Great Scott” / “22-26,” “Interstellar Love” then “Overseas,” the trio set the tone for this almost videogame-esque jazz celebration. Looking like a modern George Duke or Marvin Gaye, Thundercat brilliantly superimposed his ethereal, dreamy voice on the trio’s enveloping foundations. At times buried by the instruments, the singer would have benefited from a more generous gain on his microphone.

With over twenty years’ experience on the music scene, everything seemed so easy for him. Thundercat was able to change moods and interact with the crowd with ease. The highlight of the evening came when he invited a young man on stage to dance during his two most popular songs, “Them Changes” and “Funny Thing.

The evening ended on a high note when the Festival de Jazz presented him with the Miles Davis Award, a distinction bestowed each year to a jazz artist in recognition of his or her contribution to the renewal of the genre. Whether for his many visits to Montreal, his solo offerings or his landmark collaborations with Kendrick Lamar, Erykah Badu, Childish Gambino or even Kamasi Washington, this recognition is more than deserved.

Seeing Thundercat on stage is a very different experience from what you might expect. Despite the fact that a few spectators have left the room, once you’ve grasped the delirium, you’re fully on board.

It’s already been five years since his last album. Can’t wait for some new material, sooner rather than later.

Photo Credit: Benoit Rousseau

Contemporary Jazz

FIJM | Bill Frisell, Thomas Morgan and Rudy Royston Exposed

by Vitta Morales

If you were to ask a jazz musician to describe what it’s like to play in a trio they would likely answer “exposed.” When there is suddenly one rhythm instrument, one bass instrument, and one instrument covering melody and harmony, (or at least implying harmony), each musical decision and interaction carries more weight.

However, with that exposure also comes more freedom to move in and out of different roles. The drums could look to play melodically with careful drum selection and tuning; the bass could look to play full chords; and the guitar could look to establish a groove with dead muted notes. And in addition to all that, polyphonic moments from all involved also become a tasteful possibility. 

Bill Frisell, Thomas Morgan, and Rudy Royston achieved these various feats (and others), as they blurred the lines of their instrument’s roles from one moment to the next. And it was fantastic to see.

During the opening song, we saw a prime example of polyphony in action as the trio played a jaunty and groovy tune. The bass and guitar played up and down their necks, inventing various lines and counterlines on the major scale.

This was after Frisell gave us an intro consisting of harmonics and a loop pedal. At various moments, things turned on a dime with moments of pointillistic dissonance, sections of blues rock, fuzzy 70s style rock, and sweet ballads all being played in quick succession.

Personally, my favourite selection of the evening was Billy Strayhorn’s “Isfahan” which Frisell interpreted with bluesy licks here and there.

Truly, my biggest takeaway from the evening was the decades spanning musical experience of this trio. In the moments where the music devolved into rock from a shuffle or swing, for example, it dawned on me that lesser players might try the same thing and have it sound like a cheap gimmick if unschooled in the genres. At seventy-four, however, Frisell experienced much of this music as it was being developed.

Rock, and post-bop for example, were being developed in his lifetime, and he internalized them sincerely and legitimately as a consequence, it seems to me. Incidentally, one of my favourite Frisell albums is Guitar in the Space Age! (2014) in which he interprets various ’60s selections in his unique way.

Indeed, on full display the entire evening was the trio’s experience where musical choices, and interactions were concerned, but so too was their wealth of knowledge of jazz and rock and their ability to fuse the genres with ease.

Publicité panam
Contemporary Jazz

FIJM | Branford Marsalis Among Four MF’s Playin’ Tunes… Live!

by Harry Skinner

Branford Marsalis took to the stage at Theatre Maisonneuve alongside his longstanding quartet, consisting of pianist Joey Calderazzo, bassist Eric Revis, and drummer Justin Faulkner. This is a configuration that has been intact since their 2012 release Four MF’s Playin’ Tunes, but the musical relationships between these ‘MF’s’ goes back further than that, and their familiarity is clear to see.

As it happens, the set started the same way the 2012 album did, with a Calderazzo composition titled “The Mighty Sword.” The band passed the melody around and played with a broken time feel, obscuring the beat slightly, before Faulkner introduced a more grounding pulse. Calderazzo took the first solo amid notably busy drum comping. This may have posed issues in lesser musicians but the interplay between the band members was such that nobody got in each other’s way. Branford took the next solo, starting during something of a climax. This created an interesting dynamic arc for the piece as a whole, which ended not with a typical restating of the main melody, but with a sharp cutoff at the end of Marsalis’ solo.

The rest of the set was just as full of surprises, with the band cycling through a mixture of original compositions, reinterpretations of classic jazz repertoire, and multiple Keith Jarrett selections – unsurprising seeing as the band’s latest release is a tune-for-tune reimagining of Jarrett’s album Belonging. There were entire songs played entirely in rubato time, without ever establishing a clear tempo, solos that softly emerged from collective improvisations, and tunes that nodded to the swing era at the start before finishing in a feel more similar to John Coltrane’s early 1960’s output. Perhaps the biggest surprise of the night came from Justin Faulkner’s touch on the drums; I have rarely (if ever) seen a jazz drummer hit the drums as hard as he did. There were several moments where the drumming called to mind heavy metal styles more than jazz, almost overwhelming the ear but never ceasing to serve the music.

Something else worth noting is the way the quartet handled standards from the 1920’s and 30’s – Fred Fisher’s “There Ain’t No Man (Worth the Salt of My Tears)” and Jimmy McHugh’s “On the Sunny Side of the Street.” These selections contrasted from the rest of the set, with the arrangements clearly leaning towards the idiom of jazz’s early days while incorporating more contemporary approaches to tempo, rhythm, tone, and harmony. The group never fully settled into the swing era here, but never fully left it either, settling uniquely  into something of an ‘uncanny valley’ and demonstrating a shared respect for this music’s rich history.

The lasting musical relationships Marsalis and co. displayed demonstrate a clear understanding of each other’s individual sounds as well as that of the collective. That being said there is also a sense that on a different night, audiences might hear something completely different than what they played at Maisonneuve. Their music is tight and well-grounded, and yet, nothing seems to be off limits.

Publicité panam
Africa / Afrobeat

FIJM | Queen of Afrobeats, Ayra confirms her status as a Global… Starr

by Sandra Gasana

Ayra Starr’s concert was certainly one of the highlights of this early summer. The crowd was stretched far as the eye could see, and getting around was a miracle—it was like being in a can of sardines, with everyone pressed up against each other. Record attendance? The rain had stopped a few minutes before the start of this memorable show, as Mother Nature guessed it was time to let festival-goers enjoy their long-awaited moment.

After a brief introduction by her DJ, who admittedly wasn’t very good, she took to the stage accompanied by her four dancers. Short hair, necklaces covering her neck, a costume with a sexy bodice inside, in short, the Nigerian diva was ready to blow her audience’s mind.

Given the scorching heat, she took off her jacket at the end of the second song, showing off her bodice. She was joined by a drummer, a guitarist and a keyboardist, all there to turn up the heat on an evening that will live long in the memory of festival-goers.

“Montreal, are you okay?” she asks, addressing the crowd, something she doesn’t do much during the show, except to get them to sing along.

The lighting changed according to the song, while a screen showed images of the singer from behind. All of her hits have been featured, including her most recent hit “Gimme Dat,” on which she featured Wizkid, and “Bloody Samaritan” and “Fashion Killer,” which appear on her album 19 & Dangerous.

The queen of Afrobeats (she shares the imperial throne with Burna Boy) also showed us her dancing talents with her lascivious choreography and her famous signature twerk.

After a few songs from his repertoire, the DJ returned to the stage to entertain the crowd with American pop songs, a major faux pas of the evening, as Ayra stood close behind him. Usually, these interludes are to allow the artist to take a break or have a costume change, but not here. We felt like we were in an open-air discotheque.

Fortunately, this break didn’t last too long, as the talented dancers, who also contributed to the show’s success, returned first on their own, closely followed by Ayra, back to finish off the crowd.
In this portion of the evening, we were treated to tracks from her most recent album, The Year I Turned 21, such as “Woman Commando” on which she collaborated with Anitta and Coco Jones with passages in Spanish, before moving on to “Last Heartbreak Song” with Giveon, another highlight of the evening.
She couldn’t have ended the evening without giving us the hit “Rush,” during which she asked the crowd to turn on their cell phone lights. The Place des Festivals was absolutely luminous on Tuesday July 1st, in the image of the Nigerian global… Starr.

Photo: Emmanuel Novak-Bélanger


Publicité panam
jazz groove / Modern Jazz / Soul Jazz

FIJM | Black Jazz by Marquis Hill

by Alain Brunet

On this last evening of June, the two sets at Pub Molson were filled with black and American jazz. Trumpet, piano/keyboards, double bass, drums, Chicago quartet led by veteran trumpeter Marquis Hill.

The musician certainly possesses the technique needed for the international circuit: sound, power, articulation, speed, qualities to which he adds a velvety, comfortable quality.

The black side of jazz and American popular culture is very much to the fore in this mostly acoustic aesthetic, but with a touch of hip-hop, soul/R&B, not forgetting post-bop and polyrhythmic swing. Like their employer, the ensemble’s excellent sidemen are steeped in it: pianist Michael King, drummer Corey Fonville and bassist Micah Collier.

All the refinement of Afro-America is expressed in this music, which remains jazz in its instrumentation, in the articulation of its soloists and in their virtuoso execution of works that include improvisation. Once again, there’s no particular break in the evolution of jazz groove, whose first funk forms date back to the 50s, to Horace Silver and co. Still an important avenue of jazz, this black approach has been defended ever since, and today we can count on leaders like Marquis Hill, who take up this tradition and contribute to it nicely, without achieving any great innovations.

Photo: Emmanuel Novak-Bélanger

Publicité panam
Contemporary Jazz

FIJM | Nate Smith and his Supremely Talented Quartet

by Vitta Morales

Drummer Nate Smith assembled a supremely talented quartet for his show on June 30th; indeed, this lineup and their musical abilities had the audience at the Jean-Duceppe Theatre absolutely captivated. This was best evidenced by the cheers and requests for a third encore, which, understandably but unfortunately, would never arrive.

During the show’s preamble, Smith made a point to explain he was not truly “leading” this quartet consisting of Lalah Hathaway on vocals, James Francies on piano and synths, and Derrick Hodge on bass. Instead, he preferred to say that he was “hosting” this quartet since he held each member in such high esteem. And it’s true, it felt less like Smith was leading them as compared to a collaboration of the minds.

As concerns the music itself, I, of course, cannot describe a Nate Smith show without describing his drumming. For me it’s the epitome of “feel” and “groove.” In most things he plays, even when not expressly playing a backbeat with a big 2 and 4, one is implied. When he employs more ghostnotes or moves in and out of a sextuplet feel, a fat “groove” is still discerned. Smith gets a lot of mileage out of a four piece kit too since so much of what he does is concentrated in the bass drum, snare, and hi-hat. He does, of course, deviate from this and will play around the entire kit; however, with his style being so influenced by hip-hop, sometimes those three elements are enough for long stretches of his playing. In other words, he does a lot with just a little.

The lead synth sounds of James Francies were also a highlight for me. I couldn’t begin to describe the specific settings or the model he was using, but a well-chosen synth sound can be supremely important or you risk having your well-crafted solos sound cheesy by the tone of your synth alone. Francies sound selection and the playing choices were excellent, however.

Hodge’s bass solos were a little harder to appreciate, however. I found myself straining to hear exactly what he was playing as the EQ was a bit off. At times there weren’t enough high frequencies in his bass sound which made his various hammer-ons, pull-offs, and tapping runs harder to hear. This was remedied a few times by employing an octave pedal to play up the octave for some added clarity. It was well needed and one of my favorite “modern jazz” sounds; that is to say, a bass solo high on the fretboard with an octave pedal. Unfortunately this problem would come up again throughout the show as the bass drum and the bass guitar were fighting for the same frequencies.

Lalah Hathaway made her appearance closer toward the end of the show and impressed with her clear, held, straight tone, notes. On a few occasions, she would invent a run or embellishment and finish it with a note that she would hold without vibrato as if she was a horn. Not always the easiest thing to do. I only wish she had come out sooner because she joined the band for all of twenty-five minutes, it seemed to me.

The night would close with a second encore consisting of Smith playing a little drum solo and the audience clapping on two and four. He would play around with the established pulse by dropping the first beat, coming in on a small subdivision a hair before or after the main beats and employing slick triplet feels. It is his custom. It is his sound. And it absolutely killed. No wonder everyone wanted a third encore.

photo by Frédérique-Ménard-Aubin

Publicité panam
folk-punk / Jazz / Soul Jazz / Soul/R&B

FIJM | Nai Palm? Creature of Exception! Hawa B? Future Star!

by Alain Brunet

Clearly, Nai Palm’s name doesn’t have quite the influence you might have imagined before her magnificent, guitar-strapped soliloquy. Clearly, the frontwoman of the fabulous Australian band Hiatus Kaiyote is little known as a solo artist. After triumphing last year with her band in front of tens of thousands of festival-goers, she performed on Monday in a half-full Club Soda, but overflowing with talent and magnetism on stage.

Wow, what a talent bomb!

Nai Palm is undoubtedly one of the most influential singers, musicians, composers and lyricists of my last few decades of music chronicling.

But without a band? Alone on guitar? I admit to having doubted for a little while, although I really like Needle Paw, her solo album released in 2017, some of whose tracks would be covered in front of us. And? It’s working!

Her electric guitar accompaniment is personal and virtuoso, carrying the roughness and irreverence of punk, but also the finesse and sophistication of jazz and an absolutely irresistible soul/R&B spirit.

Kaleidoscopic hair and clothing, a luscious, perfectly assumed physique, disarming smiles, humor, tenderness, vulnerability, violence, strength and resilience. With her perfectly designed scratches and riffs, she draws us into her vocal undulations, onomatopoeia and bursts of power. She whips up the eggs and fills the audience with blissful admiration.

Nai Palm is an exceptional creature! One can only bow before such talent.

Another magical feature of Monday evening was the solid performance by Montrealer Hawa B and her colleague Félix Petit. We’ve already praised the talent and singularity of this singer, songwriter, composer and producer, and her stage presence is now concrete, her unique and rich blend of musical referents, both instrumental and electro, currently unrivalled. The great Nai Palm was also under her spell, underlining the talent of this woman with “superstar” potential. I’m not the one saying it! And I’m telling you, it’s looking good for Hawa B’s future on the international circuit. Opening acts for Hiatus Kaiyote?

Jazz / Jazz-Funk

FIJM 2025 | Funky funky, Trombone Shorty

by Frédéric Cardin

New Orleans trombonist (and trumpeter) Troy Andrews, aka Trombone Shorty, was the fiery guide to an incandescent evening. He and his long-time friends (New Orleans Avenue) blasted the TD Stage from 9:30 to 11pm non-stop with familiar tracks from Shorty’s most recent albums. Funk that grooves roundly, powerfully, with echoes of rock, hip-hop and salsa, in a staging that puts his friends as much at the forefront as the leader himself. This is evidenced by the exciting exchanges between trombone, tenor sax and baritone, where the sprays of notes hammered out in counterpoint verging on learned repetitive minimalism, before setting off again in an irresistible groovy cacophony with the rest of the band.

Trombone Shorty is also into trumpet, and impresses with a long sequence (a minute and a half or two minutes?) of uninterrupted breathing, which he achieves thanks to the continuous breathing technique. Not easy to do, and not easy to control. While you breathe out through your mouth to play the note, you breathe in through your nose to refill your lungs. Try it and see. A highlight that will live long in the memory: “When the Saints Go Marchin’ In,” with the band members lining up, descending and crossing the crowd. In what other city would star musicians feel so comfortable strolling like this through a human tide of tens of thousands of people? Not that many, I’m sure! Vive Montréal!


par Frederic Cardin
Future Soul / Jazz / Jazz Fusion / jazz groove / Soul/R&B

FIJM | Nubya Garcia Becomes a Star in MTL

by Alain Brunet

As a leader, Briton Nubya Garcia was programmed on Monday’s big TD stage, an excellent operation as far as she’s concerned. A whole lot of people didn’t know this London jazz scene existed, so a whole lot of people enthusiastically discovered this tenor saxophone specialist.

It’s safe to say that Nubya Garcia is now the most renowned saxophonist on the London scene. We’ve already seen and heard her in Montreal, notably with tuba player Theon Cross a few years ago, but not as much as at the start of this evening, the last of June.

Nubya Garcia’s primary argument is her generous, textured sound, in that long line of the most robust tenor saxophones. Her compositions are based on a solid post-fusion groove, i.e., generally outside swing and essentially inspired by hip-hop beatmaking, grime, dub, dubstep, all transposed into (mostly) acoustic instrumentation. Keyboard harmonies are closer to jazz, without skimping on soul/R&B, and melodic themes are also inspired by jazz and soul traditions. The UK side of things has to do with certain rhythms typical of post-dub or grime electronic trends, which are much less common in North America.

Nubya Garcia tops it all off with grace and authority. Her very chic, very feminine and very modern look contributes to the boom effect. Her music can easily claim to belong to the jazz corpus, its expression resting on the strength of the melodies, the groove, the effects of the solo instrument, and the collective power at its service – Lyle Barton, keyboards, Daniel Casimir, double bass, Sam Jones, drums.

The structures on the program are simple, and everything happens through spontaneous expression rooted in groove. And that’s why it can win over a wide audience.

Nubya Garcia has become a jazz star, lighting up jazz festivals around the world, and will continue to do so for many years to come. We invite you to discover her art via her most recent album, Odyssey, released last autumn, featuring string arrangements and high-profile guest appearances by Esperanza Spalding and Georgia Anne Muldrow.

Subscribe to our newsletter