Ten minutes down the road from Saratoga Performing Art Center’s Dead and Company concert June 20th, the performing arts center was co-hosting with Skidmore a classical event “Mozart in Havana.” While stylistically different from the jam up the road, and certainly separate in target audiences, the Cuban orchestra inspired by free expression and lighthearted love for music.
Pianist Simone Dinnerstein and the Havana Lyceum Orchestra intrigued a full house of excited classical music lovers with over two hours of intricate dialogues between piano and orchestra. The concert featured a classical piece from Cuba, two Mozart concertos, a Copland, and a surprise arrangement of Cuban music that had the orchestra members dancing in their seats, and eventually off stage to a salsa rhythm. Simone Dinnerstein, a well-respected and acknowledged talent of her generation, paired her love of piano music with her interest in Cuban music and culture on this cool June evening.
Taking the stage at Skidmore’s Arthur Zankel Music Center, Ms. Dinnerstein held the audience captivated with the technically challenging yet beautifully managed Mozart concertos. Both concertos 21 and 23 were recognizable to the audience, making the music selection accessible to audiences while also demonstrating Ms. Dinnerstein’s well-controlled and expressive musicianship.
Simone Dinnerstein, a well-respected and acknowledged talent of her generation, paired her love of piano music with her interest in Cuban music and culture on this cool June evening. The concert’s bookends were well-loved compositions from both Cuban and American cannons for orchestra. Concert notes reflected thought about how to best bridge the cultures through classical music
The concert’s bookends were well-loved compositions from both Cuban and American canons for orchestra. Concert notes reflected thought about how to best bridge the cultures through classical music choices and had settled on Farinas and Copland for this purpose.
The true excitement of the night, however, came from an encore performance of an arrangement composed by the orchestra’s own violinist, Jenny Pena Compo, who delighted audiences with dueling melodies on the trumpet and later violins. Showcasing musicianship and a true passion for their country’s music, the young and diverse orchestra members swayed together to the rhythms of Cuba’s traditional melodies. Musicians left the stage dancing and playing their instruments with a joyful, young energy often missing from classical concerts.
Audience members shared culture through music in the concert hall, laughing and dancing in their seats in an invigorating and inspiring night of music.
The Albany Symphony plans to conclude David Alan Miller’s 25th anniversary season with an “ambitious” arrangement for this year’s American Music Festival.
The American Music Festival includes more than 15 concerts and events between Wednesday, May 31 and Sunday, June 4.
The 2017 American Music Festival will be the our most ambitious and exciting festival yet,” said Albany Symphony Orchestra’s Music Director David Alan Miller. “It will celebrate the uniqueness of our Capital Region as the gateway to the Erie Canal, as we prepare to kick off the Erie Canal Bicentennial with our magnificent orchestral barge trip from Albany to Buffalo during the first week of July. Even more, it will celebrate the magnificent diversity and richness of living American composers and their music through a myriad of extraordinary and diverse concerts and related activities. We hope our friends and music lovers everywhere will join us for lots of the events to experience the incredible breadth of contemporary musical art being created today. It’s so much fun to just hang out with us and with all our amazing featured creative artists all weekend long.
This year’s festival, “Water Music,” will include more than 40 new works, including compositions by 2016 Grammy Award-winning composer Michael Daugherty, Christopher Theofanidis, Reena Esmail, Viet Cuong, Saad Haddad, and winners of the “Composer to Center Stage Reading Session” call-for-scores competition.
Many of the works amplify the festival’s theme, which celebrates the waters that surround us, and advance the ASO’s mission of giving voice to innovative new works, with a particular emphasis on young and emerging composers. Viet Cuong’s newly commissioned work, which will be premiered by the ASO’s new music ensemble, Dogs of Desire, is a programmatic concerto for the percussion quartet inspired by the limitless power of wind, water, and sun, and the technologies that are transforming the way communities generate sustainable energy. Cuong’s premiere is part of the ASO’s continuing partnership with GE Renewable Energy to explore the ways in which the arts, business, and technology can intersect and influence each other.
In addition to the Dogs of Desire performance on Friday, June 2 and the full orchestra’s signature festival concert on Saturday, June 3, Festival highlights include 16 world premiere performances, “This Land Sings,” a song-cycle by Michael Daugherty inspired by the life and times of Woody Guthrie, a recital by Sandbox Percussion, and the Argus Quartet, performing works by Christopher Theofanidis and Sleeping Giant’s Rob Honstein and Chris Cerrone. T
The festival will also feature a special preview concert of seven newly commissioned works for “Water Music NY,” the orchestra’s seven-day barge tour and cross-cultural celebration of the bicentennial of New York’s Erie Canal to take place from July 2 to July 8 across New York state. Community events beyond the concert hall include a guided River Walk with the Rensselaer County Historical Society, and a curated poetry reading at Troy Kitchen.
For information, including how to purchase tickets and festival passes to the American Music Festival, visit albanysymphony.com or call the Albany Symphony Box Office at (518) 694-3300.
This article was originally published by The Spot 518. is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYS Music. TheSpot518 and NYS Music work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com.
Without a word, after reviewing jazz pianist Yoko Miwa and her longstanding trio’s newest album Pathways waltz you from the dance floor to the back alley with hints of everything from standards to show tunes and a few surprising renditions in between.
Released by Ocean Blue Tear Music on May 12, the album features pianist Yoko Miwa, Bassist Will Slater (with Brad Barrett stepping in for one track), and drummer Scott Goulding (Miwa’s husband). A highly affable experience featuring three seasoned and spectacularly attuned musicians, Pathways is a timeless album that goes down smooth from start to finish.
Things get rolling with a rare reprisal of Bill Evans Trio Bassist Marc Johnson’s “Log O’Rythm” which is also joined by another one of Johnson’s songs, “After You” on Pathways. Miwa also borrows from a page of Joni Mitchell’s songbook with a rendition of “Court and Spark.”
“Lickety Split” takes listeners on a spin across the dance floor with fast-paced crescendos, spiraling into spontaneous jazz riffs. Like a rollercoaster ride, the song has peaks and valleys, with appropriately placed drum and bass solos building anticipation which Miwa rises to meet.
Pathways’ finale, a heartfelt rendition of the Beatle’s “Dear Prudence” could not be a more appropriate ending to a gorgeous piece of musicianship. A perfect blend of simplicity and beauty, the eight-plus minute track unfolds gradually and deliberately, with some sections of improvisation dispersed among this familiar classic.
Yahama Pianos Artist, JVC Victor Entertainment recording artist, and an assistant professor at the Berklee College of Music, Miwa came from Japan to Boston to attend Berklee in the late-1990s on a full scholarship and never left. With more than a decade and a half together, the jazz threesome holds down weekly residencies at several renowned Boston venues. This is Miwa’s sixth album. Give it a listen and let Pathways bring pure beauty into your world.
Saranac Brewery in Utica announced the 2017 lineup for its annual summer music series, Saranac Thursdays, on Tuesday. The kick-off event takes place May 18 with a 25th anniversary show from local show band Classified. The 19th year of the series continues throughout the summer, with hard rock act the Bomb closing it out Aug. 31.
The series features local and regional acts from 6-9 p.m. each Thursday. Cover charge for each 21 and over show is $5, which includes your first drink. A portion of the proceeds from the series is donated to the local United Way. The events raised $41,000 for the organization last year.
2017 Saranac Thursday Series
May 18 – Classified (25th anniversary show)
May 25 – Soundbarrier
June 1 – Showtime
June 8 – The Crazy Fools
June 15 – Ladies Drink Free
June 22 – Last Left
June 29 – Gridley Paige and 3 Inch Fury Present: ROCK OF AGES
July 6 – Sir Cadian Rhythm
July 13 – Barroom Philosophers
July 20 – Annie in the Water
July 27 – Enter the Haggis
Aug. 3 – The Matt Lomeo Band
Aug. 10 – The Old Main
Aug. 17 – Lonesome Dove
Aug. 24 – Chris Eves and the New Normal
Aug. 31 – The Bomb
See Enter the Haggis’ official video for “One Last Drink” shot partially at last summer’s Saranac Thursday performance below.
Holly Bowling brought her classical piano renditions of the music of Phish and The Grateful Dead on March 24 to The Whisper Dome, a little know music venue in Schenectady, NY, one that had such sublime acoustics that Bowling performed this night without amplification to a respectfully silent round room.
“Sleep” and “Crazy Fingers” opened the night, followed by “Free” where Bowling used the strings of the piano during an improvised section. A transcendent “Althea” segued into a slow build “Piper” that landed in “China Cat Sunflower” with Phish’s “Bliss” sliding in just before “I Know You Rider” ended the set. Throughout the set, lights projected on the ceiling danced intermittently, woven into the quadrilateral design by Jeffery Bowling.
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Set 2 began with “Help on the Way” > “Slipknot!” and soon found the night drifting into very spacey territory. The improvisation in “Steam” and “Waves” were patiently developed, the latter including “Beautiful Jam” from 2/18/71. A somber “Stella Blue” brought the set back into “Slipknot!” and then a bouncy and rousing “Franklin’s Tower.” The lights were turned off for the encore, the serene “Waste,” with only living room lighting illuminating the room as a backdrop. Visually and acoustically, the performance was simply pure.
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Set 1: Sleep, Crazy Fingers, Free, Althea > Piper > China Cat Sunflower > Bliss > I Know You Rider
Set 2: Help on the Way> Slipknot! > Steam > Waves > Beautiful Jam 2/18/71 > Waves* > Stella Blue > Slipknot! > Franklin’s Tower
Encore: Waste **
* w/ China/Rider Tease
** Played with all the lights turned off.
Holly Bowling is back on the road in March and after hitting Syracuse this week, she heads to a little known venue The Whisper Dome on Friday, March 24. The venue is a unique round room, perfect for jazz performances, and Bowling is excited to revisit the Capital Region as she does quite frequently, bringing with her classical reimaginings of the music of Phish and the Dead. Bowling chatted with NYS Music recently about the integration of Grateful Dead music into her setlists, performing with Everyone Orchestra and the musical handshakes that resulted.
Pete Mason: How has integration of the music of the Grateful Dead and Phish changed since you began integrating the two and since you releasedBetter Left Unsung.
Holly Bowling: The setlists have gotten a little more Dead heavy. When I introduced Grateful Dead songs, the album wasn’t out yet, and it worked itself into the setlists gradually. The Dead have such a deep and extensive catalog and I continued to dig into that and add things to my repertoire. In general, the shift from playing all Phish and then Phish and The Dead together has opened up a whole new arc to each show and each set. As you know, as much as the two bands get compared to each other and lumped together, the music in truth is really, really different. There are some really touching and beautiful songs in the Dead catalog, and if you juxtapose a Dead song between a Phish song, you have to ease into each song in order to cover more stylistic ground in each show and make room for improvisation and bridging the space between the two bands and the place the music takes you.
The other change is that adding in the Dead’s music, I’ve noticed the chord progressions are beautiful but they’re not incredibly complex. Some of those have been the hardest ones to work on. Having that in my catalog and adding into sets has taught me the importance of leaving space. Some songs in the Dead’s catalog are truly emotional for me – “Stella Blue,” “Wharf Rat,” stuff like that. There can be these delicate, very emotional moments and you can’t fill up all the space there. I’m really enjoying the variety that is coming with working with these catalogs both at once. It gives the shows more of an ebb and flow and opens the door for a good arc or storyline in each set. I try to put the sets together with a particular shape to it and you end up having more tools to work with in that way. There is still a balance between the two. I love the bands both very deeply.
PM: In addition to your solo shows, you have been playing with the likes of Joe Marcinek Band and Everyone Orchestra.
HB: I just played two shows with Everyone Orchestra in Charleston, SC and Asheville, NC. We played a bunch of Dead music together with Oteil Burbridge on bass (Dead and Company), Ian Neville on guitar (Dumpstaphunk), Natalie Cressman (TAB), Claude Coleman Jr. on drums (Ween), Wallace Mullinax (Dead 27’s), Mike Quinn, and Jeff Mosier on banjo (Blueground Undergrass), and we did an afternoon set called Everyone’s Dead with Matt Butler on drums, Anders Osborne, Oteil and myself. It was a great experience all around.
PM: How have those experiences with Everyone Orchestra challenged you and affected your playing?
HB: It feels natural. I hadn’t played with anyone in that lineup before. Matt will write a theme on his dry erase board and sometimes one specific instrument gets to lead a tune and make up the theme with Matt’s suggestion. To play a theme and meet these musicians through a musical handshake allows you to get to know people through performance, you start to hear everyone’s voice come through. Whoever starts out the song, you find out ‘This is your style, your voice’ and we find out what we sound like together. Then you hear their voice and you figure out how to add to it or complement it.
The other things that was really cool about it is that no one is ever announcing what they’re going to do next, the most you can do is telegraph a chord change in a certain progression; if everyone moves to the 5, you know you’ll move back to the 1. It’s kind of a surrender, and instead of a group think and do the same move at the same time, if one person decides to go off in one direction, the group moves in that way. It’s different when you have a conductor and they’re at the controls of going to the B section. It’s unique and with someone calling the shots and conceptualizing where you want the show to go is a very different experience and it was really cool.
PM: How did you come across The Whisper Dome?
HB: We are always looking for piano rooms and also looking for unconventional spaces for a show. This happened in Portland at The Old Church and people walked out having never heard of the place and wanting to return. I like venturing outside the usual circuit of rooms that get played within our music scene. The style of music, by necessity, is a hybrid of different sounds so playing in jazz clubs, churches, clubs is reflects the variety of music. I think we found a picture of The Whisper Dome online from a jazz series they help and being called the Whisper Dome, it intrigued me. I think it’s good to change it up and give people an opportunity to have this grounding experience in a real quiet space can be really cool. Spaces like The Whisper Dome and really conducive to that kind of environment and listening atmosphere.
PM: Todd Stoops (RAQ and Electric Beethoven) recently moved to the West coast and your hilarious airplane photo rivalry…
HB: We’re gonna open an airline together. It’ll be expensive though, one customer per plane. (laughs)
PM: Do you see yourself performing more with Todd now that he’s out west?
HB: I feel like piano players don’t get to play together very often – sometimes there are two guitars in a band but rarely double keys. There’s an amazing movie Piano Players Rarely Ever Play Togetherthat I highly recommend watching. It’s got Tuts Washington, Allen Toussaint, and Professor Longhair. You gotta check it out! But I digress. I’d love to play with Todd. Actually, I have side by side pianos in my living room currently – Todd, if you’re reading this, come over and play one of ’em! Double piano jams!
The Syracuse Area Music Awards, affectionately known as the SAMMYS, wrapped up its 25th edition Friday, March 3, 2017 at the Palace Theater in Syracuse with a brief performance from freshly inducted Hall of Famers moe.
Ahead of Saturday night’s show at the F Shed, moe. closed out the two-night affair with a three song set of “Tailspin,” “Spine of a Dog” and “Buster.” Friday night’s awards ceremony, hosted by veteran Syracuse DJ and staunch supporter of the local scene, Dave Frisina, featured awards in 18 categories, including three People’s Choice categories, and performances by four Syracuse area bands, reflecting the broad range of styles and talent found in and around the Salt City.
The SAMMYS is the brainchild of Frank Malfitano and now under the care of Liz Nowak. In 1993 Malfitano created the celebration of area music for an event at the Landmark Theatre. The event changed venues several times over the years before finally settling on the grand old Palace Theater on James Street in the Eastwood district.
The festivities began with the Hall of Fame dinner Thursday night, upstairs at the Dinosaur Bar-B-Que. The Dinosaur has been one of Syracuse’s premier music venues since opening on Willow Street in 1990 and was a fitting venue for the honors and stories that filled the room.
This year’s inductees were Mohawk Valley via Buffalo jamband moe., pioneering new wave singer/guitarist Meegan Voss, 70s blues rock artists Jukin’ Bone and singer-songwriter Paul Case. Also being honored were Anthony and Patricia DeAngelis for Music Educators of the Year and Lifetime Achievement Award recipient Vincent Falcone. It was a night that had the feel of a class reunion. Hugs and excited shouts from people who haven’t seen each other in years mingled with stories of years’ past in venues no longer around.
The inductions and awards ceremonies were hosted by Dave Frisina, a 1994 SAMMYS Hall of Fame inductee, long-time Syracuse radio personality, champion of local music and self-professed band dad. His son, Mike is a member of Syracuse-based band Simplelife. Most, if not all, of those in the room have dealt with him in some way throughout their career. A man like Frisina is what every music town needs. He is local music’s strongest advocate and has the platform for it at his current station 105.9 The Rebel.
Induction and acceptance speeches were filled with anecdotes and inside jokes. Though, most in attendance, were on the inside of those jokes. Memories of broken down vans, vanished venues and bad decisions peppered the speeches. It was the talk of well-worn musicians who have dedicated their craft not to become famous, but simply to play. To the outsider, it was a look at a scarcely seen side of the working musician.
The first honor of the night was for Educators of the Year. Husband and wife, Anthony and Patricia DeAngelis, two area music teachers were honored for their decades of influence on local musicians at Syracuse University, Colgate University, LeMoyne College, the Lyncourt School and Onondaga Community College. They were inducted by their well-spoken and surprisingly laid-back granddaughter Olivia.
Voss was inducted by her husband and band-mate in the Verbs, drummer Steve Jordan. In her acceptance speech, she pleaded to “Save the clubs.” Case, visibly touched at the recognition for his long career avoided revealing too much of past days on the road, “My kids are in the room.” He lavished praise on fellow musicians in the room, including Jukin’ Bone member Joe Whiting as well as the master of ceremonies.
Case, sporting a black tux and pronounced the Best Dressed in the Room by Frisina, closed his acceptance speech saying, “You get up. You drive to the gig. You set up. You play your ass off. You tear down. You drive a million miles home, week after week, month after month, decade after decade. You do it for the music.” He then dedicated his award to the late Bob Fleming of the Mossback Mule Band, who passed away in September.
Accepting for Jukin’ Bone was Whiting, Mark Doyle and John DeMaso. Discussing the problems of being a young band, Whiting offered a piece of advice, “I would recommend not signing contracts under the influence of anything distilled or brewed, made in a laboratory or passed around and smoked,” eliciting loud laughter from the audience.
The final inductee of the night was moe. Al Schnier spoke first in accepting the honor, speaking of all the Syracuse area venues spent taking in shows as a fledgling musician. Schnier lauded promoters such as Chuck Chao of Creative Concerts, who inducted the band, thanking them for shaping who they became as musicians:
We came here as kids to see concerts Chuck (Chao) was promoting. They made us fans. Whether it was Driving Sideways or the Todd Hobin Band or the New York Flyers or 805; these were the bands we looked up to as kids. They could have been the Allman Brothers or the Grateful Dead; they were the same to us. You guys were rock stars.
Drummer Vinnie Amico attributed the band’s style to its Upstate New York roots, “We all wear our hearts on our sleeves. We all kind of have this style, this thing we do, because of where we’re from. We’re blue collar, baby. We work hard, we play our music that way. There’s an edge to our music and that’s a testament to Upstate New York.”
“The Oddities of the World” – the SAMMYS Hall of Fame Class of 2017
On Friday, 54 artists were nominated among 13 Syracuse Area Music Awards categories. Sprinkled in among the awards were performances by several of the Syracuse area’s finest musicians, representing genres ranging from blues rock to country, rap, alt-rock and jam. There is definitely a varied and vibrant scene in Central New York.
Emcee Dave Frisina kept the event lively and loose, often interacting with presenters and winners as they approached the microphone. Best Jam Band winner, Joe Driscoll, affectionately referred to the host as a jedi to laughter from the crowd.
The performances throughout the night revealed the depth of talent in the area. The Ripcords opened the night accompanied by the Boneyard Horns. They ripped through three bluesy/tex-mex style songs, kicking off the night in a celebratory fashion. Unfortunately, just as they seemed to be letting loose, their set was over. You can get a taste of what the Ripcords have to offer at their ReverbNation page here.
Best R&B recipient Alani Skye had several family members in attendance and received perhaps the most vocal and joyous reception to a win. Her win for Don’t Forget About Mewas never in question for the vocalist as she accepted the award.
A performance by rap artist Curtis “Tall Bucks” McDowell and the Brownskin Band followed. The rhythm section of the Brownskin band mixed equal parts jazz and funk behind McDowell’s rhymes. A guest appearance by Syracuse rapper Real Tall for the song “Solar Radiation” had elements of early ’90s era Leaders of the New School collective.
The reality of life as a working musician came to light when Lauren Mettler was awarded the SAMMY for Best Folk. After an awkward pause waiting for the recipient to make her way to the stage, her brother made his way up to accept. In his speech, he stated how he had just texted her and she was still on her way to the theater. So, as any good brother would do, he stalled for time as she made her way down the aisle, peeling her coat off as she ran towards the stage.
Mettler mentioned how she had just gotten out of work and was trying to get to the theater as quickly as possible, even though she never thought she’d win. Such is life for those looking to make a go of it in the music industry. Everyday jobs sometimes throw hurdles at you along the way. Mettler was genuinely surprised and pleased with her award.
One of the night’s cutest moments came when the award for Best Hip Hop/Rap was awarded to World Be Free for the album Nigg@$ to Gods. He was on the West Coast touring and couldn’t attend the ceremony. As his family accepted the award on his behalf, his young son took a turn on the microphone as his dad’s public relations manager, exclaiming, “My dad has CDs for ten dollars!”
Country artists Chris Taylor of the Custom Taylor Band plead with the audience to get up and dance along to their performance. A funky “Keep Me in Mind” slowly drew the audience to its feet and a rousing rendition of the Charlie Daniels Band’s “The Devil Went Down to Georgia” easily won over the crowd.
The Brian Bourke Award for Best New Artist was awarded to Funk ‘n Waffles regulars, reggae-soul band Root Shock. This presentation seemed to be the biggest crowd pleaser of the night as fellow musicians and fans alike rose to cheer their win.
Previous Bourke Award winner, the Spring Street Family Band took over the Palace with their high energy alt-rock performance that even had a band member’s dad jumping up on stage to take video with his phone. Their performance brought the audience to the stage, turning what was a somber awards ceremony into a full-fledged rawk show with a funk-metal-alt sound reminiscent of Rage Against the Machine or Faith No More.
The ceremonies concluded with the awarding of the People’s Choice SAMMYS. Over 110,000 online votes were tallied in categories of Best Band, Best Live Venue and Best Festival or Music Series. The New York State Fair wrapped up the venue and festival categories with their representative thanking all of the venues in the area for supporting the live music that becomes a part of the fair each year.
The award for Best Band went to Cortland-area country band, Small Town Shade, who also won the SAMMY for Best Country Performance for the EP Ring it Up.
moe. wrapped the SAMMYS with a lively three-song set that included “Tailspin,” “Spine of a Dog” > “Buster.” Schnier commented about the lack of curfew at the venue and suggested they keep playing until they are thrown off the stage. To the disappointment of many, Schnier apparently as well, the lights came on at the end of “Buster,” bringing a close to the two-day celebration of Syracuse area music for another year.
Best Jazz: Second Line Syracuse, Second Line Syracuse Best Other Category: Syracuse Society for New Music, Music Here & Now Best Folk: Lauren Mettler, Patchwork Best Jam Band: Joe Driscoll & Sekou Kouyate, Monistic Theory Best R & B: Alani Skye, Don’t Forget About Me Best Pop: The Jess Novak Band, Inches From The Sun Best Americana: Driftwood, City Lights Best Blues: Tas Cru, Simmered and Stewed Best Hard Rock: Breaking Solace – Shatter the Silence Best Alternative: Bell & Sgroi, Bell & Sgroi Best Rock: King Chro and the Talismen, King Chro and the Talismen Best Hip-Hop/Rap: World Be Free, Nigg@$ To Gods Best Singer/Songwriter: Alanna Boudreau, Champion Best Country: Small Town Shade, Ring It Up EP
Brian Bourke Award for Best New Artist: Root Shock
People’s Choice Awards were conducted in an online poll for three categories. Over 110,000 votes were tallied. The winners were:
Favorite Band: Small Town Shade Favorite venue to see live music: Chevy Court at the New York State Fair Favorite festival or music series: The Great New York State Fair
The American Music Festival includes more than 15 concerts and events between Wednesday, May 31 and Sunday, June 4.
“Sleep” and “Crazy Fingers” opened the night, followed by “Free” where Bowling used the strings of the piano during an improvised section. A transcendent “Althea” segued into a slow build “Piper” that landed in “China Cat Sunflower” with Phish’s “Bliss” sliding in just before “I Know You Rider” ended the set. Throughout the set, lights projected on the ceiling danced intermittently, woven into the quadrilateral design by Jeffery Bowling.
Pete Mason: How has integration of the music of the Grateful Dead and Phish changed since you began integrating the two and since you released
