Mundo: The World of Jane Bunnett

Mundo: The World of Jane Bunnett
To Be Released By EMI Canada On February 14, 2012

Double CD Retrospective Package Features 2 New Tracks

Toronto, Ontario – January 13, 2012 – There are many possible descriptions of Jane Bunnett: Composer/bandleader/multi-instrumentalist/educator/festival organizer. Order of Canada recipient, five-time Juno Award winner and multiple Grammy nominee. Internationally acclaimed artist with a recording career spanning 24 years.

Our preferred phrase is: fearless musical explorer. In tandem with her long-time partner in music and life, trumpeter/composer/producer Larry Cramer, the Toronto-based Bunnett has constantly sought out new musical terrain. That is confirmed vividly on the compelling new career retrospective, Mundo: The World Of Jane Bunnett, to be released on EMI Music Canada on February 14, 2012.

This collection comprises 25 cuts taken from 16 albums, recorded between 1989 and 2008. It also features two brand new numbers showing that Bunnett remains at the peak of her creative powers. “Gotcha” and “After Rain, Comes Sun” were recorded with fast-rising young Toronto ensemble Heavyweights Brass Band, with Telmary featured on vibrant vocals on “After Rain, Comes Sun.”

Bunnett has never felt constrained stylistically, and the result is a body of work that encompasses modern jazz, a rich variety of Cuban-rooted musical idioms, blues, classical, gospel, r ‘n b, and other world music forms.

MUNDO: The World of Jane Bunnett – track listing:

DISC 1

1. Gotcha’ (New Track feat. Heavyweights Brass Band)
2. Kalaidescope (Embracing Voices)
3. Witchi Ti To (Red Dragonfly)
4. For Merceditas (with Don Pullen) (New York Duets)
5. Yo Siempre Oddara (Spirits of Havana)
6. The Real Truth (The Water is Wide)
7. El Diablo (Cuban Odyssey)
8. New Orleans Under Water (Radio Guantanamo)
9. Osain (Ritmo + Soul)
10. Changui for Alfredo (Radio Guantanamo)
11. Please Don’t Ever Leave Me (Doubletime/Duet with Paul Bley)
12. Serenade To A Cuckoo (Water Is Wide)
13. Chamalongo (Chamalongo)
14. Sunshower (Alternate take)

DISC 2

1. After Rain, Comes Sun (New track feat. Heavyweights Brass Band and Telmary)
2. Joyful Noise (Ritmo + Soul)
3. Alma de Santiago (video version) (Alma De Santiago)
4. Rendezvous (Rendezvous/Brazil /Cuba)
5. Don’s Light (Spirituals and Dedications)
6. Son de la Loma (Cuban Piano Masters)
7. Song for Argentina (Spirits of Havana)
8. Amor Por Ti (Chamalongo)
9. Donna Lee (Alma de Santiago)
10. You Don’t Know What Love Is (Live at Sweet Basil)
11. The River/El Rio (Ritmo + Soul)

Jane will be performing across the country this year to celebrate the release of this retrospective package, beginning with several shows in the Toronto area:

Thursday January 19 – Long & McQuade Performance Hall at Jazz FM
Listen Live at 91.1 FM or Jazz FM

Monday January 23 – FREE performance at the Appel Salon at the Toronto Reference Library with The Toronto Star’s John Teraud – 7:00 pm
Toronto Public Library Appel Salon

Friday January 27 – Hugh’s Room – with special guests Heavyweight’s Brass Band – 8:00 pm
Hugh’s Room

Saturday January 28 – LULA Lounge – Salsa Dance Party with Son Aché
and special guest Jane Bunnett.
7:00 pm Intimate Dinner and Photo Exhibit with Jane Bunnett
9:00pm – 2:00 am – Dance lessons and show!
Lula Lounge

During a colourful and prolific career, Jane Bunnett’s sound and vision has earned her the respect of some giants in the world of jazz. She has collaborated extensively with such legends as Don Pullen, Dewey Redman, Sheila Jordan and Paul Bley, while jazz critics have hailed her virtuosity on soprano saxophone and flute. Bunnett has been the recipient of multiple awards in the prestigious Downbeat and Village Voice Critics’ Polls.

Mundo: The World Of Jane Bunnett is a retrospective look at a formidable career, but Bunnett remains an artist looking forward, not back. The two new tracks included here are eloquent testimony to that approach. Following Jane’s future creative endeavours will be a richly rewarding exercise.

Welcome to The World Of Jane Bunnett. You are in for a treat.

For more information, or to request an interview, please contact:
Dawn Dwyer
D2 communications
416.583.5048
dawn@d2communications.ca

Jane Bunnett – “Cuban Rumba Roots Meets Jazz”

Jane Bunnett returns to her roots in Cuban Music to present a brand new project “Cuban Rumba Roots Meets Jazz”

This project features new Rumba drum and dance group ” Iya Ire” with Jane’s Spirits of Havana group featuring special guest Hilario Duran.

This project recreates the buzz of Jane’s groundbreaking award winning 1st Cuban recording “Spirits of Havana” from the early 90′s Roots Rumba with allstar Jazz soloists!!!!

Hugh’s Room. Toronto, March 19, 2011. Photographs by Danilo Navas

View slideshow: Jane Bunnett – “Cuban Rumba Roots Meets Jazz” (this link will open in a new window)

Jane Bunnett and The Cuban Piano Masters at Koerner Hall, Toronto

Feature/Review written by: Danilo Navas

The Cuban Piano Masters Project

This unique musical group was first conceived in Havana, Cuba in 1992 at the National Theatre with the great Cuban pianists José María Vitier and the late Frank Emilio. It was brought to fruition in Canada in 1993 with a ground-breaking concert at the Glenn Gould Theatre (CBC) and became Jane Bunnett’s recording debut for EMI/Bluenote.

In 1997 the 2nd edition was presented at the Montreal Jazz Festival with collaborators Hilario Durán and Frank Emilio. This concert was filmed by Le Spectre and shown worldwide as “Jane Bunnett and the Cuban Piano Masters” (see: http://www.youtube.com/watch?v=RUmrR7kMRmk).

Now in its third edition, this is a presentation of three generations of piano with Jane’s original collaborator Hilario Durán, current pianist Elio Villafranca and elder master Guillermo Rubalcaba (who appeared with Jane in her 2000 National Film Board Documentary “Spirits of Havana.”

The Cuban Piano Masters 2010/2011 Edition

The Venue

The superb new Koerner Concert Hall is a magnificent, state-of-the-art 1,135-seat venue located in the heart of downtown Toronto. Koerner Hall is one of three stages housed under the TELUS Centre for Performance and Learning, which is the Royal Conservatory’s new Toronto home. The elegant, modern architecture, goes hand in hand with the exceptional acoustics of the hall. It has received unanimous praise by performers and spectators alike.

Jane Bunnett and The Cuban Piano Masters was the last show of a concert-series dedicated to exploring the roots and advancements of the tremendous fusion of Latin Music and Jazz, known under the umbrella term of Latin jazz.

The Musicians

Jane Bunnett, soprano saxophone, flute
Hilario Durán, piano
Guillermo Rubalcaba, piano
Elio Villafranca, piano
José Luis Quintana (Changuito), timbales
Larry Cramer, trumpet
Roberto Riveron, bass
Jorge Torres (Papiosco), percussion
Luis (Luisito) Orbegoso, percussion

The Music

Part I
1. La Comparsa (Ernesto Lecuona)
2. Scheherazada (Frank Emilio Flynn)
3. Lágrimas Negras (Miguel Matamoros)
4. Oguere’s Cha (Elio Villafranca)
5. Timba Mabó (Hilario Durán/José Luis Quintana “Changuito”)

Part II
1. Fool On The Hill (Lennon/Mc Cartney) (Arranged by Elio Villafranca)
2. Quirino Con Su Tres (Poem by Nicolás Guillén/Music by Emilio Grenet)
3. Havana City (Hilario Durán)
4. I Hear Voices (Jane Bunnett)
5. Andalucía (Ernesto Lecuona)
6. Cacique (Elio Villafranca)
7. El Manicero (Moisés Simons)

Encore
- Ron Con Ron (Rum With Rum)

The Concert at Koerner Hall, Toronto

On Saturday, April 17, 2010, at around 8:00 pm, Jane Bunnett opened this special concert, soloing on her soprano, creating an almost sacred atmosphere in the magnificent Koerner Hall. That was a fit preamble to one of the most famous compositions by Cuban composer Ernesto Lecuona, “La Comparsa.” One by one, the three pianos and the rhythmic section joined Jane Bunnett on a journey through popular, classical Cuban music and jazz.

Next on the program was “Scheherazada,” performed as a tribute to his composer, the late Piano Master Frank Emilio Flynn (1921-2001). The audience was treated to a joyful rendition of this piece, originally recorded as a cha cha chá in 1997 by Emilio, on his album “Barbarísimo.”

Next, Bunnett and Guillermo Rubalcaba joined forces as a duet on another classic piece, “Lágrimas Negras” (Miguel Matamoros).

The youngest of the three Masters, Elio Villafranca, contributed his first composition of the night, the enchanting “Oguere’s Cha,” recorded by Villafranca on his first CD, “Incantations.” A very spiritual piece, “Oguere’s Cha” began with a beautiful chant masterfully performed by percussionist Luis (Luisito) Orbegoso, who’s very well known in the Toronto Latin and Jazz musical circuit. Elio and Hilario exchanged lyrical melodies and waves of rhythm and harmony in their interaction, bringing the call and response patterns to a high level of complexity.

Right after, and closing the first part of the concert, another very special guest came on stage. The legendary percussionist José Luis Quintana (Changuito) introduced “Timba Mabó,” a descarga written by Hilario Durán and Changuito during the recording of Hilario’s CD “Killer Tumbao” in Havana, Cuba, back in 1997.

As it’s been customary on this Latin Jazz Series concerts, after the intermission, Mervon Mehta (Executive Director, RCM Performing Arts) joined the featured artist (in this case Jane Bunnett) for a brief chat. Bunnett shared her musical views and ideas with the audience, opening right after the second part of the show with a duet. This time, Jane and Elio Villafranca performed a beautiful rendition of “Fool On The Hill” (Lennon/McCartney). An intricate Villafranca’studio of this popular piece unfolded, led by the piano, and nicely complemented by Bunnett’s flute.

The duet became a trio. This time, Jane and her soprano horn were joined by Hilario Durán on the piano and “Changuito” on the timbales. They did a wonderful interpretation of “Quirino con su Tres,” a popular tune created by Emilio Grenet, who wrote music to a poem by Nicolás Guillén in the 1930′s.

Then it was Durán’s turn of contributing a composition, “Havana City,” from his recording “Encuentro en La Habana,” made in Cuba in 2005 with his former bandmates from “Perspectiva.” A tribute to the city of dreams, as I call it, “Havana City” evoques the nostalgia of the artist’s motherland, the cherished souvenirs and the ghosts of a lifetime.

The next piece was “I Hear Voices,” a song written by Jane Bunnett, from her Juno Award winning album “Embracing Voices.”

Then the classic song “Andalucia,” composed by Ernesto Lecuona, received a modern treatment. Arranged by Maestro Guillermo Rubalcaba. The three pianos participated in the dialogue.

“Cacique” came after. The second composition of the night by Elio Villafranca. Another spiritual song, introduced by Elio singing a chant/prayer to the Orisha Oduduwa (Odua).

Possibly the most popular Cuban song of all times, “El Manicero,” written by Moisés Simons, ended a fantastic musical trip to the Caribbean island. Three true Masters representing the best of the Cuban pianistic tradition, led by a more than passionate Canadian, took us on a helluva ride with their distinctive voices. Big kudos to Jane Bunnett for making this great concert a reality. Not an easy task to accomplish, this show is definitely one of the landmarks in Jane’s musical career.

As if we hadn’t had enough, we were regaled with an encore: the descarga “Ron con Ron” (Rum with Rum), previously recorded on Bunnett’s Cuban Odyssey – Spirits of Havana project.

From an interview with Mrs. Bunnett conducted by John Goddard (Toronto Star daily), I extract the following, where Bunnett describes the significance of each player on this concert.

Guillermo Rubalcaba: “At 83, he is super well-known and in great health. There are not a lot left — guys in their 80s who play in that beautiful, elegant piano style (of 1930s Cuban cha-cha-chá) that blends very European influences with Afro Cuban rhythms. “Guillermo is founder of one of the most famous groups in Cuba, Charanga Rubalcaba, and plays with Buena Vista Social Club.”

Hilario Durán: “In terms of the growing modern jazz scene in Cuba in the 1970s and 1980s, Hilario was one of the more profound players. He was big there. He had his own group “Perspectiva,” besides doing all the other work he was doing.

“When I met him (in 1991 in Havana) he probably had made well over 400 recordings as a sideman, working in the EGREM recording studios, just working away arranging, composing, directing and backing many of the great Cuban masters.”

Elio Villafranca: “Elio is in his 30s, one of the new generation of Cuban musicians on the cutting-edge New York scene. I would say he’s a jazz musician first but really draws from his Cuban roots. He is from Pinar del Río, the little boot part of western Cuba.

“We’ve been working a lot in the States together and playing a lot in Europe.”

Changuito: “He’s done a million recordings. He joined Los Van Van (in 1970), which for me is the best salsa band, my favourite, and he was sort of the originator of the songo rhythm, one of the groundbreaking rhythms the group developed. He left a few years ago to focus more on Latin jazz.”

View Slideshow – Jane Bunnett and the Cuban Piano Masters
Photographs by Danilo Navas

Jane Bunnett at Hugh’s Room, Toronto – February 27, 2009

Jane Bunnett – Embracing Voices (EMI Canada/Blue Note 2008)

Jane Bunnett is never afraid to push the envelope. She did so with her 1988 album, In Dew Time, the now out-of-print vinyl that was produced privately by the Toronto imprint, Dark Light, on which producer, husband and trumpet/flugelhorn player Larry Cramer scooped both keyboard player Don Pullen and saxophonist Dewey Redman. Then followed an extraordinary slew of records, from those featuring Pullen—New York Duets and Live at the Sweet Basil (Music and Arts Program of America/Denon, 1989 and 1990 respectively—to her triumphant Cuban expeditionary albums throughout the 1980s, 1990s and the first half of the 2000s. Bunnett and Cramer, who conceive and craft each music project with a gospel-like fervor, have never shied away from the road less traveled.

But it is Spirituals and Dedications (Justin Time, 2002), which is—in many respects—the herald of Embracing Voices, a bravely challenging and spiritually complete (in the John Coltranesque sense) record.

Few instrumentalists in jazz have honored the human voice with such an all-embracing intensity on a single record. Through the history of the music there have been instances of vocal music—from the earliest blues shouters down to Bobby McFerrin’s extraordinary work with keyboard player Chick Corea, the St Paul Chamber Orchestra, his own Beyond Words (Blue Note, 2003) and the choral work of Take 6—but no single record has attempted such an all-embracing sweep of vocal/choral/instrumental music as Embracing Voices. This is a major project that honors the human spirit featuring the unique scope of the human voice and brave rhythmic, melodic and harmonic explorations into the extent of a breath of musical instrumentation.

The result is a record that has been made with a large instrumental group —fourteen instruments creating a musical bed for the heavenly choiristics of Grupo Vocal Desandann, the legendary ten-person ensemble that celebrates the legacy of Haitian a capella music in the Camagüey region of Eastern Cuba. The choral group employ dense harmonies, intricately woven into call-and-response segues and contrapuntal structures. But it is the perfect tonal tapestry of Grupo Desandann that makes for one of the most distinctive 10-voice choir in music. Stately basses grind con arco together with the trill of the high-flying soprano voices both ranges held together by the impervious glue of the contralto and counter-tenors in the middle.

Often these are melded with the bright skittering of the tres guitar and the rumble of the congas and tumbas, punctuated with the melodic clunk of the claves. On this record lead voices occasionally arise from the five male and five female singers like waves in an ocean of sound. Lead voices have also been crafted to include the rich sonic tapestry of Telmary Diaz’s rap, the soaring, soulful inflections of Kellylee Evans’ pipes and the gravelly and emotionally-charged blues of Molly Johnson, who leads the cast in one of the most definitive versions of legendary Belgian troubadour Jacques Brel’s “If you Go Away (Ne me quitte pas)” since Nina Simone.

The music runs the gamut of emotions that could possibly be sung by human voices, from the bluesy and melancholic to joyful and even ecstatic. Arrangements follow suit. There is a wonderful interplay of instruments, which provide impetus to the human voice and surround it with rich tonal colors. Larry Cramer’s trumpet—muted and open-belled—and flugelhorn brighten and darken moods with subtle shifts in notes and spaces. Don Thompson’s vibes do the same. Throughout it all Bunnett’s lead voice whether it be on soprano saxophone and flutes soars with infinite abandon—just as Coltrane and Eric Dolphy did on the “Africa/Brass” sessions—in and out of interstellar space.

The record opens with “Sway,” a fine composition that begins with a series of quarter notes sung a capella by Desandann before a drum roll that introduces the bass pedal point and the repetitive hypnotic riff draws in the rest of the group into its spirit-based musical vortex. The changes in the opening segment of the track are reminiscent of those on “India,” the famous chart introduced by Coltrane and Dolphy, but only the top half of the chorus. The minor-chord spell is broken in the bottom end of the song as it breaks down into a series of rapidly descending diminished chords that dramatically change mood of the song like the sun cracking open a dark sky to bathe everything in light.

“Kaleidoscope,” which once again features rich, minor variations at the start of the song, then proceeds to unfold like a vocalese poem, accompanied by flute and the militaristic rattle of a snare drum punctuated by splashes of cymbals. Bunnett’s flute takes a soaring solo as the emotion of the song is built up for Thompson’s vibes. The rhythm by now has quietly shifted into a backbeat of a samba. Tres and percussion herald the entry of the full complement of the vocal choir and other instruments and the bass voice, from Desandann soloing as the bass anchors in the Afro-Cuban segment that breaks in with timbales, cowbell and guiro—the cue for Cramer’s flugelhorn, which in turn re-introduces Bunnett’s flute as it intertwines with the voices as they add layer upon layer to the music as it builds up to an explosive finale.

The voices of Desandann then introduce us to the purest pain, on the deeply traditional Afro-Haitian coloration as the sopranos and mezzo-sopranos launch into “Wongolo,” followed by the rest of the voices. “Wongolo” is simply the most beautiful Haitian freedom song that says, “We will rise again…Haiti will not die…” Bunnett slides in with her own soprano voice behind a medley of percussion, daubing the music with music with light touches of brightness as it twists and turns bringing in the piano and the rest of the instruments before the song explodes ecstatically with voices and instruments melding into tres and marimba.

Bunnett’s flute flits like a firefly around the voice of Kellylee as “Serafina,” a bright work that is infused with the rhythmic intensity of a Cuban rumba and a streaming R&B romp into landscapes that cascade one into the other. The classic Jacques Brel/Rod McKwen chart, “Ne Me Quitte Pas” is next. This version is darker than most that have been sung. Bass and drums dominate the rhythmically intense arrangement, which heats up the gravelly voice of Molly Johnson as she describes the emotion of the break-up of the intense love affair. In the bridge that heralds the second mood that offers reason for staying vibes and piano create a brighter mood—but we are always reminded of the tragic circumstances of the principle character in the song by the choral bed that is provided by Desandann. Bunnett’s soprano saxophone—delicious in its lower register and skittering notes—and Thompson’s vibes have been showcased by the exquisite arrangement, especially after the final chord change moves the music into a major seventh.

“Pancho Quinto” pays tribute to the legendary Cuban percussionist in a novel manner: Telmary Diaz’s rap in counterpoint with the folksy son of Desandann, with flute, vibes, tres, conga and bass woven into the tapestry of the song. And if you thought that the folksy break would go on into the sunset, the interplay of voices, including Telmary’s street rap and Desandann’s spectacular smoky basses, wind up then down with the many-splendoured percussion leading the music into the fade. “I Hear Voices” is as spectacular as it is angular.

The track melds Cramer and Bunnett, muted trumpet and flute and scatting voices in another minor mode with guitar. A vehicle for the viola of Barry Schiffman, co-founder of the St. Lawrence String Quartet in Banff, Alberta, and the acrobatic flute of Bunnett and an almost vocalese version of a solo from Pablosky Rosales. Pianist David Virelles is also superb in his energetic modal solo. Bunnett soars high, just as the late Dolphy, on one of his famous sonic expeditions. Bass and drums maintain a riff based on the pedal point. This track too is reminiscent of Coltrane’s “Africa/Brass” songbook.

“Chen Nan Ren,” a protest song, is also a song of fervent hope, almost a prayer. Call response in Creole and French as voices—sopranos and basses intertwine—like dappled colors on a sonic canvas with the muted ring of the marimba and growl of the bass. Both duel gently with Cramer’s trumpet and Bunnett’s flute weaving in and out of the hypnotic voices of Desandann. Like an African prayer service.

“Egberto” is Thompson’s tribute to composer Egberto Gismonti. This extraordinary and exquisitely complex track was first performed for Gismonti himself in Toronto. The track gathers the voices of Desandann together with the rest of the instruments: Cramer’s is first to break as the a capella section describes a descent into a somber mood, soon to be brightened by Bunnett’s soprano and the voices of Grupo Desandann, which bring a somewhat calming effect until Thompson’s vibraharp takes over and shows why he is one of the finest on the instrument, where the blues of Milt Jackson and the soaring classicism of Bobby Hutcherson are reflected in his Thompson’s unique, individual voice. Then Bunnett again working her soprano in slow circular phrases from the bottom to the top of the register in a magnificent cascade of music.

“A Nu Danse” has a feel of almost being a classic descarga. Handclaps and voices with percussion introduce another intricate Haitian Creole and call/response before the conga soprano unaccompanied by anything except handclaps and voices. Cramer joins in the festivities with a single chorus on flugelhorn followed by Thompson on vibes—samba and Santeria and African rhythms and European marching all rolled into one. Bunnett returns to soar above the theme until the close. “Pa Gen Dlo” is perhaps the most fascinating and boldest experiment on the record. Part 1 is a short meditative vehicle for Bunnett’s saxophone and piano. Hypnotic, mesmerizing, a duet with piano and saxophone doing what voices did throughout the record. In Part 2, a capella voices create a prayer that wraps itself taut as the colors in Grupo Desandann voices unfold in gorgeous harmony.

Sheila Jordan’s “The Only One” brings the record to a close. Kellylee Evans leads and Bunnett, in her inimitable way pizzicato style, with minimum glissando, draws Desandann in as the song unfold like a cross between a blues and a slow rhumba with a melody twist that leap harmonically as it builds to the cinquillo rhythms of the bata drums that shook up the rituals of voodoo in Haiti and Santeria in Cuba. Bunnett’s reference to “Ornithology,” as the voices improvise on this theme—in the brassy backend of the song—is repeated until the music fades. Somehow the magical music of this set echoes seemingly forever as the notes disappear into a seemingly nocturnal soundscape.

With the release of Embracing Voices this journey made by Jane Bunnett, which began almost two decades ago, reaches a new peak of sorts. This record is going to set the standard by which vocal music and instruments make music in harmony. Both Jane Bunnett and Larry Cramer, who is an important a partner in the project, in terms of being its producer as well as an important musical contributor, should be justifiably proud of such a recording.

Finally it has been a while that the legendary Don Thompson has opened the door to his musical genius. On this record he plays bass, piano and vibraharp, arranges his own compositions, “Egberto” and “If You Go Away,” and as Bunnett herself suggests, is, with Bunnett and Cramer, a towering presence amid a group of musicians looking to make a significant contribution to the art of jazz. Any label that is bold enough to stand by music of this Afro-Cuban jazz kind deserves high praise for being brave and brassy in backing high creativity over rank popularity.

Tracks: Sway; Kaleidoscope; Wongolo; Serafina; If You Go Away; Pancho Quinto; I Hear Voices; Chen Nan Ren (Protest Song); Egberto; A Nu Danse; Pa Gen Dlo (There’s No Water); The Only One (For Sheila Jordan).

Personnel: Jane Bunnett: soprano saxophone and flute; Larry Cramer: trumpet and flugelhorn (1-3, 6-10, 12), producer; David Virelles: piano and marimba (1, 3-5, 7, 10, 12); Don Thompson: vibraharp (1, 2, 6, 7, 9, 10), piano (2, 9, 11), marimba (8), acoustic bass (5, 9); Junior Terry: acoustic bass (1-4, 6, 7, 8, 10, 12); Jorge Torres (Papiosco): bata (2-5), bata and percussion (7, 8, 10, 12); Frank Durand: drums and marimba (1-5, 7-10, 12); Pablosky Rosales: tres (2-5, 7, 8, 9, 10, 12); Barry Schiffman: viola (7); Grupo Vocal Desandann: vocals; Kellylee Evans: vocals (1, 2, 4, 12); Molly Johnson: vocals (5); Telmary Diaz: vocals and spoken words (6); the ensemble: coro.

www.janebunnett.com | www.myspace.com/embracingvoicesjanebunnett

*Photographs by Danilo Navas