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Tan Man's Hat

Sean Noonan Pavees Dance

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A drummer and composer whose music enthusiastically defies category, Sean Noonan prefers the title “Rhythmic Storyteller” – an apt description for a modern-day sonic griot who spins imaginative yarns in the ancient tradition of wandering minstrels while weaving captivating narrative tapestries via his unique polyrhythmic language. On Tan Man’s Hat, the second release by his harmolodic jazz-rock ensemble Pavees Dance, Noonan draws inspiration from the soul to the stars with his stunningly adventurous collaborators: original Can vocalist Malcolm Mooney, bassist Jamaaladeen Tacuma (Ornette Coleman’s Prime Time), guitarist Ava Mendoza (Unnatural Ways) and keyboardist Alex Marcelo (Yusef Lateef).

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The Aqua Diva

Sean Noonan Rhythmic Storyteller

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The Aqua Diva

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The Aqua Diva Sean Noonan rhythmic storytelling Alex Marcelo piano Peter Bitenc bass

Beyond Jazz (Creative Avant Jazz Storytelling)

Bassist Peter Bitenc and Alex Marcelo—jazz legend Yusef Lateef’s pianist of choice—who were featured on the 2016 release Memorable Sticks, once again join Noonan on his new release The Aqua Diva, which is rooted in a wide spectrum of American musical, cultural, and lyrical themes. Noonan recasts a tune named for the iconic TV personality “Don Knotts” with experimentalist composer Conlon Nancarrow, in a 12-tone additive rhythm composition. “Where Would I Go” is a folk song adaptation of “Wayfaring Stranger,” and “Elijah Rocks” is a traditional spiritual. Noonan, an Irish-American drummer with a theatrical bent, scripts tracks 1, 4, 8, and 10 like the plot of a soap opera series. T.A.D. (The Aqua Diva) is stalked by Butterflies, who is jealous of Bubbles for having an affair with T.A.D. The saga ends with Butterflies murdering them in a swingers club’s swimming pool. Noonan’s original story has a direct correlation with his Zappanation Rock Opera, which was inspired by Frank Zappa and Edgard Varèse; it recently premiered in Germany.

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    A Sunny Day

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    When My Band Goes With Me on The Road

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    As The World Spins Around Me

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    Butterflies Away

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    Don Knotts

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    Elijah Rocks

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    Smoking Man

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    The Aqua Diva

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    Where Would I Go

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    Make Her Great Again

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Man No Longer Me

Sean Noonan Rhythmic Storyteller

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Man No Longer Me

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    Pussy Cat's Gone Wild

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    Man No Longer Me

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    He Skarbnik He

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    Cupid's Packing Heat

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    I am Your Pineapple

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    Eat My Makeup

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    Queen of Kings

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    Bia

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Pavees Dance: There's Always the Night

Sean Noonan Malcolm Mooney (CAN)

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Pavees Dance: There's Always the Night

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“a musical journey full of poetry and magic, designed for the most curious ears and eyes." Pascal Bussy, author of the definitive biography of Can

In 2014, premieres a new collaboration, Sean Noonan Pavees Dance featuring Malcolm Mooney, original singer from CAN, Jamaaladeen Tacuma bass, and Aram Bajakian guitar

In Pavees Dance, Noonan describes himself as an "Irish griot", one who collects tales, legends, and life stories over the course of his journeys and transforms them into raw material, not only from drumming, but in all of his music. Together with Aram Bajakian, his alter ego, and Jamaaladeen Tacuma, mutant bassist from Ornette Coleman's Primetime, they track down Malcolm Mooney, the original Can singer (back to "Monster Movie"). The latter remains famous for having been the shooting-star voice, half Soul, half psychedelic, of one of the more influential experimental Rock bands in History.

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    There's Always the Night

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    Quick Pick-Pavees Dance Malcolm Mooney

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    Moonwalk-Pavees Dance Malcolm Mooney

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    No Strings Attached-Pavees Dance Malcolm Mooney

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    Portrait of a Heartless Lover

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    Man on the Moon

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In the Ring

Sean Noonan

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In the Ring

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Rounding out the trilogy of albums that he has released since the start of 2014, drummer/ composer and storyteller Sean Noonan released, In the Ring is the second album in Noonan’s A Gambler's Hand chamber music series, in which Noonan writes for and performs with the NY-based Momenta Quartet: Emilie-Anne Gendron and Adda Kridler on violins, Stephanie Griffin on viola, and Michael Haas on cello.

On In the Ring, as he did on A Gambler’s Hand, Noonan utilizes the strings as extensions of his own limbs, both conceptually and literally. “I learned a lot from both making and touring with A Gambler’s Hand in how a string quartet strives to be one organism and similar to how I condition myself on the drum kit. As my compositions and performance on the drums were in effect a reflections and extension of one another, “ explains the drummer. “Yes both works belong to the same chamber series but however there is an aesthetical difference between In the Ring and A Gambler’s Hand. The relationship that I’ve established between the strings and myself behind the drums remains the central musical core of the two projects.”

On his latest album, the prolific Noonan presents a collection of song cycles that together tell a story about the transformation of a man who get tickled by a sunbeam one morning on a mountain top, and who, as the story progresses, wanders and gets lost in a desert and transforms into a coyote. The coyote hitches a ride from the American folk hero Casey Jones, whose train crashes at the bottom of the sea, where the coyote transforms into the Celtic mythological creature known as a Silkie, and eventually back into his human form. As a result of his adventures, he loses his shadow; he can only reclaim it by challenging his own shadow to a round of shadow boxing In the Ring.

“This song cycle is intented to be performed in sequence as a single entity, and is a reflection of the American cultural melting pot experience ,” says Noonan. “Often after riding the C Train in Brooklyn and wandering around the planet I found myself collecting stories and finding characters so much they invited me to dinner. Sometimes at the table there were folk heroes and even later I had tea later with Alex Lomax.

Noonan incorporates cultural archtypes from a variety of sources, such as Casey Jones, and the Native American trickster/deity, Coyote, into his stories to illustrate some common themes that he’s discovered in his personal explorations.

In the end I noticed a similar pattern that range from John Henry to Pecos Bill and even Rocky Marciano. The story transcends time and place; its themes are derived from sources around America, but it’s also very personal. I wish I started doing all of this long a go and it was when I went to Mali in 2009 that I became to realize the importance of my job as an enthnomusicologist on a grant assignment.

In the Ring is launched by Noonan’s signature storytelling. Rather than playing the role of observant narrator, his poetic approach reflects the innermost thoughts of his protagonist as he experiences his transformation from Man to Coyoteman, to Silkie, and back to Man. From track to track, as the story progresses, the Momenta Quartet alternately takes center stage and provides atmospheric support for Noonan’s graceful recitations, weaving and embellishing a musical tapestry that is as integral to the story as are Noonan’s own drumming and lyrical presentation. This is neither background music nor soundtrack, but an ethereal and innovative contribution to Noonan’s spoken word performance.

“To be able to create through compositional music you really have to dedicate yourself exclusively in understanding Western classical music tradition, just as to play jazz which I spent more part of my life discovering,” says Noonan. In 2009, I took a two year drumming sabbatical to study classical composition at the Aaron Copland School of Music. During this period I completely ignored my jazz roots, and put aside the influences of drummers like Jack DeJohnette, Tony Williams, and Ed Thigpen, in order to learn from Western tonal innovators such as Stradella, Haydn, Beethoven and post tonal innovators Stravinsky, Bartok, Nancarrow and Ives. My questions were, what really made them tick, and what they went through as they composed. I imagined myself conversing with them to get answers to my questions, along with spending innumerable amounts of time studying scores and listening, listening, and studying scores. I had fun with this.”

Noonan composed the pieces on In the Ring with an ear to transforming various story elements into aural pictures that is immediate from the first track “Prelude to the Ring,” which captures the vast openness of a desert with separation and space provided by the ever accending and descending harmonics by the quartet. “Story of Jones,” feels like your riding high on top of a train in an accellerando into chaos piloted by the famous Casey Jone's speed demon whose crash this time throws Coyoteman straight to the bottom of the Salt Lake Line. After he witnesses John Henry's death by Big Steam it is the “Reincarnation of Several Hammers” that transfors all the hammers of the Earth to re-awake and reincarnate to defeat Big Steam and evil machine who killed John Henry the matyr of the working man. “The Final Conflict” the shadow boxing match; mimicked in right and left channels is narrated by boxing commentators apparitions from aka “Rumble in the Jungle”

“This album is multi-dimensionsal,” states Noonan. “In addition to the story, there is still another whole world to experience on In the Ring, if one wishes to explore the compositional development process, or harmonic, textural and melodic expansion of the numerous leifmotifs. I usually emphasize this with all kinds of percussion instruments, so often the drum kit is treated like a jazz instrument, often assuming the role as a soloist, improvising another layer of counterpoint over the rich textures played by the strings. I approached In the Ring to similar to how Gene Krupa really approached his role as the lead solo instrument in his orchestra. He is a heroe now for me and think that drum battle against his shadow Buddy Rich he still having at this moment.

Noonan’s dual passions – his “wandering” folk music theory and the utilization of strings as an extension of the drum kit – have come together on In the Ring in 15 tracks that consist of never before heard songs as well as a reworking of several works from previous projects. Noonan explains: “I really wanted to re-structure and further develop the musical ideas from older pieces like ‘Morpheus,’ ‘Dr. Sleepytime,’ and ‘Story of Jones, originally featured on the albums Stories to Tell and Boxing Dreams, performed by jazz and world musicians way back then before I knew how to truly compose. But I could even hear how I wanted to structure those compositions and and as a result they appear as such on In the Ring,” he discloses.

In the Ring is packaged in a 50 page portrait photo book animating all Noonan's poems. Both Pavees Dance and Bruised by Noon also included a striking visual companion booklet, the former featuring drawings and painting by Malcolm Mooney, who has developed a career as a visual artist over the past several decades, and the latter featuring abstract images in subtle shades of gray with a hazy vellum overlay, which are, in fact, x-rays of Noonan's shattered limbs after a nearly fatal car accident while on tour in Italy in 2003. Both of those books also feature lyrics and poetry, as does the one that accompanies In the Ring, which also includes photos by Dirk Eusterbrock, whose work has been featured in such outlets as Playboy, Muzikexpress, and Alternative Press, with special effects created by makeup artist April Townes.

“Lyrics and poetry are abstract but music is the consequence everyone can connect with. They don’t show the audience what I am seeing when I write them, or when I compose the music,” explains Noonan. “I’ve begun to include books as visual representations of the stories conveyed on these projects, so that anyone can experience the vision that inspired me.”

“Now that I’ve done these two albums, I feel like I want to continue to compose for the string quartet for the rest of my life, since it offers such infinite possibilities,” Noonan concludes. “Currently I am sketching the ‘Skarbnik Suites,’ which will be recorded in London at the end of my UK tour this November, and I’m already working on a series of works for my I.Q. Quartet, that are pure improv concepts.” credits released 21 October 2014

Sean Noonan drummer composer vocals NY-based Momenta Quartet: Emilie-Anne Gendron and Adda Kridler on violins, Stephanie Griffin on viola, and Michael Haas on cello.

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    Prelude to the Ring

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    Licked-n-Skipped-n-Tripped

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    Story of Jones

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    A Lone Wolf

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    Lying Under the Sea-In the Ring String Quartet

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    Dr. Sleepytime

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    Morpheus

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    Fango's Waltz

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    Reincarnation of Several Hammers--In the Ring String Quartet

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    Purge

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    There's Always the Night

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    Nothing to Show

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Bruised by Noon (Vinyl/CD/Book)

Sean Noonan (Solo Drums)

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Bruised by Noon (Vinyl/CD/Book)

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SEAN NOONAN'S STORIES FROM BEHIND THE DRUM KIT CONTINUE WITH BRUISED BY NOON

Accompanying the Bruised by Noon CD or vinyl is an exquisite book, containing the poem captured on the CD's final track which is read by Noonan portraying Finny. The "voice" of the wall is rendered by the drums. "There are a lot of spoken rhythms that mirror my drumming, and vice versa," explains Noonan. "That interplay is an important part of my musical concept. I try to speak like a drummer, and to drum words or say them from the drum set."

As high concept as it may be in theory, Bruised by Noon is still a solo drum work, albeit one by an artist who consistently strives to expand the boundaries of his instrument. "Let's face it, a drum set is not a tempered pitch instrument, nor is played as a melodic instrument," acknowledges Noonan. "Yet on Bruised by Noon I have worked to create not only melodies with my drums, but harmonies as well, even though drums are nothing like a piano or a guitar."

A master collaborator (over the course of the 19 albums that he has recorded, the list of artists with whom he has worked includes Marc Ribot, Jamaaladeen Tacuma, Tom Swafford, Mat Maneri, Alex Marcelo, Aram Bajakian, Abdoulaye Diabate, Matthew Bourne, Momenta Quartet and Susan McKeown), Noonan still managed to find a musical co-pilot for the solo flight that is Bruised by Noon.

A seemingly tireless creative spirit drives Noonan to continually explore new terrain and blur the boundaries between music, art and poetry. "I always feel a natural need to re-invent myself and not to use the same concept more than a few times such as the relationship with A Gambler's Hand and Bruised by Noon," he concludes. "There are no limitations in to what boundaries I might establish and also influences that inspire me, but at the same time I find my vision to be more authentic when I truly follow my own musical instincts and to create art from my own voice."

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    bout 2 - Sean Noonan

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    bout 3 - Sean Noonan

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    bout 4 - Sean Noonan

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    bout 5 - Sean Noonan

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    bout 6 - Sean Noonan

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    bout 7 - Sean Noonan

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    bout 8 - Sean Noonan

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    bout 9 - Sean Noonan

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    bout 10 - Sean Noonan

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    bout 11 - Sean Noonan

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    Bruised by Noon Audio Book - Sean Noonan

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A Gambler's Hand

Sean Noonan String Quartet

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A Gambler's Hand

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A Gambler's Hand music for strings and drum set

creative jazz/downtown chamber music

“…it’s safe to say that you’ve never heard music like this before…will have you wondering why Sean Noonan isn’t a household name.” – Mark Saleski, Blogcritics.org

Saleski’s comments apply equally to Sean’s new record, his first on Songlines since Boxing Dreams (2008). Where that record featured such unlikely combinations as Irish and West African vocalists singing simultaneously in Gaelic and Bambara against raucous guitar and hyperactive drums, A Gambler’s Hand tones things down a bit (just a bit). It’s a suite of pieces for sometimesamplified string quartet and drums, largely composed but with improvisational sections, inspired equally by the great string quartet tradition (Beethoven and Bartok in particular), the idea of a third stream uniting jazz and classical forms and approaches, Sean’s evolving drum language and varied compositional interests, and his inclination to stir diverse elements together into something wildly imaginative that also turns out to be unexpectedly coherent.

Sean Noonan, drum set, percussion, composer, conductor; Tom Swafford, violin; Patti Kilroy, violin; Leanne Darling, viola; David West, cello

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    A Gambler's Hand

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    Caught in the Act-A Gambler's Hand String Quartet

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    Lully

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    Banshee Dance

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    Thank You

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    Ghost Quarters (Improv Canon)

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    Triptych

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    I Feel the Clouds

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    Courage Unleashed

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    Monster of Solitude

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Set the Hammer Free

Sean Noonan's Brewed by Noon

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Set the Hammer Free

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2011 Release: a fermentation of high energy "Afro-Celtic" Punk Jazz that travel to and from America, Ireland, West Africa, Bavaria and beyond. As a composer Sean Noonan is constantly searching for "new musical ingredients to brew" to provoke new creative responses and propel into new areas that explore his ongoing fascination with rhythm, improvisation, and popular genres.

Brewed by Noon's latest album release "Set the Hammer Free" is a fermentation of high energy "Afro-Celtic" Jazz Rock that travel to and from America, Ireland, West Africa, Bavaria and beyond. Noonan has gathered a collection of folk legends, stories, and songs that are improvised and composed from the drum set, inspired and portrayed by Irish playwright Samuel Beckett's theatre of the absurd.

Aram Bajakian Guitar Shanir Ezra Blumenkranz Bass (Electric) Brewed by Noon Producer Dirk Eusterbrock Photography Matthias Gleixner Design Alex Marcelo Fender Rhodes, Vox Continental Sean Noonan Composer, Drums Sean Noonan's Brewed by Noon Primary Artist Andy Taub Engineer Leandra White Design

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    Legends of John Henry

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    Drunkard Landlady

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    Lost in Guenter's Wald-"Set the Hammer Free"

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    Silkie from the Sea

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    Pecos Bill

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    Bean Phaidin

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    Recollections Underneath a Blackthorn Tree

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    Purge 4:27
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    Purge

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