Q: short bio?

Jazzy Gentle, side project by Romeo Sandri, producer and player (tenor saxophone, flute and electric pianos) with Acusmatic Group, looking for a future jazzy softness ..
After two trial remixes that were never published (Jazzanova and Femi Kuti remix for some remix-contests) here come the official productions, a remix for Acusmatic Group (my own nu-jazz, cinematic project) and one for Fromwood (electronic, breakbeats sicilian project).
The third remix (for Papik) is just out. All productions are published by Irma Records.

Q: all time favourites?

Q: situation in italy and your region?

I live in a small region, so I’d skip about it and talk about the Italian situation. I think that there’s a lot of good producers growing. In my opinion they represent the future. Past and present are embodied by big names such as Nicola Conte, Gerardo Frisina, Papik, Milano Jazz Dance Combo, Aaron Tesser, Modulo5, Fromwood, S-Tone inc. and many more. I think in Italy we have a lot of great music, but the funny thing is that all those great names are better known abroad than here. Almost the same thing is true for all the great labels we have (Irma, Schema, Record Kicks and more). Maybe the real problem is that in Italy few people are interested in this kind of music?

Click here to view the embedded video.

regards

stefan

Q: short bio?

A: I’ve been playing piano since my childhood. I learned privately and did a lot of self-teaching. Fascinated by folklore, then rhythm&blues, rock and jazz rock fusion. From early years active by songwriting. First professional recordings at State Radio in Poland – popular songs for established performers (recorded still on a vinyl). Then active for film industry, documentaries, tv music and finally advertising. In the meantime setting up several jazz related, improvised/crossover rock-jazz-fusion music groups…

At present – living from doing music – mainly stock music, and some kind of ”environmental music” of ambient background - still exploring new areas – love to improvise to the motion picture/poetry/experimental dance – and just doing MUSIC. I feel myself as a MUSIC-MAKER. Always keen by using modern technology, (since ATARI ST) nowadays coming back to electro-acoustic living sounds.

Q: alltime favourites?

A: Great influence for me is Mahavishnu Orchestra, John McLaughlin fusion music, a blend of jazz-r&b, funk, fusion, acid – like Buckshot Lefonque etc.

but not to forget my first Diva – Diana Ross….

alltime favourite production and thinking – stable idea of longlasting quality music – ECM/Manfred Eicher.

in R&B – Aaliyah and definitely:  Meshell

last but absolutely NOT LEAST – Jazzanova/Clara Hill/ EST/Cinematic Orchestra and all electro-downtempo-minimal scene including pop related groups - Zero 7, Sia.

Q: situation in Poland?

A: Poland is in rapid development nowadays. I’d even say that there are no specific signs of crisis here. people use their free time and go to concerts, listen to music, and make art. All statistics (official and unofficial) say so. I would even say that jazz related music is here listened with at least similar attention than in its “native” country – the U.S.

We have quite well promoted from ECM supported Autumn Jazz festival south-west Poland in Bielsko-Biala (Ornette Coleman,Carla Bley, Tomasz Stanko to name a few) and really great  number of similar events throughout the country. Many musicians try to explore new areas of cross-style and nujazz related music. some examples of young groups:

http://www.myspace.com/illectricindustry

http://www.myspace.com/maed

http://www.myspace.com/jazzpospolita

http://www.myspace.com/audiofeeling

http://www.myspace.com/rafalsarnecki

http://ladytullo.com/

http://www.myspace.com/januszzdunekmarienburg

There is also well developing Warsaw Electronic Art Festival

Q: your description of NuJazz and reflection in your work?

A: NuJazz  for me is a kind of 21st century type of Fusion music. NuJazz is a result of a develompent of technology with a taste or flavour of Miles Davis, Jimmi Hendrix, Weather Report etc. with appearance of new generations of talented musicians – who have ears open to the noises coming from their ambience…

NuJazz is still developing, and its future is bright. it will be soon an important part of NuArt. I made several recordings/projects of electronic jazz nu-fusion related music. the technology was very simple, I used some lightly edited loops, played on Rhodes/Yamaha Electric Pianos, and asked some great musicians to participate. The result were -three simple made, partly live recorded productions which existed mainly in the media/production/stock music area. We haven’t decide to distribute these records into the retail market. We don’t even have our websites of those productions, so far.

soundexample slow thinking:

seb soldrzynski – trumpet

raf smolinski – bass

andrzej rejman – keyboards

Another one, more electro – acoustic fusion type of stuff , is here:  www.myspace.com/rhplusmusic

I am quite proud of some minimal pop/songwriting project with extraordinary Eva Gorska on vocals. you may hear it on  http://www.cdbaby.com/cd/evaandfriends and listen to “There Is No Magic” song.

Q: new production or CD?

A: I always look to  new opportunities, new ventures, new people, new colours, new smells…

Recently met with improvising experimental dancers  and made nice performances. live music and live motion. Really inspiring.

New production – chill out related stuff for the media – CD called ”Brightness” (mainly piano inspired lounge jazzy type of thing).

My everyday’s site on myspace - myspace.com/andrewsfusion

Q: personal thoughts?

A: I feel that there is still a lot to explore or invent in music. I have not the feeling that everything already WAS DONE. I also feel that there is a lot to explore in ART combined with the music. Music with photography, dance, poetry, video art to name a few. Improvising is the great HOPE for the arts nowadays. Transitions is the great method for the arts nowadays. Technology is the great challenge for the arts nowadays. Freedom is the great shape for the arts nowadays. But not shape as a limitation. But not freedom just for freedom. Freedom for the pleasure of artists and audience, cross-meetings, exchanging, energy sharing…

The result will always be FRESH.

official homepage Andrzej Reiman

get NuJazzVol3 on iTunes

He told me interesting facts about producing this album and getting this special sound, combining acoustic and electronic elements.

Q: short bio?

A: born 1958 I pick up the guitar at the age of 12. In the 60´s a neighbour of mine owned jukeboxes, so me and my brother bought a lot of great stuff from him. Beatles, Stones, Cream… all the english 60´s heroes and some american too. So i thought playing guitar would be a cool thing including also long hair. In school I had a teacher who was a jazz musician (saxophon player Sven Nygård), a skillfull professional, and he was the main influence to become a musician. On the other hand I was not too keen on studying anything else. So we played throught the schoolyears, and in 1976 I went to study some music on Oulunkylä pop-jazz academy, which I never graduated.

In 1979 I played guitar in a puppet theatre and that lead  me doing various theatre works in different theatres  for over ten years, playing, writing music and even acting. I played also commercial music, weddings, birthdays etc…

In 1993 I joined Rinneradio, maybe the most known finnish techno influenced nu-jazz band. At that time there was the joiker Wimme Saari joiking – joiking is sami peoples chanting, kind of singing – with Rinneradio, but after a short time Tapani Rinne ,the leader of the band, decided to form an own band round Wimme and asked if I would be interested to join. So we started Wimme and we are still working with it.

With Wimme I have toured over 30 different countries during the years and published  4 cd´s, fifth is on it´s way, so it is reasonably known band and artist in the world music scene.

Tunto started in 2003 when I met Jyri Terämaa, a musician from schooldays, and we thougth that it would be nice to play something sometimes. So we set up the date and asked other guys to rehearse, and Petri Heimonen was the only one who actually came. So we formed a trio. We decided to make a cd with our own stuff. So I wrote some music and Tunto made it´s first cd in 2004. I produce Tunto cd´s and Jyri is the technical wizard with the computer and programming. Tunto cd´s are published by Aani records, a label me and Tapani founded.

Q: alltime favourites?

A: To name a few: Stan Getz and Thelonius Monk are two players who went right to my vains when I started listening jazz. I´m a huge bossanova fan so Stan Getz is of course the man. Monk´s world just sounds right to my ears. Then there are of course a pile of jazz players, mainly sax players, all the greats you know. I always liked Jethro Tull and Ry Cooder, Randy Newman is great, Paul Simon was a huge influence when I was younger. Dispite not listening Frank Zappa so much I like his work a lot. Weather Report also. I´m not so much in guitar players as you see, but Jimmi Hendrix must be mentioned and Charlie Byrd, Charlie Christian, Freddie Green, Herb Ellis, from the “good old days”. In Finland there was a young guitar player (still is, but not that young anymore) in the beginning of 70´s called Jukka Tolonen and he, playing progressive pop-jazz, was a major influence to all young players of that era.

Q: situation in Finland?

A: In Finland we have a very good education system for musicians nowadays, maybe too good, so the country is full of wellplaying young musicians. Unfortunately the gigs are hard to find and especially gigs where you get paid. This is the reality of those who make  music in nu-jazz context, that is jazzy, modern, computer included stuff. Finland has also a quite small population, 5 million, so there is not much audience for this kind of music. But there are some clubs to play and guite a lot cd´s are publised, and a lot of young skillfull players around.

Q: your description of NuJazz and reflection in your work?

A: When I joined Rinneradio in 1993 to play few gigs I immediately was taken by the thought of being free in ones music and playing, and that has also become  the main idea for me, while making music. The other important thing I learned from Tapani was the idea of studio being an instrument and the way actually make music in studio with the studio. I got also one of the best advices from him ever, concerning playing. When we had our first  rehearsals in 1993, Tapani said to me “play anything as long as it sounds good”. I also think one must try to do fresh things and “keep the music alive” by experimenting new things, rather than do what is already been done many times before and usually better than you can. I also find working with sounds very interesting ,and to me sound “means” something and it connects to some time, place, situation, era, etc. So the computer is a ideal tool soundwise. This thought of “everything means something” is due to my theatre days, where you learn to think the connections of various things and what it eventually will mean.

To me the term nu-jazz means mostly that the music is from nowadays, not from yesterday, also it has the feel of freedom included as jazz had and still has, when it is at it`s best. Also an undescripting feel of “danger” is not  forbitten. And there must be some “thruth” in it, whatever it is. I also share the thought of music describing, as well the world one is living in, as oneself as a person. Whatever you do it describes and represents you anyway, so how would you want to be described and represented?

Q: new Tunto production “lempi”?

A: Tunto´s third cd “lempi” was published late May 2009. Lempi is an old finish word for love and affection and it also has a double meaning, dear or favourite. So all the songs are titled having “love theme” in mind. The music is moving maybe a bit more towards worldmusic and maybe some hints from the contemporary modern music also. I play more acoustic instruments myself, which I prefer, but I didn´t earlier, because I play them in Wimme, so I wanted to Tunto be different in that sense. But now I have taken the banjo, ukulele and acoustic nylon guitar in Tunto also, and I just bought a baritone ukulele (watch out!). There is also a bigger contribution from Rudi Merz, the jodeling swiss, who was jodeling one song (müesli-musig) in “kevyt”, the second album. I also wrote  two pieces for solo cello which I hadn´t done before and I like the sound of cello and bass flutes in “yearning music” very much. There is also more alto and bass clarinet on themes by Petri Heimonen and I think I will use them more on next cd and Petri just  bought  a contra alto clarinet which is a real killer.

This third one was the hardest to do, because it was very hard to find the right sounds, and there are songs that were played from soprano-sax to tenor-sax to baritone-sax to bass-clarinet, just to find the right tone. Working with saxophones in lead, feels easily too “obvious” and often too “sweet” also. It`s the same with the electric guitar and I try to avoid this by playing some baritone electric guitar instead.

Well, “lempi” is out there now and I´m reasonably satisfied with it. Now it´s up to the people to find some “lempi” of their own.

official homepage Tunto

listen and download cd on itunes

Click here to view the embedded video.

thats a new step in controlling especially in live situations. this new feature will be very interesting in combination with the max for live devices because it supports the open structure of max/msp. so it opens a flexability for all musicians and producers who want to improvise with material and devices in Ableton Live.

more information:

novation launchpad

i hope you like it and comment it!!!!

in this blog i want to portray pete fletcher, a guitarist and producer from scotland, UK. he is the owner of the label “Nu-Jazz Europe” and a member of the network NuJazzConnect. in this interview he give a deep insight in his musical world and concepts. for further information visit www.nu-jazz.net

Q: short biographie?

A: Started life in music as a guitarist in a Rock and Roll band in the early 60’s. Travelling around Scotland in an old Bedford van playing all kinds of uninteresting venues. Meeting up with like minded musicians who were all trying to make their mark in the music business. Then I heard Wes Montgomery and his music changed my whole way of thinking, getting into Jazz/Blues playing in a number of small Jazz groups. Listening to Miles Davis, Yusef Latif, John Maclaughlan, Chick Corea, Weather Report, Mike Stern, John Abercrombie and the Art Ensemble of Chicago etc etc made me realise that music is a lifetime journey and certainly not for the faint hearted and I decided to enlist for the duration.

I managed to join Big Bands and that helped me develop some discipline in reading charts. Moved into a smaller and more free playing progressive jazz groups.

About two years ago I was introduced to Raymond MacDonald and his approach to music pushed me into another direction welcome to the world of improv jazz.

Currently I’ve been rehearsing a new quartet (flute, electric guitar, laptop, guitar synth and FX pedals, Double Bass and Drums) and I spend a lot of my time developing new projects for my independent record label Nu-Jazz Europe.

Q: your all time favourite tunes?

A: 1: Miles Davis/Gil Evans “Sketches of Spain” A totally groundbreaking jazz album, don’t think there has been anything to surpass that since.

2: Miles Davis “Tutu” another milestone (excuse the pun) in jazz.

3: John Abercrombie “Open Land” with violinist Marc Feldman an incredible piece of work.

4: Mike Stern Tipantina’s have a DVD of Mike Stern in Paris playing this piece and it’s better than the original CD recording. Mind you working live with Richard Bona, Dennis Chambers and Bob Franceschini means it’s always gonna sound great!

There’s tons more but I’d run out of space.

Q:your label nu-jazz europe?

A: Nu-Jazz Europe music label came out of a previous label Sub-Urban Collective, we produced an album of original music based on stories written about the city of Glasgow. We tried to follow that up with an album of Scottish musicians creating their individual versions of Gil Scott Heron songs. We talked and met with Gil in New York and got his approval on the project but through unforseen events the project was never completed. So out of frustration I embarked on Nu-Jazz Europe. The philosophy of the label was to create a free environment for musicians, composers and artists to collaborate and experiment with new ideas in music and with considerable help from Raymond MacDonald (One of Scotland’s leading improv jazz musicians) we embarked on our first album “OTHER VOICES” combining the spoken word and jazz improvisation. Raymond teamed up with Aoife Mannix a poet and author and we produced this album over 2 days in the Centre for Contemporary Arts in Glasgow. (The album has been received with critical acclaim.) The latest album (just released) called “CITIES” features the talents of three Scottish musicians, Raymond MacDonald, Neil Davidson and Tom Bancroft fusing with two Japanese improv musicians, Satoko Fujii and Natsuki Tamura. It’s a really exciting album and it’s now available on CDbaby.com and soon will be available from iTunes and specialist download sites.

We have lots of other collaborative ideas in the pipeline and hopefully some of them will come to fruition early next year.

Q: your definition of nu-jazz?

A: Now that’s a really hard one to answer, jazz is so many things to so many people…as is the term nuJazz. My own interpretation is bringing together a combination of unusual sounds from unrestricted sources, which can be structured or unstructured in a way that when fused together create an audio/musical challenge to the listener.

Q: your new album falling?

A: After releasing “Last Man Standing” which was a walk through my family history, I found it difficult to accept that I had become the last man standing in my family. The new album “Falling” will be representative of the first phase of my emotional journey after the realisation that I had become the last man standing. To date I’ve completed 3 songs and have lots of random conceptual ideas that will eventually become 7 songs in total. Looks like my original release date was over ambitious and the album will probably take me into end October to complete.

Q: your future and suggestions for producers in nu-jazz?

A: Keep one’s mind open to new ideas, respect unusual material that on first listen may be difficult to understand, and don’t be afraid to take chances.

Q: your self-definition?

A: Music enthusiast, veteran, moved in and around a number of alternative scences since the 1970s. Never became a purist in any- so have a wide appreciation.   Former non-achieving punk rocker, more recently fruity looper, and soul DJ. Prevously spinning across the board on the northern soul scene in the Nottingham, Leicester, Derby area- most recently hosting a weekly alternative dance music radio show on  Amber Sound 107.2 fm Ripley, Derbyshire United Kingdom.

Q: Selection of best artists and albums over the years?

A: Bowie- All LPs up  to and including Lets dance
Brian Eno-  Another Green World
Temptations- Masterpiece
Four Tops, Supremes, Martha and Vandellas (Motown)
Dusty Springfield – Dusty in Memphis
Specials
The Jam- In the City
Pulp- His n Hers
Iggy Pop -Soldier/Lust for Life
Grover Washington Jnr- Mister Magic
Dreadzone-Second Light
Leftfield
Trans Global Underground- Dream of 1000 nations

Selection of best soul 45s

Lenny Curtis- Nothing can stop me now
Lou Johnson- Unsatisfied
Sly and Family Stone – Family Affair
Kris Petterson- Just as Much
Sam Cooke -Twisting the night away
Spencer Davis- Keep on Running
Curtis Mayfield- We got to have peace
Otis Clay-the only way is up
Bob and Earl- Harlem Shuffle
Ramsey Lewis- Wade in the Water
Candi Staton- Young hearts Run Free
Dany Livingstone- Suzanne Beware of the Devil
Ray Charles- Hit the Road Jack
Fontella Bass – Rescue Me
Luther Vandross- Never too much
Nolan Porter- If I Could Only Be Sure

Best live acts witnessed

Bowie (Earls Court 1977, Glastonbury 2005?), Fatback Band, Donnald Byrd and Blackbirds, BT Express, James Brown, Ian Dury and the Blockheads, Hybrid-Groove Armada-Faithless on same bill (Sheffield University), Super Furry Animals, Pulp, Moby, Human Leauge, Heaven 17, System 7/Steve Hillage, Echo and the Bunnymen, Red Snapper,  Madness (Rock City 1980), Young Marble Giants, Japan, Limmie and Family Cookin, Brass Construction, Be Bop Delux, Merz, Coldplay, Killers, Lemon Jelly

Best current artists

Smoove and Turrel
Mario Biondi
Red Snapper
The Dining Rooms
Ju JU Orchestra
Deekline and Wizard
Joey Negro
Miguel Migs
Fred Everything
Lisa Shaw
Timewarp Inc
H&H Soul Survivors
Groove Diggerz
Sharon Jones
Ben Westbeech
Tal M Klien
Alf Tumble
Marc Evans
Koop
Jazzanova
Lorenzo Al Dino
Alice Russel
Hint
Sharok Sound of K
Exchange Bureau
All Good Funk Alliance
Uptown Funk Empire
Dusty
Tuomo
Brenda Boykin
Jake Island
Kraak and Smaak
Quiet Fire
Zwicker

Q: your radioshow on ambersoundfm?

A: The Sunday Alternative. 21.00hrs until midnight each week. Listen on-line at www.ambersoundfm.com.

A very bold move by the station manager (Chris Knight) to allow me complete freedom to play interesting danceable music. Its not typical of other programes on the station, and probably one of the least predictable programmes on UK local radio.

The idea of the show is to showcase independently produced dance music from across the world. Never focussing on any single genre, instead it seeks to play a refreshing blend of soul, funk, nu jazz, electro, and house music. Proud to place Ray Charles next to the Easy Star All Stars, alongside output from some of the finest independent labels from around the world. Very happy to have given UK radio debuts to several artists from the wonderful SoundCloud Community.

Not the highest standard of broadcast chat you will hear…but perhaps the best mix of quality grooves..A hip-shaking conclusion to the weekend. Very happy to know people listen from outside the broadcast area via live on-line streaming.

Q: definition of the term nu-jazz?

A: Inteligent and sensitive music which you can often dance to (although not essential), based on the spirit of experimentation with classic and contemporary rhythms, instruments and voices. Good nu jazz will prevent the machines from completely taking over and allows traditional regional music to be accomodated.  Unlikely to feature on X-factor or any manufactured industry-led show (thank fully).

Q: development in the music-scene with new medias like podcasts, videocasts ect…?

A: Technology makes it easier for anyone to release music- which is incredibly important, and allows access to expression for artists anywhere at anytime.  With so much music, quality control becomes important from an artists point of view, being different, and standing out from the crowd will be increasingly difficult.
From a recievers point of view, music collection will become difficult to properly appreciate. There was a time when I had less than twenty 45s, but I knew and loved everyone- A and B sides. Now I get hunderes of mp3s a month, and I “lose” great music because it will be replaced so quickly and easily.
I-pods mean people are more experimental and search through eras and genres like picking product from a super market shelf. This is great, and is keeping music that previously shone brilliantly for a short time- before fall victim of the next big fashion, but there is a risk that there will never be great opinion shifting developments because these were often fuelled by  feeling of being fed up with what immediately came before.
Is it time to kill off of vinyl? There was a time – like most veterans- when I would have never said this, but now I am beginning to see that the environmental impact of producing records is surely less justifiable than it was. Now the technology exists to produce, distribute and and deliver music with a much reduced use of energy and materials (also Im getting too old to lug great bags full of 12s around!). That said, I do still love to buy new records- and some of my albums have been with me for nearly forty years.
Video killed the radio star? There was definately an irriversable shift when the visual appearence of artists became firstly as important as the sound, but very quickly more important. Musicians who are not good looking or interesting visually are at a disadvantage, and the production costs for making a video instantly restored the advantage to well-resourced record companies in making this a big hurdle if an artists was looking to compete.   I’m not sure absence of seeing moving images of most of the great Motown artists ever took away from the impact of their music. Video is best used as a visual art medium that doesnt include too much of the artists. Great album art serves that purpose.

Q: your contact?

A: I am very happy to be contacted with new music for possible support on my radio show.  key4soul@hotmail.com see also Myspace.com/Loftybeat

Keep the Faith!!!

Q: short biographie?

A: I am the silent producer behind the likes of Lady Alma, Replife, and Deborah Jordan as well as the abstract re-funker for Fertile Ground’s “Come 2 me”. I have produced for labels such as Sony, Guidance, Gotsoul, Futuristica, and Recordbreakin, and taken them to the next level with my neo-soul and future-funk productions. I also runs a small label of my own, All Massive Productions, putting out a few trax in the between time. My last album was lauded as one of the best of 2005 under extremely limited pressing and i am back in the studio working on my latest and greatest. Always keen on nu-sounds and eclectic vibes, my  trax should be a nice addition to any music lover’s collection. myspace site

Q: how did you step over nu-jazz?

A: My love for Nu-jazz music was by mistake really. I was detailing drum & bass music and decided to slow things down a bit. I was trying to get a little more soul into my groove. It turned out to be a new type of vibe I hadn’t heard before. The track was called The “French Connection” and was produced in the late 90’s. Today, I believe Nu-jazz is more a journey than a genre so looking back I would say it was my first personally journey into Nu-jazz. (the track can be found here for a limited time: Marauder Music – French Connection – By Maxelle Promo (Don-Ray and Stach) Re-Release from 2000)

Q: your definition of nu-jazz?

A: I have a difficult time defining the term Nu-jazz. For me it’s really more about a feeling one gets from the music than anything. I believe the tracks I DJ and produce define it better than I ever could =)

Q: you have a very popular podcast. how do you select artists and trax for your podcastmix?

A: The podcast blog with tracklistings can be found here: http://blogs.myspace.com/index.cfm?fuseaction=blog.ListAll&friendId=52212677

I don’t have any favorites at he moment, however, I have worked with a few artists that I would recommend. The first is Replife, “The Unclosed Mind”, where I’m throwing down tracks with the likes of Dego (4Hero), Kaidi Tatham (Bugz), Arch-Type, Kenetik, and more. The other is Deborah Jordan (4hero, Silhouette Brown, Bugs In The Attic), “The Light” album, where you can find productions from Jneiro Jarel, Simbad and myself.

Q: your advice for artists and producers in nu-jazz?

A: If it were not for the community of producers, artists, music lovers, DJ’s, promoters and whatnot worldwide, we wouldn’t have such strong recognition. More and more of us are interconnected through online networks so we should think globally and act globally as well (not just locally). Produce, remix, share, perform, and promote music that encompasses nu-jazz traits worldwide. Take advantage of the information age.

More information about don-ray can be found at the following address:
http://www.facebook.com/pages/Don-Ray/16634735365
www.allmassive.com
Don-Ray
www.myspace.com/allmassive
www.giantstep.net/jukebox

Nicole Eitner remix is scheduled for about 9.25 (21.25 hrs) – following a nice vintage William Orbit track.
Watchtower for 10.40 (22.40 hrs)- following an i-monster track.

stay tuned and make comments
regards
stefan oberthaler aka keyminator

it took a long, long road to reach the final cut of the production to the video to the song “perspective”. but finally we did it!!

my friend ulli oberforcher, who is involved in the austrian filmindustry wrote the script to the video. the basic idea was to bring out the different perspectives in a visual way. the result is, that the background rotates. so the background is an important part of the video. another main idea was to bring the singer marina trost in different positions and also in this rotated complex. in the second part of the video her body stretches from left to right and overcomes gravitation rules.

so it was a great experience to work with this guys from SATEL-film and i think the result is very inspiring.

keep on Alex and thank you so much-deep respect.