Festival Internacional Alicante 2016

14 de julio de 2016 § Deja un comentario

Mañana Nicholas Payton Trio & Jane Monheit y comenzamos con uno de los Festivales TOP de este verano 2016… otra vez en Alicante y otra vez de la mano de Tébar Asociados. Un festival de jazz “de verdad” con figuras de primerísimo nivel y respondiendo a las expectativas de los verdaderos amantes de este género q esperamos la época estival para encontrarnos con nuestros ídolos musicales. Así se hace!!!

Captura de pantalla 2016-07-14 16.49.53

fijazz-alicante-2016-cartel

 

Turismo de Jazz… en el mar. Del 28 Enero al 4 Febrero 2017

23 de junio de 2016 § Deja un comentario

The Jazz Cruise 2017 Una barbaridad, están todos! Un sueño para economías holgadas! Intentaré colarme como polizón, una aventura digna de vivirse!

Jazz Panorama 2016 Torrent VLC

14 de junio de 2016 § Deja un comentario

STEPS AHEAD encabeza el cartel del Jazz Panorama 2016

Del 22 al 24 de julio, el festival Jazz Panorama 2016 llega a l’Auditori de Torrent con el mejor jazz nacional e internacional

Torrent, 14 de junio de 2016. L’Auditori de Torrent celebra del 22 al 24 de julio su festival Jazz Panorama 2016. Tres noches en las que los aficionados a este género podrán disfrutar del mejor jazz con tres relevantes formaciones del panorama nacional e internacional.

Para inaugurar el festival, nada menos que los legendarios STEPS AHEAD, capitaneados por su líder desde 1977, el vibrafonista MIKE MAINIERI. Esta formación, denominada originariamente STEPS, estuvo integrada por Michael Brecker, Don Grolnick, Eddie Gómez y Steve Gadd, habiendo acogido a grandes músicos a lo largo de su trayectoria. Su álbum de debut “Smokin’ in the Pit” se publicó en 1978 y fue Disco de Oro en 3 meses. En 1980, el batería Steve Gadd fue sustituido por Peter Erskine, y un año después, Steps Ahead acoge en su seno a la impresionante pianista brasileña ELIANE ELIAS, a la que podremos escuchar junto al saxo de Don McCalsin, el bajo de Marc Johnson y la batería de Billy Kilson.

El jazz nacional también tiene su representación en el programa del festival. Recién llegados de Nueva York de grabar su próximo disco con el mítico sello Impulse!, Andrea Motis y Joan Chamorro, considerados la revelación del jazz catalán, actuarán la noche del sábado muy bien acompañados por Ignasi Terraza al piano, Josep Traver a la guitarra y Esteve Pi a la batería. Este concierto promete no dejar indiferente a nadie, gracias a la combinación del talento y la juventud de Andrea Motis (voz, saxo y trompeta) con la experiencia de un maestro del saxo consolidado como Joan Chamorro.

Y para cerrar el festival, l’Auditori de Torrent nos brinda la oportunidad de escuchar al maestro del funk y ganador de un Grammy, Jon Cleary. Con su premiado álbum “GoGo Juice”, este músico nativo de Nueva Orleans, aclamado por la crítica desde 1999, hace una declaración elocuente y definitiva de su visión artística del funk, la música tradicional étnica de Nueva Orleans. Poseedor de una voz profundamente conmovedora, además de consumado tecladista y guitarrista, actuará acompañado por Cornell Williams al bajo y AJ Hall a la batería.

Los conciertos tendrán lugar en l’Auditori de Torrent del 22 al 24 de julio a las 22 h. Entradas y abonos a la venta en http://www.auditoritorrent.com y en las taquillas de l’Auditori de Torrent (jueves de 17 a 20 h, viernes de 11 a 13 h, y desde 2 horas antes del comienzo de cada concierto).

PDF Jazz Panorama 2016

Captura de pantalla 2016-06-14 11.39.20

Voice in the Night (ECM 1999)

29 de mayo de 2016 § Deja un comentario

Sentimiento Lloyd, Charles Lloyd: saxofonista y compositor fecundo y transgresor, pareja de baile de los mejores clásicos de Blues y Jazz siempre ha sido para mi una referencia en el sello ECM aunq ya desde sus primeras grabaciones para Atlantic con Keith Jarret y DeJohnnette mostró sus dotes de sofisticación y señas de identidad muy marcadas y bien reconocibles. La lista de colaboraciones es larga, me quedaré con genios como Michel Petrucciani, John Abercrombie, Brad Mehldau, Zakir Hussain, Jason Moran, Reuben Rogers, Eric Harland, etc. Destacaré “Voice in the Night” del álbum del mismo nombre en formación con Billy Higgins, John Abercrombie y Dave Holland para ECM en el ’99 LISTEN!

MI0002043355

… play al video presentación para su disco con Blue Note después de 30 años, vale la pena verlo!

A continuación un pase de las portadas de los discos que nutren mi colección…

El pase de diapositivas requiere JavaScript.

Saxophonist Charles Lloyd is a forward-thinking musician’s musician whose supreme improvisational talents and interest in cross-pollinating jazz with rock as well as non-Western styles of music during the ’60s and ’70s established him as one of the key figures in the development of fusion and world music. Born in Memphis, Tennessee on March 15, 1938, Lloyd grew up surrounded by the vibrant blues and jazz scenes of his native city. Given a saxophone at age nine, Lloyd eventually studied with Memphis legend pianist Phineas Newborn as well as saxophonist Irvin Reason. By his teens, Lloyd was not only best friends with schoolmate trumpeter Booker Little, but was also gigging locally with such artists as saxophonist George Coleman and future blues icons including Bobby “Blue” Bland, Howlin’ Wolf,B.B. King, and others.

In 1956, Lloyd left Memphis and enrolled at the University of Southern California to study classical music, ultimately earning his master’s degree in music. During this time, he performed around Los Angeles with a veritable who’s who of avant-garde jazz including, among others, saxophonistOrnette Coleman, saxophonist Eric Dolphy, and vibraphonist Bobby Hutcherson. Also during this time, Lloydbecame a working member of Gerald Wilson’s big band. In 1960, Lloyd joined drummer Chico Hamilton’s ensemble as musical director; replacing Dolphy, who had left to play with bassist Charles Mingus. During his time with Hamilton,Lloyd was responsible for writing and arranging much of the music in the band and recorded several albums with Hamilton, including 1962’s Transfusion, 1963’s A Different Kind of Journey, 1963’s A Man from Two Worlds, and 1963’s Passin’ Through.

By the mid-’60s, Lloyd had developed into a highly adept writer/arranger as well as a virtuoso improviser, and regular sojourns to New York City brought him into contact with such luminaries as saxophonist John Coltrane, trumpeter Miles Davis, saxophonist Coleman Hawkins, Mingus, and saxophonist Cannonball Adderley, whose group he joined in 1964. Also during this time, Lloyd began recording as a leader and released several albums, including 1965’sDiscovery! The Charles Lloyd Quartet and 1965’s Of Course, Of Course. Lloyd continued recording as a leader after he left Adderley in 1965 and formed his own quartet, which featured future Miles Davis alum pianist Keith Jarrett, drummer Jack DeJohnette, and bassistCecil McBee. An extremely creative, intuitive, and adventurous ensemble, Lloyd’s quartet released several exceptional albums during this time, including 1966’s Dream Weaver, the 1966 live albumCharles Lloyd in Europe, and 1966’s Love-In.

However, this ensemble’s appearance at the Monterey Pop Festival in 1966, and the subsequent album Forest Flower: Charles Lloyd at Monterey, are what truly caught the public’s attention. An expansive, sophisticated, and genre-bending performance, Forest Flower found Lloyd and his group in peak creative form mixing his long burgeoning interest in Eastern music with modal and avant-garde jazz. The performance was a highlight at the festival and the album was one of the first jazz recordings to sell a million copies, gain heavy radio play, and garner a wide crossover audience during a time when rock was quickly superseding jazz in the popular mind set.
The success at Monterey buoyed Lloyd’s career, and he spent much of the late ’60s sharing billing at such famed rock venues as San Francisco’s Fillmore Auditorium alongside artists like guitarist Jimi Hendrix, Cream, and the Grateful Dead. Such was Lloyd’s popularity that in 1967 he was voted Jazz Artist of the Year by Down Beat and toured Europe, even playing in the U.S.S.R. during a time when the government was discouraging jazz performances. Lloyd’s genre-bending jazz dovetailed perfectly with the free-thinking experimentation of the late ’60s, and although his music was based in acoustic jazz, many artists took notice and went the extra step toward electrifying jazz, most notably Miles Davis, whose 1969 classic Bitches Brew drew upon many of the same rock and world music influences that Lloyd had experimented with.
In the early ’70s, with his career at its peak, Lloyd withdrew from the public eye and moved to Big Sur to focus on his interest in transcendental meditation and embark on what he has described as an inner journey. He remained out of sight until 1981, when he met the talented 18-year-old French pianist Michel Petrucciani. Inspired by Petrucciani’s immense skill, Lloyd toured with the young pianist throughout the early ’80s and released several albums, including the liveMontreux (1982) and 1983’s A Night in Copenhagen. In the late ’80s, Lloyd formed a quartet with Swedish pianist Bobo Stenson and released several albums on ECM, including 1989’s Fish Out of Water, 1991’s Notes from Big Sur, and 1996’s Canto.
His association with ECM continued throughout the next decade, a time of renewed public interest in Lloyd, and he built a steady body of work for the label, including 1999’sVoice in the Night with guitarist John Abercrombie, 2000’sThe Water Is Wide with pianist Brad Mehldau, 2001’sHyperion with Higgins, and 2004’s Which Way Is East. In 2006, Lloyd released the live album Sangam, featuring Indian tabla master Zakir Hussain. Two years later he returned with another live album, Rabo de Nube, this time with pianistJason Moran. In 2010, Lloyd released Mirror, his 13th album for ECM, once again featuring Moran along with bassistReuben Rogers and drummer Eric Harland. The live album Athens Concert, featuring vocalist Maria Farantouri, followed in 2011. Lloyd continued touring for most of 2012. His next studio effort was a duet offering with pianist Jason Moran entitled Hagar’s Song, which was issued in February of 2013. The same year, the saxophonist was commissioned to write and perform a work for Poland’s Jazztopad Festival in Wrocław. The festival also screened Arrows Into Infinity, a documentary that looked atLloyd’s life and career. It was directed by Jeffrey Morse and his life partner, manager, and co-producerDorothy Darr. The film made the festival and theater circuit before being released on disc by ECM in 2014.
After a nearly three-decade tenure with the label, Lloyd re-signed to Blue Note in early 2015. His debut for the label,Wild Man Dance, was commissioned by the Jazztopad Festival two years earlier. His band on the date included pianist Gerald Clayton, bassist Joe Sanders, and drummerGerald Cleaver, with guest appearance from Greek lyra player Sokratis Sinopoulos and Hungarian cimbalom masterMiklós Lukács. Wild Man Dance was released in April.
The saxophonist invited the guitarist to join him on-stage during a concert at UCLA’s Royce Hall. It resulted in a concert tape that Lloyd intended to use as his next Blue Note album. Darr convinced him to re-enter the studio with Frisellinstead. Along with drummer Harland, guitarist Greg Leisz, and bassist Reuben Rogers, they cut a set of traditional and folk tunes, and re-recorded some of Lloyd’s earlier compositions, including “Of Course, Of Course,” which was issued as a pre-release single. There were two guest vocal appearances: Norah Jones assisted on the pop nugget “You Are So Beautiful,” and Willie Nelson lent his voice to a reading of Ed McCurdy’s “Last Night I Had the Strangest Dream.” Attributed to Charles Lloyd & The Marvels, the finished album was titled I Long to See You and was released in early 2015.

what it is (blue note 1999)

26 de marzo de 2016 § Deja un comentario

Jacky Terrasson… pianista y arreglista nacido en Berlin de padre americano y madre francesa protagonizó con Mark Levinson una de las grabaciones estrella “REACH” q para el sello Blue Note utilizó la tecnología CELLO desarrollada por Levinson.

Influenciado por Bud Powell, Bill Evans y Telonious Monk  es un virtuoso de su instrumento y ha colaborado con grandes del panorama internacional como Michael Brecker, , Minu Cinelu (quien produjo muchos de sus discos), Ugonna Okegwo, Richard Bona, Fernando Saunders, Leon Parker, Cassandra Wilson, Stefano di Battista, Bireli Lagrene, Stefan Harris, Jimmy Scott (para quien hizo los arreglos de su disco HEAVEN) y otros muchos músicos y cantantes de primer orden.

Destacaré “baby plum” LISTEN & ENJOY

MI0002492094

MI0000062724 MI0000303344 MI0000353482

MI0000377193

MI0000388543

MI0000692890

MI0001966062

MI0002030755

MI0003442909

MI0003839793

 

Originally hailed as one of the bright young lions on the straight-ahead jazz scene of the 1990s, virtuoso pianist Jacky Terrasson developed into a sophisticated performer with eclectic stylistic taste. Beginning with his self-titled 1995 debut for Blue Note Records, Terrasson drew high praise from all corners of the jazz world. His feathery keyboard touch is coupled with a lot of power and passion, and a complete understanding of the blues and improvisation, and Terrasson is also a gifted arranger, putting his own personal stamp on well-known tunes. He’s been one of the jazz world’s most talked-about piano player/composers since he captured everyone’s attention when he won the Thelonious MonkInternational Jazz Competition in 1993.

Born in Berlin to a French mother and an American father, Terrasson’s distinctive piano style reflects his old and new influences. In his youth, he spent years studying and listening to recordings by Bud Powell, Bill Evans, and Thelonious Monk. He began playing piano at age five, and his parents were always playing classical music on the stereo. At age 11, he began listening intently to the Billie Holidayand Miles Davis records that belonged to his mother, and at that point he was hooked on playing jazz piano. He studied jazz at the Berklee College of Music in Boston with many other new traditionalists as classmates, including people like Danilo Perez. After graduation, he spent a year jamming at clubs in Chicago and New York before hooking up with ensembles led by his mentors, including Arthur Taylorand Betty Carter. The vocalist told him she needed a pianist to begin a tour the next day, and he accepted, spending nearly a year on the road with her.

Among many other sessions, Terrasson performed on Jimmy Scott’s 1996 release, Heaven, for Warner Bros. He also did arranging for that record. Terrasson continued to perform around the world as leader of his own trio, and has made several European and Japanese tours. He’s one of the most sought-after sidemen in jazz, constantly in demand for touring jazz bands and recording dates. On his 1996 sophomore effort, Reach, he’s ably backed by the same musicians who accompanied him on his debut: bassist Ugonna Okegwo and drummer Leon Parker. Rendezvous followed in 1997, and a year later he returned with Alive.

Released in 1999, What It Is emphasized Terrasson’s compositional skills as well as his technique. A Paris, an homage to Terrasson’s hometown, followed two years later. In 2002 he delivered Smile, a companion piece of sorts to A Paris. He then moved away from ensemble work with his 2007 solo piano album Mirror. Terrasson released the lively trio album Push in 2010, and he returned in 2012 with the eclectic album Gouache, featuring a handful of guest artists including clarinetist Michel Portal, trumpeter Stephane Belmondo, vocalist Cecile McLorin Salvant (winner of the 2010 Thelonious Monk International Jazz Competition), and others. In 2015 Terrasson made his Impulse! Records debut with Take This, which featured a collaboration with vocalist/beatboxer Sly Johnson, among others.

allmusic.com

From Darkness (RAZDAZ 2015)

7 de mayo de 2015 § Deja un comentario

De vuelta con el bajista Avishai Cohen… tras un periodo de inactividad provocado por algunos factores exógenos q poco importan, me alegra tirar de la magia de un “grande” en maneras, temperamento y tendencia bien marcada. Una alegoría introspectiva q desde la oscuridad relata con sus notas un camino de discurso tonal compuesto de sensibilidad y narrativa propia. De nuevo un trabajo q supera las expectativas. Destacaré “Ballad for an unborn” LISTEN

MI0003824975

Marta Ramón entrevistó a Avishai para All About Jazz

All About Jazz: What’s going on?

Avishai Cohen: Playing and touring. Doing what I always do, what I have to do.

AAJ: You are touring but you also are preparing a new record.

AC: Yes. We just have finished a trio record, the last thing I have recorded. They are new compositions. I think it is a more rhythmic CD, it’s getting a lot of rhythms in comparison, perhaps, to the last one [Almah (Razdaz Recordz, 2013)] which has strings and it’s more lineal and melodic. You’ll find new compositions, new visions and colors… It’s hard to explain, I think it’s better just to hear it.

AAJ: And what kind of rhythms have you picked this time?

AC: I think it’s always the same, they are all African. My Latin influence is in there also and Arabic are as well… Some things I hear… Yeah, the influence of the rhythm is so global!

AAJ: From where do you get the inspiration to make the fusion of these rhythms with a contemporary jazz language?

AC: Just from living life, you know. Being open and aware of everything that is authentic or seems to be. Many things affect me, even the sound of a city, which has a certain kind of rhythm. At the end of the day it’s hard to put your finger on what was it exactly that started it. I get always very attached to rhythm, I am a rhythmic person I guess… I always liked to dance…

AAJ: Are you a good dancer?

AC: [Laughs] I don’t know if I am a good dancer but I’ve always liked the feeling, you know? The rhythm, in itself, is such a strong form of expression and communication. I think that it is probably the biggest reason why I am a musician, because of the rhythm. And then of course, the melody and harmony are almost the rides of that. But really, the next trio record is really exciting.

AAJ: That attraction to rhythm is very potent in your compositions. In other musicians we may feel a melodic or an harmonic developing, but in you it is about the rhythm.

AC: I don’t know! I just say that in my eyes, or in my ears, rhythm is such a big part. My other recordings have always had rhythm involved, but in this new one it’s there even a little more. It’s funny because I wanted to make a more rhythmical record and it just came out from the material I had, and it has a lot of exciting rhythms, and it has some beautiful linear, quiet ballads. But yeah, it’s a trio that is really fun for me to play with every night. Anything we do makes us enjoy.

AAJ: Do you feel that you are a universal musician?

AC: I guess I am a universal musician in the way I play all over the world, and that maybe makes me universal. You know, music for me is one of the closest ways to express truth or something that is nature. It is so much itself, it get its own life. I have so much admiration for music, because it says something that other things can’t. Music expresses some things that we couldn’t express otherwise. Music is beyond words and beyond anything else that I know.

AAJ: Why do you think that music is so natural to you?

AC: Wow, it’s a gift! I consider it a gift and I don’t think about it too much so it won’t disappear! [Smiles]. It is such a wonderful appealing feeling that I have to music since I can remember, since I was a kid. Maybe it has to do with the fact that my parents have a natural love for music and I grew up in an appropriate environment. But there is also a personal thing in music for me that I can’t explain. I feel so uplifted with music, it makes me feel better. I was granted such a big gift in my life. Maybe someone can think that it is mad, of course. But that’s the beauty, it is like God. I don’t necessary believe in God in a traditional way but music is the closest belief to God for me, as nature. Music is beyond anything that I can explain so that’s God I guess. I can’t really explain it, I can’t touch it really, it doesn’t belong to you because it belongs to everything. That’s music for me, and I am very, very, happy to be part of it.

AAJ: Is the music for you the way to experience freedom?

AC: I come from the jazz tradition which means that I am a free spirit, I like to be free and I like to express myself. I have a tendency to go my own way, learning alone and developing myself. I have the need to improvise and go outside the box, and jazz is the most exceptional form of art as a musician. I wanted to be free since I was young and that’s why I am into jazz. Though I am very influenced by classical music, pop music and folklore in many different ways, something created by cultures is such a strong inspiration for me as an individual. Jazz embraces most idioms, more than any other genre, and it has gone to many ways where it didn’t used to be, which is good. It is funny because there is jazz tradition but jazz tradition is not to stay in the tradition, so it conflicts itself, which is very interesting.

AAJ: You need to visit the traditions to move forward.

AC: Yes, you can’t be modern without being in touch with the roots, because if you don’t know the way you are gonna jump it. It’s not gonna have the elements to make something new where you still feel the tradition. To be a good artist you need to be in touch with what happened until now in order to push it forward. That’s not always possible, not always easy, but it is what I try.

AAJ: That’s a really philosophical vision—like “Where do we come from”?

AC: Yes, that’s true. As human beings we have the gift of knowledge and intelligence, and emotional intelligence that keeps us in touch with the feelings of the past and gives us something spiritual. We don’t just wake up in the morning, eat and sleep just thinking to survive, we do that as living creatures but we also have the strong elements of art which are the feelings.

AAJ: Do you think you are a transgressor inside the tradition?

AC: You need to answer that, I leave it to you to say that because I can’t answer. But that is what I like in other people’s music and I strive for that. You know, when you hear something really, really, incredible it doesn’t matter if it is one hundred years old, because it sounds like it was written yesterday, it sounds like it is innovative now. So that is what I try to reach with the music I make because I like the fact that people like it, and I like the fact of giving and contributing to the world [smiles].

AAJ: You contribute to the world and it also looks like you feed your colleagues’ motivation to music.

AC: I write music to try to inspire the musicians that play with me because they are a big part of the success of the music, the music doesn’t only depend on me, on writing a beautiful tune, that’s not enough for me. It’s another level to play your music with musicians who interpret it in their own way because you never do that so I feel very lucky in that sense, because the music is better than it would be if I only play it. That’s a great gift that I have, having great musicians who want to play my music. I have a big job because if I don’t inspire them every night to sound new, to surprise people that don’t want to hear something that they have heard before. That’s a big responsibility.

AAJ: Do you think that you have reached “your sound”?

AC: I think you arrive to your own sound as sound as you touch your instrument for your first time in your life, before you even know anything you have your sound. I always try to learn, to be better. But I think my sound is instinctive, and distinctive since I started playing because I have been influenced by music and musicians all my life. But I have always had this cord, like the intention, my intention. So sound is a very deep thing, it’s something that you can’t buy and force, it’s like who you are, and that’s the hard thing in life, regardless of whether or not you’re a musician. When you are musician, singer or player, it’s very obvious what your sound is, either distinct our not [smiles].

AAJ: And do you feel the same with your singing? You have said a few times that when you started singing you explained that you needed time to accept your voice.

AC: Yes, signing is one of the most difficult and scary things I do, it’s like going to the street with no clothes on. You are naked in front of everybody’s judgement, but it is such an intimate reflection of your heart, in the sense that a lot of people can get close to you. Singing for me came later, I was already established as a musician, which made it even harder because I had so much criticism of myself, which is the main problem in life: your own criticism of yourself. It’s about accepting yourself or not. And I had to work on it pretty hard to get the place where you are comfortable, but still today I don’t consider myself to be a singer. Singing is another element which is extremely important in life and in my music but it is just another element, but I have to say that now I feel much more connected with the singing and much more comfortable.

AAJ: Are you singing on your new record?

AC: No, because I decided to make more of a concept record. I wanted to make a total instrumental trio record, which I think has a strong character, and if you put a voice in it wouldn’t be the same. So I am very aware that I wanted to present that in my next record.

AAJ: How do you prepare your compositions: routine or inspirational work?

AC: Uhmm… I have to be feeling close to myself, getting into an isolated mode, and meditating with the piano. I write most of my music with the piano. I usually sit down in front of the piano and if I am lucky something happens. Composition to me is not so much like the piano is my office, no. Composition is me being around an instrument and detecting something when it happens, being aware, being connected to the moment, recognizing something, the hit, a cord, the origin, and where it starts. When that happens I then have the responsibility to take that thing and develop it, and that’s the next level: the continuation of the story. And that can take a day or that can take a year with one song. It’s all about identifying something. That’s how I compose: being aware of a sound, a form of life, the nature in it.

AAJ: You always cite Bach.

AC: Yes! He’s the [greatest] musician that ever lived.

AAJ: He’s in all your interviews, have you got a poster of him in your room?

AC: [Laughs] I don’t! I have looked for it in the stores but they don’t have it! [Laughs] Its funny! Basically when I was very young and I started wanting to be a musician and taking some classical piano lessons and also listening to some Bach at home, because my mum put lot of classical music on the radio. I recognized something in his music, two elements that for me are the winning elements of the music: one was the mathematic sense which is very intriguing and very interesting to me, and the anti-mathematic sense, the soulful feeling, the spiritual or religious art in his music. He is the harmony and melody in its purity in the most elite way. That together to me is the highest form of music. Bach still today is the big inspiration, I always want to be a student of him.

AAJ: Time’s up, an open farewell?

AC: [Silence deep breathing] Music is the story of my life, it says what I am and why I am here.

Avihai CohenPhoto Credit: Youri Lenquette

Jazz entre amigos… Descanse en Jazz

17 de marzo de 2015 § 1 comentario

Besos, abrazos, carantoñas y achuchones múltiples… más que nunca “CIFU”

CIFU_El Jazz en España

Seguir

Recibe cada nueva publicación en tu buzón de correo electrónico.

Únete a otros 3.106 seguidores

A %d blogueros les gusta esto: