This sensational musician released his album entitled "Freedom" recently to critical acclaim. Greg Cummins finds out why in his interview with Scott. This is a name you will hear about a lot more often soon.
G.C. Greetings Scott & welcome to Sea Of Tranquility.
S.J. Thanks Greg, it's really great to be here!
G.C. Have you heard of our web site before now?
S.J. To be honest, I hadn't. But that's what is so great about the internet. You can never stop finding new sources
of information about a given subject.
G.C. Well to give you a brief understanding of what we do. Originally we concentrated on heavy and progressive metal reviews of new releases but have introduced many more sub
genre to the fold. We now find we have a growing audience interested in melodic metal, classic progressive rock, jazz fusion, avant garde and a few additional styles that
manage to squeeze themselves under the progressive umbrella of music that the normal radio stations won't touch. Your music has that highly sought after jazzy / rock / fusion element that seems to appeal to a lot of
people who are looking for something more challenging and rewarding these days.
S.J. I love the fact that there is a growing support for all of the different genres of progressive music. It seemed to falter for a while, as the industry rebelled against high production value, and complex music. It
appeared as though the early 90's saw the death of fusion, and progressive music, for a short time, until the internet gave the power back to the artist and consumer.
With sites like yours, people can now have a place to discover this kind of music, and the artists are able to remain focused on their passion for creating interesting music, rather than falling prey to what the current trends
tell them to write. I had honestly considered, for many years, fusion to be dead, and any hope for ever doing anything with it, seemed impossible, based on the decline of bands like Chick's Elecktric Band. But they have all had a resurgence in recent years, and the Internet has allowed so many artists to find a new audience, and so many new artist to emerge.
G.C. Have you found ready acceptance for your music or is the typical ignorance of the mainstream music media still to blame?
S.J. Actually, I have found an exceptional, and surprising acceptance of my music, because I have not attempted to use mainstream channels through which to market it. I have
found many supporters and an immediate response via participation in the forums and message boards on the web. I have to thank those fellow forum participants, and their
friendship, for much of my recent success.
G.C. What is the best way for aspiring musicians like yourself to reveal your talent to the world?
S.J. First of all, be determined and tenacious. Have a near obsessive compulsion for getting your music heard. Second of all, believe in yourself, if you don't, no one else is going to do it for you. Third, find a way to distribute your music. Record labels are out there that
will help in part of that process. But releasing your own C.D. independently, is done all the time. I have been extremely fortunate with Eric over at Progressive Arts, as he has really championed my music, and done so much to get this C.D. heard. He is a Godsend and unique in the business.
G.C. How are sales of the new CD going so far?
S.J. Really well. I mean, let's face it, it's not the new Britney Spears, flying off mall store shelves by the millions, into the hands of every pre-teen (he he). But for what it is, it's been steady.
G.C. Have you been able to identify a demographic split of the ages of the people who are interested in your music yet?
S.J. I haven't done any real market trend test, but I'm pretty sure it falls into the 24-50 age group.
G.C. I have noticed a lot more hits on our web site after the review of "Freedom" was posted so I imagine the internet is helping to spread the word for you. Do you like the internet as a means of distribution or would you prefer to have your product distributed through the normal retail channels?
S.J. As I said, the net has revolutionized marketing and promotion for the artist, but I think to some degree, both can be utilized. And really, what is considered "normal",
is changing. I'm glad to hear that your site has experienced increased traffic; more people need to hear about what you do, and those who you support.
G.C. Besides a few tracks involving some nice sax work from Bill Elrod, it's hard to believe there is only one musician involved with this project. Do you ever engage other musicians when playing live or are your performances
based on a "One-Man-Show" affair?
S.J. Oh yeah, I always play with live musicians, the brilliant Bill Elrod included, but this C.D. was different. I had already written and finished the sequencing on 13 of the 16 tunes, back in 1995. Even releasing this collection of compositions as a C.D., was
initially unintended as such. In January of 2002, I pulled these particular tunes out of the dust, on a whim, and laid down a few guitar parts and solos, to start off. When
those initial tracks were finished, I enjoyed the process and result so much, that I spent 2 weeks recording 80% of the parts and solos heard on the disc. Over the course of the next year, I tweaked out the parts, added solos, and released it with Progressive Arts.
G.C. You will have noticed in my review I was really impressed with the crispness of the drumming in all of your songs, even to the point of disbelief that no-one else was there in attendance. How do you manage to include
so many brilliant fills, triplets and other intricate gymnastics without tying your body into knots? Do you use any special effects at all with your percussion?
S.J. You see, back in 1992, I bought my first computer, a Macintosh Classic II. Along with it, I bought some mid-line software for notation, and some software for sequencing; along with a mid-level Roland MIDI keyboard. When I set out to sequence in the sequencing software, I
became frustrated with the results of having to play, by hand on a keyboard with a click, the drum parts. They sounded fake. So, from that point I fell back on my first instrument, drums, and went to some drum transcriptions
books. I worked, at first, with just inputting the specified parts into the notation software, with the intention of transferring the parts into the sequencing software. However, I found that there was a pretty powerful sequencing tool within the notation software and after some experimentation, found that I could just do everything within that context. At the time, I just composed in every possible context and style, trying to make more realistic, the sequenced parts. Back then, I had a couple of things to consider. One, I couldn't afford to pay world class musicians to play the tunes I was writing; and Two, there was no affordable home recording system
that I could stand, to put guitar parts down. It was all tape based, four-track oriented, and I refused to compromise the little fidelity I had achieved within the first generation of MIDI instrumentation. So, I decided that this music was going to live as my "superhuman
Macintosh" band, and I set out to make the parts as realistic as possible, but with no guitar. (When I recorded the guitar parts for the C.D., I was able to use ProTools and retain the highest degree of fidelity.)
So, to be clear, every note of this disc was sequenced in notation software. (Except the guitar parts - which I played in real time; the sax parts -which were played in real time by Bill; and the live drums on tracks 14 and 15
-which I played in real time, acoustically) But the rhythm section parts were the result of literally inputting, note by note, every drum fill, keyboard run, bass line, marimba part. It's like have a piece of staff paper, writing out the music, and being able to hit "play". Not done in real time, but as a composer would write. I did input the parts from a MIDI keyboard, so it recorded the dynamic range of my input. So I had to consider, as I ran a solo line, or fill, what energy to give that moment. Nowadays, there are auto generating drum programs that allow anyone to create realistic sounding parts, but know that if there was a buzz roll on the snare on my disc, or ghost notes in
between the hi-hat and snare, I had to figure out what that would be, literally, and write every note. The one thing I did with the keyboard solos, was to input them as
quickly as I heard them in my head, without going back too much, so that they felt more improvised in real time. Things like that gave the parts a more realistic sound.
Going back and laying the guitar parts was tricky, too, as I had intentionally composed ALL of the disc from the keyboard, to stay away from guitaristic traps and routines. So I really had to woodshed to get those guitar parts laid, especially the ones that followed the keyboard lines in unison, or voicings that mirrored the keyboard voicings, were particularly challenging. It was as if I was learning someone else's music, as I had not
ever seen it from that point of view before. Luckily, I had the notation pages pulled up on my old Mac, for reference. Some have asked if any of it was guitar-synth triggered, which it was not. I had to play against the sequences note for note.
G.C. Your ability to craft so many songs with such intricate arrangements and still maintain a sense of cohesiveness is really impressive. Just what is it that gives you such inspiration?
S.J. Well, back then, I was listening to Chick Corea's Elektric Band, Scott Henderson's Tribal Tech, keyboardist Billy Childs, Mike Brecker, and a host of drummers. I set out each day to write in a new style or feel, to test myself, to see if I could do it. Write drums today as
Vinnie Coliauta; write keys today as Chick, etc. However, I believe my pop sensibilities, back then, helped me maintain a sense of form and accessibility.
G.C. My promotional material didn't include very much information about what was used on each individual song on the album. Can you elaborate on what instruments you used
principally and on which tracks?
S.J. The foundational keyboard used for most of the sounds was an old Roland JV-30 General MIDI unit. Upon pulling these tunes out of the dust, I literally had to use the
old Classic II to generate the sequences, as the software running them, is so old, that it is both out of business and not at all compatible with my newer iMac. But, once I realized that this might become an official release, I went into the tunes and completely re-vamped the sounds using my newer keyboard, the Korg Karma. I still wound up using the drum sounds from the JV-30, enhanced from time to time with the Karma or an old Boss DR-550mkII drum machine. My intention with the release, was to create a more organic sound, more guitar-centric, and warm it up. So, I made sure that I didn't lose sight of the fact that it is a guitarist's C.D. and sharpened my focus on making the guitar tracks as important as the sequencing. The guitars that I used were primarily my Ibanez FGM, but I did use an
old Fender HM-Strat, a Taylor 314CE acoustic, a Jerry Jones Baritone, a Jerry Jones Sitar, a Gibson Chet Atkins Nylon String. The amps.... now that's another story. As I said, I hadn't really intended on releasing this when I first sat down and started recording, so I used the Line 6 POD for most of the distortion sounds, and by the time I realized it, I had finished so many of the parts, that I didn't want to go back and re-do them for the sake of actual amp tones. Don't misunderstand, I love the POD, and am happy with it, but my recorded tone now, is more amp based.
G.C. Although there are many very impressive songs on your CD, I particularly like the tracks, "One", "Heartland" and the brilliant,
"Eek, A Mouse" as they seem to be comprised of so many diverse musical elements that make up so much more than each final song. The way the music tears off at Mach 4 in
a tangential direction but returns to its main underlying theme is done so cohesively and effortlessly. What are the songs that you feel are your best, from a purely compositional point of view?
S.J. I really like "Give It Time", "From Nothing", "Three From One", and "Eek! A Mouse"
G.C. When listening to the opening track, I detected a very strong Allan Holdsworth influence although I am sure there will be many others musicians whose work you admire. Can you give me some insight into whose music you play when looking for ideas?
S.J. Oh man, my list of influences is insane.
On this C.D. I had to keep in mind that I wrote these compositions over 8 years ago, and that how I played would have to match, stylistically, what I was going for, back then to maintain a cohesive style. My main inspiration on guitar for the disc came from Scott Henderson, Holdsworth, Bill Frisell. As a composer back then, I looked to Chick Corea, Billy Childs, the Yellowjackets, and Tribal Tech.
G.C. I noticed some auditory reference to the great Chick Corea himself. I assume you also enjoy some of the other works by Return To Forever, and individuals such as Stanley
Clarke and Lenny White?
S.J. Absolutely! "Light As A Feather" was one of my favorite albums!
G.C. Have you heard Lenny White's album called "Adventures Of Astral Pirates"?
S.J. "Adventures of the Astral Pirates" was a really cool sci-fi concept album, a classic!! Lenny's feel and overall vibe as drummer has always been inspiring.
G.C. Do you have an affinity for very much of the progressive rock music that prevailed in the early part of the 70's?
S.J. Oh yeah! I grew up musically on Rush, Yes, Genesis, King Crimson, ELP, etc...
G.C. They were among the big names that obviously influenced a lot of other musicians over the years as well as forming a large part the foundations of any progressive rock or jazz/fusion collection. Have you delved into some of the more obscure music from the other parts of the world? By this, I'm including some of the older veterans from Italy such as Banco, PFM, Le Orme and others whose
compositional skills seemed to cover so much more territory and contain so much more musically than a lot of other music released at the same time?
S.J. Of these particular artists, I am not familiar.
G.C. Do you shake your head in disgust at a lot of the new music these days or do you find something of value from every sub genre?
S.J. I actually do like just about everything, which baffles some people. I can listen to Linkin Park, and find something useful for my purposes. But I certainly recognize that the level of playing on that kind of band isn't on a Dream Theater level, it is what it is. Yeah,
every kind of music can influence my playing or writing, as I am not merely a fusion musician.
G.C. Would you like to comment on some of the more esoteric bands that you feel are making a truly worthwhile contribution to today's music?
S.J. I tend to like totally obscure fusion and progressive artists like "Planet X", but they won't be having an impact on "today's" music, I'll bet.
G.C. And what about some of the more well know progressive rock bands such as The Flower Kings, Spocks Beard, etc?
S.J. I am not familiar with either artist, but now you have my curiosity piqued!!
G.C. How often do you play live?
S.J. 5-6 times a week. I am very fortunate to be able to play music for a living. Right now and since 1990, I play in the band at my church. I have also been the staff arranger and band director there since 1995; arranging and transcribing everything for our services, which are highly contemporary. We have a full time band consisting of piano, 2 guitarists, bass, drums, percussion, 2nd keys, and a full vocal team. I write for all of those musicians
and often get to write for strings, horn section, and a number of auxiliary instruments. 5 times a week I play for up to 2000 people in this context. The music is so
amazing, and very diverse stylistically, and I consider it to be a highlight of my life. The players are all world class, and great friends. Not to mention the joy of how it applies to the context of my faith.
In addition, I play numerous random jobs around town, many of which are with sax player Bill Elrod. But I've been a full-time musician for 13 years, with no break.
G.C. Would you consider a major tour of America in the future given a wider exposure to your music?
S.J. Yes, but not of this C.D., it terrifies me to think of having to relearn all of it and remember it. I am thinking about the next phase in my playing, and touring is in the picture, but I will put together a different
project for that.
G.C. Steve Vai made some very flattering remarks about your music. How do you rate him as a musician and do you consider him a source of inspiration?
S.J. Vai, especially lately, is a HUGE influence on me. I still can't get over "Passion and Warfare" and it's been 13 years since its release. I recently shifted my focus in my playing a bit, and re-discovered him again.
Brilliant musician, on another planet all together!
G.C. I'd have to agree with you Scott. I personally really enjoy "Fire Garden" as it was the first CD of his that I ever heard but still think of it as his best effort to date. The world
seemed to abandon the thought of having a guitar hero as someone's music to admire and respect.
Are you familiar with Al Di Meola's music?
S.J. Al is the player that got me into fusion. My dad had some of his albums and played them for me, back in the early 80's. I was never the same. "Splendido Hotel", "Elegant Gypsy", "Land of the Midnight Sun ", "Casino", "Electric Rendezvous".... all were personal favorites.
G.C. Funny about that isn't it? It appears that great music attracts a loyal string of devotees, no matter what the style.
It always saddens me to think that so much of the great music from the 70's and some parts of the 80's has been all but forgotten apart from those of us that cherished its very
existence as well as those who are fortunate enough to become familiar with it through friend's suggestions. Do you ever make musical recommendations to your friends or
associates about music that really inspires you or do you believe they have become musically aware as a result of their involvement with your various projects?
S.J. Oh yeah. I am always trying to share as much as possible with my fellow players, to give them as much inspiration as I can. Though most of them are already "musically aware", as you say.
G.C. What do you think of the better known guitar shredders?
S.J. I enjoy skilled playing, no matter what. I prefer those who focus on composition as well as just soloing.
G.C. Are they just wankers or are they showing a certain degree of musical liberty through their own overt virtuosity.
S.J. There is no shame in fully using your abilities. And if you are playing your own music, then who cares? Just play.
G.C. I find the very appealing aspect of each of the songs on your CD is that they are all perfectly composed, despite the near impossible arrangements you have included
with many of them. A lot of less musically enlightened people might shrug your music off as being very introspective and selfish. Do you still believe there is room for outrageously clever virtuosity as long as there is sufficiently emotional depth to the music?
S.J. My music is what it is, I didn't set out to show off, or impress anyone, so if someone gets self-centered introspection from it, they are reading way too much into it. There will always be room for virtuosity in music. From Bach, Mozart, Paganini, Rachmaninoff, Gershwin, or whoever, a certain select audience will always recognize who is really playing music to it's highest level.
Unfortunately, the common ear may not ever know the difference enough to make it mainstream. But that's o.k. I wouldn't want Vai, Johnson, MacAlpine, Petrucci, or anyone
of that genre to be a slave to the industry. Their underground obscurity is what gives them the freedom to keep writing and playing to the highest level.
G.C. Reading through the promotional material again, I noticed you have been featured in a number of different projects including some work with Music & Computers Magazine. The reason I ask this is that a number of years
ago, I bought my son a software simulation game called Transport Tycoon which featured some brilliant jazzy fusiony music that I found very appealing. A number of your songs have that really nice jazzy groove that was also slightly reminiscent of the music found included with the game. Much better than a lot of the artificial computer generated drivel that prevails with some games today! Guilty or not guilty?
S.J. Not guilty. The Music and Computers connection was an article they did about me, back in 1996, focusing on my compositions and sequencing, much of which now make up
G.C. Phew, that got me off the hook. The game sucked anyway! Well, not really. It kept my son occupied for hours and kept me interested in his progress without me wanting to turn of the wretched squeaks and noises often found with other games. At least the game didn't suffer as a result of poorly written music. A lot of music included with today's computer games seems to be so synthetic. What would you suggest to improve it's
S.J. I don't know, a hint of realism would be nice. Perhaps some licensing with major acts.
G.C. Who are the most influential guitarists you enjoy?
S.J. It's fairly jazz and fusion focused, but there are so many. Scott Henderson remains, to this day, my all time favorite (this goes for fusion composer, too). Then Holdsworth, Metheny, Michael Landau, Adam Rogers, Scott
Lerner, Derryl Gabel, Tom Byrne, Steve Schenkel, Steve Masakowski, Pat Martino, Joe Pass, Bill Frisell, Mike Stern, John Scofield, John McLaughlin; then there's the rock oriented players like Steve Vai, Tony MacAlpine, Brett Garsed, Satriani, Eric Johnson, John Petrucci; the more eclectic and diverse players like Monte Montgomery,
Mike Keneally, Ron Thal, Dave Torn, Brent Mason, Michael Hedges.
G.C. And how about the keyboard players?
S.J. Scott Kinsey, Chick Corea, Billy Childs, Oscar Peterson, Bud Powell, Keith Jarett, Herbie Hancock, Joe Zawinul, Richie Beirach, Gary Fiorino, Pete Ruthenberg, Charlie Peterson, Jay Oliver.
And let's not forget sax players: Bill Elrod, Larry Smith, Mike Brecker, David Leibman, Coltrane, Parker, Kenny Garrett, Joe Lovano, Steve Coleman, Gary Thomas.
Not to mention drummers: Mark Miller, Vinnie Colaiuta, Elvin Jones, Dave Weckl, Virgil Donati, Chad Wackerman, Steve Gadd, Kirk Covington, Dennis Chambers, Tony Royster,
Jr., James Jackson, II. I have been talking with Tony Royster for a while, about doing some clinics with him. It's a matter of scheduling, but hopefully it will work out, eventually. He's the fantastic young drummer who was
discovered and mentored by Dennis Chambers.
G.C. I noticed you have mentioned Chad Wackerman whose involvement with progressive rock music is pretty legendary. You haven't mentioned our old favourite,
Uncle Phil. Are you familair with his great
contributions to Brand X as well as his efforts on a truly inspirational album called "Marscape" by Robin Lumley & Jack Lancaster?
S.J. I'm not familiar with "Marscape", but Phil Collins has been a huge influence on my overall musicianship. I always loved Brand X, particularly John Goodsall's frenetic playing. Back when I was a drummer of about 14
years old, I was playing along with Genesis albums in my basement.....tunes like: "Dance on a Volcano", "Squonk", "Supper's Ready", "Los Endos". A huge part of my musical upbringing.
G.C. What about the great bass players of the world?
S.J. Phil Burton, Tom Kennedy, John Pattitucci,
Gary Willis, Carl Caspersen, Jay Hungerford.
Phil Burton is probably the best bassist in the world, and totally unknown. No one I've heard can touch his jaw-dropping technique and phrasing. No one. He's a personal friend of mine, and I play with him a few times a month. He will definitely be on the next C.D.
G.C. Do you know of the music by people like David Arkenstone, Don Harriss or Zazen?
S.J. I'm not specifically into those artists, but the more New Age kind of music is cool, I have listened to a lot of it over the years, for various inspiration.
G.C. Your music is very intensely written and arranged and yet you have a strong affinity with religion. Some people might assimilate your strong beliefs as benefiting from some more spiritually uplifting and peaceful influences such as can be enjoyed through the use of mellotrons and other more symphonic sounding keyboards. Have you toyed with the idea of using some more diverse keyboards?
S.J. Oh, yeah!! I love the whole range of possibilities out there in the world of keyboards. Medeski, Martin and Wood
travel with every kind of ancient and retro keyboard, and they sound so organic and fresh as a result. That's why a great deal of my C.D. focuses on more of an old Rhodes,
and Wurlitzer sounds. Since this disc wasn't a peaceful direction, I didn't get the chance to employ all the more ambient sounds.
G.C. Does your religious belief give you any musical advantages do you feel or are all your songs from within?
S.J. The advantage to my faith in Christ, is that I have a personal relationship with God and believe that His Son died for me. Certainly the music He gave me, the talent to express it, is a gift. It is a choice I make to share it
to the fullest potential, to glorify Him, and not glorify myself. My music comes from the years of practice and study, discipline and determination. It's not like I'm taking dictation. I just happen to know for a fact, that He is the originator of the gift. My pursuit of excellence
in it is my choice. And as long as I stay focused on the Creator, not the creation, it's all for Him. There have certainly been moments of Divine inspiration for me
musically, where I was playing or writing beyond myself. Those moments, I believe, were possibly God-breathed. But, to be clear, being a Christian is a relationship with Christ that ultimately affects my eternity, and my choices as a person. My playing, my discipline to create music at a high level, is a gift back to Him, honoring that gift.
G.C. How long have you been playing Scott?
S.J. 25 years. First on drums, then guitar. I still play drums professionally, as well as guitar. It depends on the need.
G.C. It certainly shows! Are you going to fess up now and admit to being professionally taught or are you a self taught musical prodigy like I should have been?
S.J. I am entirely self-taught. But, I know my theory about as well as a schooled player, composer, I suppose.
G.C. What other genre of music do you like Scott?
S.J. Everything. Literally. Obviously, my preferences are jazz-based. But I have listened to so much music, of so many different styles over the years. This means Turkish village music; New Viennese Composers of the early 20th Century: Schoenberg, Alban Berg, Webern; jazz trumpeter Miles Davis; Tibet Chant; American Folk songs; Free Jazz; Punk; Pop; Bluegrass; French Impressionist Composers Debussy and Ravel; Bach; Shred; Gospel, Blues ........you
get the idea....if I hadn't heard it, I sought it out and listened to it...
I believe in not pigeon-holing one's playing. I stand pretty firmly on the idea of making certain you can play many styles; on being familiar with many styles, so that you can work in almost any context.
G.C. Have you ever heard of our very own Australian guitar wonder called Tommy Emmanuel? He released a brilliant CD
called "Determination" in 1991 that was a favourite for a long time with his audiences.
S.J. Sorry to say I haven't, but now I am certainly curious. It sounds great.
G.C. It certainly remains one of the best guitar based albums I have heard from Australia since Mario Millo's work with Sebastian Hardie and Windchase in the 70's.
Have you heard much of our music down under?
S.J. The Aussie's with which I am most familiar are obviously Gambale, who is amazing. Brett Garsed. And of course, Men At Work...(he he.) But I'll bet I know of more, just that I may not be aware of their Australian origin.
G.C. Men At Work….mmmm…. I reckon everybody should be forced to eat Vegemite sandwiches. We Aussies grew up on it . It helps the soul!
What is your next project going to entail?
S.J. I am thinking about that a lot lately. I have talked with Eric at Progressive about just jumping all over the map, stylistically, release by release. Possibly any one of the following: Progressive Rock w-some vocals;
straight-ahead jazz; a more organic funk/blues based fusion; a live C.D. ....who knows, I will be looking at that in the first few months of next year. And it will be something I can tour.
G.C. Do you have a DVD project in the wind?
S.J. Not yet, but it is something I consider doing in the future. There is an open invitation for me to do a CD-ROM instructional with the "Chops From Hell" folks, but I just
haven't had the time.
G.C. Scott, it's been a delight to have you as a guest with us on Sea Of Tranquility! I am sure our audience has become a little wiser about your music and your own background. Unless you're going to tackle the next version of "The Wiggles plays Jim Nabors Live at The Budokan", will you be sure to send us your next CD / DVD for review?
S.J. That's just great. You just ruined the surprise for my next project! Why do you hate me? Oh well, on to "plan B" "Sigfried and Roy, the Musical".
G.C. Bummer! I was hoping for some Gladys Moncrief inspired Banshee wailings accompanied by the throat warbling gyrations of some long lost South African tribal nomads.
Plan C it is!
S.J. Maybe I can incorporate that into the final dance number with the Tiger and Roy!
Really, it's been an honor to be your guest, and I wish you and this site all the best.
G.C. In closing, Scott, I must admit to being very highly impressed with your CD as I so blatantly stated in my review. I guess my overall observations would have to be that you seamlessly meld so many wonderful ideas together and yet make it seem all too easy. Thanks for dropping in Scott; good luck with your next project and our best wishes for what I am sure is going to be one amazingly
S.J. My sincerest gratitude to you for your incredibly gracious review. I will do my best to live up to it.
G.C. Cheers, Scott! You da man!
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