blood drum spirit in concert in Beijing, China.
blood drum spirit brings a new global vision to music, exploring deep into the world's great traditions through the prism of live jazz performance. Ensemble members have lived, played and toured throughout Africa, the Middle East, Europe, the Americas, and Asia, including four tours of China as featured ensemble at the renowned Beijing Midi Jazz Festival. Percussionist royal hartigan has performed with Kenny Barron and Rudresh Mahanthappa; bassist Wes Brown has toured with Earl 'Fatha' Hines and Ed Blackwell; and saxophonist David Bindman has performed with Wadada Leo Smith and Anthony Braxton.
In 1981 drummer, pianist, and tap dancer royal hartigan, bassist Wes Brown, and saxophonist David Bindman met at Wesleyan University while studying with master artists from Africa and Asia in Wesleyan's renowned World Music program. They later formed blood drum spirit, with pianist Art Hirahara joining the ensemble in 2003. The group has performed at universities and festivals across the United States and Asia, being the headline ensemble for the inaugural and subsequent Cultural Center of the Philippines (CCP) Jazz Festivals in August 2011 and September 2013, and performing in Hong, Kong, Shanghai, Hangzhou, and Beijing, China, in 2001, 2004, 2006, and 2008, and 2013. The ensemble members feel a responsibility to live and share music with people across the globe, learning from others as well as giving: offering residencies that include master classes, ensemble rehearsals, lecture-demonstrations, workshops, and concerts.
blood drum spirit adapts elements of world cultures into its music, including South Indian solkattu rhythms, tala (time cycles), and raga (modes); Javanese gamelan structures and rhythms; Philippine kulintang ensemble instruments and timbres, Turkish usul and hand drum techniques; Gaelic bodhran rhythms, Native American songs; West African instruments, melodies, forms, and rhythms; African American clapping plays, camp meeting shouts, and New Orleans rhythms: all embedded within the fabric of a uniquely American Jazz compositional and improvisational sound and style, as experienced in its two Innova double-CDs.
Our ensemble has collaborated with cutting-edge artists in diverse disciplines including African master drummers and dancers Kobena Adzenyah, Kwabena Boateng, and Saeed Abbas, Chinese instrumentalists Wang Jing and Zhang Weihua, Indian sitarist Koyel Ghosal, percussionist Lillian Gaulden, Poets Ed Roberson, Mwalim 777, Eric Andrade, and Tyrone Henderson, the Price Memorial AME Zion Gospel Choir, the Kekeli African Music and Dance ensemble of UMASS Dartmouth and the University of the Philippines, Philippine vocalist Grace Nono, percussionist Jimmy Biala, trumpeter Stephen Haynes, trombonist Bill Lowe, saxophonist Hafez Modirzadeh, guitarists Kevin McNeal (blood drum spirit double CD 1995, 2004), Ayodele Maakeru, James Robataille, and Marvin Sewell, contrabassist David Zinno, and pianists Richard Harper, Li Xiao Guang, and David Lopato. The group also formed the nucleus for Fred Ho's Afro-Asian Music Ensemble, and currently is the core of the David Bindman Sextet with trumpeter Frank London and trombonist Reut Regev.
Our music is a vehicle to express the spirit of the African American heritage and the musics of the world, who we are, and what we can give to the world's peoples.
Our repertoire includes both original and historic compositions in the American Jazz tradition. Our historical works include 17-19th century Spirituals, Field Hollers, Work Songs, Ring Shouts, and Clapping Plays through ragtime, Hot Music of the 1920s, New Orleans styles, the 1930s swing, 1940s bebop, 1950s cool, to 1960s experimental styles, 1970s fusion, and cross- cultural and world influences on the contemporary scene. The repertoire extends over a diversity of styles, historical eras, world cultural influences, all through the prism of spontaneous Jazz interpretation.
blood drum spirit has built an original, exploratory, ever-growing body of work over 25 years, while acknowledging the complexity of the music itself and the apprenticeship and study required to communicate meaningfully in any given form. In performances, ensemble members invite the audience to 'sit up close'; the performances exist not in a vacuum but in close contact with people listening. Compositions are explained, both for their musical aspects (often audience members are invited to participate through singing melodies and clapping rhythms) and for their context: the meaning behind the titles and themes, In addition to the driving swing feel of jazz, some of the ensemble's pieces employ 5, 7, 11, 15, 23, and 24-pulse time cycles that still groove, such as hartigan's arrangements of A Night in Tunisia, featuring an adapted Afro-Cuban rumba guaguanco in 7/8, Caravan, set in a 15/8 meter, and Invitation in 11/ 8. Double Trouble is a fast 7/8 blues. royal's compositions and arrangements Asante Adowa, Wadsworth Falls, Dagbamba, Eve, Adzohu, and Anlo Kete employ traditional elements from West African music and dance, while the arrangements Papago-Saguaro Song and Navajo Blood/Pontoosuc Waters/ Springside Lands are based on traditional Native American music, adapted into 23 and 11 pulse cycles, respectively. South Indian solkattu rhythmic structures are the foundation for Tala Vadyam in an 11-pulse tala and Gati Shadows Within in a 7-pulse tala. David Bindman's Sunset Park Polyphony employs the ancient tirripugar tala of South Indian music, with poetic phrases the basis for time cycle reductions at different speeds, repeating in sequence. The Pilipinas Suite uses kulintang instruments from the Maguindanao people of the southern Philippines and involves a 5/8 section derived from traditional tidtu playing style.
The group's use of time cycles is from a cultural feel and sound rather than a mathematical technique. David Bindman contributes the multi-movement compositions Threads, High Definition Truth, Crisis in (Now's the) Time, Shape 1, Song for Englewood, Robeson House Echoes, and the ballad Song for Your Return, that explore many aspects of time, tonality, timbre, and form. Wes Brown shares his layered work in 3/4, Form. The group's recorded pieces are all live performances, as experienced in a concert. The recent double CD blood drum spirit: the royal hartigan ensemble live in china was recorded on the group's second tour in China, and includes an arrangement of the Chinese traditional melody Flowing Stream joined with Charles Mingus' Goodbye Pork Pie Hat.
For more information on our work, please go to www.royalhart.com/ensemble. You can also reach us at royaljhartigan@yahoo.com or (508) 999-8572.
royal, David, and Wes, at the China's Great Wall in 2006.
Reviews of royal hartigan's ancestors CD and blood drum spirit's two CDs.
Review of Blood Drum Spirit by David Dupont (five stars) in the All Music Guide ***** .....hartigan integrates elements of the music of Ghana, India, and the Philippines as well as Native Americans into his compositions, …..unlike those who use world music as an exotic flavor, hartigan (and blood drum spirit) integrate these influences deep within the structure of (their) pieces, which are an expression of a worldview that goes beyond music…..(blood drum spirit) soars high, lifted by the thermal currents supplied by hartigan and bassist Wes Brown.
Jazz reviewer Ken Waxman: (Blood Drum Spirit) combines non-Western rhythms with a standard jazz quartet to create a series of impressive originals.
Kofi Ghanaba: Father of African Jazz Drumming royal hartigan has committed himself to living the music of the peoples (of Africa)….. whatever he does in his playing and sharing is from his whole being and is the real thing.
Leon Lee, Beijing, China, 2006: blood drum spirit ensemble is the…..confluence of many different musical traditions. (They) seamlessly incorporate West African, Filipino, and Indian rhythms with the African American jazz tradition.
Murray Gusseck: Tapspace music publisher, author, percussionist, and clinician – royal hartigan is one of the great unsung heroes of the drumming world, and it is time the music community made an effort to sample some of the incredibly genuine sounds of his ensemble, blood drum spirit. royal, his music, and the personality of blood drum spirit convey a consummate aural world view. The looseness, weight, and constant searching of his playing echo the voices.....of Max Roach, Ed Blackwell, Elvin Jones, and Tony Williams.
On paper, combining the musical influences of West Africa, America and Asia can appear a bit overwhelming. That's not the case at all on royal hartigan's Ancestors. The pianist/percussionist's trilogy—Blood Drum Spirit (Innova, 2004), Blood Drum Spirit Live in China (Innov a, 2008), and now Ancestors—reflects a universal viewpoint without being neatly categorized as world music. Jazz is pervasive throughout this collection, and the various musical ethnicities serve as reminders of where the genre came from and where it could go.
Ancestors was born out of hartigan's sense of loss. It is a catharsis without closure and an acutely personal exploration of life, death, afterlife and, mostly, family, in the immediate and universal sense. "Flight/Homecoming" opens the set with saxophonist Hafez Modirzadeh covering a spectrum of emotions including keening a brief mourning. Baomi's wordless vocal improvisation continues the theme of movement and transition, before Modirzadeh returns to transport the vocalist to a spoken word suite reaffirming the continuous cycle of life beyond the physical form. Throughout this opening segment, hartigan alternately augments and drives the music, using bells, dondo, bass drum and hi hat before moving to piano.
Within the two-disc set, hartigan's own family emerges as a Greek Chorus. A poem by his grandfather is carried by Sandra Poindexter's poignant violin work, while hartigan's tap danced "Waltz Clog" is a tribute to both his uncle and mother and in a much lighter vein. Pop standards of past generations, as well as Tchaikovsky's "Violin Concerto," appear as favorites of hartigan's parents, adding personal insight in the midst of more multicultural styles. hartigan's piano brings to mind Jelly Roll Morton on "Hazel's Dance" and "Five Foot Two."
Haritgan is masterful at tying complex themes into a story, but more than that he brilliantly conveys human emotion through the music. Ancestors accepts sadness and loss as a reality, but also celebrates ongoing rebirth and treats time as an elastic continuum. Musically, he manages to incorporate instruments and styles as diverse as stride piano, Turkish bendir and Chinese zither in a collected work that is both universal and tangible at the same time. Ancestors is a blend of musicology and genealogy that is quite unique and memorable.
Track listing: CD1: Flight/Homecoming; Passages; Three Views; Hazel's Dance; Guanshan Yue; James Eagle Eye; La Vie En Rose/All to Myself/Soliloquy; Waltz Clog; Tenderly; Tatao; The Shadow of Your Smile; Cycles; Railroad Banjo To My Heart; Our Family; You'll Never Know Just How Much I Love You; Adzohu Kadodo Reflections. CD2: Hazel's Dance: Orphan Annie; Midnight Sun; Ray Hart; Parting Veil; Syrinx; We'll Be Together Again; New York Rhythm; Meng Jiang Nu; It Had To Be You; Tchaikovsky Violin Concerto In D Major/Midnight; In Moscow; Hanabi; I Know I've Been Changed; Tenderly; Dondo--Tap Conversation For Frank, Edward, Mary & Richie hartigan; Divine Trance; Five Foot Two; Through The Light; Walking Step.
Personnel: Baomi: vocals and narrative poetry; Conrad Benedicto: philippine dabakan drum; yu fuhua: violin; Danongan Kalanduyan: philippine kulintang gongs; Masaru Koga: japanese shakuhachi flute; C. K. Ladzekpo: west african e e atsime u master drum, dondo hourglass drum; Hafez Modirzadeh; soprano and tenor saxophones, persian ney flute, and western flute; Sandra Poindexter: violin; Timothy Volpicella: banjo; Weihua Zhang: chinese guzheng zither; royal hartigan: bells, percussion, piano, tap dance, turkish bendir frame drum, axatse gourd rattle, dondo hourglass drum, drum set.
Good things sometimes fly under the radar; sometimes they are great things. This has never been more the case than with royal hartigans's Blood Drum Spirit, a jazz masterpiece that has languished in obscurity since its 1993 recording to its eventual 2004 release.
It remains largely unrecognized six years later. Jazz, especially in the US, can be almost religiously hierarchical and introducing an unknown quantity to the ranks of Miles Davis, John Coltrane, or Anthony Braxton may well be viewed as profane or pretentious. However, the benefit to fans of good music outweighs the potential backlash. This qualifies as a classic desert island, end of the world as we know it, entry.
hartigan is jazz Renaissance man. An author, educator, and student/teacher of world music, he has incorporated the sounds, native instruments, and cultural nuances of West Africa and Southeast Asia into a two-disc collection where the emphasis is strongly toward jazz rather than the world music that subtly influences it. Like Collin Walcott's earlier efforts, Cloud Dance (ECM, 1976) and Grazing Dreams (ECM, 1977), hartigan has found that elusive ground that emphasizes the pure innovative nature of jazz without excluding the unique attributes of the cultures hartigan has closely studied and been influenced by. Some time back, Esbjorn Svensson Trio was dubbed the "future of jazz." Had royal Haritgan been known at that time, he may have deservedly shared the mantle.
If Blood Drum Spirit has a centerpiece, it is "Eve," a 28-plus minute epic composed of solo, duo, trio, and quartet formats that easily flow into and out of each phase. Suffice to say, "Eve" is worth the price of admission. In many ways it represents the democratic nature of hartigan's collective style and world philosophy. Guitarist Kevin McNeal's deceptively simple chords and David Bindman's opening saxophone sets a bluesy pace that carries throughout. By the time Wes Brown's bass and hartigan's kit transition into a rhythmic African extended duo, a hypnotic effect has established itself and it is not easily broken. hartigan's percussion work is as musical, or more so, than most of the percussion greats who have gone before him. His versatility could be imagined as a solo percussion work, much the way the Art Ensemble of Chicago's drummer Don Moye is.
To single out tracks is counter-productive here; this is a work of symphonic structure. hartigan's quartet exerts equal effort and finesse across the spectrum of tunes here and selectivity would be nitpicking as the work that builds and develops across the entire program. Each band member is given more than ample opportunity to solo and in every case they are stellar performances. Why royal hartigan is unfamiliar to many jazz fans is a subject for another debate. What is clear is that Blood Drum Spirit is a collection that will endure for many years to come.
Track listing: Blood Drum Spirit; Wadsworth Falls; Dagomba; Pilipinas Suite; Solog; Pilipinas; Solog; Caravan; Tala Vadyam; Apartheid Usa Suite; Adzohu; Juba Handclaps; Rodney King Drums; Double Trouble; Adzohu Rodney King Drums; Double Trouble; Navajo Blood/Pontoosuc Waters/Springside Lands; Tie Me Sufre (Teah May Sufray); Papago-Saguaro Song; Eve (Eh Vay).
Personnel: David Bindman: woodwinds; Kevin McNeal: guitar; Wes Brown: bass; royal hartigan: drums, cymbals, and rattles.


Gaetano said, "Hi Susan. I see you are a librarian. My new book, Upside Right, a Children's Guide to Movement, is an easy and fun read for younger children. I have sold it well in CT and TX and have done several library readings for kids. Please view my website - w"
Gaetano said, "Thanks for the welcome, Eric. I see you are an independent author and illustrator. You are fortunate to have the talent for illustrating. I am brand new to this game of independent publishing. I have one book in print and others in the works, but prom"


text:
package ru.job4j.max;

import org.junit.Test;
import static org.hamcrest.core.Is.is;
import static org.junit.Assert.assertThat;

/**
	Test program "Max".

	@author DmitriyBystranov (mailto: dbystranov@mail.ru)
	@version 1.0
	@since 30.05.2017
*/

public class MaxTest {

	/**
		Test add.
	*/

    @Test
    public void whenAddOnePlusOneThenTwo() {
        Max maxTest = new Max();
        int result = maxTest.max1(1, 2);
        int expected = 2;
        assertThat(result, is(expected));
	}
}

redpajama_set_name: RedPajamaGithub


It's a bittersweet moment for this baby-boomer who worked hard to build a legitimate career with an equitable paycheck in the 1980s.
Thrilled Nancy Pelosi is running the 116th. Elated at the number of reps of different ethnicities and sexes populating the halls of government, closer to representing our country…finally.
Saddened that Trump is going to be given media time tonight to disseminate lies and publicly display the sorry state of his mental health.
The most distressing part of all this is how some progress has devolved.
Why do the less-government folk still want to legislate my uterus? If you can't trust me with a decision, how can you trust me with a baby? Don't want to pay for my birth control, quit paying for McConnell's ED meds.
The gratifying part: my daughters are improving lives today despite an era where many things we fought for 30-something years ago appear to be negotiable again. School days still start at 9 and end at 3, and have you checked out the cost of after-school care?
Nonetheless, our millennial daughters continue fighting the same inane issues we faced while, by the way, accomplishing in one afternoon things some members of government won't complete in their lifetimes.
Is there no timetable on evolution?
The notion that a woman is of less value than a white man has got to stop.
As I prepare to listen to POTUS present a made-up crisis, here are the real issues he is clueless about, the ones that desperately need our attention because they are archaic, irrelevant and counter-productive.
My oldest daughter was born in 1984, and I went back to work in 1985 after receiving an offer I couldn't refuse.
Leave it to a leading public relations agency to mount an effective public relations campaign to bring me on board, stirring my anxiety and confidence while assuring me my decision is best for everyone.
Maybe they were right. Just the other day Arianna Huffington published a study revealing how women in 24 countries growing up with working mothers are more likely to work, hold supervisory positions and even earn higher salaries than women whose mothers stay home full-time. Still, my decision felt no more justifiable.
Then there's finding a qualified caregiver to stand in for you for the longest part of the day, which is financially, emotionally and physiologically PTSD-inducing.
You have to earn enough to make the expense worthwhile, and you realize whoever you choose deserves more than you'll ever make. Still, someone you trust will agree for a ridiculously low amount of money compared to the minute-by-minute 40+ hours per week commitment they make, fueling your now bottomless ocean of guilt.
At the same time, there's the struggle of not totally resenting your daycare provider as she shares with unbridled pleasure most of your daughter's firsts. It's not even just firsts. It's every enthralling moment you're not there. Seeing and hearing about the perfectly drawn ice cream cone with the little brown crayon mark drawn out of the lines because the ice cream's melting. At 13 months old.
Next, there's no physical, emotional, social, psychic, hormonal – any scientific-based appreciation – that prepares a mom to leave her baby and feel okay about it, even if she knows her daughter is in great hands.
The concept of sleep or even a nano-second of serenity ceases to exist. Supplanted by events like excessively over-preparing to present million-dollar new business proposals to a conference room filled with men and knowing you have to spend an equal amount of superfluous time focusing on wardrobe.
In the meantime, male colleagues organize weekly college basketball pools and up their attention in March – bracket madness as proof men are of a different species. But, be half an hour late from taking your daughter to the doctor and eyerolls and whispers are legit.
2020 is the 100th year anniversary of women's right to vote. And that power has never felt so significant. Nancy Pelosi simply saying "no" to a wall may have triggered tonight's spectacle, but I feel like it's packing a punch our country will feel for the next 100 years.
That a successful, intelligent, savvy public servant can calmly create such a stir with one word creates an optimism I haven't felt in the endless two years we've been patronized by an old white man's government led by a treasonous, fraudulent man-child.
It's not about the border. It's about the smart, subtle and dignified way the Speaker of the House is bringing Putin's president down. She's showing us it's not male/female, black/white/blue/brown/orange, Christian/Catholic/Jewish/Muslim – it's about simple humanity and the once proud designation of being from the United States, where anything is possible.
Good luck boys. There are a bunch of us who have been gunning for some of you for decades because you have relentlessly judged us on a standard that most of you can't come near achieving. It's not about the border. It's about a contrived pecking order that's never been relevant.
Thanks Chris Kite for pointing this out!
Earlier today, CNBC revealed that Republican President Donald Trump's military parade was going to cost as much as $92M. This is roughly nine times the original estimated cost.
It made the rounds on most media outlets and, of course, many people were outraged about the needless waste of taxpayer money to entertain the President. Later in the day, it was reported that the parade has been canceled, or at least postponed.
This is what good journalism does. This is why a free and independent press is vital to the proper functioning of our nation. This is why it is important to speak truth to power.
According to one of the Washington Post headline's yesterday: Democrats all but acknowledge Kavanaugh is headed toward confirmation to Supreme Court.
Shame on all our elected officials who concede to this nominee, especially Collins (R), Murkowski (R) and Heitkamp (D). Maine, Alaska and New Hampshire residents, if you have a modicum of conscience, and if your senators votes for Kavanaugh, vote them out.
The few undeclared Republicans and Democrats have indicated they are open to voting for the judge, whose Senate confirmation hearings will get underway the first week in September.
Who besides the 1% are such elitists? SERIOUSLY? Setting aside the morally bereft acceptance of Trump separating refugee babies from moms (A. Very. Generous. Concession), now Trump supporters agree those with US visas and green cards who have ever relied on government support — from the Affordable Care Act and Medicare to food stamps and disability — must have their visas/green cards revoked?!
Demographics say primarily white men without college degrees still stand proudly behind Trump and this policy. REALLY? None of you have ever collected unemployment? Filed for bankruptcy? Requested medical disability because of illness or accident?
Check out these facts culled from a series of surveys conducted by one of the U.S.'s most respected public opinion research centers, PEW, which leave us with a clear picture of the Trump demographic.
"What are we to do, other than vote November 6 to constrain Trump? First, boycott Fox News's major sponsors, listed here.
Vote with your wallet and starve the beast.
Again, here are the go-to sites: https://www.foxnewsadvertisers.com and @Consumer FX.


304-Grade Stainless Steel Tank and Vault - Tank: 16 gauge, brushed finish.
Unit Weight - Net 245 lbs. Ship weight = 270 lbs.
Electrical - 120 V ac, 30 amps.
Mounting - Two internal mounting lugs for secure installation. External lugs (2) have security collars. Uses 3/8" bolts.
Filters – Four-bag system uses high performance, synthetic filtration media with 15 sq. ft. filtration area. Two easy-access service doors on rear.
1.5" dia. hose – high-flex, vinyl, crushable, 15 ft. long.
Includes cuff and polyethylene hand tool.
Maintenance-free compressor – 3.4 amps, heavy-duty rated.


text:
package org.cactoos.io;

import java.io.IOException;
import org.hamcrest.core.IsNull;
import org.junit.jupiter.api.Test;
import org.llorllale.cactoos.matchers.Assertion;
import org.llorllale.cactoos.matchers.Throws;

/**
 * Test case for {@link CheckedOutput}.
 *
 * @since 0.31
 * @checkstyle JavadocMethodCheck (500 lines)
 */
final class CheckedOutputTest {

    @Test
    void runtimeExceptionIsNotWrapped() {
        new Assertion<>(
            "must not wrap runtime exception",
            new CheckedOutput<>(
                () -> {
                    throw new IllegalStateException("runtime1");
                },
                IOException::new
            )::stream,
            new Throws<>(IllegalStateException.class)
        ).affirm();
    }

    @Test
    void checkedExceptionIsWrapped() {
        new Assertion<>(
            "must wrap checked exception",
            new CheckedOutput<>(
                () -> {
                    throw new IOException("runtime2");
                },
                IOException::new
            )::stream,
            new Throws<>(IOException.class)
        ).affirm();
    }

    @Test
    void extraWrappingIgnored() {
        try {
            new CheckedOutput<>(
                () -> {
                    throw new IOException("runtime3");
                },
                IOException::new
            ).stream();
        } catch (final IOException exp) {
            new Assertion<>(
                "must not add extra wrapping of IOException",
                exp.getCause(),
                new IsNull<>()
            ).affirm();
        }
    }
}


text:
Match report TCO II – Skanderborg
Driving off to Skanderborg at a forgiving time this Sunday, early hopes of awesome tennis weather to kick off the season quickly got shattered by intense storm winds, slamming car doors while threatening with debris from trees. While windsurfers could be seen packing their vehicles to make good use of the conditions, we put our 3 pack bags in the car to attempt to do the same.
Nevertheless, the hopeful four of us were hoping to have found the perfect combination of old guys, namely the author, Flemming and Johnny, and youth in the energic form of Haris, who was making his debut in these lofty parts of Danish team tennis.
The opponent, Skanderborg, showed to have reinforced previous teams with two new players, Jan, a former 1. division player making a comeback, as well as Hans, who has a past in our very TCO, joined by Morten and Lars on positions 1 and 4.
After warmup, we collectively decided to start things with doubles. Me and Haris played the second double vs. Jan and Hans. I will have to admit to mentally having taken the first set off, and plenty of easy errors lead to a 1-6. We decided to fight back, and were up 3-2 with no-ad to a possible 4-2, which was lost in a rather spectacular point where Haris ended up stopping, not smashing, a very high, very short rescue, that was caught and then point subsequently lost. The set was well played, especially by Haris, who showed that he has improved his game leaps and bounds, but unfortunately lost with 4-6.
The first doubles proved to be an entertaining, well-played affair, with Johnny and Flemming coming up short 4-6, 6-7, losing two set points at 6-4 in the tiebreak.
0-2 before singles, and we thus had to up our games.
Johnny on position one played vs. Morten and did not manage to get away with a W, losing 1-6, 2-6. Asked about his performance, Johnny felt like windy conditions hurt his game, and that he wasn't succeeding in hitting through the ball in the harsh, windy conditions.
The author was put against Jan on position 2, and the short version is that I got my butt kicked. Now it would be easy to relate this to being drained after a 48 hour shift Friday and Saturday before the game, but while not playing well, I didn't play horribly either. Jan put everything back in play, made hardly any unforced errors, and played with excellent touch from the baseline as well as at the net. Sometimes you need to tip your hat to the opponent, and while plenty of games were hard fought, I ultimately had to concede the dreadful double bagel.
Haris was matched against Hans, and was outmatched point for point from the baseline. Not entirely pleased with his game and the conditions, the second double bagel of the day was a fact.
Flemming fought well on position 4 against well playing all-rounder Lars, with an end result of 4, 2. Flemmings impression being, that he could have won the match playing a little better on important points.
Obviously, the result was not great. Conditions were tough, matches were interrupted several times because of rain, and there was plenty of wind, but that affects the opponents equally.
We'll look to learn from the game and come back stronger in the next match against Århus this upcoming Saturday!

redpajama_set_name: RedPajamaCommonCrawl