WR866: Adele M. Wilding

[00:01:07] WITCHPOLICE RADIO: All right, welcome to Witchpolice radio. I'm here with a returning guest. It's been probably about a year or so since we last spoke on the podcast, and I think that my previous interview with the guest on this episode was sort of an unexpected success in the sense that a lot of people listened to it, and I got some really good feedback about it because it was sort of stepping a little bit out of my comfort zone with the podcast. I mean, I talk to countless punk bands or country singers or rappers or whatever it may be, but I think that you're doing something that's very different and still connected to the local music scene. So I'm happy to have you back on show. And I think the best way to start this off is if you want to introduce yourself and give a bit of background about who you are and what you do as an artist. [00:01:46] ADELE M WILDING: Yeah. Thank you very much, Samuel. First of all, I'd like to say belated happy new year to you and your followers. It's good to be back on the show, and, yes, it's just shy of one year, I'll think, since I was on here promoting a different project. [00:02:00] WITCHPOLICE RADIO: Yeah. [00:02:01] ADELE M WILDING: So just to reiterate, my name is Adele M. Wilding. I'm a professional jazz singer, songwriter, composer, and I'm also an educator. I have led my career on both sides of the Atlantic. I have also worked out west, eight and a half years out west in Alberta, followed by a successful five-year stint on the west coast. And then, of course, four years ago, the pandemic happened, and I was dealing with some other personal issues. And I took that as a wake up call from the universe that maybe it was time just to head home and just resume everything that I was doing as an artist back here in Manitoba. And it's great to be here, great to be back. So I would say I've been in Manitoba about two and a half years, maybe a little bit shy of that. And I've been working the local jazz scene and offering one on one teaching as well as freelance educational projects in and around Winnipeg. [00:03:06] WITCHPOLICE RADIO: Well, and I guess the educational side of things is what we're going to be talking about mostly today, because last time you were on the show, we were also getting into that you were doing a workshop on sort of the history and tradition of spirituals. And that was something very unique. And I guess before we get into the new thing, how did that go over? What was that program like and how was it received? [00:03:27] ADELE M WILDING: The workshop that I did, the vocal workshop, which was offered in March of last year, went very well. It was successful. My director at the Manitoba Conservatory of Music and Arts was very happy with it. Our participants were happy. And I was pleased that I was able to offer that particular topic in a wider sense as well, too. I took it to another ensemble between October and December of last year and use that as a vehicle to enable them to sing, to be inspired to sing. And we also use the songs in a harbor showcase for them to perform in front of their loved ones. Getting back to your original question, yes, the spirituals vocal workshop went very well. And I suppose our topic for today is actually piggybacking off the success of that. [00:04:22] WITCHPOLICE RADIO: Definitely. So I do have a lot of questions about this one. I think it's an exciting topic just because of the sort of breadth of different styles and genres and sounds that it could potentially cover. But what can you tell me about the new workshop? What is the theme and the background and what are you hoping to sort of impart to singers? [00:04:42] ADELE M WILDING: So to coincide with and observe Black History Month 2024, which, of course, officially starts on February 1. Excuse me, on the first, actually the first four Thursdays of February, February 1, 8, 15 and 22nd, I will be returning to the adult program at the Manitoba Conservatory of Music and Arts, and I will be offering a workshop called Music of the Caribbean Vocal Workshop. For anybody who doesn't know me on a personal level, I identify as an Anglo West Indian Canadian. So I was born in the UK to first generation British and first generation West Indian parents. The West Indian side was on my late mother's side. She was originally from Barbados. She was born and raised there. And like a lot of West Indians in the post World War II, she went abroad to do some training and to see the world. And it was her love of nursing and a particular psychiatric nursing program just northeast of London, England, that sparked her interest in that country and took her to England. And she met my father, and they were together for seven years before they married and had my brother and myself. And then in the mid 60s, Canada was calling. That's kind of a place where a lot of people were living, too, particularly from the UK. And we settled in Manitoba. So that is why I'm a Canadian citizen. We all are now. So that's why I identify with those three cultures. I guess you could say my brother and I, we're third culture kids. [00:06:31] WITCHPOLICE RADIO: I feel like there's a very large kind of West Indian diaspora in, all over the... I mean, I know places like Toronto have much larger populations, but Winnipeg has a very strong community of people from any one of those islands or having roots in Jamaica or Trinidad or mean, there's just a very strong culture here. And I find that a lot of people from that background are also involved in the music scene and have taken those roots and sort of reinterpreted them and remixed them almost in different ways to create new things. So it's very cool to see that happening here. [00:07:08] ADELE M WILDING: Yeah, that is absolutely spot on, Sam. And I find, too, as you alluded to, the further east that you go in Canada, the larger the community. So, Winnipeg, you know, we're called the heart of the country and the heart of the continent for a reason, because we're right smack in the middle of this huge body of land. And, of course, we have a large West Indian community here, along with our African diaspora as well. [00:07:35] WITCHPOLICE RADIO: Sure. [00:07:36] ADELE M WILDING: And then Toronto is a huge West Indian community, as does Montreal, of course. Montreal has a particularly large Haitian community. [00:07:44] WITCHPOLICE RADIO: Of course, because the French language side of things. [00:07:46] ADELE M WILDING: Yeah, absolutely. So we fit in very well here. And it was easier for us as a family to be able to travel abroad. Like our parents, they would take us from one coast of Canada to the other. So every summer we were either traveling in Canada or we went to somewhere in the states, or we would go back to England or to Barbados to visit family, because they wanted their children to have this well-rounded knowledge of the world and also to appreciate the country that we called. [00:08:22] WITCHPOLICE RADIO: And as we kind of touched on mean, geographically, a small place, but there's so many different cultures and so many different countries and so many mixes of cultures in each one of those islands. How do you sort of approach something as wide of a topic as music of the Caribbean? Because I think that people have maybe different associations with it, but each country has sort of developed their own styles of music very, very distinctly, that are different and have different appeal and different sort of cultural roots. And it's really cool to sort of hear sort of something that's not very far away geographically, but the sound is totally different and they've taken totally different influences from one island to another. [00:09:06] ADELE M WILDING: Absolutely. I think it's one of the most diverse regions in the world. [00:09:11] WITCHPOLICE RADIO: I believe it. [00:09:12] ADELE M WILDING: Yeah. Yes. And as you said, there are so many diverse streams that have developed out of the music for that region. And I have to be honest with you, Sam, even though it's half of my heritage, it's half black culture. This has probably been the most challenging workshop I've ever had to prepare because I had to narrow it right down. The number of musicians alone that have originated from the West Indies. There are a lot of them. You don't hear about them in the mainstream, obviously. [00:09:45] WITCHPOLICE RADIO: Well, not here anyway. [00:09:46] ADELE M WILDING: No, not, I'd say, in the western mainstream, except a few. But over there, certainly we'd go on holidays and we'd hear this music all the time and we'd learn about these narratives. And the good thing about growing up in a mixed household was that a good portion of the music that we'd listened to, we weren't listening to rock, British rock at the time because my dad was a huge fan. He was also a huge Elvis fan. If we weren't listening to rock or western classical music, which was also part of my dad's musical palette, we were listening to calypso and variations of calypso like soca and reggae. And that was courtesy of my mom's side of the family. And I remember very recently before Christmas when I mentioned to my dad that I would be compiling this workshop. He had said to me, well, you know what? I didn't know what Calypso was until I met your mother. It's a style of music... because he's a first generation Caucasian Englishman. So he was born and raised in England. And when the West Indians started moving into England post second World War, in the late 40s and the 50s. Yeah, he was kind of remote because he was in the home counties, which are the regions outside of London. So he was slightly remote with all that. But then he met mom in their nurses training and that's how he was introduced to calypso music and he loved it. You'd see my dad wearing like traditional dress from the West Indies, which has strong African influences. And we'd have parties where we'd have a mixture of British, Canadian and West Indies. Coming over to the house in small town Manitoba. And dad would be dancing away and singing away to the music. And that's the beauty of music, because it just unites everybody. And I know it's a cliche, but it really did have that effect on our family, for sure. [00:11:44] WITCHPOLICE RADIO: And I think. I think on a lot of families too. The way that music from different cultures kind of seeps in and becomes just part of your soundtrack to your know, I'm white. My dad's from England. And I got into reggae heavily from him because he brought. When he came to Canada, he was listening to a lot of Jamaican music because it was big in the culture at the time, when he was growing up. So I listened to probably more reggae than anything else still. And that comes from. And it's unlikely because I'm a white Canadian kid who doesn't have any familial connection to Jamaica or to the West Indies, but because filtered through England, I now have that. And it's one of those things that I think keeps happening with music from that part of the world. It sneaks in through different styles of music and through different weird little pathways and gets embedded in people who maybe you don't expect would be initially interested in it. [00:12:36] ADELE M WILDING: Absolutely. And it's interesting that you mentioned that point about your dad and how reggie was a huge style in England. It certainly was. Especially in the 60s. [00:12:46] WITCHPOLICE RADIO: That's when he was listening to it. [00:12:47] ADELE M WILDING: Yeah, exactly. And of course, England was full on into the swinging 60s, particularly London. And reggae was making its way into the dance halls of 60s Britain. And this is where caucasian british children, or children, I should rephrase that. Teenagers were going into the dance halls and listening to the music. And presumably that's how your father was introduced to it. [00:13:13] WITCHPOLICE RADIO: And then that exposure turned into people of all backgrounds in England playing their own variations on that. And that's when you got the two tone scene and bands like the Specials and things like that, and then coming to that, influencing American and Canadian bands. And then me being a teenager in the 90s hearing that. And I was in a ska band in the 90s here in Winnipeg through that weird connection of. And it's one of those things, I think that more than any other style of music, I think that Jamaican music, especially just because that's what I've been most exposed to, has that staying power, that it just keeps sort of changing with the times and finding new ways to attract people to what is a pretty, at its core, simple, basic rhythm. But it glues itself onto different styles and helps them sort of morph into something new every decade or so. It's really cool. [00:14:02] ADELE M WILDING: Yeah, you're absolutely right about that. And when I was doing some research, because I've also presented and prepared and presented an online voice for the NCMA, which was through their music equals program. And it was on the history of West Indian music. And we tapped into the British years and the influence on reggae, not just on British teenagers, but also a lot of artists that were coming out at the time as well, too. And I came across these wonderfully authentic interviews from BBC journalists interviewing kids coming out of reggae festivals or reggae shows in London, like in Shepherd's Bush and Hammersmith and all the places all the top bands used to play back in the day. And the journalists would say the same thing. Well, what is it that attracts you to this music? It's not part of your culture inherently. What is it that attracts you? And everybody they interviewed, all these teenagers said, it's the beat. And it's like the beat. And these are teenagers who are a new generation, post World War II, looking for something to help give them an identity. And of course, this saw itself with fashion. We saw it with the mods, like the Quadrophenia film. That's what that was based on, for sure. And then in music, they're looking for something new and something, I guess, to lift them out of that whole context of having. Being part of a huge war that impoverished the country. And then all of a sudden, swinging sexies. Women are wearing these great styles and their mini skirts and their leather boots up to their knees, and then men are wearing freaky suits. And then along comes reggae and boom, it hits the dance hall scene in a big way. And then before you know it, then you start seeing these bands like 1940s and the bands that were coming out of the... I think around the punk tone, too. There was a ska movement. [00:16:16] WITCHPOLICE RADIO: There was. [00:16:17] ADELE M WILDING: That's right, the two-tone movement that you mentioned. And then I think of Madness. [00:16:21] WITCHPOLICE RADIO: Yeah, I love Madness. [00:16:23] ADELE M WILDING: They had a great hit called Baggy Trousers with that real ska beat. So for anybody who's not too familiar with ska, it's very quick enough to be. And this song was baggy trousers. Baggy trousers, trousers bow bow. [00:16:44] WITCHPOLICE RADIO: Great song. Great song. [00:16:45] ADELE M WILDING: Yeah. [00:17:00] WITCHPOLICE RADIO: Well, the One Step Beyond album, actually, is.. that's my first. That was my introduction to ska is my dad's old record. I still have a copy of that record, his LP, and I listen to it all the time like that. Madness and the Specials and Selecter and all those bands from England in the 70s, right around the punk era, too. Yeah, that was sort of what got me into ska, and then I backtracked and then got into reggae and then back to the early ska from the sort of really absorbed all that. But I could talk about this all day because I love being a nerd about reggae and ska, but there's so many other styles. I mean, you mentioned calypso, you mentioned soca. There's also a lot of styles in the Caribbean that have influences from immigrants to those islands from India and places like that. There's all these different styles like Chutney and different styles of music. How much of that are you covering in these workshops? [00:17:48] ADELE M WILDING: Well, given the amount of time that I have been allocated and given that it's four week course. [00:17:55] WITCHPOLICE RADIO: Right. [00:17:56] ADELE M WILDING: And 90 minutes per week, you think, oh, I've got all the time in the world. But when these workshops get underway and you realize, no, I don't. I got to get cracking here, I bet. Yeah. So I am devoting part of one week to Soca, which is like an abbreviation for soul Calypso, something to that effect. [00:18:18] WITCHPOLICE RADIO: And that's Trinidad based, right? [00:18:20] ADELE M WILDING: That's right. Yes. It came out of Trinidad, and it's the result of west African music way back when that the rhythms and the grips of west African music that fused with groups from India. And if anybody wants to check out a really good soca artist, there's a lady in England like myself. She's a Barbadian heritage. She was born in England. Her name's Alison Hines. Yeah, queen of soca. Okay, so check her out. And she has promoted soca in West Indian festivals worldwide. And that's what soca is. And there was a comedy when I was based in the UK as an adult, there was a comedy called Desmond. [00:19:11] WITCHPOLICE RADIO: Okay. [00:19:12] ADELE M WILDING: And it was about a Trinidadian, first generation Trinidadian farther, who immigrates to England. He comes over on the HMS Windrush ship. And I don't want to get too off topic, I might come back to that a little bit later. [00:19:27] WITCHPOLICE RADIO: That was the iconic Windrush generation, right? That's what we've been talking about. Yeah. [00:19:32] ADELE M WILDING: And, like, my mother and her siblings were too, the Windrush generation that came over on the ship. Initially, there was about 500 west indian immigrants from Jamaica, Trinidad and Tobago, and they arrived in the British docks, the chillsbury docks, and made England their home. And his comedy was about one such West Indian immigrant named Desmond. And he opens up a barbershop in southeast London. And the theme is called "Don't Touch my Soca". And if you google that or if you go on YouTube and search for it, it will come up. So it's like a faster version of Calypso. Now she got this boom, boom, boom, boom, boom, boom, boom, boom. So I will be touching on soak up the part of one of the weeks that I'm going to be presenting another style that emerges from the West Indians is spouge. [00:20:43] WITCHPOLICE RADIO: Where is that from? That's a new one for me. [00:20:47] ADELE M WILDING: It's actually from Barbados, and it was founded by an artist by the name of Jackie Opel. [00:20:58] WITCHPOLICE RADIO: Okay. [00:20:59] ADELE M WILDING: Yeah. And he took a little bit of everything. And this is something that I might need to refer to my notes to because there's so many styles that are involved in spouge, but it's calypso. There's some American jazz and R&B in there. There's ska in there. There's even sea shanties and hymns in there. [00:21:21] WITCHPOLICE RADIO: Cool. [00:21:22] ADELE M WILDING: Those were all the music that he gravitated towards. So Jackie Opel, who, incidentally, was nicknamed the Sam Cooke of Barbados, he actually did a lot of cover songs, maybe more so than his original songs, but he did a lot of cover songs, and one of them was Sam Cooke's You Send Me, which was a huge hit from him. And he took all those styles that I mentioned and he just fused them into spouge. But the underlying feel there is calypso. So spouge originated from Barbados because Jackie Opel was Barbadian. Sadly, like Sam Cooke, we lost him early. He was the victim of a car accident. He was the victim of a car accident at age 32 in the year 1970. [00:22:19] WITCHPOLICE RADIO: Oh, wow. That's pretty young. [00:22:21] ADELE M WILDING: Yeah, it is. It's very young. And sometimes I think our geniuses are taken away from us a little bit too soon because he was the only one doing that music. He created it. So if you want to check it out, I strongly recommend that you go on YouTube and just he and Jackie Opel. Opel. And check out some of the covers that he's done with this spouge style. So we'll be doing a little bit of that. So can spouse. I'll be touching on in one of those classics. [00:22:49] WITCHPOLICE RADIO: And then I'm assuming that the reggae is going to take up a big part of it as well, just because of its international impact. [00:22:55] ADELE M WILDING: Absolutely. And can I just add to with calypso, Harry Belafonte is going to be featured in that as well, too, because he took Calypso and he crossed over into every culture, every style everybody loves. [00:23:12] WITCHPOLICE RADIO: Yeah, yeah. You know, he definitely internationalized that style of music, for sure. [00:23:16] ADELE M WILDING: He certainly did. And because of his background, too, he has a very vast background because, as we were discussing earlier in this conversation, the Caribbean is a very mixed region. Like when you mention Caribbean, people tend to think of maybe one particular culture, and that's fine, because there is a certain culture that dominates, but there are so many others, and it's a result of the, and I need to say it, the colonialism. It's the truth. So Harry Belafonte, on his mother's side, he had Scottish, Jamaican, and African. Jamaican. And even though he was born in the United States, his father had African American in him, and Dutch and Jewish. [00:24:02] WITCHPOLICE RADIO: Oh, interesting. [00:24:03] ADELE M WILDING: Okay, so he know we had quite a mixture there, and I think maybe that. Well, how do I put it? But he just had this ability to be able to transcend any kind of boundaries. And you think about the time that we emerged to, like, 50s, it was rock and roll that was bringing everybody together in a very divided country, where one group was oppressed and the other group was the oppressors. And Harry Belafonte took it one step further by taking this traditional music and commercializing it around the world. [00:24:54] ADELE M WILDING: Harry Belafonte was in Winnipeg. That in the late 70s. I think it was 1977, it was somewhere between 77 and 79. And my parents took my brother and I to this concert. We were still young and getting away in my age, but we went to this concert, and I had found out decades later that I know people who've actually attended that concert. I just didn't know them at the time. [00:25:20] WITCHPOLICE RADIO: Right. [00:25:20] ADELE M WILDING: Like a dear friend of mine, her parents were at the concert, and a couple of retired students and performers that I work with, that I coach with privately, they left a private suit. So you see, it just goes to show you the magnetic appeal that this particular artist had through his popularization. And calypso music throughout the world. [00:25:48] WITCHPOLICE RADIO: Well, and I think a cool thing about that, too, is that calypso, I mean, despite on the surface, calypso is very upbeat, very positive, joyful kind of music. But it was also used very heavily for sending political messages and having much deeper, content wise. So some of the biggest songs of the genre are kind of not so subtly making a point about something about social issues or about political issues. And it was almost like a great way to get people to sort of hear what you have to say, because you're inviting them in with this sound that they can gravitate towards, but then they're hearing what you're saying. And that's a whole other level with reggae as well, in a huge way. And all these genres is sort of a way to use music to talk about what's going on and talk about struggle and talk about all of these factors. [00:26:39] ADELE M WILDING: Absolutely. And calypso and reggae in particular, had a lot of very strong messages, especially about social issues, for sure, and the lack of activity and action taken by the establishment. They were mocked in a tongue in cheek way for not dealing with certain social issues. And this would often find itself in the lyric and the calypso music as well. Calypso started out very tongue in cheek. And there's an interesting parallel, if I may just very quickly point out to you. So when we discussed the spirituals last year, and we were saying how spiritual, the liberal content of spiritual reflected the conditions in which the enslaved from Africa had to endure when they were working the plantations and the fields in America as we know it today. So in the West Indies, because the West Indies were a core area for the transatlantic slave trade, as were the other, what we now know as North American, South American, et cetera, the songs that came out of the western african tradition, in the, well, standings, actually had lyrical content that was very cheaply and actually focused on it. [00:28:09] WITCHPOLICE RADIO: In a way that they wouldn't understand. [00:28:11] ADELE M WILDING: Right, exactly. And then. Sorry, that owners, of course, were oblivious to what his song. But anyway, so that was the lyrical content. But as you say, those styles, lips and reggae, have been used to transport messages, whether they're political or social or historical. And there's an early style of reggae known as mento. Yeah, mento. It's the earliest form of Jamaican folk music, and it's the precursor to ska and reggae. And Harry Belafonte is actually fundamentally a mento artist. But because calypso had more of a commercial ring to it in terms of tourism and attracting people to the Caribbean, he was always marketed as a calypso artist. And nobody really made a fuss about it. But the one thing I wanted to point out about, mentally, the reason I mentioned it was because there's a wonderful song that sings about the abdication of Edward, King Edward from the throne. So that he could marry Wallis Simpson. And it's called Love Alone. [00:29:17] WITCHPOLICE RADIO: Okay. [00:29:17] ADELE M WILDING: There's a wonderful sort of very refined version by Harry Belafonte and the earliest version, which is from one of the earliest sort of mento artists by Lord Flea. And he's also calypso artist as well. He has a wonderful organic take on it. So if I can just quote his lyrics. [00:29:42] WITCHPOLICE RADIO: Go for it. [00:29:43] ADELE M WILDING: Yeah. So the chorus is love, love alone asked King Edward to leave his throne it was love, love alone that caused King Edward to leave his throne. And then the verse that's in the lord he brings from the earlier version is take my money, take my goat, but please leave me with my fishing boat. So they're kind of taking those very stately, noble monarch and talking about what he was dealing with when he was abdicating it by putting it more in layman's terms and layman's lyrics, if that makes sense. [00:30:18] WITCHPOLICE RADIO: Yes, it does. [00:30:19] ADELE M WILDING: Yeah. [00:30:19] WITCHPOLICE RADIO: That's very cool. I mean. There's so much history in all these genres. Again, we could talk about this forever, but absolutely. How can people find out more information about the workshop you're doing? Where can someone go to find out when it's happening, what they need to know about participating and things like that? [00:30:51] ADELE M WILDING: Sure. The most obvious place would be to go on the Manitoba Conservatory of Music and Arts website, which I believe is mcma.ca. And if that turns out to be the incorrect name, you can just google Manitoba Conservatory of Music and Arts. [00:31:07] WITCHPOLICE RADIO: I'll link to it in the show notes, too. So people can click on it from the player. [00:31:11] ADELE M WILDING: Absolutely. And when you get to adult programs, which is towards the bottom of the home page, you click on that link and then you'll see these programs. And there's some wonderful programs there from John Iverson. And I'm over here somewhere on the right if you're looking at it, and you'll see music of the Caribbean vocal workshop. [00:31:33] WITCHPOLICE RADIO: Cool. And it starts February. Black History Month is obviously the perfect time for this. [00:31:38] ADELE M WILDING: Absolutely. It starts February 1, and it runs weekly for the first four Thursdays in February. Because obviously this February is a late month. We're in a leap year. [00:31:48] WITCHPOLICE RADIO: Well, that's right. Yeah, we are. [00:31:50] ADELE M WILDING: That's right. So we're running the first, the eighth, the 15th and the 22nd. And it will take place on the campus at the Manitoba Conservatory of Music and Arts. And it will run from 07:00 p.m. To 08:30 p.m.. [00:32:04] WITCHPOLICE RADIO: Cool. [00:32:05] ADELE M WILDING: And in true workshop style, or in my true workshop style, I always like to have a little showcase that anybody from the public can attend just to see what the participants have been working on for the past few weeks. So there will be a showcase during the fourth and final week on February 22, and that will roughly start just before 08:00 p.m. [00:32:26] WITCHPOLICE RADIO: So people can actually get an opportunity to see the culmination of these four weeks of workshop. [00:32:31] ADELE M WILDING: Cool. Exactly. And we did this last year with the spirituals workshop, too. And it's a nice way for the participants to round off the program and show off all the work that they've been doing. And also on my socials, too, I've been promoting it on my socials. You can find me on Facebook under Adele M Wilding jazz, and then I'm under @amwildingjazz on Instagram. [00:32:52] WITCHPOLICE RADIO: Okay, awesome. Well, yeah, I'm really glad you're doing this. It's very neat to see this sort of other aspect of music in Manitoba because there's so much, I've been doing this for eleven years now, and the amount of people that I haven't talked to yet is this expansive list. But even going beyond sort of the bands that are playing every night, there's so many people doing stuff like you that are just sort of to the side of the regular bands that are playing every night, but also very deeply embedded in what's going on in the Winnipeg music scene. So it's always cool to talk to you. [00:33:23] ADELE M WILDING: Absolutely. And I'd just like to make one more point as well, too. I, as an artist, back in 2017, I founded a project, a live music project called Caribbean and Blue. [00:33:36] WITCHPOLICE RADIO: Okay. [00:33:37] ADELE M WILDING: And I initially founded it as a tribute to my mother, Vera, who, as I've already explained, was born and raised in Barbados. [00:33:47] WITCHPOLICE RADIO: Yeah. [00:33:48] ADELE M WILDING: And I founded it in Vancouver, where I happened to be based at the time we lost mother in 2019. So I now perform it in her honor as well as her memory. And basically what I do is I take contemporary jazz standards, quite a few of them with the word blue in them, because I've been a lifelong fan of that color. And I add some of these grooves to them. So there's some soca and there's some reggae. So just keep an eye on my socials because I will be reviving that live music project again, too, this year.