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Based at Chateau de Monteton, in southern France; led by pianist & composer Andrea Vicari. An intensive musical language course in a supportive environment, with a lot of enthusiastic people at all levels. Improvisation, jazz harmony, the exploration of various jazz idioms, and group performance are the main areas covered. There are nightly jam sessions, plus free concerts by the tutors. At the end of the week the students perform to a live audience. Fees include accommodation, jazz tuition, superb french cuisine. A jazz summer school for all abilities, ages and instruments. Subjects covered include jazz harmony, improvisation, jazz standards, latin jazz, jazz rhythms, and masterclasses by the conservatoire level tutors.
The Dordogne Jazz Summer school welcomes students from all countries. In past years these have included the UK, France, Ireland, Spain, Japan, USA, Nigeria, Brazil, Holland, Israel, Austria, Canada, Turkey, Norway, China, Sweden, South Africa, Catalonia, Australia, and Italy. Teaching is primarily in English with French translation available as Andrea Vicari, Jon Bratoeff and vocal tutor Paola Vera are fluent and the rest of us get by. We use the internationally recognised jazz nomemclature (as found in the "Real Books").
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JULY 20 - JULY 27
INTENSIVE course for more experienced players with
Andrea Vicari, Jonathan Bratoeff, Ian Bumstead, Yazz Ahmed,
No beginners please. You need to have been on the inclusive week or a similar course before, or have a good grounding in the basics from another source. *arrive Saturday July 20th | classes from 10am Sunday
INCLUSIVE course multi-level, multi-function jazz workshop experience open to all instruments and levels with
Andrea Vicari, Andre Canniere, Mark Lockheart, Nic France
A basic ability to play one's instrument is required and music reading would be helpful but not essential. The styles of jazz will include standards, bebop, modal, latin and contemporary. There are "Option Groups" such as SOUL BAND / MINGUS BAND / SUPER SAX / MONK BAND / SKA BAND/ etc. which break up the day *arrive Saturday July 27th | classes from 10am Sunday
please note individual tuition is not available on any course due to pressure of time.
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The summer school aims to provide an intimate environment for practical music making and education in the jazz genre. Improvisation, jazz harmony, an exploration of various jazz idioms, and group performance will be the main areas covered. At the end of the week there will be the opportunity to perform to a live audience from the local community. We provide course materials and a download of musical examples.

INDIVIDUAL TUITION Tuition on individual instruments is not available due to pressure of time. It's only a week's course.

LOCALITÉ The main concept behind the Dordogne Jazz Summer School is to combine the fun of a jazz course with a sun packed holiday. The area is of outstanding natural beauty with excellent local wine and cuisine at affordable prices. We strongly recommend that you don't miss out on at a least a little exploration of the region.
No beginners please. No Vocalists - (see vocal course). You need to have been on the first week or a similar course before, or have a good grounding in the basics from another source. Please give details of your training and experience when applying. Places will be limited so priority will be given to people who book for both weeks and to more advanced players - and of course those who book early. Please be aware that we have no control over applicants self-assement of their own ability. Which is why we call it "intensive" as opposed to "advanced" week. So there may be some students who are a little out of their depth. We divide the course up into groups according to ability to ameliorate this but it will always be mixed ability. On the other hand if you feel at all nervous that you might be out of your depth - you won't be alone.

We generally have a theme each day which acts as a prism with which to view the day's tunes and how to improvise on them….

The 2023 themes were
SUNDAY  Wes Montgomery
MONDAY  Rhythm Changes
TUESDAY  Four note grouping and pentatonics
WEDNESDAY  Bossa Nova/Brazillian in honour of Astrud Gilberto
THURSDAY  Contrafacts - What's that ?
Sunday Monday Tuesday Wednesday Thursday
Wes Montgomery Rhythm Changes Four note grouping and pentatonics Bossa Nova/Brazillian in honour of Astrud Gilberto Contrafacts - What's that ?

The 2022 themes were
Sunday Monday Tuesday Wednesday Thursday
Horace Silver Breaking the Mould ! Reinterpretation & creative approaches Rhythm Day Joni Mitchell Roy Haynes at 90

The 2021 themes were
Sunday Monday Tuesday Wednesday Thursday
Chick Corea Playing by ear. A day without music ! Group composition Show Tunes African Jazz

The 2020 themes were
Sunday Monday Tuesday Wednesday Thursday
The art of developing a solo, narrative & techniques Be Bop - repertoire, language. 100 yrs ago Charlie Parker was born Focus on rhythm - How to really get that swing, how to groove and use rhythm as an improvisational tool 100 YEARS of Brubeck and Peggy Lee Jazz that don’t swing ! (Music not swing e.g. funk, rock, latin, anything else!)

The 2019 themes were
Sunday Monday Tuesday Wednesday Thursday
Reinventing the Standard Wayne Shorter Beyond Be-Bop Rediscovering Show Themes Celebrating the music of female jazz composers

The 2018 themes were
Sunday Monday Tuesday Wednesday Thursday
Fusion Jazz Developing a compositional approach to soloing Celebrating Early Jazz The Lost Repertoire of Jazz Joe Henderson

The 2017 themes were
Sunday Monday Tuesday Wednesday Thursday
Monk Tunes ‘World music day’ how this has affected jazz and core language ‘Back to swing with a focus on Charlie Parker’ ‘Jazz as a 21st art form and the new music emerging’ ‘How jazz has drawn on classical music and vice versa. How to incorporate some of these ideas into your improvising.’

Friday leads up to a grand final concert and groups revise and rehearse what they’ve studied during the week. This year’s programme won’t be finalised until nearer the time.
A basic ability to play one's instrument is required and music reading would be helpful but not essential. The styles of jazz will include standards, bebop, modal, latin and contemporary. We divide the tutor groups into six levels according to ability initially according to what you write on the booking form.  There are "Option Groups" such as BIG BAND / SALSA BAND / SOUL BAND / MINGUS BAND / SUPER SAX / MONK BAND etc. which break up the day.
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10.00 Improvisation workshop e.g. Pentatonics.
Learning of the blues scales and it's relationship to the pentatonic family of scales; using pentatonics over chord sequences; pentataonic based harmonies and their wider use in jazz; chord make-up & voicings; swing rhythm vs. 'straight eights' (rock rhythm); and listening and analyzing performances from famous jazz artists who use this tool - such as McCoy Tyner, Chick Corea etc

11.30 Coffee Break

12.00 Group music making/small bands. This will involve putting into practice concepts studied that morning. e.g. Learning some blues tunes, rehearsing the numbers, constructive criticism of improvisation and the ensemble. Studying the role of each instrument within the particular style.

1.00 Lunch in the Chateau de Monteton restaurant

2.30 Different each day
Previous years have included activities such as MASTER CLASSES / BIG BAND / SALSA BAND / SOUL BAND / MINGUS BAND / SUPER SAX /MONK BAND etc.


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Saxophone Masterclass led by (for example) Mark Lockheart

A performance of some well known standards by the tutors' band with particular emphasis on the role of the saxophonist in jazz. Areas covered will include how harmony and melody are best interpreted on the instrument; improvisation, scales and patterns. Practical issues will also be covered such as breathing, embouchure, intonation and creating a good tone. All students will be encouraged to attend and ask questions. Particularly confident saxophone students will be invited to play with the tutors.

4.00 Free Time Left open for individuals to choose their own pursuits. These could include individual practice time; extra tuition in the areas covered that day; small group rehearsals for the evenings jam; classes in particular areas requested by students, or simply enjoying the area and relaxing with a glass of wine.

6.00 Aperitif Jam
An informal session in which students can try out what they've learned (and maybe teach us a thing or two !) in a relaxed 'Jazz Club' atmosphere accompanied by fine wines of the region. Music will be drawn mainly from the standard jazz repertoire. This is also a chance for students to suggest music they would like to play, and for tutors to learn the strengths and weaknesses of course members in order to better structure lessons to their needs.

7.00 Tutor led performances Each tutor leads their workshop group in performing the pieces they've learned that day.

8.30-9.30 Dinner in the Chateau de Monteton restaurant or terrace. Often accompanied by tutor performances , dinner jazz sets and enthusiastic students who just can't stop playing !



Professor of Jazz Piano
Senior Lecturer
Trinity Laban Conservatoire, London,
Andrea Vicari  made her mark on the jazz scene both as a pianist and composer and has five albums under her own name as well as two records with ‘Jazz Extempore’; a multi-national project formed through a cultural exchange initiated in Croatia. Andrea has written music for this band and arranged UK tours including a recent residency at Lyth Arts Centre in Scotland. She has just released an album of original songs with vocalist Trudy Kerr called ‘The House”. Most recently Andrea has performed the Marlborough Jazz Festival with South African Trumpet star Claude Deppa;  Teignmouth Jazz and Blues Festival with Steve Waterman; Stratford Jazz, Shrewsbury Jazz ; Scarborough Jazz Festival; and The Bulls Head Barnes with Ex Ronnie Scott sax player Mornington Lockett. She has performed with world greats Eddie Harris and Art Farmer. Andrea is a jazz piano professor and senior lecturer at Trinity Laban conservatoire - one of the leading colleges in Britain for Jazz studies. 

Andrea presents a weekly radio programme "Andrea Vicari's Jazz Doodles”; on www.jazzlondonradio.com;  which debuts every Tuesday at 3pm and is repeated at various times throughout the week. In the past year she has broadcast interviews with leading jazz artists including John Taylor; Hiromi; US stars Bill Stewart; Marc Copland; John Abercrombie and Larry Goldings; plus Bill Laurance (Snarky Puppy); Omar Puente; Joe Stilgoe; Bobo Stenson and many more.
"a brilliant young British talent" Humphrey Lyttleton
We have specialist professional tutors on the major jazz instruments
Dordogne Jazz Summer School


Taking up the Clarinet at the age of 10, Ian Bumstead progressed onto the Tenor Saxophone aged 16 and quickly made a name for himself with numerous performances at his local Derby Jazz concerts. Following studies at the University of Leeds, Ian accepted the prestigious Leverhulme scholarship to attend Trinity College of Music in London in 2007 where he received a Masters degree in Jazz Performance. Now a highly accomplished mutli-saxophonist, Ian has gone on to perform with many of the UK’s leading jazz soloists, regularly performing at venues such as The Queen Elizabeth Hall, Purcell Rooms, Ronnie Scott’s, Pizza Express and The Vortex, and is often heard playing his original compositions with the fiery quintet Pickpocket. He is a member of the Joe Howell Quartet, an alumnus ofthe Nu Civilisation Orchestra lead by Gary Crosby OBE, and has performed with the BBC Concert Orchestra, National Youth Jazz Orchestra and Give a Little Love Jazz Orchestra. Ian is also in demand for theatre, touring and recording work and has been featured on a number of BBC, ITV and Channel 4 broadcasts.
Yazz Ahmed Dordogne Jazz Summer School


Yazz Ahmed Bmus (hons)
Yazz Ahmed is a British Bahraini trumpet and flugelhorn player. Since releasing Finding My Way Home in 2011, Yazz has emerged as a distinctive voice on the UK Jazz scene, both as a soloist and composer. She has played alongside Toshiko Akiyoshi, Steve Williamson, Courtney Pine, Sir John Dankworth, Troyk-estra, Jazz Jamaica, The Human Revolution Orchestra, and Arun Ghosh. Yazz has also recorded and performed with Radiohead, Max Romeo, Lee ‘Scratch’ Perry, ABC, Swing Out Sister, Marc Carroll, and has toured the world with art-rock band, These New Puritans, as a soloist and member of their septet and quintet.
She plays flugelhorn on Radiohead’s album The King of Limbs and The King Of Limbs Live From The Basement, which was screened worldwide during July 2011. In 2012, Yazz represented Bahrain in London’s Cultural Olympiad, .......

“Ahmed has a true tone and spins long lines over complex, self-penned structures.’” The Financial Times



During his time in London this French guitarist became an important part of the UK jazz scene. He is a founding member of the award winning F-IRE collective playing alongside jazz luminaries Seb Rochford, Pete Wareham, Ingrid Laubrock, Tom Arthurs, Ben Davis, Nick Ramm and many others including Julian Siegel, Martin Speake, Soweto Kinch, Orphy Robinson, Shabaka Hutchings. Jonathan now lives in Berlin.
"Bratoëff's brittle phrasing and rhythmic energy put him up there with leading UK guitarists such as Mike Outram, Phil Robson and Mike Walker' The Guardian
Mark Lockheart Dordogne Jazz Summer School


Professor and Senior Lecturer
Trinity Laban Conservatoire, London
Mark is acknowledged as one of the most distinctive saxophone voices in Britain today. He came to prominence in the mid 1980’s with the popular British big-band Loose Tubes and after recording and touring with Loose Tubes, Roger Dean , Django Bates, Prefab Sprout and Annie Whitehead started his own group in 1989. Currently working with the Mercury nominated "Polar Bear" alongside Seb Rochford and Pete Wareham, he was also a featured artist in the opera "Anna Nicole" at the Royal Opera House in London.
"Lockheart is a consummate saxophonist and a original and versatile composer" The Rough Guide to  Jazz


During his time in London this French guitarist became an important part of the UK jazz scene. He is a founding member of the award winning F-IRE collective playing alongside jazz luminaries Seb Rochford, Pete Wareham, Ingrid Laubrock, Tom Arthurs, Ben Davis, Nick Ramm and many others including Julian Siegel, Martin Speake, Soweto Kinch, Orphy Robinson, Shabaka Hutchings. Jonathan now lives in Berlin.
"Bratoëff's brittle phrasing and rhythmic energy put him up there with leading UK guitarists such as Mike Outram, Phil Robson and Mike Walker' The Guardian
Dordogne Jazz Summer School


Andre Canniere is an acclaimed US trumpet player, composer and educator currently based in London. Originally from rural Pennsylvania, Canniere spent the first five years of his career in New York City where he worked with artists such as Maria Schneider, Becca Stevens, Donny McCaslin, Kate McGarry, Ingrid Jensen and Darcy James Argue. He has toured widely throughout the United States and Europe. Canniere is highly passionate about music education and has led workshops and masterclasses at universities and schools throughout the United States and Europe. Andre is currently the Head of Jazz at the Highgate School and has taught jazz at London’s Guildhall School of Music and Trinity Laban Conservatoire of Music in London.
“one of the most compelling artists on the current
London jazz scene” The Scotsman
DORIAN LOCKETT Dordogne Jazz Summer School


Dorian studied at the Guildhall School of Music before carving out a career on the London Jazz scene, playing with Phil Bent, Alan Barnes, Dave O'Higgins, Phil Robson, Dick Pearce, Clare Hirst, Don Weller, Chris Tobin etc. He taught bass guitar for five years at Morley College in London and led jazz workshops at Kingsway and Camden institute. He ran a jazz club for G.E. Aldwinkles and the Bedford pub in Balham, under the title  "Jazz in the Round". Dorian plays on four Andrea Vicari CD's which he co-produced and recorded with 80s superstar Hazel O'Connor. He pioneered the use of sunglasses as a teaching aid and is a third dan at extreme kinito. He can count Elvis as a friend.
"one of the finest bass-players in Norbury" Giles Davis


Professor of Jazz Piano
Senior Lecturer
Trinity Laban Conservatoire, London,
Andrea Vicari  As a pianist and composer Andrea has five albums under her own name as well as two records with ‘Jazz Extempore’; a multi-national project formed through a cultural exchange initiated in Croatia. She has released an album of original songs with vocalist Trudy Kerr called ‘The House”and written two musicals 'Austerity' and 'Lionesses 110%'. Andrea has performed with world greats Eddie Harris and Art Farmer, at Marlborough Jazz Festival with South African Trumpet star Claude Deppa;  Teignmouth Jazz Festival with Steve Waterman; + Breckon Jazz Festival, Scarborough Jazz Festival; Ronnie Scott's Piano Festival etc. Andrea is a senior lecturer at Trinity Laban Conservatoire, London. 
"a brilliant young British talent" Humphrey Lyttleton
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with Paola Vera and Pete Churchill
The Regular jazz vocal course that has been running for the last few years with Paola Vera and Pete Churchill. There are no individual lessons because of lack of time but every singer does get individual attention and coaching on their solo and lead performances from tutors. We aim for a maximum of sixteen vocal students. This programme runs alongside the "Intensive" jazz instrumental course which consists of five workshop bands.
with Paola Vera
A smaller course with more stage time. The classes will explore a wide variety of repertoire and improvisation approaches whilst also dealing with physical vocal technique and song interpretation.The Repertoire will cover a wide range of styles from jazz standards, blues, latin, the "Great American Song Book" and contemporary vocal styles.

Lessons on both weeks will include :
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  • How to find your ideal key
  • How to transpose
  • How to rehearse songs
  • How to start improvisating
  • How to communicate lyrics
  • Song interpretation
  • How to communicate groove
  • Microphone technique
Lessons on both weeks will include :
How to find your ideal key • How to transpose • How to rehearse songs• How to start improvisating • How to communicate lyrics • Song interpretation • How to communicate groove • Microphone technique
Pete Churchill


Professor of Jazz Composition
Royal Academy of Music, Brussels Conservatoire

As an educator and choral director, Pete is very much in demand abroad - teaching regularly in Australia (Perth, Sydney, Melbourne), including a spell as visiting Professor at the Kodaly Summer School at the University of Queensland in Brisbane. He has given Jazz workshops for the ABRSM in the Far East (Hong Kong, Malaysia and Singapore) and closer to home he has been a guest lecturer at the Sibelius Academy in Finland. Much of Pete’s time now is taken up with directing his own choir ‘The London Vocal Project’. In addition to high profile performances with Cleo Laine, Norma Winstone, Kenny Wheeler and, most recently Bobby McFerrin, this seminal ensemble of young singer/workshop leaders regularly join Pete on his massive educational projects and they are fast gaining a reputation, under his guidance, as the next generation of gifted educators.

Paola Vera Dordogne Jazz Summer School


Trinity Laban Conservatoire (London), Brussels Conservatoire, Bordeaux Conservatoire

An experienced and highly skilled teacher, performer and workshop leader specialising in voice and piano, having just completed a Masters degree (Mmus distinction) from The Royal Academy of Music, London, after taking her Bmus at Trinity Laban Conservatoire.  A fluent Spanish speaker from her Venezuelan heritage Paola also speaks fluent French. Paola has just released her second album "Addicted to My Love" on DotTime Records. Paola released her first album "Spellbound" produced by Paul Booth (Steve Winwood), and engineered by Grammy nominated sound-engineer James Towler. Recent radio airplay includes a feature of my performance at ‘The Steinway Festival’ held at Pizza Express Dean St, broadcast on BBC Radio 3.
"Sings with beautiful measured phrasing and dark tones"
Jazzwise Magazine

The Dordogne Jazz Summer School is now developing an online year-round jazz education progamme hosted by DJSS MD Andrea Vicari on her Tipeee page at en.tipeee.com/andreavicari with a fully organised schedule of lessons listed on her website www.andreavicari.com Just use the menus on the left to access The Jamming Book (DiJSS programme), Jazz For The Happy Amateur; Advanced Jazz Piano (essential harmony and theory for all) and two books of original compositions. Or go to www.jazzsnippets.com for our bitesized jazz jargon busting reference guide - best explained by Andrea in the video. All videos and lessons are available free and course materials available for only €1/month - so get studying for the DiJSS and more at https://en.tipeee.com/andreavicari

Jamming Book THE JAMMING BOOK is Andrea Vicari's original curricullum designed for The Dordogne Jazz Summer School with a live trio playalong to accompany every tune. A ready to play repertoire of well-known jazz songs to play in any jam session with parts in all keys on the same page. To follow the online lessons with a tablet or large-screen mobile phone; you can place that device on the music stand of your piano as you study. Stop and rewind as often as needed. Play the movie in full-screen for the best experience. The Jamming Book by ANDREA VICARI available exclusively through a Tipeee monthly subscription

FUND ME VIA TIPEEE for only ONE EURO €1/month !

or free to Dordogne Jazz Summer School participants (link will be forwarded with booking)ALL LESSONS ARE HERE and AVAILABLE FROM TIPEEE FOR ONLY €1/month - includes Advanced Jazz Piano, A-Rhythm-A-Tik, Happy Amateur + more
Support AndreaVicari on Tipeee
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Situated in the historic region of Aquitaine in the south west of France; the Chateau de Monteton is a twelfth century castle within a village, perched on a hill overlooking the beautiful Valleé du Dropt. The village has about 50 inhabitants, a bar and a famous restaurant, "The Treize Clochers" or "Thirteen Bell-Towers" (all of which can be seen from Monteton). It also boasts an unrivalled view of the valley of the River Dropt. It is about one hour from Bordeaux on the autoroute; half an hour from Bergerac, with it's new airport and direct flights from Gatwick; Stansted; Luton; Southampton, Bristol; Exeter, Liverpool, Leeds, Birmingham, and EMA; and twenty minutes from Marmande, the "Capital of Tomatoes". see the map

Le Takinerie

Within the Chateau is an open-air (but covered) bar "Le Takinerie", named after the local plum based brandy "Takin". Here coffee is served after meals and during breaks in tuition. In the evening a complete range of wines, beers and spirits are available. On special nights the great open-air fire is used to cook giant paellas or vast slabs of meat. At other times the chef cooks in a large baker's oven where home made pizza, bread and even coffee is roasted.
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At 6pm every evening, in the "Le Takinerie" bar, the students take part in an organised jam session playing the music they have worked on during the day. Students are free to bring their own material and often the jam continues after dinner until late in the evening. You can try out your French language skills during a session of "Kinito", the local dice game.

La Tour

Rehearsal space is within the main tower and it is here that the majority of classes are held. Below is the Cave where late-night jam sessions go on until the last man (or woman) standing can go on no longer. These are officially unsupervised sessions where students are expected to sort themselves out. Tutors often join in just for a blow however; Jonathan holding the staff record of 5.00am. The student record is yet to be confirmed.
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Our nearest station is BERGERAC. Eurostar runs a service from St Pancras to St Jean Station, Bordeaux (changing at Paris or Lille). If possible try and get a train that stops at Libourne as this station is on both the route south to Bordeaux and the line to Bergerac. It might not be obvious from the rail websites but worth persevering as it can save a couple of hours off the journey. This is also the most enviromentally friendly way to travel with very low carbon emissions compared to flying.

There's also a coach service from Victoria Coach Station straight through to Bordeaux. From there you can take a local train (regular services throughout the day) to Bergerac. Younger students can take advantage of special rail deals for the under 26s. Check out the links below. These deals are also available for older students, but are more expensive.

The main site for european train travel  https://en.oui.sncf/en/

For local travel www.ter.sncf.com/nouvelle-aquitaine

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Perhaps the most economical way is to travel by car with friends or partners. Students can arrange car-sharing. If you are interested in this option tell us and we'll try to put you in contact with like-minded students. Of course you'll be needing a method of crossing the channel. If you look at our links page you'll find links to the sites of the main ferry companies.

You can drive down from the ferry ports in one day or you can take longer over the journey and make it part of the holiday. Which ever way you're traveling, let us know when you book and we'll give you as much information and advice as possible, including the best car routes. For people travelling from Dover via Calais/Boulogne using ferries or the tunnel click on the link below for a suggested route, bypassing Paris to the west. If you take a different crossing, pick the route further down.

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Our nearest airport is at BERGERAC. A coach or mini-bus (dependent on numbers) will be there to meet the main Saturday flights from Ryanair; Transavia, and Jet2 and return you at the end of your stay. Flight prices can be low if you book early enough. So we strongly suggest you book your tickets as soon as your place on the course is confirmed, and watch out for special offers.

Check out the links page for flight information from British Airways, and BmiBaby to Bordeaux, but if you choose to fly there you'll have to find your own way to Bergerac. Car hire is available.

There is a coach service ferrying travelers between Bordeaux airport and the railway station, Gare St Jean, from there you can take a local train (regular services throughout the day) to Bergerac station, where we'll meet you.

Another option is Toulouse airport served by British Airways, AirFrance, Easyjet and BmiBaby (British Midland). But if you choose to fly here you'll have to find your own way to Bergerac. Car hire is available. If you're traveling from the UK but outside the South-East area, BmiBaby fly to Bordeaux and Toulouse from Manchester, EMA (East Midlands Airport) and Cardiff.

Car hire is available at Bergerac airport from the major car-hire firms. We are based deep in the country and having your own transport can add considerably to your enjoyment of the holiday, particularly for those accompanied by spouses or partners. The car journey between Bergerac and Chateau Monteton takes about 45 minutes.


Because of the near impossibility of picking anyone up on time due to cancellations and delays we’re now only offering transport out at the end of the course. Mr. Pons will be there with his coach to do two trips each Saturday. We plan to do this at 9am and Midday so if you book any connections earlier than this you’ll need to book a taxi through Fanchon. For arriving taxi’s are available and can be pre-booked from the airport and station. If you group together with fellow students to share the cost this is affordable.

COMPENSATION However to compensate you for the loss of this service we have decided to freeze prices at 2023 levels despite the continuing high inflation rate which would have added much more to the cost of your visit. This also puts all students on the same price level since before drivers were getting less for the same money.

Fees include full days of jazz tuition, course materials; plus accommodation, continental breakfast, lunch, evening meal with wine; full use of facilities, including bar, restaurant. Electric piano keyboards, basic drum kits, Mics, PAs and some amps are provided. But please feel free bringing your own. Partners welcome.
€ 1100
single room, en-suite
€ 950
per person (two sharing)
€ 600
non-participating partners*

*Partners, spouses or friends not studying on the course, sharing the student's room.
€ 800
offsite students
€ 500
offsite partners eating onsite.

If you live in the area or choose to rent your own accommodation, you can join the course as a non-resident paying fees for tuition and food only.
€ 600 (one price on or offsite)

Special discounted flat-rate for those in full-time education. (18-24) Proof required (ie NUS card, Student ID card etc.) Possibly sharing more than two to a room. Some manual labour involved (carrying the odd amp around etc.)
€ 200

We require the deposit to be sent at the time of booking for each person. (including partners)

€100 reduction for booking both weeks. (discount not available at Student Rate)

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Chateau accommodation is within the Chateau itself in double rooms with single beds and en suite shower room/toilet. Facilities are functional but under constant renovation as the Chateau is an ongoing project. We can offer advice on finding outside accommodation in the local area. *Please Note* - This is not five star luxury - see the slide-show for a look at the rooms. If you require greater comfort the local hotel offers a high standard of accommodation with air-conditioning and a pool. It's possible to walk but realistically you'll need a car. Another alternative is to hire your own "gite" (holiday cottage) in the vicinity, but once again you'll need a car as there are very few within walking distance. Accommodation is in a series of out buildings surrounding the central courtyard. Some rooms are in the passage way above the restaurant. Others in the houses behind "The Ear". Rooms have either two single beds or a double bed for couples. Bunk beds, where they exist, will be used for storage only unless you choose otherwise. Some rooms have spectacular views over the surrounding countryside. others are tucked away from the central square for a quieter night. Rooms onsite tend to get booked up very quickly but we can odder a list of local hosts for those who are too late or simply prefer to stay away from the central area. Some are within easy walking distance but for most you will need a car. So consider driving to Monteton or hiring a vehicle at the airport on arrival.


The Chateau has free Wi-Fi if you wish to bring laptops and other wifi gadgets. ( Signal can be a bit variable )
We welcome payment in EUROS, by direct bank transfer, or via WISE, or REVOLUT with a credit or debit card. For UK customers wishing to pay in POUNDS STERLING we offer a currency exchange service giving you a price in pounds when you book and bank transfer.
Prices are in Euros and sterling (£) and rates are worked out when you book. To avoid currency risk you can pay the total when you first book or spreda payments over the year. Exchange rates may improve, but remember that they can move against you as well as in your favour.  EMAIL to discuss.
If you wish to pay directly in euros (ie not a converted Sterling rate); please contact us first and we will arrange it (the bank details are slightly different as it is a French bank). Some UK banks such as LloydsTSB are offering direct bank transfers to EU nations from online banking.
If you wish to use a different currency (ie DOLLARS) you will need to convert in it into EUROS. Contact your Bank for advice, bearing in mind that you will need Euros to spend when you are in France.

If you have any queries about accommodation or any queries about music tuition, pricing, bookings etc. Please   EMAIL The Dordogne Jazz Summer school for details.

Dordogne Jazz Summer School
Dordogne Jazz Summer School
+44 (0) 79 4192 7257
UK Address
Dordogne Jazz Summer School
212 Sherwood Avenue, London SW16 5EF UK

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The Intensive Instrumental Course is only suitable for experienced students. (who have attended the DJSS INCLUSIVE WEEK or a similar course before, or have other similar experience). If in doubt   EMAIL and ask.
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WEEK ONE - JULY 20th - JULY 27th
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 Staying at Chateau SHARING €
 STUDENT  €   (only available to those in full-time education. Proof required.)

 Week 1 accompanying partner €   (onsite) | €  (offsite)
 Week 2 accompanying partner  (onsite) | €  (offsite)

DEPOSIT: per person

*Includes discount of €100 if you have booked both weeks (discount not available at Student Rate)

Fees are priced in euros. If you're not paying in euros, on receipt of this form we will invoice you for the correct amount in your own currency (£ Sterling for example)

There are no payment details on this page as we need to confirm availability before any transaction takes place. Balance payable not later than four weeks before start of course.

Booking Conditions (please read carefully)
1.  A deposit of €200 (or the full amount) should be sent immediately after booking. The balance is due four weeks before the start of the course after which no refund will be possible.
2.  We reserve the right to make changes to the course (including cancellation) in the event of circumstances beyond our control - such as, but not limited to, pandemics, Brexit or any government or legal directives related to these crises.
3.  We reserve the right to cancel the course up to three weeks before the start date. Naturally, in these circumstances, we will give you a complete refund of fees paid to the Dordogne jazz summer school only. We advise obtaining travel insurance to cover any potential loss sustained in travel (flight/ferry) costs etc.
4.  We arrange transport to Bergerac Airport and station only; and only on the Saturdays of the course at predetermined times (to be announced) that will coordinate with the flight schedule at Bergerac Airport.
5.  We would remind students that accommodation at the Chateau is rudimentary - which is reflected in the cost of the course. A list of alternative offsite accommodation is available on request. Also anyone who has difficulty climbing stairs should be aware that the rehearsal rooms are accessible only by steep mediaeval staircases.
6.  Saturdays are change-over days. Course activity limited to evening jam session. Classes proper commence Sunday morning at 10 am.
7.  Student rate only available to those in full-time education (including adults). Proof required. Please be aware you may be sharing more than two to a room.
8.  SOCIAL DISTANCING and COVID SAFETY PROTOCOLS. All stagiaires must agree to and abide by our social distancing policies in all circumstances for the safety of themselves and fellow students. Anyone exhibiting symptoms of Covid-19; or who has been in contact with anyone exhibiting symptoms 14 days prior to the start of the course is not allowed to attend. In these circumstances students can claim a full refund or transfer their booking to a future year. Students in breach of this rule will not be refunded.
9.  PRIVACY NOTICE We only use your data to provide you with information about the summer school and a limited number of related events. You can email us on this address to have your personal data deleted at any time. We never share data with third parties. We will only contact you by email except in an emergency.

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Mr. Dorian Lockett, Dordogne Jazz Summer School, 212 Sherwood Avenue, London SW16 5EF (Grande Bretagne)
Château de Monteton,
taken over 50 years ago by two couples Le Republicain 27/8/23
In the family for 50 years, the castle and the inn of Monteton are ready to change hands. Meeting with Fanchon Feramus, who was born there and wants to take over the project. A music studio is installed there, young people came there for Rock and Comics courses, Noir Désir recorded an album there (before the Marie Trintignant murder affair)... it is not the Star Academy castle whose it is, but indeed the castle of Monteton, in the Lot-et-Garonne. Fifty years ago, it was taken over by two couples of friends. Today one of the girls, Fanchon Feramus, wants to continue their crazy project.
“I was born and grew up here,” says Fanchon, at one of the tables in the castle inn. In August 2023, she hopes to buy it back. In 1974, her parents, Patrick and Jacqueline Feramus-Babel, as well as Yves and Renata Dijol-Zamparo were executives and wanted to give up everything. When they bought it, four of them, the castle had probably been uninhabited for two centuries. It's a beautiful ruin. “They cleared the land, and little by little, they made it a place to live,” explains Fanchon. Today, half a century later, they are over 70 years old, and ready to hand over the reins. We could sell to developers or a large hotel group, and let our old days slide, but we want to pass on, and show that this place and its economy are possible.

Patrick Feramus “We avoided selling it, so that this economy could continue. It’s a precarious place, but very rich because of the people who pass through,” adds the founder. “The château has lived in cycles, without really any down period,” explains Fanchon. Quickly, the inn became a table d’hôte. First of all, she has personal development courses. “We welcomed retreats for large groups, but also people who questioned their work. Often, they had given everything and reached a saturation threshold,” says Patrick Feramus. These people had “a desire to recreate a link with a place, even a ruin. It was a somewhat modern monastery. “We were taken for a sect, for hippies” remembers Patrick Feramus. Ahead of their time, perhaps, personal development was viewed with apprehension. Vegetarian or yoga courses followed.

Then the castle became a mecca for music. In the 1980s, residencies for artists and music groups began. “It was a substantial development of activity at the time,” continues Fanchon. Then around ten years focused on young people, with youth and sport approval. “Each couple had four children. We all grew up together, but in two very separate families. For 10 years, there were stays for young people aged 13 to 17, notably Rock and Comics with Vacances Musicales Sans Frontières (VMSF). » At this time, part of the castle was brought into conformity. These stays ended in 1999. And then comes the return to the artists’ residence, the passage of many groups, notably Noir Désir. “When I passed my baccalaureate, they recorded an album at home,” remembers Fanchon. At the beginning of the century, many weddings were celebrated on the estate, which required a lot of energy from the owners. Then comes the music as the master of the place: courses in jazz, choir, Argentine tango, but also go players. The London jazz school, the International Jazz Summer School, has brought in 70 people since 2003.

After leaving for several years, and having set up a few businesses, Fanchon Feramus wants to take over. “I always knew I would come back, since I was a kid I wanted to take over.” The other children headed towards often artistic careers, like Manu, his brother. Drummer, used to touring, he currently rents part of the castle where he has set up his recording studio.

Returning two years ago, Fanchon Feramus continued in the tradition of the two couples. “I want to allow them to take their foot off the gas. Continue to live here, and enjoy, but without the worries of exploitation. They have spent their lives here, it must continue as peacefully as possible.” And she is full of ideas for business development. But to do this, she needs to “get one foot in the game,” she explains. First by buying shares in the SARL, the operating company, then in the SCI, owner of the premises. And to develop the activity decently, it will above all be necessary to bring the castle up to standard. “This castle lives thanks to good will, but everything is made of odds and ends” underlines Fanchon with a laugh, “Our parents did everything, little by little, with the means at hand”. Some parts are not accessible because they are too dangerous. Others are not well insulated. Or the water takes a very long time to heat up in some bathrooms. "I want to bring it into line, and well," she underlines. That is to say by highlighting the historical heritage of the castle. Part of the foundations date from the 12th century. There is typical Romanesque art from the same period as the village church. “But all this has a cost…
By taking over the activity of the castle, Fanchon Feramus hopes to “sustain and develop the activity”, and “bring the building up to standard”. But above all, he needs a financial contribution in order to buy shares "from the old ones" and to go to the banks. "If I already have a little cash, it will serve as leverage with banks to obtain loans." It is difficult to quantify the expected kitty. A few tens of thousands of euros, at least. “I expect everything and nothing with this kitty, failure is not trying. I believe in the project, and I will contact those who have passed through the château over the past 50 years.”

The Jazz Summer School at Monteton 2009
Blog from Malcolm,
"We travel North to Monteton from our beloved Barge retirement home at Meilhan, thanks to good friends with a car. Lucie and I, together with my electric piano and all its paraphernalia, arrive from the South and are within sight of the Chateau De Monteton - a journey of about 36 kilometres. To this.......Monteton "That can't be the place" - our mutual reaction to what we see as we slowly wind up through the narrow roads leading to this pretty village. It looks like a ruined castle. But there is nowhere else to go. It is the place, as the SatNav is telling us - "You have reached your destination." ........ read more ? Click this link
French reflections in the air by Becky Archibald
It's ironic that as soon as I start humming the tune to "No More Blues" to myself on the plane home from Paris, I break down into tears. It's a beautiful bossa nova titled "Chega De Saudade," a piece my group worked on throughout the week here at the Dordogne Jazz School School and performed at the big Friday night concert. The opening lyrics are "No more blues, I'm goin' back home, No, no more blues, I promise no more to roam. Home is where the heart is" The funny part is my heart's been right there all along. But I'm not really thinking of the lyrics, I'm just remembering the moment. I can see Claude, one of the Frenchmen on the course, sensuously strumming his guitar in the intro. Dordogne Jazz Summer School(It was especially poignant, since earlier in the day he was rushed to the hospital because of a fall, and didn'tknow if he would be able to use his hand that evening.) I can hear Irene playing the simple melody on her flute, and sweetly singing one of the verses. I've been holding back the tears since Saturday, and they come easily on the plane sitting by a stranger (a very kind one, thankfully.) I'm sad it is over, but certainly happy that I had the experience. I want to see everyone again. I not only connected deeply with -rightthe other students at the workshop, I connected with the place, with Montenon, with the French countryside. I'll miss the owner's friendly face, his beautiful children who worked behind the counter and played the dice game with me, and Jean-Baptiste, the man who ran the art gallery nearby. I'll miss the quietness, the natural beauty, the air, and having our large windows wide open at night because of the lack of bugs and humidity. I'll miss being served three splendid meals a day, watching people saunter in one by one for morning coffee and cereal, having long conversations about art and music and anything except what we actually did for a living, and taking everything at a slow place. I'll miss being with my new friends from England, Scotland, Ireland, Norway, Austria and France, who speak so elegantly, even when they are talking about silly things. I'll miss having people check in on me late at night while I'm trying to compose music, asking me how it's going, wanting to hear a few bars, encouraging me to finish, offering advice on chord changes and titles and styles I should write in and hoping I'll write a little something for their instrument. And I will miss our last evening together, after the concert, when we relaxed and danced to salsa music and laughed and hung on to the moment.
It's also ironic that after writing the paragraph above, I pulled out my book, the latest by David Sedaris, and opened to the next chapter titled "Cry Baby." In it, David tells the story of a man who couldn't stop crying on a long flight from JFK to Paris (which actually turns into a story about two men crying, because David joins in after tapping into a memory from his childhood.) I guess I'm not the only one.
Becky www.beckyarchibald.com
Student review of our jazz summer school | Contributed by Jeff
About a year and a half ago, in the winter of 2004-5, I did a web search for "jazz summer school" and up came the Dordogne jazz summer school, run by English musicians in a dilapidated medieval castle in a hamlet called Monteton in the rural countryside near Bergerac. It sounded very attractive, and I had some correspondence with the director, but I didn't manage to get well enough organized to sign up that winter. The following year I resolved to do it, and by December I had reserved a place. I made plane reservations in the early spring and even thought ahead to reserve a hotel room in Bordeaux for the days before and after the jazz school. As I geared up mentally and musically for a week of jazz, the war started here in Israel – making me rather less enthusiastic for the pleasures of life, including making music. I was a bit apprehensive and imagined the school would be populated by ambitious, young, talented musicians, who would be too stuck up to play with me, or, alternatively, with rank beginners from whom I could not learn very much. However, I assumed that I would be playing a lot, and that would be valuable.

Dordogne Jazz Summer SchoolThe trip there was not fun. My flight left Ben-Gurion airport after midnight on Sunday, July 30 and, I arrived in Charles De Gaulle airport with an hour or so to get to the Air France window and get a boarding pass for the connecting flight to Bordeaux. The line was so long and slow moving that I almost missed the plane. To top things off, when I got to Bordeaux, I found that Air France had abandoned my suitcase in Paris.

My hotel in Bordeaux was very easy go get to from the airport, and the people at the reception desk were pleasant. I had arrived before check-in time, but my room was ready, and they had no objection to my going in and resting for a while. Although I was exhausted, after resting for a while, I went out and spent a very pleasant day in Bordeaux, which is an impressive city, full of grand eighteenth century buildings, next to a very wide river, but with a historic center small enough to walk around easily. Since it was Sunday in the holiday season, there were very few people in the streets.

Dordogne Jazz Summer School
As promised, my suitcase was brought to the hotel in the late afternoon. The people at the hotel said it happened all the time. On Monday morning I packed and then took the long walk from my hotel to the railroad station, because I love wandering around towns, and bought a ticket for the 13:35 train to Bergerac. I slowly made my way back to the hotel and checked out at about eleven. There is a tramway that goes directly from where my hotel was, a big park with the strange name of Quinconces, to the railroad station. I have since discovered that "quinconce" refers to an arrangement like the five on a die or a domino: a square with four dots in the corners and one in the center, which is the way the trees are planted in that park. I had a cup of coffee, got on the tram, and had time to eat a salade niçoise in a decent restaurant across form the station (and to have my first of many glasses of red wine) before my train left.

Dordogne Jazz Summer School
The train to Bergerac goes through wine country, past places like St. Emilion known for their vintages. Upon arrival in Bergerac, I followed instructions and crossed the street to a café to wait to be picked up by Simon, the jazz summer school driver and trouble-shooter, an English expat who seems to enjoy life. At the café a tall, balding young man saw that I was carrying a sax case and figured out that I was also headed for the school. His name was Christophe, he's a pianist, and he works half-time in computers and half-time as a volunteer political activist for a small socialist party in Paris. It turned out he was our token Frenchman in the course, though we had a French-speaking Swiss engineer as well.Christophe and I had a beer together, and he called Simon on his cell phone once he figured out the number from the way it was printed out on the email I had received – my Hebrew oriented computer had reversed the order of the numbers. The drive to Monteton was unexpectedly long, partially because we stopped at the the small local airport to pick up Mike, another pianist, but Simon was entertaining, as was Christophe. I was still uncertain how things would turn out musically. We pulled into the castle and took out our luggage, but our rooms weren't ready yet, and we didn't know whom we'd be rooming with. In fact, no one in charge seemed to be around to deal with us.(*proof that this post hasn't been censored - Ed*)

We hung around and chatted, about twenty of us, in a pleasant area between a dilapidated stone tower, a terrace with tables set up for dinner, and a low, nondescript building. After a while, some people gathered at the bandstand and started jamming. There was a British bass player named Rick, with a thatch of graying blond hair, and a drummer. Christophe sat down at the keyboard, and I took out my alto. What the hell, I said to myself, why be bashful? After all, I had paid the airfare and tuition to play. I can't remember what tunes we played, but we hit it off fairly well. Other people took out their horns, and we kept going for quite a while. When you think about it, which I have done a lot, it's rather amazing that people who have never met can start making music almost immediately.

Dordogne Jazz Summer School
Dorian Lockett, a bass player who, with his wife, Andrea Vicari, a pianist, run the jazz summer school eventually showed up, and we were gradually settled in our rooms. Andrea's parents have a house nearby, and their two children stayed with their grandparents. Her brother Scott, a drummer, was also around helping out and playing. Dorian more or less takes care of the administrative stuff, and Andrea is in charge of the jazz summer schoolmusical program. I was placed with two other guys in a long, narrow, extremely basic room, with an adjoining bathroom that was even more basic. I'm not complaining. The beds were clean and comfortable, there was hot water for showers, and my roommates were considerate. I had registered as a vegetarian to avoid problems with kashrut, and at dinner that was no problem – nor was it ever. The restaurant staff was extremely thoughtful and friendly. The food was generally fine, never very ambitious, but always satisfying, with plenty of salad, as much wine as you could drink at lunch and supper, and fresh bread home baked from organic whole wheat flour. They served great cheese after every meal, of course. There was also a bar where you could buy coffee, soft-drinks, beer, wine, or whiskey.

Look how far I've gotten, and I've barely begun to describe the musical activities. Dorian sent us a .pdf file before the school began, with the schedule, which I printed out and looked at, but it didn't really mean much to me. On Tuesday morning we started off in earnest, and I began to see how much care had been put into planning things. We were placed in two different groups, which met at different times, of course. One was known as a workshop group – each one had about a quarter of the forty participants, selected by instrument. My group, in memory of the confusion of the first evening, was known as the Bed-Hunters. (Another group was known as the Jazz Worriers – to give you an idea of the humor of the place.) Each workshop group met for two hours or so every morning and prepared a piece for performance that evening. We also had three slightly larger ensembles, a Mingus group, a Soul group, and a Salsa group (which I chose, because I'm pretty weak on Latin rhythms). Those groups prepared performances for the final evening of the school, except for the Salsa group. We played three pieces for dancing at a Salsa evening on Friday. We also had instrumental sessions with the teachers, master-classes, and improvisation lessons. sWe had classes from ten to one and then from four to six, and organized jam sessions and performances till eight, when we had supper. After supper sometimes our teachers played for us, once a French group that was sharing the facilities with us gave a concert, and so on. There were disorganized jam sessions until the wee hours of the morning. I stayed up till one-thirty or so one night, but I didn't get much out of that part of the program.

Dordogne Jazz Summer SchoolThe jazz summer school had four main teachers: two saxophone players, Julian Siegel and Ingrid Laubrock; one trumpeter, Chris Batchelor; and one guitarist, Phil Robson. Andrea worked with the pianists. They are all fine musicians and excellent teachers. Chris was especially articulate, and, since he directed the Salsa band, I was exposed to him a lot. Julian was the first teacher I was exposed to, in a workshop for the advanced saxophone players (it was up to us to decide what level was right for us). He's a tall man with a soft face and a lot of black hair. He speaks quietly, almost bashfully, and in his class he emphasized sound production in the lower register of the horn: the most basic stuff is also the most advanced. That afternoon he also led my workshop group and taught us the song "Sweet Georgia Bright" by ear, going over it patiently, phrase by phrase, chord by chord, till we'd got it. Like all the other teachers, he was terrifically encouraging, telling us we were doing great all the time.

My biggest obstacle to improvising with assurance is my tendency to get lost in the form (or my fear that I'll get lost). I tend to compensate by gluing myself to the lead-sheet, using my eyes instead of my ears, so it was very useful to me to learn something strictly by ear, without the safety net of written music.

Dordogne Jazz Summer SchoolChris Batchelor, a strong and imaginative trumpet player and a very articulate teacher, addressed a lot of the musical issues that concern me at the moment in a way that I could grasp immediately. He led our workshop group the next day and taught us a simple, amusing New Orleans inspired Bill Frisell piece called "In Deep," also by ear. He also gave a master class demonstration that day, about breaking out of the patterns of jazz standards by changing phrasing, by playing the chord progressions out of phase, and other fairly technical matters. That mainly drove home for me how firmly you have to have a piece in your mind, in order to improvise against the structure and not confuse yourself.

But I don't want to go on about the specific things I learned, things that I want to work on and use now that I'm back home. The main point is that by the end of the week, a lot of us were sounding pretty good, playing confidently with a full tone, and enjoying ourselves. People who had never met had formed ensembles and were playing together nicely. Andrea and her brother Scott supervised the early evening jam sessions and made certain that no one got up on stage and monopolized the action, and the atmosphere among us was uniformly generous. People always applauded your solos, even if you got lost and sounded like shit.

What may be surprising is that there are enough people like me, mainly middle-aged amateurs, who are serious about our music to populate a jazz summer school like this. The other thing, of course, is that this was a demonstration that jazz has convincingly become a world music – you don't have to be American or African-American to love it or play it creditably. At our final concert, on Sunday night, August 6, our performance groups played: the Mingus band, the Salsa band, and the Soul band. The Mingus band started off with "Better Get Hit in the Soul," a lively evocation of black evangelical churches. There they were, about twelve white Europeans playing the blackest of black music with enthusiastic respect. And then another twelve northern Europeans played Cuban music with love and abandon. I've always looked at my musical activity, at least in one sense, as something that takes me places – and indeed it has.
SUD OUEST article 2008
Dordogne Jazz Summer School
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