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Home > CD/LP/Track Review http://j.mp/hOP1Qn
78
Mystic Journey
Azar Lawrence | Furthermore Recordings (2010)
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By GLENN ASTARITA
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Published: January 13, 2011
Track review of "Walk Spirit, Talk Spirit"
Saxophonist Azar Lawrence's influential faculties and stylistic
attack loom as significant contributions to the state of jazz, a
genre that continually reinvents itself. He's played with jazz
greats including McCoy Tyner and Miles Davis, amid stints with
soul and pop icons. On Mystic Journey, Lawrence rekindles the
John Coltrane connection, featuring Rashied Ali's presence and
the band's rendition of Tyner's enduring "Walk Spirit, Talk
Spirit."
Ali passed away several months after these sides were recorded
in April, 2009; in turn, Lawrence dedicated the album to the
Personnel: Azar Lawrence:
drummer's music and memory. "Walk Spirit, Talk Spirit," is one
tenor and soprano
of several euphoric pieces that surges this album into the upper
saxophone; Eddie
echelon of 2010 releases.
Henderson: trumpet and
flugelhorn; Gerald Hayes:
Atop Ali's shifty Latin-rock backdrop, Lawrence, trumpeter Eddie
alto saxophone; Benito
Henderson, and alto saxophonist Gerald Hayes execute
Gonzalez: piano; Essiet
resonating choruses when reformulating the primary theme. And
Essiet: bass; Rashied Ali:
they strike a flawless balance between melody making and
drums.
SHOP JAZZ [ MORE ]
improvisation, while launching into an invigorating swing vamp
after the bridge. "Walk Spirit, Talk Spirit" depicts one of many
Style:
absorbing works evidenced on Mystic Journey.
Straightahead/Mainstream
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released “Mystic Journey” (Furthermore), his first album to
receive widespread attention in decades. (It was among the
final record dates played by Rashied Ali, the powerful drummer of Coltrane’s late period.)
This year Mr. Lawrence appeared on an album by the Cookers, a knockabout hard-bop
brotherhood; he also made his debut at the Jazz Standard, drawing from his own album.
His return to the club this week is furnishing the material for a live release, “The Seeker.”
Judging by the raw material on Tuesday, the first of two nights, it should be a powerhouse,
more bracingly immediate than “Mystic Journey,” with stronger group cohesion. Once
again Mr. Lawrence had enlisted the Tyneresque pianist Benito Gonzalez and the
unflappable bassist Essiet Okon Essiet. But rounding out the band was a pair of aces, the
trumpeter Nicholas Payton and the drummer Jeff (Tain) Watts, each deadly and in his
element.
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All but one of the compositions were by Mr. Lawrence. (The exception was “One More
Time,” an Afro-Cuban excursion by Mr. Gonzalez.) There was some Coltrane genuflection
in “Rain Ballad,” which borrowed the simmering rubato of “After the Rain,” along with
some harmonic shading from “Naima.” But there were also bursts of fiery jazz-funk, as in
“The Lost Tribes of Lemuria,” and jazz-rock, as in “Venus Rising.” Whatever the groove,
Mr. Watts doubled as bricklayer and demolition man, setting up substructures and
pummeling against them, always with momentum in mind.
Mr. Payton took a slyer approach, employing strategies of escalation. His solo on “Spirit
Night,” early on, set the standard. Coming on the heels of an impassioned essay by Mr.
Lawrence, it began quietly, broodingly. Gradually Mr. Payton introduced some close
chromatic tensions, varying the angle and pressure with each pass. And finally he hit a
climactic high note, its impact hardly disarmed by its inevitability. Over and out.
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If Mr. Payton’s best solos assumed compelling dynamic arcs, Mr. Lawrence’s evoked the
formless clout of the elements. Letting loose with his big sound, often worrying a phrase
into incantation, he worked toward a prayerful froth.
A version of this review appeared in print on December 16, 2011, on page C4 of the New York edition with the headline: A
Bracing Wind, Propelling a Dynamic Comeback.
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features one of the last recordings from the late drummer
Rashied Ali, a latter-day Coltrane sideman. Lawrence nails
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(like the title track) or a big-hearted warmth on ballads
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Home > Multiple Reviews
145
Life After Rashied: Live at the Woodstock Playhouse 1965; Why Not?; Eddie Jefferson at Ali's
Alley; Configurations--The Music of John Coltrane; Mystic Journey
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4 people like this.
By GORDON MARSHALL
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Published: May 15, 2010
Burton Greene
Marion Brown
Rashied Ali Quintet Rashied Ali with
Azar Lawrence
Live at the
Why Not?
Featuring Eddie
Prima Materia
Mystic Journeys
Woodstock
ESP
Jefferson at Ali's
Configurations—
Furthermore
Playhouse 1965
2009
Alley
The Music of John 2010
Porter
Blue Music Group
Coltrane
2010
2010
Blue Music Group
2009
SHOP JAZZ [ MORE ]
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Before his death in August 2009, Rashied Ali was best known for his role as Coltrane's last
drummer, replacing Elvin Jones of the classic quartet. Ali led Coltrane in a new direction with
the percussive style he created, labeled "multi-directionalism." The term is prone to
Count Basie
Verve Fifties Studio Recordings Buy Now
misunderstanding and a plethora of interpretations—which is a good part of its strength: since
it can't be put into words, it forces musical interpretation that, in turn, forces music forward.
The phenomenon unfolds on five new releases, two from the '60s that feature Ali in quartets,
SHOWCASE ARTIST [ MORE ]
one from 1976 with his quintet backing vocalist Eddie Jefferson and one, from 2009, on which
he leads the group Prima Materia. Capping these off is Azar Lawrence's newest album dedicated
to and featuring Ali in what is presumably his last recording. These discs confirm Ali's
achievement before and beyond his service with Coltrane and cement a legacy. In the year
after Ali's passing, we are privileged to have such a spate of indications of his multifaceted
talent.
Zach Brock
The Magic Number Buy Now
Pianist Burton Greene's Live at the Woodstock Playhouse 1965 begins with a cool, melancholy
waltz, "Tree Theme II," almost along the lines of a Dave Brubeck/Paul Desmond effort like
"Take Five." This quickly changes as alto saxophonist Marion Brown embarks on a hard-edged
STAY CONNECTED
modal adventure, with Greene laying down darker chords. This is early Ali, sounding much like
the guy he ousted, Elvin Jones. Bassist Reggie Johnson plucks double stops quietly in the
background and Greene's solo is crossed with impressionist classical tones, the theme returning
JAZZ NEAR YOU
with a hint of baroque polyphony. "Cluster Quartet II," the second track, draws more from post-
What's near you?
bop proper, but Greene punches down some clusters after the head. Then Ali breaks form,
unleashing a free-tempo excursion, carried ferociously forward in the half-hour final track, "Like
It Is." This is the big bang of multi-directionalism.
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Why Not?, though Marion Brown's album, is about interactive dynamics. It is airy, but by no
means tepid. Ali rips on his solos here; elsewhere he explores space as Brown, bassist Sirone
and pianist Stanley Cowell explore the temporal dimension. This is an album about time,
crosscurrents of speed and anticipation and patience and quietude, astir. Cowell is a particular
standout. With wide ranging dynamics, he touches on dissonance yet brings it back into the
clear of the lyrical. This is unusual for Brown, known for his frenetics first found on Coltrane's
Ascension (Impulse!, 1965). He is as likely to hint at ballads with standard changes as to race
up and down the chromatic scale. The band plays subtly against and in contrast with one
another rather than chase the same game in cacophony.
The release with Eddie Jefferson At Ali's Alley is, as a Jefferson album can only be, in some
ways a delight. Ali himself shows he can do bop and swing as well as anything or anyone and
the rest of the quintet (Jimmy Vass and Marvin Blackman, saxophones; Marsha Frazier, piano;
Benny Wilson, bass) is excellent. Jefferson treads through such favorites as "Now's the Time"
and "So What." However, he seems a little tired on this 1976 live recording, taken from Ali's
own club. It is only on the ballads, his signature number "Body and Soul" and "Moody's Mood
for Love," the hit for King Pleasure, that he comes fully to life and his voice soars—but these
TODAY'S BIRTHDAYS [ MORE ]
1974
John Ellis
1928
Teddy Charles
1955
David Kane
1906
Bud Freeman
1946
Al Green
work out the permutations of Ali's drumming style. As substitute for Coltrane, tenor saxophonist
1977
Florian Hierdeis
Louie Belogenis merits most scrutiny. Despite all appearances, Belogenis is not a passion player
1955
Simon Spang-Hanssen
in the mode of Coltrane. Sometimes deadpan, sometimes humorous or even dead serious, he
1985
Zack Moir
are priceless moments and must be heard or heard again.
Ali's Configurations is a drier affair, but it does yield warmth. Ali made this album (a retread of
a posthumously released recording he did with Coltrane in 1967, Stellar Regions) because he
felt he could improve on the first effort with 40 years hindsight. In many ways he was right. Ali
engages Prima Materia as a nexus to a plexus. The title is apt: Prima Materia configure and
seems like a swing stylist gone wild, but all his moves are cerebral and rational. He can create
Coltrane-esque effects, but this happens where it is called for, propelled by Ali's statements,
which are as impeccable as when he started out. Allan Chase, on alto and soprano, has the
bite.
Tenor saxophonist Azar Lawrence's Mystic Journey charts a spiritual quest. Lawrence steers a
ON THIS DAY | QUOTES
sextet of Eddie Henderson (trumpet and flugelhorn), Gerald Hayes (alto sax), Benito Gonzalez
(piano), Essiet Essiet (bass) and Ali adeptly through the traditions of hard modal and hard bop,
with a turn or two to bossa nova. The ride is so smooth it is easy to overlook the complex
activity at play. Lawrence varies his attacks on his instrument like a good baseball hurler varies
his pitches. Now he sideslips, now he chops up the theme like ice. He engages in odd-interval
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arpeggios, controlled over-blowing and harmonics. More to the point, he knows when to pitch
which pitch. This is never a matter of showing off effects, but a seamless concatenation of
approaches that approximate, in a new context, Ali's multi-directionality. Lawrence is another
Coltrane disciple, but not just another one—an outstanding one.
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Tracks and Personnel
Live at the Woodstock Playhouse 1965
Tracks: Tree Theme II; Cluster Quartet II; Like It Is.
Personnel: Burton Greene: piano; Rashied Ali: drums; Marion Brown: alto saxophone; Reggie
Johnson: bass.
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Tracks: La Sorrella; Fortunato; Why Not?; Homecoming.
Personnel: Marion Brown: alto saxophone; Stanley Cowell: piano; Norris "Sirone" Jones: bass;
Rashied Ali: drums.
Eddie Jefferson at Ali's Alley
Tracks: Now's the Time; Pennies from Heaven; So What; Bless My Soul; Keep Walkin'; Trane's
Blues; A Night in Tunisia; Body and Soul; Billie's Bounce; Moody's Mood for Love.
Personnel: Rashied Ali: drums; Eddie Jefferson: voice; Jimmy Vass: saxophone; Marvin
Blackman: saxophone; Marsha Frazier: piano; Benny Wilson: bass.
Configurations—The Music of John Coltrane
Tracks: Configuration; Stellar Regions; Leo; Iris; Seraphic Light; Tranesonic; Jimmy's Mode;
Sun Star; Stellar Regions.
Personnel: Rashied Ali: drums; Louie Belogenis: saxophone; Allan Chase: saxophone; Greg
Murphy: piano; Wilbur Morris: bass; Joe Gallant: bass (track 9 only).
Mystic Journey
Tracks: Mystic Journey; Summer Solstice; Quest; Walk Spirit, Talk Sprit; Say It OVer Again;
Adrees; Journey's End; Starting Point.
Personnel: Azar Lawrence: tenor and soprano saxophones; Eddie Henderson: trumpet and
flugelhorn; Gerald Hayes: alto saxophone; Benito Gonzalez: piano; Essiet Essiet: bass; Rashied
Ali: drums.
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New Music [Jazz] for The Week of 5/3/2010
Greetings’ fellow jazz enthusiasts, May arrives just in time with the distinctive and insinuating sounds, melodies, rhythms &
dexterous flavors of jazz to quench your ongoing thirst for new music. As always, it’s an honor to compile an extraordinary
complex yet diverse mix of New Jazz Releases for you each week. The multi-facet saxophonist Azar Lawrence is here with his
stellar new offering titled: “Mystic Journey ” which is our Featured Album of the Week ! Vocal stylists Robin McKelle & Nikki
Yanofsky are in the mix with their latest projects “Mess Around” and “Nikki.” If that’s not enough, check out the Dutch NuJazz Movement’s latest “What’s Nu?” along with trombonist Alan Ferber’s experimental project “Music for Nonet & Strings :
Chamber Songs” … all these titles and more are just a click away to discover fresh and stimulating music!
Featured Album of the Week
Azar Lawrence ::|:: Mystic Journey – [Furthermore Recordings, 2010 ]
The re-emergence of saxophonist Azar Lawrence has been one of the
most exciting things and perhaps one of the best-kept secrets of the
past five years on the Los Angeles jazz scene. Those who have
experienced Azar live in the past year can bear witness to a real life
prodigal son story. No doubt remains that he is here to reclaim his title
as heir to the throne of the John Coltrane legacy.
A child prodigy, Azar played in the shadows and under the watchful
eyes of giants. At 21, he was hired by Miles Davis to perform and
record at Carnegie Hall in what would become the 1974 underground
Azar Lawrence - Mystic Journey
classic, Dark Magus. In his twenties, he was taken in by Coltrane
acolytes McCoy Tyner and Elvin Jones and absorbed all they had to
teach. He appeared on several of Tyner’s classic ’70s recordings and was signed by the Prestige label, where he recorded three
albums as a leader.
Below we have list of this weeks latest jazz releases , also while you’re here check out Amazon.com for and extended lists of
imports, vinyl and re-issues.
New Music Releases
-))- Sinatra/Jobim: The Complete Reprise Recordings by Frank Sinatra and Antonio Carlos Jobim [Remastered]
-))- Nikki by Nikki Yanofsky
-))- Top Of The World: Best Of by George Benson
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By GREG BARBRICK, BLOGCRITICS.ORG
Published 10:00 p.m., Wednesday, May 19, 2010
Azar Lawrence has a number of things in common with
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his idol John Coltrane. Like 'Trane, he plays tenor
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saxophone, and first came to prominence as a member of
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Miles Davis' group. Azar’s first appearance with Miles
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was on the landmark Dark Magus album. As the title
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implies, this was one of Miles' heaviest recordings, and
Azar's contribution is significant. After putting his time
in with Davis, Azar worked with a number of other
artists, including Coltrane alumnus McCoy Tyner.
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Rashied Ali will probably be best remembered as the drummer in John Coltrane's final group.
His playing on such jaw-dropping pieces as the hour-long version of "My Favorite Things"
from Live In Japan is simply extraordinary. So it was a real thrill for me to discover that
Rashied's final recordings were made with Azar, and have now been issued as Mystic Journey.
The set opens up with the title song, an appropriately free extravaganza. Azar's horn strikes
me as a little closer to that of Pharoah Sanders than John Coltrane, which is all to the good.
Pianist Benito Gonzalez begins his solo in a fairly traditional manner, then takes a suitably
abstract turn to wrap it up. In addition to the tenor sax of Azar, the group’s horns consist of
the alto sax of Gerald Hayes, and the trumpet of Eddie Henderson. The three converge to close
out the song with a furious blowing session, reminiscent of some of Ascension's wilder
moments.
With the personnel Lawrence assembled, I fully expected Mystic Journey to be a completely
free album. So it was a bit of a surprise to hear the group's version of the beautiful ballad "Say
It Over Again." The tune evokes the feeling of a late night in a smoke filled lounge about fifty
years ago. Azar's sax floats over the top of the understated bass, drum and piano
accompaniment and needs no pyrotechnics to prove his point.
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The standout for me has to be the McCoy Tyner composition "Walk Spirit, Talk Spirit." The
entire group gets a chance to shine on this ten-minute cut, and everyone is playing at peak
levels.
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The last track on Mystic Journey is "Starting Point," written by Rashied Ali. The tension
between the more traditional jazz sounds, and Ali's free roots are fully played out here, to great
effect. Azar's sax, and Henderson's trumpet solos are definate high points, but the drumming
of Rashied Ali is what this tune is all about. He had certainly not lost any of his fire behind the
kit.
Mystic Journey is a great reminder of one of the most explosive eras in the history of jazz. But
there is much more to it than just being a clinic on free music, the playing of the group is as
tight as it gets, and there is a real stylistic variety present. It is one of the better jazz releases I
have heard so far this year.
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Straight No Chaser - A Jazz Show
A blog with interviews, reviews, features and podcasts on jazz of the past, present and future.
Mon, 2 August 2010
Podcast 188 - Azar Lawrence's
Mystic Journeys
Categories
Few jazz musicians have
the varied resume of Azar
Lawrence. Since he burst on
the scene in the early
1970’s as a sideman for
artists as varied as Frank
Zappa and McCoy Tyner,
his Coltrane-esque sax
qualities have been in great
demand. He faced off with
David Liebman on Miles
Davis’ fascinating (if
obtuse) Dark Magus live
album, and with Woody Shaw on the classic Moontrane album. He collaborated
with seminal seventies soul starts like Maurice White and Earth, Wind & Fire,
Eric Burdon in the original War, Marvin Gaye. and the influential Watts 103rd
Street Band. His releases as a bandleader were that rare combination of spiritual
searching and melodic control.
After a lengthy time away from recording as a jazz leader, Lawrence has returned
with a vengeance, releasing two solid CDs in just over a year. The latest of these
two, Mystic Journey, is a diverse album, not only a revisiting of some of his
earlier career highlights, but a presentation of new material worthy of his best
work more than thirty-five years ago. Sadly, the CD also represents the final work
of the legendary percussionist Rashid Ali, who passed away earlier this year.
Click here to listen to Podcast 188, a conversation with Azar Lawrence, along
with musical selections including:
Azar Lawrence – “Summer Solstice” from Mystic Journey. This was the title
track for Azar’s second solo album, here redone by the band of Azar on sax, Dr.
Eddie Henderson on trumpet, Benito Gonzalez on piano, Essiet Essiet on bass and
Rashid Ali on drums/ Ali, who rose to fame for his work with John Coltrane,
passed away shortly after these sessions.
Azar Lawrence – “Walk Spirit, Talk Spirit” from Mystic Journey. Written by
McCoy Tyner for the Montreux concert performance that ended up as his
Enlightenment album in 1973, the original version was a twenty-four minute
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mindbender. Azar revisits and shortens this take without losing its spirit and drive.
Azar Lawrence – Title Track from Bridge Into the New Age. Azar and Woody
Shaw were the stars of Azar’s first album as a bandleader, recorded in 1974. In
addition to the pair on saxophone and trumpet, the band was Woody Murray on
vibes, Jean Carn on vocals, Clint Houston on bass, Billy Hart on drums and
Guilherme Franco and Ken Nash on percussion.
Earth, Wind & Fire – “Spread Your Love” from Powerlight. Maurice White was
introduced to Azar and they hit it off immediately, leading Azar to offer him two
or three songs that ended up on the Powerlight album in 1983.
Woody Shaw – Title Track from The Moontrane. One of Shaw’s great sessions
was held in New York from December 11-18, 1974. The resulting album, The
Moontrane, moved Shaw to the top of the list of post-bop trumpeters in the
business. The band is now acknowledged as a group of true all-stars: Shaw on
trumpet, Azar on sax, Steve Turre on trombone, Onaie Allen Gumbs on piano,
Buster Williams on bass, and Victor Lewis on drums.
Miles Davis – “Tatu, Pt. 2” from Dark Magus. Azar and David Liebman were
handling saxophone duties in one of the densest, heaviest jazz recordings ever
made. Miles was playing mostly organ by this time, and three electric guitarists –
Pete Cosey, Reggie Lucas and Dominique Gaumont – were the center of the
band’s sound. Michael Henderson plays bass, Al Foster is on drums and Mtume
on percussion.
Direct download: Podcast_188_- _Azar_Lawrences_Mystic_Journeys.mp3
Category:podcasts - - posted at: 4:00 AM
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An Intense Homage To Coltrane - Courant.com
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MUSIC REVIEW
An Intense Homage To Coltrane
By CHUCK OBUCHOWSKI
Special to The Courant
July 21, 2009
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HARTFORD - — The livin' was easy in Bushnell Park Sunday as
the Greater Hartford Festival of Jazz wound down with lots of funky
grooves and laid back covers of old pop hits. Frisbees sailed past
food vendors as thousands enjoyed free music and camaraderie
under glorious blue skies.
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Somewhere between "Moondance" and "Sweetest Taboo," the
volcanic force of a John Coltrane composition exploded into the
summer air, rendering everything else insignificant. Many in the
audience were unprepared for the intensity of this reverent Coltrane
homage, performed by Azar Lawrence's quartet.
The 55-year-old saxophonist assembled a formidable quartet for
this concert, anchored by the impassioned drumming of Billy Hart.
Hartfordite Nat Reeves played bass, and Benito Gonzalez was on
piano. As a young man, Lawrence apprenticed with Coltrane's
favorite pianist, McCoy Tyner; Lawrence demonstrated Sunday how
well he's learned to apply Coltrane's advanced techniques to his
own improvisational directions. Lawrence had all but disappeared
from the jazz scene for decades; his recent re-emergence finds him
in outstanding musical form.
After beginning with inspired takes on "Afro Blue" and "Lonnie's
Lament," the quartet attempted something truly audacious. Without
a word of introduction, Lawrence launched into the tenor saxophone
incantation of "Acknowledgment" from Coltrane's beloved "A Love
Supreme" suite. The quartet dove into the intricacies of this 1964
musical milestone over the next 40 minutes, complete with solo
bass and drum transitions. Lawrence maintained the four-part
structure of the original, while allowing for ample new creation from
each of his band members throughout.
Those who listened carefully were rewarded with an unforgettable
sonic experience. Lawrence closed his set with a swirling soprano
sojourn through one of Coltrane's favorite vehicles for extended
improvisation: Rodgers & Hammerstein's "My Favorite Things."
Vocalist Cynthia Holiday also delivered a version of "My Favorite
Things," but hers gave a sultry, soulful twist to the "Sound of Music"
classic. The New Jersey native christened the main pavilion
Sunday afternoon after several locally based ensembles had
warmed up the crowd with music on the smaller Friends of the Festival stage.
She may have been unfamiliar to the audience, but Holiday quickly won over the crowd with her blues-soaked
swing and charming banter. Her repertoire was diverse, ranging from solid R&B fare such as "What You Won't Do
for Love" to the simmering gospel groove of "Walk With Me Lord."
Holiday's backup band, led by Hammond B3 organist Radam Schwartz, provided just the right balance of
looseness and precision. Julius Tolentino's alto and tenor saxophone solos were especially noteworthy. Tolentino
is no stranger to Hartford, having graduated from the Hartt School of Music at The University of Hartford in
http://www.courant.com/entertainment/music-reviews/hc-jazzfestrev.art.artjul21,0,3499134.story
Page 1 of 2
One Sheet
JazzWeek Jazz Chart—July 5, 2010
TW LW 2W Artist
1 37 — JASON MORAN Ten (Blue
Note)
2 11 8 BILL CHARLAP & RENEE
ROSNES Double Portrait (Blue
Note)
3 1 3 DR. LONNIE SMITH Spiral
(Palmetto)
4 3 4 JOE CHAMBERS Horace To
Max (Savant)
5 16 23 YOTAM Resonance (JLP)
6 3 6 BRAD MEHLDAU Highway
Rider (Nonesuch)
7 5 5 ONE FOR ALL Incorrigible
(JLP)
8 6 1 RAY VEGA & THOMAS
MARRIOTT East-West Trumpet
Summit (Origin)
9 2 7 KEITH JARRETT & CHARLIE
HADEN Jasmine (ECM)
10 9 2 TROMBONE SHORTY
Backatown (Verve Forecast)
11 9 — STANLEY CLARKE Stanley
Clarke Band (Heads Up)
12 — — VIOLIN JAZZ The Music Of
Eddie South (Dorian)
13 33 — CURTIS FULLER I Will Tell Her
(Capri)
14 8 11 TOM HARRELL Roman Nights
(HighNote)
15 19 14 AZAR LAWRENCE Mystic
Journey (Furthermore)
16 12 8 NNENNA FREELON Homefree
(Concord)
17 15 12 PHAREZ WHITTED Transient
Journey (Owl)
18 18 17 JACKY TERRASSON Push
(Concord)
19 13 21 TIA FULLER Decisive Steps
(Mack Avenue)
20 24 20 PAUL CARR Straight Ahead
Soul (PCJ)
20 38 — GREGORY PORTER Water
(Motema)
TW LW Move Add Rpts Peak Wks
Buy 380 76 +304 21 60
1 2
Buy 345 133 +212
13
63
2
4
Buy 238 229
+9
2
60
1
6
Buy 189 169
+20
4
50
1
7
Buy 185 105
Buy 168 169
+80
-1
7
1
51
46
5 4
3 13
Buy 165 163
+2
0
43
1
9
Buy 164 160
+4
2
52
1
6
Buy 158 186
-28
1
51
2
6
Buy 152 134
+18
2
57
2 11
Buy 150 134
+16
19
58
9
2
Buy 147 28 +119
27
45
12
1
Buy 145 79
+66
20
45
13
2
Buy 129 135
-6
1
36
Buy 126 100
+26
3
43
Buy 125 128
-3
3
44
2 10
Buy 123 110
+13
1
39
7 11
Buy 112 101
+11
0
41
12 10
Buy 109 127
-18
1
31
1 16
Buy 107 91
+16
2
32
20
5
Buy 107 75
+32
4
31
20
2
1 12
14
4