GA Russell

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About GA Russell

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  • Gender Male
  • Location Raleigh, NC
  • Interests eBook reading
    Canadian football

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  1. John Coltrane - Blue World

    Speaking of the album cover, I have a pet peeve:The word "blue" is printed with red letters. The uniform of the Ottawa Redblacks football team spells out "red" in red letters, but "blacks" in white letters. Would "counter-intuitive" be the correct term for this? Anyway, there oughta be a law.
  2. Leon Lee Dorsey - MonkTime

    Leon Lee Dorsey Explores the Music of Thelonious Monk On "MonkTime," Bassist's First Album in 20 Years, Set for September 13 Release On Jazz Avenue 1 Records Recording Features Eight Monk Compositions, Performed by His DSC Trio Featuring Guitarist Greg Skaff, Drummer Mike Clark August 16, 2019 Twenty years after the release of his last album, bassist Leon Lee Dorsey reassumes the mantle of a recording artist in his own right with the September 13 release of MonkTime (Jazz Avenue 1 Records). The debut of Dorsey's DSC Band, which also includes guitarist Greg Skaff and celebrated drummer Mike Clark, features the trio applying their potent chemistry to eight compositions by jazz titan Thelonious Monk. While Dorsey is himself a talented, accomplished composer and arranger, he brings a minimal, spacious treatment to bear on MonkTime -- preferring to let the tunes speak for themselves. "We wanted to retain the original character of Monk's music," Dorsey says. "We weren't looking to reinvent the wheel on masterpieces. We wanted to keep the essence of the songs, that timeless commonality they have, while blending in our own spices and flavors." Those spices and flavors are simultaneously bold and subtle: a paradox that Monk would surely have appreciated. Skaff, as the DSC Band's principal soloist, favors lean single-note lines that tend toward the low and middle registers (as on "Blue Monk"), imbuing them with a distinctive round, dark tone. It gives extra oomph to the chords and high crescendos he does employ in places like "Little Rootie Tootie." Clark reins in his famously brawny chops; he keeps the swing supple and assured but eschews pyrotechnics, even in his solos on "Monk's Dream" and "Epistrophy." Dorsey, meantime, sets the pace. Whether it comes through his beautiful reading of the melody on "Monk's Mood" or the gentle pulse and solo he lends to "Ugly Beauty," the bassist's command of both the repertoire and ensemble avoids flash, yet is nevertheless unmistakable. Dorsey keeps it tight on MonkTime; only one of the eight tunes strays beyond to the six-minute mark, and then just barely. "We took a page out of the vinyl era in keeping the songs at a manageable length," he says. It brings a sense of clarity and focus to the performances, spotlighting the trio's interplay as much as the individual improvisations. L. to r.: Mike Clark, Leon Lee Dorsey, Greg Skaff. Leon Lee Dorsey was born March 12, 1958 in Pittsburgh, Pennsylvania, to a family that was plugged in to the Steel City's storied jazz lineage. He began playing piano in third grade and, the following year, switched to classical cello studies with members of the Pittsburgh Symphony at the famed Center for the Musically Talented, where he remained throughout high school. He also picked up electric bass in the seventh grade and, later, in high school, was drawn to the double bass, having always loved the instrument. Dorsey attended Oberlin College Conservatory, graduating with double degrees in music in 1981. Under the tutelage of bass legend Richard Davis, he received his first master's at the University of Wisconsin at Madison and a second master's from the Manhattan School of Music in New York. Dorsey then pursued doctoral studies at the City University of New York under Ron Carter, finishing his doctorate at Stony Brook University. In 1986, Dorsey began a two-year stint with the Lionel Hampton Orchestra, including performances with Frank Sinatra and visits to the White House, which honed his skills for his next endeavor, namely as a Jazz Messenger. In 1988 he joined Art Blakey's most fabled of jazz finishing schools, which left a lasting impact on his subsequent career. Since arriving in New York, Dorsey has performed and recorded with jazz legends Dizzy Gillespie, Lionel Hampton, Hilton Ruiz, Cassandra Wilson, James Carter, Freddie Hubbard, and the Duke Ellington Orchestra. He released his acclaimed debut album, The Watcher, in 1995 and followed it up with 1999's Song of Songs. In 2003 he founded Leon Lee Dorsey Studios in New York City, at which more than 100 albums have since been produced. Dorsey is also prominent as a jazz educator. From 2008 to 2011 he was Coordinator of Jazz Studies and Director of the Jazz Seminar at the University of Pittsburgh. Currently, he teaches harmony and jazz arranging and composition at Berklee College of Music in Boston. He looks forward to working with the DSC Band and hopes to be announcing performance dates soon. "I felt from the start that with the chemistry of this band -- there's no horn and no piano, the two instruments that defined Monk's sound -- we could go to the magical music level." Photography: John Hasselback III DSC Band - "Well You Needn't" from MonkTime Web Site:
  3. Bargain Audio Equipment

    turntables Record Player Turntable Professional Full-sized Wireless Receiver and Transmitter Automatic Vinyl Records Wireless Belt-Drive Stereo Record Player Vinyl-to-MP3 Encoding USB Player - $169.00 - 32% off ***** Audio-Technica AT-LP60-BT Fully Automatic Bluetooth Stereo Turntable System (Orange) - $119.00 - $30.00 off
  4. John Coltrane - Blue World

    I ask about PD because if anyone can sell copies, that will limit the price Impulse! will offer this for.
  5. John Coltrane - Blue World

    Is this PD because of the recording date?
  6. ECM Press Releases for New Items

    Louis Sclavis Characters On A Wall Louis Sclavis: clarinets Benjamin Moussay: piano Sarah Murcia: double bass Christophe Lavergne: drums Release date: September 20, 2019 ECM 2645 B0030958-02 CD UPC: 6025 778 3223 9 LP UPC: 6025 080 4585 1 French clarinettist Louis Sclavis’s thirteenth album as a leader on ECM finds him drawing inspiration from two primary sources: the interventionist street art of Ernest Pignon-Ernest and the interpretive brilliance of his reconfigured quartet. Characters On A Wall marks, surprisingly, the first time that Sclavis has deployed the classic jazz line-up of reeds, piano, bass and drums on an ECM record. “This instrumental formation is one I hadn’t used for a long time,” says Louis. “It still feels new to me, and the band feels like a real jazz group – in its make-up, sonorities and sense of interplay.” The canonical format seems a good fit with the subject matter, given Pignon-Ernest’s position as a classicist among the street artists, balancing technical control and compositional elegance with a flair for subtle coloration and emotional drama. Five Sclavis compositions, “L’heure Pasolini”, “La dame de Martigues”, “Extases”, “Prison” and “Darwich dans la ville” are musical responses to Pignon-Ernest’s in situ paintings from Paris to Palestine. The album also includes “Shadows and Lines”, written by pianist Benjamin Moussay. A frequent Sclavis associate over the last two decades, Moussay previously appeared on the albums Sources (recorded 2011) and Silk and Salt Melodies (2014). Repertoire on Characters on a Wall is completed by two collective pieces – “Esquisse 1” and “Esquisse 2” – which bring the improvisational resourcefulness of new group members Sarah Murcia and Christophe Lavergne to the fore. Characters on a Wall marks the second time that Louis Sclavis has devoted an album to music inspired by the art of Ernest Pignon-Ernest. Napoli’s Walls (recorded in 2002) was an evocation of Pignon-Ernest’s work in the city of Naples. Characters, in contrast, is inspired by the artist’s work in all its periods. Sclavis: “Ernest’s work speaks to me very directly. When I look at his images, I don’t have to search for long – ideas come to me very quickly. But there’s no rule, no method. Each work generates its own form and compositional processes.” The Village Voice once called Louis Sclavis “the most consistently impressive bass clarinettist since Eric Dolphy” but, as he has proven many times, his real instrument is the ensemble. He knows how to make his groups sing. Each of his bands has had a very distinct character, utilised by Sclavis to address a wide range of subject matter. “Sclavis keeps renewing and reinventing himself,” Stéphane Ollivier remarks in the liner notes. “The clarinettist expands his universe ever further at the limits of established genres and styles, into hybrid shifting territory where the learned and the popular, the ultra-contemporary and the traditional meet.” Benjamin Moussay started out studying classical piano at the Strasbourg Conservatory, before turning to jazz. In 1998 he was laureate of the Martial Solal International Jazz Piano Competition. Playing experiences with Louis Sclavis, Archie Shepp, Jerry Bergonzi, Glenn Ferris, Daniel Humair and Tony Malaby have contributed to the development of his language and technique, but his scope is wide and he cites also the influence of contemporary composition, electronic music and rock and pop on his musical development. In the liner notes, Stéphane Ollivier describes Moussay as “a sophisticated, lyrical pianist, who brings an intensity of phrasing and a deep harmonic understanding to a vision of his instrument that is orchestral and scenographic.” New bassist Sarah Murcia, a former student of the late J.F. Jenny-Clark (a contributor to important early ECM recordings including Paul Motian’s Le Voyage and Kenny Wheeler’s Around Six), moves adroitly between background and foreground responsibilities, both a powerful soloist and a driving presence. She has worked across several idioms in the course of her artistic journey, beginning with classical piano, and an early period as a cellist. On bass, she has recorded with Steve Coleman’s Five Elements Group and worked with numerous French improvisers. Her own project Never Mind The Future (line-up including Benoit Delbecq and Sclavis associate Gilles Coronado) has proposed improvised approaches to punk rock. Murcia also composes music for film and dance. Drummer Christophe Lavergne has worked a similarly broad field. He studied at the Nantes Conservatory before finding his path as a jazz improviser, travelling often to New York where he studied with Billy Hart, Marvin “Smitty” Smith, Charlie Persip, Adam Nussbaum, and Mike Clark among others. He has played or recorded with Thôt, Le Gros Cube, Caroline (with Sarah Murcia), Emmanuel Bex, Stéphane Belmondo, Benoît Delbecq and more. Louis Sclavis’s ECM recordings include Rouge (recorded 1991), Acoustic Quartet (1993), Les violences de Rameau (1995/6), L’affrontement des prétendants (1999),Dans La nuit (2000), Napoli’s Walls (2002), L’imparfait des langues (2005), Lost on the Way (2008), Sources (2011), Silk and Salt Melodies (2014), and Asian Fields Variations (2016). He can be also be heard on Ida Lupino (2015) with Giovanni Guidi, Gianluca Petrella and Gerald Cleaver. Characters on a Wall was recorded in Studios La Buissonne in the South of France in October 2018, produced by Manfred Eicher. The album is issued in both CD and LP formats. Liner notes by Louis Sclavis and Stéphane Ollivier are included, in French and English, plus photos of Ernest Pignon-Ernest’s artwork, The Sclavis Quartet takes the music on the road in Europe this season: September 19 Bærum Kulturhus Sandvika Norway September 27 Au sud du nord Boissy le Cuté France October 11 Contaminazioni Contemporanee Bergamo Italy October 12 Chrous Jazz Lausanne Switzerland October 18 Periscope Lyon France October 20 La Courroie Avignon France October 24 Jazz Istanbul Festival Istanbul Turkey November 14 Lux Valence France November 24 ECM 50 Festival Flagey Brussels Belgium February 3 Elbphilharmonie Hamburg Germany
  7. 2019 #CFL season

    Each team has revealed the names of ten players on its neg list. ***** Week 10 picks ***** Emanuel Davis has retired. ***** Jamaal Westerman is gone for the year with a torn triceps tendon.
  8. ECM Press Releases for New Items

    1. Danish String Quartet - J.S. Bach: The Well-Tempered Clavier: Book 1, BWV 846-869: Fugue in B Minor, BWV 869 (Arr. Förster for Strings) 06:48 2. Danish String Quartet - Schnittke: String Quartet No. 3: 1. Andante 06:11 3. Danish String Quartet - Schnittke: String Quartet No. 3: 2. Agitato 07:49 4. Danish String Quartet - Schnittke: String Quartet No. 3: 3. Pesante 08:36 5. Danish String Quartet - Beethoven: String Quartet No. 13 in B-Flat Major, Op. 130: 1. Adagio ma non troppo – Allegro 09:52 6. Danish String Quartet - Beethoven: String Quartet No. 13 in B-Flat Major, Op. 130: 2. Presto 02:00 7. Danish String Quartet - Beethoven: String Quartet No. 13 in B-Flat Major, Op. 130: 3. Poco scherzando. Andante con moto ma non troppo 07:05 8. Danish String Quartet - Beethoven: String Quartet No. 13 in B-Flat Major, Op. 130: 4. Alla danza tedesca. Allegro assai 03:22 9. Danish String Quartet - Beethoven: String Quartet No. 13 in B-Flat Major, Op. 130: 5. Cavatina. Adagio molto espressivo 07:49 10. Danish String Quartet - Beethoven: String Quartet No. 13 in B-Flat Major, Op. 130: 6. Große Fuge, Op. 133 (Ouverture. Allegro – Fuga) 16:44 DSQ November 2019 tour November 1 Minneapolis, MN American Swedish Institute Nordic folk songs November 3 Vancouver, BC Vancouver Playhouse Prism IV November 4 Portland, OR Lincoln Performance Hall Prism I November 5 Portland, OR Lincoln Performance Hall Prism V + Schnittke November 7 Seattle, WA Meany Center Prism I November 8 Sonoma, CA Green Music Center Prism I November 10 Berkeley, CA Cal Berkeley Prism II November 12 Santa Barbara, CA Granada Theater Danish Songs w Danish Girls Choir November 13 Santa Barbara, CA Campbell Hall Prism IV November 16 La Jolla, CA Conrad Prebys PAC Prism I November 17 La Jolla, CA Conrad Prebys PAC Prism II November 19 Costa Mesa, CA Samueli Theater Prism III November 22 La Jolla, CA Conrad Prebys PAC Prism III November 23 La Jolla, CA Conrad Prebys PAC Prism 1V and Prism V Each of the albums in the Danish String Quartet's ongoing Prism project links one of the five late Beethoven quartets with a Bach fugue and a kindred-spirit work by a later master. Released last year, the Grammy-nominated first instalment of the series earned wide acclaim. The second volume of the series begins with the Fugue in B minor, BWV 869, which completes J.S. Bach’sWell-Tempered Clavier, Book I (in an arrangement by Viennese composer Emanuel Aloys Förster, an elder contemporary of Beethoven). As Prism I included a quartet by Shostakovich,Prism II features one Alfred Schnittke. Characteristically, Schnittke’s String Quartet No. 3 of 1983 echoes with the sound of ghosts, from the late 16th century (Orlando Lassus and his Stabat Mater) to the mid-20th century (Shostakovich and his musical monogram of DSCH – which, as Paul Griffiths points out in his booklet essay, can be sensed as a transposition of the first four notes of the theme from Beethoven’s titanic “Grosse Fugue”). The original version of Beethoven’s String Quartet No. 13 in B-flat Major, Op. 130, included the “Grosse Fugue” as its final movement – which is how the DSQ presents the piece on Prism II. In a prefatory note to the five-album Prism series, DSQ violist Asbjørn Nørgaard explains that even with the groundbreaking, future-minded aspects of the late Beethoven quartets, “this music is far from being disconnected from the past. Rather, Beethoven was focusing deeply on tradition and the ‘old days’ during the last days of his life, and was especially obsessed with Bach’s Well-Tempered Clavier, from which he derived many of the melodic motifs in his five late quartets… What Beethoven did with this tradition, however, was mind-blowing. His late quartets were so extreme and brilliant that they changed the game. Every composer after Beethoven had to consider these works and somehow figure out how to carry the torch. Beethoven had taken a fundamentally linear development from Bach and exploded everything into myriad colors, directions and opportunities – much in the same way a prism splits a beam of light.” Beethoven completed his six-movement Op. 130 in 1826. As the biggest of his late quartets, the Op. 130 ranges from the comic to the cosmic, from Haydnesque scherzo to Mahlerian love song and beyond. After the work’s initial performance, Beethoven’s publisher persuaded him to substitute a shorter, lighter-toned finale for the 15-minute-plus “Grosse Fugue,” its length and level of dissonance considered too much for audiences of the time. The “Grosse Fugue” was first published as a standalone work, as Op. 133. Performers today, like the DSQ, often favor the composer’s original intentions, using the “Grosse Fugue” as the quartet’s finale. Encapsulating Schnittke’s polystylistic manner, his milestone String Quartet No. 3 takes the kaleidoscopic aspects of Beethoven’s Op. 130 into the late 20th century. With the work’s opening quotation of Lassus, the DSQ evokes a Renaissance consort of viols before digging into keening dissonances with a full, modern tone. Across the work, Beethoven and Shostakovich, waltz and lament, eras and emotions “twist and turn” in Griffiths’ phrase, the music feeling unsettled, otherworldly and, ultimately, timeless. Prism II comes as the DSQ embarks on a tour with concerts on both sides of the Atlantic, from Germany, Denmark and Belgium in September-October to a full, five-concert Prism cycle for California’s La Jolla Music Society in November. Referencing the links between Bach, Beethoven and the modernists who came after them, Nørgaard says: “The important thing to us is that these connections be experienced widely on an intuitive level. We hope the listener will join us in wonder at these beams of music that travel all the way from Bach through Beethoven as far as our own times.” *** The Danish String Quartet has an almost lifelong history of musical collaboration. Its three members born in Denmark – violist Asbjørn Nørgaard and violinists Rune Tonsgaard Sørensen and Frederik Øland – first played chamber music together in a summer camp before they were even teenagers, and then continued to do so throughout the school year, driven by their own enthusiasm. In 2006, the group made its first recordings – of Carl Nielsen’s quartets – as the Young Danish String Quartet, attracting the attention of publications from Gramophone to The New York Times. In 2008, Norwegian cellist Fredrik Schøyen Sjölin joined the quartet, and the foursome has since gone from strength to strength. In 2011, the DSQ received the Carl Nielsen Prize, Denmark’s most important cultural award. The group’s 2017 ECM album, Last Leaf, saw it explore the texturally rich, emotionally resonant world of Nordic folk music. The DSQ played its custom arrangements of this material with the focus that had earned the quartet such plaudits as “spellbinding” from Strings magazine for its ECM New Series debut of 20th-century compositions by Per Nørgård, Hans Abrahamsen and Thomas Adès, released in 2016. Both albums were singled out as among the best releases of the year by The New York Times.
  9. 2019 #CFL season

    Week 10 picks ***** Because last week's game was called with 22 minutes left, the Als are offering the fans a special deal.
  10. Are CDs Still Worth Selling Online?

    1 - I agree with Hutch. 2 - Have you considered selling bundles you have created? Sort of a "Kevin's Box Sets!" That would mean less work for you, I think.
  11. 2019 #CFL season

    Week 10 picks ***** 8/14 game notes ***** 8/14 checking down ***** Attention Jim Sangrey: Winnipeg has revealed it new Walby Burger, named after their Hall of Fame offensive lineman Chris Walby. ***** The league named McLeod Bethel-Thompson Week 8's Player of the Week. I'm guessing that that's the highlight of his career.
  12. 2019 #CFL season

    Week 10 picks ***** power rankings ***** QB accuracy ***** Terrell Sinkfield has signed with the New York Giants.
  13. 2019 #CFL season

    ESPN has put up its schedule through October. ***** Week 10 picks
  14. Bruce Cockburn "The Mt.Lefroy Waltz" Impacting: August 13 2019 Format(s): Jazz The Mt Lefroy Waltz featuring Ron Miles cornet; Roberto Occhipinti bass; Gary Craig drums, ready for Jazz airplay now! In 2005, Bruce Cockburn released Speechless, a collection of instrumental tracks that shone the spotlight on the singer-songwriter’s exceptional acoustic guitar playing. The album earned Cockburn a Canadian Folk Music Award for Best Instrumentalist and underscored his stature as one of the world’s premier guitarists. Already, The New York Times had credited Cockburn with having “the hardest-working right thumb in show business,” adding that he “materializes chords and modal filigrees while his thumb provides the music’s pulse and its foundation—at once a deep Celtic drone and the throb of a vigilant conscience.” Acoustic Guitar magazine was similarly laudatory in citing Cockburn’s guitar prowess, placing him in the prestigious company of legends like Andrés Segovia. Bill Frisell, Django Reinhardt and Mississippi John Hurt. The Mt Lefroy Waltz is from the intriguingly titled Crowing Ignites, another dazzling instrumental album that will further cement his reputation as both an exceptional composer and a instrumentalist with few peers. The latest album features 11 brand new compositions. Although there’s not a single word spoken or sung, it’s as eloquent and expressive as any of the Canadian Hall of Famer’s lyric-laden albums. As his long-time producer, Colin Linden, puts it: “It’s amazing how much Bruce can say without saying anything.” Upcoming North American Tour Dates SEPT 7 SISTERS OR SISTERS FOLK FESTIVAL SEPT 20 NASHVILLE TN CITY WINERY SEPT 21 FERDINAND IN FERDINAND FOLK FESTIVAL SEPT 23 NELSONVILLE OH STUART OPERA HOUSE SEPT 24 GOSHEN IN JOHN S UMBLE CENTER SEPT 25 GRAND RAPIDS MI COVENANT ARTS CENTER SEPT 27 CHICAGO IL OLD TOWN SCHOOL SEPT 28 CHICAGO IL OLD TOWN SCHOOL SEPT 29 MINNEAPOLIS MN CEDAR CULTURAL CENTER SEPT 30 FARGO ND FARGO THEATRE OCT 19 TORONTO ON KOERNER HALL OCT 20 LONDON ON CENTENNIAL HALL OCT 21 ST. CATHARINES ON FIRST ONTARIO ART CENTRE OCT 22 KINGSTON ON GRAND THEATRE OCT 24 BROOKLYN NY MURMRR THEATRE OCT 25 ALBANY NY THE EG OCT 26 COLLINGSWOOD NJ SCOTTISH RITE THEATRE OCT 27 WASHINGTON DC THE BIRCHMERE NOV 8 VICTORIA BC THE ROYAL THEATRE NOV 9 VANCOUVER BC CHAN CENTRE NOV 10 SEATTLE WA NEPTUNE THEATRE NOV 11 MISSOULA MT WILMA THEATRE NOV 12 BOISE ID VAC THEATRE NOV 14 SALT LAKE CITY UT STATE ROOM NOV 15 GRAND JUNCTION CO AVALON THEATRE NOV 16 DURANGO CO HENRY STRATER THEATRE NOV 17 BOULDER CO BOULDER THEATRE NOV 19 PHOENIX AZ MIM NOV 20 LOS ANGELES CA MCCABES GUITAR SHOP NOV 21 BERKELEY CA FREIGHT & SALVAGE NOV 22 BERKELEY CA FREIGHT & SALVAGE NOV 23 MONTEREY CA GOLDEN STATE THEATRE
  15. Harry Connick Jr. "Just One Of Those Things" Format(s): Jazz After 30 million albums sold worldwide, 13 No. 1 jazz albums in the United States, and a music, film, television and Broadway career spanning three decades, Harry Connick, Jr. returns with a sensational new record, True Love: A Celebration of Cole Porter. Comprised exclusively of Cole Porter compositions, True Love highlights Connick’s talents as pianist, singer, arranger, orchestrator and conductor, as he breathes new life into popular songs from The Great American Songbook including “Anything Goes”, “You Do Something To Me” and the first single “Just One of Those Things.” Artist Title Time Harry Connick Jr. Just One Of Those Things 03:13