alocispepraluger102

I BID WINN 75----BOMBS AWAY!!!!!!!!

thank you, allen, for your knowledge and insight. NORTHWOODS-----OMG!!!!!!!!! thanks

i've received 2 private notes from readers reminding me of the mishandled bay of pigs debacle and their personal losses. that is not forgotten, i assure you.

out of respect for mr. nessa and mr. motian, mine will be deleted as well. motian recordings that may be overlooked are the sensitive small group efforts he continued to make. nothing ever was anyway by crispell and a recent effort by augusto pirodda, among several, are among my personal favorites.

winn 70 how are overtimes played out in canadian rules?

1:30 PM Bruce Hooley of WKNR Cleveland reports that with Urban Meyer on his way in at Ohio State, Buckeyes athletic director Gene Smith appears to be on his way out .

this week, november 22, marks the 48th anniversary of the assassination of president kennedy. it's often said that everyone who was alive then can remember where they were and what they were doing when they got the news that JFK had been shot. i first heard the news on that sunny shirt sleeve warm thursday november 22, listening about 130pm to weol-fm, preparing to go to work at the supermarket. each news bulletin from cbs news dallas grew significantly more grim until walter cronkite announced the death of john fitzgerald kennedy, 35th president of the united states. i had grown to marvel at president kennedy's remarkable wit, knowledge, perspective, and hair raising oratory. i especially loved the repartee of his press conferences. the talk at the market that evening, was of philosophies forever changed, a realization that there is no real security in this world, and that dreams can die, too. we knew that this world, country, and i had sufered wounds to our souls that would never heal. we have not seen his equal, his human faults nothwithstanding. this man, in his press conferences, was knowledgeable, informed, and informed. no one since has come even close to having a kennedyesque press conference. if you were alive then, what was your reaction, and how did it change you? high hopes

from twitter------charliehaden Charlie Haden Paul Motian 25 March 1931 - 22 November 2011. I love you Paul so much and will miss you terribly. youtube.com/watch?v=x8eMfc…

meyer article Posted by Brooks on Nov. 22, 2011, 2:11pm Last Friday I reported that Urban Meyer had agreed in principle to become the next head football coach of Ohio State. Multiple sources confirmed today that Meyer has reiterated his intention to take the job during recent phone calls to multiple, prominent former Ohio State football players. Sources said Meyer contacted the ex-Buckeyes to ask for guidance on possible assistant coach hires and - just as important - their public support when Meyer’s hire is announced next week by Ohio State. Sources close to Ohio State said today that an announcement on Meyer’s hire by the school will come next Monday or Tuesday though nothing has been signed between the two parties at this time. Follow Brooks on Twitter or join him on Facebook for real-time updates

from sports by brooks 6:15 PM The Edmonton Journal reveals that Edmonton Eskimos slotback Fred Stamps managed to play the final 10 weeks of the CFL season after losing a testicle from an accidental kick to the groin.

wkcr wkcr will broadcast 24 hours of the late paul motian's recordings, beginning at midnight eastern standard time wednesday(tonight).

most of which will be in the local landfill, not to speak of ourselves.

link

http://www.nytimes.com/2006/01/20/arts/music/20moti.html?pagewanted=all By BEN RATLIFFPublished: January 20, 2006THE drummer Paul Motian doesn't get on airplanes anymore. Once, in the mid-90's, he took a three-week tour with 35 flights. By 2003 he was booking himself with three different bands all over Europe and Japan. He decided he was sick of traveling. Enlarge This Image Fred R. Conrad/The New York Times The jazz drummer Paul Motian, leader of three different ensembles, in his Central Park West apartment. After many decades on the road, he has decided to stay close to home. Audio Clips: (mp3) • 'Maryland' by Baby Dobbs • 'Tom Tom Workout' by Baby Dobbs • 'Carolina Moon' by Theolonious Monk • 'Delilah' by Clifford Brown and Max Roach Selected Paul Motian Recordings(January 20, 2006) Forum: Jazz It's not just long distances. "I don't even go to New Jersey or Brooklyn anymore, man," he said defiantly one recent rainy midday, looking west toward the Hudson River from the window of his Central Park West apartment. He is 74, and has lived in the same spot for nearly 37 years, most of that time alone. Now, Mr. Motian wants only to hear his own drum sound clearly. He has found that at the Village Vanguard, where he will play next week, he can. It is an unusual sound. It does not limit any part of the drum set to a particular role. Mr. Motian has two ride cymbals, one of which he has been using since the 1950's; he gets a rich, dark, nuanced sound from it. He uses no padding or muffling in his 20-inch bass drum, and with it he can get a remarkable, deep, loud, loose noise, almost a splat - a reminder that a bass drum is an instrument of emphasis, not just timekeeping. And for timekeeping, he plays whatever moves into his imagination. Four beats could be marked by a few snare-drum hits, a few clenches of the high-hat and a couple of combinations; in the next bar, he might play small military rolls and one lone cymbal. He has a careful style, but he is free within it. He works mostly with three of his own groups: his trio with the guitarist Bill Frisell and the saxophonist Joe Lovano, which has grown steadily more influential over 21 years; Trio 2000 + 1, with the bassist Larry Grenadier and the saxophonist Chris Potter, the plus-one being the enigmatic Japanese pianist Masabumi Kikuchi (or lately, the singer Rebecca Martin); and the group formerly known as the Electric Bebop Band, now called the Paul Motian Band, with the odd structure of three guitarists, two tenor saxophonists, bass and drums. That is the group that will play next week at the Vanguard; simultaneously, it will be releasing a new album, "Garden of Eden," on ECM. Small and bald, with excellent posture - he runs a few miles in Central Park nearly every day - Mr. Motian practices rapid, streetwise self-deprecation, cussing constantly. That, and a nail-gun laugh, give him the demeanor of an old-school hipster. I have heard him call a room full of people, at one time, "man." (As in "Hey, thanks for coming, man!") But he can't be reduced that easily. History has shaken him out as one of the greatest drummers in all of jazz - a select group that would include, say, Max Roach and Roy Haynes. These days, Mr. Motian's playing seems to get beyond styles particularly associated with any era of jazz. Spare and never facile, as natural as breathing, Mr. Motian's constant flow of improvisation can seem to get beyond thinking in general. At the moments of the highest abstraction in his playing, there is the greatest sensitivity, and always the implication of a pulse. Jazz, mostly, is about testing the integrity of a song's frame. Mr. Motian appears to feel that if you truly respect the frame, you can put anything inside it. About half of one of his sets tends to be original compositions. An amateur pianist since the middle of his tenure as the drummer in Keith Jarrett's quartet during the late 1960's and 70's, he has written dozens of excellent melodies, flowing and terse. (The other half consists of tunes by jazz composers he admires, Thelonious Monk or Bud Powell or Charles Mingus, or popular standards.) He doesn't overcompose, likes hearing his music liberally interpreted, and lets his band members do what they want. 'I Know Your Secret' Mr. Motian is not advancing any great theories about his style. One day during a recording session a few years ago, Hank Jones, the wise old pianist, took him aside. "I know your secret," he whispered. Mr. Motian told this story with a baffled shrug. "I wish I knew what he meant," he said. "Wow!" Asked to listen to some recordings and talk about them, he came up with a fantastically judicious list. He kept claiming not to have an aptitude for thinking about music analytically. Then it was clear that he knew exactly what to talk about: he just wanted it to drift up on its own, without his having to point it out. Mr. Motian grew up in Providence, R.I., hearing big bands at the Metropolitan Theater in downtown Providence and at Rhodes on the Pawtuxet, a dance space just outside the city. He entered the Navy in 1950 during the Korean War, as a better option than being drafted into the Army. It first enabled him to attend the Navy School of Music in Washington, which he attended briefly and remembers as "a farce." He sailed around the Mediterranean for two and a half years in the admiral's band of the Seventh Fleet, and then was stationed in Brooklyn in the fall of 1953. Discharged a year later, he moved to Ninth Street in the East Village. His share of the rent was $12.50 a month. He collected unemployment, ate potato knishes and played at jam sessions. The first piece Mr. Motian wanted to hear connected to the days of playing marches in the Navy. It is from Baby Dodds's "Talking and Drum Solos," a documentary record made for Folkways in 1946 by the jazz historian Fred Ramsey. Baby Dodds was the great New Orleans drummer of the 1920's and 30's who worked with <a href="http://movies2.nytimes.com/gst/movies/filmography.html?p_id=2289&inline=nyt-per" title="" style="color: rgb(0, 0, 102); ">Louis Armstrong, Jelly Roll Morton and Johnny Dodds, his brother; he became celebrated a second time in New York during the 1940's Dixieland revival. The 10-inch record, on which Dodds discusses his history and technique, is a little primer on different rhythms for different drums. Cueing up the record on his turntable, Mr. Motian started with Dodds's solo version of the traditional New Orleans march tune "Maryland." His point, in singling out "Maryland," was not about surface flash, technique or speed. It was much simpler. While playing a march rhythm on the snare drum all the way through, Dodds delineates the verse from the bridge by pumping a bass drum on the bridge but not on the verses. That's all. "I guess my point is that it makes a difference," he said. "He's in a different part of the song." What about that cymbal sound, I asked, the one tap at the end of each section. Why is it so soft? Was Dodds, who worked during the earliest days of jazz recording, just respecting the sensitivity of the microphones? "No, I don't think so," Mr. Motian replied. "You know, the drummers in those days - I don't think they bashed the cymbals like they do now. It's delicate. It's a cymbal, man. It's not a jackhammer." He took the needle off the record. "The first drum set I had was made during World War II. It didn't even have metal. It had wooden rims. My drum sound was closer to that than it is to my sound now. I wasn't that aware of sound. Not like I am now." Piano Trio In 1955 Mr. Motian met the pianist Bill Evans. A few years later Evans formed his own trio, with Mr. Motian and eventually Scott LaFaro on bass, which destabilized the pyramid structure of the normal piano trio, increasing the mobility of the bassist and drummer around the leader. Mr. Motian loved it, especially when LaFaro was in the group, and it was steady work: his diaries from 1962 show that he played 251/2 weeks with Evans that year. Among their recordings was a genuine 20th-century landmark, "Sunday at the Village Vanguard." That period, the late 50's and early 60's, was the busiest of his life. Mr. Motian played often with other bandleaders too - Stan Getz, Lee Konitz, Lennie Tristano, Martial Solal, Zoot Sims, Eddie Costa, Johnny Griffin. For one week in Boston, in 1960, he got to play with Thelonious Monk. (Elvin Jones was supposed to be the drummer, but he went missing.) Mr. Motian chose Monk's version of "Carolina Moon," an old waltz commonly understood as cornpone. Monk rethought it when he recorded it in 1952. He plays the end of the waltz melody as a short piano introduction, and then bass and drums crash in, playing a speedy four-four. In the middle of the tune the drummer, Max Roach, slows down to midtempo four-four, but the soloists, Lou Donaldson, Kenny Dorham and Lucky Thompson, continue to play in three. Listening to it, Mr. Motian turned on like a lamp. He didn't have much to say; instead, he clapped and counted all the way through, laughing. Monk was an easy boss. He paid Mr. Motian $200 for the week, good wages, and didn't demand much. One night he asked Mr. Motian to sing him his cymbal beat. He did, and Monk thought about it and sang a corrected version back to him, with a tiny bit more emphasis on the last stroke of the triplet. One of His Idols Max Roach used to live a few blocks away from Mr. Motian on Central Park West, and has long been one of his idols. (Mr. Roach is seven years older.) When Mr. Motian finally joined the New York jazz scene, in 1955, Mr. Roach, who was the great drummer of bebop's first wave, was already taking that music into a new territory with the Clifford Brown-Max Roach Quintet. Mr. Motian saw the band play a lot. "I went to hear them once," Mr. Motian said of that group, "and I think Sonny Rollins was on tenor. I was with this bass player I used to play with a lot, Al Cotton, and he said: 'Look at Max. Watch: when he's playing he uses his whole body. He's exercising when he's playing. He's moving around. He's not just sitting there. It's not just in the wrist, in the hands. It's the whole body.' It was the mid-50's when I got turned on to that: the drums and me should be one thing, you know. It's part of me. From head to fingernails to the end of my toes, man. The drums, it's all me." He wanted to hear the Victor Young movie theme "Delilah," a midtempo minor-key ballad, from the Brown-Roach band's first album, recorded in 1954. It has incredible clarity: the definition of each section makes it shine like a hit pop song. "It's so organized, man," Mr. Motian said. "Arranged so beautiful. Simple, but great." There's a Max Roach solo in the middle, for an entire chorus. Just as Baby Dodds did - and just as Sid Catlett did on another tune Mr. Motian played for me that day, an out-of-print recording of "I Found a New Baby" - the drummer indicates the structure of the composition in his solo, changing his patterns to mark its divisions. I suggested that a thread was emerging here, kind of an unusual one. He smiled a little bit, and raised one eyebrow, and kept talking about Max Roach. "He plays different sections of a song, he points it out to you. No confusion at all. You know what I mean?" Kenny Clarke and Mr. Roach were the first great drummers of bebop, lining out the pulse on the ride cymbal rather than the bass drum; suddenly jazz drumming became higher-pitched, and more flexible. Mr. Motian idolized Clarke, too, and got to know him in Paris in the 1980's, a few years before Clarke died. Clarke played with a Miles Davis group for the 1957 soundtrack to the Louis Malle film noir "Ascenseur Pour l'Échafaud," and Mr. Motian is partial to the album. We listened to "Motel," a fast trio improvisation with trumpet, bass and drums, based on the chords of "Sweet Georgia Brown." Clarke plays with brushes on a snare drum, varying his patterns within the same rhythm all the way through. There's not one cymbal crash, no bass drum, but Clarke is dazzling. For a musician who likes to boil things down, it is justification. "Just to get so much music and so much feeling and so much swing from the minimum amount of drums, man: that's incredible," Mr. Motian said. "There's so much music there, just on a snare drum. It's like a symphony to me."

my sentiments, exactly!!!! thanks.

cleaning up.... why cant the generations just clean up after themselves?????? ben webster

http://www.studentaffairs.columbia.edu/wkcr/ guitarist grant green featured until 7pm eastern.

will be playing stans cool velvet and franklyn mccormaks

as for me, i'm waiting for the much more vital 751st reissue of teo's splicings of 'bitches brew' played upside down and backwards.

You can officially add #5 Oklahoma to that list. yes, stoops outstupided himself again by calling a timeout when baylor with none was playing for overtime.

agreed-thx

a group of 15 intelligent thoughtful folks on a committee invariably produce thinking unworthy of a baboon. and when they design things.... thinking is best left to individuals, not groups or seminars.

a little humor from of all places, the political site ace of spades... Joe Paterno Filled with Regret for Not Reporting Child Molestation and a Treatable Form of Lung Cancer, but Mostly a Treatable Form of Lung Cancer —Russ from Winterset Per CNN Actually, the CNN article contains a minor mistake. This cancer was NOT first diagnosed last week. A lab technician actually noticed the spots on an MRI image back in 2002, but didn't relay that information to the Paterno family. The technician told Paterno's doctor, and the doctor called a meeting with hospital administrators a week later and told them that the tech had seen "something of a cancerous nature, possibly cancerous horseplay". The doctor's son reportedly told reporters this morning that the whole hospital community is sorry for not telling Paterno about the cancer at the time, but they are convinced that the doctor did nothing wrong because he relayed the information to his superiors per hospital policy. Supposedly, hospital employees and former patients are going to riot tonight and destroy some news vans in solidarity with their beloved doctor.* very good, bunny. thanks for raising your hand.