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to any country fans here, wkcr radio is beginning its very fine country weekend at noon eastern. The Bristol Sessions’ Earns Appalachian Book of the Year Award The Bristol Sessions: Writings About the Big Bang of Country Music—that was recently named the 2006 Appalachian Book of the Year for Nonfiction by the Appalachian Writers Association East Tennessee State University’s Dr. Ted Olson and the late Dr. Charles Wolfe of Middle Tennessee State University served as editors of a collection of 19 essays--The Bristol Sessions: Writings About the Big Bang of Country Music—that was recently named the 2006 Appalachian Book of the Year for Nonfiction by the Appalachian Writers Association (AWA). According to Kimberly Holloway of the AWA, “The Appalachian Writers Association promotes the work of new and established authors who write about Appalachia in a variety of disciplines. At the AWA’s annual conference, the organization awards Appalachian Book of the Year honors in fiction, nonfiction, poetry, and children’s literature. This year’s nonfiction contest was quite competitive, with nominations that included nine exceptional books.” “The Bristol Sessions” is the name given to a 1927 gathering in Bristol that resulted in recordings of 19 musical acts, including two soon-to-be-famous ones--the Carter Family and Jimmie Rodgers--and numerous other musicians. These Bristol recordings, issued commercially in the late 1920s by the Victor Talking Machine Company (later RCA Victor), continue to interest fans of early country music and to influence musicians. The Bristol Sessions: Writings About the Big Bang of Country Music, published by McFarland and Company, details the spark of an idea for the sessions, first-hand accounts of the music making, and the event’s place in history and tremendous influence, still felt today. An associate professor at ETSU, Olson teaches courses in Appalachian Studies, English, and the Master of Arts in Liberal Studies program. Olson is the author of several other works, including Blue Ridge Folklife, part of the Folklife in the South Series published by the University Press of Mississippi, and Breathing in Darkness (Wind Publications), a forthcoming poetry collection. Additionally, he is the editor of several books, including CrossRoads: A Southern Culture Annual (Mercer University Press), James Still’s From the Mountain, From the Valley: New and Collected Poems (University Press of Kentucky), and Sarah Orne Jewett’s The Country of the Pointed Firs and Selected Short Fiction (Barnes and Noble Classics). Wolfe, who passed away recently, was a professor of English and Folklore at MTSU and a leading historian of American music. He wrote approximately 20 books, including A Good-Natured Riot: The Birth of the Grand Ole Opry and Tennessee Strings: The Story of Country Music in Tennessee.

thanks for posting

beautiful gloria lynne set on kcr

http://www.pianoculture.com/FSboxoffice.html

....birds of a feather.........

i also heard a show on wkcr with drummer jim black hosting a show of his favorite recordings, remarkable beautifully wrought sensitive and profound pieces one will never hear anywhere else, that i would not expect to be drummers favorites. jim has a keen appreciation of beautiful vocal works, and appears to be self-effacing. i hope to hear more of jim black and his music very soon.

live on blue lake tonight. beautiful compositions interpreted by masterful tasteful musicians who have played together for years. these guys are big bigtime. thanks blue lake.

I think this has been discussed before but, there are: The two David Murrays--Shakill's Warrior and Shakill II, on DIW. There's a single (great) track of organ on Pullen's Milano Strut (Black Saint). Jack Walrath's Serious Hang. Two LPs on Mainstream by Charles Williams (I haven't seen these have on CD). thanks. the awesome track i heard was milano strut.

just heard don pullen (organ) with david murray in 1991. pullen on organ recommendations?

ernest has a website with many individual recordings available for download. i have purchased 9 or 10 and they are great! http://chi-creates.tv/store/product_info.php?products_id=215

westfield insurance company(WIC) has been fine with me, and most reasonable, for 20 years.

http://upcoming.org/event/155774/

12 it is. thanks jb.

This one arrived to my mailbox today, from my last Jazzology order. Haven't heard it yet! trying to choose from condon 12 or the wellstood.

i am certain that all mass market electronics dealers are 'above' reproach. my dealings with abc warehouse and circuitous city have been frequently less than stellar events.

the condon looks swell. do any of those condons have butterfield and hackett?

thank you. was looking for some billy butterfield this morning. recommendations?

any comments or opinions on the jazzology label?

billy butterfield and his orchestra----------they're playing our song

thank you

a friend who drives a beer truck promises to tomorrow bring me a case of great lakes breweries blackout stout. as good as finding another trane-monk tape. FROM BEER ADVOCATE: Beer Mail this user about their beer review and beer ratings of Great Lakes Blackout Stout Sudsdog ( Belgium, Massachusetts ) overall: 4.25 appearance: 4.5 | smell: 4 | taste: 4 | mouthfeel: 4.5 | drinkability: 5 Again, big thanks to jdciflorio for allowing me this Stout evening! Just finished a Bells Expedition - what a follow up! Great beers from a great guy. Black brew! My snifter is again full of absolutely black brew. This one heads up a lighter shade of tan and sticks around just a bit longer with traces of lacing's left inside. Not quite as viscous a fluid but a tad more sticky, hmmm... Aroma favors coffee first a nice cold black cup, bitter hoppy. Roasted dark malts and grains dark chocolate sweet caramel cocoa, some ripe dark plum a hint of cherry anise, zippy alcohol lightly smokey. Kind of light and lightly sweet at first, black coffee with one sugar cube... chocolate roasted malts fruity raisin cherry. Then, a bite of dry cocoa gently spicy smokey just boozy enough, at least after the Bells, a light and airy RIS. Kind of expect something a bit more massive though still very tasty! This one is going fast... Finish is coffee over chocolate dry, yet has a sugary fruity toffee sweetness. Feels great in the mouth, wonderful balance between carbed and creamy. A very friendly and approachable brew this may be the perfect RIS introduction. This is a very easy drinking brew maybe the most drinkable RIS to cross my path, I can see a few of these disappearing in short order. Same style, 2 very different beers, both wonderful in their own way. I find Blackout Stout to be potentially dangerously drinkable, the 9% abv. just sneaks up on ya. Careful with this one... it's a bit tricky! Would have given it a 4.25 on taste though the lighter body for the style forced a 4. [ serving type: bottle ] -- beer review id: 477341 / 03-17-2007 00:36:03

I have a new found love for the Irish Car Bomb--Guinness, Irish whiskey, and Bailey's. Tastes like chocolate milk! guinness and hard cider are swoop, too.

long term planning on the consumer end sucks, too. i try to have my gas bill paid in advance $500/$1000 to buffer it somewhat. thanks! it just sounds like a way for them to gouge, but i am sure you are right.

AP Broadcasters Challenge Streaming Rules Monday March 19, 7:12 pm ET By Seth Sutel, AP Business Writer Radio Stations and Online Broadcasters Challenge Copyright Ruling on Internet Royalties NEW YORK (AP) -- A wide array of broadcasters and online companies on Monday challenged a ruling from a panel of copyright judges that they say could cripple the emerging business of offering music broadcasts over the Internet. Clear Channel Communications Inc., National Public Radio, and groups representing both large and small companies providing music broadcasts online were among those asking the Copyright Royalty Board to reconsider key parts of its March 2 ruling. That ruling, the challenging parties say, would greatly increase the amount of royalties that online music broadcasters would have to pay to record labels and performers as well as put unreasonable demands on them to track how many songs were listened to by exactly how many individuals online. The royalties in question only apply to digital transmissions of music, such as through Web sites, and are paid to the performers of songs and record labels. Webcasters also pay additional royalties to the composers and publishers of music, similar to those also paid by over-the-air broadcasters. Digital performance rights were originally granted to record companies in 1995, in part with the intention of protecting them against the possibility that digital transmissions could erode the sales of CDs. Under a previous arrangement, which expired at the end of 2005, broadcasters and online companies such as Yahoo Inc. and Time Warner Inc.'s AOL unit could pay royalties based on estimates of how many songs were played over a given period of time, or a "tuning hour," as opposed to counting every single song. Jonathan Potter, the executive director of the Digital Media Association, which represents major online companies affected by the decision, asked that the judges specifically allow a per-tuning-hour approximation measure for paying the royalties. Potter also asked the judges to clarify a $500 annual fee per broadcasting channel, saying that with some online companies offering many thousands of listening options, counting each one as a separate channel could lead to huge fees for online broadcasters. NPR argued in its filing Monday that the new rules would have "crippling effects" on public radio's ability to meet its mandate of serving the public interest, and it also objected to the $500 per-channel minimum fee. A group of commercial broadcasters including San Antonio, Texas-based Clear Channel, the largest radio company in the country, also asked for a reconsideration of key parts of the ruling, saying that the methods used to calculate the fees were faulty. The motions filed Monday covered relatively technical aspects of the ruling and mark the first of what is likely to be other legal challenges to the decision. NPR said in its filing that it also intended, in due course, to appeal the overall decision by the copyright judges to the U.S. Court of Appeals for the Federal Circuit in Washington. A previous agreement covering small commercial webcasters, which also expired at the end of 2005, allowed those companies to pay a flat rate of 12 percent of annual revenues in lieu of calculating the total number of listener-hours as larger broadcasters and Web companies were required to. The ruling makes no such provision, something that those companies are asking the judges to reconsider. SoundExchange, an entity that collects royalties from digital music broadcasters and distributes them to rights holders, has said the ruling was fair and that the rapid growth in advertising revenues from online music broadcasting would more than allow webcasters to cover the new fees. SoundExchange pointed to research finding that those ad revenues grew from $50 million in 2003 to $500 million last year.

never ever gravy, chunks, or slices here.