GA Russell

Saxophonist Mark Turner Leads an Exploratory and Thought Provoking Journey in his Latest Release, Return from the Stars Quartet features Jason Palmer, Joe Martin, and Jonathan Pinson Available March 25 via ECM Records Mark Turner has been a frequent and significant presence on ECM recordings of the last dozen years, bringing his saxophone artistry and his musical commitment to recordings with Enrico Rava, the Billy Hart Quartet, the cooperative Fly trio (with Jeff Ballard and Larry Grenadier), Stefano Bollani and, most recently, Ethan Iverson, on the duo recording Temporary Kings. Albums under Turner’s leadership, however, have been rare and Return from the Stars is the first ECM recording to feature his quartet since 2014’s Lathe of Heaven. Turner’s writing for his group on Return from the Stars gives the players plenty of space in which to move, on an album both exhilarating and thoughtful in its arc of expression. Solos flow organically out of the arrangements and, beneath the dazzling interplay of Turner’s tenor and Jason Palmer’s trumpet, bassist Joe Martin and drummer Jonathan Pinson often roam freely. The absence of a chordal instrument keeps the conversational possibilities in the music wide open, as the compositions modulate between the meticulously structured and the loosely guided. Mark Turner puts a lot of faith in intuition and the shared artistic goals of an ensemble, and cherishes the narrative tension arising from the juxtaposition of freedom and responsibility: “My process in writing is that I write for the people playing,” he says. “I don’t like to say a lot to them about the compositions. I like to write a piece of music and know that the people I’ve chosen are going to play it, basically, the way they play. I’d rather they find themselves in the music. The tunes are written in such a way that each musician has a choice in terms of how they take care of what they’re supposed to be doing. There are parts written for the horns. Not so much is written for the rhythm section, except for a few ‘hits’ and maybe time changes in sections. I just give guidelines about how the section should feel and then I let bass and drums figure out how to do it. Whatever makes the rhythm section sound good, that’s what we do. Then, the horns will play on top of that. “ Bassist Joe Martin is the sole musician retained from the Lathe of Heaven line-up. He’s been playing with Turner in diverse contexts since 1995. And, as he outlined it to Music & Literature magazine: “I always feel, playing with Mark I have to play as well as possible and raise the bar. In the quartet, because there isn’t a piano or guitar player to fill a certain harmonic space for everybody, I’m more probably more conscious of my note choices. Just one single note choice changes everything, suggesting tonality, harmony.” Turner met dynamic drummer Jonathan Pinson while playing with Israeli guitarist Gilad Hekselman’s group. Pinson’s CV begins at a high level: he dived into the music at the deep end, touring with Herbie Hancock, Wayne Shorter and Greg Osby while still in his early twenties. His résumé also includes work with Kamasi Washington, Ambrose Akinmusire, Dave Liebman and many others. Pinson makes his ECM debut with Return from the Stars, as does trumpeter Jason Palmer. Palmer and Mark Turner first encountered each other as sidemen in bands a decade ago. Mark subsequently played in projects led by the trumpeter, also recording in some of his projects (Places, Rhyme and Reason and The Concert). He singles out Palmer’s “willingness to go into zones unknown to him” among his outstanding qualities. The two of them share an encyclopaedic knowledge of the music. The Boston Phoenix has said of Palmer that he “builds fire with his secure tone and the cool deliberation of his solos”. The same could be said of Turner, who, according to National Public Radio, “has an innovative sonic signature, a certain floating chromaticism, rhythmic mindfulness and lightness of tone, filled with subtleties.” Return from the Stars takes its title from Stanisław Lem’s science fiction novel in which an astronaut returns from an exploratory space mission to find life on earth greatly changed, and his own values out of step with those of a conformist, risk-averse society. Turner’s sci-fi enthusiasms are well known, and some observers have perceived a kind of idiomatic ‘time travelling’ quality in his work: The Guardian described his ECM quartet album Lathe of Heaven (named after an Ursula K. Le Guin story) as “sounding like Birth of the Cool floated over a 21st-century rhythmic concept.” Deep study of a range of jazz masters has informed his style, his expressivity on the full range of the tenor saxophone, and the scope of his writing, which brings the music forward while being acutely aware of its history. Return from the Stars was recorded at New York’s Sear Sound Studio and mixed at Studios La Buissonne, in Southern France. The album was produced by Manfred Eicher.

Pianist Tord Gustavsen Returns with New Trio Album, Opening, Featuring Steinar Raknes and Jarle Vespestad Available April 8 via ECM Records Tord Gustavsen’s album Opening develops the traits and styles explored on his earlier works, while introducing a broader spectrum of suppleness and a transformed sense of interplay to the trio’s repertory. It is the first Gustavsen Trio recording with Steinar Raknes on bass and the newcomer feels quite at home supporting his colleagues in the deep end, settling in quickly between Tord’s refined chordal studies and Jarle Vespestad’s delicate stick- and brushwork. There’s a particularly striking openness to the music, marked by spacious improvisations and a tendency to reveal the secrets and melodies at their own pace. “The urge for saying something, be it abstract or lyrical, has to come from within,” Tord reasons. “During the recording of the album it felt better to do the breathing first, open up the soundscape in more organic ways and let the melody enter when it comes naturally.“ Multiple causes may account for the shift in temperament on Opening – the change in lineup certainly being one of them. Bassist Steinar Raknes establishes a firm counterpoint in the music. “He’s an extroverted bass player, who likes to take center stage, while also being an incredibly supportive and humble accompanist, so he moves very swiftly between background, collective and soloist roles.” An ideal counterbalance to the variable basslines, Jarle’s percussive rumination acts as a mediator, guiding his fellow musicians through alternating straight-ahead and rubato passages. Here more than ever Tord dwells on minuscule fragments, brief chord chains and scarce hints of motifs, developing the material patiently: “It’s something I’ve been doing a lot in solo concerts. Having themes just appear out of the dark and disappearing back into a shady undercurrent…” In a way picking up where the prior trio album The Other Side left off, album-opening "The Circle“ presents a hymnal refrain, fashioned with a humble design. “I was sitting at the piano and the first four bars just came to me. I worked out and developed the remaining structure deliberately, but more and more I find that the best tunes I’ve written over the years basically just came to me, like gifts. I then have the responsibility to shape the gift, make it grow and turn it into a complete piece”. The trio offers spontaneous moments of dense rubato interplay on “Opening” and “Findings," the latter of which ends on an instrumental quote of the Swedish folk song “Vis Fran Rattvik," “It shows that I was listening to the classic Swedish Folk-tune arrangements by the late Jan Johansson, who also happened to be one of the greatest Swedish jazz pianists. I’ve been learning many of his arrangements by heart, just as an exercise, and that influence is in evidence here." These are also the most freely improvised exhibits of the record, as is counterpart “Findings II." “I really enjoy building these miniatures — it’s something we often do in live situations. It’s about creating a shape, not about free improv in the sense of showing everything you’re capable of doing," With each song, the trio shifts focus, presenting the reduced, most skeletal shape of a composition on “The Longing," the gentle untangling of melody on “Shepherd Song” and the subtle deconstruction of a dance with “Helensburgh Tango” – “to the point where it almost doesn’t qualify as a tango anymore." Like “Re-opening," most songs have prescribed harmonic changes and general shapes, “but when to move from one chord or section to the next isn’t pre-composed, but decided between us, in the spur of the moment." “Stream” uncovers a ‘classic’ piano trio ballad in shape and execution. “Though seemingly counterintuitive, in the studio our interplay grew densest during Steinar’s solo, then we move into a collective crescendo – both spontaneous decisions that really shed a different light on the track.” “Ritual” follows, seeing Steinar taking the lead with guitar-like treble and Gustavsen being in charge of the lower frequencies, applying subtle electronics in the process. The group goes full circle with the one subject that pulls through Tord Gustavsen’s entire ECM oeuvre, as Opening closes with Norwegian folk themes: “Fløytelåt” (the flute) by composer Gveirr Tveitt and Egil Hovland’s “Vær sterk, min sjel” from the Norsk Salmebok, the Norwegian Hymnal. Instead of stating the obvious and immediately going for the melody, Gustavsen and his accompanists again broach the songs with openness, trading strict organization for thoughtful and effortless improvisation. Opening was recorded in Lugano’s Auditorio Stelio Molo in November 2021 and produced by Manfred Eicher.

John Scofield Releases His First-Ever Solo Guitar Recording Available May 6 via ECM Records Listen to "Honest I Do" on Guitar Player Watch an Exclusive Video Interview About the Album on Jazz Guitar Today With a career spanning over half a century, marked by influential collaborations with jazz greats like Miles Davis and Joe Henderson as well as several dozen genre-bending leader dates, it’s all the more striking that this is in fact John Scofield’s first ever guitar-solo recording. The long wait, however, pays off, as John is able to benefit from his decades of experience and charts an intimate path through the styles and idioms he has traversed up until today. He is not entirely all on his own on this endeavour though: the guitarist enters into dialogues with himself, soloing to his own tasteful chordal and rhythmic accompaniment via loop machine. “I think that there’s a delicateness that I have acquired from playing at home alone," Scofield has recently said in conversation with The Boston Herald. “I am so used to playing with a slamming band […] and there’s a certain musicality to that. That went away and was replaced by this more delicate approach of pinpointing the beauty of the strings. When I play solo, I make these little guitar loops on the fly, […] and it’s almost like I’m playing with another person.” Not uncommon for self-titled recordings, a deeper meaning can be read into choosing the album name John Scofield, as John digs deep into the past, all the way back to his roots and the heroes of his youth. The result is a balanced and thorough picture of the musician, tying together the music that shaped him and that he has subsequently continued to influence and forge himself. “When I was a kid the guitar was the instrument of rock and roll and popular music, that’s what I was interested in," Scofield explains. In that spirit, he effortlessly pulls Buddy Holly’s “Not Fade Away” from a hat, giving an edgy and laid-back rendition of the hit Holly wrote six years after Scofield was born. John reaches even further back with Hank Williams’ “You Win Again," released when Scofield was just a year old, in 1952. John’s main emphasis throughout the years, however, has remained his deep commitment to the jazz tradition, and here he grabs a number of standards off the rack and gives them unique interpretations. His comments on each song are included in the liner notes accompanying this release, where he reveals his fondness for Kenny Dorham’s take on “It Could Happen to You." John’s own version is a swinging affair with a deft key-change halfway through. He also reminisces about his first recording date, backing up Gerry Mulligan and Chet Baker on “There Will Never Be Another You” and his pass at the song proves a nimble and compact adventure. An especially minimalist take on the Arthur Johnston and Sam Coslow-penned “My Old Flame” follows – John turns off the loop machine for this one. The guitarist has filled a fair share of albums with his own writing – its tuneful qualities and inviting singability having the same timeless character as jazz standards. “I never think about ideas when I write music," John reflects. "Instrumental music exists in a different part of your brain, it’s not about an idea that can be described with language or visually. Music exists in its own place." His compositions are among the highlights of this set: Scofield renders “Honest I Do," which he originally wrote and recorded in 1991, into a soulful ballad, explored with experimental guitar tones. “Mrs. Scofield’s Waltz” is dedicated to his wife, who in turn gave “Since You Asked," a song John initially recorded with Joe Lovano in 1990, its name. “More of a feeling than an actual composition” – in the words the guitarist – “Trance Du Hour” is his “version of '60s jazz à la Coltrane." It maintains the same high level of energy as his blues “Elder Dance” does. Along with traditionals “Danny Boy” and “Junco Partner," John delivers a haunting and somewhat oblique interpretation of Keith Jarrett’s “Coral” – Scofield’s version doesn’t introduce the song’s main theme until the very end. They complete this graceful solo venture, recorded in Katonah, New York in August 2021. John Scofield’s ECM appearances to date include two albums with Marc Johnson’s Bass Desires group – Bass Desires (recorded 1985) and Second Sight (1987) – in which the guitarist shared frontline duties with Bill Frisell. On Shades of Jade (2004), a third Marc Johnson album, Scofield is heard alongside frequent colleague Joe Lovano. The live double album Saudades (recorded in 2004), meanwhile, features Scofield as a member of Trio Beyond, alongside Jack DeJohnette and Larry Goldings, reassessing the songbook of Tony Williams’ Lifetime. After 2020’s Swallow Tales, John Scofield is the guitarist’s second ECM recording as a leader. John Scofield | John Scofield ECM Release Date: May 6, 2022 For more information on ECM, please visit: ECMRecords.com | Facebook | Instagram | Twitter ‌ ‌ ‌ # # #

Pianist Milen Kirov Infuses American Jazz with European Classical, Bulgarian Folk Traditions on "Spatium," Due June 3 from ICSM Records Solo Piano Album Features 13 Original Pieces Fusing the Three Styles, Including Three Fully Notated Compositions, Two Complete Improvisations CD Release Show at Sam First Bar, Los Angeles, Fri. 6/3 April 6, 2022 Pianist Milen Kirov finds the perfect formula with the June 3 release of Spatium on Independent Creative Sound and Music (ICSM) Records. A solo piano performance of 13 originals, the album is precisely the melting pot of styles that has long been the focus of the multi-dimensional Kirov’s creative journey. “My goal is to find the meeting point of three traditions: Western classical music, American jazz and blues, and Bulgarian traditional music,” the native Bulgarian pianist says. “There is no higher compliment for me than to be told these sounds merge together seamlessly in my playing.” Let the high compliments commence, then. Kirov not only strikes the delicate balance he seeks, but does so with such ease and aplomb that the three traditions sound as if they have always belonged together. For evidence, look no further than Spatium’s opening one-two punch, “Back to Bulgaria” and “Bulgarian Stride.” The former combines Bulgarian folk melody and classical precision with jazz’s rhythmic nuance and improvised playfulness, while the latter matches the stride piano tradition to the detailed latticework of Eastern European musics. “Thracian Blues” also sums up Kirov’s aesthetic, playing two pianos (one prepared and sounding like a guitar) to generate down-home blues lines, Bulgaria’s distinctive odd-meter dance rhythms, and bravura classical passages. In addition, Kirov performs Brahms-inspired four “Intermezzos” that are also infused with Bulgarian folk rhythms and jazz harmonies and improvisation. One of these, however, is fully notated—as are two other tracks on the album (“Pharos” and “The Shepherd and the Mountain”). The pianist offsets these with two thoroughly improvised pieces (“For Grandma” and “Time”), showing that his fluency in the jazz tradition is equal to those of the conservatory and his homeland. Not to be overlooked is the album’s gorgeous sound. Now based in Los Angeles, Kirov nevertheless traveled to the city of Radom, in central Poland, to record Spatium in the glorious acoustics of the Kryzstof Penderecki Concert Hall. Capturing the tenderness, nuance, and resonance of every note Kirov plays, the album’s pristine sonics reinforce the perfection of the pianist’s delicate musical balance. Milen Kirov was born in Plovdiv, Bulgaria on February 6, 1977, the scion of an esteemed musical family. His mother plays the tambura and sings; his father is a virtuoso of the gadulka, a traditional Bulgarian fiddle, as well as an accomplished musical academic. Milen was only four when he entered the family business, studying the piano and working on ear training until by the age of eight he could accompany his father and his friends and colleagues in the family home. Thus grounding in Bulgarian traditional music, Milen turned to a formal classical education, graduating from both the High School of Music and Plovdiv’s highly regarded Academy of Music, Dance, and Fine Arts. Along the way, however, he discovered American music: blues, jazz, rock, and pop, all of which gained currency in Eastern Europe after the Iron Curtain fell in 1989. These idioms impressed Milen enough that he sought out an American musical education. Enrolling first in the University of Nevada at Las Vegas (where he received a full scholarship), Kirov later transferred to the more experimentally minded California Institute of the Arts (CalArts), where he studied with David Rosenboom and Vicki Ray, earning a BFA and a Doctor of Musical Arts there as well as a Master’s in composition from Cal State Northridge. Kirov was then able to find a niche for himself in the busy music scene of Los Angeles. Along with his professorship at Los Angeles City College, he performs and records in a variety of contexts, including a number of film scores; classical piano pieces; his Balkan funk ensemble, Orkestar MÉZÉ; and his world-jazz trio Bulgarian Moonshine Co. The pianist cites a deep connection to Milcho Leviev, a jazz great from his hometown of Plovdiv who paved the way from Eastern Europe to Los Angeles. “I feel a strong kinship with Milcho,” says Kirov, who knew him from an early age but didn’t see him perform until Leviev returned to Bulgaria in the early 1990s. “It was as though he was speaking to me, validating what I was doing. It was through his playing that I recognized that jazz combined with Bulgarian folk and other traditional sounds could be good music and legitimate.” Milen Kirov will be performing a CD release show (solo piano) at Sam First Bar, Los Angeles, on Friday 6/3 (7:30 & 9:00pm). Photography: Rumen Kurtev Milen Kirov EPK - "Spatium"  Milen Kirov Web Site ‌ ‌ ‌ ‌

Thanks, MG! Great to see you back. ***** As a kid, I got lectured to for only doing the bare minimum to complete a task. As an engineer, I get paid to do just that.

My boss told me to have a good day, so i went home.

If money doesn't grow on trees, then why do banks have branches? Why do caregiver and caretaker mean the same thing? When lightning strikes the ocean, why don't all the fish die? Why are there interstate highways in Hawaii? Why do we sing "Rock a bye baby" to lull a baby to sleep, when the song is about putting your baby in a tree and letting the wind crash the cradle onto the ground? Why do we put suits in a garment bag, and put garments in a suitcase?

Anything by Roy DuNann! Congrats, Mike!

Nucleus - Live at the BBC (12 CDs listed) $77.50 with free shipping https://www.amazon.com/dp/B09GTGRFRZ 63.49 GBP https://www.amazon.co.uk/dp/B09GTGRFRZ ***** It has been quite some time sine I have seen any "sold by Amazon" CDs listed on the Amazon UK website. Has Amazon UK stopped selling CDs, or are they just hiding them from me because I am in the US? Are you guys in England seeing this as well? This is important because the VAT is subtracted from the price of "sold by Amazon UK" CDs, and that was quite a discount.

That's great!

"Now my grandfather, he knew the exact day of the year that he was going to die. It was the right year too. Not only that, but he knew what time he would die that day, and he was right about that too." "Wow, that's Incredible. How did he know all of that?" "A judge told him."

Larry, does that mean that you enjoyed new cash-paying customers last year? I remember reading a Mose Allison interview in which he said he received a negative royalty for the quarter. He said that no one bought any of his records, and two people brought back their albums and demanded their money back! TTK, I'll buy one!

"That wife of mine is a liar," said the angry husband to a sympathetic pal seated next to him in the bar. "How do you know?" the friend asked. "She didn't come home last night. When I asked her where she'd been, she said that she had spent the night with her sister Shirley." "So?" "So she's a liar. I spent the night with her sister Shirley."

When my son graduated from high school, he had to give a speech. He began by reading from his prepared text. 'I want to talk about my mother and the wonderful influence she has had on my life,' he told the audience. 'She is a shining example of parenthood, and I love her more than words could ever do justice.' At this point he seemed to struggle for words. He looked up and said, 'Sorry, but it's really hard to read my mother's handwriting.'

Actually, I thought it was a perfect setting!

Wife: "I am going out for a couple of hours. Do you want anything?" Husband: "No, that's enough."

I have never heard jazz at a grocery store, but one time in 1994 at a Quebec City grocery I heard Kenny G's Songbird.

His request approved, the news photographer quickly used a cell phone to call the local airport to charter a flight. He was told a twin-engine plane would be waiting for him at the airport. Arriving at the airfield, he spotted a plane warming up outside a hanger. He jumped in with his bag, slammed the door shut, and shouted, ‘Let’s go!’ The pilot taxied out, swung the plane into the wind and took off. Once in the air, the photographer instructed the pilot, ‘Fly over the valley and make low passes so I can take pictures of the fires on the hillsides.’ ‘Why?’ asked the pilot. ‘Because I’m a photographer for cable news,’ he responded. ‘And I need to get some close up shots.’ The pilot was strangely silent for a moment. ‘So, what you’re telling me is… you’re NOT my flight instructor?’

It is a doodle of a cat by Pablo Picasso.

Team analyses Edmonton https://www.cfl.ca/2022/03/09/upon-further-review-edmonton-elks/ Toronto https://3downnation.com/2022/03/09/opinion-the-toronto-argonauts-have-the-best-canadian-depth-in-the-cfl/ ***** Chris Jones will conduct an Open Tryout Tour of the US April 2 through 17. https://3downnation.com/2022/03/07/official-2022-dates-across-the-unite-states-edmonton-elks-chris-jones-schedules-his-famous-open-tryout-tour/

A man and his wife attended a dinner party at the home of their friends. Near the end of the meal, the wife reprimanded her husband. "That's the third time you've gone for dessert," she scolded. "The hostess must think you're an absolute pig." "I don't think so," he said. "I've been telling her it's for you."

ORNETTE COLEMAN BOX SET GENESIS OF GENIUS: THE CONTEMPORARY ALBUMS AVAILABLE NOW ON 2-CD AND DIGITAL FORMATS AND ON VINYL APRIL 22 Continuing Craft Recordings’ 70th Anniversary Celebration of Contemporary Records 180g 2-LP and 2-CD box sets contain newly mastered audio by Bernie Grundman of the legendary jazz saxophonist’s albums Something Else!!!! and Tomorrow Is the Question! Includes expanded booklet with archival photos and extensive new liner notes by GRAMMY® Award-winning music historian Ashley Kahn Click here for Online Media Kit Click here for unboxing video Artist Title Time Ornette Coleman Invisible 04:12 Ornette Coleman The Blessing 04:43 Ornette Coleman Jayne 07:17 Ornette Coleman Chippie 05:36 Ornette Coleman The Disguise 02:47 Ornette Coleman Angel Voice 04:18 Ornette Coleman Alpha 04:10 Ornette Coleman When Will The Blues Leave? 04:57 Ornette Coleman The Sphinx 04:15 Ornette Coleman Tomorrow Is The Question! 03:08 Ornette Coleman Tears Inside 04:59 Ornette Coleman Mind And Time 03:07 Ornette Coleman Compassion 04:35 Ornette Coleman Giggin' 03:18 Ornette Coleman Rejoicing 04:00 Ornette Coleman Lorraine 05:54 Ornette Coleman Turnaround 07:53 Ornette Coleman Endless 05:16

CRAFT LATINO ANNOUNCES THE FIRST REMASTERED REISSUE IN HI-RES DIGITAL FORMAT OF DE CORRIDOS BY ICONIC MEXICAN BAND GRUPO LABERINTO Craft Latino is honored to announce the release of the first remastered digital album of De Corridos by the iconic Mexican band Grupo Laberinto. The remastered digital album is available now in hi-res digital for the first time, including 192KHz/24-bit and 96KHz/24-bit formats. In addition, new official lyric videos for the songs “Clave 7” (March 22), “Corridos de Los Pérez” (March 25), “Zenobio Montero (Sucedió en el Aguaje)” (March 28), and “El Árbol de la Horca” (March 30) will premiere on the dates listed on the Musart YouTube channel. When Grupo Laberinto formed in 1987, it was originally focused on creating tecno-banda music, which was popular in the late ’80s. Later, Grupo Laberinto changed focus to other genres music like rancheras and corridos, and the band expanded its success, becoming one of the most celebrated groups within Regional Mexican music. In 1993, they signed with Discos Musart and began a new prosperous phase of the band’s career. They recorded over 30 albums and became the biggest performers of Mexican cowboy music. They are recognized throughout their home country and beyond as “Kings of Corridos” and “The Pride of Sonora.” Over three decades later, Grupo Laberinto has a huge following and is known as one of the most successful bandas from Mexico. Released in 1996, the album De Corridos is filled with powerful corrido tracks that are now classics. True to their style, the songs have the punch of strong bass and brass that make listeners feel utter excitement. Highlight tracks include “Clave 7,” “El Árbol de la Horca,” “El Corrido De Los Pérez” and “Carga Ladeada,” among others. Click here for the online media kit About Craft Latino: Craft Latino is home to one of the largest and most prestigious collections of Latin music master recordings and compositions in the world. Its rich and storied repertoire includes legendary artists such as Antonio Aguilar, Joan Sebastian, Pepe Aguilar, Celia Cruz, Héctor Lavoe, Willie Colón, Ray Barretto, La Lupe, Ruben Blades and the Fania All Stars, to name just a few. Renowned imprints with catalogs issued under the Craft banner include Musart, Fania, TH, Panart, West Side Latino and Kubaney, among many others. Craft creates thoughtfully curated packages, with a meticulous devotion to quality and a commitment to preservation, ensuring that these recordings endure for new generations to discover. Craft Latino is the Latin repertoire arm of Craft Recordings. For more info, visit CraftRecordings.com and follow on Facebook, Twitter, and Instagram. Artist Title Time Grupo Laberinto Clave 7 03:27 Grupo Laberinto Pescadores de Ensenada 02:35 Grupo Laberinto Corrido de Los Pérez 02:56 Grupo Laberinto La Rubia del Moño Negro 02:32 Grupo Laberinto Zenobio Montero (Sucedió en el Aguaje) 02:40 Grupo Laberinto Carga Ladeada 02:45 Grupo Laberinto Venganza Cumplida 02:54 Grupo Laberinto La Fuga del Rojo 03:06 Grupo Laberinto El Árbol de la Horca 02:44 Grupo Laberinto La Yegua Cebruna 02:42 CRAFT LATINO ANNOUNCES THE FIRST REMASTERED REISSUE IN HI-RES DIGITAL FORMAT OF EL LOBO BY ICONIC MEXICAN BAND GRUPO LABERINTO Craft Latino is honored to announce the release of the first remastered digital album of El Lobo by the iconic Mexican band Grupo Laberinto. The remastered digital album is available now in hi-res digital for the first time, including 192KHz/24-bit and 96KHz/24-bit formats. In addition, a new official lyric video for the song “El Lobo” premiered on the Musart YouTube channel, with additional lyric videos for the tracks “El Comandante” and “Ojitos de Capulin.” Grupo Laberinto is a Mexican band from Ciudad de Obregon, Sonora known for their style of corrido music and are recognized throughout their home country as “Kings of Corridos” and “The Pride of Sonora.” The remastered album El Lobo was originally released in 1993 and was the band’s debut album under the Musart label. This El Lobo includes hits such as “El Comandante,” “Ojitos de Capulín,” “Cuando Nadie Te Quiera’” and “El Lobo.” Click here for the online media kit About Craft Latino: Craft Latino is home to one of the largest and most prestigious collections of Latin music master recordings and compositions in the world. Its rich and storied repertoire includes legendary artists such as Antonio Aguilar, Joan Sebastian, Pepe Aguilar, Celia Cruz, Héctor Lavoe, Willie Colón, Ray Barretto, La Lupe, Ruben Blades and the Fania All Stars, to name just a few. Renowned imprints with catalogs issued under the Craft banner include Musart, Fania, TH, Panart, West Side Latino and Kubaney, among many others. Craft creates thoughtfully curated packages, with a meticulous devotion to quality and a commitment to preservation, ensuring that these recordings endure for new generations to discover. Craft Latino is the Latin repertoire arm of Craft Recordings. For more info, visit CraftRecordings.com and follow on Facebook, Twitter, and Instagram. Artist Title Time Grupo Laberinto El Lobo 03:46 Grupo Laberinto Cariñito de Mi Vida 02:51 Grupo Laberinto Báilala Quebrándola 03:01 Grupo Laberinto Ojitos de Capulín 03:06 Grupo Laberinto Ojitos Borrados (Muchachita de Ojos Claros) 02:08 Grupo Laberinto Seis Años 02:44 Grupo Laberinto El Comandante 03:30 Grupo Laberinto Cuando Nadie Te Quiera 02:39 Grupo Laberinto La Piedrecita 02:38 Grupo Laberinto Recuérdame Bonito 02:48 Grupo Laberinto Atórale 03:18 Grupo Laberinto Y Fue la Última Vez 02:42 CRAFT LATINO CELEBRATES THE 60TH ANNIVERSARY OF RITMOS JUVENILES BY MEXICAN ’60s ROCK IDOL ALBERTO VAZQUEZ THE REMASTERED DIGITAL ALBUM IS AVAILABLE NOW Craft Latino is honored to announce the release of the 60th anniversary remastered digital album edition of Ritmos Juveniles by Mexican ’60s rock icon Alberto Vazquez. The remastered digital album is available now on and was released in hi-res digital for the first time, including 192KHz/24-bit and 96KHz/24-bit formats. In addition, new official lyric videos for the song “Significas Todo Para Mi” and “Olvidalo” premiered on the Musart YouTube channel. Singer and actor Alberto Vázquez is an award-winning, best-selling icon of Mexican music who recorded over 30 albums for Musart. He is primarily known for his legendary baladas, corridos and rancheras, and he is also famous for his pop and rock style of music. The album Ritmos Juveniles is known as a Latin pop/rock album, and it was a hit in the early ’60s. It includes recognizable gems such as “Significas Todo Para Mí” and his chart-topping song “Olvidalo." The album was arranged by iconic musicians Jorge Ortega and Cuco Valtierra and was originally released under the Musart label in 1962. Click here for the online media kit About Craft Latino: Craft Latino is home to one of the largest and most prestigious collections of Latin music master recordings and compositions in the world. Its rich and storied repertoire includes legendary artists such as Antonio Aguilar, Joan Sebastian, Pepe Aguilar, Celia Cruz, Héctor Lavoe, Willie Colón, Ray Barretto, La Lupe, Ruben Blades and the Fania All Stars, to name just a few. Renowned imprints with catalogs issued under the Craft banner include Musart, Fania, TH, Panart, West Side Latino and Kubaney, among many others. Craft creates thoughtfully curated packages, with a meticulous devotion to quality and a commitment to preservation, ensuring that these recordings endure for new generations to discover. Craft Latino is the Latin repertoire arm of Craft Recordings. For more info, visit CraftRecordings.com and follow on Facebook, Twitter, and Instagram. Artist Title Time Alberto Vazquez Olvídalo 02:41 Alberto Vazquez La Historia de Mi Amor 02:39 Alberto Vazquez Marea Baja 02:50 Alberto Vazquez Ven por Mí 02:49 Alberto Vazquez Quiero Contar 02:50 Alberto Vazquez Cuando Calienta el Sol 02:57 Alberto Vazquez Amor, Amor 03:23 Alberto Vazquez Esta Noche Mi Amor 02:02 Alberto Vazquez Significas Todo para Mí 02:41 Alberto Vazquez Siempre Te Sueño 02:18 Alberto Vazquez El Destino del Payaso 02:46 Alberto Vazquez Quizás Es Porque Te Quiero 02:37 CRAFT RECORDINGS CELEBRATES THE 50TH ANNIVERSARY OF LO ÚLTIMO EN LA AVENIDA, THE SALSA MASTERPIECE BY LEGENDARY PUERTO RICAN SINGER ISMAEL “MAELO” RIVERA This intensely flavorful session reinforced Maelo’s superstar status as part of the ’70s salsa explosion in New York. Craft Latino is proud to present an all-analog remastered 50th Anniversary vinyl reissue of Lo Último En La Avenida, the soulful salsa album that confirmed Ismael Rivera’s creative apex as a solo vocalist, following his departure from Rafael Cortijo’s visionary orchestra. An intimate set boasting luminous dancefloor anthems, this 1971 album is revered as one of the most honest and vibrant LPs in tropical music history. Out on January 28th, the new edition of Lo Último En La Avenida was remastered from its original analog master tapes by Kevin Gray at Cohearent Audio and pressed on 180-gram audiophile vinyl. The iconic album will also be released in hi-res digital for the first time, including 192/24 and 96/24 formats. In addition, exciting bundle options that include a commemorative Lo Ultimo En La Avenida T-shirt are being offered at Fania.com. This release is part of Craft Latino’s initiative to present high-quality vinyl reissues of the most treasured LPs in Fania’s catalog. These reissues are remastered for the first time from the original tapes, giving fans the best experience when listening to historic albums. One of the godfathers of Afro-Caribbean music, Ismael Rivera was born in Santurce, Puerto Rico, in 1931. He was only a teenager when he became the star vocalist with Cortijo’s pioneering combo, blending Puerto Rican folk formats like bomba and plena with the popular dance music from neighboring Cuba. Cortijo was one of the first artists who cemented the specific style known as salsa—and the endearing Maelo, with his streetwise wit and keen understanding of the clave—is considered to this day one of the quintessential soneros, or traditional salsa singers. Sadly, Rivera’s blossoming career with Cortijo was sidetracked by a stint in prison after being arrested for drug possession. He emerged from jail with the desire to completely reinvent his career and launched himself as a solo artist in New York. Lo Último En La Avenida finds him on a creative apex, backed by the band of another legend: Francisco Ángel Bastar Ramos, better known as Kako, a fellow boricua and timbalero who had recorded memorable sessions with the Alegre All-Stars. Accompanied by Cuban conguero Patato, Kako and Maelo developed a more intimate ensemble, transporting the singer’s transcendental singing into a musical universe that mirrors the swinging salsa explosion taking place at the time in New York City. There are no boleros in Lo Último En La Avenida. This is a party record from beginning to end, and Maelo outdoes himself on a reckless reading of the Rafael Hernández classic “El Cumbanchero” that shows off his uncanny gift for speed and improvisation. Written by Carlos Suárez, “Mi Negrita Me Espera” is one of the most tender and endearing classics in the tropical songbook—the story of a salsa singer who goes out at night to perform at dancehalls but worries that the most important woman in his life will stay up waiting for him. The woman in question is none other than Doña Margot, Maelo’s mother and an important figure in salsa lore. “Entierro A La Moda,” a detailed description of the singer’s fashionable funeral with plenty of illustrious musical guests, showcases the man’s wicked sense of humor. Rivera’s life was steeped in tragedy. By the late ’70s, his vocal cords had lost their luster, and the excesses of the past took a toll on Maelo. He died in 1987, in the arms of his mother, of a heart attack. He was only 55. His life, however, was also filled with joy, love and creativity. Fifty years after its release, Lo Último En La Avenida transports us to a moment of triumph for Maelo Rivera. Soulful and healing, it showcases salsa as the incredibly sophisticated genre that it really was. About Fania: Highly influential, both musically and culturally, Fania Records spread the sound of salsa music from the clubs of New York City to the rest of the world and became a revered global brand in the process. Fania’s master recording catalog is the definitive home for genres such as Latin big band, Afro-Cuban jazz, boogaloo, salsa and Latin R&B and includes artistic giants such as Celia Cruz, Willie Colón, Héctor Lavoe and Rubén Blades. With the creation of the international supergroup known as the Fania All-Stars, the label’s signature musical style became known as the “Fania Sound.” Fania’s rich master catalog also includes the Pete Rodriguez’s boogaloo classic “I Like It Like That”  which was sampled by Cardi B in her #1 hit “I Like It.” Additionally, three Fania Recordings, Celia & Johnny by Celia Cruz and Johnny Pacheco, Azucar Pa’ Ti by Eddie Palmieri and Live at Yankee Stadium by the Fania All-Stars, appear in the National Recording Registry, a list of sound recordings that “are culturally, historically or aesthetically important, and/or inform or reflect life in the United States.” For more info, visit Fania.com and follow on YouTube, Facebook, Twitter, Instagram, and TikTok. About Craft Latino: Craft Latino is home to one of the largest and most prestigious collections of Latin music master recordings and compositions in the world. Its rich and storied repertoire includes legendary artists such as Antonio Aguilar, Joan Sebastian, Pepe Aguilar, Celia Cruz, Héctor Lavoe, Willie Colón, Ray Barretto, La Lupe, Ruben Blades and the Fania All Stars, to name just a few. Renowned imprints with catalogs issued under the Craft banner include Musart, Fania, TH, Panart, West Side Latino and Kubaney, among many others. Craft creates thoughtfully curated packages, with a meticulous devotion to quality and a commitment to preservation, ensuring that these recordings endure for new generations to discover. Craft Latino is the Latin repertoire arm of Craft Recordings. For more info, visit CraftRecordings.com and follow on Facebook, Twitter, and Instagram. Click here to visit the online media kit Artist Title Time Ismael Rivera, Kako Y Su Orquesta Mi Negrita Me Espera 03:21 Ismael Rivera, Kako Y Su Orquesta Lo Último en la Avenida 02:23 Ismael Rivera, Kako Y Su Orquesta Cantar Maravilloso 04:10 Ismael Rivera, Kako Y Su Orquesta El Truquito 03:25 Ismael Rivera, Kako Y Su Orquesta El Cumbanchero 02:56 Ismael Rivera, Kako Y Su Orquesta La Cumbita 02:41 Ismael Rivera, Kako Y Su Orquesta Moti-Agua 03:24 Ismael Rivera, Kako Y Su Orquesta Entierro a la Moda 03:19 Ismael Rivera, Kako Y Su Orquesta Siete Pies Bajo la Tierra 03:08 Ismael Rivera, Kako Y Su Orquesta Lleva y Trae 03:00 IT’S A GOOD, GOOD FEELING: THE LATIN SOUL OF FANIA RECORDS (THE SINGLES) CELEBRATES THE LEGENDARY LABEL’S ERA-DEFINING LATIN SOUL AND BOOGALOO SONGS AVAILABLE NOW Recent Radio Features across: NPR Music, SiriusXM, WDNA, KCSM, and more! Press Acclaim: "A lovingly packaged set of irresistably energetic music...Craft Latino's newest tour of the Fania vault is invaluable as a study of the 20th century American melting pot in action" ~Uncut "'Epic' really is the only way to describe the stunning It's A Good, Good Feeling: The Latin Soul Of Fania Records (The Singles). *****" ~Shindig! "A splendid, bustling, full-colour celebration." ~Mojo Craft Latino announces the release of It’s a Good, Good Feeling: The Latin Soul of Fania Records (The Singles), a brand-new collection that showcases Fania’s era-defining output of boogaloo and Latin soul music. Spanning 1965–1975, the box set compiles 89 singles from such best-selling artists as Ray Barretto, Joe Bataan, Bobby Valentín, Ralfi Pagan, and Larry Harlow, plus rarities from 125th Street Candy Store, The Latinaires, The Harvey Averne Band, and Ali Baba, among many others, NOW available. It’s a Good, Good Feeling includes four CDs plus a bonus 7-inch single, all housed in a 60-page hardcover book, featuring extensive new liner notes by compilation co-producer and DJ Dean Rudland, as well as photos and ephemera from Fania’s archives. Helping to set the scene is a 7-inch single, which culls vintage promo tracks for “Symphony” Sid Torin’s radio shows on New York’s WEVD AM and FM. The famed DJ was an early champion of Latin music and helped to popularize the genre in the ’60s. Featuring newly remastered audio by GRAMMY® Award-winning engineer, Paul Blakemore, It’s a Good, Good Feeling is also available on digital and streaming platforms, while an abridged, 2-LP vinyl edition of the compilation offers 28 choice cuts and an eight-page booklet. In the ’60s, a unique musical moment was brewing in New York City, as young Latin American artists—many of them second-generation—found themselves split between the traditional music they grew up on and the rising sounds of soul, doo-wop, and R&B. They began experimenting in the clubs, blending Afro-Cuban beats, Latin jazz, and soul with predominantly English lyrics. The result was a delectable new genre with broad appeal that epitomized the cultural melting pot of New York. While boogaloo and Latin soul was a short-lived craze (peaking in the late ’60s and early ’70s), it popularized Latin music in America and established the careers of many internationally beloved artists. Fania Records was founded just prior to the rise of boogaloo in 1964 by bandleader Johnny Pacheco and his lawyer, Jerry Masucci. Over the next few years, Fania would sign and nurture a variety of emerging Latin soul artists. As Rudland points out in his notes, “Fania was not the first label to release Latin soul, but they were vital within its rise, releasing important records, and its owners patently understood the opportunity it allowed the young label to expand quickly.” Among their earliest signings were Willie Colón, Joe Bataan, Bobby Valentín, and Ray Barretto: four rising stars who were all eager to experiment with their sounds—and Fania gave them the freedom to do so. Colón, who became one of the label’s most celebrated artists, rarely strayed from traditional stylings but offered one foray into Latin soul with his debut single “Willie Baby” (1967). Valentín, meanwhile, straddled the line stylistically, but scored several boogaloo hits for the label early on, including 1967’s joyful “Geronimo” and “Bad Breath” as well as the anthemic “Use It Before You Lose It” (1968). Barretto, who had already established himself—and the boogaloo sound—prior to signing with Fania, was known for such foundational hits as 1962’s “El Watusi.” Once he joined the burgeoning label, however, he recorded one of the genre’s most important albums, Acid (1968), which spawned such enduring singles as “A Deeper Shade of Soul” and “Mercy, Mercy Baby.” Latin soul regularly reflected the political tensions of the ’60s and Barretto, in particular, often delivered socially conscious messages in his songs, including the funky “Together” (1969) and “Right On” (1971). Bataan, meanwhile, burst onto the scene in 1967 with a cover of The Impressions’ “Gypsy Woman”—the title track of his debut album. A year later, he followed with “Subway Joe,” which, Rudland argues, is “the pinnacle of Latin soul,” and scored an R&B crossover hit with a two-part cover of Smokey Robinson & The Miracles’ “It’s a Good Feeling” (subtitled “Riot” by Bataan). The artist also found broad success with emotion-filled ballads like “Sad Girl” and the epic “My Opera” (both 1969), as well as a dramatic cover of The Beatles’ “This Boy” (1971). Taking the soul route even more directly was Ralfi Pagan, who scored a multitude of R&B hits in both English and Spanish, including sultry covers of Bread’s “Make It with You” (1971) and the Drifters’ “Up on the Roof” (1973), as well as the up-tempo “Wonderful Thing” (1974), and the reflective “Just for a Little While” (1975). The man behind many of Pagan’s hits, as well as songs by Barretto, Bataan, and lesser-known Fania acts like the Latinaires and Ronnie Marks, was producer, songwriter, and musician Harvey Averne. While Averne was not of Latin heritage, he was deeply entrenched in the scene and released several of his own albums and singles under a variety of monikers, including the swinging “Make Out” (Harvey Averne + 9, 1967), “The Micro Mini” (Harvey Averne and Group Therapy, 1967), and “Accept Me” (The Harvey Averne Dozen, 1968). Larry Harlow was another white bandleader who found success in the Latin market, signing to Fania in 1965 and enjoying a long and prolific run with the label. While the majority of his work was more traditional fare, he did deliver several soulful tracks in the late ’60s with his Orquesta Harlow, including such funky cuts as “Mess Around” and “That Groovy Shingaling” (both from 1967’s El Exigente album) as well as a 1968 cover of Hugh Masekela’s “Grazin’ in the Grass.” In addition to such legends as Louie Ramirez (featured alongside Bobby Marin as “Ali Baba” in this compilation) and Mongo Santamaría, the Fania All Stars also make an appearance on It’s a Good, Good Feeling. The supergroup—which, at the time included the likes of Bataan, Valentín, Barretto, Ramirez, and Colón, plus a handful of special guests—offered Fania an opportunity to showcase its talented roster. The two tracks here (“Richie’s Bag” and “Red Garter Strut”) are culled from the group’s 1969 live album, Live at the Red Garter, Vol.2, and feature vocals by the great Richie Ray. By the mid-’70s, the popularity of boogaloo had widely given way to salsa—and Fania quickly rose to become a leader in the genre. While salsa ultimately proved to be the more enduring style, the success of boogaloo and Latin soul was instrumental in paving the way for its mainstream appeal. Many of the artists who found early fame with Latin soul records, meanwhile, would go on to enjoy thriving careers, including NEA Jazz Master Award-winner and International Latin Music Hall of Fame Inductee Ray Barretto, Joe Bataan, Bobby Valentín, and Latin Grammy Lifetime Achievement Award-winner Larry Harlow. For more info, visit Fania.com and follow on YouTube, Facebook, Twitter, Instagram, and TikTok. About Fania: Highly influential, both musically and culturally, Fania Records spread the sound of salsa music from the clubs of New York City to the rest of the world and became a revered global brand in the process. Fania’s master recording catalog is the definitive home for genres such as Latin big band, Afro-Cuban jazz, boogaloo, salsa and Latin soul and includes artistic giants such as Celia Cruz, Willie Colón, Héctor Lavoe and Rubén Blades. With the creation of the international supergroup known as the Fania All Stars, the label’s signature musical style became known as the “Fania Sound.” Fania’s rich master catalog also includes the Pete Rodriguez’s boogaloo classic “I Like It Like That”  which was sampled by Cardi B in her #1 hit “I Like It.” Additionally, three Fania Recordings, Celia & Johnny by Celia Cruz and Johnny Pacheco, Azucar Pa’ Ti by Eddie Palmieri and Live at Yankee Stadium by the Fania All Stars, appear in the National Recording Registry, a list of sound recordings that “are culturally, historically or aesthetically important, and/or inform or reflect life in the United States.” Artist Title Time 125th Street Candy Store Silent Heart 02:27 125th Street Candy Store Hey Girl 02:35 Bobby Valentin Geronimo 03:22 Harvey Averne + 9 Make Out 02:41 Willie Colón Willie Baby 02:45 Bobby Valentin Love Me So 03:06 Bobby Valentin Bad Breath 02:47 Joe Bataan Gypsy Woman 02:32 Joe Bataan So Fine 03:07 Harvey Averne and Group Therapy The Micro Mini 02:15 Harvey Averne and Group Therapy The Think Drink “Spiked” 02:47 Joe Bataan Ordinary Guy 03:26 Joe Bataan Too Much Lovin’ 02:37 Monguito Santamaria Juicy 03:02 Ray Barretto Mercy, Mercy Baby 02:46 Ray Barretto Soul Drummers 02:55 Joe Bataan Subway Joe 03:02 Joe Bataan Special Girl 02:52 Joe Bataan Magic Rose 04:04 Bobby Valentin Use It Before You Lose It 03:00 Bobby Valentin Funky Big Feet 02:39 Larry Harlow Mess Around 02:13 Larry Harlow That Groovy Shingaling 02:13 The Latinaires Camel Walk 02:51 El Bobby Quesada Bataola Boogaloo 03:19 Joe Bataan It’s A Good Feeling (Riot) (Part 1) 02:43 Joe Bataan It’s A Good Feeling (Riot) (Part 2) 04:26 Ray Barretto A Deeper Shade Of Soul 02:48 Ralph Robles Mercie 03:33 Joe Bataan What Good Is A Castle (Part 1) 03:54 Joe Bataan What Good Is A Castle (Part 2) 03:07 Orchestra Harlow Grazin’ In The Grass (Una Miradita De Amor) 03:18 Ray Barretto Hard Hands 02:29 Ray Barretto Love Beads 02:47 The Harvey Averne Dozen Accept Me 02:46 The Harvey Averne Dozen Why Can’t We Really Be Free 03:03 Ali & Baba Ungawa 02:53 Ali & Baba Cookin’ With Ali 03:56 Monguito Santamaria Hey Sister 02:26 Fania All Stars Richie’s Bag 03:16 Fania All Stars Red Garter Strut 02:10 Ralph Robles Maybe 03:39 Joe Bataan Sad Girl 02:38 Ray Barretto Together 02:37 Ray Barretto New York Soul 02:46 Ralfi Pagan Who Is The Girl For Me 02:37 El Apollo Sound Spinning Wheel 02:15 The Harvey Averne Band Come Back Baby 03:07 The Harvey Averne Band Stand 03:41 Ralfi Pagan Don’t Stop Now 03:10 Joe Bataan My Opera 04:40 The Harvey Averne Band Lovers 03:10 The Harvey Averne Band Love Never Stays the Same 03:40 Joe Bataan When We Get Married 03:18 Monguito Santamaria Crying Time 02:50 The Harvey Averne Band Let’s Get It Together This Christmas 02:31 Ray Barretto Right On 02:44 Ronnie Marks Some Lonely Heart 03:36 Ralfi Pagan Make It With You 04:42 Ralfi Pagan Stray Woman 02:50 Joe Bataan So Young, Too Young 03:24 Joe Bataan I’m Satisfied 03:36 Joe Bataan This Boy 03:03 Joe Bataan Johnny’s No Good 03:35 Ralfi Pagan Baby I’m A Want You 02:52 Ralfi Pagan Look At Her 02:59 Joe Bataan Shaft 03:57 Joe Bataan Cry 04:02 Joe Bataan If I Were A King 03:57 Ralfi Pagan My Dream 03:29 Ralfi Pagan It’s Alright 04:18 Ralfi Pagan Up On The Roof 03:08 Ralfi Pagan The Gambler 03:04 Ralfi Pagan Too Late 03:10 Ralfi Pagan To Say I Love You 04:05 Joe Bataan Latin Soul Square Dance 04:18 Joe Bataan Call Me 04:25 Ralfi Pagan Wonderful Thing 02:32 Butterscotch Try Just A Little Harder 03:45 Butterscotch Today 03:11 Ralfi Pagan Didn’t Want To Have To Do It 03:08 W. R. L. C. Johnny’s No Good 03:23 W. R. L. C. Blonde Latin Blues 04:27 Joe Bataan I’m No Stranger 02:19 Ralfi Pagan Just For A Little While 02:39 Ralfi Pagan Loneliest Loneliness 04:31 Ralfi Pagan I Could Never Hurt You Girl 03:21 Joe Bataan Jumping With Symphony Sid 03:21 Bobby Valentin Jumping With Symphony Sid 03:00

Analysis of each team's salary cap status. https://3downnation.com/2022/03/14/cap-crunch-breaking-down-the-salary-cap-situation-of-every-cfl-team-for-2022/ ***** Sergio Castillo has signed with the Elks. https://3downnation.com/2022/03/14/official-edmonton-elks-sign-veteran-kicker-sergio-castillo/ https://3downnation.com/2022/03/20/existing-relationships-with-chris-jones-geroy-simon-lured-grey-cup-hero-sergio-castillo-to-edmonton/ ***** Jamal Campbell was let go by the Argos, and immediately signed with the Riders. https://3downnation.com/2022/03/14/argos-release-ratio-breaking-offensive-tackle-jamal-campbell-ahead-of-off-season-bonus/ https://3downnation.com/2022/03/17/roughriders-sign-ratio-breaking-canadian-offensive-lineman-jamal-campbell/ https://3downnation.com/2022/03/23/ol-jamal-campbell-signed-with-riders-after-qb-cody-fajardo-made-very-persuasive-pitch/ ***** Henry Burris agreed to be an assistant coach with BC, presumably to work with the Lions' two Canadian QBs. But ten days later he changed his mind. https://3downnation.com/2022/03/15/hall-of-fame-quarterback-henry-burris-joins-b-c-lions-coaching-staff-as-offensive-assistant/ https://www.cbc.ca/sports/football/cfl/henry-burris-bc-lions-offensive-consultant-cfl-1.6385735 https://www.tsn.ca/henry-burris-leaves-bc-lions-nfl-coaching-opportunity-1.1776614 ***** Adarius Bowman has changed his mind, and decided to retire. https://3downnation.com/2022/03/16/adios-adarius-elks-receiver-adarius-bowman-retires-after-brief-return/ https://www.tsn.ca/ardarius-bowman-retires-edmonton-elks-toronto-argonauts-montreal-alouettes-saskatchewan-roughriders-1.1771657 ***** Nakas Onyeka has retired. https://3downnation.com/2022/03/18/canadian-linebacker-nakas-onyeka-retires-after-four-seasons-one-grey-cup-title/ ***** Each team's best draft pick since 2015. https://3downnation.com/2022/03/22/every-cfl-teams-best-draft-pick-since-2015/ ***** Manitoba had a provincial byelection this week, and two retired Bombers ran against each other! Obby Khan beat Willard Reaves. https://3downnation.com/2022/03/23/former-blue-bombers-ol-obby-khan-edges-cfl-legend-willard-reaves-in-manitoba-byelection/ https://www.cbc.ca/news/canada/manitoba/bombers-tell-liberals-to-stop-selling-w-logo-1.6384329 ***** The Top Ten most impressive feats at the national combines. https://3downnation.com/2022/03/25/top-ten-most-impressive-physical-feats-in-cfl-combine-history/ ***** 2022 salaries Quarterbacks https://3downnation.com/2022/03/15/cfls-quarterback-salaries-for-2022-season/ Running Backs https://3downnation.com/2022/03/16/cfls-running-back-salaries-for-2022-season/ Receivers https://3downnation.com/2022/03/17/cfls-receiver-salaries-for-2022-season/ Offensive Linemen https://3downnation.com/2022/03/18/the-cfls-offensive-line-salaries-for-the-2022-season/ Defensive Tackles https://3downnation.com/2022/03/19/the-cfls-ten-highest-paid-defensive-tackles-for-the-2022-season/ Defensive Ends https://3downnation.com/2022/03/20/the-cfls-ten-highest-paid-defensive-ends-for-the-2022-season/ Linebackers https://3downnation.com/2022/03/21/the-cfls-fifteen-highest-paid-linebackers-for-the-2022-season/ Strong-Side Linebackers https://3downnation.com/2022/03/22/highest-paid-strong-side-linebackers/ Defensive Backs https://3downnation.com/2022/03/23/the-cfls-fifteen-highest-paid-defensive-backs/

Younger girls have been approaching me lately. And asking to buy them alcohol.