GA Russell

The Grand Final is usually played the last Saturday of September, but this year it will be played Oct. 24. For the first time in 123 years it will not be played in Victoria, but instead in Queensland. https://www.foxsports.com.au/afl/afl-grand-final-2020-date-time-venue-first-bounce-where-will-he-game-be-played-live-press-conference/news-story/7c087c2f58052edc6f82b8ada4a5e139

One of my favorite shows when I was a junior in high school was called The Man Who Never Was. In my teenage mind I thought that it was more highbrow than most TV shows (certainly drier). And of course I was in love from afar with an older woman, Dana Wynter. Naturally, it was cancelled after 18 episodes. I don't think the series was ever on DVD. However, about half the episodes were meshed into two "movies." I have found them on YouTube, and spent much of yesterday binge-watching. https://www.imdb.com/title/tt0060005/ pilot The Spy with the Perfect Cover Maybe some of you can point me to more episodes!

Danish Alto Sax Star Benjamin Koppel Joins World Class Improvisers on The Art of the Quartet and Reveals R&B Roots on Ultimate Soul & Jazz Revue Both albums scheduled for release on Switzerland's Unit Records label AVAILABLE TODAY! THE ART OF THE QUARTET (2 CDs) ULTIMATE SOUL & JAZZ REVUE (2 CDs) Benjamin Koppel - altosax Randy Brecker - trumpet Kenny Werner - piano Benjamin Koppel - altosax Scott Colley - bass Jacob Christoffersen - fender rhodes, Jack DeJohnette - drums wurlitzer and synth Scott Colley - bass Bernard Purdie - drums Copenhagen, September 25, 2020 - Acclaimed Danish saxophonist Benjamin Koppel showcases his versatility and virtuosity on two distinctly different releases for the Unit Records label. While the 2CD set The Art of the Quartet finds the alto sax star engaging in freewheeling musical dialogues and executing thoroughly composed pieces with top American jazz luminaries Kenny Werner on piano, Scott Colley on bass and the great Jack DeJohnette on drums, Ultimate Soul & Jazz Revue (also a 2CD set) has him throwing down with authority on familiar funk and R&B anthems alongside two American music icons in trumpeter Randy Brecker and legendary drummer Bernard Purdie. Whether searching in uninhibited fashion and navigating heady compositional waters with his fellow intrepid improvisers on The Art of the Quartet or testifying to the power of groove on Ultimate Soul & Jazz Revue, Koppel handles both worlds with equal aplomb. The extraordinary lineup featured on The Art of the Quartet came about through some longstanding musical hookups that Koppel had fostered through his celebrated career. He and Werner met in 2007 at an all-star event that Koppel put together to celebrate Danish drummer Alex Riel's 50 years in music. They further explored their chemistry together on 2008's At Ease, which featured Koppel playing alongside fellow alto saxophonist Bobby Watson, and in 2009 they recorded their duo album Walden, with music inspired by Henry David Thoreau. Since then they have toured extensively in both US and Europe and have recorded a dozen albums together. Scott Colley, known from his work with Carmen McRae, Herbie Hancock, Jim Hall and the supergroup Hudson (consisting of guitar great John Scofield, Medeski, Martin & Wood keyboardist John Medeski and drummer extraordinaire DeJohnette), is also a member of the Koppel-Colley-Blade Collective formed in 2012 with Benjamin and top drummer Brian Blade. "Scott and I met in 2009 at my annual Summer Jazz festival when I put together a quintet with him, Kenny Werner, John Abercrombie and Al Foster," said Benjamin. "Scott and I instantly became very good friends and have worked frequently on many different projects since then, including a duo album we made. Scott is a great spirit, an amazing player and composer." It was Werner who recruited DeJohnette for The Art of the Quartet. As Koppel recalled, "After hearing some of the music, Jack wanted to join as an equal partner in the project. He even recommended the studio, Clubhouse in Rhinebeck, which is very close to where he lives near Woodstock. We all had a very good feeling about recording at the Clubhouse. Everybody brought music and we had a ball working together over three or four days." CD 1 is bookended by the daring collective improvisations, "Free I" and "Free II," each of which travels from searching, rubato introspection to turbulent freebop paced by DeJohnette's whirlwind drumming and Colley's insistent pulse. Koppel's exchanges with Werner here are both provocative and highly conversational. "Since we had all worked together before in different configurations, we felt that we really knew each other well, so it felt really natural for us to go into the studio without any directives at all and just invent together, create from a mutual understanding. And since we are all composers, everybody was simply composing right there on the spot. We didn't have to talk about anything up front." Koppel's sparse and gently introspective "Bells of Beliefs" was inspired by an orchestral piece by György Ligeti. "A very little spot in this piece had a certain bell-vibe to it and the sound stuck with me," he explained. "I went home and composed 'Bells of Beliefs' in a minute. "At the session, Jack heard my demo of this tune and he was super excited and wanted to postpone the recording of this particular song in order to drive back to his house and pick up a very special set of bells that he had just been given prior to our session. And his playing on those bells is amazing!" With DeJohnette's bells, Colley's bowed bass and Werner's sparse tinkling setting a peaceful tone, Koppel summons up a depthful Trane-like vibe on this pensive piece. Koppel addresses his own near-sightedness on the gently droning "Night Seeing," which unfolds gracefully and gradually before segueing to an exploratory drums-alto breakdown at the 6-minute mark. Regarding the title, the composer said, "It's inspired by the thought of us as human beings too often not comprehending, not seeing what is going on right around us. Too often we don't see climate change at night, we don't see racism unless it is recorded on film. But at the same time I didn't want this music to be a lecture in any way. No raised index fingers, but hopefully just inspiration." They revive a buoyant DeJohnette Special Edition piece from the '80s, "Ahmad the Terrible" (from 1984's Album Album) and deliver Werner's delicate through-composed piece "Follow" with conviction. "It's a typical Kenny piece in that it really demands of the musicians that they explore a certain vibe in both themselves and in their collaboration. And that certain vibe is set with Kenny's quite simple but nonetheless really deep composition." Werner's "Iago," a moving number in honor of Brazilian composer Weber Iago, is a brilliant showcase for Koppel's spirited virtuosity while the pianist's "Ballad for Trane" carries a loping swing feel and has Benjamin blowing over the top in ecstatic fashion. As Koppel explained, "Kenny wrote this tune many years ago after listening to some bootleg Coltrane recordings through a whole night. This tune really sets off a great path of exploring and tributing Trane, without having to try to play or sound like him at all. But just the feeling, the changes, the melody are very connected to Trane's huge musical wisdom." They deliver a faithful reading of the standard "If I Should Lose You," which has Colley and DeJohnette each stepping out for show-stopping solos. "When playing standards, it feels natural to me to approach them freely, maybe a bit in the tradition of Lee Konitz," said Koppel, "although I also love to just dive into a good melody and more or less stay with it." Then they revel in Colley's striking rubato number "Americana," which Koppel said, "pointed the group in an obvious wide-open-spaces direction where there is room for everyone, both musically and spiritually." The gestalt quartet next jumps on DeJohnette's hard driving, energetic "One on One" with abandon. "Jack is obviously both a great drummer and pianist, but also a great composer," said Koppel. "This piece immediately set the four of us in a creative and powerful mode, where we take turns leading, pushing or commenting on grounds of the theme. One thing that really struck us all when recording this track was the power of omission. What we leave out, don't play, choose not to react to all makes a conceptual and open-minded piece like this really come to life. Everyone keeps challenging and surprising the others while taking responsibility for both the theme and the composition and track as a whole." They settle into Werner's peaceful hymn-like closer, "Sada," with uncommon delicacy. "This is one of Kenny most beautiful and long-lasting compositions, based on a chant from his ashram. It contains so much love, hope and yearning, while at the same time confronting each one of us with the sorrows of our lives. But it is a piece of light and thoughtfulness, almost meditational at times. It is one of Kenny's pieces that we have played live the most." On the Ultimate Soul & Jazz Revue, the saxophonist returns to his roots. "A great part of the record collection in my childhood was American gospel music (Golden Gate Quartet, Mahalia Jackson, Staple Singers) and soul music (Aretha, Stevie Wonder, Marvin Gaye), which is what I listened to the most when I was a kid, besides the Beatles," he recalled. "My sister Marie and I began playing concerts at various cafés in Copenhagen when I was 14 and she was 17 and our repertoire was mainly soul standards. So soul music in various forms is a great part of my musical DNA and something I always return to." Recorded live at Betty Nansen Theatre in Copenhagen during the 2019 edition of Koppel's Summer Jazz Festival, Ultimate Soul & Jazz Revue features Benjamin, Brecker, Colley and Purdie backed by top Danish musicians in keyboardist Jacob Christoffersen, Hammond organist Dan Hemmer, percussionist Jacob Andersen and guitarist Søren Heller, an impressive newcomer on the Scandinavian music scene. Together they come out of the gate with intensity on a ferocious version of Buddy Miles' 1970 tune "Them Changes" (famous recorded by Jimi Hendrix's Band of Gypsys at their historic 1970 Fillmore East show in New York City). From there they expertly blend jazz and funk on a Fender Rhodes-fueled rendition of Dizzy Gillespie's Afro-Cuban classic "Manteca" before moving on to the slyly funky "Hammond Street," one of three Koppel originals of the set. Brecker and Koppel play tight unisons on the head here, rekindling some of the Brecker Brothers vibe, before Benjamin breaks loose for some virtuosic double-timing over Purdie's chugging groove. "I love to play with Randy," said Koppel. "The first time we shared a mic was on a session with a Danish piano player, which I co-produced in New York in 1999. And since then we fortunately have had the opportunity to work quite a few times together in different settings, among them in Kenny Werner's Quintet (with Scott and Antonio Sanchez). Randy is so easy to play with. His sound, time and inventiveness are beyond virtuoso and his generosity and curiosity as a musician ever-inspiring." They capture the perfect '70s vibe on a rendition of Curtis Mayfield's anthemic 1970 hit song, "Move on Up," then conjure up an appealing Crusaders-type crossover vibe on Koppel's "Feel the Burn" (which he dedicates to Bernard Purdie). Benjamin's sister, singer Marie Carmen Koppel, next tackles Aretha Franklin's "Respect" with all the gusto and earthy intent of a real-deal soul diva. "We went to New York City together in January 1994 (I was 19, she was 23) to experience the city, to hear music, to study, to explore. I eventually went home but she stayed for two years, becoming the first European (maybe even the first white girl) to become a part of the Brooklyn Fountain Church of Christ, where she sang in the choir and as a soloist with a bunch of amazing gospel singers and musicians." Marie's gospel influence definitely comes out on her interpretation of "Respect." photo: Robin Skjoldborg Koppel's noirish "Con Alma and Sax" is a haunting ballad with some expressive playing by the leader while their instrumental rendition of King Floyd's 1970 soul staple, "Groove Me," is perfectly anchored by Purdie's signature backbeat and Colley's deeply resonant, funky upright basslines. Koppel delivers some alto testifying on a funky version of Stevie Wonder's "Don't You Worry 'Bout a Thing," which has Purdie unleashing on his kit over a mesmerizing ostinato near the end of that epic 10-minute rendition. Koppel also wails with impunity over a soul-jazz take on The Carpenter's 1970 hit, "Close to You." Their Summer Jazz set closes on a funky note with a organ-fueled rendition of Sly & The Family Stone's 1968 classic, "Sing a Simple Song," that has Koppel channeling his inner David Sanborn, Hemmer offering a greasy B-3 solo and Randy reverting to his Brecker Brothers swagger on his trumpet solo. Said the elder Brecker brother of this Soul & Jazz Revue gig, "I had just come from a week of Billy Cobham gigs which were just great, but his music is very involved with odd tempos and a lot of metric modulation and many, many notes (!), so this gig with Benjamin and Purdie at the heart of it was a lot of fun. I hadn't played with Bernard in years. He was on my first record, Score, back in 1969 and back in the day we did a million sessions together, where he would set up 'Pretty Purdie' signs around his drums with his phone number on it - the technology of the day. So it was like a homecoming to play with him at this festival and he sounded great with Scott Colley on bass. They really locked it up. And Benjamin, who arranged all of the tunes and wrote some, was, as always, outstanding." The grandson of famous Danish classic composer Herman D. Koppel and the son of musician and composer Anders Koppel, co-founder of the '60s rock group Savage Rose, Benjamin Koppel is one of the most outstanding musicians of his generation. Originally a drummer, inspired by Bernard "Pretty" Purdie, he switched to saxophone at age 13. "My first inspirations when I began playing saxophone were Johnny Hodges, Benny Carter and Earl Bostic," he explained. "Then came Charlie Parker and Sonny Rollins, Ben Webster (whom I am named after - my father used to play with him in the early 1970s) and Coleman Hawkins. And then Cannonball and Trane." Koppel made his recording debut as a leader in 1993 with The Benjamin Koppel Quartet at age 18. The following year he came to New York and studied with Paquito D'Rivera. Koppel has been the most productive, in-demand and far-reaching Scandinavian musician of his generation, appearing on more than 50 recordings with such noteworthy players as Phil Woods, Jim Hall, Joe Lovano, Daniel Humair, Palle Danielsson, Alex Riel, Paul Bley, Miroslav Vitous, Inger Dam Jensen, Michala Petri, Chano Dominguez, Charlie Mariano, Portinho, David Sanchez and Sheryl Crow. In 2000, Koppel formed his own independent record label, Cowbell Music, and since 2009 has been the organizer of Summer Jazz and Winter Jazz, two popular independent music festivals that take place in the Danish capital of Copenhagen. Koppel has received numerous awards and honors, including the Palæ Bars Jazz Prize, the Jacob Gade Prize and the Holstebro Music Prize. In 2011, he was named Knight of France, Chevalier des Arts et des Lettres for his musical work. He was also a jazz radio host, producing more than 200 programs for National Danish Radio. http://benjaminkoppel.com TRACKS THE ART OF THE QUARTET ULTIMATE JAZZ & SOUL REVIEW Free I (9:57) Them Changes (6:35) Bells of Beliefs (10:49) Manteca (9:38) Night Seeing (11:54) Hammond Street (9:14) * Ahmad the Terrible (9:25) Move on up (8:25) Follow (5:38) Feel the Bern (12:14) * Free II (17:32) Respect (6:04) --- Con Alma and Sax (12:55) * Iago (10:23) Groove me (11:08) Ballad for Trane (9:43) Don't you worry 'bout a thing (10:15) If I should lose you (11:12) Close to you (12:40) * Americana (6:55) Sing a Simple Song (4:38) One on One (11:07) Sada (11:34) featuring (except on tracks marked with *) Dan Hemmer - hammond organ Jacob Andersen - percussion Søren Heller - guitar Marie Carmen Koppel - vocals (on Respect only)

This year's special: Brach's Halloween Candy Corn - 15 lbs. - $41.98 + $7.99 shipping https://www.amazon.com/dp/B07HHCHD8P Fifteen pounds? I think I'm going to be sick.

Artist Title Time JD Allen You’re My Thrill 09:33 JD Allen The G Thing 06:41 JD Allen Die Dreaming 05:58 JD Allen Red Label 06:30 JD Allen Toys 04:15 JD Allen I Should Care 05:09 JD Allen Elegua (the trickster) 07:00 New from JD Allen JD Allen - Toys / Die Dreaming • Savant Records SCD 2184 JD Allen, tenor sax • Ian Kenselaar, bass • Nic Cacioppo, drums AIRPLAY STARTS NOW – Suggested Radio Tracks Track 2 - The G Thing • Track 3 - Die Dreaming Track 4 - Red Label • Track 7 - Elegua (the trickster) TOYS / DIE DREAMING in The Wall Street Journal & The New York Times “Mr. Allen introduced his current trio, with Messrs. Kenselaar and Cacioppo, on 2019’s “Barracoon.” It provides an even more responsive vehicle for his thoughtfully calibrated expressions, accentuating his slow-burning intensity and his urgent yet always logical phrases. His occasional flurries of improvisation arrive like a smart boxer’s punches — with proper setup, impeccably timed for maximum impact.” - Larry Blumenfeld, The Wall Street Journal “On “Toys / Die Dreaming,” Allen’s latest album, his still-newish trio shows how much it has grown together since last year’s “Barracoon.” There’s a sense of historical unity in the saxophone playing of J.D. Allen: The elegance of Coleman Hawkins and the spiraling power of John Coltrane come together. The ludic energy of, say, Rahsaan Roland Kirk and the spry focus of Michael Brecker, too.” - Giovanni Russonello, The New York Times Attachments 2184 JD Al.. 2184 JD Al..

Artist Title Time Conrad Herwig Nica's Dream 07:39 Conrad Herwig Song for My Father 10:38 Conrad Herwig The Gods of Yoruba 11:39 Conrad Herwig Peace 08:12 Conrad Herwig The Cape Verdean Blues 09:28 Conrad Herwig Filthy McNasty 10:53 Conrad Herwig Silver's Serenade 08:56 Conrad Herwig Nutville 11:34 Conrad Herwig Nica's Dream (Radio Edit) 06:01 Conrad Herwig Song for My Father (Radio Edit) 07:00 Conrad Herwig The Gods of Yoruba (Radio Edit) 06:28 Conrad Herwig Peace (Radio Edit) 06:48 Conrad Herwig The Cape Verdean Blues (Radio Edit) 06:56 Conrad Herwig Filthy McNasty (Radio Edit) 06:32 Conrad Herwig Silver's Serenade (Radio Edit) 05:42 Conrad Herwig Nutville (Radio Edit) 07:22 New from Conrad Herwig CONRAD HERWIG - The Latin Side of Horace Silver Savant Records SCD 2187 Conrad Herwig, trombone Special Guest Michel Camilo, piano on tracks 2, 3 & 8 Igor Butman, tenor saxophone • Craig Handy, alto saxophone & flute • Alex Sipiagin, trumpet & flugelhorn Bill O'Connell, piano • Ruben Rodriguez, bass • Robby Ameen, drums • Richie Flores, congas In 1996 trombonist Conrad Herwig unveiled the first installment in the popular “Latin Side of” series with the Grammy-nominated The Latin Side of John Coltrane. Since that time other volumes have followed with the current release, “The Latin Side of Horace Silver” including tenor sax great Igor Butman along with special guest, the Grammy-winning Dominican pianist, Michel Camilo. “The great thing about jazz is that nothing is so sacred that it can’t be reinvented and rediscovered,” said Herwig, who goes on to transform Silver’s work through his own love of Afro-Cuban and Afro-Caribbean rhythms. Attachments 2187 Conra.. 2187 Conra..

Artist Title Time Cindy Blackman Santana Imagine (Featuring Carlos Santana) 05:06 Cindy Blackman Santana We Came To Play (Featuring John McLaughlin) 05:41 Cindy Blackman Santana She's Got It Goin On 03:20 Cindy Blackman Santana Miles Away 01:57 Cindy Blackman Santana Everybody’s Dancin’ (Featuring Carlos Santana) 04:57 Cindy Blackman Santana Velocity 05:22 Cindy Blackman Santana I need A Drummer 03:50 Cindy Blackman Santana Superbad (Featuring John McLaughlin 06:52 Cindy Blackman Santana You Don’t Wanna Breaka My Heart (Featuring Carlos Santana) 05:11 Cindy Blackman Santana Evolution Revolution (Featuring Kirk Hammett & Vernon Reid) 03:56 Cindy Blackman Santana Change Is In Your Hands (Featuring Vernon Reid). 03:36 Cindy Blackman Santana Dance Party (Featuring Carlos Santana) 03:35 Cindy Blackman Santana Fun Party Splash (Featuring Carlos Santana). 05:06 Cindy Blackman Santana Social Justice (Featuring Carlos Santana) 02:36 Cindy Blackman Santana Twilight Mask (Featuring Carlos Santana) 09:13 Cindy Blackman Santana Mother Earth 01:18 Cindy Blackman Santana Black Pearl (Featuring Carlos Santana & Vernon Reid) 07:35 Cindy Blackman Santana "Give The Drummer Some" Format(s): AAA, Classic Hits, Classic Rock, College, Jazz, Non-Commercial, NPR - Album Impacting Monday, September 28 - Cindy Blackman Santana’s New Solo Album Give the Drummer Some, Featuring Carlos Santana, John McLaughlin, Kirk Hammett and Vernon Reid, Available Now! Renowned virtuoso drummer, songwriter and singer Cindy Blackman Santana will release her astonishing new solo album, Give the Drummer Some. Three years in the making, the record is a rapturous testament to Blackman Santana’s unparalleled musicianship and compositional mastery, featuring 17 tracks (both instrumentals and vocal songs) that take listeners on an exuberant, compelling and beautifully sustained journey that will leave them breathless. Working as her own producer as well as with multiple Grammy-winning hitmaker Narada Michael Walden, Blackman Santana welcomed a brilliant array of musicians to her sessions, including an eye-popping host of guitar titan guest stars, such as Mahavishnu Orchestra legend John McLaughlin, Living Colour’s Vernon Reid and Metallica’s Kirk Hammett. As one might expect, the drummer, who for the past decade has been a mainstay in the band Santana, features the unmistakable artistry of her guitar icon husband, Carlos Santana, on eight remarkable cuts. “If I had any kind of agenda at all, I wanted this album to be all-encompassing,” says Blackman Santana. “Pop, funk, rock, jazz – I embrace the creativity in all of it, and I feel so inspired when I play it. That’s what I wanted people to feel when they listen to the album – inspired.” Heralded as one of the greatest drummers of her time, Blackman Santana turns in bravura playing throughout Give the Drummer Some. On the epic instrumental “We Came to Play,” Blackman Santana creates a gargantuan groove while engaging in a riveting musical conversation with John McLaughlin. “This track kept building and building, and things got very fiery,” says Blackman Santana. The title sums up the vibe: ‘This is us, we’re playing, and if you don’t like it, go home!’” But this is also the album on which she distinguishes herself as a supreme vocalist, as evidenced on the record’s first single, an extraordinary rock-funk re-imagining of John Lennon’s classic “Imagine.” Endorsed by Yoko Ono Lennon, the stomping track (which features a wicked guitar solo by Carlos Santana), is already burning up radio and streaming playlists and is also the first track issued via SongAid, a new global initiative the Santanas have helped launch to benefit WhyHunger’s Rapid Response Fund. “Everybody’s Dancin’” is a hook-filled, deliciously vibey treasure that features a mega-searing guitar solo by Carlos Santana. As Blackman Santana explains, the song came about following a remark that producer Walden made about her hair: “Narada loves my Afro – he said it was electric,” she laughs. “That really sparked the idea for the song. We wanted something that united people, something fun and universal that would be a joy for them to sing. It certainly was for me.” Blackman Santana’s sparkling vocals light up Give the Drummer Some’s second single, “She’s Got it Goin’ On’” – a doozy of a party jam but one with a distinct point of view. “It’s a fun, clubby, party song that celebrates the confidence that a strong woman has,” says Blackman Santana. “She’s dressed for success, she’s got her hair just right, she’s got a strut – she knows who she is. I wanted to celebrate confident women in a really cool way. And a celebration can be empowering.” “It was a lot of fun to do so many vocal songs on this album,” she says. “I am, and always will be a drummer, but it’s also exciting to showcase the singer side of me. I want people to have a great time listening to it. I set out to make a record that was fun and uplifting, but more than that I wanted the messages to matter. If people come away from it feeling all that I put into it, then I’ve done my job.” During her illustrious career, Blackman Santana has performed with a prestigious and diverse group of artists (Lenny Kravitz, Ron Carter, Bill Laswell, Joss Stone, Wallace Roney, Buckethead, Angela Bofill, Vernon Reid, Jack Bruce, Jackie McLean, Don Pullen, Buster Williams, just to name a few), and she has released a string of critically and commercially hailed solo albums. In many ways, Give the Drummer Some represents a grand summation of Blackman Santana’s talents and history, but it’s also the start of an exciting new chapter in her musical life. Che

Benjamin Boone Broadens His Explorations of Poetry & Jazz with "The Poets Are Gathering," To Be Released October 16 On Origin Records Saxophonist-Composer Collaborates With 11 Accomplished Poets & 20 Seasoned Musicians, Bridging Two Art Forms to Examine Timely, Relevant, & Universal Themes September 24, 2020 Benjamin Boone takes his fascination with the merger of poetry and jazz to stunning new heights on The Poets Are Gathering, set for an October 16 release on Origin Records. True to its title, the album finds the saxophonist-composer assembling a large group of acclaimed American poets—11 in all, including Tyehimba Jess (Pulitzer Prize), Patricia Smith (LA Times Book Award/National Slam Poetry Champion), Juan Felipe Herrera (U.S. Poet Laureate), and Edward Hirsch (MacArthur)—intertwining their work with that of 20 musicians, including pianist Kenny Werner, guitarist Ben Monder, bassist Corcoran Holt, and drummer Ari Hoenig. The poetry addresses ripped-from-the-front-page topics such as police murder, racism, immigration, poverty, inequity, and mass shootings. As Gene Seymour writes in his extensive liner notes, “There are incantations and supplications to be found here. Also: elegies and headlines, howls and mantras, reveries and outbursts. They instruct and affirm.” Boone has already made waves in the jazz and literary worlds with his poetic experiments, specifically with his widely acclaimed 2018/2019 two-part collaboration with the late U.S. Poet Laureate/Pulitzer Prize recipient Philip Levine, The Poetry of Jazz, voted #3 “Best Album of 2018” in DownBeat’s 83rd Annual Readers Poll. A colleague of Levine’s and Boone’s, Juan Felipe Herrera (below right), inspired the current gathering. “Juan and I set three of his poems to music for his culminating U.S. Poet Laureate event at the Library of Congress in 2017, and I was moved by his empowering message that everybody is a poet, everyone has something valuable to offer, everyone’s voice is important and deserves to be heard,” says the saxophonist. “So when we decided to do this album, we naturally wanted to address issues of equality, empowerment, and action.” And that they did. The album’s diverse voices offer perspectives on the world that is the United States in 2020. The social, cultural, political, and emotional turmoil of the moment is a recurring theme. In “Against Silence,” Tyehimba Jess offers a panorama of American violence and its toll, speaking against indiscriminate and unjust murder, both by police officers and drones, while Patricia Smith’s “That’s My Son There” condenses that panorama, providing a raw, intimate examination of the horrific and needless pain caused by these murders. Haitian American poet Patrick Sylvain twice meditates on immigration, portraying both the fraught journey and arrival (“Marooning”) and what it leaves behind (“Ports of Sorrow”). However, there is also room for less overtly political expression, whether in T.R. Hummer’s “The Sun One (Homage to Sun Ra),” Edward Hirsch’s nostalgic reflection “Branch Library,” or Marisol Baca’s cosmic abstraction “Spiral." L. to r.: Kenny Werner, Donald Brown, Patrick Sylvain, Ari Hoenig, Corcoran Holt, Benjamin Boone. Prominent as the poets are, it is the musicians on The Poets are Gathering that astutely amplify the messages. “Poem by Poem,” Herrera’s moving elegy for the Charleston church shooting victims, gains dimension and resonance through Craig VonBerg’s tender piano. Another luminous pianist, Kenny Werner, joins with Boone’s soprano to set “Marooning’s” mood of hardship and (dashed) hope. Guitarists Ben Monder and Eyal Maoz evoke an altered-reality soundscape on T.R. Hummer’s “The Sun One (Homage for Sun Run),” while bassist Corcoran Holt and drummer Ari Hoenig amplify Jess’s message on “Against Silence.” Rapper Donald Brown II wears “Black Man’s” combination of pathos and righteous anger on his sleeve, but it’s Boone, violinist Stefan Poetzsch, and the keyboards of Alberto Díaz Castillo and Donald Brown (the rapper’s father) that bring them to life. The elder Brown, a revered pianist-composer in his own right, produced this album as well as the Poetry of Jazz volumes. (Above right: Tyehimba Jess) Even so, it is the scribes who lend the project its artistic identity. “I am touched by the issues these poets so eloquently address. Their messages are profound. They call us to action and to work for a better, more just world,” says Boone. Benjamin Boone has garnered 18 national/ international awards and honors for his music, which appears on 28 albums and has been featured on several National Public Radio broadcasts. Born in Statesville, NC, he has been a longtime professor at California State University, Fresno after stints in Boston, Knoxville, and New York. His March 2020 Origin Records release, Joy, recorded with The Ghana Jazz Collective while he was a U.S. Fulbright Scholar to Ghana during 2017-18, won critical acclaim for its fresh exploration of the confluence of African and American jazz traditions. “Joy was released at the beginning of the pandemic, and we had to cancel the release concerts,” says Boone. “We considered waiting to release this project, so that we could actually do a tour this time, but we have an imperative to engage the moment and deliver our reactions with as much timeliness and honesty as possible, in spite of the pandemic. The message of these poets is too important, critical, and relevant to current events to wait.”  The Poets Are Gathering EPK Photography: Carlos Puma (Herrera), John Midgeley (Jess), Tamela Ryatt (Boone)  ‌ ‌ ‌

Thanks again, guys!

My favorite song when I was in high school was Constant Rain from Brasil '66's second album Equinox. So twice a year I pull out the album and give it a spin. So today's the day.

I've just enjoyed watching the 1953 Grey Cup!

Attention Jim Sangrey! Isn't the Univ. of North Texas your alma mater? They have hired Dane Evans to be a graduate assistant for this year. https://3downnation.com/2020/09/15/ticats-quarterback-dane-evans-hired-by-university-of-north-texas-as-graduate-assistant/ ***** Quebec's university conference (RSEQ) has officially cancelled its 2020 season. https://3downnation.com/2020/09/14/quebec-university-conference-officially-cancels-2020-football-season/ ***** Halifax has an election for mayor coming up, and the candidates in their debate discussed their views on building a football stadium. https://3downnation.com/2020/09/15/halifax-mayoral-candidates-opinions-vary-on-potential-cfl-stadium/ https://3downnation.com/2020/09/17/halifax-mayoral-candidates-spar-over-cfl-stadium-in-first-debate/ ***** Andrew Harris and DJ Lalama are starting a pro flag football league. https://3downnation.com/2020/09/15/cfl-veterans-andrew-harris-dj-lalama-launch-pro-pep-flag-football-league/ ***** With the Riders not playing this year, it looks like the City of Region will not be able to make the payments on the New Mosaic Stadium's note. https://3downnation.com/2020/09/16/mosaic-stadiums-30-year-pay-off-plan-in-jeopardy-as-regina-faces-massive-deficit/ ***** Remember Doug Flutie's video game? Football Canada has joined with Flutie to have a Canadian rules version. https://3downnation.com/2020/09/17/football-canada-reaches-licensing-agreement-with-doug-fluties-maximum-football/ ***** Ed Tait has begun a review of Winnipeg's pro team by the decade. He starts with the 1930s. https://www.cfl.ca/2020/09/15/bombers-quest-decades-1930s/ ***** This week the players discuss who is the fastest. https://www.cfl.ca/2020/09/15/best-in-the-league-s5-ep6-fastest/ https://www.cfl.ca/2020/09/16/cfl-stars-weigh-leagues-fastest-player-debate/ ***** It's time to vote for the best coach of the decade. https://www.cfl.ca/cfl-decade-team-coaches/ ***** The league has posted videos of six memorable Labor Day Weekend moments. https://www.cfl.ca/2020/09/05/six-memorable-marks-ld-weekend-moments/

Thanks, guys! Ghost, that's some memory you have. Aura is studio, and We Want Miles is live, right? Is Star People studio too?

Are any of Miles' albums from the last Columbia period worthwhile?

"OMG!" is of relatively recent vintage among teens.

Brad, I wasn't thinking about vinyl or what people under thirty do. I want to know how adults are buying their music.

Chris Streveler is Arizona's new backup quarterback. Yesterday they put him in for one play. He ran for three yards, and got a first down. He thus became the first ex-CFL QB to record a stat in the NFL since Jeff Garcia in 2009. https://3downnation.com/2020/09/13/chris-streveler-becomes-first-former-cfl-qb-to-register-nfl-statistic-since-2009/

I would like to see the demographics. I am not an investor in a record company, and I don't care what high schoolers (or anyone under 30) are doing. Are people over 30 spending money on music? What genre? What format? How much money?

Cathy Segal-Garcia "Inner City Blues/Make Me Wanna Holler" Impacting: July 24 2020 Format(s): Jazz “Inner City Blues (Make Me Wanna Holler)” Performed by Cathy Segal-Garcia Written by Marvin Gaye and James Nyx Jr. WATCH THE VIDEO HERE: This song was from one of my “desert island picks”, “What’s Goin On”, recorded by the great Marvin Gaye. Last year when I recorded this project, I picked music from the 60s-90s that I loved… “Inner City Blues - Make Me Wanna Holler” was one of my favorites. It seems that this subject matter will always relate to every time stamped moment, this time stamp included. Cathy Segal-Garcia: vocals, video. Carey Frank: arrangement, piano Nick Mancini: vibes Will Brahm: guitar Alex Boneham: bass Steve Hass: drums Tally Sherwood: engineer & studio Dan Davilla: executive producer

Horizons Jazz Orchestra "The Brite Side" Format(s): Jazz HORIZONS JAZZ ORCHESTRA PAYS TRIBUTE TO COMPOSER/ARRANGER LEE HARRIS WITH THE BRITE SIDE Chartbound on the JazzWeek Chart HORIZONS JAZZ ORCHESTRA is a swinging contemporary big band comprising some of the finest musicians in South Florida. They are now releasing their debut CD, HORIZONS JAZZ ORCHESTRA PLAYS THE MUSIC OF LEE HARRIS, THE BRITE SIDE. LEE HARRIS was a baritone saxophonist, composer, and arranger who worked in New York City and Atlantic City. In 2016, Harris and trumpeter DENNIS NODAY, an alumnus of the Stan Kenton and Maynard Ferguson bands, co-founded and co-led SUPERBAND, a fresh, innovative big band that mainly performed Lee's compositions and arrangements. Because of their superb musicianship, SUPERBAND built a solid following which was championed by social media promoter, JEANNETTE C. PIÑA, who would become the Executive Producer for THE BRITE SIDE. Ms. Piña loved the sound of the band with its Stan Kenton influence from the beginning. The band's music is lush and melodic, and very approachable. It does not try to be avant-garde; rather, it has a danceable, crowd-pleasing appeal. By the time the project got underway, Harris was in failing health. Ms. Piña had admired his work and wanted to make the album his legacy, so she enlisted the help of Noday and veteran trombonist MICHAEL BALOGH, the lead trombonist with SUPERBAND, to realize the project. Balogh, who has a long list of recording, television and theater credits, and who has performed with a 'Who's Who' of renowned musical artists in the Jazz, Pop, Rock, R&B, and Latin worlds, became the conductor and musical director of the band. Unfortunately, Harris passed away just months before the project was completed, so he never heard the final product. Balogh and Ms. Piña wanted to keep the band going, but since some of the original musicians had moved on to other projects, they decided to rebrand and named the band Horizons Jazz Orchestra to make this debut album as a tribute to Lee Harris. Balogh asked three of his old friends to record with the newly rebranded band as guest artists. CARL SAUNDERS is a trumpet virtuoso who grew up in Las Vegas, playing mellophone and then trumpet with The Stan Kenton Orchestra. He played the lead trumpet and jazz chairs in many showrooms in Las Vegas for all the superstars. Balogh had also lived and played in Las Vegas for several years and was friends with Saunders and invited him to join the project. Saunders is featured on five of the ten tracks with his innovative solos. JONATHAN JOSEPH is a Grammy-winning drummer known for his work with Spyro Gyra, Al Jarreau, Yellowjackets, and Dave Sanborn, and has toured with Jeff Beck during the last seven years. Woodwind specialist and jazz great BILLY ROSS has been with the Woody Herman Orchestra since he was 17. He has played with everyone in the business -- from Natalie Cole and Barry Manilow to the Four Tops and the O’Jays -- as well as playing for 14 years on the Univision TV show, Sabado Gigante. He performs on four of the tracks. THE BRITE SIDE features 10 compositions, including five originals by Harris and five others that feature his arrangements of classic jazz standards. The album opens with "Red Apple Sweet," a Lee Harris original. The song is written in several distinct sections, and the title is a pun on the word "suite." It features solos by Joseph on drums, GARY MAYONE on the B3 organ, and Balogh on trombone. "Pure Imagination," by Anthony Newley and Leslie Bricusse, with an arrangement by Harris, is a waltz featuring the saxophone section and a beautiful flugelhorn solo by Saunders. "After You've Gone, Finally" is Harris' take-off on the familiar standard. Saunders and Ross take solos on this tune as do Mayone on keys, and SCOTT KLARMAN on alto sax. "The Runner," an appealing Harris original, was inspired by a drive up the California coast in the fog. "Fourth Dimension," an up-tempo swing, is also a Harris original with a noteworthy solo by Saunders. It also features solos by RANDY EMERICK on baritone sax and LUKE WILLIAMS on guitar. "The Brite Side," another Harris original, has an Americana feel, featuring solos by Ross on tenor sax and Bayone on keys. "The Sound," a song co-composed by Billy Ross and Mike Levine, is an arrangement by Harris and a tribute to Stan Getz. "Summertime" features Klarman on a brilliant soprano sax solo. "Maria" is an anomaly on this album. Written by Leonard Bernstein with an arrangement by Don Sebesky, it features a solo by Noday, who played the chart with SUPERBAND. The CD closes with "A Train Bossa," a happy arrangement featuring Ross and Saunders. With sterling musicianship, exciting arrangements, and some rarely heard compositions that could have been taken right out of the Great American Songbook, THE BRITE SIDE, through the vision and guidance of Executive Producer Jeannette Piña and Producer Michael Balogh, is a loving tribute to Lee Harris, an unheralded but much appreciated composer and arranger in the jazz world. # # # HORIZONS JAZZ ORCHESTRA PLAYS THE MUSIC OF LEE HARRIS, THE BRITE SIDE, is available online everywhere. Online: https://www.facebook.com/Horizons-Jazz-Orchestra-381087062430228 http://www.horizonsjazzorchestra.com/ Pressrelea...

I see now that Michael started a thread on this July 1. Mods are welcome to combine these two threads.

Fairground Records LLC Sabertooth Swing "Songs of Future Past" Impacting: September 8 2020 Format(s): Americana, Jazz Born and bred in New Orleans, Sabertooth Swing carries a rich musical tradition of swing jazz and americana with old roots and exciting new ramifications. Tracing its origins within the local swing dance community, their music embraces a foot-taping energy supported by serious musicianship and varied influences. Sabertooth Swing excels at bringing a fun experience and enhancing it with musical overtones that enrich their sound with beautiful jazz idioms that can be either be a source of exciting dancing or serious listening. The group is composed of musicians of various origin and musical background, with influences stretching from French chansons, folk & bluegrass, new wave and reggae with, of course, much love and respect for New Orleans’ own musical heritage. The seeds for Songs of Future Past were planted after a show a couple of years back, when Sabertooth Swing found themselves playing a dance in a New Orleans juke joint. It was a late, sweaty night of dancing. The band had paired up with a noted local blues act, and for the occasion, had prepared a setlist of tunes with slower tempos. These tunes had a decidedly bluer characteristic, with a distinct air of melancholy and wanderlust. After this event, an album of this material felt inevitable. Additionally, the band wanted to explore the possibilities for reimagining new songs with a classic touch. Songs of Future Past is available worldwide from Slammin Media and distributed worldwide by Believe Distribution. Artist Title Time Sabertooth Swing Frankie & Johnny 04:07 Sabertooth Swing Blue Skies 04:56 Sabertooth Swing How Deep is the Ocean 04:36 Sabertooth Swing Chocolate Jesus 03:36 Sabertooth Swing Lawn Boy 03:39 Sabertooth Swing Atlanta Blues 03:41 Attachments Biography .. Sabertooth..

Bob Young revealed this week that he was very much in favor of playing this year. He also said that every year the league as a whole loses money. https://3downnation.com/2020/09/08/ticats-owner-bob-young-wouldve-much-preferred-to-play-this-year/ ***** Here's an initial look at Canadian college players and their prospects for next year's draft. https://3downnation.com/2020/09/11/3downnation-2021-cfl-draft-rankings-1-0/ ***** Here's a list of the best Canadians currently active, by province. https://3downnation.com/2020/09/12/the-best-active-pro-football-player-from-each-canadian-province/ ***** Here's a look at BC's Grey Cup teams. https://www.cfl.ca/2020/09/08/bc-lions-fans-role-team-championship-history/ ***** This week the players discuss who is the league's best trash talker. https://www.cfl.ca/2020/09/08/best-in-the-league-s5-ep5-trash-talker/ https://www.cfl.ca/2020/09/09/stars-around-league-debate-best-trash-talker/ ***** Here is a single link to the "virtual reunions" of four Grey Cup teams. https://www.cfl.ca/remote-reunion-driven-kubota/

Artist Title Time Michael P. O'Neill Port of Spain 05:37 Michael P. O'Neill Emerging Impressions 05:12 Michael P. O'Neill Early Spring 05:17 Michael P. O'Neill One For Kenny 03:50 Michael P. O'Neill Cloudscape 06:16 Michael P. O'Neill And Then It Rained 05:42 Michael P. O'Neill Mavericks Samba 04:19 Michael P. O'Neill Song For Mama Bear 05:33 Michael P. O'Neill Four Cornered Circle 05:43 Michael P. O'Neill Suite Iris 03:52 Michael P. O'Neill The Dreams We Left Behind 05:17 Michael P. O'Neill "And Then It Rained" Impacting: September 25 2020 Format(s): Jazz www.mosax.com CONTACT: Michael O'Neill michaeloca@earthlink.net Attachments Press rele.. One Sheet ..

Avalon (Just Milcho's Solo) https://artpepper.bandcamp.com/track/avalon-just-milchos-solo