GA Russell

presents “We’ve all had experiences playing so many different things, we all love the blues, whether we play them all the time or not, and we all love great songs – and these are really great songs." Jerry Granelli Over the course of a career spanning six decades, drummer Jerry Granelli has worked with many of the greatest artists across the full spectrum of jazz and beyond. On The Jerry Granelli Trio Plays Vince and Mose, his rapturous new album for RareNoise, Granelli revisits two of his most indelible collaborations from the vantage point of the exploratory now. The Jerry Granelli Trio Plays Vince and Mose starts from the foundation of two singular composers: the elegant, lyrical pieces of pianist Vince Guaraldi, with whom Granelli played for three busy years early in his career – including the landmark Peanuts television specials; and the eccentric singer/pianist Mose Allison, whose wry twists on the blues Granelli had the pleasure of accompanying for nearly 40 years. Never one to dwell on the past, Granelli has long eschewed tribute projects or reprises of past glories. Two factors combined to change his mind on this remarkable occasion: the joy of delving into these extraordinary compositions with a modern urgency untouched by nostalgia; and his collaborators, both of whom share his expansive approach: pianist Jamie Saft and bassist Bradley Christopher Jones. LISTEN TO THE JERRY GRANELLI TRIO PLAYS VINCE GUARALDI AND MOSE ALLISON “I don't think material gets old; what gets old is when people try to recapture a stale version of the past. We were able to bring a really fresh feeling to this music, and that’s important to me. We didn't try to recreate anything." Jerry Granelli Release Date: June 26th, 2020 Jerry Granelli - drums Jamie Saft - piano Bradley Christopher Jones – bass 1. Cast Your Fate To The Wind 2. Parchman Farm 3. Baby Please Don’t Go 4. Mind Prelude 1 5. Everybody’s Cryin’ Mercy 6. Star Song 7. Young Man Blues 8. Mind Prelude 2 9. Your Mind Is On Vacation 10. Christmas Time Is Here Tracks 1, 6 written by Guaraldi / David Guaraldi Publishing - BMI; Tracks 2, 5, 7, 9 written by Allison / Audre Mae Music Co. - BMI; Track 3 Traditional - BMI; Track 4, 8 written by Granelli/Jones - BMI; Track 10 written by Guaraldi/Mendelson / Lee Mendelson Film Productions Inc. – BMI Recorded and Mastered by Vin Cin at Electric Plant, Brooklyn, NY Mixed by Jamie Saft at Potterville International Sound, NY Produced by Jerry Granelli and Jamie Saft Executive Producer for RareNoiseRecords: Giacomo Bruzzo Art and design by Erdman Additional layout and design Graham Schreiner Photos by Scott Irvine c. 2019 © + ℗ RareNoiseRecords 2020 Cat. No.: RNR120 (CD) / RNR120LP (VINYL) Read the Full Press Release here

REVIEW: Markus has a great knack for project driven jazz without getting bogged down in concept album cliche or overworked plotting - his previous showing strong ties to his Chicago and Illinois roots, this one paying homage to family and mentors, in timeless musical form. by editor Dusty Groove, Chicago

Release Date:OCTOBER 14, 2019 Radio Add Date: OCTOBER 21, 2019 Artist: CATHY SEGAL GARCIA Title: STRAIGHT AHEAD TO THE UK Label: Dash Hoffman Records CATHY SEGAL-GARCIA is one of the most prolific jazz vocal recording artists on the West Coast. A performer, songwriter, impresario, teacher, and jazz writer, she is a linchpin on the Los Angeles jazz scene. Segal-Garcia has produced 12 CDs under her own name since 1992. She is now releasing her 13th project, STRAIGHT AHEAD TO THE U.K. Segal-Garcia first recorded the project in 2011 in England, but the original producer died and the project sat on the shelf ever since, until Segal-Garcia’s executive producer urged her to revive the project. After listening to the album again after so many years, Segal-Garcia wanted to do something different with the music, and brought the CD to Los Angeles bassist and producer JOHN LEFTWICH. Segal-Garcia wanted to bring her vocals up-to-date with new ideas, so she decided to re-sing almost the entire album. With Segal-Garcia’s new approach to the vocals, Leftwich thought it would be a good idea to also bring on board additional musicians to reflect the album’s new attitude, so he brought in some top L.A. players. The songs on STRAIGHT AHEAD TO THE U.K. comprise an assemblage of standards, modern jazz compositions, and a couple of originals by Segal-Garcia. Cathy Segal-Garcia’s recordings always have elements of fun and soulfulness with musical surprises that never fail to delight. STRAIGHT AHEAD TO THE U.K., in its re-sung, re-orchestrated, and re-engineered form, is a testament to her ever-evolving creativity. www.cathysegalgarcia.com “A terrific mix of both American and UK musicians and the combination of two very different studio sessions… Her interpretation of Hoagy Charmichael’s, “I Get Along Without You” is a stellar representation of how to sell a song.” www.musicalmemoirs.wordpress.com “Straight Ahead To The U.K. … this album is a testament to the creativity of Cathy , a constantly evolving jazz singer.” www.actualjazz.blogspot.com “…when you boil Segal-Garcia down to her essence, she's simply a weaver of dreams, a starry- eyed wanderer and free spirit who, nevertheless, possesses strong artistic instincts and the organizational savvy to pull off one unique project after another.” www.allaboutjazz.com “Ms Segal-Garcia demonstrates here just why she has acquired a reputation as a “musician’s singer”.” Jazz Journal “The alto-enriched palette of her timbres gives the tracks an earthy flavor, searing into the melodies and holding them anchored. This is jazz music in its prime, lathered in elements of blues, soul, swing, and scat, all of which ratchet up the jazz-drenched romper "Shake It Down."” www.jazz2love.blogspot.com “One of L.A.’s most prolific and wildly eclectic jazz songwriters and vocal interpreters, Cathy Segal-Garcia shares a tune on her latest album, the marvelously adventurous and supremely hip and quirky Straight Ahead to the U.K., that perfectly captures the deepest essence of her restless musical soul. Yet the spirited, rambunctious and bluesy “Gypsy In My Soul” is just one of the infectious delights on a collection whose poignant back story brings deeper emotional resonance and historical perspective to the mix.” www.jwvibe.com/single-post/2019/10/23/CATHY-SEGAL-GARCIA-Straight-Ahead-to-the-UK

Attachments Kathleen G.. Tie Me to .. KathleenGr..

Artist Title Time Michael Kaeshammer Boogie Woogie 00:40 Michael Kaeshammer Kisses In Zanzibar 04:48 Michael Kaeshammer I Know I Will Again 03:26 Michael Kaeshammer Lucky Man 02:27 Michael Kaeshammer Who Are You (feat. Colin James) 04:12 Michael Kaeshammer Broken Down Piano 06:25 Michael Kaeshammer Do You Believe (feat. Curtis Salgado) 06:27 Michael Kaeshammer A Change Is Gonna Come (feat.Nicole Sinclair) 06:22 Michael Kaeshammer Takin Care of Business (Ft. Randy Bachman & Colin James) 05:11 Michael Kaeshammer Shoo-Ra 05:27 Michael Kaeshammer Hamp's Boogie 04:30 Michael Kaeshammer "Live In Concert" Impacting: June 5 2020 Format(s): Jazz, Non-Commercial, NPR, Triple A Michael Kaeshammer Welcomes the World to His Hometown in NEW Live In Concert Release Featuring Collabs with Colin James, Curtis Salgado & Randy Bachman, the JUNO Award-Nominated Artist’s New Album is Available Now! The Jazz Advocate calls him “Mr. Personality.” The Montreal Gazette slates him as a “must-see live act.” The Record says “listening to Michael Kaeshammer play live is like looking through a window into one of the greatest musical minds in the world today.” And now — and more timely than ever — audiences can revel in a taste of six-time JUNO Award-nominated and internationally acclaimed singer, songwriter, pianist and producer Michael Kaeshammer on stage with the release of his newest album — Live In Concert — anytime. First aired as the hour-long live special Boogie On The Blues Highway on American Public Television throughout March 2020, Live In Concert delights as it delivers Kaeshammer and his band’s signature style, effortlessly weaving classical, jazz, blues, stride, pop, and — of course — boogie-woogie into a one-of-a-kind, immersive experience track by track. Captured during a pair of intimate hometown shows at the Charlie White Theatre in his Canadian hometown of Sidney on Vancouver Island, the special showcases Kaeshammer’s insatiable sonic tapestry through a diverse set. Live In Concert features brand-new songs as well as collaborations with special guests, including blues and soul icon Curtis Salgado for “Do You Believe?,” blues master Colin James for “Who Are You,” and rock legend Randy Bachman (The Guess Who, Bachman-Turner Overdrive) for “Takin’ Care of Business.” “When it comes to Curtis, Colin, and Randy, first and foremost, I’m a fan of their work,” Kaeshammer says of the collaborations. “But then, I’ve been fortunate to develop good friendships with the three of them, so it was an honour to share the stage for these performances. Produced by Nashville’s Corridor Group Productions Inc. and executive producer Barbara Hall, Live In Concert also features original Kaeshammer compositions like fan-favourite “Kisses in Zanzibar alongside new cuts like “Lucky Man” — a preview from his forthcoming studio album slated for Spring 2021. “Sidney is where I do much of my writing, and I just love the summers there,” Kaeshammer says of recording Boogie On The Blues Highway and Live In Concert in British Columbia. “It was such an inspiring setting for these very special concerts, and I’m excited to share the experience with everyone.”

Saxophonist Dan Willis Accents Thelonious Monk's Singularity With His Own on "The Monk Project," Set for July 17 Release By Belle Avenue Records Album Features Eight Monk Compositions, Performed by Willis's Longtime Band Velvet Gentlemen With Guitarist Pete McCann, Keyboardist Ron Oswanski, Bassist Evan Gregor, Drummer John Mettam, & Special Guests June 5, 2020 Dan Willis puts his idiosyncratic spin on the tunes of the godfather of jazz idiosyncrasy with the July 17 release of The Monk Project (Belle Avenue). The saxophonist/multi-reedist's fourth album with his ensemble Velvet Gentlemen -- guitarist Pete McCann, keyboardist Ron Oswanski, bassist Evan Gregor, and drummer John Mettam (with special guests bassist Kermit Driscoll and drummer Ian Froman) -- is an intriguing and highly exploratory set of performances that, like Thelonious Monk's compositions, could never be mistaken for the work of anyone else. Though it follows up The Satie Project, Velvet Gentlemen's two-volume assaying of the French modernist composer, The Monk Project actually began life as a solo saxophone concept for Willis. Not far into it, however, he realized that his non-chordal instrument was insufficient to the task of Monk's ideas. "Monk plays orchestrationally," Willis explains. "On saxophone, I can only play one note at a time. There was no way I could play up to what Monk performed." Bringing in the band let him account for the composer's multiple layers of melody and meaning. In the process, it expanded Willis's personal palette for the project: He plays three different saxophones (tenor, soprano, and baritone), along with two wind instruments from central Eurasia, the duduk and the zurna -- and, in several places, the electronic wind instrument (EWI). If this sounds cerebral and highfalutin, however, it's anything but. Tunes like "Eronel" and "Criss Cross" take on a seamy, creeping funk, while "Crepuscule with Nellie," "Rhythm-a-Ning," and "Pannonica" capture the dark, earthy mystery of New Orleans and the Mississippi Delta, where jazz and blues came to be. "Our aim," says Willis, "became to get a lot more lowdown and dirty to fully capture the blues aspect of this music." Velvet Gentlemen: Evan Gregor, Dan Willis, John Mettam, Pete McCann. Group effort though it became, The Monk Project still manages to be a tour de force for Willis himself. On "Epistrophy" alone, he masterfully wields three different axes, alternating tenor sax and EWI on the main theme before laying down a simmering solo on a distortion tenor saxophone. The EWI becomes the primary voice for the album-closing "Think of One" -- a tip of the hat to Michael Brecker. The instrument, Willis says, is particularly suited to Monk's "orchestrational" approach to composition: "You can play one note and make it sound like a large orchestra." Dan Willis was born Daniel Wieloszynski in Fredonia, New York, on September 23, 1968. The scion of a large musical family that included his father, arranger and multi-instrumentalist Stephen Wieloszynski, Willis experimented with drums, piano, and trumpet before finally settling on saxophone. By the time he was 12, he was sitting in on jazz gigs in nearby Buffalo. Following in his father's footsteps, Willis enrolled after high school in the Eastman School of Music in Rochester, New York. There was no undergraduate jazz program at the time; however, while Willis formally majored in oboe (and was a featured soloist on English horn with the Eastman Philharmonia), he nonetheless studied jazz with eminent faculty members Bill Dobbins, Ramon Ricker, and Dave Liebman. Upon graduation he embarked for Europe with a touring production of West Side Story, then settled in New Jersey to become a freelance musician and study with Bob Mintzer. He made his first recording, Dan Willis Quartet (1998), with a band featuring guitarist Ben Monder, bassist Drew Gress, and drummer John Hollenbeck. The following year's Hand to Mouth brought guitarist Pete McCann into Willis's orbit; pianist/keyboardist Ron Oswanski arrived in 2003 with Velvet Gentlemen, establishing Willis's primary musical vehicle that after nearly two decades is still thriving. "The pandemic has touched our lives in such a profound way," says Willis. "Aside from the economic hardship of the disappearance of performance opportunities it has, for some, been a very difficult time where we hesitate to create for fear of an uncertain future. I think of 'what would my heroes do or say to me for advice?' I almost immediately began to wonder if this would be for me what it was like for Sonny Rollins and his almost two-year-long self-imposed isolation. Would I create my The Bridge [Rollins's 1962 masterpiece]? Ultimately, life is about the journey, not the destination." The Monk Project | Dan Willis and Velvet Gentlemen Web Site: danwillismusic.com

I'll ask.

1. Bill Frisell - Baba Drame 04:59 2. Bill Frisell - Hour Glass 02:58 3. Bill Frisell - Valentine 06:27 4. Bill Frisell - Levees 06:04 5. Bill Frisell - Winter Always Turns to Spring 05:10 6. Bill Frisell - Keep Your Eyes Open 06:05 7. Bill Frisell - A Flower is a Lovesome Thing 07:23 8. Bill Frisell - Electricity 03:19 9. Bill Frisell - Wagon Wheels 04:14 10. Bill Frisell - Aunt Mary 03:19 11. Bill Frisell - What the World Needs Now is Love 05:55 12. Bill Frisell - Where Do We Go 03:09 13. Bill Frisell - We Shall Overcome 06:42 The debut recording of guitarist BILL FRISELL’S trio with bassist THOMAS MORGAN & drummer RUDY ROYSTON is a wide-ranging 13-song set that mixes Frisell originals new & old, jazz standards, traditional songs, and covers. Valentine explores the creative freedom of the trio format and the profound musical relationship between these three musicians after years of touring. Track listing: 1.Baba Drame 2. Hour Glass 3. Valentine 4. Levees 5. Winter Always Turns To Spring 6. Keep Your Eyes Open 7. A Flower Is A Lovesome Thing 8. Electricity 9. Wagon Wheels 10. Aunt Mary 11. What The World Needs Now Is Love 12. Where Do We Go 13. We Shall Overcome UPCs: Standard Digital Album: 00602508992063 MFiT Digital Album: 00602508992070 HRA Digital Album: 00602508992087 CD: 00602508992094 Vinyl 12”: 00602508992100 Proudly presented by Blue Note Records: Don Was, Rachel Jones, Cem Kurosman, Justin Seltzer, Melissa Cohen and Alex Anastasi. Bill Frisell – Valentine June 12th 2020, IG 1 “We Shall Overcome” + PO July 17th 2020, IG 2 “Keep Your Eyes Open” July 31st 2020, IG 3 “Valentine” August 14th 2020 - Album Release

Hermine Deurloo (with Steve Gadd, Tony Scherr & Kevin Hays) "Riverbeast" Impacting: June 1 2020 Format(s): Jazz ‘Riverbeast’ is the new release by chromatic harmonica player Hermine Deurloo – with Steve Gadd, one of the most influential drummers in contemporary music. Deurloo showcased her previous release, ‘Living Here’ at Jazzahead and played many international venues and festivals. Also she was winner of the 2018 Bernie Bray Harmonica Player of the Year Award, like Toots Thielemans in 2011 and Stevie Wonder in 2016. Deurloo recorded ‘Riverbeast’ at the Wisseloord Studios, Netherlands, home to many legendary albums, in an exceptional collaboration with drummer legend Steve Gadd. Gadd is one of the most iconic drummers from the 70s to the present. He played on albums by Paul Simon, Steely Dan, James Taylor and Paul McCartney, to name a few. He won a Grammy Award in 2019 with his own Steve Gadd Band. ‘Riverbeast’ also is featuring Tony Scherr (bass, guitar), who co-produced the album with Deurloo, and Kevin Hays on keys and vocals. Artist Title Time Hermine Deurloo The Man with the Hat (on the Train) 04:35 Hermine Deurloo If We Can't Trust Each Other 03:34 Hermine Deurloo Hoop and Pole 05:00 Hermine Deurloo So Long, Redhead 04:41 Hermine Deurloo Riverbeast 04:16 Hermine Deurloo Doctors Wind 04:32 Hermine Deurloo Zombie Chicken 03:57 Hermine Deurloo The Road to Gargonza 03:50 Hermine Deurloo Song for My Sister 04:28 Hermine Deurloo Walk With Me 05:29 Hermine Deurloo Blueberry Hell 04:02 Attachments Riverbeast.. Riverbeast.. Steve Gadd.. RIVERBEAST..

 Artist Title Time Larry Willis Today's Nights 05:48 Larry Willis Heavy Blue 03:41 Larry Willis Anna 06:09 Larry Willis Habiba 06:21 Larry Willis The Meaning of the Blues 08:34 Larry Willis Let's Play 08:11 Larry Willis Climax 05:54 Larry Willis I Fall in Love Too Easily 05:55 New from Larry Willis Larry Willis - I Fall in Love Too Easily • HighNote Records HCD 7326 Larry Willis, piano Jeremy Pelt, trumpet • Joe Ford, alto saxophone Blake Meister, bass • Victor Lewis, drums It may be somewhat ironic, yet ultimately fitting that this, the final recording by Larry Willis, brought the veteran pianist/composer right back to the place where he first began his impressive career as recording artist that spanned over a period of six decades. The Harlem, New York born Willis first entered the hallowed halls of Rudy Van Gelder’s legendary Englewood Cliffs, New Jersey studio as a twenty-two year old graduate of the Manhattan School of Music on January 29, 1965 to record with Jackie McLean for Blue Note Records. Willis’s expansive resume includes entries with the likes of Cannonball Adderley, Nat Adderley, Blood, Sweat and Tears, Stan Getz, Jerry Gonzalez and the Fort Apache Band, Clifford Jordan, Carmen McRae, David “Fathead” Newman, Woody Shaw, and many more. He appeared on hundreds of albums as a sideman and dozens more as a leader of his own impressive bands. The music played here with long-time friends Victor Lewis and Joe Ford, and his relatively new colleague Jeremy Pelt shows Larry Willis displaying the intense creativity and impeccable taste which made him once of the most respected keyboard artists in jazz. Like our stuff? Let’s hear from you. Record Company Contact Barney Fields • HighNote Records, Inc. www.jazzdepot.com

 Artist Title Time Dena DeRose Ode to the Road 04:01 Dena DeRose Nothing Like You - featuring Jeremy Pelt 05:35 Dena DeRose Don't Ask Why 06:14 Dena DeRose All God's Chillun Got Rhythm - featuring Sheila Jordan 06:47 Dena DeRose That Second Look 05:26 Dena DeRose Small Day Tomorrow - featuring Sheila Jordan 05:28 Dena DeRose The Way We Were - featuring Houston Person 06:28 Dena DeRose Cross Me Off Your List - featuring Jeremy Pelt 06:06 Dena DeRose I Have the Feeling I've Been Here Before 05:55 Dena DeRose A Tip of the Hat 05:29 Dena DeRose The Days of Wine and Roses - featuring Houston Person 06:48 New from Dena DeRose Dena DeRose - Ode to the Road • HighNote Records HCD 7323 Dena DeRose, vocals & piano Martin Wind, bass • Matt Wilson, drums with Sheila Jordan, vocal • Jeremy Pelt, trumpet Houston Person, tenor saxophone Dena DeRose’s music is like a cool breeze; she’s wry, wise, impeccably musical, no-nonsense, and fun. After her three decades as a pianist-singer, DeRose’s voice and her fingers are on the most harmonious of terms. She’s not afraid of simplicity; DeRose has no time for hollow sentiment, nor does she feel a compulsion to outsmart the makers of the Great American Songbook. Her approach to jazz resides mainly in her swinging rhythm and pianistic phrasing. Her eleventh album as a leader takes its name from a breezy tune, full of hip changes, that was composed by Alan Broadbent. The lyrics, provided by the legendary Mark Murphy, resonated deeply with DeRose since when she’s not teaching at the University of Music and Performing Arts in Graz, Austria, she’s frequently on tour. Appropriately enough she is joined by three other HighNote artists—singer Sheila Jordan, saxophonist Houston Person, and trumpeter Jeremy Pelt—all of whom have appeared with DeRose on her global travels. With her long-time rhythm section of Martin Wind and Matt Wilson, DeRose delivers a recording that celebrates the life of the jazz artist and the friendships they make. Like our stuff? Let’s hear from you. Record Company Contact Barney Fields • HighNote Records, Inc. www.jazzdepot.com

Beth Duncan Presents a Charming, Accomplished Assay of Jazz Songs On "I'm All Yours," Set for July 24 Release by Saccat Records California Vocalist Collaborates on Her Third Album With Composer-Lyricist Martine Tabilio, Arranger/Multi-Reedist Jacam Manricks, & Ace Ensemble Led by Pianist Joe Gilman June 3, 2020 Vocalist Beth Duncan applies her warm, robust contralto to a collection of finely crafted tunes on her long-awaited third album, I'm All Yours, set for a July 24 release on Saccat Records. While the album's ten tracks are an eclectic bunch, they are all the work of composer and lyricist Martine Tabilio, a friend of Duncan's for over a decade. Saxophonist-flutist Jacám Manricks provides the arrangements and joins a band led by acclaimed pianist Joe Gilman, and featuring guitarist Steve Homan, bassist Matt Robinson, and drummer Rick Lotter, to round out the Sacramento singer's cast of collaborators. I'm All Yours is Duncan's first recording since 2012's Comes the Fall, on which she also recorded three songs by the Dutch-born, Oakland-based Tabilio. This time out, she expands from a hat-tip to an exhibition. "There is a glut of wonderful singers doing standards albums," says Duncan, "but I felt like Marty's songs need to be heard.... She really knows how to capture feelings well and tell a story." So does Duncan. Her sensitive delivery is as crucial to the rueful mood of "Serves Me Right" as is the song itself; the dreaminess she channels into "The Band" is the secret ingredient to its playful fantasia; and, celebratory though the title track is in itself, the palpable joy in Duncan's phrasing and tone is what brings it home. That said, Tabilio's writing has a magic all its own. Her songs are the work of a composer who has internalized the melodic, rhythmic, and lyrical lessons of the Great American Songbook, yet refreshed them with a personal, contemporary twist. (Ironically, her own title "Your Song's Passé" is one that could never be used to describe her.) Their diversity is remarkable, ranging from the stinging accents of "Breakup Funk" to the sweet aspirational ballad "Marika's Melody" to the down-home "Kit & Kaboodle Blues." (At left: Tabilio and Duncan.) Nor is Duncan alone in bringing these songs to life. Manricks's arrangements emphasize their natural swing -- adding a soupçon of Latin rhythm for good measure -- and he doubles down on their sturdy melodies with his spicy solos on tenor and soprano sax and flute. Gilman, Homan, Robinson, and Lotter add distinctive and delightful flavors of their own. In the end, however, it's the vocalist herself who brings the proceedings gloriously together. Beth Duncan was born November 1, 1952 in Salt Lake City and grew up in California -- first in San Francisco, then in Sacramento. From childhood she was a singer, whether in grade-school choirs or on Sundays at church. She also fell in love with jazz by way of her brother's record collection, and found her way to studying with legendary vocal coach Judy Davis at the latter's Oakland studio. Beginning her career working in a Top 40 band, Duncan was also a regular at the beloved Sacramento jazz club On Broadway, where she ingratiated herself with players on the local jazz scene. However, when she developed nodes on her vocal cords, Duncan was forced to put music on the backburner. Instead she built a new career as an award-winning radio journalist, working a variety of jobs in broadcasting that continues into today (she is currently a substitute host for Capital Public Radio's Insight). Meanwhile, she missed the vocal spotlight and used her fiftieth birthday party as a platform for a comeback performance. Thus inspired, Duncan began performing at venues around town, cultivating both a repertoire and a reputation for her swinging and expressive delivery. Her 2005 debut album Orange Color Sky won Duncan critical acclaim and affirmed her strong local following. The next album, 2012's Comes the Fall, extended that acclaim and following to the nation and the world. It also served as her first collaborative effort with songwriter Martine Tabilio, a creative partnership now solidified on I'm All Yours. "We recorded these tunes at Fantasy Studios in June of 2018," says Duncan, "long before the pandemic hit, before the economic fallout, before the more recent racial and social unrest. So much uncertainty, fear, sadness, and anger, and I thought seriously about shelving the project and retreating. But then it hit me: Completing the album is exactly what I had to do. This collaboration was a labor of love and was meant to be shared. Love and music win out." Photography: Randy Pench Beth Duncan | I'm All Yours Web Site: bethduncan.com

I believe that Dan is correct. Some here are attorneys, right? The more serious the charge, the more likely a hung jury - right? I got my first haircut and beard trim in a very long time today. It feels great!

Anderson Cooper, 6/01: “The president seems to think dominating Black people, dominating peaceful protesters, is law and order. It’s not.”

I gather that the talking heads of CNN and MSNBC are. Right. But apparently in some states they are not. So should the federal govt do nothing? I was surprised to learn yesterday that the stores looted and destroyed are not covered by insurance. The typical policy exempts acts of God and riots.

I am not a law enforcement expert. What do you want the city/state or federal governments to do?

Jim, apparently you and I were posting at the same time. Two of my posts went missing. But when I posted about that, they reappeared! So I immediately deleted that post. It's all good for me. By the way, the first was the post in which I quoted Dub referring to protesting citizens. The other was my next post.

Jim, I tried to bold Dub's "protesting," but it didn't take. I do not believe anyone is calling for military force against law-abiding protesters. The issue is what to do about those people who are engaged in criminal activity. It is my view, and I can see on Twitter that I am not alone, that those starting fires and throwing bricks are doing so for reasons not related to George Floyd.

deleted

Brad, maybe this will suffice, from a quick look at his tweets today. "Yesterday was a bad day for the Cuomo Brothers. New York was lost to the looters, thugs, Radical Left, and all others forms of Lowlife & Scum. The Governor refuses to accept my offer of a dominating National Guard. NYC was ripped to pieces."

This is not correct. Protesting is legal in the US. The President is suggesting the use of the Army against criminals. A few minutes ago, a group in Philadelphia used explosives to blow up an ATM in an attempt to get at its money. That is not protesting. That is is criminal activity.

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Are the critics of bringing in the Army suggesting an alternative solution?

We have an 8:00 pm curfew, starting Monday (yesterday). Our police chief announced Monday that the police will not attempt to defend property.

When most of us were kids, each sport had a calendar season. Now IMO all the pros start too early, end too late (except the Grey Cup), and play too many games in between (as Bill Veeck said about baseball). I have enjoyed this respite without sports.