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Artist Title Time Rebekah Victoria Some Of These Days 05:17 Rebekah Victoria Whispering-Groovin' High 04:36 Rebekah Victoria After You've Gone 04:45 Rebekah Victoria Twisted 06:15 Rebekah Victoria Unbreak My Heart 05:57 Rebekah Victoria These Boots Are Made For Walkin' 05:40 Rebekah Victoria It's Too Late 04:40 Rebekah Victoria The Song Is You 05:32 Rebekah Victoria Opus One-Undecided 03:57 Rebekah Victoria I Hope I Never 05:56 Rebekah Victoria Biography Jazz vocalist Rebekah Victoria mines 20th century songs for 21st century sounds and meaning on Songs of the Decades, her new recording Victoria collaborates with acclaimed trombonist, composer-arranger and bandleader Wayne Wallace and an assemblage of two-dozen musicians (including guest vocalist Kenny Washington) for a panorama of songs from each decade of the 20th century “[Rebekah Victoria] has a large soprano range and her diction is right on.” – Herb Young, IAJRC Journal “You can tell she has a complete understanding of every word she sings.” – Dan Singer, Singer’s Singer As a jazz singer, Rebekah Victoria’s performance repertoire tends to come overwhelmingly from the era of the Great American Songbook: the 1920s, ‘30s and ‘40s. As she was preparing to record her second album, however, Victoria was inspired to widen her musical perspective in terms of both time periods and popular styles. Songs of the Decades, her investigation of the music from each decade of the twentieth century, will be released June 21, 2019 through Patois Records. If the album is retrospective, though, it is the furthest thing from nostalgic. “I wanted to make these songs different— I wanted them to sound very new and fresh,” says Victoria, who is based in the San Francisco Bay Area. “The idea was to make them as much fun to listen to now as they were in their day, when they were big hits. For the people that really know these songs, they’ll get a kick out of the differences.” She also had another, more serious priority for assembling Songs of the Decades. “There’s a theme running through the songs,” she says. “In one way or another, most of them connect to the #MeToo movement that’s happening today. I wanted the album to speak to that.” In other words, Victoria combed through the music of the past and found that it was not only still fun, but still relevant. Wayne Wallace, the Grammy-nominated trombonist, composer-arranger, and bandleader who is also the head of Patois Records, acted as Victoria’s partner for the album. He co-produced it, wrote all of its arrangements—often incorporating elements of Latin jazz, his specialty—and assembled its superlative cast of 24 musicians, including improvising vocalist Kenny Washington, Wallace’s bandmates from his own various projects, and a string quintet that features members of the San Francisco Symphony. “I was so happy with how it all turned out,” Victoria says. “Wayne’s arrangements really captured the freshness I wanted, and the musicians he chose were just fantastic. It was a great experience overall.” Songs of the Decades does not present its selections in chronological order; Victoria and Wallace sought to create a flow that would emphasize the variety of the material and the versatility of the singer. That said, the album opens with its oldest tune. “Some of These Days,” written in 1910, has a cavalier quality that Victoria injects with sultriness. But its solo section also suggests a subtle, sobering edge, a warning of the consequences of disrespect. The consequences of disrespect are front-and-center of “These Boots Are Made for Walking,” and there’s no subtlety about it. The album’s ‘60s episode gets a down-and-dirty treatment, with earthy Hammond organ and guitar (courtesy of Frank Martin and Rick Vandivier, respectively) and soulful horn charts that drive home Victoria’s taunting vocal. “After You’ve Gone” is perhaps the recording’s most recognizable jazz standard, and the musicians tackle it as such. The 1918 Layton-Creamer classic here becomes a breezy swinger and affirmation of the singer’s self-worth, augmented by Mary Fettig’s jaunty clarinet solo and Victoria’s supremely confident phrasing and time feel. Though it’s probably best known through Joni Mitchell’s version two decades later, “Twisted” began life in 1952 as an Annie Ross vocalese riff on a Wardell Gray blues solo. Its (title-appropriate) twists and turns give Wallace a place to put his finest and most elaborate Latin-jazz flourishes, including a double-barreled solo chorus from the trombonist. (Wallace and Kenny Washington also provide the spoken-word responses to Victoria’s sung lines.) There’s also a trace of a Latin accent on “The Song Is You,” written by Jerome Kern and Oscar Hammerstein II for a 1932 musical. More than that, however, it takes on a bebop sensibility in Victoria and Wallace’s hands. The singer drops a delivery with echoes of Ella Fitzgerald or Sarah Vaughan, with solos by Fettig (now on alto sax) and pianist Joe Gilman that are steeped in delectable modern jazz language. Victoria singles out “Unbreak My Heart” as a particularly challenging tune for the purposes of this album. It’s not because of any technical hurdles, but because the 1996 Toni Braxton hit (written by Diane Warren) is Songs of the Decades’ most recent selection, and therefore its most familiar. “That’s a pop song that everyone knows,” she says. “Finding a way to refresh that one was difficult, but that’s part of the fun of this album.” Ultimately, the song receives a subtle reharmonization and bossa nova beat, with a guitar solo from Vandivier that’s also inspired by Brazilian music—and a sly interpolation of Neil Young’s “Only Love Can Break Your Heart.” “Whispering” was an iconic hit song of the 1920s. But here it gets thoroughly lifted out of that time with a sexy mambo setting, a vocalese verse from Victoria (decidedly divergent from the album’s feminist theme), and an expansive scat solo from Kenny Washington—not to mention a modulation (also in vocalese) to “Groovin’ High,” Dizzy Gillespie’s revolutionary bebop contrafact of the tune. A gentle Afro-Caribbean percussion treatment greets Carole King’s “It’s Too Late,” representing the 1970s. While it’s drummer Colin Douglas and percussionist Michael Spiro who shape the performance, they’re assisted by beautiful solos from Vandivier and pianist Murray Low, as well as a delivery from Victoria that takes Billie Holiday-like liberties with its contours. Like “Whispering,” Sy Oliver and Sid Garris’s “Opus One” (from 1943) declines to engage with Victoria’s theme of women’s independence and empowerment. “This one’s just for fun,” she says. True to her word, it concerns itself with timeless, danceable swing, heightening the effect by becoming a cleverly plotted medley with Charlie Shavers’s 1938 jazz standard “Undecided.” Songs of the Decades closes with its 1980s installment: “I Hope I Never,” a tune by the New Zealand new wave band Split Enz (the only non-American song on the album). Here Wallace deploys the string quintet, which adds piquant emotional release (and a surprising solo from violinist Eugene Chuklov) to Victoria’s remarkably restrained soprano. About Rebekah Victoria Rebekah Victoria grew up in her family-owned nightclub in Los Altos, California, singing with her father’s Greek band. While she chose to get her college degree in business, she also took formal singing lessons and theater classes, learning both classical and Broadway singing techniques. She took a job as a real estate broker but supplemented her income with musical theater and even jobs as a singing waitress. After raising her daughter to adulthood, Victoria began to engage her after-hours singing career more seriously. Deciding that her heart—and vocal range—really belonged to jazz, she formed a band called Jazzkwest and began performing regularly in clubs and other venues in the San Francisco Bay Area, attracting a following that eventually enabled her to record her debut album, #OldFashionedTwitterTwit, in 2016. While the retirement of her key collaborator in Jazzkwest presented a challenge, Victoria soon had a tete-a-tete with San Francisco jazz maven Sheryl Lynn Thomas—who connected her with Wayne Wallace, beginning the two-year task of creating Songs of the Decades. “It’s been a really great process,” Victoria says. “I hope it continues on to the next one.” ------------- JAZZKWEST Songs of the Decades Liner Notes: Tin Pan Alley is the name given to the group of New York city music publishers and composers who became the dominant force in American popular song in the late 19th century. The narratives of those songs spoke to heartbreak, love and hope. These tunesmiths composed bittersweet memorable refrains, poetic turns of a phrase and unforgettable melodies that resonated with life experiences still felt today. The ascent of Tin Pan Alley was amplified by the rapid movement of life in the 20th century. It arose from the collective experiences of immigrants and former slaves in the United States. Coinciding with the advent of technological advances (player pianos, radio, Victrola record players, turntables, jukeboxes) the music spread internationally.. As the style gained prominence it became a worldwide phenomenon. The composers of the Great American Songbook have graced us with compositions that are endearing and whose messages still delight, enchant and endure worldwide. The beauty of any popular song is that it can be re-imagined and easily fit into different styles while retaining its vitality. We can now see the merging of the blues, gospel and ragtime with the music of vaudeville and Broadway theatre. The melding continued with jazz, bluegrass and jump bands. Rhythm and blues begat soul and funk which in turn influenced an entire generation of English rock bands, singer/songwriters and Motown to modern pop. Songs of the Decades chronicles a portion of the centurial evolution of the music, it's composers and the iconic artists who entertained and inspired from the Interbellum generation to the present day. The greatest honor for any songwriter is to have their songs recorded by a diverse group of artists. The songs we have chosen have been covered by a wide range of eclectic artists such as Frank Sinatra, Louis Armstrong, Bing Crosby, Miley Cyrus, Sophie Tucker, Cab Calloway, Weezer, Bobby Darin, Nina Simone, Ella Fitzgerald, Miles Davis, Chet Atkins, Joni Mitchell and Issac Hayes to name a few of the many. Songs of the Decades explores and celebrates this music that is emblematic and evokes the spirit of the 20th century.

Artist Title Time Wayne Wallace Latin Jazz Quintet Vamanos Pa'l Monte 06:59 Wayne Wallace Latin Jazz Quintet Take Five 05:41 Wayne Wallace Latin Jazz Quintet All The Things You Are 06:21 Wayne Wallace Latin Jazz Quintet So What-Softly, As In A Morning Sunrise 07:57 Wayne Wallace Latin Jazz Quintet The Rhythm Of Invention 08:45 Wayne Wallace Latin Jazz Quintet In A Mist 04:58 Wayne Wallace Latin Jazz Quintet El Arroyo 05:27 Wayne Wallace Latin Jazz Quintet Se Me Cayó El Veinte 06:04 Wayne Wallace Latin Jazz Quintet Atardecer Matanceco (Evening In Matanzas) 05:21 Wayne Wallace Latin Jazz Quintet Mi Descarga 04:37 On his previous album, the critically adored Canto América, Wayne Wallace broke with his own tradition to co-lead a chamber orchestra featuring horns, winds, a double string quartet, and an array of vocalists. On The Rhythm of Invention Wallace set an equally ambitious goal: to combine these added resources with his Latin Jazz Quintet, whose albums have garnered three of Wallace’s four previous GRAMMY nominations. “I wanted to come up with a way of coherently mixing the quintet with the brass and strings from Canto,” explains the esteemed trombonist, innovative arranger, and notable educator. That desire now finds voice in a dazzling set of new compositions and classic jazz standards (and even one impressive mashup) on which Wallace uses the expanded sonic palette of an orchestra to highlight the strengths of his core conjunto. Undergirding it all is an effortlessly instructive survey of Latin rhythms, from the familiar to the arcane, that reflect Wallace’s lifelong study of these sounds. “I wanted to retain the energy of Canto without repeating it,” he explains. To do so, he chose to redirect the music’s focus onto the quintet, while retaining the almost tangible richness of brass chorales and the elegance of string ensemble writing; peppering the proceedings are solos from such luminaries as Mary Fettig (flute) and Melecio Magdaluyo (baritone saxophone). Wallace also features rapper and spoken-word artist Akida Thomas on the title track, where he contributes a spontaneously composed ode to this music – and to the spirit of all music – that also utilizes an interview with Wallace’s colleague and mentor, the late Dr. David Baker. To tie all this together, Wallace came up with a three-layered approach, built upon the foundational expertise of his longtime musical co-conspirator, percussion master Michael Spiro. “The concept was to have Michael play four congas” – the usual conga setup has three at most – “and to have him play as melodically as possible.” As a result, “A good way to hear the record is to listen all the way through and focus on Michael, and then to drummer Colin Douglas’s cymbal work – and then put it together. It’s like a history of Latin music.” From there, Wallace created a second layer by highlighting the other members of the Latin Jazz Quintet’s rhythm section, pianist Murray Low and bassist David Belove, and leaving space for his own forceful yet lyrical trombone solos. Only then did he add the composed material; the vital frosting to this multi-tiered concoction, it draws its flavors from the previous ingredients. As its title suggests, the album doesn’t lack for inventiveness. One case in point is Wallace’s arrangement of the durable Paul Desmond composition “Take Five,” which famously contains five beats in each measure (instead of the usual four). After some research, Wallace realized that no one had previously recorded this song with a clave rhythm, the heartbeat of Latin music – despite the fact that the clave itself comprises five notes (within four beats). The finished product marries these two views of musical time; add in a Santeria-derived coro section sung by the quintet, and you have a memorable new take on a 60-year-old jazz hit. Another example comes on “So Softly,” in which the ancient pop standard “Softly as in a Morning Sunrise” – from the 1928 operetta The New Moon – slides seamlessly into Miles Davis’s “So What,” written three decades later. The idea to combine them arose from one of the Latin Jazz Quintet’s earliest experiments, in which the band presented these two songs as a medley; but, says Wallace, “After time I pleasantly found that the two melodies worked conversationally without detracting from each other. This inspired the idea of re-imagining them as a mashup” – an idea that, he points out, “stretches back to the beginnings of recorded music.” Less complex (but no less inventive) are several homages, including Wallace’s slightly shrouded cover of “Vamanos Pa'l Monte” one of Eddie Palmieri’s biggest hits. Although this version mimics the blend of trombone and flute that characterized Palmieri’s famous band La Perfecta, “The melody is really an extrapolation of what Eddie wrote,” says Wallace. (But anyone who knows the original will recognize it as the framework of this arrangement.) Meanwhile, the completely unexpected inclusion of “In a Mist” – an impressionistic piano composition by the legendary early-jazz cornetist Bix Beiderbecke – represents a sort of personal triumph for Wallace. “It took me eight years to figure out how to arrange it, because it’s just so idiosyncratic and challenging,” he admits. “The original piece was a kind of collision between ragtime and danzon rhythm; I tried to combine the danzon with clave to get a Cuban feel. And I thought that a string quartet was applicable because it would bring out the sonorities in a modern way” – not to mention hinting at the classical roots of Beiderbecke’s small masterpiece. The album highlight is the title track, which brings together funk, bata, and traditional Cuban rhythms and encompasses three generations of musical wisdom. On one end is Dr. David Baker, “the father of jazz education,” with whom Wallace worked closely as a professor at Indiana University before Baker’s death in 2016, and whose resonant voice is heard, midway through the track, discussing the essence of jazz rhythm. On the other end is Wallace’s son-in-law, Akida Thomas, channeling the music to speak of The pulse gyrating through the system . . . Boom-clacks all rolled into one, stay connected through the soul of the drum. “There’s this crazy counterpoint between the strings and the horns,” Wallace says; “it’s some of the most texturally adventurous writing I’ve done. Akida just listened to the track and started writing.” The invention took on a rhythm of its own. But The Rhythm of Invention refers to something altogether different from the riot of Afro-Latin beats and layered percussion that characterize the album. For Wallace, the rhythm of invention is the pace that allows him to be open to creativity: the tempo “that allows a space for the muse to be available to me,” as he puts it. It is the rhythm of a gentle river, slowed but not stilled: the “flow” that banishes mere busy-ness in favor of reflection and, yes, invention. “That’s when I get the best ideas,” he says; in fact, the “Take Five” arrangement “literally came to me when I was pulling weeds out of my garden.” When you slow the rhythm enough, you can better see the speed of thought. About Wayne Wallace: In a career that spans four decades, San Francisco native Wayne Wallace has collaborated with artists ranging from Count Basie to Stevie Wonder, Sonny Rollins to Carlos Santana, Tito Puente to Lena Horne and Aretha Franklin, lending his talents as sideman, composer, arranger, and producer. His debut album as a leader, 2000’s Three In One (Spirit Nectar), showcased his writing skills and his encyclopedic knowledge of Afro-Cuban rhythms, which he developed in the close-knit Bay Area jazz community – most notably in his role as music director of John Santos’s Machete Ensemble, where he spent 20 years as music director. Wallace’s outsized role in Bay Area jazz includes his creation of Patois Records, with a catalog that includes not only his own albums but also recordings by vocalists Kat Parra and Alexa Weber Morales as well as two highly regarded anthologies of Bay-Area salsa and Latin jazz. A gifted educator, Wallace now spends the academic year as professor of jazz trombone and practice in jazz studies at the Jacobs School of Music at Indiana University, having previous taught at San Jose State University and Stanford University.

Bump for new Wayne Wallace release.

Artist Title Time The Peter Hand Big Band 01 - Yarbird Suite 05:37 The Peter Hand Big Band 02 - Island of the Heart 07:24 The Peter Hand Big Band 03 - If You Could See Me Now 07:02 The Peter Hand Big Band 04 - Berkshire Blues 06:55 The Peter Hand Big Band 05 - Calypsiana 06:08 The Peter Hand Big Band 06 - Hand Painted Dream 05:51 The Peter Hand Big Band 07 - Brazilian Emerald 07:11 The Peter Hand Big Band 08 - Once Upon a Time 08:09 The Peter Hand Big Band 09 - Mr. P.C. / Cousin Mary 05:20 The Peter Hand Big Band’s Newest Recording with an All-Star Ensemble featuring Camille Thurman THE PETER HAND BIG BAND - HAND PAINTED DREAM Savant Records SCD 2175 Peter Hand, guitar, arranger & conductor Jay Brandford • Bruce Williams • Don Braden • Ralph Lalama • Kenny Berger Kevin Bryan • Eddie Allen • Valery Ponomarev • John Bailey John Mosca • Sam Burtis • James Burton III James Weidman • Harvie S • Steve Johns Camille Thurman • The Secret String Quartet The deftly titled Hand Painted Dream is the culmination of guitarist / arranger / leader Peter Hand's work with some of the best musicians anywhere and whose collective efforts have produced an extraordinary testament to the best in modern big band music. With the supremely talented Camille Thurman contributing a track each on saxophone and vocals, the ensemble can easily be considered an “all-star” group, with a number of established band leaders and jazz headliners. The resulting band is at once bold & beautiful, swinging & suave while consistently playing the imaginative arrangements with extraordinarily nuanced musicianship

Lynn Cardona "Ophelia" Impacting: October 1 2019 Format(s): Jazz Lynn Cardona is a contemporary jazz and soul artist living in Los Angeles, where she pens unguarded songs about love: the unrequited, the returned and ecstatic, the slow burn of longing and lust. It’s Cardona’s voice—girlish, dreamily viscous, and reminiscent of Blossom Dearie—that first draws you in. But you soon find yourself saturated in Cardona’s world, one where nostalgia and desire fill the space like rising floodwaters. Much of this is due to the poetry that patters through Cardona’s lyrics, tugging you deeper and deeper out to sea. For example, in her new EP, Ophelia, Cardona sings in the titular song, “I’ve said this all before but now I swear it, please dare it, don’t you know how far I’d go for love….” Cardona wrote the song in a single night during which she found herself wanting to end her life after the dissolution of her relationship with a long-time lover. Despite the heaviness of the subject matter, “Ophelia” has a light-hearted feel, conveying the haunting juxtaposition between what’s felt and what’s shown on the outside. Ophelia is backed by the silky piano of composer Josh Nelson, who is best known as the pianist and music director for the late Natalie Cole. Cardona waited a full year to record Ophelia until Nelson was able to come on board because she knew he would bring something enchanting to her work. She then enlisted some of Los Angeles’ first call jazz musicians to round out the band. Michael Hunter, Nozomi Yamaguchi, Dave Robaire, and Dan Schnelle on flugelhorn, guitar, bass, and drums respectively. Before her musical career, Cardona grew up in Cleveland, Ohio, and later moved to Memphis, Tennessee. She cut her teeth performing in the southern city, where she learned from Memphis’ incredible musicians and artists. Eventually, she made her way to Los Angeles. Flowing through Cardona’s music are emotions so vulnerable that at times they come across as childlike. As Cardona puts it, “I want my music to convey the nuances of the experiences I’ve had, because it helps listeners feel that they can relate to me on the deepest level. And, in turn, that means my listeners will feel seen, too.” Almost 10 years after the song Ophelia was written, this album is finally being released into the world. Thank you to Joe for beling my muse so many moons ago. Thank you to my mother, Lisa and my sister, Michelle for teaching me about motherhood and womanhood. Through thick and thin, we have endured and will contine to do so. Thank you to Josh Nelson, Nazomi Yamaguchi, Dan Schnelle, Dave Robaire, and Dori Amarillo for breathing new life into this music. I'm so proud to call it mine. - Lynn Cardona

Artist Title Time Rachael & Vilray Without A Thought For My Heart 02:27 Rachael & Vilray Do Friends Fall In Love 02:55 Rachael & Vilray Alone At Last 03:16 Rachael & Vilray Treat Me Better 02:41 Rachael & Vilray Nosotros 03:14 Rachael & Vilray At Your Mother's House 03:20 Rachael & Vilray I Can't Go To Sleep 02:37 Rachael & Vilray I Love The Way You’re Breaking My Heart 03:19 Rachael & Vilray The Laundromat Swing 02:14 Rachael & Vilray Go On Shining 03:44 Rachael & Vilray Let's Make Love On This Plane 02:29 Rachael & Vilray There's No True Love 03:42 Rachael & Vilray "Rachael & Vilray" Impacting: October 4 2019 Format(s): Jazz “It’s a special kind of magic when two voices meet and immediately sound like they’ve never been apart. The voices of acoustic duo Rachael & Vilray are magical enough on their own, but when they blend in song the results are utterly sublime.” —Chronogram Nonesuch Records releases Rachael & Vilray—the debut album by Lake Street Dive singer-songwriter Rachael Price and composer, singer, and guitarist Vilray—on October 4, 2019. The twelve-song set features ten originals by Vilray, along with two covers from the era that inspired him: Cuban composer Pedro Junco Jr.’s 1943 “Nosotros” and Milton Drake/Louis Atler’s “I Love the Way You’re Breaking My Heart,” first popularized by Peggy Lee (track list below). Rachael & Vilray tour the US this fall, with stops in Chicago, Seattle, and Brooklyn (schedule below). Price and Vilray, who began performing together in 2015, recorded the album with Lake Street Dive pianist Akie Bermiss, a rhythm section, and a small complement of horns, plus a guest performance from pianist Jon Batiste on “Go On Shining.” Dan Knobler, who had worked with Lake Street Dive on the Free Yourself Up album, produced. The duo first met in 2003 as students at the New England Conservatory of Music. Vilray formed a couple of bands with Price’s soon-to-be bandmates in Lake Street Dive, Mike Calabrese and Mike “McDuck” Olson. Even then, Price recalls, he had a nimble mind and quick wit when it came to lyrics: “They would do random clicks on Wikipedia and when they found something interesting, they would write a song about it—say, the cold-blooded rat of Somalia. Vilray was able to take any subject and write excellent poetry about it, funny rhymes, and he would sing the songs. I thought he was so good—he could just apply himself to anything.” But at school, says Price, “I didn’t know that Vilray and I shared a love of this particular time period of jazz. It was all I liked to listen to before I got there and everyone at school was listening to more avant garde, free stuff that I had yet to be exposed to. So I hid my love of traditional jazz music. I didn’t know then that he played it perfectly.” It was more than a decade later that Price and Vilray began to collaborate. She had been on the road much of each year with Lake Street Dive and he had been developing his own solo act, just voice and guitar. Though Vilray had kept up with his composing after graduating from the conservatory, he had fallen out of performing and playing his guitar. But when he broke a finger at his day job he realized what had been lacking in his creative life: “That slapped me awake and made me realize I only had so long on planet Earth with ten fingers. A friend ran into me on the street when I was in the cast and said to me, ‘You seem really bummed.’ I talked to him a little bit about not playing guitar. He said, ‘I’m going to book you for a show a month or two after you are out of the cast so start thinking about the music now. Once you are out of the cast, you can reclaim that part of your life.’ So I played a couple of shows at this series he was running at Bar Below Rye in Williamsburg, and Rachael came to one of them.” Price remembers that night vividly: “It was a very moving show. There was dead silence while Vilray was playing. It really tugged at my heart because I missed singing this style of music. I had never really even performed it, even though I was a jazz singer. My repertoire was from a bit later. But I was obsessed with the big band singers of the thirties and forties. I asked Vilray if he would let me do that gig with him, and then he gave me one of his songs to learn. No one knew it wasn’t a standard. That got the ball rolling for him on the writing. He started sending me songs constantly. We quickly went from peppering in his songs with obscure ones from the thirties and forties to all Vilray songs.” Rachael & Vilray US Tour Dates Friday, November 1 Chicago, IL Old Town School of Folk Saturday, November 2 Madison, WI Majestic Theater Sunday, November 3 Minneapolis, MN The Cedar Thursday, November 7 Portland, ME Port City Music Hall Friday, November 8 Somerville, MA Somerville Theatre Saturday, November 9 Turners Falls MA Shea Theater Sunday, November 10 Fairfield, CT StageOne Thursday, December 5 Seattle, WA The Nordstrom Recital Hall at Benaroya Hall Friday, December 6 Portland, OR Mississippi Studios Saturday, December 7 San Francisco, CA SF Jazz Center Sunday, December 8 Los Angeles, CA The Sanctuary at Pico Union Thursday, December 12 Washington, DC Sixth and I Friday, December 13 Philadelphia, PA Kimmel Center Saturday, December 14 Woodstock, NY Levon Helm Studios Sunday, December 15 Brooklyn, NY The Bell House Rachael & Vilray 1. Without A Thought For My Heart 2. Do Friends Fall In Love? 3. Alone At Last 4. Treat Me Better 5. Nosotros 6. At Your Mother’s House 7. I Can’t Go To Sleep 8. I Love The Way You’re Breaking My Heart 9. The Laundromat Swing 10. Go On Shining 11. Let’s Make Love On This Plane 12. There’s No True Love Produced by Dan Knobler

Artist Title Time Joshua Redman & Brooklyn Rider Flash (with Scott Colley & Satoshi Takeishi) 04:45 Joshua Redman & Brooklyn Rider Between Dog and Wolf (with Scott Colley & Satoshi Takeishi) 06:43 Joshua Redman & Brooklyn Rider Sun on Sand (with Scott Colley & Satoshi Takeishi) 06:01 Joshua Redman & Brooklyn Rider Dark White (with Scott Colley & Satoshi Takeishi) 03:15 Joshua Redman & Brooklyn Rider Soft Focus (with Scott Colley & Satoshi Takeishi) 05:22 Joshua Redman & Brooklyn Rider Through Mist (with Scott Colley & Satoshi Takeishi) 06:30 Joshua Redman & Brooklyn Rider Starbursts and Haloes (with Scott Colley & Satoshi Takeishi) 05:27 Joshua Redman & Brooklyn Rider Between Dog and Wolf: Reprise (with Scott Colley & Satoshi Takeishi) 02:20 Joshua Redman & Brooklyn Rider "Sun on Sand" Impacting: October 4 2019 Format(s): Jazz Nonesuch releases Joshua Redman and Brooklyn Rider’s Sun on Sand on October 4, 2019. The album comprises eight compositions from a suite by composer Patrick Zimmerli. Each piece in the suite, which premiered at London’s Wigmore Hall in 2014, represents a different expression of light. Redman previously worked with Zimmerli when the latter created orchestral arrangements of Redman’s compositions for the 2013 Nonesuch album Walking Shadows. Originally from New York, composer and saxophonist Patrick Zimmerli lives and works between his hometown and Paris. His music is at the crossroads of classical music and contemporary jazz. He collaborates with many international musicians, including Brad Mehldau, Brian Blade, Luciana Souza, Ethan Iverson, The Knights, and the Escher String Quartet. His music has been performed at Carnegie Hall and Town Hall in New York, Wigmore Hall in London, Salle Pleyel in Paris, Konzerthaus Großer Saal in Vienna, Sala São Paolo, and SFJAZZ in San Francisco. His previous work on Nonesuch includes Redman’s Walking Shadows and Brad Mehldau and Kevin Hays’ Modern Music (2011). Joshua Redman’s first album on Nonesuch was the Grammy-nominated Momentum (2005). His other releases on the label include Back East, Compass, and Trios Live, all of which explore the trio format; MoodSwing (1994, re-issued); Walking Shadows (2013), his first recording to include an orchestral ensemble; The Bad Plus Joshua Redman (2015), a collaboration with the acclaimed trio; Nearness (2016), a duo album with longtime friend and collaborator Brad Mehldau; the 2018 Grammy–nominated Still Dreaming—an album inspired by his father Dewey Redman’s 1976–1987 band, Old and New Dreams; and Come What May with the Joshua Redman Quartet, featuring pianist Aaron Goldberg, bassist Reuben Rogers, and drummer Gregory Hutchinson. Redman currently tours with his trio with Rogers and Hutchinson; his quartet; Still Dreaming, with Ron Miles, Scott Colley and Brian Blade (David King on recent tours); and occasionally with the collaborative group James Farm, with Aaron Parks, Matt Penman, and Eric Harland. James Farm has two releases on Nonesuch: their 2011 self-titled album and 2014’s City Folk. Hailed as “the future of chamber music” (Strings), Brooklyn Rider offers eclectic repertoire in performances that attract fans and draw critical acclaim from classical, world, and rock writers. A deeply collaborative and generative ensemble, Brooklyn Rider recently released The Butterfly with Irish fiddler Martin Hayes and Dreamers with Mexican jazz vocalist Magos Herrera. This past season, Brooklyn Rider debuted their Healing Modes project, which presents Beethoven’s Opus 132 string quartet alongside five new commissions by Reena Esmail, Gabriela Lena Frank, Matana Roberts, Caroline Shaw, and Du Yun. Other recent recording projects include The Fiction Issue with music by Gabriel Kahane, so many things with Swedish mezzo-soprano Anne Sofie von Otter, A Walking Fire and The Brooklyn Rider Almanac, The Impostor with banjo legend Béla Fleck, Silent City with Iranian kamancheh player Kayhan Kalhor, and the much-praised Brooklyn Rider Plays Philip Glass. The ensemble’s violinist Johnny Gandelsman launched In A Circle Records in 2008 with the release of Brooklyn Rider’s debut recording Passport, followed by Dominant Curve in 2010, Seven Steps in 2012, and Spontaneous Symbols in 2017. JOSHUA REDMAN & BROOKLYN RIDER Sun on Sand composed and arranged by PATRICK ZIMMERLI 1.FLASH 2. BETWEEN DOG AND WOLF 3. SUN ON SAND 4. DARK WHITE 5. SOFT FOCUS 6. THROUGH MIST 7. STARBURSTS AND HALOES 8. BETWEEN DOG AND WOLF REPRISE JOSHUA REDMAN, tenor saxophone SCOTT COLLEY, bass SATOSHI TAKEISHI, drums Brooklyn Rider COLIN JACOBSEN, violin JOHNNY GANDELSMAN, violin NICHOLAS CORDS, viola ERIC JACOBSEN, cello Produced by Patrick Zimmerli All songs composed by Patrick Zimmerli, published by Peripeteia Music (BMI) The music on this recording comes from “Aspects of Darkness and Light,” a suite for tenor saxophone, string quartet, bass, and percussion, which was commissioned by the Seattle Commissioning Club and premiered at Wigmore Hall, London, on April 24, 2014.

Number 13 on the JazzWeek Chart - In the top 20 for 3 weeks!

"I'm With You: Mark Winkler sings Bobby Troup" was just picked "Critics Choice" One of the Top Ten CDs of 2019 Jazz Times Review Mark Winkler wanted another bite of the apple, and Bobby Troup’s zesty book of rhythm patter, swooning ballads, and novelty numbers provides plenty of creative nourishment. His second album devoted to the songs of the jazz-steeped pianist, songwriter, singer, and actor, I’m With You offers a welcome reminder of Troup’s sturdy book...each song on I’m With You gets a thoughtful arrangement that brings out its particular character. A prolific Los Angeles songwriter and singer with rhythmically assured phrasing and a warm, affable tone, Winkler effectively highlights the strengths of his fellow tunesmith. He also makes excellent use of an enviable cast of L.A. players On the Jazzweek Top 50 for four weeks!

Jerome Jennings Reintroduces Himself as a Composer On "Solidarity," To Be Released November 8 on Iola Records Acclaimed Drummer's Second Album Addresses Social Justice Through Seven Originals, Four Self-Written Arrangements With a Unit Featuring Bassist Christian McBride, Trumpeter Josh Evans, Saxophonist Stacy Dillard, Trombonist Andrae Murchison, Pianist Zaccai Curtis, & Special Guests Residency at Peabody Institute, Baltimore, 10/31-11/1; CD Release Shows at Sistas' Place, Brooklyn, 11/2, & Dizzy's Club Coca-Cola, NYC, 11/12 October 7, 2019 Drummer-composer-educator Jerome Jennings puts the spotlight on his writing chops for Solidarity, his rousing second album as a leader, set for a November 8 release on his own Iola Records. Featuring as its core unit trumpeter Josh Evans, tenor and soprano saxophonist Stacy Dillard, trombonist Andrae Murchison, pianist Zaccai Curtis, and Jennings's friend and mentor, legendary bassist Christian McBride (along with special guests, including saxophonist-flutist Tia Fuller, tenor saxophonist-vocalist Camille Thurman, bassist Endea Owens,and percussionist Carlos Maldonado), the album also features seven original compositions and four covers with fiercely inventive new arrangements. As its title implies, Solidarity is deeply concerned with the state of political and social justice in the United States on the cusp of the 2020s. It particularly focuses on the experiences of African American women, examining them through the prisms of the Black Lives Matter and #MeToo movements, among others. "Black women have traditionally been the conscience of the country," Jennings explains. "Solidarity means...being present, not walking away. Being an ally, in a very overt way. 'I got you. I hear you. I'm with you.'" Indeed, most of Jennings's originals place him in solidarity with specific individuals. Heroic women from intersectional feminist philosopher Audre Lorde ("Theory of Difference") to sharecropper and defiant self-advocate Recy Taylor ("Recy's Lament") to transgender activist Marsha P. Johnson ("Pay It No Mind") are the subjects of his compositional tributes. On "Convo with Senator Flowers," the drummer makes himself almost literally present; he provides solo accompaniment to the outspoken Arkansas State Senator's viral speech against open-carry laws in her state. That said, Jennings also considers the cover songs on Solidarity to be within social-justice parameters. His hip-hop-laced arrangements of Dizzy Gillespie's "Bebop" recalls that the titular music had revolutionary implications of its own. Meanwhile, pieces like the R&B/pop classic "I Love Your Smile" (featuring Fuller on alto and flute and Thurman on vocal) are less about revolution than recreation. But they're not frivolous: "People who are oppressed also need a space where they can smile, laugh, and have a good time," Jennings observes. "That's part of resistance as well." Jerome Jennings was born in October 28, 1980 in Cleveland, Ohio, and began playing drums at age ten when he saw Sheila E. perform on the Arsenio Hall Show. After studying the instrument through high school, Jennings enrolled at Ohio State University as a jazz studies major, then transferred to Rutgers University in New Jersey, where he studied with Ralph Peterson and Victor Lewis. Jennings also hit the scene in nearby New York City, where he impressed people with both his technical skills and his wholehearted commitment. "I always treat every gig as if I'm playing at the Vanguard," he explains. He was soon working with Sonny Rollins, Dee Dee Bridgewater, and Christian McBride, who eventually invited Jennings to join his celebrated trio. While working toward his master's degree at the Juilliard School, Jennings became the first ever jazz student to receive the Morse Fellowship, an elite program that fosters teaching artists by creating residency programs for them in New York City schools. The program lent him not only prestige, but a love of teaching; in 2017, Jennings returned to his alma mater to accept the position of Resident Director of the Juilliard Jazz Orchestra. In the meantime, his freelance credits grew steadily. It was while working with McBride that Jennings began to formulate a leadership concept of his own. The bassist joined him for the recording of The Beast, Jennings's 2016 debut, which was nominated that year for France's highly coveted Grand Prix du Disque. Jerome Jennings will serve as a featured artist in residence at the Peabody Institute of Johns Hopkins University, 1 E. Mt. Vernon Pl., Baltimore, on Thursday 10/31 and Friday 11/1. He will perform CD release concerts at Sistas' Place, Brooklyn, on Saturday 11/2, and at Dizzy's Club Coca-Cola, NYC, on Tuesday 11/12. Personnel for the Dizzy's show includes Zaccai Curtis, p; Devin Starks, b; Paula Winter, perc; Josh Evans, tpt; Andrae Murchison, tb; Stacy Dillard, ts/ss; Jorge Castro, ts/fl; and Melanie Charles, voc/fl. Photography: John Abbott 'SOLIDARITY' EPK Convo with Senator Flowers Web Site: jeromejennings.com

1. Armenian Traditional / Komitas - Ov zarmanali 06:00 2. Anonymous - Procurans odium 03:23 3. Jan Garbarek - Allting finns 04:00 4. Nikolai N. Kedrov - Litany 09:00 5. Anonymous - Dostoino est 03:16 6. Anonymous - Sanctus 07:50 7. Arvo Pärt - Most Holy Mother Of God 04:11 8. Anonymous - Procedentum sponsum 04:17 9. Guillaume le Rouge - Se je fayz deuil 06:17 10. Pérotin - Alleluia nativitas 05:09 11. Hildegard von Bingen - O ignis spiritus 07:29 12. Jan Garbarek - We are the stars 05:19 13. Antoine Brumel - Agnus dei 06:10 14. Anonymous - Remember me, my dear 05:13 Garbarek blends with the vocal lines – sung captivatingly by the Hilliards – like a fifth voice. With restraint and the greatest of control he wanders and floats through the spaces created by the singers…The early music is not just given a modern sheen. Garbarek explores a space from the inside, but with a sound whose hymnic character and pathos cannot be denied. The music raises the question of what is old and what is new. Peter Rüedi, Die Weltwoche 25 years on from the release of Officium, the groundbreaking alliance of Jan Garbarek and The Hilliard Ensemble, comes a live album from their unforgettable final tour. Remember me, my dear, named for the Scottish ballad which concludes the concert, was recorded in October 2014 at Chiesa della Collegiata dei Santi Pietro e Stefano in Bellinzona, in the Ticino canton of Switzerland. The album embodies all the special attributes of this unique alliance between the Norwegian saxophonist and the British vocal ensemble. The musicians were first brought together by producer Manfred Eicher and “something came into existence that was not there before”, in the words of Jan Garbarek. Officium, the debut album, was released in 1994 and the music touched a large international audience. A million copies of Officium were sold swiftly, and a thousand concerts - many in churches, abbeys and other sacred spaces - followed over a 20-year period. And there were further recordings, the double album Mnemosyne (1998) and Officium Novum (2009). The repertoire of Remember Me is drawn from all three albums and adds a new piece, “Procurans odium”, a medieval song preserved at the Bavarian monastery of Benediktbeuern. All of the music is transformed by the live context, by the subtlety of the singers, and the improvisational daring of Jan Garbarek. “He can pick up on anything, and his ears are phenomenal,” David James has said. “The slightest nuance, he’ll play into it and feed something back – it’s just so thrilling to perform with him.” Jan Garbarek, near the beginning of the association: “I’ve loved medieval music for years. The old music is very familiar to me, for it uses modes which you find in folk music and jazz. I find it completely natural to join in with it, and it has since broadened my whole perspective of playing.” The range of music addressed expanded as the Officium project developed. Remember Me, My Dear begins with an Armenian traditional piece in an arrangement by Komitas. There is also contemporary music, including Arvo Pärt’s “Most Holy Mother of God”, and two Garbarek compositions: “We are the stars”, based upon Native American poetry, and “Allting finns”, a particularly beautiful setting of a poem by Swedish author Pär Lagerkvist. On the present recording it segues into the Litany of Russian composer Nikolai Kedrov, whose music spanned the 19th and 20th centuries, integrated here alongside 12th century music of Hildegard von Bingen, 13th century music of Pérotin, and more. In the playing of Garbarek and the singing of the Hilliards, time is dissolved in the resonant performance space. “Hard, smooth stone surfaces and an abundance of air were the properties we sought,” wrote Jan Garbarek in a program note. When these were available, “the concerts were bliss. Flowing so easily, the sonority of the voices hovering harmoniously under every arch and vault, filling every corner of splendent space. Sax roaming freely above, below inside the vocal texture, a soaring sum of parts…” The Bellinzona concert, two months from the final show, bears out this description. The retirement of the Hilliard Ensemble, after a forty-year career, also brought the Officium collaboration to an end. The last Officium performance was at King’s College Chapel, Cambridge, in December 2014. The outstanding recordings remain, the Officium-Mnemosyne-Officium Novum cycle now augmented by Remember Me, My Dear. The Hilliards can also be heard on a further 40 ECM titles, singing everything from Tallis and Gesualdo to Arvo Pärt and Gavin Bryars. Jan Garbarek is of course one of ECM’s primary artists, first recording for the label in 1970 with Afric Pepperbird and subsequently appearing on dozens of albums as leader, co-leader, and featured soloist with composers including Eleni Karaindrou and Giya Kancheli. CD booklet, in English and German, includes a performer’s note by Gordon Jones, and liner notes by Paul Griffiths and Steve Lake.

The Phantom was my first Duke Pearson album. I liked half the tracks very much, but not the other half. So I recorded what I liked onto my newfangled Ampex cassette recorder, and listened to it quite a bit.

As you know, no political discussion is allowed here. However, you might be interested in taking the quiz which the CBC has prepared, to inform you of whom you might vote for October 21 if you were eligible to vote in Canadian elections. https://votecompass.cbc.ca/canada/survey ***** Week 18 results Toronto 28....Ottawa 21 https://www.cfl.ca/games/2626/ottawa-redblacks-vs-toronto-argonauts/ https://www.cbc.ca/sports/football/cfl/cfl-toronto-ottawa-recap-oct-11-1.5318888 https://stats.cbc.ca/football/cfl/recap/76135 https://3downnation.com/2019/10/11/argos-top-redblacks-in-unwatchabowl/ https://3downnation.com/2019/10/11/s-j-green-reaches-10000-career-receiving-yards/ https://www.cfl.ca/2019/10/11/green-credits-teammates-way-10k-milestone/ https://3downnation.com/2019/10/13/redblacks-continue-to-free-fall-nine-other-thoughts-on-losing-to-the-argos/ ***** Calgary 30....Sask 28 https://www.cfl.ca/games/2627/saskatchewan-roughriders-vs-calgary-stampeders/ https://www.cbc.ca/sports/football/cfl/stampeders-roughriders-recap-cfl-week-18-1.5318917 https://stats.cbc.ca/football/cfl/recap/76136 https://3downnation.com/2019/10/12/the-stamps-bend-and-break-the-riders-reclaim-first-in-the-west/ https://3downnation.com/2019/10/12/bo-levi-mitchell-felt-officials-were-calling-the-game-the-riders-way/ https://3downnation.com/2019/10/13/riders-come-up-short-in-divisional-showdown-in-calgary-and-six-other-thoughts/ ***** Winnipeg 35....Montreal 24 https://www.cfl.ca/games/2628/montreal-alouettes-vs-winnipeg-blue-bombers/ https://www.cbc.ca/sports/football/cfl/cfl-montreal-winnipeg-recap-oct-12-1.5319610 https://stats.cbc.ca/football/cfl/recap/76137 https://3downnation.com/2019/10/12/bombers-top-alouettes-in-snow-bowl-nine-other-thoughts/ ***** Edmonton 19....BC 6 https://www.cfl.ca/games/2629/bc-lions-vs-edmonton-eskimos/ https://www.cbc.ca/sports/football/cfl/cfl-lions-eskimos-recap-oct-12-1.5319613 https://stats.cbc.ca/football/cfl/recap/76138 https://3downnation.com/2019/10/12/eskimos-knock-out-mike-reilly-and-the-lions-edmonton-clinches-playoff-spot/ Mike Reilly broke his left wrist early in the game. https://3downnation.com/2019/10/12/lions-qb-mike-reilly-thinks-his-left-wrist-is-broken/ https://www.cfl.ca/2019/10/12/reilly-leaves-game-with-suspected-broken-wrist/ Aaron Grymes tore his ACL. https://3downnation.com/2019/10/12/lions-db-aaron-grymes-suffers-possible-acl-injury/ With the win, the Eskimos clinched the last playoff spot (eliminating the Lions). ***** With the Alouettes' loss, the Ticats clinched first place in the east. https://3downnation.com/2019/10/12/ticats-clinch-first-place-in-the-east-division/ ***** Week 18 highlights https://www.cfl.ca/best-highlights-week-18-2/ ***** Here's a look at the standings. Calgary, Sask and Winnipeg have 10 wins; Edmonton has 8. Calgary and Sask have 3 games left; Winnipeg and Edmonton have only 2. https://www.cfl.ca/standings/

ECM Jan Garbarek / Hilliard Ensemble - Remember me, my dear release date: October 18, 2019 Jan Garbarek: soprano and tenor saxophones The Hilliard Ensemble: David James: countertenor; Rogers Covey-Crump: tenor Steven Harrold: tenor; Gordon Jones: baritone 25 years on from the release of Officium, the groundbreaking alliance of Jan Garbarek and The Hilliard Ensemble, comes Remember me, my dear, recorded during the final tour the group made in October 2014. The program is emblematic of the range of repertoire the Norwegian saxophonist and British vocal quartet explored together- from Pérotin, Hildegard von Bingen, Guillaume le Rouge, Antoine Brumel to Komitas, Arvo Pärt and more. It could be said that the Hilliard/Garbarek combination, in concert, transcended its source materials, with early music, contemporary composition and improvisation interfused in the responsive acoustics of sacred spaces. And this final album reminds us that the unique Garbarek/Hilliard combination, and its unprecedented exploration of sound, was consistently breathtaking. Watch a short video segment with footage from 1994 here: https://www.youtube.com/watch?v=TOtySsR846Y&feature=youtu.be

Week 18 picks https://www.thestar.com/sports/football/2019/10/10/cfl-picks-surging-bc-lions-can-take-depleted-edmonton.html https://3downnation.com/2019/10/11/3downnation-picks-battle-for-no-1-out-west-and-no-1-pick-in-the-east/ https://www.cfl.ca/2019/10/10/prediction-time-cfl-ca-writers-make-week-18-picks-2/ https://lastwordoncanadianfootball.com/2019/10/11/niks-picks-week-18-2019/` ***** power rankings https://3downnation.com/2019/10/10/3downnation-power-rankings-lions-leap-frog-eskimos-as-playoff-showdown-looms/ ***** Week 18 game notes https://www.cfl.ca/2019/10/10/cfl-ca-game-notes-look-week-18-3/ ***** USports Week 8 picks https://www.cfl.ca/2019/10/11/universityblitz-short-week-canada-west-bye/ ***** The word is that the XFL's salaries will be lower than the CFL's. https://3downnation.com/2019/10/11/xfl-average-salary-to-be-lower-than-cfls-report/

Landscape Cherokee https://artpepper.bandcamp.com/album/unreleased-art-pepper-vol-7-osaka

Make a List Anthropology I'll Remember April Straight Life Goodbye Blues for the Fisherman https://artpepper.bandcamp.com/album/unreleased-art-pepper-vol-6-blues-for-the-fisherman

Week 18 picks https://torontosun.com/sports/football/cfl/cfl-blitz-lions-might-be-watching-playoffs-through-window-of-opportunity https://doorfliesopen.com/2019/10/10/cfl-beat-103/ https://www.cfl.ca/2019/10/09/weekly-predictor-believing-bc/ http://17degreesports.com/index.php/2019/10/09/cfl-week-18-preview/ https://thegruelingtruth.com/podcast/cfl-weekly-pickem-show-week-18-w-robert-drummond-2/ https://firstdownsportspodcast.com/2019/10/10/video-podcast-fds-cfl-s3e19-holy-shoesmith/ ***** power rankings https://www.cfl.ca/2019/10/08/nissan-titan-power-rankings-eyes-prize-riderville/ http://pifflespodcast.com/blog/safimods-2019-power-rankings-week-17-edition https://lastwordoncanadianfootball.com/2019/10/08/cfl-week-17-power-rankings/ https://thegruelingtruth.com/football/tgt-cfl-power-rankings-week-18/ https://firstdownsportspodcast.com/2019/10/07/cfl-power-rankings-after-week-17-2/ ***** Week 17 Plays of the Week https://www.cfl.ca/2019/10/07/bryan-burnham-takes-over-the-timber-mart-plays-of-the-week/ ***** Week 17 recaps https://www.cfl.ca/2019/10/07/landrys-5-takeaways-week-17-3/ https://www.cfl.ca/2019/10/07/totalpickem-recap-week-17-2/ ***** Week 17 QB accuracy https://www.cfl.ca/2019/10/08/accuracy-grades-target-week-17/ ***** QB index https://www.cfl.ca/2019/10/07/rockstar-qb-index-win-loss-debate/ ***** 10/9 checking down https://www.cfl.ca/2019/10/09/checking-news-notes-week-18/ ***** Mike Reilly's five touchdown passes (total) last week was his career best. https://www.cfl.ca/2019/10/06/reilly-puts-career-best-five-td-performance/ ***** Juwan Simpson has retired. https://www.cfl.ca/2019/10/10/juwan-simpson-retires-stampeder/ ***** The Redblacks will start their third-string QB tomorrow against the Argos. https://www.cfl.ca/2019/10/07/redblacks-arndt-start-argos/ https://www.cfl.ca/2019/10/09/arndt-focused-ahead-of-first-start/ ***** Lemar Durant hurt his foot, and is gone for the year. https://www.cfl.ca/2019/10/09/report-lemar-durant-remainder-season/ ***** Here is the current strength-of-schedule outlook. BC has the second-toughest, while Edmonton has the third. https://www.cfl.ca/2019/10/08/strength-schedule-leos-tough-task-ahead-make-playoffs/ ***** USports Week 7 recap https://www.cfl.ca/2019/10/07/u-sports-recap-gaiters-gee-gees-t-birds-oh/

Landscape Make a List https://artpepper.bandcamp.com/album/unreleased-art-pepper-vol-5-stuttgart-2 ***** What's New Donna Lee Lover Come Back Here's That Rainy Day Rhythm-A-Ning 'Round Midnight https://artpepper.bandcamp.com/album/unreleased-art-pepper-vol-9-art-pepper-and-warne-marsh

Deb Bowman "Fast Heart" Impacting: August 29 2019 Format(s): Jazz Artist Title Time Deb Bowman Willow in the Wind 05:26 Deb Bowman Pannonica 06:13 Deb Bowman Butterfly 08:04 Deb Bowman Where Can We Go 04:45 Deb Bowman La Vie en Rose 04:29 Deb Bowman Moody's Mood for Love 04:58 Deb Bowman Geaorgia On My Mind 04:55 Deb Bowman Crazy He Calls Me 06:14 Deb Bowman Fast Heart 05:22 Deb Bowman Shelter Me From The Storm 06:12 Thank you for your Grammy Consideration! Deb Bowman's FAST HEART is up for 3 categories: Best Jazz Vocal Album Best Gospel Song/ Performance Best New Artist If you are a voting member, thank you for considering Deb Bowman's Fast Heart!

Mambo Koyama https://artpepper.bandcamp.com/album/unreleased-art-pepper-vol-2-the-last-concert ***** Talk Yours is My Heart Alone Make a List https://artpepper.bandcamp.com/album/unreleased-art-pepper-vol-3-croydon

Having been eliminated from playoff contention Saturday, the Argos Tuesday made three announcements: 1) They have fired Jim Popp. 2) They have hired Pinball Clemons to replace him. 3) Everyone on the team is available. https://www.cbc.ca/sports/football/cfl/cfl-toronto-argonauts-analysis-oct-7-1.5312622 https://3downnation.com/2019/10/07/general-manager-jim-popp-not-expected-to-be-retained-by-argos-report/ https://3downnation.com/2019/10/08/argos-fire-general-manager-jim-popp/ https://www.cfl.ca/2019/10/08/report-argos-relieve-gm-jim-popp-duties/ https://www.cbc.ca/sports/football/cfl/cfl-toronto-argonauts-fire-gm-jim-popp-1.5313097 https://3downnation.com/2019/10/08/michael-pinball-clemons-named-argos-general-manager/ https://www.cfl.ca/2019/10/08/argos-name-michael-pinball-clemons-general-manager/ https://3downnation.com/2019/10/08/takeaways-from-the-pinball-clemons-introductory-press-conference/ https://www.cfl.ca/2019/10/08/oleary-clemons-brings-spark-argos-front-office/ https://www.cfl.ca/2019/10/09/chez-sez-pinball-gives-argos-instant-credibility/ https://3downnation.com/2019/10/08/argos-available-for-trade-deadline-deals/ https://3downnation.com/2019/10/09/argos-telling-teams-everyone-is-available-while-derel-walker-watch-is-on/ ***** Today the Argos traded Zach Collaros to Winnipeg. https://3downnation.com/2019/10/09/bombers-argos-have-discussed-trade-for-zach-collaros/ https://3downnation.com/2019/10/09/former-argos-gm-jim-popp-had-2020-extension-in-place-with-qb-zach-collaros/ https://www.cbc.ca/sports/football/cfl/cfl-trade-toronto-winnipeg-zach-collaros-oct-9-1.5315510 https://3downnation.com/2019/10/09/bombers-acquire-quarterback-zach-collaros-in-trade-with-argos/ https://www.cfl.ca/2019/10/09/bombers-acquire-zach-collaros-argos/ https://www.cfl.ca/2019/10/09/collaros-reportedly-traded-to-bombers/ https://www.cfl.ca/2019/10/09/walters-on-acquiring-collaros-its-depth-and-competition/ https://3downnation.com/2019/10/09/argos-hope-to-re-sign-qb-zach-collaros-in-the-off-season/ https://3downnation.com/2019/10/09/bombers-secure-coveted-veteran-quarterback-zach-collaros/

Jim, I'm very surprised to see you say that. I highly respect bandleaders who hire people who are better than they are. For example, Herbie Mann in the late '60s. Spencer Davis in the mid-'60s. How about Miles with his first great quintet, his second great quintet and his lost quintet? Even Dave Clark!

Here's something I didn't know. Wade Boggs played in 162 games from June 9, 1985, to June 6, 1986; and batted .401!