GA Russell

Harry Connick Jr. "Just One Of Those Things" Format(s): Jazz After 30 million albums sold worldwide, 13 No. 1 jazz albums in the United States, and a music, film, television and Broadway career spanning three decades, Harry Connick, Jr. returns with a sensational new record, True Love: A Celebration of Cole Porter. Comprised exclusively of Cole Porter compositions, True Love highlights Connick’s talents as pianist, singer, arranger, orchestrator and conductor, as he breathes new life into popular songs from The Great American Songbook including “Anything Goes”, “You Do Something To Me” and the first single “Just One of Those Things.” Artist Title Time Harry Connick Jr. Just One Of Those Things 03:13

Week 9 Plays of the Week https://www.cfl.ca/2019/08/12/sayles-climbs-the-ladder-in-the-timber-mart-plays-of-the-week/ ***** power rankings https://www.cfl.ca/2019/08/13/nissan-titan-power-rankings-bombers-flying-w/ http://pifflespodcast.com/blog/safimods-2019-power-rankings-week-9-edition https://firstdownsportspodcast.com/2019/08/11/cfl-power-rankings-after-week-9-2/ ***** Week 9 recaps https://firstdownsportspodcast.com/2019/08/13/video-podcast-fds-cfl-s3e11-wheres-hugo/ https://www.cfl.ca/2019/08/12/totalpickem-recap-week-9/ https://www.cfl.ca/2019/08/12/landrys-5-takeaways-week-9-3/ https://www.cfl.ca/2019/08/12/steinbergs-mmqb-defence-leading-way-edmonton/ ***** QB index https://www.cfl.ca/2019/08/12/quarterback-index-encouraging-signs-mike-reilly/ ***** The Argos have traded Shawn Lemon to the Lions for Davon Coleman. https://3downnation.com/2019/08/12/argos-trade-dl-shawn-lemon-to-the-lions-for-davon-coleman/ https://www.cbc.ca/sports/football/cfl/shawn-lemon-trade-lions-cfl-1.5243907 https://www.cfl.ca/2019/08/12/lions-acquire-shawn-lemon-trade-argos/ https://www.cfl.ca/2019/08/12/bc-trades-coleman-for-lemon/ https://www.cfl.ca/2019/08/12/oleary-lions-hoping-lemon-can-ignite-pass-rush/ ***** Stef Logan has signed with the Redblacks. https://3downnation.com/2019/08/13/redblacks-sign-former-alouettes-returner-stefan-logan/ https://www.cfl.ca/2019/08/13/redblacks-add-stefan-logan-pr-release-thomas/ ***** The Redblacks cut Julian Feoli-Gudino. https://www.cfl.ca/2019/08/12/redblacks-release-receiver-julian-feoli-gudino/

Week 9 results Winnipeg 26....Calgary 24 https://www.cfl.ca/games/2592/calgary-stampeders-vs-winnipeg-blue-bombers/ https://www.cbc.ca/sports/football/cfl/cfl-edmonton-calgary-recap-week-9-1.5240870 https://stats.cbc.ca/football/cfl/recap/76101 https://3downnation.com/2019/08/11/stamps-shell-shocked-by-bombers-specials/ https://3downnation.com/2019/08/11/blue-bomber-talk-podcast-grant-shows-burst-bombers-in-first/ Janarion Grant returned two punts for touchdowns. https://stats.cbc.ca/football/cfl/recap/76101 https://www.cfl.ca/2019/08/08/grant-gets-15th-kick-return-td-of-the-year/ https://www.cfl.ca/2019/08/08/grant-is-on-fire-gets-his-second-return-td/ ***** Sask 17....Montreal 10. https://www.cfl.ca/games/2593/saskatchewan-roughriders-vs-montreal-alouettes/ https://www.cfl.ca/2019/08/09/kick-returns-continue-with-ryans-101-yard-strike/ https://www.cfl.ca/2019/08/09/riders-d-strikes-pay-dirt-twice-in-1st-half/ https://www.cbc.ca/sports/football/cfl/cfl-saskatchewan-montreal-recap-week-9-1.5242381 https://stats.cbc.ca/football/cfl/recap/76102 https://3downnation.com/2019/08/09/defence-dominates-in-storm-shortened-affair-as-riders-tackle-alouettes/ https://3downnation.com/2019/08/10/the-riders-win-i-guess-and-eight-other-thoughts/ The game was stopped mid-3rd quarter for a lightning delay, and after only an hour the league called it. https://www.cfl.ca/2019/08/09/cfl-issues-statement-following-shortened-week-9-game/ ***** Edmonton 16....Ottawa 12 https://www.cfl.ca/games/2594/ottawa-redblacks-vs-edmonton-eskimos/ https://www.cbc.ca/sports/football/cfl/cfl-saskatchewan-montreal-recap-week-9-1.5242392 https://stats.cbc.ca/football/cfl/recap/76103 https://3downnation.com/2019/08/10/ottawas-offence-fails-them-again-11-other-thoughts-on-losing-to-the-eskimos/ https://3downnation.com/2019/08/11/esks-survive-redblacks-to-keep-pace-in-the-wild-west/ ***** Hamilton 35....BC 34 https://www.cfl.ca/games/2595/bc-lions-vs-hamilton-tiger-cats/ https://www.cfl.ca/2019/08/10/kick-return-tds-just-wont-stop/ https://www.cbc.ca/sports/football/cfl/cfl-winnipeg-hamilton-recap-week-9-2019-1.5242961 https://www.cbc.ca/sports/game-wrap-banks-td-catch-caps-comeback-for-ticats-1.5243070 https://3downnation.com/2019/08/10/lions-collapse-as-dane-evans-leads-ticats-fourth-quarter-comeback-in-cfl-classic/ https://3downnation.com/2019/08/11/two-steps-forward-one-step-back-and-7-other-thoughts-on-the-lions-heartbreak-in-hamilton/ https://www.cfl.ca/2019/08/11/oleary-lions-left-lament-one-got-away/

Artist Title Time Gav Brown Nashville 04:44 Gav Brown Railroad Track 04:26 Gav Brown Road To You 03:29 Gav Brown Spirit of a Cowgirl 03:44 Gav Brown School's Out 01:47 Gav Brown Don't Think Twice 03:52 Gav Brown Hello Yellow 04:32 Gav Brown Mood For Love 03:05 Gav Brown Time Waits for No Man 02:05 Gav Brown Going Home 01:39 Gav Brown Railroad Track (DJ Cut) 03:51 Gav Brown "Road Less Travelled" Impacting: August 15 2019 Format(s): AAA, AC, Adult Hits, Americana, Classic Hits, Classic Rock, College, Country, Mainstream Rock, Non-Commercial, NPR, Rock - Specialty, Smooth Jazz, Sports, Talk, Triple A Hailing from Perth, Western Australia, world-traveling singer-songwriter Gav Brown has now released his second studio album: Road Less Travelled Road Less Travelled follows the successful release of Gav’s debut album, Sound Circus, which was released in November 2018 and enjoyed success in the Play MPE charts for 12 weeks, reaching #1 in Australian, Rock, Triple A, and Adult Contemporary charts. Popular Sound Circus single “Peter Pan” spent 9 weeks in chart Tasmanian Country Airplay Charts and reached #15. Sound Circus’s idyllic track 1, “Artist’s Dream”, reached #14 in Hotdisc Top 40 during it’s 6 weeks in the chart, and the video for “Artist’s Dream” was featured on SKY TV in the UK for four weeks. Recent notable Gav Brown stats: Over 2.3 million video views music to date 760,000 video views for new album, Road Less Travelled, (released July 19, 2019) -most popular in Australia, Canada, England and Malaysia. Road Less Travelled single, “Railroad Track”, has recently been featured on SKY TV in the UK All tracks from the Sound Circus Album have had radio airplay, with strong rotation in Australia, New Zealand, Europe and America. Six Tracks off the Road Less Travelled have begun radio play in Australia and America and Europe. “It’s awesome stuff. I began to play the album on Thursday and will continue to promote. There are some amazingly technically perfect songs like “Nashville” and “Railroad Track.” I chose, however, “Mood for Love” to lead off with as it has the same underlying audiological draw for me as “Greatest Player.” You sound more relaxed and certain of your incredible talent on this latest work. Having said that- the same characteristic vocals and same smoking hot lead and sax are working their magic here, just as on the first release. From a strictly radio standpoint- give me 50 albums a month like this and I’ll be quite satisfied, indeed." -Gerry Sorensen WAAY Radio (Ohio, USA) "Road to You song reminds me of my time on the road. All the while missing my fiance. She said yes. She is my wife now. I can never be far from her. All the roads I would ever take now lead me back to my wife and boy." -John Ragsdale The Road Less Travelled Album weaves captivating songs, an instrumental tune, and a multi-layered masterpiece of musical styles into a musical delight. A regular on the live music scene in Perth, West Australia, Gav Brown has performed his soul-fuelled mix of country-rock, folk and pop around Australia, New Zealand, United States of America, Hong Kong and Singapore. A singer-songwriter and multi-instrumentalist, Gavin uses guitar, banjo, piano, harmonica, mandolin, cigar-box guitar and ukulele to craft honest uplifting music that captures the spirit of a traveller. Brown has a passion for music which is clear in his song-writing. His influences include George Gershwin, Bruce Springsteen, Sting, James Taylor, Carlos Santana and John Mayer and he has been compared to Tom Waits, Joe Cocker, The Pogues and Dave Alvin. Regularly compared to The Pogues and Tom Waits, and inspired by his childhood heroes; George Gershwin, James Taylor and Bruce Springsteen, Brown’s use of guitar, mandolin, banjo, piano and cigar-box in his writing process create a rare and compelling musical palette. Combine this with his engaging and gravelly vocals, heart-felt honesty and addictively catchy melodies, and you can see why he’s mesmerising audiences across the country. More information www.gavbrown.com.au www.gavbrown.bandcamp.com

bump for new album

Dear friends, Has it really been a year already? Once again, I'm reaching out to ask you to please consider voting for me in the Downbeat readers’ poll. I’m on the 2019 ballot in the jazz artist (3), organ (18) and piano (16) categories. You don’t have to be a subscriber to vote. https://www.surveymonkey.com/r/downbeat_2019_readers_poll Last year, thanks to you help, I was voted into the top ten in the Jazz Artist, Piano and Organ categories. As many of you know, being a jazz musician is a lifelong commitment that takes years of dues-paying. Showing up in this poll two years in a row would send a message to writers, promoters and bookers that I have staying power and am building an audience. While you’re in the poll, please consider writing in Billy Mintz in the drummer category. Those of you who know Billy know that he is not one for self-promotion. But if anyone is overdue for such a recognition, it’s Billy, one of the humblest yet most dedicated and gifted musicians I know. Thank you for your consideration and support. https://www.surveymonkey.com/r/downbeat_2019_readers_poll

ECM Avishai Cohen / Yonathan Avishai - Playing The Room release date: September 6, 2019 Avishai Cohen: trumpet Yonathan Avishai: piano Playing The Room bears testimony to the long musical friendship of Avishai Cohen and Yonathan Avishai. They began to explore jazz as teenagers in Tel Aviv, and have continued to play together over many years, with Yonathan making important contributions to Avishai's group albums Into The Silence and Cross My Palm With Silver on ECM. Their first duo album begins with music composed by the trumpeter and by the pianist and concludes with a touching interpretation of Israeli composer Alexander Argov's cradle song "Shir Eres". Along the way, Avishai and Yonathan improvise - freely, playfully, soulfully - on themes from jazz tradition. And, as the album titles implies, they also invite the recording space, the Auditorio Stelio Molo RSI in Lugano, to be part of the sound, making full use of its resonant acoustic properties in a performance with the intimacy and focus of chamber music. Recorded in September 2018, and produced by Manfred Eicher, Playing The Room releasing on both audiophile vinyl and compact disc.

Week 9 picks https://lastwordoncanadianfootball.com/2019/08/08/niks-picks-week-9-2019/ https://doorfliesopen.com/2019/08/08/cfl-beat-94/ https://3downnation.com/2019/08/08/3down-picks-revenge-with-a-vengeance/ https://3downnation.com/2019/08/08/slam-dunk-picks-stamps-are-dawgs-are-underdogs/ https://rileysportsblog.wordpress.com/2019/08/08/week-9-cfl-predictions-2/ https://www.thespec.com/sports-story/9539200-cfl-picks-week-9/ ***** QB accuracy https://www.cfl.ca/2019/08/08/accuracy-grades-target-week-8/ ***** 8/8 game notes https://www.cfl.ca/2019/08/08/cfl-ca-game-notes-look-week-9-4/

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 MULTI-TALENTED DYNAMO DEB BOWMAN RELEASES ECLECTIC TRIBUTE TO HER LATE SISTER. FAST HEART AVAILABLE AUGUST 29, 2019 ON MAMA BAMA RECORDS An award winning singer, actor, composer, and jazz cabaret artist, DEB BOWMAN’s multi-faceted talents shine through on her newest album, FAST HEART. The project comprises a mix of jazz standards and four original tunes penned by Bowman. This is Bowman’s second album as a leader. It follows her 2011 release Addicted to Love Songs. Bowman was raised in Alabama and grew up singing in the Gospel church. She began singing at the age of five, piano at age eight and when she was twelve, she was offered a recording contract in the Christian music industry, but her parents turned down the offer. She went on to study music and drama in high school, and received her BFA from the University of Alabama, where she studied Classical Theatre and Dance. Bowman moved to New York City to pursue her acting and singing career. She performed in theatre, Off- Broadway, national tours and regional productions as well as television, films, and commercials. Although she worked steadily, her creative spirit felt confined to scripts others had written and singing songs that weren’t optimal for her vocal sweet spot, so she began creating her own unique, jazz cabaret shows incorporating song, story, and shtick. She performed around the city, regionally, and also spent time at sea traveling to over 60 countries on world cruise ships, where her shows were a popular feature. After spending 13 years in New York, her beloved sister, Patti, died of ovarian cancer. Bowman was with her sister through the brutal 18-month battle and was devastated by her loss. She had been working on the hit TV show Ugly Betty, which had just wrapped, so she gave up the lease on her apartment (which most New Yorkers will say you only do under great duress) and headed out for a long stint on a world cruise as a guest entertainer. She felt that she needed change and couldn’t imagine bearing another New York winter. A friend invited her down to Atlanta, and she liked it enough to make it her new home. It was closer to her family in Alabama, there was TV and film production, theatre, and a solid jazz scene -- all the elements she needed to start a new life. FAST HEART is a tribute to Patti. Bowman is releasing the album in concert on the 10th anniversary of her passing at BIRDLAND in New York City on September 22nd. Patti loved butterflies, and from the teal butterfly on the cover (a symbol of ovarian cancer awareness) to references in several songs, the album is replete with butterfly allusions. Bowman will also be donating a portion of the revenue to Ovarian Cancer Research. Bowman was thrilled that FAST HEART was one of the last projects recorded at the storied Power Station recording studio in New York City. The studio, which opened in 1977 and where artists like Bob Dylan, Bruce Springsteen, Madonna, David Bowie and the cast of “Hamilton” have recorded, will be renovated and rebranded. Bowman and producer ARNOLD STRICKLAND brought on board pianist ERIC LEWIS, popularly known as ELEW. Lewis, who found crossover success creating the genre “rock jazz,” is known for his unconventional style, which eschews a piano bench and makes frequent use of plucked strings, a style featured on the title song “Fast Heart.” Also joining Bowman are the Grammy winning, virtuoso drummer STEVEN WOLF aka “WOLF,” Hammond B3 player “Organ Monk” GREG LEWIS, who was named one of top 5 Rising Stars on organ on DownBeat's 66th Annual Critics' Poll, MATTHEW GARRISON, the son of the late Jimmy Garrison and a stellar bassist in his own right, award-winning trumpeter KENYATTA BEASLEY, who has recorded and performed with many internationally renowned artists, and violinist MARLA FEENEY, who performs with a number of orchestras and bands in the Atlanta area. FAST HEART was engineered and mixed by AKIHIRO NISHIMURA and mastered by multi Grammy award winning engineer, PAUL BLAKEMORE. Bowman has a rich, warm voice that was shaped by her earliest performances as a Gospel singer. Many of the standards included on the album have clear references to butterflies, like Thelonious Monk’s “Pannonica,” with lyrics by Jon Hendricks that uses the refrain “Pannonica my butterfly,” and, of course, Herbie Hancock’s“Butterfly” with the touching lyrics “Soaring winds... rainbow waves / Touch my mind... be so kind / When you're gone... people cry Butterfly.” Bowman often sings in French and performs a wistful piano duo version of Edit Piaf’s “La Vie en Rose.” She and ELEW add some funk to “Moody’s Mood for Love,” and, as a shout-out to her friends and fans in Georgia, she does a rousing version of “Georgia on My Mind,” featuring “Organ Monk” Lewis on the Hammond B3. This CD is also the debut for Bowman’s original compositions. She opens the album with a soulful “Willow in the Wind,” a song about yearning for love and seeking refuge for a restless soul. “I feel like a willow in the wind / Won’t you come and take me by the hand / Where there is no pain / Somewhere far away.” She also contributes a pop-edged “Where Can We Go,” which she co-wrote with writing partner, Janet Powell; “Fast Heart,” the title tune about how her heart beats fast when she’s dancing with a passionate love and the closing number, “Shelter Me from The Storm,” in which Bowman gets down and returns to her Gospel roots, featuring JW Inspirational Voices of Harlem and the Hammond B3 Organ. Deb Bowman has a fluid and flexible voice. She is adept at a number of different musical styles, while her acting background clearly informs her approach to lyrics. FAST HEART is a beautiful and loving tribute to her late sister Patti. FAST HEART will be available in stores and online everywhere on August 29, 2019. Deb Bowman will be presenting FAST HEART at a special listening events on July 30th at World of McIntosh in New York City and August 29th at HiFi Buys in Atlanta. Online: Debbowman.com

ECM Louis Sclavis Quartet - Characters On A Wall release date September 20, 2019 Louis Sclavis: clarinets; Benjamin Moussay: piano Sarah Murcia: double bass; Christophe Lavergne: drums Louis Sclavis's 13th ECM recording finds the French clarinetist drawing inspiration from two sources - the street art of Ernest Pignon-Ernest, and the interpretive originality of a splendid new quartet. Pignon-Ernest's works were previously the subject of Sclavis's highly acclaimed 2002 recording Napoli's Walls. This time Sclavis looks at a broader range of the artist's in situ collages from Ramallah to Rome, in search of "a dynamic, a movement that will give birth to a rhythm, an emotion, a song." In the Sclavis group, gifted bassist Sarah Murcia and expressive drummer Christophe Lavergne join pianist Benjamjn Moussay (a key collaborator on Sources and Salt and Silk Melodies) making this the first time Sclavis has explored - in characteristically individual fashion - the classic jazz format of reeds, piano, bass and drums on an ECM disc. Recorded at Studios La Buissonne in the South of France and produced by Manfred Eicher. Available on CD and LP.

" I wonder what the Strike-Calling-Robo-Ump is going to change about pitch-framing. That skill will be minimized, I'd think. " Ted, I just read an article about the Atlantic League two days ago, and it said that pitch framing meant nothing to the robot umpire. A waste of effort.

Week 9 picks https://www.thestar.com/sports/football/2019/08/07/quarterback-trevor-harris-to-face-ottawa-redblacks-for-first-time-since-departure.html https://www.cfl.ca/2019/08/06/totalpickem-preview-week-9/ https://www.cfl.ca/2019/08/07/weekly-predictor-ticats-edge-hamilton/ https://www.cfl.ca/2019/08/07/prediction-time-cfl-ca-writers-make-week-9-picks-2/ http://17degreesports.com/index.php/2019/08/07/cfl-week-9-preview/ ***** 8/7 checking down https://www.cfl.ca/2019/08/07/checking-defenders-returning-edmonton/ ***** power rankings https://thegruelingtruth.com/football/tgt-cfl-power-rankings-week-8/ https://3downnation.com/2019/08/07/3downnation-power-rankings-levelling-the-playing-field/ https://lastwordoncanadianfootball.com/2019/08/07/cfl-week-8-power-rankings/

1 - I find this odd because China is famous for intellectual property theft. 2 - When I read about Universal, Sony and Warner being the world's three biggest record companies, I never see a reference to any Chinese or Indian stars on their labels. Who do the Chinese and Indian stars record for?

 1. George and Ira Gershwin - The Man I Love 06:26 2. Ethan Iverson - Philadelphia Creamer 05:59 3. Denzil Best - Wee 05:46 4. Vernon Duke, Ira Gershwin - I Can’t Get Started 06:36 5. Les Brown, Benjamin Homer, Bud Green - Sentimental Journey 04:33 6. John Green, Edward Heyman - Out Of Nowhere 06:32 7. Jimmy van Heusen, Johnny Burke - Polka Dots And Moonbeams 06:01 8. Jerome Kern, Oscar Hammerstein II - All The Things You Are 05:51 9. Ethan Iverson - Jed From Teaneck 06:31 10. George Bassman, Ned Washington - I’m Getting Sentimental Over You 05:10 11. Victor Schertzinger, Johnny Mercer - I Remember You 06:25 ECM Ethan Iverson Quartet Common Practice Ethan Iverson: piano Tom Harrell: trumpet Ben Street: double-bass Eric McPherson: drums Release date: September 20, 2019 ECM 2643 B0030993-02 UPC : 6025 778 3350 2 Ethan Iverson Quartet with Tom Harrell in concert: October 15 Cambridge, MA Regattabar October 16 New York, NY Jazz Standard October 17 Philadelphia, PA venue tba ***further dates in preparation The latest ECM album to feature pianist Ethan Iverson – following last year’s duo recording with saxophonist Mark Turner, Temporary Kings, and two lauded discs with the Billy Hart Quartet – presents the Brooklyn-based artist at the head of his own quartet in a program of standards and blues, recorded live at Manhattan’s famed Village Vanguard. The Guardian has praised the former Bad Plus pianist as “endlessly resourceful,” while Time Out New York selected him as one of 25 essential New York jazz icons, describing Iverson as “perhaps NYC's most thoughtful and passionate student of jazz tradition – the most admirable sort of artist-scholar.” Iverson’s quartet for Common Practice features as its prime melodic voice the veteran Tom Harrell, who was voted Trumpeter of the Year in 2018 by the U.S. Jazz Journalists Association. Iverson extols the quality of poetic “vulnerability” in Harrell’s playing, particularly in such ballads as “The Man I Love” and “Polka Dots & Moonbeams,” two of the album’s highlights. Common Practice also has a buoyant swing, thanks to the rhythm team of bassist Ben Street and drummer Eric McPherson, whose subtle invention helps drive Denzil Best’s bebop groover “Wee” and two irresistibly bluesy Iverson originals, “Philadelphia Creamer” and “Jed from Teaneck.” Reflecting on the contextual theme of Common Practice, Iverson says: “The first night I came to New York in the fall of 1991, I was an 18-year-old from Wisconsin. I had never been to the big city, but I knew I loved jazz. That night, I went to the Village Vanguard, and there was a quintet there – with Joe Lovano, Tom Harrell, John Abercrombie, Rufus Reid and Ed Blackwell – playing great jazz. It was one of those unforgettable nights. My new album, Common Practice, is a love letter to that kind of straight-ahead New York City jazz. It features Mr. Harrell on trumpet – he’s a master musician of an elder generation – and two contemporaries of mine, Ben Street and Eric McPherson, who are dedicated swingers. This album is about swinging, about playing standards. I’ve been involved with a lot of modern jazz that’s about deconstructing the history. I think it’s really important to do that – you have to find something new. If you’re not going to look for something new, maybe you shouldn’t even be involved in the arts… But at some point, many artists try to reassess the tradition and their heritage, and this album is about that tradition, that heritage.” There was no sheet music for this record, Iverson explains: “There was a list of songs, and we played a couple of blues pieces that weren’t notated – it was all about a common language that the four of us share. After a week at the Vanguard, we had all agreed on what our roles were in the ensemble. We found those roles through the gig, and we rolled tape on arrangements that had real structure – but organic structure that came about through live performance.” Common Practice opens with George Gershwin’s “The Man I Love,” given an expansive, especially ruminative treatment. In his liner notes to the album, Kevin Sun notes: “At 70, Harrell still has the dexterity of youth during his pristine double-time runs, but his delivery of the ‘The Man I Love’ is as naked and unguarded as one might ever hear. The spectral introduction is a recognizable Iverson trademark, with curated dissonances casting shadows beneath simple melody.” The pianist adds: “‘The Man I Love,’ from 1924, is the oldest Gershwin tune in the standard repertoire, almost a century old now. It has been played so many times that it can be a challenge to play a truly new version. The piano intro I play on it is very different, idiosyncratic. I think it sets up a fresh palette for Tom to play a really beautiful rendition of that famous melody.” Although Iverson’s pianism is shrewdly, poetically apposite throughout Common Practice – witness his rhapsodic touches in the solo intro and ending of “I Can’t Get Started” – his playing is often remarkably restrained. He says: “Some jazz pianists like to treat a rhythm section like an orchestra in a concerto: ‘Just give me a beat, and I’ll go to the stratosphere of my own virtuosity.’ I’d like to do that – someday. But for this record, I wanted to work in the middle, to help things gel.” Along with swinging treatments of “All the Things You Are,” “I’m Getting Sentimental Over You,” “Out of Nowhere” and “I Remember You,” the album includes a funky, Monk-ish take on “Sentimental Journey” fully led by Iverson, although Sun notes that the tune is “a faded postcard from the big-band era that gives Harrell the chance to dip into the Roy Eldridge bag for a moment.” Iverson says: “Tom has a commitment to the jazz tradition that’s deep. At the same time, I think he’s committed to surprising himself. He follows a melody to an unexpected place.” Referencing Harrell’s affecting way with a ballad like “Polka Dots & Moonbeams,” the pianist adds: “He’s very vulnerable up there on stage. It’s kind of like when you see an older movie with an action hero like Steve McQueen or Lee Marvin – they’re tough guys, but you can see in their faces that they’re hurting. Tom has some of that in his own way.” As for the quartet’s rhythm section, Iverson says: “It’s deep what Ben and Eric do with the beat. It’s not just four quarter-notes in the bass and a ride-cymbal pattern – it’s something mystical, spiritual. Ben is an old friend, a big teacher of mine. I’ve learned a lot about this music from him, and I really trust him. He suggested Eric for this, and I had always liked his drumming, having heard him play a lot in the Fred Hersch Trio. But I was curious about why Ben thought Eric would be so perfect for playing standards with me – but as soon as we started, it made sense. His time feel is both ancient and modern… None of us is approaching straight-ahead jazz like we want it to sound like 1955 or 1945 or 1965. We’re playing in the 21st-century. But what I hope gives it depth is a commitment to the tradition, and when it comes to Ben and Eric, it’s about esoteric aspects of that tradition, nothing academic.” Since Iverson came to New York City from the Midwest, he has worked with artists from Lee Konitz, Albert “Tootie” Heath and Ron Carter to Joshua Redman, Kurt Rosenwinkel and Tim Berne, along with serving as music director for the Mark Morris Dance Group. Then there was Iverson’s 17-year, 14-album tenure as one-third of The Bad Plus, the genre-bounding trio that he co-founded with bassist Reid Anderson and drummer Dave King in 2000. The pianist teaches at the New England Conservatory, and he has established Do the Math as one of the foremost blogs in jazz over the past decade. After their final set at the Vanguard, Harrell mentioned to Iverson that he thought the group’s sound felt new, despite the vintage repertoire. In his notes, Sun concludes that jazz “is actually numerous concurrent histories and communities where towering personalities come and go, stories and legends are passed down, and much is ultimately forgotten while only a fragment remains. For Iverson, a long-held dream is realized here in his overlapping of the traditional and the avant-garde, the premodern and the postmodern, and the old and the new meeting at a single point.” 1. Enrico Rava - Interiors 15:07 2. Enrico Rava - Secrets 09:46 3. Joe Lovano - Fort Worth 12:32 4. Joe Lovano - Divine Timing 09:57 5. Joe Lovano / John Coltrane / Harold Arlen, E.Y. Harburg - Drum Song [0:00-3:36] / Spiritual / Over The Rainbow [13:40-18:06] 18:49 ECM Enrico Rava, Joe Lovano Roma Enrico Rava: flugelhorn Joe Lovano: tenor saxophone, tarogato Giovanni Guidi: piano Dezron Douglas: double bass Gerald Cleaver: drums Release date: September 6, 2019 ECM 2654 B0030939-02 UPC: 6025 774 2428 1 Enrico Rava, the doyen of Italian jazz, joined forces with Joe Lovano, masterful US tenorist of Sicilian heritage, for a brief tour in November 2018. On this album, recorded live at Rome’s Auditorium Parco della Musica, the two masters lead a spirited quintet that includes lyrical pianist Giovanni Guidi, dynamic drummer Gerald Cleaver and virtuosic bassist Dezron Douglas (making his ECM debut here). Well-loved tunes by the two bandleaders form the core of the program, including Enrico’s intricate “Interiors” and “Secrets” and Joe’s vigorous Texas blues “Fort Worth”, as well as a Lovano original “Divine Timing”, written especially for this ensemble. The album concludes with an extended and powerful medley that roams across the history of modern jazz as it gathers together Lovano’s “Drum Song”, John Coltrane’s “Spiritual” and the standard tune “Over The Rainbow”. Although they have known each other for a very long time, Rava and Lovano had scarcely played together previously. More than 20 years ago a handful of shared gigs with Miroslav Vitous and Tony Oxley gave a hint of potential to be explored, but the 2018 tour marked the first time that the two bandleaders had shaped and developed repertoire in tandem. Clearly, they share some aesthetic priorities – both might be described as tradition-conscious musical adventurers. Lovano recalls hearing Enrico for the first time in the 1970s: “You could always hear that he had a great passion for the music of Miles Davis, Chet Baker, Art Farmer, Kenny Dorham and Dizzy Gillespie on one side – and for people like Don Cherry on the other side. And that openness and his huge passion about jazz really inspired me. So I thought, over the years, that we were meant to play together eventually. And now I am really happy about this album...” For his part, Rava notes that “Joe is an absolute master and he plays with an incredible warmth. I feel very close to him since we both have roots deep in the tradition but also project into the future without any self-censorship.” The inspired rhythm section was assembled by pianist Giovanni Guidi, formerly one of Rava’s gifted disciples and now a major bandleader in his own right (see for instance the recent album Avec le temps). Guidi and drummer Gerald Cleaver have participated in several projects together over the last decade including the ECM album Ida Lupino (with Gianluca Petrella and Louis Sclavis). And Giovanni and bassist Dezron Douglas have latterly collaborated in a quintet with trumpeter Fabrizio Bosso. “They all listen and react to each other in a very beautiful manner,” says Lovano. “Giovanni Guidi is a very free player who often surprises us in a very stimulating way with his ideas. Dezron Douglas is a really serious strong bass player who acts with a thunderous bass approach, a driving force. And Gerald Cleaver is a very swinging drummer with a lot of propulsive and contrasting elements in his style that really support the way Giovanni and Dezron play. That rhythm section has a truly flowing, exploratory way of playing together.” The album begins with Rava’s “Interiors” (previously heard on Enrico’s New York Days recording of 2008) and “Secrets” (a tune from the 1980s revived for The Words And The Days in 2005). Enrico: “I feel these are nice pieces to improvise on. Joe plays great on them and brings the music to such a level that it is very inspiring to play after his solos.” Heard exclusively on flugelhorn in this set, Rava plays with the singing sense of melodic invention that has long been a characteristic of his work, in and out of the free zone. The ensemble flies into Lovano’s “Fort Worth” with great abandon, saluting the Texas blues and making specific allusions also to Ornette Coleman and Dewey Redman, two of Fort Worth’s freest spirits. Joe: “It’s a funky 24 bar blues with a lot of freedom in it, a tune that takes on a very different shape depending on who I’m playing it with. I was really keen to bring it to Enrico and this rhythm section.” “Drum Song” features Joe on the Hungarian tarogato. He switches to tenor as the music gradually segues into Coltrane’s “Spiritual”, which boils for a while until Giovanni Guidi calms the waters with a freely rhapsodic account of “Over The Rainbow”. Roma is issued as Enrico Rava, born in Trieste in 1939, celebrates his 80th birthday. Already contributing to historically important recordings in the late 1960s and early 70s, including The Forest And The Zoowith Steve Lacy (1967) and Carla Bley and Paul Haines’s Escalator over The Hill (1971), Rava has been an ECM artist since 1975 when The Pilgrim and the Stars was recorded. His 21st century releases include Rava On The Dance Floor and Tribe, both of which incorporate the piano of Giovanni Guidi. Roma is Joe Lovano’s second leader or co-leader date for ECM this year, following hard on the heels of the much-praised Trio Tapestry (with Marilyn Crispell and Carmen Castaldi). Lovano made his ECM debut on Paul Motian’s Psalm in 1981, was subsequently a member of the influential trio with Motian and Bill Frisell, whose albums include It Should Have Happened A Long Ago and Time And Time Again. Joe also appears on key ECM recordings with John Abercrombie (Open Land, Within A Song), Marc Johnson (Shades of Jade) and Steve Kuhn (Mostly Coltrane). Gerald Cleaver first appeared on ECM as a member of Roscoe Mitchell’s Note Factory Band on Nine To Get Ready in 1997. He has since played on recordings for the label with Craig Taborn, Michael Formanek, Miroslav Vitous and Tomasz Stanko. Dezron Douglas’s discography includes recordings with Cyrus Chestnut, George Cables, Louis Hayes and Eric McPherson, as well as his own ensembles. 1. Avishai Cohen & Yonathan Avisha - The Opening 04:32 2. Avishai Cohen & Yonathan Avisha - Two Lines 06:25 3. Avishai Cohen & Yonathan Avisha - Crescent 08:28 4. Avishai Cohen & Yonathan Avisha - Azalea 03:41 5. Avishai Cohen & Yonathan Avisha - Kofifi Blue 06:29 6. Avishai Cohen & Yonathan Avisha - Dee Dee 03:28 7. Avishai Cohen & Yonathan Avisha - Ralph's New Blues 04:33 8. Avishai Cohen & Yonathan Avisha - Sir Duke 03:41 9. Avishai Cohen & Yonathan Avisha - Shir Eres (Lullaby) 04:35 ECM Avishai Cohen, Yonathan Avishai Playing The Room Avishai Cohen: trumpet Yonathan Avishai: piano Release date: September 6, 2019 ECM 2641 B0030937-02 CD UPC: 6025 775 2277 2 LP UPC: 6025 778 5725 6 Playing The Room bears testimony to the long musical friendship of Avishai Cohen and Yonathan Avishai. They began to explore jazz as teenagers in Tel Aviv, and have continued to play together over many years, with Yonathan recently making important contributions to Avishai’s group albums on ECM. Their first duo recording begins with music composed by the trumpeter and by the pianist and concludes with a touching interpretation of Israeli composer Alexander Argov’s cradle song “Shir Eres”. Along the way, Avishai and Yonathan improvise – freely, playfully, soulfully – on themes from the jazz tradition. And, as the album titles implies, they also invite the recording space, the Auditorio Stelio Molo RSI in Lugano, to be part of the sound, making full use of its resonant acoustic properties in a performance with the intimacy and focus of chamber music. The original impetus for the album came from a casual comment of Manfred Eicher’s, made during the recording of Yonathan Avishai’s trio recording Joys and Solitudes in Lugano in February 2018: “Avishai [Cohen] should play this room”, the producer remarked. Within a few weeks a duo session, to test the implications of this, was spontaneously scheduled. The nature of Cohen’s albums Into The Silence and Cross My Palm with Silver, with their wide dynamic range and sometimes strongly-stressed rhythm, had called for a different kind of recording set-up, in which bass and drums could be isolated when necessary, and Studios La Buissonne near Marseilles proved a good choice for the challenges of that music. The more conversational qualities of the trumpet-piano duo, however, could grow and glow in the wood-walled recital room of Lugano. The question of what to play was almost secondary. Yonathan Avishai and Avishai Cohen have a shared history of 30 years of musical interaction. Yonathan puts it more simply: “We’ve been playing together forever.” They attended the same junior high school in Israel, and Yonathan had made music already in ensembles with Cohen’s siblings, saxophonist Yuval and clarinettist Anat, before it became apparent that the pianist and the trumpeter had a special musical connection, one which has deepened with the passing of time, as they have honed their improvisational rapport. Playing The Room then is the dialogue of friends. Sharing ideas in the music, offering individual statements, reflecting on jazz history as well as personal associations. And working with the sound of the room: Avishai allows the middle and lower registers of the trumpet, in particular, to sing with a golden, burnished glow – in general, bearing out The Boston Globe’s description of him as “a trumpeter of rare poise and lyricism.” Meanwhile, with a personal style simultaneously robust and modest, both modern and anchored in the blues, Yonathan Avishai alludes to the some of the masters whose work continues to resonate. “His solos”, noted Downbeat recently, are “spacious, unhurried, lovely, sounding as if he’s in no rush to prove himself.” “Since I’m playing Avishai’s music in his quartet which is a whole journey in itself and since I have my trio as a context for my ideas, neither of us felt that the duo recording should primarily be about us as writers,” says Yonathan Avishai. “We each brought along one tune [Avishai Cohen’s “The Opening”, and Yonathan’s “Two Lines”], and these were the first things recorded. After that, the sequence of pieces is fairly close to the order in which we played the music in Lugano and it has to do with energies that we really like, and composers we like, in jazz and other idioms. We’ve always played some of Ornette’s music, for instance: ‘Dee Dee’ is a tune we’ve played for many years, and in fact we often quote it when improvising. We’ve always liked Ellington of course, and Abdullah Ibrahim and so on, and certain things came out. Almost everything was a first take.” The idea of including Yonathan’s arrangement of Stevie Wonder’s Ellington homage “Sir Duke” arose as indirect tribute to Don Cherry who had incorporated part of the chorus of the tune in the piece “Colemanwonder” on the first Codona album (1978) with Collin Walcott and Nana Vasconcelos. Almost a solo piano piece in the present interpretation, Cohen’s trumpet floats in gently in the final moments. Adding Sasha Argov’s “Shir Eres” at the end of the album brings us full circle back to Israel. Argov (1914-1995) counts as one of the country’s most important and prolific composers, his wide-ranging œuvre including more than a thousand songs written to the words of Israeli poets. Recorded in September 2018, and produced by Manfred Eicher, Playing The Room is available as both audiophile vinyl album and compact disc. For information about the touring activities of Avishai Cohen and Yonathan Avishai, visitwww.ecmrecords.com, www.avishaicohenmusic.com, and www.yonathan-avishai.com

Artist Title Time Jazzmeia Horn Free Your Mind 04:47 Jazzmeia Horn Time 01:55 Jazzmeia Horn Out the Window 03:30 Jazzmeia Horn No More 03:47 Jazzmeia Horn When I Say 02:30 Jazzmeia Horn Legs and Arms 07:23 Jazzmeia Horn Searchin? 03:03 Jazzmeia Horn Green Eyes 05:20 Jazzmeia Horn Still Tryin? 04:23 Jazzmeia Horn Only You (feat. Jamison Ross) 01:14 Jazzmeia Horn Reflections of My Heart (feat. Jamison Ross) 06:33 Jazzmeia Horn I Thought About You 03:49 JAZZMEIA HORN’S SECOND ALBUM LOVE AND LIBERATION IS A BOLD DECLARATION OF MUSICAL MATURITY, CULTURAL IDENTITY, AND PERSONAL GROWTH Dallas-born singer surpasses promise of GRAMMY® Award-nominated debut A Social Call with August 23 release featuring eight original songs IMPACTING JAZZ “If nomenclature is destiny, Jazzmeia Horn was indeed born to swing. Maturing in what is proving to be a renaissance period for female jazz singers, Horn—who has won in both the Thelonious Monk and Sarah Vaughan vocal-jazz competitions—holds her own as an assured and spunky interpreter of song.” -The New Yorker “Horn is among the most exciting young vocalists in jazz, with a proud traditionalism that keeps her tightly linked to the sound of classic figures like Nancy Wilson and Betty Carter, but a vivacity of spirit and conviction that places her firmly in the present.” -The New York Times “The album clearly reflects deeper reserves of experience for Horn, who has spent the last couple of years almost perpetually on tour — honing her skills not only as a performer but also as a bandleader, after the example of a prominent role model, Betty Carter.”-WBGO.org “If there’s a breakout star, it is the charismatic 28-year-old vocalist Jazzmeia Horn, whose given name seems to have preordained her for an improvisational life. She positively ruled the stage at her SFJazz Center performance last month kicking off the San Francisco Jazz Festival, scatting with the agility of an Olympic gymnast and delivering ballads with simmering intensity and exquisite precision.” -San Francisco Chronicle In the two years since Jazzmeia Horn bowed with her first album, the GRAMMY Award®-nominated A Social Call, she’s been busy on the road, honing her vocal skills to a finely tuned level, writing songs of personal relevance and social message, and perfecting a fearless approach to improvisation and performance in general. The convergence of this drive and development has resulted in what is sure to be hailed as one of the most courageous recordings of 2019—Love and Liberation—filled with songs of daring musicality, emotional power, and messages of immediate relevancy. Horn chose the title she did for her second album because, “Love and Liberation is a concept and mantra that I use consistently in my everyday life. For me the two go hand in hand and they both describe where I am in my life and career right now. An act of love is an act of liberation, and choosing to liberate—oneself or another—is an act of love.” Love and Liberation, scheduled for release on August 23, 2019 via Concord Jazz, marks a formidable leap forward for Horn as a singer, bandleader and songwriter, the result of an almost non-stop touring schedule that followed the release of her debut album and which benefitted her vocal chops as well as her band sound. “I have evolved,” she says. “It’s like I’m really understanding music in a different way.” “Once A Social Call was released in May of 2017, I hit the road and I am still on tour. The album literally came out two years ago. I’m really tired but grateful because I’ve had the opportunity to travel and practice and improvise night after night in a room full of people with some of the best musicians playing today. We’d experiment, using a trumpet player on a song one time and a saxophonist the next, or sometimes just drums and voice in the beginning of a song, trying out different combinations and ideas, challenging ourselves. This was worth more than gold to me—understanding how to utilize my instruments: my voice, my body, the band that I’ve hired.” Horn has substantial experience with all the A-list musicians on these tracks: pianists Victor Gould (her regular accompanist) and special guest Sullivan Fortner, tenor saxophonist Stacey Dillard and trumpeter Josh Evans, bassist Ben Williams, and drummer/singer Jamison Ross. Chris Dunn, who produced Horn’s debut disc, is producer on this album as well. Eight of the dozen new tracks are original tunes, a point of pride and significance for the 28-year old Horn: “All of these songs are about me and my experiences, but also as part of any young person’s journey. The message they all share is that you just have to learn—about people, about relationships, about business, love, or whatever. They don’t just tell one person’s story, they tell many people’s stories.” The songs on Love and Liberation comprise an impressive variety of styles, approaches, and feel—some with full band, some just voice and one instrument, even an a capella duet—each with a precise message to convey. There are songs that resonate with a powerful sense of African American identity, and others that speak with intention about her stature as a strong, independent woman. Still others deal with matters of love and attraction—with tenderness and humor. “Some of these songs are very cute and fun,” Horn admits. “But a lot of them are meditations and have deep meaning that people can listen to, to help free up their minds. People of all creeds and races, and even all generations because there’s a lot of tradition in this music. My godfather gave me the best compliment when I played the album for him. He said, I’m really proud of you because this music sounds like what Ella [Fitzgerald] or Billie [Holiday] or Abbey [Lincoln] or Nina [Simone] would have evolved into.” Musically, Horn’s compositions both breathe and bend jazz tradition, with tasteful touches of R&B and hip-hop, revealing a marked inventiveness and a love for a good melodic line. On Love and Liberation one can hear it on the opener “Free Your Mind” (a plea for more human interaction and less focus on digital media) and the coy yet firm “Time” (urging an avid suitor to take a breath and cool his jets), to the upbeat, off-kilter, rhythmic slam of “Out The Window” (warning of the other woman) and the intelligence and nuance of the a capella duet, “Only You” (weaving the inner words of two lovers as their thoughts connect, diverge and reconnect.) Horn is quick to point out that she is constantly writing while on the road, and that many of the originals on Love and Liberation are not exactly new. “We’ve been playing ‘Legs And Arms’ for about a year now, and some, like ‘Searching’ goes back to 2013! We’ve also been doing ‘Green Eyes’ which is by Erykah [Badu] and then a bunch are brand spanking new.” The four covers on Love and Liberation are equally impressive, both in which tunes Horn chose to cover and how she approaches them, finding fresh takes on Jon Hendrick’s “No More” (as clear and strong a statement on Horn’s own philosophy of personal empowerment), Badu’s “Green Eyes” (Horn’s interpretation giving it a shot of gravitas with a more spiritual feel), Rachelle Farrell’s “Reflection of My Heart” (a poignant vocal duet with drummer/singer Jamison Ross), and Jimmy Van Heusen/Johnny Mercer’s “I Thought About You” (the sole classic standard of the set.) Blessed with a fitting name for her chosen path—it was Horn’s jazz-loving, piano-playing grandmother who chose “Jazzmeia”—the singer was born in Dallas in 1991, grew up in a tightly knit, church-going family filled with musical talent and started singing as a toddler. She attended Booker T. Washington High School for Performing and Visual Arts, known for launching such musical greats as Roy Hargrove, Norah Jones, and Erykah Badu. Her education included steering herself to the mentors who would guide her passion for jazz, like Bobby McFerrin, Abbey Lincoln, and Betty Carter. In 2009, Horn moved to New York City to enroll in The New School’s jazz and contemporary music program. An intense four years of training and performing followed, when she met many of the musicians who appear on her recordings, including Gould and Dillard. In short order, her talent began to be noticed. In 2013, she entered and won a Newark-based contest named for an initial inspiration—the Sarah Vaughan International Jazz Competition. In 2015, she won the Thelonious Monk Institute International Jazz Competition, the most coveted award a jazz musician can hope to attain. Part of her prize was a contract with Concord, which led to A Social Call and now Love and Liberation. “Honestly, I’m way more excited now about Love and Liberation because this is mostly my original music,” says Horn with palpable giddiness. “Don’t get me wrong, I love A Social Call and all the acclamations were great—the reviews inDownbeat, The New York Times and London Times. But now I’m like, You guys don’t really know what’s coming. Boy, do I have something in store for you!” JAZZMEIA HORN ON THE WEB: Website: www.theartistryofjazzhorn.com Facebook: www.facebook.com/TheArtistryofJazzHorn Twitter: www.twitter.com/msjazzhorn

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Artist Title Time Cathy Segal-Garcia Dreamsville 06:15 Cathy Segal-Garcia The Three of Us 04:41 Cathy Segal-Garcia Canto Triste 07:09 Cathy Segal-Garcia Scarlatti Sonata in B minor L33 02:54 Cathy Segal-Garcia September in The Rain 05:18 Cathy Segal-Garcia Zingaro 04:20 Cathy Segal-Garcia You Are There 04:13 Cathy Segal-Garcia Pensativa 06:29 Cathy Segal-Garcia Beyond The Years 05:34 Cathy Segal-Garcia Sometime Ago / Children's Song 03:48 Cathy Segal-Garcia Dreamsville 05:01 Cathy Segal-Garcia "Dreamsville" Impacting: July 29 2019 Format(s): Jazz Dreamsville is a true musical collaboration between three accomplished artists. Cathy Segal-Garcia is a prolific recording artist, an exceptionally creative singer and a linchpin on the Los Angeles jazz scene. She’s also a singer who’s not afraid to take chances. On Dreamsville, her twelfth CD as a leader, she’s teamed up with two of the busiest, most sought after musicians on the Southern California jazz scene: guitarist Larry Koonse and pianist Josh Nelson. The recording is replete with rich textures of sound as Segal-Garcia’s warm, dark vocals float over the lush guitar and piano accompaniment. The CD comprises a mix of standard, originals, and gems that are certainly off the beaten track, such as “Scarlatti Sonata in B Minor L33,” which was written by the Italian composer Domenico Scarlatti in the 18thcentury, as well as two tunes penned by Segal-Garcia. The music on Dreamsville is truly a dialogue between voice, piano, and guitar. The open, airy arrangements invite us to listen in on the conversation. There is no shouting, no grandstanding. There are onlyCathy Segal-Garcia, Josh Nelson, and Larry Koonse, three sensitive musicians with the performance chops and profound connection to the music that transport us to a place of great emotional depth and beauty. Recorded: August 2018 at Talley Sherwood Studios in Burbank, CA Engineered and mixed by the masterful Talley Sherwood Executive Producer: Dan Davilla Mastered by: Ron Boustead Cover art and graphics: Kaoru Mansour Photography: Freddy Lopez Promotion: Holly Cooper - Mouthpiece Music, Ben Scholz - Scholz Productions. 2018 Dash Hoffman Records DHR 1023 Dreamsville (6:00) (Ray Evans, Jay Livingston, Henry Mancini - Jay Livingston Music In, Northridge Music Co, St Angelo Music - ASCAP) The Three of Us (4:37) (Cathy Segal-Garcia - Dash Hoffman Music BMI) Canto Triste (7:08) (Eduardo Lobo, Lani Hall, Vincius De Moraes - Warner-Tamerlane Publishing Corp BMI) 4) Scarlatti Sonata in B minor L33 (2:52) (Domenico Scarlatti - Princeton University Press) 5) September in The Rain (5:20) (Al Dubin, Harry Warren - Warner Bros Inc. ASCAP) 6) Lonely Woman (5:03) (Horace Silver ASCAP, Zenon Miguel Angel - MA Zenon Music BMI) 7) Zingaro (4:17) (Antonio Carlos Jobim - Corcovado Music Corp BMI) 8) You Are There (4:10) (Dave Frishberg - Marissa Music ASCAP, John Mandel - Swiftwater Music ASCAP) 9) Pensativa (6:46) (Clare Fischer - Coast Music BMI) 10) Beyond the Years (5:33) (Cathy Segal-Garcia - Dash Hoffman Music BMI) 11) Sometime Ago/Children’s Song (3:50) (Sergio Mihanovich - Second Floor Music BMI, Chick Corea - Universal Music Corp ASCAP) CONTACT: Cathy Segal-Garcia cathy@cathysegalgarcia.com Attachments *Cath 1 Larry Koon.. Josh Nelso.. *New Bio (.. Onesheet f..

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Joseph Daley "The Seven Heavenly Virtues and The Seven Deadly Sins" Impacting: July 30 2019 Format(s): Jazz Artist Title Time Joseph Daley PATIENCE 06:37 Joseph Daley DILIGENCE 10:24 Joseph Daley CHASTITY 03:04 Joseph Daley HUMILITY 07:39 Joseph Daley CHARITY 03:11 Joseph Daley KINDNESS 02:18 Joseph Daley TEMPERANCE 06:18 Joseph Daley INVIDIA (Envy) 04:36 Joseph Daley AVARITA (Avarice) 03:58 Joseph Daley GULA (Gluttony) 05:26 Joseph Daley SUPERBIA (Pride) 04:05 Joseph Daley LECHERY (Lust) 12:21 Joseph Daley IRA (Anger) 04:13 Joseph Daley DESIDA (Sloth) 03:29 PROGRESSIVE JAZZ ADD: ASAP * Celebrating Joseph's 70th Birthday - August 6th, 2019 JOSEPH DALEY “THE SEVEN HEAVENLY VIRTUES / THE SEVEN DEADLY SINS” JoDaMusic Records 005 Progressive jazz composer, euphonium and tuba master reissues, remasters and combines lauded works for a comprehensive and refreshed collection Suggested Tracks: 2, 4, 8, 9, 10, 11 After nearly 50 years of recognition as one of the consummate sidemen on the adventurous music scene – with remarkable artists like Sam Rivers, Carla Bley, Gil Evans, Charlie Haden, Muhal Richard Abrams, Taj Mahal and so many more – Joseph Daley has emerged as one of Jazz’ and contemporary music’s most extraordinary composers and leaders. Stunning musicians and fans alike with his brilliant 2011 CD, The Seven Deadly Sins, featuring his Earth Tones Ensemble (a full Jazz orchestra augmented by six additional low-tone horns, and including a seven-member rhythm section and four special guests), this powerfully innovative music mines the same rich vein of musical expression as that of immortals like Charles Mingus, Duke Ellington and George Russell, receiving rave reviews and making several Best of Year lists. In 2013 he followed up with The Seven Heavenly Virtues, then in 2014 Portraits: Wind, Thunder and Love which includes the five movement suite Wispercussion: Five Portraits of Warren Smith – both featuring string orchestras. Drawing the attention of a number of prominent educators and university programs, since 2018 Joseph has become an in-demand and highly compelling educator, providing activities at various institutions in Pennsylvania, Ohio, New Mexico, Washington, as well as a residency at Dartmouth College resulting in a performance of selections from The Seven Deadly Sins project. Plans for extended residencies are in motion for the future, including a week-long residency that will take place at Seattle Pacific University in January 2020, culminating in a full concert performance of The Seven Deadly Sins. Plans are also in place to repackage both Seven Deadly Sins and Seven Heavenly Virtues into a single CD entitled Sins and Virtues on his Jodamusic label in fall of 2019. In addition to his orchestral endeavors, Joseph is developing a significant reputation as a leader of smaller ensembles. In 2015, The Tuba Trio Chronicles – dedicated to his long time friend and mentor Sam Rivers, in whose Tuba Trio he performed extensively in the U.S. and Europe during the ‘70s and ‘80s – was released to high acclaim, and when time allowed three years later the ensemble toured in more than 15 U.S. cities in the spring of 2018. Joseph is also focused upon developing a series of life celebration projects dedicated to his late wife Wanda Daley, in which Joseph will use both his Tuba Trio Rituals Ensemble and Earth Tones Ensemble to realize this musical quest. Joseph is also currently a member of the highly eclectic ensemble Hazmat Modine, under the direction of musician and visual artist Wade Schuman. It was Schuman’s paintings that helped inspire the creation of Daley’s Seven Deadly Sins project, which was developed at the MacDowell Colony in 2001. "In the initial development of both projects, I was enlightened by how important it is to be aware of these guidelines as a vehicle to spiritual growth. The Virtues are the tools of growth and the Sins are clearly defined tools of destruction. Finally, this project is the initial musical tribute honoring my loving soul mate Wanda who I miss dearly." Whether performing with his large ensemble; with his evocative Ebony Brass Quintet, his stunning World-music influenced Rituals Ensemble, the Tuba Trio or in sparer solo, or duo contexts; sheer musicality, deeply-hewn emotion and jubilant innovation are always at the core of Joseph’s most singular musical expression. Best known for playing the tuba, Joseph also plays euphonium, trombone and piano; but these days his growing reputation as a visionary composer is bringing him worldwide acclaim. Born in New York City’s Harlem, Joseph began his musical studies in elementary school and received high honors and recognition throughout his school years (including the renowned High School of Music and Art), and was a member of the most prestigious ensembles in the New York City school system. During his high school years, he began performing on the Latin music scene – well-known as one of the most powerful foundations of higher musical learning – performing alongside such fine musicians as Rene McLean, Monquito Santamaria, Andy Gonzalez, Jerry Gonzalez, Alex Blake and many others. A scholarship to the Manhattan School of Music resulted in his Bachelor’s degree in Performance and a Master’s degree in Music Education and led to a career as an educator in the New York and New Jersey school systems from 1976 until his retirement in 2005. Heavily dedicated to the education of young people to the highest values in musical understanding and expression, Joseph balanced his extensive educational commitments with recording and performing in the ensembles of some of the most provocative musicians on the contemporary jazz scene. In addition to those mentioned above, Joseph contributed heavily to groups led by other major artists including Muhal Richard Abrams, Makanda Ken McIntyre, Jason Hwang and Dave Douglas, and is an original member of Howard Johnson’s groundbreaking tuba ensemble, Gravity. He also produced the latest Gravity CD: Testimony. Joseph has also been a longtime collaborator with the highly respected composer/ethnomusicologist and master of non-Western instruments, Bill Cole – a relationship that is still in bloom. Summing up the purpose and commitment of Joseph Daley…. “If the music I compose provides one with a sense of beauty, inner peace and introspection then I am fulfilled" http://www.jodamusic.com/ Watch Joseph Daley - Seven Deadly Sins & Seven Heavenly Virtues here (Credit: Robert O'Haire)

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Ottawa 30....Montreal 27 https://www.cfl.ca/games/2590/ottawa-redblacks-vs-montreal-alouettes/ https://www.cbc.ca/sports/football/cfl/ottawa-redblacks-montreal-alouettes-cfl-week-8-1.5235269 https://stats.cbc.ca/football/cfl/recap/76099 https://3downnation.com/2019/08/02/devonte-dedmon-runs-reblacks-to-overtime-win-in-montreal/ https://3downnation.com/2019/08/03/redblacks-snap-skid-with-ugly-win-eleven-other-thoughts-on-beating-montreal/ Take a look at Dedmon's punt return. https://www.cfl.ca/2019/08/02/dedmon-pinballs-down-field-for-incredible-td/ ***** Calgary 24....Edmonton 18 https://www.cfl.ca/games/2591/edmonton-eskimos-vs-calgary-stampeders/ https://www.cbc.ca/sports/football/cfl/cfl-edmonton-calgary-recap-week-8-1.5235757 https://stats.cbc.ca/football/cfl/recap/76100 https://3downnation.com/2019/08/03/eskimos-fail-to-rally-late-as-stampeders-move-into-first-place-tie/ ***** Ottawa analysis https://3downnation.com/2019/08/02/six-things-weve-learned-about-the-redblacks-after-six-games/

ECM Enrico Rava /Joe Lovano - Roma release date: September 6, 2019 Enrico Rava: flugelhorn; Joe Lovano: tenor saxophone, tarogato; Giovanni Guidi: piano; Dezron Douglas: double bass Gerald Cleaver: drums Enrico Rava, the doyen of Italian jazz, joined forces with Joe Lovano, masterful US tenorist of Sicilian heritage, for a brief tour in November 2018. On this album, recorded live at Rome's Auditorium Parco della Musica, the two masters lead a spirited quintet that includes lyrical pianist Giovanni Guidi, dynamic drummer Gerald Cleaver and virtuosic bassist Dezron Douglas (making his ECM debut here). Well-loved tunes by the two bandleaders form the core of the program, including Enrico's intricate "Interiors" and "Secrets" and Joe's vigorous Texas blues "Forth Worth", which recalls the energies of Ornette Coleman and Dewey Redman. The album concludes with an extended and powerful medley that roams across the history of modern jazz as it gathers together Lovano's "Drum Song", John Coltrane's "Spiritual" and the standard tune "Over The Rainbow". ECM Avishai Cohen / Yonathan Avishai - Playing The Room release date: September 6, 2019 Avishai Cohen: trumpet Yonathan Avishai: piano Playing The Room bears testimony to the long musical friendship of Avishai Cohen and Yonathan Avishai. They began to explore jazz as teenagers in Tel Aviv, and have continued to play together over many years, with Yonathan making important contributions to Avishai's group albums Into The Silence and Cross My Palm With Silver on ECM. Their first duo album begins with music composed by the trumpeter and by the pianist and concludes with a touching interpretation of Israeli composer Alexander Argov's cradle song "Shir Eres". Along the way, Avishai and Yonathan improvise - freely, playfully, soulfully - on themes from jazz tradition. And, as the album titles implies, they also invite the recording space, the Auditorio Stelio Molo RSI in Lugano, to be part of the sound, making full use of its resonant acoustic properties in a performance with the intimacy and focus of chamber music. Recorded in September 2018, and produced by Manfred Eicher, Playing The Room releasing on both audiophile vinyl and compact disc. ECM Ethan Iverson Quartet with Tom Harrell - Common Practice release Date: September 20, 2019 Ethan Iverson: piano; Tom Harrell: trumpet Ben Street: double bass; Eric McPherson: drums Ethan Iverson Quartet with Tom Harrell in concert: Oct. 15 Cambridge, MA at the Regattabar Oct. 16 New York, NY at the Jazz Standard Oct.17 Philadelphia, PA (venue tba) ***further dates in preparation The latest ECM album to feature pianist Ethan Iverson - following last year's duo recording with saxophonist Mark Turner, Temporary Kings, and two lauded discs with the Billy Hart Quartet - presents the Brooklyn-based artist at the head of his own quartet in a program of standards and blues, recorded live at Manhattan's famed Village Vanguard. The Guardian has praised the former Bad Plus pianist as "endlessly resourceful," while Time Out New York selected him as one of 25 essential New York jazz icons, describing Iverson as "perhaps NYC's most thoughtful and passionate student of jazz tradition - the most admirable sort of artist-scholar." Iverson's quartet for Common Practice features as its prime melodic voice the veteran Tom Harrell, who was voted Trumpeter of the Year in 2018 by the U.S. Jazz Journalists Association. Iverson extols the quality of poetic "vulnerability" in Harrell's playing, particularly in such ballads as "The Man I Love" and "Polka Dots and Moonbeams," two of the album's highlights. Common Practice also courses with an effervescent swing, thanks to the top-flight rhythm team of bassist Ben Street and drummer Eric McPherson, whose subtle invention helps drive Denzil Best's bebop groover "Wee" and two irresistibly bluesy Iverson originals.

Artist Title Time Moy Eng & Wayne Wallace Filthy Gorgeous 06:05 Moy Eng & Wayne Wallace Sleepless in Paris 04:52 Moy Eng & Wayne Wallace You Put A Spell on Him 06:21 Moy Eng & Wayne Wallace I Love A Girl Who Parties 04:58 Moy Eng & Wayne Wallace Hong Kong 05:46 Moy Eng & Wayne Wallace Wild Plum 04:38 Moy Eng & Wayne Wallace Magnolia Light 06:06 Moy Eng & Wayne Wallace Alpha Girl 04:22 Moy Eng & Wayne Wallace A New York Moment 07:17 Moy Eng & Wayne Wallace Thursdays In May 04:21 Moy Eng & Wayne Wallace "The Blue Hour" Impacting: July 30 2019 Format(s): Jazz ★★★ ½ "Part travelogue, part emotional exploration, The Blue Hour is a deeply felt experiment in unconventional musical storytelling. Eng’s lyrics often speak to her heritage as a Chinese-American, and Wallace has couched them in sumptuous arrangements that span rock, chamber music and more." Carlo Wolff, DownBeat, July 2019 MOY ENG, WAYNE WALLACE “THE BLUE HOUR” Patois Records PRCD026 Poet-vocalist Moy Eng debuts with original lyrics set to original music by 4-time Grammy nominee Wayne Wallace Suggested Tracks: 1, 3, 6 Latin 2, 5, 9 Recording debuts often provide only a starting point: the seeds of a musician’s artistic vision, which may or may not flower and grow in the course of a career. The Blue Hour, the debut recording from vocalist and poet-lyricist Moy Eng, is something altogether different. It introduces the measured and mature work of a new (not young) artist – a woman who has excelled as a visionary arts administrator and philanthropic executive, embarking on a second-act career that she had hardly anticipated. In collaboration with her songwriting partner and producer, the four-time GRAMMY-nominated trombonist and bandleader Wayne Wallace, Eng has created a debut masterwork. The songs on The Blue Hour, slated for release by Wallace’s Patois Records on July 26, 2019, embody the lessons of a lifetime even as the writing retains the wideeyed delight of a gifted sensualist. Eng’s lyrics are a blend of autobiography and her expansive imagination, and they range across the emotional landscape. There’s the spiky sass of “Filthy Gorgeous,” her inspired description of the dichotomies inherent in a new relationship; the ethereal sweep of “Magnolia Light,” a lazing dreamscape that transforms the sky itself into a lead character; and, in the ramp-up to “I Love A Girl Who Parties,” Eng’s remembrance of the impact Aretha Franklin’s music had on her, growing up in a traditional Chinese-American family during the 1960s. Traversing themes related to love, loss, travel, and identity, Eng presents these songs as a colorful basket of individual gifts, each wrapped in a gently sumptuous and frankly beautiful alto – a silky but unruffled singing voice as warmly clear as the poetic “voice” that infuses her writing. To complement her words, Wallace’s compositions – and especially his spot-on arrangements which draw on his eclectic musical experiences in pop, rock, jazz, and Latin music – enhance each of Eng’s lyrics, underscoring emotions both spoken and implied. Eng’s achievement is all the more impressive when you consider that, despite having “always had an affinity” for literature and writing, she only started putting pen to paper about 15 years ago. Since then she’s written some 500 poems, finding that genre best suited to what she needs to express. “Trusting myself with the process of capturing a memory, a scent or an experience – there’s something powerful that unfolds,” she explains. Her affinity for music runs even deeper. “I’ve never not sung,” she says; “it’s part of my earliest memories, since I was 4 or 5. It has always been part of my daily life, like breathing.” Nonetheless, and despite her early classical voice training, she has performed only occasionally on stage; this explains why most people are hearing her now for the first time. But in the arena of philanthropy and grant making, she’s a superstar, with more than three decades’ experience supporting initiatives in the arts, renewable energy, gender equality, and human rights. Wayne Wallace requires no such introduction to modern jazz listeners. He is perhaps best known as a powerful trombone soloist with expertise in a startling range of Afro-Caribbean and South American rhythms, as displayed in his eponymous Latin Jazz Quintet, which has earned three of his four GRAMMY nominations. These accomplishments rest upon a hidden foundation forged in San Francisco’s pop, soul, and Latin music scenes of the 1970s and 80s – one of his first gigs placed him in a James Brown cover band – and as a coveted writer and producer. The stylistic variety of his work on The Blue Hour offers a glimpse into this extensive resume, demonstrating that, as he points out, “I do more than just Latin Jazz.” Eng first encountered Wallace more than a decade ago, when she enrolled in a songwriting class he was teaching at a Bay Area music camp. “I wanted to learn what made a great song, even if I were never to write one. I felt that some of the phrasing and imagery in my poems might work as songs. And Wayne was very encouraging,” she recounts. About a year later, Eng called to tell Wallace that she’d written close to 100 pieces of poetry, and asking if they might try writing a song together. His reaction? “I was wondering when you would call me.” Eng sent him close to a dozen poems. Wallace chose three of those as likely candidates, and in 2010 they got to work on their first song, “Alpha Girl,” drawn from Eng’s X-ray observations of “post-feminist women with the ambitious goal to be all things to all people.” The two have a fairly strict division of labor – music by him, words by her – but as Wallace explains, “We’re almost always in the room together when we write; it’s not like I come in and say, ‘Oh, look what I came up with on my own.’ It’s more, ‘What do you think of this? Then how about this?’ It’s definitely a collaboration – even though Moy doesn’t count herself as having written the music.” At first they had no plans to make an album at all. But as the partnership continued, they soon found themselves with some 35 fully-fledged songs and began presenting them in Bay Area clubs. Positive reaction from audiences convinced them to cull the ten they thought would best complement each other, while at the same time exploring the full range of the “Eng-Wallace Songbook.” Several tunes – “Sleepless in Paris,” “Hong Kong,” “A New York Moment” – explore the wondrous disorientation of visiting places away from home; the jazz-rock anthem “Wild Plum” uses a Chinese symbol of winter as sexy metaphor. As Eng explains: “Wayne and I try to create worlds, with words and arrangements, that people can step into and connect with their own experiences.” Born in New Jersey, Moy Eng received her M.A. in Arts Administration from New York University, then launched her professional career with a bang, as fundraiser for the Alvin Ailey American Dance Theater – where she worked directly with the company’s legendary founder – and the Orchestra of St. Luke’s. She has been a grant maker in foundations whose assets ranged from $100 million to $9 billion, including the William and Flora Hewlett Foundation. Her “day gig,” as she puts it, has earned her honors from the California Arts Council and from the World Affairs Council, which called her a social entrepreneur “who will shape our tomorrow.” She currently leads the Bay Area’s Community Arts Stabilization Trust (CAST), a young nonprofit organization that develops affordable workspaces for the arts in one of the most expensive regions to live and work in the world. In a career that spans four decades, San Francisco native Wayne Wallace has lent his myriad talents (sideman, arranger, composer, producer) to the likes of Count Basie, Aretha Franklin, Tito Puente, Sonny Rollins, and Carlos Santana. 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 as music director of John Santos’s Machete Ensemble. Wallace’s outsized role in Bay Area jazz includes his creation of Patois Records, with a catalog that includes his own albums and 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 previously taught at San Jose State University and Stanford University. Attachments ONE SHEET .. Front+Back.. Liner note.. Moy Eng & ..

We are excited to announce the launching of The 14 Jazz Orchestra's new YouTube site (The 14 Jazz Orchestra) with new videos from our recent recording, The Future Ain't What It Used To Be. We have opened up our site with 2 compositions by Chick Corea, Blue Miles and Armando's Rhumba, featuring Latin Grammy Winner Ed Calle on Tenor and Soprano Sax, along with Ed Maina (Alto Sax & Piccolo) and Drummer Lee Levin. YouTube users can find the videos by searching "The 14 Jazz Orchestra", get a direct link at the band's Facebook Page, or at our website, 14jazzorchestra.com. We are currently working on the music for a future recording release, circa 2021. In the meantime, listeners can continue to follow our music on CD, Downloads, and by Streaming through all the major distributors. Thank you for your continuing support. Dan Bonsanti

Week 8 results Toronto 28....Winnipeg 27 https://www.cfl.ca/games/2588/winnipeg-blue-bombers-vs-toronto-argonauts/ https://www.cbc.ca/sports/football/cfl/cfl-toronto-argonauts-winnipeg-blue-bombers-recap-week-8-1.5233514 https://stats.cbc.ca/football/cfl/recap/76097 https://3downnation.com/2019/08/01/bethel-thompson-fights-penalties-20-point-deficit-as-argos-stun-bombers-for-first-win/ https://3downnation.com/2019/08/01/bombers-suffer-epic-collapse-against-boatmen-ten-other-thoughts/ Will this be the biggest upset of the season? The Bombers led 20-0 with four minute left in the first half. ***** Sask 24....Hamilton 19 https://www.cfl.ca/games/2589/hamilton-tiger-cats-vs-saskatchewan-roughriders/ https://www.cbc.ca/sports/football/cfl/cfl-saskatchewan-hamilton-recap-week-8-1.5233517 https://3downnation.com/2019/08/02/fajardo-orchestrates-last-minute-comeback-as-riders-edge-ticats/ Sask scored the winning TD with 24 seconds left in the game.