GA Russell

Week 15 results Calgary 23....Toronto 16 https://www.cfl.ca/games/2614/calgary-stampeders-vs-toronto-argonauts/ https://www.cbc.ca/sports/football/cfl/cfl-week-15-calgary-stamperders-toronto-argonauts-1.5292445 https://stats.cbc.ca/football/cfl/recap/76123 https://3downnation.com/2019/09/20/stampeders-use-strong-first-half-to-sail-to-another-win-over-argos/ Calgary was the better team. The Argos had a good fourth quarter, and theoretically could have come back, but not really. ***** Hamilton 30....Edmonton 27 https://www.cfl.ca/games/2615/hamilton-tiger-cats-vs-edmonton-eskimos/ https://www.cbc.ca/sports/football/cfl/hamilton-tiger-cats-edmonton-cfl-1.5292373 https://stats.cbc.ca/football/cfl/recap/76124 https://3downnation.com/2019/09/21/ticats-first-cfl-team-to-clinch-playoff-spot/ https://3downnation.com/2019/09/20/eskimos-cant-complete-comeback-lose-to-tiger-cats/ https://3downnation.com/2019/09/21/sportsball-giveth-sportsball-taketh-away-thoughts-on-the-eskimos-bank-shot-loss/ https://3downnation.com/2019/09/22/ticats-escape-edmonton-with-a-win-and-a-playoff-spot/ The Ticats led 24-0 in the second, but needed Hajrullahu to kick a 34-yard field goal on the last play of the game to win it. ***** Montreal 38....Winnipeg 37 https://www.cfl.ca/games/2616/winnipeg-blue-bombers-vs-montreal-alouettes/ https://www.cbc.ca/sports/football/cfl/winnipeg-blue-bombers-montreal-alouettes-cfl-week-15-1.5292929 https://stats.cbc.ca/football/cfl/recap/76125 https://3downnation.com/2019/09/21/comeback-king-vernon-adams-jr-flies-alouettes-to-wild-win-over-bombers/ https://3downnation.com/2019/09/21/bombers-collapse-out-east-again-10-other-thoughts/ The Bombers led 34 - 10 late in the second, and 37-24 with at the three minute warning. ***** BC 40....Ottawa 7 https://www.cfl.ca/games/2617/bc-lions-vs-ottawa-redblacks/ https://www.cbc.ca/sports/football/cfl/ottawa-redblacks-bc-lions-cfl-week-15-1.5292968 https://3downnation.com/2019/09/21/redblacks-bood-off-the-field-lions-register-second-consecutive-blowout/ Duron Carter threw a touchdown pass! https://www.cfl.ca/2019/09/21/trick-play-has-carter-air-it-out-for-the-td/ ***** Now let's consider the playoffs. Nobody is mathematically eliminated yet. But Ottawa, Toronto and BC have lost 10 games. That means the most they can win is 8. That means that if an eastern team wins 9, the worst it can finish is second. And if a western team wins 9, it will finish ahead of Ottawa and Toronto, and thus qualify for the crossover spot. Therefore, when a team wins its ninth game, it will qualify for the playoffs. As a result, Hamilton, Winnipeg and Calgary qualified for the playoffs this weekend. https://3downnation.com/2019/09/22/bombers-stampeders-clinch-playoff-spots/ ***** Week 15 highlights https://www.cfl.ca/best-highlights-week-15-2/

Trumpeter Franco Ambrosetti Leads All-Star Group on Long Waves Unit Records release features John Scofield, Jack DeJohnette, Uri Caine and Scott Colley CD AND DOWNLOAD AVAILABLE IN STORES AND ONLINE NOW AND THROUGH WWW.UNITRECORDS.COM Franco Ambrosetti trumpet, flugelhorn John Scofield guitar Jack DeJohnette drums Uri Caine piano Scott Colley bass THE LABEL - For over three decades Unit Records has been documenting the best of jazz, modern classical and electronic music. Founded by guitarist Harald Haerter, it is an all-purpose music platform, covering the needs of the recording, performing and presenting communities throughout Europe. www.unitrecords.com Zürich, Switzerland, - One of the most revered figures on the European jazz scene, Swiss trumpeter Franco Ambrosetti has maintained a strong affinity for the music since debuting as a leader in 1965 with A Jazz Portrait of Franco Ambrosetti. Now approaching his 78th birthday in December, Ambrosetti is still swinging after all these years, which is very much in evidence by his latest recording, Long Waves. An all-star session recorded in January, 2019 in New York City, Ambrosetti's 28th as a leader overall and second for the Swiss-based Unit Records features celebrated guitarist John Scofield, pianist Uri Caine, bassist Scott Colley and legendary drummer Jack DeJohnette.Together they interact on an intimate level, displaying remarkable chemistry on seven tracks. "It was like a constant dialogue," said Ambrosetti of the empathetic session. "After one rehearsal, I felt like I had played with this group every night for the last five years." photo: John Abbott From their relaxed, conversational interpretation of the poignant ballad "Old Folks" to their swinging treatment of "On Green Dolphin Street" to new Ambrosetti originals like his buoyantly swinging "Silli's Waltz" and the burning "Silli's Long Wave" (both named for his wife of 22 years) and his tango-flavored "Milonga," Long Waves stands as a crowning achievement in the long and storied career of the esteemed trumpeter-flugelhornist-composer. Jazz has been a part of Ambrosetti's DNA since he was a child. Born in Lugano on December 10, 1941, he inherited a love of swinging music from his father Flavio Ambrosetti, an accomplished jazz saxophonist who founded the first jazz club in his hometown, organized the first jazz festival in Lugano and also played opposite Charlie Parker at the 1949 Paris Jazz Festival. Though he studied classical piano from age nine, Ambrosetti eventually picked up trumpet at age 17. And while he may have patterned himself after Clifford Brown and Lee Morgan in his early years, the single biggest influence on his now signature singing quality on the trumpet and flugelhorn was Miles Davis. "Miles sometimes was playing just three notes but with so much intensity, and especially when he was playing a ballad," he noted. "So from listening to Miles I learned about stretching a note when you play a melody. Instead of playing the notes shorter or staccato, you stretch the notes out like you're really singing. And I think I can express my feelings more if I really cry that note." photo: John Abbott In 1966, at age 24, Ambrosetti won a prestigious international jazz competition in Vienna directed by pianist Friedrich Gulda. With a jury consisting of Cannonball Adderley, Art Farmer, Jay Jay Johnson, Joe Zawinul, Ron Carter and Mel Lewis, Franco ended up outranking fellow trumpeters Randy Brecker, Claudio Roditi and Tomas Stanko for the first prize. The following year, he played his first concert in the United States, performing in his father's quintet, the Flavio Ambrosetti All-Stars, at the 1967 Monterey Jazz Festival. Through the '70s, he led his own groups and also toured with the George Gruntz Concert Jazz Band. During the '80s and '90s, he performed concerts and made TV appearances throughout Europe while recording most of his projects in New York City with such esteemed sidemen as pianists Hal Galper, Tommy Flanagan, Geri Allen and Kenny Kirkland, saxophonists Phil Woods, Michael Brecker, Steve Coleman and Greg Osby, bassists Dave Holland, Buster Williams and Michael Formanek, drummers Billy Hart and Billy Drummond. His 1993 album, Live at the Blue Note, featured tenor saxophonist Seamus Blake, pianist Kenny Barron, bassist Ira Coleman and drummer Victor Lewis. Ambrosetti's 2001 album, Grazie Italia, was a collection of beloved Italian folk and popular tunes, from "Volare" to "Roma Non Fa Stupida" to Bruno Martino's "Estate." As he said of that beloved project, "Italy is my culture but I'm Swiss, so I was thanking Italy for giving me this kind of gift." In 2008, he appeared at Quincy Jones' 75th birthday celebration at the Montreux Jazz Festival, performing a sublime rendition of "My Ship" (recreating the Gil Evans arrangement from 1957's Miles Ahead) and a soulful muted trumpet reading of "Summertime" (recreating the Evans-Davis collaboration from 1959's Porgy And Bess). His 2015 Enja release, After the Rain, was a heartfelt tribute to John Coltrane that featured alto saxophonist Greg Osby, pianist Dado Maroni, bassist Buster Williams, drummer Terri Lyne Carrington and his son Gianluca on soprano sax. In 2017, Ambrosetti marked the milestone of his 75th birthday by inviting an all-star cast of friends and colleagues to record Cheers. Pianist Kenny Barron, bassist Williams, drummers DeJohnette and Carrington, pianists Caine, Maroni and Antonio Faraòi, saxophonist Osby, guitarist Scofield and fellow trumpeter and longtime friend Randy Brecker were among the participants in that gala New York session. Ambrosetti's debut on Unit Records was 2018's lavish orchestral project, The Nearness of You, with strings conducted by Massimo Nunzi and brass and woodwinds conducted by Tonino Battista. That album, which included gorgeous renditions of Kurt Weill's "My Ship," Antonio Carlos Jobim's "Luiza" and Hoagy Carmichael's title track, also featured Franco's son Gianluca on soprano sax. That same year, the trumpeter received the Swiss Jazz Award presented at the Jazz Ascona Festival in Switzerland. In his autobiography, Two Roads, Both Taken, Ambrosetti addressed the issue of juggling careers as jazz trumpeter and industrialist. "Music won me over right away," he wrote, "whereas, the business activity took a few decades to seduce me." While Ambrosetti decided to pursue his family's multi-million-dollar business for decades, he never put his trumpet on the shelf. "I would practice every day through the years and I still practice every day," he said. "Trumpet is an instrument that you have to practice every day, at least half an hour, or you lose your chops. So I do manage to play every day of my life." He pours a lifetime of experience into every note on Long Waves, pushed to some dramatic heights by his stellar crew of seasoned veterans in Scofield, Caine, Colley and DeJohnette. TRACKS Milonga [07:13] Try Again [07:10] Silli's Long Wave [08:44] One For The Kids [07:16] Old Folks [08:36] Silli's Waltz [05:24] On Green Dolphin Street [09:05] Producer: Jeff Levenson Executive Producer: Harald Haerter Executive Producer: Silli Ambrosetti Recorded at Sear Sound Studios, NY, January 30-31, 2019 Mastered by Greg Calbi, Sterling Sound

Chantal Chamberland "Temptation" Impacting: August 19 2019 Format(s): Jazz Artist Title Time Chantal Chamberland Temptation 03:33 Chantal Chamberland Beautiful Life 04:49 Chantal Chamberland Love Never Felt So Good 03:40 Chantal Chamberland Miss Sarajevo 03:47 Chantal Chamberland Chasing Cars 04:17 Chantal Chamberland I Put A Spell On You 04:58 Chantal Chamberland Believe 04:05 Chantal Chamberland Ain't No Sunshine/ I Can't Stand The Rain 03:12 Chantal Chamberland I Wanna Dance With Somebody 04:01 Chantal Chamberland I Want A Little Sugar In My Bowl 04:40 Chantal Chamberland I Don't Want To Talk About It (bonus tracks) 04:21 Temptation is a stellar example of creative courage. Given her large and loyal international audience, powerhouse Canadian jazz vocalist Chantal Chamberland could easily have played it safe by delivering an album of Songbook standards sure to please the following she has built over the last two decades. Instead, a rigorous search for new and oft-unconventional material resulted in a generous collection of 13 songs for which the description 'eclectic' is an understatement. Her seventh full-length release, Temptation moves from Blues, Jazz, to Bossa and features such classics as "I Put A Spell On You" and "I Want A Little Sugar In My Bowl" nestling alongside tunes written or made famous by artists as diverse as Tom Waits, Bill Withers, Justin Timberlake and Michael Jackson, Rodriguez, Cher, U2, and modern rock band Snow Patrol. Chamberland makes this seemingly unlikely song selection work by breathing vibrant new life into every single one, assisted by the inventive arrangement and production choices she makes and the stellar accompaniment of her carefully chosen cast of A-list players. The diverse material, all focused on different facets of love, showcases her impressive range as a vocal stylist. While always avoiding vocal gymnastics, Chamberland moves from quiet and intimate to sultry, sensual and soulful with seamless ease. The result is a Temptation you will gladly and inevitably succumb to. French-Canadian singer Chantal Chamberland strikes a perfect balance between the soul of the classic singer/songwriter and the dynamic verve of a jazz chanteuse. Chantal Chamberland’s sensuous, smoky voice is her trademark instrument. Temptation is a dish best served chilled. Relaxed mood during wine o’clock. Extraordinary company with a snifter of XO. Play on shuffle while soaking in some bubbles. ‘Temptation’ will carry on evosound’s tradition of making beautiful pieces for the Audiophiles and music connoisseurs. Collectables, Classics, Must Haves. 180g Vinyl, Limited Editions, MQACDs, SACD formats. Master Quality Authenticated sound, supported by our attention to detail in the products and packaging. Chantal’s success internationally is not only a testament to her personal evolution but cements her role as one of the finest female interpreters of jazz today. From multiple appearances at the Montreal International Jazz Festival to headline concerts in Hong Kong to Cartagena. Chantal’s vocals move from sultry and soulful to bluesy and brassy with graceful ease. With 6 contemporary jazz pop releases, Chantal’s star shines brightly on an international stage. Besides encouraging the purchase of our quality physical formats. ‘Temptation’ will also be available for HiRes Digital download and HD streaming. Supported by Audiophile streaming services such as TIDAL MASTERS, Qobuz, and HD Tracks to name a few…

Artist Title Time Jane Bunnett & Maqueque On Firm Ground/Tierra Firme 04:54 Jane Bunnett & Maqueque Sky High 04:19 Jane Bunnett & Maqueque Broken Heart 03:57 Jane Bunnett & Maqueque "On Firm Ground/Tierra Firme" Format(s): Jazz AIRPLAY START NOW 9.9.19! Jane Bunnett & Maqueque are a force of nature. What started out five years ago as a project to record and mentor young brilliant Cuban female musicians, has become one of the top groups on the North American jazz scene. In the last year, they have played in major jazz festivals like Newport and Monterey, been featured on NPR’s programs Jazz Night in America and TIny Desk Concert, were nominated for a Grammy Award for their previous release, Oddara, and, most recently, were voted as one of the top ten jazz groups by the prestigious DownBeat magazine’s critics poll. Maqueque is led by veteran jazz icon Jane Bunnett; who has been a champion of Cuban jazz since before Buena Vista Social club made the sound a global phenomenon. This all female collective pours over an exuberant blend of Afro-Cuban, Jazz Fusion like the world has never seen before. Watching them is a masterclass in hard work, virtuosity and chemistry. On Firm Ground/Tierra Firme this is their third album, and it features all original compositions by the group’s current members which includes Jane Bunnett on flute and soprano saxophone, Melvis Santa, vocals & percussion; Mary Paz, congas & vocals; Dánae Olano, piano; Tailin Marrero, acoustic & electric bass; Yissy García, drums, Maqueque’s newest member, Joanna Majoko, an incredibly soulful vocalist and collaborator, Sacred Steel guitar player and vocalist Nikki D Brown. Album produced by Larry Cramer. Catch Jane Bunnett & Maqueque on Tour Sptember 25, 2019 Salisbury University Salisbury MD September 27, 2019 New Spire Arts Frederick MD November 1, 2019 Orillia Centre for Arts and Culture, St. Paul's Centre Orillia ON November 3, 2019 Dominican Republic Jazz Festival Cabarete December 5, 2019 Jazz Showcase Chicago IL December 6, 2019 Jazz Showcase Chicago IL December 7, 2019 Jazz Showcase Chicago IL December 8, 2019 Jazz Showcase Chicago IL December 13, 2019 MCG Jazz Pittsburgh PA December 14, 2019 Deane Center Wellsboro PA December 15, 2019 Nichols Flickinger Performing Arts Center Buffalo

Artist Title Time Poncho Sanchez Soul Bourgeoisie 05:54 Poncho Sanchez Liberia 06:01 Poncho Sanchez The Feeling of Jazz 05:57 Poncho Sanchez Giant Steps 04:48 Poncho Sanchez Si Te Dicen 06:10 Poncho Sanchez Sube 06:45 Poncho Sanchez Blue Train 05:56 Poncho Sanchez Yam’mote 03:31 Poncho Sanchez Poncho Sánchez Medley #2 07:38 Poncho Sanchez Trane’s Delight 04:39 Poncho Sanchez Todo Termino 04:51 Master Conguero, Band Leader and Latin Jazz Legend celebrates his 30th anniversary on Concord Picante on September 20, 2019 IMPACTING JAZZ On his first new album in seven years, GRAMMY Award-winning conguero Poncho Sanchez celebrates the life and music of the iconic saxophonist John Coltrane. Due out September 20, 2019 via Concord Picante, Trane’s Delight is a love letter from one musical pioneer to another, as the Latin Jazz legend pays homage to one of his earliest and most indelible influences. The joyous album arrives just in time for the late tenor titan’s 93rd birthday on September 23. Throughout his career Sanchez has held aloft the torch lit by such Latin Jazz innovators as Mongo Santamaria, Tito Puente and Cal Tjader, embraced by each of those icons and entrusted to carry forward the traditions of Latin Jazz. But Sanchez’s influences are numerous, and Coltrane looms large in Sanchez’s pantheon alongside those pioneers. On his latest album Trane’s Delight, Sanchez pays tribute to the late jazz legend with Latin-tinged reimaginings of Coltrane classics as well as new pieces composed in honor of the tenor titan. “I’ve always loved John Coltrane,” Sanchez says, “ever since I was a kid and first learned about jazz. I’ve recorded tributes to a lot of my heroes in life – Mongo Santamaria, Tito Puente, Cal Tjader – so I thought it was definitely time to do a tribute to the great John Coltrane.” Trane’s Delight also continues Sanchez’s remarkable 37-year relationship with Concord, a rich legacy that has now yielded 27 albums. The album features the conguero’s longtime band, featuring trombonist and musical director Francisco Torres, trumpet and flugelhorn master Ron Blake, saxophonist Robert Hardt, pianist Andy Langham, bassists Rene Camacho and Ross Schodek, and percussionists Joey DeLeon and Giancarlo Anderson. The 11-track album features three classic Coltrane compositions and a pair of new compositions written in honor of the sax master, alongside a host of original pieces and classic favorites chosen to represent Sanchez’s wide spectrum of influences. At its heart, though, Trane’s Delight provides a direct link from the 67-year old conguero to his 11-year old self, staring in the window of his local record store at the entrancing, blue-tinged cover of the 1962 album Coltrane. “I had eyeballed this record for about a month, looking at it with not enough money to buy it,” Sanchez recalls. “I played a couple little gigs around town and saved up the money, so it was the first album I ever bought by myself. I used to have a little space in my mother’s garage with my record player and my drums and congas. I put that record on, and that first track, ‘Out of This World,’ kicked in and I was blown away. I listened to that record daily for years.” The wonder with which Sanchez first heard Coltrane’s singular voice is still present more than a half-century later in his vibrant reimagining of the saxophonist’s compositions. Trane’s Delight features a buoyant Latin spin on “Liberia,” from 1964’s Coltrane’s Sound; the classic “Blue Train” rendered as a cha-cha-chá; and a rumba twist on the immortal “Giant Steps,” that perennial proving ground for jazz musicians, its challenge not only embraced by Sanchez’s virtuosic collaborators but taken at a breakneck pace that leaves no room for trepidation. In collaboration with Torres, Sanchez also penned two brand-new pieces inspired by Coltrane. The bustling title tune is a lively encapsulation of the saxophonist’s adventurous spirit, highlighted by DeLeon’s rollicking timbale solo. “Yam’mote,” meanwhile, coins a new hybrid term combining two cultures’ words for the same food: yams and camote. The music, as warm as the comfort food that it references, was inspired by another of the young Sanchez’s brushes with his idol. “When I was in high school, I would lay in bed listening to Los Angeles’ jazz radio station,” he says. “One night, the DJ announced, ‘Tomorrow I’m going to interview John Coltrane at 11am.’ It was during the week, but I had to hear this interview, so the next day I woke up and started coughing and told my mother that I didn't feel good, so I didn't have to go to school that day. It ended up being a short interview, but the part that stuck with me the most was at the very end. The host asked Trane his favorite food. My ears grew huge and I leaned in to the radio, thinking he’d say BBQ ribs or fried chicken or something, but he said sweet potato pie.” Dumbstruck, Sanchez asked his mother if she knew how to make sweet potato pie. Instead, she offered to make the candied camotes that is a favorite dish in Mexico and across Central America. “I ate that camote every day for like two weeks because I loved John Coltrane,” Sanchez laughs. “I just thank God that he didn't say dog food, because I would’ve run out and got some dog food. That’s how much he meant to me.” As always with Sanchez’s wide-ranging interests, Trane’s Delight casts its sonic net much wider than just Coltrane’s sphere of influence. The blissful Duke Ellington composition “The Feeling of Jazz,” provides a bridge: the lovely, relaxed tune, here featuring eloquent turns by Torres and Camacho, was recorded on 1963’s Duke Ellington & John Coltrane, the sole meeting of the two jazz icons. Trane’s Delight opens with “Soul Bourgeoisie,” a Hubert Laws composition originally recorded by the Jazz Crusaders on their 1965 album Chile Con Soul. Featuring a soulful Hardt solo, the upbeat tune sets the exuberant tone for the album. The classic bolero “Si Te Dicen” slows things down to an elegant sway, with Sanchez’s heartfelt vocal harkening back to Joe Cuba’s 1966 version featuring singer Cheo Feliciano. Pianist Andy Langham contributed “Sube” (which translates as “ascend” or “go up”), a bristling 6/8 piece ornamented by the mesmerizing kalimba playing of Cornelius Alfredo Duncan Jr. Sanchez befriended the percussionist more than 40 years ago, and reconnected when he saw a YouTube video of Duncan playing the African thumb piano. He immediately reconnected with his old friend and invited him to join the band for the occasion. A sequel to the medley of classic tunes that appeared on the conguero’s last release, Live in Hollywood, “Poncho Sanchez Medley #2” combines three old favorites: “Baila Mi Gente,” from 1979’s Poncho, which Sanchez cites as his first original composition; “El Sabrosón,” co-written by Sanchez’s longtime pianist and musical director, the late David Torres; and “El Shing-A-Ling,” a song born from Sanchez’s impromptu singing in a Fayetteville, Arkansas convenience store. The album closes with “Todo Termino,” a song written by Bobby Manrique and immortalized by another Sanchez idol, the great Puerto Rican singer and bandleader Tito Rodríguez. For the occasion he invited the Los Angeles vocalist Norell Thomson, a standout voice on the city’s salsa scene, to front the ensemble. Ultimately, Trane’s Delight offers a tribute not only to the stellar music and influence of the great John Coltrane, but a spotlight for the myriad ways that the tenor giant’s explorations have fueled courageous artists like Poncho Sanchez. The results, as on this passionate new album, would no doubt delight Trane’s searching spirit.

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Artist Title Time Gretje Angell Love Is Here To Stay 04:33 Gretje Angell I'm Old Fashioned 03:59 Gretje Angell Fever 04:28 Gretje Angell Deep In A Dream 05:28 Gretje Angell Berimbau 03:41 Gretje Angell Do Nothing Till You Hear From Me 04:21 Gretje Angell One Note Samba 02:32 Gretje Angell Tea For Two 05:01 Gretje Angell Them There Eyes 02:18 Gretje Angell "In Any Key" Impacting: September 2 2019 Format(s): Jazz Jazz vocalist Gretje Angell grew up in smoky, dimly-lit clubs as a little-girl roadie for her jazz-drummer father. Her grandfather was also a jazz drummer, so you could say Gretje was born to swing. “If it doesn’t groove then I don’t give it a sh*#,” the Los Angeles-based singer says with a good chuckle. (Gretje Angell: pronounce name GRETA ANGEL) Gretje ascended the bandstand on her own time. She worked through a heavy dose of stage fright, welcomed motherhood, and studied classical and opera prior launching her jazz career. Today, she announces her debut, "…in any key", a classic jazz vocal album—the kind of long player you put on while savoring wine and cooking and cleaning. "...in any key" simmers with the sensual sophistication of artists such as Anita O'Day, Chet Baker, Carmen McRae, and Ella Fitzgerald. Onstage and off, Gretje navigates lush balladry, snappy swing, and slinky Brazilian rhythms with sensitivity and dexterity. She’s a darling of the jazz underground who performs regionally, nationally, and internationally, wowing audiences in a broad array of settings. Gretje leads her own ensembles, ranging from intimate guitar and vocal duos to full-band configurations, and also appears with other acclaimed LA-based jazz combos, including Ladd McIntosh Swing Orchestra, Jack’s Cats, and Glen Garrett’s Big Band. Informing her dynamic emotionality and technical aptitude as a singer are her experiences as a soprano opera singer active with the Los Angeles Metropolitan Opera Company. Gretje was born in Akron, Ohio, and her earliest memories are the long, joyous nights spent in dark jazz clubs, falling asleep in booths while her father commanded the bandstand. Having two generations of jazz drummers ahead of her, it only makes sense that Gretje’s first instrument was bass. Despite the fact that her father passed away prematurely, she still cherishes a few early jam sessions the two shared as a rhythm section. Gretje pursued classical music in college, but battled stage fright which eroded her passion, and she eventually dropped out of college, moved to California, and didn’t sing a note for a decade. While at a house concert in LA five months pregnant with her son, Gretje heard a jazz vocal and guitar duo that sparked something of a seismic epiphany. “At that moment, it felt if I didn’t try music I was never going to do it,” she remembers. Inspired, but also immersed in a clearly in a time-sensitive life period, Gretje boldly set out to become a jazz vocalist, tirelessly working on her craft, and bravely confronting her stage fright. The years of woodshedding and self-growth shine through on Gretje’s debut, "…in any key". The album was recorded by gifted guitarist, producer, and arranger Dori Amarilio in his home studio, and its cheeky name is a salute to his virtuosic ability to play any jazz standard in any key, at any moment. "…in any key" manages to be lush but intimate, and vibey but pristinely produced. The album gracefully swings through balmy voyages into bossa nova and samba, and dips into snappy uptempo numbers and after-hours balladry. Select album highlights include “Love Is Here to Stay,” “Deep In a Dream,” and “Them There Eyes.” “Love Is Here to Stay” captures that elusive magic take where the ensemble work is effortless. The song boasts a breezy bossa groove, delicately nuanced band interplay, and smoldering vocals. “Deep in a Dream” oozes heartache. It is luxuriously textured with real strings courtesy of the Budapest symphony orchestra and bluesy muted trumpet, and it boasts achingly beautiful vocals. On the brisk “Them There Eyes,” Gretje flexes her scat chops, burning through the chord changes with assured ease. Though this is Gretje’s first album, she maintains the fluidly busy calendar of a consummate professional. Performing and recording as a jazz musician is something Gretje’s father would have been proud of, and, to the end, she dedicated her album to him. Reflecting on that, she shares: “Whenever I gig, I picture him in the back of the room and it always calms my nerves.” GRETJE ANGELL Our Love Is Here To Stay (Video): LINER NOTES "IN ANY KEY"----- Never, in my wildest dreams, did I imagine I'd be following in my father’s footsteps into my own madness, also known as: becoming a jazz musician. My early days were filled listening to the countless jazz records my parents owned (I loved to comb through them and stare at the covers, deeply inhale their musty odor, set them on the turntable and drop the needle), and nights were spent at smoky black clubs where my dad would play and I'd fall asleep in a booth covered by his jacket. Little did I know he was sowing the seeds of my future, which is as intertwined with him now (17-odd years after his death) as it was then, when he was sitting at his kit and I could crawl into his lap and throw my arms around him and kiss his cheek. MAN! I miss that crazy, old coot. I dedicate this album to him - my completely insane, and completely lovable, late father, Akron-renowned bebop drummer, Tommy "The Hat" Voorhees.

THE GURDJIEFF ENSEMBLE, LEADING GROUP SPECIALIZING IN ANCIENT AND MEDIEVAL MUSIC, SET TO MAKE DEBUT AMERICAN TOUR GURDJIEFF ENSEMBLE TO PERFORM IN NEW YORK, CHICAGO AND LOS ANGELES, PRESENTED BY AGBU The Gurdjieff Ensemble, one of the leading groups in the world specializing in ancient and medieval music from the East, will be making their first American Tour to three major cities this September sponsored by the Armenian General Benevolent Union (AGBU) The internationally acclaimed Gurdjieff Ensemble was founded by Armenian musician Levon Eskenian in 2008 with the intention of bringing the music of the Armenian philosopher, author and composer Georges I. Gurdjieff back to its ethnic inspirational sources. The Ensemble consists of Armenia’s leading musicians playing traditional instruments. Their debut album on ECM Records, “Music of Georges I. Gurdjieff,” was widely acclaimed, and won prestigious awards including the Edison Award in the Netherlands. They have been touring the world with sold out appearances at major festivals and concert halls in Europe, Australia, the Middle East, Russia and South America, and will bring their music to American audiences for the first time in September with concerts in New York, Chicago and Los Angeles. G.I. Gurdjieff, born in Armenia, is known to many in the West as one of the major spiritual figures of the 20th century. He was a musician, philosopher, choreographer, and writer, and his extensive musical repertoire was based on the music he heard while traveling in Armenia, the Caucasus, the Middle East, and many parts of Central Asia, India and North Africa, where he witnessed a myriad of folk and spiritual music, rituals and dance traditions. With their second album, “Komitas,” also on ECM Records, the Ensemble turned their attention to the music of Komitas Vardapet (1869-1935). Composer, ethnomusicologist, arranger, singer and priest, Komitas is popularly held to be the founder of contemporary music in Armenia, and in his work as a collector he explored the connections that uniquely bind together Armenian sacred and secular music. "This year we mark the 150th anniversary of Komitas and the AGBU Performing Arts is presenting the Gurdjieff Ensemble from Armenia for a debut tour in the biggest cities of America. We are extremely excited for the chance to share this special music with the US audiences," said Eskenian. Eskenian collected piano and vocal works and arranged them for traditional instruments, thereby enhancing and preserving their authenticity. The resulting music allows the Gurdjieff Ensemble, performing on more than 16 traditional Armenian and Eastern instruments, to illuminate the deep roots of Komitas’s and Gurdjieff’s works. Featured throughout the performances will be pianist and fellow ECM recording artist Lusine Grigoryan, performing pieces from her ECM Records debut album Komitas: Seven Songs. Tickets can be purchased at these links: Wednesday September 25 in Chicago, IL at Old Town School of Folk Music Friday September 27 in New York, NY at Symphony Space Sunday September 29 in Pasadena, CA at AGBU Vatche & Tamar Manoukian Performing Arts Center The Armenian General Benevolent Union (AGBU) is the world’s largest non-profit organization devoted to upholding the Armenian heritage through educational, cultural and humanitarian programs. Each year, AGBU is committed to making a difference in the lives of 500,000 people across Armenia, Artsakh and the Armenian diaspora. Since 1906, AGBU has remained true to one overarching goal: to create a foundation for the prosperity of all Armenians. To learn more visit www.agbu.org.

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.

'Debuted #10 on the Billboard Traditional Jazz Albums Chart'

Artist Title Time Van Morrison Dark Night Of The Soul (Radio Edit) 03:51 Van Morrison "Dark Night Of The Soul" Impacting Monday, Sept. 30th Van Morrison Three Chords And The Truth Exile/Caroline International, released October 25th 2019 First track – Dark Night of the Soul - online everywhere now UK & US tour dates including five London Palladium shows Van Morrison has announced details of a new album -Three Chords And The Truth. It will be released on Exile/Caroline International available on CD/vinyl and digital download on October 25th 2019. Three Chords And The Truth is truly something wonderful — fourteen new original compositions effortlessly encapsulate the Van Morrison sound and showcase his talents as one of our generation’s most celebrated songwriters. His sixth album in just four years, Three Chords And The Truth is further proof that Van Morrison is one of the greatest recording artists of all time and a creative force to be reckoned with. Three Chords And The Truth was produced and written by Van Morrison (except for If We Wait for Mountains which was co-written with Don Black). The album features contributions from legendary guitarist Jay Berliner and a duet with The Righteous Brothers’ Bill Medley (Fame Will Eat the Soul). Explaining what it was like to record the album, Van Morrison said: “You’re just plugging into the feeling of it, more the feeling of it...when they’re playing...It’s like reading me. So, I think there’s more of that connection.” The first track from the album – Dark Night of The Soul - is released online everywhere today (Wednesday 18th September). Three Chords And The Truth features the tracks: 1. March Winds In February 2. Fame Will Eat The Soul 3. Dark Night Of The Soul 4. In Search Of Grace 5. Nobody In Charge 6. You Don’t Understand 7. Read Between The Lines 8. Does Love Conquer All? 9. Early Days 10. If We Wait For Mountains 11. Up On Broadway 12. Three Chords And The Truth 13. Bags Under My Eyes 14. Days Gone By Van Morrison is performing a series of shows around the album release date and has also announced a residency at the London Palladium in March 2020. Van Morrison plays; Oct 2nd Reno, Grand Sierra Resort (SOLD OUT) Oct 4th Los Angeles, The Greek Theatre Oct 5th Santa Barbara Bowl (SOLD OUT) Oct 6th Los Angeles, Hollywood Bowl Oct 8th Churla Vista CA, North Island Credit Union Amphitheatre Oct 21st Bournemouth, International Centre Oct 23rd Cardiff, St David's Hall Oct 27th Oxford, New Theatre Oct 28th Nottingham, Royal Concert Hall Dec 2nd Brighton, Dome Dec 3rd Brighton, Dome Dec 31st Belfast, Stormont Hotel (SOLD OUT) Jan 1st Belfast, Stormont Hotel (SOLD OUT) Jan 2nd Belfast, Stormont Hotel (SOLD OUT) Jan 31st Las Vegas, The Colosseum at Caesars Palace Feb 1st Las Vegas, The Colosseum at Caesars Palace Feb 5th Las Vegas, The Colosseum at Caesars Palace Feb 7th Las Vegas, The Colosseum at Caesars Palace Feb 8th Las Vegas, The Colosseum at Caesars Palace Mar 20th London, The Palladium Mar 21st London, The Palladium Mar 22nd London, The Palladium Mar 24th London, The Palladium Mar 25th London, The Palladium For tickets and information visit www.vanmorrison.com/live

Artist Title Time Kelley Suttenfield Harvest Moon 05:29 Kelley Suttenfield Heart Of Gold 03:51 Kelley Suttenfield Only Love Can Break Your Heart 04:49 Kelley Suttenfield The Losing End (When You're On) 04:02 Kelley Suttenfield Flying on the Ground 04:57 Kelley Suttenfield The Needle and the Damage Done 05:23 Kelley Suttenfield Love Is a Rose 02:50 Kelley Suttenfield Down By the River 06:13 Kelley Suttenfield Fool For Your Love 03:20 Kelley Suttenfield Barefoot Floors 04:32 Kelley Suttenfield Old Man 04:32 Kelley Suttenfield "When We Were Young: Kelley Suttenfield Sings Neil Young" Impacting: September 13 2019 Format(s): Jazz EPK : www.kelleysuttenfield.com/epk/ VIDEO EPK HERE

Artist Title Time Terri Lyne Carrington Bells (Ring Loudly) (Radio Edit) 05:05 Terri Lyne Carrington Bells (Ring Loudly) (Album Version) 06:27 Terri Lyne Carrington and Social Science BELLS (RING LOUDLY) FT. MALCOLM-JAMAL WARNER New Single Out Now Impacting 9/17 "This anthem's poignant spoken word, snaking chords and haunting melodic lines rebuke the police brutality every black mother fears." - NPR MUSIC (Top 16 Songs of August) Galvanized by seismic changes in the ever-evolving social and political landscape, Terri Lyne Carrington and Social Science confront a wide spectrum of social justice issues. As thought-provoking and artistically evocative as it is musically exhilarating, 'Waiting Game' immediately takes its place in the stirring lineage of politically conscious and activist music, expressing an unflinching, inclusive and compassionate view of humanity’s breaks and bonds through an eclectic program melding jazz, R&B, indie rock, contemporary improvisation, and hip-hop. Social Science is: TERRI LYNE CARRINGTON (drums, percussion, vocals), AARON PARKS (piano, keyboards), MATTHEW STEVENS (guitars), MORGAN GUERIN (saxophone, bass, EWI), DEBO RAY (vocals), KASSA OVERALL (MC, DJ) ON TOUR 9/19 Fort Worth Central Library, Fort Worth, TX 9/25 Gallagher Student Center Theater, Cincinnati, OH 10/10 Sesc Pompeia, Sao Paulo, Brazil 11/16 London Jazz Festival 11/30 LPR (Album Release Event), NYC

Milcho Leviev solo Avalon https://artpepper.bandcamp.com/track/free-milcho-leviev-solo-avalon

Katerina Brown Places Songs of Her Native Russia Alongside Pieces from the Jazz Repertoire On "Mirror," Set for October 18 Release By Mellowtone Music Vocalist's Debut Album Features a Band with Bassist/Producer Gary Brown, Pianist Adam Shulman, Drummers Akira Tana & Timothy Angulo, & Guests Including Vocalist Kenny Washington, Percussionist Airto Moreira CD Release Show at the Sound Room, Oakland, Saturday, November 2 September 19, 2019 Vocalist Katerina Brown explores her recently minted identity as a Russian immigrant to the United States with the October 18 release of Mirror, her remarkable debut album, on Mellowtone Music. Accompanied by a band of San Francisco Bay Area musicians that includes her husband, bassist Gary Brown (who also produced the album), pianist Adam Shulman, and drummers Akira Tana and Timothy Angulo along with a number of special guests, Brown offers interpretations of three classic Russian songs (first in her native language, then in English translations) as well as five favorites from the American repertoire. The tunes on Mirror not only span nations, but also styles. They range from delicate ballads to lilting bossa nova to brash, bluesy swingers. "It's a jazz CD, but it has different styles," says Brown. "I want to show people that I'm still searching. Standards helped me find myself but that's not what defines me. ... I want to explore more." The stylistic range itself is one of the album's star attractions, opening with a fragile take on the romantic Russian song "The Gate" (featuring violinist Mads Tolling), followed by a saucy treatment of the Gershwins' standard "They Can't Take That Away from Me" (a duet with singer Kenny Washington) and a tremendously swaggering "Moanin'" on which Brown sings Jon Hendricks's vocalese lyrics (with organist Brian Ho, trumpeter Miles Olmos, and saxophonist Robert Roth augmenting the core band). Elsewhere, the Brazilian guitarist Ricardo Peixoto and percussionists Celso Alberti and Airto Moreira lend subtle bossa nova flavors to "Like a Lover" and "I Feel You." At the same time, however, the three Russian songs, strategically positioned as the opening, closing, and central pieces ("The Gate," "The Mirror," and "It's Snowing," respectively), have undeniable significance for this document of Brown's artistic arrival. "When I came here, I thought, 'To be a Russian jazz singer singing all American songs, that's a bit strange," she says. "I need to bring something from my culture so that American audiences can listen and get familiar with them." This cultural cross-pollination includes the arrangements as well as the songs themselves. Both Shulman and St. Petersburg pianist Dina Sineglazova provided charts for Mirror, even collaborating in the case of one tune. It further evidences Brown's determination to be as unconstrained by geography as she is by style. Katerina Brown was born July 16, 1982 in a small town outside St. Petersburg, in what was then the Soviet Union. She was drawn to music as an infant and devoured the few jazz albums in her father's collection (especially those by Louis Armstrong and Duke Ellington). She studied classical vocals as a teenager, but performed by night in local jazz and blues clubs before moving to St. Petersburg at 19 and forming her own blues band at 21. Soon afterward, Brown joined the Old Fashioned Blues Project, which took her from the local scene to a national one, touring all around Russia and into Ukraine for the next six years. In 2010, however, she quit the band to matriculate at the Saint-Petersburg State University of Culture and Arts, where she formally studied music theory and on her own dug deeper into jazz vocals. Soon she was performing as featured vocalist for a big band sponsored by Russia's Ministry of Internal Affairs. In 2013, Brown met her future husband Gary Brown when the American bassist was touring Russia with pianist Rebeca Mauleón. They struck up an acquaintance that ultimately led to the singer applying for a visa to study jazz in the United States. She first spent time in New York City before moving to the Bay Area in 2015 and establishing herself within its thriving jazz scene. She has worked as the featured vocalist with SFJAZZ's Monday Night Big Band and is a frequent performer at the region's top jazz venues. She also teaches the vocal technique developed by the Complete Vocal Institute in Denmark, which is based on the anatomy and physiology of the human body. Katerina Brown will be performing a CD release concert at the Sound Room in Oakland on Saturday 11/2 with a quintet composed of saxophonist Gary Meek, guitarist Ricardo Peixoto, pianist Dan Zemelman, bassist Gary Brown, and drummer Jason Lewis. Photography: Tanya Magnani Katerina Brown | The Making of "The Mirror" Katerina Brown | The Gate Web Site: katerinabrownmusic.com

I have remembered this year! This year's game will be this Friday night (Saturday morning) starting at 9:30 pm pacific time. The Richmond Tigers will meet the Greater Western Sydney Giants. I'm going to have to study up on the Giants, because I don't think I've heard of them before.

ECM Maciej Obara Quartet - Three Crowns release Date: October 25, 2019 Maciej Obara: alto saxophone; Dominik Wania: piano Ole Morten Vågan: double bass; Gard Nilssen: drums The half-Polish, half-Norwegian quartet led by fiery alto saxophonist Maciej Obara is gaining ground as one of the most exciting groups on the contemporary jazz scene. Both the band and its ECM debut Unloved were awarded the Fryderyk Prize in Poland in 2018, and early in 2019 the Obara Quartet also took first place at the BMW Jazz Awards in Munich. Now comes the quartet's second ECM album Three Crowns (named for the Trzy Korony mountains in Southern Poland). Its program is comprised of six new pieces by Maciej and two free arrangements of compositions by Henryk Górecki (1933-2010). The Obara Quartet launches the album with a major concert at the NOSPR Concert Hall in Górecki's hometown Katowice and follows up with a tour with dates in Poland, France, Austria and Germany. ECM Kit Downes - Dreamlife of Debris release Date: October 25, 2019 Kit Downes: piano, organ; Tom Challenger: tenor saxophone Stian Westerhus: guitar; Lucy Railton: cello; Sebastian Rochford: drums Dreamlife of Debris carries forward the story begun on Kit Downes's Obsidian, extending and developing its processes and core ideas. But where Obsidian was (almost exclusively) a solo church organ album, part of Kit's plan for Dreamlife was to put the organ in a broader context, and also to bring the piano into the larger compositional picture. Musicians in the project are primarily players with whom Downes has had long associations - saxophonist Tom Challenger, cellist Lucy Railton, drummer Seb Rochford - and there is also a first musical encounter with Norwegian guitarist Stian Westerhus. "I was interested to see how bringing in different people would change the direction of the recording." Dreamlife of Debris is issued in both CD and LP formats. Don't miss the excellent liner note by Steve Lake in the CD booklet.  1. Kit Downes - Sculptor 06:01 2. Kit Downes - Circinus 04:15 3. Kit Downes - Pinwheel 04:07 4. Kit Downes - Bodes 12:41 5. Kit Downes - Sunflower 02:31 6. Kit Downes - M7 05:25 7. Kit Downes - Twin 04:24 8. Kit Downes - Blackeye 05:16 ECM Kit Downes Dreamlife of Debris Kit Downes: organ, piano Tom Challenger: tenor saxophone Stian Westerhus: guitar Lucy Railton: cello Sebastian Rochford: drums Release date: October 25, 2019 ECM 2632 B0031304-02 CD UPC: 6025 7783755 5 LP UPC: 6025 0801588 5 Dreamlife of Debris carries forward the story begun on Kit Downes’s Obsidian, extending and developing its processes and core ideas. But where Obsidian was (almost exclusively) a solo church organ album, part of Kit’s plan for Dreamlife was to put the organ in a broader context, and also to bring the piano into the larger compositional picture. Musicians in the project are primarily players with whom the British keyboardist has had long associations – saxophonist Tom Challenger, cellist Lucy Railton, drummer Seb Rochford – and there is also a first musical encounter with Norwegian guitarist Stian Westerhus. The album is drawn from sessions recorded at two UK locations – the 13th century church of St John the Baptist in the village of Snape in the Suffolk countryside and St Paul’s Hall (a converted 19th century church) at Huddersfield University – where the musicians arrived to variously interact with Downes. The instrumentalists meet - as Downes puts it - “in a space with no singular character”, with a dream-like ambience being created through overdubs and collage. Although the players do not come together as an ensemble, their appearance as individuals in changing constellations influences the direction of the shape-shifting music triggered by Downes’s improvising, arranging and composing. Saxophonist Tom Challenger, who had a cameo role on Obsidian, has more to contribute here, not only featured as one of the primary instrumental voices but also co-composing the concluding track, “Blackeye”. Downes and Challenger had maintained an organ/sax duo for eight years prior to Dreamlife. With the present project, Downes brings the piano also into the picture. The bright opening section of “Sculptor”, the first track here, rings the changes, with alert sparkling piano gradually dissolving into organ drones. Lucy Railton, previously heard with Kit on the ECM debut of Thomas Strønen’s ensemble Time Is A Blind Guide (2015), has also played Downes’s compositions for piano and cello in their duo Tricko. As a lapsed cellist– he’d played the instrument himself as a child – Kit says he takes a vicarious pleasure in writing for Railton, as can be deduced from the elegant “Pinwheel”. The association between Seb Rochford and Downes – revived here on “Blackeye” - goes back a decade to a period when Kit occasionally played with the rock-influenced jazz group Acoustic Ladyland. Rochford drummed for that ensemble; the bassist was Ruth Goller, who contributes the haunting composition “M7” to Dreamlife, which Kit plays on solo organ, underlining the connections to Obsidian. Guitarist Stian Westerhus was integrated into the project for a final session of improvising in Huddersfield. A mysterious presence, his sounds bubble to the fore in the middle of the track called “Bodes.” *** Kit Downes was an organ scholar at St Peter Mancroft in Norwich before going on to study piano, organ and composition at the Purcell School and the Royal Academy of Music. He recorded and toured widely with the band Empirical while also working with – among others Django Bates and Lee Konitz. He has led and co-led a number of groups in the last decade, including the trios Troyka and Quiet Tiger, the Neon Quartet (with Stan Sulzmann), and the quintet Light From Old Stars. Current projects include, in addition to solo piano and pipe organ performances, collaborations with saxophonist Tom Challenger, cellist Lucy Railton, composer Shiva Feshareki and with the band Enemy with Petter Eldh and James Maddren. More details at his web site: www.kitdownes.com The recipient of a number of prizes, including the BBC Jazz award and the British Jazz Award, Kit Downes was a made a Fellow of the Royal Academy in their Honours List of 2019. In the DownBeat International Critics Poll of 2019, he was voted # 1 Rising Star in both Piano and Keyboard categories. Downes presents music from Dream Life of Debris at concerts including the Royal Welsh College of Music and Drama (November 21), MAC Theatre, Birmingham (December 5), Anteros Arts, Norwich (December 6), and King’s Place, London (December 7).  1. Maciej Obara Quartet - Three Pieces in Old Style (Pt. 1) 05:40 2. Maciej Obara Quartet - Blue Skies For Andy 09:21 3. Maciej Obara Quartet - Smoggy People 06:55 4. Maciej Obara Quartet - Little requiem for a Polish Girl "Tranquillo" 09:17 5. Maciej Obara Quartet - Vang Church 06:26 6. Maciej Obara Quartet - Three Crowns 07:13 7. Maciej Obara Quartet - Glow 07:34 8. Maciej Obara Quartet - Mr.S 09:57 ECM Maciej Obara Quartet Three Crowns Maciej Obara: alto saxophone Dominik Wania: piano Ole Morten Vågan: double bass Gard Nilssen: drums Release date: October 25, 2019 ECM 2662 B0031306-02 UPC: 6025 080 6970 3 Named for the Trzy Korony summit of the Pieniny mountain range in the south of Poland, Three Crowns could be described as a peak performance from the Maciej Obara Quartet, and one that builds upon the achievements of their ECM debut, Unloved. Recorded at Studios La Buissonne in March 2019, the album features six new pieces by bandleader Obara and, in an intriguing development, two versions of works by Polish composer Henryk Mikołaj Górecki (1933-2010). This is the first occasion on which the Górecki family – whom Maciej came to know while living in Katowice, the composer’s hometown - has encouraged interpretations of the music by improvisers. To Górecki’s Three Pieces In Old Style (Part One) and Little Requiem for a Polish Girl, composed respectively in 1963 and 1993, Maciej Obara and bandmates Dominik Wania, Ole Morten Vågan and Gard Nilssen bring the intensity and focus that distinguishes their work in the vanguard of contemporary jazz. Theirs is a special quartet with a layered and detailed sound, an alliance of highly individual players dedicated to the group work and able to find space for self-expression inside it. Maciej Obara, whose concentrated alto sax sound balances lyricism and eruptive emotion, is ideally partnered by Dominik Wania, pianist of formidable technique and classical background: “both are improvisers of mercurial energies”, as The Guardian has noted. Wania who found his own path to jazz after emerging from the Krakow Academy with an honors degree in classical performance, first met Obara inside a Tomasz Stanko ensemble. It was at once clear that the impulsive, outgoing saxophonist and the introverted, analytical pianist shared a profound musical understanding. Their debt to Stanko is expressed in the elegiac “Mr. S” which closes Three Crowns, a free-floating piece atmospherically close to the spirit of Balladyna. Norwegian musicians Ole Morten Vågan and Gard Nilssen, who joined the two Poles in 2012, have since played together in many other contexts, but it was in the Obara group that they first honed their synergetic rapport. In this ensemble, old notions of front line and rhythm section responsibilities are frequently overturned. Gard Nilssen’s unrestrained approach to drums and cymbals takes further the waves-of-sound, waves-of-energy approach of Jon Christensen and Audun Kleive, as his dramatic playing on the title track here makes plain. And Ole Morten Vågan roves freely inside the group sound, as likely to add ideas of his own as to adhere strictly to harmonic and rhythmic roles. Obara has described the strongly melodic themes he gives to his group as outlines, “from which our sound is set free,” each of the players giving shape, color and impetus to the music. Ole Morten Vågan’s is the first instrumental voice heard on “Blue Skies for Andy”. Maciej Obara’s heartfelt tribute to his late father, who spent much of his life playing within the Roma community, is a key piece in the new repertoire and an absorbing journey in itself, covering a lot of ground in its nine-and-a-half minutes’ duration, as the band members rally behind the leader’s dynamic alto solo and then expand upon its implications. Dominik Wania has plenty of powerful moments on Three Crowns, with “Glow”, emerging from the latticework of the pianist’s unaccompanied introduction, especially compelling as it zigzags exhilaratingly through successive plateaus of intensity. The Obara/Wania sound combination is deployed very dramatically here, at times conveying the impression that the musicians are completing each other’s thoughts in the pressurized, speeding world of improvisation. The Obara Quartet’s star has been steadily on the rise in recent seasons. In May the group took First Prize in the BMW Jazz-Welt Competition in Munich. The Award Jury’s citation spoke of the “enormous amplitude of emotion, the dynamics and the possibility of expression with which Obara and his quartet were able to fascinate the audience…His lyrical saxophone playing, the strength of his compositions and the unchained power of this outstanding ensemble’s improvisations turned the quartet into this year’s winner.” Individually, too, the players have been making headway, with Gard Nilssen featured as artist-in-residence at this year’s Molde Festival, Ole Morten Vågan continuing to direct the Trondheim Jazz Orchestra (most recently in a collaboration with Cory Smythe), and Dominik Wania preparing material for a forthcoming ECM solo album. The Maciej Obara Quartet presents the music from Three Crowns on tour in Europe this season with concerts including the ECM50 festival at Oslo’s Nasjonal Jazz Scene. For more information: www.maciejobara.com, www.ecmrecords.com

Week 15 picks https://www.thestar.com/sports/football/2019/09/18/cfl-picks-angry-andrew-harris-rejoins-blue-bombers.html https://torontosun.com/sports/football/cfl/ticats-qb-dane-evans-has-more-to-prove-on-the-field http://rodpedersen.com/week-15-cfl-picks-2019/ https://doorfliesopen.com/2019/09/19/cfl-beat-100/ https://lastwordoncanadianfootball.com/2019/09/20/niks-picks-week-15-2019/ https://www.cfl.ca/2019/09/19/prediction-time-cfl-ca-writers-make-week-15-picks-2/ https://3downnation.com/2019/09/20/3down-cfl-picks-magic-numbers/ https://thegruelingtruth.com/podcast/cfl-week-15-pickem-show-w-robert-drummond/ ***** Week 15 game notes https://www.cfl.ca/2019/09/19/cfl-ca-game-notes-look-week-15-3/ ***** USports Week 5 picks https://www.cfl.ca/2019/09/19/universityblitz-week-5-preview/ Varsity is ranked for the first time since 1997! https://3downnation.com/2019/09/20/university-of-toronto-football-back-in-the-national-spotlight/ ***** power rankings https://3downnation.com/2019/09/19/3downnation-power-rankings-shuffle-among-the-elite/

I gather from what I've read that no other label wanted to have anything to do with Ornette when Contemporary signed him. True?

Later in Prestige's life, how about Groove Holmes with the Misty single, and the Soul Message and Misty albums? My guess for Riverside would be Monk in the later '50s, and Cannonball during the Kennedy administration.

Audio Advisor is running their semi-annual clearance sale. https://www.audioadvisor.com/products.asp?dept=84 Some examples... Pro-Ject phono box DS2 preamp - $600 ($150 off) Pro-Ject Classic SB turntable - $1150 ($350 off) Vincent SA-31MK hybrid preamp - $1400 ($350 off) Vincent Audio SP-331MK amp - $2000 ($750 off) MartinLogan LX16 bookshelf speaker - $110 each ($290 off)

Good luck Michael! I read that Houston is expecting 40 inches of rain.

Week 15 picks https://www.cfl.ca/2019/09/18/weekly-predictor-redblacks-edge-rematch/ https://firstdownsportspodcast.com/2019/09/18/video-podcast-fds-cfl-s3e16-can-we-talk/ http://17degreesports.com/index.php/2019/09/18/cfl-week-15-preview/ https://rileysportsblog.wordpress.com/2019/09/18/week-15-cfl-predictions-2/ ***** power rankings https://lastwordoncanadianfootball.com/2019/09/18/cfl-week-14-power-rankings/ ***** With seven weeks left, here is a look at each team's strength-of-schedule. https://www.cfl.ca/2019/09/18/strength-schedule-bombers-face-toughest-road-ahead/ ***** 9/18 checking down https://www.cfl.ca/2019/09/18/checking-new-starter-edmonton/ ***** Here are the current playoff scenarios. The Ticats, Bombers and Stampeders can clinch this week. https://www.cfl.ca/2019/09/18/playoff-scenarios-ticats-can-clinch-week-15/ https://3downnation.com/2019/09/18/ticats-bombers-and-stampeders-can-clinch-playoff-spots-in-week-15/ ***** Jonathan Mincy has signed with the Argos. https://www.cfl.ca/2019/09/18/argos-add-former-east-star-db-jonathon-mincy/ https://3downnation.com/2019/09/18/argos-sign-former-all-star-db/ https://www.tsn.ca/toronto-argonauts-add-ex-all-star-jonathon-mincy-to-practice-roster-1.1367465

Jim, oldies.com often has Skeeter Davis on sale. https://www.oldies.com/search/results.cfm?q=skeeter+davis&results= "Essential" is currently $6.97. https://www.oldies.com/product-view/08269G.html

This deal is still on.