GA Russell

I would go for OAS boxes of the Mosaic boxes, such as the Basie live and the Maynard Ferguson.

Speaking of Marc Trestman, it looks like he has hired Jerry Glanville, too. https://3downnation.com/2019/04/01/former-ticats-defensive-coordinator-jerry-glanville-to-be-hired-in-xfl/ ***** Lirim Hajrullahu has decided to rejoin the Ticats. https://3downnation.com/2019/04/01/ticats-bring-kicker-lirim-hajrullahu-back/ https://www.cfl.ca/2019/04/01/lirim-hajrullahu-re-signs-ticats/

Jaime Elizondo has quit the Redblacks, apparently to join Marc Trestman with the XFL's Tampa team. The Redblacks are unhappy about that. https://3downnation.com/2019/04/01/redblacks-offensive-coordinator-jamie-elizondo-quits-plans-to-take-xfl-job/ https://3downnation.com/2019/04/01/redblacks-fire-off-surly-press-release-following-elizondo-departure/ https://www.cfl.ca/2019/04/01/jaime-elizondo-leaves-redblacks-pursue-opportunities/ https://www.cfl.ca/2019/04/01/oleary-redblacks-campbell-scrambling-elizondo-departure/

The 14 Jazz Orchestra "The Future Ain't What It Used To Be" Impacting: April 1 2019 Format(s): Jazz Artist Title Time The 14 Jazz Orchestra 16 Tons (Give or Take) 04:46 The 14 Jazz Orchestra Armando's Rhumba 04:31 The 14 Jazz Orchestra Blue Miles 04:41 The 14 Jazz Orchestra Dance Cadaverous 06:45 The 14 Jazz Orchestra Firewater 04:36 The 14 Jazz Orchestra I'll Be Seeing You 05:17 The 14 Jazz Orchestra Pandamandium 06:10 The 14 Jazz Orchestra Rice Pudding 04:44 The 14 Jazz Orchestra Ruth 05:28 The 14 Jazz Orchestra Seventh Sign 07:11 The 14 Jazz Orchestra Triste 05:41

ECM Sokratis Sinopoulos Quartet Metamodal Sokratis Sinopoulos: lyra Yann Keerim: piano Dimitris Tsekouras: double bass Dimitris Emmanouil: drums Release date: April 5, 2018 ECM 2631 B0029699-02 CD: 6025 770 2553 2 Four years after the critically lauded album Eight Winds, the Athens-based Sokratis Sinopoulos Quartet returns with the aptly-named Metamodal. A unique band, the quartet subtly sifts a vast pool of influence, its music informed by the players’ experience of folk forms, Byzantine and classical music, and many modes of improvising, including jazz. The combination of Sinopoulos’ lyra, with its yearning, ancient tones, and the sensitive, modern piano of Yann Keerim is particularly beguiling, and the group as a whole has made giant steps since its debut. Metamodal, featuring new pieces by Sokratis and a concluding group improvisation, was recorded at Sierra Studios in Athens, and produced by Manfred Eicher. Of the quartet and its progress, Sokratis says: “We are four people who continue to meet and exchange music and thoughts, braver now in experimenting with new concepts, and with the interaction between us. For me the quartet is the ideal group for exploring compositional ideas and new forms, and I really like the fact that we are able to keep the spark and the fire burning like it’s the first time we meet every time we play.” The album begins with Sokratis playing his aching “Lament”, outlining troubled beauty against poignant chords in the piano from Keerim. The lyra at once embodies the qualities that Charles Lloyd has spoken of: “When Sokratis Sinopoulos plays, I can see all the history vibrating with the ancient sounds of the strings.” The history of the lyra reaches back to the Byzantine era. “I’m very conscious of it,” says Sokratis, “and glad to play an instrument with such a long tradition. Of course, the history can also be a weight, a responsibility to carry. Especially where I live in Greece there are expectations of how the lyra should sound in traditional contexts, in folk music. I respect the history but seek to use it as a base from which to move forward, hoping to mirror the past and the future in my writing and improvising.” The most forward-looking pieces on the present recording may be the three “Metamodal” pieces here, subtitled “Liquid”, “Illusions” and “Dimensions”. Sinopoulos: “From the compositional point of view these pieces are the core of the album to me. Starting from the modal system I know best, the medieval approach, I tried to create new dimensions and systems and bring them into what we understand as modality here in the Eastern Mediterranean region. In other words, creating new modes and developing them melodically, using the knowledge that we have of all the idioms we admire, including of course jazz, as well as contemporary composition. Sometimes the pieces were developed until I arrived at the point where the music became quite abstract, which I liked in this case.” The album title has open-ended significance for Sinopoulos. Metamodal could be interpreted as “post-modal” but Sokratis reminds us that the Greek root meta also translates as among, between, behind and in the midst of and carries the idea of changed and altered as well. “I’m interested in all the meanings that can be implied by Metamodal.” Most of Metamodal was recorded, Sokratis notes, in a single day. On the second day, experiments were broached: “Manfred Eicher suggested we might record an improvised piece. At this point we had the whole album in our ears, so I asked the musicians to use material from ‘Metamodal II’, as well as material from the rest of the album as a basis for new music.” The result was “Mnemosyne”, the concluding piece on the album: “This improvisation is like a memory, or an echo, of the whole recording session.” *** Born in Athens in 1974, Sokratis Sinopoulos studied Byzantine music and classical guitar as a child, and began playing the lyra in 1988, under the instruction of Ross Daly; within a year he was a member of his mentor’s group, Labyrinthos. He has since recorded and performed with numerous Greek artists and musicians from all over the world. At ECM Sokratis has appeared on five albums with composer Eleni Karaindrou: Trojan Women, The Weeping Meadow, Elegy of the Uprooting, Medea and the recently-released Tous des Oiseaux. It was after playing with Charles Lloyd (refer to the ECM album Athens Concert) that Sokratis Sinopoulos decided to take the step of leading his own group. “I have been influenced by so many musicians of many styles, since I was 15 years old but the experience with Charles, with his great talent for creating a story on stage every night through improvisation, sometimes free improvisation, was crucial for me, and gave me new confidence.” In addition to his playing activities, Sinopoulos has been involved in research and production for the Domnia Samiou Greek Folk Music Association, has worked with the Centre for Asia Minor Studies on diverse projects, and lectured in the Department of Music Science and Art at the Macedonia University of Thessaloniki. Yann Keerim began playing piano at the age of four and received his diploma in classical music at the age of 16. His compositions have been incorporated in numerous films and theatre productions. As pianist he has performed with jazz and ‘world music’ artists including Ara Dinkjian, Manos Achinotopoulos, and Haig Yazdjian. Dimitris Tsekouras (born 1985 in Athens) comes from a musical family. He played piano, violin, guitar and drums before settling on the bass, which he studied at the Conservatory of Athens. Dimitris Emmanouil graduated from the Music High School of Pallini, specialized in Greektraditional percussion and Latin percussion. He won the Greek Young Artist Award in 1997 and since then has worked with many groups of traditional Greek music and dance companies. Sokratis Sinopoulos on his fellow musicians: “All three of them – Yann and the two Dimitris – have, like me, strong roots and knowledge and appreciation of the historic music of the region, the modal music not just of Greece but the whole Eastern Mediterranean and have performed a lot of it. Dimitris Emmanouil, for instance, spent every summer on the island of Ikaria in the East Aegean, playing bendir and darbouka in celebrations that would often last for days. Dimitris Tsekouras has played a lot of Greek folk music, as well as music of Italy. Yann Keerim has played with Syrian musicians, Armenian musicians and more. The very first time I heard him, he was playing with an Armenian oud player. “All of this is very important, because we have a shared common knowledge of traditional music, and a shared feeling for its rhythms, and it forms the basis of our communication, even if that is not immediately apparent to a jazz listener. At the same time, each of the musicians is a creative individual, bringing his own ideas into music that is becoming more open-ended all the time. This keeps the collaboration interesting, because each concert can be a different experience.”

The Complete Steptoe & Son (Region 2) - $21.09 + $4.10 https://www.amazon.com/Complete-Steptoe-Son-repackaged-DVD/dp/B005O05HTU/

I received a DVD last Christmas of a movie from my high school years called Deadlier Than the Male. I haven't watched it yet, but look who I see sang the theme for it.

Artist Title Time Steve Haines and the Third Floor Orchestra Here Are Our Hearts 01:06 Steve Haines and the Third Floor Orchestra No More 06:17 Steve Haines and the Third Floor Orchestra Come All You Fair and Tender Ladies 05:13 Steve Haines and the Third Floor Orchestra You 05:40 Steve Haines and the Third Floor Orchestra Harvest Moon 05:25 Steve Haines and the Third Floor Orchestra Mazurka Op. 17 No. 4 06:28 Steve Haines and the Third Floor Orchestra Patio Lanterns 04:31 Steve Haines and the Third Floor Orchestra What I've Seen 05:34 Steve Haines and the Third Floor Orchestra Hallelujah 07:01 Steve Haines and the Third Floor Orchestra Canyon Dust 05:09 Steve Haines and the Third Floor Orchestra If You Could Read My Mind 06:02 Steve Haines (with Joey Calderazzo, Becca Stevens, Chad Eby) "Steve Haines and the Third Floor Orchestra" Impacting: March 29 2019 Format(s): Jazz Steve Haines and the Third Floor Orchestra Join Becca Stevens for New Release on Justin Time Records, Out March 29th Justin Time Records is proud to announce the March 29th release of bassist, composer and arranger Steve Haines’ upcoming album Steve Haines and the Third Floor Orchestra. The album features Becca Stevens on vocals, Chad Eby on soprano saxophone, Joey Calderazzo on piano and a full orchestra providing a beautiful sonic backdrop over which Eby’s sax floats and Stevens’ voice soars. Drawing on influences from the jazz, classical and celtic traditions, this album of stunning original compositions and reimagined popular songs transcends genres, and has something to offer for a very wide array of listeners. On Steve Haines and the Third Floor Orchestra, the artist chose to interpret the work of multiple composers from his homeland of Canada with pieces from Neil Young, Gordon Lightfoot, Leonard Cohen and Kim Mitchell gracing the album. Listeners will undoubtedly enjoy Haines’ arrangements of popular songs such as “Harvest Moon,” “Hallelujah,” and “Patio Lanterns.” These arrangements celebrate the original melodic and lyrical structures of the pieces with explorations in harmony and instrumentation which aim to augment the power of these classic songs. This release offers listeners the rare opportunity to hear vocalist Becca Stevens’ rich voice accompanied by a full orchestra, which harkens back to the early days of jazz, when such accompaniment was commonplace. The world renowned vocalist describes her voice and approach on this album as “wider,” stating that she has to “soar over the area that she had to cover sonically.” Haines has been acquainted with Stevens for over decade; they first met at a gig in New York City, where she gave him a copy of her debut Tea By Sea, which “totally knocked [him] out.” Stevens wrote two songs for this release including the wistful waltz “No More,” and the driving, bright-tempoed “Canyon Dust.” The inspiration for Steve Haines and the Third Floor Orchestra came after Haines had finished writing a string quartet arrangement for Stevens. Writing for the album began in the summer of 2016, and the album’s recording process was completed in February 2018. Haines’ foray into orchestral writing also paired with his passion for writing lyrics, a recent discovery for the artist. “In my midlife, I discovered lyrics, and there a couple of songs on here of mine.” Haines exclaimed, “I am late to writing and even paying attention to lyrics but i’m very glad for them at this stage of my life.” In “What I’ve Seen,” Haines writes about the devastating effects of Post Traumatic Stress Disorder in returning veterans. Moved by the loss of many young men and women in the military to suicide, Haines penned the lyrics to this piece. He states ““What I’ve Seen” started out as a story about a mother speaking to her lost husband, and his response from the grave.” Stevens delivers Haines’ forlorn lyrics, and tells the heartbreaking story with sincerity and grace. The piece ends with a short, powerful improvisational segment from Eby, his soprano saxophone wailing over the tender string harmonies, reminiscent of a wife’s cries of longing over a lost love. “You,” another composition with lyrics by Haines, tells a largely autobiographical tale of a deepening serendipitous love in the life of the author. The composer states that the piece started with the solo guitar refrain that is heard at the beginning of the song, and unfolded into the sublime lyrically-driven track that can be heard on the album. Haines explains “The concept is that the "You" that one loves can be more than one person: it could be a spouse, a son or daughter, a mother or a best friend, or God.” The ethereal verses of this song with vocals accompanied by classical guitar leave room for the piece to grow dynamically into the wonderful, amorous clave-driven choruses that truly bring this song to life. This track features a fantastic solo by stellar pianist Joey Calderazzo. Steve Haines and the Third Floor Orchestra will be available on March 29th, and an album release show is planned 8:00 pm, April 26th at UNCG Auditorium in Greensboro.

ECM A new video has just been released - see here: https://www.youtube.com/watch?v=Qn70s2nlEOA&feature=youtu.be Dominic Miller - Absinthe release date March 1, 2019 Dominic Miller: guitar; Santiago Arias: bandoneon; Mike Lindup: keyboards; Nicholas Fiszman: bass; Manu Katché: drums With Absinthe, his second release for ECM, guitarist Dominic Miller has created an album colored by a distinct atmosphere. "The first thing that came to me before I wrote any tunes was the title," he says. "Living in the South of France, I am fascinated by Impressionism. Sharp light and witchy mistrals combined with strong alcohol and intense hangovers must have driven some of these artists toward insanity. Skies that are green, faces blue, perspective distorted." While Miller's ECM debut, Silent Light, emphasized intimacy in solo and duo settings, Absinthe finds the guitarist fronting a quintet that brings his ever-lyrical compositions to textured life. Miller, switching between nylon- and steel-string acoustic guitars, has a key harmonic-melodic foil in the bandoneon of Santiago Arias. The vivid presence at the drum kit is Manu Katché, an ECM veteran and for years a colleague with Miller in the band of Sting (whom the guitarist has accompanied now for three decades). Mike Lindup's keyboard tones add a ghostly air to such highlights as the title track, while bassist Nicholas Fiszman roots the sound. As for Miller, JazzTimes described him as a guitarist who "milks every note, thriving on the pauses between them and whispery effects of fingers sliding across strings," while Stereophile agreed, declaring that "his ability to express emotion through a guitar is amazing to hear."

Artist Title Time Joshua Redman Quartet Circle of Life 06:55 Joshua Redman Quartet I'll Go Mine 07:14 Joshua Redman Quartet Come What May 06:47 Joshua Redman Quartet How We Do 03:33 Joshua Redman Quartet DGAF 04:49 Joshua Redman Quartet Stagger Bear 06:04 Joshua Redman Quartet Vast 07:49 Joshua Redman Quartet Come What May IMPACTING NOW 7 time Grammy nominee including Jazz Album of the Year at this year's Grammy Awards for last year's album Still Dreaming “Mr. Redman’s place is secure as one of the most effusive and engaging tenor saxophonists in straight-ahead jazz. He appears here with three longtime compatriots— he pianist Aaron Goldberg, the bassist Reuben Rogers and the drummer Gregory Hutchinson — all well attuned to his language of elastic tenacity.”—New York Times Nonesuch Records releases the Joshua Redman Quartet’s Come What May today. This is the first recording in almost two decades for this group of musicians: the recently Grammy–nominated saxophonist and his longtime friends and colleagues pianist Aaron Goldberg, bassist Reuben Rogers, and drummer Gregory Hutchinson. Previous releases were Beyond (2000) and Passage of Time (2001). The Quartet, which has toured internationally over the last several years, recorded seven Redman tunes for Come What May. The Guardian has called Redman “one of the 21st century’s finest jazz improvisers,” and the Boston Globe said of the group’s recent Newport Jazz Festival performance, “There was tenor Joshua Redman with his quartet, showing how to build excitement and get the crowd screaming without pressing or compromising his art.” The Joshua Redman Quartet tours internationally throughout this winter, spring, and summer (US tour dates below). Redman recently said of Goldberg, Rogers, and Hutchinson, in Denver’s Westword newspaper, “They’re some of my favorite musicians in the world. We’ve played so much over the years and have been together on the road so much, on and off the bandstand, there’s just that sort of camaraderie and friendship and genuine love for and understanding of each other that, for me, [is] the ideal situation for making music. When you have that level of trust and empathy, both musically and personally, it allows you to be truly relaxed and free; and those are really good pre-conditions for magic to potentially happen. Joshua Redman’s first album on Nonesuch was the Grammy-nominated Momentum (2005). His other releases on the label include Back East, Compass, and Trios Live, all of which explore the trio format; MoodSwing(1994, re-issued); Walking Shadows (2013), his first recording to include an orchestral ensemble; The Bad Plus Joshua Redman (2015), a collaboration with the acclaimed trio; Nearness (2016), a duo album with longtime friend and collaborator Brad Mehldau; and the 2018 Grammy–nominated Still Dreaming—an album inspired by his father Dewey Redman’s 1976–1987 band, Old and New Dreams. Redman currently tours with his trio with Rogers and Hutchinson; his quartet; Still Dreaming, with Ron Miles, Scott Colley and Brian Blade; and occasionally with the collaborative group James Farm, with Aaron Parks, Matt Penman, and Eric Harland. James Farm has two releases on Nonesuch: their 2011 self-titled album and 2014’s City Folk. Joshua Redman Quartet, Come What May 1. Circle Of Life 2. I’ll Go Mine 3. Come What May 4. How We Do 5. DGAF 6. Stagger Bear 7. Vast Joshua Redman US Tour MARCH 29 Swyer Theatre Albany, New York Joshua Redman Quartet featuring Aaron Goldberg, Reuben Rogers & Gregory Hutchinson MARCH 30 Iron Horse Music Hall Northampton, Massachusetts Joshua Redman Quartet featuring Aaron Goldberg, Reuben Rogers & Gregory Hutchinson MARCH 31 Sanders Theatre Cambridge, Massachusetts Joshua Redman Quartet at Sanders Theatre APRIL 2 Blue Note New York, New York Joshua Redman Quartet at Blue Note APRIL 3–7 Blue Note New York, New York Joshua Redman Quartet at Blue Note APRIL 11 Folly Theater Kansas City, MO Joshua Redman Quartet APRIL 13 Hopkins Center Hopkins, MN Joshua Redman Quartet www.joshuaredman.com

 1. John Coltrane - Lush Life 13:55 2. John Coltrane - Lover Come Back To Me 07:24 3. John Coltrane - Stardust 10:39 4. John Coltrane - Good Bait 12:09 5. John Coltrane - Nakatini Serenade 11:03 6. John Coltrane - Theme For Ernie 04:57 7. John Coltrane - Russian Lullaby 05:35 8. John Coltrane - I Want To Talk About You 10:55 Coltrane ’58: The Prestige Recordings BOX SET CAPTURES LEGENDARY SAXOPHONIST’S GENIUS IN FIRST FLOWER DURING HIS BREAKTHROUGH “SHEETS OF SOUND” YEAR AVAILABLE MARCH 29TH ON CRAFT RECORDINGS 2019 MARKS 70TH ANNIVERSARY OF PRESTIGE RECORDS Though it’s been 52 years since his tragic passing, John Coltrane’s importance and influence have never been greater. Though active for a relatively short period—from 1957 to ’67—he was an intrepid spirit who developed at a feverish pace. Coltrane’s breakout year, when his mature sound first grabbed ears and his own recordings began to sell consistently, was 1958. Coltrane ’58: The Prestige Recordings, out March 29th on Craft Recordings, is a box set (8-LP, 5-CD & digital formats) that chronicles the exciting story session by session, featuring all 37 tracks Coltrane recorded as a leader or co-leader for the independent Prestige label in those twelve months. This collection captures him in creative high gear—developing the signature improvisational style that journalist Ira Gitler famously dubbed “sheets of sound.” The timely release of Coltrane ’58 marks the 70th year since the founding of Prestige Records and comes just after the 60th anniversary of these recordings. It also follows on last year’s successful release of Both Directions at Once, which debuted at No. 21 on the Billboard 200, the highest chart position of his career. Coltrane ’58 brims with the shared jazz repertoire of the day—blues, bebop standards and familiar ballads—as well as original compositions and obscure tunes Coltrane rediscovered. Together they offer an array of emotional depth and instrumental prowess, showing how the rising saxophonist was actively stretching sound and increasing the intensity, and shifting the direction of what jazz performance was about. Included are definitive versions of “Lush Life,” “Lover Come Back to Me,” “Stardust,” “Good Bait” and “Little Melonae”; first recordings of originals like “Nakatini Serenade,” “The Believer,” “Black Pearls” and the heartfelt “Theme for Ernie”; and extended tenor saxophone tours-de-forcesuch as “Russian Lullaby,” “Sweet Sapphire Blues” and “I Want to Talk About You” that anticipate the stratospheric heights Coltrane would reach in the 1960s. In 1958 Coltrane was still two years away from emerging as a bandleader, but his membership in ensembles led by Miles Davis and Thelonious Monk had propelled him into the spotlight as one of jazz’s most exciting and controversial figures. Coltrane ’58 serves as a window onto the shock and awe—and eventually deep appreciation—Coltrane generated during this period, when his sheets of sound approach pushed the bebop ideal of slaloming through a tune’s chordal pathways to its extreme. To be sure, Coltrane ’58 is more than sheets of sound: It’s the sound of Coltrane working and smoothing out those sheets and exploring other ideas as well. For example, he frequently played in double-time—as if the chords were moving twice as fast as the rest of the band—and, if the music called for it, he’d decrease the intensity, caressing and embellishing a melody, an aspect that could calm the toughest critics. Produced by Nick Phillips, the vinyl box includes eight 180-gram LPs, remastered from the original analog tapes byPaul Blakemore (all of which were recorded by renowned engineer Rudy Van Gelder) and cut by Clint Holleyfrom 24-bit/192kHz transfers. The lavish, linen-wrapped, portfolio-style book features an eye-catching design and includes 40 pages containing extensive liner notes by Grammy®-winning American music historian Ashley Kahn, rare ephemera and historical photographs of the saxophonist and his collaborators, including several taken by renowned jazz photographers Francis Wolff and Esmond Edwards. The 5-CD edition, containing a 76-page book, is a faithful replica of the 8-LP vinyl box. Coltrane ’58 reveals other significant aspects of Coltrane’s emergence, too, like his growing status in the hard bop brotherhood of the day. He recorded with contemporaries (many future legends in their own right), including pianistRed Garland; guitarist Kenny Burrell; trumpeters Donald Byrd, Freddie Hubbard and Wilbur Harden; bassistPaul Chambers and drummers Art Taylor, Jimmy Cobb and Louis Hayes. The sessions all took place in Rudy Van Gelder’s legendary home studio in Hackensack, New Jersey, where so much of the best jazz of that era was recorded. Coltrane’s music of 1958 benefits from a marked blue-collar, pressure-cooker aesthetic: Born in three-hour sessions with minimal rehearsal, head arrangements and mostly first takes, these tracks provide a true and transparent view of the talent Coltrane was able to draw upon and the timeless, improvised magic they created together. It’s a challenge today to imagine how radical Coltrane must have sounded sixty years ago to jazz listeners accustomed to a gentler, lyrical flow. In his liner notes, Ashley Kahn sees an enduring relevancy in Coltrane’s bold chance-taking, as a creative artist and an African-American: “In the context of current headlines and an overriding sense of déjà vu, Coltrane’s music rings clearer than ever, with even greater meaning than it had in 1958. What he was playing then never felt less than urgent and relevant—subversive even. It still sounds that way.” Remarkably, the majority of this music wasn’t released until the ’60s on various albums after Coltrane’s emergence as a bandleader, denying these 37 tracks the chance to tell their own collective story. By sequencing this music in the order of its original creation, Coltrane ’58 clearly delineates Coltrane’s first full year as a recording artist, finally allowing fans to experience—track by track—the emergence of a master improviser in his first great career crest.

Rarewaves is my go-to Marketplace Seller. My experience with them has always been perfect.

3/28 checking down https://www.cfl.ca/2019/03/28/checking-rutleys-time-shine-bc/ ***** The AAF may fold after this one season because the NFL union is not allowing its members to play. https://3downnation.com/2019/03/27/aaf-major-owner-tom-dundon-contemplating-discontinuing-the-league/ ***** A report says that the Als have not paid all their bills. https://3downnation.com/2019/03/28/montreal-alouettes-creditors-may-be-closing-in-report/ ***** The rules committee has issued its report. https://3downnation.com/2019/03/22/the-cfl-finally-planning-to-use-replay-to-address-qb-headshots/ ***** Attention Jim Sangrey! Sports Illustrated has investigated the beers sold at MLB parks. Here is the Blue Jays report with a link to the full list. https://www.si.com/eats/2019/03/28/toronto-blue-jays-beer-list-rogers-centre-best-options ***** The AP reports that MLB has become the first of the four US sports major leagues to have no one left from the 20th century. I wonder who in the CFL has the longest tenure. https://apnews.com/c171fd38f1d0498390b4e7f0e5b092ee

Dave Brubeck - The Complete Columbia Studio Albums Collection (19 CDs) - $48.27 + $3.99 https://www.amazon.com/Complete-Columbia-Studio-Albums-Collection/dp/B0077PPQGO/

The Tierney Sutton Band "ScreenPlay Act 2: Technicolor" Impacting: March 21 2019 Format(s): Jazz, Non-Commercial, NPR Artist Title Time The Tierney Sutton Band If I Only Had A Brain 05:59 The Tierney Sutton Band I've Got No Strings 04:30 The Tierney Sutton Band The Trolley Song 03:05 The Tierney Sutton Band It Might As Well Be Spring 04:48 ScreenPlay Act 2: Technicolor Welcome to “Technicolor” — The four songs featured here were penned from 1939–1945 and are full of fantasy, imagination and optimism, which offered a stark contrast to the state of the world at that time. Creating magical lands, they became some of the most indelible and enduring pieces in music history. "If I Only Had A Brain," by Harold Arlen and Yip Harberg, comes from the 1939 classic The Wizard Of Oz. This arrangement by bassist Kevin Axt provides a musical cast of characters much like the film itself. One funky bass, one cool bass, one volatile and emphatic singer, and a chorus of finger-snappers make for an entirely new and whimsical reading of a beloved song. “I’ve Got No Strings” was written in 1940 by Leigh Harline and Ned Washington for the Disney filmPinocchio. Our other bassist Trey Henry reimagined this classic as an exploration into the consequences of a life devoid of traditional connections. It begins with Ray Brinker’s drums setting an ambiguous texture that creates a feeling of floating in space. Throughout, Tierney sings with a sense of wonder and introverted mystery. Only the sound of Serge Merlaud’s tender guitar improvisation is left to hint at the joy and regret of an imagined state of mind. Made famous by Judy Garland, “The Trolley Song” was written by Hugh Martin and Ralph Blane for the 1944 film Meet Me In St. Louis. This version, done as a duet featuring Tierney and Ray, could be described as the product of two master musicians playing together for more than two decades. The breakneck speed combined with the accuracy, energy and imagery displayed here is seldom seen or heard. And to drive the point home, this arrangement was created on the spot and recorded in one take! An Academy Award winner for Best Song, “It Might As Well Be Spring” was written for the 1945 film State Fair. Pianist Christian Jacob is featured on this one, along with Tierney. Christian’s inspired arrangement brilliantly illuminates the Rodgers and Hammerstein gem. The opening piano figure makes the lyric “I’m as restless as a willow in a windstorm” a foregone conclusion, and the transition to a sadder and more pensive tone perfectly reflects the song’s wistful bridge. We hope you find the world of “Technicolor” as enchanting and inspirational as we have. Feel free to stay as long as you like! Stay in touch with us by visiting tierneysutton.com for news, interviews, podcasts, videos and more. Just click or tap the “ScreenPlay” tab. Also, please visit our Facebook page at facebook.com/TierneySuttonMusic for the latest ScreenPlay scoop and gig announcements. We’re on Instagram and Twitter too! We’ll see you in April for Act 3!

Resonance Records Is Proud to Present Polly Gibbons All I Can Do Rising young singer of jazz, blues, and soul, called a "once-in-a-generation talent," releases first live album, recorded at Power Station in New York. Polly Gibbons Vocals Tamir Hendelman | James Pearson Piano Shedrick Mitchell Hammond Organ Paul Bollenback Guitar Richie Goods Bass Mark McLean Drums Los Angeles, March 26, 2019 - Resonance Records discovery Polly Gibbons, a British-born star on the rise, has a sound and style that give off sparks. It's raw, raspy, and full of heat; it sputters and growls, carves out funky grooves, and wails into the skies. All I Can Do, her third Resonance release, the label's founder George Klabin, places Gibbons in front of an audience, where she's at her most explosive. Recorded before an invited crowd at Power Station, the New York studio where Bruce Springsteen, the Rolling Stones, Paul McCartney, Madonna, and Sting made renowned albums, All I Can Do teams Gibbons with a smoldering quintet: pianist and arranger James Pearson (musical director at the legendary Ronnie Scott's in London); organist Shedrick Mitchell (who played for nine years with Whitney Houston); guitarist Paul Bollenback; bassist Richie Goods; and drummer Mark McLean. Guest pianist and arranger Tamir Hendelman is a first-call musician in Los Angeles, a first-call accompanist in Los Angeles; he can be heard on the CD and DVD of One Night Only: Barbra Streisand and Quartet at the Village Vanguard. On All I Can Do, Gibbons roams the musical map while staying grounded in jazz, her home base. She finds the common thread in songs by Horace Silver, Prince, AND Al Jarreau. She borrows tunes from her idols-Nina Simone, Chet Baker, Donny Hathaway-and makes them her own. As Jon Sobel wrote in the Seattle Post-Intelligencer: "I hear echoes of Ella, Lena, Aretha, even Janis. But Gibbons is a full-blown phenomenon of her own." The performance took place in 2018, an important year for her. That summer, Birdland, New York's premier jazz club, gave Gibbons a residency. She opened for Boz Scaggs at the Montreal Jazz Festival and played the Pittsburgh International Jazz Festival alongside Gregory Porter, Marcus Miller, and Tootie Heath. Gibbons performed regularly at Ronnie Scott's, her London headquarters. Her previous album on Resonance, Is It Me ...?, earned raves. Wrote John Fordham of The Guardian: "Gibbons has proven herself a versatile artist who can switch from an emotionally subtle Cleo Laine-like purr to a soul-gospel wail in a blink, and she has a growing authority as a co-composer with James Pearson ... Polly Gibbons is unmistakably a class act, getting classier fast." A farmer's daughter, Gibbons grew up with her six siblings in Framlingham, a small market town in Suffolk, England. Early on she learned the meaning of the blues: "I've got super-loving parents, but I was very bullied at school, and there was quite a lot of illness in my family." At thirteen she heard her first Billie Holiday record. It led her on a chase to explore other black American musical greats: Mahalia Jackson, Aretha Franklin, Marvin Gaye, Miles Davis, Thelonious Monk. The "history and complexity and pain and anger and joy in that music," she says, "made me very excited and touched me." In 2006, before she had released her first album, the BBC Jazz Awards nominated her in its "Rising Star" category. A few years later Gibbons was singing at Ronnie's in front of Van Morrison, who lauded her "great voice." The great arranger/composer Johnny Mandel-who has written for Peggy Lee, Frank Sinatra, and Shirley Horn-would later comment: "They don't come along very often, but this one's a star." Gibbons went on to open for George Benson and Gladys Knight in their U.K. tours, and (with Pearson) to score first place in the Indie International Songwriting Contest for their song "Midnight Prayer." Peter Quinn ofJazzwise proclaimed her "a truly exceptional, once-in-a-generation talent, possessing a voice of such sizzling intensity and raw emotion you could fry an egg on it." Her 2015 debut album on Resonance, Many Faces of Love, established Polly as one of the freshest jazz voices to hit the U.S. in years. All I Can Do shows her continued growth. Her version of the Horace Silver gospel tune "Permit Me to Introduce You to Yourself" mixes funk, scatting, and churchy organ and piano; Polly sings as fervently as a preacher in the pulpit. Jazz divas love to emote their way through "Everything Must Change," but Polly transmits its hard-earned lessons quietly. On a tip from Klabin, Polly sings a rollicking cover of a Della Reese showstopper, "Some of My Best Friends Are the Blues." She and Pearson wrote "All I Can Do Is Sing the Blues" in response to "the bad things in life," most of them stemming from current political mayhem on both sides of the pond. Following the death of Prince, Gibbons was moved to sing "Nothing Compares 2 U," his great ballad of lost love, in a spare and mournful setting, "just Shedrick and James laying it down." "I Want a Little Sugar in My Bowl," the unashamedly naughty Bessie Smith blues, never fails to thrill Gibbons's audiences. Pearson takes it to church with an arrangement inspired by Mahalia Jackson records; Tamir Hendelman channels every style Gibbons loves into a panoramic solo. All I Can Do reveals a young woman who, musically and expressively, is wise beyond her years. TRACKS 1. Permit Me to Introduce You to Yourself (5:08) 2. Good Hands Tonight (6:28) 3. Beautiful Things (4:21) 4. If You Had the Chance (5:21) 5. Some of My Best Friends Are the Blues (6:36) 6. Anything Goes (4:30) 7. This Is Always (5:39) 8. All I Can Do (5:03) 9. Everything Must Change (7:23) 10. I'm Just a Lucky So-and-So (5:48) 11. Nothing Compares 2 U (6:24) 12. I Want a Little Sugar in My Bowl (5:20) Arrangements: Tamir Hendelman | James Pearson For a variety of videos and further info on Polly Gibbons: https://resonancerecords.org/artists/polly-gibbons/ ABOUT THE LABEL - Resonance Records is a multi-GRAMMY® Award-winning label (most recently for John Coltrane's Offering: Live at Temple University for "Best Album Notes") that prides itself in creating beautifully designed, informative packaging to accompany previously unreleased recordings by the jazz icons who grace its catalog. Headquartered in Beverly Hills, CA, Resonance Records is a division of Rising Jazz Stars, Inc. a California 501(c) (3) non-profit corporation created to discover the next jazz stars and advance the cause of jazz. Current Resonance artists include Richard Galliano, Tamir Hendelman, Christian Howes and Donald Vega. www.ResonanceRecords.org Resonance Records Is Proud to Present Polly Gibbons All I Can Do Rising young singer of jazz, blues, and soul, called a "once-in-a-generation talent," releases first live album, recorded at Power Station in New York. CD AND DIGITAL FORMATS AVAILABLE ON APRIL 19, 2019. Polly Gibbons Vocals Tamir Hendelman | James Pearson Piano Shedrick Mitchell Hammond Organ Paul Bollenback Guitar Richie Goods Bass Mark McLean Drums For a variety of videos and further info on Polly Gibbons: https://resonancerecords.org/artists/polly-gibbons/

DEBUT ALBUM FROM NEW ORLEANS-BASED VOCALIST QUIANA LYNELL, A LITTLE LOVE, SET FOR RELEASE APRIL 5TH VIA CONCORD JAZZ Track listing: 1. We Are (4:39) (Alina Engibaryan-Michael League-Michael Maher) 2. Tryin’ Times (4:33) (Donny Hathaway-Leroy Hutson) 3. Move Me No Mountain (5:20) (Aaron Schroeder-Jerry Ragovoy) 4. Come Sunday / I Wish I Knew (How It Would Feel To Be Free) (5:20) “Come Sunday” (Duke Ellington) / “I Wish I Knew (How It Would Feel To Be Free)” (Billy Taylor-Dick Dallas) 5. They All Laughed featuring Jamison Ross (3:35) (George Gershwin-Ira Gershwin) 6. Just A Little Lovin’ (Early In the Mornin’) (3:20) (Barry Mann-Cynthia Weil) 7. You Hit The Spot (4:53) (Mack Gordon-Harry Revel) 8. Hip Shakin’ Momma (3:12) (Irma Thomas) 9. What Is Love? (3:20) (Monte Croft) 10. Sing Out, March On (3:52) (Joshuah Campbell) Quiana Lynell on the web: Website: www.quianalynell.com Facebook: www.facebook.com/quianalynell Twitter: twitter.com/quianalynell A Year-In-The-Making, Project Has Been Mentored By Grammy-Winning And Oscar Nominated Musician/Composer Terence Blanchard And Features A Stellar Band Including Cyrus Chestnut And Jamison Ross “Move Me No Mountain” Impacting Now A Little Love, the striking debut album from vocalist extraordinaire Quiana Lynell, will be released by Concord Jazz on April 5th, 2019. A feast of soul, gospel, r&b, groove and jazz, A Little Love blooms with songs about searching, trying times, buoyant love, deep reflection and social action. Lynell sings with the voice of authority and the takeaway from the album as a whole is honesty. She’s a truth-seeking storyteller with a spirited resolve - covering a wide range of songs from Nina Simone to Chaka Khan, from Duke to the Gershwins, from Donny Hathaway to Irma Thomas; with the bookends of the album featuring songs by powerful modern artists Alina Engibaryan and Joshuah Campbell. Accompanied by a powerhouse band featuring Cyrus Chestnut on piano, Jamison Ross on drums, Ed Cherry on guitars, George DeLancey on bass and Monte Croft on vibes, the release of A Little Love will be accompanied by tour dates including a stop at the 2019 Playboy Jazz Festival in Los Angeles in June. “Quiana is a dynamic and compelling vocalist,” said John Burk, President of Concord Records. “She has an incredibly rich voice and unique ability to effortlessly blend gospel, soul, and jazz into her music. We’re thrilled to add Quiana’s debut album to the longstanding lineage of exceptional artistry on Concord Jazz.” Born in Texas and raised on Gospel, in 2017 Quiana Lynell made her salient mark on the jazz-and-beyond musical world as a wise, heartfelt, warm vocalist whose voice is singular in its soul, intensity, ecstasy and outright spiritual courage. She played with her trio at the New Orleans Jazz & Heritage Festival which led to her performing in Poland with trumpeter Terence Blanchard’s Spike Lee tribute with a 75-piece orchestra and a continued period of mentoring on Blanchard's part. In November of 2017, after considering for a couple of years whether she was ready, she decided to vie for the Sarah Vaughan International Jazz Vocal Competition Award. She commanded the finals stage at NJPAC’s Victoria Theater and wowed the judges and audience with her vocal prowess that earned her the prize, which afforded her the opportunity to record an album for Concord Jazz. The result, 2019’s A Little Love, produced by the renowned Brian Michel Bacchus, is testament to what a rare, mesmerizing artist can achieve on her auspicious debut. Blanchard said his take on hearing Quiana for the first time was “a serious vocal discovery.” He added, “Quiana Lynell was already a vocal presence. When I first heard her sing, my initial thought was ‘Who are you, where have you been, and why am I just hearing you now?’”

CM Please note the release of Areni Agbabian's ECM debut "Bloom" will now be April 26th! Areni Agbabian - Bloom release date: April 26, 2019 Areni Agbabian: voice, piano; Nicolas Stocker: percussion Improvising vocalist, folk singer, storyteller, pianist: on her ECM debut Areni Agbabian focuses the range of her skills in music that casts a quiet spell. A sparse music in which voice, piano and the subtle percussion of Nicolas Stocker (last heard on ECM with Nik Bärtsch's Mobile ensemble), continually shade into silence.  The California-born Agbabian, who came to international attention with the groups of Tigran Hamasyan, draws deeply upon her Armenian heritage, reinterpreting sacred hymns, a traditional tale, a folk melody transcribed by Komitas and more, and interspersing these elements among her own evocative compositions. Bloom was recorded in Lugano in October 2016 and produced by Manfred Eicher.

I've put it on the camels. The price bounces between $27 and 30; so maybe I'll pull the trigger the next time it hits $27.

What do you think of this? I am well aware of vacuums (which cost hundreds of dollars) for the purpose of cleaning your vinyl. This is a $30 nozzle which attaches to your wet/dry vacuum! Many five star reviews. Too good to be true? https://www.amazon.com/Vinyl-Vac-33-Cleaning-Attaches/dp/B014X2SXY0

ALLISON MILLER'S BOOM TIC BOOM Glitter Wolf IMPACTING NOW Featuring Allison Miller, Myra Melford, Jenny Scheinman, Kirk Knuffke, Ben Goldberg & Todd Sickafoose "These pieces have the sturdy, thwacking power of so much of Miller’s drumming — which is equally informed by punk and jazz — and the jostling momentum of an M.T.A. car on the move." — THE NEW YORK TIMES "Ten years into the band’s existence, these musicians are firing on all cylinders... Glitter Wolf sounds like an album by Boom Tic Boom—and no one else.” - DownBeat "...Allison Miller’s band Boom Tic Boom makes weird, arty party music." — STEREOGUM “Allison Miller celebrates the 10th anniversary of her band, Boom Tim Boom, with the release of Glitter Wolf, a collection of ten new idiosyncratic compositions featuring Miller’s deft drum work and compositional adeptness front and center, and all her ensemble’s raw but refined propulsive energy.” — JAZZIZ "...Glitter Wolf is undeniably accessible, gloriously melodic and funky as hell." — NEW YORK CITY JAZZ RECORD “Modern Jazz Icon in the Making” — ALL ABOUT JAZZ

The O'Jays "Stand Up (Show Love)" Impacting: March 25 2019 Format(s): AAA, Non-Commercial, NPR, Triple A, Urban AC

Top of the Pops - Summer of Love (3 CDs) - 4.96 GBP https://www.amazon.co.uk/gp/product/B07CXC31RH/

5. Art Blakey 31. Horace Silver 44. Sonny Rollins 48. Thelonious Monk 56. Dizzy Gillespie

What Laurie Likes https://artpepper.bandcamp.com/track/free-what-laurie-likes