GA Russell

Baritone Sax Aces Kjetil Møster and Mats Gustafsson Join Forces in the Band 'The End', thePowerhouse Collaboration Releases Svårmod Och Vemod Är Värdesinnen Out on RareNoiseRecords in June CD, VINYL AND MULTIPLE DIGITAL FORMATS AVAILABLE IN STORES AND ONLINE THROUGH WWW.RARENOISERECORDS.COM. Sofia Jernberg voice Mats Gustafsson baritone and tenor sax, live electronics Kjetil Møster baritone and tenor sax, electronics Anders Hana baritone guitar Greg Saunier drums, voice When Norwegian baritone saxophonist Kjetil Møster joined forces in the studio with Swedish baritone sax burner Mats Gustafsson, Norwegian noise-jazz guitarist Anders Hana (MoHa!, Ultralyd, Noxagt), versatile, powerhouse drummerGreg Saunier (of the San Francisco-based avant-rock band Deerhoof, who participated in the album, but has now been replaced by Børge Fjordheim of Cloroform) and the extraordinary Ethiopian-born experimental singer Sofia Jernberg, the resulting sonic maelstrom was so fresh and ferocious, so daring and audacious, so darkly apocalyptic thatThe End seemed like the only name for this band of rebels. Their uncompromising debut on RareNoise Svårmod Och Vemod Är Värdesinnen (a title whose approximate translation from Swedish into English could be stated as "Dark melancholy and sadness are senses to be valued"), is delivered with sledgehammer authority by the subversive crew. The two-baritone onslaught of Møster and Gustafsson with the addition of Hana's baritone guitar provides a low-end assault on Svårmod Och Vemod Är Värdesinnen that feels like a gut-punch to complacency. "The double baritone has lots of raw power, which is a big part of what this music is all about," says Møster, who has previously appeared on two RareNoiseRecords releases, Jü Meets Møster and Reflections In Cosmo. "We try to break through to the raw senses, the expressions of energy that wants to burst but never does." "We have talked about such a collaboration for many years," adds Gustafsson, who previously appeared on RareNoise releases by Slobber Pup (Pole Axe) and in collaboration with Japanese noisemaker Merzbow (the Cuts series). "And when Giacomo of RareNoise offered us the chance we grabbed it immediately, of course. We just needed to really put together the most kickin' band ever." With Jernberg, Hana, Saunier (now Fjordheim), they have put together a dream team on Svårmod Och Vemod Är Värdesinnen. "Now that we have The End as a working unit it feels extremely exciting to see where we can take the music together," says Gustafsson. "It's amazing for me to play alongside Mats' boundless energy," adds Møster. "He has revolutionized articulations of saxophone playing and has been one of my big influences ever since I heard The Thing's self titled album from 2001." Add the potent contributions of Hana and Saunier to the mix and you have a combustible crew capable of nuanced ambient expression with Jernberg's ethereal vocals floating over the top and hellacious crescendos fueled by her intense banshee wailing. "Anders is one of the most creative guitar players I have ever heard," says Gustafsson. "He stopped playing guitar seven years ago but Kjetil and me convinced him to pick it up again to join this group, which he happily agreed to. He ROCKS!" Møster adds "Anders and me have driven thousands of kilometres together all over Eastern and Western Europe in old tour vans playing numerous concerts with Ultralyd, which released five albums, most of them on Rune Grammofon. He's a very unique player." Hana's chainsaw guitar work, reminiscent of Jimi Hendrix's noise guitar explorations on "EXP" from Axis: Bold As Love, fuels the dark opener Svårmod (Troubled Mind), which also introduces The End's muscular and imposing two-bari sound. Hana's repetitive guitar riff provides a catchy hook on the Captain Beefheart-like Vemod (Sad Mind), underscored by Saunier's polyrhythmic drummer and featuring Jernberg's freewheeling wordless vocals. The epic Translated Slaughter, which sees Jernberg whispering/talking Gustafsson's lyrics at the ethereal opening, gradually builds to a frantic crescendo that has the singer wailing with cathartic abandon over the top. Jernberg repeats her riveting performance on Don't Wait in which she once again recites/sings Gustafsson's cryptic lyrics. "Text, music, art...it should all be read and listened to in open ways and manners," says the composer. "It is not up to me to explain, really. It is up to the listener/reader to understand, or try to understand. Or at least to ask the questions to find out more. All creative art and music should point out new doors, not open them up. To open a door, you have to do it yourself. We can't do it for you. So the lyrics pretty much speak for themselves, especially in 'Don't Wait.' That message should be pretty obvious for anyone." Møster's Both Sides Out has a particularly dark, almost requiem kind of feel to it, which he acknowledges. "Requiem is a good association," he says. "What I had in mind was actually some kind of mourning for the state of mind that the western world has entered post-Trump. In the lyrics I am Trump's psychoanalyst, letting him pour out his inner feelings so he can stop being so tense and hard." With a discography numbering over 150 records, Gustafsson explains what his latest RareNoise release represents to him: "Just sheer joy of sharing ideas and music together. We had time to rehearse and to play three gigs before jumping into the studio - that was worth a lot for us because I feel that everything really fell into the right place for us in the studio. The music we recorded is really a wet dream of favorite influences to bring together for me. And I think me and Kjetil share the most essential sources and inspirational platforms here. We wanted elements of free jazz, noise, alt rock and more to blend and create something new. And it all led to a music that, at least me, I have never heard before." "We are never into creating a special mood in the music," maintains Gustafsson, who is also member of bands The Thing, Fire! and Nu Ensemble. "That is up to the listener to create or hear. We don't entertain, we don't illustrate. We play music. New music. I don't wanna analyze it too much here. Everyone should listen freely and think and act freely upon hearing it all. It should all be open." Regarding the translation of the The End's album title, Møster says: "To me it says something about appreciating difficulties, that we don't necessarily have to please each other all the time, that expressions that go against the grain and cause friction are valuable too." Those renegade expressions are readily apparent on Svårmod Och Vemod Är Värdesinnen, The End's formidable RareNoise debut. TRACKS 1. Svårmod 2. Vemod 3. Translated Slaughter 4. Don't Wait 5. Rich And Poor 6. Both Sides Out

Trumpeter Cuong Vu Rekindles Chemistry With Bill Frisell on Second RareNoise Release Change in the Air CD, VINYL AND MULTIPLE DIGITAL FORMATS AVAILABLE IN STORES AND ONLINE THROUGHWWW.RARENOISERECORDS.COM. Cuong Vu trumpet Bill Frisell guitar Luke Bergman bass, additional guitars on track 5 Ted Poor drums, fender rhodes on track 5 As a follow-up to 2017's acclaimed Ballet: The Music of Michael Gibbs, Seattle-based trumpeter Cuong Vu joins forces once again with guitar great Bill Frisell, bassist Luke Bergman and drummer Ted Poor on the boundary-pushing quartet outing for RareNoiseRecords, Change in the Air. With all the members of the quartet contributing compositions, this one finds the four participants on equal footing on ten adventurous originals. From Poor's dreamy, noirish opener "All That's Left of Me Is You" and his lonesome echo-laden waltz "Alive" to Bergman's dynamic "Must Concentrate," Frisell's delicate "Look, Listen" and his beguiling heartland melody "Long Ago" and Vu's angular "Round and Round" and his edgy and electrified "March of the Owl and the Bat," these four stellar musicians are truly on one accord and dealing with a rare level of nuance and depth of communication on Change in the Air. "It was a team effort," said Vu. "The only real leader thing that I did was make sure everyone had the studio dates in their calendars, set up rehearsals, made sure they knew where the studio was; more like secretarial work, is what I did. My only intention was that we should all bring in tunes to make it as collective as we could. This collection of people allowed me to let go and trust, and I knew that we all just wanted to make the best music that we could together." Poor added that the team effort developed quite naturally. "Cuong invited us all to contribute and I'm very pleased with how the band was able to sincerely welcome such a broad range of compositions into the fold. We needed repertoire and I think everyone felt comfortable and confident bringing in their own music. At that point we had played a lot of music together and I for one felt as though we were well on our way to developing a clear band sound and identity." Vu commented on the various compositional qualities that his three band mates brought to the table on Change in the Air. "Bill's writing, like his playing, at first glance is seemingly simplistic though always full of character. And when you patiently zoom in you find that it's filled with multi-layered info that is cohesively bonded. His pieces can be played on any collection of instruments and arranged in any way, and the truth of what he intended will come through as the listener will find it as deeply moving as it is beautiful. Luke's writing is smart, clever, ironic, funny and feels inevitable. He comes from having seriously investigated a wide and eclectic range of music but he's rooted in a rock band-based type of viewpoint. I think it all comes out in the music that he writes. And Ted is one of these guys who sounds like the source music for whatever genre he plays, and he sounds like a wise, experienced elder playing it. What I find impressive is in how he's able to get deep into whatever type of music and so quickly absorb it. He's like a jack-of-all-trades type of drummer because of that ability, along with the technical freedom to execute it all. I'm not surprised that his writing reflects all that. The three tunes that he brought to the table are so different from each other and they all feel extremely rooted and focused in the specific context that each inhabits." Regarding his three stylistically wide-ranging compositions on Change in the Air, Poor offered: "I liked the idea of trying to writing something that could pose as an old standard found in an archive somewhere, and that's how I came up with 'All That's Left of Me Is You.' The title is a potential lyric for the final melodic phrase of the song. While the song does not in fact have lyrics I wanted us to play it as if we were playing an instrumental version of a standard song like 'Embraceable You' or 'If You Could See Me Now.' For 'Lately' I just had the sound of Cuong and Bill playing the melody and chords vividly in my ears, and I wrote it in one sitting not long before our recording session. 'Alive' was written back in 2012 for a gig I had in New York with Mark Turner and Pete Rende. I have enjoyed playing that tune with a number of different bands but until now it hasn't been recorded. We needed a few tunes with intensity and tempo to balance the set and 'Alive' felt like an obvious choice." Poor's sublime brushwork is beautifully showcased on "All That's Left of Me Is You," "Lately" and particularly on the rubato closer "Far From Here," which bears the stamp of the late drumming great and longtime Frisell collaborator Paul Motian. "Paul Motian is a hero of mine," said Poor. "Seeing him at the Village Vanguard with Frisell or with his own bands is something I'll never forget. His playing was riveting, provocative and pure music. Regarding brushwork, he's definitely one of my favorite drummers, along with Andrew Cyrille, Elvin Jones and Philly Joe Jones (his brush playing on 'Young and Foolish' from Everybody Digs Bill Evans comes to mind). All of those great players are able to extract infinitely nuanced sound and a powerful specificity of mood and feel. Brushes are exciting for me because they allow you to create sustain and offer such a wide range of attack, from staccato to a legato bloom of sound that has no attack at all." Frisell, who moved from New York to Seattle in 1988 and remained there for 30 years before returning to the Big Apple, says the chemistry for this particular quartet began in the Emerald City. "I was lucky to have first met Luke Bergman and over the years we have been playing more and more in all kinds of different situations together. It's been awesome connecting with him. Then as soon as Ted moved to Seattle we started playing a lot together too, just getting together at his house and playing tunes. It was the same with Cuong. As soon as he came to Seattle we started playing together. So it was great to have someone to be able to get together with and practice together and just play music together. That happened with all those guys separately and then eventually the four of us got together as a quartet. Cuong has been such an incredible inspiration-energizer for music in Seattle. Luke and Ted too. They all make things happen." While the quartet tackled the music of composer-arranger and Frisell's mentor Michael Gibbs on its first RareNoise record together, they decided to stick strictly with originals onChange in the Air. Vu's trumpet work is brilliant throughout. Whether its his extraordinary lyricism on Frisell's "Look, Listen" and Poor's dreamy jazz ballad "All That's Left of Me Is You," his plaintive call on Poor's melancholy "Lately" or his staccato bursts and skronking statements on his own "March of the Owl and the Bat," his playing is marked by bold instincts and nuanced expression. Poor cited one possible influence on Vu's "March of the Owl and the Bat": "Cuong has written a number of pieces over the years that are based on driving, angular syncopated rhythms. We are both huge fans of the Swedish heavy metal band Meshuggah and their rhythmic language informs our approach significantly. We worked off of a chart in the studio and the biggest challenge was to internalize the rhythms and meters and make them feel good. From there the embellishment and shaping of the tune flowed naturally." Frisell offers authoritative solos and beautiful, pianistic accompaniment to the fabric of these ten tunes on Change in the Air. "I'm just trying to listen and do the right thing," he said. "I'm a huge fan of master accompanists like Hank Jones, John Lewis, Tommy Flanagan, Richie Powell, Horace Silver...all guys that are working from the inside out. I for sure love hearing someone play a great solo but much more than that what really gets me off is trying to figure out what's going on with the whole band and how all the pieces fit together. When I listen to Miles' band with Herbie Hancock, Ron Carter, Tony Williams and Wayne Shorter....man! Every note from all of them all the time is astounding and essential. The magic is in how they play together." Vu also commented on his uncanny chemistry with Frisell, which is especially apparent in their intimate interactions on Frisell's chamber-like "Look, Listen" and the sparse closer, "Far From Here": "It's pretty much a necessity for me to be surrounded by deeply empathetic listeners whose main priority is to serve the music being created in each instance. And it takes a long time to find the right people who'll create the right mixture together. I really do think that all three of us (Luke, Ted, and I) have a natural strength in 'empathic listening' - making the others sound better while stating your own opinion with an openness to all possibilities in the immediate moments. And I do really think that we're pretty decent at that approach. But add Bill to the mix...that's his genius! He makes everybody that he's ever played with sound better and always puts them in a different light. It helps that I'm in that same zone of thinking, but it's really about Bill making it happen." Frisell also commented on the source of the quartet's remarkable chemistry: "You play with someone for the first time and you feel something that makes you want to come back for more. And I think the key to that is pretty simple. We listen. The best things happen when everyone's attention is focused on everyone else around them ...away from themselves." Regarding the source of the album's title, Vu pointed to the state of world affairs today as a kind of dark undercurrent to Change in the Air. "I've never felt so much anxiety about the future on so many levels - environmentally, politically and especially with the 'leadership' in our country - than I do now," he said. "In terms of what's going on and how we've gotten to this place, it feels overwhelmingly ominous, dangerous and as if it's only the beginning of what will come. I'm scared but, hopefully, just paranoid." Born on September 19, 1969 in Saigon, Vietnam's largest city, Vu moved with his family to Seattle when he was six years old. He picked up trumpet at age 11 and later received a scholarship to attend the New England Conservatory of Music in Boston. After moving the New York City in 1994, he formed the group Ragged Jack with keyboardist Jamie Saft, saxophonist Andrew D'Angelo and drummer Jim Black in 1997. During his time in New York, Vu worked with Laurie Anderson, David Bowie, Gerry Hemingway, Myra Melford, Bobby Previte, Dave Douglas and more. He appeared on Pat Metheny's Grammy-winning albums Speaking of Now (2002) and The Way Up (2005). Vu returned to Seattle in 2007 to teach at the University of Washington, where he is currently a full professor. TRACKS 1. All That's Left Of Me Is You 2. Alive 3. Look, Listen 4. Must Concentrate 5. Lately 6. Round And Round 7. March Of The Owl And The Bat 8. Round And Round (Back Around) 9. Long Ago 10. Far From Here 3, 9, 10 composed by Bill Frisell 6, 7, 8 composed by Cuong Vu 4 composed by Luke Bergman 1, 2, 5 composed by Ted Poor Recorded May 14, 15, 16 2017 at London Bridge Studio, Seattle Recorded by Julian Anderson Mixed by Luke Bergman Mastered by Nich Wilbur at Anacortes Mastering Executive Producer for RareNoiseRecords : Giacomo Bruzzo Artwork and Design by Petulia Mattioli Cuong Vu is a Yamaha Artist Bill Frisell appears courtesy of OKeh Records, a Sony Music Entertainment label Bill Frisell uses D'Addario strings Bill Frisell's management: SONGTONE LLC, Phyllis Oyama - Lee Townsend

RareNoiseRecords Presents Norwegian Jazz-Rock Power Quartet Red Kite CD, LP AND MULTIPLE DIGITAL FORMATS AVAILABLE IN STORES AND ONLINE ON JUNE 28, 2019 AND THROUGHWWW.RARENOISERECORDS.COM. Even Helte Hermansen guitars Trond Frønes bass Bernt André Moen keyboards Torstein Lofthus drums Concocting a head-rush tempest of swirling psychedelia, heavy rock crunch, prog virtuosity and free-jazz experimentation, Norwegian jazz-rock power quartet Red Kite releases its highly anticipated self-titled debut June 28, 2019 via RareNoiseRecords. The exploratory and electrifying supergroup features members of some of Norway's best-known prog outfits, including Elephant9, Shining, Bushman's Revenge and Grand General. Red Kite brings together guitarist Even Helte Hermansen, bassist Trond Frønes, keyboardist Bernt André Moen and drummer Torstein Lofthus, four incredible musicians able to navigate complex prog-jazz architecture with both risk-taking, improvisatory jazz spirit and a brain-rattling hard rock intensity. "We all grew up listening rock and heavy music," says Lofthus, "but later discovered jazz, prog and all kinds of other great stuff along the way. It's all just music to us, to the point where it all just melts together into one big organic stew now." That stew offers the listener a hearty, churning cauldron of sound to taste from over the course of the band's stunning debut, Red Kite. The album's 40 densely layered minutes comprise four expansive original compositions by guitarist Hermansen, each offering a vast, intriguing but wide-open terrain for the band to traverse. In addition, the quartet delves into Alice Coltrane's "Ptah, the El Daoud," the title track from the pianist/harpist's classic 1970 Impulse! album, honing the original's spiritual transcendence to a keen, serrated edge. Lofthus and Hermansen met while both were members of the long-running Norwegian hard rock band Shining. The drummer was a founding member in the group's early days as an acoustic jazz quartet; Hermansen joined a decade into the influential ensemble's history, as it was veering further into avant-garde metal sounds on albums like Grindstone and Blackjazz. Both were familiar with Frønes' distinctive powerhouse style from his work in the rock band Cadillac; Hermansen went on to work with him in the progressive jazz fusion quintet Grand General. When the bassist left his home base of Trondheim for the capital city, Oslo, the three were, according to Lofthus, "all just looking for an excuse to jam." The results, he recalls, were "too much fun not to repeat at a later date." Lofthus and Hermansen had each already established a thrilling trio on their own since leaving Shining: Lofthus formed the acclaimed Elephant9 with keyboardist Ståle Storløkken and bassist Nikolai Eilertsen, while Hermansen led the explosive Bushman's Revenge with bassist Rune Nergaard and drummer Gard Nilssen. To differentiate from these bands as well as offer even more possibilities as this exciting jam session gelled into a working band, it was decided to expand the line-up with a fourth member. The instant choice was Moen, who had played alongside Lofthus and Hermansen on Shining's Blackjazz and its live follow-up. With the membership in place, the four members stole as much time as possible from their other diverse projects to explore together in rehearsal spaces and on festival stages, and together forged a sharply focused group identity. The results can be heard in their dizzying glory on Red Kite. "The story of the album, for us at least, is discovering and cementing our own sound," Hermansen explains. "It's been about finding out what sets us apart from our groups, accentuating our own eccentricities, and doing so naturally. That's been our journey as musicians, at least; for the audience we've tried to put together a set, a musical journey that makes sense on its own terms." That journey launches with the atmospheric introduction to Alice Coltrane's "Ptah, the El Daoud," one of the first tunes Red Kite ever jammed on together. While Moen eventually lurches into the familiar bass line (memorably played on the original by the legendary Ron Carter), Coltrane's spiritual march here becomes an aggressive steamroller of sound, trading the original's spiritual musings for exhilarating vigor. The remainder of the album was penned by Hermansen, though all four members are also composers, and the guitarist's skeletal themes serve more as instigations for group investigation. "The compositions are just jumping off points for the band," Hermansen says. "We just need a starting point, so we're just looking for ideas that are articulated enough and to the point without getting in the way. They could have been anybody's;" Each of the pieces is given a provocative title, beginning with the mixed message of "13 Enemas For Good Luck." As Hermansen says, "Naming such a thing as abstract instrumental music is, on its face, kind of an absurd notion to begin with. So one might as well underscore the absurdity of it. A few words are generally needed and you might as well choose them carefully, even if it might be a joke. If something can work on more than one level, then that's a good thing." The piece itself, with its grinding momentum and roiling rhythm, is anything but a joke. Hermansen's howling guitar echoes in the vastness, gradually swelling in potency until bursting into the monolithic melody. The intensity continues to build until it fragments into shrapnel-like outbursts. The album's shortest piece, "Flew a Little Bullfinch Through the Window," is also its most relaxed, though hardly the delicate lilt the title might suggest. It's built instead on an elusive groove, with Hermansen and Moen tracing filigreed lines away from the rotating rhythm. Anyone hypnotized into a lull by that song's relative gentleness will be shocked awake by the incendiary jazz-rock volatility of "Focus on Insanity," a play on the title of the Ornette Coleman classic from The Shape of Jazz to Come. The title change is apt for the tune's derangement of Coleman's Harmolodic excursions. The album draws to a mesmerizing close with "You Don't Know, You Don't Know," its philosophical ambiguity vividly expressed through a haze of narcotized psychedelia. The release of Red Kite's self-titled debut is cause for celebration among those with a taste for the adventurous and extreme. It's a delirious set that fluidly elides genre boundaries with staggering vibrancy and galvanizing imagination. TRACKS 1. Ptah, The El Daoud 2. 13 Enemas For Good Luck 3. Flew A Little Bullfinch Through The Window 4. Focus On Insanity 5. You Don't Know, You Don't Know Produced by Red Kite. Artwork and Design by DridMachine. Executive Producer for RareNoiseRecords: Giacomo Bruzzo. Red Kite would like to thank Ivar Loe Bjørnstad, Ellen Brekken, Hedvig Mollestad Thomassen, Per Kristian Rekdal, Ludwig, Zildjian, friends and family. They would also like to thank Fond for Lyd og Bilde and Fond for Utøvende Kunstnere (Ffuk) for their support. Cat. No. : RNR105/ RNR105LP

The Jamie Saft Quartet Announces New Album Blue Dream On RareNoiseRecords CD, DOUBLE-VINYL AND MULTIPLE DIGITAL FORMATS AVAILABLE IN STORES AND ONLINE ON JUNE 29, 2018 AND THROUGH WWW.RARENOISERECORDS.COM. Jamie Saft piano Bill McHenry tenor saxophone Bradley Christopher Jones acoustic bass Nasheet Waits drums Jamie Saft continues his collaboration with eclectic UK-based label RareNoiseRecords in 2018. On a roll after releasing his first ever solo piano album in January, the aptly named 'Solo A Genova', the Upstate New York-based artist presents a further facet of his seemingly boundless talent for composition, performance, invention and in this case, for acting as master of ceremonies to a group of exciting and innovative musicians. His latest formation, the Jamie Saft Quartet sees repeated collaborators, celebrated saxophonists Bill McHenry and bassists Bradley Christopher Jones as well as in rising star of the drums Nasheet Waits. Recorded in the Autumn of 2017 in Jamie Saft's Potterville International Sound studio Upstate New York, co-produced by Saft and Chris Castagno, mixed and mastered by Chris Castagno in Colombia, Blue Dream showcases nine new vibrant, spiritual and energetic compositions by Jamie Saft, as well as three mesmerizing standards. The album will be released on 29th June and will be available on CD, double vinyl and digital download. Plenty of connotations emerge in the album title, yet as soon as you start listening you will realize, that Blue Dream won't allow you to think about connotations. This is direct. The muscle is shown straight away in "Vessels," and not just in the playing but the tone: dark, with four musicians moving like ships in the night, a tenor sax echoing over the water between them. That's saxman Bill McHenry, and stirring the water beneath him is drummer Nasheet Waits, splashing into the basswaves of Brad Jones bellowing up, heavy and low. On the piano, Jamie Saft both holds it down and works in new melodies, like clouds in a rotation of sunlight and darkness. Blue Dream moves. "Equanimity" keeps it fast - punk jazz fast. The drums lead it off, and you get the feeling the other musicians aren't coming in until Waits lets them in. They know to hold off. The vibe into which Waits swings himself is a tunnel for one, only breaking daylight a minute and half into the song, when everybody explodes together at once in the record's biggest and brightest moment yet. But "Sword's Water" brings it back into the low light, opening with a hot flourish that swirls on for two minutes before Saft begins to follow the melody down one of his paths. Saft can slide effortlessly over the keys, to be sure, but it is when he lingers, teasing out perhaps the same several notes, that we get a sense of the restraint in place. This sounds like a record of standards-yes, new standards-but there are only three oldies on here ... and they're goodies. Sinatra's "Violets For Your Furs" is the first, setting the second of this album's four sides alive with an interpretation that finds Saft digging into the melody as only its patent simplicity allows (there's that restraint again). Following that, Brad Jones finds room cleared out for him in the title track to pluck his heaviest path, accelerating through the heart of the record while Saft drifts overhead, clouds over boiling water. "Infinite Compassion"shoulders its way back into those big dark movements on the piano, both sustaining and running away past the margins wherever it is needed. The second half of the album kicks off with Bill McHenry cooling it down, and he does it through "Sweet Lorraine," Cliff Burwell's 1928 standard recorded by the King Cole Trio in 1940, which is the version taught to Saft by the late Geri Allen. Some 90 years later it's a vehicle strong enough to summon a breeze into the whole second half of the album, carving out abundant room for "Walls." Building on the big air of "Sweet Lorraine," Saftgoes off into outer space without a care in the world, and all of them ride out the vibe. Saftcan flourish and arpeggiate with the best of them, but it's in his open spaces that he shows he can be sometimes shy, sometimes flirtatious, but always confident-quietly-and relaxed. That is the foundation on which the musicians around him can build, with Saft then almost pleading with them to follow him into uncharted territories. Then there's the drums. Waits has both a shimmer and a modern architecture to his playing, the latter of which has him building a chess board in "Decamping,"where the band can check one another, trading on, trading off. Who's got the end game? We don't need to know. We only know they enjoy the field. The music nourishes the life beneath their feet. "Words And Deeds" feels like something by which each of them is living, expressing it through this music, right now, while "Mysterious Arrangements" furthers the language created by this quartet, bringing it into a new conversation that is obviously holding some tension in its palms. You'll be relieved to know that tension all gets worked out in the end. Closing out the record is the 1937 Mack Gordon and Harry Revel classic "There's a Lull In My Life,"blissfully stretching out the last seven minutes of the album like a long holiday party full of old faces. Memories abound of the song's place in jazz history, and the voices that interpreted it in years past: Ella Fitzgerald, Chet Baker, Tony Bennett, Alice Faye, and Nat King Cole. The standard torch song, love ballad, classic, becomes buoyant in their hands. It does not wallow, but revels in its ache. Shouldn't we all? TRACKS 1. Vessels 2. Equanimity 3. Sword's Water 4. Violets For Your Furs 5. Blue Dream 6. Infinite Compassion 7. Sweet Lorraine 8. Walls 9. Decamping 10. Words and Deeds 11. Mysterious Arrangements 12. There's a Lull In My Life All Music written by Jamie Saft and published by RareNoisePublishing (PRS), except 'Violets for Your Furs' : music by Matt Dennis and lyrics by Tom Adair 'Sweet Lorraine' music by Cliff Burwell and lyrics by Mitchell Parish 'There's a Lull In My Life' written by Mack Gordon and Harry Revel Recorded by Jamie Saft and Brian Gunn at Potterville International Sound, NY, Fall 2017 Mixed and Mastered by Christian Castagno in Minca, Colombia Art and Design by Steven Erdman Additional Layout assistance by Graham Schreiner Piano Tuned and prepared by Steve Greenstein R.P.T. The Jamie Saft Quartet Hidden Corners CD, LP AND MULTIPLE DIGITAL FORMATS AVAILABLE IN STORES AND ONLINE ON JUNE 28, 2019 AND THROUGHWWW.RARENOISERECORDS.COM. Jamie Saft piano Dave Liebman tenor & soprano saxophone, flute Bradley Christopher Jones acoustic bass Hamid Drake drums On the transcendent new album Hidden Corners, visionary keyboardist, producer and composer Jamie Saft embarks on a spiritual journey along the searching path unveiled by such iconic forebears as John and Alice Coltrane, Pharoah Sanders, and Albert Ayler. Inspired by concepts from Jewish mysticism, the album features an outstanding quartet of deeply exploratory musicians: Saft, longtime collaborator Bradley Jones on bass, the wide-ranging drummer/percussion master Hamid Drake, and legendary saxophonist David Liebman. Due out June 28, 2019 via RareNoiseRecords, Hidden Corners is the latest manifestation of Saft's ceaselessly adventurous musical spirit, one that has allowed him to veer across genres with a staggering list of collaborators- a list that includes John Zorn, Beastie Boys, Bad Brains, John Adams, Iggy Pop, Donovan, and The B-52s. This new quartet focuses his intrepid imagination on the realm of the cosmic and consciousness, with results that are mind-expanding as well as sonically exhilarating. "Hamid Drake, Brad Jones, and Dave Liebman are each masters of conjuring mystical states through music," Saft enthuses. "The re-arrangement of notes, tones, sounds, textures, timbres - each musician here has the power to transport the listener to higher realms through the music." As elusive and strange as it is by definition, the mystical plane is hardly unfamiliar territory for any of these musicians. Liebman enjoyed formative experiences with such pioneers of the audacious as Elvin Jones and Miles Davis and has delved deeply into the work of John Coltrane, while his seeking nature is revealed through the names of his own bands, Quest and Expansions. In addition to his work with such inventive jazz giants as Don Cherry, Pharoah Sanders, Archie Shepp and Alice Coltrane, Drake has long meshed his musical and spiritual lives. His lifelong study of the Chinese martial art and health exercise T'ai chi ch'uan has long informed his music, which has connected with his thorough investigations of rhythmic traditions from around the world, bringing him together with deep-rooted musical thinkers from master Gnawa musicians from Morocco to blues icons from his hometown of Chicago. Jones, too, has collaborated with many of the most innovative minds in modern music, including Ornette Coleman, John Zorn, Muhal Richard Abrams, Elvin Jones, Dave Douglas and The Jazz Passengers, with an eclectic resume that includes work with everyone from Elvis Costello to Sheryl Crow to David Byrne. He's traversed similar terrain in league with Saft in the past as part of the keyboardist's spiritual jazz/roots reggae group New Zion Trio. That trio is just one manifestation of Saft's enduring love for spiritual jazz, which is one thread that has woven throughout the rich tapestry of his multifarious career. He counts albums like Alice Coltrane's Ptah, the El Daoud and Pharoah Sanders' Thembi among his most profound influences; the title track of Thembi was a regular part of the repertoire of his high school jazz band, in fact. "I've been fascinated and inspired by the Spiritual Jazz path for years," he explains. "Alice Coltrane, Pharoah Sanders, John Coltrane, Albert Ayler - all of these artists seek ecstatic states of consciousness in the music. These transcendent experiences can be traced through art, music, spirituality, exercise and meditation. Jewish Mysticism considers these same paths." In his liner notes, the Brooklyn-based rapper and producer Eden Pearlstein - better known as ePHRYME - cites the Sefer Yetzirah, "an ancient Kabbalistic text of unknown authorship" that explores the connections of music and numerology through the letters of the Hebrew alphabet. "Invoking practical methods of vibrational magic found in the Sefer Yetzirah," ePHRYME writes, "Jamie Saft and his esteemed collaborators take us on a multi-dimensional journey through the 231 Permutational Gates, allowing us passage through the Four Worlds by entrusting us with the Seven Sets of Double Keys, and inspiring us to Turn at Every Moment by revealing the Hidden Corners of Consciousness and Creative Potential concealed within." Saft makes the connection between this source of inspiration and those jazz icons who've come before: "A critical element of this is Gematria, the mystical aspects of numerology. In Kabbalah, letters have numerical values - mystical numerical values. John Coltrane explored these mystical states within his arrangements of numbers and musical geometry. All of these paths converge at any number of points." The session that became Hidden Corners was initially planned to be the latest recording of the New Zion Trio, in this incarnation comprising Jones and Drake. Having crossed paths at countless festivals over the years, Saft invited the drummer to join the band for recent dates, including the 2018 Tampere Festival in Finland. "Hamid is a legend of improvised music," Saft says. "Yet he has an incredibly broad range of musical and life experiences beyond jazz and improvised music. He'ss worked in every possible style and situation in music, and he comes from New Orleans, where much great American Roots music comes from. This range of experience and breadth of musical knowledge is rare and unique." The universe interceded, however, when Saft was enlisted to perform a concert of John Coltrane's late works with Liebman as the featured saxophonist. "We quickly struck up a friendship and a musical connection," Saft recalls. "When Liebman plays there is the greatest depth in every facet of his playing. His sound on his instruments, his tone, is otherworldly. Lieb has a true mastery of harmonic concepts at the very highest level. Suddenly I saw a possibility to connect all these masters together." The long histories and interwoven network of associations that Liebman and Drake share - which most recently converged in their trio with master percussionist Adam Rudolph on the RareNoise release Chi - was among the influences that Saft drew upon for the music of Hidden Corners. "Historic associations are important when considering Dave Liebman and Hamid Drake," he says. "Musicians at this level believe in and understand the transformative powers of music and specifically improvised musical paths. There is a high level of trust at work here- in the process, in our mutual abilities, and in the respect and love we have for each other. So the music is merely a vehicle to continue this conversation amongst ourselves. But always with the goal of creating music that heals the listener. That makes us all feel better." The healing intention of Saft's compositions is evident from the outset, with the transporting opening moments of "Positive Way," a brief meditative introduction that sets the stage for Jones' singing, soulful bass melody. The blissful and the combustible meet with the entrance of Liebman's piercing, muscular tenor. The tumultuous "Seven Are Double" follows, before Liebman switches to his soaring, diving soprano for "Yesternight," which seems to float atop Drake's ethereal rhythms and Saft's crepuscular chords. The pianist crafts an air of mystery for "231 Gates," an elusive and shadow-shrouded piece that Liebman investigates with his probing, questioning flute. Jones' achingly bowed bass combine with the shimmering curtain of Saft's piano to cast the spell of "Turn at Every Moment," while the album's title track feels redemptive and prayerful. With Saft evoking Alice Coltrane's harp by strumming the strings inside his piano, "The Anteroom" fully conjures the liminal space suggested by its title, with delicate, pointillistic echoes rippling through the quartet. "Landrace" closes the album on a powerful note, its surging rhythm propelling Saft and Liebman into fierce ecstasies. As these descriptions suggest, it's ultimately the interactions between these four distinctive voices that makes the music of Hidden Corners so majestic and transformative. "In the end," Saft says, "it's strong personal relationships that make a session like this work. We are all close friends and colleagues. There is great love and respect all around. These personal relationships make the process of creating music together easy and fulfilling." The "Positive Way" mentioned in the title of the first piece is one key to the music's intent, Saft concludes - the proper mindset, perhaps, for discovering those Hidden Corners where beauty is created. "I'm always trying to make a record that I myself would enjoy listening to. When I'm able to make music with masters at this level, positivity and clarity of purpose are both just always right there in each moment. We follow the path of positivity in the music." TRACKS 1. Positive Way 2. Seven are Double 3. Yesternight 4. 231 Gates 5. Turn at Every Moment 6. Hidden Corners 7. The Anteroom 8. Landrace Produced by Jamie Saft and Christian Castagno. Executive Producer for RareNoiseRecords: Giacomo Bruzzo. Recorded by Jamie Saft and Brian Gunn at Potterville International Sound, NY. Mixed and Mastered by Christian Castagno in Minca, Colombia. Cover painting by Eugene Gregan. Additional Art and Design by Steven Erdman. Additional Layout Assistance Graham Schreiner. Piano tuned and prepared by Steve Greenstein R.P.T.. All music written by Jamie Saft & published by RareNoisePublishing (PRS).

Dana, good point! We have Fajardo in Sask, Davis in Ottawa, Franklin in Toronto and Adams in Montreal who now have the chance to show what they can do. That's half the league. If one of them fails, somebody might trade for Streveler. And Matthew Cauz has nominated the game for Game of the Year. https://www.cfl.ca/2019/06/25/cauz-riders-redblacks-game-year-candidate/ ***** power rankings https://www.cfl.ca/2019/06/25/nissan-titan-power-rankings-return-empire/ https://3downnation.com/2019/06/25/3down-power-rankings-ask-the-argos-life-comes-at-you-fast/ http://pifflespodcast.com/blog/safimods-2019-power-rankings-week-2-edition https://www.bangthebook.com/picks/power_ratings.php?league=CFL https://firstdownsportspodcast.com/2019/06/23/cfl-power-rankings-after-week-2/ ***** Mike Goodpaster lists his top 15 favorite running backs. https://thegruelingtruth.com/football/top-10-running-backs-cfl-history/ ***** The Eskimos have cut Korey Jones, and signed J'Michael Deane. https://www.cfl.ca/2019/06/24/esks-sign-deane-practice-roster-release-jones/ ***** Zack Medeiros has signed with the Argos because Ronnie Pfeffer was hurt. Mercer Timmis has retired due to concussion issues. https://www.cbc.ca/sports/football/cfl/zack-medeiros-practice-roster-argonauts-1.5189264 https://www.cfl.ca/2019/06/25/argos-add-k-p-medeiros-pr-running-back-timmis-retires/ https://3downnation.com/2019/06/25/canadian-running-back-mercer-timmis-retires-from-the-cfl/ ***** Branden Dozier has signed with BC. https://3downnation.com/2019/06/24/lions-sign-former-alouettes-defensive-back-brandon-dozier/ https://www.cfl.ca/2019/06/25/lions-add-db-branden-dozier-release-qb-lloyd/ https://3downnation.com/2019/06/24/lions-release-quarterback-ricky-lloyd/ ***** Marquay McDaniel has joined the Als as an offensive assistant coach. https://www.cfl.ca/2019/06/25/mcdaniel-joins-als-offensive-assistant-coach/ https://3downnation.com/2019/06/25/former-cfl-receiver-marquay-mcdaniel-joins-alouettes-coaching-staff/ ***** Antonio Pipkin hurt his leg, and will miss four to six weeks https://3downnation.com/2019/06/21/alouettes-qb-antonio-pipkin-sidlined-four-to-six-weeks-with-leg-injury/

Now $12.42.

Week 2 results Ottawa 44....Sask 41 https://www.cfl.ca/games/2565/saskatchewan-roughriders-vs-ottawa-redblacks/ https://www.cbc.ca/sports/football/cfl/cfl-week-2-saskatchewan-ottawa-recap-june-20-1.5183966 https://stats.cbc.ca/football/cfl/recap/76074 https://3downnation.com/2019/06/20/ottawa/ https://www.tsn.ca/cfl/video/after-four-ints-in-week-1-davis-shines-in-redblacks-home-opener~1712728 https://www.tsn.ca/surprising-ottawa-redblacks-unbeaten-and-tied-for-east-division-lead-1.1327841 https://www.cfl.ca/2019/06/20/redblacks-offence-putting-early-lid-doubters/ https://www.cfl.ca/2019/06/24/steinbergs-mmqb-silencing-doubters/ ***** Edmonton 39....BC 23 https://www.cfl.ca/games/2566/bc-lions-vs-edmonton-eskimos/ https://www.cbc.ca/sports/football/cfl/cfl-week-2-lions-eskimos-recap-1.5185841 https://stats.cbc.ca/football/cfl/recap/76075 https://3downnation.com/2019/06/23/eskimos-frustrate-mike-reilly-spoiling-edmonton-return/ https://www.tsn.ca/cfl/video/rude-welcome-back-home-for-reilly~1713233 ***** Hamilton 64....Toronto 14 https://www.cfl.ca/games/2567/hamilton-tiger-cats-vs-toronto-argonauts/ https://www.cbc.ca/sports/football/cfl/toronto-argonauts-hamilton-tiger-cats-recap-1.5186377 https://stats.cbc.ca/football/cfl/recap/76076 https://3downnation.com/2019/06/22/ticats-tie-franchise-record-for-largest-wining-margin-in-64-14-hammering-of-the-argos/ https://3downnation.com/2019/06/23/views-from-the-six-takeaways-from-an-awful-argos-season-opener/ https://3downnation.com/2019/06/23/all-three-phases-contribute-in-ticats-thrashing-of-argos/ https://www.tsn.ca/jeremiah-masoli-leads-ticats-to-convincing-road-win-over-arch-rival-argonauts-1.1327105 https://www.cfl.ca/2019/06/22/can-great-masoli-ticats-offence-finds-stride-week-2-win/ The Tigers were founded in 1869, the Argos in 1873. This 50 point margin of victory ties the Ticats' team record for beating the Argos. Rico Murray ran an interception back for a touchdown on the last play of the game. If the Ticats had kicked the convert they would have had a new team record, but instead the ref decided that they would not attempt a convert, and he just declared the game over. ***** Week 2 Plays of the Week https://www.cfl.ca/2019/06/24/ticats-take-top-spots-in-timber-mart-plays-of-the-week/ ***** 6/24 quarterback index https://www.cfl.ca/2019/06/24/quarterback-index-challenging-throne/ ***** Week 2 summaries https://www.cfl.ca/2019/06/24/oleary-whos-saying-ya-like-now-week-2/ https://www.cfl.ca/2019/06/24/totalpickem-recap-week-2/ https://www.cfl.ca/2019/06/24/landrys-5-takeaways-week-2-3/

This year the games will be on Mexican television. https://3downnation.com/2019/06/11/cfl-signs-mexican-tv-deal/ ***** Team analyses Ottawa https://3downnation.com/2019/06/09/canadian-receivers-standout-defensive-performances-eight-other-thoughts-on-the-redblacks-tying-montreal/ https://3downnation.com/2019/06/15/five-bold-predictions-for-the-redblacks-2019-season/ https://3downnation.com/2019/06/17/smothering-defence-helps-redblacks-overcome-adversity-ten-other-thoughts-on-beating-calgary/ https://www.cfl.ca/2019/06/19/weekly-say-time-stop-doubting-redblacks/ Sask https://3downnation.com/2019/06/10/riders-offence-wasnt-offensive-and-nine-other-thoughts-as-the-pre-season-ends/ https://3downnation.com/2019/06/12/six-predictions-for-the-2019-saskatchewan-roughriders/ https://3downnation.com/2019/06/19/rough-ride-could-be-ahead-for-riders/ https://3downnation.com/2019/06/20/riders-need-to-get-fat-against-the-east/ https://www.cfl.ca/2019/06/19/nye-powell-key-offensive-success-saskatchewan/ Montreal https://3downnation.com/2019/06/10/breaking-down-the-alouettes-final-roster-decisions/ https://3downnation.com/2019/06/15/alouettes-week-1-recap-is-there-already-a-quarterback-controversy-in-montreal/ Calgary https://3downnation.com/2019/06/11/how-the-stamps-roster-is-taking-shape-after-cut-downs/ Edmonton https://3downnation.com/2019/06/14/breaking-down-the-eskimos-2019-roster-and-expectations/ https://www.cfl.ca/2019/06/19/fantasy-strategies-esks-offence-ready-repeat/ Winnipeg https://3downnation.com/2019/06/17/blue-bomber-talk-podcast-a-win-in-the-den-harris-rolls-again-o-line-gets-a-ten/ https://www.cfl.ca/2019/06/18/morris-revamped-o-line-dominant-bombers-season-opener/ Toronto https://www.cfl.ca/2019/06/21/argos-debut-documentary-pull-together-new-beginnings/ https://www.cfl.ca/2019/06/21/james-wilder-pick-your-poison/ https://www.cfl.ca/2019/06/21/oleary-argos-defence-charged-show-off-new-look/ ***** John Hodge discusses his Top 50 Players ballot. https://3downnation.com/2019/06/12/breaking-down-my-tsn-top-50-cfl-players-ballot/ ***** I need to go to a Redblacks game. They are selling a two-foot hot dog smothered with mac and cheese and Doritos! https://www.cfl.ca/2019/06/21/two-foot-long-hot-dog-ottawa-just-getting-started/ For Jim Sangrey's benefit, I have determined that we're talking about 0.62 meters here. ***** John Hodge predicts each team's MOP. https://3downnation.com/2019/06/21/every-teams-top-m-o-p-candidates/ ***** I am delighted to tell you that the league's new Command Centre policy will be what I have always thought it should be: For a call to be overturned, it has to be obviously wrong. If the Command Centre NEEDS to see slow-motion stop-action, then the call isn't obviously wrong, by definition. https://3downnation.com/2019/06/13/cfl-sets-standard-for-role-of-the-command-centre/ ***** Brandon Bridge has signed with the Als. https://3downnation.com/2019/06/21/alouettes-sign-canadian-qb-brandon-bridge/ https://www.cfl.ca/2019/06/21/report-alouettes-sign-brandon-bridge-one-year-deal/ ***** The Eskimos have put Don Unamba and Anthony Orange on the six-game list. https://3downnation.com/2019/06/20/eskimos-defenders-don-unamba-and-anthony-orange-placed-on-six-game-injured-list/ ***** Quarterbacks https://www.cfl.ca/2019/06/16/ferguson-makes-quarterback-accurate-cfl/ https://www.cfl.ca/2019/06/17/quarterback-index-matty-ice-brings-fire/ https://www.cfl.ca/2019/06/18/qb-history-first-start-against-a-former-team/ https://www.cfl.ca/2019/06/19/accuracy-grades-target-week-1/

Nick Papadakis "Summertime" Impacting: June 21 2019 Format(s): Jazz, Smooth Jazz Bubba Jackson KJAZZ 88.1 FM : "You need to listen to this, it's different it's unique and Nick has something you're not going to find anywhere else, listen to that voice." Pioneer of the jazz-pop genre Nick Papadakis covers jazz classic “Summertime” made popular by the likes of Billie Holiday, Ella Fitzgerald, and Willie Nelson. Nick’s version, however, has its own soulful swing, complete with a twangy guitar, lush horns, and an organ solo that starts off lazy and soft then intensifies, surely leaving you to press play over and over. Nick’s love for music began early on. At age of 6, Nick knew he wanted to become a jazz singer when his parents bought a stereo and his father told him to listen to a Frank Sinatra album. After listening to it front to back, Nick knew his destined career path. Over the years Nick took singing lessons, and voice acting instruction, taking voice-over jobs for commercials, documentaries, television and radio, podcasts, industrial video and more. In addition, he formed a band and performed around L.A. where he developed his dapper stage presence. "I had to work harder and longer hours than ever before. My story and the sacrifices I made to work to achieve my dream, which is, to earn the privilege to sing for a live audience and make a genuine connection with the people. For me, it is an all or nothing life decision achievement. And none of it has come easily."

REUNION4 "REUNION4" Impacting: June 18 2019 Format(s): Jazz Artist Title Time REUNION4 BRIDGES 05:56 REUNION4 OCHO RIOS 07:17 REUNION4 DONTE'S INFERNO 06:27 REUNION4 NOTE FROM J. C. 05:35 REUNION4 PASSAGES 03:16 REUNION4 YOU GUYS ARE WILD 07:46 REUNION4 INTUITION 05:43 REUNION4 EXISTENTIAL TRUTH 08:26 REUNION4 BLUE NIGHTS 06:19 REUNION4 CAJUN LOVE CALL 03:39 Reunion4, whose members are Mitch Holder/ Guitar, Eddie Arkin/ Guitar, Abraham Laboriel/ Bass, and Paul Leim/ Drums, started playing all original material written by Eddie and Mitch at the renowned Donte's Supper Club in L.A. from 1977 to approximately 1982. During that time, the group never recorded. We all went forward with our individual careers and now, after all these years, we've gone back and recorded several of the original songs dating from 1977 to tunes written over the course of thirty plus years. That's the theme of this project and as we started the first of two days recording, Paul said, "It's like we never stopped playing; we're just picking right up right from where we left off." The four of us are very excited about this project and we hope all of you will like hearing a span of music that covers all these years between our last live gig as a quartet right up to the present. Vintage Gu.. Eddie Arki.. Mitch Cred.. REUNION4 –..

I think I had Phil Regan's card in '61, but maybe not!

more Week 2 picks https://www.thespec.com/sports-story/9444466-former-starting-qb-mike-reilly-returning-to-edmonton-as-member-of-b-c-lions/ https://lastwordoncanadianfootball.com/2019/06/20/niks-picks-week-2-2019/ https://3downnation.com/2019/06/20/3down-cfl-picks-pressure-on-the-possible-0-fer-two-teams/ https://sportsbetforum.net/2019/06/18/2019-week-2-odds/

6/19 checking down https://www.cfl.ca/2019/06/19/checking-news-notes-week-2/ ***** Week 2 picks https://thegruelingtruth.com/football/cfl-week-2-preview-and-predictions/ https://www.cfl.ca/2018/06/20/cfl-ca-writers-make-week-2-picks/ https://www.cfl.ca/2019/06/19/weekly-predictor-upset-three-week-2/ https://www.cfl.ca/2019/06/19/trevor-mike-totalpickem-week-2-preview/ https://www.bing.com/videos/search?q=2019+CFL+Week+2+picks&view=detail&mid=AA3BB4118259411EE581AA3BB4118259411EE581&FORM=VIRE https://www.bing.com/videos/search?q=2019+CFL+Week+2+picks&view=detail&mid=32C0D851DDF43CA26D0332C0D851DDF43CA26D03&FORM=VIRE https://www.ultimatecapper.com/cfl-free-picks-week-2-2019-82701/ https://mybookie.ag/news/canadian-football/2019-week-2-odds/ https://www.docsports.com/free-picks/cfl/2019/BC-Lions-vs-Edmonton-Eskimos-Week-2-CFL-Game-Picks-6-21-2019-090.html https://www.covers.com/Editorial/Article/ff74726d-9202-11e9-a97c-0a73013d6078/CFL-Week-2-preview-odds-picks-and-predictions-Argonauts-add-more-weapons http://topbet.eu/news/bc-lions-vs-edmonton-eskimos-predictions-picks-odds-preview-cfl-week-2-june-21-2019.html http://rodpedersen.com/redblacks-ready-for-saskatchewan-2/ https://www.docsports.com/free-picks/cfl/2019/Hamilton-Tiger-Cats-vs-Toronto-Argonauts-Week-2-CFL-Point-Spread-Picks-6-22-2019-419.html https://www.oddsshark.com/cfl/computer-picks ***** Anthony Coombs has signed with Hamilton. https://3downnation.com/2019/06/19/ticats-sign-canadian-rb-rec-anthony-coombs/ https://www.cfl.ca/2019/06/19/former-argo-anthony-coombs-added-ticats-pr/ ***** Jabar Westerman has signed with Calgary. https://3downnation.com/2019/06/19/stampeders-sign-canadian-dl-jabar-westerman/ https://www.cfl.ca/2019/06/19/stamps-sign-national-dl-jabar-westerman/ ***** Remember Robert Gordon? Khari Jones has hired him to be the Als' new receivers coach. https://3downnation.com/2019/06/19/alouettes-hire-robert-flash-gordon-as-receivers-coach/ ***** With Zach Collaros on the injured list, the Riders have signed Bryan Bennett. https://3downnation.com/2019/06/15/riders-sign-qb-bryan-bennett/

Simoni Lawrence laid a helmet-to-helmet hit on Zach Collaros Thursday. Lawrence has been suspended for two games. The union will appeal. Collaros has been placed on the six-game list. Cody Fajardo will start for the Riders. Fajardo's backup is rookie Isaac Harker, who looked surprisingly good last week. https://3downnation.com/2019/06/13/riders-qb-zach-collaros-takes-head-from-ticats-lb-simoni-lawrence/ https://3downnation.com/2019/06/14/cfl-believes-ticats-lawrence-should-have-been-ejected-for-hit-on-riders-collaros/ https://3downnation.com/2019/06/15/riders-mike-edem-puts-collaros-hit-on-cfl-commish-randy-ambrosie/ https://3downnation.com/2019/06/15/ticats-lb-simoni-lawrence-super-sorry-for-hit-on-riders-qb-zach-collaros/ https://3downnation.com/2019/06/15/ticats-lb-simoni-lawrence-having-saturday-hearing-for-controversial-hit/ https://3downnation.com/2019/06/16/simonis-hit-overshadows-everything-in-ticats-win-over-riders/ https://3downnation.com/2019/06/16/zach-collaros-absent-from-riders-practice-cody-fajardo-taking-first-team-qb-reps/ https://3downnation.com/2019/06/16/riders-qb-zach-collaros-put-on-six-game-injured-list/ https://3downnation.com/2019/06/16/davis-stop-the-head-hunters/ https://3downnation.com/2019/06/17/ticats-lb-simoni-lawrence-suspended-two-games-for-hit-on-riders-qb-zach-collaros/ https://3downnation.com/2019/06/17/former-stamps-lb-alex-singleton-wanted-simoni-lawrence-suspended-for-the-season/ https://3downnation.com/2019/06/18/ticats-lawrence-appears-to-target-head-of-riders-powell/ https://3downnation.com/2019/06/18/cody-fajardo-to-start-at-qb-for-riders-in-week-2-against-ottawa/ https://3downnation.com/2019/06/18/riders-rookie-qb-isaac-harker-unexpectedly-thrust-into-action/ https://3downnation.com/2019/06/18/simoni-lawrence-suspension-for-head-hit-on-zach-collaros-likely-headed-towards-appeal/ https://www.cfl.ca/2019/06/13/injury-sidelines-riders-qb-collaros/ https://www.cfl.ca/2019/06/17/zach-collaros-placed-on-6-game-injured-list/ https://www.cfl.ca/2019/06/17/simoni-lawrence-handed-two-game-suspension-hit-collaros/ https://www.cfl.ca/2019/06/17/collaros-added-6-game-starter-determined/ https://www.cfl.ca/2019/06/19/riders-start-fajardo-harker-will-play/ https://www.cfl.ca/2019/06/19/cfl-releases-statement-cflpa-challenges-lawrence-suspension/ https://www.cbc.ca/news/canada/saskatchewan/cfl-lawrence-suspended-collaros-riders-ticats-1.5178358 https://www.tsn.ca/cflpa-files-appeal-grievance-on-behalf-of-simoni-lawrence-1.1325434 https://www.tsn.ca/cfl/video/can-fajardo-fill-the-void-left-by-collaros~1711110 https://www.tsn.ca/saskatchewan-roughriders-head-coach-craig-dickenson-tabs-cody-fajardo-as-starter-versus-redblacks-1.1324691

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

Chris Stamey and the ModRec Orchestra "New Songs for the 20th Century" Impacting: June 28 2019 Format(s): Jazz Artist Title Time Chris Stamey & the ModRec Orchestra, feat. Django Haskins with Branford Marsalis Manhattan Melody (Thats My New York) 04:17 Chris Stamey & the ModRec Orchestra, feat. Django Haskins and Stephen Anderson Its Been a While 04:02 Chris Stamey & the ModRec Orchestra, feat. Caitlin Cary I Dont Believe in Romance 04:49 Chris Stamey & the ModRec Orchestra, feat. Kirsten Lambert with Bill Frisell What Is This Music that I Hear 03:54 Chris Stamey & the ModRec Orchestra, feat. Nnenna Freelon and Will Campbell Occasional Shivers 04:50 Chris Stamey & the ModRec Orchestra, feat. Brett Harris On the Street Where We Used to Live 05:46 Chris Stamey & the ModRec Orchestra, feat. Kirsten Lambert On an Evening Such as This 03:02 Chris Stamey & the ModRec Orchestra, feat. Caitlin Cary Your Last Forever After 02:36 Chris Stamey & the ModRec Orchestra, feat. Ariel Pocock with Stephen Anderson Theres Not a Cloud in the Sky 03:41 Chris Stamey & the ModRec Orchestra, feat. Millie McGuire Dear Friend 04:00 Chris Stamey & the ModRec Orchestra, feat. Kirsten Lambert with Bill Frisell and Nels Cline Insomnia 05:46 Chris Stamey & the ModRec Orchestra, feat. Millie McGuire I Am Yours 03:30 Chris Stamey & the ModRec Orchestra, feat. Millie McGuire with Elijah Freeman I Fall in Love (So Easily) 03:29 Chris Stamey & the ModRec Orchestra, feat. Marshall Crenshaw and Don Dixon Beneath the Underdog 02:59 Chris Stamey & the ModRec Orchestra, feat. Django Haskins In-tox-i-cho-cli-fi-ca-tion 03:36 Chris Stamey & the ModRec Orchestra, feat. Faith Jones with Brett Harris In Spanish Harlem 04:45 Chris Stamey & the ModRec Orchestra, feat. Kirsten Lambert with Jim Crew The Woman Who Walks the Sea 04:11 Chris Stamey & the ModRec Orchestra, feat. Django Haskins with Will Campbell For a Muse 04:30 Chris Stamey & the ModRec Orchestra, feat. Skylar Gudasz with Matt Douglas Lover, Can You Hear Me? 04:05 Chris Stamey & the ModRec Orchestra, feat. Millie McGuire Pretty Butterfly 04:08 Chris Stamey & the ModRec Orchestra, feat. Kirsten Lambert I Didn’t Mean to Fall in Love with You 03:15 Chris Stamey & the ModRec Orchestra, feat. Matt McMichaels with Jeff Herrick Life Is But a Dream 03:57 Chris Stamey & the ModRec Orchestra, feat. Kirsten Lambert And I Love Him 04:49 Chris Stamey & the ModRec Orchestra, feat. Millie McGuire and Presyce Baez Unpredictable 03:48 Chris Stamey & the ModRec Orchestra, feat. Django Haskins I Lost Track of the Time 04:20 Chris Stamey & the ModRec Orchestra, feat. Presyce Baez with Dave Finucane Occasional Shivers (reprise) 04:51 CHAPEL HILL, N.C. — The way Chris Stamey tells it, “One day in 2015, an old piano arrived at my home, with a bench full of magic: songs by Jerome Kern, George and Ira Gershwin, Cole Porter, Richard Rodgers, Henry Mancini, Irving Berlin, Leonard Bernstein… many more. I fell head-first under their spell, awakening three years later with a long white beard and this collection: 26 songs on two CDs, written and arranged ‘under the influence,’ performed by some of my favorite singers and players.” On June 28, 2019, Omnivore Recordings will release the resultant 2-CD set, New Songs for the 20th Century. Vocalists on the two volumes of this lush, orchestrated, jazz-flavored outing include jazz legend Nnenna Freelon, pop icons Marshall Crenshaw, Don Dixon, and Caitlin Cary (Whiskeytown), North Carolina stalwarts Skylar Gudasz and Brett Harris, and exciting newcomers Millie McGuire, Kirsten Lambert, and Faith Jones. Highlights include Django Haskins (The Old Ceremony) and renowned saxophonist Branford Marsalis together on the Irving Berlin-like overture “Manhattan Melody (That’s My New York),” and rising-star pianist Ariel Pocock singing “There’s Not a Cloud in the Sky.” Cary adds a bit of Americana into the mix, with “Your Last Forever After.” All are backed by the “ModRec Orchestra” (named after Modern Recording, Stamey’s studio home base in Chapel Hill, N.C.) with Bill Frisell, Nels Cline (Wilco), and Matt Douglas (Mountain Goats), as well as N.C. jazz virtuosi soloists Stephen Anderson (the Dominican Jazz Project), John Brown, Will Campbell, Jim Crew, and Dave Finucane taking turns at the microphone. Inspired by the canon of the Great American Songbook but with Stamey’s own distinctive melodic and lyrical twists (familiar to fans of the dB’s co-founder), New Songs for the 20th Century uses Mid-Century Modern harmonic and lyrical inflections to evoke an earlier era. “I was intrigued by reimagining those decades right before The Beatles appeared, before President Kennedy was killed,” Chris explains, “when it seemed like the world was looking around, catching its breath, and wondering what was to come. “What came first here was the sheet music, the notated chords and melodies. I’d write out the songs in silence, then simply put the sheets of paper in front of the players and singers. It was fascinating to hear them bring the tunes to life in the studio in ways I’d never expected. Then I would orchestrate for strings and winds as needed, connecting the dots in the old-fashioned way records were made before Leo Fender came along.” Included are also full-length, remixed performances (not previously available) of several songs from the nationally broadcast holiday radio musicalOccasional Shivers, including “Beneath the Underdog" (titled after the Charles Mingus autobiography), “In-tox-i-cho-cli-fi-ca-tion,” “What Is This Music That I Hear?” and McGuire’s standout ballad, “I Am Yours.” And there are even new versions of a few older Stamey tunes that seemed to want to sing along, such as Faith Jones’s powerful “In Spanish Harlem” and Cline’s and Frisell’s dreamscape treatment of “Insomnia.” Chris adds, “North Carolina is known internationally as a place Thelonious Monk, John Coltrane, Nina Simone, and Billy Strayhorn all once called home. But recording this record showed me, without a doubt, that a similar dedication and pursuit of excellence still persists here, today.” About Chris Stamey: Chris Stamey has participated in indie music of all stripes since the 1970s, as both a musician and a producer. In 1976, he self-released Sneakers, one of the very first American indie records. The following year, he relocated to New York to play and record with Alex Chilton in the burgeoning CBGB’s rock scene, then started Car Records in 1977. That same year, he formed The dB’s with fellow Carolinians Will Rigby, Gene Holder, and Peter Holsapple, and they made several acclaimed records, including Stands for deciBels (self-produced) and Repercussion (produced by Scott Litt). His recent albums include Lovesick Blues and Euphoria,as well as Falling Off the Sky with the dB’s. As a producer, he has worked with Ryan Adams, Alejandro Escovedo, Flat Duo Jets, Skylar Gudasz, Tift Merritt, Le Tigre, and Yo La Tengo. Since 2010, Stamey has been musical director for an international series of concert performances of Big Star’s classic album Third, alongside Big Star’s Jody Stephens, Ray Davies, Kronos Quartet, members of The Posies, R.E.M., Teenage Fanclub, Wilco, and Yo La Tengo; Thank You, Friends, a concert film of these arrangements, was released in March 2017. His original jazz radio play about the early ’60s in Manhattan, Occasional Shivers, premiered nationwide on Christmas Day 2016. A “songwriting memoir,” A Spy in the House of Loud (Univ. of Texas Press), was published in 2018. "Manhattan Melody (That's My New York)"—Django Haskins with Branford Marsalis "There's Not a Cloud in the Sky"—Ariel Pocock with Will Campbell Track and Singer Listing: VOLUME 1 1 Manhattan Melody (That’s My New York) Django Haskins 2 It’s Been a While Django Haskins 3 I Don’t Believe in Romance Caitlin Cary 4 What Is This Music that I Hear? Kirsten Lambert 5 Occasional Shivers Nnenna Freelon 6 On the Street Where We Used to Live Brett Harris 7 On an Evening Such as This Kirsten Lambert 8 Your Last Forever After Caitlin Cary 9 There’s Not a Cloud in the Sky Ariel Pocock 10 Dear Friend Millie McGuire 11 Insomnia Kirsten Lambert 12 I Am Yours Millie McGuire VOLUME 2 1 I Fall in Love So Easily Millie McGuire 2 Beneath the Underdog Marshall Crenshaw, Don Dixon, Django Haskins 3 In-tox-i-cho-cli-fi-ca-tion Django Haskins 4 In Spanish Harlem Faith Jones w/ Brett Harris 5 The Woman Who Walks the Sea Kirsten Lambert 6 For a Muse Django Haskins 7 Lover, Can You Hear Me? Skylar Gudasz 8 Pretty Butterfly Millie McGuire 9 I Didn’t Mean to Fall in Love with You Kirsten Lambert 10 Life Is But a Dream Matt McMichaels 11 And I Love Him Kirsten Lambert 12 Unpredictable Millie McGuire & Presyce Baez 13 I Lost Track of the Time Django Haskins 14 Occasional Shivers (reprise) Presyce Baez The ModRec Orchestra: Will Campbell (alto & soprano sax) Dave Finucane, Elijah Freeman, Branford Marsalis (tenor sax) Matt Douglas (flute, clarinet, bass clarinet, tenor sax) Bill Frisell, Scott Sawyer, Chris Stamey (guitar) Stephen Anderson, Jim Crew, Wes Lachot, Julian Lambert, Chris Stamey (piano) John Brown, Jason Foureman (acoustic bass) Dan Davis (drums) Karen Galvin, Katelyn Hammel, Laura Thomas (violin) Matt Chicurel, Emi Mizobushi, Aubrey Keisel (viola) Leah Gibson, Josh Starmer (’cello) Written, arranged, mixed, and produced by Chris Stamey With additional contributions from Alex Bingham (acoustic bass), Charles Cleaver (piano), Nels Cline (guitar, treatments), Brent Lambert (nylon-string guitar), Gregg Gelb (clarinet), Danny Gotham (acoustic guitar), Eric Heywood & Allyn Love (pedal steel), Peter Holsapple (accordion & mandolin), Andy Kleindienst & Danny Grewen (trombone), Mark Simonsen (vibes), Rob Ladd & Tony Stiglitz (drums) Attachments stamey_son.. Singers Pi.. OV-335 One..

1. Maria Farantouri, Cihan Türkoğlu - Drama Köprüsü 06:07 2. Maria Farantouri, Cihan Türkoğlu - Yo Era Ninya 03:51 3. Maria Farantouri, Cihan Türkoğlu - Dyo Kosmoi Mia Angalia 05:06 4. Maria Farantouri, Cihan Türkoğlu - Triantafylia 04:58 5. Maria Farantouri, Cihan Türkoğlu - Wa Habibi 05:36 6. Maria Farantouri, Cihan Türkoğlu - Ta Panda Rei 06:28 7. Maria Farantouri, Cihan Türkoğlu - Lahtara Gia Zoi 04:16 8. Maria Farantouri, Cihan Türkoğlu - Anoihtos Kaimos 05:44 9. Maria Farantouri, Cihan Türkoğlu - Kele Kele 05:56 Farantouri - Beyond the Borders CD bklt.pdf 1. Marco Ambrosini - Fuga Xylocopae 01:44 2. Heinrich Ignaz Franz Biber - Rosary Sonata No.1 06:03 3. Hildegard von Bingen - O Antiqui Sancti 02:38 4. Eva-Maria Rusche / Marco Ambrosini - Erimal Nopu 04:43 5. Swedish Traditional - Polska 06:07 6. Wolf Janscha - Ananda Rasa 02:58 7. Veli Dede - Hicaz Hümâyun Saz Semâisi 06:47 8. Johann Jakob Froberger - Toccata in E-minor 03:03 9. Wolf Janscha - Fjordene 02:53 10. Girolamo Frescobaldi - Praeludium – Tocata per le levatione 03:17 11. Anna-Maria Hefele - 2 Four 8 02:53 12. Wolf Janscha - Ritus 05:24 ECM Marco Ambrosini / Ensemble Supersonus Resonances Marco Ambrosini: nyckelharpa Anna-Liisa Eller: kannel Anna-Maria Hefele: overtone singing, harp Wolf Janscha: jew’s harp Eva-Maria Rusche: harpsichord, square piano Release date: June 21, 2019 ECM 2497 UPC: 6025 776 3608 0 Led by nyckelharpa virtuoso Marco Ambrosini – first heard on ECM with Rolf Lislevand – Ensemble Supersonus applies its unique instrumental blend, capped by the otherworldly overtone singing of Anna-Maria Hefele, to very wide-ranging repertoire. Building bridges between cultures and traditions, Resonances sets compositions by Biber, Frescobaldi and Hildegard von Bingen next to Swedish folk music, Ottoman court music, and original pieces by the band members. Three pieces – “Ananada Rasa”, “Fjordene”, “Ritus” come from the pen of Wolf Janscha, the ensemble’s jew’s harp specialist. Ambrosini’s nyckleharpa solo “Fuga Xylocopae” opens the program, leading on to a fresh and sparkling account of Heinrich Ignaz Franz Biber’s ”Rosary Sonata No. 1”. All of Ensemble Supersonus contribute to the spirited arrangements of the music. The group was formed out of a shared search for a sound that would connect archaic styles with baroque and other early music. The current quintet line-up of Supersonus was established in 2014, the group members broadening the repertoire still further with their own compositions. In their work, contrasts, dissimilarities and musical extremes are not perceived as conflicts, but rather as sources of new energy. Resonances, recorded in 2015 in Lugano, is the band’s first album but both the ensemble and its constituent players have already gained a wide listenership. Anna-Maria Hefele is meanwhile recognised as one of the most creative contemporary exponents of overtone singing, and her polyphonic approach to this vocal technique has been the subject of a series of tutorial videos viewed millions of times. Born near Munich, Hefele graduated from the Carl Orff Institute of the Salzburg Mozarteum in 2018. She has been writing her own compositions for polyphonic solo voice since 2006, worked with choirs including the Obertonchor München, played folk music and music for ballet and theater. In addition to her unique vocals she also performs on harp and nyckelharpa in her solo concerts. On the Supersonus album she is the author of the piece “2 Four 8” on which overtones bounce like pebbles skimmed over the surface of a lake. Anna-Liisa Eller, who plays - with both gracefulness and strong dynamic sense - the Estonian plucked string instrument the kannel (from the Baltic zither family and closely related to the Finnish kantele), graduated from the Estonian Academy of music and took further studies with teachers including Rolf Lislevand in Lyon and Trossingen. She has won awards including First Prize at the Helsinki international Kantele Competition in 2011. Eller works in close cooperation with early music ensembles including Lislevand’s Ensemble Kapsberger, Vox Clamantis, Oni Wytars (co-founded by Ambrosini) and Rondellus and has also performed with the Estonian National Symphony Orchestra. Keyboardist Eva-Maria Rusche composed the angular, propulsive ”Erimal Nopu” together with Marco Ambrosini, with whom she also performs in duo. Rusche was born in Tübingen and took lessons in piano and organ from an early age. After studies in physics and musicology in Heidelberg, she studied church music and organ in Lübeck and Stuttgart as well as harpsichord and historical keyboard instruments. She credits studies in Vienna with Michael Radalescu and Gordon Murray, numerous masterclasses for organ choir and improvisation with providing fundamental impulses for her artistic development. As a soloist, Rusche plays harpsichord and organ recitals. She plays, furthermore, in ensembles which bring together musicians of different backgrounds including – in addition to Supersonus - Oni Wytars, the Tabla-Takla Connection and Facilité. Wolf Janscha, born in Vienna, studied classical guitar but has, since the mid-1990s, devoted himself to the jew’s harp on which he is recognised as an authority and virtuoso. The humble lamellophone has a long history, dating back to at least the 4th century BC, and it continues to play a role in folk musics of many cultures around the world. Janscha has researched Norwegian, Austrian, Siberian and Indian playing techniques, among others. His own playing style tends toward strongly stressed rhythm and motivic overtone melodies (see for instance the concluding piece “Ritus” here.) Marco Ambrosini, born in Forlì, Italy, studied violin, viola and composition at the G.B. Pergolesi Institute in Ancona and at Pesaro’s Rossini Conservatory. One of very few nyckelharpa players working outside the Swedish folk tradition, he took up the instrument in 1983 and has since become one of its most outstanding exponents, shaping a new role for the instrument in baroque and contemporary music. An ECM recording artist since 2004, he has appeared on albums including Rolf Lislevand’s Nuove musiche and Diminiuito, Giovanna Pessi and Susanna Wallumrød’s If Grief Could Wait, and Helena Tulve’s Arboles lloran por Lluvia, as well as his duo project Inventio with accordionist Jean-Louis Matinier. He has also contributed to a further 150 recordings. As soloist and nyckelharpa player he has appeared at many of the world’s great concert halls, from Milan’s La Scala to New York’s Carnegie Hall. Ambrosini has been active across genres, collaborating in improvisational projects with Michael Riessler, Valentin Clastrier and others. And Ensemble Supersonus, similarly crossing borders, opened the summer 2019 season with an appearance at the INNtöne Jazz Festival in Diersbach, Austria, in June. 1. Gianluigi Trovesi & Gianni Coscia - Interludio 03:02 2. Gianluigi Trovesi & Gianni Coscia - Nebjana I 00:43 3. Gianluigi Trovesi & Gianni Coscia - Basin Street Blues 03:38 4. Gianluigi Trovesi & Gianni Coscia - Nebjana II 00:20 5. Gianluigi Trovesi & Gianni Coscia - As Time Goes By 01:59 6. Gianluigi Trovesi & Gianni Coscia - Pippo non lo sa 01:25 7. Gianluigi Trovesi & Gianni Coscia - Fischia il vento 02:17 8. Gianluigi Trovesi & Gianni Coscia - Moonlight Serenade 04:34 9. Gianluigi Trovesi & Gianni Coscia - In cerca di te 02:41 10. Gianluigi Trovesi & Gianni Coscia - Bel Ami 03:02 11. Gianluigi Trovesi & Gianni Coscia - Eco 01:48 12. Gianluigi Trovesi & Gianni Coscia - EIAR 07:17 13. Gianluigi Trovesi & Gianni Coscia - Gragnola 05:17 14. Gianluigi Trovesi & Gianni Coscia - Nebjana III 00:34 15. Gianluigi Trovesi & Gianni Coscia - Inno dei sommergibili 01:43 16. Gianluigi Trovesi & Gianni Coscia - Umberto 03:05 17. Gianluigi Trovesi & Gianni Coscia - Volando 02:29 18. Gianluigi Trovesi & Gianni Coscia - La Piccinina 03:41 19. Gianluigi Trovesi & Gianni Coscia - Moonlight Serenade (Var.) 01:11 ECM Gianluigi Trovesi and Gianni Coscia La misteriosa musica della Regina Loana Gianluigi Trovesi: alto and piccolo clarinets Gianni Coscia: accordion Digital release date: June 21, 2019 CD release date: July 5, 2019 ECM 2652 B0030410-02 UPC: 6025 773 8787 6 There is nothing more seductive than artfulness, when it has the humility to disguise itself as artlessness. And especially when it generates, at every new quotation or invention, a feast of timbre capable of getting the maximum possible out of the instruments, in a natural way … This then is one way to add a popular dimension to cultivated music and a cultivated dimension to popular music. So there’s no need to wonder about in which temple we should place the music of Coscia and Trovesi. On a street corner or in a concert hall, they would feel at home just the same. - Umberto Eco The late novelist and polymath Umberto Eco (1932-2016) was a lifelong friend of accordionist Gianni Coscia and an ardent champion of the Trovesi-Coscia duo. The author of The Name of the Rose and Foucault’s Pendulum wrote liner notes for each of the duo’s previous ECM albums: In cerca di cibo (recorded 1999), Round About Weill (2004), and Frère Jacques: Round About Offenbach (2009). On the present recording, Gianluigi Trovesi and Gianni Coscia pay tribute to their distinguished comrade. Eco’s partly autobiographical novel La misteriosa fiamma della regina Loana (The Mysterious Flame of Queen Loana), is also a meditation on the nature of memory, and it inspires Trovesi and Coscia on their own nostalgic and exploratory journey, referencing music mentioned in the book and free-associating upon its philosophical themes. As ever, the Italians cast a wide net. They play songs associated with Louis Armstrong (“Basin Street Blues”), Glenn Miller (“Moonlight Serenade”) and George Formby (“It’s In The Air”, quoted in “Volando”). They paraphrase Janáček’s In The Mists (fog is a recurring theme in Eco’s novel), and dip into movie music (from Casablanca’s “As Time Goes By” to “Bel Ami,” from the German film of the same name). And, of course, the two musicians improvise, most creatively, while keeping their dedicatee in view. Gianni Coscia: “We have tried to run back through some of the book’s countless musical cues, as best we could and with no claims to completeness. In some cases, we have also inserted a few things that the author certainly had in mind but didn’t express explicitly.” The album opens with “Interludio”, a piece that Umberto Eco and Gianni Coscia collaborated on more than 70 years ago - when Coscia was 14 and Eco 13. The music inspired the young Eco to write accompanying verse pertinent to the work at hand: “…Musician, absorbed and inclined / Unveiling new worlds of silence /Tender incarnations of phantasms in sound / Vanish, warily, into memory.” (Eco was himself an amateur musician, playing trumpet, cello and recorder.) “Basin Street Blues” is a particular delight among many here. Recorded by Louis Armstrong in 1928, it is for Coscia and Trovesi “an emblem of the early days of jazz and our musical intention is to stress the dazzling discovery, on this side of the Atlantic, of an art that was all but unknown when not prohibited.” Writing in Jazz Times about In Cerca di Cibo, Bill Shoemaker made the observation that“Musicians like Coscia [born in 1931] who made the transition to jazz early on, lacked the musical data to become faux Americans; by necessity, they filled the information void with an Italian sensibility. This produced a shot-in-the-dark synthesis of early jazz and folkloric improvisational traditions”, a synthesis which Trovesi and Coscia have continued to nurture. As Umberto Eco put it, “We are in the presence of a new transversality where distinctions of genre are vanishing.” In the eclectic sound-world of Gianluigi and Gianni, Eco said, “the meeting of apparently incompatible traditions conjures up the ghosts of non-existent musical families.” With the application of some ironic distancing, such ‘families’ may even include Italian patriotic songs of the Second World War such as “Inno dei sommergibili” (“The Submariner’s Song”), whose propagandistic lyrics spoke of “the brave marine laughing in the face of Lady Death” – also part of the soundtrack of the last century. Eco notes, in his Queen Loana book, that Italian radio in the early 1940s “made it seem as if life were running on two different tracks: on one, the war bulletins, on the other, the endless lessons in optimism and gaiety that our orchestras offered in such abundance.” In exploring such musical memories, the Trovesi-Coscia duo are also sketching a picture of an era. But they also venture beyond it with their “out of context homage”. The two pieces here called “Umberto” and “Eco” are, Coscia explains, “the improvised, polyphonic result of Trovesi’s gematria on the surname Eco and the name Umberto.” *** Gianluigi Trovesi was born in 1944 in the village of Nembro in northern Italy, and studied at the Bergamo Conservatory, gaining his diploma in clarinet in 1966. Hearing Eric Dolphy play at the Milan festival in 1964 was a significant experience, but Trovesi's interests and influences embraced virtually every type of music, from Italian folk to the jazz avant-garde. By 1978, he was working as first alto sax and clarinet with the Milan Radio Big Band, a position he would occupy until 1993. He arrived at ECM in 1994, his alto saxophone and clarinets soaring into the Skies of Europeproposed by the Italian Instabile Orchestra. The duo with old friend Gianni Coscia made an immediate impact with In cerca di cibo, a left-field recording full of mordant humour, improvisational wit, unrepentant nostalgia, and exceptional musicianship that roved easily between jazz and chamber music, folk and soundtrack music, with a hint of klezmer. Trovesi’s other projects on ECM include Vaghissimo Ritratto, on which he appears with Umberto Petrin (piano) and Fulvio Maras (percussion, electronics), hailed by the Irish Times as “improvised chamber music of stunning quality and adventure, melodic grace and rhythmic freedom” and Fugace, a rampant genre-hopping adventure by an all-Italian octet. His albumTrovesi All’Opera – Profumo di Violetta is a typically quirky Trovesi take on Italian opera performed, as Ivan Hewitt wrote in the Daily Telegraph, by “a turbo-charged version of a traditional Italian town band”. Gianni Coscia, born in Alessandria - also Eco’s hometown - was a lawyer for many years, work that relegated music to the back-burner. Even in this period however he played with visiting American musicians including Joe Venuti, Bud Freeman and Sir Charles Thompson. In 1985 he released a widely acclaimed album L’altra fisharmonica which featured his accordion in combination with a string quartet and explored variations on Italian popular themes. La Briscola, a 1989 recording, signalled a reunion with Trovesi, who has partnered the accordionist in many projects since then. Coscia has appeared with the Giorgio Gaslini Big Band and worked with orchestras playing music of Kurt Weill and Astor Piazzolla, and toured the world as accompanist to singer Milva, also working with Gioconda Cilio, Maria Pia De Vito and Lucia Minetti. He has also collaborated with Enrico Rava, Pino Minafra, Paolo Damiani and other Italian improvisers, and with composer Luciano Berio – who dedicated his Sequenza XIII to Gianni Coscia. La misteriosa musica della Regina Loana (album title suggested by Stefano Eco) was recorded at Night and Day Studio, Casinagrossa and mixed in Lugano. The CD booklet includes liner notes by Gianni Coscia (in Italian, English and German), drawings by Umberto Eco, and studio photography by Roberto Cifarelli.

The annual Top 50 Players list has been announced. https://www.cfl.ca/2019/06/11/mitchell-headlines-tsns-top-50-players-2019/ ***** Week 1 Plays of the Week https://www.cfl.ca/2019/06/17/special-teams-dominate-the-timber-mart-plays-of-the-week/ ***** power rankings https://www.cfl.ca/2019/06/18/nissan-titan-power-rankings-justifying-hype/ https://3downnation.com/2019/06/18/3down-power-rankings-season-opening-surprises-shake-things-up/ http://pifflespodcast.com/blog/safimods-2019-power-rankings-week-1-edition ...and players https://www.tsn.ca/cfl/video/7-eleven-power-rankings-best-debut-with-new-team~1708646

Team previews and analyses Montreal https://www.cfl.ca/2019/06/11/prove-wrong-no-shortage-optimism-excitement-montreal/ https://cflpass.ca/2019/06/11/montreal-alouettes-cfl-prediction-2019-season-preview-and-odds Ottawa https://www.cfl.ca/2019/06/12/time-now-davis-taking-advantage-opportunity-lead-redblacks/ Toronto https://www.cfl.ca/2019/06/12/captain-ship-chamblin-motivated-win-toronto/ Hamilton https://www.cfl.ca/2019/06/11/better-together-steinauer-ticats-taking-team-first-approach/ Winnipeg https://3downnation.com/2019/05/16/john-hodges-blue-bomber-training-camp-preview/ https://www.cfl.ca/2019/06/12/sky-limit-bombers-confident-offence-ahead-season/ https://globalnews.ca/news/5386135/bomber-season-preview-what-to-expect-from-the-blue-and-gold-this-year/ https://www.morningbigblue.com/community/topic/12086-2019-cfl-season-around-the-league/ Saskatchewan https://www.cfl.ca/2019/06/12/new-guy-block-rookie-head-coach-motivation-riders/ https://theprovince.com/sports/football/cfl/saskatchewan-roughriders-look-to-boost-passing-attack-in-2019/wcm/3a88a344-3198-4da2-ba03-4f49d6285e6f https://leaderpost.com/sports/football/cfl/continuity-a-key-to-saskatchewan-roughriders-defensive-backfield-in-2019 Calgary https://www.cfl.ca/2019/06/10/next-man-stampeders-unfazed-changing-defence/ https://cflpass.ca/2019/06/11/calgary-stampeders-cfl-prediction-2019-season-preview-and-odds http://www.riderprophet.com/2019/04/cfl-draft-2019-team-preview-calgary.html https://calgarysun.com/sports/football/be-like-bo-stampeders-back-up-arbuckle-learning-from-the-cfls-best Edmonton https://www.cfl.ca/2019/06/12/shoulders-harris-eyes-leading-esks-greatness/ https://globalnews.ca/news/5378951/edmonton-eskimos-season-preview-cfl-big-changes/ British Columbia https://www.cfl.ca/2019/06/10/nothing-rhymes-orange-lions-uniqueness-driving-2019-season/ https://torontosun.com/sports/football/cfl/cfl-preview-mike-reilly-perfect-man-to-sell-tickets-win-games-in-b-c https://theprovince.com/sports/football/cfl/bc-lions/ed-willes-will-lions-bold-moves-pay-off-in-2019 https://theprovince.com/sports/football/cfl/bc-lions/lions-offensive-line-not-feeling-the-pressure-of-protecting-the-cfls-highest-paid-player ***** League previews and analyses https://doorfliesopen.com/2019/05/23/cfl-beat-83/ https://torontosun.com/sports/football/cfl-preview-predictions-on-the-upcoming-season https://www.cfl.ca/ready-kickoff-previewing-2019-cfl-season/ https://www.cfl.ca/2019/06/12/division-unknown-new-stars-will-born-cfl-east-year/ https://www.cfl.ca/2019/06/12/will-west-won-anyones-guess/ https://www.themaineedge.com/sports/three-down-renown-a-2019-cfl-preview https://thesportaddiction.wordpress.com/2019/06/12/2019-cfl-preview-west-division/ https://www.tsn.ca/watch-now-2019-cfl-season-preview-show-1.1320663 https://17degreesports.wordpress.com/2019/06/11/2019-cfl-season-preview/ https://rileysportsblog.wordpress.com/2019/06/06/2019-cfl-standings-and-awards-predictions/ http://www.vegasinsider.com/cfl/story.cfm/story/1973119 https://www.scoresandstats.com/breaking-news/football/CFL/cfl-betting-odds-to-win-2019-grey-cup/454486/ https://lastwordoncanadianfootball.com/2019/02/10/predicting-cfl-quarterbacks-2019/ https://mybookie.ag/sportsbook/cfl/ https://www.legitgamblingsites.com/blog/grey-cup-futures-gamble-wisely-on-the-cfl/ https://www.spreaker.com/user/ninetynineyards/cfl-preview-with-special-guest-stephen-s https://www.gambling.com/news/2019-cfl-grey-cup-odds-released-calgary-the-early-favorite-1822200

András Schiff fortepiano Four Impromptus D 899, The Three Pieces D 946, Sonata in C minor D 958, A major, Sonata in A major D 959. “this is a magnificent, endlessly fascinating pair of discs.” – Andrew Clements, The Guardian LISTEN / BUY Keith Jarrett piano In this live recording from Troy, NY, Keith Jarrett addresses the challenges of Bach’s great set of preludes and fugues once more. Part of the goal is transparency, to bring the listener closer to the composer. LISTEN / BUY Heinz Holliger oboe, English horn, piano Marie-Lise Schüpbach English horn, oboe Ernesto Molinari bass and contrabass clarinets Sarah Wegener soprano Philippe Jaccottet speaker Released to mark Holliger’s 80th birthday, this is the perfect embodiment of his dual artisty as performer and composer. The many short pieces of Holliger and Kurtág invite us to listen to every turning nuance, rewarding us with music-making that is at once emphatic and fine-grained. LISTEN / BUY Reto Bieri clarinet Meta4 Quartet: Antti Tikkanen violin Minna Pensola violin Atte Kilpeläinen viola Tomas Djupsjöbacka violoncello At the center of Swiss clarinetist Reto Bieri's album is a profound interpretation of Johannes Brahms’s Quintet op 115 with the Finnish string quartet Meta4, bookended by Salvatore Sciarrino’s Let Me Die Before I Wake (1982), with its “whisper-quiet sound world of harmonics, multiphonics and tremolandos” (The Guardian), and Gérard Pesson’s Nebenstück (1998), a ghostly re-arrangement of Brahms’s Ballade, Op. 10 No. 4. LISTEN / BUY Anna Gourari piano In this imaginatively shaped and sensitively played album – her third for ECM - Russian pianist Anna Gourari explores musical connections and influences extending across the arts with works by Schnittke, Rihm, Shchedrin, Pärt, Kancheli, and Bach’s arrangements of Venetian composers Vivaldi and Marcello. LISTEN / BUY © 2019 ECM Records US, A Division of Verve Music Group. All rights reserved.

Ghost, this is probably of no value to you, but... I have a CD from 1995 called Esquire Jazz Collection Masters of Modern Jazz Toward the Light I got it from the BMG Record Club in '99. Its club catalogue number is D 105120. It looks to me that its original catalogue number was CDP 7243 8 32993 2 4. These are Blue Note recordings. Herbie Hancock - Cantaloupe Island Joe Henderson - Blue Bossa Larry Young - The Moontrane Dexter Gordon - Clear the Dex Lee Morgan - The Sidewinder Freddie Hubbard - Plexus Art Blakey - Hammer Head Stanley Turrentine - The Hustler Jackie McLean - Blue Rondo

Week 1 results Hamilton 23....Sask 17 https://www.cfl.ca/games/2561/saskatchewan-roughriders-vs-hamilton-tiger-cats/ https://www.cbc.ca/sports/football/cfl/cfl-season-opener-roughriders-ticats-1.5174888 https://stats.cbc.ca/football/cfl/recap/76070 ***** Edmonton 32....Montreal 25 https://www.cfl.ca/games/2562/montreal-alouettes-vs-edmonton-eskimos/ https://www.cbc.ca/sports/football/cfl/cfl-week-1-montreal-edmonton-recap-1.5176683 https://stats.cbc.ca/football/cfl/recap/76071 ***** Surprise of the Week! Ottawa 32.....Calgary 28 https://www.cfl.ca/games/2563/ottawa-redblacks-vs-calgary-stampeders/ https://www.cbc.ca/sports/football/cfl/cfl-week-1-ottawa-calgary-recap-1.5177366 https://stats.cbc.ca/football/cfl/recap/76072 https://3downnation.com/2019/06/15/redblacks-record-first-ever-win-against-stampeders-at-mcmahon-stadium/ Davis threw 4 int's and no TDs, but still won. Tre Roberson had the game of his life with 3 int's, but still lost. ***** Winnipeg 33....BC 23 https://www.cfl.ca/games/2564/winnipeg-blue-bombers-vs-bc-lions/ https://stats.cbc.ca/football/cfl/recap/76073 https://3downnation.com/2019/06/16/harris-runs-over-lions-in-season-opener-12-other-thoughts/

More previews! (I am double-posting articles when I think a second is less edited than the first.) League previews https://www.tricitynews.com/2019-cfl-preview-football-a-welcomed-distraction-for-montreal-alouettes-1.23853263 https://thesportaddiction.wordpress.com/2019/06/11/2019-cfl-preview-east-division/ https://cflpass.ca/2019/06/11/cfl-preview-predictions-on-the-upcoming-season https://www.gamblingsites.net/picks/cfl-grey-cup-2019-11-24-19-prediction/ http://www.mobilesportsbetting.com/cfl-futures-2019-season-preview-and-grey-cup-odds/ https://torontosun.com/sports/football/cfl-preview-predictions-on-the-upcoming-season http://www.espn.com/watch/player?bucketId=6200&id=e62b615f-f558-4b68-817f-c8f7a58746f7 https://www.tsn.ca/cfl/video/2019-cfl-season-preview-show~1704766 https://www.scoresandstats.com/breaking-news/football/cfl/canadian-football-2019-cfl-grey-cup-futures/396285/ https://www.bangthebook.com/2019-grey-cup-betting-odds/ https://doorfliesopen.com/2019/05/30/cfl-beat-84/comment-page-1/ https://doorfliesopen.com/2019/06/06/cfl-beat-85/ https://rileysportsblog.wordpress.com/2019/05/30/episode-31-cfl-season-preview-predictions/ https://offshoresportsbookfact.net/offshore-betting-sites/cfl-and-grey-cup-odds-2019-early-preview-with-predictions/ ***** Week 1 picks https://www.covers.com/sports/cfl/matchups https://www.bangthebook.com/canadian-football-league-betting-preview/ https://cflliveupdates.ca http://pifflespodcast.com/blog/across-the-cfl-a-week-one-preview ***** Toronto http://www.riderprophet.com/2019/04/cfl-draft-2019-team-preview-toronto.html ***** Saskatchewan https://www.riderville.com/2019/06/12/season-preview-former-nfl-star-punter-jon-ryan-getting-celebrity-treatment-hometown-riders/ ***** Winnipeg https://winnipegsun.com/sports/football/cfl/winnipeg-bluebombers/season-preview-bombers-need-oshea-and-nichols-to-shine-in-order-to-live-up-to-lofty-expecations ***** power rankings https://www.bangthebook.com/2019-canadian-football-league-power-ratings/ ***** More later!

Everything has been posted at once. I'll do my best to organize what I find. Week 1 picks https://3downnation.com/2019/06/13/3down-cfl-picks-its-about-to-be-on/ https://3downnation.com/2019/06/13/slam-dunk-picks-keep-stacking-cash/ https://www.cfl.ca/2019/06/12/prediction-time-cfl-ca-writers-make-week-1-picks/ https://lastwordoncanadianfootball.com/2019/06/13/niks-picks-week-1-2019/ https://www.reddit.com/r/CFL/comments/bzj7w3/2019_week_1_cfl_predictions/ https://thegruelingtruth.com/football/2019-cfl-week-1-preview-and-predictions/ https://www.cfl.ca/2019/06/12/welcome-back-week-1-total-pickem-preview/ http://rodpedersen.com/2019-cfl-week-1-picks/ https://www.atsstats.com/cfl/picks/2019-cfl-odds-week-1-canadian-football-league/ https://www.ultimatecapper.com/cfl-free-picks-week-1-2019-82462/ http://www.sports-teller.com/2019-cfl-week-1-picks-tv-schedule/ https://www.cfl.ca/2019/06/12/weekly-predictor-believing-bombers/ ***** league previews and predictions https://www.cbc.ca/sports/football/cfl/cfl-2019-season-preview-1.5172958 https://3downnation.com/2019/06/13/2019-cfl-grey-cup-predictions/ https://www.cfl.ca/ready-kickoff-previewing-2019-cfl-season/ https://cflpass.ca/2019/06/12/2019-cfl-predictions-odds-grey-cup https://3downnation.com/2019/06/12/2019-cfl-standings-predictions/ https://edmontonsun.com/sports/football/cfl/edmonton-eskimos/moddejonge-fearless-predictions-for-the-2019-cfl-season https://www.theguardian.pe.ca/sports/football/fearless-predictions-for-the-2019-cfl-season-321366/ https://www.gamblingsites.com/blog/betting-2019-cfl-grey-cup-odds-pick-106601/ ***** 6/12 checking down https://www.cfl.ca/2019/06/12/checking-news-notes-week-1/ ***** Kevin Glenn has retired after 18 seasons. https://www.tsn.ca/veteran-cfl-qb-kevin-glenn-announces-retirement-1.1321097 https://3downnation.com/2019/06/12/veteran-qb-kevin-glenn-retires-from-the-cfl/ https://www.cfl.ca/2019/06/12/kevin-glenn-retires-18-seasons/ ***** ESPN has announced its schedule for June. https://espnpressroom.com/us/press-releases/2019/06/espn-networks-and-espn-will-present-every-cfl-game-live-in-2019/ ***** Lots more tomorrow!

As I say every year at this time, I love the week before Opening Day because of all the Pre-Season Analysis articles. So let's see what I have found so far. Quarterbacks https://www.cbc.ca/sports/football/cfl/mike-reilly-quarterback-carousel-cfl-1.5171356 ***** Calgary https://3downnation.com/2019/06/11/how-the-stamps-roster-is-taking-shape-after-cut-downs/ https://www.cfl.ca/2019/06/10/next-man-stampeders-unfazed-changing-defence/ ***** Hamilton https://3downnation.com/2019/06/11/assessing-the-ticats-training-camp-cuts-and-regular-season-roster/ https://www.cfl.ca/2019/06/11/better-together-steinauer-ticats-taking-team-first-approach/ ***** Saskatchewan https://3downnation.com/2019/06/10/riders-offence-wasnt-offensive-and-nine-other-thoughts-as-the-pre-season-ends/ ***** Montreal https://3downnation.com/2019/06/10/breaking-down-the-alouettes-final-roster-decisions/ https://3downnation.com/2019/06/10/alouettes-name-antonio-pipkin-starting-qb/ https://www.cfl.ca/2019/06/10/als-call-pipkin-season-opening-starter/ https://www.cfl.ca/2019/06/11/prove-wrong-no-shortage-optimism-excitement-montreal/ ***** BC https://www.cfl.ca/2019/06/10/nothing-rhymes-orange-lions-uniqueness-driving-2019-season/ ***** 6/11 power rankings https://www.cfl.ca/2019/06/11/nissan-titan-power-rankings-hope-springs-eternal-week-1/ ***** Here are the top eleven guys who were cut over the weekend. https://www.cfl.ca/2019/06/10/market-11-names-watch-cutdown-day/ Chad Geter signed with the Als. https://www.cfl.ca/2019/06/11/alouettes-ink-dl-chad-geter/ Rashaun Simonise signed with BC. https://3downnation.com/2019/06/09/lions-sign-canadian-receiver-rashaun-simonise/ ***** I expect to find some good Week 1 picks tomorrow.