GA Russell

Is this PD because of the recording date?

Louis Sclavis Characters On A Wall Louis Sclavis: clarinets Benjamin Moussay: piano Sarah Murcia: double bass Christophe Lavergne: drums Release date: September 20, 2019 ECM 2645 B0030958-02 CD UPC: 6025 778 3223 9 LP UPC: 6025 080 4585 1 French clarinettist Louis Sclavis’s thirteenth album as a leader on ECM finds him drawing inspiration from two primary sources: the interventionist street art of Ernest Pignon-Ernest and the interpretive brilliance of his reconfigured quartet. Characters On A Wall marks, surprisingly, the first time that Sclavis has deployed the classic jazz line-up of reeds, piano, bass and drums on an ECM record. “This instrumental formation is one I hadn’t used for a long time,” says Louis. “It still feels new to me, and the band feels like a real jazz group – in its make-up, sonorities and sense of interplay.” The canonical format seems a good fit with the subject matter, given Pignon-Ernest’s position as a classicist among the street artists, balancing technical control and compositional elegance with a flair for subtle coloration and emotional drama. Five Sclavis compositions, “L’heure Pasolini”, “La dame de Martigues”, “Extases”, “Prison” and “Darwich dans la ville” are musical responses to Pignon-Ernest’s in situ paintings from Paris to Palestine. The album also includes “Shadows and Lines”, written by pianist Benjamin Moussay. A frequent Sclavis associate over the last two decades, Moussay previously appeared on the albums Sources (recorded 2011) and Silk and Salt Melodies (2014). Repertoire on Characters on a Wall is completed by two collective pieces – “Esquisse 1” and “Esquisse 2” – which bring the improvisational resourcefulness of new group members Sarah Murcia and Christophe Lavergne to the fore. Characters on a Wall marks the second time that Louis Sclavis has devoted an album to music inspired by the art of Ernest Pignon-Ernest. Napoli’s Walls (recorded in 2002) was an evocation of Pignon-Ernest’s work in the city of Naples. Characters, in contrast, is inspired by the artist’s work in all its periods. Sclavis: “Ernest’s work speaks to me very directly. When I look at his images, I don’t have to search for long – ideas come to me very quickly. But there’s no rule, no method. Each work generates its own form and compositional processes.” The Village Voice once called Louis Sclavis “the most consistently impressive bass clarinettist since Eric Dolphy” but, as he has proven many times, his real instrument is the ensemble. He knows how to make his groups sing. Each of his bands has had a very distinct character, utilised by Sclavis to address a wide range of subject matter. “Sclavis keeps renewing and reinventing himself,” Stéphane Ollivier remarks in the liner notes. “The clarinettist expands his universe ever further at the limits of established genres and styles, into hybrid shifting territory where the learned and the popular, the ultra-contemporary and the traditional meet.” Benjamin Moussay started out studying classical piano at the Strasbourg Conservatory, before turning to jazz. In 1998 he was laureate of the Martial Solal International Jazz Piano Competition. Playing experiences with Louis Sclavis, Archie Shepp, Jerry Bergonzi, Glenn Ferris, Daniel Humair and Tony Malaby have contributed to the development of his language and technique, but his scope is wide and he cites also the influence of contemporary composition, electronic music and rock and pop on his musical development. In the liner notes, Stéphane Ollivier describes Moussay as “a sophisticated, lyrical pianist, who brings an intensity of phrasing and a deep harmonic understanding to a vision of his instrument that is orchestral and scenographic.” New bassist Sarah Murcia, a former student of the late J.F. Jenny-Clark (a contributor to important early ECM recordings including Paul Motian’s Le Voyage and Kenny Wheeler’s Around Six), moves adroitly between background and foreground responsibilities, both a powerful soloist and a driving presence. She has worked across several idioms in the course of her artistic journey, beginning with classical piano, and an early period as a cellist. On bass, she has recorded with Steve Coleman’s Five Elements Group and worked with numerous French improvisers. Her own project Never Mind The Future (line-up including Benoit Delbecq and Sclavis associate Gilles Coronado) has proposed improvised approaches to punk rock. Murcia also composes music for film and dance. Drummer Christophe Lavergne has worked a similarly broad field. He studied at the Nantes Conservatory before finding his path as a jazz improviser, travelling often to New York where he studied with Billy Hart, Marvin “Smitty” Smith, Charlie Persip, Adam Nussbaum, and Mike Clark among others. He has played or recorded with Thôt, Le Gros Cube, Caroline (with Sarah Murcia), Emmanuel Bex, Stéphane Belmondo, Benoît Delbecq and more. Louis Sclavis’s ECM recordings include Rouge (recorded 1991), Acoustic Quartet (1993), Les violences de Rameau (1995/6), L’affrontement des prétendants (1999),Dans La nuit (2000), Napoli’s Walls (2002), L’imparfait des langues (2005), Lost on the Way (2008), Sources (2011), Silk and Salt Melodies (2014), and Asian Fields Variations (2016). He can be also be heard on Ida Lupino (2015) with Giovanni Guidi, Gianluca Petrella and Gerald Cleaver. Characters on a Wall was recorded in Studios La Buissonne in the South of France in October 2018, produced by Manfred Eicher. The album is issued in both CD and LP formats. Liner notes by Louis Sclavis and Stéphane Ollivier are included, in French and English, plus photos of Ernest Pignon-Ernest’s artwork, The Sclavis Quartet takes the music on the road in Europe this season: September 19 Bærum Kulturhus Sandvika Norway September 27 Au sud du nord Boissy le Cuté France October 11 Contaminazioni Contemporanee Bergamo Italy October 12 Chrous Jazz Lausanne Switzerland October 18 Periscope Lyon France October 20 La Courroie Avignon France October 24 Jazz Istanbul Festival Istanbul Turkey November 14 Lux Valence France November 24 ECM 50 Festival Flagey Brussels Belgium February 3 Elbphilharmonie Hamburg Germany

Each team has revealed the names of ten players on its neg list. https://www.cfl.ca/2019/08/15/cfl-reveals-list-10-negotiation-list-players-team-3/ https://www.cfl.ca/2019/08/15/oleary-negotiation-list-glimpse-cfl-team-wish-lists/ https://3downnation.com/2019/08/15/each-cfl-team-reveals-10-players-on-their-negotiation-list/ ***** Week 10 picks https://3downnation.com/2019/08/15/3down-cfl-picks-banged-up-and-bruised-but-still-bringing-it/ ***** Emanuel Davis has retired. https://www.cfl.ca/2019/08/15/emanuel-davis-announces-retirement-6-seasons/ https://3downnation.com/2019/08/15/former-ticats-stampeders-db-emanuel-davis-retires-from-the-cfl/ ***** Jamaal Westerman is gone for the year with a torn triceps tendon. https://3downnation.com/2019/08/15/canadian-dl-jamaal-westerman-out-for-the-season/ https://www.cfl.ca/2019/08/15/ticats-lose-westerman-season-triceps-injury/

1. Danish String Quartet - J.S. Bach: The Well-Tempered Clavier: Book 1, BWV 846-869: Fugue in B Minor, BWV 869 (Arr. Förster for Strings) 06:48 2. Danish String Quartet - Schnittke: String Quartet No. 3: 1. Andante 06:11 3. Danish String Quartet - Schnittke: String Quartet No. 3: 2. Agitato 07:49 4. Danish String Quartet - Schnittke: String Quartet No. 3: 3. Pesante 08:36 5. Danish String Quartet - Beethoven: String Quartet No. 13 in B-Flat Major, Op. 130: 1. Adagio ma non troppo – Allegro 09:52 6. Danish String Quartet - Beethoven: String Quartet No. 13 in B-Flat Major, Op. 130: 2. Presto 02:00 7. Danish String Quartet - Beethoven: String Quartet No. 13 in B-Flat Major, Op. 130: 3. Poco scherzando. Andante con moto ma non troppo 07:05 8. Danish String Quartet - Beethoven: String Quartet No. 13 in B-Flat Major, Op. 130: 4. Alla danza tedesca. Allegro assai 03:22 9. Danish String Quartet - Beethoven: String Quartet No. 13 in B-Flat Major, Op. 130: 5. Cavatina. Adagio molto espressivo 07:49 10. Danish String Quartet - Beethoven: String Quartet No. 13 in B-Flat Major, Op. 130: 6. Große Fuge, Op. 133 (Ouverture. Allegro – Fuga) 16:44 DSQ November 2019 tour November 1 Minneapolis, MN American Swedish Institute Nordic folk songs November 3 Vancouver, BC Vancouver Playhouse Prism IV November 4 Portland, OR Lincoln Performance Hall Prism I November 5 Portland, OR Lincoln Performance Hall Prism V + Schnittke November 7 Seattle, WA Meany Center Prism I November 8 Sonoma, CA Green Music Center Prism I November 10 Berkeley, CA Cal Berkeley Prism II November 12 Santa Barbara, CA Granada Theater Danish Songs w Danish Girls Choir November 13 Santa Barbara, CA Campbell Hall Prism IV November 16 La Jolla, CA Conrad Prebys PAC Prism I November 17 La Jolla, CA Conrad Prebys PAC Prism II November 19 Costa Mesa, CA Samueli Theater Prism III November 22 La Jolla, CA Conrad Prebys PAC Prism III November 23 La Jolla, CA Conrad Prebys PAC Prism 1V and Prism V Each of the albums in the Danish String Quartet's ongoing Prism project links one of the five late Beethoven quartets with a Bach fugue and a kindred-spirit work by a later master. Released last year, the Grammy-nominated first instalment of the series earned wide acclaim. The second volume of the series begins with the Fugue in B minor, BWV 869, which completes J.S. Bach’sWell-Tempered Clavier, Book I (in an arrangement by Viennese composer Emanuel Aloys Förster, an elder contemporary of Beethoven). As Prism I included a quartet by Shostakovich,Prism II features one Alfred Schnittke. Characteristically, Schnittke’s String Quartet No. 3 of 1983 echoes with the sound of ghosts, from the late 16th century (Orlando Lassus and his Stabat Mater) to the mid-20th century (Shostakovich and his musical monogram of DSCH – which, as Paul Griffiths points out in his booklet essay, can be sensed as a transposition of the first four notes of the theme from Beethoven’s titanic “Grosse Fugue”). The original version of Beethoven’s String Quartet No. 13 in B-flat Major, Op. 130, included the “Grosse Fugue” as its final movement – which is how the DSQ presents the piece on Prism II. In a prefatory note to the five-album Prism series, DSQ violist Asbjørn Nørgaard explains that even with the groundbreaking, future-minded aspects of the late Beethoven quartets, “this music is far from being disconnected from the past. Rather, Beethoven was focusing deeply on tradition and the ‘old days’ during the last days of his life, and was especially obsessed with Bach’s Well-Tempered Clavier, from which he derived many of the melodic motifs in his five late quartets… What Beethoven did with this tradition, however, was mind-blowing. His late quartets were so extreme and brilliant that they changed the game. Every composer after Beethoven had to consider these works and somehow figure out how to carry the torch. Beethoven had taken a fundamentally linear development from Bach and exploded everything into myriad colors, directions and opportunities – much in the same way a prism splits a beam of light.” Beethoven completed his six-movement Op. 130 in 1826. As the biggest of his late quartets, the Op. 130 ranges from the comic to the cosmic, from Haydnesque scherzo to Mahlerian love song and beyond. After the work’s initial performance, Beethoven’s publisher persuaded him to substitute a shorter, lighter-toned finale for the 15-minute-plus “Grosse Fugue,” its length and level of dissonance considered too much for audiences of the time. The “Grosse Fugue” was first published as a standalone work, as Op. 133. Performers today, like the DSQ, often favor the composer’s original intentions, using the “Grosse Fugue” as the quartet’s finale. Encapsulating Schnittke’s polystylistic manner, his milestone String Quartet No. 3 takes the kaleidoscopic aspects of Beethoven’s Op. 130 into the late 20th century. With the work’s opening quotation of Lassus, the DSQ evokes a Renaissance consort of viols before digging into keening dissonances with a full, modern tone. Across the work, Beethoven and Shostakovich, waltz and lament, eras and emotions “twist and turn” in Griffiths’ phrase, the music feeling unsettled, otherworldly and, ultimately, timeless. Prism II comes as the DSQ embarks on a tour with concerts on both sides of the Atlantic, from Germany, Denmark and Belgium in September-October to a full, five-concert Prism cycle for California’s La Jolla Music Society in November. Referencing the links between Bach, Beethoven and the modernists who came after them, Nørgaard says: “The important thing to us is that these connections be experienced widely on an intuitive level. We hope the listener will join us in wonder at these beams of music that travel all the way from Bach through Beethoven as far as our own times.” *** The Danish String Quartet has an almost lifelong history of musical collaboration. Its three members born in Denmark – violist Asbjørn Nørgaard and violinists Rune Tonsgaard Sørensen and Frederik Øland – first played chamber music together in a summer camp before they were even teenagers, and then continued to do so throughout the school year, driven by their own enthusiasm. In 2006, the group made its first recordings – of Carl Nielsen’s quartets – as the Young Danish String Quartet, attracting the attention of publications from Gramophone to The New York Times. In 2008, Norwegian cellist Fredrik Schøyen Sjölin joined the quartet, and the foursome has since gone from strength to strength. In 2011, the DSQ received the Carl Nielsen Prize, Denmark’s most important cultural award. The group’s 2017 ECM album, Last Leaf, saw it explore the texturally rich, emotionally resonant world of Nordic folk music. The DSQ played its custom arrangements of this material with the focus that had earned the quartet such plaudits as “spellbinding” from Strings magazine for its ECM New Series debut of 20th-century compositions by Per Nørgård, Hans Abrahamsen and Thomas Adès, released in 2016. Both albums were singled out as among the best releases of the year by The New York Times.

Week 10 picks http://rodpedersen.com/week-10-cfl-picks-2019/ https://thegruelingtruth.com/podcast/cfl-weekly-pickem-show-week-10-w-cfl-legend-robert-drummond/ https://doorfliesopen.com/2019/08/15/cfl-beat-95/ https://lastwordoncanadianfootball.com/2019/08/15/niks-picks-week-10-2019/ https://www.thestar.com/sports/football/2019/08/14/cfl-picks-als-stampeders-could-feature-quarterback-returns-on-both-sides.html https://www.covers.com/postingforum/post01/showmessage.aspx?spt=214&sub=103366402 ***** Because last week's game was called with 22 minutes left, the Als are offering the fans a special deal. https://www.cfl.ca/2019/08/15/als-announce-ticket-offer-response-shortened-game/

1 - I agree with Hutch. 2 - Have you considered selling bundles you have created? Sort of a "Kevin's Box Sets!" That would mean less work for you, I think.

Week 10 picks https://www.cfl.ca/2019/08/14/prediction-time-cfl-ca-writes-make-week-10-picks/ http://17degreesports.com/index.php/2019/08/14/cfl-week-10-preview/ ***** 8/14 game notes https://www.cfl.ca/2019/08/14/cfl-ca-game-notes-look-week-10-4/ ***** 8/14 checking down https://www.cfl.ca/2019/08/14/checking-news-notes-week-10/ ***** Attention Jim Sangrey: Winnipeg has revealed it new Walby Burger, named after their Hall of Fame offensive lineman Chris Walby. https://3downnation.com/2019/08/14/bombers-unveil-massive-walby-burger-fit-for-offensive-lineman-sized-appetite/ ***** The league named McLeod Bethel-Thompson Week 8's Player of the Week. I'm guessing that that's the highlight of his career. http://cc.bingj.com/cache.aspx?q=bethel-thompson+player+of+the+week&d=4867196289679486&mkt=en-US&setlang=en-US&w=lEXtcy3Y4nGlWAWSVJBhQJ_O6RxG5e0Z

Week 10 picks https://www.cfl.ca/2019/08/14/weekly-predictor-eyeing-upset-toronto/ ***** power rankings https://thegruelingtruth.com/football/cfl-power-rankings-week-10-2/ https://lastwordoncanadianfootball.com/2019/08/14/cfl-week-9-power-rankings/ https://3downnation.com/2019/08/14/3downnation-power-rankings-flying-back-to-the-top/ ***** QB accuracy https://www.cfl.ca/2019/08/13/accuracy-grades-target-week-9/ ***** Terrell Sinkfield has signed with the New York Giants. https://3downnation.com/2019/08/14/new-york-giants-sign-former-cfler-terrell-sinkfield/

ESPN has put up its schedule through October. https://espnpressroom.com/us/cfl-2/ ***** Week 10 picks https://www.cfl.ca/2019/08/13/totalpickem-preview-week-10/

Bruce Cockburn "The Mt.Lefroy Waltz" Impacting: August 13 2019 Format(s): Jazz The Mt Lefroy Waltz featuring Ron Miles cornet; Roberto Occhipinti bass; Gary Craig drums, ready for Jazz airplay now! In 2005, Bruce Cockburn released Speechless, a collection of instrumental tracks that shone the spotlight on the singer-songwriter’s exceptional acoustic guitar playing. The album earned Cockburn a Canadian Folk Music Award for Best Instrumentalist and underscored his stature as one of the world’s premier guitarists. Already, The New York Times had credited Cockburn with having “the hardest-working right thumb in show business,” adding that he “materializes chords and modal filigrees while his thumb provides the music’s pulse and its foundation—at once a deep Celtic drone and the throb of a vigilant conscience.” Acoustic Guitar magazine was similarly laudatory in citing Cockburn’s guitar prowess, placing him in the prestigious company of legends like Andrés Segovia. Bill Frisell, Django Reinhardt and Mississippi John Hurt. The Mt Lefroy Waltz is from the intriguingly titled Crowing Ignites, another dazzling instrumental album that will further cement his reputation as both an exceptional composer and a instrumentalist with few peers. The latest album features 11 brand new compositions. Although there’s not a single word spoken or sung, it’s as eloquent and expressive as any of the Canadian Hall of Famer’s lyric-laden albums. As his long-time producer, Colin Linden, puts it: “It’s amazing how much Bruce can say without saying anything.” Upcoming North American Tour Dates SEPT 7 SISTERS OR SISTERS FOLK FESTIVAL SEPT 20 NASHVILLE TN CITY WINERY SEPT 21 FERDINAND IN FERDINAND FOLK FESTIVAL SEPT 23 NELSONVILLE OH STUART OPERA HOUSE SEPT 24 GOSHEN IN JOHN S UMBLE CENTER SEPT 25 GRAND RAPIDS MI COVENANT ARTS CENTER SEPT 27 CHICAGO IL OLD TOWN SCHOOL SEPT 28 CHICAGO IL OLD TOWN SCHOOL SEPT 29 MINNEAPOLIS MN CEDAR CULTURAL CENTER SEPT 30 FARGO ND FARGO THEATRE OCT 19 TORONTO ON KOERNER HALL OCT 20 LONDON ON CENTENNIAL HALL OCT 21 ST. CATHARINES ON FIRST ONTARIO ART CENTRE OCT 22 KINGSTON ON GRAND THEATRE OCT 24 BROOKLYN NY MURMRR THEATRE OCT 25 ALBANY NY THE EG OCT 26 COLLINGSWOOD NJ SCOTTISH RITE THEATRE OCT 27 WASHINGTON DC THE BIRCHMERE NOV 8 VICTORIA BC THE ROYAL THEATRE NOV 9 VANCOUVER BC CHAN CENTRE NOV 10 SEATTLE WA NEPTUNE THEATRE NOV 11 MISSOULA MT WILMA THEATRE NOV 12 BOISE ID VAC THEATRE NOV 14 SALT LAKE CITY UT STATE ROOM NOV 15 GRAND JUNCTION CO AVALON THEATRE NOV 16 DURANGO CO HENRY STRATER THEATRE NOV 17 BOULDER CO BOULDER THEATRE NOV 19 PHOENIX AZ MIM NOV 20 LOS ANGELES CA MCCABES GUITAR SHOP NOV 21 BERKELEY CA FREIGHT & SALVAGE NOV 22 BERKELEY CA FREIGHT & SALVAGE NOV 23 MONTEREY CA GOLDEN STATE THEATRE

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

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

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

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

bump for new album

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

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

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

Deb Bowman "Fast Heart" Impacting: August 29 2019 Format(s): Jazz Artist Title Time Deb Bowman Willow in the Wind 05:26 Deb Bowman Pannonica 06:13 Deb Bowman Butterfly 08:04 Deb Bowman Where Can We Go 04:45 Deb Bowman La Vie en Rose 04:29 Deb Bowman Moody's Mood for Love 04:58 Deb Bowman Geaorgia On My Mind 04:55 Deb Bowman Crazy He Calls Me 06:14 Deb Bowman Fast Heart 05:22 Deb Bowman Shelter Me From The Storm 06:12 MULTI-TALENTED DYNAMO DEB BOWMAN RELEASES ECLECTIC TRIBUTE TO HER LATE SISTER. FAST HEART AVAILABLE AUGUST 29, 2019 ON MAMA BAMA RECORDS An award winning singer, actor, composer, and jazz cabaret artist, DEB BOWMAN’s multi-faceted talents shine through on her newest album, FAST HEART. The project comprises a mix of jazz standards and four original tunes penned by Bowman. This is Bowman’s second album as a leader. It follows her 2011 release Addicted to Love Songs. Bowman was raised in Alabama and grew up singing in the Gospel church. She began singing at the age of five, piano at age eight and when she was twelve, she was offered a recording contract in the Christian music industry, but her parents turned down the offer. She went on to study music and drama in high school, and received her BFA from the University of Alabama, where she studied Classical Theatre and Dance. Bowman moved to New York City to pursue her acting and singing career. She performed in theatre, Off- Broadway, national tours and regional productions as well as television, films, and commercials. Although she worked steadily, her creative spirit felt confined to scripts others had written and singing songs that weren’t optimal for her vocal sweet spot, so she began creating her own unique, jazz cabaret shows incorporating song, story, and shtick. She performed around the city, regionally, and also spent time at sea traveling to over 60 countries on world cruise ships, where her shows were a popular feature. After spending 13 years in New York, her beloved sister, Patti, died of ovarian cancer. Bowman was with her sister through the brutal 18-month battle and was devastated by her loss. She had been working on the hit TV show Ugly Betty, which had just wrapped, so she gave up the lease on her apartment (which most New Yorkers will say you only do under great duress) and headed out for a long stint on a world cruise as a guest entertainer. She felt that she needed change and couldn’t imagine bearing another New York winter. A friend invited her down to Atlanta, and she liked it enough to make it her new home. It was closer to her family in Alabama, there was TV and film production, theatre, and a solid jazz scene -- all the elements she needed to start a new life. FAST HEART is a tribute to Patti. Bowman is releasing the album in concert on the 10th anniversary of her passing at BIRDLAND in New York City on September 22nd. Patti loved butterflies, and from the teal butterfly on the cover (a symbol of ovarian cancer awareness) to references in several songs, the album is replete with butterfly allusions. Bowman will also be donating a portion of the revenue to Ovarian Cancer Research. Bowman was thrilled that FAST HEART was one of the last projects recorded at the storied Power Station recording studio in New York City. The studio, which opened in 1977 and where artists like Bob Dylan, Bruce Springsteen, Madonna, David Bowie and the cast of “Hamilton” have recorded, will be renovated and rebranded. Bowman and producer ARNOLD STRICKLAND brought on board pianist ERIC LEWIS, popularly known as ELEW. Lewis, who found crossover success creating the genre “rock jazz,” is known for his unconventional style, which eschews a piano bench and makes frequent use of plucked strings, a style featured on the title song “Fast Heart.” Also joining Bowman are the Grammy winning, virtuoso drummer STEVEN WOLF aka “WOLF,” Hammond B3 player “Organ Monk” GREG LEWIS, who was named one of top 5 Rising Stars on organ on DownBeat's 66th Annual Critics' Poll, MATTHEW GARRISON, the son of the late Jimmy Garrison and a stellar bassist in his own right, award-winning trumpeter KENYATTA BEASLEY, who has recorded and performed with many internationally renowned artists, and violinist MARLA FEENEY, who performs with a number of orchestras and bands in the Atlanta area. FAST HEART was engineered and mixed by AKIHIRO NISHIMURA and mastered by multi Grammy award winning engineer, PAUL BLAKEMORE. Bowman has a rich, warm voice that was shaped by her earliest performances as a Gospel singer. Many of the standards included on the album have clear references to butterflies, like Thelonious Monk’s “Pannonica,” with lyrics by Jon Hendricks that uses the refrain “Pannonica my butterfly,” and, of course, Herbie Hancock’s“Butterfly” with the touching lyrics “Soaring winds... rainbow waves / Touch my mind... be so kind / When you're gone... people cry Butterfly.” Bowman often sings in French and performs a wistful piano duo version of Edit Piaf’s “La Vie en Rose.” She and ELEW add some funk to “Moody’s Mood for Love,” and, as a shout-out to her friends and fans in Georgia, she does a rousing version of “Georgia on My Mind,” featuring “Organ Monk” Lewis on the Hammond B3. This CD is also the debut for Bowman’s original compositions. She opens the album with a soulful “Willow in the Wind,” a song about yearning for love and seeking refuge for a restless soul. “I feel like a willow in the wind / Won’t you come and take me by the hand / Where there is no pain / Somewhere far away.” She also contributes a pop-edged “Where Can We Go,” which she co-wrote with writing partner, Janet Powell; “Fast Heart,” the title tune about how her heart beats fast when she’s dancing with a passionate love and the closing number, “Shelter Me from The Storm,” in which Bowman gets down and returns to her Gospel roots, featuring JW Inspirational Voices of Harlem and the Hammond B3 Organ. Deb Bowman has a fluid and flexible voice. She is adept at a number of different musical styles, while her acting background clearly informs her approach to lyrics. FAST HEART is a beautiful and loving tribute to her late sister Patti. FAST HEART will be available in stores and online everywhere on August 29, 2019. Deb Bowman will be presenting FAST HEART at a special listening events on July 30th at World of McIntosh in New York City and August 29th at HiFi Buys in Atlanta. Online: Debbowman.com

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

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

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

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

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

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