GA Russell

ECM Florian Weber Lucent Waters Ralph Alessi: trumpet Florian Weber: piano Linda May Han Oh: double bass Nasheet Waits: drums Release date: November 2, 2018 ECM 2593 B0029236-02 UPC: 6025 675 1588 3 Florian Weber’s second ECM appearance, following a critically-acclaimed duo recording (Alba, 2016) with Markus Stockhausen, finds the gifted German pianist leading a newly formed quartet through a program of his compositions. Openness is key here: whether paying tribute to mentor Lee Konitz on “Honestlee”, impressionistically conveying the glittering “Melody of a Waterfall”, or generating impactful outcomes from fragments of material on a conceptual piece like “Butterfly Effect”, the intention is to encourage fresh responses from the participants. “I see this album as a meeting of very independently-minded musicians,” says Weber. “It’s the first time I’ve had a band where what particularly interests me is the difference between the players and their approaches to improvising.” He cites the contrast between the soulful, grounded quality of Linda May Han Oh’s bass playing and Nasheet Waits’s fleet, free-flowing drums. “Linda and Nasheet are very different characters, but they balance each other in their exchanging of energies.” The Lucent Waters line-up marks a first collaboration between Weber and Waits, the drummer being recommended by producer Manfred Eicher for the project. “I liked very much Nasheet’s playing on Ralph Alessi’s ECM albums [Baida and Quiver], those are great recordings, so the idea resonated with me.” Linda May Han Oh and Florian Weber first worked together in trio with Lee Konitz a decade ago. “That was the beginning of a vivid exchange of ideas that has continued in other contexts. For myself, working with Lee night after night taught me what it really means to be spontaneous in the music.” There’s a difference, Weber suggests, between the contemporary emphasis on “self-expression” and “exploring what is actually there, implied in the material and in the interaction of the players.” Weber and Ralph Alessi have been in and out of each other’s groups for more than 15 years. Latterly, Weber’s been playing in Alessi’s trio with Dan White. “If I look at my career to date, I’ve mostly tried to play with people that I feel close to, that I understand where they’re coming from, emotionally.” Friends, of course, can still challenge each other: “Ralph always says that my writing and playing pushes him to play differently.” This is strikingly evident on “Fragile Coccoon”, where an initially gentle piece bursts open to feature the trumpet in a blazing admixture of lyricism and intensity, framed by Waits’ dramatically powerful drums. There are, says Weber, several factors influencing the pieces gathered here. “Pieces emerge, a lot of times, as a feeling or a perspective on some aspect of my life – in this case the twilight atmosphere of the touring musician’s world, and all the ups and downs of that. Then there’s the compositional aspect: I’m always trying to create or shape something which hasn’t, to my knowledge, been there before.” The degree of freedom given to the players differs from piece to piece. “On ‘Brilliant Waters’, for instance, I didn’t give them much more than the title: that’s a free, open piece, although we end organically on one note, which does sound composed. I did tell the group that I wanted the album to have a sense of narrative, with interconnecting links, of some kind. A motif that appears in one piece might recur in another piece, perhaps reversed. Atmospheric ideas return, two pieces may have a similar instrumental emphasis at certain points, or a soundscape may be similar. As a bandleader I think there’s a fine line between giving musicians too much information and not giving them enough: I wanted the musicians to make their own thing, too.” Nasheet Waits has the freest role in “Melody of a Waterfall”, which takes its inspiration partly from traditional Japanese drum ensembles: “I like the clarity and focus of that music, its stillness as well as its passion and energy. I find Japanese culture and its ideas fascinating and have tried to understand it – insofar as one can, as a westerner.” “From Cousteau’s Point Of View” references some recent diving experiences: “The changed three- dimensional perspectives and transparency are central to this tune. Musically it’s 3 against 7, both times going on at the same time, and you’re not sure which one you should follow. I like transparency, but too much of it can make the mystery disappear. And I also like the mystery, just as I like the things that are not said, and the notes not played.” “Honestlee”, dedicated to Lee Konitz (“every time I meet Lee I learn something new” says Florian), incorporates “some Lennie Tristano School ideas, but not Tristano-style playing. It explores some ideas he had about lines and counterpoint.” The piece also takes impetus from drawings which Karlheinz Stockhausen made at Darmstadt. “The drawings illustrate some polyphonic concepts. I looked at them and immediately wanted to write a tune. Wanting to dedicate something to Lee, the ideas converged. So we start with lines and then go into open mode.” Weber’s playing, exemplary throughout, is particularly affecting here. (Konitz, on hearing this recording, has said “Florian is one of the most creative piano players I have ever played with. His music is totally free. He has got the texture, the feeling, just beautiful. I am very touched by this music. It feels divine to me.”) * Born into a musical family in Detmold, Germany, in 1977, Florian Weber began playing piano at the age of four, and by the time he graduated high school was appearing with both jazz and classical ensembles. In Cologne he studied with Hans Ludemann and John Taylor, before heading to the USA and further studies with teachers including Paul Bley, JoAnne Brackeen, Danilo Pérez and Richie Beirach. In 2002 Weber founded Trio Mensarah with bassist Jeff Denson and drummer Ziv Ravitz. By 2006, Lee Konitz was playing with the group which subsequently formed the basis of his New Quartet, touring widely and recording a prizewinning album at New York’s Village Vanguard. In 2011 Weber founded the group Biosphere with guitarist Lionel Loueke, bassist Thomas Morgan and drummer Dan Weiss. Florian Weber also continues to play with trumpeter Markus Stockhausen. The intuitive music of their ECM album Alba was praised for its “natural warmth and character” by The Times of London. For further details, including upcoming dates, visit www.florianweber.net and www.ecmrecords.com * Lucent Waters was recorded at Studios La Buissonne in the South of France in September 2017 and produced by Manfred Eicher. ECM Andrew Cyrille Lebroba Wadada Leo Smith: trumpet Bill Frisell: guitar Andrew Cyrille: drums Release date: November 2, 2018 ECM 2589 B0029217-02 CD: 6025 677 5528 9 LP: 6025 770 5563 8 Andrew Cyrille’s 2016 release The Declaration of Musical Independence gave notice that one of the drumming innovators of new jazz had taken his conception of group playing to another level of development, and the space-conscious Lebroba, with Wadada Leo Smith and Bill Frisell, applies further fine-tuning. The album’s title is a contraction of Leland, Brooklyn and Baltimore, birthplaces of the protagonists of a recording which brings together three of creative music’s independent thinkers. Each of them made his first ECM appearance long ago. Drummer Andrew Cyrille appeared on Marion Brown’s Afternoon of a Georgia Faun in 1970, trumpeter Wadada Leo Smith on his own Divine Love in 1978, and guitarist Bill Frisell in 1979 on Eberhard Weber’s Fluid Rustle, with his leader debut In Line following in 1982; these are, of course, players of enduring influence. In recent seasons, Cyrille has been heard on Ben Monder’s Amorphae, Wadada has recorded with Vijay Iyer on A Cosmic Rhythm With Each Stroke and Frisell has introduced a duo with Thomas Morgan on Small Town. Andrew Cyrille and Wadada Leo Smith first played together in the early 1970s in a period when some of the trailblazers of Chicago’s AACM were relocating to the New York region. In the late 1990s they came together again in the quartet of bassist John Lindberg. Their reunion in the Lebroba trio with this recording - made at New York’s Reservoir Studio - was suggested by the album’s producer, Sun Chung. Always a generous leader, Cyrille gives plenty of room to his cohorts, who also bring in compositions, with Wadada’s elegant four-part suite dedicated to Alice Coltrane unfurling slowly over its 17-minute duration. Written and open sections are interlaced, with a free role for the drums in the closing moments. “I didn’t want to play all the time,” Andrew explains. “I wanted to play rhythms with spaces between them, and to play melodically, in relation to what Wadada and Bill were doing…” Creative energies are pooled also on the spontaneously created “TGD”, credited to all three players, Reviews of Cyrille have often emphasised the elemental strength of his playing (“his energy is unflagging, his power absolute”, the All Music Guide notes). Yet even in contexts calling for unconditional drive – such as Cecil Taylor’s celebrated trio with Jimmy Lyons (of which Andrew was a member for more than a decade) – there always was a differentiated methodology at work in the drumming. Still, as Kevin Whitehead writes in the CD booklet, the release of The Declaration of Musical Independence in 2016 “took some listeners by surprise. There Andrew’s new elliptical style unfolded – a style, he says ‘where the meter is implied but not inferred’.” Bill Frisell contributed to the Declaration album, but Lebroba marks a first-time meeting for the guitarist and Wadada Leo Smith. “If there is a continuity of concept between the Declaration quartet and this trio,” says Cyrille in the liner notes, “the linchpin is Frisell. The music is different, but the concept is about the same. And then Wadada brings in his voice and his philosophy.” With no bass and no keyboards this time, the ensemble texture is more transparent than on Declaration and with Cyrille sometimes reducing his sound to a discontinuous groundswell, there are plenty of the charged silences and open spaces that Wadada Leo Smith loves to play into. Bill Frisell’s history includes extensive work with another bassless trio, Paul Motian’s trio with Joe Lovano. “Andrew does remind me of Paul in a way,” says Frisell. “People describe their playing as free or abstract and overlook the feel: the deep, deep beat coming from a deep, deep place.” Even unstated, its presence is felt on Lebroba, not least on Andrew’s tunes, the bluesy title piece, and the graceful ballad “Pretty Beauty”.

more Week 17 power rankings https://www.tsn.ca/blue-bombers-climbing-in-cfl-power-rankings-1.1186021 http://3downnation.com/2018/10/04/power-rankings-get-board-get-way/ https://lastwordonsports.com/2018/10/03/cfl-week-16-power-rankings-edmonton-eskimos-find-rock-bottom/ https://thegruelingtruth.net/football/cfl/cfl-power-rankings-week-17/ ***** more Week 17 picks https://www.cfl.ca/2018/10/04/prediction-time-cfl-ca-writers-making-week-17-picks/ https://thegruelingtruth.net/podcast/cfl-weekly-pickem-show-week-17-w-robert-drummond/ https://www.thespec.com/news-story/8945989-cfl-picks-week-17/ ***** Week 17 game notes https://www.cfl.ca/2018/10/04/cfl-ca-game-notes-look-week-17-2/

Ches Smith / Craig Taborn / Mat Maneri Oct 3 Austin, TX (The North Door) Oct 4 Denver, CO (Dazzle) Oct 5 Vancouver, BC (The Western Front) Oct 6 San Diego, CA (Bread and Salt) Oct 7 Los Angeles, CA (Bluewhale) Mark Turner / Ethan Iverson Oct 10 Brooklyn, NY (Dazzle) Oct 11 Santa Cruz, CA (Kuumbwa) Oct 12 Los Angeles, CA (Bluewhale) Oct 14 Portland, OR (Old Church) Oct 15 Seattle, WA (Earshot Jazz Festival) Oct 18 New Orleans, LA (Snug Harbor) Timeless: John Abercrombie Tribute Concert Oct 10 Boston, MA (Berklee College of Music) Jakob Bro / Thomas Morgan / Joey Baron Oct 14 Winnipeg, MB (The Good Will Social Club) Oct 15 Minneapolis, MN (Icehouse) Oct 17 Chicago, IL (Constellation) Oct 18 Los Angeles, CA (Bluewhale) Oct 22 Baltimore, MD (An Die Musik Live!) Oct 23-24 New York, NY (Jazz Standard) Oct 25 Denver, CO (Dazzle) Oct 26 Tulsa, OK (Duet) Oct 27 Seattle, WA (Earshot Festival) Oct 28 Portland, OR (The Old Church) Vijay Iyer Sextet Oct 14 Kansas City, MO (Starlight Theatre) Oct 20 New York, NY (Miller Theater) Meredith Monk & Cellular Songs Ensemble Oct 4-6 Minneapolis, MN (McGuire Theater, The Walker) Oct 14-16 New York, NY (Le Poisson Rouge) Nik Bärtsch’s Ronin Oct 17 Los Angeles, CA (Bluewhale) ***Solo Piano Oct 19 Phoenix, AZ (Stillwell Pianos) Oct 20 Portland, OR (Jack London Revue) Oct 21 Winters, CA (The Palms Playhouse) Oct 24 Denver , CO (Dazzle) Oct 27 Chicago, IL (Constellation) Oct 28 Cleveland, OH (Bop Stop) Oct 29 Minneapolis, MN (Dakota Jazz) Oct 30 Boston, MA (Regattabar) Nov 1 New York, NY (Iridium) Art Ensemble of Chicago Oct 20 Ann Arbor, MI (Edgefest) Kim Kashkashian Oct 21 Boston, MA (Music for Food) © *2018 ECM Records US, A Division of Verve Music Group. All rights reserved.

Week 17 checking down https://www.cfl.ca/2018/10/03/checking-latest-solomon-elimimian-reggie-begelton/ ***** Week 17 picks https://www.cfl.ca/2018/10/03/weekly-predictor-late-looking-firsts/ https://cflpowerrankings.wordpress.com/2018/10/03/cfl-week-17-picks/ ***** more Week 17 power rankings https://cflpowerrankings.wordpress.com/2018/10/03/power-rankings-after-week-16-2/ https://lastwordonsports.com/2018/10/03/cfl-week-16-power-rankings-edmonton-eskimos-find-rock-bottom/

Week 17 power rankings https://www.cfl.ca/2018/10/02/nissan-titan-power-rankings-bombers-making-statement/ https://www.oddsshark.com/cfl/power-rankings ***** Current playoff scenarios and analyses https://www.oddsshark.com/cfl/power-rankings https://www.cfl.ca/2018/10/02/strength-schedule-shortest-path-post-season/ https://www.cfl.ca/2018/10/02/playoff-scenarios-plenty-line-week-17/ ***** Angus Reid has written an autobiography called "Thank You Coach." https://www.cfl.ca/2018/10/01/former-cfl-star-releases-first-book/ https://www.amazon.com/Thank-You-Coach-Learning-Taught/dp/1999416503/

Bebop Alto Saxophonist Richie Cole Pays Tribute to a Lifelong Hero on "Cannonball," Set for Oct. 26 Release On Richie Cole Presents Recording Features 12 Adderley Staples, One Cole Original Performed by the Pittsburgh Alto Madness Orchestra Featuring Trombonist Reggie Watkins October 2, 2018 The alto madness of Richie Cole celebrates one of its chief inspirations with the October 26 release of Cannonball (Richie Cole Presents). An inveterate bebop stalwart, Cole leads the Pittsburgh Alto Madness Orchestra and several special guests in paying tribute to his hero, the legendary alto saxophonist Julian "Cannonball" Adderley. The album comprises a dozen tunes closely associated with Adderley (including his own "Sack o' Woe"), as well as a brand-new Cole original ("Bell of the Ball"). While Cole often uses ideas from Adderley's arrangements to formulate his own, no one could mistake either of the altoists for the other -- nor would the stubbornly individual Cole want them to. "I didn't try to play like Cannonball, I focused on how he tells a story," says Cole. "You have to tell stories if you're going to connect with an audience and there was no one better at that than him." The eight-piece ensemble, too, drawn from Cole's home base of Pittsburgh, is very different from Adderley's famous quintets. Cole's frontline partner on Cannonball is trombonist Reggie Watkins (pictured at left with Cole) -- a surrogate for cornetist Nat Adderley, his brother's longtime brass foil. Two more horns, tenor saxophonist Rick Mattand trumpeter J.D. Chaisson, join in for four of the album's 13 tracks. Guitarist Eric Susoeff, keyboardist Kevin Moore, bassist/producer Mark Perna, and drummer Vince Taglieri fill out the rhythm section. In taking on Adderley's repertoire, Cole finds ways to evoke his hero, though often with a twist. Where Nancy Wilson traditionally joined Adderley on "Save Your Love for Me," Cole brings in the vocalist Kenia, who sings his bossa nova arrangement in Portuguese. The altoist recreates Adderley's 1961 solo on "Toy," but not before letting Watkins have his uproarious way with the song. Meanwhile, a rendition of "Dat Dere" closely resembling the version on Adderley's 1960 album Them Dirty Blues is subverted with a newly devised arrangement for all four horns. "It's like where did this big band come from?" Cole says with a laugh. Cole keeps it tight on Cannonball; most of the tunes stay close to the five-minute mark. "I could stretch out and play my ass off," Cole says. "But then you lose the thread of the story, and the audience. . . . I want to play melodies that regular people, working people, can enjoy." L. to r.: Mark Perna, Richie Cole, Reggie Watkins. Richie Cole was born in 1948 in Trenton, New Jersey. His father, a big band enthusiast, ran a local jazz joint called the Harlem Club. Young Richie met any number of great jazz performers there, including Dizzy Gillespie, Art Blakey, and Freddie Hubbard, and at 10 took up alto saxophone on a horn someone had left at the club. He played in various school bands and, at 16, attended a music camp directed by alto legend Phil Woods (with whom he would record the 1980 fan favorite, Side by Side). He went on to study at Boston's Berklee School of Music, then continued his jazz education in the big bands of Buddy Rich, Lionel Hampton, and Doc Severinsen before forming his own bebop quintet. Unswayed by jazz-rock trends, Cole in the early '70s began a long association with the great vocalist Eddie Jefferson, with whom he worked until the vocalese innovator's 1979 death, recording among others the popular album Alto Madness. Cole thrived on '80s encounters with Sonny Stitt and Art Pepper and spread his alto madness with pianist Bobby Enriquez and saxophonist Boots Randolph. He turned out a flurry of albums through the '90s with his seven-man Alto Madness Orchestra. For years, Cole lived the life of a wanderer. Following a romantic breakup, he was talked into moving to Pittsburgh by his daughter Annie. "She had to drag me there kicking and screaming," he says. But as his song "I Have a Home in Pittsburgh" tells you, things have worked out well for him in the Iron City. "Pittsburgh is like an oasis, an island," Cole says. "There are fantastic musicians here." One of them -- bassist Mark Perna -- helped him create his own label, Richie Cole Presents, on which Cannonball is the sixth release. Cole and his musical partners will be celebrating the release of the new CD at Wallace's Whiskey Room and Kitchen in Pittsburgh, 7-9 pm on Friday 10/26. Photography: Aaron Jackendoff Richie Cole "Cannonball" - Album Trailer Web Site: markpernamusic.com/richie-cole

Has no one posted on this thread since March 18? Reba (complete) - $34.72 https://www.oldies.com/product-view/48421R.html ***** The Naked Gun Trilogy + Police Squad (complete) - $16.19 https://www.oldies.com/product-view/48388R.html ***** Superman 5-Film Collection - $17.10 https://www.oldies.com/product-view/48483R.html

Week 16 plays of the week https://www.cfl.ca/2018/10/01/manziel-tricks-his-way-to-top-spot-in-timber-mart-plays-of-the-week/ ***** A young singer named Alessia Cara will be this year's Grey Cup halftime performer. https://www.cfl.ca/2018/09/29/alessia-cara-perform-freedom-mobile-grey-cup-halftime-show/ ***** Reggie Begelton - out for the year http://3downnation.com/2018/09/30/stampeders-lose-reggie-begelton-for-the-rest-of-the-season/

On Tour Oct 17 Los Angeles, CA (Blue Whale) Oct 20 Portland, OR (Jack London Revue) Oct 21 Winters, CA (The Palms Playhouse) Oct 24 Denver, CO (Dazzle) Oct 27 Chicago, IL (Constellation) Oct 28 Cleveland, OH (Bop Stop) Oct 29 Minneapolis, MN (Dakota Jazz Club & Restaurant) Oct 30 Boston, MA (Regattabar) Nov 1 New York, NY (Iridium) New CD “Awase”, a term from martial arts, means “moving together” in the sense of matching energies, a fitting metaphor for the dynamic precision, tessellated grooves and balletic minimalism of Nik Bärtsch’s Ronin. Over the past years Ronin has become a subtly different band and Bärtsch speaks of a new-found freedom and flexibility in the approach to the material, with “greater transparency, more interaction, more joy in every performance”. CD / LP / DOWNLOAD / STREAMING © *2018 ECM Records US, A Division of Verve Music Group. All rights reserved.

RIP. Like Paul, I too think of Shoot the Piano Player. https://www.amazon.com/Shoot-Piano-Player-Criterion-Collection/dp/B000BC8SWO/ Years ago I picked up a CD called Jazznavour. I'll look for it tonight.

Keith Jarrett: piano This recording of Keith Jarrett’s extraordinary 2006 solo performance at Gran Teatro La Fenice in Venice finds Jarrett entering one of Italy’s most famous classical venues and channeling the flow of inspiration to shape something new. In this case, a suite of eight spontaneously created pieces referencing everything from the blues to atonality to heart-rending ballads. From the first flurry of notes, it is a consistently captivating journey. Release of La Fenice is timely: The 62nd International Festival of Contemporary Music of the ‘Biennale di Venezia’ has honored Keith Jarrett with its Golden Lion for Lifetime Achievement. It’s the first time that a “jazz” musician has received this award. LISTEN / PRE-ORDER © *2018 ECM Records US, A Division of Verve Music Group. All rights reserved. LISTEN / PRE-ORDER For its third ECM release, the prize-winning Danish String Quartet – hailed by the Washington Post as “one of the best quartets before the public today” and as simply “terrific” by The Guardian – inaugurates a series of five albums with the overarching title of Prism, in which the group will present one of Beethoven’s late string quartets in the context of a related fugue by J.S. Bach as well as a linked masterwork from the modern quartet literature. With Prism 1, it’s the first of Beethoven’s late quartets, his grandly life-affirming Op. 127 in E-flat Major, alongside Bach’s luminous fugue in the same key (arranged by Mozart) and Dmitri Shostakovich’s final string quartet, the No. 15 in E-flat minor, a haunted and haunting sequence of six adagios. “A beam of music is split through Beethoven’s prism,” explains DSQ violist Asbjørn Nørgaard in the ensemble’s prefatory note to the Prism series. “Inevitably, we base our work on what we know, as individuals and as a group, but the important thing to us as musicians is that these connections be experienced widely on an intuitive level. We hope the listener will join us in the wonder of these beams of music that travel all the way from Bach through Beethoven as far as to our own times.” In Concert November 3 Kingston, ON (Queen's University) November 4 Toronto, ON (Royal Conservatory of Music) November 5 Quebec City, QC (Club Musical de Quebec) November 8 Richmond, VA (University of Richmond) November 9 Winston-Salem, NC (Wake Forest University) November 10 Durham, NC (Duke University) November 12 Washington, DC (Washington Performing Arts) November 13 Houston, TX (Da Camera Houston) November 14 Indianapolis, IN (Ensemble Music Society) November 15 Ann Arbor, MI (University Musical Society) November 17 New York, NY (92Y) November 18 Rockport, MA (Rockport Chamber Music Festival) © *2018 ECM Records US, A Division of Verve Music Group. All rights reserved.

Week 16 results Calgary 38....Toronto 16 https://www.cfl.ca/games/2523/toronto-argonauts-vs-calgary-stampeders/ https://www.cbc.ca/sports/football/cfl/cfl-argos-stampeders-september-28-recap-1.4843644 The Stampeders become the first team to clinch a playoff spot. ***** Hamilton 40....BC 10 https://www.cfl.ca/games/2524/bc-lions-vs-hamilton-tiger-cats/ https://www.cbc.ca/sports/football/cfl/bc-lions-hamilton-tiger-cats-recap-1.4844275 ***** Winnipeg 30....Edmonton 3 https://www.cfl.ca/games/2525/winnipeg-blue-bombers-vs-edmonton-eskimos/ https://www.cbc.ca/sports/football/cfl/winnipeg-blue-bombers-edmonton-eskimos-recap-1.4844404 And this was in Edmonton! I can't figure the Eskimos out. Winnipeg, Edmonton and BC are now tied with 7 losses each. https://www.cfl.ca/standings/ ***** Sask 34....Montreal 29 https://www.cfl.ca/games/2526/saskatchewan-roughriders-vs-montreal-alouettes/ https://www.cbc.ca/sports/football/cfl/saskatchewan-roughriders-montreal-alouettes-1.4844742 This was the Als' 11th loss. It has not been uncommon for an 8-10 team to make the playoffs, but I don't recall a 7-11 club doing so. Manziel finally threw his first touchdown pass. https://www.cbc.ca/sports/johnny-manziel-throws-1st-cfl-touchdown-on-reverse-flea-flicker-1.4844735

There has been an unusual number of serious injuries this month, particularly for receivers. I'll quickly go down the list, and let you judge how this affects the race. Jalen Saunders - out for the year http://3downnation.com/2018/09/05/ticats-jalen-saunders-likely-season/ http://3downnation.com/2018/09/06/ticats-jalen-saunders-done-season-torn-acl/ http://3downnation.com/2018/09/09/after-injuries-to-williams-and-saunders-ticats-sign-marquay-mcdaniel/ Derel Walker - 6 - 8 weeks http://3downnation.com/2018/09/06/eskimos-receiver-derel-walker-miss-6-8-weeks-knee-injury/ Kamar Jorden - out for the year http://3downnation.com/2018/09/06/calgarys-kamar-jorden-gone-season-torn-acl/ Travis Lulay http://3downnation.com/2018/09/08/b-c-lions-lose-qb-travis-lulay-injury/ http://3downnation.com/2018/09/08/um-hit-travis-lulay-not-penalty/ http://3downnation.com/2018/09/14/not-b-c-quarterback-travis-lulay-leaves-game-due-injury/ http://3downnation.com/2018/09/17/lions-qb-travis-lulay-has-bad-luck-versus-alouttes/ http://3downnation.com/2018/09/18/buono-expects-lions-qb-lulay-will-be-back-playing-in-2018/ Brandon Banks http://3downnation.com/2018/09/15/loss-brandon-banks-means-ticats/ http://3downnation.com/2018/09/18/buono-expects-lions-qb-lulay-will-be-back-playing-in-2018/ http://3downnation.com/2018/09/22/injuries-hinder-ticats-lions/ http://3downnation.com/2018/09/26/ticats-brandon-banks-to-return-against-lions/ Greg Ellingson http://3downnation.com/2018/09/19/redblacks-place-greg-ellingson-disabled-list/ Manny Arceneaux - out for the year http://3downnation.com/2018/09/26/no-manny-show-arceneaux-done-year-knee-surgery/ Jamaal Westerman http://3downnation.com/2018/09/27/ticats-place-canadian-dl-jamaal-westerman-six-game-injured-list/

Week 16 game notes https://www.cfl.ca/2018/09/27/cfl-ca-game-notes-look-week-16-3/ ***** Week 16 checking down https://www.cfl.ca/2018/09/26/checking-stamps-getting-healthier/ ***** Week 16 picks https://www.cfl.ca/2018/09/27/prediction-time-cfl-ca-writers-make-week-16-picks/ https://www.cfl.ca/2018/09/26/weekly-predictor-expectations-high-round-2-cat-fight/ http://3downnation.com/2018/09/28/slam-dunk-picks-heavy-hitters/ http://3downnation.com/2018/09/28/cfl-picks-stand-counted/ https://thegruelingtruth.net/football/cfl/cfl-week-16-previews-and-predictions/ https://thegruelingtruth.net/podcast/cfl-weekly-pickem-show-w-robert-drummond-week-16/ https://cflpowerrankings.wordpress.com/2018/09/25/cfl-week-16-picks/ https://www.thespec.com/sports-story/8931024-cfl-picks-week-16/

Jakob Bro guitar; Thomas Morgan double bass; Joey Baron drums This poetically attuned group follows its ECM studio album Streams (2016) – which The New York Times lauded as “ravishing”- with an album recorded live over two nights in New York City. Bay of Rainbows rolls on waves of contemplative emotion, with gradually enveloping lyricism the lodestar. Recast intimately and elastically for trio, the pieces are illustrative of Bro and company’s ability to push and pull the music into mesmerizing new shapes, onstage and in the moment. TRIO TOUR October 14 Winnipeg, Man (The Good Will Social Club) October 15 Minneapolis, MN (Icehouse) October 17 Chicago, IL (Constellation) October 18 Los Angeles, CA (Bluewhale) October 22 Baltimore, MD (An Die Musik Live!) October 23-24 New York, NY (Jazz Standard) October 25 Denver, CO (Dazzle) October 26 Tulsa, OK (Duet) October 27 Seattle, WA (Seattle Art Museum (Earshot Festival)) October 28 Portland, OR (The Old Church (Portland Jazz Festival)) © *2018 ECM Records US, A Division of Verve Music Group. All rights reserved ECM Keith Jarrett - La Fenice release date: October 19, 2018 Keith Jarrett: piano This double album, long anticipated, presents Keith Jarrett's concert at the Gran Teatro La Fenice in Venice, from July 2006. The setting - one of Italy's most famous classical venues - may evoke some parallels with La Scala, the pianist's much-loved 1995 recording, but each of Jarrett's solo performances is its own world, his protean creativity continually bringing new forms to light. La Fenice (the phoenix) finds him channelling the flow of inspiration into a suite of eight spontaneously created pieces referencing everything from the blues to atonality. From the first flurry of notes, it is a consistently captivating journey. Between Part VI and Part VII, Jarrett surprisingly but very touchingly segues into "The Sun Whose Rays", from Gilbert and Sullivan's opera The Mikado. Encores are the traditional tune "My Wild Irish Rose" (previously recorded by Jarrett on The Melody At Night With You), the timeless standard "Stella By Starlight", which the trio with Gary Peacock and Jack DeJohnette often played (see for instance the albums Standards Live and Yesterdays). The concert ends with a tender version of Keith's tune "Blossom", first heard on the Belonging album with Jan Garbarek, Palle Danielsson and Jon Christensen back in 1974. La Fenice could be considered the culmination point of a series of solo concerts that began the previous September with the The Carnegie Hall Concert. Reviewing that performance, Fred Kaplan of The Absolute Sound wrote: "His concert pieces, all pure improvisations, are models of economy, themes stated, explored, varied on, departed from, returned to, done - and gripping from start to finish. The encores were similarly taut - and lyrical and gorgeous." Release of the Venice concert is timely. The 62nd International Festival of Contemporary Music of the Biennale di Venezia has honored Keith Jarrett with its Golden Lion for Lifetime Achievement. It's the first time that a "jazz" musician has received this award, which has previously been given to contemporary composers including, in recent decades, Luciano Berio, Pierre Boulez, György Kurtág, Helmut Lachenmann, Sofia Gubaidulina and Steve Reich. Of course, there is more than one way to be a contemporary composer, as Keith Jarrett eloquently illustrates on La Fenice, shaping his musical structures in real time. ECM Keith Jarrett La Fenice Keith Jarrett: piano Release date: October 19, 2018 ECM 2-CD: 2601/02 B0028949-02 UPC: 6025 676 5853 5 This double album, long anticipated, presents Keith Jarrett’s concert at the Gran Teatro La Fenice in Venice, from July 2006. The setting – one of Italy’s most famous classical venues – may evoke some parallels with La Scala, the pianist’s much-loved 1995 recording, but each of Jarrett’s solo performances is its own world, his protean creativity continually bringing new forms to light. La Fenice (the phoenix) finds him channelling the flow of inspiration into a suite of eight spontaneously created pieces referencing everything from the blues to atonality. From the first flurry of notes, it is a consistently captivating journey. Between Part VI and Part VII, Jarrett surprisingly but very touchingly segues into “The Sun Whose Rays”, from Gilbert and Sullivan’s opera The Mikado. Encores are the traditional tune “My Wild Irish Rose” (previously recorded by Jarrett on The Melody At Night With You), the timeless standard “Stella By Starlight”, which the trio with Gary Peacock and Jack DeJohnette often played (see for instance the albums Standards Live and Yesterdays). The concert ends with a tender version of Keith’s tune “Blossom”, first heard on the Belonging album with Jan Garbarek, Palle Danielsson and Jon Christensen back in 1974. La Fenice could be considered the culmination point of a series of solo concerts that began the previous September with the The Carnegie Hall Concert. Reviewing that performance, Fred Kaplan of The Absolute Sound wrote: “His concert pieces, all pure improvisations, are models of economy, themes stated, explored, varied on, departed from, returned to, done – and gripping from start to finish. The encores were similarly taut – and lyrical and gorgeous.” Release of the Venice concert is timely. The 62nd International Festival of Contemporary Music of the Biennale di Venezia has honored Keith Jarrett with its Golden Lion for Lifetime Achievement. It’s the first time that a “jazz” musician has received this award, which has previously been given to contemporary composers including, in recent decades, Luciano Berio, Pierre Boulez, György Kurtág, Helmut Lachenmann, Sofia Gubaidulina and Steve Reich. Of course, there is more than one way to be a contemporary composer, as Keith Jarrett eloquently illustrates on La Fenice, shaping his musical structures in real time. Keith Jarrett: piano This recording of Keith Jarrett’s extraordinary 2006 solo performance at Gran Teatro La Fenice in Venice finds Jarrett entering one of Italy’s most famous classical venues and channeling the flow of inspiration to shape something new. In this case, a suite of eight spontaneously created pieces referencing everything from the blues to atonality to heart-rending ballads. From the first flurry of notes, it is a consistently captivating journey. Release of La Fenice is timely: The 62nd International Festival of Contemporary Music of the ‘Biennale di Venezia’ has honored Keith Jarrett with its Golden Lion for Lifetime Achievement. It’s the first time that a “jazz” musician has received this award. LISTEN / PRE-ORDER © *2018 ECM Records US, A Division of Verve Music Group. All rights reserved.

"Unreleased Art Pepper Vol. 10: Toronto," Latest in the Critically Acclaimed "Unreleased Art" Series, To Be Released by Laurie Pepper's Widow's Taste Label November 2 Art Pepper Seizes His Big Moment In Live Recordings Made at Toronto's Bourbon Street, June 16, 1977, At the Outset of His First Tour as a Leader, With Bernie Senensky, Gene Perla, David Piltch, Terry Clarke 3-Disc Set Also Contains 30-Minute Interview with Pepper & DJ Hal Hill: "Art on Music and Musicians" September 26, 2018 In 1977, Art Pepper's jazz comeback had been moving along pretty quietly, and he was still playing bar mitzvahs and weddings, when producer John Snyder helped engineer the alto saxophonist's first tour outside California. With soul ablaze, with his defiant wit, and with the musical mastery he'd honed throughout his reckless life, Pepper took his first step onto the world stage at Toronto's Bourbon Street nightclub on June 16, 1977. That night's triumphant performances are documented in the new Widow's Taste 3-CD set, Unreleased Art Pepper Vol. 10: Toronto, which will be released November 2. The absolute love with which Toronto jazz fans greeted him surprised Art and gave him the boost he needed from the very start. And the superb young musicians at this gig were supportive and challenging. He always felt that good musicians had something to teach him, and these fellows all went on to fine careers. During the 30-minute interview with Toronto disc jockey Hal Hill, which is included in the new package, Art praises them, sincerely, especially the pianist, Bernie Senensky. He enjoyed their youth; the prodigious David Piltch was only 17. Piltch alternates with the impressive Gene Perla on bass, and the drummer, Terry Clarke, seems to have played with every soloist on earth. They solo beautifully. They back him perfectly. The audio is quite good, thanks, once again, to Wayne Peet's mastering, which is precise, skilled, and artful. The 32-page booklet includes, along with Laurie Pepper's photos, gossip, opinions, and flights of musically inspired fancy, her chart of problems she heard in the original recordings and Wayne's notes describing all the additional problems Laurie didn't hear -- and his work correcting them. And there's more. In honor of this, the tenth release from her label Widow's Taste, Laurie (at left with Art) offers us a backstage pass, "How to Turn a 40-Year-Old Cassette Tape into a Valuable Collector's Item." She shows us why and how, "in this age of off-brand-indie-DIY,"she manages, with help, to keep finding and releasing this great music. She says, "My jewel boxes hold real jewels." Fifty-one at the time of these recordings, Art Pepper had been struggling, as an artist, to merge the solid swing and shuffle of the blues he'd made his own at age 15 on Central Avenue with the tender lyricism of his nature, with the fire and excitement of bebop, and with the adventurousness of John Coltrane and Miles Davis. John Snyder, producer and fan, underwrote and ran this East Coast tour -- which culminated in Pepper's Village Vanguard debut -- to help him do it. Snyder's encouragement can't be underrated. Neither can Pepper's courage. When young, as a starring soloist, Art had toured the country with Stan Kenton's big bands. But later, multiple incarcerations for drug use and subsequent paroles limited his movements. When he was working, he could only work at home in California. And part of Art, the part that was not self-destructive, was profoundly competitive and ambitious. Here was his first tour as a leader, and he knew this was his moment. This latest album joins the catalog of previous albums from the Unreleased Art Pepper series. All have received raves from well-known critics. They are: Volume I, Abashiri (2-CD set) Volume II, Last Concert: Kennedy Center Volume III, Croydon (2-CD set) Volume IV, The Art History Project (3-CD set) Volume V, Stuttgart (2-CD set) Volume VI, Blues for the Fisherman: Live at Ronnie Scott's (4-CD set) Volume VII, Sankei Hall, Osaka (2-CD set) Volume VIII, Live at the Winery Volume IX, Art Pepper & Warne Marsh All (except Volume IV, which is available for download only) are available at both Amazon (bit.ly/ArtPepperAll) and CD Baby (cdbaby.com/Artist/ArtPepper). Laurie says she'll keep releasing yearly miracles as long as she keeps finding them. She says there are still plenty in her closets. Maybe, in 2019, a ballad set? Yes, maybe. Unreleased Art Pepper Vol. 10 TORONTO Web Sites: lauriepepper.net / artpepper.bandcamp.com Blog (and giveaways): artpeppermusic.blogspot.com

Shirley Bassey - All the Best (40 songs) - $4.98 https://www.oldies.com/product-view/48148O.html

Week 15 results Winnipeg 31....Montreal 14 https://www.cfl.ca/games/2519/montreal-alouettes-vs-winnipeg-blue-bombers/ https://www.cbc.ca/sports/football/cfl/montreal-alouettes-winnipeg-blue-bombers-1.4834474 Montreal's offensive line was terrible! Manziel never had a pocket. ***** Ottawa 28....Edmonton 15 https://www.cfl.ca/games/2520/edmonton-eskimos-vs-ottawa-redblacks/ https://www.cbc.ca/sports/football/cfl/lewis-ward-edmonton-eskimos-ottawa-redblacks-1.4834926 Lewis Ward kicked seven field goals for the second time this season, and in so doing set the new record with 37 consecutive FG's. Paredes had the old record with 32. ***** Sask 30....Toronto 29 https://www.cfl.ca/games/2521/saskatchewan-roughriders-vs-toronto-argonauts/ https://www.cbc.ca/sports/football/cfl/saskatchewan-roughriders-toronto-argonauts-1.4834933 Toronto has had the worst placekicking all season. ***** BC 35....Hamilton 32 https://www.cfl.ca/games/2522/hamilton-tiger-cats-vs-bc-lions/ https://www.cbc.ca/sports/football/cfl/hamilton-tiger-cats-bc-lions-1.4834939 The Ticats let the game slip away. ***** Week 15 Plays of the Week https://www.cfl.ca/2018/09/24/bryan-burnham-toe-taps-his-way-to-top-spot-in-timber-mart-plays-of-the-week/ ***** Week 16 power rankings https://www.cfl.ca/2018/09/25/nissan-titan-power-rankings-taking-back-east/ http://3downnation.com/2018/09/25/cfl-power-rankings-back/ https://cflpowerrankings.wordpress.com/2018/09/25/power-rankings-after-week-15-2/ https://thegruelingtruth.net/football/cfl/cfl-weekly-power-rankings-week-16/

Thad Jones/Mel Lewis - Live on Tour in Switzerland - $4.98 https://www.oldies.com/product-view/93407M.html ***** Pepper Adams - Urban Dreams - $4.98 https://www.oldies.com/product-view/18530N.html

Joe Zawinul - 75th (2 CDs) - $4.98 https://www.oldies.com/product-view/58708N.html

This morning's Target flyer offered Brach's candy corn, 2/$5.

Last year Toronto set a record by hitting only five triples. https://www.nytimes.com/2018/03/02/sports/baseball/statistics-toronto-blue-jays.html This year they may set another record. Thus far, they have hit only five sacrifice bunts. https://www.mlb.com/bluejays/news/blue-jays-rarely-utilize-sacrifice-bunts/c-294600434

Week 15 game notes https://www.cfl.ca/2018/09/20/cfl-ca-game-notes-look-week-15-2/ ***** Week 15 checking down https://www.cfl.ca/2018/09/19/checking-latest-davaris-daniels-travis-lulay/ ***** Week 15 picks https://www.cfl.ca/2018/09/20/prediction-time-cfl-ca-writers-make-week-15-picks/ https://thegruelingtruth.net/football/cfl/cfl-week-15-preview-and-predictions/ https://news.sportsinteraction.com/cfl/predictions https://www.thespec.com/sports-story/8914878-cfl-picks-week-15/ https://cflpowerrankings.wordpress.com/2018/09/19/cfl-week-15-picks/ http://3downnation.com/2018/09/21/cfl-picks-must-win-time-pretty-much/ http://3downnation.com/2018/09/21/slam-dunk-picks-dont-trust-manziel-with-your-money/

ECM Andrew Cyrille - Lebroba release date; November 2, 2018 Wadada Leo Smith: trumpet; Bill Frisell: guitar; Andrew Cyrille: drums Andrew Cyrille's title Lebroba is a contraction of Leland, Brooklyn and Baltimore, birthplaces of the protagonists of an album bringing together three of creative music's independent thinkers. Each of them made his first ECM appearance long ago: drummer Andrew Cyrille on Marion Brown's Afternoon of a Georgia Faun (1970), trumpeter Wadada Leo Smith on his own classic Divine Love (1978), and guitarist Bill Frisell on Eberhard Weber's Fluid Rustle(1979); these are, of course, players of enduring influence. Frisell contributed to Cyrille's previous ECM disc The Declaration of Musical Independence, but Lebroba marks a first-time meeting for the guitarist and Wadada Leo Smith. A generous leader, Cyrille gives plenty of room to his cohorts, and all three musicians bring in compositions, with "Turiya", Wadada's elegant dedication to Alice Coltrane, unfurling slowly over its 17-minute duration. In his own pieces, including the title track and the closing "Pretty Beauty", Cyrille rarely puts the focus on the drums, preferring to play melodically and interactively, sensitive to pitch and to space. There are references to West African music and the blues as well as the history of jazz drumming, but Cyrille's priority today is an elliptical style in which meter is implied rather than stated. ECM Florian Weber - Lucent Waters release date; November 2, 2018 Ralph Alessi: trumpet; Florian Weber: piano Linda May Han Oh: double bass; Nasheet Waits: drums In his second ECM appearance (following a critically-acclaimed duo recording with Markus Stockhausen) pianist Florian Weber leads a strong cast through a program of his compositions and sketches. Whether paying tribute to mentor Lee Konitz on "Honestlee", impressionistically conveying the glittering "Melody of a Waterfall" or generating impactful drama out of fragments of sound on "Butterfly Effect", Weber continually draws fresh responses from his players. "I wanted this project to be as open as possible", he says. "It's the idea of exploration that is important here, and the differences between the players." The strong, grounded bass of Linda May Han Oh contrasts strikingly with Nasheet Waits's fleet, fluid drumming, setting up new contexts for Ralph Alessi's elegantly inventive trumpet and the leader's highly creative piano playing. Lucent Waters was recorded at Studios La Buissonne in the South of France in September 2017, and produced by Manfred Eicher.

Baltimore set its team record (post-1953) for losses last night.