GA Russell

RIP Fats. When I was in high school in New Orleans, it was common for somewhat older guys to tell me that although Fats had sold millions of records and was one of the biggest stars in the country, none of his hits had been ranked #1 on the charts.

Thanks Scott! I got it to work.

Week 18 Slam Dunk picks http://3downnation.com/2017/10/20/slam-dunk-picks-stamps-have-kevin-glenn-figured-out/#comments ***** Week 18 results Sask 30....Calgary 7 https://www.cfl.ca/games/2440/saskatchewan-roughriders-vs-calgary-stampeders/ Duron Carter started at cornerback as well as wide receiver. He was the first to start on both offense and defense Since Garney Henley in 1975. Carter ran back an interception for a touchdown! ***** Toronto 29....Winnipeg 28 https://www.cfl.ca/games/2441/winnipeg-blue-bombers-vs-toronto-argonauts/ ***** Edmonton 35....BC 29 https://www.cfl.ca/games/2442/edmonton-eskimos-vs-bc-lions/ ***** Hamilton 43....Montreal 16 https://www.cfl.ca/games/2443/hamilton-tiger-cats-vs-montreal-alouettes/ ***** With their win, Sask clinched the last playoff spot, and thus eliminated BC. With Winnipeg's loss, Calgary clinched first place in the West. https://www.cfl.ca/2017/10/23/playoff-scenarios-2017-week-19/ http://3downnation.com/2017/10/23/week-19-playoff-scenarios/#comments ***** Week 19 Power Rankings http://3downnation.com/2017/10/23/3down-power-rankings-riders-on-the-come-up/#comments https://www.cfl.ca/2017/10/24/argos-sailing-nissan-titan-power-rankings-2/ http://www.cbc.ca/sports/football/cfl/cfl-power-rankings-week-19-1.4367222 http://thegruelingtruth.net/football/cfl/cfl-power-rankings-playoff-seedomgs/ http://www.sportsnet.ca/football/cfl/cfl-power-rankings-week-19-stampeders-finally-lose/ http://www.sportingnews.com/ca/cfl/news/week-19-cfl-power-rankings-the-riders-moving-up-to-no-4-saskatchewan-roughriders-calgary-stampeders-winnipeg-blue-bombers-toronto-argonauts/1i1rdxuc5r3uq1n351oa12k8re ***** early Week 19 picks http://www.sportingnews.com/ca/cfl/news/week-19-cfl-picks-redblacks-in-tough-position-to-beat-ticats-without-sinopoli/1nqeokddoe3t41xwlj42bi40hi ***** Ottawa had a bye for Week 18. They will have a bye next week for Week 20. If they finish first, they will have a bye for the first week of the playoffs. Then, on the day of the Eastern Final, they will have played one game in 36 days!

I'll try this.

OK, Scott! How did you do that?

Jon Balke Siwan Nahnou Houm Mona Boutchebak: vocals Derya Turkan: kemençe Helge Norbakken: percussion Pedram Khavar Zamini: tumbak Jon Balke: keyboards Barokksolistene: Bjarte Eike, Alison Luthmers, Øivind Nussle: violin Milos Valent, Per Buhre, Torbjørn Köhl: viola Judith Maria Blomsterberg, Mime Brinkmann: violoncello Johannes Lundberg: double bass U.S. Release date: November 17, 2017 ECM 2572 B0027528-02 UPC: 6025 578 9560 5 Siwan’s self-titled ECM debut, released in 2009, was widely praised by the world’s press, and won awards including the album-of-the-year prize of the German record critics (“Jahrespreis der deutschen Schallplattenkritik”). Now the international collective led by Norwegian keyboardist-composer-arranger Jon Balke is back, rallying its powerful instrumental forces around a new singer and oud player, Mona Boutchebak, in a revised line-up. The ensemble’s new album Nahnou Houm was recorded in Copenhagen in January 2017. Nahnou Houm translates as “We are them”, a message of topical pertinence, in this case trailing deep historical roots. When he started this project a decade ago – in response to a commission from the multicultural Oslo venue Cosmopolite – Jon Balke’s imagination was fired by perceived correspondences between Arabic music, Andalusian classical music and European baroque music. To bring these sound-worlds closer together, he set poetry of Al Andalus, reflecting upon a period of cooperation in Medieval Spain between adherents of the three monotheistic Abrahamic religions: Islam, Judaism and Christianity. In his liner notes for Nahnou Houm, Balke writes that Siwan began with “just a musical fascination with the promising aspects of the Andalusian culture, with its huge libraries, enormous progress in science, agriculture, architecture and art.” But the project went on to consider “the devastating effect of the Inquisition, with its burning of all the literature and documentation it could find. Everything on paper was destroyed, but oral communication could not be controlled. Musicians travel and play, and faint threads leading from Spain to Napoli with the survival of forms like chaconne, folia, passacaglia etc. were central in the development of the new baroque music.” These thoughts led to “speculation about an imaginary musical history, as well as a political imagination: How would Europe and the rest of the world have developed if the three religions had managed to co-exist in the aftermath of Al Andalus? By pointing at periods where coexistence actually happened and pushed humanity forward and by being in itself a multi-cultural functioning microcosmos, Siwan wants to investigate the idea of ‘convivencia’, as it was called, in all aspects of human life.” On the first album and on early tours, Siwan featured the vocals of Amina Alaoui, the Moroccan-born singer steeped in the Garnathi tradition of Andalusian classical music. Later Balke invited distinguished guests including Tunisian singer Lamia Bedioui and Palestinian singer Kamilya Jubran. The challenge was to find a singer with a deep sense of Arab music history but also open to improvisation and trans-idiomatic possibilities; the search was on for a vocalist both experimentally-inclined and tradition-conscious. “Siwan was actually put in waiting mode for a while”, Balke explains, “precisely because we could not find a new vocalist with Andalusian background who could assimilate my material and work in a more contemporary setting. It was [original Siwan violin soloist] Kheir Eddine M´Kachiche who proposed Mona, who actually is from his neighbourhood in Bab el Oued in Algiers. I invited Mona in and she immediately clicked with the group, both professionally and personally. She is a very versatile musician with a great voice that fits the group really well. And she speaks Arabic, French, Spanish and English…” On Nahnou Houm Mona has a wonderful range of poetry to sing, with words from Persian Sufi mystic Attar, from St John of the Cross, from the great Spanish poet-playwright Lope de Vega and more. The interplay of texts, like the interplay of musical ideas, reinforces Balke’s utopian artistic vision, as if these authors from strikingly different backgrounds are shaping lyrical variations of the same yearning ballad. Jon Balke sums up the group’s musical evolution: “Siwan has been an important project for me, both because of the statement that the group in itself makes, by manifesting the spirit of coexistence across boundaries of any kind, but also because the soundscape is a palette of rich colours spanning from deep electronics to gut strings and bright vocals and cembalo, that is very stimulating to work with as a composer. Where the first Siwan was composed in deep respect of the traditions and the soloists, treading lightly and carefully in a landscape of strong leads, the current version is a real band, a group that really communicates freely and unhindered. Even though all the musicians are masters in their traditions, in Siwan they join a unified sound and concept that has departed from references and is becoming a tradition in itself. The introduction of [Turkish kemençe player] Derya Türkan and the line towards the Far East is also a great new opening.” Siwan launches Nahnou Houm with a performance at the World Music Festival in Oslo on November 4, followed by concerts in Denmark, Belgium and the Netherlands. For more information about Siwan and related projects visit Jon Balke’s Magnetic Music web site: www.magnetic.no CD booklet includes liner notes by Jon Balke, and all song texts in English translation.

Jim, yes. But when I get the page number plus the comment number at the end of the URL, clicking on my posted link will take you to my comment with no need to scroll down.

Yes, that was my impression of that one album. I had a Manfred Mann Fontana album called What a Mann that was not on Wing, but I think was another discount label.

I keep forgetting that Doldinger is a German!

Amazon UK now has the Klaus Doldinger 5OA box for only 12.64 GBP prime. https://www.amazon.co.uk/5-Original-Albums-Klaus-Doldinger/dp/B073PSCG2K/r

The only Wing I have is the first Spencer Davis album. It's a British pressing.

After I have posted a comment on this board, when I click on the URL, I usually get a URL which includes at the end the page number. But sometimes after the page number I also get the comment number. How do I ensure that I always get the comment number? Thanks!

These albums are apparently for different markets. The trio album, What is Now, is what I would put on and play softly when having guests over for dinner - guests who have not indicated much interest in music. I think they would find Bennett's chords/harmonies very appealling. The quintet album, Experiments with Truth, is for the jazz fan. There is an edginess here due to both the compositions and the saxophonists' tone. I like them both.

For Your Consideration 60th Grammy Awards Jason Miles-Kind of New 2….Blue is Paris Best Contemporary Instrumental Album “JASON MILES HAS RAISED THE LEVEL OF EXCELLENCE FOR THE MUSICIANS WHO HAVE HAD THE GOOD FORTUNE OF WORKING WITH HIM, MYSELF INCLUDED. HE HAS ENRICHED THE LIVES OF THE MILLIONS OF PEOPLE WHO HAVE LISTENED TO THE MUSIC HE PLAYS, THE RECORDINGS HE PRODUCES AND THE COUNTLESS MUSICIANS HE MENTORS AND INSPIRES. THE WORK HE DID WITH MY FRIENDS, MILES DAVIS AND MARCUS MILLER HAVE HELPED DEFINE THE MODERN FACE OF JAZZ MUSIC.”—-ROBERTA FLACK WITH AN AFFECTING MELODY THAT LINGERS…BLUE IS PARIS RESTS ON THE STRENGTHS OF THE TUNE ITSELF BUT ALSO ON EACH SOLOIST’S CONTRIBUTIONS” - DOWNBEAT (SEPT. 2017) “BLUE IS PARIS IS A STUNNING SERIES OF INTERPRETATIONS” - CHARLES WARING - SOUL AND JAZZ AND FUNK “THIS IS A QUALITY PRODUCTION, TO SAY THE VERY LEAST.” - THE SMOOTH JAZZ RIDE “AN ABSOLUTELY BRILLIANT RECORDING THROUGHOUT.” - CHRIS SPECTOR MIDWEST RECORD “RECORD REVIEW “RECOMMENDED” - HOWARD DUKES SOUL TRACKS “THANK GOD FOR THOSE MUSICIANS WHO NEVER LOSE SIGHT OF THE WORLD AROUND THEM AND WHO ARE NEVER AFRAID TO PLACE THEIR AWARENESS INTO THEIR MUSIC.” - THE SMOOTH JAZZ RIDE “JASON MILES BOLDLY MASTER- MINDS A RICH, ECLECTIC TAPESTRY OF EMOTIONS BASED ON A SINGLE HYPNOTIC, EASY GROOVING COM- POSITION, RENDERED TEN TIMES WITH ALTERNATING MOODS DRIVEN BY TIME OF DAY” - JONATHAN WIDRAN-MUSIC CONNECTION “IS THIS MUSICAL PROJECT A SUCCESS? THE INVOLVEMENT OF HIGHLY SKILLED MUSICIANS WITH THEIR OWN IDEAS CIRCUMNAVIGATES ELE GANTLY THE PROBLEM OF MELODY REPETITION. THIS RISKY ENDEAVOR HAS EMERGED TO JASON’S BRILLIANT MUSICAL GAMBIT”— SMOOTH JAZZ.DE

Happy Birthday 2017 gregmo!

M.O.D. TECHNOLOGIES Releases ADAM RUDOLPH'S MORPHIC RESONANCES AVAILABLE IN STORES AND ONLINE HI-RES DIGITAL DOWNLOAD AVAILABLE VIA WWW.MOD-TECHNOLOGIES.COM CD (WITH BOOKLET) AVAILABLE VIA METARECORDS.COM with Momenta String Quartet Kaoru Watanabe & Marco Cappelli Sana Nagano Odense Percussion Group Figura / Kammeratorkestret Ensemble FOR REMAINING TOUR DATES, PLEASE SCROLL DOWN. New York, October 20, 2017 - Morphic Resonances is the third Meta/MOD Technologiesco-release of Adam Rudolph's music and the 23rd as a leader featuring his compositions. It is also the final installment of Rudolph's trilogy of CDs following on the heels of 2 other Meta/MOD Technologies co-releases: The Epic Botanical Beat Suite (2015) by his electro-world percussion ensemble Hu: Vibrational and Glare of the Tiger (2017) by his Moving Pictures Octet. The three releases sound very different from one another and Rudolph explains the trilogy connection this way: "I drew upon the same intervallic and rhythmic materials in creating the music for all three recordings. Using these materials as kind of musical DNA allowed me to create this trilogy of CD releases. Each sounds so different from the other because I used a different process to create the music on each. I feel that when we generate our own creative processes, then the music is bound to sound prototypical. It is what I call "organic music" whereby the spirit and the feeling can project through the music unencumbered by styles of the past. It sounds like itself." Morphic Resonances also reveals a new side of Rudolph's musical journey by putting the spotlight on his through-composed music. Some of the pieces were commissioned by the ensembles on this release, while others were written when Rudolph was living in Copenhagen as a recipient of the prestigious D.I.V.A. award from the Danish government. "I tried to project my inner voice and spirit as well as my experiences as a hand drummer and improviser into the compositions. Being an autodidact, it was interesting to use the "Western classical" notational system to do that. I was fortunate to have outstanding musicians from both the USA and Europe to bring this music to life." About Adam Rudolph: http://www.metarecords.com/adam.html TRACKS Morphic Resonances / Momenta String Quartet 13:18 Syntactic Adventures / Momenta String Quartet 13:12 Garden, Ashes / Kaoru Watanabe & Marco Cappelli 8:55 Strange Thought / Sana Nagano 2:45 Orbits / Odense Percussion Group 10:30 Coincidentia Oppositorum / Figura / Kammeratorkestret Ensemble 3:59 Lamento / Kaoru Watanabe & Marco Cappelli 3:50 Compositions by Adam Rudolph. Produced by Adam Rudolph. Recorded, mixed & mastered at Orange Music, NJ by James Dellatacoma. 'Orbits' recorded at The Danish National Academy of Music by Peter Hellesøe. 'Coincidentia Oppositorum' recorded at The Village Recording Studio, Copenhagen, Denmark by Thomas Vang. Design by Sylvain Leroux. Cover art by Nancy Jackson. Compositions copyrighted and published by Migration Music BMI New interview with Adam Rudolph in NEW MUSIC USA http://www.newmusicbox.org/articles/adam-rudolph-languages-of-rhythm/ REMAINING TOUR DATES: Friday, October 20 BOP STOP - The Music Settlement, Cleveland ADAM RUDOLPH'S MOVING PICTURES Saturday, October 21 Edgefest Kerrytown, Ann Arbor ADAM RUDOLPH'S MOVING PICTURES Sunday, October 22 Lafontsee Galleries, Grand Rapids ADAM RUDOLPH'S MOVING PICTURES Friday, November 17 Firehouse 12, New Haven ADAM RUDOLPH'S MOVING PICTURES

Bassist Extraordinaire Lorenzo Feliciati Releases Elevator Man On RareNoiseRecords The Italian composer and bassist's third RareNoise release (afterFrequent Flyer and KOI) continues his path towards a unique musical language bridging jazz and rock. Feliciati is accompanied by a plethora of exceptional musicians from across the globe. CD, VINYL AND MULTIPLE DIGITAL FORMATS AVAILABLE IN STORES AND ONLINE ON NOVEMBER 17, 2017 AND THROUGHWWW.RARENOISERECORDS.COM. FOR ENTIRE LIST OF PERSONNEL, PLEASE SCROLL DOWN. ABOUT THE LABEL - RareNoiseRecords was founded in 2008 by two Italians, entrepreneur Giacomo Bruzzo and music producer Eraldo Bernocchi. Located in London, the label's mission is to detect and amplify contemporary trends in progressive music, by highlighting their relation to the history of the art-form, while choosing not to be bound by pre-conceptions of genre. It seeks to become a guiding light for all those enamored by exciting, adventurous and progressive sounds. For further information and to listen please go to www.rarenoiserecords.com. New York, October 18, 2017 - As a follow-up to his most personal project to date, 2015's KOI, in-demand Italian session bassist and RareNoise recording artist Lorenzo Feliciatihas upped the ante on his latest project, Elevator Man. A powerhouse recording with echoes of King Crimson, Allan Holdsworth and other Prog Rock icons, this latest outing by the prolific bassist-composer-arranger features a rotating cast of stellar musicians, including King Crimson drummer Pat Mastelotto, former Holdsworth drummer Chad Wackerman, Swedish Freak Guitar shredder Mattias IA Eklundh (of the Jonas Hellborg Trio and Art Metal), Italian progressive metal guitarist Marco Sfogli (currently of the legendary Italian Prog Rock band Premiata Forneria Marconi, aka PFM), trumpeter Cuong Vu and Feliciati's Naked Truth bandmate Roy Powell on distortion-laced clavinet. As well as composing and arranging all the material, Feliciati plays fretted and fretless basses, electric guitar and keyboards on his seventh and most potent recording as a leader to date "Elevator Man has a different lineup on every song," explains Feliciati, a member of RareNoise bands Naked Truth, Berserk!, Twinscapes and Mumpbeak. "It's the same 'one song-one line up' philosophy that I used on Frequent Flyer, but this time all the music for Elevator Man was composed at the same time, in a three-month period. So I was probably able to concentrate more and think more deeply about the direction of the album. And while a varied stylistic approach is something I always try to achieve, this one has a more clear Prog Rock flavor that was a planned decision. After KOI, I felt the need to move from the soundtrack-ambient soundscapes attitude that is a crucial ingredient of both KOI and Twinscapes, my duo project with bassist Colin Edwin of Porcupine Tree, to a more songs-oriented project." From the opening track, "Elevator Man," Feliciati shifts to the dynamic "The Brick," "14 Stories opens with an ambient, mysterioso vibe the top before the piece erupts into an orchestral crescendo. The melancholy ballad "Black Book, Red Letter," also highlights some lyrical trumpet playing and some impassioned soloing from the alto saxophonist. The aggressive rocker "Three Women" has Feliciati grooving on fretless bass while "Unchained Houdini" is a slamming jam that pits Feliciati's bass, guitar and keys against some whirlwind wailing on the kit. "The Third Door" has Feliciati going mano-a-mano with a turntable wizard while "S.O.S." introduces a mellow vibraphone and an intense guitarist. The swinging "Thief Like Me," features a strong bass solo from Feliciati, who also anchors the proceedings on Moog bass. And the haunting closer, "U Turn in Falmouth," has Feliciati interacting on bass, guitars and keyboards. "The power to have these great musicians ready to play on the songs forced me to be a more focused composer on this project," said Feliciati. "So this one is less on the abstract/improvised side. When you have so many amazing musicians ready to collaborate with you, you are the luckiest person in the world but you must have a very clear idea of what you will ask them to play on, what you want them to add to your music." Feliciati, who has worked with some of the great drummers throughout his career, seemed especially pleased with the crew of time-keepers he was able to recruit for Elevator Man. "I love drums and drummers and to have such great players on this album as Pat Mastelotto (King Crimson, Stickmen), Chad Wackerman, Roberto Gualdi (PFM), Davide Pettirossi, Armando Croce, Gianluca Palmieri (Greg Howe Band) and the young star Davide Savarese is such a wonderful privilege. To compose some music and have so many choices in front of you is wonderful. And to realize that everyone involved is enthusiastic and willing to collaborate is truly fantastic." He also heaped high praise on the two sensational guitarists who appear on Elevator Man. "Marco Sfogli is a great friend of mine and we played together several times," explains Feliciati. "I played on his latest solo album. Mattias Ecklundh did a masterclass at the school where I was teaching in Rome. I asked to do some music together and he enthusiastically agreed. I was happy when he agreed to play on this record." Returning from KOI is the three-piece horn section of trombonist Pierluigi Bastioli,baritone saxophonist Duiliu Ingress and bass trombonist Stan Adams, who also arranged and conducted the section. "The idea for the horns came while working on KOI, where the same three-piece section plays on several tracks," Feliciati explains. "I was wondering about doubling the bass riffs with a horn section on that recording but I immediately understood that a funky-jazzy section of trumpet/sax/trombone would have been too conventional or traditional sounding. So I switched to this low-end section consisting of bass trombone, trombone and baritone sax, and the final result was so good I immediately decided to use them on some of the songs of Elevator Man." The bassist-composer-arranger describes his daily creative process that has led to the realization of such visionary projects as Frequent Flyer, Koi and Elevator Man: "I love to wake up early in the morning, have breakfast with family and then walk upstairs to my home studio and ask myself, 'What do you like to work on today?' I always had a home studio and the technology related to recording (software like ProTools, etc.) became way less expensive. This way I can work on different projects at the same time, switching from one to another; not to mention all the sessions I do at home for music that arrives via Dropbox from all over the world, People want me on their music and with the files-exchange approach they can have my bass track on their album easily and fast." The great bassist also acknowledges the towering influence of Jaco Pastorius on his own playing and on this recording, particularly on "Elevator Man", "S.O.S." and "Black Book, Red Letter." Says Feliciati of Jaco's influence: "For me you can easily divide not only bass playing but also Jazz Rock Fusion in before Jaco/after Jaco segments. The influence he had on my love for the bass and music is endless. I saw Weather Report in 1980 in Rome on their Night Passage tour. That night changed my life. I decided to play the bass after that because I realized how much the instrument can drive a band and be the center of the sonic spectrum. If the song, the music needed one note, Jaco was playing one note...if the song needed one hundred he was playing the right ones the most soulful ones and with such an incredible timing and groove. But I really love Jaco the composer. And of all the wonderful tunes he wrote and played, the one that is touching me the most is still 'John and Mary' from his Word of Mouth album. Together with Night Passage and Joni Mitchell's Shadows and Light, these are timeless classics. That Pastorius influence is present throughout Elevator Man. But Feliciati also carves out his own unique niche on this superb prog-rock flavored outing. TRACKS AND PERSONNEL 1. Elevator Man Lorenzo Feliciati - fretted and fretless bass, electric guitars, keyboards Roberto Gualdi - drums Stan Adams - trombone and horn section arrangement Pierluigi Bastioli - bass trombone Duilio Ingrosso - baritone saxophone 2. The Brick Lorenzo Feliciati - fretted bass Roy Powell - hohner clavinet Chad Wackerman - drums Stan Adams - trombone and horn section arrangement Pierluigi Bastioli - bass trombone Duilio Ingrosso - baritone sax 3. 14 Stones Lorenzo Feliciati - fretted bass, electric guitars, keyboards Cuong Vu - trumpet Alessandro Gwis - acoustic piano with Reaktor running on laptop Pat Mastelotto - drums Stan Adams - trombone and horn section arrangement Pierluigi Bastioli - bass trombone Duilio Ingrosso - baritone sax 4. Black Book, Red Letters Lorenzo Feliciati - upright bass, fretted bass with effects Sandro Satta - alto sax Claudio Corvini - trumpet Gianni Di Renzo - drums 5. Three Women Lorenzo Feliciati - fretless bass, electric guitars, keyboards Cuong Vu - trumpet Antonio Jasevoli - electric guitar solo Davide Savarese - drums Stan Adams - trombone and horn section arrangement Pierluigi Bastioli - bass trombone Duilio Ingrosso - baritone sax 6. Unchained Houdini Lorenzo Feliciati - fretted bass, electric guitars, keyboards Davide Pettirossi - drums 7. The Third Door Lorenzo Feliciati - fretless bass, electric guitars, keyboards DJ Skizo - turntables & rhythm design 8. S.O.S. Lorenzo Feliciati - fretted and fretless bass, electric guitars, keyboards Mattias IA Eklundh - electric guitar solo Luca Giacobbe - vibraphone Armando Croce - drums 9. Thief Like Me Lorenzo Feliciati - fretted bass, moog bass Marco Sfogli - electric guitars Aidan Zammit - keyboards Gianluca Plamieri - drums 10. U Turn in Falmouth Lorenzo Feliciati - fretted bass, electric guitars, Keyboards Davide Savarese - drums All tracks composed, arranged and produced by Lorenzo Feliciati, except 'The Brick' composed by Roy Powell. Mixed by Alessandro Marcantoni at Metropolis studio, Milan. Mastered by Michael Fossenkemper at Turtletone Studios, NYC.

RareNoiseRecords Presents Roswell Rudd / Fay Victor / Lafayette Harris / Ken Filiano with Embrace CD, VINYL AND MULTIPLE DIGITAL FORMATS AVAILABLE IN STORES AND ONLINE ON NOVEMBER 17, 2017 (ROSWELL'S 82ND BIRTHDAY!) AND THROUGH WWW.RARENOISERECORDS.COM. FOR INFORMATION ON THE TRIBUTE FOR ROSWELL RUDD AT DIZZY'S ONNOVEMBER 16, PLEASE SCROLL DOWN. Roswell Rudd Trombone Fay Victor Voice Lafayette Harris Piano Ken Filiano Double Bass EMBRACE ROSWELL RUDD - A MUSICAL TRIBUTE FROM FRIENDS AND COLLABORATORS DIZZY'S CLUB COCA COLA, NYC November 16, 2017 7.30 PM & 9.30 PM Details Here WITH Archie Shepp, Terry Adams, Emily Haines, Sheila Jordan, Heather Masse, Hal Wilner, Rolf Sturm, Reggie Bennett, Mark Helias Sexmob Steve Bernstein, Briggan Krauss, Kenny Wollesen, Mark Helias Trombone Tribe Josh Roseman, Art Baron, Greg Glassman, Ray Anderson, Deborah Weisz, Steve Swell, Bob Stewart Embrace Fay Victor, Lafayette Harris, Ken Filiano ABOUT THE LABEL - RareNoiseRecords was founded in 2008 by two Italians, entrepreneur Giacomo Bruzzo and music producer Eraldo Bernocchi. Located in London, the label's mission is to detect and amplify contemporary trends in progressive music, by highlighting their relation to the history of the art-form, while choosing not to be bound by pre-conceptions of genre. It seeks to become a guiding light for all those enamored by exciting, adventurous and progressive sounds. For further information and to listen please go to www.rarenoiserecords.com. New York, October 18, 2017 - For his follow-up to 2016's purely improvised studio recording Strength & Power (featuring pianist Jamie Saft, bassist Trevor Dunn and drummer Balazs Pandi), the ever-adventurous trombonist-composer Roswell Rudd made a decided shift in direction on his first RareNoiseRecords release as a leader by embracing jazz standards he has loved and played throughout his long and illustrious career. Accompanied by the brilliant pianist Lafayette Harris, upright bass virtuoso Ken Filiano and soulful vocal sensation Fay Victor, the 81-year-old jazz master (who turns 82 years old on November 17, the day of the release) delivers with rare potency and poignancy on the aptly-titled Embrace. This intimate, drum-less quartet session is brimming with conversational playing between all the participants, with Rudd and Victor partaking in some particularly interactive exchanges on jazz classics like Billy Strayhorn's "Something to Live For," Charles Mingus' "Goodbye Pork Pie Hat," Thelonious Monk's beautiful ballad "Pannonica," the standard "Can't We Be Friends" and the traditional "House of the Rising Sun." Rudd has high praise for his empathetic partners on Embrace. "Lafayette Harris is one of the best accompanists that I ever played with. Boy, is he there! He's not only ahead of the music, he's in the moment and behind it all at the same time. It's amazing to find somebody who can play like that. It's as if Lafayette has been there all my life when I play with him. Kenny Filiano is a virtuoso of the bass, particularly with the bow. Let the world be told and shown! And Fay Victor is my most recent discovery. Fay is an instrument, a voice, a personality, a spirit...all of those and more." Of the members in this Embrace quartet, Rudd goes back furthest with Filiano (the bassist appears on the trombonist's 2000 album Broad Strokes as well as 2011's The Incredible Honk). Harris appeared on Rudd's 2008 album Keep Your Heart Right (which had a similar drum-less quartet configuration featuring vocalist Sunny Kim) and also on The Incredible Honk. Victor previously made a guest appearance on two tracks from 2013's Trombone For Lovers. "I like playing without drums occasionally and I've done that a bit over the years," says Rudd. "I hear the harmonics of the singers a lot better when the drums aren't there. I don't know, it just seems to work better for me with voice and piano. Getting those interactions is something that's very important to me, which I learned about from Sheila Jordan and some other vocalists that I've been lucky enough to play with. I really want to hear the whole harmonic series of the singers when I play with them. And you know that's a very delicate and temperamental place to come from." Rudd treads delicately on the tender opener, "Something to Live For," a 1939 song, which marked the first collaboration between Billy Strayhorn and Duke Ellington. Following a beautiful solo piano intro, Rudd sings the melody through his horn in raucous yet poignant fashion, like latter day Billie Holiday. Victor enters and the trombonist proceeds to shadow and comment on her soulful singing through the remainder of the piece. They inject a lively, almost calypso type bounce into Mingus' "Goodbye Pork Pie Hat," a tune mostly played as a brooding, funereal dirge. "That version came from playing it over and over when we got together," says Rudd. "This is what eventually emerged." Victor showcases her scatting prowess on this number before singing the Rahsaan Roland Kirk lyrics, which the saxophonist had penned for his 1976 album The Return of the 5000 Lb. Man. "Yeah, we got our own take on it," continues Rudd. "And that tune is so infectious it is bound to get to each musical personality in its own way. And that's what we are. We're four musical personalities who go together, whatever we're playing." Victor channels her inner Betty Carter on a jaunty, swinging rendition of "Can't We Be Friends," which features the vocalist in some daring scat exchanges with Rudd's muted trombone. "I think Fay started singing it one day and it just took over," Rudd recalls. That's it. It was just right for us." Their raucous rendition of Ray Noble's "I Hadn't Anyone Till You" is bristling with energy and supported by Harris' Fats Walleresque touch on piano. Rudd explains the origins of his collaboration with Victor on this 1938 chestnut: "We wanted to do something together but we really didn't know each other that well. And she finally said, 'Do you know, 'I Hadn't Anyone Till You?' and I said, 'Yeah! And I hadn't been able to find anybody to play that with. So let's do that one.' So that brought us together. That got us started right there, doing that song. And we've kept that up." Filiano's bowed bass intro to the lovely "Too Late Now" (from the 1951 Fred Astaire-Jane Powell movie Royal Wedding) showcases his low-end virtuosity while Victor reveals her romantic side in interpreting the Alan Jay Lerner lyrics. Rudd, who contributes one of his most lyrical solos of the session here, next testifies on his trombone on a chilling rendition of "House of the Rising Sun," which also features Victor in a most expressive Carmen McRae mode. "I Look in the Mirror," a smart, swinging, Blossom Dearie-styled ditty about accepting the aging process, was written by Rudd's partner, Verna Gillis. "That was one of the first things we collaborated on," says Rudd. "And I didn't feel it as a sultry ballad or a sad song, I felt like a Dixielander on that one." The album closes with a heartfelt reading of Monk's most beautiful ballad, "Pannonica," a tune he composed in 1956 as a tribute to jazz patron Baroness Pannonica de Koenigswarter. It's a tune that Rudd has played countless times since 1962, when he formed a band with saxophonist Steve Lacy that specialized in Monk's music. "I used to play 'Pannonica' a lot with Steve Lacy. We later recorded it together on an album we did, called Monk's Dream (2000, Verve). So I was used to playing it in Monk's original key, which is C. But Fay came in with it in A flat, so that threw me off a little bit. Because everything lies so beautifully in that song and with Monk's music in general that you tend to remember it where he wrote it, where he played it. So that took a little adjustment." Victor gives a heartfelt reading of Jon Hendricks' lyrics on this achingly beautiful ballad while Rudd turns in a remarkably expressive solo on this Monk classic. Embrace is the latest chapter in the extraordinary career of the revered trombonist, who came up playing Dixieland in college before dipping into the avant-garde in the early '60s with the likes of Cecil Taylor, Archie Shepp, John Tchicai, Don Cherry and longtime collaborator Steve Lacy. In more recent times, the ever-adventurous Rudd has collaborated with Malian musicians (2001's MALIcool), traditional Mongolian musicians (2005's Blue Mongol) and Latin musicians (2007's El Espiritu Jibaro). He gathered nine of the greatest trombonists on the scene, along with the Gangue Brass Band of Benin, for 2009's Trombone Tribe and in 2016 he debuted on RareNoiseRecords with the audacious improvised outing Strength & Power. His latest for the label may be his most inspired and affecting outing to date. A tribute to the master trombonist is scheduled for November 16 and will be held at Jazz at Lincoln Center's Dizzy's Club. Friends and collaborators will celebrate this outstanding musician, who was diagnosed with stage 4 cancer in 2013. Roswell is unable to play right now but hopes to be strong enough to attend this glorious musical event. For further info, please visit http://www.jazz.org/dizzys/ TRACKS 1. Something To Live For 2. Goodbye Pork Pie Hat 3. Can't We Be Friends 4. I Hadn't Anyone Till You 5. Too Late Now 6. House Of The Rising Sun 7. I Look In The Mirror 8. Pannonica CREDITS "Something To Live For" by Billy Strayhorn, Duke Ellington (Billy Strayhorn Songs Inc/Dimensional Music/Reservoir Media Mgmt Inc/Emi/Mills Music Inc). "Goodbye Pork Pie Hat" by Charles Mingus (Jazz Workshop Inc/Union Square Music Publishing Ltd). Lyrics by Rashaan Roland Kirk. "Can't We Be Friends" by Paul James and Kay Swift (Harms Inc/Chappell Music Ltd). "I Hadn't Anyone Till You" by Ray Noble (Redwood Music Ltd/Chappell&Co Ltd). "Too Late Now" by Burton Lane (Emi Feist Catalog Inc/Warner Chappell Music International Ltd). "House Of The Rising Sun" (Traditional - Palace Music Co Ltd). "I Look In The Mirror" by Verna Gillis (BMI). "Pannonica" by Thelonious Monk (Thelonious-Music 1630 Publishing Services Inc/Catalyst Music Publishing Ltd). Lyrics by Joe Hendricks.

No, my recollection is that her hair was dirty blonde.

Thanks Jeff! Jim, did I ever mention that Rusty Staub went to my high school? I think he graduated in '62, and I started in Sept. '63. A buddy of mine dated his sister Sue.

I think the real story would include why, if they wanted to even the number of teams, they didn't put the Brewers back in the American League.

This afternoon's Hamilton-Montreal game will be on ESPN2 at 1:00 pm eastern. This game between two teams already eliminated will be only the fifth such game in the past twenty years.

The Rolling Stones - On Air [Deluxe] (2 CDs) - $13.98 prime https://www.amazon.com/gp/product/B0765MNS5S/

Does anyone know the real story of why the owners wanted Houston in the American League?

Happy Birthday 2017 David!