GA Russell

And now moving on to Week 16. Sask 32....Ottawa 30 http://www.cfl.ca/games/2337/saskatchewan-roughriders-vs-ottawa-redblacks/ http://3downnation.com/2016/10/07/riders-win-third-straight-redblacks-ot/#comments http://3downnation.com/2016/10/08/jekyll-hyde-riders-show-good-bad-win-redblacks/#comments http://3downnation.com/2016/10/08/16-thoughts-ottawas-loss/#comments http://3downnation.com/2016/10/09/riders-win-redblacks-costly-one-injury-front-report/#comments ***** Santino Filoso has composed this History of Ottawa Football for Dummies. http://3downnation.com/2016/10/07/ottawa-redblacks-history-dummies/#comments ***** Winnipeg 37....BC 35 http://www.cfl.ca/games/2338/bc-lions-vs-winnipeg-blue-bombers/ http://3downnation.com/2016/10/09/bombers-take-step-towards-second-place-_-thoughts/#comments http://3downnation.com/2016/10/08/cfl-fire-controversial-replay-review-bombers-win-b-c/#comments http://3downnation.com/2016/10/08/cfl-issues-explanation-controversial-replay-review-call/#comments http://3downnation.com/2016/10/09/madani-latest-blunder-confidence-replay-reaches-new-low/#comments ***** The BC players were candid about their dislike of wearing microphones for this game. http://3downnation.com/2016/10/08/lions-not-wild-open-mic-act/#comments The Eskimos became the first team to refuse to wear the mics. The team and Jason Maas were fined. http://3downnation.com/2016/10/10/esks-refuse-wear-live-mics-tsn-broadcast/#comments http://3downnation.com/2016/10/12/cfl-fines-esks-20k-maas-15k-removing-live-mics/#comments ***** The Ticats traded Linden Gaydosh et al. to the Riders for Justin Capicciotti et al. http://3downnation.com/2016/10/10/ticats-acquire-capicciotti-fulton-trade-riders/#comments http://3downnation.com/2016/10/10/riders-swap-hamilton-good-first-step-improving-canadian-depth/#comments ***** The Ticats signed Keon Raymond, as well as Kendial Lawrence and Derrius Brooks. http://3downnation.com/2016/10/10/latest-moves-show-ticats-going-broke/#comments http://3downnation.com/2016/10/11/ticats-loading-grey-cup-run-without-collaros/#comments ***** Edmonton 40....Montreal 20 http://www.cfl.ca/games/2339/edmonton-eskimos-vs-montreal-alouettes/ ***** Calgary 48....Toronto 20 http://www.cfl.ca/games/2340/calgary-stampeders-vs-toronto-argonauts/ http://3downnation.com/2016/10/10/argos-lay-egg-thanksgiving-loss-stamps/#comments ***** The Eskimos' win over the Als eliminated the Riders from the playoffs. And just when the Riders were starting to get good! http://3downnation.com/2016/10/10/riders-eliminated-playoff-contention/#comments ***** Drew Edwards analyzed the playoff picture a week ago, following Week 16. http://3downnation.com/2016/10/10/cfl-playoff-picture-week-16/#comments ***** And here we have Justin Dunk's 9 thoughts on 9 teams following Week 16. http://3downnation.com/2016/10/11/nine-thoughts-nine-teams-trade-deadline-needs/#comments

Moving on to Week 15... Edmonton 40....Winnipeg 16 http://www.cfl.ca/games/2333/edmonton-eskimos-vs-winnipeg-blue-bombers/ http://3downnation.com/2016/10/01/_-other-thoughts/#comments ***** Former Stamp Jeff Fuller has returned from Seattle, and signed with the Riders. http://3downnation.com/2016/10/01/riders-sign-rec-jeff-fuller/#comments ***** Calgary 36....Hamilton 17 http://www.cfl.ca/games/2334/calgary-stampeders-vs-hamilton-tiger-cats/ http://3downnation.com/2016/10/01/ticats-lose-game-stamps-collaros-injury/#comments http://3downnation.com/2016/10/02/stamps-honour-slain-teammate-victory-ticats/#comments http://3downnation.com/2016/10/02/bad-worse-hamiltons-loss-stampeders/#comments Zach Collaros suffered a head injury. http://3downnation.com/2016/10/02/ticats-qb-zach-collaros-left-game-possible-head-injury/#comments http://3downnation.com/2016/10/03/collaros-injury-just-one-ticats-many-woes/#comments ***** BC 40....Ottawa 33 http://www.cfl.ca/games/2335/ottawa-redblacks-vs-bc-lions/ http://3downnation.com/2016/10/02/lions-win-track-meet-redlacks/#comments http://3downnation.com/2016/10/02/10-thoughts-ottawas-loss-bc/#comments ***** Montreal 38....Toronto 11 http://www.cfl.ca/games/2336/toronto-argonauts-vs-montreal-alouettes/ ***** The Argos released their three leading receivers after their loss to the Als. http://3downnation.com/2016/10/03/argos-release-receiver-kevin-elliott/#comments Vidal Hazelton promptly signed with the Eskimos. http://3downnation.com/2016/10/05/hazelton-sign-esks/#comments Tori Gurley signed with the Bombers. http://3downnation.com/2016/10/06/gurley-signs-bombers/#comments Kevin Elliott signed with the Ticats. http://3downnation.com/2016/10/06/ticats-agreed-terms-former-argo-receiver-kevin-elliott/#comments ***** Chad Owens is out for the year with a broken foot. http://3downnation.com/2016/10/04/ticats-chad-owens-miss-rest-season-due-injury/#comments ***** Henoc Muamba has returned from the NFL and signed with the Riders. http://3downnation.com/2016/10/04/henoc-muamba-signs-riders/#comments ***** Justin Dunk's 9 thoughts on 9 teams following Week 15. http://3downnation.com/2016/10/03/nine-thoughts-nine-teams-high-scoring-teams-prevail/#comments

Wes Montgomery - 5 Original (Riverside) Albums - $9.99 + $3.99 https://www.amazon.com/5-Original-Albums-Wes-Montgomery/dp/B01BL0XRDO

In regard to the "What qualifies as an album?" discussion, the first time I ran across the idea that "some LPs don't count" was in Rolling Stone ca. 1969. My attitude was, and still is, that if I could enter a record store and find an album that I wanted and paid for it, then it is as legitimate an album as all its neighbors in the bins. I think that means that I'm with Paul on this, but I've lost track!

Happy Birthday 2016 Bluerein!

Justin Dunk reported two weeks ago that the Als asked the Riders if Durant might be available. http://3downnation.com/2016/09/28/alouettes-inquired-riders-availability-darian-durant/#comments ***** After three years in the NFL, Cordarro Law has rejoined the Stampeders. http://3downnation.com/2016/09/29/law-signing-means-plus-thoughts-tough-week-calgary/#comments ***** Currently the water at the new Mosaic Stadium is not potable. http://3downnation.com/2016/09/29/water-not-suitable-drinking-new-regina-stadium/#comments

ECM NEW SERIES Meredith Monk On Behalf of Nature Meredith Monk & Ensemble Sidney Chen, Ellen Fisher, Katie Geissinger, Meredith Monk, Bruce Rameker, Allison Sniffin: voices Bohdan Hilash: woodwinds John Hollenbeck: percussion Allison Sniffin: piano, keyboard, violin, French horn Laura Sherman: harp U.S. Release date: November 4, 2016 ECM New Series 2473 B0025808-02 UPC: 289 481 2794 8 For six decades, vocalist-composer Meredith Monk has explored what she calls “primordial utterance,” or non-verbal vocal sound that lay beneath and beyond language, expressing “that for which we have no words.” This exploration has led her to create music that The New Yorker describes as simultaneously “visceral and ethereal, raw and rapt,” an art that “sings, dances and meditates on timeless forces.” With her latest, multivalent ECM New Series album, Monk aimed to address ecology and climate change, she says: “Believing that music speaks more directly than words, I worked to make a piece with a fluid, perceptual field that could expand awareness of what we are in danger of losing. On Behalf of Nature is a meditation on our intimate connection to nature, its inner structures, the fragility of its ecology and our interdependence.” To that end, voices and instruments have equal weight across On Behalf of Nature: sometimes each is heard alone; sometimes they are blended to form a new, mysterious sound; sometimes they are combined to create intricate, layered, yet transparent sonic landscapes. The winds of Bohdan Hilash and violin of Allison Sniffin rustle and sing by turns, as the tuned percussion of John Hollenbeck plays a melodic as well as rhythmic role. The six singers (including Monk) offer melodious, harmonic and hocketing lines, murmurs, chants and keens as they communicate in a language beyond words. There is a sequence of pieces for voices alone (“Environs”), while the luminous minimalism of “Eon” is for instruments only. “Water/Sky Rant” is a feature for Monk’s solo voice, with rippling harp among the accompaniment. But most of the album’s 19 pieces meld singing and playing in a tapestry of sound. Praising Monk’s 2011 ECM album Songs of Ascension, for voices and strings, the Los Angeles Times critic Mark Swed wrote: “Monk’s most significant growth over the past decade or two has been as a composer. She is a great master of utterance… A listener feels somehow in communication with another, perhaps wiser, species.” Discussing her compositional process for On Behalf of Nature in her liner essay for the album, Monk says: As I began working on the music for On Behalf of Nature, I asked myself the question: “How would one make an ecological art work, one that didn’t make more waste in the world?” What came to mind was the French anthropologist Claude Levi-Strauss and his notion of bricolage: the process of assembling or making something from what is already at hand. In pre-industrial societies, one object could function in many different ways by an act of imagination. We now speak of this process as re-purposing. Part of my process as a composer includes creating music notebooks that function like journals. Within them, I write themes, fragments and phrases that are not ready to be made into complete forms. They are like seeds, filled with potential, waiting for the right moment to sprout. While I began by composing new pieces for On Behalf of Nature, at a certain point, I decided to play through fragments and phrases in a few of my notebooks to see if anything resonated with what I was now exploring. I then built new forms from that raw material. It was gratifying to see that the time that had elapsed between the original impulses and the present served to shed light upon and enrich the original ideas. The notion of spiraling around to the past to make something completely new is also a way of appreciating what is here in the present and working with what we have. For Monk, On Behalf of Nature conjures “multiple realms including the celestial, human, microscopic, animal, plant and mineral, as well as the underlying processes and rhythms of nature,” she explains. “The overall structure is an arch with some of the themes from the beginning reoccurring near the end but in a varied or modified form. The last two pieces serve as an extended coda suggesting the continuity and resiliency of the natural world.” Meredith Monk “I work in between the cracks, where the voice starts dancing, where the body starts singing, where the theater becomes cinema,” Meredith Monk once said. “I try to never forget that I enjoy the privilege of engaging in an activity that affirms the spirit of inquiry and allows me to make an offering of what I have found. I am grateful for being part of music, for the magic of music permeating my life." An artistic visionary, Monk invented something new with her vocal innovations, and her fusion of sound and movement is as daring now as it was when she made her professional debut in 1964. Performers of her compositions include not only her own longstanding Vocal Ensemble but also the San Francisco Symphony & Chorus, Kronos Quartet and Bang On A Can All-Stars, among others. Her reach also extends beyond the classical world, influencing such musicians as Björk, John Zorn and DJ Spooky. Monk’s music has been heard in many high-profile films, including Nouvelle Vague and Histoire(s) du Cinéma by Jean-Luc Godard (with soundtracks to both released on ECM New Series), The Big Lebowski by the Coen Bros. and her own Book of Days. She has been recording for ECM since 1981. Her ECM debut, Dolmen Music, won a Preis der deutschen Schallplattenkritik. Monk’s subsequent ECM discography includes Turtle Dreams (1983), Do You Be (1987), Book of Days (1990), Facing North (1992), ATLAS: An Opera in Three Parts (1993), Volcano Songs (1997), mercy (2002), the © Grammy-nominated impermanence (2008), Songs of Ascension (2011) and Piano Songs (2014). In its 2012 guide to Monk’s music, The Guardian said: “Monk's is a music of connection, a bringing together of many different art forms and experiences… The result is music that is at once deeply personal and unlike anything anyone else is doing, but which speaks simply and directly to those collective parts of our subconscious that are the deepest and oldest. At its best, Monk's music sounds like a folk music for the whole world.” John Abercrombie guitar | Jan Hammer organ, synthesizer, piano | Jack DeJohnette drums Originally released in 1974. “He displays a singular blend of intellect and emotion. Timeless, Abercrombie’s first date as a leader, is an impressive showcase of these facets, and of his never-before-revealed abilities as a composer/arranger. Jan Hammer and Jack DeJohnette are all the help he needs.” - Downbeat Egbert Gismonti: 8-String Guitar, Piano, Wood Flutes, Voice | Nana Vasconcelos Percussion, Berimbau, Corpo, Voice Originally released in 1976 “Gismonti and Vasconcelos might be Brazilian but you don’t need a passport to enter their musical world. Once inside, they guide you gently, and the trip is rarely less than revelatory. If you have an interest in music – as opposed to fashion – then Gismonti will floor you with the devastating purity and endless depth of his sound. Without doubt, this is one of the albums of the year.” –Melody Maker Kenny Wheeler trumpet, flugelhorn | Jan Garbarek tenor saxophone, soprano saxophone | John Abercrombie electric guitar, electric mandolin | Dave Holland double bass | Jack DeJohnette drums | Ralph Towner 12-string guitar Originally released in 1977. “Wheeler emerges a romanticist in the grand heroic mode. His compositions and trumpeting suggest an Olympian majesty. There is a grace and eloquence, as well as a purity of sound and purpose.” – Downbeat Terje Rypdal electric guitar, RMI keyboard computer, ARP synthesizer | Palle Mikkelborg trumpet, flugelhorn, RMI, tac piano, ringmodulator | Sveinung Hovensjø 6-String electric bass, 4-string electric bass | Jon Christensen drums, percussion Originally released in 1977. “Rypdal’s new album is a series of sonic excursions ranging from the expressionist to the impressionist and with few concessions to conformity. Rypdal’s guitar and Palle Mikkelborg’s trumpet are well-matched with Manfred Eicher’s typically superb production putting it all in focus.” – Record World Gary Peacock bass | Jan Garbarek tenor saxophone, soprano saxophone | Tomasz Stanko trumpet | Jack DeJohnette drums Originally released in 1981. “This is a record with much to recommend it. Peacock, as ever, is sublime and the perpetual motion of DeJohnette’s drumming maintains a superb tension. The broad toned Stanko skirts the niceties and finds something of consequence to say every time he walks to the wicket but, surprisingly, it is Garbarek’s many solid innings that are the backbone of the whole thing.” – Jazz Journal ©2016 ECM | 1755 Broadway, Floor 3, New York, NY 10019 ECM David Virelles - Antenna Vinyl and digital release date: November 18th The music of Cuban-born, Brooklyn-based pianist David Virelles conjures a hallucinatory world in which ancient Afro-Cuban rhythms and ritual reverberate in the here and now. His latest ECM offering is Antenna, music attuned to a timeless rhythmic-cultural current even as it pulses with a vibrantly urban, modernist energy. Antenna – a six-track, 22-minute EP released exclusively on vinyl and digitally – sees Virelles channel Afro-Cuban percussion into an electro-acoustic, almost psychedelic swirl, one that melds jazz improvisation and organic grooves with digital refraction, shadowy synthesizers, otherworldly field recordings and Cuban street poetry. Antenna is an undulating, throbbing, dizzying dream of sound. Mbòkó, Virelles’s ECM leader debut from 2014, featured in Best Of The Year lists in The New York Times, NPR, iTunes and The Village Voice, among others. The Guardian described it as “a jazz-infused world-music project beyond categories,” adding: “Virelles looks set to make big differences in contemporary music for years to come.”

So let's see Justin Dunk's 9 thoughts on 9 teams at this stage, after Week 14. http://3downnation.com/2016/09/26/nine-thoughts-nine-teams-tight-contests-highlight-week-that-was/#comments ***** Former Redblack OL Colin Kelly signed with Chicago. http://3downnation.com/2016/09/26/nine-thoughts-nine-teams-tight-contests-highlight-week-that-was/#comments ***** Kent Austin contacted an official in the game against the Riders. The punishment was slow in coming, and believed by some to be to light. He was fined $10,000 and was prohibited from standing on the sidelines for the next game, so he coached from the booth. http://3downnation.com/2016/09/27/madani-anything-austin-suspension-disrespects-officials-profession/#comments http://3downnation.com/2016/09/27/video-ticats-kent-austin-addresses-incident-cfl-official/#comments http://3downnation.com/2016/09/27/austin-says-doesnt-expect-fine-suspension-contact-official/#comments http://3downnation.com/2016/09/28/austin-banned-sidelines-fined-contact-official/#comments http://3downnation.com/2016/09/28/video-austin-mitchell-react-cfl-punishment/#comments http://3downnation.com/2016/09/28/austin-couldve-better-orridge/#comments http://3downnation.com/2016/09/29/ticats-kent-austin-heard-not-seen-saturday/#comments ***** The Stampeders' Jamar Wall will wear Mylan Hicks' number 31 for the remainder of the season. http://3downnation.com/2016/09/28/one-us-calgary-defensive-back-wall-wear-mylan-hicks-number/#comments

Favorite two albums Groove Holmes - Soul Message Mike Nock - In, Out & Around Favorite two hit albums Henry Mancini - Music from Peter Gunn Miles Davis - The Birth of the Cool Favorite two box sets Paul Desmond Mosaic Bill Evans at the Village Vanguard, 1961

I'll try to catch up as quickly as possible. I will only post one link to the league's website. There you will see for each game the Recap, the Box Score, the Play-by-Play and some Videos. Week 14 Something happened in week 14 that I don't recall ever happening before. Both Saturday games were won by the home team with a field goal on the last play of the game! Ottawa 29....Toronto 12 http://www.cfl.ca/games/2329/toronto-argonauts-vs-ottawa-redblacks/ http://3downnation.com/2016/09/24/ottawa-earns-huge-divisional-win/#comments ***** Edmonton 27...BC 23 http://www.cfl.ca/games/2330/bc-lions-vs-edmonton-eskimos/ ***** Calgary 36....Winnipeg 34 http://www.cfl.ca/games/2331/winnipeg-blue-bombers-vs-calgary-stampeders/ http://3downnation.com/2016/09/24/bombers-make-statement-calgary-despite-late-loss-_-thoughts/#comments Shortly after the game, Stampeders rookie DB Mylan Hicks was murdered outside a nightclub, http://3downnation.com/2016/09/25/stampeders-defensive-back-shot-death-outside-calgary-nightclub/#comments ***** Sask 20....Hamilton 18 http://www.cfl.ca/games/2332/hamilton-tiger-cats-vs-saskatchewan-roughriders/ http://3downnation.com/2016/09/25/depleted-ticats-lose-riders-last-second-field-goal/#comments http://3downnation.com/2016/09/25/good-bad-hamiltons-frustrating-loss-riders/#comments http://3downnation.com/2016/09/25/gutting-riders-show-much-changed-win-ticats/#comments ***** Week 14 Plays of the Week http://www.cfl.ca/2016/09/26/edwards-dives-his-way-into-kegsize-plays-of-the-week-wk-14/

Happy Birthday 2016 John!

Happy Birthday 2016 T.D.!

BLUE NOTE RECORDS, BLUE NOTE JAZZ CLUB & ENTERTAINMENT CRUISE PRODUCTIONS ENTER INTO A FIVE YEAR PARTNERSHIP DEAL FOR THE CONTEMPORARY JAZZ CRUISE Newest Cruise Outing, Which Features Six Blue Note Artists,Will Be Re-branded as Blue Note at Sea As the excitement continues to build around Entertainment Cruise Productions' inaugural sailing of The Contemporary Jazz Cruise, Don Was of Blue Note Records and Steven Bensusan of Blue Note Jazz Club today announced a five year partnership with ECP for that cruise. The partnership will result in a re-branding of the cruise as Blue Note at Sea. With six Blue Note artists among those performing on the cruise, it's interesting to note that the meeting that led to Entertainment Cruise Productions' partnership with Blue Note actually had its origins not on Entertainment Cruise Productions' The Jazz Cruise (the first and only full ship charter in the world dedicated to "straight ahead" jazz, which is celebrating its 16th consecutive year of operations in 2017) but on another of the company's charters, The 80s Cruise, on which Blue Note President Don Was performed with his band Was (Not Was). Later the discussions were expanded to include the world famous Blue Note Jazz Clubs led by Steven Bensusan. "This partnership between Blue Note Records, Blue Note Jazz Club, and Entertainment Cruise Productions launches a musically historic undertaking! Over the last 4 decades, our friends at the Blue Note clubs have become synonymous with integrity and quality in the presentation of live jazz - it's an honor to launch a cooperative venture involving our two companies," said Was. "And, having sailed with Entertainment Cruise Productions as both a performer and a passenger, I can tell you first-hand that they run the greatest musical expeditions on the high seas. Blue Note at Sea will be The Mother of all Jazz Cruises....I'll dig you there!" "Entertainment Cruise Productions is excited and honored to be associated with Blue Note Records and Blue Note Jazz Club, two of the truly iconic brands in the world of jazz," notes Michael Lazaroff, President and Owner of Entertainment Cruise Productions. "That we will be renaming The Contemporary Jazz Cruise to be Blue Note at Sea is both fitting and fabulous in that the identity of this cruise is now crystal clear to jazz fans throughout the world. Being able to work with Don Was, on a personal basis, may be one of the most rewarding episodes in my 17 year career as a cruise producer. And I look forward, finally after years of trying, to work with Steve Bensusan of Blue Note Jazz Club, a true giant in this industry." "Our customers around the world consistently inquire about premium jazz-centric travel opportunities, specifically cruises. To that end, we're proud to partner with Michael Lazaroff's ECP team along with our good friend Don Was and Blue Note Records on this historic cruise offering," says Steven Bensusan, President of Blue Note Entertainment Group. "This is a dynamic partnership that uniquely fuses ECP's extensive cruise operating experience and Blue Note Records iconic roster with our global customer base and track record in the live entertainment space." The current Blue Note artists booked for Blue Note at Sea are Marcus Miller (the cruise's Musical Director,) Terence Blanchard, the Robert Glasper Trio and Gregory Porter, along with Blue Note alumni Dianne Reeves and Chucho Valdes. They are part of a roster of the 34 exceptional artists, who collectively have earned over 50 Grammy® Awards among them, performing on the cruise. Blue Note at Sea will sail from February 4 through February 11, 2017, departing from Fort Lauderdale, FL and traveling to the Bahamas, Puerto Rico, The Dominican Republic, and Haiti on The Celebrity Summit. The Celebrity Summit features a sleek rooftop terrace, Canyon Ranch Spa, world class dining, and elegant cabin design. Fares begin at $2400 per person and include tickets to all concerts, all gourmet meals, special events throughout the voyage, and all port charges. For more information or to book a cabin, visit www.bluenoteatsea.com or call 888-852-9987. About Entertainment Cruise Productions, LLC: Entertainment Cruise Productions is the world's leader in full ship charter music cruises. Beginning more than a decade ago, Entertainment Cruise Productions, through its various programs, has produced more than 50 full ship charters featuring music themes as diverse as Rock 'n Roll, Elvis, R&B, Pop, Gospel and Jazz, as well as the upcoming 2017 Star Trek: The Cruise. Entertainment Cruise Productions' formula for success remains constant among its various programs. Entertainment Cruise Productions is dedicated to providing the finest music and entertainment cruise experience in the world.

Anna Maria Friman/ Linn Andrea Fuglseth / Berit Opheim The mesmerizing voices of Trio Mediæval have captivated the concert world with their breathtaking performances and recordings of a diverse polyphonic repertoire that features medieval music from England and France, contemporary works written for the ensemble, and traditional Norwegian ballads and songs. ©2016 ECM | 1755 Broadway, Floor 3, New York, NY 10019

Happy Birthday 2016 Tom!

If I were Dictator of the World, I would make every CD state front and center "Made from authorized master tapes" or "Made from public domain sources." I understand why the PD companies don't want the shoppers to know, but I don't understand why the owners of the masters don't brag about it in big letters. ***** MG, I think that King was originally a country label aimed at a white market.

This has been discussed in at least two threads that I am aware of, but I thought that I would give it its own thread to clarify things. "Art Pepper & Warne Marsh," Vol. 9 of the Critically Acclaimed "Unreleased Art" Series, To Be Released by Laurie Pepper's Widow's Taste Label November 11 Marking the 10th Anniversary of the Label 3-Disc Set Features Art Pepper & Warne Marsh Live at Donte's in North Hollywood, CA, April 26, 1974 With Mark Levine, John Heard, Lew Malin October 7, 2016 On April 26, 1974, two wildly gifted and very different artists, Art Pepper and Warne Marsh, met again, for the first time in 17 years, by accident, on the stage at Donte's in North Hollywood, because Jack Sheldon had to cancel. It must have made for an unforgettable night for those who found themselves sitting in the legendary club and listening to two cult heroes, two profoundly great musicians, playing for the audience and each other -- out of the lives they'd lived at the same time, in the same places, but personally and stylistically so far apart. Now we can join that audience. The music was recorded. And it will be released as a 3-CD set on November 11, just in time for the anniversary of Widow's Taste, the label Laurie Pepper started ten years ago to bring her collection of Art Pepper's unheard live performances to his fans. In 1974, Art was at the very outset of what would be his last great comeback. He'd quit his job managing a bakery and was making a living playing bar mitzvahs and weddings. He had just started playing in Jack Sheldon's band, once a month, at Donte's. Unlike Art's, Warne's career had been relentless and ongoing. He'd been touring with his own bands for years, and in 1974, he was traveling the world with Supersax, with whom he'd won a Grammy. Though Warne forbade recording at his gigs, this gig was recorded. On reel-to-reel, quarter- inch, quarter-track tape. The original tapes were quite good; the audio was probably picked up from the sound board. And the tapes were sent to Laurie Pepper by persons never known or now forgotten. She rediscovered them while cleaning out a closet. As she tells us in her liner note: "Sometimes, the way things and people come to me for Art's sake is -- I want to use the word -- miraculous." A good word for this night and those tapes. Laurie gave them to the incomparable Wayne Peet of Newzone Studio, who, "knows how jazz, how Art should sound." He balanced and enriched the onstage sound, killed excessive noise, and dealt delicately with inevitable glitches that occur in live recording. Laurie, a non-musician, goes on to talk about the Pepper/Warne distinctions in the language of a dedicated fan: "Art lives down in the grime of earth. You can find him on the L.A. Freeway. You can get into your car, roll up the windows, put on any of Art's blues or ballads and delve into your pain and scream aloud to it. "Warne seeks sublimity, improvising music that's transcendent, that makes mere passions puny. He can take you to a level where shit doesn't matter. "Warne offers to distract us. He offers art, the endlessness and possibilities of art, the infinite inventiveness and charm. Something in me, if I'll listen, hears his rhythmic and harmonic revelations and responds with pleasure, satisfaction, even laughter, as to a mystic's holy trickery. "Art discovers, witnesses, makes us confront, the disasters and the raptures swimming through our own, shared, volatile blood, beyond the reach of language. He knows our grief, our joy, our rage, and turns them into something timeless. His music seems to talk about real, actual life, the one that's nasty, sweet, and short. And he convinces us, repeatedly, that, just as-is, it's sacred." This latest album joins the catalog of previous albums from the Unreleased Art Pepper series. All have gotten rave reviews 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 And all (except Volume IV, which is available for download only) are available at both Amazon (http://bit.ly/buyArtPepper) and CD Baby (http://www.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, next year, a ballad set? Maybe. Web Sites: lauriepepper.net / artpepper.bandcamp.com

Wolfgang Muthspiel guitar, Ambrose Akinmusire trumpet, Brad Mehldau piano, Larry Grenadier double-bass, Brian Blade drums Wolfgang Muthspiel – whom The New Yorker has called “a shining light” among today’s jazz guitarists – made his ECM leader debut in 2014 with the trio disc Driftwood, featuring him alongside two long-time colleagues, bassist Larry Grenadier and drummer Brian Blade. All About Jazz declared the album “sublime,” while JazzTimes praised its “rapt atmospheres,” calling Driftwood “haunting.” For his follow-up – Rising Grace – the Austrian guitarist has convened a very special quintet, adding jazz luminary Brad Mehldau on piano and a star among young trumpeters, Ambrose Akinmusire, to the subtly virtuosic Grenadier/Blade rhythm section. Muthspiel moves between electric guitar and classically tinged acoustic six-string, his playing by turns grooving (“Boogaloo”) and enchanting (“Rising Grace”). The lyrical flights of Akinmusire’s trumpet and the probing improvisations of Mehldau run through Muthspiel’s rich set of compositions like golden threads, the tracks including a warm tribute to a late, great ECM artist, Kenny Wheeler (“Den Wheeler, Den Kenny”). Rising Grace also includes a deeply melodious piece that Mehldau composed especially for the album, “Wolfgang’s Waltz.” ©2016 ECM | 1755 Broadway, Floor 3, New York, NY 10019 BOX SETS FROM ECM FOR THE HOLIDAYS Keith Jarrett 4-CD box - A Multitude of Angels (11/18) A Multitude of Angels is a 4-CD set of recordings from a series of solo concerts in Italy in October 1996, documenting the conclusion of Keith Jarrett’s experiments with long-form improvisation in performances from Modena, Ferrara, Turin, and Genoa. “These were the last concerts I played having no breaks within each set,” Jarrett explains in his liner notes. The arc of the music is characteristically comprehensive: “Jazz is ever present here, alongside my deep closeness with classical music (modern and ancient, Ives and Bach).” András Schiff - Beethoven Piano Sonatas (12/2) This specially-priced 11 CD edition contains the complete piano sonatas by Ludwig van Beethoven, recorded live in concert at the Tonhalle in Zürich. It also includes encores from these concerts with works by Schubert, Mozart, Haydn, Beethoven and Bach, as well as an extensive booklet, which re-collects all original conversations around the sonatas, and adds an insightful new text by András Schiff reflecting upon the “Encores after Beethoven”. “Beethoven sonata cycles are occasions, but they don’t always make history. This one did…. The recordings are luminous. Although they were recorded live in Zurich, Switzerland, they reveal a kind of preserved freshness. An ideal piano dances in imaginary space. Everything in Beethoven can be heard, savored, adored. I recommend them without qualification.” - Mark Swed, Los Angeles Times Steve Reich - The ECM Recordings (9/30) Steve Reich has been described by The Guardian as one of “a handful of living composers who can legitimately claim to have altered the direction of musical history" and as “the greatest musical thinker of our time” by The New Yorker. Reich celebrates his 80th birthday on October 3, and The ECM Recordings brings together the landmark albums Music for 18 Musicians, Music for a Large Ensemble/Violin Phase/Octet and Tehillim in a limited edition set to mark the occasion. Originally released in 1978, 1980 and 1982, each of these recordings had a decisive influence which continues to reverberate across musical idioms. The 3-CD box set includes a 44-page booklet with original liner notes by Steve Reich, a new essay by Paul Griffiths, and session photography by Deborah Feingold and Barbara Klemm. Peter Erskine Trio - As It Was (7/22) The most recent addition to ECM’s popular Old and New Masters Series is a box set reprising the four albums made by Peter Erskine’s American-British-Swedish trio with John Taylor and Palle Danielsson between 1992 and 1997: You Never Know, As It Is, Time Being and Juni. If its core concept – a piano trio led by a drummer – was unorthodox, the group was nonetheless influential, and the recordings provide an excellent environment for appreciating the distinctive writing and playing of John Taylor. The British pianist was the Erskine Trio’s primary composer, with the drummer-leader and bassist Danielsson also contributing pieces and the repertoire topped up with tunes by Vince Mendoza and Kenny Wheeler. Erskine says, "We drew out our most explorative and interesting playing from each other. Without trying to be, we were a truly unique group. I’ve heard nothing like it before or since.” ECM Wolfgang Muthspiel Rising Grace Wolfgang Muthspiel: guitar Ambrose Akinmusire: trumpet Brad Mehldau: piano Larry Grenadier: double-bass Brian Blade: drums Release date: October 28, 2016 ECM 2515 B0025729-02 UPC: 6025 479 7962 9 Wolfgang Muthspiel – whom The New Yorker has called “a shining light” among today’s jazz guitarists – made his ECM leader debut in 2014 with the trio disc Driftwood, featuring him alongside two longtime colleagues, bassist Larry Grenadier and drummer Brian Blade. The Guardian extolled the album’s “ethereal, reflective and textural qualities,” while JazzTimes praised its “rapt atmospheres,” calling Driftwood “haunting.” For his poetic follow-up – Rising Grace – the Austrian guitarist has convened a very special quintet, adding jazz luminary Brad Mehldau on piano and a star among young trumpeters, Ambrose Akinmusire, to the subtly virtuosic Grenadier/Blade rhythm section. Characteristically, Muthspiel moves between electric guitar and classically tinged acoustic six-string on Rising Grace, his playing by turns grooving (“Boogaloo”) and enchanting (“Rising Grace”). The lyrical flights of Akinmusire’s trumpet and the probing improvisations of Mehldau run through Muthspiel’s rich set of compositions like golden threads, the tracks including a warm tribute to a late, great ECM artist, Kenny Wheeler (“Den Wheeler, Den Kenny”). The album also includes an intricate, deeply melodious piece that Mehldau composed especially for the sessions, “Wolfgang’s Waltz.” Muthspiel, who was born in 1965 in Judenberg, Austria, made his first ECM appearance on 2013’s Travel Guide as a member of a cooperative trio with fellow guitarists Ralph Towner and Slava Grigoryan. Muthspiel, Mehldau and company recorded Rising Grace with producer Manfred Eicher in the South of France, the studio atmosphere free-flowing and “harmonious,” the guitarist says. “We all set up in one room, a kind of living-room vibe. There was a beautiful concentration – deep listening, not much talking, only a few takes, just dealing with the notes and what they create. It became almost effortless after awhile, a kind of magic. At some point in the recording, the idea of everybody taking solos disappeared. The music became this web between us. This wasn’t planned; it’s just that everyone likes that mode of making music. This comes out especially in a track like ‘Intensive Care.’ It’s a constant conversation.” Each of the musicians on Rising Grace has a sound on his respective instrument that’s as identifiable as a fingerprint. “You only need to hear one chord of Brad’s to recognize the depth of his music, just the touch,” the guitarist says. “And Brian Blade is famous for his sound –from how he tunes his drum set, his floating way of playing, the way he makes the kit not a collection of separate drums and cymbals but this single warm, organic vessel.” The same distinctive soundprint applies to Muthspiel, of course, whether with the warm, sustaining lines of his electric guitar or, especially, the almost piano-like sound he gets from his acoustic. Mehldau – one of the most lauded pianists of the past quarter-century – has made previous ECM appearances on albums by Lee Konitz and Charles Lloyd. Rising Grace marks the first time he has worked with Muthspiel. “Starting with my time living in New York, from ’95 to 2002, I listened to Brad a lot,” the guitarist says, “but to play with him was amazing – he really listens, reacting to the music in the most subtle ways. There’s a beautiful moment on the new record, on ‘Intensive Care,’ where Ambrose plays a very ‘out’ note; instead of changing the whole chord to fit that note, Brad just put that note into his voicing, very softly. Again, he has this subtle mastery, hearing everything but with something ego-less about his playing. His comping also blows me away. He’s waiting for you to make your statement, supporting with whatever he plays – but he never finishes it for you, leaving the door open for your next sentence.” Akinmusire exploded on the scene while still in his early twenties, winning the Thelonious Monk International Jazz Competition and playing alongside the likes of Steve Coleman and Jack DeJohnette. Muthspiel’s writing elicits a fresh lyricism in Akinmusire’s playing, a kind of cool fire. “Ambrose is an incredible new force in music, a great voice,” the guitarist says. “There’s a fearlessness in his playing, a big joy in taking risks. He will respect the playground of my tunes while always stretching the confinement of the composition, an interesting adventure for me. He always knows the chords and correct notes, but he also likes to play other notes, to create a tension between them and the original harmonies. There are also magical contributions by him that are pure sound and gesture, not even related to pitches or certain scales: whispering, breathing, a high scream, beyond anything you can analyze, really.” Driftwood was the first album to feature Muthspiel together with both Grenadier and Blade, although the guitarist had worked with each of them separately for many years. Muthspiel first played alongside Grenadier in Gary Burton’s band in the mid-’90s, with their subsequent work together including the trio Drumfree with saxophonist Andy Scherrer. Along with being a longtime member of the Brad Mehldau Trio, Grenadier has worked in the cooperative trio Fly (with saxophonist Mark Turner and drummer Jeff Ballard), which has made two albums for ECM. The bassist has also played on ECM albums by Charles Lloyd, Enrico Rava and Chris Potter. Blade has been a member of the Wayne Shorter Quartet since 2000 and leads his own Fellowship Band, along with having played with artists from Herbie Hancock to Bob Dylan. Muthspiel has known the drummer since the late ’90s, with the two eventually working in a trio with bassist Marc Johnson. Muthspiel and Blade have also toured and recorded together as a rare guitar-drums duo, Friendly Travelers. “To play with Brian Blade is a gift,” Muthspiel says. “He seems never to have a preconceived notion of how the music should be. He is always developing in the moment – which is what we jazz musicians long for. He creates intensity with relatively low volume, and he gets the vibe of the music immediately, or even puts it in another place that you had never imagined.” As for Grenadier, Muthspiel says: “Larry has an intense sound, present even when he plays few notes. It’s a high art to play simply. He anchors the music while leaving space for things to happen. When you play with both Larry and Brian, there’s a complete, relaxed focus from the first second to the last note. They make it very easy to get into the sound.” A particular Muthspiel ideal – beyond casting a spell with sound – is the subtle storytelling of music, even without words. “I think these compositions tell a story that isn’t a straight-ahead jazz story,” he says. “I always like the writing to have the quality of a song, something that you might remember and sing along to. I think everyone in the group shares this love of songs – we all dig people like Joni Mitchell, the Beatles, Radiohead. Because of that, we take a certain care to make sure a sense of song comes out of a piece of music, before you mess with it. And even when you do mess with it, you care for song’s being, its color.” One particular story of Rising Grace stems from the homage “Den Wheeler, Den Kenny,” which translates to “this Wheeler I know.” Muthspiel explains: “This refers mostly to the album Kenny did for ECM in the mid-’70s with Keith Jarrett, Dave Holland and Jack DeJohnette, Gnu High. That was a big record for me growing up, and the memory of it was like a shining star over making this new album. There’s a standard of composing that is very personal with Kenny, and he had a fluid, even liquid way of improvising that’s different from classic jazz trumpet playing. Most important, there’s an incredible interplay on Gnu High, creating the kind of web that I mentioned before. This sort of web effect was another ideal for me while making this record.” There are other subtle stories within Rising Grace, with the titles of several pieces referring to a new arrival in the Muthspiel household. “A few months before we recorded the album, my first daughter was born,” he says. “This influenced both my writing and my playing. When you have a child, you realize that there’s clearly something more important than you in the room. For me, that reinforced another ideal, that the music in the room is always more important than you.”

Happy Birthday 2016 MG!

Thanks for that tip, MG!

Happy Birthday 2016 Brad!

"Richie Cole Plays Ballads & Love Songs," The Alto Saxophonist's First Ballad Album in His 45-Year Career, To Be Released Oct. 21 A Quartet Date Recorded in Cole's New Home Base of Pittsburgh With Guitarist Eric Susoeff, Drummer Vince Taglieri, & Bassist/Producer Mark Perna October 3, 2016 Setting down roots in Pittsburgh two years ago has borne fruit for alto saxophonist Richie Cole in the form of his beautiful new album, Richie Cole Plays Ballads & Love Songs. The CD, his first all-ballads album, will be released on his Richie Cole Presents imprint on October 21. "I don't play the saxophone, I sing the saxophone," Cole says. "It's all about telling a story. If you don't know the melody or the words -- which is true of a lot of musicians -- you can't tell the story." Though Cole has probably been better known for his footloose "Alto Madness" bebop style, dating to his early-'70s association with vocalese master Eddie Jefferson, he's hardly been a stranger to ballads. Yet the new album came about entirely by chance. CD producer (and bassist) Mark Perna booked studio time last September for Cole's Pittsburgh Alto Madness Orchestra. When the horn section picked up a big-money road gig at the last minute, Perna decided to use the time instead for a "fun blowing session for our archives." At the end of the evening, Perna realized that 8 of the 11 songs cut that night were ballads, and all were first takes. It occurred to him that Cole had never released a proper ballads album before. "We decided to finish the album at our next session," he says. "Three more songs were recorded, the album was mixed and sequenced, and that was it." Richie Cole Plays Ballads & Love Songs includes popular standards such as "Emily" (the name of his mother, who always asked him to perform it in his sets), "Bewitched, Bothered and Bewildered," and "Alfie," but also offbeat choices like "The Internationale," the Soviet national anthem; "That Sunday, That Summer," a minor early-'60s hit for Nat King Cole; and "Chances Are," a major hit in 1957 for crooner Johnny Mathis. Deepening and intensifying his always distinctive vibrato, Cole takes ownership of the Mathis song, which was featured on Shorty Rogers's 1959 album, Chances Are It Swings, but few if any other major jazz releases. "It tells a story and has a beautiful melody, one you can improvise on without going crazy," says Cole. "In the end, there's no real difference between playing and singing. Chet Baker sang exactly like he played. He could break your heart with those melodies. Jack Sheldon is another example of what I'm talking about. Satchmo, too." Another quality that sets Richie Cole Plays Ballads & Love Songs apart is its intimate setting. Cole is accompanied by a cool and companionable Pittsburgh-based quartet comprised of the lyrical, light-fingered guitarist Eric Susoeff, who's worked with artists ranging from Dizzy Gillespie to Ivan Lins, and whose primary focus is his Latin jazz quintet Salsamba, founded in 1984; versatile drummer Vince Taglieri, whose extensive experience includes work with big bands, theater productions, r&b vocalists, and jazz artists such as Bobby Shew and Sean Jones; and bassist/producer Mark Perna, a veteran musician who's recorded six albums under his own leadership, plays trombone and bass in the improvisational klezmer band Klezlectic, and has worked with Don Aliquo, Emily Remler, and Ron Affif, among many others. A native of Trenton, New Jersey, 68-year-old Richie Cole has lived at various times in San Francisco, Los Angeles, and Las Vegas and also spent time in Chicago and San Antonio. In 2014, following a divorce, he moved to Pittsburgh at the behest of his daughter Annie, who lives there with her husband and children. "I always liked this town," he says of the city that claims Billy Strayhorn, Art Blakey, Stanley Turrentine, Ahmad Jamal -- and Eddie Jefferson -- among its native sons. Mark Perna was instrumental in getting him on various local gigs, and in getting area musicians to participate in the rehearsal bands Cole put together between tours and recording dates. As Cole's original composition, "I Have a Home in Pittsburgh," suggests, things have worked out exceptionally well for him in the home of the Steelers, the Pirates -- and a strong jazz scene in which he's now a full participant. CD release shows by Richie Cole Quartet & Richie Cole's Pittsburgh Alto Madness Orchestra: 10/15 Quartet on the Saturday Light Brigade, http://slbradio.org, 11am-12 noon ET 10/30 Orchestra at Village Tavern & Trattoria, Pittsburgh, 3:00-6:00pm (Quartet performs between Orchestra sets) 11/4 Quartet at Press Bistro, Johnstown, PA, 7:00-10:00pm 11/17 Orchestra at Westmoreland Jazz Society, Greensburg, PA, 7:30-9:30pm (Quartet performs between Orchestra sets) 12/2 Orchestra at James St. Gastropub, Pittsburgh, 8:00pm-12 midnight (Quartet performs between Orchestra sets) Photo: Aaron Jackendoff "Richie Cole Plays Ballads & Love Songs" Web Site: markpernamusic.com Like: (Cole), (Perna)

Happy Birthday 2016 Ken!

Western wins! Western Bulldogs,,,,,,13.11.89 Sydney Swans..........10.7.67 Congratulations Western Bulldogs! http://www.theage.com.au/afl/afl-news/western-bulldogs-win-2016-afl-grand-final-20161001-grsz6c.html

Essential Dusty Springfield (3 CDs, 60 tracks) - $9.99 prime https://www.amazon.com/Little-Piece-My-Heart-Essential/dp/B01KJ4A1TQ/