GA Russell

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/

I have been enjoying this one for the past week. As a tentet, it has an orchestra flavor. If it's still up on Spotify, I recommend that you give it a listen.

Thanks, guys!

Amazon is offering this album for $6.92 + $3.99. https://www.amazon.com/San-Francisco-1970-Miles-Davis/dp/B00R3DA1BK The label is "Left Field Media." Is this an illicit release? Is the music to be found elsewhere, such as one of the boxes?

Dick Morrisey twofer It's Morrisey, Man! and Have You Heard? On the Spot (The Complete Recordings 1961 - 1963) - $8.25 + $3.99 https://www.amazon.com/gp/product/B00G1IMFPI/

RareNoiseRecords Presents OBAKE with DRAUGR The Third Album. The First To Hit The US! CD, VINYL (33RPM) AND MULTIPLE DIGITAL FORMATS AVAILABLE IN STORES AND ONLINE ON OCTOBER 28, 2016 AND THROUGH WWW.RARENOISERECORDS.COM. Eraldo Bernocchi guitars Lorenzo Esposito Fornasari ("LEF") voice, guitars Colin Edwin electric bass Jacopo Pierazzuoli drums 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, September 28, 2016 - After releasing their debut album in 2011, the self-titled Obake and the follow-up Mutations in 2014 to widespread acclaim of the British and continental press, Obake are back with Draugr, which signals both a return to the origins of the band and a purification of its sound. This shift is immediately apparent in the choice of title: while the Japanese term 'obake' (お化け) signifies 'that which changes' or 'shapeshifter' or more generally 'ghost of a departed', now the chosen title for the band's third release, Draugr is a term of indo-european origin which means 'creature returning from the dead'. The compactness and formal cohesion of band and release name reflect the newly found balance in the band, now featuring their live drummer Jacopo Pierazzuoli (of Morkobot and Kings Of Fire fame), Colin Edwin on electric bass (member of Metallic Taste Of Blood with Eraldo Bernocchi and of o.R.k. with Lorenzo Esposito Fornasari), Lorenzo Esposito Fornasari on guitars and voice, and Eraldo Bernocchi on guitars. The multiplicity of collaborations between the members of Obake have enabled them to develop a compact and unique sound that is as extreme (in its doom and grindcore roots) as it is borderless (in depth explorations of ambient music accompanied by colorings of jazz, progressive rock and noise); Obake's sound brings the listener back to the roots of rock, along the way drawing vital lymph from Popol Vuh, AshRa Tempel, via Slayer, Sunn O))), Melvins and Coil. Draugr will be available in all formats (from October 28th, 2016) and will also feature a remix by renowned British breakcore artist Leon Switch. TRACKS 1. Cold Facts 2. Incineration Of Sorrows 3. Hellfaced 4. The Augur 5. Appeasing The Apparition 6. Serving The Alibi 7. Cloud Of Liars 8. Immutable 9. Draugr 10. Draugr (Leon Switch Remix)

Father Dowling: Complete (3 seasons) - $27.55 prime https://www.amazon.com/Father-Dowling-Mysteries-Complete/dp/B00AMU8K8C

Sounds great Roberto!

So here we are again! This year's Grand Final will see the Sydney Swans take on the Western Bulldogs. http://www.theage.com.au/afl/ I believe the game will start at 2:00 pm Saturday Melbourne time, which is 9:00 pm Friday pacific time and midnight eastern time. To listen on the internet, I see this list: http://www.afl.com.au/broadcastguide 3aw is here: http://www.3aw.com.au/

Thanks very much for this, TTK! 1) It was my observation at the time that Americans who entered college in 1961 thought it was very uncool to continue to do high school things like listen to rock 'n' roll. But Americans who started college in 1965 did not feel that way. The class of '65 bought Sinatra and jazz records, but the class of '69 bought Beatles records. 2) I think the sales number of Kind of Blue doesn't mean anything, just like the sales number of Bitches Brew didn't prove anything. If in the past fifteen years the sales of '50s and '60s jazz recordings have exceeded the sales of current releases, maybe it's because not even jazz fans are particularly interested in what today's jazz musicians are doing.

By far the most popular golfer of my lifetime. RIP.