GA Russell

Greg Ellingson to Montreal https://3downnation.com/2023/02/20/new-montreal-receiver-greg-ellingson-cody-fajardo-jason-maas-caused-him-to-pick-alouettes-over-riders/ ***** Grey Cup Final Plays of the Game https://www.cfl.ca/2022/11/21/championship-winning-plays-in-the-timbermart-plays-of-the-week/

Zildjian is offering an Art Blakey t-shirt for $30.00. https://zildjian.com/zildjian-legends-art-blakey-tee.html

Gallup: “Just 26% of Americans surveyed told Gallup they have a favorable view of the news media, the lowest level ever recorded.”

Now let's move on to the 2023 season. Thursday was Free Agency Day, when the players could sign with new teams. Here is the league's list of the players whose contracts expired following the 2022 season, and the teams they have signed with for 2023. https://www.cfl.ca/fa23 These are the biggest names who signed with new teams. Bo Levi Mitchell to Hamilton Jake Weineke to Sask Dominique Davis to BC Jameer Thurman to Hamilton Cody Fajardo to Montreal Kwaku Boateng to Hamilton Eugene Lewis to Edmonton Jovan Santos-Knox to Ottawa Trevor Harris to Sask Lemar Durant to Ottawa Ciante Evans to Montreal Chris Osei-Kusi to Hamilton Micah Awe to Calgary I notice that I don't see 2022's two Grey Cup Finalists, Toronto and Winnipeg on this list.

Let's continue with the video highlights. Top 10 Plays of 2022 https://www.cfl.ca/2022/12/30/top-10-plays-of-the-2022/ ***** Top Ten Interceptions https://www.cfl.ca/2022/12/28/top-10-interceptions-of-2022/ ***** Top Ten Special Teams Plays https://www.cfl.ca/2022/12/26/top-10-special-teams-plays-of-2022/ ***** Top 10 Catches https://www.cfl.ca/2022/12/23/top-10-catches-of-2022/ ***** Top 10 Defensive Plays https://www.cfl.ca/2022/12/19/top-10-defensive-plays-of-2022/ ***** For those keeping score at home, I note that this thread's current view count is 207.1 thousand.

BIRTHRIGHT: A BLACK ROOTS MUSIC COMPENDIUM Includes enduring icons like Odetta, John Lee Hooker, The Staple Singers, Lightnin’ Hopkins, and Etta Baker to contemporary Artists like Keb' Mo', Taj Mahal, Amythyst Kiah, Leyla McCalla, and Dirty Dozen Brass Band to little-known but pioneering musicians. Offering a comprehensive overview of American Black roots music, this 40-track collection spans generations and genres: banjo players and Gullah singers to New Orleans jazz icons and contemporary blues acts, plus everything between Includes previously unreleased “Georgie Buck” by the Carolina Chocolate Drops “This collection is the DNA, the blueprint, a sonic chronicle of where we’ve been...and where we are headed.” – Corey Harris Craft Recordings proudly announces Birthright: A Black Roots Music Compendium, an expansive overview of American Black roots music. Produced by author, professor, and GRAMMY®-nominated music historian Dr. Ted Olson, along with GRAMMY-winning producer, musician, and author Scott Billington, Birthright offers an introduction to the rich and often nuanced world of Black roots music. Spanning generations and genres, the 40 songs in this brand-new collection showcase a broad range of styles: from gospel and blues to Louisiana Creole, jazz, Gullah music, and more, while the artists range from little-known musicians to enduring icons like Odetta, The Staple Singers, John Lee Hooker, and Lightnin’ Hopkins. Available now on 2-CD/digital formats, Birthright features a handful of rarities, as well as the previously unreleased “Georgie Buck” by the Carolina Chocolate Drops (a collective of musicians that includes Dom Flemons, Rhiannon Giddens, and Justin Robinson) featuring fiddler Joe Thompson. The 2-CD edition includes insightful essays from musicians/scholars Corey Harris and Dom Flemons (music from both artists also appears on the album), as well as an introduction and detailed track notes by Olson. Through word and song, Birthright not only seeks to pay tribute to an essential canon of American music, but also demonstrates the pervasive influence of Black roots music on popular culture – from country to hip-hop. While the recordings on Birthright date back to the ’50s, one must take into account the historical through line, which begins centuries ago. “Music in Africa was woven into every aspect of life and every song was specific to a certain time of year, festival, activity or life event,” writes Harris. “When our captive ancestors were driven off the slave ship on to the shores of a strange land, they had these songs with them.” Amid the horrors of slavery, music served as an important form of communication. While African drums were banned, Harris explains, “Stringed instruments and household items like jugs, spoons, bones and washboards became our weapons of circumstance…But no matter how many laws were passed, you couldn’t outlaw rhythm.” Following Emancipation, Black roots music was first recorded in the early 20th century by folklorists like John Lomax. But, in a sharply segregated country, few people would hear it. Flemons notes, “The acknowledgement that any American music could be considered to have ‘Black roots’ was not only unheard of, it was treated with disregard and in many instances, was banned from being performed and disseminated to the general public altogether.” These foundational recordings were vital, however – particularly because Black music and culture were generally portrayed using grotesque stereotypes or Euro-classical stylings. Instead, the audio “removed all secondary ‘straightening,’ ‘sweetening’ or ‘exaggerating’ of the music,” explains Flemons. “A new dialogue could be had between the folklorist and the musician allowing the subject for the first time to ‘speak for themselves.’” He continues, “The performance could in essence reflect the inherent value of a unique ‘Black’ culture. This early documentation is an essential resource for our understanding of Black roots music of the past.” In the following decades, with the rise of the record industry, regional music styles developed and spread further into the mainstream, with blues, jazz, and gospel making a significant impact on popular music, leading to rock ’n’ roll, soul, and eventually hip-hop. But while new generations continued to build upon these foundations, Black roots music never stopped thriving, as Birthright proves. “There has been wave after wave of Black roots artists who have built a new bridge to the past,” adds Flemons. “No matter the era, the musical innovations of the African and Caribbean Diaspora are still prevalent in the hands, feet, instruments and voices of each of these artisans no matter how refined or down-home they may sound.” Each track in Birthright – whether recorded 60 or six years ago – offers an example of this rich musical tradition, including a variety of mid-century field recordings. Among the highlights is Bessie Jones’ “Yonder Come Day,” documented in Georgia in 1973. Jones (1902–1984) was a member of the Georgia Sea Island Singers, which was founded to preserve the music of the Southeast’s coastal Gullah culture. Another notable selection is “Eunice Two Step,” from the renowned duo of accordion player Bois Sec Ardoin and fiddler Canray Fontenot. Recorded in the ’60s and sung in French, the song represents the “Creole” tradition and, as Ted Olson notes, “reflects the older sound of Black music in rural Louisiana before the emergence of the more modern Zydeco genre.” There are also more informal recordings, including those of incarcerated men, singing “work songs.” Among them is Bennie Richardson, who leads a rendition of the traditional “Grizzly Bear,” alongside his fellow inmates at a Texas penitentiary. The song, explains Olson, “employs verbal coding. The ‘Grizzly Bear’ character…was a white prison guard, while “Jack O’ Diamonds” was a veiled reference to a white prison warden.” The audio, recorded in the mid-’60s, features a call-and-response style of singing, which originated in West Africa. In addition to field recordings, the collection showcases a handful of well-known legends, including The Staple Singers. While best-known as ’70s soul stars, the family group began on the gospel circuit. Their 1963 recording of Willie Johnson’s frequently covered “Motherless Children” features call-and-response vocals from patriarch Roebuck “Pops” Staples and his children, Mavis, Yvonne, Cleotha, and Pervis. Civil rights activist, singer, and actress Odetta makes an appearance with “Special Delivery Blues,” a song originally recorded in 1926 by jazz singer Sippie Wallace. Blues stars like John Lee Hooker (delivering the traditional “When I Lay My Burden Down”), Skip James (“Hard Time Killing Floor Blues”), and Lightnin’ Hopkins, who performs his influential “Automobile Blues,” are also represented in this collection, while a younger generation of celebrated bluesman, Taj Mahal and Keb’ Mo’, revisit Sleepy John Estes’ “Diving Duck Blues” from 1929. Birthright also looks to the future with inspired tunes from contemporary acts. Among them is Ranky Tanky, who interpret traditional Gullah music. The term “ranky tanky,” which translates roughly to “get funky,” inspired both their group name and the song included in this collection. Another example is the aforementioned “Georgie Buck” from the Carolina Chocolate Drops, who share a passion for African American string bands. Their 2006 recording of the traditional tune is a collaboration with their mentor, fiddler Joe Thompson (1918–2012). The internationally renowned a cappella ensemble Sweet Honey in the Rock, meanwhile, delivers the 19th-century spiritual, “Study War No More.” Known more popularly as “Down by the Riverside,” the song not only became a gospel staple, but also an antiwar anthem during the Vietnam War. The even longer-running Preservation Hall Jazz Band – a New Orleans institution – performs Paul Barbarin’s “Bourbon Street Parade,” which pays celebrates the joyful, parade-beat groove which is the heartbeat of the city’s music. Another mainstay of the Big Easy, the Dirty Dozen Brass Band, has been keeping the city’s brass band tradition alive since 1977, and appears here with their Caribbean-inspired 2012 tune “Best of All.” While the voices on Birthright are unique, they all share a common thread. As Harris puts it so eloquently, “When we listen to the artists on this set, we are hearing the voice of a people determined to express themselves and be heard above the empty, metallic din of progress, above the saccharine pop and soulless glam of the industry. When the power goes out and the internet goes down, some of us will still be playing music and sharing our joys and pains with one another in song. Black roots music is a testament to the fact that if modern civilization were to collapse, we have the power and the spirit to rise up once again. We only need to hold on to our roots. This is an excellent place to start.” https://youtu.be/rHbU0X6cOvE Artist Title Time Preservation Hall Jazz Band Bourbon Street Parade 05:37 Corey Harris Station Blues 03:25 Mississippi Fred McDowell Highway 61 04:27 Carolina Chocolate Drops ft. Joe Thompson Georgie Buck 04:14 Ranky Tanky Ranky Tanky 02:15 Etta Baker One-Dime Blues 02:33 Alphonse "Bois Sec" Ardoin, Canray Fontenot Eunice Two-Step 02:22 Sam "Lightnin'" Hopkins Automobile Blues 04:33 Benny Richardson Grizzly Bear 04:16 The Staple Singers Motherless Children 03:03 Sonny Terry, Brownie McGhee Blues Before Sunrise 04:31 Dink Roberts Fox Chase 04:21 Martin, Bogan & The Armstrongs Sweet Georgia Brown 03:26 The Golden Eagles ft. Monk Boudreaux Little Liza Jane (Live) 03:21 Clifton Chenier and His Band Ay-Tete Fee 01:55 Skip James Hard Time Killing Floor Blues 03:23 George Lewis' Ragtime Band Weary Blues 03:25 Bessie Jones Yonder Come Day 02:29 Joseph Spence We Will Understand It Better By And By 04:00 Dirty Dozen Brass Band Best Of All 04:43 Cedric Burnside Step In 02:35 Amythyst Kiah Pretty Polly 04:38 Lonnie Johnson, Elmer Snowden St. Louis Blues 03:08 Leyla McCalla Money Is King 02:55 Dom Flemons Polly Put The Kettle On 02:20 Taj Mahal, Keb' Mo' Diving Duck Blues 04:30 Boozoo Chavis Crying Blues 05:24 Campbell Brothers Morning Train 03:42 John Lee Hooker When I Lay My Burden Down 02:38 Lesley Riddle Titanic 02:57 Professor Longhair Go To The Mardi Gras 02:57 Mississippi John Hurt Candy Man 02:57 Jesse Fuller San Francisco Bay Blues 03:02 Odetta Spoken Introduction: Special Delivery Blues 02:38 John Jackson Step It Up And Go 02:25 Tuts Washington Arkansas Blues 03:10 Rev. Gary Davis Lo, I Be With You Always 04:19 Inmate named Peter Ups On The Farm (EXPLICIT) 01:38 Cephas & Wiggins John Henry 05:42 Sweet Honey In The Rock Study War No More 04:55

Today is June Jones' birthday (1953). Bing's page features him in his Ticat gear! june jones - Search (bing.com)

It looks like MLB is going to go ahead with the idea of starting extra innings with a runner on second base. I read today that the sportswriters are calling him the Manfred Man!

One thing I like about the Canadian league is the nearly six-month off-season. I appreciate the respite. Not too long before he passed away, Bill Veeck said of the baseball people, "They start too early, they end too late, and they play too many games in between." Before we move on to 2023, let's look at some highlight reels from 2022. Grey Cup Final https://www.cfl.ca/2022/11/20/gc109-game-capsule/ https://www.cfl.ca/2022/11/20/gc109-trophy-presentation/

Kevin's Feb. 8 post brought up the European copyright law's relationship to 1962, and I was following up on that.

Apparently both of you think that the radio broadcast scenario is a matter of contract law rather than copyright law.

Fer Urbina, thanks for your response. My next thought would be about concerts broadcast over the radio. Let's say Record Company signs Smith to a five-year exclusive contract in 1965. Smith's quintet's 1967 performance is broadcast over the radio with Smith's knowledge and consent. Jones recorded the radio broadcast. In 2020 Jones releases a CD of his recording of the 1967 broadcast. Smith and all of the band members are dead. Does European copyright law give Record Company the ownership of the recording, even if Record Company had no relationship with either Radio Station or Jones?

Jim, I'm happy to hear that your daughter is OK. I hope that none of the victims were her friends.

$11.95 https://www.hamiltonbook.com/mose-allison-live-1978-compact-disc

Today's Jazziz podcast with Bobby Broom. https://www.jazziz.com/bobby-broom-the-jazziz-podcast-17/

RIP. The first movie of hers I saw in which her work was serious was The Three Musketeers.

I had Sirius about fifteen years ago. What I remember most is that you never drove out of range of the signal of the station you were listening to.

Here's That Rainy Day https://artpepper.bandcamp.com/track/valentine-freebie-heres-that-rainy-day

The Oscar Mayer Weinermobile was in Las Vegas last week, and somebody stole the catalytic converter.

"91 percent of U.S. adults listen to the radio at least once a week, far exceeding the reach of live and time-shifted TV at 76 percent, social media at 70 percent an online video at 67 percent. While radio does win in terms of sheer reach, TV remains unparalleled with respect to average daily usage. According to Nielsen, U.S. adults spent an average of 3 hours and 41 minutes watching live and time-shifted TV in Q3 2020, which is roughly 2.5 times the amount of time they spent listening to the radio (1 hour and 31 minutes)."

RIP. Last night I dreamed about a bunch of kids singing Alfie! I remember a Cilla Black interview in which she said that Burt made her record Alfie over and over, and neither she nor George Martin had any idea what he was looking for. The original recording of My Little Red Book was by Manfred Mann for the What's New, Pussycat? soundtrack. Manfred couldn't get the hang of the rhythm of the piano part, so Burt played it himself while Manfred played the organ. When he married Carole Bayer Sager, instead of vowing "I do" he said, "I'll try!" I always enjoyed the Butch Cassidy record.

Artist Title Time Jim Snidero Far Far Away 06:59 Jim Snidero Infinity 07:39 Jim Snidero It Might as Well Be Spring 07:00 Jim Snidero Nowhere to Hide 06:56 Jim Snidero Obsession 07:52 Jim Snidero Pat 05:16 Jim Snidero Search for Peace 04:45 Jim Snidero Little Falls 07:42 New from Jim Snidero Far Far Away Savant Records SCD 2207 Jim Snidero – alto saxophone Kurt Rosenwinkel – guitar Orrin Evans – piano Peter Washington – bass Joe Farnsworth – drums Airplay Starts Now Suggested Tracks 4. Nowhere to Hide (6:56) • 6. Pat (5:15) • 7. Search for Peace (4:45) • 8. Little Falls (7:41) Like our stuff? Let’s hear from you. Record Company Contact Barney Fields • Savant Records, Inc. barney.fields@ix.netcom.com • (212) 873-2020 • www.jazzdepot.com 2207 Jim S... 2207 Jim S...

Kevin, I'm not sure that's right. I'm no expert, but I think that tracks recorded in '62 are PD in Europe. It's very possible that many 1962 recordings were released and sold in 1963. They would be public domain now nevertheless. Any European here want to weigh in?

$9.95 https://www.hamiltonbook.com/dave-liebman-live-at-smalls-compact-disc Tyler Mitchell Octet - Sun Ra's Journey - $9.95 https://www.hamiltonbook.com/tyler-mitchell-octet-sun-ras-journey-compact-disc

SLIDE HAMPTON: The Classic Albums 1959-1963 (8 albums / 62 tracks on 4 CDs) - $13.95 https://www.hamiltonbook.com/slide-hampton-the-classic-albums-1959-1963-compact-disc