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Tag Archives: Jean-Francois Bonnel
"IN THAT FREE-AND-EASY MANNER": MENNO DAAMS' INTERNATIONAL SERENADERS BRING ALEX HILL TO LIFE (Whitley Bay, November 4, 2016)
Early on November 4, 2016, an august group of informally-attired gentlemen assembled within the Village Hotel in Newcastle, England, at what is now called Mike Durham's Whitley bay Classic Jazz Party to rehearse their set of songs and arrangements by the most-talented and most short-lived Alex Hill. Their aims: to have a jubilee and also do some needed functionizin'.
The truly all-star band was led by trumpeter / scholar / arranger Menno Daams, and was comprised of David Boeddinghaus, piano; Spats Langham, guitar and vocal; Henry Lemaire, string bass; Richard Pite, drums; Rico Tomasso, Duke Heitger, trumpets; Jean-Francois Bonnel, Richard Exall, Robert Fowler, Lars Frank, reeds; Jim Fryer, Alistair Allan, trombones.
This was a rehearsal: thus, not everything had already been polished through focused playing and replaying, but the absence of an audience occasionally lets musicians cut loose and experiment. I've intentionally left in the pre-and-post comments to give listeners the experience of being there.
And although they knew I was there, they happily managed to ignore me, which was fine then and turned into a great boon for all of us. I had a wonderful view of the chairs, but one must sit far enough back in the room to capture everyone in the band. My focus wasn't perfect, but at least you can blame the camera rather than its operator. The sound is clear, and the absence of an audience, bringing pint mugs back and forth and chatting, is a great boon, although sharp-eared video observers will hear some commentary which usually stops when the band begins.
About the band name: I don't think Menno and Co. had an official collective sobriquet in the program, and many of the original Hill sessions were issued as "his Hollywood Sepians," and no amount of linguistic immolation on my part could convert that to a group title both appropriate and inoffensive. I will leave the possible variations on that theme to you, and comments offering such names will, alas, never see the light of cyber-day.
On to the blessed music. LET'S HAVE A JUBILEE:
SONG OF THE PLOW:
AIN'T IT NICE?:
DISSONANCE (Mezz Mezzrow took credit, but it is a Hill composition and arrangement):
DELTA BOUND (with wonderful singing by Mr. Langham, typically):
FUNCTIONIZIN', a close cousin of SQUEEZE ME:
KEEP A SONG IN YOUR SOUL, wise advice:
One of the unannounced pleasures of this Party, held this November in the same space [the "v.snuggly" Village Hotel] is that well-behaved listeners are welcome to sit in on rehearsals — a rare pleasure. Blessings on Alex, Menno, and the wonderful musicians for their splendid work in keeping the good sounds alive.
And just so you know my enthusiasm is global, not local, this comment, relayed through my good friend Sir Robert Cox: "Tom [that's Spats] said how brilliant Menno's arrangements were and how much, to their astonishment, rehearsal had taken only 45 minutes. He said that, never in the history of the party, had a rehearsal lasted less than an hour."
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Ideal Places, It's All True, Jazz Titans, Mmmmmmmmmmmmm!, Pay Attention!, SURPRISE!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Alex Hill, Alistair Allan, David Boeddinghaus, Duke Heitger, Henry Lemaire, Jazz Lives, Jean-Francois Bonnel, Jim Fryer, Lars Frank, Menno Daams, Michael Steinman, Mike Durham's Whitley Bay Classic Jazz Party, Richard Exall, Richard Pite, Rico Tomasso, Robert Fowler, Sir Robert Cox, Spats Langham, v.snuggly, Village Hotel Newcastle, Whitley Bay Classic Jazz Party
WHEN BEING "MAD" IS PLEASURE (1924, 1938, and 2017)
Our subjects today are the overlap of "madness" and "pleasure." Please be prepared to take notes.
"But first, this," as they used to say on public radio.
PLEASURE MAD, a Sidney Bechet composition, was recorded in 1924 but the vocal versions weren't issued, except for this one. Did the record company find it too direct to be acceptable? Here's Ethel Waters' version, clear as a bell:
Perhaps the song continued to be performed with those lyrics, but I don't have any evidence. However, it resurfaced in 1938 as VIPER MAD, new lyrics, as sung — memorably — by O'Neil Spencer:
There might be other ways to pose the rhetorical question, but at what moment in those fourteen years did sexual pleasure become a less interesting subject in popular song than smoking reefers?
While you consider that intriguing philosophical question, I have a new double-CD set (36 tracks! 12 pounds!) to share with you. A little personal history: I attended the Whitley Bay Classic Jazz Party, then renamed Mike Durham's International Classic Jazz Party, from 2009 to 2016, and had a fine time: the best American, European, Australian, and occasionally South American musicians turned loose for a long weekend of hot and sweet jazz, its spiritual center the late Twenties and early Thirties.
Here are three samples, videoed by me, songs and personnels named:
I ended with GOT BUTTER ON IT so that JAZZ LIVES readers can — as they say — get a flavor of the experience. The Party continues to do its special magic splendidly, a magic that videos only partially convey. This year it's November 1-3, and details can be found here. And if you search JAZZ LIVES for "Whitley Bay" or "Durham," you will find a deluge of posts and videos.
But this post isn't exactly about the Party as such, nor is it about my videos. Its subject — now, pay attention — is a 2-CD set of live performances from the 2018 Party, which is just thrilling. It's called PLEASURE MAD: 'LIVE RECORDINGS FROM MIKE DURHAM'S INTERNATIONAL CLASSIC JAZZ PARTY 2017 (WVR RECORDS WVR1007). As I wrote above, 36 live performances in beautiful sound.
And the sound is worth noting, with delight. At the Party, some fans record the music from the audience with everything from ancient cassette recorders to digital ones; when I was there, I videoed as much as I could. But this CD issue has the benefit of superb sound, because of the young Norwegian trumpeter and recording engineer Torstein Kubban, who has recorded every session for the past six years. Torstein is a phenomenal player, so I may be permitted this digression:
He's got it, for sure. And his recordings are wonderful.
Here are the songs performed — referencing Duke Ellington, Ben Pollack, Bennie Moten, the Halfway House Orchestra, Alex Hill, Rube Bloom, Jabbo Smith, Louis Armstrong,Eddie Condon, Willie "the Lion" Smith, Clarence Williams, Luis Russell, King Oliver, James P. Johnson, and more:
And the musicians: Mike Davis, Andy Schumm, Duke Heitger, Jamie Brownfield, Malo Mazurie, Kristoffer Kompen, Jim Fryer, Graham Hughes, Ewan Bleach, Michael McQuaid, Richard Exall, Claus Jacobi, Matthias Seuffert, Lars Frank, Jean-Francois Bonnel, Emma Fisk, David Boeddinghaus, Martin Litton, Keith Nichols, Morten Gunnar Larsen, Martin Wheatley, Spats Langham, Peter Beyerer, Henry Lemaire, Jacob Ullberger, Phil Rutherford, Elise Sut, Malcolm Sked, Josh Duffee, Richard Pite, Nick Ward, Nick Ball, Joan Viskant, Nicolle Rochelle. If I've left anyone out, let me know and I will impale myself on a cactus needle as penance, and video the event.
I think it's taken me so long to write this post because every time I wanted to take the CDs into the house to write about them, I would start them up on the car player and there they would stay. A few highlights, deeply subjective: Martin Litton's sensitive and tender solo LAURA; the riotous hot polyphony of CHATTANOOGA STOMP (which I recently played six times in the car, non-stop); the exuberant GIVE ME YOUR TELEPHONE NUMBER; Spats Langham's NEW ORLEANS SHUFFLE; a completely headlong RAILROAD MAN; a version of THE CHARLESTON that starts with Louis' WEST END BLUES cadenza; SHIM-ME-SHA-WABBLE that rocks tremendously; I FOUND A NEW BABY that sounds as if Hines (in the guise of Boeddinghaus) visited a Condon jam session in 1933; SOBBIN' BLUES with layers and textures as rich as great architecture. You will find your own favorites; those are mine of the moment.
My advice? If you can, get thee to the Party, where seats are going fast. Once there, buy several copies of this set — for yourself, national holidays, the birthdays of hip relatives — and enjoy for decades. If you can't get to the UK, you can still purchase the set, which I urge you to do.
The CD is obtainable from website: https://whitleybayjazzfest.com
email:wbjazzfest@btinternet.com. For more information, contact patti_durham1@btinternet.com.
And when the authorities knock on your door to ask about the ecstatic sounds coming from within, you can simply show them this CD and say, "Well, Officers, I'm PLEASURE MAD! Would you like to come in?" And all will be well.
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Ideal Places, It's All True, Jazz Titans, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Alex Hill, Andy Schumm, Ben Pollack, Bennie Moten, Clarence Williams, Claus Jacobi, David Boeddinghaus, Duke Ellington, Duke Heitger, Earl Hines, Eddie Condon, Elise Sut, Emma Fisk, Ethel Waters, Ewan Bleach, Graham Hughes, Henry Lemaire, Jabbo Smith, Jacob Ullberger, James P. Johnson, Jamie Brownfield, Jazz Lives, Jean-Francois Bonnel, Jim Fryer, Joan Viskant, Josh Duffee, Keith Nichols, King Oliver, Kristoffer Kompen, Lars Frank, Louis Armstrong, Luis Russell, Malcolm Sked, Malo Mazurié, Martin Litton, Martin Wheatley, Matthias Seuffert, Menno Daams, Michael McQuaid, Michael Steinman, Mike Davis, Mike Durham International Jazz Party, Morten Gunnar Larsen, Nick Ball, Nick Ward, Nicolle Rochelle, O'Neil Spencer, Patti Durham, Paul Adams, Peter Beyerer, Phil Rutherford, pleasure mad, Richard Exall, Richard Pite, Rube Bloom, Sidney Bechet, Spats Langham, the Halfway House Orchestra, Torstein Kubban, viper mad, Whitley Bay Classic Jazz Party, Willie "the Lion" Smith
"AFTER YOU'VE GONE": BEN COHEN'S HOT SEVEN at BUDE, 2000
Posted on April 3, 2019 | 3 comments
Ben Cohen Hot 7 at Bude 1998, courtesy of Alex Revell. L-R: Nick Ward, Terry McGrath, Alex Revell, Mick Clift, Ben Cohen, Geoff Over, Jon Penn.
I came very late to this particular party, but happily the party still rocks on in cyberspace. Let me explain. The searing yet also lyrical cornet player, singer, and bandleader Ben Cohen moved to another neighborhood in 2002, when he was 73. I didn't take notice of his work until last year, when I heard him on a record featuring the late clarinetist Pierre Atlan, which also starred Humphrey Lyttelton — but one side of the disc was a 1987 session showcasing Ben, whose KNEE DROPS astonished me with its hot fluency and mastery. I regret that I can't share this music, but the record is on eBay, like so much else (including two CDs featuring Ben, posthumously).
I contented myself with playing the record many times, then browsing through my shelves, where I found him appearing with Jean Francois Bonnel and Wally Fawkes, among other luminaries. I looked in Tom Lord's discography and found that Ben had recorded widely from 1950 to 2000, a very long time to be in one's prime.
And there the matter would have remained, were it not for the gracious fellow who calls himself JazzVideoMike on YouTube — the link will lead you to his channel, where you will find yourself enchanted. In real life, he answers to Mike Stevens.
I asked Mike to tell me something of his involvement with Ben, and Mike graciously wrote:
Ben Cohen played in Brian White's Magna Jazz Band for many years right up to his passing. The Magna played weekly and from about 1990 I went weekly and got to know Ben. I started videoing jazz when I went to the French Quarter Festival in 1995 and bought my first camcorder on Canal Street. I then started going to the Bude and Keswick UK jazz festivals and making videos whenever possible, which I have continued right up to now.
I met Ben at these festivals and found that his style of playing with his Hot 5 & 7 was much more to my taste than his style with the Magna band. His early Louis style playing caused quite a stir, and admiration from many musicians. After 2000 Ben suffered several strokes, but he refused to stop playing and it was a more serious stroke which eventually brought him down.
Ben was a lovely man and greatly admired by many. [Sarah Spencer, below, says that Kenny Davern loved Ben.] Brian White still says he was the best trumpeter he ever had in his bands. Ben and Alex Revell were the front line along with Chris Barber in his amateur band before Chris made it a full time professional band. Ben was an engineer with his own business and remained a part time musician throughout his career. Alex was a also a noted engineer and designer, and they played together again in Ben's Hot 5 & 7. Jon Penn was the pianist, and Nick Ward the drummer, both now at Whitley Bay every year.
And here is Mike's splendid video (let us praise the man behind the camera!) of a ninety-minute plus live session at the Bude Jazz Festival:
Now for a rare treat – a new Ben Cohen Hot Five Seven concert never before published – Launched in 1993, Ben's Hot Five caused an immediate sensation at the Bude festival that year, since when they have starred at major festivals all over the country. 1994 saw the launch of an even more exciting Hot Seven. Ben Cohen, hailed by Humphrey Lyttleton as today's finest trumpeter in the "early Louis" style, leads Alex Revell (clarinet), Mick Clift (trombone), Jon Penn (piano), Geoff Over (banjo), and they are joined in the Hot Seven by Terry McGarth (sousaphone), and Nick Ward (drums) with special guest Norman Field (reeds).
Ben Cohen is one of the legendary backroom boys of British Traditional Jazz. He first came to notice in Chris Barber's amateur band in 1950. He based his style on that of early Louis Armstrong and over the years developed a reputation as a powerful lead player in any band he was in. He stuck religiously to playing the cornet rather than the trumpet and was only ever semi-professional throughout his career. Ben was a popular figure on the UK Jazz scene and for many years led his Armstrong inspired Hot 5.
A brief guided tour: YOU MADE ME LOVE YOU (Ben, vocal); PAPA DIP; GULLY LOW BLUES (Ben, vocal); EAST COAST TROT (featuring Alex and Norman); NO ONE ELSE BUT YOU (Alex, vocal); TAKE YOUR PICK (featuring Geoff Over); an interlude where the band removed their jackets; MABEL'S DREAM; WEARY BLUES; SOME OF THESE DAYS (Ben, vocal); WILLIE THE WEEPER (Geoff Cole, vocal); I CAN'T SAY (Alex and Norman); ONCE IN A WHILE; ROCKIN' CHAIR (Ben, vocal); BIG FAT MA AND SKINNY PA (Alex, vocal); KNEE DROPS; AFTER YOU'VE GONE (closing theme).
The band is marvelous. But I keep returning to Ben, who is — in the words of his friend and bandmate Sarah Spencer — "hot as heck."
I am sorry that I never got to hear him in person, and — even more — tell him how much his music moves me. But here is evidence of gorgeous nimble heat in the best Louis manner. Thank you, Ben Cohen.
Posted in "Thanks A Million", Awful Sad, Bliss!, Generosities, Hotter Than That, Irreplaceable, It's All True, Jazz Titans, Jazz Worth Reading, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Ben Cohen, Hot Five, Hot Seven, Humphrey Lyttelton, Jazz Lives, JazzVideoMike, Jean-Francois Bonnel, Louis Armstrong, Michael Steinman, Mike Stevens, Nick Ward, Norman Field, Sarah Spencer, Wally Fawkes
"I'D LOVE YOU STRONG": ENRICO TOMASSO PLAYS LOUIS (Mike Durham Classic Jazz Party, November 5, 2016)
Today is the day after Valentine's Day, but we know that romance does not stop when February 14 ends. Call it what you will, the light of love or the light of Louis or both, but they shine through Enrico Tomasso. Here, Rico plays and sings his own version of Louis' 1930 classic at the Mike Durham Classic Jazz Party (on November 5, 2016) accompanied by Keith Nichols, Andy Schumm, Alistair Allan, Claus Jacobi, Jean-Francois Bonnel, Richard Exall, Emma Fisk, Martin Wheatley, Phil Rutherford, Nick Ball.
I suppose it took and takes a particularly sensitized listener to understand the depths of Louis' romantic passion, playing or singing. Even Mezz Mezzrow, Louis' great champion, said in his autobiography that the jukebox owners in Harlem had their machines full of Louis' records, but that they had to have a few others because not everyone heard Louis so deeply. But Rico does, and conveys that enthusiastic passionate energy, both singing and playing. The only thing missing here is Vic Dickenson's visual joke — holding up TWO fingers while singing about "one hour tonight." Sixty minutes is just too brief an interval to love someone effectively.
As is often the case, many thanks to Eric Devine for invaluable technical expertise — Eric is "CineDevine," an expert videographer and a good fellow.
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, It's All True, Jazz Titans, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Alistair Allan, Andy Schumm, CineDevine, Claus Jacobi, Emma Fisk, Enrico Tomasso, Eric Devine, IF I COULD BE WITH YOU, Jean-Francois Bonnel, Keith Nichols, Louis Armstrong, Martin Wheatley, Mike Durham Classic Jazz Party, Nick Ball, Phil Rutherford, Richard Exall, Rico Tomasso, Vic Dickenson
JELLY ROLL MARTIN: LITTON PLAYS MORTON at the MIKE DURHAM CLASSIC JAZZ PARTY (November 4, 2016)
I don't think there's such a thing as too much Morton, especially when it's played as expertly as this — and from some unusual corners of the canon. Here are Duke Heitger, trumpet; Graham Hughes, trombone, Jean-Francois Bonnel, Robert Fowler, reeds; Martin Litton, piano, transcriptions, arrangements; Martin Wheatley, banjo, guitar; Malcolm Sked, bass; Nick Ball, drums, at the Mike Durham Classic Jazz Party on November 4, 2016. "Sweet, soft, plenty rhythm" is at the foundation — these performances never rush or shout — but there is a good deal of rollicking energy here. No doubt.
TRY ME OUT:
DEEP CREEK:
GAMBLING JACK:
ELITE SYNCOPATIONS:
Tagged Duke Heitger, Graham Hughes, Jazz Lives, Jean-Francois Bonnel, Jelly Roll Morton, Malcolm Sked, Martin Litton, Martin Wheatley, Michael Steinman, Mike Durham Classic Jazz Party, Nick Ball, Robert Fowler
HAIL, ENRICO!
No disrespect to the other musicians, but my focus is on the name at top left: ENRICO TOMASSO: majestic, determined, hilarious, tender, indefatigable, joyous.
And here's The Man Himself, in two performances from the November 2016 Mike Durham Classic Jazz Party, one hot, the other sweet and hot.
EVERYBODY LOVES MY BABY:
From November 4, 2016, a tribute to Mike Durham, the much-missed founder of what is now the Mike Durham Classic Jazz Party, the venerable EVERYBODY LOVES MY BABY, performed by Rico with Keith Nichols, piano / vocal; Spats Langham, banjo / vocal; Phil Rutherford, sousaphone; Richard Pite, drums; Thomas Winteler, soprano saxophone; Alistair Allan, trombone. And here is Rico's SWEET GEORGIA BROWN from the same set.
And a day later, Enrico honoring Louis, singing and playing IF I COULD BE WITH YOU ONE HOUR TONIGHT:
Here, Rico is accompanied by Keith Nichols, Andy Schumm, Alistair Allan, Claus Jacobi, Jean-Francois Bonnel, Richard Exall, Emma Fisk, Martin Wheatley, Phil Rutherford, Nick Ball. And for those hoboes who missed the train, here is Rico's SHINE from the same set.
Mr. Tomasso is our hero.
This post would not have been possible without Eric Devine's generous technical expertise. (Eric is "Cine Devine" on Facebook and a world-class videographer.)
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Irreplaceable, It's All True, Jazz Titans, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Alistair Allan, Andy Schumm, CineDevine, Claus Jacobi, Emma Fisk, Enrico Tomasso, Eric Devine, Jazz Lives, Jean-Francois Bonnel, Keith Nichols, Louis Armstrong, Martin Wheatley, Michael Steinman, Mike Durham, Mike Durham Classic Jazz Party, Nick Ball, Phil Rutherford, Richard Exall, Richard Pite, Rico Tomasso, Spats Langham, Thomas Winteler
LOUIS SHINES THROUGH HIM: THE GLORY OF ENRICO TOMASSO at the MIKE DURHAM CLASSIC JAZZ PARTY (November 5, 2016)
When I first met the trumpeter / vocalist Enrico Tomasso at the Mike Durham Classic Jazz Party a few years ago, I was stunned by the warmth and energy of the man and the beauty of his music. I rather timidly came up to him in the pub and introduced myself, received a big grin, and said, "The light of Louis shines right through you," which pleased him. Rico proved that once again at the 2016 Party.
But first, a bit of history: Rico, at seven, having played trumpet for Louis at the Leeds airport in 1968. Note Louis's inscription: THE KISS OF JOY.
The sounds of joy were in the air at the Party on Saturday, November 5, 2016, when Rico performed several Louis features from 1930 . . . miraculously, in front of us, with fine support from Keith Nichols, Andy Schumm, Alistair Allan, Claus Jacobi, Jean-Francois Bonnel, Richard Exall, Emma Fisk, Martin Wheatley, Phil Rutherford, Nick Ball.
Extraordinary, no? And it's not simply the virtuosity. Rico sends a glowing message of loving exuberance to everyone.
And should you fall into the trap of reflexively assuming that any song called SHINE must be racist, please visit this 2012 shine-reconsidered and learn the truth.
Many thanks to Eric Devine ("CineDevine") for kind and invaluable technical expertise.
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Ideal Places, It's All True, Jazz Titans, Mmmmmmmmmmmmm!, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Alistair Allan, Andy Schumm, Claus Jacobi, Emma Fisk, Enrico Tomasso, Eric Devine, Jazz Lives, Jean-Francois Bonnel, Keith Nichols, Louis Armstrong, Martin Wheatley, Michael Steinman, Mike Durham Classic Jazz Party, Nick Ball, Phil Rutherford, Richard Exall, THAT'S WHY THEY CALL ME SHINE
LO AND BEHOLD! — "THE FAT BABIES" at WHITLEY BAY (Nov. 9, 2014)
"Lo and behold!" is, by now, an archaic expression by which one refers to something surprising that has happened. In this case, the surprises are all good ones. (The record below belongs to William Berndt, who also took the photo.)
When Andy Schumm (multi-instrumentalist, arranger, composer, bandleader) came to the 2014 Whitley Bay Classic Jazz Party, he brought arrangements with him for a ten-piece band — which would have been a characteristic instrumentation in the late Twenties and early Thirties: three brass, three reeds, four rhythm. At home, Andy and string bassist Beau Sample pilot a hot band called THE FAT BABIES (they've made two delightful CDs for the Delmark label and they have a regular gig in Chicago) . . . but the charts Andy brought held no terrors for the international luminaries at Whitley Bay. In addition to Andy, there's Menno Daams, cornet; Alistair Allan, trombone; Jean-Francois Bonnel, Lars Frank, Claus Jacobi, reeds; David Boeddinghaus, piano; Henri Lemaire, banjo; Malcolm Sked, bass and sousaphone; Josh Duffee, drums. They performed — nobly — a lengthy set of hot music, dance music, an Oriental fox-trot . . . full of surprises, including a new Schumm composition in the best style and many new arrangements of venerable songs. Herewith!
FIVE FOOT TWO, EYES OF BLUE:
BABY (in the Guy Lombardo arrangement, with heat):
SHE REMINDS ME OF YOU (a song associated with Bing):
I WANT YOU, JUST MYSELF (homage to King Oliver with new solos):
CHINA GIRL (the aforementioned "Oriental fox-trot" with a wonderful outchorus):
I WANT TO GO HOME (a Joe Sanders arrangement):
LO AND BEHOLD! (from 1932):
SMILE WHEN THE RAINDROPS FALL (for Stan and Ollie, with a group vocal):
WHEN SHE CAME TO ME (comp. Schumm; manner, Goldkette):
LIVIN' IN THE SUNLIGHT, LOVIN' IN THE MOONLIGHT:
And if you'd like to hear more music like this, the Mike Durham Classic Jazz Party is taking place in Newcastle-upon-Tyne, England, November 5-8, 2015.
A postscript. I take public transportation to get in and out of New York City, preferring that to the stress of finding parking for my car. So on the bus and on the commuter railroad, everyone has earbuds firmly mounted. Often I can hear what they are listening to through the earbuds, which means that audiologists will never want for work — but I digress. Whether or not you can make it to Whitley Bay, I would like all my readers who commute to save some of these videos for their trek to and from work. It would please me immensely to think of people on the bus or train happily grooving to BABY or LO AND BEHOLD! Do what you can, please, to help make my hot jazz / hot dance fantasy a reality.
Tagged Alistair Allan, Andy Schumm, Beau Sample, Bing Crosby, Claus Jacobi, Coon-Sanders, David Boeddinghaus, Guy Lombardo, Hal Roach, Henri Lemaire, hot dance music, hot jazz, Jazz Lives, Jean Goldkette, Jean-Francois Bonnel, Josh Duffee, King Oliver, Lars Frank, Laurel and Hardy, Malcolm Sked, Menno Daams, Michael Steinman, Mike Durham Classic Jazz Party, Oriental Fox Trot, The Fat Babies, Whitley Bay Classic Jazz Party
THE LATE MISTER MORTON: BENT PERSSON, MORTEN GUNNAR LARSEN, THOMAS WINTELER, JEAN-FRANCOIS BONNEL, GRAHAM HUGHES, JACOB ULLBERGER, HENRI LEMAIRE, NICK BALL at the 2014 WHITLEY BAY CLASSIC JAZZ PARTY (November 7, 2014)
Cornetist / trumpeter / scholar Bent Persson loves Jelly Roll Morton. Here, he assembled a cohesive little band for a set at the Whitley Bay Classic Jazz Party (on November 7, 2014) that took as its text Morton's last recordings, from 1940 and 1941. Bent's colleagues are Nick Ball, drums; Henri Lemaire, string bass; Jacob Ullberger, guitar; Morten Gunnar Larsen, piano; Thomas Winteler, Jean-Francois Bonnel, reeds; Graham Hughes.
In the full-band titles, most of which featured Henry "Red" Allen, one of Bent's (and my) heroes, one hears an approach different from the Victor Red Hot Peppers — sometimes as if Morton was adapting conventions of Swing Era arranging for his own purposes, with great effectiveness.
Here are five selections, each rewarding and full of small surprises.
MY HOME IS IN A SOUTHERN TOWN, which rollicks along:
WININ' BOY BLUES, without a vocal but with double-time passages:
KING PORTER STOMP in its original form as a piano solo, which — after decades of hearing it scored for brass and reeds — sounds novel, almost startling. Talk about "orchestral piano"!
FROG-I-MORE RAG, as imagined for the trio of Thomas, Morten, and a very happy Nick:
SWEET SUBSTITUTE, for full band, echoing the powerful General recording:
I'll be at the 2015 Mike Durham Classic Jazz Party. These videos, and others I've posted, should answer the question "Why?" neatly. At least they do for me.
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Ideal Places, Irreplaceable, It's All True, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Bent Persson, General Records, Graham Hughes, Henri Lemaire, Henry "Red" Allen, Jacob Ullberger, Jazz Lives, Jean-Francois Bonnel, Jelly Roll Morton, Michael Steinman, Mike Durham Classic Jazz Party, Morten Gunnar Larsen, Nicholas D. Ball, Nick Ball, Thomas Winteler, Whitley Bay Classic Jazz Party
BEAUTIFUL DANCE MUSIC: HENDERSONIA at the WHITLEY BAY CLASSIC JAZZ PARTY
Here is one of the high points of a wonderful tribute to Fletcher Henderson's "Connie's Inn Orchestra," led by Claus Jacobi, saxophone, with Rico Tomasso, Duke Heitger, Menno Daams, trumpet / cornet; Kristoffer Kompen, Graham Hughes, trombone; Matthias Seuffert, Jean-Francois Bonnel, Claus Jacobi, reeds; Keith Nichols, piano; Jacob Ullberger, banjo / guitar; Malcolm Sked, bass; Richard Pite, drums. Recorded on November 8, 2014, at the Whitley Bay Classic Jazz Party:
The song? STARDUST. What could be more beautiful? And this performance speaks to a time when rhythmic ballads could be both hot and tender, when improvisation could also be romantic dance music, when African-American bands could venture into Caucasian pop music . . . and play it beautifully. And the quietly eloquent shadow of Bix is evident throughout. (Would this performance also be possible without the genial angelic guidance of Louis? I think not.) A profound gentle lyricism in dance tempo — a great achievement then and now (with heroic subtle playing from Mister Daams and the band as a whole).
Oh, memory. Oh, memory.
Posted in "Thanks A Million", Bliss!, Generosities, Ideal Places, Irreplaceable, It's All True, Jazz Titans, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Bix Beiderbecke, Claus Jacobi, Connie's Inn Orchestra, Duke Heitger, Fketcher Henderson, Graham Hughes, Hoagy Carmichael, Jacob Ullberger, jazz ballad, jazz for dancing, Jazz Lives, Jean-Francois Bonnel, Keith Nichols, Kristoffer Kompen, Louis Armstrong, Malcolm Sked, Matthias Seuffert, memory, Menno Daams, Michael Steinman, Richard Pite, Rico Tomasso, Whitley Bay Classic Jazz Party
"TWO DEUCES": ENRICO TOMASSO, BENT PERSSON, JEAN-FRANCOIS BONNEL, CLAUS JACOBI, MAURO PORRO, ALISTAIR ALLAN, DAVID BOEDDINGHAUS, MARTIN WHEATLEY, HENRI LEMAIRE, NICK BALL at the WHITLEY BAY CLASSIC JAZZ PARTY (Nov. 9, 2014)
I thought, "What could I give the JAZZ LIVES audience for Christmas 2014?"
I am not in the habit of giving holiday presents, but I thought this would do the trick: a wonderfully sustained six-minute exploration of the 1928 classic TWO DEUCES (summoning up Louis Armstrong and Earl Hines in their youth) by some of Gabriel's boys: Enrico Tomasso and Bent Persson, trumpets; Jean-Francois Bonnel, Mauro Porro (grinning), Claus Jacobi, reeds; Alistair Allan, trombone; David Boeddinghaus (brilliantly Hinesian), piano; Martin Wheatley, banjo / guitar; Henri Lemaire, string bass; Nick Ball, drums. Recorded on November 9, 2014, at the Whitley Bay Classic Jazz Party:
This music embodies joy for all. It won't be stale on December 26. And if you would allow me to send the Official JAZZ LIVES Holiday Message, it would be just six words and a few punctuation marks:
Spread joy.
Study Louis.
Tagged Alistair Allan, Bent Persson, Claus Jacobi, David Boeddinghaus, Earl Hines, Enrico Tomasso, Henri Lemaire, Jazz Lives, Jean-Francois Bonnel, Louis Armstrong, Martin Wheatley, Mauro Porro, Michael Steinman, Nick Ball, Rico Tomasso, TWO DEUCES, Whitley Bay Classic Jazz Party
PILGRIMAGES TO BEAUTY
I urge anyone who loves the music to experience it live. For some, that isn't possible because of cost or one's health. But even though I am proud of my video recordings, they are not the same thing as being on the spot while beauty is created. And jazz festivals, parties, clubs, concerts can only go on if there are people in attendance.
My readers know all this. But the trick is to make the great leap from an intellectual awareness ("I should go hear some live jazz . . . someday.") to action. All of us who have said, "I'll go to hear Hot Lips Ferguson some other Sunday . . . those gigs will go on forever!" know the sadder reality.)
End of sermon.
I cannot attend this year's Steamboat Stomp in New Orleans, but my absence means there's another seat for you. It begins Friday evening, November 14, and ends Sunday afternoon, the 16th. In between I count nineteen one-hour sets of music, in addition to a presentation about the Historic New Orleans Collection, four steam calliope concerts by Debbie Fagnano. Much of the music will be performed on the two decks of the steamboat Natchez, gliding up and down the Mississippi River. The artists include Duke Heitger, Don Vappie, Evan Christopher, the Yerba Buena Stompers, Dukes of Dixieland, Tim Laughlin, David Boeddinghaus, Hal Smith, Banu Gibson, Solid Harmony, Jon-Erik Kellso, John Gill, Kevin Dorn, Clint Baker, Tom Bartlett, Conal Fowkes, Orange Kellin, Leon Oakley, Steve Pistorius, and another dozen.
I was able to attend in 2013, and had a wonderful time. Some evidence!
SWEET LOVIN' MAN by Duke and the Steamboat Stompers:
Steve Pistorius considers the deep relationship between music, memory, and love in A DOLLAR FOR A DIME:
Banu Gibson, as always, shows us her heart, and it's full of RHYTHM:
and the Yerba Buena Stompers play a later King Oliver piece, EDNA:
INSERT FOUR-BAR MODULATION HERE.
I returned last night from the 2014 Whitley Bay Classic Jazz Party, exhausted and uplifted. The exhaustion will wear off (it always does) after a day or two of treating myself like an invalid, nut the joy is permanent. It comes from seeing people make friends through music. The music began with rehearsals at 9 AM on Thursday and ended sometime late Monday morning (I heard the jam session at the pub as I was going up the stairs around 1 AM). The texts for those mellow sermons were based on the teachings of Johnny Dodds, Count Basie, Louis Armstrong, Duke Ellington, Charlie Johnson's Paradise Orchestra, Jabbo Smith, Jean Goldkette, Bix Beiderbecke, Red Nichols, Chu Berry, Paul Whiteman, Cootie Williams, Adrian Rollini, Jimmy Dorsey, Joe Venuti, Eddie Lang, Johnny Dunn, Luis Russell, Bing Crosby, Helen Morgan, Jimmie Lunceford, Benny Carter, Don Byas, Willie Lewis, Sidney Bechet, Al Bowlly, Cliff Edwards, Eubie Blake, James P. Johnson, Chick Webb, Jelly Roll Morton . . . you get the idea.
And the performers! Rico Tomasso, Duke Heitger, Menno Daams, Andy Schumm, Bent Persson, Claus Jacobi, Thomas Winteler, Matthias Seuffert, David Boeddinghaus, Graham Hughes, Alistair Allan, Martin Litton, Janice Day, Morten Gunnar Larsen, Keith Nichols, Richard Pite, Malcolm Sked, Phil Rutherford, Spats Langham, Emma Fisk, Frans Sjostrom, Josh Duffee, Nick Ball, Mauro Porro, Henri Lemaire, Kristoffer Kompen, Lars Frank, Martin Wheatley, Jean-Francois Bonnel. . . and sitters-in at the Pub, including Torstein Kubban. (If I've omitted anyone's name, it is because yesterday was nearly twenty hours of travel, which does terrible things to cognition.)
And the friends! Everyone who was there will have a mental list, but I think we all start with Patti Durham — then I think of Bob Cox, Bobbi Cox, Derek Coller, Veronica Perrin, Chris Perrin, the young woman clarinetist, so intent, Jonathan David Holmes, Julio Schwarz Andrade, Andrew Wittenborn — and many more.
If you are wondering, the answer is Yes, I did bring my video cameras. Plural. Safety first.
And I shot video of all the sets, one jam session / concert in the Victory Pub, and many of the rehearsals — several hundred performances. It takes some time to upload and download, so I have nothing from this last weekend to share with you at the moment. But I will.
While you are thinking, "How could I start putting money away for the 2015 WHITLEY BAY CLASSIC JAZZ PARTY?" (for that will indeed happen), I invite you to revel in this, recorded at a rehearsal at the 2012 Party:
All over the quite comfortable Village Hotel in Newcastle (with a very solicitous staff) are signs and photographs advertising the pleasures to be found there, all sharing a lower case "v." at the start, both to show an intensity of feeling ("very!") as well as remind you of the hotel chain's identifying logo. In the mechanism that takes you from one floor to another (I called it an elevator and was reminded that it was a "lift," because I was in the United Kingdom now) was a photograph of three pillows reading "v. snuggly" "v. cheeky" and "v.lazy."
All I will say here, as a bow to the Party and to the Village Hotel and to my heroes and friends, is that I am "v.joyous."
Tagged Adrian Rollini, Al Bowlly, Alistair Allan, Andy Schumm, Banu Gibson, Benny Carter, Bent Persson, Bing Crosby, Bix Beiderbecke, Bob Cox, Bobbi Cox, Charlie Johnson's Paradise Orchestra, Chick Webb, Chris Perrin, Chu Berry, Claus Jacobi, Cliff Edwards, Clint Baker, Conal Fowkes, Cootie Williams, Count Basie, David Boeddinghaus, Debbie Fagnano, Derek Coller, Don Byas, Don Vappie, Duke Ellington, Duke Heitger, Dukes of Dixieland, Eddie Lang, Emma Fisk, Eubie Blake, Evan Christopher, Frans Sjostrom, Graham Hughes, Hal Smith, Helen Morgan, Henri Lemaire, Jabbo Smith, James P. Johnson, Janice Day, Jazz Lives, Jean Goldkette, Jean-Francois Bonnel, Jelly Roll Morton, Jimmie Lunceford, Jimmy Dorsey, Joe Venuti, John Gill, Johnny Dodds, Johnny Dunn, Jon-Erik Kellso, Jonathan David Holmes, Josh Duffee, Julio Schwarz Andrade, Keith Nichols, Kevin Dorn, Kristoffer Kompen, Lars Frank, Leon Oakley, Louis Armstrong, Luis Russell, Malcolm Sked, Martin Litton, Martin Wheatley, Matthias Seuffert, Mauro Porro, Menno Daams, Michael Steinman, Morten Gunnar Larsen, New Orleans, Nick Ball, Orange Kellin, Patti Durham, Paul Whiteman, Phil Rutherford, Red Nichols, Richard Pite, Rico Tomasso, Sidney Bechet, Solid Harmony, Spats Langham, Steamboat Natchez, Steamboat Stomp, Steve Pistorius, the Yerba Buena Stompers, Thomas Winteler, Tim Laughlin, Tom Bartlett, Torstein Kubban, Veronica Perrin, Village Hotel Newcastle, Willie Lewis
VIPERS and MOCKINGBIRDS, LYRICISM and SWING: EMMA FISK and FRIENDS RECALL EDDIE SOUTH and STUFF SMITH at the WHITLEY BAY CLASSIC JAZZ PARTY (Nov. 3, 2013)
Posted on November 1, 2014 | 6 comments
The very expressive swinging violinist Emma Fisk was given a difficult assignment — to summon up the ghosts of Stuff Smith (violently, dramatically hot) and Eddie South (elegance personified) in thirty minutes at the 2013 Whitley Bay Classic Jazz Party. I'd give her and her colleagues very high marks at this nearly-impossible task.
The colleagues are Jeff Barnhart, piano and vocal (hear him romp on the verse to LADY BE GOOD — a feat that astonishes the band — as well as on a block-chord solo on SKIP IT), the ceaselessly rocking Richard Pite, drums; the energized Henri Lemaire, string bass; the versatile Spats Langham (called upon to be Django for seven choruses of uplifting accompaniment on EDDIE'S BLUES), and two guest stars to take us close to the Onyx Club Boys of fabled memory, Ben Cummings, trumpet (hidden behind someone's coif, but he comes through clear as a bell); Jean-Francois Bonnel, clarinet.
Here they are — recorded on November 3, 2013, nimbly being themselves while honoring departed masters.
IF YOU'RE A VIPER (thank you, Jeff!):
MAMA MOCKINGBIRD (for Hoagy and Eddie):
LADY BE GOOD:
EDDIE'S BLUES:
SKIP IT:
Well played, Emma, Jeff, Spats, Henri, Richard, Ben, and Jean-Francois!
And I know that Emma has a feature set at this year's Whitley Bay Classic Jazz Party called FIDDLESTICKS in honor of Signor Venuti, which I know will be fun.
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Ideal Places, It's All True, Jazz Titans, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Ben Cummings, Eddie South, Emma Fisk, Henri Lemaire, Hoagy Carmichael, Jazz Lives, jazz violin, Jean-Francois Bonnel, Jeff Barnhart, Michael Steinman, Onyx Club Boys, Richard Pite, Spats Langham, Stuff Smith, Whitley Bay Classic Jazz Party
BENT PERSSON HONORS LUIS RUSSELL at WHITLEY BAY (Nov. 3, 2013)
Some of the hottest music of the late Twenties was created by Luis Russell and his Orchestra. That band could "romp," to use Pops Foster's perfectly accurate verb, in ways that blended New Orleans polyphony and the awareness of how musicians in a big band could play effectively as sections. Russell wrote wonderful arrangements and the band showed off a galaxy of soloists — Red Allen, Charlie Holmes, Albert Nicholas, J. C. Higginbotham, Teddy Hill, Greely Walton, Will Johnson, Pops Foster, Paul Barbarin (later editions of the band, captured on record, also included Dicky Wells, Rex Stewart, and a sweetly vocalizing Vic Dickenson). The band also backed Louis Armstrong on memorable records — and it became the nucleus of Louis' Decca band as well.
If someone asked me to define "swing," it would be easy to do by playing the Russell PANAMA or JERSEY LIGHTNING — perpetual motion machines that amaze and delight.
Trumpeter / arranger / scholar Bent Persson has long loved the Russell band, not only for its soloists but for its ensemble beauty — and last year at the Whitley Bay Classic Jazz Party he offered a full plate of joy, taking us in time and space to the Saratoga Club in 1929-1930. He was aided in this journey by Jeff Barnhart, piano and vocal; Henri Lemaire, string bass; Richard Pite, drums; Jacob Ullberger, banjo and guitar; Andy Schumm, trumpet; Kristoffer Kompen, trombone; Jean-Francois Bonnel, Lars Frank, Stephane Gillot, reeds.
SARATOGA SHOUT:
DOCTOR BLUES:
NEW CALL OF THE FREAKS (with its classic vocal: is it an invitation or a command?):
LOUISIANA SWING:
ON REVIVAL DAY (purification of the Spirit thanks to Reverends Jeff and Kris):
POOR LI'L ME, with an extraordinary vocal by Jeff:
SARATOGA DRAG:
HONEY, THAT REMINDS ME (which was Vic Dickenson's first recorded vocal):
Oh, what a band! — both in the original and in the energetic evocation here.
All of this wonderfully uplifting jazz was performed (in 2013) at the Whitley Bay Classic Jazz Party where many of these musicians will be performing in the 2014 version in a few days.
Tagged Albert Nicholas, Andy Schumm, Bent Persson, Charlie Holmes, Dicky Wells, Greely Walton, Henri Lemaire, J.C.Higginbotham, Jacob Ullberger, Jazz Lives, Jean-Francois Bonnel, Jeff Barnhart, Kristoffer Kompen, Lars Frank, Louis Armstrong, Luis Russell, Michael Steinman, New Orleans polyphony, Paul Barbarin, Pops Foster, Red Allen, Rex Stewart, Richard Pite, Stephane Gillot, Swing Era, Teddy Hill, Vic Dickenson, Whitley Bay Classic Jazz Party, Will Johnson
TWO FOR MILDRED: DARYL SHERMAN at the WHITLEY BAY CLASSIC JAZZ PARTY (Nov. 1, 2013)
It's always pleasing to me when an artist fully inhabits the present while offering a deep understanding of the tradition. The soulful Miss Daryl Sherman does just that.
Here, Daryl honors one of her idols and mine, Mildred Bailey, at the 2013 Whitley Bay Classic Jazz Party. She is accompanied by Duke Heitger, trumpet; Alistair Allan, trombone; Jean-Francois Bonnel, reeds; Emma Fisk, violin; Keith Nichols, piano; Henri Lemaire, string bass; Spats Langham, guitar; Richard Pite, drums.
First, the lovely I'LL CLOSE MY EYES:
Then, Mister Berlin's cheerful I'VE GOT MY LOVE TO KEEP ME WARM:
I've been remiss in not posting these earlier, but a variety of technical difficulties held them back. Thank you, Daryl, and swinging players, for telling your stories with a swinging beat.
Posted in "Thanks A Million", Ideal Places, Irreplaceable, Jazz Titans, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Alistair Allan, Daryl Sherman, Duke Heitger, Emma Fisk, Henri Lemaire, Jazz Lives, jazz singing, Jean-Francois Bonnel, Keith Nichols, Michael Steinman, Mildred Bailey, Richard Pite, Spats Langham, swing, tradition, Whitley Bay Classic Jazz Party
THE BASIE WAY: MATTHIAS SEUFFERT HONORS COUNT BASIE at WHITLEY BAY (Nov. 3, 2013)
William Basie persists as a model and mentor even though he is no longer at the keyboard. Regarding the world with a cheerful amused skepticism, he embodied truths long before they were adopted as cultural cliche: less is more; the medium is the message; 't'ain't what 'cha do; give away those things not meant for you; the blues cure the blues.
Basie would have brushed such praise away, but he is Thoreau who chose the bandstand over the beanfield, a great abstract painter without a brush; a prophet whose message was primarily silence and joy, making the universe swing.
We can't go backwards to the youthful glory of the Basie band of the late Thirties, except by listening to the airshots, the Deccas, and the Columbias, but this band has some of the unbuttoned joyous energy of the real thing (with a few leaps forward). It's not an outright imitation, which is a good thing, but it moves in the same happy directions.
This endearing evocation — captured at the 2013 Whitley Bay Classic Jazz Party — is led by Matthias Seuffert, reeds, with Jean-Francois Bonnel, Gavin Lee, Claus Jacobi, saxophones; Duke Heitger, Ben Cummings, Andy Woon, trumpets; Alistair Allan, Graham Hughes, trombone; Keith Nichols, piano; Roly Veitch, guitar; Henri Lemaire, string bass; Richard Pite, drums.
JIVE AT FIVE:
LESTER LEAPS IN:
A more recent effort in this swinging manner, Buck Clayton's CLAYTONIA (originally recorded for Vanguard in 1957, then brought to life once more for the Buck Clayton Legacy Band, still floating):
SHOE SHINE BOY (evoking Chicago, 1936):
BLUE AND SENTIMENTAL (for Herschel):
POUND CAKE:
and a leisurely romp through ONE O'CLOCK JUMP:
Let us live our lives the Basie way — gently improving the universe as we go.
Tagged Alistair Allan, Andy Woon, Ben Cummings, Claus Jacobi, Count Basie, Duke Heitger, Gavin Lee, Graham Hughes, Henri Lemaire, Henry David Thoreau, Herschel Evans, Jazz Lives, Jean-Francois Bonnel, Keith Nichols, Lester Young, Matthias Seuffert, Michael Steinman, Richard Pite, Roly Veitch, swing, Whitley Bay Classic Jazz Party
A ROSARY OF TEARS: CECILE McLORIN SALVANT SINGS AT WHITLEY BAY (November 1, 2013)
The very intense young singer Cecile McLorin Salvant sings MEMORIES OF YOU, which we don't always characterize as a memorable "torch song," at the 2013 Whitley Bay Classic Jazz Party, with the estimable assistance of Ben Cummings, trumpet; Alistair Allan, trombone; Jean-Francois Bonnel, tenor saxophone; Martin Seck, piano; Malcolm Sked, string bass; Spats Langham, guitar; and Nick Ward, drums. For details about this year's Classic Jazz Party, please click here.
Posted in "Thanks A Million", Awful Sad, Bliss!, Ideal Places, Jazz Titans, Pay Attention!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Alistair Allan, ballad, Ben Cummings, Cecile McLorin Salvant, Eubie Blake, Jazz Lives, Jean-Francois Bonnel, Malcolm Sked, Martin Seck, Michael Steinman, Nick Ward, Noble Sissle, Spats Langham, torch song, Whitley Bay Classic Jazz Party
ACES OF RHYTHM: BEN CUMMINGS, JEAN-FRANCOIS BONNEL, KEITH NICHOLS, JACOB ULLBERGER, PHIL RUTHERFORD at the WHITLEY BAY CLASSIC JAZZ PARTY (November 2, 2013)
Jabbo Smith — that precise daredevil, that trumpet superhero — has often been emulated but rarely equalled. This hot little band in honor of Jabbo's searing Rhythm Aces recordings does everything mere mortals could do in Jabbo's honor, with delightfully incendiary results: Ben Cummings, trumpet / vocal; Jean-Francois Bonnel, reeds; Keith Nichols, piano; Jacob Ullberger, banjo; Phil Rutherford, brass bass. This session took place on November 2, 2013, at the Whitley Bay Classic Jazz Party. You might want to have an iced drink handy before viewing this set: it raises the temperature of the room precipitously.
ACE OF RHYTHM:
BOSTON SKUFFLE:
MICHIGANDER BLUES:
LINA BLUES:
JAZZ BATTLE:
As brilliant as this hot evocation was, it wasn't an isolated event at the 2013 Party (more videos to come as proof) and I know it will happen again, over and over in different contexts, at this year's Party — details here.
Thanks to Clint Baker and David Jellema for assistance and inspiration, as always.
Tagged Ben Cummings, Clint Baker, David Jellema, Jabbo Smith, Jacob Ullberger, Jazz Lives, Jean-Francois Bonnel, Keith Nichols, Michael Steinman, Phil Rutherford, twenties hot jazz, Whitley Bay Classic Jazz Party
CECILE McLORIN SINGS FOR BENNY CARTER
and for unrequited and unsuccessful love and lovers of all kinds.
Here, the passionate Ms. McLorin offers her own version of Benny Carter's 1933 LOVE, YOU'RE NOT THE ONE FOR ME — at the 2013 Whitley Bay Classic Jazz Party. Her colleagues are Ben Cummings,trumpet; Alistair Allan, trombone; Jean-Francois Bonnel, tenor saxophone; Martin Seck, piano; Malcolm Sked, string bass; Spats Langham, guitar; and Nick Ward, drums. Recorded on November 1, 2013:
I hope you can make it to the 2014 Whitley Bay Classic Jazz Party, where musical beauty flourishes.
Posted in "Thanks A Million", Bliss!, Generosities, Ideal Places, Jazz Titans, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing
Tagged Alistair Allan, Ben Cummings, Benny Carter, Cecile McLorin Salvant, Jazz Lives, Jean-Francois Bonnel, Malcolm Sked, Martin Seck, Michael Steinman, Nick Ward, Spats Langham, torch song, Whitley Bay Classic Jazz Party
VIBRATING WITH PASSION, CECILE McLORIN SALVANT SINGS "BODY AND SOUL" (WHITLEY BAY CLASSIC JAZZ PARTY, November 1, 2013)
I first heard Cecile McLorin Salvant sing at the Whitley Bay International Jazz Festival — I think it was 2010 — and she made a powerful impact.
Three years later, the band supporting her at this set was Ben Cummings, trumpet; Alistair Allan, trombone; Jean-Francois Bonnel, tenor saxophone; Martin Seck, piano; Spats Langham, guitar; Malcolm Sked, string bass; Nick Ward, drums.
Admirable and empathic fellows, one and all, but our focus is on Ms. McLorin Salvant, fully immersed in this "torch song," perhaps the most famous of them all, BODY AND SOUL, allowing the song to flow through her . . . to reach us:
A powerful expression of emotions.
Posted in Awful Sad, Ideal Places, Irreplaceable, Jazz Titans, Pay Attention!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Alistair Allan, Ben Cummings, Billie Holiday, Jazz Lives, Jean-Francois Bonnel, Malcolm Sked, Martin Seck, Michael Steinman, Nick Ward, Spats Langham, torch song, Whitley Bay Classic Jazz Party
THREE VARIETIES OF JAZZ EXPERIENCE at the 2012 WHITLEY BAY CLASSIC JAZZ PARTY (October 26, 2012)
Three delights, previously unseen, from the 2012 Whitley Bay Classic Jazz Party:
MY HONEY'S LOVIN' ARMS, by Keith Nichols, piano / vocal; Norman Field, clarinet / vocal; Emma Fisk, violin, Frans Sjostrom, bass saxophone; Spats Langham, guitar:
STOMP YOUR STUFF (with a Louis Hot Chorus at 3:24) by Bent Persson, cornet; Jean-Francois Bonnel, Rene Hagmann, Thomas Winteler, reeds; Jens Lindgren, trombone; Frans Sjostrom, bass saxophone; Martin Seck, piano; Josh Duffee, drums; Martin Wheatley, banjo / guitar; Phil Rutherford, brass bass:
LOUISE (where are Bing and the Rhythm Boys?) with Andy Schumm, cornet; Spats Langham, banjo; Keith Nichols, piano; Michael McQuaid, C-melody saxophone; Norman Field, clarinet; Alistair Allan, trombone; Frans Sjostrom, bass saxophone; Phil Rutherford, brass bass; Richard Pite, drums:
See you at the Village Newcastle in November 2014. Details here.
And I just learned about the pre-Party opening jam session, featuring the Union Rhythm Kings on Thursday, November 6: that's Bent Persson (trumpet), Lars Frank (clarinet and saxophone), Kristoffer Kompen (trombone); Jacob Ullberger (banjo & guitar); Frans Sjostrom (bass saxophone); Morten Gunnar Larsen (piano). They are a wonderful band.
Tagged Alistair Allan, Bent Persson, Bing Crosby, Emma Fisk, Frans Sjostrom, Jacob Ullberger, Jazz Lives, Jean-Francois Bonnel, Jens Lindgren, Josh Duffee, Keither Nichols, Kristoffer Kompen, Lars Frank, Louis Armstrong, Martin Seck, Martin Wheatley, Michael McQuaid, Michael Steinman, Morten Gunnar Larsen, Norman Field, Phil Rutherford, Rene Hagmann, Rhythm Boys, Richard Pite, Spats Langham, Thomas Winteler, Union Rhythm Kings, Whitley Bay Classic Jazz Party
TWO HOT, ONE WISTFUL: UNSEEN MUSICAL TREASURES FROM THE 2012 WHITLEY BAY CLASSIC JAZZ PARTY
Three New Beauties from the Whitley Bay Classic Jazz Party — recorded on October 26 and 27, 2012 — living advertisements of what the musicians and the Party-givers do so superbly.
Part of a rousing tribute to the power behind the throne, Lil Hardin Armstrong (pianist, composer, bandleader, inspiration) — a song named for her young husband, PAPA DIP. It's performed here by Bent Persson, cornet; Stephane Gillot, alto saxophone; Matthias Seuffert, clarinet; Jens Lindgren, trombone; Martin Seck, piano; Martin Wheatley, banjo; Malcolm Sked, string bass.
YOU RASCAL YOU has serious Armstrongian associations, although the performance here takes its impetus from the magnificent series of 1932-33 recordings by the "Rhythmakers," ostensibly led by Billy Banks or Jack Bland — but really driven by Henry "Red" Allen, Pee Wee Russell, Jimmy Lord, Tommy Dorsey, Joe Sullivan, Fats Waller, Pops Foster, Eddie Condon, Zutty Singleton and other luminaries. At the Classic Jazz Party, the New Rhythmakers kept things hot — Andy Schumm, cornet; Jens Lindgren, trombone; Norman Field, clarinet; Jean-Francois Bonnel, tenor; Martin Seck, piano; Emma Fisk, violin; Spats Langham, banjo; Frans Sjostrom, bass saxophone; Josh Duffee, drums. This video also contains a sweet, sad memento: the voice and right hand of our much-missed Mike Durham introducing the band and cracking wise (as was his habit). Thank you, Mike, for everything:
After all that violent heat, something rueful seems just right, so here is Cecile McLorin Salvant's melancholy reading of the Willard Robison song A COTTAGE FOR SALE, with the empathic assistance of Norman Field, clarinet; Duke Heitger, trumpet; Spats Langham, guitar; Alistair Allan, trombone; Emma Fisk, violin; Martin Litton, piano; Henri Lemaire, string bass; Richard Pite, drums:
We don't have to end on a wistful note. I have three more 2012 delights to post and many more from 2013 . . . and (with a Nick Ward drum roll) the 2014 Party is happening this November 7 through 9 — details here.
You can learn all about it — the accomodations, pricing, concert themes . . . I'll content myself my lingering over the list of musicians who will be there:
Trumpets: Bent Persson (Sweden), Duke Heitger (USA), Andy Schumm (USA), Ben Cummings (UK), Enrico Tomasso (UK) / Trombones: Kristoffer Kompen (Norway), Alistair Allan (UK), Graham Hughes (UK) / Reeds: Jean-François Bonnel (France), Mauro Porro (Italy), Claus Jacobi (Germany), Matthias Seuffert (Germany), Lars Frank (Norway), Thomas Winteler, (Switzerland) / Piano: Keith Nichols (UK), Martin Litton, (UK), Morten Gunnar Larsen (Norway), David Boeddinghaus (USA) / Banjo/Guitar: Spats Langham (UK), Henry Lemaire (France), Jacob Ullberger (Sweden), Martin Wheatley (UK) / String Bass: Richard Pite (UK), Henry Lemaire (France) / Brass Bass: Phil Rutherford (UK), Malcolm Sked (UK) / Drums: Josh Duffee (USA), Richard Pite (UK), Debbie Arthurs (UK) / Bass Sax: Frans Sjöström (Sweden) / Violin: Emma Fisk (UK) / Vocals: Janice Day (UK), Debbie Arthurs, (UK), Spats Langham (UK).
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Ideal Places, Irreplaceable, It's All True, Jazz Titans, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Alistair Allan, Andy Schumm, Bent Persson, Billy Banks, Cecile McLorin Salvant, Duke Heitger, Eddie Condon, Emma Fisk, Fats Waller, Frans Sjostrom, Henry "Red" Allen, Jack Bland, Jazz Lives, Jean-Francois Bonnel, Jens Lindgren, Jimmy Lord, Joe Sullivan, Josh Duffee, Lil Hardin, Lillian Hardin Armstrong, Louis Armstrong, Malcolm Sked, Martin Litton, Martin Seck, Martin Wheatley, Matthias Seuffert, Michael Steinman, Mike Durham, Norman Field, Patti Durham, Pee Wee Russell, Pops Foster, Rhythmakers, Richard Pite, Spats Langham, Stephane Gillot, Tommy Dorsey, Whitley Bay Classic Jazz Party, Willard Robison, Zutty Singleton


A firm's bid to heighten four turbines planned at Binn Farm near Glenfarg has met strong opposition.
Over 250 people have signed a petition urging Perth and Kinross Council not to consider letting Green Cat Renewables build the already approved turbines any higher than 115 metres while another 36 individuals have sent in detailed objections.
And community councils, for Bridge of Earn and Abernethy, have sent objections too with the latter claiming Green Cat Renewables is using dated information to justify heightening the turbines by another nine metres.
The petition, set up on the change.org website by a Jane Donaldson, claims the effects of the four taller turbines on locals will be "horrendous".
It says: "It is recommended that turbines of this scale should not be placed less than 2km from a settlement (which could be as little as one home) – however, this fact was ignored by councillors … in 2015 when they granted permission for four turbines at 114.9m.
"This was never implemented as they [previous applicants Element Power] missed out on subsidies so would not get the vast government payout. With this new application to increase the turbines by a further nine metres, the local residents will be unable to live safely and comfortably in their homes due to adverse noise and shadow flicker.
Meanwhile the chair of Abernethy and District Community Council has said: "The applicant confirms that this is a new application but is endeavouring to rely on key documents submitted by the previous applicant in 2014.
"Information presented within the previous application [confirmed] that 52 dwellings will experience 'significant and adverse visual effects from the proposed development'. We believe that the impact of these larger proposed turbines will prove even greater.
But Green Cat Renewables say: "Whilst the Binn Wind Farm would be a prominent feature for some local range receptors, the increase in height from 115m to 124m is not particularly apparent.
The application awaits a decision from PKC.


text:
Chef Jean-Georges Vongerichten 'just warming up' at 60
By Renée S. SuenSpecial to the Star
Mon., Oct. 2, 2017timer4 min. read
PARADISE ISLAND, BAHAMAS–Flat-faced, with a pair of shovel-like plates for antennae, the clawless crustacean looks almost cute, like a squished armoured manatee, when it appeared on my plate.
"Here it's called a roach lobster; I call it rock lobster," chef Jean-Georges Vongerichten says as he shows off the creature's glistening lychee-like flesh. Later I discover it's commonly known as a slipper lobster.
Sweet and succulent, the almost bouncy-crisp flesh is a heavenly foil to the aromatic curry broth it's been finished with. It's also an unexpected treat the Michelin-starred chef shares with my table, because it's a rather rare specimen this fisherman, Alan Brown, tries to catch whenever Vongerichten is in town for his quarterly visits.
I'm at Dune, Vongerichten's beachside restaurant at the heart of the Bahamas' One&Only Ocean Club resort, which reopened in mid-February after it had been severely damaged by Hurricane Matthew, to speak with the busy chef-restaurateur about his growing empire.
Although it's been 17 years since hotelier Sol Kerzner invited Strasbourg, France-born Vongerichten to the property, the Caribbean gem's chic surroundings, panoramic views of the beach and Atlantic Ocean, plus refined, approachable cooking continues to draw locals and tourists.
While his non-New York restaurants, including Dune, are all licensing deals, Vongerichten and his senior team are involved with every detail, from restaurant design to menu development and staff training (both on-site and at his flagship in New York).
With roots in French cuisine and a mastery of Asian flavours (Vongerichten spent a significant amount of time in Asia), he has an enviable ability to adapt his cooking to the local scene.
"When you look at the southern hemisphere — Southeast Asia, South America, the Caribbean," the world traveller reveals, "They're not the same cuisine but all grow very similar ingredients. They all have ginger, chilies, coriander, pineapple, mango and coconuts."
At Dune, the dishes take a slight Bahamian spin with subtle spice and an emphasis on the trove of local seafood, from conch to parrotfish.
I'm given homemade hot sauce made from fiery ghost pepper with my conch salad. It's not the pre-bottled let's-do-this-on-a-dare-because-we're-crazy sort of stuff, but a finessed floral number. A microlitre is all I need to waken my senses' senses.
It's when I learn Vongerichten's symbiotic relationship with local producers has raised the bar on the islands where the concept of sourcing locally had been uncommon. Instead of using imported frozen varieties, Vongerichten searched for Brown, who supplies Dune with his daily catch, after experiencing fresh grouper caught by the spearfishing free-diver.
I taste the most spectacular arugula in an opening salad tossed with cleaved hunks of mango, shaved fennel ribbons and meaty Kalamata olives. The thick leaves are super punchy but have a shockingly clean finish, and are just one of the many vegetables and herbs Holey Farm's Maria-Theresa Kemp grows in volcanic soil in pockets of limestone for Dune. Vongerichten describes the praiseworthy produce as having "five times the flavour."
The cookbook author says Dune's menu, like the other members of his restaurant empire, is frequently updated (revamped sauces and techniques), but the use of local products stay constant. As do signature dishes ("people remember food memories" he notes), including sincere nods to local dishes.
A resort favourite at breakfast is a scrumptious and soul-warming fish boil, which I greedily consume with grits, Johnny cake and banana bread. Fondly known in-house as Cecile's soup (based on a recipe from a retired Bahamian cook), regulars know Dune's version is always full of the best quality fish (grouper, on my visit).
"Wherever we go, we bring on a knowhow, but we always see new things, pick up some flavours and new ideas. It's a global cultural food exchange."
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With his current roster of restaurants sitting at 34, including five openings this year, retirement isn't on Vongerichten's mind.
"I'm just warming up," he says, with smiling eyes. "Yeah, I've done a lot: I've been cooking since I was 16, and I thought at 60 things will quiet down, but we've five openings this year; it's our biggest year ever.
"I mean, (Dune) is a reopening (18 years later, we're still standing after three hurricanes) and chance to reinvent it for the next 20 years. There's no relaxing on the horizon. Maybe in 2035? I don't know; we'll see what happens. As I say: moving up."
The next morning, I have one more breakfast at Dune. I enjoy the recommended oatmeal soufflé, but can't stop myself from ordering another serving of the fish boil. I add two drops of the ghost pepper sauce to my soup and let every delicious morsel burn its way into my memory.
Renée S. Suen was a guest of One&Only Ocean Club, which did not review or approve this story.
More Life

redpajama_set_name: RedPajamaCommonCrawl


text:
namespace TestExerciser.Tools.AutoTestingManagement
{
    partial class ToolAutoLogView
    {
        /// <summary>
        /// Required designer variable.
        /// </summary>
        private System.ComponentModel.IContainer components = null;

        /// <summary>
        /// Clean up any resources being used.
        /// </summary>
        /// <param name="disposing">true if managed resources should be disposed; otherwise, false.</param>
        protected override void Dispose(bool disposing)
        {
            if (disposing && (components != null))
            {
                components.Dispose();
            }
            base.Dispose(disposing);
        }

        #region Windows Form Designer generated code

        /// <summary>
        /// Required method for Designer support - do not modify
        /// the contents of this method with the code editor.
        /// </summary>
        private void InitializeComponent()
        {
            System.ComponentModel.ComponentResourceManager resources = new System.ComponentModel.ComponentResourceManager(typeof(ToolAutoLogView));
            this.tabControl3 = new System.Windows.Forms.TabControl();
            this.tabPage5 = new System.Windows.Forms.TabPage();
            this.logView = new System.Windows.Forms.WebBrowser();
            this.tabControl3.SuspendLayout();
            this.tabPage5.SuspendLayout();
            this.SuspendLayout();
            //
            // tabControl3
            //
            this.tabControl3.Controls.Add(this.tabPage5);
            this.tabControl3.Dock = System.Windows.Forms.DockStyle.Fill;
            this.tabControl3.Location = new System.Drawing.Point(4, 32);
            this.tabControl3.Name = "tabControl3";
            this.tabControl3.SelectedIndex = 0;
            this.tabControl3.Size = new System.Drawing.Size(1432, 789);
            this.tabControl3.TabIndex = 1;
            //
            // tabPage5
            //
            this.tabPage5.Controls.Add(this.logView);
            this.tabPage5.Location = new System.Drawing.Point(4, 22);
            this.tabPage5.Name = "tabPage5";
            this.tabPage5.Padding = new System.Windows.Forms.Padding(3);
            this.tabPage5.Size = new System.Drawing.Size(1424, 763);
            this.tabPage5.TabIndex = 0;
            this.tabPage5.Text = "日志";
            this.tabPage5.UseVisualStyleBackColor = true;
            //
            // logView
            //
            this.logView.Dock = System.Windows.Forms.DockStyle.Fill;
            this.logView.Location = new System.Drawing.Point(3, 3);
            this.logView.MinimumSize = new System.Drawing.Size(20, 20);
            this.logView.Name = "logView";
            this.logView.Size = new System.Drawing.Size(1418, 757);
            this.logView.TabIndex = 0;
            //
            // MainLogView
            //
            this.AutoScaleDimensions = new System.Drawing.SizeF(6F, 12F);
            this.AutoScaleMode = System.Windows.Forms.AutoScaleMode.Font;
            this.ClientSize = new System.Drawing.Size(1440, 825);
            this.Controls.Add(this.tabControl3);
            this.Icon = ((System.Drawing.Icon)(resources.GetObject("$this.Icon")));
            this.Name = "MainLogView";
            this.Text = "执行结果";
            this.Load += new System.EventHandler(this.MainLogView_Load);
            this.tabControl3.ResumeLayout(false);
            this.tabPage5.ResumeLayout(false);
            this.ResumeLayout(false);

        }

        #endregion

        private System.Windows.Forms.TabControl tabControl3;
        private System.Windows.Forms.TabPage tabPage5;
        private System.Windows.Forms.WebBrowser logView;
    }
}

redpajama_set_name: RedPajamaGithub


"Behold, we count them happy which endure. Ye have heard of Job's patience, and you know how the Lord provided for him in the end, for the Lord is full of mercy and compassion." (James 5:11) (GNB).
I keep asking myself, how long will it be before people are going to just cut loose and began to erupt? How much more can people endure? The level of social and governmental abuse is at a disturbing zenith! What will be the straw that will break the camel's back? Will it be war, earthquakes, famine or disease? Our nation is on a collision course to social unrest and destruction. How much more will the nation endure?
However, you would not know all of this by the way people are carrying on. The populous are still going to baseball, basketball and football games; and attending all types of festivals and parades and gaieties. There is no expectation of the coming of the Lord.
"And as is was in the days of Noah so shall it be also in the days of the Son of man. They did eat, they drank, they married wives, they were given in marriage, until the day that Noah entered into the ark, and the flood came, and destroyed them all." (Luke 17:26-27).
Social Unrest – How close are we before the rain starts falling? Noah kept preparing for the flood because he believed God. There is a social passion that is blazing. There is a damn on the verge of breaking. Hatred is being revealed every day by the haves and the have nots. Racism is at a peak. The laws are breaking down and those who are called to implement the laws are breaking them! There is a cry for social justice, which is always promised but never delivered. Will justice ever be established? According the scriptures, the answer is no! Because man's heart is evil and does not know justice or righteousness apart from God. How can we bear up under this oppression?
In the letter of James 5, James has no doubt of the nearness of the coming of Christ. "The judge is at the door." (Matt 7:1). But it so happened that Jesus did not come in their generation, therefore the people began to move further away from God. Many throw their faith in the dirt and decided that God is not real and they would make their own way. Much like millions are doing today. They have made their own gods and religion. They believe God is not in fashion, that God is obsolete! How unfortunate for those who believe this, for they will not endure until the end! The God in Genesis is the same God in Revelation!
The riots and destruction are coming without question. Many choose to ignore the signs and to do business as usual. The Word of God tells his people this destruction throughout the scriptures. Those who believe in the Lord Jesus will be led by the Spirit of God. The multitudes will endure the judgment that God will release on the nation for disobedience. God is a good and merciful God. However, he is also a God of judgment and even in his judgment, he is merciful to those who repent and follow his commands. The call to repentance has been preached for generations. The time has come for God to remind us that is he still God!
There are many who are wondering if I believe in Jesus because I write of such dooms! Well, I have been given a gift. It is the gift of prophecy. I did not ask for it, the Holy Spirit gave me this amazing gift to foresee. I will never apologize for my gift because it is a blessing. Although I am hated for the things I have to proclaim, it is my blessing nevertheless. I have been sounding the alarm for Christians to take cover in Christ, so that they may endure these coming wrathful days ahead. I am doing what the Lord requires of me. I pray that you will take heed.


The excellent pics below, is part of Orlando Florida Map document which is categorised within Florida Map, orlando florida map with cities, orlando florida beaches map, orlando florida hurricane map and published at November 8th, 2018 04:52:26 AM by thedailynewsgrabber.
Here is important chapter on orlando florida flood map. We have the excellent sources for orlando florida flood map. Check it out for yourself! You can discover Orlando Florida Map Disney World Hotels Map Best Of Map Orlando Florida Road Map Of guide and see the latest Orlando Florida Map in here.


Like millions of other young, nubile Americans, we hold wild, drunken, boisterous NY Eve parties. Okay, not exactly. Like millions of middle-aged or elderly Americans we struggle to even stay up 'til midnight, determined to see in the New Year as a point of honor. Once my husband and I can no longer stay awake until midnight that will mean we're officially old, according to every definition of the word. As long as I have breath in my body I'll make sure I'm awake when the clock strikes 12:00, even if it means using toothpicks to prop my eyelids open or having the kids give me regular pokes with a sharp stick. Determination is what makes this country strong!
My in laws come over every NY Eve, to enjoy food, games and general conviviality. We've observed the tradition since the children were tiny, sometime back in the 90s. Memory not being what it once was, invariably we'll have this discussion tomorrow night, "How long have we been coming over for New Year's Eve?" Blank looks. Weak guesses. Change of subject, then back to the food.
I do remember being together when the country was on red alert, as the calendar changed from 1999 to 2000, convinced the end of the world was imminent, all computers would fail, and the world as we know it disintegrate into hysterical mobs running about carrying torches. When nothing happened we were all relieved, then realized how completely ridiculous the worry was in the first place, hindsight being revelatory of idiocy and all that. How long before 1999 we've been getting together no one seems to remember.
We'll enjoy a dinner consisting solely of hors d'oeurves, the theory being appetizers are actually more yummy (and easier) than a big meal. Plus, one can graze all evening, eating from small plates, so we can keep games going on the kitchen table. Games which my father in law inevitably wins. Not that I'm feeling particularly bitter or anything.
At midnight we'll ring in 2009 with Asti Spumante (preferable to champagne in oh so many ways), counting down with one of the local television stations. Ching, drink, kiss, confetti and all manner of noise and mess-making NY Eve paraphernalia, photos, then back to the games. We trot off to sleep when we can't hold our eyes open any longer, generally around 2:00ish. The kids inevitably complain they could go a few hours longer, but as soon as they hit their pillows they're out.
The next day the in laws arise hours earlier than we do, leading to the inevitable, "Were you going to sleep all day?" The answer, "Yes, if you'd let us."
Coffee, coffee cake, and other breakfast goodies make their brief appearance and disappearance. Then the ubiquitous conversations break out, always related to politics (especially this year, and I fear potentially inflammatory), speculation on the New Year, etc., before games and/or general conversation break out again.
The day ends sometime after lunch, with the departure of the in laws. The rest of us pull up a sofa and fall asleep. Sweet, gentle sleep. Another NY Eve come and gone. Three days to recover before work, school and getting on with life as usual after the holidays. Huzzah! I'll be glad to put this one to sleep for another year.
Wherever you are, and whatever you're doing, I hope you enjoy the holiday.
Have fun, Lisa. It sounds like a good time at your house (moreso than mine).
Next Post 2008 in Review: What you wouldn't get in a Christmas form letter.


The Ricky G Band is a country band that covers all of the top country male chart toppers with great stage presence and audience interaction!
They specialize in larger bar/dance venues, weddings, corporate events, grand openings of businesses, festivals, private party's and opening act. They have emerging original music with chart topping potential.
The Ricky G Band is has recently released their first single "Friday Night" from their upcoming album set to be released in the Spring of 2018!


text:
Home / Biography / Alexander Sheremetiev
Alexander Sheremetiev
Count number Alexander Dmitrievitch Sheremetiev, whose name is transliterated a number of methods (Sheremetyev, Cheremetieff, etc.) was created in 1859. Sheremetiev was a primary descendant of Boris Sheremetev, who fought alongside Peter the fantastic in the fantastic Northern Battle, and Sheremetiev's dad offered as chamberlain to Tsar Alexander II. Over the event of his relationship in 1883, Sheremetiev bought a building located at No. 4 Kutuzova Embankment in St. Petersburg. Sheremetiev was a significant General towards the Tsar in peacetime and utilized his placement and privilege to support the initial firefighting businesses in Russia. Sheremetiev was also an extremely talented composer and choral movie director, who offered as the first choice from the chorus mounted on the Russian Courtroom. He ultimately produced his own personal orchestra and chorus, which performed open public concerts at his property in St. Petersburg; the grade of the orchestra can be said to are actually more advanced than that owned by the Conservatory of St. Petersburg itself, although some of its music artists performed in both orchestras. Seat tickets to concerts at Sheremetiev's palace had been kept at low priced, and Sheremetiev seen his musical actions as some sort of general public assistance, donating the arises from concerts to churches and folk music organizations. After years of procedure, Sheremetiev's music-making found an abrupt result in 1917 when the Russian Trend pressured him and his family members to flee to Paris. He passed away in 1931. Hardly any of Sheremetiev's music can be accounted for, nonetheless it can be of such top quality that the tiny from it which has survived suggests the specialized refinement of the composer who had written music frequently and well. His chorus Nine sili nebesniye (Rejoice Right now Heavenly Power) is normally a typical piece among Russian Orthodox choirs, and a documenting of the task by Chorovaya Akademia became a low-level open public radio "strike" when included on the favorite BMG compilation Old Voices in 1995. After his departure from Russia, his property housed various politics operations owned by the Soviet condition until 1932 when it had been set up as the head office from the Leningrad Writer's Union. Fireplace broke out in the palace in 1993 and it became the main topic of an international recovery work, the baseline function being finished over another decade. Among Sheremetiev's descendants, Pierre Cheremetieff, acts as head from the Russian Rachmaninoff Conservatory in Paris, and it had been he who opened up the door towards the gallery of Sheremetiev Palace in 2003 for the initial open public concert held now there in a lot more than 85 years.
Winter first found community prominence in 1961 because the winner of the collegiate jazz celebration …
1859 in St. Petersburg 1931 in Paris Aleksandr Sheremetyev Alexander Sheremetiev Alexandre Cheremetieff Choral Classical Count Alexander Dmitrievitch Sheremetiev France Russia Vocal Music
Somehow Hollow


Umpqua Bank, a subsidiary of Portland-based Umpqua Holdings Corp. (Nasdaq: UMPQ), said it hired Todd Abboud to a new position as regional director, executive vice president, for Orange County.
Abboud previously worked at Bank of the West, where he most recently served as a managing director for Orange, Riverside and San Bernardino counties.
Umpqua is expanding its corporate banking division in Southern California and Abboud, who is based in Newport Beach, is its first executive primarily focused on Orange County.
His hiring signals Umpqua intends to build a strong presence in Orange County, provide full-service support to middle-market companies and bring greater competition to the marketplace, said Richard Cabrera, head of corporate banking at Umpqua.
Abboud received his MBA in finance from the Anderson School of Business at the University of California Los Angeles.
Umpqua reported $605 million in deposits in Orange County for the period ended June 30, 2016, making it the 27th largest according to the Business Journal's annual list published last February.


text:
package com.automationrockstars.gunter.allure;

import com.google.common.collect.Lists;
import com.google.common.collect.Maps;
import ru.yandex.qatools.allure.data.AllureReportGenerator;

import java.nio.file.Path;
import java.util.List;
import java.util.Map;

class AllureModelBridge {

    public AllureEntity exec;
    private Map<String, AllureEntity> references = Maps.newHashMap();

    public void startRun(String name, Long startTime) {
        exec = new AllureEntity(Type.EXEC, name, startTime);
    }

    public void finishRun(Long endTime) {
        exec.finishTime = endTime;
    }

    public void addSuite(String id, String name, Long startTime) {
        AllureEntity suite = new AllureEntity(Type.SUITE, name, startTime);
        references.put(id, suite);
        exec.children.add(suite);
    }

    public void finish(String id, Long finishTime) {
        references.get(id).finishTime = finishTime;
    }

    public void addTest(String id, String suiteId, String testName, Long startTime) {
        AllureEntity test = new AllureEntity(Type.TEST, testName, startTime);
        references.get(suiteId).children.add(test);
        references.put(id, test);
    }

    public void addStep(String id, String testId, String name, Long startTime) {
        AllureEntity step = new AllureEntity(Type.STEP, name, startTime);
        references.get(testId).children.add(step);
        references.put(id, step);
    }

    public List<String> toXml() {
        List<String> result = Lists.newArrayList();
        for (AllureEntity suite : exec.children) {
            result.add(suiteToXml(suite));
        }
        return result;
    }

    private String suiteToXml(AllureEntity suite) {
        StringBuilder result = new StringBuilder(String.format("<ns2:test-suite xmlns:ns2=\"urn:model.allure.qatools.yandex.ru\" "
                + "start=\"%s\" stop=\"%s\">"
                + "\n<name>%s</name>\n", suite.startTime, suite.finishTime, suite.name));
        result.append("\n<test-cases>\n");
        for (AllureEntity test : suite.children) {
            result.append(testToXml(test)).append("\n");
        }
        result.append("</test-cases>\n<labels/>\n</ns2:test-suite>");
        return result.toString();
    }

    private String testToXml(AllureEntity test) {
        StringBuilder result = new StringBuilder(String.format("<test-case start=\"%s\" stop=\"%s\" status=\"%s\">\n"
                + "<name>%s</name>\n<steps>\n", test.startTime, test.finishTime, "passed", test.name));
        for (AllureEntity step : test.children) {
            result.append(stepToXml(step)).append("\n");
        }
        result.append("</steps>\n<attachments/>\n<labels/>\n</test-case>");
        return result.toString();
    }

    private String stepToXml(AllureEntity step) {
        StringBuilder result = new StringBuilder(String.format("<step start=\"%s\" stop=\"%s\" status=\"%s\">\n"
                + "<name>%s</name>\n<attachments/>\n<steps/>\n</step>", step.startTime, step.finishTime, "passed", step.name));
        return result.toString();
    }

    public void generate(Path in, Path out) {
        new AllureReportGenerator(in.toFile()).generate(out.toFile());
    }

    private enum Type {
        EXEC,
        SUITE,
        TEST,
        STEP
    }

    public class AllureEntity {
        public final String name;
        public final Long startTime;
        public final Type type;
        public Long finishTime;
        public List<AllureEntity> children = Lists.newArrayList();
        public AllureEntity(Type type, String name, Long startTime) {
            this.name = name;
            this.startTime = startTime;
            this.type = type;
        }
    }
}


text:
Q: How to cleanly regain the right coding system Is there a way to have better conversion between unknown and known encodings?  Currently, many valid characters are incorrectly shown as not encodeable.
Here is the problem I had:
I open a Latin-1 textfile and to my surprise, the coding system indicator is no longer 1 but = meaning no-conversion.  All non-ascii characters show as escapes.
So I try to set the coding system right by m3 on the coding system indicator telling that I want to use Latin-1 again.
Now, all non-ascii characters that happen to be valid Latin-1 codes are listed as not being able to be encoded (which is actually incorrect). That is very confusing.
In the end, I solved the problem by discovering a zero-byte somewhere in the file.
To reproduce:

*

*Open a valid Latin-1 file with non-ascii characters and note the 1: as coding system indicator.

*Add C-@ (zero) somewhere in it. Probably more in the beginning

*Save the file and kill the buffer.

*Now reopen that file,  and note that =: is the coding system indicator

*Now switch to Latin-1 and see the buffer *Warning* showing you a list of the valid codes the system deems as inconvertible but not the one actual culprit since the list ends in ...
What I would expect is that only the zero-characters is shown.
(happens in Emacs 25 and 24 alike)

A: no-conversion really means that the buffer is holding the underlying raw bytes rather than the intended characters.  And when you change the coding-system to latin-1 you're not changing the buffer's content, you're just telling Emacs that you intend to use latin-1 to save the buffer to the file.  So it complains about all the non-ASCII bytes because latin-1 does not know how to encode those bytes (it only encodes the chars that they are supposed to represent, i.e. it encodes them to those bytes).
What you want instead is to reload your file using the latin-1 (instead of no-conversion) coding-system, which you can do with C-x RET r latin-1 RET.
Maybe Emacs should offer to the user to revert the buffer when the buffer is unmodified and you're changing from no-conversion to something else!  I suggest you M-x report-emacs-bug explaining how you found the interface confusing.

redpajama_set_name: RedPajamaStackExchange


Let's start with a pop quiz. Who said this?
If you thought Rachel Notley, you would be wrong.
The answer is Preston Manning, once upon a time the godfather of the Canadian right. He was speaking back in 2006 in an interview with Canadian Business Magazine.
In other words, something like the carbon tax Jason Kenney has promised to eliminate in Alberta if he is elected in two weeks and that Andrew Scheer vows to destroy if he becomes prime minister next fall, or the cap-and-trade system in Ontario that Premier Doug Ford has already torn up and tossed away.
Manning has spoken about this a lot over the past 20 years, although for some reason he is awfully quiet lately. He may or may not have seen that the environmental impact of unchecked capitalism threatened the survival of the planet, but he certainly figured out that a deteriorating planetary environment presents an existential threat to capitalism.
The list of so-called maverick MPs over the past few decades is small. Parties usually weed them out, with the help of the media.
ith the expulsion of Jody Wilson-Raybould and Jane Philpott from the Liberal caucus, I began to think back on the other so-called "maverick" MPs I've come across over the past two decades. Who were the folks who dared to challenge the party line, or speak out of turn, or were just a little oddball? The list is pretty darn small, mostly male, and the individuals don't last long in either their caucus or federal politics.
I'm thinking of Conservative MPs Brent Rathgeber, who tired of PMO micromanagement, and Garth Turner, turfed for saying too much in his blog. There was Bill Casey (Conservative, now Liberal), Carolyn Parrish (Liberal) and John Cummins (Conservative). There was earnest and outspoken Liberal MP Keith Martin; NDP MP Bruce Hyer who bristled at vote whipping on the long-gun registry; and yes, even Maxime Bernier. In the more polite vein, there is Michael Chong, one of the sole voices in the Conservative Party calling for intelligent carbon pricing and parliamentary reform. And thank goodness for Green Party Leader Elizabeth May, who consistently bucks the trend of uber-partisanship in favour of rational arguments and civility.
Within the Liberal Party ranks in the 1990s and early 2000s, there was a very identifiable group of anti-abortion, social conservatives who found their home in caucus – people like Tom Wappel.
Author gaianicityPosted on April 7, 2019 Tags caucus unity, democracy, Elizabeth May, public interest, uber-partisanship, vote whippingLeave a comment on Shouldn't we want MPs who don't conform?
We go on about wood here on TreeHugger, but often fail to see the forest for the trees. In fact, those forests could save us, by sucking carbon dioxide out of the atmosphere faster than we are making it. Instead, we are chopping them down and, in many parts of the world, failing to replant them. Every thing we say about the wonders of wood construction are meaningless if we don't replace every tree we turn into CLT and NLT and DLT and every other form of wood we invent.
Writing in the Guardian, a long list of environmental luminaries, from Greta Thunberg to Brian Eno, have written an important letter calling for protecting and restoring ecosystems.
By defending, restoring and re-establishing forests, peatlands, mangroves, salt marshes, natural seabeds and other crucial ecosystems, large amounts of carbon can be removed from the air and stored. At the same time, the protection and restoration of these ecosystems can help minimise a sixth great extinction, while enhancing local people's resilience against climate disaster. Defending the living world and defending the climate are, in many cases, one and the same. This potential has so far been largely overlooked.
Just today, Canada's Auditor General released an alarming report urging Trudeau's government to do a better job to sanction mining companies when they fail to protect Canadian waters and fish.
And there is one mining company in particular that Trudeau needs to act on — Imperial Metals.
Almost five years ago, Imperial Metals' Mount Polley Mine spilled 25 million cubic metres of toxic waste into pristine Quesnel Lake, one of the deepest lakes in the world. The lake is home to multiple fish species, and supplies drinking water to local communities. Until now, the federal government has let Imperial Metals off the hook for the largest mining waste spill in Canadian history — but we're going to change this.
The clock is ticking: the government has until August 4th, 2019, to charge Imperial Metals. That's why we need to turn up the heat now and force Trudeau's hand.
Tell Trudeau's government not to let Imperial Metals off the hook. Enforce the Fisheries Act now!
THERE IT WAS in black and white — or black, white, and a palette of gentle greens and blues. With a headline predicting that natural gas "will thrive in the age of renewables," the article made the case that there are limitations on solar and wind power and that — as a subhead spelled out in aquamarine type — natural gas "is part of the solution." Why was the Washington Postweighing in on the need for continued production of this fossil fuel in the face of climate change?


This 5.3kg tin of KS137 is used for gluing our Hertalan EPDM and PRO-EPDM rubber systems. Its used as a contact adhesive and needs to be left to go almost dry. This 5.3kg tin will cover approximately 10sq.m on a smooth surface, you will need more adhesive if gluing to a rough surface.
This is the Spray version of the FG35 Primer that is used for RESITRIX and ESK. This system allows you to cover more area faster and no need for mess.
The Sedum and Wildflower GrufeKit is a Green Roofing Kit that has a Modular design, this allows easy installation and instant colour. There are 3.4 GrufeTiles per 1 sq.m. Accessories are available below.
PRO-FACADE rubber roll is used for façades. For façades use 10x 290cc KS96. They can also be used as DPC strips and gutter linings for DPC and gutter linings please use 3 tins of 0.9kg KS137, both are related below.
"We can help you find the right EPDM rubber for your project"
We supply EPDM rubber roofing materials to the Trade and to the DIYer for flat roof replacement, new flat roofs, green roofs, eco roofs, shed roofs, damp proof courses, façade waterproofing and pond liners.
We offer several EPDM brands available in various thickness's from 0.7mm to 2.0mm and we're sure you'll find they're all perfect for you.
Our own brand is 1.1mm thick and it's very competitively priced, it's a great alternative to felt and other types of complicated flat roof systems.We also sell Hertalan EPDM rubber which is one of the best brands of EPDM rubber in the world. It is quick and easy to fit and is designed to last over 50 Years.
Our top of the line system that we supply is PRO-EPDM, it's exclusive to UK Flat Roofing and the most advanced waterproof system available, not to mention the thickest EPDM roofing membrane available.


With over 75 stores in 8 countries and 30 years experience Powerhouse Fitness as part of the Sport-Tiedje Group are amongst Europe's leading providers of quality Commercial Gym Equipment.
We have showrooms across the UK with an incredible variety of equipment solutions for every facility, from start-ups to large scale commercial facilities.
Powerhouse Fitness is cementing their commercial fitness arm of the business with the launch of their new Taurus commercial range at Elevate.
Taurus was founded in 2008 based on three key principles, quality, strength and premium design, backed by German innovation and engineering.
Taurus has become one of Europe's leading fitness equipment brands and the new collection includes a range of fitness pieces with the ability to withstand even the most demanding commercial fitness environments.
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Victory in Germany: Court lifts ban on prayer in front of abortion organization
"There is no room in the given legal system for such protection against confrontation with other views that are not desired," ruled the Administrative Court of Frankfurt.
by Johann R. Porter
in Breaking News, Life
The 5th chamber of the Administrative Court of Frankfurt am Main has reached a decision that the ban issued by the city of Frankfurt against a prayer group praying in front of a regional abortion organization was unlawful.
In spring 2020, the prayer initiative, which operates as a registered association 40 Days for Life, announced a 40-day prayer vigil in front of a Pro Familia counselling center during its opening hours. The city of Frankfurt then issued an order requiring the prayer group to appear in front of the counselling center only outside its opening hours. Furthermore, the order contained the instruction that persons who were visibly on their way to the counselling center were not to be harassed. Harassment of any kind, such as imposing yourself on someone to talk to them or handing them information material and flyers, was also not allowed. During the opening hours, the group would only be allowed to gather for prayer on a sidewalk further away from the counseling center.
But the Administrative Court of Frankfurt decided that "there is no room in the given legal system for such protection against confrontation with other views that are not desired", after the prayer initiative took to court to fight the municipal order.
There is no doubt that such gatherings fall under the fundamental right protecting the freedom of assembly under Article 8 of the Basic Law. This guarantees the holders of fundamental rights the right to determine the place, time, type and content of the gathering. The efforts of the city of Frankfurt to create a quasi protected space for women in public and thus prevent a confrontation with dissenters and other opinions in no way justified a restriction of the plaintiff's freedom of assembly and expression. The latter had the right to freely express and disseminate their opinions in speech, writing and images.
Referring to several decisions of the Federal Constitutional Court, the Administrative Court also made it clear that the general right of personality of women going to pregnancy counselling centers could also not restrict the freedom of assembly and expression of the participants in the action.
Dr. Felix Böllmann, a lawyer with ADF International, a human rights organization that is litigating another similar case in Pforzheim, commented: "We welcome the decision of the Frankfurt court, which protects the right to freedom of speech, expression and assembly. People who stand up for the protection of the right to life must not be prevented from exercising these freedoms peacefully in the place of their choice. The ruling sends a positive signal."
The judgment is not yet final and the decision may still be appealed.
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Tags: 40 days for lifeADF InternationalFelix BöllmannFrankfurt am Mainprayer vigils
Johann R. Porter
A German-speaking social scientist and worker in the pro-life movement. [This author writes under a pseudonym.]