text:
The next generation of math scholars is prepared to soar, thanks to the Summer Enrichment Academy (SEA) sponsored by Pastor Mark E. Whitlock, Jr., and the members of Christ Our Redeemer (COR) A.M.E. Church in Irvine.
The six-week program, held in partnership with California State University, offered students in grades 6 to 9 an intensive, yet fun, curriculum aimed at strengthening mathematical skills. Thirty-seven youngsters participated in SEA from July through the beginning of August.
According to Pastor Whitlock, "Our Youth and Young Adult Pastor Charles Dorsey gave expert direction to ensure we achieved our two-prong goal of improving the student's overall school performance while connecting with them early enough in their education to make sure they qualify for acceptance in the four-year state university."
The Algebra Institute proved to be a key component of the SEA with youth receiving four hours of training from certified math instructors. College students from the University of California and California State served as teaching assistants.
"The Institute's chief instructor, Mr. Ed Ussery, is a Harvard graduate and member of COR Church. His team of qualified teachers and undergraduate tutors presented algebra in a manner that the students embraced with lots of enthusiasm," noted Pastor Whitlock.
"Also, every student has the opportunity to remain connected to the program to ensure his or her progress during their normal school year."
A 'Celebration of the Arts' week was another highlight of the SEA program. The activities included African Drumming and Dance, Sports Camp featuring basketball and volleyball, and field trips to UC-Irvine where the young people toured the campus and its computer gaming lab.
The students also traveled to UCLA for a tour and African Culture lesson, performed community outreach at the Orange County Food Bank, visited the Irvine Police Department, and enjoyed an afternoon at the Discovery Science Center. During the tour of Angel Stadium in Anaheim, the youth met retired Angel's outfielder, Gary Matthews, Jr., who presented them with signed baseballs.
"We concluded with the SEA graduation on August 3 where we recognized the achievements of each student such as attendance, most improved, outstanding classroom habits, talent, and new skill demonstration," Pastor Whitlock said.
"We set out to make a difference in the lives of our future leaders and through the combined efforts of many dedicated people, I believe we succeeded with the SEA program. It's an ongoing campaign for us, so expect to see more COR programs directed at our youth."


text:
Roger Moody necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 293 diseños de 79 diseñadores freelance.
V2 Helicopters (V=Velocity 2=squared, 2 should be small subscript))
We are setting up a new helicopter company. We feel that there are many helicopter companies that have this old fashioned and dated outlook. We want to help bring the industry up-to-date and into the 21st century. We are looking for a new and exciting logo that gives people that idea of PROFESSIONALISM, ON THE GO, CARING, ENVIRONMENTALLY FRIENDLY, EXCITING.
As a company we will be absolutely focused on safety and doing things RIGHT. We as professional pilots are dedicated to ensuring compliance with and exceeding all SAFETY required by government organisations/agencies.
Target audience is male and female age between 15 and 50, with the main target being an age group between 19 and 40.
We initially want to target people wanting to learn how to fly helicopters and become a professional commercial helicopter pilot.
We also want to target people that can utilise helicopters for their business/company/organisation i.e. fire fighting, executive travel, under-slung operations, power line operations, filming, photography etc.
V2 (should be a small 2 subscript) means VELOCITY SQUARED and forms part of the LIFT equation. It means speed, so if speed can be portrayed in the logo design then all the better. Keep it simple, this logo will be on helicopters, signs, letterheads, business cards, motor vehicles, so needs to be easily reproduced.
The logo must include:
2 or a SQUARE
The logo needs to be of CONTEMPORARY design.
You must try to portray the following:
SAFETY (colours)
PROFESSIONALISM (font design)
ON THE GO (but not in a rushing sense)
CARING (sometimes rounded corners are better than sharp corners)
SMALL TO MEDIUM COMPANY (that personal touch)
ENVIRONMENTALLY FRIENDLY (choose the right colours)
ON THE UP AND UP (be wary of angles)
SPEED (V squared means speed and direction)
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.

subset: commoncrawl


text:
Yoon Shi Yoon 윤시윤 - Upcoming Drama: Train
jaexsong, in actors & actresses
Recommended Posts
Go to this post
Dear all, Please refrain from discussing about actresses or comparing them with each other or going into detail about a specific project. This thread is for actor "Yoon Shi Yoon" only. If you like him with a particular actress, please (talk about/support) them on their shipping thread. If you want to discuss about specific projects into details, please do so in their respective threads. Let's keep this thread full of "Yoon Shi Yoon" only.
Please observe the rules!
Recommended by ebullient
8 reactions
Go to this post
Go to this post
WARNING There have been repeated reports in regard to disruptive content in Yoon Shi Yoon's thread. I would like to remind everyone of this rule: 2. NO DISRUPTIVE OR DISCRIMINATORY CONTENT, NO BULLYING Rudeness, hateful messages, member bashing, and trolling are forbidden. Constant bullying will result in a permanent ban on your account and all future accounts. Do NOT taunt or provoke anyone directly or indirectly. Keep hostile comments to yo
Final Warning!
Recommended by ebullient
5 reactions
Go to this post


text:
A Florida man was arrested after he left his wallet behind at the scene of an armed robbery, authorities said.
Keith Ray Howell, 22, is facing multiple charges including armed robbery and marijuana possession following his arrest near Ocala Wednesday, according to Marion County Sheriff's Office jail records.
He was being held without bond Thursday and it was unknown whether he has an attorney.
The Ocala Star-Banner reports investigators found Howell's wallet Friday in the driveway behind a convenience store after it was held up by two men. A detective went to the home listed on the ID, which was inside the wallet, and found a grocery bag on the porch with a ski mask inside.
An investigator pulled over a car Wednesday and found Howell in the back seat. Howell and two others were taken in for questioning. A search of Howell's car uncovered latex gloves, a black mask and a pellet gun.
Howell told officers his wallet had been taken from his car, then told them he had lost it. He claimed he didn't know anything about the robbery. Authorities said he could be linked to a number of other nearby robberies, the paper reported.


text:
The curious case of the Authenticator, or how I fail at shopping
So with switching guilds and trying to make a good impression, I was thinking of ways I could utterly humiliate myself and how I could go about avoiding such ways. One of the first things I thought of was, you know, getting hacked. I mean, that's embarrassing (and a pain in the ass) at the best times. So how does one go about not getting hacked? Well, one way is to create an email specifically for one's battlenet account. Check! How else could I improve my security? With an authenticator (duh!). What an amazing idea! I'll go buy myself an authenticator!
I grab my credit card and hop onto the Blizzard store. I look around on the page for the Authenticator. I click on a few tabs. No authenticator! I ended up using the search tools, which is probably what everyone else does, I just have a thing against search tools. I think they're weird. Anyway, I get the choice between the iPhone app and the little keychain. I'm not rich enough for an iPhone (damn 10 years of student loans), so keychain is it! 6.50$ Eh, it's a lot but the peace of mind will be worth it. I order it and with postage and shipping the price goes up to something like 17$. WTF. Why is shipping more than item itself? I try to find a cheaper option but can't, so, sigh, I go with the ridiculously expensive keychain. I fill in my address and credit info, press send. Feeling happy with my purchase.
The next day I get a nagging feeling like I screwed something up. "Naaah" I think. I shrug it off.
Sure enough, 3 days later, I get an email from my mom. "A package from Fresno arrived for you!" ….I had entered the WRONG address. Instead, I paid a crapton of money to ship my authenticator to my parents' house on the other side of the country. Gah! I've been living on this island for 4 years, you'd think I'd know my address by now.
* * *
And in other, less fail, shopping stories, I bought myself a Christmas calendar! You know, those calendars with chocolates where you can eat one every day until Christmas! I usually don't buy them, but the idea of choosing between the Barbie Princess Christmas Calender, the Hot Wheels Christmas Calender, the X-Men Adventure Christmas Calender and the Madagascar The Movie Christmas Calender was just too exciting. When I was kid, we only got to choose between the Snowman Calender and the Christmas Tree Calender. (I always got the Snowman and my brothers got the Tree.) Obviously, I chose the Madagascar Calender since it matches my bedsheets.
When in doubt, always choose the item that matches your bedsheets. (Unless you have the option of something that matches your Happy Feet Pyjamas, in which case, just flip a coin.)
Anyway, it turns out that the calender actually counts down to New Years because apparently Christmas isn't politically correct anymore. While I am somewhat concerned about the lengths we go to for PCness (seriously, I'm not from a christian upbringing and I'm fine with Christmas calenders counting down to Christmas), I can't really complain about more days of chocolate. Now I sort of need a calender to help me count down until I'm allowed to start eating my New Years calender. December can't come soon enough!Explore posts in the same categories: Beyond WoW
Tags: account security, authenticator, chocolate, Christmas, shoppingBoth comments and pings are currently closed.


text:
Recent Updates
Please watch your email inbox or talk to your coach for the latest updates on our season including changes based on the COVID-19 virus and response.
We are still planning on having a season (through it may have a delayed start).
We offer the several different soccer programs, each designed with that specific age grouping and level of engagement in mind. Below is a link to each program. Click the program name to go to a more detailed explanation of that specific program.
Summer and Winter programs also available - website updates coming shortly...
Click the link to learn more ->
** New!! Spring 2020 Schedule Posted
Pre-K Program (U4 & U5)
Tiger Academy I (U6 - U7)
Tiger Academy II (U8)
Northern Valley Recreational League
Lehigh Valley Travel League
Players are now grouped by CALENDAR YEAR. If a player is born during a specific year, they can participate at that age grouping for the entire soccer year (Fall and Spring - not the calendar year). Download the US Soccer Age Chart Matrix (PDF) if you have any questions related to the appropriate program for your player based on their age (DOB).
Please note that at U9 your child is eligible to participate in either the Recreational or Travel program. The program chosen will depend on your child's skill level and the desired level of competition. If you have any questions about this or anything else please contact the Northwestern Soccer director at
Directions to fields can be found by looking at our facilities page.
Soccer Director Scott Wagner |
| 610-762-5525
Find NYAA Soccer on Facebook
New Privacy Policy


text:
Download Magnalia Christi Americana Study Guide
Magnalia Christi Americana Summary
(Critical Survey of Literature for Students)
The Puritans of the Massachusetts Bay Colony in and around Boston believed they had been called to the New World to fulfill God's Providence. They were part of the Protestant Reformation, which they considered the most significant period of history since Christ himself walked the earth and one that would hasten the millennium.
For some twenty-five years before the publication of Cotton Mather's Magnalia Christi Americana, there had been, according to Kenneth Silverman, calls for someone to document the history of the New England colony. Many felt that Mather's father, Increase, was in the best position to write such a magisterial work. Thus, Cotton, being not only Increase's son but also the grandson of two other essential contributors to the Puritan settlement of America—John Cotton and Richard Mather—felt it his familial duty to take responsibility for this monumental ecclesiastical history.
In the estimation of Silverman, the book was begun in 1693 and was compiled from diaries, Increase's correspondence, and manuscript histories of New England by William Bradford and William Hubbard. Mather and his father also were acquainted with survivors of the first generation of settlers, or their families. Although Mather had interviewed many of them, he wanted even more information. In 1700, the manuscript of the book was sent to England for publication. After many delays and discouragements, Mather learned that it had been published in 1702. He was dismayed, however, to find that the publisher had made some three hundred typographical errors in the text.
According to Perry Miller and Thomas H. Johnson, the book's Latin title means "great achievements of Christ in America." The phrase originates from a Latin translation from the Greek of the book of Acts 2:11 that uses the phrase "magnalia dei," or "wonderful works of God." The title also might have derived from Magnalia Dei Anglicana by John Vicar, published in London in 1646. In any event, Mather's title reflects the purpose of the book, which is to celebrate the marvelous works of Christ in the New World, particularly the rise of a Reformed Evangelical Church forced to leave a flawed Old World to practice Christianity as it was intended, and a church intended to serve as "a city on a hill," in John Winthrop's words, for the rest of the world to emulate. More immediately, Mather hoped to reinvigorate what he perceived as a flagging enthusiasm in his—the third—generation of New Englanders by citing the pure beliefs and heroic actions of the Puritan ancestors.
The collection of historical sketches and documents, including sermons, biographies, and historical narratives, spans eight hundred folio pages in double columns. Babette M. Levy points out that Mather includes seventeen of his previously published works, including a long biographical sketch of Sir William Phips, one of the later governors of Massachusetts. This sketch is out of proportion to the other biographies (including those of more significant people) in book 2. Such additions give the sense of a miscellany of history rather than a seamless historical narrative.
Critics have complained that the book is sprawling, heavily allusive, and pedantic. Mather's writing style has been called artificial, turgid, fantastic, and overloaded, full of dense jungles of quotation, analogy, and other embellishments. The word "baroque" best describes an artistry that is highly ornamental, elaborate in verbal usages, and crowded with figures of speech. Many of the devices Mather employs, such as repetition, puns, paradoxes, anagrams, and other wordplay, are probably ones he found effective in the pulpit.
Although Mather was attacked as ostentatious, idiosyncratic, extravagant, and intemperate, scholars such as Barrett Wendell and Lyman Kittredge note his veracity and ability to capture the spirit of his times. He was certainly quite conversant with the languages of the age. Kenneth B. Murdock notes four...
(The entire section is 1,892 words.)


text:
New here, so apologies for the basic question.
My undergraduate-level physics understanding of efficiency is it is the % of energy input that is turned into useful work as opposed to heat. At the same time, I've been told that free-standing space heaters waste energy because they are "inefficient". How can something that is designed to produce heat be considered inefficient?
Similarly, is there any reason to care about the efficiency light bulbs if I live in a climate where it is always cold outside and both heat and light are desirable things for a light bulb to produce?


text:
- Search for JobsSearch for Jobs
- Browse for JobsBrowse for Jobs
- Create a ResumeCreate a Resume
- Company DirectoryCompany Directory
1 Accounting job - Jacksonville, Florida, United States
- Sort:
- Relevance
- Newest
- Featured
- Most Popular
Browse for Accounting Jobs in Jacksonville, Florida, United States. Find the job of your dreams on CareerCast Temporary & Part-Time Network today!
Search for Similar Listings
28 days old
Jacksonville, FL US
A career in our Flexibility Talent Network practice will focus on directly supporting our client engagement teams by attracting qualified candidates for short term or defined period opportunities. This unique career option provides an alternative to year round employment for people who are looking t...


text:
Puzzle Levels
Puzzle Categories
Download a FREE Solution for your puzzles!
Puzzle Vessel - Large
Currency Converter: * Exchange rates shown above are estimates only, and may vary slightly from the rates charged by PayPal or your Credit Card Company.
Product Information
|Figure out how to drink from the vessel without spilling.
|Level 6 - Tricky
|Puzzle Master
|Other Misc Puzzles
|10.5 in x 4 in x 7.3 in / 26.7 cm x 10.2 cm x 18.6 cm
Product Description
A puzzle jug is a puzzle in the form of a jug or cup that was popular in the 18th and 19th centuries. These jugs or cups challenge the drinker to consume the contents without spilling them, which is impossible to do conventionally because of the perforations in them. They have also been known as "tavern joke jugs", which provided challenge and amusement for friends and spectators alike. These vessels make unique and entertaining gifts!
This particular jug is a custom vessel made just for Puzzle Master. This is a very large vessel.
Produced by Dane McCarthy of Black Knight Pottery in Newfoundland, Canada.
Customer Reviews |Write your own review!
This item has yet to be rated


text:
Locating and non-locating bearing positions
FNL housings can be used for both the locating and non-locating bearing positions. The housings are machined standard for bearings in the non-locating position. Bearings in the locating position as well as CARB toroidal roller bearings must be secured in the housing with a spacing washer or one or two locating rings (fig. 1). Appropriate spacing washers and locating rings are listed in the product table.
When a spacing washer or only one locating ring is used, it should be inserted on the cover side of the bearing. When two locating rings are used, one should be placed on each side of the bearing.


text:
"This monument is erected by the
Citizens of Berlin in Memory
Of Mary Ann Wyatt, wife of
Henry G. Green, who was
Married Feb 9, 1845, and on the
14th day of the same month
Was poisoned by her husband
With arsenic without any real
Or pretended cause.
Beautiful, intelligent and
Virtuous, she was wept over by
Community & the violated
Law justly exacted the life
Of the murderer as a penalty
For his crime."
Mary A W Green
Died Feb 17 1845
In the 23 Year of Her Life
7th Day Baptist Cemetery, Berlin, New York
I came across this tombstone while walking a cemetery for Find A Grave.


text:
seldom_seen necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 42 diseños de 11 diseñadores freelance.
Kickapoo Community Sanctuary
We're branding an entire watershed in Southeastern Wisconsin with the primary goal of representing all the stakeholders of the valley together under one large umbrella organization that can better serve and protect our vital natural resources through networking and valley-wide organized conservation efforts.
Stakeholders of the Kickapoo Watershed which include small family Organic Dairy Farmers, Trout fisherman, NGO's, Naturalists, Outdoor Enthusiasts, Bird Watchers, Horseback Riders, Mountain-bikers, and on an on.
The final logo needs to communicate 3 key elements all relating back to the Title.
A. Kickapoo. The Kickapoo Valley watershed. Should be represented by karst topography and a deep ravine river valley. See http://kickapooearthday.wordpress.com
B. Community. The stakeholders of the valley's diverse resources should be represented by a hand or the vague shape of a hand as can be seen in the included concept sketch.
C. Sanctuary. While this word refers to all living creatures in the valley, we've chosen the Cerulian Warbler, a key indicator species (think Canary in a cool mine) to represent creatures of the valley.
The tagline is "We Call it Home"
The attached concept is a clear representation of what we are after with each of the 3 elements sharing equal space. The hand can be implied, as in the river can turn into a branch that looks like a hand. The Warbler can be scaled a bit for realism then and the only request is that he look "cute". Should be a distinct river and some representation of valley walls.
I'm not a big fan of gradients and the simpler the design the better in my mind. 3 colors max.
I have to submit T-shirt and PostCard designs with the new logo next week, so this is a hot one.
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


text:
Pianist-composer Matthew Shipp is one of the leading lights of contemporary improvised music, and perhaps one of the most well-known figures in recent avant-garde music. A harmonic inventor and deeply spiritual player, Shipp's longtime association with tenor saxophonist David S. Ware (1949-2012) helped to put both players in the spotlight at a time when free music received little mention among the jazz press. Shipp was born December 7, 1960 in Delaware and studied at the New England Conservatory with Ran Blake and in Philadelphia with Dennis Sandole. Coming onto the New York scene in the late 1980s, Shipp has recorded frequently as a leader in solo, trio and duet contexts for labels such as Rogue Art, Hat Hut, FMP, Silkheart, Cadence, 2.13.61, No More Records and Thirsty Ear (for which he enjoys a curatorial status). His current trio features bassist Michael Bisio and drummer Whit Dickey, and Shipp's latest solo recording Piano Sutras is out in September on Thirsty Ear. This interview was conducted under the auspices of the New York City Jazz Record in July 2013, and what follows is the full text.
Shipp and I had recently been communicating about a piece he wrote on Keith Jarrett for former Rolling Stone editor Michael Azzerrad's online magazine The Talkhouse, so the interview begins in that setting.
All photos are courtesy Peter Gannushkin.
Let's start with the Jarrett thing.
[MS laughs]
Well I think it says what it needs to say; to be honest, why I did that – I got approached by The Talkhouse to do a review and they actually wanted me to review Questlove's new book, but I just didn't feel connected to it enough, so they said 'pick a new release' and I'd seen the story about Jarrett's recent performance at Umbria. I just can't take the idea that somebody – I've heard what he gets paid, so that somebody would take money like that and go and abuse the audience, you know there are so many people who would love to have that gig, and so many musicians are out here starving, so for somebody to be that much of a pig… I went overboard a little bit, but I was driven by that emotion.
I didn't think it was overboard at all; it seems like the negative reactions to it are surprising because you're known to be a candid person.
But honestly I have no bun in this fight. Jarrett doesn't really interest me and I try to stay out of thinking too hard about him, you know.
Me too. But the Umbria thing brought it back into focus.
So the fact that people may take your statements and run with them, does it affect how you present yourself as a musician if controversy is stirred up?
That aspect and my music are two different things. I just felt that somebody needed to do something like that to shake people up a little bit. Jarrett and his behavior have been an issue since the '70s and now it's 2013. It's time for a whole different conversation and, as Ethan [Iverson] said, he takes up way too much real estate. I just felt like he's a punk and needed to be put in his place, and if I could do my little part in that – and he is a punk, no doubt about it.
I've never had any interaction with him whatsoever.
Oh, me neither, but it's obvious. I know plenty of people that have, and I've talked to plenty of people that have heard stories about him – oh ho.
Your fee for a trio is cheap by comparison probably.
That's an understatement, but it's not even that – who can think that they're so precious that somebody can't take a photo? I mean, come on. I think about how he acts – promoters have told me he's gotten to try out more pianos than any concert pianist, and he's griping about photos and they have no power in the business. It's just like 'get off of it.'
Jarrett is claiming that he is influenced – and he is to a degree – by the legacy of Bud Powell and the legacy of Bill Evans, but in terms of a spiritual connection to that music I feel like it's –
Zero – absolutely none.
Yeah, and your work is certainly in that tradition and the connection is deeper or seems to be deeper.
Well, yeah, whatever – that's the bottom line. If I can do my little part to spit in his face, I'll do it.
Do you do much writing on your own apart from the Talkhouse piece?
I do sometimes, for myself – I don't have much time but I definitely write. Everybody writes nowadays, but actually I write poetry to help myself try and understand my artistic process. I would never publish it of course.
Do you read much in terms of poetry?
Yes, I do.
Who do you read?
Now I read William Wordsworth a lot – any type of writer who is visionary and has a type of romantic mysticism, I'm interested.
I think you've mentioned William Blake before.
Yeah, he's not my favorite as far as poets go, but I do like the concepts that are in Blake's work. Actually, that really – Blake is one of my main people conceptually.
Yes, because he has this whole visual realm that's connected to his writing.
And it takes certain Biblical concepts to a whole 'nother realm.
Oh, totally, he's far out.
And I'm definitely into subverting Christian symbols – that's part of my thing.
I've gotten a very "linguistic" sense about your work and from my perspective it seems that you're very interested in the particularities of language –
Oh completely and utterly, that's my whole thing. The universe consists of pulsations and energy patterns, and these energy patterns then cohere into something we call a brain, which then intercepts energy patterns and makes them into patterns on an instrument. So the whole idea of playing music, to me, is a kind of metaphysics of how the brain generates rhythm and language, and that's my whole thing. There is nothing else for me.
Now with regard to specific words or phrases – I notice you often use certain words like "vector," and it seems like you put a lot of meaning into specific terms that you use, whether in interviews or in musical titles.
Well the titles come out of a specific philosophical backdrop that is the universe I'm trying to paint with the music. It's where mysticism and science and mathematical patterning, or anything dealing with how pulsation and energy interact. That's where the titles come from, the interactions between those things.
Is there a specific system that you use to structure language verbally?
No, no – I immerse myself in language and whatever comes out after the period of immersion is what comes out.
No, no – I immerse myself in language and whatever comes out after the period of immersion is what comes out.
I'd like to follow this thread a little bit further; it seems like in this music there are those who are very strict in terms of how language is used to describe their work and how they also use language to structure experience, and there are those who let the work out into the world without very specific tracking.
Well, I am not trying to control how people view what I do at all. They can use whatever words they want. All I can do is try and paint my picture, and everybody else takes it into the nervous system and it becomes whatever it becomes. I have no desire to control the image of what I do other than I have my say about what I'm trying to do. So I think for me what makes it fun are the various interpretations other people have; they take it into their system and they see something there that I never saw before. I might be like 'oh wow, I see that too.' It might make a new neural connection for me if someone interprets something in a completely different way than I intended or saw it or perceived it myself.
It seems like it's often a struggle; I think of Anthony Braxton putting a very codified language system in with the music that can be daunting to some. I think when you encounter the work as "the work" a lot of those complexities fall away.
Well, they should – I think in his case, you listen to it and you get whatever you're going to get out of it, and I think he's trying to elicit certain things from the performers and that's about not presenting a system, it's about getting improvisers to stretch their imaginations.
And he's also related to a certain approach within Black Intellectualism that is quite complex on his part, I believe.
Yeah, I don't know many Black Intellectuals – he doesn't relate to a lot of specific traditions that I can think of. He's his own brand of person and he's a very interesting guy. On one level you can look at him as a street kid from Chicago who developed this whole elaborate thing, and the thing about him is that it's all very honest and heartfelt and has integrity for that reason, and whether someone buys into every aspect of it or not, it doesn't matter. It is for real and it represented a certain period of the music that was extremely fresh – his whole persona was extremely fresh and vibrant and helped to define that era [the 1970s]. You know, he came out of the AACM but went his own route, so for that reason it shows that a movement can foster many different visions. It's interesting if you look at the Vision Festival and some of the artists that are associated with that, they're all very different people. So you see that in the AACM also, where Braxton's so different from Roscoe Mitchell, who's so different from Henry Threadgill. They're all such completely different personalities. The geographical proximity is
what really put them together.
what really put them together.
And you had a stint with Roscoe, too, which gave you some idea of that, although it's one small node in your overarching work.
I've always been a big fan of Roscoe since I was a kid and it was really cool to work with him. But it was definitely different than working with David [Ware] or someone with an East Coast – I don't want to say energy thing, but there's a different set of approaches to the music. It was challenging because I'm more used to East Coast energy playing, and while someone who doesn't listen to a lot of this music might find it all the same, it's definitely not. It is a different type of playing.
I haven't listened to as much AACM music recently as I used to – it used to be something I gravitated towards heavily – but as my interest arc has shifted, that hasn't been in as much rotation. When you say East Coast energy music, it's funny – I don't put your music in that category.
Well, it's not at all – it's funny, I say that and I do relate to a certain tradition though I don't play energy music at all in any way whatsoever.
There is energy.
Yes, but I don't do that. For lack of a better way of looking at it, and I don't mean this directly, but you could say Andrew Hill meets Bill Evans – and it's just not energy music, it doesn't follow that tradition. It's more a metaphysical but heartfelt emotion.
And even the work with David Ware, there's a lot of density but it's patterned in a different way.
Well David was an iconoclast and an eccentric who had his own complete vision, so his thing took from energy music but it was definitely David Ware music. It took from aspects of Sonny Rollins' universe, Rahsaan Roland Kirk's universe, some aspects of what the Coltrane Quartet did, but it was really a product of David's time.
As your own music was being structured – not in its infancy, but more recently – how did that sphere of influence work?
Well, I was always conscious of keeping it different than David's music, and how do you do that? Well, it's piano trio music so it's different without having him because he's such a big personality. I was – he doesn't like syncopation. He always wanted rolling sound behind him like a river; I don't want to say post-Pharoah Sanders but for lack of a better way of characterizing it, he always seemed to me to be somebody that was like Pharoah in the sense that he came out of a certain tenor tradition, though Pharoah's whole thing is that he actually played with Coltrane, and David's thing is that he's a whole new generation.
Well, I was always conscious of keeping it different than David's music, and how do you do that? Well, it's piano trio music so it's different without having him because he's such a big personality. I was – he doesn't like syncopation. He always wanted rolling sound behind him like a river; I don't want to say post-Pharoah Sanders but for lack of a better way of characterizing it, he always seemed to me to be somebody that was like Pharoah in the sense that he came out of a certain tenor tradition, though Pharoah's whole thing is that he actually played with Coltrane, and David's thing is that he's a whole new generation.
But he did always want a rolling, river-like sound behind him and whenever I would start syncopating he would look at me in rehearsal and be like "man, don't do that. We don't want no jazz here." In my own music I think I'm far more involved with trying to link it up with a piano trio tradition. Whether it's what happens in a Bud Powell group or a Bill Evans group – I'm not trying to do that but I'm relating to that tradition. I think that happens in my thing way more than it did with David, because he wanted an ocean of sound.
You're more pointillistic, or it seems to me that you are. There are seeds or germs or very micro-phrases.
Yeah, my own thing is much more modular than what David did, or even what I did when I was in the rhythm section of his band.
But you've had groups with saxophonists, like with Rob Brown.
Well I was playing with Rob before I worked with David. That's the thing about working with somebody for sixteen years, with a really dominating personality – I tend to want my own thing to be really completely different.
It's like Jimmy Lyons apart from Cecil.
Right, right. But I have done stuff with Sabir Mateen, Evan Parker, Ivo Perelman – though with Ivo it's really his group. With Evan Parker, it's usually a duo. John Butcher I've played with in that way also.
I wanted to talk more about your work than David's, but the end of that particular group, and I know it's tough – it would be interesting to talk a bit about the Ware Quartet.
Well, I'll say a couple things about him. Firstly, he didn't listen to music at all – David basically was just putting stuff on the radio when he was driving and just check it out, but not beyond that.
I remember Cooper-Moore saying at the funeral that David would have rather been listening to Beyoncé than the free music that was being played.
I remember Cooper-Moore saying at the funeral that David would have rather been listening to Beyoncé than the free music that was being played.
[chuckles] Really? About the end of the group, he didn't want to break up the quartet but I was starting to feel like my career couldn't go any further if I was still seen as David S. Ware's pianist. I just – he was getting weird towards the group's end, and we had a very complex relationship. We were very close and we had a deep abiding connection. He understood me and I understood him on a very profound level, but there was that sense that – not that he was a parent to me – but there was that sense where you need to leave and establish your own thing, and I had an identity but I had to make clear that this was what I am about. I didn't want to be seen as someone else's pianist. It became clear without me saying anything to him and he did try to really strong-arm me to not leave, because he felt good that he had a group together that really understood him and were there for him. That was a big deal, and his whole thing was about commitment and having like-minded people together. The commitment and trust would generate whatever was generated.
The only fluctuation was with drummers, I'm sure because of various reasons.
He was very rough on drummers – they didn't last. He was rough on Susie, and it was a very unfortunate situation. It got personal; there was a lot of stuff that went on with her leaving the group and it actually got ugly. Toward the end he and Guillermo had this blowout and it got so nasty – I pretended I was asleep because I didn't want to deal with what they were saying. It was just too deep.
But he's tough – and his group after that, Muhammad Ali was his elder so he wasn't going to do anything. Muhammad's crazy anyway. You're not gonna mess with him, he's really out. He's the authentic thing and I think David would have had a different relationship with someone that had played with Frank Wright or Coltrane. It's a different thing.
I experienced what he put drummers through in rehearsal; he never bothered William and I. David really spent a lot of time with Beaver Harris, who was a mentor to him, and he always had a specific idea of what drummers should be doing in the music. He never treated them equally, whereas with William and I he did treat us as equals in terms of what the rhythm section did. The drummer was never like that. Even with Marc Edwards, whom he grew up with – and he didn't say stuff to him like he did to the others, because they were peers.
That's interesting because I figured there was some credence to the revolving door aspect, but also it kind of was what it was.
Well, each one lasted quite a while.
The dissolution of that quartet, I didn't realize it fell a lot on your divergent interests too.
It was my wanting to leave and he and Guillermo not getting along, and William was getting famous on his own and less available. And then Patricia [Nicholson Parker] came up with the idea that the gig at the Vision Festival was the last gig of the group, and David went along with it but he thought it was a gimmick. I was like, 'yeah okay, cool.' So we did the concert and then he called me up for another gig and said 'we can't do that' and he said 'oh, I thought it was just a gimmick for the festival.' He was actually upset about it then. David's an interesting cat, though – did you ever interview him?
No, we never met personally. I had my own struggles with the quartet's music as someone getting into free music, how I dealt with the music at that time – it took me a while to appreciate what David's quartet was about.
No, we never met personally. I had my own struggles with the quartet's music as someone getting into free music, how I dealt with the music at that time – it took me a while to appreciate what David's quartet was about.
Well you're not the first person to say that.
I also want to be fair and say that I grew to really love his music, but his playing took me a while to appreciate.
Don't worry, I know plenty of people who absolutely hate his playing and never grew to like it, and I know people that really like William or me but can't deal with him but can listen to the quartet anyway. I know people that really love David and can't deal with William or me, and I've seen it all – every permutation.
When I first heard that music I was coming to it from punk music, as well as listening to Coltrane and Ayler. The variant I first heard was with Susie who I didn't latch onto at the time, but I tried to be respectful and listen.
My wife hated Susie – not because I was on the road with her or anything, but she just didn't like her drumming at all. It was a funny and pointed criticism she had; whatever you think of her drumming, and it's not because of her, I think Godspelized [DIW, 1996] is one of David's best albums. I don't think it has anything to do with one person – it just happened to be great.
Whatever people you put into the equation, they're hopefully going to produce some great work as well as some that doesn't quite hit.
Speaking of Susie, I saw that Derek Bailey book by Ben Watson, and Bailey was really crazy about her. It was kind of funny to read that.
He also liked to have someone contrary in the group and chose people based on that.
He's an interesting character – a universe unto himself.
Anyway, my appreciation of David's work came later and now going back to recordings I wasn't as into, I enjoy them and it requires being in a certain place to pick up on things.
Flight of I [DIW, 1992] is one of my favorites because it had such a new energy to it, and Godspelized and Cryptology [Homestead, 1995] in a different way.
I liked Whit in the group. As a drummer now he's par excellence – it's hard for me being on the outside to notice improvement or gauge it, but I think now he's really amazing.
Well, the situations he's in, he fits well. He's not a drummer's drummer. He has trouble playing unless he's comfortable with the people and the situation. When he is comfortable, he's a genius of course.
Is that why he was out of the scene for a while?
He's crazy and we had a long flight and tour with David's group, and he was just not coping with the road. A bunch of stuff happened and he just wasn't together at the time. He has a lot of personal eccentricities that didn't work well with that situation, and his playing suffered as a result. He had physical problems, too. He feels comfortable with me because we're friends and I can put up with him.
He's crazy and we had a long flight and tour with David's group, and he was just not coping with the road. A bunch of stuff happened and he just wasn't together at the time. He has a lot of personal eccentricities that didn't work well with that situation, and his playing suffered as a result. He had physical problems, too. He feels comfortable with me because we're friends and I can put up with him.
His playing just sounds so full with the trio – it gave me a new appreciation for him. I always thought he was good but to hear him now…
He's grown a lot recently. He's worked really hard the last few years to fill out his playing. He's always working on things.
He has his own sound, for sure.
Yes, he's one of a kind, definitely.
|L-R: Whit Dickey, Matthew Shipp, Michael Bisio
So as far as how you conceive of the trio versus solo work, is it fair to say they are of a piece?
Yeah, they're completely interrelated in that it's all an unfolding of my universe, but I guess that where they're not related is that with the trio, even if I'm playing solo at a session, I'm always thinking of interacting with [Michael] Bisio – in the back of my mind, it's wrapping lines around the bass player.
You tend to break up the trio on recordings – on Elastic Aspects [Thirsty Ear, 2012] there were solo pieces for Bisio and Dickey. It seems like your conception of the trio is that you give that much space to the other players and that there are specific compositions for them to play solo or duet. Rather than a strict soloist and rhythm in the piano tradition, it seems structured in a different way.
When you're solo it just takes on a whole different way of unfolding. But all the different aspects of my universe feed all the other aspects. I like to go between all of it at different times, even subconsciously when you're sleeping at night – what you did solo changes what you do in trio at a later date. There is a very specific thing when a solo piece is unfolding that only happens then.
I grew up with piano trios because my dad is a pianist, avocationally anyway, and really likes the pretty straight ahead stuff. Stanley Cowell, Joe Sample, Hal Galper, Jarrett – and that was my introduction to the music, which I of course turned away from before coming back to it later on my own. I wanted something more robust and obviously expressive. As far as the amount of harmonic depth that's available from those three instruments –
It's endless. I don't know what everybody is doing in the format, as there are some obvious groups that I probably haven't listened to that I should have. I love Jason Moran's trio – I love seeing them live. I really like Nasheet Waits and Taurus Mateen – that's a great unit.
And you come from a rock background to some degree as far as listening goes. With the piano trio as an idiom – and I came from a rock background or a punk background – I find it difficult to wrap my brain around the way in which rock or pop is used as a fulcrum to operate an improvising group. I'm thinking of groups like The Bad Plus or EST. To me it's frustrating, but you might have a different insight on that.
No, not really. My trio music isn't based on that so I'm not trying to be postmodern, I'm just trying to use the talents of the people I have and do something interesting. It's pretty simple. I can't – other than the fact that I tend to play with people who completely fetishize and love the jazz tradition, and I can definitely say that about Whit Dickey and Michael Bisio or William Parker and Gerald Cleaver, the people who have been in recent trios of mine have a very strong connection to the whole jazz idiom, probably stronger than the people who talk a lot about tradition. The people I play with actually seem to me to love and know the tradition more, despite the fact that they don't wear it on their sleeves. So you know, even though I have talked a lot about getting away from tradition in the past, paradoxically everything we do comes from complete love for and absorption in the jazz tradition.
Of course. Every time I've listened to one of your records, it's clear to me. And you can't escape tradition if you are doing this music – it's there.
No, you can't escape history – whatever you do, history informs and shapes you and your concept. Maybe to some degree you can push something somewhere, because all of our brains are unique structures of nature you can't even play a lick like somebody else did, even if you're expert at copying somebody what you're doing is different by the nature of your brain chemistry. So all that's to say that you can't escape history because it presses down and weighs on you, the whole history of the universe, and it is also – I don't want to say it's moving forward because it's not going anywhere, it just IS – but it is now.
It provides a lot of opportunities.
Yeah, exactly – it provides opportunities to be in the now, whatever that is.
Perhaps at this point we should discuss your solo work.
Well, I would like to get across the idea that there's an ecstatic and sensual and all-engrossing aspect to playing solo piano that is a complete experience and I revel in the challenge of that. I don't show that in the way like Jarrett moans, but it's an all encompassing, ecstatic experience to relate to this inanimate alphabet and object called the piano. It's the earth, it's made out of ivory and wood and metal, and the harp aspect of it has been translated into an encoded alphabet.
So you are thinking along the lines of sacred harp music.
Right, and it's an all-encompassing thing to relate to the instrument, and I would hope to relate that to the solo album, being involved with that tradition. Paradoxically, Keith Jarrett is a part of that tradition and he has explored the idea of naked improvisation at the piano.
And he's recorded sacred music – he's done it whether you like it or not.
That's a great tradition whether it's Scott Joplin doing solo music from an African American experience in a melting pot with European forms, or Art Tatum coming completely from outer space, which Tatum is an outer space cat – he came and he left and nobody really figured out where he was coming from. Or Cecil Taylor in Air Above Mountains, Silent Tongues and Indent, which were being done about the same time as Jarrett started coming around, and those are absolute polar opposites. They all relate to something of a naked dealing with the instrument.
And if you talk about ritual, Cecil is completely dealing with that.
Yes, he's dealing with the visual aspect of it. The piano's possibilities are not limited and everybody's mind is structured differently, so each mind brings a different wrinkle to the equation, so it is great to be part of dealing with that tradition in my own way.
In terms of the arc of your work, where does Piano Sutras fit in?
I'm not sure that I know about that; I like to think there is an evolution, and when I listen to Symbol Systems [No More Records, 1995] – it's going to sound like I'm bragging but I view that in terms of an artistic whole in itself, and I feel it is one of my strongest CDs. I don't know if there's evolution as far as maybe it's always changing and reflecting back on itself. I haven't listened to Before the World [FMP, 1997] in a long time and I don't even remember what's on that one, but people tend to see that as germinating my other work, but they kind of see that as a marker. Destination:Out did a piece on it and what they said is kind of what I'm trying to get out. 4D [2010] and One [2008], those are my Thirsty Ear solos along with this one, and it might come to me in five years when I'm sitting and watching TV and think "oh yeah, that's where that fit in" – but I don't know. That's for other people to figure out. One was definitely a very specific mindset going into it, so that is somewhat different from the others.
It's true, the solo tradition has a separateness from the trio tradition or the duets, which I'm particularly a fan of.
That's funny – a lot of people aren't. When you tell a label that you want to do a duet album they get a bit uncomfortable.
I'm always suggesting to people who want to put on concerts that that model is interesting – a real two-way conversation. I can see it as a hard sell but you've had some extraordinary ones.
Yeah, with William Parker, back in the day Zo did really well.
And the recent ones with Bisio and Darius Jones.
Yeah, they were kind of overshadowed by The Art of the Improviser [Thirsty Ear, 2011], but they got critical acclaim.
I remember we were talking at one point before and I brought up the Bill Evans connection pretty heavily, and it's funny – years ago my ears might not have been tuned to that, but do you feel like your music has become more lyrical over time?
I'm getting older. My wife thinks what I do is way more lyrical than it used to be. A friend of hers told her, "oh you've been with him for so long that you can hear it now, whereas twenty-some years ago it was new to you." But I think – I don't think of Bill Evans as a lyrical player, and it's funny that you mention him because I think he was concerned with all of the elements of music. Roscoe Mitchell used to say, "no matter what you do, you can't escape the basic rules of music." So whether it's harmony, counterpoint, whatever you do you're a servant to the rules of music and you can't forget that. When I think of Bill Evans I think of somebody who's trying to explore something deeper and he's always trying to delve like a sculptor, he keeps chipping away. Therefore that doesn't necessarily lead to lyricism in the way that people think of the word. It leads to something that might be lyrical but the attempt is at depth. When someone says you are playing lyrically, it may mean that you're playing a singsong melody or that you're trying to do something –
I'm getting older. My wife thinks what I do is way more lyrical than it used to be. A friend of hers told her, "oh you've been with him for so long that you can hear it now, whereas twenty-some years ago it was new to you." But I think – I don't think of Bill Evans as a lyrical player, and it's funny that you mention him because I think he was concerned with all of the elements of music. Roscoe Mitchell used to say, "no matter what you do, you can't escape the basic rules of music." So whether it's harmony, counterpoint, whatever you do you're a servant to the rules of music and you can't forget that. When I think of Bill Evans I think of somebody who's trying to explore something deeper and he's always trying to delve like a sculptor, he keeps chipping away. Therefore that doesn't necessarily lead to lyricism in the way that people think of the word. It leads to something that might be lyrical but the attempt is at depth. When someone says you are playing lyrically, it may mean that you're playing a singsong melody or that you're trying to do something –
There's a pejorative sense to the word that could be applied in that case.
Right, well, I do think of myself as a melodic player and I'm always trying to make the piano bleed melodic nuggets like I'm trying to mine for gold under the earth and take something out that can function as a brain wave or some unit of sensation, and hope that that conveys information. So for it to convey information it has to be melodic. When you say lyrical, you could be implying that I'm like Jarrett or George Winston.
The first few George Winston records aren't bad!
I don't have anything against George Winston, actually. I do have something against Jarrett. Winston has no pretenses.
I don't have anything against George Winston, actually. I do have something against Jarrett. Winston has no pretenses.
Evans too, he gave a lot of space to other musicians. I have one recording from Ljubljana with Tony Oxley on drums –
Oxley's on a Bill Evans record? What?!
Yeah, it's from '72, with Eddie Gomez on bass, and there's quite a bit of room for Oxley to play solo [Live at the Festival, on Enja].
He probably didn't like playing with him and just let him take it away.
It's interesting that tension exists; and it seems like he was interested in giving large sections of music to people to explore.
Well I think with Bill Evans he was always interested in an integrated trio that was above and beyond the three members. That's one of his great contributions; not that people didn't do it before, but it was – I don't think people thought that way. It was just a product of musicality but I think he really approached the whole thing from that standpoint.
I like what you're saying too about the struggle – and stop me if I'm misconstruing your language – but that you're pulling things out of the earth in a way, but it seems like a very quiet or a long term working of the material that's very steady.
Oh yeah, I'm completely and utterly involved in that. The idea is to work the material over and over and over until it becomes instinct or second nature, and that just gives you more freedom to dig deeper because you're not afraid of falling into the abyss. Even if you jump off, you know something will always generate itself instantly, and that's what you practice – to have the reflexes interact with the conceptual ability to do that.
And the abyss itself can be rather interesting, so it is a thing.
The abyss in a way is God, it's the self generation of structure out of wherever formlessness coheres into a form and all forms are temporary constructions of energy, but somehow energy comes out of the abyss and that is a vastness that you can never get to even though it encompasses – it's in you and it is what you're made of but you can never directly get. There's a verse in the Bible that if you see God, you will die. So the abyss is everything because on one level we don't do any of this – you move your finger and it happens, it's all nature and spirit somehow. The music is a way to explore your relationship with nature and spirit. I'm not trying to sound mystical; I'm trying to talk about a real, pragmatic thing. The music gives us a device to explore.
I've read a fair share of pre-Socratics as well as recent American pragmatic philosophy, so what you are saying makes total sense.
You're talking about William James?
More John Dewey, but James is interesting as well. I'm nuts about Dewey.
Oh yeah? My father is too; I've read very little, just some writing about education.
His Art as Experience is one of my favorite books – it's great.
Yeah, I should check that out.
You come from a pretty spiritual background.
Oh yes, completely. I had a minister tell my parents when I was twelve years old that I was always going to be a troubled kid because – this is a priest saying this, mind you – because I was a religious fanatic, and it was problematic.
A religious fanatic at that age how?
Well I was obsessed with the Eucharist and that it, to me, if you actually believe that you're ingesting the body and blood of Jesus Christ, that you're actually in a certain sense – the crucifixion of Jesus is this event outside space and time, so every time you go through that rite, you're reviving that field, that non-spatial or non-temporal field of activity.
So it's a disconnect between temporality and non-temporal reality.
Right, right, and the fact that a field effect exists in that way. If you are really into it and you believe in that field effect as a reality – I was always just obsessed with that to the point that I used to steal wafers from the Church and I knew the whole service by memory because I was an altar boy, so I used to do it at home like a scientific experiment, trying to verify how the wafer and wine would transmute to the body and blood of Jesus Christ. So the whole idea of the Eucharist probably informs my music more than anything.
To follow that thread a little further, in terms of the music how does it translate? I suppose it would be because you're dealing with making music temporally but sonically you are outside of time, that that may be the connection.
I think it has to do with the mundane being transported to a divine realm, and that's what happens during the Eucharist when you have a wafer of bread and some grape juice or wine becoming the blood and body of a godhead, and you know, it's some type of transcendence of the mundane. The anthropologist Mircea Eliade called it theophany, and it's the breakup of the ontological construction of the world when you have some spirit enter into the mundane. At some level, that's what happens when musicians play. Having gone through a religious background, it kind of gives you a feel for the shimmering dynamic of angst that goes along with religious symbology and a religious ritual. Therefore, the act of music becomes like a religious ritual.
Right. It's funny because the ritual aspect seems specific to certain players and kinds of music; it's not always going to be ritualistic in improvised music. You encounter people for whom it's less codified by belief, just getting together to play.
And for some people it's a highly intellectual thing.
Yeah, and that's fine too. It doesn't have to be spiritual or a cognitive investigation, either.
Right, and for some it's a mixture of all of the above.
So how did this current trio come together? How do you choose players?
I prefer to never have to change personnel. It changed from William and Gerald because they're both so busy, so I had to bring in people that don't have gigs all the time.
I prefer to never have to change personnel. It changed from William and Gerald because they're both so busy, so I had to bring in people that don't have gigs all the time.
Yeah, because Whit was kind of not coming up very frequently.
Mike and I had talked about playing for years, because we've been friends. He actually used to live above this coffee shop.
He was out west for a long time.
Yeah, he was in Seattle for years and years. We'd been talking about playing for a long time and it finally just happened, so I don't know – when I have a group I try to keep it together forever.
So when you went away from the string trio was that a conscious decision?
Well, that wasn't a working group – not really. I've done about twenty or thirty gigs over the years in that configuration, but it was never with any long tours. That was a special project and a very important one for me; I feel that group never got its due. The first album, By the Law of Music [Hat Hut, 1997] was highly critically acclaimed even though it wasn't reviewed in DownBeat or any place like that. It got me on the cover of Jazziz – but that group was never really dealt with and I personally thought it was a very innovative group for its time period. I did a project with Ivo – Mat and I played with him and that's coming out shortly. I did a string trio concert a couple of years ago in Maine at a festival, and in the future I would like to do that music completely improvised, because the two albums are all highly composed.
Well, that wasn't a working group – not really. I've done about twenty or thirty gigs over the years in that configuration, but it was never with any long tours. That was a special project and a very important one for me; I feel that group never got its due. The first album, By the Law of Music [Hat Hut, 1997] was highly critically acclaimed even though it wasn't reviewed in DownBeat or any place like that. It got me on the cover of Jazziz – but that group was never really dealt with and I personally thought it was a very innovative group for its time period. I did a project with Ivo – Mat and I played with him and that's coming out shortly. I did a string trio concert a couple of years ago in Maine at a festival, and in the future I would like to do that music completely improvised, because the two albums are all highly composed.
It is funny because this music seems to be at a point where it's all very project-oriented and regular groups are almost an impossibility. Your group refutes that in a way – you don't have thirty projects going on at once. I think it dilutes people's work in a lot of ways to do that.
It's survival – it's tough out here now. It's always been tough, but now it is extra-tough.
Is it harder for you to get US gigs?
The US has always been hard and Europe's in a recession. Put that together and it isn't pretty.
The US has always been hard and Europe's in a recession. Put that together and it isn't pretty.
Would you say you're working less?
I'm not sure; it feels that way, but there were periods this year when I was really busy. There are periods coming up – I have a gig in August and then September is really busy. It's hard, because no matter what the overall situation is, you're only one person within it and you may have all kinds of variables to deal with. It's hard to assess what your situation is compared to the overall setting, because the overall can be good and you have a slow period for whatever reason. It's difficult – it's definitely difficult.
I'm not sure; it feels that way, but there were periods this year when I was really busy. There are periods coming up – I have a gig in August and then September is really busy. It's hard, because no matter what the overall situation is, you're only one person within it and you may have all kinds of variables to deal with. It's hard to assess what your situation is compared to the overall setting, because the overall can be good and you have a slow period for whatever reason. It's difficult – it's definitely difficult.
Moving here a year ago, one is inundated by a lot of performances but they're all for the door.
Unless you're playing the Jazz Standard or whatever, New York gigs are problematic. They're good if you want to rehearse and develop the music, play a lot just to get a group sound together, but not as far as making a living.
You have to work outside of that or be independently wealthy.
I'm definitely not independently wealthy, I can tell you that!
Yeah, right – but you're able to make a living.
Yeah, it's funny because I run into people who see my name a lot and they think I'm rich. I'm like 'whoa, baby – you don't even know what I have to deal with.'
You have to be frugal and so forth.
I've definitely structured my living around knowing that I would have to make a lot of sacrifices to do this. I was aware of that from day one and you have to be willing to sacrifice a lot in order to make music.
Was there a time at which you thought about doing something else?
[laughs] Every day!
[laughs] Every day!
I mean, what about when you were younger?
No, I've always really felt this was the only thing I'm put on Earth to do. Some people may think I might have that conditioned to the point of it entering into being conceited, but I've always felt that I was a prophet put here to do this, period. I've never – even though there are periods where I think 'aw God, why did I get myself into this,' I never swayed from it.
How are you using the word prophet here?
In the sense of a religious calling, basically – it is a religious fervor for what you do.
But not in the sense of legacy – you're not saying 'I'm doing this and it will then set the stage for others to do this.'
No, I'm only saying that the spirit comes through me and requires me to do this – it's a prophet in that sense. Or a priest, you could say.
That requires a certain sacrifice of living ascetically.
Yeah, it is ascetic – you've almost got to be like a monk.
I'm amazed at the sacrifices people make in order to do this.
I'm amazed too and I'm in the middle of it! But, you know, people have died to do this. I guess success is worth it, but once you get started, it's hard to get off the train unless you've programmed yourself for getting off it and you give yourself an alternative. If you are that serious about it you tend not to give yourself alternatives. So, you've got to go where it takes you, and that's a danger you have to be willing to put up with. It's not pretty all the time.
You've had support in terms of being able to record and get the work out there, though, from pretty early on.
Yes, I've had a complete and utter support with that.
And you've got a tight relationship with labels like Thirsty Ear, too.
That's true for my relationships with a bunch of labels – Not Two, Rogue Art, Hat Hut too, even though I haven't recorded for them in years.
Hat Hut seems to be struggling now.
Oh yeah, the label is completely struggling. They used to have the backing of UBS, the Swiss Bank. Some guy on their board really liked the project and then that person left and a whole new generation of people came in and cut it out. Werner has never really recovered from losing that support. When he had it, it was really easy – when I recorded for him I was on a monthly salary. I can only think of a few musicians in that situation, like David Murray with DIW. Now that never happens, but when Werner lost his funding from the Swiss bank, that was that.
Thirsty Ear is special, though, because you still have an A&R aspect to your work with the label.
Yeah, exactly – and they are also struggling, though there is an infrastructure in place where they've done a lot of different things over the years, and there's definitely a way to keep things afloat. But if you're going to go by numbers, the label is dealing with the difficulties that we are all dealing with.
All these sacred labels are hurting; many musicians rightfully have some suspicions in dealing with "label business," but even on the positive end of labels that have done some good, they are kind of screwed.
It's really toxic what's going on out here on so many levels. I think that if someone is actually focused on it, one could find a way to sell physical product, but someone would have to be crazily into proving their point and it would have to be a small group of things that are very, very focused. It would have to be taken as an art object, almost, and if someone was crazy enough they could do it. But nobody approaches it that way and once you start a label you have to deal with so much stuff; you tend to go through the usual routes and it always ends up with the same result.
I read today that digital sales are really tanking.
Yes, they are tanking and that's not even filling in – that's a product of pirating and people streaming on Spotify. If you can get your own playlist on your phone, why would you download from iTunes? It's just so much stuff that's taking away from the music here and there, and it's been going on for so long that it's just infecting the whole thing.
This music is extremely tangible and that requires a vessel to put it forward, whether that's the musician or the concert or the recording as an object. I come from an art background and I like to look at cool stuff.
The other thing is that I don't think it's possible to – I have yet to see a jazz musician generate a personality or a career in the business that isn't based on a physical album. You can't do it on a YouTube video – nobody will take that seriously, at least with jazz. Sales of physical product or down, but that's the only means for a jazz musician to have a personality within the broad context of the industry. There's no other way. It's just really bizarre, the whole thing.
It seems like if things keep going the way they are in terms of a lack of physicality for the medium, does that – I can't imagine the music stopping, but what's the transmission method?
I don't know – it's scary what's going on. It's a change in formats for the sake of being able to, and once technology starts dictating music, it's over.
I'm an LP guy, I've never been a big fan of CDs, and my girlfriend is always like "why do you have all of these? You can listen to this on a computer." A lot of people are like that; they don't understand – they can't conceptualize dealing with a tangible form of something.
I was with William Parker in RadioShack once and he bought a case to take CDs on the road. It was something you'd buy if you only had CDs, and this young guy behind the counter was just like 'why don't you just download music to your phone?' and William was like 'no, this is what I want' and he was like 'really?' The kid was dumbfounded and it was funny to watch because they were talking about it and it kind of blew the kid's mind.
I have music on my phone of course; I listen to stuff as best I can on the headphones, promos and stuff, which will last me until the actual physical edition comes out. I certainly understand the convenience of MP3s but I don't actually feel like I have the music or that it's in my orbit – I don't connect to it unless it's an object. It's funny because music is an ephemeral thing and you can't have a container for something that isn't physical, so that is another semantic problem right there.
But it helps bring the worldview into focus that the artist was trying to convey, rather than having it on your phone. As Dolphy said "once you hear music in the air it's gone. You can never capture it again."
Right, although that statement itself was recorded and put on an album.
A lot of my promos are digital and I have to hassle people for physical copies – it's not cheap to provide them, but writers aren't getting paid anyway. I don't experience music on MP3 like I do on a stereo and if I'm going to try to say something about the work, it needs to be fully experienced. It's very strange.
Jazz has always been hard and it always will be. There's just not a place for it in society – there is theoretically but practically people just aren't wanting to deal with the realities the music presents.
On that note, you seem fairly comfortable with the word Jazz.
Yeah, I'm not into this BAM thing that Nicholas Payton is pushing.
Bill Dixon would always call it 'this music' or 'Black Music' and I tend to say 'this music a lot,' though I think it's because I've been conditioned by some of my peers and heroes.
Well here's the thing: I think musicians have had problems with the word, and Duke Ellington didn't want to be called a jazz musician for example. The problem comes when someone tries to own a word, and for somebody like me, I just want to do what I want to do, get my credit cards paid off and get health insurance. I don't have the energy to deal with semantics – people don't have a concept of what the music's about anyway, so if you change the word every time it just makes things harder for people. At this point I just want to ride it out and get paid for what I do, and it just becomes irrelevant to focus on that for me. That being said, I just want to play and pay my bills. That's what it comes down to.
I respect that completely, as much as – or as important as it is to get a handle on the meaning behind the work and the structure of the experience –
That's beyond language anyway; whatever you call it doesn't matter. Any profound experience you have will be beyond language.
Well, I think of it like a vessel for a recording; words are objects to convey experience and you have to have something like that to move the experience forward. What you do with it or how you relate to it – there will always be frames and as a writer I have to give them some credence.
I do, and to me a word is a lettered construction and if you're looking for my music, you go to the jazz section of the store and buy it. It's a word that encompasses so much; when you can take a word and put Buddy Bolden, Jeff Beck, Douglas Ewart, Marcus Roberts and myself into that word, it's obviously amorphous. People know from the word what it signifies, even though the people I just mentioned are very different.
In a sense that's generative, that's positive.
I agree.
Coming from a pretty heavy art historical background, visual artists hate to be a part of any movement or specific verbal structure.
But they don't mind being called artists.
Right, true.
And that's just a construction of letters – what does that mean? Jackson Pollock is an artist and so is Lady Gaga.
"The point where the letter and the Spirit of the tradition meet is the Matthew Shipp Trio. Clifford, you ask how our concepts mesh, I can start by telling you there are very few, not even a handful, of other artists I feel so absolutely in tune with. Conceptually I think our mentors fostered very similar aesthetics: to know what was, find your own voice, and if possible, move this music forward (my words, not trying to speak for anyone else). We never had to choose between being a jazz musician or a creative one. They are the same thing! The neoists of the 1980's really bastardized this by only championing the most institutionalized aspects of the music, the reaction to it although necessary was as damaging, in many instances the abandonment of the ideals of this music, even going as far as referring to it by "the j word," ridiculous, especially in light of the fact that this music is all inclusive. Add to that the fact that there are certainly charlatans in this and every other music it's no wonder many people turn their backs on it.
"One of the more gratifying compliments we hear at MS3 concerts (always spoken by someone dragged there by a friend) goes something like: I didn't even think I liked this music until I heard you guys!
"Wow, what could be better!? This is a testament to Matthew's ability to pull together all the elements of this music and present it in a manner that is inclusive, inviting and warm. Matt's musicianship, artistry and drive are certainly inspirational on many levels but as I am writing this it has suddenly dawned on me that he inspires me to believe in me."
Thanks MattMichael Bisio
"I am not sure of the date that I met Matthew Shipp but what struck about him was he was very serious about music and about his participating in it. I met and spoke to him way before I actually played with him. What he was doing musically and mystically was very deep; I am still getting into it but I immediately felt his music – to me that is the most important thing.
"When I was playing hours and hours of free creative open ended improvisation, the concept of universal harmony was developed that allowed any tones to support and go along with [other] tones both rhythmically and harmonically. This included the concept of making up chord changes on the spot and each time a piece of music would change both rhythmically and harmonically. Matthew is constantly working on his music trying to find the correct formulas both rhythmically and harmonically that will change the world." – William Parker in communication, August 2013
"I was introduced to Matt in 1984 through Chris Rich, who mentioned him as someone I should meet. What struck me the most about him was his encouragement and conviction. You have to remember, at that time there was a lot of bullshit on the scene in New York then, and Matt wasn't afraid to call it out when he saw it. I wouldn't want to pick apart his playing in particular, but I will say that Matt had (and has) a really great sense of how to make form in improvisation. He tells a story or creates bits of pieces of stories that he puts into long form improvisations. He's a great performer and can deliver every night, consistently. He is more harmonically based than people might think, and he's very original in how he expresses himself as himself. Free music is about invention as opposed to strict traditions, and Matt has really invented the way to sound like Matt." – Joe Morris in conversation, August 2013
"Matt lets the harmonics collide and shock one another in midair, creating an orgy of sounds. He's such a brilliant dude, and he's picking up on what I'm doing, leading me on or replicating what I do. If Matt could perform exercises as such, he would – with the piano you're stuck to the tempered notes. The most you can do is brilliantly help them with your pedals, and that's what he does. Matt is also very meticulous and a methodical musician; lately we're talking about these studies as a side conversation, not as a game plan. He was telling me that he has been studying the Bach chorales very seriously, and he just finished that so he's very excited." – Ivo Perelman in conversation, January 2013


text:
Login Required
You need to have a Pokémon Trainer Club account to save your Favorite Pokémon!Log In Sign Up No Thanks
When it is healthy, its core sticks out. Always facing the same way, it swiftly moves front to back and left to right.
Because its energy was too great to be contained, the energy leaked and formed orange crystals.
The Pokémon Company International is not responsible for the content of any linked website that is not operated by The Pokémon Company International. Please note that these websites' privacy policies and security practices may differ from The Pokémon Company International's standards.
Pokemon.com administrators have been notified and will review the screen name for compliance with the Terms of Use.
Your request could not be completed. Please try again. If the problem persists, please contact Customer Support.


text:
Police in Sudan have recaptured one of the convicted killers of Buffalo native John M. Granville, a spokesman for the African nation told The Buffalo News on Wednesday.
Abdul Rauf Abuzaid, one of four convicted Granville killers who escaped June 11 from Sudan's most secure prison, was caught Monday in a remote area, said Seif Yesin, chief spokesman at the Sudanese Embassy in Washington.
"He has been taken into custody and is undergoing interrogation," Yesin said of Abuzaid. "Remain assured that the security forces are doing their utmost to make sure that these criminals are caught and brought to justice."
A Sudanese judge sentenced Abuzaid and three other men, one of them a former officer in Sudan's army, to hang after a trial last year in the city of Khartoum.
They were convicted of ambushing and fatally shooting Granville and his driver after a New Year's Eve party at the home of a British diplomat.
Granville, 33, grew up in South Buffalo and graduated from Canisius High School.
A former Peace Corps volunteer, he was working in Sudan for the U.S. Agency for International Development, trying to implement a peace treaty in the war-torn country.
e-mail: email@example.com


text:
The Chinese government says an audit of a giant state-owned conglomerate is under way, apparently responding to corruption allegations a Chinese journalist issued against its chairman and other top executives.
The official Xinhua News Agency reported Friday that the agency that supervises state assets said an audit of China Resources Group was under way and that any wrongdoing, if found, would be punished.
A Chinese journalist on Wednesday published a letter online accusing the conglomerate's chairman and top executives of its subsidiary, China Resources Power, of deliberately overpaying for an acquisition in 2010.
The journalist, Wang Wenzhi, said they were responsible for the loss of several billions of yuan in state assets.
China Resources, which reported a profit of $5.3 billion last year, has denied wrongdoing.
Source: FULL ARTICLE at Fox World News


text:
In the past month, Gov. Paul LePage has hinted he may be willing to allow the state budget to grow by $300 million a year to expand health care to 55,000 more people, has proposed $100 million in new state government borrowing on roads and infrastructure, wants $100 million in new state borrowing for a new prison, and he's demanding the Legislature borrow $200 million to pay the hospitals. And if we repay the hospitals, LePage says he'll allow another $100 million in bonds to be spent!
That is over $3.5 billion in expanded government spending over the next decade! How come I had to serve when John Baldacci was governor? Baldacci's budget got smaller by the time he left office.
As I always say, Republicans don't ever actually want smaller government. It's simply a talking point. They just want to spend on different things than Democrats.
That said, if LePage expands government to insure more people, build much-needed infrastructure, and inject millions into our economy to create jobs, count me in.


text:
June 9, 2005 -- Ibuprofen, naproxen, and similar pain relievers raise a person's risk of heart attack, a new study suggests.
Ibuprofen and naproxen - traditional anti-inflammatory pain relievers -- have been considered more heart friendly than the new Cox-2 type of pain drugs. Two of the Cox-2 drugs, Vioxx and Bextra, have been pulled from the marketVioxx and Bextra, have been pulled from the market because they increase a person's risk of heart attack.
The new study, led by Julia Hippisley-Cox, MD, MRCP, of the University of Nottingham, England, did show that Vioxx increased the risk of heart attack by 32% when taken in the previous three months. But it also linked ibuprofen -- brand names include Advil and Motrin -- to a 24% higher risk of heart attack compared with people who had not taken any anti-inflammatory in the last three years.
Diclofenac (brand names including Arthrotec, Cataflam, and Voltaren) increased heart attack risk by 55%. Naproxen (brand names include Aleve) was also linked to a higher heart attack risk, although the finding was not as strong.
Previous research has shown no link between occasional use of painkillers and heart attacks. Patients taking over-the-counter anti-inflammatory painkillers should not take them for more than 10 days without checking with their doctor.
A second study by Canadian arthritis specialist Marie Hudson, MD, MPH, found that among elderly patients who already had heart disease, Celebrex -- a Cox-2 drug still on the market -- was safer than Vioxx and possibly even traditional anti-inflammatory drugs.
Both studies appear in the June 11 issue of the British Medical Journal.
Heart Attacks and Pain Pills
Hippisley-Cox and colleague Carol Coupland analyzed data collected from general practices across England, Wales, and Scotland. They analyzed data from 9,218 people with first-time heart attacks and compared them to 86,349 matched patients without heart attacks.
Those with heart attacks were much more likely to have used anti-inflammatory painkillers regularly, also known as nonsteroidal anti-inflammatory drugs (NSAIDs).
"The list of traditional NSAIDs seems to be comparable to the Cox-2 drugs in increasing heart attack risk," says Hippisley-Cox, "but when you put that into perspective, the vast majority of people taking these drugs will not be harmed by them."
Older patients are at the highest risk of heart attack and thus more vulnerable to the increased heart risk from pain drugs. Hippisley-Cox calculates that Vioxx would cause one extra heart attack for every 700 patients aged 65 and older taking the drug. Ibuprofen would cause one extra heart attack for every 1,000 patients taking the drug.


text:
SAN JOSE, Calif. — December 10, 2013 — SEMI today announced a "Call for Papers" for the new Semiconductor Technology Symposium, the popular TechXPOT programs, and a new Science Park program featuring university research and advanced R&D subjects at SEMICON West, North America's premier microelectronics event, to be held July 8-10 at the Moscone Center in San Francisco, Calif. Presentation abstracts are due March 17, 2014.
SEMICON West 2014 will be attended by nearly 30,000 semiconductor and related microelectronics industry professionals and feature more than 60 hours of technical sessions, led by the most informed and influential experts in the world. The "standing-room only" success of the SEMICON West TechXPOT programs has prompted the creation of the new Semiconductor Technology Symposium (STS). Beginning in 2014, popular programs on leading-edge chip manufacturing will be held in a classroom setting with reserved seating adjacent to the show floor in the North Hall of Moscone Center. STS will offer technology trends, developments and new technology information in the areas of advanced materials and processing, lithography, metrology, 450mm, advanced packaging, 3D-IC. Test Vision 2020, the leading semiconductor test conference focusing on ATE and high-volume manufacturing, will join the STS in the Moscone Center location.
TechXPOT programs in the Moscone Center North and South Halls will continue focusing on special topics in semiconductor manufacturing, and adjacent and related microelectronics technologies. An additional new program, Science Park, will feature a dedicated stage and exhibition area featuring advanced research and development technology topics centered on universities, research consortia, and R&D tools and technologies.
For the Semiconductor Technology Symposium, SEMI is soliciting technical presentations in the following areas:
- Manufacturing nonplanar transistors
- New and advanced metrology solutions
- Advanced lithography
- 450mm wafer processing
- Advanced materials and processes
- Advanced packaging
- Trends and technologies in 3D stacked IC
- Semiconductor test
For TechXPOT sessions in North and South Hall of the Moscone Center, SEMI is soliciting technical presentations in the following areas:
- Semiconductor test
- Advanced packaging
- Productivity solutions for 200mm and 300mm wafer processing
- Accelerating and improving yield
- MEMS manufacturing and technology
- Enabling the Internet of Things
- Manufacturing advanced power semiconductors
- Printed and flexible electronics
The new Science Park program is soliciting technical presentations from universities and research consortia on advanced R&D topics, and tools and technology solutions for laboratory, research and pilot line microelectronics technology and manufacturing.
"The semiconductor programs at West have grown to become one of the industry's most unique and anticipated events, but have outgrown the TechXPOT locations on the show floor," said Karen Savala, president of SEMI Americas. "The new Semiconductor Technology Symposium will allow us to improve and expand these programs with a high-quality classroom setting, convenient lunch and networking opportunities — providing an ideal setting and a better value for our attendees."
Prospective presenters are invited to submit abstracts (maximum 500 words) on key industry issues and topics in the areas listed above for consideration. Presentations should focus on the latest developments and innovations in these technology areas, inclusive of supporting data. Submissions may be made online from the SEMICON West 2014 "Call for Participants" website at: www.semiconwest.org/Participate/SPCFP.
The deadline for abstract submission is March 17, 2014.
About SEMICON West
SEMICON West is the flagship annual event for the global microelectronics industry, showcasing the people, products, and technologies driving the design and manufacture of advanced microelectronics. SEMICON West attracts the world's leading technology companies serving the microelectronics supply chain and the largest audience of influential buyers, industry leaders, decision-makers, technologists, analysts, and media of any industry event in North America. SEMICON West 2014 is projected to bring together more than 27,000 international attendees, more than 700 global companies, and feature more than 60 hours of technical, business, and networking programs. For more information, visit www.semiconwest.org.
About SEMI
SEMI is the global industry association serving the nano- and microelectronics manufacturing supply chains. Our 1,900 member companies are the engine of the future, enabling smarter, faster and more economical products that improve our lives. Since 1970, SEMI has been committed to helping members grow more profitably, create new markets and meet common industry challenges. SEMI maintains offices in Bangalore, Beijing, Berlin, Brussels, Grenoble, Hsinchu, Moscow, San Jose, Seoul, Shanghai, Singapore, Tokyo, and Washington, D.C. For more information, visit
Deborah Geiger
Phone: 1.408.943.7988
Email: Email Contact


text:
- Search for JobsSearch for Jobs
- Browse for JobsBrowse for Jobs
- Create a ResumeCreate a Resume
- Company DirectoryCompany Directory
8 Installation / Maintenance / Repair jobs
- Sort:
- Relevance
- Newest
- Featured
- Most Popular
Browse for Installation / Maintenance / Repair Jobs. Find the job of your dreams on CareerCast IT & Engineering Network today!
Search for Similar Listings
1+ months
Austin, Texas
Transmission System Operator Associate/Operator/Operator SR Location US-TX-Austin # Positions 2 General Overview Assists Transmission System Operator in coordinating, monitoring, and evaluating the real-time operation and control of LCRA's transmission grid after gaining working knowledge of power ...
1+ months
Tucson Electric Power
Tucson, Arizona
UNS Energy Corporation, headquartered in Tucson, Arizona, is a subsidiary of Fortis Inc., the largest investor-owned electric and gas distribution utility in Canada. UNS Energy Corporation's public utility subsidiaries, Tucson Electric Power Company, UNS Electric, Inc. and UNS Gas, Inc., provide ele...
1+ months
Austin, Texas
Senior – Transmission Line Engineer Location US-TX-Austin General Overview Plans, conducts, and directs major engineering projects involving independent evaluation, selection, adaptation, and modification of standards, techniques, procedures, and criteria. May act as project leader or team leader t...
1+ months
Idaho Power
Mountain Home, Idaho
Idaho Power is looking for a High Step Apprentice or Journeyman Lineman to join our Mountain Home Demand crew. It's an exciting time to bring your skills to Idaho Power. We recently announced a goal of 100% clean energy by 2045, and this position plays a critical role in ensuring the communities ...
1+ months
Florida Power & Light Company
Juno Beach, Florida
Job Title: Journeyman Lineman Our reliability is one of the best in the nation, and we're working to make it even better. We live here too. That's why we're committed to making Florida a better place. Join our team today Learn more Position Specific Description Florida Power & Light Company (F...
24 days old
Idaho Power
Gooding, Idaho
Idaho Power – whose service area reaches across beautiful southern Idaho and eastern Oregon – is looking for a lineworker to join its team in Gooding. It's an exciting time to bring your skills to Idaho Power. We recently announced a goal of 100% clean energy by 2045, and this position plays a crit...
9 days old
City of Ashland
Ashland, Oregon
JOIN OUR TEAM! The City of Ashland is hiring a Line Installer for its Electric Utility. Our Utility focuses on providing power in a safe, reliable, affordable and environmentally responsible manner. For more information on the history and future of our Electric Utility please visit our city websi...
9 days old
Los Angeles, California
Los Angeles County Metropolitan Transportation Authority (LACMTA) ATU EMPLOYMENT OPPORTUNITY Bulletin No: 000805-040Job Title: ELECTRICIANClosing Date: 30-APR-20Salary Grade: A32Salary Range: Start Rate: $31.46 p/hr - Top Rate: $39.30 p/hrExternal/Internal: EXTERNALOther Info: This bulletin is pos...