text:
Merry Christmas, Happy Hanukah and Great Kwanzaa Spirits
to All who Celebrate These Joyous Holidays
It is the Last Week of the Year So
It the Time to Reflect on the Many Great Discs and Live Sets We've Heard and Seen
Here is a short Newsletter with just a couple of new Items
But a Large USED CD/LP List Well Worth Checking Out…
In the Maentime, You can check some Inspirational Live Music at
The Arts for Art / Evolving Justice is Compassion / Action is Power Festival and
At The Old Stone, The New Stone and the Zorn Curation Series at National Sawdust…
All Listed at the bottom of this newsletter
THE DMG 26TH ANNIVERSARY SERIES OF SONIC CELEBRATIONS Continue with:
Sunday, December 24th: Christmas Eve - No in-store
Sunday, December 31st: New Years Eve - No In-store
Sunday, January 7th, 2018:
6pm: BRANDON LOPEZ & NINA DANTE - ContraBass and Vocals
7pm: STAN ZENKOFF and SEAN ALI - Bb Clarinet and ContraBass
Sunday, January 14th:
6pm: XANDER NAYLOR - Solo Electric Guitar
7pm: VIV CORRINGHAM and N L H - Vocals and Guitar
8pm: BEN GOLDBERG and GERALD CLEAVER - Clarinets and Drums
Sunday, January 21st:
6pm: ZODIAC SAXOPHONE QUARTET: CHARLES WATERS / CLAIRE DALY / LEE ODOM / RAS MOSHE BURNETT
7pm: GUILLERMO GREGORIO / NICK JOZWIAK / TODD CAPP - Clarinet / Cello / Drums
Sunday January 28th:
6pm: MICHAEL VATCHER & JACK WRIGHT - Drums and Sax
7pm: MICHAEL FOSTER / BEN GERSTEIN / SEAN ALI / FLIN VAN HEMMEN - While We Still Have Bodies - Sax / Trombone / Acoustic Bass / Percussion
DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a small gallery. Take the F train to East Broadway or the 6 train to Canal or the B or D to Grand, or the M-15 bus to Madison & Catherine. Come on Down, the Sunday Music Series is Always Free & the Vibes are Always Cosy
Seasons Greetings to All Friends of DMG, All Serious music fan-addicts. We have decided to list just a couple of new CD's this week since there are so few new things to report on. We will be back to our regular list of new and historic items next week.
ART ZOYD - 44 1/2: Live and Unreleased Works (Cuneiform ; USA) "Trying to make France's Art Zoyd fit into a single neat description is an exercise in futility. Sometimes they're fiendish sonic saboteurs bent on destroying listener's preconceptions about the way music works. Sometimes they're musical sorcerers conjuring strange but bewitching moments of lyrical beauty.
You could call them the original post-rock band, moving on from the dark, stormy sounds of prog legends like Magma and King Crimson to something that makes even those fearless explorers sound conventional by comparison. You'd be equally accurate in dubbing them avant-classical composers, whose experimental visions are influenced by Stravinsky and Schoenberg.
They were members of the notorious Rock In Opposition (RIO) movement alongside the likes of Henry Cow and Univers Zero. They're impressionistic soundtrack composers. They're a band. They're a multimedia collective. Ultimately they're simply Art Zoyd. And it takes a document as massive and monumental as the 12-CD/2-DVD/2-Book set 44 1/2 to even come close to offering a comprehensive picture of what they're all about.
Containing hours of live and unreleased material from the vast Art Zoyd archives, 44 1/2 delves into the dense jungle of wildly diverse periods in a story that goes all the way back to the '70s. But it also provides many of the missing links in their long, knotty discography, filling in the gaps between their official releases and weaving together all of Art Zoyd's disparate stylistic strands into a majestic, multicolored, even imposing tapestry."
Box Set (12 CD's 2 DVD's 2 BOOKS 2 Posters) = $175
ANDREA CENTAZZO / TANIA CHEN / HENRY KAISER - Ghidorah (Fractal 2018-228; USA) Featuring Andrea Centazzo on percussion, Tania Chen on piano and Henry Kaiser on guitar. Italian percussionist/electronics wizard Andrea Centazzo was one the first European musicians to collaborate with early members of the Downtown Scene (Zorn & Chadbourne), as far back as some 40 years ago in the late seventies. West coast experimental guitar pioneer, Henry Kaiser, also worked with the early Downtown players, hooking up with Mr. Centazzo in the late seventies. Mr. Kaiser and Mr. Centazzo have kept in touch through the years, recording a trio record with Toshinori Kondo in 1979, a duo CD for Ictus Records (Centazzo's label) in 2007 and a Derek Bailey tribute CD in 2012. Mr. Centazzo moved to L.A. in the past decade and has been working with Kaiser more often. For this new CD, Kaiser and Centazzo have added pianist Tania Chen, who has recorded with Kaiser on tow discs in the last few years (one with Wadada Leo Smith) and who has a rare duo CD out with Steve Beresford.
The title of this disc, 'Ghidorah', comes from a Japanese monster movie from 1964, which featured a three-headed flying monster. I saw this film when I was a child and remember it well. There are three long (25 minutes) improvised pieces here, hence the total time of some 76 minutes. "Plan 3 from Outer Space", unfolds slowly, starting with some superb acoustic piano and percussion moving in waves together. Mr. Kaiser doesn't appear until around the ten minute mark, the trio starting to ascend as various sparks start to soar and erupt. Kaiser is a master of many devices to alter the sound of his guitar and slowly manipulates his tone in different ways. Kaiser's first long solo actually reminds me of a monster cutting loose and going wild yet without destroying any of the visual landscape, it is the audial soundscape that is most engaging. There is a good deal of suspense and spaciousness on "Markalites Three". The music is superbly recorded so that every note or sound breathes organically, a calm feeling at the center of the unfolding storm on the horizon. Kaiser's guitar evolves slowly, like ashes left after a large fire, with layers of intersecting sparks. There seems to be a mutual level of respect here as no one overplays or steps on any one else's toes. A great way to end the year and complete your Henry Kaiser collection for 2017 would be grabbing this little treasure. - Bruce Lee Gallanter, DMG
Along with his friend, John Zorn, this has been a great year for strong releases from Henry Kaiser and his assorted collaborators. The above CD is his ninth release for 2017!?! Below is a list of the other eight discs that Mr. Kaiser was involved with over the past year. Each one is great in different ways so check out the list to make sure you're missing any of them. You can read reviews of each one in the DMG database: www.downtownmusicgallery.com/wishlist.php / Here's that list, all in stock at present:
IAN BRIGHTON / HENRY KAISER - Together Apart (Fractal Music 175; USA)
WADADA LEO SMITH With HENRY KAISER / MICHAEL GREGORY JACKSON / BRANDO ROSS / LAMAR SMITH / BILL LASWELL / ADAM RUDOLPH / PHEEROAN AKLAFF - Najwa (TUM 49; Norway)
SKY MUSIC With HENRY KAISER / NELS CLINE / RAOUL BJORKENHEIM / JIM O'ROURKE / BILL FRISELL / DAVID TORN / HEDVIG MOLLESTAD / INGEBRIGT HAKER FLATEN - Sky Music: A Tribute To Terje Rypdal (Rune Grammofon 2194; EEC) Mr. Kaiser organized the all-star US/Scandinavian tribute to the great ECM guitarist Terje Rypdal. - Outstanding!
HENRY KAISER With DEREK BAILEY / FRED FRITH / EUGENE CHADBOURNE / SANDY EWEN / DAVEY WILLIAMS / NELS CLINE / ELLIOTT SHARP / BILL FRISELL / JOHN RUSSELL / et al - Friends & Heroes: Guitar Duets (Fractal Music; USA)
ROVA / KYLE BRUCKMANN / HENRY KAISER - Saxophone Special Revisited (Clean Feed 415; Portugal) Tribute to and recreation of Steve Lacy's seminal album 'Saxophone Special'.
HENRY KAISER - Nostalgia for Infinity - Solo Antarctic Guitar (Fractal; USA)
BOB BRALOVE / HENRY KAISER / CHRIS MUIR - Positively Space Music (Fractal Music 17-3; USA)
2 CD set $14
TANIA CHEN / HENRY KAISER / WADADA LEO SMITH / WILLIAM WINANT - Ocean of Storms (Fractal Music 064; USA)
Last Copies of These LTD Edition CD's back in stock:
TONY MALABY TRIO - Tialler de Remedios (SelloCabello; Argentina) "The disc was recorded in Escobar, Argentina (about an hour outside of Buenos Aires)- hometown of the guitarist and drummer. Juan Pablo the guitarist took a lesson with me 12 years ago here in Jersey City. I heard Carto on recordings that players from down there would pass on to me .Both are very active on the Buenos Aires scene and also teach at the conservatories . The club where we recorded, La Kalimba, is a community art center. The place was packed because the hometown heroes were coming to play. One of the things I love about playing in Argentina is that the audience will include young children and grandparents. This is at shows that start at 11pm. It is a very attentive and gracious audience. The disc was recorded and produced by a label called SelloCabello (a collective of improvisors in their early twenties from Escobar ). It is our first gig. The opening piece is from my album Incantations on Clean Feed. We start with that and continue with a piece called Third Mystery from my album Sabino - Carto and Juan Pablo told me that across from La Kalimba was the apartment where they heard my album Sabino for the first time 15 years ago. After Third Mystery we float into a coda that is a bird call from the Amazon (who's name I do not know - I use this piece in many of my workshops ). The next track Remolino is from Sabino as well. The last piece was improvised by the trio. In 2014 I was invited by a collective of improvisors and composers for a residency at a neighborhood bar called La Playita in Buenos Aires - that was my first trip to Argentina. It was organized by former students who studied with me at Banff and here in NY. I taught private lessons and coached ensembles everyday for a week and performed every night with local improvisers. This is where I reconnected with Juan Pablo and many of the musicians I play with when I go down. I had the opportunity to travel the country with my trio Tamarindo in 2016. We played festivals and gave workshops - it is after this tour that I recorded with Juan Pablo and Carto . There is an improv scene that performs in bars, lofts, community centers , a recording studio, as well as house concerts with great pianos . The city's jazz festival includes many improvisors like Augusti Fernandez, Tim Berne , Braxton , ICP …" - Tony Malaby
CD / LTD Edition / Hand-made covers = $15
USED BOX SET LIST December of 2017:
Since Hanukah ended a few days ago and Christmas is almost here, we have decided to do a large Box Set Sale, mostly CD's but a few LP's boxes as well. Some of these boxes have arrived here recently and some have been collecting some dust but all are available as this list goes out. We have mainly 1 copy of each so it is first come, first served.
Buy 3 or more of these box sets and take 10% off of each:
ALBERT AMMONS and MEADE LUX LEWIS - The Complete Blue Note Recordings of Albert Ammons and Meade Lux Lewis (Mosaic MD2-103; USA)
2 CD Set Booklet = $25
LOUIS ARMSTRONG AND THE ALL STARS - The Complete Decca Studio Recordings [6 CD set] ALL SEALED DISCS, NO BOOK (Mosaic; USA)
6 CD Set $60 USED
GEORGE BENSON - Anthology: 1964-1998 [2 CD book box set] (Warner Bros/Rhino; USA)
2 CD book box set = $30
CHU BERRY With The Orchestras Of BESSIE SMITH/TEDDY WILSON/GENE KRUPA/FLETCHER HENDERSON/CAB CALLOWAY/MILDRED BAILEY/BILLIE HOLIDAY/WINGY MANONE/LIONEL HAMPTON - Classic Chu Berry Columbia and Victor Sessions 1933-1941 [7 CD BOOK Box set] (Mosaic LTD ED 236: USA) This copy is # 3857/5000; perfect new mint condition copy - but one corner of box was damaged, now Out-Of-Print!
7 CD BOOK Box set $125 USED
ANTHONY BRAXTON With HERB ROBERTSON/MICHAEL ATTIAS/CHRIS SPEED/STEVE SWELL/TOM VARNER/PERRY ROBINSON/NED ROTHENBERG/MARK WHITECAGE/BRANDON EVANS/TED REICHMAN/JOE FONDA et al - Trillium R: Shala Fears For The Poor - Composition No 162 (Opera in Four Acts) [4 CD set & Libretto] (Braxton House 008; USA)
4 CD set & Libretto = $40 (half dozen sealed copies left)
CAN [HOLGER CZUKAY/IRMIN SCHMIDT/JAKI LIEBEZEIT/MICHAEL KAROLI/MALCOLM MOONEY/DAMO SUZUKI] - The Lost Tapes 1968-1975 [Ltd 3 CD Book Box Edition] (Spoon 55 ; UK) The Lost Tapes is a compilation album of studio outtakes and live recordings by the German experimental rock band Can, which was originally released as an LP in 2012 by Spoon Records in conjunction with Mute Records.
Ltd 3 CD Book Box Edition = $40 [Still Sealed!]
BENNY CARTER BIG BAND With RUTGERS UNIVERSITY ORCHESTRA - Harlem Renaissance: New Classics For Big Band And Orchestra - Live In Concert, 85th Birthday Celebration 1992 [2 CD set] (MusicMasters ,USA)
2 CD Set $25 USED
SERGE CHALOFF - The Complete Serge Chaloff Sessions (Mosaic MD4-147) This is the type of project the Mosaic label does best: releasing the complete output as a leader of a classic jazz musician including obscurities and a couple of fairly well-known sessions. Serge Chaloff, one of the top baritone-saxophonists in jazz history, is featured as the leader of bop-based small groups on sessions originally out on Dial, Savoy, Futurama, Motif, Storyville, and Capitol. Such sidemen as trumpeters Red Rodney and Herb Pomeroy, tenorman Al Cohn, altoist Charlie Mariano and Boots Mussuli, vibraphonist Terry Gibbs, and pianists Ralph Burns, George Wallington, Dick Twardzik, Russ Freeman, Barbara Carroll, and Sonny Clark have solo space, but it is the somewhat forgotten Chaloff who rightfully is the main focus. A definitive booklet rounds out this essential package." - Scott Yanow, AMG
4 CD Set $50
CLASSIC SAVOY BE-BOP SESSIONS 1945-49 (Mosaic MD 10-264; USA) Featuring: DEXTER GORDON: 'Long Tall Dexter', FATS NAVARRO - 'Fat Girl', SONNY STITT & KENNY DORHAM : 'Bebop in Pastel', STAN GETZ: 'Opus de Bop', J.J. JOHNSON: Boneology'… Ten-CD set captures the burst of creative energy that ushered in modern jazz, and reveals a deep well of talent
10 CD Set $150
NAT KING COLE TRIO - The Best Of: The Instrumental Classics/The Vocal Classics 1942-46/The Vocal Classics 1947-50 (Capitol Jazz; USA) - two of three CDs in the slipcase are SEALED COPIES
3 CD Box set = $50
MILES DAVIS & JOHN COLTRANE - Vol 1: Miles Davis & John Coltrane - The Complete Columbia Recordings: Round About Midnite/Milestones/At Newport 1958/Jazz At The Plaza/Kind Of Blue/..Plus (Columbia Legacy 6583) The Complete Columbia Recordings of Miles Davis with John Coltrane is a box set featuring jazz musicians Miles Davis and John Coltrane. It is the first box set in a series of eight from Columbia/Legacy compiling Davis's work for Columbia Records, and includes never-before-released alternate takes, omissions of other musicians, musician comments, false starts and a first version of compositions, some of which have made it to the 50th Anniversary 2-disc CD version of Kind of Blue. Originally issued on October 26, 1999 in a limited-edition metal slipcase, it was reissued in 2004 in an oversized book format. - [1st edition with CD sized box and metal spine; original sealed copy with all of the stickers included.
6 CD Box Set - $75 USED
COMPLETE DIAL MODERN JAZZ SESSIONS (Mosaic MD9-260; USA) With Charlie Parker ('Relaxin' at Camarillo'), Dexter Gordon & Wardell Gray ('The Chase'), Serge Chaloff ('Blue Serge'), Dexter Gordon ('Mischievous Lady') and Sonny Berman & Bill Harris ('Woodchoppers Holiday'). Read more about this box here: jazztimes.com/reviews/albums/various-artists-the-complete-dial-modern-jazz-sessions
9 CD [12" x 12"] Box Set = $140
MILES DAVIS & GIL EVANS ORCHESTRA - Vol 2: Miles Davis & Gil Evans - The Complete Sessions: Miles Ahead/Porgy And Bess/Sketches Of Spain/Quiet Nights/plus.. [6 CD Box Set] (Columbia Legacy 67397 ,USA) [1st edition with CD sized box and metal spine]; ORIGINAL SEALED COPY WITH ALL STICKERS
6 CD Set Box = $110
BENNIE GREEN With IKE QUEBEC/CHARLIE ROUSE/GENE AMMONS/EDDY WILLIAMS/SONNY CLARK/MILT HINTON/PAUL CHAMBERS/ELVIN JONES/LOUIS HAYES/ART BLAKEY et al - Back On The Scene/Soul Stirrin'/Walkin' & Talkin'/Congo Lament…PLUS! (Mosaic Select 003; USA)As Mosaic's ingenious new series of reissues continues, we come to an artist where the approach seems certainly tailor made. Trombone man Bennie Green bridged the gap between swing era stylists and bop practitioners, making him somewhat of an enigma in the eyes and ears of the casual jazz follower. As such, he has not received recognition commensurate with his undeniable talents.
It's even curious that Blue Note front man Alfred Lion stuck with Green for as many albums as he did, considering his penchant for documenting the latest developments in jazz and Green being a throwback to earlier styles. More akin to the voices of Vic Dickenson and Jack Teagarden than bop leaders such as J.J. Johnson and Curtis Fuller, Green's creative muse focused on a sound influenced by the trombone's tailgate tradition and a sense of melody that the boppers often gave up in search of speed." - C. Andrew Hoyan, AAJ
Ltd #'d 3 CD set = $60 USED
LIONEL HAMPTON / OSCAR PETERSON - The Complete Lionel Hampton Quartets and Quintets with Oscar Peterson (Verve 314-550-787; USA) "Lionel Hampton did a series of quartet and quintet sessions for Verve Records in 1953 and 1954, the group featuring Oscar Peterson, Ray Brown, and Buddy Rich, with either Buddy DeFranco or Herb Ellis joining in for the quintet recordings. Verve released the sessions on a batch of LPs in 1957 (King of the Vibes, Air Mail Special, Flying Home, Swingin' with Hamp) and 1958 (Lionel Hampton '58, Hallelujah Hamp, The High and the Mighty), but they are gathered together here on a five-CD set that includes a couple of previously unreleased alternate takes and includes shorter and longer versions of some songs done for single and album release. Typically of sessions produced by Verve head Norman Granz, the song list is full of classic pop standards, along with remakes of some of Hampton's better-known songs. The lineup is, of course, stellar, and Hampton and Peterson in particular spark each other on vibes and piano, interacting with seemingly endless creativity. (They even take one tune, "The High and the Mighty," by themselves.) The normally showy Rich mostly restricts himself to accompaniment (he can't help taking off during the totally improvised "Blues for Norman," but even then doesn't play all that long), while Brown provides his usual solid support. At a time when Hampton was traveling the world leading an orchestra, these recordings were a reminder that he could be at his best (as in the Benny Goodman Quartet) with a small group." - William Ruhlmann, AMG
5 CD Box Set Booklet = $60
COLEMAN HAWKINS - Portrait [10 CD set Book] (TIM 205424; USA)
10 CD Set Book $50 USED
COLEMAN HAWKINS - The Essential Sides Remastered 1929-1939 (JSP 931; UK) "Coleman Hawkins, certainly a much sought-after sideman and soloist in his early days, had much to offer for the variety of early vintage jazz bands he played with. This whopping four-CD set really lays out the goods on Hawkins, as he was rapidly developing from 1929 up to the pre-World War II days ten years after. JSP Records, a trusted company in issuing no-nonsense and unique reissues, has really put its foot to the floorboard with this roaring overview of Hawkins. You get seven precious tracks with Detroit's McKinney's Cotton Pickers; a few with the obscure Jack Purvis, Michel Warlop, or Jack Hylton orchestras; and a massive 14 sides from Spike Hughes & His Negro Orchestra. In addition to the typical Chocolate Dandies, Benny Goodman, and Benny Carter recordings, there are rare sessions the tenor saxophonist co-led with trumpeter Henry "Red" Allen, a small handful with Hawkins as leader, and cuts accompanied by the Berries and the Ramblers. Apparently Dan Morgenstern from the Jazz Institute at Rutgers University was helpful advising JSP on excavating music for this compilation -- always a good thing. Also laudable are the digital reproductions of this older material, clean as can be and crankable. This might be an expense for both fans and novices, but it's well worth the price to hear a youthful master at his craft, with bands that challenged his already high-level artistry." - Michael G. Nastos
4 CD Set USED $25
ALBERT HUNTER With FLETCHER HENDERSON/EUBIE BLAKE/FATS WALLER/LOUIS ARMSTRONG/ et al - The Collection- 1921-1940 (Acrobat 7112; UK)
4 CD Set $20
QUINCY JONES - The Quincy Jones ABC/Mercury Big Band Jazz Sessions [5 CD set with Book box set] (Mosaic Records B0010280-02; USA) Review here: jazztimes.com/reviews/albums/quincy-jones-the-quincy-jones-abcmercury-big-band-jazz-sessions
5 CD Set with BOOK = $95 USED
[THE] KEYNOTE JAZZ COLLECTION - 1941-1947 (Fresh Sound Records 815; EEC) With Lester Young, Roy Eldridge, Coleman Hawkins, Barney Bigard, Red Rodney, Chubby Jackson, Benny Carter, Bud Freeman, Emmett Berry, Teddy Wilson,.. near mint shape!
10 CD Set 125 BOOKLET = $100
KING CRIMSON [With ROBERT FRIPP / JAKKO JAKSZYK / MEL COLLINS / TONY LEVIN / PAT MASTELOTTO / GAVIN HARRISON / BILL RIEFLIN - The Elements Of King Crimson - 2017 Tour Box (DGM KCTB 17; UK) A companion to the successful 2014, 2015 and 2016 Tour Boxes, the 2017 Elements Tour Box was previously only available at venues on King Crimson's sold-out 2017 US/Canada/Mexico tour. As with previous releases in the series, the full variety of King Crimson's music is presented over 2 CDs with extracts from rehearsals, new live recordings, elements from studio recordings, full tracks, alternate takes and finished recordings from 1969-2016, many of which make their first appearance on CD. Every line-up is featured across the double CD set. Of particular interest on the new set is the inclusion on disc 2 of every part of Larks' Tongues in Aspic (some studio, some live) from Part I to Level 5 – interspersed with elements taken from the original studio sessions and rehearsals. Packaged in a DVD-sized fold out digipak style book case with a 24 page booklet including sleeve notes by co-compiler Sid Smith, photos of memorabilia, full info about the 2017 tour and a number of band and individual photos of the current band line-up.
2 CD Set in DVD-sized double digipak booklet = $24
KING CRIMSON [ROBERT FRIPP/JOHN WETTON/BILL BRUFORD/DAVID CROSS] - Starless (DGM 671974; UK) Ask any dyed-in-the-wool Crimso fan what are the favorite boots from the F/W/B/C era, and tough call though it is, most of the list will be shows from this European fall '73 tour. The spooky stuff they were doing here is perhaps the ONLY music you will hear from the 70s - off a 'rock stage' - that would presage the outsider experimentation of the 'Downtown' music Eighties. Have I convinced you that you need this, KC fan or not?" WATCHA WAITIN' FO'?" - MannyLunch
Limited Edition 27 CD/DVD/BluRay Box Set = $224
KING CRIMSON [ROBERT FRIPP/JOHN WETTON/BILL BRUFORD/DAVID CROSS] IAN McDONALD/MEL COLLINS/EDDIE JOBSON - The Road To Red: Live April to July 1974 2013 Fripp Stereo Mix of Red (DGM /Inner Knot KCCBox 7; UK) Between April and July 1974 King Crimson embarked on a tour of Canada and America which has come to be recognised as one of the most powerful series of concerts performed not just by Fripp, Cross, Wetton and Bruford but by any band of the era. The band, who had been rarely off the road - except to record studio albums - chose to perform a selection of recent material from the then newly released Starless And Bible Black, older fan favourites, newly written/then unrecorded material & nightly improvisations at a level described by many eye-witnesses and observers as 'the most intense' gigs they'd ever attended. A single live LP 'USA' was issued in 1975 (comprised of material taken from the Asbury Park, NJ show (with the exception of "...Schizoid Man" which was from the Providence, RI show that same week), a year after the band split but failed to convey the full extent of how ferocious a beast King Crimson was in full-flight. No other band blended powerful rock with an ability to turn in epic improvisations of immense subtlety or strength. Many of the shows on this final tour had been recorded, either professionally to multi-track tape, or on the band's stereo cassette feed from the mixing desk. These remained unheard until 1992 when selected highlights were released in 1992 on the 4 CD boxed set, The Great Deceiver. Now The Road To Red offers a comprehensive overview of this final tour and at last does justice to a group who were operating at the very height of their powers. Every soundboard quality recording known to exist is presented with audio fully restored, all released on CD for the first time. There are also five complete concerts, drawn from multi-track recordings, alongside the restored audio bootleg of the band's final show (New York's Central Park on July 1st of which Robert Fripp notes this was the first gig gig "since the 1969 Crimson where the bottom of my spine registered 'out of this world' to the same degree"), and a new stereo mix of 'Red' by Robert Fripp and Steven Wilson undertaken in 2012. A total of 16 concerts are featured across 20 discs, with the studio Red as the 21st CD. The set also features: A DVD containing a high resolution stereo presentation of USA (in all mixes) and the new stereo mix of Red 2 Blu-Ray discs containing the five full length multi-track concert recordings (newly transferred at the highest resolution available from the original analogue Dolby SR source mix-down tapes & presented in 24/192 DTS-HD master sound), new & original stereo versions of Red and the existing 5.1 multi-channel mixes of the album presented in 24/96 DTS-HD also feature on Blu-Ray. With a fully illustrated album sized booklet featuring previously unseen photos & a wealth of newly written material postcards, replicas of hand-written set lists, album prints of the USA & Red covers & other memorabilia, this is an essential release for King Crimson fans The Tale of the Tapes: The sixteen concert recordings in this box fall into three basic types: one bootleg (an unofficial audience recording), ten board mixes (recordings of the sound sent to the PA system on the night) and five professional recordings (all by George Chkiantz from a mobile recording studio outside the venue). These last five concerts are presented in both conventional CD resolution and in Blu-Ray high resolution 192 khz. All have their merits and each has good claim to be the most "realistic". The professional multi-track recordings offer the best audio quality. They were originally mixed in 1991 at the time of The Great Deceiver (although only selected parts were included in that box set). At the time, the various mixes were recorded both onto analogue half inch tape and into a Sadie computer system, one of the first digital editors, running on Windows 3.0. As Fripp wrote in his original liner notes: "Digital equipment remains in its infancy and computers crash - not if but when. Both formats have advantages - a properly balanced Ampex with Dolby SR is maybe unbeatable for a sweet, true sound. But with the amount of compiling on this project, let's hear it for digital assembly!" Given the huge advances in digital equipment since the early 1990s, I proposed in a rash unguarded moment that for this project we (or rather I) should return to the "properly balanced Ampex with Dolby SR" and recompile these mixes in super high resolution. I had somehow chosen to forget that the practice at the time, pre-automation, was to mix each section of each song three or four times and to then select and compile the best. And that Robert Fripp's acute interest in the stereo architecture of pieces meant that he would continuously reposition players. So we were faced with roughly two hundred separate mixes to be auditioned and recompiled, often trying to join segments with violently differing tonal qualities and musicians seemingly leaping around the stage. It became the work of months, not the days I had foolishly imagined. I make no claim that the high resolution versions on the Blu-Ray are "better" than the original versions presented on the CDs. They are different, wider in their stereo image and brighter with extended high end (which, despite the trends of mastering engineers over many decades, is not necessarily better). The editing particularly in matters such as the audience links is however undoubtedly more faithful to the exact flow of the original concerts. The ten "board mixes" presented different challenges. These were recorded each night by Peter Walmsley, the sound engineer, and faithfully capture the sound sent to the PA system. They are inevitably heavily biased towards the voice and drums, as the other instruments were already amplified onstage. DGM has become an unwilling world leader in the dark arts of audio necromancy, rescuing the semblance of a listenable concert from such unprepossessing starting points (not a life-skill any of us wanted or expected). In this instance, Peter Walmsley added an additional challenge through his habit of pausing the cassette machine between songs - frequently forgetting to switch it back on until just after the downbeat of the next piece. Where audience links existed, we have kept them, where they were missing, we have recreated them to maintain continuity. The music is, however, with the exception of those odd errant downbeats, exactly as it was played. In just one instance (the Talking Drum on the 7th June) we have completed the performance by inserting a section from the night before. As such fabrication is a mortal sin to lovers of authenticity, we have PQ'd the inserted section, so that purists can take the bumpy road and bypass it. The recording of the final concert from Central Park on July 1st is of unknown provenance. It seems too well-balanced to be the usual illicit cassette player smuggled into the venue, and yet the presence of chatter during one of the pieces shows that neither is it a properly mixed recording. Possibly it is a bootleg recorded on a pair of microphones over the stage. The audience links jump around (as does one section of Fracture), but in its way, it is possibly the closest to the actual sound of a venue. It is significant in that it captures the last live performance of this line-up. Concert recordings are frequently incomplete (lovers of The Great Deceiver box set will recall The Law of Maximum Distress Parts 1&2, where a section was missing from the middle of the improvisation). In the unusual case of Fort Worth on 6th June, we had two recordings of the same night, one being a board recording and the other an audience bootleg, and we were able to accurately complete the performance by flying in the missing opening and closing sections from that alternative source. Sadly, that is not often possible. Where songs are obviously incomplete and either leap in half way through, or cut off before the end, they have been marked with an asterisk, so that it is clear this is not a CD error, but a failure of some poor tape operator or his machine at the time. David Singleton, DGMHQ August 2013
21 CD DVD 2 BLU-RAY DISC BOOK Boxed Set = $250
JERRY LEE LEWIS - Sun Essentials (Charly Snap 737; UK) 4 CD's 36 page booklet
4 CD Set $25
MEMPHIS MINNIE - Queen of Country Blues (JSP 7716; UK)"This five-disc set from JSP includes all the surviving sides Memphis Minnie cut for the Vocalion, Decca, and Bluebird labels between 1929 and 1937 in chronological order. Among the highlights on disc one are the four takes of one of her best songs, "Bumble Bee," including one with the Memphis Jug Band. Disc two gathers a number of duets with her then-husband, Kansas Joe McCoy, and their twin guitars coupled with her contralto singing and Kansas Joe's tenor made for a signature sound. Disc three contains another of her best songs, "My Butcher Man," and features increased use of piano backing. The fourth disc contains her last sessions for Decca, as well as her complete body of work on the Bluebird label. The final disc, which spotlights the occasional use of horns and other urban trappings, includes versions of "Ice Man," "Hoodoo Woman," and "Black Cat Blues." Minnie's best-known song, "When the Levee Breaks," is not included in this set, which also does not include her last sessions from 1940 and 1941. Truthfully, there is probably more Memphis Minnie here than the casual listener would ever need, and a single-disc collection that spans her career (and includes "Levee") would suffice. Liner notes are so-so, although the session annotation is decent." - Steve Leggett, AMG
5 CD Set USED $25
MEMPHIS MINNIE - Volume 2: Queen of the Delta Blues (JSP 7741; UK)
5 CD USED Set $25
CHARLES MINGUS With SHAFI HADI / CLARENCE SHAW / BOOKER ERVIN / JOHN HANDY / ERIC DOLPHY / TEDDY CHARLES / DANNIE RICHMOND - The Complete Columbia & RCA Collection [10 CD set] (Sony/Legacy 886979795921 ,USA) Includes: 1.Tiajuana Moods [2 CD Set] 2.Mingus Ah UM 3.Mingus Dynasty 4.Alternate Takes 5.Let My Children Hear Music 6.Charles Mingus & Friends in Concert [2 CD Set] 7.Epitaph [2 CD Set]
10 CD Set $50 (Unplayed but not sealed)
CHARLES MINGUS - The Complete Debut Recordings - Volume 3 - Discs 9-12 (Debut/Fantasy 4402 ,USA) This handsomely packaged and thoroughly annotated set represents the most significant early work of Charles Mingus: his complete recorded output as leader and sideman for the Debut label.
4 CD Box Set - CD $25.00 USED
THELONIOUS MONK - The Complete Blue Note Recordings of Thelonious Monk [4 LP Set] (Mosaic MR4-101; USA) "This magnificent limited-edition set launched the Mosaic label in real style. Included are all of Thelonious Monk's Blue Note recordings, six sessions as a leader from 1947-52 complete with alternate takes plus two titles cut with tenor-saxophonist Sonny Rollins in 1957. Since these were Monk's first opportunities to lead his own recording dates, this set includes the original versions of such classics as "Ruby, My Dear," "Well You Needn't," "Off Minor," "In Walked Bud," "Evidence," "Criss Cross" and "Straight No Chaser" along with Monk's first chance to record "'Round Midnight" and "Epistrophy." The sidemen include such notables as trumpeters Kenny Dorham and Idrees Sulieman, drummers Art Blakey and Max Roach, vibraphonist Milt Jackson, altoist Lou Donaldson and tenor-saxophonist Lucky Thompson, but it is the unique pianist/composer who is the main star. Many of these recordings (generally the master takes) has been reissued in other forms by Blue Note." - Scott Yanow, AMG
4 LP Set = LP's Near Mint / Cover = slightly aged = $150
BILL MONROE - Blue Grass 1950- 1958 (Bear Family 15423; Germany) In 1950, Bill Monroe had been on his own with the Bluegrass Boys for over 11 years and had been a Grand Ol Opry member for over ten. More importantly, he had had a successful run with Columbia Records and had left as his music had continued to develop for what he perceived to be a brighter, more lucrative future with Decca in 1950. As usual, Monroe's instinct was correct. The 103 selections compiled here are from Monroe's most fertile, creative period, many of the songs recorded during this era became his signature tracks, such as "Uncle Pen," "Raw Hide," "Get Down On Your Knees and Pray," "Little Georgia Rose," "On and On," "Roanoke," "The Little Girl and the Dreadful Snake," and "Kentucky Waltz." It was while at Decca that he introduced and recorded his original and trademark mandolin tuning, where instead of four pairs of strings tuned to the same pitches as a violin, he tuned several pair of strings to two different notes that added the otherworldly timbres to his "high lonesome" sound. In addition to Monroe's recording with the Bluegrass Boys, there are a number of sessions here that put Monroe in the solo spotlight with some of Nashville's hottest session cats, in an attempt by Decca to put Monroe's music in a more modern and mainstream country setting. What is most noteworthy about the period of recordings here, however -- besides the tracks themselves -- are the musicians who played with Monroe during those very fertile and adventurous years. Guitarists included none other than Jimmy Martin from 1950-1954, then Carter Stanley (briefly) before Eddie Mayfield, Jackie Phelps, and Doug Kershaw signed on. Bassists Ernie Newton and Bessie Lee Mauldin joined the band for the first time on these recordings, as did Buddy Killen briefly, and then Culley Holt. Fiddle players were plentiful and stunning during the '50s. Monroe certainly had the pick of the crop in Vassar Clements, Charley Cline, Bobby Hicks, and others. And banjo pickers, while still hard to come by in that three-finger style, were as fine as they came in Rudy Lyle, Don Stover, and Joe Stuart. There is the association here with legendary producer Owen Bradley as a sideman toward the end of the '50s, and the influence of Monroe on the music of the time, where his main competition -- Flatt & Scruggs, grudgingly (briefly) adopted Monroe's Nashville style to further their own careers -- and the spin-offs by Jimmy Martin and others began successful recording careers as well. The story the recordings themselves tell is one of ambition, vision, and restlessness. The songs come in strange batches: there are the numerous co-writes with Hank Williams, sometimes credited, other times willfully, but for no known reason obscured in their authorship. But Monroe's own writing was red-hot as well. His own compositions easily overshadow anything he covered during these years. Monroe was hunting ever deeper and wider for the elusive element that was the very grain of his style of music. He fought hard to keep it contemporary while not giving up anything in return. While it is not explained in the liner notes, his two Decca sessions with Nashville studio cats were perhaps a compromise Monroe himself made to keep the music of the Bluegrass Boys pure. These sessions, five and seven, included many fine songs -- "Sailor's Plea," "Highway of Sorrow," "My Carolina Sunshine Girl," "Peach Picking Time in Georgia" and others -- but only three of them were ever issued before this compilation; the rest, as fine as they were, were left in the bins and the liner notes in the book, as fine as they are, do not explain why the choices were made at the time to leave them on the shelf. In all, this is a stunning collection of Monroe's music at the beginning of his modern era; his first fully mature recordings that would prove so timeless and influential are here, and not on the Columbia recordings. The sound here is also, for the most part, pristine, and never less than very good, with great balancing and equalization. As is customary with Bear Family, the book is chock-full of information and complete session notes, making it an indispensable package, and, along with its companion set, from 1959-1969, the only recordings by Monroe anybody would ever need to really take in his contribution.
4 CD Set $45 - Near Mint
BILL MONROE - Blue Grass 1959-1969 (Bear Family BCD 15 529; Germany) For starters, the only reason this four-CD box didn't garner a perfect score was that the band Monroe led in the early '50s is a tough one to beat -- especially since it contained Jimmy Martin. Musically, the songs Bill Monroe recorded during this very difficult period for bluegrass music -- rock & roll was killing off country, as well as a host of pop music, and had all but finished off Western swing -- were every bit as compelling as the earlier ones and moved into the gorgeous, grainy space that offered a pure view of his commitment to the music. As the liner notes attest, the early '60s were very difficult for the Bluegrass Boys on the concert circuit. They often traveled days at a time to make one gig, and musicians got paid for the time they actually worked rather than a steady salary. Recordings, too, were fewer and farther between, but each of them seemed to count for so much more. These were the years that Monroe hooked up with Owen Bradley -- who produced the majority of these sessions (Harry Silverstein did the rest), the man who would finally put Monroe back on the charts chasing his arch rivals Flatt & Scruggs -- who had embraced the folk revival movement in its entirety and were in turn embraced by it; they never lacked for a place to play and charted no less than 13 times in the same period. This is also the time Monroe met and befriended Ralph Rinzler from New York, who ran a group called "The Friends of Old Time music." Rinzler became involved with booking Monroe and his recording session with Bradley. The first real fruit of the association came with "Gotta Travel On," which charted number 15 with Billboard, and was followed up with "Come Go With Me" a full year before Marty Robbins recorded it. It also landed in the Top 50. This box tells that story, and tracks the confounding path of the complete sessions of those years as much of that the music found here never made it onto domestic LPs or CDs. For starters, there are songs such as "Dark as the Night, Blue as the Day," which ranks among one of Monroe's finest vocal performances. Of the 111 performances found here, among many alternate takes, unissued tracks, and domestically unissued sides, there are none left wanting. There is no substandard Bill Monroe material during these leaner years at all. As a plus, many of the music's most well-known performers today began with Monroe at this time, and many of the newgrass revival types were short- or long-term members of the Bluegrass Boys and appear here, including Vassar Clements, Peter Rowan, Buddy Spicher, Roland White, Vic Jordan, Richard Greene, Jackie Phelps, Joe Stuart, and many others. While influenced deeply by Monroe, they were also able, in small ways, sometimes intangibly, to influence his evolving sound. But it is the sound that matters here. While Flatt & Scruggs and others were embracing new trends in pop, folk, and country music, Monroe refused to integrate his music; though the '60s were tumultuous times, Monroe stayed close to the heart of his original bluegrass and old-time music and put it in anybody's face that would book him. As a result, many of the sides here are timeless, and with the possible exception of recording technology and studio sound, they could have been recorded at the time of the Carter Family. There is something that enters Monroe's voice about 1965, which is a permanent moan toward the past. In all these four CDs represent the second part of a long story that the folks at Bear Family are hell bent on telling, or letting it be told through the music. Their packaging as always is superb, and the liner notes by Charles Wolfe and Neil Rosenberg are flawlessly researched and written, as are the session notes taken from the master tapes themselves and the session notes by Bradley or Silverman. Truly inspiring is what this is." - Thom Jurek, AMG
4 CD Set $45 [Near Mint]
MUSIC FOR MERCE CUNNINGHAM [V.C. With CHRISTIAN WOLFF/JOHN CAGE/EARLE BROWN/MORTON FELDMAN/GORDON MUMMA/PAULINE OLIVEROS et al] - Dance Music For Merce (1952-2009) (New World 80712; USA)
10 CD Book box set = $100 USED
CHARLIE PARKER QUINTET With BUD POWELL/FATS NAVARRO/CURLEY RUSSELL/ART BLAKEY - One Night At Birdland: June 30 1950 [2 CD set] (Sony 7111-2; Japan) The recording date may be suspect (trumpeter Fats Navarro died of tuberculosis only a week later) and the recording quality is not state of the art but the music on this two-LP set is often quite brilliant. Charlie Parker is teamed with Navarro, pianist Bud Powell, bassist Curley Russell and drummer Art Blakey for extended (usually six- to ten-minute) versions of 13 songs including "'Round Midnight" (the only time that Bird ever recorded a Thelonious Monk tune), "Move," "Out of Nowhere" and "Ornithology." The all-star lineup clearly inspired each other, making this two-fer well worth searching for.
2 CD Set $60
CHARLIE PARKER - The Complete Live Performance on Savoy (Savoy Jazz 17021; USA)This four-CD set contains a somewhat streamlined presentation of Parker's complete known live broadcasts from New York's Royal Roost, dating during 1948 and 1949, augmented with five of the live September 29, 1947, Carnegie Hall recordings and one lower-quality tape made in Chicago during 1950. The vitality of these performances still radiates off the tapes in whatever format they're reproduced 50-plus years later -- the interaction between the bandmembers, which include Miles Davis (or Kenny Dorham) on trumpet and Max Roach at the drums, and Tadd Dameron or Al Haig at the ivories, is spellbinding. The difference between these performances and Parker's studio work of the period is that he was always "on" for the broadcasts, and had already achieved something of a peak that he still missed in his studio work of the era -- those along with him rose to the occasion, as witnessed by Kenny Dorham's playing on Miles Davis' "Half Nelson" in December of 1947. On the other hand, nobody could touch Parker when he was at his peak on stage, which he ascends easily on a jam set to Irving Berlin's "White Christmas." The Chicago material, which exists on a separate CD from Savoy (One Night in Chicago), isn't as well recorded -- the rhythm section is muted, and the balances are off, but Parker is certainly audible, and hearing his improvisations on material like Rodgers & Hart's "There's a Small Hotel" is worth the price of the disc, even on what amounts to a good audience tape. The source material has been very carefully mastered, striking a good balance between clean playback and fidelity to the original performance, and the dozens of pages of notes represent virtually a separate, free-standing book on Parker during this period in his career." - Brucer Eder, AMG
4 CD Set 60 Page booklet = $35
OSCAR PETERSON - The Complete Clef/Mercury Studio Recordings Of The Oscar Peterson Trio (1951-1953) (Mosaic Records MD7-241)"Oscar Peterson appeared on hundreds of recordings produced by Norman Granz, though most of his early trio dates for Mercury and Clef were overlooked for CD reissue until the release of this thorough seven-disc compilation by Mosaic in 2008. It still represents only a portion of the pianist's considerable output for the two labels between 1951 and 1953. This collection was put together as a result of laborious detective work, assembling nine different sessions from tape masters and second generation reels, 78s, EPs and LPs, some of which came from collectors and libraries, while also including eight previously unissued performances. In spite of the variation in source material, the audio is consistently high, thanks to Malcolm Addey's skillful sound restoration and mastering. The biggest news is that the guitarist on most of these dates is Barney Kessel, who spent just over a year in Peterson's trio, with Irving Ashby taking his place on one session. The pianist had already built a relationship with bassist Ray Brown, but the addition of Kessel added some spark to the mix. The chemistry becomes apparent in the extended jam of Peterson's "Astaire Blues" (which isn't a blues at all), with rapid-fire exchanges between the players. The performances have held up very well, due to the abilities of the musicians and the choice of material, as most of the 126 songs are either well known standards or originals by prominent jazz composers. Peterson penned several originals (none of which became a lasting part of his vast repertoire) and sings on several numbers, beginning with "Until the Real Thing Comes Along," but the similarity of his vocal style to Nat King Cole's kept it from being a major component of his career, even though he made a few vocal albums and still occasionally sang into at least the early '80s. John McDonough's extensive liner notes are excellent, though it is odd that the misspelling of several musician's names (Major Holley, Chico O'Farrill and Tadd Dameron) and composer Ann Ronnell escaped the proofreader. The package also includes a number of rarely seen vintage photographs from the period. This essential Oscar Peterson boxed set, a limited edition of 10,000 copies, is destined to become a collector's item." - Ken Dryden, AMG
7 CD with Book Box Set, Ltd. Ed. = $100 USED
ELVIS PRESLEY - From Nashville to Memphis (RCA 07863; USA) 5 CD Box Set = 130 tracks; 94 page booklet with rare photos and many bonus tracks!
5 CD Box Set $25 (still sealed)
IKE QUEBEC and JOHN HARDEE - The Complete Blue Note Forties Recordings of Ike Quebec and John Hardee (Mosaic MR4-107; USA)
4 LP Set = $45
FREDDIE REDD - The Complete Blue Note Records of Freddie Redd (Mosaic MD2-124; USA) With Jackie McLean, Tina Brooks, Benny Bailey, Paul Chambers, Louis Hayes… "Available in a box set as either three LPs or two CDs, this limited-edition release has all of the music recorded at pianist Freddie Redd's three Blue Note sessions. In addition to the selections originally included on the LPs Music From the Connection and Shades of Redd, there is a completely unissued date that adds to the fairly slim Freddie Redd discography. Altoist Jackie McLean (who is on all three sets) and tenor saxophonist Tina Brooks (a key soloist on two) co-star with the pianist; trumpeter Benny Bailey is also heard from the later date. The music is comprised mostly of Redd's originals (including seven songs written for the stage play The Connection) and fits into the style of the mainstream hard bop of the day, although with a few personal touches. Straight-ahead fans and Blue Note collectors can consider this set to be essential." - Scott Yanow, AMG
2 CD Set with booklet in box = $65 (cover slightly aged, CD's near mint)
WOODY SHAW With JOE HENDERSON/CARTER JEFFERSON/GARY BARTZ/STEVE TURRE/CURTIS FULLER/JAMES SPAULDING/ONAJE ALLAN GUMBS/GEORGE CABLES/MULGREW MILLER/STAFFORD JAMES/VICTOR LEWIS et al - The Complete CBS Studio (Columbia) Recordings of Woody Shaw: Rosewood/Woody Three/For Sure/United [3 CD BOOK Box Set] (Mosaic LTD ED 142 ,USA) This copy is # 4758/5000; everything virtually MINT condition, slight scuff bottom edge right corner of out box, now Out-Of-Print!
3 CD Set Booklet = $55
HARRY SMITH'S ANTHOLOGY OF AMERICAN FOLK MUSIC [V.A.] - Volume Four [2 CD Book set] (Revenant 211; USA)
2 CD Book set = 50.00 USED
VLADIMIR TARASOV - Complete Set Of Solo Works [11 CD 1 DVD Box Set] (Long Arms 817-828; Russia) Vladimir Tarasov was the drummer for the legendary Russian free/music ensemble the Ganelin Trio. Mr. Tarasov has also worked with Anthony Braxton, Andrew Cyrille, Larry Ochs, Mark Dresser and Kenny Millions. Mr. Tarasov is a master drummer and very few could pull off 11 CDs worth of solo drums. Essential for drum enthusiasts! - BLG
11 CD 1 DVD Box Set = $150 [last copy / unplayed]
CECIL TAYLOR and BUELL NEIDLINGER - The Complete Candid Recordings of Cecil Taylor and Buell Neidlinger (Mosaic MR6-127; USA) "The sessions that comprise the four discs on this first-rate Mosaic boxed set were done in 1960 and 1961 for the short-lived Candid label. Taylor's concept had not yet evolved into a finished package; he wasn't always sure where he was going. There are solos that begin in one direction, break in the middle, and conclude in another. Tenor saxophonist Archie Shepp often sounds unsure about what to play and whether to try and interact or establish his own direction. At the same time, there is plenty of exceptional playing from Taylor, Shepp, and the drum/bass combination of Buell Neidlinger and Dennis Charles. You cannot honestly say everything works on these four discs, but there is never a dull moment. It won't please everyone, but listeners ready for a challenge should step right up." - Ron Wynn, AMG
4 CD Set = $125 / CD 1 very slight scuffs
JACK TEAGARDEN - The Complete Roulette Jack Teagarden Sessions [4 CD Book Set, Ltd. Ed.] (Mosaic Records MD4-218) Both media and sleeve are an excellent condition. Discs 1 and 4 have very minor scratches. The box cover has a scratch on the bottom right corner and the left edge.
4 CD Book Set = CD $85 USED
THIS IS JAZZ [WILD BILL DAVISON/ALBERT NICHOLAS/JIMMY ARCHEY/RALPH SUTTON/DANNY BARKER/POPS FOSTER/BABY DODDS et al] - The Historic Broadcasts Vol 6: 6/28/47, 7/5/47, 7/12/47, 7/19/47 (Jazzology 1035/36 ,USA)
2 CD set = $20 USED
THIS IS JAZZ [WILD BILL DAVISON/EDMOND HALLJIMMY ARCHEY/RALPH SUTTON/DANNY BARKER/POPS FOSTER/BABY DODDS et al] - The Historic Broadcasts Vol 9: 9/20/47, 9/27/47, 10/4/47 American Music Festival 2/17/48 [2 CD set] (Jazzology 1041/42 ,USA)
2 CD set = $20 USED
RICHARD THOMPSON - Walking on a Wire (Shout Factory 026663-11087; USA) "Richard Thompson has never had a for-real hit record (at least not in America) over the course of a career that's spanned five decades, but there are few musicians who are better respected by their peers or have a more devoted fan base, and not without reason -- he's a fine singer, a superb, inventive guitarist, and a truly masterful songwriter. This may explain why Thompson, a man who could best be described as a "cult figure," is being honored with his third multi-disc box set. The 1993 set Watching the Dark was a brilliant overview of Thompson's body of work that included classic songs from all phases of his career along with rare live material, unreleased studio sessions, and even a few new songs. Released in 2006, RT: The Life and Music of Richard Thompson took a very different approach, instead collecting five discs' worth of unreleased material drawn from Thompson's own tape archives, which seemed designed to please obsessive fans at the expense of those who wanted a reasonably clear picture of the arc of his career. And now, Walking on a Wire: 1968-2009 takes the opposite extreme -- it's a four-disc set that offers a carefully edited and intelligently compiled chronological summary of Thompson's recorded repertoire, from his early recordings with Fairport Convention to his 2007 solo album, Sweet Warrior. However, it doesn't feature a single recording that hasn't been released before, and the few tracks that could pass as rarities come from "authorized bootlegs" Thompson has released through his fan club and website." - Mark Deming, AMG
4 CD Box Set With 60 page Book = $50 [promo copy, still sealed]
RICHARD THOMPSON - The Life and Music of Richard Thompson (Free Reed 55; UK)
5 CD BOX Set 172 page book = $80
CHARLES TOLLIVER/MUSIC INC. & ORCHESTRA With STANLEY COWELL/CECIL McBEE/JIMMY HOPPS/CLIFFORD BARBARO et al - Charles Tolliver Big Band: Music Inc. & Big Band/Impact/NDR Workshop 1979 (Mosaic Select 037; USA)
Ltd #'d 3 CD set = $50
FATS WALLER With JABBO SMITH / JAMES P JOHNSON / CLARENCE WILLIAMS / ALBERTA HUNTER / DON REDMAN - The Complete Works - Volume 1: Messin' Around with the Blues (JSP 927; UK)
4 CD set $25
FATS WALLER - The Complete Works - Volume 2: A Handful of Keys (JSP 928; UK)The British JSP reissue label specializes in nicely affordable four-CD sets that are chronological tributes to legendary jazz musicians like Jelly Roll Morton, Sidney Bechet, Bix Beiderbecke and Jimmie Noone. While each of these editions has proven useful, fulfilling and entertaining, Volume Two in JSP's Complete Recorded Works of Fats Waller must be regarded as a major triumph in historical jazz research and resurgence. For generations Fats Waller's music has appeared, disappeared and resurfaced in jumbled samplers and "Best Of" collections, with occasional attempts at comprehensive chronological revisitation serving to support and satiate those for whom there can never be enough Fats Waller. The RCA Vintage, Black & White and Bluebird editions of the 1960s, '70s, '80s and '90s each did a good job of keeping most of Waller's music available for both longtime devotees and curious newcomers, and the French have done a marvelous job with their extensive Classics chronological Waller series. Yet throughout all of this reissuing activity, the emphasis was most often upon the vast quantity of Fats Waller's Rhythm recordings made between 1934 and 1942. Waller, whose first records were waxed in 1922, was a perfect cyclone of activity during the '20s and early '30s; seldom if ever has any one label traced the path of this label-hopping soloist, accompanist, sideman and leader throughout his first decade of recording activity as has JSP with their conclusively complete Fats Waller edition." - Arwulf, AMG
4 CD Set USED $25
LESTER YOUNG - Portrait [10 CD Set 40 page booklet] (TIM 205436-325; Germany)
10 CD Set 50.00 USED
LESTER YOUNG with COUNT BASIE / BENNY GOODMAN / BILLIE HOLIDAY / BUDDY RICH - The Lester Young Story (Proper Box 8; UK)
4 CD Set $25 USED
LESTER YOUNG - The Complete Lester Young Studio Sessions on Verve (Verve 314-547-087; USA) "All too often, jazz critics have promoted the myth that Lester Young's playing went way downhill after World War II -- that the seminal tenor man was so emotionally wounded by the racism he suffered in the military in 1944-1945 that he could no longer play as well as he had in the '30s and early '40s. To be sure, Young went through hell in the military, and his painful experiences took their toll in the form of alcohol abuse, severe depression, and various health problems. But despite Young's mental decline, he was still a fantastic soloist. This eight-CD set, which gathers most of the studio recordings that he made for Norman Granz's Clef, Norgran, and Verve labels from 1946-1959, underscores the fact that much of his postwar output was superb. At its worst, this collection is at least decent, but the Pres truly excels on sessions with Nat "King" Cole and Buddy Rich in 1946, Oscar Peterson and Barney Kessel in 1952, Roy Eldridge and Teddy Wilson in 1956, and Harry "Sweets" Edison in 1957. Disc 8 contains two recorded interviews with the saxman -- one conducted by Chris Albertson in 1958 for WCAU radio in Philadelphia, the other by French jazz enthusiast Francois Postif in Paris on February 6, 1959 (only five or six weeks before Young's death on March 15 of that year). The contrast between the fascinating interviews is striking; in Philly, Young is polite and soft-spoken, whereas in Paris, the effects of the alcohol are hard to miss. Sounding intoxicated and using profanity liberally, Young candidly tells Postif about everything from his experiences with racism to his associations with Billie Holiday and Count Basie. But as much as the set has going for it, The Complete Lester Young Studio Sessions on Verve isn't for novices, casual listeners, or those who are budget-minded (Verve's suggested retail price in the U.S. was $144). Collectors are the ones who will find this CD to be a musical feast." - Alex Henderson, AMG
8 CD Box Set 100 Page BOOKLET = $125 [Near mint]
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Bruce Lee Gallanter's Recommended Gig List for December of 2017:
12/22 Friday
8:30 pm - WE ALL BREAK - Matt Mitchell (piano, percussion) Daniel Brevil, Markus Schwartz (Haitian Tanbou) Ches Smith (drums)
12/23 Saturday
8:30 pm - GOOD FOR COWS - Devin Hoff (bass) Ches Smith (drums)
12/26 Tuesday
8:30 pm - Chris Pitsiokos (sax) Tim Dahl (bass) & Makigami Koichi (voice, theremin)
Vicky Chow plays a program of John Zorn's compositions for piano with improvising rhythm section, with Tyshawn Sorey and Shanir Blumenkranz.
7pm at National Sawdust in Williamsburg. For details check https://nationalsawdust.org/event/jazz-stone-commissioning-series/ $25
12/27 Wednesday
8:30 pm - Ned Rothenberg (clarinet, bass clarinet, alto sax, shakhachi) Shelley Hirsch (voice) Billy Martin (drums) Makigami Koichi (voice, theremin)
ONE SET AT 8PM—ADMISSION FREE! - The Stone is proud to present music at Russ and Daughters Cafe at 127 Orchard Street the last Thursday of every month! Drop by for smoked fish, pickles and great music!
12/28 Thursday
8:30 pm - Agra Darma - Ikue Mori (laptop) Sylvie Courvoisier (piano) Makigami Koichi (voice,theremin)
12/29 Friday
8:30 pm - Nels Cline (guitar) Yuka Honda (keyboards) Shanir Blumenkranz (bass) Tim Keiper (drums) Makigami Koichi (voice, theremin)
12/30 Saturday
8:30 pm - Gyan Riley (guitar) Jamie Saft (keyboards) Makigami Koichi (voice, theremin)
John Zorn (sax) Chris Speed (sax) Makigami Koichi (voice) Ikue Mori (electronics) Brian Marsella (piano) Jim Black (drums) Chris Tordini (bass) Okkyung Lee (cello) Jad Atoui (electronics) and many special guests
11pm — NEW YEAR'S EVE SPECIAL
PAKORA with Chris Speed (clarinet) Brad Shepik (guitar, saz) Chris Tordini (electric bass) Jim Black (drums, percussion) - FORTY DOLLARS
A special concert for New Year's Eve! Pachora is a fabulous instrumental unit inspired by the music of Eastern Europe—a legendary all-star ensemble performing a unique set for the holidays! Bring the New Year in Stone-style at our LAST EVER NEW YEARS SHOW!
All Sets at the Old Stone start at 8:30pm Tickets: $20
There are no refreshments or merchandise at The Stone.
Only music. All ages are welcome.
Cash Only at the door. There is no phone.
There is no food or beverage served or allowed
just a serious listening environment.
The Stone is booked purely on a curatorial basis
Tishman Auditorium - 63 5th Avenue - NY, NY
Admission (for each night): $25 advanced online sales (via Eventbrite);
$30 at the door (credit card only, no cash). All sales are final.
The CORNELIA STREET CAFE - 212-989-9319
29 Cornelia St in the heart of the West Greenwich Village, NYC
Friday Dec 22
8:35PM PETROS KLAMPANIS SEPTET - Petros Klampanis, bass; Julian Shore, piano; Gilad Hekselman, guitar; Keita Ogawa, percussion; Gokce Erem, violin; Maria Manousak, violin; Colin Stokes, cello
Saturday Dec 23
6:00PM AVANT-GARDE JAZZ TRIO - Eli Asher, trumpet; Barbara Haimowitz, piano; Giacomo Merega, bass
8:35PM PETROS KLAMPANIS SEPTET - Maria Manousaki, violin; Christos Rafalidesore, vibes; Costas Baltazanis, guitar; Panagiotis Andreou, elec. bass, voice; Panagiota Haloulakou, voice; Lefteris Kordis, piano; Engin Gunaydin, drums
3:00PM METROPOLITAN KLEZMER--SANTA KLEZ! - Debra Kreisberg, clarinet, alto saxophone; Karen Waltuch, viola; Rachelle Garniez, accordion, piano, vocals; Dave Hofstra, double bass, tuba; Eve Sicular, drums, bandleader
Tuesday Dec 26
6:00PM DAVE MEDER/ALEX GOODMAN DUO - Dave Meder, piano; Alex Goodman, guitar
8:01PM ERI YAMAMOTO TRIO - Eri Yamamoto, piano; David Ambrosio, bass; Ikuo Takeuchi, drums
Wednesday Dec 27
8:00PM ELIZABETH AKLILU & GREG LOUIS - Elizabeth Aklilu, voice; Greg Louis, organ
9:30PM NAOMI PETIT QUARTET - Naomi Petit, voice; Paul Jones, tenor sax; Eitan Kenner, piano; Rick Rosato, bass
Thurs Dec 28th:
8:01PM TOM CHANG QUINTET - Tom Chang, guitar, comp.; Quinsin Nachoff, tenor sax; Jeremy Powell, tenor sax; Kenny Grohowski, drums; Sam Trapchak, bass
Friday Dec 29
6:00PM NEW AIRES TANGO - Malena Dayen, vocals; David Rosenmeyer, piano
8:35PM LAGE LUND - Lage Lund, guitar; Jared Henderson, bass; Jochen Rueckert, drums
Saturday Dec 30
6:00PM DANCE OF THE WORD - Evie Ivy and Dancers; Fred Simpson; Patrick Hammer; Philip De Pinto; The Elegant Ivory Duo; Mindy Levokove; Jack Tricarico; Peggy Fitzgerald; Anthony Moscini
8:35PM TOM RAINEY, OBBLIGATO TRIO - Kris Davis, piano; Drew Gress, bass; Tom Rainey, drums
Sunday Dec 31
9:15PM PAUL SHAPIRO'S RIBS & BRISKET REVUE - Paul Shapiro, sax, clarinet and vocals; Cilla Owens, vocals; Jerry Korman, piano; Brad Jones, bass; Aaron Alexander, drums
11:15PM PAUL SHAPIRO'S RIBS & BRISKET REVUE - Paul Shapiro, sax, clarinet and vocals; Cilla Owens, vocals; Jerry Korman, piano; Brad Jones, bass; Aaron Alexander, drums
Evolving Free Jazz Festival Justice is Compassion / Action is Power Abrazo Gallery, Clemente Soto Velez, 107 Suffolk St, NYC 10002
www.artsforart.org/evolving $20 1-2 sets / $25 all sets // $15 student/senior
Friday 12/22 7pm: Lisa Sokolov - voice, piano 8pm: Andrew Lamb Quintet - Andrew Lamb - reeds / Ahmed Abdullah - trumpet / William Parker - bass / Newman Taylor Baker - drums / Michael Wimberly - percussion 9pm: Secret Music Society - Jackson Krall - drums / Mark Hennen - piano / Larry Roland - bass / Elliott Levin - reeds / JD Parran – woodwinds / Juan Quinones - guitar
Thursday 12/28 7pm: Ned Rothenberg - woodwinds / Tomeka Reid - cello 8pm: Michael Bisio - bass / Avram Fefer - reeds / Steve Dalachinsky - poetry
9pm: Clarinet Madness - Jay Rosen - drums / Perry Robinson & Michael Marcus – clarinets
Friday 12/29 8pm: Michael Foster – sax / Brandon Lopez – bass / Matt Weston – percussion, electronics 7pm: Jochem Van Dijk Quartet - Jochem van Dijk - bass guitar / Dave Gould - drums / Evan Gallagher - piano / Sana Nagano - violin 9pm: Sarah Bernstein Quartet - Sarah Bernstein - violin / Ron Stabinsky - piano / Stuart Popejoy - bass / Satoshi Takeishi – drums
Saturday 12/30 7pm: Jeff Lederer - clarinet / Kirk Knuffke - cornet 8pm: Jemeel Moondoc Trio - Jemeel Moondoc - alto sax / Larry Roland - bass / Newman Taylor Baker - drums
9pm: Karen Borca Quartet - Karen Borca - bassoon / Hill Greene - bass / Warren Smith - vibes / Jackson Krall – drums
I-Beam Presents:
Friday, December 22nd 8:30 PM $15 Suggested Donation
Sean Clapis-Guitar
Sebastien Amman-Piano and Keyboards
Alex Tremblay-Bass
Alon Benjamini-Drums
Friday, January 12th 9:00 PM
Eva Novoa Trio: Novoa / Gress / Gray
Eva Novoa, piano and compositions
Drew Gress, bass
Devin Gray, drums
Friday, January 12th 9:00 PM
Eva Novoa Trio: Novoa / Gress / Gray
Eva Novoa, piano and compositions
Drew Gress, bass
Devin Gray, drums
I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.


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For many years, chip giant Intel (INTC -1.36%) and memory specialist Micron (MU 1.44%) worked together to develop NAND flash memory technology.
NAND flash is a type of nonvolatile memory -- that is, a kind of memory that retains the information stored on it even when it's not connected to power -- that's commonly used in a wide range of applications.
Smartphones, tablets, personal computers, and major data centers all rely on NAND flash for some, if not all, of their storage needs. Advances in NAND flash over the years by major industry players have led to larger storage capacities and lower cost per unit of storage, which has ultimately spurred adoption of the technology.
On Jan. 8, Intel and Micron announced that they had agreed to "work independently on future generations of 3D NAND" -- effectively dissolving their long-standing partnership with respect to NAND technology development.
Let's take a closer look at the details and the potential implications.
Going at it alone
Intel and Micron say that they have "agreed to complete the development of their third-generation 3D NAND technology, which will be delivered toward the end of this year and extending into early 2019."
After that, Intel and Micron will go their separate ways with respect to NAND technology development.
Intel executive Rob Crooke, who runs the company's nonvolatile memory solutions group, said in a statement that Intel and Micron have "reached a point in the NAND development partnership where it is the right time for the companies to pursue the markets we're focused on."
The company didn't elaborate further on why it's the right time for this separation.
It's worth noting, though, that Intel and Micron say that they're going to keep collaborating on the companies' jointly developed 3D XPoint technology, which is faster than NAND flash but more expensive to produce.
The implications
Ultimately, I see several big-picture implications from the dissolution of this partnership. The first is that since both companies no longer intend to pool their engineering resources on NAND flash development, each company is going to need to fill in the gaps internally.
This could ultimately lead to increased research and development expenses for both Intel and Micron, leading to reduced profitability. The extent of the profit reduction from here would ultimately depend on how close each company was to having independent technology development teams in the first place.
Perhaps the more interesting implication is the potential for Micron and Intel to become more aggressive competitors for each other. Today, Intel generally focuses on select areas of the NAND flash market -- high-performance storage devices for data center and high-end personal computer use.
Micron is more of a generalist, supplying NAND flash into the segments that Intel does, as well as other areas where Intel doesn't play, such as the smartphone memory market.
In the years ahead, we could see Intel more aggressively expand into new areas of the NAND flash market or step up its efforts in areas that it participates in only cursorily. Micron, too, could double down on its efforts in areas that Intel is strong in, such as data center storage.
More aggressive competition could have a negative impact on industrywide NAND flash pricing, reducing the profitability of the industry as a whole.
Given that nonvolatile memory is a small adjacent business for Intel today while Micron is a dedicated memory specialist, Intel probably has more to gain and less to lose from ending this partnership than Micron does.

subset: commoncrawl


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Source: Teachers and Teaching, 26:5-6, 460-474
(Reviewed by the Portal Team)
The data shared in this article is related to several critical incidents that occurred during a summer literacy programme where tutors worked with elementary age students in a university literacy centre (2019).
Each incident adds to learning by Pre-Service Teachers (PSTs) on professional behaviour.
The paper is thematically organised across four critical incidents.
The first two involved conflict between three tutors, broadly.
In one, a student was involved as the tutors engaged in personal conflict.
In the second, the tutors alone were involved, however, the escalation of the situation occurred quite quickly.
In the third narrative, the authors re-story a critical incident that involved the researchers and one of the teacher candidates across multiple moments in the programme.
In the final narrative, model behaviour by two tutors was exhibited when handling mandated reporting.
For this study, these stories can help readers understand how pre-service teachers make sense of their own experiences in working with children and other adults in a summer literacy programme.
PSTs and other tutors (undergraduate students from other majors) worked for four weeks in the summer with elementary age students.
The two PSTs who were the lead teachers in the programme designed and carried out the curriculum.
The tutors in the programme were there to serve as small group leaders and to guide some of the group activities.
Elementary age students who participated in the summer were students who were identified as struggling with reading (performing two or more grade levels below).
They also qualified for free or reduced lunch.
The two faculty researchers act as mentors and facilitators, guiding and debriefing as needed and on call to ensure the safety of all of the students and PSTs.
Faculty researchers and others also provided training for the tutors at the beginning of the programme.
This study investigates two research questions: what do the stories of critical incidents tell us about the needs of PSTs and what approaches to critical incidents can faculty take to best develop the professional skills of PSTs? The stories of the participants are of the utmost importance to the researchers, both of whom approach research from a transformative worldview.
This meant that narrative inquiry was the most appropriate research method for this study.
Data collection
Data for this project was collected from multiple sources following institutional review board approval.
The candidates were interviewed at an orientation to get to know each other; that data was transcribed.
The candidates spoke publicly and were observed by the faculty researchers, who took field notes during the summer programme.
There was also email documentation in several of these critical incidents that were included. The Institutional Review Board covered all documents included in the Protecting Minors protocols which included communications with the tutors, interviews, observations, and field notes.
Member checking was performed following data analysis.
Narrative inquiry was the methodology as well as the data analysis format used for this research. 'A narrative communicates the narrator's point of view, including why the narrative is worth telling in the first place' (Chase, 2003).
The re-storying included as findings below communicate how critical incidents unfolded in multiple phases of a summer programme.
This shaping of the reality of the four week summer programme, which was researched from a week prior to k-6th grade children attending and for a week following the conclusion of the programme, allows readers to live the experiences of critical incidents (Chase, 2003).
Findings and discussion
The narratives provided through email and conversation with students were added to the observation journals and field notes of the researchers.
Those data points allowed for the re-storying necessary for narrative inquiry (Chase, 2003).
What re-storying tells us about the needs of PSTs
First and foremost, the need of all pre-service teachers was hands-on and immediate guidance.
This is a critical component of most field experiences (Bacharach et al., 2010; Sorensen, 2014), but the authors found that this demands more than the ability to reflect at the end of the day.
Several times per day, the PSTs have questions ranging from a simple technique (as in Angela's case) to truly complex questions about the well-being of their students (in Debbie's case).
Additionally, there are questions that arise about how to handle parents and other adults; we see this in Debbie's story about reporting and we see this across David, Jonda, and Angela's conflict.
This supplemental field experience is a microcosm of a school.
In their professional lives, each PST will need the tools to convey important, often critical, information to parents while protecting the children in their care (Toom et al., 2019).
Each PST will also enter a workplace full of different personalities, and conflict will often be part of the landscape.
What re-storying tells us about implications for faculty
There were multiple questions that arose from these critical incidents that require thought and discussion among faculty researchers.
First, the fact that David was a clear favourite with students appeared to be part of Angela's dislike for him.
Additionally, her jealousy over the attention he gave Jonda in the first two days of the programme was clear to all of the PSTs.
Once there was a conversation about flirting and appropriate behaviour, none of that continued.
However, Angela's dislike for David never waned, and it became a constant stressor for the researchers.
Countless hours were spent working on how she could better lead without treating him unfairly.
The data included nearly a dozen emails to her working on the debriefing techniques and respect requirements clearly outlined in the handbook.
In response, her emails were never apologetic and no change was detected.
In attempting to re-story, the researchers were interested in trying to get to the truth of the stories (Leggo, 2004).
What was Angela's truth?
That was not clear from the pages of transcripts of conversations with her, email transcripts, or stories of other PSTs.
What can faculty do when a PST seems unprepared to handle students without undermining her peers?
Globally speaking, good teachers are caring, and they invest much of their energy in the love they feel for their career and their students (Ladson-Billings, 1995, 2014; Warren, 2018).
What can faculty researchers do to protect PSTs from the pain of an event like Debbie experienced? These questions indicate that supplemental field experiences allow the PSTs to adopt the lens used by professionals outside of their school and context.
This allows for the literature to be applied to the situations as opposed to only receiving context from others in the same community; teachers can become jaded by these experiences over time (Hargreaves, 2005; Luet & Shealey, 2018).
In this study, the authors found that critical incidents that occurred in a summer programme provided powerful learning opportunities for the PSTs and the faculty.
The lead teachers and the tutors who were a part of this study not only learned about teaching elementary students, but they also had opportunities to experience the everyday tensions that are faced by teachers.
Navigating the challenges of the teachers' lounge was as challenging as navigating the work with children, and the PSTs needed support as they learned to behave as professionals.
While teacher preparation programmes globally assess professionalism and professional dispositions, this model allows for the explicit instruction on professionalism and ethics as problems arise (Toom et al., 2019).
The importance of on-site faculty as mentors was a key component of what was learned from the study.
The necessity of having a faculty mentor in the space with the tutors was immediately apparent; the learning process was cyclical and ongoing.
This has been found in studies internationally (Toom et al., 2019).
The tutors and lead teachers had access to and were able to seek input from faculty members.
What is critical in this programme is that the relationship between faculty and university students was well developed.
Both faculty had taken the time to get to know the lead teachers and the tutors who were working in the summer programme.
Bacharach, N., Heck, T., & Dahlberg, K. (2010). Changing the face of student teaching through coteaching. Action in Teacher Education, 37(4), 269–285.
Chase, S. E. (2003). Learning to listen: Narrative principles in a qualitative research methods course. In JosselsonR., LieblichA., & McAdamsD. P. (Eds.), The narrative study of lives. Up close and personal: The teaching and learning of narrative research (p. 79–99). American Psychological Association.
Hargreaves, A. (2005). Educational change takes ages: Life, career, and generational factors in teachers' emotional responses to educational change. Teaching and Teacher Education, 21(8), 967–983.
Ladson-Billings, G. (1995). But that's just good teaching! The case for culturally relevant pedagogy. Theory into Practice, 34(3), 159–166.
Ladson-Billings, G. (2014). Culturally relevant pedagogy 2.0: Aka the remix. Harvard Educational Review, 84(1), 74–84.
Leggo, C. (2004). Narrative inquiry: Honouring the complexity of the stories we live. Brock Education: A Journal of Educational Research and Practice, 14(1), 97–111.
Luet, K. M., & Shealey, M. W. (2018). A matter of perspectives: Studying the persistence of fourth year urban education teachers from two preparation programs. Urban Education, 004208591880263.
Sorensen, P. (2014). Collaboration, dialogue and expansive learning. Teaching and Teacher Education, 44, 128–137. https://doi.org/10.1016/j.tate.2014.08.010
Toom, A., Tillikainen, M., Heikonen, L., Leijen, A., Mena, J., & Husu, J. (2019). Teacher candidate learning of action-oriented knowledge from triggering incidents in teaching practice. Teachers and Teaching: Theory and Practice, 25(5), 536–552.
Warren, C. A. (2018). Empathy, teacher dispositions, and preparation for culturally responsive pedagogy. Journal of Teacher Education, 69(2), 169–183.


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Rebuilding a home after a fire is a deeply emotional and sometimes painful process. To offset the negative emotions, some homeowners wish to use the opportunity to make changes to their home or start fresh entirely. However, home insurance is designed to replace only what you had.
Some common questions after a home fire include how to go about making changes to the home or buying new furniture and belongings, and even about the possibility of walking away from a home that burned down.
Can you do anything you want with Personal Property money?
After a fire, replacing your personal belongings can be a painful process and many homeowners would prefer to start fresh, accepting a lump sum in cash and buying new things. Lump sum settlements may not always provide you with the best value. Some insurance policies offer lump sum based on Actual Cash Value rather than Replacement Value. That means accepting payment based on the depreciated value of your lost belongings, which will be much lower than the cost to replace the same or similar item from a store.
Some families even choose not to replace all of their lost contents, since some of what we store in our homes is outdated or sentimental, and need not or cannot be replaced . But remember that the insurance company provides compensation based on what you're replacing, and will not just automatically pay you out up to your limit.
Can you make changes to your home during the rebuilding process?
With the influx of insurance money, it can feel tempting to make the changes you always wanted to make to your home. Unfortunately, your fire insurance claim is only intended to fix damage done by the fire and restore your home back to its pre-loss state, so any changes or alterations might have to come out of your pocket.
If you lived in an older home, your home insurance policy may have a clause covering the cost of upgrading your home to contemporary building code standards. Older homes will likely be a little out-of-date, and there will be higher costs for bringing your home up to code.
Can you walk away from your home and start fresh?
Typically, you cannot simply walk away from a home that has burned down, especially if you have an outstanding mortgage. If your insurance claim is not enough to pay off your mortgage (and your mortgage is not insured), you could still be left paying the difference between what your insurance covers and what you owe on your mortgage, plus associated costs (such as cleaning up).
Your mortgage company will want to see that the home is rebuilt to a state of equal or greater value, and your insurance company will be obligated (up to your insurance limits) to restore your home to its pre-loss state.
Keep in mind that your insurance policy covers the cost of damage done to your home, not the full market value of your home and the property. Home values are typically much higher than home insurance policy limits, since fires and floods typically do not affect the location of a home or its grounds, both of which are factors in the overall market value.
Those are some of the questions you may have about rebuilding after a fire. For the basics, everything you need to know about fire insurance claims can be found online or by talking to an insurance adjuster. As you rebuild, consider all of the options available to you.


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Hi! I'm Sunayna of House of Nayna! I am a Winnipegger born and raised, working Mama of two, lover of London Fogs and I am on a mission to teach the EVERYDAY woman how to look and FEEL amazing in the body they have NOW!
I am honoured that the lovely gals at Mad are letting me take over their September blog post so I can chat with you about my obsession – MAXIMIZING your wardrobe! Fall fashion is finally here and that is my jam! I know, I hear you, we earn those Peg city summers and it is hard to let them fade away. I am going to show that with a couple of staple pieces from Mad's FABULOUS Fall collection, you will have a medley of killer looks and you won't need a magical money tree to do it!
The best part? I used three gorgeous, real Winnipeg Mamas who all happen to be teachers! How perfect for Fall and back to school is that? Pumpkin spice, we are coming for you!!
Shawna is a Mama of 4 kids under 6 (yes, you read that right, FOUR), a teacher at a French Immersion school, and runs a blog called "Too Busy Livin" packed full of great tips and hacks about surviving everyday life. Guess who has no time to stand in front of her closet figuring out what to wear in the morning? Shawna.
I picked this perfect neutral, striped sweater tunic, paired it with a high waisted distressed light denim, threw a classic black blazer over top, and topped it off with a great mule. Oh hello super stylish teacher with an outfit that took two minutes flat to grab and put on!
For Shawna's next look, we paired the sweater tunic with the cutest pair of blush pink perforated slip on sneakers, tossed a baseball cap over cause let's not pretend she has time to comb her hair while she grabbed her backpack full of diapers, snacks, and wipes. Off she goes looking like the fab Mama on the go that she is! Easy peasy.
TRY THIS: Pair the tunic with leggings, add an ankle bootie, trench, and a fun lipstick for a hot date night!
Full disclosure, Reena is my bestie, so everything I say about her may be a bit biased but is actually true. This Mama of three boys is the kindest, sweetest soul I have ever met. This French teacher is headed back to the classroom full-time for the first time in 5 years and needs quick, easy outfits that require no thought at all.
Reena is a jumpsuit girl, so of course I picked this GORGEOUS patterned jumpsuit for her to rock. Ladies! Jumpsuits are not just for Summer! Take for instance Reena's first look for work. I chose this lovely cropped, burgundy knit sweater and just got her to wear it OVER the jumpsuit! Just like that it looks like a sweater paired with a pair of fantastic culotte pants. Of course, I added the perfect black slide to finish off the outfit. Which 8th grader is going to mess with a teacher who has this outfit on? The answer is no one!
For Reena's next look, I let the jumpsuit do all the talking. Look at that crossover detail and how it emphasizes the waist! I am in love. I accessorized the outfit with some tassel earrings and Mad's classic black block heel and boom! My bestie is looking oh so stunning and ready to hit the town for a cocktail with me! Notice how I said me and not her hubby? That's how we roll, hahaha.
TRY THIS: When it gets too cold to sport a bare leg, try wearing a fitted knee boot since the pant leg is wide enough to go over the boot, or knee socks and then an ankle boot!
Andrea is a new Mama who recently made the decision to leave teaching for a bit for the hardest job in the world – staying at home with her baby. Andrea and I first met when I had the honour of taking her personal shopping and it didn't take me long to realize that she is just as beautiful on the inside as she is on the outside.
I chose this chic black shift dress for Andrea, the perfect staple for any wardrobe. For Andrea's first look I paired a thin, knit, blush turtleneck UNDER the shift dress and added a leopard slide. VOILA! How freaking cute is this outfit? Remember, leopard is considered a neutral print so don't be afraid to pair it with anything and everything!
For Andrea's second look we went total glam. Look at this cream coat! Let me tell you, it feels like butter! We added a pop of colour with the burgundy block heel and a red lip. Andrea the supermodel, is that you? Yes, it is.
TRY THIS: For another work look wear a collared button up underneath and pair with an opaque stocking and boot. To dress is down pair it with a cuffed denim or legging and throw over a long cardigan and scarf!
I hope you've enjoyed all my tips on how to maximize your wardrobe! Now go grab that Pumpkin Spice Latte and head over to Mad About Style to shop their Fall collection! Happy shopping!
Sunayna is a personal shopper in Winnipeg who specializes in teaching the everyday woman how to love and dress their current body. Her services include personal shopping, wardrobe consulting, private shopping parties as well as teaching the Master Class for Mamas. Follow her at @houseofnaynawpg or email her at email@example.com.


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Someday Crafts has been hosting a Back 2 School Bash! She has featured my Snap Pouches as "perfect for pencils and other gadgets to keep in a locker, tote or cubby". I love her site and am always so inspired by the creative ideas I find there. Go pay her a visit, leave lots of comments, and become inspired by the crafty ideas you would love to try SOMEDAY.
Tuesday, August 10, 2010
Back 2 School Bash (Someday Crafts)
Labels: Create, Randomness, Repurposing Project, Sew Much Fun
1 comment:
Each and every one of your comments means so much to me. I love to hear from friends both old and new. Thanks for taking the time to stop by my little corner of the world and thanks for taking the time to let me know you were here.
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Thursday, September 25, 2008
The Arts in New Orleans
Continuing her series on New Orleans, in "The Arts in New Orleans," Judy Rosella Edwards reminds us of the great traditions in entertainment that take their roots from New Orleans and its diverse population. The article sheds light on researching ancestors who may have been among the many performers who came and went in New Orleans.
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- Details
- Department of Computer Science
Professor Mridul Aanjaneya is an Assistant Professor in the Department of Computer Science at Rutgers University. He received his Ph. D. from Stanford University, followed by postdoctoral studies at the University of Wisconsin - Madison. He is interested in Computational Physics, with a focus on applications in Computer Graphics and High-Performance Computing. Some of his recent work has proposed novel algorithms and data structures for capturing small scale details in Computational Solid and Fluid Mechanics.
W https://www.cs.rutgers.edu/people/professors/details/mridul-aanjaneya


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Brand: Middle of Nowhere
From the Middle of Nowhere, we welcome the Minna ceramic planter, with a matt silicone coated exterior and gloss glazed interior.
This pot has no drainage hole in the planter base, so simply place plastic plant pot inside.
The planters measure as follows: Medium / W x H x D / 14 x 16 x 14 cm


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To detect eye diseases and help prevent vision loss, get regular eye examinations. If you're diagnosed with certain eye conditions, such as glaucoma, treatment with medication can help prevent blindness.
Have your child's eyes examined at 6 months of age, 3 years of age, and every two years between the ages of 6 and 18 years old to help prevent vision loss. If you notice symptoms of vision loss between routine visits, make an appointment with their eye doctor immediately.


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Embracing Wholeness while honoring Destruction
This post is inspired by an article I read a week or so ago. It's written from the perspective that men can embody Shiva and woman Kali without as much crossover or wholeness:
Lots of Warrior Goddess sisters are reclaiming their Kali energy, and it's a very strong, intimidating energy. Many people when they have gotten to know me, easily see that side of me.
Let me be clear. That's not the only part of me. I am a multifaceted human being, and to peg me in that category without seeing the wholeness of who I am doesn't do me justice. We do this all the time to people where we refuse to see the wholeness and beauty of a person, and just mark it off as, "Oh that's just them". The time of that is over, and it's time we saw and embraced each other for the wholeness of a human being instead of just putting people in a box like that's all they are.
The (horrifically simplified) myth of Kali is about how she raged and went on a killing spree. The other God/desses tried to beg her to stop, but that made her rage grow. When they rose against her to try and stop her, her anger grew even more then that. It wasn't until Shiva laid down in front of her with compassion that she let it all out in a productive way and stood on top of him, calm and peaceful. This union represents many things, and is an expression of life itself.
Kali is not just a destroyer Goddess. She's this wildness – a fierce, protective energy that rises in all of us. Human kind has fallen out of right relationship with the true meaning of chaos, and a majority only know the overwhelming self induced chaos that we create ourselves. That's not Kali. And just as with Kali, she is not a destruction Goddess 100% of the time, but that's what people peg her as. They choose not to know the chaos of being the eye of the storm, or the ecstatic dance of a thunderbolt. Or the fierce love a Mother has for their child.
Just as the myths are stories for our psyches, they offer many different translations and I choose not to argue. My interpretation of the most famous of Kali myths? There's this wildness that we have caged or not let out, and it's getting angrier the more that it's caged. When we finally find it within ourselves, it can be explosive and extremely dangerous/toxic. But the response of either falling at its knees and begging for mercy, or fighting against it will only anger it more. WE were the ones that caged this powerful part of ourselves, and it takes that fierce compassion of surrender in order to allow that transformation through love. Yes, it's scary, but it's the only way to break that particular cycle and satiate that pure, volcanic energy. Be in the uncomfortable and surrender to it. Don't try to control it.
So do me a favor. Next time you look at another human, don't label them and put them in a box. Just like I have many faces, the divine and how they show up for us take on many faces. It's this balance of Kali and Shiva within ourselves that helps humanity out of this rut we're currently breaking free from. Chaos is needed in this dire time of change, and we can't do it by begging it to stop or fighting against it. It takes understanding, compassion, and that fierce, tender heart that this energy is protecting. If we run away from it, it's still going to happen and you're just turning a blind eye to it.
What does this look like practically? If you tell me I'm wrong and come at me with aggression, I'll advocate for myself and hold space while you yell at me. Because I know it's not me you're *really* mad at. If you grovel at my feet and beg for the chaos in your life to stop, I'll help you find the wilderness in your heart and teach you to surrender to it. It's a long road ahead, but it doesn't mean that we tear eachother down in the process. It's about coming together and supporting each other in times of need. We NEED to see each other in our wholeness, and not just for one of the gifts we bring into this world. We need you. All of you.
From my fierce, wild heart to yours.


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All 33 games developed by the supplier in 2016 and 2017 have now been certified to the requirements of the Italian regulator (AAMS), with the remaining titles in their catalogue and all new releases to follow in future.
Habanero is also in advanced discussions to take the games live with several leading operators in Italy. The company's expansion is being spearheaded by experienced gaming executive Arcangelo Lonoce, who was appointed as European Head of Business Development in November 2017.
Former BetVictor executive Lonoce said, "We have progressed our global reach significantly in recent months and are delighted to have all of our most recent games certified in Italy.
"Habanero is entering an exciting phase of its growth, with expansion across Western Europe one of our core priorities as we lead into 2018."
Habanero agreed a number of operator and supplier integrations in 2017, most recently signing with multi-channel casino platform provider Digitain in December.