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The Free Jazz Collective Reviews of Free Jazz and Improvised Music
William Parker and Patricia Nicholson - No Joke! (ESP Disk', 2021) ****
by [email protected] (Paul) on January 18, 2022 at 5:00 am
By Kenneth Blanchard No Joke! is a collaboration between Parker and his wife. Nicholson is a performance artist, dancer, improviser, poet, and choreographer. She recites verse against the background of energetic, cleanly rhythmic jazz on the 1st, 3rd and final cut. You can hear something very similar on Open the Gates by Irreversible Entanglements ( very well reviewed here by Martin Schray ). In addition to Parker's bass, the band consists of James Brandon Lewis, tenor sax; Devin Brahja Waldman, alto sax; Melanie Dyer, viola; and Francesco Mela and Gerald Cleaver trade off on drums. The album is explicitly political. Nicholson's poetry provides the kind of content of content that is rare in jazz generally and especially rare in free jazz and Avant Garde jazz. It is not unprecedented. One could compare 'Flare Up,' the opening number of No Joke! to Charles Mingus' 'Fables of Faubus.' "Mingus: Name me someone who's ridiculous, Dannie. Richmond: Governor Faubus. Mingus: Why is he so sick and ridiculous? Richmond: He won't permit us in the schools. Mingus: Then he's a fool!" Not great poetry, but the judgment is clear and impeccable. Here are some of Nicholson's judgments, from 'Flare Up': "The red hats are bathing deep in the river of illusion" and "the rallying cry of the red hats is a blasphemy of all they claim to be," and from 'Struggle,' "pushed aside by a main stream of angry creatures of indeterminate pedigree." The word "mainstream" split deliberately in two and the Mingus. Whether it really furthers the cause of peace and social healing to accuse people of blaspheme, or the cause of anti-racism to question their pedigree, is beyond my jurisdiction as an amateur music critic. Nicholson's voice stands out brightly against the music and is perfectly complimented by the Parkeresque pace and beat of the instrumental music. That music is very fine. 'Flare up' is largely a dialogue between viola and the brass. Little Black Kid with the Swollen Stomach opens with the thump and whispery rattle of Parker's bass, inviting the horns in during the first minute. Thereafter we are treated to a sax dialogue that turns occasionally to a wailing chorus. Drummer Mela wraps up with a powerful chant in a language that I did not recognize but an emotional content that was universal. Struggle has a decidedly more James Brandon Lewis feel. It starts with another Parker signature, a pom pom pommmmm, pommm pom beat. Nicholson comes in with "you know how Sisyphus always be pushin' that boulder up a hill… never getting' nowhere, ump un." This way of putting the Greek myth in a modern political context adds resonance to both traditions. Toward the end we get "streets that crack and turn with each movement in a body's life," delivered twice with her rhythm approaching singing without losing the magic of the chant. Wilted Light as a Flower is the only purely instrument piece, again a call and response/chorus between the horns. I can't leave this review without mentioning the brilliance of Melanie Dyer's viola. She accompanies Nicholson and gives a rich, savory flavor to the background. I am going to have to look up more of this. Likewise, both drummers make me want to pick up sticks and tap something. Ken says check this one out. No Joke! by William Parker - Patricia Nicholson Subscrib […]
Das Kondensat - 2 (WhyPlayJazz, 2021) ****
By Matty Bannond War between people and machines sells a lot of cinema tickets – and has paid for a lot of ritzy Hollywood mansions too. Sometimes, however, humans and gadgets team up for the greater good. The second album from Das Kondensat is a luminous example of the turbo-charged musical moments that are possible when acoustic and digital forces combine. Das Kondensat is a trio from Berlin featuring Gebhard Ullmann (saxophone, sampler, loops), Oliver Potratz (e-bass, analogue effects) and Eric Schaefer (drums, modular synth). Their collected credentials range across almost every genre and style of music imaginable. Now, with a new album called 2, they've cooked up something almost unimaginable. "I want to say things in new and different ways," says Ullmann. "That gets easier over time, as artistic expression gets more efficient." Twists and turns, peril and panic Listeners may be unsure what to expect from this group. The first track, '3031 A.D Variable,' deepens that sense of uncertainty. Sighs from the saxophone brush against digital scrapes and squawks. The second track, 'Pendulum,' emerges from this opaque paranoia with a synthy bassline and groovy drums, cuddled beneath a thick-quilt sax sound. The track gets carried away with its own danceable rhythm, then crumbles to dust, rises, crumbles, rises again. Schaefer's interest in dub music is unmistakable here – but above the nick-nacks and doodads, Ullmann's sax is the real storyteller, adding twists and turns, peril and panic. The three musicians explore separate paths in 'Impromptu #5.' Sax howling through a gently-swaying forest, bass scrambling over rough terrain, drums sprinting over rickety rope bridges. They eventually meet for a prog-rocky groove with a swaggering attitude, as if strutting away from a bank robbery via the back door while the police surround the front. Somersaults and the supernatural 'I Was Born in Cleveland Ohio Part 1' features another hip-bumping bassline, with the sax now somersaulting in zero gravity. From beyond the cosmos, we hear spliced-in samples of Albert Ayler explaining that music is a natural force. The drums patter and clatter, cymbals roaring. Then levels lurch. Volumes veer off. The entire universe collapses. A breath-taking piece of music. 'P (n+1)' combines broken hearts with racing pulses, its ballady beauty battered by rough-edged rhythms. For 'Bass Revenge,' Potratz cooks up a carb-loaded feast of low frequencies, seasoned by Schaefer's peppery drumming and Ullmann's creamy sax. 'Certain Patterns' in the Field then offers natural narrative progressions disrupted by supernatural sax sirens and gurgly robo-burps. More questions than answers Track 8, 'Lazer '73,' is a riveting musical dialogue. Gizmos whir and whistle. Bass and drums inject a booster-shot of bounciness, laced with a purring sax riff. The party occasionally breaks down for sombre contemplations of existential despair, but quickly slips back into its dancing shoes each time. Next is '3031 A.D. Stasis,' where the saxophone has fallen into an abandoned quarry and something scary has picked up the scent. Were those gunshots? Growling? Is anybody out there? The band answers with 'I Was Born in Cleveland Ohio Part 2,' a song that resists labels – and then dumps all labels into a toxic swamp. The last song, 'Étoile Schnuppe,' sends the listener away with more questions than answers. It begins introspective, with the musicians' eyes shifted away from distant galaxies and now staring down at their tapping feet. Animal noises? A mermaid? A ticking timebomb? And then… nothing. Teaming up for the greater good As the name suggests, 2 is the second album by Das Kondensat. It was recorded live, without overdubs. The result is full of swoops, arcs and melodrama. The jagged corners are smoothed by honeyed, ghostly insinuations. The emotions are high and unashamed. It's an album where people and machines get together to oil each other's moving parts and unleash their combined force. Will it be enough to save humanity? Only time will tell. Perhaps a third album might resolve it once and for all… 2 by Das Kondensat The album is available on CD and as a digital download. Find more information here . Check out this live performance to get a flavour of the band's sound and style: Subscrib […]
Jennifer Allum, John Butcher, Ute Kanngiesser, Eddie Prévost - Sounds of Assembly (Meenna, 2021) *****
By Ron Coulter No free jazz here, just divine, top-notch free improvisation focused on timbre and texture to create an album of otherworldly soundscapes. Sounds of Assembly was recorded in 2013 in London and not released until April 2021 on the Japanese label, Meenna. The album features Jennifer Allum (violin), John Butcher (saxophones, also mixing and mastering of the audio), Ute Kanngiesser (cello), and Eddie Prévost (percussion). As the album notes describe: "This recording marks the second meeting of this quartet. The occasion was an afternoon session organised for inclusion in Stewart Morgan's film "Eddie Prévost's Blood". A special location had been chosen - the large assembly hall of Prévost's old senior school, Addey & Stanhope in Deptford, London, where he enrolled in the mid 1950s." The film can be found here, and it includes footage from the recording session, as well as an excellent interview with Prévost that is definitely worth watching! The five tracks comprising the album clock in at 48'27", but this is time-suspending music that compels the listener with spacious, mysterious, atemporal, aural environments that seem to pass by too quickly. Each track has a sense of unforced drama propelling the music forward in continual, seamless development. Each player demonstrates a deep and careful attention to detail for every sound they create, as if they are handling something that is simultaneously fragilely delicate and intensely powerful. The group dynamic is borderline magical in terms of balance, support, like-mindedness, and reflexivity. The recording quality here matches the performance; this is complex music of subtlety and extremity and the recording captures and reveals all of this for we lucky listeners. Sounds of Assembly is free improvisation at its best: non-referential, self-organizing, questioning, searching, and devoid of cliché or touchstone…a rare must hear album. Sounds of Assembly by Jennifer Allum / John Butcher / Ute Kanngiesser / Eddie Prevost Subscrib […]
Ivo Perelman - Brass and Ivory Tales (Fundacja Sluchcaj, 2021) *****
By Paul Acquaro The small white box sits on my desk. Perfectly square, about an inch and a half high, featuring a light grayscale photo overlayed with white lettering. Inside, a slim booklet with saxophonist Ivo Perelman's image. Then, nine cardboard sleeves, each with a black and white image of a different pianist ... first, David Burrell, then Marylyn Crispell, followed by Araun Ortiz, Aaron Parks, Sylvia Courvoisier, Agusti Fernandez, Craig Taborn, Angelica Sanchez, and finally Vijay Iyer. As you can surmise, within each envelope is a CD documenting a fruitful encounter between the saxophonist and musician whose image is on the sleeve. Just a look at the list of musical partners and you can also safely surmise that the contents of the box are likely to combust. The more proper metaphor, however, is something regarding a book of stories rather than a book of matches. From the "tales" of the title, each one, a new collaboration, is broken into chapters - the track titles are chapter one, two, three, and so on. However, mere minutes into the over 1/2 hour 'Chapter 1' from Tale One, the first of two tracks with Dave Burrell, and the explosive imagery is just as appropriate. Burrell, 81, is ever a thoughtful and melodic player, and the interaction with Perelman is both delicately balanced and devastatingly precise. The energy already streaming from Perelman's instrument is heated, building in intensity as each minute goes by. They settle a bit later in the track, Burrell offering sparse dissonant lines and Perelman playing long yearning tones. The second track continues their adventure, the piano swings occasionally and the sax glides above and below the steady line. Tale Two, with Marilyn Crispell begins differently. Ruminative and gentle, the duo plays what sounds like a composed song, wistful and pretty, however unexpected tones and intervallic leaps belie the truly improvised nature. Then 'Chapter Two' flips the script. The romanticism turns to pointillism as Crispell's playing is quick, syncopated, and unpredictable. Perelman spars gamely, he is a blaze of notes and twisting musical logic. On this disc, 'Chapter 5' is standout. The two are again in a fierce match of agility, Crispell punctuating her ideas with percussive chords and Perelman jumping into altissimo range on a whim. Tale Three finds Perelman working out some ideas with Cuban-born, NYC based Auran Ortiz. 'Chapter One' finds Ortiz providing spare, percussive chords for Perelman to climb over and dance around. The saxophonist smears high pitched tones between the spaces in the pianist's accompaniment. On many of the chapters in this collaboration, Ortiz employs a minimalist approach, which is quite interesting to hear in contrast to the denser duos on Tale Two. However, a rumble from the low end coupled with a twinkling cluster of high notes also gives Perelman a much different set of tones and textures to explore. Brass and Ivory Tales is a generous and rich set of music. The recordings capture the saxophonist's inimitable style, as well as the spirit of pure improvisation. As the booklet with text from writer and de-facto Perelman scholar Neil Tesser indicates, each recording started with a blank slate, no discussion of ideas precede the push of the record button. This collection took the prolific musician seven years to complete, with the final three recordings made during the summer of 2021. Most collaborations here are first encounters and it is fascinating to hear how Perelman adapts to each different musical partner. The one missing collaborator in this collection is long-time musical partner Matthew Shipp, but there are plenty of other releases available to enjoy their telepathic work. All nine CDs in this set are worthy of a close listen. They are accessible, but take time and patience. The effort though is not without ample reward. Tale Five, for example, is a set of eleven shorter stories, told with Swiss-born, NYC based pianist Sylvie Courvoisier, that are fulfilling and dramatic. The piano playing is rich and harmonically complex, to which Perelman response is rich and melodically. Tale Six with Craig Taborn begins spiritedly, the pianist providing an expansive array of tones to navigate. Tale Four with Aaron Parks begins on a more subdued note. Known in more modern jazz circles, Parks offers Perelman a calm, expressive palette to work with. Tale Six is with Spanish avant-garde pianist Agusti Fernandez. Their collaboration also begins gently but soon splinters in many directions, sometimes simultaneously. By 'Chapter Three', the two are dancing on hot coals. Tale Eight is with pianist Angelica Sanchez and begins with the cheeriest of interactions so far as Sanchez's lithe playing rounds off some of the sourer timbers in Perelman's tone. 'Chapter Three' is intense, the piano plays tight a tight cluster of tones while Perelman reacts with similarly tightly clustered notes. The tension breaks soon enough, but not without leaving a lasting impression. Finally, Tale Nine is with Vijay Iyer. The two waste no time getting into a sprightly exchange, Iyer seems to envelope the entire keyboard with his ideas and Perelman masterfully matches the exuberance. The five tracks featuring the two of them is a fitting ending to this tremendous set of music. Brass and Ivory Tales is a book of matches, both literally and figuratively. Combustible sticks on one hand, compatible musical partner on another. The music within is light and lithe, dark and dense, covering the keys, the octaves, and all the rest. The bandcamp site offers samples from all the CDs, here is a starter for you: BRASS & IVORY TALES by IVO PERELMAN Subscrib […]
Fred Van Hove (1937 - 2022)
by [email protected] (Paul) on January 14, 2022 at 5:02 pm
Fred Van Hove in 2019. Photo by Cristina Marx. By  Martin Schray One of Fred Van Hove's credos was that improvised music didn't exist before it was played. He believed that the improvising musician had to create his own vocabulary on his instrument in order to achieve a unique sound. "Improvisation, you have never heard it before and you will never hear it again because it will never be the same again", he said. Now Fred Van Hove, the great Belgian pianist, improviser, composer, accordionist, organist, juggler and prankster is dead. The European free music scene, with whom his name will always be connected, will never be the same again as well. Born 1937 in Antwerp (his name is attached to this city almost as much as the one of Peter Paul Rubens), Fred Van Hove studied piano, theory and harmony at the Music Academy in Belgium and experimented with several jazz styles before making the transition to free improvisation. 1966 saw the beginning of his collaboration with Peter Brötzmann and Han Bennink. To this day it's rightfully considered one of the most seminal formations in European free jazz. One of the most striking characteristics of the trio's music was the principle of contrasting means of creation, which were raised to the level of a principle. The fact that this was rooted in the different temperaments of the participating musicians was not difficult to recognize. Van Hove was the counterpart of the extroverted poles Bennink and Brötzmann, even if in his early playing the influence of Cecil Taylor shone through. Tongue-in-cheek, Van Hove claimed that his musical career was less influenced by Taylor's playing than by the glockenspiel of the Antwerp churches. In his playing with Brötzmann and Bennink, he soon developed a strong individuality, with emotional outbursts and energy play increasingly fading into the background. Instead, he created a more and more complex style with tendencies towards oddness and even musical jokes, he sometimes integrated traditional stylistic elements, which he interpolated collage-like into the musical events. Van Hove counterpointed Brötzmann's screams and Bennink's hectic drumming with contemplative major triads and arpeggios. In this way he broke up the already consolidated free jazz techniques. After the split of the trio, Van Hove went solo and somehow re-discovered his instrument. He manipulated and prepared the piano, he ran at full speed to create sonic waves, but always came back to a melody. His multi-stylistic approach can be seen in his solo LP Verloren Maandag, on which he dispensed with technical virtuosity on purpose and preferred to surprise, create suspense and tease the listener by using Flemish local colour, which sometimes seemed deliberately dilletante. He really was the avant-garde of free jazz piano at that time. "Improvising is another form of composing. Instant composing such as instant coffee, but not such a surrogate,", he said. "Because of the lack of an external pattern, the music had to go back to its own inner tradition and its own inner nature. However, improvisation does not mean that the musical results, whether favourable or unfavourable , are random. On the contrary, the improvising musician remains open to all influences (…) because he has to play the music that each moment requires." In his search of pure sound he used techniques anticipated by John Cage, Karl-Heinz Stockhausen and Iannis Xenakis. Apart from his solo work his duos and trios with Johannes Bauer were a perfect example of the quest for purity. Unfortunately, the duo remained unrecorded, but Organo Pleno (FMP, 1993) their trio with Annick Nozati (voice) is magnificent in its extravagance and evening-dress-madness. Last but not least, even though his heart was set on improvisation, Fred Van Hove was also an outstanding composer, which he proved with 'T Nonet Fred Van Hove and on several WIM projects (Werkgroep Improviserende Musici, whose chairman he was for a long time). Fred Van Hove has released a lot of outstanding albums, it's difficult to select some from his great oeuvre. Certainly, the ones of the trio with Peter Brötzmann and Han Bennink are must-haves. My favourites are The End and Tschüs (both on FMP), but actually all eight are superb. From his solo albums Fred Van Hove (Vogel, 1973) and Verloren Maandag (FMP 1977) are really recommendable. One of my personal favourites is MLDD4's Was macht ihr denn? (FMP/SAJ 1983) with Günter "Baby" Sommer, Marc Charig and Phil Wachsmann. Highlights of his late work are Quat - Live at Hasselt (NoBusiness, 2013) with Els Vandeweyer, Paul Lovens and Martin Blume and Fred Van Hove at 80 (Dropa Disc, 2019), a 3-CD-box-set celebrating his 80th birthday. In his last years Fred Van Hove suffered from dementia but at the Antwerp Summer Bummer Festival in 2019 he reunited with Peter Brötzmann for a last duo show. One of the organisers of the festival helped him on the way to the grand piano, the ten meters took him about two minutes. The audience gave him a big hand but after a minute or so the applause died down. Van Hove was surprised, stopped and looked at the audience and made them understand that they should move on. Everybody laughed and when he finally reached his destination he sat down very slowly - just to explode as soon as he started playing. An unforgettable moment. Now Fred Van Hove, this true revolutionary, has passed away after a long illness. Hopefully, the chimes of the Antwerp churches will play a serenade for him. Watch Fred Van Hove solo: and with in the legendary trio with Brötzmann and Bennink: Subscrib […]
Solo Double Bass Extravaganza
By Eyal Hareuveni Listening carefully to many solo double bass albums over and over in a few weeks may cause a re-calibration of your body frequencies. The 14 albums reviewed below resist common descriptions, all experimenting with the bull fiddle (one with another sound artist and other teams with a vocalist). But all can guarantee that your sensitivity to the deep-toned vibrations may expand to other vibrations that move this planet and its living beings, and fulfils the wish of one of the prolific bassists, Luke Stewart, to lead to a radical change. Joëlle Léandre - At Souillac en Jazz (Ayler, 2021) ***** French master double bass player Joëlle Léandre has recorded many solo albums since the early eighties, most likely more than any other free improvising double bass player. The last one, At Souillac en Jazz, was recorded live during the festival by the same title and in the Saint-Jacques church of Calès in Lot, with the audience and two short pieces as a private after-set once the audience had left, in July 2021 by jazz journalist and film director Christian Pouget (He directed her musical portrait Affamée, 2019). Pouget, who wrote the poetic liner notes, captured beautifully the spirit of the commanding of Léandre's tour-de-force performance: "The huge sound, instantly gripping the body, is overwhelming far beyond the music, an experience so strong that tears flow when it comes to the sung parts. From the depths of the ages, evocative of a Native American medicine woman, an Inuit shaman, voodoo priestess or even blues woman, extracting with bare hands her strings rooted in clay, transcending the sound of her double bass, she awakens a thousand-year-old buried 'collective unconscious' with her voice of trance, inviting ancestral spirits to a form of resistance to fight all the injustices of the world, piercing with sound and love the hearts of both aficionados dreaming of impossible musical utopias and of novices stunned by her visceral 'duende'" The audience thought that Pouget was absolutely right, and obviously, me, who was fortunate enough to experience a few of Léandre's magical and highly poetic performances, could not agree more. At Souillac en Jazz by Joëlle Léandre Nina de Heney & Lina Järnegard - Solo piece for peace, please (Geiger Gramophone, 2021) ***** Solo piece for peace, please is a composition by Swiss, Gothenburg-based double bass player Nina de Heney and Swedish contemporary composer Lina Järnegard. This composition was inspired by fellow-Swedish writer, poet and artist Cia Rinne's "notes for soloists", which experiments with the performativity of the text and language at all in readings and collaborations with artists and sound designers. De Henry plays the double bass and cymbals, and this composition was recorded at Cinnober Teater in Gothenburg in 2019. The highly poetic Solo piece for peace, please intensifies the dark, woody, resonating tones of the bowed double bass - with the bow often employed as a percussive instrument - with the resonating tones of bowed, metallic cymbals. It offers nuanced drones that seduce the listener to wander within its enigmatic tones and overtones. Often, De Heney suggests puzzling, chaotic soundscapes by the bass augmented with the cymbals, almost industrial ones, in a way that adds an abstract sonic dimension to the cryptic text of Rinne. Solo piece for peace, please by Nina de Heney & Lina JärnegardMore to see here. Gonçalo Almeida - Monólogos a Dois (A New Wave of Jazz, 2021) ****½ Prolific Portuguese, Rotterdam-based Gonçalo Almeida is known for the range of his musical tastes - modern jazz and free jazz, chamber music, brutal jazzcore and contemporary experimentalism with a few combinations in between. His extensive, restless work has sharpened his instincts, techniques and musical imagination and equipped him with impressive physical power. Monólogos a Dois is his second solo double bass album, following Monologues Under Sea Level, released on his own Cylinder Recordings in 2015. In between, Almeida recorded a double bass duo with Dutch Raoul Van Der Weide (Duas Margens / Live at Pletterij (Cylinder, 2017). Monólogos a Dois was recorded at the Old Church in Oud-Charlois, Rotterdam in July 2020 and released as a limited edition of 100 vinyls plus download option. The 12 monologues are actually distinct dialogs with the double bass, covering the intimate, introspective and often stormy relationship with the bull fiddle. Almeida often sounds as charming and tempting the double bass, dancing gently with it, but also investigating its timbral qualities, provoking or struggles with it and attempts to submit the resisting instrument to his sonic vision, always with natural authority and captivating elegance. The acoustics of the empty, reverberating church contribute to the thoughtful, austere spirit of this album. Guy Peters, who wrote the liner notes, stresses the clever ways that Almeida corresponds with seminal double bass players, from Barre Philips to Charlie Haden, and, indeed, Almeida knows how to tie together different approaches, influences and a vast palette of sounds as well as an array of extended techniques and to own them all, in his own fascinating and special way. MONOLOGOS A DOIS by GONCALO ALMEIDASee more here. Paul Rogers - This Is Where I Find Myself (AudioSemantics, 2021) **** British Paul Rogers is known for his many collaborations with reeds player Paul Dunmall, including in the Mujician quartet. He plays the A.L.L. double bass, designed by him and built for him by Antoine Leducq, with 7 strings that cover most of the cello range and the double bass range, plus sitar-like sympathetic strings. This Is Where I Find Myself was recorded during April and May 2020, and Rogers says that he recorded with no goal, just letting his "heart, mind and soul be open. It's got nothing to do with what instrument you use, it's the spirit you put into the music". Rogers plays the bass exclusively with the bow and often his extended bowing techniques suggest that he was playing simultaneously on a few strings instruments or cover the whole range of a string quartet. The two extended pieces "Flexible" and "Now" explore the infinite possibilities of the A.L.L. double bass, as an imaginative sonic generator of alien, resonant multiphonics, conventional and exotic string instruments, or dark overtones of a deeply suggestive drone. All reflect the restless, inquisitive mind of Rogers and performed with a sense of powerful urgency and captivating authority. THIS IS WHERE I FIND MYSELF by Paul Rogers Gus Loxbo - Trådknaster (Noshörning, 2021) **** Trådknaster ('threads' in Swedish) is the debut album of Swedish double bass player Gus Loxbo, who also plays in the experimental-pop bands Pombo (with sax hero Anna Högberg) and Silent Blossoms. Loxbo recorded nine compositions for this album at Elektronmusikstudion EMS in Stockholm in February 2020. His classical training, education in jazz, improvisation and electroacoustic composition enables him to harness experimental threads into subtle yet suggestive textures. Loxbo balances cleverly and organically his extended bowing techniques, the dark and woody, vibrating sounds of the double bass and brief silences to sketch fragile and tentative sonic images and stories, and attaches poetic titles to them. "Allt det vackra" (All that Beautiful) highlights a touching melody, and "Ett Spirituellt Liv Med Fågelerfarenheter" (A Spiritual Life With Bird Experiences) suggests a hypnotic, ritualist pulse. The longest pieces "Där Tankar Föds" (Where Thoughts are Born and "Pappa" capture best his imaginative aesthetics, often transforming the double bass into a totally abstract sonic entity. The beautiful cover art of Henning Trollbäck matches the sonic vision of Loxbo. Trådknaster by Gus LoxboSee more here. Àlex Reviriego - Raben (Tripticks Tapes, 2021) **** Raben is the second chapter in the trilogy of solo albums inspired by German poets from Spanish, Barcelona-based double bass player Àlex Reviriego, known from the Phicus trio. This chapter is inspired by the writings of Paul Celan (1920-1970), who was born in Romania but wrote in German and follows Blaue Tauben (Sirulita 2018), dedicated to Georg Trakl. The upcoming chapter will be dedicated to Friedrich Hölderlin. Raben was recorded by Phicus colleague Ferran Fages in the winter of 2019. Reviriego says that this chapter retains the numbing cold of the winter days when it was recorded, and unlike the bleak expressionistic spirit of Blaue Tauben, it has a more contemplative and pensive mood. He imagines Celan's stark and cryptic language with mysterious, dissonant sounds created by extremely slow and almost static, repetitive bowings, muted stubborn tremolos and luminous harmonics. The uncompromising music stresses otherworldly sounds of the double bass defined by its dark and austere suchness, with no attempt to suggest a narrative or overt emotionality. The music, like Celan's poems, creates its own intense and evocative sonic environment and its inner chart of codes and meanings within which it must be listened to. Raben by Àlex Reviriego Paroxysm (A Front Recordings, 2021) **** Paroxysm, i.e. a sudden attack or violent expression of a particular emotion or activity, is the duo of Austrian, Berlin-based double bass player Werner Dafeldecker, known from such experimental bands like Polwechsel and Splitter Orchester, and Irish and fellow-Berliner sound artist Roy Carroll, who plays here on electroacoustic media. They describe this project as offering their "precisely articulated timbre-focused music traverses malleability of material and form, pitch interactions, timbral nature and psychoacoustic phenomena, through continually shifting layers and perspectives on singularities and recurrences. Paroxysm pulls apart the temporal structure of a moment, revealing the glistening molecular density within. They exude certain brutality towards their materials; visceral, emotional gestures amidst the forest of oblique and parallel connections/interactions that form their work". Together, Dafeldecker and Caroll create an ambiguous sonic entity where the patient and methodical exploration of the double bass' acoustic timbres is extended and mutated by the subtle, otherworldly electronic sonorities, and at the same time, the double bass intensifies the abstract electronics. The first piece "Tendencies" sketches a minimalist, cold and barren drone, while the second one "Basalt" begins with a darker, more sparse and melancholic tone but slowly aims towards a distant, almost industrial percussive coda, but like the first piece has its own accumulative, arresting effect. Paroxysm by werner dafeldecker See more here. Vinicius Cajado - Monu (Urchin, 2021) ***½ The playing of Brazilian, Vienna-based Vinicius Cajado knows combine influences and techniques (and extended bowing techniques, including with objects and loops) from jazz, free improvisation and classical and contemporary music, and already praised by Léandre. Monu is his debut album, and he also leads a quartet that released this year its debut album, both on the label Urchin that he co-founded with Austrian-Japanese guitarist Kenji Herbert. Monu offers 12 brief perspectivess of the sonic palette of the bull fiddle, from deep-toned swamps to delicate, lyrical bowing, clever rhythmic patterns and to enigmatic, processes a meditative sounds and otherworldly multiphonics. All are performed with a poetic, sensual touch and often with a sense of reserved drama. The heartfelt "Clumsy" is dedicated to the great Austrian double bass player Peter Herbert, the uncle of Kenji Herbert. Monu by Vinicius Cajado See more here. Aurelijus Užameckis - Signals (CRRNT Records, 2021) ***½ Signals is the debut solo album of Lithuanian, Copenhagen-based double bass player Aurelijus Užameckis. The music was recorded in September 2020 at the Brønshøj water tower in Copenhagen, known for its unique room ambiance with a reverb of approximately 13 seconds. Užameckis defines Signals as "an ambiguous manifestation of existential considerations that are sonically expressed through minimalistic themes and improvisations". His approach is quite scholastic and methodic, investigating patiently and thoroughly the extensive sonic possibilities of the double bass, obviously, with extended bowing techniques, and the interaction between himself, the composer-improvisers, his instrument, and the highly reverberating location, the Brønshøj water tower. If I would borrow a few of Užameckis' titles for his solo pieces, this album offers some imaginative ways to re-calibrate and tame your thoughts and dive into suggestive, nebulous dreams, all arranged as an arresting suite. SIGNALS by Aurelijus Užameckis See more here. Hernâni Faustino - Twelve Bass Tunes (Phonogram Unit, 2021) *** Prolific Portuguese, Lisbon-based double bass player Hernâni Faustino is known from the RED trio and his collaborations with Nate Wooley, Lotte Anker and fellow-Portuguese musicians like Rodrigo Amado, Sei Miguel and Ernesto Rodrigues. He is also one of the founders of the cooperative label Phonogram Unit. Twelve Bass Tunes is Faustino's debut solo album and it was recorded at Namouche Studios in Lisbon in January 2020. The album surveys the full spectrum of the techniques and extended techniques of the self-taught Faustino. He is an agile and expressive improviser and a spontaneous composer who knows how to tell suggestive stories, equipped with impressive physical energy, and authoritative sound of his own. Twelve Bass Tunes by Hernâni Faustino Luke Stewart - Works for Upright Bass and Amplifier Vol. 1 (Astral Spirits, 2021) ***½ Works For Upright Bass and Amplifier Vol. 2 (Astral Spirits, 2021) ***½ Works For Electric Bass Guitar (Tripticks Tapes, 2021) *** American bassist Luke Stewart plays in the Irreversible Entanglements, James Brandon Lewis Trio and Heroes Are Gang Leaders and is also a booker, promoter, radio DJ, and musician who is determined to extend and expand the sonic palette of the double bass and the electric bass. Writer and Historian Gabriel Jermaine Vanlandingham-Dunn, who wrote the liner notes for the two volumes of Works for Upright Bass & Amplifier, imagine Stewart's playing as conjuring up "images of heat", melting elements of hip-hop, avant-garde music and electronic music. The four-part Vol. 1 is, naturally, sound-oriented and has a quiet, meditative and introspective atmosphere. The sparse touching and bowing of the strings of the double bass punctuate the abstract humming of the amplifier, and these sounds of the amplifier intensify the delicate vibrations of the double bass. Slowly, the bowing of the double bass becomes more intense, raw and louder, deepening the tension with the amplifier's sounds and suggesting a mechanical interplay. Only on the last part, Stewart's highly percussive approach to the double bass addresses conventional yet repetitive, rhythmic patterns, eventually taming the amplifier's humming sounds. Vol. 2 goes even further with Stewart's radical sonic experiments, investigating the relationship between the wooden instrument and the electric instrument that amplifies its deep-toned sounds. Each piece offers a distinct perspective of the intersection of acoustic and electronic music - one or two amplifiers or an amplifier with a no-input mixing board. Stewart sees these pieces as symbolizing the intersection of the elements in the natural world, intended "to further explore the developments of the Sound. To inspire deeper personal development, and radical change when needed". Vanlandingham-Dunn borrows French historian and musicologist Alain Daniélou definitions, and compared these sonic experiments to what neo-Pythagoreans called "music of the spheres", or what in Indian classical music theory is defined as the vibration of ether, which cannot be perceived in the physical sense, and considered as the principle of all manifestation, the basis of all substance. No double, Stewart creates a series of otherworldly, stubborn and some subtle, whispering drone vibrations while moving the bowed double bass back and forth and suggesting an effect of movement that in its turn, may bring the radical change he hoped for. Works For Electric Bass Guitar is a collection of five focused and restless improvisations, all recorded in one take. Stewart employs extended techniques and fights with his instruments, scratches, rubs and grinds the bass strings in manic attacks, often in an attempt to mutate the metallic-percussive sound of the bass guitar and transform it into an entirely alien, unsettling and noisy sonic entity. Works For Upright Bass and Amplifier Vol. I by Luke Stewart Works For Upright Bass and Amplifier Vol. 2 by Luke Stewart Works For Electric Bass Guitar by Luke StewartSee more here. Tülay German & François Rabbath (Zehra, 2021) **** French virtuoso double bass player François Rabbath (who was born in Syria in 1931) is revered by generations of double bass players from classical and contemporary music, or jazz and improvised music. The self-titled album is a remastered vinyl reissues of the two duo albums with Turkish great folk and jazz vocalist Tülay German (born in 1935, was forced to immigrate to France in the mid-sixties due to increasing political and cultural repression, and retired from musical activity in 1987). The album offers songs from a self-titled album from 1980 and Hommage to Nazım Hikmet from 1982. The album offers modern adaptions of poems by Turkish poets, mostly by Nâzım Hikmet (1902-1963), a political activist and a romantic, communist revolutionary, and songs in the tradition of aşıks (singer-poets and wandering bards), collected by German's partner Erdem Buri. Rabbath plays here on the saz and the double bass and arranged the songs - all sung in Turkish - in a timeless, intimate and chamber manner that highlights the passionate, charismatic delivery of German. He alternates the leading instrumental roles between the double bass and the saz and serves beautifully the emotional dramas, all are glowing manifestos for love and justice. A real gem. Tülay German & François Rabbath by TÜLAY GERMAN & FRANÇOIS RABBATH Subscrib […]
Hank Roberts Sextet - Science of Love (Sunnyside Records, 2021) ****
By Stephen Griffith When cellist Hank Roberts relocated to Ithaca, New York to raise a family in a less hectic setting his compositional drive never waned but it took returning to the city to interact with new voices to take the skeletal rough drafts to new levels. The new band members were assembled through chance encounters and friends of friends type relationships. As they became more familiar the compositions were modified in a collaborative manner to produce cohesive entities and synergies usually found in groups of longer existence while still not losing the edginess of new discoveries. The opening cut, "Sat Sun Pa Tu X", is a recasting of the five part suite "Saturday/Sunday", on Roberts' 1993 trio release on JMT Little Motor People, and jumps right in by aggressively spotlighting the talents of clarinetist Mike McGinnis, trombonist Brian Dye and pianist Jacob Sacks in a rollicking swing romp through a fun weekend that seems to wind down before it exhausts itself. Next comes the centerpiece of the recording, a 14 part 45 minute suite known only as "G". The component parts give each member a chance to showcase their talents in a natural uncontrived way as Dye and violinist Dana Lyn begin things on "G: B45L" before the other three join in once the rhythm of the primary motif is established. Drummer Vinnie Sperarrazza kicks off the suite with a rockish solo on "G: The Sharp Peak of the Science of Love" before Sacks melodically fills things in. "G: Shifting Paradigms in the Pre GLC 3" features oddly syncopated contrasting unison parts which somehow fit together. "G: GLC Magnetic Floating Stripper" has McGinnis switching to an aggressively probing soprano sax, adding a tonal color which fits very well. And Roberts is unobtrusively present throughout most of the suite. The final composition, "205", features the leader's pastoral chamberish side with plaintive unison playing which shows why he's been a longtime bandmate of Bill Frisell. This sextet recording shows that Roberts temporarily removing himself from the Downtown scene hasn't dimmed his complex creative fervor so much as adding additional levels of richness. Science of Love by Hank Roberts Sextet Subscrib […]
Wojtek Fedkowicz Noise Trio - Distant Heroes (s/r, 2020) ****
By Ron Coulter Distant Heroes is the November 30, 2020 release from Wojtek Fedkowicz's Noise Trio. Based in Poland, the trio is comprised of Fedkowicz on drum set and electronics, Jacek Fedkowicz on bass and electronics, and Dominik Wania on piano and electronics. This is very listenable, groove-oriented contemporary jazz, with nothing all that noisey going on, aside from some occasional electronic timbres and a few moments of energized "out" improvising. The album showcases a nice variety from the trio, from the purely acoustic to the smooth integration of live electronics, straight eighth-note grooves that go from smooth to funky to Drum & Bass, and even flashes of textural improvisation and rhythmic adventurism (see track #1 Intro and track #7 Distant Heroes respectively). Tracks #2 Prosta historia, #6 Hope, and #9 Guru share forms, with contemplative introductions, long slow builds (rhythmically, dynamically, improvisationally) and a short recapitulation of the introduction. These three tracks are quite reminiscent of the Esbjörn Svensson Trio (E.S.T.). Track #8 Nobody Wants has a grandiose, driving eighth-note groove, and track #5 Imaginary Space, runs through intricate rhythmic interplay, a heavy piano-driven rock feel, free textural atmospheres, and a seven-second, hyper-rhythmic free improvisation to end. These two tracks have flashes of the Bad Plus, Robert Glasper Trio, and maybe even a bit of Flim & The BB's! The remaining tracks all have unique places in the whole. Track #3 Baroque has an aimless, hinting, ECM style/feel, while track #4 Norman's Flight is certainly Drum & Bass influenced, and track #10 Polish Funk is just as advertised with a funky, bassline driven, off-balance 9/8 groove that proceeds to 5/4 during the piano solo. The music on this album covers a wide gamut of style, sounding familiar and yet indistinct in origin. Some of the tracks are outliers, sounding like they may belong on a different album altogether. However, the unifying quality of Distant Heroes is a strong sense of musical rapport from the trio and a clarity of focus and adventurous spirit of improvising within each track. This is an enjoyable album that doesn't demand intense, focused listening, although it has the musical depth to support that sort of deeply engaged listening experience too. Listeners will find themselves returning to Distant Heroes for repeated listenings, whether on the road or relaxing at home. Distant Heroes by Wojtek Fedkowicz Noise Trio Subscrib […]
Brgs – Breakfast With Cardew (Zvocni Prepihi, 2021) ***½
By Fotis NikolakopoulosCornelious Cardew was a very important figure for the avant-garde and experimental music of the 1960's and 70's. From his controversial attack against Stockhausen (well, I definitely agree with him on that), through the radical experiments of AMM, the Scrarch Orchestra, up to his solo work, being a militant for the Communist Party of England (Marxist-Leninist) and until his tragic death, his output was always controversial. His biggest legacy, probably, is that still his work and written thoughts provoke debates and are open to new representations. I'm not familiar with the work of Jaka Berger and this fact, many times, can be of a benefit when writing a review. I have no certain expectations, no preconceived ideas about what I'm going to listen to. That suits tremendously Treatise (a graphic score by Cardew), I guess, a work that has improvisation and openness at its very core. Berger (a.k.a. Brgs) utilizes a lot of audio sources to achieve what he had in mind –or, maybe, to improvise and see where his original ideas were taking him. Various objects, string boxes, a prepared snare drum, a modular synth and feedback speakers. Berger, I believe, tried to find a balance between timbre and texture, percussive elements and melody. His interpretation covers some of the pages from Treatise and not the whole work. This allows the CD to feel fragmental and totally personal at the same time. Using all the aforementioned sound sources, Berger tends to resolve into a lot of rhythmic structures, taking advantage of the percussive nature many of them have. But it would be an oversimplification to say that rhythmology forms the basis of Breakfast With Cardew. Being such an open work (with graphic notations I must remind you) it is easy for every interpreter to get lost, or in other words to make it more his own than "Cardew's". The nature of Treatise is exactly what allows for works like Breakfast With Cardew to be called solo efforts and not (even) interpretations of existing scores. As Treatise balances successfully between improvisation and the written (whatever that is) language of a composer, it makes possible for a new gaze at the old picture. Breakfast With Cardew feels like a nice start for a more detailed version from Brgs. You can listen to the music here: Breakfast With Cardew by Brgs @koultouranafigo Subscrib […]
N + Ehnahre - Jacob (Glossolalia, 2021)
by [email protected] (Paul) on January 9, 2022 at 5:00 am
By William Rossi Putting the underground aside, which has never stopped delivering quality bands and new and exciting artists, over the past couple of decades or so metal especially and rock in general had been stagnating a little. The same thing happened to jazz when it became toothless elevator music but its artistic merit was always carried forward by the free and avant-garde jazz scene. With the rise of nu-jazz and the more overtly political artists jazz has made a comeback of sorts, its free jazz scene flourishing like never before, and I feel that metal and rock have been following suit, often hand in hand with jazz itself. From the wonderful collaborations between Keiji Haino and Sumac to Chaos Echoes and Mats Gustafsson or MoE and Mette Rasmussen, just to name a few, it seems that those looking ahead in both genres are on the same page and more than willing to collaborate to create something new. This brings us to Jacob, the collaboration between the criminally underrated and overlooked Ehnahre (already a band prone to improvisation and experimentation) and Hellmut Neidhardt's prolific drone alter ego N. It's a dark and monolithic album, meant to be listened to in one sitting, that despite its cohesiveness treats the listener to many different moods and atmospheres. Dusty drones by N flow around Jared Redmond's fragile and sour piano chords before being swallowed by cathartic explosions of extremely distorted guitars and bass complemented by drummer Joshua Carro's virtuoso playing, showcasing the band's ability to create a chaotic, heavy and massive sound. Ryan McGuire's vocals always fit the mood perfectly: from the sickly, whispered spoken word that accompanies the dialogue between N's organ-like drone and Redmond's jagged piano improvisations on "Regions of a Great Heresy" to the animalistic screams on the emotional peaks of "An Exiled King" and "The Cockroach''. All three songs on the release revolve around this formula of alternating relentless heaviness and ominous quiet. The album wouldn't be the same without the dissonant improvisations by guitarist Richard Chowenhill, who really takes advantage of the polyphonic quality of his instrument to create something that sounds more akin to Bernard Herrmann's score for Psycho than a guitar solo. The bass playing is also very impressive, often carrying the songs both melodically and rhythmically in lockstep with the drums. Neidhardt's drones and Redmond's piano are often in the background but they're ever-present and are instrumental in tying the songs together and allowing the album not to sound one-dimensional. Considering how purposeful every sound on this release is, to think that the music is improvised makes things even more impressive. Trying to describe any of the three songs in detail would be futile as there are so many different layers and different things going on at once that attempting to unravel their intricacies would lessen their impact. I recommend everyone reading just dive into these songs and let their darkness cradle you. I feel this album is the perfect representation of a great collaboration: everyone serves the music first and foremost, no-one is the protagonist but everyone is key and is given their moment to shine. A fantastic and expertly crafted offering all-around, this is the kind of music that I, as both a metal and free improvisation fan, hope to see more of soon, especially if the music is of such high quality. For the analog fetishists among us the vinyl is sadly sold out but Glossolalia Records was kind enough to offer the digital version this ugly, dark and wonderful work of art for free on their bandcamp page. Highly recommended. Jacob by N + Ehnahre Subscrib […]
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The U.S. International Trade Commission (USITC) has launched an investigation to examine global rice trade.
The investigation, Rice: Global Competitiveness of the U.S. Industry, was requested by the House Committee on Ways and Means. The USITC will deliver the report to the Committee by April 14, 2015.
As requested, the USITC, an independent, nonpartisan, factfinding federal agency, will report on factors of competition in major rice producing and exporting countries, including Brazil, China, India, Indonesia, Thailand, Uruguay, and Vietnam, plus the United States. The USITC will examine costs of production, industry structure, input prices and availability, pricing and marketing regimes, and government policies that affect rice production and export in the selected countries.
As requested, the USITC will also perform a qualitative, and to the extent possible, quantitative assessment of the impact of government policies and programs in the highlighted countries on rice production, exports, consumption, and domestic and export prices.
The USITC will hold a public hearing in connection with the investigation on September 10, 2014. Requests to appear at the hearing should be filed no later than 5:15 p.m. on August 26, 2014, with the Secretary, U.S. International Trade Commission, 500 E Street, SW, Washington, DC 20436. For further information, call 202-205-2000.
The USITC also welcomes written submissions for the record. Written submissions should be addressed to the Secretary of the Commission at the above address and should be submitted at the earliest practical date, but no later than 5:15 p.m. on December 9, 2014. All written submissions, except for confidential business information, will be available for public inspection.
Further information on the scope of this investigation and appropriate submissions is available in the USITC's notice of investigation, dated June 17, 2014, which can be obtained from the USITC Internet site (www.usitc.gov) or by contacting the Office of the Secretary at the above address or at 202-205-2000.


Background: It takes years of dedicated practice to learn the skills necessary to become a cardiac surgeon. Traditionally, teaching has followed the apprenticeship model, where the learner does all or part of a procedure under the guidance of a senior surgeon. However, due to recent resident work hour restrictions and patient safety concerns, adjuncts to traditional training are needed. Simulation is a suitable training modality as it allows for repetitive goal-directed practice of basic skills in a risk-free environment. The use of simulation as an adjunct to traditional training may help bridge the gaps between the hours needed to master a skill, patient safety and work hour limitations.
Objective: To create and validate a bench-top cardiac skills simulator for training fundamental skills necessary to become a cardiac surgeon.
Methods: There are three steps to this project. First, we identify skills that are fundamental to cardiac surgery through structured interview of five surgeons. Second, we build a simulator that replicates reality and allows repetitive practice of the skills. Third, we validate our simulator by asking four groups with different levels of cardiac surgical skill (inexperienced, junior, senior, and expert surgeon) to perform the simulated tasks, grading their performance.
Results: We expect a marked difference in performance between groups on the simulated tasks. This difference should be in accordance with the skill level of each group. The difference in performance based on the participants' skill level will help validate that our simulator is a close representation to the real-life task.
Conclusions: The creation of a valid cardiac skills simulator will provide a valuable tool in the training of the next generation of cardiac surgeons by helping to bridge the gaps between work hour limitations, patient safety and the time needed to master the skills necessary to become a cardiac surgeon.


text:
Q: Adding many scrolledpanels to one scrolledPanel in wxPython Level: Beginner
I am developing a GUI with wxPython on Windows 7 OS. Python version is 2.7 ad wxPython version is 3. My GUI looks as shown in the image below:

I would like to take some time to explain what I am trying to achieve. As you mayhave noticed from the first image that there are 4 different scrolled panels in my GUI named as panel-1 to panel-4. A vertical BoxSizer is applied to each scrolled panel. Each scrolled panel in return contains a boxsizer and a horizontal wx.StaticLine. The reason for using horizontal line was to make it is easier for the user to read the values for a particular serial number. (It will be easy for an user to read all the values in different panels for a particular serial number.) Finally all these four scrolled panels are added to a horizontal BoxSizer named as panelSizer. Currently the scrolled panels are scrolling individually. One important thing is that all the scrolled panels will every time contain same number of components/elements.
Problem:
I need a way so that I can add all these scrolled panels to one sizer or a panel in such a way that there is only one scroll bar at right side and when I scroll this scrollbar all the scrolled panels (panel-1 to panel-4) should scroll simultaneously. I would like to have something like this:
I think this option is better from the GUI perspective. I have tried couple of things like, I created a new scrolled panel named as main panel, and applied the BoxSizer named as panelSizer (it contains all the panel from panel-1 to panel-4) using SetSizer() function, but the scroll bar doesn't appears, even the individual scroll bars doesn't appear! Also, I have checked that there are enough components in the panels so that scroll bars appears. I tried to change the four scrolled panels to simple panels and then add to the panelSizer and then applied the sizer to the main panel but nothing solved the problem..
Can anyone suggest what is wrong with my approach? Any suggestion. Thank you for your time.

A: Well I found the solution myself so here it goes.
I have to disable scrolling on the panels-1 to panel-4. This can be done by not using SetupScrolling() method on them. Also, the scrolling should be enabled on the mainPanel like this:
mainPanel.SetupScrolling()

For an example: Consider that you have two scrolled panels named as panel1 and panel2. Now if you want to add these two scrolled panels to an other scrolled panel named as mainPanel, then you first create these two scrolled panels and then disable scrolling on them then add these two panels two a sizer, then apply this sizer to the mainPanel.
Code example:
mainPanel = wx.lib.scrolledpanel.ScrolledPanel(self, -1,style=wx.SIMPLE_BORDER)
mainPanel.SetupScrolling()
panel1 = wx.lib.scrolledpanel.ScrolledPanel(mainPanel, -1, style=wx.SIMPLE_BORDER)
panel2 = wx.lib.scrolledpanel.ScrolledPanel(mainPanel, -1, style=wx.SIMPLE_BORDER)
panelSizer = wx.BoxSizer(wx.HORIZONTAL)
panelSizer.Add(panel1)
panelSizer.Add(panel2)
mainPanel.SetSizer(panelSizer)

redpajama_set_name: RedPajamaStackExchange


At The Law Offices of Jason E. Taylor, we are not your typical law firm. How many laws firm do you know that have a logo that includes an alligator riding a motorcycle smoking a cigar? The logo is very symbolic of the firm. The firm, not just the lawyers, operate and think outside of the box. The legal part of this started with Jason's dad. Jason's father practiced law and told Jason that to be a good lawyer you must have a "bite" with your "bark". Go out and "try a cheese sandwich" and once you have developed the skill and reputation of someone who will go to trial and fight for your clients you will be in the best position to serve those clients. Well, as usual dad was right. Jason listened, and he has tried cases for every year of the twenty-six years he has been a lawyer. It is not only a skill to learn, it is a skill to keep sharp. At the law offices of Jason E. Taylor, P.C. we are always happy to quickly resolve a client's case but we have the skills and willingness to fight the battle that is sometimes only done in the court room. This bit of advice passed on from Jason's father is part of the firm culture. All of the lawyers at the Law Offices of Jason E. Taylor go and fight for the firm's clients. It is a law firm of trial lawyers who will advocate where ever necessary; the court house, the industrial commission, the phone or in person. The lawyers at the Law Offices of Jason E. Taylor, P.C. remind clients whose cases cannot be settled that the good news is we can fight for them and their case in court, the insurance company does not get the last word, a jury does. Along with the tested and practiced ability to go to trial, being down to earth lawyers who take their work, not themselves, to seriously is another bit of the firm's DNA. At each weekly firm meeting one of the team (anyone who works for the firm) tells a joke and everyone guesses at the "remember when" which is a line from a movie. This little firm tradition has been going on for years and it is to always remind the team that as important as the work we do is, it is also important to stop, listen, love and laugh. So why that logo? One of the team members gave a figuring of an alligator riding a motorcycle smoking a cigar to Jason many years ago. They said it remineded them of Jason, he rides motorcycles smokes cigars and he is a litigator. The statute sits in Jason's office and is a constant reminder to always be yourself, unique and creative law firm. The Law Offices of Jason E. Taylor, P.C., represents people and helps be their Sword and Shield in the frequently uphill battle against corporations and others who cause them harm. We hope you never need our services, but if you do, we are here to serve you.
Check out the profiles below to learn more about our personal injury lawyers in North & South Carolina, and then call (800) 351-3008 to schedule a free consultation. We answer phone calls 24/7 and our team is happy to answer any of your questions.


Chelsea's week has got even worse, as Fifa has banned the club from signing any more players for the next two transfer windows.
This means Chelsea can't sign any players until the summer window of 2020. This comes at an incredibly tense time for the club. Chelsea was dumped out of the FA Cup by Manchester United last weekend, and although they have qualified for the Europa League Round of 16, they face another vital game this Sunday as they face Manchester City in the Carabao Cup Final at Wembley.
Fifa has judged Chelsea to have broken transfer rules regarding the signings of minors, having breached Article 19 in 29 cases, which references the signings of players under the age of 18.
The governing body said in a statement: "This ban applies to the club as a whole - with the exception of the women's and futsal teams - and does not prevent the release of players."
One of the main transfers concerning Fifa was that of Bertrand Traore, who has now left Chelsea and is at Lyon, from French club Auxerre in 2013.
Chelsea has denied any wrongdoings and will be given 90 days to sort its problematic situation out.
In a statement, Chelsea said: "The club wishes to emphasise that it respects the important work undertaken by FIFA in relation to the protection of minors and has fully cooperated with FIFA throughout its investigation.
Sky Sports News this morning said that Chelsea had also been breach of article 18bis in regards to breaching third-party influence with their transfers.
The Football Association has also been fined £390,000 whilst the Premier League faces a hefty fine of over £460,000. The FA has said it will appeal as it has 'concerns' over Fifa's disciplinary process.
Chelsea previously received a transfer ban for the signing of Gael Kakuta in 2009, although the ban was reduced on appeal. If Chelsea do appeal, then the ban will be paused until the completion of the appeal which means Chelsea would be able to continue to sign players.
With boss Maurizio Sarri seemingly struggling, Chelsea could do with yet another squad rebuild - that, however, will have to wait.
Chelsea has been drawn against Ukrainian side Dynamo Kiev in the Round of 16 Europa League Draw but will need to turn all of its focus towards Sunday's cup final after what has been a chaotic week.
It's Not The Fault of Video Games - It Is Just Bad Parenting!


Sara has a Bachelor of Music degree in Vocal Performance from Lee University and has performed with the Tennessee Chamber Chorus and the Knoxville Opera. In addition to private instruction, she taught music theory and sight-singing/ear training at the European Theological Seminary located in southwest Germany. She is an active church musician and has led vocal workshops for church musicians in Germany and France. Sara also assisted in leading worship with a traveling team in Germany, Holland, Switzerland, and Macedonia.
Sara also holds a Master of Science degree in Marriage and Family Studies and currently teaches private voice and piano lessons in Waxhaw, North Carolina.


This was a good twist. I enjoyed reading this. It was a little hard for me to get into it at first but then I was all in. The only thing that bugs me is all the "F" bombs. I just never heard it as much as I read it.
Samantha is a good soul herself. She keeps Jax grounded. He has always loved her and she has always loved him. But Jax up and left one night and Sam never understood why he left. Then Jax came back because his uncle who raised Jax and his twin, Chase was dying. Samantha had tried to move on and went to school but when she was attacked on campus she came home.
Chase was also home when Jax came home. Jax's demon in him despises Chase and has wanted Chase dead. Jax has fought his literal inner demon on it for years until one night when he is over Chase with a knife in his hand and decides he needs to leave to protect his family. You see, this demon in Jax needs to feed off fear, lust or any severe emotion or violence. And Jax is too afraid of letting it hurt Samantha either so he leaves without so much as a goodbye or note.
When Jax sees them both, he wants to leave but stays when he finds out Samantha is in danger. Then after being back and the sparks are still there between them, his demon decides he likes Sam too.
Then Jax learns of the rules of the demons when he comes back and has to fight for his life and Sam's too.
Then all hell breaks loose as things get more complicated and Jax finds out who is inner demon really is and what he is. Now, he is running out of time to find out what demon has literal control over Sam. And then he has to figure out how to fix it. And with intimacy being a problem ,due to the demon's need for strong emotion and violence, things get more complicated and creative. But Sam will wait for Jax because even when she finds out about Jax, she is still there for him and believes in him.
There are many deals made by the end of the book and it is both happy and sad. I want the next book NOW . I may lose it soon and find my inner demon; because Sam and Jax still need each other and I need to see that! I kind of knew where some of this was going but I didn't guess it all. Now, I have more questions than answers. But, Jax, he is definitely swoon worthy material!
If you like, demons, good vs. evil, wars, super strength, someone else getting the injuries and not you, because you have that kind of power, and fighting for what you want and overcoming what you are then you will like this.
4.5 stars for I am getting tired of lots of F bombs in books!
...I'd watched the girl with the long brown hair stand eerily still. She didn't cry. Didn't speak. Only stood there staring at the ground as her parents were lowered into the cold, wet earth. Even then, so early in my life, I saw pieces of myself mirrored in her eyes. Lost. Alone. Separated. Ruined. It was another one of those defining moments. I'd known, even then, that this girl would play a monumental role in my life. We'd grown up close. Inseparable, really. Friends. Partners in crime. It was the last step-love-that pushed me to leave her behind.


Created in 2015, the Oracle ITA Masters has established itself as one of the premier events of the collegiate tennis season. The Oracle ITA Masters features singles draws of 32 for men and women, and a mixed doubles event with a 32-draw. Players are chosen based upon conference representation, similar to the NCAA Tournament.


A popular actress has revealed that she has never been to a night club to 'flex' as others like her often do.
Going to a night club really looks like a big deal for Ghanaian actress, Martha Ankomah who disclosed that she has never gone to a night club except during a movie shoot.
She added that her not going to nightclubs has helped her in so many ways like saving money.
She said: "It has helped me to save money".
Martha Ankomah further revealed how a Christian upbringing influenced this choice.


Boral Roofing LLC introduced an all-new website featuring all four core product lines — clay, concrete, steel and composite solutions — as well as roofing components. Designed for ease of use, the site showcases a number of key features designed to engage and inform key audiences within both the residential and commercial real estate sectors who are involved in both new and retrofit design and construction projects.
The new Boral Roofing website contains the company's complete clay, concrete, steel and composite product lines, as well as roofing system components, within one online tool. With a simple navigation as its cornerstone, the site includes a number of notable features encompassing: a comprehensive Product Selector that allows visitors to explore all material options, as well as an unparalleled range of available colors and profiles; an Inspiration Page featuring a robust selection of photography showcasing real-world applications of all product types across varied architectural styles and structures; Resources which include product literature, technical information and architect-specific resources; a dynamic Blog featuring roofing thought leadership and current news items; and a Where to Buy search tool connecting site users directly with the contact information for professional retailers in their regions.
For more information, visit www.BoralRoof.com.
F-Wave Revia synthetic roofing shingles are patented, premium non-asphaltic shingles designed to be granule free with a single-piece construction. According to the manufacturer, the product is made from a proprietary blend of commercial-grade materials, offering high tear strength and UV resistance.
Revia shingles are durable and built to perform with a Class IV impact rating, 130-mph wind rating and Class A Fire Resistance. Easy to install and available in three classic profiles, Revia shingles are created with a colorization process designed to ensure beautiful curb appeal. Measuring 14 inches by 39 3/8 inches with a 6-inch exposure (60 shingles per square), it installs faster than traditional asphalt laminate shingles and synthetic roofing tiles.


Size 18" 23" 30" 35"
A unique and personalised wall decor that will look great in kids room, hunting cabin or any room in the home! Can be used as simple adornment or as gift for your loved ones too!
You can select the width of the item you are needing. Please note that the height varies by the number of characters and the font selected. Less characters will be taller in height and more characters will be shorter. Like example: Tab and Tabatha both on a 12 inch wide sign, Tabatha would be shorter in height.
Wall art is 1/4" thick.


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San Juan Cruises
Historic Old Town
The Paseo de la Princesa
Fort San Felipe del Morro
Culinary Walking Tours
El Yunque
Find Caribbean & Antilles Cruises
Must see place in San Juan
Old World charm, Spanish forts
Blessed with some of the oldest buildings in the Western Hemisphere, San Juan, Puerto Rico's capital, is romantically charming with its bright pastel Spanish colonial facades, wrought-iron balconies abloom with flowers, narrow cobblestone streets and beloved park squares. Once you arrive on an MSC Caribbean and Antilles cruise at the port, explore Old San Juan (Viejo San Juan), a UNESCO World Heritage district, widely renowned for the fortresses of Castillo San Felipe del Morro and the Castillo San Cristóbal.
The old town occupies the headland of a 2.5-mile-long island (connected by bridge to the mainland) that shelters San Juan Bay, for centuries a key port in the New World. It was originally known as Puerto Rico, or "rich port," because its location made it the perfect stop for shipping.
• Historic Old Town
• The Paseo de la Princesa
• Fort San Felipe del Morro
• Culinary Walking Tours
• El Yunque
Several MSC excursions offer walking tours that let you soak up amazing views of San Juan, while making cultural discoveries of a lifetime. Wander through the old town along the Paseo de la Princesa, San Juan's oldest tree-lined avenue; head up its southern city wall, La Muralla, which until the late 19th century encircled all of Old San Juan with sandstone; and tour the 16th-century fortress of El Morro, with its six different lines of defence.
Take a coffee-tasting walking tour to explore Puerto Rico's rich coffee culture, and learn how the island's rich volcanic soil and climate have contributed to the rise of coffee as one of its main crops. Taste a delicious cup of freshly brewed Puerto Rican café con leche, learn about the island's historical ties with the caffeine-rich beverage, and explore how coffee and the church are connected on this MSC excursion through the streets of Old San Juan.
With more than 80% of the world's rum coming from Puerto Rico, delve deeper into the spirit on an MSC excursion to Casa Bacardí in the town of Cataño. Discover the story behind Bacardí's legendary cocktails, sniff the products on display and learn about the rum-making process including wood barrelling, ageing and finishing. For the grand finale, enjoy a fascinating mixology show.
Nature lovers will not want to miss a visit to El Yunque, the only tropical rainforest in the U.S. territory and one of Puerto Rico's finest spots of natural beauty. Marvel at its small horsetail waterfalls, giant ferns and tropical hardwoods.
For an enchanting experience, kayak into the enchanting bioluminescent bay at Laguna Grande of Fajardo on another MSC excursion. Under the blanket of the night sky and the lighthouse of Fajardo, paddle through the water and watch it glow with the bioluminescence of millions and millions of tiny organisms.
Caguas City
Calle del Cristo

redpajama_set_name: RedPajamaCommonCrawl


I just came across this website and 20 minute video of The Story of Stuff. It explains the chain of consumption, from extraction, to production, to consuption to waste disposal. It shows the environmental and social impact of the "American way of life". Also gives some recommendations of what individuals can do - besides writing your representative in Congress.
Thread - is the online ethical fashion magazine of the BBC, dedicated to eco-fabulous style. In particular, you can download a free pack to organize a frock swap party - a fun and free way to renew your wardrobe in these challenging times.
The Chairman of Nestlé group, Peter Brabeck is calling for a tax on water to reduce wasting it. He made a proposal at a Forum on food, water and development, calling for a limit of 25 liters per day (about 6 gallons) per person. Above that limit, people should pay for water.
My first reaction was that this was selfserving - he sells water - expensive water too. And his competition is of course tap water - for free. But what really blew my socks off is the limit he set - 25 liters per day per person. I checked out water consumption per person per country - and this is 3 times less than the daily use in China !!!! Seems a bit far fetched to me.
Check out water consumption per capita per country here.


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ForewordBig risk, little timeScaling energy entrepreneursClimate adaptationGender and climate changeThe challenge of a decadeFMO podcastShifting mindsetsGreen energy in NepalExplore moreBiodiversitySoil managementThe challenge of our livesStay up to dateColophon
Interview with:
LESLIE LABRUTO
Leslie Labruto is the Head of Global Energy at Acumen, where she leads a USD 22 million dollar initiative called the Pioneer Energy Investment Initiative (PEII).
Scaling the next wave of energy access entrepreneurs
More than 800 million people have gained access to energy over the last decade. About 360 million of these people (~45 percent), thank innovative clean energy start-ups for this. All of these businesses have had to start somewhere. Leslie Labruto helps those who are still too risky for bank financing to grow and scale. She is continuously on the look-out for the next wave of energy access entrepreneurs.
Labruto: "I am very fortunate, because the work I do is the perfect intersection of the three things I care about: (1) investing, because it is a way to scale solutions, (2) the non-profit work with a focus on lifting people out of poverty, (3) clean energy, because it helps fight climate change."
It is quite hard to start a business in an emerging market, especially when you are focused on low-income customers. When I meet an entrepreneur who is trying to make this seemingly impossible business model work, and see the determination, I get inspired and excited. They give me hope that we can accelerate progress and actually achieve affordable, reliable, sustainable energy for all, which is captured by SDG7.
One of my favourite examples of such entrepreneurs is Ned Tozun, the co-founder and CEO of d.light. A little under ten years ago, this guy was working in the sector against all odds. Nobody believed that he could scale solar lights in emerging markets. Now he has built a company that has reached over 100 million lives. Or what about Nthabiseng Mosia, the co-founder of Easy Solar, a solar lighting company in Sierra Leone. Operating in one of the most difficult markets in the world, one that has faced Ebola, mud slides, and a civil war, Nthabi, with her co-founders Alex and Eric, was able to start and scale a successful business which is now providing clean energy to 40,000 households.
"We found that access to clean energy not only contributes to a reduction of CO2, but it also helps consumers to save a significant amount of money."
What is Acumen & the Pioneer Energy Investment Initiative?
Acumen is a global, non-profit venture fund working across many different geographies and sectors. Currently, Acumen's largest program is the Pioneer Energy Investment Initiative (PEII). The PEII invests in off-grid energy enterprises across East and West Africa, India and Pakistan. Acumen started investing in energy access more than a decade ago. The PEII was launched in 2017 as a response to all Acumen had learned about the next wave of energy access entrepreneurs. These entrepreneurs are the PEII's building blocks. The initiative supports energy entrepreneurs who are working towards achieving universal energy access, and simultaneously working towards helping rural economies thrive.
How important is access to energy for progress?
I can wholeheartedly say that I believe there are very few sectors that have such a profound impact when it comes to improving the lives of low-income customers. We found that access to clean energy not only contributes to a reduction of CO2, but it also helps consumers to save a significant amount of money. Customers will spend up to 25 percent of their income on paying for kerosene and fuel, week after week. Once they own solar powered electricity, they save a significant amount of capital that can go to other things. Also, children can study until later at night. An impact is thus seen on the financial, educational and even the health sides of lives. The countrywide advantage of increasing renewable energy availability is that it makes communities less dependent on the import of fossil fuels, something we all hope a lot of emerging market countries will move away from in the future.
What are you doing to improve this?
While we have seen the energy access sector grow, with over USD 300 million invested just last year, we noticed that most of this money is going to established market leaders. And yet, there is still this missing piece of the puzzle, which we call 'the pioneer gap'. This is the position of companies that are just starting up, which have the potential to grow and scale, but are still too risky for many venture investors. They have a difficulty attracting capital. They're too big for seed capital, but too small for commercial capital.
Despite a sixfold increase in capital investors over the last five years in the off-grid energy sector, this gap still exists. If we really want to see energy access scale, we need about 210 million dollars annually of seed and Series A capital or early stage equity. But in reality, only 16,5 million dollars was deployed annually over the last five years. There are not enough investors willing to take that risk and that is where we are stepping in with Acumen's PEII. We try to support these companies on their journey to scale.
Are investors already becoming more comfortable with the off-grid sector?
We do find that the pioneer gap is closing. This means that we are working ourselves out of a job, because other investors have become sufficiently comfortable with the business models. That is why, for example, the PEII does not invest in Solar Home Systems, or off-grid energy businesses in Kenya and even wider East Africa anymore. There, the business model is well understood already. Companies trying to launch these products now, can actually access commercial capital, whereas 10 years ago that definitely was not the case.
In the meantime, I am looking for the next 'hurdle' within the energy access sector in emerging economies. With PEII we try to track where new models are arising in underserved geographies, as well as see how we can be catalytic in this space. We are always on the look-out for the next frontier of energy access.
So, what does this next frontier look like?
The basic building block of energy access has been low-cost, clean solar lamps replacing kerosene. We have seen that business model scale quite quickly. The next evolution is to find a way to move beyond lighting, and support the emergence of off-grid economies that are no longer dependent on fossil fuel-based grid or diesel power. And this is where we believe the next frontier is: the solar-powered productive use sector.
Is there a world where an off-grid community can truly be off-grid and leverage renewable energy to power their economy? That means deploying solar-powered agriculture machines (for milling maize and rice), solar-powered water pumps and, solar-powered refrigerators to sell cool drinks. The technology for fully solar- powered businesses is available.
Helping this sector move forwards is – I believe – also a step towards making the availability of clean energy 'the means to an end': next to giving access to cleaner power, these products help rural economies grow, provide access to employment and lives of dignity. If we are able to 'crack the nut' in this area, we will see incomes rise.
A good example of a company exploring this frontier is SimuSolar, which operates in Tanzania. There are many off-grid appliances available, but how can we get these to the rural end-consumer? SimuSolar has come up with a pipeline of products, and found a way to distribute these. They work with a number solar water pump providers and solar fishing lights for fisher people of Lake Victoria. It has been amazing to see this company scale and grow. What I find very inspiring about this business model is that consumers can also raise their income as a result of having access to the products SimuSolar provides.
Watch how Simusolar provides clean-energy powered equipment to off-grid communities.
How can we scale this?
We have noticed that a lot of people are interested in investing in the productive-use sector. But many investors do not really understand the business models or technologies. That is why we formed a group called 'efficiency for access investor network group' and created an investor network of 31 members who are keen to learn more. This group convenes once a quarter. The meetings are very well attended. Interestingly enough, only three of the investors have dared to invest. This shows that on the one hand – people are interested – but on the other – as yet they just don't have the appetite for risk that is needed.
At this point in time, Acumen is trying to understand more about affordability of productive-use appliances. These products are obviously much more expensive than lights (anywhere from 200 to 1000 dollars compared to 10 dollars). We are trying to tackle the financing of these appliances. They are of good quality, but as long as the poor cannot afford them, they are not a good fit for the market.
Solaris Offgrid is one of our investees and it was able to integrate pay-as-you-go (PayGo) technology into solar-powered appliances. This technology helps to make a product more affordable over time. So, if you are a farmer in need of a 200 or 300 dollar water pump, a company selling the pump can partner with Solaris to help the farmer pay over time (18 months to 2 years – for approximately 10 dollars per week). It is these kinds of innovations that Acumen is looking to invest in, to help move the business model along.
Next to helping investors understand the business model and technology, we also try to find and encourage grant money awards for these projects. If something is really early, we first need to build an ecosystem around it. We partner with – for example – the DFID program PREO which tries to help companies that are just too risky grow and scale. We try to coach entrepreneurs who are really early-on in the game, in how to become investable. We get to know them, help them develop their business model and scale using grant money.
What other trends should we be paying close attention to when it comes to clean energy access?
I find the merging intersection between agriculture and clean energy sector very interesting. Typically these two have been separate subsectors. It is becoming increasingly clear that the two are intrinsically interlinked. Especially as we are seeing the effects of climate change. Working in agriculture, you need power for your appliances. Likewise, when working in energy, you have so many potential customers who are farmers. Acumen is looking at this energy-agriculture intersection with farmers, because they, are at the frontline of climate change. We explore how we can best invest to help families tackle both the energy and climate crisis? Solar water pumps are a good example of this. Transitioning to solar water pumps makes farmers independent of the grid and diesel. Moreover, eventually they can own the unit and don't have to pay for fuel anymore.
A couple of years ago, solar technology wasn't as far on as it is today, and was mostly focused on delivering lighting. The big breakthrough for the lighting business models was that costs came down. With the emergence of PayGo technology we now see that more expensive appliances can be within reach for the poor as well. The key is finding how to scale access to appliances and transform it from pre-commercial to commercial.
We have seen a strong concentration of money go to just a handful of countries. We see a general trend, and a need, to reach underserved countries: the ones that don't get the attention and where electricity access is available to less than 30 percent of the population. We have seen investors getting more comfortable with business models, so now we think there is a need to make a strong push and move into different geographies. These are markets like Malawi, Sudan and, Burkina Faso. There is very little investment going into these countries right now, but we are seeing an emerging class of local entrepreneurs there. And there is a desire from companies that have already established themselves to move to these countries as well. Acumen is encouraging the market to move to these countries, while also, helping to remove some of the existing barriers and start scaling some of the toughest-to-reach markets.
How do you go about removing these kinds of barriers?
First of all, market awareness is very important. Spending time there, and getting to know the country is vital, as it hiring local staff from that market who really understand the dynamics. This not only includes companies, but investors as well.
Next to that, it is good to be aware that new markets already have distribution channels in place. They may not be for solar products, but for other consumer goods like soap, shampoo or clothing. In partnership with some of these consumer good distribution networks we can help distribute solar power products and scale the replacement of diesel.
What, in your view, is needed to reach SDG 7 within the next decade?
My answer is threefold: we need to speed up the move to new geographies, work with local entrepreneurs and collaborate!
(1) New geographies. We need investors to push the needle on going into the more difficult markets that are typically ignored or underserved because they are deemed too high-risk.
(2) Local entrepreneurs. We really need to start tapping into more local entrepreneurs. In many of the markets where we are operating, local entrepreneurs have a much better understanding of what customers are really looking for. I get encouraged by seeing local leaders emerge; the entrepreneurs who share our mission and help scale to more difficult parts of the market. To find and source these, investors need local staff. Next to that, investors need to make sure that some of their decision makers are local as well. It is much easier for a local investor committee member to point to gaps in a business model, than for a foreigner. Thirdly, there are a lot of very strong distribution networks that, are aggregating local entrepreneurs and helping them scale and grow.
(3) Collaboration. We are going to need more collaboration with the public sector. For some customers there might be no market-based solution available, because they are just too remote. They might also be too poor. And the end of the day we are going to need the public sector to help scale energy access for these people. We need collaborations between industry associations, investors, foundations and philanthropic organizations. They need to come together. Public funding is meant to de-risk investors. That is the way a capital market should work. And why it is important to not keep them siloed, but to work together. This will help scaling to happen quicker and meet the ambitious goals we have together.
Are you hopeful we can make this work?
It is going to take more speed. We definitely need to move fast to get companies the funding they need to continue serving customers. Plus COVID-19 is a big barrier to achieving the goals. I think we are losing a lot of progress because of the virus. That is why Acumen has helping galvanize support for something called the Energy Access Relief Facility. This is a 100 million dollar fund intended to maintain the progress that had already been achieved. It is basically about offering relief funding to companies so they can continue operating though COVID-times. 30 percent of companies have already stopped operations and 85 percent of companies say they only have enough back-up cash to survive for another 5 months. So this is definitely a concern.
What would be your advice to other impact investors, like FMO?
Building relationships with early-investment funds like Acumen is really helpful because of the work that these funds are doing. We create opportunities for investment at a later stage. Also, I would want to advise you to really keep a focus on the poor. There are a lot of attractive opportunities out there, but not all of them are focused on customers who most urgently need access to electricity. I believe that making sure we all keep our eyes on who needs us the most is very important. Look further and go into the more difficult markets, because that's where you can really make a difference!
Join TEDX Acumen Countdown
On November 21st, Acumen will join hundreds of communities of climate change makers to host TEDxAcumen, an event exploring the intersection of climate change and poverty. More info


BELMONT, Ohio — It's not what you typically picture when you hear the word farm. The only livestock are horses. And in the fields, there are no long rows of corn or soybeans. But, like many farms, there is one time of the year where a profit needs to be made in order to make it to the next year.
Feisley Tree Farms is a 60-year-old Christmas tree farm that is in its second generation. John and Marian Feisley started out as dairy farmers and then decided to enter the tree business. John was also instrumental in starting the Ohio Christmas Tree Growers Association.
Today, John's son and daughter-in-law, Geoff and Theresa Feisley, now lease the farm and operation. But they don't look at the business as a way to sell trees — they are in the business of making memories.
Feisley's Tree Farms comprises more than 600 acres over five farms and includes 300 acres of trees in Belmont County. The farm grows Scotch pine, white pine, Fraser fir and Colorado blue spruce trees.
"We are in the business of making memories and traditions," said Theresa Feisley.
Theresa said they keep going year after year because they like to be part of people's lives.
She enjoys helping local families continue their traditions, but she does wonder if some of the traditions are being lost.
"Geoff and I worry about the youth of today not having family traditions. They need them, no matter what they are," said Theresa.
And the Feisleys are no strangers to trees or traditions in their home. Every year on Thanksgiving, they take a wagon out to the fields and pick out nine trees for their home. Each one measures between 71⁄2 feet and 9 feet tall.
"Due to how busy we get after Thanksgiving, we make sure each one is up and decorated by Thanksgiving morning," Theresa said.
The farm swings into full operation in mid-October and works seven days a week through Dec. 24.
The farm sells its trees through wholesale, retail and the popular pick-and-choose operation.
The retail lot is located in St. Clairsville, Ohio, and has been in operation for the past 35 years. The pick-and-choose operation is located on their home farm and has been in business for the past 17 years.
The choose-and-cut lot is full service and includes picking the tree up from the field, shaking it and loading it for the customer.
"We have learned people love to see what you are doing to their tree and why you are doing it," Theresa said.
The pick-and-choose lot also includes wagon rides for families to enjoy, and concessions. In addition, customers can get out of the weather in the barn and enjoy some trees decorated by the Feisley family.
The first barn burned as the family was getting ready to move onto the farm, 14 years ago. So the family searched and found a barn that needed dismantling in Polk, Ohio. They tore it down and rebuilt it on the Feisley farm. It dates back to the late 1700 and early 1800s.
She said approximately 1,600 trees are sold between the retail lot and the choose-and-cut operation. Including the wholesale sales, more than 11,000 trees are harvested each year.
In addition to the trees, Theresa also produces and sells 600 wreaths and swags a year.
Theresa said she loves the fact she and her husband get to work together and they get to work outside. However, there are drawbacks.
"You are working with Mother Nature. She can be your best friend and your worst nightmare. We've seen both here, Theresa said.
The family was named Belmont County Conservation Family of the Year by the local Soil and Water Conservation District for their conservation practices and the rotation they use to plant new trees.
The Feisley family doesn't stop worrying about their customer's experience once the tree is loaded into the vehicle.
Theresa said the education part of the sale is also important.
"We want to know we did everything we could to ensure the customer gets a good tree and it lasts as long as we say it will," Theresa said.
She said the work continues with wholesalers, as well, making sure they get the most important words out to the public: a fresh cut off the bottom of the tree and use warm tap water.
Theresa said she has been selling trees for over 20 years and each year holds a special memory for the Feisley family — memories that start with a real Christmas tree.