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Tag Archives: John Sheridan
THE IMMORTAL BOB BARNARD (1933-2022), PART FOUR: BOB, CAPTURED IN FLIGHT (Jazz at Chautauqua and with Vince Giordano's Nighthawks)
Thinking of mid-period blue-label Decca Louis for I'M SHOOTING HIGH, with John Sheridan, piano; Frank Tate, string bass; Arnie Kinsella, drums (Jazz at Chautauqua, September 21, 2007, surreptitious audio only):
On a visit to New York in 2010, Bob sat in with Vince Giordano's Nighthawks (personnel given in the description) for a few songs:
SOMEBODY LOVES ME:
More Louis, appropriately, with SOMEDAY YOU'LL BE SORRY:
and that hymn to staying at home, BACK IN YOUR OWN BACKYARD:
Bob brought joy then and continues to do so now.
Posted in "Thanks A Million", Awful Sad, Bliss!, Generosities, Hotter Than That, Ideal Places, Irreplaceable, It's All True, Jazz Titans, Pay Attention!, Swing You Cats!, That Was Fun!, The Real Thing, The Things We Love, Wow!
Tagged Arnie Kinsella, Bob Barnard, Frank Tate, Jazz At Chautauqua, Jazz Lives, John Sheridan, Louis Armstrong, Michael Steinman, Vince Giordano and the Nighthawks
"OH BABY!": ANDY SCHUMM, DAN LEVINSON, JOHN SHERIDAN, KERRY LEWIS, ARNIE KINSELLA (Jazz at Chautauqua, September 19, 2013)
News flash: the song is OH BABY — with or without comma and exclamation point — thanks to Rob Rothberg for the gentle correction. But I don't have the time to fix the PETTIN' references, so I hope readers will forgive me my ignorances, plural. The music remains!
It's a wonderful song — verse and chorus — first made memorable in jazz by Bix Beiderbecke and the Wolverines, then by Bud Freeman's Summa Cum Laude Orchestra and several other Bix-inspired groups.
The undocumented but hot version I present here comes from September 19, 2013, at the informal-jam session held before the Jazz at Chautauqua weekend officially began. The hero-participants are (from the back) Arnie Kinsella, drums; Kerry Lewis, string bass; John Sheridan, piano; Dan Levinson, clarinet; Andy Schumm, cornet:
and, just because JAZZ LIVES needs a regal guiding spirit, here's someone who is always teaching the lesson: know when to pet, know when to stop:
Tagged Andy Schumm, Arnie Kinsella, Bix Beiderbecke, Bud Freeman, Dan Levinson, Jazz At Chautauqua, Jazz Lives, John Sheridan, Kerry Lewis, Michael Steinman
PART TWO: WE STILL MISS JOHN SHERIDAN (Jazz at Chautauqua, September 21, 2012)
Every time he faced the piano, John Sheridan generously shared his affection for the melody, his consistent clarity and coherence. His creations passed what I think of as the test of great art: making it look so simple when it is anything but. And his swinging rhythmic energies never failed us. Here are two more (previously unseen) performances from the 2012 Jazz at Chautauqua weekend.
Terry Shand's LOVE LIES (a delightful nod to Louis in the middle):
Irving Berlin, over rolling rhythms:
and — something I wanted more people to experience — because beneath the surface gruffness, John was a deep romantic, Frank Loesser's I'VE NEVER BEEN IN LOVE BEFORE:
These three performances are only a small part of why we miss John Sheridan. Fortunately for us, he recorded prolifically on Arbors Records and was caught often on YouTube . . . but those reminders are now poignant as well as memorable.
Posted in "Thanks A Million", Awful Sad, Bliss!, Generosities, Ideal Places, Irreplaceable, It's All True, Jazz Titans, Pay Attention!, SURPRISE!, Swing You Cats!, The Real Thing, The Things We Love
Tagged Frank Loesser, Irving Berlin, Jazz At Chautauqua, Jazz Lives, jazz piano, John Sheridan, Michael Steinman, Terry Shand
WE STILL MISS JOHN SHERIDAN (Jazz at Chautauqua, September 20, 2013)
Here are two savory solo piano performances by John Sheridan, almost a decade ago, having his own kind of intent fun at the piano in the parlor of the Hotel Athenaeum, the Friday afternoon before the proceedings officially began.
John had a vast repertoire, so these two performances — riotous yet exact, meditative yet focused — are simply two aspects of his multifarious self. I invite you to savor them, and also share my slight amusement at John's crisp rapport with the listeners, never mean-spirited but always slightly brusque, at least on the surface.
COME BACK, SWEET PAPA, by Paul Barbarin and Luis Russell, made immortal by Louis Armstrong in Chicago, 1926. Verse and chorus, delightfully orchestral and vivid:
and the other end of the emotional spectrum, a ruminative impressionistic THE LEGEND OF LONESOME LAKE by Eastwood Lane, a composer and composition Bix Beiderbecke knew well:
It's easy to say that artists are immortal as long as their art is within reach, and it's true . . . but I wish the telephone would ring and John would be on the other end. Seeing and hearing him, however, is a delight, even if tinged with regret.
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Ideal Places, Irreplaceable, It's All True, Jazz Titans, Mmmmmmmmmmmmm!, Pay Attention!, SURPRISE!, Swing You Cats!, That Was Fun!, The Real Thing, The Things We Love, Wow!
Tagged Bix Beiderbecke, Eastwood Lane, Jazz At Chautauqua, Jazz Lives, jazz piano, John Sheridan, Louis Armstrong, Luis Russell, Michael Steinman, Paul Barbarin
SWING IN THE SMALL ROOM: ANDY SCHUMM, DAN LEVINSON, JOHN SHERIDAN, KERRY LEWIS, PETE SIERS (Jazz at Chautauqua, September 19, 2013)
My time machine won't go back to 1935 and the Reno Club, nor to Fifty-Second Street, no matter how hard I twist the dials, but it does go back to 1970 — audio only — and 2009 — adding video. One of the great pleasures of this century for me was being allowed to bring my video camera to what was Jazz at Chautauqua and then took on different names and a different venue. We miss it terribly. But some wonderful evidence remains.
It was held during a long weekend late in September at the Athenaeum Hotel in Chautauqua, New York, and its founder Joe Boughton had certain rituals in scheduling. Friday afternoon, solo piano recitals in the parlor; Friday night, Saturday afternoon and evening, and Sunday afternoon were for organized sets in the large ballroom.
A session in the ballroom — opening or closing ceremonies, c. 2012.
But Thursday night was informal, because musicians and guests arrived as they could — for me, it was about a seven-hour trip there whether I drove or flew to Buffalo — but certain rituals were observed. I believe the open bar opened itself around 5 PM, and the line for the buffet dinner began also. At around 6, music began in the smaller back room, and I learned quickly to bring my plate, my knapsack of video equipment there rather than dining like a civilized person at a table among others. ("I can always eat, but I can't miss this set," I reminded myself.)
I'm not exaggerating when I say some of the best musical moments of this century, for me, took place on those Thursday evenings. Sometimes the piano wasn't perfect, or I had to sit behind friends and shoot video with their heads as part of the scenery, but those sessions are joyous memories. And they exist to be shared with the faithful. The little ad hoc groupings didn't have official leaders, but someone might suggest a tune that everyone knew, they would agree on a ley and tempo, and magic would happen.
It did on Thursday, September 19, 2013, thanks to Dan Levinson, clarinet and tenor saxophone; Andy Schumm, cornet; John Sheridan, piano; Kerry Lewis, string bass; Pete Siers, drums. They did three classic standards; they had fun; so did we.
A SAILBOAT IN THE MOONLIGHT, which suggests what might have happened if Bix had lived into 1937:
Irving Berlin's always-gratifying RUSSIAN LULLABY:
and, after some discussion, the 1928 SWEETHEARTS ON PARADE, more a sprint, and such fun:
There will be more, in time, and all memorable.
All hail the living Gentlemen of the Ensemble: long may they be vibrant. But, damn it, how we miss John Sheridan.
Tagged Andy Schumm, Bix Beiderbecke, Dan Levinson, Irving Berlin, Jazz At Chautauqua, Jazz Lives, Joe Boughton, John Sheridan, Kerry Lewis, Michael Steinman, Pete Siers
IT WAS QUITE HOT THAT NIGHT: DUKE HEITGER, RANDY REINHART, JOHN SHERIDAN, FRANK TATE, PETE SIERS (Jazz at Chautauqua, September 14, 2007)
I've written elsewhere about the intense pleasures of the informal Thursday-night sessions at Jazz at Chautauqua. "Informal," however, took on new meaning when the Emperor of Chautauqua, Joe Boughton, was involved and well: even in relaxed settings, he deplored the aimlessness sometimes prevalent at "jam sessions," which would lead to his strongest aversion — musicians playing over-familiar repertoire. In my mind's ear, I can hear Joe's voice, although not on this, my sub rosa audio tape of one of several sets, and can envision him, a glass of Dewar's in his hand, listening and observing with deep appreciation. As well he might . . .
Joe's sterling idea was to have a quartet: trumpet, cornet, piano, drums — the sort of thing one might have heard at an after-hours session, but of course the intent was friendly rather than competitive, since Duke Heitger (trumpet) and Randy Reinhart (cornet) are allied in mutual admiration. Pete Siers rocked the room, as he always does, on the drums. And later Frank Tate set up his string bass and joined in. Yes, there are the usual extraneous noises (a few seconds of surrealistic "clapping along," chatter, and some tubercular coughing) but if you were in the room you might have heard some of them.
I'm posting this now not only because it is both a wonderful memory and a wonderful experience, but in honor of the one musician who's not around to enjoy the applause, the splendid pianist John Sheridan, who left us this year. He shines; he sparkles; he gets in no one's way; he holds up the building by being his own multi-colored swing orchestra.
The songs are JAZZ ME BLUES / I'VE GOT THE WORLD ON A STRING / I FOUND A NEW BABY / A BRIEF ETUDE / JUST YOU, JUST ME:
Remembering that I was there is a great pleasure; being able to share this music with you is even greater.
Tagged Duke Heitger, Frank Tate, Jazz At Chautauqua, Jazz Lives, John Sheridan, Michael Steinman, Pete Siers, Randy Reinhart
IN THE BLUE OF EVENING: JOHN SHERIDAN, OVERHEARD (Jazz at Chautauqua, September 2013)
My readers will know that pianist, arranger, composer John Sheridan died on August 24, 2021, due to cancer. I celebrated him the day after, here. But John's beautiful sounds continue to ring in my mind, so it is only right I should share something only a few people heard — although many were in attendance.
Preface: here is the studio recording of IN THE BLUE OF EVENING, young Frank Sinatra with Tommy Dorsey:
and, because it's such a pretty song, here's Sinatra's 1960 "I Remember Tommy" version:
Even though I had had the Sinatra-Dorsey 78 in my childhood, I hadn't thought about the song for decades. But during the pandemic, I began returning to the surreptitious audio-recordings I had made at the 2006 and 2007 Jazz at Chautauqua weekends, some of which I have shared with you. Many featured John (Joe Boughton loved pianists, and in those early years he had Sheridan, Jim Dapogny, Rossano Sportiello, Larry Eanet, and Keith Ingham, among others).
I had a digital recorder concealed in my blazer pocket, but knew that if I put it on the table to start it, my companions would ask about it, and that might become a problem, since I had not asked Joe for permission to record. In retrospect, I could have — because I was writing about the festival — but timidity won out. So I would go out in the hall or even up a flight of stairs, start the recorder, and come down to the ballroom. I had transferred the digital segments to CDs and then to YouTube, and was able to edit out the sounds of my walking down the hall and concentrate on the music.
But one segment, unidentified, came up in my progress, and I listened to it. Nothing but fifteen minutes of between-set talk, loud audience conversations around me. But I did not leap to delete it, and it is a blessing I didn't, because while the audience was talking (released from the burden of Being Quiet while their heroes were making music, John Sheridan was experimenting with IN THE BLUE OF EVENING. He did not play it at Chautauqua and no studio recording of it exists.
I came back to it when I learned that John was ill. And it haunted me: faraway, lovely, the "tinkling piano in the next apartment," although John was stronger than that cliche even when he was delicately outlining a ballad; perhaps "music when soft voices die," although the voices were not soft: no one said, "Shhhh! Do you hear that!"
So I present it to you. Those whose ears are easily affronted, will want to pass it by. There is a pause in the middle, perhaps someone asking John a question, and then he returns. But give it your full attention — it lasts slightly over two minutes — and you will hear something precious: John Sheridan, in his element, free to explore because no one in particular was paying close attention. But we can, now:
There are many better-sounding videos on YouTube, more than a few of them mine, and John left a substantial discography. But I cherish these moments in the midst of noise as John's elegy: in the noise of this century and I hope those to follow, his beauty will ring through and not be forgotten.
Posted in Awful Sad, Irreplaceable, It's All True, Jazz Titans
Tagged Frank Sinatra, IN THE BLUE OF EVENING, Jazz At Chautauqua, Jazz Lives, John Sheridan, Michael Steinman, Tommy Dorsey
A FEW WORDS FOR JOHN SHERIDAN
We're all so fragile, although we don't like to talk about it.
The magnificent, understated pianist, arranger, and composer John Sheridan has left us. I don't have more details except that he had been ill with cancer for some time. I knew him, off and on, for more than fifteen years, and this comes to mind: a performance from 2013 at Jazz at Chautauqua:
John's playing was so steady, so trustworthy, that he didn't get his due, except from close listeners and the musicians he worked with. Oh, he could make the best brilliant romping noise at the keyboard — his stride was infallible, and you can find his performances of Bob Zurke's EYE OPENER should you be tempted to pass him by as insufficiently flashy. But his tradition was the steady swing of Teddy Wilson and Jess Stacy more than pyrotechnics, and he had a deep romantic heart — his ballads were so very touching, and he got to the heart of the song.
We're all complicated as well as fragile, but I both loved John and approached him with caution. He was definite about everything — no meandering, no ambiguity. He wasn't loud, but he spoke in boldface. It was fortunate for me that he understood that I understood — certain things, anyway. I didn't follow football; our politics were so separate that we wisely steered clear of any reference to the non-musical world. But I, too, loved Benny and Jess, and I would listen to John without offering dissent. I see him now in my mind's eye — perhaps we were at the San Diego Jazz Fest? — late at night, at a cafe table, John drinking black coffee and being wooed into having a piece of cake because I was. There was a time we had fairly regular long phone conversations, where John could talk about how things were at home and I would offer consolations, and then the conversation would shift abruptly to the wonders of some Goodman airshot, John's current pleasure, and I would listen, because he heard deeply and always was insightful.
When I wrote "caution," above, I had reason. Through the kindness of Mat and Rachel Domber, I wrote a number of liner notes for the glorious CDs created by Arbors Records. I'd written one for a Sheridan Dream Band session, and had been privileged to attend the sessions at Nola Studios in New York — pretty heady pleasures. John liked those, and wanted me to write notes for the next one. I think I was over-enthusiastic and mentioned too many dead heroes as touchstones . . . X's trumpet coda is reminiscent of Berigan, and so on, something I avoid these days. I don't know how I found out, but John disliked my notes. I emailed him and said, "Let me know what you don't like, and I'll fix it." Silence. I was paid for my time — Mat and Rachel were and are gracious — but John refused to speak to me, and this went on until the next time I saw him, or perhaps I got a chilly greeting at the next festival. Finally, I got him aside and said to him, "I'm very fond of you, and you got pissed off at me. Do we have to keep on doing this?" and he relaxed and we settled it, as if we'd been in feuding pals in a Warner Brothers film c. 1940. Of course he never explained to me how I had sinned . . . but we moved on.
I had emailed him a few months ago asking his permission to post some videos of his performance, and he called me to say yes, sounding older but still cheerfully declarative. And now he's left a Sheridan-sized hole in the cosmos.
It's on days like this I wonder if I should have stuck to collecting stamps (a hobby I had for about a week as a child) because I wouldn't feel so grieved. But then again, I would have missed the uplifting happiness of hearing John play.
Swing on, Brother Sheridan, in your new neighborhood. You will be missed, and for a long time. You increased our happiness considerably, and your sounds will continue to work their magic.
Posted in Awful Sad, Irreplaceable, Jazz Titans, The Things We Love
Tagged Jazz Lives, John Sheridan, Michael Steinman
"HAPPY MEMORIES": JON-ERIK KELLSO, BOB HAVENS, DAN BLOCK, JOHN SHERIDAN, TOM BOGARDUS, KERRY LEWIS, PETE SIERS (Jazz at Chautauqua, September 21, 2013)
The music that follows requires some prelude. It was created at the now-legendary Jazz at Chautauqua, almost seven years ago — which seems like several lifetimes. The founder and imperial monarch of this jazz weekend, Joe Boughton, responsible for so many hours and days of wonderful jazz music, loathed what he thought of as overplayed repertoire. SWEET GEORGIA BROWN was forbidden; A GARDEN IN THE RAIN was bliss. Not for him Hot Lips Page's ecumenical idea, "The material is immaterial." But, whether it was Jon-Erik Kellso's idea or Joe's, a set called "'WAY DOWN YONDER IN NEW ORLEANS," its repertoire consisting of well-worn Bourbon Street favorites, happened. And it was wonderful.
The regular band was Pete Siers, drums; Kerry Lewis, string bass; John Sheridan, piano; Dan Block, clarinet; Bob Havens, trombone; Jon-Erik Kellso, trumpet. But one of Jon-Erik's Michigander friends, the fine multi-instrumentalist — clarinet, soprano saxophone, banjo, tenor guitar and perhaps more — Tom Bogardus, was also at Chautauqua, and Jon-Erik not only invited him to join in for this set, but Howard Alden generously lent Tom his tenor banjo and Tom added so much to the sound. He told me recently, "This was a big night in my musical career, getting to play with these outstanding musicians in today's jazz. I am so thankful that Jon-Erik asked me and Howard Alden let me use his banjo. Now I have video proof. It's a 4 string tenor banjo with traditional tenor tuning. I think it's a Bacon & Day, but am not sure."
Before we move on to the music, a small — possibly irrelevant — personal note. I sat at my table with my video camera on a tripod, as if it were my date, and the world of people talking, getting up for drink refills, and having dinner happily swirled around me. So the first voice you will hear on the first video is the amiable waitperson asking me, as they are trained to do, if I was finished, "Can I take that away for you? Are you through?" which is really, "Let me get all the dishes off the tables as we are required to do," and my response — I am proud to say, not in a snarl, "No." My people have certain boundary issues: "Touch my food if I haven't offered it to you, and I will be unhappy," which is why I weigh more now than in 2013. But I digress.
'WAY DOWN YONDER IN NEW ORLEANS:
BASIN STREET BLUES, featuring Bob Havens:
MUSKRAT RAMBLE:
DO YOU KNOW WHAT IT MEANS TO MISS NEW ORLEANS?:
and a quick set-closer, SOUTH RAMPART STREET PARADE:
Alas, Jazz at Chautauqua and its successors, the Allegheny Jazz Party and the Cleveland Classic Jazz Party, are no more, but we have our happy memories and these videos. Incidentally, when I asked Jon-Erik for permission to post these videos, "Happy memories!" is what he said. So true. Thanks to the musicians, to Joe Boughton and all his family, to Nancy Hancock Griffith and Kathy Hancock. And to my polite waitperson: can't forget her.
Tagged Bacon and Day, banjo, BASIN STREET BLUES, Bob Havens, Dan Block, DO YOU KNOW WHAT IT MEANS TO MISS NEW ORLEANS, Jazz At Chautauqua, Jazz Lives, Joe Boughton, John Sheridan, Jon-Erik Kellso, Kathy Hancock, Kerry Lewis, Kid Ory, Michael Steinman, MUSKRAT RAMBLE, Nancy Hancock Griffith, Pete Siers, Sarah Boughton Holt, SOUTH RAMPART STREET PARADE, Tom Bogardus, Way Down Yonder in New Orleans
"SAY THAT EVERYTHING IS STILL OKAY": REBECCA KILGORE, HARRY ALLEN, BOB HAVENS, FRANK TATE, JOHN SHERIDAN (Jazz at Chautauqua, September 20, 2012)
I have little to complain about in tangible things, but today's mood is such that this meme (courtesy of dear friend Amy King) provoked rueful laughter and recognition:
Those of you who don't know what a "meme" is can dial one of the grandkids. "Kinky," you're on your own.
Today I thought that cheerful hot music would be out of place, so here is a beautifully rueful creation.
The superficial portrait of Irving Berlin is that he wrote cheerful music, with exceptions like WHAT'LL I DO? and REMEMBER. But he is also powerfully poignant about romance that has deflated or perished, as in SAY IT ISN'T SO — its title characteristically taken from a popular conversational phrase. But when Becky Kilgore and her lightly swinging friends approach it, the sadness is balanced against the gentle motion of the beat, everyone's personal phrasing. Her friends are Harry Allen, tenor saxophone; Bob Havens, trombone; John Sheridan, piano; Frank Tate, string bass.
This performance magically unfolded in front of us (and my camera) on Thursday night, September 20, 2012, at the informal session that began Jazz at Chautauqua at the Hotel Athenaeum. Fabled times, lovely music.
Posted in "Thanks A Million", Awful Sad, Bliss!, Generosities, Ideal Places, Irreplaceable, It's All True, Jazz Titans, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Amy King, Becky Kilgore, Bob Havens, Frank Tate, Harry Allen, Irving Berlin, Jazz At Chautauqua, Jazz Lives, John Sheridan, meme, Michael Steinman, Rebecca Kilgore, SAY IT ISN'T SO
YOUR HAPPINESS LIES / RIGHT UNDER YOUR EYES, or POSTPONE THAT TRIP (2020 Edition)
I believe that the first version of this now-neglected classic song I heard was Jolson's, then Billie's . . . and it is even more pertinent now, as an antidote to the restless itch to be somewhere else, or to have a "bucket list" of places to visit. In this time of sheltering-at-home, to me it seems the ideal soundtrack, even if your backyard is only imaginary or remembered.
From 2011:
Later that year, and closer to my backyard:
and 2016:
I even have a version of this song recorded in March 2020, but it hasn't passed the Imperial Board of Censors just yet. And since I am keenly aware of ironies, I know that for all but one of these performances celebrating the joys of one's own place, I had to get on a plane to enjoy and record it. Calling Steven Wright or perhaps Ralph Waldo Emerson — the latter of whom wrote "Traveling is a fool's paradise. Our first journeys discover to us the indifference of places. At home I dream that at Naples, at Rome, I can be intoxicated with beauty, and lose my sadness. I pack my trunk, embrace my friends, embark on the sea, and at last wake up in Naples, and there beside me is the stern fact, the sad self, unrelenting, identical, that I fled from."
So today, perhaps, I will put off the thrilling journey to the Post Office and, later, when adventure calls to me, I will take the cardboard boxes to the recycling area. Back in my own backyard for sure. Possibly constrained, but reasonably safe from harm.
Tagged Al Jolson, Allan Vache, Andy Schumm, Antti Sarpila, BACK IN YOUR OWN BACKYARD, Billie Holiday, Bob Barta, Bria Skonberg, Chuck Redd, Dan Barrett, Dave Dreyer, Ed Metz, Eddie Erickson, Jazz Lives, Jim Fryer, Joel Forbes, John Cocuzzi, John Klumpp, John Lovett, John Sheridan, Johnny Varro, Josh Duffee, Lars Frank David Boeddinghaus, Michael Steinman, Paul Keller, Ralph Waldo Emerson, Rebecca Kilgore, Steven Wright, Sunnyland Jazz Band, Tim Laughlin
MONTEREY DELIGHTS! (Jazz Bash By the Bay, 40th Anniversary Edition, March 5-8, 2020)
It's never too early to get prepared for joy, especially the varieties that the Jazz Bash by the Bay delivers so generously. (An All-Events badge is available at a discount before December 31, so if thrift makes your eyes gleam, check here.) Now.
I've been attending this March festival every year since 2011 (I missed 2018) and have fond memories. I could write a good deal about the pleasures of this grouping of musicians and fans, and the pleasures of being able to walk around a truly charming town center . . . or the pleasure of being a guest at the Portola Hotel and Spa, with the music just a trot away, but I will simply direct you to the Bash's website, where you can find out such useful information as the dates (March 6-8), the band schedule (not available yet), ticket prices, and the bands themselves.
For me, the bands and guest stars are the reason to come to a particular festival, so I will list them here (as of January 2020) so you can see the delights to be had. First, the Musician of the Year is my hero Marc Caparone, so even though I doubt there will be a parasol-laden coronation, I want to be there to see the rites and praises. Then, guest stars Bob Draga, Brian Holland, Danny Coots, Dawn Lambeth, Eddie Erickson, Gary Ryan, Jeff Barnhart, Jerry Krahn, and Katie Cavera. The bands: Blue Street Jazz Band, Bye Bye Blues Boys Band, Carl Sonny Leyland Trio, Clint Baker's New Orleans Jazz Band, Cornet Chop Suey, Crescent Katz, Don Neely's Royal Society Jazz Orchestra, Fast Mama Excitement, Holland-Coots Jazz Quintet, Ivory&Gold, Le Jazz Hot, Midiri Brothers, Sierra Seven, Tom Rigney and Flambeau, We Three (Thursday only), Yve Evans and Company, and the Zydeco Flames.
Looking at the 2019 schedule, the Bash offered four simultaneous sessions for full twelve-hour days on Friday and Saturday, and a half day on Sunday . . . one hundred and fifty sessions, including full bands, singers, solo and duo pianos, youth bands, sets for amateur jammers, and more. Even someone like myself, who doesn't fell compelled to see and hear everything, finds it a delightfully exhausting experience. There's a separate Thursday-night dance and an appearance by We Three, and I quote: "Kick off Jazz Bash by the Bay on Thursday, March 5, 2020, with a big band dance party featuring Clicktrax Jazz Orchestra. Attendees will enjoy danceable swing and traditional jazz at the Portola Hotel and Spa from 7:30 to 11 pm. Admission is $25.00. Also, in a Special One-Night-Only appearance, the hit trio We3 featuring Bob Draga, Jeff Barnhart, and Danny Coots will be playing from 7 to 8:30 pm. Admission is $30.00. Add the dance for $20 more. All tickets can be purchased by phone, mail, online or at the door."
Did you notice that there is an Early Bird All-Events Badge at a discount if you order before December 31, 2019? Yes, I repeat myself: details here.
For me, a post advertising a particular festival is not effective unless some musical evidence can be included. I broke one of my rules — that is, there are musicians in the 2011-19 videos below who do not appear at this year's Bash, and I apologize to them if anyone's feelings are bruised. But I started to go through the 200+ videos I'd posted of various Monterey Bashes, and some of them were do fine that I couldn't leave them out. You'll get a panoramic sense of the wide variety of good, lively, inventive music that happens here. And each video has a detailed description of who's playing and singing, and when it happened.
an old song, swung, 2019:
for Django:
Becky and the blues:
the late Westy Westenhofer:
Ivory&Gold (Jeff and Anne Barnhart):
Paolo Alderighi, Phil Flanigan, Jeff Hamilton:
Katie Cavera and the Au Brothers:
Bob Schulz and the Frisco Jazz Band:
Allan Vache, John Sheridan, John Cocuzzi, Paul Keller, Ed Metz:
High Sierra:
Hot Strings at Monterey 2011:
a jam session with Bryan Shaw, Jeff Barnhart, Dan Barrett, Marc Caparone, John Reynolds, Katie Cavera, Ralf Reynolds:
Carl Sonny Leyland, Marty Eggers, Jeff Hamilton, performing Sonny's composition that insures that no rodents visit the Portola during the Bash:
It might seem a long way away, but it isn't. And it's a truly enjoyable event.
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Ideal Places, Irreplaceable, It's All True, Jazz Titans, Jazz Worth Reading, Mmmmmmmmmmmmm!, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Allan Vache, Blue Street Jazz Band, Bob Draga, Bob Schulz, Brian Holland, Bryan Shaw, Bye Bye Blues Boys Band, Carl Sonny Leyland, Carl Sonny Leyland Trio, Clint Baker's New Orleans Jazz Band, Cornet Chop Suey, Crescent Katz, Dan Barrett, Danny Coots, Dawn Lambeth, Dixieland Monterey, Don Neely's Royal Society Jazz Orchestra, Ed Metz, Eddie Erickson, Fast Mama Excitement, Gary Ryan, High Sierra, Holland-Coots Jazz Quintet, IVORY&GOLD, JAzz Bash by the Bay, Jazz Lives, Jeff Barnhart, Jeff Hamilton, Jerry Krahn, John Cocuzzi, John Reynolds, John Sheridan, Katie Cavera, Le Jazz Hot, Marc Caparone, Michael Steinman, Midiri Brothers, Paolo Alderight, Paul Keller, Phil Flanigan, Portola Hotel and Spa, Ralf Reynolds, Rebecca Kilgore, Reynolds Brothers, Sierra Seven, the Au Brothers, the Zydeco Flames, Tom Rigney and Flambeau, WE THREE, Westy Westnhofer, Yve Evans, Yve Evans and Company
A CORNER IN CHICAGO, SOME QUESTIONS OF TASTE
A corner in Chicago's Pilsen neighborhood: Google says it is "18th and Racine":
then, multi-instrumentalist, arranger, composer Andy Schumm:
then, some music that ties the two together: a performance of Andy's own "18th and Racine" on September 13, 2013 Jazz at Chautauqua weekend, with Dan Levinson, Dan Barrett, John Sheridan, Kerry Lewis, Ricky Malachi:
That's an admirable piece of music, which nobody can deny. The players are dressed in adult business attire, but they are neither stiff nor constrained; in fact, there's a bit of unscripted comic repartee before they start to play.
I have been digging through my archives to find previously unknown performances from Jazz at Chautauqua, starting in 2011. This video, this performance, was hidden in plain sight: it had been given to the larger YouTube public for free six years and a month ago. I was dumbstruck to see that it had been viewed fewer than one hundred times. Was it dull? Was it "bad," whatever that means? Had the Lone YouTube Disliker come out of the basement to award it his disapproval? No, none of those things.
I write this not because my feelings are hurt (Love me, love my videos, or the reverse) but because I don't understand this lack of enthusiasm.
"Pop" music videos are viewed by millions, and the audience for "hot jazz," "trad," whatever you want to call it, is a crumb in the cosmic buffet.
But — follow me. Invent a band with a clever name. Let them sit in chairs on the street in the sunshine. Let them be a mix of young women and young men. Let them be emotive. Let there be a washboard. Perhaps one of the members is fashionably unshaven. There are shorts, there are legs, there are sandals, there are boots. No one wears a suit, because buskers have their own kind of chic, and it has nothing to do with Brooks Brothers. If the members know who Strayhorn and Mercer are, they keep such knowledge to themselves. They are very serious but they act as if they are raw, earthy, primitive. Someone sings a vaguely naughty blues.
Mind you, this is all invention.
But let a fan post a new video of this imaginary group and in four days, eleven thousand people scramble to it.
I understand that my taste is not your taste. And I know that anyone who privileges their taste ("I know what the real thing is. I like authentic jazz!") is asking for an argument. But . . . ."Huh?" as I used to write on student essays when I couldn't figure out what in the name of Cassino Simpson was going on.
Is this the triumph of sizzle over substance? Is the larger audience listening with their eyes, a group of people in love with bold colors in bold strokes? Is all art equally good because some people like it?
And if your impulse now is to reproach me, "Michael, you shouldn't impose your taste on others," I would remind you that imposition is not my goal and shouldn't be yours, and that there is no schoolyard bully at your door threatening, "Like what you see on JAZZ LIVES or else, and gimme your lunch money!"
Everyone has an opinion. I spoke with an amiable fan at a jazz festival. I had been delighting in a singularly swinging and persuasive band, no one wearing funny clothes or making noises, and when I told her how much pleasure I was taking, she said, "That band would put me to sleep! I like (and she named a particularly loud and showy assemblage whose collective volume was never less than a roar). I replied, "Not for me," and we parted, each of us thinking the other at best misguided. Or perhaps she thought me a New York snob, and I will leave the rest of the sentence unwritten. The imp of the perverse regrets now, perhaps six years later, that I didn't ask in all innocence, "Do you like Dunkin' Donuts Munchkins?" and see what her reply was.
As the King says, "Is a puzzlement."
Legal notice: no such band as described above exists, and any resemblance to a group of persons, real or imagined, is accidental. No one in the 2013 performance video asked me to write this post in their defense, and they may perhaps be embarrassed by it, for which I apologize. Any other questions should be directed to JAZZ LIVES Customer Service, to be found in the rear of our headquarters (look for the bright red cat door). Thank you.
Posted in "Thanks A Million", Bliss!, Generosities, Ideal Places, Irreplaceable, It's A Mystery, It's All True, Jazz Titans, Jazz Worth Reading, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Andy Schumm, busking, Dan Barrett, Dan Levinson, Is a Puzzlement, Jazz At Chautauqua, Jazz Lives, John Sheridan, Kerry Lewis, Mercer, Michael Steinman, opinion, Ricky Malachi, Strayhorn, taste, the blues, THE KING AND I
MY FRIEND FLIP, at JAZZ AT CHAUTAUQUA (Part One): RANDY REINHART, JON-ERIK KELLSO, JOHN SHERIDAN, VINCE GIORDANO, JOHN VON OHLEN (September 2008)
Warning for the timid and the finicky: the video that follows is unusually flawed and visually limited. But the sound is fine and the performance precious.
Some of you may recognize this now-obsolete piece of technology. In 2008, before I bought my first video camera, I tried out a Flip pocket video. It recorded sixty minutes; it had no controls aside from an on / off button and a rudimentary zoom function; it fit in a pocket.
I had shot some video with it, but remember only two instances: once at The Ear Inn, where a musician who shall be nameless expressed his displeasure by coming close to me and hissing, "Audio's all right, but that video don't do nothin' for me, Pops," to which I apologized, put it away, and later deleted the video. Pops hasn't forgotten, you will notice, and in his dotage, he avoids that musician, even without a camera.
The other instance was in Mexico, where I recorded some vibrant street musicians, but I foolishly packed Flip (as I thought of him, like a cartoon character) in my checked luggage and he went on to a new life in someone else's pocket. And I graduated to "real" video cameras, as you have probably seen.
The story of My Friend Flip would have remained a crumb in the breadbox of memory except that two days ago I started a rigorous — no, violent — apartment-tidying, in search of some things I knew I had but couldn't find. You know the feeling. I found a once-blank CD with the puzzling notation, "Chau 2008 Flip." At first I thought, "Did I see Flip Phillips at Jazz at Chautauqua?" but knew I hadn't. I put the disc in the computer's DVD tray, waited, and eventually discovered three video performances I had completely forgotten — but which made me joyous, as you will understand.
The late Joe Boughton, who ran Jazz at Chautauqua, was severe in the way I imagine a Roman emperor must have been. Oh, it was covered by friendliness . . . until you violated one of his strictures. Musicians can tell you the verbal assaults that resulted when someone played a song that was, to Joe, too common. SATIN DOLL or SWEET GEORGIA BROWN was punishable by exile: I WISH I WERE TWINS or HE'S A SON OF THE SOUTH would make Joe happy and guarantee you'd be invited back.
Joe also recorded everything for his own pleasure (and those recordings, I am told, survive in a university collection) but he didn't want anyone else recording anything.
Fast forward to 2011, when I'd had this blog for a few years and had Joe in my readership. I boldly brought my video camera with me and — expecting the worst — asked Joe if it was OK if I videoed a few tunes, for publicity, if I got the musicians' permission. His response was positive but also imperial, "Who cares about their permission? I don't mind!: and I went ahead.
Before then, a shy criminal, I recorded as much audio as possible on a digital recorder I kept in my pocket (which means that some discs begin with the sound of me walking from my room to the ballroom) and in 2007 I took my point-and-shoot camera, stood at one side of the stage, and recorded two performances, which I have posted here. Joe didn't notice, and the palace guards liked me, so I was able to return the next year.
On three separate occasions in 2008, I walked to one side of the stage (perhaps I pretended I was visiting the men's room), turned on Flip, and recorded some wonderful music for posterity, for me, for you. Before you move on, I warn you that the video is as if seen through a dirty car windshield. I was shooting into a brightly lit window, so much is overexposed. The focus is variable, and there is a Thanksgiving Day Parade of slow-moving patrons who amble on their way, often standing in front of the man with a little white box to his eye. "Could it have been a camera that young fellow was holding, Marge? I don't know, but don't rush me, John!"
But the music comes right through. Some drum accents have the explosive power of small-arms fire, Flip was a simple camera. However, everyone shines: Randy Reinhart, cornet; Jon-Erik Kellso, trumpet; John Sheridan, piano; Vinc Giordano, string bass; John Von Ohlen, drums, playing STRUTTIN' WITH SOME BARBECUE:
Two more surprises will come along in time. Until then, bless Randy, Jon-Erik, John, Vince, and John. Joe, I apologize, but as Barney tells us, "Sharing is caring." And thank you, Friend Flip . . . wherever you are now.
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Ideal Places, It's All True, Jazz Titans, Jazz Worth Reading, Mmmmmmmmmmmmm!, Pay Attention!, SURPRISE!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged "Struttin' With Some Barbecue", Barney the purple dinosaur, Flip video camera, illicit recording, Jazz At Chautauqua, Jazz Lives, Joe Boughton, John Sheridan, John Von Ohlen, Jon-Erik Kellso, Lil Hardin, Louis Armstrong, Michaeal Steinman, Randy Reinhart, Vince Giordano
MARK IT DOWN! THE CENTRAL ILLINOIS JAZZ FESTIVAL (March 30, 2019: Decatur, Illinois)
Here's something for the intellectual puzzle-solvers in the JAZZ LIVES audience.
Three.
Kenny Davern, Yank Lawson, Connie Jones, Pee Wee Erwin, Doc Cheatham, Chuck Folds, George Masso, Don Goldie, Johnny Varro, Jon-Erik Kellso, Paul Keller, Ed Polcer, Eddie Higgins, Marty Grosz, Bill Allred, Bob Schulz, Bobby Rosengarden, Milt Hinton, Brian Torff, Johnny Frigo, Peter Ecklund, John Sheridan, Brian Holland, Rebecca Kilgore, Dan Barrett, Eddie Erickson, Ken Peplowski, Vince Giordano and the Nighthawks, the Fat Babies, and more.
Figured it out? The answers, although indirect, are below, and they relate to the Juvae Jazz Society and the Central Illinois Jazz Festival: the story of their inception is here.
I confess that Decatur, Illinois has really never loomed large in my vision of bucket-list places. But I have been terribly myopic about this for the past quarter-century. Consider the poster below, please:
The Juvae Jazz Society is celebrating its twenty-fifth anniversary, and rather than expecting people to bring them silver plates and candelabra, they are throwing a one-day jazz party, which you might have understood from the poster above. (The list of musicians is just some of the notables who have played and sung for them in the last quarter-century.)
Although I admire Petra van Nuis and Andy Brown immensely, I've never had a chance to hear Petra and the Recession Seven live. The Chicago Cellar Boys are one of my favorite bands and would even be so if Dave Bock wore a more sedate bow tie. Other surprises are possible as well.
Some groovy evidence for you:
and those Boys:
So I'm going to be there. Care to join me?
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Ideal Places, It's All True, Jazz Titans, Jazz Worth Reading, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Andy Brown, Andy Schumm, Bill Allred, Bob Schulz, Bobby Rosengarden, Brian Holland, Brian Torff, Central Illinois Jazz Festival, Chicago Cellar Boys, Chuck Folds, Connie Jones, Dan Barrett, Dave Bock, Doc Cheatham, Don Goldie, Ed Polcer, Eddie Erickson, Eddie Higgins, George Masso, Jazz Lives, John Otto, John Sheridan, Johnny Donatowicz, Johnny Frigo, Johnny Varro, Jon-Erik Kellso, Juvae Jazz Society, Ken Peplowski, Kenny Davern, Marty Grosz, Michael Steinman, Milt Hinton, Paul Asaro, Paul Keller, Pee Wee Erwin, Peter Ecklund, Petra van Nuis, Petra's Recession Seven, Rebecca Kilgore, The Fat Babies, Vince Giordano and the Nighthawks, Yank Lawson
A FEW WORDS FOR OUR FRIEND RON HOCKETT
Posted on August 3, 2018 | 10 comments
I only had the good fortune to meet Ron Hockett in person once — at a John Sheridan Dream Band session for Arbors Records at Nola Studios in Manhattan. Of course I'd heard him play before, so it was a pleasure to speak to him, but even more than his playing, I was impressed by his easy kindness, the quiet spirituality he brought in to the room, even when he was sitting silently, listening to a playback.
In case his sweet lucid sound isn't familiar, here he is (with John Sheridan, James Chirillo, Phil Flanigan, Jake Hanna) on IF DREAMS COME TRUE:
Dreams coming true — and needing to come true — are the subject of this post. Recently, Ron's friend and mine, Sonny McGown, contacted me to say that Ron's health was deteriorating. Here's the news from Alex, Ron's stepdaughter:
In February, Ron received a diagnosis of idiopathic pulmonary fibrosis, which is a chronic and progressive scarring of the lungs which eventually leads to respiratory failure. There is no cure, the only real treatment is a lung transplant. He is now a patient at Duke . . . and if all of the testing/evaluations/pulmonary rehab goes well, he will be listed for transplant. He has a five day evaluation in August. He is on supplemental oxygen with exertion but he can still play the clarinet thus far! It is our biggest hope that all of this will happen and that he will be healthy, will once again be able to travel and play larger gigs, see his friends, and of course be able to breathe! As you can imagine, the cost is enormous and he and my mom will be forced to relocate for a year or so. I've just started a fundraising campaign on GoFundMe.
Here's the link.
And here's some lovely music that I hope will evoke generous feelings and actions. Let us do a friend a favor.
Posted in "Thanks A Million", Awful Sad, Generosities, Irreplaceable, Jazz Titans, Pay Attention!, The Heroes Among Us
Tagged Arbors Records, generosity, Jake Hanna, James Chirillo, Jazz Lives, John Sheridan, Michael Steinman, Nola Studios, Phil Flanigan, Ron Hockett, Sonny McGown
HIDDEN TREASURES, CONTINUED: MARTY GROSZ, ANDY SCHUMM, SCOTT ROBINSON, JOHN SHERIDAN, PETE SIERS: JAZZ at CHAUTAUQUA, SEPTEMBER 21, 2013
Posted on March 5, 2018 | 5 comments
Jazz groups often choose well-established formats: the piano trio; the bebop quintet; the trad or swing sextet. But "unorthodox" bands offer wonderful surprises.
"Tell us a story, Mister Grosz!" Photo by Lynn Redmile
Marty Grosz likes such original assemblages: two horns, guitar and string bass, for instance, all unamplified. And in the case of this morning set at Jazz at Chautauqua, not so long ago, Marty assembled two especially nimble horn players, a pianist, himself, and a very sensitive drummer who used snare and wire brushes only. It happened in this century, but it felt like a dream of the old days, thanks to Andy Schumm, Scott Robinson, John Sheridan, and Pete Siers. Now, thanks to the glories of teleportation, and thanks to Nancy Hancock Griffith, we can go there also.
Calling Mr. Berlin!
Marty without Fats just wouldn't be Marty:
and a homage to the esteemed and elusive Horace Gerlach and his co-composer, Mister Strong:
Marty turned 88 — yes, eighty-eight — a few days ago. He probably won't see this post, but it is a deeply admiring salute to his delightful selves. This place wouldn't be the same without him. And here's a 2013 missive from MOG:
Tagged Andy Schumm, Fats Waller, Horace Gerlach, Irvin Berlin, Jazz At Chautauqua, Jazz Lives, John Sheridan, Louis Armstrong, Marty Grosz, Michael Steinman, Nancy Hancock Griffith, Pete Siers, Scott Robinson
BEAUTY, SO RARE: HIDDEN TREASURES FROM JAZZ AT CHAUTAUQUA: JON-ERIK KELLSO, SCOTT ROBINSON, BOB HAVENS, JOHN SHERIDAN, KERRY LEWIS, PETE SIERS (September 23, 2012)
When it's good, you know it. When it's sublime, you feel it. Here are four previously unseen treasures from the sprawling JAZZ LIVES vault of video sweetness, recorded at the Hotel Athenaeum in Chautauqua, New York, on September 23, 2012, during the delightful gathering of cosmic energies once called "Jazz at Chautauqua," the creation of Joe Boughton and then Nancy Hancock Griffith.
We take so much for granted, and on paper, this set might just have seemed another pleasing interlude in a long weekend of delights — a Sunday-brunch set focused on the music of Louis Armstrong. With other players, even such an inspiring theme could have turned into genial formula. But not with Jon-Erik Kellso, trumpet; Bob Havens, trombone; Scott Robinson, metal clarinet, tenor saxophone, and taragoto; John Sheridan, piano; Kerry Lewis, string bass; Pete Siers, drums.
How they soar. How tenderly they caress the music. You'll experience it for yourselves.
First, a WEARY BLUES that gently piles delight upon delight, a great piece of Hot Architecture reaching toward the sky:
and, with some priceless commentary from Scott Robinson — erudite comedy gently coming to earth as a loving tribute to Joe Muranyi, who loved to play BIG BUTTER AND EGG MAN:
"Right on it," as they say, with Mr. Robinson on the tenor, for ONCE IN A WHILE, where the rhythm section shines:
If the closing ninety seconds of that performance doesn't make you jubilant, then perhaps you should consider seeing a specialist.
What could be better to close off such a glorious episode than an expression of gratitude, in this case, THANKS A MILLION, beginning with a Kellso-Sheridan duet on the verse:
I find that performance incredibly tender: gratitude not only from the musicians to the audience, but to Louis and the worlds he created for us.
Perhaps it's true that "you can't go home again," but if I could book a flight to Buffalo in the certainty that I would see this band again, I'd be packed and ready. Maybe it's because I can't get back to this morning in September 2012 in some temporal way that I feel so deeply the precious vibrations these ministers of swinging grace offer us. Bless them. It was a privilege to be there, an honor to be allowed to capture this for posterity.
Watch this with full attention; savor it; share it; exult in it. Let us never take beauty for granted.
Tagged beauty, Bob Havens, Jazz At Chautauqua, Jazz Lives, Joe Boughton, Joe Muranyi, John Sheridan, Jon-Erik Kellso, Kerry Lewis, Louis Armstrong, Michael Steinman, Pete Siers, Scott Robinson
HIDDEN TREASURE: MARTY GROSZ and THE CELLAR BOYS at JAZZ AT CHAUTAUQUA (Sept. 22, 2012): ANDY SCHUMM, SCOTT ROBINSON, JOHN SHERIDAN, KERRY LEWIS, PETE SIERS
Marty Grosz and Bob Haggart, date and location not known
When you've shot as many videos as I have — over a decade's worth — there's a sizable treasure chest of the unseen. Sometimes videos are buried for good reason, the primary one being musicians' unhappiness with the results. And since we aim to please, I don't post what offends the creators.
But a few weeks ago, during an atypical tussle with insomnia, I was sitting at my computer at 3:30 AM, looking at unlisted videos stored safely on YouTube, and I found this rousing delight. The musicians who like to approve of my postings have approved, so I can share it with you. It's a hot half-hour with Marty Grosz and his Cellar Boys, from Jazz at Chautauqua, probably a Sunday morning, the exact date noted above.
That's Marty on guitar, vocal, commentary (yes, he does like to expound, but commenters who complain will be teleported to another blog); Andy Schumm, cornet and miscellaneous instrument; Scott Robinson, reeds and inventiveness; John Sheridan, piano; Kerry Lewis, string bass; Pete Siers, drums.
The real breadstick, as Marty would say.
Sucrose, no corn syrup:
Don't tell me different — I know I'm right! Watch Andy and Scott do magic:
And a series of wonderful hot surprises:
Once, when I was in Dublin, I found the Oxfam charity shop (as they would call it) and sniffed out the small shelf of recordings. Very little of interest, but there was one jazz lp — autographed by the band, and the band had Keith Ingham in it. I clutched it to my chest, fearful that someone would steal it away, and when I approached the cash register, the gracious woman volunteer looked at me, smiled, and said, "Well, YOU'VE found a treasure, haven't you?"
That's how I feel about these videos. Blessings on the musicians and of course on Nancy Hancock Griffith, who made it all possible.
Tagged Andy Schumm, Jazz At Chautauqua, Jazz Lives, John Sheridan, Keith Ingham, Kerry Lewis, Marty Grosz, Marty Grosz and his Cellar Boys, Michael Steinman, Nancy Hancock Griffith, Pete Siers, Scott Robinson, YouTube
"YOU'VE GOT ME IN YOUR CLUTCHES": REBECCA KILGORE, JOHN SHERIDAN, JON BURR, JOHN VON OHLEN (JAZZ AT CHAUTAUQUA, September 17, 2011)
Medical literature warns us about any kind of addiction — from potato chips to more dangerous seductions. But what about romance? Doctors Rebecca Kilgore, John Sheridan, Jon Burr, and John Von Ohlen let us know, gently, that being addicted to someone isn't such a problem (decades before "stalking" entered the list of criminal offenses) using the words of Al Dubin and the music of Harry Warren to explain it all:
Sadly, LULLABY OF BROADWAY, the biography of Al Dubin written by his daughter Patricia, candidly depicts him as addicted to food, drink, gambling, and eventually morphine, dead at 53. But this light-hearted love song was written when Dubin's pleasures still allowed him (with Harry Warren) to create one memorable song after another.
This performance is from a set at the 2011 jazz party, Jazz at Chautauqua, which has delightfully morphed, and moved west to Cleveland, to become the current Cleveland Classic Jazz Party — with some of the same performers, this year from September 14-17, 2017. I've been there every year since 2004, and if that counts as an obsession, it's one I love.
And the medical news is that Rebecca Kilgore's singing has been proven addictive, but with only salutary effects on the hearer.
Tagged Al Dubin, Bebe Daniels, Forty-Second Street, Harry Warren, Jazz Lives, John Sheridan, John Von Ohlen, Jon Burr, LULLABY OF BROADWAY, Michael Steinman, Patricia Dubin McGuire, Rebecca Kilgore
8:45 PM, MORE OR LESS
What time is it?
One recipe for happiness (there are many) follows below. Take a wonderful song by Harry Warren and Al Dubin — I know it first from the Jolson Decca — ABOUT A QUARTER TO NINE. Then, take one of my favorite singers, Banu Gibson, and match her with the swinging David Boeddinghaus at the piano in a 1990 duo-session:
Please listen closely — from the clock-chimes at the start to the delicious mixture of Banu's warm but controlled voice (her lovely intonation and pitch and swing) and David's rollicking piano. The only thing wrong with this recording is that it is the length of a 78. So I have to play it several times in a row.
I know there are many other recorded versions of this song — not only Jolson, but Dean Martin, Mavis Rivers, Susannah McCorkle, Bobby Darin, Chick Bullock, Wingy Manone, Ozzie Nelson, Combo De Luxe, Spats Langham / Keith Nichols, Sarah Spencer, John Sheridan, and others.
But the one that wins the prize for Decline of the West, 1962-style, is this classic by one Debby Woods, who flattens out the melody, rides right over the chord changes, and in general (although she may have been an adorable person) does unintended violence to what I think is a great song:
and the flip side of this 45 — what archaic terms those are now! — is a Woodsian rendering of this Thirties classic, JUST ONE MORE CHANCE, which I refuse to post here — even though it is more faithful to the original — out of respect to Bing and Hawk.
But now you know. When someone wants to argue with you over the thorny question, "WHEN does life begin?" you can answer "At eight forty-five," smile and slip away unnoticed.
Tagged 42nd STREET, ABOUT A QUARTER TO NINE, Al Dubin, Al Jolson, Banu Gibson, Bng Crosby, Bobby Darin, Chick Bullock, Coleman Hawkins, Combo de Luxe, David Boeddinghaus, Dean Martin, Debby Woods, Harry Warren, Jazz Lives, John Sheridan, Mavis Rivers, Michael Steinman, Ozzie Nelson, Sarah Spencer, Spats Langham / Keith Nichols, Susannah McCorkle, when does life begin, Wingy Manone
MARTY GROSZ AND HIS CELESTIAL BEINGS (ANDY SCHUMM, SCOTT ROBINSON, JOHN SHERIDAN, PETE SIERS): SEPTEMBER 21, 2013
Here are three informal pleasures from the 2013 Jazz at Chautauqua (now reborn in a westerly direction as the Allegheny Jazz Party), created by Marty Grosz, guitar, vocal, asides; Andy Schumm, cornet, "secret weapon"; Scott Robinson, alto clarinet, tenor saxophone; John Sheridan, piano; Pete Siers, snare drum, wire brushes. These performances come from September 21, 2013, but they evoke any number of small groups that flourished in the preceding century. And still flourish.
It's delightful how much music can come from a small group with apparently "unorthordox" instrumentation: no third or fourth horn, no amplified guitar or string bass — no string bass at all — and a seriously minimalist drum kit. I think of other Grosz assemblages that have the same lilt, or the EarRegulars, or the Braff-Barnes quartet, some Basie small groups, skiffle extravaganzas, Josh Billings, blue-label Deccas, or any number of groups that one could find on Fifty-Second Street or in the decades that followed.
Here are three delights.
James P. Johnson's perennial bit of yearning, ONE HOUR — recast as a living tribute to the Mound City Blue Blowers, eminently lyrical:
LOVE IS JUST AROUND THE CORNER, that jaunty 1936 love song, which always makes me think of Bing and Pee Wee:
And another expression of Swing Amour, ALL MY LIFE, also a new tune in 1936:
Marty calls this "music from a vanished era." Or did he say "banished"? Hard to tell, and either works in this context. But as long as these players — and their descendants — walk the earth, such music has a good chance of surviving and enriching our lives and those of future generations. and Mister Grosz walks among us, still making those quarter notes swing: he is on the West Coast, among friends, as I write this.
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Irreplaceable, It's All True, Jazz Titans, Mmmmmmmmmmmmm!, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Allegheny Jazz Party, Andy Schumm, Bing Crosby, Braff-Barnes Quartet, Decca Records, Earregulars, Fifty-Second Street, James P. Johnson, Jazz At Chautauqua, Jazz Lives, John Sheridan, Marty Grosz, Michael Steinman, miscellaneous instruments, Mound City Blue Blowers, Pee Wee Russell, Pete Siers, Scott Robinson, skiffle, swing


text:
HOPEWELL VALLEY: Candidates for local offices introduce themselves
By Ruth Luse, Managing Editor
The names of the following candidates for seats on the three local governing bodies will appear on Nov. 8 general election ballots.
In Hopewell Township, two seats (three-year terms) on the Hopewell Township Committee will be filled. The four candidates for the two seats are (in alphabetical order):
— Todd Brant (Republican) has over 20 years experience in marketing research and strategic consulting, specializing in evaluation of marketing programs and resource allocation, for Fortune 100 companies. He has built a reputation "as a problem solver, continuously searching for innovative ways to create and enhance value for his clients." He works in Global Director Syndicated Research and Market Sciences at Pfizer in the Nutrition Business Unit, focusing in emerging markets. He started his professional career with Nielsen Marketing Research in Stamford, Connecticut, where he spent 15 years "providing insights and guidance to clients on advertising and marketing effectiveness." He rose to the position of group director, Toronto office, managing the Canadian team in a North American relationship with Kraft Foods. He has since been vice president, Advanced Analytics — Healthcare vertical for Information Resources, Inc., and later as vice president with Marketing Management Analytics.
He is a member of the Hopewell Township Planning Board and on the Board of Directors for Pennington Presbyterian Nursery School, serving as treasurer. In addition, he previously served as a representative on the Hopewell Elementary School's PAC. He resides with his wife, Paula, and their three children, two daughters who attend Hopewell Elementary School, and son who attends Pennington Presbyterian Nursery School. He has a bachelor's degree in marketing/MIS from Clarkson University and an MBA from Auburn University.
— Allen Cannon (Democrat) is a 25-year Army veteran. He served his country with honor in Afghanistan, Iraq, Grenada, Czechoslovakia, South Korean, the European borders and Desert Storm I and II. He was serving at the Pentagon during 9/11. In his long career as an Army program officer, laboratory manager and management analyst, he received the Meritorious Service Medal, four Commendation Medals, 10 Achievement Medals, and the New Jersey Military Service Award, the highest military award given by the State of New Jersey.
He managed 40 Casualty Affairs Centers, overseeing over 3,000 case files as well as administering $50 million in benefits to family members of deceased soldiers. He planned and directed quality assurance policies, programs and initiatives for the Army's Wounded Warrior Program. He supervised and coordinated more than 60 Army personnel in an operations center dealing with highly sensitive military information.
He is chief operations officer for Mary Thomas, Inc., which provides childcare, early education and special programs for children from 6 months to 5 years. He is married and lives in Titusville.
— Ashley Kerr (Republican) is an environmental scientist, with experience in consulting and nonprofit management. Much of her time as a consultant was spent securing and managing USEPA Brownfields grants for various counties in Hawaii. The Brownfields program "is set up to identify potentially contaminated sites, and then rate them in terms of community redevelopment."
She graduated from Hawaii Pacific University in 2006 with a bachelor's degree in environmental science. Then, in 2008, she pursued a master's degree at the University of Hawaii in the field of natural resource and environmental management. She is a 2003 graduate of Hopewell Valley Central High School, and after graduation served in Alaska as a Habitat for Humanity Global Village volunteer. While growing up in Titusville, she was a member of the Children of the American Revolution Association. She returned to the Valley in 2009 to stay at home with her young son.
— Vanessa Sandom (incumbent Democrat) first joined the Hopewell Township Committee two weeks after 9/11 when she was appointed to an unexpired term of a committee member. During her tenure on the Township Committee, she has served as liaison to Public Works, Traffic and Safety, Board of Health, Planning and Zoning, Affordable Housing, Environmental Commission, Historic Preservation Commission, Agricultural Preservation and Open Space Preservation committees.
She served as mayor in 2004, 2006, 2007, 2008 and 2009.
As a retired Fortune 100 executive, she has 15 years general management experience at General Electric, Johnson and Johnson and Travelers Insurance in areas such as operations, human resources, marketing and venture capital.
She has a bachelor's degree in philosophy from the University of Connecticut and a master's degree in public and private management from Yale University. She and her husband have lived in the township for 25 years with their two sons, both away in college.
In Pennington, there is one race for an unexpired term on Pennington Borough Council. The two candidates for that one seat are (in alphabetical order):
— Dina Dunn (incumbent Democrat) is a stay-at-home mother. She has lived in the borough for over 10 years with husband, David, and two sons, 7 and 4. She has served as a member of the Pennington Parks and Recreation Commission for several years. She has been a member of the Pennington Historical Society and a volunteer at Pennington Day. She is a Toll Gate room parent, volunteer, co-producer of the PTO Directory, and guest instructor for the science enrichment program. She also assisted in the recent analysis of the NJASK test score data that was presented to the Hopewell Valley superintendent. At St. Matthew's nursery school, she is a member of the board of directors and finance committee. As an appointed member of Pennington Borough Council, she is a member of the Public Works, Finance, and Historic Preservation committees.
She spent 14 years as a scientist in the areas of cancer research and drug discovery. She worked at the Genetics Institute in Cambridge, Massachusetts, after graduating from Pennsylvania State University with a bachelor's degree in biology/physiology. She also pursued courses in molecular biology at Harvard University's extension program. After accepting a laboratory managerial and research position at the University of Pittsburgh Medical Center's Biomedical Research Facility, she continued to take courses at the University of Pittsburgh in economics and other business-related fields. She returned to Boston to assist in the set up of a High Throughput Screening facility for AppliedBiosystems. She transitioned to role as a scientific product manager with worldwide responsibilities for several cellular assay technologies and instrumentation.
— Eva Kaplan (Republican) has represented New Jersey on the Presidential Roundtable in Washington D.C. She also has been involved as: coordinator of NJ State House and other tributes to Raoul Wallenberg; designer and coordinator of events for New Jersey Arts for the Handicapped; member of Soroptimists International; conference developer for The Association for Humanistic Psychology; designer of regional ecumenical events; co-organizer of Parents of Children with Learning Disabilities; consultant for Gifted and Talented Education; chairwoman of Children's Entertainment (Pennington Day); key presenter for Trenton Computer Festival since 1976; and member of Pennington Business and Professional Association. She has been on the faculty of Mercer County Community College and The College of New Jersey.
She earned a bachelor's degree from Hunter College and a master's degree in interrelated arts from NYU and took course work at Rider University. As founder and director of Computers + Kids, her endeavors have been recognized in Who's Who in Science and Engineering and in Who's Who in U.S. Executives. She is the mother of three and grandmother of six. She has resided in Pennington Borough for 17 years.
CANDIDATES who are running uncontested in Pennington Borough are:
— Tony Persichilli (incumbent Democrat) is seeking re-election as mayor (four-year term). He and his wife have been residents of Pennington since 1977. After graduating from Rider University with a bachelor's degree in secondary education, he taught seventh grade before returning to Rider for an MBA in marketing. He still holds an active teaching certificate. He retired from AT&T in 1999 and then worked for five years as a vice president of human resources at Prudential Financial. His career has been "devoted to promoting and leveraging human capital, skills and capabilities within larger organizations."
He has been mayor of Pennington since 2007 and previously served as a member of the Pennington Borough Council (from 2005). During his two years as a councilman, he served as the chairman of the Personnel Committee, a member of the Public Safety and Parking committees, liaison to the Shade Tree and Pennington Business & Professional Association committees, and participated in contract negotiations with employee unions. He represented the borough during budget negotiations with the school board.
In his retirement, he has helped raise funds for St. Francis Medical Center, Catholic Charities and the American Heart Association.
— Glen Griffiths (incumbent Democrat) is seeking one of two open seats (three-year term) on Borough Council. He was appointed to council in 2008 and was chairman of the Finance Committee. He was elected to council in 2009.
A self-employed businessman, he is a graduate of DePaul University, Chicago, with a bachelor's degree in new business planning. He formed Patient Relationship Marketing, Inc. in 2004 to serve the pharmaceutical and managed care industries. The firm helps patients with chronic disease lead a high quality of life by providing information tailored to each patient's needs. He also has worked for Procter & Gamble (international sales and brand management), Johnson & Johnson (vice president strategic promotion and advanced communication); and Publicis Healthcare Group (Nelson Communications, Inc., (company group chairman of Nelson Communications, Inc. from 1998-2004).
— Edwin Weed Tucker (incumbent Democrat) is seeking his fourth three-year term on Pennington Borough Council. A former mayor and three-term council member, he has been a Pennington resident for about 55 years. Now retired, he has been a fundraising consultant and grant writer with The Canon Group and Edwin W, Tucker & Associates and director of Corporations and Foundations/Corporate Communications for The Lawrenceville School's $132 million capital campaign.
He was executive secretary and general manager of the New Jersey Press Association and secretary of the New Jersey Press Foundation directing daily operations while also serving as lobbyist and chief spokesman for the statewide newspaper trade association. He rose though the ranks from reporter to second in command as assistant general manager, business manager, and associate editor of The Princeton Packet, Inc. He also was an adjunct instructor in journalism at Rutgers University. A graduate of Hobart College, he served as an Army newspaper editor and as an overseas correspondent with the U.S. Army in Korea. He has held leadership positions in many professional and civic organizations, including the Newspaper Association Managers, Inc., Pennington Jaycees, the Hopewell Valley Democratic Club, and the Pennington Point Condominium Association.
He lives at Pennington Point with Beverly, his wife of more than 50 years. They have a grown son and two grandchildren.
CANDIDATES who are running uncontested in Hopewell Borough are:
— Paul Anzano (incumbent Democrat) has been mayor since 2008. He is seeking re-election to a four-year term. He was a member of council from 2005-2007. He is a practicing attorney (since 1995) and partner with Pringle Quinn Anzano. He has served as a special deputy commissioner at the New Jersey Department of Insurance and as counsel to the State Senate. He has been the president of the Glen Afton Civic Association of Trenton; a Democratic County Committee member from Trenton's West Ward and the president of the Brain Injury Association of New Jersey. He is married to Christine O'Brien. They have two daughters, Bridget and Maeve.
— Robert Lewis (incumbent Republican) is seeking re-election to a three-year term on Hopewell Borough Council. Raised in Rocky Hill, he attended the Montgomery School system. He has lived on West Broad Street in the borough for more than 12 years. He is a computer network administrator by day and a musician by night. He is the father of four children (Michael, Amy, Lloyd and John) and has been married to Jan for over 25 years.
— Schuyler Morehouse (incumbent Republican) is seeking re-election to another three-year term on council. He was born in Morristown. A process automation engineer, he is founder and owner of Morehouse Engineering, Inc. A graduate of the University of Pennsylvania, he has served on the Hopewell Board of Fire Commissioners and as a member of the board for the Stony Brook Regional Sewerage Authority. As an engineer, he has worked with the FIRST robotics program at Hopewell Valley Central High School.
Published October 27, 2011 By Central Jersey
Categorized as news/hopewell_valley_news
MANVILLE: Corradino responds to recent letters
STEVEN KIRSHBLUM, M.D. ELECTED PRESIDENT OF THE ACADEMY OF SPINAL CORD INJURY PROFESIONALS

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UK car sales have fallen for the second year running, according to figures from an industry trade body released today.
Dealerships sold 2.37m new cars in 2018, 6.8 per cent fewer than it managed in 2017, and 12 per cent below 2016's peak of 2.69m, The Society of Motor Manufacturers and Traders (SMMT) said.
The fleet sector was hit worst, with new vehicle registrations falling by 7.3 per cent, but both private and small business registrations were impacted, with declines of 6.4 per cent and 5.6 per cent respectively.
"Even allowing for uncertainty over government policy on diesel cars affecting fleet sales, it appears that that several businesses have been reluctant to replace or add to their fleets amid a cloudy economic outlook fuelled by Brexit uncertainties," said Howard Archer, chief economic adviser to the EY Item Club.
Diesel car sales tumbled by a whopping 30 per cent as drivers reacted to potential restrictions on diesel engines, with December marking its 21st consecutive month of decline.
But the shift away from diesel, as well as a higher number of 4×4 vehicle sales, meant CO2 emissions rose.
SMMT chief executive Mike Hawes blamed Brexit uncertainty for quashing consumer confidence, saying it was one of a number of reasons for the latest decline.
"Everyone recognises that Brexit is an existential threat to the UK automotive industry and we hope a practical solution will prevail," he told Reuters.
"A second year of substantial decline is a major concern, as falling consumer confidence, confusing fiscal and policy messages and shortages due to regulatory changes have combined to create a highly turbulent market," he added.
Other contributory factors included new fuel consumption and emissions regulations.
Hawes also pointed to an apparent contrast in government policy over car emissions, with the Department for Transport's "road to zero" strategy seemingly at odds with chancellor Philip Hammond's decision to scrap a hybrid car subsidy.
Pure electric car production rose to 15,000 units, the Independent reported, a rise of around one-fifth, but overall proving a minimal contribution to new car sales.
"The industry is facing ever-tougher environmental targets against a backdrop of political and economic uncertainty that is weakening demand so these figures should act as a wake-up call for policy makers. Supportive, not punitive measures are needed to grow sales," Hawes said.
However, the SMMT predicts that car sales will fall by just two per cent in 2019 under an orderly Brexit.
Ian Gilmartin, head of retail and wholesale at Barclays Corporate Banking, said today's figures should serve as a reminder to policymakers of the "urgent need" to support the UK's car industry.
"It's not time to panic and worth remembering that in absolute terms sales are still way ahead of the nadir we hit at the start of the decade," he said.
"Manufacturers and retailers are making positive steps to try to innovate and adapt to the changing landscape, in particular through the development of new alternatively fuelled models.


text:
KFCF FM
Call Letters: KFCF FM
http://www.kfcf.org
http://www.fresnofreecollegefoundation.org
Affiliations: Pacifica and NFCB
Networks: Reveal and LA Theatre Works Private Network
Early in 1972, the idea to establish a radio station for the Fresno Free College Foundation came from Professor Everett Frost. At that time, he was producing radio plays at Pacifica radio station KPFK in Los Angeles and suggested that FFCF bring that signal into the Fresno area. Simultaneously, Professor Alex Vavoulis, President of the FFCF, learned that radio engineer Rand L. Stover, was also interested in bringing a Pacifica signal into the Central Valley of California. This idea was brought before the Board of Directors of the FFCF and it approved the concept of constructing a radio station that would simulcast the signal of the Pacifica station into the Central Valley. The station would provide the area with alternative programming that was not being offered by the commercial media. The Board's vision for this station was seen as projecting the U. S. Constitution into the community on a daily basis; it would provide information for its citizens that would be useful in the political and social processes; and through this electronic facility allow for alternative sources of information to enhance the cultural, artistic and intellectual life of the community so that a free and open society can be realized. It would be financed by listener subscribers and operate under the non-profit status of the Fresno Free College Foundation.
This Board decision began a relationship between Vavoulis and Stover that has lasted for some 40-years. It was a dream of Stover to construct this kind of radio station and he saw the possibility of the realization of his dream in a collaboration with the FFCF. He suggested that, from a technical aspect of receiving a Pacifica signal, it would be easier to bring the KPFA signal from Berkeley, California to the Central Valley. This was approved by the Board and designating Vavoulis as Manager and Stover as Chief Engineer, work was begun to bring the concept into reality. The financial (donations), legal (volunteer attorneys), and technical (Stover) aspects of the project were overcome and the inaugural broadcast took place on June 9, 1975. The first hands -on volunteer during this period was Rychard Withers. The initial announcements of the first broadcast is available in the 1974-1975 Annual Report of the FFCF on pages 8, 10 & 11 by clicking on the link: http://fresnofreecollegefoundation.org/reports/1974-1975.pdf . The office location for FFCF/KFCF was in a downtown facility that was the location of Millbrook Press. The first studio and broadcast of the KFCF 88.1fm signal was from the second floor of Stover's garage. This home for KFCF was used until broadcasting started at the location on Wishon Avenue in the Tower District.
The first studio and broadcast of the KFCF 88.1fm signal was from the second floor of Stover's garage. This home for KFCF was used until broadcasting started at the location on Wishon Avenue in the Tower District.
At the time KFCF started broadcasting it was the only non-commercial electronic medium serving the Fresno area. The station began simulcasting the signal of KPFA 24-hours per day until it began to offer local originating programs. It has an equivalent effective power of 50,000-watts from a transmitter site 30-miles northeast of Fresno in the Sierra Nevada. With an elevation of 5,200-feet, the signal can be received as far north as Modesto and as far south as Bakersfield and in many locations in the Sierra Mountains.
KPFA is KFCF's affiliate/network station. It has been broadcasting since 1949 and provides KFCF with the majority of its programming. KPFA is the first listener- supported radio station in the country providing diverse programming in news, public affairs, music and the arts. Over the years, KPFA programmers have won every major award in broadcasting. It is owned and operated by the Pacifica Foundation which also owns the license for: KPFK in Los Angeles, KPFT in Houston, WBAI in New York City and WPFW in Washington, D.C. Pacifica also operates the Pacifica Radio Archives in a facility in Los Angeles.
Pacifica encourages and provides outlets for the creative skills and energies of the communities in which broadcasts. It is committed to produce programs that contribute to a lasting understanding between nations and individuals of the world. Further, it is also dedicated to the distribution of information and art for the enlightenment of the communities it serves.
To learn more of the Fresno Free College Foundation go to its web site by clicking on: www.fresnofreecollegefoundation.org .
The Haunted Petroglyph 07/14/19
Cafe Chill (Episode 2019-26) 07/11/19
TSR16-05 Michael Franti & Spearhead 07/11/19
A Room with a View 07/11/19
YWC 18-23 Duty To Warn 07/06/19
Capitol Steps July 4th 2019 edition of "Politics Takes a Holiday" 07/06/19
Tent Show Radio TSR12-16 Garrison Keillor 07/05/19
Praying To the Aliens 07/05/19
The Night Watcher 07/02/19
Tent Show Radio TSR 19-26 Best of Big Top Opry 06/27/19
Staff of KFCF FM
Rychard Withers (Admin)


In New York, wedding photos take all forms, allowing newlyweds a great degree of flexibility when choosing a way to preserve the big day. From traditionally posed shots to contemporary photojournalism formats, couples have a number of attractive options from which to choose. In addition to an impressive assortment of photographic styles, the city provides a range of great sites that make for excellent photo backdrops.
Wedding photography has changed a great deal in recent years. Digital technology has allowed for greater flexibility and enhanced special features, and there has been a shift away from conventionally posed photos. Although just about every couple will elect to take some traditional shots, most are drawn toward candid photos that reflect the atmosphere and spirit of the big day.
In addition to choosing a photographic style, couples must select a setting for their wedding photos. Although the ceremony and reception sites are obvious choices, many New York newlyweds opt for additional photos taken at famous city sites. Whether choosing a quiet spot in Central Park or a great city view, there are a number of ways to commemorate the big day.
An experienced photographer will know the ins and outs of the city sufficiently well to make suggestions about when and where to shoot. You should spend some time looking at portfolios of New York weddings and use them to brainstorm and generate ideas. Once you have a sense of your options, you can discuss additional details with your photographer.


Build a Face - Re-arrange diffrent parts of the head to build a face. Play it free, rate it, send to your friends, add the game code to your blog or Myspace.
Add "Build a Face" game to your blog or website! Simply copy the game code below and paste it on your page.


text:
Andy Shapiro, It Takes a Village: Proposition…
Andy Shapiro, It Takes a Village: Proposition 1A was far too complex to pass
PUBLISHED: May 31, 2009 at 12:00 a.m. | UPDATED: September 11, 2018 at 12:00 a.m.
Given the important relationship between the health of our state"s finances and the level at which our schools are funded, it is important to consider why five of six propositions on our recent special election ballot failed? I"d like to focus on Proposition 1A to illustrate why I believe these measures were defeated.
Prop. 1A would have extended tax increases passed by the state Legislature for up to two additional years while simultaneously instituting a spending cap that would have severely limited future expenditures on education and other critical needs long after the economy recovers.
Most pundits and politicians have suggested that Prop. 1A failed because Californians did not want any tax increases. That is certainly true for some who voted against the measure.
Yet, there were others who opposed Prop. 1A because it commingled contradictory issues, was poorly written, was terribly complex, and was viewed by some as an abdication of responsibilities by our Legislature.
Many voters strongly supported one primary element of Prop. 1A while opposing the other primary element. Those who believe that increasing state revenues is the best hope to prevent a severe crisis in our schools generally supported the extension of tax increases. Yet, many of those same people could not vote for a spending cap that would lock in these historically bad economic years for a decade, as the measure would have required the state not to spend more than its average annual revenue from the prior 10 years.
Many who support public education had to decide between averting an imminent catastrophe and avoiding long-term devastation to our schools that the proposed spending cap likely would have caused. Similarly, there were those who supported the spending cap, but could not support an extension of tax increases. By conjoining two largely conflicting ideas, the authors of Prop. 1A crafted a measure that few voters wholeheartedly supported, even among those who ultimately voted for it.
Additionally, when even so-called experts strongly disagreed about the potential effects of Prop. 1A"s passage, it became evident that this measure was poorly written and extraordinarily complex. For example, the effects of the proposed spending cap were widely debated without a clear consensus emerging about how severely it would affect future funding for education and other state-funded programs. Yet, nearly everyone agreed that it would reduce long-term funding for a wide range of programs, including public education.
I also heard from many voters who were angry that our Legislators did not resolve our budget crisis without a special election. Most such voters opposed these measures without regard to their merit, as they are fed up with the actions of our Legislature. Many believed that lawmakers were passing the buck to the electorate in order to avoid making difficult decisions.
Clearly, the reasons for opposing the special election propositions in general and Prop. 1A in particular are far more varied and wide-ranging than most pundits and politicians are acknowledging. Prop. 1A provided something for nearly everyone to dislike. As such, it is no surprise that it and four other hurriedly-crafted measures were soundly defeated last week.
It is my hope that as Legislators continue to search for the best immediate solutions to our budget crisis and the best long-term solutions to our structural deficit, they do not oversimplify the motivation of voters who opposed Prop. 1A and the four other failed ballot measures. Our children"s future depends on a thoughtful approach to balancing our budget.
Andy Shapiro teaches in the Soquel Union Elementary School District. He can be reached at andyshapiro7@gmail.com.


text:
Q: Building a tiny shop website, setting ID for image I am new to HTML/JSP, i am trying to build a tiny shop online website. I have successfully connected to MySQL Database, in my database there is a table hold all the information about stuff i want to sell (image, price, description etc.) and I created a products.jsp that will show all the image of the stuff i sell, each image will redirect to one jsp page name stuff.jsp. How can I set an ID for each image in order to match with ones in database so that in stuff.jsp will show what stuff that i clicked
I have tried so far:
in my database SQL:
    create table products(
ID int not null auto_increment,
product_name varchar (40),
price int,
description varchar (100),
primary key(ID))

and in my products.jsp, i created some image link like:

Khi Nguoi Lon Co Don Pham Hong Phuoc

A: You first need to get the table data to jsp.
Class.forName("your jdbc driver"); - like jdbc.odbc.jdbcDriver., and get a connection then get the table data, parse the resultset.
ResultSet rs = yourStatement.executeQuery();
while(rs.hasNext()) // this is pseudo code only
id = rs.next().getString("ID);

Only then, you can use id in your html fields...
<img src="images/php.jpg" alt=" id="<%= image_corresponding_to_this>"Image">
Khi Nguoi Lon Co Don Pham Hong Phuoc

A: You cannot provide the data to JSP directly via database without any back end code.
you need to add some backend code as you can use ajax and call e.g. servlet which will call database as per the required data and then you can get that data in from of JSON from that Servlet

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text:
Artifact, Scalec, Class W,
Ring of Gyges
Gyges
Deteriorates morals
Winston-813H
A golden ring dating back millennia, it was said to have been found in a disturbed tomb of a giant by a humble shepherd, Gyges of Lydia. Upon discovering what the ring could do, Gyges seduced the queen of his land, and they killed the king so Gyges could rule.
Wearing the ring, which adjusts to fit the user's fingers, allows the user to become invisible when it is turned on the finger. With enough willpower, parts of the body can be made to appear and disappear. However, it also promotes the lowering of moral standards, making those who wear it feel more tempted to do things they should not do while invisible.
This is one of the artifacts that Agents covered up with the writing of "Alice's Adventures in Wonderland", inspiring the character of the Cheshire Cat. Agent Wells also saw the effects at work on a fellow agent during her employment and used it as an unofficial source for another novel, "The Invisible Man".
Retrieved from "https://warehouse-13-artifact-database.fandom.com/wiki/Ring_of_Gyges?oldid=98955"
Scalec


text:
A Fitting Memorial to Lonell Irvin
Posted on | December 22, 2019 | 2 Comments
Saturday would have been Lonell Irvin's 23rd birthday. Unfortunately, Lonell wasn't there to celebrate the occasion, because he was stupid.
In April, Lonell tried to carjack a guy's BMW at gunpoint, but the driver had a concealed carry license, and that was the end for Lonell.
Despite his fatal stupidity, Lonell was beloved by his family in Chicago, so they had a memorial for him on Saturday, and it seems to have been attended by many similarly stupid people:
Chicago police are questioning a person of interest after 13 people were wounded, four of them critically, during a shooting inside a memorial gathering early Sunday in the Englewood neighborhood on the South Side, authorities said. . . .
The violence began at about 12:40 a.m. at a house party in the 5700 block of South May Street commemorating the birthday of a man who died in a previous shooting. Someone at the party opened fire, sending 13 people to area hospitals, according to Chicago police.
The injured ranged in age from 16 to 48, and a 16-year-old boy was one of those in critical condition though it was later improved to "serious," said Fred Waller, who heads the patrol division for Chicago police.
Two people remained in critical condition as of Sunday afternoon, according to Officer Michelle Tannehill, a police spokeswoman: a 40-year-old man who'd been shot in the chest and was being treated at the University of Chicago Hospital, and a 21-year old man suffering from a gunshot wound to the back, who was at St. Bernard Hospital.
Two people initially were detained and questioned after the shooting, though only one of the two is thought to have fired shots, according to a law enforcement source familiar with the investigation. No charges have been announced.
The party was in honor of Lonell Irvin, a 22-year-old man fatally shot near the intersection of State Street and Ida B. Wells Drive during an attempted carjacking April 26 in the Loop, according to multiple people at the scene. . . .
Waller said there was a dispute during the party and someone started shooting. Once people started running outside, video surveillance from a city police camera captured images of someone firing more shots outside the home.
A different person also was caught on surveillance video shooting at a vehicle, Waller said.
"From outside, definitely there was two different shooters," Waller said. "It looked like they were just shooting randomly at people as they exited the party."
Question for the reader: Has anyone ever started "shooting randomly" on your street after midnight? If you throw a party at your house and someone has a "dispute," does this lead to gunfire? If you answered "no," then you probably don't live in Chicago, where such activity is routine.
So far this year, 449 people have been shot to death in Chicago, and more than 2,000 others were wounded by gunfire. So the good news is, more than 80% of Chicago shooting victims survive. About 45 people get shot in an average week in Chicago, but the murder rate is actually down significantly from 2016, when more than 700 people were killed.
A 29-year-old woman near the scene of this latest shooting told a reporter for the Chicago Tribune: "Your kids can't grow up, you can't do nothing. This is what our life is going to be about. . . . Y'all can try your best to stay out here and watch these streets all night, but no matter how they do it, it's going to be multiple deaths, multiple shootings, innocent people getting shot. I cannot wait to leave Chicago."
Hey, good luck with that. Hope you make it out alive.
Category: Chicago, Crime
2 Responses to "A Fitting Memorial to Lonell Irvin"
But, but, but, I thought that Chicago had strict gun control! – The First Street Journal.
December 23rd, 2019 @ 8:01 am
[…] A Fitting Memorial to Lonell Irvin […]
The Driver's Side" – News From The Motorist's Perspective | theexpiredmeter.com
December 27th, 2019 @ 11:58 am
[…] ONLY IN CHICAGO: Memorial For Carjacker, Shot Dead By The Would-Be-Victim That He Held At Gunpoint, Becomes Scene Of Mass Shooting – The Other McCain […]


the only remaining structure from a series of seventeen mills that were dotted around Heerenveen from the 15th century. 1, during this period, Lenstra led Heerenveen to a famous victory over. Where to eat in Heerenveen? Moord op schiphol heeft u een heerhugowaard: 072 antwoord public.
Heerenveen, which was founded around 1550, is the oldest peat channel village in Holland.
It is located in the water-rich province of Friesland and a wonderful destination, particularly in summer.
Not only are there more than 30 national monuments to explore, the landscape surrounding the city is wonderful as well.
Keep a look out for your.
The parking lot KR Poststraat is also free of charge. It is located in the water-rich province of Friesland and a wonderful destination, particularly in summer. The city center of Heerenveen offers paid parking. Vhf spy producten bedrijf vinden. Heerenveen won that match in which Ruud van Nistelrooy scored his last goal for Heerenveen. Groot onderzoek rond een we provide. This was because the construction of the Euroborg had to be halted due to a major design mistake. Many people who aren't involved in the rivalry find it difficult to understand. 4 On 13 February 2012, it was announced that Marco van Basten would replace Ron Jans, who had led Heerenveen for two years, as team manager for the 201213 season. Notable former players edit Players listed below have had junior and/or senior international cap(s) for their respective countries before, while and/or after playing at Heerenveen.
Pricing Information Prices are based on 1-21 day travel.
Ticket prices and seat availability change rapidly.
Heerenveen failed to yield any reasonable alternatives.
We then decided to sip snert (split pea soup) in the café until Thialf s rental shop came through.


Absolute Write Water Cooler > The Break Room > Office Party > Listen up CANADIANS!!!!
View Full Version : Listen up CANADIANS!!!!
I just stumbled across this. Have a look. Entering is free, and who knows you may just win!
The last day is today, I think, so hurry up!
newegg.com is a VERY popular online PC and electronic store in the US. They are launching in Canada. It's definitely not fake. If you want, just check out the US version.
Any contest is a gimmick...even if the people having it are legit. They want names...that's why they have the contest.
Hmmm. True enough. Still, I'll leave the post in case anyone's interested. It's not a hyper link any more though.
DH buys all of his computer geekdom stuff from Newegg. We're not in Canada though.


Imported from Australia natural sheepskin with fur shearling material is comfortable, closed fitted and breathable, sewing is smooth, comfortable, supple and plush sherling interior added protection when the weather demands.
This stylish sheepskin coat can be business, can be sports, can be formal, and can be casual.
Exposed shearling trimmed cuffs, hem.


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