text:
Thelonious Monk (1947)
Photo: William P. Gottlieb
The term jazz piano describes the role of the piano in jazz , especially the specific playing and composition techniques that have emerged in the course of jazz history.
2 practice
3 The role of some important pianists
James Price Johnson (about 1921)
The piano has played an important role in the history of jazz from the very beginning. One of the roots of jazz, ragtime , is predominantly piano music; one of the others, the blues , found its way into the history of jazz as piano music , via the detour of the barrelhouse piano (which later led to the boogie-woogie ).
At the beginning of jazz history, the piano appeared more as a solo instrument - the marching bands naturally got by without a piano - over the course of time, it developed more and more as an accompanying and ensemble instrument . In New Orleans jazz , the piano was not integrated into jazz bands until the 1910s; the first pianist there was probably Buddy Christian .
As a component of the jazz band, the piano in traditional jazz was mainly used to generate rhythm and harmonious differentiation: With its help, the beat of the double bass (tuba) and guitar / banjo was doubled. From the swing on, the pianists left the beat and bass more and more to the drummer and bassist. Although a member of the rhythm section, the pianist in a larger band ideally limited himself to inserting individual off-beat chords like Count Basie and suggesting the chord progressions rather than playing them out. At the same time, however, the pianists emerged more and more as equal soloists within the ensemble, and as a result playing the piano more closely resembled the melody of the wind instruments.
After the swing era, many pianists in modern jazz returned to a more "percussive style of playing" and made "their instrument sound clear, transparent and hard." On the other hand, since Chick Corea, pianists have come back to approaching a romantic ideal tone, for example to rely more on pedal sound .
As early as the 1940s, the mechanical piano in jazz was partially replaced by electro-mechanical instruments. Back then, Earl Hines was playing and recording on a storytone electric piano. At the end of the 1950s, musicians like Ray Charles and Sun Ra followed and prepared the ground for the use of the electric piano : Joe Zawinul experimented with the timbres of different keyboard instruments: for " Mercy, Mercy, Mercy " he used a Wurlitzer piano , while he " Country Preacher "recorded on the Fender Rhodes , on which it produced a more percussive sound. Subsequently, electric pianos, synthesizers and other keyboards expanded the soundscape, especially in Fusion Jazz ; today the piano is one of many keyboard instruments in jazz.
Every jazz style that has emerged in the last 100 years and every real innovation in the jazz piano is characterized by the fact that it is also used more or less in later developments. This makes the jazz piano stylistically as diverse as jazz itself.
Jazz pianists often assign different roles to the hands. In solo play , the left hand knows a variety of ways to design the bass lines and the chord progressions , while the right hand takes on the melody lines in an equally diverse way . Playing jazz piano in an ensemble requires an appropriate and, if necessary, economical selection from these options.
Traditional elements of the jazz piano are in detail:
Art Tatum, circa May 1946.
Photograph by William P. Gottlieb .
So-called single bass notes , i.e. the unanimous guidance of the bass. As in the corresponding double bass playing , the root note of the respective chord is preferred; The fifth or another harmony-specific tone can take its place . Single bass notes that are simple in tone but cleverly placed in rhythm are characteristic of Oscar Peterson, for example . A special case is the walking bass , the "walking" bass, typically in four-four time and in medium swing tempo . One tone sounds per beat; between harmony-specific tones pass through notes ; characteristic is a legato articulation that is not too dense .
Alternating bass notes and chords, the so-called stride style ("striding" style). In four-four time, the bass tones usually fall on beats 1 and 3, the chords on beats 2 and 4. This form of playing is in the tradition of romantic piano music and, as there, is performed by the left hand, but in jazz typically without a pedal. The stride piano Art Tatums is famous .
So-called tenths , i.e. decimals (two tones at a very wide distance of an octave plus a third ). Individual decimals can replace individual bass notes; Unbroken and broken sequences of decimals, so-called walking tenths and rolling tenths ("walking" and "rolling" decimals), are based on the walking bass and are often mixed in the stride style , they break up the bass chord accompaniment and loosen it up . Here, too, the master's name is Art Tatum.
Evenly repeated or irregularly spread voicings (chord fingerings typical for the respective pianist or style, e.g. Bud Powell voicings or Bill Evans voicings). In numerous piano movements, Erroll Garner's left hand largely concentrates on metrically pulsating chord fingerings. The word comping (from to accompany - "to accompany") usually refers to an irregular, often percussive scattering of the chord fingerings, as developed by the bebop , regardless of whether the left hand accompanies the right or the pianist accompanies the soloist. In the context of a band that has a bass player, the voicings are usually played "rootless". This prevents the fundamental from doubling and the pianist can use his voicings e.g. B. expand by option tones .
Ostinate , thus retained accompanying figures ( vamps , riffs ) . A well-known example is Keith Jarrett's " Cologne Concert ".
Unison melody lines in the so-called single note style or trumpet style ( trumpet style ).
Melody lines in octaves. These are often used as a change from the "single note style" or to emphasize certain phrases.
Melodies harmonized sparingly to full-grip - five-part sounds in the right hand are not uncommon. The two-handed locked hands style , as popularized by George Shearing, is one of the harmonized melodies .
Characteristic, often virtuoso solo turns ( licks ) , while the accompaniment is silent ( breaks ) .
In addition to the compositional techniques, the tone is characteristic of the jazz piano. In comparison to classical piano playing, the following special features stand out:
Significantly fewer pedals are used in jazz piano. While the stride style works almost without a pedal, careful use of the pedals is typical for playing ballads .
The folding -articulation is not as pronounced, the connections between the tones are rather loosely (loose) .
Many tone sequences seem broken-up . Individual notes can stand out, especially rhythmically displaced beginning and end notes. The keywords are phrasing and timing .
Other tones, on the other hand, hardly sound at all and act more as sound gaps: so-called ghost notes .
In the sixties and seventies, the jazz piano emancipated itself from the aforementioned traditional composition techniques and joined the musical avant-garde in many ways . Phrasing and timing, however, remained largely recognizable.
The role of some important pianists
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The following jazz pianists turned out to be style-shaping:
Jelly Roll Morton , the "professor" of the New Orleans piano . His style is ragtime in many ways.
James P. Johnson was Harlem's first major stride pianist . His blues accompaniments for Bessie Smith were unsurpassable . The piece Carolina Shout was a benchmark piece for all swing pianists to test their skills, his Charleston was a hit.
Fats Waller was the next master of the " stride piano " and all styles of the 1930s.
"Father" Earl Hines made the piano with its octave runs a congenial partner of the trumpeter Louis Armstrong . He severed the swing piano from the early rag and stride forms and thus enabled a renewal of the jazz piano after swing.
Count Basie is considered to be one of the "thriftiest" pianists in jazz history, "because of the way in which he knew how to create tension between the individual notes, which were often widely drawn apart." Before that, Basie played more and faster and was based on the boogie pianist Pete Johnson from Kansas . Basie felt more like an entertainer and was technically not the best pianist.
Duke Ellington conducted "dialogues" with his swing orchestra from the piano and created numerous "classical" jazz compositions for this instrument. For him, the piano was part of the overall "instrument" orchestra. He received compositional support from Billy Strayhorn , with whom he played in a piano duo, for example Tonk .
Teddy Wilson influenced combo jazz of the 1930s with his elegant style. He remained an advocate of the traditional swing piano of the 1930s until his death.
Art Tatum is the unrivaled virtuoso of the swing style of the 1930s (based on the older Stride by JP Johnson, Willie Smith and T. Waller), who opened up new possibilities for the arrangement of swing.
Thelonious Monk , with his rhythmic shifts and their irregular structures, like Herbie Nichols, is one of the most original pianists in jazz. His unusual new harmonies are the basis of many of his compositions.
Bud Powell transferred Charlie Parker's saxophone runs to the piano in the 1940s and shaped the rhythmic accompaniment in bebop (the "comping"). He was one of the bop's best-trained pianists, whose career was severely affected by a head injury early (1947).
Horace Silver develops the Powell legacy further into a fun and soul-oriented, strongly rhythmic way of playing in a quintet.
Lennie Tristano anticipated certain harmonic freedoms of free jazz in an idiosyncratic way by around ten years.
Bill Evans is the "romantic" of jazz who brought a European-classical sense of harmony and form. He revolutionized the genre of the piano trio. His style is characterized by strong changes in tone colors on the piano, as well as a deep interlocking of the instruments involved in the trio.
Keith Jarrett has developed Bill Evans' lyrical style of playing and taken the fully improvised solo concert to new heights.
Cecil Taylor has set standards for free group energetic improvisation.
McCoy Tyner became the "epitome of jazz" (Berendt) "in the most powerful, swinging sense of the word". Tyner represents the Coltrane legacy and influenced Kenny Barron , JoAnne Brackeen , John Hicks , George Cables , Kirk Lightsey and many other pianists through his playing . Tyner has a well-thought-out well-organized game and is inventive in improvising.
See also: List of Jazz Pianists
Style development
Joachim-Ernst Berendt : The Jazz Book. Development and importance of jazz music (= Fischer 48 books of knowledge ). Fischer, Frankfurt am Main et al. 1953 ( The great jazz book. From New Orleans to Jazz Rock (= Fischer-Taschenbücher 2980). With detailed discography. 5th, completely revised and updated edition, 535. – 538. Thousand. Fischer-Taschenbuch- Verlag, Frankfurt am Main 1989, ISBN 3-596-22980-4 ).
Billy Taylor : Jazz piano. A jazz history. Brown Publishers, Dubucque IA 1983, ISBN 0-697-09959-8 (English).
Franz Krieger : Jazz solo piano. On the change in style using the example of selected "Body and Soul" recordings from 1939–1992. In: Jazzforschung = jazz research. Vol. 27, 1995, ISSN 0075-3572 , pp. 293-346.
Benedikt Vécsei: The jazz piano. Practice-oriented instrument studies for jazz pianists. Vienna 2000 (Vienna, University of Music and Performing Arts, Dipl.-Arb.).
Leonard S. Lyons: The Great Jazz Pianists. Speaking of Their Lives and Music. Da Capo Print, New York NY 1989, ISBN 0-306-80343-7 (English).
Carsten Dürer (Ed.): Conversations with jazz pianists. 54 interviews and portraits. Staccato-Verlag, Düsseldorf 2003, ISBN 3-932976-21-5 .
Klaus Ignatzek : The Jazz Method for Piano. Volume 1: Voicings - Chords - Accompaniment. Schott Musik International, Mainz 1995, ISBN 3-7957-5140-3 .
Mark Levine : The Jazz Piano Book. Sher Music Co., Petaluma CA 1989, ISBN 0-9614701-5-1 (English).
Philipp Moehrke: Jazz Piano - Improvisation Concepts. Important improvisation patterns and exercises based on them. AMA-Verlag, Brühl 2004, ISBN 3-89922-024-2 (English).
Martin Lücke: The piano music of jazz
Walter Norris : Essentials for Pianist Improvisers
Nate Chinen: The Tradition of the Jazz Piano Solo , New York Times , July 2, 2011
^ Floyd Levin: Classic Jazz: A Personal View of the Music and the Musicians . University of California Press 2002; P. 50.
^ Andre Asriel : Jazz; Aspects and Analysis . Berlin 1984 (4th ed.), P. 398.
^ Andre Asriel: Jazz , p. 399.
↑ See Henry R. Martin, Keith Waters: Jazz. The First 100 Years . Cengage Learning 2005, p. 349.
↑ cf. Billy Taylor : Jazz piano . Dubucque 1983.
↑ "The piano should be able to fill all band positions. On the one hand, the right hand is primarily a melody instrument and soloist, while the left hand takes on the bass or chord accompaniment, and on the other hand, both hands take over the chord accompaniment in 'one' hand. "(Herbert Wiedemann: Piano. Improvisation. Sound . Gustav Bosse Verlag, Regensburg 1992, p. 183.)
^ "Stride piano should be played with little or no pedal." (Dominic Alldis: A Classical Approach to Jazz Piano Improvisation . Hal Leonard Corporation, Milwaukee 2003, ISBN 0-634-05829-0 , p. 129.)
↑ "10ths became the foundation of popularized piano blues in the 1920's and also had successful jazz applications." (Eric Kriss: Barrelhouse & Boogie Piano . Oak Publications, New York 1974, p. 108.)
↑ The "pronounced tone formation" is one of the "constant elements" of jazz. (Arrigo Polillo: Jazz. History and Personalities . Wilhelm Goldmann Verlag, Munich 1981, p. 15.)
↑ "Use the sustain pedal judiciously, especially when playing ballads." (Dominic Alldis: A Classical Approach to Jazz Piano Improvisation . Hal Leonard Corporation, Milwaukee 2003, ISBN 0-634-05829-0 , p. 155.), cf. also Andre Asriel Jazz , p. 398f.
↑ cit. after Berendt 1994, 353
↑ Berendt sees his masterpiece as "the art of accompaniment, the art of adapting to and stimulating a soloist and giving him the basis on which he can build". Quoted from Berendt / Huesmann, p. 354.
↑ Berendt
↑ Basie found imitators in Johnny Guarnieri or John Lewis . quoted after Berendt / Huesmann, p. 356.
↑ Marian McPartland transferred Wilson's style into modern times. quoted after Berendt / Huesmann, p. 358.
↑ His successors include pianists like Randy Weston and Mal Waldron . See Berendt / Huesmann, p. 364.
↑ cit. after Berendt / Huesmann, p. 364.
↑ The Bill Evans Trio with Scott LaFaro and Paul Motian was the first trio in which any instrument could take on the leading role. LaFaro also played lines that he phrased melodically and rhythmically independently of his supporting function. quoted after Berendt / Huesmann, p. 365.
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Celebrate your love for the Washington State Cougars with this Antigua Golf jacket!
Mens_Antigua_Charcoal_Washington_State_Cougars_Golf_Full-Zip_Jacket http://images.fanatics.com/lf http://dmimages.ff.p10/chains/2420099.txt false We are unable to customize this item with the text you have entered. Please try a different entry again. Your current entry cannot be processed due to guidelines for past and present player names. Please create a new entry.


Nonverbal communication can serve any number of significant functions six major functions are generally identified by nonverbal researchers.
Nonverbal communication often used to highlight or emphasize some part o the verbal message We might, for example, smile to emphasize a particular word or phrase bang our fist on the desk to emphasize or commitment to a statement .
Nonverbal communication may also be used to reinforce the general tone or attitude communicated by the verbal message. Thus, we might smile when telling a humorous story or frown and shake our heads when telling of someone's deceit.
We may also deliberately contradict our verbal messages with nonverbal movements, for example, by crossing our fingers or winking to in indicate that what we are saying is a lie.
Nonverbal movements are frequently used to control or to indicate 'one's desire to control the flow of nonverbal message or for example as when we make hand movements to indicate that we want to say something.
We can also repeat or restate the meaning of the verbal message . Foe example , follow our verbal statement ' IT IS ALRIGHT " with an OK sign made with our fingers .


Pete collects Harmon Killebrew, Joe Mauer, Justin Morneau, Young, Vintage stars, Vintage Twins, and 61 Topps set.
Accomplishments Graded Killebrew rookie, 800+ Twins/Senators 1950 - 1975.
Biggest accomplishment - sharing collecting with my son for 10 years.
HOF Speech Don't forget what collecting once was!


Ridley Scott's Prometheus trailer appeared online today after a long wait. Ever since Ridley Scott started talking about coming back to the Sci-fi genre, the fans were exhilarated and had hope to get a sequel or perhaps a prequel to Alian (1979). Then hit the staggering rumours about it being true or false. However with the release of Prometheus' trailer, speculations rise again.
Prequel or not, the trailer certainly excites us with its 'Inception' like horns and gives us a glimpse of what Ridley Scott has in store for us. You can check out the trailer below.
Prometheus, starring Noomi Rapace, Charlize Theron, Patrick Wilson and directed by Ridley Scott, will hit theatres on 8th of June, 2012.
Leave a comment below and let us know what you think about Prometheus.
Underworld: Awakening Trailer #2 Has Arrived!


The original jackpot peanut butter. motherfucking scratch off strip.
Growing up on Skippy, we wanted to make traditional Peanut butter without the crap. We double roast jackpot recipe American Runner Peanuts, bit of salt and rapeseed oil (NO PALM OIL) to bring out a punchy nutty roasted flavour.


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Осина Зибольда, или Осина японская, или Тополь Зибольда () — вид лиственных деревьев из рода  семейства .

В настоящее время источники склонны либо либо понижать ранг таксона и считать его разновидностью осины, либо вообще сводить его к её синонимам.

В культуре с 1881 года. В Америке дерево известно под названием  (Японская осина).

Распространение
Произрастает на Японских островах Хонсю, Хоккайдо, Кюсю, Сикоку, встречается в горах. На территории России вид отмечен на юге острова Сахалин, окрестности Корсаково.

Ботаническое описание
Деревья высотой до 20 м с довольно коренастыми веточками с беловатым войлочным опушением, частично остающимся в течение лета.

Почки опушённые. Листья плотные, овальной формы, коротко заострённые, с железистым основаниями формы от закруглённой до клиновидной, сидят на черешках длиной 1—4 см.
Листовые пластинки в длину 4—8 см, в молодом возрасте опушённые, потом только с отдельными волосками или совсем голые.
Края листовых пластинок могут быть либо отчётливо зубчатыми или железисто-мелкопильчатыми.

Цветки похожи на цветки других осин (Populus tremula, Populus tremuloides), только чешуйки более ворсистые.

Таксономия
, Annales Musei Botanici Lugduno-Batavi. Amsterdam 3: 29 (1867)

Вид назван в честь немецкого врача, натуралиста и исследователя Японии Филиппа Франца фон Зибольда (1796—1866).

Синонимы
 ,  1:463 (1875)

Систематика
Традиционно Populus sieboldi признавали самостоятельным видом из Японии, относя его в cекцию   к подсекции .
Всегда считали близкородственным осине обыкновенной (Populus tremula), которая является широко распространённым и сильно изменчивым евразийским видом.
Основное отличие от осины — в войлочно-волосистом опушении молодых веточек и листочков, которые в молодости с обеих сторон бело-волосистые, позже только снизу, с редкими серыми волосками, чернеющими при высыхании или исчезающими.
Однако в последнее время осины по всей Евразии рассматриваются ботаниками как расы одного высокополиморфного вида.
Таким образом современный консенсус ботаников относит данный таксон к синонимам Осины, либо к её разновидности, например:
 , Pl. Wilson. 3: 24 1916.
 , Rep. Veg. N. Saghalien.: 97 in textu (1924), «sieboldi», pro syn.
 , Sci. Rep. Tohoku Imp. Univ., Ser. 4, (Biol.) 40(4): 280 (2001), isonym.

Примечания

Литература

Ссылки

Ивовые
Флора Японского архипелага
Таксоны растений, названные в честь людей

redpajama_set_name: RedPajamaWikipedia


Document Details | Insulin resistance and reduced metabolic flexibility: cause or consequence of NAFLD?
Details for Insulin resistance and reduced metabolic flexibility: cause or consequence of NAFLD?
Name: Insulin resistance and reduced metabolic flexibility: cause or consequence of NAFLD?
Whether non-alcoholic fatty liver disease (NAFLD) precedes insulin resistance (IR) or IR preludes/causes NAFLD has been long debated. Recent studies have shown that there are two phenotypes of NAFLD, 'genetic' vs 'metabolic' NAFLD. The former patients are more at risk of hepatocellular carcinoma and chronic liver disease the latter are more IR and at increased risk of type 2 diabetes (T2D). Even if they are not yet diabetics, from a metabolic point of view having NAFLD is equivalent to T2D with reduced peripheral glucose disposal and impaired suppression of hepatic glucose production, but without fasting hyperglycaemia. T2D develops only when hepatic autoregulation is lost and glucose production exceeds the capacity of muscle glucose disposal.
In NAFLD adipocytes are resistant to the effect of insulin, lipolysis is increased and excess plasma free fatty acids (FFA) are taken up by other organs (mainly liver) where they are stored as lipid droplets or oxidized. Increased adiposity is associated with worsen severity of both 'genetic' and 'metabolic' NAFLD. FFA oxidative metabolism is increased in NAFLD and not shifted towards glucose during insulin infusion. Although this reduced metabolic flexibility is an early predictor of T2D, it can be seen also as a protective mechanism against excess FFA.
In conclusion, IR precedes and causes 'metabolic' NAFLD, but not 'genetic' NAFLD. Reduced metabolic flexibility in NAFLD might be seen as a protective mechanism against FFA overflow, but together with IR remains a strong risk factor for T2D that develops with the worsening of hepatic regulation of glucose production.


Today TXOGA co-hosted a Railroad Commissioner Candidate Forum for the Republican candidates at the Austin Club where all seven candidates participated and answered questions from the audience.
The candidates from left to right: Gary Gates, Doug Jeffrey, Wayne Christian, Lance Christian, Weston Martinez, John Greytok, and Ron Hale. Click their name to visit their website and learn more about each candidate.


It's not exactly off the beaten path, but that doesn't mean that Rollie's can't be described as a hidden spot.
BROWN DEER – It's not exactly off the beaten path, but that doesn't mean Rollie's can't be described as a hidden gem.
Having been around since the 1930s, this tavern along the stretch of North Teutonia Avenue between Good Hope and West Bradley roads and right across the street from Brown Deer Park enjoys a simple life of serving up good drinks at fair prices and cheering for the Packers.
"It's kind of like a 'Cheers' bar. Everybody knows everybody's name. A lot of people have met here and gotten married," manager Sharon Andryauskas said.
Rollie's originally got its start as Fritz's when Fritz and Bertha Adams opened the establishment over 80 years ago. In 1972, Rolan "Rollie" Davis bought the bar and changed the name. Things have been going strong ever since with Sharon first coming on board in 1983 and now running all day-to-day operations.
Andryauskas pointed out that, technically speaking, Rollie's is not a restaurant. Guests younger than 21 are not allowed, and the menu is quite limited. But that doesn't mean that a certain item hasn't developed a particular following.
The folks at Rollie's have become well aware of their burgers' growing popularity.
For 45 years, the burgers were prepared on a grill that Rollie bought from a Dutchland Dairy. The bar recently had to replace the grill, but Andryauskas was meticulous about finding just the right successor.
"It's gone now, which I'm sad about, but we took a long time to find one that cooks them the way we like them," Andryauskas said.
In addition to burgers, the rest of the menu at Rollie's includes starters like wings, jalapeno poppers and mozzarella sticks and sandwiches such as chicken sandwiches, BLTs, Reubens and brats. The soups and chilis are homemade by Andryauskas and her husband, Jeff.
Andryauskas noted that she has thought about offering a fish fry at Rollie's, but that no specific plans are in motion.
The kitchen is open at Rollie's from 11 a.m. to 10 p.m. except during Packers' games and the Super Bowl.
Happy Hour at Rollie's runs from 3 to 6 p.m. Monday through Thursday and includes $1.25 domestic taps, $2.25 cans and rail drinks and $5.25 domestic pitchers.
"It's a kind of simple place, which I think a lot of people like. Everybody is trying to find the new, fancy way to have a bar nowadays, but I think people also still just want a place that's comfortable," Johnson said. "I don't think I would call myself a regular yet, but I totally get why a lot of people are."
While Rollie's certainly enjoys a strong contingent of regulars, Andryauskas said she enjoys how the bar also brings in people from a variety of backgrounds.


Representative from Indiana; born in Waseca, Waseca County, Minn., February 25, 1892; attended the public schools and Sacred Heart Academy in his native city; the law department of Creighton University, Omaha, Nebr., LL.B., 1913; was admitted to the bar the same year and commenced practice in Omaha, Nebr.; elected municipal judge of Omaha, Nebr., in 1916, resigning during the First World War to serve in the United States Navy; engaged in the practice of law in Gary, Ind.; city comptroller of Gary 1935-1938; treasurer of Lake County, Ind., 1938-1942; delegate to every State convention since 1936; delegate to every Democratic National Convention from 1940 through 1968; elected as a Democrat to the Seventy-eighth and to the sixteen succeeding Congresses (January 3, 1943-January 3, 1977); co-chairman, Joint Committee on Organization of Congress (Eighty-ninth and Ninetieth Congresses), chairman, Committee on Rules (Ninety-third and Ninety-fourth Congresses); unsuccessful candidate for renomination in 1976 to the Ninety-fifth Congress; was a resident of Washington, D.C., until his death there on September 28, 1987; interment in Arlington National Cemetery.


text:
Green Kids Press LLC >
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The Bicycle Fence
Brandon Fall and Tom Noll
Publisher: Green Kids Press LLC
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The Flowerbed
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Mother's Day is fast approaching, and L.T. is anxious to find a suitable gift. When he spots an old canopy bed in the local junkyard, L.T. thinks it's just the thing to give his mother the "flower bed" she has always wanted...
Selling Eggs
ABOUT THE SERIES: *Gold Mom's Choice Award® Winners for Children's Picture Books- "Selling Eggs" - 2016L.T. has become THE NEW RECYCLING HERO! The seriesisabout his adventures in recycling creatively with its' colorful, whimsical illustrations, nostalgic look and inspiring messages reminding us all that.....
ABOUT THE SERIES: "Trash to Treasure" Series * Recycling Creatively with L.T. Gold Mom's Choice Award® Winners for Children's Picture Books! L.T. has become THE NEW RECYCLING HERO! The seriesisabout his adventures in recycling creatively with its' colorful, whimsical illustrations, nostalgic look and inspiring messages reminding us all that.....

redpajama_set_name: RedPajamaCommonCrawl