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Todd Marcus's portfolio
Past Awardee
About Todd
Todd Marcus is one of the few artists worldwide to focus on the bass clarinet as a main instrument in modern jazz with his large and small ensembles. His straight-ahead playing and compositions swing with fiery and introspective intensity, offer a strong lyrical sensibility, and often incorporate the Middle Eastern influences of his Egyptian-American heritage. Though use of bass clarinet in jazz typically leans heavily towards avant-garde and free-jazz styles, Marcus' straight-ahead... more
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about Todd Marcus - bass clarinetist, clarinetist, composer, and arrangerThe Todd Marcus Jazz OrchestraThe Todd Marcus QuartetThe Todd Marcus TrioThe Todd Marcus DuoThe Tariq Ensembleadditional video footage of Todd Marcus ensembles
about Todd Marcus - bass clarinetist, clarinetist, composer, and arranger
Baltimore bass clarinetist, composer, and community activist Todd Marcus is one of the few jazz artists worldwide to focus exclusively on use of the bass clarinet as a primary soloing instrument. While use of bass clarinet in jazz typically tends to lean heavily towards avant-garde and free-jazz styles, Marcus' playing presents the instrument with a modern straight-ahead jazz approach. His music swings hard with both fiery and introspective intensity but also maintains a strong lyrical sensibility. As a community activist Marcus leads the nonprofit Newborn Holistic Ministries on Pennsylvania Avenue in the Sandtown-Winchester and Upton neighborhoods where the organization tackles poverty related issues in the community.
Born and raised in the northern New Jersey suburbs of New York City, the half-Egyptian Marcus began music at age six with early piano lessons. He picked up clarinet at age 10 first playing band then classical music repertoire. While in high school, an English teacher who also played New Orleans style jazz piano would introduce Marcus to jazz. But upon trying to join the school's jazz band, Marcus was told saxophones, not clarinets, were the reed instruments allowed in the band and he was turned away.
In 1994 Marcus moved to Baltimore, MD to study political science at Loyola University and again attempted to join the school's big band. This time Marcus was allowed to play and embraced the opportunity. With this first exposure to modern jazz along with a new friend's borrowed jazz records of artists like Oscar Peterson, Stan Getz, Charlie Parker, Miles Davis, and John Coltrane, Marcus began to further explore the music learning improvisation from records and teaching himself theory and harmony. "I started exploring and realized I would have to figure out how to understand theory and harmony. So I'd just mentally drill myself by thinking - Ok, what is the minor 7th of an E dominant chord? – just exercises like that. And then of course, I learned a lot by just sitting at the piano and plucking away till I could play chord progressions."
While at Loyola, Marcus also began volunteering at a local chapter of Habitat for Humanity in west Baltimore's Sandtown-Winchester community. He soon began to build relationships with community members including a life-long resident and pastor, Rev. C.W. Harris, who mentored him about the African-American community's rich legacy of the arts and jazz, segregation challenges, and battles to overcome decades of poverty resulting from destruction by 1960's riots, flight by black professionals, and an influx of drugs. Harris' mentoring nurtured Marcus' interest in Civil Rights era history, its deep connection with the jazz music of that time, and Marcus' feelings of the need for greater racial reconciliation in America. With a resulting belief in a need to be engaged in community based revitalization, Marcus left college and in 1997 moved into the neighborhood doing community work by day and pursuing his ongoing study of jazz at night.
1997 also marked an important move for Marcus musically as he made the switch from clarinet to bass clarinet shortly after hearing the work of jazz legend Eric Dolphy on the instrument. "I felt it offered a lot more options than regular clarinet," Marcus explains. "It hasn't been easy because of challenges the bass clarinet presents on a sonic and mechanical level but I've worked to present the horn as an equal to saxophones in a straight-ahead playing context. With so few examples of people playing bass clarinet in modern jazz though, I think it's ended up being an opportunity for me to chart some new territory for the instrument."
In late 1998 Marcus returned to New Jersey to complete his college degree in urban studies with two semesters at Rutgers University. While there however, he spent a majority of his time at the school's jazz department. Though not a music major, he was accepted by audition into the department's jazz combos getting his first experience of performing in quartets, trios, and composing.
By mid 1999 Marcus was back in Baltimore working again with Rev. Harris where together they worked since to run Newborn Holistic Ministries (newbornholisticministries.com), a nonprofit addressing poverty related issues in the community. These efforts have resulted in the establishment in 2000 of Martha's Place, the organization's recovery program for women overcoming drug addiction and homelessness as well Jubilee Arts, a program established in 2008 to offer children and adults with alternatives to drugs and violence in the community. Accomplishments have also included significant community revitalization through the renovation of multiple abandoned buildings and vacant lots and community beautification with greenspaces and murals.
Marcus' music career has also grown during these years as he has charted new ground on the bass clarinet and developed as a composer and arranger with his Todd Marcus Quartet, Trio, and Duo as well as his nonet, The Todd Marcus Jazz Orchestra. In 2006 he released his debut album In Pursuit of the 9th Man with his Todd Marcus Jazz Orchestra as well as his Todd Marcus Quartet's 2012 release Inheritance.
Though self taught in jazz theory and composition, Marcus' compositions draw largely on intricate but lyrical straight-ahead jazz, classical influences, and over recent years have also increasingly explored the Middle-Eastern sounds from his Egyptian-American heritage. His work includes international performances, clinics, and radio play and he has worked with other jazz artists such as Bennie Maupin, Don Byron, Larry Willis, Odean Pope, Tim Warfield, Sean Jones, George Colligan, Orrin Evans, Joel Frahm, Xavier Davis, Mike Formanek, and Gary Thomas. Marcus was also a featured guest at the 1st World Bass Clarinet Convention in Rotterdam, Holland where his work was recognized for both his compositions and unique solo voice.
"My adult life has really been about being a part of and serving my community by day and cultivating my music by night," Marcus shares. "I think I've always felt upset by the injustice of inequities in the world and so being a part of my community has allowed me to specifically deal with ongoing issues that stem from systemic racism and poverty. And at the same time, my music has allowed me to try to create some beauty that hopefully unites people across all races through the power of music."
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about Todd Marcus
A 4-minute video about my work as a bass clarinetist, composer, arranger, and band leader of different sized ensembles
The Todd Marcus Jazz Orchestra
The Todd Marcus Jazz Orchestra is my nine member ensemble that includes six horns (bass clarinet, alto saxophone/flute, alto saxophone, tenor saxophone, trumpet, trombone) along with piano, bass, and drums. This ensemble presents my original compositions and arrangements, jazz standards, and demonstrates my work of presenting the bass clarinet as a legitimate lead horn in modern jazz deserving of equal consideration with more traditional jazz horns like the saxophone and trumpet.
I've been composing and arranging my work for this group since 2001 and have always loved how it allows me to achieve a great power and range with the horn section but still allows soloists the opportunity to be very creative with extended improvisations.
Over recent years I've increasingly explored composing and arranging with multiple different themes that are stated individually but then later in the arrangement find a way to merge in a way that is simultaneously complex, intense, and a greater emotion than when any one of the themes were first stated individually. It's a break from the traditional jazz form and an approach that I think helps a composition have an ever evolving momentum.
The past couple years have also been important ones for me with this ensemble as I've explored the incorporation of Middle Eastern music into jazz. This has stemmed from my own journey to dig deeper into my half-Egyptian ethnicity and I think it is a insightful reflection of both my American culture (through jazz) and Egyptian culture (through Middle Eastern music). This effort has been a challenging one though as jazz and Middle Eastern music are constructed very differently. While the harmonies in jazz are a crucial element that define its sound, traditional Middle Eastern melodies typically do not use harmony and focus more on unison themes. So in many ways my efforts to merge these two musics is the perfect metaphor for me as an individual who continues to explore and integrate his Americian and Egyptian cultures.
Mr. Sunshine and His Eight Bandits
Mr. Sunshine and His Eight Bandits is a short piece that uses my ensemble's horn section to accompany a drum solo throughout the arrangement. The composition is an example of one of my works than can only be featured with this large ensemble and features powerful bass line along with intricate ornamentations. The composition was inspired by the compositional style of Baltimore tenor saxophonist Gary Thomas and attempts to create different textures to support the solo of ensemble member Mike Kuhl on drums.
Harper's Choice
The great jazz saxophonist and composer Billy Harper has been a big inspiration to my own work over the years and this piece is partly a tribute to him. His use of regal cyclical themes inspired this composition which uses a repeating motif over strong shifting harmony before giving way to a hard swinging minor blues. The arrangement also features a ensemble soli section after the solo by alto saxophonist Issa Lambson.
A Gentler Sort of Thing
While much of my composing and arranging over recent years has used more complex harmonies and multiple themes, simpler pretty melodies remain a part of my work and this composition is an example of that. It is very much focused on a pure melody, a solo by Estonian saxophonist Raul Soot, and then some additional movements towards the end of the arrangement.
Collage is an example of my writing and arranging specifically for this large ensemble. It contains multiple themes and movements which are ultimately merged together after the improvisation section of the tune. It is a tune that works only with this larger ensemble because of the many horns available to me as an arranger in this context.
In Pursuit of the 9th Man
While much of my composing and arranging over recent years has used more complex harmonies and multiple themes, hard swinging compositions are still a huge part of my passion and In Pursuit of the 9th Man is an example. The tune is a challenging one and its title alludes to the challenges of keeping a large nine member jazz ensemble together which is often a major logistical challenge. This version features my bass clarinet solo and one of my ensemble members, Joel Holmes, on a piano solo.
A complex multi-movement composition that opens with a slow exposition till 1:41 when fragments of the theme are reintroduced and added into new components. The piece is reflective of a style I've often focused on using multiple overlapping themes.
Wahsouli
Wahsouli (which means "my arrival" in Arabic) is an example of one of my more recent fusions of jazz and Middle Eastern music described in the project description for my Todd Marcus Jazz Orchestra. It begins with a slow unison theme and then switches to uptempo. The fast themes use a lot of unision playing but also ornamentations by other horns and both of these qualities are common in Middle Eastern influenced melodies. These themes however are placed on top of jazz harmonies which give the work its unique identity as a fusion of Middle Eastern and jazz music.
Message to Prez
My arrangement of a beautiful composition by Bennie Maupin, one of the few other instrumentalists to utilize the bass clarinet. Here I've taken his piece's repeating bassline and counterline (heard in their original form at 1:15-2:04 ) and fleshed out a full arrangement including new harmonies and additional solo section (at 4:35-7:54).
Blues for Tahrir Suite
The Blues for Tahrir Suite is an example of my more recent fusion of jazz and Middle Eastern music as explained in the project description for my Todd Marcus Jazz Orchestra. This suite presents three movements - Adhan (the Arabic word for the Islamic call to prayer that sounds five times a day from all mosques), Reflections, and Protest. The suite gets its name after Tahrir Square in Cairo Egypt where much of the protests over recent years have been centered. The different movements of the suite attempt to capture different moods of the Arab Spring movement in Egypt.
A photo of The Todd Marcus Jazz Orchestra from a 2009 performance at the Weinberg Center for the Arts in Frederick, MD.
The Todd Marcus Quartet
The Todd Marcus Quartet is an ensemble that features my bass clarinet and clarinet along with piano, bass, and drums. This ensemble presents my original compositions and arrangements, jazz standards, and demonstrates my work of presenting the bass clarinet as a legitimate lead horn in modern jazz deserving of equal consideration with more traditional jazz horns like the saxophone and trumpet.
I've been composing and arranging my work for this group since 2005 and it allows me to give great focus to both my compositions and soloing. While some material that this ensemble performs is also featured with my large nine member jazz orchestra, there are some works that I present only in this context because of the flexibility of this small ensemble format.
Inheritance is a composition of mne inspired by a Branford Marsalis composition which itself shows inspiration from a composition by John Coltrane. The title communicates this nature of how jazz musicians often build upon (and pay homage to) works of the masters that have come before us. The melody uses a repeating sparse main theme with more intricate melodies mixed in and also features the extensive low to high ranges of the bass clarinet.
Cantata is an original composition of mine that shows some of my classical roots with a main themed fugue that features my bass clarinet along with clarinetist Don Byron. The composition's second movement shifts to a jazz waltz and the clarinet and bass clarinet solos use this as the harmonic structure for improvisations before returning to the fugue theme to end the composition. The presence of Don Byron on clarinet is meaningful to me as he is one of the few jazz musicians over recent decades to apply the clarinet in a modern jazz context.
AmyPookie
AmyPookie is an original composition of mine in the spirit of the great alto saxophonist Ornette Coleman. The playful melody features both uptempo and medium movements with unison playing. Solos for this composition start with a free uptempo bass clarinet solo that eventually transitions to a medium blues with a piano solo by George Colligan. The bass clarinet solo shows my efforts to use the instrument as an intense modern jazz capable of soloing at fast tempos to generate intensity and momentum equal to more traditional jazz horns like the saxophone and trumpet.
Bye Bye Blackbird is an example of how I like to present jazz standards that jazz musicians love to play but with my own arrangement. This version uses an opening a closing groove that sets up the melody with my specified own harmonic and melodic arrangement. Solos are based on the traditional chord changes for the song but shift the meter from 4 beats per measures to 7 beats per measures.
Blues for Tahrir
Blues for Tahrir is an example of one of my more recent fusions of jazz and Middle Eastern music as explained in the project description for my Todd Marcus Quartet. It uses a contemplative feel by the rhythm section and melodies by my clarinet that are composed of different Middle Eastern scales. The recording features the use of Middle Eastern percussion played by Jon Seligman which serve as a rhythmic accent to the drum kit playing of Warren Wolf.
The Adventure of Kang and Kodos
The Adventures of Kang and Kodos is an original composition of mine that features the rich low and high ranges of the bass clarinet. It is a short melody that opens into improvisational soloing over a minor blues form. The first solo demonstrates my efforts to use the bass clarinet as an intense modern jazz capable of soloing over chord structures at fast tempos to generate intensity and momentum equal to more traditional jazz horns like the saxophone and trumpet.
How Deep Is the Ocean
How Deep Is The Ocean is an example of how I like to present jazz standards that jazz musicians love to play but with my own arrangement. This version draws on my classical music roots by presenting a duet arrangement of the piece I created to feature bassist Eric Wheeler and my bass clarinet. Towards the end of the melody, the piano and drums enter and solos are played over the traditional chord changes to this jazz ballad.
Wahsouli (which means "my arrival" in Arabic) is an example of one of my more recent fusions of jazz and Middle Eastern music described in the project description for my Todd Marcus Quartet. It begins with a free drum solo till 3:42 when the main body of the composition begins several uptempo themes. These themes reflect influence of traditional Middle Eastern influenced melodies. These themes however are placed on top of jazz harmonies which give the work its unique identity as a fusion of Middle Eastern and jazz music.
Herod is an original composition of mine that has multiple movements. The first movement features a bass clarinet theme with improvisational ornamentation by clarinetist Don Byron. The composition's second movement features the statement of a new theme by pianist Xavier Davis before the horns return with the start of a steady tempo.
Todd Marcus Quartet
The Todd Marcus Quartet in performance in the Egyptian exhibit at the Penn Museum in Philadelphia, PA.
The Todd Marcus Trio
The Todd Marcus Jazz Trio is an ensemble that features my bass clarinet and clarinet along with bass and drums. Whereas my larger quartet and jazz orchestra ensembles focus more on my original compositions and arrangements, this ensemble tends to allow me to more often present the works of other artists and jazz standards that work well in this setting without a piano.
This ensemble also demonstrates my work of presenting the bass clarinet as a legitimate lead horn in modern jazz deserving of equal consideration with more traditional jazz horns like the saxophone and trumpet.
The material I present with this ensemble tends to focus on compositions with strong harmony and a great example is the multimovement Freedom Suite by legendary saxophonist Sonny Rollins which is presented here with the audio samples. This work has been a significant inspiration to me and I have recently composed my own trio suite that similarly features short but strong melodic themes that work well in this small ensemble.
The Freedom Suite - 2nd movement
The Freedom Suite is a composition by saxophonist Sonny Rollins that he recorded in the 1950's and featured his horn with bass and drums. The piece is a collection of a four short but strong themes that all have extremely rich harmony that is beautiful in a trio setting without piano. I learned and transcribed the horn, bass, and drum parts of the suite from the record and have enjoyed playing it over the years with my bass clarinet as the lead horn.
The Freedom Suite - 3rd movement
The Freedom Suite - 4th movement
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The Freedom Suite - 1st movement
The Freedom Suite is a composition by saxophonist Sonny Rollins that he recorded in the 1950?s and featured his horn with bass and drums. The piece is a collection of a four short but strong themes that all have extremely rich harmony that is beautiful in a trio setting without piano. I learned and transcribed the horn, bass, and drum parts of the suite from the record and have enjoyed playing it over the years with my bass clarinet as the lead horn. This is the first movement is tricky due to some fast moving harmonies that I find force me to play a bit differently than normal.
The Todd Marcus Duo
The Todd Marcus Jazz Duo is an ensemble that features my bass clarinet along with pianist Harry Appelman. This ensemble features my original compositions as well as interpretations of jazz standards and features great interplay between my horn and Harry Appelman's piano playing.
This ensemble came about years ago by accident when a performance didn't offer a large enough budget to feature a full rhythm section. Initially I was apprehensive about the gig (a six hour performance with just the two of us) but I quickly found that we shared a common harmonic approach and were able to explore tremendous musical creativity and responsiveness with no other instruments to focus on except what each other were doing. This setting also really allows a context to hear the subtle textures of my instrument which sometimes get covered over when playing in louder ensemble settings with drums.
I still like playing jazz standards in addition to original compositions and This Is New is a less commonly played tune that Harry Appelman introduced me too. There's nothing complex about the tune or arrangement - just a fun piece to play and improvise on. The final minute and a half also show of the exploration we like to do in this ensemble at the end of tunes with joint improvisation.
I still like playing jazz standards in addition to original compositions and I Fall In Love Too Easily is a very pretty ballad that Miles Davis was fond of playing. We present it here in the duo setting with an improvised introduction by Harry Appelman for the two minutes before the melody is stated.
Donna Lee
I still like playing jazz standards in addition to original compositions and Donna Lee is a tune by Charlie Parker that I've played for years. It's a fast intricate bebop melody but in the arrangement here I've toyed with the speed a bit so that it seems to speed up and slow down before the solos begin. This version includes an improvised introduction by Harry Appelman for the first minute and later solos by both me on bass clarinet and him on piano.
Cantata is an original composition of mine that shows some of my classical roots with a main themed fugue. The composition's second movement shifts to a jazz waltz and uses this harmonic structure for improvisations before returning to the fugue theme to end the composition. The melody features my bass clarinet with the piano but I switch to soprano clarinet for the solo.
The Adventures of Kang and Kodos is an original composition of mine that features the rich low and high ranges of the bass clarinet. It is a short melody that opens into improvisational soloing over a minor blues form.
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Todd Marcus Duo
Todd Marcus (bass clarinet) and Harry Appelman (piano) rehearsing in Baltimore at An Die Musik.
Todd Marcus (bass clarinet) and Harry Appelman (piano) performing in Washington, DC.
The Tariq Ensemble
The Tariqu Ensemble is a trio that is focused on fusing Middle Eastern music and jazz both with traditional Middle Eastern material and original compositions by the ensemble. Given my Egyptian-American heritage, this group has been particularly fun to cultivate and is made up of percussionist Jon Seligman and pianist Harry Appelman who are also both jazz musicians that share this passion to incorporate Middle Eastern music. We've all individually traveled to the Middle East and have explored how the music can be integrated with our backgrounds as jazz musicians.
This group began in 2009 but in many ways is still still in it's early stages as we hope to build on our early efforts and travel not just in the US but also with some touring of the Middle East.
Tunza Hunza
This is an original compositions by the ensemble's percussionist Jon Seligman and features his percussion work on a traditional Middle Eastern frame drum. There are both bass clarinet and piano solos after the melody before a return to the original melody.
Darij
This is a traditional Egyptian song called Darij which like many Middle Eastern compositions features an extended melody with unison playing by the instruments and open soloing forms. After solos however, the melody is restating with a reharmonization that uses modern jazz chords. Throughout, the rhythm is played on a traditional Egyptian style frame drum called a Riq which closely resembles the construction of a tamborine.
This is an original composition by the ensemble's pianist Harry Appelman that shows more of the jazz side than Middle Eastern side of the music presented by the ensemble. But it is a good example of the ensemble's range and how well the music works even without the presence of a bass player which is the traditional anchor for jazz ensembles.
Wahsouli (which means "my arrival" in Arabic) is an example of one of my more recent fusions of jazz and Middle Eastern music described in the project description for my Todd Marcus Jazz Orchestra. It begins with a slow unison theme and then switches to uptempo. This piece also features one of my bass clarinet solos which demonstrate my ability to improvise on the instrument at fast tempos which are rarely done on bass clarinet.
Screed II/Iptidan Ilahi
This is a medley of orginal compositions by the ensemble's percussionist Jon Seligman. It begins with a selection called The Screed which features Seligman's solo on the Riq (an Egyptian frame drum that resembles a tamborine) before a unison Middle Eastern melody enters that constantly shifts meter/time. There is an open bass clarinet solo after the melody that then gives way to the second composition called Iptidan Ilahi and features a piano solo by Harry Appelman.
This is a traditional Palestinian song called Kahramana which like many Middle Eastern compositions features an extended melody with unison playing by the instruments and open soloing forms. The rhythm is played on a traditional Egyptian style frame drum called a Riq which closely resembles the construction of a tamborine.
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additional video footage of Todd Marcus ensembles
Selected video footage of performances by:
2013 at 14Karat Cabaret in Baltimore, MD
The Todd Marcus Quartet featuring clarinetist Don Byron
2013 at the MidAtlantic Jazz Festival in Rockville, MD
2012 at Bohemian Caverns in Washington, DC
In addition to my work composing original music, I still love arranging jazz standards for my groups and this is a version of the jazz classic Summertime.
Todd Marcus Jazz Orchestra - Pompeii
Performing the Todd Marcus original composition Pompeii in 2009 at the Weinberg Center for the Arts in Frederick, MD. The performance features a gentle introduction before an uptempo theme and solos by Todd Marcus (bass clarinet) and Sean Jones (trumpet).
Todd Marcus Quartet - Blues for Tahrir
Blues for Tahrir is an example of one of my more recent fusions of jazz and Middle Eastern music as explained in the project description for my Todd Marcus Quartet. It uses a contemplative feel by the rhythm section and melodies by my clarinet that are composed of different Middle Eastern scales. This recording offers an alternate version of this composition to show how the piece can vary depending on which of my quartet musicians are on the performance.
Blues for Tahrir - Reflections
Blues for Tahrir is an example of one of my more recent fusions of jazz and Middle Eastern music as explained in the project description for my Todd Marcus Quartet. It uses a contemplative feel by the rhythm section and melodies by my clarinet that are composed of different Middle Eastern scales. The recording features clarinetist Don Byron, one of the pioneers of the clarinet in modern jazz.
Message to Prez / See the Positive
A rare filmed performance of my Todd Marcus Trio. Here the band is playing two compositions by jazz great Bennie Maupin, one of the few horn players to prominently use jazz in modern jazz. Performed at Crème Restaurant in Baltimore, MD on February 2012 with: Todd Marcus (bass clarinet) Joe Bussey (bass) Mike Kuhl (drums) Creme Restaurant Lounge, Baltimore, MD
While much of my composing and arranging over recent years has used more complex harmonies and multiple themes, simpler pretty melodies remain a part of my work and this composition is an example of that. It is very much focused on a pure melody with a solo before introducing an interlude that leads to a second simple but powerful solo section featuring pianist George Colligan. Performed at Bohemian Caverns in December, 2012 in Washington, DC with: Todd Marcus (bass clarinet) George Colligan (piano) Warren Wolf (drums) Eric Wheeler (bass)
My arrangement of the jazz standard Epistrophy by the great pianist Thelonius Monk that features my quartet plus Don Byron, one of the pioneers of the clarinet in modern jazz. Performed at The MidAtlantic Jazz Festival, 2013 in Rockville, MD, DC with: Todd Marcus (bass clarinet) Don Byron (clarinet) Xavier Davis (piano) Eric Kennedy (drums) Eric Wheeler (bass)
An early original composition of mine written in 1999 with a free-jazz introduction, early shades of Middle Eastern themes, and then an in-tempo movement starting at 3:15 that lead into solos. An early example of interest in writing compositions with multiple movements. Performed at Bohemian Caverns in December, 2012 in Washington, DC with: Todd Marcus (bass clarinet) George Colligan (piano) Warren Wolf (drums) Eric Wheeler (bass)
Heartlands
Heartlands is an original composition that incorporates Native America motifs and was inspired during a 2009 cross country trip as I passed through the desert of New Mexico. Filmed June 16, 2013 at the 14Karat Cabaret Club in Baltimore, MD The Todd Marcus Jazz Orchestra Todd Marcus (bass clarinet) Gary Thomas (tenor sax) Brent Birkhead (flute and alto sax) Russell Kirk (alto sax) Alex Norris (trumpet) Alan Ferber (trombone) Alex Brown (piano) Jeff Reed (bass) Eric Kennedy (drums)
My arrangement of the popular jazz standard Bye Bye Blackbird including a solo intro by Marcus. Performed at Bohemian Caverns in December, 2012 in Washington, DC with: Todd Marcus (bass clarinet) George Colligan (piano) Warren Wolf (drums) Eric Wheeler (bass)
Connect with Todd
http://toddmarcusjazz.com/index.html
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The Oasis In Kanata
For caregivers of people living with mental illness
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Illness-specific
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Caregiver Guidelines, from the Mental Health Commission of Canada. Report
Cognitive Behavioral Therapy for Psychosis (CBT-p) A 12-page publication which describes this evidence-based talking therapy that concentrates on how an individual's thoughts, behaviours, and emotions are connected. Fact Sheet
Consider a Henson Trust is a booklet, sponsored by the Reena Foundation and The Law Foundation of Ontario, which describes this type of trust for families who wish to help support a relative who receives ODSP benefits. Booklet
Expanding Caregiver Support in Ontario "Advice from Janet Beed to the Honourable Eric Hoskins Minister of Health and Long-Term Care," June 2017. Report
Family Toolkit, from the BC Partners for Mental Health and Addictions Information to assist families in caring for a family member with a mental illness by providing information and practical resources. Toolkit
Making Privacy and Consent Rules Work for Family Caregivers, from Ontario's The Change Foundation, 2017. Report
Mental Health and Addictions Leadership Advisory Council 2015 Annual Report, 2016. Report
National Guidelines for a Comprehensive Service System to Support Family Caregivers of Adults with Mental Health Problems and Illnesses, from the Mental Health Commission of Canada. Report
Pathways to Wellness: Example of a Wellness Wheel.
Promoting Mental Health in Ottawa – Summary Report 2018 This 20-page report reviews key local data from the 120-page Status of Mental Health in Ottawa – Report 2018, highlighting four evidence-informed factors that have a significant impact on Ottawa residents' mental health, including: resilience, family relationships, social connectedness, and health equity and stigma. Summary Report
Sexual Minorities and Suicide Prevention Toolkit The Centre for Suicide Prevention (CSP) in Calgary, Alberta (a branch of the Canadian Mental Health Association), produced this 12-page toolkit in 2012. Lesbian, gay, and bisexual people are at a higher risk for suicide than heterosexual people. This is because they face unique stressors, including stress from being part of a minority group. Toolkit
Sharing Together: Developing an evidence priority agenda for Ontario's mental health, substance abuse, and addictions system, from the Evidence Exchange Network, Centre for Addiction and Mental Health, 2018. Report
Spotlight on Ontario's Caregivers The Change Foundation publishes an annual survey to understand what it is like to be a caregiver in Ontario. Specifically, the organization looks at the experience caregivers have with the healthcare system, the type of caring tasks they are engaged in, the time and financial commitment required, and the impact of being a caregiver on their mental, physical, and emotional state. 2018 Survey Report 2019 Survey Report
Status of Mental Health in Ottawa – Report 2018 This is the first local surveillance report to describe the state of mental health across the population of Ottawa. See also the 20-page Promoting Mental Health in Ottawa – Summary Report 2018. Report
Supporting Minds: An Educator's Guide to Promoting Students' Mental Health and Well-being, from the Ontario Ministry of Education. Guide
Taking Care of Yourself: Self-Care Strategies for Family and Friend Caregivers Family Caregivers of British Columbia (FCBC) has produced this seven-page booklet which shares strategies such as self-awareness, self-compassion, creating connections, and personal supports and health dimension planning. The booklet includes a useful chart caregivers may use to explore the various dimensions of their own health, as well as a Caregiver Self-Assessment form to identify areas to consider in order to maintain one's resilience.
TEMPO: A Report towards Improving Interactions between Police and People Living with Mental Health Problems, from the Mental Health Commission of Canada (MHCC) Report
The Aspiring Workforce: Employment and Income for People with Serious Mental Illness, from the Mental Health Commission of Canada (MHCC), 2019. Report
The Mentally Ill: How They Became Enmeshed in the Criminal Justice System and How We Might Get Them Out, Hon. Mr. Justice Richard D. Schneider, Department of Justice Canada, March 2015. Report
Turning the Key: Assessing Housing and Related Supports for Persons Living with Mental Health Problems and Illness, from the Mental Health Commission of Canada, ca. 2011. Report Appendices
Published quarterly, Visions is a national award-winning journal that provides a forum for the voices of people experiencing a mental illness or substance use problem, their family and friends, and service providers in BC. See also HeretoHelp, a project of the BC Partners for Mental Health and Addictions Information. Visions is also available in EPUB format for reading on smartphone, tablet, or E-reader for free. Journal

redpajama_set_name: RedPajamaCommonCrawl


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Kyle Busch surprises himself, wins pole for Sunday's Windows 10 400 Sprint Cup race at Pocono
By Jerry BonkowskiJul 31, 2015, 5:57 PM EDT
When NBCSN asked if he thought he could win the Sprint Cup pole Friday at Pocono Raceway, Kyle Busch was pretty confident.
"Probably not," he said.
Well, Busch went out and proved himself wrong, earning the pole for Sunday's Windows 10 400. It's Busch's first Sprint Cup of the season, his second at Pocono and 17th of his career.
"I told you I had a fast car, I just wasn't sure we could get the balance right," Busch told NBCSN. "(Crew chief) Adam Stevens and these guys, they did it again."
Busch's pole-winning speed was 178.416 mph, followed by Kevin Harvick, the only other driver over 178 mph (178.168).
Joey Logano was third-fastest (177.837), followed by Austin Dillon (177.658), Tony Stewart (177.630) and teammate Kurt Busch (177.613).
Martin Truex Jr., who won at Pocono in June, qualified 13th.
Busch is going for his fourth consecutive Sprint Cup win and fifth in the last six races.
Sprint Cup teams have two practice sessions remaining on Saturday as a final tune-up for Sunday's main event.
Follow @JerryBonkowski


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Call of Duty: Ghosts release – new features mean the future is looking bright for this franchise
Chris MarshMonday 4 Nov 2013 12:30 pm
An attendee plays Call of Duty: Ghosts at the GameStop Expo in Las Vegas (Picture: AP)
In a matter of days Call of Duty: Ghosts will be released. Uncharacteristically for a Call of Duty game, Ghosts may not be the biggest media release of the year after Rockstar's GTA V set the bar extremely high with the latest in the Grand Theft Auto series only a few months ago.
Ghosts will still be met with huge anticipation though as thousands of gamers flock to their favourite retail stores for a midnight release.
The game marks a return to the Infinity Ward series of Call of Duty games after twelve months with Treyarch's baby, Black Ops 2.
With Black Ops 2 Treyarch introduced a number of community driven features, including CoD Caster mode, League Play and a new Class System that allowed for a greater degree of customisation to allow each player to define their own play style more than ever before.
With these features and more already announced, the future is looking extremely bright for Call of Duty: Ghosts.
For once it feels like it's Treyarch who have pushed the boat out there and now Infinity Ward will have to answer back with the release of Ghosts.
A lot has been said about some of the graphical enhancements in the imminent Ghosts release. Greater detail has been paid to characters with individual strands of hair now visible on the players' arms, etc. While this is all well and good from a visual perspective, these minor enhancements are going to have little to no effect on how the game is going to play out; especially months down the line when the graphics have become so familiar.
So what lasting features have been announced? First up there is the new Create-A-Soldier system. Treyarch's credit system has paved the way for the new method of customising your character and Infinity Ward seem to have taken the whole thing a step further.
A very welcomed change is being able to select any primary from the off. No longer will new-comers be hindered when coming up against players with greater game time. The Clan feature also sounds interesting for the hardcore players.
While League Play on Black Ops 2 was a good idea on paper, the concept was never fully explored and the playlists were comparatively empty. Infinity Ward may be able to improve on this for Ghosts.
With these features and more already announced, the future is looking extremely bright for Call of Duty: Ghosts and our next dose of Call of Duty.
Of course the next generation of consoles are just around the corner. For gamers who can't wait that long and plan to buy Ghosts for their current console, you can take advantage of an upgrade option offered by a number of retailers.
In the UK, GAME will allow you to trade in your Xbox 360 or PS3 version to upgrade to the Xbox One or PS4 version. Your current gen version of the game will carry £40 store credit up until Xmas eve. With that in mind, there's almost no reason for fans to have to wait.
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Bruno Koschmider (born 1926, Danzig (Gdańsk) - died 2000, Hamburg, Germany) was a German entrepreneur in Hamburg, best known for employing the Beatles in the early 1960s. He controlled various businesses, such as the Bambi Kino, which was a cinema, the Indra club and the Kaiserkeller.
Allan Williams booked the Beatles (in May 1960) into Koschmider's Indra club.
The Beatles first played at the Indra club - sleeping in small, dirty rooms in the Bambi Kino - and then moved (after the closure of the Indra) to the larger Kaiserkeller In October 1960, they left Koschmider's club and worked at the "Top Ten Club", which was run by Peter Eckhorn. When Paul McCartney and Pete Best went back to the Bambi Kino to get their belongings they found it in total darkness. Attaching a condom to a nail on the wall of their room and setting fire to it gave McCartney and Best a source of light, which they used to pack their belongings. There was no real damage, but Koschmider reported them for attempted arson. McCartney and Best spent three hours in a local jail and were deported, as was George Harrison, for working under the legal age limit.
Koschmider has been portrayed in films about the early career of the Beatles.
He was played by Richard Marner in the 1979 film Birth of the Beatles, by Paul Humpoletz in the 1994 film Backbeat, and by Alex Cox in the 2000 TV movie In His Life: The John Lennon Story.


text:
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Desktop Image: Selina Laren
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Selina MacLaren
T 213.633.6800 Los Angeles
E selinamaclaren@dwt.com
As a defender of content creators and storytellers, I believe the First Amendment is first for a reason.
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Selina MacLaren helps media clients create and defend their content. An advocate of the First Amendment, she brings to the table experience in both the private and nonprofit sectors, and on both coasts. Her practice covers a wide range of speech- and press-related litigation, including defamation, copyright, Section 230, reporters' subpoena defense, idea submission claims, internet speech, prior restraint, UK press law, and SLAPP. She is a part of DWT's team working in partnership with the TIME'S UP Legal Defense Fund to assist individuals who come forward with accounts of sexual assault and want to mitigate their risk of facing defamation claims. In addition, she works to promote government transparency and aid news reporters in developing their stories by using FOIA, access litigation, emergency petitions, and advocacy to make public records more readily available.
Selina speaks and writes publicly on First Amendment trends and the rich and evolving area of law where internet and speech intersect. Before joining DWT, Selina was the Stanton Foundation Free Press/National Security Legal Fellow at the Reporters Committee for Freedom of the Press in Washington, D.C., where she focused on national security, data privacy, and free expression issues, including "leaks" to the news media. She also has experience in commercial and white-collar litigation.
Practice Highlights
Libel defense
Defended one of the biggest-selling daily newspapers in the United Kingdom in a libel lawsuit that challenged reporting on allegations of abuse in the entertainment industry posted on Twitter.
Public records and access lawsuits
Litigating public records and access lawsuits, including an action that unsealed records of the California Governor's Office seeking approval from the California Supreme Court to grant clemency to a former state senator convicted of election-related crimes. Additionally, at a prior position, an action to change sealing procedures in federal district court in D.C. for court records related to electronic surveillance conducted in connection with criminal investigations.
Wrote amicus briefs in a number of cases, including, at a prior position, in United States Supreme Court cases dealing with felons' ability to access social media; Microsoft's challenge to a warrant seeking electronic data stored overseas; and warrantless acquisition of cell-site location information.
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J.D., University of Chicago Law School, 2014
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B.A., Political Economy, University of California, Berkeley, 2010, with highest honors
Stanton National Security and Free Press Legal Fellow, Reporters Committee for Freedom of the Press, Washington, D.C., 2016-2018
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Gorod Zero () er en sovjetisk spillefilm fra 1989 af Karen Sjakhnazarov.

Medvirkende
 Leonid Filatov som Aleksej Varakin
 Oleg Basilashvili som Vasilij Tjugunov
 Vladimir Mensjov som Nikolaj Smorodinov
 Armen Dzhigarkhanyan som Pavel Palytj
 Jevgenij Jevstignejev

Referencer

Eksterne henvisninger

Sovjetiske film fra 1989
Dramafilm fra Sovjetunionen
Komediefilm fra Sovjetunionen

redpajama_set_name: RedPajamaWikipedia


Causes the button to be visually pushed (clicked), as well as triggering the Action event.
Call Push when the user has pressed the keyboard equivalent for the button to give the appropriate visual feedback.
This example clicks PushButton1. It is called from another control.
This page was last edited on 23 January 2012, at 19:30.


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The Nursing Facility program provides institutional care to Medicaid recipients whose medical condition regularly requires the skills of licensed nurses. The nursing facility must provide for the total medical, social and psychological needs of each client, including room and board, social services, over-the-counter drugs, medical supplies and equipment, and personal needs items.
House Bill (HB) 154, approved by the 77th Texas legislature, requires the Texas Health and Human Services Commission (HHSC) to ensure that the rate determination rules for nursing facilities "provide for the rate component derived from reported liability insurance costs to be paid only to those homes that purchase liability insurance acceptable to the commission". To comply with HB 154, the portion of the general and administrative rate component derived from reported liability insurance costs has been excluded from nursing facility rates effective September 1, 2001. The funds withheld from the rates due to HB 154 will be distributed to facilities that verify liability insurance coverage acceptable to the HHSC.
The Texas Medicaid Nursing Facility (program-specific) Cost-Finding Methodology is located at Title 1 of the Texas Administrative Code, Part 15, Chapter 355, Subchapter C, Rules 306, 307, 308, 401-403. These rules explain in detail how the daily RUG payment rates are calculated.
Cost Determination Process Rules applicable to the Texas Medicaid Nursing Facility Program are located at Title 1 of the Texas Administrative Code, Part 15, Chapter 355, Subchapter A, Rules 101-110.
Rules pertaining to the maintenance of contractor records for the Texas Medicaid Nursing Facility Program are located at Title 40 of the Texas Administrative Code, Part 1, Chapter 49, Subchapter C, Rule §49.305 and Rule §49.307.
Rules pertaining to the Direct Care Staff Compensation Rate Enhancement are located at Title 1 of the Texas Administrative Code, Part 15, Chapter 355, Subchapter C, Rule 308.


For Day 10 we're giving away A Kindle copy of A Bramble House Christmas.
This was one of the Hallmark channel Christmas movies I recently watched and I was so moved by the story, I really want to share it. This Kindle book will be gifted to the winner via Amazon US or Amazon UK.


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Home » Entertainment » The camaraderie on ABC's LIVE was a sham: Michael Strahan and Kelly Ripa could not stand each other'
The camaraderie on ABC's LIVE was a sham: Michael Strahan and Kelly Ripa could not stand each other'
Posted on April 22, 2016 by konniemoments in Entertainment // 0 Comments
'Kelly and Michael's relationship was all for show and off-camera the two only spoke to one another through their reps'
Kelly Ripa and Michael Strahan's relationship over the past four years has all been for show according to a source close to Ripa
'They could not stand each other, and whenever they communicated off-camera, it was always through their reps,' there was tension between Ripa and Strahan during commercial breaks
Ripa and Live producer Michael Gellman felt blindsided when Strayhan told them Tuesday he was quitting the show to go to GMA in September
Ripa has not appeared on the show since Strahan told her the news, and cancelled a planned trip to Turks and Caicos this weekend …Multiple sources at ABC say Ripa was refusing to turn up to work until Strahan leaves the show.
'…the PR wars continue on both sides as sources close to Ripa reveal her angst with abc, she was blindsided by both the network and Strayhan, who 'scooped' up roles outside the show which she had turned down. She is feeling betrayed, while the powers in the network and staff of LIVE feel she is acting like a spoilt diva'
Kelly Ripa and Michael Strahan may have appeared the best of friends over the past four years on Live With Kelly and Michael, but a new report claims that the cozy relationship the two shared was all for the cameras.
Page Six spoke to a source close to Ripa who claims that the two were not at all friendly, saying; 'They could not stand each other, and whenever they communicated off-camera, it was always through their reps.'
The source added that the relationship 'was all for show' and claimed Strahan's busy work schedule caused the former football star to throw 'temper tantrums' at times, during which he would scream at Ripa.
Perry and Caroline Williams, who were at Monday's taping of the show, and said that there did appear to be tension between Ripa and Satrahan. The couple said the co-hosts appeared warm and friendly with each other at first until an audience member shouted out during the commercial break; 'Kelly, would you like to sign Michael's book for me?'
The host responded by awkwardly looking through the woman and did not speak a word according to the couple, who added that the the female audience member remarked after the incident; 'I guess that won't be happening then.'
One day later, Strahan told Ripa he was quitting the show.
Phonies: Kelly Ripa and Michael Strahan's relationship (insert) over the past four years has all been for show according to a source close to Ripa. (Main photo) Happier times with Regis
Bad timing: Strahan was spotted hitting the gym with girlfriend Kayla Quick on Wednesday in New York City
Gone girl: Ripa emerged for the first time since learning he co-host was quitting on Thursday, getting into a car outside her Upper East Side townhouse with husband Mark Consuelos (above)
Ripa, 41, took the week off from work and cancelled a planned trip to Turks and Caicos in celebration of her 20th anniversary to husband Mark Consuelos after being blindsided by the news that Strahan would be leaving Live and taking a job at Good Morning America come September.
The network's decision to move Strahan, 44, comes two years after he first began appearaing on GMA in a limited capacity, showing up two days a week and leaving early so he could make it back to Live in time for their 9am taping. Multiple sources close to Ripa claimed earlier this week that she had initially been offered that slot on GMA a few years ago, but turned it down.
'Two years ago Kelly was offered Michael's current role of contributor to Good Morning America. She turned this down as she was committed to Live and didn't want to give less to the show that she had been focused on for well over ten years and then kept a ratings winner after Regis left,' said one source close to the popular morning host.
'Michael then scooped up the role and started saying yes to everything ABC and Disney had to offer.
'Kelly felt that her and Michael Gelman, Live's Executive Producer, were left to be the only two people solely focused on the show.' The source went on to say; 'This began creating tensions internally as Kelly and Michael Gelman were having to work to Michael's schedule as Live become less of a priority for him.
The feud between the two has left many divided, including the show's staff and Ripa's former co-host Regis Philbin. 'Years ago I interviewed Michael Strahan on my show, and I asked him what he will do when he leaves the Giants. He said, "I want your job," and years later he got it,' Philbin told People earlier this week as he congratulated Strahan on his new gig.
'Now he's moving on to Good Morning America. Next stop could be Washington.' He then told TMZ on Thursday however that he did not agree with the way the network handled the situation with Ripa, saying; 'They should have told her in the beginning.'
Meanwhile, multiple sources close to the show said the staff feel they too have been 'blindsided' by a boss who made the decision to just stop showing up for her job.
'They feel like Michael's taking the high road but Kelly's the one who blindsided them by not showing up for work,' said one source.
'The feeling is that how she's acting is deeply selfish.'
The source went on to say; 'Staff are upset that she's not there. They are pulling a double shift today while she's left them in the lurch after her tantrum.'
The program tapes the live show and a second show to air on Friday morning each Thursday. Filling in for Ripa for both tapings was another popular ABC personality – Dancing With the Stars host Erin Andrews. Saturday Night Live alum Ana Gasteyer filled in on Wednesday and Pretty Little Liars star Shay Mitchell will guest co-host Monday.
A source close to Ripa told a different story, saying; 'Live staffers are upset. Kelly has been inundated with calls and messages from the team.
'They blame Disney management and want her to come back to work as they see her as the star of the show who also has their back.'
Sensing it: Perry and Caroline Williams, who were at Monday's show (above), said that there was tension between Ripa and Strahan during commercial breaks
Filling in: Saturday Night Live alum Ana Gasteyer (above) filled in for Ripa on Wednesday
Double duty: The program tapes the live show and a second show to air on Friday morning each Thursday. Filling in for Ripa for both tapings was another popular ABC personality – Erin Andrews (above)
Ripa remains quiet on the subject, with the fact that she was told the news just before her much anticipated vacation making an already tense situation ever worse according to multiple sources.
Strahan on the other hand talked about his new job during Wednesday's Live show and then again next day during an appearance on Good Morning America. He made a point to praise Ripa on both occasions, a wise decision given the fact that she reportedly did not hide her anger upon learning the news on Tuesday.
The New York Times revealed what happened when Strahan broke the news to Ripa, producer Michael Gellman and WABC general manager Dave Davis earlier this week. The group was informed of the meeting at the last second on Tuesday and waited 20 minutes for Strahan to arrive. Ripa said to Davis after Strahan told them he would be leaving; 'Didn't I tell you this was going to happen? I told you two years ago this was going to happen.' She then informed executives that she would not be at work on Wednesday. She will be out again on Monday and it is still not clear when she returned.
No love lost: 'They could not stand each other, and whenever they communicated off-camera, it was always through their reps,' said a source close to Ripa about the pair's relationship (Ripa above on Thursday carrying the book David and Goliath)
Multiple sources at ABC on Wednesday morning said Ripa was refusing to turn up to work until Strahan leaves the show. Ripa was spotted for the first time since getting the bad news earlier this week on Thursday morning, emerging from her townhouse on Manhattan's Upper East Side with a large smile plastered on her face. She dashed straight into a waiting car with her husband, but not before making sure photographers camped outside got a photo of her new book.
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text:
require 'tempfile'

# Writes a file like normal except doesn't do anything if the new contents are
# the same as what's already there. Useful for helping build tools not rebuild
# if generated files are re-generated but don't change.
# Usable as a standard File, including to redirect to with IO.popen etc.
class WriteIffChanged < Tempfile
  def initialize(filename)
    super('write_iff_changed')
    @filename = filename
  end
  def WriteIffChanged.open(filename)
    out = WriteIffChanged.new(filename)
    yield out
    out.close
  end
  def close
    flush
    contents = File.open(path, 'r') do |f|
      f.readlines(nil)
    end
    if !File.exists?(@filename) ||
        File.new(@filename, 'r').readlines(nil) != contents
      File.open(@filename, 'w') do |out|
        out.write(contents[0])
      end
    end
    super
  end
end

redpajama_set_name: RedPajamaGithub


Part of the award-winning Real, Real-Life® series, this program offers a contemporary, interactive approach to PPE safety. Place employees in "real-life" situations and force them to make life-or-death decisions from the safety of their own seat.
Should your employees encounter daily hazards, machinery, or specialized tools in their everyday work life, they must know how to dress for the occasion. Personal Protective Equipment: Real, Real–Life® part of our Real, Real-Life® series, takes employees through 'real-life' safety situations and encourages them to think about their response. It allows them to make life-or-death decisions right from the safety and comfort of their seats.
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Hubbard took the lead in the second quarter and then held visiting Indian Creek to seven points in the second half en route to a 51-21 Division IV, Region 13 quarterfinal victory Saturday night.
The Eagles (10-1) had enough weapons to cover the loss of running back Rafael Morales, whose season was cut short due to two ejections during regular-season games.
Quarterback Davion Daniels had three touchdowns runs and Lukas Mosora had a pair of TD runs. Also scoring were Jermia Harris and Shannon Slovesko.
Hubbard will play Steubenville next week at a site to be announced today.
Daniels rushed 14 times for 222 yards as Hubbard outgained the Redskins on the ground, 481-56. The Eagles' linemen were center Seth Jones, Joe Bednarik and Reese Best on the right side, Mario Eusanio and Anthony Shaffer of the left side and tight ends Matt Scheidegger and Alex Goodrick and the versatile Mosora.
Ahead 31-14 after Anthony Corrin's 30-yard field goal, Jermia Harris broke off a 60-yard touchdown run to increase Hubbard's lead to 37-14.


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They are Gluten, Nut and Dairy Free, and packed with prebiotic fiber, Non GMO, Non Allergenic, Paleo perfect, Kosher and they taste like coconut, but of course they are not nuts at all, they are TUBERS!


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Roberto came to SpaMedica seeking to improve the aesthetics of his hairline, and rejuvenate his appearance for a more youthful look. Dr. Mulholland and his team of expert FUE specialists worked with Roberto in designing his new hairline, achieving a new and revitalized look that he was very satisfied with.
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