text:
CATHERINE RUSSELL WELCOMES US IN!
Photograph by Richard Conde
The Beloved and I were in the presence of magic at the Allen Room (Jazz at Lincoln Center) last night when singer Catherine Russell welcomed us in.
I don't mean that she just began her show by saying, "I'm glad you are all here," as artists usually tell an audience.
But from the first phrase of her opening song, I'M SHOOTING HIGH, she turned the Allen Room into something warm, making us feel both as if we were in her own magically cozy space. Although she was stylishly dressed, in front of a ten-piece band, with the great New York street scene viewed from above, none of this distracted her from her great purpose: to lift us up through sweet swinging music.
She is such an expert performer that she made her art — clearly the result of great attention to detail — seem natural and intuitive, as if she and the band had just gotten together to have a good time.
Her delight in being with us was genuine. When a couple, arriving late, made their way to their seats down front, Catherine beamed at them and said the most encouraging thing, "Welcome, welcome!" — and we relaxed even more, knowing that she meant it.
What she was welcoming us to was a musical evening of the most gratifying kind. It was inspired by Louis Armstrong, for one, always a good start. Most of the songs she and the band offered were connected to Louis, but she remained herself: no growl, no handkerchief, no mugging. Rather she understood and demonstrated what Louis was all about — deep romance, great fun, rocking rhythm, daring improvisations. Love, whether eager celebration or brokenhearted lament — was her theme. And there was another man inspiring her performance: Louis' friend, pianist, and musical director for many years: Luis Russell, who (by the way) happened to be Catherine's father. Pops and Daddy, if you will.
She drew most of her material from the great period of the Louis / Luis collaboration — 1935-42, the songs now collected on the great Louis Mosaic box set, so we got to exult with her for I'M SHOOTING HIGH ("Got my eye / On a star / In the sky"), dream along with I'M IN THE MOOD FOR LOVE, swing out on I CAN'T GIVE YOU ANYTHING BUT LOVE, mourn to I COVER THE WATERFRONT, laugh out loud to PUBLIC MELODY NUMBER ONE. Catherine's vision of Louis reached back to the Twenties for STRUTTIN' WITH SOME BARBECUE, SUGAR FOOT STRUT (now, finally, I know what the lyrics are talking about!), and a romping EVERYBODY LOVES MY BABY.
And it expanded to include BACK O'TOWN BLUES and LUCILLE, songs with which she had a very personal connection. The first of those two — written by Louis and Luis — was the flip side of Louis' 1956 hit, MACK THE KNIFE. For some, that fact would be only a jazz-fiend's winning Trivial Pursuit answer. But for Catherine it was so much more. The royalties from BACK O'TOWN BLUES enabled her parents, Luis and Carline Ray (Catherine's mother had been in the audience for the first show) to purchase their first new car — a two-tone blue 1956 Mercury. Even from row N, the Beloved and I could see how much that car had meant to the Russells from Catherine's very warm retelling of the story. And the very touching LUCILLE had been written by Luis in 1961 for Louis to try — a loving tribute to Lucille Wilson Armstrong . . . and, not incidentally, a beautiful song, now fully realized by Catherine.
She also showed her great emotional range in a dark reading of NO MORE, a sultry evocation of ROMANCE IN THE DARK, a hilarious I'M CHECKIN' OUT, GOOM-BYE (evoking Abbey Lincoln, Lil Green, and Ivie Anderson, respectively).
Catherine is also an astonishing singer, if you haven't guessed by now. She has a perfectly placed voice, with power and depth but a kind of reedy intensity (she can sound like an alto saxophone but more often she reminded me of a whole reed section coming out of her long lithe frame). Her sound is sweet yet pungent. She has great dramatic intensity but she never seems as if she's "acting." From somewhere inside the song, she lights the way, matching her readings of lyrics and melody exactly to the emotions . . . making familiar songs feel roomy and new. And rhythm bubbles up through her — she was always in motion, rollicking around the stage, expertly dancing, embodying joy in person.
And the band was just as delightful: let me write their names here again to celebrate them: Matt Munisteri, Mark Shane, Lee Hudson, Mark McLean, Jon-Erik Kellso, Dave Brown, John Allred, Scott Robinson, Andy Farber, Dan Block. New York's finest! Each one of them had something deliciously incisive to bring, from McLean's saucepan-percussion reminding us of Zutty Singleton on SUGAR FOOT STRUT, Allred's plunger-dialogue on GOOM-BYE, Scott Robinson's soprano taragota on NEW CALL OF THE FREAKS (a whole surrealistic play in itself, with the horn section picking up their paper parts to read the unforgettable Dada poetry: "Stick out your can / here comes the garbage man. . . . "). Kellso, once again, became the Upper West Side Louis, and Matt swung us into bliss — to say nothing of the eloquent gents of the sax section, Mister Brown to You, the reliable Hudson keeping it all together, Mark Shane pointing the way — Jess Stacy to Catherine's Helen Ward. The brilliant arrangements by Matt, Jon-Erik, and Andy gave us a rocking big band distilled to its essence.
The Beloved and I enjoyed every note. We would be there tonight if we could. If you can, stop reading this post right now and get a pair (or more) of tickets for the Saturday night shows — 7:30 or 9:30. Or if that's not possible, do what I did and buy Catherine's latest CD, STRICTLY ROMANCIN' — it has some of the same songs and almost the same band.
Miss Russell will welcome you in, too!
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Ideal Places, Irreplaceable, Jazz Titans, Mmmmmmmmmmmmm!, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Abbey Lincoln, Allen Room, Andy Farber, Carline Ray, Catherine Russell, Dan Block, Dave Brown, Helen Ward, Ivie Anderson, Jazz at Lincoln Center, Jazz Lives, Jess Stacy, John Allred, Jon-Erik Kellso, Lee Hudson, Lil Green, Louis Armstrong, Lucille Armstrong, Luis Russell, Mark McLean, Mark Shane, Matt Munisteri, Michael Steinman, Paul Kahn, Richard Conde, Scott Robinson, STRICTLY ROMANCIN'
LOVE IN SWINGTIME: "THE DAY YOU CAME ALONG," THREE WAYS
One idyllic version of early twentieth-century modernism is the intersection of great artists considering the same theme. Here, the lost paradise of 1933 where Bing Crosby and Coleman Hawkins could each rhapsodize beautifully on the same song. It was THE DAY YOU CAME ALONG — a sweet romantic rhapsody of love's fulfillment by Sam Coslow and Arthur Johnston, a Crosby hit from the film TOO MUCH HARMONY. Here's Bing's version, where sensuality and delight combine:
That same year, a small band of Coleman Hawkins, Henry "Red" Allen, J. C. Higginbotham, Hilton Jefferson, Horace Henderson, Bernard Addison, John Kirby, and Walter Johnson devoted themselves to the same theme:
Nearly ninety years later, the Harlem Jazz Camels pay tribute to the song, to love in swingtime:
This performance (recorded by the very gracious "jazze1947") comes from Aneby, Sweden, on Feb. 7, 2012. The Camels are Bent Persson, trumpet; Göran Eriksson, alto / clarinet; Stephan Lindsein, trombone; Claes Brodda, clarinet / baritone / tenor; Lasse Lindbäck. string bass; Ulf Lindberg, piano; Sigge Delert, drums; Göran Stachewsky. guitar / banjo.
"What's the most important day in history?"
"The day you came along."
Tagged Arthur Johnston, Bent Persson, Bernard Addison, Bing Crosby, Claes Brodda, Coleman Hawkins, Goran Eriksson, Goran Stachewsky, Harlem Jazz Camels, Henry "Red" Allen, Hilton Jefferson, Horace Henderson, J.C. Higginbotham, Jazz Lives, jazze1947, John Kirby, Lasse Lindback, Michael Steinman, modernism, rhapsody, romance, Sam Coslow, Sigge Dellert, Stephan Lindsein, TOO MUCH HARMONY, Ulf Lindberg, Walter Johnson
"SHINE," RECONSIDERED
It's always fascinating to take old assumptions and hold them up to the light. For years, I assumed along with most that the song called "SHINE," or sometimes "S-H-I-N-E," had disgracefully racist lyrics, and that having someone proud of his African-American heritage — such as Louis Armstrong — sing it was a deep insult. "Poor Louis," we thought, "forced to endure material unworthy of him, degrading to his race and self," although he doesn't seem abashed in what follows.
Here's the version from RHAPSODY IN BLACK AND BLUE (with a nice close-up of drummer Tubby Hall):
And a decade or so later, a Soundie of SHINE from 1942 (with closeups of Sidney Catlett and dancer Nick Stewart):
"Those poor Mills Brothers — other singers saddled with demeaning material." That there seemed to be other lyrics — in Bing Crosby's version — was puzzling, but I think many assumed that this was part of a clean-up campaign or some racist plot against people of color.
The song — as "THAT'S WHY THEY CALL ME 'SHINE,'" dates from 1910* and was composed by Ford Dabney (music) and, more importantly, Cecil Mack (born Richard C. McPherson), both African-Americans. That in itself wouldn't have prevented them from creating a song that later generations would have found demeaning. But the lyrics of "THAT'S WHY THEY CALL ME 'SHINE'" are anything but self-deprecating.
When I was born they christened me plain Samuel Johnson Brown,
I hadn't grown so very big 'fore some folks in the town
Had changed it 'round to Sambo, I was Rastus to a few,
Then Choc'late Drop was added by some others that I knew,
And then to cap the climax I was strolling down the line
When someone shouted, "Fellers, hey, come on and pipe the Shine."
But I don't care a bit,
Here's how I figure it.
'Cause my hair is curly,
'Cause my teeth are pearly,
Just because I always wear a smile,
Like to dress up in the latest style,
'Cause I'm glad I'm living.
Take troubles smiling, never whine;
Just because my color's shady,
Slightly diff'rent maybe,
That's why they call me "Shine."
A rose, they say, by any other name would smell as sweet,
So if that's right, why should a nickname take me off my feet?
Why, ev'rything that's precious from a gold piece to a dime
And diamonds, pearls, and rubies ain't no good unless they shine.
So when these clever people call me "shine" or "coon" or "smoke,"
I simply smile, and smile some more, and vote them all a joke.
I'm thinking just the same,
What is there in a name?
Repeat Refrain.
I think — having read these lyrics, especially the verse! — some of us might have to reconsider our perceptions of this song. The lyrics, by the way, come from READING LYRICS, ed. Robert Gottlieb and Robert Kimball (Pantheon, 2000); they date the song as 1924. Text courtesy of the Beloved's bookcase.
Posted in Jazz Worth Reading, Pay Attention!
Tagged Bing Crosby, Cecil Mack, Ford Dabney, Jazz Lives, Louis Armstrong, Michael Steinman, Nick Stewart, racism, READING LYRICS, Robert Gottlieb, Robert Kimball, Sidney Catlett, Soundie, The Beloved, The Mills Brothers, Tubby Hall
A SMALL MASTERPIECE: CHRIS DAWSON'S "BEAUTIFUL LOVE"
This performance of Victor Young's BEAUTIFUL LOVE — by the subtle, heartfelt pianist Chris Dawson — is aptly named. The 1931 song was originally a waltz, but that was before Art Tatum, Bill Evans, Jimmy Rowles, and many singers got to it. (That the song appeared in the film THE MUMMY still continues to baffle and amaze. Who sang it and to whom?
Here's Chris — every note a pearl, but there's nothing precious about his approach to the keyboard:
And for the Jazz Karaoke fans out there, here's an online version of the lyrics.
Beautiful love, you're all a mystery
Beautiful love, what have you done to me?
I was contented till you came along
Thrilling my soul with your song
Beautiful love, I've roamed your paradise
Searching for love, my dream to realize
Reaching for heaven, depending on you
Beautiful love, will my dreams come true?
Just please don't drown out the quietly brilliant Mr. Dawson. That wouldn't be Beautiful Love at all.
Posted in "Thanks A Million", Bliss!, Generosities, Irreplaceable, Jazz Titans, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Art Tatum, Bill Evans, Chris Dawson, improvisations, Jazz Lives, jazz piano, Jimmy Rowles, Michael Steinman, Victor Young
PAY ATTENTION! NO FOOLIN': GABRIELLE STRAVELLI and FRIENDS in THE DRAWING ROOM (April 1, 2012)
Singer Gabrielle Stravelli is a delight.
I first heard her only a few weeks ago at a noisy brunch gig. Unruffled by the loud laughter, the eager conversations, the crash of dishes, she sailed on, serenely swinging, opening her heart to the audience.
She has feeling but no melodrama, an easy, open approach to the song — with a casual natural style that fits her varied material.
And if an artist is judged by the company he or she keeps, please take a look at the instrumentalists below. This Sunday-evening gig will take place at pianist Michael Kanan's beautifully calm studio, The Drawing Room. Michael will be at the piano; the stellar, mobile bassist Pat O'Leary will be doing what he does so well; the nimble Michael Petrosino will be behind his drum kit.
The Drawing Room is at 70 Willoughby Street #2A, in Brooklyn. The "R" train stops at the corner; many other trains make it their business to come to a halt at the Jay Street station, two blocks away. Even I could find my way. April 1, but no joke — 8 to 10 PM. $10 admission, with a cash wine bar. And beautiful music!
Posted in "Thanks A Million", Generosities, Ideal Places, Jazz Titans, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Gabrielle Stravelli, great singing, Jazz Lives, Michael Kanan, Michael Petrosino, Michael Steinman, Pat O'Leary, The Drawing Room
COMES IN LIKE A LION, SWINGS OUT LIKE A CAT
We have delightful plans for this Friday night — March 30, 2012: we'll be at the Allen Room at Jazz at Lincoln Center to hear the remarkable singer Catherine Russell and her all-star band:
Our Catherine's pedigree is impeccable — daughter of pianist-composer-bandleader Luis Russell and string bassist-bandleader Carline Ray, she grew up with the music (how about childhood acquaintance with one Mister Armstrong?) and she keeps swinging with a big heart. And her new program will not only connect with her CD, STRICTLY ROMANCIN' but will focus on Louis and Luis — lifelong friends. The concerts will take place on Friday and Saturday, March 30 and 31, 2012, with two shows nightly (7:30 and 9:30), located on Broadway at 60th Street in New York City.
And Grammy-winner Miss Russell is wise enough to know that a great singer deserves a great band — with new arrangements. The sterling fellows onstage will be Matt Munisteri, guitar, arranger, musical director; Mark Shane, piano; Jon Erik-Kellso, trumpet, arranger; John Allred, trombone; Dan Block, saxophones, clarinet; Andy Farber, saxophones, arranger; Lee Hudson, string bass; Mark McLean, drums; Dave Brown, trumpet; Scott Robinson, whatever he likes. For tickets visit the JALC Box Office at Broadway at 60th, or www.jalc.org — or call Center Charge at 212-721-6500. The Beloved and I will be there — I'll be making notes on a pad to tell you what happened . . . be sure to get there on your own!
Posted in "Thanks A Million", Ideal Places, Jazz Titans, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Andy Farber, Carline Ray, Catherine Russell, Dan Block, Dave Brown, Jazz at Lincoln Center, Jazz Lives, John Allred, Jon-Erik Kellso, Lee Hudson, Louis Armstrong, Luis Russell, Mark McLean, Mark Shane, Matt Munisteri, Michael Steinman, Scott Robinson, singing, STRICTLY ROMANCIN', swing
SCALING MOUNTAINS AT MONTEREY 2012 with the HIGH SIERRA JAZZ BAND and MARC CAPARONE (March 2, 2012)
No, no one burst into CLIMB EV'RY MOUNTAIN, and Julie Andrews was otherwise engaged. But the High Sierra Jazz Band — here with guest hero Marc Caparone added to an already hot front line — knows how to get to the top and stay there. I present (for your listening, dining, and dancing pleasure) an early set from the 2012 Dixieland Monterey Jazz Bash by the Bay — with leader and raconteur Pieter Meijers on reeds and wry commentary; Charlie Castro, drums; Earl McKee, sousaphone and vocals; Stan Huddleston, banjo; Bruce Huddleston, piano; Howard Miyata ("the happiest man in Dixieland," but why stop there?) on trombone, misc. brass, and vocal; and the electrifying two-cornet team of Bryan Shaw and Marc.
They began with the Creole Jazz Band's irresistible MABEL'S DREAM. Pieter has obviously told many audiences a long wooly tale about who Mabel was and what she dreamed about (thrilling but somehow dubious). Does anyone know the real story? Was Mabel someone's girlfriend, and did she dream lucky? Do tell:
Earl McKee takes us under her wing — let's go DOWN IN HONKY TONK TOWN:
Ah, that Boy is here again — and he has something to tell us named the WININ' BOY BLUES:
Mister Morton, take the stand! KANSAS CITY STOMPS:
When Sidney Bechet and Pieter book the tour, PASSPORT TO PARADISE is not merely an extravagant figure of speech:
Oh, Mister Jelly! "Get off the sidewalk, can't you?" SIDEWALK BLUES:
They concluded their set with Fats Waller's composed-in-a-taxicab-on-the-way-to-the-recording-studio-and-possibly-misidentified-on-the-label MINOR DRAG. Another thing we have Eddie Condon to thank for. (Should this song have been issued as HARLEM FUSS? One never knows. Do one?):
Good, good, good — hot and powerful, at the very peak.
Posted in "Thanks A Million", Bliss!, Hotter Than That, Ideal Places, Irreplaceable, Jazz Titans, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Bruce Huddleston, Bryan Shaw, Charlie Castro, Creole Jazz Band, Dixieland Monterey Jazz Bash by the Bay, Earl McKee, Eddie Condon, Fats Waller, High Sierra Jazz Band, Howard Miyata, Jazz Lives, Jelly Roll Morton, Julie Andrews, King Oliver, Louis Armstrong, Marc Caparone, May your happiness increase, Michael Steinman, Pieter Meijers, Sidney Bechet, Stan Huddleston
MERRIE MELODIES at MONTEREY 2012: THE REYNOLDS BROTHERS with BOB DRAGA (March 2, 2012)
The Reynolds Brothers are always SHOW-READY. No question.
And they began the 2012 Jazz Bash By The Bay with a riotous set — including clarinetist and master of witty repartee Bob Draga. That's cornet man Marc Caparone, string bassist / charming singer Katie Cavera, Brother Ralf on the washboard, and Brother John on the guitar, vocal, and whistle. A good time was had by all, even though it was midafternoon, rather early for hot jazz.
They began with the Gershwin call-to-musical-arms, STRIKE UP THE BAND:
What are the THREE LITTLE WORDS? Of course, I LOVE YOU comes in first, but I would make a case for THE REYNOLDS BROTHERS. I'm waiting for Congress to legislate that one into law:
Bob Draga probably doesn't know my Aunt Ida, but the telepathic vectors in the cosmos suggested to him that it would be nice to play IDA, SWEET AS APPLE CIDER. It was and is!
Katie Cavera is full of surprises. Ask anyone! And the surprise she pulled out of her Show-Ready bag of tricks was the sweet and mildly naughty 1932 OH, IT LOOKS LIKE RAIN. Bob sat this one out; perhaps he went to play cards?
Professor Ralf wants the washboard to be returned to its former glory, rightly so. He accomplishes this by playing it with a swing, but also by reminding us all of the music that it once propelled — here, Tiny Parham's WASHBOARD WIGGLES:
John Reynolds is a magnificently swinging singer, sweet and hilarious at the same time. I never tire of his TUCK ME TO SLEEP IN MY OLD 'TUCKY HOME:
And another surprise — I can't watch the Disney films, but their music is priceless and memorable. If I began my day with WHISTLE WHILE YOU WORK, I would arrive at my office with a big smile. You try it and report back:
A powerful answer to darkness in the universe!
Tagged Bob Draga, Dixieland Monterey 2012, George Gershwin, hot music, Ida Melrose Shoufler, Ira Gershwin, JAzz Bash by the Bay, Jazz Lives, John Reynolds, Katie Cavera, Kentucky, Marc Caparone, May your happiness increase, Michael Steinman, Ralf Reynolds, Reynolds Brothers, Snow White, swing, Tiny Parham, Walt Disney
A SECOND HELPING OF BIRTHDAY CAKE: BOB WILBER, EHUD ASHERIE, and PUG HORTON (Smalls, March 15, 2012)
Nothing more needs to be said, except that this is the second set of reedman / composer / bandleader / inspiration Bob Wilber's eighty-fourth birthday celebration at Smalls (183 West Tenth Street, New York) where he was accompanied by his own "favorite rhythm section," pianist Ehud Asherie — with a guest spot for Bob's wife, Joanne "Pug" Horton. Bob played some wonderful jazz classics — as if summoning up all his heroes, mentors, and friends in an admiring ring around the bandstand.
For Bix, Bechet, and Bobby — a sprightly I'M COMIN' VIRGINIA:
For Fats and Louis (dig Ehud's beautiful playing here!) — BLUE TURNING GRAY OVER YOU:
Edgar Sampson's BLUE LOU — with the second chorus given to Bob's own line on the chords, which he calls LOU'S BLUES:
Bob then invited his wife Pug to the stand to sing "a little eight-bar blues," that hymn to defiance, 'T'AIN'T NOBODY'S BIZ-NESS IF I DO:
And — appropriate for a birthday — AS LONG AS I LIVE:
Bechet's lovely SI TU VOIS MA MERE:
And the bunny jumped over the fence and got away — a briskly moving COTTON TAIL:
Many happy returns of the day to Mr. Wilber — with felicitations to Mr. Asherie and Mrs. Wilber, too!
Posted in "Thanks A Million", Hotter Than That, Ideal Places, Irreplaceable, Jazz Titans, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Benny Goodman, Billy Strayhorn, Bob Wilber, Duke Ellington, Ehud Asherie, Greenwich Village, HAPPY BIRTHDAY, Jazz Lives, Johnny Hodges, JULIUS CAESAR, Lil Hardin Armstrong, Louis Armstrong, Michael Steinman, Pug Horton, Sidney Bechet, Smalls, the Ides of March, Vanessa Tagliabue Yorke
FROM SWEDEN TO NEW YORK: ANNA and MATTIAS COME TO MAKE MUSIC!
Who are Anna and Mattias?
Anna Pauline Andersson is a fine light-hearted singer; Mattias Nilsson is her pianist and future husband. They will be giving a free concert on Wednesday, March 28, 2012, at the Swedish Church — starting at 7 PM. Anna thinks there will even be a small gathering / reception afterwards where people can mingle and perhaps buy her debut record.
The church is located at 5 East 48th Street, New York, New York 10017 — and its website is http://www.svenskakyrkan.se/default.aspx?id=546526 — I hope your Swedish is better than mine, though. But you can figure this out:
Onsdag den 28 mars kl. 19.00. Anna Pauline Andersson och Mattias Nilsson bjuder på en duo-jazzkonsert med utgångspunkt i den svenska viskulturen, i psalmer och folksånger. Här blandas svensk, traditionell musik med traditionella jazzstandards ur The American Songbook. Reception efteråt. Välkommen!
Anna tells me, "The concert we are giving is called (translated from Swedish) "Dual Traditions – The Meeting of Two Traditions," where we combine Swedish folk songs and hymns with American traditional standards and hymns. The duration of the concert is 1 hour. So there will be both pretty, happy and swinging melodies as well as more traditional folk songs with a 'hint' of melancholy, which is so typical for Swedish folk music."
Here is a video clip of Anna in performance — from Day to Night — with ISN'T THIS A LOVELY DAY into MOONLIGHT IN VERMONT. Mattias is on piano; Lasse Lundstrom, string bass; Jonas Holgersson, drums:
And here is Mattias, exploring BLOTT EN DAG (DAY BY DAY):
Mattias's website is www.mattiasnilsson.com and it is full of good music!
I think that we should welcome this most musical young couple to New York City. Don't you?
Posted in "Thanks A Million", Pay Attention!, Swing You Cats!, The Real Thing
Tagged Anna Pauline Andersson, free jazz concert, Jazz Lives, Jonas Holgersson, Lasse Lundstrom, Mattias Nilsson, Michael Steinman
MARIANNE SOLIVAN: IN BLOOM
I did not know the singer Marianne Solivan before hearing her at Smalls last year (in duet with Michael Kanan). I was a believer — convinced of her artistry — a few minutes into the first song.
Her debut CD, PRISONER OF LOVE, is just out — perhaps timed to coincide with the end of winter.
It is a wonderfully accurate representation of what she creates in performance, and I do not say that casually about many recorded works.
If you find the disc's title is off-putting, I will reassure you: Marianne Solivan is a brave, free artist — a prisoner of nothing, as far as I can see. In fact, she has written her own powerful verse to the title song, evidence of talents beyond her singing voice. On this disc, Marianne embraces a wide variety of emotions and textures in her work without being bound to any one of them.
Through intuition, taste, and experience, Marianne has avoided the traps that catch eager "jazz singers." She surrenders herself to the song, both lyrics and melody, rather than insisting that the song bend itself to her will. This is not to say that she is excessively respectful, bound by the written manuscript, quarter note by quarter note. No. In fact, she takes her own liberties — subtly reshaping the original melody and words as she goes — but her little bends and pauses, elevations and turns, leave me with the feeling that I have heard, for example, a reading of I GUESS I'LL HANG MY TEARS OUT TO DRY that is what composer and lyricist aspired to create. She is just that successful in her sweet inventions.
Although Marianne never "sings like a horn player," shorthand for someone pretending that written melody, cadence, and lyrics are to be tossed around vigorously, she does remind me of horn players — of late Lester and mid-period Ben, of Jimmy Rowles and early Miles. The singers who stand behind her are (among others) Sinatra and Betty Carter, but she has managed to make her own path around the intense pathos of one and the sharp dismissive edginess of the other.
And what Marianne does with the lyrics is uniquely rewarding. If you consider a sheet of music and lyrics, the words and syllables are often tied so tightly to individual notes that to sing them as written would be like reading a Keats sonnet, accenting every other syllable up and down to a metronome — thus obliterating meaning rather than enhancing it. Marianne doesn't "speak" her lines — her voice, cello-rich and powerful, will not be ignored — but she gives the lyrics a speech-like naturalness, as if she were discovering the words and the sentiments for the first time. Great acting without an actor's artifice: no self-pity, no drowning in pathos.
PRISONER OF LOVE is illuminated from within by intelligence, restraint, and headlong emotion. Marianne's producer is the fine jazz trumpeter Jeremy Pelt, who appears on one track; she and he have the best taste in musical colleagues, including Michael Kanan, Christian McBride (showing himself a fine writer in addition), Peter Bernstein, Xavier Davis, Ben Wolfe, Johnathan Blake. The musicians are enthusiastic but never get in Marianne's way: indeed, the eleven selections seem like a series of small playlets, of perfectly poised improvisatory conversations.
Here is a video memento of that evening at Smalls when I first heard Marianne — listen closely to her witty, amused, romantic recasting of THERE'S A SMALL HOTEL, where she is sometimes intimate, sometimes annunciatory:
As much as I admire that performance from July 2011, I can hear that Marianne has matured in the half-year since then . . . so imagine her at even higher levels of grace and casual splendor.
To hear her — only a few days ago — both singing and talking to John Schaefer of WNYC, click here.
Marianne's CD is available at Amazon (for antiquarians like me who prefer the tangible disc and sleeve) and at iTunes for those who believe that music can be sped invisibly through the air: click here for the Amazon link.
And the best news is that the remarkable Miss Solivan will be performing in the next few months not only in New York City, but in Boston and Washington, D.C. To learn all, visit her website here.
I am most excited about another duet performance that she and Michael Kanan will be creating — delicate magic in our ears — at Michael's studio, "The Drawing Room," a large, quiet, white-curtained room with a fine piano. It's at 70 Willoughby Street (# 2A, one flight up and follow signs on your left) in downtown Brooklyn — between Lawrence Street and Bridge Street, this coming Saturday, March 24, 2012. There will be two sets, beginning at 7:30 PM. And, since space is limited (seating for 50!) I recommend that you let Michael (at mpkanan@gmail.com) or Marianne (at her website) know that you will be there. Admission is only $10, and there will be a cash wine bar. Even for people like myself who are moderately challenged by Brooklyn, The Drawing Room is not difficult to get to: a variety of subway lines graciously come there: N,R,Q,B,F,A,C,E, 2,3,4,& 5 trains.
Marianne says, "Working in duo with Michael has been one of the most inspiring and challenging experiences in my life. I love the feeling of flight that I have with him in a song. I get so many musical ideas from him and I am challenged to be creative and honest. The feeling is amazing, I enjoy every minute of making music with him. We will be playing some songs from my new CD, Prisoner of Love, as well as some of our other favorites. Breathing new life into melodies that will never get old. I hope you can come out and share this with us."
Posted in "Thanks A Million", Bliss!, Generosities, Jazz Titans, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Ben Webster, Ben Wolfe, Betty Carter, Christian McBride, Frank Sinatra, Jazz Lives, jazz singing, Jeremy Pelt, Jimmy Rowles, John Keats, John Schaefer, Johnathan Blake, Lester Young, Marianne Solivan, Michael Kanan, Michael Steinman, Miles Davis, Peter Bernstein, Smalls, The Drawing Room, Xavier Davis
WHAT COLOR IS THE MUSIC? WHAT ETHNICITY IS JAZZ?
This open letter from the young singer Julia Keefe is, I think, a very gracious way to discuss an uncomfortable subject. Since Miss Keefe is not in any way polemical, I might take the opportunity for a few lines. In the history of giving honors and recognition to jazz musicians and singers, there has been a fairly clear hierarchy. African-American men got first preference (and under that rubric were included all players whose ethnicity looked in the least similar), then followed by Caucasian men. A long pause ensued, then African-American woman, followed by a few women of other ethnicities. This isn't an attack on Jazz at Lincoln Center, Mr. Marsalis, or any of the other august players and critics connected with JALC . . . but a quick perusal of the evidence will, I think, prove my general contention here correct.
When I was on the hiring committee at my college, we were instructed and encouraged — in the name of fairness, diversity, and equity — to ask ourselves "Who's missing?" when we considered our prospective candidates. In this context, I believe that the answer to that question can properly begin with the name MILDRED BAILEY at the head of the list. I know that the late Richard M. Sudhalter and Hoagy Carmichael would agree with me.
Here's Miss Keefe's letter:
AN OPEN LETTER TO THE NESHUI ERTEGUN JAZZ HALL OF FAME
Mr. Wynton Marsalis
c/o Selection Committee
Jazz Hall of Fame at Lincoln Center
33 West 60th Street, 11th Floor
New York, N.Y. 10023
Dear Mr. Marsalis and fellow Selection Committee Members:
My name is Julia Keefe, and I am a student at the Frost School of Music at the University of Miami in Coral Gables, FL, studying vocal jazz performance. I am also a member of the Nez Perce Indian Tribe. Shortly after I first became interested in jazz over ten years ago, I began researching the life of Bing Crosby, who also attended my high school, Gonzaga Prep, in Spokane, WA. I was surprised and happy to learn that Bing Crosby gave credit for his early success to a Native American woman from the Coeur d'Alene Tribe named Mildred Rinker Bailey who had, like me, lived her formative childhood years on her Idaho tribal reservation before moving to Spokane and discovering jazz. I am writing to urge that Mildred Bailey be considered for induction into the Neshui Ertegun Jazz Hall of Fame in recognition of her groundbreaking role in jazz history.
To say that Mildred Bailey inspired me in my chosen vocation as a jazz singer would be a great understatement. But I am not alone. Bing Crosby once said, "I was lucky in knowing the great jazz and blues singer Mildred Bailey so early in life. I learned a lot from her. She made records which are still vocal classics, and she taught me much about singing and interpreting popular songs." And a sideman from her husband Red Norvo's band, trumpeter Lyle "Rusty" Dedrick once wrote, "She had a magic. So many people down the line, so many singers, benefited from her, owe debts to her – and they don't even know it. Mildred Bailey probably never made a bad record; she made many that were excellent, and quite a few considerably better, even, than that."
As the very first female big band singer in America, Mildred was a role model and inspiration for contemporaries including Billie Holiday, Helen Ward and Ella Fitzgerald. She opened the door of opportunity for every female lead singer who followed the trail she blazed. Her singing style and phrasing caught the ear of aspiring young singers of that era including Tony Bennett and Rosemary Clooney, and still, much later, Linda Ronstadt. She was respected and admired by performers including Frank Sinatra, the Dorsey brothers, Coleman Hawkins and Artie Shaw. A 1944 Time Magazine review of her show at the Café Society in New York called Mildred, "just about the greatest songbird in the U.S."
Recognition of Mildred Bailey in the Jazz Hall of Fame would, I believe, open a door to a largely neglected and ignored chapter in the history of this All-American art form known as jazz: the involvement of First Americans. When I was living on my own reservation in Kamiah, ID, I came across old photographs of tribal members in small ensembles and quartets, playing jazz. One group, the Lollipop Six, was made up of young Nez Perce men who had learned to play their instruments while attending Indian boarding schools in the early 20th century. I can still recall how proud Lionel Hampton was when he visited our reservation to be honored while attending the international jazz festival at the University of Idaho that still bears his name.
On too many reservations in modern America there are not enough inspirational stories of successful native women who rose above the challenges they faced and helped to change history. But Mildred Rinker Bailey, did just that. Though widely thought to have been a white singer, Mildred was, in fact, a member of the Coeur d'Alene Tribe. Mildred once called traditional Indian singing, "a remarkable training and background" for a singer. "It takes a squeaky soprano and straightens out the clinkers that make it squeak; it removes the bass boom from the contralto's voice," she said. "This Indian singing does this because you have to sing a lot of notes to get by, and you've got to cover a lot of range." Every Native American who has ever attended a tribal ceremony, whether a feast, a memorial, or a modern pow-wow, knows exactly what Mildred Bailey was talking about here. I believe that Mildred Bailey's success as a jazz vocalist is grounded in her early vocal training and development from singing traditional tribal songs as a young girl on the Coeur d'Alene Indian Reservation.
I would deeply appreciate the chance to provide you and the other selection committee members, and your entire international voting panel, with a complete packet of information that I have collected while researching the remarkable career of the first female vocalist in America to sing with a big band. Recognizing Mildred Bailey's pioneering, ground breaking accomplishment, would do honor to the Neshui Ertegun Hall of Fame, and provide Indian tribes from across this country a symbol of their own contribution to the rich cultural heritage of a uniquely American art form that I have come to love, thanks in large part to Mildred Bailey.
Julia Keefe
Nez Perce Tribal member #4152
Frost School of Music, Class of 2012
www.whereismildred.com
www.juliakeefe.com
Posted in Irreplaceable, It's A Mystery, Jazz Titans, Jazz Worth Reading, Pay Attention!
Tagged Artie Shaw, Billie Holiday, Bing Crosby, Coeur d'Alene, Coleman Hawkins, Dorsey Brothers, Ella Fitzgerald, First American, Frank Sinatra, gender equity, Hoagy Carmichael, Jazz at Lincoln Center, Jazz Lives, Julia Keefe, Linda Ronstadt, Lionel Hampton, Michael Steinman, Mildred Bailey, Native American, Nesuhi Ertegun, racial equality, Richard M. Sudhalter, Rosemary Clooney, Rusty Dedrick, Tony Bennett, Wynton Marsalis
BLISS! (The EarRegulars and Friends at The Ear Inn, March 18, 2012)
If you think my title is hyperbolic, I urge you to go immediately to the video performances below, recorded live at The Ear Inn (326 Spring Street, Soho, New York City) on March 18, 2012. The players were "The EarRegulars," a small group originally founded by guitarist Matt Munisteri and trumpeter Jon-Erik Kellso. Last Sunday, Matt was off making audible fireworks in Austin, Texas, so the personnel was Jon-Erik (on a surprisingly svelte Puje trumpet); Andy Farber, tenor saxophone; Chris Flory, guitar; Neal Miner, bass. And their friends: Alex Hoffman, tenor; Dan Block, alto saxophone.
Swing aristocrats, casually launching their sweet ideas into the unknown. Stretching out, spreading joy, lighting up our souls.
Cole Porter's WHAT IS THIS THING CALLED LOVE? — at "Ben Webster tempo":
A romping COQUETTE:
I was exhausted on Monday morning but thrilled that I had stayed for this set. If there are any logicians and semanticists in the JAZZ LIVES readership, perhaps they can chew on this apparent paradox:
1) I don't think anyone could improve on this music.
2) The EarRegulars — in their various guises — do this whenever they play.
Blessings on all the EarRegulars and their noble friends — an uplifting community where every tub is on its own bottom — a model for us all.
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Ideal Places, Irreplaceable, Jazz Titans, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Alex Hoffman, Andy Farber, Ben Webster, Chris Flory, Cole Porter, Dan Block, Jazz Lives, Jon-Erik Kellso, Matt Munisteri, Michael Steinman, Neal Miner, The Ear Inn
HAPPY BIRTHDAY, BOB WILBER! (and THANK YOU, EHUD ASHERIE and PUG HORTON): Smalls, March 15, 2012
I know that in JULIUS CAESAR the Ides of March are a bad time to be out in public. But Bob Wilber — that's Robert Sage Wilber, clarinetist, soprano saxophonist, tenor saxophonist, composer, arranger, occasional singer, eminent bandleader — turned eighty-four on March 15, 2012, and played two substantial duet sets with pianist Ehud Asherie at Smalls (183 West Tenth Street, New York). So we have to conclude that the Ides are not ominous for everyone.
People who do not play instruments professionally forget or perhaps have never known just how difficult it is to do — consistently, on any level. Breath and reflexes, mental memory and muscle memory, all are essential attributes. And just as people slow down when they reach "the golden years," we might expect a musician's fingers and embouchure to weaken, to falter.
Bob is an astonishing example of someone at the top of his form. And this isn't sweet-natured hyperbole for a diminished elder player: listen to his firm attack, lustrous tone, gliding mobility. He was remarkable as a Bechet protege in 1947; he is even more remarkable now.
Bob calls Ehud "my favorite rhythm section in New York," and if you don't know Ehud's work already — intuitive, attentive, subtle, multi-hued, and swinging — you are in for yet another treat. Not only is he a delicious soloist, he is a splendidly sensitized accompanist.
It was lovely to meet a few old friends and to make some new ones (Alistair and Jan from London; Vanessa Tagliabue Yorke, among others) — and the audience was delighted to be in the same room as Bob and his wife Pug, to share their happiness.
The first set began with a lyrical version of Ellington's I LET A SONG GO OUT OF MY HEART — Bob's evocation of Johnny Hodges:
Even though I don't quite want to give Lil Hardin Armstrong as much credit for writing STRUTTIN' WITH SOME BARBECUE as does Bob, I have no quibbles with his floating version here:
More Ellingtonia. And why not? JUST SQUEEZE ME:
After Bob turned down Ehud's suggestion of HIGH SOCIETY, they settled on the cheerful THREE LITTLE WORDS (with echoes of Benny, of course):
Not only is THANKS A MILLION the way we feel about Bob; it's such a pretty Louis-associated song:
And the first set ended with Bob's tribute to Billy Strayhorn with — what else? — TAKE THE "A" TRAIN:
How generous — and how typical — of Bob to use his time in the limelight, the celebration that he had for himself, to honor the Masters: Louis and Duke, Lil and Strays, Benny and Hodges!
Take a fifteen-minute break: we'll be back for the second set! (Bob and Ehud are working the room . . . talking to friends, too.)
Posted in "Thanks A Million", Generosities, Ideal Places, Irreplaceable, Jazz Titans, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love
EIGHT NEW BARS OF TESCH ON TENOR? I HOPE SO.
"Atticus70" (that's the generous and careful Emrah Erken) proposes that the personnel of this hot dance record is: Sam Lanin dir: Jimmy McPartland, ? Al Harris, c / Tommy Dorsey, tb / Benny Goodman, cl, as / as / Frank Teschemacher, ts / p / bj / bb / d / Scrappy Lambert, v. New York, October 25, 1928. They are or were THE IPANA TROUBADOURS and the song is DO YOU?
Is it Tesch? Sure sounds like him:
Or isn't he? I recognize "phrase-shapes," to use the late Dick Sudhalter's wise words, that Tesch played on clarinet. And if it isn't Tesch, the unknown tenor player has an energetic spark that I enjoy listening to — to say nothing of frisky young Mr. Goodman. Enjoy it — more fun than debating!
I had a momentary ferocious crush on the Twenties girl with glasses . . . an added bittersweet pleasure!
Posted in "Thanks A Million", Awful Sad, Generosities, Irreplaceable, It's A Mystery, Jazz Titans, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Al Harris.Michael Steinman, atticus70, Dick Sudhalter, Emrah Erken, Frank Teschemacher, Jazz Lives, Jimmy McPartland, Richard M. Sudhalter, Sam Lanin, Scrappy Lambert, Tommy Dorsey, YouTube
IT'S ON SALE! "RUBY BRAFF: BORN TO PLAY: THE RUBY BRAFF DISCOGRAPHY AND DIRECTORY OF PERFORMANCES" by Thomas P. Hustad
Pssssssssssssst! It's on sale now at Amazon — $64.77 (to pre-order) instead of its $95 list price. Check it here.
I don't pretend to be objective about Tom Hustad's book. I've known him — through email, tape-trading, and telephone — for about a decade, and he loves Ruby as much as anyone, is ferociously accurate without being pedantic . . . and he can write. What's more, he had the benefit of long conversations with Ruby and long interchanges with people who had taped him, photographed him, corresponded with him . . . including myself. So I am very much looking forward to BORN TO PLAY and expect it to not only live up to but surpass my expectations.
Your birthday is coming soon, isn't it?
Posted in "Thanks A Million", Generosities, Irreplaceable, Jazz Titans, Jazz Worth Reading, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Amazon, BORN TO PLAY, Jazz Lives, Michael Steinman, Ruby Braff, Thomas P. Hustad
KALLY PRICE, ROB REICH, JIM GAMMON: "I'M CONFESSIN'"
Warning: this video is not for those who prefer their singers timid and demure. Kally Price is the closest thing to a Force of Nature I have ever heard: in fact, if I still had my television set, I would have expected to be notified of this video performance on the Weather Channel.
It's not that Kally is loud. Or that she screams and shouts. Or that she distorts the melody and lyrics into strange shapes, or overindulges in wild scat singing. None of the above. But what she does do is to take the most familiar song — in this case, the well-worn I'M CONFESSIN' — and imbue it with so much intense passion that it's a wonder that the song doesn't split at the seams. Kally has a rich, deep voice that can be sweet, mellow, or downright raw — and a huge emotional range, from caressingly tender to I-am-tearing-myself-open-right-now . . .
She is an extraordinarily powerful actress — I think she could play Medea — but she doesn't seem as if she is putting on an external guise. Rather, the words, the music, the power and the sweetness, bubble up from inside her. Here she's accompanied by the fine spare pianist Rob Reich (known better as the swinging accordion player for Gaucho) and the eloquent trumpeter Jim Gammon.
Courtesy of Porto Franco Records, you should watch, listen, and marvel for yourself here. (And I am sure that some of my readers know more about the history of I'M CONFESSIN' / LOOKIN' FOR ANOTHER SWEETIE than I do.)
Honestly, I feel shaken after listening to Kally Price. And that is a good thing!
Posted in "Thanks A Million", Hotter Than That, Irreplaceable, Jazz Titans, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged drama, Jazz Lives, jazz singing, Jim Gammon, Kally Price, Medea, Michael Steinman, Porto Franco Records, Rob Reich
DON'T MISS THIS! (and it's FREE): THE EARREGULARS AND THE POETS (Thursday, March 22, 2012, The School of visual Arts, New York City. 6-8 PM)
JAZZ AND POETRY
Thursday, March 22, 6-8 PM
A lively mix of words and notes featuring poet Sean Singer, writer Ann Rower, and jazz trumpeter Jon-Erik Kellso and his awe-inspiring jazz group The EarRegulars.
Sean Singer makes frequent reference to jazz and its history in his writing. His first poetry collection Discography won the 2001 Yale Series of Younger Poets Prize.
Ann Rower, a longtime School of Visual Arts faculty member, characterizes her combination of fiction and experience as "transfiction." Examples include Lee and Elaine (2002) and If You're a Girl (1990).
Jon-Erik Kellso is one of world's best jazz trumpeters and a regular on the international classic jazz festival circuit. He has been leader on several recordings, including Blue Roof Blues: A Love Letter to New Orleans (Arbors Records, 2007). Jon-Erik's stellar quartet includes Scott Robinson (saxophone), Matt Munisteri (guitar) and Pat O'Leary (bass) — all of whom have substantial reputations as players, leaders, and composers.
Presented by the Humanities & Sciences Department and the Visual Arts Library
Visual Arts Theatre
School of Visual Arts
333 West 23rd Street (between Eighth and Ninth Avenues)
A quiet note from the JAZZ LIVES master of ceremonies: some of my friends complain that they would like to hear The EarRegulars but find it genetically impossible to go below 14th Street in Manhattan. Others have schedules that preclude a Sunday night jazz-hang. Still others are watching their pence. All those commentaries are valid and not to be made light of . . . but here's your chance. Free! In Chelsea! At a reasonable hour! In a well-lit room! And the most hip among us know that fine jazz and inspiring poetry have the same improvisatory roots and blossoms.
I thought you'd say that. See you there!
Posted in "Thanks A Million", Generosities, Ideal Places, Irreplaceable, Jazz Titans, Jazz Worth Reading, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Ann Rower, Jazz and Poetry, Jazz Lives, Matt Munisteri, Michael Steinman, Pat O'Leary, School of Visual Arts, Scott Robinson, Sean Singer, The EarRegulars
MIGHT HISTORY REPEAT ITSELF?
"When the historians of the yet-unknown future ask of the end of the Empire, broad-ranging and all-powerful, that was Rome, they will uncover many theories and reasons, each put forward by writers sure of their inventions.
Yet the most compelling narrative of disintegration must take into account the Roman beaters of hides, the precious keepers of Time, the heart of the body politic. In the glorious past, the beaters of hides were prized for their regular rhythms, sure and unalterable, that they kept with their wooden beaters upon their hides.
Later generations, driven by an insatiable need for novelty, began to invent irregular rhythms, beaten on metal discs, the sacred hides used only for abrupt unpredictable percussive commentary, thus was the Empire lost to discord, internal strife, chaos, and the triumph of barbaric tribes."
Ammianus Marcellinus trans. A.G. Godley, Oxon.
Posted in Awful Sad, Jazz Worth Reading, Pay Attention!
Tagged A.G. Godley, Ammianus Marcellus, drumming, Jazz Lives, late Roman history, Michael Steinman
I HEARD A BRASS BAND COMING DOWN THE STREET (March 7, 2012)
Perhaps my title is slightly inaccurate. I didn't see this brass band coming down the street; rather, they slowly and cheerfully assembled themselves on the imagined bandstand of Radegast Bierhalle in Williamsburg, Brooklyn, around nine o'clock on Wednesday, March 7, 2012.
But they were a stirring group. No surprise, because Gordon Au was in charge (he wields his power very lightly and politely) of this different-yet-exhilarating version of the Grand Street Stompers. Different in that the front line was entirely brass — not brassy, but three players of brass instruments: Gordon on cornet; Jim Fryer on trombone and euphonium; Matt Musselman on trombone, with a rhythmic rhythm section of Nick Russo, banjo; Peter Maness, string bass; Giampaolo Biagi, drums. They rocked, they strode, they created a joyous atmosphere. And the two trombones gave this band a solid center that delighted me — especially since Jim and Matt are wonderful ensemble players, skilled at dancing around the other horns with great grace. For me, it summoned up sweet memories of one of the first jazz groups I ever saw in concert — the World's Greatest Jazz Band at a 1969 New York City concert steered by Dick Gibson (Zoot, Al, and Joe Newman were in one group) featuring the trombone duo of Vic Dickenson and Eddie Hubble, memorably.
At the end of this set, I left to get some sleep before my appointed rounds began on Thursday morning, but I asked Gordon if he would consider other unusual balances and instrumentations for the GSS, since this one was a honey. We shall see! Gordon called an easy one to start, but a meaningful choice. Even though he is a young man, he understands something about jazz's responsibility to remind people that life is finite and you had better have a good time — so CABARET, a Broadway-via-Christopher Isherwood carpe diem, made sense to set the mood of the evening. It also harks back to everyone's patron Saint, Mister Armstrong . . . it's impossible for me to hear this song without thinking of Louis, which is always a good thing:
To quote Cootie Williams, "Ain't the gravy good?"
I wouldn't be surprised if Gordon is telepathic, for he certainly seemed to be reading my mind. LIMEHOUSE BLUES, with the verse, was the feature number when I saw Vic and Eddie Hubble with the WGJB, so I was more than pleased to hear it here:
On the theme of psychic abilities . . . there's a lady they call THE GYPSY. Thank you, Louis! And thank you, GSS — Jim Fryer's euphonium sound is good enough to eat:
The GRAND STREET Stompers then launched into CANAL STREET BLUES — a geographical paradox that upset no one::
And here's Gordon's winning original, ONCE, DEAR:
I was thrilled to hear I MAY BE WRONG — memories of the John Kirby Sextet and (more memorably for me) a 1960 recording of the song by Joe Thomas, Pee Wee Russell, Vic Dickenson . . . on Prestige-Swingville:
Without a hint of uncertainty, the GSS proceeded to light up Charlie Shavers' UNDECIDED:
And going back to Louis — BLUEBERRY HILL:
It was a wonderful set by a wonderful band . . . .
Posted in "Thanks A Million", Generosities, Hotter Than That, Ideal Places, Irreplaceable, Jazz Titans, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Al Cohn, brass band, carpe diem, Cootie Williams, Eddie Hubble, Giampaolo Biagi, Gordon Au, hot jazz, Jazz Lives, Jim Fryer, Joe Newman, Joe Thomas, Louis Armstrong, Matt Musselman, Michael Steinman, Nick Russo, Pee Wee Russell, Peter Maness, RADEGAST, Vic Dickenson, Williamsburg, World's Greatest Jazz Band, Zoot Sims
"EVERYTHING IS ALL RIGHT DOWN AT MY END": SOMETHING FOR JIM GOODWIN
I never had the good fortune to meet the "spitfire" cornetist Jim Goodwin, but he is very much alive in my aural memory. If you ever heard him live or on records, you will know what I mean. He was a daredevil with great passionate intensity, wit, and emotion — and it all came through his horn.
If Jim is new to you, it's not too late to share in the experience: here is one place to start. Another, more audible, is Retta Christie's radio program — wishing Jim happiness on what would have been his birthday, March 19. Retta (a wonderful forthright singer you also should know about) took loving care of Jim . . . and she treasures him, his music, and wants to make sure more people know him.
Retta writes, "On Monday, March 19th on my radio show the Noontime Jamboree I will be featuring the music of the late Mr. Goodwin. Tune in from 12 – 2 pm on KBOO Portland, 90.7 FM for this special. Two new CDs with Jim playing horn have come out this last year. They will be featured along with music that Jim enjoyed listening."
And since only a few people reading this can pick up KBGO on their car radios, click here to listen online.
I think that no one is dead as long as he or she is remembered . . . so Jim Goodwin lives on.
Posted in "Thanks A Million", Awful Sad, Generosities, Hotter Than That, Irreplaceable, Jazz Titans, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged hot jazz, Jazz Lives, Jim Goodwin, Michael Steinman, Noontime Jamboree, Retta Christie, Sunset Music Company
"WHERE'S MILDRED?"
A very good question, and thanks to Julia Keefe for asking it, for making sure others hear it, and for keeping Mildred alive in her own singing! Read all about it:
Idaho tribe touts 'Mrs. Swing's' Indian heritage in bid for Lincoln Center recognition
By Associated Press, Updated: Thursday, March 15, 3:32 AM
BOISE, Idaho — Mildred Rinker Bailey was known to fans as "Mrs. Swing," whose slight, throaty voice won her acclaim as one of the great white jazz singers of the 1930s and 1940s.
But the Coeur d'Alene Indian Tribe is now hoping to set the record straight once and for all: Bailey, who died impoverished in Poughkeepsie, N.Y., in 1951, was an American Indian who spent her childhood on the reservation near DeSmet, Idaho.
This week, the tribe introduced a resolution honoring Bailey in the Idaho Legislature, in part to convince the Jazz at Lincoln Center Hall of Fame in New York City to add her to its inductees — on grounds she helped blaze a trail for better-known singers like Ella Fitzgerald and Billie Holiday.
"Mildred was a pioneer," said Coeur d'Alene Tribal Chairman Chief J. Allan. "She paved the way for many other female singers to follow."
Though Bailey's Coeur d'Alene ties may not have been common knowledge among her fans, it clearly wasn't a secret.
"Part Indian, she was born Mildred Rinker on a farm near Spokane," reads her Associated Press obituary, dated Dec. 13, 1951.
Still, in jazz history books, Bailey has gone down largely as a white female jazz stylist.
The New Grove Dictionary of Jazz hails her as "the first white singer to absorb and master the jazz-flavored phrasing…of her black contemporaries."
Howard Koslow, the illustrator who created Bailey's likeness on a 29-cent U.S. Postal Service stamp based on an image by iconic jazz photographer William Gottlieb, said he had only that brief New Grove entry as a reference.
But his depiction of Bailey's dark complexion and black hair, for the stamp issued in a series honoring jazz and blues musicians, appears to capture her complex heritage.
"She has that look about her," Koslow recalled Tuesday in an interview from his Toms River, N.J., home.
Bailey was born Feb. 16, 1900, in the Washington farming town of Tekoa, near the Idaho border.
Her mother was a Coeur d'Alene tribal member, her father of Swiss-Irish stock.
At 13, she moved from the reservation to Spokane, where a neighbor destined to become world famous as "Bing" Crosby joined Bailey and her brother, Al Rinker, at the family's piano. Al Rinker and Crosby formed the group "The Rhythm Boys."
By the mid-1920s, all three were singing in California; in 1929, Crosby recommended to famous orchestra leader Paul Whiteman he add Bailey as a regular.
"I was lucky in knowing the great jazz and blues singer Mildred Bailey so early in life," Crosby wrote in his 1953 autobiography. "I learned a lot from her."
So has Julia Keefe, a 22-year-old jazz singer from Spokane.
Keefe, a member of Idaho's Nez Perce Indian Tribe, discovered Bailey as a student at Spokane's Gonzaga Prep, while researching Crosby's own time at the Catholic high school.
"It took off like a flash flood," remembers Keefe, now a performance major at the University of Miami with Bailey's photograph hanging on her Florida apartment wall.
In 2009, Keefe performed a musical tribute featuring Bailey's songs, including "Old Rockin' Chair" and "He's Not Worth Your Tears," at the Smithsonian Institution's National Museum of the American Indian in Washington, D.C.
A year later, Keefe was touring the Jazz at Lincoln Center Hall of Fame, pondering the greats on its 18-foot video wall when she asked herself, "Where's Mildred?"
Thus began her quiet effort to elevate Bailey's profile in the modern jazz world, a push the Idaho Legislature hopes to assist.
"It's sad to think she died penniless, or nearly penniless, after all the things that she accomplished," said Rep. Bob Nonini, a sponsor of resolution. "But it's never too late to recognize somebody."
Lincoln Center officials didn't immediately respond to an AP request for comment.
An important question remains: How important were Bailey's Indian roots to her art?
An undated quotation, attributed to her by the U.S. Postal Service in 1994, hints at an answer.
"I don't know whether this (Indian) music compares with jazz or the classics, but I do know that it offers a young singer a remarkable training and background," Bailey reportedly said.
Bailey's niece, Julia Rinker-Miller, a Los Angeles-based singer whose credits include the "Three's Company" theme, was seven in 1951 when her aunt died in a Hudson Valley hospital, from complications of diabetes and obesity; Frank Sinatra reportedly helped pay her medical bills.
"Even though she was large, she was delicate, very exotic, sensual," Rinker-Miller recalled during an interview Tuesday.
From her father, Rinker-Miller heard stories of how they were called "breeds" after moving from the Coeur d'Alene reservation to Spokane.
Consequently, he downplayed his own American Indian background, she said.
She figures Bailey was forced to do likewise during her career — possibly why she became known as a white artist.
"Mildred's returning to her roots," Rinker-Miller said, of the tribe's effort to reclaim Bailey. "She's going home."
Posted in Awful Sad, Irreplaceable, It's A Mystery, Jazz Titans, Jazz Worth Reading, Pay Attention!, The Things We Love
Tagged Al Rinker, Billie Holiday, Bing Crosby, Bob Nonni, Coeur d'Alene, Ella Fitzgerald, Frank Sinatra, Howard Koslow, J. Allan, Jazz at Lincoln Center, Jazz Lives, Julia Rinker Miller, Michael Steinman, Mildred Bailey, Native American, Paul Whiteman


text:
Q: Unable to find the enum reference which is declared in same namespace in .net 3.5 I have created a class library project which has number of classes and enums. All are declared in same name space. However, while compiling the class library itself some other classes/methods reports error that not fininding the reference to perticular enums. I have declared enum as public.
namespace CommonInterfaces
{
        public enum SettingsType
        {
              EnumType1,
        EnumTYpe2,
        EnumType3
        }
}

namespace CommonInterfaces
{
        public interface IPlayer
        {
          void Add(SettingsType type); <-- Error occured.
       }
}

I tried giving full qualified name like CommonInterfaces.SettingsType but still it did not resove the problem. The exact error is
Error   1   The type or namespace name 'SettingsType' does not exist in the namespace 'CommonInterfaces'(are you missing an assembly reference?)
How to resolve the error?

A: Maybe its nested in other class? Then u have to use it like this: OtherClass.EnumName. Its only idea i have now. Such error could be solved only by knowing ur source code or at least where u define Enum and where it cannot be found.

A: i ran into this problem while using xamarin in vs2019. i  cleaned and rebuilt solution again and again but didnt work then i restarted visual studio and problem gone.

A: I ran into this problem in VS2019. Restarting Visual Studio solved the problem.

redpajama_set_name: RedPajamaStackExchange


text:
Welcome to Snow Sports NZ / News / Zoi Sadowski-Synnott Crowned Snowboard Slopestyle World Champion
Zoi Sadowski-Synnott Crowned Snowboard Slopestyle World Champion
Park City, USA (11 February 2019) – In a first for New Zealand, 17-year-old Zoi Sadowski-Synnott has claimed the FIS World Championship title in women's snowboard slopestyle. Sadowski-Synnott was the top scorer in yesterday's qualifying rounds with an impressive 91.75 points from a possible 100. Today's finals had to be cancelled due to heavy winds and an incoming winter storm and under international competition rules the qualifying results count as a final result.
The world championships have been plagued by bad weather, with Sadowski-Synnott missing out on the opportunity to compete in the women's snowboard big air when that event also had to be cancelled.
Sadowski-Synnott was the silver medallist at the 2017 World Championships and signalled that she was on track for a top result at the 2019 World Championships when she claimed X Games gold medal in snowboard slopestyle and silver in snowboard big air last month.
"I really liked the course," Sadowski Synnott said after the awards ceremony was held on Sunday, "I thought it had a really nice flow. I love the options for the rails. They gave you a ton to experiment with and get creative with. I was really stoked with yesterday's run. I dropped second from last, I put down my first run and was really really happy - I got my rail line and then my jump suite which I hadn't been getting in practice."
Watch Zoi's run here
After taking a fall and hitting her head on her second run of qualifying rounds Sadowski-Synnott was not due to start in today's finals competition.
Silje Norendal (NOR) claimed World Champs silver and the USA's Jamie Anderson the bronze.

redpajama_set_name: RedPajamaCommonCrawl


text:
The 1922 Detroit Titans football team represented the University of Detroit as an independent during the 1922 college football season. In its fifth year under head coach James F. Duffy, Detroit compiled a 7–2–1 record and outscored its opponents by a combined total of 116 to 54.  In addition to Duffy, the coaching staff included "Bingo" Brown (backfield coach), Pat Dwyer (line coach), and Harry Crowley (trainer).

The team played its home games at the new University of Detroit Stadium, built in 1922 at Livernois Avenue and Six Mile Road. The stadium was commonly known in 1922 as Dinan Field.

Quarterback Arthur P. "Patsy" McKenna was the team captain. Tackle Gus Sonnenberg, who went on to play eight seasons in the National Football League, was also a member of the team.

Schedule

References

External links
 1922 University of Detroit football programs

Detroit
Detroit Titans football seasons
Detroit Titans football
Detroit Titans football

redpajama_set_name: RedPajamaWikipedia


Last night before I went home from work I recieved a call letting me know my PET scan that I have been anxiously waiting for, was in fact post poned due to Insurance Prior Authorization. It is a very expensive test so I get it but I havent been able to get my routine test for a month now (so 2 months delayed) due to Insurance changes etc. If something was to show up and we could have seen it sooner I will be really upset because this is my life. Really frustrating to be put through all of this. I am in the Health Insurance business and I understand timing etc, but I have been battling this for a long time and its as if Im on my own to figure it out. Thank goodness I have insight and not left to figure out how things work.
Friday is a big day as it is a year post amputation and status of "cancer Free". BIG day for me and now I have the stress of a PET scan that day. Just ready to get it over with, get the results Monday, and see my Best Friend Angela who is coming over from California for a week. Heres to hoping this next week goes FAST!


text:
Global Risk Table
About ECR
Turkey remains scare story for investors
Jeremy Weltman Wednesday, June 15, 2016
The borrower's prospects are still failing to improve, despite decent GDP growth, as political and structural concerns preoccupy the risk experts.
Battle cry: president Recep Tayyip Erdogan's attempts to secure more
executive control have left investors in a quandary
The fall in Turkey's risk score in Euromoney's country risk survey last year continued during the first quarter of 2016, and preliminary data for Q2 – scheduled for release early next month – show the country still struggling to convince economists and political risk experts.
Economic prospects are not too bad. GDP increased in real terms by 4.8% year-on-year during the first quarter of 2016, underpinned by strong domestic demand.
Private consumption in particular handed the government a boost, signalling that domestically at least there has been no lack of confidence caused by the global outlook, or from regional instability.
Yet exports are struggling and the lira is susceptible to volatility caused by capital withdrawal, given the prospect of higher US interest rates and renewed political risk aversion.
None of the credit rating agencies seems to agree on Turkish creditworthiness. Fitch and Moody's rate the sovereign their lowest investment grade, but Fitch is a stable rating and Moody's is negative. S&P's rating of BB+ was recently revised from negative to stable.
Yet the opinion of risk experts is clear from Euromoney's survey data.
Turkey ranked 53rd out of 186 sovereign borrowers when we last remarked on its falling score trend in September 2015. It now ranks 58th, barely a 10th of a point higher than Brazil, another notable concern, and it could edge further downwards, with 55th-placed Romania on the rise.
The negative trend is reflected in five-year CDS spreads now showing a slightly higher risk of sovereign default for Turkish compared with Russian debt. Turkey's implied debt-insurance has loosened to 253 basis points; Russia's is 251bp.
Political concerns
Turkey's problems are largely political in nature. Last month's row between Justice and Development Party (AKP) president Recep Tayyip Erdogan and his then prime minister Ahmet Davutoglu seeking greater independence on policy but leading to the latter's departure, might have blown over.
However, it has left investors in a quandary, as Erdogan attempts to secure more executive control.
Amid the ongoing threats posed by Kurdish separatism, and contagion from the doorstep turmoil in Syria, Erdogan's new prime minister Binali Yildirim is a worry to the financial markets.
Investor favourite, deputy prime minister Mehmet Simsek, remained in place, calming the market reaction, but his powers are curbed by Yildirim, who is also ignoring pressure to improve the rule of law which has been demonstrably violated to exercise a crackdown on private business and put pressure on opponents of Erdogan and his party's direction.
The political environment is not conducive to the structural reforms that are necessary to maintain Turkish growth and deal with its underlying problems, not least to tackle high unemployment and inflation, and address the twin fiscal and external deficits.
The current account is predicted to be 4.8% of GDP this year, according to the European Commission, with other forecasters in the same ballpark. This deficit is moreover vulnerable to rising import costs from a mini-recovery in oil prices, and portfolio outflows threatening financing.
The fiscal deficit is still below 2% of GDP, and gross sovereign debt at 33% of GDP is reasonable. Yet inflation is high (8% to 9%), and so is the share of external debt, including foreign currency-denominated corporate sector debt, which has grown sharply, at a pace second only to China.
Peter de Bruin,
Commenting on the first quarter growth, Peter de Bruin, senior economist in emerging markets at ABN Amro, says: "Such a strong performance is most likely not sustainable for Turkey in the longer run."
More recent data for Q2 show this to be the case, with industrial production declining on a monthly basis in April, and slowing rapidly year on year. Tourism is also around 30% down due to terrorism fears, causing hoteliers and tourist operators to offer discounts.
Political risks add another dimension of concern, believes de Bruin, arguing that more power in the hands of Erdogan would "erode the checks and balances in Turkey", adding: "Such a move risks giving rise to civil unrest."
Turkey's risks are unlikely to be resolved quickly, and in that light Romania seems the safer bet.
This article was originally published by ECR. To find out more, register for a free trial at Euromoney Country Risk.
ECR survey results Q3 2022: Political risk is heightened by conflict, inflation and tightening financial conditions
ECR survey results Q2 2022: Covid, war and stagflation risks perplex investors
ECR survey results Q4 2021: EMs on back-foot as the year ends
ECR survey results Q3 2021: CEE shines but Brazil, Nigeria and other EMs recoil from global investing roadblocks
The material on this site is for financial institutions, professional investors and their professional advisers. It is for information only. Please read our Terms & Conditions , Privacy Policy and Cookies before using this site.
All material is subject to strictly enforced copyright laws. Euromoney Country Risk is part of the Delinian Group Delinian Limited 8 Bouverie Street London EC4Y 8AX Registered in England and Wales, Company number 00954730 Copyright © Delinian Limited and its affiliated companies 2023


Physiotherapy is something that has been helping many people to cope with injuries for years. These types of treatments can be very effective at helping people to manage their pain while making physical improvements. If you don't know much about the process that is involved with this type of therapy, then you would benefit from learning a bit more about it. Take a look at these four ways that it is helpful to you.
Perhaps the most important reason that people should seek out physiotherapy is to reduce their pain level. This type of therapy is very effective at helping patients to manage their pain symptoms. After suffering an injury, the pain might feel unbearable at first. Through time and effort, you can reduce your pain symptoms significantly.
Treatments such as taping, ultrasound, and even specific exercises, have proven to be effective. Taking the advice of a professional will help you to make progress towards reducing your pain. It may even be possible to completely eliminate the pain, depending on the circumstances.
If you have a condition that has negatively impacted your balance, then you know how frustrating it can be to fall down a lot. Falling down isn't good, as it can possibly cause you to injure yourself. Regular therapy sessions can help you to regain a lot of your balance and you will feel more stable overall. This is going to make life much safer for you in the long run.
Your mobility may have been compromised due to some sort of an injury. When you have the right therapeutic treatments to rely on, you can start to regain your prior mobility. It may take a long time to get back to where you were, but it is possible to make significant improvements. Doing your best to work hand in hand with your physiotherapist is going to help you feel like you can get around better.
Being able to get around easier is going to benefit your life. You want to be able to feel like you are capable of being independent. If your mobility can get back to an acceptable level, then you can avoid having to rely on others to get around. Some patients who could barely walk have been helped by physiotherapists to such a degree that they were able to completely turn things around. You may be able to find more resources and insights at the Dr Keogh Physiotherapy Clinic website.
Avoiding surgery might be possible if you can get the right treatments. Making progress with your physical rehabilitation can allow you to avoid invasive surgeries. You don't want to have to get certain surgeries performed if you can avoid it. Some surgeries will have certain risks and you may never be quite the same after you have had the surgery.
surgery, in most cases. It can be very beneficial to see how much you can improve your situation through therapy sessions before deciding to go through with a surgery.


For feedback or enquiries, please contact enquiries@bupamvs.com.au. To modify or cancel an appointment you will need your HAP ID number located on your referral letter.
And a brief description of your issue.
Fees differ across metro, city and regional areas. To compare, please view our medical fees.


Covering an open can will not be a problem with the Pink Flexible Suction Lid by Popware.
Why We Love It: You will never have to store a can of open, wet food in another container or waste it with the Flexible Suction Lid by Popware. To use, simply place the suction lid on top of an open can and slightly apply pressure to the center to form a vacuum seal. The Flexible Suction Lid is dishwasher safe and will fit most cans, glasses, and small containers. Never let your pets' food go to waste again!


text:
Click to expand menu.
The Week on the Hill
Federal News Network
WTOP Insights
Click to collapse navigation menu.
Washington's Top News
D.C. Metro 25°
Click to search.
site search query
60f1dde059
Close alert.
Joint Base Andrews
Joint Base Andrews was locked down for more than an hour Thursday morning after a report of an active shooter at a base medical facility turned out to be a false alarm.
Cars line up outside of Joint Base Andrews in Prince George's County Thursday morning. The base was locked down for 1.5 hours after there was a report of an active shooter. The lockdown has been lifted and the "all clear" given. (WTOP/Darci Marchese)
WASHINGTON — Joint Base Andrews was locked down for 1.5 hours Thursday morning after a report of an active shooter at a medical facility there turned out to be a false alarm as the base was about to begin a security drill.
All buildings were cleared about 10:40 a.m. and the base posted on its official Twitter account that there was no threat. Base officials did not answer questions from reporters who gathered at the main gate, instead officials tweeted some details about what led to the lockdown.
"This was a drill that was going on that was mistaken for a real event," said Defense Sec. Ash Carter during an unrelated event to discuss transgender service members.
Carter said military officials must figure out how to reduce the chances of such false alarms during security drills because it has happened before.
A "no-notice" active shooter drill was planned for Thursday morning on what officials described as "the opposite side of the base," the base reported on Twitter.
"Reports of a real-world active shooter situation at the medical facility were miscommunicated before the exercise was able to begin," the base said on Twitter.
Base officials also said there was a "misidentification of the security forces emergency services team who were conducting a routine inspection of the facility."
The base's commander Col. Brad Hoagland said there was no threat to the base.
"We take all threats seriously and reacted to ensure the security of those on the base," Hoagland said.
Base officials received the active-shooter report about 9 a.m. Thursday at the Malcolm Grow Medical Facility on the base. All personnel were directed to shelter in place at that time.
Sources tell NBC News justice correspondent Pete Williams that someone inside the medical center saw two men involved in the drill armed with rifles, which are not normally seen on the base. The person who spotted the armed men was unaware of the planned drill and called 911. The emergency call was routed to Prince George's County, which then alerted the base.
Flights were held during the lockdown and the medical center was evacuated, Williams said.
The base relied on social media to share updates during the ordeal.
A comment on the base's Facebook page asked whether the lockdown was related to a drill that was scheduled for Thursday morning. But the base responded, "We are responding to a real world report of an active shooter. We take this types [sic] of reports seriously and are responding accordingly to ensure the safety of those on base."
At 10 a.m., the base tweeted, "Due to the serious nature of this report, the base is reacting to ensure the safety of all personnel."
The base is home to Air Force One.
According to The Associated Press, Vice President Joe Biden was scheduled to leave from Andrews on Thursday morning, but his trip was delayed by the lockdown. The vice president's office said he was waiting out the delay at his residence at the Naval Observatory in Northwest D.C.
Emergency vehicles in the area of the base had on lights, but no sirens. At least three people in camouflage and helmets could be seen walking working dogs around the three-story building.
During the lockdown, a few people could be seen walking out of the building, including a person being moved in a wheelchair. Helicopters hovered overhead, but it was unclear if they belonged to news organizations or the military.
WTOP's Neal Augenstein said about 100 cars lined Dower House Road waiting to be let into the closed gate before the all-clear was given. Guards in green fatigues allowed some vehicles to enter the gate however.
Within minutes of the gates opening, the vehicle traffic dissipated and there was no sign that anything had happened.
Last October, an office worker misunderstood a notice advising staff of an upcoming active shooter drill, which resulted in a massive police response to a building that houses a defense contractor in Bailey's Crossroads in Fairfax County, Virginia.
CBS News and WTOP's Amanda Iacone contribute to this report.
by Neal Augenstein via twitter 6/30/2016 4:05:53 PM
Reception issue?
Connect with WTOP
Facebook Twitter Instagram Email Us
Copyright © 2020 by WTOP. All rights reserved. This website is not intended for users located within the European Economic Area.
Sign up for or manage your WTOP email subscriptions
Log in to your WTOP account for notifications and alerts customized for you.


Because we are like no other motorcycle riding group. Our rides are tailored to provide you with a scenic single track experience. We understand you do not want to ride on long boring dirt roads. We have made arrangements with landowners to gain access to trails that are not available to any other riding groups. During your ride you will experience some of Baja's rugged beauty and your adventure of a lifetime will be created for you whether you are a novice, intermediate, or expert rider.


A graduate of the University of Pittsburgh, Erin is currently working as a Casting Assistant in Mark Sak's office. She decided to bring her talents back to New York after spending a year working out west. She has worked in casting offices, both in New York and Los Angeles, such as Scott David Casting and Branman Brander Casting. She has experience as the Head PA for Rex Arrow Films having worked with artists including Nelly, B.O.B, and Mac Miller. She has cast several Independent films through these offices and on her own.


text:
Q: Linked list implementation of queue in C-about empty condition and free This is the code for deleting the front item from the queue I have already made.
I try to understand that itemPtr will be used somehow in main.. not known yet but that's not the point.
I wonder whether
if (queue->count == 0)

can be used instead of
if (!queue->count)

Are the NULL and 0 used in the same way?
To add, what does this do?
free(deleteLoc)

I thought deleteLoc will disappear after this dequeue method ends but why add this? This is not my code so I'm curious. Does it obliterate the memory that deleteLoc contained or queue->front ?
Isn't the point is to make the data itself be disappeared?
Thank you.
bool dequeue(H* queue ,void* itemPtr)
{
    node* deletecLoc;
    if (!queue->count)
        return false;
    *itemPtr = queue->front->dataPtr;
    deleteLoc = queue->front;
    if (queue->count == 1)
        queue->front = queue->rear = NULL;
    else
        queue->front = queue->front->next;
    (queue->count)--;
    free(deleteLoc);
    return true;
}

A:
I wonder whether
if (queue->count == 0)

can be used instead of
if (!queue->count)

Yes, you can always express an implicit comparison to zero with an explicit comparison and vice versa.

Are the NULL and 0 used in the same way?

In the context of implicit comparison to zero performed by if, while, and other control statements, comparison to NULL and comparison to zero behave in the same way.

what does this do?
free(deleteLoc)

To understand this you need to look through the code of enqueue and find a call to malloc or calloc. Essentially, free is an "undo" for malloc, telling the system that you are no longer using the memory allocated to it dynamically.

Does it obliterate the memory that deleteLoc contained or queue->front

It may or may not change the content of the memory pointed to by deleteLoc, but it does not matter, because that memory becomes off-limits to your program: accessing it after a call to free is undefined behavior.

A: if (queue->count == 0) will do the exact same thing as if (!queue->count) because in C if something evaluates to 0, if you treat it as a boolean it will evaluate to false.
In this context, yes, NULL and 0 will achieve the same thing. NULL refers to a null pointer, whereas 0 is usually the number zero, but they evaluate to the same thing.
Finally, free will get rid of memory allocated earlier. You've not shown all of the code but somewhere in the insert function, there will be a malloc (or similar function) which allocates memory for you to store your node in. Free gets rid of that memory and you need to call it when you are done with a node.


Has it really been 2 months since I posted on this blog? That's awful. Really truly awful.
Though, in a way, its good. It means I have been busy. Very very busy. But I'm going to try putting in a little more effort in the coming weeks. That's a promise!
And the even better news: because it's been 2 months since I last shared tidbits of my world... that means I have 2 months worth of tidbits to catch you all up on! And I'm so excited to share!
So, in the effort of easing my way back into the world of blogging, here is a little something fun!
My go-to printing place for all my deliciously satin paper goods was doing a big give-away to promote the launch of their new square cards... so naturally I set aside an hour to draw up a cute little card design that I wouldn't mind having on hand for saying wonderful words to the people I love: "thank you"'s, "thinking of you"'s, "just because"'s. That sort of thing.
And they came out beautifully. Not that I'm surprised. I really do love my printers. They are so wonderful!


I recently graduated from The University at Buffalo, SUNY in Buffalo, NY with my Masters in Rehabilitation Counseling. I also am nationally certified as a Rehabilitation Counselor by CORE and CACREP. Prior to that I graduated with my BA in Psychology and Criminal Justice with a concentration in Corrections from Mercyhurst University in Erie, PA. I have experience working in mental health and vocational rehabilitation.


Here is a Step by Step Guide on Setting Up WordPress Multisite on Nginx on Ubuntu 14.04 on HP Cloud with All Commands and the Configuration. So, we have no theory in this guide. This Guide, WordPress Multisite on Nginx on Ubuntu 14.04 on HP Cloud Will Be Followed By a Theoretical Article and a Screencast. The step by step commands obviously can be used by a newbie too on non-HP Cloud setup, the reader should start from third sub header in that case (Steps).
In any case, you must copy the commands on your plain text editor and then copy to SSH screen.
In order to getting started with WordPress Multisite on Nginx on Ubuntu 14.04 on HP Cloud, we have taken it granted, that you have done proper steps, like setting up the Router on HP Helion Public Cloud, Setting Up Ingress – Egress Policies, optionally using HP Cloud Banner as pre-login SSH screen.
We always recommend to use, two server configuration. Hence, the guide for having a Separate Database Server. We will use the Subnet for internally connecting, which will not be discussed here. WordPress Multisite on Nginx on Ubuntu 14.04 on HP Cloud Demands Minimum Idea about Server Administration. You, possibly should add couple of Varnish Server in Replication to make it fail safe.
We are taking it granted that, you opted to go for WordPress Multisite on Nginx on Ubuntu 14.04 on HP Cloud instead of using IP based Virtual Hosts.
You will need a 8 GB instance to run WordPress Multisite on Nginx on Ubuntu 14.04 Parter Image on HP Cloud for smoothly running 10 websites with some load. Application Server can be of 4 GB, if you are using InnoDB as Engine, provided that you are using W3 Total Cache's Database Cache. WordPress Multisite is a complicated matter, if the server fails, your nerve will fail. This WordPress Multisite infrastructure on Nginx is for managed hosting. Only exceptions of using lesser resource is either websites with very low load or all websites are yours. 2GB – 1GB configuration will be fine in that case. WordPress is written in the worst language named PHP. Nowadays, you will find PHP Experts. Fact is, if WordPress was written in Ruby or Python, we would need one 1 GB server. For the ineffective language plus WordPress, plus MySQL, it is risky; too risky to lower down your budget. With that one 1 GB server, your websites would run more faster than one 8 GB instance at frontend. An excellent project is going on to make a kind of WordPress in Python. Do you know the name? No. Your guess is wrong, you are thinking about that one which starts with "M"? No. That is running on my this Mac as localhost! I am writing that for my own need!
Very meaningful line. The pathetic pain with SSL certificate installation can push you to read older docs on IBM's website! Ubuntu is not the original UNIX. UNIX Wheel group is not present. Nginx www user be unable to find the path for SSL. mkdir -p is for ordinary works.
SSH to the instance, run sudo su to become root. If sudo is throwing error like "sudo: unable to resolve host", read it. You have a Separate Database Server. This is the bunch of commands needed to install Nginx and PH5-FPM.
## are you blindly copy pasting?
are you blindly copy pasting?
# are not found? lol are you blindly copy pasting?
My Website 1 is abhishekghosh.net (Primary domain). This is the site that is created when WordPress is installed. My External Domain (My Website 2) is abhishekghosh.pro. dr.abhishekghosh.net is a subdomain (My Website 3).
WordPress Multisite is very difficult to manage from backend on security point.
We will create a new one named thecustomizewindows.
`$host` variable creates separate log files for each domain. It does thing like the `cat` utility.
This is why, the advanced coders get angry on PHP and WordPress. Hackers are also reading this! You have to apply a sense to give the output to the fake location /etc/nginx/sites-available/abhishekghosh at fronted. Your basic target is to stop the hacker to change your HP Cloud Account's Password!
It is normal, that you need to copy paste the real password somewhere. my.cnf can have 0.0.0.0 as Bind IP. It does not matter much on HP Cloud's setup. On Rackspace, as there is no visible Router, that Private IP is a bit dangerous. Again, paid Amazon is like HP Cloud. Digital Ocean is like Rackspace (minus the cost). Rackspace is worthless right now. We used Rackspace for the past 4 years. Excellent behavior. For the excellent behavior we are writing about HP Cloud! HP Cloud, IBM and the other old companies are reliable, Digital Ocean is least costly. But, on Digital Ocean, your instance can get deleted! Amazon is less reliable than HP Cloud, IBM and the other old companies.
It can give a bit pain initially, but secure. Again Nginx can get only in trouble. wp-config.php is a dangerous file!
That define('FS_METHOD', 'direct'); will solve upload issue. You can tighten the security by chmod value later. We need only read access to wp-admin, wp-includes except at the time of updates. A tight chmod value is better. When you'll update, again chmod to 0777 or whatever you want. Again chmod to a tighter after the update. PHP is a great software, thats why so much precaution! Ruby would need env, Python would need env. PHP needs nothing. If you put a PHP INFO file at public root, you might get hacked. Yeah, its quite easy. Scripts are available to hack. Do not try those scripts on other's server, even own server! Police will immediately arrive and put you inside a cage! You need a written permission only to hack your own website. Because, Cloud is Multitenant!
If we did it before, we would face White Page. May be. No warranty with PHP.
Unchecking the option 2 and checking the option 5 can create duplicate content issues with search engines. This is why You'll see, self hosted websites works better in long term. Self hosted = 1 server, 1 website at minimum.
The Sites > All Sites section should now show an additional ID column. Note down the ID values for each site.
I wrote something there along with the others. Whatever, you might face error, you might need to edit a bit, but this way will give 95% chance to run without pain. It is very complicated to optimize FPM or FAST CGI. There is way to make WordPress WP-Admin running on different server – Move WordPress Administration to Different Server or Sub-Domain. Thats great to prevent getting hacked. We have separate guides for optimizing the parts of everything mentioned here.
Your Database server is the main Server! That is the Application Server. There are all the post contents, all data. FTP server only saves the media content. Taking backup of MySQL database and WP-Content will work fine. Openstack Snapshots will be very big. Keep one Snapshot at running condition and take file level backup manually from a third server.
You can ask Rackspace or HP Cloud's support personnel as a client – whether this WordPress Multisite on Nginx is safe or not, they will ask your need. That falls among Cloud Consultancy. Do not use hundreds of Plugins if you resell. The plugins, themes for sites should be manually checked, links removed, any tracking code needs deletion.
This Article Has Been Shared 5083 Times!
How To Get Auth Token in HP Cloud OpenStack Swift?
Here is How To Get Auth Token in HP Cloud OpenStack Swift, Which is Possibly Most Frequently Asked Question. It Will Also Work For CyberDuck.
Cite this article as: Abhishek Ghosh, "WordPress Multisite on Nginx on Ubuntu 14.04 on HP Cloud," in The Customize Windows, January 13, 2015, April 21, 2019, https://thecustomizewindows.com/2015/01/wordpress-multisite-nginx-ubuntu-14-04-hp-cloud/.


Description:Genuine antique French Empire clock case of very high quality case.The superb quality marquetry inlay with gorgeous detail inlaid rosewood and boxwood The shaped base raised on elegant out swept legs. The clock face in white hand painted enamel complete with minute and hour hands surrounded by engine turned Ormolu frame and original domed bezel glass. Mechanism may be later but is untested and is not guaranteed to work. Key and pendulum included. You may get lucky! This is an estate matter and we don't have the time to check this item so it will be sold as clock case only but includes all in the items in the images The buyer understands that it may require clockmaker to service this and or repair as such when fully restored it will be worth several thousand dollars. Enjoy this bargain !!!French circa 1830 Height 36 cmWidth 24 cmDepth 12 cmYou are bidding on the French clock case as described and illustrated above any accessories or other items are in separate future listings.Weight 2 kg without packaging. Add kg for packed weight estimate. All items MUST be sent FULLY INSURED and this is cost ebay doesn't calculate, so please WAIT till we invoice you.Please note Ebay's postal cost calculator is only and ESTIMATE .Please wait until we invoice you with the best value servicePlease ask for costsprior to paying for your winning bid as all items remain UNPACKED until theclose of the sale, hence postage costs are only an estimate BIDDING TIP: place my maximum proxy bid on items desire. The ebay system only every bids on my behalf if there is competing bid from someone else, and it never bids against myself so its like having virtual champion working the auction for you until competing bids expire or you have reached your maximum bid.This always works for me as buyer. Too many bidders are distraught because they were locked out of placing bids at the last second. The truth is you almost always never get second chance given the time constraints. Regret for loosing can be devastating so be winner and place bids early to show your interest.


text:
Nadezhda Alekseyeva, 58, fled from the armed conflict in Horlivka. She hid in the garden and saw how the bombs threw both people and cars up in the air. John Engedal Nissen / IFRC
By John Engedal Nissen, IFRC
Nadezhda, 58, hid in her garden, wearing only pyjamas. From there she saw people and cars tossed through the air by explosions.
"I was too scared to feel anything. I just hoped the bombs wouldn't hit where I was," she said. "It was terrifying to see the bombs flying through the air because I had no idea where they would hit."
Although she escaped the blasts, others were not so lucky. Her neighbour and many people she knew were killed. The shelling and shooting eventually left the neighborhood in ruins.
The bombings were still falling, as Nadezhda fled the city, still only clad in pyjamas. She had been without electricity and water for 12 days.
She now lives in a shelter in Svyatohorsk together with other people forced to move by fighting and where the Ukrainian Red Cross Society is providing heating, emergency supplies and health care.
Nadezhda said: "The people from the Red Cross have changed my life. They have helped me mentally as I have struggled with the experience of seeing the bombings. But they have also helped me medically; I am often sick and cannot afford to go to the local hospital."
Without a job, pension or savings, Red Cross support is a lifeline for Nadezha.
More than 1.4 million people are internally displaced in Ukraine. The Ukrainian Red Cross Society provides the most vulnerable with food, access to health, safe accommodation, hygiene kits and non-food items. The International Federation of Red Cross and Red Crescent Societies has launched an emergency appeal of nearly 20 million Swiss francs to support the humanitarian response of the National Society.