text:
Tishomingo, Mississippi, is a tiny town: between 1910 and 2020, the census recorded a population of 423 at its height in 1940. But in 1917, Spencer Williams wrote TISHOMINGO BLUES. My guess is that Williams knew the city only by hearsay, and was entranced by the sound of its name (he was living in New York City). But it’s a delightfully moody jazz classic with evocative lyrics.
It’s also a very durable song: musicians love it and it sticks in the memory. Here is a splendid dark yet hopeful rendition from the Thursday-night-pre-pandemic-band-of-heroes who graced Cafe Bohemia, 15 Barrow Street, on January 30, 2020: Albanie Falletta, vocal and resonator guitar; Jon-Erik Kellso, Puje trumpet; Evan Arntzen, clarinet and tenor saxophone; Jen Hodge, string bass:
I hope that it’s not too cold and inhospitable where you are. If it is, play this music again. You’ll feel warmed.
THIS JUST IN. The regularly scheduled evening gigs (8-11 PM) and afternoon delights (4-6 PM) will be recorded on both days. It will all be open to the public.
On January 15th, the band will be Jon-Erik Kellso, Matt Munisteri, John Allred, Pat O’Leary and guests Chris Flory and Scott Robinson.
On January 29th, Kellso, Munisteri, Allred, Neal Miner, and guests Jay Rattman, Scott Robinson, and Evan Christopher.
And I am sure there will be many other good surprises.
Great news from JAZZ LIVES’ hero Jon-Erik Kellso:
We’re going to make a “Live at the Ear” CD for Arbors Records on Sundays, January 15th and 29th, and I really hope you can attend!
We’re going to record the regularly scheduled evening gigs, and also mid/late afternoon sessions there on those days, open to the public, and we hope to pack as many of our friends in there to create the best listening atmosphere.
John Allred, trombone; Scott Robinson, reeds and brass; Matt Munisteri, guitar; Pat O’Leary, string bass, will be on the 15th.
John Allred, Matt Munisteri, and Neal Miner, string bass, will be on the 29th.
And we expect a few of our other favorites as special guests.
Here’s why this is exciting news.
BEALE STREET BLUES (2018):
DO YOU EVER THINK OF ME? (2016):
IN A MELLOTONE (2013):
SOMEBODY STOLE MY GAL (2011):
COTTON TAIL (2010):
The Ear Inn, the oldest still-active bar in New York City, is at 326 Spring Street. The EarRegulars, a small mobile shape-changing group of players les by Jon-Erik Kellso, has been in attendance every Sunday night — time off for holidays and pandemics — since July 2007. I was there on the second Sunday (Jon-Erik, Howard Alden, guitar; Frank Tate, string bass) and have been a happy visitor ever since, bringing a video camera along in 2009.
The group — often trumpet, a horn player, guitar, string bass — has usually begun the evening session as a quartet, but has expanded to thirteen players on one memorable occasion.
TIGER RAG (in two parts, 2011):
and the tip of the tiger’s tail as it curled around the building:
The Sunday sessions at the Ear have provided some of the most intimate thoughtful music I’ve ever heard, and some of the most exuberant jamming. So I have been hoping for a formal recording since the start, and Arbors Records has the experience and expertise (thank you, Rachel Domber) to make the result a wonder.
But musicians thrive on an appreciative audience. So I hope you can attend these sessions. Details above! Mark your calendars.
If the hot jazz classic THAT DA DA STRAIN is known at all these days, it might be for the versions recorded by the New Orleans Rhythm Kings, Muggsy Spanier and his Ragtime Band, or Bud Freeman and his Famous Chicagoans. But this 1922 tune has not been forgotten, not by a long shot. The delightful evidence will appear below, I promise.
First, some history.
Wild Bill Davison called this tune “baby talk” when explaining its title to an audience, and another musician linked it to the Dadaist movement in art. Each to their own.
I had forgotten that the song — lyrics by Mamie Medina, music by J. Edgar Dowell — had lyrics. (I haven’t found out anything about either of them.)
And here they are sung, wonderfully and energetically, by Ethel Waters. She’s joined by Joe Smith’s Jazz Masters: Joe Smith, cornet; George Brashear, trombone; possibly Clarence Robinson, clarinet; Fletcher Henderson, piano:
How could you resist a song whose first words of the chorus are DA DA, DA DA (repeated)? I am avoiding the knotty question of whether the hyphen belongs in the title or not: see below.
And for those who want to play it on the piano while the gang sings along, here is the treasure, the Thing In Itself, thanks to the Detroit Public Libraries.
and now, the recent past, as delineated in my title. Jon-Erik Kellso, Puje trumpet; Evan Arntzen, clarinet; Albanie Falletta, resonator guitar; Jen Hodge, string bass. Performed at Cafe Bohemia, 15 Barrow Street, New York City, on January 9, 2020.
“Isn’t that wonderful?” I want to ask rhetorically, but on second thought, want to make it a statement: “Damn, that’s wonderful!” — the splendid mixture of down-home porch music, New Orleans flavors, and heat.
(I know this post isn’t about me, or ME, but performances like this are why I carry a heavy knapsack with cameras, batteries, tripod, and notebook. My body complains but my soul leaps.)
These four sterling musicians are doing the thing in various places: keep track of them for pleasure, pure and delicious. And Cafe Bohemia will host Matt Rivera and the Hot Club of New York starting Monday, January 9, 2023 (7-10 PM). Read all about it here.
Sometimes change is frightening; in this case, the promise of changes to be made is a delight.
Here are four heroes, raising the room temperature in the best ways: Jon-Erik Kellso, Puje trumpet; Evan Arntzen, clarinet and tenor saxophone; Albanie Falletta, resonator guitar, vocal; Jen Hodge, string bass. Performed at Cafe Bohemia, 15 Barrow Street, New York City, on January 9, 2020.
Be careful. It’s HOT.
Halcyon days. And so wonderful that these four creators are still on the scene. Follow them in person to gigs if you want these joys aimed right at you.
for the historically-minded, here’s the 1924 Gennett recording by Guy Lombardo and his Royal Canadians:
and the 1928 Columbia by Thelma Terry and her Play Boys (with Bud Jacobson, Gene Krupa, and Thelma propelling it all on string bass):
Ninety years later, the song explored by living people in a jazz club, our friend-heroes Jon-Erik Kellso, Puje trumpet; Evan Arntzen, clarinet; Albanie Falletta, resonator guitar; Jen Hodge, string bass.
Performed at Cafe Bohemia, 15 Barrow Street, New York City, on January 9, 2020. Remember that date: it will show up on the final exam.
“Why January 9?” you ask.
After a long hibernation, Cafe Bohemia has once again opened to present fine live jazz, and on January 9, 2023, the Hot Club of New York, the lovely creation of Matthew “Fat Cat” Rivera and his heroic friends, returns in the flesh to 15 Barrow Street.
Details as I learn them, but the phrases “rare jazz on 78s from the original source,” and “jam session” did stick in my head.
For now, let’s savor the glories of January 9, 2020, while we dream ahead to 2023.
Legend has it that this was Al Capone’s favorite song, and another accretion of story has it that Sal was a legendary madam of an Evansville, Indiana bordello. We do know that MY GAL SAL was composed by Paul Dresser, whose brother Theodore was known for large novels, shocking in their realism. (Vic Dickenson changed the first line of this ditty to “They called her Syphillis Sal,” which seems relevant.)
But here’s a legendary performance by four heroes who happily are still with us, making the best hot lyrical sounds: Jon-Erik Kellso, Puje trumpet; Evan Arntzen, clarinet; Albanie Falletta, resonator guitar; Jen Hodge, string bass. Performed at Cafe Bohemia, 15 Barrow Street, New York City, on January 9, 2020:
Magical music created by friend-heroes. Catch them at their gigs and be uplifted by their generous joyous sounds.
I’ve been a fan of Vince and the Nighthawks for twenty years or more, and they are unique at what they do. And now, a weekly gig again!
Almost all of the shows are sold out, but tickets are still available for December 13 and January 3. The Birdland Theater is a compact space, so I suggest you get tickets without delay. Visit BirdlandJazz.com . . . .
You’ll notice that I don’t offer video evidence, although I often brought my camera to the Nighthawks’ gigs. They are too large, too splendid for a camera of my sort — and Birdland does not allow video-ing, so they have to be caught live, hot, in person. If you know them, you know, and if you don’t know, come and be uplifted.
Forward to the 2022 Mike Durham Whitley Bay Classic Jazz Party.
CHINATOWN, MY CHINATOWN might have stayed as an obscure pop tune, its lyrics more than slightly suspect, if Louis Armstrong — who loved Asian cuisine — had not recorded it. You can find his versions and those of Red Nichols, Fletcher Henderson, and the Cambridge University Quinquaginta Ramblers online without wrinkling your clothing through exertion.
But as an appetizer to the delightful cuisine that follows, I offer a recording that not enough people have heard, Reginald Foresythe’s HOMAGE TO ARMSTRONG:
You can also chase down versions by Art Tatum, Jack Teagarden, the Georgia Washboard Stompers, Hot Lips Page with Eddie Condon, Lionel Hampton, Roy Eldridge, Slim and Slam, Sidney Bechet, Teddy Wilson, Punch Miller, Kid Ory, Louis Prima, George Lewis.
But here’s a wonderful version from just a few days ago, captured at a night-time jam session at this year’s Mike Durham Whitley Bay Classic Jazz Party by Emrah Erken, he of the roving iPhone (his YouTube channel, a basket of marvels, is “Atticus Jazz”). The participants are Jon-Erik Kellso, Puje trumpet; Graham Hughes, trombone; Michael McQuaid, clarinet; Lars Frank, tenor saxophone; David Boeddinghaus, piano; Felix Hunot, banjo; Harry Evans, string bass; Richard Pite, drums.
This music doesn’t come tepid in a little cardboard box. Thank you, all!
I started writing this post about ten days ago and wrote several mournful paragraphs to begin, then thought, “I should put this aside for a bit,” as one does. I came back to it, reread it, and thought, “If Murray read this, he would perhaps say, with a gentle tilt of his eyebrow, ‘Really, Michael,’ and then pause for more than four bars, so that I would know I had been excessive. So since he created joy, I will cut to the music, which is joyous.
But first, as they say, here is the most detailed obituary for Murray:
THE SYDNEY MORNING HERALD, August 27, 2022
Played bass for some of the great jazz musicians
(JAMES) MURRAY WALL September 28, 1945-July 18, 2022
Murray Wall, one of Australia’s most highly regarded jazz musicians, has died in New York City after a short illness. Originally from Melbourne, yet largely unknown in this country, Wall lived and worked for almost 50 years in New York. Over his lifetime, he played and toured with some of the world’s greatest jazz musicians including Benny Goodman, Barry Harris, Jon Hendricks, Eartha Kitt, Clark Terry, Anita O’Day, Billy Eckstine and Mel Torme.
Wall was born in Melbourne and grew up in the bayside suburb of Sandringham. In 1955, at the age of 10, his sister Sheila took him to a Nat King Cole concert at Festival Hall, a performance he would later credit as having inspired in him a life-long love of music. He was largely self-taught and learned jazz by playing along to records by Oscar Pettiford, Ray Bryant, and Lester Young. He also studied classical double-bass with Marion Brajsa, the principal bassist with the Melbourne Symphony Orchestra.
Wall began playing professionally in 1962, working in dance bands with his brother Richard before progressing to performing and recording music in the Melbourne jazz scene. In 1969, he moved to Sydney to play bass in the first Australian production of Hair at the Metro Theatre in Kings Cross. Having established himself as a professional musician, he soon became an in-demand bass player for visiting American musicians such as Clark Terry, Billy Eckstine, and Mel Torme.
In 1979, Wall moved to New York and began studying improvisation with the jazz pianist, Lennie Tristano. In the early 1980s, he was invited by the legendary swing band leader Benny Goodman to join his group and continued performing with him until Goodman’s final gig the night before his death in 1986.
Wall was based in New York for his most of his working life and played with some of the most respected musicians including Ken Peplowski, Marty Grosz, Keith Ingham, Frank Vignola, Chuck Wilson, Buck Clayton, Eddie Locke, Claude Williams, Richard Wyands, Grover Mitchell, Kenny Davern, Warne Marsh, Dave Van Ronk, and Spanky Davis. He was also a regular player at Barry Harris’ renowned weekly jazz masterclasses.
Wall was hugely respected for his peerless musicianship and melodic playing as well as his friendship and camaraderie that made him widely liked and sought after by band leaders. He was generous with his time in helping younger players and Australian jazz musicians on pilgrimages to New York would seek him out for his anecdotes and advice. He was a working musician until the end and kept a regular gig at the 11th St. Bar until shortly before his death.
Wall is survived by his wife Diana, daughter Gabrielle and stepson Alexis, grandchildren Raphael and Olga, brother Richard and sister Sheila and their extended families in Australia.
Written by Guy Freer and his wife, Gabrielle, Wall’s daughter.
That’s one way to sum up Murray, beautifully. Here are four more: portraits in sound, where he is joined by Joe Cohn, Scott Robinson, and Jon-Erik Kellso on January 30, 2020.
For Hoagy, Louis, Jack, Mildred, and others, ROCKIN’ CHAIR:
THERE’LL BE SOME CHANGES MADE:
I FOUND A NEW BABY:
CREOLE LOVE CALL:
Thank you, Murray, and resonant gentlemen. Your sounds will vibrate forever.
Deep. Spiritually deep. Sonically deep. Melodic, lyrical, playful, emotive yet compact. Those are the sounds Murray Wall made on the string bass. Here he is surrounded by friends, colleagues, admirers, peers: Jon-Erik Kellso, trumpet; Scott Robinson, reeds; Joe Cohn, guitar. All of this took place on a pre-pandemic Thursday night at Cafe Bohemia, 15 Barrow Street, Greenwich Village, New York City.
And the song Louis chose to keep it rolling:
Murray, you remain in our ears and our hearts. I forego the usual closing flourishes.
Before we start, on Monday, August 22, 2022, there will be a celebration of Murray Wall’s life and music at the 11th Street Bar in New York City (510 East 11th Street, between Avenues A and B, where Murray and Richard Clements co-led a band for a long memorable time. The website says 7:00 to midnight; the bar does not take reservations, and I won’t be in New York, so any video documentation will be by someone else. (Will someone take that unadorned hint?)
But the best way to love Murray is not in memory but in actuality; I want to do that here.
Let’s go back to January 12, 2011, for the momentous occasion of tenor saxophonist Ted Brown’s first gig as a leader in forty years. It happened at the Kitano Hotel, and Ted was joined by Murray, string bass; Michael Kanan, piano; Taro Okamoto, drums.
FEATHER BED (Ted’s line on YOU’D BE SO NICE TO COME HOME TO):
and LULLABY OF THE LEAVES:
HOW DEEP IS THE OCEAN? — those loving questions answered in sound and feeling:
GONE WITH THE WIND:
and finally, a performance that Murray doesn’t play on — a duet between Ted and Michael on PRISONER OF LOVE — but you’ll permit me to imagine him at a table near the band, listening and admiring, as we all were:
And something lovely that only a few people who weren’t at 15 Barrow Street, New York, on January 30, 2020, have experienced — I’LL NEVER BE THE SAME, performed by Jon-Erik Kellso, trumpet; Scott Robinson, tenor saxophone; Joe Cohn, guitar, and Murray:
Murray Wall improved the spiritual landscape for anyone who knew him, even casually, and his art continues to do so today. I will have more to share with you.
Murray Wall, irreplaceable musician and man, moved to another neighborhood last month.
Here is my first posting in his honor. There will be more.
When dear and memorable people leave the planet, we don’t stop missing them in a few weeks, a few years, ever. Their absence is palpable, as was their singular presence. Murray was sweetly modest and utterly swinging; he created a beautiful foundation no matter what the context.
Here he is with Jon-Erik Kellso, trumpet; Scott Robinson, reeds; Joe Cohn, guitar, on a Thursday night set (January 30, 2020) at Cafe Bohemia on Barrow Street in Greenwich Village, New York:
He sent love to us; I hope he knows that love was and is sent in return, in profusion.
A sweet and hot experience from a world in transition, in parole, as it were. Music beyond compare amidst strollers, chatters, and puppies on leash. Marvelous that it happened, and thrilling that it happened in a time and place that I and the OAO could visit. And we brought back souvenirs for you.
Here’s a rocking Louis performance that continues to inspire: ONCE IN A WHILE, with memories of Louis Armstrong and his Hot Five, performed on June 6, 2021, at The Ear Out — 326 Spring Street, Soho, New York — by the EarRegulars, who were Jon-Erik Kellso, Puje trumpet; Jay Rattman, clarinet; Matt Munisteri, guitar; Tal Ronen, string bass, and guest Josh Dunn, guitar (Josh takes the first solo, and in the Louis spirit, note Jay’s WEST END BLUES at the end of his solo (2:31)).
ONCE IN A WHILE, indeed, magic filled the air. Thanks to technology (a completely obsolete Panasonic HD video camera and very solicitous RODE microphone on a reliable tripod) it can be revisited at leisure.
The summer of 2021 was memorable in many ways for jazz lovers in New York City. A resurrection of sorts, if you will. And one of the most endearing manifestations of that coming-alive impulse was the space outside of The Ear Inn, 326 Spring Street, Soho, New York, on Sunday afternoons, where The EarRegulars made us all feel joyous and free, once again. (They are back to their regular Sunday-night revival meetings, from about 8 to about 11 PM: superb community and surprises galore.)
October 17, 2021, was one of those surprises, when Bill and John Allred, father and son trombonists, got together to add to The EarRegulars, who were Jon-Erik Kellso, trumpet; Matt Munisteri, guitar; Pat O’Leary, heroic warrior [to be explained below] and string bass. What Bill and John do together is part practice, part telepathy, and wholly gratifying. And The EarRegulars are always living examples of thoughtful swing, in solo and ensemble.
Here’s Irving Berlin’s ALWAYS:
and the affirmation of romantic commitment:
and — under the heading IF YOU CAN MAKE IT HERE, YOU’LL MAKE IT ANYWHERE, the heroic battle of Pat O’Leary versus The Siren:
We had a wonderful time, out there in the fresh air and bright sunshine. Memorable hours among friends and the best sounds. And it still is happening Sunday nights, so come visit.
I think of this as the Jazz at Chautauqua Thursday Night All-Star Jam Band, and after you hear and see them for nine minutes I predict you will understand why.
Thursday night sessions, before the jazz weekend began, were loose swinging affairs in the Athenaeum Hotel parlor, where we sat at the same level as the musicians (rather than below them in a large ballroom) and all kinds of good things happened, as they did on September 20, 2012.
Here are Jon-Erik Kellso, trumpet; Scott Robinson, cornet; Dan Barrett, trombone; Bob Reitmeier, clarinet; Alex Hoffman, tenor saxophone; Rossano Sportiello, piano; Jon Burr, string bass; Pete Siers, drums, romping on I’LL SEE YOU IN MY DREAMS, which begins in the most sweetly exalted 1936 Teddy Wilson style. Imperishable. I can’t watch it only once. And to list all the delights would take away your pleasure in finding them, so get ready to compile your own list of astonishments:
That kind of performance — expertise, wit, enthusiasm, joy — happens often when musicians of this caliber gather and the cosmic vibrations are right, but to me this is a perfectly memorable interlude, one I treasure.
Thanks to the musicians and to the late Joe Boughton, the emperor of rare songs, swing, and good feeling.
Three I’s: IMPORTANT, IRREPLACEABLE, and INEXPENSIVE.
But I’ll let Dan Levinson explain it all to us.
In 1992, legendary record producer George Avakian produced an album in homage to the pioneers of 1920s Chicago Jazz, known as The Austin High Gang, who had been among his most powerful influences when his love for jazz was developing. Those pioneers included Frank Teschemacher, Eddie Condon, Jimmy McPartland, Bud Freeman, Muggsy Spanier, Joe Sullivan, Gene Krupa, and others. Avakian’s 1992 recording featured two bands: one, directed by pianist Dick Hyman, which played Hyman’s note-for-note re-creations of the original recordings; and a second band, led by clarinetist Kenny Davern, which played its own interpretations of songs associated with the Chicago Jazz style, keeping the SPIRIT of the original artists close at hand. I was in the Teschemacher role in Hyman’s band, and had never been in a recording studio before.Avakian financed the whole project, but, sadly, was never able to find a label that was wiling to reimburse his cost and put the album out. The last time I went to visit George, in June of 2017, I asked him about the album again. Then 98 years old, he was clearly disappointed that it never came out, and he asked me to continue his search for a label and to “get it issued”. I exhausted my resources at the time, and wasn’t able to make it happen before George passed away several months later. Three years later, Bryan Wright, founder of Rivermont Records, rode in to save the day. And this month – thirty years after the original recording session took place – Avakian’s dream project is finally coming out on Bryan’s label as “One Step to Chicago: The Legacy of Frank Teschemacher and The Austin High Gang”. Bryan has – literally – spared no expense in assembling a beautiful package, which is actually a CD inside a booklet rather than a booklet inside a CD. I’ve written extensive liner notes detailing every aspect of the project, and there are also written contributions from author/record producer Hank O’Neal, guitarist Marty Grosz, and drummer Hal Smith, a specialist in Chicago Jazz style. I was able to track down the original photos from the recording session, and Bryan’s booklet includes a generous selection of them. I want to gratefully acknowledge the help of archivist Matt Snyder, cover artist Joe Busam (who designed the album cover based on Avakian’s 1940 78rpm album “Decca Presents an Album of Chicago Jazz”), the family of George Avakian, Hank O’Neal, Maggie Condon, and the New York Public Library, whose help in making this happen was invaluable.The album features a truly spectacular lineup of artists, including, in various combinations: Peter Ecklund, Jon-Erik Kellso, Dick Sudhalter, Dan Barrett, Ken Peplowski, Dick Hyman, Marty Grosz, Howard Alden, Bob Haggart, Milt Hinton, Vince Giordano, Arnie Kinsella, and Tony DeNicola.
The CD and digital download are available on the Rivermont Records website here. A vinyl version – a two-record set, in fact – will be available later this month.
And here is Rivermont founder (and superb pianist) Bryan Wright’s story of ONE STEP TO CHICAGO.
“Dick Hyman and his Frank Teschemacher Celebration Band” (Ecklund, Sudhalter, Kellso, Barrett, Levinson, Peplowski, Hyman, Grosz, Haggart, Giordano, Kinsella) play / recreate classic Chicago recordings from the Golden Era of free-wheeling jazz: ONE STEP TO HEAVEN / SUGAR / I’VE FOUND A NEW BABY / CHINA BOY / LIZA (Condon, not Gershwin) / SHIM-ME-SHA-WABBLE: eighteen minutes in the most divine Hot Time Machine.
and “Kenny Davern and his Windy City Stompers” (Davern, Kellso, Barrett, Hyman, Alden, Hinton, DeNicola) going for themselves on THE DARKTOWN STRUTTERS’ BALL / WABASH BLUES / NOBODY’S SWEETHEART / THE JAZZ ME BLUES / BABY, WON’T YOU PLEASE COME HOME? / INDIANA.
and — a bonus — a nearly nine-minute excursion on FAREWELL BLUES by the combined bands.
But I can hear someone saying, “Enough with the facts. How does it SOUND, Michael?” To which I respond without hesitation, “It sounds terrific. Finest kind. It delivers the goods — sonically, emotionally, and heatedly.”
I will give pride of place to the writers / scholars whose words and reminiscences fill the eighty-page booklet (complete with wonderful photographs) Dick Hyman, Hank O’Neal, Dan Levinson, Hal Smith, and Marty Grosz, explain and elucidate, as they do beautifully, the roles of George Avakian, Eddie Condon, Bix Beiderbecke, and two dozen other saints of Hot. That booklet is both perceptive and unabashed in its love for the people and the sounds, and it is more than worth the price of admission. Unlike much jazz writing about the hallowed past, it is also delightfully free of hyperbole and something I will politely call hooey.
The CD — aside from the booklet — has two wonderful selves. The first six performances are evocations of the original, classic, recordings, with musicians who know the originals by heart working from expert transcriptions by the Master, Dick Hyman. The business of “re-creation” is difficult, and I have gotten into trouble in the past when pointing out that in some cases it feels impossible. Great art comes hot from the toaster; it is innovative, imagined for the first time in those minutes in the recording studio. So re-creation requires both deep emotional understanding of the individuals involved, the aesthetic air they breathed, and expert sleight-of-hand to make a listener believe they are hearing the ghost of Tesch rather than someone dressed up as Tesch for Halloween.
But the re-creations on this disc are as satisfying as any I’ve heard, more than simply playing the dots on the page, but dramatically assuming the characters of the heroes we revere. They are passionate rather than stiff, and wonderfully translucent: when Ken Peplowski plays a Bud Freeman chorus, we hear both Bud and Ken trotting along in delightful parallel.
I confess that the second half of this disc makes my eyes bright and my tail wag: it isn’t “hell-for-leather” or “take no prisoners,” or whatever cliches you like to characterize the appearance of reckless abandon. What it presents is a group of sublime improvisers bringing all their knowledge and heart to the classics of the past, playing their personalities in the best ways. And each selection reminds us that however “hot” the Chicagoans prided themselves on being, lyricism was at the heart of their performances. I cherish INDIANA, performed at a rhythm-ballad tempo by Kenny Davern, Howard Alden, Milt Hinton, and Tony DiNicola, and the other band selections are full of surprises, pleasing and reassuring both. The closing FAREWELL BLUES has all the joy of a Condon Town Hall concert, and that is no small accomplishment.
And I can’t leave this without noting how lovely the recorded sound is — applause for David Baker, Malcolm Addey, and Peter Karl. I’ve heard more than two-thirds of these performers live, often at very close range, and this disc captures their sounds, their subtleties so marvelously.
This disc is a treasure-box of sounds and homages, with lively music from present company. I predict it will spread joy, and my only encouragement would be for people to for once shun the download, because they won’t get the book. It’s the Library of Alexandria transported to 35th and Calumet.
And here are some sound samples so no one need feel that they are purchasing on faith, although faith in these musicians and these producers would be wholly warranted.
For about six months — September 2019 to March 2020 — much longer than one brief shining moment, we had Cafe Bohemia, downstairs at 15 Barrow Street, Greenwich Village, New York City. And on Thursday nights, if I recall correctly, the Cafe Bohemia All-Stars, led by Jon-Erik Kellso (“You know them, you love them.”) took the stage.
Here’s a particularly sinuous and searching WABASH BLUES, performed by Jon-Erik, Puje trumpet; Dennis Lichtman, clarinet; Josh Dunn, guitar; Jared Engel, string bass.
The photograph shows the Wabash River in Indiana.
This memorable performance doesn’t make me want to book a flight to the Wabash River, but it certainly makes me wish that we could have those Bohemia nights back.
Here’s a location in space and time where the past and present embrace, each retaining all their distinguishing features. That is, Marty Grosz, guitar, vocal, and erudition, leading an ensemble at the 2014 Cleveland Classic Jazz Party in the song first introduced by Ethel Waters, SUGAR, that was then taken up by the Austin High Gang for their 1927 record date as “McKenzie and Condon’s Chicagoans.”
The noble creators are Jon-Erik Kellso, trumpet; Dan Barrett, trombone; Dan Levinson, tenor saxophone; Scott Robinson, taragoto; James Dapogny, piano; Jon Burr, string bass; Pete Siers, drums.
It’s clearly impromptu (but all the great performances were in some part) from Marty’s heartfelt rubato solo chorus to the split-chorus solos with special reverence for James Dapogny’s piano in glittering solo and supportive ensemble. It’s confectionary. And memorable.
Incidentally, if, after enjoying Marty and his pals, you need more sugar in your bowl, try Ethel’s version, Louis’, and the Lee Wiley – Muggsy Spanier – Jess Stacy one. And of course the McKenzie-Condon version, which is playing in my mental jukebox as I type. Then follow your own impulses to heated sweetness.
I missed out on the Reno Club, and Fifty-Second Street transformed downwards years before my birth, but there are serious compensations. I did and do have The Ear Inn (and so do you) where The EarRegulars have been playing every Sunday night from 8-11 PM since the summer of 2007. 326 Spring Street, Soho, New York City.
This is one of the earliest videos I shot there . . . at a time when YouTube allowed posters to take dark-hued video and change it into black-and-white. So we have my version of film noir, bowing to Ida Lupino, to the Reno Club, to wartime Greenwich Village jazz, to building intensity through backgrounds and riffs. All priceless.
Fault-finders are encouraged to floss with a cactus needle, then take Nipper out for a constitutional.
The song? Handy’s BEALE STREET BLUES. The performers? Jon-Erik Kellso, Puje; Duke Heitger, trumpet; Harvey Tibbs, trombone; Dan Block, clarinet; Matt Munisteri, guitar; Neal Miner, string bass. Heroes all. They know what to do — no one needs a GPS — and they do it beautifully, individually and collectively. And they know how to sustain and build a mood, gently but dramatically, for twelve minutes.
And, yes, such things are still possible. But you do have to get out of your chair and find them where they are happening . . . real players, too substantial for any lit screen. Bless them when you see and hear them, too.
“On the night in question,” as they say on police procedural television shows, Jen Hodge, string bass, and Albanie Falletta, resonator guitar:
I recently uncovered much more music from this night — before the world went into its nightmarish nap — and hope to share it with you. What wonders were created! And, fortunately for us, the four heroes are alive and well and playing / singing beautifully today.
Memorable music flourishes in the most unlikely situations. Cellar Dog (once Fat Cat) at 75 Christopher Street, is dark — and the happy crowd of young people playing ping-pong and other indoor sports can sometimes be, let us say, overly conversational. But one’s eye and ear get used to these imperfections: the world isn’t a concert hall. The delightfully shaded music comes right through, as it did on the evening of March 16, 2022, when Tamar Korn, voice; Mark Shane, piano; Jon-Erik Kellso, trumpet; Kevin Dorn, drums, came out of the darkness to embrace us. And the ping-pong players were dancing at their tables, so they heard it too.
BIG CITY BLUES:
CLOSE YOUR EYES:
and, cosmologically, with an “oration” from essayist-philosopher Michael Ventura, Tamar and the band soar HOW HIGH THE MOON:
An absolutely delightful musical evening. Elsewhere on this blog I have posted three instrumentals by the Kellso-Shane-Dorn powerhouse, and Tamar’s completely touching performances of ISN’T IT ROMANTIC? and YOUNG AT HEART. Watch, marvel, and be there in spirit.
At the end of last summer, one of the great pleasures was the Sunday sessions created by the EarRegulars outside of the Ear Inn on 326 Spring Street. I’ve been sending their wonderful music out slowly, a performance at a time, hoping to come to the end of the 2021 gifts as the 2022 summer sessions begin again. Cue Helen Humes singing I CAN DREAM, CAN’T I?
On October 3, the EarRegulars were Jon-Erik Kellso, trumpet; Matt Munisteri, guitar; Harvey Tibbs, trombone; Neal Miner, string bass. And here they are musing their way, collectively and singly, through Jelly Roll Morton’s SWEET SUBSTITUTE, with delicacy and fervor:
Accept no substitutes. Ask for The EarRegulars wherever better music can be found. (They have resumed their Sunday evening sessions indoors, from 8-11, loosely, and those gatherings at 326 Spring Street are also life-changing, in subtle ways.)

domain: entertainment


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Patricia Walters – Christian Mother Award
My Name is Patricia Walters, I have been married to Anthony for 37 years, we have four married adult children, with 5 children between them. In addition we have 3 foster daughters now living with us.
My parents both laid the foundation teaching within me to know who God is and how much he loves and cares for us. Since the age of 11, I have been walking with the Lord, who has shaped my life to where I am today.
When I was a young child I always wanted to be a teacher and hoped to pursue a career in this field. However, when I left school, I obtained a job working in administration and continued in this path until the late 1990’s.
When I met Anthony he was a service man in the Royal Airforce subsequently we travelled into Europe and our first daughter, who is now a head teacher was born in Germany where we lived.
I first saw my mother fostering when I left home which activated a passion in me to work with children and the vulnerable. In 1999 I became a full time foster carer along with my husband and continue to foster to date. I have offered a home to over 60+ children from various backgrounds, supporting and nurturing children and young people with extreme challenging behaviour to those traumatised through neglect and rejection.
One of proudest achievements is our first foster child who now calls me mum, and has adopted our family surname and is well integrated in to our family and is now married with his first child.
I have held various roles within the church including Sunday school teacher, to G12 Cell group Leader. In 2011, I graduated with a social work degree, then in 2020 I completed a Diploma in Biblical studies which birthed in me the desire to evangelise, to share the word of the lord at home and abroad.
Currently, I continue to foster, alongside volunteering to UCB prayer team praying with individuals who request prayer on a weekly basis. As the lord leads once a month, I send out monthly encouraging videos on social media to promote the Gospel.
My desire in moving forward is that God will continue to use me to influence and evangelise to all those I come in contact with.

domain: christianity


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The Government has offered help "to all businesses who have been affected by floods", the farming minister has told Daybreak.
George Eustice said the Government had delayed "the payment of business rates" and "have asked HMRC to be lenient on businesses".
More top news
Study suggest that the number of takeaway outlets has significantly increased over the last 20 years, particularly in the poorest areas.
A teachers' union has suggested the number of teachers facing abuse on social media has more than doubled in just 12 months.
A survey has found that one in five young professionals in the UK consider themselves to have a drinking problem.

domain: topicality


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Investment in Physical Property has been a cornerstone for multi-asset solutions. However, investing in Physical Property through investments funds, which provide daily liquidity can cause liquidity mismatches.
While the impact of this liquidity mismatch is not observable under normal market conditions, periodically, when these inherently illiquid investments are subject to large amounts of redemption, the impact manifests itself in valuations as well as the ability to monetise the value in the holdings. Thus, when a financial planner advises a client to set aside money to spend in the future, the client is clearly expecting that when the time comes, they will be able to spend it. No financial planner needs to be told the client reaction to, ‘I am sorry, but you cannot have your money’.
With this in mind, we looked to reduce the liquidity impact of Physical Property in our investment portfolios.
We recognize that Physical Property provides diversification to a multi-asset portfolio, but we feel that the diversification provided is due to the inherent nature of the investment, primarily the lack of valid mark-to-market valuations, which characterize a freely traded instrument like a stock or bond, wherein the risk arising out of liquidity are built, into the price.
As we recognize that yields from Property investments (as well as infrastructure and other long-term investments) can be quite high, we felt to reduce the impact of liquidity in the solutions through a daily priced mechanism would be more suitable in the long run. With this in mind, we feel that access to the high longevity assets through Investment Trusts would be more suitable.
The use of REITS in multi-asset solutions allow us to access the cash flows of illiquid assets without subjecting the portfolio to any of the liquidity risk of the underlying assets. It has been a much favoured way of investing in Property across the globe.
In our experience, more and more asset managers, who provide multi-asset solutions and do not have access to in-house property funds, are resorting to the use of REITs as a means to access Property investments. However, REITS tend to be much more correlated with equities rather than the underlying Property holdings. This is because these investments are quoted on an exchange and allow an investor to easily rotate out of this asset allocation as and when he or she chooses. During periods of market instability, REITs tend to exhibit volatility characteristics and correlations akin to equities. However, we feel that it is a small price to pay for the liquidity and ease of investment operability that it brings.
At Dynamic Planner, when considering the asset allocation changes, we felt that using a mix of REITs and Physical Property was an appropriate way to invest in the Property asset class. To cater for the increased volatility and correlation that the mix provided, we decided to cut down our holdings in the Property bucket from 8% to 5%. This, we felt, was the best way to balance the reduced risk from liquidity against the increased risk of correlation in the portfolio.
Find out more about Dynamic Planner’s asset allocation and Asset and Risk Modelling.

domain: economics


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The Prime Minister of Luxembourg was accused of plagiarizing his master’s thesis at the University of Nancy in France. Xavier Bettel, in reaction to the criticism, said on Wednesday that “he should have done differently”, reported the AFP agency and the Luxembourg daily “L’Essentiel”.
According to the reportage service of Luxembourg journalists reporter.lu, “three quarters” of the diploma work of Luxembourg Prime Minister Xavier Bettel from 1999 contain borrowings from other publications, without appropriate footnotes. – Today I admit that I could, and maybe should have done differently – the head of the Grand Duchy of government referred to the allegations.
The Prime Minister of Luxembourg is responding to the accusations
Xavier Bettel, 48, Prime Minister of Luxembourg since 2013, said he leaves it to the Lorraine University of Nancy to judge whether the thesis met the criteria at the time of its presentation more than 20 years ago. He added that he would accept any decision of the university authorities.
The case hit the front pages of most Luxembourg newspapers on Wednesday, adds AFP. For a similar reason, the Federal Minister for Family Affairs Franziska Giffey resigned in May in neighboring Germany, recalls the French agency. Doubts concerned her doctoral dissertation.
Main photo source: Alexandros Michailidis / Shutterstock


NASA asked researchers to look into what to do if an asteroid targeted earth. Some enterprising students have decided that gravity is the most efficient (and cheapest) way to deflect big rocks from destroying our small planet. What’s more is that the students have designed their device to perform research on the asteroid as the spacecraft does it thing.
The equipment will collect data on the location and composition of the asteroid and relay it back to Earth. It is considered very unlikely that Apophis will collide with Earth. However, if required, the craft will be sent to it again in 2025 and, using its gravity, will begin to divert the asteroid from its path. Due to the difference in mass between the asteroid and the spacecraft, it will not be able to divert the asteroid with enough force and will need the assistance of the Earthâ€™s mass. Since in 2029, the asteroid is supposed to pass near the Earth, the spacecraft will use the Earthâ€™s mass in order to divert it.


text:
The term optical transmitters refer to the source of light in an optical system.
It is fairly obvious that the light sources are an integral and a crucial component of a ﬁber optic network. The span length, the number as well as the placement of regenerators and ampliﬁers (like EDFA’s) are all dependent directly or otherwise on the transmitter types.
That’s a phase 1 of evolution of fiber networks, you can read more about it here.
In all commercial applications as well as equipments the conversion of signals from electrical to optical and Vice-versa is done by an integrated electro-optical unit (E/O)that functions as a transmitter and receiver.
The issues of thermal dissipation, efﬁcacy of heat sinks, size, and method of coupling the optical power onto a ﬁber are all taken care of the manufacturer and in most cases the users would not have much say in the same.
The modern day architecture consists of racks or skeletons which are equipped with cards also referred to as plug-in-units or plug-in-cards (PIU or PIC). AN-CH05 media converter chassis is an example of such PIC and PIU system.
The electro/ optical (E/O) unit is integrated with other functional components and would be in the form of a plugin-card the user can only decide among the various types of cards offered by the manufacturers, based on certain parameters discussed later in this chapter.
In this post we will focus only on the transmitter which serves two major functions:
1. Provide a source of light for transmission over the ﬁber
2.Modulation of the source in accordance with the transmitted data.
The former (point 1) involves emission and the subsequent coupling of light onto a waveguide which is nothing but the ﬁber.
The second function involves the variation of the intensity of light being coupled onto the ﬁber.
The olden day transmitters were fabricated using discrete electrical as well as electrooptical components. These were subsequently replaced by integrated circuits (IC) of varying designs starting from small scale integration (881) to the current multilayer very large scale integrated (VLSI) chipsets. The commonly employed optical sources include Light Emitting Diodes (LED), Laser Diodes (LD) as well as Vertical Cavity Surface Emitting Lasers (VCSEL).
Like we discussed in this article, applications that commonly use VCSELs include spectroscopy, ﬁber optic communication, laser printers, broadband transmission (Analog) and optical mouse. Some models of Multimode Fiber Media Converters use MM VCSCEL lasers.
Read more about differences between Lasers and LED’s here.
Following are some of the important design considerations for a transmitter:
- The physical dimensions must be compatible with the size of the FCC being used.
- This implies that the emitted light must be coupled into a cone with a cross sectional diameter 8-100 microns.
- The optical source must be able to generate enough optical power so that the desired bit error rate (BER) can be met.
- In order to ensure the optimal usage of the high bandwidth offered by the FCC, the optical source must be capable of being modulated by a high frequency electrical signal.
- The coupling efficiency (the amount of power that is actually transmitted along the ﬁber) should be high.
- The source should have a high coupling efﬁciency.
- The linearity of the optical source should facilitate the suppression of harmonics and intermodulation distortion.
- The source must be made available in a compact low footprint, low weight package with and high reliability.

domain: physics


text:
NASA just sent a robotic probe on a mission to Mars! Here’s what it’ll explore.
How NASA Engineers Use Origami To Design Future Spacecraft
Why Do We Care So Much About Mars? Johns Hopkins Scientist Explains
“Mars is a dynamic place. It’s almost like visiting Egypt’s pyramids. We know amazing things happened here once. But where did all the water go, and why is it now a dead planet? It’s the only other planet in our solar system that had liquid water on its surface, yet something went wrong along the way that made the planet diverge pretty strongly from the Earth.”
If We Found Life on Mars, How Would We Know?
“Finding evidence for life on Mars has been a decades-long ambition for NASA, which has spent billions of dollars to send machines wheeling over, poking and probing the Red Planet. But once the signs of life are found, how are those findings verified?”
Seven Ways Mars InSight is Different
“NASA has a long and successful track record at Mars. Since 1965, it has flown by, orbited, landed and roved across the surface of the Red Planet. What can InSight — planned for launch in May — do that hasn’t been done before?”
Sign Up For The Seeker Newsletter Here – http://bit.ly/1UO1PxI
cool #nasa videos- NASA Just Launched a Mission to Mars to Dig Deep Inside the Planet’s Core #Space #videos #NASA #News #SpaceVideos

domain: aerospace


Not only is Alien one of the most important post-war sci-fi and horror films, it also contains a scene which will forever live in the minds of cinemagoers. The success of Ridley Scott’s film, and its sequels, ensured its iconography became enshrined within popular culture and celluloid mythology. As with many classic films there’s a fascinating backstory behind its inception, production and appeal.
Memory: The Origins of Alien, the new documentary from Alexandre O. Philippe, tells the origin story behind the creation of the iconic film. Thankfully, this is no Prometheus. Whilst Scott may have taken the helm, he wasn’t the only integral player in its birth. Named after Dan O’Bannon’s original script, we’re transported back to the very beginning to discover how one man’s vision and another’s visual imagination helped create something truly special.
If you’re a fan of the franchise then Memory: The Origins of Alien is a documentary for you. Whilst there’s not much new here in terms of fact it gives a unique insight into how the film came into being. There’s also a wealth of rare archive material. Given that most of the footage is from the O’Bannon and Giger estates, Memory: The Origins of Alien does approach the subject from a certain perspective. One which is enlightening, if not complete.
Memory: The Origins of Alien is in cinemas from 30 August and on VoD & DVD from 2 September.


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The LP 100 gantry robot system for handling smaller and lighter components provides high-speed and high-load gantry configurations. The robot’s weight category includes most cylinder heads, gearbox housings, and alternative drivetrain units such as electric or hybrid engines. The robot’s design allows customers to select a wider clearance between uprights for additional production-line design and installation options.
Engineers designed the gantry robots to support smaller, lighter engines and transmissions. As workpiece weight falls, gantry robots can take on transportation work that had been handled by higher-capacity conveyor systems. www.liebherr.com
Bimba buys vacuum equipment supplier Vaccon
Pneumatic, hydraulic, and electric motion solutions provider Bimba has acquired Vaccon Co. Inc., a supplier of vacuum pumps and cups, end-of-arm tools, and accessories.
Bimba President Pat Ormsby says, “The addition of Vaccon’s vacuum technology to our distribution channel increases Bimba’s strategic value in our targeted industries, including packaging, automotive, factory automation, and material handling.”
The company’s vacuum products use a rugged, straight-through, single-stage, venturi design, allowing particles, dust, and contaminants to pass through the pump without clogging or malfunction. Vaccon’s products are typically found in pick-and-place applications from assembly to waste clean-ups. www.bimba.com
Direct-drive linear motor stages
Physik Instrumente (PI) LP PIMag linear motor stages add two models and a controller designed for automation, micro-assembly, biotechnology, laser beam control, optics, lens testing, and photonics alignment. Incremental and absolute-type linear encoders support direct position measurement and ironless 3-phase motors and single-phase, voice-coil drives. Ironless, non-cogging linear motors provide smooth motion, a dynamic velocity range, and rapid acceleration. www.pi-usa.us

domain: design