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irrelevant-86 · 1 year

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My (again half formed) idea for a Stargate Next Generation Pilot movie

Jack’s clone is going to be referred to as Jon for this cause it’s easier than repeatedly calling him Jack’s clone. I chose Jon for his name cause I've seen several people use it in fics.

We get an opening shot of Cheyenne Mountain reminiscent of the shots of the mountain from the original series. The camera pans in on a military vehicle that has pulled into the mountain. The drivers door opens and we see a man (Michael Welch) in dress blues step out of the vehicle. The camera follows him as he makes his way into the mountain, then into an elevator, then out into a hallway and to the door to the General’s office. He knocks on the door as he opens it.

The camera pans away from him to show General Samantha Carter sitting at her desk working on some paperwork. Sam looks up from her paperwork and smiles when she sees him.

“General Carter,” Jon says with a salute

“Colonel ___ (not sure what last name to give Jon. I’m not sure if he would have kept O’Neill or if he would have picked out/been given another last name)” Sam reply’s with a salute.

After a moment Jon would smile and move forward.

“It’s good to see you again Sam,” Jon states, giving Sam a hug.

“It’s good to see you as well Jon.”

Some exposition conversation happens, for the benefit of fans who are newer to the franchise and didn’t watch the original series before watching this new series. Jon asks after Jack (“how’s the old man doing?” “Jack, he’s fine. Finally got to retire. Spends his days fishing.” “Heard you two finally got married.” Sam just smiles and shows him her ring), and the info that he’s Jack’s younger clone (who has all of the original Jack’s memories up to the point in the series when the clone came into existence) gets dropped.

After that little exposition convo, Jon notices a picture frame sitting on Sam’s desk and he picks it up. He stares at the photo fondly for a moment, and the camera pans around to show that it’s a pic of the original SG-1 team (in their BDU’s), Dr Fraiser, and General Hammond. A short convo happens where Jon and Sam talk about how much they miss Fraiser and Hammond (letting the viewers newer to the franchise know that both characters are dead), and then Jon sets the photo back on Sam’s desk.

Sam moves the conversation forward to explain how Jon is being given command of SG-1, and that he’s being allowed to even pick who will be on his team with him. As she’s handing him a large stack of files containing personnel files the base alarms blare. We hear “unscheduled off world activation”

“Just like old times huh?!” Jon quips, as he and Sam rush out of the office and down to the control room.

They get there just as the GDO code for an SG team comes through. The Iris opens and the team in question falls through the wormhole. Several of them are injured and being supported by their non Injured team mates. Sam calls for a med team to the gate room as Jon rushes down to the gate room to help the team out. We find out that they were injured in a landslide just as the med team rush into the gate room.

We get our first look at Dr. Cassandra Fraiser (Katie Stuart) as she rushes into the gate room, ordering about her team. Jon stops to stare at her with a surprised and slightly wistful look on his face. We get a slight hazy flashback moment of a scene from the original series of Fraiser doing the same thing that Cassandra is doing now. Cassandra spots Jon and freezes for a moment, before she slowly move towards him.

“Hey Cassie”

“Hey Jon”

The two hug. And then we get another expositional convo (once more for the benefit of the people new to the franchise who might not have seen the original series before deciding to watch this one) where it’s made know that Cassandra is an alien from another planet who was adopted by Janet Fraiser.

After this there's a scene change. We get a short montage scene of Jon looking through the stack of personnel files, trying to put his team together. Jon pauses on one file, and a smile spreads across his face. The camera pans to show the file, and we see a picture of Rya’c (Neil Denis) at the top of the file. Eventually Jon has picked out his team mates and he takes the files to Sam. When she spots Rya’c’s file among them she just gives Jon a knowing smile and mentions he should grab some dinner for himself.

Jon goes to the mess hall and grabs dinner, and while searching for a table he spots Rya’c sitting at the back of the room. He goes over and joins Rya’c and the two start talking. We once more have another exposition convo where the new watchers learn that Rya’c is the son of Teal’c. And Jon asks after his old friend and Rya’c explains how he’s now the leader of the free Jaffa. He also tells Jon about his (Rya’c) wife and kid(s).

And that’s about all I have so far for this. Feel free to add on ideas on where it could go from here, cause I have no idea!

#stargate sg1 #stargate the next generation #sam carter #jack's clone #rya'c #cassandra fraiser #this opening scene came to me in a fever dream #I still have no idea who the new main bad guys would be

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hammondcast · 1 year

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Jon Hammond Show 03 11 2023

#WATCHMOVIE HERE: Jon Hammond Show 03 11 2023

Jon's archive https://archive.org/details/jon-hammond-show-03-11-2023

Youtube https://youtu.be/SNqIJLZ2hjQ

FB https://fb.watch/j3y7j5MZYI/

Jon Hammond Show 03 11 2023

Jon Hammond

Gets a little 'warm on the bandstand' - jacket off after 1st tune don't ya' know - Jon Hammond Event Link: https://www.namm.org/thenammshow/2023/session/jon-hammond-funk-unit we'll be back to kick things off at 9:45AM sharp on Thursday April 13th weather permitting on the ADJ Lighting Arena Plaza Stage NAMM Show at doors open 55 minute set folks - Jon Hammond Jon Hammond Band Jon Hammond Funk Unit #jacketoff #panamahat #photographyphoto credit: Lawrence Gay master photographer

Publication date

2023-03-04

Usage

Public Domain Mark 1.0

Topics

Music, Travel, NAMM Show, Jon Hammond Show, Public Access Television, Photography, Videography, Travel, Music Stories, Hammond Organ, Accordion, Fisarmonica, Manhattan Neighborhood Network

Language

English

Jon Hammond Show 03 11 2023

Jon Hammond Funk Unit NAMM Showcase concert with photographs by Lawrence Gay master photographer

28 minute Public Access Television show 40th year, this episode

Jon Hammond Band in concert in Anaheim Convention Center all original Jon Hammond compositions - as seen on Manhattan Neighborhood Network

MNN Channel 1, air time 01:30 AM

Swinging Funky Jazz and Blues

https://www.hammondcast.com/

Episode Description: Music, Travel and Soft News

Addeddate

2023-03-04 10:30:44

Color

color

Identifier

jon-hammond-show-03-11-2023

Sound

sound

Year

2023

Music, Travel, NAMM Show, Jon Hammond Show, Public Access Television, Photography, Videography, Travel, Music Stories, Hammond Organ, Accordion, Fisarmonica, Manhattan Neighborhood Network

#Music #Travel #NAMM Show #Jon Hammond Show #Public Access Television #Photography #Videography #Music Stories #Hammond Organ #Accordion #Fisarmonica #Manhattan Neighborhood Network

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brokenbuttonsmusic · 3 years

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Eleni Mandell: L.A. Singer-Songwriter with Smoky Chrissie Hynde Vocals and a flair for Tom Waits’ Influenced Experimentation

This post is a near- transcript of the Broken Buttons: Buried Treasure Music podcast (episode 5, side A). Here you’ll find the narration from the segment featuring the L.A. singer-songwriter, Eleni Mandell, along with links, videos, photos and references for the episode.

Listen to the full episode on Spotify, Apple, Anchor or Mixcloud.

Have you ever bought the wrong record? Like, you intended to buy something that sounded like one thing and you accidentally grab something that sounds very different.

I don’t know if this happens anymore, but I believe it was quite common years ago. Imagine hearing an artist on the radio and being blown away. You go to the record store, find the plastic divider with the name of whom you’re looking for, but you can’t remember the name of the album, or even the song. Remember, you don’t have a tiny computer in your pocket. You’re too nervous to ask the store clerk for fear of looking stupid. So you roll the dice.

“I know it was someone called Neil Young, but there are a thousand Neil Young records here.”

“Hey, this pink one looks cool.”

That exact scenario didn’t happen to me, but that album, Neil Young’s Everybody’s Rockin’, happened to be the most played Neil Young album in my house growing up, so for years I thought Neil Young was a rockabilly revival act. In reality, that was one of several oddball records Young released during a tumultuous period with his record label to fulfill his contract demands. I still love that record.

Eleni Mandell did live out the scenario of buying the wrong record though. She shared the story during a segment of the show Bullseye with Jessie Thorn, where she describes seeing Tom Waits on MTV late at night—back when MTV still cared about music. It was either 120 minutes or IRS’ The Cutting Edge. This would have been around 1984 or 1985, so right around the time of Wait’s masterpiece Rain Dogs. When she went to the record store though, she picked up the 1976 Tom Waits’ Asylum release, Small Change instead. Now Small Change is still a great Tom Waits album, but it sounds nothing like the drastically reimagined sound and musical approach he had begun to employ starting with 1983’s Swordfishtrombones. Something Tom Waits called his “junkyard orchestral deviation.” The spare, off-kilter percussion. Moaning trombones and muted trumpets. Marimba. Plenty of marimba. Experimental instruments mixed in everywhere. Megaphones and CB radios. Trash can lids.

This is the sound Eleni was looking for.

Instead she got lush strings. Delicate piano. Cinematic swells and a melancholy wail.

She got this.

Still awesome, but not the same. She credits the experience with changing her life. She grew to love both sides of the Tom Waits coin. The jazzy piano man in the smoky, whiskey-drenched nightclub and the eclectic, experimental carnival barker that she had her first encounter with on late night MTV.

You can hear that deep appreciation and influence for the full Tom Waits spectrum injected and swirling through Eleni Mandell’s own spectacular catalog that spans more than 20 years now.

She’s got plenty of experimental Waits, especially in her early catalog.

And quite a bit of the jazzy nightclub vibe.

There’s also plenty of folk-y Eleni mixed in, and even some country.

You’ll notice that Eleni’s voice doesn’t sound like Tom Waits though. Did you notice that? It’s less of a deep, gravelly howl and more of rich Chrissie Hynde croon. Spin compared her to Chrissie Hynde and PJ Harvey. Rolling Stone compared her captivating melodies and witty lyricism to early Elvis Costello.

While she doesn’t have the Tom Waits’ wail, she does specialize in his particular brand of character song-study. Like this first song we’re going to hear. The first track off of Eleni Mandell’s second album Thrill. Released in the year 2000. This is Pauline.

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Pauline, from Eleni Mandell’s second record, Thrill. So how did this remarkably unique singer-songwriter get her start and pull together so many interesting influences to create the sound we just heard.

Eleni grew up in the Sherman Oaks region of the San Fernando Valley, Los Angeles. She started playing music when she was just 5, beginning with the violin and then piano. Eleni didn’t love playing either, but continued to take lessons until she was thirteen. She remembers wanting to learn to write songs early on, but didn’t have the first idea of how to approach it, especially on violin. She jumped from violin and piano to guitar as a teenager. Her parents exposed her to a variety of musical styles. Her mom would take her to musicals and her dad, a serious record collector, played her Hoagy Carmichael and plenty of jazz standards. She loved the Beatles and remembers Diana Ross making an early impression.

Another early life changing moment came when she discovered the Los Angeles punk band X.

X were huge in LA, and their first album (called Los Angeles) was the first record Eleni ever owned. Or maybe the first she asked to own. The first record she was ever given was Shaun Cassidy’s greatest hits for her 4th birthday. The first she ever purchased with her own money was X’s third release, Under the Big Black Sun. She tells a story of when she was out record shopping at a place called Aron’s Records, located on Melrose, and to her utter befuddlement came face to face with John Doe, lead singer of X. He was shopping for records too. She quickly snapped up a copy of the band’s third album and asked John to sign it. He did. She still has the signed album, which reads “Yours” complete with a big X “-John Doe.” That was the last autograph she ever asked for. It was not, however, the last time her path would cross with that of the band X.

When she was a little bit older, she met Chuck E. Weiss, songwriter, rock n’ roller, beat poet and peculiar Tom Waits associate. Also the subject of the song, Chuck E.’s in Love.

Yes, that Chuck E. Weiss. Waits was in a relationship with Rickie Lee Jones. Waits, Jones and Weiss all lived at the seedy Tropicana Motel in Los Angeles. One day Weiss up and left out of nowhere. Some time later Chuck E. called the apartment where Jones and Waits were living. He explained to Waits that he had moved to Denver because he had fallen in love with a cousin there. Waits hung up the phone and announced to Jones, “Check E.’s in love. Rickie Lee Jones liked that so much that she it turned it into the song we just heard.

Who is this episode about again? Oh, right. Eleni Mandell. Anyway, Eleni Mandell met THAT Chuck E. Weiss when she was not yet 21. Still, she had a friend who was able to get her into The Central, a Sunset Strip club that would later become The Viper Room. This would’ve been around 1990. Weiss was playing there every Monday.

Here’s how the write up on Eleni’s original website describes her first encounter with Weiss.

“The first time she ever saw Chuck E. Weiss perform, he walked right up to her and smiled like a cross between The Cheshire Cat and an escaped mental patient. She met him a month later at Musso and Frank’s.”

Eleni says she was at the famous Hollywood restaurant and recognized Weiss. She worked up the courage to approach him and told him how much she loved his show. He asked if she wanted to accompany him to meet up with a friend at Canter’s Deli. She agreed. When they settled into one of the landmark eaterys iconic red, vinyl booths in walked her hero. Tom Waits. What a night. Tom asked Chuck how he and Eleni had met.

“Hebrew school,” he declared.

Here’s a tune from Eleni’s debut album, Wishbone, released in 1999. This is Sylvia.

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From Eleni Mandell’s first album, Wishbone, that was Sylvia.

Under Chuck E. Weiss’ mentorship, produced by Jon Brion and self-financed by Mandell, Wishbone, as well as her next several records, received strong reviews and drew comparisons to Waits and PJ Harvey in style.

Before Weiss mentored Mandell, he hired her as a door person at his club. She said he would test her to see how tough a door person she was by trying to grab money out of her hand. Weiss would continue to mentor Eleni over the years and they’re still friends to this day.

For her fourth album, Mandell shook things up by diving into traditional country. A mix of covers and originals, 2003’s Country For True Lovers is an exciting update to her sound. And one of her life changing moments came full circle. Weiss introduced her to former X guitarist Tony Gilkyson, who produced the project. She also stacked the sessions with all star players, including Nels Cline from Wilco, and another X hero, drummer D.J. Bonebreak.

Eleni continued to mix and mesh genres on her next release, 2004’s Afternoon.

From the No Depression review of that album:

“Last years Country For True Lovers found Los Angeles chanteuse Eleni Mandell turning her sights on twang rather than her previous more PJ Harvey-oriented material, and she received plenty of critical acclaim in the process, sharing the LA Weekly 2003 songwriter of the year award with the late Elliot Smith.”

“On Afternoon, her fifth album, Mandell combines her love of various genres, including country, pop, jazz and rock, to stunning effect. Produced by Joshua Grange, who also lends his considerable talents on guitar, pedal steel, Hammond organ and piano, Afternoon mostly takes the slow and sexy approach. I’ve Been Fooled and Can’t You See Im Soulful give Mandell the chance to show off her breathy but passionate alto, which can devastate in a heartbeat.”

“Mandell does rock out from time to time, as on Easy On Your Way Out, which has a grungy Elvis Costello-gets-on-with-Liz Phair feel to it. I wanna be your afternoon/I want you coming back for more, Mandell sings on the sorta fun/sorta sad title song.”

She can also write catchy singles. Like this song from Afternoon, “Let’s Drive Away.”

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That was Let’s Drive Away from Eleni Mandell’s fifth album, Afternoon, released in 2004. That song was also featured on the TV show, Weeds.

And here comes the challenging part of covering an artist like Eleni Mandell, who’s put out consistently solid albums for over two decades. There’s not enough time to feature all the good stuff she’s produced, but trust me, over her eleven albums, she always delivers. From the diverse shifting sounds of Artificial Fire [play clip] to the smooth and breezy Dark Lights Up [play clip], Eleni whirls a magical combination of jazz, folk, pop, country and rock, with just enough experimental twists to keep everything fresh.

She’s also branched out from her solo artist gig to release two albums with her band The Grabs. The Grabs allows her to exercise more of her pop side and features Eleni on vocals, Blondie bassist Nigel Harrison, and Silversun Pickups’ drummer Elvira Gonzalez.

And, she’s also released records with the Andrews Sisters inspired supergroup, The Living Sisters, with Inara George, Alex Lilly and Becky Stark.

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I’d recommend checking out all of this.

So now that we’ve established that the Eleni Mandell road is paved with the goods, let’s skip ahead to focus on her most recent album: 2019’s Wake Up Again.

Here’s what Eleni and her website have to say about the latest release:

“For two years or thereabouts,” Mandell says, “I taught songwriting at two colleges and a women’s prison.”

The prison gig came about via Jail Guitar Doors, the organization founded by Wayne Kramer, guitarist of the vaunted Detroit band MC5, in partnership with English musician Billy Bragg. “I don’t know why exactly I was drawn to that work,” Mandell says. “But I had a family member who had been in prison in the 1940s. He wasn’t around when I was growing up, but that sort of fascinated me and I was always curious about what kind of person disappears and what kind of person commits crimes — what are they thinking?”

Working with the inmates also provided many epiphanies for her as a person, and proved fertile for her as an artist, as captured in the 11 songs on this album, her 11th studio release. In many ways it’s the culmination and fulfillment of all the strengths as a writer and performer going back to her start under the tutelage of Chuck E. Weiss, Tom Waits and other top chroniclers of people in the shadows.

“I really enjoyed it,” she says. “I was inspired by the stories, and surprised by the laughter I heard there. And I shouldn’t have been surprised, but I was, by how many different kinds of people were there: teachers, lawyers, nurses, and also people who grew up in poverty.”

Here’s a song about one of the woman she met during those songwriting classes she taught. This is Evelyn.

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Evelyn from Eleni Mandell’s most recent album, Wake Up Again. Another great addition to her expansive, impressive catalog. The album is filled with rich character studies and deeply personal self-examinations.

Her early Tom Waits inspiration continues to ignite and propel her, even after 11 albums. Only now she can call Tom a longtime friend.

And she went from obsessive punk rock X fan to counting a member of X as a member of her own band. What a cool, thrilling ride she’s had so far. Eleni Mandell.

References and other stuff:

Eleni interview with Luxury Wagers

Eleni interview with Mr. Bonzai

Eleni interview with Tyler Pollard on Timeline

The bio from Eleni’s current website has a great write up on her most recent album and I quote from it in the episode.

No Depression review of Afternoon that I quote in the episode

Here is the original bio from Eleni’s old website that is now archived. I also quote from this

Eleni has been featured on NPR segments over the years. I did not use anything directly from these, but they are good and informative

Pop Matter review of Dark Lights Up

Good L.A. Times article about Eleni teaching songwriting to female inmates and her latest album

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thespiritofvexation · 4 years

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Pt. 5.5: Mr. nick-your-band pulls a stroke

In early 1963, core members of Alexis Korner's Blues Incorporated besides Alexis were; Ginger, Jack, Dick, Ronnie Jones (vocals), Johnny Parker (piano) and the guy Ginger had warned would "nick half the band"- Graham Bond. But who was he?

"Graham Bond was a fat guy!"

-Ginger Baker in Beware of mr Baker

He was also a classically trained saxophonist, pianist, cellist and singer with a larger-than-life personality and a love for jazz and blues. He is today perhaps best known as a pioneer of the Hammond organ and the Mellotron.

"He taught me, hands on, most of what I know about the Hammond organ"

-Jon Lord (Deep Purple)

Graham, Jack and Ginger begun to play together as a trio on their nights off from Blues Inc. But Graham had bigger plans...

"I arrived to see that Graham was talking to Alexis on stage and then Jack arrived and Graham came out and said: "That's it! I've left, WE'VE left!" I said "What do you mean 'we've left'?" *laughs* He said "It's alright, it's alright, Alexis is cool with it, it's OK!". Graham had in fact left the Alexis Korner band, for all of us, without even consulting us!"

~ Ginger Baker- Rock Family Trees: The British R&B Boom

"I arrived for the gig and Alexis was acting really strange, he was like *makes a grumpy face*- really cold! And it turned out that I'd left the band! *laughs* Ten years or more went by and he never forgave me for that, but it was Graham! He just pulled a stroke, Graham was always pulling strokes!

~Jack Bruce - Rock Family Trees: The British R&B Boom

Eventually they struck up with guitarist John McLaughlin and the Graham Bond Quartet (soon to be Organisation) was born

I couldn't find a good photo with McLaughlin so here's one of mk.II. Look at Ginger (and ignore Jack's hair)! Who's the wee one now??

#cream band #ginger baker #jack bruce #graham bond #alexis korner #blues incorporated #graham bond organisation #dick heckstall-smith #the story of cream #jon lord

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jazzviewswithcjshearn · 5 years

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In depth gig review: ECM at 50: Jazz at Lincoln Center, Rose Theater, November 1, 2019

In 1969, the landscape of music was changing greatly-- Woodstock was a cultural force, the Beatles released Sgt Pepper’s Lonely Hearts Club Band, the first Santana album ushered in a sort of Latin, jazz-rock hybrid, and Americans were reacting strongly to the senselessness of the Vietnam war. The culture was changing, Eastern religions became a fascination as were mind altering drugs which helped Westerners gain new perspectives into the universe. Jazz and improvised music as a whole were changing with the seismic shifts of Miles Davis' Bitches Brew and Emergency by the Tony Williams Lifetime, which preceded the groundbreaking Davis recording by several months. Jazz-rock, soulful Hammond organ based jazz, and free jazz had all carved their unique paths. That same year, a new label out of Germany founded by a trained classical bassist named Manfred Eicher, who also had worked at Deutsche Grammophon made waves on the scene. Edition of Contemporary Music, it's initials commonly mistaken for Eicher Creative Music, or European Classical Music, has arguably changed the face of boundary pushing music more than any other label over the past fifty years. ECM is known for a crystalline recording clarity, frequently found in classical music, a chamber music like focus, and a cinematic bent to albums, akin to film, one of Eicher's passions.

Contrary to popular belief, as journalist and ECM scholar John Kelman has noted, there is not really an “ECM sound”. Critics of the label have frequently cited the heavy reverberant quality of many recordings as being distant and icy-- rather it would be more appropriate to say that while there are traits and a certain aesthetic that contributes to the label's recordings, there are plenty such as Jan Garbarek's Afric Pepperbird that have a very present immediacy with a fairly dry sound. ECM helped establish through the recordings of Paul Bley, Chick Corea and especially Keith Jarrett, a new way of looking at solo piano, that has permanently changed the jazz landscape. ECM brought attention to an entire generation of post Wes Montgomery guitar innovators: Ralph Towner, John Abercrombie, Terje Rypdal, a then relatively unknown prodigy from Lee's Summit Missouri with wild, shoulder length hair and a winning smile named Pat Metheny, sound sculpturist David Torn and Bill Frisell. The label also helped expand on an approach to ride cymbal playing that blended the intricacy of bebop, with a straight eighth note feel that allowed the rhythm to somehow swing and float simultaneously popularized by Norwegian Jon Christensen and Jack DeJohnette. The label has also explored many cultures from Brazil, North Africa, and most recently Israel. And last but not least, the label set a new precedent with album art the same way Blue Note, Impulse and CTI had. Striking text only or covers with evocative landscape photos with uniform fonts are art pieces in themselves. The sometimes startling 5 seconds of silence that begins each CD, demands that the listener pay close attention to the music within.

On November 1st at Jazz At Lincoln Center's Rose Theater, in the first of two days in New York City, ECM celebrated it's past, present and future. The two and a half hour concert packed a dizzying array of ECM and ECM associate artists that provided a concise snapshot of everything that has made the label enduring. The evening's roster was studded with an impossible array of all stars and label newcomers: Egberto Gismonti, Ravi Coltrane, Larry Grenadier, Avishai Cohen, Enrico Rava, Bill Frisell, Joe Lovano, Shai Maestro, Nik Bartsch, Andrew Cyrille, Anja Lechner, Wadada Leo Smith, Meredith Monk, Vijay Iyer and Jack DeJohnette among others. Unlike some retrospective concerts which are quick summations of hits the musicians, allowed between one and three selections in specific configurations, used the pieces as launching pads for exploration, keeping with the label ethos. There were some notable absences, Pat Metheny, Terje Rypdal, Manfred Eicher himself who could not make the trip, the recently retired Jarrett, Jan Garbarek, and Gary Peacock to name but a few who had such a major impact, but those who were there, more than made up for it.

Egberto Gismonti, non pareil Brazilian pianist and guitarist who has been a major figure in Brazilian music and guitar, opened the concert on piano and seemingly fit an entire history of Brazilian music styles in relative brevity. Recent label signee, saxophone veteran Joe Lovano, pianist Marilyn Crispell, and drummer Carmen Castaldi who appeared on Trio Fascination earlier this year, gave a spirited rendition of “The Smiling Dog” that found Lovano's breathy, woody, impassioned tenor phrases framed by Crispell's tone clusters and jabs, Castaldi's spattering cymbals, rim clatters, and painterly snare and tom strokes building to a slow burn. The elongated interpretation added considerably more heat than the version that appeared on the recording. Vijay Iyer and Wadada Leo Smith built upon their fascinating and excellent duo album A Cosmic Rhythm Within Each Stroke by engaging in an enthralling duet blurring the line between new music and improvisation. Iyer probed with a variety of textures from acoustic piano and Fender Rhodes, grounded eighth note pulses freeing the legendary trumpeter, hunkered over in a near squat, bell in microphone to roam with signature legato lines, and carefully considered asides. Smith straightened from his bent position, and stood stock still with his horn, making the silence count as much as the notes, as Iyer continued to mine abstract shapes and textures, returning from Rhodes to piano. Smith reached for a golden Harmon mute on the floor, and utilized some amusing wah wah trumpet effects that traveled back to the earliest history of jazz trumpet through a thoroughly post modern prism.

Bill Frisell and Thomas Morgan reprised Paul Motian's “It Happened A Long Time Ago”, Frisell's trademark neck bending of notes veered them off into space as his solo contained much thoughtful meditations. Morgan's rich tone and backing brought to mind the sorely missed late Charlie Haden whose label contributions were immeasurable. Wadada and legendary drummer Andrew Cyrille joined them on stage for two tracks from Cyrille's Declaration of Musical Independence, and besides Smith's sparkling trumpet, and an incredibly attuned Frisell, Cyrille showed exactly why he has been one of the most important figures in jazz with his unmistable ability to color and orchestrate on the drums as if the cymbals and drums were a large canvas.

Over the past few years, ECM has had a huge Israeli contingent with important albums coming from Avishai Cohen, both in quartet and duo with pianist Yonathan Avishai. Though the duo just released the wonderful Playing The Room, the pair appeared as a quartet with bassist Barak Mori and drummer Ziv Ravitz, who replaced Nasheet Waits (playing later in the evening) for an aggressive, power packed “Shoot Me In The Leg”. Cohen's composition burst with the energy of New York jazz; it was the kind of performance that could only exist in the post Wynton Marsalis, Young Lions era. Cohen played with whalloping energy and purpose, occasionally pointing the bell of his horn into the piano to add extra reverberation and resonant qualities. Ravitz added further heat with well timed explosions.

As mentioned a bit earlier, ECM frequently draws the line between new music and improvisation. For those who may be curious reading this review unfamiliar with the term, new music refers to classical music composed by living, modern composers. Though the pieces can be composed in styles such as romantic, baroque or classical styles, very often new music challenges listeners pushing at the boundaries of form, instrumentation or what music is. Swiss pianist Nik Bartsch and his bands Ronin and Mobile specialize in a minimalist influenced form called ritual groove music. Bartsch carries on a tradition of minimalism at ECM most famously espoused by Steve Reich and (to an extent) Meredith Monk,. With Ronin or Mobile it is updated with grooves that attract newer listeners. There is a heavy African element to the intense, precise metronome like grooves, which change over time through the pianist's shouted verbal cues. Bartsch, coming to the stage dressed in all black, looking like a cross of a martial arts master with something out of The Matrix played a solo version for the first time of “Modul 5”. The concentrated performance captured the essence of his main band, nothing was missing. Craig Taborn also offered a spikier take on solo piano in the avant garde realm making for refreshing contrast.

Ravi Coltrane, Matthew Garrison and Jack DeJohnette took to the stage to close the concert's first half for a searing “Serpentine Fire”, the Earth, Wind and Fire classic the trio collective recorded on their 2016 In Movement. DeJohnette, who has been the most recorded drummer on ECM (first appearing with Keith Jarrett on Ruta And Daitya in 1971) has a synergy with Coltrane and Garrison that is magical. They can literally go anywhere with the level of trust and camaraderie, and they certain went everywhere on “Serpentine Fire”. Garrison bolstered the lengthy rubato introduction with Hendrixian distorted bass, fuzzed out leads traipsing atop looped backgrounds set for himself. DeJohnette, behind his slick camouflage finish Sonor kit, added a shower of well placed cymbal work, punctuating with loud crashes on his Sabian Encore model China, and crash cymbals. His patented rumbling tom free falls adding a beautiful tension underneath Garrison and Coltrane's sopranino saxophone. By the time the drummer entered into a groove, things moved from a slow burn to an ecstatic frenzy, DeJohnette engaging in his love of rock and funk with displaced brilliance, the tune brought Rose Theater to it's feet.

In the second half, Ethan Iverson and Mark Turner explored more of their chamber duo camaraderie found on Temporary Kings with Iverson proudly displaying his ECM shirt to the audience at tune's end. By far, as excellent as all the music was, the most touching of the music all evening was Meredith Monk's rendition of “Gotham Lullaby” first heard on her masterpiece Dolmen Music, her ECM debut from 1980. As a vocalist, performance artist, and new music composer, the soon to be 77 year old Monk is singular and has influenced a legion of vocalists who employ extended technique, including Bjork, and label mate Theo Bleckmann, a Meredith Monk Vocal Ensemble alumnus that appeared on two recordings. The poignancy of “Gotham Lullaby” was made all the more poignant when she dedicated the piece to the healing of the earth and when one considers the context of the piece. Understanding the context of Monk's pieces can greatly aid in appreciation and sparking the listeners imagination for their own mental images. The piece was originally written in 1979 for a stage adaptation of Fear and Loathing adapted by long time collaborator, Ping Chong titled Fear and Loathing in Gotham. Chong, one of the most important and influential figures in interdisciplinary performance, and one of the leaders in providing a forum for Asian American artists, based the non narrative play on a white officer tracking down an Asian serial killer. Though Monk has since revised some of the wordless syllables that appeared on the original recording, the warmth of her rich alto range had lost none of it's emotive power. Knowing the theme of the original play, her wild, intense, frightened ululations were even more chilling. Besides Anja Lechner, she represented the ECM New Series side of the label, focusing on groundbreaking works of classical and new music.

Ravi Coltrane returned to the stage donning tenor saxophone with Ralph Alessi on trumpet, Andy Milne on piano, Drew Gress on bass and Mark Ferber on drums for “Iram Issala” from Alessi's Imaginary Friends. This is a great quintet, and the rapport Alessi and Coltrane have dates to the latter's lone Blue Note recording Spirit Fiction in 2012 where the trumpeter appeared on several numbers. Their soaring perfect fourth based line at the end of the piece was magisterial as they became one. The piece shifted through several moods during the solos, and by the time they reached the unison phrase it was purely cathartic. To finish the evening, Joe Lovano returned with Enrico Rava who had flown in from Italy with pianist Giovanni Guidi, and the group was completed by Dezron Douglas, one of New York's bass A listers, and Nasheet Waits on drums. The band looked at “Interiors” and Lovano's “Fort Worth” heard on their dynamic new album Roma. Waits, who replaced Gerald Cleaver for the concert was a marvel on the hard swinging Ornette Coleman inspired Lovano composition. Rava brought a very interesting texture on flugelhorn, much different than Tom Harrell, who recorded an earlier version of the tune on Quartets: Live At The Village Vanguard in 1996. Rava and Lovano were quite playful in collective dialogue, and Waits unbreakable strength ride beat spurred them on. Giovanni Guidi as he does on Roma revealed himself as an improviser of remarkable depth, as the two pieces tapped into a blusier, hard swinging side of his musical personality. His Avec Les Temps from earlier this year showed a richer compositional voice and orchestrative acumen with tenor saxophone and guitar added to the ensemble.

With it's 50th Anniversary gala, ECM provided something of a rarity in the modern concert era. Very rarely do people get to see so many of the label's legends and stars in such a carefully organized event. ECM had presented festival nights as did CTI and Blue Note in the 70's, but a label concert package today is not often found. The November 1 concert was truly special. ECM showed just how enduring of a cultural institution it is, and how focused it is on bringing public attention to great musicians today. The label modus operandi, though it has released some fantastic archival releases and presented long out of print titles in high resolution digital for streaming, is mainly concentrated on the present. Manfred Eicher, as label founder, producer and visionary keeps moving forward providing an embarrassment of consistently excellent music. The ECM at 50 celebration was a way to honor the past, and present of a juggernaut in recorded music.

#ECM Records #jazz at lincoln center #new music #jazz #improvised music #bill frisell #Jack DeJohnette #meredith monk

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ib2se · 5 years

Video

elusive shadow by Lennarrrt

The B:sides-Playlist 2019-10-21 @ Radio Vättervåg 98,5 Mhz

This week: 1188

starter: 'B:zväng' TextMix & reading af MrZ Komposition & Produktion af SkåneJokke Lütz [0:41]

💿 All Albums from Chant Records 💿 1. Desertion Trio – Love in Mind [3:46] Performed by Nick Millevoi – guitar, Johnny DeBlase – bass, Kevin Shea – drums Composed by Neil Young Arranged by Nick Millevoi Engineered by Recorded live in Athens, GA by R Sloan Simpson 2. Denver General – “COLFAX” [1:59] Performed by Jeff Davis: drums, Kirk Knuffke: cornet, Jonathan Goldberger: guitar Composed & Arranged & Produced by Davis, Knuffke, Goldberger Engineered by Recorded BY Tom Tedesco. MIXED/MASTERED BY J Goldberger Recorded at TEDESCO STUDIOS, NJ 3. Daniel Sarid Trio – Intentions Declared ( in memory of Tuval Fater) [6:00] Performed by: Daniel Sarid – Piano, Nadav Masel – Bass, Ofer Bymel - Drums Composed by Daniel Sarid Arranged by Daniel Sarid Produced by Daniel Sarid Engineered by David Louria Recorded at Ha Teiva, Jaffa, Israel ₪ RateYourMusic ₪ OutNowRecordings ₪ JazzRightNow 4. The Circle – First Dance [5:18] Performed by Avishai Cohen – Trumpet, Shanir Ezra Blumenkranz – Gimbri/Oud/Bass, Itamar Doari – Percussion Composed by Avishai Cohen, Shanir Ezra Blumenkranz, Itamar Doari Arranged by The Circle Produced by The Circle Engineered by Ronen Roth Recorded in a small room in Goa. Mixed by Ronen Roth – Pluto Studios -אולפני פלוטו Tel Aviv, Israel 5. Christopher Hoffman’s Multifariam – Americult [1:48] Performed by Christopher Hoffman, Aaron Kruziki, Gerald Cleaver, Craig Weinrib Composed by Christopher Hoffman Arranged by Christopher Hoffman Produced by Christopher Hoffman Engineered by Aaron Nevezie & Christopher Hoffman Recorded at Bunker Studio & Linden St 6. Chinatown – Jing Jing Lok [3:24] Performed by: Daniel Carter (saxophones, trumpet, flute, clarinet), Shanir Ezra Blumenkranz (bass, oud), Kevin Zubek (drums and percussion) Composed & Arranged & Produced by Daniel Carter, Shanir Ezra Blumenkranz, Kevin Zubek Engineered by Martin Bisi Recorded at BC Studios, Brooklyn, NY, August, 2003 Released by Nottwo Records, Poland 7. Boris Malkovsky – Moment Musicaux #1 and Karlsson’s Incredible Flight Over The Bulgarian-American Border [3:03] Performed by Boris Malkovsky – accordion, Hammond organ, upright piano, electric piano, analogue synthesisers Composed & Arranged & Produced & Engineered by Boris Malkovsky Recorded at Boris Malkovsky’s home studio ‘Klokoczyn 69’ Poland 8. Blivet – Waiting Room [3:13] Performed by: Jon Madof, guitar, Brian Marsella, keyboards, Shanir Ezra Blumenkranz, bass, Mathias Künzli, drums, Marlon Sobol, percussion Composed by Jon Madof - Arranged by Blivet - Produced by Jon Madof Engineered by James Dellatacoma Recorded at Orange Music Sound Studio 9. Billy Martin’s Fang Percussion feat. Ned Rothenberg – Puszta Mirage [2:34] Performed by: Ned Rothenberg – Shakuhachi and Alto Ocarina, Billy Martin & Ronald Stockwell & Steve Honoshowsky & David Freeman – percussion Composed by Billy Martin & Ned Rothenberg - Arranged & Produced by Billy Martin Engineered by Marc Urselli and Billy Martin Recorded at East Side Recording, NYC and Teahouse, Englewood, NJ 10. Bill Laswell + Hideo Yamaki with Josh Werner – Shikkoku Dub [6:01] Composed and Performed by Bill Laswell, Hideo Yamaki and Josh Werner Engineered by Robert Musso & James Dellatacoma 11. Aram Bajakian’s Kef – Laz Bar (alternate take) [5:10] Performed by Aram Bajakian, Shanir Ezra Blumenkranz, Tom Swafford Composed by Traditional - Arranged by Aram Bajakian Produced by Shanir Ezra Blumenkranz - Engineered by Aaron Nevezie Recorded at The Bunker 12. Alberto N. A. Turra – Cellule - From the live solo album “It Is Preferable Not To Travel With A Dead Man” [10:45] Performed & Arranged by Alberto N. A. Turra Composed by Alberto N. A. Turra – Ivan Lo Giusto Produced & Engineered by Diego Cattaneo Recorded at The House Of Groove – Diego Cattaneo Recording Studio

1 jingle incl tune from Kmag #107 af Loopmasters Samples & 2 jingles from B:sides on Spotify

Veckans BibelVers: “När pingstdagen kom var de alla församlade. Då hördes plötsligt från himlen ett dån som av en stormvind, och det fyllde hela huset där de satt. De såg hur tungor som av eld fördelade sig och stannade på var och en av dem. Alla fylldes av helig ande och började tala andra tungomål, med de ord som Anden ingav dem. I Jerusalem bodde fromma judar från alla länder under himlen. När dånet ljöd samlades hela skaran, och förvirringen blev stor när var och en hörde just sitt språk talas. Utom sig av förvåning sade de: ”Men är de inte galileer allesammans, dessa som talar? Hur kan då var och en av oss höra sitt eget modersmål talas? Vi är parther, meder, elamiter, vi kommer från Mesopotamien, Judeen och Kappadokien, från Pontos och Asien, från Frygien och Pamfylien, från Egypten och trakten kring Kyrene i Libyen, vi har kommit hit från Rom, både judar och proselyter, vi är kretensare och araber – ändå hör vi dem tala på vårt eget språk om Guds stora gärningar.” I sin häpnad visste ingen vad han skulle tro, och de frågade varandra: ”Vad betyder detta?” Men andra gjorde sig lustiga och sade: ”De har druckit sig fulla på halvjäst vin.”" ~ Apg 2:1-13 🎧 Drink Espresso - God bless U! /MrZ :)

www.ib2.se Soli Deo Gloria 12 / 101

All Photos: MrZ ~ Wättern.se Join Generation XYZ @ gen.xyz GDPR Z

#flickr #B:sides #Chant #playlist #NärRadio #Jkpg #ib2 #Lennarrrt #ib2se #music #radio #shadow

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crazyflyingspip · 4 years

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TV presenter Helen Skelton's shares her favourite activities to keep kids entertained at home this summer

If you are struggling to come up with things to do with the kids at home this summer, TV presenter and broadcaster Helen Skelton has teamed up with Smart Energy to create a list of 42 activities to help keep the kids entertained at home.

Related: Alison Hammond’s favourite garden games, from Boules to Wubble – as seen on This Morning

Research by Smart Energy GB found that 7 in 10 parents are worried that keeping children entertained this summer will be harder than usual. While sticking your kids in front of the TV or games console is an option, it isn’t the best way to spend a glorious summer day. Especially when a quarter of parents are concerned about the increase in energy consumption over the summer holidays.

As a mother of two young boys, Helen Skelton is no stranger to struggling to find ways to keeping kids entertained at home. She has put together 42 activity ideas that you can do at home with your children. They are all sustainable and energy-free to help avoid that surge in your next energy bill.

Image credit: Helen Skelton

42 things to do with kids at home this summer

1.42-day time capsule

See if you can put something in it for every one of the 42 days ahead to create a memory box of an unforgettable summer.

2.Construct a marble run

How will you keep the marble moving so it makes its whacky way from start to finish? Be as imaginative as possible!

3. Learn some sign language

Learn how to introduce yourself – and then challenge a friend to do the same.

4.Freeze leaves & flowers

A fun way to enjoy the beauty of flowers: freeze them in ice cubes to add a splash of colour to a glass of water. Just make sure to check with an adult that the flowers are safe to eat.

Image credit: Polly Eltes

5. No lights for an evening

An energy saver and a chance to have your bedtime story read by torch (or outside!). If you have a smart meter, take a look to see what difference turning the lights off makes.

6. Conduct a sunlight experiment

How will plants grow in darker spaces compared to sunlit places, like on a windowsill? Choose two different environments and track your progress over the rest of the summer holidays.

7. Local food meal

Can you find shops or a community farm that sell food grown near your house? With the help of an adult can you make these high quality and fresh ingredients into a tasty meal!

Image credit: Jon Day

8. Go on a rainbow hunt

Go for a walk with your family and find something in nature from every colour of the rainbow. Take photos along the way!

9. Grow herbs at home

Herbs such as parsley, mint and basil can all easily be grown in a pot on the windowsill – get an adult to help you plant them and don’t forget to top up the water! Do they taste different from the herbs you buy?

10. Collect rainwater for plants

See if you can catch rainwater in a bucket and use it to water any plants you have. This is a simple way to save on water.

11. Host a green-themed tea party

Serve green food and come dressed in green to celebrate our connection to nature.

12. Make a seed bomb

Mix some daisy seeds with peat-free compost and water – roll into a ball – let them dry – and bombs away! Remember where the bomb landed and see if your flowers grow.

Image credit: David Brittain

13. Create a sundial

A time telling trick as old as time. Perhaps you could also create a time-lapse of the sun’s shadow making its way around the day on someone’s phone?

14. Paint the moon cycle

Follow the lunar movements! From full moon (3rd Aug) to new moon (19th Aug). Paint the shapes of the moon as they develop.

15. Make a paper aeroplane

Fly like the wind! Whose plane will be the most aerodynamic and travel the furthest distance?

16. Try helping out by washing your clothes by hand

This is how people used to wash their clothes before washing machines were invented. Washing machines can use a lot of energy and be expensive to run – but they certainly save on time!

Image credit: Simon Whitmore

17. Play ‘float or sink’

Get a bowl of water and find some household items, food or things from the garden. Then take turns guessing which will float or sink to the bottom.

18. Make a temporary dam

If you have a stream nearby, collect twigs, branches and stones to stop the flow of water. Just remember to remove the dam afterwards. No stream? Improvise at home!

19. Send a Haiku postcard

A Japanese poem formed of 3 lines with 5, 7, and 5 syllables respectively. Send it to someone you are missing over the summer.

20. Go foraging

Local woodlands are perfect for encouraging the inner forager – so go explore with an adult. If you can’t forage outside – play a foraging style scavenger hunt at home.

21. Make a nature mobile

Nature is your resource for materials: twigs, leaves and dried flowers will look great hanging in your home or garden.

Image credit: Polly Eltes

22. Dance in the rain

Embrace the rain! Dancing in the rain is a liberating experience you are unlikely to forget.

23. Become an energy waste detective

Organise a family scavenger hunt to find unused appliances in your home that can be unplugged to save on energy waste. You can also monitor how much energy different items in your house use with a smart meter. Ask your parents who their energy supplier is and encourage them to request an installation.

24. Make a pinwheel wind farm

Put your craft skills to the test and build some paper windmills. All you need is paper, scissors, a stick and a pin!

25. Keep a balloon off the floor

A simple challenge that awakens joy in a person any age. How long can you keep the balloon in the air?

26. Make an obstacle course

Let your inner architect run wild and see how quickly you can complete the course.

27. Make an outdoor orchestra

Strike up the band and experiment with turning items from your kitchen and nature into instruments.

28. Paint a self-portrait using no hands

Embrace imperfections and enjoy the silliness! Once you’ve done yourself – try another family member!

29. Write a love letter to Mother Nature

If you could tell Mother Nature anything, what would you say?

Image credit: Polly Eltes

30. Make a domino rally

Use everyday objects to build it and start an epic chain reaction.

31. Help hang clothes outside to dry

If we have a sunny spell, why not skip the tumble dryer and help hang your clothes outside? If you have a smart meter compare your energy use to see what a difference it makes when the sun does all the work. Plus, the hanging clothes also make for a great game of hide and seek!

32. Identify 5 different birds

First, use your eyes to identify different species and then take note of their different bird calls.

33. Make a costume from anything but clothes

Recycling gone wild! Everyone creates a different outfit and you can put on a fashion show.

34. Make pencil rubbings

Look for patterns, shapes & textures in nature and turn your surroundings into art.

35. Have a picnic

Take to a local park or the garden and enjoy the simple joy of eating outside. Remember to pack some games too! Don’t forget to put your rubbish in the bin or recycling.

Image credit: Polly Eltes

36. Paint a watercolour with rain

As stormy skies gather – put some sheets of paper outside with drops of water colour paint on them. Let the rain do the rest of the work!

37. Recycle your clothing

Find out how many clothes you’ve grown out over the summer! Help an adult bag them up and take them to your local second-hand clothes shop.

38. Watch a sunrise & sunset

Do sunrise and sunset feel different? Are the colours the same? Take some art supplies with you to capture the moment.

39. Be a street artist

Paint a stone and leave them for others to find!

Image credit: Polly Eltes

40. Climb a tree

Start small and get more ambitious as you go. Can you see any nests or animals while you’re up there? You’re climbing in their home after all!

41. Create pavement art

Use stones and chalk to create your star maps for passers-by.

42. Create an exhibition from your time capsule contents!

What a summer it’s been! Open your time capsule and create a mini-exhibition of your summer memories.

Related: Kids doing THIS at home could cost be costing you up to £3,000

Will you be trying out any of Helen Skelton’s activity ideas with your children?

The post TV presenter Helen Skelton's shares her favourite activities to keep kids entertained at home this summer appeared first on Ideal Home.

from Ideal Home https://ift.tt/3hwt8ev

#Ideal Home #https://crazyflyingspip.tumblr.com

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denisehil0 · 4 years

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Seafarers group: Tanker off UAE sought by US ‘hijacked’

DUBAI, United Arab Emirates — An oil tanker sought by the U.S. over allegedly trying to circumvent sanctions on Iran was hijacked on July 5 off the coast of the United Arab Emirates, a seafarers organization said Wednesday.

David Hammond, the CEO of the United Kingdom-based group Human Rights at Sea, said he took a witness statement from the captain of the MT Gulf Sky confirming the ship had been hijacked.

Hammond said that 26 of the Indian sailors on board had made it back to India, while two remained in Tehran, without elaborating.

Hammond also said that he had no other details on the vessel. TankerTrackers.com, a website tracking the oil trade at sea, said it saw the vessel in satellite photos recently in Iranian waters.

The Emirati government and the U.S. Navy’s Bahrain-based 5th Fleet did not immediately respond to requests for comment.

Jon Gambrell, The Associated Press

Listen to the Latest Podcasts from Neinstein Personal Injury Lawyers

Contact Sonia Nijjar at Neinstein Personal Injury Lawyers

#Neinstein Personal Injury Lawyers #Toronto Personal Injury Lawyers #Jeff Neinstein #car accident attorneys

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avnahcollection · 5 years

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#Repost from @all_about_andre. Heavy is the head that wears the CROWN! 👑✨ @jmglifestyle @thesun Deontay Wilder @bronzebomber & Telli Swift @Telliswift Photography: John Allen Phillips - Click West Photo @johnallenphillipsphoto Styling/Creative Director: André Hammonds @all_about_andre Styling Assistant: Yvonne Mwazo @Styledbyyvonne Telli’s Glam Team Dress by #AVNAH @avnahcollection @lamaisondefashions Hair: Richard Norman Grant @RichardNormanGrant MUA: Rodney Jon @iamrodneyjon Jolisa Rena @jolisarena Deontay’s Bomb Squad Grooming: Marquis Anthony @thehairprofit MUA: Rodney Jon @iamrodneyjon JMG Lifestyle Creative Support: Chinga Moalusi @Chingam27 Robert Horton @RobertWHorton https://www.instagram.com/p/BvuVnndhYgg/?utm_source=ig_tumblr_share&igshid=1owz6ki5vus03

#repost #avnah

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leveloneandup · 10 months

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Julie Uhrman, Elizabeth Eddy, Madison Hammond, Christen Press, Merritt Mathias and Kara Nortman attend RE-INC Women's World Cup Watch Party at Chief Clubhouse on July 21, 2023 in Los Angeles, California. (Photo by Jon Kopaloff/Getty Images for RE-INC)

#julie uhrman #elizabeth eddy #madison hammond #christen press #merritt mathias #kara nortman #angel city fc #re cap launch party

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news-mashable-yahoopartner-blog · 5 years

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And the Jeff Bezos dick pic commentary has begun

It's probably best that you're sitting down for this.

The National Enquirer threatened to publish Jeff Bezos' dick pics if he didn't rein in his personal investigator, and in response the Amazon CEO posted about it on Medium. AMI later claimed it had "acted lawfully" and would investigate Bezos' allegations.

Taking a page out of Alexander Hamilton's revenge book, he published a lengthy post about the incident and owned up to the nudes he sent, "rather than capitulate to extortion and blackmail."

Once Bezos tweeted a link to the post, it was only a matter of time before the dick pic commentary began.

SEE ALSO: Jeff Bezos says National Enquirer threatened to reveal his nude photos

Some couldn't get over the bizarre scenario.

Bezos Hamilton’d himself. Truly, 2019 is off to a hell of a start.

— Aaron Mehta (@AaronMehta) February 7, 2019

I can't decide what the world deserves more: presidential pee tape or Amazon CEO dick pic. 🤷‍♀️

— Annalee Newitz (@Annaleen) February 7, 2019

Twitter users also applauded Bezos — shrugging off nudes because you have the money to is truly a baller move.

What’s the point of having fuck you money if you never say fuck you to people blackmailing you over your dick pics. Good for Bezos.

— Brian Koppelman (@briankoppelman) February 7, 2019

I aspire to one day have “fuck you, publish my dick pics” money. https://t.co/xMBmeejsuV

— Sonny Bunch (@SonnyBunch) February 7, 2019

Bezos after submitting that Medium post. pic.twitter.com/tbBrMgNL8e

— Harry Heymann (@harryh) February 7, 2019

the real fuck-you move would have been to publish the dick pics himself imo

— Ashley Feinberg (@ashleyfeinberg) February 7, 2019

the national enquirer spent months trying to blackmail jeff bezos and he...just...posted on medium https://t.co/Ag7VIY6e3B

— Bobby Lewis (@revrrlewis) February 7, 2019

Jeff Bezos is the angel of death in so many ways but god I fucken love this move so hard

— your friend Helen (@hels) February 7, 2019

What David Pecker failed to realize is that his fuck you money is the money Bezos has in the cushions of his spare couch. https://t.co/V0MziIqCIw

— Derp Digler (@DiglerDerp) February 7, 2019

Others just ... really didn't want to think about a horny billionaire's genitals.

Gonna be so bummed when the Jeff Bezos dick pics come out and he’s hung like a donkey. Real morale killer for the rest of us guys.

— Clue Heywood (@ClueHeywood) February 7, 2019

Covering my bases by working up some draft tweets that can be used if Jeff Bezos’s penis is either good or bad

— who pixelates the boatmen? (@pixelatedboat) February 7, 2019

in retrospect, it is possible the invention of photography was a mistake

— Ariel Edwards-Levy (@aedwardslevy) February 7, 2019

There was an abundance of puns and references to Amazon's somewhat terrifying marketing practices.

People who liked this dick pic also bought...

— David Teicher (@Aerocles) February 7, 2019

Dick-pics Die in Darkness https://t.co/btTjBGzNvR

— jon gabriel (@exjon) February 7, 2019

Because Mr. Bezos refused to reimburse me for the late shipping on my beef jerky 30 pack I am hereby publishing this photo of his manhood pic.twitter.com/oJNODfaeXt

— Samuel Hammond 🌐🏛 (@hamandcheese) February 7, 2019

There were also reactions to Bezos' use of "complexifier," which probably isn't the word he was trying to use.

“Source of complications” > “complexifier”

— Matthew Yglesias (@mattyglesias) February 7, 2019

I like that he used the word “complexifier,” bc it means that he definitely wrote it himself and is an actual person who would get into a petty argument with a copy editor.

— Emily Nussbaum (@emilynussbaum) February 7, 2019

Jeff Bezos calls his dick “the complexifier”

— Noah Hurowitz (@NoahHurowitz) February 7, 2019

I am a complexifier of my own life

— Tom Tomorrow (@tomtomorrow) February 8, 2019

I would be less ashamed of the dick pics than of using the word "complexifier"

— Daniel Radosh (@danielradosh) February 7, 2019

Dibs on The Complexifier, a Jason Statham action thriller about a billionaire who goes rogue to destroy an evil tabloid who violated the rules of Journalism

— kang👎 (@jaycaspiankang) February 7, 2019

UPDATE: Feb. 8, 2019, 9:28 a.m. EST This story has been updated to include statement from AMI.

#_uuid:201b195a-a00e-3fce-a9df-5298ed12aa25 #_author:Morgan Sung #_category:yct:001000002 #_lmsid:a0Vd000000DTrEpEAL #_revsp:news.mashable

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funnythingshere0-blog · 6 years

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ITV Good Morning Britain: 'What's happening?' Laura Tobin terrified by guest live on air

New Post has been published on https://funnythingshere.xyz/itv-good-morning-britain-whats-happening-laura-tobin-terrified-by-guest-live-on-air/

ITV Good Morning Britain: 'What's happening?' Laura Tobin terrified by guest live on air

Good Morning Britain viewers tuned in to see Susanna Reid, 47, and Adil Ray, 44 host the show.

As they crossed over to the weather, delivered by Laura, 37, who was live from Chessington, she was given the shock of her life.

“Good Morning, I have a special friend with me here,” as she stood holding a skeleton figure.

“This is Jon bone-Jovi, see what I did there?”

“And I thought, as it’s Halloween, I thought we should tell a skeleton joke…”

Viewers then saw someone running from the back of the castle, up to Laura dressed as a zombie, complete with scary face paint.

Screaming she tried to run away, but the zombie followed making gruelling noises.

“Oh god. I don’t know what’s happening,” Laura squealed. “Oh god, ok.”

Following the hilarious moment, Laura took to her Twitter account and shared a photo alongside the zombie.

“OMG! That gave me the fright of my life! I just heart feet running!! My heart was racing & I don’t remember a word I said!

“Thanks producer Michelle! @shelly284 @GMB” it read.

Those watching at home took to Twitter to discuss the hilarious moment.

One said: “@GMB This was hilarious this morning, poor @Lauratobin1 got such a fright. Happy Halloween!”

“@lauratobin1 @GMB very funny it’s as well you didn’t curse because I know I would have!” Another added.

A third wrote: “@lauratobin1 @GMBThat’s actually quite terrifying at something past six in the morning.”

It comes after yesterday’s show when Chancellor Phillip Hammond joined the hosts.

Speaking about the recent budget, Susanna questioned Phillip on his potential next move within the party.

She tried to offer the Chancellor a mug which said ‘Phillip Hammond Prime Minister’ written on it and viewers saw him flatly refuse the mug or position.

“Hands it straight back. Couldn’t be any clearer,” Susanna joked.

Good Morning Britain airs weekday mornings at 6am on ITV.

Source: https://www.express.co.uk/showbiz/tv-radio/1038737/ITV-Good-Morning-Britain-Laura-Tobin-zombie-jumped-weather-Susanna-Reid-video

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hammondcast · 2 years

Text

Hammond Report June 23 2022 Flying Circus Jon Hammond's 1965 Fender Twin Reverb Amp With Factory JBL Speakers

#WATCHMOVIE HERE: Hammond Report June 23 2022 Flying Circus Jon Hammond's 1965 Fender Twin Reverb Amp With Factory JBL Speakers

Jon's archive https://archive.org/details/hammond-report-june-23-2022-flying-circus-jon-hammonds-1965-fender-twin-reverb-a Youtube https://www.youtube.com/watch?v=CwObP7qiZQ0

FB https://fb.watch/dQxw7rBcMT/

Hammond Report June 23 2022 Flying Circus Jon Hammond's 1965 Fender Twin Reverb Amp With Factory JBL Speakers

Jon Hammond

Fender Twin Reverb, 6L6 Tubes, Cap Job, Flying Circus, Doobie Brothers, John McFee, Music, Stories, Hammond Organ, Black and White Photography

Language

English

Hammond Report June 23 2022 Flying Circus Jon Hammond's 1965 Fender Twin Reverb Amp with Factory JBL Speakers Tube rumble, but the 6L6 Power Tubes are A-OK! Music and Stories for Thursday the 23rd of June, and some of my Black and White photos - I'm playing my organ powered here by my black face '65 Fender Twin with legacy, it used to be John Mcfee & his brother Bob Mcfee's twin when they were in Flying Circus - Muir Beach CA and then Clover before I got it - sometimes I have to slap it to get the tube rumble to settle down! Have a beautiful Thursday folks,Jon Hammond #6L6 #powertubes #Capjob

#tungsol #twinreverb #flyingcircus #doobiebrothers #johnmcfee #hammondorgan #blackandwhitephotography

Addeddate

2022-06-23 18:34:50

Identifier

hammond-report-june-23-2022-flying-circus-jon-hammonds-1965-fender-twin-reverb-a

Fender Twin Reverb, 6L6 Tubes, Cap Job, Flying Circus, Doobie Brothers, John McFee, Music, Stories, Hammond Organ, Black and White Photography

#Fender Twin Reverb #6L6 Tubes #Cap Job #Flying Circus #Doobie Brothers #John McFee #live music #Stories #Hammond Organ #Black and White Photography

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thejazzspot · 7 years

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Larry Young ‎- Lawrence Of Newark (1973, Perception Records - PLP 034, US)

After experiencing a deep identity crisis in the late 1960s, Jazz progressed through new directions, reinventing itself and finding a new course under a fertile proliferation of disparate elements. The fusion of styles gained space with musicians such as Herbie Hancock, Chick Corea, Bennie Maupin, Larry Coryell, Wayne Shorter, Eddie Henderson and the already renowned Miles Davis, opening the doors to Rock, R&B or Popular Music and therefore attaining a more mainstream sound and a wider audience.

It is in this period of change that this peculiar record appears, though never surpassing a faint visibility by virtue of the subsequent extinction of the small record label responsible for its release. Recorded in 1973, "Lawrence Of Newark" is nevertheless a remarkable case of creativity and inspiration. Almost a decade after recording his most recognized work ("Unity" with Elvin Jones and Joe Henderson), Larry Young was still in great shape, but this time demonstrating an avant-garde and experimental nature hardly found in his previous discography with Prestige and Blue Note.

To accomplish this work, the nicknamed "John Coltrane of the organ" was accompanied by a considerable panel of rotating musicians that included, among others, several percussionists (Abdul Shahid, Armen Halburian, Jumma Santos, etc.) the guitarist James "Blood" Ulmer, the bassists Don Pate and Juni Booth and the mystery guest Pharaoh Sanders (possibly not listed in the album for contractual reasons).

This cosmic journey has its start with “Sunshine Fly Away” (in spite of the different alignment of the back cover), in a sort of tribal pace that supports Larry Young's organ and Dennis Mourose's saxophone. Between moments of greater harmony and collective jubilation, this introductory theme develops under an immense variety of sounds, opening the appetite for what follows.

Through an organic narrative, "Khalid Of Space - Part Two" takes us to a moment of strong inspiration in a kind of a cosmic jam-session by Sun Ra and his Arkestra. With an unparalleled intensity, funk, jazz, rock, and afro-oriental influences (and whatever else) merge into a language of psychedelic textures for over 12 minutes of pure magic. Between styles that blend viscerally, the references can be as varied and scattered as Terry Riley's minimalism, James Brown's rhythmic sense or the ferocity of Jon Lord's organ and Ian Gillan's screams. Under an inebriating atmosphere led by Larry Young and James "Blood" Ulmer, the thresholds of Jazz Fusion are here raised to territories close to free-jazz.

But although "Khalid Of Space" represents the high point of this work, the other themes are equally worthy of an attentive audition, as is the case of “Saudia” and “Alive” (of less than 2 minutes) developed under a latent improvisation and lines of greater atmospheric contours.

Finally, “Hello Your Quietness” closes this masterpiece with yet another moment of artistic hypnotism. While electronics reach a sometimes abstract slope, the saxophones of Pharoah Sanders and Dennis Mourouse intertwine in moments full of harmony. Throughout more than 10 minutes of pure musical seduction, Diedre Johnson (cello) and Charles Magee (electric trumpet) are also called upon to intervene, adding their personal stamp to the overall shape of this piece.

Although the quality of this recording is far from ideal, at no time does the music of this session fail to stand out, being that creativity and emotional impact largely compensate for the lack of a more transparent and dynamic sound.

For this emblematic session contributed the intense improvisation carried out by this group of excellent musicians, their diversified instrumentation and above all, the vernacular kinetic responsible for the collective energy evident throughout this date. Equally significant for the final result of this music certainly were the influences obtained by Young on collaborations and recordings such as John McLaughlin's "Devotion", Miles Davis' "Bitches Brew" or the participation in Tony Williams' “Lifetime” project.

Through a new freedom and a more imaginative rapport, Young reaches here a creative dimension and an artistic level that transcends formats and genres. His strong experimental bent, initially manifested in his forays in the soul and modal-jazz, culminates in an alliance of his virtuosity with the more avant-garde forms of jazz.

Equally noteworthy in the trajectory of this insatiable innovator is the participation in Jimmy Hendrix's album "Nine to the Universe" (recorded in 1969 but only released after the death of the legendary Seattle guitarist) or the accession to the Sunni Muslim religion, quite evident in themes like “Khalid of Space” (in reference to its Islamic name Khalid Yasin) as in the album's title and cover.

Despite his premature death at age 37, Larry Young spread his magic and inscribed his name in the history of Jazz along with other Hammond B3 organists like the legendary Jimmy Smith.

Mister W

Total or partial reproduction of the contents of this site is strictly prohibited. It can only occur with prior permission of the author. To that end, please contact [email protected]

Photo Credit: Bill May

***Portuguese version***

Após ter enfrentado uma profunda crise de identidade no final da década de 60, o Jazz progrediu por novos terrenos, reinventando-se e encontrando um novo rumo sob uma proliferação fértil em elementos dispares. A fusão de estilos ganhou o seu espaço com músicos como Herbie Hancock, Chick Corea, Bennie Maupin, Larry Coryell, Wayne Shorter, Eddie Henderson e o já consagrado Miles Davis, abrindo as portas ao Rock, ao R&B ou à Música Popular, e visando assim uma sonoridade mais mainstream e um público mais abrangente.

É neste período de mudança que surge este disco peculiar, na forma e no conteúdo, que nunca ultrapassou uma ténue visibilidade por força da posterior extinção da pequena editora responsável pelo seu lançamento. Gravado em 1973, “Lawrence Of Newark” não deixa por isso de ser um caso notável de criatividade e inspiração. Quase uma década depois de ter gravado o seu trabalho mais reconhecido ("Unity" com Elvin Jones e Joe Henderson), Larry Young continuava em grande forma, mas desta feita demonstrando uma natureza vanguardista e experimental dificilmente encontrada na sua discografia anterior com a Prestige e Blue Note.

Para a concretização deste trabalho, o então apelidado de “John Coltrane do órgão" fez-se acompanhar de um considerável painel de músicos rotativos que inclui, entre outros, vários percussionistas (Abdul Shahid, Armen Halburian, Jumma Santos, etc.), o guitarrista James “Blood” Ulmer, os baixistas Don Pate e Juni Booth ou o convidado mistério Pharaoh Sanders (possivelmente não listado no álbum por questões contratuais).

Esta viagem cósmica tem o seu início com “Sunshine Fly Away” (apesar do diferente alinhamento da contra-capa), numa toada ritmada por uma percussão tribal que suporta as investidas do orgão de Larry Young e do saxofone de Dennis Mourose. Por entre momentos de maior harmonia ou de júbilo colectivo, este tema introdutório desenvolve-se sob uma imensa variedade de sons, abrindo o apetite para o que se segue.

Através de uma narrativa orgânica, “Khalid Of Space, Part Two” remete-nos para um momento de forte inspiração ao jeito de uma jam-cósmica de Sun Ra e sua Arkestra. Com uma intensidade sem paralelo, o funk, o jazz, o rock, as influências afro-orientais (e sei lá mais o quê) fundem-se numa linguagem de texturas psicadélicas ao longo de 12 minutos de pura magia. Entre estilos que se mesclam de forma visceral, as referências podem ser tão variadas e dispersas como o minimalismo de Terry Riley, o sentido rítmico de James Brown ou a ferocidade do orgão de Jon Lord e dos gritos de Ian Gillan. Sob uma atmosfera inebriante, liderada por Larry Young e James “Blood” Ulmer, a fasquia do vulgarmente denominado Jazz de Fusão é aqui elevada para territórios próximos do free-jazz.

Mas apesar de “Khalid Of Space” representar o ponto alto desta obra, os demais temas são igualmente dignos de uma audição atenta, como é o caso de “Saudia” e de “Alive” (de menos de 2 minutos) desenvolvidos sob um improviso latente e uma sonoridade de maiores contornos atmosféricos.

Por último, “Hello Your Quietness” encerra esta obra-prima com mais um momento de hipnotismo artístico. Enquanto a electrónica atinge uma vertente por vezes abstracta, os saxofones de Pharoah Sanders e Dennis Mourouse entrelaçam-se em momentos plenos de harmonia. Ao longo dos mais de 10 minutos de pura sedução musical, Diedre Johnson (violoncelo) e Charles Magee (trompete eléctrico) são igualmente chamados a intervir, acrescentando o seu cunho pessoal à sonoridade global desta peça.

Não obstante a qualidade desta gravação estar longe de ser a melhor, em momento algum a música desta sessão deixa de sobressair, fazendo com que a criatividade e o impacto emocional compensem largamente a falta de um som mais transparente e dinâmico.

Para esta sessão emblemática, contribuiu o improviso levado a cabo por este rol de excelentes músicos, a instrumentação diversificada e sobretudo o vernáculo cinético responsável pela energia colectiva patente ao longo desta gravação. De igual modo significativo para o resultado final deste trabalho foi concerteza a influência que Young bebeu em colaborações anteriores, como o àlbum “Devotion” de John McLaughlin, “Bitches Brew” de Miles Davis ou a participação no excelente projecto “Lifetime” de Tony Williams.

Através de uma nova liberdade e de um registo mais imaginativo, Young atinge aqui uma dimensão criativa e um patamar artístico que transcende formatos e géneros. O seu forte desejo experimentalista, inicialmente manifestado nas suas incursões pelo soul-jazz e modal-jazz, culmina numa aliança do seu virtuosismo às formas mais vanguardistas do jazz.

Igualmente dignos de nota no percurso deste inovador insaciável são a participação no álbum “Nine to the Universe” de Jimmy Hendrix (gravado em 1969 mas só editado após a morte do mítico guitarrista de Seattle) ou a adesão à religião muçulmana/sunita, bem patente em temas como Khalid of Space (em referência ao seu nome muçulmano Khalid Yasin) como no título e na capa do álbum.

Apesar da sua morte prematura aos 37 anos, Larry Young espalhou a sua magia e inscreveu o seu nome junto de outros nomes do Hammond B3 como o lendário Jimmy Smith.

Mister W

A reprodução dos conteúdos deste espaço é expressamente proibida. A mesma só poderá ocorrer com a autorização prévia do autor. Para tal, favor contactar [email protected]

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