Greve Strand buying Heroin

__________________________

📍 Verified store!

📍 Guarantees! Quality! Reviews!

__________________________

▼▼ ▼▼ ▼▼ ▼▼ ▼▼ ▼▼ ▼▼

▲▲ ▲▲ ▲▲ ▲▲ ▲▲ ▲▲ ▲▲

Greve Strand buying Heroin

How perfect, then, to enjoy a well-attended concert of top-flight music at the beautiful Rizzoli Bookstore. T he early hit time on a Sunday 5 PM and a complimentary glass of wine with a reasonable cover price make attendance here an easy sell. During the concert, she switched back and forth between a concert C flute and a larger bass flute, always with a rounded and complex sound and the resonant overtones that make the flute so naturally evocative. I stumbled across this album on Bandcamp in mid without knowing anything about Nilsson. I remember being really moved by the quiet beauty of the music, which is based on improvisations Nilsson recorded during a post-pandemic trip to the Pacific Northeast. During the concert, Nilsson explained that the continuing inspiration of this music is in the sounds and rhythms of nature, this time from her trip to the Patagonian region of Argentina. The four compositions she and her band played from this album find inspiration in bird songs, the medicinal properties of plants, and the calm, serene lake where Nilsson stayed. Check it out next Friday! During the performance of this work, Nilsson would periodically use a pedal to trigger a sample of Dr. There was also plenty of space for the band to shine, and everyone made great solo statements. Nothing felt amiss, however, and in his playing, I heard kernels of melody that he would develop into convincing solo statements. This band developed and composed the Pulses material together and played the unison parts with the authoritativeness that comes from a deep connection to the material, and also moved easily between the written and improvised sections. You can also purchase the recording from Bandcamp. This music acts as an agent to bond, heal, and make the universe a little bigger. At Rizzoli Bookstore, these were connections that the audience could hear, participate in, and feel the power of music to heighten feeling and awareness of the world. Her albums are available on Bandcamp for extremely reasonable prices, showing how much she wants to share this music with you. The next one will be on October 20, a tribute to Federico Fellini and Nino Rota as well as the 60th anniversary of Rizzoli. The link for the concert is here. His show is especially invaluable for its focus on European jazz, which otherwise does not get much notice in the United States, and Granvassu is an expert on that scene. Here is the link to Mondo Jazz on Apple Podcasts. More Maya Angelou I only vaguely remember Dr. Brennan is one of the most notable jazz musicians around and has been an essential side person in the bands of Mary Halvorson and Tomas Fujiwara, as well as on albums by Stephan Crump, Alan Braufman, Matt Mitchell, and many others. Maquishti is a luminous tour de force that contains mystery and rhythmic complexity. With her follow-up a year later, More Touch , Brennan expanded on the rhythms in her debut with a quartet of her vibraphone plus Marcus Gilmore on trap drums, Mauricio Herrera on persuasion, and Kim Cass on bass. More Touch is a feast for headphone listeners where you dance in your mind. The music of Breaking Stretch still has the dense complexity and heady compositional ideas of its two predecessors, but the addition of horns coincides with a shift in attitude — where Maquishti centered a meditative quietude and More Touch glowing introverted rhythms, Breaking Stretch takes an exciting extroverted turn. The rhythms now loudly proclaim themselves, and Breaking Stretch not only dances, but also burns. Right away, you can hear the intricate writing for the three horns. The musicians sound particularly inspired in this context, and rise to the highest level. This music trades heavily in percussion — the playing of Marcus Gilmore and Mauricio Herrera sound as if they are one, and their beats play a crucial role in organizing the nuanced music. The extroverted personality of Breaking Stretch really highlights the horn players, who are all incredible. The prolific Jon Irabagon plays with his typical fire, taking solos that push all kinds of boundaries throughout, both on alto sax and sopranino. I have to give a special mention to Mark Shim. Frankly, I have not heard his playing since the album New Directions , which came out 24 years ago. What a revelation to listen to Shim now! His husky tenor sax tone contrasts with the brighter tone of the other players, and the flow of his solos sounds very alive and in the moment, with a spontaneity that reminds me a bit of Joe Henderson. As for the leader, her playing here is as remarkable as always. For her compositions, Brennan draws on many sources of inspiration, often explicitly intellectual, emotional, and musical. Other songs find sources of inspiration in poetry, astronomy and astrology, sculpture, and psychology. At the same time, the music is rooted in fascinating musicological concerns. Maquishti , More Touch , and now Breaking Stretch form a unified whole as well as a dynamic narrative. With Breaking Stretch , Patricia Brennan has established herself as one of the most accomplished leaders in improvised music, one who has a specific vision, can write compelling tunes, and has realized that vision with the perfect musicians. This is music of the mind has now been lit up with an incredible fire; time to move the tables apart and dance! Bandcamp Friday! You can also check out sax player Jon Irabagon, who always has several new records out. Finally, bassist Kim Cass recently released Levs on Pi Records, an album of intricate rhythmic explorations set against moody voicings. Cass, Matt Mitchell, and Tyshawn Sorey set a new standard for virtuosity here. Interviews with Brennan! To prepare for this piece, I read a number of terrific interviews with Brennan, which I recommend for further exploration of this great artist. I would start with the recent interview at Burning Ambulance , where Brennan composed thoughtful responses to written questions. Last year, Troy Collins at Point of Departure did an interview with Brennan that went into detail about her inspiration for an exploratory approach to sound, for which she credits groundbreaking drummer Evelyn Glennie. The longest and most thorough interview with Brennan is at Dada Strain , where Brennan talks at length about the vibraphone and marimba, her approach to playing, how she developed her sound, her writing process, and her relation to the tradition. Also, check out the fun Downbeat blindfold test , where Brennan insightfully breaks down music thrown at her with no prep! Plus, you can still get the vinyl at Bandcamp — my copy is below! So that invite thank you, Tom Hull! The poll results mirror my excitement for a half-year deep in exceptional music. What differentiates the albums at the top of my list and the top of the poll results is really a matter of taste, not quality. Of course, fandom is closely intertwined with advocacy; every listener wants the music close to their heart to be pushed to the top, and the whole world to love their heroes. On the other hand, I think the brilliant Illimitable by Matt Mitchell should have ranked higher only 46 on the Arts Fuse list with two voters. Make sure you listen to it! Also absent from the top 50 are my 7, 8, and 9 picks, but you can read more about them below. As the band joins, the center of the music becomes the incredible chemistry between Reid and guitarist Mary Halvorson. Now, you can be there, on your headphones or in your speakers. What do we need to have Thomas come to New York? Maybe a GoFundMe? With Francesca , Murray presents his music in the quartet format that has always been where he gets to stretch out into galvanic flights of sax fervor. Same as it always was. Repeat listens reveal just what a ferocious band the Elders Ones is, each player combining into an earth-shaking whole. Keep your eyes peeled. For me, Borderlands gets the nod for pure imagination, and the courage to go deep with minute-long performances spread out over two CDs. The material collected on Freedom Weaver was previously only available as coveted bootlegs of the legendary nine-day, five-country European tour. Resonance Records has cleaned up the sound and presented the music with a page book and interviews, including with Rollins. The music is the main thing—almost every tune has some revelation where the tenor takes flight into a rhapsody that only Rollins can do. Check out the excellent review written by Hank Shteamer for Pitchfork. Emahoy Tsegue Maryam Gebru, Souvenirs recorded , Mississippi Newly released music by Emahoy Tsegue Maryam Gebru is something to celebrate — it radiates unparalleled centeredness and peace. Link to Purchase CD at Bandcamp not a digital release Our deep dive into the music of Steve Lacy and Mal Waldron aimed to create a context for appreciating this album of newly released music. Modney — Ascending Primes. Since moving to NYC in , violinist and composer Josh Modney now simply Modney has been part of an artistic space rooted in modern classical music but strongly influenced by jazz and improvisational music practices. With Ascending Primes , Modney plugs in and becomes a rock star. The effect is bold and, yes, electrifying. In an excellent interview on the radio show Evening Eclectic where disc jockey Dave Lake also spins the whole album , Modney states his goal is to expand the continuum of music from consonance to dissonance by employing both equal and just temperament systems. This gives him the widest palette of harmonic possibilities and the greatest range of expression. Ascending Primes is deep in contrasts between consonance and dissonance, beauty and cacophony, and composed and improvised spaces. It features music that moves easily in the spaces between these worlds and employs musicians who convincingly erase any boundaries. Ascending Primes presents stimulating and deeply conceived music with perfect execution and presentation from all involved. A path that shows itself as it is traveled. The music steadily builds until 15 minutes in, when Sanchez has added layers of earth-shaking noise and distortion that could frighten the neighbors. Hearing this live might just be the ticket — so get yours now to see Sanchez with Fred Frith at Cafe Oto on October 20th — a great reason to jump on a plane to London. After all the intensity and noise from Modney and Paula Sanchez, you may need a breather. Both the music and the process are fascinating. The effect is jarring, beautiful, and subtly trance-inducing. The novel soundscape allows Jung Un Suh to play very melodic material that also has a faint air of menace and is never trite. Nick Dunston — Colla Voce. JACK contributes a wide and nonconventional palette of sounds. When I first listened to Colla Voce , I had to turn it off because there was just too much to absorb. What has grabbed me the most are the radical experiments in string writing, where the physicality of the playing makes sound tactile. Each time I put Colla Voce on, it gets better and richer. Like the best field recordings, the player and the instrument are only part of the story — the lo-fi sound expressively captures the sonic qualities of the spaces where the recordings were made, and the approach gains impact from the haze of reverb in the sound space that creates an aura around the playing. Reich uses simple low-tech tools to create fascinating sonic worlds. I initially had this music on in the background, and it kept diverting my attention from other things — a sign of a captivating approach as well as deep ideas. I was struck by what a unified and convincing listening experience the first disc of New Moon In The Evil Age is — and I think you can hear what a labor of love it is too. Leppin sings on every track of disc two, which sticks with the synth-based sound. With New Moon In The Evil Age , Leppin and Pirog have given us a surprising curveball that will delight many, and more of the gorgeous cello and guitar atmospherics that their followers have been waiting a decade for. The guest appearances are all great highlights aside from Threadgill are Anna Webber on flute and Alfredo Colon on EWI , but multiple listens have brought home to me the excellence of the core trio of Hoffman with Frank LoCrasto on keyboards and Bill Campbell on drums. That sound above all is the heart of Vision Is The Identity , where Hoffman expands the expressive range of the cello. Bach, and listeners in between. This album mostly uses the formula of its predecessor After Bach — Mehldau first faithfully plays Bach compositions on piano, then uses those performances as a starting point for his own compositions or improvisations. Mehldau programs these Goldbergs near the end of After Bach II — so make sure to catch them — skip right to them if you must. What a blast! To get your fix, I can recommend pianist Dan Tepfer. Like Konitz, Tepfer has a strong identity as a player, a gift for melody, and is a fearless improviser. I discovered that Tepfer has been recording and performing Bach for over 15 years and has an especially deep rapport with the Goldbergs. Then, in a flash of inspiration during a grueling solo piano tour in , Tepfer injected some of the Goldbergs into a free jazz recital. So I tried it again the next night. From that point, Tepfer worked on playing the Goldbergs and improvising on them in parallel to his jazz playing. But Tepfer kept working on the Goldbergs and, by his account, got better at playing them and creating his own variations. Tepfer states that while touring after his album, he challenged himself to play the whole Goldbergs from memory live, which he had been unable to do in the studio. It has my highest recommendation. More recently, Tepfer posted a YouTube video playing all the Goldbergs and his improvised variations in an uninterrupted recital. Tepfer has also done another investigation of Bach, where he uses technology to create versions of the Goldbergs which are inversions of the music — a mirror image where the notes are played in the opposite direction. The results are stimulating and again give a fresh insight into well-worn music. Mehldau and Tepfer are simply taking the next step, one that an improviser like Bach would do if he were alive today. After the long essay on Mal Waldron and Steve Lacy apologies if it was too long , I hope to post shorter pieces more quickly for a while. Sun Ra, who passed into the next plane 31 years ago, is an epochal musical and spiritual force, a trailblazer of more styles and ideas than anyone. Another fantastic way to celebrate arrival day is to listen to the new archival release on Elemental Records, Sun Ra At the Showcase, Live in Chicago An ideal introduction! There are killer solos from John Gilmore, Marshall Allen, and Ra himself on a battery of electronics and synthesizers. The period photos from the gigs and album artwork are also top-notch. One thing I plan on doing for arrival day is to watch the documentary that features a lot of Ra playing in the Philadelphia period, A Joyful Noise. Meshell Ndegeocello was on one track from that last album, and in the latest entry of the series, she creates a whole album redesigning the classic The Magic City. Speaking of Marshall Allen, that brings us to the second phenomenal celebration this week: Saturday the 25th is the th birthday of the ongoing and amazing Marshall Allen. Not only is Allen one of the featured soloists on the Arkestra records above, but he has continued leading that group into the current millennium. You can hear plenty of Allen on the recent Swirling and Living Sky Happy th birthday to the great Marshall Allen! They are! Tune in here or at Allen performed last night in Philadelphia to celebrate his th birthday! You can find a picture of Allen performing last night at Union Transfer here. Check out this interview in The Guardian from this February , where Allen reflects on his life and playing with Sun Ra. Allen interviewed with CBS42 just a few days ago. I love how he credits the music for making it to Jazz music has always been the home of great partnerships. The best of those collaborations find a space where the players can be unrestrained but also serve the music and complement each other. However, one musical partnership that should get more attention is the collaboration of pianist Mal Waldron and saxophonist Steve Lacy. These two unique musicians first played together in New York in the late s, but the story of their music together began in earnest when they met as expatriates and recorded together, mainly in Europe, from to Their collaboration is an ideal balance of unique voices and bold musical affinity. Waldron and Lacy have styles that are contrasting yet complementary, they share a deep musical connection and a personal relationship built around musical goals in common, and they embody essential virtues of collaboration: deep listening, sensitivity, and mutual respect. Unfortunately, these two men are gone; Waldron died in , and Lacy died two years later in With the new release of a concert of Waldron and Lacy with the rhythm section of drummer Andrew Cyrille and bassist Reggie Workman, we have the opportunity to take another look at one of the great musical partnerships and appreciate the wisdom and power of the music that Waldron and Lacy created together. Links to purchase this album at Bandcamp or stream it are above. The album consists of two discs, each a set played back to back as part of an evening-long concert. One of the joys of this release is that you feel you are there, witnessing a special event. Lacy led a humble life of tireless practice, built a unique musical vision and sound world, and created an aesthetic centered on listening and patience. I like his use of melody, harmony, and especially his rhythm. Lacy chose Mal Waldron. But when economic opportunities dried up in New York, Lacy relocated to Europe — first to Italy in the mids and eventually to Paris in , where he remained for 30 years. While Prestige produced commercially successful albums in the jazz mainstream, Waldron also had an ear open to the cutting edge, and he was recorded in one of the hottest rhythm sections of all time on July 16th, Through grinding session work and the caldron of live playing at clubs like the Five Spot, Waldron developed one of the most recognizable piano styles in music. Then the music almost stopped for Waldron — in , he suffered a nervous breakdown as a result of a heroin overdose and only luckily survived. I lost my coordination, and my hands were shaking all the time. After recovering, he was offered the chance to record in Paris, and he got a one-way ticket and never returned to live in the United States. In the interview with Pankin, Waldron states that he remained an expatriate in Europe because he was treated with respect there, which he contrasted with the racism and poor working conditions for musicians in the United States. We must not forget how bad the past was for the oppressed — and always be mindful of how close we still are to that past now. Unfortunately, this vital recording has never been reissued in any format and has been out of print for decades. As of this writing, you can still download a vinyl rip of it from the blog inconstant sol. Another album begging for a reissue! At any rate, on Journey Without End , you can immediately hear why Waldron and Lacy gravitated toward each other. The album is credited to both as co-leaders; side A is all Waldron tunes, and side B is all Lacy. Journey Without End also has some great compositions — the title track is built over an earthy bass figure, and Waldron and Lacy both deliver probing solos. The iconic album cover photo above captures it all. Pictured are two fellow travelers: Waldron and Lacy pose in front of a narrow passageway, smokes in hand a habit Waldron never gave up; a dangling cigarillo is a constant companion in almost every Waldron photo. Waldron looks incredibly debonaire and photogenic, and Lacy is humble but really hip, too. You can see in this picture that these two men are so different but share a connection and a common passion. Waldron and Lacy must have felt their alchemy because they were back in the studio the following year for the wild Mal Waldron with the Steve Lacy Quintet. I could write much more about this fantastic and somewhat anomalous date — it will be the subject of a future post! Waldron must have enjoyed the aural chaos of the America date because he named it one of his five favorites from his albums in the Pankin interview. All these records were released on the German ENJA label, and each has its charms and is a classic in its way. Hard Talk is a crackling live date where Blairman gives a rock feel on his tom-toms, and Waldron, Lacy, and trumpeter Schoof sound particularly energized. Waldron and Lacy hit a groove across the s of building resonant and impactful music that shows each of them to great effect. With each of these records, their collaboration feels like they are building toward something. From that point on, Monk tunes are a prominent part of the discographies of both men. Almost all of their subsequent joint recordings for the next 20 years were in a duo format. Both players have very strong rhythm and organized ideas, and you never miss the drummer. This epochal four-and-a-half hours of live music is mercifully available on streaming services. Waldron and Lacy are on fire, and the music is revelatory. If I had to take one record to the proverbial desert island, for me, this may be it. Waldron and Lacy continued to lean into their muse in the duo format, and were just getting started. Before the release of the new album The Mighty Warriors , there were a dozen officially released albums of music performed by Waldron and Lacy together from onward, and all but one had no drummer. So the newly released The Mighty Warriors provides a needed look at Waldron and Lacy performing with bass and drums. And with no ordinary bassist and drummer! Reggie Workman had played with Waldron for years at the time of this concert, starting with the record with Up Popped the Devil from The sound quality of the recording is quite excellent, although the mics are back from the stage and maybe toward the drums; you may want to turn the volume up to hear everything. While the music is adventurous, attention to melody abounds. At this point in his career, Lacy had dispensed with much of the exploration of noise and extended techniques that once were the center of his playing. Here, the more relaxed pace allows you to appreciate the beauty of his melodic development and his incredible sound. The rhythm section is seamless and subtly inventive — listen closely. Amazing stuff. Waldron and Lacy take the tune at a stately pace and build an interesting piano counterpoint into the arrangement of the tune. Workman delivers an arco bass statement, then switches to pizzicato, and then the center of the music switches to Lacy. Lacy seems to relish the open form of this tune, and from to , he plays with a quizzical, probing tone, deft use of space, and abstract but clear ideas that characterize his best work. At , the performance shifts gears, and Workman delivers a fleet and nuanced solo statement. At , we hear from Waldron again, who plays rubato chords that move up and down the keyboard, sounding like a race car driver waiting for the flag to drop. I love this! When Waldron goes to this place, nobody has a more robust musical vision, and the stage becomes his. Suddenly, the band plays what sounds like the head — but for the first time at the end of the song! The lore about audience reactions in continental Europe is that they tend to be politely restrained, but even so, you can hear the crowd break into the waves of applause — was there an encore? While they both went on to individually record worthy albums after this event, The Mighty Warriors is now the penultimate officially released recording of these two men together. Lacy died from cancer only two years after that. Waldron and Lacy left enormous legacies on their instruments and their compositions, as well as their approach to music, improvisation, and collaboration. Their discographies are each huge and immensely rewarding, and the processes of discovery and rediscovery continue to reveal how much power this music provides to us, years after its creation. The Mighty Warriors gives us a chance to look back and appreciate the depth and greatness of what Waldron and Lacy did together and to understand how they changed music. In preparation for this post, I tried to find a discography online that included all of the known recordings of Waldron and Lacy together, and I could not find one source that covered it all. Michael Cuscuna , and the discography linked above is my first stab at compiling one. Also, studying the details of the Waldron-Lacy discography uncovered some interesting mysteries for me. The biggest discovery concerns the epochal Dreher duets. Here are the credits and liner notes on the back cover:. This is a mystery that I will be digging into. Calling the Jazz Detective — Release the Bimhuis set next! This sextet was captured in a live performance on February 27, , at Bimhuis in Amsterdam. You can hear the whole performance on the three-hour-long Deep Focus broadcast and also dig excellent commentary by saxophonist Phillip Johnson and host Mitch Goldman. This exceptional recording frankly sounds even better than The Mighty Warriors. The whole band is in great form and is focused and energetic over ten tunes — eight by Monk and one each by Waldron and Lacy. The addition of an incredible-sounding Roswell Rudd and an exuberant trumpet from Rava does not hurt, either. The Mighty Warriors is a great start, but the Bimhuis is the next step — this recording needs to be released! You can really appreciate the wit and character of Waldron, understand his music better, and learn a lot about him. Also, this doc is a great companion to the music of The Mighty Warriors because it includes extensive interviews with all of the band members, apparently made the same week as this concert. A revelation from the documentary is that at to , and again under the closing credits, there is video from the same concert documented in The Mighty Warriors. If this concert can be released with both the video and audio of that night, that would be something to celebrate! The music is joyous, and both Lacy and Waldron sound great here. Every major city should fill its bandshells and public spaces with free Monk performances! Sometimes, even amidst a fantastic album, one composition or song will stand out and demand your attention. Each of its seven tracks is a compressed statement, and at 24 minutes, Vision Is The Identity is a wonderful example of only releasing the most impactful, potent content. If you are unfamiliar with Hoffman, his interview with PostGenre is an excellent place to start. With his new album, he creates tracks utilizing synthesizers, keyboards, and programmed beats on top of acoustic drums. Then, he often plays his cello with pedal effects, making his instrument sound like a distorted guitar or sometimes like a bass. All those performances feature dynamic playing from Hoffman, who has been part of the formula for the new heights that Threadgill has reached over the last decade. I love how Threadgill balances his phrases with dramatic spaces for breath, which only intensifies the emotional wallop. You can only listen to his playing in wonder. One of the things I enjoy about this track, and Vision Is The Identity overall, is how non-traditional it sounds, and how exciting the electronic settings are. What I especially dug is the spooky overtones Scott gets out of his guitar near the start of the performance and again on the out chorus. I hope you do not mind over words on one song. Music this rich and that says so much deserves to be played multiple times and studied. You test yourself and start to unlock the mysteries and meaning in the grooves. My original intention for this post was an album round-up of about a dozen new releases with links and short descriptions. Sperrazza has released two excellent but different albums — Saturday , which came out last March, and a sequel of sorts, Sunday , released in January of this year. Saturday is a trio album of Sperrazza on drums with pianist Ethan Iverson and bassist Michael Formanek. The engagement and dialogue with jazz tradition is one of the highlights of this album. Sperrazza wrote all the tunes on Saturday, which are delightfully inventive. First, I want to highlight a really attractive quality apart from the music itself. While this blog is not about evaluating audio fidelity, the sound of this recording itself is remarkable and worth appreciating. This was a really lovely touch! In a recent interview , Sperrazza called this his most successful attempt at a blues so far, and the result more than fulfills that humble promise. Here, the band has fun with the bouncy-poignant melody, and Iverson gets into great use of the sustain pedal over tasty drumming. Many of the highlights of Saturday come in the second half, surely a sign of an album with no weak tracks. This record deserves more notice — you should listen. If Saturday is full of satisfying melodies, Sunday is an open-eared adventure that shows a much different side of Sperrazza — this is one for the progressive music fan. The eponymous opening track of that album is a statement of purpose for a band that plays songs created outside conventional rules of structure and instrumentation because this music tells new stories. The new album, Sunday , is the third studio album from the Apocryphal quartet and is their most focused release yet. What I loved most is how this record feels like an unfolding narrative, something Sperrazza makes explicit in his post about the album. But just because this group favors rule-breaking does not mean it has left melody behind. Here, the drums and bass dig into a slinky groove, over which Stillman plays the melody and then a memorable solo. But the real spark comes from Seabrook, riffing with an incredibly transparent and energetic tone and playing a solo at the end of the track that is pure fire. The remainder of the album is full of excellent music, and running at 38 minutes, Sperrazza knows how to avoid overstaying his welcome. If you play this album in the background, there is bound to be some idea or gesture that will jump out at you and draw your attention. After hearing Sunday , this group has become one of my favorite ones in music, and I look forward to seeing the Apocryphal quartet live. There you have it, Saturday and Sunday. These are two excellent albums that rejuvenate the mind and soul but are very different, just like the contrasting days of your weekend. Sperrazza was somebody I had only heard about before listening to these albums, but now he is planted at the top of the artists making music today music for me. Listen to Apocryphal The Apocryphal quartet has captured my ear; I love its open-minded and exciting approach to music. All these records feature unpredictable, eclectic, and exciting music. Sperrazza also writes about non-drummers, and I can hardly wait for what he publishes next. Two other new albums are out! Like Saturday and Sunday , these are two very different records — the first focusing on free and expressive interplay with no piano, and the latter a romp through large band orchestrations in a variety of styles from Carla Bley to Count Basie. Sperrazza, whose drumming is so flexible, is a first-call drummer for settings like these and more. Apple calls it Lounge! At The Necessary Blues , we try to look beyond labels and words that describe genre — those labels can be helpful but also feel like a prison. You can listen here. Shara Lunon — voice and vocal processing Anna Webber — flute Oscar Noriega — clarinets James Brandon Lewis — tenor saxophone Nate Wooley — trumpet Jennifer Choi — violin Kyle Armbrust — viola Michael Nicolas — cello Shahzad Ismaily — bass and keyboards Ches Smith — electronics, programming, vibes, drums, tubular bells, glockenspiel, timpani, tam tam, metal percussion. Ches Smith — where to start? In , he was everywhere. Laugh Ash delivers music that sounds like a consolidation as well as a bold new statement. Ches Smith has always had multiple ongoing bands, each revealing a different side of who he is. Smith has a working group of Mat Maneri and Craig Taborn that released The Bell , and with the addition of Bill Frisell, Interpret It Well , often quiet albums that spin trance-inducing improvisations from melodic kernels. Who is the real Ches Smith? Now we have the answer. Laugh Ash is the album that draws from all these different aesthetics and then boldly strikes out into even more sonic vistas. Not only does Smith synthesize his prior statements in minimalism, electronics, noise, and percussion, but you also can hear a swirling blend of other sounds — hip-hop, dance rhythms, opera, modern classical, prog rock, dub, jazz poetry, video game bleeps, sound collage — the list could go on. These sound ideas co-occur, and at any given moment, you might be listening to a raag melody played over hip-hop beats, filled out by 8-bit bleeps and warbles. This happens throughout — Laugh Ash is bursting with more ideas over fifty-one minutes than most artists have in their discographies! Ismaily sounds like he was given the role of improvising bass lines underneath and throughout all of the fixed parts, and whether predetermined or not, his playing provides the album with a consistently spontaneous and alive feel, even during the densest material. Most of these tracks feature her vocals at the border between soul, opera, and hip-hop. Laugh Ash also embodies experimentation as a philosophical concept. As a form of catharsis, laughter is fine by me. Genuine laughter arrives unannounced, causing a fissure where time stops. If the bout of laughter is severe, you may find yourself at the point of disintegration. Afterward, if not too worn out, you can dust away the ash, put yourself back together and continue your life afresh, newly curious about what is possible. Smith juxtaposes musically complementary but novel elements and creates a startling, sometimes funny, and reconfiguring result. Laugh Ash Then and Now Smith debuted a smaller version of the Laugh Ash group at Roulette in , and the audio from that performance is saved at the Roulette website here. The video is striking looking and enriches the music by exploring the relationship of humans to technology. Interviews with Ches Ches has given several terrific interviews, which I recommend. He discusses jazz and metal with Hank Shteamer and goes into the relationship of composition and performance with Samo Salomon. Hear Ches Rock Listening to the above podcasts, I learned that Ches came out of rock drumming and into improvisational music and jazz. I can hear it now! On streaming, you can hear their self-titled EP. Happy listening! Modney — Ascending Primes Since moving to NYC in , violinist and composer Josh Modney now simply Modney has been part of an artistic space rooted in modern classical music but strongly influenced by jazz and improvisational music practices. Wikipedia Commons — Marshall Allen in Speaking of Marshall Allen, that brings us to the second phenomenal celebration this week: Saturday the 25th is the th birthday of the ongoing and amazing Marshall Allen. Updated May 25, Happy th birthday to the great Marshall Allen! Waldron and Lacy and the Band Before the release of the new album The Mighty Warriors , there were a dozen officially released albums of music performed by Waldron and Lacy together from onward, and all but one had no drummer. Very striking cover art by TJ Huff! Vinnie Sperrazza Apocryphal — Sunday Loyal Label, released January 19, ; Cover collage and design by Espen Freiberg Loren Stillman — tenor and soprano saxophone Brandon Seabrook — guitar, banjo, mandolin Eivind Opsvik — bass Vinnie Sperrazza — drums Buy from Bandcamp Stream on Apple Stream on Spotify If Saturday is full of satisfying melodies, Sunday is an open-eared adventure that shows a much different side of Sperrazza — this is one for the progressive music fan. Page 1 Page 2 … Page 7 Next page.

Gateway to the Promised Land

Greve Strand buying Heroin

Full text is available to Purdue University faculty, staff, and students on campus through this site. No login is required. Off-campus Purdue users may download theses and dissertations by logging into the Libraries' proxy server with your Purdue Career Account. Links to log in to the proxy server directly below the download button of each thesis or dissertation page. Non-Purdue users, may purchase copies of theses and dissertations from ProQuest or talk to your librarian about borrowing a copy through Interlibrary Loan. Some titles may also be available free of charge in our Open Access Theses and Dissertations Series, so please check there first. Abdullah, Umm E. Banan, Abigail R Essays in Economics. Castro, Eliza M. Fehl, Aaron Essays on Public Policy. Forsyth, Elizabeth How to Fall Apart. Frazier, A. Relations Kan-uge, Grace L. Kim, I. Kwaning, Raphael Instruction as a Communicative Endeavor. Lindey, Devan Grove City College v. Howard Pew. Maxam, William P. Government Threat Hunting Processes and Improvements. Swope, Abigail The Bachelorettes Dare. Thies, Sarah L. Torres, Giselle M. Ecology and Herbicide Resistance. Wei, Guannan Metaprogramming Program Analyzers. Young, Kayla M Effectively Disenfranchised? Das, Debasmita Essays on Labor Economics. Devahdhanush, V. Freitas, Pedro H. Godinez, Juan C. Tariff Politics, McCormick, D. Modak, Mouli Essays in Cooperation and Competition. Shur, Disha Embedding with Pagerank. Strait, Marquetta I. Wang, Lu Three Essays on Insurance. Wiggins, Sean Evan Impact Fragmentation. Wise, Patrick Droplet Interfacial Thermodynamics. Xie, Yang Essays on Market Microstructure. Zhao, Wumian Essays in Monetary Economics. Amuah, Theodora L. Bradford, Clinton Square form Factoring with Sieves. Brendel, Leon P. M Vapor Compression Refrigeration in Microgravity. Chan, Berman The Metaphysics of Goodness. Non-Intimate Partner Aggression. Immigrant Rights Movement. Dang, Layla System-Challenging Newcomers. Egbert, Nicholas Three Problems in Arithmetic. Ferdous, S. Gallardo, Andres F. Garrett, Adam S. Gunasinghe, Hasini T. Hayes, Anna M. Hunter, Lucas Happy Comes After. Hwang, Jisoo Emotions on Learning with Technology. Izaba, Orlando F. Coleoptera: Curculionidae. Larsen, Haley A Electric Modernism. Marcia, Arianna D. Newall, Jennifer C. Otaibi, Ahmed Mohammed H. Oueis, Yanal Partition Theory. Reddy, B. Reid, Cameron Mutual Reinforcement Learning. Romero, Juan A. Sannamani, Monica S. Jahrhunderts — Unterschiedliche Blickwinkel und die Entwicklung des Genres. Smith, William Rethinking Internationalization. Spreen, Emily M. Quality Maternity Leave. Topolski, Jennifer S. Wang, Xiaohua Volterra Rough Equations. Wei, Chen Essays in Managerial Economics. Woods, Daniel Essays on Experimental Economics. Allen, Brandon C. Alshaykh, Mohammed S. Anazco, Mayari I. Using a System-of-Systems Methodology. Coleoptera: Mycetophagidae. Gabbard-Rocha, R. Goindani, Mahak Social Reinforcement Learning. Harrison, Herbert M. Islam, S. Infants and Children with Limited Financial Resources. Kaushal, Deepika Bootstrapping a Private Cloud. Coli at Lake Michigan Beaches. Kim, Dohyeong Dual Execution and its Applications. Leeker, Jessica Rush But, is it Working? A Collective Case Study. Marks, Danielle The Elementary E. Program Impact on Agricultural Literacy and Interest. Montano, Rebeca P. Merr Breeding. Nguyen, Win P. Niedrauer, Mary L Part I. Farm Tractor Sales. Odom, William E. Melanogaster Infection Model. Puvar, Kedar Investigations into Noncanonical Ubiquitination. Ramirez, Alejandro M. Rojas, Claudia I. Smith, Staci B Bend. Tavakoli, Meysam Bayesian Nonparametrics for Biophysics. Thai, Zhong W What is a Swarm? A Framework for Understanding Swarms and their Applications. Tong, Yunping Does Religion Matter? Uvarov, Filipp Duality of Gaudin Models. Zhao, Bi Better Together? Adams, Katherine Implicit Gratitude Theories. Arroyo, Alba I. Pertenue YAWS. Bhargava, Radhika Adversarial Anomaly Detection. Brenner, Anneliese Microstructural investigations of samarium-doped zirconium diboride for Hypersonic Applications. Das, Somnath Essays on Industrial Organization. Duan, Sixuan 3D Visualization of Microgrid. Gerber, Eric A. Godwin, R. General Aviation Airports. Huang, Min Statistical Steganalysis of Images. Iqbal, S. Zahid Essays on Repayment and Microfinance. Presidential Campaign within Twitter's Discursive Space. Engineering Ethics Education Dissertation. Kilmer, Claire C. Laga, B. Lin, Lu I. Synthesis and Properties of Magnetic Gold Nanoparticles. S Small Hub Airports. Onufrak, Michelle A. Opgrand, Jeffrey J. Portalatin, Nelda M. Vazquez The use of Biopolymers for Tissue Engineering. Pulido, Andres A. Higher Education: A Phenomenographic Study. Selva, Diana M. Shull, Casey Security and Sustainability for the U. Smith, Timothy M Opportunity for Whom? Sources of Integenerational Mobility in the U. Spears, R. Won, Jongho Security Techniques for Drones. Worl, Bethany M. Zhong, Jiatong Essays in International Trade. Beall, D. Burrows, D. Trevor Religion and Movement Activism in s Chicago. Skip to main content. Browse by Year Author Last Name.

Greve Strand buying Heroin