alocispepraluger102

Outspoken Putin critic shot dead in Moscow Oct 7, 4:57 PM (ET) By James Kilner MOSCOW (Reuters) - Russian journalist Anna Politkovskaya, an outspoken critic of President Vladimir Putin, was shot dead on Saturday at her apartment block in central Moscow, police said. "According to initial information she was killed by two shots when leaving the lift. Neighbors found her body," a police source told Reuters. Police found a pistol and four rounds in the lift. Politkovskaya, a 48-year-old mother of two, won international fame and numerous prizes for her dogged pursuit of rights abuses by Putin's government, particularly in the violent southern province of Chechnya. "The first thing that comes to mind is that Anna was killed for her professional activities. We don't see any other motive for this terrible crime," said Vitaly Yaroshevsky, a deputy editor of the newspaper where Politkovskaya worked. Moscow chief prosecutor Yuri Syomin told reporters at the crime scene, a nine-story Soviet-era apartment building in central Moscow, that he was treating the death as murder. Paramedics took Politkovskaya's body, wrapped in a white sheet, out of the building and put it into an ambulance. A middle-aged woman laid flowers at the doors of the building and stood with her head against the wall, crying. Politkovskaya's silver Lada, filled with supermarket shopping bags, was parked outside the apartment block. Former Soviet President Mikhail Gorbachev, a shareholder in Politkovskaya's newspaper Novaya Gazeta, called the killing a "savage crime." "It is a blow to the entire democratic, independent press," Gorbachev told Interfax news agency. "It is a grave crime against the country, against all of us." In the days before her death, Politkovskaya had been working on a story about torture in Chechnya, which was expected to be published on Monday, her newspaper said. DISTRUSTED PUTIN The rebel province has been a constant headache for the Kremlin. Russia sent troops in 1994 to crush an insurgency but after 12 years of bloodshed and the devastation of the province's capital Grozny, sporadic attacks continue. Politkovskaya was a fierce critic of Putin, whom she accused of stifling freedom and failing to shake off his past as a KGB agent. "I dislike him for ... his cynicism, for his racism, for his lies ... for the massacre of the innocents which went on throughout his first term as president," she wrote in her book "Putin's Russia" which was published overseas but not in Russia. Her death came on the day Putin turned 54. In New York, the Committee to Protect Journalists described Politkovskaya's murder as a "devastating development for journalism in Russia." There are few independent voices in Russian media, most of it controlled by the state or business interests. Newspapers such as Novaya Gazeta, popular with Russian liberals and human rights activists, are rare, especially outside the big cities and tend to have a small circulation. "Ms. Politkovskaya's murder signals a major crisis of free expression and journalistic safety in Russia," said Thomas Hammarberg, Council of Europe Commissioner for Human Rights. Rights group Amnesty International said in a statement it believed Politkovskaya was targeted because she reported on rights abuses in Russia and urged a thorough murder probe. Born to Soviet Ukrainian diplomats in New York in 1958, Politkovskaya studied journalism at Moscow's State University and began her career in state media. After the collapse of the Soviet Union she began working at the independent media which began to flourish under Gorbachev. Politkovskaya's war reporting often meant she was under scrutiny by Russian politicians and, sometimes, the security services. She had been arrested and held in a pit for three days in Chechnya and received numerous death threats. She said she was unable to cover the bloody siege of a school at Beslan in 2004 -- in which more than 330 children and parents died when troops stormed the school -- because she was poisoned on the flight from Moscow and ended up in hospital. Her murder is the most high-profile killing of a journalist here since the death of U.S. journalist Paul Klebnikov in 2004. Last month, gunmen shot and killed senior Russian central banker Andrei Kozlov in one of the most high profile contract killings since Putin came to power in 2000. (Additional reporting by Robin Paxton, Tatyana Ustinova in Moscow and Bill Trott in Washington)

agreed, but check out nina's on nina with piano.

'A Gentleman - like the Benny Carter of the vibes.' phrases like this must be remembered.

sam smiths imperial stout

joe bushkin--midnight rhapsody carly simon-my romance

any decent recordings available of tommy dorsey playing trumpet?

i pick the hogs over auburn.

Can't recall which edition of the Yanks it was--probably the 2000 team--which just sucked & sucked throughout September & continued to suck after several "let's-get-it-together" pep talks from Torre. (I remember Jeter or somebody else saying something to the effect that it's really demoralizing to get yourself all revved up, say, "Yeah, let's turn this around!" and then still get clobbered 15-1, 11-2, etc., by mediocre teams.) I think they finished with 87 wins, or some rather anemic figure by late-1990s NYY standards. When the playoffs began, they suddenly seemed to find their groove again, and went on to win the WS. Unfortunately, looks like my earlier post was prophetic--the Tigers found their groove again just as the Yanks lost theirs. NY peaked too early in the autumn. watching the fans and players after the game was one of the happiest sports moments i can remember. maybe the red wings cup victory would equal.............. i hope somebody remembers trammel and his crew. they had something to do with it, too. dontcha think?

Let those that impose the Tyranny of rewind fees beware! This is the perfect companion item to the DVD Rewinder. Show the world that you will no longer be taken advantage of! This very cool DVD Rewinder Tee Shirt has a flourescent DVD Rewinder logo on the front and the tagline Never pay another DVD rewind fee again! on the back.

joe bushkin--midnight rhapsody

no, no. i saw it on tv.

tommy dorsey orchestra with frank sinatra

bell's rye stout

'There is no plan' Twenty years after releasing the bestselling solo piano album ever, Keith Jarrett is back with another on-the-fly live CD. But now, he tells John Fordham, he knows when to stop John Fordham Friday October 6, 2006 Guardian "There's no change in the basic plan, which is that there is no plan," Keith Jarrett says. He is recalling walking alone toward a spotlit grand piano on Carnegie Hall's otherwise empty stage almost exactly a year ago - with no sheet music, no repertoire, and no plan about how he was going to hold the attention of 3,000 people who had paid to be there. Ninety minutes and five encores later, the 61-year-old Pennsylvania-born pianist departed to rapturous howls. The concert had passed for him in a blur. "My glasses were falling off, my pants were twisted up, I was sweating, and I was thinking, 'Nothing can stop me now,'" he recalls. At the end, he had the audience's acclaim ringing in his ears, but he also had on tape the improvised material for the latest in a long run of remarkable solo piano albums. The Carnegie Hall Concert, his first solo recital in his homeland in a decade, is released this week, along with the reissue of his 1991 recording of the Shostakovich Preludes and Fugues. Jarrett isn't kidding when he says he doesn't plan his improvised gigs, but he certainly has passed this way many times before. His on-the-fly recital from Köln's opera house in 1974 (The Köln Concert) is the bestselling solo-piano album ever, in any genre. More than 20 Jarrett solo recordings - and an avalanche of jazz trio and quartet sessions, organ recitals and classical works - have been released over the past three decades. And though he hasn't worked for other bandleaders (except as a classical concerto-player) since the mid-1970s, Jarrett had worked for the best (drum firebrand Art Blakey, crossover sax star Charles Lloyd, trumpet legend Miles Davis) by the time he was 26. Jarrett may well banish forethought on improv concerts, but what prepares him instead is the constantly expanding music library in his brain. He draws on memories from all over jazz, classical, country music and every other genre - a personal education begun when he was barely three years old, picking out tunes from the radio on a $50 piano. Famously indifferent to commercial or fashionable considerations (he hates to repeat himself, and hates the Wynton Marsalisite classical-jazz movement for recycling the past), Jarrett is one of only a handful of jazz artists to have reached a mass audience while doing exactly what he pleases. He hasn't changed much from the bony figure, head bowed toward the keyboard, pictured on The Köln Concert's cover 30 years ago. Diminutive and wiry as ever but bespectacled now, with the tight-curled afro close-trimmed and grey, Jarrett looks as if the distractions and indulgences of the jazz life have passed him by - as indeed they have. When he isn't on the road as a soloist or with his famous Standards Trio, he's at home in New Jersey, with his climate-controlled piano collection and recording studio, pondering new ways to play with the same singleminded energy as he ever has. Yet 10 years ago, the onset of chronic fatigue syndrome threatened to stop his career in its tracks for good. The years between 1996 and 1998 (when the illness left Jarrett barely able to turn the pages of a book, let alone play) were spent reconsidering his work, and concluding that if he were ever to play again, he would make the message tighter. "I remember the day I walked into my studio, looked at my pianos, and walked right back out again," Jarrett recalls. "I was facing the idea of not playing for a very long time, maybe ever. I would listen to my recordings and think, 'Is this all I've done?' I felt I had so much I still wanted to do. It wasn't a question of just being able to play again. It was about competing with what I did before. If I couldn't push the envelope again, then it was pointless." After about three years in recovery, he was anxious to let no more grass grow under his feet. Jarrett reappeared on record with a fragile, minimalist exploration of standards and traditional songs on The Melody at Night With You. Then he drew his long-running trio (with bassist Gary Peacock and drummer Jack DeJohnette) away from the song form and closer to free-improv, before beginning the present phase of solo playing four years back with the album Radiance. "I'd been reading a science book, about pattern-generation on computers," Jarrett says. "How simple rules can make patterns complex, or random, but then you add one extra rule and they stagnate. I felt I lived by rules that determined what would happen next if I played that chord, or that phrase. I'd needed to do all the stuff I played in the past in order to come out here, but it was also like a skin that I had to drop off." His improvising has become notably tougher and spikier, with the Carnegie Hall album displaying as many stamping, percussive, abstract flights as it does dreamy harp-like undulations, hymnal chord reveries, or oblique references to gospel, boogie and bop. Moreover, Jarrett no longer plays a seamless improvisation for three-quarters of an hour. The Carnegie Hall pieces are all short by his former standards, and the five encores (where the pianist traditionally gives his audiences something more familiar than his impassioned spontaneous odysseys) are succinct visits to traditional song, jazz ballads, and even a straightahead rocking boogie. "Why waste tape?" Jarrett laughs, seeing a joke in it - one he probably wouldn't have seen in the old 10-disc-set days. "If I did The Köln Concert again, there'd be so much less ornamentation. It's all been transcribed and exists as sheet music now, but that just shows me all the sections I'd cut out. One thing you learn: if you want to reveal yourself, you also have to know where to stop." Jarrett says nothing on the new Carnegie Hall recording is "any longer than it should be", and he believes the reactions of the audience guided him in that. Jarrett's mother, Irma, sent him some old press clippings from his childhood performances recently, sharp reminders of just how long he has been honing his unique craft. But though his parents encouraged his talents as much as they could in the "vacuum-town" (Jarrett's words) that was postwar Allentown, Pennsylvania, they were Christian Scientists who believed that spiritual values came first. In his own way, Jarrett still lives by a similar principle. Understanding music deepens consciousness, and deeper consciousness might lead to a more open world; so might his logic go. "We accept so many things that come through the media; we get used to them, however vigilant we are," Jarrett says, warming to a favourite theme. "But for any creative art, you have to remain 110% conscious, and in a world that's losing consciousness, that's getting harder. It's a hard job, and a lifetime job, but it's still up to every young musician to buck the odds." · Keith Jarrett's The Carnegie Hall Concert and Dmitri Shostakovich: 24 Preludes and Fugues are out this month on ECM Guardian Unlimited © Guardian Newspapers Limited 2006

check out his long long version of mr. joy on 'copenhagen and haarlem'

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out of the afternoon------ roy haynes, rahsaan, grimes, flanagan

paul weston and his orchestra-------soundstage---------hi-fi music from hollywood

TRIED SOME OF THE CAFFEINE, GINSENG BEERS, notably sparks(highly recommended, tastes like orange pop, 6%.alcohol)?

bell's, bell's expedition stout!!!!!!!!!!!!

serenade in blue is well worth losing sleep for!

thanks LV. will absolutely hit the cleveland gig. Thanks.

http://theovergrownpath.blogspot.com/

her NPR live extended version of 'e'(piano, organ) from the early 80's is one of the most memorable pieces of music i have heard in 55 years of listening.

The RETROSPECTION CD has neither Heide or All Tones from BRAINS ON FIRE VOLUME 1 . However , it does have the third track from that album , namely , The Fugue # 2 . The CD has two of the three tracks from BRAINS ON FIRE VOLUME 2 , namely , Love in the Middle of the Air which is a Dee Dee Bridgewater feature , and Pointed . The CD does not have the third track from BRAINS ON FIRE VOLUME 2 which is T.C.S. . Several sources ( including Lord ) list Tyrone as playing tenor and flute on T.C.S. . Since Love in the Middle of the Air is approximately sixteen minutes in length , and Pointed is around six minutes , I assume T.C.S. is a fairly lengthy track . While Love... and Pointed were recorded in 1973 , T.C.S. dates from 1971 . I'm hoping that somebody on this board has BRAINS ON FIRE VOLUME 2 and can verify that Tyrone does indeed play on T.C.S. . Those curious about this music can get a taste at this page , which has a complete .ram version of Pointed ( scroll down the page to Heiner Stadler ) . Stadler's playing has a whiff of 50's Cecil perhaps , but there is nothing here to frighten the horses . Since Tyrone's recorded legacy is so scant it would be a pity if the three tracks noted above remain orphaned in the digital age . Here are the original Lp covers of this music : And here is an alternate issue of Volume 1 put out by the Musical Heritage Society : i have and enjoy very much his 'retrospection'.