Carlos Jimenez Jazz Flute: News

Trombonist Benny Powell joined the Count Basie Orchestra in 1951 and continued performing with them throughout the 50s and 60s. He also played with the Lionel Hampton Orchestra and the Thad Jones/Mel Lewis Orchestra.


In the mid 1970s, Powell joined Randy Weston and they collaborated for decades. Benny also worked in the orchestra of the Merv Griffin Show. Over the years he also worked with many of the most famous musicians of his time including Harry "Sweets” Edison, whom he regarded as a mentor; the Thad Jones/Mel Lewis Orchestra, Abdullah Ibrahim, Frank Foster, Benny Carter, Duke Pearson, John Carter, Jimmy Heath, Bill Holman, and with singers Sarah Vaughan, Joe Williams and Aretha Franklin.

Mr. Powell amassed a significant discography both within and outside of jazz, mostly as sideman. In addition to those named above, he recorded with Earth, Wind and Fire, Doctor John, Sammy Davis, Jr., Ray Charles and Ry Cooder, among others, in addition to such jazz artists as Duke Ellington, Buck Clayton, Frank Wess, Billie Holiday, Nat King Cole, Donald Byrd, J.J Johnson, David "Fathead” Newman, Oliver Nelson, Roland Kirk, Stanley Turrentine, Quincy Jones, Herbie Hancock, Joe Henderson, Ernie Wilkins, Les McCann, and Frank Sinatra.

Powell became heavily involved in jazz education and was a faculty member of the New School for Jazz and the Performing Arts in Manhattan.

Powell’s most recent performance was just a week prior to his passing at Louis Armstrong’s House/Museum with David Ostwald's Louis Armstrong Centennial Band (Howard Alden, Anat Cohen, Marion Felder, Ayana Lowe, David Ostwald, Randy Sandke) as part of the CareFusion Jazz Festival New York.

Benny Powell will be missed as much for his humanity as for his musicality.

Our Home Page carries two terrific videos of Benny with a link to his 2009 CD "Nextep.”

Last year, jazz writer Andrew Velez & Benny gave us permission to reprint a great article entitled, "Benny Powell: Trombone Titan." Here is the link to the article: http://www.makinmusicny.com/profiles/blogs/benny-powell-trombone-titan.

Additionally, here are links to a few articles written about Benny by jazz writer Bob Bernotas:

http://www.trombone.org/articles/library/bennypowell-int.asp

http://www.trombone.org/articles/library/viewarticles.asp?ArtID=96

Carlos Jimenez & His Latin Band Kicks Off Fourth Annual Free Jazz & Blues at Dusk Concert Series
Friday, July 2 7:00p
at Yonkers Waterfront Amphitheater, Yonkers, NY

Annual Jazz and Blues at Dusk, the free concert series presented every Friday evening through September 3 by the Yonkers Downtown/Waterfront Business Improvement District, begins with a performance by Carlos Jimenez & His Latin Band. The fourth annual concert series provides members of the public with great outdoor entertainment on the Yonkers waterfront and spectacular views of the Hudson River.
http://events.greenwichtime.com/yonkers-ny/events/show/127148785-carlos-jimenez-his-latin-band-kicks-off-fourth-annual-free-jazz-blues-at-dusk-concert-series

hilton ruiz
Su última nota

Su hija asegura que ya descansa en paz al lanzar su último disco

sdfg
Por Jaime Torres Torres / end.jtorres1@elnuevodia.com

Se imagina que el espíritu de Hilton Ruiz, en la dimensión por donde transite, rebosa de alegría y orgullo porque se ha cumplido su última voluntad: que algún día su legado musical pasara a las manos de su hija Aidita.

Nunca, empero, ella anticipó que sucedería tan rápido.

Impactado por la estela de desolación y muerte que el huracán Katrina dejó a su paso por Nueva Orleáns, en 2006 Hilton anunció que grabaría un disco a beneficio de los damnificados del ciclón.

Grabó parte de la secuencia en Nueva York y a mediados de mayo viajó a Lousiana. No había transcurrido doce horas de su llegada cuando a Aidita le informaron que su padre, de sólo 54 años, se hallaba al borde de la muerte.
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En el acta de defunción, certificada el 6 de junio de 2006, se establece que Hilton murió al accidentalmente caer sobre el pavimento.

Todos los huesos de su rostro, sin embargo, estaban fracturados, lo que al sol de hoy convence a Aidita que su papá, que era un experto en artes marciales, fue brutalmente asesinado por dos o más individuos que lo interceptaron a su salida del club Utopía en la calle Bourbon, en la meca del jazz.

“Es un caso complicado y la investigación continúa. No he perdido la esperanza de que se aclare. Para mí es imposible lo del accidente, porque lo que vi en el hospital fue horrible”, dijo Aidita Ruiz desde su residencia en Nueva York.

Tres años después, Aidita endulza su profunda melancolía con el lanzamiento de la producción “Hilton’s Last Note”, un proyecto para su sello Hilton Ruiz Music, custodio de un centenar de las composiciones de su padre.

“Esto ha sido posible gracias a la ayuda de mi familia, de los abogados y de los músicos”, señaló al reiterar su agradecimiento a Yomo Toro, Lou Soloff, Dick Griffin, Dafnis Prieto, Carlos Jiménez, Vince Cherico y Rubén Rodríguez, entre otros músicos que participaron en ‘Descarga espiritual’, ‘Samba for Hilton & Danny’, ‘Crescent City Blues’, ‘Goin’ Back to New Orleans’ y ‘Michael’s Mambo’.

Las últimas notas de Hilton al piano las interpretó durante la grabación de ‘Michael’s Mambo’, obra en que acompaña e intercambia solos con el cuatrista Yomo Toro.

“Me honra saber que lo último que tocó en el piano fue con Yomo en el cuatro por todo lo que representa para los puertorriqueños. Al otro día viajó a Louisiana”.

“Hilton’s Last Note” se consigue por internet en el portal www.hiltonruizmusic.com. Aunque no cicatrizan las heridas que su trágica partida le han infligido a su corazón, Aidita ya sonríe porque siente que el alma de su padre ya puede descansar en paz.

“No arrestaron a la gente que lo atacó y la investigación no ha terminado, pero algo bueno se puede escuchar. Y podemos honrar su memoria con la alegría de la música de este cd, que contiene las últimas notas que tocó en este mundo”.

Hilton's Last Note is the record pianist Hilton Ruiz (1952 - 2006) started out to make but did not live to complete. It is both a cause for celebration and a source of sadness: Ruiz's fans will commemorate the music but be distraught by the finality of it.
http://www.allaboutjazz.com/php/news_email.php?id=37087
The album paints an aural mural of New Orleans. There is a sense of imagery in the songs ranging from festive, to gritty, to the spiritual aspects of the city.

“Descarga Espiritual” is a tribute to Ruiz done in the traditional charanga style featuring flautist Carlos Jimenez and vibraphonist Professor Jay Hoggard. Ruiz's accompanying friends are sending him their sincere regards, and creating the mood of the record.

On “Goin' Back To New Orleans,” drummer Dafnis Prieto lays down a second line meets calypso carnival beat with cuatro player Yomo Toro livening it up. The horn section of saxophonist Sweet Sue Terry, trombonist Dick Griffin and trumpeter Lou Soloff turn up the dynamics of the song, which relax just enough to let Toro's cuatro back in. We round the corner to hear Terry blowing like crazy, followed by Soloff's soaring trumpet, with Griffin adding his trombone spice to the gumbo. Ruiz takes over with handfuls of bop influenced Caribbean flavors which are his specialty.

“Crescent City Blues” eases in with a soulful sax, with the piano searching for solace, reminding us of the fact that Ruiz was also a proficient blues player. The trombone moans a heartrending plea which is answered from across town by the wailing trumpet and, softly, the wandering cuatro. The horns take the long way home. It's blues the way it should be.

“Samba for Hilton & Danny” is an inspiration from a song written by Ruiz for his friend the late trumpeter Danny Moore. This is a light samba number with Jimenez's flute setting the ambience for the vibes. There is a sense of tranquility about this song, and it serves to soften the pace of the record.

The title song, “Hilton's Last Note/Michael's Mambo,” displays the dancing piano montuno as the background for Toro's cuatro lead, which defines the character of the piece. When Ruiz takes over for his solo we hear his complete domination of this genre. This is the musical territory where the pianist thrived and he weaves a masterful display of infinite skills and technique.

In between the songs, Ruiz's daughter and producer Aida Ruiz has placed strands of melodies from “Home Cookin'” and a short flute homage to her father in “Hilton's Melody.” The fact that this record even came to light has been due to Aida's enduring focus on finishing the project.

Hilton Ruiz left us much too soon. Those who took the time to listen to his music are better for it, and yet are left with a void. Ruiz was a brilliant pianist with a versatility and passion seldom heard. That is what makes Hilton's Last Note so special.

May 29 marked the birth date of Puerto Rican jazz musician Hilton Ruiz (1952 – 2006) as well as the release of his last album, Hilton’s Last Note (2009). As James Nadal explains, Hilton’s Last Note is the record he started out to make but did not live to complete. Ruiz [also see The Late Hilton Ruiz, Latin Jazz Musician] died tragically on June 6, 2006 while on a visit to New Orleans to work on an album that was meant to be a tribute to the victims of Hurricane Katrina. This final recording, released posthumously by the late pianist’s daughter, Aida Ruiz, captures the images and essence of New Orleans in the wake of the hurricane.

In his review, Nadal buoyantly describes some of the pieces in this last album, including tributes to Ruiz done by other musicians, such as flautist Carlos Jimenez, vibraphonist Jay Hoggard, drummer Dafnis Prieto, cuatro player Yomo Toro, and most poignantly, Ruiz’s own daughter, who has added a short flute homage to her father in “Hilton’s Melody.” The album offers a variety of rhythms attesting to Ruiz’s versatility and virtuosity, moving from charanga and samba to the blues, with touches of calypso, bop, and montuno. The album highlights Ruiz’s “masterful display of infinite skills and technique.”

Says Nadal, “Hilton Ruiz left us much too soon. Those who took the time to listen to his music are better for it, and yet are left with a void. Ruiz was a brilliant pianist with a versatility and passion seldom heard. That is what makes Hilton’s Last Note so special.”

Hilton’s Last Note is available through www.hiltonruizmusic.com.

Posted in Music | Tags: Hilton Ruiz, Latin Jazz, Puerto Rican musician
http://repeatingislands.com/2009/06/02/hiltons-last-note-2009/

Arrestos por robo de identidad en Puerto Rico
Por DANICA COTO
Posted: 03/31/2009 12:28:59 PM MDT

SAN JUAN—Las autoridades estadounidenses arrestaron el martes a miembros de una banda que robó información personal de 7.000 estudiantes de escuelas públicas en Puerto Rico y la vendió en Estados Unidos.

Ocho personas fueron acusadas de penetrar cerca de 50 escuelas en Puerto Rico para robar certificados de nacimiento y números de Seguro Social que luego vendieron a personas que buscaban identidades falsas en Texas, Alaska y California, informó el martes la fiscal federal Rosa Emilia Rodríguez.

Siete personas fueron arrestadas tras una investigación criminal que se extendió por dos años. Una octava persona aún no había sido localizada la tarde del martes.

Los acusados eran mayormente inmigrantes dominicanos que vendieron el paquete de información por sumas de hasta 250.00 dólares, detalló Mary Mitchelson, inspectora general interina del Departamento de Educación federal.

Muchos de los documentos que las autoridades lograron confiscar eran originales, precisó.

Dos de los sospechosos fueron acusados de poseer cerca de 6.000 certificados de nacimiento y de tarjetas de Seguro Social. Uno fue acusado de intentar vender 40 tarjetas de Seguro Social por unos 3.000 dólares, mientras que otro pedía la misma suma por unas 12 tarjetas.

Según Rodríguez, muchos de los estudiantes afectados "ahora mismo probablemente no saben" que fueron víctimas de robo de identidad.

Mitchelson añadió que muchas de las víctimas no sentirán las consecuencias del robo de su información hasta tiempo después. "Ellos llegan a los 18, 20 años de edad, van comprar un carro y su crédito está dañado".

Se desconoce si hay otras personas involucradas con la banda y si recibieron ayuda de algún funcionario escolar, sostuvo Rodríguez.

Si los acusados son hallados culpables, podrían enfrentar un máximo de 15 años de cárcel.

Uno de los sospechosos organizó el año pasado el secuestro de un dominicano en cuyo rescate se produjo un tiroteo en el que un agente federal mató por equivocación a un agente policial.

05/25/98
A profile of the too short life of trumpeter Ray Maldonado (1946 - 1982)
Profile: Ray Maldonado
by David Carp

Latino musicians in North America have always faced problems of identity as great as their non-playing compatriotas, if not greater. For some, it's a Faustian tug of war between typical roots and American mainstream; others seem to swim naturally in both currents. Ray Maldonado is an excellent example of the latter. He's remembered today as a beautiful human being and a trumpet player of astounding natural gifts.

It's often been said that being a master percussionist involves a strong feeling for melodic values. Jazz musicians will readily admit that every instrumentalist is also a drummer. If this is true for jazz it's exponentially true for Latin music. Raymond Maldonado began on the percussive side of this continuum. At an early age he was given bongos and a full drum set by his father Pacifico. The Maldonado household was always highly bicultural. Raymond and his brother Richard were raised on Brooklyn's Hoyt Street with Spanish as their first language. Their father was an accomplished guitarist in his native Bayamon and no unsophisticated jíbaro. "Fico" was very oriented towards technology and had to have the best and newest of everything. As the first TV-owning family on their Boerum Hill block the Maldonados were very popular with their Anglo neighbors. Owning a television set was especially useful when Ray performed "Cherry Pink and Apple Blossom White" on the "Ted Mack Amateur Hour." He was eleven years old and had been playing trumpet approximately three years. Being able to command the kind of fat sound needed to pull off even a credible performance of "Cherry Pink" at this age gives an idea of how excellent Ray's natural embouchure setting was. Both Maldonados were shipped off to the nearby Brooklyn Conservatory of Music and eventually the High School of Performing Arts. This immersed both Ray and Richie in a milieu where classical music study was a common denominator, regardless of individual students' origins and professional aspirations. A rigorous practice schedule and eventual work with trumpet guru Carmine Caruso developed Ray's range and endurance. It's reported that the Maldonado brothers briefly played together in a group called the Richie and Ray Orchestra. For reasons not easily ascertainable, Ray did very little live performing with this group. It wasn't long before Richard Maldonado named his group the Richie Ray Orchestra, from time to time his brother would appear on Richie Ray's albums. It's possible that one reason for these separate career paths is that Ray was simply too busy. By the middle '60s it was well known that there was a new trumpet sensation ready and willing to take almost any gig. At age twenty Ray was already a veteran (he was born 1/20/46). By his late teens he had already recorded with the Alegre All Stars and La Playa Sextet.

In 1967 Ray received an urgent call from trumpeter/arranger Marty Sheller who was on a West Coast tour with Mongo Santamaria's unit. Marty was having such severe chops problems that he desperately wanted to leave the tour, provided that the right replacement could be found. Requirements for this particular position included excellent reading skills, a strong feeling for jazz and funk as well as Afro-Caribbean music, and an ability to double on bell when needed. (Normally, the bongo player in a Latin ensemble also plays the bell. Mongo's groups, however, only use a conga player and a drummer/timbalero.) The day after receiving Sheller's call Ray was on a plane to join Mongo. This group was heard at the Lighthouse in Hermosa Beach by a fourteen year old future drummer/arranger named Roland Vásquez. Vásquez remembers, "Ray sounded like three trumpet players playing simultaneously. I don't think I've heard anybody with as big a sound...ever. I mean, his ability to project and vitality and brilliance were not really comparable to anybody. There are a lot of famous guys that don't have the tone he had and he was capable of devastating people with his volume, but the fact is he had a very pure sound. His time was ridiculous, just brilliant in terms of the way he articulated stuff. There was always a real forwardness to the music and forwardness to the phrase." The fiery "fours" traded by Maldonado and Charlie MIller during the montunos of Orquesta Harlow's early 1970s albums verify Vasquez's observations. Mongo Santamaria has always made it very clear whether or not he's happy with his fellow musicians, especially if they're percussionists. Being asked--or even allowed--to play bell in his group was a great compliment for Ray Maldonado. Marty Sheller claims that recordings didn't capture the full measure of his excitement, that to get a really good idea of Ray's playing you'd have to hear him live. The closest most of us can come to this is listening to Mongo's live recordings at the Village Gate and at the Montreux Festival and to Eddie Palmieri's album done at Sing Sing.

The 1970s found Ray Maldonado working steadily as part of Fania's pool of session players, touring the U.S with Lionel Hampton, traveling in Africa with Ray Barretto and eventually becoming a regular with Hector Lavoe. The year 1975 marked a breakthrough in both musical and personal terms. Ray moved to Los Angeles and began playing with Stevie Wonder. His trumpet can be heard on both "Sir Duke" and "Another Star" and "Pastime Paradise" uses his percussion talents. Roland Vásquez was witness to sessions that generated some of these records; he's sure that the Wonder sound was influenced by Maldonado. "If you listen to the horn lines in "Sir Duke," there's a Mongo-esque thing that's there and that's just Ray. That's his wild phrasing, the way he would bend notes and do doits and all those things. Nobody else was doing that in R&B bands in those days." He was able to bring the percussive talents and Latin flavors of Carmello Garcia (another Mongo alumnus) to important Wonder sessions. Ray's Spanish lyrics for "The Story of Our Love" were incorporated into Wonder's vocals as "Es una historia." The power of his Latin-derived rhythmic feel paved the way to opportunities working for Ashford and Simpson, Blondie and various funk groups. Considering the popularity of Stevie Wonder's records, it's highly possible that there's a little Ray Maldonado in many pop horn sections. During his Stevie Wonder days Ray was on a retainer. This effectively put him on call twenty-four hours a day. His wife Lisa compares his L.A. period with his early New York gigs. "If you worked you got paid at the end of the night in cash and maybe the guy owed you an extra forty dollars next week. Then suddenly there was this level of professionalism and respect and dignity and I think that was certainly something that he was very happy with." Maldonado's new success had another side though. The politics of California music making and the "hurry up and wait" aspects of being on call for Wonder were aspects that never sat well with him. Roland Vásquez remembers, "He was so into what he did that there was no room for any dishonesty. I mean, dishonesty in a way that a lot of guys in the business are always outshining people and being nice to people that they don't really care about because they're trying to get a gig. I never saw Ray do that." Vásquez feels that the level of ego bred by pop success was the farthest possible thing from Ray's roots. "At that time," he recalls, "there was a super-territorial thing in Wonder's group about who could play and who couldn't. Ray was of the old Latin tradition which is 'Let's make music together.' It's a family thing, you share and you play claves or you play shekere or whatever but you participate." There were always ways that he was giving of himself: suggesting sidemen to leaders or recommending musicians to clubowners, demonstrating conga technique or clave to young musicians, helping arrangers whose work he liked by playing for nothing or next to nothing, organizing jam sessions during studio down time, and doctoring record dates when some trumpet player couldn't quite cut it. Lisa Maldonado comments, "He was a very intelligent man and I think he felt conflict between doing something for nothing, doing something ego-free without any credit--that was one side of him--and his other side probably said, 'I guess I'm a schmuck because I'm not really advancing my career or taking care of myself on a professional level.' He very much squashed his ego because he felt that he just wanted to play music,' that if he didn't sublimate his ego he wasn't really a true musician but more of an egomaniac or something. I think that when he got with Stevie Wonder or Ashford and Simpson and there were fancy photo sessions with expensive photographers and wardrobe people it probably threw him. it was something that he hadn't been exposed to, this sort of self-promotion or being front and center."

Doubts about self-worth, identity, and one's place in life's hierarchy run rampant among workers in a field as volatile as the music business. For many, the obvious way out is substance abuse. Lisa Maldonado explains why her husband didn't seek help for his chronic alcoholism. "if the guy was sleeping in the street or not getting any work that would have been one thing, but he was strong as an ox and he was always functioning. I think the hallmark of any substance problem is denial and so, hey, how can I have a problem if I'm getting calls or if I'm hitting the notes? His line was always 'listen to the playbacks, here's not a bad note in there'." On September 16, 1982, Ray Maldonado was scheduled to leave New York for Minnesota to enter a detox program at Hazelden Foundation. On September 13 he was found dead of a drug overdose. Ray Maldonado's feeling for jazz, Latin, soul, funk and rock music was subsumed within a uniquely dynamic concept. His humanity was universally appreciated. The success of his denial mechanisms made his premature departure a shock to the music community. He's still deeply missed by friends, family and colleagues.

CONTACT: SUSAN TOLCHIN (914) 995-2932

LYNNE BEDELL SMITH (914) 995-3106



FOR IMMEDIATE RELEASE NOV. 7, 2008



CELEBRATING THE HEART AND SOUL OF THE HISPANIC COMMUNITY

County sponsors event to thank its volunteers; more than 800 attendees expected



Westchester is celebrating the heart and soul of its Hispanic community by giving a big “thank you” to those who have stepped forward to try and make a difference.

More than 160 volunteers and eight bilingual/bicultural agencies will be feted starting at 4:30 p.m. Sunday, Nov. 9 with a free concert and special recognition ceremonies at the Tarrytown Music Hall.

Expected to attract more than 800 people, the event is a chance for Hispanic residents to take pride in their heritage, mingle with other community advocates and take in a free concert. The program is sponsored by the Hispanic Advisory Board in conjunction with the County Executive’s Office for Hispanic Affairs and the Tarrytown Music Hall. The event will also honor distinguished Hispanic government representatives.

County Executive Andy Spano will recognize the award recipients, along with Robin Bikkal, head of the Advisory Board, and Martha Lopez, director of the Office for Hispanic Affairs.

“Our volunteers have been invaluable in our efforts to reach out to the Hispanic community,” Spano said. “In addition to the Hispanic Heritage Festival we hold every summer, they have helped with our recent Dare to be a Doctor event, our health summits and educational conferences. Whenever we need a helping hand, they are there.”

Sprinkled throughout the kudos will be the “soul” portion of the evening. Los Iracundos, a well-known band from Uruguay that has been entertaining crowds for 40 years, will be one of the highlights. Jazz flautist Carlos Jimenez and the Mariachi Academy of New York, a group of youngsters which will show off the musical traditions of Mexico, will also entertain.

The following agencies will be recognized: The Westchester Hispanic Coalition; Neighbors Link; Yonkers Alliance for Latino and Immigrant Services; Comite Latino; El Centro Hispano; The Hispanic Resource Center of Larchmont and Mamaroneck; Services, Education, Resources (SER) of Westchester; and the United Community Center of Westchester.

The following Hispanic government representatives will be honored: Marguerite Beirne, the county’s

CIO; Carlos Moran, deputy commissioner of the county’s Department of Social Services; County Legislator Jose Alvarado; Lorraine Lopez, special assistant to the Yonkers mayor; Martha Guarin, commissioner of mayor’s Office of Community Services in White Plains; and Cecilia Bikkal, chair of the White Plains Zoning Board of Appeals.

The public is invited to attend but seating is limited. People who haven’t reserved seats will be admitted on a first come, first serve basis.


http://www.westchestergov.com/WhatsNew/Press/PRHeartSoul.htm

51st GRAMMY AWARDS


Field 10 - Jazz
Category 45 - Best Contemporary Jazz Album
Page 1 of 19
Category 45
Best Contemporary Jazz Album
For albums containing 51% or more playing time
of INSTRUMENTAL tracks.


Andrae Alexander
001. ANDRAE'S WORLD


Lori Andrews
002. AFTER HOURS


Fahir Atakoglu
003. ISTANBUL IN BLUE


Sam Barsh
I FORGOT WHAT YOU TAUGHT
ME
004.


Marco Benevento
005. INVISIBLE BABY


Eddie Benitez
006. LOVERS NEVER SAY GOOD-BYE


David Benoit
007. HEROES


Will Bernard
008. BLUE PLATE SPECIAL


Massimo Biolcati
009. PERSONA


Randy Brecker
010. RANDY IN BRASIL


Frank Briggs
011. CHINA RANCH


Larry Carlton And Robben Ford
012. LIVE IN TOKYO


Stanley Clarke
013. THE TOYS OF MEN


Jeff Coffin Mu'tet
014. MUTOPIA


Larry Coryell Trio
015. IMPRESSIONS


Brian Culbertson
016. BRINGING BACK THE FUNK


Barry D.
017. BORN TO PLAY


Dark Chocolate
018. ISLAND GYPSY


Steve Dawson
019. TELESCOPE


The Terry Disley Experience
020. LONDON UNDERGROUND


Bryan Doherty Band
021. RIGAMAROLE


Dave Douglas & Keystone
022. MOONSHINE


Norman Evans
023. KARMA BLUSH
Norman Evans
024. TWILIGHT


Fourplay
025. ENERGY


Free Form Funky Freqs
URBAN MYTHOLOGY VOLUME
ONE
026.


Funkasaurus Rex
027. ETCHED IN STONE


Kenny G
028. RHYTHM & ROMANCE


Edgar Gabriel's StringFusion
029. NOT RADIO MATERIAL


James Saxsmo Gates
030. IT'S TIME


Tony Grey
031. CHASING SHADOWS


Don Grusin
032. PIANO IN VENICE


Tony Guerrero
033. APASIONADO


Russell Gunn
034. LOVE STORIES


Paul Hanson
035. FROLIC IN THE LAND OF PLENTY


The Harlem Experiment
036. THE HARLEM EXPERIMENT


Kevin Hays
037. THE DREAMER


Hemispheres
038. HEMISPHERES


Carlos Jimenez
039. THOUGHTS


Ron Johnson
040. UNPLUGGED


Stanley Jordan
041. STATE OF NATURE


Oleg Kireyev - Feng Shui Jazz
Project
042. MANDALA


Steffen Kuehn
043. TRUMPOP


Jon Larsen
044. STRANGE NEWS FROM MARS


Neil Larsen & Orbit
045. ORBIT


Liquid Jazz
046. LIQUESCENCE


Lockboxx
047. DROP SHOP


John McLaughlin
048. FLOATING POINT


Medeski Martin & Wood
049. RADIOLARIANS1


Dave Merenda
050. NINE NIGHTS


Metro
051. EXPRESS


Marcus Miller
052. MARCUS


Stanton Moore Trio
053. EMPHASIS! (ON PARENTHESIS)


Craig Morrison
054. PARKVIEW


Native Vibe
055. ACROSS THE GLOBE


N-Groove
056. IT'S WHO WE ARE


Sean Noonan
BEING BREWED BY NOON LIVE
FROM NEW YORK AND
BEYOND...
057.


Plunky
058. DRIVE IT


The Franco Proietti Morph-tet
059. MORPHOLOGY


Project Grand Slam
060. PLAY


The Senses
061. LOOKING FOR YOUR FACE

Terry Silverlight
062. DIAMOND IN THE RIFF


S.M.V.: Stanley Clarke, Marcus
Miller & Victor Wooten
063. THUNDER


Joey Sommerville
064. LIKE YOU MEAN IT


Jerry Tachoir Group
065. TRAVELS


The Chris Tarry Group
066. ALMOST CERTAINLY DREAMING

Too Blue Lou And The Groove
067. THE BIRTH OF HIP BOP


John Tropea
TAKE ME BACK TO THE OL'
SCHOOL
068.

Various Artists
CANNON RE-LOADED: ALL-STAR
CELEBRATION OF CANNONBALL
ADDERLEY
069.


Various Artists
FLO (FOR THE LOVE OF)
STANDARDS
070.

Various Artists
071. MILES FROM INDIA


Robert Walter
072. CURE ALL

Bill Ware And Vibes
073. WONDER FULL


Charlie Wood
074. WATERCOLOURS

Victor Wooten
075. PALMYSTERY


Yellowjackets Featuring Mike Stern
076. LIFECYCLE

Horace Alexander Young
ACOUSTIC CONTEMPORARY
JAZZ
077.


Zupe & Nichols
078. SPEECHLESS

(End of Category)


© The Recording Academy 2008 - all rights reserved 51st GRAMMY


http://www.diswho.com/diswho-homepage/Photos.htm

By Barbara Bedell
Times Herald-Record
October 09, 2008
The 11th annual Community in Concert, a free event promoting health, wellness and recovery, will be from 11 a.m.-5 p.m. Saturday at Orange County Park on Route 416 in Campbell Hall.

The Joint Membership of Health and Community Agencies (JMHCA) in cooperation with the County of Orange and Orange County Tourism are the co-sponsors. But the real person behind all 11 events is Nolly Climes, founder and president of JMHCA, who also plays the keyboards and loves music.

Entertainers include Cornell Gunter's Coasters, Orleans Acoustic with Robbie Dupree, Graham Park, Evan Teatum with Leslie Ann Bowe, Goshen Youth Jazz Band, Mike Baglione and Anna Loeb, Carlos Jimenez and his Latin Jazz, Grupo Xochipilli X, Lofi and Sankofa African Drumming, Lydia Adams Davis and John Guth, Thunder and E'lissa Jones.



Food vendors will be set up, and picnic baskets and snacks are welcome. Alcohol is not permitted, nor will it be available. People are invited to bring a blanket and/or lawn chairs. Throughout the day there will be activities for children including a moon bounce and slide. Also, a playground is nearby.

Concert sponsors also include Johnstons Toyota, Med World Pharmacy, Winding Hills Golf Club and Restaurant, NDR Sand Art, E&A Contracting and the Landscape Home and Garden Center.

Incidentally, JMHCA will be honored Feb. 7 with the prestigious Corporate Bell Award during the annual gathering of the Mental Health Association. It will be from 6-11 p.m. at the Round Hill House in Washingtonville. Details are forthcoming, and a journal is planned. For information, call Carole Lindsell at 294-7411, ext. 257.
http://www.recordonline.com/apps/pbcs.dll/article?AID=/20081009/COMM/810090306/-1/COMM01

http://www.urbanlatino.com/mag/2008/issue85/features/coverstory.php

www.fretlesspm.com

NY Metro Area 'Rally For Change' Today in Mount Vernon, NY
by Henry M
Sat Oct 04, 2008 at 04:44:13 AM PDT
Hey New York Metro area Obamaniacs! For those who may not be able to take a bus trip to a battleground state today, or may want to take a break from phonebanking from home - there's going to be a Rally for Change today in Mount Vernon, NY.

Henry M's diary :: ::


Hosted by the Mount Vernon Democratic City Committee and Mount Vernon Mayor Clinton Young, this rally was created to motivate and educate local folks who want to get involved in supporting the Obama-Biden ticket but just aren't sure how. It's also for supporters who just want to come out and have a good time with other Obama supporters and listen to some rally speeches and good music.

Along with the rally speeches by federal, state and local elected officials, the musical performers will include local Latin Jazz sensation Carlos Jimenez along with a number of other local acts. In addition there will be tables set up where we'll have voter registration (NYS deadline is Oct 10th) and information about volunteering and contributing to the Obama campaign. We'll also have some 18"x24" Obama-Biden posters available to take home with you. Also, Mayor Young will be hosting a job fair which will begin at 1pm.

While plenty of parking is available, Mount Vernon is well-served by the Metro-North commuter railroad with the closest station (just a few blocks away) being the Mount Vernon East station on the New Haven line. For those closer to the Harlem line, the Mount Vernon West station is about a ten minute walk to the rally.

So please bring family and friends and we hope to see you there!

Details:
Date & Time: Today 2pm - 4pm
Location: Mount Vernon City Hall Plaza
1 Roosevelt Square
Mount Vernon, NY 10550

http://www.dailykos.com/story/2008/10/4/726/40796

Oh, say, can you see, by the dawn's early light,
What so proudly we hailed at the twilight's last gleaming?
Whose broad stripes and bright stars, thro' the perilous fight'
O'er the ramparts we watched, were so gallantly streaming.
And the rockets red glare, the bombs bursting in air,
Gave proof through the night that our flag was still there.
Oh, say, does that star-spangled banner yet wave
O'er the land of the free and the home of the brave?

On the shore dimly seen, thro' the mists of the deep,
Where the foe's haughty host in dread silence reposes,
What is that which the breeze, o'er the towering steep,
As it fitfully blows, half conceals, half discloses?
Now it catches the gleam of the morning's first beam,
In full glory reflected, now shines on the stream;
'Tis the star-spangled banner: oh, long may it wave
O'er the land of the free and the home of the brave.

And where is that band who so vauntingly swore
That the havoc of war and the battle's confusion
A home and a country should leave us no more?
Their blood has wash'd out their foul footstep's pollution.
No refuge could save the hireling and slave
From the terror of flight or the gloom of the grave,
And the star-spangled banner in triumph doth wave
O'er the land of the free and the home of the brave.

Oh, thus be it ever when free men shall stand,
Between their loved homes and the war's desolation;
Blest with vict'ry and peace, may the heav'n-rescued land
Praise the Power that has made and preserved us as a nation.
Then conquer we must, when our cause is just,
And this be our motto: "In God is our trust";
And the star-spangled banner in triumph shall wave
O'er the land of the free and the home of the brave...


Geschreven rond 1775 door John Stafford Smith. De huidige tekst is in 1814 geschreven door Francis Scott Key. Dit is sinds 1931 het officiële volkslied van de Verenigde Staten van Amerika.

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Music written by John Stafford Smith around 1775. The current text is written by Francis Scott Key in 1814. Since 1931 this is the official anthem of the United States of America.
http://home.planet.nl/~jschoone/us.html

La tierra de Borinquén
donde he nacido yo,
es un jardín florido
de mágico fulgor.

Un cielo siempre nítido
le sirve de dosel
y dan arrullos plácidos
las olas a sus pies.

Cuando a sus playas llegó Colón;
Exclamó lleno de admiración;
"Oh!, oh!, oh!, esta es la linda
tierra que busco yo".

Es Borinquén la hija,
la hija del mar y el sol,
del mar y el sol,
del mar y el sol,
del mar y el sol,
del mar y el sol.

Gecomponeerd door Félix Astol Artés in 1867 en sinds 1952 het officiële volkslied van Puerto Rico. De tekst, geschreven door Manuel Fernández Juncos, volgt na het voorbeeld.

--------------------------------------------------------------------------------
Composed by Félix Astol Artés in 1867 and the official anthem of Puerto Rico since 1952. The text, written by Manuel Fernández Juncos, follows after the sample.

http://home.planet.nl/~jschoone/pr.html

http://www.vinilemania.net/NEWS.htm
The City of New York announced yesterday that Columbus Avenue between 94th and 95th Streets will be christened Mario Rivera Plaza in honor of the late great Dominican multi-instrumentalist Mario Rivera the legendary "El Comandante" who died last year of cancer, he had lived in that area since his arrival to NYC from his native Dominican Republic in the early 1960sin the early 1960s

Carlos Jimenez was selected top 7 with Thoughts out of 50 top hits in Italy
http://www.vinilemania.net/JazzCharts092008.htm

ABC 7 and here on 7online.com
WABC-TV New York, NYHOME
Eyewitness News
Vehicle strikes mother, son after accident
Local NewsThe 31st Annual Flatbush FrolicWednesday, September 10, 2008 | 12:10 PM SUNDAY SEPTEMBER 14, 2008, 11.00AM TO 6.00PM SUNDAY SEPTEMBER 14, 2008, 11 AM TO 6 PM Eyewitness NewsNEW YORK (WABC) -- Downhome NYC street festival 'Flatbush Frolic' celebrates 31st year with performances by dirty sock funtime band, Carlos Jimenez, Demander, Liquid Horn, Deedle Deedle Dees, Tah Phrum Duh Bush, Jeanine Truly, Casym Steel Orchestra SUNDAY SEPTEMBER 14, 2008, 11 AM TO 6 PM
The Flatbush Development Corporation is proud to announce that the THIRTY FIRST ANNUAL FLATBUSH FROLIC neighborhood street fair is set to take place on Sunday, September 14, 2008 in Victorian Flatbush on Cortelyou Rd. between Coney Island and Ocean Avenues, from 11am to 6pm, rain or shine.
This year's FROLIC theme is "Flatbush United Nation AKA F.U.N.: From Many Places, Many Shining Faces." The Cortelyou Road farmer's market, a chili-cook-off, bake-a-rama, arts & crafts shows, environmental showcase, and Sports Challenge with Martial Arts, Gymnastics and Basketball Tournament will be just some of the attractions showing the diversity back of this stretch of former farmland in Brooklyn.
"We want to celebrate with great local artists and music acts from the heart of Brooklyn, and capture the spirit of the community unity, with participants who've come from all over the world but who've chosen to live work and play here in Flatbush," said Mannix Gordon, FDC's director of economic development, who's organizing the event.
(Copyright ©2008 WABC-TV/DT. All Rights Reserved.)

http://abclocal.go.com/wabc/story?section=news/local&id=6382168

The first jazz flutist to record was Alberto Socarras in 1927 then there was Wayman Carver and Harry Klee.
Then the 50s brought Sam Most, Yusef Lateef, Frank Wess, Rahsaan Roland Kirk, Bobby Jaspar, Bud Shank, Jerome Richardson, Buddy Collette, Eric Dolphy, James Moody, Gigi Gryce, Paul Horn, Leo Wright, Les Spann, David Fathead Newman, Lew Tabackin, Prince Lasha, Charles Lloyd, James Spaulding, Jeremy Steig, Hubert Laws, James Newton, Jane Bunnett.. Now 2008 flutist, Orlando "Maraca" Valle & Carlos Jimenez..

http://www.lohud.com/apps/pbcs.dll/article?AID=2008809130363