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Untouched Exhibition 2/6/2012 KEE CLUB
Sunday, Jun 3, 2012 1:34PM
Monday, May 28, 2012 11:19PM (1 comment)
Monday, Mar 21, 2011 10:20PM
England Exhitbition representing fifty years of photography at the Arts Institute at Bournemouth
Sunday, Feb 1, 2009 4:07PM (5 comments)
year of Ox
Sunday, Jan 25, 2009 11:53PM (1 comment)
- Lester Lee Po Fun has spent the last 15 years of his life in professional photography.He studied at the Polytechnic of Manchester, north of England...Lester Lee Po Fun has spent the last 15 years of his life in professional photography.He studied at the Polytechnic of Manchester, north of England. After graduated from the Bournemouth and Poole School of Art and Design in 1990, he travelled to Spain to work for J Walter Thompson, EMI & Sony Music (Espana) and Virgin Records (U K), and Vanidad (Espana) Magazine. Some of the famous celebrities that he photographed include Jodie Foster, Paco Rabanne, and Tom Jones. In just 3 short years, Lester Lee became one of highest profile photographer in his field and was elected to be one of the twenty most outstanding photographers in Europe for the Kodak European Panorama in 1993. For the next 13 years, Lester Lee opened his own studio, Lester Lee Photo Workshop, in his home country Hong Kong and continued garnishing awards from the advertising field, including a British Design and Art Direction award in 2001, Cannes Lions award and Hong Kong Institute of professional Photographers (HKIPP) Grand Award for a Sony advertisement.2007 Asia Photo Awards(HKIPP) Gold Award Professional Division on People. In his spare time, he also appeared as a guest lecturer and honourable guest for schools and photography convention in both Hong Kong and China. His work often displays a mix of Mediterranean style and his own Asian heritage. This is most evident in his latest photography book, coincidentally termed Lester Lee. As described by Julian Lee (MA, RCA), assistant professor for City University of Hong Kong, school of Creative Media, and Alan Tat-Ming Yu (BA Hons, MA, RCA), assistant professor for Hong Kong Polytechnic University, Lester Lee is a magician of female nudes.
Lester Lee PO FUN(李寶勳) 就讀於英格蘭的Polytechnic of Manchester學校。1990年, 他從Bournemouth and poole 藝術與設計學校畢業,獲得了媒體設計高級學位証書。在過去的十多年裡,他都一直投身於職業攝影生涯。1991年,他來到西班牙,就職於J Walter Thompson, EMI & Sony Music (Espana) and Virgin Records (U K), 和Vanidad (Espana) 雜誌,為Jodie Foster、Paco Rehanne、Tom Jones等一系列名人拍攝過肖像。在短短的三年的時間裡,Lester Lee就成為本地區最優秀的人像攝影師之一。1993年憑借為柯達拍攝的歐洲全景照片,Lester Lee躍升為全歐洲二十位最著名的攝影師之一。在此之後,一種尋求獨立的衝動使他回到香港,披荊斬棘,開創了自己的事業成功之路。八年時間裡, Lester Lee 一直在自己獨立經營的工作室李斯特李攝影工作室工作。作為一名經驗豐富的廣告攝影師,他贏得了本行業的眾多專業獎項,包括2001年英國藝術設計導演獎、嘎納金獅獎及香港職業師協會授予的榮譽証書。
在倫敦,馬德里和台北 One Man Show Of Photography,Lester Lee 都舉協了系列展覽,他的作品也被收錄在亞洲和歐洲出版的書籍裡。那些展示地中海和亞洲傳統風格相結合的作品呈現出與眾不同的藝術魅力。作為一個真正的藝術家, Lester Lee 擁有創造的夢想,並樂於與人分享他的原創經驗。在這些作品裡,你將發現這些獨特的想法和他捕捉美的完美角度,並被其吸引而深深沉迷。
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Alana Harper
Alana joined Studio 360 in 2011. A writer and longtime public radio listener, Alana developed an interest in radio while earning a master's degree in arts journalism at Syracuse University. She works on Studio 360's ...
Washed Out
"Track 7"
Playing at: The Bell House (149 7th St., Gowanus)
Get: Tickets | Directions
Less than a year ago, Ernest Greene, who performs as Washed Out, was making lo-fi dance pop recordings in his bedroom studio in Macon, Ga. while spending his days looking for a job as a librarian and anticipating his upcoming wedding. Then bloggers discovered his murky, synthy tracks on his MySpace page, and before long Greene was being held up as the poster boy for the burgeoning chillwave scene. Needless to say, he's put the librarian career on hold while he takes some time to record, tour, and enjoy the warm glow of the indie spotlight. This song comes from an untitled recording available only at Greene's live shows. Hazy and covered in a thick layer of groove, "Track 7" drifts along with a languid pulse as atmospheric synths complete the laid-back sound.
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So far right has the party tilted that he doesn't recognize it. He suggests the party hang a sign — "Closed for repairs until January" — and spend its time developing positive solutions to the nation's problems.
Mulish opposition to everything a Democratic president proposes is not the same thing as positive, well thought-out policies, he seems to be saying.
The most contrary, unharnessed, two-legged mules wear the colors and funny hats of the the Tea Party, and most of them are from the South — the party's most reliable base.
I was an astonished witness to the birth of the modern Southern GOP in 1964, watching with mild depression as my beloved Alabama and the South consciously and deliberately chose racism as the new GOP's winning strategy.
Previously there had been a solid Democratic majority, whose congressional wing could be counted on to preserve our (white) way of life from "radical" social experiments and outside agitators.
In the state Democratic parties, however, there had been a constant tussle for control by bitter-end, obsessive segregationists and the moderate wing, which tried to stick with the national party.
The election of a tornadic political force, George Wallace, erased the old dividing lines and substituted a new one, "Are you for George or agin him?" His almost physical hatred of the federal government prepared the ground for and found a new home in the newly minted Southern GOP.
This is how the Republicans' Southern base came into being:
As early as 1961, Sen. Barry Goldwater told Southern GOP activists in Atlanta that the party was "not going to get the Negro vote in 1964 or 1966, so we ought to go hunting where the ducks are."
Goldwater had been one of a few Republicans who broke with Minority Leader Everett Dirksen and voted against the Civil Rights Act of 1964, providing, among other things, for open accommodations at public places.
In the '64 presidential campaign, Goldwater carried Alabama by 77 percent of the white vote and swept the white vote in the rest of the Deep South by a similar landslide, 71 percent.
The hinges of history are hung backward in the Deep South. The doors opened inward to Goldwater in South Carolina, Georgia, Alabama, Mississippi and Louisiana, welcoming him into the Balkans of America with its never-forgotten history and prejudices.
Everywhere else but Goldwater's native Arizona, the doors opened outward, the whole non-Southern continent welcoming President Johnson and his sense of the rights of man.
Unwittingly, Sen. Goldwater led a motley parade of White Citizens Councils, Kluxers and generic racists out of the Democratic Party to install racial prejudice as part of the founding core of the Southern Republican Party.
The front page of The Star on Wednesday, Nov. 4, 1964, was a poster for the opposite paths taken by the nation and the Deep South. The lead story detailed the historic Johnson landslide and the off-lead story was about five Democratic congressmen caught in the Goldwater riptide.
Among them was our own Congressman Kenneth Roberts, who would have chaired the House Commerce Committee in the new Congress. Roberts contributed to his own defeat by a desultory campaign and infrequent visits to his district.
The victor was billboard advertising executive Glenn Andrews, who had been a lonely, good-natured GOP pioneer in the days when two votes for the Republican Party in Calhoun County raised suspicions of voter fraud.
The inheritor of that congressional seat is Mike Rogers, who, along with a solid Republican congressional majority, votes the rightwing agenda as predictably as a Swiss cuckoo clock.
The monotonous construction of an all-GOP state and South is not only boring — no debate, no fresh ideas, no one to be his own man — it is an anchor that will keep the party stuck in a starboard direction.
Sen. Dole is a wounded veteran of World War II and a wounded veteran of internal Republican politics. He is still sharp but he is an old man now who, sadly, will not live to see a wise, tolerant and rational GOP.
H. Brandt Ayers is the publisher of The Star and chairman of Consolidated Publishing Co.


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Matinee Saturday for Kids of all Ages
RIDGWAY – The transformation of the Sherbino Theater enters a new phase this weekend with the presentation of two film programs, Friday and Saturday.
The Friday night movie, the first ever for the New Sherbino, is the beautiful, and disturbing, documentary Sharkwater at 7 p.m. The Saturday show is a matinee (beginning at 3 p.m.) especially for kids, kids of all ages, featuring shorts from the Chicago International Children's Film Festival, including the 2012 Academy Award winner (Best Animated Short), The Fantastic Flying Books of Mr. Morris Lessmore.
Early in the process that has seen the old theater/bar on Clinton Street spring reborn as a community performance space, a film committee got to work preparing for this moment. Ridgway's Jonathan Allen, whose company puts on film events around the globe, has secured a new, bright, 13-foot screen and a new digital projector for the revamped space. And Erika Moss Gordon, who coordinates the Sunday at the Palm shows for the Telluride Film Festival, as well as programming the TFF films at the Wilkinson Library, has brought two favorites to Ridgway for the opening weekend.
Sharkwater was released in 2006 by Canadian documentarian Rob Stewart. By all accounts, it is a gorgeous, technically brilliant, up-close, underwater look at sharks in some of the places where they congregate: Costa Rica, the Galapagos, Cocos Island. But in the course of filming Stewart became inadvertently embroiled in the dangerous world of the multi-billion-dollar, illegal shark-fin trade. He hooked up with Captain Paul Watson of the Sea Shepherd Conservation Society, and, well, go to the movies and see what happens. (Hint: boat rammings, gunboat chases, corrupt courts, mafia spies . . .)
The Saturday kids' show is especially dear to the film committee's heart. Gordon worked with Telluride Film Festival Board member Milos Stehlik to get Saturday's movies. Stehlik runs a film distribution business called Facets Multimedia, "a really groovy Netflix," Gordon said. "They have tons of hard-to-find, really good stuff."
Stehlik also runs Chicago's International Children's Film Festival "and puts together a best-of compilation for us to use at Sunday at the Palm," Gordon said. "I asked him if we could screen it here [in Ridgway], and he said absolutely. He wants people to have access to good films. He wants to create a new generation of film lovers."
The Fantastic Flying Books of Mr. Morris Lessmore uses various animation and live-action techniques, including 3D computer characters, ingenious miniature sets, and 2D, hand-drawn animation.
According to IMDb.com, it is "inspired in equal measure by Hurricane Katrina, Buster Keaton, The Wizard of Oz, and a love of books." Released in 2011 by New Orleans filmmakers William Joyce and Brandon Oldenburg, it is "15 minutes I'll never forget," according to one reviewer.
Other shorts from the Chicago festival will be included for an approximately hour-long show.
For more information call 970/201-8570 or visit facebook.com/sherbinotheater.
P.S. – Plans call for big-screen NFL football every Sunday at the Sherbino, starting at 11 a.m.
Matinee Saturday for Kids of all Ages


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Inter will play Stateside this summer in the 2014 edition of the International Champions Cup
Utah basketball will take on the Kansas Jayhawks in 2014, Tony Jones of the Salt Lake Tribune reports. The two will meet in Kansas City, a match-up that will prove to be a one-year deal between the two programs. Also announced in the article is the
The Sixers start their 2013-2014 campaign in two weeks. In the meantime, let's dissect the Lil Bow Wow classic film "Like Mike".
This 2013-14 Sixers season is sure to be one of equal struggle and comedy. To remember every moment of his adventurous rookie season, Michael Carter-Williams keeps a diary. Liberty Ballers has stumbled upon possession of his daily reflections.
The Hatboro-Horsham High product and longtime Charlotte Bobcat sharpshooter worked with the team during training camp.
In which Jer recaps the last games of the preseason.
In which Jer recaps the first four Ducks games of the preseason.
Some news from the Habs this morning tells us that the Habs' D has become quite the open season.
A preview of the preseason game between the Ottawa Senators and Toronto Maple Leafs on 19 September 2013.
Liverpool's final match of the preseason takes place tomorrow in Dublin, where they'll face a Celtic side that's already up and running in the Champions League.
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Boris Becker: Only Federer could hang with my generation
For all the talk of the current "Golden Era" of tennis, Boris Becker says there's only one Golden Boy who could have competed alongside his generation of greats: Roger Federer.
"I don't think [Rafael] Nadal or [Novak] Djokovic would have been so successful in the era of serve and volley, but Federer could have played," Becker said at the Hindustan Times Leadership Summit in New Delhi over the weekend.
He added that Federer's variety puts him ahead of Nadal and Djokovic.
"The reason why Federer is still successful at the age of 31 is because he has got a good technique," Becker said. "He can play from the baseline and when he has to, he can also come to the net more often than other players."
As for whether Federer is the best player of all time, Boris was more inclined to hedge.
"It is the ultimate question, but unfortunately it has no answer," Becker said. "Roger Federer has won more tournaments than anybody, but it remains unknown if he would have beaten a McEnroe, a Borg, a Laver or me."


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It was with both amusement and disbelief that I read the article about the Rumble On Noble motorcycle event. According to the article, Jennie Preston says the event brings the wrong kind of people to the downtown area. She evidently doesn't know many "bikers."
Bikers range from people with high-paying jobs on down; this includes doctors, lawyers, military and all sorts of lifestyles. Most bikes cost from $12,000 on up into the upper $20,000s. I am retired military and also retired from the Calhoun County Highway Department, so it's nice to know I'm the wrong type person for downtown Anniston.
It was also noted that the Noble Street Festivals promote foot traffic. The bikes park and the riders walk the distance between 10th and 14th streets. Of course there is more parking along Noble Street for the bikes because bikes are smaller than cars.
I hope the mayor and City Council will reconsider and allow the Rumble On Noble to proceed. I for one will not pay to attend festivities at Zinn Park and then walk back to Noble Street to have a few drinks with friends. Let's not ruin this event — keep it on Noble Street.
Mike (Speedy) Bearden


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Joined 18th October 2007
Tonya Ramsey hasn't written a snapshot yet.
~ To get paid for speaking engagements
~ To have a full coaching practice
~ To be a bestselling author
~ To have a popular Radio Show
~ Finding new networks
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~ Restructuring Life By Design's coaching projects
~ Setting up some passive income.
~ Finish my signature speech
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~ My reseach project of home based women in business
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I am very proud to say that we usually have one meal everyday that the three of us sit down together. Because DH is on 3rd shift, my son and I usually have Breakfast and Lunch just the two of us, but dinner time is our chance to connect!
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He knows but whether he remembers is another story. If he wanted to snoop most of my accounts auto sign me in on my computer so it wouldn't be hard, but I know he is not interested at all...he has an email account that I set up for him that he NEVER checks, so I have no doubt that he could care less about what is in mine.
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ST. LOUIS — As the front page of the St. Louis Post-Dispatch said, "No Albert, no Tony, no problem.''
With that in the public record, what's the big deal with a marathon rain delay?
It was no sweat for the Cardinals. Not much is these days.
Not a change of managers, not the absence of Albert Pujols and not a two-out, ninth-inning deficit to the Nationals in Washington. These Cardinals do adversity the way Emmitt Smith does the Argentine Tango.
We'll see if they can play from ahead as well.
Thanks mostly to a two-run homer from Matt Carpenter off Matt Cain and a strong bullpen, they beat the Giants 3-1 Wednesday to take a two games to one lead in the National League Championship Series.
The game started at 3:08 p.m., with gray skies over the Gateway Arch, and ended at 9:38. It was interrupted by a 3-hour, 28-minute rain delay that caused about half of the 45,850 fans to exit Busch Stadium early.
Maybe they were bored. The Cardinals were leading. The real fun comes when they're behind.
Including their wild-card victory over the Braves, they're trying to win a sixth consecutive postseason series over the last two years, and you wouldn't say they have steam-rolled anyone.
The Cardinals are 17-10 in postseason games the last two seasons. They have just sort of hung around until the games they have had to win, going 11-10 when they could afford a loss and 6-0 in elimination games. They survived five-game Division Series against the Phillies and Nationals and stunned the Rangers after being on the brink of elimination in Game 6 of the World Series last October.
Most of us smart guys felt the Cardinals were cooked this year. After all, they had lost Pujols, Tony La Russa and Hall of Fame worthy pitching coach Dave Duncan after their championship season. They couldn't catch the Reds in the NL Central chase this year but they're showing that wild-card teams still can be dangerous in the new postseason format.
Two more victories and they go to the World Series for the fourth time in nine years.
Adam Wainwright, who will start against Tim Lincecum in Game 4, calls manager Mike Matheny "the sharpest dressed guy I've ever seen,'' but he's not afraid to manage like one of the guys who used to wear jackets and ties at the end of the dugout.
Matheny took the caveman approach after the rain delay, bringing in Jason Motte to protect a 3-1 lead rather than try to mix and match in his bullpen for the eighth inning, a la La Russa, before turning to his closer in the ninth.
Motte worked a no-nonsense outing. He was perfect in the eighth and just as perfect in the ninth, when he got the Giants' 1-2-3 hitters.
"We were hoping Jason would do what he needed to do,'' Matheny said. "He was terrific.''
While lounging in the clubhouse, the Giants were no doubt considering how easily they could have been ahead. Kyle Lohse made it into the sixth inning but was not especially sharp, which he showed when he walked two Brandons (Belt and Crawford) in the second inning.
The Giants were 0-for-7 with runners in scoring position, including Mitchell Boggs' back-to-back strikeouts of Hunter Pence and Brandon Belt after the tying run was on second base in the seventh inning.
"We had our chances,'' San Francisco manager Bruce Bochy said. "We left too many on base.''
The Cardinals had just pushed that lead to 3-1 in the seventh inning when crew chief Gary Darling stopped play.
With Cain pitching, this was a game the Giants really needed to win. In a decision that could bee second-guessed over the winter, Bochy said after the loss that he will use a five-man rotation against the Cardinals to lessen the load on 23-year-old lefty Madison Bumgarner.
Bochy essentially said Bumgarner, a 16-game winner, is done for the series. He's going to use Barry Zito in Game 5 and will have Ryan Vogelsong and Cain lined up for Games 6 and 7 if the series goes back to San Francisco.
Yes, he's shutting down a young starter, albeit not in such a calculated way as the Nationals did Stephen Strasburg. There's going to be howling in the Bay Area.
It's a sound often heard after playing the Cardinals.
Twitter @ChiTribRogers


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Definition of Endometritis
Endometritis is an inflammation or irritation of the lining of the uterus (the endometrium).
Causes, incidence, and risk factors
Endometritis is caused by infections such as chlamydia, gonorrhea, tuberculosis, or mixtures of normal vaginal bacteria. Endometritis is more likely to occur after miscarriage or childbirth, especially after a long labor or c-section.
Signs and tests
The health care provider will perform a physical exam and a pelvic exam. The lower abdomen may be tender. Bowel sounds may be decreased. A pelvic exam may show the uterus and cervix is tender. There may be cervical discharge.
Antibiotics are used to treat and prevent complications of endometritis. If you've been prescribed antibiotics following a gynecological procedure, it is very important to finish all the medication and follow up with your health care provider.
Expectations (prognosis)
Most cases of endometritis go away with antibiotics. Untreated endometritis can lead to more serious infection and complications with pelvic organs, reproduction, and general health.
Linda J. Vorvick, MD, Medical Director, MEDEX Northwest Division of Physician Assistant Studies, University of Washington, School of Medicine; Susan Storck, MD, FACOG, Chief, Eastside Department of Obstetrics and Gynecology, Group Health Cooperative of Puget Sound, Redmond, Washington; Clinical Teaching Faculty, Department of Obstetrics and Gynecology, University of Washington School of Medicine. Also reviewed by David Zieve, MD, MHA, Medical Director, A.D.A.M., Inc. – 11/1/2009


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2401 W 65th St, Little Rock, AR | Directions 7220934.688885 -92.304903
I never write reviews, but this was a MUST! – I stayed with the Rodeway Inn and Suites over the summer after just moving to the area and in the proces of looking for an apartment to rent. Initially, I chose this particular hotel because they had a great rate and located close to and easy to get to pretty much anything I needed. I enjoyed my stay with them immensely and as a result, I am once again staying with them while my apartment complex is doing extensive renovations. In my line of work, I stay at hotels alot during the course of a year and believe me, what they deliver for the amazingly cheap price is remarkable. They are not only pet friendly (which is of major importance to me), they also have a microwave and mini fridge in all of their rooms, a breakfast that I have never encountered in a budget brand hotel. They offered cereal, milk, juice, muffins, hard boiled eggs, coffee and biscuits and gravy. Most places I have stayed in the value price range barely offer more than a dried up danish and a cup of coffee and that's if your lucky. The staff went above and beyond to do anything they could to accomodate me and I can be pretty difficult to please at times. I have family coming to visit next month to go to the Arkansas State Fair and I have already made reservations in advance because I know that hotels near the State Fair and also close to I 30 that are also cheap and affordable are hard to come by. So I highly recommend to anyone looking for Hotels in Little Rock, Ar and are looking for cheap rates that is centrally located to the River Market area and even concerts and shows at Verizon Arena to take my advice and stay at Rodeway Inn and Suites in Little Rock. You will find clean rooms, friendly staff, comfortable beds and an amazing free breakfast that comes with your room. So often people will take the time to write a negative comment when they are displeased about something, I decided it was a nice change to write a positive review and know that I sincerely mean and believe every word of it.
Comfort hotel with great values – The rooms were clean and good. It has a king size bed which is perfect for us. The staffs in the hotel made our stay very great and they were really helpful. Accommodations were good and safe. Location is very convenient. Superb hospitality. Rest room facilities were also good. The only thing that was missing is the selection of wines in the bar. The selection of wines in the bar could have been better.
The best inexpansive Hotel in Little Rock – I felt this was a great place to stay for the value. I enjoyed this hotel in little rock and my children loved the pool. Our room was very clean and we enjoyed the food at the breakfast place. Excellent service, staff and their beds were heavenly. Hotel location was near to River Market had a great water view of the Arkansas River. Hotel was very close to many restaurants.
Oh and I must add, I received complimentary two water bottles, munchies and mints in my room on my arrival.
Close to Everything, Convenient & Worth the Money – I needed a hotel that was close enough to the Little Rock Convention Center and the airport and found this hotel online. I wasn't sure at first because the rate was so low but it fit to my main needs. What a surprise it was when I arrived and entered the nice lobby to be greeted by the front desk agent with a smile. My room was more than I thought it would be for the price and the staff was excellent. Very clean place, convenient and easily worth the money.
Great Hotel to stay in Little Rock, Arkansas – We got a good deal thru hotelscom and stayed 2 nights. Everything that was suppposed to work, worked. The place was clean and the people were nice. If you like coffee, oj, fresh waffles, fruits and bagged pastry then life will be good for you. Plenty of places to eat just one block driving ditance.
The Best Little Rock Hotel Accommodation – The accomodations were great - good safe, convenient location and good value. However, the staff is what made our experience great - they were extremely helpful. The only room available when we checked in had a king size bed was perfect.This was a late arrival, leave early stop over coming from a 4 day convention and looking for quick access to catch an early morning flight home. Room was clean, and bed was comfortable.
Barely a step above Motel 6 – There were definitely a few signs that we should have steered clear of this sad attempt at a hotel. The Bus Entrance sign was made up of two different signs. When we arrived in our room, the cable did not work on our television. The remote control was also barely operable. There were stains on the walls. The toilet was malfunctioning and ran water all night long. When my guest and I went to search for something that had rolled under the bed, we found all sorts of treasures; several spools of thread, wadded up pieces of paper, a spare coffee-pot, and just plain filth. The comforter on the bed had a large red stain. The bath tub would not drain properly, and the hotel provided no hair conditioner for their guests. The alarm had not been checked because it went off at 8:00 AM in the morning disrupting our sleep after a long day of driving. On top of all of this, the hotel charged my credit card TWICE for one night. Which is even more upsetting because we paid cash. When confronted the following day regarding these charges, the receptionist was incredibly rude. I had to call twice to get them to fax me my receipt. Two days later and I am still living to the nightmare of staying at this hotel! Do not stay here!
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Live Reviews
Norwegian Road Trip, Part 5: Molde Jazz, Days 1-2
[Editors Note: From July 6 to July 26, 2010, All About Jazz Managing Editor John Kelman will travel throughout Norway to cover both the Kongsberg Jazz Festival (also participating in Silver City Sounds) and Molde Jazz. He'll also spend a week between the two famous festivals in Oslo, where he'll check out the scene, talk to musicians and labels, and visit the legendary Rainbow Studio for a look around and an interview with engineer Jan Erik Kongshaug, who has participated in hundreds of ECM recordings. He'll publish every second or third day, so be sure to follow him as he goes from the east coast to the west, in search of Norwegian artists known and unknown].
While it would be faster to fly from Oslo to Molde, it wouldn't be a proper road trip without taking the train, a stunning seven-hour trip that includes journeying from Dombåsthe highest rail point in the countryto Åndlasnes, about an hour outside of Molde. The 90-minute rail trip from Dombås to Åndlasnes features some of the country's most stunning scenery; but also proof of Norway's intrepid nature when it comes to ensuring there's a proper infrastructure capable of delivering all the necessary services throughout the country.
And that's a real challenge, because Norway's small population (now approaching five million) is not concentrated in a handful of larger cities; instead, the train ride from Oslo to Molde demonstrated just how spread out Norway's inhabitants are. Hardly a mile went by where there wasn't evidence of some small community, nestled at the foot of a large mountain or situated along a river or lake. Norway's road system makes its way around mountains, but also through them, with seemingly countless tunnels cutting through some of the largest peaks; but how the train wound its way from Dombås to Åndlasnes was particularly remarkable. In a 1,340 meter tunnel, the train made nearly a 360 degree turn as it descended from Dombås to the bottom of Romsdal Valley, actually coming out traveling in the opposite direction and nearly 19 meters above where it entered the tunnel.
It was a day of sun and clouds, which made for some spectacular scenery. Leaving Oslo, the landscape became increasingly vivid, first with rolling hills and green landscapes, but gradually becoming increasingly rough and craggy, with mountains gradually emerging in the distance and blue-green glacial waters reflecting the sun and clouds. Some of the country's best fishing could be found in the country between Oslo and Molde, as the train crossed the country from east to west; Lake Lesjaskog, an 11 kilometer lake with rivers running from both ends, the watershed between east and west Norway and a rich source of trout and graylings. Farther along, the River Rauma wound its way to a fjord, one of the country's best places for salmon fishing, as they migrate there from the ocean near Greenland, to spawn just below Kylling Bridge.
Kylling Bridge was impressive in and of itself. 76 meters long and 59 meters high at its apex, it was built between 1913 and 1923, and demonstrates Norwegian ingenuity long before oil gave the country the money to implement its more thorough infrastructure. But before coming to the bridge, the 380 meter Vermafossen waterfall was another highlight amongst highlights; a stunning natural wonder that is also used to generate electricity for the region.
Arriving in Åndlasnes, it was impossible to imagine how anyone could ever become complacent about being surrounded by such stark and stunning beauty. With mountain peaks rising everywhere, Åndlasnes was a small crossroads location where buses to other places met the train's arrival. Still, it was far more than a small town, with lovely architecture and, despite being distanced from larger centers, hardly wanting for any of the social services that are such an inherent part of the Norwegian fabric of daily life.
An hour-long bus to Molde continued the intimate look at some of the country's most stunning mountain scenery. A 10-minute ferry ride across a fjord provided a combination closer look and panoramic view, before finishing up the trip to Molde winding through more rolling landscape along the large fjord on which Molde is situated, 25 kilometers from the Atlantic Ocean. Arriving in Molde, a town of 25,000 surrounded by 222 mountains, it's impossible to imagine a more gorgeous location for a jazz festival. Farther north than Oslo, the days are also a little longer at this time of year, with night approaching at 10:30PM, but still in a strange kind of elongated twilight where shades of blue remained in the sky, peaking through the cloud cover.
It was a perfect way to be welcomed back to Molde, as the town prepared for the jazz festival's 50th anniversary, a stellar year that, in addition to featuring Artist in Residence Nils Petter Molvaer and Label in Residence Rune Grammofon, will host fifty artists/groups including In The Country, Puma, Bushman's Revenge and Terje Rypdal. There will also be a special, one-time performances by Motorpsycho with the Sula Art Ensemble, Trondheim Jazz Orchestra and Trondheimsolistene, a new project from Ketil Bjornstad (being recorded by ECM), and an all-star collaboration by Gary Burton, Tommy Smith, Arild Andersen and Alex Riel. All-in-all, a great year to be in Molde.
Chapter Index
- July 19: Laying the Foundation and Art Exhibits
- July 19: Nils Petter Molvær Opening Performance
- July 19: In the Country
- July 19: Farmers Market
- July 20: Javid Afsari Rad
- July 20: Magic Pocket & Trondheim Jazz Orchestra
- July 20: Burton/Andersen/Smith/Riel
July 19: Laying the Foundation and Art Exhibits
Plenty is written about fearless Norwegians, the benefits of having the money to invest in the arts and a kind of reckless innovation where no idea is a bad one. But an event during the morning of Molde Jazz's first day brought all three together.
Det Hvite Hus Groundbreaking
With a new library being built for Moldelaws to promote literacy in Norway mandate that there must be a certain number of books available per capitait's indicative of the country's approach to collaborative thinking that the venue will also house a cinema and a new performance space. The number of performances spaces in Molde already far exceed that of similarly sized towns in North America. But at a foundation laying ceremony that, in most places, would feature a couple of speeches by local representatives and nothing more, over a thousand people attended an event that lasted close to an hour, and combined official statements with poetry and music, performance art, and even a bit of live dance/theater.
Shibusa Shirazu Orchestra at Det Hvite Hus Groundbreaking
Japan's Shibusa Shirazu Orchestrawho would kick off the festival at its large outdoor Romsdalsmuseet (Romsdal Museum) a couple hours lateropened the groundbreaking/foundation laying ceremony with a propulsive, percussion and brass heavy performance that included heavily made-up dancers. A spoken word segment by five festival representatives, including Festival Director Jan Ole Otnæs, was followed by an excerpt from Driving Miles, a festival play written by Henning Mankell that will be running the entire week, and featuring actor Per Egil Aske and trumpeter Jørn Myklebust.
Tori Wrånes at Det Hvite Hus Groundbreaking
But, following speeches from federal officials, the real surprise came when an accordion and voice began emanating from the speakers at the site. Looking around, trying to find where the music was coming from, nothing could be seen until Otnæs pointed up to the sky, and it became clear that a crane on the site was not there for the construction of the new building. Instead, hanging off a cable, performance artist Tori Wrånes could be seen gradually being lowered to the groundthough she never actually made it. Instead, she came closer to eye level for the crowd, only to be gradually raised once again to a concrete platform behind the site of the new library.
Only in Norway.
But that wasn't Wrånes' only performanceand she seems compelled to do things that would not only challenge most of her peers; the festival actually had trouble finding a crane operator who would agree to collaborating with her, even though her rider includes a waiver for any and all possible actions in the event that she's injured during a performance. A few hours later, at the local art gallery, another event took place to open the festival's exhibition of artist Kim Hiorthøy's artwork for Rune Grammofon, Molde's first Label in Residence. After speeches including one from Music Information Centre's Martin Revheim, sound again began to emanate.
This time, somehow positioned high up and hanging perpendicular to a tree beside the gallery, Wrånes once again sang (though, with both arms wrapped around the tree, there was no chance for a repeat performance on accordion). When the song was over, and when the opening was over, she remained in the tree as attendees drank, ate and chat.
Tori Wrånes at Rune Grammofon Art Exhibit Opening
Again, only in Norway.
July 19: Nils Petter Molvær Opening Performance
For his opening performance as Artist in Residence at Molde Jazz 2010, Norwegian trumpeter Nils Petter Molvær put together a dream team of international players. From Norway: keyboardist/percussionist Jon Balke, with whom Molvær played in the 1980s with Masqualero, and drummer Rune Arnsen, a member of the trumpeter's original group that began touring around the time of his landmark ECM release, Khmer (1997) and remained in the band until it dissolved a couple years back. From the United States, bassist Bill Laswell, who has been involved in seemingly countless projects, collaborating with saxophonist/Tzadik label head John Zorn in the legendary group Painkiller, as well as co-leading the group Material, whose Hallucination Engine (Axiom, 1993) remains a classic of stylistic cross-pollination. From Africa, two percussionist: Baboucar Camara and Alieu Saine. And, finally, from Ethiopia: singer GIGI, who has made a name for her blending of traditional music with ambient music.
Nils Petter Molvær
It seemed like the perfect, large-scale opener for the festival and for Molvær, and there were plenty of strong points about the show. However, it was sadly marred by technical problemsincluding a booming feedback during the opening atmospherics, the forced the trumpeter to push the band into the Afrobeat pulse faster than he'd plannedand a sense that, perhaps, the group didn't have as much rehearsal time as it could have, with eye contact throughout the show as much about figuring out where to go as how to interact.
That said, if the show was impaired by problems, it remained a complete success for Molvær, who simply could not have played better. While he was situated stage right, with GIGI taking front and center, he remained a commanding and charismatic presence, as he combined electronics, extended techniques and unfailingly lyrical playing into one of his best performances in recent memory. Bolstered by Arnesen's very specific way of creating a dancing pulse, the trumpeter constructed serpentine melodies, using a pitch shifter in an equally distinctive fashion to layer moving harmonies that would otherwise have required three trumpeters to play.
Molvær also took a solo spot mid-set, where he softly sang into the microphone cupped into the bell of his trumpet, gradually building a wash of looped and processed sounds over which he delivered line-after-line of exquisite beauty. It was a virtual tour-de-force of trumpet mastery and the kind of organic technological integration and innovation that hasalongside other Norwegians including guitarist Eivind Aarset, live sampler Jan Bang and saxophonist Hakon Kornstadset the bar extremely high for others attempting similar feats by making it seem as though all the pedals and rack gear aren't just add-ons to his undeniably fine acoustic trumpet playing; instead they're connected at a mitochondrial level, an extension of his trumpet, just as his horn is an extension of his body.
As thematic as much of Molvær's playing was, he did explore more extreme territory at times, turning his trumpet into a screaming voice thataltered almost unrecognizable by his array of sound processorsdemonstrated an unmistakable virtuosity that is rarely on overt display, but absolutely must underscore everything he does.
From left: Jon Balke, Aleiu Saine, Baboucar Camara, GIGI Rune Arnesen, Bill Laswell, Nils Petter Molvær
There wasn't a weakness to be found amongst the players, though as fine a voice as GIGI possesses, as the band's front-person she could have engaged the audience more, since much of the performance was booty-shaking, hand-clapping music that could have become a tremendous party for the capacity audience in the standing-room Bjørnsunhuset venue. Instead, it was good time rather than great one, though Molvær's performance was absolutely fantastic, as he covered new ground and set another very high bar for the rest of his run as Artist in Residence.
July 19: In the Country
Since releasing its sublimely beautiful debut, This Was the Pace of My Heartbeat (Rune Grammofon, 2005), In the Country has continued to evolve. Rune Grammofon's first piano trio, it has defied all convention as its memberspianist Morten Qvenild, bassist Roger Arntzen and drummer Pål Hauskenhave continued to evolve a concept that's often pop-like in structure, but profound in interpretive delivery and a kind of improvisational acumen that's all about the song, rather than the musicians who are playing it.
Pål Hausken
What better group, then, to open a series of performances by Rune Grammofon, in celebration of it being Molde Jazz's first Label in Residence? In many ways, In the Country exemplify all that is great about the label: creatively pushing the boundaries of whatever context it finds itself in, and allowing its artists complete and utter freedom to fashion their own sound and approach, and with a commitment that allows them to evolve at their own pace.
In the County doesn't perform that often, and what might be a disadvantage for some clearly becomes an advantage for this group, as its playing retains unequivocal freshness and sense of surprise that could be seen on the faces of its members, as they explored music from all three of their albums, including the sophomore Losing Stones, Collecting Bones (Rune Grammofon, 2007), and their most recent and most ambitious Whiteout (Rune Grammofon, 2009).
Elements of Keith Jarrettby way of Tord Gustavsencould be heard in Qvenild's playing, with a very subtle tinge of gospel running through it at times. But he also went to far darker places, as on the opening to Losing Bones's "Can I Come Home Now," its angular melody leading to more dynamic middle section that developed in a different way than the original, which featured at tart guest spot by guitarist Marc Ribot. Arntzen played with spare economy, often repeating phrases with the subtlest variations, as he used harmonics and glissandi in unique ways to both anchor the music and act as a contrapuntal foil for Qvenild. Hausken, more often than not, used large mallets rater than traditional hard-pointed drumsticks, and thisalong with towels placed on top of most of his drumscreated a denser sound as he built the music, at times, to tumultuous climax, only to drop instantly to a near-whisper.
The group's set ranged from dark and stark to quietly propulsive and thematically compelling; at its most accessible, perhaps, on the soft, brush-driven "Doves Dance," a song that hinted at folk and country but, with its more sophisticated changes and a winding melody which was at the same time oblique yet singable. But its best moments came with the lengthy encore, "Mother," which closed both the evening and Whiteout. The most obvious example of Qvenild's use of electronics to softly morph the sound of his grand piano, he used his laptop to turn his instrument into a thing of shimmering beauty, as he sang the songs lyrics with a kind of understated vulnerability.
Morten Qvenild
A group that's getting better with each passing year, its Molde Jazz 2010 performance was a significant improvement over its show at Mai Jazz 2008. Not that there was anything wrong with its show in Stavanger, but while the venuea 1,000 year-old monasterywas profound if for no other reason than its age, its all-stone construction meant too many reflective surfaces and, consequently, a less-than-ideal sound. Here in Molde, the sound at Kulturhuset was fabulous, and gave the group a head start at the kind of interaction and soft nuance on which its sound has been built.
July 19: Farmers Market
It's hard to imagine dancing in 9/8, much less clapping along, but that's exactly what Farmers Market leader/multi-instrumentalist Stian Carstesen did-or, at least, tried to doat one point during the first of two late night sets at the Alexandra Park. Situated across from the Quality Hotel Alexandra, it's an all-day party atmosphere, with the beer taps flowing, sausages grilling and crowds of people coming and going from morning 'til night.
From left: Trifon Trifonov, Stian Carstensen, Jarle Vespestad Finn Guttormsen, Nils Olav Johansen
Along with Carstensen, Farmers Market features guitarist/vocalist Nils Olav Johansenheard recently in Bergen with Element: Special Edition, bassist Finn Guttormsen, Bulgarian saxophonist Trifon Trifonov and drummer Jarle Vespestadlast heard in a far more serious environs with pianist Tord Gustavsen at the 2010 TD Ottawa International Jazz Festival. That the group managed to wind its way through a largely continuous set thatwith Carstensen switching between electric guitar, pedal steel and accordiontraversed more music per second than John Zorn in his cartoon heyday. Polka, Michael Jackson, Stevie Wonder, film themes (and, at one point, the iconic 20th Century Fox theme), folk, rock and more were twisted, turned, subverted and perverted to Carstensen's agenda, which was about humor, engagement and complete and utter fun.
That the group's four albumsstarting with Speed Balkan Boogie (Kirkelig, 1995) and through three more albums up to the most recent Surfin' USSR (Ipecac, 2008)are fantastic trips through serious playing of music most absurd, but can't capture the full spirit of Farmers Market live. Fortunately there will be a second chance to catch the group on the following day, as Carstensen and the group will, no doubt, deliver more madness and mayhem, in the most fun way possible, taking Molde Jazz 2010 into the wee hours of the morning.
July 20: Javid Afsari Rad
It's a long walk from Molde's main street to the Romsdal Museum, but at Molde Jazz, it's invariably worth it. And sometimes a venue can be almost as special as the concert that takes place within. Iranian expat Javid Afsari Rad's noon hour performance on July 20, at the Romsdal Museum Chapel, was one of those unexpected opportunities to be a part of something that may have seemed relatively small at the time, but which seemed to grow in significance with every thought after the show was over, and throughout the rest of the day.
Romsdalsmuseet Kapellet (Romsdal Museum Chapel)
The chapel is an old wooden structure with a door so low that even short people had to duck to enter, and with just the barest hint of electricity in the single small light that shone on Rad, who played the santur, a hammered dulcimer with eighteen sets of four strings. Accompanied by percussionist Kaveh Mahmoudyan, Rad sat on a plain chair in front of the pulpit of the chapel, with no PA. Other than that single light, the only other source of illumination was the lit candles spread around the small room, with five rows of divided pews and two more sets of benches at the back. Accommodating, at best, approximately 75 people, the room was full, as Rad and Mahmoudyan played material largely culled from the santurist's latest CD, Afarinesh (Jazzland, 2010), a solo album that, in some ways, compares to Laraaji's classic Days of Radiance (EG, 1980), but with a more middle eastern tonality and little of the overt sound processing that was fundamental to Laraaji's entry in ambient forefather Brian Eno's Ambient Music series.
Using two 72-stringed santursone tuned traditionally to a major key, but with the second and sixth tuned a quarter tone lower than the tempered scale; the other tuned to a minor keyRad combined virtuosity with shimmering, spacious lyricism. With Mahmoudyan's effortless supportall the more compelling for its surprising dynamic breadth within a relatively quiet range where his fingers were sometimes just rubbing his drum's skin, other times his nails merely scratching itRad's hauntingly transcendent music roamed from the minimalism-centric "Axis of Love" to "Flames," a minor-keyed tune that, in its deceptive simplicity, referenced some of classical maverick Erik Satie's more melancholic music.
Javid Afsari Rad
Rad is involved in many projects, and after the performance discussed some of them outside the chapel, where a day of almost constant rain threatened to spoil (but never succeeded) the second day of Molde Jazz, and certainly impacted attendance at saxophone giant Sonny Rollins' performance later in the day. Rad spoke, with enthusiasm, about more ambitious endeavors ranging from percussion groups like the Zarbang Ensemble to commissioned works for the Norwegian Broadcasting Orchestra., "But sometimes solo is good," he said humbly. Sometimes duo is good, too, and while Rad took plenty of solo spaceand gave Mahmoudyan an opportunity or two as wellit was the interplay between the two that created some of the performance's most mesmerizing moments. Rad's show will no doubt go down as one of the festival's sleeper hits; a small, unassuming but thoroughly memorable gem of a show that will keep those lucky enough to be in attendance talking about it long after Molde Jazz 2010 is over.
July 20: Magic Pocket & Trondheim Jazz Orchestra
While Intro Jazz: Årets Unge Jazzmusikere 2010, which began two weeks previous at the 2010 Kongsberg Jazz Festival, wraps up at Molde with a winning group that will win several hundred thousand Norwegian Kroners towards furthering its career, a separate competition at Molde Jazz selected Magic Pocket as its winner in 2009. One of the stipulations of the win was a performance at the festival the following year, and so the group collaborated with the renowned Trondheim Jazz Orchestra for a commissioned show that demonstrated just how successful support for arts education is in Norway.
Magic Pocket & The Trondheim Jazz Orchestra
While Magic Pocket is relatively new, many of its members already have busy careers. Trombonist Erik Johannesen is the most senior member of the group; a member of fellow trombonist Helge Sunde's Ensemble Denada, whose 2009 date at Enjoy Jazz in Mannheim was an early favorite. He's also a busy member of Jaga Jazzist, whose One-Armed Bandit (Ninja Tune, 2010) is already a near-certain pick for one of the year's best, and whose show, a couple weeks back, at the 2010 Kongsberg Jazz Festival will go down as one of its most exhilarating. Tubaist Daniel Herskedal has just released his first album as a leader, City Stories, while trumpeter Hayden Powell, in addition to his own quartet, is a member of hip-hop group Brother K, as well as the Trondheim Jazz Orchestra that was recruited to augment Magic Pocket for its Molde performance. Drummer Erik Nylander is a busy sideman with violinist Ola Kvernberg, whose Folk (Jazzland, 2009) was an unexpectedand most pleasantsurprise, as well as working in Tore Brunborg's saxophone trio with bassist Ole Morten Vågan, last heard on Lucid Grey (DRAVLE, 2009).
Percussionist Terje Isungset with Magic Pocket & The Trondheim Jazz Orchestra
Trondheim Jazz Orchestra consists of a revolving door of musicians, most of whom have studied at the famed conservatory where significant artists including Arve Henriksen and Hakon Kornstad studied. For Magic Pocket's performance, ten more musicians were recruited, including Ensemble Denada saxophonist Nils Jansen, who brought out his bass saxophone in addition to the more manageably-sized alto. A younger member of the Orchestra, but one whose career is on the ascendancy with the duo Albatrosh and its debut, Seagull Island (Inner Ear, 2009), was tenor saxophonist André Roligheten, while Swedish drummer Jon Fält and Norwegian percussionist Terje Isungset fleshed out a group that could have been top-heavy on the rhythm side but, with Isungset often creating unique textures with his oddly configured kit and collection of stones, was as light as the music required, and as propulsive as the charts demanded.
There was also representation from post-bop group Zanussi Five in the form of saxophonist Eirik Hegdal, who made Z5's performance at Kongsberg's Silver City Sounds junket all the more successful. Fleshed out by younger artists including the especially notable Hanne Rekdal, whose diminutive stature was made all the more so by her choice of instruments (bass flute, bassoon), which were almost as tall as she was. And no Norwegian large ensemble would be complete without some electronics representation, with Anita Kaasbøll's voice augmented with live electronics, and Atle Selnes Nielsen's onstage mad scientist's rig only augmented further by an odd sculpture in the middle of the hall at Kulturhuset that, partway through the performance, came to life and began to project sounds from speakers located at its base.
With the resurgence of large ensembles in North America, it's important to note that they never actually went awaynot, at least, in Norway, where its brass band tradition has created a popular appreciation for bigger configurations, despite the same logistical challenges of touring them. Coupled with the creativity stemming from a commitment to not just instrumental excellence, but musical innovation, it's no surprise that Magic Pocket did, indeed, use Trondheim Jazz Orchestra as an orchestra, and not any kind of conventional big band. The music ranged from amorphous color to fervent pulse, with the bevy of horns played by everyoneincluding, at times, two tubas and a strange instrument that looked like a trombone on top, but had a large series of valves running perpendicular to it. Shades of contemporary classical music, Norwegian tradition and hints of swing were perpetuated throughout the show, which received enthusiastic applause and hollers of approval from an audience that may have been stacked with families and friends to be sure, but was populated by regular attendees as well. Everyone gave the group not just a seemingly endless round of applause at the end, but a standing ovation as wella rarity in Norway, as opposed to North America, where it's become de rigueur.
The show was being recorded by engineer Jan Erik Kongshaug of Rainbow Studio in Oslo, and there will be a release of the project within a few months on Trondheim Jazz Orchestra's own imprint, MNJ Records. With writing this good, and a performance that combined the serious with the absurdmost notably in the shape of drummer Fält, who seems to bring a mischievous energy to every project he touchesthe recording cannot be released soon enough.
July 20: Burton/Andersen/Smith/Riel
Amongst the characteristics that differentiate so many of the Norwegian festivals is the creation of unique, one-time groupings. In Kongsberg, a couple weeks back, it was the collaboration of poet Jan Erik Vold with guitarist Bill Frisell and bassist Arild Andersen. The Norwegian bassist was back at Molde on its second day, but this time in a more straight-ahead group with vibraphone master Gary Burton, Scottish saxophonist Tommy Smith, and Danish drummer Alex Riel. The four have met and played in various permutations and combinations before but, as Burton explained at the start of the show, never together in one group. Trading music in the time leading up to the show, but with only one rehearsal under its belt, the arrangements were generally simple, but the playing stellar.
And it was a blowing session from start to finish, as the group wound its way through a number of standards, ranging from pianist Oscar Peterson's "Wheat Land," an easygoing but nevertheless energetic opener that set the bar for the rest of the performance, to the set-closer, Carla Bley's fiery "Syndrome," a tune that Burton has covered repeatedly (along with other Bley compositions), as recently as on Quartet Live (Concord, 2009), his most recent reunion with guitarist Pat Metheny. Smith and Andersen contributed the most unusual material to the set: Andersen a lovely version of the Brazilian-influenced "Backé," first heard on If You Look Far Enough (ECM, 1992); Smith, an adaptation of a Yemenite traditional song that translates as "Tomorrow, Tomorrow." Smithwho brought levity to the set with his introductions-including a quick lesson in dialectic pronunciation of the phrase "how now, brown cow" that had the audience in stitchesalso contributed an arrangement of a traditional Irish tune that began with Andersen creating sweeping loops of arco bass.
Gary Burton
Andersen's sound has always been big, but at this particular performance it was huge, and he demonstrated no shortage of virtuosity on his own "Commander Schmuck's Earflap Hat," first heard on his classic A Molde Concert (ECM, 1982), with Frisell, pianist John Taylor and drummer Alphonse Mouzon. Smithwho has become the figurehead for jazz advocacy in Scotland with his Scottish National Jazz Orchestra, describing its players, in conversation after the performance, as more than just kids in a big band, but sophisticated soloists in their own righthas come a long way since his Berklee days in Boston during the mid-1980s, where he first emerged as a kind of stylistic blend of Jan Garbarek and Michael Brecker. Those influences remain, of course, but proved more completely subsumed in a style that favored substance over style; where when he did take off with more rapid-fire lines rather than thoughtful melodism, it felt absolutely in context rather than being an unnecessary display of Smith's undeniable technical acumen.
Riel, a legendary drummer who worked with Dexter Gordon when the saxophonist relocated to Copenhagen in the 1960s, was the perfect confluence of power and delicacy; his light cymbal work and gentle brushes especially noteworthy on Keith Jarrett's balladic "Coral," another Burton choice that the vibraphonist has covered many times over the years. The entire group delivered in a set that was enthusiastically received by the capacity crowd at Bjørnsenhuset, but the most immediate chemistry was between Andersen and Smith, who have been working in a trio with drummer Paolo Vinaccia for the past several years, most recently heard on the outstanding ECM disc, Live at Belleville (2008) but in desperate need of a follow-up.
From left: Tommy Smith, Alex Riel, Gary Burton, Arild Andersen
Burton delivered solo-after-solo of characteristic perfection, with the kind of stunning four-mallet work that continues to inspire younger vibraphonists, and a harmonic voice that has, over the years, honed to absolute distinction and instantaneous recognition. It was a set that may not have rattled any cages in terms of innovation or forward-thinking music, but with four players this strongwhose shared history and relaxed friendship was in evidence throughout the set and afterwards in the dressing roomthe playing was absolutely more than enough.
Coming Up: Molde Part 2, including a new project from Ketil Bjornstad, Nils Petter Molvaer Trio, Ola Kvernberg's Liarbird, featuring Joshua Redman, and a late night show from Puma.
Visit Nils Petter Molvær, In the Country, Farmers Market, Javid Afsari Rad, Magic Pocket, Trondheim Jazz Orchestra, Gary Burton, Arild Andersen, Tommy Smith, Alex Riel and Molde Jazz on the web.
Photo Credits
All Photos: John Kelman
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7


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Good lunch for a good price. Orange Chicken and kung pao chicken was very good. Would recommend and go again.
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HP LaserJet Pro 200 Colour M276nw Multifunction Printer
HP LaserJet Pro 200 Colour M276nw Multifunction Printer
Product Information
Print professional marketing materials and two-sided documents for your business on an Ethernet or wireless network, allowing you to locate the HP LaserJet Pro MFP anywhere in your office. You can even print wirelessly from your iPhone or iPad using Apple AirPrint.
Easy to use, the 8.9 cm (3.5 in.) touchscreen lets you navigate options and manage the device. Smart Instant-on Technology helps minimise your environmental impact, reducing energy use and saving time.
- 8.9 cm (3.5 in.) touchscreen for easy navigation and management of the device
- Wireless connectivity and HP Wireless Direct
- HP ePrint and Apple AirPrint to wirelessly print from your iPhone or iPad
- Print on wireless of Ethernet networks
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- Automatic document feeder input support
Did you notice?HP's Instant-on technology saves both time and energy in the office.
Apple Recommends ForReliably and wirelessly printing, copying, faxing and creating professional two-sided colour documents for your business.
What's in the Box?
- HP LaserJet Pro 200 Colour M276nw Multifunction Printer
- Preinstalled introductory HP Black, Cyan, Magenta, Yellow Color LaserJet Toner Cartridges
- ADF input support
- In-box documentation (Hardware installation guide)
- Software drivers and documentation on CD-ROMs
- Power cord
- Phone cord
- USB cable
- Support flyer
Tech Specs
- Display Size: 8.9 cm./3.5 in.
- Connections: AirPrint , Ethernet, USB 2.0
- Other Functions: Copy, Fax, Scanner
- Height: 414 mm/16.3 in.
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- Depth: 475 mm/18.7 in.
- Weight: 23.6 kg
- Length: 21 in./53.4 cm
- Black print speed: Up to 14 ppm
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- Color resolution: 600 x 600 dpi
- Trays: 2
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- Other Paper Handling Features: Automatic Document Feeder, Duplex Printing
- Printer Ink Tanks: 4 (1 each black, cyan, magenta, yellow)
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- OS X 10.5 or later
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Manufacturer Information
Part Number
- Mfr. Part Number: CF145A #B19
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- Note: Products sold through this website that do not bear the Apple Brand name are serviced and supported exclusively by their manufacturers in accordance with terms and conditions packaged with the products. Apple's Limited Warranty does not apply to products that are not Apple-branded, even if packaged or sold with Apple products. Please contact the manufacturer directly for technical support and customer service. The documentation and packaging for this product is in English.
Ratings & Reviews
Questions & Answers
Answers from the community
Is this printer supported in 10.9?
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Does it support windows 8?
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You can use this on Windows 8 with the PCL6 drivers on the HP website
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Does this printer do automatic double sided printing? If not, does any laser printer do so??
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Can you print by cable as well as wireless
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Does this scan more than one page at a time via the feeder?
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yes it does and its quite fast
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Will the scan and fax capabilities work over wifi on a MacBook Pro?
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Yes - As long as you have an application that supports scanning through wifi. HP bundles the softwar Yes - As long as you have an application that supports scanning through wifi. HP bundles the software for free. …
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Ownership Categories
Single Accounts
A single account is a deposit owned by one person. This ownership category includes:
If an account title identifies only one owner, but another person has the right to withdraw funds from the account (e.g. as Power of Attorney, or custodian), the FDIC will insure the account as a single ownership account.
The FDIC adds together all single accounts owned by the same person at the same bank and insures the total up to $250,000.
If an account is owned by one person, and the owner has designated one or more beneficiaries who will receive the deposit when the account owner dies, the account would be insured as a revocable trust account.
Marci Jones has four single accounts at the same insured bank, including
one account in the name of her business, which is a sole proprietorship.
The FDIC insures deposits owned by a sole proprietorship as the single
account of the business owner. The FDIC combines the four accounts, which
equal $260,000, and insures the total balance up to $250,000, leaving
$10,000 uninsured.


text:
Eric Klinenberg is a professor of sociology at New York University and the editor of the journal Public Culture. His first book, Heat Wave, won several scholarly and literary prizes and was declared a "Favorite Book" by the Chicago Tribune. His research has been heralded in The New Yorker and on CNN and NPR, and his stories have appeared in The New York Times Magazine, Rolling Stone, and on This American Life.
Copyright © Penguin Group USA


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Are You Driven to Do Great Work?
Penske is the place for you.
Experience Life at Penske
Strive for Excellence
Sharpen your skills and relish the challenge. The work we do plays a critical role driving commerce worldwide. Curious? Search careers above.
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We offer learning opportunities such as professional, sales and management training programs and work with world-class clients across industries. That's why our employees are able to take unique routes to success at Penske. Explore career paths.
Find Community
At work and beyond, we share an enthusiasm for teamwork and diversity. If you're a self-starter who loves a challenge, you might just be a fit for our company culture.
Important Information
We participate in E-Verify. See details. (PDF) En Español. (PDF)
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Minority Male Leadership Association
About Us
In the winter of 2013, several minority men gathered on campus to share a vision to create an organization for (undergraduates, graduates, and faculty/staff) that would foster mentorship and success among minority men in the Rochester community.
The Minority Male Leadership Association (MMLA) is proud to be a new affinity group at the University of Rochester. Our mission, "We, the Minority Male Leadership Association, are dedicated to exploring the characteristics of successful minority male leaders. We will build a community of young driven minority men focused on success by providing mentorship and promoting excellence." One of our primary goals is to connect with the Rochester community as a whole to help improve the plight of young minority men, who are graduating from the Rochester City School District at only 9%. [http://www.blackboysreport.org/urgency-of-now.pdf]
We seek to meet such a need by creating quality programming targeted for young driven minority men in the Rochester community.
On April 21st, 2013, we hosted our 1st Annual Conference: Minority Male Success Symposium. Who participated in the symposium? 35 high school students, 40 college students, and 35 graduate students, faculty and staff volunteers were confirmed for attendance.
--Click here to read and listen to the YNN coverage of the event.
--Click here to read the Minority Reporter coverage of the event.
This is an exciting time for MMLA as we are generating substantial support across the city of Rochester. There is a need for mentors to fill our ranks to help support at the undergrad and high school level. If you are interested in being a mentor, please click on the membership page to inquire. As strong men of our community, please remember that "as iron sharpens iron, so does one man sharpen another."


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Customer Service
Welcome to the EastonCycling.com Customer Service Center. You can navigate the links below to find information on our current shopping policies including returns/exchanges, warranties, shipping and more. You can also find answers to the most commonly asked questions about shopping on our site. Our goal is to make shopping at EastonCycling.com easy and convenient.
Customer Service Info
Before contacting our Customer Service Department, please browse the links below to see if we can answer your questions here first. For all other inquiries, our Customer Service Department is available to help you.
For site or ordering issues please call (800) 217 9434 . Hours of operation (9am – 7pm EST Mon – Fri / 6am – 4pm PST Mon – Fri)
For Warranty related questions, please call:
Hours of operation; 9am – 6pm EST Mon – Fri / 6am – 3pm PST Mon – Fri
EU or Rest of the World: +353+69+9930
Hours of operation; 8:30am – 5pm EST Mon – Fri
For Members of the EU and the Rest of the World:
We recommend that you first contact the Easton Distributor in your country with your inquiry.
Warranty Inquires: email@example.com
Wheel Service: firstname.lastname@example.com
Note: Easton Cycling does not currently accept product orders via phone. If you are having difficulties ordering, one of our representatives can assist you with placing an order through our web site…
Wheel FAQs
1. What brake pads do you recommend for your carbon rims?
We recommend the use of Swiss Stop's Yellow King compound for predictable braking in all conditions. Brake pads are included with all current carbon wheels. We do not recommend the use of any other pad, and are not responsible for the performance of other manufacturers.
2. Can I use the Swiss Stop Yellow King pads on both my carbon and my aluminum wheels?
While the manufacturer and many bike reviews have supported the use of this brake pad on both carbon and aluminum rims we find that the Yellow King pads have significantly decreased performance when used on an alloy brake track. In addition, small aluminum shards imbedded in the pad from use on alloy brake tracks can cause damage to the carbon. For optimum braking performance, use the appropriate material brake pad for each type of braking surface.
3. Where can I find rider weight limits for your wheels?
None of our current (2008 and newer) wheels have rider weight limits.
4. Where can I obtain replacement spokes and other parts?
Straight pull spokes are widely available through bicycle parts distributors. Replacement spokes, rims, and hub parts are available directly from our Customer Service 877-835-6629.
5. What kind of solvent can I use to clean the leftover glue off of my carbon wheels?
Naphtha and acetone will both work, be careful with the acetone as it could affect the graphics.
6. Does Easton offer a PowerTap hub option?
At this time, Easton wheels are not available with a PowerTap hub. We do offer many current rims so you or your local wheelbuilder can create a wheel with a PowerTap hub. Our Service Center cannot assemble these wheels, and Easton cannot offer a warranty on these builds.
7. Are your rims available separately so I can build my own wheels or repair my wheel?
Yes, 2008 and newer rims and other small parts are available directly from our wheel service center at 877-835-6629.
Haven and EC90 carbon clincher rims are not offered separately. Rims for use with Twin Threaded(T3) hubs are also not available aftermarket. These wheels must be returned to our Service Center for repair or replacement.
8. Can current rims be built to a Twin Thread(T3) hub?
While many of our current Gen4 rims may seem equivalent, we do not recommend interchanging the two. Each rim is built to work as a part of a system, and the hub/spoke interface has a significant effect on the rim design. We cannot guarantee the stability of a rim originally designed to be used with a straight pull spoke when built using a T3 hub. It is best to return a T3 hub or wheel to our Service Center for any extensive repairs. Please call our call our Customer Service(877-835-6629) for pricing or a Return Authorization(RA) number.
9. What is the warranty on Easton Wheels and what does it cover?
The warranty covers defects in materials and workmanship for a period of two years. Crash damage and normal wear are not covered under the warranty. Please see our Wheel Warranty link for complete information.
10. Does the warranty apply to wheels purchased on eBay or other internet sites which are not Easton retailers?
No, Easton will only warranty wheels purchased from an approved retailer, a list of approved retailers can be found under the "Store Search" section of www.eastoncycling.com. Proof of purchase must be included for a wheel to be considered for warranty repair.
Certain authorized retailers do sell our products online, or through online auction sites, when in accordance with our regulations. In order for the warranty to apply, an itemized receipt from that dealer must be included with the proof of payment(e.g. PayPal or credit card statement). A PayPal or credit card statement does not constitute proof of purchase.
If you are not sure if the dealer is an Authorize Easton dealer, please contact the dealer and request a physical address and account name. Whether this is an authorized Easton dealer can be verified through our customer service at 877-835-6629. If the seller cannot provide this, and does not provide a receipt detailing this information, then our warranty policy does not apply to this sale.
11. Does Easton offer additional warranty coverage for crashes?
While other manufacturers provide 'extended warraties', Easton has found several drawbacks to this system. First, you may never need the coverage, and cannot recoup your investment once the extended period is over. Second, since these programs must be initiated at time of purchase, this is only available to the original owner and requires a snap decision. Finally, even an extended warranty may not cover the long life of your wheels(certainly not an Easton wheel!)
However, we understand that crashes do happen, and that this should not require replacing the entire wheel. To accommodate for these cases, Easton offers a "Rim Package" for all wheels. In the case of a crash(or any damage to the rim), you may return the wheel to our Wheel Service Center to have the rim replaced at a discounted price. The cost includes a new rim, nipples, and a professional build by our Easton wheel technicians. A new rim will carry a new serial number, thus renewing the rim's 2-year warranty. Additionally, every wheel receives a 32 point inspection, so additional repairs can be recommended and completed during the service.*
Any Easton wheel is eligible for this program, for as long as you own it. No up-front cost, no time limit, and no receipt necessary.
Please call our Customer Service(877-835-6629) for questions, pricing, or a Return Authorization.
*Any cost for additional parts and repair is charged separately from Rim Package.
12. What does a preload adjuster do and how do I adjust it properly?
The R4, R4SL, XC One, and other hubs have bearing preload adjusters which allow the user to adjust the hubs as the bearings wear. This prolongs bearing life and decreases drag in the hub. Bearing preload should be adjusted with the quick release skewer tight, loosen the adjuster until you can feel play and then turn it to the plus side (clockwise) until the play is gone. If the adjuster is too tight, drag will be created, and the bearing will feel rough. This adjustment will need to be made every 800 – 1000 miles.
13. What should I do if my preload adjuster is coming loose frequently?
If you find that your preload adjuster will not stay in place, simple solutions may be available. Certain hubs have an alternative adjuster which uses a 19mm cone wrench rather than fingers to adjust. This can be provided at no charge, and is simple to install. Please note that it will not thread on easily, requiring more force to adjust fully. Once adjusted, however, it will be harder to come out of tune. Please call our Customer Service(877-835-6629) to arrange this replacement.
14. I have wheels without hybrid-ceramic bearings. Can I get the ceramic bearings installed?
Yes, grade 3 hybrid-ceramic bearings are available from our Service Center for most of our current wheels, as well as certain legacy hubs. Another option is to replace the four hub bearings and replace the cassette body with one of our new lightweight R4SL cassette bodies which has hybrid-ceramic bearings preinstalled.
Bearing installation is best done with a special tool called a drift. This will allow you to press bearings in straight and evenly using the quick release as press, and the axle as a guide. Instructions for their use can be seen through our Wheel Service link. Please call our Customer Service for more information.
15. Which cassette bodies fit which cassettes?
Please see our cassette body compatibility chart.
16. Which cassettes are compatible with Easton's Shimano wheels?
50 and 70 series Shimano wheels are compatible with Shimano 8, 9, and 10-speed cassettes. 90 series wheels listed as "Shimano" are only compatible with Shimano 10-speed cassettes* when used as originally equipped. These cassette bodies utilize the HyperGlide-Deep serration pattern of Shimano 10-speed cassettes, which allows for a taller spline, thus reducing notching of the aluminum cassette body. 2011 rear wheels are available as SRAM compatible. These wheels are compatible with Shimano 8, 9, & 10 speed, as well as all SRAM cassettes. Replacement cassette bodies are also available to convert any R4/R4SL Shimano 10 speed specific wheel to SRAM(or Campy). Mountain wheels are compatible with all Shimano cassettes. Please speak with your local dealer, or call our Customer Service(877-835-6629) for further information.
*Shimano Junior 10-speed cassettes do not feature a Hyperglide-Deep serration pattern, and must be used with a 9-speed/SRAM compatible cassette body.
**R4SL red cassette bodies are only compatible with Dura Ace 7800/7900. Any R4SL hub equipped with a blue cassette body is compatible with all Shimano 10-speed cassettes.
17. Are Easton wheels compatible with SRAM cassettes?
50 and 70 series Shimano wheels are compatible with SRAM 8, 9, and 10 speed cassettes. 90 series wheels listed as "Shimano" are compatible only with Shimano 10 speed cassettes when used as originally equipped. These cassette bodies utilize the HyperGlide-Deep serration pattern on Shimano 10 speed cassettes, which allows for a taller spline, thus reducing notching of the aluminum cassette body. SRAM cassettes do not use this serration pattern, and therefore will not fit onto this cassette body. For 2011, rear wheels are available as SRAM compatible. These wheels are compatible with Shimano 8, 9, &10 speed, as well as all SRAM cassettes. Replacement cassette bodies are also available to allow use of SRAM cassettes on any 90 series wheel originally specified for Shimano 10 speed only. Mountain wheels are compatible with all SRAM cassettes. Please speak with your local dealer, or call our Customer Service(877-835-6629) for further information.
18. Are Easton wheels compatible with Campagnolo drive trains?
Most road wheels are compatible with Campagnolo drivetrains. Only EA and EC 90 wheels, which use Easton's R4 and R4SL hubs, are compatible with Campagnolo 11 speed cassettes. 50 and 70 series wheels are only compatible with Campagnolo 9 and 10 speed drivetrains, and cannot be used with 11 speed drivetrains.
You must specify at the time of purchase whether you need a Shimano or Campagnolo cassette body.
However, if you or a dealer has a Shimano wheelset, it may be possible to do a 'cassette body swap' to make the wheel compatible. Please speak to the dealer, or contact our Customer Service for details.
Some, but not all, Velomax hubs can be retrofitted with a Campagnolo cassette body. Please call our Customer Service(877-835-6629) for information regarding compatibility.
19. What should I do if my cassette body is not compatible with my cassette?
The quickest resolution is to ask the dealer if they have the correct cassette body in stock. If not, the replacement cassette body may be ordered either through the retailer, or directly through our Customer Service at 877-835-6629. Swapping cassette bodies is fairly simple, and requires minimal tools. You can refer to our Wheel Service page for information on dis-assembly of the hub, or consult with a Customer Service representative on this process.
20. Is truing and replacing spokes on Easton wheels similar to other wheels?
In the case of Easton and Velomax front wheels, the process of truing and replacing spokes is similar to other low spoke-count wheels. The same is true of the non-drive side spokes of the rear wheel. However, our drive-side rear spokes require additional consideration.
When an Easton rear wheel is hand-built, the drive side spokes are brought to the highest tension possible with a spoke wrench. Then, the builder will use the non-drive side spokes to bring the wheel into dish and true. The result is a drive-side spoke tension higher than can be achieved by turning a nipple. This affects maintenance in two significant ways.
While truing the rear wheel, the drive-side nipples should not be used. Because of the higher tension, the nipples will likely be stripped if they are tightened. In addition, the uniformity of the drive-side spoke tension is essential to the wheel's long term stability.
If a drive-side spoke is broken, simply re-lacing the spoke will not create the necessary tension to match its surrounding spokes. This imbalance can cause repeated spoke breakage, as the other spokes strain to compensate. To avoid this, the non-drive side spokes must be completely de-tensioned before replacing the drive-side spoke. Once the replacement spoke has been brought to an even tension with the other drive-side spokes, the wheel can be brought back to into true and dish using the non-drive spokes. This process will ensure proper tension, maximize strength, and utilize the original design of the wheel.
If you are not comfortable with this repair, you may send the wheel to our Service Center for repair. Please call Customer Service(877-835-6629) for information or to obtain a Return Authorization(RA).
21. Where can I find Easton Wheel Systems?
Please see our Store Search link to find your nearest local dealer. Easton components are also sold through certain authorized online retailers.
22. What happens if the spoke shears of at the hub on Velomax twin threaded hubs (pre 2008)?
If you remove the end caps, you'll notice that the spokes thread all the way through the hub and exit on the inside of the hub shell. Depending on the hub, it may be necessary to remove the bearing to expose the spoke ends. In the event that you break a spoke off flush with the hub, it can still be extracted from the inside. Please see these instructions for tips on removal and installation of TwinThreaded(T3) spokes.
23. What's the difference between black spokes and silver spokes?
Nothing, except for color. Black spokes are made by applying a black oxide coating (not anodizing) to the spoke. It's a topical coating for cosmetic purpose only, and does nothing for the function or strength of the spoke.
24. Can I use brakes on the EC 90 TKO's?
No, this will destroy the graphics.
25. Do Easton Wheels come with Quick Releases?
All Easton Wheels come with quick releases. Note that the EA50 and EA50SLs do not come with rim strips. EA50 AEROs do include rim strips.
26. How True are Easton Wheels?
Easton wheels are extremely true. We routinely see lateral and radial trueness to within 4/1000 of an inch. But initial trueness is not the most critical factor. In order for the wheels to remain true, even spoke tension is what really matters. That's where we excel. We think it's more important to sacrifice a few thousandths of an inch of initial trueness to maintain even spoke tension. That few thousandths of an inch may be visible to the experienced eye, however on the road it's insignificant. Even spoke tension, on the other hand, is extremely significant, and that's what is going to keep your wheel true.
27. With reduced spoke counts, are Easton wheels stiff enough?
The stiffness of any wheel depends primarily on the stiffness of the rim and stiffness and number of spokes. For a stiffer wheel, you need either a stiffer rim, or stiffer spokes, or both. For spokes that means either steel rather than titanium, thicker gauge rather than thinner, and more rather than less number of spokes. Unfortunately, all of these choices have tradeoffs: mostly increases in weight, and in the case of thicker or more spokes, poorer aerodynamics. The trick remains to find the optimum balance.
Fortunately, most bikes are not very sensitive to wheel stiffness. Rarely is it a problem for good performance. About the only disqualifying condition for flexible wheels is if it bothers a particular rider. In some cases flexible wheels can be the "last straw" on bikes that are already built with flexible parts (fork, stem, crank, bb, etc.). Additionally, as it relates to handling, uniform flex characteristics are more important than overall stiffness. Non-linear flex can be at best, quite disconcerting, and at worst, overtly dangerous.
At any rate, yes, Easton wheels are stiff enough; in fact they are stiffer than many other wheels, including some rigid spoke composites. Easton's design has uniform flex characteristics as well.
28. Why are the nipples on some rear wheels different colors?
The rear wheel features brass nipples on the drive side and alloy nipples on the non-drive side. Alloy nipples are lighter than brass, so we use alloy everywhere we prudently believe them to work best. We use brass nipples on the drive side of the rear wheel because skill levels of mechanics vary. When high tension is involved, it's generally easier to true a wheel that is built with brass nipples. The spokes with the highest tension are on the drive side of the rear wheel (due to dish offset for cog clearance), so it makes sense to sacrifice a little weight for long term serviceability.
29. Who can I contact for further information?
Please call the service center at 877-835-6629 or email email@example.com.


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Press Room
Turkish Airlines, the best in Europe in last three years
Turkish Airlines has been chosen "Best Airline in Europe", "Best Airline in Southern Europe" and awarded "Best Business Class Catering" in 2013 Skytrax World Airline Awards
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Turkish Airlines launches a Premium Partnership with Germany's Borussia Dortmund
Turkish Airlines is proud to announce an agreement with Borussia Dortmund, champion in both the 2010 and 2011 seasons of the the German football Bundesliga, Germany's top league.
On May 2nd 2013, Turkish Airlines and Borussia Dortmund (BVB) will meet to sign a 3-year agreement. It represents a strong commitment for both sides and will involve numerous joint activities and programs. Most importantly, Turkish Airlines will be the airline of choice for all BVB international flights. Turkish Airlines serves twelve German cities with roughly 250 flights a week. Then, from its hub in Istanbul, the airline offers connections that allow the team to travel across the world
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