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Availability: Bains Lodge
Basic Room, 1 Double Bed (Bains1)Max Occupancy: 2 guests (up to 1 infant)
Block B Double Room Second FloorMax Occupancy: 2 guests (up to 1 child, 1 infant)
Block B Double Room Third FloorMax Occupancy: 2 guests (up to 1 child, 1 infant)
Block B Double Room First FloorMax Occupancy: 2 guests (up to 1 child, 1 infant)
Suite, 1 King BedMax Occupancy: 2 guests (up to 1 child, 1 infant)
Bloemfontein hotel with 2 restaurants
Situated in a rural location, this hotel is close to University of the Free State. Area attractions also include Goodyear Park and Oliewne Art Gallery.
Hotel Features
In addition to 2 restaurants, Bains Lodge features an outdoor pool. Other amenities include a conference center and laundry facilities.
Room Amenities
Televisions come with satellite channels. Guestrooms also feature wireless Internet access (surcharge), air conditioning, and coffee/tea makers.Information missing or incorrect? Tell us!
Bains Lodge Amenities
- General
Dining is available at one of the hotel's 2 restaurants. Guests can enjoy a complimentary breakfast each morning. Wired high-speed Internet access is available for a surcharge. 5 meeting rooms are available. For a surcharge, a roundtrip airport shuttle (available on request) is offered to guests. This Bloemfontein hotel also offers an outdoor pool, a garden, and a picnic area. Complimentary self parking is available on site.
- Wired (high-speed) Internet access - surcharge
- Conference center
- Room service (limited hours)
- Outdoor pool
- Total number of rooms - 105
- Number of floors - 3
- Airport transportation (surcharge)
- Free breakfast
- Laundry facilities
- Garden
- Picnic area
- Number of restaurants - 2
- Number of meeting rooms - 5
- Free self parking
- Number of buildings/towers - 3
- Internet
Available in all rooms: Wireless Internet access (surcharge)
Available in some public areas: Wired (high-speed) Internet access - surcharge
- Parking
Free self parking
- Room Amenities
- Satellite TV service
- Wireless Internet access (surcharge)
- Coffee/tea maker
- Daily housekeeping
- Private bathroom
- Television
- Balcony
- Air conditioning
- Hair dryer
- Bathtub or shower
- Desk
- Dining
A complimentary continental breakfast is served each morning between 7 AM and 9 AM.
Bains Lodge has 2 restaurants on site.
Room service (during limited hours) is available.
- Accessibility
To make requests for specific accessibility needs, complete the "Special or Accessibility Requests" section of "Trip Preferences" when you book your hotel.
- Accessible parking
- In-room accessibility
Bains Lodge Policies & Fees
- Check-in
Check-in time starts at 2 PM
- Check-out
Check-out time is 10:30 AM
- Payment types
Accepted at this hotel: American Express, MasterCard, Visa
- General
Extra-person charges may apply and vary depending on hotel policy.
Government-issued photo identification and a credit card or cash deposit are required at check-in for incidental charges.
Special requests are subject to availability upon check-in and may incur additional charges. Special requests cannot be guaranteed.
- Fees
- The following fees and deposits are charged by the property at time of service, check-in, or check-out.
The above list may not be comprehensive. Fees and deposits may not include tax and are subject to change.
- Breakfast fee: ZAR 89 per person (approximately)
- Additional Details
This property offers transfers from the airport (surcharges may apply). Guests must contact the property with arrival details 72 hours prior to arrival, using the contact information on the booking confirmation. No pets and no service animals are allowed at this property.


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One School, Two Campuses
Students can choose to attend Penn State's Dickinson School of Law at either the University Park or the Carlisle campus. Both campuses offer an identical first-year curriculum taught entirely in person by several of the faculty's top classroom teachers and scholars. During the second and third years, students may elect to change campuses in order to access a class, clinic, or joint degree opportunity available only at one campus or the other, or students may remain at their initial campus throughout their three years and access rich upper-level curriculum and clinics through the variety of entirely in-person classes and clinics and remote-access audiovisual (AV) classes offered at each location.
Both campuses offer a wide-range of clinical, externship, and joint-degree opportunities. The campuses have new LEED-certified buildings with state-of-the-art classrooms, courtrooms, and libraries. They are connected to each other and the world via the most advanced, high definition, digital audiovisual telecommunications systems available.
Admissions standards are the same at both locations
Students are admitted to Penn State Law regardless of campus choice and admissions standards are identical for both campuses. A law diploma from Penn State Law reads: Pennsylvania State University, The Dickinson School of Law; no location is specified on a diploma. The faculty, staff, and student body operate on a unified basis.

subset: commoncrawl


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Well, the 'Spill appears to hate me at the moment, as it refuses to let me post any comments (unless it's just protecting me from the consequences of getting pointlessly worked up about stuff that doesn't actually matter – you all know the genius of xkcd, right?) – so let's see if it will allow me to create a post. This is just a brief report from my latest set of travels, which this week have brought me to Chicago; I've had to spend a lot of my time in conference sessions, but my dedication to academic debate has been sorely tested by the fact that this weekend is the Chicago Jazz Festival – completely free, decent beer from Goose Island, all in the lovely setting of Millennium Park. Two big tents, and the amazing Gehry building that is the Jay Pritzker Pavilion, seen above, for the main acts. This evening I caught a fabulous set from the Robert Glasper Experiment, whose records I must seek out asap: avant-garde jazz meets electronica and hip-hop with added vocoder, and a hilarious cover of Get Lucky – cheered along by a capacity crowd of ten thousand or more. No, I must have been imagining that; everyone knows that jazz was ruined and lost all hope of popularity when it started getting all avant-garde…
Happy Birthday DarceysDad !
This is to celebrate the birthday of a most sociable recommender. It marks DsD's broad-minded but sometimes baffled engagement with the music known as Jazz, and the Scottish connection with St Andrew's Day. So, here's the astonishing Rufus Harley, playing John Coltrane's A Love Supreme, on the bagpipes. I hope others will join in the good wishes, and maybe even post something DsD will like. Happy Birthday DarceysDad !
it is not as bad as you think ! ! !
Kinky Jazz
You may have noticed that I'm mad about New Orleans! So when Ray Davies chose to include the Preservation Hall Jazz Band in his recent Meltdown festival, I was off to the South Bank. My few video snippets don't really do justice to what was a wonderful evening, in a very N'Awlins sorta way, with effortless virtuoso jazz, a 'second line' round the concert hall, and dancing on stage to the consternation of 'security'. Ray sang on a couple of numbers, including his own composition 'Complicated Life'. I've also included a great vid of the band doing this number filmed in the streets of the French Quarter.
Coming Across Criss
A few weeks ago, as her Question 31B, amylee asked for an instrumental song we love. I was thrilled at the clutch of warm responses to my choice of Sonny Criss playing I'll Catch The Sun. The idea fermented to follow this up with a post celebrating the alto saxophonist, principally to give you a few more examples of his playing. This is what I'm doing here but it occurred to me that I've been trying off and on for 23 years to tell the world about Sonny Criss and thus the influence his voice has had on mine is also something I want to consider. As a result, I'm supersizing my blogging by twinning this post with one on my own blog, contemplating the literary issues that unspool from my Sonny Criss fandom.
This is a brief and not at all comprehensive primer, courtesy of YouTube, of my favourite instrumental voice in jazz. That's an accolade that requires some clarification and contextualisation. There are, if we are to give these terms any meaning, 'greater' jazz musicians than Sonny Criss. Quite apart from anything else, Criss was one of the legion alto saxophonists who were turned onto a style of playing by Charlie Parker. There's a reason we call the likes of Criss, Sonny Stitt, Cannonball Adderley, Jackie McLean, Sahib Shibab and more post-Bird saxophonists – it's not to their detriment that they stood in the conceptual shadow of someone who, to all intents and purposes, made the music new again. You don't look to Sonny Criss for game-changing innovation. He wasn't pulling the blues inside-out: he was playing them straight, sultry, smoky and spine-tingling, as here in Black Coffee:
I bow before Mingus, Monk, Ellington, Carla Bley, Sun Ra and plenty more jazz composers before I think of Sonny Criss. But just as I can hear most songs better when they're sung by Ella, Sinatra or Sarah Vaughan, Sonny could play a song lyric to the same level of perfection of those vocalists. Here he is on Charlie Chaplin's Smile and Jimmy Webb's Up Up And Away (links via text to save screen space).
Nor did he move with the times in the manner of Miles Davis or, more recently, David Murray. Things funked up a little in the seventies but the sound that soared over the top of the groove was still that wondrously fluid, human heart-tugging voice, as here in Cool Struttin' .
Sonny Criss works for me as instantly as the voices of those I love most in the world. I'll rave about and dance to and revere and be inspired by countless others but Sonny's notes trigger a thousand awakenings in my brain and across my body. I feel encapsulated by the sense of mortality and intoxicated by the desire for joy that I hear throughout the dozens of his recordings I own. I want to line up loads more for you to enjoy but I'll leave you with just this, and embed it so it doesn't get overlooked and by way of a birthday gift to steenbeck, a captivating God Bless The Child:
THE EVOLUTION OF THE BLUES SONG by JON HENDRIX.
I was very pleasantly surprised by the enthusiastic reaction to my recent blues post here, during which there was some discussion of a follow up with female blues singers. This weekend I started scanning my female blues vinyl for suitable cuts and I came across this album, I haven't played it years, I'd forgotten that I had it but you can tell from the surface noise that it once got lots of play, I've had it for over 50 years. At the 1960 Monterey Jazz Festival Jon Hendrix put on a Sunday afternoon performance that was a history of blues music and it was directed towards a young audience, it was performed onstage as shown in the album cover, with Jon addressing a group of children who sat around him. So before we proceed with the female blues I thought this might be of interest, I'm sure it's no longer in print so possibly most of you have never heard of it. On the album cover Jon wrote about how the piece came about, here's what he wrote:
"It was Jimmy Lyon's idea that we do something extended for a Sunday afternoon at Monterey and that it be about the blues. Ever since composer George Russell had kindly invited me to write some words and speak them on his "New York, New York" album I have been waiting for the opportunity to do something within that format just talking and letting the music speak for itself, following the advice of my mentor, Professor Milton Marx, of the English department, of the University of Toledo, Ohio: "Write about what you know."
So I wrote about my people, about my great-grandmother who came from Guinea, Gold Coast, West Africa, about my father, Alexander Brooks Hendricks who ran away from the master who sold his father, mother and sister separately, came into West Virginia, married my mother, Willie "Sweet Will" Carrington, and moved to Ohio by covered wagon, where he became a minister, known as a circuit rider.
"Write about what you know." So I wrote about the music they sang all through their lives, the spirituals, which they gave freely to America and the world. I didn't stop there, because the spirituals didn't stop there, but went outside the church to become the blues, and through horns to become jazz.
"Write about what you know." So I wrote about the sun, the source of all light, heat and life in this universe, about all men on earth being the same man, all light the same light, all life the same life.
"Write about what you know." So, buried deep in this story, yet never given word, is the heartfelt lament that some who play jazz have forgotten the spirituals that gave them their music, as they have forgotten the Lord who gave our ancestors the spirituals, have become corrupted by the surroundings to which jazz has been relegated, have become arch,, worldly, spiritualless, intellectual, demoralized, material, wealthy – and lost.
"Write about what you know." I know that children are born into this earthly life with all knowledge, that the devil is an adult, that children are corrupted by adults too adult to realize that childhood is the kingdom of heaven, so I wrote my history for children, because they will understand. Above all, thank you children everywhere, and blessings on you all"
The album comprises both sides of a disc and runs about 44 mins. so I've added it in two parts.
I mentioned here recently how I enjoyed the way iTunes stacks your music so that you can search by title or artist or album; I usually keep mine organized by title and it's always a pleasant surprise when I come across the same title by multiple artists that I'd forgotten that I owned. I recently noticed this set whilst looking for something totally different, it's four versions of the same song and I was amazed by how differently each artist handled it and by the backing in each case. The song is 'Cold Cold Heart', it was written by Hank Williams in 1951 and reached number one on the country music singles charts. Over the years it's been covered many times by a variety of artists and the four that I've accumulated are; Aretha Franklin [early 60's], Norah Jones [2002], Dinah Washington [1951] and I've included the original version by Hank Williams just to show what a great cover can do. They play in the following order:
1. Aretha.
2. Norah.
3. Dinah.
4. Hank.
Obituary: Herman Leonard dies at 87; photographer chronicled mid-century jazz scene
Herman Leonard was one of the great photographers of the jazz scene in the mid-20th century. (Luis Sinco, Los Angeles Times / March 13, 2010)
Herman Leonard, a photographer best known for his iconic images of such jazz greats as Billie Holiday, Duke Ellington and Miles Davis, has died. He was 87.
Leonard died Saturday at Cedars-Sinai Medical Center in Los Angeles, a family spokeswoman said. No cause was given. He had been living in Los Angeles since Hurricane Katrina struck New Orleans in 2005, flooding his home and destroying thousands of prints.
Leonard became famous for the smoky, backlighted black-and-white photos he took in dark jazz clubs beginning in the late 1940s.
"I took advantage of being a photographer to get myself into the clubs so I could sit in front of Charlie Parker," he told The Times in March before the opening of an exhibit on jazz photography at the Fahey/Klein Gallery in Los Angeles. "I got to listen to music in person. That enriched me. The money didn't. And I tried to make images that would satisfy me."
The images did much more than that. They documented a musical era and cemented Leonard's status.
"He knows how to capture, and to make, the natural beauty, artistry and individuality of musicians shine through — shine through the paper and the chemicals and the book and the gallery and the years," John Edward Hasse, of the Smithsonian Institution's National Museum of American History, told the Morning Call in Allentown, Pa., in 1999. "He's an artist."
He was born in Allentown in 1923 and became interested in photography early on thanks to his older brother. He attended Ohio University to study photography but that was interrupted by a stint in the Army from 1943 to 1945. Leonard returned to college and graduated with a bachelor's degree in 1947.
After working as an apprentice for famed portrait photographer Yousuf Karsh, Leonard moved to New York in 1948 and started becoming immersed in the jazz scene. Using a 4-by-5 Speed Graphic camera, he shot Art Tatum, Dizzy Gillespie, Sarah Vaughan and countless other jazz greats.
Ellington watching Ella Fitzgerald sing in 1948. Dexter Gordon sitting, holding a cigarette and balancing his saxophone on a knee. There was music, amazing access and plenty of smoke.
"The smoke was part of the atmosphere of those days and dramatized the photographs a lot, maybe over-stylized them a bit," he told The Times in 1990.
He spent 1956 as a personal photographer for actor Marlon Brando on a trip to the Far East. Then he moved to Paris and did commercial work, including for Playboy magazine, and kept shooting jazz.
"Ninety-nine percent of everything I shot was off the cuff," he said in 2001. "I wanted to capture what was really there untainted by anything I would do. My whole principle was to capture the mood and atmosphere of the moment."
The negatives of his jazz photos had been put away when he left the United States; but beginning in the 1980s he rediscovered them, and his first book, "The Eye of Jazz," was published in 1985. The first exhibition of Leonard's jazz photos was held in London in 1988.
More exhibitions and praise followed.
Leonard's work showed an intimacy that "comes from a true insider whose genuine friendship with the musicians allowed him to capture moments that are personal and insightful," David Houston, chief curator of the Ogden Museum of Southern Art in New Orleans, told the Morning Call in 2005. "You could teach the personal and musical evolution of jazz in the '50s through his work."
Leonard moved to New Orleans in 1992. His home was flooded by Hurricane Katrina and he lost thousands of prints. But his 60,000 negatives were safe, having been sent before the hurricane to the Ogden Museum. His return to New Orleans was chronicled in the 2006 documentary "Saving Jazz."
"When I was photographing Miles or Dizzy in the early days, I knew these were good and important musicians, but not as important as they turned out to be," he told the Chicago Tribune in 1999. "I had no idea. If I had any inkling, I would have shot 10 times as many pictures."
Leonard is survived by children Valerie, Shana, Michael and David; and six grandchildren.
This guy was the best of the best, probably every iconic jazz image that you remember was one of his, I had the pleasure of meeting him and comparing notes and I have a signed and dedicated copy of his book.
To see a great selection of his work go to: http://www.edelmangallery.com/leonardshow05.htm
Hang on, it's an oud!
Blimpy had a post about jazzers Portico Quartet a while back, noting that they use the hang drum in their music. So I went to see them the other day, to discover that they use not one, but three! And Nick Mulvey uses drumsticks, not his hands, to play them. I share Blimpy's enthusiasm for their newish album, 'Isla'.
They were support to virtuoso oud player Anouar Brahem. Perhaps best known for his interpretation of Balkan and Roma music on 'Astrakan Cafe', this concert was based on his new line up and album, 'The astounding eyes of Rita', which nilpferd introduced us to last year. I thought their warm and unprecocious East-West style was mesmerising. Whilst Anouar is the 'master', Klaus Gesling often eclipsed him on the bass clarinet. See what you think in the clips I took…
Election Night Jazz
Aaah, elections, the roar of the ballot booth, the smell of the polling station – makes me think of one thing….Jazz!
More specifically the free taster tracks that the astounding Cuneiform Records have on their website!
First up with some post-free jazz semiconductors are The Claudia Quintet:
Next we take it sideways into the fridge with Ideal Bread and their slow-burn take on the lounge-ooompah giblets that was all the rage in '82:
And to round it all off, we get totally balkan with Univers Zero and their fantastic voyage through folicle jive:
Please visit Cuneiform Records for more, and after the jump there's a second opportunity to hear the jaw-dropping track by Zevious that stole the show in the last 'Spillcast. Continue reading
Esperanza Spalding
I'm truly not a jazz aficionado. I usually stumble on a piece of jazz I like & just enjoy. One of the nice things about RR & the 'Spill is I've been turned on to some great jazz I probably would not have encountered otherwise. Problem is I have little way of knowing what you here have listened to or discussed already but I'd like to return the favor. Esperanza Spalding is an artist I've come upon recently & it turns out she's from Portland, Oregon where my daughter lives & went to college. Great music scene there. Esperanza was a bass player in a Portland band called Noise To Pretend and now it seems is making her name. Hope you enjoy. The new site is great!
ToffeeBoy Goes Jazz!
I've been listening to quite a lot of jazz recently and as I'm feeling utterly uninspired by the carnivorous theme set for us this week, I felt that a little diversion might be in order. So here is, what I hope will be the first in a long-running series, which I'm calling, Regular 'Spillers Post Music That You Wouldn't Really Expect From Them, Knowing Their Musical Tastes A Bit As You Do*. Catchy, ain't it?
So, I will share with you just a small sample of the sort of jazz I like to listen to – I'd be interested to hear what others think – particularly non-jazz fans (although of course I want to know what you think too).
Two artists I particularly like are Dexter Gordon (who will be known to most) and Sahib Shihab who probably won't. The latter was introduced to me (no, not personally) by a friends' father who used to play drums in a jazz three-piece. I've included two tracks by each of these artists, not including my friends' dad but definitely including Dexter Gordon's Cheese Cake which is probably my all-time favourite jazz piece of all time. There's also one on the list, the discovery of which I owe entirely to Herr 'Hachi. So here goes nothing:
Another Samba – The Sahib Shihab Quintet
Soy Califa – Dexter Gordon
The Sidewinder – Lee Morgan
So What – Miles Davis
Diamonds & Pearls – Marcin Wasilewski Trio
Look For The Silver Lining – Chet Baker
Moanin' – Art Blakey
Who'll Buy My Dream – The Sahib Shihab Quintet
Cheese Cake – Dexter Gordon
* Future posts will include:
DarceysDad presents: It's A Rave!
CaroleBristol's An Hour With Coldplay
treefrogdemon and ejaydee's collaborative playlist Death Metal: A New Perspective
RockingMitch introduces: The Beatles – Fuck Yeah!
Maki Does Disco
Sampling with Zag
DaddyPig presents: The Spandex Years
Over-dramatic Pop Ballads (Like Wot They Do On X-Factor) With Special Emphasis On Those Containing A Key Change: An Hour (Or More If You Really Insist) In The Company of Chris
magicman welcomes you to the Battle of the Century – The Killers v U2 v Bartok
tincanman's Guide To The Peruvian Nose Flute
So what would you be least likely to post? I'll add them to the list – but bear in mind that you may have to do them …
I might be in the wrong shop altogether but I'll take my chances, here goes.
What Aba came up with last week re. jazz and reaching new audiences had been on my mind also for quite some time, I'd had the same thoughts but as I said in the comments, I would approach it quite differently.
I find it very difficult to express my thoughts on this topic, there's a conflict between the idea that jazz is grounded in free expression and improvisation and has evolved through artists going in new directions and in some cases the directions they go in. The former I can accept and you'll find examples of it in my playlist but jazz reached a point in the 60's-70's where a small group of musicians took it in a direction that I and many others couldn't accept, that was about when we started hearing discussions about "what defines jazz?", somewhat similar to what we were hearing here last week, "what is pop?" A lot of people, myself included, chose to ignore jazz if that was what it had become, I found solace with 60's pop and reggae and didn't participate in the then current jazz to any degree, all of my jazz record buying involved music of prior era's.
The idea of 'Free Jazz' doesn't bother me, I choose not to listen to it but I do resent it's adherents aquisition of the concept of 'jazz'; jazz is a black music based in the blues that for decades has expressed the turmoil and suppression in that community, I can't accept any group that thinks that they can apply the name of jazz to the cacophonous sounds that they're creating. Jazz is a beautiful and exciting music, it's performed by artists who are usually supreme on their instruments, it's intended to be enjoyed both physically, intellectually and emotionally, 'free jazz' fulfills none of those, it's the sound of a sick society in conflict with itself. If those are the sounds that they choose to make, let them find another name for it, their sad efforts have nothing in common with jazz.
Obviously we're dealing with a subjective topic, everyone has a different tastes and different values but there's something that's been obvious to me since before I joined this group; from what little discussion there is on this topic it seems as though there's a feeling amongst some, but not all re. jazz; it's that it's something that evolved in the mid '60's as a result of a small group of musicians, the names I hear most often are Miles, Coltrane, Bill Evans and Ornette. It's such a limited perspective, there's so much more.
I would like to present a variety of jazz musicians that date back to the beginnings of jazz, musicians that laid the groundwork for these and all contemporary artists.
I don't know if the name Ralph J. Gleason rings any bells, he was the co-founder of Rolling Stone magazine and a very popular music critic, I found a quote in his liner notes on the Ray Charles album that seems relevant;
"Jazz's new listeners, no matter at what point they entered the jazz world, have an overriding tendency to be swept up in the continuum of jazz recordings. They seldom stop and go back to something ten years old. He wrote that in 1970, I think it's still appropriate today except I would expand the ten years.
OK, with that out of the way let's play some records. Here's a baker's dozen, what I've selected all fall under the classification of "These are a Few of My Favorite Things", they're all vinyl transfers selected at random. I didn't go out of my way to restrict the choices to pre 60's music, it just happened that way, I could have as easily created a post 60's list. The only parameter that I set was that I'd approximately match Aba's list in terms of time, approx 50 mins. I started at the beginning of my records and went through saying 'Oh, must include that…and this', and suddenly I found I'd exceeded 50 mins. Start over or edit? I edited and accepted that I must leave out dozens, hundreds of choices! The perceptive amongst you might notice that I didn't get beyond the 'H's' but I scrambled them for playback and couldn't resist including a 'V'.
1. Ray Charles – Outskirts of Town. 1961. Ray as a jazz musician, The trumpet intro is by Clark Terry with another later by Phillip Guilbeau, Ray at the keyboard and a great orchestral arrangement by Quincy Jones.
2. Duke Ellington – Take the 'A' Train. This is a 1951 version from the Ellington Uptown album, three for the price of one: a great Ellington piano solo, a post bebop vocal by Betty Roché and a great tenor solo by Paul Gonsalves, check all the changes here, not to mention the great backing from the band.
3. Ry Cooder as a jazz musicologist – The Dream. He produced an album that investigated the roots of jazz, this cut is listed as 'a piece of whorehouse music'. It's approx 1900, before jazz even existed and it's typical of what might have been played in New Orleans brothels at that period reflecting Spanish, African and Carribbean influences. From Ry's album 'Jazz'.
4. Stan Kenton Orch. Intermission Riff. This piece is from about 1947, Kenton had a popular all white band, June Christie was his singer, he loved brass, usually he had 5 trumpets and 5 trombones, three of each was typical. Vido Musso takes the tenor solo. He was based at the Avalon Ballroom in Southern Cal.
5. Sarah Vaughn. Cherokee. Wonderful alto solo by Cannonball Adderley, it's from the 'In the land of Hi-Fi' album, remember Hi-Fi? I forgot to mention, don't adjust your sets, many of these cuts are in 'mono', produced long before stereo existed.
6. Charlie Parker. Parker's Mood. This is the original Savoy 1947 version, it includes a false start, Bird begins his second chorus after the John Lewis piano break and he hits a bad note so he deliberately hits another and then whistles a stop, they resume with a perfect take that's became one of the great Bird solos.
I included the false start just to show how it was done before Pro-Tools.
7. Coleman Hawkins. Body and Soul. From 1939, considered by many to be the greatest tenor solo ever. 'Bean' [Coleman] brushes it off as 'just a routine piece that he made up on the spot.'
8. Duke Ellington. Creole Love Call, 1927. Possibly one of my all-time favorite pieces of music.
What intrigues me is the fact that jazz was less than a decade old and here was Duke doing things like this, triple clarinet leads with the original 'scat' vocal, or at least a very creative use of a voice in jazz; it's Adelaid Hall and Bubber Miley does the trumpet solo.
9. Duke Ellington. Black & Tan Fantasie, 1927. Couldn't decide which one to use, couldn't delete either so I include them both. Another great piece by Duke with another trumpet solo by Bubber. Just consider that only a few years earlier jazz was basically confined to N.O. and was a genre that consisted of 5-6 musicians playing totally in unison! And there were no means of communication, no media, no phones etc, apart from very early primitive records there was no way of knowing what others were doing, and yet….
10. Louis Armstrong. West End Blues. 1928. Often quoted as Louis's greatest ever solo, it's from his Hot 7. Also his first scat vocal, similar thing to what Duke was doing a couple of thousand miles away, another example of the enormous changes to the music in a very few years.
11. Ben Webster & Coleman Hawkins. Shine on Harvest Moon. 1957. Considered to be the two godfathers of the tenor, Hawkins was the originator and the teacher, he was playing in Europe before I was born. Ben has the nicest tone in jazz. Listen carefully and you'll hear two tenors each with distinctive tones and styles duetting.
12. Johnny Hodges. Warm Valley, 1940 with the Ellington orch. The greatest alto player ever, he joined Duke in the late 20's and was with him for about 40 years, Duke wrote many pieces just for him, as he did for all the soloists in the band. No one has a tone like Hodges and he does 'impossible' things on his horn, like glissandi on an instrument with push buttons!
13. Count Basie Orch. with vocalist Jimmy Rushing. 1938.
Sent for you yesterday. A classic swinging Basie big band blues. Basie on piano with Herschel Evans doing the tenor solo, Sweets Edison on trumpet and JR on the vocal, the all time classic Basie era.


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looking for a few good meals ,York, maine area
98 Provence
White Barn Inn
On the Marsh
Ogunquit Lobster Pound
My husband and I spent our honeymoon near Portland, and also ate at the Steakhouse in Wells - It was the best steak dinner we've ever had! (we live in Chicago)
We even went back 2 days in a row and waited nearly 2 hours to be seated (my husband normally would not even wait 20 min for a table)
We plan to return one day just to go back there to eat, Highly Recommended!!!
re: lollipop
Thank you LOLLIPOP for the above info. We live in Portland and have never gone to the Steakhouse, but we will certainly now give it a try. We love Ogunquit and have gone by their restaurant hundreds of times, and I have noticed the parking lot is usually overflowing as this is a very big positive. Thank you again for the info. We will definately give it a try. Irwin
re: irwin
re: Harp00n
re: Harp00n
re: onlytwomuses
re: Harp00n
Even recovering from the dreaded stomach flu I can vouch that Marcia's is really all that. Great tequila selection, great salsa, fresh fresh fresh veggies and meats and fish, selections from the sublime (lobster taco) to the "cheapo but grande" special which is a monstrously large plate of delicious rice and beans, your choice of beans and degree of spiciness. Really really good stuff. It's my favorite Mexican place in NE.
Theres a place on Rt1A as you leave York headed for Ogunquit, Called Cape Neddick lobster pound, I looked up the Web site for you(http://www.capeneddick.com/) It also has a map. There is a place called the Lobster Barn on Rt.1 Only open on the weekends. There is a place in Ogunquit called Johnathn's its right off of Rt.1 on Bourne ave. Next to the Meadowmere Resort. Which is very good and open all year. Hope this helps. Earle
re: Earle
I'll second that...
Cape Neddick is a wonderful place. This time of year (woefully off-season) you can usually get a table without any waiting.
The menu is limited (it is, after all, a "lobster pound"), but what they do serve is fresh and tasty.
When I was there back in November, there was road construction which meant we had to take the "long way around" to get there, but it's always worth the trip.
When in season, there is usually a wait, but it's worth it. [smile]
re: lar3ry
That was probably due to the flood last spring -- my mother's house had water ~5-6' (feet!) high in the yard -- basement was flooded 1" from the rafters.
The bridge on rt1 north of York towards Wells was undermined by the water and broke. I'm not suprised that they were still fixing it in November. (Is it fixed now?)


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Girl, 11, set to become published author (From Your Local Guardian)
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Merton Park schoolgirl set to become published author
9:50am Tuesday 29th May 2012 in Wimbledon By Lauren May, Chief Reporter
Eliza Jones has secured a book deal with a publisher after winning a Merton schools' writing competition.
An 11-year-old girl has secured a book deal with a publisher after winning a writing competition.
Eliza Jones, a student at Poplar Primary School in Merton Park, won the deal after entering a writing competition earlier this year as part of the Wimbledon BookFest 2012.
The competition, supported by publishers Harper Collins Big Cat, invited children aged nine to 11 to write a story around the theme "animal Olympics" for children aged six to seven.
Eliza's story about a number of animals that enter an Olympic competition beat off competition from 18 other schools across Merton.
Councillor Stephen Alambritis, leader of Merton Council, said: "The story will be very popular as the Games will be fresh in everyone's minds."
Katharine Davies, headteacher at Poplar Primary School, said: "The whole school loved her story."
"We have enjoyed working with HarperCollins and Wimbledon BookFest, as they both support the development of children's literacy skills by promoting reading and writing for enjoyment."
Got a story for us? Call 020 8722 6333, tweet @WimbledonNews or email: firstname.lastname@example.com.
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Contact: William Sodoma
Date: March 23, 2010
WINTER HAVEN, Fla. --- Abhi Chandel struck out five and walked just one in five innings of work to earn the victory as the Colby College baseball team took an 8-1 victory over Kalamazoo College in the first game of a doubleheader Tuesday in Florida.
Kalamazoo came back to take a 4-1 win over the Mules (3-2 overall) in the nightcap. In Monday's games, the Mules took a 7-6 win over Hamilton College and lost 6-5 to the Continentals in the opener of a doubleheader.
Chandel allowed just a first inning run and Mark Nelson finished the final two innings for the Mules. Brandon Nieuw had three hits, including an RBI single in the third inning to lead Colby's offense. Mike Mastrocola added a pair of hits, while Ryan Conlon drove in two runs with a single and Kenneth Kaufmann had an RBI double in a four-run second inning.
Nathanael Sugarbaker and Mark Collins combined to allow just five hits in the second game, but Kalamazoo used a three-run second inning to take the game. Richard Newton had an RBI triple among his two hits.
In the win against Hamilton, Colby scored all seven runs in the first three innings and then held on for the victory. The Continentals scored twice in the first only to see Colby tie the game in the bottom of the inning. Colby answered with three more runs in the second inning and two more in the third. Hamilton managed three runs in the top of the fifth, but the Mules held on over the final two innings.
In the opener against the Continentals, it was the Mules who darted out to a 4-0 lead after scoring two in the second inning and two more in the third. Hamilton rallied with four runs in the bottom of the third to tie the game and then won the game in the bottom of the seventh inning.
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Adriana Colindres
Features Editor
2 East South Street
Galesburg, IL 61401-4999
Three Knox Faculty Members Promoted, Awarded Tenure
Mark Holmes, Nicholas Regiacorte, Barbara Tannert-Smith
June 15, 2010
Knox College has awarded tenure to three faculty members and promoted them to the rank of associate professor.
They are Mark Holmes, associate professor of art, and Nicholas Regiacorte and Barbara Tannert-Smith, both associate professors of English.
Mark Holmes, who teaches sculpture and ceramics, joined the Knox art faculty in 2004.
Before coming to Knox, Holmes founded and ran a Chicago company that designs and builds custom furniture.
During the last several years, he has developed an alternative arts space in downtown Galesburg, known as The Box, which is used as a teaching and experimental gallery for students. He also hosts an annual Artist in Residence program.
Holmes recently has had one-person exhibits of his sculpture and drawings in Chicago and St. Louis, and he is planning two upcoming exhibits.
A graduate of Hope College, he earned an M.F.A. from Yale University.
Nicholas Regiacorte began teaching English at Knox in 1999 and was appointed a full-time visiting assistant professor in 2002-2003.
A recipient of the prestigious Fulbright Scholar Fellowship, he teaches poetry, creative writing, and literature. Through independent studies, he also has taught Italian.
He served as visiting professor in 2008-2009 with the Associated Colleges of the Midwest Program in Florence, Italy.
His poetry has been nominated twice for a Pushcart Prize, and he won the Fourteen Hills literary magazine's Bambi Holmes Award for "Grotto" in 2005. Regiacorte also has served as faculty advisor for Catch, Knox's award-winning student literary magazine.
A graduate of Roanoke College, he earned an M.F.A. from the University of Iowa Writers' Workshop.
Barbara Tannert-Smith joined the Knox English faculty in 1997. She teaches fiction writing, along with children's and young adult literature.
Her published writings since 2005 include three works of fiction, several contributions to the Encyclopedia of Folktales and Fairy Tales, four pieces of non-fiction humor, and multiple conference presentations.
She organizes the annual Carl Sandburg Poetry Contest, a local writing competition. She also serves as faculty advisor for Quiver, the Knox College English Department's collection of online genre publications.
She earned B.A. and M.F.A. degrees from the University of Massachusetts-Amherst.
Founded in 1837, Knox is a national liberal arts college in Galesburg, Illinois, with students from 45 states and 48 countries. Knox's "Old Main" is a National Historic Landmark and the only building remaining from the 1858 Lincoln-Douglas debates.
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How the iPad Can Be a Senior Saver
No keyboard or mouse, intuitive touch-screen tools can help older consumers stay connected anywhere.
I wasn't the first kid on my block to have an iPad. I was the oldest kid. And it's not been easy. I've had to struggle with admiring onlookers who profess jealousy that I have such a neat toy. And at times, it has been hard to find more than five or six hours of enjoyable daily activities to do on my iPad. But I've persevered and while I've just scratched the surface, it is clear that the iPad can be an invaluable tool for older users. As the first mass-market tablet computer, it will be followed in short order by competing tablets from many providers, mostly in the PC (as opposed to Apple) world. This will lower prices and increase features.
[See 5 Ways to Join the Personal Technology Party.] I do not own Apple stock and am not recommending the company. I am recommending its approach to providing easy access to online information. And I'm recommending that older consumers take a serious look at this tool. You may think the computer age has passed you by but the iPad makes a strong case that what's passed you by is the high-tech "members only" phase of that age.
What the iPad has done, better than other computing devices, is make the technology invisible. You don't need to repair a car in order to drive it, and you shouldn't need to be a computer jockey in order to turn one on and use it. But it's pretty much been a rite of passage that you needed to understand hard drive storage sizes, the brawn of your central processor, and the speed of your Internet connections. Not so with the iPad. You turn it on and it works. There is no boot-up time lag. It's ready to go as soon as you turn it on. If you have an intuitive sense of how something should be done on an iPad, there's a good chance that's exactly how you do it. As with the smaller iPhone, you don't type in commands but use your fingers on a touch-sensitive screen. No keyboard. No mouse.
By providing Internet and e-mail access, and a full range of media capabilities that can be remotely downloaded, the iPad can help seniors avoid becoming isolated. If you can't get to the library, the video store or the newsstand, they can come to you. Such remote access, via an intuitive device that is easy to use, will become a big deal. Prices for everything will fall, just as they have for other digital communications devices.
Entire industries will adopt tablet computing and develop ways to use it to increase and improve their relations with customers. Health care, in particular, will make enormous use of this mobile device. Doctors and other care providers will enter medical records directly into a tablet, and patients will be able to see all their records easily, including x-rays and MRIs, and share them with other doctors and family members if they wish.
First off, though, there's the reality of what the iPad isn't. It's not a phone. Yet. This hasn't bothered me because, as it turns out, I don't really need a phone that much when I'm out of the house. Other then making outbound calls in an emergency, I'd just as soon turn my phone off and concentrate on other activities. I find that a lot of older folks feel the same way. Even younger people seem to use their phones for everything except talking.
[See Join 560 Million "Skypers" Making Free Calls.]
A second thing that the iPad can't do is multitask. This, too, has proven a wonderful product benefit for my underdeveloped mobile computing skills. I don't need to be downloading some mission-critical document for an upcoming meeting while making online travel reservations and chatting with a buddy about whether Tiger Woods will win four more major golf championships and tie Jack Nicklaus' record. Doing one thing at a time is OK by me. Based on research about how seniors interact with new technology, it's likely to be OK with them, too.
Before telling you what the iPad will do, you need to know a bit about costs and communications capabilities. The cheapest iPad is $499; the most expensive is $829. For the extra money, you get more memory or better online access or both. I don't think you need to pay an extra $200 for the bigger memory because it's hard to store a whole lot on the iPad and you can back up the whole thing anyway on a home computer if you wish.
I do think better online access is worth $130. At least it's worth it to me. Actually, it will cost you a lot more than that but it's still something you should consider. The basic iPad connects to the Internet via wireless networks. There are zillions of WiFi networks around these days, many are free, and they're even pretty easy to set up in your home if you've already got Internet service. When you turn your iPad on, it automatically looks for nearby WiFi networks and connecting is simple.
For $130 more, you get an iPad that connects to AT&T's 3G network. This is an always-on connection and it provides you online access wherever you are. Actually, that last sentence deserves an asterisk. There are some areas in the U.S. that do not get great 3G service from AT&T and you should make sure you're not spending a lot of time in one before buying an iPad. If you do pop for the 3G iPad, you will need to pay AT&T monthly access fees that can be as high as $25. So, that $130 extra charge for 3G access could actually turn into a bill of at least $430 in your first year, with possibly higher charges for very heavy 3G use. (Your iPad will default to WiFi use if you're on a wireless network, so it's not so hard to manage your 3G use to avoid the heaviest usage fees.)
This is a lot of money, and if you need to justify the expense, you certainly should do some homework. The iPad doesn't use software the same way a computer does. Instead, it uses task-specific applications that have been written for the iPad and which can be downloaded from Apple's "app" store. There are a lot of good free applications and a growing number of imaginative fee-based ones. Prices typically are a few bucks, but the apps I'm discussing here are all free.
When I leave the house with my iPad, I can get e-mail and Internet access wherever I go. It took me about five minutes to map my e-mail to the iPad. During a recent car trip through some mountainous and sparsely populated areas, I continued to have access while the car was moving. Among the free apps that come bundled with the iPad is a mapping feature that does away with most of the need for a GPS (global positioning system) unit. There are paid apps with trip direction, real time traffic mapping, and other GPS capabilities.
Other free apps include television programs from ABC that allows me to watch its shows for free. The video quality is comparable to high definition. Plug in some earphones and the audio quality is just as good. The Netflix app lets you stream movies to your iPad as part of a Netflix subscription. I'm not much of a You Tube user but millions of people are, and the iPad comes loaded with a You Tube icon. If you want to use the device as an iPod and play all your music on it, you can. It also can be home to all of your still photos.
The rectangular screen -- about 5.8 by 7.8 inches -- is large enough to provide a very satisfying viewing experience. The iPad and other tablet computers will accelerate the evolution of video viewing. Why pay for access to 500 cable channels that you don't use when you can have a satisfying video-on-demand experience and pay only for what you want to watch?
I have used other e-book readers and the iPad is, for me, a better experience. The screen is bigger. The touch screen allows you to turn the pages by swiping your finger over the screen. The pages visually "turn," just like an actual book. You can look up the meaning of any word with an embedded dictionary. And, unlike other e-book readers, I can also use the Internet and go online to answer the questions that invariably pop up when I read.
Also, because the screen is backlighted, I can read a book in low light -- a feature not found on other e-readers. So I can read in bed with all the lights off, without bothering my sleeping wife. Downloading a new book is easy and prices are lower than printed books. Libraries already offer free check-outs of e-books, and I'd expect them to provide similar services for the iPad. Apple does not have as extensive a selection of e-books as Amazon does for its Kindle reader. But there's a free Kindle app for the iPad that allows all Kindle books to be read on the iPad.
Are there flaws with the iPad and, in particular, with the AT&T network that for now is the only way to get 3G access? You bet. That's especially true with more sophisticated users. But the product will evolve and improve. And for older consumers, it offers an already attractive glimpse into how they can stay connected in a world that increasingly requires such access.
[See The 100 Best Mutual Funds for the Long Term.]


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Number of animals being transported:1
Breeds, weight, age: husky, 12 hours old
Health Condition: okay at this time
Heart worm Status:
Vaccinations: too young
Health Certificate:no
Spay/Neutered: too young
Special needs: CLEFT PALATE- SEVERE. this baby needs to get to the rescue ASAP today today today!
Name of Sending Rescue/Parties Annie, Foster for the mia foundation
Name of Receiving Rescue/Parties: Sue Rogers, The Mia Foundation founder
Contact information (publicly viewable on forum): 302-396-2480 annie
Are you a 501c3: YES
Additional Info/situation: the rescues vet that this baby needs desperately today is with sue in NY. Please help her get there today. Annie can meet at sussex airport with an hours notice. thank you!!


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Thursday, August 21, 2014
2:00 - 3:30 pm CST
Speaker: Tommy Troyer, Young & Associates,
About the Program
The housing crisis and the Great Recession permanently changed
lending risk management expectations. Home equity and junior lien
mortgages are among the portfolios receiving the most intense scrutiny
and increased regulatory expectations. This webinar will cover recent
regulatory guidance related to junior lien risk management practices and
simple steps credit unions can take to ensure compliance. Regulatory
compliance and risk management best practices will be addressed as well
as underwriting, origination, account and portfolio monitoring, and
considerations when implementing line management actions (capping or
freezing lines), loan modifications, and ALLL analysis.
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