text:
Interview with the much respected New York-based pianist, arranger, composer and musical director Alfredo Valdés Jr.
Alfredo Valdés Jr.
The Son of Buena Vista
by John Child and David Barton
In another transatlantic collaboration, John Child in London and David Barton in New York interview pianist, arranger, composer and musical director Alfredo Valdés Jr., who speaks with passion and candour. A Cuban-American resident in the US for the last 44 years, Alfredito can claim a direct line of descent from the heyday of Havana's now internationally famous Buena Vista Social Club into the new millennium. For instance, not only did he witness Arsenio Rodríguez's legendary conjunto perform there when he was a youngster, but also played and recorded with this giant of Cuban music years later. Other titans he has worked with include his father Alfredo Valdés, Ray Barretto, Machito, Mario Bauzá, Chocolate and Cachao. He was a key figure in the SAR label's phenomenal success in early '80s, whose biggest star, sonero and percussionist Papaíto, is the subject of his most recent production on release. In addition to performing on Cachao's Grammy winning
Master Sessions Volume 1
and Grammy nominated
Master Sessions Volume II
, Alfredito plays on the maestro's acclaimed current CD
Cuba Linda
. He has directed arch Latin jam sessioneers, the Caimán All Stars, since 1995, whose third outing
Descarga Brava 2000!
, released at the end of 1999, is still burning up salsa dance floors across the world.
Let's take things in reverse. Let's talk about your most recent projects with Papaíto and Cachao first. What was the motivation for recording
This is a sad and funny story. Papaíto was the most influential artist in the life of SAR Records. Monguito was important, but Papaíto was even more important. At the very beginning of the company's history Monguito's first production
Yo No Soy Mentiroso
('79) sold so so. But Papaíto's early recordings (
Roberto Torres Presenta A Su Amigo: Papaíto
'80 and
Papaíto Rinde Homenaje A Abelardo Barroso
'80) sold in the thousands. In Africa, Papaíto was an idol. But Roberto Torres just wrapped up the company and took it away and never came back. Papaíto had it tough in many ways and he always kept saying how ungrateful Roberto was. He did not want to record, and I kept saying: "Papaíto, these guys want you to record. Let's do something." He did a couple of tracks with Isidro Infante (on
Valdésa Records Presenta Vol. 1: Salsa Sudada
'90), but it was not his style: the Cuban criollo style. But he didn't want to record for anybody. Not until now. I kept pushing and pushing and finally I convinced him to do something with Sergio Bofil and Humberto Corredor. The reason why he did it is because he sensed that his health was failing and he didn't want to die without recording one more time. He's in pretty bad shape. It's good for all of us that he decided to do it one more time. I believe the public will embrace the work we did with open arms. I'm sure of it.
Papaíto is a very soulful singer. You get the most out of him when you set him in a Cuban mode because Papaíto uses the all Cuban feel. When you give him a son montuno in his style, he'll cook that. I don't think the stuff he did with Isidro was really him. The arrangements were fine; the musicians, the quality, the recording, the sound; everything was A one, A plus. But the artist was not there. It wasn't Papaíto's work, it was Isidro Infante's band. Papaíto was in the background. He was not there. With the Caimán project it's all Papaíto because I stood behind him. I didn't allow my ideas to drown him.
By the way, Caimán New York doesn't exist anymore. The owner Humberto Corredor sold it to Caïmán Records Limited of the Cayman Islands in a law suit. The idea of it is to avoid confusion about the real Caimán. Since that Caïmán is richer and bigger, they took the name and prestige. I've heard that the label name will be changed for all the previous recordings. The Caimán All Stars will not persist - I think it will just die.
Papaíto's on dialysis. After we did the recording in December 1999, he was not feeling very well. Right around that time he was offered a gig. This is also something which is kinda funny and at the same time it's a little sad. His economic position hasn't been too healthy. He and Monguito were offered a few thousand dollars to do a few dates in Africa around the Christmas season. At first he said he wasn't going to do it. And then he decided that he should try and help his family out. He went there with one condition: he asked for a ticket to be given to his 30 year old son Manuel. When he got to Africa he started taking something to alleviate a cough and sore throat. Not only has he had renal failure, but he's also a diabetic. So everything complicated and worsened for him and he was brought back. When he arrived back he had an 80% chance of dying. We all kept our fingers crossed, not only because we nearly lost him but also because the recording needed a lot of fixing. He got better and was able to go back into the studio and finish it. He says he feels better that he has done in years. I think it's one of the best things Papaíto has done and we expect it to be a hit.
[Editor's note: We are sad to report, Papaíto died of complications of kidney disease on Sunday, June 4, 2000.]
Is the album intentionally nostalgic and traditional in feel?
Papaíto's style is all nostalgic. Papaíto is critical of the establishment, values, relationships, women. Critical of the relationship between man and woman; infidelity: men who live with it and men who accept this moral setting. Papaíto is very hard on these segments of folks. He's an old time moralist: the values of yesteryear.
Is Papaíto responsible for the lyrical content?
He writes a lot of the stuff he sings and writes all the stuff he improvises. I really love to work with him. He's a fun cat. And his music is so fresh, it's so new. Papaíto is the complete opposite of salsa erótica. In salsa erótica they talk about: "Lady I don't care what you do as long as you don't leave me. You're a prostitute, you enjoy what you do, but I love you regardless." This type of chicken shit. This is what the modernists are talking about. Papaíto is 180 degrees opposite to that. It's all macho, if you want to call it that. I know macho is detested now by almost everyone. But to me it's so sincere, because that's what it really all boils down to. It's a man's world and that's it. Papaíto has always been macho and patriarchal in his music. He stands on a patriarchal pedestal: he's a man, he's a good father. I know his family, his wife, his children. He's a good man. He's never been involved in any scandals or anything of that sort. Papaíto's a firm guy. Just a little older and sick, but he's a good man all round.
Did Papaíto have anything to do with the running of
La Sonora Matancera
, or was he simply one of the singers?
He was with La Sonora Matancera for many years. Everybody had something to do with the running of the band because this band stuck together. It was supposedly a cooperative, but there were some who were privileged. In other words, the leader Rogelio Martínez got a little more, Lino Frías got a little more, the bass player Elpidio Vázquez got a little more, and Calixto Leicea, the trumpeter player, got a little more, because Calixto was one of the founders. It was a cooperative for a few and then there was a sub-class for some of the newer members. And this is what Papaíto always fought Rogelio about. He left Mexico in the late '50s or early '60s to follow La Sonora around. He had lived in Mexico for many years. His wife is Mexican and his daughters were born over there. He never got the kind of money other members were getting.
Papaíto never seemed to get the acclaim of other La Sonora members.
I remember when La Sonora came from Cuba, I believe it was in 1961. There was Celio González, Willie El Baby, they were the vocalists; Pedro Knight was on trumpet, that's Celia Cruz's husband; Calixto Leicea, the first trumpet; Elpidio Vázquez on bass; and Papaíto on bongo. It was a nice group. Papaíto always felt resentful about not getting what he should have got. In the '60s Johnny Pacheco started putting corks over everything. Pacheco turned out to do the stuff the old timers didn't want to do. He started doing kinda pirate work. By that I mean, for example, Fajardo had a big name in Cuba. When he arrived in New York he wanted top money for his band. Since they wouldn't give it to him, then Pacheco would come and fill the gap. When charanga started to take a dive then he got a conjunto together and started doing the jobs La Sonora didn't want to do. Also the ethnic makeup of New York started changing: there were a lot more Dominicans coming, he was Dominican. So he started filling two gaps: stuff for the Dominican sector and jobs the old timers didn't want. Consequently La Sonora actually retired for 11 years in the '60s and part of the '70s. With their big name and over two or three hundred recordings, they did not work. Why? Because Rogelio was not getting the type of money he demanded. Meanwhile Papaíto had a growing family with three kids. He was not an arranger and he was not a pianist, he was just a bongosero or timbalero. Papaíto had a tough time - they all did - but especially Papaíto. In the '70s there were some contracts to celebrate the 50th anniversary of the group. That helped Rogelio buy a building in Queens. He made money. Again Papaíto was never compensated as he deserved. It was an unhappy existence for Papaíto. But it was a tight family; they all stuck together. And now everybody is happy. It's too bad it came a little bit too late.
It's surprising how few recordings Papaíto achieved throughout the '80s. It now amounts to a handful.
That's true. They're talking about recording him again. The one's he did for SAR Records are certainly the hits; they are classics now. Thousands, if not millions sold.
Tell us about the Cachao
Cuba Linda
project (on EMI Latin/ CineSon)?
The Cachao recording was done in October 1999 at the Capitol Studios in California for the Estefans. Cachao is a good all round musician, and can go into any style and do anything: jazz, Latin jazz, and typical Cuban. He can do anything with his arranging and his performance. But when you leave him free to be the leader and do whatever he wants, he's going to go typical but with a little accent on the vanguard. He's always looking forward. His music always ends on a note of encouragement, of what can come next. His music is a window into the future. But it's not the future. It's typical and formal, and Cuban. It's always open to speculation and possibilities. As far as the soloist is concerned, you can do anything you want with it. His montunos are all typical, he expects that. But when it comes to a solo, you can blow and blow and blow, and he's ready. His tunes are made for solos.
Were the arrangements on this recording Cachao's or yours?
This time he did not bring the charts like he did on previous occasions. I don't know whether it was because of lack of time, or health reasons. I don't know the reason, I didn't ask. I was not the arranger or composer, but I was asked to copy what the Maestro dictated, and some stuff the singer, Lázaro Galarraga, dictated. I only arranged one tune, lightly. One of the ideas of spending a week in LA recording was to film the process. It was planned that Cachao wouldn't have the music ready. In the process, of course, I did the writing. I enjoyed the chance of being filmed with my pencil and music in my hand. I like that recognition. I landed up having the best suite in the hotel in LA, but I wasn't able to enjoy it as much as I would have liked to because we spent every hour at the studio.
Have you worked in this open-ended way before?
Yes, I've done this before, but personally I prefer to go to a studio prepared. But each job has a different set of demands. This one is kinda promotional, it's like a short video documentary. A lot of folks are curious about the process of creation.
Now let's go back to the beginning. Tell us about your upbringing in Cuba?
I grew up in a nest of musicians. My uncles, my father and mother were all musicians. I grew up listening to Arsenio Rodríguez, Cheo Marquetti, Abelardito Valdés, Conjunto Casino. My father, Alfredo Valdés, was one of the most sought after singers in Cuba in the '30s and '40s, and even in the '50s before he came to New York. He made over a hundred records with over 50 different bands. My father would take me to the studios when he recorded in Cuba with Abelardito Valdés. He also recorded with Hermanos Castro. My mother played the guitar with Orquesta Anacaona. These experiences stayed in my ears. I hear these things.
You used to live nearby the now famous Buena Vista Social Club?
Yes I'm from Buena Vista, Havana. My mother and dad would take me to the Buena Vista Social Club. Arsenio's was one of the leading groups which performed there. I'd been listening to Arsenio since I was maybe three or four years old. It was not foreign to me. I grew up listening to black music. I also grew up listening to white music, because my grandmother was a Spaniard. My grandmother reared me. She would buy Spanish bands; peninsular music we called it. I grew up in a musically rich environment. I was always listening to stuff from both sectors of Cuban ethnic composition. Then, on top of that, I was a student of music.
Your father and family played a significant part in promoting black Cuban music?
Ignacio Piñeiro
, the bandleader of the group (Septeto Nacional) my father worked in was black. My father played clave and sang. What helped him in those days of segregation in Cuba was the fact he was a light skinned black. Had he been black, black, black, he would have never got the position. He looked a little bit like Cab Calloway. There was that same parallel there. He looked white from far, far away. When you approached him you noticed his African features. Being in the band meant that he was the voice of black Cuba trying to cross the bridge. He sang black music to everybody. He sang stuff composed by Ignacio, who composed some 3000 tunes. My father knew these tunes. He grew up with this stuff. No one else stayed with the band as long as he did. It's the same relationship which existed some 40 years later when I joined Arsenio. I learned all Arsenio's stuff. I still know Arsenio's book by heart.
We served as pioneers in a unifying way to bring the groups together: the sons of Africans and the sons of Spaniards. We were all Cubans, but we were culturally diverse. We brought all the groups together with our music. My father was a beloved singer in Cuba, and he also acted as a pioneer. He came to the United States in 1933, representing Cuban folklore at the World Fair. He acted as a messenger of Cuban folklore. He made a full length movie in 1937,
Sucedió en la Havana
, where he sings the music of Ernesto Lecuona. It was either the first or second movie made by the first Cuban cinematographic firm founded by General Batista. My father was a friend of Batista and he helped my father get the part in the movie.
What notable musicians do you remember meeting in Cuba?
I remember meeting Manzano at one of the rehearsals of Orquesta Anacaona when my mother was in the orchestra. He was teaching the girls how to play percussion and taught my mother how to play congas. He was one of the greatest conga players in Cuba in the old days; he's Candido's uncle. He taught Candido how to play the congas. Things like that stay with you when you experience them early in your life. You tend to remember the old things and not the more recent experiences.
I remember meeting Bebo Valdés in 1955 when he was at CMQ rehearsing for
Casino de la Alegre
Jueves de Partagás
, two of the best TV shows in Cuba in the mid-'50s. I used to go there because my uncles were in the band at CMQ. I remember the tunes Bebo composed back then in the early '50s like "Rareza del Siglo," and "Güempa," He talked about how nice Puerto Rico was and his desire to leave Cuba. Castro was not even around, but he was talking about his anxiety to try living in other places. My father expressed the same desire and the year after that he and I came to New York to stay.
I met Beny Moré in Buena Vista before I came to the States. My first cousin Lázaro Valdés became his pianist. When I went to Cuba for a week in 1960 I met Chucho Valdés and Lázaro reintroduced me to Beny. Soon after that meeting Beny passed away. Chucho was a kid and he played excellent piano, even back then.
You and your father relocated to New York in the mid-'50s?
That was in 1956. In the '50s my father had a charanga group here in New York.
You initially played with your dad's band?
Yes. Of course I was young and inexperienced. My father knew I had the background: I was Cuban. I had lived there until I was 15. My ear was trained to listening to good Cuban music. So there was no reason why I wouldn't be able to compete decently and fairly in the ambiance of the New York music scene, which was dominated by Cuban music. There was no Dominican, and very little Puerto Rican. They didn't play bombas or plenas. There were more Puerto Ricans than Cubans in New York, and there were more Cubans that Dominicans. We did dance merengue quite a bit, but the scene was dominated by the Cuban scene. This had been so since the '40s; maybe before. Everyone danced mambo and cha cha in the late '50s here in New York: at the Palladium, the Manhattan Center, Rivera Terrace. These were the places where we jammed. This is where you would find Arsenio Rodríguez, Pete Terrace, Puente, Machito, Tito Rodríguez and the other big bands, and not so big bands: groups. At that time the groups were getting smaller. The combos were starting to make their appearance in the late '50s.
My father tried by every means possible to help me acquire the experience I needed to be able to play, if not compete, with the local groups. Especially with his group. I certainly had the classical background. I had enough education in the Spanish classics, if not the Cuban classics. I played stuff by Lecuona and Cervantes, the stuff we kids grew up playing, studying and listening to in Cuba. I successfully played most of the stuff Lecuona wrote: "Malagueña," "Andalucía," "La Comparsa." I'm talking about the original works. I was good enough. I was actually doing the fifth year of Hilario Orbón, which was the epitome of Cuban piano methods.
Anyway I was fairly beginning to grasp what was going on. Of course I resisted having to go to bed at five in the morning, four in the morning. I hated it. I really didn't want any part of that. I just wanted to get a nine to five job. At that time I was a student at RCA. I studied electronics there. I just wanted to go work for defense, because I figured that I would have plenty of work. That was the time of the Cold War. So I figured that this was a sure way of being useful to the defense machine. And I would be able to get my American citizenship, which is what I really wanted. I was not a veteran, so I figured that at least I would ship in my knowledge and work towards the defense objective. I applied to several places, but I was unsuccessful because the jobs were reserved for veterans and American citizens. But nevertheless I did become a citizen in '62 after I graduated from RCA. Then I was able to work for some of these companies.
Tell us how you hooked-up with
in New York.
I met Arsenio in 1957 or '58 when I was playing in a club on Prospect Avenue. He asked me if I was living with my parents. I said: "Yeah, I'm still living with my parents." He invited me to do a recital. I did some stuff by Cervantes. About a year after, he was having problems with his pianist Emilio, who was a junkie. He never showed up on time and was screwing up. He was asking to be paid in advance because he needed a fix. I was a young clean cut kid, and he says: "Alfredo, I need you for the band." But I said: "Are you sure I'm ready because I've never played this type of music before." He says: "No problem, you've got it in your blood. All you need to do is show up to the rehearsals." "Are you sure you've got the patience?" "Sure I've got the patience. Don't you worry about a thing." I think my father helped set the whole thing up.
A couple of weeks after, I started with Arsenio, and that was 1959. In that same year I joined the Musicians Union: the Local 802. In 1960 I recorded my very first album with Arsenio for SMC. The album was entitled
Fiesta en Harlem
. It's never been reissued. Some of the other stuff I did was with my father in the '50s, but I have very little recollection of which tunes I played on. They were incidentals I did with my father's charanga. Those credits were shared with René Hernández. Not Machito's pianist René Hernández, but René "El Latigo" Hernández, who was a tall slim pianist, and he had just arrived in New York. He played with José Fajardo. He was considered one of the best charanga pianists in Cuba. His brother was a violinist in Cuba. Pedro was his name. Pedro Hernández wrote danzones in Cuba.
Arsenio was a mentor to me. I was playing with Arsenio less than three years after I arrived in New York. I had always been a fan of Arsenio from the early days. "Buena Vista En Guaguancó" (from
Sabroso y Caliente
on Puchito) was one of his tunes I loved to dance to.
You went on to became a founding member of Ray Barretto's Charanga Moderna?
Yeah. In '62 I joined the newly formed
Ray Barretto
band. Barretto had just recorded an album, but he did not have a working band until I joined the band. We put together a little charanga group. Barretto had just left the Lou Pérez orchestra, with whom he played conga. In that year of '62 we started gigging. Almost immediately after we started gigging, he hooked up with Tico Records, and we made the famous "El Watusi" record (included in
Charanga Moderna
) in '62, which made the crossover [charts] in that year. I participated in a total of five albums between '62 and '64: there were four with Tico (
Charanga Moderna
On Fire Again
The Big Hits Latin Style
La Moderna de Siempre
'64) and there was one with Riverside, the famous
Then an opportunity to join
In '64 I joined the Machito orchestra. His pianist, René Hernández, not "El Latigo", was trying to quit Machito, and was already doing stuff for Tito Rodríguez. And Tito Rodríguez wanted to take his band to Puerto Rico. He wanted to relocate there. One way of disconnecting from Machito was to have a piano player take his post. So he called me up, and I started doing jobs in preparation for the South American tour. In December of 1964 we left for Colombia. We flew into Bogotá. There I started with Machito.
It was a disastrous tour. The impresario disappeared with thousands of dollars in payroll money and went to Argentina. No one heard of him ever again. That was like his life hit! He was able to retire with that kind of money and live the last years of his life in comfort and luxury in Buenos Aires. I had left my fiance Carmen behind in New York, who was pregnant with my only daughter. That was very painful, because I never thought the trip would end up the way it did.
What impact did the Cuban Revolution have on Cuban musicians and Latin music in the US?
In the early days of the Revolution in the early '60s there was an apathy in the United States about things to do with Cuba. Son montuno turned into boogaloo. It was all a mocking. It was all insignificant. What was really Cuban lost its sheen. Maybe politics had a lot to do with it. We, here in the United States, I believe we suffered the consequences of the Cuban/ American relationship being on the rocks. That actually caused my dad and me to have to get a day job. We were not helped. We were not received here. Castro doing all the things he was doing in Cuba, like bringing the Russians over and singing anti-American chants, and stuff like that. This was all detrimental. This was all bad for us Cuban-Americans. We paid for it, and we paid dearly for the things he was doing there.
What prompted your move to the West Coast?
At that time there were a lot of New York musicians moving to LA, like Rolando Lozano, Nicolas Martínez "Cuco" (the timbal player with Mongo Santamaría, who was also a bass player), Pat Rodríguez (the timbal player with Tito Rodríguez) and Raúl Travieso (Arsenio's brother). A complete New York scene was relocating to LA. This displacement in musicians was due to the bands in New York being reduced down from big bands to combos. Combined with the growth in defense jobs and other attractive things on the West Coast. Federal money was being poured into the Coast and most jobs seemed to be there. Shipbuilding and everything else was happening there. I didn't want to fall behind, because one of my objectives was to get a job in the defense sector.
So when I returned from Peru with Machito in March of '65, we rushed and got married right away. My wife was already six months pregnant. That time was a different era, so it was shameful for me to face the fact that my wife had become pregnant before marriage. I didn't want my wife to give birth shortly after we got married. So I said: "Let's get out of here. It's better for us." I had connected with René Bloch. During the '50s he played lead alto with the Pérez Prado big band and had been all over the world with Prado. At that time he managed a small place he had leased on Sunset Boulevard in Los Angeles called the Havana Club. He had a big band there. When I went to LA with Ray Barretto in '63 we went to the Havana Club twice that year. I kept in touch with René and told him of my desire to leave New York for a change.
René Bloch said: "Sure, I'll bring you over. I'll send you your trip money if you write and play for the band. How long do you need?" I said: "Give me a year. Assure me that I will be connected with your band and your club for a year. That will give me enough time for me to check what's going on in LA, and after that you don't have to worry about me. I'll look after myself."
After I got married in April '65, my wife and I drove across country to Los Angeles. In that same month I started working with René Bloch. I worked with René the entire year of 1965 and 1966. I hooked up with a band called Las Estrellas del Tropico, which was a small group from East LA with Nicolas Martínez "Cuco" playing bass. Around '66/'67
I joined the Roger Darius orchestra, which also worked at the Havana Club. Roger Darius played percussion with Xavier Cugat. In the middle of that I also worked in Reno for a season with a singer from Los Angeles, Una Helena. In 1967 Roger Darius left the band and I became the leader. I stayed there until about '68. At that time Ruth Fernández, the senator from Puerto Rico, my godmother and also a singer, came to Los Angeles and I backed her with my own big band at a famous place called the Embassy. She's in her eighties now. At the same time I was working days for the RCA company in LA. In '68 I opened a small business in LA. In '69 I had my second kid, Alfred, who passed away in '90 in an traffic accident in New York. He was 21.
At the beginning of the '70s I joined the Johnny "Chano" Martínez orchestra. They were an important band in LA. In fact it was the busiest band in LA. In northern California there was Cal Tjader and in southern California it was Johnny Martínez. We had a gig every day all over southern California from San Diego all the way to Santa Barbara. At that time I said: "I'm 30 years old, so let me go back to school and get some kind of a degree." That's the time I went to LACC, Los Angeles City College, and got my associate's [degree] there. I was gigging seven days a week. Sometimes we did two gigs in a day. Sometimes even three. We were turning maybe 10 or 12 gigs a week. The money wasn't the greatest, but I was doing well. I was doing what I like to do best, which is playing. And playing the kinda stuff that I like, which was Latin jazz and a little bit of salsa. I stayed with the Johnny Martínez band between '71 and '76, when I decided to go back to New York.
By that time my wife was fed up already with seeing me running all over southern California in my new car. It was too much for her, she was taking care of both kids. In fact she was carrying the burden of the family on her shoulders. She hardly ever saw me. So, fed up with it, she left in '74 and went back to New York. After I came back to New York, of course, we never made it work again.
So what happened back in the Big Apple?
In '76 I joined the newly formed Mario Bauzá and Graciela orchestra. I did the album called
La Botanica
in 1976 (released in '77 on Lamp/Coco). I also did something with the leader of Africando, Boncana Maiga, the flutist from Africa. His brother-in-law Ronnie Baro got me into that session (tracks are collected on Boncana's
Best of Salsa
'98 on Maestro Sound). I also did Orquesta Cimarrón co-led by Ron Davis. He was a trombonist and had a masters from the Manhattan School of Music. That's the band Tito Nieves started singing with. I also recorded on their album (
'77 on Lamp/Coco).
I transferred all of my credits to Queens College and in '79 I graduated [with degrees] in Spanish literature and education. What I really wanted was a degree. It didn't matter which field, I just wanted a piece of paper on the wall. However most of my credits were in music. All I really wanted was a nine-to-five job because I'm a bureaucrat at heart.
Tell us how the SAR and Sacodis phenomenon began and how you got involved.
There has always been an interest in Cuban music in West Africa since the days Pacheco went there with Monguito in the '60s. You must remember that Laba Sosseh had been to Cuba and made several recordings with Orquesta Aragón. He's a star and well known in Cuba and Africa. Even though he's not doing as much as he once did, this doesn't reflect the fame he once had. He's nevertheless a legend.
In the late '70s there was this diplomatic attaché from Cameroon and Gabon, living here in New York, who happened to love Cuban music. They approached us, started buying large quantities of our records and befriended us. And continued by making suggestions to us. Actually Aboudou Lassissi, who had just arrived in New York from Abidjan, Ivory Coast, with a large amount of money, had a lot to do with it. I don't know where he got the money from, but he had a lot of cash at his disposal. We produced about two or three albums a week. This was all thanks to this diplomatic attaché.
SAR continually received input from old timers in the New York industry who knew the record business internationally, like Johnny Pacheco and my dad, to name a few. They would come in and give information to Sergio Bofil, Adriano García and Roberto Torres (SAR's co-founders). However the final word came from the African diplomats. They placed their fingers exactly on the styles; the names of the artists; the stuff that should be recorded; and who to talk to in order to take the company to West Africa. All of this information came first hand from these individuals and helped to bring our entire company, with all of its artists as well as their wives, to Africa on three separate occasions. I am proud to say I was on two of the three, because pianist/ arranger Manolo Albo, a founding member of SAR, went on the first. We performed and toured all over West Africa: Yaoundé (the capital city) and Duoala in Cameroon and the Ivory Coast. We did a concert for the president of Gabon.
Before I graduated from Queens in June '79 I was hired to do a session with Monguito El Unico for SAR Records. I did two tunes for that particular album (
Yo No Soy Mentiroso
'79). Lassissi started Sacodis and named Monguito the producer. So then Monguito and I worked a little deal. I started turning arrangements for him really cheaply and fast. Simple little charts which were all pretty much alike. I called them the Model T arrangements. I devised a formula that would allow us to go into the studio and walk out in three hours. I would be able to do six arrangements in a day. We would be able to do everything in eight or nine hours. It was great. Perfect. I said: "Monguito, I'm your man."
Roberto Torres was having a little bit of a problem with his piano player Manolo Albo, SAR's original musical director. His family wanted him to have a more stable job with a dependable income. So Manolo quit the company after a short while and got a job in some hospital doing I don't know exactly what. Pretty soon after Roberto Torres listened to the two charts I did for Monguito's first SAR album, he decided to hire me. I took over Manolo's post at SAR and started producing and arranging. Therefore I was producing, arranging and performing for two companies: Sacodis of Abidjan and SAR. SAR grew to Guajiro Records and various other companies that sprang out of nowhere. I started doing stuff for them as well. I also did
Noche Caliente
for a company on the West Coast. Those were rich times. In addition to Africa, there were trips to Europe and South America. I was travelling with both Roberto, with the SAR company, and Monguito.
Then in '82 everything kinda slowed down.
Around that same time a trip cropped up to go to the Dominican Republic with Henry Fiol. I didn't go. Alfredo Rodríguez was on piano. It was a disaster. Henry stopped the band cold in the middle of a TV show and they almost killed him. There was a mob trying to beat him up. I didn't know this was going on. I was too wrapped up doing stuff for Monguito and Lassissi.
So why did the SAR roller coaster run out of steam?
I guess it went over Roberto's head. The company had grown to unexpected levels and he didn't know how to manage and what the hell to do with it in New York. He decided to take it all to Miami, where it is more benign and he would be dealing with his own people. He felt more comfortable with his company established there. His company is still going.
What did you get up to when the SAR thing waned?
Meanwhile I started arranging for different people here in New York. Then from '83 up until 1989 I started doing nightclub work as a pianist in a place in Jamaica, Queens, called La Bamba. I was a piano player and music director there for a number of years doing four to six nights a week. We would have floor shows and stuff like that. From time to time I would also produce and record for GB Records on 10th Avenue, the same people who distributed and are still distributing the SAR and Sacodis records. In that period of six years between '83 and '89 I did a total of about 10-15 albums. I did an album for Lassissi called
A Cataño
'84 on Sacodis, featuring a version of "La Bamba" inspired by the arrangement of the song on Dioris Valladares' album
Vete Pa'l Colegio
'61 on Alegre) with Carlos "El Grande" from Panama singing. I did one called
Su Piano y su Sabor!
('86 on Palm). It had Paquito D'Rivera as an invited guest. I arranged and played on a couple of albums with Melcochita and José Mangual Jr., who teamed up together to produce for Caballo and Tibiri (
Con Sabor a Pueblo
'86 and
El Muerto Se Fué De Rumba
'87 respectively). Melcochita also did a production for Lassissi (
A Commer Lechon
'84, with piano, arrangements and musical direction by Alfredito) and sang coro on
A Cataño
. I did the
Charanga Ranchera
('89 on The Mayor), which was my own charanga playing Mexican music in Cuban style.
How did your association with
I got a call from the Colombian piano player Eddie Martínez in Miami. His girlfriend was beginning to manage Cachao. She had a connection with the colleges and universities and thought the danzón style would be very appealing to the academic circles and musicologists throughout the nation. So she began to sell Cachao's concerts to colleges throughout the country in early '91. Eddie Martínez wasn't a good sight reader and wasn't Cuban. He has a great ear but he didn't know from Jack what to do with danzón. He was more of a jazz player. So I was the man. I was the person who had the background and was a good sight reader. So whatever Cachao wrote I could read with no hesitation. Eddie did some of the early jobs, like the Lincoln Center. But that was it, he knew he wasn't the man for it. So he gave up his place to me of his own free will. He was the one who actually got me in. I did the subsequent jobs and have been with Cachao ever since.
You did another solo project in the early '90s?
In '92 I did
Up Tempo Mood
(on Turquino). That's another of my piano things featuring Giovanni Hidalgo, Mario Rivera, Piro Rodríguez and some of the guys from Puente's rhythm section. That was an excellent album. Some folks like the first one
Su Piano y su Sabor!
better. Some like the second better. In 1993 I recorded the Grammy winning album
Master Sessions Volume 1
with Cachao ('94 on Epic's Crescent Moon label). And we went to festivals: we did the North Sea Jazz Festival, Playboy Jazz Festival, and re-recorded a track from
Master Sessions
for Andy García's movie
Things To Do In Denver When You're Dead
Then you began leading descarga sessions with the Caimán All Stars?
Yes, after doing the Grammy winning album with Cachao in '93 I hooked-up with Humberto Corredor's Caimán Records. With them I've done three Caimán All Stars albums (
Descarga In New York
Descarga del Milenio
'97 and
Descarga Brava 2000!
'99) and the Papaíto production. In '98 and '99 I did two albums with Jimmy Bosch (
Soneando Trombón
'98 and
Salsa Dura
'99 on RykoLatino). I toured with Jimmy and Cachao.
I did two productions in Mexico in January 2000 with local labels there. I'm trying to create a little scene there to get to be known. It's a country of 100 million people. It's good to be known there. It's a rich/ poor country. You have these two sectors. Even the poor are pretty aware people. They're down but not out. They're pretty well informed and streetwise.
What's your take on the '90s rebirth of old time Cuban music?
This is good what some of the labels are doing. I think that they are doing a service to bring together the old generations and to bring together the cultural gap and to rescue the old ideals. To bring the people together. I think we need to get together for the sake of Cubans and the world. We need for Fidel to step down and allow the new generations to rescue our past and to rescue our people. I do want to go to Cuba. I would like for Cuba and the United States to be friends again. I'm not going to Cuba until this happens. I haven't been to Cuba in 40 years, and I will not go back until the two countries have reunited.
Some of these labels are not giving a fair share to these artists, and we all know it. But at least they are attempting to expose the new generations to the things my dad did, and some of his contemporaries such as Ibrahim Ferrer. By the way, these folks were unknown when my father had a great name. But nevertheless they represent the generation of my father, or perhaps the subsequent generations. It has brought dignity to Cuban music and the Cuban culture of past generations. I guess it's brought money into some of the sectors. I don't believe these sectors are distributing this money fairly. I think the artist class is still suffering. Nevertheless they are trying to expose the world masses to Cuban music. They are making money and getting rich, too. I kinda have mixed feelings about them because they are not sharing the money properly, but you can't deny they are doing a service.
You mentioned something outside this interview about follow-ups to the Buena Vista Social Club?
There have been a couple of productions with Juan Pablo Torres, with arrangements by him. The first one
Descarga AfroCubana
(1998 on Caimán) had Pachu (Feliciano Gómez) on trumpet and some locals from New Jersey. I was on piano. The second one took place on July 1st 1998 and had Ibrahim Ferrer and all the Buena Vista Social Club group except Rubén González. I was on piano. It was a production of Caimán Records New York and came out pretty good. However I understand from the president of Caimán Records, Humberto Corredor, that the album cannot be released because of the contractual responsibilities of the Buena Vista Social Club to other labels. When Juan Pablo Torres visited Cuba, he made a similar album there in 1999. When the producer completed the album and returned to the United States, he found out that he'd run into the same type of situation where the artists in Cuba had contractual agreements with labels which would not allow the release of the record. So there has been excellent stuff done that has not yet been heard because of bureaucratic mumbo-jumbo.
Was it in the style of the first Buena Vista, or was it something different?
It was the Buena Vista Social Club, but then again it had a different vibe. With Rubén González not being there, the band took a different course: not as traditional, but nevertheless, very attractive and avant garde. It's adjusted to the ideals of modern Cuba, because modern Cuban music is not at all traditional and is always looking for something fresh. Juan Pablo Torres' arrangements were excellent. My performance was very good. It is an album I'd recommend. I'm looking forward to seeing it being released. We'll have to steal or bootleg it, or kidnap Humberto and hold him to ransom!
What do you say to those who put down the Buena Vista Social Club-inspired revival of Cuban nostalgia?
To me this music has an inherent importance, however, some of my colleagues don't see it that way. This is really sad. I sometimes have to fight. Money is an element which is important, but it's not my prime motivation in being a musician. I want to really really play Cuban music, a style that is dying. I like to rescue some of the styles and forms that are no longer being played as they once were. It's our tradition, our heritage, and it must not be allowed to die yet there's always the same contradiction between business and art.
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text:
Definition of vertex in English:
noun (plural vertices /ˈvəːtɪsiːz/ or vertexes)
1The highest point; the top or apex.
Example sentences
- But what vertices of anxiety lie behind the gentle opposition of town and country, youth and age when Janice arrives in Dulwich.
- Balancing on the vertex requires enormous training in concentration.
- The game begins at one particular vertex, corresponding to the starting position of the game.
1.1 Anatomy The crown of the head.
Example sentences
- This will protect the perineum and assist in extension of the head as the vertex passes the symphysis.
- As the head clears the pubic symphysis, the vertex is pulled upward at an angle of 45 degrees to the floor.
- She has been left with extensive scars and areas of alopecia on the vertex, occipital, and right parietal regions of her head.
2 Geometry Each angular point of a polygon, polyhedron, or other figure.
Example sentences
- Einstein observes that the Menelaus theorem is symmetric with respect to the vertices of the triangle.
- Now add parallels beyond those in the same direction, through the vertices of the largest triangle.
- He also found another solution where the three bodies were at the vertices of an equilateral triangle.
2.1A meeting point of two lines that form an angle.
Example sentences
- Bond angles are calculated using the central atom as the vertex of the bond angle.
- An undirected edge connecting these two vertices indicates this relationship.
- Two adjacent vertices must be of the same colour.
2.2The point at which an axis meets a curve or surface.
Example sentences
- Each vertex unit can have one vector and one scalar operation in flight simultaneously.
- A graph is a mathematical structure consisting of vertices connected by edges.
- A coin may only be placed by dragging the cursor along an edge from one vertex to another.
Late Middle English: from Latin, 'whirlpool, crown of a head, vertex', from vertere 'to turn'.
For editors and proofreaders
Line breaks: ver¦tex
Definition of vertex in:
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= trending

subset: commoncrawl


text:
DZ:MA Ep. 2 – Holiday Hangover
Russell Winfield, Nick Visconti, Michael Gray, and Scott Vine take to the snowy hills to shred powder in the second episode of DZ:MA. From Dangerzone, "the aftermath of the holidays is hard on everyone. DZ:MA "Holiday Hangover" shows you how black Santa self-medicates his Post-Traumatic Christmas Syndrome. Shot on location at the Northpole."Read More


text:
Scott Ray Evans passed away on Sunday July 1, 2012. Scott was born on March 26, 1964 at Beal's Air Force Base in California.
Scott grew up in Tahoe City, CA and graduated from North Tahoe High School. Scott worked in the printing industry for the past 28 years in Sacramento , Palmdale and San Francisco. Scott also spent several months as a long haul truck driver in the Western United States.
Scott is survived by his parents James (Jim) and Elnora Evans of Tahoe City, CA. His brother Cary Evans of Galt, CA, his niece Aislynn Evans and nephew James Evans of Galt, CA.
The services will be held Saturday July 7th at the Christ the King Lutheran church in Tahoe City at 11:00 am, followed by burial at the Trails End Cemetery.


text:
Warriors coach Mark Jackson has forced the reassignment of assistant coach Brian Scalabrine, according to a Yahoo Sports report.
The team announced that Scalabrine has been reassigned to its developmental league team in Santa Cruz.
Yahoo's Adrian Wojnarowski says Jackson and members of ownership and team management don't agree about Scalabrine's performance and indicates management refused to let Scalabrine leave the organization. Scalabrine joined the club in July.
Wojnarowski writes: "Over the past two years, Jackson's difficulty with managing his coaching staff and creating a functional work environment has developed into one of the issues that threatens his future on the job, league sources said."
Check back for more on this developing story.


text:
A plan to replace the flood-prone Pope-Chaucer Street Bridge between Palo Alto and Menlo Park is facing opposition from some residents who don't want more flood walls along San Francisquito Creek.
Former Menlo Park mayor Steve Schmidt lives about two blocks from the span.
"There's a fear that this bridge thing will commit us to flood walls, when there are alternatives that haven't really been fleshed out," Schmidt said Thursday. "When people who are used to having this natural wonder coming through their neighborhoods, they don't like the idea of it being shut off from them."
The project is part of a larger effort to prevent Francisquito Creek from spilling its banks as it did at the bridge in February 1998. More than 1,700 homes and businesses were damaged to the tune of $28 million. The San Francisquito Creek Joint Powers Authority was subsequently created to coordinate flood control efforts.
The Pope-Chaucer bridge is one five spans along the creek the authority has identified for replacement as part of a channel-widening project between El Camino Real and Highway 101. According to authority documents, a new bridge combined with other improvements downstream would prevent the type of flood that happened in 1998.
But the authority's ultimate goal is to provide 100-year flood protection to homes and businesses near the creek in East Palo Alto, Menlo Park and Palo Alto. Compared to the flood in 1998, when the flow reached 7,200 cubic feet per second, a 100-year flood would see flows of 9,200 cubic feet per second, said Len Materman, the authority's executive director.
The higher level of protection would require such measures as an underground bypass culvert, upstream retention basins or flood walls -- possibly some combination of all three, Materman said.
A meeting on the Pope-Chaucer bridge project at East Palo Alto Academy in Menlo Park on Wednesday night drew 150 people, most of whom made it clear they did not want the span replaced if it meant tearing out trees near the creek and eventually erecting flood walls.
Materman said there are many, less vocal residents who want the higher level of protection.
"We're doing this for the communities, and we do have options and one of the options is to say no to the project," he said. "But I don't want the loudest voices at the front end of the project to dictate the project."
According to information presented at the meeting, a new bridge could be constructed at grade that would allow more water to flow through the channel. The carrying capacity would be even greater if the span is four feet higher.
A 3-foot-tall railing would be mandatory for both alternatives. But the higher bridge would also require 4-foot-tall retaining walls at the four street corners adjacent to the span.
If the authority pursues 100-year flood protection, the 3-foot-tall railing on the at-grade bridge would need to be replaced with a 7-foot-tall wall. The railing would remain at three feet with the higher bridge. And both would require floodwalls ranging from 3 to 7 feet tall upstream and downstream of the span.
If the new bridge is built at grade, as many as 25 trees would need to be removed. That number would rise to about 66 if the higher bridge option is selected, according to Materman.
An environmental impact report on the channel-widening project is scheduled to be released this summer. The public will have 45 days to review and comment. An analysis has already been finalized for projects downstream of Highway 101.
Email Bonnie Eslinger at firstname.lastname@example.com; follow her at twitter.com/bonnieeslinger.


text:
POSITION: Center
SHOOTS: Left
BIRTHPLACE: Quebec City, QC, CAN
DRAFTED: COL: 2005-44 overall
|Was named to the NHL All-Rookie Team and was a finalist for the Calder Trophy in 2006-07…Compiled an NHL rookie-record 20-game point streak from Feb. 3 to March 17, 2007…Has been selected to two NHL All-Star Games, 2008 and 2011...Finished the 2013-14 season ranked eighth on the franchise's all-time lists in goals (160), assists (298) and points (458)...Made his second straight appearance at the Olympics in 2014, helping the Americans finish fourth...Became in 2013-14 the 10th player in franchise history and fifth in Avalanche history to surpass 400 points...Was the third player from the 2005 draft class to reach the 400-point mark, joining Sidney Crosby and Anze Kopitar...Has led Colorado in scoring twice during his career (2007-08, 2009-10) and has finished among the club's top three scorers in every season with the exception of his injury-shortened 2008-09 campaign…Ended 2013-14 season with 116 career multi-point games...Helped the United States capture the silver medal at the 2010 Olympics in Vancouver…He has represented his country at three world championships (2007, 2012, 2013), finishing as one of USA's top two scorers at all three events…Helped the University of Denver capture the 2005 NCAA championship as a freshman.
Finished third on the Avalanche in goals (25) and was fifth in points (60) and assists (35)...His 25 goals were the second-most of his career (28 in 2006-07)...Led Colorado in faceoff percentage at 54.1%...Finished the season ranked eighth on the franchise's all-time lists in goals (160), assists (298) and points (458)...Made his second straight appearance at the Olympics, helping the Americans finish fourth...Appeared in all six games for Team USA, scoring two goals (2g/0a)...Surpassed 400 career points with a pair of assists on Oct. 12 at Washington...Became the 10th player in franchise history and fifth in Avalanche history to surpass 400 points...Was the third player from the 2005 draft class to reach the 400-point mark, joining Sidney Crosby and Anze Kopitar...Scored the overtime winner on Nov. 1 at Dallas, his third career OT goal...With a goal and an assist on Nov. 19 vs. Chicago, Stastny passed Valeri Kamensky (414) for eighth place on the franchise's all-time points list and passed Dale Hunter (142) for eighth on the franchise goal-scoring list...Missed two games due to back spasms, Nov. 27-29...Recorded a season-high four points (2g/2a) on Dec. 16 vs. Dallas, his first four-point game since Dec. 2, 2009 at Florida...Appeared in his 500th NHL game on Dec. 21 at Los Angeles...Led the Avalanche with 14 points (5g/9a) in January...Left the Jan. 11th contest at Minnesota due to a leg injury, forcing him to miss two games (Jan. 14-16)...Missed two games due to an ankle injury, Feb. 1-3...Left with a back injury on March 8 vs. St. Louis, forcing him to sit out four of five games from March 10-19.
2013-14 PLAYOFFS: Shared the Avalanche lead (Nathan MacKinnon) with 10 points overall and led the team with five goals in its first-round series with Minnesota...Made his third career appearance in the Stanley Cup Playoffs...Had three points (2g/1a), including the tying goal with 13.4 seconds left in regulation and the overtime winner, on April 17 vs. Minnesota...Became the first player in Stanley Cup Playoff history to score the game-tying goal in the last 15 seconds of regulation before scoring the winning goal in OT...Stastny and MacKinnon were the first Avs players with consecutive three-point games in the playoffs since Theo Fleury did it from May 1-3, 1999...Recorded a career playoff-high four points (1g/3a) in Colorado's Game 2 win vs. Minnesota on April 19...Scored a short-handed goal in Game 6 at Minnesota on April 28.
2012-13 SEASON: Finished third on the Avalanche in scoring with 24 points (9g/15a) in 40 games…Was also third on the team in assists…Tallied a season-high two goals, including the game winner, on Jan. 31 at Calgary…Recorded his 100th career multi-point game on Feb. 28 vs. Calgary…Left with a foot injury on March 24 vs. Vancouver, forcing him to miss eight games from March 27 to April 8…Placed on IR, April 1 (retroactive to March 24) and activated on April 10…Prior to the NHL season, Stastny played for Munich EHC in Germany, where he collected 18 points (7g/11a) in 13 games…Following the season, Stastny helped the United States capture the bronze medal at the 2013 IIHF World Championship in Stockholm and Helsinki…He led Team USA in scoring with 15 points (7g/8a) in 10 games as the Americans captured their first medal at the event since 2004…Stastny's 15 points ranked second among all tournament scorers, while his team-high seven goals finished third.
2011-12: Finished second on the Avalanche in goals (21), assists (32) and points (53) while appearing in 79 games…Led the team in power-play goals (7) and power-play points (19)…Won a career-high 55.4% of his faceoffs (789/1424), tops on the club and 15th best in the NHL…Was second on the club with 190 shots…Scored 34 seconds into the first period on Nov. 6 vs. Calgary, the fastest goal to begin a game by an Avalanche player in 2011-12…Moved past Mats Sundin (334) for 10th place on the franchise's all-time scoring list on Nov. 26 vs. Edmonton…Left the game on Dec. 4 vs. Detroit due to injury (torso), forcing him to miss 3three contests…Placed on IR, Dec. 8 (retroactive to Dec. 4) and activated on Dec. 12…Led the team with 10 points (2g/8a) in the month of January…Appeared in his 400th NHL game on Feb. 7 vs. Chicago.
2010-11: Ranked second on the Avalanche in scoring with 57 points (22g/35a) in 74 games…Was third on the team in both goals (tied) and assists…Led Colorado in faceoff percentage at 53.2%…Took the fifth-most draws in the NHL (1,524) and had the sixth-most faceoff wins (810)…Finished second on the club in shots (181) and tied for second in game-winning goals (3)…Made his first career appearance at the NHL All-Star Game on Jan. 30 in Carolina, tallying a goal and one assist…Paul and his father, Peter, became the eighth father-son tandem in NHL history to play in the All Star Game…Scored two goals, including the overtime winner, in Colorado's season-opening victory against the Blackhawks on Oct. 7…It was Stastny's second career OT goal and first since Feb. 26, 2008 at Calgary…Appeared in his 300th NHL game on Dec. 4 at Tampa Bay…Potted his first career short-handed goal on Dec. 10 at Atlanta…Tallied his 200th career assist before leaving with an upper back injury on Dec. 15 at Chicago…Missed one game, Dec. 17 vs. Ottawa…Won 20 of 28 faceoffs (71%) on Dec. 30 at Edmonton, tying his career high for faceoff wins set Dec. 2, 2009 at Florida…Collected his 300th NHL point on Jan. 2 vs. Vancouver, becoming the 11th player in franchise history to reach the 300-point plateau…He was just the fifth to reach 300 points since the Avalanche moved to Colorado in 1995…Also became only the third player from the 2005 draft class to surpass 300 points, joining Sidney Crosby and Anze Kopitar…Did not dress on Jan. 4 vs. Buffalo (illness)…Scored his 100th career goal on Jan. 22 vs. Boston…Became the 19th player in franchise history and eighth player in Avalanche history to reach the century mark in goals…Suffered a back injury on March 11 vs. Anaheim, forcing him to miss one game on March 12 at Nashville…Missed the final five contests of the season due to a leg injury.
2009-10: Led the Avalanche with a career-high 79 points (20g/59a) in 81 games…Ranked first on the team in games (tied), points, assists, power-play points (9g/16a) and faceoff percentage (50%)…Stastny's 59 assists were also a personal best…Took 1,703 total faceoffs, second most in the NHL (Sidney Crosby 1791)…Played in his 200th NHL game on Oct. 15 at Montreal…Surpassed the 200-career point mark with three assists on Nov. 4 vs. Phoenix…Tied his career-high with a six-game assist streak from Jan. 9-24…Had points in each of his first nine games after returning from the Olympics (5g/11a), his longest point streak of the season…Collected back-to-back multi-goal games for the first time in his career, March 11-14…Led the team with 20 points in March (6g/14a), the first Avalanche player with 20 points in a single month since Joe Sakic (20) in February of 2007.
2009-10 PLAYOFFS: Led Colorado in playoff scoring with five points (1g/4a) in six games…Collected two assists and won 14-of-24 faceoffs (58%) in Game 1 of the WCQF at San Jose on April 14…Scored a power-play goal in Game 4 (CQF) vs. San Jose on April 20.
2008-09: Missed a total of 37 games due to two separate injuries…Finished fifth on the team with 36 points (11g/25a) despite playing only 45 games…Missed 26 games after suffering a broken forearm while blocking a shot on Dec. 23 vs. Phoenix…Underwent surgery on Dec. 30 and returned to the ice eight weeks later on Feb. 24 at Atlanta…Was leading the Avalanche in scoring at the time of the injury with 31 points (10g/21a)…Sat out the final 11 games of the year with a broken foot suffered while blocking a shot on March 17 at Minnesota…Collected points in each of his first seven games, the longest scoring streak to begin a season by an Avalanche player since 1999-2000 (Joe Sakic, 8 games)…Picked up an assist in each of his first six games, setting a franchise record for longest assist streak to start a season…Tallied his 100th career helper on Oct. 14 at Calgary.
2007-08: Colorado's leading scorer with 71 points (24g/47a) in 66 games…Also led the team in assists and plus/minus (+22), and finished third in goals…First Avalanche player to score 20 goals in each of his first two NHL seasons since Chris Drury in 1999-2000…Was named to the Western Conference roster for the 2008 NHL All-Star Game (first career All-Star selection)…Did not participate in the game due to injury…Registered 46 points (16g/30a) and was +25 in 32 home games…Only Evgeni Malkin (1.56) averaged more points-per-game on home ice than Stastny (1.44)…Topped the Avalanche with 21 power-play points (3g/18a) and had the best faceoff percentage on the team at 51.0%…Was named the NHL's "First Star" for the opening week of the season…Led all players in scoring during the week with eight points (4g/4a) in three games…Was the first Avalanche/Nordiques player to record eight or more points in his first three games of a season since Joe Sakic in 1992-93…Tallied his first career hat trick in the season opener against Dallas on Oct. 3 at Pepsi Center…Stastny's three-goal effort marked just the fourth Opening Night hat trick in franchise history and the first since Dale Hunter in 1983…Recorded his 100th NHL point in his 99th career game on Nov. 11 vs. Minnesota…Became one of only six active players to record 100 points in fewer than 100 games, joining Alex Ovechkin (77 games), Sidney Crosby (80), Evgeni Malkin (89), Paul Kariya (98) and Sergei Fedorov (99)…Scored his first career overtime goal on Feb. 26 at Calgary…Did not dress on March 20 at Calgary (flu)…Had a pair of five-point games, Oct. 7 vs. San Jose (1g/4a) and Dec. 9 vs. St. Louis (2g/3a)…Missed 15 games after having his appendix removed on Jan. 17…Placed on Injured Reserve, Jan. 19 (retro to Jan. 17) and activated on Feb. 22.
2007-08 PLAYOFFS: Totaled three points (2g/1a) in nine postseason games…Appeared in his first NHL playoff contest in Game 1 (CQF) at Minnesota on April 9…Scored his first career playoff goal in Game 5 at Minnesota on April 17…Left in the first period of Game 3 (CSF) against Detroit due to a knee injury (April 29), forcing him to miss Game 4.
2006-07: Named to the NHL All-Rookie Team…Finished second in Calder Trophy voting behind Pittsburgh's Evgeni Malkin…Ranked second among NHL rookies in scoring with 78 points, the fourth-highest total by a rookie in franchise history…Only his father Peter (109 in 1980-81) and uncles Marian (89 in 1981-82) and Anton (85 in 1980-81) recorded more points in their first season…Finished second among league rookies in assists (50) and ranked fourth in goals (28)…Shared the NHL rookie lead with six game-winning goals and was one of only two rookies to appear in all 82 games…Stastny's season was highlighted by an NHL rookie-record 20-game point streak from Feb. 3 to March 17…It was the longest scoring streak in the NHL that season and the second-longest in franchise history behind Mats Sundin's 30-game stretch in 1992-93…The 21-year-old became the third-youngest player in NHL history to record a 20-game point streak, following Mario Lemieux and Wayne Gretzky…Stastny had 11 goals and 18 assists with a +12 rating during the streak…Led all NHL rookies in even-strength scoring with 46 points…Finished third on the Avalanche in all three scoring categories and tied for the team lead in GWG…Set an NHL rookie record by notching a point in 15 consecutive road games from Jan. 13 to March 17…Began the season wearing #62 before switching to #26, the same number as his father…Wore his #26 sweater for the first time on Oct. 21 at Montreal and scored his first NHL goal that night…Made his NHL debut in the season opener on Oct. 4 vs. Dallas…Recorded his first NHL point (assist) on Oct. 8 vs. Vancouver…Scored a goal in four consecutive games, Feb. 6-13…Named NHL Rookie of the Month for February after leading all first-year players with 19 points (8g/11a) in 14 games…Assisted on Joe Sakic's 600th career goal on Feb. 15 at Calgary.
Helped the United States capture the silver medal at the 2010 Winter Olympics in Vancouver…Skated in all six games for the Americans, tallying a goal and two assists while winning 54% of his faceoffs…Has represented his country at three world championships (2007, 2012, 2013), finishing as one of USA's top two scorers at all three events…Helped the United States win the bronze medal at the 2013 IIHF World Championship in Helsinki and Stockholm…Led Team USA in scoring with 15 points (7g/8a) in 10 games as the Americans captured their first medal at the event since 2004…Stastny's 15 points ranked second among all tournament scorers, while his team-high seven goals finished third…At the 2012 IIHF World Championship, Stastny finished second on the Americans with nine points (3g/6a) in eight games…Led the United States in faceoff percentage (64.1%) and was third in plus/minus (+6) during the event…Also played for the U.S. National Team at the 2007 IIHF World Championship in Moscow…Was Team USA's second-leading scorer at the tournament with eight points (4g/4a) in seven games.
2005-06: Was named to the WCHA First All-Star Team as a sophomore at the University of Denver…Garnered All-American honors from U.S. College Hockey Online (third team) and the American Hockey Coaches Association (second team West)…Captured the WCHA scoring title with 44 points in 28 conference games, becoming the first DU Pioneer to win the league scoring title since Dave Shields in 1989-90…Shared the overall team scoring lead with 53 points (19g/34a)…Was selected to the WCHA All-Academic Team.
2004-05: Named WCHA Rookie of the Year after helping the Pioneers win the national championship as a freshman…Recorded two goals and an assist in Denver's 4-1 victory over North Dakota in the NCAA title game and was named to the Frozen Four All-Tournament Team…Tied for third in the nation in freshman scoring at 1.07 points-per-game…Earned USCHO.com Rookie of the Year honors and was named to the WCHA All-Rookie Team.
2003-04: Named River City's MVP and first-team All-USHL after leading the club with 77 points.
Son of Hockey Hall-of-Famer Peter Stastny…His uncles, Anton and Marian, also played in the NHL…Older brother Yan is currently playing in Europe but has spent time with the Edmonton Oilers and St. Louis Blues…Was Colorado's nominee for the 2012 King Clancy Memorial Trophy (leadership qualities on and off the ice and humanitarian contribution)…Purchases tickets to every Avalanche home game, donating those tickets to over 90 different charity organizations (ranging from American Diabetes Association, Craig Hospital, Denver Boys & Girls Club to Special Olympics Colorado)…His tickets also go to numerous military organizations throughout the year, most notably during the Avalanche's annual "Military Appreciation Night"… During the 2013 National Salute to Veteran Patients Week, Paul and Matt Duchene visited the Denver VA Medical Center on Feb. 19 to visit military veterans who continue to fight personal battles of recuperation, pain and loneliness…Co-hosted a hockey clinic for cancer patients from Children's Hospital Colorado as part of the Avalanche's Hockey Fights Cancer initiative in October of 2011…Participated in Shop with a Jock at Dick's Sporting Goods, where he and Ryan O'Reilly helped 20 players from a special needs hockey team called the Ice Wizards shop for new hockey equipment…Is involved with Garth Brooks' "Teammates for Kids" foundation…Helped run a practice for the Avalanche's Pee Wee Team (the Boulder Bison) on Feb. 4, 2011 in preparation for the 52nd Quebec International Pee Wee Hockey Tournament…Stastny himself participated in the Quebec Tournament as a young hockey player.


text: In the first two articles in this series, I discussed archiving basics, relationships and dependencies, and specific archiving techniques for online transaction processing (OLTP) database servers. This article covers how to move the data from the OLTP source to the archive destination, what the archive destination might look like, and how to un-archive data. If you can un-archive easily and reliably, a whole new world of possibilities opens up.


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The carefully balanced botanicals in this formula have the power to internally cleanse your digestive tract and eliminate toxins through more frequent bowel movements.* You can feel fantastic again and renewed, as you release accumulated toxic matter that has been weighing you down for years.*
The Power of the Acai Berry
The Acai berry has been used for centuries by Brazilian natives because of its amazing health benefits as a nutrient rich "super-food." But science has recently discovered a remarkable new benefit that natives of the Amazon were not aware of. It turns out that this amazing fruit contains one of the most powerful antioxidants ever discovered.* In fact, it has anti-aging power to stop cell damaging free radicals dead in their path.* It is even more powerful than Vitamin E (based on ORAC units).
Anti-Aging With the ORAC Power of Antioxidants
ORAC stands for "Oxygen Radical Absorption Capacity". This is simply a measurement of a food's antioxidant power. When your cells absorb the oxygen molecules from the food and air you take in, those molecules are broken apart and a destructive particle called a Free Radical is released, tearing holes in the delicate fabric of your DNA. And damaged DNA can lead to accelerated aging and disease. Unfortunately, the vast majority of Americans do not eat enough food with the 1670 units of daily ORAC value needed for optimal protection from free radicals.*
|Amount Per Serving
|% Daily Value
|Acai (Assai Palm)(Euterpe Oleracea) Extract (4:1)(fruit)
|500 mg
|Blueberry (Vaccinium Angustifolium) Powder (fruit)
|150 mg
|Cranberry (Vaccinium Macroparpon) Powder (fruit)
|75 mg
|Litchi (Lychee) Extract (fruit)
|37 mg
|Mangosteen Powder (fruit)
|37 mg
|Pomegranate Powder (fruit)
|37 mg
|Cleansing Support Blend
|305 mg
|Cascara Sagrada Powder (bark), Slippery Elm Powder (bark), Ginger Powder (root, rhizomes)
Who is Nature's Secret?
At Nature's Secret we believe that total body wellness is the key to overall health.
The conventional approach to health sees the body as a set of separate parts, each needing their own separate treatments. Take a look at the way our medical system is organized - from cardiologists to dermatologists, we have a doctor for nearly every body part.
But nature has a well-kept secret...there is no separation between any of our systems. They are all intricately connected in a brilliant dance only nature could orchestrate. At Nature's Secret, we develop our life-changing products using this whole-body philosophy. We understand, for example, that sluggish digestion can lead to low energy levels and shouldn't always be treated with caffeinated energy tablets.
Our approach focuses on the origins of imbalance, not the signs of imbalance. That is Nature's Secret, total body wholeness and wellness.
Notice: This product contains Cascara sagrada. Read and follow directions carefully. Do not use if you have or develop diarrhea, loose stools or abdominal pain because Cascara sagrada may worsen these conditions and be harmful to your health. Consult your physician if you have frequent diarrhea or if you are pregnant, nursing, taking medication or have a medical condition.
|2 Tablets Contains:
|and more
Servings: 28
Serving Price: $0.49
Price Per Tablet: $0.24
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Information provided on this site is solely for informational purposes only. It is not a substitute for professional medical advice. Do not use this information for diagnosing or treating a health problem or disease, or prescribing of any medications or supplements. Only your healthcare provider should diagnose your healthcare problems and prescribe treatment. None of our statements or information, including health claims, articles, advertising or product information have been evaluated or approved by the United States Food and Drug Administration (FDA). The products or ingredients referred to on this site are not intended to diagnose, treat, cure or prevent any disease. Please consult your healthcare provider before starting any supplement, diet or exercise program, before taking any medications or receiving treatment, particularly if you are currently under medical care. Make sure you carefully read all product labeling and packaging prior to use. If you have or suspect you may have a health problem, do not take any supplements without first consulting and obtaining the approval of your healthcare provider. California Consumers – Proposition 65 requires sellers to notify California consumers of substances that are in many foods, plants, herbs and supplements with the following warning. WARNING: These products contain chemicals known to the State of California to cause birth defects or other reproductive harm.©2000-2016 Nutrition Express Corporation. All rights reserved.


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Kristi Curiali is ridiculously hot in her animal print dress, isn't she? Kristi doesn't hide a thing from you as she pleasures herself in every imaginable position. Lots of great closeups of her wet pussy combined with great views of her gorgeous face makes for one hot video that's worthy of watching over and over again.
Kristi Curiali kicks things up a notch! She is one hot and horny girl! She dances around with all the right moves as she strips. She proceeds to touch and caress every part of her toned body, she is on fire! Last, but not least she invites her dildo to help get her off, it works! She brings herself to a very intense climax! Now it's your turn.


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STOCKTON – A 36-year-old woman in the parking lot of Winco Foods on Montauban Avenue was jumped by two men about 18 to 20 years old shortly after 10 p.m. Thursday, police reported.
She was knocked to the ground and the suspects then took her cell phone and cash before fleeing toward Barbados Circle, according to police. Authorities are also looking for a blue Chrysler PT Cruiser that was in the parking lot with three occupants. It appeared to be connected to the robbery and drove off south on Montauban immediately after the crime occurred.
Location, ST | website.com


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NH incident highlights drum circles could be bad for your health
A recent report from Discover magazine has found that drum circles could be dangerous to the health of participants. The feature is based on the case of a young woman from New Hampshire who fell ill and then tested positive for anthrax after being hospitalised with severe flu-like symptoms, nausea, vomiting and abdominal cramps.
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LEGO Shop Home Themes City High Speed Chase
High Speed Chase
- Item: 60007
- Ages:5-12
- VIP Points: 0
- Pieces:284
- Retired product
Time for Chase McCain™ in his LEGO® City Elite Police car and Elite Police motorcycle buddy to chase down the burglar in his sports car!
Pursue the speeding villain with Chase McCain™!
Start a High Speed Chase through the streets of LEGO® City when the burglar escapes in his super fast sports car! He won't get far with the stolen cash when Chase McCain™ is on duty! Chase him with the Elite Police vehicle and Elite Police motorcycle! Then take a shortcut to block the road with a tire-shredding spike strip that will send the speeding villain spinning out of control. Includes unique code to unlock special missions and vehicles in the LEGO City Undercover video game. Includes 3 minifigures: Chase McCain, a burglar and an Elite Police rider with handcuffs.
- Includes 3 minifigures: Chase McCain™, burglar and an Elite Police motorcycle officer with handcuffs
- Features Elite Police vehicle, Elite Police motorcycle and a sports car
- Also includes spike strip, police barrier, traffic cone, gold bar and money bills
- Includes dark blue LEGO® City Elite Police elements
- Use the unique code included with the set to unlock special missions and vehicles in the LEGO® City Undercover video game!
- Deploy the spike strip!
- Slap the cuffs on the burglar!
- Elite Police vehicle measures over 2" (7cm) high, 5" (13cm) long and 2" (6cm) wide
- Elite Police motorcycle measures over 1" (4cm) high, 2" (6cm) long and 1" (4cm) wide
- Burglar sports car measures over 1" (4cm) high, 4" (12cm) long and 1" (5cm) wide
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Where to Wear Your Technology? Torso to Toe
The latest crop of 'wearables' makes smarter use of where they land on your body
Introducing WSJD, the Journal's new home for tech news, analysis and product reviews.
If the companies at the annual Consumer Electronics Show in Las Vegas this week got their way, our bodies would be draped in technology. Besides the heaps of new fitness tracking bracelets and smartwatches, there's a lapel clip that vibrates when you slouch, jewelry that lights up when your phone rings and more glasses that display information in front of your eyes. Yes, folks, there's even a "smart" bra.
While it seems like many of these companies are just playing gadget dress-up, the latest crop of wearables makes smarter use of where they land on your body. You're only going to find a display on your wrist or your glasses, but sensors that collect data about your body are more useful on your arm, torso, waist or feet.
We've mapped the latest wearable gadgets on the human body. Many of these are aiming to come out this year. Turns out, there are only a few regions where tech wizards haven't placed a sensor or a screen…yet.
Google Glass isn't alone in its quest to place a screen right in your line of vision. Epson's Moverio BT-200 smart glasses project games and movies in front of your eyes while the GlassUp eyeglasses show email and text notifications. They also have embedded cameras, so your head becomes a pivot mount for action photography. Then there is XOEye's XOne dual-camera glasses—no viewing screen, just a focus on high-quality photos and stereoscopic video. Still no word on when high-tech top hats will arrive.
Nothing says I love you like a necklace that blinks when you get a phone call. CSR's smart jewelry is just a concept at this point, but the company, which makes Bluetooth chips, hopes to spur more fashion-forward wearable tech with its pendants. At AT&T's CES wearable hackathon event, one team came up with SafeNecklace, which aims to keep tabs on kids during field trips.
Some companies are hoping you'll want to play it closer to the chest. Instead of having a heart-rate monitor's wire strapped to your chest, you can pull on the OMSignal's spandex shirt. Sensors wirelessly transmit heart-rate and breathing information to your smartphone. Heapsylon's Sensoria high-tech clothing does the same. Its sports bra and fitness T-shirt contain textile electrodes to monitor your vitals. And yes, you can toss the connected shirts in the washing machine—minus the delicate electronics, of course.
Slouchers are running out of excuses. Lumo BodyTech's Bluetooth LumoBack belt vibrates when your posture droops, and connects to the iPhone to remind you to sit up straight. If a Velcro belt isn't fashionable enough for you, the company's new Lumo Lift clasp can be put on a shirt or bra strap.
Wearable fitness bands like the Fitbit, Jawbone Up and Nike FuelBand have surged in popularity and now other companies want to get in the game. Garmin's vívofit, LG's Lifeband, Sony's SmartBand and Razer's Nabu will also wirelessly transmit information about your activity to your smartphone. But not everything on your wrist has to be sporty. The Pebble Steel smartwatch puts your text message and email notifications on your wrist in a design it thinks can rival higher-end timepieces. The Netatmo June, a jewel-adorned bracelet, measures sun exposure and tells you to get some shade via its smartphone app.
Many fitness trackers record your steps, but sensors in your shoes can collect even more information. Sensoria's electronic anklet magnetically connects to its high-tech socks. The anklet relays info like distance and speed to a smartphone, as well as stride. It can even show you the pressure on your feet to monitor potentially harmful stresses.
Not even the dog is spared the pressure to count steps. The Voyce sensor-packed collar measures your pup's step count and resting activity and compares it to the breed's averages. You can monitor the data in real-time via a phone app—another way to pass the time when you're at work. When it comes to wearables, the dog's neck is actually getting quite popular: Collars from Whistle and Tagg have similar connected features that let you monitor Fido remotely.
—Watch Joanna to try on all this gear at WSJ.com/Tech. Write to her at firstname.lastname@example.com or on Twitter @joannastern.


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Prices and availability are subject to change from the time and date that you print this page.
8/30/2016 6:40:48 PM. For Customer Service, please call 800.606.6252
Pickup Check store pickup options
buono appetito. Italian dining in clean glass, clean shape. Use solo or layer in: Bowl sized for soups to nuts.
Details and Dimensions
bowl. 4.5" dia. x 4"H
- Clear glass bowl
- Dishwasher- and microwave-safe
- Italy
- Made in Italy
Overall DimensionsHeight: 4" Diameter: 4.5"
Return/Exchange Policy
At CB2, we stand behind the quality of our products and want every purchase to be a positive experience. We will do our best to make things right if you are not satisfied.
non-furniture items
We will accept returns and exchanges of non-furniture items if they are returned within 90 days of customer receipt, a valid proof of purchase is provided, and items are returned in good condition (unused and unwashed).
stock furniture, rugs and rug pads
If you are not satisfied with your Stock furniture, rug or rug pad purchase, you must contact us within 7 days of delivery or pickup to arrange a return. The item must be returned within 30 days of delivery or pickup. The item will be inspected upon return, and a refund amount will be determined based on its condition. For furniture orders placed online, please call us at 800.606.6252. For orders placed through a store, please contact the store where the sale originated.
special order upholstery
We require a 50% deposit for all Special Order upholstery. This deposit is nonrefundable after a 72-hour change/cancellation window. These items are made to your specifications and cannot be returned or exchanged.
our designers recommend
frank serving bowl$6.95
frank dinnerware$2.95 - $5.95
ceramic spoon$2.50
stainless steel snack bowls$10.95 - $19.95
party spoons set of six$9.95ships free
party forks set of six$9.95ships free
cuatro platters$2.50 - $16.95
bento square platter$12.95


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*Approved by the U.S. Department of Transportation, provided the safety cover is securely fitted over the heating element, this item is safe for airline travel.
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Conair Mission Statement — Conair Corporation is an international consumer and professional products company focused on innovative and technologically advanced product development. Our vision is to continue to create the tools that improve the everyday lives of our customers all over the world.
Want to tell a friend about the 'mini Pro® By Conair Thermacell® Compact Curling Iron'? Just enter the information requested below and the info will be sent right away!


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Dice Sets
Dice sets, especially 7-piece RPG dice sets. Everything from metal dice sets and stone dice sets to pearlized and magma dice sets. Also includes other sets of dice such as 10d6 crystal dice sets.
Stone Dice Hematite 14mm Set and Bag$38.95
Out of stockA full set of dice made from Hematite. They look great and roll well nicely on any game surface. This set come complete with 7 stone dice in total and a black dice bag for easy access. These dice are for the serious gamer. Learn More


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John Joseph Garcia, 48, of Biggs, California, passed away May 4, 2012 in Phoenix, Arizona with his family at his side. Services will be held May 18, 2012, at 2 p.m., at the Gridley Cemetery.
John was born April 18, 1964 to Carmen Cabrera-Garcia and Santos Garcia, in Gridley, California.
John is survived by his wife of twenty years, Kristen Hampton-Garcia; his mother and father; four children: Joshua Garcia, 28, and Stevie Garcia, 26, both of Biggs, California, Jordan Garcia, 17, and Morgan Garcia, 15, both of Glendale, Arizona; two beautiful grandchildren; two brothers Arthur Garcia, of Gridley and Cuauhtemoc Garcia, of Marysville, California; two sisters Santa Garcia, of Gridley and Eryka Abella, of Yuba City California. He is also survived by 14 nieces and nephews.
Location, ST | website.com


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You're a fun outgoing guy, right? Step out for a day of entertainment in this Shopkeeper tank from RVCA. The tank displays rib-knit collar and arm hole openings with a left chest pocket. It also has a woven RVCA logo that will show off your style while you're out on the town!
- 100% Cotton fabric
- Imported
- Left chest pocket
- Rib-knit collar & arm holes
- Woven brand tag on pocket
- Imported
- Brand: RVCA
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Special event items are produced by manufacturers only after the outcome of a game or event. These are advanced sale items and will ship immediately after they are received in our warehouse.
Manufacturer direct items are shipped directly from the manufacturer. These items are not available for international or expedited shipping.
Customized items can be personalized with options such as your name, your favorite number, and/or designs. Some options may be limited by league rules.


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Proven Volvo Heritage
Volvo's Special Application Solutions are based on and share many common features and
components with Volvo standard machines, giving you superior performance and the security of
aftermarket support through Volvo's wide service network.
Operator environment
Volvo's industry-leading, spacious cab designs feature all-round visibility and a premium operator environment.
Volvo's state-of-the-art hydraulic system gives you the flexibility to utilize a variety of work equipment.
Ideal platforms
Using a Volvo base gives you the advantages of a heavy-duty platform with high mobility, load capacity and reliability.
Easily accessible service points are grouped together and as close to the ground as possible. Reduced service time ensures increased uptime.
Download the Volvo waste and recycling solutions brochure


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Therapy, counseling and life
Of all Dr. Breggin's books, The Heart of Being Helpful most directly addresses his approach to therapy. Sample chapters are included in this section. The final chapter of Brain-Disabling Treatments in Psychiatry describes the principles of effective therapy or counseling and the final chapter of Medication Madness describes "Principles of Life" for effective living. Most of Dr. Breggin's books have extensive discussions of non-drug approaches to children, adults and families. The articles here deal directly with therapy and life.
DocumentsDate added
Order by : Name | Date | Hits [ Ascendant ]
A dangerous assignment 05/15/2008
Patients are assigned being nice to everyone they encounter as homework.


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b. dolan wrote: Europe shows are in the works for 2011. This is just how we're setting things off.
As I said, we'll be rolling tape for those who are too far out or unable to travel. These shows will be an experiment, really. All told I'm trying to move close to 30 people from state to state for this to work... My thinking is this will either become:
1. an annual festival type thing that happens in NE
2. a traveling caravan that miraculously is able to move about the entire country
3. a disastrous misadventure that will never be repeated, but will look really interesting as it crashes toward the earth.
either way we're getting good footage out of it, is my feeling...
i'll be performing a ton of new material as well as stuff from the previous albums... new songs w/ the What Cheer among others.. excited to say the least.
b. dolan wrote: heh... i just imagined trying to get this collection of people past a border. almost no chance, i'm afraid.
either it's wait for DVD time or road trip time...


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First Tuesday Sessions
Experience, Expertise & Advice
This free series, led by experts in the field, consists of eight sessions held at CMA's offices in New York City and streamed online.
Sessions are presented the first Tuesday of the month (October–June) unless otherwise noted. RSVP is required and space is limited.
Video of each session is posted online following the initial presentation.
October 6, 3PM: Navigating Today's Professional Landscape
Rebekah Heller, International Contemporary Ensemble
Since its founding in 2001, the International Contemporary Ensemble (ICE) has grown into one of the most successful new music institutions in the world, thanks in no small part to its innovative, highly-integrated approach to the business of small-ensemble music. Bassoonist and core-member Rebekah Heller discusses what it takes to run a successful ensemble in today's performing arts environment, and how artistry and organizational savvy can—and should—coexist in a career.
Praised for her "flair" and "deftly illuminated" performances by The New York Times, Rebekah Heller is an accomplished chamber, orchestral, and solo musician. In addition to performing with ICE—where she is also responsible for individual giving—Rebekah has been a featured soloist with the Seattle Symphony Orchestra and the Nagoya Philharmonic. Her debut solo album of world premiere recordings, 100 names, was released in 2013.
November 3, 3PM: The Business of Art—Is Fiscal Sponsorship or a 501(c)(3) Corporation Right For You?
Diana J. Basso, Law Offices of Diana J. Basso
Considering fiscal sponsorship? New York-based attorney, musician, and not-for-profit board member Diana J. Basso walks you through the important factors to consider, including: your long- and short-term creative goals; common expectations of fiscal sponsors; current public policy; and what it takes to form your own 501(c)(3) corporation.
The Law Offices of Diana J. Basso was founded in 2008 to serve the legal needs of New York's entertainment, fashion, music, and media community. From 2005-2008, Ms. Basso was a Litigation Associate at Beatie & Osborn LLP, specializing in intellectual property and securities fraud litigation. Prior to her work in law, Diana served as a media executive at Conde Nast, Meredith, Gruner & Jahr, Working Woman, Rolling Stone, and Village Voice Media.
December 1, 3PM: Moving Forward—Self-Managing Your Career
Karen Kennedy, 24 Seven Artist Development
A session for emerging artists and ensembles on the essential materials needed to transition successfully into the professional world. Learn how to craft engaging web and publicity content; gain strategies for introducing your work to the public with maximum impact; and begin to identify opportunities for career advancement.
Karen Kennedy is the founder and president of 24 Seven Artist Development, an artist management firm founded in 1992 to provide full-range strategic marketing and career planning. Among her current and past clients are Kenny Barron, Stefon Harris, Jacky Terrasson, Gretchen Parlato, David Sanchez, and Camila Meza. Ms. Kennedy previously served as an executive at several major record labels including A&M Records, Perspective Records, and Silas/MCA Records
February 2, 3PM: DIY Publishing: Your Work, Your Way
Allison Loggins-Hull and Nathalie Joachim, Flutronix
Allison Loggins-Hull and Nathalie Joachim explore the pros and cons of traditional and DIY approaches to publishing your music—as well as projects that employ a hybrid of the two—in the context of a dynamic career strategy. Learn what's changed in music publishing, what it takes to sell and market your music on your own, and how publishing your compositions can lead to other exciting professional opportunities.
Allison Loggins-Hull and Nathalie Joachim comprise Flutronix, an acclaimed flute duo whose performances feature "a unique blend of classical music, hip-hop, electronic programming and soulful vocals" (The Wall Street Journal). The duo's work as performers, producers, and composers has led to high-profile collaborations and performances at the Brooklyn Museum, Lincoln Center's David Rubenstein Atrium, and WNYC's Greenespace, as well as clinics and educational programs at The Juilliard School and the New England Conservatory.
March 1, 3PM: The Composer-Ensemble-Commissioner Relationship
Martin Bresnick, Yale School of Music
Commissions are a composer's daily bread, but agreeing on an appropriate commissioning fee can be daunting, given the many factors at play. Composer Martin Bresnick shares hard-won wisdom on how to keep fee negotiations fair and amicable, plus advice on responding to commissioning requests, setting pay scales, negotiating creative control, and getting your work performed more often.
Martin Bresnick's compositions—from opera, chamber, and symphonic music to film scores and computer music—are performed throughout the world. Among his many accolades are the Elise L. Stoeger Prize from the Chamber Music Society of Lincoln Center, the Charles Ives Living Award from the American Academy of Arts and Letters, the ASCAP Foundation's Aaron Copland Prize for teaching, and a Guggenheim Fellowship. He is currently professor of composition and coordinator of the composition department at the Yale School of Music.
April 5, 3PM: Finding and Keeping Your Audience
Michael Mwenso, Jazz at Lincoln Center
Join Michael Mwenso—a seasoned performer and a programmer at Jazz at Lincoln Center—for a look at audience building from both sides of the stage, with a focus on real-world insights from J@LC's community-forward programming strategies.
Vocalist Michael Mwenso has performed with Jon Hendricks, Jamie Cullum, Reginald Veal, Maceo Parker, Dee Dee Bridgewater, Wynton Marsalis, and many others. In 2010, he was invited by Wynton Marsalis to join the programming team at Jazz at Lincoln Center and head the After-Hours program at Dizzy's Club Coca-Cola, where he currently is employed.
May 3, 3PM: The Music Business Lowdown: Records, Labels, and the Industry
William Brittelle, New Amsterdam Records
In a vastly-changed music industry landscape, where do record labels and traditional album releases fit in? William Brittelle, of New Amsterdam Records, offers advice on how to craft and release a recording that drives public engagement and promotes greater awareness of your art.
William Brittelle is a Brooklyn-based composer, presenter, and producer of electro-acoustic music. His compositions have been the subject of features in The New York Times, the Los Angeles Times, Time Out NY, and NPR's All Things Considered, and have been presented across the U.S. and internationally. He co-artistic directs New Amsterdam Records and New Amsterdam Presents, a vital Brooklyn-based record label and presenting organization.
June 7, 3PM: Developing Your Online Presence: Websites, Social Media, and Email Marketing
Thomas Deneuville, I Care If You Listen
A well-designed website and active social media presence are considered essential for today's artists—but how can you stand out from the crowd? Thomas Deneuville describes the basic toolbox available to today's musician and how it can be leveraged to develop a personal, professional, and impactful online presence.
Thomas Deneuville is the founder and editor-in-chief of I CARE IF YOU LISTEN, an award-winning blog and digital magazine dedicated to New Music. He also founded Sustainist Media, a digital media and promotion company whose clients include Carnegie Hall, the Curtis Institute of Music, Naxos, the Royal Conservatory in Toronto, and many more.
Sponsored By
First Tuesdays is made possible by the National Endowment for the Arts, the New York City Department of Cultural Affairs, and the Doris Duke Charitable Foundation.


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