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Printed from the IBC Life Sciences Web site on April 25, 2014 4:08 AM ET.
Page location: http://www.ibclifesciences.com/BDPWeek/overview.xml
March 30 - April 02, 2015 · Hyatt Regency Huntington Beach Resort & Spa · Huntington Beach, CA
Get up-to-date with the global industrial biotherapeutic community from BioProcess International™ Magazine
"Good conference, great location" - Gregory Stromberg, Senior Associate Scientist, Biogen Idec
"Great week, receiving knowledge about process validation from industry leaders and experts" - Michael Lau, Process Scientist, Regeneron
"This is an excellent place to get an update on what's happening and what's new in bioprocessing" - Venkat Mangalampalli, Staff Scientist, Vaccine Production Program Lab, VPP NIH
"Great conference! Time well spent" - Laura Andronic, Process Engineer, Stem Cell Technologies
"Very useful for development of new biotech products" - Lucimara Toso Bertolini, R&D Manager, Ourofini Animal Health
"..a valuable overview of biotech" - Nazila Habibizad, Director CMC Analytical, Onyx Pharmaceuticals Inc (Analytical course attendee)
"It was an excellent course that put all the pieces of the puzzle together for me" - Sheetal Girase, Research Investigator, Takeda Pharmaceutical (Analytical course attendee)
"… covered the entire spectrum of the industry regarding cell culture and fermentation technologies.." - Michael D. McLean, Director of Research, Platform Corp.
"It was excellent…practical experiences from a lot of different projects" - Jae-hwan Kim, President, Osong Medical Innovation Foundation
BDP Week 2014 took place recently, welcoming roughly 700 attendees to San Diego. The event featured 4 days of case studies and new data presentations across 9 conference tracks. Day 1 keynote speakers Joanne Beck (Shire) and Matthew Croughan (Keck Graduate Institute) kicked off the conference with presentations on Lifecycle Management of Production Processes and Viral Contamination: Lessons Learned over 30 Years, while Day 3 keynotes Jeffrey Baker (FDA) and R. Thomas Warf (BARDA) gave provocative talks on Drug Quality and Flexible Production Technologies and Facilities. One of the highlights of the meeting was Tina Larson's (Genentech) "10 Innovations in 10 Minutes" discussion during her talk which discussed some of the key technologies driving progress in the field.
Several interactive discussions in the Process Validation, Manufacturing, Raw Materials, Viral Safety and other tracks were filled with audience Q&A (and debate - especially in the Town Hall Forum on Change Control and Change Management of Single Use Systems) which allowed for a healthy exchange of ideas. There was a lot of activity in the exhibit hall around the posters (coinciding with the launch of IBC's Virtual Poster Series which was on display) and there was excellent networking and activity in the exhibit hall, especially during the "Mardis Gras" and "Mexican Fiesta" receptions and the BDP Week Passport Prize Drawings. The BDP Week Beach Party, which took place outside overlooking beautiful San Diego Harbor, was a hit with attendees who stayed long after sunset to continue the networking.
"I thank you and the conference organizers for a great BDP week! It was a fantastic time, I learned a lot, and had some very nice exchanges.." - John Tsavalas, Ph.D., Co-Director, Nanostructured Polymers Research Center, University of New Hampshire
"Very well organized conference covering key topics across the industry. The ADC track case studies presented were valuable information" - Elena Luganovski, Manager, Daiichi Sankyo


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Welcome to the News Archive! Click
to go back to Wolfboysnet.org
Feb. 2013
January 2013
December 2012
Achived News
February 2013
02/08/2013: Hello, all! We have a few applications for you to download, now...
Pac Man
Second Life
Jarnal Journal maker
January, 2013
Joe Wolfboy is now playing Halo 4! Friend him on
XBOX LiVE
!01/08/2013: We now have two more games
! To play, simply right-click on the folder in Windows Explorer and select "Extract Files". The two games are Pacman and Snake, two games which I think you may find very interesting. Double-click on the .EXE application within each folder.
01/01/2013: Don't forget to play our Halo: Combat Evolved challange! Click
to get it today!
December, 2012
12/31/2012: Happy New Year, everyone! I hope this year will be better than last!
Archived News
November, 2012
11/29/2012: The site will be going under construction during the New Years season! Good bye 2012 and hello 2013! I hope that everyone will love the new site!
11/20/2012: TWbP edits coming soon! Watch out on YouTube for new videos and updates about Wolfboy and his books.
11/06/2012: Happy Halo day! Remember to Vote first, Play second!
October, 2012
10/30/2012: Hallo, all! Today is the day that the new website goes up and the old comes down. Now I will still be having my yearly reboot of the site, so expect a lot to change! Now, a few changes will be: No more home.html (the homepage will be the root); No more leftovers (all old, unneeded files will be deleted); and possibly a new UI (user interface both mobile and desktop).
September, 2012
09/12/2012: Hello, all! Last night I uploaded the new BETA site for the main site! Over the next few days I will edit and upload the BETA fot The Wolfboy Project. Don't forget you can get Halo: CE for the PC for free
. 09/12/2012: Hello, everyone! I wanted to tell everyone that I now have been working on my Halo: CE for PC setup for a while now and you can view it by downloading the primer app
! Thanks for your patronage! 09/07/2012: Hello, all! School has started and if you haven't noticed, I have been posting to my blog about school. Now, my forum, however has ZERO patrons. Please help me change that! Thanks for your guys help here!
August, 2012
08/18/2012: Three more days until school! UPDATES TO THE SITE: WBNN (The Wolfboy Podcast page) will be removed today at about 6:00pm EST; The Wolfboy Project mini-Site will be finished by at least 6:45pm EST; We will be re-adding the download center through our online SERVER through DriveHQ.com; and more micro-updates through the rest of the day! 08/17/2012: Four more days to edit the site before school starts! The Wolfboy Project is almost done behind the curtains, but I am soon going to do away with the Wolfboy.NET Player. It is too bulky and no one uses it, so starting with those edits tomorrow if I get on. The One Lost is becoming a hit on Goodreads! I'll have a link on the new Wolfboy Project page soon! 08/05/2012: I'm going back to school on August the 22nd! Unfortunately, that means that I'll be leaving you guys for a while, but, don't worry... you'll live! I'll be on Fb and YT most everyday with updates (and VLOGS) so check me out there! I will also, now that school is starting, be posting examples of my homework and possible solutions so you all can put your thinking caps on everyday! Now, I do need to mention that the WBRN is going down and will be replaced with the
Wolfboy Podcast
! The Wolfboy.NET Player v2.0 is coming soon! Check here for more updates! I hope that you will enjoy the updates and all the future possibilities of the site!
July, 2012
07/09/2012: Cool new layout! I love it! Do you? I'm going to try to add a comments box so you can comment on every day posts here and on every page! 03/31/2012: Wow! Now Joe has all of his social media on every page! Also: I will be adding some new things to the
soon! News will be added from Yahoo! News and will contain the latest stories from Y! News! I will also gladly tell everyone that I'm working on getting a YouTube button for my YT to go along with my social media buttons! 03/10/2012: Holy Macorloe! Look at this! Click
to look at our new home search page! Comming soon to the page:
News from RELIABLE Sources
Pictures and Links
and more!
03/09/2012: Wow! This is a whole new site! Click the "D" button beside the facebook follow me button to view the Wolfboy Download Center! Or click
! 02/25/2012: Check out all of our new stuff in the new
that is semi-cross-browser! I'm on Facebook, Google+, and twitter! Click the "Follow Me" buttons at the top to the page! 02/16/2012: Are you ready to have some fun? Will the Wolfboy FanClub is here to offer you some awesome, exclusive deals on software, hardware, and more! Every month a newsletter is sent out filled with exclusive videos, pictures, and downloads! Sign up today! Simply choose how much you want to pay! below! 02/16/2012: Are you all ready for the new Wolfboy.NET PLAYER? Well v. 1.0 is online! Click
to view the first BETA page! 01/24/2012: Ready to get in the Fan Club? The FC will be a newsletter/magazine sent to your e-mail onece a month for a year! The price is only $3 and it supports all my work that I do here to help you guys! Signup is easy! Simply click the PayPal button below to go to our secure PayPal site and buy the subscription! Thanks for looking if you don't buy it, you're still Awesome!
01/19/2012: Hello, all! If you came here because of the new Login button, you've come to the right place. This will be covered more in-depth on my blog,
. I love the new system, though you cannot change your info without my doing it for you. I am working on a better server, but not working so far, so... please be patiant as it may take some time to work out the kinks! 01/18/2012: Hello, all! I've been asked several times to create a fan club, and, if you remember correctly, I had one for three days, but the hosting server was full. Twenty people, but that was it... unfortunately... but soon we'll be using a MySQL server... signups can be ordered
. If you want a month free, please e-mail us at
01/08/2012: Ready to play in a world of math? Now JMSP supports and plays DimensionM: Evolver! Have a question? E-mail out tech team at:
or call us at: 740-358-0265 (Mon-Fri: 10am EST-4pm EST). Where can you download the full game? Well... right
! 01/03/2012: Like a flash, the wolves already have half the site looking much better! Thanks for all who pushed and helped! Thank You! 01/02/2012: Happy New Year, sorry for not posting, I've been busy with my You Tube videos, and comments, for direct contact, follow me on
Also: We will be performing a lot of work on the site, and soon, hopefully, I'll be able to finally get a side news pannel! Yay! BTW, the Audio page won't be going up for a few months, so sorry for that, but like always, follow my blog, circle me on G+ and follow me on twitter! Also... did you know we had a newsletter? Sign up at
. (Simply click the link and sign up in the sidebar!) 10/26/2011: Wolfboy.NET is not supporting Chrome at this time, we apologize for this event, and possible misunderstanding... but at the same time, we thank you for coming to Wolfboy.NET and spreading the word! Over 300 people last month! That calls for a celebration, eh? Well in three weeks, Wolfboy.NET (in part with JMSP) is welcoming a new page! What it is... you'll have to wait to find out! 10/05/2011: The passing of Steve Jobs, please read our doc
10/14/2011: Wolfboy.NET Videos are up!

subset: commoncrawl


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Seattle >Food & Dining > Anchovies & Olives
1550 15th Ave, Seattle, WA | Directions 9812247.614906 -122.312770
Sun-Thu 5pm-11pm
Fri-Sat 5pm-12am
Neighborhoods: Capitol Hill, Stevens
This modern room in the heart of the Hill serves up gifts from the sea including a killer scallop crudo and grilled octopus. The fried chick peas and $1 oysters//$6 bubbles Sunday - Thursday 5:00 p.m. - 6:00 p.m. and 10:00 p.m. to close seal the deal.
I have been a fan of this place since it opened. Always the freshest seafood on Capitol Hill - and rivals any stalwart seafood joint in the city. The open kitchen provides your entertainment for the night. Don't disregard the homemade pastas and if geoduck is on the menu, order it! Also, make sure to check out Oyster Power Hour: $1 oysters, $2 Peronis and $5 bubbly Sun-Thurs, 5-6p.
Service Sucks! – While the food at A &O may be to die for, I will never know since our "server"/bartender never really gave us the opportunity to try anythinhg other than bread and olives! We arrived early for our 8 PM reservations, waited at the bar for 45 minutes to get seated, ordered IMMEDIATELY b/c we were starving and got up and walked out at 9 when no food had arrived at our table, no one checked in to see if we were OK, to apologize for the wait-nothing. In addition to that, they were out of a few menu items, including one we had hoped for...
Why is the bartender waiting tables on a Saturday night? She's making drinks, coffee, serving patrons at the bar, blah, blah blah. I will not return to this restaurant and will be ever so cautious about trying any of the venues in the Ethan Stowell group. There are too many other interesting places in the city to try that are very happy to have my $$$ in exchange for actual food!
Seasonal Seafood Restaurant – I am honestly hesitant to give A&O three stars. Upon three visits in the past 6 months, both the food and service were inconsistent. I am a fan of Ethan Stowell's work, however A&O doesn't seem to shine quite as bright as his other restaurants. That being said, there are few things they do well. The sea urchin pasta, which I unfortunately missed was speculated to be one of the best dishes in Seattle this summer. My experience with their pasta dishes is that they are bland. Honestly, I could make something better at home. On a recent visit however several dishes were fantastic including the soft cooked egg topped with anchovies, fresh octopus served with roasted potatoes and a basil pesto. The flavors in both dishes were bright and well layered. The "Crudo" is your best bet at A&O, especially the hamachi, accompaniments vary depending on what's in season. Food is served family style, although in my opinion the portions are not on the generous side.
One of the best times to go to A&O is during their power hour aka happy hour. They have an early and a late night one, during which oysters are a mere $1 a piece. Drinks are also heavily discounted, wine $3 per glass and $2 Pieroni's. The serve a house "fish & chips" for $8, the fish changes depending on what they have in house, one night it was whole sardines, the next time artic char belly. The chips are more like a waffle potato chip, very thinly sliced. Be a bit adventurous with their take on fish and chips.
During several visits, I was completely unimpressed with their level of service. Water glasses left unfilled, unfriendly servers and lack of knowledge about oysters on special etc. Service is equally important as the food for the experience. I would like to think these were off nights for them recently as I really do hope in the future I can love this restaurant as much as others do.
Great place for my last meal of the decade! – We came here for a special prix fixe New Years Eve dinner. They had three seatings for dinner, and we were in the second one.
There were five courses, beginning with oysters. The remaining four courses had two choices each. I believe it was a crudo, a pasta, a fish, and desert. Among the three of us, we ordered one of everything, so got to taste it all.
The oysters were dusted with pollen, and finished with an ice/granita. They were a kind of oyster I've never tasted before, and I should have written down what type they were. They were a bit bottom of the oceany/fishy for my taste, and I missed having a bit of acid.
Second course was the crudo, which was incredibly delicious. One of the fishes was paired with blood orange, the other with paper thin slices of persimmon. Both were beautifully balanced.
Third course was a choice between a squash risotto and squid ink pasta. The pasta was delicious, sprinkled with garlic bread crumbs, and studded with some of the tastiest, best prepared mussels I've ever had. Not one bit chewy. The risotto was also very tasty, and well cooked. I've been despairing of the trend toward al dente rice in risotto lately... none of that here. Tender and creamy, with lots of flavor.
By this point, I was stuffed, so was unable to do the fish course justice. Cod with something or other and preserved lemons, and arctic char with trumpet mushrooms. Both well-cooked, with a nice crisp coating from the pan.
Deserts were shockingly good. A chocolate ganache -type cake with orange ice cream, or a almond cake with cranberry and creme fraiche. Neither one too sweet, but both delicious. I wouldn't leave here without getting a desert.
Now on to the service: I'm not sure if this was just because we were at a prix fixe dinner, which they don't usually do, but things were a bit off. I noticed the table next to me getting their first course before the bread, and otherwise dishes not being delivered at the right times. Our server, while knowledgeable and charming, often seemed distracted and unavailable. I also watched an interaction between a diner and the hostess... the diner asked if there was a place she could store her wet umbrella, and the hostess just said no. No offer to find a home for it, or suggestions for where to store it during her meal. Later it was in the way of the server. This is Seattle for chrissake. Figure out umbrella storage!
All in all, delicious seafood, and a luxurious dining experience.
Delicious place to eat! – I had a very romantic and quite dinner at Anchovies&Olives Restaurant a week ago and I have to say ..one of the best...excelent atmosphere, service and quality of food. I would definitely recommended you to try !!!!
Citysearch Editorial Review – For an innovative Italian take on seafood--geoduck gnocchi, squid ink risotto--head to this simple Capitol Hill restaurant.
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Narrow your search
The idea of running 26 miles can be daunting, especially if you're a beginning runner. But a slew of fitness trackers and GPS watches are helping people who have never run before get started and stay on track. CNET's Sumi Das shows us how the devices are motivating runners to finish their first marathons.
Race organizers are concerned after many smartphone-preoccupied participants in this year's race caused foot traffic accidents.
Organizations are setting up sites useful for tracking down friends and family, donating blood, or finding out the latest news after the Boston Marathon tragedy.
YouTube creates a spotlight page devoted to video and news related to the deadly bombings near the Boston Marathon finish line.
Strangers the world over step up in droves to boost crowdfunding efforts for severely injured victims of this week's Boston Marathon bombings.
As news of the explosions spread, many phone lines were down, but some people sent text messages or used Twitter and Instagram to let others know they were OK.
A ReWalk robotic exoskeleton allows a paraplegic woman to start and finish the London Marathon, covering the 26.2-mile course over 17 days.
A challenge is under way to help one lucky nonprofit come up with a new Web site and marketing plan.
A recently launched start-up called FindTheBest takes the comparison engine model that Kayak made popular and attempts to apply it to everything else on the face of the planet. It might work.
High school and college students will be vying for the bragging rights that come with designing and building the most fuel-efficient vehicle.


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It is said that we have over 100+ natural cold springs in our little town of 2000. Most of them are in people's back yards, a few inside their houses or stores downtown. We are lucky enough to live on Spring St., which has some of the most well-known historical springs in the city and have extensive gardens around them, paid for by the City of Eureka Springs and the work of mostly one employee, who must have 10 green thumbs. Our favorite is just down the street from us (of course!) and is called Grotto Spring.
"The words "Esto Perpetua" emblazoned upon a stone above the entrance to Grotto Spring declare the prevailing belief that these healing waters would flow forth forever. Early Townspeople discovered the spring under an overhanging rock ledge a short distance from the well known as Dairy Spring. Extensive street construction on "The Boulevard" as Spring Street was then called, began in 1890. This necessitated construction of an enclosure of limestone and ornamental stonework hand worked by very skilled stonemasons. Grotto Spring was located only a few steps from the Electric streetcar line. Some of the first Ordinances enacted by city government were to protect the springs for public use in perpetuity. The wooded area on the hillside above and around the spring is delineated by ordinance that appears to be Oak or Sheffield Spring described in Ordinance No 81 dated February 14, 1886. The Sheffield family resided nearby in 1880 and may have operated the original dairy for which the hollow below this site was named."
Today, Grotto Spring can be entered down a flight of stone steps, into a cool (literally!) atmosphere. The modern gardener, Don E, started lighting candles in the cave a few years ago, so it's a very peaceful and spiritual experience, where many people leave notes for their loved ones or their hopes and dreams scribbled on a piece of paper. There's even a bench you can sit on. Outside, he does a wonderful job with color, texture and shapes, even a couple of topiary animals.
Stop by this beautiful oasis the next time you're visiting Eureka Springs (and hopefully staying with us!) and you'll find one of your favorite things to do when you visit our lovely little corner of the world.
Warmest regards,
Jeff and Nadara (Sam) Feldman – and Sophie, too!


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QUEST FOR THE CUP: Game 4 Recap | Bylsma On Loss | Player Reaction | Not All Fleury's Fault | Fan Reaction | Series Notes | Pens News | NHL NewsWATCH LIVE: Bald Eagle Cam | Photo Gallery | More
Are We Also Headed For The "Dairy Cliff?"
You've heard about the Fiscal Cliff, but what about the Dairy Cliff? While the threat of the fiscal disaster looms in Washington, there's another issue that's not getting much attention. And within days it could have you paying outrageous prices for milk; KDKA's Susan Koeppen reports.
Johnny Rockets Coming To Kennywood This...KDKA-TV Nightly Forecast (4/24)Woman Unaccounted For After Heidelberg...Judge Releases Police Interviews With...CMU Computer Club Discovers Warhol...ARL's Wildlife Center Gets Special...Drilling Under Schools, Parks Working In...Accused Dognapper Makes Court AppearanceAuthorities Release Richardson 911 CallsDefense Attorneys Trying To Discredit...Franklin Regional Stabbing Victim Now...Franklin Regional Stabbing Victim Tells...Armstrong County K-9 Injured In Line Of...Does It Really Do That? Spin MopBishop Heading To Rome For Canonization...FDA Wants To Start Regulating...Woman Accused Of Stealing Cancer...New Details Emerging In Elliott Fatal...Defense: Adams' Toxicology Tests...Angie's List: 3 Blunders To Avoid To...


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As part of our commitment to help students and their parents afford a Christian education, we have a very aggressive scholarship and grant program. We'll be glad to assist you as you build a financial aid package that will allow you to attend here!
In addition to the awards above, students will be considered for a variety of other grants. To qualify, students must complete the FAFSA (Free Application for Federal Student Aid). Priority will be given to those students completing the FAFSA by March 15.
The following awards and grants are awarded for one academic year. Renewal is contingent on completion of the FAFSA, current funding levels, and a continued demonstration of financial need and satisfactory academic progress.
Students who are the children of an alumnus of Faulkner or siblings of a current Faulkner student will be granted a $500 per year award.
Students who receive awards from Faulkner representatives at various Christian summer camps may be granted an award up to $500 per year.
Must be a dependent child of a full-time employee of a Faulkner sister college participating in the reciprocal tuition discount program. This award is for up to 50% of tuition when coordinated with all federal, state, and other institutional grants.
Must be a graduate from a high school affiliated with the churches of Christ and a member of the National Christian School Association (NCSA). This award is for up to 25% of tuition when coordinated with all federal, state, and other institutional grants.
This non-need based award of $1000 per year will be given to applicants who are active members of the church of Christ. At least one recommendation letter from a minister or elder of the student's congregation is required.
Some scholarships are awarded by academic departments in addition to those awarded by Faulkner Student Financial Services. Contact your department to learn more about potential scholarship opportunities.
Students who participate in the Dual Enrollment program for at least two consecutive semesters may be eligible for a $1000 per year award.
Students who are homeschooled are eligible for an award of up to $1,000 per year.
Participants in the Lads to Leaders/Leaderettes program who submit scholarship applications by the published deadline each year will be considered for this award. The National Office of Lads to Leaders/Leaderettes will recommend students to Faulkner who then may be awarded a scholarship. Award amounts range from $250-$7500 per year.
Must be a child of a full-time church of Christ missionary currently in a foreign field and supported by a U.S. church of Christ. This award is for up to 75% of tuition when coordinated with all federal, state, and other institutional grants.
Out-of-State students who demonstrate financial need as evidenced by the results of the yearly FAFSA may be awarded this grant.
First-time students who apply for admission before October 31 may be granted a one-time $500 award. First-time students who apply for admission before December 1 may be granted a one-time $250 award. First-time students who are accepted for admission within 6 weeks of their application date may be granted a one-time $250 award.
This $500 non-need based award may be given to students who complete the filing of their FAFSA by March 15.
Our aim is to make Faulkner affordable to our River Region students. Commuting students from Montgomery, Elmore, and Autauga counties will be considered for this award. Awards range from $1,000 per year up to half tuition and are based on financial need and available funding.
This award may be available to new freshmen and new transfer students who have achieved these levels:
Students interested in applying for this award:
Completed packets consist of:
This award can be used toward general tuition or fees in the traditional program only. Awards range from $1,000 to $3,000 per year. Student must maintain at least a 3.0 GPA while at Faulkner.
The University Grant may be awarded in varying amounts to students who demonstrate financial need as evidenced by the results of the yearly FAFSA.
If you're interested in seeing how affordable an education at a leading Christian university can be, please contact us. Better yet, begin the process by inquiring for more information or applying on-line.


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News, reviews & videos for the newest, hottest and fastest cars and motorcycles.
About Maxim's Rides Section
Maxim Rides is where speed and style come together to create a badass collection of the hottest cars and motorcycles on the road. All you have to decide is whether you want two wheels or four. We provide the rest with the latest news from car shows, test drives in the fastest sports cars and high res images of new motorcycles. Speed and style are both available with Maxim.


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Ravens, Michael Huff agree to three-year deal
The Baltimore Ravens and free-agent safety Michael Huff agreed in principle to a three-year deal Wednesday, the team announced.
Huff's deal is worth $6 million over the length of the contract.
Huff, the seventh overall pick in the 2006 draft, had 56 total tackles, two interceptions and 13 pass breakups last season for the Oakland Raiders.
Huff's best season was in 2010 when he was named AP second-team All-Pro after recording 94 tackles, four sacks, three forced fumbles and three interceptions.
Huff was set to make $4 million in base salary and $4 million in a roster bonus when he was let go by the Raiders. He visited the Dallas Cowboys before agreeing to a deal with the Ravens.
#Ravens have a 3-year agreement in principle with safety Michael Huff.—
Baltimore Ravens (@Ravens) March 27, 2013


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President's Honors
Join us for the 2014 President's Honors Gala, a night to benefit student scholarships at MidAmerica Nazarene University.
Friday, April 11, 2014 | 6:30 p.m. | Cook Center.
Online registration is no longer available for the 2014 President's Honors. Please call Paula Gettles at (913) 971-3605 to inquire about last-minute ticket purchases.
Now in its third year, this premier fundraising event features an elegant dinner, thrilling live and silent auctions, unique entertainment and celebrations of generosity—generosity that directly impacts the lives of our students. In the event's first two years alone, donors have contributed over $750,000 for student scholarships through President's Honors sponsorships, auction purchases and attendance.
MNU President David Spittal noted, "We have much for which to be thankful. Even though stories of the past continue to inspire us, there is a new story to be written; there is a new dream for the university that is capturing our imagination" Help us now as we write that story.
There are many ways to become involved with and support President's Honors including:
- Bid in the Online Auction, March 18 - April 8 (items will be added throughout the first two weeks)
- Auction donations
- Sponsorships (corporate and individual)
- Attendance
Honorary Chairs: Allen & Saralyn Brown
Allen ('72) and Saralyn Brown ('72) of Yorba Linda, Calif., are members of MNU's first graduating class. Their long-standing commitment to MNU's mission from its earliest days makes them uniquely suited to chair the 2014 President's Honors. MNU is honored to work with Pioneer alumni Allen and Saralyn to chair this important fundraising event.
Presenting Sponsors ($50,000)
Tim and Gail Buchanan
Dr. Larry and Donna McIntire
Wesleyan Investment Foundation
Platinum Sponsors ($25,000)
Robert and Mable Austin
Allen and Saralyn Brown
Olathe Medical Center
Gold Sponsors ($10,000)
D. Ray and Elaine Cook Family Foundation
Dr. H. Chris and Janet Halvorson
Dr. Gary and Vickie Morsch
Pioneer College Caterers, Inc.
Allen and Madeline Tollefson
Silver Sponsors ($5,000)
Fry Orthodontic Specialists
Richard and Sherry Hannon/Warren Hannon Jeweler
Harlan C. and Jason S. Parker State Farm Insurance
Bronze Sponsors ($2,500)
Bear Claw Construction
City of Olathe
Edward Jones
FCI Advisors & Midwest Trust
GARMIN International, Inc.
Lawing Financial Group, Inc.
Olathe Chamber of Commerce
Precision Printing
Dr. David and Donna Spittal
Table Sponsors ($1,000)
Ash Grove Cement Company
Gene and Merry Clegg
Dr. Randy and Loretta Cloud
College Church of the Nazarene
Dr. Merrill and Kandi Conant
Keith and Julie Cox
Dr. Gene and Joyce Dement
Larry and Joan Doskocil
Kevin and Julie Gilmore
Dr. Jason and Sara Haworth
Dr. Mark and Karen Hayse
Greg and Peggy Hephner
Johnson Controls
Kansas City District Church of the Nazarene
Jon and Faith North
Dan and JoAnne Rexroth
Rocky Lamar's Fundamentally Driven Basketball Camp
Simmons First National Bank
Dr. Barth and Kathy Smith
Marge Smith
Dr. J. Brent and Susan Van Hook
John and Cathy Veach
Dave and Ellen White
Table Hosts ($400)
Eldon and LaDonna Meyers
Dr. Ed and Judy Nash
Northwest Comprehensive, Inc.
Strickland Construction
UMB Bank
Can't attend, but want to support MNU student scholarships? Give Online Now!
Scenes from 2013
Photos by Dan Videtich.


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September 18, 2011 6:45 AM
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Enrico Rava: To Be Free or Not To Be Free
Since returning to the ECM fold in 2004 after a 15-year hiatus, Rava has produced some of the most important music of his storied career. Albums like Easy Living (ECM, 2004), TATI (ECM, 2005), The Words and the Days (ECM, 2007), The Third Man (ECM, 2008) and New York Days (ECM, 2008) have shown Rava to be enjoying a late-career high, playing and composing better than ever. Although he doesn't consider himself to be a talent scout, his working groups have allowed a stream of young talent, including pianists Stefano Bollani and Andrea Pozza, trombonist Gianluca Petrella and bassist Rosario Bonaccorso, to step into the international spotlight.
Tribe (ECM, 2011) is another powerfully seductive offering from Turin- born Rava. There are a couple of familiar faces in the lineup, like drummer Fabrizio Sferra and Petrella, but, not for the first time, some talented newcomers throw their hats into the ring, challenging and inspiring Rava once more. Pianist Giovanni Guidi, bassist Gabriele Evangelista and guitarist Giacomo Ancilloto bring a youthful zeal to the ensemble sound, and will all be names to watch out for. Rava gets the best of the musicians around him by allowing them the utmost freedom to express themselves within the confines of his very democratic tribe.
All About Jazz Does the title Tribe have any special significance for you?
Enrico Rava: It didn't have it at the beginning. I recorded it in 1975 with [guitarist] John Abercrombie, [bassist] Palle Danielsson and [drummer] Jon Christensen, for ECM. My pianist now [Giovanni Guidi] wanted to play it and I said, "Why not?" It sounds very contemporary. But now that I've recorded it, I think that Tribe is not only the right title for the CD but also for my band because really I feel it's like a tribe-a very democratic tribe.
AAJ: On Tribe, you've recruited a couple of old colleagues in trombonist Gianluca Petrella and drummer Fabrizio Sferra, and a few newcomers in bassist Gabriele Evangelista, pianist Giovanni Guidi and guitarist Giacomo Ancillotto. Were you specifically looking for a balance between old and new blood for this CD?
ER: No, no, no. I call the musicians because I like them. They can be 16 years old or 95 years old. I'm not a talent scout. It often happens that they are very young because the young musicians are closer to my vision of the music and they have a lot of energy. I don't like too much to play with people of my age. I feel closer to younger people, but there are some contemporaries of my age who have the same vision I have. I play with them very often, and I'm very glad to do it.
AAJ: Who, for instance?
ER: One of the very few Italian musicians of my age who I enjoy playing with is [pianist] Franco DAndrea. Another is The Dino & Franco Piana Jazz Orchestra, a great pianist and composer. Dino Piana-who is now 82-played all his life in a radio orchestra, but when he was about 30 and I was 20, he was just playing jazz. Everybody wanted to play with him all over Europe, but then he joined the orchestra. When he retired, he started playing only jazz. When I have the possibility I call him, and for me it's always a great pleasure to play with him because he's very open. [drummer] Aldo Romano is another musician. But most of the musicians of my age tend to stick to what they were doing when they were at the top of their trend, and that's no good for me.
AAJ: On Tribe your connection with Petrella sounds really intuitive; the pair of you sound like siblings. Tell us a little about what it's like playing with him and what he brings to the mix.
ER: First, let me tell you that I met Gianluca when he was 18. I knew his father, who was a very good trombone player, too. A couple of years later, Gianluca came on a long tour with me in Canada at all the festivals, and he stayed. The rest of the people changed, but he stayed. I have a special relationship with two musicians-one is Gianluca and the other is [pianist] Stefan Bollani-a kind of telepathic thing where when we play it's like we talk to each other all the time. These are the best musical relationships I have had in my life; another one was with [trombonist] Roswell Rudd many years ago. With Gianluca, I have the same kind of rapport.
AAJ: Are there other musicians whom you've deeply connected with over the years?
ER: When I play with somebody, I look for a deep connection, and I had a very deep connection with [alto saxophonist] Steve Lacy at the end of the '60s when I was playing in his band. We had a very strong musical understanding when we played together. I also had that a lot with an alto saxophonist from Italy, who died many years ago, called Massimo Urbani. I brought him to New York when he was 18. Then I had a fantastic thing with [saxophonist] Joe Henderson when we did a long tour together in Europe, which was fantastic. I also really love to play with [saxophonist] Mark Turner; he's a tremendous player, though we play together rarely.
AAJ: You played trombone prior to taking up the trumpet. Do you feel you have a special affinity with trombonists?
ER: Yeah, I do, though my experience as a trombone player was almost nothing. I played in a Dixieland band as an amateur when I was 16, and we were playing [Louis] Armstrong Hot Five tunes, "At the Jazz Band Ball" and "Jammin' the Blues," but I was a very rudimentary player. It lasted a very, very short time. Two years later, I bought a trumpet. But I love the trombone. I like the tone and the register of the trombone, which is the same register as the male voice. If you talk and, while you're talking, you start playing the trombone, it's the same tone and register, while the trumpet is always high pitched-I feel like someone is always hanging me [laughs]. The trumpet and trombone is exactly the same instrument except that one is higher pitched. That's why they sound so good together. I learned that playing with Roswell [Rudd], because he was showing me certain intervals that we were playing together- the two notes we played could generate all the overtones and the harmonics. Sometimes you can play a chord of two notes, but you can hear four or five notes. You can't do that with flugelhorn and trombone because flugelhorn is a different instrument- it's a cornet instrument-but a trumpet is exactly like a trombone except for the higher register.
I like very much that sound. There are a couple of records of the quintet of [trumpeter] Clark Terry and [trombonist] Bob Brookmeyer, and the sound is so beautiful. There are also recordings by trumpeter Conte Candoli and [trombonist] Frank Rosolino; I am a fan of that sound [laughs]. I know all of them.
AAJ On Tribe, drummer Fabrizio Sferra brings a beautiful touch and at the same time great propulsion to the music, particularly on "Planet Earth" and "Choctaw." You've recorded with him before on Full of Life (Cam Jazz, 2005). What do you like about his playing?
ER: I like Fabrizio because he's ready for everything. He's very open, so he can play beautifully in, but he can play very well out. He's open to anything that can happen. He's a very good musician, too. He plays piano, he's a leader of his own band, and he's a composer of very nice tunes, too. He's a very musical drummer. He's not just a rhythmic drummer. All the great drummers-I think of Billy Higgins-are complete musicians.
AAJ: A drummer who lit up couple of your ECM recordings, TATI (ECM, 2005) and New York Days (ECM, 2008), sadly passed away recently. What will be your abiding memories of Paul Motian?
ER: Paul was a master musician, one of the great drummers. He was a very good friend of mine because when I moved to New York, in 1967, I would go his apartment on Central Park West. He was the only person I know who stayed in the same apartment all his life [laughs]. He was there for, I don't know, almost 50 years. It's incredible, because in New York everything changes every two seconds; if you go away one week, when you come back, your friend doesn't live there anymore, the fruit vendor isn't there anymore, your friend who was a taxi driver isn't there anymore. The only thing that didn't change was Paul Motian in Central Park West; everything and everybody else moved.
He was a very good friend, and we played in many different situations; we played in some bands with Roswell [Rudd] and in the Jazz Composers Orchestra with [pianist/composer/arranger] Carla Bley, and we toured together with Joe Henderson, and later with [Stefano] Bollani. He was a fantastic guy, and he was a teenager; he was a young old guy. He was 18 years old in his head. I'm going to miss him. Everybody is going to miss him. He was a different musician, a very unique drummer. He had his own technique, his own sound, and he was very, very creative. You didn't have to ask him to do this and do that. Anyway, he wouldn't do it [laughs], so you didn't ask him to do it; you let him do what he wanted. It was always better than what you would have asked him to do.
AAJ: Let's talk a little about ECM, with whom you've had a long relationship. How was the ECM 40th anniversary bash in Mannheim? It must have been a fun occasion, no?
ER: I remember it very well. I remember everything of that night. I played with [bassist] Larry Grenadier, Mark Turner, but with Jeff Ballard on drums because Paul [Motian] wasn't traveling anymore. We had a very good concert.
AAJ: How had ECM changed in the almost-20-year gap before you returned to record Easy Living in 2004?
ER: Basically, I think it hadn't changed, because Manfred Eicher has a very clear idea of what he wants. He records only musicians that he likes and musicians that he knows he's going to like their music; it's the only law, and in that sense it hadn't changed much. Except that, when I came back, he was giving much more space to contemporary music. Before, he had [composers] Arvo Part and Philip Glass, but now there is much more contemporary music. He's also more open to southern European music, and now there are a few Italians that record for him. Back in the '70s there was me, if we're talking about southern, Mediterranean musicians. But now, besides me, there's Stefano Bollani and [saxophonist] Stefano Battaglia, [clarinetist] Gianluigi Trovesi. And now we did a concert playing only the music of [singer] Michael Jackson for him [Eicher], which is a big surprise for a lot of people.
AAJ: No kidding.
ER: [laughs] I know, I know. You must know that I am a Michael Jackson fan. I like very much the last record. To me, it's a little bit like the Beatles' White Album (Apple, 1968). There is a tune called "Little Susie" that could have been written by [singer/composer] Kurt Weil, and tunes like "Privacy" and "History" are incredible-a little bit like "Sergeant Pepper," in a way. I did this concert with a big band-12 people: tuba, trumpet, piano and clavier, guitar, three saxophones, trombone. We did a concert of Michael Jackson's music in May, and we did another concert on November 30th in Rome, and it should come out soon.
We are going to do a lot of concerts with this program. I like this program of Michael Jackson a lot because it's very energetic and there's a lot of life. The tunes are so good. We only do two of the big hits: one is "Smooth Criminal"-one of my favorite tunes-and "Thriller." On "Thriller" we stay very close to the version done by [trumpeter] Lester Bowie. The way we did the tune was a tribute to Michael Jackson but also to Lester Bowie.
AAJ: That sounds very interesting, and we'll look forward to that. Some of your best music has come since your return to the ECM label in 2004. Does this working relationship completely satisfy musically, or do you still feel the need to record music with a different aesthetic on a different label concurrently?
ER: I did that in the '80s. That's why we stopped recording together. The thing was, Manfred's idea is to record maybe every one and a half years, and at that time I felt I wanted to record much more. I had a lot of different things going on that I wanted to record, and it was impossible to do it at ECM, first of all because it probably didn't fit the aesthetic of the label, and because it would have been too many records. So I started recording with somebody else. When I came back to ECM in 2004, I discovered that in a way Manfred was right; it's better to release a record only once in a while when you are ready. I made so many records in the '80s, and looking back I can see that many of them were not necessary.
This record, Tribe, came out two years after the previous record, and the interest around this record is very big. There have been so many reviews. I think the ECM strategy is the right one. I'm happy with that. Besides, I'm 72. I like what I do to be necessary and important.
AAJ: Manfred Eicher is someone you know well. How would you sum up what he has achieved with ECM?
ER: He has invented a very big label, a very important label with a distinct sound and one of very high quality and with a very good distribution. In a way, it's the only very important independent label. But wherever you go, you find ECM records-in the States, in Korea-it doesn't matter where you go. The records are there, and this is very important for us. But it's not just that. The label has a very distinctive sound, and there are people who buy ECM records just because they are ECM. In fact, in many record stores-even though the record stores are disappearing-in Italy, for example, there is a special section for ECM records.
Manfred is a real artistic director. I remember talking with Paul Motian about the order of the tunes when we did the trio record, TATI (ECM, 2005), and I was saying, "What do you think? Should we put this number one or number two?"
Paul said, "Please let Manfred do that." He told me, "With my records, I let Manfred do that, and I trust him 200 percent. He's always right."
Manfred has worked with everyone from classical pianists to [pianist] to Keith Jarrett, the Art Ensemble of Chicago to Arvo Pärt, so he knows how to use the recording machine. He's a real artistic director, and he's a big help in the studio.
Sometimes you go into the studio, and you know exactly what to do, and everything is right, and he doesn't say a word. Other times you go into the studio, for example, when we did Volver (ECM, 1994) with [bandoneon player] Dino Saluzzi. We had a lot of problems, not between me and Dino, because we're very good friends, but between the drummer [Bruce Ditmas] and Dino. The situation was so bad, the atmosphere was so bad, that we couldn't even play. We just sat in the studio and didn't play. So Manfred stepped in and started giving his advice, and he succeeded in starting the whole thing. Eventually the record came out, and it's a pretty good record.
AAJ: You first recorded for ECM in 1975-when the label was a mere pup, at six years of age-with The Pilgrim and the Stars, which was re-released in 2008. How did it sound to your ears after 33 years?
ER: It's funny you should ask me that, because just a few days ago I had this big radio interview where they played a lot of records of mine, and one was "Bella" from The Pilgrim and the Stars. And listening to it now, it sounds like I could have been done it last week. It doesn't sound 35 years old at all. My pianist Giovanni Guidi wasn't even born then. He's a very modern musician, but he keeps saying, "Enrico, why don't we play that tune from Quartet (ECM, 1978) or that tune from Il Giro del Girono en 80 Giorni (Black Saint, 1976)?" He keeps asking me to play tunes that are really old, but in fact when we play them, like "Tribe," it really doesn't sound old at all. It sounds like we did it last week. Some of those tunes feel like contemporary records. I shouldn't say that, because I'm speaking very well of myself [laughs].
Listening to The Pilgrim and the Stars, I was amazed how the three of them sounded-[John] Abercrombie, Palle Danielsson and Jon Christensen. They are unbelievable. I didn't like my playing too much. I am very self-critical. Every time I listen to my playing on records, I get very depressed.
AAJ: So was Giovanni Guidi the driving force behind you going back to revisit some older material on Tribe, like the title track, which dates back to The Plot (ECM, 1976), and "Cornettology" and "Planet Earth" from Secrets (Soul Note, 1987)?
ER: He's the reason for "Tribe." I wanted to play "Planet Earth." I must say that the inspiration for "Planet Earth" comes from Michael Jackson. "Cornettology" is pretty recent, anyway, from TATI (ECM, 2005), and it's a tune that I've kept playing since then because it's a very open tune, in a tribute to [saxophonist] Ornette [Coleman] And the cornet is what Don Cherry used to play, so it's a tribute to both of them. I really like to play it; it's a fun tune.
AAJ: Pianist Guidi is another in a succession of fine pianists: Bollani, Andrea Pozza on The Words and the Days (ECM, 2007). How do you keep finding such great pianists? When did you first come across Guidi?
ER: I first came across Giovanni Guidi when he was four years old, because his father is my agent. He would come sometimes with his father to the concerts. I followed him when he started piano. Besides being my agent, Mario is a very good friend, and every time I phoned him, in the background I could hear Giovanni on piano. It was difficult to talk because there was always this guy playing piano. Then I did a couple of tours in Italy with [saxophonist] Gato Barbieri, and I had Giovanni play piano for the sound check, and I saw that he had something special going on. Then he came to a workshop I did in Siena, and I knew that he was a very accomplished musician.
For a while, I had a band called Under 21, which was all young people, and he was the pianist. When that group disbanded, he became my pianist. In the meantime, I changed the bassist and the drummer, so I was changing a little the rhythmic idea, and I thought Giovanni was better for that equation. Andrea [Pozza] was great on that record, The Words and the Days, and a great band with [drummer] Roberto Gatto and [bassist] Rosario Bonaccorso. Andrea was extraordinary, and in fact, I think some of the best moments of that record are when Andrea solos. But it was time for a change because the music was getting too kind of mainstream in a way, and we were playing all the same stuff, and there was no surprise anymore. Roberto had his own band, so his head was somewhere else. Same thing with Roberto Bonaccorso-who I like a lot-he had his own big band and his composer's head was somewhere else, and the band wasn't happening anymore. I wanted to change everybody, except for Gianluca [Petrella], of course.
AAJ: Petrella's playing is great throughout Tribe. Why make "Garbage Can Blues" a piano trio piece? Why did you and Petrella sit that one out?
ER: Actually, "Garbage Can Blues" was supposed to be only the end of "Cornettology," but Manfred [Eicher] liked the melody so much, and he suggested we do a short version with just piano, some drums and bass, but mainly piano with everybody else like a shadow. It was just to create a little interlude, let's say, though it kind of connects to the end of "Cornettology."
AAJ: These days, Norway has a world-wide renown for producing great jazz musicians, but it seems that there are an awful lot of excellent musicians and composers in Italy, too. Where would you situate Italy in terms of the quality and quantity of jazz music coming from there?
ER: I think Italy today is in a very good position-one of the main countries in Europe for sure, in terms of great young musicians and composers. It's also true that Italy has become one of the best markets for jazz. We have a lot of great American bands playing all the time everywhere in Italy. We have a lot of amazing trumpet players and a lot of really amazing piano players, bassists and saxophonists. We have composers of big band groups, and these musicians get younger and younger. I don't know how it has happened; there are really a lot of musicians. I just ask myself what they are going to do, because in Italy we are in a very heavy crisis at this moment, all over Europe in fact, and the work is much less than before. For well- known people like myself, [trumpeter] Paolo Fresu or Bollani there is work enough, but for the young, unknown musician it's not so easy.
I worry for them. It's very difficult right now. The crisis that everybody is talking about is really there. When I started playing jazz in Italy, there were just three musicians making a living from just playing jazz. There were very good musicians, but everybody else was playing in a radio orchestra or with singers. But people living from playing jazz, and not commercial music, we were three guys. Now there are hundreds, and they just play jazz and they don't want to do anything else, which is what I did all my life. When I was young, it was a very crazy decision, and my family was very worried about me. But today so many people try to live out of jazz, and I hope they can keep doing it.
AAJ: Another great young talent is bassist Gabriele Evangelista. It sounds like you gave him a lot of freedom on this CD. Is that the case?
From left: Gabriele Evangelista, Enrico Rava, Gianluca Petrella
ER: I give a lot of freedom to all the band, within a frame, and this frame is my vision of the music. Within this frame, they can do what they want. I never ask them to do this or that. Very rarely [do] I bring an arrangement or anything like that. I just bring melodic lines and chords and say a few words what I would like to happen; then everybody has to find his own way. That is why they sound so good. I didn't invent that. I learned that from [trumpeter/leader] Miles [Davis]. Miles used to do that. That's why every musician who played with Miles played his best when he played with Miles. [pianist] Red Garland, for example, was a great pianist out of Miles' group, but with Miles his playing is very, very special because he had all the freedom he needed.
With me, the musicians also have a lot of freedom. But when I choose a musician to be in my band, I think about it. I only call musicians that I love and who I can trust musically. I give them a lot of freedom because I trust them. I have to trust them, and they have to trust me-at that point, everything is possible.
AAJ: In the '60s and '70s you played with a host of musicians like Don Cherry, [pianists] Mal Waldron and Cecil Taylor, [saxophonists] Steve Lacy, Marion Brown and Evan Parker, Roswell Rudd, [drummer] Rashied Ali-all the free-jazz people. Is it possible to compare the freedom in your group's playing today, with the freedom that existed in the free-jazz thing of those years of which you were a part?
ER: Yeah, I can. I think there is more freedom now. Of course, we are talking about records, and records are a different thing. You are very cautious if you are recording, and you are conscious about playing too long. But when we play live, the music can go anywhere and can become free in the sense of the free jazz you are talking about. It can go there, or not. I have a very good story about the free- jazz era; in Europe there was a thing called Free Jazz Meeting in Baden-Baden in Germany, and the producer of that was Joachim Berendt, the German journalist. I did many of these Free Jazz Meetings, and at one of these, [bassist] Eberhard Weber was playing-I don't remember with who-and they were playing this free jazz. All of a sudden, he decided to play a couple of chords, and immediately Joachim Berendt stopped the recording. "Stop!" he said. "Remember, this is a free jazz meeting!" [laughs] You could not play chords, you know?
It's true. That was one of the reasons why I switched back to playing with rhythm and chords-because I felt much freer. If I want, if I like, I can go anywhere. Back then it was "Please don't play this, don't play that." I thought, "Why not?" It was very conceptual, and I didn't like that.
Now in my projects the music can go wherever it wants, if the band feels like it. We can switch to a blues, increase the tempo, or take it completely out for half an hour; for me, it's cool. On a record, this doesn't really happen. It's a different rapport. Maybe you are in a booth and you can't really see each other. Sometimes when playing, it's really important to be able to see the smallest sign. For me, they are two separate arts. Live music is music, but it's also a show. I can remember the first time I saw Miles in '56 in Torino, my hometown. He was playing with [tenor saxophonist] Lester Young, then with some French musicians and then with the Modern Jazz Quartet. The music was unbelievable-that's why I bought the trumpet-but also the visual thing was amazing because Miles on stage was like a big actor, like Marlon Brando on On the Waterfront. Then you had Lester Young with the saxophone kept almost horizontal, and with his hat-it was like a show.
A long solo live can be OK, but on the record it just becomes boring. You know, I am a big jazz buff and I have millions of records, and a couple of years ago I bought the box of the The Complete Jazz at the Philharmonic (Verve Music Group, 1998) live recordings. It's amazing, you can have [alto saxophonist] Charlie Parker playing with [tenor saxophonist] Coleman Hawkins and all these things, but after a while you can't stand it anymore. It becomes unlistenable because you can have [saxophonist] Paul Gonsalves playing 24 choruses, and then somebody else plays 24 choruses, and after three soloists you can't listen to it anymore, and besides that, you can't even remember what the fuck they are playing. Most of the tunes have the same chords; then the rhythm changes, but that's all [laughs]. Then, of course, you have Charlie Parker play an amazing short solo, but you have to be very patient. You might have to wait half an hour. I never listened to all the box. If it had been a DVD, it would have been great, but just the music is not enough.
AAJ: That's an interesting observation. Returning to Tribe, guitarist Giacomo Ancillotto leaves the faintest imprint on several tracks, but really shines on "F. Express" with a beautiful contribution. Were you not tempted to use him more?
ER: The thing with Giacomo is, he's totally unknown. I met him at my workshop in Siena the summer before last. I wanted to have the sound of a guitar-that electric sound, on a few tunes-so I called him. I love his solo on "F. Express." It was his first experience in a recording situation, with ECM and Manfred Eicher, and we only had two days to record, so I had to get what I could get. I didn't want that sound on all the record. He could have been more present, but that's the way it happened.
AAJ: His solo on "F. Express" is one of the most arresting solos on Tribe, and maybe it's a case of less is more. Hopefully we'll hear more from him in the near future.
ER: His solo is very kind of [guitarist] Bill Frisell, no? I like his solo because there are very few notes. Guitar players have the tendency to play a lot of notes.
AAJ: In 2011 you released another book called Incontri Con Musicisti Extraordinari (Feltrinelli, 2011), and in the preface Stefano Bollani says that you have the memory of an elephant. What are your memories of the gig in Argentina that resulted in The Forest and the Zoo (ESP, 1966) with Steve Lacy, bassist Johnny Dyani and drummer Louis Moholo-Moholo?
ER: Before that, the band was Aldo Romano and [bassist] Ken Carter, but Aldo left and went with Don Cherry, and Ken had to go back to the States, so Steve and I went to London to look for Johnny Dyani and Louis Moholo because we knew both of them. We had some gigs in Italy, and then we went to Argentina, where we had 15 days in a theater. We had a lot of people the first nights, but the music we were playing was not very friendly [laughs]. It was very radical, and so every day there were fewer and fewer people. The very last day, there was no one. We finished the gig, and we had no money, and we didn't know what we wanted to do. We didn't want to go back to Italy. We wanted to go to Rio de Janeiro, but we had to pay the ticket in dollars-because we were foreigners-which we had to buy on the black market, so it was very complicated. So we stayed one year in Buenos Aires. We played a lot, but we weren't making any money.
Then eventually, Alberto Ginastera-who was one of the greatest contemporary composers of Argentina and Director of the "Institute Di Tella-asked us to do a concert there and to record it. It was really our last concert in Buenos Aires, because Steve and I were going to New York-we asked money of friends and relatives for the ticket-and Johnny and Louis were going back to London. We did the concert and the record came out. For me, it was very good because there was a certain reaction to this record in Europe and Japan. All of a sudden, when I went to Europe I was known by the jazz community because of this record. I think it is a very good record and music of a historical moment.
AAJ: Where did you first come across Dyani and Moholo?
ER: I saw them perform in Antibes [1964] when they came to Europe with the Blue Notes and [pianist] Chris McGregor. Steve [Lacy] and I were very interested in them because they were very much into the free thing but with a different kind of accent. It was funny because Johnny's tribe was Xhosa, whilst Louis was a Zulu; they were like brothers, but every day they would kind of argue about their tribal shit [laughs], teasing each other. We were really together, and I was the third brother. We were always trying to bring the music somewhere else, towards a more improvised jazz kind of idea, whereas Steve was going more and more into a form of contemporary music. There were two different tendencies, and somehow it didn't gather.
AAJ: The Blue Notes were very influential on the London jazz scene in the mid-'60s, but strangely, all those guys died really young-trumpeter Mongezi Feza (32), tenor player Nikele Moyake (36), Johnny Dyani (41), Chris McGregor (54), and alto player Dudu Pukwana (52). Only Louis Moholo is still alive and playing-do you ever come across him?
ER: I haven't seen Louis in a long time. Sometimes we say hello to each other through someone. The last time I saw him was maybe 20 years ago when I was in Milan and Louis was playing in Turin, about 120 kilometers away, and Louis had a heart attack. Somebody called me, so I got in my car and I drove to Turin. It was funny because I arrived outside visiting hours and they wouldn't let me in. I said, "Listen, I came from Milan; my African friend is alone and he asked for me. Please."
And they said, "Who is this guy?"
I said, "He's Louis Moholo."
"Ah, Louis! You are a friend of Louis! OK, come in!"
Louis was the king of the fucking hospital [laughs]. His wife, who was a professional nurse in London, was there, and she was telling everybody, "Don't do this" and "don't do that." He had his record player, and he was listening to records very loud [laughs], with all the heart-attack people in the ward dying.
The director of the hospital came and he was, like, "Hey Louis! How are you? I'm so glad to see you." He was really the true sensation of the hospital. I thought he was dying, but he was very good and never had any problems after that.
AAJ: Thanks for sharing that. Are there any plans for an English translation of this book?
ER: I would be very happy if somebody does it, because I like it very much. I think it's the best thing I ever did, better than my playing and everything. I wrote it myself, and I had a lot of fun writing it because I dug deep into my elephant memory.
AAJ: You've recorded four CDs dedicated to trumpeters Bix Beiderbecke, Louis Armstrong, Chet Baker and Miles Davis, and you've recorded your interpretations of opera arias, Rava l'Opera Va (Label Bleu, 1993) and Carmen (Label Bleu, 1997). Do you have any plans to do more of these sort of projects?
ER: The band I did the Michael Jackson thing with belongs to the Auditorium of Rome. I am the Artistic Director of this band, and I have a contract to do four projects a year. Michael Jackson was the fourth project, and for next year I have to do four more projects. In mind I have Gil Evans-something from the beginning with Claude Thornhill and then maybe The Birth of the Cool. I'd like to do [Thelonious] Monk, Bix Beiderbecke, and then with a very good Italian singer called Maria Pia De Vito to do the tunes [singer/songwriter] Joni Mitchell did with [bassist/composer] Charles Mingus. So I have some projects in that sense.
AAJ: You played one gig in Napoli in December with this Tribe lineup. Are there plans to tour in 2012?
ER: In January we play ten dates in Italy, then we go to Paris, and then in February we have a tour in the States.
AAJ: You've been a jazz fan all your life. You've seen the greatest and you've played with the greatest. So if somebody asked you, "What is jazz?" what would you tell them?
ER: It is the music which saved my life and gave a reason to my life. Before I got into playing music, I was really despondent, and I really didn't know how to go on. When I started playing in my early 20s, everything became very clear. To me, jazz is the sound of this last century until now. It is the sound of the world. It is the score of Western history.
Selected Discography
Enrico Rava, Tribe (ECM, 2011)
Enrico Rava, New York Days (ECM, 2008)
Enrico Rava/Stefano Bollani, The Third Man (ECM, 2008)
Enrico Rava, The Words and the Days (ECM, 2007)
Enrico Rava, TATI (ECM, 2005)
Enrico Rava, Full of Life (Cam Jazz, 2005)
Enrico Rava, Happiness Is (Stunt Records/Sundance Music, 2004)
Enrico Rava, Easy Living (ECM, 2004)
Enrico Rava/Michael Flugel Quartet, Live at Birdland Neuburg (Double Moon, 2000)
Enrico Rava, Raggazi Selvaggi (Ricordi, 1999)
Enrico Rava/Paulo Fresu, Shades of Chet (Via Veneto, 1999)
Enrico Rava/Dino Saluzzi Quintet, Volver (ECM, 1994)
Enrico Rava, Rava l'opera Va (Label Bleu, 1993)
Rava/D'Andrea/Vitous/Humair, Quatre (Gala, 1989)
Enrico Rava, Secrets (Soul Note Records, 1987)
Enrico Rava Quintet, Andanada (Soul Note, 1983)
Enrico Rava, Quartet (ECM, 1978)
Enrico Rava, The Plot (ECM, 1976)
Enrico Rava, The Pilgrim and the Stars (ECM, 1975)
Enrico Rava, Il Giro del Giorno in 80 Mondi (Black Saint, 1976) Enrico Rava, Jazz a Confronto 14 (Horo Records, 1975)
Carla Bley/Mike Mantler Escalator Over the Hill (JCOA, 1971)
Lee Konitz, Stereokonitz (RCA, 1968)
Steve Lacy, The Forest and the Zoo (ESP, 1966)
Photo Credits
Page 1: Richard Wayne
Page 2: Robert Lewis / ECM Records
Page 3, Mauro Zanotto
Page 4: Roberto Masotti / ECM Records
Page 5: Olga Zhuraieva
Page 6: Cees van de Ven
Page 7: Robert Lewis / ECM Records


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Cat Triangle Puzzle Toy
Soft plush triangle with burlap jingle ball and catnip filled mouse.
Hide the mouse and ball in the triangle for lots of fun - hunting, extracting, batting and chasing.
Made in China
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"Customer service is priority #1 at Rocky Mountain ATV/MC. We value our customers and strive to be the best shopping experience- when you buy from us, you are buying lifetime service."
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Comments On Aug 23, 2012:These were on a 2004 Suzuki Vinson that I bought used. Size was 26". The previous owner raved about them and said that I would love them. He was right. They are the Swiss Army knife of ATV tires. No punctures, and little knicking or rock wear. I can't talk about overall tread life as I didn't have the quad long before a friend totaled it, but the previous owner said they had roughly 1200 miles on them and they looked great when I got them and great when I sold the quad to a salvage business. I enjoy trying new and different parts but wouldn't mind owning these tires again.
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Comments On Aug 29, 2011:Replaced my stock foreman 450 tires with this. Climbs up hills on loose dirt like magic. Great for wet/hilly terrain also. Great traction when pulling logs and such.
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Comments On Mar 08, 2011:These are the best ATV tires I have used so far. I really like the way they perform and wear.
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Comments On Jan 31, 2011:I run these tires on my Can Am Renegade in the high deserts of Nv. Pretty much all-terrain. They work great, and as always, the service at Rocky Mountain ATV/MC was perfect. You won't be disappointed.
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Comments On Oct 18, 2010:I have run stock dunlops and Mudlite XLs on my '03 Prairie 650 prior to owning a set of Rawhide MT/Rs. I won them at a local atv drag race and was not sure how well they would work. I now have over 800 miles on them and think they are fantastic tires. They work very well in moderate mud, are great in the snow, and provide excellent traction for fast trail riding. I have drifted my quad at 60+ mph on fast fire roads in NH and they do not roll over. I am extremely impressed with these tires and will replace them with the same whenever this set ever wears out. Did I mention that they wear like iron? With over 800 miles of fast riding on them they still have a sold 75% - 80% of the original tread left. No reason that I should not see 2500 - 3000 miles of good use from these tires. Highly recommended.
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Comments On Jul 25, 2010:You don't quite appreciate how good they are until you trade rides with you buddy and can't wait to get back on yours. Smooth as butter on the roads, no vibration, and I haven't been stopped yet in the mud or rocks. Great in snow too.
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Comments On Nov 05, 2009:I am incredibly impressed with this tire. It offers excellent traction in mud and snow, and rides very nicely and smoothly on hard surfaces. I couldn't imagine any better tire!
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Comments On Sep 10, 2008:One of the best tires out on the market! Great traction, smooth ride and amazing durability!
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Comments On Feb 08, 2008:I have these tires on a Polaris 700 EFI and love them. I have tested the tires in mud and snow so far and they work much better then I expected in both. The ride and handling is much better then the stock tires that came on my machine.
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Comments On Nov 20, 2007:Excellent tire excellent price excellent shipping.....two thumbs up!
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Let's not leave the ankles out! If your pajama pants don't quite reach the top of standard slippers, you could be in a world of hurt. These Harper Slippers solve that issue, reaching up just a bit higher to provide a comfortable buffer between your feet and truly awful air temps. Soft, fuzzy fleece lining retains heat, and a latex foam insole provides impact-absorbing comfort to keep your feet feeling ache-free while you tread over hardwood, tile, or even basement-floor cement!
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Content tagged with: Commercialization
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Rolith, Inc. Wins the 2013 Best Manufacturing Technology Award from the Printed Electronics Industry
Nov. 2013- Rolith, Inc., a leader in advanced nanostructured devices, is pleased to announce that Printed Electronics Industry selected Rolith for the Best Manufacturing Technology award based on its production of transparent metal mesh conductors for large touch screen displays, OLED lighting and photovoltaics.
Nanomanufacturing Summit 2013
Jun. 2013- The nanotechnology innovation ecosystem within the U.S. remains firmly anchored by the fundamental science activities supported by federal and state government investments, which contributes to the acceleration of the commercialization path for nano-enabled products. Effective technology transfer of translational R&D from laboratory proof-of-concept and prototype demonstrations remains a ...
Triennial Review of the National Nanotechnology Initiative Reiterates Need for Information Exchange, Effective Technology Transfer, and Commercialization
Apr. 2013- The National Research Council recently released its Triennial Review of the National Nanotechnology Initiative, a required assessment of the National Nanotechnology Initiative (NNI) by the 21st Century Nanotechnology Research and Development Act of 2003. This document makes recommendations to the Nanoscale Science, Engineering, and Technology (NSET) Subcommittee and to the National ...
'Metasurfaces' to Usher in New Optical Technologies
Mar. 2013- New optical technologies using "metasurfaces" capable of the ultra-efficient control of light are nearing commercialization, with potential applications including advanced solar cells, computers, telecommunications, sensors and microscopes.
Commercializing Graphene and Other Novel 2D Structures
Mar. 2013- Graphene has been a really hot topic since its discovery in 2004 when atomically thin sheets of carbon were peeled off graphite by University of Manchester scientists Andre Geim and Konstantin Novoselov. Since then, the material has received great publicity, significant funding and more than a little hype in the media. So how do we assess the potential of graphene and its increasing ...
Nanotechnology Deployment in the Electronics Supply Chain
Mar. 2013- I recently had the opportunity to sample several facets of the electronics industry on the West Coast at the APEX conference in San Diego, the CMSE Space and Military conference in Los Angeles, and the HDPUG packaging meeting in Santa Clara. I also participated in the National Academies Triennial Review of the National Nanotechnology Initiative, the Center for High-Rate Nanomanufacturing ...
NanoBusiness Interview Douglas Jamison, Chairman & CEO, Harris & Harris Group, Inc.
Feb. 2013- In this month's interview, the NanoBusiness Commercialization Associations speaks with Douglas Jamison, Chairman and Chief Executive Officer of Harris & Harris Group, Inc. I have had the pleasure of knowing Doug for over 12 years. He is one of the most extraordinary people in our Nanotechnology Community.Mr. Jamison has served as Chairman and Chief Executive Officer since ...
Case Studies in Nanomanufacturing Commercialization: An Interview With Clint Landrock, CTO for Nanotech Security Corporation
Jan. 2013- As another example of effective technology transfer and commercialization, the NNN will highlight the partnership between Nanotech Security Corp and Simon Fraser University. This case combines innovations and intellectual property emerging from an academic institution and a small business. An important aspect of this example is the technology that represents a nanomanufacturing platform ...
Nanotech Security Achieves High Speed Production Run of Metallized Optical Images
Sep. 2012- Nanotech Security Corp., developer of next-generation security and authentication features using nanotechnology based optics, announced that it has achieved a technological breakthrough with the successful metallization of images in a commercial-scale run. The 1500 foot length of optical images embossed on a 10 inch metallized roll was produced by an independent third party as part of its ...
Keynote Speakers Announced for Nanomanufacturing Summit 2012
Jul. 2012- This year's Nanomanufacturing Summit 2012 & 11th Annual Nanobusiness Conference features an impressive lineup of keynote speakers. Join colleagues at the Nanomanufacturing Summit 2012 – showcasing emerging areas of nanomanufacturing and commercialization of nanotechnology-enabled products by leaders in the field of nanomanufacturing. This year's event is being co-organized ...
Assessing the Economic Impact of Nanotechnology: The Role of Nanomanufacturing
Mar. 2012- In developing a strategy for the National Nanotechnology Initiative (NNI), the President's Council of Advisors on Science and Technology (PCAST) have emphasized the need to enable more effective technology transfer and provide added focus on nanomanufacturing and commercialization. These objectives are intended to foster needed economic development within the U.S., while also providing a ...
California Lithium Battery To Commercialize Lowest Cost Lithium Battery
Mar. 2012- California Lithium Battery Inc. (CalBattery) announced at last week's Department of Energy's ARPA-e Energy Innovation Summit in Washington, D.C. that they have entered into a Work for Others (WFO) agreement with Argonne National Laboratory (ANL) to commercialize a breakthrough low cost "GEN3" lithium battery. This new transformational battery will offer the highest energy ...
Dr. Alan Rae Joins NMIC as CEO
Feb. 2012- February 6th, 2012 – Alfred, NY - The NanoMaterials Innovation Center LLC (NMIC) in Alfred, NY welcomes Dr. Alan Rae as CEO. Dr. Rae has extensive experience in product commercialization and business development in Ceramics, Electronics and Alternative Energy. Most recently, as founder of TPF Enterprises LLC he conducted SBIR and BAA funded research for the US Air Force and Army Corps ...
Advanced Manufacturing Providing the Foundation for Sustainable Economic Growth
Feb. 2012- Following up on recent announcements regarding the Advanced Manufacturing Partnership, and the Report to the President on Ensuring American Leadership in Advanced Manufacturing released last June by the Presidential Council of Advisors on Science and Technology (PCAST), this week the National Science and Technology Council (NSTC) has released a new National Strategic Plan for Advanced ...
Game Changing Battery Technology Promises Longer Range, Lower Cost Electric Vehicles
Feb. 2012- Commercial electric vehicles face significant challenges for adoption by the public and gaining market share due to the low energy density of automotive battery technologies. Even with considerable government investment for scale-up manufacturing of automotive battery technologies, energy density for production battery packs limits single charge driving range to less than 100 miles. Recently, ...
The Nano-economy: Time to Reap the Rewards
Jan. 2012- 20+ years of planting seeds -- now a crop of jobs is ready.In a recent speech I made to business leaders in Boston, I explained that perched atop 26 years of experiences I've stacked up in nanobusiness, I have a pretty good view to the horizon. You know what I see? Decades of investment by government and the private sector have grown into a field of economic opportunity, now ripe with ...
NanoBusiness Interview: Jason Hartlove, CEO, Nanosys
Dec. 2011- In this month's interview, we talk to Jason Hartlove, President & CEO of Nanosys, Inc. Jason has a track record of building and leading innovative companies and business units by driving emerging technologies from R&D to market application. Prior to joining Nanosys he was President of MagnaChip Semiconductor and was responsible for managing all business activities for the Imaging ...
Nanomanufacturing Summit 2011 Provides Focus on Commercialization, Manufacturing Innovations, and Emerging Research
Sep. 2011- The Nanomanufacturing Summit 2011, held this past week in Boston, provided some high level discussions with focus on, amongst other topics, nanotechnology commercialization, translational research emerging from academic research centers, and manufacturing innovations. In the first event wherein the NNN has teamed with the NanoBusiness Commercialization Association, key topics also included ...
NanoBusiness Interview - Dr. J. Steven Rutt, Partner & Chairman, Nano Team, Foley & Lardner
May. 2011- In this month's interview, we talk to Dr. J. Steven Rutt, Partner and Chairman of the Nanotechnology Industry Team at Foley & Lardner LLP. Dr Rutt's practice includes patent counseling, patent prosecution, IP licensing and agreements, including technology transfer carried out under the Bayh-Dole Act, patent landscaping and clearance opinions, due diligence, patent litigation ...
Moving Forward: An Interview with Vince Rotello
Sep. 2008- While research into the properties of various nanostructured materials has received a good deal of press for many years now, recent research focuses on the controlled manipulation of these nanostructures. Vincent Rotello, Charles A. Gossemann Professor of Chemistry at the University of Massachusetts Amherst, is making a significant contribution to this body of knowledge.
Moving Forward: An Interview with Vince Rotello
Sep. 2008- While research into the properties of various nanostructured materials has received a good deal of press for many years now, recent research focuses on the controlled manipulation of these nanostructures. Vincent Rotello, Charles A. Gossemann Professor of Chemistry at the University of Massachusetts Amherst, is making a significant contribution to this body of knowledge.
BIND Biosciences, Inc.
BIND Biosciences, Inc. is developing a new class of exquisitely targeted therapeutics called AccurinsTM that are precisely engineered to maximize drug concentrations in diseased tissues and cells. Accurins are highly selective medicines that accumulate at the site of disease, resulting in enhanced efficacy and reduced side effects. By precisely targeting the site of disease, Accurins have ...
Bluestone Global Tech, Ltd.
Bluestone Global Tech (BGT), established in 2011, is dedicated to the development of graphene technology with the ultimate goal of utilizing this wonder material to enhance our lives. BGT has pioneered the mass production of high-quality graphene enabling the commercialization of many graphene-enhanced applications such as advanced displays, flexible electronics, and energy storage ...
Chasm Technologies Inc.
Chasm Technologies, Inc. was established in March 2005 to commercialize new products using novel nanomaterials and to develop manufacturing processes for micro- and nano-patterned thin films using scalable coating technologies. Chasm has extensive industrial experience in product development, manufacturing scale-up and product commercialization, Chasm brings both depth and breadth of ...
Graphene Flagship
Chalmers University of Technology
Graphene Stakeholders Association
The Graphene Stakeholders Association (GSA) was founded in the U.S. as a 501(c)6 non-profit organization in 2013 to help promote the responsible development of graphene-based products. Graphene is emerging as one of the most promising materials ever discovered one that has the potential to play a vital role in the development of advanced technologies in key industry segments, including ...
Microproducts Breakthrough Institute
Oregon State University, Pacific Northwest National Laboratory
Nano Engineered Applications, Inc.
Nano Engineered Applications, Inc. (NEA) is focused on commercializing patent pending, air-borne chemical detection technology. With NEAs cost-effective and scalable fabrication techniques, this research advancement can be transformed into portable devices that detect minute quantities of harmful air-borne substances. NEA concentrates on addressing the critical chemical and gas-detection ...
Nano-Meta Technologies, Inc.
Purdue University
NanoBusiness Commercialization Association
NanoBCA mission: 1. Promote the Commercialization of products designed and developed through the Science of Nanotechnology. 2. Advocate continued US spending through the National Nanotechnology Initiative. America must continue the funding of NNI from R&D to commercialization. 3. Inform membership with regard EHS regulation from Federal (EPA and FDA) and State Governments. Monitor ...
NanoSteel Company, Inc.
NanoSteel is the world leader in proprietary nano-structured steel material designs. Over its ten-year history, NanoSteel has created progressive generations of iron-based alloys from surface coatings to monolithic steel. For the oil & gas, mining and power industries, NanoSteel has successfully introduced commercial applications of metallic coatings to prolong service lifetime in the most ...
nanoTox, Inc.
nanoTox, Inc. is the premier nanotechnology safety, risk assessment and toxicology company helping companies commercialize their nanotechnology and nano-enabled products. The dedicated scientists and professional at nanoTox, Inc. understand that nanotechnology will reach its full potential only when issues of health and environmental safety are fully resolved. There are over 1,000 ...
Safer Nanomaterials and Nanomanufacturing Initiative
Materials Science Institute
Griffith Kundahl
Center of Innovation for Nanobiotechnology


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The only publication that provides specialized Notary news, information and resources for Immigration Professionals.
Industry News
Deadline Passes For REAL ID; States Still Falling Short Of Requirements
The deadline for states to adopt REAL ID standards passed on January 15, 2013, and three quarters of U.S. states still fall short of the new requirements....More
Russian Adoption Ban Drives International Trend To 15-Year Low
With international adoptions by Americans already experiencing a sharp downward trend in recent years, the waning figures are likely to drop even further with a new law passed by Russian President Vladimir Putin....More
Census Data Shows Significant Decrease In Illegal Immigration Figures
For the first time in over a decade, census data confirms that the number of illegal immigrants within the U.S is experiencing a steady and significant decline. The estimated number of illegal immigrants now stands at 11.1 million — down from its 2007 peak of 12 million. Factors such as a struggling U.S. economy, an aging Mexican population, and new immigration legislation have all played a part in the dramatic shift in immigration trends....More
New Immigration Fee Impacts All Foreign Nationals Seeking Residency
Effective February 1, 2013, the U.S. Citizenship and Immigration Services (USCIS) will require a $165 immigration fee from all foreign nationals seeking permanent residence in the United States....More
The Ins And Outs Of 'Representative Capacity'
Notarial wording — whether preprinted on a document or as loose certificates — often lists a signer's title, such as "John Smith, President of ABC Inc." This designation is called the signer's "representative capacity," and notarizations with this designation need to be handled with care. That wording on an acknowledgment or jurat means you are "certifying" that John Smith is the President of ABC Inc., and you have no way of verifying such representative capacity.
In California Notaries are prohibited from certifying capacity. If the wording of an out-of-state certificate includes the signer's capacity, replace it with a loose certificate that does not mention the client's title or role.
In other states, when you encounter paperwork that lists capacity in a company and your signer doesn't have proof of that, you still can notarize for the person as long as the notarial language in the certificate makes no such assertion.
Signers can write their name and anything else after it without the Notary requiring proof. All the Notary is doing is verifying identity. You're not vouching for or certifying capacity, and the notarial certificate will reflect that.
Be Wary Of Incomplete Documents
Incomplete documents have great potential for fraudulent misuse, so no official instrument should be notarized unless it is complete and free of blank spaces.
A borrower, for example, might sign an incomplete promissory note trusting the lender to fill it out, and then later find that the lender wrote in twice the amount actually borrowed, or an increased interest rate. In these cases, the document signer could be severely damaged, and the Notary may be required to testify in a subsequent lawsuit.
The prudent Notary will ask a signer to fill in any blank spaces, or have the signer take the document back to the issuing agency for completion, before notarization. If the spaces are inapplicable and intended to be left blank, the signer should be asked to line through each space or write "NA" in the blank space.
Credible Witnesses
Some immigrant signers may lack identification document necessary for a notarization. If you encounter a signer who doesn't have a driver's license, passport or other ID that meets your state's requirements, an alternative is to use one or more credible identifying witnesses.
Essentially, a credible witness serves as a "human ID card," who takes an oath or affirmation before the Notary verifying that a signer's identity is accurate. The ideal credible witness should not have any interest in the document involved in the notarization.
Each state has its own rules regarding use of credible witnesses, and Notaries should always check their state laws for any special requirements. For example, some states require a credible witness to personally know both the signer and Notary, and others allow the use of more than one credible witness during a notarization.
The 'Less But Not More' Rule
One of the most common identity issues occurs when a signer's name in a document or their signature does not match the name on the identification document presented to you. When this happens, the best way to proceed is to apply the general rule of "less, but not more." In other words, the name or signature on the document can be less than what appears on the ID, but not more.
For example, if the name on the ID card is "Jane A. Smith." You may accept the name "Jane Smith," "J.A. Smith" or "J. Smith" on the document and write that name on the notarial certificate. However, you should not accept "Jane Alice Smith" or "Jane Smith-Burns."
Notarizing During Business Hours
A Notary's responsibility is to serve the public impartially, but they also have to follow the rules and policies of their employers. The following important points to remember about notarizing during business hours:
- Clarify with your employer what fees you may charge and what business hours you are required available to perform notarizations.
- Notaries have a duty to serve the public impartially and without discrimination. Generally, you should not refuse lawful requests for notarization from noncustomers during business hours. Some states offer exceptions or nuances to this issue, so check your Notary statutes to be clear about your duty during business hours.
- Your employer may not prohibit you from notarizing outside of business hours or force you to relinquish control of your seal and journal to anyone else.
- State law always takes precedence over employer requests. For example, an employer cannot ask you to ignore state ID requirements when notarizing for clients at your business.
Protecting Your Records
Protecting your signers' personal information is an essential part of your duty. The following tips will help prevent exposing your constituents to possible identity theft:
- When your employer's requests conflict with state law and best notarial practices, respectfully insist on following law and best practices.
- Always use a privacy guard with your journal to cover other signers' information.
- Don't allow anyone to randomly peruse your journal. Require a specific, written request before showing any entry.
- Don't leave documents with personal information or an open journal on your desk for others to view, even for a few minutes.
- Keep your journal in a secure and locked location that only you have access to whenever it's not in use.
- Comply with your company's document handling and storage policy with every transaction.


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The way veteran coach Donnie Baker looks at it, the North Hardin Trojans are a lot like their coach – getting older.
"All of those little girls are growing up. They're a year older and a year stronger and a year more experienced," he said. "They're growing up, slowly but surely."
Sophomore Bailey Blair returns to the pitching circle after making it her full-time home last season. Baker said she developed as the season went on and continued to improve in the offseason.
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The latest content from our national suicide prevention and mental health awareness project.
In Search of a Good Death (PBA-FM), Ten Tales and Urban Meltdown now available via the Community Radio Network.
Walangari Karntawarra speaks passionately about the importance of Aboriginal community media in Australia.
Entries for the 2014 Walkley Young Australian Journalist of the Year Awards are closing soon.
A new series, available to all stations, that investigates palliative care, comfort, and meaning at life's end.
The CBAA's music initiative Amrap has appointed critically acclaimed musician Dan Sultan as the first Community Radio Amrap Ambassador. The new Ambassador program will recognise Australian artists who are consistently supported by community radio through Amrap.
Continue reading.
On Thursday 20 March 2014, the Community Broadcasting Association of Australia's Commit to Community Radio campaign claimed some fantastic recognition as one of the best performing campaigns of late by winning a CommsCon award. The CommsCon awards recognise excellence in the fields of PR and communication.
The Commit to Community Radio campaign won 'best government relations' for the strategy to ensure the future of digital services for the community radio sector.
The CBAA is delighted to announce that the 2014 CBAA Conference will be held from 6-9 November at the Mercure Grosvenor, North Terrace in Adelaide. Watch this space for more!