Archive for October, 2010

out of the vox

tim daisy. photo by matt baron.

tim daisy. photo by matt baron.

On the first tune of Vox Arcana’s new Aerial Age album, a work cleverly titled The Number 7, a near-minimalist clarinet melody runs smack into a punctuated stutter of marimba. The clarinet figure then repeats, as does the mallet percussion. But the pattern gets flightier to where it becomes playful, almost cartoon-like.

What you’re hearing isn’t exclusively jazz, even though Vox Arcana enlists three of Chicago’s finest improvising players – drummer/percussionist/group chieftain Tim Daisy, clarinetist James Falzone and cellist Fred Lonberg-Holm. The work bears more of a modern classical feel, the kind of compositional animation you might find on a Frank Zappa album from the ‘60s or ‘70s.

“One thing I was focused on when I wrote this music was the work of (famed cartoon soundtrack composer) Raymond Scott,” said Daisy, who will bring Vox Arcana back to Lexington on Sunday. “So I can see where that playful quality comes from. There is definitely a similarity between that and Zappa for sure. I was also watching (Charlie) Chaplin films at the same time I was writing the music, so there was that narrative quality to it as well.”

Striking a balance with compositional invention that allows him to add marimba to his vast percussion vocabulary along with the kind of room that permits Vox Arcana to generously improvise was a goal of the Aerial Age music for Daisy.

“That’s kind of the whole point of this band,” he said. “That’s what I’m interested in – that synergy being created between written material and improvised material, that middle ground. There are these razor sharp segments that we have to execute. They will effect what comes after in regards to the improvising. It’s so exciting to me, night after night, to be playing these pieces and hear how differently the improvised sections sound and how that effects the overall character of the complete composition. That’s why I’m doing this. That’s what gets me excited.”

“It’s not only the written material and improvising that effects these changes, but outside influences of being on the road, of how tired you are, of how hungry you are, of where you’re playing, the acoustics of the room, the audience. It all goes into this. It’s really kind of fascinating.”

Daisy added that having Lonberg-Holm (who also plays with the drummer in the acclaimed Chicago indie jazz quintet The Vandermark 5) and Falzone (whose Klang ensemble includes Daisy) helps establish a natural link between Vox Arcana’s compositional and improvisational worlds.

“The most important thing for me is not only are they extremely strong improvisers, but they understand the source material. They probably understand it better than I do. Both of them are more accomplished as classical players than I am. I mean, Fred has studied with (famed New York composer) Morton Feldman. James is extremely well versed in this music, as well. So they understand where I’m coming from conceptually. At the same time, they can run with the best improvisers.

“It’s really a special quality in musicians to have that ability to be an extremely strong reader, a classical player, and also be an equally strong improviser. It’s a great situation working with them for sure.” 

Vox Arcana performs at 7:30 p.m. Oct. 10 at Collexion, 111 E. Loudon Ave. $5. Call (859) 536-5568.

in performance: punch brothers

punch brothers: noam pikelny, gabe witcher, paul kowert, chris thile and chris ethridge. photo by c. taylor crothers.

punch brothers: noam pikelny, gabe witcher, paul kowert, chris thile and chris ethridge. photo by c. taylor crothers.

“We were going to do this anyway,” said Chris Thile as the Punch Brothers took to the stage at a packed, student heavy house last night at the Norton Center for the Arts’ Newlin Hall in Danville. “But it’s much better with people.”

With that, the wily New York string band tore into Next to the Trash, a crash course of sorts in what the Punches do best. Its melodic spirit was drenched in sunny bluegrass even though attractively dizzy rhythmic spells regularly popped up. There was also ample room for impressive soloing – in this case, a wild gypsy interlude from fiddler Gabe Witcher along with lyrics that underscored a theme of hapless (or perhaps hopeless) domesticity (“It’s damp and it’s dark and it’s lonely in here, next to the trash, under the sink; but everyone needs some time off now and then”).

For the better part of its 1¾ hour set, the quintet shifted between those giddy sentiments and quieter, more ruminative romantic reflections that were vehicles for the kind of sleepy, pouty, heart-on-the-sleeve singing Thile popularized with his former band, Nickel Creek. But the Punch Brothers augmented all of that with meaty ensemble playing that equally enforced a very strong and obvious band spirit.

As all of the Punch Brothers are monster instrumentalists, the solo sections were invariably arresting, as shown by the warp speed runs banjoist Noam Pikelny inserted discreetly into the background of Alex, the blues streak at the heart of Chris Ethridge’s guitar break during The White Stripes’ Dead Leaves and the Dirty Ground and the very tasteful bowed bass playing Paul Kowert employed to create a chamber-like accent for the abbreviated first movement of Thile’s string quintet The Blind Leaving the Blind.

Thile remained frontman and emcee for the group last night – a frenzied, good natured host with mandolin skills that ran from technically dazzling but highly intuitive solos to deeply percussive rhythmic passages. Such range nicely served the scope of his band’s repertoire – from a keenly desperate cover of The Strokes’ Reptilian that brought the Dave Matthews Band partially to mind, to the show-closing Rye Whiskey, a youthful blast of progressively minded bluegrass that typlified the charge of this hearty new generation string sound.

the way he hears himself

david sanborn. photo by lynn goldsmith.

david sanborn. photo by lynn goldsmith.

Fewer more distinctive sounds find their way out of an alto saxophone than the music of David Sanborn. Once heard, it’s never mistaken for anything else by anyone else.

Sanborn’s playing is lyrical and sweet, but also meaty enough to summon scores of varying jazz and soul inspirations. It’s animated in a way that suggests gospel, yet his playing thrives on improvisation and instinct. And did we mention flexible? Over a recording and performance career that spans nearly four decades, Sanborn has given his utterly original musical accent to David Bowie, James Taylor, Paul Simon, Eric Clapton, The Rolling Stones, Stevie Wonder, Little Feat, Albert King, Roger Waters, The Paul Butterfield Blues Band and scores of other giants.

And that goes without mentioning a Grammy winning solo career that has seen Sanborn’s music readily accepted by jazz, R&B and pop audiences.

What’s the key to the music of such an esteemed instrumentalist? Simple. Sound. His fans and contemporaries still flock to his that high, soulful alto sax wail.

“I’ve been fortunate in the respect that people call on me to just do what I do,” said Sanborn, who performs Saturday at the Singletary Center of the Arts for one of the final concerts of the Alltech Fortnight Festival. “I’ve never had to fit into a mold or anything.”

It is perhaps ironic that Sanborn is just now presenting himself on recordings in a way that he most accurately hears himself. Specifically, his last two albums – 2008’s Here & Gone and 2010’s Only Everything – openly embrace the vintage soul inspirations that have cultivated his signature sax sound: Hank Crawford and David “Fathead” Newman, the star sax team that distinguished Ray Charles’ most innovative soul recordings of the ‘50s and ‘60s.

“Regardless of all musical situations I’ve found myself in, I think I’ve essentially played the same,” Sanborn said. “I’ve never changed radically with whatever circumstance I was involved in. So I thought it was time to just kind of put myself in the context of how I have always heard myself and at the same time, pay tribute to some of my musical heroes.

“Early on in my career, I was always trying to emulate them – especially Hank. He has such an emotionally direct sound in his approach to playing. He was also a fantastic ballad player. Most musicians will tell you one of the hardest things to do in music is play a ballad because you’re just out there playing the melody and kind of baring your soul. Hank instilled in me early the beauty of doing that.”

Sanborn presents the Crawford/Newman influences in especially succinct form on Only Everything. The album’s core band is a trio – sax, B3 organ and drums. That will also be the trim instrumental format Sanborn will perform in on Saturday.

“I’ve been a big fan of the B3 since my early days of playing,” Sanborn said. “A lot of the music I was really moved by when I started out was made by what they called organ trios of organ, drums and guitar or organ, drums and saxophone. There was always something really warm and kind of enveloping about that music. It’s a very rich, full sound. I just love the way the bass sounds are played by pedals and the left hand. It’s almost like reggae music in the sense you feel it as much as you hear it.”

But Sanborn isn’t bringing just any organ group to the Singletary. His trio will feature Joey DeFrancesco, largely considered to be one of the most popular and innovative contemporary voices on the B3. DeFrancesco is also generously featured on Only Everything. Philadelphia drummer Byron Landham will round out Sanborn’s trio.

“Joey is just an amazing musician. He’s got such a grasp of so many musical idioms. The guy is a force of nature, really. Funny thing is, he will be playing stuff with his right hand that you will be completely astounded by. At the same time, there’s this incredible groove going on in the bass that’s also him. That kind of stuff really challenges me. But it also makes me feel very comfortable as a player.”

What’s next for Sanborn? Some slight deceleration, he hopes. Though he looks considerably younger than his age, 65, Sanborn still takes on a touring schedule that keeps him on the road some 200 days a year. Deservedly, he is looking for a lighter itinerary that will allow more time for home life in New York to spend with his family – especially granddaughter Genevieve.

“I see the light at the end of the tunnel for me,” Sanborn said. “And that light is the light of my home.”

The David Sanborn Trio performs at 7:30 p.m. Oct. 9 at the Singletary Center for the Arts. Tickets are $25, $28 and $32. Call (859) 257-4929 or go to www.singletarytickets.com.

rolling with the punches

punch brothers: noam pikellny, gabe witcher, paul kowert, chris thile and chris eldridge. photo by c. taylor crothers

punch brothers: noam pikellny, gabe witcher, paul kowert, chris thile and chris eldridge. photo by c. taylor crothers

“All for one.”

The Musketeer-ish phrase slips easily into conversation for Chris Eldridge when describing the current creative state of the Punch Brothers.

That’s not to say there wasn’t a like mindedness to the group when its debut album was released in early 2008. Even then, though, the new string music sounds the quintet was discovering for what was normally considered traditional bluegrass instrumentation was viewed by many fans as a vehicle for mandolinist Chris Thile. The ex-Nickel Creeker had organized the band to support him on a 2006 solo record titled How to Grow a Woman from the Ground.

Now with a sophomore album quizzically titled Antifogmatic (the name is derived from an 19th century liquor intended to remedy effects of bad weather), the Punch Brothers return to the road very much a band that has grown older (barely), wiser (considerably) and more confident.

“I think there was, in a certain way, a little less of something to prove on this album,” Eldridge said. “I certainly felt that way. Antifogmatic was really a chance for us to just inhabit being a group and what that meant. Like writing together, for example. That was a different process.

“So our mind set going into this record was very much all for one. It was us putting our heads together and seeing what would come out.”

Like the Punch Brothers’ debut album, Punch, the new album hitches its string band lineup – mandolin, banjo, guitar, fiddle and acoustic bass – to a modern sense of songcraft. The resulting music reveals shades of Americana-inclined parlor pop (You Are), renegade folk (a version of Rye Whiskey done up with youthful gusto) and instrumental interplay that blends classically inspired compositional finesse, playful jazz turns and a generous nod to the band’s bluegrass roots (Next to the Trash).

In keeping with the Punch Brothers’ progressive spirit, Antifogmatic was produced by Jon Brion, whose credits run from new generation jazz piano pioneer Brad Mehldau to indie pop sensation Of Montreal. The resulting album sounds just as ambitious as Punch, but also considerably more relaxed.

Punch actually was more ambitious, at least conceptually,” Eldridge said. “Thile wrote a 40 minute long through-composed suite on that record for these instruments (The Blind Leaving the Blind). He wrote it all out on staff paper, as if it were a string quintet. So we spent a lot of time just rehearsing that, usually in sessions here and there. We’d learn the parts, learn how to play together and hope we could hone it in a bit on the road.

“This record and this music was a very different experience. To begin with, we were all in New York.”

Ah, New York. Not exactly what one thinks as home ground for a pack of bluegrass bred string players – specifically, Thile, Eldridge, banjoist Noam Pikelny, fiddler Gabe Witcher and new bassist Paul Kowert. But once the band had finally taken Manhattan – Eldridge moved from Nashville, where he had been playing with The Infamous Stringdusters – it found a sense of collaborative purpose. In fact, with its members now living in one city after being displaced over two-thirds of the United States, the Punch Brothers could indulge in basic group activities – like rehearsing.

“Just getting together to rehearse was unheard of for us. There just wasn’t much time to work together. So moving to New York was really a big deal for the band because it gave us the opportunity to approach what we were doing almost as a job. Last summer, we would get together, like, five days a week from one in the afternoon to about eight at night. We would throw ideas out on the table. If somebody liked something, we would try it and develop it. It was this great process where we were all together to develop our music.”

An informal performance residency of sorts at the Lower East Side music club The Listening Room further allowed the band to explore the tunes and ideas that became Antifogmatic.

“That was really great because we used the club as a sort of lab where we could try out new things in front of people. Getting to experiment musically in front of an audience definitely makes the stakes higher than when you’re playing in somebody’s living room.” Punch Brothers performs at 8 tonight at Newlin Hall of the Norton Center for the Arts at Centre College in Danville. Tickets are $35, $40, $45. Call (877) 448-7469.

BANKRUPTCIES.(Neighbors Cayuga)

The Post-Standard (Syracuse, NY) June 27, 2002 These are commercial and personal bankruptcies of $1,000 or more filed recently in the U.S. Bankruptcy Court for the Northern District of New York, Utica. The list includes major unsecured creditors when available. Bankruptcy definitions: Chapter 7, debtor sells assets in return for discharge of debts; Chapter 11, debtor company reorganizes under court supervision; Chapter 12, family farm repays debt; Chapter 13, debtor arranges plan to repay debt.

June 4 Kenneth E. Simpson,Martville, Chapter 13, major unsecured creditor: Direct Merchants Bank, Richmond, Va., $3,236.

June 5 Timothy F. Gardenier and Lorraine F. Gardenier,Sterling, Chapter 7, major unsecured creditor: Commercial Recovery, Dallas, Texas, $19,054.

June 6 John M. Church,Auburn, Chapter 7, major unsecured creditor: Citifinancial, Auburn, $3,296.

Lorelei K. Dwyer,Auburn, Chapter 7, major unsecured creditor: Citifinancial, Dallas, Texas, $3,296. web site great lakes higher education

Michelle L. Quill,Auburn, Chapter 7, major unsecured creditor: Fleet, Boston, Mass., $3,833.

June 10 Glenn A. Jorgensen and Sandra M. Jorgensen,Auburn, Chapter 7, major unsecured creditor: Providian, Los Angeles, Calif., $22,549. this web site great lakes higher education

Kelly A. Laux,Weedsport, Chapter 7, major unsecured creditor: Beneficial, Baltimore, Md., $4,253.

June 11 Willis J. Vargason,Weedsport, Chapter 7, major unsecured creditor: First Union, Jacksonville, Fla., $11,383.

Michael S. Wilczek and Rosina M. Wilczek, doing business as Strike OnePro Shop,Auburn, Chapter 13, major unsecured creditor: Citibank, Hackensck, N.J., $9,216.

June 12 Charles E. French III and Lynette L. French,Auburn, Chapter 7, major unsecured creditor: Eric Derby, Auburn, $3,000,000.

Nancy L. Hart,Weedsport, Chapter 7, major unsecured creditor: Great Lakes Higher Education, Madison, Wis., $20,000.

Francis E. Kowalsky,Auburn, Chapter 7, major unsecured creditor: Chrysler, Norcross, Ga., $12,673.

Joseph T. Montello Jr. and Robin L. Montello,Moravia, Chapter 7, major unsecured creditor: Household Credit, Baltimore, Md., $10,079.

Gordon L. Ross and Janet M. Ross, Auburn, Chapter 7, major unsecured creditor: Auburn FCU, Auburn, $10,052.

June 13 Michelle L. Learo,Auburn, Chapter 7, major unsecured creditor: Providian, Manchester, N.H., $4,048.

Kathy L. Malenick,Auburn, Chapter 7, major unsecured creditor: MBNA, Wilmington, Del., $6,446.

June 14 Billy R. Kelly and Melody S. Kelly, Sterling, Chapter 7, major unsecured creditor: Wells Fargo, Sioux Falls, S.D., $1,824.

in performance: ivan neville’s dumpstaphunk

ivan neville's dumpstafunk: raymond weber, ian neville,tony hall, ivan neville and nick daniels.

ivan neville's dumpstafunk. from left: raymond weber, ian neville, tony hall, ivan neville and nick daniels.,

A band name like Dumpstaphunk tends to suggest a somewhat guttural sense of groove – something untidy but fitfully funky. On those meager requirements, last night’s Alltech Fortnight Festival groove-a-thon by the Ivan Neville-led New Orleans quintet at Buster’s met its party mission.

There was nothing at all regal about this music. Sure, there were shadings within some of the tunes – like the second line rattle from drummer Raymond Weber struggling to be heard during Okey Doke – that reflected serious Crescent City soul. And within the plump chords created by Neville on organ and clavinet-style keyboards, there was a hint of the hearty keyboard funk pioneered by his uncle, Meters mastermind Art Neville.

Curiously, the elder Neville’s son Ian served as Dumpstaphunk’s guitarist but betrayed little of the more familiar Neville family soul vocabulary. His playing on Turn This Thing Around and Deeper possessed more of a James Brown feel. Luckily, both tunes were fortified by co-guitarist Tony Hall.

But Hall was something of a double agent last night. When teaming with Neville on guitar, the band couldn’t help but sound meatier in its rhythmic attack and almost psychedelic in the way it colored the grooves. For much of the show, though, Hall switched roles and became part of a two-man bass guitar tag team with Nick Daniels. Two basses in the place? Novel but ultimately unnecessary. The big bottomed sound quickly painted Dumpstaphunk into a stylistic corner as the evening wore on. Even a loose jam built around the Sly and Family Stone staple You Can Make It If You Try never seemed to gel.

When Ivan Neville was in charge, firing up B3 organ blasts with churchy assertion, as on the show-opening Shake it Off, Dumpstafunk showed promise of stirring up some truly alert funk. As it was, there was too much bass (or, at least, too few ideas to keep the bottom end from falling into a lumbering ditch), too little Neville (or, at least, too little that could be heard above all of the bass) and simply not enough compositional or even improvisational invention to keep Dumpstapfunk fully on its feet.

critic's pick 144

john lennon

john lennon

Anniversaries can be tricky things when referencing the life’s work of a creative colossus. Saturday, for example, marks what would have been John Lennon’s 70th birthday were it not for another milestone that hits us in two months: the 30th anniversary of Lennon’s senseless shooting death.

The birthday celebration, however, serves as the catalyst for a reissue campaign of nearly all of Lennon’s post Beatles recordings – specifically, the albums that span from Plastic Ono Band to the posthumous Milk and Honey.

It’s a lesson in redundancy, to be sure – as most reissue campaigns are. That’s especially true here, as most of these recordings were already remastered as recently as six years ago. If you own those editions, we can assure you an upgrade isn’t necessary. The audio differences between the 2004/2005 remasters and these new collections are minimal at best. Both sound spectacular.

There are, however, curious additions. 1980’s Double Fantasy now includes an alternate version of the entire album (Double Fantasy Stripped Down) with comparatively meager, demo-style production. The Beatles’ swan song album, Let It Be, underwent a similar reduction a few years back. But the trouble with Double Fantasy has never been its sleek production. Actually, the sound of such later Lennon works as Watching the Wheels underscored the jubilance of Lennon’s return to a creative life after a six year sabbatical. What stymies the old and new editions is the ridiculously sub par Yoko Ono material interspersed throughout the album. Still, the Stripped Down disc is a bonus and an insight.

The series also boasts two new anthologies. Power to the People: The Hits is an anthology of Lennon’s better known solo tunes that comes recommended simply because several of them (Give Peace Me a Chance, Cold Turkey and the title song) were issued initially only as singles. Gimme Some Truth is the reverse, a sampler of “misses” – great album tracks and sleeper tunes. Both sets are fine initiations for novice Lennon-ites.

That leaves us with the Lennon albums that should be considered essential listening. 1970’s Plastic Ono Band remains a harrowing, anti-pop rant – a sparse, deconstructionist reflection. 1971’s Imagine was the true hit. But the whole album is rock solid, from the zen-like barrelhouse roll of Crippled Inside to dark, post psychedelic meditations on war (I Don’t Want to Be a Soldier) and Beatlemania (How Do You Sleep?). Finally, there’s the 1974 sleeper Walls and Bridges, a more mainstream document of pure pop solace. Recorded while estranged from Ono, it’s a post card from the abyss of stardom that – like much of Lennon’s storied career – sounds alternately defiant, celebratory and troubled.

Jason Kidd of the Dallas Mavericks tries to get past Mario Chalmers… dallasmavericksschedulenow.com dallas mavericks schedule

Getty Images June 7, 2011 | ROBYN BECK see here dallas mavericks schedule

Getty Images 06-07-2011 Jason Kidd of the Dallas Mavericks tries to get past Mario Chalmers…

Full Size JPG (4464 KB) Jason Kidd of the Dallas Mavericks tries to get past Mario Chalmers of the Miami Heat during Game 4 of the NBA Finals against the Dallas Mavericks at the AmericanAirlines Center in Dallas on June 7, 2011. AFP PHOTO/Robyn BECK (Photo credit should read ROBYN BECK/AFP/Getty Images)

ROBYN BECK

in performance: alltech haitian harmony concert with the chieftains and friends

the chieftains: sean keane (absent from last night's concert), paddy moloney, kevin conneff and matt molloy.

the chieftains: sean keane (absent from last night's performance), paddy moloney, kevin conneff and matt molloy.

The rocky road from Dublin stretched far from the Singletary Center for the Arts last night. With Ireland’s foremost musical ambassadors, The Chieftains, as tour guides, it wound through Canada to pick up several intensely spirited Ottawa Valley stepdancers. It rolled through Nashville, offering obvious links between Celtic music’s animated past and the string music we today view as bluegrass. It dipped down to Haiti to welcome a wide-eyed children’s choir that discovered one of the most basic and joyous means of communication. Irish tenor Ronan Tynan climbed aboard, too. So did the remarkable Scots Gaelic vocalist Alyth McCormack. And by the time the party arrived back onstage, it had teamed up an entire pipe band and a team of Irish dancers, all from Lexington.

In the end, it was Alltech president Pearse Lyons’ party. Serving as emcee, the evening was designed as the centerpiece of the Alltech Fortnight Festival, the extensive parade of stylistically diverse concerts that have been running concurrently with the World Equestrian Games.

But Lyons’ involvement with last night’s show obviously went deeper even than the WEG. The 20-plus children making up the Haitian Harmony Choir were living symbols of his work at bringing sustainable commerce and education to an impoverished country further battered by last January’s horrific earthquake.

The choir entered at the end of the first set, sang a few songs in French and offered the unity anthem He’s Got the Whole World in His Hands with the levels of innocence and openness that only children can summon. But the most touching aspect of their performance had nothing to do with music. After being introduced by Lyons and joined by Tynan, several children broke through the language barrier and waved to the audience. The audience waved back. And the kids erupted with smiles that could have lit up the back row.

And The Chieftains? They were typically brilliant. Whittled down to a trio – founder/piper Paddy Moloney, percussionist/vocalist Kevin Conneff and flutist Matt Molloy – the group surrounded itself with a battalion of aptly billed “friends” and a global stew of music references.

They called upon Nashville guitarist Jeff White to toss Wabash Cannonball into the mix, enlisted the gorgeous McCormick to sing the stark Foggy Dew and weaved a set of reels for step dancers Jon and Nathan Pilatzske and Cara Butler as well as the local McTeggart Irish Dancers to sail brightly to. And with Moloney firing up the engine room on the uileann pipes (which he lovingly referred to at one point as “The Octopus”), The Chieftains also held very tightly to traditional roots.

Aided by Irish harpist Triona Marshall, the band served up a ballet-like version of Carolan’s Concerto that paid tribute to one of The Chieftains’ most lasting influences (the 17th century Irish harper Turlough O’Carolan) as well as one of its craftiest alumnis (the late harpist Derek Bell).

For pure physical drama, though, the showstopper had to be The March to Battle, a solemn processional from The Chieftains’ recent San Patricio album that enlisted the Kentucky United Pipes and Drums Band. Trust me, hearing a battery of bagpipes playing majestically within the Singletary walls hits one in the heart almost as solidly as it does in the chest. You can bet this one was heard last night all the way down in Port au Prince.

Guyana Goldfields Inc. Signs Memorandum of Understanding for the Mineral Agreement with the Government of Guyana; Mining License to be Issued Within 45 Days.

Economics Week October 21, 2011 Guyana Goldfields Inc. (TSX: GUY) (“GGI” or “the Company”) is pleased to announce that it has signed a Memorandum of Understanding (“MOU”) for the Mineral Agreement (“MA”) and Mining License with the Government of Guyana for the 100% owned Aurora Gold Project located in Guyana, South America.

The MOU sets out the key terms of the MA, also known as a Fiscal or Stability Agreement, which is a comprehensive agreement that outlines the fiscal terms and conditions for the development and mining of the Aurora Gold Project. Significant among the terms of the MOU are:

o Mining royalty of 5% on gold sales at a price of gold of US $1,000/oz or lesso Mining royalty of 8% on gold sales at a price of gold over US $1,000/ozo Corporate income tax rate of 30%o A Mineral Agreement and Mining License and all relevant permits and approvals to be issued within 45 days of signing the MOU. site memorandum of understanding

The MA is the final step in obtaining the Mining License since the Company has already received its Environmental Permit in September 2010. The Mineral Agreement signals the commitment of the Government of Guyana and the Company to the development of the Aurora Gold Project. This watershed agreement is an important milestone for GGI as it will allow the advancement of the mine development project under a clear and stable fiscal and royalty regime.

Mr. Patrick Sheridan Jr., CEO states, “We are pleased to have concluded extensive negotiations with the Guyanese Government on the fiscal terms included in the Memorandum of Understanding for this historic Mineral Agreement and look forward to obtaining our Mining License in order to build and operate the Aurora Gold Project. We have agreed upon fair and reasonable terms for the future success of the Aurora mine.” This landmark agreement, which strikes a fair and reasonable balance of taxation and royalties for gold mining, reaffirms GGI’s view that Guyana is “open for business”. website memorandum of understanding

Honourable Sam Hinds, Prime Minister and Minister of Mines in Guyana states, “The Government welcomes and fully supports all investment, foreign and local, in the mining sector and are pleased that we have come to a fiscal agreement in order for the long-awaited development of the Aurora Project to begin. We look forward to working alongside GGI as they move towards production.” Up until now, Guyana Goldfields has conducted off-site infrastructure construction work in preparation for the development and construction of the Aurora Gold Project. Upon obtaining the Mining License, the Company plans to initiate the construction of the on-site infrastructures including a new camp, airstrip, river dyke and completing road access to the site, which will be followed by the construction of the mining facilities.

Guyana Goldfields will be hosting a conference call for anyone wishing to address questions to management regarding the terms of the Memorandum of Understanding for the Mineral Agreement and Mining License.

Conference Call Details:

Date of Call: Wednesday, October 5, 2011 Time of Call: 11:00am EST Conference ID: 15229257 Dial-In Numbers:

North America Toll-Free:

International: (888) 231-8191 For anyone not able to participate in the conference call, an audio webcast will be available for 90 days through the following link:

the chieftains' world party

the chieftains and friends. back row: dancer/fiddler jon pilatzke

the chieftains and friends: dancer/fiddler jon pilatzske, dancer cara butler, bodhran player/vocalist kevin conneff, piper/leader paddy moloney, flutist matt molloy, harpist triona marshall, dancer nathan pilatzske

If Paddy Moloney has proven nothing else in his near half-century tenure as chieftain of The Chieftains, it’s that Irish music can mix with most any company.

Scanning the list of collaborators that have recorded and/or performed with the multi Grammy winning traditional Irish band you quickly get a hint of just how far its reach can be. Among the diverse guest list: The Rolling Stones, The Who’s Roger Daltrey, Luciano Pavorotti, Van Morrison, Elvis Costello, Earl Scruggs and Lyle Lovett. Place all of the names in alphabetical order, however, and you can’t help but marvel further as you hit the M category. Who else could list Mick Jagger, Mike Oldfield and The Muppets as musical brethren?

Even Moloney cracks up when those names are mentioned side-by-side during a phone conversation from a country retreat outside of Dublin.

“Oh my, The Muppets,” Moloney said. “I forgot about them.”

But The Chieftains’ pioneering music has involved far more than mere elbow rubbing with celebrities. Over the last two decades of its 48 year career, the band has served as a conduit between Moloney arranged or penned jigs and reels and numerous global sounds. Ensuing recordings have brought The Chieftains to Americana music (the two volume Down the Old Plank Road), harp orchestras (the beautiful The Celtic Harp), Galacian music (Santiago), high profile pop and rock vocalists (The Long Black Veil) and jazz (an extraordinary collaboration with Herbie Hancock on his recent The Imagine Project). The Chieftains’ newest album, San Patricio, explores an unexpected link between Celtic and Mexican cultures.

But examine how migratory the Irish people have been over the centuries and the global impact and infatuation with Irish music comes more keenly into view.

“Look into the history of Ireland and you see how we made our way everywhere around the world,” Moloney said. “In particular, we went into the Celtic countries of Brittany and Galacia. But our names also turn up in Mexico and Cuba. There’s an O‘Reilly’s Bar in Havana even. I know. I’ve been there.”

The Chieftains’ next global journey lands them in Lexington smack in the middle of the World Equestrian Games and its accompanying Alltech Fortnight Festival. The Monday concert at the Singletary Center for the Arts is a benefit titled Haitian Harmony. The performance will help raise funds for a proposed school, medical clinic and Alltech production facility in Haiti.

“We’re coming to America for just this one show,” Moloney said. “And that’s it, although we’ve been asked to remain on for the rest of the Equestrian Games. I think this performance will be something very, very special. Giving our services is our contribution.”

The performance is officially billed to “The Chieftains and Friends.” The actual number of Chieftains will be three – Moloney (who founded the group in 1962) on uilleann pipes and whistle, Kevin Conneff  (who joined in 1976) on vocals and the hand held bodhran drum and Matt Malloy (a member since 1979) on flute and whistle. Longtime Chieftains fiddler Sean Keane, though still a member of the group, will not be traveling to Lexington for the concert.

The number of friends, though, will be substantial. The Chieftains’ performance entourage will include Nashville guitarist Jeff White, harpist Triona Marshall, fiddler Deanie Richardson, vocalist Alyth McCormack, dancer Cara Butler and dancer/siblings Jon and Nathan Pilatzke.

“They’re show stoppers those guys,” Moloney said of the Pilatzke brothers. “We did a show at Elvis Costello’s wedding to the lovely Diana Krall. Sir Paul McCartney was there, and when these guys started to dance, even he couldn’t hold back. He was up dancing, legs flying everywhere. It was brilliant.”

The concert’s special guests will be two larger musical ensembles designed to enforce the Chieftains’ – as well as the concert’s – global reach. The first will be members of the Haitian Harmony Choir that performed at the WEG opening ceremonies last weekend. Moloney said they will assist on a version of Amazing Grace that will be performed in English and French.

“Their voices are just amazing. I’ve been talking with Pearse (Lyons, Alltech president and founder) and have had many calls back and forth to people looking after the choir in Haiti. I think it’s going to be a great coming together.”

The other featured group is the Kentucky United Pipes and Drums, a regional bagpipe and drumming brigade that will assist on one of Moloney’s key works from San Patricio.

San Patricio is about an Irish battalion that fought with the Mexicans in 1847 (in the Mexican-American War). It’s a bit of history that even here in Ireland has been kept secret. There is a lot of shame and embarrassment about it. (Many of the Irish immigrants fighting in the war were hung as traitors.) But there is a piece of music in it, The March to Battle, that is played on the record by the wonderful San Patricio Pipe Band. We couldn’t bring them along. So we will have your local pipe band joining us.”

And so the global adventures of The Chieftains continue. Moloney hinted that future projects for the band could include a Broadway-bound production of some sort (“That’s one of my dreams, anyway”) and possible works that would connect the band’s Irish roots with the music of Scandinavia and possibly even Argentina. Work with Indian music pioneer Ravi Shankar is also being discussed. And there are already ideas floating about for 2012, when The Chieftains will celebrate its 50th anniversary as a band.

“What’s happening? Where are we going? It just continues, really,” Moloney said. “It’s all very exciting. Through it all, we just love to play our music. It seems to excite and communicate with people of all kinds. That’s quite wonderful, really.”

The Alltech Haitian Harmony Concert featuring An Audience with The Chieftains and Friends begins at 7:30 tonight at the Singletary Center for the Arts. Tickets are $45 and $100. Call (859) 257-4929 or go to www.singletarytickets.com.

Piperlime Pop-Up Store Rolls Out in New York

Wireless News August 14, 2010

Wireless News 08-14-2010 Piperlime Pop-Up Store Rolls Out in New York Type: News go to site piperlime coupon code

Piperlime, an online shop known for shoes, apparel, handbags and jewelry, announced it is launching a pop-up store in the SoHo neighborhood of New York at 93 Mercer St. (at Spring St.).

According to a release, the pop-up store will be open for 25 days, starting September 9 to align with New York Fashion Week and closing on October 3.

Piperlime said it is creating an engaging store environment that will immerse customers in the experience of the brand from the moment they step inside. The pop-up store will include an edited assortment of the top fall styles from brands like Marc by Marc Jacobs and Frye, tips on how to wear the season’s trends, favorite picks from fashion editor and stylist Rachel Zoe and exclusive product from brands such as 7 For All Mankind, AG Adriano Goldschmied and Cynthia Vincent.

“We are excited to share this experience with the public,” said Jennifer Gosselin, General Manager of Piperlime. “It’s the first time that Piperlime will be available in a three-dimensional environment, where customers can touch and feel product, put together head-to-toe outfits, and pick personal favorites from exclusive jewelry items to vintage-inspired tops to the must-have- boot for Fall.”

Piperlime said it will also introduce the “styling loft” within the store, a designated area where customers can show their own creative style. Piperlime will reveal a daily creative brief and customers will have the opportunity to style outfits that meet the challenge and submit their looks for a chance to be showcased in the store and win a Piperlime Giftcard. go to web site piperlime coupon code

Piperlime will celebrate the opening of their pop-up store by hosting an in-store event during Fashion’s Night Out on September 10. The pop-up store will be open late (until 11pm) for customers to get the chance to meet and get styling advice from Rachel Zoe and also take photos and with the cast of Project Runway. The designers of Project Runway created a tote bag exclusively for Piperlime (available with purchase while supplies last), the company noted in a release.

More Information:

piperlime.com

((Comments on this story may be sent to newsdesk@closeupmedia.com))

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in performance: the del mccoury band

the del mccoury band: rob mccoury, ronnie mccoury, jason carter, alan bartram and del mccoury.

the del mccoury band: rob mccoury, ronnie mccoury, jason carter, alan bartram and del mccoury.

Halfway through a set devoted exclusively to Bill Monroe music last night at the Grand Theatre in Frankfort, bluegrass great Del McCoury looked playfully concerned.

“Gosh, I sure hope he would have approved of this,” he said, referencing the great Monroe, who McCoury toured and recorded with in 1963. But any suggestion of serious worry was washed away not only by the electric smile the singer and bandleader flashed with grandfatherly charm throughout the performance, but by the ridiculously high level of soul and precision the McCoury Band gave to the material.

Approved? Monroe would have been elated had he heard this.

The classic Earl Scruggs banjo sound that helped define Monroe’s music in the late ‘40s? The bandleader’s youngest son, Rob McCoury, displayed it with generous but unflashy authority. The harmonies Monroe created around the same time with Lester Flatt? For those, the eldest son, mandolinist Ronnie McCoury, teamed with his father. Monroe’s stylistic innovations? Fiddler Jason Carter and bassist Alan Bartram had those covered throughout Cheyenne and Kentucky Waltz. And that fearsome high tenor singing that was Monroe’s primary musical weapon of choice? Father Del covered that time and time again on You’ll Find Her Name Written There and, of course, Blue Moon of Kentucky.

Making the set, a sort of prelude to Bill Monroe Centennial celebrations that will commence in 2011, even more adventuresome was the fact the McCoury Band was obviously making the setlist up as the show went along. This was no programmed tribute, but rather a virtuoso highwire act. It was the best bluegrass ensemble of its day paying spontaneous, skillful and fearless respect to the bluegrass master that started it all.

And that was just half of the program. The first set of the Frankfort show focused on McCoury’s own music, from sterling readings of two Richard Thompson gems (the show-opening Dry My Tears and Move On and the award-winning version of 1952 Vincent Black Lightning) to the serene but devout gospel meditation Get Down on Your Knees and Pray to the playful group harmonies that dressed The Lovin’ Spoonful’s Nashville Cats

It was all done up with effortless and elegant cheer, even the dire storyline of Blackjack County Chains. But the Monroe set? That was heaven. McCoury needs to get his boys in the studio and fast to cut these tribute tunes while they’re hot. Monroe’s not getting any younger, you know.

in performance: deftones

chino moreno of the deftones.

chino moreno of the deftones.

About halfway through a Deftones show full of often pulverizing pop flair last night at Buster’s, singer Chino Moreno stood atop a small centerstage platform and slammed the microphone into his palm, seemingly intent on making sure he was going to be heard.

Oh, he was heard, alright. For just over 90 minutes, the West Coast rockers served up high energy, high volume guitar rock that packed ample angst and crunch, but also appealed quite pleasingly to the pop senses. At one moment, the band exploded with full, raging metal precision. At another, it circled back to moodier pop fare. And at its best, the performance summoned a bit of both in the same song.

Credit Moreno for manipulating the mood swings that drive the Deftones in concert. His singing possessed a lyrical but pensive charm that quickly rose to a boil to meet the percussive and heavily punctuated thud of Hole in the Earth. But it also neatly hit the stride of the comparatively cooler but equally queasy Digital Bath. And on Sextape, the closest thing the Deftones offered last night to a slice of pure pop reflection, Moreno sang with almost melancholy longing.

Best of all, Moreno was refreshingly free of the usual pseudo metal posturing and pandering. But anyone doubting the subversive streak in his music need only have listened to the still vital chill of My Own Summer, which bassist Sergio Vega and drummer Abe Cunningham fortified with an impressive rock steady groove. And fans thinking that the Deftones have grown at all soft over the years should have been in the thick of the very packed house at Buster’s when the guitar squalls of Stephen Carpenter rattled the uneasy foundation of Be Quiet and Drive (Far Away).

By mixing a bit of focused guitar rock bravado with a modest pop touch and a completely de-glammed performance persona, the Deftones seemed to be wearing their years well. The house shook. The angst ignited. The guitar crunch rang sharply (and in a surprisingly clean sound mix, to boot). What more could you want from an arena rock band squeezed into a sweaty, sardine-packed club setting on a school night?

Flying through Midnight: A Pilot’s Dramatic Story of His Secret Missions over Laos during the Vietnam War go to site barrel roll google

Air & Space Power Journal January 1, 2007 | Polifka, Karl Flying through Midnight is the personal account of a C-123 pilot flying Operation Candlestick missions in 1970 and 1971 to illuminate enemy targets by dropping flares over the Steel Tiger area of southern Laos and the Barrel Roll area of northern Laos. Vhe author tells several entertaining stories before he arrives at the central focus of his book-a night landing at Long Tien, Laos, and the subsequent takeoff the next day.

A reader not familiar with air operations during the war in Southeast Asia might find Halliday’s book quite amusing. However, I am intimately familiar with diose operations, having spent 27 months there as a forward air controller (FAC), a Raven (a particular breed of very independent, volunteer FACs who flew unconventional but highly successful missions in Laos), and an RF-4 pilot. I found so many errors in fact in the first 100 pages that I began to doubt that Halliday was ever in Southeast Asia. The fact that he was indeed there makes things even worse. I found his accounts irritating. The events may have happened more than 35 years ago, but even at a distance of three decades, one does not confuse Barrel Roll’s night airborne battlefield command and control center (Alley Cat) with the one in Steel Tiger (Moonbeam). Nor does one forget the name of Udorn Royal Thai Air Force Base-a primary recovery base for Barrel Roll missions that went badly. Dozens of other questionable recollections in this book will make any veteran of that time and place wonder about the author’s veracity. in our site barrel roll google

Flying through Midnight provides some light entertainment. However, for readers knowledgeable about the events Halliday describes in this book, I suggest a ready supply of antacid tablets.

[Author Affiliation] Col Karl Polifka, USAF, Retired Raven 45, 1969 Williamsburg, Virginia Polifka, Karl

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