(http://freakoutnation.com/2016/05/donald-trump-to-drought-stricken-california-there-is-no-drought-video/)
". . . Trump told the crowd of thousands that he spent 30 minutes before the rally to meet with more than 50 farmers who complained to him about their struggles. . . “They don’t understand — nobody understands it,” he said, adding that, “There is no drought.”. . . "
My latest solo offering, No Frills, is now available at - No Frills
(To Access all Ray Jozwiak - Gonzo Piano music you can copy-and-paste this URL directly to
your browser: http://http://www.cdbaby.com/Artist/RayJozwiak)
(maybe you've heard this one. . . )
On the first day, God created the dog and said, "Sit all day by the door of your house and bark at anyone who comes in or walks past. For this, I will give you a life span of twenty years."
The dog said, "That's a long time to be barking. How about only ten years and I'll give you back the other ten?"
And God saw it was good.
On the second day, God created the monkey and said, "Entertain people, do tricks, and make them laugh. For this, I'll give you a twenty-year life span."
The monkey said, "Monkey tricks for twenty years? That's a pretty long time to perform. How about I give you back ten like the dog did?"
And God, again saw it was good.
On the third day, God created the cow and said, "You must go into the field with the farmer all day long and suffer under the sun, have calves and give milk to support the farmer's family. For this, I will give you a life span of sixty years."
The cow said, "That's kind of a tough life you want me to live for sixty years. How about twenty and I'll give back the other forty?"
And God agreed it was good.
On the fourth day, God created humans and said, "Eat, sleep, play, marry and enjoy your life. For this, I'll give you twenty years."
But the human said, "Only twenty years? Could you possibly give me my twenty, the forty the cow gave back, the ten the monkey gave back, and the ten the dog gave back; that makes eighty, okay?"
"Okay," said God, "You asked for it."
So that is why for our first twenty years, we eat, sleep, play and enjoy ourselves. For the next forty years, we slave in the sun to support our family. For the next ten years, we do monkey tricks to entertain the grandchildren. And for the last ten years, we sit on the front porch and bark at everyone.
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AMBIENCE & WINE
William John Evans, known as Bill Evans (August 16,
1929–September 15, 1980)
His use of impressionist harmony, inventive interpretation of
traditional jazz repertoire, and trademark rhythmically independent,
"singing" melodic lines influenced a generation of pianists. He is
considered by some to be the most influential post-World
War II jazz pianist.
Evans had a distinct playing style in which his neck would often be
stooped very low, and his face parallel to the piano.
Evans's first professional job was with sax player Herbie Fields's
band, based in Chicago. During the summer of 1950, the band did a
three-month tour backing Billie Holiday, including East Coast appearances at
Harlem's Apollo Theater and shows in Philadelphia, Baltimore, and at
Washington D.C.'s Howard Theater. In addition to Fields and Evans, the
band included trumpeter Jimmy Nottingham, trombonist Frank Rosolino and bassist Jim Aton. Upon
its return to Chicago, Evans and Aton worked as a duo in Chicago clubs,
often backing singer Lurlean Hunter.
Shortly thereafter, Evans received his draft notice and entered the
U.S. Army. After his army service, Evans returned to New York and worked at
nightclubs with jazz clarinetist Tony Scott and other leading players.
Later, he took postgraduate studies in composition at the Mannes College of
Music, where he also mentored younger music students.
Working in New York in the 1950s, Evans gained recognition as a
sideman in traditional and so-called Third Stream jazz groups. During this period he
had the opportunity to record in many different contexts with some of
the best jazz musicians of the time. Seminal recordings made with
composer/theoretician George Russell, including
"Concerto for Billy the Kid" and "All About Rosie," are notable for
Evans's solo work. Evans also appeared on notable albums by Charles Mingus, Oliver
Nelson, Tony Scott, and Art
Farmer. In 1956, he made his debut album, New Jazz Conceptions, featuring the original
version of "Waltz for Debby," for Riverside Records. Producer Orrin Keepnews was convinced to record the reluctant Evans
by a demo tape guitarist Mundell
Lowe played to him over the phone.
In 1958, Evans was hired by Miles
Davis, becoming the only white member of Davis's famed sextet.
Though his time with the band was brief (no more than eight months), it
was one of the most fruitful collaborations in the history of jazz, as
Evans's introspective approach to improvisation deeply influenced
Davis's style.
At the turn of the decade, Evans led a trio with bassist Scott
LaFaro and drummer Paul
Motian. This group was to become one of the most acclaimed piano
trios — and jazz bands in general — of all time. With this group,
Evans's focus settled on traditional jazz standards and original
compositions, with an added emphasis on interplay among the band members
that often bordered on collective
improvisation, blurring the line between soloist and accompanist.
The collaboration between Evans and the young LaFaro was particularly
fruitful, as the two achieved a remarkable level of musical empathy. The
trio recorded four albums: Portrait in Jazz (1959); and Explorations, Sunday at the Village Vanguard,
and Waltz for Debby, all
recorded in 1961. The last two albums are live recordings from the same
recording date, and are routinely named among the greatest jazz
recordings of all time. In 2005, the full sets were collected on the
three-CD set The Complete
Village Vanguard Recordings, 1961. There is also a lesser-known
recording of this trio, Live at Birdland, taken from radio
broadcasts in early 1960, though the sound quality is poor.
(from Wikipedia.com)
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