#Tabla Class Canada

[kiya-123]

How education system rule over the internet?

The Web has colossal potential to improve the quality of instruction and education, which is one of the columns of feasible improvement. This Web Society briefing diagrams ways in which policymakers can open that potential through an empowering system for get to to the Web. It sets out five needs for policymakers: foundation and get to, vision and approach, incorporation, capacity, and substance and gadgets. Together these speak to key contemplations for opening get to to the Web in back of instruction

Web, the foremost valuable innovation of cutting edge times which makes a difference us not as it were in our every day lives but too in proficient lives. For instructive purposes, it is broadly utilized to accumulate data and to do investigate or include to the information of various subjects. Internet plays an awfully imperative part in instruction. It is no question that in this advanced time everybody favors Google for their inquiries, issues or questions. Well known look motors like Google, Yahoo, etc. are the highest choice of individuals as they offer a straightforward and moment reach to the tremendous sum of data in fair many seconds. It contains a riches of information that can be looked at any time. The web has presented enhancements in innovation, communication, and online amusement.

Kiya learning is an Ed tech platform which helps the students to learn and understand the subject of academics sitting in the convenience of their homes.  Kiya learning provides one on one classes for the students so that they can build a good rapport with the teachers which will enhance their learning. The teachers of kiya learning are totally dedicated towards the learning of the students they provide a set of assignments after teaching every topic and give a lot of homework to ensure the studies are going at a perfect track.  We are a global organization and we are established in different countries of the world like Dubai Canada Australia Singapore and many more.  We have developed and research curriculum based on the country's curriculum of studies so that the students can feel that they're learning correct.  Kiya learning has different schools for studies. We teach regional languages as well as foreign languages . We are also focused in teaching all the subjects like English science social science maths computers for the children of every class and every age group.  we also focus on extracurricular activities as they build up the social skills of a student so we teach instrument playing like piano guitar tabla etc. We also teach them dance and yoga with Zumba the trending dance form. We also focus on the child singing abilities and the people who are interested in singing can join a classes we also teach students art and craft classes with increasing their social skills like personality development and public speaking courses. so in all we are in all rounder platform for students and we focus on each and every part of students life to ensure their great future.

visite our website to know more (https://kiyalearning.com/australia/)

[anuradhapaltabla]

The past couple of months have been about intense riyaaz and self-reflection for me personally and hence I have been mostly away from Social media. When the covid pandemic induced a lockdown in March 2020, I decided to help people deal with the loneliness by presenting an online program on Indian Music & musicians called #BeattheBlues with Anuradha Pal, where I gave over 1800 minutes of free training in the nuances of Indian music and rhythm, spread over 64 continuous online episodes on FB and Instagram. Seeing over 10,000 people joining me online EVERYDAY from India, US, UK, Canada, Austria, Chile, Argentina, Japan & various other countries, made me realise, just how much our Indian classical music is loved and followed across the world.. Over the years, I have taught Indian Music and Rhythm at several prestigious International universities like Harvard, MIT, New England Conservatory, Monash University etc. as well as been involved in research on the ‘Relationship between Music, Language & the Brain’ at Harvard Science Center and UC, San Diego. Seeking to get a deeper understanding of the history and theory of Indian Music. I also did my M. A. in Indian Music and topped the university, despite no notes as all the classes in chaste Marathi! I have been contemplating how to create a training approach that combines the best of our traditional Guru-shishya Parampara with a contemporary approach, to understanding the depth and beauty of our Indian music and culture. Following decades of gruelling riyaaz, chintan-manan (self-reflection) & experimentation, I am finally happy to announce the launch of my specially designed training modules and a pedagogical approach for students of all levels, at the Anuradha Pal Tabla School in Juhu, Mumbai where we will have in person lessons in small batches following all Covid protocols. Rhythm enthusiasts living abroad or outside Mumbai can join our online classes twice a week. Students will be given certificates, on completion of the prescribed syllabus as per their proficiency. All interested students may WhatsApp / Call +(91) 98219 24847 or email apcamumbai@gmail.com https://www.instagram.com/p/CfbqAsphiKU/?igshid=NGJjMDIxMWI=

[mariaotis681]

New England II - North Carolina livestream 8/05/2021

Competition: North Carolina - New England II live

https://rd-alt.sportfrat.com/?e=2132319&s=57

https://rd-alt.sportfrat.com/?e=2132319&s=57

Galway United - Cork City match overview, prediction&tips

This match will be played by one of a leader and outsider (ranked 3 in the zone Promotion ~ Premier Division (Promotion) and 9).

Galway United is in undoubted good shape (in the last 5 games wins - 3).

Recent matches Cork City is playing unstable (in the last 5 games wins - 1).

Recently Galway United have a series of guest games.

Galway United will have a poor advantage in this game.

Last 11 head-to-head matches Galway United won 1 matches, drawn 3 matches, lost 7 matches and goals 10-26.

Including matches at home between the teams Galway United won 1 matches, drawn 2 matches, lost 2 matches and goals 5-11.Sweden - Canada match overview, prediction&tips

Sweden in the latest game got a series victories and it is in a perfect shape (in the last 5 games wins - 5).

Canada is in a first-class shape now (in the last 5 games wins - 3).

In this match Sweden is a favorite.

Last 4 head-to-head matches Sweden won 2 matches, drawn 0 matches, lost 2 matches and goals 4-3.Grau - Chavelines Juniors match overview, prediction&tips

The most interesting match of the day. Two teams from the very top of the board will meet (ranked 2 and 1 in the zone Promotion ~ Liga 2 (Play Offs)).

Recent matches Grau is playing changeable (in the last 5 games wins - 2).

Chavelines Juniors in the latest match got series victories and it is in excellent form (in the last 5 games wins - 4).

In this match the chances to achieve triumph bor both teams are almost equal.

Last 3 head-to-head matches Grau won 1 matches, drawn 2 matches, lost 0 matches and goals 4-3.

Galway United - Cork City match overview, prediction&tips En un partido jugado por uno de los líderes y los de afuera (en el puesto 3 y 9). Galway United en muy buena forma (en los últimos 5 juegos victorias - 3). Últimos partidos Cork City juega inestable (en los últimos 5 juegos victorias - 1). Recientemente Galway United tienen una serie de juegos de huéspedes. Galway United tendrá una ligera ventaja en este juego.El pasado 11 head-to-head matches Galway United ganó 1 partidos, dibujados 3 partidos, perdieron 7 partidos, y 10-26. Incluyendo partidos en casa entre los equipos Galway United ganó 1 partidos, dibujados 2 partidos, perdieron 2 partidos, y 5-11.Sweden - Canada match overview, prediction&tips Sweden en los últimos partidos con una serie de victorias y está en muy buena forma (en los últimos 5 juegos victorias - 5). Canada en muy buena forma (en los últimos 5 juegos victorias - 3). En este partido, el Sweden es el favorito.El pasado 4 head-to-head matches Sweden ganó 2 partidos, dibujados 0 partidos, perdieron 2 partidos, y 4-3.Grau - Chavelines Juniors match overview, prediction&tips Uno de los partidos más interesantes del juego del día. En el partido se encuentra en la parte superior de la tabla de comandos (en el puesto 2 y 1). Últimos partidos Grau juega inestable (en los últimos 5 juegos victorias - 2). Chavelines Juniors en los últimos partidos con una serie de victorias y está en muy buena forma (en los últimos 5 juegos victorias - 4). En este partido, las posibilidades de ganar los dos equipos son casi iguales.El pasado 3 head-to-head matches Grau ganó 1 partidos, dibujados 2 partidos, perdieron 0 partidos, y 4-3.

Galway United - Cork City match overview, prediction&tips In einem Match spielte einer der Führer und Außenseiter (Platz 3 und 9). Heimmannschaft in einem sehr guten Zustand (in den letzten 5 Spielen gewinnt - 3). Neue Spiele Gastmannschaft spielt unregelmäßig (in den letzten 5 Spielen gewinnt - 1). Kürzlich Galway United haben eine Reihe von Gastspielen. Galway United haben einen leichten Vorteil in diesem Match.Letzte 11 Kopf-an-Kopf-Spiele Heimmannschaft gewann 1 Spiele, 3 unentschieden Spiele, 7 Spiele verloren und Ziele 10-26. Inklusive Heimspiele zwischen den Teams Heimmannschaft gewann 1 Spiele, 2 unentschieden Spiele, 2 Spiele verloren und Ziele 5-11.Sweden - Canada match overview, prediction&tips Heimmannschaft im letzten Spiel ist eine Reihe von Siegen und ist in sehr guter Form. Gastmannschaft in einem sehr guten Zustand (in den letzten 5 Spielen gewinnt - 3). In diesem Spiel ist Sweden ein Favorit.Letzte 4 Kopf-an-Kopf-Spiele Heimmannschaft gewann 2 Spiele, 0 unentschieden Spiele, 2 Spiele verloren und Ziele 4-3.Grau - Chavelines Juniors match overview, prediction&tips Eines der interessantesten Spiele des Tages spielen. Im Spiel gibt es Teams aus der Spitze der Tabelle (Platz 2 und 1). Aktuelle Spiele Heimmannschaft spielt unregelmäßig (in den letzten 5 Spielen gewinnt - 2). Gastmannschaft im letzten Spiel ist eine Reihe von Siegen und ist in sehr guter Form (in den letzten 5 Spielen gewinnt - 4). In diesem Spiel eine Chance, beide Teams gewinnen sind fast gleich.Letzte 3 Kopf-an-Kopf-Spiele Heimmannschaft gewann 1 Spiele, 2 unentschieden Spiele, 0 Spiele verloren und Ziele 4-3.

Galway United - Cork City match overview, prediction&tips В матче играют один из лидеров и аутсайдер (занимают места 3 и 9). Galway United в очень хорошей форме (в последних 5 матчах побед - 3). Последние матчи Cork City играет нестабильно (в последних 5 матчах побед - 1). У Galway United в последние время была гостевая серия матчей. Galway United будет иметь небольшое преимущество в этом матче.Последние матчи между этими соперниками Galway United выиграл 1, ничья 3, програл 7, разница голов 10-26. В том числе матчи на своем поле между этими соперниками Galway United выиграл 1, ничья 2, програл 2, разница голов 5-11.Sweden - Canada match overview, prediction&tips Sweden в последних матчах имеет серию побед и находится в очень хорошей форме (в последних 5 матчах побед - 5). Canada в очень хорошей форме (в последних 5 матчах побед - 3). В этом матче Sweden является фаворитом.Последние матчи между этими соперниками Sweden выиграл 2, ничья 0, програл 2, разница голов 4-3.Grau - Chavelines Juniors match overview, prediction&tips Один из наиболее интересных матчей игрового дня. В матче встречаются команды из верхней части таблицы (занимают места 2 и 1). Последние матчи Grau играет нестабильно (в последних 5 матчах побед - 2). Chavelines Juniors в последних матчах имеет серию побед и находится в очень хорошей форме (в последних 5 матчах побед - 4). В этом матче шансы на победу обеих команд практически равны.Последние матчи между этими соперниками Grau выиграл 1, ничья 2, програл 0, разница голов 4-3.

Galway United - Cork City match overview, prediction&tips В мач изигра един от лидерите и аутсайдерите (класирана 3 и 9). Galway United в много добра форма (в последните 5 мача победи - 3). Последните мачове Cork City играе хаотично (в последните 5 мача победи - 1). В Galway United в последно време е серията гост на мачове. Galway United ще имат леко предимство в този мач.Последните 11 главата до главата мачове Galway United спечели 1 мача, равенство 3 мача, загуби 7 мача и цели 10-26. Включително мачове у дома между тези съперници Galway United спечели 1 мача, равенство 2 мача, загуби 2 мача и цели 5-11.Sweden - Canada match overview, prediction&tips Sweden в последния мач е поредица от победи и е в много добра форма (в последните 5 мача победи - 5). Canada в много добра форма (в последните 5 мача победи - 3). В този мач, Sweden е фаворит.Последните 4 главата до главата мачове Sweden спечели 2 мача, равенство 0 мача, загуби 2 мача и цели 4-3.Grau - Chavelines Juniors match overview, prediction&tips Един от най-интересните мачове на игра на ден. В играта има отбори от горната част на таблицата (класирана 2 и 1). Последните мачове Grau играе хаотично (в последните 5 мача победи - 2). Chavelines Juniors в последния мач е поредица от победи и е в много добра форма (в последните 5 мача победи - 4). В тази игра шанс да спечели и двата отбора са почти равни.Последните 3 главата до главата мачове Grau спечели 1 мача, равенство 2 мача, загуби 0 мача и цели 4-3.

[auskultu]

First Pop Music Festival Great Hit At Monterey

John Morthland, San Bernadino Sun-Telegram, 25 June 1967

Something is happening here, and you don't know what it is, do you Mr. Jones?

Mr. Jones wasn't at the biggest happening of them all last weekend, but most of the biggest names in the pop music industry were at the First Annual Monterey International Pop Music Festival. Recording artists from all over the world donated their time and services for the three-day, five-concert affair.

And what a weekend it was! It would be unfair to the performers to single out any one act in the festival, but it is very safe to say that there was not a bad one.

From the time The Association opened the weekend with "Enter The Young" Friday night to The Mamas and The Papas' rousing "Dancin' in the Streets" Sunday evening, the Monterey County Fairgrounds were alive with the sound of music, people and fun.

Friday evening belonged to Lou Rawls, Eric Burdon and the Animals, and Simon and Garfunkel, but the other three acts that night were certainly not a disappointment.

Although his act is primarily for the night club, Rawls nonetheless brought it off well on the big open stage. The young blues, (he calls it "rock 'n soul") singer from Chicago had the longest set of the evening, and the sell-out crowd loved it. Rawls' voice is one of the best on the current scene, and his backing was good. High points of his set were "Tobacco Road," the song that started it all for him, and, of course, "Dead-End Street."

Burdon and the Animals were a surprise addition and gave the Friday night show another bluesy boost. Considered by many the finest singer in England today, Burdon sang none of the Animals' big hits, but sounded especially well on a highly-original version of Mick Jagger's "Paint It, Black," Burdon's being a 15-minute version featuring the electric violin.

Simon and Garfunkel closed the opening show, and the crowd was slightly disappointed that time was so late and the New York duo couldn't sing longer. The pair sounded particularly good on "59th Street Bridge Song," an ecstatically happy tune; "For Emily, Wherever I May Find Her," and the de*lightful new "Punky's Dilemma". They also sang several "Homeward Bound," "At the Zoo," and "Sounds of Silence."

The Association sang their music (especially "Cherish") well, but their stage routine was geared to a less sophisticated audience. Also on the bill were Johnny Rivers, who did all his big hits; the Paupers, an up-and-coming foursome from Canada who possess an exceptional bassist; and folk-singer, Beverly, protege of S. & G.

Saturday afternoon put an accent on blues, with the Canned Heat Blues Band, Al Kooper, The Paul Butterfield Blues Band, Steve Miller Blues Band, and the Electric Flag sharing the spotlight with Big Brother and the Holding Company, Country Joe and the Fish, and the Quicksilver Messenger Service.

The Electric Flag, the band, led by Mike Bloomfield, made its debut a great one as it brought another sell-out crowd to its feet collectively shouting for more. Bloomfield left the Butterfield Band several months ago to form his own group, and he came up with a winner due primarily to his own guitar talent.

Big Brother and the Holding Company, a group managed by Chet Helms, who also runs the Family Dog and Avalon Ballroom in San Francisco, was so good that it had another set Sunday night. Their first single, "Down On Me," is not captured on the record nearly as well as when performed live by Janis Joplin, and "Love Is Like a Ball and Chain" also showcases her voice nicely. The group lacks polish on the stage, but will be a big name soon. Butterfield, who started it all less than two years ago, has what is probably the best blues band in the nation, even without Bloomfield, and his afternoon performance earned his group a second set later that night.

It is always fun to watch Country Joe and the Fish perform, because the group is obviously having so much fun itself. The stage personality of lead guitarist Barry Melton is one that cannot be denied. The group is ready to go national now since it emerged from the Berkeley underground last month with a hit single, "Not So Sweet Martha Lorraine." The Fish sang about hydrogen bombs ("Please don't drop that H-bomb on me; you can drop it on yourself"), Masked Marauders, Porpoise Mouths, and Vietnam ("Be the first one on your block to have your son brought home in a box."), in addition to "Lorraine."

Canned Heat, which will have an album out on Liberty soon, was interesting, but still not in a class with Butterfield or Bloomfield. Al Kooper, who recently left the Blues Project to make it alone, had a short, but good, set. The Quicksilver Messenger Service (another of Helms' groups) and The Steve Miller Blues Band both have a chance to make it big, as both continue to improve while playing primarily in the Bay area.

Moby Grape, a soon-to-be-big band which released its first album this month on Columbia, opened the Saturday night show. The Grape, still another San Francisco group, is led by guitarist Skip Spence, the former drummer with Jefferson Airplane. Best songs were "Mr. Blue" and "Omaha," both cuts off the album.

Airplane was a slight disappointment. The Airplane, pioneer of the San Francisco Renaissance, is the hottest band in the nation presently, but the speaker system was faulty and neither Grace Slick nor Marty Balin were up to par on the vocals, which included four from Surrealistic Pillow, the seventh best-selling album in the nation.

South African Hugh Masekela is a better-than-average trumpet player, an average singer, and the high points in his set were the solos by Big Black on the conga drums.

The Byrds, although not singing any of their big national hits ("The times, they are a-changin'," said David Crosby) sounded very good. Groups relying on harmony, as closely as, do the Byrds, are usually not as good live as on their recordings, but this was an exception.

Butterfield turned in another exciting performance, as did 19-year-old Laura Nyro, who composes and arranges her own material.

In another example of perfect programming, Otis Redding was saved until the end of the show and backed by Booker T and the MGs. Redding's act relies strongly on audience participation, and he had the crowd standing on its chairs on "Shake" and "Satisfaction."

It would be hard to describe the Sunday afternoon show, which was handled completely by Ravi Shankar. Shankar is the world's finest sitar player, and the sitar is undoubtedly the most difficult instrument to learn.

He is also one of the most totally peaceful men alive today, and his performance reflected this. For three hours, in a light drizzle, he held the crowd spellbound with his Indian folk and religious ragas, and received a standing ovation at the conclusion of every number. The final ovation lasted better than five minutes, and brought Shankar and his tabla player back onstage three times. Any frustrations or feelings of aggression were erased and those who cheered loudest and longest were the other artists. Sunday night's show was the most exciting of the five with the Grateful Dead, The Who, and The Jimi Hendrix Experience, all literally tearing the crowd apart.

The show opened with the Blues Project and "Our Gem," which featured a beautiful elec*tric flute solo. Big Brother returned for another set, and then a foursome, which has yet to pick a name, appeared.

Buffalo Springfield sounded especially good on their new sinigle "Listen to My Bluebird" (but "For What It's Worth" didn't come off well at all. Introduced as a "group that will destroy you," The Who from England then proceeded to do just that—literally. It's one of the best new bands to come out of England, and their first hit, "Happy Jack," was only a beginning. Complete with a drummer (Keith Moon) who throws his drumsticks high into the air, then catches them and continues playing without missing a beat, The Who gained roars of approval for their new 'single "Pictures of Lily" and "A Quick One," which lasted, about 10 minutes.

At the end of the last song "(My Generation") lead guitarist Pete Townsend hurled his guitar to the ground, smashed it into pieces, then threw it out into the audience. This has become the traditional way for many English groups to end a concert, and, having seen it done by Jeff Beck of The Yardbirds, I can assure you Townsend does it better than most.

Not content merely to destroy his guitar, Townsend also set off several smoke bombs, destroyed an amplifier or two, and knocked over every microphone on the stage before taking apart Moon's drum set.

After the stage was put back together, The Grateful Dead took over and kept the excitement at a peak. The Dead is in the tradition of the great jazz groups, doing long (20-30) minute) songs and relying heavily on improvisation.

They are also one of the loudest bands in the industry. Lead guitarist Jerry Garcia is the best in the business, bar none, and when he and organist Pigpen "talk" to each other with their instruments, there's no telling how the conversation will go. Organized in San Francisco by novelist Ken Kesey, The Dead have failed to produce a hit record for only one reason: no recording engineer in the country could catch on wax the uninhibited excitement they generate, especially Garcia ("Capt. Trips") Pigpen, and bassist Phil Lesh. In a live performance, The Dead is electronic thunder and lightning.

The Dead was followed by The Jimi Hendrix Experience. Hendrix, who might best be described as a psychedelic James Brown, sings (Dylan's "Like A Rolling Stone" was his best), 'but also plays the guitar—behind his back, over his head, and with his TEETH. At the end of his set, he went Townsend one better by dousing his guitar with lighter fluid, then putting a match to it before repeating the smashing scene.

The festival was brought to a close by (who would he more appropriate?) The Mamas and The Papas. Cass was her usual bundle of joy, Michelle is the best-looking singer in the world. John was in exceptional form, and Denny was right on the mark on every song except possibly 'Monday, Monday." They relied exclusively on songs from their first two albums, including the prophetic "California Dreamin'."

Scott McKenzie, who used to sing with John in a folk group, came out and sang "San Francisco" "Flowers in Your Hair"), then Cass introduced the finale with, "Here's the Song, and the Rest Is Up to You."

In order to make the festival truly a festival, the Board of Governors arranged to allow those without tickets onto the fairgrounds, and they milled around outside the arena where they could listen and visit the, many free attractions on the grounds—light shows in exhibit buildings, booths featuring jewelry, buttons, and posters . . . even Egyptian body painting.

In addition, many of the artists, after playing the concert for free, went down to the Monterey JC football field, which was being used for camping, and performed again. Burdon and the Animals played for two hours to those who couldn't get tickets to the regular concerts. What made this truly a festival was the fact that the artists obviously were having as much fun as the spectators.

There were also many recording artists in the crowd who did not perform. Brian Jones of the Rolling Stones introduced Hendrix Sunday. Monkee Peter Tork announced several acts between making himself conspicuous in the audience. Tommy Smothers was emcee for most of the weekend. Joan Baez sat in the audience Sunday.

At least two Beatles, John and Paul, were present most of the weekend, but both did a good job of keeping themselves disguised. Both wandered around the fairgrounds unrecognized, but could be spotted in the wings of the stage by members of the press. [As Peter Tork announced during the Dead’s set, this was just a rumor. — auskultu]

Despite the expected harassment an event of this nature usually brings about (one Sunday newspaper even reported evidence that a "great deal of LSD was being smoked!"), Monterey Police Chief Frank Marinello had this to say about the crowd: "When I first heard of this, event being planned, I was very skeptical. I rounded up every law enforcement officer from every city in the area to work this in addition to my own boys in blue.

"I am very proud to say that there has not been one complaint lodged against the boys in blue, and this is equally, so for the so-called hippies, a group of people I have come to like very much this weekend. There has been not one single incident (the crowd was about four times that of the annual Jazz Festival held on the fairgrounds), and in all my years of law enforcement I have never encountered such peace-loving people."

The chief sent 40 officers home Sunday morning and 40 more Sunday night because the crowd was so cooperative. (A crowd estimate was virtually impossible, but festival publicity director Derek Taylor set official estimate at "a lot of people.")

Enough can not be said for Lou Adler and John Phillips, producer and leader of The Mamas and The Papas, who, as co-directors of the festival, put the non-profit affair (all proceeds go to charity, at the artists' request) together in 10 weeks after taking over from a record executive who planned it as a money-making festival.

The same holds for Taylor, who headed the promotions team, and the rest of the Board of Governors: Donovan, Mick Jagger, Paul McCartney, Jim McGuinn, Terry Melcher, Andrew Loog Oldham, Alan Pariser, Johnny Rivers, Smokey Robinson, Paul Simon, Abraham Somer, and Brian Wilson.

[krisiunicornio]

A yoga movement and dance teacher examines her experiences with kirtan—from Sikh temple on Sundays with her family to concerts and festivals with hundreds of people in the crowd.

When I moved to Los Angeles 17 years ago, a friend invited me to a Krishna Das concert. I didn’t know anything about him, so I was expecting perhaps an Indian classical singer with a sitar. Instead, I walked into a room of about 200 Western yogis—mostly Caucasian—sitting on the floor in front of a low-rise stage that held Krishna Das and about nine other musicians and singers. I took a seat in a sea of Caucasians singing and chanting Sanskrit mantras—with more than a few mispronunciations of the language. I remember feeling really confused and thinking, “What is happening? Where am I?” It felt very strange to be in this environment, as the only time I had experienced musicians sitting on the ground with a harmonium (an Indian keyboard instrument) and a tabla (an Indian drum) was at Gurdwara (Sikh temple) on Sundays.

See also Sanskrit 101: 4 Reasons Why Studying This Ancient Language Is Worth Your Time

Although I was born in Toronto, Canada, my parents are both from Punjab, India, and they kept our traditions alive and strong. Back then I thought we were weird because of the way we dressed, did our hair, wore bindis, and sang our prayers. Growing up, I wanted to fit in so badly that I even wished to be white, blond, and blue-eyed during a teenage moment in which I refused to answer unless my family called me “Jenny.” Today, I feel sad for that girl who yearned to be someone other than her beautiful, unique self.

I never would have believed it back then if you told me that Western culture would want to be . . . well, us.

Here I was being led in kirtan (devotional chant) by a Jewish man (by birth) who was teaching and sharing the names of the Vedic deities. At first all I could focus on was the way people around me were mispronouncing the words. Then I closed my eyes and let go into the vibe of the music. My heart opened wide and tears rolled down my face, dripping off my jawline to my kurta (long shirt). The judgmental thoughts of “this is right” or “this is wrong” dropped. I allowed myself to receive what was here for me, for us all: the high vibrations of the music. I realized that bhakti (devotion) comes in all shapes, sizes, colors, and lineages. I felt there was truth to what Krishna Das was sharing with his heart that can benefit us all.

See also The First Book of Yoga: The Enduring Influence of the Bhagavad Gita

Now the Western world has drunk the delicious mango lassi Kool-Aid and thousands, if not millions, of people want to pursue the path of being a yoga instructor, guru, and kirtan walla (a devoted singer who travels temple to temple—or, in the modern Western equivalent now, from festival to yoga studio to retreat).

But this rise in popularity of yoga in the West isn’t always something to celebrate. I didn’t even know what cultural appropriation meant until a couple of years ago, when a few of the more traditional yogis (those steeped in the Raja Yoga path) brought me into a conversation about the Western “conscious event” organizers choosing to exclude Indians who have a lineage of teachers or singers in their families. Instead, they were inviting Westerners with big Instagram followings who had just learned yogasana a few years ago. It’s become a business, and as with any business, the goal is to bring in more income and serve more people, so if those people happen to be teaching “yoga”—in a form that mostly focuses on postures—should we accept that it isn’t fully representing the lifestyle of being a yogi?

See also Do You Really Know the True Meaning of Yoga?

My teacher of yoga philosophy is Jeffrey Armstrong, a Vedic scholar who happens to be white-skinned and is deeply immersed in the traditions of yoga. I don’t have a problem with Westerners teaching yoga, but what I do find daunting is when teachers lead you through poses for an hour and call it yoga. Call this asana, call this exercise, but don’t call it yoga—that’s not what it is. Yoga is a whole system that includes breathwork, sound vibration, devotion, and meditation.

I believe there needs to be a balance of honoring tradition and allowing for modernization. We can greatly benefit from celebrating and learning from Indian singers and Vedic teachers who are beautifully steeped in tradition. We also benefit by making room for modern approaches to the yogic and devotional path. Let's chant, share, and grow together to raise the vibration of the planet.

See also The Wake-Up Call Yogis Need to Bring 'Real Yoga' Back Into Their Practice

Yoga movement and dance teacher Hemalayaa Behl

About our author

Hemalayaa Behl is a leader, mentor, and author of the Embody Oracle Card Deck. She empowers women through movement with her Bollywood Dance Fitness videos and live-streaming of dance parties. Learn more at Hemalayaa.com.

[cedarrrun]

A yoga movement and dance teacher examines her experiences with kirtan—from Sikh temple on Sundays with her family to concerts and festivals with hundreds of people in the crowd.

When I moved to Los Angeles 17 years ago, a friend invited me to a Krishna Das concert. I didn’t know anything about him, so I was expecting perhaps an Indian classical singer with a sitar. Instead, I walked into a room of about 200 Western yogis—mostly Caucasian—sitting on the floor in front of a low-rise stage that held Krishna Das and about nine other musicians and singers. I took a seat in a sea of Caucasians singing and chanting Sanskrit mantras—with more than a few mispronunciations of the language. I remember feeling really confused and thinking, “What is happening? Where am I?” It felt very strange to be in this environment, as the only time I had experienced musicians sitting on the ground with a harmonium (an Indian keyboard instrument) and a tabla (an Indian drum) was at Gurdwara (Sikh temple) on Sundays.

See also Sanskrit 101: 4 Reasons Why Studying This Ancient Language Is Worth Your Time

Although I was born in Toronto, Canada, my parents are both from Punjab, India, and they kept our traditions alive and strong. Back then I thought we were weird because of the way we dressed, did our hair, wore bindis, and sang our prayers. Growing up, I wanted to fit in so badly that I even wished to be white, blond, and blue-eyed during a teenage moment in which I refused to answer unless my family called me “Jenny.” Today, I feel sad for that girl who yearned to be someone other than her beautiful, unique self.

I never would have believed it back then if you told me that Western culture would want to be . . . well, us.

Here I was being led in kirtan (devotional chant) by a Jewish man (by birth) who was teaching and sharing the names of the Vedic deities. At first all I could focus on was the way people around me were mispronouncing the words. Then I closed my eyes and let go into the vibe of the music. My heart opened wide and tears rolled down my face, dripping off my jawline to my kurta (long shirt). The judgmental thoughts of “this is right” or “this is wrong” dropped. I allowed myself to receive what was here for me, for us all: the high vibrations of the music. I realized that bhakti (devotion) comes in all shapes, sizes, colors, and lineages. I felt there was truth to what Krishna Das was sharing with his heart that can benefit us all.

See also The First Book of Yoga: The Enduring Influence of the Bhagavad Gita

Now the Western world has drunk the delicious mango lassi Kool-Aid and thousands, if not millions, of people want to pursue the path of being a yoga instructor, guru, and kirtan walla (a devoted singer who travels temple to temple—or, in the modern Western equivalent now, from festival to yoga studio to retreat).

But this rise in popularity of yoga in the West isn’t always something to celebrate. I didn’t even know what cultural appropriation meant until a couple of years ago, when a few of the more traditional yogis (those steeped in the Raja Yoga path) brought me into a conversation about the Western “conscious event” organizers choosing to exclude Indians who have a lineage of teachers or singers in their families. Instead, they were inviting Westerners with big Instagram followings who had just learned yogasana a few years ago. It’s become a business, and as with any business, the goal is to bring in more income and serve more people, so if those people happen to be teaching “yoga”—in a form that mostly focuses on postures—should we accept that it isn’t fully representing the lifestyle of being a yogi?

See also Do You Really Know the True Meaning of Yoga?

My teacher of yoga philosophy is Jeffrey Armstrong, a Vedic scholar who happens to be white-skinned and is deeply immersed in the traditions of yoga. I don’t have a problem with Westerners teaching yoga, but what I do find daunting is when teachers lead you through poses for an hour and call it yoga. Call this asana, call this exercise, but don’t call it yoga—that’s not what it is. Yoga is a whole system that includes breathwork, sound vibration, devotion, and meditation.

I believe there needs to be a balance of honoring tradition and allowing for modernization. We can greatly benefit from celebrating and learning from Indian singers and Vedic teachers who are beautifully steeped in tradition. We also benefit by making room for modern approaches to the yogic and devotional path. Let's chant, share, and grow together to raise the vibration of the planet.

See also The Wake-Up Call Yogis Need to Bring 'Real Yoga' Back Into Their Practice

Yoga movement and dance teacher Hemalayaa Behl

About our author

Hemalayaa Behl is a leader, mentor, and author of the Embody Oracle Card Deck. She empowers women through movement with her Bollywood Dance Fitness videos and live-streaming of dance parties. Learn more at Hemalayaa.com.

[amyddaniels]

Why Yoga is More Than the Poses You Practice In Class

A yoga movement and dance teacher examines her experiences with kirtan—from Sikh temple on Sundays with her family to concerts and festivals with hundreds of people in the crowd.

When I moved to Los Angeles 17 years ago, a friend invited me to a Krishna Das concert. I didn’t know anything about him, so I was expecting perhaps an Indian classical singer with a sitar. Instead, I walked into a room of about 200 Western yogis—mostly Caucasian—sitting on the floor in front of a low-rise stage that held Krishna Das and about nine other musicians and singers. I took a seat in a sea of Caucasians singing and chanting Sanskrit mantras—with more than a few mispronunciations of the language. I remember feeling really confused and thinking, “What is happening? Where am I?” It felt very strange to be in this environment, as the only time I had experienced musicians sitting on the ground with a harmonium (an Indian keyboard instrument) and a tabla (an Indian drum) was at Gurdwara (Sikh temple) on Sundays.

See also Sanskrit 101: 4 Reasons Why Studying This Ancient Language Is Worth Your Time

Although I was born in Toronto, Canada, my parents are both from Punjab, India, and they kept our traditions alive and strong. Back then I thought we were weird because of the way we dressed, did our hair, wore bindis, and sang our prayers. Growing up, I wanted to fit in so badly that I even wished to be white, blond, and blue-eyed during a teenage moment in which I refused to answer unless my family called me “Jenny.” Today, I feel sad for that girl who yearned to be someone other than her beautiful, unique self.

I never would have believed it back then if you told me that Western culture would want to be . . . well, us.

Here I was being led in kirtan (devotional chant) by a Jewish man (by birth) who was teaching and sharing the names of the Vedic deities. At first all I could focus on was the way people around me were mispronouncing the words. Then I closed my eyes and let go into the vibe of the music. My heart opened wide and tears rolled down my face, dripping off my jawline to my kurta (long shirt). The judgmental thoughts of “this is right” or “this is wrong” dropped. I allowed myself to receive what was here for me, for us all: the high vibrations of the music. I realized that bhakti (devotion) comes in all shapes, sizes, colors, and lineages. I felt there was truth to what Krishna Das was sharing with his heart that can benefit us all.

See also The First Book of Yoga: The Enduring Influence of the Bhagavad Gita

Now the Western world has drunk the delicious mango lassi Kool-Aid and thousands, if not millions, of people want to pursue the path of being a yoga instructor, guru, and kirtan walla (a devoted singer who travels temple to temple—or, in the modern Western equivalent now, from festival to yoga studio to retreat).

But this rise in popularity of yoga in the West isn’t always something to celebrate. I didn’t even know what cultural appropriation meant until a couple of years ago, when a few of the more traditional yogis (those steeped in the Raja Yoga path) brought me into a conversation about the Western “conscious event” organizers choosing to exclude Indians who have a lineage of teachers or singers in their families. Instead, they were inviting Westerners with big Instagram followings who had just learned yogasana a few years ago. It’s become a business, and as with any business, the goal is to bring in more income and serve more people, so if those people happen to be teaching “yoga”—in a form that mostly focuses on postures—should we accept that it isn’t fully representing the lifestyle of being a yogi?

See also Do You Really Know the True Meaning of Yoga?

My teacher of yoga philosophy is Jeffrey Armstrong, a Vedic scholar who happens to be white-skinned and is deeply immersed in the traditions of yoga. I don’t have a problem with Westerners teaching yoga, but what I do find daunting is when teachers lead you through poses for an hour and call it yoga. Call this asana, call this exercise, but don’t call it yoga—that’s not what it is. Yoga is a whole system that includes breathwork, sound vibration, devotion, and meditation.

I believe there needs to be a balance of honoring tradition and allowing for modernization. We can greatly benefit from celebrating and learning from Indian singers and Vedic teachers who are beautifully steeped in tradition. We also benefit by making room for modern approaches to the yogic and devotional path. Let's chant, share, and grow together to raise the vibration of the planet.

See also The Wake-Up Call Yogis Need to Bring 'Real Yoga' Back Into Their Practice

Yoga movement and dance teacher Hemalayaa Behl

About our author

Hemalayaa Behl is a leader, mentor, and author of the Embody Oracle Card Deck. She empowers women through movement with her Bollywood Dance Fitness videos and live-streaming of dance parties. Learn more at Hemalayaa.com.

[365footballorg-blog]

This Week in MLS - October 9, 2018

USA Today Sports Images

October 9, 20185:56AM EDT

Giovinco’s return to Italy, Paraguayan youngsters highlight top MLS international call-ups

FC Dallas Homegrown Cannon ready for pressure with U.S. MNT call-up

D.C. run evokes similarities to 2016 MLS Cup-winning Sounders FC

MLS academy products look to lift Canada to new heights

MLS Week 33: Match Notes

Giovinco’s return to Italy, Paraguayan youngsters highlight top MLS international call-ups

Stars across Major League Soccer have been recognized for their quality in league play this season to earn call-ups to their respective national teams, ranging from young players representing their countries for the first time to veterans reentering the international fold.

Toronto FC forward Sebastian Giovinco returns to the Italy National Team thanks to a successful individual 2018 season with a combined 26 goals and assists, ranking as one of only three players across the league in the top 10 of both categories. Giovinco receives the call from new Italy boss Roberto Mancini. Giovinco, the 2015 Landon Donovan MLS MVP and 2018 Concacaf Champions League MVP will face Ukraine and Poland in this window and U.S. Men’s National Team fans should keep an eye on his performance, as repeat call-ups in the November window could see the Atomic Ant face Toronto teammates Michael Bradley and Marky Delgado, both called in for the U.S. camp.

Sporting Kansas City midfielder Johnny Russell has seen a resurgence with Scotland, having played in both matches during the September international window. With nine goals and nine assists for SKC, Russell will look to continue his strong production with Scotland when facing Israel and Portugal this week.

Young players across the league have also used their club play to break through for the first time in international play. Paraguay has seen three young MLS stars enter the program with high hopes for the first time this year, including 24-year-old Héctor Villalba (Atlanta United), 23-year-old Kaku (New York Red Bulls) and 20-year-old Cristhian Paredes (Portland Timbers). Kaku and Villalba have been instrumental to their squads, which are fighting for the top spot in the Eastern Conference and could each break the record for most points ever in an MLS season. Combined with fellow star Miguel Almirón (Atlanta United), the Paraguay National Team has three players age 24 or younger that have combined for 24 goals and 37 assists in MLS play this season.

FC Dallas Homegrown Cannon ready for pressure with U.S. MNT call-up

From virtually unknown to anchoring one of the best defensive units in MLS, 20-year-old FC Dallas Homegrown Player Reggie Cannon is bound for his first U.S. Men’s National Team camp as the USA prepares for No. 14 FIFA-ranked Colombia on Thursday in Tampa (7:30 p.m. ET / FS1, UniMas, UDN).

Cannon’s emergence under FCD head coach Oscar Pareja has helped catapult the club to the top of the Western Conference. After playing just one minute in 2017, Cannon this year has played in 31 games (all starts), logged 2,741 minutes and tallied a goal and three assists. He also was voted No. 7 on MLSsoccer.com’s 22 Under 22 rankings. Alongside the rising defender will be a former teammate, Colorado Rapids midfielder and former FCD Homegrown Player Kellyn Acosta.

“I’m looking forward to heading into this camp with solid confidence,” Cannon said. “Kellyn’s really going to help me with that. He’s my roommate and my best friend. He’s going to help me a lot with getting integrated into the system. It’s going to be a good trip.” (LISTEN HERE)

“I like to play the players when I know they’re going to have a good scenario,” Pareja recently told the Dallas Morning News. “With Reggie’s situation, that probably happened more than with anyone else.”

“You have that national team call-up, people are looking at you differently,” Cannon said. “People are expecting you to always be at that level. That bar you set, you always have to go above it.”

U.S. MNT roster:

Current MLS Homegrowns: Kellyn Acosta (Colorado Rapids), Reggie Cannon (FC Dallas), Mark Delgado (Toronto FC), Wil Trapp (Columbus Crew SC)

Former MLS Homegrowns: Matt Miazga (New York Red Bulls), DeAndre Yedlin (Seattle Sounders FC)

Additional MLS youth products: Aaron Long (New York Red Bulls), Tim Weah (New York Red Bulls)

D.C. run evokes similarities to 2016 MLS Cup-winning Sounders FC

D.C. United (11-11-8, 41 points) could be one step closer to the Audi 2018 MLS Cup playoffs this week with a potential slide into sixth place, moving the club above playoff line for the first time this regular season. With potential postseason qualification in view and a couple games in hand, D.C.’s turnaround is showing signs of mirroring the memorable U-turn of 2016 MLS Cup champions Seattle Sounders FC.

The 2016 Sounders went 6-12-2 (20 points) through July 24 of that season, then went on to post an 8-2-4 record (28 points) the rest of the way to advance to the postseason. This year’s United team posted a 3-9-5 record (14 points) through July 25 of this year and has since sported an 8-2-3 record (27 points) heading into Week 32.

2016 MLS Cup winners Seattle Sounders FC:

March 6-July 24, 2016: 6-12-2, 20 points

July 31-Oct. 23, 2016: 8-2-4, 28 points

2018 D.C. United:

March 3-July 25: 3-9-5, 14 points

July 28-present: 8-2-3, 27 points (4 games remaining)

The 2012 LA Galaxy were the trendsetters of comeback MLS champions. Through July 4, 2012, LA went 6-10-2 and was out of the postseason picture, but then went 10-2-4 over the remainder of the regular season, then would go on to defeat the Houston Dynamo in MLS Cup.

A postseason berth still needs to occur for D.C., which collides with Western Conference-leading FC Dallas this Saturday (4:55 p.m. / Univision, UDN) at Audi Field, where United have gone 4-0-1 in their past five home matches.

Since Sept. 1:

D.C. United: 4-0-2 (4-0-1 in past five matches at Audi Field)

FC Dallas: 3-0-2 (defense has posted three shutouts)

“Give credit to the team and all the fans, and the new stadium, for bringing in a new type of energy and feel to the organization,” D.C. midfielder Paul Arriola said. “It’s been fun, and the more that we can continue to win now, the easier it is for us to push ourselves into the playoffs.” (LISTEN HERE)

MLS academy products look to lift Canada to new heights

With nine current players called into the Canada National Team, Major League Soccer’s influence on coach John Herdman’s squad is undeniable. The strong contingent of particularly young players developed through MLS academies and features a world-class attacking trio that rivals the excitement and potential of any in North America.

Ballou Tabla, the 19-year-old midfielder who transferred to Barcelona from the Montreal Impact, could make his national team debut on Oct. 16 when hosting Dominica in Toronto. Tabla forms a talented attacking unit including 17-year-old Vancouver midfielder Alphonso Davies who is headed to Bayern Munich next year in a record transfer. Former Orlando City SC forward Cyle Larin also has emerged as a starter for Turkish power Besiktas and is the focus of Canada’s attack up top.

Along with Toronto FC midfielder Jonathan Osorio, the 2018 Concacaf Champions League Golden Boot winner, Canada has a wealth of MLS-produced attacking talent that is set to lead the country in its quest to secure a spot in the 2019 Concacaf Gold Cup.

MLS Week 33: Match Notes

Friday, October 12, 2018

Los Angeles Football Club vs. Houston Dynamo, 10 p.m. ET (ESPN+)

LAFC became the fifth expansion team to clinch a playoff berth in its first season, following a 3-0 win against the Colorado Rapids at Dick’s Sporting Goods Park on Saturday evening. It was LAFC’s seventh away win of the season, matching the all-time record for expansion teams, set by the Chicago Fire in 1998.

Adama Diomande netted a pair of goals, now with 11 goals for the season. LAFC now have three goalscorers with 10 goals or more, including Carlos Vela (11) and Diego Rossi (10), and is the first expansion team ever to achieve that feat.

The Dynamo had their three-game winless streak put to an end, falling 4-1 to Seattle Sounders FC at CenturyLink Field on Monday evening. With the defeat, the Dynamo were eliminated from playoff contention. DaMarcus Beasley scored the Dynamo goal, his first in MLS since 2016.

The teams are meeting for the second time ever. LAFC held a two-goal lead as the clock hit 90:00, but stoppage-time goals from Mauro Manotas (94+) and Philippe Senderos (96+) hauled the Dynamo back into a 2-2 draw July 3 at BBVA Compass Stadium.

Saturday, October 13, 2018

Minnesota United FC vs. Colorado Rapids, 2 p.m. ET (ESPN+)

MNUFC saw their two-game winning run come to sudden halt, falling 5-1 to the Philadelphia Union at Talen Energy Stadium on Saturday evening. Darwin Quintero netted his 11th goal of the season (to go with 13 assists).

The Rapids saw their losing streak reach seven games, falling 3-0 to the Los Angeles Football Club at Dick’s Sporting Goods Park on Saturday evening. The losing slide is one game away from the club record, set earlier this season (April 21-June 9).

The teams are meeting for the second time this season. Tommy Smith netted the game-winner deep into second-half stoppage time as the Rapids came back for a 3-2 win on June 23 at Dick’s Sporting Goods Park.

The teams met twice in Minnesota United’s inaugural campaign. They reached a 2-2 draw in the first encounter on March 18 at Dick’s Sporting Goods Park; MNUFC then claimed a 1-0 win on April 18 at TCF Bank Stadium.

D.C. United vs. FC Dallas, 4:55 p.m. ET (Univisión, UDN, Twitter)

D.C. United extended their undefeated streak to six games with a second consecutive win, coming back for a 2-1 win against the Chicago Fire at Audi Field on Sunday afternoon. The six-game unbeaten run is United’s longest of the season and their longest since 2015; they now have a five-game undefeated streak alive at Audi Field.

Wayne Rooney scored both United goals vs. Chicago and now has nine goals in 16 appearances since coming to the club. It was a second consecutive two-goal game and his third in MLS; Rooney has goals in his past three contests.

FC Dallas extended their undefeated streak to five games with a third win in that time, defeating Orlando City SC 2-0 at Toyota Stadium on Saturday evening. The win extended FCD’s home undefeated streak to four games, a second consecutive shutout in Frisco.

FC Dallas have won the past three meetings between the clubs, including a 4-2 win on July 4, 2017, at Toyota Stadium in their only matchup. D.C. United last won in Frisco on Sept. 1, 2007, a 4-0 victory. FC Dallas have won five of their seven home meetings since, with two draws.

FC Dallas concluded their RFK Stadium history with a 3-0 win there on March 26, 2016, FCD’s first win in the nation’s capital since 2010. United’s last win in the series came on East Capitol Street, a 4-1 win in 2014.

New England Revolution vs. Orlando City SC, 7:30 p.m. ET (ESPN+)

The Revolution saw their winless streak extended to four games with a second consecutive defeat, falling 2-1 to Atlanta United at Mercedes-Benz Stadium on Saturday afternoon.

Orlando City SC had their club-record winless run stretched to 11 games with a fourth consecutive defeat, falling 2-0 to FC Dallas at Toyota Stadium on Saturday evening. OCSC has not scored a goal in its past four matches, the 360-minute goalless drought the second-longest in the club’s MLS history.

The teams are meeting for the second time this season. Orlando City’s Scott Sutter hit for the equalizer three minutes into second-half stoppage time, leaving the teams in a 3-3 draw on Aug. 4 at Orlando City Stadium.

The away team has never won in the all-time series, in eight meetings. The Revolution have won two of the three meetings at Gillette Stadium, including a 4-0 win in the last matchup there, last Sept. 2. Orlando City had won their last two home matches vs. New England, before this year’s draw.

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This Week in MLS – October 9, 2018 was originally published on 365 Football

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[jazzworldquest-blog]

USA: Steve McQuarry's Mandala Nonet & Orchestra to Perform the Music of Gil Evans at SFJAZZ Center, Sat. March 4

Steve McQuarry's

Mandala Nonet & Orchestra

To Perform the Music of Gil Evans Saturday, March 4 At the SFJAZZ Center's Miner Auditorium  

McQuarry to Use Evans Scores From 1947 through 1973, Some Not Discovered Until Recently

  January 9, 2017

  Oakland-based keyboardist-composer Steve McQuarry has long been in love with the unique music of Gil Evans, the late, largely-self-taught Toronto-born composer, arranger, and keyboardist best remembered for his numerous collaborations with Miles Davis.

  "The whole way he thought about orchestrating using instruments and also pushing those instruments in different ranges is really fascinating," McQuarry says of Evans. "I remember talking with Maria Schneider about this. She said he would write the trombone parts really high and things like that, which academically trained arrangers are told not to do, and how that changed a lot of textures and tone quality in the sound."

  For a program of a dozen Evans arrangements drawn from his early days with the Claude Thornhill big band through his later work with Davis, Kenny Burrell, and his own ensembles, McQuarry has expanded his 19-member Mandala Orchestra to 25 pieces to accommodate instruments Evans sometimes used to enrich his voicings, including French horn, English horn, oboe, bassoon, and cello, as well as downsized it to nine to play three pieces from Davis's legendary 1949-1950 "Birth of the Cool" sessions.

  McQuarry's Evans concert will take place on Saturday, March 4, at the SFJAZZ Center's Miner Auditorium, the scene of his highly successful tribute to Carla Bley in June of last year.

  No transcriptions from recordings will be performed. The musicians will instead play from original Evans scores -- some written in pencil by the composer himself -- supplied by composer Ryan Truesdell. An associate of Maria Schneider, Truesdell had gathered arrangements from Evans's family, musicians who had worked with him, and from the archives of bandleaders for whom he had worked, among other sources, and recorded 10 of them for his critically acclaimed 2012 CD Centennial: Newly Discovered Works of Gil Evans.

  The earliest Evans composition on the program is "The Troubadour," first recorded by the Thornhill orchestra in 1947. Another Evans composition in the set is "Dancing on a Great Big Rainbow," written for Thornhill in 1950 by not recorded until 2012 by Truesdell. The Mandala Orchestra will also perform "Blues for Pablo" and "The Maids of Cadiz" (both from Davis's 1957 album Miles Ahead) and "Greensleeves" (from the 1964 Kenny Burrell album Guitar Forms), as well as "St. Louis Blues," "La Nevada Blues," "Punjab," and "Eleven," all from various albums made by Evans's own bands. And the Nonet will play "Budo," "Israel," and "Boplicity" from Birth of the Cool.

  Although born in Canada, on May 13, 1912, Gil Evans resided in the United States from the time he was a boy. He became enamored of the music of Louis Armstrong and other early jazz greats while living in Berkeley in the mid-1920s and formed a nine-piece swing band in Stockton a few years later. He spent most of the 1940s as a staff arranger for the Thornhill band, whose distinctive style greatly influenced that of the Miles Davis Nonet that made the sessions that became known as Birth of the Cool. He recorded in subsequent years with various vocalists and instrumentalists and with bands of his own, but it is the four classic Columbia albums he made with Davis -- Miles Ahead (1957), Porgy and Bess (1959), Sketches of Spain (1960), and Quiet Nights (1963) -- that Evans's reputation most strongly sits in the minds of many. He died on March 20, 1988.

  Steve McQuarry, who was born in Denver on August 17, 1959, took his first arranging class at age 17 at the Eastman School of Music in Rochester, NY, with

Oakland-born composer-arranger Russell Garcia, renowned for his work Louis Armstrong, Ella Fitzgerald, Oscar Peterson, Stan Kenton, and many others. McQuarry also studied at the University of Colorado at Denver, Berklee College of Music, UC San Diego, and Alexander University. An Oakland resident for the past decade, he has performed as a pianist at Yoshi's San Francisco with his own trio and with flutist Gerald Beckett's quartet and has broadcast with his chamber octet Resonance over KPFA in Berkeley and KKUP in Cupertino. He currently records for his own label, Mandala Records, with his piano jazz trio and the jazz ensembles Resonance, Steve McQuarry Organ Trio, Art-Jazz-Rock group, Echelon; Afro-Cuban Latin Jazz band, Tribu the electronica group Synsor; and the new age group Agharta. 

"I named my record label, the octet, and the orchestra Mandala after meeting the Dalai Lama and some Tibetan monks drawing mandalas on Shattuck Avenue in Berkeley some years ago," he says.

The Mandala Orchestra members are pianists Steve McQuarry and Laura Klein; trumpeters Justin Smith, John Worley, Niel Levonius, and Henry Hung; trombonists Keith Yee, Tim Phelan, Joshua Sankara, and Christian Manzana; French hornist Winston Macaraeg; tuba player Portia Njoku; flutist Gerald Beckett; saxophonists Ruben Salcido, Amelia Catalano, Corey Wright, Georgianna Krieger, and Hermann Lara; oboe and English horn player Glenda Bates; bassoonist Wendell Hanna; cellist Nancy Bien; guitarist Mason Razavi; double bassist Ted Burik; drummer Greg German: and tabla player Jim Santi Owens.

  Steve McQuarry Presents Gil Evans Tribute, March 4

Steve McQuarry Presents Mandala Nonet & Orchestra Performing the Music of Gil Evans Saturday, March 4, 8:00 p.m.

SFJAZZ Center, Miner Auditorium

201 Franklin Street

San Francisco

Tickets: $25

RSVP to mcquarry.org  

  Photography: Irene Young

          Web Site: mcquarry.org

Follow:

Like:

Media Contact:

Terri Hinte hudba@sbcglobal.net 510/234-8781 via Blogger http://ift.tt/2iSTuvH

[jazzworldquest-blog]

USA: Steve McQuarry's Mandala Nonet & Orchestra to Perform the Music of Gil Evans at SFJAZZ Center, Sat. March 4

Steve McQuarry's

Mandala Nonet & Orchestra

To Perform the Music of Gil Evans Saturday, March 4 At the SFJAZZ Center's Miner Auditorium  

McQuarry to Use Evans Scores From 1947 through 1973, Some Not Discovered Until Recently

  January 9, 2017

  Oakland-based keyboardist-composer Steve McQuarry has long been in love with the unique music of Gil Evans, the late, largely-self-taught Toronto-born composer, arranger, and keyboardist best remembered for his numerous collaborations with Miles Davis.

  "The whole way he thought about orchestrating using instruments and also pushing those instruments in different ranges is really fascinating," McQuarry says of Evans. "I remember talking with Maria Schneider about this. She said he would write the trombone parts really high and things like that, which academically trained arrangers are told not to do, and how that changed a lot of textures and tone quality in the sound."

  For a program of a dozen Evans arrangements drawn from his early days with the Claude Thornhill big band through his later work with Davis, Kenny Burrell, and his own ensembles, McQuarry has expanded his 19-member Mandala Orchestra to 25 pieces to accommodate instruments Evans sometimes used to enrich his voicings, including French horn, English horn, oboe, bassoon, and cello, as well as downsized it to nine to play three pieces from Davis's legendary 1949-1950 "Birth of the Cool" sessions.

  McQuarry's Evans concert will take place on Saturday, March 4, at the SFJAZZ Center's Miner Auditorium, the scene of his highly successful tribute to Carla Bley in June of last year.

  No transcriptions from recordings will be performed. The musicians will instead play from original Evans scores -- some written in pencil by the composer himself -- supplied by composer Ryan Truesdell. An associate of Maria Schneider, Truesdell had gathered arrangements from Evans's family, musicians who had worked with him, and from the archives of bandleaders for whom he had worked, among other sources, and recorded 10 of them for his critically acclaimed 2012 CD Centennial: Newly Discovered Works of Gil Evans.

  The earliest Evans composition on the program is "The Troubadour," first recorded by the Thornhill orchestra in 1947. Another Evans composition in the set is "Dancing on a Great Big Rainbow," written for Thornhill in 1950 by not recorded until 2012 by Truesdell. The Mandala Orchestra will also perform "Blues for Pablo" and "The Maids of Cadiz" (both from Davis's 1957 album Miles Ahead) and "Greensleeves" (from the 1964 Kenny Burrell album Guitar Forms), as well as "St. Louis Blues," "La Nevada Blues," "Punjab," and "Eleven," all from various albums made by Evans's own bands. And the Nonet will play "Budo," "Israel," and "Boplicity" from Birth of the Cool.

  Although born in Canada, on May 13, 1912, Gil Evans resided in the United States from the time he was a boy. He became enamored of the music of Louis Armstrong and other early jazz greats while living in Berkeley in the mid-1920s and formed a nine-piece swing band in Stockton a few years later. He spent most of the 1940s as a staff arranger for the Thornhill band, whose distinctive style greatly influenced that of the Miles Davis Nonet that made the sessions that became known as Birth of the Cool. He recorded in subsequent years with various vocalists and instrumentalists and with bands of his own, but it is the four classic Columbia albums he made with Davis -- Miles Ahead (1957), Porgy and Bess (1959), Sketches of Spain (1960), and Quiet Nights (1963) -- that Evans's reputation most strongly sits in the minds of many. He died on March 20, 1988.

  Steve McQuarry, who was born in Denver on August 17, 1959, took his first arranging class at age 17 at the Eastman School of Music in Rochester, NY, with

Oakland-born composer-arranger Russell Garcia, renowned for his work Louis Armstrong, Ella Fitzgerald, Oscar Peterson, Stan Kenton, and many others. McQuarry also studied at the University of Colorado at Denver, Berklee College of Music, UC San Diego, and Alexander University. An Oakland resident for the past decade, he has performed as a pianist at Yoshi's San Francisco with his own trio and with flutist Gerald Beckett's quartet and has broadcast with his chamber octet Resonance over KPFA in Berkeley and KKUP in Cupertino. He currently records for his own label, Mandala Records, with his piano jazz trio and the jazz ensembles Resonance, Steve McQuarry Organ Trio, Art-Jazz-Rock group, Echelon; Afro-Cuban Latin Jazz band, Tribu the electronica group Synsor; and the new age group Agharta. 

"I named my record label, the octet, and the orchestra Mandala after meeting the Dalai Lama and some Tibetan monks drawing mandalas on Shattuck Avenue in Berkeley some years ago," he says.

The Mandala Orchestra members are pianists Steve McQuarry and Laura Klein; trumpeters Justin Smith, John Worley, Niel Levonius, and Henry Hung; trombonists Keith Yee, Tim Phelan, Joshua Sankara, and Christian Manzana; French hornist Winston Macaraeg; tuba player Portia Njoku; flutist Gerald Beckett; saxophonists Ruben Salcido, Amelia Catalano, Corey Wright, Georgianna Krieger, and Hermann Lara; oboe and English horn player Glenda Bates; bassoonist Wendell Hanna; cellist Nancy Bien; guitarist Mason Razavi; double bassist Ted Burik; drummer Greg German: and tabla player Jim Santi Owens.

  Steve McQuarry Presents Gil Evans Tribute, March 4

Steve McQuarry Presents Mandala Nonet & Orchestra Performing the Music of Gil Evans Saturday, March 4, 8:00 p.m.

SFJAZZ Center, Miner Auditorium

201 Franklin Street

San Francisco

Tickets: $25

RSVP to mcquarry.org  

  Photography: Irene Young

          Web Site: mcquarry.org

Follow:

Like:

Media Contact:

Terri Hinte hudba@sbcglobal.net 510/234-8781 via Blogger http://ift.tt/2iSTuvH