Biblioteca Nacional de España
The Biblioteca Nacional de España is a major public library, the largest in Spain, one of the largest in the world. It is located on the Paseo de Recoletos; the library was founded by King Philip V in 1712 as the Palace Public Library. The Royal Letters Patent that he granted, the predecessor of the current legal deposit requirement, made it mandatory for printers to submit a copy of every book printed in Spain to the library. In 1836, the library's status as Crown property was revoked and ownership was transferred to the Ministry of Governance. At the same time, it was renamed the Biblioteca Nacional. During the 19th century, confiscations and donations enabled the Biblioteca Nacional to acquire the majority of the antique and valuable books that it holds. In 1892 the building was used to host the Historical American Exposition. On March 16, 1896, the Biblioteca Nacional opened to the public in the same building in which it is housed and included a vast Reading Room on the main floor designed to hold 320 readers.
In 1931 the Reading Room was reorganised, providing it with a major collection of reference works, the General Reading Room was created to cater for students and general readers. During the Spanish Civil War close to 500,000 volumes were collected by the Confiscation Committee and stored in the Biblioteca Nacional to safeguard works of art and books held until in religious establishments and private houses. During the 20th century numerous modifications were made to the building to adapt its rooms and repositories to its expanding collections, to the growing volume of material received following the modification to the Legal Deposit requirement in 1958, to the numerous works purchased by the library. Among this building work, some of the most noteworthy changes were the alterations made in 1955 to triple the capacity of the library's repositories, those started in 1986 and completed in 2000, which led to the creation of the new building in Alcalá de Henares and complete remodelling of the building on Paseo de Recoletos, Madrid.
In 1986, when Spain's main bibliographic institutions - the National Newspaper Library, the Spanish Bibliographic Institute and the Centre for Documentary and Bibliographic Treasures - were incorporated into the Biblioteca Nacional, the library was established as the State Repository of Spain's Cultural Memory, making all of Spain's bibliographic output on any media available to the Spanish Library System and national and international researchers and cultural and educational institutions. In 1990 it was made an Autonomous Entity attached to the Ministry of Culture; the Madrid premises are shared with the National Archaeological Museum. The Biblioteca Nacional is Spain's highest library institution and is head of the Spanish Library System; as the country's national library, it is the centre responsible for identifying, preserving and disseminating information about Spain's documentary heritage, it aspires to be an essential point of reference for research into Spanish culture. In accordance with its Articles of Association, passed by Royal Decree 1581/1991 of October 31, 1991, its principal functions are to: Compile and conserve bibliographic archives produced in any language of the Spanish state, or any other language, for the purposes of research and information.
Promote research through the study and reproduction of its bibliographic archive. Disseminate information on Spain's bibliographic output based on the entries received through the legal deposit requirement; the library's collection consists of more than 26,000,000 items, including 15,000,000 books and other printed materials, 4,500,000 graphic materials, 600,000 sound recordings, 510,000 music scores, more than 500,000 microforms, 500,000 maps, 143,000 newspapers and serials, 90,000 audiovisuals, 90,000 electronic documents, 30,000 manuscripts. The current director of the Biblioteca Nacional is Ana Santos Aramburo, appointed in 2013. Former directors include her predecessors Glòria Pérez-Salmerón and Milagros del Corral as well as historian Juan Pablo Fusi and author Rosa Regàs. Given its role as the legal deposit for the whole of Spain, since 1991 it has kept most of the overflowing collection at a secondary site in Alcalá de Henares, near Madrid; the Biblioteca Nacional provides access to its collections through the following library services: Guidance and general information on the institution and other libraries.
Bibliographic information about its collection and those held by other libraries or library systems. Access to its automated catalogue, which contains close to 3,000,000 bibliographic records encompassing all of its collections. Archive consultation in the library's reading rooms. Interlibrary loans. Archive reproduction. Biblioteca Digital Hispánica, digital library launched in 2008 by the Biblioteca Nacional de España List of libraries in Spain Media related to Biblioteca Nacional de España at Wikimedia Commons Official site Official web catalog
Kenneth Clarke Spearman, nicknamed Klook, was an American jazz drummer and bandleader. A major innovator of the bebop style of drumming, he pioneered the use of the Ride cymbal to keep time rather than the hi-hat, along with the use of the bass drum for irregular accents. Born in Pittsburgh, Pennsylvania, he was orphaned at the age of about five and began playing the drums when he was about eight or nine on the urging of a teacher at his orphanage. Turning professional in 1931 at the age of seventeen, he moved to New York City in 1935, establishing his drumming style and reputation; as the house drummer at Minton's Playhouse in the early 1940s, he participated in the after-hours jams that led to the birth of bebop. After military service in the US and Europe between 1943 and 1946,he returned to New York, but between 1948 and 1951 he was based in Paris, he stayed in New York between 1951 and 1956, performing with the Modern Jazz Quartet and playing on early Miles Davis recordings during this time.
He moved permanently to Paris, where he performed and recorded with European and visiting American musicians and co-led the Kenny Clarke/Francy Boland Big Band between 1961 and 1972. He continued to perform and record until the month before he died of a heart attack in January 1985. Clarke was born in Pittsburgh, Pennsylvania on January 9, 1914 as the youngest of two sons, to Martha Grace Scott, a pianist from Pittsburgh, Charles Spearman, a trombonist from Waycross, Georgia; the family home was on Wylie Avenue in the Lower Hill District of Pittsburgh. Clarke's father left the household to start a new family in Yakima and his mother, who began a relationship with a Baptist preacher shortly afterwards, died in her late twenties when Clarke was about five, leaving him an orphan, he and his brother were placed in the Coleman Industrial Home for Negro Boys.. He played in the orphanage's marching band on the snare drum, which he had taken up on the urging of a teacher at about age eight or nine, after trying a few brass instruments.
When he was young he played the piano, on which his mother had taught him to play simple tunes, along with the pump organ at the parish church, for which he played hymns and composed pieces that were introduced there. At the age of eleven or twelve, he and his brother resumed living with his stepfather, who did not look favorably upon music or associating with those involved with it, he dropped out of Herron Hill Junior High School at the age of fifteen to become a professional musician. Around the same time, his stepfather threw Clarke and his brother out of his house after an argument, Clarke was placed without his brother in a foster home, where he lived for about a year until his sixteenth birthday, he took on several odd jobs while establishing his music career, becoming a local professional with the Leroy Bradley Band by the age of seventeen. After touring with the Roy Eldridge band through Pennsylvania, West Virginia, Ohio, he returned to Bradley's band based at the Cotton Club in Cincinnati.
He stayed with that band for two years, broken up by a two-month stint with the Jeter-Pillars Orchestra, which at the time included trumpeter Harry Edison and bassist Walter Page, who would go on to be featured in the Count Basie Orchestra. Around this time he took up the vibraphone, with assistance from Adrian Rollini, a pioneer on the instrument. In late-1935, Clarke moved to New York City, where he dropped the surname "Spearman" to become "Kenny Clarke", he doubled on drums and the vibraphone in a trio with his half-brother Frank, a bassist and guitarist who had moved to New York and changed his surname from "Spearman" to "Clarke" to profit from Kenny's newfound fame. In 1936 Clarke played alongside guitarist Freddie Green in a group fronted by tenor saxophonist Lonnie Simmons, where he began to experiment with rhythmic patterns against the basic beat of the band. From April 1937 to April 1938 He was in Edgar Hayes's group, still doubling on vibraphone, where he made his recording debut and traveled overseas for the first time.
When he returned to the US with the band, he struck up a personal and musical friendship with trumpeter Dizzy Gillespie, hired for the group's one-week stint at the Apollo Theater in New York. In his book Drummin' Men: The Heartbeat of Jazz, music critic Burt Korall writes of this time period: "Clarke was moving beyond mere functional timekeeping, he had begun to outline and emphasize ensemble and saxophone figures and to support soloists in the manner that before long would be identified as his.... The revision of the swing drum style had not yet become apparent, but it was clear Clarke was working on something new." He was encouraged in these endeavors by composer/arranger Joe Garland, who gave him the band's trumpet parts, suggested that he play along with the brass when he felt it necessary to emphasize or support their lines. He spent eight months playing drums and the vibraphone in Claude Hopkins's group, before Gillespie gave Clarke an opening to join him in the Teddy Hill band in the Savoy Ballroom in 1939.
While playing for this group on a fast tune, he came upon the idea of using the Ride cymbal on his right hand to keep time rather than the hi-hat, an approach that freed up his left hand to play more syncopated figures. On the bass drum he played irregular accents, while using the hi-hat on the backbeats, adding more color to his drumming. With Gillespie, who encouraged this new approach to time keeping, Clarke wrote a series of exercises for himself to develop the independence of the bass drum and snare drum, while maintaining the time on the ride cymbal. One of these passages, a combination of a rimshot on the snare followed directly by a "bomb", reportedly
Lionel Leo Hampton was an American jazz vibraphonist, pianist and bandleader. Hampton worked with jazz musicians from Teddy Wilson, Benny Goodman, Buddy Rich to Charlie Parker, Charles Mingus, Quincy Jones. In 1992, he was inducted into the Alabama Jazz Hall of Fame, was awarded the National Medal of Arts in 1996. Lionel Hampton was born in 1908 in Louisville and was raised by his mother. Shortly after he was born, he and his mother moved to her hometown of Alabama, he spent his early childhood in Kenosha, before he and his family moved to Chicago, Illinois, in 1916. As a youth, Hampton was a member of the Bud Billiken Club, an alternative to the Boy Scouts of America, off-limits because of racial segregation. During the 1920s, while still a teenager, Hampton took xylophone lessons from Jimmy Bertrand and began to play drums. Hampton was raised Roman Catholic, started out playing fife and drum at the Holy Rosary Academy near Chicago. Lionel Hampton began his career playing drums for the Chicago Defender Newsboys' Band while still a teenager in Chicago.
He moved to California in 1928, playing drums for the Dixieland Blues-Blowers. He made his recording debut with The Quality Serenaders led by Paul Howard left for Culver City and drummed for the Les Hite band at Sebastian's Cotton Club. One of his trademarks as a drummer was his ability to do stunts with multiple pairs of sticks such as twirling and juggling without missing a beat. During this period he began practicing on the vibraphone. In 1930 Louis Armstrong came to California and hired the Les Hite band, asking Hampton if he would play vibes on two songs. So began his career as a vibraphonist, popularizing the use of the instrument in the process. Invented ten years earlier, the vibraphone is a xylophone with metal bars, a sustain pedal, resonators equipped with electric-powered fans that add tremolo. While working with the Les Hite band, Hampton occasionally did some performing with Nat Shilkret and his orchestra. During the early 1930s, he studied music at the University of Southern California.
In 1934 he led his own orchestra, appeared in the Bing Crosby film Pennies From Heaven alongside Louis Armstrong. In November 1936, the Benny Goodman Orchestra came to Los Angeles to play the Palomar Ballroom; when John Hammond brought Goodman to see Hampton perform, Goodman invited him to join his trio, which soon became the Benny Goodman Quartet with Teddy Wilson and Gene Krupa completing the lineup. The Trio and Quartet were among the first racially integrated jazz groups to perform before audiences, were a leading small-group of the day. While Hampton worked for Goodman in New York, he recorded with several different small groups known as the Lionel Hampton Orchestra, as well as assorted small groups within the Goodman band. In 1940 Hampton left the Goodman organization under amicable circumstances to form his own big band. Hampton's orchestra developed a high-profile during early 1950s, his third recording with them in 1942 produced the version of "Flying Home", featuring a solo by Illinois Jacquet that anticipated rhythm & blues.
Although Hampton first recorded "Flying Home" under his own name with a small group in 1940 for Victor, the best known version is the big band version recorded for Decca on May 26, 1942, in a new arrangement by Hampton's pianist Milt Buckner. The 78pm disc became successful enough for Hampton to record "Flyin' Home #2" in 1944, this time a feature for Arnett Cobb; the song went on to become the theme song for all three men. Guitarist Billy Mackel first joined Hampton in 1944, would perform and record with him continuously through to the late 1970s. In 1947, Hamp performed "Stardust" at a "Just Jazz" concert for producer Gene Norman featuring Charlie Shavers and Slam Stewart. Norman's GNP Crescendo label issued the remaining tracks from the concert. From the mid-1940s until the early 1950s, Hampton led a lively rhythm & blues band whose Decca Records recordings included numerous young performers who had significant careers, they included bassist Charles Mingus, saxophonist Johnny Griffin, guitarist Wes Montgomery, vocalist Dinah Washington.
Other noteworthy band members were trumpeters Dizzy Gillespie, Cat Anderson, Kenny Dorham, Snooky Young. The Hampton orchestra that toured Europe in 1953 included Clifford Brown, Gigi Gryce, Anthony Ortega, Monk Montgomery, George Wallington, Art Farmer, Quincy Jones, singer Annie Ross. Hampton continued to record with small groups and jam sessions during the 1940s and 1950s, with Oscar Peterson, Buddy DeFranco, others. In 1955, while in California working on The Benny Goodman Story he recorded with Stan Getz and made two albums with Art Tatum for Norman Granz as well as with his own big band. Hampton performed with Louis Armstrong and Italian singer Lara Saint Paul at the 1968 Sanremo Music Festival in Italy; the performance created a sensation with Italian audiences. That same year, Hampton received a Papal Medal from Pope Paul VI. During the 1960s, Hampton's groups were in decline, he did not fare much better in the 1970s, though he recorded for his Who's Who in Jazz record label, which he founded in 1977/1978.
Beginning in February 1984, Hampton and his band played at the University of Idaho's annual jazz festival, renamed the Lionel Hampton Jazz Festival the following year. In 1987 the UI's school of music was renamed for Hampto
Trad jazz, short for "traditional jazz", is the Dixieland and ragtime jazz styles of the early 20th century, which used a front line of trumpet and trombone, in contrast to more modern styles which include saxophones, the revival of these styles in mid 20th-century Britain before the emergence of beat music. A Dixieland revival began in the United States on the West Coast in the late 1930s as a backlash to the Chicago style, close to swing. Lu Watters and the Yerba Buena Jazz Band, trombonist Turk Murphy, adopted the repertoire of Joe "King" Oliver, Jelly Roll Morton, Louis Armstrong and W. C. Handy: bands included banjo and tuba in the rhythm sections. A New Orleans-based traditional revival began with the recordings of Jelly-Roll Morton and the rediscovery of Bunk Johnson in 1942, leading to the founding of Preservation Hall in the French Quarter during the 1960s. Early King Oliver pieces exemplify this style of hot jazz. One of the ensemble players in King Oliver's Creole Jazz Band, Louis Armstrong, was by far the most influential of the soloists, creating, in his wake, a demand for this "new" style of jazz, in the late 1920s and early 1930s.
Other influential stylists who are still revered in traditional jazz circles today include Sidney Bechet, Bix Beiderbecke, Wingy Manone and Muggsy Spanier. Many artists of the big band era, including Glenn Miller, Gene Krupa and Benny Goodman, had their beginnings in trad jazz. In Britain, where boogie-woogie, "stride" piano and jump blues were popular in the 1940s, George Webb's Dixielanders pioneered a trad revival during the Second World War, Ken Colyer's Crane River band added and maintained a strong thread of New Orleans purism. Humphrey Lyttelton, who played with Webb, formed his own band based on the New Orleans/Louis Armstrong tradition in 1948 but, without losing the Armstrong influence adopted a more mainstream approach. By 1958 his band included three saxophones. During the 1950s and well into the 1960s the "Three B's" Chris Barber, Acker Bilk, Kenny Ball were successful, all making hit records. Other successful bands including Terry Lightfoot, George Chisholm, Monty Sunshine, Mick Mulligan, with George Melly, Mike Cotton – who "went R'n'B" in 1963-4 – made regular appearances live, on the air and in the British charts, as did Louis Armstrong himself.
More light-hearted versions were offered by the Bonzo Dog Doo-Dah Band, the Temperance Seven and the New Vaudeville Band. Dixieland stylings can be found here and there on records by the Rolling Stones, the Beatles, the Small Faces and the Kinks, while the Who performed trad jazz in their early days. During the 1950s a number of provincial amateur bands had strong local followings and appeared together at "Jazz Jamborees"; these bands included the Merseysippi Jazz Band, still active, which toured overseas, Second City Jazzband, Steel City Stompers, Clyde Valley Stompers, the Saints Jazzband. Chris Barber gave a stage to Lonnie Donegan and Alexis Korner, setting off the craze for skiffle and British rhythm and blues that powered the beat boom of the 1960s. A worldwide revival of interest in the 1970s included the New Black Eagle Jazz Band, still active, in the late 1980s a number of musicians such as Wynton Marsalis began performing and recording not only original trad jazz tunes but new compositions in the style as well
Silver Bears (film)
Silver Bears is a 1978 joint British- and American-produced comedy thriller film based on a novel by Paul Erdman, directed by Ivan Passer and starring Michael Caine, Cybill Shepherd, Louis Jourdan and Joss Ackland. Caine portrays mob accountant "Doc" Fletcher who acquires a Swiss bank and a silver mine but must fight a complex struggle in order to keep hold of them. Financial wizard "Doc" Fletcher persuades his boss, American mobster Joe Fiore, to buy up a Swiss bank in order to more launder their ill-gotten gains; the impoverished Italian Prince Gianfranco di Siracusa agrees to act as chairman of the board in order to give it an air of respectability. "Doc" goes to Lugano, a major center of banking activity, along with the Don's wayward son Albert, only to find that the best bank that the Prince could get consists of some shabby offices above a pizza restaurant with assets of $900. To make up for this, the Prince suggests that they invest in a silver mine discovered in Iran by his distant cousins, Agha Firdausi and his sister Shireen.
The mine contains hundreds of millions of dollars' worth of untapped silver. The Firdausis wish to keep it a secret due to the heavy taxes and the threat of the mine being nationalised by the government. Through a little wheeler-dealing, "Doc" manages to obtain $5 million in Iranian rials from Agha — as security for a loan of $20 million — and uses the money to obtain better banking premises and put on a major show that attracts powerful investors. Before long the Firdausi silver is flooding the market which leads to a drop in its value at the London Metal Exchange. Charlie Cook, a leading figure in the silver business and one of the richest men in the world, decides that the best way to stop the downward plunge is to take over the bank responsible and thus close down the mine, he contacts Henry Foreman, president of the First National Bank of California, keen on branching into Europe. Foreman sends one of his accountants, Donald Luckman, to Lugano where he meets "Doc" and his associates, his questions and evasive attitude makes them suspicious and to find out more "Doc" approaches and seduces Donald's fun-loving but bored and neglected wife Debbie.
In the course of their affair, Debbie casually reveals in conversation all about Cook's interest in the mine and the bank. Donald, unaware of what is going on, offers up to $60 million for the bank. "Doc" will have none of it since it means losing everything he has worked for, but Albert and Joe Fiore, who owns the bank, jump at the opportunity. "Doc" goes to Las Vegas and, through a subtle threat, manages to get Joe to give him time to make a bid of his own. "Doc" and the Prince join the Firdausis at their warehouse in Dubai, full to the brim with silver bars from the mine. When they tell him that they cannot lend him $60 million to buy the bank, "Doc" threatens to call in the earlier loan of $20 million and seize the mine. It's at this point that Agha and Shireen drop a bombshell on their two friends: there is no silver mine! The Firdausis are in fact smugglers; the silver mine was just a means of obtaining the money needed for their operation. "Doc" faces a terrible dilemma: if he tells Charlie Cook that the mine does not exist the deal will collapse and "Doc" will be killed by Joe Fiore.
The deal does go through with Donald Luckman sealing it with "Doc" and Albert Fiore. In his report on the purchase of the bank Donald has left out all mention of the silver mine, as per the instructions of Foreman and Cook, keen to keep it secret, put the bank's main assets down as "oil storage tanks". Foreman goes to Cook and demands an exorbitant amount for the silver mine only to be told that it does not exist and that he will thus not be refunded the $60 million used to buy the bank. Foreman can recoup $50 million in insurance since the purchase report mentions non-existent "oil storage tanks", thus making a case for fraud. "Doc" offers to give Foreman an additional $10 million which he will get from Cook who, in return, will obtain exclusive purchasing rights to the Firdausi silver. In exchange, Foreman gives "Doc" the bank —, only worth $10 million in the first place. Donald reveals that for the insurance claim to be valid there will have to be a criminal prosecution and a scapegoat will be needed in order to go to prison.
The others agree, deciding that it should be the one who falsified the report — meaning Donald himself! Some time back in Lugano, the Prince marries Shireen Firdausi though he was one of those whom she conned into believing in the existence of the mine. Agha does not attend the wedding and Shireen admits that he was in fact an actor she hired since she doubted if a bank would loan $20 million to a woman. "Doc" for his part comes across Debbie, attending Donald's trial for fraud. She has promised to get a place near the jail in order to be close to him and indicates, with a smile, that "Doc's" house is conveniently near the prison itself. Michael Caine - Doc Fletcher Cybill Shepherd - Debbie Luckman Louis Jourdan - Prince di Siracusa Stéphane Audran - Shireen Firdausi David Warner - Agha Firdausi Tom Smothers - Donald Luckman Martin Balsam - Joe Fiore Jay Leno - Albert Fiore Charles Gray - Sir Charles Cook Joss Ackland - Henry Foreman Silver Bears on IMDb
The New York Times
The New York Times is an American newspaper based in New York City with worldwide influence and readership. Founded in 1851, the paper has won more than any other newspaper; the Times is ranked 17th in the world by circulation and 2nd in the U. S; the paper is owned by The New York Times Company, publicly traded and is controlled by the Sulzberger family through a dual-class share structure. It has been owned by the family since 1896. G. Sulzberger, the paper's publisher, his father, Arthur Ochs Sulzberger Jr. the company's chairman, are the fourth and fifth generation of the family to helm the paper. Nicknamed "The Gray Lady", the Times has long been regarded within the industry as a national "newspaper of record"; the paper's motto, "All the News That's Fit to Print", appears in the upper left-hand corner of the front page. Since the mid-1970s, The New York Times has expanded its layout and organization, adding special weekly sections on various topics supplementing the regular news, editorials and features.
Since 2008, the Times has been organized into the following sections: News, Editorials/Opinions-Columns/Op-Ed, New York, Sports of The Times, Science, Home and other features. On Sunday, the Times is supplemented by the Sunday Review, The New York Times Book Review, The New York Times Magazine and T: The New York Times Style Magazine; the Times stayed with the broadsheet full-page set-up and an eight-column format for several years after most papers switched to six, was one of the last newspapers to adopt color photography on the front page. The New York Times was founded as the New-York Daily Times on September 18, 1851. Founded by journalist and politician Henry Jarvis Raymond and former banker George Jones, the Times was published by Raymond, Jones & Company. Early investors in the company included Edwin B. Morgan, Christopher Morgan, Edward B. Wesley. Sold for a penny, the inaugural edition attempted to address various speculations on its purpose and positions that preceded its release: We shall be Conservative, in all cases where we think Conservatism essential to the public good.
We do not believe that everything in Society is either right or wrong. In 1852, the newspaper started a western division, The Times of California, which arrived whenever a mail boat from New York docked in California. However, the effort failed. On September 14, 1857, the newspaper shortened its name to The New-York Times. On April 21, 1861, The New York Times began publishing a Sunday edition to offer daily coverage of the Civil War. One of the earliest public controversies it was involved with was the Mortara Affair, the subject of twenty editorials in the Times alone; the main office of The New York Times was attacked during the New York City Draft Riots. The riots, sparked by the beginning of drafting for the Union Army, began on July 13, 1863. On "Newspaper Row", across from City Hall, Henry Raymond stopped the rioters with Gatling guns, early machine guns, one of which he manned himself; the mob diverted, instead attacking the headquarters of abolitionist publisher Horace Greeley's New York Tribune until being forced to flee by the Brooklyn City Police, who had crossed the East River to help the Manhattan authorities.
In 1869, Henry Raymond died, George Jones took over as publisher. The newspaper's influence grew in 1870 and 1871, when it published a series of exposés on William Tweed, leader of the city's Democratic Party—popularly known as "Tammany Hall" —that led to the end of the Tweed Ring's domination of New York's City Hall. Tweed had offered The New York Times five million dollars to not publish the story. In the 1880s, The New York Times transitioned from supporting Republican Party candidates in its editorials to becoming more politically independent and analytical. In 1884, the paper supported Democrat Grover Cleveland in his first presidential campaign. While this move cost The New York Times a portion of its readership among its more progressive and Republican readers, the paper regained most of its lost ground within a few years. After George Jones died in 1891, Charles Ransom Miller and other New York Times editors raised $1 million dollars to buy the Times, printing it under the New York Times Publishing Company.
However, the newspaper was financially crippled by the Panic of 1893, by 1896, the newspaper had a circulation of less than 9,000, was losing $1,000 a day. That year, Adolph Ochs, the publisher of the Chattanooga Times, gained a controlling interest in the company for $75,000. Shortly after assuming control of the paper, Ochs coined the paper's slogan, "All The News That's Fit To Print"; the slogan has appeared in the paper since September 1896, has been printed in a box in the upper left hand corner of the front page since early 1897. The slogan was a jab at competing papers, such as Joseph Pulitzer's New York World and William Randolph Hearst's New York Journal, which were known for a lurid and inaccurate reporting of facts and opinions, described by the end of the century as "yellow journalism". Under Ochs' guidance, aided by Carr
Suite for Flute and Jazz Piano Trio
Suite for Flute and Jazz Piano is a "crossover" composition by the jazz pianist and composer Claude Bolling. The composition written in 1973, is a suite of seven movements, written for a classical flute, a jazz piano trio; the suite was recorded in 1975 by Bolling, classical flautist Jean-Pierre Rampal, bassist Max Hédiguer, drummer Marcel Sabiani, released as an LP album by CBS Masterworks Records and Columbia Masterworks. In the U. S. the album was nominated in 1975 for a Grammy Award for Best Chamber Music Performance. A video recording of Bolling and Rampal playing the Suite was recorded in 1976 at the Palace of Versailles in France, was released on LaserVision video disc and on videotape. Under the title, Suite for Flute and Jazz Piano Trio, digital CD and DVD versions of the respective audio and video recordings were released. In 1986, Bolling and Rampal released Bolling's composition, Suite for Flute and Jazz Piano Trio No. 2. LP side A: "Baroque and Blue" – 5:18 "Sentimentale" – 7:45 "Javanaise" – 5:15LP side B: "Fugace" – 3:50 "Irlandaise" – 2:59 "Versatile" – 5:07 "Véloce" – 3:40all compositions by Bolling Jean-Pierre Rampal — flute, bass flute on "Versatile" Claude Bolling — piano Max Hédiguer — bass Marcel Sabiani — drums Columbia Masterworks M 33233 Suite for Flute and Jazz Piano Trio at allmusic.com