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Pharmacology of Withania somnifera - a review. Indian Drugs ;26 5 Begum VH, Sadique J. Effect of Withania somnifera on glycosaminoglycan synthesis in carrageenin-induced air pouch granuloma.

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Bilberry Amouretti M. Therapeutique ;48 9 Effect of Vaccinium myrtillus anthocyanosides on ischaemia reperfusion injury in hamster cheek pouch microcirculation.

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Controlled clinical trial of anthocyanosides from Vaccinium myrtillus in primary dysmenorrhea. G Ital Obstet Ginecol ; Cristoni A, Magistretti MJ.

Antiulcer and healing activity of Vaccinium myrtillus anthocyanosides. Farmaco [Prat ] ;42 2 Studies on vascular permeability in hypertension: action of anthocyanosides.

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Flavonoids, a class of natural products of high pharmacological potency. Biochem Pharmacol ;32 7 Jayle GE, Aubert L. Therapie ; Ann Ocul Paris ; 6 Elastase-inhibiting activities in vitro.

Compared angioprotective activities in vivo]. J Pharm Belg ;38 1 Influence of anthocyanoside treatment on the cholesterol-induced atherosclerosis in the rabbit.

Induction of apoptosis in cancer cells by Bilberry Vaccinium myrtillus and the anthocyanins. J Agric Food Chem ;51 1 Pathology of the microcirculation in diabetes and alterations of the biosynthesis of intercellular matrix macromolecules.

Front Matrix Biol ; Antioxidant action of Vaccinium myrtillus extract on human low density lipoproteins in vitro: initial observations.

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Aspects of anthocyanins pharmacokinetics in the rat. Antiulcer activity of an anthocyanidin from Vaccinium myrtillus. Arzneimittelforschung ;38 5 Antioxidant action of Vaccinium myrtillus L.

Phytotherapy ;SS In vitro and in vivo antioxidant properties of Vaccinium myrtillus. Pharmaceutical Biology ;37 2 A natural flavonoid, IdB , increases gastric luminal release of prostaglandin E2 in healthy subjects.

Ital J Gastroenterol. Vaccinium myrtillus anthocyanosides pharmacokinetics in rats. Arzneimittelforschung ;41 2 Morazzoni P, Magistretti MJ.

Effects of Vaccinium myrtillus anthocyanosides on prostacyclin-like activity in rat arterial issue.

The influence of procyanidolic anthocyanosides on macular recovery time and oscillatory potentials in the diabetic subject.

Annli di Ottalmologi e Clinica Oculistica ; The effect of bilberry nutritional supplementation on night visual acuity and contrast sensitivity.

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Antioxidant capacity as influence by total phenolic and anthocyanin content, maturity, and variety of Vaccinium species.

J Agricult Food Chem ; Ex vivo study of the inhibitory effects of Vaccinium myrtillus anthocyanosides on human platelet aggregation.

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Investigative Ophthalmology and Visual Science ;38 4 :S The effect of anthocyanosides in a multiple oral dose on night vision. Eye ;13 Pt 6 Abortifacient effects of the roots of Momordica angustisepala.

J Ethnopharmacol ;7 2 Akhtar MS. Trial of Momordica charantia Linn Karela powder in patients with maturity-onset diabetes.

J Pak Med Assoc ;32 4 Aslam M, Stockley IH. Interaction between curry ingredient karela and drug chlorpropamide. Lancet ; Clinical trials in patients with diabetes mellitus of an insulin-like compound obtained from plant source.

Upsala J Med Sci ; Bitter melon Momordica charantia : a review of efficacy and safety. Am J Health Syst Pharm ;60 4 Analgesic effect of Momordica charantia seed extract in mice and rats.

J Ethnopharmacol ;31 1 Potentiation of anti-HIV activity of anti-inflammatory drugs, dexamethasone and indomethacin, by MAP30, the antiviral agent from bitter melon.

Biochem Biophys Res Commun ; 2 Biochem Biophys Res Commun ; 3 The termination of early pregnancy in the mouse by beta-momorcharin. Contraception ;29 1 Bitter melon Momordica charantia reduces adiposity, lowers serum insulin and normalizes glucose tolerance in rats fed a high fat diet.

J Nutr ; 4 Induction of tumor cytotoxic immune cells using a protein from the bitter melon Momordica charantia.

Cell Immunol ; 2 Hypoglycaemic effect of Momordica charantia extracts. Planta Med ;56 5 Effects of Momordica charantia L. Planta Med ;34 3 Vicine, a favism-inducing toxin from Momordica charantia Linn.

Indian J Chem ;20B August LaValle Metabolic Institute 38 Hulin et al. Intoxication aigue pour Momordica charantica Sorrossi. A proposdeux cas.

Semaine Hospitaux ; Hypoglycemic activity of polypeptide-p from a plant source. J Nat Prod ;44 6 Potentiation of tolbutamide action by jasad bhasma and karela Momordica charantia.

Indian J Med Res ;50 5 Improvement in glucose tolerance due to Momordica charantia karela. Gene ; 2 Anticancer Res ;20 2A The immunosuppressive activities of two abortifacient proteins isolated from the seeds of bitter melon Momordica charantia.

Immunopharmacology ;13 3 Marles R, Farnsworth N. Phytomedicine ;2 2 Mistry PP, Patel V. Ayurvedic herbal preparation in the treatment of high intraocular pressure.

Clinical Research ;39 2 A. Hypoglycemic activity of the fruit of the Momordica charantia in type 2 diabetic mice. J Nutr Sci Vitaminol Tokyo ;47 5 A steryl glycoside fraction from Momordica charantia seeds with an inhibitory action on lipid metabolism in vitro.

Biochem Cell Biol ;64 8 Insulin-like molecules in Momordica charantia seeds. J Ethnopharmacol ;15 1 Isolation and characterization of a galactose binding lectin with insulinomimetic activities.

From the seeds of the bitter gourd Momordica charantia Family Cucurbitaceae. Int J Peptide Protein Res ;28 2 Effect of bitter melon Momordica charantia Linn on level and function of natural killer cells in cervical cancer patients with radiotherapy.

J Med Assoc Thai ;86 1 Raman A, Lau C. Anti-diabetic properties and phytochemistry of Momordica charantia L. Phytomedicine ;2 4 The effect of Momordica charantia and Mucuna pruriens in experimental diabetes and their effect on key metabolic enzymes involved in carbohydrate metabolism.

Phytother Res ;16 3 Demonstration of the hypoglycemic action of Momordica charantia in a validated animal model of diabetes.

Pharmacol Res ;33 1 The antiviral agents, MAP30 and GAP31, are not toxic to human spermatozoa and may be useful in preventing the sexual transmission of human immunodeficiency virus type 1.

Fertil Steril ;72 4 Hypoglycaemic activity of Coccinia indica and Momordica charantia in diabetic rats: depression of the hepatic gluconeogenic enzymes glucose- 6-phosphatase and fructose-1,6-bisphosphatase and elevation of both liver and red-cell shunt enzyme glucosephosphate dehydrogenase.

Biochem J ; Pt 1 Retardation of retinopathy by Momordica charantia L. Indian J Exp Biol ;25 8 Srivastava Y.

Antidiabetic and adaptogenic properties of Momordica charantia extract:An experimental and clinical evaluation. Antifertility investigation on Momordica.

Lloydia ;37 4 Effect of Momordica charantia on key hepatic enzymes. J Ethnopharmacol ;44 2 Treatment with extracts of Momordica charantia and Eugenia jambolana prevents hyperglycemia and hyperinsulinemia in fructose fed rats.

J Ethnopharmacol ;76 2 Antihyperglycemic effects of three extracts from Momordica charantia. J Ethnopharmacol ;88 1 Protein Sci ;9 1 Cell ;99 4 The insulin-releasing activity of the tropical plant momordica charantia.

Acta Biol Med Ger ;41 12 Effect of Momordica charantia on the glucose tolerance in maturity onset diabetes.

J Ethnopharmacol ;17 3 Screening of Trichosanthes kirilowii, Momordica charantia and Cucurbita maxima family Cucurbitaceae for compounds with antilipolytic activity.

J Ethnopharmacol ;13 3 Roberts spoke with DownBeat to discuss the creative process behind the music.

From Rags To Rhythm is built around a set of themes that drive the direction of the improvisation.

How did that come about? When we started the trio, I talked about it with Jason and Roland Guerin, who was our bassist at the time and who was important in developing the sound.

We were interested in exploring a new way to play as a trio. Number one, we started playing music that allowed each of us to influence the direction of the music.

The agenda was for the bass, drums and piano to be completely equal. We found we liked to play music where we could cue changes musically.

For From Rags To Rhythm, we set it up so that each cue could be interchangeable across the whole suite and not tied to a particular movement.

But before you can move on, someone has to play the cue. It keeps you on your toes, and it keeps things flexible.

It gives us freedom, and the sound changes all the time. The group sounds bigger. I used to talk about it with Wynton when I played with him.

One of the reasons he started writing interludes was because we were tired of stating the theme and then everyone solos. We wanted something new to do.

Changing the form helped you achieve that? In my group, forms have to match the agenda. It makes for richer improvisation.

We have a lot of other projects coming up. I wrote a piano concerto that debuted this year that I think brings jazz and classical together in a modern way.

I put together a larger band with some of my students and some older musicians called the Modern Jazz Generation Band.

Anybody who is able to play them well and get something out of the instrument is doing a tremendous thing. In , he founded the group Euphoria, which would be the leader project he performed with for the rest of his career.

Growing up in St. But he carried the Brecker Brothers tunes in his mind, letting them age for more than 20 years while his career took him from St.

Louis to New York City to Atlanta. He has also begun branching out into long-form compositions.

They are always my favorite players. Musicians who grew up figuring out songs off the radio have had to spend more time learning by ear.

For Gunn, his instrumental interpretations, no matter the genre, are always evolving. After finishing Elektrik Funeral, he still found himself tinkering with some of the tunes.

Compositions that unfold and morph, challenging structures, inventive voicings and ever-changing orchestral colors set this group apart.

Chan has given Los Angeles a jazz big band with an utterly unique tonal personality. Born and raised in Hong Kong, he knew Chinese folk music and was steeped in classical music studies in piano and composition.

He graduated from Miami in as a music theory and composition major. Beginning in , Chan studied music composition at University of Southern California, where he graduated in with a doctoral degree.

Shelly Berg, an endowed chair in the jazz studies department at that time, suggested that Chan study jazz composition for a year.

Vince Mendoza helped to further sharpen his focus. His first night as a sub with the Alan Chan Jazz Orchestra, he knew he was involved in something special.

The writing was obviously from a legit point of view. Chan also has global aspirations. In some cities they have a real taste for big band jazz.

She was doing the second, the seventh. According to Gadd, the players demonstrated an intuitive grasp of all the elements needed to shape the final product.

On a high technical level, they just go in and out of these things by watching each other. The result was in equal measure high art and dance party.

I want you guys to pull out the best from me. And I feel it. He settled in Union City, a Cuban-expat enclave overlooking the Empire State Building high on the New Jersey Palisades, and today, after 15 years in the United States, he may be the hottest percussionist north of Havana.

As a leader, he has released two albums in the last year alone. The album, which brought together musicians from Europe and the Americas, was mulled for seven years before it was recorded, he said.

Augmenting the group are coveted guest performers like trumpeter Wynton Marsalis, guitarist John Scofield and drummer Steve Gadd, who doubles as co-producer.

He also worked on numerous ad jingles in the s and the occasional film acting job. But at the same time, a lot of my friends are jazz players, so to compete with those guys I had to get my technique up to where I could play jazz.

One of his former colleagues at the label, Buddy Guy, guests on Olio. After Chess folded, Barge produced gospel records for Stax, as well as early demos for singer Natalie Cole.

He picked up the saxophone again to play a few dates with the Rolling Stones in , but realized that his technique needed improvement.

Other independent gigs come up every so often, and a levelheaded approach to the next few years does not inhibit his steadfast determination.

In my latter days, I just want to play. His bright eyes widened a bit when he mentioned hanging out with his rural neighbors.

All the bands reflect a collaborative [approach] and try to reflect that in the way the music is presented.

I think of myself as a bass player in the band when we come to the music. Of course, Miles Davis. I was way into that stuff. That was my stuff going back to when I was All the quintet stuff with Steve Coleman and his work with Kenny Wheeler were the things that were happening when I was in high school.

That was the stuff I was wearing out. After all, driving up with his granddaughter to Montreal, or farming in upstate New York, has as much to do with rigor as it does magnanimity.

He holds it down and is always searching for the different harmonic progressions of where Kevin or Craig are going. I try to be as outside of my mind as possible, and as natural and pure for every note.

About three years ago, Holland collaborated with flamenco guitarist Pepe Habichuela on Hands Dare2 , but insisted they play the traditional Spanish idiom rather than create a trans-Atlantic hybrid that have would put the bassist more up-front.

Prism follows a similar egalitarian principle. They both collaborated with the influential saxophonist Rivers at different times.

When the dramatic element needs to be changed, he shapes the music so beautifully and frames it.

The way he connects it up, somehow the music all funnels through his playing. One immediate individual characteristic of Prism is the absence of horns.

Still, certain ongoing beliefs apply no matter what the date, or format. The bass is an octave below the guitar.

So this band was an opportunity for us to get together and work on more music. Each situation is different.

Eubanks wrote three tracks on the album and everyone else contributed two although Holland indicated that he has three tunes on a limited-edition LP version.

The results show off the resourcefulness of the quartet. I was mining a tiny bit of material to see how much I could do with it.

I like multiple kinds of rhythmic things. How far can we suggest a larger ensemble? And then I divide the duties with everybody.

I thought of writing it in time, but then I thought it should capture the actual breath. When you have great players, it allows everything to be natural in its own way.

I like the romantic period in music: Debussy, and even parts of Beethoven and even Chopin; those are such poignant melodies. I wanted something with a pleasant melody, but getting into the romantic thing.

He still keeps a place at the dinner table for her. His former colleague, pianist Mulgrew Miller, died last year; he also had a role in framing the piece.

A few years ago, I had my sextet with Mulgrew, and during a soundcheck at the Blue Note, he started playing this gospel piece that was in that slow three.

That feel stuck in my mind. Somehow it came to the surface, but I only realized that after I had written the piece. I also thought of it being a new day and what that means.

Clare loved that sense of positivity in the music. She told me she really wanted that to continue. Davis usually worked in that mode when Holland was a part of his group, and so did Duke Ellington, a bandleader they all revered.

Maybe two soundchecks. Duke Ellington would put on the music stands something he wrote that afternoon. I just had something I felt comfortable with to see what direction to go.

Then ideas started to come, so I started to use a inch bass drum to challenge myself creatively. I also added a couple warm cymbals because I feel like it gives me room to capture the sensitivity of the band.

Holland is also looking forward to a spring tour with Kenny Barron that will take the duo throughout Europe. Not like when you got your guys and girls from the neighborhood and it was your band against the world.

The energy is there, and we could wind up on other stages. That could open up the gate to other things and bring more people into jazz, or progressive music.

Yes, they did cross paths with The Beatles. To work them at that young stage is such a beautiful experience. Bebo is one of my ancestors.

So I wanted to do a ceremony as we do it in our religion. The meaning of every word goes directly to the ancestors you want to give something to.

If you try to think about it, the meaning will go away. You start with some prayer, and some people in the crowd respond, which means they know what they are supposed to do.

When you go in a trance, the dimension of your body hides. In a few days, Sosa would embark on a twoweek, cross-country U.

Sosa has also performed with the Sardinian trumpeter Paolo Fresu. Sosa said his intention on both albums was to illuminate cross-cultural connections.

Everything I do has a function. Special discount by ordering direct at www. The religion has helped me have more self-confidence, too.

I try to use my limitations inside the technical world of piano as a flag to move ahead. There, fueled by a bottle of wine, he executed the recording in two three-hour sessions last January.

My solo piano records are extensions of my practicing at home. They portray a moment in my life. When I do it, it covers me with a peaceful energy.

Oshun is the Orisha of the fresh water, the female sexuality, the love, the sensuality, the fertility. Pedrito Martinez is singing.

Gonzalo is a genius. At school, he already had a proyecto that I followed to every concert. Gonzalo has the cleanest sound you can imagine.

His touch is unique. His sense of rhythm is perfect. The tart acidity of the Riesling is always a cold impression that freezes your palate and your soul, but immediately the fragrance 40 DOWNBEAT February of its complex aromas makes you feel good.

Citrus, honey and peach perfumes, a wine that is at the edge where the acidity and the sweetness find their balance.

Is it Vijay? It was wild! He has a strong classical influence. This music reminds me of when you arrive at JFK Airport; you see a mix of everything there.

In my humble opinion, you need to digest New York in your own way to arrive at your own sound.

What I miss here, I need to say, is the groove. The result is this sparkling with a little part of Sherry added. The aromas produced by the yeast during the aging process connect these wines.

We find fine refreshing bubbles, and the intense aromas of toasted bread, nuts and honey, due to the yeast and the time. I like this group.

I love the piece. Who is it? I like this groove! A lot of the cats there go with that kind of thing. Danilo is one of the masters of this.

For a long time, I heard Danilo more light and melodic and groovy, but not so avant-garde as this. I love the melody, which is something traditional.

All of the Cuban piano players have something from some of our heroes. Elio has something from Chucho.

When the piano player has percent classical training, the approach, the touch is different. The historical wine region of Madeira gives us centuries of tradition and experience.

The combination of sugar and alcohol makes the Madeira a silky and warm wine. Its acidity adds freshness and rhythm, and the ancestral aromas, deep and complex, drive us to a heaven where the sensory feeling becomes spiritual.

Osmany Paredes? I know the team. Packed each night. He already had this sound. I am personally waiting for Osmany to write to his deep traditional Cuban cha-chacha concept, which he learned from playing with the masters.

The wine has lost the strong, fruity aromas of youth, and has become calmer and wiser, denser and longer. He has some Lecuona vibe.

Alfredo Rodriguez? Yeah, now I hear this is Roberto. I like the music. I like the concept. But we all come from the same root, the same tradition.

This is Yo? This is what he is. A little bit of a lot of things. How old is Alfredo? You hear the influence of Michel Camilo, and after that it comes to a crazy tumbao, the virtuosity in the beginning.

He has the classical training, you see. You know what happened with jazz, man? One of the main sins became, How are you going to impress people when you play?

Don Pullen. Andrew Hill. They take the time. When you have a strong limitation, you need to develop your own language. But when you have really good classical information, you can play whatever.

The music needs to touch you. Eddie Palmieri is a major figure of the salsa; of course his music is not just simply dance music.

The bubbles of Champagne are considered an indispensable element of all the parties, but in the hands of the talented producer Benoit Lahaye, this wine goes further in terms of intensity and complexity, like the music of the master Eddie Palmieri.

Puerto Rican vibe, like a Latino vibe. I miss the grunting. I love Eddie so much! When he played, he reminded me of Arsenio Rodriguez on the tres.

What Arsenio did was translate the pattern of the rumba, or the pattern of the traditional thing, to the tres.

This is why he comes up with this [sings the pattern]. This is the quinto. The instrument that improvises in the rumba is the quinto.

Arsenio writes to this, and he passed this along. When I play Latin, sometimes I come with some patterns, like blues or a little bit contemporary.

But in the end, I think as a percussion player. Palmieri dances inside. His music is grooving. This sound is New York.

Latin jazz is this sound. They developed in their inner way. Some people say that salsa is a Cuban music.

I say no. Salsa is salsa, and Cuban music is Cuban music. Salsa was developed in New York with the Cuban people who arrived in New York, and together they created this kind of music.

The way of dancing is different, which is the foundation of all this music. You can dance inside.

But you need to move. Eddie played for dancers in New York. Here, Frank Emilio Flynn prefaces the ancestral percussion with a piano solo, and they all join together at the end.

The Sumoll is light in color, refreshing, with a harsh texture like the sound of a drum. This Pardas Sumoll is the performance that Jordi and Ramon have made of the ancestral Sumoll that their fathers drank.

Actually, it could be something from , No one does this today. They created some language. After them, everybody can play this, but they created the sound.

This is what we played last night, the Palo Monte. One question: Is the record is old? OK, Frank Emilio.

The melodies. It reminds me of Randy Weston. Abdullah Ibrahim. A moment of Ahmad Jamal. They try to tell the story. This is music that dances; a dance like a bird.

The complexity is the space between the notes. If you listen to Bola de Nieve [Ignacio Villa], when he played solo, he would play that way.

Frank Emilio was a nice ending. The band arrived in England and showed up at the London club Cargo for the start of its first international tour.

The gig was booked only a few weeks prior, and the musicians figured a half-empty hall was in their immediate future.

It was like this dam of water had built up. They applauded for ages before we played a note.

It was a momentous arrival. It really lifted us. Similar receptions followed the band throughout Europe. And also, their traditional music is a little more melodically complex than traditional American music.

The audiences we play to have more of an influence on the band than people might expect. This is no easy band to tour: a full rhythm and percussion section, with two sometimes three guitarists, three keyboard players, trumpet, flugelhorn, flute, bass clarinet, tenor sax and three backing vocalists.

But live is where Snarky Puppy lives. We did a clinic there around , and Dylan and I immediately became good friends.

Everyone at the Jefferson Center has really seen the potential of developing a relationship with the band. We recorded Family Dinner and the record with Bukuru there.

This band came to play, but also to have fun. But more than that, their latest record has some really, really good melodies on it.

Those guys did that for me. I really admire them. Snarky Puppy calls Brooklyn, N. I got in and dragged the other guys with me. It was the perfect combination of ingredients and personalities.

On the collaboration with Celestin, the ensemble contours its explosive funk to an intimate African weave, while Family Dinner Volume One offers what may be a new band tradition.

Hold on to your seats, check your air passag- es and get ready for a wild ride. Where a song begins is no indication of where it may end.

The Grammy awards will be handed out on Jan. Snarky Puppy knows how to work a song. I am just learning now how to control it.

I can see myself working it out on the DVD in that moment. We were figuring it out as we did it.

Going for broke is a Snarky Puppy trademark, but some might hear the more standard attitude and two-and-four fortified accompaniment of Family Dinner Volume One as a bid for mainstream success.

Maybe these are more accessible songs because they have vocals. The release was strategic in its timing because the record preceding Family Dinner was our collaboration with Bukuru Celestin.

He grew up in Tanzania in the Congo. It comes out in February. So we did an African album, then an album with eight different singers, then a regular Snarky Puppy album with no vocalists or guests.

Hopefully it conveys the message that this is a band focused on songs, not some wanky fusion band. But the approach we took to this music is identical to the approach we take with our own music.

I think of us not as an improvisational ensemble, even though we improvise constantly. Our central core is about songs, about composition.

My songs just happen to be instrumental and have a lot of room for improvisation. It seems like fun is not the priority. The priority is hipness.

Somehow Snarky Puppy has found its way through the wilderness. And that is the most important thing: Having a concept is vital, but of equal importance is spending night after night playing together.

People are crying out for instrumental music that has that sense of truth and that moves people. History has already proven that both traditional and innovative ideas can thrive in the brass-band music style born in New Orleans.

Now, that phenomenon is going global. The flagship event draws bands inspired by the New Orleans, klezmer, Balkan and Romany styles of brass.

Several of these bands are less than 10 years old, and in the spirit of the nonprofit festival at which they play, many come to advocate their positions on various social causes or educate festivalgoers about environmental or political issues.

Kevin Leppmann, a Honk! The group borrows widely from New Orleans brass-band culture, both old and new. And sometimes a popular rock song, if they can make that their own, will work.

In New York, the classically trained tubaist Chanell Crichlow formed the hip-hop-meets-brass ensemble Pitchblak Brass Band in as a way of plugging into what she felt was a neglected element of her cultural heritage.

In fact, when it comes to her influences for Pitchblak, Crichlow first cites the Madison, Wis. At first, Jack Brass founder Mike Oleander was less moved by the slow tempos of traditional jazz-funeral staples than by the Dirty Dozen and Rebirth recordings that had first inspired him to form the band in After visiting the city repeatedly, though, musicians he interacted with there taught him something important.

Setlists can range and snare drum, he frequently turns from a Journey cover to a go-go-into YouTube.

And like those New Orleans groups, the band has historically drawn from hip-hop, jazz and rock, although punk also plays a large role in its music.

Already fascinated with West African drumming, he got hooked on brass fast. The goal was to be inspired by New Orleans, but not get too caught up in trying to play copycat.

The music, however, was not. Scioneaux, a. It was kind of amazing when I started looking at the addresses and I realized how far this had reached.

On the following pages, the listings are divided by geographic region, and a star beside a venue name indicates that there is an advertisement for that establishment within this guide.

Also, woven among the listings are sidebar interviews with five great jazz artists, who tell us what their favorite clubs are, and why.

Dig in. The space frequently hosts local legends The Fringe and showcases avant-garde and world-music acts.

The seat venue is located in the upscale Charles Hotel in the heart of Harvard Square. Birdland W. Blue Note W.

Poncho Sanchez performs at Scullers Jazz Club. Jazz Standard E. The club is in the same building that once housed the Village Gate.

The Jazz Standard in New York has a real good combination of elegance, space and warmth. When you have all three of those, you really capture something.

Some clubs have stages that force you into that straight line. I think most musicians would agree that it makes it hard to cue or feel like a band.

The whole purpose is to play with the band. The staff is very friendly and all that stuff counts. The Jazz Standard offers that room. It feels more intimate.

You never feel claustrophobic, because of the architecture that includes a big window that looks out on the street. He plans to release a new one in with the Rez Abbasi Acoustic Quartet.

Smalls W. The seat basement club also has a video archive of every show played and live-streams its performances.

Monday nights are reserved for the Bohemian Caverns Jazz Orchestra. Churchill Grounds is the most recognizable name in Atlanta.

Thursday nights are reserved for the Harper Family Jam Session, a decade-long tradition, while weekends feature acts like Russell Gunn.

The enormous beer and whiskey selection is just as diverse. Preservation Hall ST. Catch blues guitarist and vocalist Jesse Robinson for one of his regular performances or check out new, local talent that spans blues, funk and jazz.

The club offers authentic Delta blues from locals Wednesdays through Saturdays. A lot of history and spirit looms in those red curtains and on that stage.

I remember the first time I played at the Vanguard. There was a picture of Monk and a picture of Dizzy hanging above the piano, and as I started playing, those pictures started talking to me.

Different people come to different places. He recently recorded a live album at Smoke that will come out in A classic basement club just blocks away from the Texas State Capitol, the Elephant has become the epicenter of the local scene, presenting live jazz every night of the year.

The John Pizzarelli Quartet performs on the Nighttown stage. King, Carlos Santana and Eric Clapton. Hungry Brain W.

Jazz Showcase S. Kingston Mines N. H The Jazz Kitchen N. Programming is mostly local, but artists from out of town travel through as well.

I need to hear the bass and the piano at least. I recently played the Hamilton in D. The sound is good because they took the time to make it sound better.

I like playing jazz in rock clubs. But I appreciate that the Japanese clubs are more attentive to sound and design clubs with that in mind.

They have a good work ethic and choose a club with the sound in mind. The Nash celebrated its first anniversary with a performance by Phoenix native Lewis Nash, whom the club is named after.

H Lobero Theatre Steamers Jazz Club and Cafe W. Vibrato Grill Jazz N. The Kuumbwa Jazz Center in Santa Cruz, for example, is a nonprofit run by a team of volunteers who are happy to share the music.

Scullers in Boston has a similar feel. Freddie Taylor, the promoter, and all the staff are very friendly, and that makes a difference.

You feel welcome, and when you feel at ease you can perform at your best. Often you have people in the audience who have never heard this kind of music before; you can tell by their reactions.

When you play for people who are discovering this music for this first time and the music communicates independently of someone knowing the technical details or the history, that validates something I believe: that this music can be felt and understood across the borders.

People are used to participating in the performance, especially if you do something from their culture, such as Jobim.

Or they might pick up a box of matches and keep rhythm with you, always in time. She is working on an album of South American songs.

Expect a mix of top-notch Aussie talent. The Dr. Largo Resto-Club ST. Jazz Society-run spot is the impressive Tuesday-night jams.

Built in an early 20th century dairy shop, this intimate club has been hosting a hodgepodge of jazz acts and styles for 30 years.

Although a blend of genres is the norm, the dark and lively venue is decorated with busts of jazz legends.

Jazzhus Montmartre ST. From mainstream to freejazz, emerging bands and renowned legends of Finnish jazz complement the likes of Tim Hagans, Marc Ducret and Anders Jormin.

The Bimhuis in Amsterdam is different, because the stage is low and the audience is high, more like a theater.

It might be my favorite place to play in the whole world. Music gives you that connection to the non-physical in a less abstract way than religion.

You get power from your ancestors. I think places gather vibrations from others who did the same thing in the same place.

It has a lot to do with oral tradition, the way knowledge is passed down. The people who work at the Vanguard are either musicians or music lovers and that expresses itself in the way they approach their work and their intention.

He will release a leader project in on ECM. Both Sheila E. Known for its cozy atmosphere, over performances a year from local artists and international names like Nicholas Payton entertain laid-back crowds.

This basement space fits up to patrons and is a home to Jazzfest Berlin. Avant-garde jazz is prominent at this Berlin hang, as is an extensive menu of top-notch German beers.

Also great for exotic tea and whiskey. Pizza Express Jazz Club This newly remodeled club has featured the most popular names in modern jazz and jazz-fusion since The Late Late Show samples some of the best of British jazz in an after-hours area open until 3 a.

UK vortexjazz. With its palace-like interior, this classy venue is known for its high-quality sound, HD video system and Steinway B piano.

His widow kept its jazz spirit. This modern club has a fine dining and drink menu and features nightly, mostly Japanese, acts.

An English website has all the details about the first-rate Japanese performers. Last year, Dafnis Prieto performed.

This plus-year-old venue boasts a vast musical history and clientele, including Chet Baker, and its seven-daysa-week jazz offerings are a treasure.

Prudy location and showcases singers and small acoustic groups, including those led by drummer Oleg Butman.

The room also hosts jazz history seminars on Saturday afternoons. Saxophone Pub is open every night and serves up authentic Thai dishes as well.

The group collaborated with John Medeski on Gathering Call. Bravo to Wilson for a joyous album with a light, masterful touch.

Ordering info: palmetto-records. The swing era may be ancient history, but no one, even today, can reach the highest levels of performance on that whistle without confronting the inevitable comparisons.

Most defer rather than fight it. But Dave Bennett, 29, is the only one who seems to have made it a full-time gig. He fills the Goodman matrix with a bravura confidence, authority and empathy.

Bennett can certainly hold the stage with the other neo-Bennys. Ordering info: mackavenue. And hardly any are making records this good.

Intimacy and warmth are hallmarks of The Roots Of The Blues, but so too is a sense of being unvarnished and vulnerable.

And in the wrong hands, it could be disaster, but Weston is so elegant and smart, his harmonic choices and phrasing so totally on the mark, that a look behind the curtain reveals only strength.

Here, they each take an unaccompanied solo. Makes me want to hear him more frequently in unconventional settings. Ordering info: sunnysiderecords.

Music director Jeff Lederer can take a bow right at the top. His inspired design sense gives the program an enviable flow. Chianese fits in nicely because his approach tilts toward the folky side.

Ordering info: caprirecords. But when the cylinders are firing, attention refocuses and galvanizes at a high level.

There is integral artistic logic to the Medeski invite, not just marquee power. Cool program, unexpected punches like the funky Rouse tune.

Creative music for the head-bobbing set. Go team! Music with spirit, indeed. Everything is so polished that it makes things seem slightly unreal, like a pop album with jazz performances.

Probably not. But together they are mutually reactive, like a couple of oblique raconteurs with a taste for irregular verbs.

Though it may indeed be possible to fuse chopsy bebop baritone saxophone with lyrical Neapolitan song, here the styles sound as far apart as a bullfrog wooing nightingales.

But the sauce is wrong. Smulyan masters these Neapolitan tunes with relish. And Chianese sings them with old-world feeling.

But the two flavors push each other away like alien ethnic worlds. Suggest a tutorial on Louis Prima. Chianese charms his songs all the way to the bank, and sly Smulyan provides much more than mere support.

Here, he has a two-guitar band, featuring Steve Cardenas and Brandon Seabrook doubling on banjo , to help flesh out his songs.

And, appropriately for a CD that evokes a daytime reference to the stars, this is not a mind-blowing affair but a modest one.

Imagine a drive-in movie at the heart of the Milky Way. Ordering info: benallison. Not to be outshined, the beautiful title track disarms with fragile tension and welcoming intimacy.

Initial percussion mimics the delayed drip of a leaky water pipe before a more concrete structure develops and melodic devices flourish.

Together, the group achieves acoustic-electric symmetry of the highest order. The compositions react like a burning magnesium strip that gives off terrific color and slow-burn rewards.

Ordering info: ecmrecords. In some ways, these brief exchanges are the highlights of the recording, due to their inherent spontaneity and unpredictability.

That playful nature is never completely absent, but some of the arrangements have a certain sterility that comes with having parts that are almost too clever, too rehearsed.

Ordering info: anzicrecords. The L. In recent years, she has become a critical darling and a favorite of such jazz artists as Esperanza Spalding, Terri Lyne Carrington and Kenny Barron, among dozens of others with whom she has recorded.

In concert, Parlato seems almost to go into a trance when she sings, which is part of what makes this new live set so compelling. This beautiful album is further proof that she has found hers.

Ordering info: obliqsound. The band obviously takes its music seriously, but there is nary a pedantic or overbearing note here.

Instead, there are many moments of whimsy and delight. There is a zany attitude here. At certain points, they veer to the abstract side.

In a band of five brass instruments, that is to be expected, and such abstraction is a nice contrast to the more standard riffing.

Ordering info: joefiedler. Ware, but he has grown increasingly prolific as a leader over the past decade-and-a-half. Both shows brim with ensemble invention, the instruments entwining as second nature.

Augmented by shamanistic pianist Cooper-Moore, the Parker quartet morphs into the latest incarnation of his quintet, In Order To Survive.

DB Ordering info: aumfidelity. But when bassist and longtime Lacy fan Kevin Ray sought to play with him, that older material is what he wanted to play.

Lacy had to get reacquainted with territory he had not inhabited in quite some time. The group has not, however, lived up to the promise of its name, which refers to the Planck temperature.

This is the highest temperature at which known physics work; get any higher, and the understood properties of particles and energy seem not to hold.

While this group generates appreciable warmth, its jazz is never that hot. Instead, the trio plays from a book that closed during the first Reagan administration.

The performances are full of energy and appreciation. But this feels like the work of musicians playing what they know.

Maybe the most enigmatic of them all is pianist James Booker, who was dogged by drug addiction and mental health issues in his rather short lifetime.

Booker, recording soon after checking out of a hospital, gave producer Scott Billington a difficult time in the studio but out of the chaos emerges fantastic music.

Ordering info: rounder. The big gent with the cigar shows he can still sing, too. Ordering info: blindpigrecords. Of a dozen tunes, just Dr.

Ordering info: rufrecords. Ordering info: macyblackman. Between the song tracks, Fitzgerald speaks with characteristic warmness about his life experiences.

Ordering info: lostwandering. DB Ordering info: eaglerockent. That he is. Put these lean, jolly conversations on shuffle and repeat.

Ordering info: steeplechase. Slide trumpeter Steven Bernstein is an appropriately witty foil for Rudd on several numbers.

Ordering info: chiaroscurojazz. Born in in British Columbia, Jensen is younger sister to New York-residing trumpeter Ingrid Jensen, who adds liquid tones to the excellent Habitat ensemble.

The sisters also play together in Nordic Connection, a kindred-spirit band with Swedish pianist Maggi Olin.

Ordering info: justin-time. The disc hovers in a muscular medium tempo, dishing out strong solos in an optimistic but respectful tone.

Shalom and McCaslin spit the rapid-fire melody together. Shalom is not outshined by his better-known bandmates.

He is lifted by their efforts, which present his tender compositions in the best possible light. His spry solos and intimate accompaniment are the soul of this recording.

Ordering info: sasishalom.

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Preliminary observations on the effects of the Chinese medicinal herbs Astragalus membranaceus and Ligustrum lucidum on lymphocyte blastogenic responses.

Journal of Biological Response Modifiers ;2 3 Sun Y, Yang J. Chinese Medical Sciences Journal ;10 3 Inhibitory effects of astragali radix, crude drug in Oriental medicines on lipid peroxidation and protein oxidative modification of mouse brain homogenate by copper.

Phytother Res ;14 4 Zhongguo Zhong Yao Za Zhi ;20 4 Zhongguo Zhong Yao Za Zhi ;26 9 Zhongguo Zhong Yao Za Zhi ;26 7 Wang Q.

Zhongguo Zhong Yao Za Zhi ;17 9 inside backcover. Zhongguo Zhong Yao Za Zhi ;28 5 Traditional Chinese medicine Astragalus reverses predominance of Th2 cytokines and their up-stream transcript factors in lung cancer patients.

Oncol Rep ;10 5 Astragalus mongholicus and Polygonum multiflorum's protective function against cyclophosphamide inhibitory effect on thymus.

Am J Chin Med ;32 5 Weng XS. World Health Organization. Radix Astragali. WHO monographs on selected medicinal plants ; Wu F, Chen X.

Zhong Yao Cai ;27 3 Acta Pharmacol Sin ;26 3 Xiangzhe J. A clinical investigation on 30 cases of senile benign renal arteriosclerosis treated bu Huang qi gu jing yin.

Journal of Traditional Chinese Medicine ;21 3 Determination and identification of isoflavonoids in Radix astragali by matrix solid-phase dispersion extraction and high-performance liquid chromatography with photodiode array and mass spectrometric detection.

J Chromatogr A ; Zhongguo Zhong Yao Za Zhi ;27 10 Effect of Astragulas membranaceus on natural killer cell activity and induction of alpha- and gamma- interferon in patients with coxsackie B viral myocarditis.

Chinese Medical Journal ; 4 Hypoglycemic effect of astragalus polysaccharide and its effect on PTP1B.

Acta Pharmacol Sin ;26 2 Immunomodulating activity of Chinese medicinal herbs and Oldenlandia diffusa in particular.

Int J Immunopharmacol ;19 7 Effect of astragalus membranaceus on electric activities of cultured rat beating heart cells infected with Coxsackie B-2 virus.

Chin Med J Engl ; 3 Effects of radix astragali seu-hedysari on teh interferon system. Chin Med J ; Chin J Integr Med ;11 3 Regulation of the fibrinolytic potential of cultured human umbilical vein endothelial cells: Astragaloside IV downregulates plasminogen activator inhibitor-1 and upregulates tissue-type plasminogen activator expression.

J Vasc Res ; Hepatoprotective effects of astraglus root. Journal of Ethnopharmacology ;30 2 Enhancement of the immune response in mice by Astragalus membranaceus extracts.

Immunopharmacology ;20 3 Zhongguo Zhong Yao Za Zhi ;25 5 Zhuang MX. The effects of polysaccharides of Astragalus membranaceus Codonopsis pilosula and Panax ginseng on some immune functions in guinea-pigs.

Zhongguo yaoxue zazhi ; Zuo L, Guo H. Chemical examination of Bacopa monniera Wettst. Indian Journal of Chemistry ; Antioxidant activity of Bacopa monniera in rat frontal cortex, striatum and hippocampus.

Phytother Res ;14 3 Phytotoxic and antimicrobial constituents of Bacopa monnieri and Holmskioldia sanguinea. Phytother Res ;18 2 Antistress effects of bacosides of Bacopa monnieri: modulation of Hsp70 expression, superoxide dismutase and cytochrome P activity in rat brain.

Phytother Res ;16 7 Dar A, Channa S. Calcium antagonistic activity of Bacopa monniera on vascular and intestinal smooth muscles of rabbit and guinea-pig.

J Ethnopharmacol ;66 2 Effect of some centrally active phyto products on maze learning of albino rats.

Indian J Physiol Allied Sci ;30 3 Bacopasaponin D--a pseudojujubogenin glycoside from Bacopa monniera.

Phytochemistry ;43 2 Dammarane-type triterpenoid saponins from Bacopa monniera. Phytochemistry ;42 3 In vitro evaluation of Bacopa monniera on anti-Helicobacter pylori activity and accumulation of prostaglandins.

Phytomedicine ;10 Relative efficacy of three medicinal plant extracts in the alteration of thyroid hormone concentrations in male mice.

J Ethnopharmacol ;81 2 Kidd PM. A review of nutrients and botanicals in the integrative management of cognitive dysfunction.

Altern Med Rev ;4 3 Kishore K, Singh M. Effect of bacosides, alcoholic extract of Bacopa monniera Linn.

Indian J Exp Biol ;43 7 Clinical trial on Brahmi. J Exp Med Sci ;10 1 Dammarane triterpene saponin from Bacopa monniera as the superoxide inhibitor in polymorphonuclear cells.

Planta Med ;67 8 Experimental evaluation of Bocopa monniera on rat gastric ulceration and secretion. Indian J Physiol Pharmacol ;44 4 Bacoside Aa triterpenoid saponin from Bacopa monniera.

Phytochemistry ;36 1 Application of high-performance liquid chromatography coupled to nuclear magnetic resonance spectrometry, mass spectrometry and bioassay for the determination of active saponins from Bacopa monniera Wettst.

Chronic effects of Brahmi Bacopa monnieri on human memory. Neuropsychopharmacology ;27 2 Russo A, Borrelli F. Bacopa monniera, a reputed nootropic plant: an overview.

Phytomedicine ;12 4 Free radical scavenging capacity and protective effect of Bacopa monniera L. Phytother Res ;17 8 Mast cell stabilising activity of Bacopa monnieri.

Fitoterapia ;72 3 Efficacy of Bacopa monniera in revitalizing intellectual functions in children. J Res Edu Ind Med ; Effect of Bacopa monniera Linn.

J Ethnopharmacol ;5 2 Indian Journal of Pharmacology ; Effect of bacosides A and B on avoidance responses in rats. Phytother Res ; Singh RH, Singh L.

Journal of Research in Ayurveda and Siddha ;1 1 The chronic effects of an extract of Bacopa monniera Brahmi on cognitive function in healthy human subjects.

Psychopharmacology Berl ; 4 Protective role of Bacopa monniera on morphine-induced brain mitochondrial enzyme activity in rats. Fitoterapia ;73 5 Protective role of Bacopa monniera on morphine induced hepatotoxicity in rats.

Phytother Res ;15 7 Bacopa monniera Linn. Indian J Exp Biol ;34 6 Protection from phenytoin-induced cognitive deficit by Bacopa monniera, a reputed Indian nootropic plant.

J Ethnopharmacol ;71 3 Analgesic activity of bacosine, a new triterpene isolated from Bacopa monnieri. Fitoterapia ;68 4 Irritable bowel syndrome: therapeutic evaluation of indigenous drugs.

Bilberry Amouretti M. Therapeutique ;48 9 Effect of Vaccinium myrtillus anthocyanosides on ischaemia reperfusion injury in hamster cheek pouch microcirculation.

Pharmacol Res ;31 Interactions between Vaccinium myrtillus anthocyanosides and serotonin on splenic artery smooth muscle. Fitoterapia ;55 4 Bettini V.

Effects of Vaccinium myrtillus anthocyanosides on vascular smooth muscle. Fitoterapia ;55 5 In vitro anticancer activity of fruit extracts from Vaccinium species.

Planta Med ;62 3 Boniface R, Robert AM. Klin Monatsbl Augenheilkd ; 6 Preventive medical treatment of senile cataract with vitamin E and Vaccinium Myrtillus anthocyanosides: Clinical evaluation.

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Fitoterapia ; Caselli L. Arch Med Interna ; Novel lipid-lowering properties of Vaccinium myrtillus L.

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G Ital Obstet Ginecol ; Cristoni A, Magistretti MJ. Antiulcer and healing activity of Vaccinium myrtillus anthocyanosides. Farmaco [Prat ] ;42 2 Studies on vascular permeability in hypertension: action of anthocyanosides.

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Experimental single-blind study: 60 pts with venous insufficiency received Bilberry extract equivalent to mg anthocyanins daily or placebo for 30 days.

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Flavonoids, a class of natural products of high pharmacological potency. Biochem Pharmacol ;32 7 Jayle GE, Aubert L.

Therapie ; Ann Ocul Paris ; 6 Elastase-inhibiting activities in vitro. Compared angioprotective activities in vivo]. J Pharm Belg ;38 1 Influence of anthocyanoside treatment on the cholesterol-induced atherosclerosis in the rabbit.

Induction of apoptosis in cancer cells by Bilberry Vaccinium myrtillus and the anthocyanins.

J Agric Food Chem ;51 1 Pathology of the microcirculation in diabetes and alterations of the biosynthesis of intercellular matrix macromolecules.

Front Matrix Biol ; Antioxidant action of Vaccinium myrtillus extract on human low density lipoproteins in vitro: initial observations.

Fundam Clin Pharmacol ;11 1 Levy Y, Glovinsky Y. The effect of anthocyanosides on night vision. Eye ;12 Pt 6 Studies on Vaccinium myrtillus anthocyanosides.

Vasoprotective and antiinflammatory activity. Arzneimittelforschung ;26 5 Lietti A, Forni G. Aspects of anthocyanins pharmacokinetics in the rat.

Antiulcer activity of an anthocyanidin from Vaccinium myrtillus. Arzneimittelforschung ;38 5 Antioxidant action of Vaccinium myrtillus L.

Phytotherapy ;SS In vitro and in vivo antioxidant properties of Vaccinium myrtillus. Pharmaceutical Biology ;37 2 A natural flavonoid, IdB , increases gastric luminal release of prostaglandin E2 in healthy subjects.

Ital J Gastroenterol. Vaccinium myrtillus anthocyanosides pharmacokinetics in rats. Arzneimittelforschung ;41 2 Morazzoni P, Magistretti MJ.

Effects of Vaccinium myrtillus anthocyanosides on prostacyclin-like activity in rat arterial issue. The influence of procyanidolic anthocyanosides on macular recovery time and oscillatory potentials in the diabetic subject.

Annli di Ottalmologi e Clinica Oculistica ; The effect of bilberry nutritional supplementation on night visual acuity and contrast sensitivity.

Altern Med Rev ;5 2 Gli anticianosidi del mirtillo nel trattamento postoperatorio delle emorroidi. Aggior Med Chir ;8 1 A pharmacologically potent natural product in the bovine retina.

Exp Eye Res ;42 3 Perossini M, et al. Diabetic and hypertensive retinopathy therapy with Vaccinium myrtillus anthocyanosides Tegens : Double blind placebo controlled clinical trial.

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Gaz Med It ; Politzer M. Antioxidant capacity as influence by total phenolic and anthocyanin content, maturity, and variety of Vaccinium species.

J Agricult Food Chem ; Ex vivo study of the inhibitory effects of Vaccinium myrtillus anthocyanosides on human platelet aggregation.

Extracts of Ginkgo biloba L. The role of anthocyanosides on vascular permeability in diabetic retinopathy. Scharrer A, Ober M.

Klin Monatsbl Augenheilkd ; 5 Spinella G. Natural anthocyanosides in treatment of peripheral venous insufficiency.

Arch Med Int ; Tori A, D'Errico F. Gazz Med Ital ; Diabetic cataracts and flavonoids. Science ; In vitro effects of a flavonoid-rich extract on LDL oxidation.

Atherosclerosis ; The effect of anthocyanosides on night vision tests. Investigative Ophthalmology and Visual Science ;38 4 :S The effect of anthocyanosides in a multiple oral dose on night vision.

Eye ;13 Pt 6 Abortifacient effects of the roots of Momordica angustisepala. J Ethnopharmacol ;7 2 Akhtar MS. Trial of Momordica charantia Linn Karela powder in patients with maturity-onset diabetes.

J Pak Med Assoc ;32 4 Aslam M, Stockley IH. Interaction between curry ingredient karela and drug chlorpropamide.

Lancet ; Clinical trials in patients with diabetes mellitus of an insulin-like compound obtained from plant source. Upsala J Med Sci ; Bitter melon Momordica charantia : a review of efficacy and safety.

Am J Health Syst Pharm ;60 4 Analgesic effect of Momordica charantia seed extract in mice and rats. J Ethnopharmacol ;31 1 Potentiation of anti-HIV activity of anti-inflammatory drugs, dexamethasone and indomethacin, by MAP30, the antiviral agent from bitter melon.

Biochem Biophys Res Commun ; 2 Biochem Biophys Res Commun ; 3 The termination of early pregnancy in the mouse by beta-momorcharin.

Contraception ;29 1 Bitter melon Momordica charantia reduces adiposity, lowers serum insulin and normalizes glucose tolerance in rats fed a high fat diet.

J Nutr ; 4 Induction of tumor cytotoxic immune cells using a protein from the bitter melon Momordica charantia.

Cell Immunol ; 2 Hypoglycaemic effect of Momordica charantia extracts. Planta Med ;56 5 Effects of Momordica charantia L.

Planta Med ;34 3 Vicine, a favism-inducing toxin from Momordica charantia Linn. Indian J Chem ;20B August LaValle Metabolic Institute 38 Hulin et al.

Intoxication aigue pour Momordica charantica Sorrossi. A proposdeux cas. Semaine Hospitaux ; Hypoglycemic activity of polypeptide-p from a plant source.

J Nat Prod ;44 6 Potentiation of tolbutamide action by jasad bhasma and karela Momordica charantia. Indian J Med Res ;50 5 Improvement in glucose tolerance due to Momordica charantia karela.

Gene ; 2 Anticancer Res ;20 2A The immunosuppressive activities of two abortifacient proteins isolated from the seeds of bitter melon Momordica charantia.

Immunopharmacology ;13 3 Marles R, Farnsworth N. Phytomedicine ;2 2 Mistry PP, Patel V. Ayurvedic herbal preparation in the treatment of high intraocular pressure.

Clinical Research ;39 2 A. Hypoglycemic activity of the fruit of the Momordica charantia in type 2 diabetic mice. J Nutr Sci Vitaminol Tokyo ;47 5 A steryl glycoside fraction from Momordica charantia seeds with an inhibitory action on lipid metabolism in vitro.

Biochem Cell Biol ;64 8 Insulin-like molecules in Momordica charantia seeds. J Ethnopharmacol ;15 1 Isolation and characterization of a galactose binding lectin with insulinomimetic activities.

From the seeds of the bitter gourd Momordica charantia Family Cucurbitaceae. Int J Peptide Protein Res ;28 2 Effect of bitter melon Momordica charantia Linn on level and function of natural killer cells in cervical cancer patients with radiotherapy.

J Med Assoc Thai ;86 1 Raman A, Lau C. Anti-diabetic properties and phytochemistry of Momordica charantia L.

Phytomedicine ;2 4 The effect of Momordica charantia and Mucuna pruriens in experimental diabetes and their effect on key metabolic enzymes involved in carbohydrate metabolism.

Phytother Res ;16 3 Demonstration of the hypoglycemic action of Momordica charantia in a validated animal model of diabetes.

Pharmacol Res ;33 1 The antiviral agents, MAP30 and GAP31, are not toxic to human spermatozoa and may be useful in preventing the sexual transmission of human immunodeficiency virus type 1.

Fertil Steril ;72 4 Hypoglycaemic activity of Coccinia indica and Momordica charantia in diabetic rats: depression of the hepatic gluconeogenic enzymes glucose- 6-phosphatase and fructose-1,6-bisphosphatase and elevation of both liver and red-cell shunt enzyme glucosephosphate dehydrogenase.

Biochem J ; Pt 1 Retardation of retinopathy by Momordica charantia L. Indian J Exp Biol ;25 8 Srivastava Y. Antidiabetic and adaptogenic properties of Momordica charantia extract:An experimental and clinical evaluation.

Antifertility investigation on Momordica. Lloydia ;37 4 Effect of Momordica charantia on key hepatic enzymes. J Ethnopharmacol ;44 2 Treatment with extracts of Momordica charantia and Eugenia jambolana prevents hyperglycemia and hyperinsulinemia in fructose fed rats.

J Ethnopharmacol ;76 2 Antihyperglycemic effects of three extracts from Momordica charantia. J Ethnopharmacol ;88 1 Protein Sci ;9 1 Cell ;99 4 The insulin-releasing activity of the tropical plant momordica charantia.

Acta Biol Med Ger ;41 12 Effect of Momordica charantia on the glucose tolerance in maturity onset diabetes. J Ethnopharmacol ;17 3 Screening of Trichosanthes kirilowii, Momordica charantia and Cucurbita maxima family Cucurbitaceae for compounds with antilipolytic activity.

J Ethnopharmacol ;13 3 Pennyroyal toxicity: measurement of toxic metabolite levels in two cases and review of the literature.

Ann Intern Med ; 8 Baillie N, Rasmussen P. Black and blue cohosh in labour. N Z Med J ; Beuscher N, Reichert R.

Cimicifuga racemosa L. Zeit Phytother ; Benefit of a fixed drug combination containing St. John's wort and black cohosh for climacteric patients -- results of a randomised clinical trial poster presentaion from 6th Annual Symposium on Complementary Health Care, Exeter, England, December , Pharmacological effects of Cimicifuga racemosa.

Life Sci ;73 10 Black cohosh acts as a mixed competitive ligand and partial agonist of the serotonin receptor.

J Agric Food Chem ;51 19 Autoimmune hepatitis associated with the use of black cohosh: a case study. Daiber W.

Menopause symptoms: success without hormones. Arztl Praxis ; Dixon-Shanies D, Shaikh N. Growth inhibition of human breast cancer cells by herbs and phytoestrogens.

Oncol Rep ;6 6 Critical evaluation of the safety of Cimicifuga racemosa in menopause symptom relief. Menopause ;10 4 Safety and efficacy of black cohosh Cimicifuga racemosa during pregnancy and lactation.

Can J Clin Pharmacol. Epub Nov 3. Effects of extracts from Cimicifuga racemosa on gonadotropin release in menopausal women and ovariectomized rats.

Planta Med ;57 5 Cimicifuga and Melbrosia lack oestrogenic effects in mice and rats. Maturitas ;25 2 Freudenstein J, Bodinet C. Influence of an isopropanolic aqueous extract of Cimicifuga racemosae rhizoma on the proliferation of MCF-7 cells.

Genazzani E, Sorrentino L. Vascular action of acteina: active constituent of Actaea racemosa L. Nature ; The use of black and blue cohosh in labour.

Incidence of potential herb-drug interactions among herbal users. Inhibition of thymidine transport into phytohemagglutinin-stimulated lymphocytes by triterpenoids from Cimicifuga species.

J Pharm Dyn ; Selective inhibition of nucleoside transport into mouse lymphoma L- Y cells by cimicfugoside.

J Pharmacobiodyn ;3 12 Hernandez MG, Pluchino S. Cimicifuga racemosa for the treatment of hot flushes in women surviving breast cancer.

Maturitas ;44 Suppl 1:SS Cimicifuga racemosa extract inhibits proliferation of estrogen receptor-positive and negative human breast carcinoma cell lines by induction of apoptosis.

Breast Cancer Res Treat. Hunter A. Cimicifuga racemosa: pharmacology, clinical trials and clinical use. Eur J Herbal Med ;5 1 Huntley A, Ernst E.

A systematic review of the safety of black cohosh. Menopause ;10 1 Randomized trial of black cohosh for the treatment of hot flashes among women with a history of breast cancer.

J Clin Oncol ;19 10 In vitro binding of constituents to estrogen receptors]. Planta Med ;51 4 Jarry H, Harnischfeger G.

The effect on serum levels of pituitary hormones in ovariectomized rats]. Planta Med ;51 1 In vitro effects of the Cimicifuga racemosa extract BNO Studies on the Chinese crude drug "shoma.

Three novel cyclolanostanol xylosides, cimicifugosides H-1, H-2 and H-5, from cimicifuga rhizome.

Chem Pharm Bull Tokyo ;43 5 Korn WD. Six month oral toxicity study with remifemin-granulate in rats followed by an 8-week recovery period.

International Bioresearch, Hannover, Germany ;1. Zentralbl Gynakol ; 10 Lieberman S. A review of the effectiveness of Cimicifuga racemosa black cohosh for the symptoms of menopause.

J Womens Health ;7 5 Human-pharmacological investigations during treatment of climacteric complaints with Cimicifuga racemosa Remifemin : No estrogen-like effects.

ESCOP ; Liske E, Wustenberg P. Efficacy and safety of phytomedicines with particular references to Cimicifuga racemosa.

J Med Assoc Thai ;Jan:s Therapy of climacteric complaints with Cimicifuga racemosa: herbal medicine with clinically proven evidence [poster presentation].

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Evidence for selective estrogen receptor modulator activity in a black cohosh Cimicifuga racemosa extract: comparison with estradiolbeta.

Eur J Endocrinol ; 4 Pharmacology of Cimicifuga racemosa extract BNO in rats: bone, fat and uterus. Planta Med. Heparin and thrombocytopenia.

Black Cohosh root? Chasteberry tree? Hosp Pharm ; Siess VM, Seybold G. Arzneimittelforschung ; Stoll W.

Phytotherapeutikum beeinflusst atrophisches Vaginal epithel. Doppelblindversuch Cimicifuga vs. Oestrogenpraeparat [Phytopharmaceutical influences on atrophic vaginal epithelium.

Although a blend of genres is the norm, the dark and lively venue is decorated with busts of jazz legends. Jazzhus Montmartre ST.

From mainstream to freejazz, emerging bands and renowned legends of Finnish jazz complement the likes of Tim Hagans, Marc Ducret and Anders Jormin.

The Bimhuis in Amsterdam is different, because the stage is low and the audience is high, more like a theater.

It might be my favorite place to play in the whole world. Music gives you that connection to the non-physical in a less abstract way than religion.

You get power from your ancestors. I think places gather vibrations from others who did the same thing in the same place. It has a lot to do with oral tradition, the way knowledge is passed down.

The people who work at the Vanguard are either musicians or music lovers and that expresses itself in the way they approach their work and their intention.

He will release a leader project in on ECM. Both Sheila E. Known for its cozy atmosphere, over performances a year from local artists and international names like Nicholas Payton entertain laid-back crowds.

This basement space fits up to patrons and is a home to Jazzfest Berlin. Avant-garde jazz is prominent at this Berlin hang, as is an extensive menu of top-notch German beers.

Also great for exotic tea and whiskey. Pizza Express Jazz Club This newly remodeled club has featured the most popular names in modern jazz and jazz-fusion since The Late Late Show samples some of the best of British jazz in an after-hours area open until 3 a.

UK vortexjazz. With its palace-like interior, this classy venue is known for its high-quality sound, HD video system and Steinway B piano.

His widow kept its jazz spirit. This modern club has a fine dining and drink menu and features nightly, mostly Japanese, acts.

An English website has all the details about the first-rate Japanese performers. Last year, Dafnis Prieto performed. This plus-year-old venue boasts a vast musical history and clientele, including Chet Baker, and its seven-daysa-week jazz offerings are a treasure.

Prudy location and showcases singers and small acoustic groups, including those led by drummer Oleg Butman.

The room also hosts jazz history seminars on Saturday afternoons. Saxophone Pub is open every night and serves up authentic Thai dishes as well.

The group collaborated with John Medeski on Gathering Call. Bravo to Wilson for a joyous album with a light, masterful touch. Ordering info: palmetto-records.

The swing era may be ancient history, but no one, even today, can reach the highest levels of performance on that whistle without confronting the inevitable comparisons.

Most defer rather than fight it. But Dave Bennett, 29, is the only one who seems to have made it a full-time gig. He fills the Goodman matrix with a bravura confidence, authority and empathy.

Bennett can certainly hold the stage with the other neo-Bennys. Ordering info: mackavenue. And hardly any are making records this good.

Intimacy and warmth are hallmarks of The Roots Of The Blues, but so too is a sense of being unvarnished and vulnerable. And in the wrong hands, it could be disaster, but Weston is so elegant and smart, his harmonic choices and phrasing so totally on the mark, that a look behind the curtain reveals only strength.

Here, they each take an unaccompanied solo. Makes me want to hear him more frequently in unconventional settings.

Ordering info: sunnysiderecords. Music director Jeff Lederer can take a bow right at the top. His inspired design sense gives the program an enviable flow.

Chianese fits in nicely because his approach tilts toward the folky side. Ordering info: caprirecords. But when the cylinders are firing, attention refocuses and galvanizes at a high level.

There is integral artistic logic to the Medeski invite, not just marquee power. Cool program, unexpected punches like the funky Rouse tune.

Creative music for the head-bobbing set. Go team! Music with spirit, indeed. Everything is so polished that it makes things seem slightly unreal, like a pop album with jazz performances.

Probably not. But together they are mutually reactive, like a couple of oblique raconteurs with a taste for irregular verbs.

Though it may indeed be possible to fuse chopsy bebop baritone saxophone with lyrical Neapolitan song, here the styles sound as far apart as a bullfrog wooing nightingales.

But the sauce is wrong. Smulyan masters these Neapolitan tunes with relish. And Chianese sings them with old-world feeling.

But the two flavors push each other away like alien ethnic worlds. Suggest a tutorial on Louis Prima. Chianese charms his songs all the way to the bank, and sly Smulyan provides much more than mere support.

Here, he has a two-guitar band, featuring Steve Cardenas and Brandon Seabrook doubling on banjo , to help flesh out his songs.

And, appropriately for a CD that evokes a daytime reference to the stars, this is not a mind-blowing affair but a modest one.

Imagine a drive-in movie at the heart of the Milky Way. Ordering info: benallison. Not to be outshined, the beautiful title track disarms with fragile tension and welcoming intimacy.

Initial percussion mimics the delayed drip of a leaky water pipe before a more concrete structure develops and melodic devices flourish.

Together, the group achieves acoustic-electric symmetry of the highest order. The compositions react like a burning magnesium strip that gives off terrific color and slow-burn rewards.

Ordering info: ecmrecords. In some ways, these brief exchanges are the highlights of the recording, due to their inherent spontaneity and unpredictability.

That playful nature is never completely absent, but some of the arrangements have a certain sterility that comes with having parts that are almost too clever, too rehearsed.

Ordering info: anzicrecords. The L. In recent years, she has become a critical darling and a favorite of such jazz artists as Esperanza Spalding, Terri Lyne Carrington and Kenny Barron, among dozens of others with whom she has recorded.

In concert, Parlato seems almost to go into a trance when she sings, which is part of what makes this new live set so compelling.

This beautiful album is further proof that she has found hers. Ordering info: obliqsound. The band obviously takes its music seriously, but there is nary a pedantic or overbearing note here.

Instead, there are many moments of whimsy and delight. There is a zany attitude here. At certain points, they veer to the abstract side.

In a band of five brass instruments, that is to be expected, and such abstraction is a nice contrast to the more standard riffing.

Ordering info: joefiedler. Ware, but he has grown increasingly prolific as a leader over the past decade-and-a-half. Both shows brim with ensemble invention, the instruments entwining as second nature.

Augmented by shamanistic pianist Cooper-Moore, the Parker quartet morphs into the latest incarnation of his quintet, In Order To Survive.

DB Ordering info: aumfidelity. But when bassist and longtime Lacy fan Kevin Ray sought to play with him, that older material is what he wanted to play.

Lacy had to get reacquainted with territory he had not inhabited in quite some time. The group has not, however, lived up to the promise of its name, which refers to the Planck temperature.

This is the highest temperature at which known physics work; get any higher, and the understood properties of particles and energy seem not to hold.

While this group generates appreciable warmth, its jazz is never that hot. Instead, the trio plays from a book that closed during the first Reagan administration.

The performances are full of energy and appreciation. But this feels like the work of musicians playing what they know. Maybe the most enigmatic of them all is pianist James Booker, who was dogged by drug addiction and mental health issues in his rather short lifetime.

Booker, recording soon after checking out of a hospital, gave producer Scott Billington a difficult time in the studio but out of the chaos emerges fantastic music.

Ordering info: rounder. The big gent with the cigar shows he can still sing, too. Ordering info: blindpigrecords. Of a dozen tunes, just Dr.

Ordering info: rufrecords. Ordering info: macyblackman. Between the song tracks, Fitzgerald speaks with characteristic warmness about his life experiences.

Ordering info: lostwandering. DB Ordering info: eaglerockent. That he is. Put these lean, jolly conversations on shuffle and repeat.

Ordering info: steeplechase. Slide trumpeter Steven Bernstein is an appropriately witty foil for Rudd on several numbers.

Ordering info: chiaroscurojazz. Born in in British Columbia, Jensen is younger sister to New York-residing trumpeter Ingrid Jensen, who adds liquid tones to the excellent Habitat ensemble.

The sisters also play together in Nordic Connection, a kindred-spirit band with Swedish pianist Maggi Olin. Ordering info: justin-time.

The disc hovers in a muscular medium tempo, dishing out strong solos in an optimistic but respectful tone.

Shalom and McCaslin spit the rapid-fire melody together. Shalom is not outshined by his better-known bandmates.

He is lifted by their efforts, which present his tender compositions in the best possible light. His spry solos and intimate accompaniment are the soul of this recording.

Ordering info: sasishalom. At times the playfulness overwhelms, resulting in a cloying, over-exact caricature straight out of a Disney cartoon, but at its best Aqualude gracefully captures the fluid weightlessness of swimming, the freedom and blissful solitude of a plunge into the ocean.

Lyn has a diverse background, having worked in Irish folk bands, composed for classical ensembles, collaborated with rock groups and performed on a variety of theater stages.

These pieces are sparse and lovely, suggesting a music box submerged and warped by the water. Lyn does occasionally break from the overtly programmatic, however.

Ordering info: ropeadope. But what matters is how Jones and the DapKings fill in those familiar contours. Ordering info: daptonerecords.

The songs return to Memphis, her hometown, at least a couple of times, creating several vivid characters along the way, including an ancestor who fought for the Union in the Civil War.

Every song has its particular groove, its particular guitar tone or shuffle; strings and backing choruses are deployed without clouding the transparency of the arrangements.

And when called for, the album rocks out. Ordering info: bluenote. Guitars, piano, violin, cymbal smashes and dabs of electronics all create an impressionistic haze of sound suited to the title of this new album.

Slow, long-line melodies float over fast, turbulent rhythms, then break for a spare piano-and-vocal verse. DB Ordering info: bellaunion.

Parran, who narrates with panache and plays some spirited soprano as well as bass saxophone. This blues becomes a kind of taffy for Ehrlich as he stretches the music and musicians, creating both an inbuilt architecture as well as an elasticity unique to the blues form itself.

Rundowns, III. This Graceful Waltz, IV. Quaker Work Song, VI. Ordering info: newworldrecords. McPhee sounds utterly confident on the notoriously slippery straight horn, shifting from carefully calibrated coarseness to pure long tones as the music requires.

Ordering info: runegrammofon. John Coltrane was anything but typical; at 37, he was in transition, chasing an illusive new form of expression, and moving fast.

At 14 minutes, the Stockholm performance is one of the shorter versions the band played on the tour, which was extensively recorded by Norman Granz, and Coltrane introduces his main improvisation with a long, whistling slide before shifting into some repeated, incantatory phrases and ending with a ululating vibrato.

Ten days later in Berlin, the song is stretched to more than 21 minutes, as Coltrane subtly shifts the dynamics of the piece through his phrasing, volume and tonality.

As in numerous instances in these performances, he appears to be listening carefully to his own playing, and pushing to find expression beyond what he had already played.

Where Coltrane was headed became increasingly clear over the following 22 months. By the end of the year, Tyner would be gone, with Jones close behind.

Instead of walking, Garrison maintains tension behind Tyner, and the pianist climaxes his solo with some hard-slamming chords.

But Coltrane was dissatisfied with where things went from there, and a much more dramatic four-minute insert provided the final conclusion.

DB Ordering info: concordmusicgroup. The Modern Jazz Quartet began in the rhythm section of the Dizzy Gillespie band, was officially born in and made its final records 41 years later with only one change in personnel.

He tiptoes in like a furtive cat burglar and, in his own way, steals the show. Lewis saw that the contrapuntalism of the Bach fugue was well within the six-degrees-of-separation perimeter that also included New Orleans polyphony and the Benny Goodman sextet.

Ordering info: arthaus-musik. December Song is the final note in a chapter of albums that include Balladeering , which included the late Paul Motian, and Time Frisell and Bro interweave glistening guitars; sometimes their mutually compatible styles are reversed into a ghostly echo.

One thinks of five musicians performing on a cloud, holding their notes long and carefully, lest the cloud dissolve and they collectively fall to earth.

Ordering info: jakobbro. As Roberts explains in the liner notes, this is a part suite based on themes that reappear throughout the record in various ways on all three instruments.

Many bands pay lip service to this idea, but this trio follows through. The title track builds to a Rhapsody In Blue-type coloring, then into an elegant groove.

Ordering info: marcusroberts. That there may be a real band playing here seems almost incidental. It makes you wish these two would build on their obvious musical affinities beyond just one song.

Ordering info: edel. Romus waits several minutes before launching in emphatically, in Albert Ayler mode. Ordering info: edgetonerecords.

Pearson leaves few percussive doors unopened throughout the whole album. As it is, Spyro Gyra maintains its posture of pleasant and occasionally surprising instrumental standing.

Ordering info: spyrogyra. Reason has other gears. Ordering info: music. The musicians sound more comfortable and convincing tackling this type of material, which they most likely have a deeper connection with and feel more empathy for.

Ordering info: challengerecords. Below, drummer Adam Nussbaum maintains a thick, propulsive beat, ensuring that momentum is never lost.

Ordering info: mileshighrecords. Its weekly residencies in Cambridge, Mass. So The Fringe had a lot to celebrate for its 40th anniversary concert, which was held and recorded at the Boston Conservatory in May The resulting disc serves as a solid introduction to the group, as well as a strong statement that Garzone, Gullotti and Lockwood are not inclined to let any recent milestone weigh them down.

All of the compositions are credited to the group and the pieces represent a variety of different frameworks for their freewheeling dialogues, rather than, say, tunes as such.

Ordering info: sundance. It owes its endless variety of allegiances to the specific linguistics of the two powerful styles.

What he assembles on this fine new album is an artistically cohesive index of expressive possibilities among the different worlds he traffics in.

He has potent and flexible horn soloists in bold saxophonist Steve Slagle and especially trombonist Conrad Herwig, who turns many a solo on the record into a logical, well-sculpted statement, negotiating the shifting rhythmic pulses of swing and Latin rhythms, and back.

In the composer role, he finds fresh ways to revitalize and change up expectations. Ordering info: jazzdepot.

New York-based piece Melaza is just such a band. Vocalist Renzo Padilla has the right kind of voice to navigate these extremes; his Spanish-language singing can engage in rapid-fire call-and-response with his bandmates, but it has just enough of the weathered power needed to carry a good bolero-style verse.

One would be hard-pressed to pinpoint anything new that the band brings to the music, though. Melaza is as down-the-middle as churning salsa gets.

Ordering info: chulorecords. But Ellington left no such stash. And Teachout has done a crackerjack job. I can think of about 16 books dealing wholly with Ellington or his music.

Some were more prescient than others. Collier can take comfort from Teachout, who thoroughly agrees. Ellington had the gift of texture and atmosphere, he writes, but rarely melody.

Sometimes, though, they were plagiarizers. In a way, Teachout concedes. There were profits enough for all and sufficient stardom banked to fix Ellington for life.

The second Faustian partnership starts as the first ends. The interesting thing is that each man seemed to accept his bargain. Teachout finds complexity and tension in this partnership, more than the chummy, alter-ego image that many years would suggest.

DB Ordering info: penguin. The younger percussionist has already amassed a total of seven albums, three on the prolific Whaling City Sound label.

For his latest release, Gibbs took on a challenge not for the faint of heart. Carter and Barron contribute a song apiece.

A major plus is the sound of the recording. The album documents two important masters and an energetic upstart with a rich, clear production aesthetic.

Clean; The Theme. Ordering info: whalingcitysound. Einav possesses a strong tenor voice that belies his age.

Ordering info: posi-tone. An engaging and empathetic trio set from , Window And Doorway divides itself into 11 mostly compacted tracks in which three-way collective exploration glows and scampers, while the quintet album Circuitous ups the ante of textures and structural schemes.

Conversely, the Chicago-based quintet, featuring reedists Dave Rempis and Keefe Jackson, along with the pianobass-drums rhythm section of Karayorgis, Nate McBride and Frank Rosaly, steers perceptions toward comparisons to classic jazz quintet paradigm, different in form and function though it may be.

Both groupings are linked to an essential musical philosophy espoused by the pianist, ambling on the boundaries between the preconceived and the spontaneous.

These recordings exemplify an aesthetic at once solid in its concept and open to evolution and expansion. Ordering info: driffrecords.

But you can tell even more from the way they solo unaccompanied. In the absence of tenor saxophonist John Gross, pianist-organist Roberta Piket and bassist Putter Smith, his improvising is powerful but restrained.

Some of the best moments here feature Piket on organ. The compositions and the collective musicianship are the stars.

Occasionally though, the music drifts into a synthetic smoothness that is not always welcome. The two tracks can be played simultaneously and line up almost perfectly.

Jeppesen closes with a confident display of chops. Ordering info: thirteenthnoterecords. Ordering info: scottjeppesen.

The three CDs under consideration here were all recorded during the same month in the same Brooklyn studio.

All three discs are totally improvised. But despite shared circumstances and an almost familial connectedness between the personnel, they are very different albums.

But on Enigma, there are two other sources of sonic force. Each man picks a zone and sticks to it, resulting in music that is full of tense, opposing forces that provide Perelman with plenty of propulsion, impelling him to peel off fleet, darting figures in a fat tone.

The disc swaps two drummers for one microtonal violist, Mat Maneri. Here, they pursue a pithiness that makes the lyrical passages especially sweet and the stormy ones as bracing as a late-afternoon tropical squall.

Ordering info: leorecords. Ordering info: rarenoiserecords. If you can get away without using them, that is awesome.

If you need them, you use them. I am not a big fan of plug-ins. I am an old analog dog. Hardware pieces with knobs sound better than plug-ins.

What do these albums have in common? A month after curating a retrospective of his storied career at the recent Audio Engineering Society convention, where he discussed some of his pivotal albums, Ferla shared some of his unique recording wisdom with DownBeat.

If you need to manipulate the sound and change it later, you have that option, but you should try to capture a realistic sound. People get carried away with what Pro Tools can do.

New engineers are hung up on doing too much. Know what your taste is as far as where you like to sit at a concert; that will define your outlook.

What are you doing? And it usually sounds awesome. You have to know how to establish a connection with each musician up front.

Say the musicians are warming up. Comment on their gear and comment on their sound. When you need them to do something like play louder or softer, you want people to cooperate with you.

If you only have a couple instruments, find the sweet spot in the room for those two mics. If you have one mic, find the spot where that one mic sounds good.

Then go into the control room and see if it sounds like it did when you were in the live room. You have to do a lot of walking between the live room and the control room.

They all react differently and have different pickup patterns. A condenser mic like a Neumann or Telefunken picks up not only what you put in front of it, but also other elements in the room.

If you have a lot of instruments in the room, you need more isolation, so you might choose a dynamic mic.

I place the mics 3 inches away from each drum. Since it was all machines, there was no human element to balance the sound in the room.

We had to put the dynamics in the mix that musicians would play normally. I used an automated pan pot on the mixer to move the ride cymbal track left and right just a little bit in the mix.

It had more variation like you would have with a real drummer. The vibe is captured in the recording. I have a signature sound that many people can pick out.

I tell young engineers to get their own sound. Be original so that there will be some longevity in your career. I make the rhythm section as loud as I can without stepping on the lead instrument.

You will always tap your feet listening to one of my mixes. That is the Joe Ferla sound. Here are his thoughts on conjuring and crystallizing jazz magic in the studio.

Sometimes, there can be the temptation to make the recorded product sound different from what the instruments and music actually sound like in the room.

To end up with a great-sounding product, you have to start with great-sounding music. Can you describe one example?

So the studio is a very different experience than being onstage. Like what? OL-A: People can spend hours figuring out what microphones to use, talking about what kind of console the studio has and looking for the ideal mic placement for a session.

So what can be done to help those new to the studio capture the transcendent, awesome-sounding take that their music deserves?

That microscopic examination can be a useful thing too, right? OL-A: Absolutely. I like to remem- What do you recommend as pre-studio homework?

OL-A: You should strive to do whatever you can before going into the studio so that you can be focused on the music once you actually get there.

For a trio that plays a bar head and improvises for 5 minutes, that calls for very different preparation than for a big-band date with complex arrangements.

A lot of times when people go into the studio, they get too distracted by technical details, and that can be a mistake.

Do you prefer to have musicians record in the same room, or do you want them sonically isolated in different spaces in the studio?

OL-A: It depends on what material ber that great-sounding recordings were made in the s with very few microphones, everybody recording in the same room, and limited sonic isolation between musicians.

Those are albums that we still refer to as great recordings. So highly technical aspects are not the most important things for artists to focus on.

Physically, there are also important things that happen when instruments are in the same room. I remember producing one jazz album where I recorded three cellos and a bass.

For one section, I had the bass playing with a bow, and during rehearsals that playing caused sympathetic resonance in the strings of the cello.

Plus, having every single lip sound and breath amplified in the headphones can be disconcerting, so whatever can get the musician in the right, comfortable place emotionally is helpful.

Anything you can do to bring that same process into the recording studio can help you create the sounds in the room that you want to capture.

When is it helpful to have the instruments acoustically isolated? OL-A: If something goes wrong, you have the option of fixing it without having to do the whole take again.

You can replay a solo or part of a solo, for example. That goes back to my first point: Make sure that everything sounds like you want it in the room to begin with.

Some musicians care if there are windows or no windows, high ceilings or low ceilings; all of that is important to pay attention to.

OL-A: A tracking room at a recording studio is a lot like the sound box for an instrument like the guitar, violin or piano. How should musicians make themselves comfortable in the studio?

But if you know what you want to lay down and have done your preparation so you can knock out the recording in a day or two, I would absolutely recommend going to a professional facility.

At this point, there are some great-sounding rooms available to musicians of all sorts. Many problems are resolved before they even become problems when you go to a good facility, so if you can afford to rent one, it makes a lot of sense.

And think about all of the sound that these rooms have experienced! The history of a great, old recording space can help create the ceremonial atmosphere that brings things to a different place.

What other advice do you have for musicians in the studio? That [anecdote] puts technical questions about things like mic placement in perspective.

Here are a few observations and pointers regarding live recording, with some additional thoughts on how things might differ in the studio.

In my opinion, this is the most important step in the recording process and the step where the most mistakes can be made.

While much can be said about specific brands and models, here are some principles that should help guide the process.

First things first: The earliest items in the chain have the most impact on the end results. If, for example, the venue has a lot of ambient noise or perhaps a crazy amount of reverb or reflections, everything we do afterwards is an effort to overcome these shortcomings while somehow also producing a good result.

Continuing the thought, if the space is nice and the instruments are sounding well, but the microphone used to capture the performance is either badly chosen, not working properly or not placed well, then our efforts later in the chain are going to be focused on overcoming these problems rather than on enhancing sounds that are already good.

The same can be said of preamps, consoles, etc. I like to use the EQ test. Different preamps can sometimes dramatically change the sound characteristics of microphones, so everything earlier in the chain should be examined and optimized before twisting an EQ knob.

Once things sound well, then EQ can be used or not! Much can be said regarding mics. In fact, entire books are written on the subject and the discussions can often be very technical.

Following is a very brief rundown of things to know and consider. First, every mic has a directionality pattern. It will vary between omnidirectional, wide cardioid, cardioid, hypercardioid and figure-of-eight, with steps in between and a few specialty types that are outside of this discussion.

Omnidirectional mics will tend to pick up everything near them, no matter in what direction, while hypercardioid mics will tend to hear only what they are pointed at.

There are two primary kinds of mics to think about, in terms of how they operate: dynamic and condenser.

Dynamic mics are self-powered, are less sensitive to further-away sounds and tend to not hear high frequencies as well as condensers.

Condenser mics require power phantom power through the mic cable, an external power supply, or even batteries , are sensitive enough to hear sounds from distances and can usually pick up high frequencies very clearly.

They also tend to be more delicate and expensive than dynamics. Directional mics can produce different sound qualities depending upon how they are positioned.

If it is moved closer, then not only will it be louder because it is closer , but some low frequency boost will be added. Yes, we can adjust treble and bass by merely moving microphones!

Isolation booths are the ultimate expression of this possibility, with windows and headphones being essential to the process.

This is especially true with jazz, where musicians positioned in close proximity is the rule and where seeing and hearing one another is essential.

So one rule of live recording that can be very helpful: Bleed is not the first priority; good overall sound is the end goal.

Get a great bass sound through your mic choice and positioning, and make sure that the drum sound from its dedicated mics is not hurt by the bleed into the bass mic.

If it is, try turning the bass mic so that it aims away from the drums, or try moving the bass a foot or two.

You might also try using both a mic and a DI direct input on bass, combining the two for a good sound.

We can reduce bleed by using more directional microphones, and they can help our sound reinforcement colleagues to reduce feedback problems.

In the recording studio, isolating instruments allows a wider choice of mic pickup patterns, providing more options than on the stage.

One general concept has served me well over the years: Fewer mics equal better sound. The same can be said of drums. While we are used to seeing a mic on each individual instrument within the drum kit, the overall result can be quite unsatisfactory.

If I want for the drums to sound real, then fewer mics can help with this. Try a pair of overheads, positioned so that equal parts cymbals and drums can be heard, with spot mics on the snare and bass drums so that they can be brought up into balance with the other instruments.

Brass instruments tend to be more straightforward to record, since almost all of their sound comes directly out of the bell.

Still, distances and directionality of mics can make important differences in their sound. Woodwind instruments, however, tend to have sounds coming out in multiple directions.

Flute is a good example, with a notable portion of the sound being the wind produced by the player. Moving the mic up and down the flute can balance that wind sound to the sound of the instrument, and moving the mic a couple of inches closer to or farther from the instrument can help balance the different notes to each other.

Similarly, saxophones tend to have different notes speaking from different places along the body of the instrument.

Some notes come out of the bell, but others are heard more through the keys. Try positioning a saxophone mic in such a way that the bell sound can be heard directly, but off to the side of the bell enough that the other sounds can also be heard.

Take time to adjust mics for better sound. There is just no substitute for getting it right in the first place. Hopefully, this brief primer will help you to better understand the process.

While there are challenges to making high-quality live recordings, the results can still be sonically excellent. If you use your experience to get everything well prepared, you can then expend your energy and creativity in fine-tuning and capturing an excellent recording.

He has worked in a variety of positions in the recording industry, including staff recording engineer with DEO recordings in Wisla, Poland; product specialist for Micro Technology Unlimited in Raleigh, N.

For this album, producer Michael Cuscuna recorded all of the musicians except bassist James Genus in the same room to create a more relaxed feel.

Carter was recorded with two microphones, one pointed directly at his horn and one at a degree angle to capture different overtones.

Carter says he was happier with his sound on this CD than on previous albums. Most of his first lick is E minor pentatonic and mostly ascending fourths , which is curious since he plays it over an Fmaj7 chord.

None of the notes conflicts with the F major tonality, however. He is basically playing a sound that not only works on this chord but also relates it to the key of the song.

Measure 10 hints at it, where Carter plays E and G back and forth on the F m7 b5 , but he goes full-out minor pentatonic again without the root on the C 7 9 in measure In the following measure, he puts a twist on it by playing a G major arpeggio.

When Carter uses chromatics, he often uses tones that are ambiguous in a minor key. For example, in measures 2 and 4 he emphasizes F on the Em9 which is the second but makes a point of playing F natural in the middle measure on the C9 chord, which would be part of E phrygian.

And he plays the sixth of Em9 C in bar 18 creating a dorian flavor after having played C natural producing an aeolian sound in the previous bar.

Another interesting example is the use of D. As the third of the V chord, it fits on measures 11 and 31, but when Carter continues playing it in bar 12 on the tonic, it creates more of a harmonic- or melodic-minor vibe.

In measure 31, he juxtaposes it against the D natural that had appeared in the previous bar, once again creating the sound that the mode has been altered while still remaining E minor.

Also worth noting is how Carter leans on the C in bar 29 and on the low E in bar 32, creating a chromatic line leading from the sixth up to the root.

This harkens back to how he started his solo, bringing us full circle. Visit him online at jimidurso. The company recently redesigned its Resolv line of studio reference monitors, and I had the opportunity to put the Resolv SE5 and SE6 models through their paces.

The Resolv SE6 delivers watts of output, with 75 watts used on the 6. The Resolv SE5 has a 5-inch woofer and 1. I pulled up some mixes in different musical styles to hear these monitors roar.

The Resolv SE6 handled the huskier levels better than the SE5, not surprising considering the difference in woofer size. The silk domes of the tweeters on the SE6 and SE5 kept high guitar tones and cymbal splashes from becoming abrasive.

The mids produced a noticeable but acceptable level of coloration on instruments like saxophone and piano. The low frequencies from the woofers felt a bit forced at times, but you can purchase a separate subwoofer for use with the Resolv series that will flatten out the low frequencies for professional applications.

While it would be unrealistic to expect these monitors to stack up to high-end models that are four times the price, the SE5 and SE6 are a good value for musicians looking for competitive reference monitoring for home and project-studio applications.

The UR22 appears very plain with its basic no-frills box design. However, closer inspection reveals the ruggedness of the unit, which is housed in a durable metal casing.

Two vital components lie at the heart of any digital audio interface: the mic preamps and digital converters. They are critical links in the audio chain.

The UR22 meets this challenge by providing conversion at resolutions up to bit at kHz,. Getting started with the UR22 is painless.

Just connect via any USB 2. Input 2 offers a switch for selecting high or low impedance, allowing for direct input of an instrument such as electric guitar or bass.

Phantom power 48 volts is available, and each channel has its own input gain control and LED peak indicator.

For latency-free hardware monitoring of the inputs, there is a headphone jack with level control, and the UR22 even provides a mix knob for combining the input the audio signal with audio from your DAW host.

Hoping to bring some Abbey Road magic into the digital world, Waves has introduced the Abbey Road J37 tape saturation plugin, a precise modeling of the Studer J37 four-track tape machines that were at the heart of the studio starting in Housing 52 vacuum tubes, the J37s were coveted for their ability to produce a natural compression, add just the right amount of distortion and generate warmth to a mix.

Creating the plug-in required precise digital modeling of the original J37 units. According to Waves, the most common application for the J37 plug-in is to add character to a dull track and naturally compress and smooth out audio without the need for a compressor.

The interface is very intuitive and features a graphical representation of the actual Studer machine. The J37 plug-in offers numerous user-configurable parameters that are capable of producing a nearly limitless array of possibilities.

This can be overwhelming at first; Waves recommends auditioning the factory presets as a first step. Set up to appear as an actual tape machine, settings are manipulated by activating buttons and adjusting rotary knobs.

The tape selector allows you to choose which formula tape to run, with EMI , or as your choices. The next option is tape speed, which provides 7.

Input and output controls dial in exactly how much harmonic distortion and tape saturation you desire.

The Waves J37 plug-in will greatly expand the range of possibilities in your digital tracks.

The first thing you notice about this mic is that it looks exactly like a lollipop. Its stealth design turned out to be a real asset when trying to place the mic into tight spaces, such as the bottom of a snare drum head or inside a piano.

The frequency response of the SCX25A goes from 20Hz to 20kHz, with little in the way of peaks or valleys until you get to about 5kHz, where it starts to bump up a bit.

The polar pattern is a fixed cardioid pattern, and the maximum spl is db. I was given a matched set of mics that were housed in a nice wooden box and came with a set of mic clips Audix calls it the SCX25A-PS package.

Since I had the pair, I thought I would start out with a stereo application. I had a drum tracking session on the books, so I set up the mics in an ORTF pattern to use as overheads.

The result was a transparent sound that had a bit of crispness to it. I felt these mics were going to be good for various acoustic applications.

Smaller diaphragm mics tend to provide a better focus on transients than large diaphragm mics, but I found the SCX25A to provide an amazing amount of detail when recording acoustic guitar.

When recording male vocals, the SCX25A provided a nice roundness, especially in the low-mids section.

I was surprised that the mic was a touch warmer than the TLM since it seemed crisper in some of the other recording applications.

The realism and lack of proximity effect, along with the small profile of the mic bodies, meant I could place them in optimal locations along the soundboard without adverse sonic or logistic issues.

The final sound was amazingly natural; with zero processing, the mics evoked a fullness that can be difficult to capture. In addition, Audix offers optional piano clamp mounts that are made to attach directly to the piano for easier positioning.

Considering its price range, the SXC25A is well worth checking out and has the potential to be one of those mics that is instantly recognized by name.

I found that the SCX25A held its own when competing with mics twice its price. A Lightning dock charges your iPad while recording. At first glance, it might seem that there is not much difference, but there have been a lot of major alterations as well as significant refinements and improvements with the new Live 9.

As with Live 8, you can buy three separate versions. Intro is a stripped-down budget version that is two-channel only.

The Standard and Suite versions both include the full application, with Suite containing a much larger library of sounds, instruments and effects.

At last, Live now ships with both and bit versions. Suite also includes MAX for Live, an integral element that opens up a world of possibilities for those of us who are more programming-oriented.

One of the biggest changes in Live 9 is the way automation works and is handled. Live has always been strong in the automation category, but only in Arrangement View.

In version 9, automation info lives with the clips, so you can take a partially completed arrangement back into Session View to tweak it, or into a live performance maintaining your automation.

The control bar has some new buttons to help control these automation behaviors and allow for toggling individual tracks between the views, too.

Gone are the small view buttons on the left. For the musician looking for quick recording with their Apple computers and mobile devices, it offers a cost-effective, practical solution.

There is a second area on the right that presents the tree of whatever you have selected on the left, and in general it is a much more familiar way to find what you are looking for.

You can also add a second column to the right pane to make the tree view more useful. It is now divided into a few different libraries, separating user, factory and third-party material into distinct libraries of their own.

This should make it easier to differentiate your own stuff from the factory content and keep your third-party libraries straight, too.

The Library also includes a ton of new content, and there have been some significant upgrades to the Live Core Audio effects, too. Overall, this upgrade has enhanced or added to every area of the program, and I highly recommend it to current Live users.

The K offers an oversized 53mm driver for extremely high dynamic range. Its copper-covered aluminum voice coil extends sounds beyond the limits of human hearing, hitting a full spectrum of frequencies.

Each K is built for comfort with a fast, adjustable headband and soft ear pads to ensure comfort in any application.

Featuring an extremely large driver for improved low-frequency response, the HD includes technology that allows it to overcome any resonances created by such large drivers in the highs.

Tilted drivers allow sound to be directed toward the ear at a degree angle, resulting in a truer listening experience.

More info: sennheiser. Standard ProPanels sizes include 2x2-foot, 2x4foot, 4x8-foot and 4x4-foot wall panels with beveled or straight edges , and a 2x4-foot corner panel with reverse-mitered edge.

Auralex offers a variety of fabric options, as well as installation hardware. Auralex Custom ProPanels can be customized with regard to shape, size and thickness.

More info: auralex. The UM Pro 10 pictured has a single balanced armature and is suitable for all musicians. The UM Pro 20 features a dual-driver balanced armature design and is ideal for drummers, vocalists and bassists.

The UM Pro 30 has a three-way crossover and is a reliable reference for onstage monitoring and recording. More info: westoneaudio. Optimizing features include an enhanced waveguide system and custom-tuned rear porting.

The line includes the 8-inch MR8mk3, 6. More info: mackie. Music educator Dr. Michael Parkinson falls into the latter category.

A year-old native of Cleveland, Tenn. Louis, Parkinson was reminded of how he started on his journey. He played in church, but he could improvise, as well.

It seems so easy now that people have lost the knowledge of how long it takes to learn to play jazz. His passion for teaching was evident as he talked about his plans for the music department at MTSU.

Our students get a lot of exposure by seeing music there and by performing themselves. And our proximity ensures that we have a very diverse faculty, a number of whom have very active performing and recording careers there.

He led master classes at Berklee College of Music and Villanova University, and taught students including guitarist Kurt Rosenwinkel in his home.

The festival will include concerts featuring some of the biggest names in jazz, free student performances, and free and low-cost workshops and clinics.

Display ads: call All ads are prepaid, no agency commission. Deadline: Ad copy and full payment must arrive 2 months prior to DB cover date.

Jen Ruban-Gentile, N. Over 35 years of international service. Foreign inquiry welcomed. Also rare jazz publications and literature sold.

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