Young V. Red Clay Consol. Sch. Dist., 122 A.3D 784 (Del

Total Page:16

File Type:pdf, Size:1020Kb

Young V. Red Clay Consol. Sch. Dist., 122 A.3D 784 (Del IN THE COURT OF CHANCERY OF THE STATE OF DELAWARE REBECCA YOUNG, ELIZABETH H. ) YOUNG and JAMES L. YOUNG, ) ) Plaintiffs, ) ) v. ) C.A. No. 10847-VCL ) RED CLAY CONSOLIDATED ) SCHOOL DISTRICT, ) ) Defendant. ) OPINION Date Submitted: February 23, 2017 Date Decided: May 24, 2017 Richard H. Morse, AMERICAN CIVIL LIBERTIES UNION OF DELAWARE, Wilmington, Delaware; John W. Shaw, Karen E. Keller, Jeffrey T. Castellano, David M. Fry, Nathan R. Hoeschen, SHAW KELLER LLP. Counsel for Plaintiffs. Barry M. Willoughby, William W. Bowser, Michael P. Stafford, Margaret M. DiBianca, YOUNG CONAWAY STARGATT & TAYLOR, LLP, Wilmington, Delaware. Counsel for Defendant. LASTER, Vice Chancellor. In February 2015, Red Clay Consolidated School District (“Red Clay”) held a special election in which residents were asked to approve an increase in the school-related property taxes paid by owners of non-exempt real estate located within the district (the “Special Election”). Red Clay prevailed in the Special Election, with 6,395 residents voting in favor and 5,515 against. The plaintiffs are residents of Red Clay who did not vote in the Special Election because they were unable to access the polls. They filed suit, asserting that Red Clay violated the provision of the Delaware Constitution which guarantees that “[a]ll elections shall be free and equal.”1 They also contend that Red Clay’s actions violated the Due Process and Equal Protection Clauses of the Fourteenth Amendment of the United States Constitution.2 This court previously held that the plaintiffs’ theories stated claims on which relief could be granted.3 This decision only addresses their state law claim. It does not reach their federal claims. The plaintiffs proved at trial that to secure a favorable result in the Special Election, Red Clay violated the Elections Clause. Red Clay held seventy-five events on election day, 1 Del. Const. art. I, § 3 (the “Elections Clause”). 2 See U.S. Const. amend. XIV, § 1 (“No State shall make or enforce any law which shall abridge the privileges or immunities of citizens of the United States; nor shall any State deprive any person of life, liberty, or property, without due process of law; nor deny to any person within its jurisdiction the equal protection of the laws.”). 3 Young v. Red Clay Consol. Sch. Dist., 122 A.3d 784 (Del. Ch. 2015) (the “Dismissal Ruling”). 1 in the school buildings that served as polling places, that drew families with children to the polls. The purpose and effect of these events was to reward families of Red Clay students for voting. By Red Clay’s own calculation, at least 6,383 people attended these gatherings. Several of the evening events drew hundreds of people. The Elections Clause, a related constitutional provision, and two related statutory provisions evidence an unwavering Delaware public policy against both overt and covert rewards for voting. When a government provides a targeted reward for voting to a group it believes will favor its position, the election is not “free and equal.” The election day events also had the unfortunate consequence of interfering with access to the polls. The many families who attended the events jammed the parking lots at the schools that served as polling places. The evidence at trial showed that at least some elderly and disabled residents did not vote because they could not find accessible parking. Having heard the Red Clay representatives testify, I am convinced that they did not intend to discriminate against elderly and disabled residents. They recognized that the events would generate crowded parking lots, and they took some steps to mitigate this effect, but they failed to anticipate the serious problems that elderly and disabled residents would face. They also did not monitor the parking places designated for voters, as required by Red Clay’s contracts with the Department of Elections, to ensure that they remained available. Delaware case law, a statutory provision governing electioneering, and evidence of custom and practice in Delaware elections demonstrate that for an election to be “free and equal,” voters must be able to access the polls. An election in which the government obstructs the ability of elderly and disabled residents to vote is not “free and equal.” 2 Red Clay also rendered the Special Election unequal by engaging in four months of one-sided get-out-the-vote efforts. Starting in November 2014, Red Clay aggressively targeted the voters it believed would support the tax increase. Red Clay consciously avoided using communication channels that would inform the public as a whole and make the Special Election a debate. In particular, Red Clay used its access to confidential information about Red Clay families to promote voting by parents of Red Clay students. Red Clay’s assigned each school a goal number of “YES” voters, had each school canvass its parents to find those “YES” voters, and used targeted followed-up communications to get these voters to the polls. Red Clay also employed a variety of other tactics to mobilize student families. Although Red Clay directed some communications to the community at large, they were comparably minimal and generally required by law. The Delaware Supreme Court has held that when a school district conducts a referendum, the “expenditure of public funds in support of one side” must remain “within reasonable limits,” and the school district’s speech should not venture “beyond [a] factual presentation” to the point of “overstatement and emotional appeals.”4 In the Dismissal Ruling, I suggested that societal developments since that decision warranted loosening those restrictions. On the facts of this case, however, the extent and intensity of Red Clay’s targeted campaign speech, particularly when considered in conjunction with the election day events, resulted in the Special Election not being “free and equal.” 4 Brennan v. Black, 104 A.2d 777, 790 (Del. 1954). 3 Although this case focuses on Red Clay’s election-related conduct, it stems from dysfunction in Delaware’s system for funding public schools. The proper operation of that system depends on the regime for determining property values for tax purposes. By statute, the assessed value is supposed to reflect a property’s current market value. In practice, assessments in New Castle County remain pegged to values from 1983. This means that Red Clay’s tax base has remained flat for nearly thirty-five years. Red Clay’s operating expenses have not remained flat for nearly thirty-five years. They increase every year, both because of inflation and because society regularly asks the public schools to take on greater burdens. When the value of the tax base is fixed, the only way to raise revenue is to increase the tax rate. By statute, school districts cannot raise the tax rate unilaterally; they must ask district residents to approve the increase. In this case, without a favorable vote, Red Clay faced a looming deficit. Prevailing in the Special Election was therefore crucial, and the Red Clay administrators were under a great deal of pressure to achieve that result. Unfortunately, their understandable desire to obtain adequate funding to fulfill their mission led them to undermine the electoral process. But their actions must be evaluated in light of the difficult situation they faced. The question for decision in this case is not only whether Red Clay violated the Elections Clause, but also whether those violations warrant invalidating the Special Election. Extensive precedent makes clear that proving electoral misconduct does not lead ineluctably to invalidation. In this case, a balancing of multiple factors convinces me that the Special Election should stand. This decision therefore results in a declaration that Red Clay violated the Elections Clause, but it does not award any greater relief. 4 I. FACTUAL BACKGROUND A three-day trial took place from October 31 to November 2, 2016. The parties introduced 327 exhibits. Eighteen fact witnesses and five expert witnesses testified live. The following facts were proven by a preponderance of the evidence. A. Property Taxes And Public Schools Understanding why Red Clay intervened in the Special Election requires some background knowledge about how Delaware funds its public schools. School districts in Delaware receive the majority of their operating revenue from a combination of state and local funds. State funds come from the General Assembly.5 Local funds come from property tax revenue generated within each school district. “Local funds touch every aspect of the school district budget from employee salaries and benefits, to supplies and materials[,] to maintenance and security and transportation.”6 To generate local revenue, owners of non-exempt real property in a school district pay property taxes on the assessed value of their real estate at a rate set by the school board and approved by residents.7 The amount of available local revenue thus depends on two variables: the assessed value of the property and the tax rate per dollar of assessed value. The Delaware Code provides that “[a]ll property subject to assessment shall be assessed at 5 See 14 Del. C. § 1701 et seq. 6 JX 25 at D2548. 7 See 14 Del. C. §§ 1902-03, 1913-18. 5 its true value in money.”8 The Delaware Supreme Court has held that the concept of a property’s “true value in money” is “the same as its fair market value.”9 “Fair market value” is “the price which would be agreed upon by a willing seller and a willing buyer, under ordinary circumstances, neither party being under any compulsion to buy or sell.”10 The Delaware Code requires the annual preparation of an assessment roll showing the values ascribed to properties for purposes of taxation.11 In New Castle County, where Red Clay is located, the Department of Land Use is obligated to “assess all property subject to taxation by the County and maintain appropriate records.”12 The Department also must “prepare tax rolls, including those required by any .
Recommended publications
  • Jazz Quartess Songlist Pop, Motown & Blues
    JAZZ QUARTESS SONGLIST POP, MOTOWN & BLUES One Hundred Years A Thousand Years Overjoyed Ain't No Mountain High Enough Runaround Ain’t That Peculiar Same Old Song Ain’t Too Proud To Beg Sexual Healing B.B. King Medley Signed, Sealed, Delivered Boogie On Reggae Woman Soul Man Build Me Up Buttercup Stop In The Name Of Love Chasing Cars Stormy Monday Clocks Summer In The City Could It Be I’m Fallin’ In Love? Superstition Cruisin’ Sweet Home Chicago Dancing In The Streets Tears Of A Clown Everlasting Love (This Will Be) Time After Time Get Ready Saturday in the Park Gimme One Reason Signed, Sealed, Delivered Green Onions The Scientist Groovin' Up On The Roof Heard It Through The Grapevine Under The Boardwalk Hey, Bartender The Way You Do The Things You Do Hold On, I'm Coming Viva La Vida How Sweet It Is Waste Hungry Like the Wolf What's Going On? Count on Me When Love Comes To Town Dancing in the Moonlight Workin’ My Way Back To You Every Breath You Take You’re All I Need . Every Little Thing She Does Is Magic You’ve Got a Friend Everything Fire and Rain CONTEMPORARY BALLADS Get Lucky A Simple Song Hey, Soul Sister After All How Sweet It Is All I Do Human Nature All My Life I Believe All In Love Is Fair I Can’t Help It All The Man I Need I Can't Help Myself Always & Forever I Feel Good Amazed I Was Made To Love Her And I Love Her I Saw Her Standing There Baby, Come To Me I Wish Back To One If I Ain’t Got You Beautiful In My Eyes If You Really Love Me Beauty And The Beast I’ll Be Around Because You Love Me I’ll Take You There Betcha By Golly
    [Show full text]
  • Jazz Drum Set Audition Requirements for MA Degree in Jazz Studies
    Jazz Drum Set Audition Requirements for MA Degree in Jazz Studies 1. Perform a prepared jazz drum set transcription from a published transcription or from the applicant’s own transcription work. 2. Improvise 1 to 2 choruses over a jazz standard from the list below. 3. Show familiarity with time-keeping skills and segmented soloing (in 4 or 8 bar phrases), demonstrating both familiarity and feel, in the following styles: a. swing (various tempos) b. funk c. Latin (samba, bossa nova, mambo – clave based, songo, Afro Cuban 6/8) d. Odd meters (3/4 waltz, 5/4 swing etc.) 4. Sight read a standard big band chart, setting up horn figures, following the road map and accurately hitting given rhythmic figures. List of Standards Tenor Madness Just Friends Lady Bird Groovin’ High Alice In Wonderland Black Orpheus What Is This Thing Called Love? Anthropology No Moe Lady Bird Someday My Prince Will Come Nica’s Dream I Hear A Rhapsody Softly as In a Morning Sunrise I’ll Remember April Nardis Isotope Stablemates How High the Moon Night and Day Solar Song For My Father Inner Urge Samba de Orfeu I’ll Remember April Witch Hunt Monk’s Dream Have You Met Miss Jones Scrapple from the Apple Dolphin Dance Green Dolphin Street Impressions No Greater Love Red Clay Look to the Sky The Days of wine and Forest Flower Oleo Rosses Well You Needn’t It Could Happen to You Wave Billy’s Bounce Speak No Evil Afro Blue In Walked Bud Joy Spring All the Things You Are Rhythm-a-ning Four The Days of Wine and Roses Alone Together Out of Nowhere Moment’s Notice Blue Bossa Recorda-me Nica’s Dream .
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]
  • Shortlidge Academy Priority Plan
    Zzz 2015 - 2016 Shortlidge Academy Priority Plan Red Clay Consolidated School District SHORTLIDGE PRIORITY SCHOOL PLAN – RED CLAY CONSOLIDATED SCHOOL DISTRICT TABLE OF CONTENTS Introduction: Community Engagement in Planning 4 Principle One: School Model and Planning 1.1. Executive Summary 11 1.2. Theory of Action 16 1.3. Plan to Address Subgroups 18 1.4. Statement of Goals 22 1.5. Reporting Template 29 Principle Two: Leadership 2.1. Leadership Recruitment 32 2.2. Leadership Hiring 32 2.3. Leadership Professional Development 37 2.4. Leadership Evaluation 44 2.5. Leadership Succession 48 Principle Three: Staffing 3.1. Staffing Plan 51 3.2. Staff Recruitment 51 3.3. Staff Hiring 57 3.4. Staff Evaluation 60 3.5. Staff Rewards and Incentives 64 3.6. Staff Support 67 3.7. Professional Development Plan 73 3.8. PLCs and Collaboration 76 3.9. Staff Culture 80 Principle Four: School Program 4.1. School Calendar 86 4.2. School Schedule 90 4.3. Curriculum 93 4.4. Long-term, Unit, Lesson Planning 103 4.5. Social-Emotional Learning 120 4.6. Additional Programs 132 4.7. Assessment and Assessment Schedule 134 4.8. Grading Policies 136 4.9. Special Education, Student Supports and RTI 139 4.10. Data Plan 147 Principle Five: School Culture 5.1. School Culture Plan – Building a Culture of Achievement 150 5.2. Structural Expectations and Learning Environment 155 5.3. Discipline and Management Plan 158 5.4. Family and Community Engagement Plan 167 5.5. School Adversary Team 171 5.6. School Communication 175 5.7.
    [Show full text]
  • Jeff Rupert Saxophone Master Class
    Jeff Rupert Saxophone Master Class I Saxophone Assembly and maintenance Holding the instrument. The neck and mouthpiece assembly. Checking key mechanisms. Checking for leaks, and clogged vents. Maintaining the lacquer. Setting the instrument down. II Posture The Back and neck. Legs and knees. III Breathing and Breath flow Inhaling. Exhaling. Breath solfège IV The Oral Cavity and the Larynx. V Embouchures for playing the saxophone. Variance in embouchure technique. The embouchure and breathing. VI Daily Routines for practicing the saxophone. Daily routines and rituals. Playing the mouthpiece. Playing the mouthpiece with the neck. Overtone exercises. VII Articulation Single tonguing. Doodle tonguing. Alternate articulations specific to jazz. Double tonguing. VIII Practice patterns for scales. Scales and Arpeggios Major, minor (dorian, natural minor, ascending jazz melodic minor, harmonic minor) and diminished. Resources for jazz scales. IX Equipment Different horns. Mouthpieces. Reeds. Ligatures. Neckstraps. X Resources for saxophonists Recordings. Web resources. Books and educational CD's and DVD's. Saxophonists in jazz and pop music. XI Conclusion. ©2009 Rupe Music Publishing 001 saxophone master class, Jeff Rupert pg2 I Saxophone Assembly and maintenance Neck and mouthpiece assembly: Putting the saxophone together is something we've all been doing since day one. It may seem trite to even address assembly of the instrument, but its been a common flaw not to develop good habits. I've seen broken mouthpieces, bent rods and necks several times from seasoned professionals who should have known better! This is precisely why its important to develop good habits when putting your instrument together. Prior to putting the mouthpiece on the neck, make certain that the cork is lubricated.
    [Show full text]
  • WP Jazz Rep List MASTER
    William Paterson University Jazz Studies Program Repertoire List Bold = freshman repertoire; freshman juries include five - Graduate students perform one tune in all keys Popular Standards Lady Be Good Airegin A Foggy Day Let’s Fall in Love All Blues All of Me Like Someone In Love Along Came Betty All the Things You Are Love Walked In Are You Real? Alone Together (The) More I See You Bluesette April in Paris My Favorite Things Cherokee Autumn Leaves My Romance Confirmation Bluesette Never Will I Marry Countdown But Not for Me Night and Day Crescent Bye Bye Blackbird Our Love Is Here To Stay Daahoud Come Rain or Come Shine Out of Nowhere Daydream Days of Wine and Roses Satin Doll Dig Dearly Beloved Secret Love Dolphin Dance Django Softly As in a Morning Sunrise Donna Lee Falling in Love With Love Someday My Prince Will Come Doxy Gone With the Wind Song Is You, The ESP Green Dolphin Street Star Eyes Evidence Have You Met Miss Jones? Stella by Starlight Fall Hello Young Lovers Stompin’ at the Savoy Fee Fi Fo Fum How High the Moon Summertime Four I Could Write A Book Sweet Georgia Brown Freedom Jazz Dance I Didn’t Know What Time It Was Tangerine Giant Steps I Hear A Rhapsody There is No Greater Love Gloria’s Step I’ll Be Around There Will Never Be Another You Groovin’ High I Love You They Can’t Take That Away… Half Nelson I Remember April What is This Thing Called Love Hi-Fly I Remember You Without A Song How My Heart Sings I Should Care You’d Be So Nice To Come HomeTo I Let A Song Go Out of If I Were A Bell You Stepped Out of a Dream Impressions
    [Show full text]
  • FREDDIE HUBBARD TRIBUTE Fri-Aug-27, 2021, 7:00Pm -- TUNELIST (18 Tunes) @ Supermarket, 268 Augusta Ave., Toronto
    FREDDIE HUBBARD TRIBUTE Fri-Aug-27, 2021, 7:00pm -- TUNELIST (18 tunes) @ Supermarket, 268 Augusta Ave., Toronto SET 1 - AKOUSTIC TUNES A01 - Up Jumped Spring (Backlash - 1967) A03 - Bolivia (Bolivia - 1991) A04 - Crisis (Ready for Freddie - 1961) A07 - One Finger Snap (Herbie’s Empyrean Isles - 1964) A08 - Dolphin Dance (Herbie’s Empyrean Isles - 1964) A09 - One By One (Blakey’s Ugetsu - 1963) A02 - Byrdlike (Ready for Freddie - 1961) A10 - Fee-Fi-Fo-Fum (Wayne’s Speak No Evil - 1965) A13 - Caravan (Blakey’s Caravan - 1963) SET 2 - ELECTRIC TUNES E02 - Red Clay (Red Clay - 1970) E03 - First Light (First Light - 1971) E01 - Sky Dive (Sky Dive - 1972) E06 - Love Connection (The Love Connection - 1979) E05 - Little Sunflower (Backlash - 1967) E07 - Povo (Sky Dive - 1972) E08 - Neo Terra (Windjammer - 1976) E13 - Mr. Clean (Straight Life - 1970) E14 - Chameleon (Herbie’s Headhunters – 1973) FOR INTROS Frederick Dewayne " Freddie " Hubbard (April 7, 1938 – December 29, 2008) was an American jazz trumpeter. He was known primarily for playing in the bebop, hard bop and post bop styles from the early 1960s and on. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop In the pantheon of jazz trumpeters, Freddie Hubbard stands as one of the boldest and most inventive artists of the bop, hard-bop and post-bop eras. Although influenced by titans like Miles Davis and Clifford Brown, Hubbard ultimately forged his own unique sound – a careful balance of bravado and subtlety that fueled more than fifty solo recordings and countless collaborations with some of the most prominent jazz artists of his era.
    [Show full text]
  • 2019 Issue of the Red Clay Review
    the literary & arts magazine of cccc RedR CClay ReviewR 20 19 vol ume 11 RCR red clay review is an annual publication of Central Carolina Community College 110 Kelly Drive Sanford NC 27330 919.775.5401 n www.cccc.edu EXECUTIVE coordinator Summerlin Page Webb EDITORIAL board Shawna Jones Bianka Stumpf David Hartman David Riddle Cathy Griffith LAYOUT &design Hilary Brooke Hall SPECIAL thanks to the CCCC Foundation for sponsoring the poetry, prose & cover contests for the Red Clay Review n to the Business Services Deparment for help in the printing of this magazine Magazine theme Music, the universal language, is this issue’s theme. Here we celebrate the musicality music of language and our experiences of music. Tune in, and let your mind dance. contest winners JEANNE JULIAN is a member of the North Carolina Poetry Society, The Nexus PO Poets, Carteret Writers, and Pamlico Writers Group. She is the author of two chapbooks, Blossom & Loss and Relic and Myth, and a full-length ET collection which will be published by The Poetry Box Select. She and her husband live in New Bern, NC. RY POETRY n Epithalamium (winner) 17 American Music, 4/4 Time 49 Sestina: In Her Hands 33 ANNE KISSEL and her husband have been in Chatham County for over thirteen years, the longest by far either lived in any one place and both find the planting of roots a nice change. She is retired after a career working in hospice and elder service programs in several states. Taking classes in the CCCC creative writing program has provided the nudge to actually write instead of just think about writing and dare to put some of that writing out into the world.
    [Show full text]
  • Press Kit (Pdf)
    roncarter.net “…his music embodies all the qualities that make jazz an enduring, vital art form.” –Stereo Review BASSIST RON CARTER is among the most original, prolific, and influential bassists in jazz history. His recording and performance career has earned him a place in the pantheon of jazz legends. He has recorded over 2200 albums, and has a Guinness world record to prove it! IN JAZZ: From 1963 to 1968, he was a member of the acclaimed Miles Davis Quintet. He can be heard on many iconic jazz records of the 60’s and 70’s such as Speak No Evil, Maiden Voyage, Speak Like a Child, Red Clay, Nefertiti and Miles Smiles, to name a few. Over his 60 year career, he has recorded with so many of the jazz greats: Lena Horne, Bill Evans, B.B. King, Coleman Hawkins, Dexter Gordon, Wes Montgomery, Bobby Timmons, Eric Dolphy, Cannonball Adderley, Sonny Rollins, Stan Getz, Joe Henderson, Freddie Hubbard, Lee Morgan, Chet Baker, Thelonious Monk, Horace Silver, Red Garland, Tommy Flanagan, Chick Corea, Hank Jones, McCoy Tyner Alice Coltrane, Bobby Hutcherson, Milt Jackson, Jimmy Smith, JJ Johnson, Hubert Laws, Herbie Hancock, Philly Joe Jones Wes Montgomery, George Benson, Jim Hall, Roberta Flack, Antonio Carlos Jobim and the Kronos Quartet, among others. IN OTHER GENRES: After leaving the quintet he embarked on a prolific 50-year freelance career that spanned vastly different music genres and continues to this day. He recorded with Aretha Franklin, appeared on the seminal hip-hop album Low End Theory with a Tribe Called Quest, wrote and recorded pieces for string quartets and Bach chorales for 2-8 basses and accompanied Danny Simmons on a spoken word album.
    [Show full text]
  • Red Clay Proj Rep. Sum I.Pdf
    _.,., n ....... , 7 ,...,,..., Agency Great Lakes National Program Office &EPA Final Report on the Red Clay Project -Summary Report Preface The U.S. Environmental Protection Agency was created because of increasing public and governmental concern about the dangers of pollution to the health and welfare of the American people. Noxious air, foul water, and spoiled land are tragic testimony to the deterioration of our natural environment. The Great Lakes National Program Office (GLNPO) of the U.S. EPA was established in Region V, Chicago, to provide specific focus on the water quality concerns of the Great Lakes. The Section 108(a) Demonstration Grant Program of the Clean Water Act (PL 92-500) is specific to the Great Lakes drainage basin and thus is administered by the Great Lakes National Program Office. Several sediment erosion-<:ontrol projects within the Great Lakes drainage basin have been funded as a result of Section 108(a). This report describes one such project supported by this office to carry out our responsibility to improve water quality in the Great Lakes. We hope the information and data contained herein will help planners and managers of pollution control agencies to make better decisions in carrying forward their pollution control responsibilities. Dr. Edith J. Tebo Director Great Lakes National Program Office January 1979 IMPACT OF NONPOINT POLLUTION CONTROL ON WESTERN LAKE SUPERIOR "Western Lake Superior Basin Erosion-Sediment Control Project" RED CLAY PROJECT FINAL REPORT: SUMMARY A Cooperative Interstate Effort Between the Ashland, Bayfield, Carlton, Douglas and Iron County Soil and Water Conservation Districts. Prepared by: Stephen C.
    [Show full text]
  • Top 200 Recordings
    200 Essential Small Group Jazz Recordings 1925-1975 This list comprises two hundred of the most historically important small group jazz recordings. Represented is the work of every major innovator, as well as many of the great stylists. Thousands of recordings are currently available and it is often difficult for the young player to know where start building a collection. This list is by no means an absolute, but combines what I consider to be a complete overview of the masters and their music. Notes on Charlie Parker Recordings: There are hundreds of studio and live recordings of Parker available. The Dial, Savoy and Verve recordings are the primary ones to seek out. Due to the limitations of pre-1950 recording technology (78 r.p.m. discs), sound recordings were no greater than 3 minutes in length. The many "live" recordings of Parker offer the listener an opportunity to hear Bird unhindered by these constraints. 1) Louis Armstrong--Complete Hot Five and Hot Seven Recordings (Columbia) 2) Louis Armstrong--Complete RCA/Victor Recordings (RCA) 3) Louis Armstrong--Ella and Louis (Verve) 4) Louis Armstrong--Plays W.C. Handy (Columbia) 5) Bix Beiderbecke--Volume 1 Singin’ the Blues (Columbia) 6) Art Tatum--Piano Starts Here (Columbia) 7) Art Tatum--Classic Early Solos 1934 and 1937 (Decca) 8) Jelly Roll Morton--Birth of the Hot (RCA/Bluebird) 9) Coleman Hawkins--Body and Soul (RCA) 10) Coleman Hawkins--Rainbow Mist (Delmark) 11) Coleman Hawkins--1943-1944 (Classics) 12) Lester Young--“Count Basie” 1936-1938 (Classics) 13) Lester Young--Complete
    [Show full text]
  • Title Format Released & His Orchestra South Pacific 12" 1958 Abdo
    Title Format Released & His Orchestra South Pacific 12" 1958 Abdo, George & The Flames of Araby Orchestra Joy of Belly Dancing 12" 1975 Abdo, Geroge & The Flames of Araby Orchestra Art of Belly Dancing 12" 1973 Abney, Don, Jimmy Raney, Oscar Pettiford Music Minus One: A Rhythm Background Record For Any Musician Or Vocalist 12" 19NA Abrams, Muhal Richard Duet 12" 1981 Adderley, Cannonball The Cannonball Adderley Collection - Vol. 7: Cannonball in Europe 12" 1986 Somethin' Else 12" 1984 Domination 12" 1964 Cannonball Adderley Quintet In Chicago 12" 1959 African Waltz 12" 1961 Cannonball Takes Charge 12" 1959 Adderley, Cannonball Quintet Mercy, Mercy, Mercy! Live at 'The Club' 12" 19NA Ade, King Sunny Synchro System 12" 1983 Adelade Robbins Trio, Barbara Carroll Trio Lookin' for a Boy 12" 1958 Akiyosh, Toshiko-Lew Tabackin Big Band Road Time 12" 2 LPs 1976 Akiyoshi, Toshiko Lew Tabackin Big Band Tales of a Courtesan (Oirantan) 12" 1976 Albam, Manny Jazz Heritage: Jazz Greats of Our Time, Vol. 2 12" 1958 Alexander, Monty Alexander The Great 12" 1965 Facets 12" 1980 Monty Strikes Again: Monty Alexander Live In Germany 12" 1976 Duke Ellington Songbook 12" 1984 Spunky 12" 1965 Alexander, Monty & Ernest Ranglin Just Friends 12" 1981 Alexandria, Lorez The Band Swings Lorez Sings 12" 1988 Alexandria the Great 12" 1964 Lorez Sings Pres: A Tribute to Lester Young 12" 1987 For Swingers Only 12" 1963 Page 1 of 67 Title Format Released Alexandria, Lorez This Is Lorez 12" 1958 More Of The Great Lorez Alexandria 12" 1964 Allen, "Red" With Jack Teagarden And Kid Ory At Newport 12" 1982 Allen, Henry "Red" Giants Of Jazz 3 LP Box Set 1981 Ride, Red, Ride in Hi-Fi 12" 1957 Ridin' With Red 10" 1955 Allison, Mose V-8 Ford Blues 12" 1961 Back Country Suite 12" 1957 Western Man 12" 1971 Young Man Mose 12" 1958 Almeida, Laurindo with Bud Shank Brazilliance, Vol.
    [Show full text]