Raising the Bar Lawyers Who Make a Difference

Total Page:16

File Type:pdf, Size:1020Kb

Raising the Bar Lawyers Who Make a Difference VolumeVolume 8484 uu No.No. 2929 uu Nov.Nov. 2,2, 22013013 ALSO INSIDE • OBA Annual Meeting • 2014 Committee Sign-Up Forensic Accounting | Valuation Services | Litigation Support | Computer Forensics HIDDEN “The computer has become the file cabinet of thoughts, feelings, plots, conspiracies, and assets.” ~ Brook Schaub Computer Forensics Manager 405.858.5504 | www.eidebailly.com 'ILSBAR02/!(ORSE/F!$IFFERENT#OLOR 7HENISTHELASTTIMEYOUHADOPTIONS ØT'ILSBAR02/ YOUCANRECEIVEANOOBLIGATION Get Competitive Options. PROFESSIONALLIABILITYESTIMATEWITHINTWOHOURS Call The PROs Today. /URTEAMWORKSWITHØRATEDCARRIERSTOPROVIDE THETRUSTEDPROTECTIONYOURÞRMNEEDS sGILSBARPROCOM p/VERYEARSOFPROFESSIONALLIABILITYEXPERIENCE p#URRENTLYSERVINGOVER ATTORNEYS p&ASTQUOTESANDEASYRENEWALS pØCCESSTOTHEBESTCARRIERSINTHENATION Vol. 84 — No. 29 — 11/2/2013 The Oklahoma Bar Journal 2305 OBA Estate Planning, Probate and Trust Section and OBA Taxation Law Section present Thursday, November 14, 2013 3 – 6 p.m. Continuing Education Cox Convention Center Presentations and Room 4 Section Meetings Food, Beverages, Prize Drawings at the OBA Annual Meeting Free to Members of the Estate Planning, Probate and featuring Trust Section or Taxation Section (OBA members can sign up for either Section Recent Updates in at the door) Oklahoma Tax Administration Plan to Stay and Meet Other Section Members at by Tony Mastin – Executive Director, “An Evening with Oklahoma’s Best: Art, Music, Oklahoma Tax Commission Food and Wine” Recent Updates in Estate Planning 7 – 9 p.m. by Stephanie Chapman – Attorney, McAfee & During the OBA Annual Meeting Taft (Oklahoma City) Sponsored in part by the: Recent Updates in Oklahoma Taxation OBA Estate Planning, Probate and Trust Section by Sheppard F. (Mike) Miers Jr. – Attorney, and OBA Taxation Law Section Gable Gotwals (Tulsa) 2306 The Oklahoma Bar Journal Vol. 84 — No. 29 — 11/2/2013 THEME : RAISING THE BAR pg. 2346 Lawyers Who Make a Difference Annual Editor: Melissa DeLacerda Meeting contents DEPARTMENTS Nov. 2, 2013 • Vol. 84 • No. 29 2308 From the President 2337 Editorial Calendar 2377 From the Executive Director 2378 Law Practice Tips 2381 Ethics/Professional Responsibility 2382 OBA Board of Governors Actions 2386 Oklahoma Bar Foundation News 2389 Young Lawyers Division 2390 For Your Information 2392 Bench and Bar Briefs 2394 In Memoriam 2396 What’s Online 2400 The Back Page pg. 2340 Seismic FEATURES Exploration 2310 LOWE ll BARTO 2313 EL VIN BROWN 2315 GL ENDA CANTRE ll 2317 ERI C CAVETT PLUS 2319 STEVE A. CO L EMAN 2340 Seismic Operator and Surface Owner Rights Under Oklahoma’s Seismic 2322 MA C FIN L AY S ON Exploration Regulation Act 2325 GAY L ENE FL ANARY MCCA ll UM By Todd Blasdel 2328 KADE AND KATE MCCL URE 2346 Annual Meeting 2331 JOHN W. MI C HAE L 2375 Committee Sign-Up 2332 JAME S MURRAY 2376 Book Review: WHAT ’S YOUR FATE ? 2334 RI C HARD PHI ll I ps Reviewed by Melissa DeLacerda 2335 HU G H RO B ERT Vol. 84 — No. 29 — 11/2/2013 The Oklahoma Bar Journal 2307 FROM THE PRESIDENT Events Create a Busy Fall Schedule Annual Meeting Quickly Approaching By Jim Stuart The OBA is a member of the Southern Confer- to learn that Oklahoma lawyers ence of Bar Presidents, consisting of 17 states and the U.S. give back regularly to their com- Virgin Islands. Each fall a conference is held in one of the munities in a variety of ways. member states, the location rotating such that a state hosts Many times the lawyers are the conference every 18 years. This known and recog- year Oklahoma was the host state, nized in some way for held in Oklahoma City on Oct. 17-19. their public service. A total of 137 persons from the mem- Reflecting upon Earlier this year the ber states were in attendance, includ- Board of Governors ing current and past bar presidents the OBA Day of was charged with and bar executives. Service, I was identifying and sub- The OBA and its members benefit pleased but not mitting articles about from this annual conference. Not only lawyers in their dis- do we showcase the host state, but surprised to learn tricts who are unsung members share com- that Oklahoma heroes of the legal mon issues and prob- lawyers give back profession. In this lems facing lawyers issue we recognize and the practice of regularly to their some of those lawyers law — such as judi- communities in a who have made a spe- cial independence, cial contribution, of- court funding, law- variety of ways. ten in a unique and related education and unassuming way. I’m how lawyers can as- sure that through their sist following a natu- stories you will join ral disaster. When Oklahoma experienced me in feeling a special sense of deadly tornadoes last May, member bar pride in being an Oklahoma presidents and executives contacted us lawyer. seeking to help, sharing from their own I look forward to visiting with disaster relief programs and making con- each of you at the Annual Meet- tributions toward recovery efforts. My ing in Oklahoma City on Nov. thanks to OBA staff for helping make this 13-15. Time is running out. Don’t year’s conference a real success. President Stuart forget to register and attend! practices in Shawnee. Reflecting upon the OBA Day of [email protected] Service, I was pleased but not surprised 405-275-0700 2308 The Oklahoma Bar Journal Vol. 84 — No. 29 — 11/2/2013 OFFIC ERS & BOARD OF GOVERNORS James T. Stuart, President, Shawnee Renée DeMoss, President-Elect, Tulsa EVENTS CALENDAR Dietmar K. Caudle, Vice-President, Lawton Cathy M. Christensen, Immediate Past President, Oklahoma City NOVEMBER 2013 gerald C. Dennis, Antlers James A. Drummond, Norman 5 OBA Government and Administrative Law Practice Section Robert S. Farris, Tulsa meeting; 4 p.m.; Oklahoma Bar Center, Oklahoma City with teleconference; Robert D. gifford II, Oklahoma City Contact Tamar Scott 405-521-2635 Kimberly Hays, Tulsa Douglas L. Jackson, Enid 7 OBA Lawyers Helping Lawyers discussion group meeting; 6 p.m.; O. Chris Meyers II, Lawton Office of Tom Cummings, 701 NW 13th St., Oklahoma City; RSVP to Kim D. Scott pappas, Stillwater Reber [email protected] Nancy S. parrott, Oklahoma City Bret A. Smith, Muskogee OBA Lawyers Helping Lawyers discussion group meeting; 7 p.m.; Richard D. Stevens, Norman University of Tulsa College of Law, John Rogers Hall, 3120 E. 4th Pl., Rm. Linda S. Thomas, Bartlesville 206, Tulsa; RSVP to Kim Reber [email protected] Joseph M. Vorndran, Shawnee, Chairperson, OBA/Young Lawyers Division 8 OBA Law-related Education Committee meeting; 12 p.m.; Oklahoma BAR CENTER STAFF Bar Center, Oklahoma City with teleconference; Contact Suzanne Heggy John Morris Williams, Executive Director; 405-556-9612 gina L. Hendryx, General Counsel; Jim Calloway, Director of Management Assistance Program; 11 OBA Closed – Veterans Day Observed Craig D. Combs, Director of Administration; Susan Damron Krug, Director of Educational 13-15 OBA Annual Meeting; Sheraton Hotel, Oklahoma City Programs; Beverly petry Lewis, Administrator MCLE Commission; Carol A. Manning, Director 20 Ruth Bader Ginsburg Inn of Court; 5 p.m.; Oklahoma Bar Center, of Communications; Travis pickens, Ethics Counsel; Oklahoma City; Contact Donald Lynn Babb 405-235-1611 Robbin Watson, Director of Information Technology; Jane McConnell, Coordinator Law-related Education; 21 OBA Appellate Law Practice Section meeting; Loraine Dillinder Farabow, Tommy Humphries, 12 p.m.; Oklahoma Bar Center, Oklahoma City with OSU Tulsa, Tulsa; Contact Debbie Maddox, Katherine Ogden, Steve Sullins, Collin Walke 405-235-1333 Assistant General Counsels; Tommy Butler, Tanner Condley, Sharon Orth, Dorothy Walos and 27 OBA Clients’ Security Fund Committee meeting; 2 p.m.; Oklahoma Krystal Willis, Investigators Bar Center, Oklahoma City with OSU Tulsa, Tulsa; Contact Micheal Salem Manni Arzola, Jarrod Houston Beckstrom, 405-366-1234 Debbie Brink, Emily Buchanan, Susan Carey, Nickie Day, Johnny Marie Floyd, Matt gayle, 28-29 OBA Closed – Thanksgiving Observed Dieadra goss, Brandon Haynie, Suzi Hendrix, Misty Hill, Debra Jenkins, Durrel Lattimore, Heidi McComb, Renee Montgomery, Larry Quinn, DECEMBER 2013 Lori Rasmussen, Wanda F. Reece, Tracy Sanders, Mark Schneidewent, Jan Thompson, Laura Willis 3 OBA Government and Administrative Law Practice Section & Roberta yarbrough meeting; 4 p.m.; Oklahoma Bar Center, Oklahoma City with teleconference; EDITORIAL BOARD Contact Tamar Scott 405-521-2635 Editor in Chief, John Morris Williams, News 5 & Layout Editor, Carol A. Manning, Editor, OBA Lawyers Helping Lawyers discussion group meeting; Melissa DeLacerda, Stillwater, Associate Editors: 6 p.m.; Office of Tom Cummings, 701 NW 13th St., Oklahoma City; RSVP to Dietmar K. Caudle, Lawton; Emily Duensing, Kim Reber [email protected] Tulsa; Erin Means, Moore; pandee Ramirez, Okmulgee; Mark Ramsey, Claremore; Judge For more events go to www.okbar.org/calendar Megan Simpson, Buffalo; Joseph M. Vorndran, Shawnee; Judge Allen J. Welch, Oklahoma City; January Windrix, poteau The Oklahoma Bar Association’s official website: www.okbar.org NOTICE of change of address (which must be THE OKLAHOMA BAR JOURNAL is a publication of the Oklahoma Bar in writing and signed by the OBA member), Association. All rights reserved. Copyright© 20082013 Oklahoma Bar Association. undeliverable copies, orders for subscriptions The design of the scales and the “Oklahoma Bar Association” encircling the or ads, news stories, articles and all mail items scales are trademarks of the Oklahoma Bar Association. Legal articles carried should be sent to the Oklahoma Bar Association, in THE OKLAHOMA BAR JOURNAL are selected by the Board of Editors. p.O. Box 53036, Oklahoma City, OK 73152-3036. THE OKLAHOMA BAR JOURNAL (ISSN 0030-1655) IS pUBLISHED THREE TIMES Oklahoma Bar Association 405-416-7000 A MONTH IN JANUARy, FEBRUARy, MARCH, ApRIL, MAy, AUgUST, SEpTEM- Toll Free 800-522-8065 FAx 405-416-7001 BER, October, NOVEMBER AND DECEMBER AND BIMONTHLy IN JUNE AND Continuing Legal Education 405-416-7006 JULy.y BByy THETHE OOKLAHOMA BBAR AAssociation,, 19011901 N. LINCOLN Boulevard, Ethics Counsel 405-416-7055 OKLAHOMA CITy, OKLAHOMA 73105.
Recommended publications
  • CURRICULUM VITAE Walter C. White
    CURRICULUM VITAE Walter C. White Home Address: 23271 Rosewood Oak Park, MI 48237 (917) 273-7498 e-mail: [email protected] Website: www.walterwhite.com EDUCATION Banff Centre of Fine Arts Summer Jazz Institute – Advanced study of jazz performance, improvisation, composition, and 1985-1988 arranging. Performances with Dave Holland. Cecil Taylor, Muhal Richard Abrahms, David Liebman, (July/August) Richie Beirach, Kenny Wheeler, Pat LaBarbara, Julian Priester, Steve Coleman, Marvin Smith. The University of Miami 1983-1986 Studio Music and Jazz, Concert Jazz Band, Monk/Mingus Ensemble, Bebop Ensemble, ECM Ensemble, Trumpet. The Juilliard School 1981-1983 Classical Trumpet, Orchestral Performance, Juilliard Orchestra. Interlochen Arts Academy (High School Grades 10-12) 1978-1981 Trumpet, Band, Orchestra, Studio Orchestra, Brass Ensemble, Choir. Interlochen Arts Camp (formerly National Music Camp) 8-weeks Summers, Junior Orchestra (principal trumpet), Intermediate Band (1st Chair), Intermediate Orchestra (principal), 1975- 1979, H.S. Jazz Band (lead trumpet), World Youth Symphony Orchestra (section 78-79, principal ’81) 1981 Henry Ford Community College Summer Jazz Institute Summer Classes in improvisation, arranging, small group, and big band performance. 1980 Ferndale, Michigan, Public Schools (Grades K-9) 1968-1977 TEACHING ACCOMPLISHMENTS Rutgers University, Artist-in-residence Duties included coaching jazz combos, trumpet master 2009-2010 classes, arranging classes, big band rehearsals and sectionals, private lessons, and five performances with the Jazz Ensemble, including performances with Conrad Herwig, Wynton Marsalis, Jon Faddis, Terrell Stafford, Sean Jones, Tom ‘Bones’ Malone, Mike Williams, and Paquito D’Rivera Newark, NY, High School Jazz Program Three day residency with duties including general music clinics and demonstrations for primary and secondary students, coaching of Wind Ensemble, Choir, Jan 2011 Jazz Vocal Ensemble, and two performances with the High School Jazz Ensemble.
    [Show full text]
  • JUBILEE EDITION to His Artistic Choice
    WINTE R&WINTER JthUe fBirsIt L30EyE earsE1D98I5 T–I2O01N 5 SOUND JOURNEYS 30 Years of Music Recordings by Stefan Winter It is a kind of stage anniversary behind the scenes: 30 years ago Stefan Winter founds the JMT (Jazz Music Today) label and records the debut production of the young saxo - STEFAN WINTER AND MARIKO TAKAHASHI phonist Steve Coleman . The starting point is the new Afro-American conception M-Base . The protagonists of this movement are Cassandra Wilson (vocals), Geri Allen (piano), Robin Eubanks (trombone), Greg Osby and Gary Thomas (sax ophones). In antithesis to this artistic movement Winter do cu ments the development of the young jazz avant- garde and produces path-breaking recordings with Tim Berne (saxophone), Hank Roberts (cello), Django Bates (piano), Joey Baron (drums), Marc Ducret (guitar) and the ensemble Miniature . After 1995 his working method changes fundamentally from a documentarist to a sound director. This is the actual beginning of WINTER&WINTER. Together with Mariko Takahashi he dares to implement a new label concept. At the end of the 80s, Stefan Winter and Mariko Takahashi meet in Japan. Under the direction of Mariko Takahashi the festival »Taboo-Lu« is initiated in Ginza in Tokyo (Japan), a notable presentation with live concerts, an art exhibition and recordings. With »Taboo-Lu« the idea of and for WINTER&WINTER is quasi anticipated: Border crossing becomes a programme. Art and music cooperate together, contemporary meets tradition, composition improvisation. Mariko Takahashi and Stefan Winter want to open the way with unconventional recordings and works for fantastic and new experiences. Stefan Winter has the vision to produce classical masterpieces in radical new interpretations.
    [Show full text]
  • Glenn Siegel, Ken Irwin, (413) 545-2876
    Contact: Glenn Siegel, Ken Irwin, (413) 545-2876 www.fineartscenter.com/magictriangle THE 2010 MAGIC TRIANGLE JAZZ SERIES PRESENTS: STEVE COLEMAN & FIVE ELEMENTS The Magic Triangle Jazz Series, produced by WMUA-91.1FM and the Fine Arts Center at the University of Massachusetts, Amherst, concludes its 22nd season on Thursday, April 26, at Bezanson Recital Hall, at 8:00pm with a performance by Steve Coleman & Five Elements. The group features Coleman on alto saxophone with Jonathan Finlayson (trumpet), Tim Albright (trombone), Jen Shyu (vocals), Thomas Morgan (bass) and Tyshawn Sorey (drums). A mentor and something of a pied piper, Coleman is a hugely influential figure who has aided the careers of peers like Geri Allen, Greg Osby and Cassandra Wilson, as well as nurturing the development of such important younger musicians as Vijay Iyer, Steve Lehman and Rudresh Mahanthappa. Over the past two decades, he's turned his band Five Elements into an improviser's academy, attracting a steady flow of exceptional young musicians. “To me, Steve Coleman is as important as John Coltrane,” says pianist Vijay Iyer, “he has contributed an equal amount to the history of the music. He deserves to be placed in the pantheon of pioneering artists.” Born in Chicago in 1956, Coleman moved to New York City in 1978 and has been identified with the City ever since. Initially influenced by saxophonists Charlie Parker, Sonny Rollins, John Coltrane, Von Freeman and Bunky Green, Coleman has performed and recorded with Thad Jones, Sam Rivers, drummer Doug Hammond, Cecil Taylor, Abbey Lincoln and Dave Holland. One of the founders of the so-called M-Base movement, Coleman has led several groups and has 25 recordings under his name.
    [Show full text]
  • Moravian College Jazz Artists and Epochs - Syllabus MUS 115 Tony Gairo, Instructor 215-803-3951 [email protected]
    Moravian College Jazz Artists and Epochs - Syllabus MUS 115 Tony Gairo, instructor 215-803-3951 [email protected] Objectives Students will demonstrate an understanding of the role of jazz in American culture and as a truly American art form. Students will be able to recognize different eras and styles of jazz. Students will have knowledge of the prominent jazz musicians of each era and each player's contribution to the history of jazz. Requirements Regular, punctual attendance: students are required to attend every scheduled meeting with only those absences that are excused by instructor. Instructor is to be notified of ensuing absence. In addition, students are expected to be in class and prepared by 10:20 AM, no later. Any arrival past 10:25 will result in an official tardiness and will be appropriately penalized. Attentiveness and participation in class. Preparation for each session / completion of assignments Attendance at, at least, three (3) live jazz performances with a one-page typed report of each documenting attendance. A three-to-five-page research paper (topics to be discussed). Occasional pop-quizzes. Grading Attendance, 30% Participation, 10% Quizzes, 10% Mid-term exam, 10% Final exam, 15% Research paper, 15% Concert attendance, 10% Text Required: Jazz: The First 100 Years (Third Edition), Henry Martin & Keith Waters 2 Schedule 13 Jan: introduction. What is jazz? What is its role in American society? 15 Jan: Pre-jazz - the roots of jazz; slavery and its abolition; Jim Crow laws, Cakewalks, Minstrel Shows, African/European influences. Read Chapter 1. 17 Jan: Pre-jazz (cont.) - the Blues (Country Blues - Huddie Ledbetter, Robert Johnson - vs.
    [Show full text]
  • Semester at Sea Course Syllabus
    SEMESTER AT SEA COURSE SYLLABUS Colorado State University, Academic Partner Voyage: Spring 2019 Discipline: Music Course Number and Title: MU 332 History of Jazz Division: Upper Faculty Name: David Borgo, Ph.D. Semester Credit Hours: 3 Prerequisites: None COURSE DESCRIPTION The official catalog description of this course is: Jazz since the 1880s emphasizing its various influences and developments. Jazz is one of the primary foundations for American and Global music in the twentieth and twenty-first centuries. This course highlights the multi-cultural and international scope of jazz by exploring the music and lives of a diverse array of jazz practitioners from around the United States and around the world. The course begins with an investigation into African and African American musical precursors, including spirituals, work and play songs, minstrel traditions, ragtime and the blues. It continues by exploring the emergence of jazz in New Orleans, Chicago, Kansas City, New York City and Los Angeles, as well as the exportation of jazz to locales around the world. Close attention will be paid to jazz artists and practices in the various ports of call we will visit on our voyage, including in-depth coverage of jazz in Japan and China, Indo-Jazz fusions, and the important role that South African jazz music and musicians played in the struggle against apartheid. The course is designed to increase our abilities to hear differences among performances and styles of jazz and to interpret the meanings of such differences. Jazz music has played a provocative role in American and global society, and its reception has always been inflected by issues of race, ethnicity, class, nationality, gender, sexuality, and ability/disability.
    [Show full text]
  • Jazz in a Post-Ken Burns World: 1960'S-Today
    University of California, San Diego Extension Jazz in a Post-Ken Burns World: 1960s-Today with San Diego Union-Tribune music critic George Varga If you believe the PBS-TV series Ken Burns Jazz, Americas greatest music stopped evolving sometime in the 1960s. Not so. This five-evening course will trace jazzs evolution since then, beginning with the controversial fusion movement spearheaded by Miles Davis and Weather Report, and including the sad transformation of fusion into the neo-elevator fuzak style. Well also focus on important artists and movements, from the envelope-pushing Ornette Coleman to recent acid-jazz upstarts like Charlie Hunter. And well investigate how this all-inclusive, multicultural music has impacted world culture. Stops along the way will include the genre- leaping Art Ensemble of Chicago and other mainstays of the Association for the Advancement of Creative Musicians; the neo-chamber jazz popularized by Keith Jarrett and Jan Garbarek; the freewheeling M-BASE revolution, which launched such mavericks as Cassandra Wilson and Steve Coleman; the Wynton Marsalis-led neo-traditional jazz movement; and such varied artists as the World Saxophone Quartet, Joshua Redman, Regina Carter, Henry Threadgill, Don Byron, Panamas Danilo Perez, Brazils Hermeto Pascoal and Germanys Albert Mangelsdorff. George Varga is the award-winning music critic for the San Diego Union-Tribune and Copley News Service, and a contributing writer to Jazz Times. He has interviewed everyone from Miles Davis, Dizzy Gillespie and Cassandra Wilson to Cecil Taylor, Wynton Marsalis and Diana Krall, and written liner notes for numerous albums, including saxophonist Michael Breckers 1988 Grammy Award-winning Dont Try This At Home.
    [Show full text]
  • An Evening with Savion Glover & Jack Dejohnette
    Co-present AN EVENING WITH SAVION GLOVER & JACK DEJOHNETTE Savion Glover Tap Dancer Jack DeJohnette Drums Featuring George Colligan Piano Jerome Harris Bass Marshall Davis, Jr. Tap Dancer Monday, June 20 & Tuesday, June 21 at 8:00pm Page Auditorium Performance: 90 minutes, including intermission and pause Savion Glover with Marshall Davis, Jr. INTERMISSION Jack DeJohnette and his Trio PAUSE Savion Glover with Jack DeJohnette and full company SAVION GLOVER Savion Glover is a Tony Award-winning choreographer and legendary hoofer whose career has spanned four decades. He began his Broadway stage career as The Tap Dance Kid, and continued with Black and Blue, Jelly's Last Jam, and his unprecedented award-winning Bring in da Noise Bring in da Funk, which garnered him a Tony Award for Best Choreography. He choreographed the multiple Tony Award nominee and Broadway sensation Shuffle Along with his longtime collaborator George C. Wolfe. In addition to his extensive Broadway career as a performer and choreographer, Savion has created many tap shows that tour worldwide including Bare Soundz, Classical Savion, OM, StepZ, Solo in Time, Sole Sanctuary, Improvography, Footnotes, and Savion Glover's Holiday Spectacular. In addition to creating his ongoing body of work, Savion has enjoyed performing worldwide with jazz legends including McCoy Tyner, Roy Haynes, and Jack DeJohnette. Mr. Glover's film credits include Tap, starring Gregory Hines and Sammy Davis, Jr.; Spike Lee's Bamboozled, and George Miller's Happy Feet and Happy Feet Two. He has appeared on television in commercials for Nike and is a longstanding performer on Sesame Street. As a child, Glover was privileged to dance with and be guided by the great Bunny Briggs, Buster Brown, Lon Chaney, Gregory Hines, Sammy Davis, Jr., Jimmy Slyde and Diane Walker.
    [Show full text]
  • MIDTOWN PORTFOLIO Oklahoma City, OK 73103 Oklahoma City, OK 73103
    MIDTOWN PORTFOLIO Oklahoma City, OK 73103 Oklahoma City, OK 73103 MIDTOWN PORTFOLIO C. DEREK JAMES CORDELL C. BROWN, CCIM, CIPS C. DEREK JAMES CORDELL C. BROWN, CCIM, CIPS Broker, Associate Office Specialist 405.843.7474Broker, Associate 405.239.1222Office Specialist [email protected] [email protected] [email protected] [email protected] 11TH & ROBINSON PORTFOLIO 1. PROPERTY INFORMATION 3 1. PROPERTYMidtown INFORMATION Portfolio Sale Highlights 3 4 Stryker Building Executive Summary 5 SaleFirst Highlights Church of Christ, Scientist Executive Summary 4 6 StrykSurfaceer Building Parking Lot Executive Summary 5 7 2. FirstLOCATION Christian INFORMATION Church, Scientist 6 8 Executive Summary 7 Midtown District, Oklahoma City 9 2. LOCATIONFixed Rail INFORMATION Street Car 8 10 Midtown, Oklahoma City 9 3. SALES COMPARABLES 11 Additional Photos 10 3. FINANCIALStryker Building ANALYSIS and First Church of Christ, Scientist 11 12 Parking Lot/Land 13 Rent Roll 12 4. FLOOR PLANS 14 Complete Highlights 13 4. SALEStryker COMPARABLES Building 1515-19 5. SaleADDITIONAL Comps Summary PHOTOS 16 20 Sale Comps Summary 17 Stryker Building 21-22 5. ADDITIONALFirst Church INFORMA of Christ,TION Scientist 1823-24 6. FloorDEMOGRAPHICS Plans 19 25 6. PROPERTY INFORMATION 24 Demographic Report 26 AdditionalDemographic Photos Map 27 27 7. DEMOGRAPHICS 29 7. ADVISOR BIOS 28 Demographics Report 30 C. Derek James 29 DemographicsCordell Brown Map 31 30 8. ADVISOR BIOS 32 Advisor Bio & Contact 1 33 Advisor Bio & Contact 2 34 This Offering Memorandum was prepared by Price Edwards & Company (“Broker”) on behalf of Owner, and is confidential and furnished to prospective purchasers of the property described herein subject to the terms of the Confidentiality Agreement previously provided to and executed by such prospective purchasers.
    [Show full text]
  • Make It New: Reshaping Jazz in the 21St Century
    Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of
    [Show full text]
  • Jason Moran [Is] Shaping up to Be the Most Provocative Thinker in Current Jazz.” – Rolling Stone
    “Jason Moran [is] shaping up to be the most provocative thinker in current jazz.” – Rolling Stone Since his formidable emergence on the music scene in the late 90s, jazz pianist Jason Moran has proven more than his brilliance as a performer. The Blue Note Records recording artist has established himself as a risk-taker and innovator of new directions for jazz as a whole. In almost every category that matters – improvisation, composition, group concept, repertoire, technique and experimentation – Moran, and his group The Bandwagon – with bassist Tarus Mateen and drummer Nasheet Waits – have challenged the status quo, and earned the reputation as “the future of jazz.” Frequently influenced by the wider world of art as his muse, Moran has found inspiration in edgy 20th century painters like Jean-Michel Basquiat (check out “JAMO Meets SAMO” from Soundtrack to Human Motion, as well as his ongoing series of “Gangsterism” compositions); Egon Schiele (whose painting “Facing Left” provided the eponymous title to Moran’s second album); and Robert Rauschenberg, whose chaotic refinement inspired Moran’s third album Black Stars, featuring the legendary Sam Rivers. Moran is currently preparing for the release of TEN, his 10th anniversary album with The Bandwagon, on June 22, 2010. The trailblazing trio has proven to be one of the most enduring and creative piano trios in jazz today. TEN represents their most assured and focused album to date. Moran’s debut recording as a leader, Soundtrack to Human Motion, was released in 1999 to great critical praise. Ben Ratliff of The New York Times named it the best album of the year and the Jazz Journalists Association awarded it “Best Debut Recording.” The following year, Facing Left, established The Bandwagon trio with bassist Tarus Mateen and drummer Nasheet Waits, and prompted JazzTimes Magazine to declare the album "an instant classic." Moran augmented the trio for his third Blue Note release, Black Stars, adding avant-garde icon Sam Rivers, who plays saxophone, flute and piano on the recording.
    [Show full text]
  • Jazz Style Periods
    JAZZ STYLE PERIODS Early Jazz/New Orleans & Chicago Style Dixieland (1920-1930) CHARACTERISTICS: Use of collective improvisation (polyphony). Front line of trumpet (or cornet), clarinet, trombone. New Orleans style typically included banjo and tuba, later replaced by guitar and string bass in Chicago Style. Chicago Style also typically adds saxophone to the front line. Use of flat four in New Orleans Style, later replaced by lighter two beat feel in Chicago Style. Modern drum set emerges when New Orleans musicians begin to consolidate the drum section (bass, snare, cymbals) commonly found in early New Orleans brass bands. IMPORTANT MUSICIANS: Louis Armstrong (cornet/trumpet), Bix Beiderbecke (cornet), Jelly Roll Morton (piano/composer), Sidney Bechet (soprano sax, clarinet), Earl "Fatha" Hines (piano) Swing/Big Band Era (1930-1945) CHARACTERISTICS: Most popular period in jazz history. Large ensembles, less improvisation, more emphasis on written arrangements. Emphasis on showmanship (band uniforms, theme songs, logos on stands, choreography, singers). Development of sections (saxes, trumpets, trombones, rhythm) based on the early model of the front line in New Orleans/Chicago Style Dixieland. Smoother swing feel (steady 4/4 time with emphasis on beats 2 & 4, walking bass, ride cymbal). Features of standard big band arrangements could include: Tutti (all horns playing a melodic line in harmony), Soli (one section featured playing a melodic line in harmony), Shout Chorus (climatic tutti section at the end of the arrangement), Cross-section voicing (a harmonized melodic line voiced using instruments from different sections within the band), Riffs (repeated short melodic and/or rhythmic pattern). IMPORTANT MUSICIANS: Duke Ellington (piano/composer), Count Basie (piano/bandleader), Coleman Hawkins (tenor sax), Lester Young (tenor sax), Roy Eldridge (trumpet) Bop (1945-1950) CHARACTERISTICS: Small ensembles (trio, quartet, quintet).
    [Show full text]
  • Making the Most of City Parks Urban Institute, Harry Holzer
    Making the Most of City Parks Urban Institute, Harry Holzer KOJO NNAMDI: From WAMU at Listen in Real American University in Document date: June 04, 2001 Washington, this is Public Audio Released online: June 04, 2001 Interest. I'm Kojo Nnamdi. Listen to this Last week in our ongoing series program in on America's cities with the the Real Audio Urban Institute, we looked at the format. The Real changing role of urban Audio player is parks—that they play in required and can be communities across the downloaded and nation—how many of them are installed for free teaming up with non-profit from the Real Audio organizations, raising private Web site. funds, collaborating with all kinds of partners. What was most impressive was the positive impact these collaborations are having on communities in general, not only by providing a nicer place for recreation, but actually having an economic impact on the community, promoting development, reclaiming neighborhoods. So we were forced to ask, "Is all of this happening in Washington, D.C.?" And we found that the answer is, well, yes and no, and kind of, but not. We'll explore those details with Neil Rodgers. He is the chief of staff of the D.C. Department of Parks and Recreation. Neil Rodgers, good to have you here. NEIL RODGERS: Thank you. KOJO NNAMDI: Steve Coleman also joins us. Steve is the executive director of Washington Parks and People. Hi, Steve. STEVE COLEMAN: Hi, Kojo. KOJO NNAMDI: And Harry Hatry is the director of the Public Management Program of the Urban Institute.
    [Show full text]