Jimmy Smith Jimmy Smith Mp3, Flac, Wma

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Jimmy Smith Jimmy Smith mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Jimmy Smith Country: US Released: 1975 Style: Bop, Hard Bop MP3 version RAR size: 1374 mb FLAC version RAR size: 1175 mb WMA version RAR size: 1639 mb Rating: 4.1 Votes: 479 Other Formats: TTA AHX APE VOX VOC RA DMF Tracklist A1 Midnight Special A2 Lover Man (Oh Where Can You Be) A3 Bucket B1 Mack The Knife B2 The Champ B3 Blue Moon C The Sermon D1 The Preacher D2 Pork Chop D3 Back At The Chicken Shack Companies, etc. Record Company – United Artists Music And Records Group, Inc. Phonographic Copyright (p) – United Artists Music And Records Group, Inc. Copyright (c) – United Artists Music And Records Group, Inc. Manufactured By – United Artists Music And Records Group, Inc. Recorded At – Van Gelder Studio, Hackensack, New Jersey Recorded At – Manhattan Towers Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Coordinator [Album] – George Butler Design – Bob Cato Notes These songs have been previously released. Printed in U.S.A. Gatefold sleeve. Other versions Category Artist Title (Format) Label Category Country Year Blue Note, Jimmy Jimmy Smith (2xLP, United BN-LA400-H2 BN-LA400-H2 Greece 1975 Smith Comp) Artists Records Jimmy Jimmy Smith (2xLP, BN-LA400-H2 Blue Note BN-LA400-H2 Germany 1975 Smith Comp) Jimmy Smith (LP, Jimmy BST 84513 / 14 XC Album, Comp, Blue Note BST 84513 / 14 XC Germany 1975 Smith Mono, 2 L) Related Music albums to Jimmy Smith by Jimmy Smith Gene McDaniels - The Very Best Of Gene McDaniels The Incredible Jimmy Smith - Bucket The Spencer Davis Group - Spencer Davis' Greatest Hits The Spencer Davis Group - Mister 2nd Class Artists United Against Apartheid - Sun City Various - A Decade Of Jazz Volume Two (1949-1959) Jimmy Smith - Midnight Special The Spencer Davis Group - After Tea / Moonshine Jimmy Smith - Six Views Of The Blues Fats Domino - The Very Best Of Fats Domino Horace Silver - Silver 'N Percussion Jimmy Smith - Jimmy Smith's Greatest Hits!.

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Downbeat.Com March 2014 U.K. £3.50
£3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene
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60 / Running Head
60 / running head RahsaRahsaaRahsaan Roland Kirk Photo by Michael Wilderman monstrosioso 1965: The Creeper The fussy encyclopedic gravity of the Hammond B-3 overcome and the electric organ lofted to hard-bop orbit, still trailing diapasons of his mother’s church music and the boogie-woogie tap-dance routines of his father’s band—The Incredible Jimmy Smith proclaimed the block letters on a score of albums since the 1956 breakout recordings on Blue Note, those words celebrating a nearly miraculous mating of technology and soul. The thing had ﬁrst stirred to life at a club in Atlantic City where he heard Wild Bill Davis make the Hammond roar like a big wave. It was a monster, upsurged through chocked, choppy chords and backwashed through rilling legatos, wattage enough there to power the entire Basie band. Davis was gruff, brash, gloriously loud, a bumptious lumbering at- tack, great swoops down on the keys and shameless ripsaw goosings of reverb and tremolo, the organ not so much singing as signaling, the music stripped to pure swelling impulse. For a piano player schooled in the over- brimming muscular lines of Art Tatum and the stabbing, nervous prances of Bud Powell, it was almost risible, the goddamned wired-up thing rock- ing on stage like a gurgling showboat. Fats Waller on “Jitterbug Waltz” coaxed over the organ with a percolating ﬁnesse as if running a trapeze artist up a swaying wire, but Davis almost seemed clumsy by design, as if in awe of the organ’s powers yet unable to forego provoking them.
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Hammond Jazz Empfehlungen Vorname Name Album Label B-3in' Organ Jazz 32Jazz George Benson It's Uptown Columbia George Benson The George Benson Cookbook Columbia George/"Brother" Jack Benson/McDuff George Benson & Jack McDuff Prestige Pat Bianchi East Coast Roots Jazzed Media Earl Bostic Complete Quintet Recordings Lonehilljazz Terence Brewer Groovin' Wes StrongBrewMusic Gloria Coleman Sweet Missy Doodlin' Records Linda Dachtyl For Hep Cats Chicken Coup Wild Bill Davis The Zurich Concert Jazz Connaisseur Deep Blue Organ Trio Wonderful Origin Records Moe Denham The Soul Jazz Sessions Thortch Recordings Joey DeFrancesco All About My Girl Muse Records Joey DeFrancesco All or Nothing at All Big Mo Joey DeFrancesco Ballads and Blues Concord Papa John DeFrancesco Desert Heat High Note Joey DeFrancesco Goodfellas Concord Joey DeFrancesco Joey DeFrancesco plays Sinatra his way High Note Joey DeFrancesco Legacy Concord Joey DeFrancesco One For Rudy High Note Joey DeFrancesco Plays Sinatra His Way High Note Joey DeFrancesco Singin' and Swingin' Concord Joey DeFrancesco The Champ Round 2 High Note Joey DeFrancesco The Philadelphia Connection High Note Bob De Vos Breaking the ice Savant Barbara Dennerlein Junkanoo Verve www.b-tonic.ch Seite 1 von 7 Hammond Jazz Empfehlungen Barbara Dennerlein Love Letters Bebab Lou Donaldson Everything I Play Is Funky Blue Note Lou Donaldson Good Gracious! Blue Note Lou Donaldson Here 'Tis Blue Note Lou Donaldson Midnight Creeper Blue Note Lou Donaldson The Natural Soul Blue Note Charles Earland Cookin' With the Mighty
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Fall 2019 Newsletter
Monday, November 30, 2020 Quarter Notes Volume 6, Issue 2 Fall 2019 In This Issue Madams of the Organ ‣ Madams of the Organ By Matt Silver ‣ And So It Began ‣ The Organ and its Philly/Atlantic Female jazz instrumentalists have long faced an uphill battle for recognition, both from City Connection fellow musicians and, more often, from those charged with shaping the public’s ‣ OGD (Organ Guitar Drum) perception of jazz and those who play it̶jazz journalists. In his 1967 book The Big ‣ Member Spotlight: Phylliss Childs Bands, George T. Simon, one of the most influential jazz writers of the Swing Era, wrote, “Only God can make a tree, and only men can play good jazz.” ‣ Organ + Drums = A Dynamic Duo ‣ The Art in P(ART)nership Philadelphia hasn’t always been on the right side of history, socially speaking̶perhaps ‣ Organ Drummers an understatement to rival some of history’s most flagrant. But the idea that women ‣ The (multi-faceted) purpose of can’t play jazz never gained much purchase here̶because the women who could play, Jazz, and the need for and there’ve been several over the years, were impossible to ignore. Improvisation and jazz education in our lives “One thing you’ll never hear in Philadelphia is that women can’t play,” said organist Rich Budesa, one of many now-accomplished jazz musicians to receive on-the-job training from legendary jazz organist (and pianist) Shirley Scott. “Between Shirley and Trudy [Pitts], we knew better.” Shirley Scott and Trudy Pitts. Different, but forever linked. And where any serious conversation about female jazz organists Order Your Tickets Today! must begin.
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Jimmy Smith Bashin' - the Unpredictable Jimmy Smith + Hobo Flats Mp3, Flac, Wma
Jimmy Smith Bashin' - The Unpredictable Jimmy Smith + Hobo Flats mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Bashin' - The Unpredictable Jimmy Smith + Hobo Flats Country: Europe Released: 2012 Style: Contemporary Jazz, Cool Jazz, Big Band, Bop MP3 version RAR size: 1836 mb FLAC version RAR size: 1377 mb WMA version RAR size: 1766 mb Rating: 4.2 Votes: 732 Other Formats: VQF WAV ASF TTA MIDI AAC WMA Tracklist Hide Credits Bashin' - The Unpredictable Jimmy Smith Walk On The Wild Side Alto Saxophone – Jerry Dodgion, Phil WoodsArranged By, Conductor – Oliver NelsonBaritone Saxophone – George BarrowBass – George DuvivierBass Trombone – Tom Mitchell*Composed By – Elmer BernsteinDrums – Ed 1 5:55 ShaughnessyGuitar – Barry GalbraithOrgan – Jimmy SmithTenor Saxophone – Arthur "Babe" Clarke*, Bob Ashton*Trombone – Britt Woodman, Jimmy Cleveland, Urbie GreenTrumpet – Doc Severinsen, Ernie Royal, Joe Newman, Joe Wilder Ol' Man River Alto Saxophone – Jerry Dodgion, Phil WoodsArranged By, Conductor – Oliver NelsonBaritone Saxophone – George BarrowBass – George DuvivierBass Trombone – Tom Mitchell*Composed By – Hammerstein-KernDrums – Ed 2 3:57 ShaughnessyGuitar – Barry GalbraithOrgan – Jimmy SmithTenor Saxophone – Arthur "Babe" Clarke*, Bob Ashton*Trombone – Britt Woodman, Jimmy Cleveland, Urbie GreenTrumpet – Doc Severinsen, Ernie Royal, Joe Newman, Joe Wilder In A Mellow Tone Alto Saxophone – Jerry Dodgion, Phil WoodsArranged By, Conductor – Oliver NelsonBaritone Saxophone – George BarrowBass – George DuvivierBass Trombone – Tom Mitchell*Composed
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Kenny Burrell
Kenny Burrell One of the leading exponents of straight-ahead jazz guitar, Kenny Burrell is a highly influential artist whose understated and melodic style, grounded in bebop and blues, made him in an in-demand sideman from the mid-'50s onward and a standard by which many jazz guitarists gauge themselves to this day. Born in Detroit in 1931, Burrell grew up in a musical family in which his mother played piano and sang in the Second Baptist Church choir and his father favored the banjo and ukulele. Burrell began playing guitar at age 12 and quickly fell under the influence of such artists as Charlie Christian, Django Reinhardt, Oscar Moore, T-Bone Walker, and Muddy Waters. Surrounded by the vibrant jazz and blues scene of Detroit, Burrell began to play gigs around town and counted among his friends and bandmates pianist Tommy Flanagan, saxophonists Pepper Adams and Yusef Lateef, drummer Elvin Jones, and others. In 1951, Burrell made his recording debut on a combo session that featured trumpeter Dizzy Gillespie as well as saxophonist John Coltrane, vibraphonist Milt Jackson, and bassist Percy Heath. Although his talent ranked among the best of the professional jazz players at the time, Burrell continued to study privately with renowned classical guitarist Joe Fava and enrolled in the music program at Wayne State University. Upon graduating in 1955 with a B.A. in music composition and theory, Burrell was hired for a six-month stint touring with pianist Oscar Peterson's trio. Then, in 1956, Burrell and Flanagan moved to New York City and immediately became two of the most sought-after sidemen in town, performing on gigs with such luminaries as singers Tony Bennett and Lena Horne, playing in Broadway pit orchestras, as well as recording with an array of legendary musicians including Coltrane, trumpeter Kenny Dorham, organist Jimmy Smith, vocalist Billie Holiday, and many others.
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Bobby Lyle Press
BOBBY LYLE PRESS KIT Bobby Lyle “One of the most versatile keyboardists on the music scene, Lyle is an established composer, bandleader, producer/arranger, musical director, music publisher, jazz educator, recording artist, and world class live performer. Audiences everywhere continue to be mesmerized by Lyle’s melodic compositions and dazzling piano technique.” —Allaboutjazz.com QUOTES BIOGRAPHY Chick Corea, 22-Time Grammy Legendary pianist/organist Bobby Lyle was deemed a musical wonder when he Winner and Keyboard Virtuoso released his first album, The Genie, which exploded onto the Billboard charts and “What a Blast it was playing a piano blew the minds of jazz enthusiasts everywhere. Since that debut, Lyle has kept a duet with Bobby Lyle!” high standard for 30-plus years, and has successfully maintain a flourishing, always- evolving career. As a pianist, composer, recording artist (with product on Capitol Jazz, Atlantic Jazz, Three Keys, Heads Up, and now New Warrior Music), Chick Corea on The Way I Feel: musical director, music publisher, and music educator, Bobby Lyle’s presence, “ . Great grooves and great playing.“ whether on stage or on his recordings, has always been bigger than life. Lyle’s I’ve never been a big fan of the organ, unrivaled high standard of excellence entitles him to a place on the throne alongside but Bobby Lyle kills it! He brings the other musical royalty, making him a permanent fixture in the prodigious society of jazz organ back to life!” jazz. With Lyle's forthcoming CD Ivory Flow (2021), he has released the single, "Living in the Flow," which has already received massive of airplay and a ton Gigi Brooks/Jazz Writer & Contributer of attention with a cast of iconic musicians, including Stanley Clarke, Gerald Albright, Kirk Whalum, and more! to Jazziz Magazine on The Way I Feel: As a youngster, Bobby Lyle was a prodigy whose gift became apparent when he “ .
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Aaron SACHS: Frank SACKENHEIM: Erna SACK: Fats SADI
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Aaron SACHS: "Clarinet & Co" Phil Sunkel, Bernie Glow -tp; Frank Rehak -tb; AARON SACHS -cl,ts; Gene Allen -bs; Nat Pierce - p; Aaron Bell -b; Osie Johnson -d; recorded February 18 and 21, 1957 in New York 33134 RONDO BLUES 3.45 Rama RLP 1004 33135 JUST SICK BLUES 2.54 --- 33136 BLUE SOPHISTICATE 4.02 --- 33137 CONVERSATION 2.39 --- 33138 MONA'S KIMONA 4.01 --- 33139 COUNTRYFIELD 3.46 --- 33140 WIGGINS 3.26 --- Aaron Sachs -cl,ts; Hal Overton -p; Jimmy Raney -g; Aaron Bell -b; Osie Johnson -d; recorded March 04, 1957 in New York 33141 GORME HAS HER DAY 3.07 --- 33142 I CAN'T BELIEVE 2.58 --- 33143 HAL'S LOFT 2.43 --- 33144 NANCY 3.22 --- ------------------------------------------ Frank SACKENHEIM: "WDR3:Jazz.Cologne" Frank Sackenheim Trio: Frank Sackenheim -ts; Henning Gailing -b; Jonas Burgwinkel -d; recorded July 10, 2005 in Funkhaus Wallrafplatz, Köln 77097 DEIN IST MEIN GANZES HERZ 7.55 Aircheck 77098 L.O.V.E. 5.22 --- 77099 RED ROSES 8.16 --- 77100 SPEAK LOW 11.40 --- 77101 ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT 7.53 --- 77102 GAMES THAT LOVERS PLAY 8.05 --- ------------------------------------------ Erna SACK: Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded August 30, 1934 in Berlin 107685 WENN SICH EINE SCHÖNE FRAU VERLIEBT 3.30 19991-1 Tel A1676 Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded October 1934 in Berlin 107121 ICH BIN VERLIEBT 3.32 19990 --- aus der Operette "Clivia" Erna Sack war eine der bedeutendsten Sopranistinnen Deutschlands im 20.
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The Toll of Excessive Sample License Fees on Creativity in Hip-Hop Music and the Need for a Compulsory Sound Recording Sample License System
UCLA UCLA Entertainment Law Review Title "You Can't Sing without the Bling": The Toll of Excessive Sample License Fees on Creativity in Hip-Hop Music and the Need for a Compulsory Sound Recording Sample License System Permalink https://escholarship.org/uc/item/96d414rm Journal UCLA Entertainment Law Review, 11(1) ISSN 1073-2896 Author Norek, Josh Publication Date 2004 DOI 10.5070/LR8111027056 Peer reviewed eScholarship.org Powered by the California Digital Library University of California "You Can't Sing without the Bling": The Toll of Excessive Sample License Fees on Creativity in Hip-Hop Music and the Need for a Compulsory Sound Recording Sample License System Josh Norek* TABLE OF CONTENTS I. INTRODUCTION ........................................... 84 II. HISTORICAL OVERVIEW OF SAMPLING ................... 86 III. THE PRESENT SAMPLE CLEARANCE PRACTICE ........... 89 IV. PROBLEMS WITH THE CURRENT SYSTEM OF NEGOTIATED SAMPLE CLEARANCES: TIME & FINANCIAL COST ........ 90 V. THE FOUR PRIMARY CATEGORIES OF SAMPLES ......... 91 A. Qualitatively Insignificant Sample .................... 92 B. Qualitatively Significant Sample of Three Seconds or Less Used Only Once ................................ 92 C. Qualitatively Significant Sample of Three Seconds or Less That Is Looped and Occurs Repeatedly ......... 93 D. Qualitatively Significant Sample Greater Than Three Seconds .............................................. 93 VI. A SUGGESTED NEW LICENSING SCHEME FOR SOUND RE- CORDING SAMPLE CLEARANCES ......................... 93 VII. ARGUMENTS FOR
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Masters Thesis
Hammond Technique and Methods: Music Written for the Hammond Organ JESSE WHITELEY A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO SEPTEMBER 2013 © JESSE WHITELEY, 2013 Abstract The following thesis is made up of four original compositions written between February and September of 2012, with emphasis on the Hammond Organ in the context of jazz and rhythm and blues ensembles. The pieces of music were designed to feature the organ as the lead instrument in order to highlight various playing techniques that are specific to the Hammond Organ within these genres. In addition to my own music and an explanation and analysis of my work, the writing will provide a historical overview of organists I have chosen to highlight as influences to provide a framework for each piece of music. In order to aid this discussion of what has been an under-theorized instrument and performance tradition, I have sought out active contemporary organists to discuss their creative practices on the Hammond, as well as their insight into the notable organists of the past. Finally, of particular interest to me in this thesis is the emphasis on the Hammond Organ as an electric instrument, and the unique musical textures that are possible through the exploitation of the multiple controls that are integral to the instrument's construction. An audio recording of each piece accompanies the scores that are included. ii Acknowledgements A big thanks to my supervisor Rob Bowman for being the perfect person to work on this project with, for his good advice, resources, and above all - enthusiasm, which has charged me up in the writing of this, multiple times.
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S T. a Ed, Fingerprinted, and Mugged
Thi a Flor I I hr I * , ii S Im , iai 'tlii hg il i.1 L ,l 't puLl to ed i i s l tS'W!ili> .tIihn ;(u ItO' id billi ieil to out t el4lit u tiillil tO DaII.I hair a wi'tu, Ui mli iio - 1 clm,. lih 'unit st'salig''r diiii %(,lws.' Phi thII otlh.r white iis i l i -hilIL' dur.'n t ' Ia I 'e , hL. ILtli uh. .h i i ilelut , tina itu tht i.h ir It - '- , th t si t the tutu', lie wAs so l Ie [L, eS hut eti Ih. li iti vi; - it< tIn d U et ta etl" tP u -fi itor'. th~it hie took ill the white tIeuLuhstratot tt tie wi- I ter .t .ifthr, .' a d Theswit -Bo tt'rtsL of two stul. eit i Ihwlrt b1in Iz'it- aducn onts, e.wh ,Iwnit 7 x to lptit 'ol t ( sI p t I twii oet r~t 7.our i(olrnu hadi I dlim over- he ii light, small window, a lava- aotgh ,,dor- igw. e er III y, toik'I, iuid .11110 te-flour. p:tt, thye u' cargoad, nofhe khnow A ho, t wills ti lie. n pI.istered ii iill .h w.iy thut they hid a pu~~$BI (Itfa, I iSNitsie t) e Klainmen, mnd soci we wet being or sit aylauist without heavy-dloth followed hw iou, ~Irs. Our driver jprotettinl. As ou'eunt 'od, 'I pulled ui ik lv to ine Side if the guts.
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MINUTES of ARKANSAS STATE POLICE COMMISSION MEETING January 14, 2010 the Arkansas State Police Commission Met on Thursday, Janua
MINUTES OF ARKANSAS STATE POLICE COMMISSION MEETING January 14, 2010 The Arkansas State Police Commission met on Thursday, January 14, 2010 at the Arkansas State Police Headquarters, Little Rock, Arkansas. Commission Chairman Childers called the meeting to order at 10:11 a.m. MEMBERS PRESENT: Commissioner Dr. Charisse Childers, Chairman Commissioner Dr. Lewis Shepherd, Vice-Chairman Commissioner John Allison, Secretary Commissioner Steve Smith Commissioner Jane Christenson Commissioner Woody Futrell Commissioner Wallace Fowler STATE POLICE PERSONNEL ATTENDING: Colonel Winford Phillips Lt. Colonel Tim K’Nuckles Major Kathy Sparks Major Les Braunns Major Ed Wolfe Major Cleve Barfield Lieutenant Rick Dickinson Captain Jeff Jester Captain Lloyd Franklin Captain Nate Jackson Captain Gloria Cook Lieutenant Stan Witt Lieutenant Mike Foster Captain Steve Coleman Corporal Paulette Ward Captain Mike Fletcher Captain Mike Davidson Karen Perry Lieutenant Jimmy Smith Pam Davidson Lieutenant Leonard Hogg Emma French Gary Glisson Lieutenant Robert Speer Lieutenant Ron Stayton Lieutenant Glenn Sligh Lieutenant Mark Blankenship Captain Henry La Mar Lieutenant Steve Coppinger Lieutenant Bill Beach Ken Stoll Captain J. R. Hankins Richard Davis Wayne Eddy Lieutenant Barry Saffold Bridget White Captain Dale Saffold Bill Sadler Lieutenant Cora Gentry OTHERS PRESENT: Steve Cook, ASP Foundation Joe Thielke, ASP Foundation Mike Hocutt, ASP Foundation Penny Rubow, AWIN/DIS Randy Lann, ASP Foundation Chaplain Walter “Bubba” Smith OPENING PRAYER: Chaplain Walter “Bubba” Smith opened the meeting with prayer. PLEDGE OF ALLEGIANCE: Commissioner Allison led the pledge of allegiance. NOTIFICATION OF MEDIA: The media was notified of this meeting on January 4, 2010. MINUTES OF THE ARKANSAS STATE POLICE COMMISSION MEETING January 14, 2010 – Page 2 Commissioner Childers welcomed the attendees and recognized guests, some with the Arkansas State Police Foundation, Joe Thielke, Mike Hocutt, Randy Lann, and Steve Cook.
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