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Swiss economy powers ahead in second quarter
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September 3, 2013
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watches By Alice Baghdjian high quality replica watches for men ZURICH (Reuters) - Switzerland's economy grew by a robust and better-than-expected 0.5 percent in the second quarter, data showed on Tuesday, driven by private consumption and spending on machinery. top brand watches The improving economy means the Swiss National Bank is even more unlikely than before to change policy at its next meeting on September 19. Policymakers meet then for an update on the 1.20 per euro cap on the Swiss franc and to set the three-month LIBOR rate. swiss replica watches aaa+ "There is no reason for the Swiss National Bank to act at the moment. For the SNB, the housing market and their macro-prudential instruments for cooling lending are at the fore," said Alessandro Bee at J. Safra Sarasin. swiss replica watches Analysts polled by Reuters had forecast quarterly growth of 0.3 percent. First quarter growth of 0.6 percent had also exceeded expectations. View gallery ." People walk through the ALpenrhein Village outlet shopping center in the eastern Swiss town of Landq … copy watches Year-on-year, second quarter gross domestic product rose 2.5 percent, the State Secretariat for Economics said, beating forecasts for 1.7 percent in a Reuters poll. It revised up first quarter annual growth to 1.2 percent from 1.1 percent. Tuesday's figures add to a run of recent upbeat economic data. Private consumption, buoyed by low unemployment, has helped drive Swiss growth even as the debt crisis in the euro zone - Switzerland's largest trading partner - has sapped demand for exports. Overseas sales of goods excluding precious metals shrank 0.9 percent in the second quarter, as exports of watches, chemicals and machinery dwindled. Swiss exports also declined in July as appetite for Swiss goods in Europe remained weak. However, recent data from the euro currency bloc, including business sentiment and private sector growth in Germany, has brightened. View gallery ." People walk past a store of U.S. fashion designer Tom Ford, operated in Switzerland by luxury goods  … The SNB set a cap on the franc in September 2011, citing the risk of deflation and recession as the strong currency squeezed exporters and the tourism industry. The Swiss National Bank sees no end to the franc cap at present as current conditions continue to justify its existence, the central bank's vice chairman Jean-Pierre Danthine said on Monday. In June, the Swiss National Bank, which holds a policy meeting in two weeks, reaffirmed a forecast for growth of 1 to 1.5 percent this year. (Editing by Jeremy Gaunt)
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Miles Davis: The Original Mono Recordings Box Set Avl Nov. 12
September 4, 2013 by Glide
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watches Nine of Miles Davis’ earliest albums on Columbia Records, encompassing music that he recorded for the label in monaural sound from 1956 to 1961 (and released from 1957 to 1964), will be issued together on CD for the first time as Miles Davis: The Original Mono Recordings .  This historic box set, comprising nine CDs in mini-LP replica jackets, will be available everywhere November 12, 2013 through Columbia/Legacy, a division of Sony Music Entertain­ment.  Pre-order athttp://smarturl.it/milesmono_amzn. On November 29 th in celebration of Record Store Day, Columbia/Legacy will follow up with vinyl mono editions of Kind Of Blue , Miles & Monk At Newport , and Jazz Track —capping a series of recently released mono LPs including ‘Round About Midnight , Miles Ahead , Milestones , Porgy and Bess , Sketches of Spain , and Someday My Prince Will Come .
copy watches Miles Davis: The Original Mono Recordings is a true landmark collection, with every album newly remastered in 2012-13, from the original analog master tapes.  CD consumers will be able to hear Miles’ early music in mono, the way virtually all popular music was recorded, marketed and intended to be heard in the 1950s and early 1960s.  Mono was the norm before the home, broadcast and film stereo era began to develop fully in the mid-’60s, leading to stereo’s all-encompassing takeover by the early ’70s.
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The six albums that trace the development of Miles’ “first great quintet” at Columbia, all notably featuring John Coltrane, namely ’Round About Midnight , Milestones , Jazz Track , Kind Of Blue (at 4-times RIAA platinum, the greatest selling jazz album of all time), Someday My Prince Will Come , and Miles And Monk At Newport ; and
The three albums that placed Miles (and various group members) in sophisticated orchestral settings at Columbia, all notably arranged and conducted by Gil Evans, namely Miles Ahead , Porgy And Bess , and Sketches Of Spain .
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Jazz Track , presenting 10 improvised tracks that Miles recorded in Paris with European musicians in 1957, for director Louis Malle’s film Ascenseur pour l’échafaud ( Elevator To the Gallows ), combined with three tracks by Miles’ own sextet in New York—featuring Davis, John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb—from their only other studio recordings of 1958, prior to the Kind Of Blue sessions in ’59; and
Miles And Monk At Newport , featuring four jazz classics recorded live by the Miles Davis Sextet at the jazz festival in 1958, followed by two classics recorded at the festival in 1963 by Columbia’s newly-signed Thelonious Monk Quartet.
 
The Original Mono Recordings will be housed in a slipcase similar to Bob Dylan’s The Original Mono Recordings box released in 2012.  The new box will contain a fully-annotated 40-page booklet with complete discographic information including personnel and production details, plus a 2,000-word essay by author and Wall Street Journal writer Marc Myers.  The liner notes add in-depth, album-by-album comments on the new remastering processes, as told to Myers by three-time Grammy Award®-winning mastering engineer Mark Wilder.
 
Over the course of these nine albums, whose principal recording spanned barely a half decade (from June 1956 to March 1961), The Original Mono Recordings presents a clear vision of Miles’ evolution as musician and bandleader, and as a composer graduating from hardbop to modal creations.  He was famously signed to Columbia Records by George Avakian in the summer of 1955, after the A&R staff producer witnessed Miles’ showstopping solo on a jam session of “’Round Midnight” at the Newport Jazz Festival.  Jazz critics acclaimed the performance as the “return of Miles,” who was considered a difficult artist to work with, who did not even have a regular working group at the time.
 
Taking Avakian seriously, Miles assembled a group around bassist Paul Chambers and drummer “Philly” Joe Jones, with Red Garland on piano and, after several early contenders (Sonny Rollins, Hank Mobley), Philadelphian John Coltrane on tenor saxophone.  This lineup cut four LPs’ worth of material in late ’55 and ’56 to satisfy Miles’ contractual obligations to Prestige Records.  They also began to record the first Columbia LP, ’Round About Midnight , named for the paraphrased Monk title tune.  The LP, produced by Avakian, consisted of jazz and popular standards done in Miles’ inimitable style.
 
Most significantly, in terms of The Original Mono Recordings , Myers writes, “the word ‘mono’ did not appear on the cover.  Instead, the jacket announced that the music inside was ‘360º Sound, Guaranteed High Fidelity.’  Stereo technology wouldn’t be in place at Columbia until 1958, so there was no need to add the word ‘mono’ to delineate a difference. ‘Mono has always been truer to the studio sound and the original intent,’ said Avakian.  ‘Mono featured less audio trickery and fewer audio distractions, so you can actually hear the musical conversation between Miles and the other musicians as it occurred in the studio.’”
 
For the second album, Avakian realized his intention to feature Miles in the presence of a jazz orchestra: horns, trumpets, trombones, bass trombone, tuba, alto sax, bass clarinet, flutes, and clarinets, along with bassist Chambers and drummer Art Taylor.  Most significantly, Miles Ahead by Miles Davis + 19 reunited Miles with his late-1940s Birth of the Cool collaborator, arranger Gil Evans.  With the exception of the title track, composed by Miles and Evans, the program again consisted of jazz and popular standards done Miles’ way.
 
Although the third album, Milestones , was recorded in two productive days of sessions in February and March 1958, it proved to be Avakian’s final LP with Miles.  It reintroduced the quintet (Coltrane, Garland, Chambers, Jones) along with a new member from Florida, former schoolteacher Julian “Cannonball” Adderley on alto sax.  Some of Miles’ most iconic music is heard on Milestones : the quintet (sextet’s) versions of Jackie McLean’s “Dr. Jekyll,” Dizzy Gillespie’s “Two Bass Hit,” and Monk’s closing “Straight, No Chaser.”  At the same time, the album upped the ante of Miles’ originals with two, “Miles” and the 13-minute “Sid’s Ahead,” which hinted at things to come from the inspired young (32-year old) artist.
 
Two months after the Milestones sessions, the quintet (sextet) was back in the studio for a day of recording with a new Columbia staff producer, Cal Lampley.  The session yielded four classics, three of which, due to length, made Side B of Jazz Track : Miles’ original “Fran-Dance,” and two American Songbook standards, “On Green Dolphin Street” and “Stella by Starlight.” (The fourth, “Love for Sale,” running over 11 minutes, is included on Columbia/Legacy’s Kind Of Blue 50 th Anniversary sets.)  The year before (December 1957), Miles had temporarily disbanded his group and gone to Paris to perform.  There he was hired to create a soundtrack for French film director Louis Malle’s suspenseful murder mystery Ascenseur pour l’échafaud ( Elevator To the Gallows in the U.S.).  Miles and several European jazz musicians improvised the music while seeing the film on a screen.  The music, barely 25 minutes, was issued on LP in France in 1958, and was subsequently coupled with the three Lampley tracks on Columbia as the cleverly titled Jazz Track , one of Miles’ most elusive and collectible LPs.
 
In between, Miles got back together with Gil Evans in July and August 1958, for the jazz orchestral masterpiece, the Gershwins’ Porgy And Bess , the final LP with Lampley.  The scene was then set for the March-April 1959 Kind Of Blue sessions, with Columbia’s Irving Townsend historically attributed as having overseen the recording, with a slightly revamped quintet (sextet) lineup, as Jones was replaced by Jimmy Cobb on drums, and Garland was replaced on piano by Bill Evans (on “So What,” “Blue In Green,” “All Blues,” and “Flamenco Sketches”) and by Wynton Kelly (“Freddie Freeloader”).  The impact of Kind Of Blue , not only on jazz but on popular (even classical) music in general, continues to reverberate.  It is part of the Library Of Congress National Recording Registry, it is #12 on the Rolling Stone list of the 500 Greatest Albums of All Time, and it was even honored by the U.S. House of Representatives in 2009, the album’s 50 th anniversary.
 
Kind Of Blue ’s closing track, “Flamenco Sketches,” might have hinted at the next project, the jazz orchestral Latin-tinged modal masterwork, Sketches Of Spain , the third of Miles’ collaborations with Gil Evans.  Under Columbia’s staff producer Teo Macero (who would remain Miles’ exclusive producer at Columbia through the 1980s), two standards of the Spanish national repertoire, Rodrigo’s “Concierto de Aranjuez” and de Falla’s Will o’ the Wisp (from “El amor brujo”) were juxtaposed with three Evans originals, “The Pan Piper,” “Saeta” and “Solea.”  Myers characterizes the conceptual framework as, “Davis’ piercing, crying solos supported by Evans’ sighing, sophisticated orchestrations that both provoked and mirrored Davis’ lines.”
 
The quintet lineup was again fine tuned in 1961 for Someday My Prince Will Come , Coltrane’s final Columbia recording with Miles (on the opening title track, from Disney’s Snow White And The Seven Dwarfs, and a Miles original, “Teo”).  Tenor saxophonist Hank Mobley actually doubles with Trane on the title track, but has the tenor chair to himself on the other tracks, Miles originals (“Pfrancing,” “Drad-Dog”), and American Songbook staples “Old Folks” and Johnny Mercer’s closing “I Thought About You.”
 
Though separated in time by five summers, the Newport Jazz Festival performances by Miles’ sextet in 1958 (Adderley, Coltrane, Evans, Chambers, Cobb), and Thelonious Monk’s quartet in 1963, as heard on Miles And Monk At Newport , are remarkably seamless.  As Mark Wilder told Myers, “I originally assumed that this album was going to need the most work to capture the original mono sound.  After all, the Davis cuts were recorded in 1958, Monk’s in 1963, and both were recorded outdoors.  Surprisingly, though, the master tapes were exactly like the original LP pressing and needed no fine-tuning.”
 
“For the producers and engineers who toiled on Davis’ albums between 1955 and 1963, mono was considered the purest and most unadulterated recorded expression of the trumpeter’s genius,” Myers writes.  “Stereo versions of Davis’ albums weren’t made available until Kind of Blue in August 1959, and even then mono continued to be a priority since stereo LPs were marketed initially only to the small number of upscale consumers with stereo systems.”
 
The Original Mono Recordings follows in the tradition of the eight-time Grammy Award®-winning Miles Davis Series of multiple-CD box sets that began in 1996.  The series culminated in the 2009 box set of 52 mini-LP replica jacketed albums, The Complete Miles Davis Columbia Album Collection , whose contents were all heard in stereo.
 
The Original Mono Recordings was produced for release by multiple Grammy Award®-winners Steve Berkowitz and mastering engineer Mark Wilder, who have overseen the Miles Davis Series since its inception more than 18 years ago, and the Miles Davis Bootleg Series since it was introduced in 2011.
 
 
The Original Mono Recordings by Miles Davis
(Columbia/Legacy 88883 75664 2)
 
Disc One :
’Round About Midnight by The Miles Davis Quintet ( originally issued March 4, 1957, as Columbia CL 949)  Selections:  1. ’Round Midnight (recorded 9/10/56) • 2. Ah-Leu-Cha (10/27/55) • 3. All of You (9/10/56) • 4. Bye Bye Blackbird (6/5/56) • 5. Tadd’s Delight (6/5/56) • 6. Dear Old Stockholm (6/5/56).
 
Disc Two :
Miles Ahead by Miles Davis + 19 (originally issued October 14, 1957, as Columbia CL 1041)  Selections:  1. Springsville (recorded 5/23/57) • 2. The Maids of Cadiz (5/6/57) • 3. The Duke (5/6/57) • 4. My Ship (5/10/57, from the Broadway musical, Lady in the Dark ) • 5. Miles Ahead (5/10/57) • 6. Blues for Pablo (5/23/57) • 7. New Rhumba (5/23/57) • 8. The Meaning of the Blues (5/27/57) • 9. Lament (5/27/57) • 10. I Don’t Wanna Be Kissed (By Anyone But You) (5/27/57).
 
Disc Three :
Milestones by Miles Davis (originally issued December 1, 1958, as Columbia CL 1193)  Selections:  1. Dr. Jekyll (recorded 3/4/58) • 2. Sid’s Ahead (3/4/58) • 3. Two Bass Hit (2/4/58) • 4. Miles (2/4/58) • 5. Billy Boy (2/4/58) • 6. Straight, No Chaser (2/4/58).
 
Disc Four :
Jazz Track by Miles Davis (originally issued October 19, 1959, as Columbia CL 1268)  Selections:  1. Générique • 2. L’assassinat de Carala • 3. Sur l’autoroute • 4. Julien dans l’ascenseur • 5. Florence sur les Champs-Elysées • 6. Dîner au motel • 7. Evasion de Julien • 8. Visite du vigile • 9. Au bar du Petit-Bac • 10. Chez le photographe du motel • 11. On Green Dolphin Street (recorded 5/26/58) • 12. Fran-Dance (5/26/58) • 13. Stella By Starlight (5/26/58).  (Tracks 1-10, music from the Louis Malle film, Ascenseur pour l’échafaud , recorded in Paris, 12/4 & 5/57.)
 
Disc Five :
Porgy And Bess by Miles Davis (originally issued March 9, 1959, as Columbia CL 1274)  Selections:  1. The Buzzard Song (recorded 8/4/58) • 2. Bess You Is My Woman Now (7/29/58) • 3. Gone (7/22/58) • 4. Gone, Gone, Gone (7/22/58) • 5. Summertime (8/18/58) • 6. Bess, Oh Where’s My Bess (8/4/58) • 7. Prayer (Oh, Doctor Jesus) (8/4/58) • 8. Fishermen, Strawberry and Devil Crab (7/29/58) • 9. My Man’s Gone Now (7/22/58) • 10. It Ain’t Necessarily So (7/29/58) • 11. Here Come de Honey Man (7/29/58) • 12. I Loves You, Porgy (8/18/58) • 13. There’s a Boat That’s Leaving Soon for New York (8/18/58).
 
Disc Six :
Kind Of Blue by Miles Davis (originally issued August 17, 1959, as Columbia CL 1355)  Selections:  1. So What (recorded 3/2/59) • 2. Freddie Freeloader (3/2/59) • 3. Blue In Green (3/2/59) • 4. All Blues (3/2/59) • 5. Flamenco Sketches (4/22/59).
 
Disc Seven :
Sketches Of Spain by Miles Davis (originally issued July 18, 1960, as Columbia CL 1480)  Selections:  1. Concierto de Aranjuez (recorded 11/20/59) • 2. Will o’ the Wisp (3/11/60, from “El amor brujo”) • 3. The Pan Piper (3/10/60) • 4. Saeta (3/11/60) • 5. Solea (3/11/60).
 
Disc Eight :
Someday My Prince Will Come by Miles Davis (originally issued December 11, 1961, as Columbia CL 1656)  Selections:  1. Someday My Prince Will Come (recorded 3/20/61, from the Walt Disney film, Snow White And The Seven Dwarfs ) • 2. Old Folks (3/20/61) • 3. Pfranc­ing (3/7/61) • 4. Drad-Dog (3/7/61) • 5. Teo (3/21/61) • 6. I Thought About You (3/21/61).
 
Disc Nine :
Miles And Monk At Newport (originally issued May 11, 1964, as Columbia CL 2178)  Selections:  1. Ah-Leu-Cha • 2. Straight, No Chaser • 3. Fran-Dance • 4. Two Bass Hit (tracks 1-4 by the Miles Davis Sextet, recorded 7/4/58) • 5. Nutty • 6. Blue Monk (tracks 5-6 by the Thelonious Monk Quartet, recorded
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Tiffany 2Q profit rises, helped by China growth Tiffany 2Q profit rises, helped by China growth; lifts full-year earnings forecast By Anne d'Innocenzio And Michelle Chapman, AP Business Writers | Associated Press  –  Tue, Aug 27, 2013 10:22 AM EDT
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tiffany and co NEW YORK (AP) -- Tiffany & Co. boosted its full year-earnings forecast on Tuesday after posting a 16 percent increase in second-quarter profits on strong sales in China that offset sluggish growth in the U.S.

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tiffany outlet online "Total sales growth met our objective due to solid performance in most regions, and with particular strength in our statement and fine jewelry product categories," said Michael J. Kowalski, chairman and CEO in a statement.

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Revenue for the New York company increased 4 percent to $925.9 million from $886.6 million, helped by strong performances from its statement and fine jewelry products. Tiffany defines statement jewelry as pieces priced over $50,000.

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Asia-Pacific sales climbed 20 percent, led by strong results in China. European sales rose 11 percent, buoyed by strength in the U.K. and most of continental Europe.

Japan's sales were dragged down by a weaker yen, falling 14 percent. On a constant currency basis, sales climbed 7 percent on increased sales of engagement and higher-end jewelry.

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The company is adding six stores in the Americas, including three in the U.S. They include a location in New Jersey's Garden State Plaza, which opened earlier this month, one in Cleveland's ETON Center, which opens Wednesday, and a store in New Orleans in the shops at Canal Place.

As of July 31, the company operated 277 stores, including 116 stores in the Americas, 67 in Asia-Pacific, 54 in Japan, 35 in Europe and five in the United Arab Emirates.

_________

Follow Anne D'Innocenzio on Twitter at https://twitter.com/ADInnocenzio.

Related Content Tiffany's strong China sales offset tepid America's … Kirkland's posts smaller-than-expected 2Q los … Foot Locker 2Q profit up as sales improve Williams-Sonoma 2nd-qtr profit up on strong s … PetSmart 2Q profit tops Street, lifts outlook Deere profit jumps; concerns over farm-belt s … Towers Watson 4Q adj. profit, revenue beat St … Burglars Smash Truck Into Walnut Creek Tiffany Store CBS-Sanfrancisco
Copyright 2013 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
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Bears' Walters fined for hit
Anthony Walters watches during a training camp session this month.
( Michael Tercha / Chicago Tribune / August 12 , 2013 )
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By Brad Biggs
Tribune reporter
1:09 p.m. CDT , August 28, 2013 fake watches
A jump ball pass from Oakland’s Terrelle Pryor to Rod Streater left the Raiders wide receiver with a concussion and Chicago Bears safety Anthony Walters with a dent in his wallet. Walters told the Tribune the NFL has fined him $15,750 for a hit on Streater at the end of the 19-yard completion during the third quarter of the Bears’ 34-26 victory at O.co Coliseum. There was no penalty on the play.
Walters said he plans to file an appeal. He has not been fined before during his career and typically players with clean track records have more success when seeking a reduction or overtune of a fine. Walters had to cover a lot of ground to get to the play along the sideline. “They said I was fined for a hit because I contacted (Streater’s) helmet with either your helmet, shoulder pads or forearm,” Walters said. “My thing is there was no flag thrown on the play. There weren’t really any replays on the TV copy. My thinking is, honestly, if the guy wasn’t hurt I don’t think there would have been a review of the play. “The hit happened with my shoulder, I think. The guy was falling down and I can’t judge that. And it was really just a fly-by (glancing contact as he went by). I hope I can do well with my appeal.” Walters’ base salary is $465,000, so the fine represents 58 percent of a game check for him, which is $27,353 before taxes. Bears middle linebacker Jon Bostic was fined $21,000 for his hit on San Diego Chargers wide receiver Mike Willie in the second week of preseason. “The Bostic hit is illegal because he used the crown of his helmet to deliver a forcible blow to the body of the receiver,” NFL vice president of officiating Dean Blandino told NFL Network. “For this hit to be legal, he has to get the helmet to the side and use the shoulder to deliver the blow or hit the receiver with his head up.” bmbiggs@tribune.com Twitter @BradBiggs
Copyright © 2013 Chicago Tribune Company, LLC cheap watches
 


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