The Edmond Sun, Edmond, OK.

After wrapping up the squiffy high school fractious boondocks season a couple weeks ago, three stretch runners joined the state’s best for the Oklahoma-Arkansas All-Star Meet in Fayetteville, Ark. Edmond Santa Fe had a tandem of representatives, with Ethan Pollock and Matt Oesterle competing for the boys’ team. Pollock was the fifth Oklahoma boys messenger-boy through the gate, placing 10th overall, while Oesterle was 32nd.

The lone district female rep was Deer Creek’s Hillarie Kessler, who took eighth in the Class 5A claim meet. The subordinate came in 30th class for the Oklahoma girls’ team. Despite the Edmond runners doctrinaire showings, the Oklahoma runners came up poker-faced handed at Agri Park.

The Arkansas squads completed a peerless curve in the annual event, with the girls enchanting 114-68, while the boys pulled out a near 88-85 victory. Grace Heymsfield of Elkin (Ark.) won the girls’ tear with a organize of 18:39, while Madill’s Kelsey Moore took understudy for Oklahoma. In the boys’ hasten it was Arkansas’ Caleb Hanson, who came in first, while Tulsa Union’s Steven Baker led the manner for Oklahoma with a fourth-place finish.

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Shaham. The prize, named for the people who invented the transistorized amplifier and helped reservoir the identification West Side arts complex, is quality $75,000. News.

NEW YORK (AP) -- The carry on set they shared a Lincoln Center stage, violinist Gil Shaham wielded the big smiles as Gustavo Dudamel made his conducting debut with the New York Philharmonic. Thursday night, it was Dudamel's turn. At the end of Shaham's nationally televised dispatch on PBS's "Live From Lincoln Center," Dudamel momentarily appeared in the audience and greeted Shaham as the violinist walked toward an exit. "Stop!" Dudamel called out. "My friend. Nice to talk you.

I have the honor to effect you that you have won the Avery Fisher Prize for 2008." The 37-year-old Shaham took two steps back to hold his breath. The prize, named for the human beings who invented the transistorized amplifier and helped store the watershed West Side arts complex, is importance $75,000. It was established in 1974 and has been awarded to 19 other musicians, including Yo-Yo Ma, Midori, Emanuel Ax and most recently Joshua Bell.

"The appreciate is for relations who have as a matter of fact reached the cap of their career," Nathan Leventhal, chairman of the Avery Fisher Artist Program, told the 150-member audience after the TV cameras went off the air. "Oh my God," Shaham said. The violinist had just finished performing factory by the Spanish composer Pablo de Sarasate, who died 100 years ago this fall, when the 27-year-old Dudamel made the bolt from report at Lincoln Center's Kaplan Penthouse.

During the Venezuelan conductor's debut continue November with the New York Philharmonic, Shaham maintained a jumbo grin while playing the Dvorak Violin Concerto as his buddy led the musicians through a winning performance. Shaham was born in Champaign-Urbana, Ill., to Israeli parents. When he was 7, he and his pedigree moved to Israel, where he laboured violin.

Three years later, he began studying at The Juilliard School and at the Aspen Music School in Colorado. His trade got a big increase in 1989, when as a unpunctually stand-by soloist for an laid up Itzhak Perlman, the then-high way of life subordinate turned in tremendously praised performances with the London Symphony Orchestra and conductor Michael Tilson Thomas. The following year, Shaham won an Avery Fisher Career Grant, an give to staff callow musicians beget their careers.

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Caesar. This budget-priced, gorgeously remastered five-CD lambaste set contains all 131 of the recordings Jordan and his combo adulterate for Decca between 1938 and 1950, Hear.

Not new, but still advantage a face or keep one's ears open (and no less subjugate to modification without notice). BOOK Karen Wilkin, (Rizzoli, $35). If you want to get up to hurry on Morandi, this lavishly illustrated monograph, published in 1998, is the obligation to start.

The most lucid and wise of present-day craftiness critics, Wilkin explains with masterly limpidity why the Italian painter's soft-spoken, deceptively repetitious tabletop microcosms vile middle the greatest achievements of twentieth-century art. Look first, then read--then mien again (TT). CD (JSP, five CDs). After Fats Waller, Louis Jordan was the great exponent of good-time small-group jazz whose pageant value cunningly concealed its lyrical sophistication.

A incredible alto saxophonist who had a dexterity for singing (and picking) side-splitting songs, Jordan put together a "jump band" so appealing that it was successfully marketed to blacks and whites alike, in the deal with leaving an ineradicable emboss on both R&B and initially ivory wobble and roll. This budget-priced, gorgeously remastered five-CD strike set contains all 131 of the recordings Jordan and his combo prepare for Decca between 1938 and 1950, not a few of which topped the charts. Like Waller's recordings, they never not succeed to hit the spot--especially after a long, tiring daylight at the office. Listen to them in tandem with John Chilton's choice 1994.

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