The gearshift strategy applied to the Maserati GranTurismo S Automatic inherits some widely appreciated elements of the Quattroporte Sport GT S, such as the elimination of the kick-down in Manual mode.

The Skyhook suspension system featuring continuously adjustable dampers provides great driving comfort. Passive safety is further enhanced thanks to the introduction on the GranTurismo range of a new generation passenger air-bag with Low Risk Deployment functionality.

Consistent with the unmistakable design of all Maseratis, the Maserati GranTurismo S Automatic features some marked stylistic differences which make it immediately recognisable: the new under-door mini-skirts featuring a prominent shape, which enhances the dynamism of its profile and the new 20” wheel rims with “Trident” design, which recall the strength and elegance of the car.

A further enriched equipment package increases the on board pleasure for the driver and the three passengers, thanks to the Bluetooth® Wireless Technology, offered as standard, and the iPod® interface, available upon request, which complete the Maserati Multi Media System.

The Alfa Romeo MiTo GTA Concept and its somewhat scary front endImage Gallery ( 6 images )

Considerable work has gone into lowering the vehicle’s centre of gravity; thus certain components such as the tailgate spoiler, roof and mirror fairings are in carbon-fibre; while aluminium is used extensively in the braking system, suspension, and some parts of the chassis.

Under the bonnet, an exciting new petrol engine, very much in keeping with the pre-requisites of downsizing, environmental awareness, and the offer of high power and efficiency in return for low weight and optimised packaging, powers the new GTA Concept.

Designed by Fiat Powertrain Technologies and exploiting the vast experience gained in the production of Twin Spark and Alfa V6 road and race engines, the compact new petrol engine employs advanced technical solutions including direct injection, dual variable valve timing, state-of-the-art turbocharging and advanced electronic management systems to produce a remarkable 240bhp from just 1742cc.

Under-floor aerodynamics have been a particular concern, while the entire car has been lowered by some 20mm. Front suspension employs new geometry with aluminium leading arms, while the rear suspension has all-new bushings, and the comprehensively revised chassis boasts an ‘active’ suspension system, (advanced damper control), which counteracts the transfer of load under acceleration, stiffening the rear end and maximising traction. The suspension also interacts with the braking system and steering to obtain the most efficient control of vehicle dynamics, while a ‘Sky-Hook’ function ensures an excellent level of passenger comfort under conditions of everyday use.

Expect to see this mini projectile on sale sooner or later, as its sporting prowess is likely to be a significant improvement over the standard and already sport MiTo thanks to the radically improved power-to-weight ratio.

Frank Jackson

I Should Care

© 2003 Kasis Records, LLC (826142093027)

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tracks

1 I'm Getting' Sentimental Over You

2 (Get Your Kicks On) Route 66

3 I Should Care

4 Makin' Whoopee

5 Destination Moon

6 Do Nothin' Till You Hear from Me

7 If She Walked into My Life

8 Take the A Train

9 This Can't Be Love

10 No Love, No Nothin'

11 Star Trek

12 What's New

13 A Touch of Blues

14 All The Things You Are

try this

albums you will love

• FRANK JACKSON: Swingin' And All Dressed To Go
• FRANK JACKSON: New York After Dark

genres you will love

• Jazz: Jazz Vocals
• Jazz: Traditional Jazz Combo
• Featuring Piano

By Location

• USA: California - SF

Recommended if you like ...

• Charles Brown
• Nat King Cole

links

• Frank Jackson Jazz

notes

**FRANK J. JACKSON
-LEGENDARY BAY AREA GIANT OF JAZZ PIANIST & VOCALIST
-PIONEER/HONOREE SAN FRANCISCO's FILLMORE JAZZ DISTRICT
-LIFETIME ACHIEVEMENT HONOREE BY KPFA, KCSM, KUSP & KKUP
-ELITE MEMBER OF PIANO & VOCAL JAZZ PERFORMERS
-PRE-EMINENT PERFORMER OF AMERICAN SONGBOOK
-BEST MALE JAZZ VOCALIST

Frank Jackson, long recognized as a brilliant jazz pianist and vocalist, bandleader, producer, and standup vocalist, is highly in demand performing and recording on the scene today in clubs, festivals and concerts. Frank Jackson's place in San Francisco jazz history was recently solidified even more forcibly in October 2005, when he was honored as a Heritage Pioneer Jazz Legend of the San Francisco Fillmore Jazz District, and is prominently featured in "Harlem of the West," the recent 2006 best-selling history of the San Francisco Fillmore District Jazz Era of the 1940s and 1950s by Elizabeth Pepin and Lewis Watts. An Exhibit of the same, based on the book, was on display at the San Francisco Performing Arts Library & Museum (www.sfpalm.org) and exhibit is anticipated to tour throughout the United States.

Other recent achievements for this Bay Area Jazz treasure include; Frank celebrated his 80th birthday in concert at Yoshi's Jazz House, Jack London Square, Oakland, CA, on December 19, 2005 to sold out shows featuring Allen Smith, Omar Clay, Noel Jewkes, Al Obidinski, & Jeff Chambers, some of the best jazz players in the Bay Area & beyond, with live recording by Bud Spangler for KCSM's Sunday Night Suite Series aired on KCSM, San Mateo (91.1fm) in April & May 2006.

And in June 2005, Frank was honored with a Lifetime Achievement Award by four Northern California Public Radio legend DJ's, (Doug Edwards, Producer/Host - KPFA; Haybert King Houston, Editor/Host, Jazz Now Interactive/Jazz Now - KKUP; Pete Fallico, Producer/Host - KUSP & KCSM/Jazz BeatRadio; Afrikahn Jahmal Dayvs, Producer/Host - Jazzline Radio/TV - KKUP.) Honor was bestowed upon him while performing to sold out shows at Jazz at Pearls, SF's legendary jazz house.

Year 2004 - Critics Poll Choice for his recent CD "New York After Dark," with the late great Jazz Messengers music director, pianist, educator, composer, and producer, James Williams.

For recent press reviews, go to New York After Dark CD.
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BIOGRAPHY

Born in Cleburne, Texas, and living in San Francisco since 1942, Frank Jackson one of the "BAY AREA GIANTS OF JAZZ," has for over 60 years been serving up his impeccable, elegant piano style, smooth warm vocals and unique phrasing. As a traditional jazz musician and one of the most accomplished interpreters of the Great American Songbook, he is a consummate entertainer, able to fulfill practically any request with his astonishing knowledge of the American Songbook, ranging from "Tin Pan Alley" to theme songs from "Star Trek," "Being Green," the theme song of Kermit the Frog, to "Always Look on the Bright Side of Life," Eric Idle's more than famous song themed in Broadway's "Spamalot."
Looking for obscure standards, you'll find them amongst Frank's impressive repertoire'.

Frank's music is swinging at any tempo. His versatility ranges from uptempo, ballads, blues, latin, and instrumentals. His piano playing recalls the minimalism of Count Basie, the lushness of Duke Ellington, the two-handed melodic sound of Erroll Garner, and sheer virtuosity of Bud Powell. Frank is by no means an imitator. He has formed his own, individual conception of how jazz is to be played. His cheerful personality is contagious, possessing a joy of life that is obvious on the bandstand or off. What has truly earned the respect and admiration of musicians and music lovers alike is Frank's one-of-a-kind interpretations and delicious vocal renderings of the great standards. His vocals -- suave, elegant, formidable and articulate -- are among the most respected in jazz. And can this cat scat.

Frank has performed with numerous Internationally famous musicians as well as with some of the finest Bay Area talent. His experience includes recordings, radio commercials, radio & TV appearances, concerts, educational jazz clinics and camps, festivals and club appearances.

Frank Jackson has roots deep in the San Francisco music scene dating back to the heyday of the "MO," as it was called from the war years in the 1940s until the Fillmore District broke up in the mid-1960s. In his teens, Frank always a singer, learned to play the piano and formed a trio to play at teen and community centers. Frank Jackson started his musical career in the late 1940s playing at Slim Jenkins club, piano bars and after-hours clubs in the Bay Area.

In the early 1950s, Frank Jackson was the first musician to open at Slim Gaillard's "VOUT CITY," which was opened only for two months, then taken over by John "Jimbo" Edwards and became known as the San Francisco's legendary "JIMBO's BOP CITY," an after-hours club open from 2-6 AM. Frank Jackson worked as the house pianist at the legendary "BOP CITY" with tenor sax giant, DEXTER GORDON, and alto saxophonist, PONY POINDEXTER. Also during this time, Frank Jackson performed with the jazz ensemble, "THE 4 NATURALS," at THE INTERNATIONAL SETTLEMENT in North Beach. In the popular Frank Sinatra movie, "PAL JOEY" you can view the huge billboard of "The 4 Naturals" at the entrance to the International Settlement.

Frank's education in jazz flourished during the years he worked as the house pianist at San Francisco's legendary "Bop City." Musicians travelling up and down the West Coast would drop in at "Bop City" to jam after their gigs or just to see who was in town. Being in the house band, Frank got the chance to associate with practically everyone: Charlie (Bird) Parker, Billie Holiday, Frank Foster, Ben Webster, Ella Fitzgerald, Harold Land, Joe Comfort, Erroll Garner, Art "God" Tatum, Nat "King" Cole, who had a major influence on Frank's career, Ray Charles, Chet Baker, John Coltrane, Miles Davis, Quincy Jones, Dizzy Gillespie, Louis Armstrong, and the list goes on.


Frank has performed with such jazz luminaries as: LIONEL HAMPTON, GERALD WILSON, DEXTER GORDON, TEDDY EDWARDS, CAL TJADER, LESTER YOUNG, BEN WEBSTER, RUTH BROWN, T-BONE WALKER, JIMMY WITHERSPOON, ERNESTINE ANDERSON, ERNIE ANDREWS, FRANK MORGAN, OSCAR PETTIFERD, SMILEY WINTERS, SLIM GAILLARD, DICK BERK, JAMES WILLIAMS, DARRYL HALL, EDDIE ALLEY, VERNON ALLEY, ALLEN SMITH, FRANK FISHER, EARL WATKINS, JULES BROUSSARD, JOHN HANDY, HAROLD JONES, NOEL JEWKES, TERRY HILLIARD, MARY STALLINGS, DENISE PERRIER, RUFIS REID, OMAR CLAY, AL OBIDINSKI, JEFF CHAMBERS, LARRY VUCKOVICH, BODIL NISKA, KIM NALLEY, and the list goes on.

Frank and his family resided in the thriving Fillmore District in San Francisco, and he went to school with CAL TJADER, VINCE GUARALDI and grew up with MAYA ANGELOU. Much of this rich history has been captured in the new book, "Harlem of the West" The San Francisco Fillmore Jazz Era 1940s - 1950s by Elizabeth Pepin and Lewis Watts and exhibit of same was on display at the San Francisco Performing Arts Library & Museum, (www.sfpalm.org). Exhibit is to tour throughout the United States.

Frank was a highly sought after instrumentalist and acompanist in his early career working with vocalists like Ruth Brown, T-Bone Walker, Jimmy Witherspoon, Helen Humes, Brook Benton, Ernestine Anderson, Ernie Andrews, and so on. Frank formed a vocalist group, named the "Quinns," who toured and performed with the Gerald Wilson Big Band throughout California in the 1960s.

Although Frank nurtured his career for many years as a soloist, he now prefers to perform as a leader in trio to sextet settings. His own CDs comprise a classic traditional piano-vocals-bass-guitar combo; larger ensembles with several guitars and drums. In concert and festival engagements, Frank utilizes the unique four-piano format with rhythm section, and a front line featuring master saxophonists, trumpets and/or trombonists.


In 2002, Frank and his wife, Kathy, established their own independent record label company, Kasis Records, LLC, to document, promote and support Frank's style of classic jazz and the raves for Frank's velvety warm vocals and unique phrasing.

In 2003, under Kasis Records, LLC, the Jacksons' reissued Frank's first CD, "I SHOULD CARE," a trio setting, which had previously been issued under another label, and released his second CD, and their first co-produced CD, "SWINGIN" AND ALL DRESSED TO GO." Both CDs have received wonderful reviews and are favorites among classic jazz recordings.

Frank's third CD project, NEW YORK AFTER DARK, released October 2004, recorded in New York in November 2003, took him to another level, to highlight him as a MALE STANDUP VOCALIST with an all star lineup by: the late great JAMES WILLIAMS (Producer & Pianist), RON CARTER (Bass), KENNY WASHINGTON (Drums/Percusion), & BILLY PIERCE (Soprano & Tenor Saxophones). This project was at the urging of James Williams, who believed Frank was the "real deal" and a pioneer of the jazz music.

Frank's fourth CD project brings Frank back at the helm as a leader in a West Coast all star lineup of musicians, recently recorded June 2006 at Fantasy Studios, Berkeley, CA, with an anticipated release date Spring/Summer 2007.


Frank Jackson resides in San Francisco and my be contacted at www.frankjacksonjazz.com or Mskff@aol.com. Listen to KCSM 91.1 FM (www.kcsm.org) for Datebook Listing the Bay Area.

*****************
CD Review: September 1997 Jazz Now Magazine
By Dick Stevens

Frank Jackson - I Should Care

Frank Jackson, piano and vocals; Brian Kane, guitar; Dave Kingsnorth, bass

It's so easy to like the fourteen tastefully chosen selections on this very appealing CD. Years and years of performing live for nightclub audiences are immediately evident when you hear the skillful and knowing way Mr. Jackson interprets a song. His trio opens with a light and breezy, swinging rendition of "I'm Getting Sentimental Over You" and closes with one of the most durable songs ever written, Jerome Kern's "All The Things You Are," replete with that famous Dizzy Gillespie coda. In between, you're treated to eight other equally pleasing up-tempo tunes (four of which are nonvocals) and four lovely ballads, delivered with great lyrical sensitivity.

True, the Frank Jackson Trio is reminiscent of the legendary Nat "King" Cole Trio, since the group is similarly composed, and the educated listener will hear the influences of Nat Cole's piano style and Oscar Moore's guitar. However, it should be emphasized that this musical venture is not an imitation. Jackson establishes his own originality here. Nevertheless, Cole fans will smile.

This reviewer was particularly moved by the title song and loved Jackson's own composition, "A Touch of Blues." Somehow, the Jackson Trio communicates a certain kind of warmth and congeniality, a simple purity that transcends the actual recording. The overall effect is like being transported to your favorite intimate little bistro.
*****************

Malley Center Hours

Click image to enlargeImage Gallery ( 4 images )

That means it will be faster than 202 mph and more powerful than 600 bhp – the figures for the current Bentley Continental GT Speed. The silhouette from the video and the single frontal image suggest it will be based on the Continental GT or Flying Spur models.

The new Bentley musclecar will have the wraps pulled off on March 3 at the 2009 International Geneva Motor Show, and will be capable of running on biofuel as part of Bentley's three-part environmental strategy.

Troy Bayliss thrashes the 2009 Ducati 1198SImage Gallery ( 2 images )

Ducati's 2009 1198 superbike is a pretty compelling machine in its own right, but as usual, the Italian firm has announced an up-spec sister model for those who are willing to spend extra money for top-shelf componentry where it counts.

The 1198S has the same engine as the 1198: the 1198cc L-twin used in last year's World Superbike homologation 1098R. Remarkably, with the 100cc capacity jump from the straight 1098 has come a 3kg weight saving on the engine alone, due to vacuum die-cast crankcases and magnesium-alloy valve covers. In the 1198 and the 1198S, the engine makes a claimed 170 horsepower - a staggering figure for a twin but just shy of the 180 horsepower claimed for last year's highly-strung 1098R. The 1198's 97lb-ft torque output at 8000rpm beats the 1098R's 90, so it's probably a superior road bike.

The electronics package on the 1198S includes the sophisticated DTC (Ducati Traction Control) system, an 8-stage piece of technical wizardry that's come straight out of Ducati's MotoGP and WSBK development programs. The system has been adapted from the racebike system found on the 1098R - which cut the spark to restore traction. This would have sent unburned fuel through the catalyzer and damaged a streetbike's emissions-compliant exhaust system.

Instead, the DTC unit retards ignition as the bike loses traction, and if you're really wailing on the throttle it alters fueling to get your rear-end grip back together. Eight settings between "terrified newbie on a wet road" and "super slide god hero" allow skilled riders to dial in as much controlled slide as they want for the conditions, using an easily accessible knob on the left switchblock. Initial testing has found the system to be effective, comfortable and non-intrusive on the track.

The DDA (Ducati Data Analysis) system lets you download a raft of performance data to your PC one you're done manhandling the throttle - so you can see, among other things, exactly where and how much you had the traction control system working.

While a step down from the R models, Ducati's S models always feature upgraded suspension packages. The 1198S is no exception - fully adjustable Öhlins units at either end provide about the best roadholding you could ask for. The brakes are just as outstanding - monobloc radial Brembo units the equal of anything going around, with a more progressive initial bite than the previous model for extra confidence when getting on the stoppers at high speed.

A lot of sportsbikes are sold these days as "racebikes with mirrors on" - but the 1198S proved its credentials emphatically at the world press launch, setting a lap time a massive 2 seconds under the Superstock lap record at Portugal's Algarve Motor Park - bone-stock out of the crate, mirrors and all. Of course, the rider may have had something to do with that - Ducati's retired current World Superbike champion Troy Bayliss certainly knows how to twist a throttle.

Considering that last year's 1098R cost a whopping USD$40,000, and that apart from a few engine tweaks worth just 10 peak horsepower, the 1198S is very closely specified, the retail price of $21,795 makes the 1198S an absolute steal. For that money you're getting a bone-shattering L-twin race-rep with massive power, razor-sharp handling, eye-popping brakes and a traction control system so good that people said it, not Casey Stoner, beat Valentino Rossi. So if you can't whip your buddies around the track on the 1198S, you'd best be creative with the excuses!