Democrat and Chronicle from Rochester, New York • Page 2

MONDAY, JUNE 12, 2006 DemocratandChronicle.com DEMOCRAT AND CHRONICI N.Y. LOTTERY Winning Numbers Sunday Midday 3 7 6 Evening 4 8 9 Win 4 Midday LD 8 1 9 Evening 8 6 Sunday's Pick 10 2 4 5 9 13 14 16 24 29 33 37 39 48 49 55 63 66 69 71 78 Sunday's Take Five 5 11 15 24 Saturday's Pick 10 4 6 7 8 12 14 15 17 19 23 24 27 28 35 38 41 48 53 73 80 Saturday's Take Five 2 28 31 35 39 Saturday's Lotto 2 12 15 53 55 59 Bonus: 17 Wednesday's jackpot is $37 million. CORRECTIONS CLARIFICATIONS The Democrat and Chronicle strives to cover the news fairly, accurately and honestly. It is our policy to correct errors of fact or statements needing clarification. Please write to the News Editor, Democrat and Chronicle, 55 Exchange Rochester, NY 14614 or call (585) 258-2251.

A story about the jazz festival Saturday on Page 1A incorrectly reported the name of the piece performed by the Gates Chili High School Jazz Ensemble. It performed "Blue Rondo A La Turk." Where did Newsmakers go? The biggest names in entertainment and politics haven't stopped making news. You'll need only to turn a few pages to find out what they're up to. To create space for in-depth coverage of the Rochester International Jazz Festival, the popular column moved to Page 12A. Museum founder Cameron, 92, dies THE ASSOCIATED PRESS MILWAUKEE James Cameron, who survived an attempted lynching by a white mob and went on to found America's Black Holocaust Museum, died Sunday.

He was 92. He had suffered from lymphoma for about five years, said Marissa Weaver, chairwoman of the Mil museum's board. In 1930, Marion, Cameron two were arrested and accused killing a man during Cameron robbery raping Cameron man's companion. A mob them out of jail, hanged eron's friends and put a around his neck. He was when a man in the crowd claimed his innocence.

In 1988, he opened the seum in a small storefront in downtown Milwaukee. years later, he took over an doned the city sold him for $1.0 LAW CORNER Juries The Conscience of the Community By Joe Juries have been called "the conscience of the They are supposed to decide guilt or innocence in criminal trials. In civil trials, usually personal injury trials, they are supposed to decide who was at fault and how much, if anything, the injured person is entitled to receive for their injuries. For over 200 years our jury system worked remarkably well. It still does when jurors make their decisions based solely upon the evidence, as they are supposed to, and not upon extraneous information.

Unfortunately, many people today who end up on juries begin with preconceived ideas and maintain these ideas regardless of what the evidence shows. In criminal cases we sometimes see innocent people convicted of serious crimes they did not commit. In personal injury cases we sometimes see seriously injured people receive much less than is fair. In criminal cases, many jurors believe that anyone who is charged with a crime must be guilty and therefore vote to convict, even in spite of evidence that should create significant reasonable doubt. In personal injury cases, many jurors believe that since there are many frivolous lawsuits, they are not going to fairly compensate the injured person even if was seriously injured by the fault of someone else.

They somehow believe that it is their "civic duty" to not compensate injured people fairly. Unfortunately, when jurors with these types of attitudes allow themselves to sit in judgment of others they do a great injustice not only to the people involved in the trial, but to THIS COLUMN SPONSORED Moran, Attorney at Law our legal system as well. Recently, it was proven that an innocent man from Rochester was wrongly convicted, by a jury, of a murder he did not commit. This innocent man then spent 10 years in state prison with all that entails. Travesties like this should not occur, and would not, if jurors who sit in criminal cases.

refuse to convict unless they are certain beyond all reasonable doubt that the accused is guilty. Also, miscarriages of justice will not occur in civil cases if jurors will do what they are supposed to do decide the case on the evidence and not on preconceived ideas that some of them have that everyone who brings a civil lawsuit is an undeserving phoney. At the end of the case, if the jurors believe that the person bringing the lawsuit deserves nothing they should rule that way and throw the case out. On the other hand, if the evidence establishes that the person is seriously injured, the jury should compensate him completely, not cheaply. Jurors should not be stingy to those who are truly and seriously injured by the fault of others and they should not convict people unless they are certain of their guilt.

That poor, innocent man can never get those 10 years of his life back. They are gone forever. If jurors base their decisions on the evidence only, unjust results like these will not occur. If you would like to comment on this article or have a question, you can e-mail me at call me at Moran Kufta at 442-1040, or write me at Moran Kufta, 200 Canal View Blvd, Suite 206, Rochester, New York 14623. 0000082549 BY MORAN KUFTA, P.C.

SUMMER SIZZLER, TENT EVENT GOING ON NOW AT THE MALL AT GREECE RIDGE CENTER DISCOUNTS UP TO $10,000 FINANCING FROM APR 6 DIFFERENT NEW CAR LINES OVER 1000 USED VEHICLES SEE OUR FULL PG. AD FOR DETAILS DOAN FAMILY OF DEALERSHIPS Godfather to event ROCHESTER JAZZ FESTIVAL REVIEWS of soul lends where standards WILL YURMAN staff photographer Headliner James Brown took to the stage at Eastman Theatre on Saturday, demonstrating that, even at 73, he still is energetic with incredible stamina. Brown with his jet-black hair, looked essentially the same as he did when he started his career a half-century ago. seems so timeless. Neither Mick Jagger nor Dick Clark have anything on Brown, who, with his jet-black hair, looked essentially the same as he did when he started his career a halfcentury ago.

One more thing about Brown: The guy is a consummate professional. I have no earthly idea how many times Brown has sung his signature tune, "I Feel Good," but I'm going to hazard to guess something like 5,000 or more times. For all that, Brown and his band still performed the tune as if their lives depended on it, with enough energy to power the city of Rochester for a year. It's no wonder they call him "the hardest-working man in STAFF MUSIC CRITIC What on earth was James Brown doing at a jazz festival? JOHN PITCHER For day two of the Rochester International Jazz Festival, producer John Nugent turned to the Godfather of Soul as his Eastman Theatre headliner. And though it might be a stretch to label Brown a jazz act, there was no questioning that his musicians, all decked out in flaming red tuxedos, made up the hottest big band to perform so far at this festival.

This group could do it all: sing, dance the band included two scantily clad, cheerleader dance types and play music that was often funky, always hard driving, and at its best even downright jazzy. (Brown's raucous sax player sounded like he could have been Sonny Rollins' long-lost twin.) As for Brown, he had no trouble living up to all his hype. He still had the voice, the moves (those swivel hips), the scream and, for a 73-year-old man, an almost unbelievable amount of stamina. His set began promptly at 8:05 p.m., with his band chanting his name to get him on stage it was like an incantation to get the deity, his funkiness, to appear. Once on stage, he didn't stop.

He danced with his microphone, danced with cheerleaders (both of whom were about 50 years his junior), danced with one of his Bittersweet backup singers and danced with himself. He'd sing, play solos on his synthesizer and at least once donned his obligatory cape. I counted no more than one slow number in the whole set. For the rest of the time, Brown was a body in motion. It's no wonder this guy is so fit and show business." He may not be a jazz act, but Nugent deserved credit for bringing this legend to the city.

Speaking of legends, Nugent walked on stage earlier in the day at Kilbourn Hall and introduced pianist Cedar Walton with gushing praise. "This is one of the geniuses of modern jazz," said Nugent. "He's also one swinging bad cat." He might have added one gutsy cat. For his appearance on day two of the jazz fest, Walton gave a concert in which he was totally exposed, performing not only solo (without a band to lend support or hide behind) but also mostly spontaneously. Walton was making up much of this inspired performance as he polished technique and an apparently bottomless reservoir of improvisational imagination.

His opener, "Cedar's Blues," was full of thrilling, off-kilter rhythms and snappy bluesbased melodies. He followed this with a Cole Porter standard, "Every Time We Say Goodbye," a stylish and sophisticated piece that Walton spun out with deep feeling and imagination. One of his most imaginative standards, a rendition of Duke Ellington's "Sophisticated Lady," included a few fun references to the opening motif of Beethoven's Fifth Symphony. But I was most impressed with a song that is the title track from his new solo album, Underground Memoirs. This piece is about the New York subway system and, true to its subject, it was brimming with the kind of big fortissimo chords that immediately called to mind the bustle and grandeur of the city.

a Jacob Fred Jazz Odyssey purr like hep cats; James Brown recounts escape from ghetto JEFF SPEVAK STAFF MUSIC CRITIC I'm sure Cedar Walton can shake the ivory from the keyboards. But the Jacob Fred Jazz Odyssey is a reminder that the current anonymous titleholders of avant-garde piano jazz are these hipsters of Tulsa, Okla. The scruffy keyboards-bassdrums trio opened Saturday with "Pinocchio," an upbeat piano-driven piece by Thursday's Rochester International Jazz Festival headliner, Wayne Shorter. The fact that Shorter wrote the piece for saxophone was no deterrent to this outfit. "Slow Breath, Silent Mind" was a piece featuring multi-keyboardist Brian Haas on melodica, a tiny keyboard powered by blowing into a tube.

Yet another excellent unknown uncovered at the fifthyear festival. But I was on vibrate: It was an jazz fest publicist on the cell phone, and it was an emergency. James Brown, the 800-pound gorilla of the nine-day fest, was ready to speak to the Rochester public at 7:15 p.m. ROCHESTER Democrat and Chronicle MICHAEL G. KANE President Publisher MITZI BAINBRIDGE Vice Technology LINDA B.

BAIRD Vice Resources NEILL A. BOROWSKI Managing Editor MARTHA DESHONG Vice BRADLEY M. HARMON Vice KAREN M. MAGNUSON Editor Vice TOM O'CONNOR Services AGATHA PARDO Vice JAMES C. PAUL Controller JANE E.

SUTTER General Publications BERNIE SZACHARA Vice funk rule went along, a real musical high-wire act without benefit of a safety net. So as you might expect, Walton played a few clunkers here and there and suffered a few hesitations and false starts he launched into an ambitious coda in Hoagy Carmichael's "Skylark," but seemingly missed a measure and had to start again. But such mishaps were remarkably rare during the first of Walton's two appearances at Kilbourn. Throughout the duration of his one-hour opening set, in which he played 10 pieces, Walton proved to be a serious and stylish pianist, an artist with a in and friends of white a and the broke Camrope spared pro- muroom Six abangym James Brown speaks! As was the case with Woody Allen on Friday, the designated interview room actually was a skinny, 20-yard long delivery alley on the side of the Eastman Theatre. JB was slow to appear, so drummer Robert "Mousie" Thompson was heaved into the middle of the crowd to offer an amusing story from a few years back when the band was playing a resort next to an outdoor swimming pool.

"He said, I'm going recalled Thompson, who's been with Brown for 13 years. Brown stripped off his jacket and dove in, boots and all. "Half the band started diving in," he said. "Myself, I'm gonna keep on playing. He gave everyone a bonus except me." Thompson disappeared, and a few moments later JB was ushered through the door.

He looked good, dressed all in black, with a bow tie embossed with a gold "JB." His hair was freshly rolled, reportedly beneath a vintage portable hair dryer the space-helmet-style Online Extra DEMOCRATANDCHRONICLE.COM Hear podcasts about Saturday night's shows with our critics John Pitcher and Jeff Spevak, and see a collection of our extensive previous coverage of the jazz festival. found by a local hairdresser. "God is my big secret," he explained. "Whether your God is Buddha, Allah, we gotta learn to love each other." The most meaningful song to him from his vast catalog? Please, the first song I wrote," Brown said. "It got me out of the ghetto." His legacy, he explained to someone who already had Brown's career over, he hoped would be as "a man who wanted to help someone, like Dr.

(Martin Luther) King." And then, he was gone. Dixie Chicken The biggest party of the night was the East Avenue Stage, where the southern-fried Little Feat followed Roomful of Blues in a free show for what appeared to be thousands of people on the closed-off street. Little Feat delivered its bucket of "Dixie Chicken" for a decidedly mature crowd that eagerly recognized a cover of "Don't Bogart That Joint." Big Tent Swing Who wants some easygoing songs about fishing? Whit Smith's Hot Jazz Caravan pulled in from Austin, Texas, a blend of western swing and Django Reinhardt. Piano, upright bass and Smith on guitar, echoing sweetly off his previous outfit, the equally relaxed Hot Club of Cowtown. The sound was too gentle to fill the vast Club Pass Big Tent; one of the festival's smaller venues might have suited it better.

Nevertheless, the ghosts of Hank Williams, Bob Wills and the Quintet of the Hot Club of France hovered overhead. And philosophically, Whit Smith's philosophy matched the chill and cool of this evening. "Who said," he pointed out, "beer and coffee don't mix?" OUR MISSION STATEMENT The Democrat and Chronicle remains ever vigilant for the community good, dedicated to providing unsurpassed value and excellent customer service while expanding multimedia delivery of news, information, diverse opinions and interaction. HOW TO REACH US Newspapers for classroom use secesse 258-2387 Graphics, Kevin Smith 258-2762 GENERAL INFORMATION Advertising Inserts FAX 258-2265 Call 232-7100 NOTE: Because advertisers may buy different Suburban news, Toll-free 1 (800) 767-7539 geographic areas of our circulation, not all Mindy Mozer 258-2774 (Within New York state only) editions contain the same inserts. Our Towns, Charles G.

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