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The former world champion Grand Prix motorcyclist crashed during practice at the Joey's Windmill section of the circuit. Dubbed the \"world's fastest road race\", riders reach greater speeds at the Ulster Grand Prix than at any other road racing competition in the world. The big drawcards at this year's event include local heroes William and Michael Dunlop, flying Kiwi Bruce Anstey and the exciting English rider Guy Martin who has branched out into presenting television documentaries.

[Francis] has a long relationship with Argentina's \"cartoneros\" - literally \"cardboard people.\" He would celebrate Mass for them as archbishop and invited them on stage during World Youth Day in July. In [Pierre Favre]'s case, Francis was believed to have relied on a rarely used \"equivalent canonization\" process. With it, popes can declare that someone who has enjoyed widespread acclaim over time deserves veneration by the whole church without having to go through the Vatican's typical procedures, which include ascertaining two miracles to their intercession. \"Favre said, 'Take care never to close your heart to anyone,'\" Martin said. \"His canonization reminds us of the value of dialogue, charity, discernment, prayer and mercy.\"

The Swiss percussionist Pierre Favre has been a key figure on the continental European improv and new music since the 60s. His recordings have sometimes foregrounded percussion, sometimes sax, sometimes his regular partnership with pianist Irene Schweizer.

Tamia Favre is considered a pioneer in the use of the human voice as an instrument. Essentially self-taught, Tamia began working with European jazz musicians Barre Phillips, Raymond Boni, Joe McPhee and others in 1972 as well as contemporary composers such as Georges Aperghis. [Pierre Favre] is one of the early proponents of the \"melodic drum\" technique, a method of using the entire metal structure of the drum set to create an intricate, multi-layered sound. Pierre has also added several metal structures to the basic drum set, giving him flexibility in his work.

They chat with their musical instruments, [Pierre Favre] with his Western drum kit and [Yang Jing] with her pipa, a traditional Chinese plucked lute. He lamented that such a tradition has not been very well preserved in modern times, but said he took heart in watching Favre and Yang. \"Improvisation is no longer a required course,\" he said. The titles that appear on the disc reveal that Favre and Yang Jing began the concert by discussing varied themes from \"Dancing Fish\" to \"Fire Bird,\" from \"Summer Sand\" to \"Ice Play.\"

With a guitar, soprano/bass clarinet, harp, tuba/ serpent, bass guitar, bass and drums group, the stylistically far-ranging Swiss drummer and composer, [PIERRE FAVRE] has produced something as unusual as its lineup. Although it offers solo opportunities, particularly for guitarist Phillip Schaufelberger, reedman Frank Kroll, harper Helene Breschand and the great Michel Godard on tuba, much of the music is through-composed by Favre. A haunting blend of eastern and medieval influences, imbued with a stately melancholy, it owes as much to the melodic flavour of Favre's compositions and his understated playing, as it does to his composer's control of the ensemble. Subtle, with lovely dynamics and beautifully balanced colours, ultimately it burns with more light than heat. www.musicconnection.org.uk

Both [Albert Mangelsdorff] and [Arild Andersen] bring a remarkable lightness and delicacy to their heavyweight instruments. The title track's rocking riff hints at Mangelsdorff's trad-jazz apprenticeship, his trombone descending to a tuba's depths, and the free-floating Soulbird mingles didgeridoo-like huffing, Mangelsdorff's famous blown-and- sung harmony playing and Andersen's lithe bass variations.

\"The plucked sounds of the pipa give the orchestra a superficial 'Asian' sound, and an appealing vibrancy and expressiveness,\" Philip Kennicott commented in The Washington Post. \"Indeed, traditional instrumentalist [Yang Jing] bore much of the musical weight throughout the evening, playing with astonishing facility.\" As a soloist engaged by \"Japan Arts,\" Yang has co-operated with a number of orchestras in Japan to perform pipa concertos by [Minoru Miki]. Yang met [Pierre Favre] two years ago at a jazz festival in Switzerland. She was drawn to his music, which she found both melodious and spacious. In Zurich, Yang spent three days at Favre's home. In his studio underground, amongst scattered musical instruments, they began to play a game.

Walsh reviews \"The Spiritual Writings of Pierre Favre: The Memoriale and Selected Letters and Instructions\" with an introduction by Edmond C. Murphy and John W. Padberg and translated by Edmond C. Murphy and Martin E. Palmer.

Reports that Swiss drummers Pierre Favre and Fredy Studer brought their duo, Drum Orchestra, to the States for a rare four-date tour in November 2000. Indicates that while Studer is a frequent visitor to this side of the Atlantic, it has been 15 years since Favre was last here. Notes that in the duo, Favre writes most of the music, although Studer has contributed one piece. Suggests that watching the two on stage is a visual, as well as sonic, treat. Explains that each of them is seated behind a veritable paradise of drums, cymbals, gongs and small percussion. Discusses the individual career activities of each.