JSngry

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Sorry, but that makes no sense. "Dancing girls and entertainment" in whatever form are exactly what constitutes professional interest. Professional means getting paid for the gig, which means getting your target audience to give up their money. Now, if you want to talk about whose target audience is who, go right on ahead. But don't say it's musicians playing for other musicians, because musicians are loathe to pay anybody for anything, and I say that with equal parts pride and contempt, it depends on who's asking for what for whom, and why. Self-defense or self-destruction, the answers determine the questions.

Uh, oh...Bird, Miles, taxi, etc.

Which one is that, Scratch My Back?

No VHS?

They used the Prestige name all thorugh the 80, and at lest part of the 1980s on appropriate 2-fer reissus, as well as the Masters Of Acid jazz series. Real new releases looked to stop in 1977: http://www.jazzlists.com/SJ_Label_Prestige_10000.htm

Day Tripper Jack Tripper Stumbles The Clown http://stumblestheclown.wix.com/stumblestheclown#!

That's a trick question, because if you could keep time, nothing could move, including yourself. You have to give it back. So, really all living is done on borrowed, not kept, time. Now, keeping house, that's quite Tehran thing, and I think the correct answer to that one would be, yes, but not particularly rigorously.

8-17-2015, eh? Do tell...

That would be really cool in a Jack Webb type way.

Roi Boye The Gotham Minstrels The Harlem Globetrotters

Was it, like, an 10th anniversary robbery?

The Country Wife The Plain Dealer Grover Cleveland

Salem Saberhagen Bret Saberhagen Fred Saberhagen

Yan (Who Can Cook) The Girl (Who Can't Help It) The Man Who Knew Too Much

Chuck & Gap Gary Puckett John L.Lewis

If nothing else besides Adrian Beltre, Colby Lewis, human living proof that dog left for dead may actually be dead, but bring it home anyway, perhaps not. The Inner Colby Lewis - still a thing.

David Goliath Lutherans

Interested, please.

Mike Hammer MC Hammer The MC5

Ottis Toole Elisha Otis Oisin

Pops Poopadeaux P.P. Badleigh Scatman Crothers

Perelman might work. There seems to have been a certain darkness to Perelman, and I think there's a darkness to Desmond as well, although maybe (and this is maybe Too Much Math For R&B), Perelman's darkness seems to have been about the world at large (there's a latter-day TV interview with him somewhere on YouTube that is almost uncomfortable in that regard), and Desmond's seems to, maybe, have been more about himself. Point just being that maybe a lot of the sentiment for and against Desmond's playing is because of it's "lightness", like it's all happysunshinewhimsy, but the more I listen to it, the less I think that that's what it is, although it sure as hell sounds like that on the surface. Sounds more to me like a man who knew more than he let on, and who also knew that if he ever did let on, he would be uncomfortable with whoever/whatever embraced him in the aftermath, if in fact anybody would. Hardly a recipe for "happiness". And let's not yet forget Joe Dodge: http://jazzprofiles.blogspot.com/2009/08/joe-dodge-drummer-as-time-keeper.html

Ra Ram Das Herb Alpert

Maitre D' Chuck D Sandra Dee