JSngry

I think you'd do better with David Lynch on that one. Gayle Madden was her name, btw. Maracas by Madden!!! Shaken, Stirred, and What Have You Heard?

The women of comedy are coming on strong here lately!

Cardinal Spellman Tori Spelling Zaila Avant-garde

Alexander Popov Leelee Sobieski John McCormick

Some of these guys...their "real jazz" stuff kinda bores me. But in any kind of a "pop" context, that's what they do - POP. Monday seemed to always get players on her records who could do that. Donnie McCaslin was another one, and so was David Kikowski.

Check this out: https://open.spotify.com/track/6Z3TruNf6K66IGtfGBWUAP

per Dance: https://www.independent.co.uk/arts-entertainment/obituary-stanley-dance-1077797.html Primarily it is a reference term for the vast body of jazz that was at one time in some danger of losing its identity. Practically it is applied to the jazz idiom which developed between the heyday of King Oliver and Jelly Roll Morton on the one hand and that of Charlie Parker and Dizzy Gillespie on the other. I wish I could get confirmation of exactly where Dance first published this notion, because it took hold, like, immediately, it seems. And with good reason, perhaps, since it was a very real thing. Stanley Dance was a very interesting fellow, imo...

Hey, Denton does it again. They were presented as something new and different, and sorry, they are neither... ...at least not for anybody who had been even semi-paying attention to the various strands of Club Jazz/Acid Jazz/Whatever Jazz. It's a natural set of musical intersections, and I certainly like a lot of what has come of it, but geez, Snarky Puppy - and their audience - was SO far behind the curve on that that they all just make me laugh. I don't begrudge them their success, but it's the triumph of an extremely myopic audience provincialism. Whether or not it realizes it, the world is still catching up with Monday Michiru.

Д.Д. https://en.wikipedia.org/wiki/De_(Cyrillic He's in the member list here: http://www.organissimo.org/forum/index.php?/search/&type=core_members&page=342&joinedDate=any&group[4]=1&group[3]=1&group[6]=1&group[8]=1&group[7]=1

So nice.

I think that translates to "DD"?

Prestige made a buttload of records all through the 1960s. Maybe they didn't get to your part of the world.

The term "mainstream" was coined by Stanley Dance.

Is Phil Woods credited on the record?

It tastes good!

Curl Jefferson - Lappin' It Up!!!

The ambition and skill sets needed - and used - to both create the music and then get it recorded is still mind-boggling. Fullest props to her for that in and of itself.

Nice place to visit.

The name "Galaxy" was previously that of an old R&B label that Fantasy owned. I have a 45 by Little Johnny Taylor on that label. But here, let the professional web tell the story! https://www.discogs.com/label/33126-Galaxy Like its parent company Fantasy, Galaxy was named after a science-fiction magazine. The label led three lives...twice as a jazz label and once as an R&B label. It was launched in 1951 as a vehicle for jazz recordings but ceased activity after a handful of 78-RPM releases by Cal Tjader, Vido Musso, and others. Galaxy was revived in 1961 to issue two 45s by a gospel group known as the Apollos but then switched its focus to rhythm and blues under the A&R direction of producer Cliff Goldsmith and arranger Ray Shanklin. Of the many R&B artists who appeared on Galaxy between 1962 and 1973 including Charles Brown, Bill Coday, Rodger Collins and Big Mama Thornton; blues singer Little Johnny Taylor was the most successful artist as his 1963 recording of "Part Time Love" rose to Number 1 on Billboard's R&B chart. Galaxy sprang to life again five years later in 1977 as a jazz label with a roster that included Tommy Flanagan, Red Garland, Johnny Griffin, Hank Jones, and Art Pepper; the label has been dormant outside reissues and Bill Evans archive material since the mid-Eighties.

They got that Moody/Cohn... For five bucks, a "fascinating failure" like Alto Summit is not an automatic "no"?

See, Charlie Shavers! I was not crazy for thinking that!

Of his Pacific Jazz records, the only one I still have a taste for is King Kong, and that one's got a nuanced like b/c of the overall circumstances. The albums with Louiss & Humair, those are just totally redonkulus yeah!

SO damn good.

The flute piano quartet thing, the opening phrase of the melody references "Windows" before going elsewhere.