GA Russell

I'm looking for a cologne that will overpower women. I'm sick of karate.

Arkadia Records Reinvents Itself for the Digital Age Bob Karcy's Acclaimed Jazz Label Marks Its 25th Anniversary With Digital Releases of Its Entire Back Catalog & Its First New Music in Years, Preparing to Release the Debut Album of Brazilian Singer-Songwriter Tetel Di Babuya Plans in Progress for Arkadia Concerts, A VOD (Video on Demand) Jazz Channel January 21, 2022 Twenty-five years after its first CD release, Arkadia Records emerges in 2022 from a long quiet spell, revitalized and recalibrated for a changing music industry. The jazz label founded and run by Bob Karcy has embraced the digital musical landscape, releasing its complete catalog on the full gamut of online streaming platforms and preparing its first releases since the 2000s—including the newly recorded debut album by Brazil’s Tetel Di Babuya (right), due for June 24 release. The burst of new activity is not a “rebirth” per se: That would imply that Arkadia had undergone some sort of death. “We never went away,” Karcy stresses. “We’ve always been here to distribute our physical products—CDs and DVDs—and licensing the music to various TV shows and films. But we’ve recently heard from the streaming services, and they all said, ‘Hey, how come the Arkadia catalog’s not out there on our platforms?’” That the streaming services would desire Arkadia’s archive is unsurprising. It’s a treasure trove including over 100 albums, with works by such revered artists as Benny Golson, Billy Taylor, Dave Liebman, and Joanne Brackeen as well as the entire discography of the Grammy-nominated Arkadia Jazz All-Stars. It also includes the full catalogs of Arkadia Chansons, an imprint Karcy founded to distribute his holdings of classic French popular music, and Postcards Records, an adventurous jazz label that Arkadia purchased in 1999. Yet Arkadia’s renaissance is not just a celebration of its backlog. The archive also holds multiple albums’ worth of never-before-released recordings, including sessions by Brackeen, saxophonist TK Blue, and the Arkadia Jazz All-Stars. Even more exciting, however, is the fact that this glut of releases begins with the label’s first new album in over a decade: Meet Tetel, the debut recording by Brazilian singer-songwriter and violinist Tetel Di Babuya. “She’s certainly not in the ‘classic’ way we know jazz, with scatting and bebop; she has a more contemporary, singer-songwriter feel,” Karcy says. “But she’s in the jazz pocket—you couldn’t call it any other genre but jazz. It’s accessible, original, and really exciting.” More developments are in the works. In the coming months, Arkadia will unveil Arkadia Concerts, a VOD (video on demand) channel for jazz concerts and documentaries from Karcy’s extensive catalog featuring artists such as Herbie Hancock, Nancy Wilson, and Joe Williams. Don’t call it a comeback: Just say that Arkadia has resumed its place at the front lines of jazz’s evolution. Arkadia Records began in the mid-1990s when Bob Karcy (right)—a lifelong music lover, musician, producer, and entrepreneur—decided to establish a recording hub that some of his favorite jazz greats could call home. The label’s first release, 1997’s The Music Keeps Us Young by piano legend Billy Taylor’s trio, marks its 25th anniversary in 2022. The company features three label imprints: Arkadia Jazz, which offers music that runs from the straightahead to the avant-garde; Arkadia Chansons, which distributes historic recordings of French popular music from the likes of Edith Piaf and Charles Trenet; and Postcards Records, a collection of snapshots from jazz’s outer edges. Arkadia also holds an extensive video archive of jazz-focused programming, including concert performances as well as documentaries and other programs. Arkadia’s catalog features acclaimed and award-winning gems from such iconic jazz artists as Billy Taylor, Benny Golson, Dave Liebman, Reggie Workman, and Paul Bley, as well as lesser known but superlative talents such as saxophonist TK Blue, pianist Paul Tobey, and Brazilian bands Nova Bossa Nova and Pé de Boi. In 1998, Karcy brought together several of the label’s artists to form the Arkadia Jazz All-Stars. Arkadia’s new signature band made a number of acclaimed recordings, including the Thank You series of tributes to John Coltrane, Duke Ellington, Joe Henderson, and Gerry Mulligan. The Arkadia Jazz All-Stars’ Thank You, Gerry! (Our Tribute to Gerry Mulligan), which features Lee Konitz, Bob Brookmeyer, Randy Brecker, and Ted Rosenthal, will be released worldwide in digital format on April 8, 2022. Arkadia has earned four Grammy Award nominations and numerous other accolades. Karcy, however, has always operated the label according to his own knowledge and eclectic taste, rather than fodder for awards and accolades. Artists who can “make strong and important artistic statements,” he says, can find a home at Arkadia Records. Arkadia Records Web Site ‌ ‌ ‌

Atlas has a great reputation, but I would like to see him carry a mattress upstairs.

ORNETTE COLEMAN BOX SET GENESIS OF GENIUS: THE CONTEMPORARY ALBUMS SET FOR RELEASE MARCH 25 Continuing Craft Recordings’ 70th Anniversary Celebration of Contemporary Records 180g 2-LP and 2-CD box sets contain newly mastered audio by Bernie Grundman of the legendary jazz saxophonist’s albums Something Else!!!! and Tomorrow Is the Question! Includes expanded booklet with archival photos and extensive new liner notes by GRAMMY® Award-winning music historian Ashley Kahn Continuing Contemporary Records’ 70th anniversary celebration, Craft Recordings is proud to announce the release of the new box set, Ornette Coleman – Genesis of Genius: The Contemporary Albums (2-LP, 2-CD and digital formats out March 25). The sets feature two seminal releases, 1958’s Something Else!!!! The Music of Ornette Coleman and 1959’s Tomorrow Is the Question! The New Music of Ornette Coleman. These albums transformed an unknown jazz visionary from the hinterlands into the talk of the New York scene. Both albums were originally recorded by legendary engineer Roy DuNann, the man responsible for the famously pristine sound quality of Contemporary albums, and have been newly mastered for this release by Bernie Grundman, who himself got his start at Contemporary, mentored by DuNann. The 180-gram vinyl set, which will be pressed at RTI, has been cut from the original analog tapes to lacquer, with the original tapes also used for new hi-res transfers and mastering by Grundman for the 2-CD and digital editions. The deluxe box sets include a 32-page booklet with archival photos and extensive new liner notes by GRAMMY® Award-winning music historian Ashley Kahn. The LP jackets also replicate the original tip-on versions. SACD versions of both albums, Something Else!!!! and Tomorrow Is the Question! will also be made available exclusively via CraftRecordings.com on the same date, March 25. Largely avoided by his colleagues on the L.A. jazz scene in the late 1950s, Coleman (March 9, 1930 – June 11, 2015) found an open door at Contemporary Records, where the label’s founder Lester Koenig was intrigued by his melodic sensibility and unorthodox approach to phrasing. After his Contemporary albums, Coleman quickly went on to New York City and turned the jazz scene on its head, but it was Koenig who provided the first glimpse of the saxophonist’s new approach to rhythm and harmony. “These two recordings are the accessible gateway to Ornette Coleman’s music,” says Nick Phillips, the producer of Genesis of Genius. “He’s expanding on the bebop vocabulary and at this point he’s using traditional forms for most compositions, 12-bar blues and AABA song form, but doing something totally different. With Ornette and Don Cherry’s trumpet in the front line, the way they play and phrase and shift rhythms together, it sounds very loose but very tight.” Featuring Coleman’s working band with Don Cherry on trumpet, pianist Walter Norris, bassist Don Payne and drummer Billy Higgins, the album Something Else!!!! sounds less radical today than strikingly individual and steeped in the blues. With nine Coleman originals, the session introduced several tunes that became standards, including “The Blessing” and “When Will the Blues Leave?” Featuring Cherry, Shelly Manne, and either Percy Heath or Red Mitchell on bass, the emphatic, pianoless follow up Tomorrow Is the Question! made it clear that Coleman’s concepts were both insistently innovative and tethered to bedrock African American idioms. Consisting entirely of Coleman originals, the album introduced several more tunes that became an essential part of the jazz canon, including “Tears Inside,” “Rejoicing” and “Turnaround.” More than a seminal improviser and composer who exponentially expanded jazz’s rhythmic and harmonic frontiers, Coleman embodied the playfully heroic duality-erasing ideal at the center of African American musical innovation. Radical and rootsy, avant-garde and populist, philosophical and visceral, genius and trickster, Coleman was born and raised in Ft. Worth, and the wailing Texas blues was woven into his sound. By the time he settled in Los Angeles in the mid-1950s he’d spent years on the road playing blues and R&B, imbuing a gutbucket sensibility that he carried with into every musical setting. L.A. beboppers often treated him with disdain, perceiving his unorthodox note choice as lack of chops, but he slowly found a brilliant cadre of musicians who embraced his musical vision, including pianist Paul Bley, drummers Billy Higgins and Eddie Blackwell, bassist Charlie Haden and Don Cherry. The Contemporary albums paved the way for Coleman’s fall 1959 triumph in New York City, with Tomorrow Is the Question! hitting stores the same month that his quartet started an extended run at the Five Spot, arguably the most consequential and controversial gig in jazz history. Alternately championed and denounced by his musical peers and critics, Coleman found a new home at Atlantic Records, where he continued expanding his gorgeous, searing, utterly human approach to music. But it was Lester Koenig who first recognized Coleman’s genius when he walked into his Melrose office at a time when the saxophonist wasn’t even welcome on most bandstands. “The Contemporary discs were the foundation of Ornette’s career and the bellwether of a new age, arriving at the close of one decade, and the onset of a brave, new one,” writes Ashley Kahn in the Genesis of Genius liner notes. “Embraced or derided, the music challenged long-held ideas of what jazz—what music—should sound like.” Genesis of Genius Players 2-LP box set LP1 - Something Else!!!!: The Music of Ornette Coleman Ornette Coleman – alto saxophone Don Cherry – trumpet Walter Norris – piano Don Payne – bass Billy Higgins – drums LP2 - Tomorrow Is the Question!: The New Music of Ornette Coleman Ornette Coleman – alto saxophone Don Cherry – trumpet Percy Heath – bass (Side 1) Red Mitchell – bass (Side 2) Shelly Manne – drums Genesis of Genius continues Craft Recordings celebration of Contemporary Records 70th anniversary, a campaign that launched in December with six digital On Contemporary compilations focusing on individual jazz giants who recorded extensively for the label: Art Pepper, Hampton Hawes, Barney Kessel, André Previn and Shelly Manne plus The Saxophonists – Various Artists, offers a tantalizing glimpse at the depth of the Contemporary catalog with an array of era-defining horn players. 2022 will see lots more to come as the label celebration continues.

Grandmother used to take my mom to the circus to see the fat lady and the tattooed man. Now they're everywhere.

Dan and mg, I think everyone including Jim interpreted it that way!

Of course. Otherwise, the joke wouldn't make any sense, would it?

Jim, Canada Post is too controversial for me to weigh in on. I'll pass! ***** At Microsoft, a minority employee is a guy who has a girlfriend.

Joe, going from memory, I think they did not offer CDs until 1991. I remember that the Gerry Mulligan #102 was one of them, and probably both Chet Baker PJs as well. I'm going to guess that the first boxes available as CDs from the get go were Count Basie #135, Holman/Russo #136 and Larry Young #137. Anybody want to correct me on this?

In California, some high schools are requiring students to wear uniforms. They say uniforms create a safe and stable environment. You know, like the post office.

My girlfriend always laughs during sex, no matter what's she's reading.

I wouldn't mind being the last man on earth. Just to see if all those girls were telling the truth.

No, senor.

After twelve years of therapy, my psychiatrist said something that brought tears to my eyes. "No hablo ingles"

The Supreme Court has forbidden the OSHA vax mandate, but allowed the mandate for healthcare workers. https://www.zerohedge.com/political/supreme-court-blocks-bidens-osha-vaxx-mandate

If the Japanese are such technical giants, why are they still eating with sticks?

I used all my sick days, so I'm calling in dead.

Well, in any labor dispute, both sides hold out till the last minute. Gamesmanship and all.

Welcome back Allen!

Allen Austin-Bishop Wait Impacting January 7th, 2022 Format(s): Jazz, Smooth Jazz Artist Title Time Allen Austin-Bishop Wait 03:03 Allen Austin-Bishop Buffalo Ghost 05:53 Allen Austin-Bishop Evergreen 04:23 Conversational and sumptuous jazz vocals with Allen Austin-Bishop's 'Wait' Allen Austin-Bishop is starting 2022 with a nod to the genius of Mr Stephen Sondheim The single ‘Wait’ gives us Allen’s unique take on a song from Mr Sondheim’s musical, Sweeney Todd. In addition, to Wait, Allen also offers up two songs from popular artists Elbow (“buffalo ghost”) and the legendary Barbara Streisand (“Evergreen” from a Star is Born). Allen Austin-Bishop, once again, is accompanied by an accomplished, tasteful and subtle band comprised of pianist Dorian Ford, bassist Mao Yamada, percussionist Rob Hervais-Alderman, saxophonist Katie Edwards, and celloist Fifi Homan. Together the ensemble brings a freshness to these varied songs giving them a warm atmospheric vibe. “After seeing Sweeny Todd, on Broadway, I was hooked. And it’s no accident that my first two albums, “Sorry Grateful and “No One is Alone”, take their titles from Sondheim’s songs. We recorded Wait over the summer and thought, given Mr Sondheim's recent passing, now was a good time to release the song.” – Allen Austin-Bishop Allen was born in Newark, New Jersey, but for some time, has been based in London. Allen made his recording debut in 2017 with “Sorry Grateful”, a collection of standards. Among its highlights are his versions of “Misty,” “The Shadow of Your Smile,” “Happiness is a Thing Called Joe” and “When I Fall in Love”. More recently, Allen brought us festive cheer with his first holiday album entitled “Christmas” which included songs from popular artists such as The Sugababes, S Club-7, John Legend, Joni Mitchell, and the legendary Mel Torme. www.austinbishop.com Contact: allen@austinbishop.com

Don Sutherin died today at 85. RIP. Sutherin was a teammate of Don Maynard's with the Giants in '58, and it was Sutherin who persuaded Maynard to join the Ticats in '59.

Ken (and anybody else), I don't pay attention. What's the objection to him?

I played golf. I did not get a hole in one, but I hit a guy. That's way more satisfying.

I'm struck to see this thread revived today, because Chris was the first person I thought of when I saw that Marilyn Bergman had passed away. As I recall, he disliked the Bergmans personally, and made a nasty comment here about them!

Former Ticat Don Maynard died today at 86. RIP. I had his bubble gum card in '61 when he was with the Titans. He Made His Catches Count - Don Maynard: 1935-2022 | Pro Football Hall of Fame Official Site (profootballhof.com)