By Preston Love
Preston Love's resume reads like a who is Who of yank song: member of the count number Basie Band in the course of its heyday within the 40s, studio musician in la, cohort of Jo Jones, Lester younger, Ray Charles, and Dizzy Gillespie, and back-up participant for Marvin Gaye, the enticements, Smokey Robinson, Aretha Franklin, Gladys Knight, and Stevie ask yourself. during this autobiography Love indicates that, whereas the track facilities of latest York, New Orleans, Chicago, and Kansas urban nurtured the advance of these uniquely African American varieties, jazz and the Motown sound, major contributions have been additionally being made by means of territory bands tirelessly acting in outposts like St. Cloud, Minnesota, Guthrie, Oklahoma, and Honey Creek, Iowa.It was once within the latter city the place Love, a 15-year-old from the black ghetto of Omaha, made his musical debut. Captivated via the candy alto sax sounds of Earle Warren, Love took up the software and inside a decade used to be sitting in Warren's chair. yet Love's own odyssey is greater than a chronicle of unending bus rides, undesirable crowds in backwater golf equipment, and feast-or-famine funds persisted en path to the head. In a particular and passionate voice he outlines major features of African American historical past: the significant significance of the relations in musical improvement, institutional racism in American pop culture, and the interracial nature of the song international. He additionally describes the expansion of the tune undefined, specifically Motown, what he calls "the robust colossus from Detroit." Love's tale, informed with uncanny reminiscence and unfailing honesty, offers an enormous view into the profession of a musician and the evolution of an important musical shape.
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Additional resources for A thousand Honey Creeks later: my life in music from Basie to Motown-- and beyond
Norm was very excited about hearing Basie and Rushing on the air now, after having had the slight association with them and having seen them perform. He was also anxious to hear Jo with the band. Judging from Norm's conversation, those appearances of the Moten band must have occurred two or three years earlier. Most of the others in the gang lost all interest in the music, since they had to be quiet and perfectly attentive, so they scattered one by one to other parts of the house. But I remained with Norm, our ears glued to the radio to hear those lilting strains of Basie's music and the songs of Jimmy Rushing.
This night was no different, as he pushed several plates aside, andwith a magician's flourishset the case on the dinner table, snapped its two latches, and lifted the top to reveal a beautiful and shiny object: a brand new Buescher alto saxophone. None of us had the slightest suspicion that he intended to buy this marvelous and mysterious instrument. Later, we learned that Dude had become enamored of the saxophone through heating Pluke Simmons play it with different Omaha bands at dances he had attended.
Popular films including Francis Ford Coppola's Cotton Club, Clint Eastwood's Bird, and Robert Altman's Kansas City pay affectionate homage to significant moments in jazz history, even though they misrepresent the artists and the art that they depict. S. Postal Service participated in the growing acknowledgment of jazz with the issuance of commemorative stamps in 1996 honoring leaders of big bands from the 1930s. Yet as Preston Love's book demonstrates so clearly, the contemporary celebration of jazz is contaminated by exactly the same pathologies, prejudices, and prevarications that have demeaned and distorted it in the Page xxii past.
A thousand Honey Creeks later: my life in music from Basie to Motown-- and beyond by Preston Love