By Preston Love
Preston Love's resume reads like a who is Who of yankee tune: 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 song facilities of recent York, New Orleans, Chicago, and Kansas urban nurtured the advance of these uniquely African American types, jazz and the Motown sound, major contributions have been additionally being made via territory bands tirelessly acting in outposts like St. Cloud, Minnesota, Guthrie, Oklahoma, and Honey Creek, Iowa.It used to be within the latter city the place Love, a 15-year-old from the black ghetto of Omaha, made his musical debut. Captivated through the candy alto sax sounds of Earle Warren, Love took up the device and inside a decade was once sitting in Warren's chair. yet Love's own odyssey is greater than a chronicle of never-ending bus rides, undesirable crowds in backwater golf equipment, and feast-or-famine funds continued en path to the pinnacle. In a particular and passionate voice he outlines major aspects of African American heritage: the relevant value of the kin in musical improvement, institutional racism in American pop culture, and the interracial nature of the song global. He additionally describes the expansion of the track undefined, in particular Motown, what he calls "the robust colossus from Detroit." Love's tale, informed with uncanny reminiscence and unfailing honesty, offers a major view into the profession of a musician and the evolution of a huge musical shape.
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Additional resources for A thousand Honey Creeks later: my life in music from Basie to Motown-- and beyond
The Postal Service series on big-band leaders is a clear case in point: its four stamps honor Jimmy and Tommy Dorsey, Benny Goodman, Glenn Miller, and Count Basie. Three of the four stamps and four out of the five individuals honored were white, while African-American bandleaders of undeniably greater artistic and 1. James Baldwin, The Devil Finds Work (New York: Dell, 1976), 129, 120. Page xxiii historical significance (such as Jimmie Lunceford) were ignored. This kind of quota system has always been used by whites to gain undeserved advantages; it determined the disproportionate reward allocated to white artists in the 1930s and 1940s, it has played an important role in the unjust allocation of remuneration, recognition, and reward to black artists ever since.
In the early fall of 1933, Harry Crump, the owner of the black House of David basketball team based in Sioux City, Iowa, drove the one hundred miles from there to Omaha looking for a couple of good basketball players to travel with the team for the 19331934 season that was soon to begin. Dude was one of those recommended to Crump, and after some persuasion and a promise from Crump that a show and dance would eventually be incorporated into the House of David operation, Dude and another local basketball wizardJabbo Curryagreed to leave with him.
A Thousand Honey Creeks Later comes along at a propitious moment. After years of neglect, jazz has begun to acquire a visibility and a respectability that has long been denied it. Prestigious cultural institutions such as New York's Lincoln Center now sponsor jazz concerts and workshops. 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.
A thousand Honey Creeks later: my life in music from Basie to Motown-- and beyond by Preston Love