By Preston Love
Preston Love's resume reads like a who is Who of yank tune: member of the count number Basie Band in the course of its heyday within the 40s, studio musician in l. a., 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 exhibits that, whereas the track facilities of recent York, New Orleans, Chicago, and Kansas urban nurtured the improvement of these uniquely African American kinds, 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 software and inside of a decade was once 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 points of African American historical past: the valuable significance of the family members in musical improvement, institutional racism in American pop culture, and the interracial nature of the track global. He additionally describes the expansion of the tune undefined, specifically Motown, what he calls "the strong colossus from Detroit." Love's tale, advised with uncanny reminiscence and unfailing honesty, offers a big view into the occupation of a musician and the evolution of an important musical shape.
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Extra resources for A thousand Honey Creeks later: my life in music from Basie to Motown-- and beyond
Love relates what he has learned over the years in direct and accessible prose, delineating the ways in which a fancy bus and flashy outfits can influence a band's reception, showing how even supremely successful bandleaders such as Count Basie and Johnny Otis found it hard to make ends meet during periods of slow sales. Love also recounts the logic of leaving the music business altogether, as he had to do in the early 1960s when he worked at Douglas Aircraft in Los Angeles. Yet despite his detailed and sophisticated understanding of how the exigencies of economics must be attended to, Love remains a passionate and committed critic of commercialization.
Within days, Webb had driven to Topeka, Kansas, and brought back four young musicians: two saxophonists, a drummer, and a pianist to complement himself on bass, Dude on lead alto sax, and two local Omaha trumpet men. Daily rehearsals began in the front room of the Mansion. The warm spring weather made them leave the doors and windows Page 11 Mexie Love at seventy-five in 1955. open during the rehearsals, and the sounds of the orchestra caused quite a sensation in the neighborhood, especially when school was out for the kids at three o'clock each afternoon.
But that is not why his communication is significant either. He is a writer who comes to us in the style of the Yoruba elders, as someone who has learned to discern the significance in the things that have happened to him, and who is willing to pass along his gift and his vision to the rest of us. His dramatic, humorous, and compelling story is significant because it uses the lessons of the past to prepare us for the struggles of the future. It is up to us to pay attention and to learn from his wisdom.