A thousand Honey Creeks later: my life in music from Basie by Preston Love

By Preston Love

Preston Love's resume reads like a who is Who of yankee 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 song facilities of latest 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 appearing 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 by way of the candy alto sax sounds of Earle Warren, Love took up the tool and inside of a decade used to be 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 persevered en path to the pinnacle. In a particular and passionate voice he outlines major elements of African American heritage: the primary value of the kin in musical improvement, institutional racism in American pop culture, and the interracial nature of the tune international. 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, presents a tremendous view into the occupation of a musician and the evolution of an immense musical shape.

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Additional resources for A thousand Honey Creeks later: my life in music from Basie to Motown-- and beyond

Sample text

As I read the manuscript for this book, I was bowled over by his ability to recall in sharp detail events of forty and fifty years ago. He deals with things that occurred a half century ago as though they happened yesterday. I was transported back to the time when we were two teenage musicians hoping to make a place for ourselves in the fascinating world of black show business while also trying to understand and deal with the crippling cruelties of a racist America. Time and time again, I would think to myself, "Damn!

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. He decries the pressure on artists to produce hit records that can be conveniently and profitably marketed rather than music with integrity and artistry, and he laments the banality, superficiality, and gimmickry that he thinks results from those commercial pressures.

Mex lived to be 103, and Preston, it seems has inherited her longevity genes. He refuses to grow old. At age seventy-five, he is physically and mentally indefatigable. His work day and weekly schedules would be too much for most people years younger than him. His activities include working in the sales department of Omaha's African-American weekly, the Omaha Star, playing regularly at a local nightclub, lecturing and doing musical residency programs at midwestern universities, plus going fishing at every available opportunity.

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