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 exhibits that, whereas the tune facilities of recent 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 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 via the candy alto sax sounds of Earle Warren, Love took up the device 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 heritage: the principal value of the family members in musical improvement, institutional racism in American pop culture, and the interracial nature of the song international. He additionally describes the expansion of the track undefined, in particular Motown, what he calls "the strong colossus from Detroit." Love's tale, instructed with uncanny reminiscence and unfailing honesty, presents a massive view into the profession of a musician and the evolution of an incredible musical shape.
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Preston Love's resume reads like a who is Who of yankee track: 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.
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Additional resources for A thousand Honey Creeks later: my life in music from Basie to Motown-- and beyond
Some years ago I noticed that almost none of the manuscripts published about jazz and the lives and experiences of black performers were written by Afro-Americans or by the performers themselves, without a ghostwriter or amanuensis. Almost without exception, the ghostwriter or amanuensis was a white person and a pedant. No matter how concerted an effort the author and amanuensis make to avoid it, the composition always takes on a degree of the ghostwriter's personality, and the final product loses some of the character and flavor of the original storyteller's personality.
Love has performed his music on television, in recording studios, and in prestigious concert halls and nightclubs in North America, Europe, Central America, and the Caribbean, yet he has also devoted his time and talent to serve as an instructor and artist-in-residence at jazz camps and school music programs in Iowa and Nebraska. " A Thousand Honey Creeks Later tells a dramatic and absorbing story, replete with reversals, ironies, and surprises. Love relates how he trans- Page xviii formed himself from a child who listened to the radio in a dilapidated and unheated house in Omaha's Near North Side black ghetto, captivated by the music of the Count Basie Orchestra and its lead alto saxophonist Earle Warren, into the young man who, less than a decade later, took over Warren's chair in the Basie band, serving as a suitable replacement when health problems caused his idol to take a leave of absence.
The truths that Preston Love has to tell about the pervasive racism of the music industry, about the corruptions of commercial culture, and about the inseparability of jazz from the broader contours of African-American life may not be easy for everyone to hear. Readers often turn to books on popular music to have their prejudices reconfirmed, to have their consumer preferences and tastes validated, to use their attachments to music to fashion a fantasy world that allows them to escape from the world in which they live and from their responsibilities to change it.