By Preston Love
Preston Love's resume reads like a who is Who of yank track: 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 indicates that, whereas the track facilities of latest York, New Orleans, Chicago, and Kansas urban nurtured the advance of these uniquely African American kinds, jazz and the Motown sound, major contributions have been additionally being made through territory bands tirelessly appearing 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 by means of the candy alto sax sounds of Earle Warren, Love took up the software and inside 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 background: the relevant value of the relations in musical improvement, institutional racism in American pop culture, and the interracial nature of the tune global. He additionally describes the expansion of the tune undefined, specially Motown, what he calls "the strong colossus from Detroit." Love's tale, informed with uncanny reminiscence and unfailing honesty, offers a massive view into the occupation of a musician and the evolution of a big musical shape.
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Extra info for A thousand Honey Creeks later: my life in music from Basie to Motown-- and beyond
Our attentions are directed to people simply because they are celebrities, because they are famous, or rich, or both rich and famous. Yet the things that appear to be significant and essential to the marketing mechanisms of commercial culture can be quite transient, ephemeral, and insubstantial. At the same time, communications that might seem marginal, eccentric, or outside the mainstream can contain profound insight and understanding. Preston Love has known 2. Robert Farris Thompson, Flash of the Spirit: African and Afro-American Art and Philosophy (New York: Vintage, 1983), 19.
His older brothers Norm and Dude introduced him to music on records and on the radio, but also to the sounds emanating from the stage of Omaha's Orpheum Theater and from the bandstands of nightclubs like Jim Bell's Club Harlem. Dude Love played saxophone for Warren Webb and His Spiders and brought the group home with him for practices in the Love family living room. Preston Love played jazz with a group for the first time during one of those practices, keeping time for the group on drums using wire brushes when the regular drummer was not available, and he played his first job for pay with the same group in Honey Creek, Iowa, some months later.
He traces the uneasy racial aspects of popular music that influenced him and his band as they performed at a panoply of school proms, country-club events, and summer recreation area dances in Minnesota, the Dakotas, Kansas, Nebraska, Iowa, Texas, Colorado, and New Mexico in the era after the big bands and before Motown. Because he has been a working musician and bandleader, Love's memoir addresses the business in show business and offers a stark and unsentimental perspective on the relationship between commerce and art.