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 indicates that, whereas the tune facilities of latest 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 by way of 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 way of the candy alto sax sounds of Earle Warren, Love took up the software and inside 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 principal value of the family members in musical improvement, institutional racism in American pop culture, and the interracial nature of the song global. He additionally describes the expansion of the tune undefined, specially Motown, what he calls "the robust colossus from Detroit." Love's tale, informed with uncanny reminiscence and unfailing honesty, presents a major view into the profession 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
Warmth was always a problem in our drafty house on chilly or cold days but our kitchen was the warmest spot during mealtime because meals were cooked on an old-fashioned cook stove that was fueled with coal or logs of wood. This was one of the many times our electrical service had been discontinued because of our inability to pay the utilities bill, so a kerosene lamp glowed in the middle of the dinner table, with its plates, bowls, and utensils. In spite of the fact that he was always fatigued from the long hours of hard work at the hotel, Dude purposely presented a jovial and carefree facade when he made his "grand entrance" every evening.
By 1934, Norm was working full-time as a porter at the Omaha distributorship for MGM Pictures. That year, he paid one of the local jackleg carpenters to convert the rickety shed porch into a rather attractive bedroom. Norm's furniture was ornate by Mansion standards; his prize object was a studio couch that divided into two separate beds placed against opposite walls of the narrow part of the room. Radio was still quite a novelty and a status symbol in the impoverished black community of Omaha, but we had owned one at 1610 even before Dude left.
His account reminds us that most people Who try to make a living in music end up losing money and that the fabulous fortunes obtained by artists most visible to the public disguise the harsh realities of the music industry as they are experienced by most working musicians. Love's detailed descriptions of his bands buses and their repeated breakdowns and mechanical failures under- Page xxi score the financial risks and difficulties that artists can encounter. His efforts to keep his band alive in the face of unexpected transportation expenses, unpredictable revenues, and constant surveillance and monitoring by the Internal Revenue Service reveal a powerful dedication and devotion to his artistic vision, but they also testify to the hard work, planning, and simple luck required for success in show business.
A thousand Honey Creeks later: my life in music from Basie to Motown-- and beyond by Preston Love