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 song 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 by way of 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 via 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 persevered en path to the head. In a particular and passionate voice he outlines major aspects of African American heritage: the critical value of the family members in musical improvement, institutional racism in American pop culture, and the interracial nature of the tune global. He additionally describes the expansion of the song undefined, specially Motown, what he calls "the robust colossus from Detroit." Love's tale, instructed with uncanny reminiscence and unfailing honesty, presents a huge view into the profession of a musician and the evolution of an enormous musical shape.
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Additional resources for A thousand Honey Creeks later: my life in music from Basie to Motown-- and beyond
As a prominent critic and jazz historian, Stanley gave me the impetus to keep trying when I was very discouraged and felt that my book might never be published. The thought that a man of his stature would be interested in my manuscript was very flattering to the kid who grew up amid the privations of the "Love Mansion" and whose bands traveled in "the Green Hornet" and the infamous flex buses. Help from my friends Johnny Otis, Frank Driggs, Harold "Stemsie" Hunter, and Marcia Hunter came in the form of encouragement and reassurances that my book had merit and that I should remain confident.
Dude would relay Pluke's instructions to his own students while offering encouragement and praise to each aspiring young player. An old trumpet in fair condition was acquired from some charitable person in the neighborhood, and my brother Norman, eight years my senior, was assigned to it. A number of other boys shared the trumpet for lessons. I was at a stage where I seemed insincere about learning music, and Dude did not feel I had much, if any, musical aptitude. Nevertheless, he assigned me to the trumpet as well, even though very little time was spent instructing me.
My memory banks weren't erased after all, just sleeping, waiting for Preston to jog them back to the surface with this book. Even as a kid, Preston was a dominant personalityhighly opinionated, and very emotional about his ideas on music. Woe to the individual who voiced a negative thought about the Count Basie band. A sharp dressing down was the least he could expect. Most of us in the Lloyd Hunter and Nat Towles bands shared his enthusiasm for the Basie band, but Preston served as our philosophical spearhead.