#Bud Gardner

[sesiondemadrugada]

The Atrocity Exhibition (Jonathan Weiss, 1998).

[scenesandscreens]

The Atrocity Exhibition (1998)

Director - Jonathan Weiss, Cinematography - Bud Gardner

[humanafterail]

★ 'You have two seconds to turn the fuck back before I turn your lake friend into jelly!' The lake behind roared as Veldycher lifted up a hand, rising the water higher, Caligosto's companion, Linda, stuck at the top of the large water pillar. 'You psychonauts know no common sense, huh? I already told you I'm not coming back!'

@acr0batspy ; older!Veldycher @ Caligosto

cal sighed as his googles tracked the ascent of his lungfish friend, humming as he gathered vines to start rising up, before deciding to leap into the swirling vortex of water, making a bubble of air around himself

“we can talk this out! you dont actually have to do any of this! and my common sense is focused on teeth and teeth related activities i’d have you know!”

cal yelled as he ascended the water, grabbing his fish before leaping off the towering pillar, landing on the vines that had snaked up nearby trees to help him not break his legs again

[thepathwechooseif]

DEMO

In the English countryside in 1914, you live with your two children on your late husband’s grand estate. Two years have passed since the tragic sinking of the Titanic, from which you became a single parent.

Though surrounded by wealth and community, you remain lost in a fog of grief. But with the arrival of summer, the neighbouring family prepares to host their annual month-long house party. Your curious children persuade you to attend, hoping the festivities will lift your sorrow.

Lucas/Lucia Bertham, the family's charming heir, bonds with your children and seems to understand you in a way others cannot. But will secrets regarding their family's future prevent love?

Azra Hays arrives, a traveling storyteller with a gift for magic in their words that soothes your soul. Gardner Isaac Hill has loved you in silence, finding joy through your children's smiles.

More suitors await too - brilliant sculptor Zephyr Langston, whose art mirrors your heart, and Doctor Henry Bellman, who ministers to the people with patience and good humor.

As festivities crescendo with masques, fireworks and more, you start to believe in love and laughter again. But which person holds your whole heart? And will dark forces from the past destroy this new paradise you’ve begun to build?

The summer promises intrigue, blessings, and maybe a sweet romance if you can let go of history and embrace the gifts of tomorrow.

Customise your character as well as your children’s

Choose where you live and how you dress

Your choices have an impact on how society reacts to you!

Uncover secrets from your past!

Pursuing different ROs with varying levels of affection leads to unique story endings that resolve the mystery

Lucas/Lucia Bertham (m/f/nb)

The Heir, 26, Lucas/Lucia Bertham is the only child and heir to the prestigious title and lands of Bertham. They are a successful businessperson, but relish returning to their ancestral home each summer. While other young people prefer to travel abroad, they prefer the simple pleasures of country life. They take their duty as head of the manor seriously, helping tenants with an approachable demeanor. Though destined to marry well for station one day, they remain single and enjoy lively flirtations. While others dance at balls, they are the happiest hosting gatherings under the stars or riding alongside farm laborers by day. Lucas/Lucia lights up any room with their charm, wit and easy smiles. But is there a lonely heart searching for more beneath this carefree facade? As always, only time will tell what develops between Lucas/Lucia and you over the magical summer months at Bertham.

Isaac Hill(m)

The Gardner, 35, Isaac Hill has lived and worked on your estate for years. His strong, weather-worn hands coax beauty from the soil. Gardenings comes naturally to gentle-souled Isaac, as does his way with any creature in need of care. The expansive gardens are his pride and joy, a wonderland open for all to enjoy. Despite his huge build, muscular arms and calloused palms, his demeanor remains soft-spoken yet self-assured. While most village maidens sigh for officers or heirs, Isaac's gentle soul and way with children has turned many a head. But he remains devoted to coaxing new life from the earth, finding solace in small things. Perhaps amid the Bertham's blossoms, Isaac's own heart may bud anew this summer as well.

Zephyr Langston(m/f/nb)

The Sculptor, 27, Zephyr Langston hails from one of London's most prestigious arts families. Though young, their sculptures have already gained fame across England. While many London soirees vie for their presence, Zephyr relishes escaping to the countryside each summer. Using moody landscapes as inspiration, they work tirelessly to capture fleeting emotions in stone. Some say their sculptures are too sensually lifelike, but the Berthams proudly collect their edgy works. Zephyr charms salon attendees but remains unmarried, focused solely on their "passionate mistress," their art. Though prone to brooding moody spells while working, they come alive at parties with a playful wit. Could this summer be when they find inspiration of the heart as well as hands among the Bertham estate's rolling hills?

Henry Bellman(m)

The Doctor, 29, though young, he runs the village medical practice with a maturity beyond his years. What he lacks in words, Henry more than makes up for with his compassionate bedside manner. He listens with steady brown eyes that seem to see into patients' very souls. While others chat idly, Henry prefers observing life unfold with subtle calm. An avid reader, he's as learned as any university man but without pretense. More than one farmer's daughter has blushed starry-eyed receiving his attentions, yet he remains a bachelor focused solely on his work. The Berthams value Lucas greatly for his discretion and healing touch. But does his solemn façade hide deeper passions waiting to emerge? As always, only time will tell what mysteries lie beneath the calm exterior of Doctor Henry Bellman, and what intrigues he may stir in your heart this season.

Azra Hays(m/f/nb)

The Storyteller, 27, Azra Hays is a free spirit , with mischievous eyes like the summer sky. While others settle, Azra is happiest wandering the countryside in their worn boots, flute in hand.They’re a jack of all trades but lives for their art - spinning spellbinding tales that transport listeners far from their daily toils. With their easy smile and flirty manner, Azra charms all they meet. Yet beneath this bohemian exterior beats a kind and generous heart, always helping travelers in need. An orphan from youth, they never take their freedom or talents for granted. Azra makes their coin sharing folklore, gossip and bawdy jokes in villages along their route. But they save their most magical stories for moonlit campfires, weaving magic that leaves audiences in awe. Some say their nose for intrigue could even rival the Sherlock Holmes tales. Will Azra linger longer this year among Bertham's gardens and party revelries? Is there feeling breeding beyond friendship beneath Azra's roguish charm? As always, only time will tell the true depth of bonds woven beneath the summer stars.

[97keanu]

hey! you could write with john wick coming home to find his wife in the garden with the "garden boy" who clearly likes her but she doesn't realize it. i imagine john being subtle and quiet with his jealousies, nothing too scandalous but serious and direct. fluffly, please and thank you so much 🩷

*˚₊· ͟͟͞͞➳I loved this idea so much! I hope you like it, feel free to ask for any expanding drabbles of these two <3

Jealous!John Wick x Naive!Reader

Tags: john is jealous, reader is naive about his jealousies, gardener def has a crush but would rather quit than act on it with john always around, age gap mention, lower class reader in a rich world, possessive john, protective john, primal john

Summer was dying, August dragging out the heat of July, telling the world it was unready to leave just yet. And you, well, you were enjoying the last of the long days, the time when sunset went on for ages, and burned in the sky a blazing orange over your backyard. You always loved the sun, how it turned everything golden each evening, and how it kissed your skin with its heat. 

You were barely breaking a sweat, laying out by the pool while the gardener worked on the bushes. He was young. More around your age than your husband John. Which was nice sometimes, when you got to converse with him, both because of his age, and like you he wasn't from a wealthy background. It kept you a bit more grounded while the life of luxury continued on around you, it was nice to confide in him. 

Unfortunately, what you never noticed was the gardeners wandering eyes. Even now, as you lay out in your bikini, eyes closed and skin happy to drink up the suns rays, he can't help but to watch you. If you asked the gardener about it, he would never admit to his little crush on you. As much as that would be unprofessional of him, he also has no interest in messing with his employer, John Wick. There were rumors, you know, about John coming home, bruised and bloody, a painting of struggle on his skin, the smell of gunpowder on his suit. The gardner has even caught a glimpse before, and watched as you greet your husband as a source of safety and comfort. No one asked why it was that John came home in such a state, but everyone knew, and because of that, the gardener would never pursue you. He would remain a healthy confidant, easing your worries in the world of the rich, and letting you keep in touch with the world outside the private neighborhood. 

The gardener still steals a look or two while he thinks he can get away with it. His headphones buzz with music, drowning out the weed whacker as well as much of his own thoughts. He idly appreciated your body and your beauty from afar, before his stomach drops. He felt for only a moment that he was the one being watched now, and when his eyes flicker up, he meets a set of dark, dangerous eyes. John has entered the backyard, likely in search of his wife, who is currently enjoying the last days of summer. The most frightening part is how close he is, the gardner had no idea that John had snuck up behind him, and now he feels the trail of sweat down his back running cold.

Instead of finding his wife, John sees this man, who he pays handsomely to do work John has no time for, drooling over his wife. The gardener quickly looks away, trying to be busy with work, but the feeling of John's gaze never leaves his back. He starts to feel sweaty for reasons besides the burning August heat, and does everything he can to stop from looking over his back once more. There was just something about John that scared him to his core, and he felt he should trust that feeling if he were to survive. 

Unfortunately for the gardener, John isn't finished. He feels John remove one of his ear buds, the man now so close he can smell John's expensive taste in cologne. 

"I don't pay you to eye fuck my wife." John growls out, assertive and serious. 

"N-no, of course not, Mr. Wick…" The gardener quickly tries to find his way out of this mess, John's cold eyes are enough to scare him away from looking at you for a good long while. 

"Good. I suggest you go home for the night." John maintains professionalism always, but the thoughts running through his head tell a different story. The gardener can practically see these thoughts and takes John's suggestion, quickly moving away to pack up. 

Meanwhile, you don't even know this interaction has happened, eyes closed lightly, sunglasses blocking out the sun. It isn't until John's lips kiss and whisper against your cheek, that you realize your husband is home for the day. Your eyelids flutter open, happy to see his dark form against the dulling blue sky. He looks at you with a small fire in his eyes, and you have no idea he is trying to show off while he continues to kiss down your neck. 

He's halfway to your breast, maybe more,  when you glimpse the gardener beginning to pack up in a haste, and gently pull John away, for modesty if anything. You notice the gardener refuses to look in your direction and wonder why.

"John, wait…" You say softly, and John let's out a small noise of annoyance that his lips must be pulled from your soft skin. 

"What's wrong?" His voice is low, gruff. 

"Let's wait until…" Your eyes finish your sentence, looking towards the gardener once more. John scoffs when he sees where your gaze is going. 

"What? I'm not allowed to lay claim to you in front of the staff?" He says, almost arrogantly. You aren't exactly surprised, John has always been protective, if not possessive. You don't mind it much, in fact sometimes it even turned you on how primal he could be about it. But you also thought you had tamed his jealousy regarding the gardener months ago. 

"You don't have to claim me, John, I'm already yours…" You say with a smirk, kissing right under his well kept beard. John seems to be calmed for the moment by your words, and while he enjoys your kiss, the gardner slips away for the night, safe once again for now. 

John's eyes open when your lips leave his neck, and he looks down at you, perplexed. 

"Why'd you stop…?" He breathes out, voice already dripping, husky with want. You smirk, and stand from where you were sun tanning, taking his hand and pulling him to the house. 

[marine-indie-gal]

Space Goofettes

My Personal Take on the Genderbend! Space Goofs after seeing someone else's own version, I've been wanting to do an Hypothetical Rule 63 AU on One of My Favorite Obscure Cartoons since it's been so long that I've done some Genderswaps (which is really a huge fun challenge to Me).

Also including some GB Earthlings (both Canon and My OCs from my AU) as Well.

While making my own takes, I already came up with some Names for each of the Characters.

Aliens:

Etno Polino - Laia Isola

Candy (formerly "Candle") Hector Caramella - Dandy (formerly "Danielle") Melinda Dalgona (Still a Non-Binary/Transgender)

Gorgious Klatoo - Beauty Caamino

Bud Budiovitch - Kush Kushette

Stereo Monovici - Radio Bianchi

Earthlings:

Star - Sirius

Ambre Lou Astrean - Ambrose Loup Astrean

Dr. Sigmond Viktor "Saccharin" - Dr. Sigmonia Viktoria "Saccharina"

Boris "Igor" - Doris "Igora"

Lucien Bolok - Lucienne Boloka

Ugarte - Ugarta

Lukas "Kai" Cadell - Lucca "Kay" Cadell

Kiko - Kiki

Tyson B. Adakai - Tyra B. Adakai

Posey - Basil

Jayda "Jade" Nicholson - Jayden "Jay" Nicholson

Cleo - Cleon

Matthew "Mathias" - Mattea "Matty" Gardner

Patches - Buttons

Fitzy - Fizzy

Fergus - Fergie

(Didn't have enough time to also GB My Human Adult OCs including the Parents as well as Fitzy & Fergus' Owners).

Before anyone dares to question Me, yeah, I changed the Space Goofs' surnames only for My Take mainly because I wanted to pull up a "Twist" around the Names, including adding Different Letters from the Alphabet like in some Masculine/Feminine Name Counterparts in their First Names just to sound more "akin" like to the Original Counterpart Names (like fitting in within a Rhythm based on their similar nature attached to the Said Name).

I also found out that apparently the word, "Etno" is Neptunian (as in the Planet, "Neptune" named after the Roman God) in which I twisted for Fem! Etno into "Laia" like a similar tongue-roll to "Salacia" (also a Planet named after another Roman Deity who was also Neptune's Wife) which is completely funny to Me because I happened to be a Big Huge Greco-Roman Myth nerd, lol.

I also have Another Version of Genderbend! Ambre (Ambrose) showing both designs based on My Redesign and the Canon Version from the Cancelled Movie.

Space Goofs (x) Xilam

Space Goofs OCs (c) Me

[satosktty]

The Gardner: Satoru Gojo and Phytophilia

In the Jujutsu Kaisen verse, the two strongest see humans as lesser, because of their strength. Sukuna sees the weak as insects; to crush, to disregard and as nuisances. Satoru sees them as plants, flowers.

The people around Satoru; his students, civilians; he speaks of them as if they're different from him. The sheer gap in strength but also Satoru's innate sense of morality is what makes the weak less of a nuisance to him ( constrating his pre-Riko high school personality; still love my baby ) and more of something to protect.

His students are his biggest plants; he waters them, he feeds them with the sunlight that comes with the fleeting youth of jujutsu sorcerers, and he nutures them with the hopes they will grow large enough to where he won't leave them behind. He will not stop evolving for them to grow as well; but he gives them so much where it's impossible not to grow. Like every gardener, he pulls the weeds that stunt his plants growth; the higher ups they want his students dead, or any other force he can prevent. While he wants his plants to grow to be able to fight off these things, he is still there if need be.

The civilians are much smaller plants that he still gives plenty of attention to. He still pushes himself beyond the limits of other sorcerer's ability to save his plants, he still watches them. As Satoru nutures these flowers, he cannot hope for them to grow as big as his other plants; they are small and weak, but he continues to tend to them.

The garderner does not gain from his love and care towards these plants; he may admire how fast one grows or how beautiful the next is, or how the small seedling has turned into a venus fly trap that can catch it's own food; but it will never be able to return the favor; for it is still a plant, and he is still the gardener.

Satoru is okay with this, continues to nurture, and finds reward in seeing the smallest of lotus-buds continue to grow. These are plants that require the atmost special attention; where the slightest of change can lead to their wilt. They need the hands of the strongest.

based off of this excerpt I read !

[influenzalake]

Heroes who I think would give unsolicited "relationship advice" to Damian and Jon

 

JL, Titans, whoever,     kind of x reader, kind of not, just a fun blurb because I had it in my brain 

- - - 

- Green Lantern (Hal Jordan)  

self proclaimed "expert", will give way too much information at once and will send the boys away with their hands over their ears going LALALLALAAL

- Green Lantern (Guy Gardner)  

^these two fools think they know everything there is to know about love and... other things, Guy is no exception

-  Plastic Man (Patrick O'Brian) 

gives his "advice" then realizes how well that worked out for him in his own life...

- Booster Gold (Micheal Carter) 

will throw an arm around both boys for an uncle approach, ready to "educate" the young men, just ends up taking a punch *or two

- Beast Boy (Garfield Logan)

will go into listing his many past flings and flames, but his "advice" doesnt really get anywhere and honestly everybody is just confused 

- Starfire

gives a lore presentation about relationships from her home planet, sadly none of which can be applied to their situation

- Nightwing (Dick Grayson)      

will bud in just to tease Damian lol

- Red Hood (Jason Todd)                   

will bud in, also just to tease Damian 

- Green Arrow (Oliver Queen) 

I think he would start off with some good points, but would end up lecturing and getting too personal

- Lobo

hero? antihero? not really a hero depending on writer? either way he 100% budges into the conversation and gives a speil about how to "get some"

- Oracle / Batgirl (Barbara Gordon) 

will try to steer the conversation to a more productive route, but ends up over analyzing every single possibility in compatibility and relationship metrics 

- Vixen (Mari McCabe)

tells the boys to be upfront and honest, inspiring them to be confident and self assured, and if their intended doesnt like that, too bad! get a new one

[marvelman901]

X-Man vol 1 20 (1996)

The Mourning After

Written by Terry Kavanagh

Penciled by Steve Skroce

Inked by Bud LaRosa

Colors by Dana Moreshead and Malibu Color

Lettered by Richard Starkings and David Lanphear

Edited by Jaye Gardner

Cover by Steve Skroce and Bud LaRosa

Nate Grey found Threnody in the New York sewers and fought The Abomination...

[chickenroost]

Witch: A Beginner’s Guide (Some Terms to Know and Advice)

Know the risks.

Witchcraft isn’t just fun and games; perks like hexes and love spells can come with a price.

Choose your path.

There’s no shortage of types of witchcraft, meaning there’s also no shortage of choices for an aspiring witch. Rather than get overwhelmed, get your bearings by having at least a basic understanding of the terms below.

Paganism: An umbrella term for religions other than the Abrahamic faiths of Christianity, Judaism, and Islam that typically places emphasis on the earth and nature. Its modern-day practitioners are known as neo-pagans.

Wicca: A religion that’s perhaps the popularized form neo-paganism, thanks in large part to the so-called Father of Wicca, Gerald Gardner, who cultivated his specific ideology, now known as Gardnerian Wicca, in the mid-1900s. Whereas witches are typically thought of as women, many Wiccans are men and worship both a god and a goddess. What was initially thought of as an anti-monotheistic gesture, though, has more recently been criticized for espousing heterosexuality and the idea of a gender binary, which was, in part, what led to the emergence of Dianic Wicca, in the 1970s, for those who chose to only worship the goddess and to do so only in the presence of women—a policy that’s since proven to be problematic, as many of its covens prohibit transgender women. Ceremonial: The by-the-book practice of placing the highest value in—not to mention expertly executing—ceremonies and rituals.

Solitary: This group is made up of those who choose not to find a coven, but instead operate on their own with the type (or mix) of witchcraft that they choose.

Eclecticism: A more social route for those who choose not to stick to a particular category but instead mix traditions as they please.

*note: the above is by no means an extensive or complete list, but does provide several examples of existing paths.

Learn the terminology.

Before that deep dive, though, any beginner should have at least cursory knowledge of the terms listed below.

Initiation: The rites that put a budding witch on the path to making things official, by joining a coven after studying its practice, traditionally for a year and a day. The initiations that follow eventually allow the initiate the opportunity to become a high priest or high priestess; those with enough knowledge, experience, and dedication can become the leader of a Wiccan coven.

Coven: A gathering or community of initiated witches, usually led by a high priest and/or high priestess. If a coven is Wiccan, their meetings often involve sabbats, which are celebrations of the annual cycle of seasonal festivals known as the Wheel of the Year. (Non-sabbat meetings, such as the observation of a full moon, are known as esbats.)

Familiar: An animal-shaped spirit that serves as a witch’s spy, assistant, companion, and protector—the classic example of which is Sabrina’s black cat, Salem. Altar: A surface that a Wiccan uses solely for activities such as casting spells, chanting, and worshipping the god and/or goddess. Typically, the altar is covered in a symbol-adorned cloth, which protects it from ash, liquids, and candle wax, as well as religious and ritual items like incense, wands, chalices of water, and cauldrons.

Pentacle: A magical tool such as an amulet or talisman that often appears on an altar, and is also often confused with a pentagram—a symbol popular in Wicca and, confusingly enough, the Church of Satan, which has pretty successfully taken ownership of its inverted version. (Inverted pentacles aren’t necessarily satanic, though Wiccans have recently largely strayed from using them to avoid that association.)

Baneful Magic: A form of magic used with dark, malevolent, and harmful intentions, commonly associated with Satanism. Spells have been used for a variety of purposes but those that are specifically used for negative and/or harmful purposes are known as jinxes, hexes, and curses. ( has a history rooted in racism as well)

Séance: A ceremony used to contact spirits, including the dead, usually with the help of a medium.

Grimoire: The umbrella term for a magic text, ranging from diaries to textbooks. Book of Shadows: A Wiccan’s personal grimoire, used to store information they need, such as thoughts, recipes, and instructions for spells, rituals, and hexes.

Study up.

Even if you think you’re sure you want to proceed, it’s best to find out what exactly you’re signing up for. Before paging through your spell books, it’s wise to do your research—particularly since the modern-day idea of witchcraft has been pieced together by a mix of legends and existing translated historical documents, leading each of the pros to have a slightly different take on the subject.

Going back to the first step of knowing the risks.

[thechembow]

Denver - Day One

Oct. 18, 2023

The first day is always the hardest gifting day as the energy of a city is always horrible until there is orgonite. Denver is truly a horrendous place, sorry for anyone who lives here and likes it. It is negative and life negating, the people are heavily armored and most people seem depressed. The poverty is unimaginable.

We had a bad meal last night at a Thai restaurant that rated well on the Google reviews. Dowin Gardner had mentioned in his book, The Science of Rain, that EMF makes it harder to taste your food. I imagine that there might be some taste bud impairment here. I have literally never not liked Thai food. So we left half of it and in the morning, I decided to give it to one of the many homeless people in the city.

I saw a lady sitting in front of a closed restaurant in an isolated parking lot and I brought it over to her with a fork and napkin. She told me she had not eaten in two days, said "God bless you," and became tearful. What is really strange in Denver is that there is total chaos in the streets, crazy people everywhere, degenerates at every turn, and then there are the historic urban houses with beautiful yards and big trees, and the liberal political signs and rainbow flags, like you see around city centers in every American city with all this going on right outside. There is literally no separation.

The flyers in the sky were reacting to the changing energy throughout the day. We started with a pure blue sky because of the hundreds of orgonites in the car even before we gifted. Then in late morning, the clouds started to gather up in ways I have not seen in almost a decade in California. Denver is, after all, almost ten years behind California in orgonite concentration and the change is happening very fast. The trails cut out, curved, broke, and at one point I even was able to (barely) capture a black line in front of one of the craft.

Water vapor gathered up more and more and the sky became overcast in the afternoon, then the DOR transmuted completely and it began to evaporate. By evening, lenticular clouds were forming over the mountains and the flyers were absolutely debilitated.

The weather report says it will be in the 80s for the next two days, which I am not sure about. It felt hot in the sun because of DOR, but the thermometer in the car never went above 73 degrees today, and for much of the day it was registering in the mid 60s. I don't know where they're getting this from, but I expect a big cool down and a freak rainstorm soon!

[cabin10diaries]

katie gardner has two moms <3

she was created as a flower bud and grew a flower, then popped out of its petals after 9 months

[humanafterail]

★ 'Cally?' An older Razputin asked, half-heartily. Fidgetting with his gloves as he said this, not daring to look at his mentor. 'Am I as bad as Maligula?'

@acr0batspy ; for caligosto -v-

cal turned from his koi pond with a small frown on his face, standing up slowly and taking the smaller hand in his own, humming softly as he lead the other to the secluded spot, surrounded by willows and waterlilies

“of course not little bud, what makes you think that?”

cals hands were gentle as they brushed back the others hair, gently tying it up as they sat with him, the flow of the pond near to them as soothing as cal could make it

[kwebtv]

The Father Knows Best Reunion - NBC - May 15, 1977

Family

Running Time: 78 minutes

Stars:

Robert Young as James "Jim" Anderson

Jane Wyatt as Margaret Anderson

Elinor Donahue as Betty Anderson

Bill Gray as James "Bud" Anderson Jr.

Lauren Chapin as Kathy Anderson

Jim McMullan as Frank

Susan Adams as Jeanne

Hal England as Jason

Nellie Bellflower as Marybeth

Peter Kastner as Claude

Christopher Gardner as Robbie

Kyle Richards as Ellen

Cari Ann Warder as Jenny

George O. Petrie as Dr. Evans

Noel Conlon as Rev. Lockwood

[heritagehotelofquincy]

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The Heritage Hotel of Quincy isn’t just a place to stay; it’s a place to make memories, share laughs, and maybe even take the best nap of your life. We’ll see you soon—and don’t forget to pack your sense of humor!

[jpbjazz]

LÉGENDES DU JAZZ

JIMMY SMITH, PÈRE DU JAZZ SOUL

"Jimmy was one of the greatest and most innovative musicians of our time. I love the man and I love the music."

- Joey DeFrancesco

Né le 8 décembre 1925 (même si sa famille prétend qu’il est plutôt né en 1928) à Norristown, en Pennsylvanie, James Oscar Smith était le fils des pianistes Willie et Agnes Smith. Smith avait deux soeurs, Janet et Anita. Même s’il occupait un emploi de plâtrier durant le jour, le père de Smith était un pianiste de stride plutôt rénommé sur le plan local.

Après avoir appris à jouer du piano avec ses parents à l’âge de quatre ans, Smith avait commencé à jouer et à danser dans les clubs avec son père à l’âge de six ans.Dès l’âge de douze ans, Smith avait participé à de nombreux concours d’amateurs. Il avait notamment été couronné vainqueur d’un concours amateur à la radio de Philadelphie comme pianiste de boogie woogie.  Smith était tellement avancé pour son âge qu’il maîtrisait parfaitement le stride à l’âge de seulement quatorze ans. À l’adolescence, Smith avait aussi travaillé comme commis dans un magasin de souliers et lavé les fenêtres pour des commerces de la ville.

Smith avait abandonné l’école à l’âge de treize ans pour subvenir aux besoins de sa famille car son père ne pouvait plus travailler après s’être blessé aux genoux. Après s’être enrôlé dans la Marine en 1943 à l’âge de seulement quinze ans, Smith avait joué dans un groupe entièrement composé de musiciens de couleur. Après avoir été démobilisé en 1947, Smith avait poursuivi son éducation musicale à la Halsey Music School où il avait étudié l’harmonie et la théorie. Par la suite, Smith avait fréquenté durant un an le Royal Hamilton College of Music où il avait étudié le piano classique, la contrebasse et la théorie avant de s’inscrire à la Leo Ornstein School of Music de Philadelphie où il avait appris le piano et la contrebasse de 1949 à 1950. Même si Smith était ne savait pas lire la musique (ce qui était un pré-requis pour étudier la musique de façon formelle), il avait réussi à contourner cette difficulté en mémorisant les pièces qu’il devait jouer devant ses professeurs.

Très influencé par les saxophonistes Don Byas, Arnett Cobb et Coleman Hawkins, et aussi par les pianistes Art Tatum, Erroll Garner et Bud Powell, Smith avait développé un style très personnel en interprétant les parties de cuivres avec sa main droite. Smith avait également créé un nouveau registre pour l’orgue dans lequel il avait imité le son de Garner, ce qui avait établi un standard pour les futurs organistes. Expliquant l’influence que les saxophonistes avaient exercée sur son jeu, Smith avait commenté: "I copped my solos from horn players. I don't listen to keyboard players. I can't get what I want from keyboard players." Dans une autre entrevue, Smith avait précisé: "While others think of the organ as a full orchestra, I think of it as a horn. I wanted that single-line sound like a trumpet, a tenor or an alto saxophone."

Même si la région de Philadelphie était reconnue pour le style agressif de ses organistes qui combinaient le blues et le bebop, c’est Smith qui était devenu le roi du nouveau stule en raison de son utilisation adroite des pédales. Comme l’avait déclaré l’organiste Jimmy McGriff: "It was organ city but Jimmy was the king because he knew how to use his feet more effectively than any of us.’’

DÉBUTS DE CARRIÈRE

C’est en 1951 que Smith avait commencé à explorer les possibilités de l’orgue Hammond. De 1951 à 1954, Smith avait joué du piano, puis de l’orgue, dans des groupes de rhythm & blues de Philadelphie comme ceux de Don Gardner and the Sonotones. Parallèlement à ses activités de musicien, Smith avait aussi travaillé dans la construction et dans l’industrie des chemins de fer.

Smith avait fait ses débuts comme organiste de jazz à Atlantic City à l’été 1955. Au cours de cette période, Smith avait également participé à des jam sessions dans les clubs de Philadelphie dans le cadre de ce qu’on appelait le ‘’bump piano.’’ Comme Smith l’avait expliqué plus tard, le bump piano était une combinaison hétéroclite de musiciens et d’instruments où l’improvisation régnait en maître. Smith avait déclaré: “If you repeat yourself, you get bumped. Just one note or one bass line, one anything— you bumped!”

Invité par Charlie Parker à prendre la relève de son pianiste, Smith avait participé à la première session bop de sa carrière. Mais au moment où il s’était joint aux Sonotones de Don Gardner, Smith était de plus en plus insatisfait de la qualité des pianos sur lesquels il était appelé à jouer dans les clubs. Il expliquait: “The pianos were always so out of tune, it was ridiculous. Plus, the ivory was so worn out on the keys, I was getting blisters from playing on the wood.” 

Vers 1954, Smith avait entendu parler d’un organiste de jazz appelé Wild Bill Davis. Intrigué, Smith était allé voir jouer Davis dans une boîte de New York appelée The Harlem Club. Même si Davis avait tenté de décourager Smith d’adopter l’orgue Hammond en lui disant qu’il lui faudrait des années seulement pour maîtriser les pédales, rien n’avait pu divertir le jeune organiste de sa nouvelle passion. Après s’être acheté son premier orgue Hammond, Smith avait transporté l’instrument dans l’entrepôt où il travaillait avec son père comme plâtrier. Après avoir pratiqué durant un an, Smith avait formé un trio qui avait remporté un grand succès. Comme Smith l’avait précisé plus tard: ‘’I got my organ from a loan shark [who] had it shipped to the warehouse. I stayed in that warehouse, I would say, six months to a year. I would do just like the guys do—take my lunch, then I’d go and set down at this beast.” 

Décrivant sa passion pour l’orgue Hammond, Smith avait commenté: “The Hammond has body. It’s got depth—and resonance. It’s got clarity—and quality. And you can feel it. It’s not so much that you can hear it. It’s the feeling that’s important. You see, it’s like a drummer. You don’t want to hear him. You want to feel him. You can have the best drummer in the world, but if he’s too loud, he’s out of place. With the Hammond, you feel it in your bones.” Commentant les débuts de Smith sur la scène du jazz, l’historien Scott Yanow avait précisé: "The emergence of Jimmy Smith in 1956 was quite noteworthy. Here was an organist who could play his instrument with the facility of a Charlie Parker and yet could also dig into a lowdown blues."

Smith avait aussi joué en solo au club Small's Paradise de Harlem en 1956.

Après avoir entendu Smith jouer dans un club de Philadelphie à l’invitation de son gérant en janvier 1956, le producteur Alfred Lion des disques Blue Note lui avait immédiatement fait signer un contrat. La même année, Smith avait enregistré un premier album intitulé New Sound, New Star qui avait remporté un certain succès. Le second album de Smith était intitulé  et The Champ l’avait rapidement établi comme un artiste incontournable. Mais c’est surtout une session-marathon tenue en février 1957 qui avait assuré la célébrité de Smith. Les pièces enregistrées au cours de cette session ont été réédités sur CD au milieu des années 1990 sous le titre de The Complete February 1957 Jimmy Smith Blue Note Sessions.

Sous le nom de scène de The Incredible Jimmy Smith, l’organiste avait participé à une quarantaine de sessions pour Blue Note en seulement huit ans, ce qui lui avait permis de collaborer avec de grands noms du jazz comme Kenny Burrell, Lou Donaldson, Jackie McLean, Wes Montgomery, Donald "Duck" Bailey, Grady Tate, Tina Brooks, Grant Green, Art Blakey, Lee Morgan, Ike Quebec, Percy France et Stanley Turrentine. En réalité, les premières ‘’sessions’’ auxquelles Smith avait participé de 1957 à 1960 étaient des jam sessions qui comprenaient de longues pièces de quinze à vingt minutes qui donnaient beaucoup de temps aux musiciens pour improviser et exécuter leurs solos. Les explorations de Smith à la fin des années 1950 avaient d’ailleurs joué un grand rôle dans le développement du bebop et du soul jazz, un nouveau style de musique qui incorporait le R & B, le gospel et le blues.

Le succès remporté par Smith avec Blue Note, notamment avec des albums comme  A New Sound, A New Star: Jimmy Smith at the Organ, Vols. 1–2 (1956) et The Sermon! (1958), avait d’ailleurs contribué à en faire une compagnie de disques majeure.

Les apparitions de Smith au club Birdland et au Festival de Jazz de Newport en 1957 avaient également établi sa réputation comme premier organiste vedette de l’histoire du jazz. Le 31 mars 1957, Smith avait épousé Edna Joy Goins, qui était également sa gérante. Le couple avait eu deux filles, Jia et Connie, ainsi qu’un fils, qui avait été baptisé sous le nom de Jimmy II.

Parmi les albums marquants de cette période, on remarquait notamment The Sermon! (1957), House Party (1958), Home Cooking' (1961), Midnight Special (1961), Back at the Chicken Shack (1960) et Prayer Meetin' (1964). Après s’être installé à New York, Smith avait fait ses débuts au Café Bohemia.

Après avoir signé avec les disques Verve en 1963, Smith avait connu un grand succès commercial avec l’album Bashin', qui comprenait notamment le simple “Walk on the Wild Side.” C’était la première fois que Smith travaillait avec un big band. L’orchestre était dirigé par le grand arrangeur et compositeur Oliver Nelson. Par la suite, Smith avait collaboré avec d’autres big bands dirigés par le compositeur et arrangeur Lalo Schifrin (album The Cat en 1964) et le guitariste Wes Montgomery. Smith avait enregistré deux albums avec Montgomery: The Dynamic Duo (1966) et Further Adventures of Jimmy and Wes (1968). Les autres albums de la période comprenaient Bashin' (1962), Blue Bash! (1963) et Organ Grinder Swing (1965) (avec le guitariste Kenny Burrell), The Boss (avec George Benson en 1968), Any Number Can Win (1963), Who's Afraid of Virginia Woolf? (1964), Got My Mojo Working (1966), Peter & The Wolf (1966), Christmas Cookin'  (1966), Hoochie Coochie Man (1966) et Root Down (1972). Smith avait enregistré un total de trente albums pour les disques Verve au cours de sa carrière.

Dans les années 1950 et 1960, Smith s’était presque uniquement produit en concert avec un trio orgue, guitare et batterie. Le trio de Smith avait également interprété "When Johnny Comes Marching Home" et "The Sermon" dans le film Get Yourself a College Girl (1964). Smith avait continué de faire des tournées régulières dans les années 1960 et 1970. Il avait aussi continué d’enregistrer des albums à succès pour les disques Verve.

En 1970, Smith avait ouvert son propre club dans la vallée de San Fernando à Los Angeles où il s’était produit régulièrement avec un quintet composé d’Herman Riley et John F. Phillips aux saxophones, de Stanley Behrens à l’harmonica et à la flûte et de Kenny Dixon à la batterie. Malheureusement, le club avait remporté un succès mitigé et il avait été contraint de fermer ses portes en 1973.

Au début des années 1970, la carrière de Smith était d’ailleurs sur la pente descendante. Les dernières années du contrat de Smith avec les disques Verve n’avaient d’ailleurs pas toujours obtenu des commentaires favorables des critiques. Dans une tentative de rendre l’orgue plus populaire auprès du grand public, les disques Verve avaient incité Smith à enregistrer ses propres versions de succès populaires comme ‘’Satisfaction’’ des Rolling Stones. Finalement, le contrat de Smith avec Verve s’était terminé en 1972.

Malgré tout, il y avait eu quelques signes encourageants. L’album de 1972 Root Down, qui serait plus tard considéré comme une influence majeure par les futures générations de musiciens funk et hip-hop, avait été enregistré au club de Smith, mais avec un groupe différent. Holle Thee Maxwell, qui était connue à l’époque sous le nom de Holly Maxwell, avait été la chanteuse du groupe de Smith durant deux ans à la fin des années 1970. Le groupe était en tournée en Afrique du Sud en 1978 lorsqu’il avait enregistré l’album Jimmy Smith Plays for the People.

Afin de relancer sa carrière, Smith avait fondé sa propre maison de disques, Mojo Records en 1974. Il avait même fait des tournées en Europe et en Israël. Les succès avaient cependant été mitigés, car à l’époque, l’orgue était de moins en moins populaire et sa sonorité jadis si rafraîchissante était devenue de plus en plus dépassée devant l’émergence des synthétiseurs et autres claviers électroniques. Smith était d’ailleurs convaincu à l’époque que les synthétiseurs n’étaient qu’une mode passagère et que l’orgue retrouverait bientôt ses lettres de noblesse.

DERNIÈRES ANNÉES

Au début des années 1980, Smith avait effectué un retour avec Off the Top, son premier album enregistré pour une compagnie majeure en près de dix ans. Le critique et historien Scott Yanow expliquait: ‘’Smith plays some unusual material {…} on this LP, but swings everything and has a particularly strong supporting cast." Dans les années 1990, malgré un bras cassé, Smith avait fait deux tournées en Europe et avait fait une apparition au Festival de jazz de Galsgow. Rob Adams écrivait dans le Glasgow Herald:  "With British outfits such as the James Taylor Quartet and the Tommy Chase Band championing the Hammond sound, audiences over here were primed for the live experience of what had become known as acid jazz's originator."

Smith, qui avait connu un regain de popularité dans les années 1980 et 1990, avait de nouveau enregistré pour Blue Note et Verve, ainsi que pour les disques Elektra and Milestone. Au cours de cette période, Smith avait également enregistré avec Quincy Jones, Frank Sinatra, Michael Jackson (on peut l’entendre sur la pièce-titre de l’album Bad dans laquelle il avait de nouveau redéfini l’utilisation de l’orgue Hammond B-3), Dee Dee Bridgewater et Joey DeFrancesco. Dans les années 1990, le jazz ‘’vintage’’ traversant une période de renaissance, la musique de Smith avait été reprise par une nouvelle génération d’artistes électroniques. Les disques Blue Note et Verve avaient réédité plusieurs classiques de Smith, dont Angel Eyes (1995). Les disques Blue Note avaient également publié en 1993 un album double contenant l’enregistrement d’un concert de Smith au Japon. Le concert mettait aussi en vedette le collaborateur de longue date de Smith, le guitariste Kenny Burrell.

Dans les années 1990, alors qu’il se produisait dans un restaurant de Sacramento dont il était propriétaire, Smith s’était rendu dans un studio de Nashville où il avait enregistré son dernier album pour les disques Verve, Dot Com Blues. En 1999, Smith avait également été artiste-invité sur deux pièces de l’album live Incredible! de son protégé Joey DeFrancesco.

En 2001, Smith avait publié un premier album en cinq ans intitulé Dot Com Blues, qui comprenait comme artistes invités B. B. King, Joey DeFrancesco, Dr. John, Taj Mahal,  Keb' Mo' et Etta James. Le dernier album de Smith, Legacy, a été publié à titre posthume en 2005 et comprenait plusieurs de ses grands succès.

Smith et son épouse s’étaient installés à Scottsdale, en Arizona, en 2004. Malheureusement, l’épouse de Smith, Edna, est décédée d’un cancer quelques mois plus tard. Après avoir enregistré Legacy avec Joey DeFrancesco, Smith se préparait à partir en tournée lorsqu’il était décédé dans son sommeil le 8 février 2005. Il était âgé de soixante-dix-seize ans. C’est le gérant de Smith, Robert Clayton, qui avait découvert la dépouille de l’artiste dans sa résidence. Ont survécu à Smith ses trois enfants,  Jia, Connie and Jimmy, Jr., son gendre Michael Ward ainsi que ses soeurs Janet Taylor and Anita Jones.

Rendant hommage à Smith après sa mort, son élève Joey DeFrancesco avait déclaré: "Jimmy was one of the greatest and most innovative musicians of our time. I love the man and I love the music."

Lauréat de nombreux prix, Smith a notamment été élu ‘’Jazz Master’’ par la National Endowment for the Arts en 2005. En 1964, Smith avait également remporté un prix Grammy pour l’album The Cat. La même année, il avait été élu meilleur organiste de jazz dans le cadre du sondage des lecteurs du magazine Down Beat. C’est d’ailleurs grâce à Smith que l’orgue, qui était jusqu’alors relégué à la catégorie ‘’instruments divers’’ avait obtenu une catégorie digne de ce nom. La même année, Smith avait remporté plus de 4400 votes, soit 569 de plus que son plus proche compétiteur.

Même si d’autres artistes comme Fats Waller, Count Basie et Wild Bill Davis avaient déjà utilisé l’orgue électrique comme instrument de jazz, la virtuosité de Smith et ses techniques d’improvisation novatrices sur l’orgue Hammond avaient contribué à donner ses lettres de noblesse à l’orgue électrique comme instrument de jazz et de blues.

L’orgue Hammond B3 et les hauts-parleurs Leslie qui l’accompagnaient étaient dotés d’une sonorité très originale, ce qui comprenait des sons percussifs sur chaque clé. Le style de Smith sur les pièces au tempo rapide combinait un style très ‘’bluesy’’ à une sonorité très inspirée par le bebop. Smith utilisait aussi les pédales pour mettre plus d’emphase sur certaines notes.

Saluant le rôle de pionnier joué par Smith dans la popularisation de l’orgue Hammond, un instrument qui était davantage reconnu pour son utilisation par les prédicateurs itinérants que par sa valeur comme instrument de musique à part entière, Ron Wynn et Bob Porter écrivaient dans le All Music Guide: "He revolutionized the instrument, showing it could be creatively used in a jazz context and popularized in the process." Pour sa part, Richard Cook considérait Smith comme “the main reason why a whole genre of music came into being. There were organists in jazz before Jimmy Smith, but he turned the electric Hammond B-3 from an ice-rink novelty into a legitimate vehicle for keyboard players who wanted something beefier and louder than the piano.” 

Considéré comme un des fondateurs du funk, du Soul jazz et de l’acid jazz, Smith avait influencé plusieurs organistes de jazz au cours de sa carrière, dont Jimmy McGriff, Brother Jack McDuff, Shirley Scott, Don Patterson, Richard "Groove" Holmes, Joey DeFrancesco, Tony Monaco et Larry Goldings. Des claviéristes de rock comme Jon Lord, Brian Auger et Keith Emerson avaient également été marqués par le jeu de Smith. Plus tard, Smith avait aussi influencé des groupes comme Medeski, Martin & Wood et même les Beastie Boys, qui avaient utilisé un échantillonage de la pièce Root Down sur leur composition "Root Down (and Get It)".

Décrivant la contribution de Smith dans la modernisation de l’orgue comme instrument de jazz, son protégé Joey DeFrancesco avait déclaré: ‘’Before Jimmy, everyone approached the organ like a big band, with big block chords, but Jimmy did things that never were done before." Loin de se limiter aux seuls organistes, l’influence de Smith s’était également étendue à d’autres instrumentistes comme le guitariste Henry Johnson qui avait commenté: "Jimmy was playing modal things in the early '50s, and John Coltrane picked up a lot of that from him."

Doté d’un grand sens du spectacle, Smith était également reconnu pour ses mimiques et son sens de l’humour.

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