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jpbjazz · 4 months ago

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LÉGENDES DU JAZZ

ART BLAKEY, LE MESSAGER DU JAZZ “Blakey proved to be the most important mentor in jazz, introducing one great jazz talent after another by way of his Jazz Messengers—players who would go on to enjoy giant careers themselves.’’

- Peter Erskine

Né le 11 octobre 1919 à Pittsburgh, en Pennsylvanie, Arthur William Blakey était probablement le fils d’une mère célibataire connue sous le nom de Marie Roddicker ou Roddericker qui est décédée environ six mois après sa naissance. Le père biologique de Blakey, Bertram Thomas Blakey, était un barbier originaire d’Ozark en Alabama, mais sa famille s’était installée à Pittsburgh entre 1900 et 1910. Le père de Blakey aurait abandonné sa mère et son fils peu après sa naissance.

L’oncle de Blakey, Rubi Blakey, était un populaire chanteur de Pittsburgh qui était également directeur de chorale et un professeur qui avait fréquenté l’Université de Fisk, à Nashville. JEUNESSE ET ÉDUCATION Après la mort de sa mère, Blakey avait été élevé avec ses frères et soeurs par des amis ou des parents de la famille qui avaient un peu servi de famille de substitution. C’est sa cousine Sarah Oliver Parran et sa famille élargie qui auraient élevé Blakey jusqu’à ce qu’il commence à travailler dans une des usines sidérurgiques de l’endroit. Les témoignages ne s’entendent pas sur la durée du séjour de Blakey chez les Parran, même s’il est clair qu’il y a passé une bonne partie de son enfance. Même s’il était largement autodidacte, Blakey semble avoir reçu quelques leçons de piano à l’école. Selon certaines sources, Blakey aurait abandonné l’école après sa septième année pour travailler dans une usine sidérurgique et jouer de la musique le soir. C’est en jouant du piano que Blakey avait appris à diriger ses propres groupes. On raconte même qu’il dirigeait son propre groupe de danse à l’âge de quatorze ans. DÉBUTS DE CARRIÈRE C’est un peu par accident que Blakey avait troqué le piano pour la batterie au début des années 1930. On raconte qu’un propriétaire de club avait obligé Blakey à passer à la batterie afin de permettre au pianiste Erroll Garner de prendre sa place au piano. Blakey expliquait: “So I just went up there and played the show [on drums],”How, I’ll never know, but I made it.”

C’est donc un peu ‘’sur le tas’’ que Blakey avait appris à jouer de la batterie. Il précisait:

“I used to play every night. It didn’t matter how much money I was making, I just had to play every night. When we’d get through playing at night, it was daybreak. Then we’d play the breakfast show. After that we’d have a jam session, which would go on until like 2:00 in the afternoon. So maybe by 3:00 I’d get to bed, and I’d be back in the club again at 8:30. So I never stopped. I was playing all the time, so I didn’t have to worry about practicing. But when I did, I’d usually just practice on a pillow. I’d never practice on a pad because a pillow would make me pick up my sticks instead of depending on the rebound of the pad.”

Blakey avait aussi reçu des conseils précieux d’autres batteurs de Pittsburgh. Il racontait: “There was Klook [Kenny Clarke], there was a drummer named Jimmy Peck, and then there was a guy named Sammy Carter. But the guy I learned the most from in Pittsburgh was a guy named Honeyboy. That’s the cat who taught me how to play shows.” Blakey avait aussi obtenu des conseils de Chick Webb.

À l’époque, Blakey avait adopté le style agressif de batteurs de swing comme Chick Webb, Big Sid Catlett, Kaiser Marshall et Ray Bauduc. Il avait aussi été influencé par Gene Krupa et Kenny Clarke. Le rythme endiablé de la musique africaine avait également influencé Blakey, plus particulièrement après son séjour en Afrique en 1947. Même s’il avait adopté certaines techniques de percussion africaines à la suite de son séjour, Blakey ne ressentait aucune filiation particulière avec l’Afrique, car il se considérait d’abord comme un citoyen du monde. Il expliquait: “Since so many of the great jazz musicians are black, they try to connect us to Africa. But I’m an American black man. We ain’t got no connection to Africa. I imagine some of my people come from Africa, but there are some Irish people in there, too. I’m a human being and it don’t make no difference where I come from.’’

Lorsqu’on reprochait à Blakey de jouer de façon un peu trop énergique, il répondait:

“I just wanted to hear something different—to experiment. I always liked to innovate with different sounds on the drums when I started to play, because I came out of that era when the drummer played for effects. I had to learn to play a show in almost a standing position. I had to keep the bass drum going, grab this and blow that, and do a roll. But that was fantastic because it helped me get where I wanted to go and helped me find out what it was I wanted to do.’’

De 1939 à 1944, Blakey avait accompagné sa compatriote de Pittsburgh, la pianiste Mary Lou Williams, dans un engagement au club Kelly’s Stables de New York. Il avait aussi fait une tournée avec l’orchestre de Fletcher Henderson. Même si la chronologie exacte des événements n’est pas toujours claire, la plupart des sources s’accordent pour affirmer que Blakey avait joué dans le big band de Williams en 1942 avant de se joindre à l’orchestre d’Henderson un an plus tard.

Pendant qu’il jouait avec l’orchestre d’Henderson, Blakey avait été attaqué sans la moindre provocation par un policier de Georgie. La violence de cette agression était telle que Blakey avait dû se faire installer une plaque d’acier sous le crâne. À la suite de cette intervention, Blakey avait été déclaré inapte à prendre part à la Seconde Guerre mondiale. Après cette altercation, Blakey avait dirigé son propre groupe au Tic Toc Club de Boston durant une courte période. De 1944 à 1947, Blakey avait travaillé avec le big band de Billy Eckstine. C’est grâce à son association avec cette formation que Blakey avait commencé à s’associer au mouvement bebop et à ses principaux chefs de file: Miles Davis, Dexter Gordon, Fats Navarro, Dizzy Gillespie, Charlie Parker, Billie Holiday, Sarah Vaughan, etc.

En 1947, Blakey avaiit participé à plusieurs enregistrements avec le pianiste Thelonious Monk. C’est lors de ces sessions qu’avaient été enregistrées les premières versions de certains classiques de Monk comme ‘’Round Midnight’’, ‘’Well, You Needn’t’’ et ‘’Ruby My Dear.’’ Il s’agissait des premières sessions d’enregistrement de Monk comme leader.

Monk avait pris Blakey sous son aile à son arrivée à New York et l’avait aidé à faire sa place dans le milieu tumultueux des clubs new-yorkais. Comme Blakey l’avait expliqué dans une entrevue accordée au magazine Down Beat, ‘’He was my best friend.... If it hadn't been for him, I'm not so sure I would have been me. I learned so much playing with him, being with him." Blakey avait également enregistré en 1971 deux albums en trio avec Monk intitulés ‘’Something in Blue’’ et ‘’The Man I Love.’’ Ces deux sessions d’enregistrement avaient d’ailleurs été les deux dernières de la carrière de Monk. En 1947, après la dissolution du big band d’Eckstine, Blakey avait séjourné en Afrique de l’ouest durant un an afin d’explorer la culture et la religion de l’Islam. À l’époque, plusieurs Afro-Américains étaient influencés par le missionnaire musulman Kahili Ahmed Nasir. C’est à la suite de ce voyage que Blakey s’était converti à l’Islam et avait adopté le nom de Abdullag Ibu Buhaina. Il avait même dirigé un big band appelé les 17 Messengers dont tous les membres portaient le turban ! Plutôt précaire financièrement, le groupe avaient été démantelé quelque temps plus tard.

Blakey avait cependant cessé d’être un musulman pratiquant dans les années 1950. Il avait continué de jouer sous le nom d’Art Blakey durant le reste de sa carrière.

Comme Blakey le reconnaissait lui-même, "In 1947, after the Eckstine band broke up, we—took a trip to Africa. I was supposed to stay there three months and I stayed two years because I wanted to live among the people and find out just how they lived and—about the drums especially." Dans une entrevue accordée en 1979 au magazine Down Beat, Blakey avait tenu à préciser: "I didn't go to Africa to study drums – somebody wrote that – I went to Africa because there wasn't anything else for me to do. I couldn't get any gigs, and I had to work my way over on a boat. I went over there to study religion and philosophy. I didn't bother with the drums, I wasn't after that. I went over there to see what I could do about religion. When I was growing up I had no choice, I was just thrown into a church and told this is what I was going to be. I didn't want to be their Christian. I didn't like it. You could study politics in this country, but I didn't have access to the religions of the world. That's why I went to Africa. When I got back people got the idea I went there to learn about music."

Au début des années 1950, Blakey avait accompagné des musiciens de jazz comme Miles Davis, Charlie Parker, Dizzy Gillespie et Thelonious Monk, dont il aurait été le batteur de prédilection. De 1951 à 1953, Blakey avait fait une tournée avec le clarinettiste Buddy DeFranco. Le groupe comprenait aussi le pianiste Kenny Drew.

LA FONDATION DES JAZZ MESSENGERS

Le 17 décembre 1947, Blakey avait dirigé sa première session pour Blue Note, dans le cadre d’un groupe connu sous l’appellation d’’’Art Blakey’s Messengers.’’ Publiés d’abord sous forme de 78 tours, les premiers enregistrements du groupe contenaient deux pièces qui avaient plus tard été rééditées sur une compilation intitulée ‘’New Sounds.’’ À l’époque, le groupe comprenait huit musiciens parmi lesquels on remarquait Kenny Dorham, Musa Shihab, Musa Kaleem et Walter Bishop Jr.

Le nom de ‘’Messengers’’ avait éventuellement fini par s’imposer dans le cadre d’un groupe co-dirigé par Blakey et le pianiste Horace Silver, même si le nom n’avait pas été utilisé dans les premiers albums de la formation.

Le nom de Jazz Messengers avait été utilisé pour la première fois sur une session d’enregistrement de 1954 officiellement dirigée par Silver et mettant en vedette Blakey, Hank Mobley, Kenny Dorham et Doug Watkins. Le même quintet avait enregistré l’album ‘’The Jazz Messengers at the Cafe Bohemia’’ l’année suivante. Après que Donald Byrd ait remplacé Dorham à la trompette, le groupe avait enregistré un album simplement intitulé ‘’The Jazz Messengers’’ pour les disques Columbia en 1956. Blakey avait repris le nom du groupe lorsque Silver avait quitté la formation après sa première année d’existence (Silver avait apporté Mobley et Watkins avec lui pour fonder son propre quintet). Éventuellement, le nom de Blakey avait été ajouté au nom du groupe, qui se fit désormais connaître sous le titre de ‘’Art Blakey and the Jazz Messengers.’’ Blakey avait dirigé le groupe jusqu’à sa mort.

Avec le temps, les Jazz Messengers étaient devenus une sorte d’archétype des groupes de hard bop des années 1950. Le groupe jouait une version agressive de bop qui était profondément enracinée dans le blues. À la fin des années 1950, les saxophonistes Johnny Griffin et Benny Golson s’étaient brièvement joints au groupe. Golson, comme directeur musical de la formation, avait composé plusieurs classiques du jazz qui avaient été intégrés au répertoire du groupe, comme ‘’I Remember Clifford’’ (un hommage à Clifford Brown), ‘’Along Came Betty’’ et ‘’Blues March’’, et qui avaient souvent été réinterprétés par les éditions ultérieures des Jazz Messengers. Golson avait également composé les pièces ‘’Whisper Not’’ et ‘’Are You Real.’’

UNE PÉPINIÈRE DE NOUVEAUX TALENTS

De 1959 à 1961, les Jazz Messengers étaient composés de Wayne Shorter au saxophone ténor, de Lee Morgan à la trompette, de Bobby Timmons au piano et de Jymie Merritt à la contrebasse. Au cours de cette période, le groupe avait enregistré plusieurs albums pour Blue Note, dont ‘’The Big Beat’’ et ‘’A Night in Tunisia.’’ De 1961 à 1964, le groupe s’était transformé en sextet avec l’ajout du joueur de trombone Curtis Fuller. Quant à Morgan, Timmons et Merritt, ils avaient été remplacés par Freddie Hubbard, Cedar Walton et Reggie Workman.

Le groupe, qui était devenu une véritable pépinière pour les nouveaux talents, avait enregistré les albums ‘’Buhaina’s Delight’’, ‘’Caravan’’ et ‘’Free for All.’’ Même si des vétérans du jazz ressurgissaient périodiquement dans la formation, chaque nouvelle édition des Messengers comprenait un alignement de ‘’jeunes loups.’’ Un séjour chez les Messengers était souvent considéré comme un rite de passage obligé pour les jeunes recrues.

Dans les années 1960, les Jazz Messengers étaient devenus un incontournable du circuit des clubs de jazz. Le groupe avait aussi fait des tournées en Europe et dans le nord de l’Afrique. En 1960, le groupe était devenu la première formation de jazz américain à se produire au Japon. En tout et pour tout, le groupe s’était rendu au Japon à 47 reprises au cours de son histoire.

Plusieurs recrues des Messengers étaient devenus des vedettes du jazz après leur passage dans le groupe: Lee Morgan, Clifford Brown, Benny Golson, Wayne Shorter, Johnny Griffin, Freddie Hubbard, Bobby Timmons, Curtis Fuller, Hank Mobley, Ira Sullivan, Donald Byrd, Kenny Dorham, Wallace Roney, Robin Eubanks, Cedar Walton, Curtis Fuller, Slide Hampton, Jackie McLean, Chuck Mangione, Keith Jarrett, Joanne Brackeen, James Williams, Woody Shaw, Wynton Marsalis, Branford Marsalis, Gary Bartz, Jaki Byard, Lou Donaldson, Terence Blanchard, Donald Harrison, Bobby Watson, Mulgrew Miller et combien d’autres.

Blakey avait enregistré des dizaines d’albums avec les Messengers. Que le groupe ait survécu à autant de changements de personnel demeure tout un exploit. Quand on demandait à Blakey pourquoi il recourait à de jeunes pousses qui n’avaient pas encore fait leurs preuves plutôt que de miser sur la sécurité en faisant appel à des vedettes établies, il répondait simplement: "I'm gonna stay with the youngsters. When these get too old I'll get some younger ones. Keeps the mind active." Dans une entrevue accordée en 1984, Blakey avait donné une autre raison de sa persistance à engager de jeunes musiciens. Il expliquait:

‘’My current band is pretty good, but I’m going to switch up the guys pretty soon. There are so many young kids out there who need the opportunity. I don’t want nobody in my band too long, because when cats stay too long, they get complacent, get big heads, and then it’s time to get out, buddy, because there are no stars in this band: The band is the star. Besides, I like to hear different interpretations. About my favorite Jazz Messenger group was the one with Wayne [Shorter], Freddie [Hubbard], Curtis [Fuller], Jymie [Merritt], and Cedar [Walton]. Musicians like that don’t come along all the time, but if you keep combing the woods, one will turn up sooner or later. And when they get strong enough to be on their own, I let them know it—time to do your own thing. See, a lot of things that happen in my band I don’t agree with, but I want to give it a chance to develop because there are some heavy young people out there.’’

Même si la popularité des Messengers avait nettement décliné avec l’émergence du jazz-fusion dans les années 1970, Blakey avait continué de miser sur de jeunes recrues comme Terence Blanchard et Kenny Garrett. Partisan du jazz acoustique, Blakey avait toujours résisté avec tenacité à toute tentative visant à ‘’moderniser’’ le son du groupe. Il expliquait: ‘’Jazz is an art form, and you have to choose. The record company executives with an eye on trends said to me, ‘Well Blakey, if you update your music and change it, put a little rock in there, you’ll come along.’ I will not prostitute my art for that. It’s not worth it. Gain the world and lose your soul? It’s no good.”

En 1971-1972, Blakey avait quitté temporairement les Messengers pour partir en tournée avec les Giants of Jazz, un groupe tout-étoile composé de Dizzy Gillespie, Kai Winding, Sonny Stitt, Thelonious Monk et Al McKibbon. En 1974, il avait aussi participé à une légendaire bataille des batteurs avec Max Roach, Buddy Rich et Elvin Jones dans le cadre du Festival de jazz de Newport.

PROBLÈMES DE SANTÉ ET DÉCÈS

Blakey avait continué de jouer et de faire des tournées avec le groupe jusqu’à la fin des années 1980. Ralph Peterson Jr. s’était joint à la formation comme second batteur afin de suppléer à la santé défaillante de Blakey. Blakey avait joué avec tant de puissance et de furie au cours de sa carrière qu’il était pratiquement devenu sourd. Si Blakey avait pu poursuivre sa carrière, c’est qu’il jouait surtout par instinct en demeurant à l’écoute des vibrations qu’il ressentait autour de lui. Il précisait: “The only thing I can hear is music. I can hear vibrations. I take my hearing aid off when I’m on the bandstand, and I can hear better than the other musicians; I know when they’re out of tune.”

Blakey avait toujours refusé de porter des prothèses auditives sous prétexte que cela nuisait à son synchronisme.

Le saxophoniste ténor Javon Jackson, qui avait fait partie des dernières éditions des Messengers, avait prétendu que Blakey avait exagéré la diminution de ses facultés auditives. Il expliquait: "In my opinion, his deafness was a little exaggerated, and it was exaggerated by him. He didn't hear well out of one ear, but he could hear just fine out the other one. He could hear you just fine when you played something badly and he was quick to say 'Hey, you missed that there.' But anything like 'I don't think I'll be available for the next gig', he'd say 'Huh? I can't hear you.'" Un autre musicien de la dernière heure, le pianiste Geoffrey Keezer, avait affirmé que la surdité de Blakey était simulée. Il précisait: ‘'He was selectively deaf. He'd go deaf when you asked him about money, but if it was real quiet and you talked to him one-on-one, then he could hear you just fine.'"

Art Blakey a présenté son dernier concert en juillet 1990. Il est mort le 16 octobre au St. Vincent’s Hospital de Manhattan. Il était mort d’un cancer du poumon, cinq jours après son 71e anniversaire de naissance. Blakey était en tournée au Japon lorsqu’il avait dû revenir aux États-Unis précipitamment, car il croyait avoir contracté une pneumonie.

Blakey laissait dans le deuil six filles (Gwendolyn, Evelyn, Jackie, Sakeena, Kadijah et Akira) et trois garçons (Takashi, Gamal et Kenji).

Lors des funérailles de Blakey célébrées le 22 octobre 1990 à l’église Abyssinian Baptist, plusieurs anciens membres des Messengers s’étaient réunis afin d’interpréter quelques-uns des plus grands succès du groupe. Parmi ces musiciens, on remarquait Brian Lynch, Javon Jackson, Geoffrey Keezer, Wynton Marsalis, Terence Blanchard, Valery Ponomarev, Benny Golson, Donald Harrison, Essiet Okon Essiet et Kenny Washington. Au nombre des pièces interprétées, mentionnons ‘’Along Came Betty’’ de Benny Golson, ‘’Moanin’’’ de Bobby Timmons et ‘’One by One’’ de Wayne Shorter. Jackson, un membre des dernières éditions des Messengers, avait souligné à quel point ses expériences avec Blakey avaient changé sa vie. Il expliquait: "He taught me how to be a man. How to stand up and be accounted for". Jackie McLean, Ray Bryant, Dizzy Gillespie et Max Roach avaient aussi rendu hommage à Blakey lors des funérailles.

Blakey est considéré comme un des inventeurs du bebop avec Charlie Parker, Dizzy Gillespie, Charlie Christian, Thelonious Monk, Kenny Clarke et Max Roach. Rendant hommage à Blakey après sa mort, Roach avait déclaré:

‘’Art was an original… He's the only drummer whose time I recognize immediately. And his signature style was amazing; we used to call him 'Thunder.' When I first met him on 52d Street in 1944, he already had the polyrhythmic thing down. Art was perhaps the best at maintaining independence with all four limbs. He was doing it before anybody was."

Dans les notes accompagnant la série de Ken Burns sur le jazz, on pouvait lire: "Blakey is a major figure in modern jazz and an important stylist in drums. From his earliest recording sessions with Eckstine, and particularly in his historic sessions with Monk in 1947, he exudes power and originality, creating a dark cymbal sound punctuated by frequent loud snare and bass drum accents in triplets or cross-rhythms." Burns avait ajouté:

‘’Although Blakey discourages comparison of his own music with African drumming, he adopted several African devices after his visit in 1948–9, including rapping on the side of the drum and using his elbow on the tom-tom to alter the pitch. Later he organized recording sessions with multiple drummers, including some African musicians and pieces. His much-imitated trademark, the forceful closing of the hi-hat on every second and fourth beat, has been part of his style since 1950–51… A loud and domineering drummer, Blakey also listens and responds to his soloists.’’

En digne héritier des Jazz Messengers, Blakey avait toujours su garder la flamme du jazz allumée. La batteuse Cindy Blackman avait déclaré après la mort de Blakey: "When jazz was in danger of dying out [during the 1970s], there was still a scene. Art kept it going." Blakey avait participé à plus de 470 enregistrements au cours de sa carrière.

Blakey a également influencé plusieurs batteurs, dont le batteur du groupe Weather Report, Peter Erskine. Ce dernier racontait:

“Art Blakey was the first drummer my drum teacher had me listen to, way back in 1959. His drumming was swinging, hard-driving, raw, unabashed, and unapologetic. Visceral—but what five-year-old kid knows the word ‘visceral’? Five-year-old-kids recognize honesty, however, and Blakey was as honest a drummer as the day was long. Art just played. As high-fidelity recording techniques got better and better, drums seemed to become more and more popular on LP albums, and Blakey’s name and sound were part of many multiple-drummer recordings including Gretsch Night at Birdland, Drum Suite, and The African Beat, all listening staples in our home. There was so much power coming out of Blakey’s drums that I imagined him to be a giant of a man. When my father took me to see Blakey at the Show Boat jazz club in Philadelphia at a Sunday matinee, I was amazed to see Art Blakey in person, standing on the sidewalk outside of the club. He was not eight-feet tall, as I had imagined! He was, instead, a very kind man, small in physical stature but huge in heart and power.’’

Erskine avait ajouté:

“Blakey proved to be the most important mentor in jazz, introducing one great jazz talent after another by way of his Jazz Messengers—players who would go on to enjoy giant careers themselves. Perhaps the most telling aspect of Blakey’s power as a bandleader and mentor was reflected in the relationship I had with Jazz Messenger alum Wayne Shorter during our four-year collaboration in the group Weather Report. Hardly a day would go by without Wayne telling some story or recounting an anecdote or life-story lesson that was about Art Blakey. In contrast, Wayne almost never brought up the name of his other boss, Miles Davis. It was always ‘Art this’ and ‘Art that’ with Wayne.’’

La batteuse Cindy Blackman a également été énormément influencée par Blakey. Dans une entrevue accordée au New York Times, elle avait déclaré: "[H]e adopted me like his daughter. He taught me a lot of things about drummers and music. But as important, he helped me when I was just starting out and not working too often. He'd ask me to sit in when he was playing, he helped me if I needed money. His influence on all us young musicians is incalculable."

Quant au saxophoniste Jackie McClean, il avait affirmé que Blakey ne lui avait pas seulement montré comment devenir un bon musicien, mais aussi comment devenir un homme et à devenir un citoyen responsable.

VIE PERSONNELLE Bon vivant, Blakey aimait bien raconter des histoires. En plus d’être passionné de musique, il adorait les femmes, la nourriture et la boxe.

Art Blakey s’est marié quatre fois (il a aussi eu plusieurs maîtresses). Blakey avait d’abord épousé Clarice Stewart (qui avait seulement quatorze ans au moment de son mariage), avant de se remarier en 1956 avec Diana Bates. Après avoir épousé Atsuko Nakamura en 1968, Blakey avait finalement convolé en 1983 avec Anne Arnold. Blakey avait eu dix enfants de ses quatre mariages: six filles (Gwendolyn, Evelyn, Jackie, Kadijah, Sakeena et Akira) et quatre fils (Art Jr., Takashi, Kenji et Gamal). Sandy Warren, qui avait été la maîtresse de Blakey, a publié un livre de souvenirs relatant sa vie avec le batteur. L’ouvrage couvre la période s’étendant de la fin des années 1970 jusqu’au début des années 1980, à l’époque où Blakey vivait à Northfield au New Jersey avec Sandy et leur fils Takashi.

Comme plusieurs musiciens de jazz de son époque, Blakey avait rapidement développé une dépendance envers les narcotiques. Plusieurs musiciens comme le trompettiste Lee Morgan ont d’ailleurs affirmé que Blakey les avaient souvent entraînés dans sa dépendance.

Blakey était également reconnu pour sa consommation excessive d’alcool, même si un batteur comme Sid Catlett l’avait souvent incité à plus de modération. Le trompettiste Wynton Marsalis semble également avoir eu une influence positive sur Blakey en limitant sa consommation de drogues durant les concerts.

Art Blakey avait toujours été un grand fumeur. On le voit d’ailleurs derrière un épais nuage de fumée sur la pochette de l’album ‘’Buhaina’s Delight.’’

Blakey a remporté de nombreux honneurs au cours de sa carrière. Intronisé au Newport Jazz Festival Hall of Fame en 1976, il avait remporté le Reader’s Choice Award du magazine Down Beat en 1981. Blakey a été admis au Jazz Hall of Fame l’année suivante. En 1984, il avait remporté le prix Grammy décerné à la meilleure performance de jazz instrumentale pour son album ‘’New York Scene.’’ L’album ‘’Moanin’’ a été intronisé au Grammy Hall of Fame en 2001. En 2005, la carrière de Blakey avait été couronnée par la remise d’un Grammy Lifetime Achievement Award, décerné à titre posthume. Art Blakey est également récipiendiaire d’un doctorat honorifique du Berklee College of Music (1987).

#jazz

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soulless-angel25 · 1 year ago

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Names for Fablehaven Characters in Book 2 for my AU

Sorenson & Burgess

Stan Sorenson is now Stan Kendal Sorenson Ruth Sorenson (nee Burgess) is now Ruth Elizabeth Sorenson (nee Burgess)

Marla Kate Sorenson (nee Larsen) Scott Michael Sorenson [^- I didn't actually have to come up with names! These are their canon full names as stated in book 4.]

Kendra Marie Sorenson Seth Michael Andrew Sorenson

Dale Burgess is now Dale Alistair Burgess Warren Burgess is now Warren Matthew Burgess

Ally and "Ally"

Tanugatoa "Tanu" Dofu is now Tanugatoa "Tanu" Ikaika Dufu age Coulter Dixon is now Coulter Abraxis Dixon Vanessa Santoro is now Vaness Alayna Santoro The Sphinx Mr. Lich

Minor Enemies

Errol Fisk aka Christopher Vogel is now Christopher Dmitrius Vogel Casey "Case" Hancock is now Casey "Case" Aiden Hancock Olloch the Demon.

'Servant'

Mendigo Hugo

Kendra's Friends

Alyssa Carter is now Alyssa Lee Carter Brittany is now Brittany Mariah Smith Trina is now Trina Raine Schindler

#fablehaven #fablehaven au #fablehaven book 2 #fablehaven fanfiction #seth sorenson #kendra sorenson

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cococrim · 3 years ago

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Vanessa: Don’t worry, I have a few knives up my sleeve.

Errol, waving the card he hid in his glove: I think you mean cards.

Vanessa, pulling knives out of her sleeves: No, I do not.

#vanessa santoro #errol fisk #rotes #fablehaven #brandon mull #magician vs infiltrater

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fridasfandoms · 4 years ago

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why is everyone in fablehaven named fisk

#errol fisk #dougan fisk #maddox fisk #fablehaven #brandon mull #keys to the demon prison #secrets of the dragon sanctuary #rise of the evening star #grip of the shadow plague

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ranger-njoyc · 4 years ago

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3 Days Til Cottage Cheese

Day 13:

Theme: Journal (pt. 3)

Description: The Official Travel Log and Records of Seth Michael Sorenson, Over The Years

Details: So basically, there are only a few entries, and it should be extremely easy to figure out where on the timeline each of these entries are from. I only did books 1-2 for this one. I’m not sure I like this format, but this is just how I picture Seth’s journal to be structured.

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The Official Travel Log of Seth Michael Sorenson

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The Most Boring Exciting Summer in the World

I will be staying at Stan and Ruth Sorenson’s(grandparents, temporary guardians) house for seventeen(17) days while Marla and Scott Sorenson(parental figures) are on a seventeen(17) day long cruise.

Notes and Observations:

Interesting garden, lots of insects.

Stay in the yard? boRING!

Dale is pretty cool. Maybe one of these days he’ll let me come into the barn with him.

Speaking of the barn, what the heck would even need a space that big?

Lena is nice. Expert drawer, baker, cleaner, gardener, you name it. She seems to be good at everything.

Goldilocks is a cool chicken. Nice. I’ve always wanted a pet.

At the poolside today, the insects flocked around Kendra’s mirror. When we flipped the mirror over, they flipped it back around again. I’ve never seen anything like that before. What is happening?

WHAT THE FRICK IS AN OLD LADY DOING, LIVING IN A SHED ON GRANDPA’S PROPERTY???!!!!!????? She says grandpa knows she’s here… Can I tell him? I mean, but then he would know I went into the woods.

Hidden lake in the middle of the forest…? I need to show Kendra this.

Grandpa found out we snuck into the woods, I guess, but at least Kendra managed to get us a reduced punishment!

HOLY S fairies are reallllllll!

I’m gonna try to catch one

Awesome! Caught one.

Well… this is embarrassing. But I suppose I have to write it down for accuracy: I accidentally turned the fairy into an imp, which is a fallen fairy, and then the others took retribution and turned me into a mutant walrus.

Midsummer's eve is coming up soon, that should be exciting! Who knows what kind of cool creatures I’ll be able to see out the window!

i messed up

Okay, now that this is all over, I have to explain what I’ve been lacking the time to write down: So basically, short version, I opened the window which got everyone captured(besides Kendra and I), which led us to free Muriel, the witch who lives in the shack. Grandma Sorenson got turned back into a human, because she was Goldilocks(!?!?!) and then we went to save everyone. We all got caught, ‘cept my sister, and she visited the Fairy Queen and summoned a huge fairy army that stopped Muriel from releasing the demon Bahumat.

So, haha, yeah. Crazy summer, huh?

PS remember to bring a whole lot of batteries next time I visit!

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Errol Fisk and the Kobold

Errol Fisk(allyenemy) is a friend enemy of Fablehaven. He was !NOT sent by Grandpa Sorenson’s(grandparent) friend, Coulter Dixon(unknown), to help Kendra(sister) get rid of the Kobold(posing as Casey Hancock) in her school.

Notes and Observations:

I don’t know, something seems a little strange with this whole scenario. I’m sure Errol will help us figure it out.

Going to steal a statue tonight. Hopefully it will help Kendra with her kobold problem.

Got the statute, got rid of the kobold. Statue bit me. Ugh.

I might go help Errol with another mission that would help the Knights of Dawn.

ABORT MISSION ABORT ABORT

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Back at Fablehaven

I am staying at Fablehaven(magical preserve) with Stan and Ruth Sorenson(grandparents, caretakers, temporary guardians), Dale Burgess, and guests Vanessa Santoro(animal specialist), Tanugatoa Dufu(potions master), and Coulter Dixon(artifact collector) for an unknown(?) amount of time.

Notes and Observations:

Vanessa is cool. I want to drive like that all the time.

Oh my gosh, why do I always screw up! Now I’ve got some demon trying to eat me…

So Kendra is fairykind. Cool, cool. The Sphinx is a cool guy. He sets me a little on edge, but I suppose he is quite interesting and helpful in a mysterious kinda way.

Ahhh, Tanu is awesome! His potions are so cool, I can’t wait to learn from him!

Coulter. He’s an interesting fellow. I like him, though. He never sugar-coats things, he just bluntly states everything. It would be kind of funny, if anything he had said was a joke…

Finally got to meet Warren today. He’s Dale’s brother, and he has been stuck in a catatonic state for several years. No one knows why. I feel really bad for Dale.

Someone is a traitor? But??? Everyone is so nice??? (Well, maybe ‘nice’ isn’t the right word). Everyone seems so loyal and devoted. It’s hard to imagine that one of them might possibly be working against us.

Coulter’s acting kinda weird…

OH MY GOD! You’ll never believe what has happened since the last time I wrote! I got eaten!!! In the cocoon thingie that Coulter had, I was eaten by a demon and pooped out! How exciting is that! Anyways, there was a lot that has happened. Let me write out a quick recap:

I went to Patton Burgess’s old manor and then from there headed to the cabin that Warren lived in.

I rendezvoused with Kendra, and then we went through the brownie doors, into the house. We talked briefly with Grandpa and Grandma Sorenson about our next course of action.

I went off to remove the nail from the revenant's neck, thus bringing Warren out of his coma.

Warren and Kendra went into the inverted tower and retrieved the artifact, and I missed out on seeing a huge flying panther!!

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stshyt · 3 years ago

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