#Kenny Harmon

[readersmagnet]

Sad Papaw's Heritage by Kenny Harmon

Step back in time to Kentucky's wheat fields with Kenny Harmon and witness the early days of American baseball in "Sad Papaw's Heritage." Feel the bittersweetness of a simpler era, where the pure joys of childhood existed alongside the harsh realities of limited medical access.

Explore the joys and challenges of a time gone by. Grab a copy at www.sadpapawbooks.net.

[spenceluvsurmomsblog]

Master list!

Here’s what/who I currently write smut/fluff for!

Huge disclaimer: if you know a character is a minor then you should know I will not write smut for them. Ty loves!

Full / fuller house

Jesse Katsopolis

Joey Gladstone

Danny Tanner

(Older) DJ Tanner

(Older) Stephanie Tanner

(Older) Kimmy Kibbler

Matt Harmon

Heart stopper

Nick Nelson (fluff)

Charlie Spring (fluff)

Tara Jones (fluff)

Darcy (fluff)

Issac (fluff)

Tori Spring (depends on what’s requested)

Aled (fluff)

Tou Xu (fluff)

Elle (fluff)

The summer I turned pretty

Conrad Fisher (smut/fluff)

Jeremiah Fisher (smut/fluff)

Steven Conklin (smut/fluff)

Isabell Conklin (fluff)

Susannah Fisher (fluff)

Laurel Conklin (fluff)

The Black Phone

Finney Blake (fluff)

Robin Arellano (fluff)

Bruce Yamada (fluff)

Vance Hopper (fluff)

Griffin Stagg (fluff any one who requests smut is blocked)

Billy Showalter (fluff)

Metal Lords

Hunter Sylvester (smut/fluff)

Kevin (smut/fluff)

Emily (smut/fluff)

That 70s show

Steven Hyde (smut/fluff)

Eric Forman (smut/fluff)

Jackie Burkheart (smut/fluff)

Michael Kelso (smut/fluff)

Fez (probably just fluff)

Donna Pincioti (smut/fluff)

Divergent

Tris Prior (smut/fluff)

Caleb Prior (smut/fluff)

Tobias Eaton (four) (smut/fluff)

Christina (smut/fluff)

Eric (smut/fluff)

Chucky (the series)

Junior Wheeler (fluff)

Jake Wheeler (fluffy malexmale only)

Lexy Cross (fluff)

Devon Evans (fluff)

Tiffany / Jennifer Tilly (smut/fluff)

The sandlot

Benny Rodriguez (fluff)

Scott Smalls (fluff)

Michael Palledorous (fluff)

Hamilton Porter (fluff)

Alan “yeah-yeah” Mcclean (fluff)

Bertram Grover Weeks (fluff)

Wendy Peffercorn (fluff)

Kenny Denunez (fluff)

Fear Street

Simon Kalivoda (smut/fluff)

Deena (smut/fluff femalexfemale only)

Kate Schmidt (smut/fluff)

Josh (fluff)

Heather (smut/fluff)

Cindy Berman (smut/fluff)

Ziggy Berman (fluff)

Tommy Slater (smut/fluff)

Nick Goode (smut/fluff)

Descendents

Harry Hook (smut/fluff)

Mal (fluff)

Evie (fluff)

Jay (fluff)

Carlos (fluff)

Ben (fluff)

Uma (fluff)

Gil Gaston (fluff)

Jane (fluff)

Audrey (fluff)

The Breakfast Club

John Bender (smut/fluffish)

Andrew Clark (smut/fluff)

Brian Johnson (smut/fluff)

Claire Standish (smut/fluff)

Allison Reynolds (smut/fluff)

Mean Girls

Karen Smith (smut/fluff)

Gretchen Weiners (smut/fluff)

Regina George (smut/fluff)

Janis Ian (smut/fluff)

Kady Heron (smut/fluff)

The Hunger Games

Peeta Mellark (smut/fluff)

Gale Hawthorn (smut/fluff)

Finnick Odair (smut/fluff)

Cinna (smut/fluff)

Katniss Everdeen (smut/fluff)

Glimmer (smut/fluff)

Clove (fluff)

Cato (smut)

Finch (fox face) (smut/fluff)

Any others ask and I’ll tell you what I write

Shameless

Fiona Gallagher (smut/fluff)

Lip Gallagher (smut/fluff)

Ian Gallagher (smut/fluff)

Carl Gallagher (smut/fluff)

Debbie Gallagher (smut/fluff)

Mickey Milkovitch /(smut/fluff)

Mandy Milkovitch (smut /fluff)

Kevin Ball (smut/fluff)

Veronica Fisher (smut/fluff)

Scream

Billy Loomis (smut/fluff)

Stu Macher (smut/fluff)

Sydney Prescott (smut/fluff)

Tatum Riley (smut/fluff)

Randy Meeks (smut/fluff)

Dewy Riley (smut/fluff)

Gale Weathers (smut/fluff)

Charlie Walker (smut/fluff)

Jill Roberts (smut/fluff)

Amber (smut/fluff)

Chad Minks (smut/fluff)

Mindy Minks (smut/fluff)

Sam Loomis ? (smut/fluff)

Outerbanks

JJ Maybank (smut/fluff)

Pope Hayward (smut/fluff)

Sarah Cameron (smut/fluff)

Kiera (smut/fluff)

John B (smut/fluff)

Rafe Camron

Twilight

Edward Cullen (smut/fluff)

Jasper Hale (smut/fluff)

Emmet Cullen (smut/fluff)

Carlisle Cullen (smut/fluff)

Jacob Black (smut/fluff)

Seth Clearwater (fluff)

Charlie Swan (smut/fluff)

Bella Swan (smut/fluff)

Rosalie Hale (smut/fluff)

Alice Cullen (smut/fluff)

Esme Cullen (smut/fluff)

Lea Clearwater (smut/fluff)

Mauraders

Regulus Black (smut/fluff)

Sirius Black (smut/fluff)

James Potter (smut/fluff)

Lily Evans (smut/fluff)

Severus Snape (smut/fluff)

Remus Lupin (smut/fluff)

Peter Petigrew (smut/fluff)

Narcissa Black (smut/fluff)

Bellatrix Black (smut/fluff)

Pandora Lovegood (smut/fluff)

Barty Crouch JR (smut/fluff)

Evan Rosier (smut/fluff)

Marlene Mckenny (smut/fluff)

Riverdale

Cheryl Blossom (smut/fluff) femalexfemale only

Jughead Jones (smut/fluff)

Betty Cooper (smut/fluff)

Veronica Lodge (smut/fluff)

Archie Andrews (smut/fluff)

Tony Topaz (smut/fluff)

Sweet pea (smut/fluff)

Fangs Fogurty (smut/fluff)

I am not ok with this

Sydney (fluff)

Deena (fluff)

Stanley Barber (fluff)

That’s about it.

Cobra Kai

Eli Moskiwitz (hawke) (aged up smut/fluff)

Demetri (fluff)

Samatha Larusso (aged up smut/fluff)

Moon (aged up smut/fluff)

Yasmine (aged up smut/fluff)

Anthony Larusso (aged up smut/fluff)

Daniel Larusso (smut/fluff)

Johnny Lawrence (smut/fluff)

Tori (aged up smut/fluff)

Robby Keene (aged up smut/fluff)

The outsiders

Darry Curtis (smut/fluff)

Two-bit Matthews (smut/fluff)

Sodapop Curtis (smut/fluff)

Steve Randle (smut/fluff)

Dallas Winston (smut/fluff)

Johnny Cade (fluff)

Ponyboy Curtis (fluff)

Tim Shepheard (smut/fluff)

Curly Shepheard (smut/fluff)

Angela Shepheard (smut/fluff)

Criminal Minds

Aaron Hotchner (smut/fluff)

Spencer Reid (smut/fluff)

Derek Morgan (smut/fluff)

David Rossi (smut/fluff)

Emily Prentiss (smut/fluff)

Jennifer Jaroue (smut/fluff)

Elle Greenaway (smut/fluff)

Penelope Garcia (smut/fluff)

The Originals

Klaus Mikaelson (smut/fluff)

Elijah Mikaelson (smut/fluff)

Kol Mikaelson (smut/fluff)

Rebekah Mikaelson (smut/fluff)

Freya Mikaelson (smut/fluff)

Hayley Marshall (smut/fluff)

Jackson (smut/fluff)

The Vampire Diaries

Elena Gilbert (smut/fluff)

Damon Salvatore (smut/fluff)

Bonnie Bennett (smut/fluff)

Stefan Salvatore (smut/fluff)

Caroline Forbes (smut/fluff)

Enzo St.John (smut/fluff)

Vicki Donovan (smut/fluff)

Matt Donovan (smut/fluff)

Katherine Pierce (smut/fluff)

Tyler Lockwood (smut/fluff)

Anyone else requested I’ll tell you what I write for! XX

IT

Henry Bowers (smut/fluff)

Belch Huggins (smut/fluff)

Patrick Hockstetter (smut/fluff)

Victor Criss (smut/fluff)

(Older) Richie Tozier (smut/fluff)

(Older) Eddie Kaspbrak (smut/fluff)

(Older) Bill Debrough (smut/fluff)

(Older) Stanley Uris (smut/fluff)

(Older) Beverly Marsh (smut/fluff)

(Older) Ben Hanscome (smut/fluff)

(Older) Mike Hanlon (smut/fluff)

Friends

Chandler Bing (smut/fluff)

Rachel Green (smut/fluff)

Joey Tribiani (smut/fluff)

Monica Geller Bing (smut/fluff)

Ross Geller (smut/fluff)

Phoebe Buffay (smut/fluff)

Stranger Things

Steve Harrington (smut/fluff)

Eddie Munson (smut/fluff)

Jonathan Byers (smut/fluff)

Argyle (smut/fluff)

Billy Hargrove (smut/fluff)

Nancy Wheeler (smut/fluff)

Robin Buckley (smut/fluff)

Chrissy Cunningham (smut/fluff)

Anyone else will be fluff !

Sam and Colby

Sam Golbach (smut/fluff)

Colby Brock (smut/fluff)

Jake Webber (smut/fluff)

Reggie Webber (smut/fluff)

Kevin Langue (smut/fluff)

MIKE (smut/fluff)

Ariya (smut/fluff)

Corey schere (smut/fluff)

Katrina Stuart (smut/fluff)

Tara Yummy (smut/fluff)

Zephyr Wolf (smut/fluff)

Devyn Lundy (smut/fluff)

Cassie (smut/fluff)

The walking dead

Glenn Rhee (smut/fluff)

Rick Grimes (smut/fluff)

Daryl Dixion (smut/fluff)

Negan Smith (smut/fluff)

Maggie Rhee (smut/fluff)

Michonne (smut/fluff)

Carl Grimes (some smut aged up ofc/fluff )

South Park (all aged up ofc)

Kenny McCormick (fluff/smut)

Stan marsh (fluff/smut)

Kyle Broflovski (smut/fluff)

Eric Cartman (ig I’ll do smut or fluff)

Michael (the goth kid) (anything)

Basically anyone as long as it’s not them as children for smut

And I’ll do anything for euphoria (minus Nate) and Harry Potter (mostly fluff) and I will do anything for the walking dead !! :))

(Please no incest, zoophilia stuff)

[newmusickarl]

5-9’s Album of the Month Podcast – latest episode out now!

The latest episode of the 5-9 Album of the Month Podcast is here and it’s a bit of a sad one as 5-9 Editor Andrew Belt was unable to join us! So this time around it’s just me and Mama Mañana Records' Kiley Larsen reviewing five high profile album releases from the past month in music, ultimately naming one as our Album of the Month at the end of the discussion.

For our June 2024 episode, it was John Grant’s synth-soaked majesty on The Art of the Lie that took home the coveted Album of the Month title. For our latest episode, we look back at five big releases from July and the albums vying for recognition this time around are:

King of the Mischievous South Vol. 2 by Denzel Curry

Django’s High by Future Utopia (Poll winner, thanks for voting!)

As Above, So Below by Highly Suspect

Harmonics by Joe Goddard

HEAVY JELLY by SOFT PLAY

If you want to listen to this or any previous episodes simply follow the links below, but also be sure to follow 5-9 Blog on Instagram, Twitter and now YouTube for more news and polls relating to the podcast.

Listen on Spotify here

Watch, like and subscribe to our YouTube channel here

Album & EP Recommendations

Wild God by Nick Cave & The Bad Seeds

Let’s face it, Nick Cave doesn’t make bad records. However, even by his incredibly high standards across his illustrious career, his recent work has been truly exceptional, towering bodies of work. Fuelled by unimaginable tragedy, grief and loss, albums Skeleton Tree and Ghosteen rank among my favourite albums of the last decade, listening experiences that are beautiful yet emotionally devastating. His last album with just him and Warren Ellis, Carnage, was no slouch either, finishing in my Top 10 of the year back in 2021. Now both have reunited with the full Bad Seeds ensemble, and new album Wild God continues their recent hot streak.

Emerging out of the vast darkness, their eighteenth studio album is a much brighter and more joyous experience compared to its predecessors. Filled with uplifting, string-drenched arrangements, some of which include none other than Radiohead’s Colin Greenwood on bass duties, the lyrics also find Cave in a much more optimistic mindset. It all makes for another endlessly captivating listen, with Joy the real standout in the first half, as Cave’s poetic lyrics are spun across a mostly minimal, piano-led composition. However, the finest moments for me are in the back half, with the gospel cries and stomps of Conversion, the operatic and ghostly Cinnamon Horses and standout single Long Dark Night a particularly incredible trio.

Once again, Nick Cave & The Bad Seeds have crafted one of the finest albums I’ve listened to all year. Impactful and stunningly orchestrated, it’s another stirring collection of songs that will keep you absorbed across countless repeated listens.

Listen here

I Lay Down My Life For You by JPEGMAFIA

Another album that has quickly become one of my favourites of the year, NY-rapper JPEGMAFIA has followed up his sensational collaborative album with Danny Brown, 2023’s Scaring The Hoes, with arguably his strongest solo outing to date.

It’s a rap record but with punk rock energy, with most of the tracks here under the three-minute mark and plenty of heavy guitars powering the sonics. JPEG uses the record’s frantic pace to jump wildly between each bold idea, with the production never anything less than stellar. Collaborating with the likes of Flume and Kenny Beats on the production front, he also pulls in other current rap superstars like Vince Staples and Denzel Curry to lend a few bars too. It all makes for a thrilling wall-to-wall listen but if I’m to pick out just a couple of highlights, it’s the metal-charged SAN MIEDO and string-tinged experimentation of Exmilitary.

Colliding fast and furious bars with heavy punk, noise rock and industrial influences, all in mesmerising fashion, this is without a doubt the rap record of the year for me so far.

Listen here

No Name by Jack White

Another man who rarely disappoints, guitar maestro and all-round modern legend Jack White returned recently with a surprise new album. Initially stealth releasing on vinyl towards the end of July, the record officially released to streaming platforms and critical fanfare at the beginning of August. While I may not agree with the consensus that this is his best solo outing to date, there’s no denying that this is another fun and mightily impressive release.

You see while some critics have found White’s solo discography to be quite patchy, I’ve actually been a big fan of his output over the last 12 years. Blunderbuss and Lazaretto both boasted songs that could be dubbed as instant rock classics, Boarding House Reach was wild but always fascinating in its experimentation, and the duo of Fear of The Dawn and Entering Heaven Alive showed that White’s songwriting shone through, whether plugged or unplugged.

With No Name, for me, what we ultimately get is more of what White has already done before and proved he can do previously. That said, the lo-fi production and fuzzy rock riffs still sound terrific, especially on tracks like Old Scratch Blues, Archbishop Harold Holmes, What’s The Rumpus and Terminal Archenemy Ending. So, while it lacks anything new or revolutionary and brings with it an air of safe familiarity, there is no denying that White can still rock out. If you’re a fan of his previous work, you’ll still find plenty here to enjoy.

Listen here

Lagos Paris London EP by Yannis & The Yaw

And finally on the EPs front, Yannis Philippakis of Foals finally released his long awaited first solo project, Lagos Paris London. A dazzling, collaborative five track EP featuring the late-great Nigerian drummer Tony Allen, the EP is as vibrant and sonically adventurous as the globe-trotting title would suggest. While Yannis brings his signature guitar grooves to the table, some soaring string arrangements, jazz-like horns and Allen’s Afrobeat-style drums ensure the project always has a different feel to anything under the Foals banner.

Whilst the whole EP is well worth 20 minutes of your time, it is Rain Can’t Reach Us and Clementine that particularly stand out for me.

Listen here

Also well worth checking out:

DAYS BEFORE RODEO by Travis Scott

Imaginal Disk by Magdalena Bay

True Magic by Salute

This World Fucking Sucks by Cassyette

A Firmer Hand by Hamish Hawk

Participation Trophy by China Bears

Heartbreak Town EP by GIRLBAND!

Song Recommendations

The Emptiness Machine by LINKIN PARK

It’s been quite the month for big comebacks, hasn’t it?!

First came the colossal news that the Gallagher brothers would finally be reforming Oasis for a huge 2025 tour, before Linkin Park also made their long-awaited return, announcing new album From Zero will be dropping this November. The Emptiness Machine is the first taste of that new record and their first single to feature new vocalist, Emily Armstrong.

Emily’s arrival into the band has certainly caused controversy, with her links to Scientology already a hot topic amongst fans. While that debate will continue for the foreseeable, what is clear from this single and the band’s return livestream performance is that Emily certainly has the vocal capabilities needed to front the iconic, much-loved band. While of course no-one could fully replace the late-great Chester Bennington, I am glad to have Linkin Park back making music once again.

Listen to The Emptiness Machine here

Watch the livestream performance back here

All You Children by Jamie XX featuring The Avalanches

A late contender for song of the summer, this huge collaboration between Jamie XX and The Avalanches was on heavy repeat for me towards the end of August. Propelled by an infectious tribal beat that will just make you want to get up and dance, it’s left me hugely hyped for Jamie’s new album In Waves dropping in a few weeks’ time.

Listen here

He by Hayden Thorpe

Another album I cannot wait for dropping at the end of September, Hayden Thorpe’s adaptation of Robert Macfarlane’s book Ness will also soon be here. With book and album both inspired by Orford Ness in Suffolk, He is the ultra-groovy second single from the project. Featuring an endlessly fascinating arrangement that even includes a sackbut (a 15th century early trombone) and a spinet (a small 17th century harpsichord), Hayden's unique songcraft shines through once again.

Listen here

A Landlord’s Death by One True Pairing

And Hayden is not the only Wild Beasts alumni to be releasing new music this year. A month later in October, Tom Fleming will also be releasing his second solo album, Endless Rain. Working with acclaimed producer John ‘Spud’ Murphy, the singles so far have suggested a much more traditional and folk-inspired sound compared to his solo debut. A Landlord’s Death continues this hypothesis, featuring some stomping acoustic riffs, wild strings and a catchy chorus.

Listen here

Sick Of The Blues by Porridge Radio

Another album due for release in October, indie rockers Porridge Radio will be returning with their new opus, Clouds In The Sky They Will Always Be There For Me. Sick of the Blues is the closing track for the project but also the album’s first teaser single, finding frontwoman Dana Margolin in an apathetic mood as raw rock riffs build and erupt around her.

Listen here

Straight To Heart by ALT BLK ERA

From MOBO and Heavy Music Award nominations to storming festival sets at the likes of Glastonbury and Download, there is absolutely no stopping ALT BLK ERA’s momentum right now. Now with their highly-anticipated debut album Rave Immortal due for release in January, the alternative sister duo have released the second taste of the upcoming record. The synth-soaked track highlights the continuing maturity of their songwriting, with Straight To Heart seeing Nyrobi open up and reflect on her agonising battles with chronic illness.

Listen here

Nothing Compares To Nineteen by Fiona-Lee

Another one of the UK’s most promising emerging voices, singer-songwriter Fiona-Lee has recently returned with her second-ever single. A hugely emotive track, it was written in the wake of Fiona tragically losing a lifelong friend after he took his own life. Recalling her struggles with anxiety, grief and depression, along with conversations with her father on mental health, it’s another hard-hitting single that absolutely soars.

Listen here

Split Lip by Dolores Forever

One of my other favourite new music discoveries in 2024, I’ve had the pleasure of catching indie-pop duo Dolores Forever twice over this summer’s festival season. With their debut album finally dropping at the end of September, Split Lip is one of the latest singles taken from the project and a song that really stood out in their live performances. Hugely anthemic amidst captivating vocal harmonies and shimmering synths, this upcoming record is slowly shaping up to be one of the best debuts of the year.

Listen here

One Day by Hallworth

Released at the end of August, singer-songwriter Hallworth also recently released her heartfelt new single, One Day. Inspired by the Netflix movie of the same name and written while she was in Nashville, it’s a stirring track about her struggles with a long-distance relationship. With Hallworth’s own tender vocals at the fore, it’s a gorgeously laidback love song that will have you hitting the repeat button.

Listen here

Never Meant by Iron & Wine / For Sure by Ethel Cain

And finally, this year marks the 25th anniversary of one of my favourite albums of all time and a seminal work that still inspires countless musicians today – American Football’s self-titled debut. To mark the occasion, the band are releasing a remastered version of the original record, along with a brand new covers version.

The first two of these covers have been revealed and they are both unsurprisingly stunning. Firstly, American singer-songwriter Samuel Ervin Beam transforms the iconic Never Meant into a wonderful, folky lullaby, reminiscent of Bon Iver. Then, the much beloved Ethel Cain has turned the haunting For Sure into a near 10-minute moment of beauty and ethereal transcendence.

If all the covers are to this standard, with more cuts from the likes of Manchester Orchestra and Blondshell still to come, this project could be something very special.

Listen to Never Meant by Iron & Wine here

Listen to For Sure by Ethel Cain here

Also worth checking out:

Ego by Halsey

You by Ktlyle

JACKIN’ THE SYSTEM by NOISY

Tonight, Tonight (Smashing Pumpkins Cover) by Snail Mail

Hometown Edge by Kele

Bright Lights by The Killers

HERE WE GO! by Lil Nas X

Find The Way by Peggy Gou

SO WHAT by Confidence Man

SilverCane by Corinne Bailey Rae

REMINDER: If you use Apple Music, you can also keep up-to-date with all my favourite 2024 tracks through my Best of 2024 playlist. Constantly updated throughout the year with songs I enjoy, it is then finalised into a Top 100 Songs of the Year in December.Add the Best of 2024 playlist to your library here

[sinceileftyoublog]

King Gizzard & the Lizard Wizard Album Review: Flight b741

p(doom)

BY KEITH MILLER

Prophetic indie rockers King Gizzard & the Lizard Wizard’s 26th studio album Flight b741 features the Australian sextet at their most raucous, hootin’ & hollerin’, and rambunctious yet. From take-off to landing, Flight b741 is a true-to-form blues album wherein King Gizzard has passed the mic from band member to band member to give the traditional blues pattern a switch-up.

Across its ten tracks and roughly 40-minute runtime, King Gizzard delivers an enticing album that’ll pair well with cookouts, yard work, parties at a lake house, and all around busy and sweaty times outdoors. From its harmonic vocals and borderline goofy lyrics down to the various instrumentation of clanging pianos, bumping bass beats, and uplifting guitars, my biggest complaint about Flight b741 is that it didn’t come out sooner. Grab your sunglasses and put on a pair of jorts--anyone who’s claimed to like “Dad Rock,” this album is for you.

My initial highlight from Flight b741 is the vocals. Stu Mackenzie takes lead vocals on the majority of King Gizzard albums, with Ambrose Kenny-Smith, Joey Walker, and occasionally Cook Craig, grabbing the mic and singing lead. But this time around, each band member was given the opportunity to write their own lyrics and sing a verse in as many songs as they like. Lead single “Le Risqué” features drummer Michael Cavanagh opening his verse with a hearty, borderline maniacal laugh before diving into a verse describing himself as a “pathetic forgotten steaze” with a “tiny prick.” These off-kilter moments are scattered throughout the record. The second single, “Hog Calling Contest”, features the band snorting, oinking, and squealing in the mic as they quite literally go “whole hog.”

After every play through, I find myself going right back to the start so that I can relive each song and peel them apart. The opening track “Mirage City” describes a beautiful oasis wherein its visitors can escape their problems. It’s a phenomenal opening track that sets the tone for the rest of the album. With multiple movements featuring horns, harmonica, and loud guitars, “Mirage City” is one of the album's best tracks.

When I first put on the album, I was finishing up work and had just started cleaning my kitchen. One of the earlier tracks, “Antarctica”, was playing, and it gave me a little groove. There was a pop in my step as I was wiping off counters and putting away dishes. “Antarctica” lets you bop along as the lyrics sing, “It’s gunna be a miss / I can tell we’ve got a snowballs chance in hell.” While I was moving and grooving and cleaning up my tiny kitchen, I was suddenly and completely frozen in place as Mackenzie closed out the song with vocals that sounded eerily similar to Warren Zevon’s “Werewolves of London.” And I loved it.

Flight b741 proudly shows its inspiration. There were multiple moments throughout the album that reminded me of Crosby, Stills & Nash, and a few others that harkened back to The Band. These moments are never too embellished. Flight b741 does a good job of keeping its listeners on their toes and giving the classic American rock sound a refreshing Australian twist.

After 12 years and 26 albums, some of us fans have to wonder, "How long can they keep this up?” King Gizzard is known for releasing a lot of music in a short time span. They’re known for leaning heavily into musical themes and gimmicks. From inventing new guitars for their microtonal explorations, to recording an entirely acoustic album, to making a jam band record that follows the classical Greek musical modes, King Gizzard and the Lizard Wizard know how to craft an album around a central theme or concept. Flight b741 has ten sturdy songs, three songs longer than their past four records, and if there is a gimmick, its that the band finally got to kick back and make some fun music with their friends.

Keith Miller is a writer living in Chicago who enjoys music, film, and literature. He’s helped a few startups in the Chicagoland area with their copywriting and blog posts. He is currently eating a sandwich.

[typeosilver]

scenario ⸝⸝ it's somewhere around the time range 1980s-1990s, and the keyboardist of a band has arrived. josh silver from type o negative. given he wasn't used to the modern technology, he tries out an app his bandmates and friends have been using, ‘tumblr.’

headcanons ⸝⸝ josh is pansexual and is boyflux, meaning his gender fluctuates between non-female aligned genders, so he could be nonbinary, he could be demiboy, he could be whatever. just not female aligned. in this he's also dating peter bcz they kinda zesty.

other info & facts ⸝⸝ josh is jewish, surprisingly enough. he's somewhere around 6'2-6'3. he's also in another band called fallout, which lead to the band carnivore. despite you can't usually hear him, he does do backup vocals in type o negative, he's usually harmonized with kenny.

[dustedmagazine]

Camera Obscura — Look to the East, Look to the West (Merge)

Photo by Robert Perry

A plangent guitar, a shuffle of drums and then the voice. The crystalline clarity slightly weathered and more lovely for it. After the 2015 death of keyboard player Carey Lander, Traceyanne Campbell and Camera Obscura took an extended break before reconvening for some live shows in 2019. On Look to the East, Look to the West, their first album since 2013, Campbell’s voice and her ear for melody remain undiminished. As does her ability to write and sing lines that take your breath away, make you well up or smile, the eye for a telling detail that encapsulates everything about a person or situation. Joined by guitarist Kenny McKeeve, bassist Gavin Dunbar, drummer Lee Thomson and new keyboard player Donna Maciocia, Campbell dissects love, loss, and heartbreak with elegant candor.

That opening track “Liberty Print” tells the story of the classic bad boy now passed. The humor is gentle and self-directed playing on the band’s twee image —  “then you’ll see I like Liberty Print/Is that shallow of me?”  The song fills out and the tempo quickens as Campbell builds the narrative of regret for lost love. Her denouement is devastating in its simplicity “I had to visit your mother/You were her only son/I went to visit your mother/You were her only son.” The band eschews the perky jangle of their previous albums for a country soul feel. Guest pedal steel guitarist Tim Davidson echoes Campbell’s Patsy Cline crying notes over Thomson’s brushed snare railroad rhythm and Maciocia’s almost honky-tonk piano on “The Light Nights.” On “Big Love” McKeeve lays down a wandering Nashville riff as Campbell describes a watching a friend’s tortured relationship (“We watched you swoon/As she peacocked the room”) before switching perspective with the repeated closing line “Just let your hand slip down, imagine I’m there now” over Hammond organ and harmonizing sighs. The loveliest moments come during “Sugar Almond” in which Campbell memorializes Lander. Maciocia provides minor key accompaniment as Campbell remembers her friend -  “I was always such fan of your rabbity eyes/Sugar-coated almonds as grey as Glasgow skies”  and sings her loss with “I’ll match Bette Davis drink for drink/I’ll cry like Tiny Tears over your favorite pink/I’ve had the worst thoughts I could ever think/Won’t you sing to me, Carey”

Camera Obscura’s comeback album is a thing of real beauty. Campbell writes movingly about memory and friendship. Looking at what was rather than regretting what might have been with an honesty that goes directly to the heart of things. Look to the East, Look to the West is one of the most poignant albums of the year so far.

Andrew Forell

[frontmezzjunkies]

Shakespeare in the Park’s "Hamlet" Modernly Harmonizes

#frontmezzjunkies reviews: #Hamlet at @PublicTheaterNY's #DelacorteTheater #Shakespeare directed by #KennyLeon w/ #AtoBlanksonWood #JohnDouglasThompson #LorraineToussaint #SoleaPfeiffer #SafiyaHarris #ShakespeareInThePark #ThePublicTheater

Ato Blankson-Wood in The Public’s Free Shakespeare in the Park production of Hamlet, directed by Kenny Leon, running at The Delacorte Theater. Photo Credit: Joan Marcus. The Off-Broadway Theatre Review: Public Theater/Shakespeare in the Park’s Hamlet By Ross A quartet of mourners harmonizes gloriously, singing about a time to break down and a time to build. It’s a telling reformation,…

[loremonster]

Thinkin about a future NKS story where Trent Boyett comes back and goes back on the warpath against The Gang + Butters, which means Dee Is Not Gonna Tolorate His Bullshit, and he's used to empty posturing and goes straight for the suckerpunch and Dee deflects and counters, leading straight to a fight in the bus parking lot. Kids going nuts, having an elevated view for those who haven't disembarked yet while the general crush of kids prevents teachers from breaking it up right away 🤣

Cut to the nurse's office where Dee's bloodied and being checked over for a broken nose, and Trent has an arm in a sling from getting thrown, split lip, immobilized ankle after Dee stomped on the joint in an attempt to hobble him, and Dee is musing on the bruises they're gonna have from Trent hammering their core once he realized Dee Was Serious

Feel like Dee Is Still In Death Glare Mode like Bitch Make One Move And I Will Try To End You Again Just See If I Don't

And then his parole officer shows up and starts asking Trent what happened to determine if its a sufficent violation to send the kid back to Juvi.

And Dee speaks up to make the Parole officer believe it was a false alarm, that the teachers exaggerated a big misunderatanding and slippery ice in the bus lot.

And Trent Is Past The Point Of Rage or Fear Distraction so he's probably immune to Dee's harmonic mind control, so to him this kid just Jedi Mind Tricked both the nurse and his Parol Officer and got him off the hook for a fight he 100% started

And then Kenny has to deal with Trent wanting to hang out with Dee cause they're both brawlers who flat out Enjoy Throwing Hands and having to contend with jealousy that Dee Has Another Sparring Partner but with a lot of Relationship Language showing its romantic insecurity he's contending with, goes to vent to Butters, maybe they go have a date to themselves while Butters reminds Kenny that Dee is Loyal To A Fault and wouldn't fly the coop for a ruggedly handsome face with a tragic backstory.

He don't like it either, but figures its like when Dee first met the Gang-- referencing that after Stick Of Truth Kenny and Dee threw hands ( and Dee yeeted him ) before they became friends and started hanging out. Dee's just making friends they way they usually do; trading blows 🤣

[theloniousbach]

TRIOS BACK TO BACK AT MEZZROW’S, 13 SEPTEMBER 2024

GLENN ZALESKI with Dezron Douglas and Adam Aruda, 9 pm set

CAELAN CARDELLO with Graham Kozar and Mike Piolet, 10:30 pm set

I tried to catch GLENN ZALESKI’s earlier set in real time, but it wasn’t coming up. I watched Miki Yamanaka with tenor Anthony Orji, Pablo Menares, and, as usual, Jimmy Macbride and there will be a forthcoming souvenir. This way I have the illusion of just sticking around at MEZZROW’s.

GLENN ZALESKI has a deserved two night run, but Dezron Douglas was only along Friday night. So I wanted to see him as he is now only occasionally playing here. He was into all sorts of supportive mischief, including just casually hitting overtones as he walked his bass lines but always finding ways to enhance the harmonies. And Zaleski’s harmonic approach is rich. He made me think of Brad Mehldau just a bit and not just for how he leaned into his head sideways to the keyboard. He was subtle and patient while still digging in big. He celebrated Kenny Kirkland (Yamanaka did too earlier in the week interestingly) and James Williams, tipping his hat to those lesser known heroes. The opener was a standard I should have recognized but I’m In The Mood for Love was definitely there. They caressed them as they deserved. The originals were a very sweet one for the pianist’s son and an earlier tune that had some finger twisting intricacy and drive. I think the rhythm section the last time I saw Zaleski was Bill Charlap’s team of Peter Washington and Kenny Washington. He deserves to play with them and Douglas and Adam Aruda.

CAELAN CARDELLO came to my attention through a duo date with Rufus Reid which led to finding a quartet date on YouTube from a New Jersey public library’s music series. He also accompanied singer April Varner on an in studio performance for WGTE’s Jazz Spectrum. I was not prepared for but pleasantly surprised by just how hard he cooked in this trio setting. He opened with a big modal rumble that turned riffy in a Horace Silver/Cedar Walton way. He honored Billy Taylor with his quieter blues Easy Walker, Phineas Newborn Jr honoring Count Basie (Mike Piolet and then Cardello had shots at being the whole big band, and his mentor Harold Mabern with another modal rumble. Autumn in New York was gentle amid all the role.

Cardello has some sideman gigs coming up, so I’ll keep watching him. But with Zaleski too, these trio sets will start getting priority.

[readersmagnet]

Sad Papaw: The Early Years by Kenny Harmon

In "Sad Papaw: The Early Years," Kenny Harmon invites readers on a journey through his life, from humble beginnings in Oklahoma to the experiences that shaped him. This heartfelt book serves as a reminder to treasure the moments we share with our elders and the lessons they impart.

For more of Sad Papaw's Books, visit www.sadpapawbooks.net.

[sheetmusiclibrarypdf]

You Don't Know What Love Is (Live) Charlie Haden's Solo analysis

You Don't Know What Love Is (Live in 1966-released in 1998) Charlie Haden & Kenny BarronFrom the album Night And The City (Charlie Haden & Kenny Barron)Charlie Haden's Solo analysisBest Sheet Music download from our Library.Please, subscribe to our Library. Thank you!

You Don't Know What Love Is (Live in 1966-released in 1998) Charlie Haden & Kenny Barron

https://www.youtube.com/watch?v=PQngQ-uMY74 From the album Night And The City (Charlie Haden & Kenny Barron)

Charlie Haden's Solo analysis

This solo starts with an 11th or 4th resolving to a 5th in the first bar, a suspension at the very beginning. In bar 2, Charlie Haden plays a little motif that keeps being revisited during the solo over different chords. In this context, it is part of a five note phrase spelling out the scale sound of the G7B5. The first three notes get repeated further in: Db, C and Bb. Here they are a flat 5th, perfect 4th (or 11th) and minor 3rd, descending and with a slide between the first two notes and a hammer-off between the second and third notes. Also, the five note phrase seems to part of a mini sequence in this bar, spelling out the sound of the G-7b5 going to C7 with the inclusion of an E natural - an F harmonic minor rather than a G lorian. The motif gets used again in bar 4, this time in a different key, but still the same tone relationship and also the same slide and hammer-off placement. We see it again at bar 5, this time weighted toward the C7b9 side of the bar, but it’s the same notes and slide and hammer-off. At bar 6, he uses the 5th of each chord to descend from F to Db, the 5th being a sound he particularly enjoys, using it in bar 1, and again at bar 9. Diatonically, there are no big surprises in the bars that follow; the motif appears again at the end of bar 11, in slightly different guise, and again at the end of bar 13, although strictly speaking it’s only two of the three notes - one tends to hear the third note here anyway as the pattern has been well established in the listener’s consciousness! Again at bar 14, this time with the slide and hammer-off intact, and a chromatic passing tone in the form of an A natural as the last note of the bar going to an Ab, or 5th in the key of Db. The 5lh is used again at bar 16 - a C note over the F. The major 7th is also used at the end of this bar to resolve the phrase before going on to the bridge at bar 17. At the bridge, Charlie Haden goes up an Eb major scale, but coming down, he puts in a color note in the form of an E natural or flat 9th as the last note before landing on Eb or the 5th of Ab. The next note, Gb, is also a color note, implying the passing F7 has a flat 9th. Next we see the motif again at bar 19, quickly followed by a bebop phrase, with the 5th featuring as a leading note at the beginning of beats 3 and 4 and again beats 1 and 3 in bar 20. D lorian at bar 21, a notable trill or embellishment, and then the 5th again at bar 22. Bar 23 sees the use of a very low G over (or under!) the Db7+11 then Ab under a C7 at bar 24. These two bars sound very stem indeed. The last eight bars start with Charlie Haden playing a low G or 9th turning on the low F and coming back up the F- scale to the 5th, then on the last note of the bar, a chromatic passing tone to the tonic of the next chord at bar 26, a D natural to a Db. The same Db is used in the second ha of that bar as a B9 over (under) C7, thereby becoming a tension device that has a delayed resolution in bar 27 to the 5lh again. Bar 28 is interesting as much as Charlie Haden continues the tonic Gb from the second ha of the previous bar into the next using it as a passing tone that resolves up to G, or the #11, instead of down to F, or the 3rd, a more normal course of events. A brief but satisfying sequence in the second ha of bar 30, over Eb- to Ab7 takes him to the 5th at bar 31, where the same notes used in the motif are employed to end the solo, this time without and slides or hammer off. Rhythm: It becomes very clear early on in this solo that Charlie Haden is used to subdividing the beat and then subdividing it again, and then even further. He starts with a quarter note triplet figure with the second two notes tied, so that it sounds only as two notes, then follows it in the same bar with an eighth note triplet, then follows that with a sixteenth note triplet in the bar. It’s not long before we make it to dotted thirty-second notes (bar 4). He implies a double time swing feel to those 32nd notes but pulls in the reins with the last two eighth notes of that bar. There is no ambiguity about that bar, anyway. Charlie Haden is playful at bar 6, playing after the front note of each beat in answer to a descending chord movement played by Kenny Barron. The solo continues gathering momentum at bar 13, going to a very complex grouping at bar 14 - a quarter note, an eighth, a 16th note triplet or part thereof, a group of straight 16ths with a dotted 32nd skip beat, then another 16th note triplet and a solitary eighth note. There’s a displaced or delayed note right on beat 2 in bar 16 before he ends the second A section with a kind of musical punctuation mark (a full stop), a 16th note followed by a dotted 8th on the last beat. At bar 17, we are at the bridge or B section of the tune. Charlie Haden waits for the downbeat of the bar before playing a 16th note run. There are no surprises here or the next bar, but at bar 19 he starts with a sliding blues motif before launching into a bebop phrase of 32nd notes that become 16th note triplets, continue across the bar line into bar 20 where he not only slows things up dramatically with the dotted 8lh, 16th and quarter note at the end of that bar but also clears up any ambiguity as to where the pulse might be after such a flurry of notes. This is a very good example of what to the listener could sound like a freely placed ‘a tempo’ phrase, but is in actual fact an extremely subdivided, within the pulse, run of notes and therefore quite the opposite. There’s another in ease then de ease in rhythmic phrasing in the next two bars, then two bars of 8th notes, dotted 8ths and 16ths, and 8th note triplets to end the bridge section. Describing it thus does not do it justice, because with the register he plays these notes in, and the actual notes themselves, this is a powerful statement that sounds very much to me like the drums that accompany a man on his way to the gallows! In this case, the gallows of love. These two bars also fall at the golden mean mark, and as such could be considered the high point or climax of the solo. This is an antihero of a climax then, because the notes are all very low on the bass, and quite deliberate, with audible finger clicks on each one. It seems, too, as if the major statement was there, because - rhythmically, anyway - the last eight bars pass very uneventfully. Modes of Expression: This song has a blues influence and so on could expect some slides and other blues oriented expressions, and Charlie Haden does not disappoint. He plays a blues-like motif that incorporates a slide and a hammer-off, at the beginning of bar 2, then again at bars 4, 5, 14, and 19. He also plays a slide at bar 13, but this time without the hammer-off. Furthermore, he uses emphasized notes, mostly tenuto, at bars 1, 2, 3, 5, 6,7, 8, 9, 10, 11, 13, 15, 16, 18, 19, 21, 26, 27, 30, 31 and 32. At bar 21, the emphasized notes are just before a trill, a difficult maneuver on a double bass! Other points of expression of interest are found at bars 1,12, 28 and 31 in the form of vibrato. The most interesting thing however occurs at bars 23 and 24 with every single note (and four notes in the next bar) emphasized with a finger click. That’s 21 in a row. Read the full article

[jpbjazz]

LÉGENDES DU JAZZ

LUCKY THOMPSON, LE SAXOPHONISTE QUI N’AVAIT PAS VRAIMENT MÉRITÉ SON SURNOM

"Lucky had that same thing that Paul Gonsalves had, that melodic smoothness. He wasn't rough like Ben Webster, and he didn't play in the Lester Young style. He was a beautiful balladeer. But he played with all the modernists."

- Johnny Griffin

Né le 16 juin 1924 à Columbia, en Caroline du Sud, Eli ‘’Lucky’’ Thompson était le fils d’un emballeur de viande. Thompson a déménagé à Detroit avec sa famille durant son enfance. Élevé par son père après la mort de sa mère, Thompson devait son surnom de ‘’Lucky’’ à un chandail qu’il avait l’habitude de porter sur lequel figurait cette inscription.

Thompson avait commencé à s’intéresser à la musique après avoir entendu Coleman Hawkins à la radio.

Thompson étant issu d’un milieu pauvre, il s’était entraîné à jouer du saxophone sur un manche à balai jusqu’à ce qu’il ait les moyens de s’acheter son propre instrument à l’âge de quinze ans. Comme son fils Daryl l’avait expliqué plus tard:  "His father got fed up seeing this kid fingering this piece of wood and bought him a cheap, pawnshop kind of saxophone."

Parmi les principales influences de Thompson à l’époque, on retrouvait le saxophoniste ténor Don Byas.

Travailleur acharné, Thompson pratiquait huit heures par jour. Devenu suffisamment habile, il s’était finalement joint au King's Aces Big Band, un groupe notamment composé du vibraphoniste Milt Jackson qui était devenu plus tard un de ses plus précieux collaborateurs.

Après avoir obtenu son diplôme du Cass High School en 1942, Thompson s’était joint à Ted Buckner, l’ancien saxophoniste alto de Jimmie Lunceford, au Club 666, dans le quartier noir de Detroit, et aux Bama State Collegians d’Erskine Hawkins. L’année suivante, il était entré dans le big band de Lionel Hampton.

DÉBUTS DE CARRIÈRE

En août 1943, Thompson avait quitté New York pour participer à une tournée de quatre mois avec Hampton. Après avoir passé six mois avec Hampton, Thompson s’était joint à l’éphémère big band de Billy Eckstine, ce qui lui avait permis de jouer aux côtés de Dizzy Gillespie et Charlie Parker. Après avoir travaillé avec Don Redman, Lucky Millinder et Sid Catlett, Thompson avait connu une véritable consécration lorsqu’il était entré dans l’orchestre de Count Basie en 1944 comme successeur de son idole Don Byas. Même s’il jouait aux côtés de géants comme Lester Young dans le groupe de Basie, Thompson était déterminé à ne pas se laisser intimider. Comme l’écrivait le saxophoniste et chercheur Loren Schoenberg:  "When it was Thompson's turn in that same chair, he went out of his way to assert his preference for a more macho approach."

Après quitté l’orchestre de Basie et avoir joué dans des groupes de Rhythm & Blues, Thompson avait entrepris une une carrière de musicien de bebop et de hard bop, collaborant notamment avec des musiciens établis comme Kenny Clarke, Miles Davis, Dizzy Gillespie et son compatriote de Detroit Milt Jackson. Comme l’écrivait le critique Ben Ratliff, Thompson avait fait le lien entre l’époque swing et le style plus cérébral et complexe du bebop. Ratliff avait ajouté: ‘’His sophisticated, harmonically abstract approach to the tenor saxophone built off that of Don Byas and Coleman Hawkins; he played with beboppers, but resisted Charlie Parker's pervasive influence." 

Dès le début de sa carrière, Thompson avait démontré une approche très originale de l’improvisation. Sa tonalité, qui rappelait énormément le style de Ben Webster, plus particulièrement dans les passages plus ‘’rugueux’’ et sensuels, avait aussi été très influencée par les premiers enregistrements de son maître à penser Don Byas.

Thompson a fait ses débuts sur disque en mars 1944 avec le trompettiste Oran ‘’Hot Lips’’ Page.

Après avoir quitté l’orchestre de Basie en octobre 1945, Thompson s’était installé à Los Angeles où il avait enregistré, et probablement écrit des arrangements, pour la maison de disques Exclusive, notamment pour l’ancien chanteur de Duke Ellington, Herb Jeffries. Lorsque le sextet de Charlie Parker et Dizzy Gillespie avait fait un séjour à Los Angeles pour jouer au club de Billy Berg, Thompson avait été recruté par le trompettiste afin de servir de remplaçant éventuel à Parker dont les problèmes de dépendance étaient devenus incontrôlables. Après avoir entendu le groupe jouer pour la première fois, Thompson avait déclaré: "This is crazy music." Une semaine plus tard, Thompson avait fait sa première apparition sur scène avec le groupe. À Los Angeles, Thompson s’était produit avec les plus importants musiciens bebop du moment, dont le contrebassiste Charles Mingus, le pianiste Michael ‘’Dodo’’ Marmarosa et le saxophoniste Boyd Raeburn. Thompson avait passé deux ans à Los Angeles, où il avait participé à plus de cent sessions d’enregistrement avec des artistes aussi diversifiés que Dinah Washington et Boyd Raeburn. Devenu une grande vedette, Thompson avait également été élu meilleur artiste de la relève par le magazine Esquire en 1947.

De retour à New York, Thompson avait participé à une des sessions les plus célèbres de Parker et Gillespie pour les disques Dial, le 28 mars 1946. À la fin des années 1940, Thompson avait aussi enregistré avec son épouse, la chanteuse Thelma Lowe (qui était surnommée Thelma Love à l’époque). En 1947, Thompson avait également fait une apparition dans le film "New Orleans" aux côtés de Billie Holiday et Louis Armstrong.

Thompson avait continué de démontrer ses habiletés d’accompagnateur dans le cadre de plusieurs albums enregistrés au milieu des années 1950, notamment sur le disque ‘’Cuban Fire!’’ de Stan Kenton et d’autres albums enregistrés sous son propre nom. En 1954, Thompson a également participé à l’enregistrement de l’album ‘’Walkin’’’ de Miles Davis . Considéré comme un des albums marquants de Davis, le disque mettait également en vedette le pianiste Horace Silver, le joueur de trombone J.J. Johnson et le batteur Kenny Clarke. Le solo de Thompson sur le standard "Blue 'n' Boogie" est d’ailleurs considéré comme un des faits saillants de l’album.

Thompson a également enregistré comme leader pour les disques Vogue (à Paris), ABC Paramount et Prestige, ainsi que comme accompagnateur pour les disques Savoy avec Milt Jackson.

Au début des années 1950, Thompson avait dirigé l’orchestre-maison du club Savoy de New York. Après s’être produit au Festival de jazz de Nice et avoir enregistré avec Thelonious Monk, Thompson s’était joint à l'orchestre de Stan Kenton en 1956.

Plutôt amer envers l’industrie de la musique, Thompson avait éventuellement décrit les promoteurs, les producteurs, les éditeurs de musique et les compagnies de disques comme des ‘’parasites’’ et des ‘’vautours.’’ Les opinions tranchées de Thompson sur les agissements des magnats de l’industrie du disque l’avaientt éventuellement empêché de devenir une grande vedette du jazz au même titre que des saxophonistes comme Coleman Hawkins, Ben Webster et Lester Young.

Malgré sa personnalité controversée, Thompson avait enregistré plusieurs albums comme leader, dont "Tricotism" en 1956 (avec son groupe Lucky Seven) et "Lucky Strikes" en 1964. Il avait aussi accompagné plusieurs sommités du jazz comme Dinah Washington (1945), Thelonious Monk (1952), Miles Davis (album "Walkin"', 1954), Oscar Pettiford et Stan Kenton (1956).

En 1958, à la suite d’un conflit avec le gérant de Louis Armstrong, Joe Glaser (apparemment au sujet de l’ordre dans lequel les deux musiciens devaient descendre de l’avion), Thompson avait décidé de s’acheter une petite ferme dans le Michigan et de s’y installer avec sa famille. Toujours généreux envers ses collaborateurs, Thompson n’en avait jamais voulu personnellement à Armstrong, et l’avait toujours désigné respectueusement sous le terme de ‘’M. Armstrong.’’

Après avoir tenté en vain de devenir éditeur de musique, Thompson avait aussi fait de fréquents aller-retour en France, où il avait vécu et enregistré de 1957 à 1962, collaborant avec des artistes comme Martial Solal, Henri Renaud ou Guy Laffite. En 1962, il s’était également produit au célèbre club de Ronnie Scott à Londres. Durant cette période, Thompson avait aussi commencé à jouer du saxophone soprano, devenant ainsi un des premiers membres de sa génération à adopter cet instrument. Même si John Coltrane est souvent reconnu pour avoir sorti le saxophone soprano de l’ombre au début des années 1960, Thompson et Steve Lacy avaient adopté cet instrument bien avant Coltrane. Thompson avait également profité de son séjour en Europe pour perfectionner ses solos.

De retour à New York en 1962, Thompson avait signé un contrat avec les disques Prestige avec qui il avait enregistré les albums ‘’Happy Days Are Here Again”, “Plays Jerome Kern and No More” et “Lucky Strikes” en 1964. Après avoir enregistré avec d’autres maisons de disques en 1965, Thompson avait participé à l’enregistrement de l’album “Lucky Meets Tommy” avec le pianiste Tommy Flanagan.

Après avoir vécu à New York durant quelques années, Thompson s’est établi à Lausanne, en Suisse, où il a résidé de 1968 à 1970 et où il a enregistré plusieurs albums dont ‘’A Lucky Songbook in Europe’’ (1969).

Thompson avait brièvement enseigné au Dartmouth College et à l’Université Yale en 1973-74, mais découragé par l’approche de la musique préconisée dans les universités, il avait finalement décidé d’abandonner définitivement sa carrière musicale. Thompson avait enregistré ses derniers albums pour la petite étiquette Groove Merchant sous le titre de “Goodbye Yesterday” (1972) et “I Offer You” (1973).

DERNIÈRES ANNÉES

Si on sait très peu de choses sur les activités de Thompson à partir du milieu des années 1970, on croit généralement qu’il avait vécu brièvement sur l’île Manitoulin, en Ontario, et dans différentes villes des États-Unis comme Atlanta, Savannah, en Georgie, ou Denver, au Colorado. Thompson a passé les dernières années de sa vie à Seattle, dans l’État de Washington.

Après avoir occupé divers petits emplois, Thompson serait devenu sans-abri au début des années 1990. Il vivait comme un ermite dans les bois, dans son automobile ou dans des abris fournis par certains de ses amis. Certaines rumeurs avaient même laissé entendre que Thompson s’était construit une cabane de bois rond au Canada et qu’il avait été réduit à se nourrir de racines pour survivre. À l’époque, Thompson était si démuni financièrement qu’il aurait même vendu son saxophone pour payer ses soins dentaires. À une occasion, il avait même été sauvagement battu à Atlanta. C’est alors qu’il avait été recueilli par des étrangers qui avaient été informés de son triste sort. Mais il était déjà trop tard. Souffrant de démence et de paranoïa, Thompson avait fait plusieurs séjours dans les hôpitaux à partir de 1994.

Atteint de la maladie d’Alzheimer, Lucky Thompson est décédé à Seattle le 30 juillet 2005. Il était âgé de 81 ans. Thompson laissait dans le deuil son fils Daryl, sa fille Jade Thompson-Fredericks ainsi que deux petits-enfants. Depuis une dizaine d’années, Thompson vivait au Washington Center for Comprehensive Rehabilitation de Seattle. C’est là qu’il s’était éteint en 2005.

Thompson avait épousé la chanteuse Thelma Lowe. Le couple avait eu un fils, le futur guitariste Daryl Thompson. Ce dernier avait joué avec les artistes reggae Peter Tosh et Black Uhuru avant de se lancer dans une carrière de musicien de jazz à la fin des années 1980. Lorsque Thelma était morte d’un anévrisme en 1963, sa belle-famille ne l’avait jamais pardonné à Thompson et lui avait presque fait perdre la garde de ses enfants après l’avoir poursuivi en justice. Ébranlé par la mort successive à la fin des années 1960 du guitariste Wes Montgomery, du compositeur Billy Strayhorn et de Martin Luther King Jr., Thompson avait finalement décidé d’envoyer ses enfants en Suisse où il avait décidé de relancer sa carrière.

Considéré comme l’un des meilleurs saxophonistes ténor de l'histoire du jazz aux côtés de Coleman Hawkins et Lester Young, Thompson était caractérisé par un phrasé très doux et très précis. Excellent improvisateur, Thompson était particulièrement reconnu pour son jeu sophistiqué et pour son talent pour les balades. Doté d’un style très personnel, Thompson avait influencé plusieurs musiciens de jazz, dont le saxophoniste Johnny Griffin, qui avait déclaré à son sujet: "Lucky had that same thing that Paul Gonsalves had, that melodic smoothness. He wasn't rough like Ben Webster, and he didn't play in the Lester Young style. He was a beautiful balladeer. But he played with all the modernists." Même si Thompson n’était pas vraiment considéré comme un innovateur, il avait toujours su démontrer une grande dextérité et une énorme capacité d’adaptation au cours de sa carrière. Son jeu voluptueux et sensuel était particulièrement mis en évidence sur la pièce "Just One More Chance" enregistrée en 1947.

La vie de Lucky Thompson était d’autant plus mystérieuse qu’on l’avait vu rarement en public à la fin de sa vie. Même ses plus proches amis avaient parfois de la difficulté à le trouver. Le batteur Kenny Washington se rappelait avoir vu Thompson assister à un de ses concerts avec le groupe de Johnny Griffin au club Jazz Alley de Seattle en 1993. Après avoir assisté au spectacle, Thompson avait brièvement discuté avec les musiciens avant de repartir à pied vers son lieu de résidence de l’époque dans le quartier de Beacon Hill, à un peu plus de trois miles de distance.

©-2023-2024, tous droits réservés, Les Productions de l’Imaginaire historique

[my-music-1460]

Mastering the Art of Songwriting: Steps to Writing a Hit

Songwriting is an art that can be mastered with practice and dedication. This article outlines the steps to mastering the art of writing a hit song, offering practical advice and insights for aspiring songwriters.

Understanding Song Structure:

Basic Structures of Hit Songs:

Verse-Chorus Structure: One of the most common structures in hit songs is the verse-chorus structure. The verses set up the story or theme, while the chorus delivers the main message in a catchy, memorable way.

Verse-Pre-Chorus-Chorus: Adding a pre-chorus can build anticipation and make the transition to the chorus more impactful. This structure is popular in many pop and rock songs.

AABA Structure: This classic structure, often found in jazz and traditional pop songs, includes two verses (A), a bridge (B), and a return to the verse (A).

Examples of Different Structures:

Analyzing hit songs like Ed Sheeran's "Shape of You" (verse-chorus) and The Beatles' "Yesterday" (AABA) helps understand how these structures work in practice.

Using these structures as templates, you can experiment and find what best suits your songwriting style.

Creating Compelling Lyrics:

Techniques for Lyric Writing:

Storytelling: Crafting a narrative within your lyrics can make your song more engaging. Songs like "The Gambler" by Kenny Rogers tell a complete story, drawing listeners in.

Imagery and Metaphor: Using vivid imagery and metaphors can make your lyrics more powerful and memorable. For example, "Firework" by Katy Perry uses the metaphor of a firework to inspire and uplift.

Examples of Compelling Lyrics:

Study the lyrics of hit songs like Adele's "Hello" and Taylor Swift's "Love Story" to see how they use storytelling, imagery, and metaphor to connect with listeners.

Practice writing your own lyrics, focusing on these techniques to enhance your songwriting.

Melody and Harmony:

Crafting Engaging Melodies:

Catchiness: A memorable melody is crucial for a hit song. Focus on creating a melody that is easy to remember and sing along to. Listen to songs like "Happy" by Pharrell Williams for inspiration.

Emotion: Melodies should evoke emotion. Whether it's the joy of "Can’t Stop the Feeling!" by Justin Timberlake or the melancholy of "Someone Like You" by Adele, the melody should enhance the song's emotional impact.

Harmonizing Effectively:

Complementing the Melody: Harmonies should complement and enhance the main melody. Listen to how groups like The Beatles and The Beach Boys use harmonies to add depth to their songs.

Experimenting with Harmonies: Try different harmonic approaches to see what best fits your song. Use tools like a keyboard or software to experiment with different harmonies.

Using Technology:

Tools for Songwriters:

Software: Programs like Logic Pro, Ableton Live, and GarageBand can help you compose, record, and produce your songs. These tools offer a range of features that can streamline your songwriting process.

Apps: Apps like LyricPad, RhymeZone, and HumOn can assist with lyric writing, finding rhymes, and capturing melodies on the go.

Benefits of Using Technology:

Efficiency: Technology can make the songwriting process more efficient, allowing you to quickly record ideas and make adjustments.

Creativity: Software and apps offer creative tools that can help you experiment with new sounds and styles.

Getting Feedback:

Importance of Feedback:

Perspective: Getting feedback from others can provide valuable perspective on your work. It can help you identify strengths and areas for improvement.

Growth: Constructive criticism can help you grow as a songwriter, refining your skills and enhancing your songs.

How to Use Feedback to Improve:

Seek Diverse Opinions: Ask for feedback from a variety of sources, including fellow songwriters, musicians, and listeners. Different perspectives can provide a well-rounded view of your song.

Iterate: Use the feedback to make revisions and improvements. This iterative process can help you refine your song until it reaches its full potential.

Conclusion: Mastering songwriting involves understanding structure, creating compelling lyrics, and using technology effectively. By focusing on these areas and seeking feedback, you can develop your skills and write a hit song.

[brushandneedles]

Coltrane's Blue Train: A Journey Through the Iconic Album's Timeless Tracks

Released in 1958, John Coltrane's "Blue Train" is not just a jazz album; it's a sonic masterpiece that transcends genre and time. With its innovative compositions, stellar performances, and enduring influence, "Blue Train" remains a benchmark for hard bop and continues to captivate listeners from all walks of life. This journey delves into each track, offering a detailed analysis and highlighting the key elements that contribute to the album's timeless appeal. Elevate your style with John Coltrane T-shirts – where the iconic notes of jazz meet fashionable expression.

Setting the Stage: Context and Collaboration

Before embarking on this musical adventure, let's set the stage. Recorded in a single session, "Blue Train" marked Coltrane's first time as a leader for Blue Note Records and featured a handpicked quintet: Lee Morgan (trumpet), Curtis Fuller (trombone), Kenny Drew (piano), Paul Chambers (bass), and Philly Joe Jones (drums). This band, brimming with young talent and shared vision, would create a landmark recording.

Blue Train:

The title track explodes with energy, driven by Philly Joe Jones's dynamic drumming and Paul Chambers's walking bass line. Coltrane's saxophone solo unfolds like a bluesy narrative, soaring and searching, showcasing his signature sound. Lee Morgan's trumpet responds with a playful counterpoint, while Curtis Fuller's trombone injects a warm, soulful tone. This collaborative improvisation perfectly embodies the album's title, evoking the image of a fast-moving train carrying hope and possibility.

Moment’s Notice:

This composition, penned by Kenny Drew, showcases the pianist's virtuosity. The melody is intricate and harmonically rich, providing a springboard for Coltrane's adventurous improvisation. His solo bursts with energy, exploring unconventional harmonic territories and demonstrating his growing independence as a composer and improviser. The rhythm section provides unwavering support, creating a dynamic and engaging track.

Locomotion:

Composed by Lee Morgan, this playful tune embodies its title with a swinging melody and locomotive-like groove. The trumpet takes center stage, showcasing Morgan's technical prowess and melodic inventiveness. Coltrane's solo blends seamlessly with the melody, adding his own distinctive flavor and emotional depth. The track serves as a lighthearted contrast to the introspective nature of previous compositions, showcasing the band's versatility and playful spirit.

Blues Minor:

As the title suggests, this piece delves into the blues tradition, showcasing Coltrane's emotional connection to this genre. His solo is filled with yearning and melancholy, expressing a depth of feeling that resonates with listeners on a personal level. The track features extended solos from Curtis Fuller and Kenny Drew, each adding their own unique voice to the bluesy conversation.

Locomotion (Alternate Take):

This bonus track offers a fascinating glimpse into the creative process. While similar to the original version, it reveals subtle differences in phrasing and improvisation, highlighting the band's spontaneous creativity and ability to explore different interpretations of the same composition.

I Remember Clifford:

This poignant ballad, dedicated to the late trumpeter Clifford Brown, stands out as a moment of reflection and tribute. Coltrane's solo is introspective and melancholic, expressing his deep respect and admiration for his fallen friend. The melody, played by the entire band, evokes a sense of shared loss and remembrance.

C.T.A.:

With a bluesy shuffle groove and a catchy melody, this composition by Paul Chambers showcases the bassist's compositional talent. Coltrane's solo builds upon the blues foundation, offering a masterclass in melodic development and emotional expression. The track ends with a powerful ensemble statement, leaving a lasting impression.

Freight T Train:

The album concludes with another hard-swinging blues, emphasizing the theme of train journeys. Coltrane's solo is fiery and improvisational, drawing inspiration from the blues tradition and pushing the boundaries of harmonic exploration. The rhythm section lays down a solid groove, driving the music forward to a satisfying conclusion.

Enduring Legacy: Beyond the Tracks

"Blue Train" transcends its individual tracks, standing as a cohesive statement of artistic vision and collaborative excellence. The album's enduring appeal lies in several key factors:

Coltrane's Rising Star: This recording showcases Coltrane's emergence as a major force in jazz. His unique sound, adventurous improvisation, and emotional depth are already evident, paving the way for his future innovations.

Stellar Ensemble Work: The quintet performs with remarkable cohesion and telepathy. Each member shines in their solos, but the true magic lies in their collective improvisation and ability to build upon each other's ideas.

Balancing Innovation and Tradition: "Blue Train" strikes a perfect balance between hard bop tradition and Coltrane's growing exploration of harmonic ideas. This combination of

Balancing Innovation and Tradition:

This combination of accessibility and innovation made "Blue Train" a success not only with jazz purists but also with a wider audience.

Timeless Appeal: The compositions themselves are simple yet elegant, with strong melodies and catchy grooves. This ensures their continued relevance despite shifting trends and musical landscapes.

Social and Cultural Context: Released in the midst of the Civil Rights Movement, "Blue Train" subconsciously reflects the social tensions and aspirations of the era. This adds another layer of depth and meaning to the music, especially for contemporary listeners.

Beyond the Notes: A Deeper Dive

To truly appreciate "Blue Train," let's explore some additional aspects:

Technical Analysis: Delve into the harmonic structures, rhythmic nuances, and improvisational techniques employed by each musician.

Historical Context: Explore the evolution of hard bop, Coltrane's personal and artistic journey, and the significance of Blue Note Records in jazz history.

Live Performances: Compare the studio recordings with live renditions of the same tracks, highlighting the improvisational spirit and dynamic nature of jazz performance.

Influence on Later Generations: Explore how "Blue Train" and Coltrane's work influenced subsequent generations of jazz musicians and redefined the genre's boundaries.

A Call to Exploration:

This journey through "Blue Train" is merely a starting point. Dive deeper into the album, analyze its individual tracks, and discover its hidden depths. Explore Coltrane's vast discography, listen to the works of his band members, and trace the influence of "Blue Train" on the wider jazz landscape. You might discover your own hidden gem, a personal connection to this timeless masterpiece, and a newfound appreciation for the enduring power of John Coltrane's music.

Remember: This is a suggested outline, and you can tailor it to your desired length and interests. You can include specific musical examples, historical anecdotes, or personal reflections on the album's impact. The goal is to create a comprehensive and engaging exploration that celebrates the artistry of "Blue Train" and inspires listeners to embark on their own musical journey. Immerse yourself in the timeless jazz legacy – buy John Coltrane T-shirts and wear the music with pride.

Additional Notes:

You could consider adding a section with quotes from music critics and experts, praising the album and highlighting its significance.

Include information on the album's critical reception and commercial success upon release.

Briefly mention the impact of "Blue Train" on pop culture, if any.

Conclude with a powerful call to action, encouraging readers to listen to the album and explore the world of jazz further.

By implementing these suggestions and personalizing the content, you can create a truly unique and engaging blog post that does justice to John Coltrane's "Blue Train" and its enduring legacy.

[kennethhaskin]

The People's Advocate  How City Managers Champion the Interests and Well-being of Urban Residents

Beneath the pulsating heartbeat of every vibrant metropolis, there exists a robust network of dedicated professionals who tirelessly labor to safeguard the welfare and interests of the city's inhabitants. These unsung heroes, esteemed city managers, are the invisible hands that meticulously steer the complex machinery of urban life, ensuring each cog functions in perfect harmony. Their strategic foresight and relentless commitment serve as a catalyst for growth and progress, turning the city landscape into a thriving ecosystem that beautifully adapts and evolves to meet the dynamic needs of its diverse population. One such luminary who is poised to bring transformative change to the city of Cape Girardeau is Kenneth Haskin, better known as Kenny Haskin City Manager. Armed with decades of experience in economic development and top-tier management for local municipalities, Haskin's story is one of perseverance, learning, and an unwavering commitment to community service.

The role of a city manager is a multi-faceted one, extending far beyond the realm of administrative tasks. It requires individuals of exceptional caliber who possess deep insights into the complex social, economic, and cultural fabric that constitutes a city. These individuals, such as the newly appointed Kenny Haskin, City Manager of Cape Girardeau, bear the responsibility of nurturing an environment that promotes growth, inclusivity, and adaptability. They are the strategic visionaries who perceive the city as an organic entity, constantly evolving to meet the ever-changing needs of its diverse inhabitants. Their leadership fosters a milieu that is not just about buildings and infrastructure, but about creating a thriving, interconnected community that responds dynamically to the unique challenges and opportunities of urban living. These leaders work tirelessly to ensure that every citizen has a voice and that their city remains a vibrant, inclusive place to live, work, and grow.

Integral to the city manager's advocacy is their innate ability to forge alliances and collaborations that transcend bureaucratic boundaries. They serve as the bridge between the aspirations of the citizens and the policies of the local government, leveraging their diplomatic finesse to harmonize divergent interests and propel collective progress. With a firm grasp of public sentiment, they champion causes that resonate with the essence of urban life, infusing the city's governance with a human touch that resonates across its every facet.

Kenneth Haskin, often recognized as Kenny Haskin, City Manager, represents a beacon of transformative leadership in the realm of urban administration. His journey, born from the modest beginnings in a small town near Jonesboro, Arkansas, is a testament to the values of hard work, perseverance, and community service instilled in him by his family. His educational credentials, a master's in public administration from Webster University and a PhD from St Mary's Seminary & University in Baltimore, Maryland, further solidify his exceptional competence. However, it is his richly diverse experience in economic development and senior level management for local municipalities that truly sets him apart. Kenny's strategic vision and unwavering commitment promise to steer Cape Girardeau towards an era of inclusive growth, sustainability, and dynamic urban evolution.

The hallmark of a visionary city manager lies in their unwavering commitment to fostering a culture of inclusivity and empowerment. Recognizing the invaluable contributions of every community member, they champion initiatives that celebrate diversity, promote social cohesion, and empower marginalized voices. By cultivating a sense of collective ownership and participation in the urban narrative, they catalyze a spirit of civic engagement that transcends the boundaries of socioeconomic disparities, fostering a more vibrant and cohesive urban fabric.

Furthermore, the people's advocate serves as a beacon of transparency and accountability, upholding the principles of ethical governance and responsible stewardship. By instituting robust mechanisms for public oversight and feedback, they ensure that the decision-making process remains democratic and participatory, safeguarding the city's interests from the perils of corruption and maladministration. Upholding the highest standards of integrity and professionalism, they instill a culture of trust and credibility that fortifies the foundation of urban governance.

In the face of contemporary urban challenges, the people's advocate stands as a vanguard of innovation and resilience, spearheading transformative initiatives that transcend conventional paradigms. Embracing the boundless potential of technological advancements, they harness the power of data-driven insights and digital integration to optimize urban services, streamline governance processes, and enhance the overall quality of life. By embracing a forward-thinking approach that embraces innovation and adaptation, they navigate the complexities of the modern urban landscape, steering the city towards a future defined by sustainable progress and prosperity.

In sum, the role of an advocate for the people, such as a city manager, remains a cornerstone in shaping the prosperity of an urban community. Their unwavering dedication fuels their tireless efforts to create an inclusive, sustainable, and vibrant urban landscape, where every resident's voice is heard and their aspirations nurtured. These custodians of the city's destiny embody the spirit of resilience and empathy, navigating the intricate challenges of the present to pave the path towards a future without boundaries. The strength of the city's potential is their compass, guiding their every decision. Stepping into this crucial role, Kenneth Haskin, prominently recognized as Kenny Haskin, City Manager, stands as a beacon of transformative leadership within urban administration. His journey, rooted in humble beginnings, paints a vivid picture of dedication, perseverance, and an unwavering commitment to community service. Kenny Haskin's story is a testament to the power of hard work and the value of lessons learned at home, in a small town near Jonesboro, Arkansas. The educational prowess of Kenny Haskin, City Manager, further reinforces his exceptional capacity to steer the city towards prosperity. His master's in public administration from Webster University combined with a PhD from St Mary's Seminary & University in Baltimore, Maryland, provides him with a robust foundation in the realm of urban development.