#Peter Bocage

[jazzdailyblog]

Red Allen: Mastering Jazz's Vibrant Palette

Introduction: In the ever-evolving tapestry of jazz, few figures have woven as rich a legacy as Henry James “Red” Allen, Jr. Renowned as an American jazz trumpeter and vocalist, Red Allen is celebrated not only for his virtuosic talent but also for pioneering the integration of Louis Armstrong’s innovations into his distinctive style. Early Trumpet Strokes: Birth and Formative Years Born one…

[greatworldwar2]

• D-Day: Sword Beach

Sword, commonly known as Sword Beach, was the code name given to one of the five main landing areas along the Normandy coast during the initial assault phase, of Operation Overlord, the Allied invasion of German-occupied France that commenced on June 6th, 1944.

Following the Fall of France in 1940, British Prime Minister Winston Churchill vowed to return to continental Europe and liberate the Nazi German-occupied nations. The Western Allies agreed to open a Second Front in northern Europe in 1942 to aid the Soviet Union. However, with resources for an invasion lacking, it was postponed. The decision to postpone the invasion was due to wanting to see the Battle of the Atlantic to its closure, the lack of landing craft, invading Sicily in July 1943, and Italy in September following the defeat of Axis forces in North Africa in May 1943 resulted in the postponement of any assault on northern Europe till 1944.

Having succeeded in opening up an offensive front in southern Europe, gaining valuable experience in amphibious assaults and inland fighting, Allied planners returned to the plans to invade Northern France. Now scheduled for June 5th, 1944, the beaches of Normandy were selected as landing sites, with a zone of operations extending from the Cotentin Peninsula to Caen. Operation Overlord called for the British Second Army to assault between the River Orne and Port en Bessin, capture the German-occupied city of Caen and form a front line from Caumont-l'Éventé to the south-east of Caen, in order to acquire airfields and protect the left flank of the United States First Army while it captured Cherbourg. Overlord would constitute the largest amphibious operation in military history. After delays, due to both logistical difficulties and poor weather, the D-Day of Overlord was moved to June 6th, 1944.

The coastline of Normandy was divided into seventeen sectors, with codenames using a spelling alphabet, from Able, west of Omaha, to Roger on the east flank of Sword. Eight further sectors were added when the invasion was extended to include Utah on the Cotentin Peninsula. The Anglo-Canadian assault landings on D-Day were to be carried out by the British Second Army, under Lieutenant General Miles Dempsey. The Second Army's I Corps, commanded by Lieutenant General John Crocker, was assigned to take Sword. 6th Beach Group was deployed to assist the troops and landing craft landing on Sword and to develop the beach maintenance area. Sword stretched about 5 miles (8.0 km) from Saint-Aubin-sur-Mer in the west to the mouth of the River Orne in the east. It was further sub-divided into four landing sectors; from west to east these sectors were 'Oboe' (from Saint-Aubin-sur-Mer to Luc-sur-Mer), 'Peter' (from Luc-sur-Mer to Lion-sur-Mer), 'Queen' (from Lion-sur-Mer to La Brèche d'Hermanville), and finally 'Roger' (from La Brèche d'Hermanville to Ouistreham).

The sector chosen for the assault was the 1.8 miles (2.9 km) wide 'White' and 'Red' beaches of 'Queen' sector, as shallow reefs blocked access to the other sectors. Two infantry battalions supported by DD tanks would lead the assault followed up by the commandos and the rest of the division; the landing was due to start at 07:25 hours; the division would be the last assault division to land. Under the command of Field Marshals Erwin Rommel and Gerd von Rundstedt, the defences of the Atlantic Wall were heavily upgraded; in the first six months of 1944, 1.2 million tons of steel and 17.3 million cubic yards of concrete were laid. The coast of northern France was also studded with four million antitank and anti-personnel mines, and 500,000 beach obstacles. On and behind Sword, twenty strongpoints, including several artillery batteries, were constructed. The coastline was littered with wooden stakes, mines, hedgehogs, and Dragon’s teeth, while along the top of the beach, the Germans had constructed a network of trenches, gun pits, mortar pits, and machine gun nests. Barbed wire surrounded these positions and lined the beach.

The assault on Sword began at about 03:00 with the aerial and naval bombardment of German coastal defences and artillery sites. The landing was to be concentrated on Queen Red and Queen White in front of Hermanville-sur-Mer, other approaches having proven impassable due to shoals. At 07:25, the first units set off for the beach. These were the amphibious DD tanks of the 13th/18th Hussars; they were followed closely by the 8th Infantry Brigade, and by Royal Engineers in AVREs. The engineers set to work clearing mines and obstacles under a steady hail of small arms fire and artillery fire from Périers Ridge just south of Hermanville. Resistance on the beach was initially fairly strong, with wrecked vehicles piling up and casualties mounting; however, with most of their armoured vehicles successfully landed, the British were able to quickly secure the immediate area. By 09:30 the engineers had cleared seven of the eight exits from the beach, allowing the inland advance to begin.

British and French commandos encountered tough resistance in the seaside town of Ouistreham, on Sword's eastern extremity, but were able to clear it of enemy strongpoints. By 13:00, the 1st Special Service Brigade had reached the bridges on the River Orne and the Caen Canal, linking up with paratroops of the 6th Airborne Division, who were holding the bridges, after earlier disabling German gun batteries in a fierce night-time battle earlier. On the western flank of Sword, commandos of the 4th Special Service Brigade moved out to secure Lion-sur-Mer and effect a link up with Canadian forces at Juno Beach, but encountered strong resistance and were pinned down by heavy fire for several hours. Meanwhile, around the main landing area, the men of the 3rd Infantry Division had secured Hermanville-sur-Mer by 10:00, but were finding tougher going as they slowly fought their way up Périers Ridge and moved inland. It was gradually becoming apparent that the British would not be able to make the hook-up with the 3rd Canadian Infantry Division necessary to protect its right flank in an immediate assault on Caen. Troops of the King's Shropshire Light Infantry continued down the Hermanville-Caen road, reaching Biéville-Beuville, close to Caen, but were supported by only a few self-propelled guns, their flanks exposed.

The 21st Panzer Division, with its formidable inventory of some 127 Panzer IV tanks, was intended for use as a rapid response force; on the morning of June 6th, however, its commander, Generalmajor Edgar Feuchtinger, was in Paris, and Rommel was in Germany. The division was unable to finalize orders and preparations for a counterattack until late in the day. At about 17:00, two thrusts were launched, east and west of the River Orne. Taking advantage of the gap between the Sword and Juno sectors, elements of the 192nd Panzergrenadier Regiment were able to reach the coast at Lion-sur-Mer by 8:00 p.m.; however, with few flak units and very little support from the Luftwaffe, they too suffered devastating losses to Allied aircraft. When 250 Gliders of the British 6th Airlanding Brigade overflew their positions, on their way to reinforce the Orne bridgehead in Operation Mallard, the Germans, believing they were about to be cut off, retired.

By the end of D-Day, 28,845 men of I Corps had come ashore across Sword. British losses in the Sword area amounted to 683 men. The British and Canadians were able to link up and resume the drive on Caen the following day, but three days into the invasion, the advance was halted. On June 7th, Operation Perch, a pincer attack by the 51st (Highland) Infantry Division and XXX Corps was launched to encircle Caen from the east and west flanks. The 21st Panzer Division halted the 51st Division advance and the XXX Corps attack resulted in the Battle of Villers-Bocage and the withdrawal of the leading elements of the 7th Armoured Division.

[aflsgm]

Batalla de Normandía El teniente Paul Unger, de la 2° División Blindada estadounidense, registrando al prisionero de guerra SS-Untersturmführer Kurt Peters, en el área de Notre Dame de Cenilly, 18 Km al sudoeste de Saint Lô, Francia. 27 de julio de 1944. Luego de la invasión aliada con "Overlord", la División Götz von Berlichingen fue enviada a Normandía para tomar parte en la defensa. El 10 de junio la división toma la comuna de Graignes en la batalla del mismo nombre, defendida por un grupo de paracaidistas arrojados accidentalmente por el Comando de Transporte de Tropas de la Fuerza Aérea del 9° Ejército estadounidense. Después de la batalla, la Götz von Berlichingen ejecutó a los 19 paracaidistas estadounidenses heridos y a 28 civiles franceses, entre ellos dos sacerdotes y una mujer de ochenta años. Al día siguiente, se enfrentó a los paracaidistas de la 101° División Aerotransportada cerca de Carentan. El 13 de junio los americanos aseguraron su posición y siguieron avanzando hacia el sur. Apoyada por la 37° División de Granaderos Panzer SS y por el batallón del Oberst Friedrich August Freiherr von der Heydte (6º Fallschirmjäger), la Götz von Berlichingen atacó a los paracaidistas, dando lugar a la Batalla del Barranco Sangriento, en la que los alemanes derrotaron a dos compañías de paracaidistas antes de la llegada del Comando de Combate "A" de la 2° División Blindada de los Estados Unidos. La división libró el combate del Bocage cerca de Saint-Lô y Coutances. Durante este periodo la Götz von Berlichingen sufrió numerosas pérdidas y a principios de julio su fuerza se había reducido a 8 500 hombres. Sus fuerzas terminaron de menguar cuando intentó detener la ofensiva aliada en la Operación Cobra, tras lo cual la división se deshizo en cuatro pequeños Kampfgruppen: "Braune", "Gunter", "Fick" y "Wahl", que intentaron huir bordeando la bolsa de Falaise, pero sufrieron abundantes bajas y se vieron obligados a mantener combate constante contra los estadounidenses hasta el final del mes, cuando la división fue transferida a Metz para su reorganización. https://www.instagram.com/p/CD-GmIwA5vL/?igshid=1h06oj2jdfvip

[damajority]

DaMajority Fresh Article https://www.damajority.com/list-of-emergency-shelters-2019-saint-lucia/

LIST OF EMERGENCY SHELTERS – 2019 | SAINT LUCIA

LIST OF EMERGENCY SHELTERS – 2019.

The Public is informed that the following are designated as Emergency Shelters.

REMEMBER that shelters are not normally opened before a storm. If a shelter is to be opened BEFORE a storm, NEMO will announce such in advance.

1. GROS-ISLET

1 Gros Islet Roman Catholic Church 2 Gros Islet Primary School 3 Gros Islet Infant School 4 Gros Islet Church of Nazarene 5 Gros Islet Secondary School

Monchy

6 Monchy Roman Catholic Church 7 Monchy Combined School 8 Monchy Human Resource Centre

Grand Riviere (Gros Islet)

9 Grand Riviere Combined School

2. BABONNEAU

10 Babonneau Multi-purpose Centre 11 Babonneau Secondary School 12 Babonneau Infant/Primary School 13 Babonneau Roman Catholic Church

Fond Assau

14 Fond Assau Combined School

La Guerre

15 La Guerre Combined School

Boguis

16 Boguis Combined School

Des Barras

17 Des Barras Combined School

Balata

18 Balata Combined School

Union

19 Dame Pearlette Louisy Primary School

3. CASTRIES NORTH

La Clery

20 La Clery Roman Catholic Church 21 VBCC Club house 22 Maranatha Seventh-Day Adventist Church

Vide Boutielle

23 Vide Boutielle Combined School 24 Vide Boutielle Secondary School 25 Sir Ira Simmons Secondary School

Morne Du don

26 Morne Du don Combined School

4. CENTRAL CASTRIES

27 Camille Henry Memorial School 28 Carmen Reneé Memorial School 29 St. Aloysius Roman Catholic Boys’ Primary School 30 St. Aloysius Roman Catholic Boys’ Infant School 31 Ave Maria Girls’ Infant School 32 Ave Maria Girls’ Primary School 33 Anglican Infant School 34 Cannon Laurie Primary School 35 Holy Trinity Anglican Church 36 Castries Seventh-Day Adventist Church 37 Castries City Hall 39 Castries Methodist Church 40 Salvation Army Church

5. CASTRIES EAST

41 Bocage Combined School 42 Bocage Secondary School

MARCHAND

43 Marchand Combined School 44 Marchand Parish Centre 45 Marchand Roman Catholic Church

ENTREPOT

46 Entrepot Secondary School 47 Leon Hess Comprehensive Secondary School

6. CASTRIES SOUTH EAST

Bexon

48 Bexon Infant School 49 Bexon Roman Catholic Church

La Croix Maingot

50 La Croix Maingot Combined School

Ti Rocher (Castries)

51 Ti Rocher Combined School

Dierre Fort

52 Dierre Fort Seventh-Day Adventist Church

Forestiere

53 Forestiere Methodist Combined School 54 Forestiere Methodist Church 55 Forestiere SDA Church 56 Forestiere Christian Brethren Church

7. CASTRIES SOUTH

Ciceron

57 George Charles Secondary School 58 Ciceron Combined School 59 First Baptist Church 60 Ciceron Secondary School 61 Ciceron Methodist Church 62 Lady Gordon Opportunity Centre 63 Ciceron Community Centre

Tapion

64 Tapion School (Private)

The Morne

65 St. Benedict Roman Catholic Church

Odsan

66 Odsan Combined School 67 Odsan Seventh-Day Adventist Church

Marigot

68 Jon Odlum Secondary School

8. ANSE LA RAYE

Anse La Raye Village

69 Anse La Raye Primary School 70 Anse La Raye Seventh-Day Adventist Church (Aux Tabor Hill) 71 Anse La Raye Roman Catholic Parish Hall

Jacmel

72 Roseau Combined School 73 Jacmel Roman Catholic Church

Millet

74 Millet Primary School 75 Millet Infant School

Tete Chemin

76 Tete Chemin Seventh-Day Adventist Church 77 Tete Chemin Human Resource Centre

9. CANARIES

Canaries

78 Canaries Primary School 79 Canaries Roman Catholic Church 80 Canaries Seventh-Day Adventist Church 81 Canaries Parish Centre 82 Canaries Community Centre

10. SOUFRIERE

Fond St. Jacques

83 Fond St. Jacques Roman Catholic Church 84 Fond St. Jacques Primary School 85 Fond St. Jacques Parish Centre 86 Fond St. Jacques Pre-School 87 Raymond’s Disco

Soufriere Town

88 Soufriere Roman Catholic Church 89 Soufriere Primary School 90 Soufriere Infant School 91 Soufriere Seventh-Day Adventist Church – Temple 92 Soufriere Comprehensive Secondary School 93 St. Isidore Hall 94 Christ is the Answer Church – Fond Beniere

Bouton

95 Bouton Combined School 96 Disco – Chateau Belair Ebores 97 Les Etangs Combined School

11. CHOISEUL

Piaye

98 Piaye Secondary School 99 Piaye Combined School

Saltibus

100 Saltibus Combined School 101 Saltibus Roman Catholic Church 102 Daban Mothers and Fathers Hall 103 Saltibus Multi-Purpose Centre

River Doree

104 River Doreé Anglican Church 105 River Doreé Combined School 106 River Doree Mothers and Fathers Hall

La Fargue

107 La Fargue Mission Evangelical Church 108 Choiseul Secondary School 109 (Church of God) Holiness

Roblot

110 Roblot Seventh-Day Adventist Church 111 Roblot Combined School

Choiseul Village

112 Choiseul Roman Catholic Church 113 Reunion Primary School 114 Reunion Enrichment Centre 115 Reunion Pentecostal Church 116 Why Wonder Disco

Victoria

117 Victoria Roman Catholic Church 118 Victoria Seventh-Day Adventist Church 119 Cool Joint Disco

Mongouge

120 Mongouge Combined School

Dugard

121 Dugard Combined School 122 Vibration Disco – Dugard

Delcer

123 Delcer Combined School 124 Delcer – Jacques Dance Hall

La Pointe

125 La Pointe Pentecostal Apostolic Church 126 99 Disco Ravineau 127 La Maze Community Centre

12. LABORIE

Augier

128 Augier Pre-School (St. Francis Xavier) 129 Augier Combined School 130 Augier Roman Catholic Church (St. Francis Xavier)

Laborie Village

131 Laborie Boys’ Primary School 132 Laborie Girls’ Primary School 133 Laborie Roman Catholic Church 134 Laborie Roman Catholic Parish Centre 135 Laborie Community Education Centre

Banse/La Grace

136 Banse La Grace Combined School 137 Banse La Grace Evangelical Church

13. VIEUX-FORT SOUTH

Vieux Fort Town

138 Beanfield Secondary School 139 Vieux-Fort Special Education Centre 140 Vieux-Fort Primary School 141 Victory Pentecostal Church – St. Jude’s highway 142 Plain View Combined School 143 Vieux-Fort Comprehensive School Campus ‘A’ 144 Vieux-Fort Comprehensive School Campus ‘B’

14. VIEUX-FORT NORTH

Belle Vue

145 Belle Vue Roman Catholic Church – St. Isidore 146 Belle Vue Combined School 147 Belle Vue Human Resource Development Centre

Pierrot

148 Pierrot Combined School 149 St. Martin De Porres Roman Catholic Shrine

Vigier

150 Vigier Combined School

Grace

151 Community Centre – Coolie Town 152 Fair Trade Centre 153 Grace Roman Catholic Church 154 Grace Combined School

15. MICOUD SOUTH

Desruisseaux

155 Fond Desruisseaux-Mothers and Fathers Hall 156 Desruisseaux Combined School 157 Desruisseaux Seventh-Day Adventist Church 158 Desruisseaux Roman Catholic Church 159 Desruisseaux Multi-Purpose Centre 160 Desruisseaux Evangelical Church 161 Anse Ger Secondary School

Blanchard

162 Blanchard Pentecostal Church – Solid Rocks 163 Blanchard Combined School 164 Blanchard Community Centre 165 Redeem Christian Fellowship Church – Blanchard

16. MICOUD NORTH

Mon Repos

166 Mon Repos Roman Catholic Church 167 Mon Repos Combined School 168 Mon Repos Seventh-Day Adventist Church 169 Praslin Community Centre 170 Bible Baptiste Church (Wooden)

Patience

171 Patience Combined School

Micoud Village

172 Ebenezer Seventh-Day Adventist Church 173 Micoud Secondary School 174 Micoud Primary School 175 Micoud Roman Catholic Church 176 Micoud Multi-Purpose Centre 177 Faith Tabernacle Church 178 Lime Light Disco – Micoud Highway

17. DENNERY SOUTH

Dennery Village

179 Dennery Roman Catholic Church 180 St. Peter’s Infant School 181 Clendon Mason Memorial School

La Caye

182 St. Mary’s Anglican Church

18. DENNERY NORTH

La Ressource (Dennery)

183 La Ressource Day Care Centre 184 La Ressource Roman Catholic Church 185 La Ressource Parish Centre 186 La Ressource Combined School 187 La Ressource Mother’s & Father’s Hall

Grand Riviere

188 Grand Riviere Secondary School 189 Grand Riviere Seventh-Day Adventist Church 190 Grand Riviere Human Resource Centre

Gardette

191 Gardette Day Care Centre

Richfond

192 Richfond Combined School

Aux Lyon

193 Aux Lyon Combined School

Derniere Riviere

194 Denniere Riviere Apostolic Faith Church 195 Denniere Riviere Combined School

Grand Ravine

196 Abbot’s Disco

The Ministry of Infrastructure, Ports, Energy, and Labour shall be inspecting shelters again in 2020. If you wish to have a building in your neighborhood inspected and certified, forward the information including the exact location to NEMO at:

As Inspected and Certified by the Ministry of Infrastructure, Ports, Energy and Labour. The Public is hereby informed that under Part IV Section 13 of the Disaster Management, Act No. 30 of 2006 the following are designated as Emergency Shelters. NEMO advises that persons take steps to make their homes their emergency shelter. If this is not possible then make advance arrangements to be with family or friends during a storm.

REMEMBER that shelters are not normally opened before a storm. If a shelter is to be opened BEFORE a storm, NEMO will announce such in advance.

1. GROS-ISLET

1 Gros Islet Roman Catholic Church 2 Gros Islet Primary School 3 Gros Islet Infant School 4 Gros Islet Church of Nazarene 5 Gros Islet Secondary School

Monchy

6 Monchy Roman Catholic Church 7 Monchy Combined School 8 Monchy Human Resource Centre

Grand Riviere (Gros Islet)

9 Grand Riviere Combined School

2. BABONNEAU

10 Babonneau Multi-purpose Centre 11 Babonneau Secondary School 12 Babonneau Infant/Primary School 13 Babonneau Roman Catholic Church

Fond Assau

14 Fond Assau Combined School

La Guerre

15 La Guerre Combined School

Boguis

16 Boguis Combined School

Des Barras

17 Des Barras Combined School

Balata

18 Balata Combined School

Union

19 Dame Pearlette Louisy Primary School

3. CASTRIES NORTH

La Clery

20 La Clery Roman Catholic Church 21 VBCC Club house 22 Maranatha Seventh-Day Adventist Church

Vide Boutielle

23 Vide Boutielle Combined School 24 Vide Boutielle Secondary School 25 Sir Ira Simmons Secondary School

Morne Du don

26 Morne Du don Combined School

4. CENTRAL CASTRIES

27 Camille Henry Memorial School 28 Carmen Reneé Memorial School 29 St. Aloysius Roman Catholic Boys’ Primary School 30 St. Aloysius Roman Catholic Boys’ Infant School 31 Ave Maria Girls’ Infant School 32 Ave Maria Girls’ Primary School 33 Anglican Infant School 34 Cannon Laurie Primary School 35 Holy Trinity Anglican Church 36 Castries Seventh-Day Adventist Church 37 Castries City Hall 39 Castries Methodist Church 40 Salvation Army Church

5. CASTRIES EAST

41 Bocage Combined School 42 Bocage Secondary School

MARCHAND

43 Marchand Combined School 44 Marchand Parish Centre 45 Marchand Roman Catholic Church

ENTREPOT

46 Entrepot Secondary School 47 Leon Hess Comprehensive Secondary School

6. CASTRIES SOUTH EAST

Bexon

48 Bexon Infant School 49 Bexon Roman Catholic Church

La Croix Maingot

50 La Croix Maingot Combined School

Ti Rocher (Castries)

51 Ti Rocher Combined School

Dierre Fort

52 Dierre Fort Seventh-Day Adventist Church

Forestiere

53 Forestiere Methodist Combined School 54 Forestiere Methodist Church 55 Forestiere SDA Church 56 Forestiere Christian Brethren Church

7. CASTRIES SOUTH

Ciceron

57 George Charles Secondary School 58 Ciceron Combined School 59 First Baptist Church 60 Ciceron Secondary School 61 Ciceron Methodist Church 62 Lady Gordon Opportunity Centre 63 Ciceron Community Centre

Tapion

64 Tapion School (Private)

The Morne

65 St. Benedict Roman Catholic Church

Odsan

66 Odsan Combined School 67 Odsan Seventh-Day Adventist Church

Marigot

68 Jon Odlum Secondary School

8. ANSE LA RAYE

Anse La Raye Village

69 Anse La Raye Primary School 70 Anse La Raye Seventh-Day Adventist Church (Aux Tabor Hill) 71 Anse La Raye Roman Catholic Parish Hall

Jacmel

72 Roseau Combined School 73 Jacmel Roman Catholic Church

Millet

74 Millet Primary School 75 Millet Infant School

Tete Chemin

76 Tete Chemin Seventh-Day Adventist Church 77 Tete Chemin Human Resource Centre

9. CANARIES

Canaries

78 Canaries Primary School 79 Canaries Roman Catholic Church 80 Canaries Seventh-Day Adventist Church 81 Canaries Parish Centre 82 Canaries Community Centre

10. SOUFRIERE

Fond St. Jacques

83 Fond St. Jacques Roman Catholic Church 84 Fond St. Jacques Primary School 85 Fond St. Jacques Parish Centre 86 Fond St. Jacques Pre-School 87 Raymond’s Disco

Soufriere Town

88 Soufriere Roman Catholic Church 89 Soufriere Primary School 90 Soufriere Infant School 91 Soufriere Seventh-Day Adventist Church – Temple 92 Soufriere Comprehensive Secondary School 93 St. Isidore Hall 94 Christ is the Answer Church – Fond Beniere

Bouton

95 Bouton Combined School 96 Disco – Chateau Belair Ebores 97 Les Etangs Combined School

11. CHOISEUL

Piaye

98 Piaye Secondary School 99 Piaye Combined School

Saltibus

100 Saltibus Combined School 101 Saltibus Roman Catholic Church 102 Daban Mothers and Fathers Hall 103 Saltibus Multi-Purpose Centre

River Doree

104 River Doreé Anglican Church 105 River Doreé Combined School 106 River Doree Mothers and Fathers Hall

La Fargue

107 La Fargue Mission Evangelical Church 108 Choiseul Secondary School 109 (Church of God) Holiness

Roblot

110 Roblot Seventh-Day Adventist Church 111 Roblot Combined School

Choiseul Village

112 Choiseul Roman Catholic Church 113 Reunion Primary School 114 Reunion Enrichment Centre 115 Reunion Pentecostal Church 116 Why Wonder Disco

Victoria

117 Victoria Roman Catholic Church 118 Victoria Seventh-Day Adventist Church 119 Cool Joint Disco

Mongouge

120 Mongouge Combined School

Dugard

121 Dugard Combined School 122 Vibration Disco – Dugard

Delcer

123 Delcer Combined School 124 Delcer – Jacques Dance Hall

La Pointe

125 La Pointe Pentecostal Apostolic Church 126 99 Disco Ravineau 127 La Maze Community Centre

12. LABORIE

Augier

128 Augier Pre-School (St. Francis Xavier) 129 Augier Combined School 130 Augier Roman Catholic Church (St. Francis Xavier)

Laborie Village

131 Laborie Boys’ Primary School 132 Laborie Girls’ Primary School 133 Laborie Roman Catholic Church 134 Laborie Roman Catholic Parish Centre 135 Laborie Community Education Centre

Banse/La Grace

136 Banse La Grace Combined School 137 Banse La Grace Evangelical Church

13. VIEUX-FORT SOUTH

Vieux Fort Town

138 Beanfield Secondary School 139 Vieux-Fort Special Education Centre 140 Vieux-Fort Primary School 141 Victory Pentecostal Church – St. Jude’s highway 142 Plain View Combined School 143 Vieux-Fort Comprehensive School Campus ‘A’ 144 Vieux-Fort Comprehensive School Campus ‘B’

14. VIEUX-FORT NORTH

Belle Vue

145 Belle Vue Roman Catholic Church – St. Isidore 146 Belle Vue Combined School 147 Belle Vue Human Resource Development Centre

Pierrot

148 Pierrot Combined School 149 St. Martin De Porres Roman Catholic Shrine

Vigier

150 Vigier Combined School

Grace

151 Community Centre – Coolie Town 152 Fair Trade Centre 153 Grace Roman Catholic Church 154 Grace Combined School

15. MICOUD SOUTH

Desruisseaux

155 Fond Desruisseaux-Mothers and Fathers Hall 156 Desruisseaux Combined School 157 Desruisseaux Seventh-Day Adventist Church 158 Desruisseaux Roman Catholic Church 159 Desruisseaux Multi-Purpose Centre 160 Desruisseaux Evangelical Church 161 Anse Ger Secondary School

Blanchard

162 Blanchard Pentecostal Church – Solid Rocks 163 Blanchard Combined School 164 Blanchard Community Centre 165 Redeem Christian Fellowship Church – Blanchard

16. MICOUD NORTH

Mon Repos

166 Mon Repos Roman Catholic Church 167 Mon Repos Combined School 168 Mon Repos Seventh-Day Adventist Church 169 Praslin Community Centre 170 Bible Baptiste Church (Wooden)

Patience

171 Patience Combined School

Micoud Village

172 Ebenezer Seventh-Day Adventist Church 173 Micoud Secondary School 174 Micoud Primary School 175 Micoud Roman Catholic Church 176 Micoud Multi-Purpose Centre 177 Faith Tabernacle Church 178 Lime Light Disco – Micoud Highway

17. DENNERY SOUTH

Dennery Village

179 Dennery Roman Catholic Church 180 St. Peter’s Infant School 181 Clendon Mason Memorial School

La Caye

182 St. Mary’s Anglican Church

18. DENNERY NORTH

La Ressource (Dennery)

183 La Ressource Day Care Centre 184 La Ressource Roman Catholic Church 185 La Ressource Parish Centre 186 La Ressource Combined School 187 La Ressource Mother’s & Father’s Hall

Grand Riviere

188 Grand Riviere Secondary School 189 Grand Riviere Seventh-Day Adventist Church 190 Grand Riviere Human Resource Centre

Gardette

191 Gardette Day Care Centre

Richfond

192 Richfond Combined School

Aux Lyon

193 Aux Lyon Combined School

Derniere Riviere

194 Denniere Riviere Apostolic Faith Church 195 Denniere Riviere Combined School

Grand Ravine

196 Abbot’s Disco

The Ministry of Infrastructure, Ports, Energy, and Labour shall be inspecting shelters again in 2020. If you wish to have a building in your neighborhood inspected and certified, forward the information including the exact location to NEMO at:

The Director NEMO P O Box 1517 Castries e-mail: eoc@candw.lc Or Fax to (758) 453-2152

[didntknowihadtostaythesame-blog]

O Caso Frbrônio Indio Do Brasil, Na Obra De Peter Fry

Assim, amor é visto mais pelo lado emocional, do que pelo lado racional, já que eu lírico procura uma desvinculação com a razão. Bocage exprime emoções e sentimentos de um como reconquistar o ex mundo interior, conjunto de ideais que mostram uma paixão, ou seja, um afeto intenso. Por volta do século X, há uma revigoração do teatro medieval, usado agora pela Igreja como modalidade litúrgica, cuja estratégia é ensino da fé, a sua comunicação, ou melhor, a sua imposição, ilhada num latim que já não era mais falado na Europa.

Esta separação homem-natureza é fundamento da ciência positivista, base instrumental do modelo de desenvolvimento das sociedades ocidentais e que começa a ser questionado somente no fim do século XX. A pesquisa traz um levantamento bibliográfico contemplando diversos autores e mostra que a satisfação dos clientes é a base que dá sustentabilidade para as organizações dos mais diversos segmentos do mercado.

Percebe-se então que dar valor ao cliente passa a ser fundamental numa nova estrutura de marketing que leva em consideração a fidelização do cliente, através de suas necessidades atendidas. Paixão que faz trocar de vida em um minuto, que chuta balde, a santa e todos os castelinhos de areia que incansavelmente cuidamos para ninguém pisar ou ser levado pelas ondas da mediocridade.

Fontes históricas dão conta de que, no século XIII, houve duas grandes inovações ligadas ao Auto Pascal, as quais contribuíram para desenvolvimento do teatro ocidental. Segundo Mckenna (1992, p.45), Os consumidores pensam sobre os produtos e empresas comparando-os com outros produtos e empresas.

Cada detalhe na interação entre empresa a clientes é fundamental. Sendo assim, faz-se necessário que se estabeleça um clima harmonioso qual irá influenciar diretamente na qualidade de vida, e mais no próprio funcionamento da empresa. Ainda segundo autor, todo negócio busca modos de aumentar suas receitas futuras, maximizando lucro das vendas de produtos e serviços.

Revolucionário Marketing de Relacionamento com cliente: Rio de Janeiro: Campus, 2001. É de sua obra, contudo, que se pode tirar muito do homem Camões, até como reconquistar o ex mesmo pelas ambigüidades, conflitos e paradoxos que ela sugere. Diante do exposto percebe-se que os princípios básicos e os objetivos principais, assim como objeto de estudo da geografia, desde a sua origem como ciência, são de caráter eminentemente ambientalista.

[jpbjazz]

LÉGENDES DU JAZZ

JOHNNY ST. CYR, LE ROI DU BANJO

Né le 17 avril 1890 à La Nouvelle-Orléans, Johnny St. Cyr a été élevé dans la religion catholique. Son père, qui était également musicien, jouait de la guitare et de la flûte. Un jour, le père de St. Cyr avait fait cadeau d’une de ses guitares à sa mère, et c’est à cette époque qu’il avait commencé à s’intéresser à cet instrument. Il précisait: ‘’When I was growing up we had a guitar in the house, my father’s gift to my mother. The guitar was a very popular instrument in the homes at that time in New Orleans. My mother would not let me play this guitar of hers, so I made my own out of a cigar box with thread and fishing lines for strings. Soon I could make as many chords on my homemade guitar as mother could on her good one. After a while, she let me use her guitar.’’ 

St. Cyr explique comment il avait commencé à jouer de la guitare:

‘’My brother had gone to work in the Cooperage shop, making barrels. It was there he met Jules Baptiste and Jackie Dowden. Jack and Jules would put on little parties on Sunday and always there was a barrel of beer. They would play and sing, the neighbours would come in and dance. Jack played the mendolin and Jules played guitar. They just played the popular songs of the day and a few blues.They had a party at our house one Sunday and they asked me to play with them. I came in when I could on certain numbers in the key of ‘C’ and ‘G’.’ Jules took an interest in me and started giving me lessons. In a few weeks they took me out on jobs with them on Saturday night — fish fries mostly. People put on these parties in their homes to make a little money. The best music got the biggest crowd and we had it. Jack and Jules were great for serenading their friends late at night, on the way home from a little job. They would play a number, the people would get up and set out the whisky bottle. Then they would go on to the next friend’s house and repeat the serenade.’’

C’est à la même époque que St. Cyr avait commencé à travailler comme plâtrier. Il poursuivait:

‘’I was apprenticed to the plastering trade about 1905, working with George Guesnon’s father, who was a journeyman plasterer. We worked for August Bon Hagen, a contractor. When I had served out my apprenticeship, I had saved a little money and was able to get out and go to halls and different functions where the bands were playing. I could study the different guitar players and see if I could pick up some more ideas. I didn’t get too much from most of these guitar players though. These bands would be the Silver Leaf, Imperial and the Eagle Bands, playing at Masonic Halls and at the parks. The balls were on Saturday, Sunday or Monday nights.’’

DÉBUTS DE CARRIÈRE

C’est après avoir rencontré Manuel Gabriel que St. Cyr avait amorcé sa carrière professionnelle. Gabriel, qui habitait dans le même quartier que St. Cyr, l’avait invité à venir pratiquer avec son groupe. Il poursuivait: ‘’Manny played cornet. This was just a little neighbourhood group, but I got a start. Manny had one of his sons playing drums and another fellow, named Wade Waley (Whaley), playing clarinet. I was with them about four months. We just rehearsed and played a few small jobs, including a few weeks in the district.’’

Au début de sa carrière, St. Cyr avait surtout joué dans des événements mondains comme les mariages, les fêtes, les danses, les défilés et les pique-niques. À l’époque, St-Cyr avait joué avec des pionniers du jazz de La Nouvelle-Orléans comme  Bab Frank, Peter Bocage, Jimmy Brown, Manuel Perez, George Baquet, B. Johnson, les frères Lorenzo et Louis ‘’Papa’’ Tio, Billy Marrero, Big Eye Louis Nelson, George Fields et Bouboul Augustin. Il avait aussi joué à Storyville, le quartier des prostituées de La Nouvelle-Orléans, pour environ 1,50$ par soir. À partir de 1905, St. Cyr avait également dirigé ses propres formations et collaboré avec A.J. Piron, les groupes Superior, Olympia et Tuxedo.

Avec le temps, le groupe de Gabriel avait commencé à jouer dans la basse-ville de La Nouvelle-Orléans, ce qui avait permis à St. Cyr de reprendre contact avec A.J. Piron et Paul Dominguez. C’est d’ailleurs grâce à ces derniers, qui étaient tous deux barbiers et violonistes, que St. Cyr avait pu commencer à se produire avec le groupe de Freddie Keppard. St. Cyr expliquait:

‘’Freddie had been playing for ‘Fewclothes’ in the District the Olympia was the hottest band around at this time. Keppard was getting away from playing straight lead. He was the first of the ‘get off’ cornet then — getting away from the melody, more like the clarinet. Bands as a whole still played ensemble style. On certain numbers they would feature the cornet player, and sometimes the trombone, but the clarinet was always featured.’’

St. Cyr avait rencontré Sidney Bechet par l’entremise de son frère Joe, qui était également plâtrier. St. Cyr expliquait: ‘

‘’He told me about his young brother and the clarinet, and that he just couldn’t keep time. I told him to bring Sidney over to my house and I’d see if I could help him. I lived just a few blocks away, so he came over and we worked together for a while. We just played together once in a band, the Eagle Band. The Eagle Band was going to make an excursion trip. A lot of people would go to the station when an excursion left. The band would play a few numbers on the platform just before the train pulled out. Brock Mumford’s girl friend didn’t want him to go on this excursion. She caught him at the station, got hold of his guitar and hit him across his fat belly with it, which busted the guitar all up. I was asked to make the trip in his place, so I hurried and got my guitar, and arrived back at the station just before the train left. After the excursion I played a ball at Masonic Hall with the Eagle Band, then Brock got another guitar and took his job back.’’

Décrivant les débuts de la carrière de Bechet, St. Cyr avait ajouté: ’’Sidney was playing up a storm at a very early age. He was playing with the best of them by the time he was fifteen years old. Of course, he was up against the toughest kind of competition — Big Eye Louis, Lorenzo Tio, Jr., Jimmie Noone, Johnny Dodds, Alphonse Picou. And Emile Barnes and George Lewis were also coming up about this same time. George Baguet was about the top man until he left with Keppard. Then there was Willie Warner, the only man who triple-tongued the clarinet. He was always good for a free drink if you told him, ‘Willie, you’re the greatest clarinet player in New Orleans’. He’d say, ‘Now, there’s a man that knows — what will you have to drink, my boy?’ Then he would say, ‘They all ask me, how do you do it? How do you triple-tongue a clarinet?’ Willie would stick out his tongue, tap it with his fingers and say, ‘That is my secret.’ Then how he would go on!’’

L’ÉPOQUE DES NAVIRES À VAPEUR

De 1918 à 1920, St. Cyr avait joué sur les navires à vapeur avec Fate Marable. St. Cyr explique comment il avait commencé à jouer avec Marable:

‘’About two weeks after, Fate Marable asked me to come on the river boat. I had a friend named Buford, who had a bar room at Gasket (Gasquet) and Villery (Villere), and I used to hang around there. I was living out back of town and Buford played a little, I left the banjo there, as I was in town every night, so I’d not have to go clear back home for the banjo if a job turned up. Buford asked if I minded if he played a little, and I said no. Marable went into Buford’s one Saturday night about midnight, after he left the boat, and Buford was playing the banjo. Marable said, ‘When did you buy the banjo,’ and Buford replied ‘It belongs to Johnny St. Cyr. He’s back there in the other room.’ Marable said to me, ‘Come out here and I’ll buy you a drink.’ He asked me what I was doing, and I told him I was playing out at the lake tomorrow. He asked me, ‘Why don’t you come out on the boat, take a ride with us, bring your banjo.’ He said, ‘The only way you’ll come out there is if I take your banjo.’ I said, ‘Okay.’ Buford and I almost had a fight over the banjo — but I promised to have it back there that Sunday night. I played with the band on the boat and one of the Strekfus Brothers called me into the office and asked me if I wanted to play with the band regularly ‘What are you paying?’ I asked. He said, ‘In New Orleans we are paying $30.00 a week, and when we get to St. Louis we pay $52.50 a week.’ I said ‘I’ll try it.’ He said, ‘You’ll get paid for all you did today’ — and I did get paid. I worked 1918, 1919 and 1920 on that boat.’’

Le groupe de Marable se produisait sur la célèbre Streckfus Line, qui était opérée par les frères Joe et John Streckfus. St. Cyr décrit l’ambiance qui prévalait à bord des vapeurs:

‘’I will try to give a little of the history of the Strekfus line, to the best of my recollection. Originally this was a packet line, hauling freight, on the river. After about 1900 the railroads started giving so much competition to the packets that they were gradually being driven out of business. Mr. John Strekfus got the idea of making one of his packets into a floating dancehall, working out of his headquarters in St. Louis. At first his sons Joe, Roy and Johnnie, were the only musicians. They all had musical training and were good, legitimate musicians. This idea caught on with the public and soon they had more boats and the boys took over the management and hired musicians to play for them. The boys were all very good steamboat men, pilots, engineers, electricians and captains. At first they hired white bands to play for them. Fate Marable was playing piano with one of these bands. He was very light complexioned and a very good musician. Well, they started sending a boat down to New Orleans for the winter season. Fate got around town and liked our music, so he convinced Strekfus to try a band of New Orleans musicians, also he would be a leader in his own right, and he would collect leader’s pay. In 1918 I was asked by Fate to join his band. Of course, they had other boats and other bands all this time, in fact, at one time they had a total of four boats working. There were other people who tried this same idea on the river, but the Strekfus people were very smart politicians and they got all the best landings tied up in every city. These other guys would find themselves out of town when they went to dock, but the Strekfus boat would be right at the foot of the main street of town.’’

Décrivant l’arrivée de Louis Armstrong avec le groupe, St. Cyr avait ajouté: ’’Most of us were not real good readers and Fate agreed to help us with out parts until we caught on. We had William ‘Bebe’ Ridgley on trombone; Joe Howard, cornet; Johnny Dodds, clarinet; Dave Jones, mellophone; Geo. ‘Pops’ Foster, bass; Warren ‘Baby’ Dodds, drums; myself on guitar and banjo; and Fate on piano. Well, we needed another cornet to fill out the band. We all had our eye on Louis Armstrong as the coming man on this instrument in New Orleans. So we were all bucking to get him in the band. At this time Louis was working for Kid Ory. Louis had gone in ‘hock’ to Ory for a new cornet and was paying back so much a week. When the time came for Louis to join us, Ory said he couldn’t take his horn because it wasn’t paid for. Louis came around very sad, said he couldn’t make it as he would have no instrument. We went to Roy Strekfus and explained the situation to him. He said, ‘Is this the man you want? Can he play the music?’ We said, ‘Yes.’ Strekfus replied, ‘Then I’ll give him an order for a new horn and he can pay for it so much a week.’ That was how Louis was able to join the band. Most of this band had been with Fate before I joined it in the early summer of 1918.’’

Le groupe de n’avait aucun joueur de banjo dans ses rangs lorsque St. Cyr s’était joint à la formation. Il expliquait:

‘’They had no banjo before I came into the band. Johnny Dodds had replaced Sam Dutrey, Sr., then Louis came in a little later to fill out the cornet section. This was on the Steamer Sidney. This was their first and smallest boat. We were playing at night, plus Sunday afternoon and evening. We were getting $35.00 a week. Johnny Dodds left the band shortly after I joined and Sam Dutrey came back. As I recollect, Johnny just took Dutrey’s place for a few weeks. I don’t think Johnny ever played on the boats regularly.’’

Commentant le fonctionnement du groupe, St. Cyr avait précisé:

‘’Now, the music we played — how the band sounded — this would be more like a swing band than the New Orleans type jazz band. Strekfus had a standing order with the music publishers and they shipped him all the new arrangements right off the press. He just paid them by the month. We just played the arrangements as they were, we never changed them. We had no staff arranger, no special jazz arrangements.The other bands used the same music we did. We just had that feeling, that rhythm, that swing. We were very popular in New Orleans that summer and fall, so they made arrangements to take us to St. Louis for the next summer season. We rehearsed one morning a week (Tuesdays) for two hours, we played the same programme all week and changed on Sunday night. One of the Strekfus brothers was always at rehearsal to make sure everything was just the way they wanted it. This was strictly a reading band, no hot solos. We played all through the winter in New Orleans, then we went to St. Louis in April, by train, where we joined the St. Louis Musician’s Local, then up to Davenport, Iowa, where the boats were stored. Steamer St. Paul was our boat. Now, if Bix Biederbeke came out to hear us, I couldn’t say, but many musicians did come out to hear us and he may very well have been there. From Davenport we worked our way up to St. Paul, then back to St. Louis by Decoration Day (May 30). We had a very good front line that was used to playing jazz in New Orleans, and they could put that feeling into the arrangements we were using, although they were mostly just ‘stocks’. With men like Louis Armstrong, Dave Jones, Joe Howard, Sam Dutry (Dutrey) and ‘Bebe’ Ridgley — we just couldn’t miss. Also we had a very powerful rhythm section. Fate Marable was a very strong man on the piano, very good rhythm and he played very good chords. I will say now, that he was the equal of any band piano man that I ever played with anywhere. Fate also played the steam calliope on the upper deck and this was something to hear. This calliope could be heard for blocks and was a very good advertisement {...}. Sometimes one of the Strekfus family would hear a band play an arrangement that appealed to them. They would buy it from the leader and we would play it. The Strekfus family always travelled around to other cities and visited the ballrooms so they could keep up with what was going on with the bands.’’

C’est à l’été 1919 que St. Cyr avait acheté la guitare-banjo avec laquelle il avait joué durant la majeure partie de sa carrière. Il expliquait:

‘’It was in the summer of 1919 that I bought the guitar-banjo that I still have today. Some fellow had hocked it with a pool room proprietor. He asked me to look at it for him. I did and asked him what he wanted for it. ‘$20.00’, he said, so I bought it. This is the instrument that I used on all my recording dates with the Hot 5 in Chicago several years later. I still have it and play it now and then, when a banjo is required on the job. Of course, it has been worked over several times, but it is still with me.’’

Avec le temps, Marable en avait eu assez d’aider ses musiciens à déchiffrer ses partitions et avait décidé de ne pas renouveler leur contrat. St. Cyr précisait: ‘’We were all getting dissatisfied with his attitude. So, because of this, we would not sign up for the winter in New Orleans of 1920-21. Well, Joe Strekfus looked into the matter and as a result he gave Fate the winter off, and made Ed Allen who had come into the band as a trumpet player, the leader playing piano in Fate’s place. My last summer on the boats (1921) Pops and I played with the Creath Band. When we returned to New Orleans that fall, I left the band and the boats for good.’’ Il faut dire qu’à l’époque, St. Cyr gagnait bien sa vie comme plâtrier. Il s’était même construit une maison avec l’argent qu’il avait gagné sur les vapeurs tout en continuant de se produire dans les environs de La Nouvelle-Orléans.

L’ÉPOQUE DE CHICAGO

St. Cyr jouait au Pythian Roof Gardens avec Manuel Perez lorsqu’il avait été contacté par King Oliver en septembre 1923. Comme St. Cyr l’avait expliqué lui-même: ‘’He needed a good banjo player for his recording work and he assured me I could find plenty of steady work in Chicago. I was not hired to play with the band, just to record. I was a little doubtful about making this big step, but Manuel Perez encouraged me to go. He said, ‘They’ll be crazy about your work in Chicago’’’. À l’origine, St. Cyr ne devait jouer que deux semaines avec le groupe, mais il était finalement resté six ans. Il précisait: ‘’I was to play with the King Oliver Band for two weeks at Lincoln Gardens to catch their style. I received $75.00 a week which was also to cover my fees for recording.’’ St. Cyr connaissait presque tous les membres du groupe sauf la pianiste Lil Hardin.

Louis Armstrong s’était joint au groupe d’Oliver à peu près au même moment. Il poursuivait:

‘’So Joe Oliver was looking for a substitute cornet player he could use when he wanted to take a night off. I mentioned Louis to him and Joe got hold of him. Louis had a wonderful ear, and he learned Oliver’s repertoire from him in about three days. And that’s how Louis came to play in Oliver’s place at Lala’s when Joe was working with the Magnolia Band. They had to keep the noise down after midnight and used mutes in the cornets. Well, the waiters and everybody around there liked to hear Louis get off, so they would talk him into taking the mute out of the cornet.’’

À son arrivée à Chicago, St. Cyr avait habité avec la famille de King Oliver. Lorsque le contrat de St. Cyr au Lincoln Gardens avait pris fin, Datnell Howard l’avait engagé pour jouer à l’Arcadia Ballroom pour 50$ par semaine. Il expliquait: ‘’We played stock arrangements, nothing special in the way of music, the same type of stock arrangements we used on the riverboats. After two months Darnell lost the job and the band broke up.’’ À l’époque, Oliver avait demandé à St. Cyr de se trouver un nouvel endroit où habiter, car il vivait dans un petit appartement et commençait à manquer de place. À ce moment-là, Armstrong et Hardin étaient sur le point de se marier. Même si le couple s’était loué une petite maison, il n’avait pas encore commencé à l’occuper, et avait offert à St. Cyr de s’y installer pendant quelque temps. St. Cyr avait même continué de vivre avec le couple durant une brève période après que celui-ci ait emménagé.

Pendant qu’il jouait avec le groupe d’Howard, St. Cyr avait également enregistré avec Charlie Cook. Lorsque le groupe d’Howard avait été démantelé, St. Cyr avait fait savoir à Cook qu’il était sans travail. C’est ainsi qu’il avait commencé à jouer avec le Dreamland Orchestra de Cook qui se produisait au Dreamland Ballroom situé à l’intersection des rues Paulina et Van Buren. Durant l’été, le groupe se produisait également dans des parcs d’amusements comme ceux de Riverside.

C’était la première fois de sa carrière que St. Cyr jouait avec un groupe qui utilisait ses propres arrangements sur pratiquement chacune des pièces. St. Cyr poursuivait: ‘’ We had many specials, strictly in the jazz style, but all arranged, written out. Doc Cook did all his own arrangements. He played piano and organ. He was just an average piano player, but he was at his best at the organ. The use of ad lib, hot solos, etc., had not come into too much use at this time in the larger bands. Two of my old friends from New Orleans were in this band, Freddie Keppard and Jimmie Noone.’’

À l’époque, Noone travaillait au Edelwiess, un club de danse multiracial, avec un groupe composé de Joe Poston au saxophone alto, Earl Hines au piano et Johnny Wells à la batterie. Comme sa famille était demeurée à La Nouvelle-Orléans, St. Cyr avait énormément de temps de loisirs, ce qui lui avait permis d’aller retrouver Noone au Edelwiess et de jouer avec le groupe. Il expliquait:

‘’This was a black and tan club with singers and dancers. As my family was still New Orleans, I had plenty of time on my hands, and so when we were finished at the Dreamland at 12.30 a.m., I started going over to the Edelweiss and sitting in with the group. I was not on salary, but I got my share of the tips, and they were good enough to pay me for my work. This started me off with the Jimmie Noone Orchestra, and so then when Jimmie, Joe and Earl went into the Apex Club in December, 1926, I went with them. This was one of the best jobs I ever had — the management was the nicest I ever worked for. They gave us each $5.00 for a Christmas present, although we had only been there a few days. The Manager also gave us tips on the quiet. This was also an after hours spot.’’

De tous les membres du groupe, St. Cyr était particulièrement proche du saxophoniste Joe Poston. Il poursuivait:

‘’Joe Poston was one of my special friends in the Doc Cook Band. He was from Alexandria, Louisiana. He played saxophone and oboe. His music was more on the sweet side. He and Doc Cook and myself were called the Three Musketeers as we always rode to work together. Then, sometimes after work, we would get a pint of prescription whiskey from a druggist we knew and go over to Doc Cook’s. Joe and I would sit around and have a few while Doc worked on his arrangements. Doc always worked at a high desk and stood up to write. He could write out music as fast as I could write a letter.’’ 

St. Cyr appréciait également le saxophoniste Stump Evans au sujet duquel il avait déclaré:

‘’Stump Evans was one of the few musicians not from New Orleans who seemed to fit in with our bunch; that is, his style of playing. He was from St. Louis and had picked up our style off the riverboat bands before he came to Chicago. He was the first sax player I ever heard to play slap tongue. We all liked his work and he got in on a lot of record dates with us for this reason. He played regularly with Erskine Tate at the Vendome Theatre and hung around a pool room at 35th and State. He was very short in height, which gave him his nickname Stump and not Stomp as it is sometimes misspelled.’’

Après avoir eu un désaccord avec Cook, Noone avait été congédié du groupe. St. Cyr poursuivait:

‘’Shortly after this Jimmie had a big fuss with Doc Cook one night and Cook gave him his notice. As the Apex Club was doing so good and Jimmie was then available they started opening up earlier in the night. Bud Scott took my place till I could get over, then he went to a job he had at the Regal Theatre. One night Jimmie got to talking about why Doc Cook had let him go. Jimmie acted as if he didn’t know why Cook had let him go, so to be helpful, I told him. That made Jimmie mad at me and he fired me. Bud Scott didn’t want to take the job under the circumstances, but I told him, ‘Go ahead, take it, I won’t be there so you might as well take it, if you want it, it’s a good job!’ Shortly after all this took place this group made several recordings for the Brunswick Vocalion Company. These recordings are a very good example of the music that was being played in the clubs, at that time in Chicago. These recordings are just the way we played on the job.’’

À l’été 1929, les affaires ayant commencé à décliner, Cook avait dû réduire taille de son groupe de quatorze à dix musiciens. St. Cyr, qui ne jouait que du banjo et de la guitare, avait été un des premiers à être sacrifiés et avait été remplacé par un banjoïste qui jouait également du violon.

De tous les musiciens qu’il avait cotoyés, St. Cyr avait d’excellents souvenirs de sa collaboration avec Freddie Keppard. Il précisait:

‘’Freddie was drinking a lot by this time, although, he never seemed to let it interfere with his work. We spent a lot of time together at the Union Hall and were the best of friends. Freddie was playing very well, with Doc Cook, as well as all the gigs we all used to get around town. In spite of some of the stories about him, he was a pretty good reader, he played all those arrangements Doc Cook wrote, as well as playing with other bands on gigs. These bands would have their own library of music. He had been reading violin music many years before in New Orleans, before he took up the cornet. Freddie had been, in New Orleans, the first of the get off men on cornet, a real pace setter and pioneer. In Chicago, he was more satisfied to let music just be his work. His inspiration to be coming up with something new seemed to be gone. To compare him to Louis Armstrong I would say: they both started out about even as to ability and inspiration, but music was Louis’ whole life and with Freddie Keppard, it got to be just the way he earned his living, just a job. He also had that independent Creole temperament and was not always the easiest guy in the world to get to cooperate. He had his own ideas about a lot of things, but he was a great jazz musician and a good friend of mine {...}. There were so many great musicians around Chicago at that time I would never be able to name them all. Also singers, they all worked in Chicago at one time or another when I was there.’’

À Chicago, St. Cyr avait également joué avec le groupe de Kid Ory. De tous les musiciens avec lesquels il avait collaboré, St. Cyr se rappelait particulièrement de Johnny Dodds et King Oliver. Comme il l’avait expliqué lui-même:

‘’Johnny was a quiet, serious man, all business. Although we recorded together a lot, this was about the only time we would meet. We never played together on a job except the first few weeks when I came to Chicago. Johnny had come to Chicago several years before I did. Fie had bought a small apartment house where he lived with his family. I would only see him once in a while at the Union Hall when he came in to pay his dues or on a record date. We were always friendly, but not what could be called close friends. I had been good friends with Joe Oliver in New Orleans and of course kept this friendship up in Chicago. Joe didn’t come around the Union Hall much either, although I used to visit him at his home. Joe didn’t like to go out much. He was such a big eater, he always said it embarrassed him to go out to eat, so I would stop by his home now and then for a visit or a meal. He never asked me to join him as he knew I was set with Doc Cook. He was a good-humoured man, liked to joke with his friends, talk with them. He was very business-like, a good band leader and organizer. Jimmie Noone didn’t come around the Union Hall much either. He was quite a ladies man, and usually spent his spare time visiting one or the other of his girl friends. Of the other musicians around in those days George Fields, Ray (Roy) Palmer, Honore Dutrey, Kid Ory, Jelly Roll Morton, Richard M. Jones never spent much time around the Union Hall. Jelly Roll and Richard M. Jones spent most of their time around Melrose Bros Music Store. That is where I first met Jelly Roll. I had known him in New Orleans very slightly. Richard M. Jones kept himself busy with the Okeh Record Company. He was their contact man for their race records. He was a fine fellow, very jolly and a good organizer with a good head. He knew music very well, but he was just an ordinary piano soloist, nothing special.’’

Après avoir été congédié par Cook, St. Cyr avait rencontré un banjoïste appelé Dago qui était également chanteur. Après avoir fait quelques répétitions, le duo avait joué dans des courses de chiens à Gary, en Indiana avant de se produire dans des clubs de Kenosha et de Milwaukee au Wisconsin où il avait remporté un certain succès. Mais St. Cyr avait dû retourner seul à Chicago, car Dago s’était fait une petite amie à Milwaukee.

Le lendemain, St. Cyr était retourné à La Nouvelle-Orléans où il avait travaillé comme plâtrier tout en se produisant avec des groupes locaux avec de grands noms du Dixieland comme Paul Barbarin et Alphonse Picou.

ÉPILOGUE

Dans les années 1950, St. Cyr avait joué et dirigé un groupe appelé  Johnny St. Cyr and His Hot Five. Il avait aussi enregistré avec Paul Barbarin et George Lewis. Après être déménagé à Los Angeles en 1955 et être retourné à la musique à plein temps, St. Cyr avait dirigé le groupe Young Men from New Orleans de 1961 à sa mort en 1966. Parmi les membres du groupe, on remarquait le clarinettiste Barney Bigard.

Johnny St. Cyr est mort le 17 juin 1966 au General Hospital de Los Angeles. Il était âgé de soixante-seize ans. St-Cyr a été inhumé au Evergreen Cemetery de Los Angeles. 

Reconnu comme un pionnier du jazz, St. Cyr, qui s’était surtout fait connaître en enregistrant avec le Hot Five et le Hot Seven de Louis Armstrong de 1925 à 1927 (notamment sur les classiques Gut Bucket Blues et Heebie Jeebies), avait aussi joué et enregistré avec les  Red Hot Peppers de Jelly Roll Morton. Également compositeur, St. Cyr était l’auteur du standard "Oriental Strut", qui était connu pour ses accords particulièrement innovateurs. St. Cyr, qui jouait du banjo d’une façon complètement différente que les autres banjoïstes de son époque, se produisait sur un banjo à six cordes. Il excellait également à la guitare. St. Cyr avait d’ailleurs fabriqué sa propre guitare lui-même en modifiant un de ses propres banjos.

Johnny St. Cyr a été intronisé au sein du Banjo Hall of Fame en 2002.

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

SOURCES:

‘’Johnny St. Cyr.’’ Wikipedia, 2023.

‘’Johnny St. Cyr.’’ Jazz Journal, 2023.

‘’Johnny St. Cyr.’’ All About Jazz, 2023.  

‘’Johnny St. Cyr (1890-1966).’’ The Syncopated Times, 2023.