#and then kenny playing the piano

[everythingwasnormalhere]

going insane abt the sp actor au actually...

[buttfrovski]

What are your most harmless, weird headcanons? I just know Cartman is an avid penpaller, except he's really mean and makes fun of all of his penpals.

fuck that's such a good headcanon.

i wouldn't say i'm the most original with hcs

i hc kyle is a sports-hopper like i was. signed up for every sport under the sun but eventually got sick of it and quit.

tweek had a metal / punk phase at some point, he still likes metal music tho.

i was gonna say stan has beef with his art teacher but that is kinda canon cuz of the TP episode

butters and stan love the petting zoo.

craig and kenny are the types to not bother with school and still do well. kenny way more than craig.

tweek and craig can never meet up after school cuz craig either has detention or tweek has a shift at the coffee shop.

clyde is the typa guy to run the "gyatt" and "skibidi" jokes into the ground. jimmy would make those jokes too but be more clever about it and understand when the jokes old.

tolkien and stan are now best buddies and have designated d&d sessions where they stock up on junk food. kyle is mildly jealous of this despite being friends with both tolkien and stan and hanging out with them separately.

cartman does not fuck around when it comes to just dance. he is also the worst person to play most games with cuz he will camp at spawn point and never revive teammates.

very specific... but when playing COD black ops 2 nuketown, kenny gets distracted staring at the mannequins' tits.

tweek is a jack of all trades. you can see it in the show- the darts, legos, playing piano, etc. it's a total adhd thing to pick up 600 hobbies- bonus points if you don’t master any of them.

after sumo and boxing, craig and tweek picked up martial arts together and hated it. but they did get their black belts.

ik some ppl hc tweek can NOT sing but i hc he can. you can hear his backing vocals during the opening of put it down and it sounds pretty to me.

i had some more but forgot them.

[freddiemercurylegendabovelegends]

Today, on 10th December, 1976 - Queen Story!

'A Day At The Races' album released in UK

🔸FREDDIE MERCURY and KENNY EVERETT REVIEW “A DAY AT THE RACES”

CAPITOL RADIO, LONDON – NOVEMBER 1976

INTRO/ Tie Your Mother Down

Kenny Everett: God you’re noisy, Fred!

Freddie Mercury: That’s one of the softer tracks. [Laughs]

Kenny Everett: That track’s called “Tie Your Mother Down” from the new LP called “A Day At The Races”, which is actually ‘teffifico’ and it’s just out in time for Christmas.

Freddie Mercury: Yes, that’s right.

Kenny Everett: Why tie your mother down?

Freddie Mercury: Well this one in fact is a track written by Brian actually, I dunno why. Maybe he was in one of his vicious moods. I think he’s trying to out do me after “Death On Two Legs” actually.

Kenny Everett: I see.

Freddie Mercury: So if he’s listening, folks…

Kenny Everett: Let’s try a nice gentle lilting one now.

Freddie Mercury: Oh this is the ‘real heavy’ one, yes.

Kenny Everett: That’s right. This is one where you sing by yourself, times 35 or something, isn’t it?

Freddie Mercury: Yes, I’ve multi tracked myself on this one.

Kenny Everett: How many of you are there on this one?

Freddie Mercury: Well… what the next one? “You Take My Breath Away”. This one I did myself, I multi tracked myself. So the others weren’t used on this for the voices. I played piano and basically, I don’t know how we managed to stay this simple you know, with all our over dubs and things. People seem to think that we’re over complexed, and it’s not true. It depends on the individual track really, if it needs it – we do it. So this is pretty sparse actually by Queen and our standards.

Kenny Everett: It still sounds like the choirs of Heaven. So here comes Freddie…plus Freddie, plus Freddie…

YOU TAKE: MY BREATH AWAY

Kenny Everett: Hmmm, another classic there that’ll live forever from the lips of Freddie, “You Take My Breath Away” off the new LP. Which there’s space for in you’re Christmas stocking. Freddie.

Freddie Mercury: Yes dear.

Kenny Everett: We’re going to take a break now. We’re going to play a few of our bits ok, is that alright?

Freddie Mercury: Yes.

Kenny Everett: Smashing, back with another track in a sec.

LONG AWAY

Kenny Everett: [Laughter] Hey guys, the mikes on! That’s “Long Away” by Brian May. He does four tracks on your new LP doesn’t he?

Freddie Mercury: Yes he does…

Kenny Everett: I see, can you proliferate?

Freddie Mercury: Which tracks you mean? That’s one of his and “Tie Your Mother Down” was Brian’s. He’s written a lovely Japanese song, which is at the end of the second side. It’s got Japanese verses…

Kenny Everett: What, actual?

Freddie Mercury: Actual Japanese verses which we had to do, we did a lot of research actually and we had our Japanese interpreter. We flew her over from Japan.

Kenny Everett: Actually you should know Japanese off by heart by now, because you’re always there, aren’t you?

Freddie Mercury: Do you want me to say some of them then? [Recites a verse from “Teo Torriatte”].

Kenny Everett: Oh flan flastic! [Applauds] Flerry good, and now we will split for a commercial break. [Laughs]

Kenny Everett: Right, back to the spiffingest LP ever released. Oh what do you think of the new E.L.O.?

Freddie Mercury: Oh it’s great, I’ve got a copy of that. And I know you keep, I keep hearing more of those tracks on your show than anything else.

Kenny Everett: Well…

Freddie Mercury: So I don’t need to play my album, really [Laughs]

Kenny Everett: And also The Eagles, they’re the three for your Christmas stocking, folks. This is me talking to Freddie Mercury of Queen, who must be a millionaire by now, what Freddie?

Freddie Mercury: Oh…in what way?

Kenny Everett: Financially and commercially, I mean you keep buying these paintings and things.

Freddie Mercury: Yes because I like them. Actually it’s what I’ve been interested in a long while, and now that I’ve got a little bit of money to throw around I thought I might as well go and buy it. So I went to Sotheby’s the other day, and got a few paintings. The dealer’s weren’t pleased at all! [Laughs].

Kenny Everett: Actually, you’ve brought champagne with you, which is very good of you.

Freddie Mercury: But of course dear, it travels with me everywhere.

Kenny Everett: You make Gerald Harper look quite cheap. Thank you for that [Laughs]. Usually when I come in here, the place is full of old dead bottles, you know. And green fly…but we’ve made him look peculiar today. Right, “The Millionaire Waltz” which is the next track on the LP, what’s this?

Freddie Mercury: Well it’s all about John Reid actually.

Kenny Everett: You’re manager, well he’ll love all that.

Freddie Mercury: I might as well…

Kenny Everett: It’s a bit gay and weird and strange, but it grows on you.

Freddie Mercury: It’s very out of the Queen format, really and we thought we’d like to do that on every album. I think I went a bid mad on this one. But it’s turned out alright I think, it makes people laugh sometimes.

Kenny Everett: It’s very jolly, let’s have a listen to it.

THE MILLIONAIRE WALTZ

Freddie Mercury: Ooh, lovely! Actually I’d like to say that Brian did do a very good job on the actual guitars. He’s really taken his guitar orchestration to its limits, I don’t know how he’s ever going to out do that one actually. And John played very good bass on that. I think it’s good and we’re patting ourselves on the back again. I really think it’s worked out well especially from the orchestration point of view. Because he’s really used his guitar in a different sort of way, I know he’s done lots of orchestrations before.

Kenny Everett: He’s probably the world’s greatest guitar technician really, isn’t he?

Freddie Mercury: Oh I’d say that dear, absolutely…[mock aristocratic accent]

Kenny Everett: Yes, pass more champagne…[same accent] [Laughs]

Freddie Mercury: Champagne everybody!

YOU AND I

Freddie Mercury: That’s the end of side one of “A Day At The Races”. That was a track by John Deacon, he’s contribution to this album. His songs are good and are getting better every time actually. I’m getting a bit worried actually.

Kenny Everett: He’s the quiet one.

Freddie Mercury: He’s sort of quiet, lots of people think that. Don’t underestimate him, he’s got a fiery streak underneath all that. I talk so much anyway, he like to let me do all the talking. But once people crack that thin ice, then he’s alright. (You can never stop him talking then).

Kenny Everett: You’re all a very shy bunch really, aren’t you?

Freddie Mercury: We are really, actually. I am actually, people don’t seem to realize that. Just because I go around tearing on stage, they think I should go tearing around life, but I’m not really.

Kenny Everett: Good, well done. I’ve said to you once, you must have had a classical up bringing, and you went ‘Ha’! So I dropped that one. [Laughs] But I think you really must have.

Freddie Mercury: I did have in my youth… that’s a couple of years ago. No, when I was about seven years old, I did piano lessons and I did up to grade 4 classical, practical and theory. Then I gave it up, as I basically play by ear really and I can’t sight read at all. So I gave that up and all my playing is done by ear. I can’t read music that well, it takes me a long time.

Kenny Everett: Well how do you work out these amazing harmonies you do?

Freddie Mercury: Well that’s quite easy, yeah. [Laughs] The same as you do! [More laughs] I don’t know, I just have to work at it and after a while you fall into a pattern through experience. I think I’m getting better every year, don’t you?

Kenny Everett: Oh yes.

Freddie Mercury: I learnt a lot from our past albums and things. Seeing how they’re constructed and things, then you use things what you’ve done in the past and work out different things.

Kenny Everett: Oh you’re polishing beautifully, it’s a polished product now. That “You Take My Breath Away”, the harmonies on that are supreme.

Freddie Mercury: They’re nice, I’m very pleased with them.

Kenny Everett: You see – modest. Right, from the polished to…side two. A bit hairy this number, so if you’re a little old lady then please stand back!

WHITE MAN

Kenny Everett: Cor! How did you manage to get such a loud noise on one record?

Freddie Mercury: I don’t know, it’s down to Mike Stone our engineer. We’re very bad in the studio for that actually, the poor engineer has to really suffer because we really want as much level as possible. We keep pushing the phasers up and he keeps looking at the meters and going ‘Oh it’ll never cut’. Then we give him the added task of going over to New York or wherever and saying ‘Make sure that cuts as loud as possible’.

Kenny Everett: Yeah, I should explain for the folks, that if a noise is too loud on a record – the little wobbly groove grundges into the groove next door.

Freddie Mercury: That’s right.

Kenny Everett: Then the record skips…

Freddie Mercury: Yes, it can skip and do all kind of things.

Kenny Everett: So the more noise you put on, the less likelihood you have of…

Freddie Mercury: So if Mary Potts has got a little dance set, then it’ll just go flying off! [Laughs]

Kenny Everett: I must admit, you do get a lot of sound on one little LP.

Freddie Mercury: Yes it’s very difficult to… it’s a very fine dividing line really, because if you want to put in more music – but at the same time you’ve got to make sure you don’t put too much in otherwise it suffers.

Kenny Everett: And you’ve got a genius technician that looks after all of that.

Freddie Mercury: Well Mike Stone is pretty good, yes. That little bugger…

Kenny Everett: Yes… right. [gives out weather report with Freddie laughing and teasing throughout]

Freddie Mercury: What a nice little chap he is. [Laughs]

Kenny Everett: Right here we are in Capitol tower with cuddly Ken and Freddie Mercury, nattering about the new LP. Which also has this track on it.

SOMEBODY TO LOVE

Kenny Everett: So, if you’re planning to but this LP – you get that thrown in as an added goodie. The new number one single in Britain today “Somebody To Love”. Well-done Freddie.

Freddie Mercury: They’ve probably all got their copies by now anyway, so we might as well play something else.

Kenny Everett: Yeah, but the thing is we all had “Sailing” by Rod Stewart and everyone bought it. Then they re-released it and everyone bought it again. Very strange.

Freddie Mercury: Yes, go out and but it again, I’m not complaining. [Laughs]

Kenny Everett: Let’s play a little track off “Sheer Heart Attack” now, because I thought this was one of your tunes, because it’s so wilting.

Freddie Mercury: I thought you’d made a slight mistake earlier on, but this is a track called “Dear Friends”. Taken from our “Sheer Heart Attack” album, it’s written by Brian. I’ve done the vocals on it, but Brian wrote this lovely tune.

Kenny Everett: Well let’s hear this one.

DEAR FRIENDS

Kenny Everett: Very pretty. I didn’t know Brian May wrote that, I thought he was the hairy department.

Freddie Mercury: Yes he does those, he’s very versatile.

Kenny Everett: Ok, this next one is one of yours isn’t it?

Freddie Mercury: Yes, it’s called “Good Old-Fashioned Lover Boy”, and it’s in my ‘ragtime’mood that I get a chance to, [Laughs] to do on every album and this time, this is something I’ve come up with this time around.

Kenny Everett: Right, a little frilly number from the pen of Fred.

GOOD OLD-FASHIONED LOVER BOY

Kenny Everett: Right, that was one of Freddie’s tunes. I hear you’re not too pleased with the musical press, Freddie [Laughs] Let’s be outrageous!

Freddie Mercury: It depends, I don’t take much notice to be honest. They can say what they like.

Kenny Everett: I find that they slag everything available, they just don’t say anything nice about anybody.

Freddie Mercury: Not constructive at all. The American press do their homework and the kind of questions they ask you makes much better copy anyway.

Kenny Everett: They pick the good points, and then blazon them all over the place.

Freddie Mercury: It’s more sort of things that are more relevant, I feel anyway. You can tell that they’ve done their homework because they ask you very penetrating questions – which I don’t mind. Because then you know they have some substance because when they write about it, it has much more bearing. But over here, it’s all ‘Why have you stopped wearing black finger nails or whatever…

Kenny Everett: Have you stopped? [Laughs]

Freddie Mercury: Then that’s the review of the album, they haven’t a clue anyway – so [blows a raspberry] to them.

Kenny Everett: Yes [blows a louder raspberry] to them!

Kenny Everett: You keep writing things that are things of beauty that will last forever.

Freddie Mercury: Well I hope so.

Kenny Everett: One day you’re going to come up with an LP that’s going to kill everybody.

Freddie Mercury: I thought we had – this is it!

Kenny Everett: Oh, what have I said! What have I said? [Laughs] I mean just you, I think you’ll come out with the Mercury symphony in E flat or something.

Freddie Mercury: E flat minor actually… well I hope so. There’s time for that I think, I have a lot of ideas bursting to get out.

Kenny Everett: And you’ve got a film…a film?

Freddie Mercury: Yes, we’ve erm [Laughs] He’s no fool this one. He’s a tart, but he’s no fool!

Kenny Everett: I tell you what, let’s go to this one… I’m not a tart – I’m a DJ! [More laughs and teasing from Freddie] Let’s discuss the film after the news and this little track off the new LP “A Day At The Races”, which is dying to dive into you’re Christmas stocking!!

DROWSE

Kenny Everett: That’s a Roger Taylor track, and Roger’s just had a requiem set for his hair – so we’re all in mourning. We’ll be back with some more really great stuff, including their climactic climax to this LP right after the news. So I’ll see you then, right Fred?

Freddie Mercury: Yes dear, see you then.

Kenny Everett: Ok, bye bye ladies and gentlemen.

Kenny Everett: And now here’s Freddie with the weather!

Freddie Mercury: Oh God! He’s just put it in my lap, I can’t believe it! Weather for the Capitol area; It’s dry with long sunny periods, clean spells this evening, cold…

Kenny Everett: CLEAR spells.

Freddie Mercury: Oh, [Laughs] It’s you’re writing! Clear spells – yes that’s right. Clear spells this evening, cold high feel four centigrade…

Kenny Everett: Oh forget it!

Freddie Mercury: Winds light, force two or three… well this is the way you’ve written it. It’s in code, my god! [Laughs] Two or three mostly west to northwest, becoming south to south west later. [More laughs in studio].

Kenny Everett: Are you done?

Freddie Mercury: I’m sure everybody got that.

Kenny Everett: Yeah, I’m sure…

Freddie Mercury: That does it, you wait ‘till you come to the studio next time!

Kenny Everett: Get your calculators out and work out the weather. Right, here it is folks – the climax of this LP “A Day At The Races”, waiting for a place in your Christmas stocking.

TEO TORRIATTE (LET US CLING TOGETHER)

Kenny Everett: That’s the last track off ��A Day At The Races”, the new LP by Queen, and if you had your Grundig out, then you should be ashamed of yourself – you’ve just robbed this millionaire of another 18 & 6. [Laughs].

ROCKET MAN – ELTON JOHN

Kenny Everett: Well what was a civilized little gathering, is now turned into chaos with bubbling heaps all over the studio. It’s 3:30 now on the Freddie and Ken show. Any comments on that, because your manager is the same as his isn’t it?

Freddie Mercury: Yes that’s right. In fact I’d like to dedicate that one to a few friends I know; Sharon, Beryl, Phyllis, Serita, Deirdre all the lovely people who’ve all been nice to us this year.

Kenny Everett: All lady friends then?

Freddie Mercury: Yes, they’re all going into my white book. My black books quite full up actually. [Laughs]

Kenny Everett: He says with champagne bubbles coming out of both ears.

BENJAMIN BRITTON TRIBUTE

Kenny Everett: Well I suppose you could call that a golden oldie, as it was written in 1961. Lovely, I like classical stuff don’t you?

Freddie Mercury: I like a bit of Chopin.

Kenny Everett: I’m a Mozart man.

Freddie Mercury: Well there you are then, we differ.

IT’S OVER – ROY ORBISON

Freddie Mercury: ‘It’s Over’! [Freddie & co sing the last line].

Kenny Everett: The masked mouths of the Mercury entourage, and “It’s Over”. Which was written in 1964 and is one of my faves Roy Orbison, who always did a good tune when called upon.

Freddie Mercury: Yes, very good actually. “Pretty Woman” was very good as well.

Kenny Everett: He did a lot of good stuff, I think he’s fab. I tell you what, Roy was good – but you can’t beat ‘old Dusty.

YOU DON’T HAVE TO SAY YOU LOVE ME – DUSTY SPRINGFIELD

Kenny Everett: Round of applause for Dusty Springfield. She’s great, the only thing that’s wrong with Dusty is that she’s not in Britain today. She’s gone off to California the rotter.

Freddie Mercury: I wish she’d come back actually. She’s very good, a very good singer.

Kenny Everett: I think she’s a ‘nana really, as she’s sat over there and not producing some fab stuff.

Freddie Mercury: I don’t know her, but I think she’s a bit scared to go on. She’s scared of what people might think, especially in this country. I think if she did come back, she’d be liked.

Kenny Everett: She’s be adored, there’s millions of people here waiting for her to come back. I’m not sure what’s wrong with her.

Freddie Mercury: I think she’s got stage fright, she needs a bit more encouragement and a bit more confidence.

Kenny Everett: Now we have another one of your oldies.

Freddie Mercury: Oh? Which one is this?

Kenny Everett: “Love Of My Life”, coming up in just a sec.

Freddie Mercury: This tracks called “Love Of My Life” which…

Kenny Everett: Pull yourself together dear! [Laughs]

Freddie Mercury: I’m perfectly in control, and is dedicated to you dear for being so nice to us today and letting us infiltrating your ‘Be Bop Bonanza’ programme.

Kenny Everett: Shucks, ok.

Freddie Mercury: It’s from our “Sheer Heart Attack” Album – oh no, it’s “A Night At The Opera”. God, we’ve made so many I keep forgetting.

Kenny Everett: It’s the previous and it’s a lovely tune, have a listen to this.

LOVE OF MY LIFE

Kenny Everett: [Lot’s of background laughing] ‘Love of my life’…

Freddie Mercury: I can’t hear the damn thing.

Kenny Everett: It’s over now. You should wear headphones.

Freddie Mercury: Oh I hate those things!

Kenny Everett: I know it kinks your hairdo, but they’re handy and you can hear what you’re saying through them. I feel naked without headphones…[More laughing] Right, it’s thirteen minutes to four and we’re going to sing along at the end of this show ladies & gentlemen, we’ve decided to join Bill Grundy in his cell, for doing naughty things on the wireless. We’re going to sing live, the end of “Bohemian Rhapsody”.

Freddie Mercury: So get your vocal chords ready.

Kenny Everett: Yes, because we want you to all join in with us, because it’s nearly Christmas and you can let yourself go. The end of “Bohemian Rhapsody”, if you forget how it goes, it goes like this…

Freddie Mercury: Oh God, you’ve put me in it!

Kenny Everett: I don’t remember that bit. [Laughter]

Freddie Mercury: ‘Nothing really matters to me’ [Sings the line].

BRIGHTON ROCK

Kenny Everett: Great, an old number by Freddie called “Flick Of The Do Dar” or something…

Freddie Mercury: “Brighton Rock” by Brian May.

Kenny Everett: Really? I thought that was one of yours. Right, here we go then “Bohemian Rhapsody”. Never been done before in it’s life – live in a studio. So we hope you’re going to join in. It’s easy, it’s like Vera Lynn isn’t it. All you’ve got to do is catch onto Freddie, because he’s going to sing the first few lines…

Freddie Mercury: I thought we were all…

Kenny Everett: No, no it’s all yours. Ready? [Laughter] Oh dear, he’s just fainted. You’ve got one minute to lead us into “Bohemian Rhapsody” Go!

Freddie Mercury: I don’t know it… ‘Nothing really matters to me’ [Sings]. I thought you were going to play the track.

Kenny Everett: No, I haven’t got it, I was thinking you being a pro…

Freddie Mercury: I can’t do it live, I mean I need the guitar and multi track, with Brian…

Kenny Everett: Now we know the truth folks, Freddie is a lemon. [Laughter] ‘I see a little silhouetteo of a do dar , scaramouche, scaramouche will you do the fandango’ [Sung in a high pitched voice]

Freddie Mercury: Are you expecting me to sing the full track?

Kenny Everett: Oh I can’t be bothered with these live stars…

Freddie Mercury: I don’t think Capitol have the resources of multi tracking anyway.

Queen released 'A Day At The Races' and peaked at No 1 in the UK. In America, issued a week later, it reached No 5 on the US Billboard album chart and became Queen's first American album to achieve Gold status - and subsequently Platinum

Pic: Queen photographed in the Studio on 28th October 1976

📸 Photo by Lichfield Archive

[justforbooks]

Martial Solal

French jazz pianist who loved to improvise and wrote the score for Jean-Luc Godard’s film A Bout de Souffle

A squint through the metal fence around Martial Solal’s tree-shrouded villa, in Chatou, the suburb of Paris known as the “ville des impressionistes”, could have confirmed that the great French pianist was not the average jazz musician. Solal, who has died aged 97, was the most famous jazz musician in France from the 1950s onwards, and widely known across Europe and the US.

The breakthrough that paid for that Chatou villa came when Solal – then a little-known club pianist – wrote the score for Jean-Luc Godard’s 1960 film A Bout de Souffle (Breathless). The commission came out of the blue via Godard’s jazz-loving friend and fellow director Jean-Pierre Melville, and Solal collected royalties on it for ever after. “It’s like I won the Lotto,” he said in 2010. “Because back in 1959 when I did it, I was mainly just known for being the house pianist in the Saint-Germain-des-Prés jazz club.” Godard had few ideas about the music he wanted, beyond joking to Solal that he might compose a piece for a banjo player, to save money. The pianist promptly produced a soundtrack for big band and 30 violins.

Solal went on to work on several more films, and was one of the first Europeans to perform at the Newport jazz festival in the US. Into his 80s, he could still walk the tightrope of unaccompanied improvised performance, and his compositions had a signature as personal and harmonically idiosyncratic as Thelonious Monk’s. Solal, who liked stop-start melodies and constant rhythmic changes, wrote elegant pieces that slowly coalesced out of scattered fragments. He loved peppering classic jazz material – even as sacrosanct as Duke Ellington’s – with disrespectful quotes going all the way back to his danceband days in Algiers, the city where he was born.

Solal’s mother, Sultana Abrami, an amateur opera singer, introduced him to classical piano as a child. During the second world war, under Nazi race laws, Martial was excluded from a secondary education because his father, Jacob Cohen-Solal, an accountant, was Jewish. He took jazz clarinet and piano lessons from a local bandleader, with whom he was soon performing tangos, waltzes and Benny Goodmanesque swing. Soon, Fats Waller, Erroll Garner, Art Tatum and the bebop virtuoso Bud Powell began to displace Chopin and Bach among Solal’s keyboard models.

He moved to Paris in 1950 after his military service, and teamed up with the American bebop drums pioneer Kenny Clarke in the house band at the Saint-Germain-des-Prés club. The young pianist’s nervous recording debut was in April 1953 with the jazz-guitar genius Django Reinhardt, who turned out to be playing on his last; Reinhardt died the following month. That year, Solal recorded Modern Sounds with his own trio and also recorded unaccompanied. After working with Sidney Bechet in 1957, he received the commission for the Breathless score.

The word about Solal then began to reach America – both Oscar Peterson and Ellington had been entranced by him in Paris, with Ellington pronouncing him a “soul brother”. In 1963, he played at Newport, with the bassist Teddy Kotick and the drummer Paul Motian; despite barely knowing his new partners, Solal boldly added his 11-minute tempo-shuffling Suite Pour Une Frise to the usual programme of standard songs.

Turning down an invitation to move to the US, Solal led world-class groups in the 1960s and 70s, often including the drummer Daniel Humair, the bassist Niels-Henning Orsted Pedersen, and even an advanced two-bass trio for piano and the double-bassists Gilbert Rovère and Jean-François Jenny-Clark. He also explored fruitful duo partnerships with the American saxophonists Lee Konitz and Phil Woods between the 70s and the 90s, and led innovative big bands, notably on the thrilling Martial Solal Big Band session (for the Gaumont label in 1981) and Plays Hodeir (1984).

An insatiable capacity for self-education helped Solal to develop a characteristically pungent harmonic language. He wrote and performed contemporary classical music and published jazz-piano pieces modelled on the Mikrokosmos educational cycles of Béla Bartók.

In 1989 the Martial Solal jazz piano competition was founded. Its winners have included the Frenchman Baptiste Trotignon and the charismatic Armenian virtuoso Tigran Hamasyan. In the 90s, Solal often worked with the Moutin twins, François and Louis, on bass and drums – both were flexible enough to follow their leader’s tendency to launch a tune without telling them what it was, change key without warning, or turn it into a different song entirely.

As he entered his 70s, Solal seemed to be playing with a revitalised and swashbuckling confidence – as if he was finally sure that he would still sound like himself whether he played within the regular rules, or broke them. In 1999, he won Denmark’s Jazzpar prize, and celebrated by writing parts for the accompanying Danish Radio Jazz Orchestra owing as much to the French impressionist classical composers as to jazz. In that decade, Solal also had an unprecedented 30-concert solo run on French national radio.

In 2000, with his 12-piece Dodecaband, he recorded Martial Solal Dodecaband Plays Ellington. During the following decade, he recorded two live albums at the Village Vanguard in New York; the brilliant unaccompanied session Solitude; the duet Rue de Seine, with the trumpeter Dave Douglas; and the Exposition Sans Tableau session for his woodwind-less, brass-packed Decaband – a typically quirky lineup featuring Solal’s talented daughter Claudia singing the roles of a missing sax section.

His final public performance was a solo concert in 2019, at the Salle Gaveau hall where he had made his Paris debut in 1961. After a masterly exposition later issued on the album Coming Yesterday, Solal’s typically elegant exit was prefaced by the words: “I don’t want to bore you. It’s better that you leave here serene.” Then he played “a nice chord like this” – a single F major – said “Voilà. Merci” and left the stage.

Solal undoubtedly loved improvisation, but he believed it needed the spur of challenging composition to stop improvisers from slipping into habits. Not everyone shared his enthusiasm for musical jokes and maybe Solal was unnecessarily diverted by whether or not jazz could satisfy what he saw as classical listeners’ expectations of “perfection”. But he was a jazz-lover to his nimble fingertips, nonetheless. Speculating that probably no more than 10% of his fellow countryfolk knew anything about jazz, Solal phelgmatically declared that “as long as we can live, and play the music we like, it’s too bad for the 90%. It’s their loss.”

Solal is survived by his wife, Anna, their son, Eric, and daughter, Claudia, two grandchildren and two great-grandchildren.

🔔 Martial Saul Cohen-Solal, musician, born 23 August 1927; died 12 December 2024

Daily inspiration. Discover more photos at Just for Books…?

[joeyiscool101010]

I always see people talking about Stan playing guitar but I never see anyone talking about the other kids’ musical abilities!!! Kyle can play guitar, cartman can play the piano, butters can play bass guitar and drums, Kenny can sing and play guitar, etc ALSO STAN HAS CRAZY DEATH METAL VOCALS BUT I NEVER SEE ANYONE TALKING ABOUT IT 😞😞😞

[vsyrworld]

AW THE FINALLY CHAPTER IS HERE!! ♡♡

Chapter 5 out of 5- Milk Teeth

Summary;

“Carlos! Do you like this song?”

“What? Kenny G? … I guess it’s fine. Isn’t he always the favorite?”

There is a soft piano and saxophone duet soothing on his left ear. “Listen to it and close your eyes for a bit” he says with a soft hush.

Carlos let out a soft sigh as the piano solo played diminuendo. His smile grows when the other couple notes of the saxophone blow gently to his ear. He doesn't realized their body swaying right and left slowly in each other embrace. Carlos could feel a slight tickles of Charles’s hair right under his cheek, where the boy slowly melted. Charles’ keeping himself warm by nuzzling close into his neck.

“What is this song called again?” Carlos asked without opening his eyes. Only feeling a radiant warm across his body from the sun and his boyfriend.

“The wedding song”

Both of them chuckled at the name of the song. He brought a kiss on Charles’ crowns head,

“One day” he whispered slowly and it was answered immediately with a tightening hugs and an abstract stroke on Carlos soft’s t-shirt.

“Yeah, one day” Charles murmured against his neck

--

This chaptes is absolutly chaos of emotion like I throw all the feelings I felt watching these two wheel to wheel on bahrain 24, all of those worst and best possible outcomes. guess what! delulu charles is a wdc!!!!

hope u like it bcs well I have one AU again for this series

[legoflowrs]

flowers can you some Stan headcanons🤭🤭🤭

HEADCANNONS

Stan Marsh

AGED UP TO 18 PEEPS

cw: drinking, smoking, drugs, abuse, slight nsfw, addiction

a/n: hehe i hope u like this ruby!!! also this is for anon and @wonyoungies-world that also requested stan head cannons <3

also again same with kyle in the regular head cannons style are together but in the relationship ones he’s with reader!

- Ok I have like two versions of Stan in my head. football Stan and emo loser Stan. I love both versions a lot lmao.

- Stan has a shitty relationship with his Dad. He loathes him for moving him away from his friends to tegridy farms. His Dad was very absent in his life so Stan has always felt extremely neglected.

- He absolutely adores Sharon . He’s such a mummas boy. He goes to her for everything.

- Stan is THE bisexual queen lol!

- His closet is just oversized sports tees and baggy jeans.

- I think his family is catholic but he isn’t a religious person at all.

- He had a weird relationship with Shelly growing up but as teenagers Shelly took Stan under her wing because she saw how Randy’s neglect affected him.

- He’s absolutely petrified of turning into Randy.

- Bleaches his hair at 3am drunk one night with Kyle so he looks less like his Dad.

- Bro has been in LOVE with Kyle forever.

- Thinks he’s super slick with it (he’s not).

- Didn’t wanna ruin the friendship.

- They kissed once at a party but didn’t speak about it.

- After they moved to the farm he stopped smoking weed cause it made him angry.

- Has a mullet for a while because Kenny influenced him.

- Saved up his pocket money for a shitty electric guitar and it his pride and joy.

- Loves playing music it’s an escape for him.

- Like I said in the Kenny head cannons, Stan forms a band for the second half of high school.

- Some of his favourite memories are with the band.

- Doesn’t hate coffee but doesn’t love it. Wendy put him onto chai lattes.

- Has a really good friendship with Kenny.

- Really struggled with alcohol abuse throughout high school. I think he didn’t wanna admit he needed help it made him feel weak.

- Loves blueberry muffins.

- Spends heaps of time playing minecraft with Kyle and Kenny.

- My guy is greasy, starts looking after himself when he hits 16.

- If he played sports he plays football and ice hockey.

- He’s really good at both but it’s not where his passion is.

- Soooo fond of animals. I think he’d volunteer at the same shelter karen does.

- Did not get out of bed for days when Sparky died.

- Kyle surprised him with a puppy after about a year of dating.

- Deftones enjoyer 😭

- Really struggled with depression. Didn’t go on meds until Kyle literally begged him.

- His guilty pleasure is painting (HERE ME OUT ON THIS ONE).

- Sets up a little corner of his garage with an easel and spends a lot of time there.

- Always has headphones in.

- Went to rehab right before college.

- Really struggled to figure out what his direction in life should be.

- I think he went into veterinary work!! Switched to animal and plant conservation after he realised he couldn’t deal with putting pets down.

- Worked at the library for a while, he liked the peace and quiet.

- Started helping Heidi and Kyle with the community garden.

- Quarterback obviously lol.

- His favourite breakfast food is pancakes.

- Loves the ocean. Isn’t a great swimmer but Kenny taught him to surf.

- After working at the library he really got into reading books.

- Listens to brown noise to get to sleep.

- Still wears his ratty ass beanie everywhere.

- Hates summer, loves spring.

- The day him and Kyle started dating was one of the best days of his life.

- Him and Kyle share his wired headphones on long road trips 🥹

- Can’t do laundry to save his damn life.

- Gets in weird cleaning moods and power scrubs his house.

- Him and Kyle get an apartment together.

- Loves hearing Kyle play piano.

- Can’t eat vegetables without dip (same).

- Marjorine does his eyeliner before gigs.

- That boy can sleep just about anywhere.

Stan in a relationship

- So clingy like SO CLINGY.

- When he’s in a relationship he adores his significant other.

- Loves to lay his head on your chest while your fingers thread through his hair.

- Will make you put your feet on his and slow dances with you.

- Always touching you even if it’s lowkey, linking pinkies, bumping shoulders.

- Is so scared he’s not good enough for you, will require a lot of reassurance.

- When he goes through his depressive episodes he becomes very withdrawn. Will take him a while to open up.

- You will push his towards seeking professional help but he’ll only do it when he acknowledges he actually needs it.

- Always calls and texts you when he’s drunk.

- When y’all had sex for the first time he was a nervous wreck. So scared of doing something wrong and embarrassing himself.

- After a while he learnt what you like really well and knows how to make you feel good.

- Such a switch.

- Hear me out he’s such a thigh guy!

- His love language is quality time 100%

- Prefers nights in over going out! Y’all watch bad movies for shits and gigs.

- Supports whatever you do, number one cheerleader type beat.

- You’re at all of his gigs in the front row screaming your heart out. He always melts at the sight of it.

- You paint his nails black.

- He likes to braid your hair for fun.

- He sleeps over at yours a lot because being around his dad is hard.

- Struggles to sleep so y’all go on 3am drives for donuts.

- Long late night drives together!

- You guys swim in Starks Pond over the summer and ice skate there in winter.

- There’s no such thing as a quick kiss with stan, he always kisses you very passionately.

- He’s so tender with you when you guys are in bed and he wakes up first.

- Had made you so many playlists and sends you new music recommendations all the time.

- Wrote a song for your anniversary and sung it to you. You cried for hours.

- When he was struggling with his sense of direction in life you guys made a bucket list together.

- One of his bucket list items was to go to Europe so y’all did exactly that.

- You surprised him with a puppy one year after you moved in together. He cried.

- Sunday brunch is a weekly thing, he always gets pancakes.

- Y’all nap in the sun together in your hammock.

- He reads you his favourite books before bed 😭😭

- You will do drunk karaoke together.

- Matching bracelets!

- He likes to kiss your neck and shoulders while he stands behind you.

- Likes to peck your nose and see your face scrunch up.

- Calls you beautiful at least 50 times a day.

- Has a polaroid picture of you in his phone case.

- You wear his clothes and it turns him on LOL.

- Was terrified of marriage until he met you. It completely changed his perspective.

- Will propose to you on a walk you guys do in Lake Como. You both cry.

- I think Stan will try so hard to be the best version of himself around you and it makes your heart melt.

[lboogie1906]

Wynton Learson Marsalis (October 18, 1961) is a trumpeter, composer, teacher, and artistic director of Jazz at Lincoln Center. He has promoted classical and jazz music, often to young audiences. He has won at least nine Grammy Awards, and his Blood on the Fields was the first jazz composition to win the Pulitzer Prize for Music. He is the only musician to win a Grammy Award in jazz and classical during the same year.

He was born in New Orleans and grew up in the suburb of Kenner. He is the second of six sons born to Dolores Ferdinand Marsalis and Ellis Marsalis Jr., a pianist and music teacher. He was named after jazz pianist Wynton Kelly. Branford, Jason, and Delfeayo are jazz musicians. While sitting at a table with trumpeters Al Hirt, Miles Davis, and Clark Terry, his father jokingly suggested that he might as well get him a trumpet, too. Hirt volunteered to give him one, so at the age of six, he received his first trumpet.

In 1979, he moved to New York City to attend Juilliard. He intended to pursue a career in classical music. In 1980 he toured Europe as a member of the Art Blakey big band, becoming a member of The Jazz Messengers and remaining with Blakey until 1982. He changed his mind about his career and turned to jazz. He has said that years of playing with Blakey influenced his decision. He recorded for the first time with Blakey and one year later he went on tour with Herbie Hancock. After signing a contract with Columbia, he recorded his first solo album. In 1982 he established a quintet with his brother Bradford, Kenny Kirkland, Charnett Moffett, and Jeff “Tain” Watts. When Branford and Kenny Kirkland left three years later to record and tour with Sting, he formed another quartet, this time with Marcus Roberts on piano, Robert Hurst on double bass, and Watts on drums. The band expanded to include Wessell Anderson, Wycliffe Gordon, Eric Reed, Herlin Riley, Reginald Veal, and Todd Williams.

He is the son of the late jazz musician Ellis Marsalis Jr. and grandson of Ellis Marsalis Sr. His son, Jasper Armstrong Marsalis, is a music producer known professionally as Slauson Malone. #africanhistory365 #africanexcellencence

[slackville-records]

As the man who popularized the guitar in a jazz setting, his legacy lives on.

Charlie Christian was born on July 29, 1916 in Bonham, Texas but was raised in Oklahoma City from the time he was two years old. Charlie's immediate family were all musically talented - his mother played the piano; his father sang and played the trumpet and guitar; his brother, Clarence, played the violin and the mandolin; and his oldest brother, Edward, played the string bass. His parents made a living writing accompaniments for silent movies. At the age of twelve, Charlie was playing on a guitar that he had made from a cigar box in a manual training class. Charlie was actually first trained on the trumpet which was a huge contribution to his fluid single-note guitar style. Then, his father and brothers formed a quartet and Charlie got a real guitar. They performed in Oklahoma City clubs and Charlie even met Lester Young (tenor saxophonist) during one of his performances. Charlie was fascinated by Lester's style which helped in shaping his own stylistic development.

At the age of twenty-one he was playing electric guitar and leading a jump band. At the age of 23 (1939), Charlie was discovered by a talent scout, John Hammond, who had stopped in Oklahoma city to attend Benny Goodman's first Columbia recording sessions. Pianist Mary Lou Williams had actually recommended Charlie to John Hammond. Goodman was not very excited, this was due to the fact that Charlie was an unknown musician playing an electric instrument. The amplified electric guitar was fairly new at the time (trombonist and arranger Eddie Durham began playing it as a solo instrument in Jimmie Lunceford's band in 1935). It was essentially an amplified "f-hole," and it helped in making the jazz guitar solo a practical reality for the first time.

Previously relegated to a chordal rhythm style by the limitations of the acoustic instrument, jazz guitarists could now revel in the volume, sustain, and tonal flexibility provided by amplification. Charlie quickly realized the potential of the electric guitar, and developed a style which made the most of the unique properties of the instrument. When Charlie arrived in Los Angeles, he was only allowed a brief audition and he was not even allowed the time to plug in his amp. Goodman was not impressed so Hammond decided to sneak Charlie onstage later that night during a concert at the Victor Hugo. This made Goodman angry and he responded by launching into "Rose Room," which he assumed Charlie would be unfamiliar with. Charlie performed an impressive extended solo on the piece. This impressed Goodman and Charlie was let into the band.

Charlie was a hit on the electric guitar and remained in the Benny Goodman Sextet for two years (1939-1941). He wrote many of the group's head arrangements (some of which Goodman took credit for) and was an inspiration to all. The sextet made him famous and provided him with a steady income while Charlie worked on legitimizing, popularizing, revolutionizing, and standardizing the electric guitar as a jazz instrument.

After working at nights with Goodman, Charlie would seek out jam sessions. He discovered a club in Harlem, Minton's, located on New York's West 118th Street. At Minton's Charlie played with such greats as Dizzie Gillespie, Charlie Parker, Thelonius Monk, Joe Guy (trumpet), Nick Fenton (bass), Kenny Kersey (piano), and Kenny Clarke (drums). Charlie impressed them all by improvising long lines that emphasized off beats, and by using altered chords. He even bought a second amp to leave at Minton’s. Jamming sessions would usually last until about 4 A.M. and Minton’s became the cradle of the bebop movement. Charlie's inventive single-note playing helped popularize the electric guitar as a solo instrument and helped usher in the era of bop.

In the summer of 1941, Christian was touring the Midwest when he began showing the first signs of tuberculosis. He left the tour and was admitted to the Seaview Sanatorium on Staten Island. While he was there, he died on March 2, 1942 at the age of twenty-five.

Charlie Christian’s most familiar recordings are those with Benny Goodman which were available on vinyl for years ("Solo Flight") and which are now available on cd as "Charlie Christian: Genius of the Electric Guitar." There are recorded sessions from when he played with members of the Goodman and Count Basie bands, Lester Young, and numerous artists at Minton's. Charlie Christian had an immense influence on the development of BeBop and the transition from Swing to BeBop.

Source: All About Jazz

[malu897]

Having fic Idea kinda inspired by @drownedinlavender fic "Be Nice To Me" (Great fic btw, i get giddy everytime theres an update)

Basecally Cartman is send to an alternative corretional facility where he is treated so bad they break him; when he comes back he holds an assembly in front of the whole school to apologize for everything he has done and later goes to speak to the boys and says they should stop hangin out bcuz their relationships arent healthy, they are all bewildered and Kyle thinks he is planing something and start playing more attention to him.

Now Cartman was acting like a completely diferent person, he starts taking his grades super seriously to the point he LITERALLY cries to retake a test he doesn't do well in the first time; but outside classes he barely talks to anyone and the only time he speaks loud enough for you(Kyle) to hear at a distance is when he is having Discord call during lunch( he eats all alone behind the bleachers).

Later the others discover that Eric has a new Youtube Channel where he is posting piano+singing covers for the most random songs (like the is Im Still Standing right beside Gloomy Sunday) and playing up little stories with his old plushies (some times he posts tutorials of him fixing them too), most of the boys find it weird and funny and think about trolling him but Kyle dissuades them, saying they should all just forget about Cartman, while he himself starts getting obsessed with the videos, trying to find a clue to what Cartman is planing or what happened to him, Kyle gets so distressed he goes back to old habits and tries to break in into Cartman's room at night only to be caugth by Kenny.

Kenny was the only one to bother with trying to reach out to Cartman outside of school, and with little time they started getting even closer than they are before, not just Cartman opening up about what happened to him but Kenny finally finding in him to let out all the frustrations in his life, how he hates how he is forgoten or used by others, How it seems like no-one in his life supports him and he has to keep a brave face to his sister so she doesn't feel the same, How he cant even get high anymore cuz all he gets are bad trips. And Cartman listen, without saying anything, just letting Kenny speak, and they hug and after that they start hangin out a lot, with Cartman some times going to Kenny's job to bring him something to eat( he been trying to get back at cooking and Kenny is a great 'test subject') and even helping a little during closing time. They are having a lot of sleepovers, one of witch is interupted by Kyle climbing on the window, with Kenny catching him before he wakes Eric up.

Kenny talks to Kyle outside, says that Cartman is going through a lot and even himself doesn't got all the story yet, and that he can try taking Eric into talking to Kyle again but that Kyle should also respect Cartman's space.

So far this is where i stop my pondering, i also thought up a scene where Cartman's "Doctor" from the facility comes to his house to "check up" basecally scare him into keeping being "good" regressin his progress from opening up to his friends, but Kenny & Kyle to the rescue! And in the end they report the "doctor" and burn the facility down, usually i dont think up my stories to have an ending so i forced my self to think one for this just to get the habit to it

[bluektw]

MORE TORY/EDWIN/BIG RED HC'S

(now featuring Kyler) (because the trailer and Reddit ruined my hopes for a decent arc for my girl)

- Tory was the last one to acknowledge Kyler as an actual friend, only after she saw his relationship with his dad first hand she made up her mind about him.

- After Kyler joined the group Edwin was slightly favoring him over Tory and Red, and that made those two get closer than they had ever been

- But Edwin stopped doing that when he realized it was happening and they're still a really close trio

- Tory and Red have a weird need to make Edwin feel included in everything they do, cause the in previous trio (Rickenberger, Big Red and Edwin), Ricken and Red were quite closer to each other than with him. When Tory joined and they became quartet things got even, but after Ricken left both feel the need to make him feel included with them.

- Edwin knows he deserves better than Kyler and he doesn't care, but Tory and Red care and threaten to murder Kyler if he wrongs Edwin pretty much every day

- Tory has a button up she got from Red, a T-shirt she got from Kyler and a hoodie she got from Edwin.

- Whenever she shows up wearing one them, the previous owner gets all smug and cocky. The others just accept that. (And maybe the one she wears the most is Red's and Edwin and Kyler are sick of his bs already but that's not the point ok?)

- Little Red has already joined them in some movie/game nights (against his will, dad forced him), ended up liking it, but hid this from everyone at Miyagi Fang (and the four of them) like he was fearing for his life

- Tory was the first person to notice Kenny's kinda crush on Devon. Edwin noticed Devon's kinda crush on Kenny. And now every time the four see them together Edwin or Kyler start singing "Sweet Home Alabama" (I shipp them and I will not be accepting criticism)

- Red plays with Tory's hair a lot. Edwin likes to braid her hair. Kyler is not allowed to touch her hair.

- Red is a master at hockey. Edwin plays the piano really well. Tory is an amazing skater obv. Kyler is surprisingly good in laser tag.

- That being said, Kyler is really shitty at hockey, Tory couldn't play the piano to save her life, Red is a terrible skater (in rollers) and Edwin hates laser tag.

- Red tried, failed and gave up teaching Kyler to play hockey. Edwin gave up teaching music to Tory. Tory succeed (the only one that did) in teaching Red skate in rollers. Kyler gave up trying to make Edwin enjoy laser tag

- They have duos (T/BR and E/K), but they mix them up sometimes (Ex: Tory and Edwin can cook and know their way in the kitchen, Kyler and Red are great gamers, Tory and Kyler have drinks knowledge, Red and Edwin love murder mystery stuff)

- Tory, Red and Edwin prefer Kreese over Silver (Though Red liked Kim a little). Kyler prefers Silver and they argue because of that (especially him and Tory)

- Edwin is the only one of them who has a good relationship with both of his parents (Red and his mom have issues because his brother is the golden child to her, but him and Little Red are mostly good. Kyler and his dad have a slightly toxic relationship. Tory doesn't "have" her father)

- Edwin's mom is, in fact, a maternal figure to Red, while his dad is one to Kyler, none of them are to Tory cause she had Kreese and her mom, but both really like her a lot

- Big Red, Edwin and Kyler LOVE to go the restaurant Tory works now (I like to think is an Italian restaurant) and the rink. She likes depending on the day they come and likes them better if they don't annoy her during her shifts

- One time Kyler forced them to go to a karaoke bar of some sort. four sang Livin' La Vida Loca (by Ricky Martin) together

- Robby doesn't really like hanging out with the three boys cause he feels they still want to kill him (they do), Tory always asks if he wants to hang out with them, even after realizing he usually denied, and he likes she keeps asking even knowing he'll say no. (The others HATE that she keeps asking)

[projazznet]

Kenny Garrett – Sounds from the Ancestors

“Sounds from the Ancestors is Kenny Garrett’s fifth album for Detroit’s Mack Avenue label. The connection is significant. The artist grew up in the Motor City and was mentored by some of its most iconic musicians, including the late trumpeter Marcus Belgrave. Garrett has often referenced the sounds of his hometown including Motown soul, gospel, and its ever-evolving jazz and blues scenes. But here for the first time, he meditates upon them simultaneously, examining their roots in the music of West Africa and its role in the musical development of France, Cuba, Guadeloupe, and of course, Nigeria. Garrett’s core band includes pianist Vernell Brown, Jr. bassist Corcoran Holt, drummer Ronald Bruner, Jr., and percussionist Rudy Bird. He also enlisted a guest cast that includes drummer Lenny White, pianist/organist Johnny Mercier, trumpeter Maurice Brown, conguero Pedrito Martinez, and batá percussionist Dreiser Durruthy, as well as a handful of singers. In addition to playing alto saxophone, Garrett plays electric piano.” – Thom Jurek/AllMusic.

[bluejaysandblackbats]

You're Just Like Quicksand

Fandom: DC Comics, Batfam, Batman Beyond

Summary: Jason Todd is ready to go into semi-retirement after fifteen years working with troubled youth, but one case in particular forces him to confront the sins of his youth and painful memories from his past.

Chapters: 9/?

Characters: Jason Todd, Terry McGinnis, Warren McGinnis, Mary McGinnis, Matt McGinnis, Bruce Wayne, Original Character(s)

Relationship(s): TBA

Additional Tags: Protective Jason Todd, Good Sibling Jason Todd, Retired Jason Todd, Multiple POV, Hurt/Comfort, Parent-Child Relationships, Canon Divergent AU, Angst, Mourning Jason Todd

Chapter Nine: Memory Lane (Jason Todd's POV)

I sat with Avery-Marie at the piano, thinking about all the years of lessons Avery’s mother paid for. He used to sit there for hours, crying because he couldn’t get the notes right. It seemed like he got better overnight. That wasn’t the case, though. He worked hard for every note. Music filled the house, and everything else seemed silent. Nocturne No. 2 in E-Flat Major. It played in my head non-stop for months after the incident. My fingers found the keys, and soon enough, I was playing the tune that haunted me for my granddaughter. I shut my eyes, holding back tears as I listened to every key. I could almost feel him there, smiling beside me on the bench. “Ganma, this Daddy’s song,” Avery-Marie whispered. 

I was surprised she remembered. I sometimes felt like Avery had been gone forever, but it was only a year. To survive the horrible incident and years later—. It didn’t seem fair. It made me bitter. I didn’t want Avery-Marie to inherit my anger and weariness, so I stayed away. I wish I hadn’t because that anger and bitterness softened when I was with her. “It was… Um… Do you remember him well?” I asked. 

“Daddy not smile… He sad… All the time sad,” Avery-Marie replied. I nodded. 

“Yes… Your daddy was sad a lot, but he loved you so much. You were his everything. His special girl,” I whispered.  I stopped playing the piano and wrung my hands. 

“I have to work tomorrow, so you have to come with me to the office,” I explained before sputtering. She laughed and tried to copy the noise. “You gotta pout, take a deep breath, and blow.” She was a quick study. I let her down from the bench and she walked around the house sputtering like a horse. I didn’t mind the noise. 

I worked remotely for a few days while Terry healed, but he was up and about. So, I promised I’d pick him up from school and talk to him about his plans going forward. The only problem was Avery-Marie. I didn’t know how I’d keep her preoccupied. My secretary called, requesting a file I sent her two weeks prior. “Ganma, brrrr! Brrrr! Brrrr!” Avery-Marie sputtered. 

“That’s it, Avey. Good job, mamas,” I smiled while I searched through my notes for a summary of the file she needed. 

“Sorry, Lexi… I was speaking to my granddaughter. You said you were looking for a new proposal for the career partnership program, right?” I asked. 

“I’m so sorry. I don’t know how I deleted the message you sent—.”

“Hey, accidents happen. I sent it again, but you didn’t have to scramble for it. I already sent a copy to the mayor. I figured everyone would be backlogged with their monthly progress summaries, so I did it myself.” Avery-Marie took my hand, and I stood up and danced with her to no music. “Thanks, Jason… You’re a lifesaver. I’m so so—.” 

“Don’t say sorry. I’ve got you. Um… Anything else Lexi?” I questioned. 

“Your nephew called,” Lexi replied. 

“Hm… Mhm,” I mumbled. 

“Ganma, you choking?” Avery-Marie asked. 

“No, Sweetpea. Grandpa is thinking,” I answered, “Did he leave a message, Lexi?” 

“Yes, he said he’d bring you fried rice and asked me to tell you sorry in advance,” Lexi replied.

“Thanks, Lexi… I’ll call you if I need anything else,” I replied. She said goodbye, and I spent the next few seconds trying to figure out how to avoid answering the door. Kenny rang the doorbell. 

I picked Avery-Marie up and checked the cameras. “Ken!” Avery-Marie shouted.

“I’m answering, Avie,” I whispered as I opened the door. 

Ken smiled at me. “JT, I went by Abigail’s and she wasn’t there. So, I figured you went there. Hi, Little Miss Avie,” Ken smiled as he leaned forward and kissed her cheek. 

“Kenny, what are you doing? Does your Pop know you’re here?” I questioned. Ken practically grew up in my house. I blamed myself for the incident, so I decided to stay away from my nieces and nephews to protect them from the same fate. 

“I can’t visit my uncle and my baby cousin? I brought dinner, and I would like a hug,” Ken smiled. I let him in the house, and he set the bowl on the kitchen table. 

I hugged him, still frowning as I tried to quiet my thoughts. I catastrophized in my mind. I hated seeing the people I loved, because I always saw the worst things imaginable happening when I looked at them. “How’s work?” Ken asked as he rummaged through my kitchen for plates and silverware. 

“I’m semi-retired… But there’s a kid I’m working with. He’s smart, but I worry it’ll be harder to keep him safe from the gangs. He’s through with it for sure, but they all want a piece of him,” I answered. 

“Want some rice, Avie?” Ken asked. Avery-Marie nodded, and I set her down while Ken served us. “It sounds like you’re invested in this client.” 

“Yeah, it’s been a while since I’ve been invested like this,” I replied. I swallowed hard. “He’s not—.” 

“You don’t have to explain… No one blames you for that,” Ken replied. I shut my eyes. 

“It was my fault… But let’s not get into that right now. Thanks for bringing dinner. I won’t send you home. How’s school?” I questioned. “Tim said you got home a little while ago.” 

“Yeah. It’s going good. I’m an assistant teacher for a cooking class at the high school I went to,” Ken answered. I smiled. Ken took after Bernie, despite looking like Tim’s mom. I saw a picture of her once, but I knew better than to mention it. We all had our burdens we hid from our families. 

**

After dinner, I got Avery-Marie ready for bed, and Ken stuck around. “It’s dark outside. Call Tim and tell him where you are,” I whispered, “I don’t want you driving across town this late at night.”

“Okay… But I—. Let me ask you something,” Ken replied. I nodded and watched as Ken turned to a picture I took when Maggie and Ken to Texas to visit my wife’s mom. They were still little. My heart dropped to my stomach. “Did you avoid me because you didn’t wanna talk about Maggie?” 

“No… I avoid you because I don’t want you to get hurt. You were like one of my kids. Doesn’t mean—.” 

“I know,” Ken smiled, “Still… Pop’s worried about you… And what’s going on with Abigail? Why do you have Avie? Is Ab—?”

“She’s in treatment,” I interrupted, “Please call Tim. Okay?” 

Ken nodded, pulling out his phone to call Tim. Tim answered after the second ring. “Hey, Goose. Where are you?” Tim questioned. 

“I’m at JT’s,” Ken answered. 

“He’s staying the night because I don’t want him driving across town,” I explained. Tim sighed, but he didn’t sound irritated. 

“Thanks for letting him in… I know he’s a handful, Jason. I would’ve called if I knew he was—.”

“It’s okay. It’s comforting… Seeing him,” I replied. Ken smiled at me. 

“Keep him, because he’s driving me nuts,” Tim joked, “Between him and his sister’s boyfriend—.” 

“Lena’s dating? Or is it Jane?” I questioned. 

“Jane. And it’s killing me. You might know him,” Tim replied. It felt good to talk to Tim. We were never close, but the kids brought us together. Hearing Tim complain about normal things made me forget. Ken fell asleep on the couch while we talked. It almost felt like no time had passed.

[didierleclair]

Dexter Gordon played the tenor saxophone. His sound was big and unapologetic. You could feel his warmth and power at the same time. The musician was imposing in stature too. 6 foot 6 inches of a man. He played ferocious bebop when he started. However, like Miles Davis, he decided to explore slower and longer sounds, especially when he lived in Europe. He stayed there 14 years. I love his album “Our man in Paris” (1963), especially “A Night in Tunisia”, co-wrote by Dizzy Gillespie and Frank Paparelli. Dexter Gordon is among great friends, Kenny Clarke on drums and Bud Powell on piano. These are exceptional musicians. A sophisticated player, Dexter Gordon is at his best in small bands. “Go!” and “A Swingin’ Affair” (1962) are also great albums. Sonny Clark on piano is trading great vibes with Dexter Gordon.

Dexter Gordon jouait du sax ténor. Son son est imposant et remplit l’oreille. Vous pouvez sentir sa chaleur et sa puissance. Le musicien était grand de taille dans la vie. 2 mètres de haut. Il jouait du bebop avec fureur au début de sa carrière. Mais, comme Miles Davis, il décida d’explorer les autres styles et joua plus lentement, surtout lorsqu’il s’est expatrié en Europe. Il y est resté 14 ans. J’aime son album « Our man in Paris » (1963), surtout « A Night in Tunisia” que Dizzy Gillespie a écrit avec Frank Paparelli. Dexter Gordon est avec des amis, Kenny Clark à la batterie, Bud Powell au piano. Ce sont des musiciens exceptionnels. Dexter Gordon est un joueur sophistiqué qui brille surtout dans les petits orchestres. « Go! » et « A Swingin’ Affair » (1962) sont aussi de très bons albums. Sony Clark au piano échange brillamment avec Dexter Gordon.

Pic by Francis Wolff

[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

[everythingwasnormalhere]

only good thing abt knowing how to play the piano is that i can now write actor au kenny accurately lmfao