#dance greensboro

[whencyclopedia]

Dolley Madison

Dolley Madison (1768-1849), born Dolley Payne, was a prominent American First Lady, a function she held both during the presidency of her husband, James Madison, and for his predecessor, the widower Thomas Jefferson. Known for her elegance and charm, Madison acted as hostess of the White House, helping to define the role of the presidential spouse.

Early Life

Dolley Payne was born in the Quaker community of New Garden in Guilford County, North Carolina (present-day Greensboro), on 20 May 1768. She was one of eight children born to John Payne, a merchant, and his wife Mary Coles Payne, both of whom came from prominent Virginian families. Shortly after Dolley's birth, the family moved back to Virginia; although their reasons for moving are unclear, some historians have speculated that they had failed at business in North Carolina and wanted a fresh start, or that they were facing discrimination because of their Quaker religion. In any case, the family settled on a 176-acre farm in Hanover County, Virginia, where Dolley grew up. She spent her childhood working the land alongside her parents and siblings and was given a strict Quaker education.

Although John Payne had not been born into the Society of Friends – he had adopted the religion in 1765 to please his Quaker wife – he quickly proved a devoted Quaker himself. He stayed out of the American Revolutionary War (1775-1783) to adhere to the Quaker doctrine of pacifism, and his family was not much affected by the fighting. Prior to his conversion, Payne had been a slaveholder, but now became "doubtful and afterwards conscientiously scrupulous about…holding slaves as property" (quoted in Feldman, 384). He desperately wanted to emancipate his slaves, but, since Virginia forbade voluntary manumission, Payne was forced to pack up his family and move them yet again. This time, they went to Philadelphia, Pennsylvania, which was not only the second largest city in the newly independent United States but also a bastion of Quakerism. Here, Payne freed his slaves and moved his family into a house on North Third Street. Partnering with his oldest son, he opened a business to manufacture and sell starch.

In Philadelphia, 15-year-old Dolley continued her Quaker education. Her father forbade her studies from including music or dancing, which most young ladies of her status were expected to know; indeed, Dolley's niece would later write that the Payne daughters were denied "the acquirement of those graceful and ornamental accomplishments which are too generally considered the most important parts of the female education" (quoted in Feldman, 384). Still, the teenage Dolley had no lack of suitors, all of whom she rejected so as to not "relinquish her girlhood" (ibid). But Dolley could not expect to remain a spinster forever, especially not once her family began to fall on hard times. John Payne's starch manufacturing business had never taken off and finally failed in 1789. He then decided to put the money saved from the sale of the Virginia farm into speculative land investments but soon lost this money as well. Payne suddenly found that his family was "reduced to poverty", although the biggest blow of all was when he found himself ostracized from Quaker meetings for his poor financial management.

Distraught and desperate, John Payne arranged for Dolley to marry John Todd, a young lawyer and a Quaker. Dolley accepted – whether there was any love between her and Todd, or whether she was just playing the dutiful daughter, is unknown. In any case, they were married in January 1790, although the Paynes were unable to provide a dowry. John Payne lived long enough to see his daughter married off before dying in October 1792, having never recovered from the stresses of his failures. In the shadow of her father's death, Dolley Payne Todd gave birth to two children of her own: her oldest son, John Payne Todd (called Payne) was born on 29 February 1792, while a second son, William Todd, was born on 4 July 1793. As Dolley was settling into her new life as a mother, little could she have known that it all would soon be upended by death and tragedy.

Continue reading...

[frankiefellinlove]

"THE RIVER" TOUR:

Bruce Springsteen & The E Street Band at the Greensboro Coliseum, Greensboro, NC, February 28th, 1981

In the last photo Bruce is dancing with Betsy Heady, manager of Record Bar #28 in Chapel Hill

[alldancersaretalented]

Choreographers and where they danced at

ALDC

Rachel Kreiling (NYCDA Faculty) Gianna Martello (ALDC Faculty)

Bobbie’s School of Performing Arts

Mandy Korpinen (Radix Faculty)

Bolero

Nika Kljun (Jump Faculty)

CC & Company Dance

Kirsten Russell (Jump Faculty)

Center Stage Performing Arts Studio

Ashly Costa (Nuvo Faculty) Jenna Johnson (24Seven Faculty)

Club Dance Studio

Kalani Hilliker Brynn Rumfallo (Club Dance Faculty) Jaycee Wilkins (Club Dance Faculty)

Dance Academy USA

Cindy Salgado (NYCDA Faculty)

Dance Connection 2

Erica Marr (Jump Faculty and Club Faculty)

Dance Connections (Greensboro)

Jared Grimes (NYCDA Faculty)

Danceology

Alexa Huey (Danceology Faculty) Jackie Mougel (Danceology Faculty)

Dance Precisions

Molly Long (Jump Faculty and Project 21) Scott Myrick (Pave Faculty) Lonni Olsen (The Space Faculty) Jessica Riches (the Space Faculty)

Dance Town

Rudy Abreu (Dance Town Faculty) D'Angelo Castro (Dance Town Faculty) Ruby Castro (Dance Town Faculty) Easton Payne (Dance Town Faculty) Camila Schwarz (Jump Faculty)

Dance World Academy

Mristen Gorski (Nuvo Faculty)

Denise Smith Dance Studio

Akira Uchida (Jump Faculty)

Denise Wall's Dance Energy

Travis Wall

DC Dance Factory

Elizabeth Petrin (24Seven Faculty)

Elite Dance By Damian

Chelsea Sebes (Evolve Dance Complex)

Evolve Dance Complex

Lauren Herb (Evolve Dance Complex Faculty)

Focal Point Dance Studios

Angela Cifone

Haja Dance Company

Madi Mac (Evolve Dance Complex Faculty)

Joanne Chapman School of Dance

Shannon Mather (24Seven Faculty and Mather) Blake McGrath (24Seven Faculty)

Just Plain Dancin'

Kenzie Fisher (K2 Studios) Kierra Fisher (K2 Studios)

Kathy Haller School of Dance

Julia Pearson (Danceology Faculty)

Kerry Smith's Academy of Dance Arts

Michael Keefe (Jump Faculty)

Larkin Dance Studio

Eva Igo Madison Jordan (Larkin Faculty) Taylor Sieve (Jump Faculty) Mackenzie Symanietz (Larkin Faculty)

Le Studio

Suzi Taylor (NYCDA Faculty)

Mary Alice's Dance Studio

Ali Dietz (NYCDA Faculty)

Master Ballet Academy

Sophia Lucia

Mather Dance Company

Kenzie Fisher (K2 Studios) Kierra Fisher (K2 Studios) Emily Madden (Mather Faculty) Autumn Miller (The Space Faculty) Lonni Olsen (The Space Faculty) Jessica Riches (The Space Faculty) Lexie Rosenstrauch (Mather Faculty) Nicole Smith (Mather)

Michelle Latimer Dance Academy

Kayla Radomski (Radix Faculty) Dana Wilson (NYCDA Faculty)

New Jersey Tap Ensemble

Jason Janas (Radix Faculty)

OCPAA

Hannahlei Cabanilla (Jump Faculty) Rheana Tumang (Studio X)

Pelagie Green Wren Academy of Dance

Kelby Brown (24Seven Faculty)

Perry Mansfield School of the Performing Arts

Jess Hendricks (24Seven Faculty)

Plumb Performing Arts

Jordan Pelliteri

Project 21

Selena Hamilton Addison Moffett Kelly Sweeney

Royal Dance Works

Jaci Royal (24Seven Faculty and Royal Flux)

School of the Arts

Brooke Pieroti (24Seven Faculty and TDC of SF)

Studio 19 Dance Complex

Courtney Schwartz (Radix Faculty)

Taps & Company

Chloe Arnold (NYCDA Faculty)

The Academy of Dance Arts

Madi Hicks (24Seven Faculty and Moving Forward Dallas)

The Dance Club

Joey Dowling (NYCDA Faculty)

The Dance Company of San Francisco

Chantel Aguirre (Nuvo Faculty)

West Coast School of the Arts

Lex Ishimoto (Jump Faculty) Jazelle Torre (Club and Project 21 Faculty)

Westside Dance Project

Megan Goldstein

Westside Ballet

Kim Craven (NYCDA Faculty)

??

Chaz Buzan (Radix Faculty) Tina Caspary (Radix Faculty) Danny Lawn (24Seven Faculty and Club Faculty) Ashley Moffitt (Club Faculty) Nick Meola (Nuvo Faculty and Danceology Faculty) Nick Young (24Seven Faculty)

feel free to send me a message or anon if there are people missing (which I know there are)!

[orgyupdates]

orgyofficial and coldmusic have announced a co headline tour for North American for April & May. [x][x]

Text of both posts and tour dates behind the cut.

orgyofficial We will be celebrating the 25th anniversary of our debut record ‘Candyass’ by hitting the road with co-headliner @coldmusic this spring. Tickets and VIP go on sale this Friday 1/19!

coldmusic We are excited to announce our North American Co headline tour with the one & only @orgyofficial for the 25th anniversary of their defining album Candyass! With special guest @horizontheoryofficial & @iyatoyah TIX & VIP available this Friday at noon eastern ! Stay tuned!

4.11 - BOTTOM LOUNGE - CHICAGO, IL 4.12 - MACHINE SHOP - FLINT, MI 4.13 - LEFT’YS - DES MOINES, IA 4.14 - THE MARQUEE - SIOUX CITY, IA 4.16 - BLACK SHEEP - COLORADO SPRINGS, CO 4.17 - MARQUIS THEATER - DENVER, CO 4.19 - MADAME LOU’S - SEATTLE, WA 4.20 - BOSSANOVA BALLROOM - PORTLAND, OR 4.22 - HARLOW’S - SACRAMENTO, CA 4.23 - WHISKY - WEST HOLLYWOOD, CA 4.24 - FULTON 55 - FRESNO, CA 4.25 - OBSERVATORY - SANTA ANA, CA 4.26 - BRICK BY BRICK - SAN DIEGO, CA 4.27 - PUB ROCK - SCOTTSDALE, AZ 4.28 - LAUNCHPAD - ALBUQUERQUE, NM 4.30 - COME & TAKE IT LIVE - AUSTIN, TX 5.1 - PAPER TIGER - SAN ANTONIO, TX - 5.2 - TREES - DALLAS, TX - 5.3 - SCOUT BAR - HOUSTON, TX 5.4 - STRANGE BREW - SHREVEPORT, LA 5.6 - HOUSE OF BLUES - NEW ORLEANS, LA - 5.6 - HOUSE OF BLUES - NEW ORLEANS, LA 5.7 - LEGACY - TALLAHASSEE, FL 5.8 - REVOLUTION LIVE - FT. LAUDERDALE, FL 5.10 - RADIO ROOM - GREENVILLE, SC 5.11 - CONCOURSE - KNOXVILLE, TN 5.12 - HANGAR 1819 - GREENSBORO, NC 5.14 - LOVEDRAFT’S - MECHANICSBURG, PA 5.15 - DINGBATZ - CLIFTON, NJ 5.16 - GRAMERCY THEATER - NEW YORK, NY - 5.17 - MAINGATE NIGHTCLUB - ALLENTOWN, PA 5.18 - BRIGHTON MUSIC HALL - BOSTON, MA 5.19 - BALTIMORE SOUNDSTAGE - BALTIMORE, MD 5.21 - SONG & DANCE - SYRACUSE, NY 5.22 - JERGEL’S - WARRENDALE, PA 5.23 - MADISON THEATER - COVINGTON, KY 5.24 - KING OF CLUBS - COLUMBUS, OH 5.25 - TURF CLUB - ST. PAUL, MN

[scotianostra]

On April 10th 1988  Sandy Lyle became the first Scottish golfer to win the US Masters tournament.

It was lucky 7 for Sandy in his previous six attempts his best score was 3 under par in 1986 tied for 9th place behind the “Great White Shark” Greg Norman. In my opinion I don’t think he got the credit he deserved two years before when he won The Open  Sandwich, England.

Sandy Lyle made his 37th appearance in the Masters this week, where he celebrated the 30th anniversary of his historic success at Augusta National. Sandy went into the tournament in peak form in 1988 after winning the Greater Greensboro Open the previous week. I remember a friend put money on him winning the masters so I took more of a notice than normal, I think he was 33/1 to take the Green Jacket.

  Sandy led from the second round and in the final round the title looked in the bag  when he led by three after 10 holes on the Sunday, but he came unstuck a bogey at the 11th and a double bogey at the next, Mark Calcavecchia took the lead at the 13th and the Scot had to dig deep to remain in contention, he shot  three successive pars then a birdie at hole 16 to draw level. At the 18th we had given up hope of him winning when he hit a bunker but Sandy hit a brilliant shot from there and we were cheering as the ball landed on the green past the flag but started rolling back to within ten feet of the hole. He then drained the 10-foot birdie putt to claim victory and raised his arms in the air to celebrate before dancing a little jig and embracing his caddie, I think we woke the neighbours as we shouted and cheered him.

  I even remember the next year, tradition has it that the reigning champion chooses the Champions Dinner, which takes place each year on Tuesday night before teeing off the championship on Thursday, I don’t know how he got round the ban on it, but Sandy, donned the Kilt and chose Haggis as the starter that night,  Lyle told the Augusta Chronicle.

  "The older guys, like [Jack] Nicklaus, had been to Scotland and knew what haggis was. But the newer ones, guys like Lar­ry Mize, they weren’t too sure about that.”

I dug up another mention of Sandy’ meal from the CNN web page in which they describe haggis…..

“ – a dish of sheep innards minced with oatmeal and spices – not to everyone’s taste.  It doesn’t sound very nice in the first place,” the 1988 winner told CNN. “It’s a lot of barley, spices, blood, slightly sort of off cuts,” added Lyle, who admitted most of his fellow diners “just pushed it around their plate.” As Larry Mize put it:

“Well I guess I’ve had the dinner every year except Sandy Lyle’s year, I did not have the haggis, that was unique the haggis!

"Thank God it wasn’t the main course otherwise it would have been a disaster,” said Lyle in his defence.

Sandy, now 66, plays on the Seniors circuit nowadays, but as a former champion is entitled to an invitation to play The Masters each year, his best finish since his win has been tied 20th in 2009. This year he didn’t make the cut with a +12 after the first two rounds.

England didn’t have long to claim their first victory as Nick Faldo won the following year, as seen in the third pic., another tradition being the last years winner presents the winner with the customary green jacket.

Sandy said last year that this year would be his last Masters and he didn't have the best of tournaments.

Lyle 's farewell tour of the famous Augusta National course, did something he has never managed before at the age of 65. Sandy broke his first club at his final appearance at the Masters and joked: "And it wasn't even over my knee."

The former champion suffered a shocking start to his penultimate round here when he blocked his opening drive into trees – and then snapped his 8-iron on a root hitting a left-handed shot which struck another branch and a cameraman. Lyle, still scrambled a bogey on his way to nine-over par 81 in his 42nd appearance here.

The Scot said: "It's the first one I've broken here. Taken 40 years to do it, but it's happened. First hole, and it wasn't even over my knee! I nearly always pulled it off the 1st hole, and this time I actually hit the other shape.

At his final 18th green a day later Masters organisers were slated when they suspended play as fans gathered at the green to see the Scot attempt a 12 foot putt to finish his Masters career.

Despite protests from Kokrak and the other player in the group Talor Gooch – not to mention spectators who chanted “let them putt” – officials instructed Lyle to mark his ball. 

Next day when the horn sounded at 8 a.m. to signal the start of play and open the course to spectators Lyle took out a ceremonial golden putter a replica of the one he used in 1988, made for the occasion and two-putted for a double-bogey completing his final competitive round in front playing partners Jason Kokrak, Talor Gooch, their caddies and a few maintenance crew and officials. Robbed of the rousing sendoff accorded former champions.

Sandy commented afterwards

“I’ve had most of the night to think about it, I know that, I’ve had a few drinks, as well, through the night so it was a little bit cloudy this morning. It’s a shame we didn’t get the chance to finish yesterday, but that’s just the way it is. The rules are the rules. I needed about another 30 seconds for a chance to hit the putt.

“The emotions are pretty high. As you look back at it, it’s gone very quick since ‘88, but it’s never let me down. You really appreciate how big the Masters is. The memories and the way you’re treated as a past champion. I look forward to coming back and playing the Par 3 Course, and playing off the members’ tees will be quite nice.”

[jpbjazz]

LÉGENDES DU JAZZ

JAMES MOODY, UN SAXOPHONISTE MÉCONNU “I’ve always wanted to be around people who know more than me, because that way I keep learning.”

- James Moody

Né le 26 mars 1925 à Savannah, en Georgie, James Moody était le fils de James Moody et Ruby Hann Watters. James, qui avait aussi un frère, Louis, a été élevé par sa mère. Moody a grandi à Newark, au New Jersey.

Issu d’une famille de musiciens, Moody avait commencé à s’intéresser au jazz après avoir entendu son père jouer de la trompette avec le groupe de Tiny Bradshaw. L’intérêt de Moody pour la musique ne datait pas d’hier. Il expliquait: "When I was a kid [my mother] had a washing machine outside of the house that would go 'arookata-arookata.' She said I used to stand by and dance to the washing machine."

À l’âge de seize ans, l’oncle de Moody lui avait fait cadeau d’un saxophone alto en argent.

Moody avait adopté le saxophone ténor après avoir assisté à un concert de l’orchestre de Count Basie à l’Adams Theater de Newark, auquel avaient participé des saxophonistes comme ‘’Buddy’’ George Holmes Tate et Don Byas. Les saxophonistes Lester Young et Coleman Hawkins avaient également eu une grande influence sur son jeu.

Moody, qui jouait aussi de la flûte et du saxophone soprano à l’occasion, a étudié la composition avec Dizzy Gillespie, la composition et la théorie musicale avec Tom McIntosh, et la théorie musicale avec Michael Longo. DÉBUTS DE CARRIÈRE En 1943, Moody était entré dans l’armée de l’Air et avait joué avec le groupe de couleur (‘’negro band’’) du Greenboro Training Center. Après sa démobilisation en 1946, Moody avait joué du bebop avec Dizzy Gillespie durant deux ans. Lorsque Moody s’était joint au groupe de Gillespie, il se produisait avec un groupe non autorisé appelé le ‘’Negro Air Force Band’’, qui était dirigé par le trompettiste Dave Burns, qui avait plus tard avec le big band de Gillespie, puis avec le groupe de Moody au milieu des années 1950. Moody et Burns avaient été éblouis lorsqu’ils avaient entendu Gillespie donner un concert sur la base militaire de Greensboro, en Caroline du Nord. Lors d’un entretien avec Gillespie, les deux hommes avaient informé le trompettiste qu’ils seraient bientôt démobilisés. Dizzy avait alors invité Moody et Burns à venir passer une audition à New York. Après avoir raté une première audition, Moody s’était joint au big band tout-étoile de Gillespie en 1946.

En faisant partie du groupe de Dizzy, Moody avait une chance en or d’obtenir une visibilité internationale et de s’établir comme un improvisateur majeur. Moody se trouvait en bonne compagnie, puisqu’il partageait la vedette avec le vibraphoniste Milt Jackson,  le pianiste Thelonious Monk, et le trompettiste Miles Davis, le contrebassiste Ray Brown et le batteur Kenny Clarke. Lors de son premier enregistrement avec l’orchestre, Moody s’était d’ailleurs établi comme soliste en interprétant une magnifique version de la pièce ‘’Emanon.’’ Comme le mentionnait le saxophoniste Jimmy Heath, "Moody's 'Emanon' solo was very exciting to all the saxophone players around Philadelphia. It was very different than any blues solo that you had heard. He had the bebop sound." La carrière de Moody était lancée. Un an plus tard, il avait enregistré avec Milt Jackson.

En 1948, Moody avait dirigeé la première session d’enregistrement de sa carrière pour les disques Blue Note. Lors de cette session, Moody avait joué à la fois du saxophone et de la flûte. Parmi les musiciens qui avaient accompagné Moody lors de l’enregistrement, on remarquait plusieurs des collaborateurs du big band de Gillespie. L’album avait été sous le titre éloquent de ‘’James Moody and His Bebop Men.’’ UN SUCCÈS INESPÉRÉ L’année suivante, découragé par le racisme qui prévalait aux États-Unis, Moody avait décidé de s’installer en Europe, plus particulièrement à Paris, où il était demeuré durant trois ans. À Paris, Moody vivait avec son oncle, qui l’avait aidé à se débarrasser de sa dépendance envers l’alcool.

Lors son séjour en Europe, Moody avait souvent joué avec des musiciens américains de passage, comme Tadd Dameron et Miles Davis. Il avait également fait des tournées en France, en Scandinavie et en Suisse, où il avait enregistré avec Miles Davis et Kenny Clarke.

C’est son séjour en Europe qui avait convaincu Moody d’ajouter le saxophone alto à son arsenal. Moody était en Suède lorsqu’il avait enregistré en octobre 1949 sa célèbre improvisation intitulée ‘’I’m in the Mood for Love’’, sur laquelle il jouait du saxophone alto plutôt que du ténor. C’était d’ailleurs la première fois de sa carrière que Moody jouait du saxophone alto professionnellement. La pianiste Gosta Theselius, qui avait écrit les arrangements, avait conçu les harmonies de la pièce lorsqu’elle se trouvait dans la salle de bain !

La pièce ‘’I’m in the Mood for Love’’ avait changé la vie de Moody et avait préparé son retour aux États-Unis. En 1954, la pièce avait connu un regain de popularité lorsque le chanteur King Pleasure en avait enregistré une version chantée sur des paroles écrites par Eddie Jefferson. La chanson était vite devenue un classique et avait été reprise par plusieurs chanteurs et chanteuses: Aretha Franklin, George Benson, Van Morrison et même Amy Winehouse.

De fait, la chanson avait obtenu un tel succès que pendant le reste de la carrière de Moody, la version chantée de la pièce, connue sous le titre de ‘’Moody’s Mood for Love’’, était devenue plus populaire que l’original. Toujours aussi courtois et avenant, Moody se faisait un plaisir d’accéder à la demande des amateurs en interprétant lui-même la chanson en concert.

Le séjour de Moody sur le continent l’avait établi comme artiste à part entière. Il avait même contribué au développement du jazz européen lors de son séjour. En 1952, Moody avait finalement décidé de retourner aux États-Unis afin de jouer et d’enregistrer avec des groupes comprenant des musiciens comme Pee Wee Moore entre autres. Il avait aussi collaboré avec d’autres saxophonistes, comme Gene Ammons et Sonny Stitt, avec lesquels il avait formé un groupe composé de trois saxophonistes ténor. À la même époque, Moody avait également accompagné le chanteur Brook Benton et la chanteuse Dinah Washington.

Peu après son arrivée aux États-Unis, Moody avait formé un septet qui fusionnait le jazz et le R & B. Eddie Jefferson était le chanteur du groupe. En 1956, le septet de Moody avait enregistré l’album ‘’Flute ‘n the Blues’’ sur étiquette Argo Records. Il s’agissait du premier enregistrement de Moody comme flûtiste. Moody précisait: "I never really studied the flute, although I had help from many beautiful people. So I just got a flute and started 'spittin' into it not knowing what I was doing. The fingerings, some of them, seemed similar to saxophone, and I just blew like that and that's how I started."

C’était aussi la première fois de la carrière de Moody qu’il utilisait trois instruments sur un album: le saxophone alto, le saxophone ténor et la flûte. L’album comprenait le succès ‘’Boo’s Tune’’ qui fut plus tard repris par Ray Charles.

Le 24 juillet 1955, Moody avait participé avec son orchestre à la 11e édition de la Cavalcade du Jazz qui avait lieu au stade Wrigley Field de Los Angeles. Le concert, qui était produit par Leon Hefflin Sr., mettait également en vedette Big Jay McNeely, l’orchestre de Lionel Hampton, The Medallions et The Penguins.

Même s’il avait enregistré plusieurs albums remarquables pour les disques Argo, Moody supportait plutôt difficilement les longues tournées et les pressions constantes de la vie de musicien itinérant. Finalement, Moody était de nouveau retombé dans l’alcool après qu’un incendie survenu à Philadelphie ait emporté tous les instruments, les costumes et les arrangements du groupe. Déterminé à ne pas laisser l’alcool détruire sa carrière, Moody s’était fait admettre volontairement à l’Overbrook Hospital de Cedar Grove au New Jersey, une institution spécialisée dans le traitement des maladies mentales. Moody avait passé six mois à Overbrook. Une fois libéré, Moody s’était installé à Chicago où il avait enregistré un album largement influencé par le blues et intitulé ‘’Last Train from Overbrook’’ dans lequel il démontrait ses progrès et sa virtuosité comme flûtiste.

Des décennies après la création du bebop, le style musical de Moody avait continué d’évoluer. Il avait même fait une incursion dans le free jazz. Le saxophoniste Jimmy Heath expliquait: "Over the years, Moody has become so free-- not in a random fashion, but a scientific freedom-- that he can do anything he wants with the saxophone.... He has true knowledge. He is in complete control," En 1963, Moody était retourné à ses anciennes amours et avait pris la relève de Leo Wright comme saxophoniste et flûtiste du groupe de Dizzy Gillespie avec lequel il était demeuré jusqu’en 1971. Moody avait travaillé plus tard avec Mike Longo. C’est lors de son séjour avec le groupe de Gillespie, dont il était un des plus fervents admirateurs, que Moody avait rencontré ses futurs collaborateurs Kenny Barron et Lee Spann.

En 1975, Moody, avec une femme et une fille à sa charge, avait décidé de laisser tomber l’existence instable de musicien de cabaret et de partir à la recherche de revenus plus réguliers. Moody s’était donc installé à Las Vegas où il avait joué durant sept ans avec le Las Vegas Hilton Orchestra, accompagnant des vedettes comme Elvis Presley, Ann-Margaret, les Osmonds, Lou Rawls, Bill Cosby et Liberace. Dans une entrevue accordée au Saxophone Journal en 1998, Moody avait expliqué pourquoi il avait choisi de d’établir à Las Vegas:

“The reason I went to Las Vegas was because I was married and had a daughter and I wanted to grow up with my kid. I was married before and I didn’t grow up with the kids. So I said, ‘I’m going to really be a father.’ I did much better with this one because at least I stayed until my daughter was 12 years old. And that’s why I worked Vegas, because I could stay in one spot.” De retour à New York en 1979, Moody avait formé son propre quintet. La carrière de Moody avait connu un nouveau souffle lorsqu’il avait remporté en 1985 un prix Grammy pour sa participation à l’album ‘’Vocalese’’ du groupe Manhattan Transfer dans la catégorie de la meilleure performance instrumentale en jazz. L’obtention de ce prix Grammy avait relancé la carrière d’enregistrement de Moody qui avait fait ses débuts l’année suivante sur étiquette RCA avec la parution de l’album ‘’Something Special.’’ Cet album avait été suivi de ‘’Moving Forward’’, dans lequel Moody avait démontré ses talents de chanteur sur la pièce ‘’What Do You Do’’ et de flûtiste sur le classique ‘’Giant Steps’’ de John Coltrane. Son album de 1989, intitulé ‘’Sweet and Lovely’’, était dédicacé à son épouse Linda, qu’il avait épousé en avril de la même année. C’est d’ailleurs Dizzy Gillespie lui-même qui avait joué de la trompette lors de la cérémonie.

En 1989, Moody s’était installé à San Diego, où il avait travaillé comme soliste et membre de groupes tout-étoile. Au cours des années 1990, Moody avait de nouveau fait équipe avec Gillespie (cette fois comme membre de l’United Nations Orchestra) dans le cadre d’une tournée de l’Europe et des États-Unis. Durant ce laps de temps, Moody avait continué d’expérimenter et de s’adapter aux derniers développements du jazz. Il avait même fait des enregistrements avec des cordes et des synthétiseurs. Grand pédagogue, Moody donnait également des cours et des ateliers dans les collèges et les universités.

En 1995, les disques Telarc avaient publié ‘’Moody’s Party’’, un album live enregistré à l’occasion du 70e anniversaire de naissance du saxophoniste. En avril 1996, Moody avait enregistré son premier album sur étiquette Warner Bros intitulé ‘’Young at Heart’’, sur lequel il avait repris des chansons traditionnellement associées à Frank Sinatra. En 1997, Moody avait aussi rendu hommage au compositeur Henry Mancini sur son album ‘’Moody Plays Mancini.’’ DERNIÈRES ANNÉES ET DÉCÈS En 1997, Moody avait fait une brève incursion au cinéma en interprétant le rôle de William Glover dans le film de Clint Eastwood ‘’Midnight in the Garden of Good and Evil’’, une adaptation d’un roman de John Berendt.

Dans un entrevue accordée en 1998 à Bob Bernotas, Moody avait déclaré qu’il croyait que le jazz avait une résonance spirituelle.

Moody avait passé les dernières années de sa carrière à jouer avec un quartet formé de la pianiste Renee Rosnes, du contrebassiste Todd Coolman et du batteur Adam Nussbaum. Il jouait aussi régulièrement avec les Dizzy Gillespie Alumni All-Stars et le Dizzy Gillespie Gillespie All-Star Big Band, en plus de collaborer fréquemment avec le trompettiste, compositeur et chef d’orchestre Jon Faddis. En 2007, Moody et Faddis avaient tous les deux travaillé avec le WDR Big Band à Cologne en Allemagne sous la direction de Michael Abene. Toujours avec Faddis, Moody était parti en tournée avec le Philip Morris Superband qui comprenait comme artistes invités des musiciens comme Jimmy Smith, Kenny Burrell, Gradu Tate et Barbara Morrison. Faisaient également partie de la formation le contrebassiste Niels-Henning Orsted Pedersen, le saxophoniste Jimmy Heath, le batteur Kenny Washington, le joueur de trombone Slide Hampton et le pianiste Monty Alexander. La tournée d’une durée d’un mois comprenait dix-huit concerts et avait débuté le 3 septembre 1986 à Perth en Australie. Le Canada, le Japon et les Philippines faisaient également partie de l’itinéraire. Le Philip Morris Superband avait été fondé en 1985.

James Moody s’est marié à trois reprises. Les deux premiers s’étaient terminés par un divorce. En 1989, Moody avait épousé en troisièmes noces Linda Petersen McGowan. Moody avait une fille, Michelle Moody Bagdanove, et trois beau-fils (via son mariage avec Linda), Regan, Danny et Patrick McGowan. Moody résidait avec sa femme à San Diego.

Sur le plan religieux, Moody était un adepte de la Baha’i Faith, une religion de type humaniste qui intégrait les concepts de base des principales religions mondiales. En 2005, Moody et son épouse avaient établi le Moody Scholarship Fund, une bourse d’études qui est décernée annuellement aux étudiants les plus méritants du conservatoire de musique du Purchase College-State University of New York. Moody avait d’ailleurs souvent participé à des programmes éducatifs, notamment pour le compte de l’International Association for Jazz Education (IAJE).

Le 2 novembre 2010, l’épouse de Moody, Linda Petersen, avait déclaré en son nom qu’il était atteint d’un cancer au pancréas et qu’il avait décidé de partir en douceur, sans avoir recours à la chimiothérapie ou à d’autres traitements agressifs du même genre. Après avoir reçu les soins paliatifs, Moody est mort à San Diego le 9 décembre 2010, à la suite de complications consécutives à son cancer. Il était âgé de quatre-vingt-cinq ans.

Ont survécu à Moody son épouse Linda, sa fille Michelle Moody Bagdanove, ses trois trois beaux-fils Patrick, Regan et Danny McGowan, son frère Louis, quatre petits-enfants et un arrière-petit-fils.

James Moody avait remporté plusieurs prix et récompenses au cours de sa longue carrière. Deux mois après sa mort, on lui avait décerné un prix Grammy dans la catégorie du meilleur album instrumental de jazz pour son disque ‘’Moody 4B.’’ En 1998, le National Endowment of the Arts lui avait décerné un Jazz Masters Fellowship Award, le plus important honneur pouvant être décerné à un musicien de jazz aux États-Unis.

Le New Jersey Performing Arts Center a fondé un festival en l’honneur du saxophoniste, le James Moody Democraty of Jazz Festival. Moody était laussi lauréat de deux doctorats honorifiques du Florida Memorial College et du Berklee College of Music. En 2010, la carrière de Moody avait été couronnée par la remise du Jazz Journsalists Award for Litetime Achievement in Jazz.

Homme charmant et plein d’esprit, Moody avait toujours été très apprécié du public. Au cours de sa longue carrière, James Moody avait participé à plus de quatre-vingt-dix enregistrements.

La curiosité toujours en éveil, James Moody avait toujours vu son éducation musicale comme un ‘’work in progress.’’ Il expliquait: “I’ve always wanted to be around people who know more than me, because that way I keep learning.”

Le critique du New York Times, Peter Watrous, avait un jour écrit au sujet de Moody: “As a musical explorer, performer, collaborator and composer he has made an indelible contribution to the rise of American music as the dominant musical force of the twentieth century.” ©-2023-2024, tous droits réservés, Les Productions de l’Imaginaire historique SOURCES: ‘’James Moody.’’ Wikipedia, 2022. ‘’James Moody.’’ National Endowment of the Arts, 2023. KEEPNEWS, Peter. ‘’James Moody, Jazz Saxophonist, Dies at 85.’’ New York Times, 10 décembre 2010.

[atlantaartisticweddings]

Atlanta Wedding Photographers capture Beautiful Day at Historic Wedding Venue

This week’s Atlanta wedding photography blog is Jessie and Matt.  They had been planning their wedding for over a year.  Jessie and Matt are great planners and so the big day went smoothly.

The wedding venue is Wild Flower 301 in Greensboro, Georgia.  The historic venue was built on property purchased by the University of Georgia in 1803 in the hopes of making it a UGA campus, however the towns folk had other ideas and the property was sold to a mill owner who built the southern mansion that is there today.  The 5,000 sq. foot estate sits on 2 acres of English style gardens offering on-site accommodations, alongside an additional 7,000 sq. foot wedding venue includes bourbon gardens, first look platform, a private 2 story Newlywed’s Cottage, and Magnolia Terrace. This makes for an ideal backdrop for wedding photos.

I arrived early to survey the property since I had never been there before.  The wedding planner was there and gave me a brief tour of the Wild Flower Estate.  

Tara, the second photographer, arrived and started working with the ladies. They were getting their makeup done by Bombshell Creations upstairs in the main house.   I started on the detail shots of the flowers from Best Life Designs, the in house florist at Wild Flower.  Also at the same time the Dj from Dj Connection was setting up for the ceremony and reception.

Once Jessie was ready I got Matt and got him ready for the first look in the garden on the right of the house.  I oriented him so he would be facing away from the front entrance.  Matt anxiously stood there while Jessie came to meet him for the first time in her wedding dress. She lightly tapped him on the shoulder and turned around.  He was in awe of his beautiful bride.  They then shared letters that they had written each other for the wedding day.  Once they composed themselves we started on the other photos.  

We did a few posed photos with individuals and family.  One of the photos the couple shared with me had a bottle of champagne in it so I brought a bottle of champagne for a fun group photo.  I took the group to the ceremony area and gave the bottle to Matt then told everyone to line up behind him.  He opened the bottle of champagne and shook it, spraying the champagne at the camera.  It was a joyous start to a wonderful day.

When we finished the bridal party went inside the mansion and the guests started to arrive.  They entered through the side garden entrance by the road.  They were greeted with a polaroid camera to take photos with and some cool drinks to take with them to the ceremony area.  Once everyone was in place the bridal party lined up and entered.  Then Jessie’s father escorted her down to Matt who was already on the stage next to Jessie’s brother who performed the ceremony.  It was very sweet with vows written by the couple. Within a few minutes they were pronounced husband and wife.

Everyone went to the reception hall, located in front of the mansion.  Inside there was Melissa Munger a wedding artist who paints your wedding the day that it happens.  Everyone strolled around her canvas and was impressed with the work of art that captured the couple.

While the guests were in the reception area the bride and groom went to the Bourbon Garden.  In the garden Jessie and Matt buried a bottle of bourbon a year before when they visited the venue.  Burying a bottle of bourbon at your wedding location is a southern tradition that is supposed to bring you good luck and great weather on your wedding day.  I must say that they could not have had better weather on the day of their wedding.  They recovered the bottle of bourbon and took a toast to celebrate.

The reception was unique just like the couple.  They had doughnuts and baklava for the dessert table.  For their first dance Jessie changed to a fun spring outfit with custom bridal Air Jordans.  Friends and family celebrated their love by dancing and toasting to the newlyweds.  It was a beautiful ending to a beautiful day.

Thanks for checking out this Atlanta wedding photographers blog! I hope you enjoyed the read and found it interesting! Make sure you keep coming back to our blog to see what the Atlanta wedding photographers at Atlanta Artistic Weddings get up to! If you’d like to contact me go to the contact page and drop me a line at https://www.atlantaartisticweddings.com/contact-atlanta-wedding-photographer. I would love to hear from you!

Thanks again!

Source: https://www.atlantaartisticweddings.com/

Source: https://www.atlantaartisticweddings.com/

[griggsfickleninsurancega]

Debunking Renters Insurance Myths in Greensboro and Monroe, Georgia

Ever wondered if renters insurance in Greensboro and Monroe, GA is worth the fuss? Even if individuals are not the landlord’s best friend or property owners, giving belongings a safety net is a smart move. Let’s dig into the common misunderstandings about renters insurance and see why it’s a smart investment.

Myth 1: “The landlord’s insurance has got tenants covered.”

Hold up! The landlord’s insurance isn’t a superhero cape. It doesn’t cover tenants. Renters insurance is the real hero here. Fires, thefts, clumsy friends – it’s got their backs. They’re like cautionary tales of why this protective sidekick is needed.

Myth 2: “It’s a luxury one can’t afford.”

Tight budget got individuals thinking renters insurance is a luxury? Think again. Skipping it is like cruising without car insurance in Commerce and Jefferson, Georgia – a risky game. It’s the difference between a minor expense and a wallet meltdown when there’s a need to replace everything. Adjust the knobs on coverage and deductibles to fit the budget – peace of mind without the price tag.

Myth 3: “It’s a pain to get and keep up with.”

Ever thought getting insurance is harder than cracking a secret code? Not the case. It’s more like ordering a go-to takeout. Clicks, calls, easy peasy! Managing it is a piece of cake with online portals and apps.

Myth 4: “There isn’t much worth protecting.”

Big or small, belongings matter. That old couch, the quirky collection – they’re part of life. Think about the hassle of replacing them. Renters insurance is right up there. It protects even the small stuff no matter how invaluable it looks to outer world. And let’s talk about liability protection – a safety net in life’s unexpected acrobatics. Truly, it’s a game-changer.

Top Perks of Renters Insurance:

1. Personal Property Coverage:

Whether it’s a midnight water leak, a sudden fire dance, or an unwelcome guest with sticky fingers, this coverage can support individuals. It’s a backstage pass to replacing or fixing one’s cherished items, giving them a safety net that goes beyond the usual wear and tear.

2. Liability Coverage:

Liability coverage steps in when things get a bit messy. If someone gets hurt or their property takes an unexpected hit because of one’s oopsie-daisy moments or even a covered family member’s slip-up, fear not. Liability Coverage offers the safety-net, covering legal fees, medical bills, and settlements up to one’s chosen policy limit.

3. Additional Living Expenses (ALE):

When one’s cozy nest becomes temporarily uninhabitable due to an unexpected disaster, ALE steps in like a good friend. It ensures individuals have a roof over their head, meals on the table, and the essentials covered while their home gets back on its feet. It supports one until their place is being spruced up.

4. Guest Medical Expenses:

Hosting friends for a game night or a weekend hangout? Accidents happen, even in the safest spaces. Guest Medical Expenses coverage is like a first aid kit for one’s wallet, covering medical bills for one’s guests, even if the accident wasn’t their fault. Just remember, the specifics can vary, so it’s like having a customized care plan for the visitors.

Conclusion:

Putting these myths to bed is crucial for anyone eyeing renters insurance in Greensboro and Monroe, Georgia. It’s not just about protecting stuff; it’s about finding peace of mind that doesn’t break the bank. Take the plunge, compare quotes, chat with local agents – pockets and sanity will thank down the road. Cheers to keeping it real and wallet-friendly!

[onlinegratitudes333]

Grateful for:many things in 2023 and also today

Today:

Presence

Driving

Greensboro; Indian food in greensboro

Having fun with old friends; conversely, how much I feel that I truly fit in with my new friends

Time passing, more or less

My boyfriend; how much we can talk to each other and love to be with each other

Cookout

This year:

Making new friends after losing so many old ones

Found family ; real family; Zoey’s continued healing and my dads remission from cancer

Spending so much time with Charlie; all the things we did together

Chicago; school; learning

Weed and its ability to make me present; keep me thinking positive thoughts; connect to others; etc

Living in the moment, noticing things

Dancing and listening to lots of music

Kissing my boyfriend

Being fortunate with money, housing and food

[jdrphotographysblog]

Capturing Love: Elopement and Wedding Photographers in Greensboro, NC

In the heart of Greensboro, NC, where love stories unfold against a backdrop of Southern charm, finding the perfect photographer to capture those precious moments is paramount. Whether you're planning an intimate elopement or a grand wedding celebration, our talented team of photographers is here to turn your dreams into timeless memories.

Elopement Photographers Greensboro, NC:

Embracing Intimacy:

Elopements are all about embracing the intimacy of your love story. Our Greensboro, NC elopement photographers specialize in capturing those stolen glances, heartfelt vows, and the raw emotion that defines your unique journey. With an artful eye for detail, we freeze those fleeting moments in time, ensuring your elopement is forever etched in the canvas of your memories.

Natural Beauty, Captured:

Greensboro, NC, boasts stunning natural landscapes that serve as the perfect backdrop for your elopement. From serene parks to historic landmarks, our elopement photographers know the hidden gems that will add a touch of magic to your special day. Let us guide you to the most picturesque locations, where your love story unfolds against the beauty of North Carolina.

Personalized Elopement Experience:

We understand that every elopement is as unique as the couple tying the knot. Our photographers take the time to get to know you, ensuring that your personality and style shine through in every photograph. From candid shots to meticulously staged portraits, we craft a personalized experience that reflects the essence of your love.

Wedding Photographers Greensboro, NC:

Grand Celebrations, Timeless Memories:

For those envisioning a grand wedding celebration in Greensboro, NC, our team of wedding photographers is ready to capture the grandeur of your special day. From the joyous laughter to the elegant details, we are committed to preserving the essence of your wedding, creating a visual narrative that will be cherished for generations.

Unforgettable Venues:

Greensboro offers a plethora of enchanting wedding venues, each with its own unique charm. Our wedding photographers are well-versed in the art of capturing the distinct ambiance of your chosen venue, be it a historic mansion, a lush garden, or a modern event space. Your wedding album will serve as a testament to the beauty of your chosen setting.

Candid Moments, Lasting Impressions:

Beyond staged poses, our wedding photographers excel at capturing candid moments that unfold naturally. These unscripted snapshots reveal the genuine emotions shared between you and your loved ones. From the anticipation of the first look to the exhilaration of the dance floor, we ensure that every emotion is immortalized in your wedding album.

Conclusion:

In Greensboro, NC, our elopement and wedding photographers are dedicated to turning your love story into a visual masterpiece. With a focus on personalized experiences and a keen eye for detail, we strive to exceed your expectations, providing you with a collection of photographs that tell the unique story of your special day. Trust us to capture the magic, ensuring that your memories last a lifetime.

[uncgarchives]

To commemorate this very spooky Friday the 13th let’s talk about one of UNCG’s most infamous ghosts. According to William Raymond Taylor, UNCG (formally Aycock) Auditorium’s personal apparition, affectionately dubbed The Gray Lady, is real. Taylor (now considered the University’s “Father of Drama”) believed that there was a colonial mansion that stood where UNCG Auditorium stands now and in that house was an old woman who had died there unhappy and alone. When her house was torn down, she haunted the area and the auditorium was built on that land, and the ghost decided to haunt the auditorium. Taylor said she enjoyed roaming the foyer, mostly appearing to people as dancing lights. Unfortunately, Taylor was soon due a personal visit from the ghost of UNCG Auditorium. Read more about The Gray Lady and William Raymond Taylor’s encounter in “The Ghosts of UNC Greensboro.”

[thewaybackcloset]

Miami, Yes ma'am

The tail end of my flight training I was fortunate enough to get the hell out of Greensboro, NC, where the majority of my ground training took place. The highlight of this first part was the North Carolina Foral Convention across the street at the Embassy Suites, where my roommate came back with arms fulls of bouquets one day.

MIAMI though... I've popped through once before when I worked the world series baseball games. But, this time I got explore a bit more of the Wynwood and Miami Beach neighborhoods.

First off, why are we in Miami? Pan Am Flight Academy headquarters is located near MIA and they host a handful of airline companies to their training facility for ground coursework and in-flight simulations for pilots. There's one portion of the original building foundation left, that will soon be turned into a museum of sorts.

Miami itself is expansive. It has a pulse. The downtown skyline goes on forever. It's warm all year, of course. I was here in March and even then it was scalding hot in the sun. August in Miami is another type of hedonistic amalgamation of colorful architecture, gorgeous beaches, warm waves, and delicious Caribbean food.

Speaking of Caribbean, I dabbled in Cuban cuisine at a local diner near our hotel. We were walking to the gas station for something and could see the storm looming ahead of us (or behind us?) and figured we may have to duck away in this open-air Cuban spot, Rincon Criollo Cafe Restaurant, while it poured for 20 minutes and moved on. A daily storm in Miami and along the Atlantic coast is pretty typical. Watching the downpour, listening to locals sipping their cafecitos, as we enjoyed some shrimp creole and sangria is as peaceful as a storm watch can get.

Nestled within the vibrant heart of Miami, the Wynwood Mural District (Wynwood Walls) is a kaleidoscope of creativity, a place where art and urban life collide in a symphony of colors, shapes, and stories. It embraces a spirit of eclecticism that invites visitors and locals alike to explore, ponder, and celebrate the myriad forms of human expression.

Wynwood and greater Miami as a whole blows up for Art Basal and Miami Art Week, where artists from all over the world take over to showcase their best works. A friend of mine who manages the Dr. Martens store in South Beach was our friendly tour guide for everything above and underground about Miami's art scene.

One spot we checked out early is Dante's HiFi, a lounge known for a bounding collection of vinyl and local DJ spotlights. First impression: love the intimacy of it, although you need a reservation if you want a dedicated spot to sit in their 70s-inspired living room sets. Though its petite inside, you may want to dance! And its definitely a place for the audiophile that appreciates the analog nostalgia.

There are plenty of bars, art galleries, popup events and all sorts of goings on that will make you ask: "What is Miami?" We walked by one particular sneaker boutique that was blaring trap rap or SOMETHING comparable (I'm horrible with genres and sub-genres) and there was a full blown launch party going on with test tube shots and everything. It's a moment when you take a double-take and still can't decipher what is happening.

This little plot in the center of Wynwood is where you can satiate yourself on the go, cause you have lots of mural's to see. Smorgasburg Miami's food truck lot promises an unforgettable, palate-pleasing adventure that celebrates the vibrant and diverse food scene of the Magic City. We sampled some new, almost on the market, canned beverage that supposed to taste like aromatic gin and tonics. Quite pleasant, but the name escapes me.

Even the sidewalks are tagged or else, artistically loved on. I had to snap this Warhol in the wild. Looks as if someone used the cig ash to create this iconic print.

We walked all over the place and in circles around Wynwood, there's something to see at every turn of the block. And I recommend going at night: obviously its cooler at night and the neon lights are out.

Peep my next post all about how shocked I was that I secured a reservation at the luxurious Gianni's Restaurant at the old Versace mansion, coming soon.

xo, H

[rarealdcresults]

Dance Troupe Inc, in Greensboro (November 3-4, 2012) [2013 Competition Season]:

Junior Level 2 Solo:

Mackenzie Ziegler - “Lemonade” (Acrobatic) - 1st Place / Platinum

Junior Level 2 Duet/Trio:

Maddie Ziegler & Kendall Vertes - “Sugar N Spice” (Jazz) - 2nd Place / Costume Award / Callback Challenge Winner / Platinum

Junior Level 2 Group:

“Voyage Home” (Contemporary) [Paige Hyland, Chloé Lukasiak, Maddie Ziegler, Nia Frazier & Kendall Vertes] - 1st Place / 100$ / Choreography Award / Platinum

Intermediate Level 2 Solo:

Paige Hyland - “I Wanna Dance” (Acrobatic) - 3rd Place / Platinum

[qckinetixgreensboro36]

QC Kinetix (Greensboro)

QC Kinetix (Greensboro) - Nonsurgical Treatments For Low Back Pain

If you’re suffering from chronic low back pain, it’s a great idea to seek out alternatives that don’t involve surgery. Surgical procedures, such as spinal fusions or laminectomy, can lead to more complications and side effects than patients need.

The first step is to consult with a doctor. They can discuss the best nonsurgical options for your particular back pain condition and provide a customized treatment plan for you.

QC Kinetix (Greensboro) sports medicine You can also get help from a therapist and other health professionals to manage your back pain. They can advise you on exercise, massage, and other strategies that can alleviate your pain.

QC Kinetix (Greensboro) is a leading regenerative medicine clinic that helps patients suffering from arthritis, shoulder, hip, and knee injuries without surgery. Its holistic regenerative therapies, such as stem cell therapy and acupuncture, have helped hundreds of patients experience lasting pain relief.

Pro Football Hall of Famer and Dancing with the Stars Champion Emmitt Smith knows what it’s like to live with pain, between the wear and tear on his joints from dancing his way to a Mirror Ball Trophy and a life-long athlete who once said, “You can’t play the game if you can’t play with pain.”

Fortunately, regenerative medical treatments have proven effective in treating injuries like tennis elbow, golfer’s elbow, and other common sports injuries. These regenerative therapies use the body’s natural healing capabilities to stimulate the restoration of damaged tissues, which reduces the risk of re-injury and helps patients recover faster.

Contact us:

QC Kinetix (Greensboro) Address: 1002 N Church St Suite 202, Greensboro, NC 27401 Phone no: (336) 923-4109 Email: contactqc@qckinetix.com

[limousinedrive]

What is a limousine?

A limousine is a luxury vehicle that is usually driven by a chauffeur. It is characterized by its long wheelbase, luxurious interior, and high-end features. Over the years, limousines have become synonymous with prestige and elegance, and are now widely used for special occasions such as weddings, proms, and corporate events. In this article, we’ll delve into the world of limousines and take a closer look at what makes them so special.

What is a Limousine? A limousine is a type of luxury car that is typically longer than other types of cars. It is usually driven by a professional chauffeur and can accommodate up to 20 passengers. Limousines are often equipped with high-end features such as leather seating, state-of-the-art entertainment systems, and a fully stocked bar.

Types of Limousines There are several different types of limousines available, each with its own unique features and capabilities. Some of the most popular types of limousines include:

Stretch Limousines: These are the most common type of limousines and are characterized by their long wheelbase and luxurious interior.

Party Buses: Party buses are limousines that have been designed specifically for parties and events. They often come with a dance floor, DJ booth, and sound system.

Executive Limousines: Executive limousines are designed to meet the needs of business travelers and executives. They often come with a private office and a conference area.

Classic Limousines: Classic limousines are vintage vehicles that have been restored to their former glory. They are often used for special occasions such as weddings and proms. Greensboro Limos is the way to go! They offer several packages for afternoons, weddings, birthdays, and more! Be sure to tell them what event you are having when you call for a quote. You never know what kind of deals or extra amenities they can give you! head over to their website greensborolimos.net for more details.

Why Choose a Limousine? There are several reasons why you might choose to ride in a limousine. Some of the most common reasons include:

Comfort: Limousines offer a level of comfort and luxury that is unparalleled. With plush seating, air conditioning, and ample legroom, you can relax and enjoy your journey in style.

Convenience: Limousines are driven by professional chauffeurs who take care of all the driving and navigation. This allows you to sit back, relax, and enjoy the ride.

Safety: Limousines are equipped with the latest safety features and are driven by experienced drivers. This means that you can feel confident and secure when riding in a limousine.

Style: Limousines are synonymous with style and elegance. Whether you’re attending a special event or just want to make a statement, a limousine is the perfect way to do it.

Conclusion

In conclusion, a limousine is a luxury vehicle that offers a high level of comfort, convenience, and style. Whether you’re attending a special event, traveling for business, or just want to add a touch of luxury to your life, a limousine is the perfect choice. So why not treat yourself to a ride in style and experience the world of limousines today!

[jpbjazz]

LÉGENDES DU JAZZ

TAL FARLOW, UN GUITARISTE PAS COMME LES AUTRES

‘’It may sound unusual to you, but I never felt like a professional musician. I never had any desire to be a leader, either. I just wanted to play guiar. I guess into the whole thing by accident, anyway.’’

- Tal Farlow

Talmage Holt Farlow est né le 7 juin 1921 à Greensboro, en Caroline du Nord. Originaire d’un milieu musical, Farlow a appris à jouer de la guitare en autodidacte sur le tard, à partir de l’âge de vingt-deux ans. Le père de Farlow jouait de plusieurs instruments à cordes, dont la guitare, le violon et la mandoline. Il jouait également de la clarinette. Sa mère et sa soeur étaient pianistes. La soeur de Farlow était d’ailleurs devenue une grande pianiste classique.

Autodidacte, Farlow avait appris les accords en jouant sur une mandoline accordée comme un ukulele. Parallèlement à sa carrière de musicien, Farlow avait gagné sa vie en opérant une entreprise de fabrication d’enseignes. À l’époque, Farlow avait pris l’habitude d’écouter les big bands sur la radio de son atelier, ce qui lui avait permis d’entendre des pionniers du jazz comme Bix Beiderbecke, les frères Jimmy et Tommy Dorsey, Benny Goodman, Louis Armstrong et Eddie Lang. Comme Farlow l’avait expliqué au cours d’une entrevue accordée au magazine Down Beat en 1979, ‘’I rearranged the schedule at my shop so I could work nights and listen to band remotes from places like the Panther Room of Chicago’s Sherman House, the Pennsylvania Hotel in New York, Frank Dailey’s Meadowbrook in New Jersey and the Hollywood Palladium. I became very familiar with {Glenn} Miller, the Dorsey’s, Basie, Glen Gray and a number of other bands.’’

Loin de se limiter à écouter des disques et la radio, Farlow avait également assisté à des danses où il avait pu entendre de la musique en direct. Il expliquait:

‘’They had these dances for colored only, and white people couldn’t ge it in except for an area reserved for spectators. I did all the signs for these dances so I could get a couple of passes - heard Hampton, Basie, Andy Kirk. The Trenier twins had a band that sounded like Jimmie Lunceford’s. I think Lunceford played there too. I heard a lot of the fellows we’d read about in Down Beat like - Lester {Young} - he’d never be in the band down there because he had other places to be when the band made the southern scene - I guess, I did meet guitarist Irving Ashby when he was with Hampton.’’

N’ayant pas les moyens de s’acheter une guitare électrique, Farlow s’en était fabriquée une lui-même en se servant d’une vieille paire d’écouteurs et de fils électriques. Farlow, qui avait hérité de l’intérêt de son père pour l’électronique, avait aussi fabriqué des postes de radios ainsi que d’autres appareils.

Farlow avait été particulièrement influencé par le jeu de Charlie Christian avec l’orchestre de Benny Goodman. Farlow raconte ce qu’il avait ressenti lorsqu’il avait entendu Christian pour la première fois:

‘’They’d let him stretch out and give him a whole fistful of choruses. First, I couldn’t figure out what kind of instrument it was. It was a guitar of some kind, but at that time electric guitars were mostly all Hawaiian guitars. It had a little of that quality, but it not that slippin’ and slidin’ business of a Hawaiian guitar. That was the first time I had heard an electric Spanish guitar.’’

Dans une autre entrevue, Farlow avait précisé: ‘’But Christian was the one who get me moving. I bought all the Goodman-Christian recordings and memorized Charlie’s choruses, note-for-note, playing them on a second-hand $14 guitar and 20$ amplifier. Though a later starter for music - I was 22 in 1940 - I sure was fascinated.��’

Également influencé par Lester Young, Farlow avait commenté: ‘’Then I stared listening to other jazz groups. One of them was Count Basie’s little band with Lester Young, and I found out that there was a lot of similarity between some of the things Charlie was playing and some of the things Lester was playing. Also, Lester’s style was pretty easily adapted to the guitar. It sort of fell in place.’’ Décrivant la similitude entre le jeu de Christian et de Young, Farlow avait précisé: ‘’The conception, feeling and phrasing of their music had a lot in common. I believe Pres was the father of the legato style. Most guys weren’t too subtle and didn’t play those long lines before his records got around.’’ Un peu comme il l’avait fait avec Christian, Farlow avait appris les solos de Young par coeur. Il expliquait:

‘’With Prez I went through the same process as I had with Christian, I commited his solos to memory - from the blue Decca discs and many of the Basie Okeh and Columbia recordings. I had special favorites - Lady Be Good, from Prez’s first recording session in 1936, with the small band: Basie, Jo Jones, Walter Page and trumpeter Carl Smith; that one and Taxi War Dance, Texas Shuffle, Every Tub, Jimpin’ At The Woodside, Jive at Five. They all helped me learn what and how to play.’’

Mais c’est surtout après avoir écouté Coleman Hawkins et Art Tatum que l’esprit de Farlow s’était véritablement ouvert. Il précisait: ‘’As I became aware of the chord and interval possibilities, I realized there was much more to music tham I ever thought.’’ Décrivant sa découverte de Tatum, Farlow avait ajouté:

‘’I couldn’t believe it when I first caught Tatum. I was working late one night. I had my little radio on. I moved the dial and came across this pianist who sounded like three or four guys playing at once. Even as dumb I was harmonically, never having listened to far-out harmonies and changes, I knew something marvelous was happening. Begin The Beguine, Rosetta - they played four sides in a row without any commentary in between, I thought to myself, ‘’If they don’t say who it is soon, I’m in trouble.’’ Finally the announced said, ‘’You’ve been listening to the piano artistry of Art Tatum.’’ I took the sign brush and wrote his name on the easel on my work table, it’s probably still there. The next day I went to see the music store guy down the street and order Tatum’s records.’’

Vivant dans une petite ville du Sud, Farlow avait peu d’amis avec qui il pouvait partager sa passion pour le jazz. Parmi ceux-ci, on retrouvait le clarinettiste Paul Bell.

Durant la Seconde Guerre mondiale, Farlow avait été basé à Greensboro et à Philadelphie. À Greensboro, Farlow avait commencé à jouer avec des groupes de danse. Le pianiste Jimmy Lyons, qui était stationné dans une base voisine, avait aussi commencé à jouer avec Farlow.  Décrivant sa collaboration avec Lyons, Farlow avait précisé: ‘’He has a magnificent harmonic sense. It stimulated my interest.’’ Au cours d’une autre entrevue, Farlow avait complété sa pensée: ‘’Jimmy and I got real friendly. He was very much into Tatum, too. We talked a good deal and made plans to form a group when he got out of the service. Eventually, we went to New York together, from Philadelphia.’’

En 1942, après un séjour à Philadelphie, Farlow était retourné à Greensboro pour s’occuper de son entreprise de fabrication d’enseignes.

À Philadelphie durant la guerre, Farlow avait l’habitude de se rendre dans un club situé sur Ransted Street. Le club était la propriété d’un brillant clarinettiste nommé Billy Kretchmer qui l’invitait régulièrement à monter sur scène. Durant cette période, Farlow avait également joué avec un groupe dirigé par le batteur Billy Banks. Le groupe n’ayant plus de contrebassiste, Farlow avait été engagé pour interpréter les parties de contrebasse à la guitare. Farlow précisait:

‘’I hadn’t been playing too long, about two years. Couldn’t read a lick. Still can’t. I joined the musician’s union, which was run by the fire department, most of the town’s players were in the firemen’s band. I left town with Banks but allowed by sign business to continue functioning, in case something went wrong. In fact, I commuted back and forth. After a little while, I met people in Philadelphia and got calls for various kinds of work, mostly with trios in cocktail lounges. Guitar was big. Piano, bass, guitar seemed the most popular instrumentation.’’

À l’époque, Farlow était une sorte d’oiseau rare. Musicien naturel, il n’avait jamais pris de cours de musique et ne savait même pas déchiffrer une partition. Farlow expliquait:

‘’I never did study because I don’t think there was anybody in that area who could have given me what I was alter. You should learn to read right away. With guitar, it’s easy to play a little bit, and alter you’ve played that much, you get to the point where it’s boring to go back and learn scales and read. Even now I sit down and say ‘I’m going to brush up and see if I can’t make my reading passable anyway. You can just take so much of that and you start playing something else.’’’

À l’époque, il était possible de faire une carrière de musicien de jazz sans savoir lire la musique, mais la réalité avait changé. Comme l’avait expliqué Farlow, ‘’You can play jazz without being able to read at all. I mean, you can play tunes and things like that. Jazz now is in so many different boxes that I guess you have to read to be able to bring some of it off. I certainly don’t advise anybody to neglect that. That should be number one. But what happens when you’re playing guitar - it’s easy to learn to play enough si if you don’t get into reading right away it would become too dull because you can play a lot more interesting stuff than what’s written down there for you to learn to read. And, in my case, it was just so discouraging. I was playing stuff that probably wasn’t even easy for a fairly good reader to read.’’

Les énormes mains de Farlow lui avaient éventuellement mérité le surnom de "The Octopus".

DÉBUTS DE CARRIÈRE

Devenu professionnel à l’âge de vingt-deux ans, Farlow avait attiré l’intention de la chef d’orchestre et vibraphoniste Dardanelle Breckenridge. Ayant entendu parler de Farlow, Breckenridge avait décidé de le contacter en 1943. Farlow expliquait: ‘’I was back home in Greensboro, not making any plans to go any place. When Dardanelle  sounded me, I went up to Richmond and played for her. I guess she liked what she heard. I joined the trio. Paul Edinfield was the bassist. We made our way north, playing Baltimore, Philadelphia, then New York.’’

À New York, le groupe de Breckenridge s’était produit au Copacabana Lounge. C’était la première fois que Farlow se rendait dans le Big Apple. Fasciné par le bebop, Farlow se rendait tous les dimanches dans les clubs de la 52e rue dans l’espoir de voir jouer par Charlie Parker. Un peu comme il l’avait fait pour Charlie Christian, Farlow avait tenté d’imiter Parker. Comme Farlow l’avait précisé au cours d’une entrevue qu’il avait accordée en 1997, ‘’I was fascinated with Bird and Diz, getting into more complex harmonies, with different ways of phrasing and different sounds from the rhythm section. I tried to copy some of Bird’s stuff, as everybody knows... as everybody did. But I didn’t really have much opportunity to play {that} until I got with Red Norvo, when I replaced Mundell Lowe.’’

Décrivant sa passion pour le bebop, Farlow avait commenté: ‘’That was the only thing for me then. It seemed to me that they were making a new start. Although I hadn’t been listening real close for a few years, it seemed so new and so much different from what was going on before.’’ Tout en se produisant dans les clubs et en allant entendre ses idoles jouer dans les jam sessions, Farlow travaillai également durant le jour chex Goldsmith Brothers, un magasin de Manhattan.

Au début, il avait été assez difficile pour Farlow de s’adapter au bebop. Il expliquait: ‘’I had some difficulty getting into what Bird and Diz and Miles and those fellows were doing. Because I came from Charlie Christian and played essentially in his style, I found that bop phrases didn’t fall easily on the guitar. But I kept listening and working out my problems until I felt comfortable with the modern idiom.’’

Décrivant ce qu’il avait ressenti lorsqu’il avait entendu Parker jouer pour la première fois, Farlow avait ajouté:

‘’It was a great time to be in town Charlie Parker was giving oft sparks, influencing every young player in sight. I’ll never forget the first time I heard him at the Three Deuces on 52nd Street. It was fireworks, like hearing Tatum. From that time on, I was at the club as much as possible. On my Monday night off at the Copa, I was at the Deuces before anyone else, waiting for Bird to show. Sometimes he didn’t, so the guy who ran the place put up a sign advertising other musicians who weren’t there, either. Just to get people to come in.’’

Grand admirateur de Parker, Farlow avait précisé en 1979: ‘’He knew his instrument so well, it was so much a part of him. He could play anything he had in mind. The connection between his fingers and thought was that direct.’’

À l’époque, Farlow ne participait pas aux jam sessions; il se contentait d’écouter. Citant les propos du guitariste Herb Ellis, Farlow avait ajouté: ‘’I wasn’t going out in that deep water.’’

Après avoir quitté le groupe de Breckenridge en 1945, Farlow était retourné à Philadelphie et avait partagé son temps entre son atelier et son travail de musicien avec le trio de Billy Krechmer dans le cadre d’un engagement au culb Jam Session qui appartenait également à Krechmer. Faisait également partie du trio le pianiste Freddie Thompson. Le groupe n’ayant pas de contrebassise, Farlow jouait les parties de contrebasse à la guitare. Un batteur se joignait aussi à l’occasion au trio. Farlow précisait: ‘’Sometimes a drummer would sit in on snare. Krechmer’s was right around the corner from the Click Theater-Restaurant on Market St., where Goodman, etc., used to play. Guy’s used to duck down on their intermission and sit in with us.’’

En 1946, Farlow avait travaillé au Three Deuces avec l’ancienne vibraphoniste du groupe de Woody Herman, Margie Hyams. Charlie Parker faisait également partie de l’affiche à ce moment-là, mais comportement était devenu de plus en plus erratique en raison de ses problèmes de consommation. Farlow racontait:

‘’Bird came strorming into the club at lengthy absence. The management tried to get him up on the stand immediately. He wouldn’t be rushed. We were standing in the rear of the place. Margie, Miles Davis, Al Haig, Curly Russell and I watched the comedy unfold. Bird had some sardines and crackers and was eating them with a sense of relish, while the management pleaded with him to come to the stand. They got to the point where they were cajoling and begging him. He kept offering them sardines and crackers. We laughed ‘til our sides hurt. Finally he came out and played. When he was doing this thing, there was no comedy.’’

En 1948, Farlow avait quitté Philadelphie avec le pianiste Jimmy Lyons et le contrebassiste Lenny De Franco (le frère du clarinettiste Buddy De Franco) et était retourné à New York. Les trois musiciens avaient l’intention de former un trio, mais n’ayant pas encore pu obtenir leurs cartes de l’Union des musiciens, on ne pouvait leur offrir que des engagements occasionnels. Même si Lyons et De Franco avaient réussi à tirer leurs marrons du feu, la situation avait été différente pour Farlow, qui expliquait: ‘’Piano and bass are marketable in the club-date field, but they didn’t care for a guitarist who couldn’t read or, more than that, couldn’t sing.’’

Il avait fallu six mois à Farlow pour décrocher un contrat avec le pianiste Marshall Grant. Farlow précisait: ‘’By the time {Lyons and De Franco} get our second three months in, we were scattered all over. We never got together.’’ C’est dans le cadre d’un engagement au Little Club de Billy Reed avec le trio de Marshall que Farlow avait été découvert par le chef d’orchestre et vibraphoniste Red Norvo. À l’époque, Red Kelly était le contrebassiste du groupe, mais il avait bientôt quité la formation pour se joindre au groupe de Charlie Barnet. Kelly avait été remplacé par Charles Mingus. Commentant l’arrivée de Mingus avec le groupe, Farlow avait déclaré: ‘’I think Mingus was carrying mail in San Francisco at the time. Red knew him, called and he came down.’’ Dans son autobiographie intitulée ‘’Beneath the Underdog’’, Mingus avait raconté plus tard qu’il avait dû quitter le groupe à son tour à la suite d’un conflit racial, mais selon Farlow, il n’en était rien.

À la fin de 1949, Farlow avait assuré la relève du guitariste Mundell Lowe avec le trio de Norvo. C’est d’ailleurs Lowe lui-même qui avait recommandé Farlow à Norvo. À l’époque, le trio de Norvo se produisait dans un club du East Side appelé The Embers. Les trois membres du trio avaient vite développé une grande complicité. Un jour, le guitariste Steve Rochinski était allé voir jouer Farlow en compagnie d’un autre guitarise. Faisant référence aux énormes mains de Norvo, le guitariste qui l’accompagnait avait dit à Rochinski: ‘’No wonder he can play so good, look at those long skinny fingers !’’ Après avoir réfléchi quelques instants, Rochinski avait rétorqué: ‘’No, that’s not right... Segovia had fat fingers and Django {Reinhardt} could only use two on his left hand. That kind of playing doesn’t come from the fingers, that kind of playing comes from heart and soul.’’

Après avoir quitté le club Embers, Norvo avait emmené la nouvelle édition de son trio (cette fois avec Red Mitchell à la contrebasse) en Californie avant de s’installer à Hawaï dans le cadre d’un contrat d’une durée de six semaines. Par la suite, le trio de Norvo était retourné en Californie pour jouer au club The Haig. C’est dans le cadre de cet engagement que le producteur Norman Granz avait entendu jouer Farlow pour la première fois. Ébloui par le talent de Farlow, Granz lui avait immédiatement offert un contrat d’enregistrement (sur la trentaine d’enregistrements qui faisaient partie de la discographie de Farlow, on estime que près du tiers ont été réalisés avec les disques Verve de 1952 à 1960). Même si Granz avait accordé énormément de liberté artistique à Farlow dans le cadre de son contrat, le guitariste avait tenu à préciser que ‘’Norman liked some things more than others.’’ Farlow avait ajouté: ‘’From me, he liked fast tempos.’’

Durant un certain temps, le trio de Norvo s’était produit au club Three Deuces de la 52e rue aux côtés du groupe de Charlie Parker, qui comprenait aussi Miles Davis et Al Haig. Farlow précisait: ‘’We were working opposite Charlie Parker there for two or three weeks. I got to listen to him quite a bit at close range.’’ Commentant la vitesse du jeu de Norvo, Farlow avait ajouté:

‘’Red was a great teacher. I spent about five years with him - on and off - in the 1950s. He kept feeding me knowledge. Talk about technique ! Red was really fast. He loved to play ‘’up’’ especially when he got Mingus in this group. I was no faster than the next guy until I went with Red. Those litle arrangements he had played with the Woody Herman band were really tests. I had to work litle crazy just to keep up with Red and Mingus - they forced me into the woodshed. I kept praticing until I could play with them without any trouble. By the time we made our first records, I was ready.’’

Contredisant la thèse du manque de rapidité de Farlow, le critique Ted Gioia écrivait dans son ouvrage ‘’West Coast Jazz’’ publié en 1998:

‘’The recording of the Red Norvo Trio tell a different story from these mutual laments about musical inadequacy. The ensemble work bristles with virtuosity; few trios of that period, perhaps only Art Tatum’s or Bud Powell’s, could boast as firm a command of fast tempos. Mingus emerges on these sides as a powerful young bassist with solid time and a strong, resounding tone. His solos are few, but his presence is constaltly felt.’’

Farlow n’avait probablement jamais prévu le succès qu’il connaîtrait avec le trio de Norvo. Au début, Farlow avait eu des difficultés à s’adapter à la rapidité du jeu de Norvo, mais il avait rapidement amélioré sa technique pour devenir un des guitaristes les plus rapides de l’époque. Farlow précisait: ‘’Red liked to - I guess he still does - play real fast tunes, things on which he was featured with Woody Herman’s band, like I Surrender Dear and The Man I Love. When I first went with him, and it was a question of its having to be done. I worked on my technique so I could make the tempos.’’

Après avoir quitté le trio de Norvo et travaillé chez un fabricant d’enseignes de New York, Farlow avait de nouveau assuré la relève de Mundell Lowe, cette fois avec le trio de Marjorie Hyams, qui comprenait également un vibraphone.

En l’espace d’un an, Farlow avait commencé à enregistrer et avait dirigé un des groupes les plus populaires des années 1950.

Farlow, qui s’entendait particulièrement bien avec les joueurs de vibraphone, avait aussi travaillé avec Milt Jackson lorsqu’il s’était joint au groupe de Buddy De Franco en 1949. Le groupe comprenait également le contrebassiste John Levy.

En 1946, Farlow avait travaillé pour le réseau NBC à New York.

Lorsqu’il résidait à New York, Farlow vivait dans un édifice à logements situé sur la 93e rue Ouest. Fréquenté par de nombreux musiciens de jazz, le bâtiment était également habité par les guitaristes Jimmy Raney et Sal Salvador. Site de nombreuses jam sessions, le bâtiment était fréquenté par de nombreux musiciens de jazz comme Johnny Smith, John Collins, Phil Woods, Joe Morello et Chuck Andrews. Farlow expliquait: ‘’Sal’s father had a store in Massachusetts, and every so often he would send down a big cardboard cartoon lull of canned goods and things. That was for Sal, but everybody partook - The CARE package we called it. Jimmy and I played a lot together. Sal, too, but he was on the road a lot. Jimmy and I were racing for last place when it came to work.’’

Reconnu comme un excellent guitariste bebop, Farlow avait inspiré le commentaire suivant au critique Stuart Nicholson: ‘’In terms of guitar prowess, it was the equivalent of Roger Bannister breaking out the four minute mile. But on these recordings his speedy melodic inventiveness is matched by an extraordunary variety of rhythmic and harmonic variations. On Cheek to Cheek his elaborate chord substitutions hint at the polytonal work of the avant-garde. On Night and Day he pushes the group by playing the guitar body like a bongo. In essence, Farlow serves as soloist, accompanist, and rhythm guitarist - all with great skill. Freed by the absence of keyboard and drums, Farlow continually takes chances with the music.’’

Les idées innovatrices de Farlow l’avaient rapidement placé à l’avant-garde des musiciens de jazz de l’époque. Farlow avait d’ailleurs remporté le New Star Award décerné par le magazine Down Beat en 1954. Deux ans plus tard, Farlow avait également terminé au premier rang du sondage des critiques du même magazine.

Après voir quitté le groupe de Norvo en 1954, Farlow s’était joint au célèbre groupe Gramercy Five du clarinettiste Artie Shaw. Après être retourné brièvement avec le trio de Norvo, Farlow avait définitivement quitté le groupe en octobre 1955. Farlow se trouvait en Californie la même année lorsque Sy Barron, le propriétaire du club Composer de New York, l’avait convaincu de venir jouer dans son établissement avec un trio composé du pianiste Eddie Costa et du contrebassiste Vinnie Burke.

Selon Farlow, c’est Burke qui avait suggéré à Barron de fonder le groupe. Farlow précisait: ‘’I hadn’t know Eddie, but he was a friend of Sal’s {Salvador}. Eddie and Vinnie had been playing at the Composer in a two-piano group with John Mehegan.’’ Cette collaboration avait marqué le début d’une longue association entre les membres du trio et le club. Grand improvisateur, Costa était une véritable bougie d’allumage. Malheureusement, le trio n’avait pas survécu suffisamment longtemps pour atteindre sa véritable maturité.

Lorsque le Composer avait fermé ses portes, Farlow avait perdu un peu sa maison. Farlow ne s’était pratiquement plus produit dans un club depuis, à l’exception d’un séjour avec Burke dans un club de Long Branch, au New Jersey. Au moment de la fermeture du Composer, Barron était sur le point de faire bâtir un nouveau club, le Composer-Lyricist, sur la 56e rue Ouest. Si Burke avait lancé sa propre carrière comme leader, Costa est mort quelques années plus tard dans un accident d’automobile.

Après s’être marié en 1958, Farlow s’est retiré partiellement et s’est installé à Sea Bright, au New Jersey, où il s’étai occupé de son entreprise de fabrication d’enseignes. La retraite de Farlow s’expliquait non seulement par son mariage, mais aussi parce qu’il en avait un peu assez de certains aspects négatifs de l’industrie du showbusiness. Il précisait:

‘’Perhaps I was meant to be away from New York and places like that. I got fed up with the backstage parts of the jazz life, the ‘’business’’ relationships, the pushing and shoving, it seemed that I became increasingly involved with stuff that had nothing to do with music. Though I wanted to continue playing, I couldn’t deal with all the other things. So I made a change. I moved to Sea Bright on the Jersey Shore with my wife. I like it there. It’s quiet and peaceful. It feels right to me. I do things around the house, tinker with tape recorders and boats. I teach a bit and something get out and play, mostly locally. Every once in a while I make a record or appear at a festival. I’m not really a part of the scene. It may sound unusual to you, but I never felt like a professional musician. I never had any desire to be a leader, either. I just wanted to play guitar. I guess into the whole thing by accident, anyway.’’

Une légende avait prétendu par la suite que Farlow s’était retiré parce qu’il était asthmatique, ce qui était complètement faux. Lorsque le contrat de Farlow était arrivé à échéance en 1960, presque personne ne savait ce qu’il était devenu. Farlow expliquait: ‘’I played all kinds of jobs. Many of them had nothing to do with jazz. Most of the time the players didn’y know me. I felt there was no necessity to concentrate entirely on jazz. I found I could have fun playing a variety of jobs, as long as I didn’t have to read.’’

En 1967, le disc jockey Mogi Fega avait réussi à faire sortir Farlow de sa retraite temporairement. Comme Fega l’avait précisé plus tard, ‘’It was difficult to persuade him, but finally he decided to make the move. The man is truly modest, self-effacing and reticent. He has no idea of the extent of his talent.’’ Livrant sa propre version de l’histoire, Farlow avait commenté:

‘’Mort got me together with pianist Johnny Knapp. Johnny, who has the same kind of rolling power and sensitivity that Costa had, was working at the Little Club in Roslyn, Long Island, Mort drove me out and I sat in with John, Ray Alexander - the vibes man - and drummer Mousey Alexander. It felt pretty good. Then John came out to my house at the shore are we got into some things. He suggested ‘’a doctor who plays real good bass.’’ That turned out to be Lyn Christie. We played together, got to know one another, then began work at the Frammis on New York’s East Side - a gig that Mort had set up for us.’’

Décrivant le travail de Farlow avec le groupe, le critique du New York Times, John S. Wilson, écrivait: ‘’He is heard less as a soloist with accompaniment than as par of an ensemble. His electric guitar and Mr. Knapp’s piano are constantly dancing around each other in musical conversations full of delightfully responsible passages.’’ Malheureusement, Farlow avait de nouveau tiré sa révérence après avoir enregistré l’album ‘’Tal Live.’’ En 1969, Farlow avait brièvement refait surface dans le cadre de l’enregistrement d’un album intitulé à juste titre ‘’The Return Of Tal Farlow.’’ Produit par Don Schitten, l’album avait été réédité par la suite dans le coffret ‘’Tal Farlow - Guitar Player’’. L’album avait été enregistré avec un petit groupe composé de John Scully au piano, de Jack Six à la contrebasse et d’Alan Dawson à la batterie.

Par la suite, Farlow avait collaboré à d’autres albums produits par Schitten, dont ‘’Up, Up And Away’’ de Sonny Criss et ‘’Mostly Flute tor Xanadu’’ de Sam Most. À la fin de sa carrière, Farlow avait aussi participé à l’enregistrement de deux albums pour les disques Concord. Au cours de cete période, Farlow avait également fait des apparitions dans des festivals de jazz comme ceux de Newport et de Concord.

Parallèlement à sa carrière de peintre, Farlow avait continué de se produire occasionnellement dans les clubs. Ses collègues guitaristes Jim Hall, Jimmy Raney, Attila Zoller et Gene Bertoncini le rejoignaient périodiquement à Sea Bright pour participer à des duos.

En 1962, la Gibson Guitar Corporation, avec la collaboration de Farlow, avait produit une guitare en son honneur.

DERNIÈRES ANNÉES

En 1976, Farlow avait recommencé à enregistrer. Après que Barney Kessel ait été victime d’une attaque en 1992, Farlow avait aussi été membre du groupe Great Guitars. Un DVD documentant sa collaboration avec le groupe a été publié en 2005.

Tal Farlow, qui éprouvait des problèmes de santé depuis plusieurs années, est mort d’un cancer de l’oesophage le 25 juillet 1998 au Memorial Sloan-Kettering Cancer Center de New York. Il était âgé de soixante-dix sept ans.

Le critique Steve Rochinski avait écrit au sujet de style de Farlow:

"Of all the guitarists to emerge in the first generation after Charlie Christian, Tal Farlow, more than any other, has been able to move beyond the rhythmic, melodic, and harmonic vocabulary associated with the early electric guitar master. Tal's incredible speed, long, weaving lines, rhythmic excitement, highly developed harmonic sense, and enormous reach (both physical and musical) have enabled him to create a style that clearly stands apart from the rest."

Doté d’un style unique, Farlow employait des harmonies artificielles et frappait sur sa guitare pour donner un effet de percussion similaire au ‘’snare drum’’ ou un rythme d’arrière-plan apparenté aux bongos. Le fait que Farlow ait joué de l’ukulele durant son enfance était une des raisons pour lesquelles il avait utilisé les quatre cordes supérieures de la guitare pour la mélodie et les structures d’accords. Farlow se servait des deux cordes inférieures comme soutien rythmique, en jouant avec son pouce.

Contrairement aux autres guitaristes de son époque, Farlow combinait les accords rythmiques avec des mélodies linéaires, ce qui lui permettait de réaliser des variations harmoniques. Décrivant le style de Farlow, le musicologue Stuart Nicholson avait déclaré: "In terms of guitar prowess, it was the equivalent of Roger Bannister breaking the four-minute mile." Très apprécié des autres musiciens, Farlow avait inspiré le commentaire suivant au guitariste Johnny Smith: ‘’GOD never put a nicer soul on this planet than my very dear friend Tal Farlow.’’

Commentant le jeu de Farlow, le New Grove Dictionary of Jazz avait ajouté: ‘’Farlow was a leading guitarist in the early bop style, with phenomally fast execution {...} and a rapid flow of ideas. He has been admired for the unusual intervals in his improvised lines, his original handling of artificial harmonics, and his gentle touch (even at exceedingly fast tempos), achieved partly by using his thumb instead of a plectrum.’’

Même s’il avait été rarement mentionné parmi les leaders légendaires du bebop comme Charlie Parker, Dizzy Gillespie, J.J. Johnson et Bud Powell, Farlow avait transformé le jeu de la guitare électrique un peu comme Charlie Christian quelques décennies auparavant. Faisant référence à la relative obscurité du jeu de Farlow, Richard Cook et Brian Morton écrivait dans lea sixième édition du Penguin Guide to Jazz on CD:

‘’One could hardly tell from the catalogue that Farlow is one of the major jazz guitarists, since most of his records - as both leader and sideman - are currently out of print. Perhaps, in the age of Bill Frisell and Pat Metheny, his plain-speaking is simply out of favor. His reticence as a performer belied his breathtaking speed, melodic inventiveness and pleasingly gentle touch as a bop-orientated improviser {...}. Farlow’s virtuosity and the quality of his thinking, even at top speed, have remained marvels to more than one generation of guitarists, and given the instrument’s current popularity in jazz, his neglect is mystifying.’’

Farlow a influencé de nombreux musiciens au cours de sa carrière, tous genres confondus, de Jim Hall à Steve Howe (du groupe Yes), en passant par Alvin Lee, John McLaughlin, Wes Montgomery, Jimmy Raney et Attila Zoller. Souvent décrit comme un génie, Farlow, qui s’était toujours distingué par son humilité, avait catégoriquement rejeté cette épithète dans le cadre d’une entrevue qu’il avait accordée à son biographe Steve Rochinski peu avant sa mort. Farlow avait toujours prétendu en effet que le succès était le résultat d’un travail acharné. Farlow avait déclaré:

‘’That seldom ever entered into any particular instance of my picking up the guitar and practicing in any conventional or traditional way. I mean, I would hear something that I liked from Bud Powell or Bird and try to work it out and gradually put it into my little bag of tricks. I think about Jimmy Raney’s attitude toward the guitar, and mine is similar, in that I don’t have any great, strong allegiance to the instrument. Jimmy said, ‘It happens to be the instrument I can play.’’ It’s less a love for the instrument than it is a love for the music.’’

Comparant Farlow aux plus grands guitaristes de l’histoire du jazz, Bill Simon écrivait dans les notes de pochette de l’album ‘’The Swinging Guitar of Tal Farlow’’ (1957):

‘’Ask any professional guitarist - in jazz, that is - to name his own favorite guitarists and it’s ten to one he’ll name, in this order, Segovia, Charlie Christian, and Tal Farlow... Segovia for his complete mastery of the instrument and his consummate musical artistry, the late Christian for his powerful jazz drive and for his original concept of the guitar’s role in jazz... and Farlow as the currently operating individual who has carried the instrument to its most advanced and satisfying stage in modern jazz.’’

Dans les mêmes notes de pochette, le critique Nat Hentoff avait ajouté:

‘’Of all current jazz guitarists’, Jimmy Raney was saying recently, ‘Tal is the one I most like to hear. There are several with a great deal of facility and others with less facility but more ideas. Tal has both. He also does the best chord work of anyone I heard. He was a wild harmonic sense, and fortunately, the long fingers to match it.’ ‘His time and sound are fine’, Raney adds, ‘and I’m especially impressed by the fact that when he plays a solo, he’s never unsure and never hung up. It’s not that he’s worked out a bag of tricks - because he knows that he’s doing and is in complete control all the time.’’’

Au cours d’une entrevue accordée au magazine Metronome, Farlow avait insisté sur l’importance d’avoir un bon son. Il expliquait: ‘’If I don’t get a good sound, I can’t play at all. A good sound to me is a natural sound, a natural guitar sound. I play a good many fast tempos, because I feel better playing in that kind of groove. I don’t really like the sound I get on slow tempos or ballads. It’s thin. It’s difficult to sustain a sound on the amplified guitar, especially in the high register. Johnny Smith gets a beautiful sustained sound; he does it by adjusting the amplifier a particular way.’’

Musicien naturel doté d’un grand sens du swing, Farlow n’avait jamais beaucoup pratiqué au cours de sa carrière. Il précisait: ‘’Practicing ? I was unorthodox and still am. I practice only what I expec to play on the job. No scales, arpeggios or exercises. I don’t recommend my method. But that’s what I do. Not being able to read, playing entirely by ear, might have something to do with the way I prepare myself to play.’’

Lorsqu’on demandait à Farlow de qui il avait le plus appris, il mentionnait souvent Artie Shaw et le pianiste Hank Jones avec qui il avait joué avec le groupe Gramercy Five en 1953-54. Mais de tous ses mentors, c’est assurément Red Norvo qui avait joué le plus grand rôle dans son développement. Farlow expliquait: ‘’Red was a great teacher. I spent about five years with him - on and off - in the 1950s. Ke kept feeding me Knowledge.’’

Farlow avait également donné des cours privés. Évoquant son séjour dans l’enseignement, Farlow avait expliqué:

‘’What I’m trying to do, in the teaching business, is have them {les étudiants} utilize what they’ve learned in the way of scales and modes and arpeggios and things like that. Sometimes they play these things that come out and, to my ear, they don’t belong. There are all these things that have an ambiguity to them, that can almost fit anything. But that also makes them sort of not have much meaning. Sometimes guys come and show up and don’t have the ability, say, to just stay in meter, who just keep getting lost. That’s something that I don’t think you can ever learn. If you don’t have the ability to just stay with the time, you can’t play with anybody bu yourself.’’

En 1993, Farlow a également donné une clinique avec Jimmy Raney et Attila Zoller. La clinique a été enregistrée sur vidéo.

Faisant le bilan de sa carrière en 1991 à l’occasion de son 60e anniversaire de naissance, Farlow avait commenté:

‘’The difference in the business between the time Red {Norvo}, Mingus, and I worked together and now is that then it was possible to make a living and travel around as a group. Now, to put three guys in a hotel, or to pay them enough money to cover it, you’ve got a big nut before you even pay them any salary. So now it’s gotten to where the artist goes and plays with two guys who already live there. That takes away what little bit you gain by being organized, and the way I like to be is to have a great deal of organization. I always admired that about Oscar Peterson’s groups. The product showed that they had worked on it, and it was very interesting. It wasn’t a jam session.’’

Les albums de Farlow n’étaient plus disponibles depuis plusieurs années lorsque l’apparition des CD avait permis de les rééditer pour la postérité. Howard Alden écrivait dans les notes de pochette du coffret ‘’The Complete Verve Tal Farlow Sessions’’ publié en 2004:

‘’There have been few jazz guitarists more influential and universally loved than Tal Farlow. Several generations have already been inspired by his almost completely self-taught guitar inventions, in which he combined many prominent influences and his own creativeness into a fresh, personal and amazingly multifaceted approach to the instrument. His large hands and fingers, combined with his open ears and agile mind, coaxed logical yet stimulating chord voicings and intricate melodic lines almost effortlessly from his guitar, earning him the nickname ‘’The Octopus’’ from his many admirers. He also cultivated one of the warmest, well-balanced and richest electric guitar sounds ever heard; the perfect medium for his myriad ideas to flow through. The complexity and sophistication of his playing could intrigue the most intellectual ears, but the innate warmth, humor and melodicism appealed to the most naive listener.’’

Farlow a fait l’objet de deux biographies, rédigées respectivement par Guy Littler-Jones et Steve Rochinski. En 1981, le réalisateur Lorenzo De Stefano a consacré un documentaire d’une durée de soixante minutes à la vie et la carrière de Farlow. Tourné dans différents contextes, le film réalisé pour la télévision montre Farlow en train de participer à une jam session avec le guitariste Lenny Breau, donner une leçon et se produire en concert à New York avec Tommy Flanagan et Red Mitchell. Dans le film, Farlow racontait également les principaux épisodes de sa collaboration avec Red Norvo. Toujours aussi modeste malgré ses nombreuses réalisations, Farlow se demandait toujours ce qu’il avait accompli pour qu’on lui accorde un tel mérite. Dans une séquence du film, son épouse Tina avait cité une déclaration de Farlow dans laquelle il avait déclaré: ‘’What have I done with my life ? What have I accomplished ?’’

Le seul fait de poser cette question démontre à quel point Farlow était un gentilhomme. Mais les plus grands artistes ne  sont-ils pas aussi souvent les plus modestes ?

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

SOURCES:

‘’Tal Farlow.’’ Wikipedia, 2023.

‘’Tal Farlow.’’ All About Jazz, 2023.

CERRA, Steven. ‘’Tal Farlow: Jazz Guitar and Bebop.’’ Steven Cerra, 28 septembre 2019.