#greenboro

[desertfragments]

what if. what if i go to see wrestling live this year

[hellojustussando]

Watch "Trump rally in Greensboro" on YouTube

[diceriadelluntore]

Storia Di Musica #305 - Robert Johnson, King Of The Delta Blues Singers Vol.1, 1961

Riparto da quel tavolino della copertina di Bringing It All Back Home. Su quel tavolino c'è anche questo disco, che probabilmente non dirà moltissimo ai più, ma è uno dei dischi fondamentali della musica occidentale del '900, e sta lì per svariati motivi. Il re dei cantati del Blues del Delta (è quello del fiume Mississippi) è Robert Leroy Johnson, una delle figura più misteriose, carismatiche e leggendarie di tutte. Intorno alla sua figura, alla sua musica, alla sua vita breve e di cui si sa pochissimo c'è un alone quasi mistico e fu questo disco, una compilation delle sue maggiori registrazioni degli anni '30. Di Johnson si sa pochissimo: non è sicura la data di nascita del maggio 1911, nemmeno i genitori, la tesi più accreditata afferma che nacque una relazione extraconiugale della madre Julia Dodds con Noah Johnson, dopo che il marito di Julia, Charles Dodds Jr., l'aveva abbandonata per un'altra donna e la sua infanzia e adolescenza è avvolta in misteri e leggende, aiutati dal fatto che nel Mississippi di quei tempi i documenti per una famiglia nera non fossero la prima preoccupazione ad Hazlehurst della Contea di Copiah. Sta di fatto che all'inizio, aiutato da uno dei figli di Noah, impara a suonare l'armonica a bocca, e poi la chitarra, ma all'inizio è tutt'altro che appassionato allo strumento. Si sposa due volta, nel 1929 con Virginia Travis, che muore di parto l'anno successivo a 16 anni con la bimba neonata, e nel 1931 con Calletta Craft. Secondo la leggenda, da lui stesso raccontata e accresciuta, lascia la seconda moglie per seguire la sua passione per la musica e, nel vagabondare, all'incrocio più profondo e sperduto nelle terre del Delta, fa un patto con il Diavolo, a cui vende l'anima in cambio dell'arte di saper suonare la chitarra. Secondo molti che ne alimentano il mito, davvero d'un tratto Johnson ebbe un miglioramento colossale nel suonare, e secondo alcuni biografi, fu suo maestro un misterioso bluesman di nome Ike Zimmerman, altra figura avvolga nel mistero: Johnson sfruttò alla grande queste storie, a cui lui aggiunse una particolare vocazione nel suonare nei cimiteri, tra le tombe, nota al punto da venire additato quale emissario del demonio. Se il patto è vero, funzionò: Johnson, dopo aver registrato la sua musica in modi e tempi che vi dirò a breve, morì a 27 anni, nel'Agosto del 1938, primo nome di quel futuro Club dei 27, che comprende i grandi della musica morti a quell'età. Anche sulla morte ci sono numerose leggende, ma la tesi più accreditata è che fu avvelenato dal barman del locale dove lui, Sonny Boy Williamson II e David Honeyboy Edwards erano la resident band, nei pressi di Greenboro, contea di Jackson: Johnson divenne l'amante della moglie del proprietario, che lo avvelenò versando un veleno nella sua bottiglia di whisky. A rendere tutto ancora più iconico, nessuno sa dove sia sepolto, dato che nella contea di Jackson, dove fu scritto il certificato di morte, esistono tre tombe di Robert Johnson, e nessuno sa con certezza quale delle tre sia autentica.

Oltre il mito, Johnson fu rivoluzionario per tre motivi: il suo fingerpicking, divenuto iconico e all'epoca del tutto prorompente, il suo modo di cantare, che abbandonava i toni bassi per una voce squillante e lamentosa, che sprigionava tutta la dolorosa natura del blues, e il fatto che fu il primo che in pratica sviluppò i racconti musicali di quei periodi nelle strutture del blues. È certo che non scrisse mai propriamente una canzone, ma rielaborava al momento motivi conosciuti o inventati su cui improvvisava dei testi, i quali sprigionano una così forte carica evocativa e spirituale che non passarono inosservati. Inoltre molti dei suoi alimentavano le leggende oscure e diaboliche che lo riguardavano.

Johnson registrò solo 29 canzoni: per 13 di esse è stato possibile rinvenire anche le rispettive alternate take – all'epoca scartate in quanto giudicate meno brillanti delle versioni poi pubblicate su 78 giri – per un totale di 42 registrazioni complessivamente note. Tutte registrate tra il 1936 e il 1937, probabilmente a Dallas, ma anche su questo ci sono leggende infinite, e molti sostengono che le registrazioni che abbiamo siano velocizzate, fatto che conferirebbe il particolare tono acuto alla voce di Johnson.

Tutte le sue canzoni sono degli standard, e dopo che la Columbia iniziò, con il disco di oggi, The King Of The Delta Blues Singers Vol. 1 (che esce nel 1961, il Vol.2 uscirà nel 1970, quando era super conosciuto) a riproporle, diventeranno il trampolino di lancio per la rinascita del blues in tutto il mondo. Questo del 1961 fu il primo tentativo di riportare le registrazioni degli originali 78 giri, della etichetta Vocalion, al suono mono di un Lp. Le note di copertina dell'epoca erano del tutto inventate, nell'impossibilità di risalire all'epoca a notizie "certe" su Johnson, e furono del tutto riscritte negli anni '90 con la pubblicazione in CD. In scaletta, classici ripresi da centinaia di artisti: Cross Road Blues, 32-20 Blues (32.20 è il calibro delle munizioni Winchester), Ramblin' On My Mind per citare solo i più conosciuti, sono standard nel repertorio di migliaia di artisti, e sono stati i testi basi su cui gente del calibro di Eric Clapton, Jimmy Page, Jimi Hendrix, i Rolling Stones hanno sviluppato la loro sensazionale musica. E Bob Dylan? il disco è lì per due motivi: uno, piuttosto estetico, è che sebbene non ebbe all'inizio nessun successo commerciale, l'album divenne una sorta di distintivo su che musica si ascoltava, era per usare un termine di quegli anni decisamente hip. E poi c'è un motivo più profondo, e uso le parole dello stesso Dylan: Quando Johnson ha iniziato a cantare, sembrava un ragazzo che sarebbe potuto balzare dalla testa di Zeus in armatura completa. Ho subito differenziato tra lui e chiunque altro avessi mai sentito. Le canzoni non erano solite canzoni blues. Erano così fluide. All'inizio passavano veloci, anche troppo veloci per arrivarci. Sono saltati dappertutto per portata e argomento, brevi versi incisivi che hanno portato ad alcuni fuochi panoramici della storia dell'umanità che esplodevano sulla superficie di questo pezzo di plastica rotante (da Chronicles, Volume 1).

[mogai-sunflowers]

MOGAI BHM- Day 3!

happy BHM! today i’m going to be talking about the greensboro four and how they inspired the sit in movement!

The Greensboro Four-

[Image ID: A black-and-white photo of the “Greensboro Four”- four Black male college students. From left to right, they are David Richmond, Franklin McCain, Jibreel Khazan and Joseph McNeil. Two are wearing their college gowns, the other two are wearing long white trench coats. They are walking side by side in a building. End ID.]

The “Greensboro Four”, as they have come to be called, is a group of four Black students who, at the time, attended the Agricultural and Technical College of North Carolina, sparked one of the most well-known and effective movements of the Civil Rights Movement. Their names are Franklin McCain, Jibreel Khazan, Joseph McNeil, and David Richmond- four Black friends who decided to challenge the segregation laws that still subjected Black Americans to the ‘separate but equal’ fallacy in public places.

On February 1, 1960, the four men staged a sit-in at the lunch counter of the popular store Woolworth’s- which didn’t allow Black people to sit there. Although they feared for their safety, they nonetheless went to Woolworth’s and sat at the lunch counter. After being repeatedly asked to leave, they refused, placed their lunch orders, and though the police were called on them, they remained in their places until the store closed, when they left.

Soon after, they got in contact with other Black friends from their university and nearby universities and asked them to join them in future sit ins. The Greensboro Four were soon joined by a growing mass of Black students who sat with them at Woolworth’s lunch counter. At this point, they were faced with threats and harassment, but nobody was physically harmed. Thus, the sit in movement was born.

The Sit-In Movement-

[Image ID: A black-and-white photograph of four Black men sitting at the counter of a lunch place. End ID.]

For months before the first Greensboro sit-in, students across North Carolina had been secretly meeting in houses, Church basements, and YMCA chapters to do underground work- they established phone networks, studied nonviolence and nonviolent protest tactics, and connected with each other to form underground networks of student activists. This dedication paid off after the first Greenboro sit-ins.

Black students spread the word about sit ins all across the South- college towns all across the US began to see a rise in Black students, occasionally accompanied by supportive white students, staging sit ins at segregated stores and restaurants. In the time directly following the Greensboro sit-ins, many stores were opened and closed and then opened again and de-segregated. This was all aided by the student-formed organization the Student Executive Committee for Justice along with Greensboro’s NAACP chapter. By the end of the month, over 30 towns across the US had been home to sit-ins staged by students.

These sit-ins were not spur-of-the-moment. They took months of planning, and each was only acquired through the dedication and work of every single student who participated. In Charlotte, NC, 200 students occupied all the downtown lunch bars. In Rock Hill, it was 300 students. They refused to back down and 4 months later, the Charlotte students saw success with all the downtown bars being desegregated.

Not even two weeks had passed since the first Greensboro sit in when, under the guise of the Nashville Christian Leadership conference, a partner organization under the Southern Christian Leadership Conference, students formed a wildly successful organization to coordinate sit-in efforts and encourage boycotts as well as other nonviolent methods of protest to oppose segregation.

On April 19, 1961, Alexander Looby, a Black lawyer who had been providing legal support to the students who participated in sit-ins, was targeted, and his house was destroyed by a bomber. In response to this, thousands of demonstrators marched to the steps of Nashville’s City Hall, where rising student activist Diane Nash directly confronted Nashville’s mayor, Ben West, forcing him to admit that segregation is wrong and that the lunch counters should be desegregated. After this, Nashville became the first Southern city to start the process of desegregating all of its public facilities.

Despite being arrested, beaten, and threatened, the students did not quit. They were unfairly arrested, beaten, threatened with unfair jail terms and fines, and through all of it, they did not give up. Sit ins raged across the South for years to come. The Freedom Movement grew rapidly out of the Sit-In Movement, and in 1964, the sit-in movement was a major inspiration for the passing of the Civil Rights Act of 1964, which officially illegalized segregation in all public facilities.

Sources-

https://files.nc.gov/dncr-moh/The%20Greensboro%20Four.pdf

https://www.crmvet.org/info/sitins.pdf 

https://www.loc.gov/exhibits/odyssey/educate/lunch.html 

[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.

[college-girl199328]

Long-term parking for vacationers and other Ottawa airport users has become the latest idea for how to pump new life into some of the city's underutilized parks and rides. Riverside South-Findlay Creek Coun. Steve Desroches recently asked the city to report back on whether "temporary park-and-fly parking spots" could work at the Leitrim Park and Ride, as well as at the future park and ride at Bowesville.

In his request to the city, Desroches cited a goal of "encouraging ridership and maximizing empty parking spaces," as "some parks and rides are projected to have surplus parking spaces."

Councilors have been floating ideas for months on how to boost traffic at parks and rides that have struggled to return to pre-pandemic usage levels. Their suggestions come ahead of the touted spring 2024 reopening of the expanded north-south Trillium Line and the launch of the new airport offshoot.

Desroches has already proposed allowing pickleball courts at parks and rides during the summer. Fellow councilor Glen Gower, the chair of Ottawa's transit commission, has said the city should also explore them as potential new housing sites.

While Desroches's long-term parking idea presents some logistical issues, according to the city's response, and the councilor himself says the cons "probably" outweigh the pros, he's still keen on the idea of relaxing rules to allow for overnight parking. Ottawa's transit bylaw currently prohibits overnight parking at parks and rides. That would need to be changed, according to the city's response, which was included in the agenda for the commission's meeting on Thursday. 

Expanding hours and allowing multi-day stays at parks and rides would also complicate snow-clearing efforts and potentially lead to more theft and vandalism, the city added. Still, the city said it has explored the feasibility of allowing temporary long-term parking at Bowesville, Leitrim, and Greenboro parks and rides "to promote travel to the airport by transit."

Desroches said he tested out the idea himself at Greenboro when he made an overnight trip to Toronto. Extending parking hours would especially help people who work overnight shifts, Desroches added.

Despite the desire to boost park and ride usage, there are some encouraging signs already, according to both Gower and the city. In its response to Desroches, the city said that as ridership on the LRT system, including the airport extension, grows, "available capacity [at parks and rides] will decline."

[rosct]

What to See and Do in Ottawa, Ontario: A Traveler's Guide

Ottawa, the capital city of Canada, is a vibrant and diverse destination that offers something for everyone. Whether you are interested in culture, history, nature, or entertainment, you will find plenty of attractions and activities to enjoy in Ottawa.

Here are some of the highlights of what to see and do in Ottawa, Ontario:

Visit the Parliament of Canada: The Parliament of Canada is the seat of the federal government and the symbol of Canadian democracy. You can take a guided tour of the iconic Centre Block, where you can see the House of Commons, the Senate, and the Library of Parliament.

You can also admire the architecture and art of the East and West Blocks, and climb up the Peace Tower for a panoramic view of the city.

Don't miss the Changing of the Guard ceremony on the front lawn during the summer months

Explore the Canadian War Museum: The Canadian War Museum is Canada's national museum of military history and one of the most respected museums in the world.

It tells the story of Canada's involvement in wars and conflicts from pre-colonial times to the present day, through artifacts, exhibits, and interactive displays. You can learn about the causes, consequences, and human costs of war, as well as the achievements and sacrifices of Canadians who served their country

Ride the O-Train: The O-Train is Ottawa's light rail system that connects different parts of the city. It consists of two lines: Line 1 (Confederation Line) and Line 2 (Trillium Line).

Line 1 runs from Tunney's Pasture in the west to Blair in the east, passing through downtown and several major landmarks such as Parliament Hill, Rideau Centre, and ByWard Market.

Line 2 runs from Bayview in the north to Greenboro in the south, serving communities along the Rideau River. You can use your Presto card or buy a ticket at any station to ride the O-Train

Discover ByWard Market: ByWard Market is one of Canada's oldest and largest public markets, located in the heart of downtown Ottawa. It is a lively and colourful place where you can shop, dine, and enjoy entertainment all year round.

You can find fresh produce, flowers, crafts, souvenirs, and specialty foods from over 600 vendors, as well as a variety of restaurants, cafes, bars, and pubs that cater to every taste and budget.

You can also experience the nightlife and culture of ByWard Market, with live music, street performers, art galleries, and festivals

Enjoy nature at Gatineau Park: Gatineau Park is a vast natural park that covers over 360 square kilometers (139 square miles) of land across the river from Ottawa in Quebec.

It is a paradise for outdoor enthusiasts and nature lovers, offering scenic trails, lakes, forests, hills, and wildlife. You can hike, bike, canoe, kayak, swim, camp, picnic, or relax in Gatineau Park during the spring, summer, and fall seasons. You can also ski, snowshoe, skate, or sled in Gatineau Park during the winter season

These are just some of the many attractions and activities that you can enjoy in Ottawa Ontario.

Whether you are visiting for a day or a week, you will find plenty to see and do in this beautiful and dynamic city.

Also Read-

What You Need to Know About Cardiff University: History, Facts, and Tips When to Explore Brazil's Gems, Taste its Cuisine, and Plan Your Escape The London Eye: A Bucket List Attraction for Everyone

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On the Transitway, Greenboro Station, Ottawa, 2006. Photo by Steven Brandon

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We just listed this stunning townhome in Greenboro and it shows amazing!  2 bedrooms/ finished basement, landscaped backyard, updated kitchen and all major stuff done....very close to everything such as parks, schools, transit and more. If you know someone looking in this area please share as it wont last long 89 SILVERLACE PVT, Ottawa K1T 3Z8MLS#1166146 Listed at $349,777Taxes:$3091/2019 Association Fee: $74/monthlyOPEN HOUSE August 25th @ 2-4 pm Welcome home to 89 Silverlace! Ceramic tile welcomes you into the home and later transitions into laminate throughout the majority of the main floor. As you venture in, you are greeted with a gorgeous upgraded kitchen equipped with bright eat-in peninsula, granite counter tops, upgraded back-splash, cabinets and hardware and unique stone accents. The open living room comes complete with gas fireplace and also boasts a gorgeous stone wall. Both bedrooms are located on the second floor and master includes a 2 piece ensuite. The finished lower level is perfect for whatever your imagination desires and is also equipped with a 2 piece bathroom. The landscaped backyard has a deck and stone patio ideal for entertaining. Don't miss out on this gem in a family-friendly community with parks, recreation center, golf, public transportation and shopping all nearby! (Furnace and HWT 2017, A/C 2015-2016, Roof front 2015 & back 2019) Book your showing today #ottawa #justlisted #greenboro #huntclub #soldbysorin #seanfrostrealestate #capitalhomesrealty #townhome #ottawatownhome #ottawahomesforsale #ottawarealestate #huntclubrealtor #forsale

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Stage 2 of Ottawa LRT faces further delay

The long-awaited southern extension to Ottawa's light rail network is facing a further delay. The Trillium Line, scheduled to open by this September, won't open for the start of the school year.

City staff told the light rail subcommittee on Tuesday that they are hoping that contractor SNC-Lavalin will hand over the project to the city in October delay means that for the second straight school year, students at Carleton University will not be able to take the train to and from campus.

Staff did not provide an exact timeline for when passengers use the Trillium Line, saying it depends on how the system performs in city-run testing of Rail construction Morgan told the committee he hopes to see end-to-end testing on the line by Aug. 1.

The Trillium Line extension to Ottawa's light rail transit system. It will extend to Limebank Road in Riverside South and include a spur to the airport's previous O-Train, which ran from Bayview to Greenboro stations.

The project is a planned opening date in 2022.

The eastern extension to the Confederation Line is also further delayed line to Trim Road is 51 days behind schedule compared to the last update. Handover to the city is now scheduled for January 2025, with a trial running for January and February.

The Confederation Line west extension is still 17 months late, unchanged from the previous update. It's now scheduled to open in late 2026.

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