#hamptons chauffeur

[hamptonschauffeur]

Hamptons Chauffeur Services offers first-rate transportation that is easy to customize to your needs. Our range of opulent cars and SUVs ensures comfortable, dependable, and reasonably priced transportation. North Fork (Jamesport, Mattituck, Cutchogue, Greenport), Westhampton, Hampton Bays, Southampton, Water Mill, Bridgehampton, Sag Harbor, East Hampton, Quogue, Sagaponack, and Shelter Island are just a few of the places we serve. Whether you're going to a large airport or New York City, we guarantee a seamless and first-rate service from beginning to end.

[quickluxuryride]

Beyond Transportation: Elevate Your East Hampton Experience with Chauffeur Services

East Hampton, nestled on the eastern end of Long Island, is renowned for its picturesque landscapes, upscale amenities, and a lifestyle that exudes sophistication. Whether you're a resident or a visitor, navigating this charming town can be transformed into a luxurious and stress-free experience with the help of professional chauffeur services.

The Essence of Chauffeur Services in East Hampton

1. Personalized and Professional Service:

Chauffeur service in East Hampton offer a blend of personalized attention and professionalism. Experienced chauffeurs prioritize your comfort, ensuring a seamless and enjoyable journey.

2. Luxury Fleet Options:

Elevate your transportation experience with a luxurious fleet of vehicles. From sleek limousines to sophisticated sedans, chauffeur services provide options that align with your style and preferences.

3. Efficient and Reliable:

By opting for chauffeur services, you gain access to a reliable mode of transportation. Professional chauffeurs are well-versed with the local routes, ensuring punctuality and efficiency in every journey.

Benefits of Choosing Limo Service in East Hampton

1. Sophistication and Style:

A limousine service in East Hampton adds a touch of sophistication to your travel experience. Arrive at your destination in style, making a lasting impression.

2. Special Occasions:

Limos are perfect for special occasions. Whether it's a wedding, anniversary, or a glamorous night out, a limo service East Hampton enhances the celebratory atmosphere.

3. Relaxation and Comfort:

Enjoy the journey as much as the destination. With a limo service, you can relax in plush interiors, sip on refreshments, and unwind while your professional chauffeur takes care of the road.

Choosing the Right East Hampton Limo Service

1. Research and Reviews:

Before selecting a limo service, conduct thorough research. Read reviews from previous clients to ensure the service provider meets your expectations.

2. Fleet Options:

Assess the fleet options available. Choose a limo service that provides a diverse range of well-maintained vehicles to suit your specific needs.

3. Transparent Pricing:

Transparent pricing is essential. Look for a service provider that offers clear and upfront pricing without hidden costs, ensuring a hassle-free experience.

Conclusion: A Luxurious Journey Awaits

In conclusion, beyond mere transportation, chauffeur services and limo services in East Hampton redefine the travel experience, adding a touch of luxury and convenience. Whether you're exploring the town, heading to an event, or celebrating a special occasion, the right chauffeur service ensures a journey that matches the town's sophisticated ambiance.

Elevate your East Hampton experience with chauffeur services that prioritize your comfort, style, and overall satisfaction. Embrace the luxury of personalized transportation, and let every journey in and around East Hampton be a reflection of your discerning taste and appreciation for the finer things in life.

For Original post Content: - https://froodl.com/beyond-transportation-elevate-your-east-hampton-experience-with-chauffeur-services

[hamptonsviprid]

Ride in Style: Hamptons VIP Ride, Your Premier Car Service!

Experience luxury travel with Hamptons VIP Ride! Our premier car service ensures a smooth and stylish journey in the Hamptons. Whether it's an airport transfer or a special event, rely on our professional chauffeurs and a fleet of top-tier vehicles for a VIP experience. Impeccable service, punctuality, and comfort are our priorities. Elevate your transportation with Hamptons VIP Ride. Book now for an unparalleled travel experience.

[legendslimonyc]

At Legends #Limousine Worldwide our #chauffeurs are always dressed to impress. Let us cater your next #wedding, #prom, or corporate event & experience the first-class service that you deserve.

Reserve your ride at www.legendslimousine.com or call 1-888-LEGENDS now.

#RideLegendary

[darkfictionjude]

You mentioned that Luce has lived a life of luxury and I was wondering more about their lifestyle. Did they go to private school and/or have private tutors? Did their family summer at the Hamptons, have a membership at a country club, attend charity fundraisers, have drivers that drove them around NYC, own a yacht lol, etc.? Or is some of this stuff more WASP culture?

Also did wealthy mafia families mingle with old money families in New York or were they looked down upon/excluded for being new money and/or too overtly involved in crime (as opposed to white collar crime)?

Yeah private school was a thing, summers in Greece, tennis, parties held by important government officials, chauffeurs, yachts, private airplanes the whole jazz.

They did mingle but there were sneers and glares but never overt hostility due to fear of Antonio. The powerfully white families of the upper west side are good enough at turning the other cheek if they can get something out of it

[elitelimoli]

Experience the Pinnacle of Comfort and Luxury with Elite Limo LI’s Private Car Service on Long Island

Long Island, a picturesque haven stretching from the vibrant cityscape of New York City to the serene beaches of Montauk, is best experienced in style and comfort. For those seeking a premium travel experience, Elite Limo LI’s private car service offers unparalleled luxury, convenience, and reliability. Here’s an in-depth look at what makes our private car service the ultimate choice for discerning travelers on Long Island.

Unmatched Luxury and Comfort

At Elite Limo LI, we understand that luxury is about more than just a ride—it’s about the experience. Our fleet of vehicles is meticulously maintained and features a selection of high-end models to suit every preference. Whether you choose a sleek sedan, a spacious SUV, or a sophisticated limousine, you can expect plush interiors, cutting-edge amenities, and an immaculate presentation. Every ride with Elite Limo LI promises a sanctuary of comfort, allowing you to relax and enjoy the journey.

Professional Chauffeurs

Our chauffeurs are more than just drivers; they are ambassadors of our commitment to excellence. Each chauffeur undergoes rigorous training to ensure they deliver the highest standards of service. Punctuality, discretion, and courtesy are the hallmarks of our team. With extensive knowledge of Long Island’s roads and traffic patterns, our chauffeurs ensure a smooth and efficient journey, whether you’re heading to a business meeting, a special event, or exploring the island’s attractions.

Personalized Service

We pride ourselves on offering personalized service tailored to meet your specific needs. From the moment you book with Elite Limo LI, our team works diligently to accommodate your preferences and requirements. Need a specific vehicle? Have special requests for amenities or stops along the way? Our team is dedicated to ensuring your complete satisfaction. We offer 24/7 customer support to assist with any changes or special requests, providing a seamless and stress-free experience.

Versatile Transportation Solutions

Elite Limo LI’s private car service is ideal for a wide range of occasions and purposes:

Airport Transfers: Begin or end your journey with a hassle-free airport transfer. We serve all major airports in the New York City area, including JFK, LaGuardia, and Newark, ensuring timely pickups and drop-offs.

Corporate Travel: Impress clients and colleagues with our executive car service. Arrive at meetings, conferences, and corporate events in style and on time.

Special Occasions: From weddings and proms to anniversaries and birthday celebrations, make your special moments even more memorable with our elegant transportation options.

Wine Tours: Explore Long Island’s renowned North Fork wine country with our customized wine tour packages. Enjoy the region’s best vineyards without worrying about driving.

Sightseeing and Leisure: Discover the beauty and attractions of Long Island with a private tour. Whether it’s the historic landmarks of Sag Harbor, the beaches of the Hamptons, or the charm of Port Jefferson, our chauffeurs will guide you to the best spots.

Safety and Reliability

Your safety is our top priority. Our vehicles are equipped with the latest safety features and undergo regular maintenance checks to ensure optimal performance. Our chauffeurs adhere to all safety regulations and best practices, providing a secure and reliable journey. Additionally, we utilize real-time traffic monitoring and GPS tracking to avoid delays and ensure timely arrivals.

Easy Booking and Transparent Pricing

Booking with Elite Limo LI is simple and convenient. Our user-friendly online reservation system allows you to book your ride in just a few clicks. Alternatively, our customer service team is always available to assist with reservations over the phone. We offer transparent pricing with no hidden fees, so you can plan your travel budget with confidence.

Experience the Elite Difference

When you choose Elite Limo LI’s private car service, you’re choosing a commitment to excellence in every aspect of your journey. From luxurious vehicles and professional chauffeurs to personalized service and a focus on safety, we strive to exceed your expectations. Discover the elite difference and elevate your travel experience on Long Island. Book your private car service today and experience the pinnacle of comfort and luxury.

[nycstatelimous]

Luxury Travel with Limo NYC: Seamless Journeys from NYC to the Hamptons

In the bustling heart of New York City, where time is a valuable commodity and style is non-negotiable, the allure of luxury travel takes center stage. Among the myriad options available, Limo NYC emerges as the epitome of sophistication, offering an unparalleled experience that extends beyond mere transportation. With an array of services tailored to meet the discerning needs of clientele, the journey from NYC to the Hamptons becomes an affair to remember.

The Essence of Limo NYC: Unmatched Elegance and Comfort

When it comes to limousine services, Limo NYC stands out for its commitment to excellence. The fleet boasts a collection of meticulously maintained vehicles that redefine luxury travel. From sleek sedans to spacious SUVs, each vehicle is a testament to both style and substance. The interiors are designed with comfort in mind, featuring plush leather seats, state-of-the-art entertainment systems, and amenities that cater to the most discerning passengers.

Embarking on a journey from NYC to Hamptons car service with Limo NYC is not just a means of transportation; it's a statement of refined taste and an investment in an unforgettable experience. Whether you're a business executive seeking a seamless ride or a couple celebrating a special occasion, Limo NYC ensures that every moment of the journey is marked by elegance and comfort.

NYC to Hamptons Car Service: Punctuality Redefined

One of the distinguishing features of Limo NYC is its unwavering commitment to punctuality. The team understands the importance of time, especially for busy professionals and those with tight schedules. The NYC to Hamptons car service is meticulously planned, ensuring that passengers reach their destination promptly without compromising on the luxurious experience.

The chauffeurs at Limo NYC are not just drivers; they are seasoned professionals who prioritize safety, courtesy, and efficiency. With an in-depth knowledge of the routes and a dedication to providing a smooth ride, they elevate the entire travel experience. Passengers can relax and enjoy the scenic journey from NYC to the Hamptons, confident in the knowledge that they are in capable hands.

Point to Point Limo: Effortless Convenience

For those seeking a hassle-free travel experience, Limo NYC's point to point limo service is the epitome of convenience. Whether it's a business meeting, a social event, or a leisurely getaway, the point-to-point service caters to the unique needs of each passenger. The seamless transition from pick-up to drop-off allows individuals to focus on their priorities while leaving the intricacies of travel in the capable hands of Limo NYC.

[havewereadthis]

"Jende Jonga, a Cameroonian immigrant living in Harlem, has come to the United States to provide a better life for himself, his wife, Neni, and their six-year-old son. In the fall of 2007, Jende can hardly believe his luck when he lands a job as a chauffeur for Clark Edwards, a senior executive at Lehman Brothers. Clark demands punctuality, discretion, and loyalty—and Jende is eager to please. Clark’s wife, Cindy, even offers Neni temporary work at the Edwardses’ summer home in the Hamptons. With these opportunities, Jende and Neni can at last gain a foothold in America and imagine a brighter future.

However, the world of great power and privilege conceals troubling secrets, and soon Jende and Neni notice cracks in their employers’ façades.

When the financial world is rocked by the collapse of Lehman Brothers, the Jongas are desperate to keep Jende’s job—even as their marriage threatens to fall apart. As all four lives are dramatically upended, Jende and Neni are forced to make an impossible choice."

[jpbjazz]

LÉGENDES DU JAZZ

JAKI BYARD, DE LA TRADITION À LA MODERNITÉ

‘’Jaki had all these toys and whistles and bells and things that he was playing from the piano, and also screaming and yelling from the piano in joy. I remember thinking, 'This guy's out of his mind.' After the set, I went up to him, introduced myself, and said that I would be studying with him. He said something to the effect of, 'get ready'.’’

- Jason Moran

Né le 15 juin 1922 à Worcester, au Massachusetts, John Arthur ‘’Jaki’’ Byard Jr.  était le fils de John Byard Sr. et de Geraldine Garr. Byard est issu d’une famille de musiciens. Le père de Byard, qui était chauffeur de profession, avait joué de la trompette et du trombone dans des ensembles de corps et clairons au début du siècle. Au début des années 1920, John Byard Sr. avait aussi été membre du premier groupe de jazz professionnel de Worcester, le Mamie Moffit and Her Five Jazz Hounds. À la fin des années 1920, lorsque l’orchestre était passé sous la direction du batteur Boots Ward et avait changé de nom pour devenir les Nite Hawks, John Sr. en faisait toujours partie.

JEUNESSE ET ÉDUCATION

Né le 2 septembre 1897 à Truro, en Nouvelle-Écosse, John Byard Sr. était le fils de William H. Byard et de Jessie Martin. Il est mort à Oak Bluffs, au Massachusetts en 1968. Jaki expliquait: "My father played bass horn, trumpet. As a matter of fact, that's how I learned to play. He showed me how to finger the trumpet."

En 1921, John Sr. avait épousé Geraldine M. Garr. Né à Norwich, au Connecticut, en 1899, Geraldine était la fille de Craig Garr et de Malvina Hannibal, une pianiste qui jouait dans les cinémas lors de la projection de films muets. Dans sa notice biographique sur Byard, le New England Conservatory of Music écrivait: "As silent picture shows were replaced with the technological advances of the 'talkies,' or movies with their own sound, her job grew obsolete and she was able to bring the piano from the silent movie house to their home." Byard confirmait: "My grandmother used to play. She used to play for the movie houses. That's how we got the piano, because after the [silent] movie industry folded up, they gave her the piano. And my grandmother gave my mother the piano. They put the piano in my house and that's how I got started." C’est d’ailleurs sa grand-mère Malvina qui avait encouragé Jaki à faire une carrière musicale.  La mère de Jaki, qui gagnait sa vie en travaillant dans une confiserie, a joué du piano à l’African Methodist Episcopalian Zion Church.

Jaki avait grandi à Worcester dans de quartier afro-américain de Laurel/Clayton. Plusieurs musiciens de jazz étaient originaires de Worcester, comme Wendell Culley, qui avait joué de la trompette dans les grands orchestres de Noble Sissle, Cab Calloway, Lionel Hampton et Count Basie. Culley était aussi l’auteur de plusieurs classiques du jazz comme ‘’Lil’ Darlin.’’ Culley avait une soeur, Zara, une actrice qui s’était fait connaître dans le rôle de la mère de George Jefferson dans le feuilleton du réseau CBS, The Jeffersons. Parmi les autres musiciens de jazz qui avaient connu Byard à Worcester, on relevait les noms d’Emil Haddad, Barbara Carroll, Don Asher, Don Fagerquist et Harry Sheppard. Tous ces musiciens avaient plus tard reconnu avoir été fortement influencés par Byard.

Jaki avait commencé à jouer du piano à l’âge de six ans. Après que son père lui ait fait cadeau de sa trompette, Jaki avait tenté d’imiter les meilleurs trompettistes de l’époque, comme Roy Eldridge et Walter Fuller. Jaki avait huit ans lorsqu’une professeure de piano nommée Grace Johnson avait commencé à lui donner des leçons.

La mère de Jaki avait aussi encouragé son intérêt pour la musique. Elle le laissait écouter du jazz à la radio et lui prêtait de l’argent pour qu’il puisse assister à des concerts de jazz lorsque des musiciens étaient de passage dans la région. Jaki avait un frère, William, et une soeur, Jesse.

Jaki était tellement passionné par le jazz qu’il se rendait souvent à pied jusqu’au lac Quinsigamond pour aller entendre les grands orchestres de Benny Goodman, Lucky Millinder, Fats Waller et Chick Webb. Il écoutait aussi énormément la radio. Des décennies plus tard, Byard avait expliqué: ‘’Those were the things that inspired me – I guess it stuck with me". Dans une autre entrevue, Byard avait précisé:

"My mother used to give me seventy-five cents to go see the bands that were playing at Quinsigamond Lake---ten cents for the streetcar each way, fifty cents to get into the dance, five cents for a coke. I would walk to the dance so that I could drink five cokes. I'd stand in front of the band all night and listen. Fats Waller, Lucky Millinder, Chick Webb with Ella Fitzgerald, the Benny Goodman Quartet with Teddy Wilson, Lionel Hampton, and Gene Krupa. That would be about 1936. And I was tuning in on the radio broadcasts of the big bands from hotels, 11:30 p.m. to 2:00 a.m. Ellington, Basie, Fatha Hines, Jimmie Lunceford, Benny Carter. Those were the things that inspired me.’’

À l’époque, les musiciens de jazz favoris de Byard étaient Earl Hines, Jimmie Lunceford et Count Basie. Byard avait ajouté:

"Of course there was Stan Kenton, Woody Herman and that crew. Teddy Wilson was a favorite too. He was with Benny Goodman. My father used to listen to him every night. He'd say, 'Come here and listen to this man. Do you know who he is?' 'Yeah, I know who he is.' 'Do you know what he is?' I'd say, 'What?' He'd say, 'He's us—he's a colored boy.' He didn't say ‘black’ then."

Après avoir fréquenté la Elizabeth Street School, Byard avait poursuivi ses études au Commerce High School. Byard n’avait jamais reçu de formation musicale proprement dite, même s’il avait étudié l’harmonie en 1941 au Commerce High School. Selon Robert Bliss, c’est à cette époque que Byard aurait décidé d’étudier non seulement l’harmonie et l’orchestration, mais d’apprendre à jouer de plusieurs instruments. Bliss expliquait:

 "He figured this was the way to learn that range and color of the primary jazz instruments—trumpet, saxophone, and drums. He picked up other instruments along the way—the guitar, violin, vibes, and bass." En plus de jouer de plusieurs instruments de musique, Jaki excellait également au basketball.

Jaki a amorcé sa carrière professionnelle à l’âge de seize ans en jouant du piano dans les groupes de Doc Kendross et Freddy Bates. Comme Jaki l’avait expliqué dans une entrevue accordée au Worcester Magazine, "One of my first gigs was in Grafton with a guy named Doc Kentross (dentist). The day I made the gig I came running out of the high school and fell on my hand. I had to get six stitches and played that night."Les Nite Hawks de Freddy Bates se produisaient régulièrement au Nile Café sur Summer Street, un établissement qui se vantait d’être le premier club de jazz opéré par des Afro-Américains. Byard avait précisé: "There was a guy named Pete Price (pianist). I took his place. I was about 18 years old. We used to play up in Holyoke, Springfield … on the road."

UN LABORATOIRE: LE SAX-TRUM

Fondé en 1938 par Jes saxophonistes Howie Jefferson, Barney Price et d’autres musiciens de jazz de Worcester comme Jaki Byard, Dick Murray, Ralph Briscott, Ed Shamgochian et Harold Black, le Saxtrum Club est considéré comme un des premiers collectifs de jazz opéré par des musiciens de couleur aux États-Unis. Durant près d’une décennie, la coopérative avait accueilli de nombreuses jam sessions et était rapidement devenue le centre de ralliement de plusieurs artistes locaux, régionaux et nationaux.

Décrit par Rockie Blunt comme un petit club mal éclairé, le Saxtrum Club était situé à l’intersection des rues Glenn et Clayton. Le principal objectif de la fondation du club était de fournir un lieu aux musiciens de jazz pour tenir des jam sessions. Lors d’une entrevue accordée en 1998 au Worcester Magazine, Byard prétendait avoir créé ce nom en juxtaposant les premières lettres des instruments des deux principaux fondateurs du club, le saxophone et la trompette. Il précisait: "Yeah, that's my name. I named that club: Sax-trum. First, it was a small candy shop. Then we moved it to another place that was a soda shop—a big room. Saxtrum club, yeah! We used to jam."

Byard avait déclaré au sujet de Jefferson, qui était de huit ans son aîné: "Yeah, Howie Jefferson. He's sort of my mentor, you know. He's the one that brought me into this business. He's the one that got me to play trumpet with the Nite Hawks. Then the piano player quit, so they asked me to play because I used to tinkle around a bit. So I ended up playing piano."

Selon Rockie Blunt, d’autres musiciens de jazz originaires de Worcester comme Barbara Carroll, Don Asher, Emil Haddad et Don Fagerquist étaient des habitués du club. Parmi les autres musiciens locaux qui participaient aux jam sessions, on relevait les noms de Rockie Blunt, Tony Finelli, Rod Ford, Gretchen Morrow, Bill Toney, Franny O'Connor, Eddie Dolbare, "Miff" George, Kenny Proctor, Alice Price, Pete Price, Bobby Hold, Dave Robertson, Joe Ferrazano, Phil Scott, Murray Guralnick, Al Mercury, Hal Drellinger, Moe Batchelder, Bert Hardin, Morgan Sorrell, Dick Hill, Chet Lavallee et Don Fancy.

Selon Blunt, il s’agissait d’une des premières tentatives visant à éliminer les barrières raciales non écrites entre les musiciens de couleur et les musiciens blancs.

Plus la réputation du club augmentait, plus il commençait à attirer de gros noms. Parmi les ‘’grosses pointures’’ qui avaient participé aux jam sessions, on remarquait Gene Krupa, Cozy Cole, le percussionniste de l’orchestre de Cab Calloway, "Chu" Berry, le saxophoniste ténor de Calloway, Roy Eldridge, le trompettiste de l’orchestre de Gene Krupa, Charlie Ventura, les chefs d’orchestre Tommy Reynolds, Sam Donahue et Johnny ‘’Scats’’ Davis, sans parler des musiciens de Duke Ellington et de Count Basie. Blunt poursuivait:

"And the sessions lasted until dawn when the younger jazz musicians finally went home, cleaned up, ate and went off to school ... and the bi-timers collapsed into their hotel rooms to rest for the next day's three live shows. It was a time of truly almost perpetual music. The exhaustion factor never entered the picture. Musicians lived, ate, breathed and were almost totally consumed by their music."

Lorsqu’on lui parlait des jam sessions qui avaient lieu aux SaxTrum, Byard répondait: "Oh, yeah, practice—played, played and played. We got a hold of a piano and that was it. And we had a jukebox. We used to run rent-socials to pay rent. $3 admission. We had a drum set there."

Byard a aussi travaillé avec un groupe de pratique au Saxtrum, le Sal-Salah. Le nom du groupe était une contraction des noms des trompettistes Sal Siam et Bob Salah. Byard précisait:"I played piano with that band. It was pretty interesting, pretty interesting musical ventures, then." Parmi les autres membres du groupe, on retrouvait Dick Reed, Paul Gervais, John Milocz, Harold Black, Cal Gould, Paul Benson, Al Bond, la chanteuse Janet Athy et Murray Guralnick, un futur membre de l’orchestre de Gene Krupa. Selon la Prospect House, le groupe se serait également produit dans les salles de danse de Danny Dugan et Johnny Hines, dans la basse-ville de Worcester.

C’est d’ailleurs en travaillant avec Sal-Salah que Byard avait acquis la confiance qui lui avait permis de continuer à composer et d’écrire des arrangements. Il expliquait: "I remember doing Earl 'Fatha' Hines arrangement of 'You Can Depend on Me' and Jimmie Lunceford's 'Chopin's Prelude'''.

Selon Byard, la ville de Worcester offrait un environnement idéal aux amateurs de jazz. D’après Asher, le dimanche après-midi au Plymouth Theater, "you could see a movie, the Fats Waller sextet, and a stage show back by the Charlie Barnet or one of the Dorseys [Tommy and Jimmy]—for 50 cents."

Selon le saxophoniste Michael Marcus, qui avait joué avec Byard dans les dernières années de sa vie, même Cecil Taylor serait venu le voir à jouer à Worcester. Marcus expliquait: “Cecil’s father used to bring Cecil to hear Jaki when he was like 16 years old.” Marcus citait aussi une déclaration de Byard dans laquelle il se vantait d’avoir inventé le free jazz. Selon Marcus, Byard aurait affirmé: “Man Cecil Taylor, I invented that style of playing. I would play that style [James P. Johnson, Erroll Garner, Earl Hines] with my left hand and then I’d play Charles Ives and Stravinsky in my right. I was playing free like that 10 years before Cecil. I invented that style.”

Si Cecil Taylor avait été influencé par Byard, c’était surtout dans son utilisation de l’atonalité, car Taylor a joué très peu de swing et absolument aucun stride. Quoi qu’il en soit, les sympathies de Byard pour les oeuvres de Charles Ives et d’Igor Stravinsky lui avaient été d’une aide précieuse lorsqu’il s’était installé à New York et avait rejoint les rangs de l’avant-garde au début des années 1960.

DÉBUTS DE CARRIÈRE

En 1941, dans l’espoir de faire avancer sa carrière, Jaki avait quitté Worcester pour aller s’installer à Boston. Devenu musicien à plein temps, Byard était maintenant prêt à élargir ses horizons au-delà des limites étroites de sa ville natale de Worcester. Comme l’écrivait Don Asher, "Jaki Byard had split for Boston and more challenging vistas – we had all known his talent was too large for Worcester; the only surprise was that he had stayed so long…"

Après l’attaque de Pearl Harbor de décembre 1941, Byard avait été mobilisé par l’armée. Après avoir rencontré des musiciens qui avaient également été mobilisés comme le batteur Kenny Clarke et le pianiste Ernie Washington, Byard avait décidé de se joindre au groupe de l’armée. Cependant, comme ce dernier avait déjà un pianiste, Byard avait dû se replier sur le trombone. C’est donc un peu par la force des choses que Byard avait commencé sa carrière de multi-instrumentiste.

Au cours de son séjour dans l’armée, Byard avait continué de suivre des cours de piano. Durant cette période, Byard avait été particulièrement influencé par le pianiste Ernie Washington, avec qui il partageait les mêmes barraquements. Byard avait effectué une partie de son service militaire en Floride, où il avait servi de mentor au jeune saxophoniste Cannonball Adderley et à son frère, le trompettiste Nat Adderley.

Après avoir été démobilisé en 1946, Byard était retourné à Boston, où il avait étudié la musique en autodidacte, en concentrant plus particulièrement sur le travail de ses deux pianistes favoris, Bud Powell et Erroll Garner. Après avoir joué durant deux ans avec le violoniste Ray Perry, Byard avait collaboré avec le violoniste et trompettiste Ray Nance, qui l’avait encouragé à apprendre le saxophone ténor. En 1947, Byard avait fait partie du groupe du saxophoniste alto Earl Bostic. Byard avait alors formé un groupe de bebop avec Joe Gordon et Sam Rivers.

La découverte du bebop avait été toute une révélation pour Byard. Il expliquait: “I remember being on a Bud Powell kick at about twenty five years old. That’s when I decided to get into music more and listen to everything. Bebop was an age of revelation. It made everyone want to study more.”

Après être parti en tournée durant un an, Byard avait travaillé durant un an avec le saxophoniste Charlie Mariano dans un groupe qui jouait près de Lynn, au Massachusetts. Byard avait enregistré un album avec le groupe en 1953. De 1952 à 1955, Byard avait aussi été membre du grand orchestre d’Herb Pomeroy comme saxophoniste ténor, avec qui il avait enregistré en 1957. Byard avait également commencé à composer et à écrire des arrangements pour le groupe.  Au milieu des années 1950, Byard avait aussi joué comme pianiste solo à Boston. Très en demande comme musicien, Byard avait également commencé à enseigner, même s’il n’avait jamais eu de formation académique formelle lui-même.

Après quelques années, Byard avait recommencé à jouer du piano en solo. Il s’était installé à New York où il avait enregistré en décembre 1960 un premier album sous son nom intitulé ‘’Blues for Smoke.’’ L’album n’avait été publié aux États-Unis qu’en 1988.

De 1959 à 19620, Byard avait aussi joué avec le groupe de Maynard Ferguson. Même si Byard était un des musiciens et arrangeurs préférés de Ferguson, il s’était senti à l’étroit dans la formation, car ses tentatives d’expérimentation étaient souvent limitées par les goûts plutôt traditionnels des autres membres du groupe.

En 1960, Byard s’était joint au groupe de Charles Mingus. Mingus avait exercé une grande influence sur Byard, car il le poussait constamment à expérimenter de nouveaux rythmes et harmonies. Byard, qui avait enregistré plusieurs albums avec Mingus, était devenu un de ses pianistes les plus réguliers avec Don Pullen. Dans les notes de l’album de Mingus ‘’Portrait’’, Byard avait décrit sa première rencontre avec Mingus. Il écrivait:

‘’I first met Mingus in 1956 in the Athens of America — Boston. He was appearing at a joint on Commonwealth Avenue called Storyville. I was at the joint across the street. Its formal name was The Stables, but we used to call it the Jazz Workshop. Tuesdays and Thursdays, I played tenor sax with Herb Pomeroy’s big band; the other nights, I played intermission piano. Mingus and his sidemen would drop by frequently — to check us out, I guess. Since his group was called the “Jazz Workshop,” of course there had to be a few words with regard to who had a better right to use that title. The matter was usually discussed by Mingus and Varty Haratunian, who was sort of the coordinator of financial affairs at The Stables. Even during an argument, their conversations were conducted very intelligently: For example, Varty might explain that our group was actually the “Jass Workshop,” to which Mingus would respond “Yeah, take the ‘J’ off and that’s what you have for a workshop!”

Loin de s’intéresser uniquement au jazz, Byard avait continué d’étudier les oeuvres des compositeurs classiques au cours des années 1960, et plus particulièrement celles de Stravinsky et Chopin. Au cours de sa carrière, Byard s’était également intéressé aux oeuvres d’autres compositeurs classiques comme Debussy, Rachmaninoff et Bartok.

En 1960, Byard avait aussi collaboré à l’enregistrement du disque du multi-instrumentiste Eric Dolphy intitulé ‘’Outward Bound.’’ Byard avait écrit au sujet de Dolphy:

‘’What can I say about this gentleman? His mind, as you can hear, was very active, musically intelligent, innovative, and emphatically involved with precision and decision. Eric was not only multi-faceted in his musical approach, but was also a most introspective individual. His thoughts, harmonically and melodically, were always on top of the chord of the seventh, especially on alto. We had many conversations about this intriguing approach to improvisation. (I could go into the technical aspects of this subject, but this would probably involve writing a whole book!) Without doubt, we were always ready to go into space together — from my very first musical association with Eric, when I played piano on his first album, Outward Bound. Actually Eric was largely responsible for me becoming involved in the recording industry and joining the Mingus Dynasty.’’

C’est d’ailleurs Dolphy qui avait aidé Byard à signer un contrat avec les disques Prestige. Cettte collaboration avait donné lieu à la publication de l’album ‘’Here’s Jaki’’ en 1961. Plusieurs des albums enregistrés par Byard avec Prestige mettaient en vedette le contrebassiste Richard Davis et le batteur Alan Dawson. Le trio avait été décrit par le critique Gary Giddins comme "the most commanding rhythm section of the '60s, excepting the Hancock-Carter-Williams trio in Miles Davis's band", même s’il n’existait alors que sur disque.

Parmi les autres albums enregistrés par Byard à cette époque, on remarquait ‘’Jaki Byard With Strings !’’, un album en sextet qui mettait en vedette les compositions et les arrangements du pianiste. Les capacités novatrices de Byard étaient particulièrement évidentes sur la pièce "Cat's Cradle Conference Rag", dans laquelle les musiciens du groupe interprétaient cinq standards ‘’based on similar harmonies simultaneously". Un autre exemple de l’approche parfois inhabituelle de Byard face à la composition se retrouvait dans la pièce-titre de l’album ‘’Out Front !’’, qu’il avait écrite en pensant à la façon de jouer de son collègue pianiste Herbie Nichols. Même si la musique de Byard était très appréciée des critiques, cette popularité ne semble pas s’être reflétée sur les ventes de disques.

Parallèlement à sa carrière en tant que leader de ses propres formations, Byard avait également continué de collaborer avec d’autres musiciens. En 1963, Byard avait joué et enregistré avec le saxophoniste ténor Booker Ervin. Byard a aussi collaboré avec d’autres grands musiciens de jazz comme Don Ellis, Charlie Mariano et Booker Little. En 1965, Byard avait travaillé avec un autre collaborateur de Mingus, le multi-instrumentiste Rahsaan Roland Kirk. Byard avait également continué de collaborer avec Mingus, notamment lors de l’enregistrement des albums ‘’The Complete Town Hall Concert’’ (1962), ‘’Mingus, Mingus, Mingus’’ (1963) et ‘’The Black Saint and the Sinner Lady’’ (1963). Byard avait aussi fait une tournée en Europe avec Mingus en 1964. En 1970, Byard était d’ailleurs retourné jouer avec Mingus, notamment dans le cadre d’une autre tournée en Europe. Faisant le bilan de sa collaboration avec Mingus, Byard écrivait:

‘’My entire association with Charles Mingus was an honor and a treat — including all the moods, temperaments, personality clashes, cooperation, and feelings of accomplishment and self-gratification. I can’t find any superlatives strong enough to define what those years meant to me. I left Mingus in 1968 primarily because of domestic obligations, and also because I felt an urge to pursue in my own ways some obligatory missionary work in the growing jazz community. But I continued to appear with him, off and on, until 1976.’’

Lors d’un séjour en Europe en 1970, Byard s’était joint aux Jazz Messengers d’Art Blakey dans le cadre d’une série de concerts sur le continent. Deux ans plus tard, Byard avait fait partie d’un petit groupe dirigé par le batteur Elvin Jones. De 1966 à 1969, Byard avait aussi enregistré trois albums avec le saxophoniste Eric Kloss.

Après avoir remporté en 1966 le prix  du magazine Down Beat décerné au musicien le plus prometteur, Byard s’était joint en 1969 au New England Conservatory à l’invitation de son président, le chef d’orchestre et historien Gunther Schuller, qui l’avait chargé de prendre la direction des études de jazz, qui deviendrait plus tard l’Afro-American Music and Jazz Studies Department. Byard avait continué d’enseigner au Conservatoire jusqu’en 1977. Byard donnait aussi des cours et des lectures dans d’autres écoles et universités, comme la Manhattan School of Music (1989-1999), la New School for Social Research de New York, le Bennington College, la Hartford School of Music, le Brooklyn Conservatory, l’Université du Massachusetts, l’Université Harvard (où il fit aussi des lectures durant trois ans), l’Université de Pittsburgh, l’Université du Maryland, la Hartt School of Music (à partir de 1975), la New School for Jazz and Contemporary Music et le Bismark Jr. College. Byard donnait également des cours privés.

DERNIÈRES ANNÉES

Lorsque Duke Ellington était tombé malade en 1974, son fils Mercer avait demandé à Byard de prendre sa place au sein de l’orchestre. Byard avait d’ailleurs reçu le Duke Ellington Fellowship Award de l’Université Harvard en 1973. La Duke Ellington Society lui avait aussi décerné un prix pour la qualité de ses performances.

Au milieu des années 1970, Byard avait décidé de former un big band parmi ses étudiants. Surnommé les Apollo Stompers, l’orchestre se produisait au Ali’s Alley, un club de la basse-ville de New York, lorsqu’il avait été élu meilleur groupe résident de la ville.

À un certain moment, Byard avait créé deux groupes parmi ses étudiants du New England Conservatory of Music, chacun des groupes devant prendre place sur des côtés opposés de la scène. Lors d’une entrevue accordée à Royal Stokes, Byard avait expliqué en plaisantant: "I called it the Stereophonic Ensemble, and the effect was very interesting because I could bring that band down and this band up and you could hear the difference---just like listening to a stereophonic performance. That was one of my dreams." Par la suite, Byard avait décidé de créer un autre big band avec des musiciens qu’il connaissait à New York.

Reconnu pour ses connaissances de l’histoire du piano jazz, Byard avait formé plusieurs jeunes pianistes prometteurs comme Jason Moran, Larry Goldings, D.D. Jackson, Hal Galper, Bruce Barth, Myra Melford, Alan Pasqua, Ted Rosenthal, Joel Weiskopf et Steve Wilson. Byard a aussi influencé plusieurs non-pianistes, comme les saxophonistes Jamie Baum, Sue Terry, Marty Ehrlich, Ricky Ford et Michael Moore. 

Moran s’était inscrit à la Manhattan School of Music  expressément pour étudier avec Byard. Moran, qui avait succédé au pianiste Billy Taylor comme directeur du département du jazz du Kennedy Center de Washington, D.C., raconte comment il avait rencontré pour la première fois Byard lors d’une performance des Apollo Stompers:

‘’Jaki had all these toys and whistles and bells and things that he was playing from the piano, and also screaming and yelling from the piano in joy. I remember thinking, 'This guy's out of his mind.' After the set, I went up to him, introduced myself, and said that I would be studying with him. He said something to the effect of, 'get ready'.’’

Moran avait étudié avec Byard durant quatre ans. Moran a toujours été reconnaissant envers Byard pour l’avoir aidé à développé ses habilités, sa connaissance de l’histoire du jazz, ainsi que son désir d’expérimenter différents styles musicaux. Il expliquait:

“Jaki Byard seemed to represent everything-- all tradition, all modernism, all conceptual ideas-- and also have the facility to apply all of it without it ever feeling odd. He kind of taught me in that way: He taught me tradition and history without wagging his finger in my face.”

Sans Byard, Moran n’aurait probablement jamais enregistré son album de 2014 intitulé "All Rise: A Joyful Elegy", un disque louangé par la critique sur lequel il interprète des versions actualisées des classiques de Fats Waller.

Un autre étudiant, Fred Hersch, avait décrit Byard comme un enseignant à la fois organisé et chaotique: s’il faisait durement travailler ses étudiants, Byard avait souvent un comportement assez excentrique et oubliait même parfois qu’il devait se présenter à ses cours. Hersch, qui a été mis en candidature à douze reprises pour un prix Grammy, avait ajouté:

‘’He could play like Fats Waller or Bud Powell and demonstrate the mechanics of each technique. He had a profound and detailed understanding of why each pianist sounded the way he did—to this day I'm not sure where he got such vast knowledge. For that ability alone he was ideally suited to teaching. He was also funny as hell and great company. He taught from the deep well of experience he had accumulated over many years as a professional musician—he had a lot to teach . . .

I learned a lot from Jaki simply being in his presence. As a musician and as a person his spirit was fearless—he didn't let stylistic constrictions get in his way of playing whatever he felt—and he was not the least bit ostentatious. He had an unmanicured view of jazz and life in general [...].

In the course of a lesson with me, he might play in half a dozen styles. But no matter what tune he played or what style he played in, the music was definitely his. Jaki had his own approach to line, to rhythm, to color, and to touch. I learned quite a lot from watching him over the keyboard, playing piano duets with him, and just simply listening to him . . . what I took away from Jaki was what I learned being next to him while he played, watching him use the whole instrument, top to bottom, style by style, in a way that always had his own musical signature.’’

Le compositeur classique Bruce Wolosoff, qui a suivi les cours de Byard au New England Conservatory of Music, le considérait également comme un de ses plus importantes influences. Le pianiste et auteur-compositeur Grayson Hugh a aussi étudié avec Byard au début des années 1970 et lui avait toujours été reconnaissant d’e l’avoir aidé à développer ses capacités harmoniques.

Un autre étudiant, Marty Ehrlich, avait un jour écrit au sujet de Byard: ‘’The man was touched by genius. Musicians all knew it. He was not cut out to conquer the world. We are all the beneficiaries of his generosity and brilliance.”

Dans les années 1980, le piano était toujours le principal instrument de Byard, même s’il continuait de jouer du saxophone alto et ténor à l’occasion. Même s’il donnait toujours des cours de contrebasse, de batterie, de guitare, de trombone et de trompette, il avait cessé d’en jouer professionnellement. À la même époque, on voyait souvent Byard se produire à New York, que ce soit en solo, en duo ou en trio. En 1988, Byard avait aussi collaboré avec le Mingus Big Band, un groupe qui avait été mis sur pied par la veuve de Mingus après la mort du compositeur en 1979.

De 1989 à 1991, Byard avait joué et enregistré avec un de ses anciens étudiants, Ricky Ford. Il avait aussi continué de se produire sur scène et d’enseigner durant les années 1990. À la fin de sa vie, Byard s’était particulièrement concentré sur l’interprétation de standards.

Byard avait toujours été un musicien très créatif. Comme l’écrivait en 1983 le magazine People, "As a solo pianist, Byard mixes his styles liberally, not only from song to song but often within songs." Trois ans plus tard, lors de la parution de l’album ‘’Rhythm is Our Business’’ que Byard avait enregistré avec Jordan Sandke, le même magazine avait commenté: "Crossing generational and stylistic lines with gleeful disregard, this album is an engaging bit of chamber jazz. The group wanders happily from New Orleans style to swing to bop."

Influencé par plusieurs styles musicaux, Byard avait toujours eu des goûts très éclectiques. Interrogé par Len Lyons dans le cadre de son ouvrage ‘’The Great Jazz Pianists’’ publié en 1983, Byard avait expliqué: ‘’I go from Bach, to outside, back to inside, and all over the place. I analyzed Chopin, Beethoven, Ravel, Stravinsky, and piano rolls.” Même si Byard ne détestait pas le free jazz, il était profondément enraciné dans la tradition. Comme l’écrivait Lyons, “More than any other pianist. Byard alludes explicitly to the jazz piano tradition in his playing.”

Le 11 février 1999, Jaki Byard a été retrouvé mort dans ses circonstances mystérieuses à sa résidence de Hollis, dans le Queens. On lui avait tiré une balle dans la tête. Même si les filles de Byard se trouvaient dans la maison au moment du meurtre, elles ne s’étaient aperçues de rien. La police n’avait constaté aucun signe d’infraction, qu’il s’agisse de vandalisme, de vol ou de la moindre bagarre. Byard avait vu sa famille pour la dernière fois à 18 heures. Il avait été assassiné vers 22h. L’arme du crime n’a jamais été retrouvée.

Le mystère de l’assassinat de Byard n’a jamais été résolu. L’épouse de Byard, Louise M. Caruso, étant décédée en 1994, il laissait dans le deuil ses deux filles Denise et Diane, et son fils Gerald, ainsi que quatre petits-fils et six arrière-petits-fils.

Après la mort de Byard, un de ses anciens étudiants, la flûtiste de jazz Jamie Baum, avait formé un groupe en son honneur composé principalement de musiciens qu’il avait formés. Baptisé The Jaki Byard Project ou ‘’Yard Byard’’ en référence à la composition de Charlie Parker, le groupe était composé notamment de Baum, d’Adam Kolker, de Jerome Harris, de George Schuller et d’Ugonna Okegwo. L’orchestre interprétait des pièces que Byard avait composé lors de sa collaboration avec Baum, mais qu’il n’avait jamais interprétées lui-même.

Byard avait exercé une énorme influence sur le monde du jazz. Multi-instrumentiste, il excellait non seulement au piano, mais aussi à la trompette, au trombone, à la contrebasse, au vibraphone, à la batterie et aux saxophones alto et ténor. Reconnu pour un style éclectique qui amalgamait des styles aussi différents que le ragtime, le stride et le free jazz, Byard était aussi compositeur et arrangeur. Le critique Gary Giddins décrivait ainsi le style de jeu de Byard:

"His tone [...] is unfailingly bright. His middle-register improvisations are evenly articulated with a strong touch and rhythmic elan [... he] likes ringing tremolos and portentous fifths [... and] barely articulated keyboard washes that float beyond the harmonic bounds but are ultimately anchored by the blues". 

Dans les notes de pochette de la compilation de Booker Ervin ‘’The Freedom and Space Sessions’ (1979), le critique Stanley Crouch écrivait au sujet de Byard:

“He amalgamated the past with the most adventurous new harmonies and rhythms, evolving a style that always offered the possibilities of numerous improvisational perspectives. His playing rumbles and waddles, often summoning the dark tremolos of the church, the spunk and kick of stride piano, and the nearly seamless blisters of sound in Tatum and Powell. And all of this periodically careens into new musical worlds where some of Europe’s harsher harmonic responses to modern life are given a lilt even as they curse the age.” 

Le saxophoniste Jed Levy avait également été très impressionné par Byard. Il affirmait: “I’ve been fortunate to play with many great musicians, but there are two people who I wouldn’t hesitate to use the word ‘genius,’ and Jaki Byard was one of those people – it goes beyond his piano playing, his writing…he looked at nature and made music out of it.” 

Byard jouait une grande variété de styles, les amalgamant souvent dans une même performance, ce qui donnait souvent des effets assez comiques, et voire même surréalistes. Pianiste polyvalent, Byard était aussi à l’aise avec le répertoire d’Art Tatum qu’avec celui de Fats Waller, de Thelonious Monk ou de ce Cecil Taylor. Lorsqu’on le questionnait sur l’humour qu’il insérait dans ses performances, Byard expliquait que cela ne signifiait pas que sa musique n’était pas sérieuse: "I might do it with humor, but it's still serious because I mean what I'm doing". 

Après avoir décrit la musique de Byard comme étant en avance sur son temps, le critique Dan Lander avait ajouté qu’il avait même influencé les pianistes du 21e siècle: ‘’Byard's grasp and integration of historical forms, his ability to embrace tradition and risk taking, was visionary, impacting on a new generation of jazz musicians who understood the history of jazz as a material to build on and work with, at the service of creating something new, rather than as an unmovable weight, fixing them to the past.’’ Quant au jeu de Byard au saxophone ténor, il était influencé par celui de Lester Young et de Ben Webster.

L’une des plus impressionnantes compositions de Byard était la pièce ‘’European Episode’’, dont il avait enregistré des extraits sur son premier album comme leader en 1960. Byard avait de nouveau enregistré la pièce en 1964 sur l’album ‘’Out Front !’’, avec le saxophoniste Booker Ervin et le trompettiste Richard Williams. Il s’agissait d’un ballet en six parties qui avait été inspiré par un séjour en Europe de Byard, notamment à Bruxelles, Paris et Milan.

Travailleur infatigable, Byard avait toujours cherché à s’améliorer. Il avait toujours continué d’apprendre d’étudier, même en poursuivant sa carrière de professeur. En 1995, le maire de New York, Rudolph Giuliani, lui avait remis un prix à l’occasion du 100e anniversaire de la Harlem Week, pour son travail avec les Apollo Stompers.

Lors de sa carrière d’une durée de soixante ans, Byard a enregistré au moins trente-cinq albums comme leader, et plus de cinquante comme accompagnateur.

En 1980, Byard avait été l’objet d’un court documentaire intitulé ‘’Anything for jazz’’, dans lequel on le voyait jouer et enseigner ainsi que partager des moments d’intimité avec les membres de sa famille.

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

[famousdrive]

Hamptons Black Car Limousine Service in NYC

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Online platforms are filled with positive reviews, commending the professionalism, reliability, and overall excellence of Hamptons Black Car Limousine Service. The consistent high ratings are a testament to their commitment to customer satisfaction.

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[laurensprentiss]

Games We Play [Hotch x Reader]

Chapter 10:

A/N: hello, I’m back he he he he. So sorry about the wait AGAIN, but this chapter was so hard to write, you guys have no idea but I wanted to put something out for the festive period so I hope this pleases.

Warnings: mentions of male anatomy at the end, reader just flipping the script, a lot of swearing, tension, bickering, Hotch surprising us all, he may be nicer than he lets on. Dog puns and holiday themed tension. Close proximity and Hotch may have a thing for for degradation.

———

November:

Hotch arrives at your place early on a Saturday when you’re still half asleep, ostensibly to help you move. A throwaway comment he’d heard JJ make a few nights ago over your cameras about a fake passport and escaping to Prague sets his alarm bells off. Your skittish behaviour notwithstanding, in the interests of making sure his new fiancée doesn’t run away to Europe, he hand delivers you to the chauffeured car out front with your day bag in his hands.

“Here.” He tosses you an iPad once you're inside. The screen shows a tabloid cover with a posed picture of the two of you, JJ and Rossi from the retreat last weekend.

‘DC’s most eligible bachelor off the market?

Notorious playboy and Virginan Senator, Aaron Hotchner was spotted in the Hamptons last weekend with his rumored long-term, and intensely private attorney girlfriend.

Speculations as to the couple’s status and how long their relationship has been official have been swirling, but they may be put to bed soon. Following last weekend’s sighting, the DC attorney was spotted with a sleek emerald cut diamond on her ring finger and sources close to the couple reveal that the pair are indeed recently engaged and plan to wed soon in an intimate and private affair.

The Senator has a long-standing history as a charmer and playboy, his past conquests including socialites and actresses but according to these pictures, he appears enamoured with his current lady. Capitol Hill’s most eligible playboy may just become a one-woman-man.’

A shiver runs up your spine.

“Good job. You managed to sell it.” He murmurs.

You’re both uncharacteristically silent the rest of the way to Hotch’s estate, each of you staring out of your respective windows, inner conflict causing you to retreat. It dawned on you last night that your life would be changing forever today. No matter if Hotch were to win or lose the election, no matter that you’ll get an annulment; the next six years would be spent with a man you despise, who despises you back.

You’d never given much thought to marriage but you’d always assumed that if you did move in with a man, it wouldn’t be under the guise of a politically beneficial marriage.

Today would be the first time in four years that you’d be in Hotch’s home, and unlike the events of four years ago, you’re not nearly inebriated enough to handle it.

Hotch on the other hand, had spent the night wrangling with his own guilt towards Haley. The prospect of another woman moving into the sacred space he once shared with her, the space where the walls still whisper her name - fills him with anxiety. He’s not one to dwell, had always been good at compartmentalising, some may say to his own detriment; after all, it’s what landed him strung out and almost OD’d on coke a few years ago. The only physical reminders he has of Haley are a picture each, one in his office, one in his room. Both of them placed gently under the wooden boards of the drawers in his desk and nightstand.

Today, he realises that the first big, real step to his future as President is being taken.

You’re snapped out of your stupour when the car is buzzed in at the gate by two security guards, both of you inhaling sharply and donning your public masks again. He’s first to step out, walking around to open your door and when you hesitate, he stares at you expectantly.

“I’m not going to roll out a red carpet for you, your majesty. Welcome to your new home. Get out.”

You swat his hand away. “Relax. I reserve the rights to Friday nights and weekends away from torment. Move.”

“Gladly. As we’ve already established, I find your presence bothersome, I’d rather you put yourself somewhere out of my sight but my signature’s on a piece of paper.” He bites as you make the walk from the car to the doors.

You spot JJ and Garcia at the entrance who offer you bright smiles that quickly fall when they see you arguing with Hotch.

“Let’s not pretend like you’re the one who got swindled in this arrangement, big guy. I have to spend the next six years of my life with you.”

“Six years that I’m paying close to a million for, Sparky. Remind me, how’s that new purse treating you?”

Your eyes widen. “Sparky? What-“

“Guys!” JJ interrupts, closing the distance between you. She realised long ago that waiting for the both of you to come to her is a futile exercise, so she stumbles on the gravel pathway in Louboutins that are too high and gives you a hug. “Hey, you doing okay?” She asks with a comforting smile.

“She’s fine.”

“I can speak for myself, weasel.” You turn back to JJ. “I’m fine.”

“Great.” She smiles awkwardly. “Movers will be here in an hour, Anderson and Gina will be here to direct the labelled boxes into the right rooms-“

“Rooms?” Hotch interrupts. “You told me you were only bringing stuff for your bedroom, what is this about rooms?”

You quirk your eyebrows and JJ laughs under her breaths. “Did you really think I’d bring a hairbrush and a few pairs of clothes and I’d be good? You expect me to live here, I’m going to make myself at home.”

“If there are candles, I swear to God...” He mutters under his breath.

You share a look with Garcia and JJ but a thought occurs to you briefly, that disappears as fast as it comes. There is no way for him to know you like candles.

“You sure you still want to unload them yourself?” Garcia asks.

“Yeah.” You sigh. “I want everything in its proper place.”

“Ah.” Hotch interrupts again, smoothing a hand over his tie. “Anally retentive lawyer. How refreshing.”

“Sleazy politician. How original.” You quip back.

You inwardly take immense glee in the fact that he doesn’t know you well enough yet to know that you think better in a mess. It’s something your mother has chided you for your entire life, but your argument is and always has been that your mess is organised; it may look like a heap of trash but if pressed, you can name the exact location of any given item in that heap of trash.

You look forward to seeing Hotch react to that fact.

“The Humane Rescue Alliance is expecting you in…” she checks her watch, “an hour, so we gotta go now.” She seeks out the telltale figure of a stressed young man drowning in a suit. “Anderson?”

“Yes ma’am?”

“Take the bags in the trunk and place them into the bedroom next to the Senator’s, we’re going to leave for the shelter, I want you to call Tara and Emily and confirm the photographers, okay?”

“Right away, ma’am.”

———

Politicians make the best actors.

It’s true what they say. A harbinger for all things doom, grim and gray, it should come as no surprise that Hotch doesn’t like dogs. He shudders before he steps out of the car, muttering that he hates these places, but as soon as he’s in public, he’s full of almost-genuine smiles and a charming demeanour.

He wraps an arm around your waist and pulls you into his side, introducing you as his fiancée to the staff like it’s second nature. You stiffen at the contact and it takes your body a second to catch up with your brain, keenly aware of the photographers to your left.

He takes your arm in his, following the staff’s lead, placing his other hand over yours. “Loosen up, you’re like a dead body.” He mutters and when you look up at him, he’s still smiling, listening to the staff talk about the various charities they’re in partnership with and the work they do.

Add ventriloquism to his list of creepy talents.

“A dead body would be happier to have you next to them than I am.” You return with a laugh for the camera’s benefit.

“Careful. You keep insulting me, you’re going to start turning me on.”

“Do you?” Interrupts the soft-spoken, matronly woman who you can see is called Marley.

That gives you pause.

Marley? Working in a dog shelter? The jokes write themselves.

You cast Hotch a look who’s face mirrors your amusement and for a brief moment, the cameras actually capture the both of you working as a team. Marley watches the two of you expectantly for an answer but you’d been so caught up in throwing jabs that you’d completely missed her point.

“I do. I have these little guys here.” She shoves her too-bright phone in your faces, the lock screen picture showing you a beagle and a white maltese huddled together in a dog bed. You have to fight the urge to laugh at the yellow bow on the Maltese’s head but you answer her question, managing to put the dots together.

“Oh, no. No, we don’t, not yet at least!” You chuckle, forcibly placing your hand on Hotch’s forearm to get him to interact. He’s stiff as a board though, his facade cracking, belying instead an expression of distaste and an aversion to cute dogs.

“Oh?” Marley chimes in. “Perfect time for it, newly engaged couple becoming a family of three with one of these little guys? Wouldn’t that be so precious?” She clasps her hands together and sighs, staring at Hotch a little longer than necessary.

Jesus, Marley, you want to be a family of three with Hotch? Be my fucking guest.

When your gaze falls to a clambering Jack Russell in an enclosure, you drop to your haunches and hold out your hand that he can just about touch with his paws.

“Hey little guy, what’s your name?” You croon.

Hotch watches you, not understanding the desire to fawn over a dog that smells bad and probably licks and pisses on everything, and his face does nothing to hide his distaste. And for a moment, he envies you. He envies your bright disposition, the ability to be able to enjoy things that most people can, he envies being able to laugh wholeheartedly and not view everything in grey-tinted glasses.

Pushing past the envy though, is a sense of lightness in his chest, an almost happiness-by-proxy and he bristles at it. He doesn’t know who he is if he isn’t angry and selfish and alone.

“This.” Marley tells you, “is Ruffus.”

A penchant for puns and dad jokes makes you laugh at the name while the dog makes a show of reaching for your hands. JJ and Garcia can’t help but laugh too but when you turn to Hotch he looks at you like you’ve grown a tail.

“Ruffus?” You help clarify. “As in Rufus?”

“Oh.” He nods blankly.

You roll your eyes and carry on playing with the little Jack Russell in front of you, “Oh don’t mind him, he doesn’t get puns.” You say in a baby voice. “He’s so angry all the time. Yes he is! Yes he is!”

“Hey, I have a sense of humor.” He says monotonously and so ironically, it hurts. He drops to his haunches next to you and the scent of his cologne delicately graces your nostrils, something rich and manly, intoxicating.

“Uh. Hey. Buddy.” He says awkwardly.

You realise then, most of the interactions you’ve had in such close quarters where you’re able to smell him have culminated with his hands on you, and like the dogs Pavlov conditioned, you expect his touch on your body.

You don’t know why you feel remiss when you don’t feel it.

You spend the next hour or so walking through the kennels, learning more about the adoption process and at the end of the tour, Hotch delivers a news bite for the six o'clock news, suddenly cheery and playful.

He’s enigmatic that way and you can’t help but watch.

“Well, the organisation does a really great job of making sure that sick or neglected animals are rescued and rehabilitated and I think it’s incredibly vital to shine a light on these places.” He tells the camera while Ruffus paws at his face. “Without exposure and public support, these organisations can't continue doing what they do and we wouldn’t be able to play with this little guy today.”

He lifts up Ruffus and tickles his ears, allowing the dog to lick his face. He stiffens like anybody would but laughs, honest to God laughs and you think he’s maybe coming around to the idea of dogs.

You’re proven wrong quickly.

As soon as you shake hands with Marley and the rest of the staff and get back to the car, he shudders exaggeratedly and clicks his fingers for hand sanitizer and wet wipes which he rubs against his face aggressively.

“Slobbery beast.” He mutters. He checks something in the mirror and clicks his tongue, readjusting the collar of his suit jacket. “He got his disgusting spittle on my suit.” He shrugs the jacket off and tosses it into the front seat, muttering something about having Anderson burn it.

Jackass.

———

When you get back to Hotch’s estate in Fairfax, a stressed Anderson meets you by the front doors and behind him are stacks and stacks of boxes, labelled everything from Kitchen to Bathroom. You hold in a satisfied smile when you glance at Hotch and take in his horrified expression at his entryway being crowded.

“What is this?” He asks, running a hand through his hair.

“… My boxes.” You reply as though the question is stupid. “Look, they’re even labelled.”

His eyes narrow. “Watch your tone, Sparky. I mean why are there enough to furnish a department store?”

“Because I live here!” You reply brightly, walking over to the boxes. “I’m making this my home… which means…” You grunt with the exertion of lifting a heavy box marked for the kitchen off of a box for the bedroom and pull out a glass jar. You watch his face fall. “Candles! And incense. And wax melts.”

“Absolutely not.”

“Absolutely yes. This one?” You pop the top off of the large glass jar and inhale deeply. “Strawberry shortcake. Here, smell.” You hold it out to his face.

“Fuck no.” He dodges your attempt at shoving the candle in his face and grumbles something about how he’s going back to the office to finish up some work. He clicks his fingers for Anderson to come with him but you grab the younger man’s arm as he tries to get past you.

“Let go of my aide, Sparky.”

You don’t love the nickname.

“Where the hell do you think you’re going?” You ask.

“The office. I was going to stick around, but then I realised you pulled this shit to get one over on me.” He gestures sweepingly across the entryway piled high with boxes. “Now I guess I suddenly have some work to get done at the office, so… make yourself at home. Gina will show you to your room.”

“Oh don’t worry, I have no illusions of you ever doing anything to make my life easier. I was actually talking about this.” You rummage through a box marked ‘Work’ and pull out the fifty page thick draft of the preliminary bill for Brandon Grant and unceremoniously press it into his chest. “We had a deal.”

“Whatever.” He mutters, and with that he leaves.

Truthfully, he’s thankful to be out of the house, he can’t stand the idea of being there while you unpack and encroach on the once-lively space he shared with Haley. He feels as though Haley’s betrayed spirit will claw and bite at him, like she’s embedded into the foundation of the place.

JJ and Garcia stick around, throwing their hair up and unpacking your bedroom things first. As you make the walk upstairs, Gina shows you to your room and promptly leaves, leaving you to explore the upstairs of the house thoroughly. There are little to no personal effects anywhere, in contrast with the things you brought, the theme of the house tastefully curated.

There are nine bedrooms, five bathrooms, and two store rooms upstairs and you recall from memory that the room next to yours is Hotch’s. Which means you have a bone to pick when he gets home.

Home?

The reality settles in that this is home now, and a pit begins to form in your stomach. You’ve never had much luck settling in well in new places, even hotel rooms are struggles, but finding your place in a home that’s already lived in fills you with dread. You look towards your personal knick knacks, for some comfort; books, candles, some picture frames, your favourite pillow and an ambient lamp you’ve had since you were 12, and feel a little more settled.

You’d take it a day at a time.

———

“Damn.” Morgan rubs a hand over his beard and slumps back against his chair. “This is…”

“… Really good.” Hotch concedes, flipping through the last few pages. “Inflammatory language which we’ll have to change but it’s pretty solid. Specific, well structured… I hate to admit it, but she’s good.”

Morgan smirks in the dim lighting. They’ve been in Hotch’s office for hours and it’s close to midnight now. “Y’know it wouldn’t kill you to cut her a little slack.”

“I beg to differ.” He sighs, checking his phone. Sleep hasn’t come knocking yet and he’s content to remain in the office for a while longer but when he checks the CCTV and sees you asleep on the couch in the main living room, he suddenly feels the urge to return home. “Let’s call it a night for now, but get me Mr Grant’s phone number. I think I’d like to speak with him before we move forward with this.”

“Yeah you got it.” Morgan’s eyes follow Hotch’s movements and he stifles another smirk. “You heading home to your new fiancée?”

“The number, Morgan.” He reminds him sternly.

When he gets home, the house is dark, save for a few lamps and the extractor light in the kitchen. The downstairs boxes still litter the entryway, albeit a lot fewer of them, but there’s still a considerable amount left to unpack and he bristles at the chaos in his home.

He likes to keep a clean and organised space.

After JJ and Garcia left three hours into packing because of a work emergency, you’d gotten changed into some sweats and tried to finish unloading everything, had ended up getting distracted by Modern Family and ultimately ended up asleep on the couch.

Hotch watches you with an indifferent expression, bothered by your peaceful disposition so he nudges you but you don’t stir. Instead, you burrow further into the couch cushion and make a noise of contentment which annoys him more. He tries nudging you again, harder this time, but you still don’t move. He places a large hand on your bare arm but stops when he makes contact with your skin, realising how cold you are, noticing only now, the goosebumps on your flesh.

He scans the living room and kitchen and the tornado-like debris scattered on the floor and curses under his breath.

Loosening his tie, he rolls his sleeves up and rolls you to the edge of the couch, and with a small grunt, maneuvers you so he can pick you up in his arms. You stir a little now, inhaling deeply as your eyes flutter open.

You’re barely coherent and murmur something along the lines of a command for him to put you down.

“Shut up.” He mutters. “Run for president,’ they said. ‘You’ll be the most powerful man in the world,’ they said. Got me fuckin’ playing serf, carrying people to bed.”

“What?” You mutter in your sleep.

“Nothin’.” He grunts, lying you down in your new bed. He pulls the comforter over you and watches you for a second, groaning again when you fall right back to sleep - almost envious of your ability to be such a deep sleeper.

Heading back downstairs, he makes quick, but petty work of unloading the remaining items, efficiently stowing things away in cupboards and drawers too high for you to reach.

“That’ll teach you. Do you need any help? No. Do you want to unpack yourself? Yes. And look at this, fucking 1:30am and I’m unpacking kitchen utensils for a preppy princess who’s three sheets to the fucking wind.” He mutters to himself. “A KitchenAid? Why the fuck do you need a KitchenAid, Sparky?” He grumbles, placing it inside a kitchen cupboard.

When his gaze falls to the juicer in the back of the same cupboard, he suddenly knows how to exact his revenge.

———

You’re dreaming about the Dwyer case when a jarring grinding noise yanks you from your sleep. Once you catch your breath, you rub the sleep from your eyes and step outside angrily, investigating the source of the noise. You’d realised you were in bed at some point last night, unsure of how or even when you’d gotten there, surmising that you must’ve been too tired to remember coming upstairs.

When you track down the origin of the noise, you’re met with Hotch in a crisp black suit at the kitchen island, juicing something green with a massive, unsettling smile on his face.

“Mornin’ sunshine! How’d you sleep?” He asks, turning the juicer off.

Your expression is vacantly angry and you stare at him. “It’s-“ He starts the juicer again, cutting you off.

“Sorry. You were saying.” He nods.

You open your mouth to speak but he repeats his earlier action again and then once more before you stomp your foot in indignantly at your sleep being disturbed.

“It’s 9am.” You groan.

“Yeah. Functional humans have been up for at least an hour. You’re welcome by the way.”

“For?”

“Unloading your shit last night.”

“I didn’t say thank you.” You correct him. He rubs a thumb over his bottom lip in a way you realise is a sign of his patience being tested. Brilliant. “Hey, was I in bed when you came back last night?”

It dawns on him that you don’t remember being carried to bed.

He inhales sharply and frowns, replying nonchalantly. “I don’t really pay attention to your whereabouts, ever. I’m a busy man.”

“You didn’t go rooting around my underwear drawer did you? Take my panties or anything?” You prod.

He looks you up and down. “Been there. Trust me I wasn’t impressed.” He lies.

His words feel like a slap in the face, but you can’t place why. You don’t value him or his opinion but his comment about your performance in bed and your physicality still stings. You cross your arms over your chest and jut out your chin defiantly.

“Then why has almost every interaction we’ve ever had resulted in you basically humping my leg like a dog?”

His eyes darken and flash with something wicked and he takes a step closer to you. You step back in tandem until your back digs into the countertop and the front of his tall, strong body cages you in.

“I’m a man of principle. And pride. All of this… aside from getting me to the White House… is to make me even. I don’t particularly care for you, but you leaving me tied to my bed four years ago isn’t really something I can forgive or forget.” A shiver runs down your spine. “And now that I have you under my roof, I’ll make sure I get even. I have the power in this. You’d do well to remember that.”

“And if I don’t?” You challenge.

His eyes sparkle with something, like he’s in on a secret. A smirk crosses his face for the briefest of moments before he steps back, jerking his chin towards you after taking a sip of the green sludge he’s still drinking. “Get ready. Mr Grant’s going to be here in an hour for a photo op to soft launch the bill.”

“What?! Why didn’t you wake me earlier?” You panic, smoothing over your hair. “I’m going to need some coffee.”

“Not a morning person, I take it?” He smirks.

He knows Mr Grant isn’t arriving until 1pm but he’s still getting his revenge by making you panic.

“Coffee… where’s your coffee maker?”

He takes another sip. “I don’t have one.”

“You- you don’t have one?” Your eyes widen. “You work the same hours I do, how do you not have a coffee maker?”

He shrugs, downing the rest of his slime. “God if you’re like this without coffee, I’d hate to see what you look like hopped up on caffeine.”

“Hotch-“

“Oh wait. You got a little something-“ He leans in close and smears the green sludge on your nose and cheek before leaving the kitchen and making you settle for black tea instead.

He does take sadistic pleasure in seeing you sweat but the next morning when you wake up - this time, without a whirring juicer as an alarm - you find a coffee maker on the kitchen island with a novelty bow and a note on top.

‘Consider decaf, Sparky.’

———

December:

“What colour?” Hotch mutters next to you in the car. You’re on your way home from another ‘date’ with Hotch and you spent the first twenty minutes of the drive on the phone with Thali and the next twenty arguing with Hotch.

Thali’s hospital rotations meant that you only had to watch Theo on Friday evenings and Saturdays, but her new rotation commencing in two weeks consists of weeknights, only two of which, her nanny is available for.

You reassure her that you can handle watching Theo and naturally, Hotch’s curiosity had spiked. You’d asked if you could vary the terms of your agreement so it allowed you to be in your own apartment on the nights you had to take Theo, but in his pig-headedness and need to lord one over on you, he refused.

His solution? Theo moves in, too.

“Why are you collecting my family members like infinity stones, why don’t you ask Thali and my parents to move in too? Complete the set?”

“I don’t know what that means, I’m not a freak. And no offence, but I’d rather chew my own arm off than live with your mother.”

“Watch it.” He’s only mirroring your sentiments but she’s your mother to chastise.

“Answer the question. What colour do we paint his room?”

You consider it for a moment. With no other alternative, it seems that this is the only way forward and having a familiar colour may help Theo settle in quicker. It’s what had allowed him to settle into your place too - that and the same room layout and decor.

But you don’t want Hotch doing you any favours, not when this entire relationship is transactional and based on who can get one over on whom. Theo is one thing you won’t compromise on.

You chew your cheek. “Fine. But this isn’t something you can hold over me, or cash in like we do with everything else.”

He blinks at you with an indiscernible look on his face. “No bullshit.” He reassures you.

You nod. “No bullshit.”

“Colour?”

“Laurel green. There isn’t a specific brand, you have to get it mixed, and he’ll need a particular bed and rug too. Bookcase as well.”

“Done.”

You’re still not able to thank him for anything, something about it feeling odd and wrong so you sit for a few minutes in surprisingly comfortable silence before he speaks.

“For the record, I would never use Theo as a bargaining chip.”

And you don’t know why, but you believe him.

———

A week later, Theo moves in. After a hectic few days of getting everything ready for him, making sure everything you sourced is either an exact or close enough match to what he’s familiar with, you show him his new part time abode.

And he loves it.

You laugh a little at his reaction and by the doorway, Aaron watches the little boy take in the walls and the bed with a smile.

When you show Theo downstairs, he’s not too happy, frowning at the empty living room and entryway.

“Christmas tree.”

It hits you then that with Hotch’s house essentially being a revolving door of the two of you being in and out, you’d completely forgotten about the holiday season. You’d never really decorated at your own place either, the holiday going largely uncelebrated and with the way that your new roommate had forgotten, you can safely assume he’s the same.

“… Oh sweetie. I don’t th-“

“Tree.” Theo repeats.

Hotch nods, rubbing his hands together. “Tree?” He asks Theo. Theo nods. “Alright! Then let’s go get a tree.”

You narrow your eyes waiting for the moment he reveals that it’s some kind of sick joke and you can sock him for making Theo feel bad. But it just doesn’t come. And when he starts putting his coat on and calling the driver, you realise he’s serious and for some reason that unsettles you more.

If only Theo was a little older, you could’ve used him to make Hotch do anything you wanted.

One Christmas tree and ten bags full of decorations later, you’re still as dumbfounded as you were before. The house staff help to put up the tree while you put Theo to sleep with promises that when he wakes up tomorrow, the tree will be waiting for him.

He goes to sleep with too much glee inside his tiny little body, practically vibrating. You find Hotch at the top of the bifurcated stairs, his elbows on the bannister as he watches staff decorate the 18 foot tree.

You mirror his stance and after a long pause, you say, “He’s my nephew.”

He looks at you from the corner of his eye. “Did I say he wasn’t?”

“No, but. I don’t want you to get too familiar with him.”

“He’s a good kid.”

“I know he is. But he gets attached. And when this hellscape is over, as glad as we’ll be, he’ll just be confused.” You let the words hang in the air, acutely aware that you’ve revealed too much of yourself and it makes your skin crawl. But you can’t help the words leaving your mouth. “He doesn’t deserve to have people leave him all the time.”

His chest pinches at that and he connects the dots that you’re probably talking about Theo’s dad. A part of him wants to ask what happened there, but he doesn’t want to overstep, nor does he want to show any interest that’s more than superficial.

Letting go of his own anger and grief isn’t something he’s ready to do.

So he settles for old faithful. Jerking his chin toward the staff downstairs, he says, “Shall I have them put some mistletoe up? Give you a re-enactment of the bar from four years ago?”

You sag in relief that he’s moving on from the heavier subject matter, and hip check him, giving him the finger as you walk away. “In your fucking dreams.”

———

Seven years.

Seven Christmases.

In the seven years since Haley’s death, he’s spent Christmas alone. The first two were spent in a drunken blur with old home movies and a bottle of bourbon, and every year after that he’d either buried himself in work or trolled the bars for lonely women in DC.

Now, in an act of deja vu he sits in your parents’ grand dining room in another uncomfortable silence with only the clattering of knives and forks to segment the awkwardness. After being forced to hear about your ‘engagement’ from somebody other than you, your parents thought it appropriate to engage in some family bonding, but the thing about certain families? Bonding doesn’t come easy.

Passive aggressive comments and jabs and quips about how important family are, are what come easy. After the initial awkwardness over the engagement and Thali crooning over the two of you and conveniently placing mistletoe in the entryway of every single room, you now sit in hushed togetherness to enjoy dinner.

“So, sweetheart, how's work?” Your father asks.

Hotch covertly watches you across the table as your demeanour changes. You’re still apprehensive and a little guarded, anxious for your parent's approval but your eyes sparkle a little and your shoulders relax.

“Really well, actually. Thanks for asking. I was assigned a pretty big case just recently, AG Racine asked for me personally.” You try to downplay it but your pride shines through.

You’re welcome, he thinks. But he thinks he’ll wait to play that card.

“Oh? That’s excellent, I’m glad to hear things are improving on the work front for you. And yourself, Aaron? I saw you met with…” your father looks to you for help.

“Mr Grant. Brandon Grant’s father.” You supply.

“Yes, Sir.” Hotch nods. “I mean we discussed what a terrible tragedy that was for the entire family, and what a loss it was for a single father to lose a young son to so much brutality. I wanted him to know that it didn’t go unnoticed and that we’ll keep fighting for him.”

“I see.” Your father muses.

Next to Hotch, Theo struggles with a potato and without thinking, Hotch leans over and cuts it for him, segmenting the rest of his vegetables too to make it easier. Your eyes narrow as you watch the interaction between the two, annoyance building in your stomach at how easily Theo warmed to him.

Your father watches the interaction too, and while he isn’t a man of very many words, he is astute, which is why you keep your expression unreadable. Your mother watches too with a less unreadable expression, her frustration evident.

“So, Thali tells me Theo moved in with you guys?” She asks.

“Not really.” You shake your head, trying to avoid the way you’re all barrelling towards an argument. “It’s a few nights a week while Thali has night shifts at the hospital.”

Your mother sighs, placing her knife and fork down. “All of this hard work and running yourself ragged, Thalia. Your father and I told you that the trust fund is still there, why not reconsider so you can stay at home with Theodore?”

You brace for impact. “Because I like working, mother.” Thali says. And because allowing your parents to control her financially would mean relinquishing control in other aspects too.

“Well. I still think you should reconsider. If not for anything else, think of your son.” Your mother warns.

Thali opens her mouth but you shake your head, telling her silently to let it go.

“I like living with uncle Aaron.” Theo’s small voice supplies and any and all animosity that was in the air dissipates like smoke.

Nope. Don’t like that. Uncle Aaron?

“Baby, you don’t have to call him uncle Aaron.” You say, panicking that he’s becoming attached.

“Hey! I like being Uncle Aaron.” Hotch’s face softens and he smiles, and for the first time since you’ve known him, this one you think might actually be genuine. He ruffles the top of Theo’s head. “I like living with you too, buddy.”

Nope. Don’t like that either.

You take a swig of wine to help Theo’s words go down easier but your mother’s less-than-astute observation makes you choke violently.

“Well. I suppose it’s good practice for when the two of you have children.”

“I agree.” Thali nods, leaning back in her seat. The only time she’ll ever join forces with your mother is if she needs to get one over on you.

Hotch laughs uncomfortably, scratching the back of his neck and your mother quirks an eyebrow at your reaction. “I didn’t say anything quite so shocking, I don’t know why you insist on making it a big deal. You’re engaged to be married are you not?”

“Yes, but-“

“Then it’s fine.” She concludes with finality and you just accept you need to let it go.

You’re not even married yet and you’re already looking for the fire exit, but children? With Hotch?

Not fucking likely.

———

Throughout the evening, Thali comes up with increasingly creative ways to get you and Hotch under some mistletoe, but something neither of you counted on was her enlisting her son to help.

Theo tells you he wants to play hide and seek and he wants you to find him, but the only way he’ll play is if you stand outside on the back veranda while he hides.

“Count to 100 and stay right here. Do not open your eyes.” He orders and with that, he leaves. A minute later, you hear shuffling and open your eyes to find Hotch standing next to you under the doorway arch of the veranda and the twinkling Christmas lights.

“Hello, future mother of my children.” He prods.

“According to my mother, but then again, I’ve never done anything she’s expected of me.”

“Prove her wrong this time?” He says, glib.

“I’d rather skin myself and take a salt scrub.”

“Ouch.” He says, stepping closer. You look him up and down in an expression that tells him to maintain his distance but he ignores you. “So listen, back at the house, I actually uh, got you a gift.”

You frown. “Oh?”

“Yeah.” He nods. “A juicer. I know how much you love the noise, so I figured you should have one of your own.”

Asshole.

“I actually got you something too.” You tell him earnestly. He raises his eyebrows. “Mhm. Yeah. I know how much you love aromatherapy so I got you a jumbo three-wick candle - orange blossom and vanilla.”

“Nicely played.” He runs his tongue along the inside of his cheek, and chuckles, tipping his head upward as he groans.

You both spot the mistletoe simultaneously and he regards you with a look that you can’t quite decipher fully, but it’s the look he gets whenever he gets dangerously close to you.

Remembering the comments he’d made when you’d first moved in about him holding all the power, and his sole reason for this entire thing being revenge, you decide to put his theory to the test and exact your own revenge.

You smile coyly, a breathless laugh leaving your lips. You flutter your eyelashes and hold his gaze that looks darker under the ambient lighting. Your eyes fall to his lips momentarily, your tongue wetting your own as you step forward slightly, looking up at the mistletoe again.

His guarded demeanour slowly melts away, you can tell by the way his shoulders relax and his eyebrows unfurrow, allowing you an unobstructed view of his dark eyelashes. Your feet almost touch now, and you release another breathless chuckle, your fingers playing with his tie.

“What are you doing?” He rasps, wrapping his hand around your wrist.

“I think it’s uh… tradition to kiss. Right?” You smile.

He holds your gaze, his face now flushed a little, his eyes hooded. He smells of sandalwood and feels so warm that you forget it’s freezing outside. You tug him forward gently by his tie, your gaze on his lips and slowly slide your hands up his abdomen and chest, allowing them to rest on his pectorals as you tiptoe to reach him.

Your lips inch closer to his, both of your eyes fluttering closed. You feel his hands on your hips now, thumbs brushing your sides and squeezing a little. Your lips barely brush against his, a hair’s breadth away from making contact and your eyes flutter open just slightly to take him in.

Bingo.

“You’re wrong.” You whisper, your lips zinging with electricity at the proximity. “Look how easy it is for me to get you where I want you. You think you have all the power in this. But you only have it because I let you have it.”

You step back quickly and without a second look in his direction, you leave him cold and confused at what just happened. His blood thrums, his lips tingle and his cock throbs at your words, but his mind works overtime to decipher if your words are true as he watches you retreat inside.

He doesn’t get a chance to ponder it too much, though. His phone rings, pulling him from his confusing internal conflict.

“JJ?”

“Turn on the TV. Barnes just announced.”

———

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