#rufus & errol

[medievalandfantasymelee]

THE HOT MEDIEVAL & FANTASY MEN MELEE

FIRST ROUND: 70th Tilt

Adhemar, Count of Anjou, A Knight's Tale (2001) VS. Robin Hood, The Adventures of Robin Hood (1938)

Propaganda

Adhemar, Count of Anjou, A Knight's Tale (2001) Portrayed by: Rufus Sewell Defeated Opponents: - Sir Bowen [Dennis Quaid], Dragonheart (1996)

“Okay, I get it, he's a terrible person. He cheats at jousting, he's mean to his herald, he ranks women somewhere below trophies and horses. But reader, I DON'T CARE. I can't help it. I admit that when I was younger (and perhaps more sensible) it was all about William/Ulric and his charming smile. But Adhemar... I would commit CRIMES for this man. Those eyes, the cheekbones, the glower! Do I think I could fix him? No. But, god, we could make each other worse!”

Robin Hood, The Adventures of Robin Hood (1938) Portrayed by: Errol Flynn Defeated Opponents: - High King Peter the Magnificent [Noah Huntley], The Chronicles of Narnia (2005-2010)

“In so many ways Errol Flynn is the blueprint for every Robin Hood that came after him—nobody should be able to make a cocky guy who laughs all the time likeable, yet Flynn brings so much charm you can't help but fall in love with him. He is truly a merry man, yet somehow not annoying, and his balance between caring deeply about the people affected by the taxes and his own lighthearted approach to life is just.... can anybody Robin Hood more than this Robin Hood? I don't think so.”

Additional Propaganda Under the Cut

Additional Propaganda

For Count Adhemar:

For Robin Hood:

“Look, I'm going to say it: we wouldn't have most of the men and media properties in this tournament if it weren't for Errol Flynn, his weaponizable charm, and the way his thighs look in tights.”

(+ Bonus Will Scarlett)

[sheetmusiclibrarypdf]

Kenny Barron - New York Attitude (1984) Jazz

Kenny Barron - New York Attitude (1984) Jazz Please, subscribe to our Library. Thank you!Tracks: Kenny Barron. "The poetry of the piano" (Jazz) Best Sheet Music download from our Library. A long and intense journey: musical biographyGenerous educator

Kenny Barron - New York Attitude (1984) Jazz

https://www.youtube.com/watch?v=Qsxrr90ChPw Tracks: 1 New York Attitude 00:00 2 Embraceable You, Take 2 06:00 3 Joanne Julia 11:51 4 My One Sin 17:31 5 Bemsha Swing 22:56 6 Autumn In New York 29:49 7 Lemuria 37:51 8 You Don't Know What Love Is 43:03 9 Embraceable You, Take 1 49:32 Credits: Bass – Rufus Reid Drums – Frederick Waits Piano – Kenny Barron Recorded December 14, 1984 at Van Gelder Recording Studios, Englewood Cliffs, N.J.

Kenny Barron. "The poetry of the piano" (Jazz)

For a jazz pianist, facing the piano face to face is an intense exercise in reflection, a reckoning with his baggage in music, a profound internalization process and, above all, a conversation with himself or Conversations with Myself (Verve, 1963), the famous album by Bill Evans, the jazz impressionist, an experience that he would repeat on albums such as Further Conversations with Myself (Verve, 1967), Alone (Verve, 1968), Alone Again (Fantasy, 1975) or New Conversations (Warner, 1978).

Keith Jarrett, a great fan of this kind of face to face with the piano to the point that it could be said that it was his usual mode of expression, has left us excellent albums, among others, The Köln Concert (ECM, 1975), the monumental Sun Bear Concert (ECM, 1978) or the recent Budapest Concert (ECM, 2020) recorded in 2016.

But this tour de force in front of the piano has a rich tradition in the history of jazz and all the great pianists walked this solitary path that allows an inner exploration with infinite possibilities, a continuous process of improvisation in which the usual question / answer happens in the limitless imagination of the musician. Just a few examples of pianists who throughout the history of jazz plunged into the creative solitude of the solo piano. The recognized virtuoso and master of all those who came after Art Tatum in the compilation Piano Solo (Capitol, 1972) that includes various sessions from 1949 —memorable version of Dvořák's “Humoresque”—or in the series The Tatun Solo Masterpieces Vol 1 (Pablo , 1953). He also did numerous takes on the great Fats Waller collected on the Fats Waller Memorial 5 Lps Casket (RCA Victor, 1969). Bud Powell, seminal foundation of bebop and modern jazz on numerous tracks on The Genius of Bud Powell (Mercury, 1956). Another of the basic pillars of modernity like Thelonious Monk in albums like Solo Monk (Columbia, 1965) or Piano Solo (Vogue, 1954). Mainstream pianists ( also wanted to confront themselves in solo dialogue: Mal Waldron — Searching in Grenoble: The 1978 Solo Piano Tompkins Square, 2022) or All Alone (GTA Records, 1966) —, the elegant and lyrical Tommy Flanagan — Solo Piano (Storyville, 1974) or In His Own Sweet Time (Enja, 2020) recording rescued from a concert at the German town of Neubur in 1994; Kenny Drew, Everything I Love. Solo Piano (SteepleChase, 1973); Ray Bryant, Alone with the Blues (New Jazz, 1958); Errol Garner in the series for Decca, Errol Garner playing Piano Solos or Hank Jones, Have You Met Hank Jones (Savoy, 1956) are just a few examples. But also contemporary pianists like Paul Bley, Solo Piano (SteepleChase, 1988); Fred Hersch —the triple album Songs without Words (Nonesuch, 2001) and Solo Piano (Palmeto, 2015)—; Brad Mehldau, Solo piano. Live in Tokyo (Nonesuch, 2004); Marc Copland, John (Illusions Mirage, 2020), tribute to guitarist John Abercrombie who died during the pandemic or the historic German pianist Joachim Kühn, Touch the Light (ACT, 2021) reviewed his jazz musical influences but also classical and pop music and nationally pianists such as Tete Montoliou, Solo piano (Timeless, 1989) compilation of the albums Y yellow Dolphin Street (1977) and Catalonian Folksongs (1978) or the young and versatile Marco Mezquida, La hora fertile (Whatabout Music, 2013), among many others.

And the great Barry Harris, custodian and champion of the bop tradition, could not be missing from this brief account —some consider it a kind of compendium of three of the most influential representatives of modern jazz: Parker, Monk and Powell and a renowned educator of jazz. so many talents that in albums like Listen to Barry Harris: Solo Piano (Riverside, 1961) or the most recent Solo (September, 1990) recorded in the Dutch Studio 44 and in which he makes an extensive tour of the modern jazz tradition through 15 songs, three originals (That Secret Place, So Far, So Good and Tribute to the Duke), readings by Monk (Monks Mood, Ruby my Dear and Blue Monk), by Powell (Hallucinations) and well-known classics by Rodgers, Youmans, Kern or Noble. Harris precisely quoted Kenny Barron when asked about a young pianist he liked, they insisted on being young and reiterated, "Barron, of course!" Finding out soon after, Kenny was pleased that he will think of him as a young pianist, "even though I'm my years now, even though Barry is a lot older than me." Together they led the great album Confirmation (Candid, 1992) as a quartet with Ray Drummond and Ben Riley in the rhythm section, a gathering of teachers recorded at the Riverside Park Arts Festival on September 1, 1991. Facing the piano alone could well be that feeling of “feeling that you are in the zone , a special place where everything works, heart, mind and technique”, as Fred Hersch wrote in the Solo album liner notes . And, of course, Kenny Barron wanted and knew how to sink in front of the lacquered mirror of the piano, with all the respect that a dialogue of such magnitude implies: «The solo piano has always scared me. That is number one. But the only way to deal with it is to deal with it, you know! It's an opportunity for me to challenge myself at every concert and, at the same time, be aware that I'm not Art Tatum. Because sometimes that's in the back of your mind. At the human level. Maybe I'm not doing enough. Maybe I'm not bright enough. That's still on your mind. So I'm trying to get to the point where that's like a noise I can forget about. Don't even worry about it. Worrying about that kind of thing, or how to stop worrying about it. But then again, the only way to stop worrying about it is to face it all the time. Just tell my story, whatever it is. And I think people respond, if you're honest." Interview by Peter Hum, Ottawa Citizen (06.20.2017)

An impressive number of recorded albums —“about 500 as accompanist, or maybe 400”, he once said, and fifty as leader or co-leader—… and yet it is surprising that he has only recorded two solo piano and forty years apart. The first, At the Piano (Xanadu, 1982), includes an excellent mixture of jazz classics and originals that, then, when he was in his forties, were part of his musical spirit baggage. Seven songs for his solo piano debut, three of his own —“Bud-Like” as a tribute to the seminal Bud Powell, the rapturous “Calypso”, perhaps a Rollian wink and a memorable “Enchanted Flower”— and the rest are a must. Fulfillment for any pianist, the timeless ballad “Body and Soul”, the necessary Ellington-Strayhorn path in “The Star-Crossed Lovers” and, of course, Monk, another of his great influences: “Misterioso” and “Rhythm-a-Ning”. ”. High point, then, in his recording career, Robert Taylor pointed out in Allmusic . Now, at eighty and forty years later and, perhaps, in a sort of reckoning or testimonial legacy, The Source (Artwork, 2023) leaves us, recorded in July 2022 at the Theater de L'Athénée Lousi Jovert from Paris. As in At the Piano, it includes well-known own compositions —“What If”, “Dolores Street”, “Sunshower” and “Phantoms”), readings by Monk (“Teo”, “Well You Needn't”), revisits the Ellington-Strayhorn duo (“Isfahan,” “Daydream”) and a Great American Songbook classic (“I'm Confessin'”). On both albums, Barron establishes a lively connection with the listener to offer a musical discourse that is not forced, oblivious to any sense of pretense, in order to navigate various stylistic currents with the utmost elegance and virtuosity —from straight ahead jazz, classics, blues , bossa nova and even free improvisation—which attest to why he is considered one of the masters of jazz in history. "Album that could have been titled Kenny Barron: All The Things You Are ", Ed Enright has written in Downbeat (January 2023)... Indeed, everything that is.

A long and intense journey: musical biography

Eighty years old is Kenny Barron (Philadelphia, Pennsylvania, 1943). He began playing the piano at the age of six — "it was compulsory at home and my mother made me study classical piano until I was 16" — among his teachers, Vera, the sister of Ray Bryant, also a pianist and a native of Philadelphia, a prodigal city in jazzmen : Benny Golson, Tommy Bryant, Philly Joe Jones, Bobby Timmons, Archie Shepp, Lee Morgan, Hank Mobley, among others. See the good ear or that he was good at it... «I became interested in jazz thanks to my brother Bill, a saxophonist, who had records by Charlie Parker, Dizzy, Dexter Gordon... And in Philadelphia there was also a 24-hour jazz station. My brother took me to my first concert with his band when he was 14 and we played standards and pieces from the big bands. Then I moved to New York in 1961, which was a fantastic place at the time. That's how it all started." While still in high school he worked with drummer Philly Joe Jones. And at the age of 19 he moved to New York starting a dizzying career as a freelance , accompanying musicians such as drummer Roy Haynes, trumpeter Lee Morgan or flutist and tenor sax player James Moody, after he heard him play at the Five Spot. Requested musician condition that he attributes: «They call me because I can play well, empathy and the interpretation that one makes of the musical intentions of others also influences, I try to make everything easy, or so I think» Key to his career was his entry in 1962 into trumpeter Dizzy Gillespie's band on the recommendation of James Moody and without Dizzy hearing him play a single note. With Dizzy, in whose group he spent four years, he absorbed and developed a great knowledge and experience of the jazz language as well as an appreciation for Latin and Caribbean rhythms that he would later reflect on albums like Sambao or Canta Brasil . «I joined his band at the age of 19, what am I going to say, he was a great human being and one of the greatest learning experiences I have had . Foremost, Dizzy was very easy to get along with. He wasn't a dictatorial boss type, just a really nice guy. And he was very generous with his knowledge. He knew a lot about chords and harmony, and he was very generous. He always shared. 'Why don't you try expressing this chord this way?' He taught me things on the piano. And some nights, if the last set wasn't full, he'd get me off the piano and play a song or two with Moody. He wasn't a great soloist, but he did know the voices and things like that. And he also knew a lot about rhythms, especially Brazilian rhythms and Latin rhythms, and where they came from. What region of Cuba or what region of Brazil. And also nonmusical things about how to treat people. He always treated people with the utmost respect. In the four years that I was with him, I never saw him get angry. After leaving Gillespie's band, he worked with Freddie Hubbard, Stanley Turrentine, Milt Jackson and Buddy Rich. In the early 1970s, Kenny worked with the great saxophonist Yusef Lateef, whom Kenny credits as a key influence on his improvisational art. I knew Lateef from before, when he was still living in Philadelphia and with whom he had just finished high school, he played several concerts and contributed, not as a performer but as a composer and arranger, to their album The Centaur and the Phoenix (Riverside, 1960) with the original “Revelation” and an arrangement of the standard “Ev'ry Day (I Fall in Love)”. It was Lateef who encouraged him to combine touring with a college education, earning a degree in music from Empire State College (New York). This is how Kenny spoke of Lateef: "He was honest. When he said something, you could believe it. Musically, it was open and very liberating. He was not specific with the instructions. Just be on time and no drugs." His recording debut took place with the album The Tenor Styling of Bill Barron (Savoy, 1961) directed by his brother Bill and which included also with the trumpeter Ted Carson, the bassist Jimmy Garrison and the drummer Frankie Dunlop who was followed by others along with his brother such as Modern Windows or Hot Line . About his brother (1927-1989): «My brother and I used to talk about music. He wasn't a pianist, so he couldn't teach me piano. But we talk a lot about music. We talked about some of the concepts of him and who he liked. He leaned a bit more to the left , in the sense that he liked Cecil Taylor, classical composers like Webern and Stockhausen. So he was into some experimental stuff. That was his musical inclination ». A year of great independent recording activity was 1967. He co-directed the album You Had Better Listen with trumpeter Jimmy Owens and participated in recordings with trumpeter Freddie Hubbard and saxophonists Joe Henderson, Stanley Turrentine, Tyrone Washington, Booker Ervin and Eric Kloss. His ever-expanding discography continued to expand into the '70s, featuring sessions with saxophonists and flutists such as Moody and Lateef, bassists Ron Carter and Buster Williams as well as musicians such as Carl Grubbs, Marion Brown and Marvin 'Hannibal' Peterson. Throughout the 1970s he continued to work regularly with prominent musicians, broadening the stylistic range of his collaborations—Stan Getz, Chico Freeman, violinist John Blake, trombonist and singer Ray Anderson, and drummer Elvin Jones.

It was also the decade that marked the beginning of his career as a leader. Sunset to Dawn (Muse, 1973) their album His debut as a leader featured, among others, bassist Bob Cranshaw and drummer Freddie Waits and his own compositions such as “Sunset” or “Dolores Street”. It was followed by albums such as Peruvian Blue (Muse, 1974), Lucifer (Muse, 1975), Innocence (Wolf Records, 1978) or Togheter (Denon, 1979) in a duet with pianist Tommy Flanagan and in which both maestros interpret six jazz classics. with a language loaded with swing and moments of improvisational brilliance. For Kenny Barron, Tommy Flanagan (1930-2001) was one of his great influences: "My biggest influence was actually Tommy Flanagan, who I first heard during high school on a recording. What got me about Tommy was his touch and his lyricism, those two things. He had this very light, delicate touch, and when he touched it it was very, very logical. It was like speaking in sentences, with punctuation and all. That was my biggest influence. And then I discovered the influence of him, Hank Jones. So that particular style, that's what got me." During the eighties he maintained his intense activity, touring and collaborating with other musicians and publishing twenty albums in various formats, among others, his first recording on solo piano — At the Piano (Xanadu, 1982) —; a duet with bassist Buster Williams — Two As One. Live at Umbria Jazz (Red Record, 1987) and with Red Mitchell — The Red Barron Duo (Storyville, 1988)— Also a duo but alternating on double bass Ron Carter and Michael Moore — 1+1+1 (Blackhawk Records, 1986); a trio in Autumn in New York (Uptown, 1985) with Rufus Reid and Frederick Waits; in Scratch (Enja, 1985) with Dave Holland and Daniel Humair or in Landscape (Baystate, 1985) with Cecil McBee and Al Foster. In the excellent Whatat If? (Enja, 1986) he performed as a quintet with trumpeter Wallace Roney, tenor sax player John Stubblefield, and Cecil McBee and Victor Lewis in the rhythm section including originals like "Phantoms," "What If?" or "Voyage." He also founded the Sphere quartet with tenor saxophone Charlie Rouse, Buster Williams and Ben Riley, whose objective was to celebrate the music of Thelonius Monk and which remained active until Rouse's death in 1988, publishing albums such as Four in One (Elektra , 1982 ), whose recording coincided by chance with the day of Monk's death and therefore was not planned as a commemorative tribute and in which they perform outstanding readings of Monk's classics. It was followed by albums in which, although they do not cover Monk, their spirit is present, such as Flight Path , Sphere on Tour, Pumpkin's Delight , Four for All and Bird Songs released the same year as Charlie Rouse's death. The group met again with the alto sax Gary Bartz publishing the album Sphere (Verve, 1997). Read the full article

[chi-capricorni]

𝕋𝕙𝕖 ℕ𝕚𝕘𝕙𝕥 𝕄𝕒𝕟𝕒𝕘𝕖𝕣 — A quick gif set for the Hotel AU for Rufus & Errol. @morningstar3199 Nothing special just wanted to throw it together while I had those Tom Gifs saved. I was going to hunt down Hotel specific gifs but uh...still trying to maneuver the gif formatting on this site.

This was originally for a re-casting of the movie ‘The Guest’ with Tom as Dan’s character from the original. I’ve always wanted him to play a truly unhinged character, even when a character he’s playing does wrong he still has a timidness about him and I would LOVE to see him throw that away and just be entirely batshit.

[blaydiud]

𝐀𝐥𝐥 𝐢𝐬 𝐰𝐞𝐥𝐥 𝐢𝐧 𝐅𝐡𝐢𝐫𝐝𝐢𝐚𝐝.

Among the last documents the prince received before he left for Fort Merceus, there were a few hailing from the Sorcery School of Fhirdiad, reporting about missing students as well as others completely encased in a strange type of ice. Dimitri wished to look more into it, but another team had been assigned to manage the situation- he trusted them. His fellow classmates in the Officers’ Academy were skilled and brave people, he knew they’d do a great job in finding out what was happening in his hometown. 

Dimitri marched towards Merceus with an easy mind.

The prince returned to piles upon piles of letters and reports from the Kingdom, nearly all of them about or from the Sorcery School. On top of the pile, a letter from his uncle.

You should come to Fhirdiad as soon as you’re able to, kid. Even if it’s just for two days.

Your friends did what they could.

-Rufus K. Blaiddyd.

Multiple dead, some unable to recover, crest beasts and other monsters.

A series of funerals. 

A series of funerals. 

All dead, one struggling to recover, the only monsters were people.

A series of funerals and only one present to take stories home.

The reflection of a weapon he saw in Errol’s terrified eyes, he remembers looking up to the same sight. A boy with all of his allies dead, hurt and scared- the Sorcery School shall halt its activities temporarily so that families may grieve.

The Goddess must find this so funny and entertaining.

The country said to be the Church’s main ally, gracefully accepting the title of “holy” in its name. Ever so faithful and diligent to Her rule, Faerghus survived through blood and prayer. The Goddess wanted more, however- because if not, then why? Why all of this? Why take more lives, why make things even more difficult? Is she mocking the people’s prayers, laughing at their tears as they kneel before her image in hopes for a tomorrow that’s more bearable? Is it not enough?

Ravaged by plague and disease, by frost and unforgiving winter, by beasts and warriors of the north. Death breathes against the holy land’s neck.

Dimitri remembers Audovera, again. Made from the Sword of Seiros’ image, the ultimate symbol of the Church’s rule and power. A weapon of the Goddess. Ironically, Audovera meant cruelty. He wonders if they were meant to serve as two sides of the same coin, but he wasn’t like Seiros. Where Seiros was a figure of the Goddess, Dimitri was…

A toy, probably. A toy running around, trying to help his people and grant them at least a single day of peace, only for the Goddess to knock some pieces down and force him to restart again, and again. A toy that only wields a mocking fake of the Sword of the Goddess, one that only hurts and inflicts fear.

He remembers Errol’s dying whimpers. He imagines what the students of the Sorcery School went through.

It was heresy, but the prince imagined how it must feel to clash blades with the Sword of Seiros. To force it to bend and break, to lift its pieces to the sky and show it to Her. You hurt me, so now I want to hurt you too.

Writing a letter announcing his return to Fhirdiad due to the Church’s new missions, Dimitri finished it with ten quills broken on the floor.

[hngrylikethewoolf]

Puppy Parent Potential || canis rufus

@thehuntress-rose

When Errol had come into the precinct that morning, he had not expected any visitors. It was why he’d brought Delilah with him. She slept at his feet now, beneath his desk, head on her paws, soft snores filling between the silences of his pen scratching against paper. He had reports to file for a recent high-profile arrest at the western edge of the county, one that he had been pulled into the loop of by way of Zoom meetings, phone calls, copies files and any other snippet of information Meara and Anthony could give him. 

Sometimes, it was hard acting as high sheriff, working here on consultation and supervisory purposes while the county office was bounding around the countryside. He missed it, some days, but some day she did not; some days, he didn’t mind having to shove his go-bag to the back of his closet, forgotten until the next time he had to pick up roots and leave once more. It had been two years. He almost hoped that it wouldn’t change. Almost. 

A knock at his door sounded and Errol glanced up, waving Shera in with a smile. “G’mornin’ Shera. What can I do fer ye?”

“There’s a young lady here to speak with you, sheriff,” she said, all business like after returning his grin with one of her own. “Said she’s here to speak with you about a...puppy?” At the utterance of the ‘P-Word,’ Delilah’s head perked up, nearly knocking into his knee, her tail thumping wildly against the side of his desk. Errol chuckled and nodded his head, waving to have the girl let through.

[theloniousbach]

A Listener’s Journal #24: The Jazz Piano Trio in the 1950s, Pt. 3: Monk in Context

I started this (probably) three part series thinking about how Bud Powell, Oscar Peterson, Errol Garner, and Ahmad Jamal (and, Nat King Cole, I was reminded after the fact) helped create the piano/bass/drums but sometimes early on guitar trio as a fixture in jazz.  Art Tatum's virtuosity and embellishment was an influence as these players built a repertoire around the Great American Songbook.

Part 2 looked at Miles's '50s pianists--Red Garland, Wynton Kelly, and Bill Evans with Ahmad Jamal's space and taste as formative on Miles and influential on these players.

Now, I happily think about Thelonious Monk again, in relation to his friends Bud Powell and Elmo Hope along with the under appreciated Herbie Nichols.  These are composers, mostly, and I'll focus on Powell's "Un Poco Loco," Hope's "B's a Plenty," and Nichol's "Shuffle Montgomery."  The Monk trio work includes his original Blue Note 10" recordings recently rereleased, a '65 Columbia date, and two anomalous Riverside discs, one devoted to Ellington tunes and the other of standards.  The anomalies are chances to explore just how he conceived of tunes, the de/re- construction of standards sheds light on the ones he built himself.  

Monk's compositional logic is one of the more immediate rewards of my "listener's piano" exercises which I've reinitiated after a hiatus that began in the summer.  I have been playing much more guitar, in part spurred on by what I had been doing with the piano.  I return to the keyboard with a clearer sense on how to learn music.  "Well You Needn't" was where I started with an A part modulating from F6 to Gfl 6 with a nifty little repeated figure and a bridge with a figure that moves in half steps from G7 to B7 and back down.  I want to return to "Misterioso" which similarly takes a pattern up and down by steps to reinforce my wonder at the sheer logic of Monk's music,  It sounded so fresh, so magical, and so unlike anyone else, that it is a revelation to have even a small sense of how it works.  And how it works is as fascinatingly logical as JS Bach; making my theloniousbach sobriquet even more appropriate than I imagined.

But, it's equally true that Monk didn't exist in a vacuum--and listening to him in relation to these comrades has suggested some context.

Bud Powell is a giant, a mighty improviser who stood his ground with Charlie Parker.  A subsequent Listener's Journal with think about those two with Milt Jackson and Clifford Brown as consummate players (it will be hard to resist calling it "Bird, Bud, Bags, and Brownine").  He plays more covers than the others as he gobbles up improvisational vehicles.  But, his "Un Poco Loco" has a Latin rhythmic feel and Monkish angularity.  It's busier than Monk (nearly everybody is.  Monk can and does play, but his genius is that he's brave enough to let his compositions stand in their stark simplicity.), but it is nicely off kilter and of course he has a flurry of ideas about what to do with it.  Powell was Monk's friend and honored by the contrefactual of "Blue Skies," "In Walked Bud."  They were bebop veterans together, peers.

Elmo Hope was friends with both of them and can be seen as a synthesis of both of them.  That is, he is a fluid, adept player who deftly incorporates Monk's wonderful angles and discords.  He bears serious attention and I have welcomed this opportunity to listen to him closely in this context.  His "B's a Plenty" kicks off his self-titled album.  It's a jaunty bit of virtuosity, a prime example of being the proud little brother of Monk and Powell.  That would be enough except the wonderful little shards of phrases of at least "In Walked Bud" which perfectly makes the point.  It's busier than Monk, but then it's supposed to be.  It's also more than just Bud Powell lite.  His fluidity, invention, and skill deserve their own attention.

Finally, there's the even more undersung  Herbie Nichols who came to my attention years ago in AB Spellman's Four Lives in the Bebop Business.  Just as in this context, he was lesser known than Ornette Coleman, Cecil Taylor, and Jackie McLean.  His portrayal of Coleman as fiercely innocent was formative and Taylor's equally fierce intelligence was vivid.  McLean probably had the most contemporary success yet had that snatched from his too.  Nichols though was perhaps the most tragic figure.  He played the gigs he could, never quite in the mainstream (or perhaps they were too mainstream and old-fashioned).  In any case, his curious (and quite wonderful compositions) never got their due.  There are 4 Blue Note discs, but these tunes really didn't get played until Rosewell Rudd, Steve Lacy, and thenBen Allison and Frank Kimbrough (who in 2018 also did a wonderful survey of all 70 Monk compositions with Scott Robinson, Rufus Reid, and Billy Drummond) did a couple of albums with a quintet as the Herbie Nichols Project which also incorporated manuscripts that were never even recorded.  The exception that proves the rule is that Nichol's wrote the signature Billie Holiday song "Lady Sings the Blues."

Nichols is a thoughtful composer who creates nifty little puzzles to work through.  They are smart but not simply head trips.  "2300 Skidoo" and, for my purposes, "Shuffle Montgomery" have catchy but quirky melodies that sneak up on the listener.  He's a fine player and these albums are appealing, but the emphasis is on the compositions.  Monk recorded several versions of his tunes and that made the individual performances interesting as we got to compare sax players (oh what sax players), arrangements, rhythm sections.  If Monk had only been able to record one version of his tunes, we'd delight in them as compositions and wonder at the piano technique behind them.  Nichols isn't nearly as idiosyncratic as Monk as both pianist and composer, but, insofar as I think I know the dancer from the dance, in Nichol's it's the compositions.  But those are way more than enough to seek out these recordings on their own and in worthy juxtaposition to Powell, Hope, and Monk himself.

The piano trio came of age in the 1950s.  Getting to listen to all of these players chronicled in these three linked essays have secured them in my regular attention in this defiinitive idiom.

[soulbounce]

【衝撃】ユニバーサル火災でマスターテープが焼失したアーティスト一覧

他の国にマスターのコピーがあることを祈ります。 38 Special 50 Cent Colonel Abrams Johnny Ace Bryan Adams Nat Adderley Aerosmith Rhett Akins Manny Albam Lorez Alexandria Gary Allan Red Allen Steve Allen The Ames Brothers Gene Ammons Bill Anderson Jimmy Anderson John Anderson The Andrews Sisters Lee Andrews & the Hearts Paul Anka Adam Ant Toni Arden Joan Armatrading Louis Armstrong Asia Asleep at the Wheel Audioslave Patti Austin Average White Band Hoyt Axton Albert Ayler Burt Bacharach Joan Baez Razzy Bailey Chet Baker Florence Ballard Hank Ballard Gato Barbieri Baja Marimba Band Len Barry Count Basie Fontella Bass The Beat Farmers Sidney Bechet and His Orchestra Beck Captain Beefheart Archie Bell & the Drells Vincent Bell Bell Biv Devoe Louie Bellson Don Bennett Joe Bennett and the Sparkletones David Benoit George Benson Berlin Elmer Bernstein and His Orchestra Chuck Berry Nuno Bettencourt Stephen Bishop Blackstreet Art Blakey Hal Blaine Bobby (Blue) Bland Mary J. 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Thomas Irma Thomas Rufus Thomas Hank Thompson Lucky Thompson Big Mama Thornton Three Dog Night The Three Stooges Tiffany Mel Tillis Tommy & the Tom Toms Mel Torme The Tragically Hip The Trapp Family Singers Ralph Tresvant Ernest Tubb The Tubes Tanya Tucker Tommy Tucker The Tune Weavers Ike Turner Stanley Turrentine Conway Twitty McCoy Tyner Phil Upchurch Michael Utley Leroy Van Dyke Gino Vannelli Van Zant Billy Vaughan Suzanne Vega Vega Brothers Veruca Salt The Vibrations Bobby Vinton Voivod Porter Wagoner The Waikikis Rufus Wainwright Rick Wakeman Jerry Jeff Walker The Wallflowers Joe Walsh Wang Chung Clara Ward Warrior Soul Washboard Sam Was (Not Was) War Justine Washington The Watchmen Muddy Waters Jody Watley Johnny “Guitar” Watson The Weavers The Dream Weavers Ben Webster Weezer We Five George Wein Lenny Welch Lawrence Welk Kitty Wells Mae West Barry White Michael White Slappy White Whitesnake White Zombie The Who Whycliffe Kim Wilde Don Williams Jody Williams John Williams Larry Williams Lenny Williams Leona Williams Paul Williams Roger Williams Sonny Boy Williamson Walter Winchell Kai Winding Johnny Winter Wishbone Ash Jimmy Witherspoon Howlin’ Wolf Bobby Womack Lee Ann Womack Phil Woods Wrecks-N-Effect O.V. Wright Bill Wyman Rusty York Faron Young Neil Young Young Black Teenagers Y & T Rob Zombie

[ao3feed-snape]

The Serpent and the Star

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by croissant219

The Order of the Phoenix failed to protect the infant Harry Potter against the greatest Dark Lord of all Time, Lord Voldemort himself. It fell to Harry's mother to protect him instead.

Many years after the night that gave birth to the "Boy Who Lived", the world is very different for a magically oblivious Harry Potter, but a new darkness is rising, and some believe only Harry can stop them.

THIS WILL BE A VERY LONG STORY. Like, 1,000,000 + words, so strap-in!

Words: 2236, Chapters: 2/?, Language: English

Fandoms: Harry Potter - J. K. Rowling

Rating: Mature

Warnings: Creator Chose Not To Use Archive Warnings

Categories: F/M

Characters: Harry Potter, Hermione Granger, Dean Thomas, Ginny Weasley, Luna Lovegood, Ron Weasley, Neville Longbottom, Pansy Parkinson, Albus Dumbledore, Tom Riddle | Voldemort, Severus Snape, Lily Evans Potter, James Potter, Rubeus Hagrid, Quirinus Quirrell, Poppy Pomfrey, Pomona Sprout, Cedric Diggory, Viktor Krum, Arthur Weasley, Molly Weasley, Fred Weasley, George Weasley, Nagini (Harry Potter), Nearly Headless Nick, Norbert | Norberta (Harry Potter), Magorian, Kreacher (Harry Potter), Hedwig (Harry Potter), Griphook (Harry Potter), Fluffy (Harry Potter), Firenze (Harry Potter), Fawkes (Harry Potter), The Fat Friar (Harry Potter), The Fat Lady (Harry Potter), Errol (Harry Potter), Dobby (Harry Potter), Crookshanks (Harry Potter), Buckbeak (Harry Potter), The Bloody Baron (Harry Potter), Beedle the Bard (Harry Potter), Bane (Harry Potter), Aragog (Harry Potter), Bathilda Bagshot, Katie Bell, Sirius Black, Amelia Bones, Susan Bones, Lavender Brown, Frank Bryce, Alecto Carrow, Amycus Carrow, Cho Chang, Vincent Crabbe, Gregory Goyle, Draco Malfoy, Colin Creevey, Bartemius Crouch Jr., Bartemius Crouch Sr., Fleur Delacour, Gabrielle Delacour, Dedalus Diggle, Amos Diggory, Elphias Doge, Antonin Dolohov, Aberforth Dumbledore, Ariana Dumbledore, Dudley Dursley, Marge Dursley, Petunia Evans Dursley, Vernon Dursley, Arabella Figg, Argus Filch, Justin Finch-Fletchley, Seamus Finnigan, Nicolas Flamel (Harry Potter), Mundungus Fletcher, Filius Flitwick, Cornelius Fudge, Marvolo Gaunt, Merope Gaunt, Morfin Gaunt, Fenrir Greyback, Gellert Grindelwald, Godric Gryffindor, Rolanda Hooch, Helga Hufflepuff, Angelina Johnson, Lee Jordan, Igor Karkaroff, Bellatrix Black Lestrange, Gilderoy Lockhart, Alice Longbottom, Frank Longbottom, Xenophilius Lovegood, Remus Lupin, Lucius Malfoy, Narcissa Black Malfoy, Olympe Maxime, Minerva McGonagall, Alastor "Mad-Eye" Moody, Garrick Ollivander, Padma Patil, Parvati Patil, Peter Pettigrew, Antioch Peverell, Cadmus Peverell, Ignotus Peverell, Helena Ravenclaw, Rowena Ravenclaw, Newt Scamander, Rufus Scrimgeour, Kingsley Shacklebolt, Rita Skeeter, Horace Slughorn, Salazar Slytherin, Andromeda Tonks, Nymphadora Tonks, Ted Tonks, Sybill Trelawney, Dolores Umbridge, Moaning Myrtle, Bill Weasley, Charlie Weasley, Percy Weasley, Oliver Wood, Merlin (Harry Potter)

Relationships: Hermione Granger/Harry Potter, Dean Thomas/Ginny Weasley, Luna Lovegood/Ron Weasley, Neville Longbottom/Pansy Parkinson, Minor or Background Relationship(s)

Additional Tags: Alternate Universe - Canon Divergence, Romance, Action, Adventure, Canon-Typical Violence, Fantastic Racism, Quidditch, Love, Falling In Love, Bullying, Violence, Friendship, Multiple Pairings, Explicit Language, Implied/Referenced Child Abuse, Hurt/Comfort, Trust Issues, Death, Romance is a big part of the story, Slow Build

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[pittarchives]

In a night of stars, Garner sparkles in his support of the NAACP

This post was written by Warner Sabio Sr., Graduate Student, Jazz Studies, University of Pittsburgh.

On Monday, March 23, 1953, Erroll Garner took part in a star-studded affair held at New York City’s Madison Square Garden. The event was the NAACP’s Second Annual “Big Nite,” which featured a host of artists from cinema, TV, radio, and theater. Joining Garner and his trio were Lena Horne, Cab Calloway, W.C. Handy, Ossie Davis, Eartha Kitt, the Nicholas Brothers, Danny Thomas, Ed Sullivan, Imogene Coca, and Pearl Primus, along with other entertainers that came together to raise money for the organization.[1] According to the Amsterdam News, the arena was filled with 10,000 supporters and well-wishers surrounded by large banners announcing, “FOR A FREE AMERICA,” “JIM CROW MUST GO … NOW.”

On July 13, 1953, Rufus W. Smith, chairman of the Madison Square Garden Benefit, wrote to Garner, in care of Martha Glaser, thanking him for his performance and donation. Smith stated, “Your participation in our Second Annual Madison Square Garden Benefit was indeed an enjoyable occasion to the thousands present. Your performance was a highlight to the occasion.”

Image from folder “Erroll Garner Personal,” Erroll Garner Archive, 1942-2010, Box 3, Folder 16, Archives & Special Collections, University of Pittsburgh Library System.

Enclosed was a receipt dated June 22, 1953, for Garner’s contribution, in the form of a refund, of $107.25 to the organization. The value of that contribution today, adjusted for inflation, would be approximately $1,046.29.[2]

Image from  folder “Erroll Garner Personal,” Erroll Garner Archive, 1942-2010, Box 3, Folder 16, Archives & Special Collections, University of Pittsburgh Library System.

The receipt and letter from Smith found in the Garner archive is one item that points to the musician’s engagement with the Civil Rights Movement of the era.

Notably, in 1953, the NAACP was firmly committed to ending segregation in the U.S. by adopting a litigation strategy targeting Jim Cow legislation. Led by then-attorney Thurgood Marshall, who worked with the organization in tandem with NAACP Legal Defense and Educational Fund, the civil-rights group was litigating Brown v. Board of Education at the U.S. Supreme Court. Garner’s Madison Square Garden appearance, and his subsequent donation,  helped provide much-needed funds for the group to continue legal battles and other civil-rights efforts. Within a short period, the NAACP would win a decisive decision that would dramatically shift the country. More than a year after the benefit show, on May 17, 1954, the U.S. Supreme Court ruled unanimously that racial segregation of children in public schools was unconstitutional. This ruling would serve as a cornerstone in the fight to end segregation.

Garner was no stranger to this fight. He quietly made efforts to take on segregation and push for equality and racial harmony in his personal and professional life, as detailed by his manager Martha Glaser. Shortly after he died in 1977, Glaser responded to a February 10th, 1977 obituary in Rolling Stone magazine. Nat Hentoff, the famed jazz critic, penned the piece, which Glaser appreciated yet felt was incomplete and lacking in depth.

Image from folder “Martha Glaser Outgoing Correspondence,”  Erroll Garner Archive, 1942-2010, Box 68, Folder 26, Archives & Special Collections, University of Pittsburgh Library System.

Writing to the editors, Glaser stated, “Garner also had a clause in his contracts BEFORE the 1954 Supreme Court decision, forbidding segregation of any kind in the audience, backstage, facilities, etc., at any appearance. He always wanted a ‘salt and pepper’ audience. There is much to be told about how this quiet man fought many battles which cleared the way for other performers. He did it without fanfare or awards.” I hope that Garner, through the efforts of scholars engaging with the archive, gets his due.

[1] “All Roads Lead to Madison Square Monday: Stars Will Shine at NAACP 'Great Night'” New York Amsterdam News (1943-1961), City edition; New York, N.Y. [New York, N.Y]21 Mar 1953: 26; Alvin Chick Webb, “There Were Stars Galore at NAACP Benefit: Canada Would've Loved NAACP's 'Great Night,'” New York Amsterdam News (1943-1961), City edition; New York, N.Y. [New York, N.Y]28 Mar 1953: 28.

[2] Value determined on March 17, 2021 using https://www.dollartimes.com/inflation calculator.

Works Cited

“All Roads Lead to Madison Square Monday: Stars Will Shine at NAACP’s ‘Great Night,’” New York Amsterdam News, 21 March 1953, pp. 26.

Alvin Chick Webb, “There Were Stars Galore at NAACP Benefit: Canada Would’ve Loved NAACP’s ‘Great Night,’” New York Amsterdam News, 28 March 1953, pp. 28.

[medievalandfantasymelee]

THE HOT MEDIEVAL & FANTASY MEN MELEE

SECOND ROUND: 19th Tilt

Adhemar, Count of Anjou, A Knight's Tale (2001) VS. Ètienne de Navarre, Ladyhawke (1985)

Propaganda

Adhemar, Count of Anjou, A Knight's Tale (2001) Portrayed by: Rufus Sewell Defeated Opponents: - Sir Bowen [Dennis Quaid], Dragonheart (1996) - Robin Hood [Errol Flynn], The Adventures of Robin Hood (1938)

“Okay, I get it, he's a terrible person. He cheats at jousting, he's mean to his herald, he ranks women somewhere below trophies and horses. But reader, I DON'T CARE. I can't help it. I admit that when I was younger (and perhaps more sensible) it was all about William/Ulric and his charming smile. But Adhemar... I would commit CRIMES for this man. Those eyes, the cheekbones, the glower! Do I think I could fix him? No. But, god, we could make each other worse!”

Ètienne de Navarre, Ladyhawke (1985) Portrayed by: Rutger Hauer Defeated Opponents: - Prince John [Richard Lewis], Robin Hood: Men in Tights (1993) - Sultan Mehmed II [Cem Yiğit Üzümoğlu], Rise of Empires: Ottoman (2020-2022)

“Etienne of Navarre is as devoted to his lady as he is powerful and vicious, despite a curse that keeps them eternally apart. Also, he has a gorgeous horse and turns into a big wolf. What's not to love?”

Additional Propaganda Under the Cut

Additional Propaganda

For Count Adhemar:

For Ètienne de Navarre:

“This man has the strongest "late medieval romantic poem protagonist" energy I have ever SEEN.”

“He was my first childhood crush and I never knew whether I wanted to be him or [REDACTED] him. He transforms into a wolf at night! He's handsome, and gentle, and chivalrous!”

[ao3feed-jily]

The Greater Evil

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by Cats_and_Crows

Seven witches and wizards travel back in time to aid younger versions of themselves and their families. This time around Voldemort will face a more powerful and practical septet armed with decades of experience and knowledge of future events.

Words: 1224, Chapters: 1/?, Language: English

Series: Part 3 of Chronicles of the Coven

Fandoms: Harry Potter - J. K. Rowling

Rating: Mature

Warnings: Major Character Death

Categories: F/F, F/M, M/M, Multi

Characters: Fleur Delacour, Ginny Weasley, Harry Potter, Hermione Granger, Luna Lovegood, Neville Longbottom, Nymphadora Tonks, Aberforth Dumbledore, Adrian Pucey, Alastor "Mad-Eye" Moody, Albus Dumbledore, Alecto Carrow, Alice Longbottom, Alicia Spinnet, Amelia Bones, Amos Diggory, Amycus Carrow, Andromeda Black Tonks, Angelina Johnson, Anthony Goldstein, Antonin Dolohov, Apolline Delacour, Arabella Figg, Arcturus Black III | Sirius Black's Grandfather, Argus Filch, Arthur Weasley, Astoria Greengrass, Augusta Longbottom, Augustus Rookwood, Aurora Sinistra, Bane (Harry Potter), Barnabas Cuffe, Bartemius Crouch Jr., Bartemius Crouch Sr., Bathsheda Babbling, Bellatrix Black Lestrange, Bill Weasley, Blaise Zabini, The Bloody Baron (Harry Potter), Cassiopeia Black, Cassius Warrington, Cedric Diggory, Charity Burbage, Charlie Weasley, Cho Chang, Colin Creevey, Corban Yaxley, Cormac McLaggen, Cornelius Fudge, Cuthbert Binns, Cygnus Black, Dan Granger, Daphne Greengrass, Dean Thomas, Dedalus Diggle, Demelza Robins, Dennis Creevey, Dirk Cresswell, Dobby (Harry Potter), Dolores Umbridge, Draco Malfoy, Elphias Doge, Emma Granger, Emmeline Vance, Ernie Macmillan, Ernie Prang, The Fat Friar (Harry Potter), Fay Dunbar, Fenrir Greyback, Filius Flitwick, Firenze (Harry Potter), Flora Carrow, Florean Fortescue, Frank Longbottom, Fred Weasley, Gabrielle Delacour, Garrick Ollivander, Gawain Robards, Gellert Grindelwald, George Weasley, Gilderoy Lockhart, Grawp (Harry Potter), Gregory Goyle, Griphook (Harry Potter), Griselda Marchbanks, Hannah Abbott, Helena Ravenclaw, Hestia Carrow, Hestia Jones, Horace Slughorn, Igor Karkaroff, Irma Pince, James Potter, John Dawlish, Justin Finch-Fletchley, Katie Bell, Kellah (Harry Potter), Kingsley Shacklebolt, Kreacher (Harry Potter), Lavender Brown, Lee Jordan, Lily Evans Potter, Lily Moon, Lisa Turpin, Lucius Malfoy, Lucretia Black Prewett, Magorian (Harry Potter), Mandy Brocklehurst, Marcus Flint, Marietta Edgecombe, Megan Jones (Harry Potter), Michael Corner, Millicent Bulstrode, Miles Bletchley, Minerva McGonagall, Molly Weasley, Monsieur Delacour (Harry Potter), Morag MacDougal, Mundungus Fletcher, Myrtle Warren, Nagini (Harry Potter), Narcissa Black Malfoy, Newt Scamander, Nicolas Flamel (Harry Potter), Nicholas de Mimsy Porpington, Oliver Wood, Olympe Maxime, Pandora Lovegood, Pansy Parkinson, Padma Patil, Parvati Patil, Peeves (Harry Potter), Penelope Clearwater, Percy Weasley, Perenelle Flamel (Harry Potter), Peter Pettigrew, Pius Thicknesse, Pomona Sprout, Poppy Pomfrey, Proudfoot (Harry Potter), Quirinus Quirrell, Rabastan Lestrange, Remus Lupin, Rita Skeeter, Rodolphus Lestrange, Roger Davies, Rolanda Hooch, Rolf Scamander, Romilda Vane, Ron Weasley, Ronan (Harry Potter), Madam Rosmerta (Harry Potter), Rubeus Hagrid, Rufus Scrimgeour, Sally-Anne Perks, Septima Vector, Severus Snape, Silvanus Kettleburn, Sirius Black, Seamus Finnigan, Stan Shunpike, Stephen Cornfoot, Sue Li, Susan Bones, Sybill Trelawney, Ted Tonks, Terry Boot, Theodore Nott, Thorfinn Rowle, Tina Goldstein, Tracey Davis (Harry Potter), Viktor Krum, Vincent Crabbe, Voldemort (Harry Potter), Walburga Black, Walden Macnair, Wayne Hopkins, Wilhelmina Grubbly-Plank, Winky (Harry Potter), Xenophilius Lovegood, Zacharias Smith, Aragog (Harry Potter), Buckbeak (Harry Potter), Crookshanks (Harry Potter), Errol (Harry Potter), Fang (Harry Potter), Fawkes (Harry Potter), Fluffy (Harry Potter), Hedwig (Harry Potter), Mrs Norris (Harry Potter), Trevor the Toad (Harry Potter)

Relationships: Fleur Delacour/Ginny Weasley, Fleur Delacour/Harry Potter, Fleur Delacour/Hermione Granger, Fleur Delacour/Luna Lovegood, Fleur Delacour/Neville Longbottom, Fleur Delacour/Nymphadora Tonks, Harry Potter/Ginny Weasley, Hermione Granger/Ginny Weasley, Luna Lovegood/Ginny Weasley, Neville Longbottom/Ginny Weasley, Nymphadora Tonks/Ginny Weasley, Hermione Granger/Harry Potter, Luna Lovegood/Harry Potter, Neville Longbottom/Harry Potter, Harry Potter/Nymphadora Tonks, Hermione Granger/Luna Lovegood, Hermione Granger/Neville Longbottom, Hermione Granger/Nymphadora Tonks, Neville Longbottom/Luna Lovegood, Luna Lovegood/Nymphadora Tonks, Neville Longbottom/Nymphadora Tonks, Apolline Delacour/Monsieur Delacour, Arthur Weasley/Molly Weasley, James Potter/Lily Evans Potter, Dan Granger/Emma Granger, Pandora Lovegood/Xenophilius Lovegood, Alice Longbottom/Frank Longbottom, Andromeda Black Tonks/Ted Tonks

Additional Tags: Minor Dobby Bashing, Minor Flitwick Bashing, Minor Hagrid Bashing, Minor Lupin Bashing, Minor McGonagall Bashing, Minor Slughorn Bashing

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[myrecordcollections]

Denise LaSalle

Under The Influence

@ 1978  US Pressing

*****

Denise brought some serious studio stars to this self-produced session (which reached #58 on Billboard's Black Albums chart) such as Staxregulars Michael Toles and Ben Cauley (the sole survivor of the crash that killed Otis Redding) from the Bar-Kays as well as Isaac Hayes' stalwarts Errol Thomas, Marvell Thomas (son of Rufus and brother of Carla) and Hot Buttered Soul. She also pulled the Memphis Horns, "arguably the greatest soul horn section ever" according to AMG, all under the guidance of formidably funky arranger David Van dePitte. The real crazy nutty nugget of info related to this LP is drums were played by a young Blair Cunningham who would later be a member of New Wavers Haircut 100 (that's him in the Love Plus One video) and Chrissy Hynde's Pretenders. At least that's what the internet says. It also says "Ishwho?" so that's why there's no link for the conga player. All I could suss was that he got a writing credit along with David Porter on a song called "Ray of Sunshine" from Circle O' Fire's Escape Hatch  Unlike so many other blues vocalists who just reinterpret material given to them by songwriters, Denise LaSalle is a seriously talented songwriter. Although her soul blues style has strong urban contemporary overtones at times, it's best to think of LaSalle as a modern-day Bessie Smith, because that's really what she is. She writes funny songs full of sassy attitude and it's an attitude she carries with her on-stage. Off-stage, LaSalle accommodates all autograph seekers and gladly obliges journalists and radio disc jockeys. The Jackson, TN-based LaSalle was raised in Belzoni, MS, (also home to Joe Willie "PineTop" Perkins some years earlier) but she got started singing in local churches around Leflore County. She was born July 16, 1939, as Denise Craig. Growing up, she listened to the Grand Ole Opry radio broadcasts and then in Belzoni, lived across the street from a juke joint. LaSalle's early influences, from the jukeboxes around Belzoni and over the radio, included Ruth Brown, Dinah Washington, and LaVern Baker. LaSalle moved north to Chicago when she was in her early twenties and would attend shows at the Regal Theatre, always returning home to write songs. She got to know blues musicians and began giving her songs to them, until one day a Chess Records executive stopped by at Mixer's Lounge, where LaSalle was working as a bar maid. He listened to one of her songs and took it down to Chess Records, and the company later signed her as a vocalist, but never recorded her. Two years later, LaSalle recorded and produced her own record with the help of Billy "The Kid" Emerson, the Chess executive who'd originally shown an interest in her. After the record made some waves on local radio, Chess stepped in and purchased the master and took it to Europe. Meanwhile, LaSalle continued writing songs and sitting in with blues musicians around the Chicago clubs.   LaSalle's first big hit came about in 1971 when her "Trapped By a Thing Called Love" broke on the radio in Chicago and then Detroit. That record was for the Westbound label and then she signed with ABC Records in 1975, cutting three albums in three years until the label was sold to MCA. After MCA dropped her because of the label's "difficulty in promoting black acts" at that time, she continued performing as much as she could in Chicago and Memphis. In 1980, a Malaco executive called to ask her to write a song for Z.Z. Hill. A positive relationship with the company was quickly developed, which resulted in LaSalle recording 11 discs for the label, including Lady in the Street, (1983), Right Place, Right Time, (1984), Love Talkin', (1985), Hittin' Where It Hurts, (1989), Still Trapped, (1990), Still Bad, (1994), and Smokin' in Bed (1997). While her Malaco sides are probably her most important recordings, other than the original of her early-'70s hit "Trapped," she still releases excellent gospel crossover material, including This Real Woman (2000) and There's No Separation (2001) on Ordena Records and Little Bit Naughty (2008) on Shout.

[qqueenofhades]

I'm pretty new to the Timeless fandom, so can you tell me if it is ever explained why a man named 'Garcia Flynn' has a quite strong Croatian accent? I mean, I get that his mom was American, so was he adopted or something? To replace his dead brother?

No, he's not adopted. It's mentioned in the pilot that he's from/ based in Eastern Europe (has worked as an NSA asset there, probably because he has dual citizenship since, as noted, his mom is American). In 1x08, the implication is that Maria left the US after the death of her first son, married Garcia's father (Asher Flynn) and in the timeline where Gabriel is alive, he now lives in Paris. So Asher is probably/definitely European of some sort, and I headcanoned a lot about him in one of the chapters of my fics, as I have thoughts on Flynn's likely relationship with his father and how that has affected him, and etc.I will say that I think Flynn's name was chosen more for its narrative symbolism than for trying super hard to sound like he's from a particular place. I made a post a while ago about how Maria's sons are named Gabriel and Garcia, as in Gabriel Garcia Marquez, known for (most famously) One Hundred Years of Solitude, which plays with magic realism and time travel and tragedy, all themes which fit Flynn's character. As for "Flynn," it's obviously a name that sounds like an adventurous anti-hero -- Errol Flynn, Flynn Rider, etc -- who may end up on the wrong side of the law at some point, but is ultimately going to be fighting for the right side. I know that "Preston," "Rufus," and "Logan" were chosen to refer to Bill and Ted's Excellent Adventure, so yeah, they're picking names that have wider reference/meaning for the characters. Easter eggs, in other words.Also, it probably means nothing, but my Garcy shipper heart has to note that Flynn and Lucy are the only two characters who have had their parents both named/identified (and in the case of their mothers, made fairly significant players). We've seen Rufus' mom briefly, but don't know her name or anything about his dad (iirc, it's kind of implied that Connor Mason filled that role) and we know bupkis about Wyatt's backstory apart from Jessica. Whereas, we've had Flynn and Lucy be the characters whose family ties are important and whose lost loved ones (Amy, Lorena, Iris) have all appeared on screen at some point. So yes.

[usuallypleasantprince]

Read A Night to Surrender (Spindle Cove #1)(16) online free by Tessa Dare

A Night to Surrender (Spindle Cove #1)(16) Author: Tessa Dare

Bram had to admit, the village was oddly immaculate and eerily empty of people. Each cobble sparkled in the street. The dirt lanes were swept clean of debris. Every shop front and cottage boasted neat window boxes overflowing with red geraniums.

A pair of lads rushed toward them. “Can we help with the horses, Lord Rycliff?”

Lord Rycliff? So, they knew him already. News traveled fast in a small village, he supposed.

Bram handed his reins to one of two eager, towheaded youths. “What are your names, lads?”

“Rufus Bright,” the one on the left said. “And this is Finn.”

“We’re twins,” Finn offered.

“You don’t say.” The Brights. A suitable name, what with those incandescent shocks of hair—so blond as to be nearly white. “See?” he said to Colin. “I told you the place couldn’t be devoid of men.”

“They’re not men,” Colin replied. “They’re boys.”

“They didn’t germinate from the soil. If there are children, there must be men. What’s more, men whose pegos aren’t withered to twigs.” He beckoned one of the youths. “Is your father about?”

A shock of lightning hair swiveled in the negative. “He’s . . . uh, not here.”

“When do you expect him back?”

The twins looked to each other, exchanging wary glances.

Finally, Rufus said, “Can’t say, my lord. Errol—that’s our older brother—he travels to and fro, bringing in wares for the shop. We own the All Things, across the way. As for Father . . . he hasn’t been around... Read online: Read A Night to Surrender (Spindle Cove #1)(16) online free by Tessa Dare

[blogpresso]

New Post on Actualités

Nouveau post sur http://www.blogpresso.com/ca-va-jazzer-le-jazz-stride-du-pin-beni-pour-lile-doleron/

Ça va jazzer - Le jazz stride, du pin béni pour l'île d'Oléron

(Nicki Parrott à Grand-Village-Plage le 21 août)

Un piano dans la pinède, le festival de Grand-Village-Plage, est placé depuis cinq ans sous le signe du stride, un genre enchanteur des années vingt.

Un festival gratuit de jazz au niveau supérieur, cela ne court pas les rues : les pinèdes, en revanche, oui. L’avant-dernière semaine d’août, depuis 5 ans, le festival Un piano dans la pinède ravit trois soirs durant un millier d’amateurs de jazz traditionnel. Organisé par la municipalité de Grand-Village-Plage, soutenu par des sponsors locaux à hauteur du tiers du budget total (environ 30 000 euros), animé par des bénévoles, la manifestation suit son petit bonhomme de chemin. Chacune des trois soirées, les tréteaux accueillent dans les jardins à ciel ouvert de la maison paysanne, un concert en deux parties. En dépit de travaux (le chantier durera un an), l’ambiance fut chaude, comme en témoigne la foule en délire du dernier jour. A l’honneur, comme l’an dernier, une légion italienne. A commencer par Rossano Sportiello, l’un des calibres actuels du stride. Ou plutôt, du swing en général, tant la polyvalence du virtuose frappa. Il serait présomptueux de citer les influences de l’Italien, né en 1974 près de Milan. Dans un jeu foisonnant, percent Art Tatum pour la densité et les ruptures, Ellis Larkins et Dave Mc Kenna pour le velours du toucher et Ralph Sutton pour les accélérations. Errol Garner enfin, pour le sens de la dramaturgie. Sportiello affectionne les duos. Pour le premier soir, c’est sans surprise qu’il convoque la contrebassiste Nicki Parrott, avec laquelle il travaille à New-York depuis une dizaine d’années. La complicité entre les deux instrumentistes se comprend mieux quand on apprend que Nicki a commencé tôt par le piano. Je passe quelques minutes, le lendemain, avec la pulpeuse Australienne de 47 ans : «d’avoir suivi, à dix ans, une inclination pour la contrebasse m’a aidée. Les groupes foisonnaient à Sydney. Beaucoup de guitares, peu de contrebasses. Les engagements se sont multipliés. J’ai appris sur le tas, passant professionnelle à 17 ans. J’ai suivi les cours de Rufus Reid. Le guitariste Les Paul m’a repérée. Nous nous sommes produits sur la scène de l’Iridium à New York, chaque lundi. Pour rester avec la célébrité du jazz, je me suis mise au chant. Le contrat s’est achevé après… dix ans! Un rêve. J’ai accompagné le pianiste Dick Hyman, un kador du stride (entre autres genres). Et joué à Carnegie Hall avec Michel Legrand». Nicki possède le son luisant du couteau qu’on aiguise. Et une sûreté de drive à flanquer des complexes à un TGV! On l’entend sautiller de If Dreams Come True (Benny Goodman) à Darn that Dream (Jimmy van Heusen), swinguer sur You Made Feel so Young (que fredonnèrent en duo Aznavour et Sinatra). Sportiello alterne en solo avec le titre culte d’Errol Garner (Misty). Puis la contrebassiste au timbre de Peggy Lee pose Sportiello sur l’orbite d’un pétillant It’s a Good Day (le pianiste cite Bach!). Pour l’apothéose, enfin, le binôme pousse l’audience au délire sur une fusée lancée en 1936 par Count Basie, l’ébouriffant Shoe Shine Boy. Authentique stride pur sucre de canne. On lève le nez. Les étoiles qui piquent le ciel noir recueillent l’ovation.

(Rossano Sportiello – à gauche – et Luca Filastro à Grand-Village-Plage

le 22 août)

Montée en gamme, le deuxième jour (22 août). Pour le morceau de bravoure du festival (un duo de pianos), Rossano Sportiello présente la révélation, le pianiste de stride Luca Filastro. Lui-même me dessinera son portrait : «je suis amoureux du piano des années 20 depuis l’âge de 3 ans, après avoir entendu Maple Leaf Rag à la radio, au fin fond du petit village de ma Calabre natale. Je n’ai eu de cesse d’en jouer du matin au soir». En somme tombé dans la marmite quand il était petit. Suivent le Conservatoire, les distinctions, la perspective d’une carrière. Moi dont le disque de chevet fut pendant les années étudiantes la figure tutélaire du genre Father of the Jazz Piano, signé du créateur de stride, James Price Johnson, je peux vous parier tous mes stylos que Luca ne plaisante pas une demi-seconde avec la vocation. Pour ce qui est de la vélocité, Luca élude d’emblée toute équivoque. Il distribue Handful of Keys de Fats Waller, pour lequel la moindre école recommande de transformer les dix doigts en autant de pistons. Improvisations et spectacle en sus. Le bonheur! Le duo reprend ses droits. Les compères s’amusent de citations, allusions, éblouissements, contrechants. Ils invitent l’assistance à s’éprendre de leur musique. Rossano Sportiello ourle un Rosetta de dentellière. Le titre d’Earl Hines provoque les soupirs d’aise du public. Les deux pianos Steinways and Sons convient à nouveau Fats (Honeysuckle Rose, Bye Bye Baby, mimiques à la clé), les départs de stride canon (I Can’t Believe that You are in Love with Me, I Can’t Get Started), les standards (Oooh, le délicieux Body and Soul, à la Luca!), les raretés (Central Emotion, de Willie the Lion Smith). En rappel, les maîtres saluent le blues, le boogie, le stride. Les showmen ont largement dépassé le contrat. La force leur manque pour un quatrième rappel.

Dernier jour, le Playground Quintet de Julien Brunetaud. Un programme vaste, dirigé par le pianiste : des avatars de la Nouvelle-Orléans (du boogie woogie aux gumbos de Dr John), du blues (tels que repris par les bluesmen blancs comme Fleetwood Mac), au jazz (séduisante ondulation de la vocaliste Faby Medina sur Moanin’ : la star du Claude Bolling Big Band livre une version inspirée, pleine de métier, de la composition de Bobby Timmons). Le tout dans une ambiance de club chauffé à blanc. La section rythmique, impeccable, offre des passages brillants (Bruno Rousselet – basse ; Julie Saury – batterie). Je découvre, ébahi, la palette de la seconde vocaliste, Nicolle Rochelle, venue remplacer le trompettiste Jérôme Etcheberry, excusé. L’Américaine entreprend de danser un boogie digne du film Helzapoppin’, la référence en la matière. Les gens se lèvent des chaises. Les applaudissements crépitent. J’avais suivi Nicolle à Paris deux fois avec le Duke Orchestra de Laurent Mignard (au Palace ; à la Madeleine). Ici, devant le quintet, par sa technique, la générosité, la souplesse, la vivacité, le vocabulaire, l’originalité, le sens de l’improvisation, l’épatante artiste m’a régalé. La prestation s’est clôturée dans l’enthousiasme général, les spectateurs montant vers la scène sur Let the Good Times Roll. Puis se ruant vers le stand de CD’s. Qui écoulera tous les disques, comme du reste les jours précédent. Pour la suite, le maire de Grand-Village-Plage, Patrice Robillard, avait ouvert la soirée en annonçant les dates de la sixième édition d’Un piano dans la pinède : lundi 20 au mercredi 22 août 2018.

Bruno Pfeiffer

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[morningstar1399]

AGH YES the colors are amazing

𝕋𝕙𝕖 ℕ𝕚𝕘𝕙𝕥 𝕄𝕒𝕟𝕒𝕘𝕖𝕣 — A quick gif set for the Hotel AU for Rufus & Errol. @morningstar3199 Nothing special just wanted to throw it together while I had those Tom Gifs saved. I was going to hunt down Hotel specific gifs but uh…still trying to maneuver the gif formatting on this site.

This was originally for a re-casting of the movie ‘The Guest’ with Tom as Dan’s character from the original. I’ve always wanted him to play a truly unhinged character, even when a character he’s playing does wrong he still has a timidness about him and I would LOVE to see him throw that away and just be entirely batshit.