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geminimoonbeamx · 7 years ago

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I knew you were trouble: Part One

A/N: So I’m trying to figure out a way to realistically incorporate all of these characters lol. There’s going to be times when you don’t like them; because let’s be real, they did grow up in this pretty shifty world.

Also, I’m trying to find my bearings writing Carter and ughhhh, he’s hard lol

Word Count: 3k

Warnings: As with all of my stories there’s a permanent warning of cursing. I have a mouth like a sailor and express myself through the word fuck. Underage drinking.

Summary: Y/N Bass had always liked to think of herself as different- but when it comes to Carter Baizen she gets played just like the rest. Between a life changing mistake and the trials of first heartbreak, she has so much growing up to do, she wonders how she can possibly be expected to raise a child without it being just as fucked up as she is.

You don’t know why you choosing to go to Caroline’s party is such a big fucking deal.

But it is.

You receive shit from it on all ends. Adrian tries, weakly and in vain, to convince you that you should at least make an appearance at Blair’s to which you shrug and tell him “Nah, it’s the principle of the situation- fuck her”

And he groans and throws himself back on his bed because he knew you- knew just how stubborn you were.

When Saturday night rolls around, you stand in your vast closet, your body sucked into lacy shapewear that smooth’s over your rolls nd leaves your middle cinched in. You cant decide what exactly to wear and you gnaw on your lip as you toss clothes haphazardly in your wake. When your phone chirps from its place on the counter of one of your shoe racks, you’re expecting it to be Mika(who’s late, and who’s hair you were supposed to do). You grimace as you take in the caller I.D.

Mother fu-

“Hi Chuck” You force yourself to answer it.

“Cousin” Is all he gives you in greeting “Please tell me you’ve reevaluated your life choices and are coming to Blair’s tonight”

You’d always found the way he talked equally as annoying as it was interesting. That pretentious jerk.

“My life choices don’t need reevaluating, thanks. And no- I’m not going to that party so fuck off” You inform him, only half paying attention. You phone sandwiched between your ear and your shoulder as you fingered through the racks of clothes.

“Y/N” The way he says your name is serious, as though you’d committed a real crime and it makes you bark out a laugh.

“Charles” You reply, deepening your voice to tease him right back. There were a lot of people who didn’t have the balls to jest with your cousin, to proke and prod at him- you weren’t one of them. You listen to his almost convincing lulls, rolling you eyes more then once in the duration of the conversation. Blah, Blah, Bass’ stick together in social situations. Blair’s my girlfriend and she’s expecting you there, blah, blah.

“Welp, looks like you’re all just going to have to miss my presence tonight”

“You’re really skipping this to go to a Baizens party. I cant believe you” The way he spits out the name Baizen- the vehement hate is almost scary. You knew he hated Carter, if only because of the brief tryst he’d had with Blair, but jeeze. This was intense. See? Men are just as petty an jealous and grudge holding as anyone.

“Caroline’s nice”

“You don’t even know her”

“I do! She wrote a few papers for me last year. I graduated because of her”

He scoffs “You’re one of the smartest people I know, if you hadn’t been so god damn lazy last year you wouldn’t have needed people to do your homework for you”

You couldn’t argue that, so you didn’t.

“What ever. Fuck off, I’m still not going” You say instead, as you decide on a body con green skirt. You can hear the jingle of your door being opened and then Mika hollering

“Honey, I’m home”

“I’m taking this as a personal act of betrayal” Chuck digresses and it sets you off into another bout of laughter.

“You are such a drama queen, shut up”

Mika walks into your closet and you hold up a finger, silently telling her to wait a second.

‘Who is it?’ She mouths.

'Chuck’ You mouth back and she just grins and nods and makes her way out of the closet and into your apartment, as though she owns the place. as though she was a permenant resident. Which she pretty much was.

There’s a bit more of a argument, a back and forth like there always is between the two of you, before he can tell that you’re dead serious. He tells you to have fun with your new family, his voice voice not malicious though- and then that he’d save you a drink just incase you came to your senses.

“I’ll keep that in mind. Have fun tonight, loser. Be safe”

“You too”

And then there was the click of him hanging up. You know it didn’t seem affectionate, but it was. It was the way that you two had always communicated with eachother, you’re on personal language of sorts.

You find Mika sitting cross legged on your bed, a bong as big as her torso in her lap as she takes long drags from it. “Help me with my hair before I just decide to shave my head” She says around coughs as she offers you the bong, your own bong, as a token and you laugh and tell her to meet you in your bathroom. What would she do without you.

You’d always lived your life a little more then casually late, so its no surprise that you and your friends are over an hour late to Carolines party. Adrian, ever the snarker, says she’s lucky that you guys had decided to show at all. That earns him a hard elbow to the side from you. The hotel that she was throwing it in was nice, extravagant, and you’re struck once more by just how loaded the Baizens were. Old money, ancient money. And lots of it.

“Oh this is so sad” comes Mika’s quiet mutter as you enter the event room- it was decorated impeccably. Gorgeous and modern, the only lighting coming from pretty strings of fairy lights and neon fixtures set up around the room…but even in the dim lighting, you could see that there were no more then twenty people scattered around the large room.

“This shit is more then sad- this is tragic. It’s so dead in here, it looks like the hospital that guy wakes up in in 28 days later” Adrian whispers, his eyes wide with genuine shock at the state of this party.

Poor Caroline…

You’re just about to suggest you guys find the bar, and start to drain it when the girl herself comes up to you.

“Y/N” She sounds so happy, so astonished that you were actually there that you had to fight your face from turning into a frown. You don’t want her to think you’re pitying her. “Oh my gosh, you came!”

“Yeah, I RSVP’d last week” You reach over to give her a short hug “This place looks amazing! You have to give me the number to your decorator!”

Even Adrian, who does have a heart by the way, forces himself to smile and be cheery when the girl greets him. He doesn’t hug though- Adrian’s very picky on who he makes body contact and even though he’s trying to be nice, the most Carolines going to get is a pat on the shoulder. Mika’s still high as a kite from earlier and throws her arms around the younger girl overbearingly.

“Happy Birthday!” She cheers with a dopey grin.

“Oh, it um- isn’t my birthday” Caroline corrects her and Mika’s eyebrows pinch.

“Really? Then why is there a cake?” Mika points out as though it explained every in asked question in the universe.

“Let them eat cake, Meeks” You say cheekily and she gives you a sideways crook of her eye. She’s more then aware of your obsession with Marie Antionette. You’d always felt a spiritual connection to her, you explain. You also could put a country in debt with your shopping habits.

“Wise words to live by” Carter Baizen never made an easy entrance. Something about his…fucking being just tended to make his mere presence impactful. Big. Noticeable.

Well that and the fact that he was drop dead fucking gorgeous. You cant deny that. Even though you think he’s a piece of trash.

You give him a small, forced smile in response.

Of course he notices. He knows he’s not your favorite person- he remembered you having to help bail Nate out of that whole gambling thing he’d roped the younger man into…and he’d stolen from your brother…

No matter.

That didn’t mean the two of you couldn’t be friends, right?

For the rest of the night he seems to make that his personal mission; if only to get back at Chuck somehow in his mind.

You won’t have it though. Yes, you’d come for Caroline. You’d come to be a decent person, to have a clear conscious. But that was it. This wasn’t some white flag being waved. The Bass’ and Baizens had never gotten along and you were there to change that.

Especially not after what he had done to Nate.

You were only human, and of course you not only heard, but partook in the gossip that ran among the maze of socialites over the years. You knew knew enough about him to want to keep him at arms length.

He was goregous, but he was pure trouble. And you were trying to be different.

So, even though Carter attempted to make small talk, offered you and your friends drinks, and acted like a funny, charming human being- you were far from convinced.

You let the conversation pass to Mika and Adrian, well mostly Adrian who was flirting with him openly.

You didn’t think Carter swung that way, but you also didn’t think Adrian cared. He was one hell of a flirt.

You’d been to better parties before, forsure, but this one wasn’t the worst you’d ever attended. You frequented luncheons for Christ sakes. At least this one wasn’t filled with snooty tooty old people who were just dying to kill your buzz.

Which was fluctuating pretty steadily. You’d been dancing, with a constant drink in your hand since a few hours ago. You’d had four vodka crans when you decided you needed to step outside, get a deep breath of fresh air to center yourself. You let your friends know as you slide past them. Adrian’s twerking on Caroline and Mikas doing something that looks similar to the hula.

The air is crisp and just on the right side of cool when you step out into one of the balconies. You inhale deeply and try to sort through your tipsy mind. Everything feels good, as you stare out at the lights you feel weightless. Even the ever present pinch of your heels is on the back burner.

And then…you feel eyes. The same cat like gaze you’d caught on you various times throughout the night.

“You’re a real creep, you know?” You state as you turn around and half glare at the culprit.

Carter just gives that devilish, crooked grin of his.

“I’ve been called worse” he shrugs as he joins you at the ledge your leaning on.

Hah, you bet.

“You feeling okay? I just came to check on you” at that you give him a disbelieving look.

Whatever.

Your eyes, so expressive and clear, portray what your thinking and it just makes him grin harder.

“Thanks” you don’t sound very thankful though.

“You hate me, right?” Carter wonders bluntly, figuring he might as well put it all out there on the table. He’s had a few drinks himself.

“No, Carter. I don’t hate you” he’s only pleasantly surprised for a second before you continue “I literally don’t have any energy to spend on you. That’s how little you mean to me”

Well damn.

He hadn’t been expecting that one.

You don’t even look at him as your ice cold words hit him, no, you just stare at the skyline. And he stares at the side of your face. At the way the shadows play tricks with your eyelashes.

“Well, no matter how you feel about me, I appreciate you coming tonight. I really do” Carter coughs before he starts , he felt the need to thank you. Even though he wondered why exactly you had come.

You just nod “I know what it’s like to have assholes in your family- it’s not fair to get the backlash for that” you mutter.

His eyes, peircing and gray, make you want to squirm. The intensity in them is palpable.

“Stop staring at me, Baizen” you tell him, shooting him a sideways look and in retrospect, he thinks that’s the exact moment he realized he wanted to know you better.

“So tell me about yourself, little Bass. It’s been a while”

You fight the urge to gag dramatically.

“Nothing to tell really”

“You graduated last year, right?”

“Yup”

“You’ve been up to anything interesting since?”

“Nope”

He can’t help but get a little frustrated. You’re really shutting him down, not even subtly. Carter didn’t respond well to being shrugged off.

He lets out a humorless chuckle.

“You always this difficult?”

“Yup” you pop the p, put give him a small, amused smile.

You then sigh, maybe it was the drinks, but that little but of disappointment in his face breaks you “I um- took over my moms cosmetic company”

Carter nods and chews on that, trying to figure out how to tread lightly with this topic “Yeah, I heard she passed last year, her and your uncle…my condolences”

You just give him a hollow “thanks” before quickly changing the subject, wanting to get as far away from discussions of dead mothers and family curses as you could.

That night you learned Carter had spend months living in Youth Hostels; from Egypt to Greece and everywhere in between. You’d learned that he’d helped build huts in villages and paraglided in Brazil. You discovered that the two of you shared a morbid, yet almost dorky sense of humor and that maybe, just maybe you didn’t understand why everyone seemed to hate him so much. You’d stayed out on that balcony with him for what felt like hours, until Mika came looking for you claiming that

“Adrian took one too many jäger shots, time to bounce before he gets really sick. You know him, his puking would probably end up all over Twitter again”

You’d detached yourself from the conversation, said your goodbyes and walked away. Thinking that was the end of it.

As you felt that gaze on your back, you should have known that it was just the beginning.

As you sit in bed later that night, the dawn on the horizon outside your window you scroll through your phone. Mika’s asleep on her stomach on one side of you, and Adrian’s arm is slung across your waist and his head pillowed on your breast, on the other. A usaul position for the three of you at the end of a wild night.

When you opened up your Instagram app you couldn’t help the way you tensed up, surprised…thrilled. Carter Baizen had added you as a friend and hearted five or more of your pictures. Selfies. Ones of you dolled up and hitting all of your angles. Your stomach twists and a treacherous smile spreads across your face.

After a couple seconds you force yourself to click off of your phone, to reach over and toss it onto the bedside table. To force all giddy, stupid thoughts of Carter out of your head.

Don’t be an idiot, you chide yourself.

You wish you would have listened.

@peacefulwriter88 @buchonians @beautifullybarnes @misrobyn81 @prettybubblesintheair @lostinthoughtsandfeelings @thatawkwardtinyperson @bucysforeverprincess @whenallssaidanddone @shayla-markele @brandybucky @toastmaster94 @tatathekissypotato @mellypuddinpop @geekyweed @iamwarrenspeace @4theluvofall @mashed-fandom-imagines @stellarsebastian @winterbuttmunch @lilac-meadows @mrs-stan-barnes @supernovasandcoronas

Okay so I’m going to be messing with the timeline of GG. I’ll be taking elements and events from the show, but kind of twisting them and making them my own. If that’s not your cup of tea, this ones probably not for you.

And okay, some back ground on this reader; Her mother was a Bass; Bart and Jacks sister. We’ll get more into her death later , and her father maybe, just might pop up in later chapters.

Also, keep in mind that if you want to be tagged in this story(and if so please ask in the comment section), I would very much appreciate it if you give me some kind of feedback. Comment! Reblog! Tell me what you want to see! Don’t ghost read on me y'all lol

#carter baizen #carter baizen x reader #Carter Baizen x plus size reader #carter baizen smut #eventually #plus size reader #plus size reader insert #poc reader #gossip girl #chuck bass #serena van der woodsen #blair waldorf #nate archibald #sebastian stan #Sebastian Stan characters

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wordsnstuff · 7 years ago

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Book Recommendations!

PLEASE READ: Hello my beautiful readers! A lot of you have been requesting a book recommendation list and I have finally delivered! If you purchase any of these books using the links I’ve put in this post, I will receive a commission so I can continue to update my blog regularly, with no charge to you beautiful readers! Please reblog and share this post, and I will be forever grateful.

The Night Circus by Erin Morganstern

Rating: ✩✩✩✩{✩1/2}

~ Genre ~ Metaphysical and Visionary Fiction

☀ Summary ☀

The circus arrives without warning. No announcements precede it. It is simply there, when yesterday it was not. Within the black-and-white striped canvas tents is an utterly unique experience full of breathtaking amazements. It is called Le Cirque des Rêves, and it is only open at night.

But behind the scenes, a fierce competition is underway—a duel between two young magicians, Celia and Marco, who have been trained since childhood expressly for this purpose by their mercurial instructors. Unbeknownst to them, this is a game in which only one can be left standing, and the circus is but the stage for a remarkable battle of imagination and will. Despite themselves, however, Celia and Marco tumble headfirst into love—a deep, magical love that makes the lights flicker and the room grow warm whenever they so much as brush hands. True love or not, the game must play out, and the fates of everyone involved, from the cast of extraordinary circus performers to the patrons, hang in the balance, suspended as precariously as the daring acrobats overhead.

Buy This Book Here

The Hate U Give by Angie Thomas

Rating: ✩✩✩✩✩

~ Genre ~ Young Adult Fiction

☀ Summary ☀

The Hate U Give is a groundbreaking, thought-provoking debut novel inspired by the Black Lives Matter movement, about a teen girl who is the only witness to her friend's fatal shooting by a police officer. Sixteen-year-old Starr Carter moves between two worlds: the poor black neighborhood where she lives and the fancy suburban prep school she attends. The uneasy balance between these worlds is shattered when Starr witnesses the fatal shooting of her childhood best friend, Khalil, at the hands of a police officer. Khalil was unarmed. Soon afterward, Khalil's death is a national headline. Some are calling him a thug, maybe even a drug dealer and a gangbanger. Starr's best friend at school suggests he may have had it coming. When it becomes clear the police have little interest in investigating the incident, protesters take to the streets and Starr's neighborhood becomes a war zone. What everyone wants to know is: What really went down that night? And the only person alive who can answer that is Starr. But what Starr does -- or does not -- say could destroy her community. It could also endanger her life.

Buy This Book Here

Saving Ceecee Honeycutt by Beth Hoffman

Rating: ✩✩✩✩{✩1/2}

~ Genre ~ Women’s Fiction

☀ Summary ☀

Twelve-year-old CeeCee Honeycutt is in trouble. For years, she has been the caretaker of her mother, Camille, the town’s tiara-wearing, lipstick-smeared laughingstock, a woman who is trapped in her long-ago moment of glory as the 1951 Vidalia Onion Queen of Georgia. When tragedy strikes, Tootie Caldwell, CeeCee’s long-lost great-aunt, comes to the rescue and whisks her away to Savannah. There, CeeCee is catapulted into a perfumed world of prosperity and Southern eccentricity—one that appears to be run entirely by strong, wacky women. From the exotic Miz Thelma Rae Goodpepper, who bathes in her backyard bathtub and uses garden slugs as her secret weapons; to Tootie's all-knowing housekeeper, Oletta Jones; to Violene Hobbs, who entertains a local police officer in her canary-yellow peignoir, the women of Gaston Street keep CeeCee entertained and enthralled for an entire summer.

Buy This Book Here

The Secret History Of The Pink Carnation Lauren Willig

Rating: ✩✩✩{✩1/2}

~ Genre ~ Historical Fiction and Romance

☀ Summary ☀

Realizing romantic heroes are a thing of the past, graduate student Eloise Kelly is determined to focus on her work. Her first stop: England, to finish her dissertation on the English spies of the Napoleonic Wars, like the Scarlet Pimpernel and the Purple Gentian. But her greatest conquest is to reveal the most elusive spy of them all, the dashing Pink Carnation. As she does, she discovers something for the history books-a living, breathing hero all her very own...

Buy This Book Here

What She Left Behind by Ellen Marie Wiseman

Rating: ✩✩✩✩

~ Genre ~ Contemporary Fiction

☀ Summary ☀

Ten years ago, Izzy Stone's mother fatally shot her father while he slept. Devastated by her mother's apparent insanity, Izzy, now seventeen, refuses to visit her in prison. But her new foster parents, employees at the local museum, have enlisted Izzy's help in cataloging items at a long-shuttered state asylum. There, amid piles of abandoned belongings, Izzy discovers a stack of unopened letters, a decades-old journal, and a window into her own past. Clara Cartwright, eighteen years old in 1929, is caught between her overbearing parents and her love for an Italian immigrant. Furious when she rejects an arranged marriage, Clara's father sends her to a genteel home for nervous invalids. But when his fortune is lost in the stock market crash, he can no longer afford her care--and Clara is committed to the public asylum. Even as Izzy deals with the challenges of yet another new beginning, Clara's story keeps drawing her into the past. If Clara was never really mentally ill, could something else explain her own mother's violent act? Piecing together Clara's fate compels Izzy to re-examine her own choices--with shocking and unexpected results.

Buy This Book Here

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contrabassconversations · 7 years ago

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413: Marlene Rosenberg on jazz education and the changing gig scene

It was great to chat with Marlene Rosenberg for the podcast! Marlene is a Chicago-based jazz bassist and educator and is one of the most active players in the local scene.

More About Marlene:

Marlene Rosenberg has emerged as one of the most talented and multi-faceted bass players on the scene today. She has played professionally throughout the United States, Europe, Latin America and Japan, performing with innumerable jazz luminaries, such as Kenny Barron, Frank Foster, Stan Getz, Albert “Tootie” Health, Joe Henderson, Marian McPartland, Cedar Walton,Wallace Roney, David “Fathead” Newman, Monty Alexander, Kevin Mahogony, Frank Morgan Frank Wess, Joe Williams and Nancy Wilson, to name a few. Her stylistic range encompasses everything from traditional Big Band to intimate experimental ensembles.

Rosenberg was featured on the recording of the Ed Thigpen Quartet entitled “Easy Flight.” Thigpen believes, “What makes Marlene special is her strength and depth of understanding of music. In a world of clones, she has managed to emerge as her own person with her own sound and feel… her time feel is steady and swings like mad.”

Rosenberg, who grew up in Illinois, began clarinet studies at the age of ten and took up the electric bass in high school, playing in the jazz band. She began acoustic bass in college at the University of Illinois, where she received the Smith Memorial Women’s Scholarship in 1977, and the University of Illinois Bass-Violas Scholarship two years in a row. Well versed in both the classical and jazz aspects of her instrument, she performed with the University’s main symphony orchestra as well as the prestigious U of Jazz Band, the top of six bands in University of Illinois, and a Masters of Music in Jazz Pedagogy from North western University in June of 1999.

In 1985, Rosenberg received an National Endownment of The Arts Jazz fellowship grant,which she used for intensive private study with Ron Carter, Hal Galper, Milk Richmond and Jim Mcneeley. She also counts among her teachers Warren Benfield (Chicago Symphony), Jeff Bradetich (Northwestern University), Ed Krolick and John Gravey (University Of Illinois), and Karl Fruh (Roosevelt University).She also Studied for a 9 month period with Rob Kassinger from the Chicago Symphony (2010) Also, as mentors, Rosenberg counts Rufus Reid and Ray Brown,John Clayton and Buster Williams.

In Addition to her versatility as a bassist, Rosenberg has developed a keen interest and capability in the performance of ethnic music. She has performed and recorded with the Balkan Rhythm Band, which focuses on traditional music from Yugoslavia, Serbia and Greece. Her enthusiasm for the drumming and dance of West Africa has promoted study with master drummers from Ghana as well as participation in an African drumming group in Chicago.

Rosenberg has worked with numerous modern dance troupes, improvising on both bass and percussion. All this experience have added an extra dimension to Rosenberg’s Jazz work giving it a rare depth and range.

Committed to imparting her knowledge to others, Rosenberg currently teaches privately in the Chicago area. She has given special workshops in high schools throughout the Chicago area and has been a clinician at the Saskatchewan School of the Arts in Canada. She has been involved with the Ravinia Jazz Mentors program in the Chicago public high schools.Rosenberg has given workshops on creating melodic bass lines at the International Society of Bassists conference.She was Adjunct Professor at Northern Illinois for 13 years University (1994-2007),teaching Bass Studio and Jazz History (1 Semester). Rosenberg was a full time professor at Western Illinois University, in Macomb, IL for 3 years from 2007-2010 (Teaching Bass, World Music, Popular Music & Jazz Combos)and currently is music faculty teaching jazz combos at Northwestern University (2009-current),in Evanston,Illinois. She also is on the Music Faculty at Roosevelt University, in Chicago.She has been working with students at the Gallery 37 Program in Chicago, Sponsored by the Thelonius Monk Intitute in Washington D.C.

Rosenberg has recorded radio and television commercials for McDonald’s and Ameritech, among others.

Rosenberg made her debut as a leader and composer on her compact disc “Waimea” (Bassline). Her latest CD “Pieces Of…”(Bassline) presents her as arranger as well as composer. PIECES OF… features pianist Cedar Walton and saxophonist Javon Jackson. Currently, (2011) she is a recipient of an Illinois Arts Council Grant which will help to complete her 3rd self Produced CD.

Links to Check Out:

Marlene's Website

Northern Illinois University - Double Bassist's Guide to Colleges

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theinsanecrayonbox · 7 years ago

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Q&As

What prompted the killing of Wondergal to begin with?

Honestly, I don’t remember exactly what prompted it. Gotta remember that back in 2010 when I started the STT, I wanted Timmy to become a Nightwing parody, and just killing off his love interest seemed the easiest way to do it (I also was hard core shipping Timmy with Tootie, so that was the easiest way to make him choose her ^^; ). I actually started it when I was dog sitting, and 2 dogs don’t exactly give you the best creative feedback lol. It was also because my non-super hero FOP stuff at the time, I was writing Trixie as the mean popular girl, and not part of the main core group, so writing her out made sense. I was also hard core shipping Trixie with Remy, so again, needed to make her a bad girl for him.

Why did you bring her back then?

I actually never had the intention to bring Trixie back. Once I had the idea of SuperTrix, she was going t be the main and only Trixie, and thus a bad guy to follow with the teenage drama story lines. But my best friend @twisted-persona loves Trixie, and she came up with Star-Gal. so I went “Ok, since Trixie is a clone to begin with, shy can’t there bed more of her?” and bam! That’s how we wound up with Star-Gal.

Why make her a clone?

Because Donna Troy. I know Wondergal was meant to be a Wonder Woman parody, but I always thought of Wonder Girl. Then add in some of the visual similarities Trixie shared with Joan Jett, and how Goldenlocks is basically a Wonder Woman as well, it just seemed to make more sense for Trixie to be a clone. That and I like hybrid-/clone kids in super hero books lol

How/when did you come up with the idea of “Glamazons”?

Free Comic Book Day 5/2/2015. I was standing in line at 7 am, waiting to get into the first comic shop of the day right when it opened, had been up since like 4/5 am since I had to drive 2 hours away to get to the shop, and the idea just popped into my head so I wrote notes about it on my iPOD. I was also wearing my Superverse tanktop

How many “Wondergals” are there really?

Well there are 2 answers, since not every “Wondergal” is a Trixie, but every Trixie is a “Wondergal” (usually). These are what I’d consider the most distinctly different Wondergals that we’ve seen/met (gender swaps and minor changed What Ifs aside)

Trixie!Wondergals: 9

Primeverse, Negaverse, MoT, Ultimateverse, JYU, AoC, Arachnidverse, Eraserz, STS

Other!Wondergals: 6

Power Swapped 1 (Missy), Power Swapped 2 (Tootie), CoT (Chloe), PPR (Chloe), Wandergal, FTT (Roxy)

So is W(a)ndergal (Shannon?) now part of the Superverse?

No, not *really*. Her show is set in an alternate universe, so there’s a chance that we could meet her (young or old) at some point. But there is no “Shannon Karter” in the Primeverse

What made you pick that name for Goldenlocks/W(a)ndergal?

Goldenlocks was named Marigold Lockheart because her first name is Goldie, and Hair Razor said she had Goldie’s “heart locked up”. It was @twisted-persona’s idea lol

Wandergal was named Shannon Karter after two famous Wonder Women, Shannon Farnon and Linda Carter (with a K because it sounded/looked too much like Sharon Carter/Aget 13)

Why is Trixie sometimes called Trisha?

That’s another of @twisted-persona’s contributions. She had this head canon that Trixie’s real name was Trisha, but she changed it to be cooler. So when I started using the clone back story for her, it just made sense that “Trisha” was her personality donor then, you know, to help her be a “real girl”

Arts

Power Pals: Resurrection:

So this is something that I started a while ago…it’s not a *real* fighting game obviously (and not canon to anything), but I haven’t shared any of it yet because I was going to do individual character profiles, but getting to those in the off time and being motivated to do so isn’t really working…

Hi-Res SuperTrix:

Made for PPR. Turns out the last time I drew SuperTrix was in like 2011 and yeah…^^;

Hi-Res Wondergal:

Again, made for PPR. I hadn’t a decent drawn Classic!Wondergal in a long time either

Hi-Res Wandergal:

Had to try my hand at drawing Wandergal (with some artistic liberties of course), and I honestly do like her. I just…don’t have room for her in my Superverse ^^; thus the creative meta-history I wrote up to explain her character.

Spoiler sketch compilation:

And last but not least, a sketch compilation of ideas I have in the works for upcoming plots and what not

I hope you’ve all enjoyed the 2017 SDCC Superverse Event

#Fairly Odd Parents #Fairly Oddparents #fop #superverse #my art #digital art #sdcc2017

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blackkudos · 8 years ago

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Dexter Gordon

Dexter Gordon (February 27, 1923 – April 25, 1990) was an American jazz tenor saxophonist. He was among the earliest tenor players to adapt the bebop musical language of people such as Charlie Parker, Dizzy Gillespie, and Bud Powell to the instrument. Gordon's height was 6 feet 6 inches (198 cm), so he was also known as "Long Tall Dexter" and "Sophisticated Giant". His studio and live performance career spanned over 40 years.

Gordon's sound was commonly characterized as being "large" and spacious and he had a tendency to play behind the beat. He was famous for humorously inserting musical quotes into his solos. One of his major influences was Lester Young. Gordon, in turn, was an early influence on John Coltrane and Sonny Rollins. Rollins and Coltrane then influenced Gordon's playing as he explored hard bop and modal playing during the 1960s.

Gordon was known for his genial and humorous stage presence. He was an advocate of playing to communicate with the audience. One of his idiosyncratic rituals was to recite lyrics from each ballad before playing it.

A photograph by Herman Leonard of Gordon taking a smoke break at the Royal Roost in 1948 is one of the iconic images in jazz photography. Cigarettes were a recurring theme on covers of Gordon's albums.

Gordon was nominated for an Academy Award for Best Actor in a Leading Role for his performance in the Bertrand Tavernier film Round Midnight (Warner Bros, 1986), and he won a Grammy for Best Jazz Instrumental Performance, Soloist, for the soundtrack album The Other Side of Round Midnight (Blue Note Records, 1986).

Life and career

Early life

Dexter Keith Gordon was born on February 27, 1923 in Los Angeles, California. His father, Dr. Frank Gordon, was one of the first African American doctors in Los Angeles who arrived in 1918 after graduating from Howard Medical School in Washington, D.C. Among his patients were Duke Ellington and Lionel Hampton. Dexter’s mother, Gwendolyn Baker, was the daughter of Captain Edward Baker, one of the five African American Medal of Honor recipients in the Spanish–American War. Gordon played clarinet from the age of 13, before switching to saxophone (initially alto, then tenor) at 15. While still at school, he played in bands with such contemporaries as Chico Hamilton and Buddy Collette.

Between December 1940 and 1943, Gordon was a member of Lionel Hampton's band, playing in a saxophone section alongside Illinois Jacquet and Marshal Royal. During 1944 he was featured in the Fletcher Henderson band, followed by the Louis Armstrong band, before joining Billy Eckstine. The 1942–44 musicians' strike curtailed the recording of the Hampton, Henderson, and Armstrong bands; however, they were recorded on V-Discs produced by the Army for broadcast and distribution among overseas troops. In 1943 he was featured, alongside Harry "Sweets" Edison, in recordings under Nat Cole for a small label not affected by the strike.

Bebop era recordings

By late 1944, Gordon was resident in New York and a featured soloist in the Billy Eckstine big band (If That's The Way You Feel, I Want To Talk About You, Blowin' the Blues Away, Opus X, I'll Wait And Pray, The Real Thing Happened To Me, Lonesome Lover Blues, I Love the Rhythm in a Riff,), and later was featured on recordings by Dizzy Gillespie (Blue 'n' Boogie, Groovin' High) and Sir Charles Thompson (Takin' Off, If I Had You, 20th Century Blues, The Street Beat). By late 1945 he was recording under his own name for the Savoy label. His recordings during 1945-46 included Blow Mr. Dexter, Dexter's Deck, Dexter's Minor Mad, Long Tall Dexter, Dexter Rides Again, I Can't Escape From You, and Dexter Digs In. By mid-1947, he was in Los Angeles, recording for Ross Russell's Dial label (Mischievous Lady, Lullaby in Rhythm, The Chase, Iridescence, It's the Talk of the Town, Bikini, A Ghost of a Chance, Sweet and Lovely). During his stint in Los Angeles, he became known for his saxophone duels with fellow tenorman Wardell Gray, which were a popular concert attraction documented in recordings made between 1947 and 1952 (The Hunt, Move, The Chase, The Steeplechase). The Hunt gained literary fame from its mention in Jack Kerouac's On The Road, which also contains descriptions of wild tenormen jamming in Los Angeles. Cherokee, Byas a Drink, and Disorder at the Border are other live recordings of the Gray/Gordon duo from the same concert as The Hunt. In December 1947, Gordon returned to New York and the Savoy label (Settin' the Pace, So Easy, Dexter's Riff, Dextrose, Dexter's Mood, Index, Dextivity, Wee Dot, Lion Roars). Through the mid-to-late 1940s he continued to work as a sideman on sessions led by Benny Carter, Ben Webster, Ralph Burns, Jimmy Rushing, Helen Humes, Gerry Mulligan, Wynonie Harris, Leo Parker, and Tadd Dameron.

The 1950s

By 1949, Gordon was again based in Los Angeles. His recorded output and live appearances declined as heroin addiction and legal troubles took their toll. The Chase And The Steeplechase, from February 1952, was the last recording of Gordon with Wardell Gray. After an incarceration at Chino Prison during 1953-55, he recorded the albums Daddy Plays the Horn and Dexter Blows Hot and Cool in 1955 and played as a sideman on the Stan Levey album, This Time the Drum's on Me. The latter part of the decade saw him in and out of prison until his final release from Folsom Prison in 1959. He was one of the initial sax players for the Onzy Matthews big band in 1959, along with Curtis Amy. Gordon continued to champion Matthews' band after he left Los Angeles for New York, but left for Europe before getting a chance to record with that band. He recorded The Resurgence of Dexter Gordon in 1960. His recordings document a meander into a smooth West Coast style that lacked the impact of his bebop era recordings or his subsequent Blue Note recordings.

The decade saw Gordon's first entry into the world of drama. He appeared as a member (uncredited) of Art Hazzard's band in the 1950 film Young Man with a Horn. He appeared in an uncredited and overdubbed role as a member of a prison band in the movie Unchained, filmed inside Chino. Gordon was a saxophonist performing Freddie Redd's music for the Los Angeles production of Jack Gelber's play The Connection in 1960, replacing Jackie McLean. He contributed two compositions, Ernie's Tune and I Want More to the score and later recorded them for his album Dexter Calling.

New York renaissance

Gordon signed to Blue Note Records in 1961. He initially commuted from Los Angeles to New York to record, but took up residence when he regained the cabaret card that allowed him to perform where alcohol was served. The Jazz Gallery hosted his first New York performance in twelve years. The Blue Note association was to produce a steady flow of albums for several years, some of which gained iconic status. His New York renaissance was marked by Doin' Allright, Dexter Calling..., Go, and A Swingin' Affair. The first two were recorded over three days in May 1961 with Freddie Hubbard, Horace Parlan, Kenny Drew, Paul Chambers, George Tucker, Al Harewood, and Philly Joe Jones. The last two were recorded in August 1962, with a rhythm section that featured Blue Note regulars Sonny Clark, Butch Warren and Billy Higgins. Of the two Go! was an expressed favorite. The albums showed his assimilation of the hard bop and modal styles that had developed during his years on the west coast, and the influence of John Coltrane and Sonny Rollins, whom he had influenced before. The stay in New York turned out to be short lived, as Gordon got offers for engagements in England, then Europe, that resulted in a fourteen-year stay. Soon after recording A Swingin' Affair, he was gone.

Years in Europe

Over the next 14 years in Europe, living mainly in Paris and Copenhagen, Gordon played regularly with fellow expatriates or visiting players, such as Bud Powell, Ben Webster, Freddie Hubbard, Bobby Hutcherson, Kenny Drew, Horace Parlan and Billy Higgins. Blue Note's German-born Francis Wolff supervised Gordon's later sessions for the label on his visits to Europe. The pairing of Gordon with Drew turned out to be one of the classic matchups between a horn player and a pianist, much like Miles Davis with Red Garland or John Coltrane with McCoy Tyner.

From this period come Our Man in Paris, One Flight Up, Gettin' Around, and Clubhouse. Our Man in Paris was a Blue Note session recorded in Paris in 1963 with a quartet including pianist Powell, drummer Kenny Clarke, and French bassist Pierre Michelot. One Flight Up, recorded in Paris in 1964 with trumpeter Donald Byrd, pianist Kenny Drew, drummer Art Taylor, and Danish bassist Niels-Henning Ørsted Pedersen, features an extended solo by Gordon on the track "Tanya".

Gordon also visited the US occasionally for further recording dates. Gettin' Around was recorded for Blue Note during a visit in May 1965, as was the album Clubhouse which remained unreleased until 1979.

Gordon found Europe in the 1960s a much easier place to live, saying that he experienced less racism and greater respect for jazz musicians. He also stated that on his visits to the US in the late 1960s and early 1970s, he found the political and social strife disturbing. While in Copenhagen, Gordon and Drew's trio appeared onscreen in Ole Ege's theatrically released hardcore pornographic film Pornografi (1971), for which they composed and performed the score.

He switched from Blue Note to Prestige Records (1965–73) but stayed very much in the hard-bop idiom, making classic bop albums like The Tower of Power! and More Power! (1969) with James Moody, Barry Harris, Buster Williams, and Albert "Tootie" Heath; The Panther! (1970) with Tommy Flanagan, Larry Ridley, and Alan Dawson; The Jumpin' Blues (1970) with Wynton Kelly, Sam Jones, and Roy Brooks; The Chase!(1970) with Gene Ammons, Jodie Christian, John Young, Cleveland Easton, Rufus Reid, Wilbur Campbell, Steve McCall, and Vi Redd; and Tangerine (1972) with Thad Jones, Freddie Hubbard, and Hank Jones. Some of the Prestige albums were recorded during visits back to North America while he was still living in Europe; others were made in Europe, including live sets from the Montreux Jazz Festival.

In addition to the recordings Gordon did under his major label contracts, live recordings by minor European labels and live video from his European period are available. The video was released under the Jazz Icons series.

Less well known than the Blue Note albums, but of similar quality, are the albums he recorded during the 1970s for the Danish label SteepleChase (Something Different, Bouncin' With Dex, Biting the Apple, The Apartment, Stable Mable, The Shadow of Your Smile and others). They again feature American sidemen, but also such Europeans as Spanish pianist Tete Montoliu and Niels-Henning Ørsted Pedersen.

Homecoming

Gordon finally returned to the United States for good in 1976. He appeared with Woody Shaw, Ronnie Mathews, Stafford James, and Louis Hayes, for a gig at the Village Vanguard in New York that was dubbed his "homecoming." It was recorded and released by Columbia Records under that title. He noted: "There was so much love and elation; sometimes it was a little eerie at the Vanguard. After the last set they'd turn on the lights and nobody would move." In addition to the Homecoming album, a series of live albums was released by Blue Note from his stands at Keystone Corner in San Francisco during 1978 and 1979. They featured Gordon, George Cables, Rufus Reid, and Eddie Gladden. The sensation of Gordon's return, renewed promotion of the classic jazz catalogs of the Savoy and Blue Note record labels, and the continued efforts of Art Blakey through 1970s and early 1980s, have been credited with reviving interest in swinging, melodic, acoustically-based classic jazz sounds after the Fusion jazz era that saw an emphasis on electronic sounds and contemporary pop influences.

Musician Emeritus

In 1978 and 1980, Gordon was the Down Beat Musician of the Year and in 1980 he was inducted into the Jazz Hall of Fame. The US Government honored him with a Congressional Commendation, a Dexter Gordon Day in Washington DC, and a National Endowment for the Arts award for Lifetime Achievement. In 1986, he was named a member and officer of the French Order of Arts and Letters by the Ministry of Culture in France.

During the 1980s, Gordon was weakened by emphysema. He remained a popular attraction at concerts and festivals, although his live appearances and recording dates would soon become infrequent.

Gordon's most memorable works from the decade were not in music but in film. He starred in the 1986 movie Round Midnight as "Dale Turner", an expatriate jazz musician in Paris during the late 1950s based loosely on Lester Young and Bud Powell. That portrayal earned him a nomination for an Academy Award for Best Actor. In addition, he had a non-speaking role in the 1990 film Awakenings, which was posthumously released. Before that last film was released he made a guest appearance on the Michael Mann series Crime Story.

Soundtrack performances from Round Midnight were released as the albums Round Midnight and The Other Side of Round Midnight, featuring original music by Herbie Hancock as well as playing by Gordon. The latter was the last recording released under Gordon's name. He was a sideman on Tony Bennett's 1987 album, Berlin.

Gordon died of kidney failure and cancer of the larynx in Philadelphia, on April 25, 1990, at the age of 67.

Family

Gordon's maternal grandfather was Captain Edward L. Baker, who received the Medal of Honor during the Spanish–American War, while serving with the 10th Cavalry Regiment (also known as the Buffalo Soldiers).

Gordon's father, Dr. Frank Gordon, M.D., was one of the first prominent African-American physicians and a graduate of Howard University.

Dexter Gordon had a total of six children, from the oldest to the youngest: Robin Gordon (Los Angeles), James Canales Gordon (Oakland, California), Deidre (Dee Dee) Gordon (Los Angeles), Mikael Gordon-Solfors (Stockholm), Morten Gordon (Copenhagen) and Benjamin Dexter Gordon (Copenhagen), and five grandchildren, Raina Moore Trider (Brooklyn), Jared Johnson (Los Angeles), and Matthew Johnson (Los Angeles), Maya Canales (Oakland, California), Jared Canales (Oakland, California).

When he lived in Denmark, Gordon became friends with the family of the future Metallica drummer Lars Ulrich, and subsequently became Lars's godfather.

Gordon was also survived by his widow and former manager-producer Maxine Gordon.

Instruments

The earliest photographs of Gordon as a player show him with a Conn 30M "Connqueror" and an Otto Link mouthpiece. In a 1962 interview with the British journalist Les Tomkins, he did not refer to the specific model of mouthpiece but stated that it was made for him personally. He stated that it was stolen around 1952. The famous smoke break photo from 1948 shows him with a Conn 10M and a Dukoff mouthpiece, which he played until 1965. In the Tomkins interview he referred to it as a medium-chambered piece with a #5* (.080" under the Dukoff system) tip opening. He bought a Selmer Mark VI from Ben Webster after his 10M went missing in transit. In a Down Beat magazine interview from 1977, he referred to his current mouthpiece as an Otto Link with a #8 (.110" under the Otto Link system) tip opening.

Discography

Dexter Rides Again (1947 78 album; Savoy MG 12130, 1992; SV-120, 2010)

The Hunt with Wardell Gray (1947 78 album; Savoy SJL 2222, 1976)

Dexter Gordon - The Chase with Wardell Gray (Dial Records, 1947, re-released as Spotlite (E) SPJ 130)

Dexter Gordon - Move! (Dial Records, 1947, re-released as Spotlite (E) SPJ 133)

The Duel with Teddy Edwards (Dial, Spotlite, 1947)

Dexter Gordon On Dial, The Complete Sessions - The Chase (compilation, Spotlite (E) SPJ 130 CD)

Dexter Gordon - Long Tall Dexter (Savoy SJL 2211, 1976, compilation of 1940s Savoy tracks, previously released and unreleased)

Dexter Gordon: Settin' the Pace (Savoy SVY 17027, compilation of 1940s Savoy studio tracks, including alternate takes)

Dexter's Mood (Cool & Blue [Switzerland] C&B CD-114, 1994, compilation of Dial and Savoy studio tracks)

The Wardell Gray Memorial, Volume 2 (live jam, Move) (Prestige, PRLP 7009, 1983; CD, OJC 051, 1992)

The Chase and The Steeplechase, with Wardell Gray, Paul Quinichette (1952, Decca; Universal Distribution CD 9061, 2003)

Daddy Plays the Horn (Bethlehem 1955)

Dexter Blows Hot and Cool (Dootone 1955)

The Resurgence of Dexter Gordon (Jazzland, 1960)

Doin' Allright (1961), Blue Note

Dexter Calling... (1961), Blue Note

Go! (Blue Note 1962)

A Swingin' Affair (Blue Note 1962)

Our Man in Paris (Paris 1963), Blue Note – with Bud Powell

One Flight Up (Paris, 1964) – Blue Note

King Neptune (SteepleChase 1964)

Clubhouse (Blue Note, recorded 1965, released 1979)

Gettin' Around (Blue Note 1965)

The Squirrel: Live at Montmartre (1967)

Both Sides of Midnight (Black Lion, recorded live on July 20, 1967, released in 1988)

Take The "A" Train (Black Lion, recorded live on July 21, 1967, released as BLCD760133, 1989)

A Day in Copenhagen (MPS, 1969) – with Slide Hampton

The Tower of Power! (Prestige, 1969) – with James Moody

More Power! (Prestige, 1969)

L.T.D. Live At The Left Bank (1969) (Prestige 2001)

XXL Live At The Left Bank (1969) (Prestige 2002)

Some Other Spring (Sonet, 1970) – with Karin Krog

Dexter Gordon with Junior Mance at Montreux (Prestige, 1970) – with Junior Mance

The Panther! (Prestige, 1970) – with Tommy Flanagan and Alan Dawson. Prestige Records

The Chase! (Prestige, 1970) – with Gene Ammons

The Jumpin' Blues (Prestige, 1970) – with Wynton Kelly

Tangerine (Prestige, 1972 [1975])

Ca'Purange (Prestige, 1972) with Thad Jones, Hank Jones, Stanley Clarke and Louis Hayes

Generation (1972) with Freddie Hubbard, Cedar Walton and others – Prestige

All Souls with Eric Ineke and others (1972) – Dexterity

Afterhours/The Great Pescara Jam Sessions Vol 1&2 with Eric Ineke (1973) – Ports Song

The Apartment (SteepleChase, 1974)

Stable Mable (SteepleChase, 1975)

Swiss Nights Vol. 1 (SteepleChase, 1975 [1976])

Swiss Nights Vol. 2 (SteepleChase, 1975 [1978])

Swiss Nights Vol. 3 with Joe Newman vol. 3 only (SteepleChase, 1975 [1979])

Something Different (SteepleChase, 1975)

Bouncin' with Dex (SteepleChase, 1975)

Lullaby for a Monster (SteepleChase, 1976 [1981])

True Blue with Al Cohn (1976; Xanadu Records)

Silver Blue with Al Cohn (1976; Xanadu Records)

Biting the Apple (SteepleChase, 1976)

Homecoming: Live at the Village Vanguard with Woody Shaw (Columbia, 1976)

Sophisticated Giant (1977) with 11-piece big-band including Woody Shaw, Slide Hampton, Bobby Hutcherson – Columbia Records

Manhattan Symphonie (1978), Columbia Records—with Rufus Reid – bass, Eddie Gladden – percussion, and George Cables – keyboard

Nights at the Keystone, Volumes 1-4 (1979, Blue Note; CD release 1990)

Gotham City (1980), Columbia Records

Landslide (1980), Blue Note compilation of unissued tracks from the 1960s

American Classic [featuring: Grover Washington Jr. and Shirley Scott] (1982) Elektra Entertainment

The Other Side of Round Midnight (1986) Blue Note Records

Awakenings (1990)

Live at Carnegie Hall (1998), Columbia Records – Recorded in 1978 with Johnny Griffin 2 tracks

The Rainbow People with Benny Bailey (1974), Steeplechase Records – released in 2002

Round Midnight with Benny Bailey (1974) Steeplechase Records - released in 1991

Revelation with Benny Bailey (1974) Steeplechase Records - released in 1995

As sideman

With Gene Ammons

The Chase! (Prestige, 1970)

Gene Ammons and Friends at Montreux (Prestige, 1973)

With Louis Armstrong

Dexter Gordon, Vol. 1 Young Dex 1941-1944 (Masters Of Jazz MJCD 112)

Louis Armstrong And His Orchestra 1944-1945 (Blue Ace BA 3603)

Louis Armstrong And His Orchestra (AFRS One Night Stand 240) (V-Disc, 1944)

Louis Armstrong And His Orchestra (AFRS One Night Stand 253) (V-Disc, 1944)

Louis Armstrong And His Orchestra (AFRS One Night Stand 267) (V-Disc, 1944)

Louis Armstrong New Orleans Masters, Vol. 2 (Swing House (E) SWH 44)

Louis Armstrong And His Orchestra (AFRS Spotlight Bands 382) (V-Disc, 1944)

Louis Armstrong - Chronological Study (MCA Decca 3063 72)

Louis Armstrong And His Orchestra (AFRS Spotlight Bands 444) (V-Disc, 1944)

Louis Armstrong And His Orchestra (AFRS Spotlight Bands 465) (V-Disc, 1944)

Various Artists, Louis, Pops And Tram (IAJRC 21) (off V-Disc, 1944)

Louis Armstrong Armed Forces Radio Service 1943/44 (Duke (It) D 1021)

With Tony Bennett

Berlin (Columbia, 1987)

With Ralph Burns

Various Artists - OKeh Jazz (Epic EG 37315)

With Benny Carter

The Fabulous Benny Carter (1946, Audio Lab AL 1505)

Benny Carter And His Orchestra (AFRS Jubilee 246) (V-Disc, 1947)

Various Artists - Jazz Off The Air, Vol. 3 (Spotlite (E) SPJ 147) (off V-Disc 1947)

With Nat King Cole

Nat King Cole Meets The Master Saxes 1943 (Phoenix Jazz LP 5)

With Tadd Dameron

Tadd Dameron/Babs Gonzales/Dizzy Gillespie - Capitol Jazz Classics, Vol. 13: Strictly Bebop (Capitol M 11059)

With Billy Eckstine

The Chronological Billy Eckstine and His Orchestra, 1944-1945 (CD, Classic Records [France], 1997)

Billy Eckstine, The Legendary Big Band (SVY 17125)

With Booker Ervin

Setting the Pace (Prestige, 1965)

With Lowell Fulson

Lowell Fulson (Swing Time 320)

With Dizzy Gillespie

Dexter Gordon, Vol. 2 Young Dex 1944-1946 (Masters Of Jazz MJCD 128)

Dizzy Gillespie - Groovin' High (Savoy MG 12020, 1992; SV 152, 2010)

With Lionel Hampton

Dexter Gordon, Vol. 1 Young Dex 1941-1944 (Masters Of Jazz MJCD 112)

Lionel Hampton, Vol. 1: 1941-1942 (Coral (G) COPS 7185)

Decca Jazz Heritage Series DL-79244

With Herbie Hancock

Takin' Off (Blue Note, 1962)

Round Midnight (1986), Columbia Records

With Wynonie Harris

Wynonie Harris - Love Is Like Rain / Your Money Don't Mean A Thing (Come Live With Me Baby) (King 4217)

With Fletcher Henderson

Fletcher Henderson And His Orchestra (AFRS Jubilee 76), (V-Disc, 1944)

Fletcher Henderson And His Orchestra (AFRS Jubilee 77), (V-Disc, 1944)

With Helen Humes

Various Artists - Black California (Savoy SJL 2215)

Helen Humes - Be-Baba-Leba 1942-52 (Whiskey, Women And... Gene Norman "Just Jazz" concert, February 2, 1952, KM 701)

Helen Humes - New Million Dollar Secret (Whiskey, Women And... Gene Norman "Just Jazz" concert, February 2, 1952, KM 707)

with Stan Levey

Stan Levey - This Time The Drum's On Me (Bethlehem BCP 37)

With Jackie McLean

The Meeting (SteepleChase, 1974)

The Source (SteepleChase, 1974)

With Gerry Mulligan

Gerry Mulligan - Capitol Jazz Classics, Vol. 4: Walking Shoes (Capitol M 11029)

Classic Capitol Jazz Sessions (Mosaic MQ19-170)

With Charlie Parker

Charlie Parker - Every Bit Of It 1945 (Spotlite (E) SPJ 150D)

With Leo Parker

The Be Bop Boys (Savoy SJL 2225)

Leo Parker - Birth Of Bop, Vol. 1 (Savoy XP 8060)

With Pony Poindexter

Pony's Express (Epic, 1962)

Stella By Starlight (co leader) (SteepleChase 1966)

With Jimmy Rushing

Jimmy Rushing/Don Redman/Russell Jacquet/Joe Thomas - Big Little Bands (1946, Onyx ORI 220)

Black California, Vol. 2: Anthology (1946, Savoy SJL 2242)

With Les Thompson

Les Thompson - Gene Norman Presents Just Jazz (RCA Victor LPM 3102)

With Ben Webster

Ben Webster Nonet (1945, Jazz Archives JA 35)

In popular culture

The narrator of the Stephen King short story "The Breathing Method", published in Different Seasons (1982), mentions that he is a fan of Gordon's.

Wikipedia

#Dexter Gordon

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jazzworldquest-blog · 5 years ago

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USA: #jazz Leon Lee Dorsey Explores the Music of Thelonious Monk on "MonkTime," Set for Sept. 13 Release

#jazz

Leon Lee Dorsey

Explores the Music of Thelonious Monk

On "MonkTime,"

Bassist's First Album in 20 Years,

Set for September 13 Release

On Jazz Avenue 1 Records

Recording Features Eight Monk Compositions,

Performed by His DSC Trio Featuring

Guitarist Greg Skaff, Drummer Mike Clark

August 16, 2019

Twenty years after the release of his last album, bassist Leon Lee Dorseyreassumes the mantle of a recording artist in his own right with the September 13 release of MonkTime (Jazz Avenue 1 Records). The debut of Dorsey's DSC Band, which also includes guitarist Greg Skaff and celebrated drummer Mike Clark, features the trio applying their potent chemistry to eight compositions by jazz titan Thelonious Monk.

While Dorsey is himself a talented, accomplished composer and arranger, he brings a minimal, spacious treatment to bear on MonkTime -- preferring to let the tunes speak for themselves. "We wanted to retain the original character of Monk's music," Dorsey says. "We weren't looking to reinvent the wheel on masterpieces. We wanted to keep the essence of the songs, that timeless commonality they have, while blending in our own spices and flavors."

Those spices and flavors are simultaneously bold and subtle: a paradox that Monk would surely have appreciated. Skaff, as the DSC Band's principal soloist, favors lean single-note lines that tend toward the low and middle registers (as on "Blue Monk"), imbuing them with a distinctive round, dark tone. It gives extra oomph to the chords and high crescendos he does employ in places like "Little Rootie Tootie." Clark reins in his famously brawny chops; he keeps the swing supple and assured but eschews pyrotechnics, even in his solos on "Monk's Dream" and "Epistrophy."

Dorsey, meantime, sets the pace. Whether it comes through his beautiful reading of the melody on "Monk's Mood" or the gentle pulse and solo he lends to "Ugly Beauty," the bassist's command of both the repertoire and ensemble avoids flash, yet is nevertheless unmistakable.

Dorsey keeps it tight on MonkTime; only one of the eight tunes strays beyond to the six-minute mark, and then just barely. "We took a page out of the vinyl era in keeping the songs at a manageable length," he says. It brings a sense of clarity and focus to the performances, spotlighting the trio's interplay as much as the individual improvisations.

L. to r.: Mike Clark, Leon Lee Dorsey, Greg Skaff.

Leon Lee Dorsey was born March 12, 1958 in Pittsburgh, Pennsylvania, to a family that was plugged in to the Steel City's storied jazz lineage. He began playing piano in third grade and, the following year, switched to classical cello studies with members of the Pittsburgh Symphony at the famed Center for the Musically Talented, where he remained throughout high school. He also picked up electric bass in the seventh grade and, later, in high school, was drawn to the double bass, having always loved the instrument.

Dorsey attended Oberlin College Conservatory, graduating with double degrees in music in 1981. Under the tutelage of bass legend Richard Davis, he received his first master's at the University of Wisconsin at Madison and a second master's from the Manhattan School of Music in New York. Dorsey then pursued doctoral studies at the City University of New York under Ron Carter, finishing his doctorate at Stony Brook University.

In 1986, Dorsey began a two-year stint with the Lionel Hampton Orchestra, including performances with Frank Sinatra and visits to the White House, which honed his skills for his next endeavor, namely as a Jazz Messenger. In 1988 he joined Art Blakey's most fabled of jazz finishing schools, which left a lasting impact on his subsequent career.

Since arriving in New York, Dorsey has performed and recorded with jazz legends Dizzy Gillespie, Lionel Hampton, Hilton Ruiz, Cassandra Wilson, James Carter, Freddie Hubbard, and the Duke Ellington Orchestra. He released his acclaimed debut album, The Watcher, in 1995 and followed it up with 1999's Song of Songs. In 2003 he founded Leon Lee Dorsey Studios in New York City, at which more than 100 albums have since been produced.

Dorsey is also prominent as a jazz educator. From 2008 to 2011 he was Coordinator of Jazz Studies and Director of the Jazz Seminar at the University of Pittsburgh. Currently, he teaches harmony and jazz arranging and composition at Berklee College of Music in Boston. He looks forward to working with the DSC Band and hopes to be announcing performance dates soon. "I felt from the start that with the chemistry of this band -- there's no horn and no piano, the two instruments that defined Monk's sound -- we could go to the magical music level."

Photography: John Hasselback III

DSC Band - "Well You Needn't" from MonkTime

Web Site: leonleedorsey.com

Media Contact:

Terri Hinte 510-234-8781 [email protected] terrihinte.com

via Blogger https://ift.tt/2Bea7dJ

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