#wendel moran

[espee-southernpacifc]

[mirandamckenni1]

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[jpbjazz]

LÉGENDES DU JAZZ

JAKI BYARD, DE LA TRADITION À LA MODERNITÉ

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

- Jason Moran

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

JEUNESSE ET ÉDUCATION

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

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

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

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

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

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

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

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

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

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

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

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

UN LABORATOIRE: LE SAX-TRUM

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

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

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

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

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

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

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

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

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

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

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

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

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

DÉBUTS DE CARRIÈRE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

DERNIÈRES ANNÉES

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[tomorrowedblog]

Friday Releases for October 28

Friday is the busiest day of the week for new releases, so we've decided to collect them all in one place. Friday Releases for October 28 include Wendell & Wild, Run Sweetheart Run, 10, and more.

Wendell & Wild

Wendell & Wild, the new movie from Henry Selick, is out today.

From the delightfully wicked minds of Henry Selick (director of The Nightmare Before Christmas and Coraline) and Jordan Peele (Nope, Us, Get Out) comes the story of Kat (Lyric Ross), a troubled teen haunted by her past, who must confront her personal demons, Wendell & Wild (played by Keegan-Michael Key and Jordan Peele) to start a new life in her old hometown.

Run Sweetheart Run

Run Sweetheart Run, the new movie from Shana Feste, is out today.

Initially apprehensive when her boss insists she meet with one of his most important clients, single mom Cherie is relieved and excited when she meets charismatic Ethan. The influential businessman defies expectations and sweeps Cherie off her feet. But at the end of the night, when the two are alone together, he reveals his true, violent nature. Battered and terrified, she flees for her life, beginning a relentless game of cat-and-mouse with a bloodthirsty assailant hell-bent on her utter destruction. In this edge-of-your-seat dark thriller, Cherie finds herself in the crosshairs of a conspiracy stranger and more evil than she could have ever imagined.

All Quiet on the Western Front

All Quiet on the Western Front, the new movie from Edward Berger, is out today.

All Quiet on the Western Front tells the gripping story of a young German soldier on the Western Front of World War I. Paul and his comrades experience first-hand how the initial euphoria of war turns into desperation and fear as they fight for their lives, and each other, in the trenches.

Armageddon Time

Armageddon Time, the new movie from James Gray, is out today.

From acclaimed filmmaker James Gray, ARMAGEDDON TIME is a deeply personal story on the strength of family, the complexity of friendship and the generational pursuit of the American Dream.

Please Baby Please

Please Baby Please, the new movie from Amanda Kramer, is out today.

Suze (Andrea Riseborough) and Arthur (Harry Melling) live an outwardly traditional lifestyle as the Lower East Side’s most bohemian Eisenhower-era couple. The pair’s cage is rattled when they encounter a gang of sadistic, leather-clad greasers known as The Young Gents. Suze and Arthur’s initial thrust of fear evolves into confusion of thrill and lust. This sudden exposure to flamboyant masculinity unlocks the realization that Suze is an aspiring leather daddy who mistook herself for a housewife. Meanwhile, the perpetually sensitive Arthur’s obsessive gender trouble goes sideways when Young Gent Teddy (Karl Glusman) sparks a queer desire.

The Manhattan Project

The Manhattan Project, the new movie from Matthew Campanile, is out today.

When a small-town cocktail-enthusiast decides to kill himself after being diagnosed with a terminal illness he must deal with the repercussion his choice has on his son and his community.

The Devil’s Hour

The Devil’s Hour, the new TV series from Tom Moran, is out today.

Peter Capaldi (Gideon) and Jessica Raine (Lucy) star in The Devil’s Hour, a gripping psychological thriller where Lucy’s nightmares draw her into a hunt for a serial killer in a world where nothing is as it seems.

The Bastard Son & The Devil Himself

The Bastard Son & The Devil Himself, the new TV series from Joe Barton, is out today.

Sixteen-year-old Nathan (Jay Lycurgo) is the illegitimate son of the world’s most dangerous witch. Fearing he will follow in his father’s footsteps, Nathan is closely monitored throughout his childhood. As the boundaries between ‘good’ and ‘bad’ fray, Nathan - along with mischievous Annalise and charismatic Gabriel - will soon discover who he truly is.

Bayonetta 3

Bayonetta 3, the new game from PlatinumGames and Nintendo, is out today.

Bayonetta struts through multiple locations in an all-new, over-the-top climax action game. Sporting a wicked new ensemble and somehow familiar pigtails, the titular Umbra Witch must face a mysterious evil using her signature guns and time-slowing Witch Time ability. This time, invading manmade bioweapons called Homunculi find themselves in Bayonetta’s crosshairs.

10

10, the new album from Westside Gunn, is out today.

Luv 4 Rent

Luv 4 Rent, the new album from Smino, is out today.

[kwebtv]

The Gregory Hines Show  -  CBS  -  September 15, 1997 - February 27, 1998

Sitcom (22 episodes - 7 unaired)

Running Time:  30 minutes

Stars:

Gregory Hines as Ben Stevenson

Brandon Hammond as Matthew "Matty" Stevenson

Wendell Pierce as Carl Stevenson

Mark Tymchyshyn as Alex Butler

Robin Riker as Nicole Moran

Bill Cobbs as James Stevenson

Judith Shelton as Angela Rice

Steve Harvey as  Gerald

Alan Cumming as   Rick

Adam Pally   as  Alex

Will Smith   as Franklin

Bernie Mac   as George

[kendelias]

Miscellaneous OCs Masterlist

Name: Cordelia Ward

Face Claim: Katherine Langford

Fandom: Big Time Rush

Love Interest: Kendall Knight

Fic Title: all over again

Summary: Everyone at the Palm Woods knows that Cordelia Ward hates Hollywood starlets, even if nobody really knows why. For the most part, everyone is content to leave her alone, lest they face her wrath, and she is content to go to the public school down the street and keep herself out of the spotlight. But when a new boyband arrives, they seem determined to ruin Cordelia’s quiet little life, especially the arrogant lead singer who just won’t leave her alone. Suddenly, Cordelia is thrown into wacky hijinks and crazy shenanigans as Big Time Rush turns the Palm Woods - and her life - upside down.

Name: Fiona Gilmore

Face Claim: Hunter Schafer

Love Interest: Staz Blood

Fic Title: blessed are the dead

Series Title: TBD

Summary: TBD

Name: Tiffany “Tiff” Russell

Face Claim: Dakota Johnson

Fandom: Bones

Love Interest: Wendell Bray

Fic Title: girl with a gun

Series Title: TBD

Summary: TBD

Name: Theodora "Teddy" Wiggins

Face Claim: Emily Bador

Fandom: Case File n°221: Kubukicho

Love Interest: James Moran

Fic Title: TBD

Summary: TBD

Name: Luciana

Face Claim: Sofia Carson

Fandom: Castlevania

Love Interest: Hector

Fic Title: sweet & metallic

Summary: TBD

Name: Jooeun “Jo” Bak

Face Claim: Kim Sejeong

Fandom: Charmed

Love Interest: Chris Halliwell

Fic Title: wicked thing

Summary: Jooeun Bak leads a fairly normal life - well, besides being a witch, that is. In a world where magic is banned, Jo learns to keep her head down, spending a majority of her time at her best friend’s house. It’s there that she learns that magic is still alive and well. Piper Halliwell teaches her son, Chris, as well as Jo, magic, and Jooeun forges a new home, where her abilities are not only allowed, but celebrated. However, when Piper tragically dies when Jo and Chris turn fourteen, everything takes a turn for the worse. Wyatt, Chris’s older brother, is enraged by his mother’s death, and begins to use his magic in a way his mother never would have wanted. Chris then decides it’s time to stop his brother, by going back in time to fix everything. And Jooeun will be damned if he goes alone.

Name: Ignatius “Iggy” Van Doren

Face Claim: Louis Partridge

Fandom: Code Geass: Lelouch of the Rebellion

Love Interest: Kallen Kozuki

Fic Title: TBD

Summary: TBD

Name: Milo Roth

Face Claim: Miles Heizer

Fandom: Community

Love Interest: Troy Barnes

Fic Title: bravely

Summary: Believe it or not, it was decidedly not in Milo Roth’s life plan to end up at Greendale Community college. Or to be 19 and living out of his parent’s basement. After all, being your high school’s golden boy is usually a step on the ladder of success - but then, you fall down that ladder into a pile of shit and end up on the bottom of the food chain you worked so hard to get to the top of. Armed only with a G.E.D. and a flimsy hope for a fresh start, Milo enrolls at what most would not consider the college of their dreams. To make matter’s worse, he’s in Spanish 101 - not his strongest subject. Oh well, at least that kid Abed invited him to his study group.

Name: Fitz Morgan

Face Claim: Elliot Fletcher

Fandom: Crazy Ex Girlfriend

Love Interest: Josh Wilson

Fic Title: TBD

Summary: TBD

Name: Phoebe Barrett

Face Claim: Natalie Alyn Lind

Fandom: DC / Titans

Love Interest: Garfield Logan

Fic Title: wide awake

Series Title: TBD

Summary: TBD

Name: Fuyuko Ujie

Face Claim: IU

Fandom: Demon Slayer

Love Interest: Giyu Tomioka

Fic Title: TBD

Summary: TBD

Name: Gus Minkus

Face Claim: Noah Schnapp

Fandom: Girl Meets World

Love Interest: Zay Babineaux

Fic Title: Starry Eyes

Summary: Being the twin brother of Farkle Minkus is never quite easy. Where Farkle is loud, Gus is quiet; where Farkle is ruthless, Gus is timid; where Farkle is insensitive, Gus feels far too much. Though the brothers are inseparable, it’s easy to see where they differ, and not just in looks. The boys are so different that it’s easy to forget they’re related at all. But as they make their way through love, life, and adolescence together, it’s clear that the Minkus twins are ready to take on the world.

Name: Nicholas “Books” Hawthorn

Face Claim: Aidan Gallagher / Tyler Hoechlin

Fandom: It (2017 & 2019)

Love Interest: Eddie Kaspbrak

Fic Title: TBD

Summary: TBD

Name: Arisu Ikehara

Face Claim: Hirai Momo

Fandom: Kuroko’s Basketball

Love Interest: Rinnosuke Mitobe

Fic Title: heart of a champion

Summary: TBD

Name: Genevieve Zhao

Face Claim: Michaela Conlin

Fandom: Law & Order: SVU

Love Interest: Rafael Barba

Fic Title: TBD

Summary: TBD

Name: Bell

Face Claim: Richard Harmon

Fandom: The Maze Runner

Love Interest: Newt

Fic Title: something like that

Series Title: TBD

Summary: TBD

Name: Sage Harlow

Face Claim: Kaylee Bryant

Fandom: Misfits

Love Interest: Curtis Donovan, Nathan Young (endgame)

Fic Title: a million pieces

Summary: Sage Harlow, ex-homecoming queen and student council president, was not the type of girl you would expect to find doing court-mandated community service. And yet... when she found out her boyfriend was cheating on her with her best friend, it was kind of hard not to go all "Before He Cheats" on his Chevrolet Impala. The perfectly polished princess finds herself in community service, with a loud-mouthed bunch of hoodlums, slapping white paint onto benches with a guy who burned someone's house down and a pick n mix thief who won't leave her alone. Suddenly, a storm hits, and somehow they all get struck by lightning - and are still standing. As Sage is about to learn, the storm is just the beginning of the long list of weird things about to happen to her.

Name: Bijou Chihaya

Face Claim: Kim “Lua” Sookyung

Fandom: The Disastrous Life of Saiki K

Love Interest: Aren Kuboyasu

Fic Title: trouble

Series Title: TBD

Summary: TBD

Name: Willa Walker

Face Claim: Emma Mackey

Fandom: Twilight

Love Interest: Alice Cullen

Fic Title: TBD

Series Title: TBD

Summary: "Doomed to suffer for all eternity, cursed to be the whore she'd so wrecklessly chosen to become." - Yes, that did sum up Willa's life, didn't it? The wording was a little hard to remember, considering she'd been cursed nearly fifty years ago, but that was the CliffsNotes version, for certain. So now, she's a monster--cursed to wander the earth for eternity, feeding off the sexual energy of others. But when she sets off to enroll in a new high school, there's a group of rich kids from a family that catches her attention--as well as everyone else's. With only her wits about her (and a huge crush on the family’s youngest sister), Willa is determined to get down to the bottom of the mysterious Cullens.

Name: Declan Suzuki

Face Claim: Conan Gray

Fandom: Voltron

Love Interest: Keith Kogane

Fic Title: TBD

Series Title: TBD

Summary: TBD

[ramascreen]

Wendell Pierce, MJ Rodriguez, Kendrick Sampson, Yara Shahidi And More Join BETWEEN THE WORLD AND ME HBO has announced that their new special event BETWEEN THE WORLD AND ME has added Jharrel Jerome, Marc Bamuthi Joseph, Janet Mock, Jason Moran, Wendell Pierce, Mj Rodriguez, Kendrick Sampson, Yara Shahidi and Michelle Wilson to the all-star cast.

[blackkudos]

Charles H. Houston

Charles Hamilton Houston (September 3, 1895 – April 22, 1950) was a prominent African-American lawyer, Dean of Howard University Law School, and NAACP first special counsel, or Litigation Director. A graduate of Amherst College and Harvard Law School, Houston played a significant role in dismantling Jim Crow laws, especially attacking segregation in schools and racial housing covenants. He earned the title "The Man Who Killed Jim Crow".

Houston is also well known for having trained and mentored a generation of black attorneys, including Thurgood Marshall, future founder and director of the NAACP Legal Defense Fund and the first Black Supreme Court Justice. He recruited young lawyers to work on the NAACP's litigation campaigns, building connections between Howard's and Harvard's university law schools.

Biography

Early years

Houston was born in Washington, D.C., to a middle-class family who lived in the Striver section. His father William Le Pré Houston, the son of a former slave, had become an attorney and practiced in the capital for more than four decades. Charles' mother, Mary (née Hamilton) Houston, worked as a seamstress. Houston attended segregated local schools, graduating from the academic (college preparatory) Dunbar High School. He studied at Amherst College beginning in 1911, was elected to the Phi Beta Kappa honor society, and graduated as valedictorian in 1915, the only black student in his class. He returned to D.C. and taught English at Howard University, a historically black college.

As the U.S. entered World War I, Houston joined the U.S. Army as an officer. The military was racially segregated. From 1917 to 1919, he served as a First Lieutenant in the United States Infantry, based in Fort Meade, Maryland, with service in France. Houston wrote later:

The hate and scorn showered on us Negro officers by our fellow Americans convinced me that there was no sense in my dying for a world ruled by them. I made up my mind that if I got through this war I would study law and use my time fighting for men who could not strike back.

After his return to the U.S. in 1919, he entered Harvard Law School. He was the first black student elected to the editorial board of the Harvard Law Review and graduated cum laude. Houston was also a member of Alpha Phi Alpha fraternity. He earned a bachelor's of law in 1922 and a JD from Harvard in 1923. That same year he was awarded a Sheldon Traveling Fellowship to study at the University of Madrid. After his return, he was admitted to the Washington, DC bar in 1924 and joined his father's practice.

In 1924 Houston married Gladys Moran. They divorced in 1937. He next married Henrietta Williams. They had Houston's only child in 1940, Charles Hamilton Houston, Jr.

Career

When several black lawyers were refused admission to the American Bar Association in 1925, they founded the National Bar Association. Houston was a founding member of the affiliated Washington Bar Association.

He was recruited to Howard University by the first African-American president, Mordecai Johnson. From 1929 to 1935, Houston served as Vice-Dean and Dean of the Howard University School of Law. He developed the school, beginning its years as a major national center for training black lawyers. He extended its part-time program to a full-time curriculum and gained accreditation by the Association of American Law Schools and the American Bar Association. Bringing prominent attorneys to the school as speakers and to build a law network for his students, Houston served as a mentor to a generation. He influenced nearly one-quarter of all the black lawyers in the United States at the time, including former student Thurgood Marshall, who became a United States Supreme Court justice. Houston believed that the law could be used to fight racial discrimination and encouraged his students to work for such social purpose.

Houston left Howard in 1935 to serve as the first special counsel for the National Association for the Advancement of Colored People (NAACP), serving in this role until 1940. In this capacity he created litigation strategies to attack racial housing covenants and segregated schools, arguing several important civil rights cases before the U.S. Supreme Court. Through his work at the NAACP, Houston played a role in nearly every civil rights case that reached the US Supreme Court between 1930 and Brown v. Board of Education (1954).

Houston worked to bring an end to the exclusion of African Americans from juries across the South. He defended African-American George Crawford on charges of murder in Loudoun County, Virginia, in 1933, and saved him from the electric chair.

In the related Hollins v. State of Oklahoma (1935), Houston led an all-black legal team before the US Supreme Court to appeal another murder case in which the defendant was convicted by an all-white jury and sentenced to death. The defense team had challenged the all-white jury during the trial, but the conviction was upheld by the appeals court. Hearing the case a certiorari, the Supreme Court reversed the lower court's decision and ordered a new trial. Hollins was tried a third time, again before an all-white jury, and was convicted in 1936. He was sentenced to life in prison, where he died in 1950. "It is now widely believed that he was innocent." At the time, Oklahoma and southern states systematically excluded blacks from juries, in part because they were not on the voter rolls, having been disenfranchised across the South since the turn of the century by state barriers to voter registration. In the 21st century, attorneys continue to have to challenge prosecutorial strategies that exclude blacks from juries.

Houston's strategy on public education was to attack segregation by demonstrating the inequality resulting from the "separate but equal" doctrine dating from the Supreme Court's Plessy v. Ferguson (1897). He orchestrated a campaign to force southern districts to build facilities for blacks equal to those for whites, or to integrate their facilities. He focused on law schools because, at the time, mostly males attended them. He believed this would obviate the fears whites expressed that integrated schools would lead to interracial dating and marriage. In Missouri ex rel. Gaines v. Canada (1939), Houston argued that it was unconstitutional for Missouri to exclude blacks from the state's university law school when, under the "separate but equal" provision, no comparable facility for blacks existed within the state.

In the documentary "The Road to Brown", Hon. Juanita Kidd Stout described Houston's strategy related to segregated schools:

When he attacked the "separate but equal" theory his real thought behind it was that "All right, if you want it separate but equal, I will make it so expensive for it to be separate that you will have to abandon your separateness." And so that was the reason he started demanding equalization of salaries for teachers, equal facilities in the schools and all of that.

Houston founded a law firm, Houston & Gardner, with Wendell P. Gardner, Sr. It later included, as name partners, William H. Hastie, William B. Bryant, Emmet G. Sullivan, and Joseph C. Waddy, each of whom were later appointed as federal judges. The firm was prestigious but their work not well-compensated. Ten members of the firm advanced to become judges, including Theodore Newman, Wendell Gardner, Jr., the son of Wendell Gardner; and Emmet Sullivan.

Houston's efforts to dismantle the legal theory of "separate but equal" were completed after his death in 1950 with the historic Brown v. Board of Education (1954) ruling, which prohibited segregation in public schools. At one point Houston had carried a movie camera as he traveled across South Carolina, in order to document the inequalities of facilities, materials and teachers' salaries between African-American and white education. As Special Counsel to the NAACP, Houston dispatched Thurgood Marshall, Oliver Hill and other young attorneys to work a litigation campaign of court challenges to equalize teachers' salaries.

Houston also directed the NAACP's campaign to end restrictive housing covenants. In the early 20th century, the organization had won a United States Supreme Court case, Buchanan v. Warley (1917), which prohibited state and local jurisdictions from establishing restrictive housing. Real estate developers and agents developed restrictive covenants and deeds. The Court ruled in Corrigan v. Buckley (1926) that such restrictions were the acts of individuals and beyond the reach of the constitutional protections. As the NAACP continued with its campaign in the 1940s, Houston drew from contemporary sociological and other studies to demonstrate that such covenants and resulting segregation produced conditions of overcrowding, poor health, and increased crime that adversely affected African-American communities. Following Corrigan, Houston contributed to what was a 22-year campaign, in concert with lawyers he had trained, in order to overturn the constitutionality of restrictive covenants. This was achieved in the US Supreme Court ruling in Shelley v. Kraemer (1948). The court ruled that "judicial enforcement of private right constitutes state action for the purpose of the fourteenth amendment." Houston's use of sociological materials in these cases lay the groundwork for the approach and ruling in Brown v. Board of Education (1954).

Death

Houston died from a heart attack on April 22, 1950, at the age of 54.

Legacy and honors

In 1950, Houston was posthumously awarded the NAACP's Spingarn Medal.

In 1958, the main building of the Howard University School of Law was dedicated as Charles Hamilton Houston Hall.

The Charles Houston Bar Association and the Charles Hamilton Houston Institute for Race and Justice, established at Harvard Law School in 2005, were named for him. Elena Kagan, formerly the Dean of Harvard Law School, was also the Charles Hamilton Houston Professor of Law there; she is now an Associate Justice of the United States Supreme Court.

The Washington Bar Association annually awards the Charles Hamilton Houston Medallion of Merit to an individual who has advanced the cause of Houstonian jurisprudence.

In 2002, scholar Molefi Kete Asante included Charles Hamilton Houston on his list of 100 Greatest African Americans.

[odd-the-motoring-fox]

Chapter One

 The Sad Truth and a daring Dream.

  This is the prelude story for Jack and Skye Savage. A couple that were in the proto Zootopia franchise and have since become a fan favorite amongst the Zootopia fandom and the fanfiction realm of the franchise. In the Story (The Wildes of Zootopia) to which this story is a short explanation for her and Jack in the story and how they came to be together. This story is about a Little blue eyed Arctic Fox named Skye Elizabeth Frostfur.

  The year is 1996, Her mother Lisa and her father Andrew are the parents of an only child, little eight year old Skye. They are residents of a town to the North of Zootopia in the Nuna Valley. Lisa Skye’s mother is a first-grade teacher at Bear Lake elementary school. Her father, a Conductor for the Tacoma Central Railway. A short line railway that served as the Interstate Rail Company’s pickup and delivery service for a few small businesses and lumber mills outside Zootopia in the surrounding areas to the north and east of the main line. Although they made decent money, the family had been stretched quite thin for the past couple of years and it’s that reason that led me to write this little three-chapter story Titled: Calling Home. I hope you enjoy this prelude.

This is Picture and sneek peek at the intro hopefully will get you thinking and should give you an Idea of the Cold hell that Skye lived in. Also all that her little families hardships that nearly tears them apart that will lead her to be the, Amazing Mammal that she becomes.

Mr. Frostfur is a very Hardworking Fox.

Photo Credit: Wendel Moran

Source RailPictures.Net

Locomotive Model E.M.D SD40-2T and GP40

[vampireadamooc]

Friendly reminder that the FBI Files are publicly available - updated weekly as FOIA Requests are processed.

Direct Links to A-P (August 4th 2017)

The Vault Index

The FBI has converted many FOIA documents to an electronic format (PDF), and they may be viewed below. In the case of voluminous pages, only summaries or excerpts from the documents are online. Subjects are sorted alphabetically by first name. You can also use your browser's find feature to locate subjects on the page.

Al Capone Animal Mutilation Ali Hasan Al-Majid Al-Tikriti (Chemical Ali) Albert Anastasia ACLU Aristotle Onassis American Friends Service Committee Aryan Nation Anna Nicole Smith Anthony Blunt Alfred Kinsey Abner Zwillman Albert Einstein Anthony Spilotro ABSCAM Arthur Flegenheimer (Dutch Schultz) Alcatraz Escape Alcoholics Anonymous Al Gore, Sr. Amerithrax Anwar Nasser Aulaqi Amelia Boynton Abbie Hoffman Adolf Hitler Asian American Political Alliance Amelia Mary Earhart Andrew Phillip Cunanan Anthony Salerno All American Anti Imperialist League American Nazi Party Arthur Rudolph Aryan Brotherhood Atlanta Child Murders Aryan Circle Almighty Latin Kings Abe Fortas Arthur R. "Doc" Barker Arnold Palmer Armando Florez Ibarra Alvin Francis Karpis Attempted Assassination of President Ronald Reagan Alger Hiss Ariel Sharon Art Modell

Black September Bertolt Brecht Billy Carter Bishop Fulton Sheen Bonus March Barker-Karpis Gang Summary Bloods and Crips Gang Bonnie and Clyde Black Dahlia (Elizabeth Short) Basque Intelligence Service Bugsy Siegel Bayard Rustin Benjamin Hooks Benjamin Crowninshield Bradlee Black Guerilla Family Black Mafia Family Bernard Baruch Black Panther Party BOMBROB Betty Shabazz Bureau Aviation Regulations Policy Directive and Policy Guide Bernard Julius Otto Kuehn Bettie Page Billy Martin Barker/Karpis Gang

Caryl Chessman Cardinal Francis Spellman Cambridge Five Spy Ring Carmine John Persico, Jr. Custodial Detention Clyde A. Tolson Clark Gable Charles Manson Council on Foreign Relations Charles Lindbergh Clarence Smith (aka 13x) Clarence Darrow Carl Sagan Carmine Galante Conference Cost Reporting and Approvals to Use Nonfederal Facilities Policy Directive 0927D Charlie Chaplin Casey Kasem Cartha DeLoach Christopher (Biggie Smalls) Wallace Charles "Chuck" Wendell Colson Contract for Assistance Regarding Syed Farooks iPhone Charlie Wilson Courtney Allen Evans Claudia Johnson Carlo Gambino Christic Institute Cesar Chavez Clergy and Laity Concerned about Vietnam Charles Rebozo Charles Kettering Claudia Jones Christian Identity Movement Carl Sandburg Charles (Sonny) Liston Columbine High School Criminal Profiling Coretta Scott King Charles Arthur (Pretty Boy) Floyd Custodial Detention Headquarters Carlos Fuentes COINTELPRO Custodial Detention Security Index

Danny Kaye David Koresh Daily Worker Dinah Shore Dorothy Dandridge Duquesne Spy Ring Director Comey Letter to Congress Dated October 28, 2016 Diversity and Inclusion Program Policy Guide Policy Directive 0842D Daniel David "Dan" Rostenkowski Daniel Inouye Daniel Schorr Demonstrations against Lyndon B. Johnson Desi Arnaz Diana, Princess of Wales D. Milton Ladd Dr. Samuel Sheppard Dwight David "Ike" Eisenhower Director Comey Letter to Congress Dated November 6, 2016 David Hahn Debbie Reynolds David Howell Petraeus Daniel Patrick Moynihan D. B. Cooper

Erich Fromm Emmett Till E. B. (William) Dubois Extra-Sensory Perception Eliot Ness Electronic Recordkeeping Certification Policy Guide 0800PG Edward Irving "Ed" Koch Elizabeth Taylor Everette Hunt Edward Abbey Elizabeth Arden Edward Kennedy (Duke) Ellington Elvis Presley Eugene McCarthy Eddie Cantor Eleanor Roosevelt Evelyn Frechette Eric Wright (Eazy-E, EZ E) El Rukns Elijah Muhammad Ernest Hemingway Eugene “Gene” Curran Kelly Explanation of Exemptions

FBI Miami Shooting, April 11, 1986 Frances Perkins Fred Hampton Frank Capone FBI History Francis Gary Powers Frank Sinatra FBI Technical Surveillance Countermeasures Classification Guide Fred W. Phelps, Sr FBI Ethics and Integrity Program Policy Directive Policy Guide FBI Student Programs Policy Guide 0805 PG Fannie Lou Hammer Frank Rosenthal FBI Domestic Investigations and Operations Guide (DIOG) FBI Undercover Operations FBI Terrorist Photo Album Five Percenters Frank Wortman FBI Use of Global Positioning System (GPS) Tracking Frank Malina FDPS FBI Sign Language Interpreting and Reading Program 0889D FBI Seal Name Initials and Special Agent Gold Badge 0625D FOIA DISCLAIMER Fidel Castro Freedom Riders FBI Assistance Provided to Local Law Enforcement During the Black Lives Matter Movement FBI Recreational Association(s) 0465D FOIA Requests Containing the Word Trump Fritz Julius Kuhn Fred G. Randaccio Fred C. Trump

George (Bugs) Moran Greenlease Kidnapping George (Machine Gun) Kelly Groucho Marx Guy Hottel Gov. Edmund Gerald (Pat) Brown, Sr. Gene Siskel German American Federation/Bund Geraldine Ferraro Gangster Disciples Grace Kelly Greenpeace George Jackson Brigade Guantanamo (GTMO) George Burns George Lester Jackson General Douglas MacArthur General Telecommunications Policy 0862D George S. Patton, Jr. Gay Activist Alliance Ghost Stories: Russian Foreign Intelligence Service (SVR) Illegals Gamergate Gregory Scarpa, Sr George Orson Welles George Steinbrenner

Hugo Black Henry Louis (H.L.) Mencken Henry A Wallace Herbert Khaury (Tiny Tim) Highlander Folk School Hanns Eisler Henry Miller Howard Zinn Huey Percy Newton HEARNAP Honoraria Policy 0867D Herman Barker Harold Glasser Hubert H. Humphrey Helen Keller Harland David "Colonel" Sanders Hindenburg Harry S. Truman Hillary R. Clinton Howard Robard Hughes, Jr

Interpol Irgun Zvai Leumi Irving Berlin Impersonation of Bhumibol Adulyadej Imperial Gangsters I Was a Communist for the FBI (Motion Picture) Irwin Allen Ginsberg Ian Fleming Irving Resnick

Jack Soble Jefferson Airplane Jack Benny Jack the Ripper Jesse James James Cagney John F. Kennedy Jr. John Murtha Joseph Aiuppa Jonestown (RYMUR) Summary Joseph Lash John Ehrlichman John L. Lewis John (Jake the Barber) Factor Joseph P. (Joe) Kennedy, Sr. John Steinbeck John Arthur (Jack) Johnson Janis Joplin Jimmy Hoffa Jessica Mitford Jeffrey Lionel Dahmer Jack Anderson John Wilkes Booth Joe Paterno Jay David Whittaker Chambers John Joseph Gotti, Jr James Marshall "Jimi" Hendrix James Baldwin Joseph Losey John Siegenthaler Jeannette Rankin Jack Roosevelt Robinson Judith Coplon James Joseph Brown John Wayne (Marion Robert Morrison) Jerry Garcia Jane Addams John Chancellor John Wayne Gacy Jack Roosevelt (Jackie) Robinson John D. Rockefeller, III John Dillinger John (Handsome Johnny) Roselli John Profumo (Bowtie) J. Edgar Hoover Julius and Ethel Rosenberg J. Edgar Hoover Appointment and Phone Logs Jesse Helms Jonestown J. Edgar Hoover Official and Confidential (O&C) Files Joe Louis Joan Alexandra Rivers Jack Dempsey John Denver James Farmer James McDougal John Updike Jerry Heller Josephine Baker Joseph Paul "Joe" DiMaggio John Winston Lennon

Kent State Katherine Oppenheimer Kent State Shooting Ken Eto Kansas City Massacre Kiss

Lady Bird Johnson Louis Allen Leander Perez, Sr. Legal Handbook for FBI Special Agents Louis (Lepke) Buchalter Liberace Lyndon B. Johnson Laboratory Reference Firearms Collection Policy LD0020D Louie Louie (The Song) Louis Francis Costello Lucia Stepp Lewis F. Powell, Jr. Lillie Belle Allen League of Women Voters Lillian (Lily) Hellman Lester Joseph Gillis (Baby Face Nelson) Lenny Bruce Lucille Ball Luis Buñuel Louis Terkel Langston Hughes Leonid Ilyich Brezhnev Leon Trotsky Leonard Bernstein Lloyd William Barker

Marilyn Monroe Motion Picture Copyright Infringement Mississippi Burning (MIBURN) Case Michael (Mike) Royko Martin Luther King, Jr. Melvin Purvis Malcolm X Muriel Rukeyser Marilyn Sheppard Madalyn Murray OHair Mack Charles Parker Mexican Mafia Mafia Monograph Morris and Lona Cohen Medgar Evers Moorish Science Temple of America Mary Jo Kopechne (Chappaquiddick) Majestic 12 Marian Anderson Michael Jackson Machine Gun Kelly Murray Humphreys Michael Hastings Michael Whitney Straight Melvin Belli Marvin Gaye Marlene Dietrich Malcolm Little (Malcolm X) Meir Kahane Mario Savio Mohammed Khalifa MAOP Margaret H. Thatcher Myron Leon "Mike" Wallace Miami Boys Mario M. Cuomo Muammar Qadhafi Mattachine Society Meyer Lansky Mickey Mantle MIOG Mark Felt Martin Dies, Jr. Muhammad Ali Marcus Garvey

Nikola Tesla Norman Mailer Neil Armstrong National Rifle Association (NRA) New Alliance Party Nuestra Familia National Security Letters (NSL) National States Rights Party NAACP National Investigations Committee on Aerial Phenomena (NICAP) National Organization for Women (NOW) Nation of Islam Nelson Mandela National Gang Threat Assessment Next Generation Identification Monthly Fact Sheets Non-Retaliation for Reporting Compliance Risks Naming and Commemorating FBI Buildings and Spaces 0910D

Osage Indian Murders Owen Lattimore OKBOMB Original Knights of the KKK

Pearl Buck People for the Ethical Treatment of Animals (PETA) President Richard Nixon's FBI Application Purple Gang (aka Sugar House Gang) Project Blue Book (UFO) Philip Ochs Protests in Baltimore, Maryland, 2015 Pablo Escobar Patriot Act Paul Harvey Paul Robeson, Sr. Pulse Nightclub Shooting Personal Services Contracts Policy Directive 0957D Percy Sutton Pentagon Spy Case Policy: Custodial Interrogation for Public Safety Policy Directive 0481D Physical Fitness Program Policy Directive and Policy Guide 0676PG

[itunesbooks]

Inner Abundance: Affirmations for Confidence, Creativity, and Higher Consciousness - Candy Paull

Inner Abundance: Affirmations for Confidence, Creativity, and Higher Consciousness Affirmations for Confidence, Creativity, and Higher Consciousness Candy Paull Genre: Self-Improvement Price: $1.99 Publish Date: September 11, 2009 Publisher: Candy Paull Seller: Smashwords, Inc. Abundance begins in the heart… Inner Abundance gently helps you look at life from another perspective. You'll find fresh insight on the small joys that you often take for granted or miss in the rush of modern living. This inspirational guide offers simple ways to cultivate a more meaningful and more abundant life. Abundance is an inside job. It begins with love. When you are creating a career, a craft, a partnership, a work of art, a home, choose to put your whole heart into what you do. When you give attention and love to your work and your relationships, they begin to glow with Divine life. The energies of love and a high quality of attention create wholeness in your life and in this world. What you think about affects how you feel about your life. Learning to focus your awareness by affirming the goodness of life is a wonderful tool for developing awareness and trust. The meditations, quotes, and affirmations in this book remind you that true abundance is available every day, no matter what you may be going through. Discover your hidden potential to create a happier and more satisfying life. Learn to embrace what is already yours with thankfulness, joy, and the expectancy of even more good to come. Inner Abundance reveals the treasures of the heart with effective ways to create and celebrate abundance every day. Candy Paull’s writing is the readable equivalent of Earl Grey tea, steeped in a pot, and served in your grandmother's china. That is: it warms you through and through. Victoria Moran, bestselling author of Creating a Charmed Life Sample prayers from Inner Abundance; Affirmative prayer: The future is not waiting for us. We create it by the power of imagination. Pir Vilayat Khan I have the power to create great abundance. I now claim that power, sense it growing and expanding within. I know that this power is the Life Force wishing to express itself through me. I welcome this living, loving energy into my life and know that I am being transformed in this moment. I choose to nurture this seed of faith within and to cultivate spiritual fruit in my life. Before I prayed, God has already answered, and I rejoice in the flow of energy, passion, goodness, and joy that overflows in my heart. I thank God that this is so. Affirmative prayer: We are a stream whose source is hidden. Always our being is descending into us from we know not whence. Ralph Waldo Emerson I ask and it is already given to me: pressed down, shaken together, overflowing, running over—life in abundance, love in the light of Divine love and light. My cup overflows, my barns and granaries are full. I release all fear of scarcity and lack, knowing that I am perfectly supplied by an endless flow of Divine energy. There is plenty for me and there is plenty to share with others. I rejoice in the gift of God's gracious abundance. Affirmative prayer: The joy of life is to put out one's power in some natural and useful or harmless way. Oliver Wendell Holmes Creative work is a healing adventure. As I allow myself to create, I learn new and wonderful life lessons. I heal myself and I heal others through my creativity. I am free to be creative. I can invent something original. Or I can learn from copying a masterpiece. All attempts at creativity are honored and allowed. I do not judge the work. I do the work and allow it to become what it is supposed to be. I do not judge myself, but allow myself to grow and blossom into the full flower of my unique gifts and talents. I do what I love and I love what I do. http://dlvr.it/R1P4Bb

[snowboardinginsouthernvt]

Named for its lack of hygiene and not illicit behavior, the crack den was a crash pad for Stratton’s half pipe talent in the 1990s. As a revolving cast claimed a bed (or floor spot) at the den as their home, some of its residents included Neary, Seth Miller, Jim Moran, Doug Byrnes, Alvah Wendell, Kris Swierz and the Fusco brothers. Spending as much time in the half pipe and competing in the Green Mountain Series, the crack den folks spent most of their money on the sport, so they lived on a steady diet of microwave hamburgers from the Grampy’s convenience store across the street. “That house was probably the most progressive group of snowboarders at the time.” Seth Neary continued, “It was a four-bedroom house with like twelve people in at a time....You know what, if I could click my heels and go back in time, I would be right there.” Discover more in the book Snowboarding in Southern Vermont available at www.snowboardinginsouthernvermont.com Photo credit: Neil Korn, Alvah Wendell, Tricia Byrnes #snowboard #strattonhalfpipe #snowboardingarchives #snowboardinginsouthernvermont #historyofsnowboarding #snowboarding #snowboards #snowboard_world #snowboardingisfun #winhallcrackden #sethneary #sethmiller #alvahwendell #krisswierz #dougbyrnes (at Bondville, Vermont) https://www.instagram.com/p/BtDmaGRFJ67/?utm_source=ig_tumblr_share&igshid=xzc4i9prva0j

[rollingstonemag]

Un nouvel article a été publié sur http://www.rollingstone.fr/session-live-louden-swain-de-lecran-a-la-scene/

Session live - Louden Swain, de l'écran à la scène

Connu pour son rôle dans la série à succès Supernatural, Rob Benedict est également le leader du groupe Louden Swain. Rolling Stone l’a rencontré alors qu’il participait à une convention près de Paris

https://www.youtube.com/watch?v=22pbo_cyGk0

Comment est-ce que Louden Swain s’est formé ?

Mike Borja, un mec du nom de Dave Wendell et moi-même avaient pour habitude de se retrouver pour faire quelques reprises, au milieu des années 90. On s’est lentement mis à écrire nos propres chansons, puis on a eu le courage d’organiser notre premier concert (à mon appartement). Parmi les personnes que nous avions invitées se trouvait un ami d’ami qui se trouvait être batteur – Stephen Norton – qui nous a rejoint. Après que Dave a quitté le groupe, nous avons joué à trois pendant quelques temps, enregistré l’EP Overahiever et l’album Suit and Tie. Peu de temps après, Billy Moran, qui jouait dans un groupe avec lequel on tournait régulièrement, nous a demandé si on cherchait un guitariste. C’était aux environs de 2004. Cela nous intéressait donc il nous a rejoint. Louden Swain était né.

Le nom Louden Swain est inspiré du personnage de Matthew Modine dans Vision Quest. Pourquoi ?

On s’est très vite mis à réfléchir à des noms de groupe. Quelqu’un a pensé à Louden Swain, tout le monde à rigoler et s’est exclamé Vision Quest ! Le fait que nous connaissions tous cette pépite nous a surpris et on est resté là-dessus. Il y a deux ans, j’ai rencontré Matthew Modine. Il m’a dit qu’il connaissait notre groupe, ce qui nous a fait tellement plaisir !

Comment travaillez-vous sur vos chansons ? En groupe ?

Ça se déroule de plusieurs manières. J’amène des chansons ou je leur joue des démos, et s’ils les apprécient, on travaille tous dessus live. Parfois Billy m’envoie un riff. D’autres fois, Mike ou Steve m’envoie des idées et j’écris les paroles. Quoi qu’il arrive, ça se finit toujours en bœuf. Pour le dernier album, on a écrit quelques chansons en studio pendant qu’on enregistrait, ce qui était très stimulant.

Travaillez-vous d’abord sur la mélodie ou sur les paroles ?

La mélodie vient en premier. Une série d’accords ou une ligne mélodique qui bourdonne dans mes oreilles. Ensuite on se penche sur les paroles. Ça commence souvent par une idée, une phrase qui se plaque bien sur la musique. Une fois qu’on l’a trouvé, j’écris la chanson autours. C’est ce qui s’est passé avec la première chanson de l’album. J’avais “it’s a long walk back from Buffalo” comme idée de départ. Ça fonctionnait bien avec les accords. J’ai construit la chanson autours de ça.

Préférez-vous vous inspirer de vos expériences personnelles ou inventer des histoires ?

Les deux. Parfois mes chansons s’inspirent de mon vécu, mais d’autres fois il s’agit d’histoires nourries de mes émotions. Quoi qu’il en soit, elles sont toutes chargées en émotion, sinon je ne peux m’appuyer sur rien quand je chante.

Plusieurs de vos chansons s’inscrivent dans un courant country ou Americana, tandis que d’autres (comme “Taxi Driver”) sont moins roots. Où est-ce que vous pensez vous situer dans le paysage musical actuel ?

Je pense qu’on est entre l’americana et le rock. On s’inscrit dans la ligne de groupes comme My Morning Jacket et Dawes, des groupes qui peuvent faire aussi bien de la folk que du rock.

Est-ce un choix que de demeurer indépendant ? Ne seriez-vous pas tentés de vous lancer dans l’industrie musicale mainstream ?

Si quelqu’un voulait nous ouvrir la voie, bien sûr qu’on serait tenté. Mais aujourd’hui on n’a pas besoin de signer sur un label pour diffuser sa musique. Nous sommes indépendants par nécessité et non par choix, mais nous en sommes néanmoins fiers. Nous sommes fiers du chemin que l’on a parcouru.

Dans le monde dans lequel nous vivons, comment peut-on adopter votre mantra, “rien de mieux que le présent” ?

Il y a environ trois ans, j’ai eu une crise cardiaque. C’était totalement inattendu et ça a changé ma vie. On ne savait pas s’y j’allais m’en sortir, mais j’ai survécu et aujourd’hui tout va bien. Le mantra au cœur de cet album souligne l’importance d’apprécier tous les instants, même les plus pourris. Aujourd’hui il y a de quoi se faire du souci, surtout aux Etats-Unis. Mais on doit s’accrocher.

Vous avez une relation toute particulière avec les fans de Supernatural. Comment est-ce que vous gérez ça ?

Les fans de Supernatural sont incroyables. Je suis acteur depuis presque vingt ans et je n’ai jamais vu quelque chose de semblable. Ils sont loyaux mais s’intéressent aussi à la musique. Ils ne nous suivraient pas aveuglément. Ils apprécient et comprennent notre musique. On ne prend pas ça à la légère. On leur est reconnaissants pour leur soutien.

Auriez-vous des artistes à recommander à nos lecteurs ?

Le compositeur et interprète Jason Manns et son groupe, ainsi que Billy Moran et moi-même sommes impliqués dans un second projet : The Station Breaks.  A part ça, je vous conseille d’écouter My Morning Jacket, Dawes, Grizzly Bear, Band of Horses et Father John Misty.

Propos recueillis, traduits et adaptés par Jessica Saval

[jsmill]

Lyvette Pate Capps

Lyvette Pate Capps, age 74 of Murfreesboro, TN, passed away Saturday April 22, 2017.

A Native of Island, KY, she was the daughter of the late Sam and Elmyra Brown Pate.

Mrs. Capps was also preceded in death by her husband of 53 years, Ronald "Ron" Earl Capps, a son, Ronald Troy Capps, a grandson, Ryan Capps, and three brothers, Wendell, Lavon, and Carl Wayne Pate.

Mrs. Capps is survived by a son, Bryan Capps and his wife Sherry of Rockvale, TN; daughters, Robin Hoefflin and her husband Ken of Louisville, KY, and Beth Carney and her husband Michael of Murfreesboro, TN; sister, Beverly McRoy of Owensboro, KY; grandchildren, Sydney, Dalton, and Micaiah Capps, Jason, and Jacob Hoefflin; daughter in law, Dana Capps of Louisville, KY.

Visitation will be from 4 to 8 p.m. Monday at Woodfin Memorial Chapel.

Funeral service will be 11 a.m. Tuesday at Woodfin Memorial Chapel with Rev. Curt Wagoner officiating. Burial will follow in Evergreen Cemetery with Jason, Jacob, and Ken Hoefflin, Dalton and Bryan Capps, and Mike Carney serving as pallbearers.

Mrs. Capps was a faithful member of the Riverdale Baptist Church. The family would like to thank the nurses, Tina Sanders, Daniella Fontus, Rebecca Moran, and Diane Butler for the love and care they gave to Mrs. Capps.

An online guestbook for the Capps family is available at www.woodfinchapel.com.

Woodfin Memorial Chapel, (615) 893-5151.

The post Lyvette Pate Capps appeared first on JSMILL.

Read full post at: http://www.jsmill.com/lyvette-pate-capps/

[blackkudos]

Charles H. Houston

Charles Hamilton Houston (September 3, 1895 – April 22, 1950) was a prominent African-American lawyer, Dean of Howard University Law School, and NAACP Litigation Director who played a significant role in dismantling the Jim Crow laws, which earned him the title "The Man Who Killed Jim Crow". He is also well known for having trained future Supreme Court Justice Thurgood Marshall.

Biography

Early years

Houston was born in Washington, D.C. His father worked as a lawyer. Houston started at Amherst College in 1911, was elected to the Phi Beta Kappa honor society, and graduated as valedictorian in 1915. He returned to D.C. to teach at Howard University. As the U.S. entered World War I, he joined the then racially segregated U.S. Army as an officer and was sent to France. He returned to the U.S. in 1919, and began attending Harvard Law School. He was a member of the Harvard Law Review and graduated cum laude. Houston was also a member of Alpha Phi Alpha fraternity. He received his JD from Harvard in 1923 and that same year was awarded a Sheldon Traveling Fellowship to study at the University of Madrid. He was admitted to the Washington, DC bar in 1924.

In 1924 he married Gladys Moran. They divorced in 1937 and he remarried Henrietta Williams. They had Houston's only child in 1940, Charles Hamilton Houston, Jr.

Career

Houston served as Vice-Dean and Dean of the Howard University School of Law from 1929-35. In this capacity he had direct influence on nearly one-quarter of all the black lawyers in the United States, including former student Thurgood Marshall. While at Howard, Houston oversaw the law school's accreditation by the Association of American Law Schools and the American Bar Association. Houston left Howard in 1935 and served as special counsel for the National Association for the Advancement of Colored People (NAACP) until 1940. In this capacity he argued several important civil rights cases before the U.S. Supreme Court. Through his work at the NAACP, Houston played a role in nearly every civil rights case before the Supreme Court between 1930 and Brown v. Board of Education (1954). Houston's plan to attack and defeat Jim Crow segregation by demonstrating the inequality in the "separate but equal" doctrine from the Supreme Court's Plessy v. Ferguson decision as it pertained to public education in the United States was the masterstroke that brought about the landmark Brown decision. In Missouri ex rel. Gaines v. Canada (1939), Houston argued that it was unconstitutional for Missouri to exclude blacks from the state’s university law school when, under the “separate but equal” provision, no comparable facility for blacks existed within the state.

Houston founded a law firm with Wendell P. Gardner, Sr. that later included, as name partners, William B. Bryant, Emmet G. Sullivan, and Joseph C. Waddy. The firm was prestigious but their work not well-compensated. Ten members of the firm would go on to become judges, including Theodore Newman and the son of Wendell Gardner.

Houston’s efforts to dismantle the legal theory of “separate but equal” came to fruition after his death in 1950 with the historic Brown v. Board of Education (1954) decision, which prohibited segregation in public schools. In the documentary "The Road to Brown", Hon. Juanita Kidd Stout described Houston's strategy, "When he attacked the "separate but equal" theory his real thought behind it was that "All right, if you want it separate but equal, I will make it so expensive for it to be separate that you will have to abandon your separateness." And so that was the reason he started demanding equalization of salaries for teachers, equal facilities in the schools and all of that." Houston took a movie camera across South Carolina to document the inequalities between African-American and white education. Then, as Special Counsel to the NAACP Houston dispatched Thurgood Marshall, Oliver Hill and other young attorneys to work to equalize teachers' salaries. Houston led a team of African-American attorneys who used similar tactics to bring to an end the exclusion of African-Americans from juries across the South.

Death and legacy

Houston died from a heart attack on April 22, 1950, at the age of 54. He was posthumously awarded the NAACP's Spingarn Medal in 1950. In 1958, the main building of the Howard University School of Law was dedicated as Charles Hamilton Houston Hall. His significance became more broadly known through the success of Thurgood Marshall and after the 1983 publication of Genna Rae McNeil's Groundwork: Charles Hamilton Houston and the Struggle for Civil Rights.

Houston is the person for whom the Charles Houston Bar Association and the Charles Hamilton Houston Institute for Race and Justice at Harvard Law School—which opened in the fall of 2005—are named. In addition, there is a professorship at Harvard Law named after him; Elena Kagan, formerly the Dean of Harvard Law School and now an Associate Justice of the United States Supreme Court, was the Charles Hamilton Houston Professor of Law.

In 2002, scholar Molefi Kete Asante listed Charles Hamilton Houston on his list of 100 Greatest African Americans.

The Washington Bar Association annually awards the Charles Hamilton Houston Medallion of Merit to an individual who has advanced the cause of Houstonian jurisprudence.

Wikipedia