#Charlie Kimbrough | Explore Tumblr Posts and Blogs

theloniousbach · 2 years

Text

A NIGHT—24 SEPTEMBER 2022–AT SMALL’S AND MEZZROW’S LAST WEEK

BILLY DRUMMOND’S FREEDOM OF IDEAS with Dayna Stephens, Micah Thomas, and Joe Martin, SMALL’S JAZZ CLUB, 7:30 set

ADAM BIRNBAUM with Doug Weiss and Al Foster, MEZZROW’S, 9:00 set

ALAN BROADBENT with Harvie S and Billy Mintz, MEZZROW’S, 10:30 set

The conceit here is that I would pretend that I celebrate my birthday going to a congenial series of sets at the clubs I get to stream from. It was a birthday late in my seventh decade, so spreading it out suits and makes possible the later sets that would be a challenge in real time. But after a good start on the 4th and 5th of October, it is only tonight—the 10th—to get in the last set. So this night of listening took a week.

Lots of ways to slice it as there were some important drummers here as BILLY DRUMMOND had a leader’s swagger and Al Foster is a master of touch and taste while Billy Mintz is so subtle I couldn’t tell if his brushes actually touched the cymbals during a Harvie S solo. But he also got a real showcase on Little Suede Shoes’ Latin feel.

Our there were the celebrations of bebop masters with ALAN BROADBENT playing a second Charlie Parker tune, a blues, while Drummond had Monk’s Think of One and ADAM BIRNBAUM took on We See. But there were also compositions, particularly from Drummond who offered Frank Kimbrough’s Clara’s Room, Grachan Moncur’s The Coaster, and Carla Bley’s Valse Sinistre. But, though I couldn’t place it, a Shorter from Birnbaum as well as Kenny Barron’s (“my mentor”) Twilight Song.

And, yes, Birnbaum, I need to remind myself, is an appealing player and his set was compelling. Broadbent was clearly trying something out as he did some two handed arpeggio flourishes on three tunes. He was distinguished and refined as always with unassuming tempos, but he was trying something interesting. Micah Thomas can be abstracted as he was on the Monk, but he found some swing, though having Billy Drummond behind you makes it hard not to, and Dayna Stephens unrushed melodic midrange tenor but sometimes soprano work gave him some melodic connection and they did sync up.

Harvie S and Billy Mintz are a matched set, though Harvie S is the mischief in that trio. Doug Weiss with Birnbaum and Foster probably had more space than Joe Martin who was just in a bigger band whereas Weiss had the right mix of harmonic ideas from his pianist and space and time to explore with Foster.

But no complaints all around. It happened to be my birthday but all three sets were ones I wanted to see and thanks to the archived stream I could get around to all of them. Even if it took a week.

#concert review #jazz #almost couch tour #small’s live #small’s jazz club #mezzrow’s #2022

0 notes

curtjazz · 3 years

Text

In Memoriam: Jazz Artists we Lost in 2020

New CurtJazz.com blog post! In Memoriam: Jazz Artists We Lost in 2020 #jazz #2020jazz #curtjazz

We already know that 2020 was an exceptionally cruel year. And its effect on the jazz world was especially painful. With many of our music’s greats already at an advanced age (albeit vibrantly, for many) and with a brutal virus spreading around, that hits the elderly and those with underlying conditions, far harder than other segments of the population, we knew it could be a tough year for our…

View On WordPress

6 notes · View notes

catspiderfm · 3 years

Link

⛅️ 🦇💤 day dreaming ⛅️ 🦇💤 sunshine music for day time chilling

mix by chloé allyn / art by cailey tervo 🌹 listen on spotify 🌕 I Heard a Sigh // Cortex Tequila Mockingbird // Ramsey Lewis Day Dreaming // Roy Ayers Land of Ladies // The Brothers Johnson Hello & Goodbye // FPM Dopo l’esplosione - Originale // Ennio Morricone A Taste of honey - Live // Paul Desmond Desafinado // Stan Getz, Charlie Byrd Backyard Hawk // Josh Kimbrough You Don’t Have to Walk a Begonia // Mort Garson Italian Love // Franco Altissimi Un valzer per te // Stefano Torossi Harlem River Drive // Bobbi Humphrey Sunshine - Demo // Roy Ayers S’il Vous Plait // FPM Corcovado // Stan Getz, Antônio Carlos Jobim, João Gilberto and Astrud Gilberto Summer Connection // Taeko Onuki Loving tenderly // Stefano Torossi I’ll Try Anything Once // Julian Casablancas

25 notes · View notes

backatthechickenshack · 3 years

Text

Back at the Chicken Shack Playlist #119

WFDU.fm HD2 119th Show 10/13/21

Boogaloo Joe Jones - Someday We'll be Together

John drew Barrymore - Christopher Columbus digs the Jive

Uncle Dave Macon - Bake that Chicken Pie

Bettye LaVette - I' m in Love

Otis Redding - Security

Jimmy Johnson - Serves Me Right to suffer

William Bell - Just as I thought

Shuggie Otis - Booty Cooler

Captain Beefheart & the Magic band - Call on Me

Love - You I'll be Following

the Guilloteens - For my own

Syndicate of Sound - Rumors

the Chargers - Taxi

the Journeymen - Bag's Groove

Buck Owens - I've got a Tiger by the Tail

Patsy cline - I fall to Pieces

Wynn Stewart - Heartaches for a Dime

Connie Smith - the Hurting's all Over

Charlie Walker - Pick me Up on Your Way Down

Ray Price - Heartaches by the Number

Junior Kimbrough - Meet me In the City

T Model Ford - Nobody Gets me Down

Jelly Roll Kings - Have Mercy baby

Asie payton - Asie's Jam

Smiley lewis - Shame shame shame

jack the Bear Parker - I need you, I want You

Mink DeVille - Cadillac Walk

Dean Elliott - lonesome road

janis Joplin - Try (just a little bit Harder)

Joe Cocker - Darling be Home Soon

Electric Flag - She Should Have Just

Booker T & the MGs - Hi-Ride

Traffic - Low Spark of High Heel Boys

http://wfdu2.streamrewind.com/bookmarks/listen/335143/back-at-the-chicken-shack

youtube

#Youtube

4 notes · View notes

vinylfromthevault · 7 years

Photo

Charlie Feathers “Live in Memphis, Tennessee” 1976. Barrelhouse Records, recorded “before a live and drunk audience December 28th, 1973 at the Silver Dollar Bar.” Today, June 12th, is Charlie Feathers’ birthday (b. 1932, d. 1998). Feathers is best known for his signature (often emulated) rockabilly vocal style punctuated with yelps, hiccuped theatrics and mumbly upbeat whoops and garbles. Though not as well-known as many of his 50′s rockabilly contemporaries, his career was notable, learning guitar from blues legend Junior Kimbrough (the two recorded “Feel Good Again” and “Release Me”) and getting his start as as session musician at Sun Records, including playing on Presley’s “I Forgot to Remember to Forget” (he also claimed to have arranged Elvis’ “That’s All Right” and “Blue Moon of Kentucky”).

Live in Memphis, Tennessee is a laid-back rockabilly performance, the set reflective of the venue: “the usual weekend gig, just a bunch of the locals, jamming at the local bar, no special practice, the songs are not even planned, people drifting into the tavern, everyone knows each other [you can hear shouted bar conversations in the background], song requests, pinball machines making their own music, equipment being set up...no special mixers or echo, just Charlie Feathers and the band of this week..almost a fight towards the back of the bar, more drinking, more dancing..” (from liner notes by George Paulus) Lots of covers to please the crowd: “Shake, Rattle & Roll,” “Roll Over Beethoven,” “Blueberry Hill” and “Blue Moon of Kentucky” and a couple of originals like “Tongue-Tied Jill.”

#charlie feathers #barrelhouse records #vinyl #junior kimbrough #sun records #elvis presley #rockabilly

2 notes · View notes

pilotseason2020 · 4 years

Photo

ORDINARY JOE (ordered to pilot)

The three parallel lives of Joe after he makes a pivotal choice at a crossroads in his life. How different life might look if you made your decision based on love, loyalty or passion?

Cast (thus far)

James Wolk (Tell Me a Story) as Joe Kimbrough. The choices he makes upon graduation from college change the trajectory of his life and the results of his decisions are seen in parallel time. (Feb 19)

Natalie Martinez (The Crossing) as Amy, a bright and caring woman who forms an immediate connection with Joe. (Mar 3)

Charlie Barnett (Chicago Fire) as Eric Payne, one of Joe’s closest friends. (Mar 3)

Pilot Director: Adam Davidson

Series Creator: Russel Friend, Garrett Lerner, Adam Davidson

Producers: Matt Reeves, Russel Friend, Garrett Lerner, Adam Kassan, Howard Klein, Rafi Crohn

Studios: 20th Century FOX Television, 6th & Idaho, 3 Arts Entertainment

Genre: Soap and Fantasy

Primetimer Pilot Preview: “consider”

This concept may bring to mind the CBS comedy “Me, Myself & I” which used the rule of threes to show a man at three stages of his life- that series was pulled after the sixth of thirteen produced episodes aired, due to low ratings. Alternatively, this take on the concept, particularly as a drama, might pull through. The ABC second-cyle pilot “Triage” is also playing with time and three, looking at three specific decades in the life of its protagonists.

#Ordinary Joe #James Wolk #Natalie Martinez #Charlie Barnett #NBC Pilots #Drama Pilots #NBCDrama #genre: soap #genre: fantasy

1 note · View note

mosertone · 5 years

Video

youtube

Junior Kimbrough and Charlie Feathers - I Feel Good Again

2 notes · View notes

pulmonatorpirate · 4 years

Video

youtube

Junior Kimbrough and Charlie Feathers - I Feel Good Again

0 notes

sublimeenemykryptonite · 1 year

Text

this is for the 2023 ones that passed away Arielle Anderson, Alexandria Verner, Brian Fraser, Gary rossington, Jansen Panettiere, Barbara bosson, Richard belzer, Austin majors, Raquel Welch, Burt Bacharach, Charles Kimbrough, Charlie Thomas, Melinda Dillon, Cindy Williams, Lisa Loring, Lance Kerwin, David Crosby, Lisa Marie Presley, Jeff Beck, Adam Rich, Fred white, my friend Vittoria Rae Lynn Fishermen 29 yearsold #vittoriafishermen , Kyle Jacobs, Stella Stevens, Dave Hollis, Hugh Hudson, Annie Wersching, Bobby Hull, Emani 22, Tom Verlaine, Barrett Strong, C.J. Harris, Al Brown, Carole Cooke, Ben Masters, Bernard Kalb, Gangsta Boo, James "Buster" Corley, Ken Block, Faye Cukier, rest in peace to all of 2023 and rest in peace to anyone who passed away that some of you know rest in peace to them too

0 notes

peterguralnick · 7 years

Text

Memphis Blues Again

L to R: Son House, Skip James, Mississippi John Hurt

I had never been South before.

My brother and I set out for Memphis in a Volkswagen that lost its clutch in Knoxville, and as we got closer, it seemed like I knew a blues lyric (“I’m going to Brownsville, take that right-hand road”) for nearly every town we passed. Our destination was the 1969 Memphis Country Blues Festival, which took place at the Overton Park Shell, where Elvis’ career had been launched fifteen years earlier. It was early June, hot, humid, sitting on the old wooden benches at the Overton Park amphitheater, there was no escape from the sun. But the music was magical: rediscovered (or recently discovered) blues legends like Bukka White, Furry Lewis, Reverend Robert Wilkins,

Fred McDowell, Joe Callicott, and Sleepy John Estes, all in their sixties and seventies, were the stars of the show, along with an assortment of young white disciples like John Fahey, Sid Selvidge, and Johnny Winter.

youtube

I had seen many of them before, certainly, in coffee houses and college concerts, but it was a different experience to see them for the first time in a steamier climate, and there was no question that the music benefited from the change. A new ten-album series on Fat Possum, developed in collaboration with Amazon Originals under the umbrella title of Worried Blues (most of the albums were originally issued in a limited edition by the Genes/Adelphi label in the ’90s), presents the first three on that 1969 Memphis bill, plus such other luminaries as Skip James, Mississippi John Hurt, Houston Stackhouse, R.L. Burnside, and Honeyboy Edwards, all recorded in what appear to be relaxed, easy-going settings at the outset of their new careers. And yet in few cases did those careers live up to the expectation of either artist or audience. The gulf between anticipation and achievement was simply too great.

Bukka White, one of the towering figures of pre-war country blues, whose 1940 recordings rivaled the taut poetry and tightly controlled performances of Robert Johnson (his indisputable masterpiece, “Fixin’ to Die,” was featured on Bob Dylan’s first album), is a case in point. To his young cousin, Riley B. King (soon to become B.B.), his visits home, to Kilmichael, Mississippi, in the early ’40s were like the visits of a Hollywood star. “Razor sharp. Big hat, clean shirt, pressed pants, shiny shoes. He smelled of the big city and glamorous times; he looked confident and talked about things outside our little life in the hills.” But it was Bukka’s music that impressed his younger cousin most, the ability “to connect [his] guitar to human emotions,” a standard that B.B. would strive to uphold all his life. Bukka (more properly “Booker” as in “Booker T. Washington White”) was rediscovered in 1963, when guitarist John Fahey, a brilliant blues abstractionist who preferred to describe his music as “American Primitive,” sent a letter to “Bukka White (Old Blues Singer), c/o General Delivery, Aberdeen, Mississippi,” on no other basis than that White had proclaimed in one of his early recordings, “Aberdeen is my home/But the men don’t want me around.” As it turned out, the letter was forwarded to the Memphis boarding house where Bukka lived while working part-time in a tank factory, and his musical career, on hold for the last fifteen years, almost immediately resumed.

Certainly the recordings on the Fat Possum album, originally titled 1963 Ain’t 1962, and made within weeks of his rediscovery, retain some of the power of his early work, and there are evocations, as there would be on subsequent recordings, too, of influences like Charlie Patton and contemporaries like Howlin’ Wolf. But it was clear at the same time that the knife-edge quality of his voice had coarsened, and the astonishing focus and fluidity of his songwriting and performance had ineradicably declined. And it was clear as well to anyone who had contact with the man that at fifty-four he was not looking for rediscovery, he was ready for the stardom that his cousin B.B. King had long since achieved. I think for me the most poignant manifestation of this dilemma came when I first saw Bukka, in the spring of 1964, as part of a folk series at the Boston YMCA, where the featured performer showed up for his Boston concert debut in a tuxedo, with little more than a dozen people in the audience (and not well-dressed ones at that) to applaud his performance.

With Skip James, the situation was somewhat different. Rediscovered in the Tunica County Hospital in June of 1964 by a trio of fans (once more including John Fahey), he was playing again, for the first time in years, at the Newport Folk Festival in July, his singular musical skills and imagination largely undiminished. He continued to develop his music, and even write new songs reflecting on his current situation, until his death five years later, but in a dark and characteristically introspective style that set him apart from almost every blues singer of his, or any other, generation. Playing in an open D-minor tuning that can best be described as “eerie” (it was a style that was confined almost entirely to his hometown of Bentonia, Mississippi, population then and now: less than 500), he sang fully thought-out and composed songs far removed from a blues mainstream that for the most part defines itself by fervor, not form. As a result, Skip never achieved anything like the popularity of many of his fellow rediscoveries, and it clearly ate at him to see the adulation that his good friend Mississippi John Hurt got from a young audience that was won over by the charm of both his personality and performance.

youtube

And just in case you should have any doubts on that score, listen to the music on almost any of Hurt’s recordings, early or late – I defy you to resist the nimble finger-picking and winsome charm of such performances as “Richland Woman,” “Louis Collins,” and “Avalon Blues,” or his self-deprecating star turn at the end of the PBS series American Epic. To Skip, though, this was little more than “play-party music,” perfectly good for dances and country suppers, as Skip’s manager Dick Waterman put it, but “not to be taken seriously as ‘great blues.’” And just for the record, Mississippi John Hurt agreed; he considered Skip a “genius,” beyond any doubt. But on the other hand, you wonder just how much of John’s irresistible charm was that very agreeableness.

There were few moments of rest for Skip, it seemed – he was ill, and he was troubled – but I remember seeing him once with John at a Boston coffee house, where in addition to presenting their own songs in separate sets, they performed together as well. The two songs that I recall were utterly…all right, charming “Silent Night” (though you haven’t heard “Silent Night” until you hear Solomon Burke’s soaring, soulful version, recorded live in a Georgia church at the blazing height of summer) and Jimmie Rodgers’ epochal country (as in country music) blues “Waiting for a Train.” But let’s pause here for a moment, if only to recall all the different strands that go into all the different kinds of music. Jimmie Rodgers, as I’m sure everyone knows, was almost universally hailed as “The Father of Country Music,” and to all intents and purposes he was. And yet his music drew upon the most diverse sources, not the least of which was the ululating blues of Tommy Johnson, who (just to illustrate some of the complications endemic to every form of cultural transliteration) greatly influenced that purest of all blues singers, Howlin’ Wolf, who in turn cited as one of his greatest inspirations none other than…Jimmie Rodgers.

This was all, for me, in 1969, a vast unexplored land, and like every realm of the imagination it remains so to this day. There are always going to be new, or overlooked, or simply misconstrued, treasures to discover, there are always new and unexpected connections to be made. And I hope this is not beginning to sound like, ‘There were giants that walked the earth in those days,’ and that with the passing of those giants this kind of music is no more – that isn’t what I mean at all. If you need a mantra, just remember the lesson of the Internet, nothing ever really disappears, and listen to the music of new champions of the old and new, like the North Mississippi Allstars’ Luther and Cody Dickinson, who learned at the feet of such legendary champions of the hill country style as R.L Burnside and Junior Kimbrough and Otha Turner, listen to no less dedicated disciples like Dan Auerbach or Paul Burch or Colin Linden, or poetic practitioners like Kevin Gordon – and who knows how many more?

Because by now it should be clear there’s no end in sight – how could there be, unless we’re talking the twilight of the gods or the inescapable impermanence of the flesh? When I first came to Memphis in 1969, I did my best to imagine the world as it must once have been. A world in which Elvis’ performance of the Arthur “Big Boy” Crudup blues “That’s All Right” at the Overton Park Shell in 1954 stood out as a revolutionary act. And yet as I was later to learn, Elvis listened to the Metropolitan Opera, too, as a child, he went to Overton Park on many Sunday afternoons (“The same place that I did my first concert”) to hear the Memphis Symphony Orchestra play. While at the same time he was tuning in religiously to WDIA, the first all-black station in the country. And listening every night to DJ Dewey Phillips’ aptly named Red, Hot, and Blue show, which mixed r&b and pop, the sacred and the profane, the trivial and the profound for a black-and-white audience that competed in its fervor for both the music and its egalitarian champion. It took a long time for me to disimagine categories, but as Howlin’ Wolf said the first time we met, in response to one of those foolish questions we all tend to ask, like, What did he think of all these white kids, like the Rolling Stones, who had so recently adopted his music? Well, he said, he liked Paul Butterfield, “he grown up in it just like that other boy out in California, [who did] that ‘Hound Dog’ number.” You mean Elvis Presley? I finally managed to blurt out – I mean, I was caught. “Yeah,” said Wolf impatiently, as if the reference should have been obvious to anyone. “Elvis Presley,” he said, “he made it his way.”

Which only goes to show that nothing ever really changes. Marketing strategies (which, after all, is all that categories are) may rise and fall, but to the democratic listener they are beside the point. The music calls attention to itself, and then takes you somewhere else. It isn’t really any different than going to Memphis was for me in the first place. One thing inevitably leads to another, and before you know it, you are caught up in the ecstatic dance, the ecstatic trance of the music. But just remember: If you’re going to Brownsville, take that right-hand road.

This piece appeared in a slightly different form on The Oxford American website.

youtube

#Memphis #Bukka White #Skip James #Blues

20 notes · View notes

theloniousbach · 4 years

Text

Program Notes: WGTE’s Jazz Spectrum, 18 July 2020: Low Reeds

My long-standing conversation with the host turned to favorite instruments, besides piano we soberly designated. He offered bass clarinet and I agreed it was an excellent choice. Similarly my father was a big Harry Carney fan, a linch pin in the Ellington organization.

Though I’m learning the consequences, I enthusiastically said, “We could do a show” followed by the suggested artists that are the basis of this show. By “we,” we usually mean “me.”

As per my local community radio experience, I gravitate toward themes, a set of chords to improvise over. I need that structure to explore European folk/traditional dance, I need questions to explore my listening. For Jazz Spectrum, it helps focus.

So, low reeds served nicely.

I opened the show with Harry Carney, acknowledging that’s where I started. A 1967 “Sophisticated Lady” with the deep horn growling gently but suggestively in her ear. No bari, but George Adams’s tenor is the highlight of “For Harry Carney” from Charles Mingus’s “Changes.” Pepper Adams took the Ellington/Strayhorn “Star Crossed Lovers” for a good spin.

Gerry Mulligan next with his own “Jeru” from “Birth of the Cool” led into Brain Landrus’s tribute, the full “Jeru Concerto” from “Generations” with both strong soloing and rich arranging for a 25 piece orchestra. They each get a crack later in the show with a Monk tune.

That segment was long but we wanted the full concerto paired with a little bit of Mulligan himself.

That meant we had to sacrifice Lauren Sevian’s tribute to Cecil Payne, but we will give her her due soon. She’s an exciting player with fresh and nimble ideas for the big horn. So that short segment had Payne himself in a Charlie Parker tribute and more Pepper Adams with Mingus (who of course welcomed what he could do with bari).

Gerry Mulligan did “Straight No Chaser,” so I twisted the Song of the Week segment to be, in fact, two Monk tunes. The other was “Epistrophy” for Eric Dolphy and Scott Robinson (on bass sax) from Frank Kimbrough’s examination of the full canon. There actually was a third Song of the Week,” “Take the A Train,” via the World Saxophone Quartet for a taste of Hamite Bluiett briefly and Mingus/Dolphy from Cornell 1964.

But I concluded the Monk hour with Dolphy’s “Hat and Beard” and Pepper Adams with Barry Harris on “Off Monk.” The low horn well suited to the master’s invention and voice.

There was a full Mulligan set, some standards with Chet Baker and the Concert Jazz Band and his “K4 Pacific” from “Age of Steam.” His horn is a vehicle for rich musical invention, both via improvisation and arrangement. It is literally fundamental.

David Murray did a bass clarinet album and because it should always be Black History Month, I included his tribute to Fannie Lou Hamer of Mississippi’s Freedom Democratic Party that challenged the Dixiecrats in 1964.

If I could get Scott Robinson on bass saxophone for “Epistrophy,” then I also wanted Ben Goldberg’s alto contrabass clarinet as part of the home stretch with “Elliptical” from “Unfold Ordinary Mind.”

Fritz generously described this show as coming from my unordinary mind. He’s known me a long time and has accepted and encouraged and given me an outlet for that energy. I’m sure we’ll get up to a lot more mischief in the years ahead.

But one last amusement was to close out at 11:56 pm EDT with “Round Midnight” as a bass clarinet solo from Brian Landrus.

PLAYLIST

Set 2 Duke Ellington, Soul Call, “Sophisticated Lady” Charles Mingus, Changes Two, “For Harry Carney” Pepper Adams, Encounter! “The Star-Crossed Lovers” Set 3 Miles Davis. Birth of the Cool“, Jeru” Brian Landrus Orchestra, Generations, “Jeru Concerto (Four Movements and Interlude)” Set 4 Cecil Payne, Performing Charlie Parker Music, “Communion” Charles Mingus, Blues and Roots, “Moanin’” Set 5 Thelonious Monk, Complete Blue Note Recordings, “Straight, No Chaser” Thelonious Monk, Monk Meets Mulligan, “Straight, No Chaser” Kurt Rosenwinkel & Dario Deidda, Play Monk, “Straight, No Chaser” Set 6: Eric Dolphy, Last Date, “Epistrophy” Frank Kimbrough, Monk’s Dreams, “Epistrophy” Thelonious Monk, At Carnegie Hall, “Epistrophy” Set 7 Eric Dolphy, Out to Lunch “Hat and Beard” Pepper Adams, Pepper, “Bossa Nouveau” Set 8 World Saxophone Quartet, Plays Ellington, “Take the A Train” Charles Mingus/Eric Dolphy, Cornell 1964, “Take the A Train” Set 8 Gerry Mulligan, Complete Pacific Jazz and Capitol Recordings of the Original Quartet, “I’m Beginning to See the Light” Gerry Mulligan Concert Jazz Band, The Complete Verve Recordings, “Come Rain or Come Shine” Gerry Mulligan, Age of Steam, “K-4 Pacific” Gerry Mulligan, Complete Pacific Jazz and Capitol Recordings of the Original Quartet, “‘S Wonderful” Set 9 Ben Goldberg, Unfold Ordinary Mind, “Elliptical” David Murray, Ballads for Bass Clarinet, “Elegy for Fannie Lou” Brian Landrus, For Now, “’Round Midnight”

#wgte #2020 #program notes #jazz #jazz spectrum

1 note · View note

mystlnewsonline · 5 years

Link

(STL.News) – A Columbus man with a prior felony conviction was sentenced to 130 months in prison after pleading guilty to three firearm charges, said Charles “Charlie” Peeler, the U.S.… The post Convicted Felon Anthony Kimbrough Sentenced to 130 Months for Multiple Firearm Charges appeared first on STL.News.

0 notes

junker-town · 5 years

Text

5 trick plays inspired by The Annexation of Puerto Rico

“The Annexation of Puerto Rico” is the ultimate trick play.

They aren’t all as successful and dramatic as the one in the movie, but they’re still fun.

Everyone loves a good trick play, and everyone loves underdog sports movies. The 1994 movie Little Giants offers both.

This week, SB Nation is celebrating the 25th anniversary of the movie. In it, the underdog Little Giants face off against Kevin O’Shea’s (played by Ed O’Neill, aka Jay Pritchett in Modern Family and Al Bundy from Married With Children) heavily favored Cowboys.

In the climax of the movie, the Giants have the ball in the game’s final seconds, all tied up at 21. Head coach Danny O’Shea calls “The Annexation of Puerto Rico,” inspired by John Madden’s “Holy Roller” play in Super Bowl XI between the Raiders and Chargers. But since the Little Giants didn’t have a tailback, the play had to be improvised a bit.

Essentially it’s a similar version of the “fumblerooski,” which has been around long before this movie came out. The quarterback places the ball down right after the snap and keeps running pretending like they have the ball, while another player picks it up and goes the other way. One of the most prominent examples came during the 1984 Orange Bowl, when Nebraska ran it against Miami:

youtube

In the movie, you can see the Giants’ QB, Junior, do that here:

If ran correctly, it typically fools the opposing defense. In this play, the Giants fake it to their best player, Icebox, but give it to the Giants’ center, Rudy Zolteck (No. 61):

The Cowboys’ best defender, Spike Hammersmith, is coming for Zolteck, so he flips it back to Junior, who later tosses it over his head to the sneezing mess of a kid (Jake Berman). Berman eventually takes the ball into the end zone for the score and upset victory.

It’s a fun, triumphant moment for the Little Giants, and the movie’s most famous scene.

They haven’t been quite as dramatic, but teams that have used plays like the Annexation of Puerto Rico in real football games.

Let’s run through a few examples to see who was able to use it successfully like the Little Giants and who wasn’t. We’ll go in order from plays most similar to the movie to the least.

In 2011, the Carolina Panthers ran it against the Houston Texans during a Week 15 matchup.

Already up 14-0, Carolina took a 21-0 lead over Houston, using fullback Richie Brockel for the play.

Here’s a look at the formation — you can see Brockel (47) lined up slightly in front of Cam Newton, with two more backs further in the backfield:

On the snap, Newton immediately places the ball under Brockel’s backside, and fake rolls out to the right pretending he has the ball.

It fools Houston’s defense perfectly, and Brockel is able to run untouched into the end zone for the score:

The Panthers would go on win that game, 28-13. Head coach Ron Rivera didn’t hesitate to admit how he got the idea for the call:

Rivera: trick play vs Texans inspired from similar play from "Little Giants" movie called the annexation of Puerto Rico.

— Joe Person (@josephperson) December 19, 2011

“When we put that play in, I never thought in a million years that that play was going to work, let alone get a touchdown,” Panthers receiver Brandon LaFell said via the Associated Press after the game:

LaFell said the team walked through the play in practice, but had never run it against a live defense.

”It’s one of those plays where if the timing is right and you call it at the right time it’s about as good as it gets,” Rivera said.

Five years later, O’Neill saw the Panthers’ play for the first time, and he was pretty amazed about it, saying “Oh my god, they actually ran that play”:

Ed O'Neill had no idea @Panthers once used a play from "Little Giants" until we showed him @RichEisenShowhttps://t.co/qMEcudRCfr

— Rich Eisen (@richeisen) March 12, 2016

O’Neill summed it up best:“That’s great.”

In 2016, Purdue attempted to fool the Penn State defense.

Let’s just say Purdue’s attempt wasn’t all that successful. With the game tied at 7, Purdue was facing second-and-9 from the Penn State 25-yard line. Boilermakers receiver Bilal Marshall secretly handed the ball off to receiver Malik Kimbrough, but Penn State’s defense made the read immediately after Marshall rolled right. Kimbrough was stopped for a loss of 1 on the play:

ABC

I mean kudos to Purdue for trying, I guess?

Fresno State pulled off a fumblerooski in 2013.

The Bulldogs took a 28-0 lead over New Mexico with a fumblerooski using receiver Isaiah Burse as the rusher:

youtube

In this one, Burse and Fresno State quarterback Derek Carr crouch down behind the line of scrimmage to deceive the defense:

It worked exactly as intended.

Texas Tech used its little guy to beat Texas in 2015.

This one wasn’t exactly the Annexation of Puerto Rico play, but there were similar elements. The Red Raiders scored a 40-yard rushing touchdown by running a trick play with 5’7, 168-pound running back Jakeem Grant with less than three minutes left.

Red Raiders then-head coach Kliff Kingsbury called the play “Little People, Big World”:

The play itself is a Gus Malzahn trick. He’s run it a few times over the course of his career, including with Auburn this year against Texas A&M. The idea is you have your offensive line stand as close together as possible and have your team’s smallest, fastest player hide behind them.

Using one of your smallest players to score a touchdown? We consider that pretty comparable to what the Little Giants did with Jake.

Michigan State called a play named after the movie to beat Notre Dame in 2010.

Sparty head coach Mark Dantonio dialed up some trickery in the final seconds against The Irish.

Trailing by three in overtime, Sparty was faced with a fourth-and-14, needing to score to counter ND’s field goal on its possession. It looked as if kicker Dan Conroy was set to line up for a 46-yard field goal:

ESPN

But instead, the ball was snapped directly to the holder, MSU punter Aaron Bates. Bates found a wide-open Charlie Gantt, who sauntered into the end zone for the winning TD:

The intended receiver was actually MSU running back Le’Veon Bell (who you can see get tripped up downfield on the right side of the screen), but Gantt was the one open downfield.

“If you look back at some of the reporting, Manti Te’o said, ‘We saw the wing go up and talk to the holder,’” Spartan assistant head coach Mark Staten said of the play via the Detroit Free Press in 2017. “Le’Veon (Bell) was on the field and he did not get the communication. So quickly when he got it, he was like, ‘Wait, that can’t be. It’s fourth-and-14. That can’t be happening.’ So he actually went back (and confirmed it with the holder), so that’s why they tackled him. And the guy who never caught the ball in practice, Charlie, ends up making the catch.”

At the time of the play call, Staten was the one who actually had to convince Dantonio that the play would work:

“Little Giants,” was the call, and Staten, then the coach of tackles and tight ends and the man in charge of the field goal unit, told Dantonio the play would work.

At least, that’s what he hoped.

“When the head coach says, ‘Is it going to work?’ and you’ve got to answer that, ‘Yeah, coach, it’s going to work,’” Staten recalled this week, “and you’re going, ‘Man, it’s fourth-and-14 and I just told him this play’s going to work, so hopefully it does.’”

Although it didn’t resemble “The Annexation of Puerto Rico,” a game-winning trick play is the fitting way to pay homage to the movie.

Not every play listed here was directly inspired by the movie, but the variations of it show the film’s lasting impact.

How awesome is it that a play from a 25-year-old film is still relevant? Thank you for that, Little Giants.

0 notes