#Keith Gillespie

[indizombie]

For a 2021 documentary, former Arsenal player Paul Merson brought together three fellow ex-footballers recovering from gambling addiction - Keith Gillespie (Newcastle and Northern Ireland), John Hartson (Arsenal and Wales) and Scott Davies (Reading) - to discuss their lives and losses. Tony Adams, Merson and Hartson's former Arsenal captain, founded the Sporting Chance clinic in 2000. It provides support and treatment for current and former athletes to overcome a range of addictive disorders. Adams told the Times in 2022 that Sporting Chance sees more athletes with addictions to gambling than alcohol, describing gambling as "the drug of choice for the Premier League footballer". While perceptions around addiction are shifting, some mental blocks remain. "There is an issue with athletes seeking help, generally, compared to the general population," explains Alex Mills, head of education and communication at Sporting Chance, which had more than 1,000 people in its care last year. "There's a macho aspect to it. There's an ego that's needed to thrive in that world but that can often equate challenges with weakness."

Daniel Gallan, ‘Gambling addiction: Why elite sportspeople are especially vulnerable’, BBC

[jazzplusplus]

1971 - Newport à Paris - Théâtre National Populaire (Palais de Chaillot)

Ornette Coleman Quartet, Gary Burton, the Kid Thomas Preservation Hall Band, the Giants of Jazz (Dizzy Gillespie, Kai Winding, Sonny Stitt, Thelonious Monk, Al McKibbon, Art Blakey), Duke Ellington Orchestra, Miles Davis Septet (Gary Bartz, Keith Jarrett, Michael Henderson, Ndugu Leon Chancler, Charles Don Alias, James Mtume Foreman)

[jazzdailyblog]

Bud Powell: The Bebop Pioneer and Piano Maestro

Introduction: Few names in the rich annals of jazz shine as brightly as Bud Powell’s. Powell was a bebop pioneer and superb pianist whose impact on the genre is immense. This article explores the life, music, and legacy of this extraordinary artist, following his path from the colorful streets of Harlem to the international arenas where he made a lasting impression. Early Days: Born…

[usafphantom2]

'On Laughter-Silvered Wings.' Art by Keith Ferris, depicting John Gillespie Magee’s Supermarine Spitfire.

@ron_eisele via X

[godeatershq]

Poderiam sugerir fcs masculinos e femininos por favor?

Aqui você encontra várias sugestões que ainda não foram utilizadas, mas alguns outros que eu gostaria de ver são:

F: Hannah Dodd, Alexa Demie, Grace Van Dien, Taylor Russell, Havana Rose Liu, Alisha Boe, Zendaya, Sadie Soverall, Ashley Moore, Niamh Mccormack, Ayo Edebiri, Camila Morrone, Ava Capri, Kim Lip, Suzanna Son, Francesca Reale, Sab Zada, Maris Racal, India Love, Emilia Mernes, Ava Capri, Gracie Abrams, Faouzia Ouihya, Claudia Sulewski, Anna Cathcart, Isabela Merced, Jenna Ortega, Jessie Mae Alonzo, Ruby Stokes, Phoebe Dynevor, Fukutomi Tsuki, Sophie Thatcher, Tashi Rodriguez, Olivia Rodrigo, Maggie Lindemann, Jessica Alexander, Megan Suri, Maitreyi Ramakrishnan, Ayesha Madon, Asher Yasbincek, Hunter Schafer, Ella Purnell, Courtney Eaton, Milly Alcock, Emily Carey, Phia Saban, Savannah Steyn, Quintessa Swindell, Maia Roberts, Brittany O'grady, Ryan Destiny, Ashley Puzemis, Sofia Black D'elia, Ama Qamata, Haley Lu Richardson, Stefanie Scott, Madelyn Cline, Kristine Froseth, Rachel Hilson, Marlo Kelly, Emily Alyn Lind, Madison Iseman, Auli'i Cravalho, Freya Allan, Mackenzie Foy, Sharon Alexie, Benedetta Gargari, Camila Mendes, Cierra Ramirez, Danielle Rose Russell, Danna Paola, Giorgia Whigham, Lovie Simone.

M: Park Serim,  Jan Buxaderas, Alex Fitzalan, Gabriel Guevara, Jacob Elordi, Henry Eikenberry, Avan Jogia, Damson Idris, Joshua Stradowski, Maxence Danet-Fauvel, Jeff Satur, Taylor Zakhar Perez, Jordan Fisher, David Castro, Nicholas Cirillo, Keith Powers, Jeremy Allen White, Drew Starkey, Charles Melton, Joshua Heuston, Thomas Weatherall, Darren Barnet, Noah Centineo, Brenton Thwaites, Zethphan Smith-Gneist, Michael Cimino, Evan Mock, Felix Mallard, Dylan Minnette, Froy Gutierrez, Barret Carnahan, Gavin Leatherwood, Ross Lynch, Ruairi O'connor, Harry Collett, Tom Glynn-Carney, Jabari Banks, Luka Sabbat, Algee Smith, Rome Flynn, Will Poulter, Charlie Gillespie, Chase Stokes, Léo Daudin, Jonathan Daviss, Caelan Moriarty, Willem De Schryver, Alex Aiono, Aramis Knight, Archie Renaux, Deaken Bluman, Jorge Lopez, Mason Gooding, Reece King, Rudy Pankow, Drake Rodger.

[mrs-stans]

‪@IMDb: ‬Director/Producer Craig Gillespie breaks down the immense amount of research that #PaulDano undertook to play the role of YouTuber Keith Gill, aka Roaring Kitty, in #DumbMoney . imdb.to/45XH1vZ

[jpbjazz]

LÉGENDES DU JAZZ

SERGE CHALOFF, LA DESCENTE AUX ENFERTS D’UN SAXOPHONISTE VIRTUOSE

‘’When Serge was cleaned up, you know, straight, he could be a delight, really to be around, a lot of fun. He knew how to handle himself. He had that gift. He could get pretty raunchy when he was strung out, but he could also be charming.''

- Zoot Sims

Né le 24 novembre 1923 à Boston, au Massachusetts, Serge Chaloff était issu d’une famille musicale. Son père Julius Chaloff était compositeur et avait joué du piano avec le Boston Symphony Orchestra. Sa mère était  la professeure de piano émérite Margaret Chaloff. Mieux connue sous le surnom de ‘’Madame Chaloff’’, Margaret, qui était professeure au New England Conservatory, avait notamment enseigné à des grands noms comme Leonard Bernstein, George Shearing, Keith Jarrett, Herbie Hancock, Steve Kuhn, Chick Corea et Dick Twardzik.

Chaloff, qui avait d’abord appris le piano à partir de l’âge de six ans, avait également suivi des cours de clarinette avec Manuel Valerio du Boston Symphony Orchestra. À l’âge de douze ans, après avoir entendu Harry Carney jouer avec l’orchestre de Duke Ellington, Chaloff avait dédidé d’apprendre à jouer du saxophone baryton en autodidacte. Comme Chaloff l’avait expliqué plus tard lors d’une entrevue accordée au critique Leonard Feather: ‘’Who could teach me? I couldn't chase [Harry] Carney around the country.''

Même s’il avait été influencé par Carney et par Jack Washington, le saxophoniste baryton de l’orchestre Count Basie, Chaloff n’avait pas tenté de les imiter. Comme l’avait déclaré son frère Richard Chaloff, Serge ‘’could play {baritone} like a tenor sax. The only time you knew it was a baritone was when he took it down low. He played it high.… He had finger dexterity, I used to watch him, you couldn't believe the speed he played. He was precise. He was a perfectionist. He would be up in his bedroom as a teenager. He would be up by the hour to one, two, three in the morning and I'm trying to sleep and he'd go over a phrase or a piece until it was perfect… I used to put the pillow over my head, we had battles.’’

DÉBUTS DE CARRIÈRE

À partir de l’âge de quatorze ans, Chaloff avait commencé à jouer au Izzy Ort's Bar & Grille, un célèbre club situé sur la rue Essex à Boston. Son frère Richard expliquait: ‘’He didn't have a permit to work but he was pretty tall and he went down to see Izzy Ort...and played for him and Izzy liked the sax...and he hired my brother to work nights… My mother used to pray on Sundays that that he'd make it outa there… My brother sat in with bandsmen that were in their thirties and forties… and here he was fourteen, fifteen years old and he played right along with them, and he did so well that they kept him.''

En 1939, à l’âge de seulement seize ans, Chaloff s’était joint au groupe de Tommy Reynolds comme saxophoniste ténor. Par la suite, Chaloff avait joué avec les groupes de Dick Rogers, Shep Fields et Ina Ray Hutton. En juillet 1944, Chaloff avait également fait partie de l’éphémère groupe de Boyd Raeburn aux côtés de Dizzy Gillespie et Al Cohn, avec qui il avait tissé une amitié qui avait duré toute sa vie. C’est d’ailleurs avec Raeburn que Chaloff avait fait ses débuts sur disque en janvier 1945, notamment dans le cadre de la pièce ‘’Interlude’’ de Dizzy Gillespie, qui s’était mieux fait connaître plus tard sous le titre de ‘’A Night in Tunisia.’’ Le son de Chaloff était particulièrement perceptible au début de l’enregistrement.

C’est durant son séjour avec le groupe de Raeburn que Chaloff avait entendu pour la première fois Charlie Parker, qui était devenu sa plus importante influence. Mais selon le critique Stuart Nicholson, plutôt que d’imiter Parker, Chaloff s’était inspiré du jeu très émotif de Parker pour bâtir son propre style. Richard Chaloff avait ajouté que son frère saisissait toutes les occasions pour jouer avec Parker à New York. Richard avait déclaré: ‘’Any time he had the chance he would pal with him. He would sit in with him at night… My brother used to say that he was up till 4,5,6, in the morning with the Bird… All the beboppers found each other out.’’

Mais les tournées avec le groupe de Raeburn étaient épuisantes. Chaloff se rappelait d’ailleurs avoir joué durant soixante soirs consécutifs et avoir parcouru jusqu’à 500 miles entre chaque contrat. C’est d’ailleurs au cours de son séjour avec le groupe que Chaloff avait commencé à consommer de l’héroïne et à ‘’marcher sur les nuages’’ comme il l’avait déclaré lui-même. Au milieu des années 1940, Chaloff avait également travaillé avec Dizzy Gillespie, Benny Harris, George Handy, Oscar Pettiford et Earl Swope. Le 21 septembre 1946, Chaloff avait enregistré sa propre version deu standard ‘’Cherokee’’ sous le titre de ‘’Blue Serge’’.

Après avoir travaillé en 1945-46 avec les big bands de Georgie Auld et Jimmy Dorsey, Chaloff avait enregistré avec de petits groupes de bebop de 1946 à 1947. Parmi ceux-ci, on remarquait le Sonny Berman's' Big Eight, le Bill Harris's Big Eight, le Ralph Burns Quintet et les Red Rodney's Be-Boppers qui comprenaient également Allen Eager au saxophone ténor. Au début de 1947, Chaloff avait d’ailleurs partagé un appartement avec Red Rodney, un autre grand consommateur d’héroïne. C’est ainsi que Chaloff était tombé dans un engrenage dont il avait pris des années à s’affranchir.

Commentant sa collaboration avec Chaloff, le saxophoniste Allen Eager avait déclaré: “Serge was a groovy guy to be around. The three of us were all pretty much in the same zone as far as musical leanings go.” En janvier 1947, Chaloff avait enregistré deux standards avec le groupe de Rodney: ‘’Elevation’’ de Gerry Mulligan et ‘’The Goof and I’’ d’Al Cohn. En 2003, les disques Uptown avaient publié du matériel inédit enregistré lors de cette session qui mettait en vedette  Eager, Chaloff, Jimmy Johnson et Buddy Rich. Toujours en janvier 1947, Chaloff s’était produit au club Three Deuces avec le sextet de Georgie Auld aux côtés de Rodney, Tiny Kahn et Lou Levy. “Wonderful band’’, avait déclaré Chaloff plus tard, même si sa collaboration avec le groupe n’avait pas été tellement lucrative. À la même époque, Chaloff avait également joué au Smalls Paradise de Harlem avec Leo Parker, un autre saxophoniste baryton qui était disparu avant de réaliser son plein potentiel.

Durant la même période, Chaloff avait enregistré deux 78-tours avec son propre sextet pour les disques Savoy. Trois des quatre pièces figurant sur ces 78-tours avaient été écrites et arrangées par Chaloff. La quatrième composition intitulée ‘’Gabardine and Serge’’, avait été écrite par Tiny Kahn. Le critique Marc Myers écrivait: ‘’All four tunes are daredevil cute and blisteringly fast. They showcase tight unison lines and standout solos by four of the six musicians, who are in superb form....(On 'Pumpernickel') Chaloff shows off his inexhaustible and leonine approach to the baritone sax.’’

Chaloff était devenu une grande vedette en 1947 lorsqu’il s’était joint au Second Herd de Woody Herman. Le groupe s’était mérité le surnom de Four Brothers Band après que la section de saxophones composée de Chaloff, Stan Getz, Zoot Sims et Herbie Steward (qui avait été remplacé plus tard par Al Cohn) ait enregistré la composition de Jimmy Giuffre du même nom. Chaloff avait également participé à plusieurs autres enregistrements du groupe, dont ‘’Keen and Peachy’’. Chaloff avait aussi joué en solo sur des pièces comme "The Goof and I" et "Man, Don't Be Ridiculous." Selon Nicholson, sur cette dernière pièce, Chaloff avait démontré ‘’an astonishing technical facility that was quite without precedent on the instrument.’’

En 1949, l’historien et critique Leonard Feather avait écrit dans son livre Inside Be-Bop que le jeu propre et le bon goût de Chaloff avaient fait de lui ‘’the No.1 bop exponent of the baritone.'' Chaloff était d’ailleurs surnommé le ‘’Charlie Parker blanc.’’

Malheureusement, Chaloff avait aussi imité Parker sur un aspect beaucoup moins enviable de sa personnalité: il avait développé une dépendance envers l’héroïne. Selon Gene Lees, à partir de 1947, Chaloff était même devenu non seulement le principal fournisseur du groupe de Woody Herman, mais son consommateur le plus important. Toujours selon Feather, Chaloff déposait une couverture au-dessus des sièges arrière des autobus dans lesquels il se transportait afin de pouvoir vendre sa marchandises plus discrètement. Le critique Whitney Balliett avait ajouté que Chaloff avait ''a satanic reputation as a drug addict whose proselytizing ways with drugs reportedly damaged more people than just himself.’’ Plusieurs musiciens avaient d’ailleurs blâmé Chaloff pour la mort du trompettiste de vingt et un ans Sonny Berman, qui était décédé à la suite d’une overdose le 16 janvier 1947.

Le trompettiste Rolf Ericson, qui s’était joint au groupe de Woody Herman en 1950, avait décrit ainsi l’impact de la consommation de drogues sur les performances de la formation: ‘’In the band Woody had started on the coast...late in 1947, which I heard many times, several of the guys were on narcotics and four were alcoholics. When the band started a night's work they sounded wonderful, but after the intermission, during which they used the needle or lushed, the good music was over. It was horrible to see them sitting on the stage like living dead, peering into little paper envelopes when they weren't playing.''

Commentant le séjour de Chaloff avec le groupe, le critique Gene Lees écrivait: ‘’Hiring him must be accounted one of Woody’s worst errors. Serge was a serious heroin addict and like so many of his kind, a dedicated proselytizer for the drug. He would hook a number of the Second Herd bandsmen.” À l’époque, on estimait qu’environ 50% des saxophonistes du groupe de Herman étaient des adeptes de l’héroïne. D’autres musiciens consommaient des amphétamines, ce qui avait incité Herman à conclure: “Everybody was on practically everything except roller-skates… I’ve chased ‘connections’ out of clubs from coast to coast”. Il y avait aussi quatre alcooliques dans la formation.

Lors d’une performance à Washington, D.C., Herman avait eu une violente discussion avec Chaloff au sujet de sa consommation de drogues. Comme Herman l’avait raconté plus tard au journaliste Gene Lees:

‘’He was getting farther and farther out there, and the farther out he got the more he was sounding like a fagalah. He kept saying, ‘Hey, Woody, baby, I’m straight, man, I’m clean.’ And I shouted, ‘Just play your goddamn part and shut up!'....I was so depressed after that gig. There was this after-hours joint in Washington called the Turf and Grid....I had to fight my way through to get a drink, man. All I wanted was to have a drink and forget it. And finally I get a couple of drinks, and it’s hot in there, and I’m sweating, and somebody’s got their hands on me, and I hear, ‘Hey, Woody, baby, whadya wanna talk to me like that for? I’m straight, baby, I’m straight.’ And it's Mr. Chaloff. And then I remember an old Joe Venuti bit. We were jammed in there, packed in, and… I peed down Serge's leg. You know, man, when you do that to someone, it takes a while before it sinks in what's happened to him. And when Serge realized, he let out a howl like a banshee.''

Mais Chaloff était parfaitement conscient de sa valeur pour le groupe. Lorsque Herman avait menacé de le congédier, Chaloff avait simplement répliqué: “That’s the baritone book. You can’t fire me because I’m the only one that knows it by heart.”

Un des partenaires de Chaloff dans l’orchestre de Woody Herman, le vibraphoniste Terry Gibbs, avait décrit ainsi  le comportement pour le moins erratique de Chaloff:

‘'He'd fall asleep with a cigarette all the time and always burn a hole in a mattress. Always! In about twelve hotels. When we'd go to check out, the hotel owner – Serge always had his hair slicked down even though he hadn't taken a bath for three years...the manager would say, 'Mr Chaloff, you burned a hole in your mattress and...' 'How dare you. I'm the winner of the down beat and Metronome polls. How dare you?'...the manager would always say, 'I'm sorry Mr Chaloff,'...Except one time when the band got off on an air-pistol kick....Serge put a telephone book against the door and was zonked out of his bird...he got three shots at the telephone book and made the biggest hole in the door you ever saw. So when he went to the check out, the guy said, 'Mr Chaloff, it'll cost you.'...He 'how-dared' him a few times. Couldn't get away with it. He said 'Well listen, if I'm gonna pay for the door I want the door.' It was twenty four dollars. So he paid for the door. I happen to be standing close by. 'Hey Terry,' he said. 'Grab this,' and all of a sudden I found myself checking out....We're walking out of the hotel with a door.''

Un autre collègue de Chaloff, le saxophoniste Al Cohn, se demandait même comment il avait pu éviter d’être assassiné. Cohn expliquait: ‘’I don't know how we kept from being killed. Serge would always be drunk. He was quite a drinker. Everything he did, he did too much. So one time we're driving, after work. It's four o'clock in the morning, and he makes a left turn, and we're wondering why the road is so bumpy. Turned out he made a left turn into the railroad tracks, and we're going over the ties.''

Pourtant, Chaloff pouvait être adorable quand il restait sobre. Comme l’avait déclaré Zoot Sims: ‘’When Serge was cleaned up, you know, straight, he could be a delight, really to be around, a lot of fun. He knew how to handle himself. He had that gift. He could get pretty raunchy when he was strung out, but he could also be charming.''

Curieusement, les problèmes de dépendance de Chaloff n’avaient pas semblé affecter outre-mesure ses performances sur scène. Comme Herman l’avait confirmé lui-même dans  le cadre d’une entrevue accordée à William D. Clancy: “Serge was probably the freshest, newest-sounding baritone that had come along in years.”

Finalement, n’en pouvant plus, Herman avait saisi le prétexte de la perte de popularité du swing (à l’époque, plusieurs big bands avaient été contraints de mettre fin à leurs activités pour des raisons économiques) pour mettre fin à l’existence de son groupe en décembre 1949. Il faut dire que l’orchestre avait perdu énormément d’argent: environ 180 000$, l’équivalent de deux millions de dollars au cours actuel.

Faisant référence de façon discrète au comportement de Chaloff au moment de démarrer les activités d’un groupe de plus petite taille à Chicago en 1950, Herman avait déclaré: ‘’'You can't imagine how good it feels to look at my present group and find them all awake. To play a set and not have someone conk out in the middle of a chorus.’’

DERNIÈRES ANNÉES

Après avoir quitté le groupe d’Herman, Chaloff avait passé une partie de l’année 1950 à jouer avec le All Star Octet de Count Basie, un groupe de taille plus modeste que le chef d’orchestre avait formé à la suite du déclin des big bands. À l’époque, le groupe, qui avait avait enregistré quelques pièces pour les disques Victor et Columbia, comprenait Basie, Chaloff, Wardell Gray, Buddy DeFranco, Clark Terry, Freddie Green, Jimmy Lewis et Gus Johnson. Plus tard la même année, Chaloff était retourné à Boston et avait joué avec de petits groupes dans des clubs comme le High Hat, le Petty Lounge et le Red Fox Cafe.

Après être retourné à New York, Chaloff avait formé son propre groupe avec des musiciens comme Earl Swope, Bud Powell, Joe Shulman et Don Lamond en vue d’une performance au club Birland en février 1950. Le critique Barry Ulanov avait commenté dans le magazine Metronome: “Serge Chaloff waved his big baritone horn at Birdland last month and inaugurated what will be a very interesting career as a leader.” Chaloff était alors retourné à Boston pour deux semaines et s’était produit avec une section rythmique avec qui il avait interprété du matériel associé au groupe de Herman.

Une performance de Chaloff au Celebrity Club de Providence, au Rhode Island, avait même été retransmise sur les ondes de la station radiophonique WRIV. L’enregistrement avait éventuellement été publié en 1994 par les disques Uptown dans le cadre d’un CD intitulée Boston 1950. Participaient également à l’enregistrement des musiciens comme Sonny Truitt, Milt Gold, Nat Pierce et Joe Shulman. Le CD comprenait aussi une entrevue de trois minutes avec Chaloff.

Le fait de jouer avec de petits groupes avait permis à Chaloff de retourner à la base et de développer un nouveau style de jeu. En 1951, Chaloff avait déclaré que le fait de se retirer du centre de l’action lui avait permis d’ajouter plus de couleur et de flexibilité à son jeu. Poursuivant dans le même sens, le saxophoniste Al Cohn avait ajouté que le jeu de Chaloff comme soliste ne s’était véritablement développé qu’à partir du moment où il avait décidé de cesser de se produire avec des big bands. En 1952, Chaloff était retourné à Boston et avait enregistré avec le pianiste Dick Twardzik, mais la session n’avait jamais été publiée. Il avait aussi fait des apparitions à la télévision et avait dirigé le groupe-maison d’un club local.

Devenu une grande vedette, Chaloff avait remporté les sondages des magazines Down Beat et Metronome comme meilleur saxophoniste baryton à chaque année de 1949 à 1953. Il avait aussi fait partie des Metronome All-Stars en janvier 1950 aux côtés de  grands noms du jazz comme Dizzy Gillespie, Stan Getz, Lee Konitz et Kai Winding.

Malheureusement, Chaloff avait continué de se droguer et de boire abondamment, ce qui l’avait empêché de décrocher des contrats sur une base régulière. Il avait même cessé complètement de jouer en 1952-53.

À la fin de 1953, Chaloff avait tenté de faire un retour sur scène après que le disc jockey de Boston, Bob 'The Robin' Martin lui ait proposé de devenir son gérant. Avec l’aide de Martin, Chaloff avait formé un nouveau groupe qui s’était produit dans des clubs de Boston comme le Jazzorama et le Storyville. Les partenaires musicaux de Chaloff à l’époque étaient Boots Mussulli ou Charlie Mariano au saxophone alto, Herb Pomeroy à la trompette et Dick Twardzik au piano.

Même si du propre aveu de Martin, Chaloff ne jouait pas beaucoup à l’époque en raison de ses antécédents liés à la consommation de narcotiques, il se donnait à fond lorsqu’on lui donnait  l’occasion de performer. Martin expliquait: ‘’You had to talk somebody to give him a chance to play. When you got him a gig in a club or a hotel, he would usually mess it up. But when he did show...and got playing...it was,'Stand back, Baby!’’ Le saxophoniste Jay Migliori, qui avait joué avec Chaloff au Storyville, se rappelait: ‘’Serge was a wild character. We were working at Storyville and, if he was feeling good, he used to let his trousers gradually fall down during the cadenza of his feature, 'Body and Soul.' At the end of the cadenza, his trousers would hit the ground.''

En juin et septembre 1954, Chaloff avait participé à deux sessions pour les disques Storyville de George Wein. Les enregistrements avaient été publiés sous la forme de deux microsillons dix pouces. La première session avait été présentée comme un album conjoint avec le saxophoniste Boots Mussulli, et mettait en vedette un groupe composé de Russ Freeman au piano, de Jimmy Woode à la contrebasse et de Buzzy Drootin à la batterie. Wein écrivait dans les notes de pochette: ‘’ 'An alternate title for this album could be 'Serge Returns'....Each selection in these six was chosen and arranged solely by Serge.'' L’album comprenait cinq standards ainsi qu’une composition de Chaloff intitulée ‘’Zdot’’. La conclusion de la pièce avait été écrite par la mère de Chaloff, Margaret. Sur le second album intitulé The Fable of Mabel, Chaloff s’était produit avec un groupe de neuf musiciens mettant en vedette Charlie Mariano, qui avait écrit trois des cinq compositions de l’album, et Herb Pomeroy, qui avait composé la pièce ‘’Salute to Tiny’’ en hommage au batteur et arrangeur Tiny Kahn. L’ambitieuse pièce-titre avait été écrite par le pianiste Dick Twardzik, qui avait déclaré dans les notes de pochette:

‘’'The Fable of Mabel was introduced to jazz circles in 1951-52 by the Serge Chaloff Quartet. Audiences found this satirical jazz legend a welcome respite from standard night club fare. In this legend, Mabel is depicted as a woman who loves men, music and her silver saxophone that played counterpoint (her own invention which proved impractical). The work is divided into three movements: first, New Orleans; second Classical; and third, Not Too Sad An Ending. The soulful baritone solo by Serge Chaloff traces Mabel's humble beginnings working railroad cars in New Orleans to her emergence as a practising crusader for the cause of Jazz. During her Paris days on the Jazz Houseboat, her struggle for self-expression is symbolized by an unusual saxophone duet Charlie Mariano and Varty Haritrounian. Mabel always said she wanted to go out blowing. She did. The sixth track, Al Killian's 'Lets Jump', was chosen by Chaloff, who said: 'Now that we've proven how advanced we are let's show the people that we can still swing.''

Un mois après avoir complété l’enregistrement, Chaloff était entré dans une profonde crise personnelle. En octobre 1954, sans argent et incapable de se procurer de l’héroïne, Chaloff s’était inscrit volontairement au programme de réhabilitation du Bridgewater State Hospital. Après avoir passé trois mois et demi à l’hôpital, Chaloff avait été libéré en février 1955.

La même année, le gérant Bob Martin avait convaincu les disques Capitol d’enregistrer un album avec Chaloff dans le cadre de la série ‘'Stan Kenton Presents Jazz.’’ Intitulé ‘’Boston Blow-Up!’’, l’album avait été enregistré à New York en avril 1955. Chaloff était accompagné sur l’album de Boots Mussulli au saxophone alto, de Herb Pomeroy à la trompette, de Ray Santisi au piano, d’Everett Evans à la contrebasse et de Jimmy Zitano à la batterie. À l’époque, Pomeroy, Santisi et Zitano avaient développé une très grande complicité, car ils se produisaient régulièrement au Boston's Stable Club, où ils avaient enregistré l’album live Jazz in a Stable pour les disques Transition en mars précédent. Quant à Mussulli, il avait fait partie de l’orchestre de Stan Kenton de 1944 à 1947 et de 1952 à 1954.

Malgré la mauvaise réputation de Chaloff, le critique  Richard Vacca avait écrit que la présence rassurante et stable de Mussilli, qui avait déjà participé à la série Kenton Presents en 1954, avait été d’un grand réconfort pour les disques Capitol. Dans le cadre de l’album, Mussilli avait composé et arrangé cinq nouvelles pièces, dont ‘’Bob the Robin’’, qu’il avait écrite en hommage au gérant de Chaloff, Bob Martin. C’est Pomeroy qui avait écrit les arrangements des standards qui figuraient sur l’album. Très satisfait du déroulement des sessions, Chaloff avait déclaré: ‘’When I came back on the music scene, just recently, I wanted a book of fresh sounding things. I got just what I wanted from Herb and Boots. I think their writing shows us a happy group trying to create new musical entertainment by swinging all the time. Jazz has got to swing; if it doesn't, it loses its feeling of expression. This group and these sides are about the happiest I've been involved with.'' Parmi les principaux faits saillants de l’album, on remarquait les ballades "What's New?" et "Body and Soul". Commentant cette dernière pièce dans le 1956 Metronome Yearbook, le critique Bill Coss avait qualifié l’interprétation de Chaloff de ‘’frightening example of Serge's form, moaning through a seemingly autobiographical portrayal of (his) Body and Soul', an enormously emotional jazz listening experience.'' Jack Tracy, qui avait attribué cinq étoiles à l’album dans sa critique publiée dans le magazine Down Beat, avait ajouté: ‘’'Serge, for years one of music's more chaotic personalities, has made an about face of late and is again flying right. It is evident in his playing, which has become a thing of real beauty… Chaloff offers the best display of his talents ever to be put on wax. It swings, it has heart, it has maturity—it is the long-awaited coalescence of a great talent.''

Le succès inespéré de l’album Boston Blow-Up! avait éventuellement permis à Chaloff de relancer sa carrière et de décrocher de nombreux contrats. La performance de Chaloff au Boston Arts Festival en juin 1955 avait inspiré le commentaire suivant à un critique du Boston Herald: ‘’The ingenuity of Chaloff as a soloist is enormous, and his use of dissonance always conveys a sense of purpose and of form. In 'Body and Soul', he exhibited his capabilities vigorously, taking a deliberate tempo and treating the music with a lyric, delicate, tonal standpoint....the harmonies of the group are tense and the melodies resourceful and they play with a kind of controlled abandon.''

En 1956, Chaloff avait continué de se produire un peu partout à travers les États-Unis, le plus souvent en compagnie d’un saxophoniste alto. Si Chicago, Chaloff était accompagné du saxophoniste Lou Donaldson, son partenaire à Los Angeles était Sonny Stitt. Le groupe comprenait également Leroy Vinnegar, qui était alors le contrebassiste le plus dominant de la Côte ouest.

Le succès de la performance de Chaloff à Los Angeles lui avait permis d’enregistrer un second album pour les disques Capitol en mars 1956. Avaient également participé à l’enregistrement le pianiste Sonny Clark et le contrebassiste Leroy Vinnegar. Comme batteur, on retrouvait Philly Joe Jones, qui était de passage à Los Angeles avec le quintet de Miles Davis. Décrivant l’enregistrement de l’album, Chaloff avait commenté:

‘’'My last record, Boston Blow-up! was one of those carefully planned things....But this time I was feeling a little more easy-going, and I decided to make a record just to blow. I picked out what I felt was the best rhythm section around and told them just to show up...no rehearsals...no tunes set...and trust to luck and musicianship....I'd never worked with these guys before except for jamming briefy with Joe Jones eight years ago, but I knew from hearing them what they could do....We were shooting for an impromptu feeling and we got it. It has more freedom and spark than anything I've recorded before. And I don't think there's a better recommendation than that when it comes to honest jazz.''

Vladimir Somosko écrivait dans sa biographie de Chaloff intitulée ‘’Serge Chaloff: A Musical Biography and Discography’’, publiée en 1998: ‘’'The rapport of the group was as moving as the music, and the net effect was of every note being in place, flawlessly executed, as if even the slightest nuance was carefully chosen for maximum aesthetic impact. This is a level of achievement beyond all but the masters, and from an ensemble that was not even a working group it takes on an aura of the miraculous.''

Analysant le jeu de Chaloff sur la pièce "A Handful of Stars", le critique Stuart Nicholson avait précisé: ‘’Paraphrase becomes central to his performance of 'A Handful of Stars' where he scrupulously avoids stating the melody as written. At one point he plumbs the baritone for a bumptious bass note and soars to the top of the instrument's range in one breath, effortlessly concealing the remarkable technical skill required for such seemingly throw-away trifles. This sheer joy at music making seems to give his playing a life-force of its own.'' Après avoir qualifié l’album de chef-d’oeuvre, Richard Cook et Brian Morton avaient écrit dans le Penguin Guide to Jazz: ‘’Thanks for the Memory" is overpoweringly beautiful as Chaloff creates a series of melodic variations which match the improviser's ideal of fashioning an entirely new song. 'Stairway to the Stars' is almost as fine, and the thoughtful 'The Goof and I' and 'Susie's Blues' show that Chaloff still had plenty of ideas about what could be done with a bebopper's basic materials. This important session has retained all its power.’'

Après la publication de l’album, Chaloff avait continué de travailler sur la Côte ouest, se produisant notamment au Starlite Club d’Hollywood en mai 1956. Durant le même mois, Chaloff avait été victime de douleurs au dos et à l’abdomen qui avaient entraîné une paralysie de ses deux jambes. Chaloff était retourné de toute urgence à Boston, où une opération exploratoire avait permis de découvrir qu’il était atteint d’un cancer de la moelle épinière. Le frère de Chaloff, Richard, expliquait: ‘’We took him down there [Massachusetts General Hospital] and they found he had lesions on his spine.....they operated and took most of the lesions away, and then he went on a series of X-ray treatments. Oh they were terrible. He must have had twenty or twenty-five in a row. And in those days they really gave you heavy doses of it. Then occasionally he got spots on the lungs''.

Malgré sa maladie et le traitement qui s’en était suivi, Chaloff avait continué de se produire en concert. Le 18 juin 1956, Chaloff avait dû se déplacer en chaise roulante pour enregistrer la composition "Billie's Bounce" de Charlie Parker avec les Metronome All Stars. Avaient également participé à l’enregistrement Zoot Sims, Art Blakey, Charles Mingus et Billy Taylor.

Chaloff avait fait son dernier enregistrement dans le cadre de l’album-réunion The Four Brothers... Together Again!. Le groupe était composé de Zoot Sims, d’Al Cohn, d’Herbie Steward et de Chaloff aux saxophones, d’Elliot Lawrence au piano, de Buddy Jones à la contrebasse et de Don Lamond à la batterie. Sur les dernières pièces de l’album, Charlie O'Kane avait remplacé Chaloff dans les parties collectives afin de lui permettre de conserver ses forces pour les solos. Décrivant l’enregistrement de l’album, Richard Chaloff avait commenté: ‘’He took a wheelchair down to make that recording, you know. They didn't think he was going to make it. I heard stories from people there. But when he stood up and played, you never knew he was a sick fellow. He played dynamic. If you listen to the record he sounds like the old Serge. He pulled himself together. I don't know how he did it. But he had tremendous drive, tremendous stamina.’’ Dans son compte rendu publié dans le magazine Down Beat, le critique Don Gold écrivait: ‘’'This last session before his death represents a fervent expression of a fatally ill man. It is a kind of significant farewell in the language he knew best.''

Chaloff avait présenté sa dernière performance au Stable Club de Boston en mai 1957. Lors d’une entrevue qu’il avait accordée en 1993, le pianiste Charlie ‘’the Whale’’ Johnson avait décrit les dernières performances de Chaloff de la façon suivante: ‘’'I remember pushing Chaloff's wheelchair into The Stable for his last appearances there. He was in bad shape but could still really play, standing leaning on a pillar. However, he didn't have much stamina. He couldn't really finish the gig. I also had to go get pot and booze for him. He was still using these steadily, even in the hospital at the end.''

Chaloff était à l’agonie lorsqu’il avait été admis au Massachusetts General Hospital le 15 juillet 1957. Selon son frère Richard, Chaloff avait apporté son saxophone ainsi que son singe miniature à l’hôpital. Richard expliquait:

‘'He still had the kinkajou monkey Mother got him to keep him company. And he had his horn. I was told they wheeled him into a vacant operating theatre so he could practise, and that was his last gig, his last public performance, solo baritone sax alone in an operating theatre. Nurses, doctors and even patients were standing outside and listening. He fought it to the end. Mother would visit him and urge him on, saying, 'You can beat it' and things. But that last day, they brought a priest to visit him, and the priest saw Serge in bed looking so wasted, and the priest thought he was supposed to perform the last rites. Serge woke up in the middle of it and really panicked, sliding away from him and yelling 'No! No! Get out!' But after that he seemed to give up. I think that's when he realized it was all over.''

Chaloff était mort le lendemain. Il avait seulement trente-trois ans. Chaloff a été inhumé au Forest Hills Cemetery, dans le comté de Suffolk, au Massachusetts.

Reconnu comme le premier saxophoniste baryton à avoir joué du bebop, Chaloff avait contribué à démontrer, à l’instar de ses pairs Leo Parker et Cecil Payne, que le saxophone baryton pouvait très bien s’adapter à l’évolution du jazz moderne.

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

SOURCES:

JACK, Gordon. ‘’Serge Chaloff: the bebop lowdown.’’ Jazz Journal, 11 mai 2021.

‘’Serge Chaloff.’’ Wikipedia, 2024.

‘’Serge Chaloff.’’ All About Jazz, 2024.

[arsonandhockey]

how much exposure have you had to football kits? if you like stripes you'll get a kick out of a lot of them

celtic f.c. home kit, 2019/20 champion's league

messi in barcelona home kit, 2019/20 champion's league

keith gillespie (left) in sheffield united home kit, 2006/07 premier league (against sylvain distin of manchester city)

cartsen pröpper in st. pauli home kit, 1996/97 bundesliga

us men's national team, 2007 copa américa (you might like this, as an american)

there's loads more on football kit archive, these are just a few. football loves stripes.

bonus:

vfl bochum players (thomas ernst, uwe gospodarek, and peter peschel), 1997/98 & 1998/99 bundesliga (peschel against roman týce of 1860 munich), with their faber lotto-service sponsored kit (GK 3, GK 2, and third)

I am most super familiar with men’s football/soccer but I do enjoy all the stripes. Unfortunately for me my favorite football club (fc Basel 1893) doesn’t use a ton of stripes

[parishqs]

can i have some mwm fcs please?

Sure thing!

Diego Tinoco, Charlie Gillespie, Matthew Gray Gubler, Dev Patel, Raymond Ablack, Drew Starkey, Rami Malek, Logan Lerman, Dylan O'Brien, Chance Perdomo, Troye Sivan, Archie Renaux, Evan Mock, Aubrey Joseph, Nico Hiraga, Denny Love, Forrest Goodluck, Jacob Batalon, Charles Melton, Alex Fitzalan, Jordan Calloway, Hunter Parrish, Tom Blyth, Elliot Fletcher, Oscar Isaac, Pedro Pascal, Paul Rudd, Inaki Godoy, Xolo Maridueña, Chase Stokes, Jonathan Daviss, Ncuti Gatwa, John Boyega, Keiynan Lonsdale, Mark Tuan, Keith Powers, Chris Pine, Chris Evans, Harry Shum Jr., Andrew Garfield, Peter Gadiot, Rahul Kohli, Daniel Sharman, Sean Teale, Blair Redford, Rege-Jean Page, Henry Golding, Richard Madden, Charles Michael Davis, Ryan Kwanten, Paul Wesley, Mason Gooding, Oliver Jackson-Cohen, Ross Butler, Manny Jacinto, Avan Jogia, Michael Evans Behling, Tommy Martinez, Casey Deidrick, Jonathan Bailey, Jacob Elordi, Jonah Hauer-King, and Thomas Doherty.

Are just a few!

[rickchung]

Dumb Money (dir. Craig Gillespie) x TIFF 2023.

It's a fun and inspirational working-class dramatization (imagine a more straigtforward The Big Short) of the 2021 GameStop meme stock short squeeze saga based on the book The Antisocial Network by author Ben Mezrich with a superb cast. Paul Dano stars as Keith "Roaring Kitty" Gill, a financial analyst and retail investor turned stock market YouTuber, who turns the table on big hedge funds betting against the electronics retailer. It's a stylish recreation of the real-life David vs. Goliath battle that cost rich investors billions of dollars in capital.

Premiered at the 2023 Toronto International Film Festival as part of the Platform program.

[agentnico]

Dumb Money (2023) Review

Does anyone else think that Seth Rogen looks like a cuddlier version of David Boreanaz? Angel's stoner brother? No? Anyone? Alright then, just me as always.

Plot: Everyday people flip the script on Wall Street and get rich by turning GameStop into one of the world's hottest companies. In the middle of everything is Keith Gill, a regular guy who starts it all by sinking his life savings into the stock. When his social media posts start blowing up, so does his life and the lives of everyone following him. As a stock tip becomes a movement, everyone gets wealthy -- until the billionaires fight back and both sides find their worlds turned upside down.

Looking back at the COVID pandemic, now it seems so strange that that time even happened. A time of dread and uncertainty, now almost feels like a 2-year blip, where things were off but then all of a sudden we have returned to normal. Doesn't seem real. Think of Thanos snapping his fingers and dusting half the world's population away for 5 years and then they all come back and it's back to regular hijinks. Regardless, the pandemic lockdowns were crappy, but one of the few glimmers of hope and goodness came from that whole GameStop stock event when a bunch of Redditors and online geeks managed to take down multiple Wall Street hedge funds that were originally gaining money from other's people's losses. Reading about it on the news was absolutely mad, and naturally, now we have a movie about it.

If you're looking for a factual detailed behind-the-scenes depiction of what occurred, and also if you're seeking out a lesson in finance, Dumb Money isn't that type of movie. I'm sure there is a Netflix documentary out there that delves deeper into the ins and outs of it all, as for this movie, this is very much a classic David vs. Goliath tale of regular people sticking it to the man. The combination of winning personalities and a mind-blowing reality makes for a very entertaining film, if not profound, yet this is a prime example of a crowd-pleaser. And to be fair, with all the politicians, tech firms, and media that get sucked into the events of the movie, it does seem like director Craig Gillespie has taken some creative liberties in inflating the revolutionary aspect of what was ultimately achieved, as even though the situation that transpired is undoubtedly absurd and the type of I-cannot-believe-this-really-happened situation, I feel the movie made it a bigger deal than it actually was. The over-dramatization is self-aware in this movie though, as the hedge-fund billionaires here are presented as very cartoon-villain-esque, with Pete Davidson's character even observing in-movie how the rich Wall Street joes seeming to have come straight out of a Disney animation.

It boasts a solid cast too, with Paul Dano showcasing yet again that he doesn't always need to play creepy dudes, and that in fact, he can be very likable and heartwarming. Though for those who have seen Okja that should not come as a surprise. Shailene Woodley as his wife shares good chemistry and the two performers commit to the meaning behind the meme-ry. Seth Rogen, Vincent D'Onofrio, Sebastian Stan, and Nick Offerman are fittingly slimy and evil as the Wall Street chaps, with America Ferrera and Anthony Ramos as some of the regular folk who managed to cash in on the action round out the cast well. Dane DeHaan pops in too as a company sales rep and is entertainingly unrecognizable. That being said, with this huge cast of characters there is, perhaps, a little too much bouncing around between stories, and not all the plot threads land powerfully. Pete Davidson as Gill’s layabout brother doesn’t add much, and America Ferrera as the nurse, as sweet as she is, doesn't really get much to do besides look at her phone all the time. Then again, who didn't spend hours upon hours staring at their phone during lockdown, am I riiiiiight??....

Gillespie’s directorial style is funky and fun, and he tailors his film to the subject matter. Again, it's nowhere as deep or clever as, say, The Big Short, however, it's an entertaining and empowering movie that showcases what can happen when people actually come together to show it to the man. Though could have done less with that brass language in the soundtrack. Nearly every scene was accompanied by some rap about f**ks and ducks. And yeah, I get it, Dano's character likes cats in this, but saying the word pussy seventy-five times isn't high-brow humour. Nonetheless, Dumb Money is an easy watch. Definitely the best choice between it and The Expendables. No shade. Now - let's go buy some stocks!!

Overall score: 6/10

[vecnasrevengerp]

Dear Readers,

As some of you know, I've worked at Enzo's for the past several years. (Just on weekends, and mostly because Enzo himself begged not to leave when my publication took off. I have a heart for the people!) As a waiter-extraordinaire, I keep my eyes and ears open for information and leads.

I never expected to be dished up the biggest story of the weekend, but lo and behold, some unfortunately familiar faces waltzed into our back room on Saturday eve. Readers, the wannabe private eyes (several of whom tried to kick me out of Joyce Byer's wake just last week), looked bad. Like they'd crawled up from hell!

Here are the facts:

A break-in was reported at Hawkins High School on Saturday night, just after sundown.

Early reports mention substantial damage to the gym floor, and even tampering with the 1986 time capsule.

ABC pest control was seen outside of the school in hazmat suits, loading up trashbags of what looked to be dead rodents.

Now, far be it from me to jump to conclusions, but.... with eccentric folks like Murray Bauman, known thieves like Max Mayfield, and certified loony tunes like Mike Wheeler and Jonathan Byers in their midst, one can assume that the unlikely crew and the break-in are connected.

Especially given the state of a few seemingly-innocent citizens. Sources say Suzie Bingham and Evan Beckett, both allegedly in town for the funeral, checked in to the after-hours clinic for routine checkups and rabies shots.

Still think it's a coincidence? Well, worry not, I saved the best for last. I overheard several comments throughout the duration of my service to this ill-fated group, including:

"That was crazy"

"Is everyone okay?"

"Anybody trying to f*ck up the ancestral plane?"

"That was f*cked."

I also heard whispers of a letter unearthed in the time capsule? It seemed to be weighing heavily on several of the diners, which only made me wonder-- what was it? The Zimmerman telegram? What international espionage are these teenyboppers involved in?

Though, I suppose you can't trust just anything from a table where drug paraphernalia was openly passed around. I'm pretty sure I saw a needle in this man's pocket! I mean, the horror! Enzo's is a family establishment! I even tried to call Hakwins P.D., but the line was busy. What is our town coming to?

Anywho, once again I've gotten off topic. The night took a rather... dramatic turn of events when it was revealed that we have a missing persons case right in our backyard.

Luke Wheeler was last seen at approximately 5:12 p.m. by Mike Wheeler (father of the year). He was scheduled to arrive at the Gillespie house at 6:30 p.m., and Sherri called the precinct when he was more than forty minutes late. Chief Powell canvassed the area and put out an alert at approximately 9:17 p.m.

If you see anything, do call in to the precinct. I will be sending out updates when they are available. Parents, it's best to keep a close eye on your young. Remember-- always assume the worst! Use the buddy system! (Nancy, should you need an armed escort, I am available.) STAY ALERT TO STAY ALIVE!

Signing off,

Editor-in-Keith

THE STATS

SUZIE BINGHAM lost -60 HP and has sustained substantial injuries from the swarm of bats. She is expected to suffer from night terrors, shivers, and poorly-placed rashes.

EVAN BECKETT lost -60 HP and has sustained substantial injuries from the swarm of bats. He is expected to suffer from full-body shivers, vivid flashbacks, and constipation.

MAX MAYFIELD lost -25 HP by the end of the night. She sustained cuts on her hands and face from the bats, and gashes on her knees from her fall in the parking lot. She will experience mild symptoms of psychosis as a result of the vision.

[the-celluloid-correspondent]

Dumb Money Move Review

Directed by Craig Gillespie

Dumb Money is the ultimate David vs. Goliath tale, based upon the insane true story of everyday people who flipped the script on Wall Street and got rich by turning GameStop (yes, the mass video game store) into the hottest item on the market.

Who couldn't remember the GameStop Stock frenzy in 2020 and 2021. Not only was it less than three years ago, but it showed the world how horribly rigged the stock market is. So adapting this real life David vs. Goliath to the big screen was going to be no small task and enemies will most likely be made on Wall Street. Thankfully, Dumb Money succeeds in this absurd tale. It's similar to The Big Short but embraces its Reddit humor that drove one of the wildest stock market craze since the 2008 Financial Crisis.

Throughout the film we follow YouTuber/Day Trader Keith Gills from his humble beginnings to becoming a millionaire by creating what we now call "meme stocks". We witness how the top one percent of the one percent try to screw over the little guy time and time again, but to no avail. This madness of a story is constructed well and relatively concise in this 100 minute run time. The story embraces the Reddit memes and humor that drove to this stock market craze with impeccable precision. Nearly every single joke lands and the film is just a fine time to watch. The writing is sharp and the dialogue is witty. Witty enough that is might earn an Oscar nomination for Best Adapted Screenplay.

Paul Dano character of Keith Gills, is the films heart and center. He becomes the anchor to both the narrative and the characters of the film. Dano holds his ground here as the films leading man. We watch him guide fellow traders into the short squeeze, and drain the uber rich of their money. His wide eyed followers played by American Ferrera, Talia Ryder, Myha'la Herrold, and Anthony Ramos, play working calls American struggling to make ends meet, to which all of them succeed. We also watch those in a position of power manipulate the game to their own advantage, played masterfully by Seth Rogan, Nick Offerman, Vincent D'Onofrio, and Sebastian Stan. Each perfectly portray the ego and the greed driving this horrible businessmen. All of these eccentric characters are very well balanced, which each character having their moment to shine, but never outshining one another.

However, within this insanity, the film is never given a chance to dig into certain events and characters due to its broad stoke when approaching the story. Which works for the film, but you can't help but with that the film dig a little deeper into this craze. Overall, Dumb Money is a very fun film that explores the insanity of the stock market game. It never talks down nor lectures its audience on the politics at hand, but instead chooses to show the events that happened in a smart and comedic manner. By the film ends, it gives a glimmer of hope that the everyday man can take down Wall Street because we now have the key. All we need to do, is to be together.

My Rating: B+

[nepofm]

this place looks so hot ! could i please have some fc ideas for muse l, muse t, muse w, muse 2i, and muse 2j ? tysm angels !

love to hear it , you're so hot ! i'll list a few suggestions below but let us know if you'd like to hear more or you can head off to @nepomw where we've got a great amount of suggestions as well !

muse l : thomas doherty , jordan fisher , dua lipa , gracie abrams , austin butler , vinnie hacker , cindy kimberly , aron piper , chance perdomo , savannah smith .

muse t : meg donnelly ( !!! ) , maia reficco , emily alyn lind , lorenzo zurzolo , manu rios , madelaine petsch , madison bailey , jonathan daviss , austin abrams , austin north , halle bailey , vinnie hacker .

muse w : drew starkey , cindy kimberly , olivia holt , kennedy walsch , daniella perkins , keke palmer , coco jones , josefine frida pettersen , bill skarsgard , jordan gonzalez ( trans male ) , jordan fisher , tyler james williams , jack gilinsky , michelle domingos .

muse 2i : aaron liebregts , taehyung , felix mallard , alex fitzalan , percy hynes white , charles gillespie , keith powers , kedar-williams stirling , maia mitchell , madison bailey , lalisa manoban , nessa barrett .

muse 2j : emily alyn lind , mishti rahman , lisa onuoha , ange jose , naressa valdez , madelaine petsch , leah halton , nessa barrett , laura harrier , linabmn , cindy kimberly , alexa demie , jamilla strand .

[lboogie1906]

Arthur Blakey (October 11, 1919 – October 16, 1990) was a jazz drummer and bandleader. He was briefly known as Abdullah Ibn Buhaina after he converted to Islam for a short time in the late 1940s. He made a name for himself in the 1940s in the big bands of Fletcher Henderson and Billy Eckstine. He then worked with bebop musicians Thelonious Monk, Charlie Parker, and Dizzy Gillespie. In the mid-1950s, Horace Silver formed the Jazz Messengers, a group that the drummer was associated with for the next 35 years. The group was formed as a collective of contemporaries, but over the years the band became known as an incubator for young talent, including Freddie Hubbard, Wayne Shorter, Lee Morgan, Benny Golson, Kenny Dorham, Hank Mobley, Donald Byrd, Jackie McLean, Johnny Griffin, Curtis Fuller, Chuck Mangione, Chick Corea, Keith Jarrett, Cedar Walton, Woody Shaw, Terence Blanchard, and Wynton Marsalis. The Biographical Encyclopedia of Jazz calls the Jazz Messengers "the archetypal hard bop group of the late 50s". He was inducted into the Down Beat Jazz Hall of Fame, and the Grammy Hall of Fame, and was awarded the Grammy Lifetime Achievement Award. He was inducted into the Modern Drummer Hall of Fame. #africanhistory365 #africanexcellence https://www.instagram.com/p/CjkiRLYrLxK/?igshid=NGJjMDIxMWI=

[bamboomusiclist]

9/17 おはようございます。 Maxine Sullivan / The Queen & Her Swedish Jazz All Stars Volume2 KS205 等更新しました。

Maxine Sullivan / The Queen & Her Swedish Jazz All Stars Volume2 KS205Maxine Sullivan / The Queen & Her Swedish Jazz All Stars Volume4 KS2055Maxine Sullivan With The Keith Ingham Sextet / The Lady’s In Love With You ST-257Dave Pell Lucy Ann Polk / Plays Burke And Van Heusen KL-1034Dizzy Gillespie / One Night In Washington 60300-1Dizzy Gillespie / At The Montreux Jazz Festival 1975 2310-749Barney…