#texas les paul

[breakthroughtheice]

my beautiful girlfriend and the gay rat

[danbenzvi]

On The Jukebox: “Asteroid City (Original Motion Picture Soundtrack)”

Time to head back to the 50′s.  Track listing as follows:

Alexandre Desplat - “WXYZ-TV Channel 8″

Johnny Duncan & The Bluegrass Boys - “Last Train To San Fernando”

Slim Whitman - “Indian Love Call”

Les Baxter - “April In Portugal”

Bob Wills and his Texas Playboys - “Ida Red”

Henk Bouman, Musica Antiqua Koln & Reinhard Goebel - “Canon and Gigue in D Major: I. Canon”

Alexandre Desplat - “Opening Ceremony With Awards Presentation (Keynote Speaker: General Grif Gibson)”

Tex Ritter - “Jingle Jangle Jingle (2000 Remastered Version)”

Bill Monroe & The Bluegrass Boys - “Orange Blossom Special”

Tex Ritter - “High Noon (Do Not Forsake Me) (1991 Remastered Version)”

Burl Ives - “Cowboy’s Lament”

Alexandre Desplat - “Viewing of the Astronomical Ellipses (Opening Comments: Dr. Hickenlooper)”

Slim Whitman - “Rose Marie”

Slim Whitman - “Indian Love Call (1944 Version)”

Tennessee Ernie Ford - “Sixteen Tons (2000 Remastered Version)”

Eddy Arnold - “The Cattle Call”

Alexandre Desplat - “Special Seminar at the Playwright’s Request (Saltzburg Keitel’s Classroom)”

Asteroid City Cast - “Dear Alien (Who Art In Heaven)”

Johnny Duncan & The Bluegrass Boys - “Kaw-Liga”

Alexandre Desplat - “Emergency Assembly”

Alexandre Desplat - “A Bewildering and Bedazzling Celestial Mystery”

Les Paul & Mary Ford - “How High The Moon”

Bing Crosby - “The Streets Of Laredo”

The Chas McDevitt Skiffle Group & Nancy Whiskey - “Freight Train”

Jarvis Cocker - “You Can’t Wake Up If You Don’t Fall Asleep”

[rodgerdelany]

What's Next? A full solo acoustic show at Opening Bell Coffee in Dallas. Format is an extended story teller set highlighted by the first performance of "Angels Gathering" on piano.

The historic Opening Bell provides a great intimate setting for a singer/songwriter. This show is all ages and early on a Saturday night.

[oldmanpeace]

My favorite movie from each year, 1960+.

1960. Psycho (Alfred Hitchcock) 1961. Breakfast At Tiffany's (Blake Edwards) 1962. Cleo from 5 to 7 (Agnés Varda) 1963. 8½ (Federico Fellini) 1964. Dr. Strangelove (Stanley Kubrick) 1965. Pierrot le Fou (Jean-Luc Godard) 1966. The Good, the Bad and the Ugly (Sergio Leone) 1967. The Fearless Vampire Killers (Roman Polanski) 1968. Bullitt (Peter Yates) 1969. Easy Rider (Dennis Hopper) 1970. Kelly's Heroes (Brian G. Hutton) 1971. Harold and Maude (Hal Ashby) 1972. The Godfather (Francis Ford Coppola) 1973. Badlands (Terrence Malick) 1974. Bring Me the Head of Alfredo Garcia (Sam Peckinpah) 1975. Jaws (Steven Spielberg) 1976. The Bad News Bears (Michael Ritchie) 1977. Smokey and the Bandit (Hal Needham) 1978. Days of Heaven (Terrence Malick) 1979. Alien (Ridley Scott) 1980. Dressed To Kill (Brian De Palma) 1981. Thief (Michael Mann) 1982. Diner (Barry Levinson) 1983. Scarface (Brian De Palma) 1984. Paris, Texas (Wim Wenders) 1985. To Live and Die in L.A. (William Friedkin) 1986. Hoosiers (David Anspaugh) 1987. Full Metal Jacket (Stanley Kubrick) 1988. Big (Penny Marshall) 1989. Do the Right Thing (Spike Lee) 1990. Goodfellas (Martin Scorsese) 1991. JFK (Oliver Stone) 1992. Scent of a Woman (Martin Brest) 1993. Dazed and Confused (Richard Linklater) 1994. The Shawshank Redemption (Frank Darabont) 1995. Heat (Michael Mann) 1996. A Time to Kill (Joel Schumacher) 1997. Princess Mononoke (Hayao Miyazaki) 1998. Fucking Åmål (Lucas Moodysson) 1999. Fight Club (David Fincher) 2000. High Fidelity (Stephen Frears) 2001. The Royal Tenenbaums (Wes Anderson) 2002. Spider-Man (Sam Raimi) 2003. The Station Agent (Tom McCarthy) 2004. Sideways (Alexander Payne) 2005. Kiss Kiss, Bang Bang (Shane Black) 2006. Volver (Pedro Almodóvar) 2007. Into the Wild (Sean Penn) 2008. In Bruges (Martin McDonagh) 2009. Up in the Air (Jason Reitman) 2010. Hesher (Spencer Susser) 2011. Drive (Nicolas Winding Refn) 2012. Zero Dark Thirty (Kathryn Bigelow) 2013. Nebraska (Alexander Payne) 2014. The Grand Budapest Hotel (Wes Anderson) 2015. Sicario (Denis Villeneuve) 2016. Hell or High Water (David Mackenzie) 2017. Three Billboards Outside Ebbing, Missouri (Martin McDonagh) 2018. Manbiki kazoku (Hirokazu Koreeda) 2019. Uncut Gems (Benny & Josh Safdie) 2020. Nomadland (Chloé Zhao) 2021. Licorice Pizza (Paul Thomas Anderson) 2022. The Banshees of Inisherin (Martin McDonagh) 2023. The Holdovers (Alexander Payne)

[gh0st-m00ns]

About me ｡⁠.ﾟ⁠+⁠ ⁠⟵⁠(⁠｡⁠･⁠ω⁠･⁠)

—⁠☆—I go by Kristen or Kris

—⁠☆—19

—⁠☆—libra ☀️+🌙 Cancer ⬆️

꒦꒷︶°꒷︶°︶꒦˚︶꒷ ₊˚ʚɞ˚₊ ︶°︶꒦˚︶꒷︶°︶꒦꒷

I love to crochet, sometimes knit, draw/paint(might post some of my art?), love to watch anime/read manga, listen to music, sometimes journal, practice witchcraft, and forensic science

Fave shows/movies: one piece, Dungeon Meshi, JJK, Trigun/Trigun Stampede, TWD, Black Swan, Scream, Halloween, Texas Chainsaw, Forensic Files, Criminal Minds, Law & order, Girl Interrupted, Kill Bill, Castlevania, The Conjuring, NCIS, Ajin: Demi Human, Devilman Crybaby, The Boy, AHS, Fear Street, Invader Zim, etc. (too many to list lol)

fave music artists: Frank Sinatra, Ritchie Valens, Paul Anka, Lana Del Rey, Nicole Dollanganger, Scarling, Holly Henry, Cozy St Jean, Mercy Necromancy, Baby Bugs, Elita, Ethel Cain, Melanie Martinez, Korn, Slipknot, KMFDM, Jack off Jill, Hole, Nirvana, Foo Fighters, No Doubt, Dazey and the Scouts, MCR, Le Tigre, Sublime, Radiohead, SOAD, BABYMETAL, Ghost, and more!

⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯ㅤ𔘓 ⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯

Cashapp: $gh0stm00n

[frederickjones]

𝓜ʸˢ𝙏𝙀ᴿ𝘠    𝐈𝐍𝐂.        ˚  〜 ₊   ✿      ˖     𝙰𝙲𝙲𝙾𝚁𝙳𝙸𝙽𝙶 𝚃𝙾 𝙿𝙴𝚁𝚂𝙾𝙽𝙰𝙻𝙸𝚉𝙴𝙳 𝙲𝙰𝙽𝙾𝙽.

Fᴿᴱᴰ... (i)      1.   the virgin suicides (1999) dir. sofia coppola    2.    society (1989) dir. brian yuzna    3.     the evil dead (1981) dir. sam raimi    4.     a nightmare on elm street 4: the dream master (1988) dir. renny harlin    5.     the burning (1981) dir. tony maylam     6.     the breakfast club (1985) dir. john hughes     7.     twin peaks (tv, 1990-2017)     8.    ryan phillippe    9.    mark-paul gosselaar    10.    scream (2022) dir.  matt bettinelli-olpin, tyler gillett    11.    the loved ones (2009) dir. sean byrne    12.    beetlejuice (1988) dir. tim burton   13.    the x files (tv, 1993-2018)    14.    martin solveig feat. dragonette - boys & girls    15.    back to the old house - the smiths   16.    scooby doo 2: monsters unleashed (2004) dir. raja gosnell 

Vᴱᴸᴹᴬ... (ii)     1.    mirror mirror (1990) dir. marina sargenti    2.    vampire in brooklyn (1995) dir. wes craven    3.    kilo kish    4.    detention (2011) dir. joseph kahn    5.    cherry falls (2000) dir. geoffrey wright    6.    the scream, 1893 by edvard munch    7.    the breakfast club (1985) dir. john hughes    8.    scooby doo 2: monsters unleashed (2004) script by james gunn    9.    a nightmare on elm street 4: the dream master (1988) dir.   renny harlin    10.    bones (2001) dir. ernest dickerson    11.     le fabuleux destin d'amélie poulain (2001) dir. jean-pierre jeunet    12.     the craft (1996) dir. andrew fleming    13.    ghost world (2001) dir. terry zwigoff    14.    susie searches (2023) dir. sophie kargman

Sᴴᴬᴳᴳʸ... (iii)    1.     clueless (1995) dir. amy heckerling    2.    detention (2011) dir. joseph kahn    3.    hereditary (2018) dir. ari aster     4.     basket case (1982) dir. frank henenlotter    5.    smiley face (2007) dir. gregg araki     6.    unicorn kid - boys of paradise     7.    heath ledger    8.    the new radicals - you've been brainwashed too   9.    narrow head - ash tray    10.   go (1999) dir. doug liman 

Dᴬᴾᴴᴺᴱ... (iv)   1.      the virgin suicides (1999) dir. sofia coppola    2.    hope sandoval    3.    death proof (2007) dir. quentin tarantino    4.    go (1999) dir. doug liman    5.    scooby doo 2: monsters unleashed (2004) dir. raja gosnell    6.    fiona apple    7.    britney spears    8.    hole - miss world    9.    frankenhooker (1990) dir. frank henenlotter     10.    texas chainsaw massacre: the next generation (1995) dir. kim henkel    11.     jawbreaker (1999) dir. darren stein    12.   clueless (1995) dir. amy heckerling    13.    vivian girls - take it as it comes    14.    juno (2007) dir. jason reitman    15.    skins (tv, 2007-2013)

NONMUTUALS DO NOT REBLOG  ✿

[bothkindsofmusic]

Is this thing on? Been a lonnnnnng while, but I want to test the waters to see if there's an audience for country music on Tumblr 2023.

I've been making a weekly playlist in lieu of a radio show for a couple months now. Figure that'd be a good place to start.

If you like country music that's outside the mainstream, check out this playlist. It's full of new and recent releases. I kick it off with a classic country song and send it off with Willie Nelson. In between you'll find music from artists making country music in their own way with their own style. While the music changes every week, the playlist stays in the same spot. Plus, there's an archive where I retire the old playlists.

If you find something you like, let me know and give the artists a follow on instagram.

Track list:

Ray Charles - Georgia on My Mind

The Waymores - Greener Pastures

Christopher Seymore, South Texas Tweek - I Can Get off on You

Amanda Donald - Get in Line

Marty Bush - Turn Down the Lights

Nora Kelly Band - Rodeo Clown

David Quinn - Down Home

Zach Bryan, Sierra Ferrell - Holy Roller

Turnpike Troubadours - A Cat in the Rain

Sarah Jane Scouten - Wanderlust

Nick Shoulders - All Bad

The Two Tracks - In the Morning

Jim Lauderdale, The Po' Ramblin' Boys, Del McCoury - Long And Lonesome Letting Go

Sentimental Family Band - Never Love Again

Willy Tea Taylor, The Fellership - National Treasure

David Garnham and the Reasons to Live, Gleny Rae Virus - Long Way Round

Nathan Mongol Wells - Honest Drinking

Lola Kirke, First Aid Kit - All My Exes Live in L.A.

Abbigale Dawn - Ex Boyfriend Blues

Christian Parker, Earl Poole Ball, JayDee Maness - You Ain't Going Nowhere

Miss Georgia Peach - Silver Threads and Gold Needles

Vince Gill, Paul Franklin - Walkin' Show and Thinkin' About Her

Madeline Hawthorne - Neon Wasteland

The Howdies - Buddies

Katie Mae & the Lubrication - Hard Livin'

The Deslondes, Sam Doores - Howl at the Moon

Brit Taylor - If You Don't Wanna Love Me

Izaak Opatz - Shampoo

Ruby Oland - Life Without Love

Lucas Hudgins - All in My Head

S.G. Goodman - Space And Time

Woody Woodworth & The Piners - When Them Dogwoods Bloom

Zara Alexandra - Greasy Spoon

Televisionaries, Les Greene - Airbound

Megg Farrell - Damaged Goods

Willie Nelson - I Never Cared for You

[stenka-razin]

in 2023 I watched some movies

I was gonna catch up on all those best picture nominees from the last 5 years, but watched crap like Caligula 2 instead

The 1989 World Tour - Live (2015, dir. Jonas Åkerlund) Glass Onion: A Knives Out Mystery (2022, dir. Rian Johnson) Flight 666 (2008, dir. Scot McFayden and Sam Dunn) Dracula (1931, dir. Todd Browning) Moonraker (1979, dir. Lewis Gilbert) The Pez Outlaw (2022, dir. Bryan Storkel and Amy Bandlien Storkel) Encino Man (1992, dir. Les Mayfield) Star Trek: Insurrection (1998, dir. Jonathan Frakes) Once Upon a Time in… Hollywood (2019, dir. Quentin Tarantino) Cleopatra (1963, dir. Joseph L. Mankiewicz) The Alligator People (1959, dir. Roy Del Ruth) The Silence of the Lambs (1991, dir. Thomas Demme) Godzilla vs. Megalon (“ゴジラ対メガロ” 1973, dir. Jun Fukuda) Invasion of Astro-Monster (“怪獣大戦争” 1965, dir. Ishirō Honda) Breaking a Monster (2015, dir. Luke Meyer) Terror at Orgy Castle (1971, dir. Zoltan G. Spencer) Wake in Fright ("Outback" 1971, dir. Ted Kotcheff) m.A.A.d. (2014, dir. Khalil Joseph) Reservoir Dogs (1992, dir. Quentin Tarantino) Kung Pow! Enter the Fist (2002, dir. Steve Oedekerk) House (1977, dir. Nobuhiko Obayashi) Raiders of the Lost Ark (1981, dir. Steven Spielberg) Dunkirk (2017, dir. Christopher Nolan) Final Destination (2000, dir. James Wong) Glitch: The Rise & Fall of HQ Trivia (2023, dir. Salima Koroma) Basic Instinct (1992, dir. Paul Verhoeven) Pee Wee’s Big Adventure (1985, dir. Tim Burton) Caligula 2: The Untold Story (“Caligola: La storia mai raccontata” 1982, dir. Joe D’Amato) La noche del terror ciego (1972, dir. Amando de Ossorio) Rocky IV (1985, dir. Sylvester Stallone) Saw IV (2007, dir. Darren Lynn Bousman) House of Wax (1953, dir. Andre DeToth) Thir13en Ghosts (2001, dir. Steve Beck) Kashchey the Immortal (“Кащей Бессмертный” 1944, dir. Aleksandr Rou) Ghost Ship (2002, dir. Steve Beck) The Blood on Satan’s Claw (1971, dir. Piers Haggard) The Face of Fu Manchu (1965, dir. Don Sharp) The Brides of Fu Manchu (1966, dir. Don Sharp) The Vengeance of Fu Manchu (1967, dir. Jeremy Summers) The Blood of Fu Manchu (1968, dir. Jesús Franco) April Fool's Day (1986, dir. Fred Walton) It's Pat 1994, dir. Adam Bernstein) The Castle of Fu Manchu (1969, dir. Jesús Franco) Adam and Eve Meet the Cannibals ("Adam ed Eve, la prima storia d'amore" 1983, dir. Enzo Doria & Luigi Rosso) The Mountain of the Cannibal God (“La montagna del dio cannibale” 1978, dir. Sergio Martino) When Harry Met Sally… (1989, dir. Rob Reiner) Beetlejuice (1988, dir. Tim Burton) Lord of the Rings: Fellowship of the Ring (2001, dir. Peter Jackson, Long as Shit Version) The Hobbit (1977, dir. Arthur Rankin Jr. & Jules Bass) The Cabinet of Dr. Caligari (1920, dir. Robert Wiene) The Wicker Man (1973, dir. Robin Hardy) The Texas Chain Saw Massacre (1974, dir. Tobe Hooper) House of 1000 Corpses (2003, dir. Rob Zombie) Chopping Mall (1986, dir. Jim Wynorski) Basket Case (1982, dir. Frank Henenlotter) Cube (1997, dir. Vincenzo Natali) Cube 2: Hypercube (2002, dir. Andrzej Sekula) Practical Magic (1998, dir. Griffin Dunne) Tropic Thunder (2008, dir. Ben Stiller) Star Wars: The Force Awakens (2015, dir. J.J. Abrams) Star Wars: The Last Jedi (2017, dir. Rian Johnson) Star Wars: The Rise of Skywalker (2019, dir. J.J. Abrams) Eyes Wide Shut (1999, dir. Stanley Kubrick) Superbad (2007, dir. Greg Mottola) Bruce Almighty (2003, dir. Tom Shadyac) House of Flying Daggers (“十面埋伏” 2004, dir. Zhang Yimou) Saltburn (2023, dir. Emerald Fennell) Grandma’s Boy (2006, dir. Nicholaus Goossen) Five Nights at Freddy's (2023, dir. Emma Tammi) Caligula and Messalina (“Caligula et Messaline” 1981, dir. Bruno Mattei) The Wizard of Oz (1939, dir. Victor Fleming, King Vidor, George Cukor, and Norman Taurog) A Christmas Prince (2017, dir. Alex Zamm) A Christmas Prince: The Royal Wedding (2018, dir. John Schulz) The Knight Before Christmas (2019, dir. Monika Mitchell) Goldfinger (1964, dir. Guy Hamilton) Total Recall (1990, dir. Paul Verhoeven)

[dolly-macabre]

Obscura Macabre Ch. 2 is newly revised!

“I trembled, stuck in honey

Honey cling to me, so just one more

Just one more go

Inspire in me the desire to never go home”

Chapter 2

Los Angeles, 198? (Early 80s)

Pickles’ arm reaches around Dolly as she tries to play a specific riff on his brand new Gibson Les Paul Goldtop. “No. No. Like this babe.” 

He moves her hand ever so slightly across the frets, pressing the pads of her fingers where they need to be. 

“I fuckin’ did it!!” she squeals with glee, playing it again all on her own. 

“I knew ya could, babe!” He grins and nudges her.

The sun shone through their cluttered LA apartment. Some would have called it a perfect day, but it was deceptive. Rain would surely come. Dahlia could feel it in her bones.

“Are you guys practicing tonight or do I get ya all to myself?” She wiggles her eyebrows at him. Usually around this time, he was packing up his guitar and gear, but he showed no signs of budging from her side. 

They were making their dreams come true slowly but surely. He had since become the singer and lead guitarist of up-and-coming glam metal band, Snakes N' Barrels and she couldn’t be more proud of him. He seemed to be going off the rails a little bit with the drugs and alcohol, who of them wasn’t? It was the 80s and everyone was getting wild! All that mattered to her was that they were together. Fucked up or not. 

“Nope! I guess Sammy and Ceelie came down with somethin' and passed it on ta Tony & Snazz… I’m all yers, hun! You wanna watch a movie or somethin'?” His tone hints at far more than just a quiet movie night. 

"Fuck yeah! Can we watch The Texas Chainsaw Massacre again?”

“Again? Jeez, ya never get sick of that one, do ya?”

 "How could I ever??? It's gotta be the most-"

"Gnarly movie ever made?" He took the wind right out of her sails. 

She carefully sets his guitar down, while Pickles finds and queues up the tape. He sits down next to her, wrapping his arm around her waist.

“Y'know, if you keep practicin' like that, you’ll be kickin' ass in no time! You already sing like an angel, so why don’t ya find a band to play with?”

She just stares at the TV and lets out a deep sigh, “But, man, I fuckin' hate people… Once you get involved in a band, things are less flexible and you don't have nearly as much personal freedom to create… I’ve thought about just making my own music like a solo thing as the 'Mistress of Mayhem'... But I just don’t know if I can handle a ton of attention like you can… I just don't think I have what it takes...”

The movie played in the background, her eyes shifting to the floor.

“C’mere.” he pulls her in and kisses her temple, “I know you can, babe, and maybe someday you'll even find a group of people that get ya!" He sneaks a little kiss on her neck.

“Staaaaahp!!” She tries not so hard to push him away.

“Uh-uh. Naht till you smile, ya little shit!!” He starts to tickle his partner's soft hips, pressing kisses all over her face. 

“Fine! Fine!!” She flashes him a toothy smile, and he finally starts to let up.

“Thatta girl.” He plants a tender kiss on her lips, “I’ll help ya in any way I can. Y'know, now that I’m a fuckin’ rockstar and all.”

His hands start to search her body underneath her clothes, giving a tit a little squeeze. Being in this band had made him so much more confident and full of himself, which didn't bother Dolly in the slightest. She'd seen him at his lowest, and she'd take this over that any day. 

“Okay! Okay! Keep yer pants on, Mr. Fuckin' Rockstar, you don’t wanna break a finger, y'know, strokin' yer ego like that.” She pantomimes stroking something phallic, mimicking his heavy Northern Wisconsin accent. Sure, she had her own, but it wasn't nearly as thick as his. 

“I’d rather keep my pants off, if y'know what I mean…” That fuckin’ grin of his… Nothing else could make her smile faster. 

Dahlia rolls her eyes, a coy smile spreading across her face as she turns her attention back to the movie. She watches as the hitchhiker they pick up cuts open their friend with a straight razor, laughing maniacally as the group tosses him from the vehicle. 

“Heh. Whatta dick,” she snickers, munching away at some cheddar & sour cream chips she had stowed away. 

Pickles couldn't help but feel ignored. He hated it when she teased him like that. Staring her down, he sneaks up on her using her blind spot to his advantage. He abruptly sinks his teeth into her neck, earning a sharp yelp. 

"PICKLES! OW!" She shrieks, tipping back out of surprise. Her bag of chips falls to the floor, adding to the mess they called a living room. He falls with her, quick to clamber on top of his disgruntled sweetheart. 

“Hey! I was talkin’ ta you.” He smiles down at Dolly, menacingly.

She blushes, pouting about her snack time being cut short. “Okay, okay… I’m listening! Jesus Murphy…”

“I love you, Dolls.” His voice is softer now. He leans down and starts peppering kisses on her collarbone.

“I love you, too, Ding-Dong.” She giggles. 

He runs his hands under her shirt again and starts to fondle the other tit, gently nibbling her collarbone.

A stuttering moan slips from between her lips.

“Mmmmm.. That's a cyoot little noise. Got anymore?” His hand travels down her body, stopping to pinch at her hip.

“EEEE! GODDAMMIT, PICKLES!!"

“Youuu love it!"

From across the apartment, the phone in the kitchen begins to ring, interrupting their horseplay. Dolly starts to sit up, but Pickles pins her down with his hips on hers.

“Let the machine get it,” he says gruffly, his mouth suckling at an earlobe. She can feel his cock hardening, pressing against her through their jeans.

“What if it’s the guys?”

“They c’n wait… I’m a little busy…” His hand slides down the front of her pants, instinctively finding her clit. 

“Oooh.. My fuckin'..” She begins to unravel beneath his touch. Her hips buck up, desperate for more. 

“Fuck, babe… Yer already so wet fer me…” His finger starts to speed up on her sensitive nub while his other hand fiddles with the button of his jeans. His breathing grows heavy as he frees his dick, immediately pumping it in his hand. He slips a couple of fingers inside of her, smirking all the while as she rides his digits. 

"There she is…" He moans, jerking himself to the sound of her sweet, begging moans. 

The answering machine picks up, and a recording of a drunk/high Pickles plays, “Hey, douchebaegs! Leave us a message after the beep! Beeeeeeee-” The machine beeps, and Dolly can hear a faint voice fighting back tears.

“Dahlia, hunnie... This is Jade... I need you to call me back as soon as you get this message. It’s kind of an emergency, kiddo. I love you, and I’ll talk to you soon.” Click.

Pickles stopped his ministrations the second he heard her aunt’s voice, a concerned look crossing his face. Dolly immediately starts panicking and shaking uncontrollably. He helps her up and grabs her trembling hand.

“It’s gunna be okay, breathe fer me, Dolls.” Just the way he says her name is almost enough to help steady her breathing. Aunt Jade was one of the only people they gave a shit about back home, and to hear her so shook up worried them both.

“I’m scared, Pickles… I'm so scared…”

“Hey, hey… We don’t even know what's goin’ on yet, angel. Jade's got the same kind of anxiety that you do. No matter what it is, I’m gunna be here, and everything’s gunna be okay.” He’s always been the voice of reason between the two of them, shockingly enough. She's always been so thankful for that. He reaches up and holds her face in his rough, comforting hands. “Go call ‘er back, baby. I'll be right here waitin' fer you.” 

“...Okay…” She sighs, mustering up the strength to get up. She couldn’t shake this feeling of dread that was rising in her stomach. The numbers chirp as she dials her aunt’s number from memory. Putting the avocado-green receiver to her ear, she listens to the ringing drone on for what felt like an eternity. 

Jade picks up, sounding rather frantic, saying, “Yes! Hello?? Is that you, kiddo??” 

“Auntie, it's me... What the hell is going on?? What’s wrong?? Are you okay???”

“Dahlia… Hun… I-I don't know how I should go about telling you this… I… have some bad news…” 

Dolly's heart drops down into her stomach. She went quiet, her tremors intensifying. 

“You there, sweetie??”

“Yeah… Uh, yeah… So… What’s this news?” she responds, barely audible.

Pickles hears the urgency in her voice and stands watch in the doorway of the kitchen. He finds her pacing back and forth as far as the cord of the phone will let her.

“This is hard to tell you… I saw my doctor about these mental blocks and memory issues that have been worsening lately… I got my labs back and… I have dementia… I-It’s still in its early stages, but the doctors aren’t very confident that it’s going to progress slowly…”

Everything goes blank. Dolly's knees buckle. A high-pitched ringing shoots through her ears as she drops the phone and sinks to the floor. She could hardly hear Jade on the other end.

“Dolly?! Dahlia, hunnie, are you there?”

Dolly tips over, expecting to feel the cold linoleum smack her cheek. Instead, she feels warmth surrounding her, and hears a frantic cry from her lover. Pickles grabs the phone dangling by its cord and explains what happened to Jade. As she slips in and out of consciousness, she can’t make out the words. Dizziness overtakes her, and she shudders, violently vomiting all over the kitchen floor.

“Oh, shit! Fuck! I gotta call ya back, Jade!” is all she hears before blacking out.

***

When she comes to, it’s dark, rain pattering against their living room window. A deep roll of thunder creeps into her very being. She pulls her knees to her chest, shaking again as tears seep into the couch cushions. An ugly sob hiccups out of her. “This can’t be fucking happening," she whimpers. "This can’t be fucking happening….” 

Pickles comes out of the kitchen looking a little sick himself, but when he sees she's come to, he’s right by her side, “Hey, baby… How ya feelin’?” He hands her some anxiety meds and a glass of water.

“Like I got hit by a fuckin’ semi…” She groans and tosses the pills in her mouth, choking them down. 

“How long was I out?”

“Ehh.. 'bout a half n' hour..”

“FUCK! Aunt Jade!” She sits up far too fast and her head begins to spin. 

“I took care of it, babe. I let ‘er know that you had a panic attack. She jest wants you to relax fer now and call ‘er back tomorrow.'' He embraces Dolly, bringing a sense of safety and security with his natural musk.

“Okie…” She groans as he runs his fingers through her disheveled, fluffy hair. 

“I’m really sahrry, Dolls... Jade… She told me everything…”

Dolly turns from his gaze to stare into a vacuum. His forefinger and thumb take hold of her chin, forcing her eyes to meet his once more. She starts to sob again, “I don’t know what I’m gunna do, Pickles… She doesn’t have anyone else…She's all alone…” She buries her face in his chest, soaking his shirt with tears. He gently pulls her into his lap and she readily melts into him. 

“Look, baby… We have some money put aside, and when the time comes we can have some people take care of her.”

“And what happens when the money runs out?? We aren’t rich… Rent here is so expensive!”

“I… I don’t know,” he says defeatedly. 

“Pickles… I think I need to go back to Tomahawk…”

“Babe...No…”

“You can’t afford to take care of both of us and put up my aunt in a home…” 

“But I-”

She wraps her arms tight around him. “It’s gunna be okay,” she shakily says, tears still rolling down her red, puffed-up face. She does her best to be strong, now smiling up at him. “Let’s just be here for now.” She nuzzles into his comforting grip. He holds her tight and she swears she feels something wet drop on her hair. He’s crying, too… He knows she's right, but letting go is always the hardest part. He buries his face in the crook of her neck, sighing raggedly. His wispy hair tickles her jawline. They just sit there for a moment being all they need for each other. 

After an hour goes by, Dolly is the first to speak up. “Let’s go to bed.” 

“Wha-What? Where am I?” he answers, disoriented. He must have fallen asleep. 

“Yer here!” She chuckles half-heartedly.

"Yer yankin' my chain… No way!" The chiding sarcasm cuts through the hurt they both feel in their hearts. 

She stands up, wobbling a little. He grabs ahold of her arm, steadying her before she can fall over. He stands and laces his fingers through hers. 

It was going to be a restless night, but at least he was there. At least they had each other for now…

[ifelllikeastar]

At the age of eight, Les Paul began playing the harmonica. After learning the piano, he switched to the banjo and guitar. During this time, Paul invented a neck-worn harmonica holder, which allowed him to play both sides of the harmonica, hands-free, while performing on the banjo and guitar. Les Paul's hands-free design is still widely manufactured today.

By age thirteen, Paul was performing semi-professionally as a country-music singer, guitarist, and harmonica player. While playing at Waukesha area drive-ins and roadhouses, Paul began his first experiment with sound. Wanting to make his acoustic guitar heard by more people at the local venues, he wired a phonograph needle to his guitar and connected it to a radio speaker. Also during this time, still dissatisfied with the available electric guitars he continued experimenting with the guitar designs he started when he was 12 years old.

As a teen Paul experimented with sustain by using a 2-foot piece of rail from a nearby train line. At age seventeen, Paul played with Rube Tronson's Texas Cowboys, and soon after he dropped out of high school to team up with Sunny Joe Wolverton's Radio Band in St. Louis, Missouri, on KMOX.

As a Jazz guitarist and inventor, Les Paul made the sound of American Rock 'n Roll possible with his unique solid-body electric guitar and recording innovations such as overdubbing and multi-track recording that significantly advanced the development of pop music.

Born: Lester William Polsfuss ‘Les Paul’ on June 9, 1915 in Waukesha, Wisconsin

[vintagevoiture]

Paul Cadmus (1904-1999) . Peintre, Pastelliste et dessinateur américain. What i believe (ou le bien et le mal) 1947. Mcnay Art Museum San Antonio Texas. Source Wodka overblog

[breakthroughtheice]

you guys having fun?

.

[marivelsblog1503]

🚒 Parte I: Texas; El cambio. 🔥

Con: 895 palabras en total. Anterior: || Índice: || Siguiente: Acompañen a los personajes, en estas nueva aventura. © Todos los derechos reservados.

«— En la oscuridad de las llamas, encontramos la luz que nos guía a ser héroes en cada rescate.—»

«— En el calor de nuestra pasión, descubrimos que el amor no tiene fronteras ni diferencias, somos el fuego que une nuestras almas, trascendiendo fe y tradición. —» 

«— La mayoría de las personas tienen trabajos normales, pero otros, tienen trabajos los cuales pueden ser peligrosos, incluso hay el riesgo de no regresar nunca. —»

«— No todos los héroes son como los cómics o las películas de super héroes, los bomberos y los policías siempre arriesgan sus vidas cada día, para así salvar a las personas que se encuentra en el fuego cruzado. —»

«— En cada rescate, nuestros corazones latiendo al unísono nos recuerdan que el amor es eterno, sin importar las diferencias que nos separan en el mundo exterior. —»

«— Pero, es posible que te encuentres a la persona correcta, a través del trabajo y en la ciudad correcta, cupido y Texas lo cambia todo. —»

«—Entre el crepitar de las llamas y el eco de sus oraciones, encontramos un refugio sagrado donde nuestra fe se convierte en un lazo indestructible que une nuestras almas, en medio del caos y la adrenalina, sus miradas se encontraron y supieron que estaban destinadas a apagar juntas cualquier fuego que la vida les pusiera en el camino. —»

El fuego que combaten juntas en lo alto de los edificios no se compara con la pasión que arde entre ellas cuando están solas, compartiendo sus miedos, sueños y esperanzas, iluminando su camino en medio de la oscuridad. —»

╔══════════ 🚒︎ ══════════╗

Casting de los personajes:

╚══════════ 🔥︎ ══════════╝

|| Grace Phipps como Emma Strand. ||

«— Muchas personas me han dado la espalda, compañeros en la academia por ser lesbiana o por ser mujer, no soy la típica damisela en apuros, no, ¿Cómo sé que puedo confiar en ti, sin que me rompas el corazón? —»

|| Natacha Karam como Marjan Marwani. ||

«— ¿No te molesta que tenga una fe diferente a la tuya?, las personas pueden comenzar hablar, sobre todo las mujeres que están en mi Mezquita, no quiero que tu nombre sea manchado por mi. —»

|| Ronen Rubinstein como Tyler Kennedy “TK” Strand. ||

«— No quiero que cometas los mismos errores que yo, y no quiero que te preocupes tanto por mi, quiero que seas feliz, has tu camino a partir de ahora. —»

|| Rob Lowe como Owen Strand. ||

«— Antes de ser tu teniente, soy tu padre, no pienso abandonarlos a ti y a tu hermano de nuevo, estaré para ustedes en sus decisiones. —»

|| Brian Michael Smith como Paul Strickland. ||

«— Tienen el mismo espíritu, pero ambas son tercas en admitir lo que sienten la una por la otra, soy su amigo, y mi consejo sería que deben aclarar las cosas. —»

╔═══════════ 🚒︎ ═══════════╗

Casting de los demás personajes:

╚═══════════ 🔥︎ ═══════════╝

|| Jim Parrack como Judson “Judd” Ryder. ||

|| Sierra McClain como Grace Ryder. ||

|| Rafael Silva como Carlos Reyes. ||

|| Julian Works como Mateo Chavez. ||

|| Brianna Baker como Nancy Gillian. ||

|| Lisa Edelstein como Gwyneth Morgan. ||

|| Liv Tyler como Michelle Blake. ||

|| Billy Burke como Billy Tyson. ||

╔═══════════ 🚒︎ ═══════════╗

Playlist de esta primera parte:

╚═══════════ 🔥︎ ═══════════╝

|| Maps de Marrom 5. ||

|| House of Memories de Panic at the Disco. ||

|| On Top of the World de Imagine Dragons. ||

|| Take on Me de a - ha. ||

|| Never Gonna Give you up de Rick Astley. ||

|| International Love de Pitbull ft. Chris Brown. ||

╔════════════ 🚒︎ ════════════╗

Descripción completa de la historia:

╚════════════ 🔥︎ ════════════╝

❝En el corazón de la estación de bomberos más famosa del condado de Texas, dos almas destinadas a cruzarse se encuentran en medio de la lucha contra las llamas y los peligros que acechan en cada esquina, Emma, una valiente bombera con cicatrices emocionales que la mantienen cautelosa en el amor, se ve atraída por la misteriosa y encantadora Marjam, cuya dualidad entre su identidad musulmana y su deseo por el amor verdadero la lleva por un camino de autodescubrimiento y desafíos.❞

❝Ambas mujeres, luchando con sus propias inseguridades y temores del pasado, se embarcan en un delicado romance que desafía las expectativas y los prejuicios a su alrededor.❞

❝Emma, cuyo corazón ha sido marcado por el dolor que su gemelo TK experimentó en el pasado, sabe que debe protegerse a sí misma y a su relación de posibles desgarros. Mientras tanto, su padre y jefe, en un intento de protegerla, se ve inmerso en un dilema entre su papel paternal y su deber profesional.❞

❝En el caso de Marjam se encuentra atrapada entre dos mundos: Por un lado, su comunidad musulmana que no acepta su relación con una mujer, por otro, el amor que siente por Emma, el cual ha luchado tanto por encontrar, por que ella misma se esfuerza por encontrar el equilibrio entre honrar sus raíces y seguir su corazón.❞

❝A medida que el peligro y la emoción de su trabajo como bomberas los une, el vínculo entre Emma y Marjam se intensifica, desafiando las barreras culturales, familiares y profesionales que amenazan con separarlas. En un torbellino de emociones y desafíos, las dos mujeres se embarcan en un viaje de autodescubrimiento, aceptación y amor, donde juntas deberán enfrentar todo lo que se interponga en su camino para alcanzar la felicidad que tanto anhelan.❞

Anterior: || Índice: || Siguiente:

[rodgerdelany]

Love sharing this video from July’s Six Springs show. The song is called “Ain’t Done Yet,,” which is special to me for two reasons. It is the first song that I wrote specifically for this band. Nothing’s in stone. We continue to craft our parts as we develop the song. And, “Ain’t Done Yet” has become my mantra. Why does somebody my age still perform original music? Well, I simply do not believe that creativity has an expiration date.

Big thanks to our encouraging friends who love Six Springs as much as us. And, special thanks to Brad and Keri for creating and environment that encourages musical innovation.

Next show at Six Springs is August 24th.

https://youtu.be/Dwd2NEwwRBY

[jpbjazz]

LÉGENDES DU JAZZ

HERB ELLIS, LA GUITARE SWING À SON MEILLEUR

"If you're not swinging, he's going to make you swing."

- Les Paul

Né le 4 août 1921 à Farmersville, près de Dallas, au Texas, Mitchell Herbert Ellis était le fils du cultivateur de coton Clifford Ellis et de Martha Kennedy. Ellis avait commencé à se passionner pour la guitare électrique après avoir entendu le musicien country George Barnes à la radio.

Après avoir commencé à jouer de l’harmonica  et du banjo, Ellis avait adopté la guitare à l’âge de huit ou neuf ans. Son frère aîné jouait également de la guitare.

Après s’être inscrit à une majeure en musique au North Texas State College en 1939, Ellis avait commencé à être influencé par le prodige de la guitare électrique Charlie Christian. Ellis avait également été influencé par Django Reinhardt. Parmi les camarades de classe d’Ellis à North Texas State College à l’époque, on retrouvait le saxophoniste et arrangeur Jimmy Giuffre (avec qui il avait partagé une chambre), le compositeur et trompettiste Gene Roland et le contrebassiste Harry Babasin. Ellis avait étudié la contrebasse à l’université, car il n’existait pas encore de programme de guitare à l’époque. Faute d’argent, Ellis avait dû abandonner ses études au collège en 1941.

DÉBUTS DE CARRIÈRE

Après avoir quitté le collège en 1941, Ellis était parti en tournée durant six mois avec un groupe de l’Université du Kansas. Ellis s’était par la suite installé à Kansas City, au Missouri, afin de perfectionner son style. Rejeté par l’armée en raison d’un souffle au coeur, Ellis s’était joint au big band de Charlie Fisk. Il s’était aussi produit dans différents clubs, collaborant notamment avec Charlie Parker (celui-ci n’avait pas encore découvert le bebop à l’époque).

En 1943, Ellis s’était joint au groupe Glen Gray and the Casa Lorna Orchestra. C’est dans le cadre de sa collaboration avec le groupe qu’Ellis avait rencontré le pianiste Lou Carter avec qui il s’était joint en 1944 à l’orchestre de Jimmy Dorsey. Le contrebassiste et violoniste Johnny Frigo avait rejoint Ellis et Carter un peu plus tard. C’est avec le groupe de Dorsey qu’Ellis avait enregistré ses premiers solos.

Ellis était demeuré avec l’orchestre de Dorsey jusqu’en 1947. Dans le cadre de sa collaboration avec le groupe, Ellis avait fait de nombreux enregistrements et tournées et s’était produit dans les salles de danse et les cinémas.

C’est alors que s’était produit un tournant capital qui avait changé la carrière d’Ellis à jamais. À l’époque, le groupe de Dorsey avait un trou de six semaines dans son calendrier. John Frigo, qui avait déjà quitté le groupe à ce moment-là, connaissait le propriétaire du Peter Stuyvesant Hotel à Buffalo. Ellis, Frigo et Carter avaient alors formé un trio appelé les Soft Winds. Largement inspiré du trio de Nat King Cole, le groupe avait joué à l’Hôtel durant six mois. Le son du groupe était souvent comparé à un groupe très populaire à l’époque, le  Page Cavanaugh Trio. Même si es Soft Winds avaient poursuivi leurs activités jusqu’en 1953, ils n’avaient jamais remporté le succès auxquels ils auraient pu s’attendre. "We played six nights a week and practiced five days a week", avait commenté Carter. Commentant le travail du groupe, Ellis avait expliqué au cours d’une entrevue qu’il avait accordée en 1993: “We didn’t hear things in terms of having a drummer, but it worked well.”

Un des spectateurs assidus des concerts du trio était le pianiste Oscar Peterson. Ce dernier se produisait habituellement à l’hôtel les dimanches soirs. Lorsque Frigo avait quitté le groupe, Peterson avait approché Ellis, car il se cherchait un guitariste pour remplacer Barney Kessel. Décrivant la réaction de Peterson lorsqu’il l’avait entendu jouer avec le trio, Ellis avait précisé: “He liked it. So he and I went out later that night and jammed at some place in Buffalo. I didn’t see him again until 1953 when [guitarist] Barney Kessel left his group. That’s when he called me for the job.”

Ellis avait fait partie du trio de Peterson de 1953 à 1958. Avec le contrebassiste Ray Brown, le trio était devenu le groupe le plus enregistré de l’époque. Comme Scott Yanow l’écrivait dans le All-Music Guide to Jazz, le groupe était éventuellement devenu un des plus grands trios avec piano de tous les temps. Yanow avait ajouté: ‘’It was never so much a matter of Peterson having two other musicians accompany him as it was that they could meet the pianist as near- equals and consistently inspire him. And unlike most trios, O.P.'s had many arranged sections that constantly needed rehearsals and were often quite dazzling." Ironiquement, comme seul musicien blanc du groupe, Ellis avait été placé dans une position plutôt délicate à une époque où le racisme était encore dominant.

Grâce à leur grande complicité, les trois membres du trio s’inspiraient constamment l’un l’autre, contribuant ainsi à garder leur musique toujours aussi fraîche et entraînante. Ellis avait déclaré au sujet de cette période:

"It was probably the highlight of my career to play with those guys--they're the best on their respective instruments. We had a lot of really difficult arrangements. Oscar wrote really hard for us. We'd have to memorize everything. Oscar's a mental giant, you know, and he never forgot anything. He'd give me stuff to play and I'd say, 'I can't play this, Oscar.' He'd say, 'Yes, you can; I know how much you can play.' I'd go practice and, sure enough, he'd be right every time."

En plus de leurs enregistrements en studio et en concert, le trio de Peterson avait également servi de section rythmique maison pour les disques Verve de Norman Granz, notamment dans le cadre de collaborations avec des saxophonistes comme Ben Webster et Stan Getz, et des trompettistes comme Dizzy Gillespie, Roy Eldridge, et Harry ‘’Sweets’’ Edison. Même si Ellis était membre à part entière de la section rythmique dans le cadre de ces enregistrements, il ne jouait pas en solo sur toutes les pièces. Avec le batteur, Buddy Rich, Ellis avait aussi participé à un album en duo mettant en vedette Ella Fitzgerald et Louis Armstrong.

Le trio avait également servi de noyau aux tournées de Jazz at the Philarmonic qui se produisaient régulièrement aux États-Unis et en Europe. Lassé de faire des tournées, Ellis avait quitté le trio de Peterson en novembre 1958. Peterson étant convaincu qu’il ne trouverait aucun guitariste capable d’arriver à la cheville d’Ellis, il l’avait remplacé par un batteur, Ed Thigpen. Lorsque le trio de Peterson s’était réuni plusieurs années plus tard, l’atmosphère était devenue beaucoup plus détendue. Comme l’avait souligné le fils d’Ellis, Mitch, “That time was very special to all of them. He and Ray roomed together; they were really best friends. When they got back together in the ‘80s it was a lot more fun, a lot more relaxed.”

Après avoir quitté le trio de Peterson, Ellis était parti en tournée avec la chanteuse Ella Fitzgerald de 1957 à 1960. Il avait aussi brièvement accompagné la chanteuse Julie London. Également actrice, London avait remporté un grand succès avec la chanson "Cry Me A River."

Ellis, qui en avait assez de la vie de musicien de tournée, avait par la suite amorcé une longue carrière comme musicien de studio pour la télévision et le cinéma. Parmi les émissions de télévision auxquelles Ellis avaient participé, on remarquait les talk shows de Steve Allen, de Regis Philbin, de Danny Kaye, de Red Skelton, de Joey Bishop, de Della Reese et de Merv Griffin. Dans un article publié dans le magazine Down Beat, le critique Leonard Feather avait commenté: "Philbin had the most jazz-oriented house group..., Terry Gibbs'. In fact it was composed entirely of jazz musicians, [including] guitarist Ellis, the only holdover from the Allen show and still one of the great swingers of any decade." Dans le cadre de l’émission d’Allen, Ellis était membre du Donn Trenner Orchestra aux côtés de virtuoses comme le joueur de trombone Frank Rosolino.

Ellis a aussi joué sur plusieurs musiques de films au cours de la même décennie. À la fin des années 1960, Ellis avait éventuellement abandonné le travail de musicien de studio pour mieux se concentrer sur sa carrière musicale.

Dans les années 1970, Ellis avait fait équipe avec des guitaristes de jazz dominants, d’abord en duo avec Joe Pass et Barney Kessel, puis en trio. Le trio d’Ellis avec Barney Kessel et Charlie Byrd avait éventuellement donné naissance au groupe Great Guitars, dont avait également fait partie plus tard le guitariste Tal Farlow. Continuant d’enregistrer et de se produire en concert régulièrement, Ellis avait d’abord enregistré le premier d’une série de trois albums pour les disques Concord. Par la suite, Ellis avait fait équipe avec les guitaristes Freddie Green, un des piliers de l’orchestre de Count Basie, et Laurindo Almeida, un ancien membre de l’orchestre de Stan Kenton. Au cours de cette période, Ellis avait également enregistré avec le contrebassiste Ray Brown, les saxophonistes Jimmy Giuffre et Coleman Hawkins et le violoniste Stuff Smith. Ellis avait aussi rendu hommage à son idole Charlie Christian sur un album intitulé "Hello, Charlie Christian." Ellis avait également enregistré des manuels d’instruction sur vidéo.

Ellis avait également continué de se produire dans les festivals. Dans les années 1970, Ellis avait été en vedette dans un épisode de la série ‘’Sanford and Son’’ dans lequel il avait accompagné le chanteur Fred Sanford. Ellis avait également donné des cours de guitare au dessinateur Gary Larson. En échange, Larson avait réalisé l’illustration de la pochette de l’album ‘’Doggin’ Around’’ qu’Ellis avait enregistré avec le conrebassite Red Mitchell en 1988.

Ellis jouait avec des guitares Gibson depuis trente-sept ans lorsque la compagnie Gibson avait lancé une guitare à son nom, la Gibson Herb Ellis Model, aussi connue sous le nom d’ES165.

En 1982, Ellis avait formé le groupe Triple Threat avec Monty Alexander et Ray Brown.

DERNIÈRES ANNÉES

Ellis, qui adorait se produire en public, réunissait souvent certains de ses amis dans le cadre de certains événements spéciaux. Lors d’une croisière de jazz tenue en novembre 1995, Ellis avait réuni son ancien groupe Soft Winds. Cette fois, John Frigo avait joué exclusivement du violon. Keter Betts était à la contrebasse et Lou Carter au piano. Commentant l’événement, le pianiste Lou Carter avait déclaré: "None of us had played together for forty years, We got up on the bandstand of the Norway without any rehearsal and swung our butts off!" À la fin des années 1940, le groupe avait remporté un certain succès avec deux pièces qu’il avait reprises lors de la croisière: I Told Ya I Love Ya, Now Get Out!" et "Detour Ahead." Cette dernière pièce, qui était devenue un standard du jazz, avait été reprise par de grands noms du jazz comme Billie Holiday, Bill Evans et Jane Monheit.

En 1998, le JVC jazz festival de New York avait commémoré la carrière d’Ellis dans le cadre de la présentation d’une série de concerts-hommage.

Ellis a été intronisé au sein du Arkansas Jazz Hall of Fame en 1994. Le 15 novembre 1997, l’University of North Texas College of Music avait décerné à Ellis un doctorat honorifique en musique. Ellis a aussi remporté un prix Grammy pour sa participation à l’album "The Legendary Oscar Peterson Trio Live at the Blue Note" en 1990. Admirateur de longue date de la guitariste de jazz Emily Remler, Ellis avait d’ailleurs participé à un album à sa mémoire.

Ellis avait enregistré plusieurs albums comme leader au cours de sa carrière, dont ‘’Nothing But the Blues’’, qui avait été enregistré en 1957 avec Roy Eldridge et Stan Getz, et qui est considéré comme un des meilleurs de sa carrière. Même si plusieurs des premiers albums d’Ellis sont aujourd’hui épuisés, ses disques ‘’Ellis in Wonderland’’ (1956), ‘’Ellis Meets Jimmy Giuffre’’ (1959) et ‘’Thank You, Charlie Christian’’ (1960) sont considérés comme des modèles d’enregistrements pour de petites formations avec guitare.

Au cours de sa carrière, Ellis avait collaboré avec de grands noms du jazz comme Joe Pass (son successeur avec le trio d’Oscar Peterson), les saxophonistes Art Pepper, Ben Webster, Coleman Hawkins, Jimmy Giuffre et Stan Getz, le guitariste brésilien Laurindo Almeida, les trompettistes Roy Eldridge, Dizzy Gillespie, Louis Armstrong et Harry ‘’Sweets’’ Edison, le violoniste Stuff Smith, la chanteuse Ella Fitzgerald, les pianistes Monty Alexander et George Duke et le batteur Buddy Rich.

Lors d’un test à l’aveugle réalisé en 1992 pour le magazine Down Beat, le guitariste Les Paul avait commenté un album d’Ellis avec Joe Pass en ces termes: "You get Joe Pass all by himself and he can pretty well stun ya....And the same thing with Herb Ellis. If you're not swinging, he's gonna make you swing. Of that whole bunch of guys who play hollow-body guitar on the front pickup, I think Herb Ellis has got the most drive." Ellis avait particulièrement apprécié de collaborer avec Pass. Comme l’avait expliqué le fils d’Ellis, Mitch: “It meant a great deal to him . . . they formed this real connection.”

Ellis était particulièrement reconnu pour l’emploi d’une technique qu’il avait probablement apprise du guitariste Ray Crawford, et qui lui permettait de frapper ses cordes un peu à la manière d’un instrument de percussion.

Herb Ellis est décédé le 28 mars 2010 à sa résidence de Los Angeles des suites de la maladie d’Alzheimer. Il était âgé de quatre-vingt-huit ans. Ont survécu à Ellis son épouse Patti Gahagan (qu’il avait épousée en 1957), son fils Mitch, sa fille Kari et trois petits-enfants.

Faisant le bilan de l’évolution du jazz, Ellis avait commenté en 1996: “There have been changes in jazz and new styles come along. I play straight ahead, what you might call mainstream, jazz. That’s what I played when I started and that’s what I still play. I wish everyone else good luck and God bless, but I’ve found mine and I’m going to stick with it.”

Dans son ouvrage intitulé The Jazz Guitarists, Stan Britt avait salué ainsi la contribution d’Ellis au monde du jazz: "Throughout all his musical ventures-- on-record or otherwise--Ellis evidences the kind of strong consistency and lasting commitment that has made him something of a legend amongst guitarists."

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

SOURCES:

COLE, Tom. ‘’Great Guitarist Herb Ellis Dies.’’ NPR, 30 mars 2010.

FORDHAM, John. ‘’Herb Ellis obituary.’’ The Guardian, 2 février 2010.

‘’Herb Ellis.’’ Wikipedia, 2023.

‘’Herb Ellis.’’ All About Jazz, 2023.

‘’Herb Ellis Biography.’’ Net Industries, 2023.

THURSBY, Keith. ‘’Herb Ellis dies at 88; jazz guitarist.’’ Los Angeles Times, 31 mars 2010.

[havaforever]

ANSELM - Réalisateur de films qui ont marqué leur époque (Les Ailes du désir, Paris Texas…), Wim Wenders produit aussi des documentaires, qui possèdent néanmoins l’ampleur artistique d’un film tant son style et sa personnalité les imprègnent.

Après le très réussi Pina (2011), consacré à la chorégraphe Pina Bausch, voici Anselm dédié au peintre et sculpteur Anselm Kiefer, et toujours en 3D. Les Parisiens et ceux qui se sont déplacés expressément pour l'évènement, ont pu voir son impressionnante œuvre au Grand Palais éphémère en décembre 2021, ses tableaux géants incrustés de matières, d’objets, de matériaux, diffusant une force hypnotique.

Avec Anselm on rentre dans le processus créatif et dans l’histoire de ce géant de l’art d’aujourd’hui, à travers ses différents ateliers en Allemagne puis en France (Barjac, Croissy), ce dernier si vaste qu’il s’y déplace en vélo ! À travers aussi les personnalités qui ont compté pour lui, notamment le poète Paul Celan et le plasticien Joseph Beuys.

Après des polémiques dans son pays natal (accusé de fascisme parce qu’il reprend les grands personnages utilisés par les nazis, il refuse la pose antifasciste), il commence à connaître le succès aux États-Unis, puis dans le monde, notamment en France. Incarné dans certaines scènes reconstituées par un enfant ou un jeune adulte, on le suit jusqu’à aujourd’hui en plein travail.

NOTE 15/20 - Tout en pudeur et en simplicité, le film de Wim Wenders laisse un doux sentiment poétique qui retrace anachroniquement le travail de cet artiste du temps. On visite le film comme une exposition. Performance de l’artiste à l’œuvre, contemplation et mouvement à rythme humain.

Un superbe moment de cinéma sur un créateur incontournable de notre époque.