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Music / Culture Ser.: A Thousand Honey Creeks Later : My Life in Music from...
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A book with obvious wear. May have some damage to the cover but integrity still intact. The binding may be slightly damaged but integrity is still intact. Possible writing in margins, possible underlining and highlighting of text, but no missing pages or anything that would compromise the legibility or understanding of the text. See the seller’s listing for full details and description of any imperfections.
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eBay item number:355654807132
Item specifics
- Condition
- ISBN
- 9780819563200
- Book Title
- Thousand Honey Creeks Later : My Life in Music from Basie to Motown
- Book Series
- Music / Culture Ser.
- Publisher
- Wesleyan University Press
- Item Length
- 1 in
- Publication Year
- 1997
- Format
- Trade Paperback
- Language
- English
- Illustrator
- Yes
- Item Height
- 0.8 in
- Genre
- Music, Social Science, Biography & Autobiography
- Topic
- Composers & Musicians, General, Musical Instruments / Woodwinds, Ethnic Studies / African American Studies
- Item Weight
- 16 Oz
- Item Width
- 1 in
- Number of Pages
- 296 Pages
About this product
Product Identifiers
Publisher
Wesleyan University Press
ISBN-10
081956320X
ISBN-13
9780819563200
eBay Product ID (ePID)
28038683709
Product Key Features
Book Title
Thousand Honey Creeks Later : My Life in Music from Basie to Motown
Number of Pages
296 Pages
Language
English
Publication Year
1997
Topic
Composers & Musicians, General, Musical Instruments / Woodwinds, Ethnic Studies / African American Studies
Illustrator
Yes
Genre
Music, Social Science, Biography & Autobiography
Book Series
Music / Culture Ser.
Format
Trade Paperback
Dimensions
Item Height
0.8 in
Item Weight
16 Oz
Item Length
1 in
Item Width
1 in
Additional Product Features
Intended Audience
Trade
LCCN
9714-000684
Reviews
"Love has a rare gift for storytelling, recounting details of his life with such focus and intensity that the reader can almost feel the bus bumping along the Midwest highways of the 1930s . . . [A] bittersweet love letter to the good old days."-- Publishers Weekly, "Love has a rare gift for storytelling, recounting details of his life with such focus and intensity that the reader can almost feel the bus bumping along the Midwest highways of the 1930s . . . [A] bittersweet love letter to the good old days."-- Publishers Weekly "This book is unique in its broad coverage of a jazz musicians working life . . . The hard times and the good times are all spelled out here in arresting detail."--Stanley Dance, author of The World of Count Basie, "Love has a rare gift for storytelling, recounting details of his life with such focus and intensity that the reader can almost feel the bus bumping along the Midwest highways of the 1930s . . . [A] bittersweet love letter to the good old days." --Publishers Weekly, "Love has a rare gift for storytelling, recounting details of his life with such focus and intensity that the reader can almost feel the bus bumping along the Midwest highways of the 1930s . . . [A] bittersweet love letter to the good old days." -Publishers Weekly, "Love has a rare gift for storytelling, recounting details of his life with such focus and intensity that the reader can almost feel the bus bumping along the Midwest highways of the 1930s . . . [A] bittersweet love letter to the good old days." ÑPublishers Weekly, "This book is unique in its broad coverage of a jazz musicians working life . . . The hard times and the good times are all spelled out here in arresting detail."--Stanley Dance, author of The World of Count Basie ""This book is unique in its broad coverage of a jazz musicians working life . . . The hard times and the good times are all spelled out here in arresting detail.""--Stanley Dance, author of The World of Count Basie ""This remarkable and unique story is not merely an account of a musician's career -- it is also an important contribution to African American social history, to the history of the music business, and to our understanding of institutional racism in American popular culture. It is a pathbreaking work of social history written with a warmth, wit, and keen eye for historical detail.""--Daniel Czitrom, author of Media and the American Mind, "Love has a rare gift for storytelling, recounting details of his life with such focus and intensity that the reader can almost feel the bus bumping along the Midwest highways of the 1930s . . . [A bittersweet love letter to the good old days." --Publishers Weekly, "Love has a rare gift for storytelling, recounting details of his life with such focus and intensity that the reader can almost feel the bus bumping along the Midwest highways of the 1930s . . . [A] bittersweet love letter to the good old days." - Publishers Weekly, "Love has a rare gift for storytelling, recounting details of his life with such focus and intensity that the reader can almost feel the bus bumping along the Midwest highways of the 1930s . . . [A bittersweet love letter to the good old days." -Publishers Weekly, "Love has a rare gift for storytelling, recounting details of his life with such focus and intensity that the reader can almost feel the bus bumping along the Midwest highways of the 1930s . . . [A] bittersweet love letter to the good old days." -- Publishers Weekly, Love has a rare gift for storytelling, recounting details of his life with such focus and intensity that the reader can almost feel the bus bumping along the Midwest highways of the 1930s . . . [A] bittersweet love letter to the good old days.
TitleLeading
A
Table Of Content
The Love Mansion Enter Earl Warren The Beginning of Career The Count Basie Band Preston the Bandleader, Part 1 Preston the Bandleader, Part 2 My Year with Motown Basic Revisited Perspectives
Synopsis
The rise of jazz and Motown seen through the eyes of a premier African American performer. Preston Love's resume reads like a Who's Who of American music: member of the Count Basie Band during its heyday in the 40s, studio musician in Los Angeles, cohort of Jo Jones, Lester Young, Ray Charles, and Dizzy Gillespie, and back-up player for Marvin Gaye, the Temptations, Smokey Robinson, Aretha Franklin, Gladys Knight, and Stevie Wonder. In this autobiography Love shows that, while the music centers of New York, New Orleans, Chicago, and Kansas City nurtured the development of those uniquely African American forms, jazz and the Motown sound, significant contributions were also being made by territory bands tirelessly performing in outposts like St. Cloud, Minnesota, Guthrie, Oklahoma, and Honey Creek, Iowa. It was in the latter town where Love, a 15-year-old from the black ghetto of Omaha, made his musical debut. Captivated by the sweet alto sax sounds of Earle Warren, Love took up the instrument and within a decade was sitting in Warren's chair. But Love's personal odyssey is more than a chronicle of endless bus rides, bad crowds in backwater clubs, and feast-or-famine finances endured en route to the top. In a distinctive and passionate voice he outlines significant facets of African American history: the central importance of the family in musical development, institutional racism in American popular culture, and the interracial nature of the music world. He also describes the growth of the music industry, especially Motown, what he calls "the powerful colossus from Detroit." Love's story, told with uncanny memory and unfailing honesty, provides an important view into the career of a musician and the evolution of a major musical form., Preston Love's resume reads like a Who's Who of American music: member of the Count Basie Band during its heyday in the 40s, studio musician in Los Angeles, cohort of Jo Jones, Lester Young, Ray Charles, and Dizzy Gillespie, and back-up player for Marvin Gaye, the Temptations, Smokey Robinson, Aretha Franklin, Gladys Knight, and Stevie Wonder. In this autobiography Love shows that, while the music centers of New York, New Orleans, Chicago, and Kansas City nurtured the development of those uniquely African American forms, jazz and the Motown sound, significant contributions were also being made by territory bands tirelessly performing in outposts like St. Cloud, Minnesota, Guthrie, Oklahoma, and Honey Creek, Iowa. It was in the latter town where Love, a 15-year-old from the black ghetto of Omaha, made his musical debut. Captivated by the sweet alto sax sounds of Earle Warren, Love took up the instrument and within a decade was sitting in Warren's chair. But Love's personal odyssey is more than a chronicle of endless bus rides, bad crowds in backwater clubs, and feast-or-famine finances endured en route to the top. In a distinctive and passionate voice he outlines significant facets of African American history: the central importance of the family in musical development, institutional racism in American popular culture, and the interracial nature of the music world. He also describes the growth of the music industry, especially Motown, what he calls "the powerful colossus from Detroit." Love's story, told with uncanny memory and unfailing honesty, provides an important view into the career of a musician and the evolution of a major musical form.
LC Classification Number
ML419.L67A3 1997
Item description from the seller
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