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Drew McCarthy

Butch Thompson Has Left The Building

Born and raised in Marine-on-St. Croix, a small Minnesota river town, Butch Thompson was playing Christmas carols on his mother’s upright piano by age three, and began formal lessons at six. He picked up the clarinet in high school and led his first jazz group, “Shirt Thompson and His Sleeves,” as a senior.

After high school, he joined the Hall Brothers New Orleans Jazz Band of Minneapolis, and at 18 made his first visit to New Orleans, where he became one of the few non-New Orleanians to perform at Preservation Hall during the 1960s and ’70s.

In 1974, he joined the staff as the house pianist of public radio’s A Prairie Home Companion. By 1980, the show was nationally syndicated, and the Butch Thompson Trio was the house band, a position the group held for the next six years.

From the early days on APHC, Butch remembers, “It was pretty casual back then. Margaret or somebody would call me and ask if I was busy on Saturday. More than once I remember saying I couldn’t get there by showtime, and being told to show up as soon as I could. Sometimes I’d go onstage without remembering what key something was in. If Garrison was going to sing, I usually couldn’t go wrong with E major.”

By the late ’90s, Thompson was known as a leading authority on early jazz. He served as a development consultant on the 1992 Broadway hit Jelly’s Last Jam, which starred Gregory Hines. He also joined the touring company of the off-Broadway hit Jelly Roll! The Music and the Man, playing several runs with that show in New York and other cities through 1997.

The Village Voice described Butch’s music as “beguiling piano Americana from an interpreter who knows that Bix was more than an impressionist and Fats was more than a buffoon.”

He suffered from memory issues in his old age, as well as a hand disease, Dupuytren's contracture, that he'd been fighting for 40 years. Because of the memory issues, the Southside Aces — a Twin Cities traditional jazz band with which Thompson has played for years—no longer rely on the pianist to kick off numbers.

"As soon as we start, there must be a direct nerve that goes from his ears to his right hand because after he hears two notes, he hits the right note on the piano and everything floods in and he's playing with us," said clarinetist Tony Balluff, co-founder and leader of the Aces.

https://www.startribune.com/minnesota-jazz-piano-hero-butch-thompson-celebrates-a-new-album-while-battling-memory-loss-and-hand-disease/572829512/

https://www.youtube.com/watch?v=5h1NDIcZmzM

#music #jazz #PrairieHomeCompanion #GarrisonKeillor #Minneapolis

olladij@diaspora.permutationsofchaos.com
olladij

Die Ermordung von #GeorgeFloyd am 25. Mai 2020 durch den US-amerikanischen Polizisten Derek Chauvin in #Minneapolis hat zuerst in den #USA und dann innerhalb kurzer Zeit in vielen Teilen der Welt zu Massenprotesten sowie Revolten geführt. Diese Aufstände sind für die #Geschichte des #Antirassismus aus globaler Perspektive bisher einzigartig. In den USA übertrafen die Proteste und Unruhen selbst die Massenmobilisierungen nach der Ermordung von Dr. Martin Luther King im Jahre 1968, die auch die #BlackPower -Bewegung einleiteten. Zehntausende Menschen protestierten, in 40 Städten wurden Ausgangssperren verhängt, und in vielen Bundesstaaten kam die Nationalgarde zum Einsatz, um die #Proteste brutal zu unterdrücken. Hunderte wurden verhaftet.

https://www.akweb.de/bewegung/black-lives-matter-abolitionismus-schwarze-bewegung-protest-marxismus-george-floyd/ #blm #polizei #gewalt #brazilien #europa #nigeria #rassismus #kapitalismus #arbeit #kolonialismus #migration #knast #linke

Von Black Lives Matter zu Abolitionismus - Zwei Jahre nach George Floyds Tod

In der Debatte um Polizeigewalt muss das Verhältnis zwischen Kapitalismus und Rassismus in den Mittelpunkt rücken

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