mick laBriola

Gabriel Urbain Fauré (French:[ɡabʁi.ɛl yʁbɛ̃ foʁe]; 12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, Sicilienne, nocturnes for piano and the songs “Après un rêve” and “Clair de lune”. Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodicallycomplex style.

Gary George Peacock (May 12, 1935 – September 4, 2020) was an American jazz double bassist. He recorded a dozen albums under his own name, and also performed and recorded with major jazz figures such as avant garde saxophonist Albert Ayler, pianists Bill Evans, Paul Bley and Marilyn Crispell, and as a part of Keith Jarrett’s “Standards Trio” with drummer Jack DeJohnette. The trio existed for over thirty years, and recorded over twenty albums together. DeJohnette once stated that he admired Peacock’s “sound, choice of notes, and, above all, the buoyancy of his playing.” Marilyn Crispell called Peacock a “sensitive musician with a great harmonic sense.”

Peacock was born in Burley, Idaho, on May 12, 1935; his father worked as a business consultant for grocery stores, and his mother was a homemaker. He grew up in Yakima, Washington, where he attended Yakima Senior High School, now called A.C. Davis High School. His earliest musical experiences involved playing piano, trumpet, and drums. When he was 15, he heard live jazz for the first time, attending a Jazz at the Philharmonic concert featuring Oscar Peterson and Ray Brown. Peacock graduated in 1953; while playing for his class, he had a profound experience, stating: “I was playing the drums, and had the experience of being played rather than playing… I realized that something transformative had happened… and there was this certainty. From the bottom of my feet to the top of my head, it was totally clear: ‘Oh, this is the direction to go.

Claude Hudson “Butch” Trucks (May 11, 1947 – January 24, 2017) was an American drummer. He was best known as a founding member of The Allman Brothers Band, for which he was inducted into the Rock and Roll Hall of Fame in 1995. Trucks was born and raised in Jacksonville, Florida.

Prior to joining the Allman Brothers, Trucks played in various groups before forming the 31st of Februaryas a student at Florida State University in Tallahassee, Florida, in the mid-1960s. He joined the Allman Brothers Band in 1969. Their 1971 live release, At Fillmore East, represented an artistic and commercial breakthrough. The group became one of the most popular bands of the era on the strength of their live performances and several successful albums. Though the band broke up and re-formed various times, Trucks remained a constant in their 45-year career. Trucks died of a self-inflicted gunshot wound on January 24, 2017.

Eric Victor Burdon (born 11 May 1941) is an English singer and songwriter. He was previously the lead vocalist of the R&B and rock band the Animals and the funk band War. He is regarded as one of the British Invasion‘s most distinctive singers with his deep, powerful blues-rock voice. Burdon is also known for his intense stage performances.

In 2008, he was ranked 57th in Rolling Stone‘s list of “The 100 Greatest Singers of All Time”.

Carla Bley (born Lovella May Borg; May 11, 1936 – October 17, 2023) was an American jazz composer, pianist, organist, and bandleader. An important figure in the free jazz movement of the 1960s, she was perhaps best known for her jazz opera Escalator over the Hill (released as a triple LP set), as well as a book of compositions that have been performed by many other artists, including Gary Burton, Jimmy Giuffre, George Russell, Art Farmer, Robert Wyatt, John Scofield, and her ex-husband Paul Bley. She was a pioneer in the development of independent artist-owned record labels, and recorded over two dozen albums between 1966 and 2019.

Bley was born in Oakland, California, in 1936, to Swedish parents. Her father, Emil Borg, a piano teacher and church choirmaster, encouraged her to sing and to learn to play the piano; her mother, Arline Anderson, died of a heart attack when Bley was eight years old. After giving up church to immerse herself in roller skating at the age of fourteen, she moved to New York City at seventeen and became a cigarette girl at Birdland, where she met jazz pianist Paul Bley, who encouraged her to start composing.She toured with him under the name Karen Borg before changing her name in 1957 to Carla Borg. She married Bley and took his name the same year, later divorcing. She kept the surname professionally thereafter.

Friday May 10th 2024 6:00 p.m. Erev Shabbat Service Commemorating Yom HaZikaron and Yom HaAtzmaut.

Music with Inbal Sharett-Singer, Jayson Rodvsky, Jeff Bailey, Pete Whitman and mick LaBriola. Erev Shabbat honoring and celebrating 76 years since Israel’s founding. Cantor Sharett-Singer will be joined by two local Israeli musicians, Ben Bitton and Ilan Zeroni, who will showcase a sermon-in-song filled with the duality of our Jewish nation that moves from sadness to joy.

Jimmy Ponder (May 10, 1946 – September 16, 2013) was an American jazz guitarist.

When Ponder’s brother entered the military, he left his guitar, and Ponder picked it up. In his early teens he received lessons from the guitarist in a band for which he sang doo-wop. He was drawn to the jazz guitar he heard on the radio. While playing in a rhythm and blues band, he occasionally inserted a jazz solo. He considered hearing guitarist Thornel Schwartz an important part of his life, when Schwartz was playing with organist Jimmy McGriff. He was impressed by Pat Martino when he saw Martino in the Jack McDuff band. He also cited as influences George Benson, Kenny Burrell, and Rene Thomas, though none surpassed the impact of seeing Wes Montgomery

Melvin Sokoloff (May 10, 1929 – February 2, 1990), known professionally as Mel Lewis, was an American jazz drummer, session musician, professor, and author. He received fourteen Grammy Awardnominations.

Lewis was born in Buffalo, New York, to Russian-Jewish immigrant parents Samuel and Mildred Sokoloff. He started playing professionally as a teen, eventually joining Stan Kenton in 1954. His musical career brought him to Los Angeles in 1957 and New York City in 1963.

In 1966 in New York, he teamed up with Thad Jones to lead the Thad Jones/Mel Lewis Orchestra. The group started as informal jam sessions with the top studio and jazz musicians of the city, but eventually began performing regularly on Monday nights at the famed venue, the Village Vanguard. In 1979, the band won a Grammy for their album Live in Munich.^[2] Like all of the musicians in the band, it was only a sideline. In 1976, he released an album titled Mel Lewis and Friends that featured him leading a smaller sextet that allowed freedom and improvisation.

When Jones moved to Denmark in 1978, the band became known as Mel Lewis and the Jazz Orchestra. Lewis continued to lead the band, recording and performing every Monday night at the Village Vanguard until shortly before his death from cancer at age 60. The band still performs on most Monday nights at the club. Today, it is known as the Vanguard Jazz Orchestra and has released several CDs

“Seguiriya” is one of the oldest flamenco styles. It is one of the most important with the “bulería” and “soleá”. Etymologically, its name is supposed to derive from the “seguidilla”. A phonetic corruption has deformed it in different terms: “seguiriya”, “siguiriya”, “seguirilla” or “siguerilla”. The oldest evidence of this flamenco style is found in the late 18th century, even though its origin is still uncertain. “Seguiriya” derived from primitive “tonás”, being created between Seville and Cadiz, los Puertos, Jerez and Triana neighborhood. “Livianas” and “serranas” belong to the same group as this style. Both styles follow “segiriya” rhythm. Another variety is the “cabales”, which are very similar to “seguiriyas” but in a higher tone. As singing, it has a tragic and gloomy character, enclosing main values of what is known as “cante hondo”. Lyrics are painful, tragic, about human relationships, love and death. “Seguiriya” has few lyrics and many “quejíos”. Musical aesthetic of “seguiriya” is taken from styles such “malagueñas” or a capella (without guitar). The term “Seguiriya” appears in many literary works. Furthermore, music in some “tonadillas”appear as “seguidilla gitana”, which doesn’t match with “seguidilla flamenca”.

It is known today that its metric is based on an order inversion of the “soleá” rhythm (3 × 4 + 6 × 8). Oldest forms of this style were interpreted in the same way as “tonás”, without music accompaniment. Currently, it is accompanied by guitar. In addition, continuous tone changes and nuances make this singing as one of the most difficult to perform. Dance was introduced for the first time thanks to Vicente Escudero in 1940. It is a slow, solemn, ceremonious, unornamented dance, whose structure is composed by four hexasyllabic verses, unless the third which is hendecasyllabic. This syllabic model is related with “jarchas”. The second line rhymes to the fourth, both consonant and assonance. In this flamenco style feeling is more important than structure. It is not strange to find “seguiriya” with other metrics. There are different types of “seguiriyas” which are associated to a particular singer. In Cadiz, El Planeta; in Jerez, La Niña de los Peines; in Triana el de Frasco el Colorao; etc.

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