mick laBriola

Heading for its next perihelion passage on April 21, Comet 12P/Pons-Brooks is growing brighter. The greenish coma of this periodic Halley-type comet has become relatively easy to observe in small telescopes. But thebluish ion tail now streaming from the active comet’s coma and buffeted by the solar wind, is faint and difficult to follow. Still, in this image stacked exposures made on the night of February 11 reveal the fainter tail’s detailed structures. The frame spans over two degrees across a background of faint stars and background galaxies toward the northern constellation Lacerta. Of course Comet 12P’s April 21 perihelion passage will be only two weeks after the April 8 total solar eclipse, putting the comet in planet Earth’s sky along with a totally eclipsed Sun.

Jeremy Webster “Fred” Frith (born 17 February 1949) is an English multi-instrumentalist, composer, and improviser.

Probably best known for his guitar work, Frith first came to attention as one of the founding members of the English avant-rock group Henry Cow. He was also a member of the groups Art Bears, Massacre, and Skeleton Crew. He has collaborated with a number of prominent musicians, including Robert Wyatt, Derek Bailey, the Residents, Lol Coxhill, John Zorn, Brian Eno, Mike Patton, Lars Hollmer, Bill Laswell, Iva Bittová, Jad Fair, Kramer, the ARTE Quartett, and Bob Ostertag. He has also composed several long works, including Traffic Continues (1996, performed 1998 by Frith and Ensemble Modern) and Freedom in Fragments (1993, performed 1999 by Rova Saxophone Quartet). Frith produces most of his own music, and has also produced many albums by other musicians, including Curlew, the Muffins, Etron Fou Leloublan, and Orthotonics.

He is the subject of Nicolas Humbert and Werner Penzel’s 1990 documentary Step Across the Border. Frith also appears in the Canadian documentary Act of God, which is about the metaphysical effects of being struck by lightning. He has contributed to a number of music publications, including New Musical Expressand Trouser Press, and has conducted improvising workshops across the world. His career spans over four decades and he appears on over 400 albums, and he still performs actively throughout the world.

Planetary nebulae like Heckathorn-Fesen-Gull 1 (HFG1) and Abell 6 in the constellation Cassiopeia are remnants from the last phase of a medium sized star like our Sun. In spite of their shapes, planetary nebulae have nothing in common with actual planets. Located in the bottom left part of the featured photo, HFG1 was created by the binary star system V664 Cas, which consists of a white dwarf star and a red giant star. Both stars orbit their center of mass over about half an Earth day. Traveling with the entire nebula at a speed about 300 times faster than the fastest train on Earth, V664 Cas generates a bluish arc shaped shock wave. The wave interacts most strongly with the surrounding interstellar medium in the areas where the arc is brightest. After roughly 10,000 years, planetary nebulae become invisible due to a lack of ultraviolet light being emitted by the stars that create them. Displaying beautiful shapes and structures, planetary nebulae are highly desired objects for astrophotographers.

Giuseppe “Joe” Venuti (September 16, 1903 – August 14, 1978) was an American jazz musician and pioneer jazz violinist.

Considered the father of jazz violin, he pioneered the use of string instruments in jazz along with the guitarist Eddie Lang, a friend since childhood. Through the 1920s and early 1930s, Venuti and Lang made many recordings as leader and as featured soloists. He and Lang became so well known for their ‘hot’ violin and guitar solos that on many commercial dance recordings they were hired to do 12- or 24-bar duos towards the end of otherwise stock dance arrangements. In 1926, Venuti and Lang started recording for the OKeh label as a duet (after a solitary duet issued on Columbia), followed by “Blue Four” combinations, which are considered milestone jazz recordings. Venuti also recorded commercial dance records for OKeh under the name “New Yorkers”.

He worked with Benny Goodman, Adrian Rollini, the Dorsey Brothers, Bing Crosby, Bix Beiderbecke, Jack Teagarden, Frank Signorelli, the Boswell Sisters, and most of the other important white jazz and semi-jazz figures of the late 1920s and early 1930s. However, following Lang’s death in 1933, Venuti’s career began to wane, though he continued performing through the 1930s, recording a series of commercial dance records (usually containing a Venuti violin solo) for the dime store labels, as well as OKeh and Columbia, plus the occasional jazz small group sessions. He was also a strong early influence on western swing players like Cecil Brower. Many of the 1920s OKeh sides continued to sell and remained in print through 1935 when ARC discontinued the OKeh label and reissued selected sides on the 35-cent Vocalion label (the OKeh label was revived by CBS in 1940).

After a period of relative obscurity in the 1940s and 1950s, Venuti played violin and other instruments with Jack Statham at the Desert Inn Hotel in Las Vegas. Statham headed several musical groups that played at the Desert Inn from late 1961 until 1965, including a Dixieland combo. Venuti was with him during that time, and was active with the Las Vegas Symphony Orchestra during the 1960s. He was ‘rediscovered’ in the late 1960s. In the 1970s, he established a musical relationship with tenor saxophonist Zoot Sims resulting in three recordings. In 1976, he recorded an album of duets with pianist Earl Hinesentitled Hot Sonatas. He also recorded an entire album with country-jazz musicians including mandolinist Jethro Burns (of Homer & Jethro), pedal steel guitarist Curly Chalker and former Bob Wills sideman and guitarist Eldon Shamblin. Venuti died in Seattle, Washington.

Shiny NGC 253 is one of the brightest spiral galaxies visible, and also one of the dustiest. Some call it the Silver Coin Galaxy for its appearance in small telescopes, or just the Sculptor Galaxy for its location within the boundaries of the southern constellation Sculptor. Discovered in 1783 by mathematician and astronomer Caroline Herschel, the dusty island universe lies a mere 10 million light-years away. About 70 thousand light-years across, NGC 253 is the largest member of the Sculptor Group of Galaxies, the nearest to our own Local Group of Galaxies. In addition to its spiral dust lanes, tendrils of dust seem to be rising from its galactic disk laced with young star clusters and star forming regions in this colorful galaxy portrait. The high dust content accompanies frantic star formation, earning NGC 253 the designation of a starburst galaxy. NGC 253 is also known to be a strong source of high-energy x-raysand gamma rays, likely due to massive black holes near the galaxy’s center.

Harold Arlen (born Hyman Arluck; February 15, 1905 – April 23, 1986) was an American composer of popular music, who composed over 500 songs, a number of which have become known worldwide. In addition to composing the songs for the 1939 film The Wizard of Oz (lyrics by Yip Harburg), including “Over the Rainbow“, which won him the Oscar for Best Original Song, he was nominated as composer for 8 other Oscar awards. Arlen is a highly regarded contributor to the Great American Songbook. “Over the Rainbow” was voted the 20th century’s No. 1 song by the RIAA and the NEA.

Arlen was born in Buffalo, New York, the child of a Jewish cantor. His twin brother died the next day. He learned to play the piano as a youth, and formed a band as a young man. He achieved some local success as a pianist and singer before moving to New York City in his early twenties, where he worked as an accompanist in vaudeville and changed his name to Harold Arlen. Between 1926 and about 1934, Arlen appeared occasionally as a band vocalist on records by The Buffalodians, Red Nichols, Joe Venuti, Leo Reisman, and Eddie Duchin, usually singing his own compositions.

In 1929, Arlen composed his first well-known song: “Get Happy” (with lyrics by Ted Koehler). Throughout the early and mid-1930s, Arlen and Koehler wrote shows for the Cotton Club, a popular Harlem night club, as well as for Broadway musicals and Hollywood films. Arlen and Koehler’s partnership resulted in a number of hit songs, including the familiar standards “Let’s Fall in Love” and “Stormy Weather“. Arlen continued to perform as a pianist and vocalist with some success, most notably on records with Leo Reisman‘s society dance orchestra.