mick laBriola

Performing for Erev Shabbat Friday February 16th 6pm with speaker Jonah Kaplan. Music with Jayson Rodovsky, Jeff Bailey, Pete Whitman and mick laBriola.

William Henry Deppenschmidt (February 16, 1936 – March 20, 2021) was an American jazz drummer.

Deppenschmidt’s father, a saxophone player, led an orchestra under the name Buddy Williams after playing with and arranging for Paul Whiteman, Jimmy and Tommy Dorsey, and Glenn Miller. When he was four, Deppenschmidt and his mother moved from Philadelphia to Richmond, Virginia.

Self-taught, he started playing drums professionally while in his teens and then went on the road with Ronnie Bartley’s Orchestra, a territory band which travelled in the western U.S. Returning to Richmond, he played with local bands and became the drummer for the Newton Thomas Trio (1954–59) which was also the rhythm section for the Billy Butterfield Quintet. The trio toured with Butterfield throughout the northeast and midwest (1958–59).^[3] When the Newton Thomas Trio played the Virginia Beach Jazz Festival, it received rave reviews on a bill that included the Dave Brubeck Quartet and the Charlie Byrd Trio. Two nights later, Charlie Byrd came into the Jolly Roger, the jazz club where Deppenschmidt was playing, and offered him the job as drummer with his trio. He played with the trio at the Showboat Lounge in Washington, D.C. from 1959 to 1962.

Starting in February 1961, the Charlie Byrd Trio (Charlie Byrd, guitar, Keter Betts, bass, and Buddy Deppenschmidt, drums) visited South America, Central America, and Mexico on a goodwill tour sponsored by the U.S. State Department. This three-month cultural exchange included eighteen countries. While in Brazil, Deppenschmidt spent his free time with local musicians, teaching them American jazz and learning bossa nova from them. It was his idea to record an album combining jazz and bossa nova with Stan Getz.

William Ballard Doggett (February 16, 1916 – November 13, 1996) was an American pianist and organist. He began his career playing swing music before transitioning into rhythm and blues. Best known for his instrumental compositions “Honky Tonk” and “Hippy Dippy”, Doggett was a pioneer of rock and roll. He worked with the Ink Spots, Johnny Otis, Wynonie Harris, Ella Fitzgerald, and Louis Jordan.

Doggett was born in Philadelphia. During the 1930s and early 1940s he worked for Lucky Millinder, Frank Fairfax and arranger Jimmy Mundy. In 1942 he was hired as the Ink Spots‘ pianist and arranger.

FANDANGO: For dance it is always fandango de huelva. There are two main types of melodies used for dance, with a final remate they call “por bulerias” but it never felt like buleria to me.

After you figure out how you will structure any falseta or estribillo (chorus that might repeat or go between coplas) and number of basic compases (4 measures usually is one compas) then you have these types of coplas (using the basic compasing for chord you say you know well already)

G7-C (depending on the melody, the C chord change comes right on the 3rd beat of the first measure, or on the 3rd beat of the 3rd measure)
So either beats 1-6, or you have just G7 for beats 1-6, then G7-C for the next 7-12 beats.
The rest is always the same.
C-C (1-6) C7-F (7-12)
F-G7 (1-6) G7-C (7-12)
C-C, C(orD7 passing)-G7
G7-G7, G7-C
C7-F, F-E

So you see the copla is always 6 compases long (or 5 1/2 if you do that short version in the beginning…depends on the melody and it is obvious). If you opt to play copla type falseta (such as the ones PDL does in his guitar solos), be aware they often have an extra 2 compas tag to square things off, so you need to cut those so it is clear 6 compases. And only do the 1/2 compas thing if there is a singer.

The other type of melody is the exact same length, but you go to A major instead of C major:
E7-E7, E7-Amajor
Am (minor)-Am, Am-E7
E7-E7, E7-A (major)
Am-Am, Am-E7
E7-E7, E7-A
Am-F, F-E

Alistair Ian Campbell (born 15 February 1959) is an English singer and songwriter who was lead singer and co-founder of the British reggae band UB40.

UB40 sold more than 100 million records worldwide and toured for 30 years with the original lineup of the band. In 2008, Campbell left UB40 due to a dispute with band management, alongside Mickey Virtue (Keyboard) also left for the same reasons and teamed up with Ali in the new band.

In August 2014, Campbell announced he had reunited with former UB40 bandmate Astro who also left due to management disputes and the musical direction of the band. Campbell then formed UB40 Featuring Ali, Astro & Mickey.

Henry Threadgill (born February 15, 1944) is an American composer, saxophonist and flautist. He came to prominence in the 1970s leading ensembles rooted in jazz but with unusual instrumentation and often incorporating other genres of music. He has performed and recorded with several ensembles: Air, Aggregation Orb, Make a Move, the seven-piece Henry Threadgill Sextett, the twenty-piece Society Situation Dance Band, Very Very Circus, X-75, and Zooid.

He was awarded the 2016 Pulitzer Prize for Music for his album In for a Penny, In for a Pound, which premiered at Roulette Intermedium on December 4, 2014.

In 2023, he published his autobiography, written with Brent Hayes Edwards: Easily Slip into Another World: A Life in Music.

Threadgill performed as a percussionist in his high-school marching band before taking up baritone saxophone, alto saxophone, and flute. He studied at the American Conservatory of Music in Chicago, majoring in piano, flute, and composition. He studied piano with Gail Quillman and composition with Stella Roberts. He was an original member of the Experimental Band, a precursor to the Association for the Advancement of Creative Musicians (AACM) in his hometown of Chicago, and worked under the guidance of Muhal Richard Abrams, before leaving to tour with a gospel band. In 1967, he enlisted in the U.S. Army, playing with a rock band in Vietnam during the Vietnam War in 1967 and 1968. He was discharged in 1969.

James “Kokomo” Arnold (February 15, 1896 or 1901 – November 8, 1968) was an American bluesmusician. A left-handed slide guitarist, his intense style of playing and rapid-fire vocal delivery set him apart from his contemporaries. He got his nickname in 1934 after releasing “Old Original Kokomo Blues” for Decca Records, a cover version of Scrapper Blackwell‘s blues song about the city of Kokomo, Indiana.

Arnold was born in Lovejoy’s Station, Georgia. Most sources give the date his birth as 1901, but the researchers Bob Eagle and Eric LeBlanc give the date as 1896, on the basis of information in the 1900 census. He learned the basics of playing the guitar from his cousin, John Wiggs.

Timothy Charles Buckley III (February 14, 1947 – June 29, 1975) was an American musician. He began his career based in folk rock, but subsequently experimented with genres such as psychedelia, jazz, the avant-garde, and funk as well as unconventional vocal stylings. His commercial peak came with the 1969 album Happy Sad, reaching No. 81 on the charts, while his experimental 1970 album Starsailor went on to become a cult favorite. The latter contained his best known song, “Song to the Siren.” Buckley died at the age of 28 from a heroin and morphineoverdose, leaving behind sons Taylor and Jeff.

Tim Buckley was born in Washington, D.C., on Valentine’s Day, February 14, 1947, to Elaine (née Scalia), an Italian American, and Timothy Charles Buckley Jr., a decorated World War II veteran and son of Irish immigrants from Cork. He spent his early childhood in Amsterdam, New York, an industrial city about 40 miles (64 km) northwest of Albany. At five years old, Buckley began listening to his mother’s progressive jazz recordings, particularly Miles Davis.

Merl Saunders (February 14, 1934 – October 24, 2008) was an American multi-genre musician who played piano and keyboards, favoring the Hammond B-3 console organ.

Born in San Mateo, California, United States, Saunders attended Polytechnic High School in San Francisco. In his first band in high school was singer Johnny Mathis. He served in the U.S. Air Force from 1953 to 1957. He worked as musical director of the Billy Williams Revue and served in a similar capacity in Oscar Brown Jr.‘s off-Broadway show, Big Time Buck White.

He gained notice in the 1970s when he began collaborating with Jerry Garcia, with whom he had begun playing in 1971 at a small Fillmore Street nightclub called The Matrix. He sat in with the Grateful Dead, and co-founded the Saunders/Garcia Band which produced three albums, and which became the Legion of Mary, with the addition of Martin Fierro (sax) in 1974. It disbanded the following year, but he and Garcia continued to collaborate in the band Reconstruction during 1979, collaborating with Ed Neumeister(trombone), Gaylord Birch (drums) and John Kahn (bass).