mick laBriola

Woody Herman Shaw Jr. (December 24, 1944 – May 10, 1989) was an American jazz trumpeter, flugelhornist, cornetist, composer, arranger, band leader, and educator. Shaw is widely known as one of the most important and influential jazz trumpeters and composers of the twentieth century. He is often credited with revolutionizing the technical and harmonic language of modern jazz trumpet playing, and to this day is regarded by many as one of the major innovators of the instrument. He was an acclaimed virtuoso, mentor, and spokesperson for jazz and worked and recorded alongside many of the leading musicians of his time. Woody Shaw was born in Laurinburg, North Carolina, United States. He was taken to Newark, New Jersey, by his parents, Rosalie Pegues and Woody Shaw Sr., when he was one year old. Shaw’s father was a member of the African American gospel group known as the “Diamond Jubilee Singers” and both his parents attended the same secondary private school as Dizzy Gillespie: Laurinburg Institute. Shaw’s mother was from the same town as Gillespie: Cheraw, South Carolina.

Raphael Homer “Ray” Bryant (December 24, 1931 – June 2, 2011) was an American jazz pianist, composer, and arranger.

Bryant was born in Philadelphia, Pennsylvania, on December 24, 1931. His mother was an ordained minister who had taught herself to play the piano; his father also played the piano and sang. His brothers were the bass player Tommy, drummer and singer Len, and Lynwood. Ray began playing the piano around the age of six or seven, following the example of his mother and his sister, Vera. Gospel influences in his playing came from being part of the church at this stage in his early life. He had switched from classical music to jazz by his early teens and played the double bass at junior high school. He was first paid to play when he was 12: “I would play for dances, and they’d sneak me into bars. I’d get four or five bucks a night, which was good money then.” He turned professional aged 14, and immediately joined a local band led by Mickey Collins.

Warren “Baby” Dodds (December 24, 1898 – February 14, 1959) was an American jazz drummer born in New Orleans, Louisiana. He is regarded as one of the best jazz drummers of the pre-big band era. He varied his drum patterns with accents and flourishes, and he generally kept the beat with the bass drum while playing buzz rolls on the snare. Early influences included Louis Cottrell, Sr., Dave Perkins, and Tubby Hall. Dodds was among the first drummers to be recorded improvising while performing.

“Baby” Dodds was the younger brother of clarinetist Johnny Dodds. His mother, who died when he was nine years old, taught him valuable lessons about persistence and putting one’s whole effort into endeavors, and he carried these with him through his career as a jazz drummer. He was born into a very musical family. His father and uncle played violin and his sister played harmonica. In addition, his father was religious and the family regularly sang hymns together. Dodds, in his autobiography The Baby Dodds Story, told the story of making his first drum: “I took a lard can and put holes in the bottom and turned it over and took nails and put holes around the top of it. Then I took some rungs out of my mother’s chairs and made drumsticks out of them”. At age 16, Dodds saved up enough money to buy his own drum set. Although Dodds had several paid teachers during his early years as a drummer, various jazz drummers around New Orleans also influenced him. He started playing in street parades around New Orleans with Bunk Johnson and his band and then gained a job playing in Willie Hightower’s band, the American Stars. The band played in various venues around New Orleans, and Dodds recalled hearing many musicians along the way, including Buddy Bolden, John Robichaux, and Jelly Roll Morton. He played with several different outfits including those of Frankie Duson and Sonny Celestin, and he was part of the New Orleans tradition of playing jazz during funeral marches. Dodds describes this experience in his autobiography: “The jazz played after New Orleans funerals didn’t show any lack of respect for the person being buried. It rather showed their people that we wanted them to be happy”.

Esther Phillips (born Esther Mae Jones; December 23, 1935 – August 7, 1984) was an American singer, best known for her R&B vocals. She rose to prominence in 1950, scoring several major R&B hits including “Double Crossing Blues” and “Mistrustin’ Blues” under the moniker “Little Esther”. In the 1960s, she achieved chart success with the country song “Release Me” and recorded in the pop, jazz, blues and soul genres. Phillips received a Grammy nomination for her single “Home Is Where the Hatred Is” in 1973 and her disco recording of “What a Diff’rence a Day Makes” was a major hit in 1975. She died from liver and kidney failure due to long-term drug abuse in 1984.

Phillips was born Esther Mae Jones in Galveston, Texas, U.S. Her parents divorced during her adolescence, and she divided her time between her father, in Houston, and her mother, in the Wattssection of Los Angeles. She was brought up singing in church and was reluctant to enter a talent contest at a local blues club, but her sister insisted. A mature singer at the age of 14, she won the amateur talent contest in 1949 at the Barrelhouse Club, owned by Johnny Otis. Otis was so impressed that he recorded her for Modern Records and added her to his traveling revue, the California Rhythm and Blues Caravan, billed as Little Esther. She later took the surname Phillips as her stage name, reportedly inspired by a sign at a gas station.

Frank Morgan (December 23, 1933 – December 14, 2007) was a jazz saxophonist with a career spanning more than 50 years. He mainly played alto saxophone but also played soprano saxophone. He was known as a Charlie Parker successor who primarily played bebop and ballads.

Frank Morgan was born in Minneapolis, Minnesota in 1933, but spent most of his childhood living with his grandmother in Milwaukee, Wisconsin while his parents were on tour. Morgan’s father Stanley was a guitarist with Harlan Leonard and the Rockets and The Ink Spots, and his mother, Geraldine, was a 14-year-old student when she gave birth to him. Morgan took up his father’s instrument at an early age, but lost interest the moment he saw Charlie Parker take his first solo with the Jay McShann band at the Paradise Theater in Detroit, Michigan. Stanley introduced them backstage, where Parker offered Morgan advice about starting out on the alto sax, and they met at a music store the following day. Morgan, seven years old at the time, assumed they’d be picking out a saxophone, but Parker suggested he start on the clarinet to develop his embouchure. Morgan practiced on the clarinet for about two years before acquiring a soprano sax, and finally, an alto. Morgan moved to live with his father (by that time divorced) in Los Angeles, California at the age of 14, after his grandmother caught him with marijuana.

Chesney Henry “Chet” Baker Jr. (December 23, 1929 – May 13, 1988) was an American jazz trumpeter and vocalist. He is known for major innovations in cool jazz that led him to be nicknamed the “Prince of Cool”.

Baker earned much attention and critical praise through the 1950s, particularly for albums featuring his vocals: Chet Baker Sings (1954) and It Could Happen to You (1958). Jazz historian Dave Gelly described the promise of Baker’s early career as “James Dean, Sinatra, and Bix, rolled into one”. His well-publicized drug habit also drove his notoriety and fame. Baker was in and out of jail frequently before enjoying a career resurgence in the late 1970s and 1980s.

Baker was born December 23, 1929, in Yale, Oklahoma, and raised in a musical household. His father, Chesney Baker Sr., was a professional Western swing guitarist, and his mother, Vera Moser, was a pianist who worked in a perfume factory. His maternal grandmother was Norwegian. Baker said that owing to the Great Depression, his father, though talented, had to quit as a musician and take a regular job. In 1940, when Baker was 10, his family relocated to Glendale, California.

Mt Zion Shabbat for the Soul Friday service with Tami Morse, mick labriola with Guitar Corp and violin.

Frank Gambale born 22 December 1958) is an Australian jazz fusion guitarist. He has released twenty albums over a period of three decades, and is known for his use of the sweep picking and economy picking techniques.

Gambale graduated from the Guitar Institute of Technology in Hollywood with Student of the Year honors and taught there from 1984 to 1986.

With the Mark Varney Project, consisting of Allan Holdsworth, Brett Garsed, and Shawn Lane, he recorded two albums, Truth in Shredding (1990) and Centrifugal Funk (1991).

John Patitucci (born December 22, 1959) is an American jazz bassist and composer. John James Patitucci was born in Brooklyn, New York. He began playing the electric bass at age 10, performing and composing at age 12, and at age 15, started playing the acoustic bass, as well as piano by age 16. He listened to bass parts in R&B songs on the radio and on his grandfather’s jazz records. He cites as influences Oscar Peterson‘s albums with Ray Brown and Wes Montgomery‘s with Ron Carter. For the development of rhythm, he points to the time he has spent with Danilo Pérez, a pianist from Panama. In the late 1970s he studied acoustic bass at San Francisco State University and Long Beach State University. He began his professional career when he moved to Los Angeles in 1980 and made connections with Henry Mancini, Dave Grusin, and Tom Scott. From the mid-1980s to the mid-1990s he was a member of three Chick Corea groups: the Elektric Band, the Akoustic Band, and the quartet. As a leader he formed a trio with Joey Calderazzo and Peter Erskine, and a quartet with Vinnie Colaiuta, Steve Tavaglione, and John Beasley. He has played with Herbie Hancock, Wayne Shorter, and Roy Haynes. Patitucci switches between double bass and electric bass.

Lil Green (December 22, 1919 (some sources give 1901 or 1910) – April 14, 1954) was an American classic female blues singer and songwriter. She was among the leading female rhythm and blues singers of the 1940s, with a sensual soprano voice. Gospel singer R.H. Harris lauded her voice, and her interpretation of religious songs. Originally named Lillian Green or Lillie May Johnson, she was born in Mississippi. After the early deaths of her parents, she began performing in her teens and, having honed her craft in the church performing gospel, she sang in Mississippi jukes, before heading to Chicago, Illinois, in 1929, where she would make all of her recordings.