mick laBriola

Jim Mullen (born 26 November 1945) is a Scottish, Glasgow-born jazz guitarist with a distinctive style, like Wes Montgomery before him, picking with the thumb rather than a plectrum.

Jim Mullen was guitarist with Pete Brown & Piblokto! for two albums in 1970. He then played with Brian Auger‘s Oblivion Express, appearing on the band’s first three albums together with future Average White Band drummer Robbie McIntosh. Mullen then joined Kokomo and later toured with the Average White Band.

Sharp was born in Topeka, Kansas in November 26th 1924-Jan 28th 2013. His family had settled there because Kansas was, during slavery times, a free state. Sharp’s great-grandmother was a slave and he remembers her telling him stories about lying on the floor while cannonballs blasted through the cabin. The Great Depression soon followed, and Sharp’s parents sent him to live with relatives in Los Angeles while they went to New York to seek their fortune.

Sharp’s father was a concert tenor who won several small roles in Broadway shows but never hit it big. However, their social life was rich; they lived in an apartment building in Harlem with fellow residents Duke Ellington, Walter White, Roy Wilkins and artist Aaron Douglas. It was the peak of the Harlem Renaissance, and poet Langston Hughes was a family friend; Orson Welles had recently staged his famous Black Macbeth at the nearby Lafayette Theater.

Young Bobby stayed in Los Angeles with his pious grandparents and great-grandmother until he was 12, when he begged his parents to let him come to New York. Some family friends drove him cross-country in 1936, and he arrived in the midst of a cocktail soiree in his parents’ apartment on Sugar Hill.

Sharp attended high school in the Bronx and took his first job as an office “go-fer” for the Rockefeller Foundation. When World War II began Sharp joined the Army, was sent first to Ft. Dixon, New Jersey, then joined the 372nd Infantry regiment stationed in New York City, guarding the city and ports. Eventually he was transferred to Breckenridge, Kentucky, where he served until being discharged in 1944. While in the Army, Sharp had begun to sing a bit, “just for kicks,” he says. With the help of the GI Bill he chose to go to music school.

His mother was not happy with his decision. “She wanted me to be a psychiatrist,” Sharp says. “She didn’t want me to get into the music business. She saw what it did to my father.” But Sharp took the advice of a family friend, well- known arranger Sy Oliver, who recommended that Bobby study music theory and composition.

Sharp attended the Greenwich School of Music in 1946, followed by the Manhattan School of Music in 1948. He also took piano. “I just wanted to play chords and get sounds,” he said. Songwriting turned out to be his forte, often combined with his vocals. In 1956 he cut a single in the Wing label, called “Baby Girl of Mine;” it was later covered by Ruth Brown, who sang it as “Sweet Baby of Mine.”

Etta Jones (November 25, 1928 – October 16, 2001) was an American jazz singer. Her best-known recordings are “Don’t Go to Strangers” and “Save Your Love for Me”. She worked with Buddy Johnson, Oliver Nelson, Earl Hines, Barney Bigard, Gene Ammons, Kenny Burrell, Milt Jackson, Cedar Walton, and Houston Person.

Nathaniel Carlyle Adderley (November 25, 1931 – January 2, 2000) was an American jazz trumpeter.He was the younger brother of saxophonist Julian “Cannonball” Adderley, whom he supported and played with for many years.

Adderley’s composition “Work Song” (1960) is a jazz standard, and also became a success on the pop charts after singer Oscar Brown Jr. wrote lyrics for it. Nat Adderley was born in Tampa, Florida, but moved to Tallahassee when his parents were hired to teach at Florida A&M University. His father played trumpet professionally in his younger years, and he passed down his trumpet to Cannonball. When Cannonball picked up the alto saxophone, he passed the trumpet to Nat, who began playing in 1946. He and Cannonball played with Ray Charles in the early 1940s in Tallahassee and in amateur gigs around the area.

Paul Desmond (born Paul Emil Breitenfeld; November 25, 1924 – May 30, 1977) was an American jazz alto saxophonist and composer and proponent of cool jazz. He was a member of the Dave Brubeck Quartetand composed that group’s biggest hit, “Take Five“.

In addition to his work with Brubeck, he led several groups and collaborated with Gerry Mulligan, Chet Baker, Jim Hall, and Ed Bickert. After years of chain smoking and poor health, Desmond succumbed to lung cancer in 1977 after a tour with Brubeck.

Desmond was born Paul Emil Breitenfeld in San Francisco, California, in 1924, the son of Shirley (née King) and Emil Aron Breitenfeld.

William Henry Joseph Bonaparte Bertholf Smith (November 23, 1893 – April 18, 1973), nicknamed “The Lion“, was an American jazz and stride pianist.

William Henry Joseph Bonaparte Bertholf, known as Willie, was born in 1893 in Goshen, New York. His mother and grandmother chose his names to reflect different parts of his heritage: Joseph after Saint Joseph(Bible), Bonaparte (French), and Bertholf (biological father’s last name). William and Henry which were added for “spiritual balance”. When he was three, his mother married John Smith, and Smith was added as the boy’s surname, after his stepfather.

Sculpted by stellar winds and radiation, a magnificent interstellar dust cloud by chance has assumed this recognizable shape. Fittingly named the Horsehead Nebula, it is some 1,500 light-years distant, embedded in the vast Orion cloud complex. About five light-years “tall,” the dark cloud is cataloged as Barnard 33 and is visible only because its obscuring dust is silhouetted against the glowing red emission nebula IC 434. Stars are forming within the dark cloud. Contrasting blue reflection nebula NGC 2023, surrounding a hot, young star, is at the lower left of the full image. The featured gorgeous color image combines both narrowband and broadband images recorded using several different telescopes.

Donald “Duck” Dunn (November 24, 1941 – May 13, 2012) was an American bass guitarist, session musician, record producer, and songwriter. Dunn was notable for his 1960s recordings with Booker T. & the M.G.’s and as a session bassist for Stax Records. At Stax, Dunn played on thousands of records, including hits by Otis Redding, Sam & Dave, Rufus Thomas, Carla Thomas, William Bell, Eddie Floyd, Johnnie Taylor, Albert King, Bill Withers, Elvis Presley, and many others. In 1992, he was inducted in the Rock and Roll Hall of Fame as a member of Booker T. & the M.G.’s. He is ranked 40th on Bass Player magazine’s list of “The 100 Greatest Bass Players of All Time”.

Dunn was born in Memphis, Tennessee. His father nicknamed him “Duck” while watching Disney cartoons with him one day. Dunn grew up playing sports and riding his bike with another future professional musician, Steve Cropper.

Wild Bill Davis (November 24, 1918 – August 17, 1995) was the stage name of American jazz pianist, organist, and arranger William Strethen Davis. He is best known for his pioneering jazz electric organrecordings and for his tenure with the Tympany Five, the backing group for Louis Jordan. Prior to the emergence of Jimmy Smith in 1956, Davis (whom Smith had reportedly first seen playing organ in the 1930s) was the pacesetter among organists.

Davis was born in Glasgow, Missouri, and grew up in Parsons, Kansas. He first learned music from his father who was a professional singer. He received further musical training at the Tuskegee Institute (now Tuskegee University) in Alabama, and at Wiley College in Marshall, Texas. In his early career he took inspiration from Fats Waller and Art Tatum.

Theodore Shaw Wilson (November 24, 1912 – July 31, 1986) Austin, TX was an American jazz pianist. Described by critic Scott Yanow as “the definitive swing pianist”, Wilson’s piano style was gentle, elegant, and virtuosic.His style was highly influenced by Earl Hines and Art Tatum. His work was featured on the records of many of the biggest names in jazz, including Louis Armstrong, Lena Horne, Benny Goodman, Billie Holiday, and Ella Fitzgerald. With Goodman, he was one of the first black musicians to perform prominently alongside white musicians. In addition to his extensive work as a sideman, Wilson also led his own groups and recording sessions from the late 1920s to the 1980s.

Buleria is a fast, energetic cante chico flamenco form that belongs to the Solea family. It was originally played as an upbeat ending to Solea or Alegria and eventually evolved into a distinct form in its own right. The letras of buleria are often humorous and laced with mockery and social commentary.

Buleria is most commonly played por media (on the fifth string in A phyrgian, relative to the capo), but can sometimes be heard in other keys. It is generally played at a very fast tempo, ranging from 200 to 260 beats per minute.

The compas of buleria is based on a twelve count pattern similar to solea. Like solea, this pattern emphasizes the 3, 6, 8, 10, and 12 beats, but in buleria, musical phrases begin on the 12 count:

12 1 2 3 4 5 6 7 8 9 10 11

The most basic buleria marking progression uses just two chords: A and B♭. When accompanying a singer, the guitarist plays chords that follow the singer. When playing buleria as a solo piece, guitarists assemble rhythmic patterns, short chord progressions, and pre-composed or improvised falsetas to build a musical idea around a central theme.