mick laBriola

Left Hand Frank was a fun loving, powerfully built bluesman who liked to amuse audiences in Chicago’s South Side blues clubs with comical Donald Duck imitations and muscle-flexing tricks. But what crowds enjoyed even more was the way Frank Craig played guitar. Employing a confident, four-fingered picking style, he played his axe upside down, like several other left-handed bluesmen, with the treble strings at the top. And he played some of the strongest, most distinctive vintage blues to be heard in Chicago.

Frank worked in countless bands during his nearly 40 years in Chicago. He was probably the best musician in most of those groups. But until 1978, Frank never played guitar or sang on a record. Frank found that it was more fun to be a sideman, and he never thought much about becoming a headliner or leading a band.

“Mainly, I don’t like to be worried with it,” Frank explained. “I’ve had quite a few jobs myself, but guys don’t want to act right. It’s too much of a headache. I’d switch over and put that headache on somebody else. I hate to have a headache.”

So Frank left the band leading headaches to bluesmen like Junior Wells, Little Walter, Hound Dog Taylor, and Willie Cobbs. Frank was happy just to play guitar or bass as part of someone else’s band.

When Frank started playing in his hometown of Greenville, Mississippi, he didn’t even have to worry about bands. He could stroll the streets, playing by himself to earn tips from passersby. He got his first guitar on his fourth birthday, October 5, 1939, and quickly learned both blues and country & western from older musicians who were always at his house buying homebrewed corn whiskey from Frank’s mother. Before moving to Chicago at the age of 14, young Frank performed at the local sheriff’s parties, at the local fairgrounds, and around the countryside, carrying his guitar with him on the bus and playing wherever people would pay to see such a child prodigy.

During the early ‘50s in Chicago, Frank was still a street and house party musician, too young to be allowed in the taverns. But he lived within a block of two blues clubs, The Zanzibar and Vi’s Lounge. Frank and two teenaged friends, guitarist Eddie King and bassist Willie Black, eagerly listened at the door whenever Muddy Waters, Little Walter, Memphis Slim or Howlin’ Wolf were performing. After some intense rehearsals, the trio started playing outside The Zanzibar and Vi’s, sharing wine and whiskey with the onlookers. “We’d have a bigger crowd outside than they did inside!” Frank would laugh.

Willie Cobbs, originator of the blues standard “You Don’t Love me,” hired the young bluesmen (who had boldly named themselves the Chicago All-Stars) to work with him in the West Side clubs and on the road. Jimmy Rogers and Lee Jackson let Frank sit in on bass at The Squeeze Club, and in the mid-‘50s, Frank began a long association with his steadiest employer, guitarist James Scott, Jr., at Joe’s 1015 Club on 43rd Street. There were also gigs with Jimmy Dawkins at The Pink Poodle, with Delta bluesman Boyd Gilmore in Pine Bluff, Arkansas, and with Good Rockin’ Charles at a West Side club where the crowds “barn danced” to Frank’s country breakdowns. In the ‘60s, Frank, who was working as a manual laborer during the daytime, played with Junior Wells, Junior Simpkins, Willie Williams, Carey Bell, Little Arthur Gray, Hound Dog Taylor, Little Walter and others, including Willie Cobbs and James Scott again at times. Frank recorded, as a bass player, on an Eddie King single in 1960 and on later sessions behind Morris Pejoe, Little Eddie Newell and Willie Williams.

Frank was just as active, and just as sought after by various bandleaders, in the ‘70s. He was a regular with Johnny Bernard’s group at Louise’s, Porter’s, and other South Side clubs, and continued to work on and off with James Scott. He was a familiar face at the famed Sunday afternoon jam sessions at Florence’s, where Hound Dog Taylor held forth for years. In the late ‘70s, Frank teamed up with two young white newcomers, Dimestore Fred and Pocketwatch Paul, who appeared on his recording debut on Alligator’s Living Chicago Blues series. Frank’s session proved him to be totally rooted in the raw, Delta-based Chicago style of the 1950s, bringing to mind his friends Magic Slim, Jimmy Rogers and Brewer Phillips.

In the 1980s, Frank moved to Los Angeles to live with his sister. His declining health and a series of surgeries led to his abandoning music, and he eventually died in California. An album of a live performance is still in print on a French label.

The nebula is known popularly as the Witch Head Nebula because, it is said, the nebula’s shape resembles a Halloween-style caricature of a witch’s head. Exactly how, though, can be a topic of imaginative speculation. What is clear is that IC 2118 is about 50 light-years across and made of gas and dust that points to — because it has been partly eroded by — the nearby star Rigel. One of the brighter stars in the constellation Orion, Rigel lies below the bottom of the featured image. The blue color of the Witch Head Nebula and is caused not only by Rigel’s intense blue starlight but because the dust grains scatter blue light more efficiently than red. The same physical process causes Earth’s daytime sky to appear blue, although the scatterers in planet Earth’s atmosphere are molecules of nitrogen and oxygen.

Steve Swallow (born October 4, 1940) is an American jazz bassist and composer, known for his collaborations with Jimmy Giuffre, Gary Burton, and Carla Bley. He was one of the first jazz double bassists to switch entirely to electric bass guitar.

Born in Fair Lawn, New Jersey, United States, Swallow studied piano and trumpet, as a child, before turning to the double bass at age 14. While attending a prep school, he began trying his hand in jazz improvisation. In 1960, he left Yale University, where he was studying composition, and settled in New York City, playing at the time in Jimmy Giuffre‘s trio along with Paul Bley. After joining Art Farmer‘s quartet in 1963, Swallow began to write. It is in the 1960s that his long-term association with Gary Burton‘s various bands began.

In the early 1970s, Swallow switched exclusively to electric bass guitar, of which he prefers the five-string variety. He was first introduced to the electric bass while doing a music trade show with Gary Burton and trying a Gibson EB-2. Along with Monk Montgomery and Bob Cranshaw, Swallow was among the first jazz bassists to do so (with much encouragement from Roy Haynes, one of Swallow’s favorite drummers). He plays with a pick (made of copper by Hotlicks), and his style involves intricate solos in the upper register. He was one of the early adopters of the high C string on a bass guitar.

From 1974 to 1976, Swallow taught at the Berklee College of Music. He contributed several of his compositions to the Berklee students who assembled the first edition of The Real Book. He later recorded an album, Real Book, with the picture of a well-worn, coffee-stained book on the cover.

In 1978, Swallow became a member of Carla Bley‘s band. He has been Bley’s romantic partner since the 1980s. He toured extensively with John Scofield in the early 1980s, and has returned to this collaboration several times over the years.

Swallow has consistently won the electric bass category in DownBeat yearly polls, both Critics’ and Readers’, since the mid-1980s. His compositions have been covered by, among others, Jim Hall (who recorded his very first tune, “Eiderdown”), Bill Evans, Chick Corea, Stan Getz and Gary Burton.

Stephen Ray Vaughan (also known as SRV; October 3, 1954 – August 27, 1990) was an American musician, best known as the guitarist and frontman of the blues rock trio Stevie Ray Vaughan and Double Trouble. Although his mainstream career spanned only seven years, he is regarded as one of the most influential musicians in the history of blues music, and one of the greatest guitarists of all time. He was the younger brother of guitarist Jimmie Vaughan.

Born and raised in Dallas, Vaughan began playing guitar at age seven, initially inspired by his elder brother, Jimmie Vaughan. In 1972, he dropped out of high school and moved to Austin, where he began to gain a following after playing gigs on the local club circuit. Vaughan joined forces with Tommy Shannon on bass and Chris Layton on drums as Double Trouble in 1978 and established it as part of the Austin music scene; it soon became one of the most popular acts in Texas. He performed at the Montreux Jazz Festival in 1982, where David Bowie saw him play. Bowie contacted him for a studio gig that resulted in Vaughan playing blues guitar on the album Let’s Dance (1983), before being discovered by John Hammond who interested major label Epic Records in signing Vaughan and his band to a record deal. Within months, they achieved mainstream success for the critically acclaimed debut album Texas Flood. With a series of successful network television appearances and extensive concert tours, Vaughan became the leading figure in the blues revival of the 1980s. Playing his guitar behind his back or plucking the strings with his teeth as Jimi Hendrixdid, he earned fame in Europe, which later resulted in breakthroughs for guitar players like Robert Cray, Jeff Healey, Robben Ford, and Walter Trout, amongst others.

During the majority of his life, Vaughan struggled with alcoholism and drug addiction. He also struggled with the personal and professional pressures of fame and his marriage to Lenora “Lenny” Bailey. He successfully completed rehabilitation and began touring again with Double Trouble in November 1986. His fourth and final studio album In Step reached number 33 in the United States in 1989; it was one of Vaughan’s most critically and commercially successful releases and included his only number-one hit, “Crossfire”. He became one of the world’s most highly demanded blues performers, and he headlined Madison Square Garden in 1989 and the Beale Street Music Festival in 1990.

On August 27, 1990, Vaughan and four others were killed in a helicopter crash in East Troy, Wisconsin, after performing with Double Trouble at Alpine Valley Music Theatre. An investigation concluded that the cause of the accident was pilot error and Vaughan’s family later filed a wrongful death lawsuit against Omniflight Helicopters which was settled out of court. Vaughan’s music continued to achieve commercial success with several posthumous releases and has sold over 15 million albums in the United States alone. In 2003, David Fricke of Rolling Stone ranked him the seventh greatest guitarist of all time. Vaughan was posthumously inducted into the Rock and Roll Hall of Fame in 2015, along with Double Trouble bandmates Chris Layton, Tommy Shannon, and Reese Wynans.

There are two different types of nebulae brought to you in this Picture of the Week. Each appears with a distinct colour in the visible sky and are captured here using the wide-field camera OmegaCAM on the VLT Survey Telescope (VST), hosted at ESO’s Paranal Observatory in the Chilean desert.

The large, bright emission nebula at the centre, IC1284, is a star-forming region composed primarily of hydrogen. Its rosy glow comes from electrons within the hydrogen atoms: they’re excited by the radiation from young stars, but then they lose energy and emit a specific colour or wavelength of light. One of the filters on OmegaCAM lets through this particular reddish colour, hence the nebula’s look. Meanwhile, another colour filter highlights the blue reflection nebulae NGC6589 and NGC6590 in the lower right corner. The dust in a reflection nebula preferentially scatters shorter, bluer wavelengths of light from nearby stars, which is what gives these nebulae their eerie glow. It’s the same reason why the sky is blue!

The frame of this image covers an area roughly equivalent in the sky to a full Moon. This image was captured as part of a large ESO public survey, the VST Photometric H alpha Survey of the Southern Galactic Plane and Bulge (VPHAS+), which observes nebulae and stars in visible light to help astronomers understand how stars are born, live and die.