mick laBriola

Earl Rudolph “Bud” Powell (September 27, 1924 – July 31, 1966) was an American jazz pianist and composer. A pioneer in the development of bebop and its associated contributions to jazz theory, Powell’s application of complex phrasing to the piano influenced both his contemporaries and later pianists including Walter Davis, Jr., Toshiko Akiyoshi, and Barry Harris.

Born in the midst of the Harlem Renaissance to a musical family, Powell, during the 1930s, developed an attacking, right-handed approach to the piano, which marked a break from the left-handed approach of stride and ragtime that had been prevalent. Upon joining trumpeter Cootie Williams‘ band in 1943, he received attention from the broader musical community for his fluency and advanced technique. A severe beating by police in 1945 and years of electroconvulsive therapy treatments adversely impacted his mental health, but his recordings and live performances with Charlie Parker, Sonny Stitt, and Max Roach during the late 1940s and early 1950s were instrumental in shaping modern jazz piano technique.

Following a partial recovery in the mid to late 1950s, Powell’s relocation to Paris in 1959 contributed to the community of African-American expatriates fleeing racism and barriers to a higher standard of living. He returned to a regular recording schedule, toured across Northern and Central Europe, and made records before becoming ill with tuberculosis in 1963.

Despite the friendship and protection of French jazz aficionado Francis Paudras, mental health crises and a troubled return to New York hastened his early death in 1966. The decades following his death saw his career and life story become the inspiration for films and written works, including Bertrand Tavernier‘s Round Midnight. Many Powell compositions, including “Un Poco Loco“, “Bouncing with Bud“, and “Parisian Thoroughfare” have become jazz standards.

This stunning new mosaic of images from the NASA/ESA/CSA James Webb Space Telescope showcases the nearby star-forming cluster, NGC 1333. The nebula is in the Perseus molecular cloud, and located approximately 960 light-years away. Webb’s superb sensitivity allows astronomers to investigate young objects with extremely low masses. Some of the faintest ‘stars’ in the picture are in fact newly born free-floating brown dwarfs with masses comparable to those of giant planets. The same cluster was featured as the 33rd anniversary image of the NASA/ESA Hubble Space Telescope in April of 2023. Hubble’s image just scratched the surface of this region, because clouds of dust obscure much of the star formation process. Observing with larger aperture and in the infrared part of the spectrum, Webb is capable of peering through the dusty veil to reveal newborn stars, brown dwarfs and planetary mass objects.  The centre of the image presents a deep peek into the heart of the NGC1333 cloud. Across the image we see large patches of orange, which represent gas glowing in the infrared. These so-called Herbig-Haro objects form when ionised material ejected from young stars collides with the surrounding cloud. They are hallmarks of a very active site of star formation. Many of the young stars in this image are surrounded by disks of gas and dust, which may eventually produce planetary systems. On the right hand side in the image, we can glimpse the shadow of one of these disks oriented edge-on – two dark cones emanating on opposite sides, seen against a bright background. Similar to the young stars in this mosaic, our own Sun and planets formed inside a dusty molecular cloud, 4.6 billion years ago. Our Sun didn’t form in isolation but as part of a cluster, which was perhaps even more massive than NGC 1333. The cluster in the mosaic, only 1-3 million years old, presents us with an opportunity to study stars like our Sun, as well as brown dwarfs and free-floating planets, in their nascent stages. The images were captured as part of the Webb observation programme 1202 (PI: A. Scholz) to survey a large portion of NGC1333. These data constitute the first deep spectroscopic survey of the young cluster, and have identified brown dwarfs down to planetary masses using the observatory’s Near-InfraRed Imager and Slitless Spectrograph (NIRISS). The first results from this survey have been accepted for publication in the Astronomical Journal. [Image Description: Several images of parts of a nebula in space have been aligned to form a single large image of the nebula. It depicts clouds of gas and dust in blue and orange colours as well as brightly shining stars in various sizes. Around the edge there are some black rectangles where there was no image of that region of space.] Links Science paper NGC 1333 (cropped) Pan video: NGC 1333

Victor Edward Jurusz Jr. (September 26, 1953 – December 31, 2019), known professionally as Vic Juris, was an American jazz guitarist.

Juris was born in Jersey City, New Jersey, but he moved with his family to Parsippanyearly in his life. In 1963, at the age of 10, he began learning guitar. At 11, he studied guitar at the home of his teacher, Ed Berg, and got interested in jazz listening to Berg’s records of guitarists Django Reinhardt, Jim Hall, Barney Kessel, Jimmy Raney, and Johnny Smith. In his teens he played the rock music of the 1960s. When he was 19, he met blind saxophonist Eric Kloss and they became friends. He made his first recording on Kloss’s album Bodies’ Warmth (Muse, 1975). Around the same time, he met guitarist Pat Martino, who became a friend and mentor.

Juris recorded with Richie Cole during 1976–78 and released his debut album as a leader, Roadsong, in 1979. In the early 1980s, he turned to acoustic guitar in duos with Larry Coryell and Biréli Lagrène, and in the late 1980s he worked with Gary Peacock‘s band. Since 1991 he has spent much of his career with saxophonist David Liebman.

During the 1990s, he worked as sideman with Lee Konitz and Peggy Stern (1992), Benny Waters (1993), Jeanie Bryson (1993–94), Gary Peacock (since 1994), Steve LaSpina (since 1995), Judi Silvano (1996), Ken Serio (1996, 2007, 2019) and Joe Locke (1998).

Juris taught at The New School for Jazz and Contemporary Music, Lehigh University, and Rutgers University and wrote instructional books for guitar.

Comet C/2023 A3 (Tsuchinshan–ATLAS) briefly becoming easily visible to the unaided eye — although the future brightness of comets are notoriously hard to predict, and this comet may even break up in warming sunlight. What is certain is that the comet is now unexpectedly bright and is on track to pass its closest to the Sun (0.39 AU) later this week and closest to the Earth (0.47 AU) early next month. The featured image was taken in late May as Comet Tsuchinshan–ATLAS, discovered only last year, passed nearly in front of two distant galaxies. The comet can now be found with binoculars in the early morning sky rising just before the Sun, while over the next few weeks it will brighten as it moves to the early evening sky.

Dmitri Dmitriyevich Shostakovich (25 September [O.S. 12 September] 1906 – 9 August 1975) was a Soviet-era Russian composer and pianist who became internationally known after the premiere of his First Symphony in 1926 and thereafter was regarded as a major composer.

Shostakovich achieved early fame in the Soviet Union, but had a complex relationship with its government. His 1934 opera Lady Macbeth of Mtsensk was initially a success but later condemned by the Soviet government, putting his career at risk. In 1948 his work was denounced under the Zhdanov Doctrine, with professional consequences lasting several years. Even after his censure was rescinded in 1956, performances of his music were occasionally subject to state interventions, as with his Thirteenth Symphony (1962). Nevertheless, Shostakovich was a member of the Supreme Soviet of the RSFSR (1947) and the Supreme Soviet of the Soviet Union (from 1962 until his death), as well as chairman of the RSFSR Union of Composers (1960–1968). Over the course of his career, he earned several important awards, including the Order of Lenin, from the Soviet government.

Shostakovich combined a variety of different musical techniques in his works. His music is characterized by sharp contrasts, elements of the grotesque, and ambivalent tonality; he was also heavily influenced by neoclassicism and by the late Romanticism of Gustav Mahler. His orchestral works include 15 symphonies and six concerti (two each for piano, violin, and cello). His chamber works include 15 string quartets, a piano quintet, and two piano trios. His solo piano works include two sonatas, an early set of 24 preludes, and a later set of 24 preludes and fugues. Stage works include three completed operas and three ballets. Shostakovich also wrote several song cycles, and a substantial quantity of music for theatre and film.

Shostakovich’s reputation has continued to grow after his death. Scholarly interest has increased significantly since the late 20th century, including considerable debate about the relationship between his music and his attitudes toward the Soviet government.