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By the 19th century, these “jotas de Cádiz” began to flatter, approaching the rhythms of the soleá. This favors a differentiation from the rest of the flamenco styles of the time, which tended to be more dramatic.

Singers like Paco Hidalgo or El Quiqui did a lot for the evolution of this style, which was finally called alegrías, because of the way they referred to it when they were going to interpret it, as “happy song”and “for happy”.

At the end of the 19th century, it was Enrique El Mellizo, who molded this style to the flamenco form that we recognize today, pointing the way forward to future singers such as Romero El Tito, José Ortega ‘El Águila’, Gabriela Ortega or Macaca, among others . What it did was slow down its rhythm so it could be sung.

Enrique Butrón fixed the flamenco form of this cante (singing), while Ignacio Ezpeleta introduced the famous “tiriti, trán, trán trán” at the beginning of it, an expression that makes it recognizable from other flamenco styles. Its compass is similar to that of the soleás, although with a more cheerful tone than these.

As for the structure, the alegrías has four octosyllabic verses, which can be linked to the playful (letters that complement the singings by cantiñas) of three or four verses, following the wake of the classical seguiriya, formed by a couplet and chorus.

https://www.youtube.com/watch?v=1pcyou9QtwE

James Roger McGuinn /məkˈɡwɪn/ (born James Joseph McGuinn III; July 13, 1942) is an American musician. He is best known for being the frontman and leader of the Byrds. He was inducted into the Rock and Roll Hall of Fame for his work with the Byrds. As a solo artist he has released 10 albums and collaborated with, among others, Bob Dylan, Tom Petty and Chris Hillman. The 12-string Rickenbacker guitar is his signature instrument.

McGuinn was born and raised in Chicago, Illinois, United States, son of James Joseph McGuinn Jr (b. 1909) and Dorothy Irene (b. 1911), daughter of engineer Louis Heyn. His parents worked in journalism and public relations, and during his childhood, they had written a bestseller titled Parents Can’t Win. He attended the Latin School of Chicago. He became interested in music after hearing Elvis Presley‘s “Heartbreak Hotel“, and asked his parents to buy a guitar for him. (During the early 1980s, he paid tribute to the song that encouraged him to play guitar by including “Heartbreak Hotel” in his autobiographical show). Around the same time, he was also influenced by country artists and/or groups such as Johnny Cash, Carl Perkins, Gene Vincent, and the Everly Brothers.

Albert Ayler July 13, 1936 – November 25, 1970) was an American avant-garde jazz saxophonist, singer and composer.

After early experience playing R&B and bebop, Ayler began recording music during the free jazz era of the 1960s. However, some critics argue that while Ayler’s style is undeniably original and unorthodox, it does not adhere to the generally accepted critical understanding of free jazz. In fact, Ayler’s style is difficult to categorize in any way, and it evoked incredibly strong and disparate reactions from critics and fans alike.His innovations have inspired subsequent jazz musicians.

His trio and quartet records of 1964, such as Spiritual Unity and The Hilversum Session, show him advancing the improvisational notions of John Coltrane and Ornette Coleman into abstract realms where whole timbre, and not just mainly harmony with melody, is the music’s backbone. His ecstatic music of 1965 and 1966, such as “Spirits Rejoice” and “Truth Is Marching In”, has been compared by critics to the sound of a brass band, and involved simple, march-like themes which alternated with wild group improvisations and were regarded as retrieving jazz’s pre-Louis Armstrong roots.

Born in Cleveland, Ohio, and raised in Shaker Heights, Ayler was first taught alto saxophone by his father Edward, who was a semiprofessional saxophonist and violinist. Edward and Albert played alto saxophone duets in church and often listened to jazz records together, including swing era jazz and then-new bop albums.

Peter Michael Escovedo (born July 13, 1935 in Pittsburg, California) is an American percussionist.

With his two brothers, he formed Escovedo Bros Latin Jazz Sextet, before Carlos Santana hired Pete and Coke Escovedo for his group. He led the 14–24 piece Latin big band Azteca. His daughter is the singer-percussionist Sheila E. They were both presented with the Latin Grammy Lifetime Achievement Award in 2021

Leroy Vinnegar (July 13, 1928 – August 3, 1999) was an American jazz bassist. Born in Indianapolis, Indiana, United States, the self-taught Vinnegar established his reputation in Los Angeles, California, during the 1950s and 1960s. His trademark was the rhythmic “walking” bass line, a steady series of ascending or descending notes, and it brought him the nickname “The Walker”. Besides his jazz work, he also appeared on a number of soundtracks and pop albums, notably Van Morrison‘s 1972 album, Saint Dominic’s Preview.

He recorded extensively as both a leader and sideman. He came to public attention in the 1950s as a result of recording with Lee Konitz, André Previn, Stan Getz, Shorty Rogers, Chet Baker, Shelly Manne, Joe Castro and Serge Chaloff.

Spiral galaxy NGC 1398 not only has a ring of pearly stars, gas and dust around its center, but a bar of stars and gas across its center, and spiral arms that appear like ribbons farther out. The featured deep image from Observatorio El Sauce in Chile shows the grand spiral galaxy in impressive detail. NGC 1398 lies about 65 million light years distant, meaning the light we see today left this galaxy when dinosaurs were disappearing from the Earth. The photogenic galaxy is visible with a small telescope toward the constellation of the Furnace (Fornax). The ring near the center is likely an expanding density wave of star formation, caused either by a gravitational encounter with another galaxy, or by the galaxy’s own gravitational asymmetries.

John Patton (July 12, 1935 – March 19, 2002) was an American jazz, blues and R&B pianist and organist often known by his nickname, Big John Patton.

Patton was one of the most in-demand organists during the golden era of the Hammond B-3 organs between 1963 and 1970.He recorded extensively for Blue Note and performed or collaborated with Lloyd Price, Grant Green, and Lou Donaldson. Patton had a lower profile in the 1970s but enjoyed a comeback in the 1980s and 1990s, often in collaboration with saxophonist John Zorn. His later music incorporated modal and free jazz.

John Patton, born in Kansas City, Missouri, United States, was an American jazz composer and performer. He developed the nickname “Big John”, not because of his size, but because of a song. “Remember the tune, ‘Big Bad John’? … yeah, well, that’s what they started calling me and at first I didn’t understand it but I love it now. It’s just a name; if it’s going to help you, then boogie on up in there!

Paul Gonsalves (July 12, 1920 – May 15, 1974) was an American jazz tenor saxophonist best known for his association with Duke Ellington. At the 1956 Newport Jazz Festival, Gonsalves played a 27-chorus solo in the middle of Ellington’s “Diminuendo and Crescendo in Blue,” a performance credited with revitalizing Ellington’s waning career in the 1950s.

Born in Brockton, Massachusetts, to Cape Verdean parents, Gonsalves’ first instrument was the guitar, and as a child he was regularly asked to play Cape Verdean folk songs for his family. He grew up in New Bedford, Massachusetts, and played as a member of the Sabby Lewis Orchestra. His first professional engagement in Boston was with the same group on tenor saxophone, in which he played before and after his military service during World War II. He also played with fellow Cape Verdean Americans in Phil Edmund‘s band in the 1940s. Before joining Duke Ellington’s orchestra in 1950, he also played in big bands led by Count Basie (1947–1949) and Dizzy Gillespie (1949–1950).

NGC 6559. Visible in the featured image are red glowing emission nebulas of hydrogen, blue reflection nebulas of dust, darkabsorption nebulas of dust, and the stars that formed from them. The first massive stars formed from the dense gas will emit energetic light and winds that erode, fragment, and sculpt their birthplace. And then they explode. The resulting morass can be as beautiful as it is complex. After tens of millions of years, the dust boils away, the gas gets swept away, and all that is left is a bare open cluster of stars.

Oscar Emilio León Somoza (born July 11, 1943), known as Oscar D’León, and affectionately called The Pharaoh of Salsa, The Lion of Salsa, and the World’s Sonero, is a Venezuelan musician and bassist best known for his work with salsa music. He is the author of “Llorarás”, which he recorded in 1974 with his group, Dimensión Latina. He is also ambassador for Operation Smile.

Terry Garthwaite (July 11th 1938) is an internationally known singer, songwriter, composer, producer, and teacher. Her recording career dates back to the late 1960s when she and Toni Brown formed the rock group Joy of Cooking. She recorded several albums with the band, and then a dozen others by herself or in collaboration with other jazz and blues musicians.
Terry has also produced recordings by other artists including Jasmine, Rosalie Sorrels, Rhiannon, Nicholas, Glover &Wray, Hunter Davis, Robin Flower, and Ferron, whose Garthwaite-produced Shadows on a Dime was awarded four stars by Rolling Stone.

In performance she has shared the stage with such artists as BB King, Janis Joplin, Bonnie Raitt, The Band, Allen Ginsberg, Santana, Rosalie Sorrels and writer Bobbie Hawkins at venues that include Carnegie Hall, the Joseph Papp Theater, the Hollywood Bowl, and Canadian Folk Festivals.

Terry’s recent recordings and writing reflect an awareness of the healing nature of music. In 1992 she recorded her critically acclaimed Affirhythms – rhythmic affirmation chantsongs, and followed it in 2000 with Sacred Circles, songs of hope and heart.

In 2006, Terry began collaborating again with Toni Brown to put together a Joy of Cooking compilation. They pored through old tapes of live performances and studio forays–from their earliest beginnings in 1968–to find the best material with the best performances. The result is the double CD “Back to Your Heart”, one disc of studio takes of never-released songs, and the other a live Berkeley concert from the early ’70s.

She’s published a book, Joy of Sound – Explorations in Awareness Through Sound and Song, that includes vocal games/exercises and a CD of chants, as well as a couple of small books of Alliterhythms–pithy positive songs and sayings in alliteration. Most of her songs are available in her songbooks.
Terry’s music is an array of songs and sounds that encourages empowerment and delight, and radiates the healing nature of music. She currently leads vocal retreats, drum circles, and classes in singing together, playing with sound, and digging the musical garden.