mick laBriola

Aaron Copland (November 14, 1900 – December 2, 1990) was an American composer, critic, writer, teacher, pianist and later a conductor of his own and other American music. Copland was referred to by his peers and critics as the “Dean of American Composers”. The open, slowly changing harmonies in much of his music are typical of what many people consider to be the sound of American music, evoking the vast American landscape and pioneer spirit. He is best known for the works he wrote in the 1930s and 1940s in a deliberately accessible style often referred to as “populist” and which the composer labeled his “vernacular” style. Works in this vein include the ballets Appalachian Spring, Billy the Kid and Rodeo, his Fanfare for the Common Man and Third Symphony. In addition to his ballets and orchestral works, he produced music in many other genres, including chamber music, vocal works, opera and film scores.

After some initial studies with composer Rubin Goldmark, Copland traveled to Paris, where he first studied with Isidor Philipp and Paul Vidal, then with noted pedagogueNadia Boulanger. He studied three years with Boulanger, whose eclectic approach to music inspired his own broad taste. Determined upon his return to the U.S. to make his way as a full-time composer, Copland gave lecture-recitals, wrote works on commission and did some teaching and writing. However, he found that composing orchestral music in a modernist style, which he had adopted while studying abroad, was a financially contradictory approach, particularly in light of the Great Depression. He shifted in the mid-1930s to a more accessible musical style which mirrored the German idea of Gebrauchsmusik (“music for use”), music that could serve utilitarian and artistic purposes. During the Depression years, he traveled extensively to Europe, Africa, and Mexico, formed an important friendship with Mexican composer Carlos Chávez and began composing his signature works.

During the late 1940s, Copland became aware that Stravinsky and other fellow composers had begun to study Arnold Schoenberg‘s use of twelve-tone (serial) techniques. After he had been exposed to the works of French composer Pierre Boulez, he incorporated serial techniques into his Piano Quartet (1950), Piano Fantasy (1957), Connotations for orchestra (1961) and Inscape for orchestra (1967). Unlike Schoenberg, Copland used his tone rows in much the same fashion as his tonal material—as sources for melodies and harmonies, rather than as complete statements in their own right, except for crucial events from a structural point of view. From the 1960s onward, Copland’s activities turned more from composing to conducting. He became a frequent guest conductor of orchestras in the U.S. and the UK and made a series of recordings of his music, primarily for Columbia Records.

Roy Haynes, the pioneering jazz drummer who performed with legends like Charlie Parker, Lester Young and Sarah Vaughan, died Tuesday at the age of 99.

His death was confirmed by his daughter, Leslie Haynes-Gilmore, to WRTI’s Nate Chinen.

To listen to any part of Roy Haynes’ drumming individually is to confront something important about jazz and what it can contain. The light and shifting ride-cymbal patterns, the uneven bass-drum accents, the crisply organized breaks or context-smashing disruptions on snare, the clarifying semaphore of the high-hat: each of these is worth following on its own.

But who does that? Better to hear all the parts functioning together as a complex, swinging organism. And Haynes played in such a way that all his startling musical details conjoined with human qualities: grace, humor, excitement, cool, confidence, vitality. He got up toward the front of the stage and tap-danced during his gigs, sometimes as an integral part of a drum solo. If you weren’t conditioned to pay close attention to the drummer in a group, he could be the one to make you start. No matter the group, he wasn’t just part of the rhythm section. He was — as per Sarah Vaughan’s introduction on her 1954 track “Shulie A Bop,” in alternation with his snare-drum hits — [crack!] Roy. [rat-tat-tat!] Haynes.

Haynes absorbed new styles in the jazz tradition. Yet it was often the older elements of his style, originating in the 1940s and ’50s — the strut and bounce and swing and dance in his beat — which kept him current, even in recent times. “I’m only happy when I’m moving forward,” as he explained it to the writer Burt Korall. “Some musicians play the same songs the same way every night. That’s impossible for me. My fundamental style may not really be different. But there have been so many things added.”

Born March 13, 1925, Haynes grew up within a remarkable family in the culturally integrated Boston neighborhood of Roxbury; he described his block as a mixture of French-Canadian, Jewish, Irish, and black families from the South. His parents, Gustavus and Edna Haynes, both came from Barbados, and his father worked for the Standard Oil company. (Both sang, and Gustavus played the organ in church.)

Roy studied violin for a year, knew percussion would be his focus. He became a voracious learner—although apart from an early lesson from a Roxbury drummer named Herbie Wright and a short stint at Boston Conservatory he mostly learned on his own by watching and practicing and performing, which he was doing so often by his middle teenage years that he dropped out of Roxbury Memorial High School. He gravitated toward the best: he learned much about playing the high-hat from the drummer who was perhaps his greatest hero, the Count Basie drummer Jo Jones, whom he first met as a teenager by talking his way backstage at a Basie gig at the RKO Boston Theatre, claiming to be Jones’s son.

The spiral galaxy appearing in this week’s Hubble Picture of the Week is named IC 3225. It looks remarkably as if it’s been launched from a cannon, speeding through space like a comet with a tail of gas streaming from its disc behind it. The scenes that galaxies appear in from Earth’s point of view are fascinating; many seem to hang calmlyin the emptiness of space as if hung from a string, while others star in much more dynamic situations!

Appearances can be deceiving with objects so far from Earth — IC 3225 itself is about 100 million light-years away — but the galaxy’s location suggests some causes for this active scene, because IC 3225 is one of over 1300 members of the Virgo galaxy cluster. The density of galaxies in the Virgo cluster creates a rich field of hot gas between them, the so-called ‘intracluster medium’, while the cluster’s extreme mass has its galaxies careening around its centre in some very fast orbits. Ramming through the thick intracluster medium, especially close to the cluster’s centre, places an enormous ‘ram pressure’ on the moving galaxies that strips gas out of them as they go.

IC 3225 is not so close to the cluster core right now, but astronomers have deduced that it has undergone this ram pressure stripping in the past. The galaxy looks as though it’s been impacted by this: it is compressed on one side and there has been noticeably more star formation on this leading edge, while the opposite end is stretched out of shape. Being in such a crowded field, a close call with another galaxy could also have tugged on IC 3225 and created this shape. The sight of this distorted galaxy is a reminder of the incredible forces at work on astronomical scales, which can move and reshape even entire galaxies!

Neil Percival Young OC OM (born November 12, 1945) is a Canadian and American singer-songwriter. After embarking on a music career in Winnipeg in the 1960s, Young moved to Los Angeles, joining the folk-rock group Buffalo Springfield. Since the beginning of his solo career, often with backing by the band Crazy Horse, he has released critically acclaimed albums such as Everybody Knows This Is Nowhere(1969), After the Gold Rush (1970), Harvest (1972), On the Beach (1974), and Rust Never Sleeps (1979). He was also a part-time member of Crosby, Stills, Nash & Young, with whom he recorded the chart-topping 1970 album Déjà Vu.

Young’s guitar work, deeply personal lyrics and signature high tenor singing voice define his long career. He also plays piano and harmonica on many albums, which frequently combine folk, rock, country and other musical genres. His often distorted electric guitar playing, especially with Crazy Horse, earned him the nickname “Godfather of Grunge“ and led to his 1995 album Mirror Ball with Pearl Jam. More recently he has been backed by Promise of the Real.

Young directed (or co-directed) films using the pseudonym “Bernard Shakey”, including Journey Through the Past (1973), Rust Never Sleeps (1979), Human Highway (1982), Greendale (2003), CSNY/Déjà Vu (2008), and Harvest Time (2022). He also contributed to the soundtracks of the films Philadelphia (1993) and Dead Man (1995).

Young has received several Grammy and Juno Awards. The Rock and Roll Hall of Fame inducted him twice: in 1995 as a solo artist and in 1997 as a member of Buffalo Springfield. In 2023, Rolling Stone named Young No. 30 on their list of 250 greatest guitarists of all time. Young is also on Rolling Stone’s list of the 100 greatest musical artists, and 21 of his albums and singles have been certified gold or platinum in the U.S. Young was awarded the Order of Manitoba in 2006 and was made an Officer of the Order of Canada in 2009.