mick laBriola

The core of the Tangos is the letra, three or four octosyllabic lines. As with the Bulerías, the  the first line is often repeated, and the repeated lines are balanced by a longer consequent phrase.

Before a letra a Tangos may open with a guitar falseta or an estribillo, in which the singer sings a traditional melody with nonsense syllables (“le le le, ni, ni, etc.). The estribillo may return throughout the piece as a chorus after a letra.

​Once the letra begins it can be broken up several times with remates performed by the dancer. This usually occurs between the first and second line of the letra, and often occurs more frequently, giving the dance a improvisatory air.

​Thus, the letras themselves can be further broken up with remates or escobillas from the dancer or with guitar falsetas. A dancer may also choose to perform a long footwork passage accompanied by compás patterns from the guitarist and palmista (an escobilla performed “a palo seco” or dry, without guitar accompaniment).

​As in Bulerías, Tangos can end with a cierre – a closing pattern – that is based on a different set of chords than the letras. The dancer can also perform a cue (llamada) that leads into a traveling exit – a salida.

​It’s also common to end certain forms in flamenco with a macho, a transition into a faster, related form. Tangos wiil often end with a brief Rumba Flamenca. Similarly, Tientos will often end with a brief Tangos.

Lee Oskar (born 24 March 1948) is a Danish harmonica player, notable for his contributions to the sound of the rock-funk fusion group War, which was formed by Howard E. Scott and Harold Brown, his solo work, and as a harmonica manufacturer. He continues to play with 3 other original War band members, Harold Brown, Howard Scott and B.B. Dickerson, under the name LowRider Band.

Born in Copenhagen, Denmark in 1948, Oskar was six years old when a family friend gave him his first harmonica. “I came from an area where every kid on the block had a harmonica”, he remembers. He grew up listening to Danish radio, enjoying all types of music and cites Ray Charles as the biggest influence from that period. When he was 17, Oskar decided that the United States was where a harmonica player should make his career. So he moved to New York at the age of 18 with little more than a harmonica in his pocket. With no money, Oskar played harmonica in the streets of New York. Eventually arriving in Los Angeles, via Toronto and San Francisco, Oskar soon met and joined forces with Eric Burdon who had recently disbanded The Animals and was searching for new collaborators.

Steve Kuhn (born March 24, 1938) is an American jazz pianist, composer, arranger, bandleader, and educator.

Kuhn was born in New York City, New York, to Carl and Stella Kuhn (née Kaufman), and was raised in Newton, Massachusetts. His parents were Hungarian-Jewish immigrants. At the age of five, he began studying piano under Boston piano teacher Margaret Chaloff, mother of jazz baritone saxophonist Serge Chaloff, who taught him the “Russian style” of piano playing. At an early age he began improvising classical music. As a teenager, he appeared in jazz clubs in the Boston area with Chet Baker, Coleman Hawkins, Vic Dickenson, and Serge Chaloff.

After graduating from Harvard, he attended the Lenox School of Music where he was associated with Ornette Coleman, Don Cherry, and Gary McFarland. The school’s faculty included Bill Evans, George Russell, Gunther Schuller, and the members of the Modern Jazz Quartet. This allowed Kuhn to play, study, and create with some of the most forward-thinking innovators of jazz improvisation and composition; it culminated with his joining trumpeter Kenny Dorham‘s group for an extended time and (briefly) John Coltrane‘s quartet at New York’s Jazz Gallery club.

Boogie Bill Webb (March 24, 1924 – August 22, 1990) was an American Louisiana blues and rhythm-and-blues guitarist, singer and songwriter. His music combined Mississippi country blues with New Orleans R&B. His best-known recordings are “Bad Dog” and “Drinkin’ and Stinkin'”. Despite a lengthy (albeit intermittent) career, Webb released only one album.

Webb was born in Jackson, Mississippi. His got his first guitar at the age of eight, made from a cigar box and strung with screen wire. His greatest influence was Tommy Johnson. With a real guitar obtained when he was a teenager, he won a talent show in 1947. He subsequently appeared briefly in the musical film The Jackson Jive. He moved to New Orleans in 1952.

David Samuel Pike (March 23, 1938 – October 3, 2015) was an American jazz vibraphone and marimbaplayer. He appeared on many albums by Nick Brignola, Paul Bley and Kenny Clarke, Bill Evans, and Herbie Mann. He also recorded extensively as leader, including a number of albums on MPS Records.

He learned drums at the age of eight and was self-taught on vibraphone. Pike made his recording debut with the Paul Bley Quartet in 1958. He began putting an amplifier on his vibes, when working with flautist Herbie Mann in the early-1960s. By the late-1960s, Pike’s music became more exploratory, contributing a unique voice and new contexts that pushed the envelope in times remembered for their exploratory nature. The Doors of Perception, released in 1970 for the Atlantic Records subsidiary Vortex Records, and produced by former boss Herbie Mann, explored ballads, modal territory, musique concrète, with free and lyrical improvisation, and included musicians including alto saxophonist Lee Konitz, bassist Chuck Israels and pianist Don Friedman.

Iverson Minter (March 23, 1932 – February 25, 2012), known as Louisiana Red, was an American blues guitarist, harmonica player, and singer, who recorded more than 50 albums. He was best known for his song “Sweet Blood Call”.

Born in Bessemer, Alabama, Minter lost his parents early in life; his mother died of pneumoniashortly after his birth, and his father was lynched by the Ku Klux Klan in 1937. He was brought up by a series of relatives in various towns and cities. Red recorded for Chess in 1949, before joining the Army. He was trained as a parachutist with the 82nd Airborne and was sent to Korea in 1951. The 82nd Airborne was not deployed as a complete unit in Korea, but soldiers from this unit were dispatched as Rangers in the 2nd, 3rd and 7th Infantry Divisions. Minter said he was assigned to the 3rd Infantry Division.

Granville Henry “Stick” McGhee (March 23, 1918 – August 15, 1961) was an American jump bluesguitarist, singer and songwriter, best known for his blues song “Drinkin’ Wine, Spo-Dee-O-Dee”, which he wrote with J. Mayo Williams

McGhee was born in Knoxville, Tennessee, and grew up in Kingsport, Tennessee. He received his nickname when he was a child. He used a stick to push a wagon carrying his older brother Brownie McGhee, who had contracted polio. Granville began playing the guitar when he was thirteen years old. After his freshman year he dropped out of high school and worked with his father at the Eastman Kodak subsidiary, Tennessee Eastman Company in Kingsport. In 1940, Granville quit his job and moved to Portsmouth, Virginia, and then to New York City. He entered the military in 1942 and served in the U.S. Army during World War II. After being discharged in 1946, he settled in New York.

The most distant object easily visible to the unaided eye is M31, the great Andromeda Galaxy, over two million light-years away. Without a telescope, even this immense spiral galaxyappears as an unremarkable, faint, nebulous cloud in the constellation Andromeda. But a bright white nucleus, dark winding dust lanes, luminous blue spiral arms, and bright red emission nebulas are recorded in this stunning fifteen-hour telescopic digital mosaic of our closest major galactic neighbor. But how do we know this spiral nebula is really so far away? This question was central to the famous Shapley-Curtis debate of 1920. M31’s great distance was determined in the 1920s by observations that resolved individual stars that changed their brightness in a way that gave up their true distance. The result proved that Andromeda is just like our Milky Way Galaxy — a conclusion making the rest of the universe much more vast than had ever been previously imagined.

Fred Anderson (March 22, 1929 – June 24, 2010) was an American jazz tenor saxophonist who was based in Chicago, Illinois. Anderson’s playing was rooted in the swing music and hard bop idioms, but he also incorporated innovations from free jazz. Anderson was also noted for having mentored numerous young musicians. Critic Ben Ratliff called him “a father figure of experimental jazz in Chicago”. Writer John Corbett referred to him as “scene caretaker, underground booster, indefatigable cultural worker, quiet force for good.” In 2001, author John Litweiler called Anderson “the finest tenor saxophonist in free jazz/underground jazz/outside jazz today.” Anderson was born in Monroe, Louisiana. When he was ten, his parents separated, and he moved to Evanston, Illinois, where he initially lived with his mother and aunt in a one-room apartment. When Anderson was a teenager, a friend introduced him to the music of Charlie Parker, and he soon decided he wanted to play saxophone, purchasing his first instrument for $45.

George Washington Benson (born March 22, 1943) is an American guitarist, singer, and songwriter. He began his professional career at the age of 19 as a jazz guitarist.

A former child prodigy, Benson first came to prominence in the 1960s, playing soul jazz with Jack McDuff and others. He then launched a successful solo career, alternating between jazz, pop, R&B singing, and scat singing. His album Breezin’ was certified triple-platinum, hitting no. 1 on the Billboard album chart in 1976.His concerts were well attended through the 1980s, and he still has a large following. Benson has won ten Grammy Awards and has been honored with a star on the Hollywood Walk of Fame.

Benson was born and raised in the Hill District of Pittsburgh, Pennsylvania. At the age of seven, he first played the ukulele in a corner drug store, for which he was paid a few dollars. At age eight, he played guitar.