mick laBriola

Although the shape is unusual, the type of structure is not: it is part of an evolving solar prominence. Looping magnetic fields on the Sun channel the flow of energetic particles, sometimes holding glowing gaseous structures aloft for months. A prominence glows brightly because it contains particularly hot, dense, or opaque solar plasma. The surprising triangular structure occurred last week. Larger than our Earth, the iconic prominence was imaged by several solar photographers and documented by NASA’s Solar Dynamic Observatory to form and violently dissipate in about a day. The featured image was captured in a color of red light emitted strongly by hydrogen. Below, solar fibrils carpet the Sun’s chromosphere, while the background sky is so faint in comparison that no stars are visible. Our Sun’s surface has been quite active this year.

Granville William “Mickey” Roker (September 3, 1932 – May 22, 2017) was an American jazz drummer.

Roker was born into extreme poverty in Miami to Granville (Sr.) and Willie Mae Roker. After his mother died (his father never lived with them), when he was only ten, he was taken by his grandmother to live in Philadelphia with his uncle Walter, who gave him his first drum kit and communicated his love of jazz to his nephew. He also introduced the young Roker to the jazz scene in Philadelphia, where drummer Philly Joe Jonesbecame Roker’s idol.

In the early 1950s, he began to gain recognition as a sensitive yet hard-driving big-banddrummer. He was especially favored by Dizzy Gillespie, who remarked of him that “once he sets a groove, whatever it is, you can go to Paris and come back and it’s right there. You never have to worry about it.”^[4] Roker was soon in demand for his supportive skills in both big-band and small-group settings.

While in Philadelphia he played with Jimmy Oliver, Jimmy Heath, Jimmy Divine, King James and Sam Reed before moving to New York in 1959, where his first gigs were with Gigi Gryce, Ray Bryant, Joe Williams, Junior Mance, Nancy Wilson and the Duke Pearson big band.

In 1965 Mickey joined Art Farmer and Benny Golson’s revamped group, the “New York Jazz Sextet”.

In 1992, he replaced Connie Kay in the Modern Jazz Quartet.

He recorded with Dizzy Gillespie, Sonny Rollins, Duke Pearson, Tommy Flanagan, Ella Fitzgerald, Zoot Sims, Horace Silver, Junior Mance, Sarah Vaughan, Milt Jackson, Herbie Hancock, Phil Woods, Oscar Peterson, Ray Brown, Bucky Pizzarelli, Stanley Turrentine, Toshiko Akiyoshi, Hank Jones, Bobby Hutcherson, Joe Locke, and many other jazz musicians.

Freddie King (September 3, 1934 – December 28, 1976) was an American bluesguitarist, singer and songwriter. He is considered one of the “Three Kings of the Blues Guitar” (along with Albert King and B.B. King, none of whom was a blood relative).Mostly known for his soulful and powerful voice and distinctive guitar playing, King had a major influence on electric blues music and on many later blues guitarists.

Born in Gilmer, Texas, King became acquainted with the guitar at the age of six. He started learning the guitar from his mother and his uncle. King moved to Chicago when he was a teenager; there he formed his first band the Every Hour Blues Boys with guitarist Jimmie Lee Robinson and drummer Frank “Sonny” Scott. As he was repeatedly being rejected by Chess Records, he got signed to Federal Records, and got his break with single “Have You Ever Loved a Woman” and instrumental “Hide Away“, which reached number five on the Billboard magazine’s rhythm and blues chart in 1961. It later became a blues standard. King based his guitar style on Texas blues and Chicago bluesinfluences. The album Freddy King Sings showcased his singing talents and included the record chart hits “You’ve Got to Love Her with a Feeling” and “I’m Tore Down”.^[3] He later became involved with producers who were more oriented to rhythm and blues and rock and was one of the first bluesmen to have a multiracial backing band at performances.

He was inducted into the Rock and Roll Hall of Fame by ZZ Top in 2012 and into the Blues Hall of Fame in 1982. His instrumental “Hide Away” was included in the Rock and Roll Hall of Fame’s list of “500 Songs that Shaped Rock“. He was ranked 19th in the Rolling Stone magazine’s 2023 edition of 250 greatest guitarists of all time.

The Hubble Space Telescope has a lot to show in this week’s Picture of the Week. Its view here is studded with stars, many of which appear particularly large and bright thanks to their nearby locations in our own galaxy, and which feature the characteristic diffraction patterns caused by Hubble’s optics. Much further away — around 240 million light-years distant, in fact, in the southern constellation Telescopium — is the spiral galaxy IC 4709. Its swirling disc filled with stars and dust bands is beautifully captured, as is the faint halo surrounding it. The compact region at its core might be the most remarkable sight, however: this is an active galactic nucleus (AGN).

If IC 4709’s core were just filled with stars, it would not be nearly so bright. Instead it hosts a gargantuan black hole, 65 million times the mass of our Sun. A disc of gas spirals around and eventually into this black hole, with the gas crashing together and heating up as it spins. It reaches such high temperatures that it emits vast quantities of electromagnetic radiation, from infrared to visible to ultraviolet light and beyond — in this case including X-rays. The AGN in IC 4709 is obscured by a lane of dark dust, just visible at the centre of the galaxy in this image, which blocks any optical emission from the nucleus itself. Hubble’s spectacular resolution, however, gives astronomers a detailed view of the interaction between the quite small AGN and its host galaxy. This is essential to understanding supermassive black holes in galaxies much more distant than IC 4709, where resolving such fine details is not possible.

This image incorporates data from two Hubble surveys of nearby AGNs that were identified by the Swift X-ray/UV telescope, as does the image from last week. Swift will collect new data on these galaxies — with an X-ray telescope, it’s possible to directly see the X-rays from IC 4709’s AGN breaking through the obscuring dust. ESA’s Euclid telescope — currently surveying the dark Universe in optical and infrared light — will also image IC 4709 and other local AGNs. The complementary use of space telescopes across the electromagnetic spectrum is key to fully researching black holes and their impact on their host galaxies.

[Image Description: A spiral galaxy is situated right of centre. It has a white, brightly-shining core, a glowing disc which is thick with swirling patterns of dark dust, and a faint halo around the disc. It is on a black background with some small, distant galaxies and some foreground stars around it. Six stars along the left side appear particularly large and bright, with two opposing sets of spikes surrounding each one.]

Horace Ward Martin Tavares Silver (September 2, 1928 – June 18, 2014) was an American jazz pianist, composer, and arranger, particularly in the hard bop style that he helped pioneer in the 1950s.

After playing tenor saxophone and piano at school in Connecticut, Silver got his break on piano when his trio was recruited by Stan Getz in 1950. Silver soon moved to New York City, where he developed a reputation as a composer and for his bluesy playing. Frequent sideman recordings in the mid-1950s helped further, but it was his work with the Jazz Messengers, co-led by Art Blakey, that brought both his writing and playing most attention. Their Horace Silver and the Jazz Messengers album contained Silver’s first hit, “The Preacher“. After leaving Blakey in 1956, Silver formed his own quintet, with what became the standard small group line-up of tenor saxophone, trumpet, piano, bass, and drums. Their public performances and frequent recordings for Blue Note Records increased Silver’s popularity, even through changes of personnel. His most successful album was Song for My Father, made with two iterations of the quintet in 1963 and 1964.

Several changes occurred in the early 1970s: Silver disbanded his group to spend more time with his wife and to concentrate on composing; he included lyrics in his recordings; and his interest in spiritualism developed. The last two of these were often combined, resulting in commercially unsuccessful releases such as The United States of Mindseries. Silver left Blue Note after 28 years, founded his own record label, and scaled back his touring in the 1980s, relying in part on royalties from his compositions for income. In 1993, he returned to major record labels, releasing five albums before gradually withdrawing from public view because of health problems.

As a player, Silver transitioned from bebop to hard bop by stressing melody rather than complex harmony, and combined clean and often humorous right-hand lines with darker notes and chords in a near-perpetual left-hand rumble. His compositions similarly emphasized catchy melodies, but often also contained dissonant harmonies. Many of his varied repertoire of songs, including “Doodlin’“, “Peace“, and “Sister Sadie“, became jazz standards that are still widely played. His considerable legacy encompasses his influence on other pianists and composers, and the development of young jazz talents who appeared in his bands over the course of four decades.