mick laBriola

Eldee Young (January 7, 1936 – February 12, 2007) was a jazz double-bass and cello player who performed in the cool jazz, post bop and rhythm and blues mediums.

Born in 1936 in Chicago, Illinois, Young started playing upright bass at the age of 13. He was helped by his eldest brother who played guitar. He joined the Ramsey Lewis Trio in 1955. After a decade together he split along with bandmate, Isaac “Red” Holt to form the Young-Holt Trio. They changed their name to Young-Holt Unlimited in 1968. After they split in 1974, Young continued playing, mainly with small groups in Chicago.

He also played with pianist Jeremy Monteiro for more than 20 years. Young also appeared on the albums of James Moody and Eden Atwood, among others.

Young died in Bangkok, Thailand, from a heart attack at age 71.

Luciano Pozo González (January 7, 1915 – December 3, 1948), known professionally as Chano Pozo, was a Cuban jazz percussionist, singer, dancer, and composer. Despite only living to age 33, he played a major role in the founding of Latin jazz. He co-wrote some of Dizzy Gillespie‘s Latin-flavored compositions, such as “Manteca” and “Tin Tin Deo”, and was the first Latin percussionist in Gillespie’s band.

Luciano “Chano” Pozo González was born in Havana to Cecelio González and Carnación Pozo. Chano grew up with three sisters and a brother, as well as his older half brother, Félix Chappottín, who would later become one of the great Cuban soneros. The family struggled with poverty throughout his youth. His mother died when Chano was eleven, and Cecelio took his family to live with his long-time mistress, Natalia, who was Felix’s mother.

Chano Pozo was shot and killed on December 2, 1948, in the El Rio Bar at 111th St and Lenox Avenue in Harlem.^[1] The El Rio Bar no longer exists — even the small triangular block where it was located has been removed. Pozo’s killer was a local bookie named Eusebio “Cabito” Munoz. Pozo is buried in the Colón Cemetery, Havana.

Bobo Jenkins (January 7, 1916 – August 14, 1984) was an American Detroit blues and electric blues guitarist, singer and songwriter. He also built and set up his own recording studio and record label in Detroit. Jenkins is best known for his recordings of “Democrat Blues” and “Tell Me Where You Stayed Last Night”.

He was born John Pickens Jenkins in Forkland, Alabama. His father, a sharecropper, died when John was not yet one year old, and the boy grew up with his mother and uncle. He left home before the age of 12, and arrived in Memphis, Tennessee. He had a wife at the age of 14, the first of ten marriages. Jenkins took casual work in the Mississippi Delta for several years and then enrolled in the United States Army. Following his 1944 military discharge, he relocated to Detroit, working for Packard and managing a garage, before spending twenty-seven years working for Chrysler.

In the late 1940s Jenkins learned to play the guitar and started writing songs. He wrote the politically themed “Democrat Blues”, about the U.S. Election Day in 1952, expressing his unease about Dwight D. Eisenhower becoming the first Republican in the White House in almost twenty years.

Ebo Taylor (born 1936) is a Ghanaian guitarist, composer, bandleader, record producer and arranger focusing on highlife and afrobeat music.

Ebo Taylor has been a pivotal figure on the Ghanaian music scene for over six decades. In the late 1950s he was active in the influential highlifebands the Stargazers and the Broadway Dance Band. In 1962, Taylor took his group, the Black Star Highlife Band, to London. In London, Taylor collaborated with Nigerian afrobeat star Fela Kuti as well as other African musicians in Britain at the time.

Returning to Ghana, Taylor worked as a producer, crafting recordings for Pat Thomas, C. K. Mann, and others, as well as exploring solo projects, combining traditional Ghanaian material with afrobeat, jazz, and funk rhythms to create his own recognizable sound in the 1970s. He was the in house guitar player, arranger, and producer for Essiebons, founded by Dick Essilfie-Bondzie.

Yiannis Papaioannou (Greek: Ιωάννης Ανδρέου Παπαιωάννου; 6 January 1910, Kavala – 19 May 1989, Athens) was a Greek composer and teacher of the Modern Era. He studied piano with Marika Laspopoulou and composition with Alekos Kontis at the Hellenic Conservatory in Athens(1922–34), as well as the piano and orchestration with Emilios Riadis in Thessaloniki (1928–29).

In 1949 he visited major European music centres on a UNESCO grant and became familiar with new developments in music composition. In particular, in Paris he attended Arthur Honegger’s class. Between 1951 and 1961 he taught music at an Athens high school and from 1953 he was professor of counterpoint and composition at the Hellenic Conservatory. He was the first president of both the Greek section of the International Society for Contemporary Music (1964–75) and the Hellenic Association for Contemporary Music (1965–75).

Papaioannou was the first musician to systematically teach atonal, 12-note and serial techniques before 1970. His compositional career falls into five main phases: Early Impressionist (1932–8), National School (1939–43), Hindemithian neo-classicism combined with elements of Byzantine music(1944–52), 12-note period (1953–1966) and the last period (1966–89) in which he developed an entirely personal technique.

The structure of solea is more flexible and open to interpretation than either alegria or sevillana, but there are nonetheless common structures and passages you’re likely to encounter when accompanying a dancer. Common arrangements include:

• Introduction & Temple
• First Copla & First Falseta
• Redoblao
• Second Copla & Second Falseta
• Escobilla
• Transition to Buleria and Ending

You should experiment with moving these pieces around and fitting them to each other in new ways. As with the alegria, sections can be rearranged, doubled, or eliminated altogether.

The compas of solea is based in 12s and, like alegria, is accented on the 3, 6, 8, 10, and 12 beats:

1 2 3 4 5 6 7 8 9 10 11 12

Wilbert Huntington Harrison (January 5, 1929 – October 26, 1994) was an American rhythm and blues singer, pianist, guitarist and harmonica player.

Born in Charlotte, North Carolina, Harrison had a Billboard #1 record in 1959 with the song “Kansas City“. The song was written in 1952 and was one of the first credited collaborations by the team of Jerry Leiber and Mike Stoller. It sold over one million copies, and was awarded a gold disc. Harrison recorded “Kansas City” for the Harlem-based entrepreneur Bobby Robinson, who released it on his Fury record label.

At the height of the song’s success, Robinson was sued by Savoy Records who informed them that the release of the record in March 1959 violated a contract Harrison had with that label that was to expire in August 1959. The litigation, which lasted until September 1959, abruptly prevented Robinson from issuing follow-ups to “Kansas City” while Harrison was a star.

Paul Wertico (born January 5, 1953 in Chicago, Illinois) is an American drummer. He gained recognition as a member of the Pat Metheny Group from 1983 until 2001, leaving the group to spend more time with his family and to pursue other musical interests.

After Pat Metheny heard the Simon and Bard Group with Wertico and bassist Steve Rodby, he invited both to join his band. During his time with Metheny, Wertico played on ten albums and four videos, appeared on television, and toured around the world. He won seven Grammy Awards (for “Best Jazz Fusion Performance,” “Best Contemporary Jazz Performance,” and “Best Rock Instrumental Performance”), magazine polls, and received several gold records.

He formed the Paul Wertico Trio with John Moulder and Eric Hochberg and collaborated with Larry Coryell, Kurt Elling, and Jeff Berlin. From 2000 to 2007, he was a member of SBB, the platinum-record-winning Polish progressive rock band. Wertico was a member of the Larry Coryell Power Trio until Coryell’s death in 2017.

In 2009, Wertico became a member of the jazz-rock group Marbin with Israeli musicians Danny Markovitch and Dani Rabin. The group performed as Paul Wertico’s Mid-East/Mid-West Alliance and recorded an album for the Chicago Sessions label that received accolades from the Chicago Tribune, DRUM!, and Modern Drummer.

Alvin Ailey Jr. (January 5, 1931 – December 1, 1989) was an American dancer, director, choreographer, and activist who founded the Alvin Ailey American Dance Theater (AAADT). He created AAADT and its affiliated Alvin Ailey American Dance Center (later Ailey School) as havens for nurturing Black artists and expressing the universality of the African-American experience through dance.

A gay man, his work fused theater, modern dance, ballet, and jazz with Black vernacular, creating hope-fueled choreography that continues to spread global awareness of Black life in America. Ailey’s choreographic masterpiece Revelations is recognized as one of the most popular and most performed ballets in the world.

On July 15, 2008, the United States Congress passed a resolution designating AAADT a “vital American cultural ambassador to the World.” That same year, in recognition of AAADT’s 50th anniversary, then Mayor Michael Bloomberg declared December 4 “Alvin Ailey Day” in New York City, while then-Governor David Paterson honored the organization on behalf of New York State.

Elizabeth “Libba” Cotten (née Nevills; January 5, 1893 – June 29, 1987) was an American folk and blues musician. She was a self-taught left-handed guitarist who played a guitar strung for a right-handed player, but played it upside down. This position meant that she would play the bass lines with her fingers and the melody with her thumb. Her signature alternating bass style has become known as “Cotten picking”.
Cotten was born in 1893 to a musical family near Chapel Hill, North Carolina, in an area that would later be incorporated as Carrboro. Her parents were George Nevill (also spelled Nevills) and Louisa (or Louise) Price Nevill. Elizabeth was the youngest of five children. She named herself on her first day of school, when the teacher asked her name, because at home she was only called “Li’l Sis”.