mick laBriola

Hudson Whittaker (born Hudson Woodbridge; January 8, 1903 – March 19, 1981), known as Tampa Red, was a Chicago blues musician.

His distinctive single-string slide guitar style, songwriting and bottleneck technique influenced other Chicago blues guitarists such as Big Bill Broonzy, Robert Nighthawk, Muddy Waters, Elmore James and Mose Allison. In a career spanning over 30 years, he also recorded pop, R&B and hokum songs. His best-known recordings include “Anna Lou Blues”, “Black Angel Blues“, “Crying Won’t Help You”, “It Hurts Me Too“, and “Love Her with a Feeling“.

Tampa Red was born Hudson Woodbridge in Smithville, Georgia. The date of his birth is uncertain, with Tampa himself giving years varying from 1900 to 1908. The birth date given on his death certificate is January 8, 1904. His parents, John and Elizabeth Woodbridge, died when he was a child, and he moved to Tampa, Florida, where he was raised by his aunt and grandmother and adopted their surname, Whittaker. He emulated his older brother, Eddie, who played the guitar around the Tampa area, and he was especially inspired by an old street musician called Piccolo Pete, who first taught him to play blues licks on the guitar. Red also picked up some knowledge from early recordings of female blues singers like Ma Rainey, Bessie Smith, and Ida Cox. In an interview with Martin Williams, Red told Williams “That [1920] record of “Crazy Blues” by Mamie Smith, it was one of the first blues records ever made. I said to myself, ‘I don’t know any music, but I can play that.’

Kenneth Clark Loggins (born January 7, 1948 Everett, WA) is an American guitarist, singer and songwriter. His early songs were recorded with the Nitty Gritty Dirt Band in 1970, which led to seven albums recorded as Loggins and Messina from 1972 to 1977. His early soundtrack contributions date back to A Star Is Born in 1976,and he is known as the King of the Movie Soundtrack. As a solo artist, Loggins experienced a string of soundtrack successes, including an Academy Awardnomination for “Footloose” in 1985. Finally Home was released in 2013, shortly after Loggins formed the group Blue Sky Riders with Gary Burr and Georgia Middleman. He won a Daytime Emmy Award, two Grammy Awards and was nominated for an Academy Award, a Tony Award and a Golden Globe Award.

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