mick laBriola

John Cipollina (August 24, 1943 – May 29, 1989) was a guitarist best known for his role as a founder and the lead guitarist of the prominent San Francisco rock band Quicksilver Messenger Service. After leaving Quicksilver he formed the band Copperhead, was a member of the San Francisco All Stars and later played with numerous other bands.

Cipollina had a unique guitar sound, mixing solid state and vacuum-tube (valve) amplifiers as early as 1965. He is considered one of the fathers of the San Francisco sound, a form of psychedelic rock.

I like the rapid punch of solid-state for the bottom, and the rodent-gnawing distortion of the tubes on top.

To create his distinctive guitar sound, Cipollina developed a one-of-a-kind amplifier stack. His Gibson SG guitars had two pickups, one for bass and one for treble. The bass pickup fed into two Standel bass amps on the bottom of the stack, each equipped with two 15-inch speakers. The treble pickups fed two Fender amps: a Fender Twin Reverb and a Fender Dual Showman that drove six Wurlitzer horns. Cipollina died on May 29, 1989 at age 45. His cause of death was alpha-1 antitrypsin deficiency, which he suffered from most of his life and which is exacerbated by smoking.

Bartolomé Maximiliano Moré Gutiérrez (24 August 1919 – 19 February 1963), better known as Benny Moré (also spelled Beny Moré), was a Cuban singer, bandleader and songwriter. Due to his fluid tenor voice and his great expressivity, he was known variously as “El Bárbaro del Ritmo” and “El Sonero Mayor”. Moré was a master of the soneo – the art of vocal improvisation in son cubano – and many of his tunes developed this way. He often took part in controversias (vocal duels) with other singers, including Cheo Marquetti and Joseíto Fernández. Apart from son cubano, Moré was a popular singer of guarachas, cha cha cha, mambo, son montuno, and boleros.

Moré started his career with the Trío Matamoros in the 1940s and after a tour in Mexico he decided to stay in the country. Both Moré and dancer Ninón Sevilla made their cinematic debut in 1946’s Carita de cielo, but Moré focused on his music career. In the late 1940s, he sang guaracha-mambos with Pérez Prado, achieving great success. Moré returned to Cuba in 1952 and worked with Bebo Valdés and Ernesto Duarte. In 1953, he formed the Banda Gigante, which became one of the leading Cuban big bands of the 1950s. He suffered from alcoholism and died of liver cirrhosis in 1963 at the age of 43.

Arthur William “Big Boy” Crudup (August 24, 1905 – March 28, 1974) was an American Delta blues singer, songwriter and guitarist. He is best known, outside blues circles, for his songs “That’s All Right” (1946),^[2] “My Baby Left Me” and “So Glad You’re Mine”, later recorded by Elvis Presley and other artists.

Crudup was born on August 24, 1905, in Union Grove, Forest, Mississippi, to a family of migrant workers traveling through the South and Midwest. The family returned to Mississippi in 1926, where he sang gospel music. He had lessons with a local bluesman, whose name was Papa Harvey, and later he was able to play in dance halls and cafes around Forest. Around 1940 he went to Chicago.

He began his career as a blues singer around Clarksdale, Mississippi. As a member of the Harmonizing Four, he visited Chicago in 1939. He stayed in Chicago to work as a solo musician but barely made a living as a street singer. The record producer Lester Melrose allegedly found him while Crudup was living in a packing crate, introduced him to Hudson Whittaker, better known as Tampa Red, and signed him to a recording contract with RCA Victor‘s Bluebird label.

Claude Driskett Hopkins (August 24, 1903 – February 19, 1984) was an American jazz stride pianist and bandleader.

Claude Hopkins was born in Alexandria, Virginia, United States. Historians differ in respect of the actual date of his birth. His parents were on the faculty of Howard University. A talented stride piano player and arranger, he left home at the age of 21 to become a sideman with the Wilbur Sweatman Orchestra, but stayed less than a year. In 1925, he left for Europe as the musical director of The Revue Negre which starred Josephine Baker^[4] with Sidney Bechet in the band.

He returned to the US in 1927 where, based in Washington, D.C., he toured the Theatre Owners Booking Association circuit with The Ginger Snaps Revue, before heading once again for New York City where he took over the band of Charlie Skeets. At this time (1932–36), he led a Harlem band employing jazz musicians such as Edmond Hall, Jabbo Smith and Vic Dickenson (although his records were arranged to feature his piano more than his band). This was his most successful period, with long residencies at the Savoy and Roseland ballrooms and at the Cotton Club. In 1937, he took his band on the road with a great deal of success.

Erev Shabbat Service Friday August 23rd with Inbal Sharett-Singer, Jayson Rodovsky, Jeff Bailey, Pete Whitman and mick laBriola.

Terje Rypdal (born 23 August 1947) is a Norwegian guitarist and composer. He has been an important member in the Norwegian jazz community, and has also given show concerts with guitarists Ronni Le Tekrø and Mads Eriksen as “N3”.

Rypdal was born in Oslo, Norway, the son of a composer and orchestra leader. He studied classical piano and trumpet as a child, and then taught himself to play guitar as he entered his teens. Starting out as a Hank Marvin-influenced rock guitarist with The Vanguards, Rypdal turned towards jazz in 1968 and joined Jan Garbarek‘s group and later George Russell‘s sextet and orchestra. An important step towards international attention was his participation in the free jazz festival in Baden-Baden, Germany, in 1969, where he was part of a band led by Lester Bowie. During his musical studies at Oslo university and conservatory, he led the orchestra of the Norwegian version of the musical Hair. He has often been recorded on the ECM record label, both jazz-oriented material and classical compositions (some of which do not feature Rypdal’s guitar).

His compositions “Last Nite” and “Mystery Man” were featured in the Michael Mann film Heat, and included on the soundtrack of the same name.

The essential form of soleares is the essential form for many palos:

1) A guitar introduction that sets the mood, key and tempo of the piece.

2) A temple/salida, in which the singer uses simple syllables to tune into the guitar and fix the tempo.

3) Two or three sung letras, generally interspersed with falsetas by the guitarist.

4) If a dancer is part of the performance, the dancer will interpret the letras lyyically and rhythmically, and will perform an escobilla or even several escobillas, footwork sections at a faster tempo, accompanied by a standardized series of arpeggios on the guitar.

5) A dance, guitar or cante performance may also include a macho, a transition to a faster form with the same basic underlying compás. It is a common practice to transition directly into bulerías, or to soléa por bulerías transitioning into bulerías

Delmar Allen “Dale” Hawkins (August 22, 1936 – February 13, 2010) was a pioneer American rock singer, songwriter, and rhythm guitarist who was often called the architect of swamp rock boogie.

He began recording in 1956. In 1957, Hawkins was playing at Shreveport, Louisianaclubs, and although his music was influenced by the new rock and roll style of Elvis Presley and the guitar sounds of Scotty Moore, Hawkins blended that with the uniquely heavy blues sound of black Louisiana artists for his recording of his swamp-rock classic, “Susie Q.” Fellow Louisiana guitarist and future Rock and Roll Hall of Famer James Burton provided the signature riff and solo.

Malachi Favors (August 22, 1927 – January 30, 2004) was an American jazz bassist who played with the Art Ensemble of Chicago.

“Favors’s tendency to dissemble about his age was a well-known source of mirth to fellow musicians of his generation”. Most reference works give his year of birth of 1937, but, following his death, his daughter stated that it was 1927.

Favors primarily played the double bass, but also played the electric bass guitar, banjo, zither, gong, and other instruments. He began playing double bass at the age of 15 and began performing professionally upon graduating from high school. Early performances included work with Dizzy Gillespie and Freddie Hubbard. By 1965, he was a founder of the Association for the Advancement of Creative Musicians and a member of Muhal Richard Abrams‘ Experimental Band.

At some point he added the word “Maghostut” to his name and because of this he is commonly listed as “Malachi Favors Maghostut”. Musically he is most associated with bebop, hard bop, and particularly free jazz.

Sonny Thompson (probably August 23, 1916 – August 11, 1989), born Alfonso Thompson or Hezzie Tompson, was an American R&B bandleader and pianist, popular in the 1940s and 1950s.

There is some uncertainty over Thompson’s origins, as well as his birth name. Researchers Bob Eagle and Eric LeBlanc indicate that he was born in 1916 in Wilkinson County, Mississippi, but other sources state that he was born in 1923, either in Mississippi or in Chicago.

John Lee Hooker (August 22, 1912 or 1917 – June 21, 2001 Clarksdale, MS) was an American blues singer, songwriter, and guitarist. The son of a sharecropper, he rose to prominence performing an electric guitar-style adaptation of Delta blues that he developed in Detroit. Hooker often incorporated other elements, including talking blues and early North Mississippi hill country blues. He developed his own driving-rhythm boogie style, distinct from the 1930s–1940s piano-derived boogie-woogie. Hooker was ranked 35 in Rolling Stone‘s 2015 list of 100 greatest guitarists, and has been cited as one of the greatest male blues vocalists of all time.

Some of his best known songs include “Boogie Chillen’” (1948), “Crawling King Snake” (1949), “Dimples” (1956), “Boom Boom” (1962), and “One Bourbon, One Scotch, One Beer” (1966). Several of his later albums, including The Healer (1989), Mr. Lucky (1991), Chill Out (1995), and Don’t Look Back (1997), were album chart successes in the U.S. and UK. The Healer (for the song “I’m in the Mood”) and Chill Out (for the album) both earned him Grammy wins, as well as Don’t Look Back, which went on to earn him a double-Grammy win for Best Traditional Blues Recording and Best Pop Collaboration with Vocals (with Van Morrison).