mick laBriola

Derived from flamenco’s earliest root forms, the tonás, siguiriyas is one of flamenco’s oldest and deepest forms. Its name is a corruption of the term seguidillas, a group of 18th Century songs and dances. Siguiriyas first emerged in the 18th Century in Cádiz, Sevilla and Jerez de la Frontera. Slow, majestic and tragic, Siguiriyas is the most jondo of cante jondo forms. Its lyrics focus on tragedy, inconsolable sorrow, and pain. When performed without a dancer, siguiriyas opens with a solo introduction on the guitar, followed by a temple in which the singer warms up, matching tone and tempo with the guitar. The singer then sings one or more letras. The guitarist accompanies the letras with a fairly regular chord and bass note pattern, maintaining a steady pulse. As with other forms, the guitarist can insert a falseta between the letras or between the lines of a letra. If a dancer is present, they interpret the letras and falsetas, and insert escobillas and other percussive sections accompanied by a quicker, more rhythmic pattern on the guitar. The underlying compás for siguiriyas is a 12 count pattern with beats grouped as 2, 2, 3, 3, 2, and with an accent on the first beat of each group.

https://www.youtube.com/watch?v=MHs4SJai8Ag

Little Sonny (born Aaron Willis; October 6, 1932, in Greensboro, Alabama) is an American electric blues harmonica player, singer and songwriter.^[1] His early mentor and inspiration was Sonny Boy Williamson II. Nevertheless, Little Sonny stated that his nickname was originated by his mother: “[She] called me ‘Sonny boy’ from the time I can remember.” He has released eight albums, including three for a subsidiary of Stax Records. His 1973 release, Hard Goin’ Up, reached the Top 50 in the Billboard R&B chart.

Willis was born in 1932 and raised solely by his mother. He relocated to Detroit in 1953. He had no real interest in music, he said, “But then I saw Sonny Boy Williamson II.” Willis was “spellbound at the way he played. After the show I went home and practiced for hours. Every day after that I would practice until I got the sound I wanted.” His daytime job was working in a used car lot.

Samuel Blythe Price (October 6, 1908 – April 14, 1992) was an American jazz, boogie-woogie and jump blues pianist and bandleader. Price’s playing is dark, mellow, and relaxed rather than percussive, and he was a specialist at creating the appropriate mood and swing for blues and rhythm and blues recordings.

Price was born in Honey Grove, Texas, United States. Price formally studied the piano with Booker T. Washington‘s daughter, Portia Marshall Washington (1883–1978). In the mid-1920s, when he was employed in a Dallas music store, Price wrote to Paramount Records recommending Blind Lemon Jefferson to the label.

During his early career, he was a singer and dancer in local venues in the Dallas area. Price lived and played jazz in Kansas City, Chicago and Detroit. In 1938 he was hired by Decca Records as a session sideman on piano, assisting singers such as Trixie Smith and Sister Rosetta Tharpe. Price’s trio accompanied Rosetta Tharpe and Marie Knight on many of their gospel recordings such as “Up Above My Head” and “Two Little Fishes and Five Loaves of Bread.”

Vocalist Loretta Lynn, whose ascent from a small Kentucky coal-mining community to national country music stardom literally became the stuff of Hollywood, died on Tuesday (Oct. 4) at 90. According to a statement from her family, Lynn passed away in her sleep at her home in Hurricane Mills, Tennessee. “Our precious mom, Loretta Lynn, passed away peacefully this morning, October 4th, in her sleep at home at her beloved ranch in Hurricane Mills, the family said in a statement; an announcement about a public memorial is forthcoming.

Beyond the dramatic particulars of her life, Lynn, who recorded 16 No. 1 country singles, was among the music’s groundbreaking female singing stars.

She became one of the music’s brightest luminaries in an era when men dominated country. She wrote much of her hit material, and it was sharply-penned stuff, written from the point of view of a woman (usually a married one) who would take no guff from her man. And she did not shrink from controversial subject matter.

Lynn was born Loretta Webb on April 14, 1932 in Butcher Hollow, Kentucky. “I’m always making Butcher Hollow sound like the most backward part of the United States — and I think maybe it is,” she wrote in her autobiography.

She was the second eldest of coal miner Melvin Webb’s eight children, and grew up in sometimes dire poverty in the heart of the Great Depression. One of the few distractions she had was the radio; 11-year-old Loretta became enamored of the Grand Ole Opry and its early female star, Molly O’Day.

At the age of 14, she married Oliver Lynn, known by his nicknames “Doolittle” and “Mooney.” A year later, the couple moved from Kentucky to Custer, Washington, a town of a few hundred near Bellingham. By 18, Lynn had four children. (Two more would follow later.)

Encouraged by her husband, Lynn began singing in the Washington clubs. In 1950, Don Grashey of tiny Zero Records arranged a session for her in Los Angeles. Backed by top-flight guitarists Speedy West and Roy Lanham, she cut her composition “I’m a Honky Tonk Girl,” inspired in part by Kitty Wells’ 1952 hit “It Wasn’t God Who Made Honky Tonky Angels.”

Yom Kippur service at Mt Zion 4pm 10-5-22 featuring Yaron Klein on Oud.

Delroy George Wilson CD (5 October 1948 – 6 March 1995) was a Jamaican ska, rocksteady and reggae singer. Wilson is often regarded as Jamaica’s first child star, having first found success as a teenager. His youngest son, Karl “Konan” Wilson, has found success as part of British duo Krept and Konan.

Delroy Wilson began his recording career at the age of thirteen, while still a pupil at Boys Town Primary School. Wilson released his first single “Emy Lou” in 1962 for record producer, Clement “Coxsone” Dodd. His early years with Coxsone yielded a number of ska hits, the biggest of which, the Lee Perry-written “Joe Liges” was an attack on rival producer and former Dodd employee Prince Buster.This was followed by another Perry-written attack on Buster, “Spit in the Sky”. Further singles followed, including “One Two Three”, “I Shall Not Remove”, “Look Who Is Back Again” (a duet with Slim Smith), and another anti-Buster song, “Prince Pharaoh”, notably the only record featuring the voice of Dodd himself. He is regarded as Jamaica’s first child star.

https://www.youtube.com/watch?v=0NXVuflHh4g

Steven Haworth Miller (born October 5, 1943) is an American guitarist, multi-instrumentalist, singer and songwriter, known as leader of the Steve Miller Band. He began his career in blues and blues rock and evolved to a more pop-oriented arena rock sound during the mid-1970s through the early 1980s, releasing popular singles and albums. Miller was inducted into the Rock and Roll Hall of Fame in 2016.

Born in Milwaukee, Wisconsin, Miller received his first exposure to music from his mother, Bertha, whom he described as a remarkable jazz-influenced singer, and his physician father, George, known as “Sonny” who, in addition to his profession as a pathologist, was a jazz enthusiast and an accomplished amateur recording engineer. Guitar virtuoso Les Paul and his musical partner Mary Ford were regular visitors at the Miller house. The Millers were best man and matron of honor at the December 1949 Paul/Ford wedding. Paul became Steve’s godfather. Les Paul heard Steve, who was six, on a wire recording made by Dr. Miller, “banging away” on a guitar given to him by his uncle, Dr. K. Dale Atterbury. Paul encouraged Miller to continue with his interest in the guitar… and “perhaps he will be something one day.”

https://www.youtube.com/watch?v=–wBxPsKxaM

William Robert “Bill” Dixon (October 5, 1925 – June 16, 2010) was an American composer, improviser, visual artist, activist, and educator. Dixon was one of the seminal figures in free jazz and late twentieth-century contemporary music. His was also a prominent voice arguing for artist’s rights and insisting, through words and deeds, on the cultural and aesthetic richness of the African American music tradition. He played the trumpet, flugelhorn, and piano, often using electronic delay and reverb.

Dixon hailed from Nantucket, Massachusetts, United States. His family moved to Harlem, in New York City, in 1934. He enlisted in the Army in 1944; his unit served in Germany before he was discharged in 1946. His studies in music came relatively late in life, at the Hartnette Conservatory of Music (1946–1951), which he attended on the GI Bill. He studied painting at Boston University and the WPA Arts School and the Art Students League. From 1956 to 1962, he worked at the United Nations, where he founded the UN Jazz Society.

https://www.youtube.com/watch?v=xJH9hgJg0Ho

James Blanton (October 5, 1918 – July 30, 1942) was an American jazz double bassist. Blanton is credited with being the originator of more complex pizzicato and arco bass solos in a jazz context than previous bassists. Nicknamed “Jimmie,” Blanton’s nickname is usually misspelled as “Jimmy,” including by Duke Ellington.

Blanton was born in Chattanooga, Tennessee. He originally learned to play the violin, but took up the bass while at Tennessee State University, performing with the Tennessee State Collegians from 1936 to 1937, and during the vacations with Fate Marable.

Blanton left university in 1938 to play full-time in St Louis with the Jeter-Pillars Orchestra. Blanton joined Duke Ellington‘s band in 1939. On November 22 of that year, Blanton and Ellington recorded two tracks – “Blues” and “Plucked Again” – which were the first commercially recorded piano–bass duets. Further duet recordings were made in 1940, and Blanton was also featured in orchestra tracks.“Blanton also took part in a few of the informal jam sessions at Minton’s Playhouse in New York that contributed to the genesis of the bop style.”He had to leave Ellington’s band near the end of 1941, because of poor health. In 1941, Blanton was diagnosed with tuberculosis. Blanton died on July 30, 1942, at a sanatorium in Duarte, California, aged 23.

https://www.youtube.com/watch?v=sEZGVCX1H6I

https://www.youtube.com/watch?v=Z5ToBlkPu34&list=PL8hqtU44otgy60gbdnMEj11Cq3xR5vy1o

A closer look at the Eagle Nebula‘s center, however, shows the bright region is actually a window into the center of a larger dark shell of dust. Through this window, a brightly-lit workshop appears where a whole open cluster of stars is being formed. In this cavity tall pillars and round globules of dark dust and cold molecular gas remain where stars are still forming. Paradoxically, it is perhaps easier to appreciate this impressive factory of star formation by seeing it without its stars — which have been digitally removed in the featured image. The Eagle emission nebula, tagged M16, lies about 6500 light years away, spans about 20 light-years, and is visible with binoculars toward the constellation of the Serpent (Serpens). Creating this picture involved over 22 hours of imaging and combining colors emitted specifically by hydrogen (red), and oxygen (blue).

Edgar Gómez (born October 4, 1944) is a Puerto Rican jazz double bassist, known for his work with the Bill Evans Trio from 1966 to 1977.

Gómez moved with his family from Puerto Rico at a young age to New York, where he was raised. He started on double bass in the New York City school system at the age of eleven and at age thirteen went to the New York City High School of Music & Art. He played in the Newport Festival Youth Band (led by Marshall Brown) from 1959 to 1961, and graduated from Juilliard in 1963.