mick laBriola

Lionel Frederick Cole (October 15, 1931 – June 27, 2020 Chicago) was an American jazz singer and pianist whose recording career spanned almost 70 years. He was the brother of musicians Nat King Cole, Eddie Cole, and Ike Cole, father of Lionel Cole, and uncle of Natalie Cole and Carole Cole.

James “Son” Thomas (October 14, 1926 – June 26, 1993) was an American Delta blues musician and sculptor.

Thomas was born in Eden, Mississippi on October 14, 1926. While working in the fields, he began listening to blues on the radio. As a self-taught guitarist, he learned to play songs from older blues guitarists Elmore Davis and Arthur “Big Boy” Crudup. He then worked as a gravedigger in Washington County.

Thomas was honored with a marker on the Mississippi Blues Trail in Leland, Mississippi.

Thomas died at the age of 66 in Greenville, Mississippi, from emphysema and a stroke on June 26, 1993.He is buried in Bogue Cemetery in Leland, and memorialized by a headstone placed in 1996 by the Mt. Zion Memorial Fund and paid for by John Fogerty. His epitaph consists of lyrics from one of his songs. His son, Pat Thomas, continues to play and perform his father’s songs.

Kenny Neal (born October 14, 1957), is an American blues guitar player, singer, and band member.

Neal was born in New Orleans, Louisiana, the son of Raful Neal, and he comes from a musical family. He has often performed with his brothers in his band.

Kazumi Watanabe (渡辺 香津美, Hepburn: Watanabe Kazumi, born October 14, 1953 in Tokyo) is a Japanese guitarist. Other guitarists such as Luke Takamura and Sugizo have cited him as an influence. Watanabe learned guitar at the age of 12 from Sadanori Nakamure at the Yamaha Music School in Tokyo. He released his first album in 1971. In 1979, he formed a jazz rock band with some of Japan’s leading studio musicians, and recorded the album Kylyn. During that year, he toured with the pop band Yellow Magic Orchestra.

Pandit Nikhil Ranjan Banerjee (14 October 1931 – 27 January 1986) was an Indian classical sitarist of the Maihar Gharana. Along with Pandit Ravi Shankar and Ustad Vilayat Khan, he emerged as one of the leading exponents of the sitar. He was a recipient of the Indian civilian honour of the Padma Bhushan.

In 1947, Banerjee met Allauddin Khan, who was to become his main guru along with his son, Ali Akbar Khan. Both were sarod players. Banerjee went to Allauddin Khan’s concerts and was desperate to have him as his teacher. Allauddin Khan did not want to take on more students, but changed his mind after listening to one of Banerjee’s radio broadcasts. Allauddin Khan was Banerjee’s main teacher and after he left Maihar he also learnt from Ali Akbar Khan, the son of Allaudin Khan, for many years.

Robert Parker (October 14, 1930 – January 19, 2020) was an American R&B singer. His sole hit was “Barefootin’” (1966), and he is considered a one-hit wonder.

Robert Parker, Jr. was born in Mobile, Alabama, to Robert and Leana Parker. He grew up in New Orleans, Louisiana, and started his career as a saxophonist, playing with Professor Longhair on his hit “Mardi Gras in New Orleans” in 1949.

During the 1950s, Parker played alto and tenor saxophone with many of the most popular New Orleans performers, appearing on records by Eddie Bo, Huey “Piano” Smith, Earl King, James Booker, Ernie K-Doe, Tommy Ridgley, Fats Domino and others in New Orleans, and backed up visiting R & B artists including Solomon Burke, Lloyd Price, Jerry Butler and Otis Redding

Indigenous Peoples Day 2024

Ustad

Nusrat Fateh Ali Khan PP (Punjabi: نصرت فتح علی خان,  born Pervez Fateh Ali Khan; 13 October 1948 – 16 August 1997), popularly abbreviated as NFAK was a Pakistani singer, songwriter, and music director. He was primarily a singer of qawwali, a form of Sufi devotional music. Often called the “Shahenshah-e-Qawwali” (the King of Kings of Qawwali), he is considered by The New York Times to be the greatest Qawwali singer of all time. He was described as the fourth greatest singer of all time by LA Weekly in 2016. He was known for his vocal abilities and could perform at a high level of intensity for several hours. Khan is widely credited with introducing Qawwali music to international audiences. He was also a master of Hindustani classical music.

Born in Lyallpur (Faisalabad), Khan had his first public performance at the age of 15 at his father’s chelum. He became the head of the family qawwali party in 1971 and brought his unique style of sargam, khayal, and rhythm to his family’s legacy. He was signed by Oriental Star Agencies, Birmingham, England, in the early 1980s. Khan went on to release movie scores and albums in Europe, India, Japan, Pakistan, and the U.S. He engaged in collaborations and experiments with Western artists, becoming a well-known world music artist. He toured extensively, performing in over 40 countries. In addition to popularising qawwali music, he also had a profound impact on contemporary South Asian popular music, including Pakistani pop, Indian pop, and Bollywood music.

Pharoah Sanders (born Ferrell Lee Sanders; October 13, 1940 – September 24, 2022 Little Rock, AK) was an American jazz saxophonist. Known for his overblowing, harmonic, and multiphonic techniques on the saxophone, as well as his use of “sheets of sound“, Sanders played a prominent role in the development of free jazz and spiritual jazz through his work as a member of John Coltrane‘s groups in the mid-1960s, and later through his solo work. He released more than thirty albums as a leader and collaborated extensively with vocalist Leon Thomas and pianist Alice Coltrane, among many others. Fellow saxophonist Ornette Coleman once described him as “probably the best tenor player in the world”.

Sanders’ take on spiritual jazz was rooted in his inspiration from religious concepts such as karma and tawhid, and his rich, meditative performance aesthetic. This style was seen as a continuation of Coltrane’s work on albums such as A Love Supreme. As a result, Sanders was considered to have been a disciple of Coltrane or, as Albert Ayler said, “Trane was the Father, Pharoah was the Son, I am the Holy Ghost“.

Raymond Matthews Brown (October 13, 1926 – July 2, 2002 Pittsburg, PA) was an American jazz double bassist, known for his extensive work with Oscar Peterson and Ella Fitzgerald. He was also a founding member of the group that would later develop into the Modern Jazz Quartet.

As a young man Brown became increasingly well known in the Pittsburgh jazz scene, with his first experiences playing in bands with the Jimmy Hinsley Sextet and the Snookum Russell band. Later, having heard stories about the burgeoning jazz scene on 52nd Street in New York City, he bought a one-way ticket to New York. He arrived in New York at the age of 20, met up with Hank Jones, with whom he had previously worked, and was introduced to Dizzy Gillespie, who was looking for a bass player. Gillespie hired Brown on the spot, and he soon played with such established musicians as Art Tatum and Charlie Parker. In 1948, Brown left Dizzy’s band to start a trio with Hank Jones and Charlie Smith.

From 1946 to 1951, Brown played in Gillespie’s band. Brown, along with the vibraphonist Milt Jackson, drummer Kenny Clarke, and pianist John Lewis formed the rhythm section of the Gillespie band. Lewis, Clarke, and Jackson eventually formed the Modern Jazz Quartet. Brown became acquainted with singer Ella Fitzgerald when she joined the Gillespie band as a special attraction for a tour of the southern United States in 1947. The two married that year, and together they adopted a child born to Fitzgerald’s half-sister Frances, whom they christened Ray Brown, Jr. Fitzgerald and Brown divorced in 1953, bowing to the various career pressures both were experiencing at the time, though they would continue to perform together.

Leon “Lee” Konitz (October 13, 1927 – April 15, 2020 Chicago) was an American jazz alto saxophonist and composer.

He performed successfully in a wide range of jazz styles, including bebop, cool jazz, and avant-garde jazz. Konitz’s association with the cool jazz movement of the 1940s and 1950s includes participation in Miles Davis‘s Birth of the Cool sessions and his work with pianist Lennie Tristano. He was one of relatively few alto saxophonists of this era to retain a distinctive style, when Charlie Parker exerted a massive influence. Like other students of Tristano, Konitz improvised long, melodic lines with the rhythmic interest coming from odd accents, or odd note groupings suggestive of the imposition of one time signature over another. Other saxophonists were strongly influenced by Konitz, such as Paul Desmond and Art Pepper.

He died during the COVID-19 pandemic from complications brought on by the disease.