mick laBriola

Federico Arístides Soto Alejo (June 30, 1930 – February 4, 2008), better known as Tata Güines, was a Cuban percussionist, bandleader and arranger. He was widely regarded as a master of the conga drum, and alongside Carlos “Patato” Valdés, influential in the development of contemporary Afro-Cuban music, including Afro-Cuban jazz.^[1] He specialized in a form of improvisation known as descarga, a format in which he recorded numerous albums throughout the years with Cachao, Frank Emilio Flynn, Estrellas de Areito, Alfredo Rodríguez and Jane Bunnett, among others. In the 1990s he released two critically acclaimed albums as a leader: Pasaporte and Aniversario. His composition “Pa’ gozar” has become a standard of the descarga genre.

Chico Freeman (born Earl Lavon Freeman Jr.; July 17, 1949) is a modern jazz tenor saxophonist and trumpeter and son of jazz saxophonist Von Freeman. He began recording as lead musician in 1976 with Morning Prayer, won the New York Jazz Award in 1979 and earned the Stereo ReviewRecord of the Year in 1981 for his album The Outside Within.

He was born in Chicago, Illinois, United States. Freeman was introduced to the trumpet by his brother Everett, who found a trumpet in the family basement. Freeman began playing, inspired by artists such as Miles Davis. He went to Northwestern University in 1967 with a scholarship for mathematics and played the trumpet in the school, but did not begin playing the saxophone until his junior year. After practicing eight to ten hours per day and trying out for the saxophone section, Freeman quickly changed his major to music, and graduated in 1972. By that time he was proficient in saxophone, trumpet, and piano.

July 17th 1945-2008 Percussionist, Producer, Composer, Solo Artist

One man’s trash is another man’s treasure. Nothing could be truer for Norman Hedman and the discovery of his first hand drum, a conga, he rescued from a Brooklyn garbage can. A native of the West Indies, Hedman instinctively knew how to repair the conga at age 12 and has been playing music ever since.

Background
Today, the music of this first call percussionist, solo artist, producer, and composer, gathers multi-genre music connoisseurs around the globe. Attracted to Hedman’s number one hits with broad appeal, audiences discover his passion for accessible music. “I think music heals, and Tropique’s music falls into that category; whether you’re a teen or 80 years old,” says Hedman. From Latin Jazz to R&B and Pop, Hedman’s commercial recognition is widespread. His extensive product pedigree includes a variety of hit projects:

Music Accomplishments
Number One Hits
Songs in A Minor, Alicia Keys (5 GRAMMY ® Awards)
Fear of Flying, Mya (Platinum Album)
I Ain’t Movin’, Des�’ree (Multi-Platinum Album)
Brass Construction, Brass Construction (Gold)
Walkin – the Line, Brass Construction (Gold)

Movie Soundtracks
Ali “Fight”
Shaft “Rock With U”
Dr Doolittle 2 “Rearview Mirror”

Benjamin Alexander Riley Jr. (July 17, 1933 – November 18, 2017) was an American jazz drummer known for his work with Thelonious Monk, as well as Alice Coltrane, Stan Getz, Eddie “Lockjaw” Davis, Ahmad Jamal, and as a member of the group Sphere. During the 1970s and 1980s he was a member of the New York Jazz Quartet.

Benjamin Alexander Riley Jr. was born in Savannah, Georgia, on July 17, 1933, and at the age of four moved with his family to New York City.

“Riley performed with Randy Weston, Sonny Stitt, Stan Getz, Junior Mance, Kenny Burrell, Eddie “Lockjaw” Davis–Johnny Griffin (1960–1962), Ahmad Jamal, Billy Taylor, and Ray Bryant. He then spent 1964 to 1967 in Thelonious Monk‘s quartet. After Monk, he played with Alice Coltrane(intermittently between 1968 and 1975), Ron Carter (1975–1977), Jim Hall (1981), and the bands the New York Jazz Quartet (1970s and 1980s) and Sphere. He also played frequently with pianist Abdullah Ibrahim.

Joseph Albert Morello (July 17, 1928 – March 12, 2011) was an American jazz drummer best known for serving as the drummer for pianist Dave Brubeck, as part of the Dave Brubeck Quartet, from 1957 to 1972, including during the quartet’s “classic lineup” from 1958 to 1968, which also included alto saxophonist Paul Desmond and bassist Eugene Wright. Morello’s facility for playing unusual time signatures and rhythms enabled that group to record a series of albums that explored unusual time signatures. The most notable of these was the first in the series, the 1959 album Time Out, which contained the hit songs “Take Five” and “Blue Rondo à la Turk“. In fact, “Take Five”, the album’s biggest hit (and the first jazz single to sell more than one million copies) was specifically written by Desmond as a way to showcase Morello’s ability to play in ⁵
₄ time.

Besides playing with Brubeck, Morello also served as an accompanist for other musicians, including Marian McPartland, Tal Farlow and Gary Burton, and recorded his own albums as well. He received numerous accolades during his life, including being named the best drummer by Down Beatmagazine five years in a row.

Vincent Anthony Guaraldi Dellaglio, July 17, 1928 – February 6, 1976 San Francisco, CA) was an American jazz pianist noted for his innovative compositions and arrangements and for composing music for animated television adaptations of the Peanuts comic strip. His compositions for this series included their signature melody “Linus and Lucy” and the holiday standard “Christmas Time Is Here“. He is also known for his performances on piano as a member of Cal Tjader‘s 1950s ensembles and for his own solo career. His 1962 composition “Cast Your Fate to the Wind” became a radio hit and won a Grammy Award in 1963 for Best Original Jazz Composition. He died of a sudden heart attack in February 1976 at age 47, moments after concluding a nightclub performance in Menlo Park, California.

Desmond Dekker (16 July 1941 – 25 May 2006) was a Jamaican ska, rocksteady and reggae singer-songwriter and musician. Together with his backing group The Aces (consisting of Wilson James and Easton Barrington Howard), he had one of the earliest international reggae hits with “Israelites” (1968). Other hits include “007 (Shanty Town)” (1967), “It Mek” (1969) and “You Can Get It If You Really Want” (1970).

Desmond Adolphus Dacres was born in Saint Andrew Parish (Greater Kingston), Jamaica, on 16 July 1941. Dekker spent his formative years in Kingston. From a young age he regularly attended the local church with his grandmother and aunt. This early religious upbringing, as well as Dekker’s enjoyment of singing hymns, led to a lifelong religious commitment. Following his mother’s death, he moved to the parish of St. Mary and later to St. Thomas. While at St. Thomas, Dekker embarked on an apprenticeship as a tailor before returning to Kingston, where he became a welder. His workplace singing had drawn the attention of his co-workers, who encouraged him to pursue a career in music.

In 1961 he auditioned for Coxsone Dodd (Studio One) and Duke Reid (Treasure Isle), though neither audition was successful. The unsigned vocalist then auditioned for Leslie Kong‘s Beverley’s record label and was awarded his first recording contract.

Nathaniel Pierce Blish Jr., known professionally as Nat Pierce (July 16, 1925 – June 10, 1992) was an American jazz pianist and prolific composer and arranger, perhaps best known for being pianist and arranger for the Woody Herman band from 1951 to 1955. Pieces by Pierce were predominantly created for use in big bands.

Pierce was born in Somerville, Massachusetts. United States. Following schooling at the New England Conservatory and working as an amateur musician in the Boston area, Pierce then led his own band which featured Charlie Mariano from 1949 to 1951. After working with Woody Herman from 1951 to 1966 as chief arranger and assistant road manager, Pierce took residence in New York City and freelanced with musicians such as Pee Wee Russell, Lester Young, Emmett Berry and Ruby Braff.

Bola Sete (born Djalma de Andrade; July 16, 1923 – February 14, 1987) was a Brazilian guitarist who played jazz with Vince Guaraldi and Dizzy Gillespie.

Born Djama de Andrade in Rio de Janeiro, Sete was the only son of a family with seven children. His nickname means “Seven Ball”. In snooker, which is fairly popular in Brazil, the seven ball is the only black ball on the table (like the eight ball in pool). Bola got this nickname when he was the only black member of a small jazz group.

Sete’s family were poor and often struggled with finding food. Every member of the family played a musical instrument and would often play together. Sete first began playing music when he found a Cavaquinho in his home. With the help of his Uncle, he taught himself to play and eventually got his own instrument. For Christmas in 1932, he was gifted his first guitar.

At age 10, Sete was fostered by an affluent married couple who sent him to school and introduced him to classical music. He later began performing in a semi-professional group that played Brazilian folk music and samba. When World War II started, Sete’s foster parents sent him into hiding in the Brazlilian interior to avoid military conscription. He returned to Rio after the end of the war.

Sete’s foster parents wanted him to pursue a career in law, but he was set on becoming a musician and began studying guitar at the National School of Music in Rio. He then moved to a conservatory in Sao Paolo where the guitar teachers were superior. While studying, he started performing with local samba groups and his own sextet. His early influences were guitarists Django Reinhardt, Charlie Christian, Barney Kessel, George Van Eps, and Oscar Moore of the Nat King Cole Trio. He admired the big bands that were touring South America at that time, led by Dizzy Gillespie, Tommy Dorsey, and Woody Herman.