mick laBriola

Gertrude E. “Trudy” Pitts (August 10, 1932 – December 19, 2010) was an American soul jazz keyboardist from Philadelphia, Pennsylvania. She was known primarily for playing the Hammond B3 organ.

Trained as a musician and a music educator, Pitts studied at the Philadelphia Musical Academy (now the University of the Arts), Temple University, and Juilliard, as well as other institutions. Early work experience included a position as an assistant to the pianist in the Tony Award-winning musical Raisin.

Friday August 9th 2024 6pm Shabbat service with Inbal-Sharett-Singer, Jayson Rodovsky, Jeff Bailey, Pete Whitman and mick laBriola.

Jack DeJohnette (born August 9, 1942) is an American jazz drummer, pianist, and composer.

Known for his extensive work as leader and sideman for musicians including Charles Lloyd, Freddie Hubbard, Keith Jarrett, Bill Evans, John Abercrombie, Alice Coltrane, Sonny Rollins, Miles Davis, Joe Henderson, Michael Brecker, Pat Metheny, Herbie Hancock and John Scofield, DeJohnette was inducted into the Modern Drummer Hall of Fame in 2007. He has won two Grammy Awards and been nominated for five other.

DeJohnette was born in Chicago, Illinois, to Jack DeJohnette (1911–2011) and Eva Jeanette DeJohnette (née Wood, 1918–1984). Although of predominantly African-American heritage, he has stated that he has some Native American ancestry, specifically Seminole and Crow. He began his musical career as a pianist, studying from age four with Antoinette Rich, the leader of an all-female symphony orchestra in Chicago, and first playing professionally at the age of 14. When Jack was 13, he switched to drums and was taught drumming techniques from a local jazz drummer, Bobby Miller Jr, who lived in the same neighborhood. DeJohnette credits his uncle, Roy Wood Sr. (1915–1995), a Chicago disc jockey and vice president/co-founder of the National Black Network of Black Broadcasters, as his inspiration to play music.

Edward Rudolph “Butch” Warren Jr. (August 9, 1939 – October 5, 2013) was an American jazz bassist who was active during the 1950s and 1960.

Warren’s mother was a typist at the CIA. His father, Edward Sr., was an electronics technician who played piano and organ part-time in clubs in Washington, D.C; his uncle, Quentin — actually the same age as Butch — played guitar. The Warren home was often visited by jazz musicians Billy Hart, Jimmy Smith, and Stuff Smith. The first time Butch Warren played bass was at home on an instrument left by Billy Taylor, who had played bass for Duke Ellington. Warren has cited Jimmy Blanton, the innovative and virtuoso bassist with Ellington from 1939 to 1941, as his biggest inspiration.

Warren began playing professionally at age 14 in a Washington, D.C. band led by his father. He later worked with other local groups, including that of Stuff Smith, as well as with altoist and bandleader Rick Henderson at the Howard Theatre.

The core of the Tangos is the letra, three or four octosyllabic lines. As with the Bulerías, the  the first line is often repeated, and the repeated lines are balanced by a longer consequent phrase.

​Before a letra a Tangos may open with a guitar falseta or an estribillo, in which the singer sings a traditional melody with nonsense syllables (“le le le, ni, ni, etc.). The estribillo may return throughout the piece as a chorus after a letra.

​Once the letra begins it can be broken up several times with remates performed by the dancer. This usually occurs between the first and second line of the letra, and often occurs more frequently, giving the dance a improvisatory air.

​Thus, the letras themselves can be further broken up with remates or escobillas from the dancer or with guitar falsetas. A dancer may also choose to perform a long footwork passage accompanied by compás patterns from the guitarist and palmista (an escobilla performed “a palo seco” or dry, without guitar accompaniment).

​As in Bulerías, Tangos can end with a cierre – a closing pattern – that is based on a different set of chords than the letras. The dancer can also perform a cue (llamada) that leads into a traveling exit – a salida.

Yusuf Hazziez (born Joseph Arrington Jr.; August 8, 1935 – August 13, 1982), known professionally as Joe Tex, was an American singer and musician who gained success in the 1960s and 1970s with his brand of Southern soul, which mixed the styles of funk, country, gospel, and rhythm and blues.

His career started after he was signed to King Records in 1955 following four wins at the Apollo Theater. Between 1955 and 1964, he struggled to find hits, and by the time he finally recorded his first hit, “Hold What You’ve Got” in 1964, he had recorded 30 previous singles that were deemed failures on the charts. He went on to have four million-selling hits: “Hold What You’ve Got” (1965), “Skinny Legs and All” (1967), “I Gotcha” (1972), and “Ain’t Gonna Bump No More (With No Big Fat Woman)” (1977).

In early August 1982, Tex was found at the bottom of a swimming pool at his home in Navasota, after which he was revived in hospital and sent home. Just a few days later, on August 13, five days after his 47th birthday, he died at Grimes Memorial Hospital in Navasota, following a heart attack.

Urban Clifford “Urbie” Green (August 8, 1926 – December 31, 2018) was an American jazz trombonist who toured with Woody Herman, Gene Krupa, Jan Savitt, and Frankie Carle. He played on over 250 recordings and released more than two dozen albums as a soloist. He was inducted into the Alabama Jazz Hall of Fame in 1995.

Green was born in Mobile, Alabama. He was taught the piano as a child by his mother. He learned jazz and popular tunes from the beginning. He started to play trombone, which both older brothers played, when he was about 12. He listened to trombonists Tommy Dorsey, J. C. Higginbotham, Jack Jenney, Jack Teagarden, and Trummy Young, but said he was more influenced by the styles of Dizzy Gillespie, Charlie Parker, and Lester Young. His style was also influenced by the vocals of Perry Como and Louis Armstrong. He attended Auburn High School, where he was a member of The Auburn Knights Orchestra.

Bennett Lester Carter (August 8, 1907 – July 12, 2003) was an American jazzsaxophonist, clarinetist, trumpeter, composer, arranger, and bandleader. With Johnny Hodges, he was a pioneer on the alto saxophone. From the beginning of his career in the 1920s, he worked as an arranger including written charts for Fletcher Henderson‘s big band that shaped the swing style. He had an unusually long career that lasted into the 1990s. During the 1980s and 1990s, he was nominated for eight Grammy Awards, which included receiving a Lifetime Achievement Award.

Carter was born in New York City in 1907. He was given piano lessons by his mother and others in the neighborhood. He played trumpet and experimented briefly with C-melody saxophone before settling on alto saxophone. In the 1920s, he performed with June Clark, Billy Paige, and Earl Hines, then toured as a member of the Wilberforce Collegians led by Horace Henderson. He appeared on record for the first time in 1927 as a member of the Paradise Ten led by Charlie Johnson. He returned to the Collegians and became their bandleader through 1929, including a performance at the Savoy Ballroom in New York City.

Rodney Crowell (born August 7, 1950 Houston, TX) is an American musician, known primarily for his work as a singer and songwriter in country music. Crowell has had five number one singles on Hot Country Songs, all from his 1988 album Diamonds & Dirt. He has also written songs and produced for other artists.

He was influenced by songwriters Guy Clark and Townes Van Zandt. Crowell played guitar and sang for three years in Emmylou Harris‘ Hot Band.

He has won two Grammy Awards in his career, one in 1990 for Best Country Song for the song “After All This Time” and one in 2014 Best Americana Album for his album Old Yellow Moon.

George Abel Van Eps (August 7, 1913 – November 29, 1998) was an American swing and mainstream jazz guitarist.

George Van Eps was born in Plainfield, New Jersey, United States, into a family of musicians. His three brothers – Fred Abel Van Eps, Jr. (1907–1980), Robert B. Van Eps (1909–1986), and John A. Van Eps (1912–1945) – were musicians. His mother, Louise Abel, was a classical pianist and his father, Fred Van Eps, was a ragtime banjoist and sound engineer. George Van Eps began playing banjo when he was eleven years old. After hearing Eddie Lang on the radio, he put down the banjo and devoted himself to guitar. By the age of thirteen, in 1926, he was performing on the radio. Through the middle of the 1930s, he played with Harry Reser, Smith Ballew, Freddy Martin, Benny Goodman, and Ray Noble.