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The Rosette Nebula (also known as Caldwell 49) is an H II region located near one end of a giant molecular cloud in the Monoceros region of the Milky Way Galaxy. The open cluster NGC 2244 (Caldwell 50) is closely associated with the nebulosity, the stars of the cluster having been formed from the nebula’s matter.

The complex has the following New General Catalogue (NGC) designations:

• NGC 2237 – Part of the nebulous region (Also used to denote whole nebula)
• NGC 2238 – Part of the nebulous region
• NGC 2239 – Part of the nebulous region (Discovered by John Herschel)
• NGC 2244 – The open cluster within the nebula (Discovered by John Flamsteed in 1690)^{[citation needed]}
• NGC 2246 – Part of the nebulous region

The cluster and nebula lie at a distance of 5,000 light-years from Earth and measure roughly 130 light years in diameter. The radiation from the young stars excites the atoms in the nebula, causing them to emit radiation themselves producing the emission nebula we see. The mass of the nebula is estimated to be around 10,000 solar masses.

The Whirlpool Galaxy is a classic spiral galaxy. At only 30 million light years distant and fully 60 thousand light years across, M51, also known as NGC 5194, is one of the brightest and most picturesque galaxies on the sky. The featured image is a digital combination of images taken in different colors by the Earth-orbiting Hubble Space Telescope, highlighting many sharp features. Anyone with a good pair of binoculars, however, can see this Whirlpool toward the constellation of the Hunting Dogs (Canes Venatici). M51 is aspiral galaxy of type Sc and is the dominant member of a whole group of galaxies. Astronomers speculate that M51‘s spiral structure is primarily due to its gravitational interaction with the smaller galaxy on the image left.

Attila Cornelius Zoller (June 13, 1927 – January 25, 1998) was a Hungarian jazz guitarist. After World War II, he escaped the Soviet takeover of Hungary by fleeing through the mountains on foot into Austria. In 1959, he moved to the U.S., where he spent the rest of his life as a musician and teacher.

Zoller was born in Visegrád, Hungary. As a child, he learned violin from his father, a professional violinist. While in school, he played flugelhorn and bass before choosing guitar. He dropped out of school and played in jazz clubs in Budapest while Russia occupied Hungary. He fled Hungary in 1948 as the Soviet Union was establishing communist military rule. He escaped on foot, carrying his guitar through the mountains into Austria. He settled in Vienna, became an Austrian citizen, and started a jazz group with accordionist Vera Auer.

In the mid-1950s, Zoller moved to Germany and played with German musicians Jutta Hipp and Hans Koller. When American jazz musicians passed through, such as Oscar Pettiford and Lee Konitz, they persuaded him to move to the United States. He moved to the U.S. after receiving a scholarship to the Lenox School of Jazz. One of his teachers was guitarist Jim Hall and his roommate was Ornette Coleman, who got him interested in free jazz.

From 1962–1965, Zoller performed in a group with flautist Herbie Mann, then Lee Konitz and Albert Mangelsdorff. Over the years, he played and recorded with Benny Goodman, Stan Getz, Red Norvo, Jimmy Raney, Herbie Hancock, Ron Carter, Shirley Scott, Cal Tjader, Jimi Hendrix, and in New York City jazz clubs in the 1960s with pianist Don Friedman.

William M. “Wild Bill” Moore (June 13, 1918 – August 1, 1983) was an American R&B and jazz tenor saxophone player. Moore earned a modest hit on the Hot R&B charts with “We’re Gonna Rock, We’re Gonna Roll”, which also was one of the earliest rock and roll records.

Moore was born in Detroit Michigan and began playing the alto saxophone at an early age. However, prior to his musical career, he was an amateur boxer, winning Michigan’s Golden Gloves light heavyweight championship in 1937, before briefly turning professional. By the early 1940s, Moore abandoned his boxing career in favor of music, and was inspired by musicians Chu Berry and Illinois Jacquet to switch to tenor saxophone. In 1944, he made his recording debut, accompanying Christine Chatman, the wife of Memphis Slim, for Decca Records. Between 1945 and 1947, Moore was performing and recording in Los Angeles with Slim Gaillard, Jack McVea, Big Joe Turner, Dexter Gordon, and played on Helen Humes’ hit recording, “Be-Baba-Leba”.

In 1947 he moved back to Detroit and began recording with his own band, which included baritone player Paul Williams, later famous for “The Hucklebuck”. In December of that year, he recorded “We’re Gonna Rock, We’re Gonna Roll” for the Savoy label which was a modest hit and is remembered today as one of many candidates for the first rock and roll record. It was one of the first records played by Alan Freed on his “Moondog” radio shows in 1951. However, by the standards of its time it was quite a primitive recording, notable mainly for the juxtaposition of the words “rock” and “roll”, and the battling saxophones of Moore and Williams. In 1949, he cut “Rock And Roll”, reportedly featuring Scatman Crothers on vocals.

Moore continued recording and playing in clubs in and around Detroit. In this period he also recorded several jazz albums for the Jazzland label. In 1971, he was sought out by Marvin Gaye to play saxophone on the album What’s Going On, notably the track “Mercy Mercy Me“.

Eventually he returned to Los Angeles, California and lived there until his death, aged 65.

The arms of the barred spiral galaxy NGC 1672 sweep across this Image of the Week, captured by the Víctor M. Blanco 4-meter Telescope at Cerro Tololo Inter-American Observatory (CTIO), a Program of NSF’s NOIRLab. NGC 1672 is something of a celestial mystery, as it is difficult to define its galactic activity. The nucleus is surrounded by a ring of hot gas filled with individual point sources of X-ray light, in other words bright, newly formed stars. However, the luminous nucleus of NGC 1672 itself shines brightly in various types of light from X-ray to infrared. Known as a Seyfert Type 2 nucleus, it’s an example of a specific type of active galactic nucleus (AGN) and likely a supermassive black hole. Fragile young stars and a destructive AGN shouldn’t necessarily be so close together, and their proximity in this galaxy creates a conundrum. Galaxies like NGC 1672 can open up new pathways to understanding the activities and behaviors of galaxies, and in turn be pieced together to discern the long-term evolution of galaxies.

Data for this image were collected using the Dark Energy Camera on the Víctor M. Blanco 4-meter Telescope for the Dark Energy Survey, which mapped millions of galaxies to determine the nature of dark energy. The analysis of data from the Dark Energy Survey is supported by the Department of Energy and the National Science Foundation, and the Dark Energy Camera science archive is curated by the Community Science and Data Center at NOIRLab.

Armando Anthony “Chick” Corea (June 12, 1941 – February 9, 2021) was an American jazz composer, pianist, keyboardist, bandleader, and occasional percussionist. His compositions “Spain“, “500 Miles High“, “La Fiesta”, “Armando’s Rhumba”, and “Windows” are widely considered jazz standards. As a member of Miles Davis‘s band in the late 1960s, he participated in the birth of jazz fusion. In the 1970s he formed Return to Forever. long with McCoy Tyner, Herbie Hancock, and Keith Jarrett, Corea is considered one of the foremost jazz pianists of the post-John Coltrane era.

Corea continued to collaborate frequently while exploring different musical styles throughout the 1980s and 1990s. He won 27 Grammy Awards and was nominated over 60 times.

Armando Corea was born in Chelsea, Massachusetts on June 12, 1941, to parents Anna (née Zaccone) and Armando J. Corea. He was of southern Italian descent, his father having been born to an immigrant from Albi comune, in the Province of Catanzaro in the Calabria region. His father, a trumpeter who led a Dixieland band in Boston in the 1930s and 1940s, introduced him to the piano at the age of four. Surrounded by jazz, he was influenced at an early age by bebop and Dizzy Gillespie, Charlie Parker, Bud Powell, Horace Silver, and Lester Young. When he was eight, he took up drums, which would influence his use of the piano as a percussion instrument.

Corea developed his piano skills by exploring music on his own. A notable influence was concert pianist Salvatore Sullo, from whom Corea started taking lessons at age eight and who introduced him to classical music, helping spark his interest in musical composition. He also spent several years as a performer and soloist in the St. Rose Scarlet Lancers, a drum and bugle corps based in Chelsea.

Given a black tuxedo by his father, he started playing gigs while still in high school. He enjoyed listening to Herb Pomeroy‘s band at the time and had a trio that played Horace Silver’s music at a local jazz club. He eventually moved to New York City, where he studied music at Columbia University, then transferred to the Juilliard School. He quit both after finding them disappointing, but remained in New York.

Corea began his professional recording and touring career in the early 1960s with Mongo Santamaria, Willie Bobo, Blue Mitchell, Herbie Mann, and Stan Getz. He recorded his debut album, Tones for Joan’s Bones, in 1966 (not released until 1968). Two years later he released a highly regarded trio album, Now He Sings, Now He Sobs, with drummer Roy Haynes and bassist Miroslav Vitous.

In 1968, Corea began recording and touring with Miles Davis, appearing on the widely praised Davis studio albums Filles de Kilimanjaro, In a Silent Way, Bitches Brew and On the Corner, as well as the later compilation albums Big Fun, Water Babiesand Circle in the Round.