mick laBriola

The Moon is Earth‘s only natural satellite. At about one-quarter the diameter of Earth (comparable to the width of Australia), it is the largest natural satellite in the Solar System relative to the size of its planet, the fifth largest satellite in the Solar System overall, and is larger than any known dwarf planet. The Moon is a planetary-mass object that formed a differentiated rocky body, making it a satellite planet under geophysical definitions of the term.It lacks any significant atmosphere, hydrosphere, or magnetic field. Its surface gravity is about one-sixth of Earth’s (0.1654 g); Jupiter‘s moon Io is the only satellite in the Solar System known to have a higher surface gravity and density.

Orbiting Earth at an average distance of 384,400 km (238,900 mi), or about 30 times Earth’s diameter, its gravitational influence slightly lengthens Earth’s day and is the main driver of Earth’s tides. The Moon’s orbit around Earth has a sidereal period of 27.3 days. During each synodic period of 29.5 days, the amount of visible surface illuminated by the Sun varies from none up to 100%, resulting in lunar phases that form the basis for the months of a lunar calendar. The Moon is tidally locked to Earth, which means that the length of a full rotation of the Moon on its own axis causes its same side (the near side) to always face Earth, and the somewhat longer lunar day is the same as the synodic period. That said, 59% of the total lunar surface can be seen from Earth through shifts in perspective due to libration.

John Laird Abercrombie (December 16, 1944 – August 22, 2017) was an American jazz guitarist. His work explored jazz fusion, free jazz, and avant-garde jazz. Abercrombie studied at Berklee College of Music in Boston, Massachusetts. He was known for his understated style and his work with organ trios.

John Abercrombie was born on December 16, 1944, in Port Chester, New York. Growing up in the 1950s in Greenwich, Connecticut he was attracted to the rock and roll of Chuck Berry, Elvis Presley, Fats Domino, and Bill Haley and the Comets. He also liked the sound of jazz guitarist Mickey Baker of the vocal duo Mickey and Silvia. He had two friends who were musicians with a large jazz collection. They played him albums by Dave Brubeck and Miles Davis. The first jazz guitar album he heard was by Barney Kessel.

He took guitar lessons at the age of ten, asking his teacher to show him what Barney Kessel was playing. After high school, he attended Berklee College of Music. At Berklee, he was drawn to the music of Jim Hall, the 1962 album The Bridge by Sonny Rollins, and Wes Montgomery on his albums The Wes Montgomery Trio (1959) and Boss Guitar (1963). He cites George Benson and Pat Martino as inspirations. He often played with other students at Paul’s Mall, a jazz club in Boston connected to a larger club, Jazz Workshop. Appearing at Paul’s Mall led to meetings with Michael Brecker, Randy Brecker, and organist Johnny Hammond Smith, who invited him to go on tour.

John Robert “Johnny Hammond” Smith (December 16, 1933 – June 4, 1997) was an American soul jazz and hard bop organist. Born in Louisville, Kentucky, he was a renowned player of the Hammond B-3 organ so earning “Hammond” as a nickname, which also avoided his being confused with jazz guitarist Johnny Smith.

Smith played with Paul Williams and Chris Columbo before forming his own group. His bands featured singers Etta Jones, Byrdie Green, saxophonists Houston Person, Earl Edwards, guitarists Eddie McFadden, Floyd Smith, James Clark, vibist Freddie McCoy. His career took off as he was serving as accompanist to singer Nancy Wilson. One of his last accomplishments also included Nancy Wilson. He wrote the song “Quiet Fire” for her Nancy Now!release in 1988.

After a 10-year spell on Prestige Records throughout the 1960s resulting in a series of albums, he signed for soul/R&B influenced Kudu imprint of Creed Taylor‘s well-regarded CTI Records jazz record label in 1971. His first album for Taylor, Break Out was chosen that year to launch Kudu. The album featured Grover Washington Jr. as a sideman prior to the launch of his career as a solo recording artist. Three further albums followed with Taylor on Kudu, as he decided to refer to himself as “Johnny Hammond”, after deciding to drop “Smith” from his name.

His style had become increasingly funky as he adapted to the style changes in music, culminating in two popular albums with the Mizell Brothers, Gambler’s Life (1974) for the CTI offshoot, Salvation and then in 1975, Gears after switching to another jazz label, Milestone Records. He began using electric and acoustic pianos, starting with Gambler’s Life, in addition to his signature instrument. Hammond’s song “Shifting Gears” was featured on the breakbeat compilation Ultimate Breaks and Beats, and was also featured in the soundtrack of the 2006 video game Driver: Parallel Lines as well.

Smith also taught at the Cal Poly Pomona music department for several years, beginning in January 1987.

He died in Victorville, California of cancer at the age of 63.

Ludwig van Beethoven (/ˈlʊdvɪɡ væn ˈbeɪtoʊvən/ (listen), German: [ˈluːtvɪç fan ˈbeːtˌhoːfn̩] (listen); baptised 17 December 1770 – 26 March 1827) was a German composer and pianist. Beethoven remains one of the most admired composers in the history of Western music; his works rank amongst the most performed of the classical music repertoire and span the transition from the Classical period to the Romantic era in classical music. His career has conventionally been divided into early, middle, and late periods. The “early” period, during which he forged his craft, is typically considered to have lasted until 1802. From 1802 to around 1812, his “middle” period showed an individual development from the “classical” styles of Joseph Haydn and Wolfgang Amadeus Mozart, and is sometimes characterized as “heroic”. During this time, he began to suffer increasingly from deafness. In his “late” period from 1812 to his death in 1827, he extended his innovations in musical form and expression.

Born in Bonn, Beethoven’s musical talent was obvious at an early age, and he was initially harshly and intensively taught by his father Johann van Beethoven. Beethoven was later taught by the composer and conductor Christian Gottlob Neefe, under whose tutelage he published his first work, a set of keyboard variations, in 1783. He found relief from a dysfunctional home life with the family of Helene von Breuning, whose children he loved, befriended, and taught piano. At age 21, he moved to Vienna, which subsequently became his base, and studied composition with Haydn. Beethoven then gained a reputation as a virtuoso pianist, and he was soon patronized by Karl Alois, Prince Lichnowsky for compositions, which resulted in his three Opus 1 piano trios (the earliest works to which he accorded an opus number) in 1795.

His first major orchestral work, the First Symphony, premiered in 1800, and his first set of string quartets was published in 1801. Despite his hearing deteriorating during this period, he continued to conduct, premiering his Third and Fifth Symphonies in 1804 and 1808, respectively. His Violin Concerto appeared in 1806. His last piano concerto (No. 5, Op. 73, known as the ‘Emperor’), dedicated to his frequent patron Archduke Rudolf of Austria, was premiered in 1811, without Beethoven as soloist. He was almost completely deaf by 1814, and he then gave up performing and appearing in public. He described his problems with health and his unfulfilled personal life in two letters, his “Heiligenstadt Testament” (1802) to his brothers and his unsent love letter to an unknown “Immortal Beloved” (1812).

After 1810, increasingly less socially involved, Beethoven composed many of his most admired works, including later symphonies, mature chamber music and the late piano sonatas. His only opera, Fidelio, first performed in 1805, was revised to its final version in 1814. He composed Missa solemnis between 1819 and 1823 and his final Symphony, No. 9, one of the first examples of a choral symphony, between 1822 and 1824. Written in his last years, his late string quartets, including the Grosse Fuge, of 1825–1826 are among his final achievements. After some months of bedridden illness, he died in 1827. Beethoven’s works remain mainstays of the classical music repertoire.

Edwin LeMar “Buddy” Cole (December 15, 1916 – November 5, 1964), was a jazz pianist, organist, orchestra leader, and composer. He played behind a number of pop singers, including Rosemary Clooney and Bing Crosby.Cole was born in Irving, Illinois, on December 15, 1916. He started his musical career in the theater, playing between movies. He was recruited to be part of Gil Evans‘s band at the age of 19.In Hollywood in the second half of the 1930s Cole played in dance bands, including those led by Alvino Rey and Frankie Trumbauer. He married Yvonne King, member of the King Sisters, in 1940. From the 1940s, his main work was as a studio musician, utilising piano, electric organ, celeste, harpsichord and Novachord.

In his capacity as a studio musician, Cole worked with Henry Mancini, who used his Hammond organ sound for the sound track to the TV series “Mr. Lucky“. Cole also recorded several organ albums for Warner Brothers, Columbia, Alshire and Doric.

Cole performed on Bing Crosby‘s hits “In a Little Spanish Town” and “Ol’ Man River“, and on the albums Some Fine Old Chestnuts and New Tricks. Cole also played on Rosemary Clooney‘s radio program; some recordings from the show were released on the album Swing Around Rosie.

Cole played most of the piano parts in the 1951 film Young Man with a Horn, subbing for Hoagy Carmichael, who appeared on screen. Cole also wrote the music for the television game show Truth or Consequences. He died in Hollywood on November 5, 1964

the Hubble Space Telescope captures a cosmic pillar of dust, over two-light years long, inside of which is Herbig-Haro 666 — a young star emitting powerful jets. The structure lies within one of our galaxy’s largest star forming regions, the Carina Nebula, shining in southern skies at a distance of about 7,500 light-years. The pillar‘s layered outline are shaped by the winds and radiation of Carina’s young, hot, massive stars, some of which are still forming inside the nebula. A dust-penetrating view in infrared light better shows the two, narrow, energetic jets blasting outward from a still hidden infant star.