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John Lester Nash Jr. (August 19, 1940 – October 6, 2020) was an American singer-songwriter, best known in the United States for his 1972 hit “I Can See Clearly Now“. Primarily a reggae and pop singer, he was one of the first non-Jamaican artists to record reggae music in Kingston.
Nash was born in Houston, Texas, the son of Eliza (Armstrong) and John Lester Nash. He sang in the choir at Progressive New Hope Baptist Church in South Central Houston as a child. Beginning in 1953, Nash sang covers of R&B hits on Matinee, a local variety show on KPRC-TV; from 1956 he sang on Arthur Godfrey‘s radio and television programs for a seven-year period. Nash was married three times, and had two children.
more...Peter Edward “Ginger” Baker (19 August 1939 – 6 October 2019) was an English drummer and a co-founder of the rock band Cream. His work in the 1960s and 1970s earned him the reputation of “rock’s first superstar drummer”, for a style that melded jazz and African rhythms and pioneered both jazz fusion and world music.
Baker gained early fame as a member of Blues Incorporated and the Graham Bond Organisation, both times alongside bassist Jack Bruce, with whom Baker would often clash. In 1966, Baker and Bruce joined guitarist Eric Clapton to form Cream, which achieved worldwide success but lasted only until 1968, in part due to Baker’s and Bruce’s volatile relationship. After briefly working with Clapton in Blind Faith and leading Ginger Baker’s Air Force, Baker spent several years in the 1970s living and recording in Africa, often with Fela Kuti, in pursuit of his long-time interest in African music. Among Baker’s other collaborations are his work with Gary Moore, Masters of Reality, Public Image Ltd, Hawkwind, Atomic Rooster, Bill Laswell, jazz bassist Charlie Haden, jazz guitarist Bill Frisell and Ginger Baker’s Energy.
Baker’s drumming is regarded for its style, showmanship, and use of two bass drums instead of the conventional one. In his early days, he performed lengthy drum solos, most notably in the Cream song “Toad“, one of the earliest recorded examples in rock music. Baker was an inductee of the Rock and Roll Hall of Fame as a member of Cream in 1993, of the Modern Drummer Hall of Fame in 2008, and of the Classic Drummer Hall of Fame in 2016. Baker was noted for his eccentric, often self-destructive lifestyle, and he struggled with heroin addiction for many years. He was married four times and fathered three children.
more...James George Hunter (August 19, 1918 – May 28, 1996), known professionally as Jimmy Rowles (sometimes spelled Jimmie Rowles), was an American jazz pianist, vocalist, and composer. As a bandleader and accompanist, he explored multiple styles including swing and cool jazz.
Rowles was born in Spokane, Washington and attended Gonzaga University in that city. After moving to Los Angeles, he joined Lester Young‘s group in 1942. He also worked with Benny Goodman, Woody Herman, Les Brown, Tommy Dorsey, Tony Bennett, and as a studio musician.
more...Eddie Durham (August 19, 1906 – March 6, 1987) was an American jazz guitarist who was one of the pioneers of the electric guitar in jazz. He was a guitarist, trombonist, composer, and arranger for the orchestras of Bennie Moten, Jimmie Lunceford, and Count Basie.
With Edgar Battle he composed “Topsy“, which was recorded by Count Basie and became a hit for Benny Goodman.
In 1938, Durham wrote “I Don’t Want to Set the World on Fire” with Bennie Benjamin, Sol Marcus, and Eddie Seiler. During the 1940s, Durham created Eddie Durham’s All-Star Girl Orchestra, an African-American all female swing band that toured the United States and Canada.
Durham was born in San Marcos, Texas on August 19, 1906 to Joseph Durham, Sr., and Luella Rabb (nee Mohawk) Durham. From an early age, Durham performed with his family in the Durham Brothers Band. At the age of eighteen, Eddie began traveling and playing in regional bands.
more...The Ring Nebula (M57), is more complicated than it appears through a small telescope. The easily visible central ring is about one light-year across, but this remarkably deep exposure – a collaborative effort combining data from three different large telescopes – explores the looping filaments of glowing gas extending much farther from the nebula‘s central star. This composite image includes red light emitted by hydrogen as well as visible and infrared light. The Ring Nebula is an elongated planetary nebula, a type of nebula created when a Sun-like star evolves to throw off its outer atmosphere to become a white dwarf star. The Ring Nebula is about 2,500 light-years away toward the musical constellation Lyra.
Adam Makowicz (born Adam Matyszkowicz; August 18, 1940) is a Polish pianist and composer living in Toronto. He performs jazz and classical piano pieces, as well as his own compositions.
Adam Makowicz was born into a family of ethnic Poles in Hnojník (now in the Czech Republic), in an area annexed by Nazi Germany at the beginning of World War II (see also: Polish minority in Czechoslovakia).After the war, he was raised in Poland. He studied classical music at the Chopin Conservatory of Music in Kraków. Overcoming cultural restrictions under the communist government, he developed a passion for modern jazz. At the time, political freedom and improvisation were disapproved of by the pro-Soviet authorities. Nonetheless, he embarked on a new professional life by switching from the career of a classical pianist to that of a touring jazz pianist. After years of hardship, Makowicz gained a regular gig at a small jazz club in a cellar of a house in Kraków. He was named the “Best jazz pianist” by the readers of Poland’s Jazz Forum magazine, and was awarded a gold medal for his contribution to the arts.
In 1977, Makowicz made a 10-week concert tour of the United States, produced by John Hammond. At that time, he recorded a solo album titled Adam on CBS. In 1978 he settled in New York. Makowicz was banned from Poland during the 1980s after the Polish regime imposed martial law to crush the Solidarity movement. At that time, he took part in Ronald Reagan‘s initiative called “Let Poland Be Poland”, joining many artists and public figures.
more...Enoch Henry Light (18 August 1907, in Canton, Ohio – 31 July 1978, in New York City) was an American classically trained violinist, danceband leader, and recording engineer. As the leader of various dance bands that recorded as early as March 1927 and continuing through at least 1940, Light and his band primarily worked in various hotels in New York. For a time in 1928 he also led a band in Paris. In the 1930s Light also studied conducting with the French conductor Maurice Frigara in Paris.
Throughout the 1930s, Light and his outfits were steadily employed in the generally more upscale hotel restaurants and ballrooms in New York that catered to providing polite ambiance for dining and functional dance music of current popular songs rather than out-and-out jazz.
At some point his band was tagged “The Light Brigade” and they often broadcast over radio live from the Hotel Taft in New York where they had a long residency. Through 1940, Light and his band recorded for various labels including Brunswick, ARC, Vocalion and Bluebird. Later on, as A&R (Artists and Repertoire) chief and vice-president of Grand Award Records, he founded his own label, Command Records, in 1959. Light’s name was prominent on many albums both as musician and producer.
Light is credited with being one of the first musicians to go to extreme lengths to create high-quality recordings that took full advantage of the technical capabilities of home audio equipment of the late 1950s and early 1960s, particularly stereo effects that bounced the sounds between the right and left channels (often described as “Ping-pong recording“), which had huge influence on the whole concept of multi-track recording that would become commonplace in the ensuing years.[citation needed] Doing so, he arranged his musicians in ways to produce the kinds of recorded sounds he wished to achieve, even completely isolating various groups of them from each other in the recording studio. The first of the albums produced on his record label, Command Records, Persuasive Percussion, became one of the first big-hit LP discs based solely on retail sales. His music received little or no airplay on the radio, because AM radio, the standard of the day, was monaural and had very poor fidelity. Light went on to release several albums in the Persuasive Percussion series, as well as a Command test record.
https://www.youtube.com/watch?v=kCdA-vi_V34
more...Antonio Salieri (18 August 1750 – 7 May 1825) was an Italian classical composer, conductor, and teacher. He was born in Legnago, south of Verona, in the Republic of Venice, and spent his adult life and career as a subject of the Habsburg Monarchy.
Salieri was a pivotal figure in the development of late 18th-century opera. As a student of Florian Leopold Gassmann, and a protégé of Christoph Willibald Gluck, Salieri was a cosmopolitan composer who wrote operas in three languages. Salieri helped to develop and shape many of the features of operatic compositional vocabulary, and his music was a powerful influence on contemporary composers.
Appointed the director of the Italian opera by the Habsburg court, a post he held from 1774 until 1792, Salieri dominated Italian-language opera in Vienna. During his career he also spent time writing works for opera houses in Paris, Rome, and Venice, and his dramatic works were widely performed throughout Europe during his lifetime. As the Austrian imperial Kapellmeister from 1788 to 1824, he was responsible for music at the court chapel and attached school. Even as his works dropped from performance, and he wrote no new operas after 1804, he still remained one of the most important and sought-after teachers of his generation, and his influence was felt in every aspect of Vienna’s musical life. Franz Liszt, Franz Schubert, Ludwig van Beethoven, Johann Nepomuk Hummel and Franz Xaver Wolfgang Mozart were among the most famous of his pupils.
Salieri’s music slowly disappeared from the repertoire between 1800 and 1868 and was rarely heard after that period until the revival of his fame in the late 20th century. This revival was due to the fictionalized depiction of Salieri in Peter Shaffer‘s play Amadeus (1979) and its 1984 film version. The death of Wolfgang Amadeus Mozart in 1791 at the age of 35 was followed by rumors that he and Salieri had been bitter rivals, and that Salieri had poisoned the younger composer, yet this has been proven false, and it is likely that they were, at least, mutually respectful peers.
more...This jewel-bright image from the NASA/ESA Hubble Space Telescope shows NGC 1385, a spiral galaxy 68 million light-years away from Earth, which lies in the constellation Fornax. The image was taken with Hubble’s Wide Field Camera 3 (WFC3), which is often referred to as Hubble’s workhorse camera, thanks to its reliability and versatility. It was installed in 2009 when astronauts last visited Hubble, and 12 years later it remains remarkably productive. NGC 1385’s home — the Fornax constellation — is not named after an animal or an ancient God, as are many of the other constellations. Fornax is simply the Latin word for a furnace. The constellation was named Fornax by Nicolas-Louis de Lacaille, a French astronomer who was born in 1713. Lacaiile named 14 of the 88 constellations that are still recognised today. He seems to have had a penchant for naming constellations after scientific instruments, including Atlia (the air pump), Norma (the ruler, or set square) and Telescopium (the telescope).
Luther Allison (August 17, 1939 – August 12, 1997) was an American blues guitarist. He was born in Widener, Arkansas, although some accounts suggest his actual place of birth was Mayflower, Arkansas. Allison was interested in music as a child and during the late 1940s he toured in a family gospel group called The Southern Travellers. He moved with his family to Chicago in 1951 and attended Farragut High School where he was classmates with Muddy Waters‘ son. He taught himself guitar and began listening to blues extensively. Three years later he dropped out of school and began hanging around outside blues nightclubs with the hopes of being invited to perform. Allison played with the bands of Howlin’ Wolfand Freddie King, taking over King’s band when King toured nationally. He worked with Jimmy Dawkins, Magic Sam and Otis Rush, and also backed James Cotton.
From 1954, Allison jammed with his brother’s band, the Ollie Lee Allison Band. By 1957, he had formed a band with Ollie and another brother, Grant Allison, initially called The Rolling Stones, later changed to The Four Jivers, and they performed at clubs in Chicago.
Allison’s big break came in 1957, when Howlin’ Wolf invited him to the stage. The same year he worked briefly with Jimmy Dawkins, playing in local clubs. Freddie King took Allison under his wing, and after King got a record deal, Allison took over his gig in the house band of a club on Chicago’s West Side. He worked the club circuit in the late 1950s and early 1960s. During this period, Allison moved to California for a year where he worked with Shakey Jake Harris and Sunnyland Slim. He recorded his first single in 1965. He signed a recording contract with Delmark Records in 1967 and released his debut album, Love Me Mama, the following year. He performed a well-received set at the 1969 Ann Arbor Blues Festival and as a result was asked to perform there in each of the next three years. He toured nationwide. In 1972, he signed with Motown Records, one of the few blues artists on that label. In the mid-1970s he toured Europe. He moved to France in 1977.
more...Floyd Westerman, also known as Kanghi Duta (“Red Crow” in Dakota) (August 17, 1936 – December 13, 2007), was a Dakota Sioux musician, political activist, and actor. After establishing a career as a country music singer, later in his life he became an actor, usually depicting Native American elders in American films and television. He is also credited as Floyd Red Crow Westerman. As a political activist, he spoke and marched for Native American causes.
He was born Floyd Westerman on the Lake Traverse Indian Reservation, home of the Sisseton Wahpeton Oyate, a federally recognized tribe that is one of the sub-tribes of the Eastern Dakota section of the Great Sioux Nation, located in the U.S. state of South Dakota. His Indigenous name Kanghi Duta means “Red Crow” in the Dakota language (which is one of the three related Siouan languages of the Great Plains).
At the age of 10, Westerman was sent to the Wahpeton Boarding School, where he first met Dennis Banks (who as an adult became a leader of the American Indian Movement). There Westerman and the other children were forced to cut their traditionally long hair and forbidden to speak their native languages. This experience would profoundly impact Westerman’s development and entire life. As an adult, he reclaimed his heritage and became an outspoken advocate for Indigenous cultural preservation.
Westerman graduated from Northern State University with a B.A. degree in secondary education. He served two years in the US Marines, before beginning his career as a country singer.
more...Rabih Abou-Khalil (Arabic: ربيع أبو خليل, born August 17, 1957) is an oud player and composer born in Lebanon, who combines elements of Arabic music with jazz, classical music, and other styles. He grew up in Beirut and moved to Munich, Germany, during the Lebanese Civil War in 1978.
Abou-Khalil studied the oud at the Beirut conservatory with oudist Georges Farah. After moving to Germany, he studied classical flute at the Academy of Music in Munich under Walther Theurer.
In his compositions and live concerts, he combines elements of Arabic music with jazz, rock, or classical music, and has earned praise as “a world musician years before the phrase became a label”. — According to a review of his concert in The Guardian of 2002, Abou-Khalil “makes the hot, staccato Middle Eastern flavour and the seamless grooves of jazz mingle, as if they were always meant to.”
In a review of his 2007 album Songs For Sad Women, the BBC wrote “the characteristic blend of jazz-inflected Arabic melody with subtle rhythms combines into a hypnotic whole, as ever with Abou-Khalil’s fluent oud playing in a central role.”
Along with Tunisian oud virtuosos Anouar Brahem and Dhafer Youssef, he has helped establish the oud as an important instrument of Ethno jazz and world fusion.
https://www.youtube.com/watch?v=2_rZIktJy8s
more...Columbus Calvin “Duke” Pearson Jr. (August 17, 1932 – August 4, 1980) was an American jazz pianist and composer. Allmusic describes him as having a “big part in shaping the Blue Note label’s hard bop direction in the 1960s as a record producer.”
Pearson was born Columbus Calvin Pearson Jr. in Atlanta, Georgia, to Columbus Calvin and Emily Pearson. The moniker “Duke” was given to him by his uncle, who was a great admirer of Duke Ellington. Before he was six, his mother started giving him piano lessons. He studied the instrument until he was twelve, when he took an interest in brass instruments: mellophone, baritone horn and ultimately trumpet. He was so fond of the trumpet that through high school and college he neglected the piano. He attended Clark College while also playing trumpet in groups in the Atlanta area. While in the U.S. Army, during his 1953–54 draft, he continued to play trumpet and met, among others, the pianist Wynton Kelly. Pearson himself confessed in a 1959 interview that he was “so spoiled by Kelly’s good piano” that he decided to switch to piano again. Also, it seems that dental problems forced him to give up brass instruments.
more...Jack Sperling (August 17, 1922 – February 26, 2004) was an American jazz drummer who performed as a sideman in big bands and as a studio musician for pop and jazz acts, movies, and television.
In 1941 he played with trumpeter Bunny Berigan. After World War II, he and Henry Mancini joined the Glenn Miller band when it was led by Tex Beneke. Sperling drew attention with his performance on the song St. Louis Blues (1948). He then joined Les Brown and His Band of Renown, which played regularly for the Bob Hope radio program. Sperling and other members of Brown’s band joined Dave Pell‘s octet in 1953. He recorded with octet on Plays Irving Berlin (1953) and on The Original Reunion of the Glenn Miller Orchestra (1954). From 1954–57, he was a member of Bob Crosby‘s Bobcats. During the rest of his career, her worked in bands led by Charlie Barnet, Page Cavanaugh, Pete Fountain, and Benny Goodman.
more...Ike Abrams Quebec (August 17, 1918 – January 16, 1963) was an American jazz tenor saxophonist. He began his career in the big band era of the 1940s, then fell from prominence for a time until launching a comeback in the years before his death.
Critic Alex Henderson wrote, “Though he was never an innovator, Quebec had a big, breathy sound that was distinctive and easily recognizable, and he was quite consistent when it came to down-home blues, sexy ballads, and up-tempo aggression.”
Quebec was born in Newark, New Jersey, United States. An accomplished dancer and pianist, he switched to tenor sax as his primary instrument in his early twenties, and quickly earned a reputation as a promising player. His recording career started in 1940, with the Barons of Rhythm.
Later on, he recorded or performed with Frankie Newton, Hot Lips Page, Roy Eldridge, Trummy Young, Ella Fitzgerald, Benny Carter and Coleman Hawkins. Between 1944 and 1951, he worked intermittently with Cab Calloway. He began to record for the Blue Note label in this era, and served as a talent scout (helping pianists Thelonious Monk and Bud Powell come to wider attention). Due to his exceptional sight reading skills, Quebec was also an uncredited impromptu arranger for many Blue Note sessions.
Due in part to struggles with heroin addiction (but also due to the fading popularity of the big bands), Quebec recorded only sporadically during the 1950s, though he still performed regularly. He kept abreast of new developments in jazz, and his later playing incorporated elements of hard bop, bossa nova, and soul jazz.
In 1959, he began what amounted to a comeback with a series of albums on the Blue Note label. Blue Note executive Alfred Lion was always fond of Quebec’s music, but was unsure how audiences would respond to the saxophonist after a decade of low visibility. In the mid-to-late 1950s, Blue Note issued a series of Quebec singles for the juke box market; audiences responded well, leading to a number of warmly-received albums. Quebec occasionally recorded on piano, as on his 1961 Blue & Sentimental album, where he alternated between tenor and piano, playing the latter behind Grant Green‘s guitar solos.
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