mick laBriola

Rhythm Roots Workshop at Minnesota VA Home Adult Day Center Memory Loss group. The third workshop is a series of nine world percussion sessions for Veterans. Wednesday August 4th 2021 10-noon.

The Rho Ophiuchi cloud complex is a dark nebula of gas and dust that is located 1° south of the star ρ Ophiuchi of the constellation Ophiuchus. At an estimated distance of 131 ± 3 parsecs, it is one of the closest star-forming regions to the Solar System.

This cloud covers an angular area of 4.5° × 6.5° on the celestial sphere. It consists of two major regions of dense gas and dust. The first contains a star-forming cloud (L1688) and two filaments (L1709 and L1755), while the second has a star-forming region (L1689) and a filament (L1712–L1729). These filaments extend up to 10–17.5 parsecs in length and can be as narrow as 0.24 parsecs in width. Some of the structures within the complex appear to be the result of a shock front passing through the clouds from the direction of the neighboring Sco OB2 Association.

Mitchell Herbert Ellis (August 4, 1921 – March 28, 2010), known professionally as Herb Ellis, was an American jazz guitarist. During the 1950s, he was in a trio with pianist Oscar Peterson.

Born in Farmersville, Texas, and raised in the suburbs of Dallas, Ellis first heard the electric guitar performed by George Barnes on a radio program. This experience is said to have inspired him to take up the guitar. He became proficient on the instrument by the time he entered North Texas State University. Ellis majored in music, but because they did not yet have a guitar program at that time, he studied the string bass. Unfortunately, due to lack of funds, his college days were short-lived. In 1941, Ellis dropped out of college and toured for six months with a band from the University of Kansas.

In 1943, he joined Glen Gray and the Casa Loma Orchestra, and it was with Gray’s band that he got his first recognition in the jazz magazines. After Gray’s band, Ellis joined the Jimmy Dorsey band where he played some of his first recorded solos. Ellis remained with Dorsey through 1947, traveling and recording extensively, and playing in dance halls and movie palaces. Then came a turnabout that would change Ellis’s career forever. As pianist Lou Carter told journalist Robert Dupuis in a 1996 interview, “The Dorsey band had a six-week hole in the schedule. The three of us had played together some with the big band. John Frigo, who had already left the band, knew the owner of the Peter Stuyvesant Hotel in Buffalo. We went in there and stayed six months. And that’s how the group the Soft Winds were born”. Together with Frigo and Lou Carter, Ellis wrote the classic jazz standard “Detour Ahead“.

The Soft Winds group was fashioned after the Nat King Cole Trio. They stayed together until 1952. Ellis then joined the Oscar Peterson Trio (replacing Barney Kessel) in 1953, forming what Scott Yanow would later on refer to as “one of the most memorable of all the piano, guitar, and bass trios in jazz history”.

Louis Daniel Armstrong (August 4, 1901 – July 6, 1971 NOLA), nicknamed “Satchmo“, “Satch“, and “Pops“, was an American trumpeter and vocalist who is among the most influential figures in jazz. His career spanned five decades and different eras in the history of jazz.

Armstrong was born and raised in New Orleans. Coming to prominence in the 1920s as an inventive trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. Around 1922, he followed his mentor, Joe “King” Oliver, to Chicago to play in the Creole Jazz Band. In Chicago, he spent time with other popular jazz musicians, reconnecting with his friend Bix Beiderbecke and spending time with Hoagy Carmichael and Lil Hardin. He earned a reputation at “cutting contests” and his fame reached band leader Fletcher Henderson. Henderson persuaded Armstrong to come to New York City, where he became a featured and musically influential band soloist and recording artist. Hardin became Armstrong’s second wife and they returned to Chicago to play together and then he began to form his own “Hot” jazz bands. After years of touring, he settled in Queens, and by the 1950s, he was a national musical icon, assisted in part, by his appearances on radio and in film and television, in addition to his concerts.

With his instantly recognizable rich, gravelly voice, Armstrong was also an influential singer and skillful improviser, bending the lyrics and melody of a song. He was also skilled at scat singing. Armstrong is renowned for his charismatic stage presence and voice as well as his trumpet playing. By the end of Armstrong’s life, his influence had spread to popular music in general. Armstrong was one of the first popular African-American entertainers to “cross over” to wide popularity with white (and international) audiences. He rarely publicly politicized his race, to the dismay of fellow African Americans, but took a well-publicized stand for desegregation in the Little Rock crisis. He was able to access the upper echelons of American society at a time when this was difficult for black men.

Armstrong appeared in films such as High Society (1956) alongside Bing Crosby, Grace Kelly, and Frank Sinatra, and Hello, Dolly! (1969) starring Barbra Streisand. He received many accolades including three Grammy Award nominations and a win for his vocal performance of Hello, Dolly! in 1964. In 2017, he was posthumously inducted into the Rhythm & Blues Hall of Fame.

Lucky Philip Dube (pronounced duu-beh; 3 August 1964 – 18 October 2007) was a South African reggae musician and Rastafarian. He recorded 22 albums in Zulu, English, and Afrikaans in a 25-year period and was South Africa’s biggest-selling reggae artist. Dube was murdered in the Johannesburg suburb of Rosettenville on the evening of 18 October 2007.

Lucky Dube was born in Ermelo, formerly of the Eastern Transvaal, now of Mpumalanga, on 3 August 1964. His parents separated before his birth, and he was raised by his mother, who named him Lucky because she considered his birth fortunate after a number of failed pregnancies. Along with his two siblings, Thandi and Mandla, Dube spent much of his childhood with his grandmother, Sarah, while his mother relocated to work. In a 1999 interview, he described his grandmother as “his greatest love” who “multiplied many things to bring up this responsible individual that I am today.”

As a child Dube worked as a gardener but, as he matured, realizing that he wasn’t earning enough to feed his family, he began to attend school. There he joined a choir and with some friends, formed his first musical ensemble called The Skyway Band. While at school he discovered the Rastafari movement. At the age of 18 Dube joined his cousin’s band, The Love Brothers, playing Zulu pop music known as mbaqanga whilst funding his lifestyle by working for Hole and Cooke as a security guard at the car auctions in Midrand. The band signed with Teal Record Company, under Richard Siluma (Teal was later incorporated into Gallo Record Company). Though Dube was still at school, the band recorded material in Johannesburg during his school holidays. The resultant album was released under the name Lucky Dube and the Supersoul. The second album was released soon afterwards, and this time Dube wrote some of the lyrics in addition to singing. It was around this same time when he began to learn English.

Roscoe Mitchell (born August 3, 1940) is an American composer, jazz instrumentalist, and educator, known for being “a technically superb – if idiosyncratic – saxophonist”. The Penguin Guide to Jazz described him as “one of the key figures” in avant-garde jazz; All About Jazz stated in 2004 that he had been “at the forefront of modern music” for more than 35 years. Critic Jon Pareles in The New York Times has mentioned that Mitchell “qualifies as an iconoclast”. In addition to his own work as a bandleader, Mitchell is known for cofounding the Art Ensemble of Chicago and the Association for the Advancement of Creative Musicians (AACM).

Mitchell was born in Chicago, Illinois. He also grew up in the Chicago area, where he played saxophone and clarinet at around age twelve. His family was always involved in music with many different styles playing in the house when he was a child as well as having a secular music background. His brother, Norman, in particular was the one who introduced Mitchell to jazz. While attending Englewood High School in Chicago, he furthered his study of the clarinet. In the 1950s, he joined the United States Army, during which time he was stationed in Heidelberg, Germany and played in military parades with fellow saxophonists Albert Ayler and Rubin Cooper, the latter of whom, Mitchell commented, “took me under his wing and taught me a lot of stuff”. He also studied under the first clarinetist of the Heidelberg Symphony while in Germany. Mitchell returned to the United States in the early 1960s, relocated to the Chicago area, and performed in a band with Wilson Junior College undergraduates Malachi Favors (bass), Joseph Jarman, Henry Threadgill, and Anthony Braxton (all saxophonists). Mitchell also studied with Muhal Richard Abrams and played in his band, the Muhal Richard Abrams’ Experimental Band, starting in 1961.

In 1965, Mitchell was one of the first members of the non-profit organization Association for the Advancement of Creative Musicians (AACM) along with Jodie Christian (piano), Steve McCall(drums), and Phil Cohran (composer). The following year Mitchell, Lester Bowie (trumpet), Kalaparusha Maurice McIntyre (tenor saxophone), Favors, Lester Lashley (trombone), and Alvin Fielder(drums), recorded their first studio album, Sound. The album was “a departure from the more extroverted work of the New York-based free jazz players” due in part to the band recording with “unorthodox devices” such as toys and bicycle horns.

From 1967 Mitchell, Bowie, Favors and, on occasion, Jarman performed as the Roscoe Mitchell Art Ensemble, then the Art Ensemble, and finally in 1969 were billed as the Art Ensemble of Chicago. The group included Phillip Wilson on drums for short span before he joined Paul Butterfield‘s band. The group lived and performed in Europe from 1969 to 1971, though they arrived without any percussionist after Wilson left. To fill the void, Mitchell commented that they “evolved into doing percussion ourselves”. The band did eventually get a percussionist, Don Moye, who Mitchell had played with before and was living in Europe at that time. For performances, the band often wore brilliant costumes and painted their faces. The Art Ensemble of Chicago have been described as becoming “possibly the most highly acclaimed jazz band” in the 1970s and 1980s.

he spiral galaxy IC 1954 takes centre stage in this image from the NASA/ESA Hubble Space Telescope. The galaxy, which lies approximately 45 million light-years from Earth in the constellation Horologium (The Clock), boasts a bright central bar and lazily winding spiral arms threaded with dark clouds of dust. This portrait of IC 1954 was captured with Hubble’s Wide Field Camera 3, and is one of a set of observations designed to take advantage of some telescope teamwork. Hubble observed groups of young stars in nearby galaxies at ultraviolet and optical wavelengths while the Atacama Large Millimeter/submillimeter Array — a ground-based radio telescope — gathered data on star-forming discs and clouds of cold gas. Combining the two sets of observations allowed astronomers to join the dots and understand the connections between young stars and the clouds of cold gas which give rise to them.  These observations also lay the groundwork for future observations with the upcoming NASA/ESA/CSA James Webb Space Telescope, which will peer into nearby galaxies and observe the earliest phases of star formation.

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Juvenal de Holanda Vasconcelos, known as Naná Vasconcelos (2 August 1944 – 9 March 2016), was a Brazilian percussionist, vocalist and berimbau player, notable for his work as a solo artist on over two dozen albums, and as a backing musician with Pat Metheny, Don Cherry, Björk, Jan Garbarek, Egberto Gismonti, Gato Barbieri, and Milton Nascimento.

Vasconcelos was born in Recife, Brazil. Beginning from 1967 he joined many artists’ works as a percussionist. Among his many collaborations, he contributed to four Jon Hassell albums from 1976 to 1980 (including Possible Musics by Brian Eno and Hassell), and later to several Pat Metheny Group works and Jan Garbarek concerts from early 1980s to early 1990s. In 1984 he appeared on the Pierre Favre album Singing Drums along with Paul Motian. He also appears on Arild Andersen‘s album If You Look Far Enough with Ralph Towner.

He formed a group named Codona with Don Cherry and Collin Walcott, which released three albums in 1978, 1980 and 1982.

Between 1984 and 1989, he was the Honorary President of the first samba school in the UK, the London School of Samba.

In 1981 he performed at the Woodstock Jazz Festival, held in celebration of the tenth anniversary of the Creative Music Studio. In 1998, Vasconcelos contributed “Luz de Candeeiro” to the AIDS benefit compilation album Onda Sonora: Red Hot + Lisbon produced by the Red Hot Organization.

Vasconcelos was awarded the Best Percussionist Of The Year by the Down Beat Critics Poll for seven consecutive years, from 1984 to 1990. He was also honored with eight Grammy Awards.