mick laBriola

The star cluster is very bright and was discovered in the mid-eighteenth century. The nebula, however, is much more elusive and it took almost a further two decades for it to be first noted by Charles Messier in 1764. Although it is commonly known as the Eagle Nebula, its official designation is Messier 16 and the cluster is also named NGC 6611. One spectacular area of the nebula (outside the field of view) has been nicknamed “The Pillars of Creation” ever since the Hubble Space Telescope captured an iconic image of dramatic pillars of star-forming gas and dust. The cluster and nebula are fascinating targets for small and medium-sized telescopes, particularly from a dark site free from light pollution. Messier 16 can be found within the constellation of Serpens Cauda (the Tail of the Serpent), which is sandwiched between Aquila, Sagittarius, and Ophiuchus in the heart of one of the brightest parts of the Milky Way. Small telescopes with low power are useful for observing large, but faint, swathes of the nebula, whereas 30 cm telescopes and larger may reveal the dark pillars under good conditions. But a space telescope in orbit around the Earth, like Hubble — which boasts a 2.4-metre diameter mirror and state-of-the-art instruments — is required for an image as spectacular as this one. This picture was created from images taken with the Wide Field Channel of Hubble’s Advanced Camera for Surveys. Images through a near-infrared filter (F775W) are coloured red and images through a blue filter (F475W) are blue. The exposures times were one hour and 54 minutes respectively and the field of view is about 3.3 arcminutes across.

Harry Edward Nilsson III (June 15, 1941 – January 15, 1994), known professionally as Nilsson, was an American singer-songwriter who achieved the peak of his commercial success in the early 1970s. His work is characterized by pioneering vocal overdub experiments, returns to the Great American Songbook, and fusions of Caribbean sounds. A tenor with a 3+1⁄2 octave range, Nilsson was one of the few major pop-rock recording artists to achieve significant commercial success without ever performing major public concerts or undertaking regular tours. The craft of his songs and the defiant attitude he projected remain touchstones for later generations of indie rock musicians.

Born in Brooklyn, Nilsson moved to Los Angeles as a teenager to escape his family’s poor financial situation. While working as a computer programmer at a bank, he grew interested in musical composition and close-harmony singing, and was successful in having some of his songs recorded by various artists such as the Monkees. In 1967, he debuted on RCA Victor with the LP Pandemonium Shadow Show, followed by a variety of releases that include a collaboration with Randy Newman (Nilsson Sings Newman, 1970) and the original children’s story The Point! (1971). His most commercially successful album, Nilsson Schmilsson (1971), produced the international top 10 singles “Without You” and “Coconut“. His other top 10 hit, “Everybody’s Talkin’” (1968), was featured prominently in the 1969 film Midnight Cowboy. A version of Nilsson’s “One“, released by Three Dog Night in 1969, also reached the U.S. top 10.

During a 1968 press conference, the Beatles were asked what their favorite American group was and answered “Nilsson”. Sometimes called “the American Beatle“, he soon formed close friendships with John Lennon and Ringo Starr. In the 1970s, Nilsson, Lennon and Starr were members of the Hollywood Vampires drinking club, embroiling themselves in a number of widely publicized, alcohol-fueled incidents. They produced one collaborative album, Pussy Cats (1974). After 1977, Nilsson left RCA, and his record output diminished. In response to Lennon’s 1980 murder, he took a hiatus from the music industry to campaign for gun control. With this, he heavily advocated for the Coalition to Stop Gun Violence and spent most of his time and effort trying to make a change in the handgun industry. At this time his only occupation was a Spokesperson for Handgun Violence, and would even hold many social gatherings to spread the word on the topic.

Nilsson created the first remix album (Aerial Pandemonium Ballet, 1971) and recorded the first mashup song (“You Can’t Do That“, 1967). He was voted No. 62 in Rolling Stone‘s 2015 list of the “100 Greatest Songwriters of All Time“, where he was described as “a pioneer of the Los Angeles studio sound, a crucial bridge between the baroque psychedelic pop of the late Sixties and the more personal singer-songwriter era of the Seventies”. The RIAA certified Nilsson Schmilsson and Son of Schmilsson (1972) as gold records, indicating over 500,000 units sold each. He earned Grammy Awards for two of his recordings; Best Contemporary Vocal Performance, Male in 1970 for “Everybody’s Talkin'” and Best Pop Vocal Performance, Male in 1973 for “Without You”.

Waylon Arnold Jennings (born Wayland Arnold Jennings; June 15, 1937 – February 13, 2002) was an American singer, songwriter, and musician. He is best known as one of the founding pioneers of the Outlaw Movement in country music.

Jennings started to play guitar at age of eight and first performed at age 12 on KVOW radio, after which he formed his first band, The Texas Longhorns. Jennings left high school at age 16, determined to become a musician and worked as a performer and DJ on KVOW, KDAV, KYTI, KLLL, in Coolidge, Arizona, and Phoenix. In 1958, Buddy Holly arranged Jennings’s first recording session, and hired him to play bass. Jennings gave up his seat on the ill-fated flight in 1959 that crashed and killed Holly, J. P. “The Big Bopper” Richardson and Ritchie Valens.

Jennings then formed a rockabilly club band, The Waylors, which became the house band at “JD’s”, a club in Scottsdale, Arizona. He recorded for independent label Trend Records and A&M Records, but did not achieve success until moving to RCA Victor, taking on Neil Reshen as a manager, who negotiated significantly better touring and recording contracts for him. After he gained creative control from RCA Records, he released the critically acclaimed albums Lonesome, On’ry and Mean and Honky Tonk Heroes, followed by the hit albums Dreaming My Dreams and Are You Ready for the Country. During the 1970s, Jennings became one of the main figures of outlaw country. With Willie Nelson, Tompall Glaser and Jessi Colter he recorded country music’s first platinum album, Wanted! The Outlaws. It was followed by Ol’ Waylon and the hit song “Luckenbach, Texas“.

Jennings was featured in the 1978 album White Mansions, performed by various artists documenting the lives of people in the Confederacy during the Civil War. Jennings also appeared in films and television series, including Sesame Street, and a stint as the balladeer for The Dukes of Hazzard, composing and singing the show’s theme song and providing narration for the show. By the early 1980s, Jennings struggled with a cocaine addiction, which he overcame in 1984. Later, he joined the country supergroup The Highwaymen with Willie Nelson, Kris Kristofferson, and Johnny Cash, which released three albums between 1985 and 1995. During that period, Jennings released the successful album Will the Wolf Survive.

He toured less after 1997 to spend more time with his family. Between 1999 and 2001, his appearances were limited by health problems. In 2001, he was inducted into the Country Music Hall of Fame. In 2007, he was posthumously awarded the Cliffie Stone Pioneer Award by the Academy of Country Music.

Waylon Arnold Jennings was born on June 15, 1937, on the J.W. Bittner farm, near Littlefield, Texas. He was the son of Lorene Beatrice (née Shipley, 1920–2006) and William Albert Jennings (1915–1968). The Jennings family line descended from Irish and Black-Dutch. The Shipley line descended from Cherokee and Comanche families. 

https://www.youtube.com/watch?v=skh-Bv_vVC8

John Arthur “Jaki” Byard (/ˈbaɪˌɑːrd, ˈbaɪərd/; June 15, 1922 – February 11, 1999) was an American jazz multi-instrumentalist, composer and arranger. Mainly a pianist, he also played tenor and alto saxophones, among several other instruments. He was known for his eclectic style, incorporating everything from ragtime and stride to free jazz.

Byard played with trumpeter Maynard Ferguson in the late 1950s and early 1960s, and was a member of bands led by bassist Charles Mingus for several years, including on several studio and concert recordings. The first of his recordings as a leader was in 1960, but, despite being praised by critics, his albums and performances did not gain him much wider attention. In his 60-year career, Byard recorded at least 35 albums as leader, and more than 50 as a sideman. Byard’s influence on the music comes from his combining of musical styles during performance, and his parallel career in teaching.

From 1969 Byard was heavily involved in jazz education: he began teaching at the New England Conservatory of Music and went on to work at several other music institutions, as well as having private students. He continued performing and recording, mainly in solo and small group settings, but he also led two big bands – one made up of some of his students, and the other of professional musicians. His death, from a single gunshot while in his home, remains an unsolved mystery.

Byard was born in Worcester, Massachusetts. At that time, his parents – John Sr and Geraldine Garr – were living at 47 Clayton Street. Both of his parents played musical instruments; his mother played the piano, as did his uncles and grandmother, the last playing in cinemas during the silent film era. He began piano lessons at the age of six, but they ended when his family was affected by the Great Depression. He was also given a trumpet that belonged to his father, and attempted to copy the popular players of the time, Roy Eldridge and Walter Fuller. As a boy he often walked to Lake Quinsigamond to listen to bands performing there. He heard Benny Goodman, Lucky Millinder, Fats Waller, and Chick Webb, and listened to other bands of the era on the radio.“Those were the things that inspired me – I guess it stuck with me”, he commented decades later.

Erroll Louis Garner (June 15, 1921 – January 2, 1977) was an American jazz pianist and composer known for his swing playing and ballads. His best-known composition, the ballad “Misty“, has become a jazz standard. Scott Yanow of Allmusic calls him “one of the most distinctive of all pianists” and a “brilliant virtuoso.” He received a star on the Hollywood Walk of Fame at 6363 Hollywood Blvd. His live album, Concert by the Sea,^[9]first released in 1955, sold over a million copies by 1958 and Scott Yanow’s opinion is: “this is the album that made such a strong impression that Garner was considered immortal from then on.”

Garner was born with his twin brother Ernest in Pittsburgh, Pennsylvania on June 15, 1921, the youngest of six children in his family. He attended George Westinghouse High School (as did fellow pianists Billy Strayhorn and Ahmad Jamal). Interviews with his family and music teachers (and with other musicians), plus a detailed family tree are given in Erroll Garner: The Most Happy Piano by James M Doran. Garner died of cardiac arrest related to emphysema on January 2, 1977. He is buried in Pittsburgh’s Homewood Cemetery.

This image shows the spiral galaxy NGC 3254, observed using Hubble’s Wide Field Camera 3 (WFC3). WFC3 has the capacity to observe ultraviolet, visible and near-infrared light, and this image is a composite of observations taken in the visible and infrared. In this image, NGC 3254 looks like a typical spiral galaxy, viewed side-on. However, NGC 3254 has a fascinating secret that it is hiding in plain sight — it is a Seyfert galaxy, meaning that it has an extraordinarily active core, known as an active galactic nucleus, which releases as much energy as the rest of the galaxy put together.  Seyfert galaxies are not rare — about 10% of all galaxies are thought to be Seyfert galaxies. They belong to the class of “active galaxies” — galaxies that have supermassive black holes at their centres that are actively accreting material, which releases vast amounts of radiation as it is accreted. There is a second, far more active, type of active galaxy that is known as a quasar. The active cores of Seyfert galaxies, such as NGC 3254, are brightest when observed in light outside the visible spectrum. At other wavelengths, this image would look very different, with the galaxy’s core shining extremely brightly.

William Henry Marcus Miller Jr. (born June 14, 1959) is an American film composer, jazz composer, record producer, arranger, and multi-instrumentalist, best known as a bassist. He has worked with trumpeter Miles Davis, pianist Herbie Hancock, singer Luther Vandross, and saxophonist David Sanborn, among others.

Miller was born in Brooklyn, New York City, in 1959 and raised in a musical family. His father, William Miller, was a church organist and choir director; Miller is jazz pianist Wynton Kelly‘s cousin. Miller is classically trained as a clarinetist and also plays keyboards, saxophone and guitar. He began to work regularly in New York City, eventually playing bass and writing music for jazz flutist Bobbi Humphrey and keyboardist Lonnie Liston Smith. Miller became a session musician.

Kenny Drew Jr. (June 14, 1958 – August 3, 2014) was an American jazz pianist. His music is known for its hard-swinging bluesy sound and large, two-handed rooty chords contrasting with fast runs. The son of jazz pianist Kenny Drew, he did not credit his father as an influence.

His initial study was in classical music with his aunt and grandmother. In his teens he became interested in jazz and pop, but initially worked in funk bands. Later he went into jazz piano and in 1990 won The Great American Jazz Piano Competition in Jacksonville, Florida. Drew continued to perform jazz, but he also performed some chamber music. His style has some similarities to his father’s, but is different enough to generally avoid comparison; he was considered the more eclectic of the two men.

Jules Shungu Wembadio Pene Kikumba (14 June 1949 – 24 April 2016), known professionally as Papa Wemba, was a Congolese singer and musician who played Congolese rumba, soukous and ndombolo. Dubbed the “King of Rumba Rock”, he was one of the most popular musicians of his time in Africa and played an important role in world music. He was also a fashion icon who popularized the Sape look and style through his musical group Viva la Musica, with whom he performed on stages throughout the world.

Papa Wemba’s road to fame and prominence began when he joined the music group Zaiko Langa Langa in the late 1960s. This was followed by his success as a founding member both of Isifi Lokole and then Yoka Lokole, along with a short stint as a member of Afrisa International for a few months. During these early stages of his career, he was establishing a style that included traditional Congolese rumba and soukous, infused with traditional African sounds, Caribbean rhythms, rock and soul. But Wemba gained international success and status with his band Viva La Musica, especially after he took them to Paris, France in the early 1980s. It was there that Wemba was able to achieve more of an “eclectic sound” in his work, influenced by western popular music that reflected a European flavor and style, referred to as “Europop.

Burton Greene (born June 14, 1937) is a free jazz pianist born in Chicago, Illinois, though most known for his work in New York City. He has explored a variety of genres, including avant-garde jazz and the Klezmer medium.

Greene played during the 1960s on New York’s free jazz scene, gigging with well-known musicians which included Alan Silva and Marion Brown, among a host of others. With Alan Silva he formed the Free Form Improvisation Ensemble in 1963.^[1] He joined Bill Dixon‘s and Cecil Taylor‘s Jazz Composers Guild in 1964, and also played with a number of other artists, including Rashied Ali, Albert Ayler, Gato Barbieri, Byard Lancaster, Sam Rivers, Patty Waters, and others. During this time, he recorded two albums under his own name for ESP-Disk.

He moved to Europe in 1969, first to Paris. Since then he has been living in Amsterdam and played with such Dutch musicians as Maarten Altena and Willem Breuker. During the late 1980s he began exploring the Klezmer tradition in his groups Klezmokum (along with Perry Robinson), Klez-thetics, and a more recent group called Klez-Edge with vocalist Marek Balata. Klez-Edge has a recent recording Ancestors, Mindreles, NaGila Monsters (2008) out on John Zorn’s Tzadik label. A duet with Perry Robinson, also on the Tzadik label, Two Voices in the Desert was released in January 2009.

https://www.youtube.com/watch?v=2E1gu1cRAIo

Is that a spaceship or a cloud? Although it may seem like an alien mothership, it’s actually a impressive thunderstorm cloud called a supercell. Such colossal storm systems center on mesocyclones — rotating updrafts that can span several kilometers and deliver torrential rain and high winds including tornadoes. Jagged sculptured clouds adorn the supercell’s edge, while wind swept dust and rain dominate the center. A tree waits patiently in the foreground. The above supercell cloud was photographed in 2010 July west of Glasgow, Montana, USA, caused minor damage, and lasted several hours before moving on.

Marvin Tarplin (June 13, 1941 – September 30, 2011) was an American guitarist and songwriter, best known as the guitarist for the Miracles from the 1950s through the early 1970s. He was one of the group’s original members and co-wrote several of their biggest hits, including the 1965 GrammyHall Of Fame-inducted “The Tracks of My Tears“. He is also a winner of the BMI Songwriter’s Award, and the ASCAP Award Of Merit, and was a 2012 posthumous inductee into the Rock and Roll Hall of Fame with the Miracles.

Referred to as the Miracles’ “secret weapon”, Tarplin began his career accompanying the Supremes, who at the time were still teenagers, and known as the Primettes. They were seeking an audition with Motown Records, and Tarplin played guitar as they performed for Miracles lead singer Smokey Robinson. Robinson was impressed by Tarplin’s guitar playing, and lured him away from the Primettes to join the Miracles in 1958. In the 2006 Motown DVD release, Smokey Robinson & the Miracles: The Definitive Performances 1963–1987, Robinson and fellow Miracles Pete Moore and Bobby Rogers commented that Tarplin’s guitar playing style was reminiscent of the late Curtis Mayfield, and was the inspiration behind many of their greatest hits. His guitar riffs at the beginning of the Miracles’ 1965 Grammy Hall of Fame million-seller, “The Tracks of My Tears“, are among the most famous in pop music history.

Uriel Jones (June 13, 1934 – March 24, 2009) was an American musician. Jones was a recording session drummer for Motown‘s in-house studio band, the Funk Brothers, during the 1960s and early 1970s.

Jones was first hired by Motown as a fill-in for principal drummer Benny Benjamin; along with Richard “Pistol” Allen, he moved up the line as recordings increased and Benjamin’s health deteriorated. Hits that Jones played drums on include “Ain’t No Mountain High Enough” – both versions, by Marvin Gaye & Tammi Terrell in 1967 and the 1970 remake by Diana Ross, “I Heard It Through the Grapevine” and “Ain’t That Peculiar” by Marvin Gaye, “Cloud Nine” (in which he was augmented by Spider Webb), “I Can’t Get Next to You“, and “Ain’t Too Proud to Beg” by the Temptations, “What Becomes of the Brokenhearted” by Jimmy Ruffin, Jr. Walker‘s “Home Cookin’,” “The Tracks of My Tears” and “I Second That Emotion” by Smokey Robinson & the Miracles, and “For Once in My Life” by Stevie Wonder. His influences included jazz drummer Art Blakey. For his Motown recordings, Jones performed on a studio set composed of Ludwig, Slingerland, Rogers and Gretsch components and possibly Zildjian cymbals. Jones became better known to music fans through his appearance in the feature documentary film, Standing in the Shadows of Motown. Motown arranger Paul Riser said of Jones that “Uriel’s drum sound was the most open and laid-back, and he was the funkiest of the three guys we had…He had a mixed feel and did a lot of different things well.”

In 2008, he performed on the Carl Dixon BandTraxs session at Studio A, Dearborn Heights, Detroit, where he and fellow drummer Spider Webb helped complete Dixon’s dreams of paying homage to musicians from the city. In addition to Jones, on the session were others including Dennis Coffey, Bob Babbitt, Ray Monette, Robert Jones, Spider Webb, George Katsakis (The Royaltones), Gil Bridges (Rare Earth), Dennis Sheridan, Larry Fratangelo, John Trudell, David Jennings, Mark Burger, George Benson, Ed Gooch and Rob Pipho. Also ex Motown arranger David Van De Pitte, scored the musical arrangements around the original UK demos he was sent, and led the band in the studio. Jones died aged 74 at Oakwood Hospital & Medical Center in Dearborn, Michigan, after suffering complications from a heart attack.

Attila Cornelius Zoller (June 13, 1927 – January 25, 1998) was a jazz guitarist born in Hungary. 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 in 1927. 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 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.

In their 1992 book, What Was the First Rock ‘n’ Roll Record?, Jim Dawson and Steve Propes dedicated a chapter to Moore and his influential “We’re Gonna Rock, We’re Gonna Roll.”