mick laBriola

Clifford Everett “Bud” Shank Jr. (May 27, 1926 – April 2, 2009) was an American alto saxophonist and flautist. He rose to prominence in the early 1950s playing lead alto and flute in Stan Kenton‘s Innovations in Modern Music Orchestra and throughout the decade worked in various small jazz combos. He spent the 1960s as a first-call studio musician in Hollywood. In the 1970s and 1980s, he performed regularly with the L. A. Four. Shank ultimately abandoned the flute to focus exclusively on playing jazz on the alto saxophone. He also recorded on tenor and baritone sax. His most famous recording is probably the version of Harlem Nocturne used as the theme song in Mickey Spillane’s Mike Hammer. He is also well known for the alto flute solo on the song “California Dreamin’” recorded by The Mamas & the Papas in 1965.

Bud Shank was born in Dayton, Ohio. He began with clarinet in Vandalia, Ohio, but had switched to saxophone before attending the University of North Carolina. While at UNC, Shank was initiated into the Pi Kappa Alpha fraternity. In 1946 he worked with Charlie Barnet before moving on to Kenton and the West coast jazz scene. He also had a strong interest in what might now be termed world music, playing Brazilian-influenced jazz with Laurindo Almeida in 1953–54. In 1958 he is the first American jazz musician to record in Italy with an Italian jazz orchestra conducted by Ezio Leoni(aka Len Mercer), paving the way for Chet Baker and others who would follow Shank’s tracks recording in Milan with Maestro Leoni. His world music collaborations continued in 1962, fusing jazz with Indian traditions in collaboration with Indian composer and sitar player Ravi Shankar.

In 1974, Shank joined with Ray Brown, Shelly Manne (replaced by Jeff Hamilton after 1977), and Laurindo Almeida to form the group the L.A. Four, who recorded and toured extensively through 1982. Shank helped to popularize both Latin-flavored and chamber jazz music, and as a musician’s musician also performed with orchestras as diverse as the Royal Philharmonic, the New American Orchestra, the Gerald Wilson Big Band, Stan Kenton‘s Neophonic Orchestra, and Duke Ellington.

Niels-Henning Ørsted Pedersen (Danish pronunciation: [ne̝lsˈhene̝ŋ ˈɶɐ̯steð ˈpʰeðɐsn̩], 27 May 1946 – 19 April 2005), also known by his abbreviated nickname NHØP, was a Danish jazz double bassist.

Ørsted Pedersen was born in Osted, near Roskilde, on the Danish island of Zealand, the son of a church organist. As a child, Ørsted Pedersen played piano, but from the age of 13, he started learning to play upright bass and at the age of 14, while studying, he began his professional jazz career in Denmark with his first band, Jazzkvintet 60 (Danish for Jazz Quintet 60). By the age of fifteen, he had the ability to accompany leading musicians at nightclubs, working regularly at Copenhagen’s Jazzhus Montmartre, after his debut there on New Year’s Eve 1961, when he was only 15. When seventeen, he had already turned down an offer to join the Count Basie orchestra, mainly because he was too young to get legal permission to live and work as a musician in the United States.

The Montmartre was a regular stop-off for touring American Jazz stars, and as a member of the house band, the young Ørsted Pedersen performed with saxophonists such as Sonny Rollins, Dexter Gordon, Rahsaan Roland Kirk and Stan Getz, and pianist Bill Evans, with whom he toured in Europe in 1965. During the 1960s, Ørsted Pedersen played with a series of other important American jazzmen who were touring or resident in Denmark, including Ben Webster, Brew Moore, Bud Powell, Count Basie, Roy Eldridge, Dizzy Gillespie, Jackie McLean, and vocalist Ella Fitzgerald. He also played with Jean-Luc Ponty, and became the bassist of choice whenever a big-name musician was touring Copenhagen.

He was awarded Best Bass Player of the Year by Downbeat Critics’ Poll in 1981.

Kenny Dennis (born May 27, 1930) is a Philadelphia-born American jazz drummer. He has played on albums for Nancy Wilson, Sonny Stitt, Sonny Rollins, Johnny Griffin, Oscar Brown Jr., Charles Mingus, Billy Taylor, and Mal Waldron.

Dennis began his musical career in the United States Army Band, playing drums in three bands from 1948-1952. After being discharged, he connected with junior high school mate, pianist Ray Bryant and became part of The Ray Bryant Trio along with Jimmy Rowser on bass. They became the house trio at the North Philadelphia Jazz Club, Blue Note where they played for such jazz artists as Kai Winding, Chris Connor and Sonny Stitt. His career next took him to New York, where he worked with artists including Miles Davis, Phineas Newborn, Jr., Billy Taylor, Erroll Garner, Charles Mingus and Sonny Rollins.

In 1957, Dennis performed in Sonny Rollins’s Trio with bassist Wendell Marshall at Carnegie Hall—a historic performance that was commemorated in 2007 with a 50th anniversary concert. Dennis moved to California, when Miles Davis recommended him to Lena Horne. Recording credits include recordings with such artists as Michel Legrand, Miles Davis, Charlie Mingus, Nancy Wilson, Gerald Wilson and poet Langston Hughes.

Ramsey Emmanuel Lewis Jr. (born May 27, 1935) is an American jazz composer, pianist and radio personality. Lewis has recorded over 80 albums and has received five gold records and three Grammy Awards so far in his career.

Ramsey Lewis was born in Chicago, Illinois, to Ramsey Lewis Sr. and Pauline Lewis. He began taking piano lessons at the age of four. Lewis would eventually join a jazz group called the clefs. He later formed the Ramsey Lewis Trio with drummer Isaac “Red” Holt and bassist Eldee Young. They eventually joined up with Chess Records.

During 1956 the trio issued their debut album, Ramsey Lewis and his Gentle-men of Swing. Following their 1965 hit “The In Crowd” (the single reached No. 5 on the pop charts, and the album No. 2) they concentrated more on pop material. Young and Holt left in 1966 to form Young-Holt Unlimited and were replaced by Cleveland Eaton and Maurice White. White left to form Earth, Wind & Fire and was replaced by Morris Jennings in 1970. Later, Frankie Donaldson and Bill Dickens replaced Jennings and Eaton; Felton Crews also appeared on many 1980’s releases.

By 1966, Lewis was one of the nation’s most successful jazz pianists, topping the charts with “The In Crowd”, “Hang On Sloopy“,and “Wade in the Water“. All three singles each sold over one million copies and were awarded gold discs. Many of his recordings attracted a large non-jazz audience. In the 1970s, Lewis often played electric piano, although by later in the decade he was sticking to acoustic and using an additional keyboardist in his groups.

Mark Lavon “Levon” Helm (May 26, 1940 – April 19, 2012) was an American musician and actor who achieved fame as the drummer and one of the vocalists for The Band. Helm was known for his deeply soulful, country-accented voice, multi-instrumental ability, and creative drumming style, highlighted on many of The Band’s recordings, such as “The Weight“, “Up on Cripple Creek“, and “The Night They Drove Old Dixie Down“.

Helm also had a successful career as a film actor, appearing as Loretta Lynn‘s father in Coal Miner’s Daughter (1980), as Chuck Yeager‘s friend and colleague Captain Jack Ridley in The Right Stuff (1983), as a Tennessee firearms expert in Shooter (2007), and as General John Bell Hood in In the Electric Mist (2009).

In 1998, Helm was diagnosed with throat cancer which caused him to lose his singing voice. After treatment, his cancer eventually went into remission, and he gradually regained the use of his voice. His 2007 comeback album Dirt Farmer earned the Grammy Award for Best Traditional Folk Album in February 2008, and in November of that year, Rolling Stone magazine ranked him No. 91 in its list of 100 Greatest Singers of All Time,. In 2010, Electric Dirt, his 2009 follow-up to Dirt Farmer, won the first Grammy Award for Best Americana Album, a category inaugurated in 2010. In 2011, his live album Ramble at the Ryman won the Grammy in the same category. In 2016, Rolling Stone magazine ranked him No. 22 in its list of 100 Greatest Drummers of All Time. Born Mark Lavon Helm in Elaine, Arkansas, Helm grew up in Turkey Scratch, a hamlet of Marvell, Arkansas. His parents, Nell and Diamond Helm, were cotton farmers who shared a strong affinity for music. They encouraged their children to play and sing at a young age. He saw Bill Monroe and His Blue Grass Boys at the age of six and decided to become a musician. Helm began playing the guitar at the age of eight and also played drums.

Severino Dias de Oliveira (May 26, 1930 – December 14, 2006), known professionally as Sivuca, was a Brazilian accordionist, guitarist and singer. In addition to his home state of Paraíba, Brazil, and cities Recife and Rio de Janeiro, he worked and lived in Paris, Lisbon, and New York Cityintermittently.

He worked with Scandinavian jazz musicians in the 1980s. His most famous songs are “João e Maria” with lyrics by Chico Buarque and “Feira de Mangaio”, named after the artisan markets of northeast Brazil. He used makeshift instruments alongside conventional ones and combined traditional regional styles such as forró and choro with jazz, bossa nova, and classical music. Sivuca and Hermeto Pascoal, both versatile multi-instrumentalists with albinism, worked together and are sometimes confused with each other.

His professional career began in Pernambuco where he went at the age of 15, and continued in his first album with Humberto Teixeira (1950), leading to work in radio and television in Rio de Janeiro from 1955. With “Os Brasileiros” he toured Europe (1958).

Miles Dewey Davis III (May 26, 1926 – September 28, 1991 Alton, IL) was an American trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. Davis adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in jazz.

Born in Alton, Illinois, and raised in East St. Louis, Davis left to study at Juilliard in New York City, before dropping out and making his professional debut as a member of saxophonist Charlie Parker‘s bebop quintet from 1945 to 1948. Shortly after, he recorded the Birth of the Cool sessions for Capitol Records, which were instrumental to the development of cool jazz. In the early 1950s, Miles Davis recorded some of the earliest hard bopmusic while on Prestige Records but did so haphazardly due to a heroin addiction. After a widely acclaimed comeback performance at the Newport Jazz Festival in 1955, he signed a long-term contract with Columbia Records and recorded the 1957 album ‘Round About Midnight. It was his first work with saxophonist John Coltrane and bassist Paul Chambers, key members of the sextet he led into the early 1960s. During this period, he alternated between orchestral jazz collaborations with arranger Gil Evans, such as the Spanish music-influenced Sketches of Spain (1960), and band recordings, such as Milestones (1958) and Kind of Blue (1959). The latter recording remains one of the most popular jazz albums of all time,having sold over five million copies in the U.S.

Davis made several lineup changes while recording Someday My Prince Will Come (1961), his 1961 Blackhawk concerts, and Seven Steps to Heaven (1963), another mainstream success that introduced bassist Ron Carter, pianist Herbie Hancock, and drummer Tony Williams.^[3] After adding saxophonist Wayne Shorter to his new quintet in 1964, Davis led them on a series of more abstract recordings often composed by the band members, helping pioneer the post-bop genre with albums such as E.S.P (1965) and Miles Smiles (1967), before transitioning into his electric period. During the 1970s, he experimented with rock, funk, African rhythms, emerging electronic music technology, and an ever-changing line-up of musicians, including keyboardist Joe Zawinul, drummer Al Foster, and guitarist John McLaughlin. This period, beginning with Davis’ 1969 studio album In a Silent Way and concluding with the 1975 concert recording Agharta, was the most controversial in his career, alienating and challenging many in jazz. His million-selling 1970 record Bitches Brew helped spark a resurgence in the genre’s commercial popularity with jazz fusion as the decade progressed.

After a five-year retirement due to poor health, Davis resumed his career in the 1980s, employing younger musicians and pop sounds on albums such as The Man with the Horn (1981) and Tutu (1986). Critics were often unreceptive but the decade garnered Davis his highest level of commercial recognition. He performed sold-out concerts worldwide, while branching out into visual arts, film, and television work, before his death in 1991 from the combined effects of a stroke, pneumonia and respiratory failure. In 2006, Davis was inducted into the Rock and Roll Hall of Fame, which recognized him as “one of the key figures in the history of jazz”. Rolling Stone described him as “the most revered jazz trumpeter of all time, not to mention one of the most important musicians of the 20th century,” while Gerald Early called him inarguably one of the most influential and innovative musicians of that period.

Rubén González Fontanills (26 May 1919 – 8 December 2003) was a Cuban pianist. Together with Lilí Martínez and Peruchín he is said to have “forged the style of modern Cuban piano playing in the 1940s”.

Between the 1940s and his retirement in the 1980s, he played with Cuba’s most successful acts, including Paulina Álvarez, Arsenio Rodríguez, Orquesta América del 55, Orquesta Riverside and Enrique Jorrín. In the 1990s, he came out of retirement to play in the revival ensembles Afro-Cuban All Stars and Buena Vista Social Club, also recording solo material and performing live until 2002.

González was born in Santa Clara, Cuba, on 26 May 1919. His family moved to the small village of Encrucijada when he was 6 years old. He took up the piano at age seven and graduated from the Cienfuegos Conservatory at age 15.

This image shows the spiral galaxy NGC 5037, which is found in the constellation of Virgo and was first documented by William Herschel in 1785. It lies about 150 million light-years away from Earth, and yet it is possible to see the delicate structures of gas and dust within the galaxy in extraordinary detail. This was made possible by Hubble’s Wide Field Camera 3 (WFC3), which was used to collect the exposures that were combined to create this image.  WFC3 is a very versatile camera, as it can collect ultraviolet, visible and infrared light, thereby providing a wealth of information about the objects that it observes. WFC3 was installed on Hubble by astronauts in 2009, during servicing mission 4, which was Hubble’s fifth and final servicing mission. Servicing mission 4 was intended to prolong Hubble’s life for another five years. 12 years later, both Hubble and WFC3 remain in active use!

Wallace Roney (May 25, 1960 – March 31, 2020) was an American jazz (hard bop and post-bop) trumpeter. Roney took lessons from Clark Terry and Dizzy Gillespie and studied with Miles Davis from 1985 until the latter’s death in 1991. Wallace credited Davis as having helped to challenge and shape his creative approach to life as well as being his music instructor, mentor, and friend; he was the only trumpet player Davis personally mentored.

Roney was born in Philadelphia. He attended Howard University and Berklee College of Music in Boston, Massachusetts, after graduating from the Duke Ellington School of the Arts of the D. C. Public Schools, where he studied trumpet with Langston Fitzgerald of the Baltimore Symphony Orchestra. Found to have perfect pitch at the age of four, Wallace began his musical and trumpet studies at Philadelphia’s Settlement School of Music.

He studied with trumpeter Sigmund Hering of the Philadelphia Orchestra for three years. Hering regularly presented Wallace at recitals at the Settlement School, and with the Philadelphia Brass Ensemble, during his studies in Philadelphia. Wallace Roney died at the age of 59 on March 31, 2020, at St. Joseph’s University Medical Center in Paterson, New Jersey. The cause was complications arising from COVID-19.

Marshall Belford Allen (born May 25, 1924) is an American free jazz and avant-garde jazz alto saxophone player. He also performs on flute, oboe, piccolo, and EVI (an electronic valve instrument made by Steiner, Crumar company).

Allen is best known for his work with Sun Ra, having recorded and performed mostly in this context since the late 1950s, and having led Sun Ra’s Arkestra since 1993. Critic Jason Ankeny describes Marshall as “one of the most distinctive and original saxophonists of the postwar era.”

Marshall Allen was born in Louisville, Kentucky. During the Second World War he enlisted in the 92nd Infantry Division and was stationed in France. Allen studied alto saxophone in Paris and played in Europe with Art Simmons and James Moody.

He is best known for his mastery of pyrotechnic effects on the alto – he has said that he “wanted to play on a broader sound basis rather than on chords” (1971 interview with Tam Fiofori)). The opportunity came through his long association with Sun Ra, with whom he performed almost exclusively from 1958 to Ra’s death in 1993, although he did record outside the Arkestra, with Paul Bley‘s group in 1964 and Olatunji‘s group during the mid-1960s. Critic Scott Yanow has described Allen’s playing as “Johnny Hodges from another dimension”.

Since Sun Ra and John Gilmore died, Allen has led the Arkestra, and has recorded two albums as their bandleader. In May 2004, Allen celebrated his 80th birthday on stage with the Arkestra, as part of their performance at the Ninth Vision Festival in New York City. Allen gave other performances on his birthday in 2008 at Sullivan Hall and at Iridium Jazz Club in 2018, both in New York City.

Bill Robinson, nicknamed Bojangles (born Luther Robinson; May 25, 1878 – November 25, 1949 Richmond, VA) was an American tap dancer, actor, and singer, the best known and the most highly paid Black American entertainer in America during the first half of the 20th century. His long career mirrored changes in American entertainment tastes and technology. His career began in the age of minstrel shows and moved to vaudeville, Broadway theatre, the recording industry, Hollywood films, radio, and television.

According to dance critic Marshall Stearns, “Robinson’s contribution to tap dance is exact and specific. He brought it up on its toes, dancing upright and swinging”, adding a “hitherto-unknown lightness and presence”. His signature routine was the Stair Dance, in which he would tap up and down a set of stairs in a rhythmically complex sequence of steps, a routine that he unsuccessfully attempted to patent. He is also credited with having popularized the word copacetic through his repeated use of it in vaudeville and radio appearances.

He is best known today for his dancing with Shirley Temple in a series of films during the 1930s, and for starring in the musical Stormy Weather(1943), loosely based on his own life and selected for preservation in the National Film Registry. He used his popularity to challenge and overcome numerous racial barriers, including becoming:

• one of the first minstrel and vaudeville performers to appear as Black without the use of blackface makeup
• one of the earliest Black performers to perform solo, overcoming vaudeville’s two-colored rule
• an early Black headliner in Broadway shows
• the first Black performer to appear in a Hollywood film in an interracial dance team (with Shirley Temple in The Little Colonel, 1935)
• the first Black performer to headline a mixed-race Broadway production

Robinson came under heavy criticism for his apparent tacit acceptance of racial stereotypes of the era, with some critics calling him an Uncle Tom. He strongly resented this, and his biographers suggested that critics were underestimating the difficulties faced by Black performers engaging with mainstream white culture at the time, and ignoring his many efforts to overcome racial prejudice. In his public life, Robinson led efforts to:

• persuade the Dallas Police Department to hire its first Black policeman
• lobby President Franklin Delano Roosevelt during World War II for more equitable treatment of Black soldiers
• stage the first integrated public event in Miami, a fundraiser which was attended by both Black and white city residents

Robinson was a popular figure in both the Black and white entertainment worlds of his era, and is remembered for the support that he gave to fellow performers, including Fred Astaire, Lena Horne, Jesse Owens and the Nicholas Brothers. Sammy Davis Jr. and Ann Miller credited him as a teacher and mentor, Miller saying that he “changed the course of my life”. Gregory Hines produced and starred in a biographical movie about Robinson for which he won the NAACP Best Actor Award.

Thunderstorms almost spoiled this view of the spectacular 2011 June 15 total lunar eclipse. Instead, storm clouds parted for 10 minutes during the total eclipse phase and lightning bolts contributed to the dramatic sky. Captured with a 30-second exposure the scene also inspired one of the more memorable titles (thanks to the astrophotographer) in APOD’s now 25-year history. Of course, the lightning reference clearly makes sense, and the shadow play of the dark lunar eclipse was widely viewed across planet Earth in Europe, Africa, Asia, and Australia. The picture itself, however, was shot from the Greek island of Ikaria at Pezi. That area is known as “the planet of the goats” because of the rough terrain and strange looking rocks. The next total lunar eclipse will occur on Wednesday. Details: Total Lunar Eclipse on 2021 May 26