mick laBriola

Ray Barretto (April 29, 1929 – February 17, 2006NY NY) was an American percussionist and bandleader of Puerto Rican ancestry. Throughout his career as a percussionist, he played a wide variety of Latin music styles, as well as Latin jazz. His first hit, “El Watusi”, was recorded by his CharangaModerna in 1962, becoming the most successful pachanga song in the United States. In the late 1960s, Barretto became one of the leading exponents of boogaloo and what would later be known as salsa. Nonetheless, many of Barretto’s recordings would remain rooted in more traditional genres such as son cubano. A master of the descarga (improvised jam session), Barretto was a long-time member of the Fania All-Stars. His success continued into the 1970s with songs such as “Cocinando” and “Indestructible.” His last album for Fania Records, Soy dichoso, was released in 1990. He then formed the New World Spirit jazz ensemble and continued to tour and record until his death in 2006.

Jean-Baptiste Frédéric Isidor, Baron Thielemans (29 April 1922 – 22 August 2016), known professionally as Toots Thielemans, was a Belgian jazz musician. He was mostly known for his harmonica playing, as well as his guitar, whistling skills, and composing. According to jazz historian Ted Gioia, his most important contribution was in “championing the humble harmonica”, which Thielemans made into a “legitimate voice in jazz”. He eventually became the “preeminent” jazz harmonica player.

His first professional performances were with Benny Goodman‘s band when they toured Europe in 1949 and 1950. He emigrated to the U.S. in 1951, becoming a citizen in 1957. From 1953 to 1959 he played with George Shearing, and then led his own groups on tours in the U.S. and Europe. In 1961 he recorded and performed live one of his own compositions, “Bluesette“, which featured him playing guitar and whistling. In the 1970s and 1980s, he continued touring and recording, appearing with musicians such as Oscar Peterson, Ella Fitzgerald, Sarah Vaughan, Bill Evans, Dizzy Gillespie, Kenny Werner, Pat Metheny, Jaco Pastorius, Mina Mazzini, Elis Regina, Quincy Jones, George Shearing, Natalie Cole, Billy Joel, Paul Simon and Paquito D’Rivera.

Among the film soundtracks that Thielemans recorded are The Pawnbroker (1964), Midnight Cowboy (1969), The Getaway (1972), Cinderella Liberty(1973), The Sugarland Express (1974) and Looking for Mr. Goodbar (1977). His harmonica theme song for the popular Sesame Street TV show was heard for 40 years. He often performed and recorded with Quincy Jones, who once called him “one of the greatest musicians of our time.” In 2009 he was designated a Jazz Master by the National Endowment for the Arts, the highest honor for a jazz musician in the United States.

Edward Kennedy “Duke” Ellington (April 29, 1899 – May 24, 1974 DC) was an American composer, pianist, and leader of a jazz orchestra, which he led from 1923 until his death over a career spanning more than six decades.

Born in Washington, D.C., Ellington was based in New York City from the mid-1920s onward and gained a national profile through his orchestra’s appearances at the Cotton Club in Harlem. In the 1930s, his orchestra toured in Europe. Although widely considered a pivotal figure in the history of jazz, Ellington embraced the phrase “beyond category” as a liberating principle and referred to his music as part of the more general category of American Music.

Some of the jazz musicians who were members of Ellington’s orchestra, such as saxophonist Johnny Hodges, are considered among the best players in the idiom. Ellington melded them into the best-known orchestral unit in the history of jazz. Some members stayed with the orchestra for several decades. A master at writing miniatures for the three-minute 78 rpm recording format, Ellington wrote more than one thousand compositions; his extensive body of work is the largest recorded personal jazz legacy, and many of his pieces have become standards. He also recorded songs written by his bandsmen, for example Juan Tizol‘s “Caravan“, and “Perdido“, which brought a Spanish tinge to big band jazz. In the early 1940s, Ellington began a nearly thirty-year collaboration with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion. With Strayhorn, he composed many extended compositions, or suites, as well as additional short pieces. Following an appearance at the Newport Jazz Festival in July 1956, Ellington and his orchestra enjoyed a major revival and embarked on world tours. Ellington recorded for most American record companies of his era, performed in and scored several films, and composed a handful of stage musicals.

Ellington was noted for his inventive use of the orchestra, or big band, and for his eloquence and charisma. His reputation continued to rise after he died, and he was awarded a posthumous Pulitzer Prize Special Award for music in 1999.

The interaction of two doomed stars has created this spectacular ring adorned with bright clumps of gas — a diamond necklace of cosmic proportions. Fittingly known as the Necklace Nebula, this planetary nebula is located 15 000 light-years away from Earth in the small, dim constellation of Sagitta (The Arrow). The Necklace Nebula — which also goes by the less glamorous name of PN G054.2-03.4 — was produced by a pair of tightly orbiting Sun-like stars. Roughly 10 000 years ago, one of the aging stars expanded and engulfed its smaller companion, creating something astronomers call a “common envelope”. The smaller star continued to orbit inside its larger companion, increasing the bloated giant’s rotation rate until large parts of it spun outwards into space. This escaping ring of debris formed the Necklace Nebula, with particularly dense clumps of gas forming the bright “diamonds” around the ring. The pair of stars which created the Necklace Nebula remain so close together — separated by only a few million kilometres — that they appear as a single bright dot in the centre of this image. Despite their close encounter the stars are still furiously whirling around each other, completing an orbit in just over a day.  The Necklace Nebula was featured in a previously released Hubble image, but now this new image has been created by applying advanced processing techniques, making for a new and improved view of this intriguing object. The composite image includes several exposures from Hubble’s Wide Field Camera 3.

John Martin Tchicai (/tʃɪˈkaɪ/ chih-KYE; April 28, 1936 – October 8, 2012) was a Danish free jazz saxophonist and composer.

Tchicai was born in Copenhagen, Denmark, to a Danish mother and a Congolese father. The family moved to Aarhus, where he studied violin in his youth, and in his mid-teens began playing clarinet and alto saxophone, focusing on the latter. By the late 1950s he was traveling around northern Europe, playing with many musicians. In 1962, he met trumpeter Bill Dixon and saxophonist Archie Shepp at a festival in Helsinki. At their suggestion, he moved to New York City the following year, and went on to participate in the October Revolution in Jazz and join the New York Contemporary Five and the New York Art Quartet. He also played on a number of influential free jazz recordings, including Shepp’s Four for Trane, Albert Ayler‘s New York Eye and Ear Control, John Coltrane‘s Ascension, and the Jazz Composer’s Orchestra‘s Communication.

Mario Bauzá (April 28, 1911 – July 11, 1993) was a jazz, Latin, and Afro-Cuban jazz musician. He was among the first to introduce Cuban music to the United States by bringing Cuban musical styles to the New York City jazz scene. While Cuban bands had had popular jazz tunes in their repertoire for years, Bauzá’s composition “Tangá” was the first piece to blend jazz harmony and arranging technique, with jazz soloists and Afro-Cuban rhythms. It is considered the first true Afro-Cuban jazz or Latin jazz tune.

As a child he studied clarinet becoming recognized as a child prodigy on the instrument and was featured with the Havana Symphony at the age of 11. Bauzá then performed on clarinet and bass clarinet with pianist Antonio María Romeu‘s charanga (flute and violins) orchestra. This proved a fateful event as the orchestra visited New York City to record in 1926. Bauzá’s stayed with his cousin, trumpeter René Endreira, who was a Harlem resident and played with The Santo Domingo Serenaders, a band was made up of Panamanians, Cubans, and Puerto Ricans playing jazz. The teenage Bauzá was impressed with Harlem’s African American community and the freedom they had. He also witnessed a performance of George Gershwin‘s “Rhapsody in Blue” and was inspired with saxophonist Frankie Trumbauer‘s feature in the piece. Upon his return to Cuba he vowed he would return to New York City to become a jazz musician doing so in 1930 learning to play the alto saxophone while maintaining his clarinet technique. A chance encounter with vocalist Cuban vocalist Antonio Machin, who needed a trumpet player for an upcoming record date he was leading gave Bauzá an unusual opportunity. Machin was the vocalist for the Don Azpiazú Havana Casino Orchestra who had taken New York City by storm with their public performances and recent hit recording of “El Manisero,” The Peanut Vendor. Machin was offered a record date to record four tunes. Machin when he would perform solo would do so with two guitars, a trumpet, and himself on maracas. All the trumpet players that knew how to play in the Cuban style who were part of Azpiazú’s orchestra had left to return to Cuba. Faced with a dilemma Bauzá offered his services to Machin because he knew the finger positions on the horn buying a trumpet and in two weeks developed enough technique to play on the recordings. He would now devote his time to playing the instrument being inspired by Louis Armstrong. By 1933, Bauzá had been hired as lead trumpeter and musical director for drummer Chick Webb‘s Orchestra, and it was during this time with Webb that Bauzá both met fellow trumpeter Dizzy Gillespie and allegedly discovered and brought into the band singer Ella Fitzgerald.

Charley Patton (April 1891 (probable) – April 28, 1934), also known as Charlie Patton, was an American Delta blues musician. Considered by many to be the “Father of the Delta Blues”, he created an enduring body of American music and inspired most Delta blues musicians. The musicologist Robert Palmer considered him one of the most important American musicians of the twentieth century.

Patton (who was well educated by the standards of his time) spelled his name Charlie, but many sources, including record labels and his gravestone, use the spelling Charley.

Patton was born in Hinds County, Mississippi, near the town of Edwards, and lived most of his life in Sunflower County, in the Mississippi Delta. Most sources say he was born in April 1891, but the years 1881, 1885 and 1887 have also been suggested. Patton’s parentage and race also are uncertain. His parents were Bill and Annie Patton, but locally he was regarded as having been fathered by former slave Henderson Chatmon, several of whose children became popular Delta musicians, as solo performers and as members of groups such as the Mississippi Sheiks. Biographer John Fahey described Patton as having “light skin and Caucasian features.”

https://www.youtube.com/watch?v=WW-Sh4U8jOs&list=PL833FB9ECC7088468&index=2

This friendly-looking object is the result of two galaxies merging into one another, complete with a pair of eyes hiding two growing supermassive black holes and a swirling grin. Such mergers are rare in our galactic neighbourhood; Mrk 739 is close enough (astronomically speaking) to study the event in detail, and thus gain a better understanding of the dramatic processes that take place during these cosmic mergers. By using the MUSE instrument on ESO’s Very Large Telescope, the team of astronomers, led by master’s student Dusán Tubín at the Pontificia Universidad Católica de Chile, were able to study the effects of both the merger and the radiation emitted by the growing gigantic black holes. Their study answers questions about the motion of the galaxies, the age of their stars, and the elements they are made up of. They have found that one of these galaxies is much older than its companion, and that their merging process is at an early stage. MUSE is a 3D spectrograph that takes images — known as “datacubes” — of the object being observed over thousands of wavelengths. With MUSE, astronomers are therefore able to map in great detail the properties of the objects they study, because each individual pixel contains an impressive amount of information. Obtaining these exciting insights into galaxy merging and evolution with MUSE is enough to make anyone smile.

James Lee Keltner (born April 27, 1942) is an American drummer known primarily for his session work. He was characterized by Bob Dylan biographer Howard Sounes as “the leading session drummer in America”.

Keltner was initially inspired to start playing because of an interest in jazz, but the popularity of jazz was declining during the late 1950s and early 1960s, and it was the explosion of pop/rock in the mid-1960s that enabled him to break into recording work in Los Angeles. His first gig as a session musician was recording “She’s Just My Style” for the pop group Gary Lewis and the Playboys.Keltner’s music career was hardly paying a living, and for several years at the outset he was supported by his wife. Toward the end of the 1960s, he finally began getting regular session work and eventually became one of the busiest drummers in Los Angeles. His earliest credited performances on record were with Gabor Szabo on the 1968 album Bacchanal. In 1968, Keltner was also working in a music shop in Pasadena just down the street from the old Ice House coffeehouse when he was recruited to play drums in a “psychedelic” vocal group named “MC Squared” along with Michael Crowley, Michael Clough, Linda Carey, (all from the folk group The Back Porch Majority) and session guitarist/bassist Randy Cierley Sterling. They were signed by Mo Ostin and recorded an album for Warner/Reprise originally titled “MC Squared” which has later been re-mastered and re-released in 2012 with the album title “Tantalizing Colors.” They appeared live that same year on the Hugh Hefner / Playboy Magazine television show Playboy After Dark playing two songs: an original by MC Squared members Michael Clough and Michael Crowley titled “I Know You” and a cover version of the Fred Neil song Everybody’s Talkin’. Both Playboy After Dark performances with Keltner playing drums can currently be viewed on YouTube.

It was his work with Leon Russell playing on Delaney & Bonnie’s Accept No Substitute that attracted the attention of Joe Cocker, who recruited Russell and everyone else he could out of the Delaney & Bonnie band for his Mad Dogs & Englishmen tour. Playing with Joe Cocker led to work in 1970 and 1971, on records by Carly Simon (No Secrets), Barbra Streisand (Barbra Joan Streisand), Booker T. Jones (Booker T. & Priscilla), George Harrison (The Concert for Bangladesh), and John Lennon (Imagine).

Krzysztof Komeda (born Krzysztof Trzciński; 27 April 1931 – 23 April 1969) was a Polish film music composer and jazz pianist. Perhaps best known for his work in film scores, Komeda wrote the scores for Roman Polanski’s films Knife in the Water (1962), Cul-de-sac (1966), The Fearless Vampire Killers (1967), and Rosemary’s Baby (1968). Komeda’s album Astigmatic (1965) is widely regarded as one of the most important European jazz albums; British critic Stuart Nicholson describes the album as “marking a shift away from the dominant American approach with the emergence of a specific European aesthetic.”

Conrad Henry Kirnon (April 27, 1927 – November 30, 1994 Tuckahoe, New York) known professionally as Connie Kay, was an American jazz and R&B drummer, who was a member of the Modern Jazz Quartet. Self-taught on drums, he began performing in Los Angeles in the mid-1940s. His drumming is recorded in The Hunt, the recording of a famous Los Angeles jam session featuring the dueling tenors of Dexter Gordon and Wardell Gray on July 6, 1947. He recorded with Lester Young‘s quintet from 1949 to 1955 and with Stan Getz, Coleman Hawkins, Charlie Parker, and Miles Davis.

Kay did R&B sessions for Atlantic Records in the early to mid-1950s, and he was featured on hit records such as Shake, Rattle and Roll by Big Joe Turner and Ruth Brown‘s (Mama) He Treats Your Daughter Mean.

Kay joined the Modern Jazz Quartet in 1955, replacing original drummer Kenny Clarke. He remained through the group’s dissolution in 1974 and occasional reunions into the 1990s. In addition to his MJQ compatriots, he had an enduring partnership with cool jazz altoist Paul Desmond through the first half of the 1960s. He played drums on several of Irish singer-songwriter Van Morrison‘s albums: Astral Weeks, one song on Saint Dominic’s Preview, and four songs on Tupelo Honey. Kay was known for incorporating percussion instruments alongside his drum kit, such as timpani, small cymbals, triangle, bell tree, and darbukas, the latter referred to as “exotic-looking” drums in a 2006 article.

In 1989, Kay received an honorary doctorate of music from Berklee College of Music. Kay had a stroke in 1992, but recovered enough to resume performing. He died of cardiac arrest in Manhattan in 1994 at the age of 67. He was survived by his wife, Addie, and two sons. He also played with Benny Goodman’ Orchestra at the Carnegie Hall 40th. Anniversary Concert on January 17.,1978. Kay never recorded as a session leader.

These three bright nebulae are often featured on telescopic tours of the constellation Sagittarius and the crowded starfields of the central Milky Way. In fact, 18th century cosmic tourist Charles Messiercataloged two of them; M8, the large nebula below and right of center, and colorful M20 near the top of the frame. The third emission region includes NGC 6559, left of M8 and separated from the larger nebula by a dark dust lane. All three are stellar nurseries about five thousand light-years or so distant. Over a hundred light-years across the expansive M8 is also known as the Lagoon Nebula. M20’s popular moniker is the Trifid. Glowing hydrogen gas creates the dominant red color of the emission nebulae. But for striking contrast, blue hues in the Trifid are due to dust reflected starlight. The broad interstellarscape spans almost 4 degrees or 8 full moons on the sky.

Lakshminarayana Shankar (born 26 April 1950), better known as L. Shankar, Shankar and Shenkar, is an Indian violinist, singer and composer. Shankar was born in Madras, India, and raised in Ceylon (current-day Sri Lanka), where his father V. Lakshminarayana, a violinist and singer, worked as a teacher at the Jaffna College of Music. He learned to play the violin and first performed in public in a Ceylonese temple at the age of seven. In 1969, he went to the United States, where he studied ethnomusicology at Wesleyan University After performing with various Indian singers for several years, Shankar founded a trio with his brothers L. Vaidyanathan and L. Subramaniam that performed throughout India.

While attending college at Wesleyan University, he met jazz musicians like Ornette Coleman, Jimmy Garrison, and John McLaughlin. With McLaughlin, Shankar founded the group Shakti in 1975, one of the early groups in which Eastern and Western musical traditions met. They released three albums: Shakti (1975), A Handful of Beauty (1976), and Natural Elements (1977).

Theodore Marcus Edwards (April 26, 1924 – April 20, 2003) was an American jazz tenor saxophonist. Edwards was born in Jackson, Mississippi, United States. He learned to play at a very early age, first on alto saxophone and then clarinet. His uncle sent for him to come to Detroit to live because he felt opportunities were better. Due to illness in the family, he went back to Jackson and ventured to Alexandria, Louisiana. He was persuaded by Ernie Fields to join his band after going to Tampa, Florida. Edwards had planned to go to New York City, but Ernie Fields convinced him he could get there by way of Washington, DC, if he worked with his band. Teddy ended up at the “Club Alabam” on Central Avenue in Los Angeles, which later became his city of residence.

Teddy Edwards played with many jazz musicians, including his personal friend Charlie Parker, Roy Milton, Wynonie Harris, Vince Guaraldi, Joe Castroand Ernie Andrews. A 1947 recording with Dexter Gordon, The Duel, was an early challenge to another saxophonist an approach he maintained whenever possible, including a recording with Houston Person. One such duel took place in the 1980s at London’s 100 Club with British tenor Dick Morrissey. In 1964, Edwards played with Benny Goodman at Disneyland, and at the 1964 New York World’s Fair.