mick laBriola

Image obtained with ESO’s Very Large Telescope (VLT) of the spiral galaxy observed by the European Commissioner for Science and Research, Janez Potocnik, when at Paranal. NGC 134 is a barred spiral with its spiral arms loosely wrapped around a bright, bar-shaped central region. The red features lounging along its spiral arms are glowing clouds of hot gas in which stars are forming, so-called HII regions. The galaxy also shows prominent dark lanes of dust across the disc, obscuring part of the galaxy’s starlight. The image is a colour composite based on data obtained in the B, V, R, and H- filters with the FORS2 instrument attached to Antu, UT1 of the VLT. During his stay on Paranal, the Commissioner, together with the observatory staff, prepared the observations of this Galaxy. At night, Janez Potocnik initiated these observations, and checked the quality of the images as they appeared on the control screens. Because the high-sensitivity detectors used on the VLT measure only the intensity of the light reaching their pixels, the colour information is acquired by taking a sequence of images through different coloured filters. Consequently, the Commissioner could not immediately see the attached image, but only black-and-white version of it. The final colour processing was done by Haennes Heyer and Henri Boffin, with input from Yuri Beletsky (all ESO).

James Emory Garrison (March 3, 1934 – April 7, 1976) was an American jazz double bassist. He is best remembered for his association with John Coltrane from 1961 to 1967.

Garrison was raised in both Miami, Florida and Philadelphia where he learned to play bass. Garrison came of age in the 1950s Philadelphia jazzscene, which included fellow bassists Reggie Workman and Henry Grimes, pianist McCoy Tyner and trumpeter Lee Morgan. Between 1957 and 1962, Garrison played and recorded with trumpeter Kenny Dorham; clarinetist Tony Scott; drummer Philly Joe Jones; and saxophonists Bill Barron, Lee Konitz, and Jackie McLean, as well as Curtis Fuller, Benny Golson, Lennie Tristano, and Pharoah Sanders, among others. In 1961, he recorded with Ornette Coleman, appearing on Coleman’s albums Ornette on Tenor and The Art of the Improvisors. He also worked with Walter Bishop, Jr. and Cal Massey during the early years of his career.

He formally joined Coltrane’s quartet in 1962, replacing Workman. The long trio blues “Chasin’ the Trane” is one of his first recorded performances with Coltrane and Elvin Jones. Garrison performed on many Coltrane recordings, including A Love Supreme. In concert with Coltrane, Garrison would often play unaccompanied improvised solos, sometimes as song introductions prior to the other musicians joining in. After John Coltrane’s death, Garrison worked and recorded with Alice Coltrane, Hampton Hawes, Archie Shepp, Clifford Thornton and groups led by Elvin Jones.

Garrison also worked with Ornette Coleman during the 1960s, first recording with him in 1961 on Ornette on Tenor. He and Elvin Jones recorded with Coleman in 1968, and have been credited with eliciting more forceful playing than usual from Coleman on the albums New York Is Now! and Love Call.

Dupree Bolton (3 March 1929 – 5 June 1993) was a jazz trumpeter from Oklahoma City, Oklahoma, known for his recordings with Harold Land and Curtis Amy.

Dupree Bolton was born in Oklahoma City, Oklahoma on 3 March 1929. His father was likewise a musician who earned a meager living working in the defense industry. The Bolton family later moved to Southern California where Dupree spent most of his childhood and teenage years. Dupree picked up the trumpet at an early age, becoming a professional by the time he was around 15 – running away from home to join Jay McShann’s band.

Arthel Lane “Doc” Watson (March 3, 1923 – May 29, 2012) was an American guitarist, songwriter, and singer of bluegrass, folk, country, blues, and gospel music. Watson won seven Grammy awards as well as a Grammy Lifetime Achievement Award. Watson’s fingerstyle and flatpicking skills, as well as his knowledge of traditional American music, were highly regarded. Blind from a young age, he performed with his son, guitarist Merle Watson, for over 15 years until Merle’s death in 1985 in an accident on the family farm.

Watson was born in Deep Gap, North Carolina, United States. According to Watson on his three-CD biographical recording Legacy, he got the nickname “Doc” during a live radio broadcast when the announcer remarked that his given name Arthel was odd and he needed an easy nickname. A fan in the crowd shouted “Call him Doc!” presumably in reference to the literary character Sherlock Holmes‘s sidekick Doctor Watson. The name stuck.

Nicknamed the Southern Pinwheel, Messier 83 (or NGC 5236) is a stunning face-on spiral galaxy located about 15 million light-years away in the southern constellation of Hydra. Its spiral arms are lined with dark lanes of dust and peppered with reddish, star-forming clouds of hydrogen gas. One of the deepest images ever taken of the Southern Pinwheel (combining more than 11 hours of exposure time), this view was captured with the Dark Energy Camera (DECam), which was built by the US Department of Energy (DOE) and is mounted on the Víctor M. Blanco 4-meter Telescope at Cerro Tololo Inter-American Observatory (CTIO), a Program of NSF’s NOIRLab. Numerous background galaxies, which lie much farther away than Messier 83, appear around the edges of the image.

Larry Eugene Carlton (born March 2, 1948) is an American guitarist who built his career as a studio musician in the 1970s and ’80s for acts such as Steely Dan and Joni Mitchell. He has participated in thousands of recording sessions, recorded on hundreds of albums in many genres, for television and movies, and on more than 100 gold records. He has been a member of the jazz fusion group the Crusaders, the smooth jazz band Fourplay, and has maintained a long solo career.^[

Carlton was born in Torrance, California in 1948 and at the age of six began guitar lessons. His interest in jazz came from hearing guitarist Joe Passon the radio. From Pass he moved on to jazz guitarists Barney Kessel and Wes Montgomery and blues guitarist B.B. King. He went to junior college and Long Beach State College while playing professionally at clubs in Los Angeles.

During the 1970s, he found steady work as a studio musician on electric and acoustic guitar in a variety of genres: pop, jazz pop, rock, rhythm and blues, soul and country. Carlton appeared on hundreds of recording sessions with Steely Dan, Joni Mitchell, Linda Ronstadt, Michael Jackson, Quincy Jones, Bobby Bland, Sammy Davis, Jr., Paulinho Da Costa, Charly García, the Fifth Dimension, Herb Alpert, Christopher Cross, Dolly Parton, Andy Williams, and the Partridge Family. Carlton performed on Mike Post‘s 1981 “Theme from Hill Street Blues“.

Lewis Allan Reed (March 2, 1942 – October 27, 2013 NY, NY) was an American musician, singer, songwriter and poet. He was the guitarist, singer and principal songwriter for the rock band the Velvet Underground and had a solo career that spanned five decades. The Velvet Underground was not a commercial success during its existence, but became regarded as one of the most influential bands in the history of underground and alternative rock music. Reed’s distinctive deadpan voice, poetic and transgressive lyrics, and experimental guitar playing were trademarks throughout his long career.

After leaving the band in 1970, Reed released twenty solo studio albums. His second, Transformer (1972), was produced by David Bowie and arranged by Mick Ronson, and brought him mainstream recognition. The album is considered an influential landmark of the glam rock genre, anchored by Reed’s most successful single, “Walk on the Wild Side“. After Transformer, the less commercial but critically acclaimed Berlinpeaked at No. 7 on the UK Albums Chart. Rock ‘n’ Roll Animal (a live album released in 1974) sold strongly, and Sally Can’t Dance (1974) peaked at No. 10 on the Billboard 200; but for a long period after, Reed’s work did not translate into sales, leading him deeper into drug addiction and alcoholism. Reed cleaned up in the early 1980s, and gradually returned to prominence with New Sensations (1984), reaching a critical and commercial career peak with his 1989 album New York.

Reed participated in the reformation of the Velvet Underground in the 1990s, and made several more albums, including a collaboration album with John Cale titled Songs for Drella which was a tribute to their former mentor Andy Warhol. Magic and Loss (1992) would become Reed’s highest-charting album on the UK Albums Chart, peaking at No. 6.

He contributed music to two theatrical interpretations of 19th century writers, one of which he developed into an album titled The Raven. He married his third wife Laurie Anderson in 2008, and recorded the collaboration album Lulu with Metallica. He died in 2013 of liver disease. Reed has been inducted into the Rock and Roll Hall of Fame twice; as a member of the Velvet Underground in 1996 and as a solo act in 2015.

Douglas Watkins (March 2, 1934 – February 5, 1962) was an American jazz double bassist. He was best known for being an accompanist to various hard bop artists in the Detroit area, including Donald Byrd and Jackie McLean.

Watkins was born in Detroit, Michigan, United States. An original member of the Jazz Messengers, he later played in Horace Silver‘s quintet and freelanced with Gene Ammons, Kenny Burrell, Donald Byrd, Art Farmer, Jackie McLean, Hank Mobley, Lee Morgan, Sonny Rollins, and Phil Woodsamong others. Some of Watkins’ best-known work can be heard, when as a 22-year-old, he appeared on the 1956 album, Saxophone Colossus by tenor saxophonist Sonny Rollins, with Max Roach and Tommy Flanagan. Watkins died in an automobile accident near Holbrook, Arizona, on February 5, 1962, while traveling from Arizona to San Francisco to meet drummer Philly Joe Jones for a gig.

https://www.youtube.com/watch?v=qXTWneYrOp4&list=PLelzTeIDCxpM3K3ePGLvUF_ZglxzZuVSu

Charles W. Thompson, who became known as Maxwell Street Jimmy Davis (March 2, 1925 – December 28, 1995) was an American electric blues singer, guitarist and songwriter. He played with John Lee Hooker, recorded an album for Elektra Records in the mid-1960s, and remained a regular street musician on Maxwell Street, in Chicago, for over 40 years. He is best remembered for his songs “Cold Hands” and “4th and Broad”.He was also known as Jewtown Jimmy.

Davis was born Charles W. Thompson, in Tippo, Mississippi. In his teens, he learned to play the guitar from John Lee Hooker, and the two of them played concerts together in Detroit in the 1940s, following Davis’s relocation there in 1946. Prior to his move to Detroit, he had worked in traveling minstrel shows, including the Rabbit Foot Minstrels. Davis lived for nearly a year in Cincinnati, Ohio, before he moved to Chicago in 1953. He started performing regularly in the marketplace area of Maxwell Street, playing a traditional and electrified style of Mississippi blues.

In 1952, he recorded two songs, “Cold Hands” and “4th and Broad”, under his real name, for Sun Records. They were offered to Chess Records and Bullet Records but were not released.

It is uncertain when he took the name Jimmy Davis, but in 1964, under that pseudonym, he recorded a couple of tracks for Testament Records. They appeared on the 1965 Testament compilation album Modern Chicago Blues. His songs were “Crying Won’t Make Me Stay” and “Hanging Around My Door”. The album also included a track from another Chicago street performer, John Lee Granderson, and more established artists, such as Robert Nighthawk, Big Walter Horton, and Johnny “Man” Young. The music journalist Tony Russell wrote that it was “music of great charm and honesty”.

Edward F. Davis (March 2, 1922 – November 3, 1986), known professionally as Eddie “Lockjaw” Davis, was an American jazz tenor saxophonist. Davis played with Cootie Williams, Lucky Millinder, Andy Kirk, Eddie Bonnemere, Louis Armstrong, and Count Basie, as well as leading his own bands and making many recordings as a leader. He played in the swing, bop, hard bop, Latin jazz, and soul jazz genres. Some of his recordings from the 1940s also could be classified as rhythm and blues.

His 1946 band, Eddie Davis and His Beboppers, featured Fats Navarro, Al Haig, Huey Long, Gene Ramey and Denzil Best.

In the 1950s, he was playing with Sonny Stitt, while from 1960 to 1962, he and fellow tenor saxophonist Johnny Griffin led a quintet. From the mid-1960s, Davis and Griffin also performed together as part of The Kenny Clarke-Francy Boland Big Band, along with other, mainly European, jazz musicians. Davis died of Hodgkin’s lymphoma cancer in Culver City, California, at the age of 64.

NGC 2336 is the quintessential galaxy — big, beautiful and blue — and it is captured here by the NASA/ESA Hubble Space Telescope. The barred spiral galaxy stretches an immense 200 000 light-years across and is located approximately 100 million light years away in the northern constellation of Camelopardalis (The Giraffe). Its spiral arms are glittered with young stars, visible in their bright blue light. In contrast, the redder central part of the galaxy is dominated by older stars. NGC 2336 was discovered in 1876 by German astronomer Wilhelm Tempel, using a 28-centimetre telescope. This Hubble image is so much better than the view Tempel would have had — Hubble’s main mirror is 2.4 metres across, nearly ten times the size of the telescope Tempel used. In 1987, NGC 2336 experienced a Type-Ia supernova, the only observed supernova in the galaxy since its discovery 111 years earlier.

Winston Rodney OD (born 1 March 1945), better known by the stage name Burning Spear, is a Jamaican roots reggae singer-songwriter, vocalist and musician. Burning Spear is a Rastafarian and one of the most influential and long-standing roots artists to emerge from the 1970s.

Winston Rodney was born in Saint Ann’s Bay, Saint Ann, Jamaica. As a young man he listened to the R&B, soul and jazz music transmitted by the US radio stations whose broadcasts reached Jamaica. Curtis Mayfield is cited by Rodney as a major US musical influence along with James Brown. Rodney was deeply influenced as a young man by the views of the political activist Marcus Garvey, especially with regard to the exploration of the themes of Pan-Africanism and self-determination. In 1969, Bob Marley, who was also from Saint Ann, advised Rodney to approach Coxsone Dodd‘s Studio One label after Rodney sought his advice during a casual conversation.

Burning Spear was originally Rodney’s group, named after a military award given by Jomo Kenyatta, the first President of an independent Kenya, and included bass singer Rupert Willington. The duo auditioned for Dodd in 1969 which led to the release of their debut single “Door Peep” (the session also included Cedric Brooks on saxophone). They were then joined by tenor Delroy Hinds. The trio recorded several more singles for Dodd, and two albums, before they moved on to work with Jack Ruby in 1975. Their first recording with Ruby, “Marcus Garvey”, was intended as an exclusive track for Ruby’s Ocho Rios–based Hi-Power sound system, but was released as a single, giving them an immediate hit, and was followed by “Slavery Days”. These recordings featured the backing band The Black Disciples, which included Earl “Chinna” Smith, Valentine Chin, Robbie Shakespeare and Leroy Wallace. The group worked with Ruby on their third album, Marcus Garvey (1975), which was immediately successful and led to a deal with Island Records to give the album a wider release.

Ralph Towner (born March 1, 1940, Chehalis, Washington) is an American multi-instrumentalist, composer, arranger and bandleader. He plays the twelve-string guitar, classical guitar, piano, synthesizer, percussion and trumpet. Towner was born into a musical family in Chehalis, Washington. His mother was a piano teacher and his father a trumpet player. Towner learned to improvise on the piano at the age of three. He began his career as a conservatory-trained classical pianist, attending the University of Oregon from 1958-1963, where he also studied composition with Homer Keller. He studied classical guitar at the Vienna Academy of Music with Karl Scheit from 1963-64 and 1967-68.

He joined world music pioneer Paul Winter‘s “Consort” ensemble in the late 1960s. He first played jazz in New York City in the late 1960s as a pianist and was strongly influenced by the renowned jazz pianist Bill Evans. He began improvising on classical and 12-string guitars in the late 1960s/early 1970s and formed alliances with musicians who had worked with Evans, including flautist Jeremy Steig, bassists Eddie Gómez, Marc Johnson, Gary Peacock, and drummer Jack DeJohnette.

Along with bandmates Paul McCandless, Glen Moore, and Collin Walcott, Towner left the Winter Consort in 1970 to form the group Oregon, which over the course of the 1970s issued a number of highly influential records mixing folk music, Indian classical forms, and avant-garde jazz-influenced free improvisation. At the same time, Towner began a longstanding relationship with the influential ECM record label, which has released virtually all of his non-Oregon recordings since his 1973 debut as a leader Trios / Solos.

Benny Powell (March 1, 1930 – June 26, 2010) was an American jazz trombonist. He played both standard (tenor) trombone and bass trombone.

Born Benjamin Gordon Powell Jr in New Orleans, Louisiana, he first played professionally at the age of 14, and at 18 began playing with Lionel Hampton. In 1951 he left Hampton’s band and began playing with Count Basie, in whose orchestra he would remain until 1963. Powell takes the trombone solo in the bridge of Basie’s 1955 recording of “April in Paris“.

After leaving Basie, he freelanced in New York City. From 1966 to 1970 he was a member of the Thad Jones–Mel Lewis Jazz Orchestra, playing on Monday nights at the Village Vanguard. Among other engagements, he played in the house band of the Merv Griffin Show, and when the show moved to Los Angeles, California, in 1970 Powell also relocated there. He did extensive work as a session musician, including with Abdullah Ibrahim, John Carter, and Randy Weston. Later in his career Powell worked as an educator, including as part of the Jazzmobile project. Having moved back to New York in the 1980s, he began teaching at the New School for Jazz and Contemporary Music in 1994.

He died in a Manhattan hospital at the age of 80, following back surgery.