mick laBriola

Daniel Barenboim (German: [ˈbaːʁənbɔʏm]; Hebrew: דניאל בארנבוים‎; born 15 November 1942) is a pianist and conductor who is a citizen of Argentina, Israel, Palestine, and Spain.

The current general music director of the Berlin State Opera and the Staatskapelle Berlin, Barenboim previously served as Music Director of the Chicago Symphony Orchestra, the Orchestre de Paris and La Scala in Milan. Barenboim is known for his work with the West–Eastern Divan Orchestra, a Seville-based orchestra of young Arab and Israeli musicians, and as a resolute critic of the Israeli occupation of Palestinian territories.

Barenboim has received many awards and prizes, including seven Grammy awards, an honorary Knight Commander of the Order of the British Empire, France’s Légion d’honneur both as a Commander and Grand Officier, and the German Großes Bundesverdienstkreuz mit Stern und Schulterband. Together with the Palestinian-American scholar Edward Said, he was given Spain’s Prince of Asturias Concord Award. Barenboim is a polyglot, fluent in Spanish, Hebrew, English, French, Italian, and German. A self-described Spinozist, he is significantly influenced by Spinoza‘s life and thought.

Jerome Richardson (December 25, 1920 – June 23, 2000) was an American jazz musician, tenor saxophonist, and flute player, who also played soprano sax, alto sax, baritone sax, clarinet, bass clarinet, alto flute and piccolo. He played with Charles Mingus, Lionel Hampton, Billy Eckstine the Thad Jones/Mel Lewis Big Band, Kenny Burrell, and later with Earl Hines‘ small band.

Richardson was born in Oakland, California, and died in Englewood, New Jersey of heart failure at the age of 79.

Gus Johnson (November 15, 1913 – February 6, 2000) was an American swing drummer in various jazz bands, born in Tyler, Texas, United States. After learning to play drums from his next-door neighbor, Johnson occasionally played professionally at the age of ten in the Lincoln Theater, and performed in various local groups, most notable McDavid’s Blue Rhythm Band. Upon graduating from Booker T. Washington High School, Johnson moved to Kansas City, where he took up drumming full-time. He joined Jay McShann‘s Orchestra in 1938, with his music career being interrupted by his conscription into the military in 1943.

In 1945, Johnson returned from his stint in the military, and relocated to Chicago to perform in the Jesse Miller Band. Johnson played on Willie Dixon’s debut album, ‘Willie’s Blues.’ He subsequently played alongside Count Basie and was recorded on the album Basie Rides Again in 1952. Following a recovery from appendicitis Johnson was featured in numerous groups and dozens of recordings in the 1960s. In 1972, his former bandmates from Jay McShann’s Orchestra reconvened to record Going to Kansas City. Although Johnson continued to tour into the 1980s, he developed Alzheimer’s disease in 1989, which he struggled with until his death on February 6, 2000.

https://www.youtube.com/watch?v=XThIVujMacQ

This NASA/ESA Hubble Space Telescope image features the galaxy LRG-3-817, also known as SDSS J090122.37+181432.3. The galaxy, its image distorted by the effects of gravitational lensing, appears as a long arc to the left of the central galaxy cluster.

Gravitational lensing occurs when a large distribution of matter, such as a galaxy cluster, sits between Earth and a distant light source. As space is warped by massive objects, the light from the distant object bends as it travels to us and we see a distorted image of it. This effect was first predicted by Einstein’s general theory of relativity.

Strong gravitational lenses provide an opportunity for studying properties of distant galaxies, since Hubble can resolve details within the multiple arcs that are one of the main results of gravitational lensing. An important consequence of lensing distortion is magnification, allowing us to observe objects that would otherwise be too far away and too faint to be seen. Hubble makes use of this magnification effect to study objects beyond the sensitivity of its 2.4-metre-diameter primary mirror, showing us the most distant galaxies humanity has ever encountered.

This lensed galaxy was found as part of the Sloan Bright Arcs Survey, which discovered some of the brightest gravitationally lensed high-redshift galaxies in the night sky.

Stanley Dural Jr. (November 14, 1947 – September 24, 2016), better known by his stage name Buckwheat Zydeco, was an American accordionist and zydeco musician. He was one of the few zydeco artists to achieve mainstream success. His music group was formally billed as Buckwheat Zydeco and Ils Sont Partis Band (“Ils Sont Partis” being French for “They have left”), but they often performed as merely Buckwheat Zydeco.

The New York Times said: “Stanley ‘Buckwheat’ Dural leads one of the best bands in America. A down-home and high-powered celebration, meaty and muscular with a fine-tuned sense of dynamics…propulsive rhythms, incendiary performances.” USA Today called him “a zydeco trailblazer.”Buckwheat Zydeco performed with famous musicians such as Eric Clapton (with whom he also recorded), U2 and the Boston Pops. The band performed at the closing ceremonies of the 1996 Summer Olympics to a worldwide audience of three billion people. Buckwheat performed for President Clinton twice, celebrating both of his inaugurations. The band appeared on the Late Show with David Letterman, CNN, The Today Show, MTV, NBC News, CBS Morning News, National Public Radio’s Mountain Stage, and Late Night with Jimmy Fallon.

George Andrew Cables (born November 14, 1944) is an American jazz pianist and composer. Cables was born in New York City on November 14, 1944. He was initially taught piano by his mother. He then studied at the High School of Performing Arts and later at Mannes College (1963–65). He formed the Jazz Samaritans at the age of 18 – a band that included Billy Cobham, Steve Grossman, and Clint Houston. Cables’ early influences on piano were Thelonious Monk and Herbie Hancock. Cables has played with Art Blakey, Sonny Rollins, Dexter Gordon, Art Pepper, Joe Henderson, and many other well-established jazz musicians. His own records include the 1980 Cables’ Vision with Freddie Hubbard among others.

Billy Bauer (November 14, 1915 – June 16, 2005) was an American jazz guitarist. William Henry Bauer was born in New York City. He played ukulele and banjo as a child before switching to guitar. He played with the Jerry Wald band and recorded with Carl Hoff and His Orchestra in 1941^[2] before joining Woody Herman in 1944 as a member of the First Herd. In 1946 he played with Benny Goodman and Jack Teagarden.

Working in small groups led by bassist Chubby Jackson and trombonist Bill Harris, Bauer established himself as a soloist in the bebop movement.

In 1946 he began working with Lennie Tristano. Tristano and Bauer enjoyed a natural synergy in their style and approach. Their development of “intuitive music” led to the 1949 session which included “Intuition“, and “Digression”. He was a member of the NBC Tonight Show band in New York City and played in the Today Show band at the start of early television.

Bauer continued his pioneering guitar work in a partnership with Lee Konitz, whose avant-garde saxophone work was a perfect match for Bauer’s guitar. The two musicians’ dialogue crossed styles from bop and cool to the avant-garde. Their recordings have been described as “some of the most beautiful duet recordings in jazz”. “Duet For Saxophone and Guitar” was an unusual instrument pairing which has been described as redefining the role of jazz guitar.

Aaron Copland (/ˈkoʊplənd/, KOHP-lənd; November 14, 1900 – December 2, 1990 Brooklyn, NY) was an American composer, composition teacher, writer, and later a conductor of his own and other American music. Copland was referred to by his peers and critics as “the Dean of American Composers”. The open, slowly changing harmonies in much of his music are typical of what many people consider to be the sound of American music, evoking the vast American landscape and pioneer spirit. He is best known for the works he wrote in the 1930s and 1940s in a deliberately accessible style often referred to as “populist” and which the composer labeled his “vernacular” style. Works in this vein include the ballets Appalachian Spring, Billy the Kid and Rodeo, his Fanfare for the Common Man and Third Symphony. In addition to his ballets and orchestral works, he produced music in many other genres, including chamber music, vocal works, opera and film scores.

After some initial studies with composer Rubin Goldmark, Copland traveled to Paris, where he first studied with Isidor Philipp and Paul Vidal, then with noted pedagogue Nadia Boulanger. He studied three years with Boulanger, whose eclectic approach to music inspired his own broad taste. Determined upon his return to the U.S. to make his way as a full-time composer, Copland gave lecture-recitals, wrote works on commission and did some teaching and writing. However, he found that composing orchestral music in the modernist style, which he had adopted while studying abroad, was a financially contradictory approach, particularly in light of the Great Depression. He shifted in the mid-1930s to a more accessible musical style which mirrored the German idea of Gebrauchsmusik (“music for use”), music that could serve utilitarian and artistic purposes. During the Depression years, he traveled extensively to Europe, Africa, and Mexico, formed an important friendship with Mexican composer Carlos Chávez and began composing his signature works.

During the late 1940s, Copland became aware that Stravinsky and other fellow composers had begun to study Arnold Schoenberg‘s use of twelve-tone (serial) techniques. After he had been exposed to the works of French composer Pierre Boulez, he incorporated serial techniques into his Piano Quartet(1950), Piano Fantasy (1957), Connotations for orchestra (1961) and Inscape for orchestra (1967). Unlike Schoenberg, Copland used his tone rows in much the same fashion as his tonal material—as sources for melodies and harmonies, rather than as complete statements in their own right, except for crucial events from a structural point of view. From the 1960s onward, Copland’s activities turned more from composing to conducting. He became a frequent guest conductor of orchestras in the U.S. and the UK and made a series of recordings of his music, primarily for Columbia Records.

The Tarantula Nebula, also known as 30 Doradus, is more than a thousand light-years in diameter, a giant star forming region within nearby satellite galaxy the Large Magellanic Cloud. About 180 thousand light-years away, it’s the largest, most violent star forming region known in the whole Local Group of galaxies. The cosmic arachnid sprawls across the top of this spectacular view, composed with narrowband filter data centered on emission from ionized hydrogen and oxygen atoms. Within the Tarantula (NGC 2070), intense radiation, stellar winds and supernova shocks from the central young cluster of massive stars, cataloged as R136, energize the nebular glow and shape the spidery filaments. Around the Tarantula are other star forming regions with young star clusters, filaments, and blown-out bubble-shaped clouds. In fact, the frame includes the site of the closest supernova in modern times, SN 1987A, right of center. The rich field of view spans about 2 degrees or 4 full moons, in the southern constellation Dorado. But were the Tarantula Nebula closer, say 1,500 light-years distant like the local star forming Orion Nebula, it would take up half the sky.

Idris Muhammad (Arabic: إدريس محمد‎; born Leo Morris; November 13, 1939 – July 29, 2014) was an American jazz drummer who recorded with Ahmad Jamal, Lou Donaldson, Pharoah Sanders, and Tete Montoliu.

Born Leo Morris in New Orleans, he grew up in the city’s 13th Ward. He showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s “Blueberry Hill“.

He toured with Sam Cooke, and later worked with Jerry Butler and Curtis Mayfield, mostly working in R&B until the mid-1960s, before going on to work more frequently in jazz. Muhammad was an endorser of Istanbul Agop Cymbals. He died of kidney failure, aged 74, in 2014.

https://www.youtube.com/watch?v=syJHsOsKA0M

Pascal-Emmanuel Sinamoyi Tabu (13 November 1940 – 30 November 2013), better known as Tabu Ley Rochereau, was a leading African rumba singer-songwriter from the Democratic Republic of the Congo. He was the leader of Orchestre Afrisa International, as well as one of Africa’s most influential vocalists and prolific songwriters. Along with guitarist Dr Nico Kasanda, Tabu Ley pioneered soukous (African rumba) and internationalised his music by fusing elements of Congolese folk music with Cuban, Caribbean and Latin American rumba. He has been described as “the Congolese personality who, along with Mobutu, marked Africa’s 20th century history.” He was dubbed “the African Elvis” by the Los Angeles Times. After the fall of the Mobutu regime, Tabu Ley also pursued a political career. His musical career ran parallel to the other great Congolese rhumba bandleader and rival Franco Luambo Makiadi who ran the band TPOK Jazz throughout the 1960s, 1970s and ’80s.

During his career, Tabu Ley composed up to 3,000 songs and produced 250 albums.

Hampton Barnett Hawes, Jr. (November 13, 1928 – May 22, 1977) was an American jazz pianist. He was the author of the memoir Raise Up Off Me, which won the Deems-Taylor Award for music writing in 1975.

Hampton Hawes was born on November 13, 1928, in Los Angeles, California. His father, Hampton Hawes, Sr., was minister of Westminster Presbyterian Church in Los Angeles. His mother, the former Gertrude Holman, was Westminster’s church pianist. Hawes’ first experience with the piano was as a toddler sitting on his mother’s lap while she practiced. He was reportedly able to pick out fairly complex tunes by the age of three.

https://www.youtube.com/watch?v=PUuJpbDnebQ

Benjamin “Bennie” Moten (November 13, 1894 – April 2, 1935) was an American jazz pianist and band leader born and raised in Kansas City, Missouri. He led the Kansas City Orchestra, the most important of the regional, blues-based orchestras active in the Midwest in the 1920s, and helped to develop the riffing style that would come to define many of the 1930s Big Bands.

Moten started making music from an early age and developed as a pianist, pulling together other musicians in a band. His first recordings were made (for OKeh Records) on September 23, 1923, and were rather typical interpretations of the New Orleans style of King Oliver and others. They also showed the influence of the ragtime that was still popular in the area, as well as the stomping beat for which his band was famous. These OKeh sides (recorded 1923–1925) are some of the more valuable acoustic jazz 78s of the era; they are treasured records in many serious jazz collections.