mick laBriola

Earl Zebedee Hooker (January 15, 1930 – April 21, 1970) was a Chicago blues guitarist known for his slide guitar playing. Considered a “musician’s musician”, he performed with blues artists such as Sonny Boy Williamson II, Junior Wells, and John Lee Hooker and fronted his own bands. An early player of the electric guitar, Hooker was influenced by the modern urban styles of T-Bone Walker and Robert Nighthawk. He recorded several singles and albums as a bandleader and with other well-known artists. His “Blue Guitar”, a slide guitar instrumental single, was popular in the Chicago area and was later overdubbed with vocals by Muddy Waters as “You Shook Me“.

In the late 1960s, Hooker began performing on the college and concert circuit and had several recording contracts. Just as his career was on an upswing, he died in 1970, at age 40, after a lifelong struggle with tuberculosis. His guitar playing has been acknowledged by many of his peers, including B.B. King, who commented, “to me he is the best of modern guitarists. Period. With the slide he was the best. It was nobody else like him, he was just one of a kind”. Hooker was born in rural Quitman County, Mississippi, outside of Clarksdale. In 1930, his parents moved the family to Chicago, during the Great Migration of blacks out of the rural South in the early 20th century.

His family was musically inclined (John Lee Hooker was a cousin), and Earl heard music played at home at an early age. About age ten, he started playing the guitar. He was self-taught and picked up what he could from those around him. He developed proficiency on the guitar but showed no interest in singing. He had pronounced stuttering, which afflicted him all his life. Hooker contracted tuberculosis when he was young. The disease did not become critical until the mid-1950s, but it required periodic hospitalizations, beginning at an early age.

Eugene Bertram Krupa (January 15, 1909 – October 16, 1973) was an American jazz drummer, band leader and composer known for his energetic style and showmanship. His drum solo on “Sing, Sing, Sing” (1937) elevated the role of the drummer from an accompanying line to an important solo voice in the band. In collaboration with the Slingerland drum and Zildjian cymbal manufacturers, he was a major force in defining the standard band drummer’s kit. Krupa is considered “the founding father of the modern drumset” by Modern Drummer magazine.

The youngest of Anna (née Oslowski) and Bartłomiej Krupa’s nine children, Gene Krupa was born in Chicago. Bartłomiej was an immigrant from Poland born in the village of Łęki-Górne, Podkarpackie in Southeastern Poland. Anna was born in Shamokin, Pennsylvania and was also of Polishdescent. His parents were Roman Catholics who groomed him for the priesthood. He spent his grammar school days at parochial schools. He attended the James H. Bowen High School on Chicago’s southeast side. After graduation he attended Saint Joseph’s College for a year but decided the priesthood was not his vocation.

A green aurora slathers up the sky in this 2017 June 25 snapshot from the International Space Station. About 400 kilometers (250 miles) above Earth, the orbiting station is itself within the upper realm of the auroral displays. Aurorae have the signature colors of excited molecules and atoms at the low densities found at extreme altitudes. Emission from atomic oxygen dominates this view. The tantalizing glow is green at lower altitudes, but rarer reddish bands extend above the space station’s horizon. The orbital scene was captured while passing over a point south and east of Australia, with stars above the horizon at the right belonging to the constellation Canis Major, Orion’s big dog. Sirius, alpha star of Canis Major, is the brightest star near the Earth’s limb.

Allen Toussaint (/ˈtuːsɑːnt/; January 14, 1938 – November 10, 2015) was an American musician, songwriter, arranger and record producer, who was an influential figure in New Orleans rhythm and blues from the 1950s to the end of the century, described as “one of popular music’s great backroom figures”. Many musicians recorded Toussaint’s compositions, including “Whipped Cream“, “Java“, “Mother-in-Law“, “I Like It Like That“, “Fortune Teller“, “Ride Your Pony“, “Get Out of My Life, Woman“, “Working in the Coal Mine“, “Everything I Do Gonna Be Funky”, “Freedom For the Stallion”, “Here Come the Girls“, “Yes We Can Can“, “Play Something Sweet“, and “Southern Nights“. He was a producer for hundreds of recordings, among the best known of which are “Right Place, Wrong Time“, by his longtime friend Dr. John (“Mac” Rebennack), and “Lady Marmalade” by Labelle.

The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet.

Grady Bernard Tate (January 14, 1932 – October 8, 2017) was an American jazz and soul-jazz drummer and baritone vocalist. In addition to his work as sideman, Tate released many albums as leader and lent his voice to songs in the animated Schoolhouse Rock! series.

Tate was born in Hayti, Durham, North Carolina. In 1963 he moved to New York City, where he became the drummer in Quincy Jones‘s band.

Grady Tate’s drumming helped to define a particular hard bop, soul jazz and organ trio sound during the mid-1960s and beyond. His slick, layered and intense sound is instantly recognizable for its understated style in which he integrates his trademark subtle nuances with sharp, crisp “on top of the beat” timing (in comparison to playing slightly before, or slightly after the beat). The Grady Tate sound can be heard prominently on many of the classic Jimmy Smith and Wes Montgomery albums recorded on the Verve label in the 1960s.

During the 1970s he was a member of the New York Jazz Quartet. In 1981 he played drums and percussion for Simon and Garfunkel’s Concert in Central Park.

As a sideman he has played with musicians including Jimmy Smith, Astrud Gilberto, Ella Fitzgerald, Duke Ellington, Count Basie, Rahsaan Roland Kirk, Quincy Jones, Stan Getz, Cal Tjader, Wes Montgomery, J.J. Johnson, Kai Winding and Michel Legrand.

Kenneth Vincent John Wheeler, OC (14 January 1930 – 18 September 2014) was a Canadian composer and trumpet and flugelhorn player, based in the U.K. from the 1950s onwards.

Most of his performances were rooted in jazz, but he was also active in free improvisation and occasionally contributed to rock music recordings. Wheeler wrote over one hundred compositions and was a skilled arranger for small groups and large ensembles.

Wheeler was the patron of the Royal Academy Junior Jazz course.

Wheeler was born in Toronto, Ontario, on 14 January 1930. Growing up in Toronto, he began playing the cornet at age 12 and became interested in jazz in his mid-teens. Wheeler spent a year studying composition at The Royal Conservatory of Music in 1950. In 1952 he moved to Britain. He found his way into the London jazz scene of the time, playing in groups led by Tommy Whittle, Tubby Hayes, and Ronnie Scott.

The narrow galaxy elegantly curving around its spherical companion in this image is a fantastic example of a truly strange and very rare phenomenon. This image, taken with the NASA/ESA Hubble Space Telescope, depicts GAL-CLUS-022058s, located in the southern hemisphere constellation of Fornax (the Furnace). GAL-CLUS-022058s is the largest and one of the most complete Einstein rings ever discovered in our universe. The object has been nicknamed by astronomers studying this Einstein ring as the “Molten Ring,” which alludes to its appearance and host constellation.

First theorized to exist by Einstein in his general theory of relativity, this object’s unusual shape can be explained by a process called gravitational lensing, which causes light shining from far away to be bent and pulled by the gravity of an object between its source and the observer. In this case, the light from the background galaxy has been distorted into the curve we see by the gravity of the galaxy cluster sitting in front of it. The near exact alignment of the background galaxy with the central elliptical galaxy of the cluster, seen in the middle of this image, has warped and magnified the image of the background galaxy into an almost perfect ring. The gravity from other galaxies in the cluster causes additional distortions.

Objects like these are the ideal laboratories in which to study galaxies that are often too faint and distant to otherwise see without gravitational lensing.

Joe Pass (born Joseph Anthony Jacobi Passalaqua; January 13, 1929 – May 23, 1994) was an American jazz guitarist. Pass worked often with pianist Oscar Peterson and vocalist Ella Fitzgerald. Pass was born in New Brunswick, New Jersey, on January 13, 1929.

Pass found work as a performer as early as age 14. He played with bands led by Tony Pastor and Charlie Barnet, honing his guitar skills while learning the ropes to the music industry. He began traveling with small jazz groups and moved from Pennsylvania to New York City. Within a few years he had developed an addiction to heroin. He moved to New Orleans for a year and played bebop for strippers. Pass revealed to Robert Palmer of Rolling Stone that he had suffered a “nervous breakdown” in New Orleans “because [he] had access to every kind of drug there and was up for days […] [he] would come to New York a lot, then get strung out and leave.”

Pass spent much of the 1950s in and out of prison for drug-related convictions. In the same Rolling Stone interview, Pass said, “staying high was my first priority; playing was second; girls were third. But the first thing really took all my energy.” He recovered after a two-and-a-half-year stay in the Synanon rehabilitation program. Pass largely abandoned music during his prison sentence.

Pass recorded a series of albums during the 1960s for Pacific Jazz Records, including Catch Me, 12-String Guitar, For Django, and Simplicity. In 1963, he received Downbeat magazine’s New Star Award.

He also played on Pacific Jazz recordings by Gerald Wilson, Bud Shank, and Les McCann. He toured with George Shearing in 1965. During the 1960s, he did mostly TV and recording session work in Los Angeles. Norman Granz, the producer of Jazz at the Philharmonic and the founder of Verve Records, signed Pass to Pablo Records in December 1973. In 1974, Pass released his solo album Virtuoso on Pablo. Also in 1974, Pablo released the album The Trio with Pass, Oscar Peterson, and Niels-Henning Ørsted Pedersen. He performed with them on many occasions throughout the 1970s and 1980s. At the Grammy Awards of 1975, The Trio won the Grammy Award for Best Jazz Performance by a Group. As part of the Pablo roster, Pass recorded with Benny Carter, Milt Jackson, Herb Ellis, Zoot Sims, Duke Ellington, Dizzy Gillespie, Ella Fitzgerald, and Count Basie.

Melba Doretta Liston (January 13, 1926 – April 23, 1999) was an American jazz trombonist, arranger, and composer. Other than those playing in all-female bands she was the first woman trombonist to play in big bands during the 1940s and 1960s, but as her career progressed she became better known as an arranger, particularly in partnership with pianist Randy Weston. Other major artists with whom she worked include Dizzy Gillespie, Billie Holiday, John Coltrane and Count Basie.

Liston was born in Kansas City, Missouri. At the age of seven, Melba’s mother purchased her a trombone. Her family encouraged her musical pursuits, as they were all music lovers. Liston was primarily self-taught, but she was “encouraged by her guitar-playing grandfather”, with whom she spent significant time learning to play spirituals and folk songs. At the age of eight, she was good enough to be a solo act on a local radio station. At the age of 10, she moved to Los Angeles, California. She was classmates with Dexter Gordon, and friends with Eric Dolphy. After playing in youth bands and studying with Alma Hightower, she joined the big band led by Gerald Wilson in 1944.

She recorded with saxophonist Dexter Gordon in 1947 and joined Dizzy Gillespie‘s big band, which included saxophonists John Coltrane, Paul Gonsalves, and pianist John Lewis) in New York for a time when Wilson disbanded his orchestra in 1948. Liston performed in a supporting role and was nervous when asked to take solos, but with encouragement she became more comfortable as a featured voice in bands. She toured with Count Basie, then with Billie Holiday (1949) but was so profoundly affected by the indifference of the audiences and the rigors of the road that she gave up playing and turned to education. Liston taught for about three years.

Daniel Moses Barker (January 13, 1909 – March 13, 1994) was an American jazz musician, vocalist, and author from New Orleans. He was a rhythm guitarist for various bands of the day, including Cab Calloway, Lucky Millinder and Benny Carter throughout the 1930s.

One of Barker’s earliest teachers in New Orleans was fellow banjoist Emanuel Sayles, with whom he recorded. Throughout his career, he played with Jelly Roll Morton, Baby Dodds, James P. Johnson, Sidney Bechet, Mezz Mezzrow, and Red Allen. He also toured and recorded with his wife, singer Blue Lu Barker. From the 1960s, Barker’s work with the Fairview Baptist Church Brass Band was pivotal in ensuring the longevity of jazz in New Orleans, producing generations of new talent, including Wynton and Branford Marsalis who played in the band as youths. Danny Barker was born to a family of musicians in New Orleans in 1909, the grandson of bandleader Isidore Barbarin and nephew of drummers Paul Barbarin and Louis Barbarin. He took up clarinet and drums before switching to a ukulele that his aunt got him, and then a banjo from his uncle or a trumpeter named Lee Collins.

Barker began his career as a musician in his youth with his streetband the Boozan Kings, and also toured Mississippi with Little Brother Montgomery. In 1930 he moved to New York City and switched to the guitar. On the day of his arrival in New York, his uncle Paul took him to the Rhythm Club, where he saw an inspiring performance by McKinney’s Cotton Pickers. It was their first performance in New York as a band.