mick laBriola

Barred spiral galaxy NGC 2525 lies 70 million light-years from the Milky Way. It shines in Earth’s night sky within the boundaries of the southern constellation Puppis. About 60,000 light-years across, its spiral arms lined with dark dust clouds, massive blue stars, and pinkish starforming regions wind through this gorgeous Hubble Space Telescope snapshot. Spotted on the outskirts of NGC 2525 in January 2018, supernova SN 2018gv is the brightest star in the frame at the lower left. In time-lapse, a year long series of Hubble observations followed the stellar explosion, the nuclear detonation of a white dwarf star triggered by accreting material from a companion star, as it slowly faded from view. Identified as a Type Ia supernova, its brightness is considered a cosmic standard candle. Type Ia supernovae are used to measure distances to galaxies and determine the expansion rate of the Universe.

Ernest James Watts (born October 23, 1945) is an American jazz and rhythm and blues saxophonist who plays soprano, alto, and tenor saxophone. He has worked with Charlie Haden’s Quartet West and toured with the Rolling Stones. On Frank Zappa’s album The Grand Wazoo he played the “Mystery Horn”, a straight-necked C melody saxophone. He played the notable saxophone riff on The One You Love by Glenn Frey.

Watts was born in Norfolk, Virginia, and began playing saxophone at thirteen. After a brief period at West Chester University, he attended the Berklee College of Music on a Down Beat magazine scholarship. He toured with Buddy Rich in the late-1960s, occupying one of the alto saxophone chairs. He visited Africa on a U.S. State Department tour with Oliver Nelson‘s group. For twenty years he played alto saxophone with The Tonight Show Bandunder Doc Severinsen. He was a featured soloist on many of Marvin Gaye‘s albums on Motown during the 1970s, as well as on many other pop and R&B sessions during his twenty-five years as a studio musician in Los Angeles. He has won two Grammy Awards as an instrumentalist. In the mid-1980s Watts decided to rededicate himself to jazz. He recorded and toured with German guitarist and composer Torsten de Winkel, drummer Steve Smith, and keyboardist Tom Coster. He was invited to join Charlie Haden‘s Quartet West. They met backstage one night after Haden heard Watts play “Nightbird” by Michel Colombier. Watts played on soundtracks for the movies Grease and The Color Purple and on the theme song for the TV show Night Court.

Frank Hewitt (October 23, 1935 – September 5, 2002) was an American hard bop jazz pianist.

Born in Queens, New York, Hewitt lived most of his life in Harlem. His mother was a church pianist, and he initially studied classical and gospel music, but switched to jazz after hearing a Charlie Parker record. He took the bop pianists Thelonious Monk, Bud Powell and Elmo Hope as his role models. In the 1950s and 1960s he worked with Howard McGhee, Cecil Payne, John Coltrane, Dinah Washington and Billie Holiday, among others; in 1961 he also participated in the Living Theater‘s production of Jack Gelber‘s The Connection. He became a regular figure in the circle of the pianist Barry Harris. In the 1990s Hewitt became a central figure at New York’s Smalls Jazz Club; aside from playing there several nights a week, he sometimes also ended up using the walk-in refrigerator as a place to bunk when times were rough.

During his lifetime only one track of Hewitt’s playing was released, a version of the Kenny Dorham tune “Prince Albert” on the compilation Jazz Underground: Live at Smalls (Impulse, 1998). After Hewitt’s death, however, recordings made by Luke Kaven began to surface on Kaven’s Smalls Records label: the trio discs We Loved You, Not Afraid to Live, Fresh from the Cooler, and Out of the Clear Black Sky, and the quintet date Four Hundred Saturdays. His reputation as a neglected jazz master has steadily grown among fans of bebop piano.

William “Sonny” Criss (23 October 1927 – 19 November 1977) was an American jazz musician. An alto saxophonist of prominence during the bebop era of jazz, he was one of many players influenced by Charlie Parker.

William Criss was born in Memphis, Tennessee and moved to Los Angeles at the age of 15. He then went on to play in various bands including Howard McGhee‘s, which also featured Charlie Parker. Criss had developed his own, concise, bluesy tone by this point, and though his basic style did not vary much, his ability on the instrument continued to develop. Nevertheless, he continued to drift from band to band, and played on some records with Johnny Otis and Billy Eckstine. His first major break came in 1947, on a number of jam sessions arranged by jazz impresario Norman Granz. In 1956 he signed to Imperial Records, based in New York, and recorded a series albums including Jazz U.S.A , Go Man! and Sonny Criss Plays Cole Porter featuring pianist Sonny Clark. Capitol, which owned the master recordings, reissued them as a 2-CD set on their Blue Note imprint in 2000. Criss also recorded At the Crossroadswith pianist Wynton Kelly.

Prestige signed Criss in 1965, and he continued to record well-acclaimed albums which were mainly rooted in hard bop traditions. Sonny’s Dreamfeatured arrangements by Horace Tapscott. Later sessions were recorded for Muse and Impulse.

Rumba flamenca, also known as flamenco rumba or simply rumba (Spanish pronunciation: [ˈrumba]), is a palo (style) of flamenco music developed in Andalusia, Spain. It is known as one of the cantes de ida y vuelta (roundtrip songs), music which diverged in the new world, then returned to Spain in a new form. The genre originated in the 19th century in Andalusia, southern Spain, where Cuban music first reached the country. Rumba flamenca was primarily influenced by guaracha, an uptempo style of vocal music which originated in Havana‘s musical theatre. Some elements from Cuban rumba were also incorporated, although minor, despite the name. Although unlikely, both guaracha and Cuban rumba might have been influenced by flamenco earlier in the 19th century. Guarachas can be traced back to the Spanish jácaras, thus justifying the classification of rumba flamenca as a cante de ida y vuelta.

NGC 6365 is about 385 million light years away, with a separation of 20 million light years between the individual galaxies if their peculiar velocities are of no consequence. However, for objects at such distances we should take into account the expansion of the Universe during the time it took their light to reach us. Doing that shows that the galaxies were about 375 million light years away at the time the light by which we see them was emitted, about 380 million years ago (the difference between the two numbers being due to the expansion of the intervening space during the light-travel time). Given that and its apparent size of 1.15 by 0.85 arcmin, PGC 60174 is about 120 thousand light years across, while PGC 60171’s apparent size of 1.1 by 0.2 arcmin corresponds to about 120 to 125 thousand light years (depending upon whether it is closer or further than its apparent companion). Note: The face-on galaxy (PGC 60174) is a Seyfert galaxy.

Leslie West (born Leslie Weinstein; October 22, 1945) is an American rock guitarist, vocalist, and songwriter. He is best known as a founding member and co-lead vocalist of the hard rock band Mountain.

West was born in New York City, to a Jewish family. He grew up in Hackensack, New Jersey, and in East Meadow, New York, Forest Hills, New York and Lawrence, New York. After his parents divorced, he changed his surname to West. His musical career began with the Vagrants, an R&B/blue-eyed soul-rock band influenced by the likes of the Rascals that was one of the few teenage garage rock acts to come out of the New York metropolitan area itself (as opposed to the Bohemian Greenwich Village scene of artists, poets and affiliates of the Beat Generation, which produced bands like The Fugs and The Velvet Underground). The Vagrants had two minor hits in the Eastern US: 1966’s “I Can’t Make a Friend” and a cover of Otis Redding‘s “Respect” the following year.

Some of the Vagrants’ recordings were produced by Felix Pappalardi, who was also working with Cream on their album Disraeli Gears. In 1969, West and Pappalardi formed the pioneering hard rock act Mountain, which was also the title of West’s debut solo album. Rolling Stone identified the band as a “louder version of Cream”. With Steve Knight on keyboards and original drummer N. D. Smart, the band appeared on the second day of the Woodstock Festival on Saturday, August 16, 1969 starting an 11-song set at 9 pm.

Douglas Clare Fischer (October 22, 1928 – January 26, 2012 Durand,MI) was an American keyboardist, composer, arranger, and bandleader. After graduating from Michigan State University (from which, five decades later, he would receive an honorary doctorate), he became the pianist and arranger for the vocal group the Hi-Lo’s in the late 1950s. Fischer went on to work with Donald Byrd and Dizzy Gillespie, and became known for his Latin and bossa nova recordings in the 1960s. He composed the Latin jazz standard “Morning“, and the jazz standard “Pensativa“. Consistently cited by jazz pianist and composer Herbie Hancock as a major influence (“I wouldn’t be me without Clare Fischer”), he was nominated for eleven Grammy Awards during his lifetime, winning for his landmark album, 2+2 (1981), the first of Fischer’s records to incorporate the vocal ensemble writing developed during his Hi-Lo’s days into his already sizable Latin jazz discography; it was also the first recorded installment in Fischer’s three-decade-long collaboration with his son Brent. Fischer was also a posthumous Grammy winner for ¡Ritmo! (2012) and for Music for Strings, Percussion and the Rest (2013).

Beginning in the early 1970s, Brent Fischer embarked on a parallel (and far more lucrative) career, eventually becoming a much sought-after arranger, providing orchestral “sweeteners” for pop and R&B artists such as Rufus (with Chaka Khan), Prince (a regular client from 1984 onwards, and by far Fischer’s most frequent in pop music), Robert Palmer, Paul McCartney, Michael Jackson, Celine Dion, Elvis Costello & The Roots, D’Angelo song Really Love from the album Black Messiah Grammy-winner (2016) for best R&B album, Sheila E, and many others.

Cándido de Guerra Camero (born April 22, 1921), also known simply as Cándido, is a Cuban conga and bongo player. He also plays the tres, drums, and acoustic bass. He has worked in many genres of popular music from pop, rock, R&B and disco to Afro-Cuban dance music and Latin jazz. He is the first player to develop techniques to play multiple conga drums, coordinated independence and the use of multiple percussion, one player playing a variety of percussion instruments simultaneously.

Early in his career, Camero recorded in his native Cuba with many of the early pioneers of the son movement as well as being the conga drummer for the Tropicana night club in Havana from its opening night in 1940 and subsequently for the next eight years. He first appeared in NYC in the musical review, Tidbits, at the Plymouth Theater on Broadway in 1946 backing up the Cuban dance team of Carmen and Rolando. In 1948 he made his first U.S. recording with Machito and His Afro-Cubans on the tune, “El Rey Del Mambo.” as well as working with Dizzy Gillespie. During 1953–54, he was in the Billy Taylor Trio and in 1954 he performed and recorded with Stan Kenton.

The featured dark sky composite combines over 60 exposures spanning over 220 degrees to create a veritable menagerie of night sky wonders. Visible celestial icons include the Belt of Orion, the Orion Nebula, the Andromeda Galaxy, the California Nebula, and bright stars Sirius and Betelgeuse. You can verify that you found these, if you did, by checking an annotated version of the image. A bit harder, though, is finding Polaris and the Big Dipper. Also discernible are several meteors from the Quandrantids meteor shower, red and green airglow, and two friends of the astrophotographer. The picture was captured in January from Sardinia, Italy. You can see sky wonders in your own night sky tonight — including more meteors than usual — because tonight is near peak of the yearly Orionids meteor shower.

Manfred Mann (born Manfred Sepse Lubowitz, 21 October 1940 in Johannesburg, Transvaal, Union of South Africa) is a British keyboard player, guitarist, and vocalist, born in South Africa, who became best known as a founding member and eponym of the bands Manfred Mann, Manfred Mann Chapter Three and Manfred Mann’s Earth Band.

Lubowitz was raised in a Jewish family in Johannesburg, South Africa, the son of David Lubowitz and Alma Cohen.He studied music at the University of the Witwatersrand, and worked as a jazz pianist at a number of clubs in Johannesburg. Between 1959 and 1961 he and his childhood friend Saul Ozynski recorded two albums as the Vikings, South Africa’s first rock and roll band.

Doctor Ross (October 21, 1925 – May 28, 1993), also known as Doctor Ross the Harmonica Boss, born Charles Isaiah Ross in Tunica, Mississippi, was an American blues singer, guitarist, harmonica player and drummer.

Ross’s blues style has been compared to that of John Lee Hooker and Sonny Boy Williamson I. His recordings for Sun Records in the 1950s include “The Boogie Disease” and “Chicago Breakdown”. Within the lyrics of “The Boogie Disease”, Ross notably sang “I may get better / but I’ll never get well”.

In 1951 Ross’s records began to get airplay in Mississippi and Arkansas. He recorded with Chess Records and Sun with a group that included folk instruments, such as the washboard.

Úrsula Hilaria Celia de la Caridad Cruz Alfonso (October 21, 1925 – July 16, 2003), known as Celia Cruz, was a Cuban singer and one of the most popular Latin artists of the 20th century. Cruz rose to fame in Cuba during the 1950s as a singer of guarachas, earning the nickname “La Guarachera de Cuba”. In the following decades, she became known internationally as the “Queen of Salsa” or “The Queen of Latin Music” due to her contributions to Latin music in the United States.

She began her career in her native Cuba, earning recognition as a vocalist of the popular musical group Sonora Matancera, a musical association that lasted fifteen years (1950-1965). Cruz mastered a wide variety of Afro-Cuban music styles including guaracha, rumba, afro, son and bolero, recording numerous singles in these styles for Seeco Records. In the early 1960s, after the Cuban Revolution caused the nationalization of the music industry, Cruz left her native country, becoming one of the symbols and spokespersons of the Cuban community in exile. Cruz continued her career, first in Mexico, and then in the United States, the country that she took as her definitive residence. In the 1960s, she collaborated with Tito Puente, recording her signature tune “Bemba colorá”. In the 1970s, she signed for Fania Records and became strongly associated with the salsa genre, releasing hits such as “Quimbara”. She often appeared live with Fania All-Stars and collaborated with Johnny Pacheco and Willie Colón. During the last years of her career, Cruz continued to release successful songs such as “La vida es un carnaval” and “La negra tiene tumbao“.

Her musical legacy is made up of a total of 37 studio albums, as well as numerous live albums and collaborations. Throughout her career, she was awarded numerous prizes and distinctions, including two Grammy Awards and three Latin Grammy Awards. In addition to her prolific career in music, Cruz also made several appearances as an actress in movies and telenovelas. Her catchphrase “¡Azúcar!” (“Sugar!”) has become one of the most recognizable symbols of salsa music.

John Birks “Dizzy” Gillespie (/ɡɪˈlɛspi/; October 21, 1917 – January 6, 1993 Cheraw, SC) was an American jazz trumpeter, bandleader, composer, educator and singer. He was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge^[3] but adding layers of harmonic and rhythmic complexity previously unheard in jazz. His combination of musicianship, showmanship, and wit made him a leading popularizer of the new music called bebop. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks, and his light-hearted personality provided some of bebop’s most prominent symbols.

In the 1940s Gillespie, with Charlie Parker, became a major figure in the development of bebop and modern jazz. He taught and influenced many other musicians, including trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Chuck Mangione, and balladeer Johnny Hartman.

Scott Yanow wrote, “Dizzy Gillespie’s contributions to jazz were huge. One of the greatest jazz trumpeters of all time, Gillespie was such a complex player that his contemporaries ended up being similar to those of Miles Davis and Fats Navarro instead, and it was not until Jon Faddis‘s emergence in the 1970s that Dizzy’s style was successfully recreated [….] Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time”.

Carlos Wesley “Don” Byas (October 21, 1912 – August 24, 1972) was an American jazz tenor saxophonist, most associated with bebop. He played with Count Basie, Duke Ellington, Art Blakey, and Dizzy Gillespie, among others, and also led his own band. He lived in Europe for the last 26 years of his life.

Byas was born in Muskogee, Oklahoma. Both of Byas’ parents were musicians. His mother played the piano, and his father, the clarinet. Byas started his training in classical music, learning to play violin, clarinet and alto saxophone, which he played until the end of the 1920s.