mick laBriola

Lawrence Elliott Willis (December 20, 1942 – September 29, 2019) was an American jazz pianist and composer. He performed in a wide range of styles, including jazz fusion, Afro-Cuban jazz, bebop, and avant-garde.

Willis was born in New York City. After his first year studying music theory at the Manhattan School of Music he began performing regularly with Jackie McLean. After he graduated he made his first jazz recording, McLean’s Right Now! in January 1965, which featured two of Willis’ compositions. His first recording of any type, however, was as a singer with the Music and Arts Chorale Ensemble, performing an opera by Aaron Copland under the direction of Leonard Bernstein. He decided to concentrate on jazz because of the difficulties African-American musicians had in finding work in concert music.

Throughout his career he performed with a wide range of musicians, including several years as keyboardist for Blood, Sweat & Tears (beginning in 1972). He spent several years as pianist for trumpeters Nat Adderley and Woody Shaw as well as long and productive tenures with Roy Hargrove and with Jerry Gonzalez and his Fort Apache Band. His late recording with Paul Murphy, Exposé, demonstrated the fusion principles of bebop and avant-garde jazz. His composition “Sanctuary” began exploring works employing strings. After a successful performance in Frank Lloyd Wright‘s Annie Pfieffer Chapel at Florida Southern College‘s Child of the Sun Jazz Festival he was commissioned to write a full-scale orchestral work for jazz trio and orchestra. He worked with Hugh Masekela on a South African Suite of music and interpreted Miles Davis‘ work. He was in the Round About Midnight tour of Miles Davis’ music. He received the Don Redman award in 2011, and the Benny Golson Jazz Master Award at Howard University in 2012.

Pleasant Joseph known as Cousin Joe (December 20, 1907 — October 2, 1989) was a New Orleans blues and jazz singer, famous for his 1940s recordings with Sidney Bechet and Mezz Mezzrow. He was born in Wallace, Louisiana, United States and worked at Whitney Plantation throughout his childhood. Until 1945 Cousin Joe toured Louisiana; that year he was asked to take part in the King Jazz recording sessions organized by Mezzrow and Bechet. In the 1970s, Cousin Joe toured extensively throughout the UK and Europe, both individually and as part of the American Blues Legends ’74 revue organised by Big Bear Music. He also recorded the album Gospel-Wailing, Jazz-Playing, Rock’n’Rolling, Soul-Shouting, Tap-Dancing Bluesman From New Orleans for Big Bear.

the Sunflower galaxy (Messier 63 / NGC 5055) with the strongest external field among SPARC galaxies, whose well-measured rotation curve shows a mildly declining behavior at large radial distance and can be accurately modeled only with an external field effect.

Kermit Ruffins (born December 19, 1964) is an American jazz trumpeter, singer, composer, and actor from New Orleans. He has been influenced by Louis Armstrong and Louis Jordan and says that the highest note he can hit on trumpet is a high C. He often accompanies his songs with his own vocals. Most of his bands perform New Orleans jazz standards though he also composes many of his own pieces. Jon Pareles of The New York Times wrote, “Mr. Ruffins is an unabashed entertainer who plays trumpet with a bright, silvery tone, sings with off-the-cuff charm and never gets too abstruse in his material.”

He started playing trumpet in 8th grade at Lawless Junior High School in the Ninth Ward of New Orleans. He attended Joseph S. Clark High School in the 6th Ward. In high school, he played a little bit of classical music at the behest of a strict band teacher.

He developed an appreciation for cooking from his grandmother observing her movements in the kitchen.

Leonard “Lenny” White III (born December 19, 1949) is an American jazz fusion drummer who was a member of the band Return to Foreverled by Chick Corea in the 1970s. White has been called “one of the founding fathers of jazz fusion”.

Born in Queens, New York City, White became interested in music at a young age. As a self taught drummer he started off his career playing with groups at the New York jazz scene. While he was living at home, his father would take him to gigs. Early on he played clubs in Queens New York such as the Aphrodisiac, Slugs, and The Gold Lounge. It was at The Gold Lounge where he had his first gig with saxophonist Jackie Mclean. During the late 1960s he began performing with Mclean around Queens. Through this, White was recommended to play on Miles Davis‘ landmark 1969 LP Bitches’ Brew and feature on Freddie Hubbard‘s 1970 LP Red Clay. Within 1972 White joined the jazz group Return to Forever.

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

Robert Henry Timmons (December 19, 1935 – March 1, 1974) was an American jazz pianist and composer. He was a sideman in Art Blakey‘s Jazz Messengers for two periods (July 1958 to September 1959; February 1960 to June 1961), between which he was part of Cannonball Adderley‘s band. Several of Timmons’ compositions written when part of these bands – including “Moanin’“, “Dat Dere“, and “This Here” – enjoyed commercial success and brought him more attention. In the early and mid-1960s he led a series of piano trios that toured and recorded extensively.

Timmons was strongly associated with the soul jazz style that he helped initiate. This link to apparently simple writing and playing, coupled with drug and alcohol addiction, led to a decline in his career. Timmons died, aged 38, from cirrhosis. Several critics have commented that his contribution to jazz remains undervalued.

Timmons was born in Philadelphia, Pennsylvania, the son of a minister. He had a sister, Eleanor. Both of his parents, and several aunts and uncles, played the piano. From an early age Timmons studied music with an uncle, Robert Habershaw, who also taught McCoy Tyner. Timmons first played at the church where his grandfather was minister; this influenced his later jazz playing. He grew up in the same area as other future musicians, including the Heath brothers (Jimmy, Percy, and Tootie) and Lee Morgan. Timmons’ first professional performances were in his local area, often as a trio that included Tootie Heath on drums. After graduating from high school Timmons was awarded a scholarship to study at the Philadelphia Musical Academy. According to saxophonist Jimmy Heath, Timmons joined Clark Terry‘s big band for a tour of Europe in 1974. He was unwell and drank on the plane to Sweden, and fell while drinking at the bar before the band’s first concert, in Malmö. Susceptible to blood clotting, he was flown back to the US. On March 1, 1974, he died from cirrhosis, at the age of 38, at St Vincent’s Hospital in New York. He had been in hospital for a month. He was buried in Philadelphia, and was survived by his wife, Estelle, and son, also Bobby.

https://www.youtube.com/watch?v=yOH0wGP2y_U

Henry Roeland “Roy” Byrd (December 19, 1918 – January 30, 1980), better known as Professor Longhair or “Fess” for short, was an American singer and pianist who performed New Orleans blues. He was active in two distinct periods, first in the heyday of early rhythm and blues and later in the resurgence of interest in traditional jazz after the founding of the New Orleans Jazz and Heritage Festival in 1970. His piano style has been described as “instantly recognizable, combining rumba, mambo, and calypso“.

Music journalist Tony Russell (in his book The Blues: From Robert Johnson to Robert Cray) wrote that “The vivacious rhumba-rhythmed piano blues and choked singing typical of Fess were too weird to sell millions of records; he had to be content with siring musical offspring who were simple enough to manage that, like Fats Domino or Huey “Piano” Smith. But he is also acknowledged as a father figure by subtler players like Allen Toussaintand Dr. John.” Byrd was born on December 19, 1918, in Bogalusa, Louisiana. His distinctive style of piano playing was influenced by learning to play on an instrument that was missing some keys.

He began his career in New Orleans in 1948. Mike Tessitore, owner of the Caldonia Club, gave Longhair his stage name. Longhair first recorded in a band called the Shuffling Hungarians in 1949, creating four songs (including the first version of his signature song, “Mardi Gras in New Orleans”) for the Star Talent record label. Union problems curtailed their release, but Longhair’s next effort for Mercury Records the same year was a winner. Throughout the 1950s, he recorded for Atlantic Records, Federal Records and local labels.

https://www.youtube.com/watch?v=nEOXLiZ8tU8

Édith Piaf (UK: /ˈpiːæf/, US: /piːˈɑːf/; French: [edit pjaf] (listen); born Édith Giovanna Gassion, French: [edit dʒɔvana ɡasjɔ̃]; 19 December 1915 – 10 October 1963) was a French singer-songwriter, cabaret performer and film actress noted as France’s national chanteuse and one of the country’s most widely known international stars.

Piaf’s music was often autobiographical and she specialized in chanson and torch ballads about love, loss and sorrow. Her most widely known songs include “La Vie en rose” (1946), “Non, je ne regrette rien” (1960), “Hymne à l’amour” (1949), “Milord” (1959), “La Foule” (1957), “L’Accordéoniste” (1940), and “Padam, padam…” (1951).

Since her death in 1963, several biographies and films have studied her life, including 2007’s Academy Award-winning La Vie en rose—Piaf has become one of the most celebrated performers of the 20th century.

Not an NGC object, but listed here because of its supposed association with NGC 2282
A 9th magnitude open cluster (type IV2m) in Monoceros (RA 06 46.5, Dec +01 46)

Keith Richards (born 18 December 1943), often referred to during the 1960s and 1970s as Keith Richard, is an English musician, singer, and songwriter. He is best known as the co-founder, guitarist, secondary vocalist, and co-principal songwriter of the Rolling Stones. Rolling Stonemagazine called Richards the creator of “rock’s greatest single body of riffs” on guitar and ranked him fourth on its list of 100 best guitarists in 2011. The magazine lists fourteen songs that Richards wrote with the Rolling Stones’ lead vocalist Mick Jagger on its “Rolling Stone’s 500 Greatest Songs of All Time” list.

Richards plays both lead and rhythm guitar parts, often in the same song; the Stones are generally known for their guitar interplay of rhythm and lead (“weaving”) between him and the other guitarist in the band – Brian Jones (1962–1969), Mick Taylor (1969–1975), or Ronnie Wood (1975–present). In the recording studio Richards sometimes plays all of the guitar parts, notably on the songs “Paint It Black“, “Ruby Tuesday“, “Sympathy for the Devil“, and “Gimme Shelter“. He is also a vocalist, singing backing vocals on many Rolling Stones songs as well as occasional lead vocals, such as on the Rolling Stones’ 1972 single “Happy“, as well as with his side project, the X-Pensive Winos.

He has also appeared in three Pirates of the Caribbean films as Captain Teague, father of Jack Sparrow, whose look and characterization was inspired by Richards himself.

Harold de Vance Land (December 18, 1928 – July 27, 2001) was an American hard bop and post-bop tenor saxophonist. Land developed his hard bop playing with the Max Roach/Clifford Brown band into a personal, modern style; often rivalling Clifford Brown’s instrumental ability with his own inventive and whimsical solos. His tone was strong and emotional, yet hinted at a certain introspective fragility.

Land was born in Houston and grew up in San Diego. He started playing at the age of 16. He made his first recording as the leader of the Harold Land All-Stars, for Savoy Records in 1949. In 1954 he joined the Clifford Brown/Max Roach Quintet, with whom he was at the forefront of the hard-bop/bebop movement. Because of family problems he moved to Los Angeles in 1955. There he played with Curtis Counce, led his own groups, and co-led groups with Bobby Hutcherson, Blue Mitchell, and Red Mitchell. From the 1970s onwards his style showed the influence of John Coltrane.

In the early 1980s through to the early 1990s he worked regularly with the Timeless All Stars, a group sponsored by the Timeless jazz record label. The group consisted of Land on tenor, Cedar Walton on piano, Buster Williams on bass, Billy Higgins on drums, Curtis Fuller on trombone and Bobby Hutcherson on vibes. Land also toured with his own band during this time, often including his son, Harold Land Jr., on piano and usually featuring Bobby Hutcherson and Billy Higgins as well. During these years he played regularly at Hop Singhs in Marina Del Rey in the L.A area and the Keystone Korner in San Francisco.

Land was a professor at the University of California, Los Angeles. He joined the UCLA Jazz Studies Program as a lecturer in 1996 to teach instrumental jazz combo. “Harold Land was one of the major contributors in the history of the jazz saxophone,” said jazz guitarist Kenny Burrell, founder and director of the UCLA Jazz Studies Program.

Eddie “Cleanhead” Vinson (born Edward L. Vinson Jr., December 18, 1917 – July 2, 1988) was an American jump blues, jazz, bebop and R&B alto saxophonist and blues shouter. He was nicknamed Cleanhead after an incident in which his hair was accidentally destroyed by lye contained in a hair straightening product. Music critic Robert Christgau has called Vinson “one of the cleanest—and nastiest—blues voices you’ll ever hear.”

Vinson was born in Houston, Texas, United States. He was a member of the horn section in Milton Larkin‘s orchestra, which he joined in the late 1930s. At various times, he sat next to Arnett Cobb, Illinois Jacquet, and Tom Archia, while other members of the band included Cedric Haywood and Wild Bill Davis. After exiting Larkin’s employment in 1941, Vinson picked up a few vocal tricks while on tour with bluesman Big Bill Broonzy.He then moved to New York and joined the Cootie Williams Orchestra from 1942 to 1945, recording such tunes as “Cherry Red”. Vinson struck out on his own in 1945, forming his own large band, signing with Mercury Records, and enjoying a double-sided hit in 1947 with his R&B chart-topper “Old Maid Boogie”, and the song that would prove to be his signature number, “Kidney Stew Blues”.

Vinson’s jazz leanings were probably heightened during 1952-1953, when his band included a young John Coltrane. In the late 1960s, touring in a strict jazz capacity with Jay McShann, Vinson’s career took an upswing. In the early 1960s Vinson moved to Los Angeles and began working with the Johnny Otis Revue. A 1970 appearance at the Monterey Jazz Festival with Otis spurred a bit of a comeback for Vinson. Throughout the 1970s he worked high-profile blues and jazz sessions for Count Basie, Otis, Roomful of Blues, Arnett Cobb, and Buddy Tate. He also composed steadily, including “Tune Up” and “Four“, both of which have been incorrectly attributed to Miles Davis.

Vinson recorded extensively during his fifty-odd year career and performed regularly in Europe and the U.S. He died in 1988, from a heart attack while undergoing chemotherapy, in Los Angeles, California.

“Milonga” is a flamenco style created by returnees, artists, settlers and soldiers who returned from the colonies in the late 19th century. In their songs, they evoke the American lands.

“Milonga” from Argentina is a style that comes from the “payada de contrapunto” and has deep connections in the rhythmic-metric and harmonic plane  with  tango from Antilles and “habanera”. The evolution of “milonga” from Argentina, until it reached its final style, began probably with “Yarabi” and other styles or “tristes”. In 1860, “triste” turns into “milonga” and was very popular between 1880 and 1910.

The first “milonga” with flamenco character and “tango-tiento” rhythm is the one that Pepa Oro (bullfighter Paco de Oro’s daughter) popularised when she arrived in Spain at the end of 19th century. It is a style that comes from the choreographic “milonga” to be singing while dancing. “Milonga” singing is syllabic. There are also some “milongas” recordings with some combinations, such as introducing a “fandango” or a “milonga with bulerías”. Rhythm is based on the “tangos–tientos” metric, but they are sometimes performed without it in order to be free.