mick laBriola

Dave “Snaker” Ray (August 17, 1943 – November 28, 2002) was an American blues singer and guitarist from St. Paul, Minnesota, United States, who was most notably associated with Spider John Koerner and Tony “Little Sun” Glover in the early Sixties folk revival. Together, the three released albums under the name Koerner, Ray & Glover. They gained notice with their album Blues, Rags and Hollers, originally released by Audiophile in 1963 and re-released by Elektra Records later that year.

Born James David Ray, he was the eldest child of James and Nellie Ray. In this teens, he was inspired by a Segovia concert, and his parents gave him a gut-string guitar. He and his brother Tom took classical guitar lessons for about a year. Ray’s youngest brother, Max, started on the clarinet and then moved on to the saxophone; his mother, Nellie, played the organ well into her eighties. On occasion Tom would play piano and Max saxophone in various iterations of Ray’s local bands. Max Ray went on to have a successful musical career with the Wallets and Gondwana.

In 1967, Ray was in a motorcycle accident and broke his wrist. While in a cast, he relearned to play the guitar with a flat pick. The years from 1963 to 1971 were prolific for Koerner, Ray and Glover. Either solo or in some combination of the trio, they released at least one album a year. The group never rehearsed together or did much at all together. Ray liked to call the group, “Koerner and/or Ray and/or Glover”.

Luther Allison (August 17, 1939 – August 12, 1997) was an American blues guitarist. He was born in Widener, Arkansas, although some accounts suggest his actual place of birth was Mayflower, Arkansas. Allison was interested in music as a child and during the late 1940s he toured in a family gospel group called The Southern Travellers. He moved with his family to Chicago in 1951 and attended Farragut High School where he was classmates with Muddy Water‘s son. He taught himself guitar and began listening to blues extensively. Three years later he dropped out of school and began hanging around outside blues nightclubs with the hopes of being invited to perform. Allison played with the bands of Howlin’ Wolfand Freddie King, taking over King’s band when King toured nationally. He worked with Jimmy Dawkins, Magic Sam and Otis Rush, and also backed James Cotton.

From 1954 Allison would sit in and jam with his brother’s band, the Ollie Lee Allison Band. By 1957 he had formed a band with Ollie and another brother, Grant Allison, initially called The Rolling Stones, later changed to The Four Jivers, and they performed at clubs in Chicago.

Allison’s big break came in 1957, when Howlin’ Wolf invited him to the stage. The same year he worked briefly with Jimmy Dawkins, playing in local clubs. Freddie King took Allison under his wing, and after King got a record deal, Allison took over his gig in the house band of a club on Chicago’s West Side. He worked the club circuit in the late 1950s and early 1960s. During this period, Allison moved to California for a year where he worked with Shakey Jake Harris and Sunnyland Slim. He recorded his first single in 1965. He signed a recording contract with Delmark Records in 1967 and released his debut album, Love Me Mama, the following year. He performed a well-received set at the 1969 Ann Arbor Blues Festival and as a result was asked to perform there in each of the next three years. He toured nationwide. In 1972, he signed with Motown Records, one of the few blues artists on that label. In the mid-1970s he toured Europe. He moved to France in 1977.

Floyd Westerman, also known as Kanghi Duta (“Red Crow” in Dakota) (August 17, 1936 – December 13, 2007), was a Dakota Sioux musician, political activist, and actor. After establishing a career as a country music singer, later in his life he became an actor, usually depicting Native American elders in American films and television. He is also credited as Floyd Red Crow Westerman. As a political activist, he spoke and marched for Native American causes.

He was born Floyd Westerman on the Lake Traverse Indian Reservation, home of the Sisseton Wahpeton Oyate, a federally recognized tribe that is one of the sub-tribes of the Eastern Dakota section of the Great Sioux Nation, located in the U.S. state of South Dakota. His Indigenous name Kanghi Duta means “Red Crow” in the Dakota language (which is one of the three inter-related Siouan languages of the Great Plains).

At the age of 10, Westerman was sent to the Wahpeton Boarding School, where he first met Dennis Banks (who as an adult became a leader of the American Indian Movement). There Westerman and the other children were forced to cut their traditionally long hair and forbidden to speak their native languages. This experience would profoundly impact Westerman’s development and entire life. As an adult, he reclaimed his heritage and became an outspoken advocate for Indigenous cultural preservation.

Westerman graduated from Northern State University with a B.A. degree in secondary education. He served two years in the US Marines, before beginning his career as a country singer.

Columbus Calvin “Duke” Pearson Jr. (August 17, 1932 – August 4, 1980) was an American jazz pianist and composer. Allmusic describes him as having a “big part in shaping the Blue Note label’s hard bop direction in the 1960s as a record producer.”

Pearson was born Columbus Calvin Pearson Jr. in Atlanta, Georgia, to Columbus Calvin and Emily Pearson. The moniker “Duke” was given to him by his uncle, who was a great admirer of Duke Ellington. Before he was six, his mother started giving him piano lessons. He studied the instrument until he was twelve, when he took an interest in brass instruments: mellophone, baritone horn and ultimately trumpet. He was so fond of the trumpet that through high school and college he neglected the piano. He attended Clark College while also playing trumpet in groups in the Atlanta area. While in the U.S. Army, during his 1953–54 draft, he continued to play trumpet and met, among others, the pianist Wynton Kelly. Pearson himself confessed in a 1959 interview that he was “so spoiled by Kelly’s good piano” that he decided to switch to piano again. Also, it seems that dental problems forced him to give up brass instruments.

Pearson performed with different ensembles in Georgia and Florida, including with Tab Smith and Little Willie John, before he moved to New York City in January 1959. He had, however, been able to get at least one song, “Tribute to Brownie” (dedicated to Clifford Brown), recorded by the Cannonball Adderley Quintet on their 1957 album, Sophisticated Swing. In New York, Pearson gained the attention of the trumpeter Donald Byrd, who saw Pearson performing with the Art Farmer/Benny Golson Sextet (known as the Jazztet). Shortly afterwards, Byrd asked Pearson to join his newly formed band, the Donald Byrd–Pepper Adams Quintet. Pearson was also the accompanist for Nancy Wilson on tour in 1961. During that same year, Pearson became ill before a Byrd-Adams show, and a newcomer, Herbie Hancock, took over for him. Hancock eventually took over the position permanently.

Ike Abrams Quebec (August 17, 1918 – January 16, 1963) was an American jazz tenor saxophonist. He began his career in the big band era of the 1940s, then fell from prominence for a time until launching a comeback in the years before his death.

Critic Alex Henderson wrote, “Though he was never an innovator, Quebec had a big, breathy sound that was distinctive and easily recognizable, and he was quite consistent when it came to down-home blues, sexy ballads, and up-tempo aggression.”

Quebec was born in Newark, New Jersey, United States. An accomplished dancer and pianist, he switched to tenor sax as his primary instrument in his early twenties, and quickly earned a reputation as a promising player. His recording career started in 1940, with the Barons of Rhythm.

Later on, he recorded or performed with Frankie Newton, Hot Lips Page, Roy Eldridge, Trummy Young, Ella Fitzgerald, Benny Carter and Coleman Hawkins. Between 1944 and 1951, he worked intermittently with Cab Calloway. He began to record for the Blue Note label in this era, and served as a talent scout (helping pianists Thelonious Monk and Bud Powell come to wider attention). Due to his exceptional sight reading skills, Quebec was also an uncredited impromptu arranger for many Blue Note sessions.

Due in part to struggles with heroin addiction (but also due to the fading popularity of the big bands), Quebec recorded only sporadically during the 1950s, though he still performed regularly. He kept abreast of new developments in jazz, and his later playing incorporated elements of hard bop, bossa nova, and soul jazz.

Alvin Queen is an American-born Swiss jazz drummer born in the Bronx, New York, on August 16, 1950. At 16, he played for Ruth Brown and Don Pullen and with the Wild Bill Davis trio. He played with trombonist Benny Green and guitarist Tiny Grimes in 1969 and replaced Billy Cobham in the Horace Silver quintet. He also played with the George Benson quartet before rejoining Charles Tolliver in November 1971. During the seventies, he lived in Canada, before settling in Switzerland in 1979 and creating the label Nilva, an anagram of his first name.

He has also played with Michael Brecker, Kenny Drew, Oscar Peterson, Bennie Wallace, Duško Gojković, Johnny Griffin, and George Coleman.

https://www.youtube.com/watch?v=rcBxYVE0nQo

Carl Lee Perkins (April 9, 1932 – January 19, 1998) was an American singer-songwriter who recorded most notably at the Sun Studio, in Memphis, beginning in 1954. Amongst his best-known songs are “Blue Suede Shoes“, “Matchbox” and “Everybody’s Trying to Be My Baby“.

According to Charlie Daniels, “Carl Perkins’ songs personified the rockabilly era, and Carl Perkins’ sound personifies the rockabilly sound more so than anybody involved in it, because he never changed.” Perkins’s songs were recorded by artists (and friends) as influential as Elvis Presley, the Beatles, Jimi Hendrix, Johnny Cash and Eric Clapton which further established his place in the history of popular music. Paul McCartney claimed that “if there were no Carl Perkins, there would be no Beatles.”

Called “the King of Rockabilly”, he was inducted into the Rock and Roll Hall of Fame, the Rockabilly Hall of Fame, the Memphis Music Hall of Fame, and the Nashville Songwriters Hall of Fame. He also received a Grammy Hall of Fame Award.

William John Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist and composer who mostly played in trios. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, “singing” melodic lines continue to influence jazz pianists today.

Born in Plainfield, New Jersey, in 1929, he was classically trained at Southeastern Louisiana University and the Mannes School of Music, where he majored in composition and received the Artist Diploma. In 1955, he moved to New York City, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis‘s sextet, which in 1959, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time. During that time, Evans was also playing with Chet Baker for the album Chet.

In late 1959, Evans left the Miles Davis band and began his career as a leader, with bassist Scott LaFaro and drummer Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, ten days after finishing an engagement at the New York Village Vanguard jazz club, LaFaro died in a car accident. After months of seclusion, Evans reemerged with a new trio, featuring bassist Chuck Israels.

In 1963, Evans recorded Conversations with Myself, a solo album using the unconventional technique of overdubbing himself. In 1966, he met bassist Eddie Gómez, with whom he worked for 11 years.

Many of Evans’s compositions, such as “Waltz for Debby“, have become standards, played and recorded by many artists. Evans received 31 Grammynominations and seven awards, and was inducted into the Down Beat Jazz Hall of Fame.

Evans grew up in North Plainfield, New Jersey, the son of Harry and Mary Evans (née Soroka). His father was of Welsh descent and ran a golf course; his mother was of Carpatho-Rusyn ancestry and descended from a family of coal miners. The marriage was stormy owing to his father’s heavy drinking, gambling, and abuse. He had a brother, Harry (Harold), two years his senior, to whom he was very close.

Given Harry Evans Sr.’s destructive character, Mary Evans often left home with her sons to go to nearby Somerville, to stay with her sister Justine and the Epps family. There, Harry began piano lessons somewhere between age 5 and 7 with local teacher Helen Leland. Bill was thought to be too young for lessons, but he began to play what he had heard during his brother’s,  and soon both were taking piano lessons. Evans remembered Leland with affection for not insisting on a heavy technical approach, with scales and arpeggios. He quickly developed a fluent sight-reading ability, but Leland considered Harry a better pianist.

Bill Evans is seen as the main reformer of the harmonic language of jazz piano. Evans’s harmonic language was influenced by impressionist composers such as Claude Debussy and Maurice Ravel. His versions of jazz standards, as well as his own compositions, often featured thorough reharmonisations. Musical features included added tone chords, modal inflections, unconventional substitutions, and modulations.

One of Evans’s distinctive harmonic traits is excluding the root in his chords, leaving this work to the bassist, played on another beat of the measure, or just left implied. “If I am going to be sitting here playing roots, fifths and full voicings, the bass is relegated to a time machine.” This idea had already been explored by Ahmad Jamal, Erroll Garner, and Red Garland. In Evans’s system, the chord is expressed as a quality identity and a color.

Malcolm Earl “Mal” Waldron (August 16, 1925 – December 2, 2002) was an American jazz pianist, composer, and arranger. He started playing professionally in New York in 1950, after graduating from college. In the following dozen years or so Waldron led his own bands and played for those led by Charles Mingus, Jackie McLean, John Coltrane, and Eric Dolphy, among others. During Waldron’s period as house pianist for Prestige Recordsin the late 1950s, he appeared on dozens of albums and composed for many of them, including writing his most famous song, “Soul Eyes“, for Coltrane. Waldron was often an accompanist for vocalists, and was Billie Holiday‘s regular accompanist from April 1957 until her death in July 1959.

A breakdown caused by a drug overdose in 1963 left Waldron unable to play or remember any music; he regained his skills gradually, while redeveloping his speed of thought. He left the U.S. permanently in the mid-1960s, settled in Europe, and continued touring internationally until his death.

In his 50-year career, Waldron recorded more than 100 albums under his own name and more than 70 for other band leaders. He also wrote for modern ballet, and composed the scores of several feature films. As a pianist, Waldron’s roots lay chiefly in the hard bop and post-bop genres of the New York club scene of the 1950s, but with time he gravitated more towards free jazz. He is known for his dissonant chord voicings and distinctive later playing style, which featured repetition of notes and motifs.

Mal Waldron was born in New York City on August 16, 1925, to West Indian immigrants. His father was a mechanical engineer who worked on the Long Island Rail Road. The family moved to Jamaica, Queens when Mal was four years old. Waldron’s parents discouraged his initial interest in jazz, but he was able to maintain it by listening to swing on the radio. Waldron had classical piano lessons from the age of around seven until he was about 16.

A multitude of magnificent, swirling clouds in Jupiter’s dynamic North North Temperate Belt is captured in this image from NASA’s Juno spacecraft. Appearing in the scene are several bright-white “pop-up” clouds as well as an anticyclonic storm, known as a white oval.

This color-enhanced image was taken at 4:58 p.m. EDT on Oct. 29, 2018 as the spacecraft performed its 16th close flyby of Jupiter. At the time, Juno was about 4,400 miles from the planet’s cloud tops, at a latitude of approximately 40 degrees north.

Citizen scientists Gerald Eichstädt and Seán Doran created this image using data from the spacecraft’s JunoCam imager.

JunoCam’s raw images are available at www.missionjuno.swri.edu/junocam for the public to peruse and process into image products.

Gerardo “Jerry” Velez (born August 15, 1947) is an American musician. Best known for performing with American psychedelic rock musician Jimi Hendrix at Woodstock Festival in August 1969, Velez is a veteran percussionist and drummer, who has performed with many artists covering a number of different genres of music. He is also a common member of jazz fusion band Spyro Gyra.

Born in New York on August 15, 1947, Velez began his musical career in The Bronx, New York. He notably joined Jimi Hendrix’s band Gypsy Sun and Rainbows in July 1969, performed at the Woodstock Festival and at a small number of studio sessions, before Hendrix disbanded the group in favour of returning to the three-piece format of The Jimi Hendrix Experience. The band’s performance at Woodstock was released on the live album Woodstock in 1994, followed by live album and video Live at Woodstock in 1999. For all Hendrix releases on which he appears, Velez was credited with the nickname Jerry.

Nesbert “Stix” Hooper (born August 15, 1938) is an American drummer and founding member of The Crusaders.

Hooper developed an interest in music, drums, and percussion at an early age. Starting in middle school with band director George Magruder, he began devoting much of his time to the study of music. While he was a student at Phillis Wheatley High School, he formed the band the Swingsters, then the Modern Jazz Sextet. At Texas Southern University, he received coaching from members of the Houston Symphony Orchestra and other local professional musicians. After moving to the west coast, he studied music at California State University, Los Angeles and with private instructors and mentors. During the 1950s the Jazz Crusaders were formed.

He has worked with Arthur Fiedler, George Shearing, B.B. King, Grant Green, Grover Washington Jr., Quincy Jones, Marvin Gaye, Nancy Wilson, the Royal Philharmonic Orchestra of London, and the Rolling Stones. He was National Vice Chairman of the National Academy of Recording Arts and Sciences and president of its Los Angeles chapter.

Joseph Armand “Joe” Castro (August 15, 1927 – December 13, 2009) was an American bebop jazz pianist, based primarily on the West Coast of the United States.

Castro was born in Miami, Arizona on August 15, 1927 to John L. Castro and Lucy Sanchez. Castro went to school in Pittsburg, California in the San Francisco Bay area, north of Oakland, where he began playing professionally at the age of 15. His enrollment at San Jose State University was interrupted twice—first by a stint in the army from 1946 to 1947 and then when he formed his first jazz trio working on both the West Coast and in Hawaii. In 1956 Castro moved to New York City, where his trio successfully appeared in the city’s top jazz clubs—Basin Street, The Embers, The Hickory House and Birdland. He was critically lauded by the likes of Leonard Feather who described his style as “assertively swinging,” and Dave Brubeck, who had known Castro since the early 1950s, as “an extremely talented individual, a fine musician, an excellent pianist and a tasteful performer.” In 1958, he moved to Los Angeles to be associated almost exclusively with Teddy Edwards, Billy Higgins and Leroy Vinnegar. “The group has been very important to me,” Castro says. “I had been working so long with piano trios, I had to learn how to play less and say more. Actually I have more freedom in this group without having to carry the load.” Castro recorded and performed extensively with The Teddy Edwards Quartet while also making two of his own recordings as a leader for Atlantic Records.

The first album, entitled Mood Jazz (Atlantic 1264) was recorded on November 19, 1956 and utilized three different ensembles: a large orchestra with strings and voices, another string orchestra without voices and a regular jazz combo of piano, trumpet, alto saxophone, bass, and drums. Philly Joe Jones performed on the album which was arranged by Neal Hefti, recorded by Tom Dowd, and supervised by Ahmet Ertegun and Nesuhi Ertegun.