mick laBriola

William Marcel “Buddy” Collette (August 6, 1921 – September 19, 2010) was an American jazz flutist, saxophonist, and clarinetist. He was a founding member of the Chico Hamilton Quintet.

William Marcel Collette was born in Los Angeles on August 6, 1921. He was raised in Watts, surrounded by people of all different ethnicities. He lived in a house built by his father in an area with cheap, plentiful land. The neighborhood in which he grew up was called Central Gardens area. For elementary school, he attended Ninety-sixth Street School because it allowed black students. Other schools in the area, such as South Gate Junior High School, did not and Collette often felt odd entering areas primarily inhabited by whites. Collette’s family did not have a lot of money, but his childhood gave him the chance to mix with all sorts of different people. The “melting pot” of Watts framed the way he saw his position as a black man in the future.

Buddy Collette began playing piano at age ten, at his grandmother’s request. His love for music came not only from his community, but from his parents—his father played piano and his mother sang. In middle school, he began playing the saxophone. That same year, he formed his first band with Charlie Martin, Vernon Slater, Crosby Lewis, and Minor Robinson.

Willie Lee Brown (August 6, 1900 – December 30, 1952) was an American blues guitar player and vocalist. He performed and recorded with other notable blues musicians, including Son House and Charlie Patton, and was an influence on Robert Johnson and Muddy Waters. Brown is considered one of the pioneering musicians of the Delta blues genre.

Brown was best known as a side player, performing mostly with House, Patton, and Johnson. He recorded six sides for Paramount Records in Grafton, Wisconsin in 1930, which were subsequently released on 78-rpm discs. He made three recordings for the Library of Congress in 1941, accompanied by House. In 1952, Brown briefly joined House in Rochester, New York, but soon returned to Tunica, Mississippi, where he died the same year.

Although known mostly as an accompanist rather than a soloist, Brown recorded three highly rated solo performances: “M & O Blues”, “Make Me a Pallet on the Floor” and “Future Blues”. He disappeared from the music scene during the 1940s, together with House, and died before the blues revival of the 1960s.

Brown was born in Clarksdale, Mississippi, in 1900. He learned to play the guitar as a teenager. He played with such notables as Charley Patton, Son House and Robert Johnson. He was not a self-promoting frontman, preferring to “second” other musicians. Little is known for certain about the man whom Johnson called “my friend Willie Brown” (in his “Cross Road Blues“) and whom Johnson once indicated should be notified in event of his death.

This highly detailed image of the fantastic NGC 2899 planetary nebula was captured using the FORS instrument on ESO’s Very Large Telescope in northern Chile. This object has never before been imaged in such striking detail, with even the faint outer edges of the planetary nebula glowing over the background stars. NGC 2899’s vast swathes of gas extend up to a maximum of two light-years from its center, glowing brightly in front of the stars of the Milky Way as the gas reaches temperatures upwards of ten thousand degrees. The high temperatures are due to the large amount of radiation from the nebula’s parent star, which causes the hydrogen gas in the nebula to glow in a reddish halo around the oxygen gas, in blue. This object, located between 3000 and 6500 light-years away in the Southern constellation of Vela (The Sails), has two central stars, which are believed to give it its nearly symmetric appearance. After one star reached the end of its life and cast off its outer layers, the other star now interferes with the flow of gas, forming the two-lobed shape seen here. Only about 10–20% of planetary nebulae display this type of bipolar shape.

Rick Derringer (born Ricky Dean Zehringer; August 5, 1947) is an American guitarist, vocalist, Grammy Award-winning producer and writer of several hit songs. He came to prominence in the 1960s as founding member of his band, The McCoys. At that time, they were brought to New York City to record what became the number one hit song “Hang On Sloopy“. The McCoys then had seven songs that charted in the top 100, including versions of “Fever” and “Come On Let’s Go”.

In the 1970s, Derringer had another major hit with his own song, “Rock and Roll, Hoochie Koo“. He has worked extensively with the brothers Edgarand Johnny Winter, playing lead guitar in their bands, and also producing all of their gold and platinum disc recordings. He has worked with Steely Dan, discovered Cyndi Lauper and “Weird Al” Yankovic, producing Yankovic’s Grammy Award-winning songs “Eat It” and “Fat“. “Eat It” included Derringer’s guitar solo, which emulated Eddie Van Halen‘s solo on Michael Jackson‘s “Beat It“. The work he did with Yankovic convinced Vince McMahon, the president of the World Wrestling Federation, that Derringer should be the producer of The Wrestling Album (1985) and then the follow-up, Piledriver: The Wrestling Album II (1987). The albums included the entrance song for Hulk Hogan, “Real American”, and the Demolition tag team, “Demolition”.

Airto Guimorvan Moreira (born August 5, 1941) is a Brazilian jazz drummer and percussionist. He is married to jazz singer Flora Purim, and their daughter Diana Moreira is also a singer. Coming to prominence in the late 1960s as a member of the Brazilian ensemble Quarteto Novo, he moved to the United States and worked in jazz fusion with Miles Davis and Return to Forever.

Airto Moreira was born in Itaiópolis, Brazil, into a family of folk healers, and raised in Curitiba and São Paulo. Showing an extraordinary talent for music at a young age, he became a professional musician at age 13, noticed first as a member of the samba jazz pioneers Sambalanço Trio and for his landmark recording with Hermeto Pascoal in Quarteto Novo in 1967. Shortly after, he followed his wife Flora Purim to the United States.

After moving to the US, Moreira began playing regularly with jazz musicians in New York, including the bassist Walter Booker. Through Booker, Moreira began playing with Joe Zawinul, who in turn introduced him to Miles Davis. At this time Davis was experimenting with electronic instruments and rock and funk rhythms, a form which would soon come to be called jazz fusion. Moreira was to participate in several of the most important projects of this emerging musical form. He stayed with Davis for about two years, touring and participating in the creation of the seminal fusion recording Bitches Brew (1970).

Shortly after leaving Davis, Moreira joined other Davis alumni Zawinul, Wayne Shorter and Miroslav Vitous in their group Weather Report, playing percussion on their first album (1971). He left Weather Report (replaced by Dom Um Romão and Muruga Booker for their Sweetnighter album) to join fellow Davis alumnus Chick Corea‘s new band Return to Forever. He played drums on Return to Forever’s first two albums: Return to Forever and Light as a Feather in 1972.

Leonard Harold Breau (August 5, 1941 – August 12, 1984) was a Canadian guitarist and music educator. Breau blended many styles of music, including jazz, country, classical, and flamenco. Inspired by country guitarists like Chet Atkins, Breau used fingerstyle techniques not often used in jazz guitar. By using a seven-string guitar and approaching the guitar like a piano, he opened up possibilities for the instrument.

Breau was born August 5, 1941, in Auburn, Maine, but moved with his family to Moncton, New Brunswick in 1948. His francophone parents, Harold Breau and Betty Cody, were professional country and western musicians who performed and recorded from the mid-1930s until the mid-1970s. From the mid to late 1940s they played summer engagements in southern New Brunswick, advertising their performances by playing free programs on radio station CKCW Moncton. Lenny began playing guitar at the age of eight. When he was twelve, he started a small band with friends, and by the age of fourteen he was the lead guitarist for his parents’ band, billed as “Lone Pine Junior”, playing Merle Travis and Chet Atkins instrumentals and occasionally singing. He made his first professional recordings in Westbrook, Maine at Event Records with Al Hawkes at the age of 15 while working as a studio musician. Many of these recordings were released posthumously on the album Boy Wonder.

Moya Brennan (born Máire Ní Bhraonáin; Irish pronunciation: [mˠaːrʲə nʲiː vɾˠiːn̪ˠaːn]), also known as Máire Brennan, is an Irish folk singer, songwriter, harpist, and philanthropist. She began performing professionally in 1970 when her family formed the band Clannad, and is considered as the “First Lady of Celtic Music”. Moya released her first solo album in 1992 called Máire, a successful venture. She has been nominated for two Grammysand has won an Emmy Award. She has recorded music for several soundtracks, including Titanic, To End All Wars and King Arthur.

Huey “Sonny” Simmons (born August 4, 1933) is an American jazz musician.

Simmons was born in Sicily Island, Louisiana. He grew up in Oakland, California, where he began playing the English horn (Simmons and Vinny Golia are among the few musicians to play the instrument in a jazz context). At age 16 he took up the alto saxophone, which became his primary instrument. Simmons plays primarily in an avant-garde style, often delving into free jazz.

His then-wife, Barbara Donald, played trumpet on several of his early records, including his ESP-Disk titles Staying on the Watch and Music from the Spheres; Arhoolie Manhattan Egos, and Contemporary titles Rumasuma and the double album Burning Spirits. Simmons also partnered with Prince Lasha on several recordings, two of which – The Cry! (1963) and Firebirds (1968) – were released by Contemporary. Personal problems derailed both his music career and home life, leading to divorce and homelessness. He busked on the streets of San Francisco for many years, until he resurrected his career in the early 1990s and began playing in night clubs again.

Mitchell Herbert Ellis (August 4, 1921 – March 28, 2010), known professionally as Herb Ellis, was an American jazz guitarist. During the 1950s, he was in a trio with pianist Oscar Peterson.

Born in Farmersville, Texas, and raised in the suburbs of Dallas, Ellis first heard the electric guitar performed by George Barnes on a radio program. This experience is said to have inspired him to take up the guitar. He became proficient on the instrument by the time he entered North Texas State University. Ellis majored in music, but because they did not yet have a guitar program at that time, he studied the string bass. Unfortunately, due to lack of funds, his college days were short-lived. In 1941, Ellis dropped out of college and toured for six months with a band from the University of Kansas.

Louis Daniel Armstrong (August 4, 1901 – July 6, 1971), nicknamed “Satchmo“, “Satch“, and “Pops“, was an American trumpeter, composer, vocalist, and actor who was among the most influential figures in jazz. His career spanned five decades, from the 1920s to the 1960s, and different eras in the history of jazz. In 2017, he was inducted into the Rhythm & Blues Hall of Fame.

Armstrong was born and raised in New Orleans. Coming to prominence in the 1920s as an inventive trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. Around 1922, he followed his mentor, Joe “King” Oliver, to Chicago to play in the Creole Jazz Band. In Chicago, he spent time with other popular jazz musicians, reconnecting with his friend Bix Beiderbecke and spending time with Hoagy Carmichael and Lil Hardin. He earned a reputation at “cutting contests“, and relocated to New York in order to join Fletcher Henderson‘s band.

With his instantly recognizable rich, gravelly voice, Armstrong was also an influential singer and skillful improviser, bending the lyrics and melody of a song. He was also skilled at scat singing. Armstrong is renowned for his charismatic stage presence and voice as well as his trumpet playing. By the end of Armstrong’s career in the 1960s, his influence had spread to popular music in general. Armstrong was one of the first popular African-American entertainers to “cross over” to wide popularity with white (and international) audiences. He rarely publicly politicized his race, to the dismay of fellow African Americans, but took a well-publicized stand for desegregation in the Little Rock crisis. He was able to access the upper echelons of American society at a time when this was difficult for black men.

Armstrong appeared in films such as High Society (1956) alongside Bing Crosby, Grace Kelly, and Frank Sinatra, and Hello, Dolly! (1969) starring Barbra Streisand. He received many accolades including three Grammy Award nominations and a win for his vocal performance of Hello, Dolly! in 1964.