mick laBriola

Henry “Hank” Mobley (July 7, 1930 – May 30, 1986) was an American hard bop and soul jazz tenor saxophonist and composer. Mobley was described by Leonard Feather as the “middleweight champion of the tenor saxophone”, a metaphor used to describe his tone, that was neither as aggressive as John Coltrane nor as mellow as Stan Getz, and his style that was laid-back, subtle and melodic, especially in contrast with players like Sonny Rollins and Coltrane. The critic Stacia Proefrock claimed he is “one of the most underrated musicians of the bop era.”

Mobley was born in Eastman, Georgia, but was raised in Elizabeth, New Jersey, near Newark. When he was 16, an illness kept him in the house for several months. His grandmother thought of buying a saxophone to help him occupy his time, and it was then that Mobley began to play. He tried to enter a music school in Newark, but could not, since he was not a resident, so he instead studied music through books at home. At 19, he started to play with local bands and, months later, worked for the first time with musicians like Dizzy Gillespie and Max Roach. He took part in one of the earliest hard bop sessions, alongside Art Blakey, Horace Silver, Doug Watkins and trumpeter Kenny Dorham. The results of these sessions were released as Horace Silver and the Jazz Messengers. When The Jazz Messengers split in 1956, Mobley continued on with pianist Silver for a short time, although he did work again with Blakey some years later, when the drummer appeared on Mobley’s albums in the early 1960s.

In 1956, Mobley recorded the album Mobley’s Message with Jackie McLean and Donald Byrd. AllMusic gave the album 4 stars out of 5, and users gave the album 4.5 out of 5 stars.

Lloyd “Tiny” Grimes (July 7, 1916 – March 4, 1989) was an American jazz and R&B guitarist. He was a member of the Art Tatum Trio from 1943 to 1944, was a backing musician on recording sessions, and later led his own bands, including a recording session with Charlie Parker. He is notable for playing the electric tenor guitar, a four-stringed instrument.

Grimes was born in Newport News, Virginia, United States, and began his musical career playing drums and one-fingered piano. In 1938 he took up the electric four-string tenor guitar. In 1940 he joined the Cats and the Fiddle as guitarist and singer. In 1943 he joined the Art Tatum Trio as guitarist and made a number of recordings with Tatum.

After leaving Tatum, Grimes recorded with his own groups in New York and with a long list of leading musicians, including vocalist Billie Holiday. He made four recordings with his own group, augmented with Charlie Parker: “Tiny’s Tempo”, “Red Cross”, “Romance Without Finance”, and “I’ll Always Love You Just the Same”, the latter two featuring Grimes’ singing.

In the late 1940s, he had a hit on a jazzed-up version of “Loch Lomond“, with the band billed as Tiny “Mac” Grimes and the Rocking Highlanders and appearing in kilts. This group included tenor saxman Red Prysock and singer Screaming Jay Hawkins. Grimes continued to lead his own groups into the later 1970s and he recorded on Prestige Records in a series of strong blues-based performances with Coleman Hawkins, Illinois Jacquet, Pepper Adams, Roy Eldridge and other noted players including, in 1977, Earl Hines.

With Paul Williams, he co-headlined the first Moondog Coronation Ball, promoted by Alan Freed in Cleveland, Ohio, on March 21, 1952, often claimed as the first rock and roll concert. In 1953 he may have played on the Crows one-hit wonder, “Gee“, that has been called the first original rock and roll record by an R&B group.

Grimes died in March 1989 in New York City from meningitis at the age of 72.

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

the Orion Nebula Arguably the most famous of all astronomy nebulas, the Great Nebula in Orion is an immense interstellar molecular cloud only 1500 light-years away. In the featured deep image shown in assigned colors, the part of the nebula’s center known as M43 is shown as taken by the Hubble Space Telescope. The Great Nebula in Orion can be found with the unaided eye near the easily identifiable belt of three stars in the popular constellation Orion. The entire Orion Nebula, including both M42 and M43 spans about 40 light years and is located in the same spiral arm of our Galaxy as the Sun.

Michael Shrieve (born July 6, 1949) is an American drummer, percussionist, and composer. He is best known as the drummer of the rock band Santana, playing on the band’s first seven albums from 1969 to 1974. Shrieve was the second youngest musician to perform at Woodstock in 1969, being aged 20. His drum solo during “Soul Sacrifice” in the Woodstock film has been described as “electrifying”, even if he considers his drum solo during “Soul Sacrifice” in 1970 at Tanglewood better.

Shrieve’s first full-time band was called Glass Menagerie, followed by experience in the house band of an R&B club, backing touring musicians including B.B. King and Etta James. At 16, Shrieve played in a jam session at the Fillmore Auditorium, where he attracted the attention of Santana‘s manager, Stan Marcum. When he was 19, Shrieve jammed with Santana at a recording studio and was invited to join that day.

On August 16, 1969, Santana played the Woodstock Festival, shortly after Shrieve’s twentieth birthday, but before the release of their eponymous first album (1969). He remained with Santana for Abraxas (1970), Santana III (1971), Caravanserai (1972), Welcome (1973), Borboletta (1974) and the live Lotus (1974). He co-wrote four of the tracks on Caravanserai, as well as co-produced the album.

Shrieve left the original Santana band to pursue solo projects. He moved to London, England to record the 1976 album Automatic Man with guitarist Pat Thrall, bass guitarist Doni Harvey and keyboardist Todd Cochran (billed as Bayete). While in London Shrieve was part of the fusion supergroup Go with Stomu Yamashta, Steve Winwood, Al Di Meola and Klaus Schulze, releasing two studio albums Go (1976) and Go Too (1977) and the live album Go Live from Paris (1976).

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

Gene Chandler (born Eugene Drake Dixon on July 6, 1937) is an American singer, songwriter, music producer and record label executive. Nicknamed “The Duke of Earl” or simply “The Duke”, he is best known for his most successful songs “Duke of Earl” and “Groovy Situation” and his association with The Dukays, the Impressions and Curtis Mayfield.

Chandler is a Grammy Hall Of Fame inductee and a winner of both the National Association of Television and Radio Announcers’ (NATRA) “Producer of the Year” Award and the Rhythm and Blues Foundation‘s Pioneer Award. He is also one of a just a few singers to achieve chart successes spanning the doo-wop, rhythm and blues, soul, and disco musical eras, with some Top 40 pop and R&B chart hits between 1961 and 1986. Chandler was inducted as a performer into the Rhythm and Blues Music Hall of Fame on August 24, 2014. In 2016, he became a “Double Inductee” into the R&B Hall of Fame, having received a Special Induction as an R&B Music Pioneer.

Gene Chandler was born Eugene Drake Dixon in Chicago, Illinois, on July 6, 1937. He attended Englewood High School on Chicago’s south side. He began performing during the early 1950s with the band The Gaytones. In 1957, he joined The Dukays, with James Lowe, Shirley Jones, Earl Edwards and Ben Broyles, soon becoming their lead singer. After his draft into the U.S. Army he returned to Chicago in 1960 and rejoined the Dukays.

born 7-6-1931 died 1-11-96 His best-known recordings, “Kiss Tomorrow Goodbye” and “Loan Me Your Handkerchief,” were sizable regional hits in the early 1960s. “Danny was never a big-name recording artist,” composer Allen Toussaint said. “But he had a great band that used to work at the Sho Bar on Bourbon Street. Danny inspired me to write ‘Mother-in-Law’ and ‘Certain Girl.’ Unfortunately, I wasn’t recording Danny, so I gave the songs to Ernie K-Doe. “There was something very influential about Danny that was absorbed by a lot of artists that had big records here.” Joseph Daniel White was born in New Orleans in 1931. He began singing professionally in his early 20s after his discharge from the Marine Corps. By the mid-1950s, Danny White and the Cavaliers were a top attraction at the Golden Cadillac, a nightclub on Poland Avenue. After five years at the Golden Cadillac, Mr. White and his band began playing other venues, including the Sho Bar, where they played weekends from 2 a.m. to 6 a.m. “Danny White and the Cavaliers were the hottest band in town in the early 1960s,” said Jimmy Anselmo, the owner of Jimmy’s music club. “You could compare him to the Cold or the Neville Brothers at their peak. Imagine Jimmy’s or Tipitina’s packed full of people with the sun coming up. That’s what it was like every night when Danny played the Sho Bar.” In 1961, Mr. White signed with Frisco Records, a New Orleans label owned by Connie LaRocca. The first of five Frisco singles, “Kiss Tomorrow Goodbye,” arranged by Wardell Quezergue, was a strong local seller. The next year, Mr. White recorded an Earl King ballad, “Loan Me Your Handkerchief,” which was leased to Decca for national distribution and sold more than 100,000 copies. Mr. White began touring with artists such as Jimmy Reed, Otis Redding and Marvin Gaye. In 1962, he played the Apollo Theater in New York. Mr. White’s second Decca single, “Cracked Up Over You,” was recorded with backing by Booker T & the MGs at the Stax Studio in Memphis. So was his last single, “Keep My Woman Home,” an Isaac Hayes-Dave Porter composition that was released on the New York-based Atlas label in 1965. In 1969, Mr. White became the road manager for the Meters, then getting their first taste of national success. He worked with them for two years. In 1972, Mr. White moved to the Washington, D.C., area to take a job as a sales manager for a furniture company. He often returned to New Orleans to visit and occasionally performed at oldies shows.

Louis Bellson (born Luigi Paulino Alfredo Francesco Antonio Balassoni on July 6, 1924 – February 14, 2009), known by the stage name Louie Bellson (his own preferred spelling, although he is often seen in sources as Louis Bellson), was an American jazz drummer. He was a composer, arranger, bandleader, and jazz educator, and is credited with pioneering the use of two bass drums.

Bellson was an internationally acclaimed artist who performed in most of the major capitals around the world. Bellson and his wife, actress and singer Pearl Bailey (married from 1952 until Bailey’s death in 1990), had the second highest number of appearances at the White House (only Bob Hopehad more).

Bellson was a vice president at Remo, a drum company. He was inducted into the Modern Drummer Hall of Fame in 1985. Bellson was born in Rock Falls, Illinois in 1924, where his father owned a music store. He started playing drums at three years of age. While still a young child, Bellson’s father moved the family and music store to Moline, Illinois . At 15, he pioneered using two bass drums at the same time, a technique he invented in his high school art class. At age 17, he triumphed over 40,000 drummers to win the Slingerland National Gene Krupa contes.

Why would clouds form a hexagon on Saturn? Nobody is sure. Originally discovered during the Voyager flybys of Saturn in the 1980s, nobody has ever seen anything like it anywhere else in the Solar System. Acquiring its first sunlit views of far northern Saturn in late 2012, the Cassini spacecraft’s wide-angle camera recorded this stunning, false-color image of the ringed planet’s north pole. The composite of near-infrared image data results in red hues for low clouds and green for high ones, giving the Saturnian cloudscape a vivid appearance. This and similar images show the stability of the hexagon even 20+ years after Voyager. Movies of Saturn’s North Pole show the cloud structure maintaining its hexagonal structure while rotating. Unlike individual clouds appearing like a hexagon on Earth, the Saturn cloud pattern appears to have six well defined sides of nearly equal length. Four Earths could fit inside the hexagon. Beyond the cloud tops at the upper right, arcs of the planet’s eye-catching rings appear bright blue.

Jaime Royal “Robbie” Robertson, OC (born July 5, 1943), is a Canadian musician, songwriter, film composer, producer, actor, and author. Robertson is best known for his work as lead guitarist and primary songwriter for The Band, and for his career as a solo recording artist.

Robertson’s work with The Band was instrumental in creating the Americana music genre. Robertson has been inducted into the Rock and Roll Hall of Fame and the Canadian Music Hall of Fame as a member of The Band, and has been inducted to Canada’s Walk of Fame, both with The Band and on his own. He is ranked 59th in Rolling Stone magazine’s list of the 100 greatest guitarists.^[3] As a songwriter, Robertson is credited for writing “The Weight“, “The Night They Drove Old Dixie Down“, “Up on Cripple Creek“, “Broken Arrow“, “Somewhere Down the Crazy River“, and many others. He has been inducted into the Canadian Songwriters Hall of Fame, and received a Lifetime Achievement Award from the National Academy of Songwriters.

As a film soundtrack producer and composer, Robertson is known for his collaborations with director Martin Scorsese, which began with the rockumentary film The Last Waltz (1978), and continued through a number of dramatic films, including Raging Bull (1980), Casino (1995), The Departed (2006), The Wolf of Wall Street (2013) and The Irishman (2019). He has worked on many other soundtracks for film and television.

Arthur Murray Blythe (July 5, 1940 – March 27, 2017) was an American jazz alto saxophonist and composer. He was described by critic Chris Kelsey as displaying “one of the most easily recognizable alto sax sounds in jazz, big and round, with a fast, wide vibrato and an aggressive, precise manner of phrasing” and furthermore as straddling the avant garde and traditionalist jazz, often with bands featuring unusual instrumentation.
Born in Los Angeles, Blythe lived in San Diego, returning to Los Angeles when he was 19 years old. He took up the alto saxophone at the age of nine, playing R&B until his mid-teens when he discovered jazz. In the mid-1960s, Blythe was part of The Underground Musicians and Artists Association (UGMAA), founded by Horace Tapscott, on whose 1969 The Giant Is Awakened he made his recording debut.

After moving to New York in the mid-70s, Blythe worked as a security guard before being offered a place as sideman for Chico Hamilton (1975–77). He subsequently played with Gil Evans‘ Orchestra (1976–78), Lester Bowie (1978), Jack DeJohnette (1979) and McCoy Tyner (also 1979). Blythe’s group – John Hicks, Fred Hopkins and Steve McCall (drummer) – played Carnegie Hall and the Village Vanguard in 1979.

In 1977, Blythe appeared on the LP Rhythmatism, a recording led by drummer Steve Reid. Reviewing in Christgau’s Record Guide: Rock Albums of the Seventies (1981), Robert Christgau highlighted Blythe’s “forceful” alto-saxophone playing and said, “like so many of the new players Blythe isn’t limited to modern methods by his modernism—he favors fluent, straight-ahead Coltrane modalities, but also demonstrates why he belongs on a tune for Cannonball.

Overton Amos Lemons (July 5, 1913 – October 7, 1966), known as Smiley Lewis, was an American New Orleans rhythm and blues singer and guitarist. The music journalist Tony Russell wrote that “Lewis was the unluckiest man in New Orleans. He hit on a formula for slow-rocking, small-band numbers like ‘The Bells Are Ringing’ and ‘I Hear You Knocking‘ only to have Fats Domino come up behind him with similar music with a more ingratiating delivery. Lewis was practically drowned in Domino’s backwash.”

Lemons was born in DeQuincy, Louisiana, a rural hamlet near Lake Charles, to Jeffrey and Lillie Mae Lemons. He was the second of three sons. His mother died while he was a child, and later he named a song and several automobiles after her. In his mid-teens, he hopped a slow-moving freight train with some friends, who jumped off when the train began to speed up. Lewis alone remained on the train, getting off when it reached its stop in New Orleans. He found boarding with a Caucasian family in the Irish Channel neighborhood and eventually adopted their surname, Lewis.

He began playing clubs in the French Quarter and “tan bars” in the Seventh Ward, at times billed as Smiling Lewis, a variation of the nicknameearned by his lack of front teeth. He was often accompanied by the pianist Isidore “Tuts” Washington, with whom he played in Thomas Jefferson’s Dixieland band in the mid-1930s. When the band dissolved, Lewis began playing in clubs, earning only tips.

Lewis married Leona Robinson in 1938. The couple lived with her mother until they began having children, when they moved to South Tonti Street, while Lewis worked at manual labor during the day and performed at night. During World War II, he joined Washington again, this time with Kid Ernest Molière’s band, entertaining soldiers stationed at Fort Polk, outside Bunkie, Louisiana, and serving as the house band at the Boogie Woogie Club. The two formed a trio with the drummer Herman Seals after the war ended and again began playing in clubs in the French Quarter and along Bourbon Street.

America has been working to fully live up to the ideals laid out in the Declaration of Independence ever since the document was printed on July 4, 1776. So while the U.S. tends to go all out celebrating freedom on the Fourth of July, alternate independence commemorations held a day later often draw attention to a different side of that story, with readings of the Frederick Douglass speech best known today as “What to the Slave is the Fourth of July?”

The speech was originally delivered at a moment when the country was fiercely locked in debate over the question of slavery, but there’s a reason why it has remained famous more than 150 years after emancipation, says David Blight, author of the 2019 Pulitzer Prize winning biography Frederick Douglass: Prophet of Freedom.

To some, celebrations of American independence on July 4 are a reminder of the country’s hypocrisy on the matter of freedom, as slavery played a key role in the nation’s history; even today, America’s history of racism is still being written, while other forms of modern-day slavery persist in the U.S. and around the world. For those who feel that way, July 5 may be an easier day to celebrate: on that day in 1827, 4,000 African Americans paraded down Broadway in New York City to celebrate the end of slavery in their state.

One person who felt that way was Douglass, the famous abolitionist, who was himself born into slavery. When the Ladies Anti-Slavery Society of Rochester, N.Y., invited Douglass to give a July 4 speech in 1852, Douglass opted to speak on July 5 instead.

Addressing an audience of about 600 at the newly constructed Corinthian Hall, he started out by acknowledging that the signers of the Declaration of Independence were “brave” and “great” men, and that the way they wanted the Republic to look was in the right spirit. But, he said, speaking more than a decade before slavery was ended nationally, a lot of work still needed to be done so that all citizens can enjoy “life, liberty, and the pursuit of happiness.” Above “your national, tumultuous joy” — the July 4th celebrations of white Americans — were the “mournful wails of millions” whose heavy chains “are, today, rendered more intolerable by the jubilee shouts that reach them.”

In the oration’s most famous passages, Douglass discussed what it felt like to see such festivities and to know independence was not a given for people like him:

What have I, or those I represent, to do with your national independence? Are the great principles of political freedom and of natural justice, embodied in that Declaration of Independence, extended to us? and am I, therefore, called upon to bring our humble offering to the national altar, and to confess the benefits and express devout gratitude for the blessings resulting from your independence to us?…

I say it with a sad sense of the disparity between us. I am not included within the pale of glorious anniversary! Your high independence only reveals the immeasurable distance between us. The blessings in which you, this day, rejoice, are not enjoyed in common. The rich inheritance of justice, liberty, prosperity and independence, bequeathed by your fathers, is shared by you, not by me. The sunlight that brought light and healing to you, has brought stripes and death to me. This Fourth July is yours, not mine. You may rejoice, I must mourn…

What, to the American slave, is your 4th of July? I answer; a day that reveals to him, more than all other days in the year, the gross injustice and cruelty to which he is the constant victim. To him, your celebration is a sham; your boasted liberty, an unholy license; your national greatness, swelling vanity; your sounds of rejoicing are empty and heartless; your denunciation of tyrants, brass fronted impudence; your shouts of liberty and equality, hollow mockery; your prayers and hymns, your sermons and thanksgivings, with all your religious parade and solemnity, are, to Him, mere bombast, fraud, deception, impiety, and hypocrisy — a thin veil to cover up crimes which would disgrace a nation of savages. There is not a nation on the earth guilty of practices more shocking and bloody than are the people of the United States, at this very hour.

Douglass’ speech also foreshadowed the bloody reckoning to come: Civil War. “For it is not light that is needed, but fire; it is not the gentle shower, but thunder,” he said. “We need the storm, the whirlwind, and the earthquake.”

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At the time Douglass spoke, Blight says, the opportunity was ripe for a lecture on the moral crisis.

“Uncle Tom’s Cabin had just been published that spring and was taking the country by storm. The country was in the midst of crises over fugitive slave rescues in the wake of the Fugitive Slave Act of 1850. The political party system was beginning to tear itself asunder over the expansion of slavery,” he says. “It’s also an election year; the 1852 presidential election was heating up that summer. The Nativist party is rising. It’s an extraordinary political moment.”