mick laBriola

Rita Coolidge (born May 1, 1945) is an American recording artist. During the 1970s and 1980s, her songs were on Billboard magazine’s pop, country, adult contemporary, and jazz charts, and she won two Grammy Awards with fellow musician and then-husband Kris Kristofferson. Her recordings include “(Your Love Keeps Lifting Me) Higher and Higher,” “We’re All Alone“, and the theme song for the 1983 James Bond film Octopussy: “All Time High“.

Coolidge is the daughter of Dick and Charlotte Coolidge, a minister and schoolteacher, with sisters Linda and Priscilla, and brother Raymond. She is of Cherokee and Scottish ancestry. She attended Nashville’s Maplewood High School and graduated from Andrew Jackson Senior High in Jacksonville, Florida. Coolidge is a graduate of Florida State University.

Judith Marjorie Collins (born May 1, 1939) is an American singer and songwriter known for her eclectic tastes in the material she records (which has included folk music, show tunes, pop music, rock and roll and standards) and for her social activism.

Collins’ debut album A Maid of Constant Sorrow was released in 1961, but it was the lead single from her 1967 album Wildflowers, “Both Sides, Now” – written by Joni Mitchell – that gave Collins international prominence. The single hit the Top 10 on the Billboard Pop Singles chart and won Collins her first Grammy Award for Best Folk Performance. She enjoyed further success with her recordings of “Someday Soon“, “Chelsea Morning“, “Amazing Grace“, and “Cook with Honey”.

Collins experienced the biggest success of her career with her recording of Stephen Sondheim‘s “Send in the Clowns” from her best-selling 1975 album Judith. The single charted on the Billboard Pop Singles chart in 1975 and then again in 1977, spending 27 non-consecutive weeks on the chart and earning Collins a Grammy Award nomination for Best Pop Vocal Performance, Female, as well as a Grammy Award for Sondheim for Song of the Year.

Collins was born the eldest of five siblings in Seattle, Washington, where she spent the first ten years of her life. Her father, a blind singer, pianist and radio show host, took a job in Denver, Colorado, in 1949, and the family moved there. Collins studied classical piano with Antonia Brico, making her public debut at age 13, performing Mozart’s Concerto for Two Pianos. Brico took a dim view, both then and later, of Collins’ developing interest in folk music, which led her to the difficult decision to discontinue her piano lessons. Years later, after she became known internationally, she invited Brico to one of her concerts in Denver. When they met after the performance, Brico took both of Collins’ hands into hers, looked wistfully at her fingers and said, “Little Judy—you really could have gone places.”

Shirley Valerie Horn (May 1, 1934 – October 20, 2005) was an American jazz singer and pianist. She collaborated with many jazz greats including Miles Davis, Dizzy Gillespie, Toots Thielemans, Ron Carter, Carmen McRae, Wynton Marsalis and others. She was most noted for her ability to accompany herself with nearly incomparable independence and ability on the piano while singing, something described by arranger Johnny Mandel as “like having two heads”, and for her rich, lush voice, a smoky contralto, which was described by noted producer and arranger Quincy Jones as “like clothing, as she seduces you with her voice”.

Shirley Horn was born and raised in Washington, D.C.. Encouraged by her grandmother, an amateur organist, Horn began piano lessons at the age of four. Aged 12, she studied piano and composition at Howard University, later graduating from there in classical music. Horn was offered a place at the Juilliard School, but her family could not afford to send her there. Horn formed her first jazz piano trio when she was 20. Horn’s early piano influences were Erroll Garner, Oscar Peterson and Ahmad Jamal, and moving away from her classical background, Horn later said that “Oscar Peterson became my Rachmaninov, and Ahmad Jamal became my Debussy.” She then became enamored with the famous U Street jazz area of Washington (largely destroyed in the 1968 riots), sneaking into jazz clubs before she was of legal age.

According to jazz journalist James Gavin, the small New York City record label Stere-O-Craft discovered Horn in Washington, D.C. and brought her to New York to record her first album, 1960’s Embers and Ashes. Horn had recorded with violinist Stuff Smith in Washington, D.C. in 1959, as a pianist in one of the rhythm sections featured on Cat on a Hot Fiddle. Unfortunately for Horn, Verve Records did not include her name on the album’s list of backing musicians, and the experience did not raise her professional profile. (A later reissue of Stuff Smith’s Verve recordings on Mosaic Recordsdocumented Horn’s participation, and included three Horn vocal performances of George Gershwin songs that were left off the album.)

Horn’s Embers and Ashes record attracted the attention of jazz trumpeter Miles Davis, who praised Horn publicly and invited her to play intermission sets during his performances at the Village Vanguard. Davis’s praise had particular resonance in two respects: because he was highly respected as a musician, and because he rarely offered public praise for fellow musicians at that time.

Marion Walter Jacobs (May 1, 1930 – February 15, 1968), known as Little Walter, was an American blues musician, singer, and songwriter, whose revolutionary approach to the harmonica and impact on succeeding generations has earned him comparisons to such seminal artists as Django Reinhardt, Charlie Parker and Jimi Hendrix. His virtuosity and musical innovations fundamentally altered many listeners’ expectations of what was possible on blues harmonica. He was inducted into The Rock and Roll Hall of Fame in 2008, the first artist and to date, only one to be inducted specifically as a harmonica player.

Jacobs’ date of birth is usually given as May 1, 1930, in Marksville, Louisiana. He was born without a birth certificate and when he applied for a Social Security card in 1940, his birthdate was listed as May 1, 1923 (over the years he often gave different years, but May 1 was constant. In some other documents he filled out before reaching the age of majority he indicated birth years of 1925 and 1928, probably to appear to be of legal age to sign contracts for recordings and club work. After reaching the age of majority based on a birth year of 1930, he consistently gave his birth year as 1930). He was raised in Rapides Parish, Louisiana, where he learned to play the harmonica. He quit school and by the age of 12 had left rural Louisiana and travelled, working odd jobs and busking on the streets of New Orleans, Memphis, Helena and West Helena, Arkansas, and St. Louis. He honed his musical skills on harmonica and guitar, performing with older bluesmen including Sonny Boy Williamson II, Sunnyland Slim, Honeyboy Edwards, and others.

Arriving in Chicago in 1945, he occasionally found work as a guitarist but garnered more attention for his already highly developed harmonica playing. According to Chicago bluesman Floyd Jones, Little Walter’s first recording was an unreleased demo recorded soon after he arrived in Chicago, on which Walter played guitar backing Jones. Jacobs, reportedly frustrated with having his harmonica drowned out by electric guitars, adopted a simple but previously little-used method: He cupped a small microphone in his hands along with his harmonica and plugged the microphone into a public address system or guitar amplifier. He could thus compete with any guitarist’s volume. However, unlike other contemporary blues harp players, such as Sonny Boy Williamson I and Snooky Pryor, who like many other harmonica players had also begun using the newly available amplifier technology around the same time solely for added volume, Little Walter purposely pushed his amplifiers beyond their intended technical limitations, using the amplification to explore and develop radical new timbres and sonic effects previously unheard from a harmonica or any other instrument.

The Petenera is a flamenco palo in a 12-beat metre, with strong beats distributed as follows: [12][1][2][3][4][5][6][7][8][9][10][11]. It is therefore identical with the 16th century Spanish dances zarabanda and the jácara.

The lyrics are in 4-line stanzas. It is believed to be a very old style of song, as it was already mentioned by writer Serafín Estébanez Calderón in the mid 19th century, and the adherence to the rhythm of the old zarabanda seems to confirm its age. Several theories have been suggested as to its origin, although there is not enough evidence to sustain any of them unerringly:

• Theory of Paterna. This popular theory sustains that this palo originated in the town of Paterna de Rivera in the province of Cádiz. According to a legend, the name of the song refers to a cantadora (woman singer) called “La Petenera”, who was born there. She was reported to be, owing to her seduction power, the “damnation of men”. The name “Petenera” would be a phonetic corruption of “Paternera” (born in Paterna). This theory was sustained by folklorist Demófilo.
• Theory of the Jewish origin. According to this theory, suggested by flamencologist Hipólito Rossy, the petenera originated in the songs of Sephardi Jews. He even assured that Sephardi Jews in the Balkans still sang the lyrics that contain the verse of the Petenera as the “damnation of men”
• Some modern theories situate the origin of the Petenera in Petén, a department (administrative region) of Guatemala.

The most distant object easily visible to the unaided eye is M31, the great Andromeda Galaxy some two and a half million light-years away. But without a telescope, even this immense spiral galaxy – spanning over 200,000 light years – appears as a faint, nebulous cloud in the constellation Andromeda. In contrast, a bright yellow nucleus, dark winding dust lanes, expansive blue spiral arms and star clusters are recorded in this stunning telescopic image. While even casual skygazers are now inspired by the knowledge that there are many distant galaxies like M31, astronomers debated this fundamental concept 100 years ago. Were these “spiral nebulae” simply outlying components of our own Milky Way Galaxy or were they instead “island universes”, distant systems of stars comparable to the Milky Way itself? This question was central to the famousShapley-Curtis debate of 1920, which was later resolved by observations of M31 in favor of Andromeda, island universe.

Barrington Ainsworth Levy (born 30 April 1964) is a Jamaican reggae and dancehall artist.

Levy was born in Clarendon, Jamaica. He formed a band called the Mighty Multitude, with his cousin, Everton Dacres; the pair released “My Black Girl” in 1977. Levy established his solo career the next year with “A Long Time Since We Don’t Have No Love”; though the single was a failure, the fourteen-year-old was a popular performer at Jamaican dancehalls. In an August 2014 interview with Midnight Raver, record producer Delroy Wright revealed that it was his brother Hyman Wright who first met Barrington Levy in the mid-1970s through Wade “Trinity” Brammer. According to Delroy Wright, Hyman Wright recorded a host of tracks with Barrington Levy prior to introducing him to Henry “Junjo” Lawes. These tracks would eventually appear on the album Bounty Hunter, which was released on the Jah Life record label. Both record producers recorded several singles with the Roots Radics, including “Al Yah We Deh”, “Looking My Love”, “Englishman”, “Skylarking”, “Wedding Ring Aside” and “Collie Weed”, all of which became hits and established Levy’s career. Levy’s next few singles were similarly successful, including “Shine Eye Girl”, “Wicked Intention”, “Jumpy Girl”, “Disco Music”, “Reggae Music”, “Never Tear My Love Apart”, “Jah”, “You Made Me So Happy” and “When You’re Young and in Love”. Levy then recorded several duets with Toyan, Jah Thomas and Trinity, and appeared at Reggae Sunsplash in 1980 and 1981. Although albumswere not terribly important in Jamaica at the time, Levy released four albums before 1980: Shaolin Temple, Bounty Hunter, Shine Eye Gal (United Kingdom) and Englishman, a critically acclaimed record. His success led to many earlier studio and sound system performances being reissued without his consent, releases he described as “joke business”.

Percy Heath (April 30, 1923 – April 28, 2005) was an American jazz bassist, brother of saxophonist Jimmy Heath and drummer Albert Heath, with whom he formed the Heath Brothers in 1975. Heath played with the Modern Jazz Quartet throughout their long history and also worked with Miles Davis, Dizzy Gillespie, Charlie Parker, Wes Montgomery, and Thelonious Monk.

Heath was born in Wilmington, North Carolina, and spent his childhood in Philadelphia. His father played the clarinet and his mother sang in the church choir. He started playing violin at the age of eight and also sang locally. He was drafted into the Army in 1944, becoming a member of the Tuskegee Airmen, but saw no combat.

Deciding after the war to go into music, he bought a stand-up bass and enrolled in the Granoff School of Music in Philadelphia. Soon he was playing in the city’s jazz clubs with leading artists. In Chicago in 1948, he recorded with his brother on a Milt Jackson album as members of the Howard McGheeSextet. After moving to New York in the late 1940s, Percy and Jimmy Heath found work with Dizzy Gillespie‘s groups. Around this time, he was also a member of Joe Morris‘s band, together with Johnny Griffin.

It transpired that other members of the Gillespie big band, pianist John Lewis, drummer Kenny Clarke, Milt Jackson, and bassist Ray Brown, decided to form a permanent group; they were already becoming known for their interludes during Gillespie band performances that, as AllMusic.com says, gave the rest of the band much-needed set breaks—that would eventually become known as the Modern Jazz Quartet (MJQ). When Brown left the group to join his wife Ella Fitzgerald‘s band, Heath joined and the group was officially begun in 1952, with Connie Kay replacing Clarke soon afterward. The MJQ played regularly until it disbanded in 1974; it reformed in 1981 and last recorded in 1993.

Reverend Gary Davis, also Blind Gary Davis (born Gary D. Davis, April 30, 1896 – May 5, 1972), was a blues and gospel singer who was also proficient on the banjo, guitar and harmonica. His fingerpicking guitar style influenced many other artists. His students include Stefan Grossman, David Bromberg, Steve Katz, Roy Book Binder, Larry Johnson, Nick Katzman, Dave Van Ronk, Rory Block, Ernie Hawkins, Larry Campbell, Bob Weir, Woody Mann, and Tom Winslow. He influenced Bob Dylan, the Grateful Dead, Wizz Jones, Jorma Kaukonen, Keb’ Mo’, Ollabelle, Resurrection Band, and John Sebastian (of the Lovin’ Spoonful).

Davis was born in Laurens, South Carolina, in the Piedmont region. Of the eight children his mother bore, he was the only one who survived to adulthood. He became blind as an infant. He recalled being poorly treated by his mother and that his father placed him in the care of his paternal grandmother. Davis reported that when he was 10 years old his father was killed in Birmingham, Alabama; he later said that he had been told that his father was shot by the Birmingham sheriff.

Newly discovered Comet SWAN has already developed an impressive tail. The comet came in from the outer Solar System and has just passed inside the orbit of the Earth. Officially designated C/2020 F8 (SWAN), this outgassing interplanetary iceberg will pass its closest to the Earth on May 13, and closest to the Sun on May 27. The comet was first noticed in late March by an astronomy enthusiast looking through images taken by NASA’s Sun-orbiting SOHO spacecraft, and is named for this spacecraft’s Solar Wind Anisotropies (SWAN) camera. The featured image, taken from the dark skies in Namibia in mid-April, captured Comet SWAN‘s green-glowing coma and unexpectedly long, detailed, and blue ion-tail. Although the brightness of comets are notoriously hard to predict, some models have Comet SWAN becoming bright enough to see with the unaided eye during June.

Willie Hugh Nelson (born April 29, 1933) is an American musician, actor, and activist. The critical success of the album Shotgun Willie (1973), combined with the critical and commercial success of Red Headed Stranger (1975) and Stardust (1978), made Nelson one of the most recognized artists in country music. He was one of the main figures of outlaw country, a subgenre of country music that developed in the late 1960s as a reaction to the conservative restrictions of the Nashville sound. Nelson has acted in over 30 films, co-authored several books, and has been involved in activism for the use of biofuels and the legalization of marijuana.

Born during the Great Depression and raised by his grandparents, Nelson wrote his first song at age seven and joined his first band at ten. During high school, he toured locally with the Bohemian Polka as their lead singer and guitar player. After graduating from high school in 1950, he joined the U.S. Air Force but was later discharged due to back problems. After his return, Nelson attended Baylor University for two years but dropped out because he was succeeding in music. During this time, he worked as a disc jockey in Texas radio stations and a singer in honky-tonks. Nelson moved to Vancouver, Washington, where he wrote “Family Bible” and recorded the song “Lumberjack” in 1956. He also worked as a disc jockey at various radio stations in Vancouver and nearby Portland, Oregon. In 1958, he moved to Houston, Texas, after signing a contract with D Records. He sang at the Esquire Ballroom weekly and he worked as a disk jockey. During that time, he wrote songs that would become country standards, including “Funny How Time Slips Away“, “Hello Walls“, “Pretty Paper“, and “Crazy“. In 1960 he moved to Nashville, Tennessee, and later signed a publishing contract with Pamper Music which allowed him to join Ray Price’s band as a bassist. In 1962, he recorded his first album, …And Then I Wrote. Due to this success, Nelson signed in 1964 with RCA Victor and joined the Grand Ole Opry the following year. After mid-chart hits in the late 1960s and the early 1970s, Nelson retired in 1972 and moved to Austin, Texas. The ongoing music scene of Austin motivated Nelson to return from retirement, performing frequently at the Armadillo World Headquarters.

In 1973, after signing with Atlantic Records, Nelson turned to outlaw country, including albums such as Shotgun Willie and Phases and Stages. In 1975, he switched to Columbia Records, where he recorded the critically acclaimed album Red Headed Stranger. The same year, he recorded another outlaw country album, Wanted! The Outlaws, along with Waylon Jennings, Jessi Colter, and Tompall Glaser. During the mid-1980s, while creating hit albums like Honeysuckle Rose and recording hit songs like “On the Road Again“, “To All the Girls I’ve Loved Before“, and “Pancho and Lefty“, he joined the country supergroup The Highwaymen, along with fellow singers Johnny Cash, Waylon Jennings, and Kris Kristofferson.

In 1990, Nelson’s assets were seized by the Internal Revenue Service, which claimed that he owed $32 million. The difficulty of paying his outstanding debt was aggravated by weak investments he had made during the 1980s. In 1992, Nelson released The IRS Tapes: Who’ll Buy My Memories?; the profits of the double album—destined to the IRS—and the auction of Nelson’s assets cleared his debt. During the 1990s and 2000s, Nelson continued touring extensively, and released albums every year. Reviews ranged from positive to mixed. He explored genres such as reggae, blues, jazz, and folk.

Nelson made his first movie appearance in the 1979 film The Electric Horseman, followed by other appearances in movies and on television. Nelson is a major liberal activist and the co-chair of the advisory board of the National Organization for the Reform of Marijuana Laws (NORML), which is in favor of marijuana legalization. On the environmental front, Nelson owns the bio-diesel brand Willie Nelson Biodiesel, which is made from vegetable oil. Nelson is also the honorary chairman of the advisory board of the Texas Music Project, the official music charity of the state of Texas.

Ray Barretto (April 29, 1929 – February 17, 2006) was an American conga drummer and bandleader of Puerto Rican ancestry. Throughout his career as a percussionist, he played a wide variety of Latin music styles, as well as Latin jazz. His first hit, “El Watusi”, was recorded by his CharangaModerna in 1962, becoming the most successful pachanga song in the United States. In the late 1960s, Barretto became one of the leading exponents of boogaloo and what would later be known as salsa. Nonetheless, many of Barretto’s recordings would remain rooted in more traditional genres such as son cubano. A master of the descarga (improvised jam session), Barretto was a long-time member of the Fania All-Stars. His success continued into the 1970s with songs such as “Cocinando” and “Indestructible”. His last album for Fania Records, Soy dichoso, was released in 1990. He then formed the New World Spirit jazz ensemble and continued to tour and record until his death in 2006.

Barretto (his real name, “Barreto”, was misspelled on his birth certificate) was born on April 29, 1929, in New York City. His parents moved to New York from Puerto Rico in the early 1920s, looking for a better life. He was raised in Spanish Harlem and at a young age was influenced by his mother’s love of music and by the jazz of Duke Ellington and Count Basie. In 1946, when Barretto was 17 years old, he joined the Army. While stationed in Germany, he met Belgian vibraphonist Fats Sadi. However, it was when he heard Dizzy Gillespie‘s “Manteca” with Gil Fuller and Chano Pozo that he realized his calling.

Jean-Baptiste Frédéric Isidor, Baron Thielemans (29 April 1922 – 22 August 2016), known professionally as Toots Thielemans, was a Belgian jazz musician. He was known for his harmonica playing, as well as his guitar, whistling skills, and composing. According to jazz historian Ted Gioia, his most important contribution was in “championing the humble harmonica”, which Thielemans made into a “legitimate voice in jazz”. He eventually became the “preeminent” jazz harmonica player.

His first professional performances were with Benny Goodman‘s band when they toured Europe in 1949 and 1950. He emigrated to the U.S. in 1951, becoming a citizen in 1957. From 1953 to 1959 he played with George Shearing, and then led his own groups on tours in the U.S. and Europe. In 1961 he recorded and performed live one of his own compositions, “Bluesette”, which featured him playing guitar and whistling. In the 1970s and 1980s, he continued touring and recording, appearing with musicians such as Oscar Peterson, Bill Evans, Dizzy Gillespie, Kenny Werner, Pat Metheny, Jaco Pastorius, Elis Regina and Paquito D’Rivera.

Among the film soundtracks that Thielemans recorded are The Pawnbroker (1964), Midnight Cowboy (1969), The Getaway (1972), Cinderella Liberty(1973), The Sugarland Express (1974) and Looking for Mr. Goodbar (1977). His harmonica theme song for the popular Sesame Street TV show was heard for 40 years. He often performed and recorded with Quincy Jones, who once called him “one of the greatest musicians of our time.” In 2009 he was designated a Jazz Master by The National Endowment for the Arts, the highest honor for a jazz musician in the United States.

Edward Kennedy “Duke” Ellington (April 29, 1899 – May 24, 1974) was an American composer, pianist, and leader of a jazz orchestra, which he led from 1923 until his death over a career spanning more than six decades.

Born in Washington, D.C., Ellington was based in New York City from the mid-1920s onward and gained a national profile through his orchestra’s appearances at the Cotton Club in Harlem. In the 1930s, his orchestra toured in Europe. Although widely considered to have been a pivotal figure in the history of jazz, Ellington embraced the phrase “beyond category” as a liberating principle and referred to his music as part of the more general category of American Music rather than to a musical genre such as jazz.

Some of the jazz musicians who were members of Ellington’s orchestra, such as saxophonist Johnny Hodges, are considered to be among the best players in the idiom. Ellington melded them into the best-known orchestral unit in the history of jazz. Some members stayed with the orchestra for several decades. A master at writing miniatures for the three-minute 78 rpm recording format, Ellington wrote more than one thousand compositions; his extensive body of work is the largest recorded personal jazz legacy, with many of his pieces having become standards. Ellington also recorded songs written by his bandsmen, for example Juan Tizol‘s “Caravan“, and “Perdido“, which brought a Spanish tinge to big band jazz. In the early 1940s, Ellington began a nearly thirty-year collaboration with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion.^[3] With Strayhorn, he composed many extended compositions, or suites, as well as additional short pieces. Following an appearance at the Newport Jazz Festival, in July 1956, Ellington and his orchestra enjoyed a major revival and embarked on world tours. Ellington recorded for most American record companies of his era, performed in several films, scored several, and composed a handful of stage musicals.

Ellington was noted for his inventive use of the orchestra, or big band, and for his eloquence and charisma. His reputation continued to rise after he died, and he was awarded a posthumous Pulitzer Prize Special Award for music in 1999.

Ellington was born on April 29, 1899, to James Edward Ellington and Daisy (Kennedy) Ellington in Washington, D.C. Both his parents were pianists. Daisy primarily played parlor songs, and James preferred operatic arias. They lived with Daisy’s parents at 2129 Ida Place (now Ward Place), NW, in D.C.’s West End neighborhood. Duke’s father was born in Lincolnton, North Carolina, on April 15, 1879, and moved to D.C. in 1886 with his parents. Daisy Kennedy was born in Washington, D.C., on January 4, 1879, the daughter of a former American slave. James Ellington made blueprints for the United States Navy.

https://www.youtube.com/watch?v=RrP0-rQRqDw