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John Ned “Johnny” Shines (April 26, 1915 – April 20, 1992) was an American blues singer and guitarist.

Shines was born in the community of Frayser, in Memphis, Tennessee. He was taught to play the guitar by his mother and spent most of his childhood in Memphis, playing slide guitar at an early age in juke joints and on the street. He moved to Hughes, Arkansas, in 1932 and worked on farms for three years, putting aside his music career. A chance meeting with Robert Johnson, his greatest influence, gave him the inspiration to return to music. In 1935, Shines began traveling with Johnson, touring in the United States and Canada. They parted in 1937, one year before Johnson’s death.

Shines played throughout the southern United States until 1941, when he settled in Chicago. There he found work in the construction industry but continued to play in local bars.

He made his first recording in 1946 for Columbia Records, but the takes were never released. He recorded for Chess Records in 1950, but again no records were released. He kept playing with blues musicians in the Chicago area for several more years. In 1952, Shines recorded what is considered his best work, for J.O.B. Records. The recordings were a commercial failure, and Shines, frustrated with the music industry, sold his equipment and returned to working in construction.

Dave Tough (April 26, 1907 – December 9, 1948, was an American jazz drummer associated with Dixieland and swing jazz in the 1930s and 1940s.

Born in Oak Park, Illinois, Tough was a friend of Bud Freeman, who was part of a group of musicians known as the Austin High School Gang in Chicago. In 1925, he became a professional musician, playing with Jack Gardner, Art Kassel, Sig Meyers, and Husk O’Hare’s Wolverines. After two years in Europe, he returned home and played with Benny Goodman and Red Nichols.

He left music for three years until 1935, then joined the big bands of Tommy Dorsey, Red Norvo, Bunny Berigan, and Benny Goodman. He played Dixieland jazz with Bud Freeman, Jack Teagarden, Eddie Condon, Mezz Mezzrow, and Joe Marsala. In the 1940s, he played with the big bands of Charlie Spivak and Claude Thornhill, in Artie Shaw‘s Symphonic Swing Orchestra (1941) and the subsequent naval band led by Shaw (1942-1944), then joined Woody Herman‘s big band (1945). He subsequently worked with Eddie Condon, Jerry Gray, Muggsy Spanier, Will Bradley and Jazz at the Philharmonic.

The centre of the Swan Nebula, or M17, a hotbed of newly born stars wrapped in colourful blankets of glowing gas and cradled in an enormous cold, dark hydrogen cloud. This stunning picture was taken by the newly installed Advanced Camera for Surveys (ACS) aboard the NASA/ESA Hubble Space Telescope.

The region of the nebula shown in this picture is about 3500 times wider than our Solar System. The area also represents about 60 percent of the total view captured by ACS. The nebula resides 5500 light-years away in the constellation Sagittarius.

Like its famous cousin in Orion, the Swan Nebula is illuminated by ultraviolet radiation from young, massive stars – each about six times hotter and 30 times more massive than the Sun – located just beyond the upper right corner of the image. The powerful radiation from these stars evaporates and erodes the dense cloud of cold gas within which the stars formed. The blistered walls of the hollow cloud shine primarily in the blue, green, and red light emitted by excited atoms of hydrogen, nitrogen, oxygen, and sulphur. Particularly striking is the rose-like feature, seen to the right of centre, which glows in the red light emitted by hydrogen and sulphur.

As the infant stars evaporate the surrounding cloud, they expose dense pockets of gas that may contain developing stars. Because these dense pockets are more resistant to the withering radiation than the surrounding cloud, they appear as sculptures in the walls of the cloud or as isolated islands in a sea of glowing gas. One isolated pocket is seen at the centre of the brightest region of the nebula and is about 10 times larger than our Solar System. Other dense pockets of gas have formed the remarkable feature jutting inward from the left edge of the image, which resembles the famous Horsehead Nebula in Orion.

The ACS made this observation on 1 and 2 April 2002. The colour image is constructed from four separate images taken in these filters: blue, near infrared, hydrogen alpha, and doubly ionised oxygen.

Carl Allen (born April 25, 1961) is an American jazz drummer.

Allen attended William Paterson University.

He has worked with a wide variety of musicians, including Freddie Hubbard, Jackie McLean, George Coleman, Phil Woods, the Benny Green Trio and Rickie Lee Jones.

It was with Green that Allen met bassist Christian McBride. The two have teamed up frequently, working for many combos of big name leaders. McBride recruited Allen for his band, Christian McBride & Inside Straight. Allen is that quintet’s drummer for both its first recording, Kinda Brown, and its road tours.

In 1988 Allen and Vincent Herring founded Big Apple Productions, which produced several albums featuring young jazz performers.

He joined the faculty of The Juilliard School in 2001, and became the Artistic Director of Jazz Studies in 2008. He was replaced as director by Wynton Marsalis in 2013, and left Juilliard at the end of the academic year.

In 2011, Allen appeared as himself in two episodes of the HBO series Tremé, in a studio recording scene in New York City.

In 2014, he formed his own group, The Art of Elvin to pay tribute to Art Blakey and Elvin Jones. The band debuted at the Percussive Arts Society (PAS) conference in Indianapolis, Indiana with Allen on drums, Freddie Hendrix (trumpet), Tivon Pennicott (tenor sax), Xavier Davis (piano), Yasushi Nakamura (bass).

https://www.youtube.com/watch?v=Keu3FH8SXqo

Vassar Carlton Clements (April 25, 1928 – August 16, 2005) was a Grammy Award-winning American jazz, swing, and bluegrass fiddler. Clements has been dubbed the Father of Hillbilly Jazz, an improvisational style that blends and borrows from swing, hot jazz, and bluegrass along with roots also in country and other musical traditions.

Clements was born in Kinard, Florida, but grew up in Kissimmee. He taught himself to play the fiddle at age 7, learning “There’s an Old Spinning Wheel in the Parlor” as his first song. Soon, he joined with two first cousins, Red and Gerald, to form a local string band. In his early teens Clements met Bill Monroe and the Blue Grass Boys when they came to Florida to visit Clements’ stepfather, a friend of fiddler Chubby Wise. Clements was impressed with his playing.

In late 1949 Wise left Monroe’s group, and the 21 year-old Clements traveled by bus to ask for an audition. When told he would have to return the next day, Clements was crestfallen, lacking the money for either a hotel room or return bus trip. Monroe gave him some money to a night’s lodging, and the next day Clements auditioned and was hired. He remained with Monroe for seven years, recording with the band in 1950 and 1951. He soon became one of the most distinctive, inventive, and popular fiddlers in bluegrass music. His virtuosity and ability to blend several different genres, including swing and hot jazz, made him a pioneer in country music and much sought-after session musician.

Between 1957 and 1962, he was a member of the bluegrass band Jim and Jesse & the Virginia Boys. He also gained recognition joining with the popular bluegrass duo of Flatt and Scruggs on the popular theme to the hit television sitcom The Beverly Hillbillies. Earl Scruggs‘ path-breaking banjo style had premiered with Bill Monroe in the late 1940s, and thereafter gained widespread renown with Lester Flatt and the Foggy Mountain Boys. Stardom was within his grasp.

Albert Nelson (April 25, 1923 – December 21, 1992), known by his stage name Albert King, was an American blues guitarist and singer whose playing influenced many other blues guitarists. He is perhaps best known for the popular and influential album Born Under a Bad Sign (1967) and its title track. He is one of the three performers (together with B.B. King and Freddie King) known as the “Kings of the Blues.” King was known for his “deep, dramatic sound that was widely imitated by both blues and rock guitarists.”

He was also known as “The Velvet Bulldozer” because of his smooth singing and large size—he stood taller than average, with sources reporting 6 ft 4 in (1.93 m) or 6 ft 7 in (2.01 m), and weighed 250 lb (110 kg)—and also because he drove a bulldozer in one of his day jobs early in his career.

King was inducted into the Blues Hall of Fame in 1983. He was posthumously inducted into the Rock and Roll Hall of Fame in 2013. In 2011, he was ranked #13 on Rolling Stone‘s 100 Greatest Guitarists of All Time.

Albert King was born on a cotton plantation in Indianola, Mississippi.

Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996 Newport News, VA) was an American jazz singer, sometimes referred to as the First Lady of Song, Queen of Jazz, and Lady Ella. She was noted for her purity of tone, impeccable diction, phrasing, timing, intonation, and a “horn-like” improvisational ability, particularly in her scat singing.

After a tumultuous adolescence, Fitzgerald found stability in musical success with the Chick Webb Orchestra, performing across the country but most often associated with the Savoy Ballroom in Harlem. Her rendition of the nursery rhyme “A-Tisket, A-Tasket” helped boost both her and Webb to national fame. After taking over the band when Webb died, Fitzgerald left it behind in 1942 to start her solo career.

Her manager was Moe Gale, co-founder of the Savoy, until she turned the rest of her career over to Norman Granz, who founded Verve Records to produce new records by Fitzgerald. With Verve she recorded some of her more widely noted works, particularly her interpretations of the Great American Songbook.

While Fitzgerald appeared in movies and as a guest on popular television shows in the second half of the twentieth century, her musical collaborations with Louis Armstrong, Duke Ellington, and The Ink Spots were some of her most notable acts outside of her solo career. These partnerships produced some of her best-known songs such as “Dream a Little Dream of Me“, “Cheek to Cheek“, “Into Each Life Some Rain Must Fall“, and “It Don’t Mean a Thing (If It Ain’t Got That Swing)“.

In 1993, after a career of nearly 60 years, she gave her last public performance. Three years later, she died at the age of 79 after years of declining health. Her accolades included fourteen Grammy Awards, the National Medal of Arts, and the Presidential Medal of Freedom.

Eugene Earl Bostic (April 25, 1913 – October 28, 1965) was an American jazz alto saxophonist and a pioneer of the post-war American rhythm and blues style. He had a number of popular hits such as “Flamingo”, “Harlem Nocturne“, “Temptation”, “Sleep”, “Special Delivery Stomp” and “Where or When“, which all showed off his characteristic growl on the horn. He was a major influence on John Coltrane.

Bostic was born in 1913 in Tulsa, Oklahoma. He turned professional at the age of 18 when he joined Terence Holder’s “Twelve Clouds of Joy”. Bostic made his first recording with Lionel Hampton in October 1939, with Charlie Christian, Clyde Hart and Big Sid Catlett. Before that he performed with Fate Marable on New Orleans riverboats. Bostic graduated from Xavier University in New Orleans. He worked with territory bands as well as Arnett Cobb, Hot Lips Page, Rex Stewart, Don Byas, Charlie Christian, Thelonious Monk, Edgar Hayes, Cab Calloway, and other jazz luminaries. In 1938, and in 1944, Bostic led the house band at Smalls Paradise. While playing at Small’s Paradise, he doubled on guitar and trumpet. During the early 1940s, he was a well-respected regular at the famous jam sessions held at Minton’s Playhouse. He formed his own band in 1945 and made the first recordings under his own name for the Majestic label. He turned to rhythm and blues in the late 1940s. His biggest hits were “Temptation“, “Sleep”, “Flamingo“, “You Go to My Head” and “Cherokee“. At various times his band included Keter Betts, Jaki Byard, Benny Carter, John Coltrane, Teddy Edwards, Benny Golson, Blue Mitchell, Tony Scott, Cliff Smalls, Sir Charles Thompson, Stanley Turrentine, Tommy Turrentine and other musicians who rose to prominence, especially in jazz.

Although NGC 2014 and NGC 2020 appear to be separate in this visible-light image, they are actually part of one giant star formation complex.

The star-forming regions seen here are dominated by the glow of stars at least 10 times more massive than our Sun. These stars have short lives of only a few million years, compared to the 10-billion-year lifetime of our Sun.

The sparkling centrepiece of NGC 2014 is a grouping of bright, massive stars near the centre of the image that has blown away its cocoon of hydrogen gas (coloured red) and dust in which it was born. A torrent of ultraviolet radiation from the star cluster is illuminating the landscape around it.

These massive stars also unleash fierce winds that are eroding the gas cloud above and to the right of them. The gas in these areas is less dense, making it easier for the stellar winds to blast through them, creating bubble-like structures reminiscent of coral, that have earned the nebula the nickname ‘Brain Coral’. This image is one of the most photogenic examples of the many turbulent stellar nurseries the NASA/ESA Hubble Space Telescope has observed during its 30-year lifetime. The portrait features the giant nebula NGC 2014 and its neighbour NGC 2020 which together form part of a vast star-forming region in the Large Magellanic Cloud, a satellite galaxy of the Milky Way, approximately 163 000 light-years away.

Frank Strazzeri (April 24, 1930 – May 9, 2014) was an American jazz pianist.

Strazzeri began on tenor saxophone and clarinet at age 12, then switched to piano soon after. He attended the Eastman School of Music, then took a job as a house pianist in a nightclub in Rochester in 1952. While there he accompanied visiting musicians such as Roy Eldridge and Billie Holiday. He moved to New Orleans in 1954, playing with Sharkey Bonano and Al Hirt in a Dixieland jazz setting, but his focus since then was on bebop. He played with Charlie Ventura in 1957–58 and Woody Herman in 1959 before moving to Los Angeles in 1960. There he worked extensively as a studio musician on the West Coast jazz scene, and toured with Joe Williams, Maynard Ferguson, Les Brown and Elvis Presley!(1971–74). He also played with Elvis Presley in the Aloha from Hawaii concert of 1973). He worked with Terry Gibbs, Herb Ellis, the Lighthouse All-Stars, Art Pepper, Bud Shank, Cal Tjader, Louie Bellson, and Chet Baker, in addition to recording as a leader. He died at the age of 84 on May 9, 2014.

Joe Henderson (April 24, 1937 – June 30, 2001) was an American jazz tenor saxophonist. In a career spanning more than four decades, Henderson played with many of the leading American players of his day and recorded for several prominent labels, including Blue Note.

Born in Lima, Ohio, Henderson was one of five sisters and nine brothers. He was encouraged by his parents Dennis and Irene (née Farley) and older brother James T. to study music. He dedicated his first album to them “for being so understanding and tolerant” during his formative years. Early musical interests included drums, piano, saxophone and composition. According to Kenny Dorham, two local piano teachers who went to school with Henderson’s brothers and sisters, Richard Patterson and Don Hurless, gave him a knowledge of the piano. He was particularly enamored of his brother’s record collection. It seems that a hometown drummer, John Jarette, advised Henderson to listen to musicians like Lester Young, Stan Getz, Dexter Gordon and Charlie Parker. He also liked Flip Phillips, Lee Konitz and the Jazz at the Philharmonic recordings. However, Parker became his greatest inspiration. His first approach to the saxophone was under the tutelage of Herbert Murphy in high school. In this period of time, he wrote several scores for the school band.

By age 18, Henderson was active on the Detroit jazz scene of the mid-1950s, playing in jam sessions with visiting New York City stars. While attending classes of flute and bass at Wayne State University, he further developed his saxophone and compositional skills under the guidance of renowned teacher Larry Teal at the Teal School of Music. In late 1959, he formed his first group. By the time he arrived at Wayne State University, he had transcribed and memorized so many Lester Young solos that his professors believed he had perfect pitch. Henderson’s college classmates included Yusef Lateef, Barry Harris and Donald Byrd. He also studied music at Kentucky State College.

John Arnold Griffin III (April 24, 1928 – July 25, 2008) was an American jazz tenor saxophonist. Nicknamed “the Little Giant” for his short stature and forceful playing, Griffin’s career began in the early 1940s and continued until the month of his death. At eighty, he felt no need to stop. He did not complain. He had a hard life, but often said, “as long as God has given me the gift to blow, I owe it to God to keep on blowing.” A pioneering figure in hard bop, Griffin recorded prolifically as a bandleader in addition to stints with pianist Thelonious Monk, drummer Art Blakey, in partnership with fellow tenor Eddie “Lockjaw” Davis and as a member of the Kenny Clarke/Francy Boland Big Band after he moved to Europe in the 1960s. In 1995, Griffin was awarded an Honorary Doctorate of Music from Berklee College of Music.

Griffin studied music at DuSable High School in Chicago under Walter Dyett, starting out on clarinet before moving on to oboe and then alto sax. While still at high school at the age of 15, Griffin was playing with T-Bone Walker in a band led by Walker’s brother.

Alto saxophone was still his instrument of choice when he joined Lionel Hampton‘s big band three days after his high school graduation, but Hampton encouraged him to take up the tenor, playing alongside Arnett Cobb. He first appeared on a Los Angeles recording with Hampton’s band in 1945 at the age of 17.

By mid-1947, Griffin and fellow Hampton band member Joe Morris had formed a sextet made up of local musicians, including George Freeman, where he remained for the next two years. His playing can be heard on various early Rhythm and Blues recordings for Atlantic Records. By 1951 Griffin was playing baritone saxophone in an R&B septet led by former bandmate Arnett Cobb.

After returning to Chicago from two years in the Army, Griffin began establishing a reputation as one of the premiere saxophonists in that city. Thelonious Monk enthusiastically encouraged Orrin Keepnews of Riverside Records to sign the young tenor, but before he could act Blue Note Records had signed Griffin.

He joined Art Blakey‘s Jazz Messengers in 1957, and his recordings from that time include a memorable album joining together the Messengers and Thelonious Monk. Griffin then succeeded John Coltrane as a member of Monk’s Five Spot quartet; he can be heard on the albums Thelonious in Action and Misterioso.

BULERIAS

Salida
Your entrance. This is how you announce yourself. “Hello, I’m coming out to dance.” The tone of your salida can be mellow or exciting, depending upon the cante and what you want to convey.

Marcaje(s)
Marking the rhythm. Here you listen and allow the cante to guide you. (If the thought of following the cante feels overwhelming, give it time, and start off by aiming to relax into your steps while staying in compás.) Mark in a way that feels good, comfortable, and fun to you. Play around with moves you know (or are currently learning) to discover this. Normally you begin with more laid back marcajes allowing the excitement to build as your dance progresses.

Paso de bulerías
The bulerías step or a more dynamic marcaje. There is the basic bulerías step (most commonly seen) along with many variations. The bulerías step builds toward the climax of your dance.

Llamada
The llamada comes toward the end or the middle of your dance. It is NOT a call for the cante to begin as you might be used to from other flamenco dances. The llamada signals that your dance is coming to a close.

Patá* (Patada)
Typically the “fanciest” part of your dance. It often involves interesting rhythmic sounds made with the feet and body. (Some people call this the desplante or refer to it as remantando la letra.)
*(A patá or pataíta por bulerías also means a full bulerías dance. Here we are just talking about one component of your dance.)

Final
Finish. This is your period (or exclamation mark). You go to corner (or the opposite direction of where you came from) to signal the finish of your dance. Always finish in the place where you began (facing away from the crowd). During the final, be clear that you’re bringing your dance to a close.

This is a general explanation, and there is a lot of room for flexibility in bulerías. For example the type of letra(s) a singer gives you will set the tone for your dance and help indicate to you how long to dance. And speaking of that