mick laBriola

Magnificent spiral galaxy NGC 4565 is viewed edge-on from planet Earth. Also known as the Needle Galaxy for its narrow profile, bright NGC 4565 is a stop on many telescopic tours of the northern sky, in the faint but well-groomed constellation Coma Berenices. This sharp, colorful image reveals the galaxy’s boxy, bulging central core cut by obscuring dust lanes that lace NGC 4565’s thin galactic plane. NGC 4565 itself lies about 40 million light-years distant and spans some 100,000 light-years. Easily spotted with small telescopes, sky enthusiasts consider NGC 4565 to be a prominent celestial masterpiece Messier missed.

Anthony Frederick Levin (born June 6, 1946) is an American musician and composer specializing in electric bass guitars, Chapman Stick and upright bass. He also sings and plays synthesizer. Levin is best known for his work with King Crimson (1981–2021) and Peter Gabriel (since 1977). He is also a member of Liquid Tension Experiment (1997–1999, 2008–2009, 2020–present), Bruford Levin Upper Extremities(1998–2000) and HoBoLeMa (2008–2010). He has led his own band, Stick Men, since 2010.

A prolific session musician since the 1970s, Levin has played on over 500 albums. Some notable sessions include work with John Lennon, Herbie Mann, Sarah McLachlan, Paula Cole, Stevie Nicks, Pink Floyd, Robbie Robertson, Paul Simon, Lou Reed, David Bowie, Joan Armatrading, Tom Waits, Buddy Rich, The Roches, Todd Rundgren, Seal, Warren Zevon, Bryan Ferry, Laurie Anderson, Kate & Anna McGarrigle, Gibonni, Chuck Mangione and Jean-Pierre Ferland. He has toured with artists including Paul Simon (with whom he appeared in the 1980 film One-Trick Pony), Gary Burton, James Taylor, Judy Collins, Carly Simon, Peter Frampton, Tim Finn, Richie Sambora, Ivano Fossati, Claudio Baglioni and Lawrence Gowan.

Levin helped to popularize the Chapman Stick and the NS electric upright bass. He also created “funk fingers“, modified drumsticks that attach to the fingers of the player in order to strike the bass strings, adding a distinctive percussive “slap” sound used in funk bass playing. In 2011, Levin ranked # 2 behind John Paul Jones of Led Zeppelin in the “20 Most Underrated Bass Guitarists” in Paste magazine. In July 2020, Levin was ranked #42 on the “50 Greatest Bassists of All Time” list by Rolling Stone magazine.

Grant Green (June 6, 1935 – January 31, 1979) was an American jazz guitarist and composer.

Recording prolifically for Blue Note Records as both leader and sideman, Green performed in the hard bop, soul jazz, bebop, and Latin-tinged idioms throughout his career. Critic Michael Erlewine wrote, “A severely underrated player during his lifetime, Grant Green is one of the great unsung heroes of jazz guitar … Green’s playing is immediately recognizable – perhaps more than any other guitarist.”Critic Dave Hunter described his sound as “lithe, loose, slightly bluesy and righteously groovy”.

He often performed in an organ trio, a small group featuring a Hammond organ and drummer. Apart from fellow guitarist Charlie Christian, Green’s primary influences were saxophonists, particularly Charlie Parker, and his approach was almost exclusively linear rather than chordal. He rarely played rhythm guitar except as a sideman on albums led by other musicians.

The simplicity and immediacy of Green’s playing, which tended to avoid chromaticism, derived from his early work playing rhythm and blues and, although he achieved a synthesis of this style with bop, he was a skilled blues and funk guitarist and returned to this style in his later career.

Grant Green was born on June 6, 1935, in St. Louis, Missouri to John and Martha Green. His father was at various times a laborer and a Saint Louis policeman.

Green began studying guitar while he was in primary school. He received early instruction in guitar playing from his father, who played blues and folk music. He studied for a year with Forrest Alcorn, but he was mostly self-taught, learning from listening to records.

He first performed in a professional setting at the age of 13 as a member of a gospel music ensemble. Through his 20s, he was a member of jazz and R&B bands. His influences were Charlie Christian, Charlie Parker, Lester Young, and Jimmy Raney. Green’s style mimicked that of a saxophonist, playing single note rather than chords.

Magnificent island universe NGC 2403 stands within the boundaries of the long-necked constellation Camelopardalis. Some 10 million light-years distant and about 50,000 light-years across, the spiral galaxy also seems to have more than its fair share of giant star forming HII regions, marked by the telltale reddish glow of atomic hydrogen gas. The giant HII regions are energized by clusters of hot, massive stars that explode as bright supernovae at the end of their short and furious lives. A member of the M81 group of galaxies, NGC 2403 closely resembles a galaxy in our own local galaxy group with an abundance of star forming regions, M33, the Triangulum Galaxy. Spiky in appearance, bright stars in this portrait of NGC 2403 are in the foreground, within our own Milky Way. Also in the foreground of the deep, wide-field, telescopic image are the Milky Way’s dim and dusty interstellar clouds also known as galactic cirrus or integrated flux nebulae. But faint features that seem to extend from NGC 2403 itself are likely tidal stellar streams drawn out by gravitational interactions with neighboring galaxies.

Michelle Gilliam Phillips (born Holly Michelle Gilliam; June 4, 1944) is an American singer, songwriter and actress. She rose to fame as a vocalist in the musical quartet the Mamas & the Papas in the mid-1960s. Her voice was described by Time magazine as the “purest soprano in pop music”. She later established a successful career as an actress in film and television beginning in the 1970s.

A native of Long Beach, California, she spent her early life in Los Angeles and Mexico City, raised by her widowed father. While working as a model in San Francisco, she met and married John Phillips in 1962 and went on to co-found the vocal group the Mamas & the Papas in 1965. The band rose to fame with their popular singles “California Dreamin’” and “Creeque Alley“, both of which she co-wrote. They released five studio albums before their dissolution in 1970. While married to John Phillips, she gave birth to their daughter, singer Chynna Phillips. Michelle Phillips is the last surviving original member of the band.

After the breakup of the Mamas & the Papas and her divorce from John Phillips, she transitioned into acting, appearing in a supporting part in The Last Movie (1971) before being cast as Billie Frechette in the critically acclaimed crime biopic Dillinger (1973), for which she was nominated for a Golden Globe Awardfor Most Promising Newcomer. In 1974, she had lead roles in two television films: the crime feature The Death Squad, and the teen drama The California Kid, in the latter of which she starred opposite Martin Sheen. She went on to appear in a number of films throughout the remainder of the 1970s, including Ken Russell‘s Valentino (1977), playing Natacha Rambova, and the thriller Bloodline (1979). She released her only solo album, Victim of Romance, in 1977.

Phillips’s first film of the 1980s was the comedy The Man with Bogart’s Face (1980). The next year she co-starred with Tom Skerritt in the nature-themed horror Savage Harvest (1981), followed by the television films Secrets of a Married Man (1984) and The Covenant (1985). In 1987, she joined the series Knots Landing, portraying Anne Matheson, the mother of Paige Matheson (portrayed by Nicollette Sheridan), until the series’s 1993 conclusion.

She later had supporting roles in the comedy film Let It Ride (1989) and the psychological thriller Scissors(1991). In 1998, she was inducted into the Rock and Roll Hall of Fame as a member of the Mamas & the Papas. Phillips appeared in independent films in the 2000s, with supporting parts in Jane White Is Sick and Twisted (2002) and Kids in America (2005) and had recurring guest roles in the television series That’s Life(2001–2002) and 7th Heaven (2001–2004).

Anthony Braxton (born June 4, 1945) is an American experimental composer, educator, music theorist, improviser and multi-instrumentalist who is best known for playing saxophones, particularly the alto.Braxton grew up on the South Side of Chicago, Illinois, and was a key early member of the Association for the Advancement of Creative Musicians. He received great acclaim for his 1969 double–LP record For Alto, the first full-length album of solo saxophone music.

A prolific composer with a vast body of cross-genre work, the MacArthur Fellow and NEA Jazz Masterhas released hundreds of recordings and compositions. During six years signed to Arista Records, the diversity of his output encompassed work with many members of the AACM, including duets with co-founder and first president Muhal Richard Abrams; collaborations with electronic musician Richard Teitelbaum; a saxophone quartet with Julius Hemphill, Oliver Lake and Hamiet Bluiett; compositions for four orchestras; and the ensemble arrangements of Creative Orchestra Music 1976, which was named the 1977 DownBeat Critics’ Poll Album of the Year. Many of his projects are ongoing, such as the Diamond Curtain Wall works, in which Braxton implements audio programming language SuperCollider; the Ghost Trance Music series, inspired by his studies of the Native American Ghost Dance; and Echo Echo Mirror House Music, in which musicians “play” iPods containing the bulk of Braxton’s oeuvre. He has released the first six operas in a series called the Trillium Opera Complex.

Braxton identifies as a “trans-idiomatic” composer and has repeatedly opposed the idea of a rigid dichotomy between improvisation and composition. He has written extensively about the “language music” system that forms the basis for his work and developed a philosophy of “world creativity” in his Tri-Axium Writings.

Braxton taught at Mills College from 1985 to 1990 and was Professor of Music at Wesleyan Universityfrom 1990 until his retirement at the end of 2013. He is the artistic director of the Tri-Centric Foundation, a nonprofit he founded in 1994 to support the preservation and production of works by Braxton and other artists “in pursuit of ‘trans-idiomatic’ creativity”.