mick laBriola

Antonio Lucio Vivaldi (UK: /vɪˈvældi/, US: /vɪˈvɑːldi, –ˈvɔːl-/, Italian: [anˈtɔːnjo ˈluːtʃo viˈvaldi] ; 4 March 1678 – 28 July 1741) was an ItalianBaroque musical composer, virtuoso violinist, teacher, and Roman Catholic priest. Born in Venice, the capital of the Venetian Republic, he is regarded as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He composed many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as the Four Seasons.

Many of his compositions were written for the all-female music ensemble of the Ospedale della Pietà, a home for abandoned children. Vivaldi had worked there as a Catholic priest for 1 1/2 years and was employed there from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for royal support. However, the Emperor died soon after Vivaldi’s arrival, and Vivaldi himself died in poverty less than a year later.

By analyzing planets orbiting a star called Kepler-32, astronomers at Caltech estimate that there are at least 100 billion planets in our galaxy.

Pasadena, California —Look up at the night sky and you’ll see stars, sure. But you’re also seeing planets—billions and billions of them. At least.

That’s the conclusion of a new study by astronomers at the California Institute of Technology (Caltech) that provides yet more evidence that planetary systems are the cosmic norm. The team made their estimate while analyzing planets orbiting a star called Kepler-32—planets that are representative, they say, of the vast majority in the galaxy and thus serve as a perfect case study for understanding how most planets form.

“There’s at least 100 billion planets in the galaxy—just our galaxy,” says John Johnson, assistant professor of planetary astronomy at Caltech and coauthor of the study, which was recently accepted for publication in the Astrophysical Journal. “That’s mind-boggling.”

“It’s a staggering number, if you think about it,” adds Jonathan Swift, a postdoc at Caltech and lead author of the paper. “Basically there’s one of these planets per star.”

The planetary system in question, which was detected by the Kepler space telescope, contains five planets. The existence of two of those planets have already been confirmed by other astronomers. The Caltech team confirmed the remaining three, then analyzed the five-planet system and compared it to other systems found by the Kepler mission.

The planets orbit a star that is an M dwarf—a type that accounts for about three-quarters of all stars in the Milky Way. The five planets, which are similar in size to Earth and orbit close to their star, are also typical of the class of planets that the telescope has discovered orbiting other M dwarfs, Swift says. Therefore, the majority of planets in the galaxy probably have characteristics comparable to those of the five planets.

While this particular system may not be unique, what does set it apart is its coincidental orientation: the orbits of the planets lie in a plane that’s positioned such that Kepler views the system edge-on. Due to this rare orientation, each planet blocks Kepler -32’s starlight as it passes between the star and the Kepler telescope.

James Emory Garrison (March 3, 1934 – April 7, 1976) was an American jazz double bassist. He is best remembered for his association with John Coltrane from 1961 to 1967.

Garrison was raised in both Miami, Florida and Philadelphia where he learned to play bass. Garrison came of age in the 1950s Philadelphia jazzscene, which included fellow bassists Reggie Workman and Henry Grimes, pianist McCoy Tyner and trumpeter Lee Morgan. Between 1957 and 1962, Garrison played and recorded with trumpeter Kenny Dorham; clarinetist Tony Scott; drummer Philly Joe Jones; and saxophonists Bill Barron, Lee Konitz, and Jackie McLean, as well as Curtis Fuller, Benny Golson, Lennie Tristano, and Pharoah Sanders, among others. In 1961, he recorded with Ornette Coleman, appearing on Coleman’s albums Ornette on Tenor and The Art of the Improvisors. He also worked with Walter Bishop, Jr. and Cal Massey during the early years of his career.

He formally joined Coltrane’s quartet in 1962, replacing Workman. The long trio blues “Chasin’ the Trane” is one of his first recorded performances with Coltrane and Elvin Jones. Garrison performed on many Coltrane recordings, including A Love Supreme. In concert with Coltrane, Garrison would often play unaccompanied improvised solos, sometimes as song introductions prior to the other musicians joining in. After John Coltrane’s death, Garrison worked and recorded with Alice Coltrane, Hampton Hawes, Archie Shepp, Clifford Thornton and groups led by Elvin Jones.

Garrison also worked with Ornette Coleman during the 1960s, first recording with him in 1961 on Ornette on Tenor. He and Elvin Jones recorded with Coleman in 1968, and have been credited with eliciting more forceful playing than usual from Coleman on the albums New York Is Now! and Love Call.

In 1971 and 1972, Garrison taught as a Visiting Artist at Wesleyan University and Bennington College.

Arthel Lane “Doc” Watson (March 3, 1923 – May 29, 2012) was an American guitarist, songwriter, and singer of bluegrass, folk, country, blues, and gospel music. Watson won seven Grammy awards as well as a Grammy Lifetime Achievement Award. Watson’s fingerstyle and flatpicking skills, as well as his knowledge of traditional American music, were highly regarded. Blind from a young age, he performed with his son, guitarist Merle Watson, for over 15 years until Merle’s death in 1985 in an accident on the family farm.

Watson was born in Deep Gap, North Carolina, United States. According to Watson on his three-CD biographical recording Legacy, he got the nickname “Doc” during a live radio broadcast when the announcer remarked that his given name Arthel was odd and he needed an easy nickname. A fan in the crowd shouted “Call him Doc!” presumably in reference to the literary character Sherlock Holmes‘s sidekick Doctor Watson. The name stuck.

Cataloged as Sharpless 2-308 it lies some 5,200 light-years away toward the constellation of the Big Dog (Canis Major) and covers slightly more of the sky than a Full Moon. That corresponds to a diameter of 60 light-years at its estimated distance. The massive star that created the bubble, a Wolf-Rayet star, is the bright one near the center of the nebula. Wolf-Rayet stars have over 20 times the mass of the Sun and are thought to be in a brief, pre-supernova phase of massive star evolution. Fast winds from this Wolf-Rayet star create the bubble-shaped nebula as they sweep up slower moving material from an earlier phase of evolution. The windblown nebula has an age of about 70,000 years. Relatively faint emission captured in the featured expansive image is dominated by the glow of ionized oxygen atoms mapped to a blue hue.

Larry Eugene Carlton (born March 2, 1948) is an American guitarist who built his career as a studio musician in the 1970s and ’80s for acts such as Steely Dan and Joni Mitchell. He has participated in thousands of recording sessions, recorded on hundreds of albums in many genres, for television and movies, and on more than 100 gold records. He has been a member of the jazz fusion group the Crusaders, the smooth jazz band Fourplay, and has maintained a long solo career. Carlton was born in Torrance, California in 1948 and at the age of six began guitar lessons. His interest in jazz came from hearing guitarist Joe Pass on the radio. From Pass he moved on to jazz guitarists Barney Kessel and Wes Montgomery and blues guitarist B.B. King. He went to junior college and Long Beach State College while playing professionally at clubs in Los Angeles.

During the 1970s, he found steady work as a studio musician on electric and acoustic guitar in a variety of genres: pop, jazz pop, rock, rhythm and blues, soul and country. Carlton appeared on hundreds of recording sessions with Steely Dan, Joni Mitchell, Linda Ronstadt, Michael Jackson, Quincy Jones, Bobby Bland, Sammy Davis, Jr., Paulinho Da Costa, the Fifth Dimension, Herb Alpert, Christopher Cross, Dolly Parton, Andy Williams, and the Partridge Family. Carlton performed on Mike Post‘s 1981 “Theme from Hill Street Blues“.^{[citation needed]} In 1982, he appeared on The Nightfly by Donald Fagen, lead singer for Steely Dan.

Lewis Allan Reed (March 2, 1942 – October 27, 2013) was an American musician, singer, songwriter and poet. He was the rhythm/lead guitarist, singer and principal songwriter for the rock band The Velvet Underground and had a solo career that spanned five decades. The Velvet Underground was not a commercial success during its existence, but became regarded as one of the most influential bands in the history of underground and alternative rock music.

After leaving the band in 1970, Reed released twenty solo studio albums. His second, Transformer (1972), was produced by David Bowie and arranged by Mick Ronson, and brought mainstream recognition. The album is considered an influential landmark of the glam rock genre, anchored by Reed’s most successful single, “Walk on the Wild Side“. After Transformer, the less commercial but critically acclaimed Berlin reached No. 7 on the UK Albums Chart. Rock ‘n’ Roll Animal (a live album released in 1974) sold strongly, and Sally Can’t Dance (1974) peaked at No. 10 on the Billboard200; but for a long period after, Reed’s work did not translate into sales, leading him deeper into drug addiction and alcoholism. Reed cleaned up in the early 1980s, and gradually returned to prominence with New Sensations (1984), reaching a critical and commercial career peak with his 1989 album New York.

Reed participated in the reformation of the Velvet Underground in the 1990s, and made several more albums, including a collaboration album with John Cale titled Songs for Drella which was a tribute to their former mentor Andy Warhol. Magic and Loss (1992) would become Reed’s highest-charting album on the UK Albums Chart, peaking at No. 6.

He contributed music to two theatrical interpretations of 19th century writers, one of which he developed into an album titled The Raven. He married his third wife Laurie Anderson in 2008, and recorded the collaboration album Lulu with Metallica. He died in 2013 of liver disease. Reed’s distinctive deadpan voice, poetic lyrics and experimental guitar playing were trademarks throughout his long career. Reed has been inducted into the Rock and Roll Hall of Fame twice; as a member of the Velvet Underground in 1996 and as a solo act in 2015.

Douglas Watkins (March 2, 1934 – February 5, 1962) was an American jazz double bassist. He was best known for being an accompanist to various hard bop artists in the Detroit area, including Donald Byrd and Jackie McLean.

Some of Watkins’ best-known work can be heard, when as a 22-year-old, he appeared on the 1956 album, Saxophone Colossus by tenor saxophonist Sonny Rollins, with Max Roach and Tommy Flanagan. From that session, the tunes “Blue Seven” and “St. Thomas,” especially, have become revered not only as evidence of Rollins’ original genius but as fine examples of Watkins’ work. Watkins died in an automobile accident on February 5, 1962, while traveling from Arizona to San Francisco to meet drummer Philly Joe Jones for a gig. He fell asleep at the wheel and was hit head-on by an oncoming truck. The other occupants of the car, pianist Sir Roland Hanna and trumpeter Bill Hardman, survived the crash.

Edward F. Davis (March 2, 1922 – November 3, 1986), known professionally as Eddie “Lockjaw” Davis, was an American jazz tenor saxophonist.

Davis played with Cootie Williams, Lucky Millinder, Andy Kirk, Eddie Bonnemere, Louis Armstrong, and Count Basie, as well as leading his own bands and making many recordings as a leader. He played in the swing, bop, hard bop, Latin jazz, and soul jazz genres. Some of his recordings from the 1940s also could be classified as rhythm and blues.

His 1946 band, Eddie Davis and His Beboppers, featured Fats Navarro, Al Haig, Huey Long, Gene Ramey and Denzil Best.

In the 1950s, he was playing with Sonny Stitt, while from 1960 to 1962, he and fellow tenor saxophonist Johnny Griffin led a quintet. From the mid-1960s, Davis and Griffin also performed together as part of The Kenny Clarke-Francy Boland Big Band, along with other, mainly European, jazz musicians.

Davis died of Hodgkin’s lymphoma cancer in Culver City, California, at the age of 64.

https://www.youtube.com/watch?v=OoEVKolq700

Urinetown performance 2pm matinee at the Illusion Theater by Theater 55. In the not-so-distant future, a terrible water shortage and 20-year drought has led to a government ban on private toilets and a proliferation of paid public toilets, owned and operated by a single megalomaniac company: the Urine Good Company. If the poor don’t obey the strict laws prohibiting free urination, they’ll be sent to the dreaded and mysterious “Urinetown.” Music by Music by Music by Neal McIntosh, Jamie Carter, Chad Green, Paul Fontara and mick laBriola.

The latest image from the international Gemini Observatory showcases the striking planetary nebula CVMP 1. This object is the result of the death throes of a giant star and is a glorious but relatively short-lived astronomical spectacle. As the progenitor star of this planetary nebula slowly cools, this celestial hourglass will run out of time and will slowly fade from view over many thousands of years.

Located roughly 6500 light-years away in the southern constellation of Circinus (The Compass) this astronomical beauty formed during the final death throes of a massive star. CVMP 1 is a planetary nebula; it emerged when an old red giant star blew off its outer layers in the form of a tempestuous stellar wind  As this cast-aside stellar atmosphere sped outwards into interstellar space, the hot, exposed core of the progenitor star began to energize the ejected gases and cause them to glow. This formed the beautiful hourglass shape captured in this observation from the international Gemini Observatory, a facility of NSF’s National Optical-Infrared Astronomy Research Laboratory.

Winston Rodney OD (born 1 March 1945), better known by the stage name Burning Spear, is a Jamaican roots reggae singer-songwriter, vocalist and musician. Burning Spear is a Rastafarian and one of the most influential and long-standing roots artists to emerge from the 1970s.

Winston Rodney was born in Saint Ann’s Bay, Saint Ann, Jamaica. As a young man he listened to the R&B, soul and jazz music transmitted by the US radio stations whose broadcasts reached Jamaica. Curtis Mayfield is cited by Rodney as a major US musical influence along with James Brown. Rodney was deeply influenced as a young man by the views of the political activist Marcus Garvey, especially with regard to the exploration of the themes of Pan-Africanism and self-determination. In 1969, Bob Marley, who was also from Saint Ann, advised Rodney to approach Coxsone Dodd‘s Studio One label after Rodney sought his advice during a casual conversation.

Burning Spear was originally Rodney’s group, named after a military award given by Jomo Kenyatta, the first President of an independent Kenya, and included bass singer Rupert Willington. The duo auditioned for Dodd in 1969 which led to the release of their debut single “Door Peep” (the session also included Cedric Brooks on saxophone). They were then joined by tenor Delroy Hinds. The trio recorded several more singles for Dodd, and two albums, before they moved on to work with Jack Ruby in 1975. Their first recording with Ruby, “Marcus Garvey”, was intended as an exclusive track for Ruby’s Ocho Rios–based Hi-Power sound system, but was released as a single, giving them an immediate hit, and was followed by “Slavery Days”. These recordings featured the backing band The Black Disciples, which included Earl “Chinna” Smith, Valentine Chin, Robbie Shakespeare and Leroy Wallace. The group worked with Ruby on their third album, Marcus Garvey (1975), which was immediately successful and led to a deal with Island Records to give the album a wider release.

Ralph Towner (born March 1, 1940, Chehalis, Washington) is an American multi-instrumentalist, composer, arranger and bandleader. He plays the twelve-string guitar, classical guitar, piano, synthesizer, percussion and trumpet.

Towner was born into a musical family in Chehalis, Washington. His mother was a piano teacher and his father a trumpet player. Towner learned to improvise on the piano at the age of three. He began his career as a conservatory-trained classical pianist, attending the University of Oregon from 1958-1963, where he also studied composition with Homer Keller. He studied classical guitar at the Vienna Academy of Music with Karl Scheit from 1963-64 and 1967-68.

He joined world music pioneer Paul Winter‘s “Consort” ensemble in the late 1960s. He first played jazz in New York City in the late 1960s as a pianist and was strongly influenced by the renowned jazz pianist Bill Evans. He began improvising on classical and 12-string guitars in the late 1960s/early 1970s and formed alliances with musicians who had worked with Evans, including flautist Jeremy Steig, bassists Eddie Gómez, Marc Johnson, Gary Peacock, and drummer Jack DeJohnette.

Along with bandmates Paul McCandless, Glen Moore, and Collin Walcott, Towner left the Winter Consort in 1970 to form the group Oregon, which over the course of the 1970s issued a number of highly influential records mixing folk music, Indian classical forms, and avant-garde jazz-influenced free improvisation. At the same time, Towner began a longstanding relationship with the influential ECM record label, which has released virtually all of his non-Oregon recordings since his 1973 debut as a leader Trios / Solos. Towner appeared as a sideman on Weather Report‘s 1972 album I Sing the Body Electric. Since the early 1990s, Towner has lived in Italy, first in Palermo and then in Rome.