mick laBriola

Earl Wilberforce “Wire” Lindo (7 January 1953 – 4 September 2017), sometimes referred to as Wya, was a Jamaican reggae musician. He was a member of Bob Marley and the Wailers and collaborated with numerous reggae artists including Burning Spear.

While attending Excelsior High School in Jamaica, he played with Barry Biggs, Mikey “Boo” Richards, and Ernest Wilson in the Astronauts, and later played organ in the band Now Generation, and with Tommy McCook and the Supersonics, and the Meters. Aston “Familyman” Barrett heard Lindo and recommended him to play for a Saturday afternoon television program Where It’s At on JBC. Lindo also spent his early days working at Coxsone Dodd‘s Studio One, where he played on innumerable recordings. In 1973, he was invited to join The Wailers on a US tour, going on to play on Burnin’. He left the Wailers in 1974 to join Taj Mahal‘s band.

Lindo can be heard on an album credited to the Impact All-Stars. Released in 1975, the album is a collection of dub tracks recorded at Randy’s Studio 17. On his return to Jamaica he played on recordings by Big Youth, Culture, I Roy, and Al Brown, and had some success with solo singles “No Soul Today” and “Who Done It”. In 1978 he rejoined the Wailers, playing on Babylon by Bus, Survival, and Uprising. After Marley’s death, Lindo was a member of The Wailers Band. Lindo died in a London hospital on 4 September 2017, aged 64, shortly after being admitted with abdominal pain. Among the tributes paid, Olivia Grange, Minister of Culture, Gender, Entertainment and Sport, described him as “an exceptionally gifted musician who played a pivotal role alongside Bob Marley and the Wailers in the global success of Jamaica’s reggae music.

Sam Woodyard (January 7, 1925 – September 20, 1988) was an American jazz drummer.

Woodyard was largely an autodidact on drums and played locally in the Newark, New Jersey area in the 1940s. He performed with Paul Gayten in an R&B group, then played in the early 1950s with Joe Holiday, Roy Eldridge, and Milt Buckner. In 1955 he joined Duke Ellington‘s orchestra and remained until 1966.

After his time with Ellington, Woodyard worked with Ella Fitzgerald, then moved to Los Angeles. In the 1970s he played less due to health problems, but he recorded with Buddy Rich and toured with Claude Bolling. In 1983 he belonged to a band with Teddy Wilson, Buddy Tate, and Slam Stewart. His last recording was on Steve Lacy‘s 1988 album The Door.

https://www.youtube.com/watch?v=ggWuAHTe3Xk

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Bobo Jenkins (January 7, 1916 – August 14, 1984) was an American Detroit blues and electric blues guitarist, singer and songwriter. He also built and set up his own recording studio and record label in Detroit. Jenkins is best known for his recordings of “Democrat Blues” and “Tell Me Where You Stayed Last Night”.

He was born John Pickens Jenkins in Forkland, Alabama. His father, a sharecropper, died when John was not yet one year old, and the boy grew up with his mother and uncle. He left home before the age of 12, and arrived in Memphis, Tennessee. He had a wife at the age of 14, the first of ten marriages. Jenkins took casual work in the Mississippi Delta for several years and then enrolled in the United States Army. Following his 1944 military discharge, he relocated to Detroit, working for Packard and managing a garage, before spending twenty-seven years working for Chrysler.

In the late 1940s Jenkins learned to play the guitar and started writing songs. He wrote the politically themed “Democrat Blues”, about the U.S. Election Day in 1952, expressing his unease about Dwight D. Eisenhower becoming the first Republican in the White House in almost twenty years.

With assistance from John Lee Hooker, Jenkins recorded “Democrat Blues” in Chicago in 1954, which was released by Chess Records. Another recording was issued by Boxer Records, based in Chicago, and then “Ten Below Zero” (1957) was released by Fortune Records, based in Detroit. In 1959, Jenkins established his own record label, Big Star Records, whose first release was his single “You”ll Never Understand” and “Tell Me Where You Stayed Last Night”. He met and played alongside Sonny Boy Williamson II, before constructing his own recording studio. He recorded mainly local musicians, including James “Little Daddy” Walton, Little Junior Cannady, Chubby Martin and Syl Foreman.

Henry James “Red” Allen (January 7, 1908 – April 17, 1967) was an American jazz trumpeter and vocalist whose style has been claimed to be the first to fully incorporate the innovations of Louis Armstrong.

Allen was born in the Algiers neighborhood of New Orleans, Louisiana, the son of the bandleader Henry Allen. He took early trumpet lessons from Peter Bocage and Manuel Manetta.

Allen’s career began in Sidney Desvigne‘s Southern Syncopators. He was playing professionally by 1924 with the Excelsior Brass Band and the jazz dance bands of Sam Morgan, George Lewis and John Casimir. After playing on riverboats on the Mississippi River, he went to Chicago in 1927 to join King Oliver‘s band. Around this time he made recordings on the side in the band of Clarence Williams. After returning briefly to New Orleans, where he worked with the bands of Fate Marable and Fats Pichon, he was offered a recording contract with Victor Records and went to New York City, where he joined the Luis Russell band, which was later fronted by Louis Armstrong in the late 1930s.

https://www.youtube.com/watch?v=WU2fHcmkPxI

Luciano Pozo González (January 7, 1915 in Havana – December 3, 1948 in New York City), known professionally as Chano Pozo was a Cuban jazz percussionist, singer, dancer, and composer. Despite only living to age 33, he played a major role in the founding of Latin jazz. He co-wrote some of Dizzy Gillespie’s Latin-flavored compositions, such as “Manteca” and “Tin Tin Deo“, and was the first Latin percussionist in Gillespie’s band.

Luciano “Chano” Pozo González was born in Havana to Cecelio González and Carnación Pozo. Chano grew up with three sisters and a brother, as well as his older half brother, Félix Chappottín, who would later become one of the great Cuban soneros. The family struggled with poverty throughout his youth. His mother died when Chano was eleven, and Cecelio took his family to live with his long-time mistress, Natalia, who was Felix’s mother.

Chano showed an early interest in playing drums, and performed ably in Afro-Cuban religious ceremonies in which drumming was a key element. The family lived for many years at El África Solar (Africa neighborhood), a former slave quarters, by all accounts a foul and dangerous place, where it was said even the police were afraid to venture. In this environment criminal activities flourished, and Chano learned the ways of the street as means of survival. He dropped out of school after the third grade and earned a solid reputation as a rowdy tough guy, big for his age and exceptionally fit. He spent his days playing drums, fighting, drinking, and engaging in petty criminal activities, the latter of which landed him a stint in a youth reformatory. No official records document the crime he was sentenced for, though at least one account has him causing the accidental death of a foreign tourist, adding to a record of thievery, assault, and truancy. At the age of 13, Chano was sent to the reformatory in Guanajay, where he learned reading and writing, auto body repair, and honed his already exceptional skills playing a variety of drums.

During this time he became a devotee of Santería. Also known as “La Regla de Ocha”, this is an Afro-Caribbean religion derived from traditional beliefs of the Yoruba people of Nigeria. Developed among Afro-Cuban slaves, the religion began as a blending of these West African spiritual beliefs and Catholic doctrine. Yoruba deities were identified with Catholic saints to fool the slave owners, as the Spanish colonialists had forbidden the practice of African religions. Chano pledged allegiance to the Catholic Saint Barbara, identified widely with Shango, the Yoruba god of fire and thunder, and took him as his personal protector.

Chano Pozo was shot and killed on December 2, 1948 in the El Rio Bar at 111th St and Lenox Avenue in Harlem. The Rio Bar no longer exists—even the small triangular block where it was located has been removed. Pozo’s killer was a local bookie named Eusebio “Cabito” Munoz. Pozo had accused Cabito of selling him poor quality marijuana and Cabito retaliated.

Pozo is buried in the Colón Cemetery, Havana.

Compared to their more intricate spiral cousins, elliptical galaxies resemble soft, hazy clouds. These galaxies have smooth, undefined boundaries, and bright cores surrounded by a fuzzy, diffuse glow. However, looks can be deceiving. At least 10% of ellipticals extend much further out into the cosmos than you might expect, and possess a range of far finer structures than first meets the eye — features such as loops and shells.

Located around 100 million light-years away in the constellation of Pisces (The Fish), the galaxy to the upper-left of this image is named NGC 474. It is a stunning example of a shell elliptical galaxy; enormous wispy tails flick around the galaxy’s main body, while the inner structure is formed of a series of nested concentric rings. In fact, the full extent of the galaxy cannot even be contained in this field of view. The tendril-like outer regions of NGC 474 billow and wisp away like smoke, extending outwards for large distances from the galaxy’s main bulk.

Astronomers are unsure why some galaxies take on this kind of appearance and structure, but they believe it concerns gravity — namely, how nearby galaxies gravitationally interact with one another. It is possible that the spiral galaxy to the lower-right, NGC 470, has been tugging on its larger friend for billions of years, causing density waves to reshape its structure.

Maurice “Mobetta” Brown (born January 6, 1981) originally from Harvey, Illinois is a Grammy Award-winning American jazz trumpeter, producer and composer. As a member of Tedeschi Trucks Band, he shared the 2011 Grammy for Best Blues Album (Revelator).

Brown was born in Harvey, Illinois and grew up in the south suburbs of Chicago. He met Wynton Marsalis in the 8th grade while performing at a seminar attended by Marsalis. While attending Hillcrest High School in Country Club Hills, Brown was chosen to participate in the National High School GRAMMY Band, which led Ramsey Lewis to begin hiring Brown to perform with his band.

Brown began college at Northern Illinois University, then transferred to Southern University in Baton Rouge, Louisiana, studying under jazz clarinetist Alvin Batiste. Later, he moved to New Orleans, where he led a regular Tuesday night residency at the Snug Harbor jazz club and released his first album, “Hip to Bop”.

Paolo Conte (Italian pronunciation: [ˈpaolo ˈkonte]; born 6 January 1937) is an Italian singer, pianist, composer, and lawyer notable for his grainy, resonant voice. His compositions are evocative of Italian and Mediterranean sounds, as well as of jazz music and South American atmospheres.

Paolo Conte was born in Asti, Piedmont. His parents were avid jazz fans and Conte and his younger brother Giorgio spent their formative years listening to a lot of early jazz and blues recordings. After obtaining a law degree at the University of Parma, Conte started working as an assistant solicitor with his father, simultaneously pursuing his musical studies. He learned to play the trombone, the vibraphone and the piano, and formed a jazz band with his brother on drums. Conte’s skill for composing music and original arrangements was noted by music producer Lilli Greco, who paired Conte with lyricist Vito Pallavicini. They wrote songs for Adriano Celentano (Azzurro, 1968), Caterina Caselli (Insieme a te non ci sto più, 1968), Fausto Leali (Deborah, 1968) and Enzo Jannacci (Messico e nuvole, 1970). In 1974 Conte recorded his first album, Paolo Conte. The following year, he released another eponymous album. Following a series of well-received shows at Club Tenco in Sanremo in 1976 and the commercial success of his third album, ‘Un gelato al limon’, Conte concentrated almost exclusively on his solo career.

Some of Conte’s most popular songs have been used as film soundtracks, including “Come Di” in I Am David (2003) and Mickey Blue Eyes (1999), “Via con me” in French Kiss (1995), Mostly Martha (2001) and Welcome to Collinwood (2002). In 1997 Conte won the Nastro d’Argento for Best Score for the film La freccia azzurra.

Alexandra Elene MacLean Denny (6 January 1947 – 21 April 1978) was an English singer-songwriter who was lead singer of the British folk rockband Fairport Convention. She has been described as “the pre-eminent British folk rock singer”.

After briefly working with the Strawbs, Denny joined Fairport Convention in 1968, remaining with them until 1969. She formed the short-lived band Fotheringay in 1970, before focusing on a solo career. Between 1971 and 1977, Denny released four solo albums: The North Star Grassman and the Ravens, Sandy, Like an Old Fashioned Waltz and Rendezvous. She also duetted with Robert Plant on “The Battle of Evermore” for Led Zeppelin‘s album Led Zeppelin IV in 1971. Denny died in 1978 at the age of 31 due to injuries and health issues related to alcohol abuse.

Music publications Uncut and Mojo have called Denny Britain’s finest female singer-songwriter. Her composition “Who Knows Where the Time Goes?” has been recorded by Judy Collins, Eva Cassidy, Nina Simone, 10,000 Maniacs and Cat Power. Her recorded work has been the subject of numerous reissues, along with a wealth of previously unreleased material which has appeared over the more than 40 years since her death, most notably including a 19-CD box set which was released in November 2010.

Earl Eugene Scruggs (January 6, 1924 – March 28, 2012) was an American musician noted for popularizing a three-finger banjo picking style, now called “Scruggs style,” which is a defining characteristic of bluegrass music. His three-finger style of playing was radically different from the traditional way the five-string banjo had previously been played. This new style of playing became popular and elevated the banjo from its previous role as a background rhythm instrument to featured solo status. He popularized the instrument across several genres of music.

Scruggs’ career began at age 21 when he was hired to play in Bill Monroe‘s band, The Blue Grass Boys. The name “bluegrass” eventually became the eponym for the entire genre of country music now known by that title. Despite considerable success with Monroe, performing on the Grand Ole Opryand recording classic hits like “Blue Moon of Kentucky,” Scruggs resigned from the group in 1946 due to their exhausting touring schedule. Fellow band member Lester Flatt resigned as well, and he and Scruggs later paired up in a new group they called Flatt and Scruggs and the Foggy Mountain Boys. Scruggs’ banjo instrumental called “Foggy Mountain Breakdown,” released in 1949, became an enduring hit, and had a rebirth of popularity to a younger generation when it was featured in the 1967 film Bonnie and Clyde. The song won two Grammy Awards and, in 2005, was selected for the Library of Congress’ National Recording Registry of works of unusual merit.

Flatt and Scruggs brought bluegrass music into mainstream popularity in the early 1960s with their country hit, “The Ballad of Jed Clampett” — the theme music for the television sitcom The Beverly Hillbillies — the first Scruggs recording to reach number one on the Billboard charts. Over their 20-year association, Flatt and Scruggs recorded over 50 albums and 75 singles. The duo broke up in 1969, chiefly because, where Scruggs wanted to switch styles to fit a more modern sound, Flatt was a traditionalist who opposed the change, and believed doing so would alienate a fan base of bluegrass purists. Although each of them formed a new band to match their visions, neither of them ever regained the success they had achieved as a team.

Scruggs received four Grammy awards, a Grammy Lifetime Achievement Award and a National Medal of Arts. He became a member of the International Bluegrass Music Hall of Fame and was given a star on the Hollywood Walk of Fame. In 1985, Flatt and Scruggs were inducted together into the Country Music Hall of Fame and named, as a duo, number 24 on CMT‘s 40 Greatest Men of Country Music. Scruggs was awarded a National Heritage Fellowship by the National Endowment for the Arts, the highest honor in the folk and traditional arts in the United States. Four works by Scruggs have been placed in the Grammy Hall of Fame. After Scruggs’ death in 2012 at age 88, the Earl Scruggs Center was founded near his birthplace in Shelby, North Carolina, with the aid of a federal grant and corporate donors. The center is a $5.5 million facility that features the musical contributions of Scruggs and serves as an educational center providing classes and field trips for students.

A new composite image released last week by NASA shows a galactic light show taking place 23 million light years away in NGC 4258, a spiral galaxy similar to our own Milky Way. NGC 4258 has two extra spiral arms which reveal a color-filled glow in X-ray, optical and radio light. The stunning display is the result of a black hole, shock waves, and vast amounts of gas which display as different colors based on the instruments NASA used to capture the data. Messier 106 (also known as NGC 4258) is an intermediate spiral galaxy in the constellation Canes Venatici. It was discovered by Pierre Méchain in 1781. M106 is at a distance of about 22 to 25 million light-years away from Earth. M106 contains an active nucleus classified as a Type 2 Seyfert, and the presence of a central supermassive black hole has been demonstrated from radio-wavelength observations of the rotation of a disk of molecular gas orbiting within the inner light-year around the black hole. NGC 4217 is a possible companion galaxy of Messier 106. A Type II supernova was observed in M106 in May 2014.

Paul Wertico (born January 5, 1953 in Chicago, Illinois) is an American drummer. He gained recognition as a member of the Pat Metheny Group from 1983 until 2001, leaving the group to spend more time with his family and to pursue other musical interests. After Pat Metheny heard the Simon and Bard Group with Wertico and bassist Steve Rodby, he invited both to join his band. During his time with Metheny, Wertico played on ten albums and four videos, appeared on television, and toured around the world. He won seven Grammy Awards (for “Best Jazz Fusion Performance,” “Best Contemporary Jazz Performance,” and “Best Rock Instrumental Performance”), magazine polls, and received several gold records.

He formed the Paul Wertico Trio with John Moulder and Eric Hochberg and collaborated with Larry Coryell, Kurt Elling, and Jeff Berlin. From 2000 to 2007, he was a member of SBB, the platinum-record-winning Polish progressive rock band. Wertico was a member of the Larry Coryell Power Trio until Coryell’s death in 2017.

In 2009, Wertico became a member of the jazz-rock group Marbin with Israeli musicians Danny Markovitch and Dani Rabin. The group performed as Paul Wertico’s Mid-East/Mid-West Alliance and recorded an album for the Chicago Sessions label that received accolades from the Chicago Tribune, DRUM!, and Modern Drummer.

Wertico formed Wertico Cain & Gray with multi-instrumentalists David Cain and Larry Gray. Their debut album Sound Portraits (2013) won Best Live Performance Album in the 13th Annual Independent Music Awards, and their fourth album Realization (2015) was nominated for Best Live Performance Album and Best Long Form Video in the 15th Annual Independent Music Awards.

Wilbert Huntington Harrison (January 5, 1929 – October 26, 1994) was an American rhythm and blues singer, pianist, guitarist and harmonica player. Born in Charlotte, North Carolina, Harrison had a Billboard #1 record in 1959 with the song “Kansas City“. The song was written in 1952 and was one of the first credited collaborations by the team of Jerry Leiber and Mike Stoller. It sold over one million copies, and was awarded a gold disc.Harrison recorded “Kansas City” for the Harlem-based entrepreneur Bobby Robinson, who released it on his Fury record label.

At the height of the song’s success, Robinson was sued by Savoy Records who informed them that the release of the record in March 1959 violated a contract Harrison had with that label that was to expire in August 1959. The litigation, which lasted until September 1959, abruptly prevented Robinson from issuing follow-ups to “Kansas City” while Harrison was a star.

Meanwhile, Harrison continued to perform and record but it would be another ten years before he again cracked the Billboard Top 40 when he released the self-penned “Let’s Work Together (Part 1)” that went to #32 in early 1970 on the Billboard Hot 100. The 1970 hit version was released as a single on Sue Records (Sue 11) and was backed with “Let’s Work Together (Part 2)”. The song also was released in a 5 minute 19 second version on the Sue Records album SSLP-8801 Let’s Work Together. The song was originally released by Harrison in 1962 with different lyrics as “Let’s Stick Together” on Fury 1059 and Fury 1063.

Elizabeth “Libba” Cotten (née Nevills) (January 5, 1893 – June 29, 1987) was an American blues and folk musician, singer, and songwriter. A self-taught left-handed guitarist, Cotten developed her own original style. She played a guitar strung for a right-handed player, but played it upside down, as she was left-handed. This position required her to play the bass lines with her fingers and the melody with her thumb. Her signature alternating bass style has become known as “Cotten picking”.

Cotten was born in 1893 to a musical family near Chapel Hill, North Carolina, in an area that would later be incorporated as Carrboro. Her parents were George Nevill (also spelled Nevills) and Louisa (or Louise) Price Nevill. Elizabeth was the youngest of five children. She named herself on her first day of school, when the teacher asked her name, because at home she was only called “Li’l Sis.” At age seven, she began to play her older brother’s banjo. “From that day on,” she said, “nobody had no peace in that house.