mick laBriola

NGC 3359 is a galaxy located 49 million light years from Earth. The central bar is approximately 500 million years old.

NGC is “devouring” the much smaller galaxy, nicknamed the Little Cub.

James Timothy Hardin (December 23, 1941 – December 29, 1980) was an American folk musician and composer. He wrote the Top 40 hit “If I Were a Carpenter“, covered by, among others, Bobby Darin, Bob Dylan, Bob Seger, Joan Baez, Johnny Cash, The Four Tops, Robert Plant, Small Faces, Johnny Rivers, and Bert Jansch; his song “Reason to Believe” has also been covered by many artists, notably Rod Stewart (who had a chart hit with the song), Neil Young, and The Carpenters. Hardin is also known for his own recording career.

Hardin was born in Eugene, Oregon, and attended South Eugene High School. He dropped out of high school at age 18 to join the Marine Corps. Hardin is said to have discovered heroin while posted in Southeast Asia.

After his discharge he moved to New York City in 1961, where he briefly attended the American Academy of Dramatic Arts. He was excluded owing to truancy and began to focus on his musical career by performing around Greenwich Village, mostly in a blues style.

After moving to Boston in 1963 he was discovered by the record producer Erik Jacobsen (later the producer for The Lovin’ Spoonful), who arranged a meeting with Columbia Records. In 1964 he moved back to Greenwich Village to record for his contract with Columbia. The resulting recordings were not released and Columbia terminated Hardin’s recording contract.

Jorma Ludwik Kaukonen, Jr. (/ˈjɔːrmə ˈkaʊkənɛn/; YOR-mə KOW-kə-nen; born December 23, 1940) is an American blues, folk, and rockguitarist. Kaukonen performed with Jefferson Airplane and still performs regularly on tour with Hot Tuna, which started as a side project with bassist Jack Casady, and as of early 2019 has continued for 50 years. Rolling Stone magazine ranked him #54 on its list of 100 Greatest Guitarists.

Jorma Kaukonen was born in Washington, DC to Beatrice Love (née Levine) and Jorma Ludwik Kaukonen, Sr. He had Finnish paternal grandparents and Russian Jewish ancestry on his mother’s side.^[10] During his childhood, Jorma’s family lived in Pakistan, the Philippines and other locales as he followed his father’s State Department career from assignment to assignment before returning to the place of his birth. As a teenager in Washington, he and friend Jack Casady formed a band called The Triumphs, with Kaukonen on rhythm guitar and Casady on lead.

In 1965, friend and classmate Paul Kantner invited Kaukonen to join a rock band he was forming with Marty Balin. As a self-described blues purist, Kaukonen was initially reluctant, but found his imagination excited by the arsenal of effects available to electric guitar, later remarking that he was “sucked in by technology.” With the group still looking for a name, Kaukonen suggested the name Jefferson Airplane, inspired by an eccentric friend who had given his dog the name “Blind Lemon Jefferson Airplane.” When their original bass player was fired, Kaukonen recommended his friend Jack Casady (who still lived in Washington D.C. at the time) as a replacement.

Though never a prolific singer or songwriter during his Airplane tenure, Kaukonen contributed material to each of the group’s albums; Most notably, the instrumental “Embryonic Journey,” an arrangement of “Good Shepherd,” “Third Week in the Chelsea” (which detailed his feelings about the disintegration of the band) and “Trial by Fire“—all of which he continues to play. In 1969–70, Kaukonen and Jack Casady formed Hot Tuna, a spinoff group that allowed them to play as long as they liked. An early incarnation of Hot Tuna included Jefferson Airplane vocalist Marty Balin and featured Joey Covington on drums and vocals. This grouping came to an end after an unsuccessful recording jaunt to Jamaica, the sessions of which have never been released. Pared down to Kaukonen and Casady, Hot Tuna lived on as a vehicle for Kaukonen to show off his Piedmont-style acoustic blues fingerpicking skills.

Frank Morgan (December 23, 1933 – December 14, 2007) was a jazz saxophonist with a career spanning more than 50 years.^[1] He mainly played alto saxophone but also played soprano saxophone. He was known as a Charlie Parker successor who primarily played bebop and ballads.

Frank Morgan was born in Minneapolis, Minnesota in 1933, but spent most of his childhood living with his grandmother in Milwaukee, Wisconsin while his parents were on tour. Morgan’s father Stanley was a guitarist with Harlan Leonard and the Rockets and The Ink Spots, and his mother, Geraldine, was a 14-year-old student when she gave birth to him. Morgan took up his father’s instrument at an early age, but lost interest the moment he saw Charlie Parker take his first solo with the Jay McShann band at the Paradise Theater in Detroit, Michigan. Stanley introduced them backstage, where Parker offered Morgan advice about starting out on the alto sax, and they met at a music store the following day. As a teenager Morgan had opportunities to jam with the likes of Dexter Gordon and Wardell Gray on Sunday afternoons at the Crystal Tearoom. When he was just 15 years old, Morgan was offered Johnny Hodges‘s spot in Duke Ellington‘s Orchestra, but Stanley deemed him too young for touring. Instead he joined the house band at Club Alabam where he backed vocal luminaries such as Billie Holiday and Josephine Baker. That same year he won a television talent-show contest, the prize of which was a recording session with the Freddy Martin Orchestra, playing “Over the Rainbow” in an arrangement by Ray Conniff, with vocals by Merv Griffin. Morgan attended Jefferson High School during the day, where he played in the school big band that also spawned jazz greats Art Farmer, Ed Thigpen, Chico Hamilton, Sonny Criss, and Dexter Gordon. Morgan stayed in contact with Parker during these years, finding himself in jam sessions at Hollywoodcelebrities’ homes when Parker visited L.A. In 1952, Morgan earned a spot in Lionel Hampton‘s band, but his first arrest in 1953 prevented him from joining the Clifford Brown and Max Roachquintet (that role went instead to Harold Land, and later, Sonny Rollins). He made his recording debut on February 20, 1953 with Teddy Charles and his West Coasters in a session for Prestige Records. This sextet featured short-lived tenor player Wardell Gray and was included on the 1983 posthumous release Wardell Gray Memorial Volume 1. On November 1, 1954, Morgan cut five tracks with the Kenny Clarke Sextet for Savoy Records, four of which were released with Clarke billed as the leader, with “I’ve Lost Your Love” credited to writer Milt Jackson as leader.Morgan recorded an all-star date with Wild Bill Davis and Conte Candoli on January 29, 1955 and participated in a second recording session on March 31, 1955 with Candoli, Wardell Gray, Leroy Vinnegar and others, which were combined and released in 1955 as Morgan’s first album, Frank Morgan, by GNP Crescendo Records. Later releases also included five tracks cut at the Crescendo Club in West Hollywood on August 11, 1956 with a sextet featuring Bobby Timmons and Jack Sheldon. The album copy hailed Morgan as the new Charlie Parker, who had died the same year. In his own words, Morgan was “scared to death” by this and “self-destructed.”

Chesney Henry Baker Jr. (December 23, 1929 – May 13, 1988) was an American jazz trumpeter and vocalist.

Baker earned much attention and critical praise through the 1950s, particularly for albums featuring his vocals (Chet Baker Sings, It Could Happen to You). Jazz historian Dave Gelly described the promise of Baker’s early career as “James Dean, Sinatra, and Bix, rolled into one.”  His well-publicized drug habit also drove his notoriety and fame. Baker was in and out of jail frequently before enjoying a career resurgence in the late 1970s and ’80s. Baker was born and raised in a musical household in Yale, Oklahoma. His father, Chesney Baker Sr., was a professional guitarist, and his mother, Vera Moser, was a pianist who worked in a perfume factory. His maternal grandmother was Norwegian. Baker said that due to the Great Depression, his father, though talented, had to quit as a musician and take a regular job.

Baker performed with Vido Musso and Stan Getz before being chosen by Charlie Parker for a series of West Coast engagements. In 1952, Baker joined the Gerry Mulligan Quartet. Rather than playing identical melody lines in unison like Parker and Dizzy Gillespie, Baker and Mulligan complemented each other with counterpoint and anticipating what the other would play next. “My Funny Valentine“, with a solo by Baker, became a hit and would be associated with Baker for the rest of his career. With the Quartet, Baker was a regular performer at Los Angeles jazz clubs such as The Haig and the Tiffany Club.

Within a year, Mulligan was arrested and imprisoned on drug charges. Baker formed a quartet with a rotation that included pianist Russ Freeman, bassists Bob Whitlock, Carson Smith, Joe Mondragon, and Jimmy Bond, and drummers Larry Bunker, Bob Neel, and Shelly Manne. Baker’s quartet released popular albums between 1953 and 1956. Baker won reader’s polls at Metronomeand Down Beat magazine, beating trumpeters Miles Davis and Clifford Brown. In 1954, readers named Baker the top jazz vocalist. In 1956, Pacific Jazz Records released Chet Baker Sings, an album that increased his visibility and drew criticism. Nevertheless, Baker sang throughout the rest of his career.

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

Butterfly Nebula in narrow band image SHO image by Stephan Hamel.

NGC 6302, also called the Bug Nebula or Butterfly Nebula, is a bipolar planetary nebula in the constellation Scorpius. The structure in the nebula is among the most complex ever observed in planetary nebulae. The spectrum of NGC 6302 shows that its central star is one of the hottest stars known, with a surface temperature in excess of 250,000 degrees Celsius, implying that the star from which it formed must have been very large.

The central star, a white dwarf, was identified in 2009, using the upgraded Wide Field Camera 3 on board the Hubble Space Telescope. The star has a current mass of around 0.64 solar masses. It is surrounded by a dense equatorial disc composed of gas and dust. This dense disc is postulated to have caused the star’s outflows to form a bipolar structure similar to an hourglass. This bipolar structure shows features such as ionization walls, knots and sharp edges to the lobes.

John Patitucci (born December 22, 1959) is an American jazz bassist and composer. John James Patitucci was born in Brooklyn, New York, on December 22, 1959. When he was 12 he bought his first bass and decided on his career. He listened to bass parts in R&B songs on the radio and on his grandfather’s jazz records. He cites as influences Oscar Peterson‘s albums with Ray Brown and Wes Montgomery‘s with Ron Carter. For the development of rhythm, he points to the time he has spent with Danilo Pérez, a pianist from Panama.

In the late 1970s he studied acoustic bass at San Francisco State University and Long Beach State University. He began his professional career when he moved to Los Angeles in 1980 and made connections with Henry Mancini, Dave Grusin, and Tom Scott. From the mid-1980s to the mid-1990s he was a member of three Chick Corea groups: the Elektric Band, the Akoustic Band, and the quartet. As a leader he formed a trio with Joey Calderazzo and Peter Erskine, and a quartet with Vinnie Colaiuta, Steve Tavaglione, and John Beasley. He has played with Herbie Hancock, Wayne Shorter, and Roy Haynes. Patitucci switches between acoustic and electric bass (double bass and bass guitar).

He was artistic director of the Bass Collective, a school for bassists in New York City, and he is involved with the Thelonious Monk Institute of Jazz and the Betty Carter Jazz Ahead program. He was Professor of Jazz Studies at City College of New York. In June 2012 he started the Online Jazz Bass School. He was appointed artist in residence at Berklee College of Music.

Lil Green (December 22, 1919 (some sources give 1901 or 1910) – April 14, 1954) was an American blues singer and songwriter. She was among the leading female rhythm and blues singers of the 1940s, with a sensual soprano voice. Gospel singer R.H. Harris has lauded her voice, and her interpretation of religious songs

Originally named Lillian Green or Lillie May Johnson, she was born in Mississippi. After the early deaths of her parents, she began performing in her teens and, having (like many African-American singers) honed her craft in the church performing gospel, she sang in Mississippi jukes, before heading to Chicago, Illinois, in 1929, where she would make all of her recordings.

Green was noted for superb timing and a distinctively sinuous voice. She was reportedly 18 when she recorded her first session for the 35-cent Bluebird subsidiary of RCA. In the 1930s she and Big Bill Broonzy had a nightclub act together. Her two biggest hits were her own composition “Romance in the Dark” (1940), which was later covered by many artists, such as Dinah Washington and Nina Simone (in 1967) (Billie Holidayrecorded a different song with the same title), and Green’s 1941 version of Kansas Joe McCoy‘s minor-key blues- and jazz-influenced song “Why Don’t You Do Right?“, which was covered by Peggy Lee in 1942 and many others since. As well as performing in Chicago nightclubs, Green toured with Tiny Bradshaw and other bands but never broke away from the black theatre circuit.

By 1949, Green had changed direction with the foresight to become a jazz vocalist, and tried to emulate the Jazz style of Billie Holiday. She signed with Atlantic Records in 1951, but at this point was already in poor health. She died of pneumonia in Chicago in 1954 and is buried in Oak Hill Cemetery, in Gary, Indiana.

Reunald Jones Sr. (December 22, 1910 – February 26, 1989), was a jazz trumpeter who worked both in big bands and as a studio musician.

Jones was born in Indianapolis. He studied at the Michigan Conservatory, and then played with territory bands such as that of Speed Webb. In the 1930s and 1940s Jones worked with musicians such as Charlie Johnson, the Savoy Bearcats, Fess Williams, Chick Webb (1933–34), Sam Wooding, Claude Hopkins, Willie Bryant, Teddy Hill, Don Redman (1936–38), Erskine Hawkins, Duke Ellington (1946), Jimmie Lunceford, Lucky Millinder and Sy Oliver. He soloed sparingly after his time with Chick Webb.

He played lead trumpet with the Count Basie Orchestra (1952–57), which gave him some fame due to his “one-handed” solo style of playing, but Jones was rarely featured.

However, Jones was featured as a member of the Quincy Jones group, “The Jones Boys” (56-58), a session conceived by Leonard Feather featuring a number of musicians named “Jones,” though none of them were related.

From the 1940s Jones did extensive work as a studio musician. He toured with Woody Herman (1959), George Shearing‘s big band (ca. 1960) and with an orchestra accompanying Nat King Cole(1961–64). He played less from the 1970s. His son, Reunald Jones Jr, played lead trumpet many years for Sammy Davis Jr & James Brown, and his grandson, Renny Jones, is an accomplished bass guitar player.

Messier 65 (also known as NGC 3623) is an intermediate spiral galaxy about 35 million light-years away in the constellation Leo. It was discovered by Charles Messier in 1780. Along with M66 and NGC 3628, M65 forms the Leo Triplet, a small group of galaxies. The galaxy is low in dust and gas, and there is little star formation in it, although there has been some relatively recently in the arms. The ratio of old stars to new stars is correspondingly quite high. In most wavelengths it is quite uninteresting, though there is a radio source visible in the NVSS, offset from the core by about two arc-minutes. The identity of the source is uncertain, as it has not been identified visually, or formally studied in any published papers.

Radius: 45,000 light years

Francisco Gustavo Sánchez Gomes (21 December 1947 – 25 February 2014), known as Paco de Lucía (IPA: [ˈpako ðe luˈθi.a]), was a Spanish virtuoso flamenco guitarist, composer, and record producer. A leading proponent of the new flamenco style, he was one of the first flamenco guitarists to branch into classical and jazz. Richard Chapman and Eric Clapton, authors of Guitar: Music, History, Players, describe de Lucía as a “titanic figure in the world of flamenco guitar”, and Dennis Koster, author of Guitar Atlas, Flamenco, has referred to de Lucía as “one of history’s greatest guitarists”.

De Lucía was noted for his fast and fluent picados (fingerstyle runs). A master of contrast, he often juxtaposed picados and rasgueados(flamenco strumming) with more sensitive playing and was known for adding abstract chords and scale tones to his compositions with jazz influences. These innovations saw him play a key role in the development of traditional flamenco and the evolution of new flamenco and Latin jazz fusion from the 1970s. He received acclaim for his recordings with flamenco singer Camarón de la Isla in the 1970s, recording ten albums which are considered some of the most important and influential in flamenco history.

Some of de Lucía’s best known recordings include Río Ancho (later fused with Al Di Meola‘s Mediterranean Sundance), Entre dos aguas, La Barrosa, Ímpetu, Cepa Andaluza and Gloria al Niño Ricardo. His collaborations with guitarists John McLaughlin, Al Di Meola and Larry Coryell in the late 1970s saw him gain wider popularity outside his native Spain. De Lucía formed the Paco de Lucía Sextet in 1981 with his brothers, singer Pepe de Lucía and guitarist Ramón de Algeciras, and collaborated with jazz pianist Chick Corea on their 1990 album, Zyryab. In 1992, he performed live at Expo ’92 in Seville and a year later on the Plaza Mayor in Madrid. After 2004 he greatly reduced his public performances, retiring from full touring, and typically only gave several concerts a year, usually in Spain and Germany and at European festivals during the summer months.

Frank Vincent Zappa(December 21, 1940 – December 4, 1993) was an American multi-instrumentalist musician, composer, and bandleader. His work is characterized by nonconformity, free-form improvisation, sound experiments, musical virtuosity, and satire of American culture. In a career spanning more than 30 years, Zappa composed rock, pop, jazz, jazz fusion, orchestral and musique concrète works, and produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist. Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse rock musicians of his era.

As a self-taught composer and performer, Zappa’s diverse musical influences led him to create music that was sometimes difficult to categorize. While in his teens, he acquired a taste for 20th-century classical modernism, African-American rhythm and blues, and doo-wop music. He began writing classical music in high school, while at the same time playing drums in rhythm and blues bands, later switching to electric guitar. His 1966 debut album with the Mothers of Invention, Freak Out!, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. He continued this eclectic and experimental approach, irrespective of whether the fundamental format was rock, jazz or classical.

Zappa’s output is unified by a conceptual continuity he termed “Project/Object”, with numerous musical phrases, ideas, and characters reappearing across his albums. His lyrics reflected his iconoclastic views of established social and political processes, structures and movements, often humorously so, and he has been described as the “godfather” of comedy rock. He was a strident critic of mainstream education and organized religion, and a forthright and passionate advocate for freedom of speech, self-education, political participation and the abolition of censorship. Unlike many other rock musicians of his generation, he personally disapproved of drugs, but supported their decriminalization and regulation.

During Zappa’s lifetime, he was a highly productive and prolific artist with a controversial critical standing; supporters of his music admired its compositional complexity, while critics found it lacking emotional depth. He had some commercial success, particularly in Europe, and worked as an independent artist for most of his career. He remains a major influence on musicians and composers. His honors include his 1995 induction into the Rock and Roll Hall of Fame and the 1997 Grammy Lifetime Achievement Award. In 2000, he was ranked number 36 on VH1‘s 100 Greatest Artists of Hard Rock. In 2004, Rolling Stone magazine ranked him at number 71 on its list of the “100 Greatest Artists of All Time”, and in 2011 at number 22 on its list of the “100 Greatest Guitarists of All Time”. Zappa was born on December 21, 1940, in Baltimore, Maryland. His mother, Rosemarie (née Collimore), was of Italian (Neapolitan and Sicilian) and French ancestry; his father, whose name was anglicized to Francis Vincent Zappa, was an immigrant from Partinico, Sicily, with Greek and Arab descent.

Bennie Ross “Hank” Crawford, Jr. (December 21, 1934 – January 29, 2009) was an American R&B, hard bop, jazz-funk, soul jazz alto saxophonist, arranger and songwriter. Crawford was musical director for Ray Charles before embarking on a solo career releasing many well-regarded albums on Atlantic, CTI and Milestone.

Crawford was born in Memphis, Tennessee. He began formal piano studies at the age of nine and was soon playing for his church choir. His father had brought an alto saxophone home from the service and when Hank entered Manassas High School, he took it up in order to join the band. He credits Charlie Parker, Louis Jordan, Earl Bostic and Johnny Hodges as early influences.

Crawford appears on an early 1952 Memphis recording for B.B. King with a band including Ben Branch and Ike Turner.

In 1958, Crawford went to college at Tennessee State University in Nashville, Tennessee. While at TSU, he majored in music studying theory and composition, as well as playing alto and baritone saxophone in the Tennessee State Jazz Collegians. He also led his own rock ‘n’ roll quartet, “Little Hank and the Rhythm Kings”. His bandmates all thought he looked and sounded just like Hank O’Day, a legendary local saxophonist, which earned him the nickname “Hank”. This is when Crawford met Ray Charles, who hired Crawford originally as a baritone saxophonist. Crawford switched to alto in 1959 and remained with Charles’ band—becoming its musical director until 1963.

When Crawford left Ray Charles in 1963 to form his own septet, he had already established himself with several albums for Atlantic Records. From 1960 until 1970, he recorded twelve LPs for the label, many while balancing his earlier duties as Ray’s director. He released such pre-crossover hits as “Misty“, “The Peeper”, “Whispering Grass“, and “Shake-A-Plenty”.

Travis Leonard Blaylock (December 21, 1934 – June 16, 1984), better known as Harmonica Slim, was an American blues harmonicist, singer and songwriter. He had some commercial success in the 1950s; recordings of two songs he wrote, “Mary Helen” and “You Better Believe It” (both 1956), were modest hits. He released a total of six singles and toured alongside Percy Mayfield, Harmonica Fats, B.B. King, T-Bone Walker, Pee Wee Crayton and Ray Charles. His debut album was released in 1969. By the late 1970s, he had stopped playing the blues.

He is not to be confused with (as he has been in some sources) two other similarly named artists, James Isaac Moore (better known as Slim Harpo)and Richard Riley Riggins (1921–2003).

Blaylock was born in Texarkana, Texas. With encouragement from his neighbors, and by listening to records by Sonny Boy Williamson I, he became competent playing the harmonica by the age of twelve. He joined a gospel group, the Sunny South Gospel Singers, in the mid-1940s, and they performed on a local radio station, KCMC. In 1949, Harmonica Slim moved to Los Angeles, California, where he started to perform with several local blues groups. Through this work, gaining experience and local connections, he began playing in package shows including working part-time with the pianist Lloyd Glenn in Lowell Fulson‘s band.

Harmonica Slim also worked as a session musician in the early to mid-1950s, playing in recording sessions for various record labels, including Aladdin, Spry, and Vita. Eventually he formed his own band, which reunited him with Lloyd Glenn, and between 1954 and 1960 Harmonica Slim recorded six singles. His style combined Texas blues, country blues and R&B. “Mary Helen” and “You Better Believe It” (both 1956) became modest local hits. The success of these records had two effects. First, Harmonica Slim was given the opportunity to join R&B tour packages that travelled across the United States in the 1950s, in which he performed in the company of Percy Mayfield, Harmonica Fats, B.B. King, T-Bone Walker, Pee Wee Crayton and Ray Charles.Second, another “Harmonica Slim” on the blues circuit changed his working name to Slim Harpo. Around this time, through Slim’s working association with the more rotund Harvey Blackston, the latter changed his stage name to Harmonica Fats.

https://www.youtube.com/watch?v=2xOwCglcVbY