mick laBriola

George Frideric (or Frederick) Handel (/ˈhændəl/; born Georg Friederich Händel^[b] [ˈɡeːɔʁk ˈfʁiːdʁɪç ˈhɛndl̩] ; 23 February 1685 (O.S.)[(N.S.) 5 March] – 14 April 1759) was a German, later British, Baroque composer who spent the bulk of his career in London, becoming well known for his operas, oratorios, anthems, concerti grossi and organ concertos. Handel received important training in Halle and worked as a composer in Hamburg and Italy before settling in London in 1712; he became a naturalised British subject in 1727. He was strongly influenced both by the great composers of the Italian Baroque and by the middle-German polyphonic choral tradition.

Within fifteen years, Handel had started three commercial opera companies to supply the English nobility with Italian opera. Musicologist Winton Deanwrites that his operas show that “Handel was not only a great composer; he was a dramatic genius of the first order.” As Alexander’s Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never composed an Italian opera again. Almost blind, and having lived in England for nearly fifty years, he died in 1759, a respected and rich man. His funeral was given full state honours, and he was buried in Westminster Abbey in London.

Born the same year as Johann Sebastian Bach and Domenico Scarlatti, Handel is regarded as one of the greatest composers of the Baroque era, with works such as Messiah, Water Music, and Music for the Royal Fireworks remaining steadfastly popular. One of his four coronation anthems, Zadok the Priest (1727), composed for the coronation of George II, has been performed at every subsequent British coronation, traditionally during the sovereign’s anointing. Another of his English oratorios, Solomon (1748), has also remained popular, with the Sinfonia that opens act 3 (known more commonly as “The Arrival of the Queen of Sheba”) featuring at the 2012 London Olympics opening ceremony. Handel composed more than forty opera serias in over thirty years, and since the late 1960s, with the revival of baroque music and historically informed musical performance, interest in Handel’s operas has grown.

A mere 11 million light-years away, Centaurus A is the closest active galaxy to planet Earth. Also known as NGC 5128, the peculiar elliptical galaxy is over 60,000 light-years across. A region spanning about 8,500 light-years, including the galaxy’s center (upper left), is framed in this sharp Hubble Space telescope close-up. Centaurus A is apparently the result of a collision of two otherwise normal galaxies resulting in a violent jumble of star forming regions, massive star clusters, and imposing dark dust lanes. Near the galaxy’s center, left over cosmic debris is steadily being consumed by a central black hole with a billion times the mass of the Sun. As in other active galaxies, that process likely generates the radio, X-ray, and gamma-ray energy radiated by Centaurus A.

Joseph James LaBarbera (born February 22, 1948) is an American jazz drummer and composer. He is best known for his recordings and live performances with the trio of pianist Bill Evans in the final years of Evans’s career. His older brothers are saxophonist Pat LaBarbera and trumpeter John LaBarbera.

He grew up in Mount Morris, New York. His first drum teacher was his father. For two years in the late 1960s he attended Berklee College of Music, then went on tour with singer Frankie Randall. After Berklee he spent two years with the US Army band at Fort Dix, New Jersey. He began his professional career playing with Woody Herman and the Thundering Herd.

His reputation grew in the 1970s when he spent four years recording and touring with Chuck Mangione. He also worked as a sideman for Bob Brookmeyer, Jim Hall, Art Farmer, Art Pepper, John Scofield, Toots Thielemans, and Phil Woods. In 1979 he was a member of the Bill Evans trio, then spent much of the 1980s and early 1990s with Tony Bennett. He was in a quartet with his brother Pat and in a trio with Hein van de Geyn and John Abercrombie. He has taught at the California Institute of the Arts and the Bud Shank Jazz Workshop.

https://www.youtube.com/watch?v=G-DC_-6QuFc

Ernest Kador Jr. (February 22, 1933 – July 5, 2001), known by the stage name Ernie K-Doe, was an African-American rhythm-and-blues singer best known for his 1961 hit single “Mother-in-Law“, which went to number 1 on the Billboard pop chart in the U.S.

Born in New Orleans, K-Doe recorded as a member of the group the Blue Diamonds in 1954 before making his first solo recordings the following year. “Mother-in-Law“, written by Allen Toussaint, was his first hit, reaching number 1 on both the Billboard pop chart and the Billboard R&B chart. K-Doe never had another top-40 pop hit, but “Te-Ta-Te-Ta-Ta” (number 21, 1961) and “Later for Tomorrow” (number 37, 1967) reached the R&B top 40.

In the 1980s K-Doe did radio shows on the New Orleans community stations WWOZ and WTUL. The shows were known for his explosively energetic announcements and frequent self-promotion (occasionally causing problems for the noncommercial station). K-Doe’s catch phrases included “Burn, K-Doe, Burn!”, “I’m a Charity Hospital Baby!” and (addressed to himself) “You just good, that’s all!” For a time he billed himself as “Mister Naugahyde”, until he was ordered to desist by the owners of the Naugahyde trademark. K-Doe then explained that it was a misunderstanding; he was actually referring to himself as “Mister M-Nauga-Ma-Hyde”, a word he invented himself.

Joseph Benjamin Wilder (February 22, 1922 – May 9, 2014) was an American jazz trumpeter, bandleader, and composer. His Grandchildren are Bleu Roberson, Lilly Townsend and Grey’cia Roberson(Last named after his middle name)

Wilder was awarded the Temple University Jazz Master’s Hall of Fame Award in 2006. The National Endowment for the Arts honored him with its highest honor in jazz, the NEA Jazz Masters Award for 2008.

Wilder was born into a musical family led by his father Curtis, a bassist and bandleader in Philadelphia. Wilder’s first performances took place on the radio program “Parisian Tailor’s Colored Kiddies of the Air”. He and the other young musicians were backed up by such illustrious bands as Duke Ellington‘s and Louis Armstrong‘s that were also then playing at the Lincoln Theater. Wilder studied at the Mastbaum School of Music in Philadelphia, but turned to jazz when he felt that there was little future for an African-American classical musician. At the age of 19, Wilder joined his first touring big band, Les Hite’s band.

Wilder was one of the first thousand African Americans to serve in the Marines during World War II. He worked first in Special Weapons and eventually became Assistant Bandmaster at the headquarters’ band. Following the war during the 1940s and early 1950s, he played in the orchestras of Jimmie Lunceford, Herbie Fields, Sam Donahue, Lucky Millinder, Noble Sissle, Dizzy Gillespie, and finally with the Count BasieOrchestra. From 1957 to 1974, Wilder did studio work for ABC-TV, New York City, and in the pit orchestras for Broadway musicals, while building his reputation as a soloist with his albums for Savoy (1956) and Columbia (1959). His Jazz from Peter Gunn (1959), features ten songs from Henry Mancini (“Peter Gunn“) television score in melodic and swinging fashion with a quartet. He was also a regular sideman with such musicians as NEA Jazz Masters Hank Jones, Gil Evans, and Benny Goodman. He became a favorite with vocalists and played for Billie Holiday, Lena Horne, Johnny Mathis, Harry Belafonte, Eileen Farrell, Tony Bennett, and many others.

George Holmes “Buddy” Tate (February 22, 1913 – February 10, 2001) was a jazz saxophonist and clarinetist. Tate was born in Sherman, Texas, and began performing on alto saxophone. According to the website All About Jazz, Tate was playing in public as early as 1925 in a band called McCloud’s Night Owls.” Tate’s 2001 New York Times obituary stated that “he began his career in the late 1920s, playing around the Southwest with bands led by Terrence Holder, Andy Kirk and Nat Towles.”

Tate quickly switched to tenor saxophone making a name for himself in bands such as the one led by Andy Kirk. He joined Count Basie in 1939 and stayed with him until 1948. He had been selected by Basie after the sudden death of Herschel Evans, which Tate stated he had predicted in a dream.

After his period with Basie ended, he worked with several other bands before he found success on his own, starting in 1953 in Harlem. His group worked at the “Celebrity Club” from 1953 to 1974. In the late 1970s, he co-led a band with Paul Quinichette and worked with Benny Goodman.

In 1980, he was seriously injured by scalding water in a hotel shower, which kept him inactive for four months.^[4] He later suffered from a serious illness. The 1990s saw him slow down, but he remained active playing with Lionel Hampton among others.

In 1992, Tate took part in the documentary, Texas Tenor: The Illinois Jacquet Story. In 1996, he recorded with woodwind artist James Carter on the younger man’s second release for Atlantic Records, Conversin’ with the Elders, along with trumpeters Harry “Sweets” Edison and Lester Bowie, and saxophonists Hamiet Bluiett and Larry Smith.

Tate lived in New York until 2001 when he moved to Arizona to be cared for by his daughter. He died in Chandler, Arizona, at the age of 87.

https://www.youtube.com/watch?v=LTZCNVb45S0

Shabbat for the Soul tonight Shabbat service at Mt Zion Temple 2-21-20 730pm

Lynds’ Dark Nebula (LDN) 1622 appears against a faint background of glowing hydrogen gas only visible in long telescopic exposures of the region. In contrast, the brighter reflection nebula vdB 62 is more easily seen, just above and right of center. LDN 1622 lies near the plane of our Milky Way Galaxy, close on the sky to Barnard’s Loop, a large cloud surrounding the rich complex of emission nebulae found in the Belt and Sword of Orion. With swept-back outlines, the obscuring dust of LDN 1622 is thought to lie at a similar distance, perhaps 1,500 light-years away. At that distance, this 1 degree wide field of view would span about 30 light-years. Young stars do lie hidden within the dark expanse and have been revealed in Spitzer Space telescope infrared images. Still, the foreboding visual appearance of LDN 1622 inspires its popular name, the Boogeyman Nebula.

Corey Harris (born February 21, 1969 in Denver, Colorado, United States) is an American blues and reggae musician, currently residing in Charlottesville, Virginia. Along with Keb’ Mo’ and Alvin Youngblood Hart, he raised the flag of acoustic guitar blues in the mid-1990s. He was featured on the 2003 PBS television mini-series, The Blues, in an episode directed by Martin Scorsese. Harris was born and raised near Denver, Colorado. He graduated from Bates College in Lewiston, Maine with a bachelor’s degree in 1991, and was awarded an honorary doctorate in 2007. Harris received a Thomas J. Watson Fellowship for language studies in Cameroon in his early twenties, before taking a teaching post in Napoleonville, Louisiana under the Teach For America program. His debut solo album Between Midnight and Day(1995) was produced by composer/producer Larry Hoffman, who discovered him in 1994 in Helena, Arkansas. The record included covers of Sleepy John Estes, Fred McDowell, Charlie Patton, Muddy Waters, and Booker White.

Eunice Kathleen Waymon (February 21, 1933 – April 21, 2003), known professionally as Nina Simone, was an American singer, songwriter, musician, arranger, and civil rights activist. Her music spanned a broad range of musical styles including classical, jazz, blues, folk, R&B, gospel, and pop.

The sixth of eight children born to a poor family in Tryon, North Carolina, Simone initially aspired to be a concert pianist. With the help of a few supporters in her hometown, she enrolled in the Juilliard School of Music in New York City. She then applied for a scholarship to study at the prestigious Curtis Institute of Music in Philadelphia, where she was denied admission despite a well-received audition, which she attributed to racial discrimination. In 2003, just days before her death, the Institute awarded her an honorary degree.

To make a living, Simone started playing piano at a nightclub in Atlantic City. She changed her name to “Nina Simone” to disguise herself from family members, having chosen to play “the devil’s music” or so-called “cocktail piano”. She was told in the nightclub that she would have to sing to her own accompaniment, which effectively launched her career as a jazz vocalist. She went on to record more than 40 albums between 1958 and 1974, making her debut with Little Girl Blue. She had a hit single in the United States in 1958 with “I Loves You, Porgy“. Her musical style fused gospel and pop with classical music, in particular Johann Sebastian Bach, and accompanied expressive, jazz-like singing in her contralto voice.

Simone was born Eunice Kathleen Waymon on February 21, 1933, in Tryon, North Carolina. The sixth of eight children in a poor family, she began playing piano at the age of three or four; the first song she learned was “God Be With You, Till We Meet Again”. Demonstrating a talent with the instrument, she performed at her local church. Her concert debut, a classical recital, was given when she was 12. Simone later said that during this performance, her parents, who had taken seats in the front row, were forced to move to the back of the hall to make way for white people.

Edward Haydn Higgins (February 21, 1932 – August 31, 2009) was an American jazz pianist, composer, and orchestrator.

Born and raised in Cambridge, Massachusetts, United States, Higgins initially studied privately with his mother. He started his professional career in Chicago, Illinois, while studying at the Northwestern University School of Music. An elegant and sophisticated pianist, his encyclopedic harmonicapproach and wide range of his repertory made him one of the most distinctive jazz pianists to come out of Chicago, gaining the respect of local and visiting musicians for his notable mastery of the instrument. Higgins also had the unusual ability to sound equally persuasive in a broad span of music, whether he was playing traditional swing, exciting bebop or reflexive ballads, providing the tone and stylistic flavor of each style, both as soloist and accompanist.

For more than two decades Higgins worked at some of Chicago’s most prestigious jazz clubs, including the Brass Rail, Preview Lounge, Blue Note, Cloister Inn and Jazz, Ltd. His longest and most memorable tenure was at the long-gone London House, where he led his jazz trio from the late 1950s to the late 1960s, playing opposite jazz stars of this period, including Cannonball Adderley, Bill Evans, Erroll Garner, Stan Getz, Dizzy Gillespie, Wes Montgomery, Oscar Peterson and George Shearing, among others. Later, Higgins said the opportunities to play jazz music with Coleman Hawkins and Oscar Peterson were unforgettable moments. Higgins spent his time at the London House Restaurant with bassist Richard Evans and drummer Marshall Thompson. Higgins also worked for Chess Records as a producer.

Tadley Ewing Peake Dameron (February 21, 1917 – March 8, 1965) was an American jazz composer, arranger, and pianist. Saxophonist Dexter Gordon called him the “romanticist” of the bop movement, while reviewer Scott Yanow wrote that Dameron was the “definitive arranger/composer of the bop era“.

Born in Cleveland, Ohio, Dameron was the most influential arranger of the bebop era, but also wrote charts for swing and hard bop players. The bands he arranged for included those of Count Basie, Artie Shaw, Jimmie Lunceford, Dizzy Gillespie, Billy Eckstine, and Sarah Vaughan. In 1940-41 he was the piano player and arranger for the Kansas City band Harlan Leonard and his Rockets. He and lyricist Carl Sigman wrote “If You Could See Me Now” for Sarah Vaughan and it became one of her first signature songs. According to the composer, his greatest influences were George Gershwin and Duke Ellington.

In the late 1940s, Dameron wrote arrangements for Gillespie’s big band, who gave the première of his large-scale orchestral piece Soulphony in Three Hearts at Carnegie Hall in 1948. Also in 1948, Dameron led his own group in New York, which included Fats Navarro; the following year Dameron was at the Paris Jazz Festival with Miles Davis. From 1961 he scored for recordings by Milt Jackson, Sonny Stitt, and Blue Mitchell.

Soleá is one of the most basic forms or palos of Flamenco music, probably originated around Cádiz or Seville in Andalusia, the most southern region of Spain. It is usually accompanied by one guitar only, in phrygian mode “por arriba” (fundamental on the 6th string); “Bulerías por soleá” is usually played “por medio” (fundamental on the 5th string). Soleares is sometimes called “mother of palos” although it is not the oldest one (e.g. siguiriyas is older than soleares) and not even related to every other palo (e.g. fandangos family is from a different origin).

The Canadian CHIME radio telescope deserves a prize as the best astronomical Easter egg collector of the past several years.

Recently, this unusual-looking instrument, located in the forested hills of southern British Columbia and known as the Canadian Hydrogen Intensity Mapping Experiment, added to its list of accomplishments by finding yet another Fast Radio Burst (FRB) source.  Many dozen FRBs have been uncovered since the first was found in 2007.  But despite this imposing collection, we still don’t know what these strange objects are.

Clearly, something taking place in the far depths of the cosmos is burping radio waves into space.  The fact that FRBs for which we know the distance are far away – millions or billions of light-years – indicates that whatever they are, they’re pretty rare.

Could they be the result of colliding black holes, or neutron star smashups?  These were attractive ideas when FRBs were first found because of the large amounts of energy such cosmic head-ons would release.  Sadly, they became less appealing once astronomers found FRB’s that burp more than once.  Black holes and neutron stars are reluctant to back up and slam into one another again.

So what are FRBs?  All sorts of explanations are floating through the academic atmosphere, including the suggestion that they could be signals from intelligent beings in a galaxy far, far away.  It’s been a persistent puzzle for a dozen years, but the latest CHIME FRB might put us on the path to finding a solution.

In particular, this discovery, genially named FRB 180916J0158+65 (its date of first observation and position on the sky), has several beguiling properties: (1) It repeats – only one of three FRBs with this helpful attribute.  Because it is seen again and again, astronomers can dedicate telescope time on large instruments to zero in on its precise location.  The repetion of FRB 180916 etc. is very regular, approximately 16.35 days – and after each of these bursts, it also shoots short radio emissions into space about once an hour for four days.  (2) The source of the FRB is about 500 million light-years’ distant.  That’s a fair piece.  Looking in this direction, we can see a face-on spiral galaxy, but precisely where in that galaxy the FRB is located is hard to determine.

Could it be that such radio bursts are caused by aliens trying to either get in touch or simply make their presence known?  Don’t bet on it.  The FRBs for which we know a distance are all over the sky – and are separated by billions of light-years.  That means that any alien memo instructing others to all make the same type of short transmissions to the cosmos would arrive  billions of years apart. A coordinated response seems … unlikely! And this is even aside from the fact that it’s impossible to put very much information in a short radio burst – Even less than you could stuff into a bottle thrown into the ocean.

But here’s the thing.  This FRB repeats every 16 days, and that suggests that something in orbit is causing its outbursts.  Maybe some exotic star encircling a black hole, or the reverse.  It could be that, much as the Rosetta Stone provided key information for decoding the hieroglyphics, this newest member of the cosmic bestiary may unlock an understanding of what FRBs actually are.