mick laBriola

ESO’s Very Large Telescope in Chile has captured the most detailed image ever taken of the Medusa Nebula (also known Abell 21 and Sharpless 2-274). As the star at the heart of this nebula made its final transition into retirement, it shed its outer layers into space, forming this colourful cloud. The image foreshadows the final fate of the Sun, which will eventually also become an object of this kind.

The Medusa Nebula is a large planetary nebula in the constellation of Gemini on the Canis Minor border. It is also known as Abell 21 and Sharpless2-274. It was originally discovered in 1955 by UCLA astronomer George O. Abell, who classified it as an old planetary nebula. The braided serpentine filaments of glowing gas suggests the serpent hair of Medusa found in ancient Greek mythology.

Until the early 1970s, the Medusa was thought to be a supernova remnant. With the computation of expansion velocities and the thermal character of the radio emission, Soviet astronomers in 1971 concluded that it was most likely a planetary nebula.

As the nebula is so big, its surface brightness is very low, with surface magnitudes of between +15.99 and +25 reported. Because of this most websites recommend at least an 8-inch (200 mm) telescope with an [O III] filter to find this object although probably possible to image with smaller apertures.

ESO’s Very Large Telescope in Chile has captured the most detailed image ever taken of the Medusa Nebula (also known Abell 21 and Sharpless 2-274). As the star at the heart of this nebula made its final transition into retirement, it shed its outer layers into space, forming this colourful cloud. The image foreshadows the final fate of the Sun, which will eventually also become an object of this kind.

Kermit Ruffins (born December 19, 1964) is an American jazz trumpeter, singer, and composer from New Orleans, Louisiana, United States. He has been influenced by Louis Armstrong and Louis Jordan and says that the highest note he can hit on trumpet is a high C. He often accompanies his songs with his own vocals. Most of his bands perform New Orleans jazz standards, though he also composes many of his own pieces. Jon Pareles of The New York Times wrote, “Mr. Ruffins is an unabashed entertainer who plays trumpet with a bright, silvery tone, sings with off-the-cuff charm and never gets too abstruse in his material.”

He started playing trumpet in 8th grade at Lawless Junior High School in the Ninth Ward of New Orleans. He attended Joseph S. Clark High School in the 6th Ward. In high school, he played a little bit of classical music at the behest of a strict band teacher. He developed an appreciation for cooking from his grandmother, observing her movements in the kitchen.

Leonard White III (born December 19, 1949) is a three-time Grammy Award-winning American jazz fusion drummer, born in New York City, best known for being the drummer of Chick Corea‘s Return to Forever. A resident of Teaneck, New Jersey, White has been described as “one of the founding fathers of jazz fusion”.

Born in Queens, New York City, White became interested in music at a young age. As a self taught drummer he started off his career playing with groups at the New York jazz scene. During the late 1960s he began performing with saxophonist Jackie Mclean. He went on to play on Miles Davis‘ landmark 1969 LP Bitches’ Brew and feature on Freddie Hubbard‘s 1970 LP Red Clay. Within 1972 White joined the famed jazz group Return to Forever.

Robert Henry Timmons (December 19, 1935 – March 1, 1974) was an American jazz pianist and composer. He was a sideman in Art Blakey‘s Jazz Messengers for two periods (July 1958 to September 1959; February 1960 to June 1961), between which he was part of Cannonball Adderley‘s band. Several of Timmons’ compositions written when part of these bands – including “Moanin’“, “Dat Dere“, and “This Here” – enjoyed commercial success and brought him more attention. In the early and mid-1960s he led a series of piano trios that toured and recorded extensively.

Timmons was strongly associated with the soul jazz style that he helped initiate. This link to apparently simple writing and playing, coupled with drug and alcohol addiction, led to a decline in his career. Timmons died, aged 38, from cirrhosis. Several critics have commented that his contribution to jazz remains undervalued.

Timmons was born in Philadelphia, Pennsylvania, the son of a minister. He had a sister, Eleanor. Both of his parents, and several aunts and uncles, played the piano. From an early age Timmons studied music with an uncle, Robert Habershaw, who also taught McCoy Tyner. Timmons first played at the church where his grandfather was minister; this influenced his later jazz playing. He grew up in the same area as other future musicians, including the Heath brothers, Jimmy, Percy, and Tootie. Timmons’ first professional performances were in his local area, often as a trio that included Tootie Heath on drums. After graduating from high school Timmons was awarded a scholarship to study at the Philadelphia Musical Academy.

Timmons moved to New York in 1954. He played with Kenny Dorham in 1956, making his recording debut with the trumpeter in a live set in May of that year. He went on to play and record with Chet Baker in 1956–57 (bassist Scott LaFaro was part of this band for a time), Sonny Stitt in 1957, and Maynard Ferguson in 1957–58. He also recorded as a sideman with hornmen Curtis Fuller, Hank Mobley, and Lee Morgan, all for Blue Note Records in 1957.

Henry Roeland “Roy” Byrd (December 19, 1918 – January 30, 1980), better known as Professor Longhair or “Fess” for short, was an American singer and pianist who performed New Orleans blues. He was active in two distinct periods, first in the heyday of early rhythm and blues and later in the resurgence of interest in traditional jazz after the founding of the New Orleans Jazz and Heritage Festival in 1970. His piano style has been described as “instantly recognizable, combining rumba, mambo, and calypso.”

Music journalist Tony Russell (in his book The Blues: From Robert Johnson to Robert Cray) wrote that “The vivacious rhumba-rhythmed piano blues and choked singing typical of Fess were too weird to sell millions of records; he had to be content with siring musical offspring who were simple enough to manage that, like Fats Domino or Huey “Piano” Smith. But he is also acknowledged as a father figure by subtler players like Allen Toussaintand Dr. John.”

Byrd was born on December 19, 1918, in Bogalusa, Louisiana. His distinctive style of piano playing was influenced by learning to play on an instrument that was missing some keys. He left the city as a baby with his parents, who were most likely fleeing the racial tension surrounding the Bogalusa Massacre.

He began his career in New Orleans in 1948. Mike Tessitore, owner of the Caldonia Club, gave Longhair his stage name. Longhair first recorded in a band called the Shuffling Hungarians in 1949, creating four songs (including the first version of his signature song, “Mardi Gras in New Orleans”) for the Star Talent record label. Union problems curtailed their release, but Longhair’s next effort for Mercury Records the same year was a winner. Throughout the 1950s, he recorded for Atlantic Records, Federal Records and local labels. Professor Longhair had only one national commercial hit, “Bald Head”, in 1950, under the name Roy Byrd and His Blues Jumpers. He also recorded his favorites, “Tipitina” and “Go to the Mardi Gras“. He lacked crossover appeal among white and wide audiences. Yet, he is regarded (and was acknowledged) as being a musician who was highly influential for other prominent musicians, such as Fats Domino, Allen Toussaint and Dr. John.

Édith Piaf (UK: /ˈpiːæf/, US: /piːˈɑːf/; French: [edit pjaf] (listen); born Édith Giovanna Gassion, French: [edit dʒɔvana ɡasjɔ̃]; 19 December 1915 – 10 October 1963) was a French singer-songwriter, cabaret performer and film actress noted as France’s national chanteuse and one of the country’s most widely known international stars.

Piaf’s music was often autobiographical and she specialized in chanson and torch ballads about love, loss and sorrow. Her most widely known songs include “La Vie en rose” (1946), “Non, je ne regrette rien” (1960), “Hymne à l’amour” (1949), “Milord” (1959), “La Foule” (1957), “L’Accordéoniste” (1940) and “Padam, padam…” (1951).

Since her death in 1963, several biographies and films have studied her life, including 2007’s Academy Award-winning La Vie en rose — Piaf has become one of the most celebrated performers of the 20th century.

Bode’s Galaxy (M81) and the Cigar Galaxy (M82) lie in the constellation Ursa Major the Great Bear. In addition to these standout objects, however, notice the vast amount of nebulosity in the region. That’s called the Integrated Flux Nebula.

Messier 81 (also known as NGC 3031 or Bode’s Galaxy) is a spiral galaxy about 12 million light-years away, with a diameter of 90,000 light years, about half the size of the Milky Way, in the constellation Ursa Major. Due to its proximity to Earth, large size, and active galactic nucleus (which harbors a 70 million M_☉ supermassive black hole), Messier 81 has been studied extensively by professional astronomers. The galaxy’s large size and relatively high brightness also makes it a popular target for amateur astronomers.

Keith Richards (born 18 December 1943) is an English musician, singer, and songwriter. He is best known as the co-founder, guitarist, secondary vocalist, and co-principal songwriter of the Rolling Stones. Rolling Stone magazine called Richards the creator of “rock’s greatest single body of riffs” on guitar and ranked him fourth on its list of 100 best guitarists in 2011. The magazine lists fourteen songs that Richards wrote with the Rolling Stones’ lead vocalist Mick Jagger on its “Rolling Stone’s 500 Greatest Songs of All Time” list.

Richards plays both lead and rhythm guitar parts, often in the same song, as the Stones are generally known for their guitar interplay of rhythm and lead (“weaving”) between Richards and the other guitarist in the band – Brian Jones (1962–1969), Mick Taylor (1969–1975), and Ronnie Wood (1975–present). In the recording studio, Richards sometimes plays all of the guitar parts, notably on the songs “Paint It Black“, “Ruby Tuesday“, “Sympathy for the Devil“, and “Gimme Shelter“. He is also a vocalist, singing backing vocals on many Rolling Stones songs as well as occasional lead vocals, such as on the Rolling Stones’ 1972 single “Happy“, as well as with his side project, the X-Pensive Winos.

Ishmael Wadada Leo Smith (born December 18, 1941) is an American trumpeter and composer, working primarily in the fields of avant-garde jazz and free improvisation. He was one of three finalists for the 2013 Pulitzer Prize for Music for Ten Freedom Summers, released on May 22, 2012.

Smith was born in Leland, Mississippi. He started out playing drums, mellophone, and French horn before he settled on the trumpet. He played in various R&B groups and by 1967 became a member of the AACM and co-founded the Creative Construction Company, a trio with Leroy Jenkins and Anthony Braxton. In 1971, Smith formed his own label, Kabell. He also formed another band, the New Dalta Ahkri, with members including Henry Threadgill, Anthony Davis and Oliver Lake.

In the 1970s, Smith studied ethnomusicology at Wesleyan University. He played again with Anthony Braxton, as well as recording with Derek Bailey‘s Company. In the mid-1980s, Smith became Rastafarian and began using the name Wadada. In 1993, he began teaching at Cal Arts, a position he held until 2014. In addition to trumpet and flugelhorn, Smith plays several world music instruments, including the koto, kalimba, and atenteben (Ghanaian bamboo flute). He has also taught courses in instrument making. His compositions often use a graphic notation system he calls “Ankhrasmation”, which he developed in 1970.

https://www.youtube.com/watch?v=e55q1Mhp-EI

Harold de Vance Land (December 18, 1928 – July 27, 2001) was an American hard bop and post-bop tenor saxophonist. Land developed his hard bop playing with the Max Roach/Clifford Brown band into a personal, modern style; often rivalling Clifford Brown’s instrumental ability with his own inventive and whimsical solos. His tone was strong and emotional, yet hinted at a certain introspective fragility.

Land was born in Houston and grew up in San Diego. He started playing at the age of 16. He made his first recording as the leader of the Harold Land All-Stars, for Savoy Records in 1949. In 1954 he joined the Clifford Brown/Max Roach Quintet, with whom he was at the forefront of the hard-bop/bebop movement. Because of family problems he moved to Los Angeles in 1955. There he played with Curtis Counce, led his own groups, and co-led groups with Bobby Hutcherson, Blue Mitchell, and Red Mitchell. From the 1970s onwards his style showed the influence of John Coltrane.

In the early 1980s through to the early 1990s he worked regularly with the Timeless All Stars, a group sponsored by the Timeless jazz record label. The group consisted of Land on tenor, Cedar Walton on piano, Buster Williams on bass, Billy Higgins on drums, Curtis Fuller on trombone and Bobby Hutcherson on vibes. Land also toured with his own band during this time, often including his son, Harold Land Jr., on piano and usually featuring Bobby Hutcherson and Billy Higgins as well. During these years he played regularly at Hop Singhs in Marina Del Rey in the L.A area and the Keystone Korner in San Francisco.

https://www.youtube.com/watch?v=hY-ftTTqkTE

Eddie “Cleanhead” Vinson (born Edward L. Vinson Jr., December 18, 1917 – July 2, 1988) was an American jump blues, jazz, bebop and R&B alto saxophonist and blues shouter. He was nicknamed Cleanhead after an incident in which his hair was accidentally destroyed by lye contained in a hair straightening product. Music critic Robert Christgau has called Vinson “one of the cleanest—and nastiest—blues voices you’ll ever hear.”

Vinson was born in Houston, Texas, United States. He was a member of the horn section in Milton Larkin‘s orchestra, which he joined in the late 1930s. At various times, he sat next to Arnett Cobb, Illinois Jacquet, and Tom Archia, while other members of the band included Cedric Haywood and Wild Bill Davis. After exiting Larkin’s employment in 1941, Vinson picked up a few vocal tricks while on tour with bluesman Big Bill Broonzy. He then moved to New York and joined the Cootie Williams Orchestra from 1942 to 1945, recording such tunes as “Cherry Red”. Vinson struck out on his own in 1945, forming his own large band, signing with Mercury Records, and enjoying a double-sided hit in 1947 with his R&B chart-topper “Old Maid Boogie”, and the song that would prove to be his signature number, “Kidney Stew Blues”.

Vinson’s jazz leanings were probably heightened during 1952-1953, when his band included a young John Coltrane. In the late 1960s, touring in a strict jazz capacity with Jay McShann, Vinson’s career took an upswing. In the early 1960s Vinson moved to Los Angeles and began working with the Johnny Otis Revue. A 1970 appearance at the Monterey Jazz Festival with Otis spurred a bit of a comeback for Vinson. Throughout the 1970s he worked high-profile blues and jazz sessions for Count Basie, Otis, Roomful of Blues, Arnett Cobb, and Buddy Tate. He also composed steadily, including “Tune Up” and “Four“, both of which have been incorrectly attributed to Miles Davis. The aforementioned single-sourced claim is contradicted by the many times Miles Davis has been credited as composer on numerous recordings.

Paul Vaughn Butterfield (December 17, 1942 – May 4, 1987) was an American blues harmonica player, singer and band leader. After early training as a classical flautist, he developed an interest in blues harmonica. He explored the blues scene in his native Chicago, where he met Muddy Watersand other blues greats, who provided encouragement and opportunities for him to join in jam sessions. He soon began performing with fellow blues enthusiasts Nick Gravenites and Elvin Bishop.

In 1963, he formed the Paul Butterfield Blues Band, which recorded several successful albums and was popular on the late-1960s concert and festival circuit, with performances at the Fillmore West, in San Francisco; the Fillmore East, in New York City; the Monterey Pop Festival; and Woodstock. The band was known for combining electric Chicago blues with a rock urgency and for their pioneering jazz fusion performances and recordings. After the breakup of the group in 1971, Butterfield continued to tour and record with the band Paul Butterfield’s Better Days, with his mentor Muddy Waters, and with members of the roots-rock group the Band. While still recording and performing, Butterfield died in 1987 at age 44 of an accidental drug overdose.

Music critics have acknowledged his development of an original approach that places him among the best-known blues harp players. In 2006, he was inducted into the Blues Hall of Fame. Butterfield and the early members of the Paul Butterfield Blues Band were inducted into the Rock and Roll Hall of Fame in 2015. Both panels noted his harmonica skills and his contributions to bringing blues music to a younger and broader audience. Butterfield was born in Chicago and raised in the city’s Hyde Park neighborhood. The son of a lawyer and a painter, he attended the University of Chicago Laboratory Schools, a private school associated with the University of Chicago. Exposed to music at an early age, he studied classical flute with Walfrid Kujala, of the Chicago Symphony Orchestra.  Butterfield was also athletic and was offered a track scholarship to Brown University.

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

James Carroll Booker III (December 17, 1939 – November 8, 1983) was a New Orleans rhythm and blues keyboardist born in New Orleans, Louisiana, United States. Booker’s unique style combined rhythm and blues with jazz standards. Musician Dr. John described Booker as “the best black, gay, one-eyed junkie piano genius New Orleans has ever produced.” Flamboyant in personality, he was known as “the Black Liberace”. Booker was the son and grandson of Baptist ministers, both of whom played the piano.^[3] He spent most of his childhood on the Mississippi Gulf Coast, where his father was a church pastor. Booker received a saxophone as a gift from his mother, but he was more interested in the keyboard. He played the organ in his father’s churches.

Booker made his recording debut in 1954 on the Imperial Records label, with “Doin’ the Hambone” and “Thinkin’ ‘Bout My Baby”, produced by Dave Bartholomew. This led to some session work with Fats Domino, Smiley Lewis, and Lloyd Price.^[5]

In 1958, Arthur Rubinstein performed a concert in New Orleans. Afterwards, eighteen-year-old Booker was introduced to the concert pianist and played several tunes for him. Rubinstein was astonished, saying “I could never play that … never at that tempo” (The Times-Picayune, 1958). During this period, Booker also became known for his flamboyant personality among his peers. After recording a few other singles, he enrolled as an undergraduate in Southern University‘s music department. In 1960, Booker’s “Gonzo”, for Peacock Records, reached number 43 on the United States (U.S.) record chart of Billboard magazine and number 3 on the R&B record chart. Following “Gonzo”, Booker released some moderately successful singles. In the 1960s, he started using illicit drugs, and in 1970 served a brief sentence in Angola Prison for drug possession. At the time, Professor Longhair and Ray Charles were among his important musical influences.

Sylvester Kyner Jr., known as Sonny Red (December 17, 1932 – March 20, 1981), was an American jazz alto saxophonist and composer associated with the hard bop idiom among other styles.

Sonny Red played with Art Blakey, Curtis Fuller, Paul Quinichette, Donald Byrd, Grant Green, Blue Mitchell, Wynton Kelly, Billy Higgins, and Cedar Walton.

In the late 1940s, when he was still in his teens, Sonny Red began to play professionally in Detroit with Barry Harris. He continued to play with Barry Harris until 1952. He went on to play with Art Blakey in 1954, and in 1957 recorded with Curtis Fuller on three albums.

Sonny Red first came on the greater jazz scene in the late 1950s with Art Pepper in the album Two Altos.

He made two albums as a leader in 1961; both were released by Jazzland Recordings, a subsidiary of Riverside Records. He continued to record in the 1960s, including four albums with Donald Byrd in 1967.

By the 1970s, however, Sonny Red was falling into obscurity. He died in March 1981, at the age of 48.

Arthur Lanon Neville (December 17, 1937 – July 22, 2019) was an American singer, songwriter and keyboardist from New Orleans. Neville was a staple of the New Orleans music scene for over five decades. He was the founder of the funk band The Meters whose musical style set the tone of New Orleans funk, a co-founder of the rock-soul-jazz band The Neville Brothers, and he later formed the spinoff group The Funky Meters. He performed on many recordings by notable artists from New Orleans and elsewhere, including Labelle (on “Lady Marmalade“), Paul McCartney, Lee Dorsey, Robert Palmer, Dr. John and Professor Longhair. He was the recipient of three Grammy awards.

Neville grew up in New Orleans. He was the son of Amelia (Landry) and Arthur Neville Sr. He started on piano and performed with his brothers at an early age. He was influenced by the R&B styles of James Booker, Bill Doggett, Booker T. Jones, Lloyd Glenn and Professor Longhair. In high school he joined and later led The Hawketts. In 1954 the band recorded “Mardi Gras Mambo” with Neville on vocals. The song gained popularity and became a New Orleans carnival anthem. The band toured with Larry Williams. Neville performed regularly in New Orleans, joined the U.S. Navyin 1958, and returned to music in 1962. He released several singles as a lead artist in 1950s and 1960s.

In early 1960s Neville formed the Neville Sounds. The band included Aaron Neville, Cyril Neville, George Porter, Leo Nocentelli, and Ziggy Modeliste. Shortly after, Aaron and Cyril left the group to form their own band. The remaining four members continued playing at the Nitecap and the Ivanhoe nightclubs. The band backed many notable artists such as Lee Dorsey, Betty Harris and The Pointer Sisters. The band had a strong sense of groove and unlike traditional groups each instrument was free to lead and go anywhere musically. Over time the band’s style came to represent New Orleans funk.