mick laBriola

Peter Brian Gabriel (born 13 February 1950) is an English singer, songwriter, record producer and activist who rose to fame as the original lead singer and frontman of the progressive rock band Genesis. After leaving Genesis in 1975, Gabriel launched a successful solo career with “Solsbury Hill” as his first single. His 1986 album, So, is his best-selling release and is certified triple platinum in the UK and five times platinum in the US. The album’s most successful single, “Sledgehammer“, won a record nine MTV Awards at the 1987 MTV Video Music Awards and, according to a report in 2011, it was MTV‘s most played music video of all time.

Gabriel has been a champion of world music for much of his career. He co-founded the WOMAD festival in 1982. He has continued to focus on producing and promoting world music through his Real World Records label. He has also pioneered digital distribution methods for music, co-founding OD2, one of the first online music download services. Gabriel has also been involved in numerous humanitarian efforts. In 1980, he released the anti-apartheid single “Biko“. He has participated in several human rights benefit concerts, including Amnesty International‘s Human Rights Now! tour in 1988, and co-founded the Witness human rights organisation in 1992. Gabriel developed The Elders with Richard Branson, which was launched by Nelson Mandela in 2007.

Gabriel has won three Brit Awards—winning Best British Male in 1987, six Grammy Awards, thirteen MTV Video Music Awards, the first Pioneer Award at the BT Digital Music Awards, the Q magazine Lifetime Achievement, the Ivor Novello Award for Lifetime Achievement, and the Polar Music Prize. He was made a BMI Icon at the 57th annual BMI London Awards for his “influence on generations of music makers”. In recognition of his many years of human rights activism, he received the Man of Peace award from the Nobel Peace Prize laureates in 2006, and Timemagazine named him one of the 100 most influential people in the world in 2008. AllMusic has described Gabriel as “one of rock’s most ambitious, innovative musicians, as well as one of its most political”. He was inducted into the Rock and Roll Hall of Fame as a member of Genesis in 2010, followed by his induction as a solo artist in 2014. In March 2015, he was awarded an honorary doctorate from the University of South Australia in recognition of his achievements in music.

Wardell Gray (February 13, 1921 – May 25, 1955) was an American jazz tenor saxophonist who straddled the swing and bebop periods.

Wardell Gray was born in Oklahoma City, the youngest of four children. His early childhood years were spent in Oklahoma, before moving with his family to Detroit  in 1929.

In early 1935, Gray began attending Northeastern High School, and then transferred to Cass Technical High School, which is noted for having Donald Byrd, Lucky Thompson and Al McKibbon as alumni. He left in 1936, before graduating. Advised by his brother-in-law Junior Warren, as a teenager he started on the clarinet, but after hearing Lester Young on record with Count Basie, he was inspired to switch to the tenor saxophone.

Gray’s first musical job was in Isaac Goodwin‘s small band, a part-time outfit that played local dances. When auditioning for another job, he was heard by Dorothy Patton, a young pianist who was forming a band in the Fraternal Club in Flint, Michigan, and she hired him. After a very happy year there, he moved to Jimmy Raschel‘s band (Raschel had recorded a few sides earlier in the 1930s but did not do so again) and then on to the Benny Carew band in Grand Rapids, Michigan. It was at around this time that he met Jeanne Goings; together they had a daughter, Anita, who was born in January 1941.

King Floyd (February 13, 1945 – March 6, 2006) was a New Orleans soul singer and songwriter, best known for his Top 10 hit from 1970, “Groove Me“.

King Floyd III was born in New Orleans in 1945. His musical career started as a singer at the Sho-Bar on Bourbon Street. Following a stint in the army, Floyd went to California, where he joined up with record producer Harold Battiste. His debut album, A Man In Love, featuring songs co-written with Dr. John, failed to make an impact on the charts. Floyd returned to New Orleans in 1969 and worked for the Post Office.

In 1970, Wardell Quezergue, an arranger of R&B scores, persuaded Floyd to record “Groove Me” with Malaco Records in Jackson, Mississippi. Jean Knight recorded her hit, “Mr. Big Stuff,” in the same sessions.

At first, “Groove Me” was a B-side to another Floyd song, “What Our Love Needs.” New Orleans radio DJs started playing “Groove Me” and the song became a local hit. Atlantic Records picked up national distribution of “Groove Me,” which topped the United States R&B chart and reached #6 on the Billboard Hot 100 and went to #41 in Britain. This disc sold over one million copies, and received a gold disc awarded by the R.I.A.A. in December 1970. Floyd quit his job at the post office to perform a U.S. tour. His follow-up single, “Baby Let Me Kiss You” climbed up to number 29 on the Billboard Top 40 charts in 1971.

However, differences with Quezergue soon emerged and his 1973 follow-up album, Think About It, failed to make a commercial impact. However, Atlantic released a song from the album, “Woman Don’t Go Astray,” as a single. His 1975 album, Well Done, was released through TK Records with Atlantic distributing. “I Feel Like Dynamite” from the album, written by Larry Hamilton, was released as its single. Reviewing the album in Christgau’s Record Guide: Rock Albums of the Seventies(1981), Robert Christgau said, “Floyd’s quiet, chocolatey voice—cf. Lee Dorsey, Aaron Neville—is prized by seekers after the New Orleans dispensation, but he’s never grooved me without skipping like a cheap bootleg. So I’m pleased to report that side one of his fourth LP, climaxing with the neglected regional hit ‘I Feel Like Dynamite,’ provides songs as winsome as the straight-ahead Caribbeanisms (even some reggae) of the New Orleans r&b behind. Location of studio: Jackson, Mississippi.

A dying star is throwing a cosmic tantrum in this combined image from NASA’s Spitzer Space Telescope and the Galaxy Evolution Explorer (GALEX), which NASA has lent to the California Institute of Technology in Pasadena. In death, the star’s dusty outer layers are unraveling into space, glowing from the intense ultraviolet radiation being pumped out by the hot stellar core.

This object, called the Helix nebula, lies 650 light-years away, in the constellation of Aquarius. Also known by the catalog number NGC 7293, it is a typical example of a class of objects called planetary nebulae. Discovered in the 18th century, these cosmic works of art were erroneously named for their resemblance to gas-giant planets.

Planetary nebulae are actually the remains of stars that once looked a lot like our sun. These stars spend most of their lives turning hydrogen into helium in massive runaway nuclear fusion reactions in their cores. In fact, this process of fusion provides all the light and heat that we get from our sun. Our sun will blossom into a planetary nebula when it dies in about five billion years.

When the hydrogen fuel for the fusion reaction runs out, the star turns to helium for a fuel source, burning it into an even heavier mix of carbon, nitrogen and oxygen. Eventually, the helium will also be exhausted, and the star dies, puffing off its outer gaseous layers and leaving behind the tiny, hot, dense core, called a white dwarf. The white dwarf is about the size of Earth, but has a mass very close to that of the original star; in fact, a teaspoon of a white dwarf would weigh as much as a few elephants!

The glow from planetary nebulae is particularly intriguing as it appears surprisingly similar across a broad swath of the spectrum, from ultraviolet to infrared. The Helix remains recognizable at any of these wavelengths, but the combination shown here highlights some subtle differences.

The intense ultraviolet radiation from the white dwarf heats up the expelled layers of gas, which shine brightly in the infrared. GALEX has picked out the ultraviolet light pouring out of this system, shown throughout the nebula in blue, while Spitzer has snagged the detailed infrared signature of the dust and gas in yellow A portion of the extended field beyond the nebula, which was not observed by Spitzer, is from NASA’s all-sky Wide-field Infrared Survey Explorer (WISE). The white dwarf star itself is a tiny white pinprick right at the center of the nebula.

The brighter purple circle in the very center is the combined ultraviolet and infrared glow of a dusty disk circling the white dwarf (the disk itself is too small to be resolved). This dust was most likely kicked up by comets that survived the death of their star.

William Otis Laswell (born February 12, 1955) is an American bass guitarist, record producer, and record label owner. He has been involved in thousands of recordings with many collaborators from all over the world. His music draws from funk, world music, jazz, dub and ambient styles.

According to music critic Chris Brazier, “Laswell’s pet concept is ‘collision music’ which involves bringing together musicians from wildly divergent but complementary spheres and seeing what comes out.” The credo of one record label run by Laswell which typifies much of his work is “Nothing Is True, Everything Is Permitted”. Although his bands may be credited under the same name and often feature the same roster of musicians, the styles and themes explored on different albums can vary dramatically. Material began as a noisy dance music band, but later albums concentrated on hip hop, jazz, or spoken word readings by William S. Burroughs. Most versions of the band Praxis have included guitarist Buckethead, but they have explored different permutations on albums.

Laswell got his earliest professional experience as a bass guitarist in R&B and funk bands in Detroit and Ann Arbor, Michigan. He saw shows that combined genres, such as Iggy and the Stooges, MC5, and Funkadelic. He was also influenced by jazz musicians John Coltrane, Albert Ayler, and Miles Davis.

In the late 1970s Laswell moved to New York City, immersing himself in the thriving New York music scene. He moved into producer Giorgio Gomelsky‘s loft and became part of a group of musicians that would become the first version of Material. Material became the backing band for Daevid Allen^[1] and New York Gong. The band consisted of Laswell, keyboardist Michael Beinhorn, and drummer Fred Maher. They were usually supplemented by guitarists Cliff Cultreri or Robert Quine.

He worked with Brian Eno, Fred Frith, John Zorn, Daniel Ponce, Ginger Baker, Peter Brötzmann, Kip Hanrahan, Sonny Sharrock, and with musicians in no wave, a genre that combined avant-garde jazz, funk, and punk.

Ayşe Ajda Pekkan (Turkish pronunciation: [aʒˈda pekˈkan]; born 12 February 1946) is a Turkish singer. She is known by the titles “Superstar” and “Diva” in the Turkish media. Pekkan became a prominent figure of Turkish pop music with her songs, in which she tried to create a strong female figure. By keeping her works updated and getting influence from Western elements, she managed to become one of Turkey’s modern and enduring icons in different periods. Her musical style has kept her popular for more than 50 years and has inspired many of her successors. Pekkan is highly respected in the music industry and her vocal techniques together with many of her albums were praised by music critics.

Born in Beyoğlu, Istanbul, Pekkan’s musical career began in the early 1960s when she appeared in a nightclub as a member of the music group Los Çatikos. However, in 1963, when she won the Ses magazine’s cinema artist competition, she became known as an actress, and for a number of years she pursued an acting career. In the same year, she played the leading role in her first film Adanalı Tayfur and became one of the young faces of Turkish cinema at the time. Over the next six years, she starred in nearly 50 black and white films, including Şıpsevdi (1963), Hızır Dede (1964) and Şaka ile Karışık (1965). She eventually quit acting and focused entirely on her singing career.

Pekkan spent the first twenty years of her singing career with dozens of songs released as cover versions. These songs, which were generally written by Fikret Şeneş and included “Kimler Geldi Kimler Geçti”, “Palavra Palavra”, “Sana Neler Edeceğim”, “Hoş Gör Sen”, “Sana Ne Kime Ne”, “Bambaşka Biri“, “Uykusuz Her Gece” and “O Benim Dünyam”, later took their place among the best known songs of both Pekkan’s career and the Turkish pop music genre. From the 1990s onwards, she worked with various songwriters and arrangers, including Şehrazat and Sezen Aksu. During this period, many of her songs such as “Yaz Yaz Yaz”, “Sarıl Bana”, “Eğlen Güzelim”, “Vitrin”, “Aynen Öyle” and “Yakar Geçerim” ranked among the best songs on Turkey’s music charts.

Her fame grew steadily throughout the 1970s outside her home country, and particularly in Europe, and it was reinforced by concerts in different countries. She also recorded a French album in 1978. Due to her increasing popularity, Pekkan was viewed as a potential candidate to represent Turkey in the Eurovision Song Contest 1980 and she reluctantly accepted to participate in the contest. Disappointed that her song “Pet’r Oil” ranked fifteenth in the contest, she decided to take a break from her career for a few years.

Selling over 15 million records, Ajda Pekkan is one of the best-selling artists of all time in Turkey. She is one of the leading figures of Westernization in her country with both her art and her public image. She also holds the title of “State Artist” in Turkey and has been awarded the honorary distinction of Officier of the Ordre des Arts et des Lettres by the French government. Three of her albums were included in the list of the Best 100 Albums of Turkey by Hürriyet newspaper. In 2016, Pekkan’s name appeared in The Hollywood Reporter‘s Power 100, a list of the 100 most powerful women in entertainment. Although she does not self-identify as a feminist, many of her songs which tell the stories of powerful women were used as feminist anthems.

Pinkney “Pink” Anderson (February 12, 1900 – October 12, 1974) was an American blues singer and guitarist.

Anderson was born in Laurens, South Carolina, and raised in nearby Greenville and Spartanburg. He joined Dr. William R. Kerr of the Indian Remedy Company in 1914 to entertain the crowds, while Kerr tried to sell a concoction purported to have medicinal qualities. He also toured with Leo “Chief Thundercloud” Kahdot and his medicine show, often with the harmonica player Arthur “Peg Leg Sam” Jackson, who was based in Jonesville, South Carolina.

Anderson was recorded by the folklorist Paul Clayton at the Virginia State Fair in May 1950. He recorded an album in the early 1960s and performed at some live venues. He appeared in the 1963 film The Bluesmen. He reduced his activities in the late 1960s after a stroke. Attempts by the folklorist Peter B. Lowry to record Anderson in 1970 were not successful, although apparently he could occasionally summon up some of his past abilities. A final tour took place in the early 1970s with the aid of Roy Book Binder, one of his “students”, taking him to Boston and New York City.

He died in October 1974 of a heart attack, at the age of 74. He is interred at Lincoln Memorial Gardens, in Spartanburg.Anderson’s son, known as Little Pink Anderson (born July 13, 1954), is a bluesman living in Vermillion, South Dakota.

Big John Wrencher (February 12, 1923 – July 15, 1977), also known as One Arm John, was an American blues harmonica player and singer, well known for playing at the Maxwell Street Market in Chicago in the 1960s. He toured Europe in the 1970s.

John Thomas Wrencher was born in Sunflower, Mississippi. He became interested in music as a child and taught himself to play the harmonica at an early age. Beginning in the early 1940s, he worked as an itinerant musician in Tennessee, Missouri, Indiana, and Illinois. By the mid-1940s he had arrived in Chicago and was playing on Maxwell Street and at house parties with Jimmy Rogers, Claude “Blue Smitty” Smith and John Henry Barbee. In the 1950s he moved to Detroit, where he worked with the singer and guitarist Baby Boy Warren and formed his own trio, which performed in the Detroit area and in Clarksdale, Mississippi.

Thin, red veins of energized gas mark the location of the supernova remnant HBH3 in this image from NASA’s Spitzer Space Telescope. The puffy, white feature in the image is a portion of the star forming regions W3, W4 and W5. Infrared wavelengths of 3.6 microns have been mapped to blue, and 4.5 microns to red. The white color of the star-forming region is a combination of both wavelengths, while the HBH3 filaments radiate only at the longer 4.5 micron wavelength.

NASA’s Jet Propulsion Laboratory, Pasadena, California, manages the Spitzer Space Telescope mission for NASA’s Science Mission Directorate, Washington. Science operations are conducted at the Spitzer Science Center at Caltech in Pasadena, California. Spacecraft operations are based at Lockheed Martin Space Systems Company, Littleton, Colorado. Data are archived at the Infrared Science Archive housed at the Infrared Processing and Analysis Center at Caltech. Caltech manages JPL for NASA.

Otis Lee Clay (February 11, 1942 – January 8, 2016) was an American R&B and soul singer, who started in gospel music. In 2013, Clay was inducted to the Blues Hall of Fame. Clay was born in Waxhaw, Mississippi to a musical family, who moved in 1953 to Muncie, Indiana. After singing with local gospel group, the Voices of Hope, he returned to Mississippi to sing with the Christian Travelers, before settling in Chicago in 1957. There, he joined a series of gospel vocal groups including the Golden Jubilaires, the Famous Blue Jay Singers, the Holy Wonders, and the Pilgrim Harmonizers, before making his first solo secular recordings in 1962. They were unissued, and Clay joined the Gospel Songbirds, who recorded in Nashville in 1964 and who also included Maurice Dollison who sang R&B under the name Cash McCall, and then the Sensational Nightingales.

In 1965 Clay signed with One-derful! Records in Chicago, to make secular recordings. After releasing a series of gospel-tinged soul records, his first hit came in 1967 with “That’s How It Is (When You’re In Love)”, which reached # 34 on the US Billboard R&B chart, followed by “A Lasting Love” (# 48 R&B). In 1968 the record company folded and his contract was bought by Atlantic Records, who launched their subsidiary Cotillion label with Clay’s version of the Sir Douglas Quintet hit, “She’s About A Mover”, produced at the FAME Studios in Muscle Shoals. The record became Clay’s biggest pop hit, reaching # 97 on the Billboard Hot 100 (# 47 R&B). However, follow-ups on Cotillion, including “Hard Working Woman” produced by Syl Johnson, and “Is It Over?” produced by Willie Mitchell in Memphis, were less successful.

Little Johnny Taylor (born Johnny Lamont Merrett; February 11, 1943 – May 17, 2002) was an American blues and soul singer, who made recordings throughout the 1960s and 1970s, and continued public performances through the 1980s and 1990s.

Born in Gregory, Arkansas, United States, he is frequently confused with his contemporary and near namesake Johnnie Taylor, especially since the latter made a cover version of the song that Little Johnny Taylor was most famous for, “Part Time Love” (1963), and the fact that both men began their careers as gospel singers.

Little Johnny Taylor moved to Los Angeles in 1950, and sang with the Mighty Clouds of Joy before moving into secular music. Influenced by Little Willie John, he first recorded as an R&B artist for the Swingin’ record label.

However, he did not achieve major success until signing for San Francisco-based Fantasy Records‘ subsidiary label, Galaxy. His first hit was the mid-tempo blues “You’ll Need Another Favor,” sung in the style of Bobby Bland, with arrangement by Ray Shanklin and produced by Cliff Goldsmith. The follow-up, “Part Time Love“, written by Clay Hammond and featuring Arthur Wright on guitar, became his biggest hit, reaching number 1 in the U.S. Billboard R&B chart, and number 19 on the pop chart, in October 1963. However, follow-ups on the Galaxy label were much less successful.

Sérgio Santos Mendes (Brazilian Portuguese: [ˈsɛʁʒju ˈsɐ̃tuz ˈmẽdʒis]; born February 11, 1941) is a Brazilian musician. He has over 55 releases, and plays bossa nova heavily crossed with jazz and funk. He was nominated for an Oscar for Best Original Song in 2012 as co-writer of the song “Real in Rio” from the animated film Rio.

Mendes is a unique example of a Brazilian musician primarily known in the United States, where his albums were recorded and where most of his touring took place.

Mendes is married to Gracinha Leporace, who has performed with him since the early 1970s. Mendes has also collaborated with many artists through the years, including The Black Eyed Peas, with whom he re-recorded in 2006 a version of his breakthrough hit “Mas Que Nada“.

https://www.youtube.com/watch?v=A0OM_Zmfl1o

Joshua Daniel White (February 11, 1914 – September 5, 1969) was an American singer, guitarist, songwriter, actor and civil rights activist. He also recorded under the names Pinewood Tom and Tippy Barton in the 1930s.

White grew up in the South during the 1920s and 1930s. He became a prominent race records artist, with a prolific output of recordings in genres including Piedmont blues, country blues, gospel music, and social protest songs. In 1931, White moved to New York, and within a decade his fame had spread widely. His repertoire expanded to include urban blues, jazz, traditional folk songs, and political protest songs, and he was in demand as an actor on radio, Broadway, and film.

However, White’s anti-segregationist and international human rights political stance presented in many of his recordings and in his speeches at rallies were subsequently used by McCarthyites as a pretext for labeling him a communist to slander and harass him. From 1947 through the mid-1960s, White was caught up in the anti-communist Red Scare, and as a consequence his career was damaged. However White’s musical style would go on to influence several generations of musical artists.

White was born on February 11, 1914, in the black section of Greenville, South Carolina, one of the four children of Reverend Dennis and Daisy Elizabeth White. His father told him that he was named after the Biblical character Joshua of the Old Testament. His mother introduced him to music when he was five years old, at which age he began singing in his church’s choir. White’s father threw a white bill collector out of his home in 1921, for which he was beaten so badly that he nearly died, and then was locked up in a mental institution, where he died nine years later

KARIBUNI East African Music Ensemble performing at Capitol Hill Magnet School 560 Concordia Ave, St Paul, MN 55103 1015 & 1130am sets with Joe Shalita, Bingo Sei Kpolar and Mick LaBriola. Monday February 10th 2020.