mick laBriola

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.

This image from the NASA/ESA Hubble Space Telescope shows IC 2051, a galaxy in the southern constellation of Mensa (The Table Mountain), lying about 85 million light-years away. It is a spiral galaxy, as evidenced by its characteristic whirling, pinwheeling arms, and it has a bar of stars slicing through its centre.

This galaxy was observed for a Hubble study on galactic bulges, the bright round central region of spiral galaxies. Spiral galaxies like IC 2051 are shaped a bit like flying saucers when seen from the side; they comprise a thin, flat disc, with a bulky bulge of stars in the centre that extends above and below the disc. These bulges are thought to play a key role in how galaxies evolve, and to influence the growth of the supermassive black holes lurking at the centres of most spirals. While more observations are needed in this area, studies suggest that some, or even most, galactic bulges may be complex composite structures rather than simple ones, with a mix of spherical, disc-like, or boxy components, potentially leading to a wide array of bulge morphologies in the Universe.

Robben Lee Ford (born December 16, 1951) is an American blues, jazz, and rock guitarist. He was a member of the L.A. Express and Yellowjackets, and has collaborated with Miles Davis, Joni Mitchell, George Harrison, Larry Carlton, Rick Springfield, and Kiss. He was named one of the “100 Greatest Guitarists of the 20th Century” by Musician magazine.

Robben Ford was born in Woodlake, California, United States, and raised in Ukiah, California. He began playing the saxophone at age 10 and the guitar at age 14. Robben and his brothers created the Charles Ford Blues Band in honor of and named after their father. At age 18, Ford’s band was hired to play with Charlie Musselwhite, and recorded two albums The Charles Ford Band and Discovering the Blues. He recorded two albums with Jimmy Witherspoon called Live and Spoonful. In the 1970s, Ford joined the jazz fusion band, L.A. Express, led by saxophonist Tom Scott. In 1974, the band supported George Harrison on his American tour and played on the Joni Mitchell albums The Hissing of Summer Lawns and Miles of Aisles.

John Laird Abercrombie (December 16, 1944 – August 22, 2017) was an American jazz guitarist. His work explored jazz fusion, free jazz, and avant-garde jazz. Abercrombie studied at Berklee College of Music in Boston, Massachusetts. He was known for his understated style and his work with organ trios.

John Abercrombie was born on December 16, 1944, in Port Chester, New York. Growing up in the 1950s in Greenwich, Connecticut he was attracted to the rock and roll of Chuck Berry, Elvis Presley, Fats Domino, and Bill Haley and the Comets. He also liked the sound of jazz guitarist Mickey Baker of the vocal duo Mickey and Silvia. He had two friends who were musicians with a large jazz collection. They played him albums by Dave Brubeck and Miles Davis. The first jazz guitar album he heard was by Barney Kessel.

He took guitar lessons at the age of ten, asking his teacher to show him what Barney Kessel was playing. After high school, he attended Berklee College of Music. At Berklee, he was drawn to the music of Jim Hall, the 1962 album The Bridge by Sonny Rollins, and Wes Montgomery on his albums The Wes Montgomery Trio (1959) and Boss Guitar (1963). He cites George Benson and Pat Martino as inspirations. He often played with other students at Paul’s Mall, a jazz club in Boston connected to a larger club, Jazz Workshop. Appearing at Paul’s Mall led to meetings with Michael Brecker, Randy Brecker, and organist Johnny Hammond Smith, who invited him to go on tour.

Joseph Carl Firrantello (December 16, 1937 – January 10, 1986), known as Joe Farrell, was an American jazz saxophonist and flutist. He is best known for a series of albums under his own name on the CTI record label and for playing in the initial incarnation of Chick Corea‘s Return to Forever. Farrell was born in Chicago Heights, Illinois, United States.

He joined the Ralph Marterie band in 1957 and later played with Maynard Ferguson and The Thad Jones/ Mel Lewis Orchestra. He also recorded with Charles Mingus, Andrew Hill, Jaki Byard, Players Association and Elvin Jones. After the death of John Coltrane, Elvin Jones formed a pianoless trio with Jimmy Garrison and Farrell, recording two albums for Blue Note in 1968.

In the late 1960s and throughout the 1970s, Farrell performed with Chick Corea and Return to Forever. He is the flutist in Corea’s most famous work “Spain,” which is considered to be a modern jazz standard.

He did numerous sessions and contributed a flute solo to Aretha Franklin’s 1973 hit “Until You Come Back to Me (That’s What I’m Gonna Do)“. The Santana track “When I Look into Your Eyes” from Welcome also includes solo work from Farrell. Farrell was prominently featured on the Hall & Oatesrecording Abandoned Luncheonette which featured both tenor saxophone and oboe solos from Farrell. Some of the most famous funk singles of James Brown feature Farrell as a part of the brass section.

John Robert “Johnny Hammond” Smith (December 16, 1933 – June 4, 1997) was an American soul jazz and hard bop organist. Born in Louisville, Kentucky, he was a renowned player of the Hammond B-3 organ so earning “Hammond” as a nickname, which also avoided his being confused with jazz guitarist Johnny Smith.

Smith played with Paul Williams and Chris Columbo before forming his own group. His bands featured singers Etta Jones, Byrdie Green, saxophonists Houston Person, Earl Edwards, guitarists Eddie McFadden, Floyd Smith, James Clark, vibist Freddie McCoy. His career took off as he was serving as accompanist to singer Nancy Wilson. One of his last accomplishments also included Nancy Wilson. He wrote the song “Quiet Fire” for her Nancy Now!release in 1988.

After a 10-year spell on Prestige Records throughout the 1960s resulting in a series of albums, he signed for soul/R&B influenced Kudu imprint of Creed Taylor‘s well-regarded CTI Records jazz record label in 1971. His first album for Taylor, Break Out was chosen that year to launch Kudu. The album featured Grover Washington Jr. as a sideman prior to the launch of his career as a solo recording artist. Three further albums followed with Taylor on Kudu, as he decided to refer to himself as “Johnny Hammond”, after deciding to drop “Smith” from his name.

https://www.youtube.com/watch?v=C64cjgoMPu8&t=1289s

Ludwig van Beethoven (/ˈlʊdvɪɡ væn ˈbeɪt(h)oʊvən/ (listen); German: [ˈluːtvɪç fan ˈbeːthoːfn̩] (listen); baptised 17 December 1770 – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the classical and romantic eras in classical music, he remains one of the most recognized and influential musicians of this period, and is considered to be one of the greatest composers of all time.

Beethoven was born in Bonn, the capital of the Electorate of Cologne, and part of the Holy Roman Empire. He displayed his musical talents at an early age and was vigorously taught by his father Johann van Beethoven, and was later taught by composer and conductor Christian Gottlob Neefe. At age 21, he moved to Vienna and studied composition with Joseph Haydn. Beethoven then gained a reputation as a virtuoso pianist, and was soon courted by Karl Alois, Prince Lichnowsky for compositions, which resulted in Opus 1 in 1795.

The piece was a great critical and commercial success, and was followed by Symphony No. 1 in 1800. This composition was distinguished for its frequent use of sforzandi, as well as sudden shifts in tonal centers that were uncommon for traditional symphonic form, and the prominent, more independent use of wind instruments. In 1801, he also gained notoriety for his six String Quartets and for the ballet The Creatures of Prometheus. During this period, his hearing began to deteriorate, but he continued to conduct, premiering his third and fifth symphonies in 1804 and 1808, respectively. His condition worsened to almost complete deafness by 1811, and he then gave up performing and appearing in public.

During this period of self exile, Beethoven composed many of his most admired works; his seventh symphony premiered in 1813, with its second movement, Allegretto, achieving widespread critical acclaim. He composed the piece Missa Solemnis for a number of years until it premiered 1824, which preceded his ninth symphony, with the latter gaining fame for being among the first examples of a choral symphony. In 1826, his fourteenth String Quartet was noted for having seven linked movements played without a break, and is considered the final major piece performed before his death a year later.

His career is conventionally divided into early, middle, and late periods; the “early” period is typically seen to last until 1802, the “middle” period from 1802 to 1812, and the “late” period from 1812 to his death in 1827. During his life, he composed nine symphonies; five piano concertos; one violin concerto; thirty-two piano sonatas; sixteen string quartets; two masses; and the opera Fidelio. Other works, like Für Elise, were discovered after his death, and are also considered historical musical achievements. Beethoven’s legacy is characterized for his innovative compositions, namely through the combinations of vocals and instruments, and also for widening the scope of sonata, symphony, concerto, and quartet, while he is also noted for his troublesome relationship with his contemporaries.