mick laBriola

James Oscar Smith (December 8, 1925 or 1928 – February 8, 2005) was an American jazz musician whose albums often charted on Billboardmagazine. He helped popularize the Hammond B-3 organ, creating a link between jazz and 1960s soul music. In 2005, Smith was awarded the NEA Jazz Masters Award from the National Endowment for the Arts, the highest honor that America bestows upon jazz musicians. There is confusion about Smith’s birth year, with various sources citing either 1925 or 1928. Born James Oscar Smith in Norristown, Pennsylvania, United States, at the age of six he joined his father doing a song-and-dance routine in clubs. He began teaching himself to play the piano. When he was nine, Smith won a Philadelphia radio talent contest as a boogie-woogie pianist. After a stint in the U.S. Navy, he began furthering his musical education in 1948, with a year at Royal Hamilton College of Music, then the Leo Ornstein School of Music in Philadelphia in 1949. He began exploring the Hammond organ in 1951. From 1951 to 1954 he played piano, then organ in Philly R&B bands like Don Gardner and the Sonotones. He switched to organ permanently in 1954 after hearing Wild Bill Davis.

He purchased his first Hammond organ, rented a warehouse to practice in and emerged after little more than a year. Upon hearing him playing in a Philadelphia club, Blue Note’s Alfred Lionimmediately signed him to the label and his second album, The Champ, quickly established Smith as a new star on the jazz scene. He was a prolific recording artist and, as a leader, dubbed The Incredible Jimmy Smith, he recorded around forty sessions for Blue Note in just eight years beginning in 1956. Albums from this period include The Sermon!, House Party, Home Cookin’, Midnight Special, Back at the Chicken Shack and Prayer Meetin’.

Cleopatra Brown (December 8, 1907 or 1909 – April 15, 1995), known as Cleo Brown, C. Patra Brown or Cleo Patra Brown, was an American blues and jazz vocalist and pianist. She was the first woman instrumentalist to receive the NEA Jazz Masters Fellowship. Brown was born in Meridian, Mississippi, and played piano in the Baptist church as a child. In 1919 her family moved to Chicago, and she began learning piano from her brother who worked with “Pine Top” Smith, playing boogie-woogie for dances. From around 1923 she worked in vaudeville, as well as taking gigs in clubs. In 1935, she replaced Fats Waller as pianist on New York radio station WABC.

From the 1930s to the 1950s she toured the United States regularly, recording for Decca Records (among other labels) along the way and recording many humorous, ironic titles such as “Breakin’ in a New Pair of Shoes”, “Mama Don’t Want No Peas and Rice and Coconut Oil“, “When Hollywood Goes Black and Tan”, and “The Stuff Is Here and It’s Mellow”. Her stride piano playing was often compared to Fats Waller, and she is credited as an influence on Dave Brubeck, who played during the intermissions of her shows, and Marian McPartland. She played regularly at clubs in Chicago, toured widely, and recorded for both Decca and Capitol Records.

Brown began to shy away from singing bawdy blues songs because of her deepening religious beliefs and, in 1953, she was baptized, retired from music, and became a nurse in 1959. Jazz biographies frequently listed her as deceased due to her absence from music. The song “Sweet Cleo Brown” was recorded by Brubeck in tribute to her.

From the mid-1970s until 1981, she performed under the name of C. Patra Brown on radio shows in Denver, Colorado. She replaced boogie-woogie music with slower, inspirational music. She returned to record again, and performed on National Public Radio. She gave birth to a son, Matthew and had four grandchildren. She died on April 15, 1995 in Denver, Colorado.

This six-panel mosaic shows the three stars in the center of the constellation Orion the Hunter. From left to right, they are Alnitak, Alnilam, and Mintaka. Alnitak and Mintaka are 1,200 light-years away while Alnilam lies some 2,000 light-years distant.

Orion’s Belt or the Belt of Orion, also known as the Three Kings or Three Sisters, is an asterism in the constellation Orion. It consists of the three bright stars Alnitak, Alnilam and Mintaka.

Looking for Orion’s Belt in the night sky is the easiest way to locate Orion in the sky. The stars are more or less evenly spaced in a straight line, and so can be visualized as the belt of the hunter’s clothing. They are best visible in the early night sky during the Northern Winter/Southern Summer, in particular the month of January at around 9:00 pm.

Thomas Alan Waits (born December 7, 1949) is an American singer, songwriter, musician, composer, and actor. His music is characterized by lyrics focusing on the underside of society, delivered in his distinctive deep, gravelly voice. During the 1970s, he worked primarily in jazz, but since the 1980s his music has reflected greater influence from blues, vaudeville, and experimental genres.

Waits was born and raised in a middle-class family in Pomona, California. Inspired by the work of Bob Dylan and the Beat Generation, he began singing on the San Diego folk music circuit as a teenager, relocating to Los Angeles in 1972. He worked there as a songwriter before signing a recording contract with Asylum Records. His first albums were the jazz-oriented Closing Time (1973) and The Heart of Saturday Night (1974), which reflected his lyrical interest in nightlife, poverty, and criminality. He repeatedly toured the United States, Europe, and Japan, and attracted greater critical recognition and commercial success with Small Change (1976), Blue Valentine (1978), and Heartattack and Vine (1980). He produced the soundtrack for Francis Ford Coppola‘s 1981 film One from the Heart, and subsequently made cameo appearances in several Coppola films.

In 1980, Waits married Kathleen Brennan, split from his manager and record label, and moved to New York City. Under his wife’s encouragement, he pursued a more experimental and eclectic musical aesthetic influenced by the work of Harry Partch and Captain Beefheart. This was reflected in a series of albums released by Island Records, including Swordfishtrombones (1983), Rain Dogs (1985), and Franks Wild Years (1987). He continued appearing in films, taking a leading role in Jim Jarmusch‘s Down by Law (1986), and made theatrical appearances. With theatre director Robert Wilsonhe produced two musicals, The Black Rider and Alice, first performed in Hamburg. Having returned to California in the 1990s, Waits’ albums Bone Machine (1992), The Black Rider (1993), and Mule Variations (1999) earned him increasing critical acclaim and various Grammy Awards. In the late 1990s, he switched to the record label Anti-, which released Blood Money (2002), Alice (2002), Real Gone (2004), and Bad as Me (2011).

Waits’ albums have met with mixed commercial success in the U.S., while they have occasionally achieved gold status in other countries. He has a cult following and has influenced many singer-songwriters, despite having little mainstream radio or music video support. In 2011, he was inducted into the Rock and Roll Hall of Fame. He was included among the 2010 list of Rolling Stone‘s 100 Greatest Singers, as well as the 2015 Rolling Stone’s 100 Greatest Songwriters of All Time.

Louis Leo Prima (December 7, 1910 – August 24, 1978) was an American singer, actor, songwriter, bandleader, and trumpeter. While rooted in New Orleans jazz, swing music, and jump blues, Prima touched on various genres throughout his career: he formed a seven-piece New Orleans-style jazz band in the late 1920s, fronted a swing combo in the 1930s and a big band group in the 1940s, helped to popularize jump blues in the late 1940s and early to mid 1950s, and performed frequently as a Vegas lounge act beginning in the 1950s.

From the 1940s through the 1960s, his music further encompassed early R&B and rock’n’roll, boogie-woogie, and even Italian folk music, such as the tarantella. Prima made prominent use of Italian music and language in his songs, blending elements of his Italian identity with jazz and swing music. At a time when “ethnic” musicians were often discouraged from openly stressing their ethnicity, Prima’s conspicuous embrace of his Sicilian ethnicity opened the doors for other Italian-American and “ethnic” American musicians to display their ethnic roots.

Louis Leo Prima was from a musical Italian American family in New Orleans, Louisiana. His father, Anthony Prima, was the son of Leonardo Di Prima, a Sicilian immigrant from Salaparuta, while his mother, Angelina Caravella, had immigrated from Ustica as a baby. Prima was the second child of four; his older brother, Leon, was born in 1907, while his sisters Elizabeth and Marguerite were younger. Marguerite died when she was three years old. Leon, Louis, and Elizabeth were all baptized at St. Ann’s Parish. They lived in a house at 1812 St. Peter Street in New Orleans.

Blind John Davis (December 7, 1913 – October 12, 1985) was an American blues and boogie-woogie pianist and singer. He is best remembered for his recordings, including “A Little Every Day” and “Everybody’s Boogie”.

Davis was born in Hattiesburg, Mississippi, and relocated with his family to Chicago at the age of two. Seven years later he had lost his sight. In his early years Davis backed Merline Johnson, and by his mid-twenties he was a well-known and reliable accompanying pianist. Between 1937 and 1942, he recorded with Big Bill Broonzy, Sonny Boy Williamson I, Tampa Red, Red Nelson, Merline Johnson, and others. He also made several records of his own, singing in his lightweight voice.

Having played in various recording sessions with Lonnie Johnson, Davis teamed up with him in the 1940s. He recorded later on his own. His “No Mail Today” (1949) was a minor hit. Most of Doctor Clayton‘s later recordings featured Davis on piano.

He toured Europe with Broonzy in 1952, the first blues pianist to do so. In later years Davis toured and recorded frequently in Europe, where he enjoyed a higher profile than in the United States.

In 1955, Davis’s house in Chicago burned down. His wife died in the fire, and his collection of 1700 78-rpm records, some of them unissued, was destroyed. Davis died in Chicago in October 1985, at the age of 71.

Edmundo Ros OBE FRAM (7 December 1910 – 21 October 2011), born Edmund William Ross, was a Trinidadian-Venezuelan musician, vocalist, arranger and bandleader who made his career in Britain. He directed a highly popular Latin American orchestra, had an extensive recording career and owned one of London’s leading nightclubs. Edmund William Ross was born in Port of Spain, Trinidad. His mother Luisa Urquart was a Venezuelan teacher, thought to be descended from indigenous Caribs, and his father, William Hope-Ross, was a mulatto of Scottish descent. He was the eldest of four children, having two sisters, Ruby and Eleanor, followed by a half-brother, Hugo. His parents separated after Hugo was born, and after various false steps Edmund was enrolled in a military academy. There he became interested in music and learned to play the euphonium and percussion.^[3] When his mother became involved with a man he loathed and had a son by him, the 17-year-old left for Caracas, Venezuela, to study at the Academy of Music under Vicente Emilio Sojo.

He played drums in the city’s nightclubs and in the Martial Band of Caracas as well as was soon hired by Sojo as timpanist in the new Venezuela Symphony Orchestra. As his obituary in The Guardian noted: “His local name, ‘Edmundo Ros’, launched a lasting myth that he was Venezuelan.”Later he received a music scholarship from the Venezuelan government of Eleazar Lopez Contreras, and, from 1937 to 1942, studied harmony, composition and orchestration at the Royal Academy of Music. At the same time he was the vocalist and percussionist in Don Marino Baretto’s band at the Embassy Club, and also recorded several sides as a sideman to Fats Waller, who was visiting London in 1938.

This cosmic vista stretches almost 20 degrees from top to bottom, across the dusty constellation Taurus. It begins at the Pleiades and ends at the Hyades, two star clusters recognized since antiquity in Earth’s night sky. At top, the compact Pleiades star cluster is about 400 light-years away. The lovely grouping of young cluster stars shine through dusty clouds that scatter blue starlight. At bottom, the V-shaped Hyades cluster looks more spread out in comparison and lies much closer, 150 light-years away. The Hyades cluster stars seem anchored by bright Aldebaran, a red giant star with a yellowish appearance. But Aldebaran actually lies only 65 light-years distant and just by chance along the line of sight to the Hyades cluster. Faint and darkly obscuring dust clouds found near the edge of the Taurus Molecular Cloud are also evident throughout the celestial scene. The wide field of view includes the dark nebula Barnard 22 at left with youthful star T Tauri and Hind’s variable nebula just above Aldebaran in the frame.

Kim Maiden Simmonds (born 5 December 1947) is a Welsh guitarist and is the leader and founder member of the blues rock band Savoy Brown. When still a young teenager, Simmonds learned to play from listening to his brother’s blues records. Considered one of the architects of British blues, he started the Savoy Brown Blues Band in October 1965, who began playing gigs at the Nags Head in 1966 in London. Early gigs included performing with Cream at Klooks Kleek and accompanying John Lee Hooker.

Live performances led to Savoy Brown signing with Decca. But it was 1969 before its classic line-up gelled around Simmonds, rhythm guitarist Lonesome Dave Peverett, and the monocle and bowler hat-wearing vocalist Chris Youlden. That year’s Blue Matter and A Step Further albums conjured up at least three classics heard on The Best of Savoy Brown (20th Century Masters/The Millennium Collection): “Train To Nowhere”, the live show-stopper “Louisiana Blues” (a Muddy Waters number), and “I’m Tired”.

Since its first US visit, Savoy Brown has criss-crossed the country, and “I’m Tired” became the group’s first hit single across the ocean. The band would find a greater following in America than in its native England throughout its career.

1970’s Raw Sienna followed, featuring “A Hard Way To Go” and “Stay While The Night Is Still Young”. When Youlden then departed for a solo career, Lonesome Dave took over the lead vocals. Looking In, also in 1970, featured not only “Poor Girl” and “Money Can’t Save Your Soul” but one of the era’s memorable LP covers, a troglodyte-like savage staring into an eye socket of a monstrous skull. Later, Peverett, bassist Tony Stevens and drummer Roger Earl left to form the successful but decidedly rock band Foghat. Simmonds soldiered on, recruiting from blues band Chicken Shackkeyboardist Paul Raymond, bassist Andy Silvester and drummer Dave Bidwell, and from the Birmingham club circuit the vocalist Dave Walker.

Miroslav Ladislav Vitouš (born 6 December 1947) is a Czech jazz bassist who has had an extensive career in the US.

Born in Prague, he began the violin at age six and started playing piano at age ten and bass at fourteen. As a young man in Europe, Vitouš was a competitive swimmer. One of his early music groups was the Junior Trio with his brother Alan on drums and Jan Hammer on keyboards. He studied music at the Prague Conservatory (under František Pošta), and won a music contest in Vienna that gave him a scholarship to the Berklee College of Music.

In 1967, in Chicago, Miles Davis saw Vitouš playing with Clark Terry and invited him to join his group for a residency at The Village Gate in New York City.

His album Infinite Search was recorded with John McLaughlin, Herbie Hancock, Jack DeJohnette, and Joe Henderson. He has also worked with Chick Corea, Larry Coryell, Jan Garbarek, Freddie Hubbard, Michel Petrucciani, Terje Rypdal, Wayne Shorter, and Joe Zawinul

In 1970 he was a founding member of the group Weather Report. In 1973 he was replaced by Alphonso Johnson. He stated, “I enjoyed the beginning of it very much, but it turned into a little bit of a drag in the end because Joe Zawinul wanted to go in another direction. The band was seeking success and fame and they basically changed their music to go a commercial way into a black funk thing”. He also felt aggrieved financially. “I was an equal partner and basically, I didn’t get anything. We had a corporation together that was completely ignored. If you have a company and three people own it, and then two people say ‘Okay, we don’t want to work like this anymore. It’s just two of us now’, normally, they break down the stock and pay off the third person.

David Warren Brubeck (/ˈbruːbɛk/; December 6, 1920 – December 5, 2012) was an American jazz pianist and composer, considered one of the foremost exponents of cool jazz. Many of his compositions have become jazz standards including “In Your Own Sweet Way” and “The Duke”. Brubeck’s style ranged from refined to bombastic, reflecting both his mother’s classical training and his own improvisational skills. His music is known for employing unusual time signatures as well as superimposing contrasting rhythms, meters, and tonalities.

Brubeck experimented with time signatures throughout his career, recording “Pick Up Sticks” in ⁶
₄, “Unsquare Dance” in ⁷
₄, “World’s Fair” in ¹³
₄, and “Blue Rondo à la Turk” in ⁹
₈. He was also a composer of orchestral and sacred music and wrote soundtracks for television, such as Mr. Broadway and the animated miniseries This Is America, Charlie Brown.

Often incorrectly attributed to Brubeck, the song “Take Five“, which has become a jazz standard, was composed by Brubeck’s long-time musical partner, alto saxophonist Paul Desmond. Appearing on one of the top-selling jazz albums, Time Out, and written in ⁵
₄ time, “Take Five” has endured as a jazz classic associated with Brubeck.

Dave Brubeck was born in the San Francisco Bay Area city of Concord, California, and grew up in a city located in the Mother Lode called Ione, California. His father, Peter Howard “Pete” Brubeck, was a cattle rancher, and his mother, Elizabeth (née Ivey), who had studied piano in England under Myra Hess and intended to become a concert pianist, taught piano for extra money.

https://www.youtube.com/watch?v=49YfOJTsCBk

Soléa develops in (altered) Phrygian mode “por arriba” (fundamental on the 6th string), with the III degree of the mode altered to a major 3rd when resolving to I.

To adapt to the singer’s vocal range, guitarists can use a “cejilla” (capo) to play in any key while preserving the known chord positions. Modern guitarists often play soleá using other chord positions or even changing the tuning of the guitar to experiment with new sounds, especially in solo instrumental pieces.

The typical flamenco progression iv, III, II, I (an altered Phrygian cadence) is heard several times during the development of the song. In E altered Phrygian, the progression would be Am, G, F, E (the E chord should be Em in a diatonic Phrygian cadence, but its diatonic third – G – is altered to a G♯).

A usual progression with a four-line stanza is the following:

• first line: E⁷, Am,
• transition to 2nd line: Am, G, (or F, G)
• 2nd line: F, E
• 3rd line: G⁷, C (or C7)
• 4th line: Am, G, F, E, F, E

And a usual progression with a three-line stanza:

• first line: E⁷, Am
• 2nd line: G⁷, C
• 3rd line: Am, G, F, E, F, E

Beautiful spiral galaxy NGC 6744 is nearly 175,000 light-years across, larger than our own Milky Way. It lies some 30 million light-years distant in the southern constellation Pavo and appears as only a faint, extended object in small telescopes. We see the disk of the nearby island universe tilted towards our line of sight in this remarkably detailed galaxy portrait, a telescopic view that spans an area about the angular size of a full moon. In it, the giant galaxy’s elongated yellowish core is dominated by the light from old, cool stars. Beyond the core, grand spiral arms are filled with young blue star clusters and speckled with pinkish star forming regions. An extended arm sweeps past a smaller satellite galaxy (NGC 6744A) at the lower right. NGC 6744’s galactic companion is reminiscent of the Milky Way’s satellite galaxy the Large Magellanic Cloud.

José Monje Cruz (5 December 1950 – 2 July 1992), better known by his stage name Camarón de la Isla (Spanish: Shrimp of the Island), was a Spanish Romani flamenco singer. Considered one of the all-time greatest flamenco singers, he was noted for his collaborations with Paco de Lucíaand Tomatito, and the three of them were of major importance to the revival of flamenco in the second half of the 20th century.

He was born in San Fernando, Cádiz, Spain, into a Romani family, the second of eight children. His mother was Juana Cruz Castro, a basket weaver (“La Canastera”), whose gift of singing was a strong early influence.

His father, Juan Luis Monje, was also a singer as well as a blacksmith, and had a forge where Camarón worked as a boy. His uncle José nicknamed him Camarón (Spanish for “Shrimp”) because he was blonde and fair skinned.

When his father died of asthma, while still very young, the family went through financial hardship. At the age of eight he began to sing at inns and bus stops with Rancapino to earn money. At sixteen, he won first prize at the Festival del Cante Jondo in Mairena de Alcor. Camarón then went to Madrid with Miguel de los Reyes and in 1968 became a resident artist at the Tablao Torres Bermejas where he remained for twelve years.