mick laBriola

Featuring Fandangos.

The earliest fandango melody is found in the anonymous “Libro de diferentes cifras de guitarra” from 1705, and the earliest description of the dance itself is found in a 1712 letter by Martín Martí, a Spanish priest. The fandango’s first sighting in a theatrical work was in Francisco de Leefadeal‘s entremés “El novio de la aldeana” staged in Seville, ca. 1720. By the late 18th century it had become fashionable among the aristocracy and was often included in tonadillas, zarzuelas, ballets and operas, not only in Spain, but also elsewhere in Europe.

Widely varying claims have been made about the origin of fandango: its relation to the soleá, jabera and petenera; to the Andalusian malagueña, granadina, murciana and rondeña; to the canarioand gitano; to the jota aragonesa

Tribute to Bill Thompson.
Passed on June 14, 2015.
I published his album Cat Went Blind (interesting story) on YouTube.
I played drum kit on the album and helped with Production and Editing. Recorded in River Falls, WI and mastered by Christopher Blood.
This is my favorite tune Black Grate with the exquisitely haunting fiddle/violin of Lisa Fuglie; with Mike Rivard on bass.

Intricate looping filaments in this detailed image of supernova remnant Simeis 147. Also cataloged as Sharpless 2-240 it goes by the popular nickname, the Spaghetti Nebula.Seen toward the boundary of the constellations Taurus and Auriga, it covers nearly 3 degrees or 6 full moons on the sky. That’s about 150 light-years at the stellar debris cloud’s estimated distance of 3,000 light-years. This composite includes image data taken through narrow-band filters where reddish emission from ionized hydrogen atoms and doubly ionized oxygen atoms in faint blue-green hues trace the shocked, glowing gas. The supernova remnant has an estimated age of about 40,000 years, meaning light from the massive stellar explosion first reached Earth 40,000 years ago. But the expanding remnant is not the only aftermath. The cosmic catastrophe also left behind a spinning neutron star or pulsar, all that remains of the original star’s core.

Alphonse Lee Mouzon (November 21, 1948 – December 25, 2016) was an American jazz fusion drummer and the owner of Tenacious Records, a label that primarily released Mouzon’s recordings. He was a composer, arranger, producer, and actor. He gained popularity in the late 1960s and early 1970s.

Mouzon, of African, French, and Blackfoot descent, was born on November 21, 1948, in Charleston, South Carolina. He received his first musical training at Bonds-Wilson High School, and moved to New York City upon graduation. He studied drama and music at the City College of New York, as well as medicine at Manhattan Medical School. He continued receiving drum lessons from Bobby Thomas, the drummer for jazz pianist Billy Taylor. He played percussion in the 1968 Broadway show Promises, Promises, and he then worked with pianist McCoy Tyner. He spent a year as a member of the jazz fusion band, Weather Report. After that Mouzon signed as a solo artist to the Blue Note label in 1972.

Mouzon’s visibility increased during his tenure with guitarist Larry Coryell‘s Eleventh House fusion band from 1973 to 1975. Albums from this period include Introducing the Eleventh House, Level One, Mind Transplant (a solo album), and in 1977, a reconciliation recording with Coryell entitled Back Together Again.

Mouzon recorded Mind Transplant in 1974 with guitarist Tommy Bolin, who had previously played on Billy Cobham‘s Spectrum.

He recorded four R&B albums: The Essence of Mystery (Blue Note, 1972), Funky Snakefoot (Blue Note, 1973), The Man Incognito (Blue Note, 1976) (including “Take Your Troubles Away”), and in the 1980s By All Means, which featured Herbie Hancock, Lee Ritenour, the Seawind Horns, and Freddie Hubbard.

https://www.youtube.com/watch?v=8ybIzZNesXU

Carlos Manuel “Charlie” Palmieri (November 21, 1927 – September 12, 1988) was a renowned bandleader and musical director of salsa music. He was known as the “Giant of the Keyboards”. Palmieri’s parents migrated to New York from Ponce, Puerto Rico in 1926 and settled down in the South Bronx where Palmieri was born. As a child, Palmieri taught himself to play the piano by ear. He attended the public school system. At age 7, his father enrolled him at The Juilliard School, where he took piano lessons. By the time Palmieri was 14 years old, he and his 5-year-old brother, Eddie, participated in many talent contests, often winning prizes. It was at this time that his godfather introduced him to the music of the Latin bands – an experience which inspired him to become a musician. In 1943, when still only 16 years old and still in high school, he made his professional debut as a piano player for the Osario Selasie Band. He graduated from high school in 1946, and immediately went to play for various bands. He made his recording debut with the song “Se Va La Rumba” as a member of the Rafael Muñiz Band. In October 1947, Tito Puente, the musical director of the Fernando Álvarez Band, was impressed with Palmieri and hired him to play for his band at the Copacabana Club; here he played with Tito until 1953 and during the 1950s he played with various bands. Besides having played with Tito Puente, he played with Pupi Campo’s Band and worked on Jack Paar‘s CBS daytime television show. Palmieri also formed a couple of bands that performed at the Palladium Ballroom – these were however short-lived because of a lack of work. During this time, he also worked as an accompanist for other bands.

Sal Salvador (1925–1999) was a bebop jazz guitarist and a prominent music educator.

Salvador was born in Monson, Massachusetts and began his professional career in New York City. He eventually moved to Stamford, Connecticut. He taught guitar at the University of Bridgeport in Bridgeport, Connecticut as well as at Western Connecticut State University in Danbury, Connecticut. He authored several instruction books for beginning to advanced guitarists.

In addition to recordings with Stan Kenton and with his own groups, Salvador can be heard in the film Blackboard Jungle during a scene in a bar where a recording on which he is featured is played on the jukebox. He is also featured playing with Sonny Stitt in the film Jazz on a Summer’s Day at the Newport Jazz Festival.

https://www.youtube.com/watch?v=S3EG-mOcy94

Coleman Randolph Hawkins (November 21, 1904 – May 19, 1969), nicknamed “Hawk” and sometimes “Bean”, was an American jazz tenor saxophonist. One of the first prominent jazz musicians on his instrument, as Joachim E. Berendt explained: “there were some tenor players before him, but the instrument was not an acknowledged jazz horn”. Hawkins biographer John Chilton described the prevalent styles of tenor saxophone solos prior to Hawkins as “mooing” and “rubbery belches.” Hawkins cited as influences Happy Caldwell, Stump Evans, and Prince Robinson, although he was the first to tailor his method of improvisation to the saxophone rather than imitate the techniques of the clarinet. Hawkins’ virtuosic, arpeggiated approach to improvisation, with his characteristic rich, emotional, loud, and vibrato-laden tonal style, was the main influence on a generation of tenor players that included Chu Berry, Charlie Barnet, Tex Beneke, Ben Webster, Vido Musso, Herschel Evans, Buddy Tate, and Don Byas, and through them the later tenormen, Arnett Cobb, Illinois Jacquet, Flip Phillips, Ike Quebec, Al Sears, Paul Gonsalves, and Lucky Thompson.  While Hawkins became well known with swing music during the big band era, he had a role in the development of bebop in the 1940s.

Fellow saxophonist Lester Young, known as “Pres”, commented in a 1959 interview with The Jazz Review: “As far as I’m concerned, I think Coleman Hawkins was the President first, right? As far as myself, I think I’m the second one.” Miles Davis once said: “When I heard Hawk, I learned to play ballads.” Hawkins was born in Saint Joseph, Missouri, in 1904. Although some sources say 1901, there is no evidence to prove an earlier date; instead, there is record of Hawkins’s parents’ first child, a girl, being born in 1901 and dying at the age of two, possibly the basis for the mistaken belief. He was named Coleman after his mother Cordelia’s maiden name.

The upper galaxy is labelled UGC 1810 by itself, but together with its collisional partners is known as Arp 273. The overall shape of the UGC 1810 — in particular its blue outer ring — is likely a result of wild and violent gravitational interactions. The blue color of the outer ring at the top is caused by massive stars that are blue hot and have formed only in the past few million years. The inner part of the upper galaxy — itself an older spiral galaxy — appears redder and threaded with cool filamentary dust. A few bright stars appear well in the foreground, unrelated to colliding galaxies, while several far-distant galaxies are visible in the background. Arp 273 lies about 300 million light years away toward the constellation of Andromeda. Quite likely, UGC 1810 will devour its galactic sidekicks over the next billion years and settle into a classic spiral form.

Howard Duane Allman (November 20, 1946 – October 29, 1971) was an American guitarist, session musician, and founder and leader of the Allman Brothers Band.

The Allman Brothers Band was formed in Jacksonville, Florida in 1969, and achieved its greatest success in the early 1970s. Allman is best remembered for his brief but influential tenure in the band and in particular for his expressive slide guitar playing and inventive improvisational skills.In 2003, he was ranked number 2 in Rolling Stone magazine’s list of the 100 greatest guitarists of all time. In 2011, he was ranked number 9. His guitar tone (achieved with a Gibson Les Paul and two 50-watt bass Marshall amplifiers) was named one of the greatest of all time by Guitar Player.

A sought-after session musician both before and during his tenure with the band, Duane Allman performed with such established stars as King Curtis, Aretha Franklin, Herbie Mann, Wilson Pickett, and Boz Scaggs. He also contributed greatly to the 1970 album Layla and Other Assorted Love Songs, by Derek and the Dominos. He died following a motorcycle crash in 1971, at the age of 24.

Duane Allman’s skills as a guitarist were complemented by personal qualities such as his intensity, drive and ability to draw the best out of others in making music. He is still referred to by his nickname “Skydog”.

Duane Allman was born on November 20, 1946, in Nashville, Tennessee. He was the eldest son of Willis Allman (1918–1949), a World War II non-commissioned officer turned recruiting officer in the United States Army, and Geraldine Allman (née Robbins) (1917–2015). His brother, Gregg, was born on December 8, 1947. Allman was killed in a motorcycle crash shortly after the release and initial success of At Fillmore East. On October 29, 1971, while the band was on a break from touring and recording, Allman was riding his Harley-Davidson Sportster motorcycle at high speed on Hillcrest Avenue, in the western part of Macon. As he approached Bartlett Street, a flatbed truck carrying a lumber crane stopped suddenly in the intersection, forcing him to swerve sharply. He struck either the back of the truck or the ball on the lumber crane and was thrown from the motorcycle, which landed on top of him and skidded another 90 feet with him pinned underneath it, crushing his internal organs. He was alive when he was taken to a hospital, but despite immediate medical treatment, he died several hours later from massive internal injuries.

Meredith Jane Monk (born November 20, 1942) is an American composer, performer, director, vocalist, filmmaker, and choreographer. Since the 1960s, Monk has created multi-disciplinary works which combine music, theatre, and dance, recording extensively for ECM Records. In 1991, Monk composed an opera called Atlas, commissioned and produced by the Houston Opera and the American Music Theater Festival.

Her music has been used in films by the Coen Brothers (The Big Lebowski, 1998) and Jean-Luc Godard (Nouvelle Vague, 1990 and Notre musique, 2004). Trip hop musician DJ Shadow sampled Monk’s “Dolmen Music” on the song “Midnight in a Perfect World.”

Meredith Monk was born to businessman Theodore Glenn Monk (1909–1998) and singer Audrey Lois Monk (née Audrey Lois Zellman; 1911–2009), in Manhattan, New York. Her mother, a professional singer of popular and classical music known under the stage name of Audrey Marsh, was herself the daughter of professional musicians: the Russian Jewish bass-baritone Joseph B. Zellman, and Rose (Kornicker) Zellman, a concert pianist of German Jewish background from Philadelphia. Meredith has a sister, Tracy (born 1948).

Malcolm John Rebennack Jr. (November 20, 1941 – June 6, 2019), better known by his stage name Dr. John, was an American singer and songwriter. His music combined blues, pop, jazz, boogie-woogie, and rock and roll.

Active as a session musician from the late 1950s until his death, he gained a following in the late 1960s after the release of his album Gris-Grisand his appearance at the Bath Festival of Blues and Progressive Music. He typically performed a lively, theatrical stage show inspired by medicine shows, Mardi Gras costumes, and voodoo ceremonies. Rebennack recorded 30 studio albums and 9 live albums, as well as contributing to thousands of other musicians’ recordings. In 1973 he achieved a top-10 hit single with “Right Place, Wrong Time“.

The winner of six Grammy Awards, Rebennack was inducted into the Rock and Roll Hall of Fame by singer John Legend in March 2011. In May 2013, Rebennack received an honorary doctorate of fine arts from Tulane University. Rebennack was born in New Orleans on November 20, 1941. He was the son of Dorothy (Cronin) and Malcolm John Rebennack, and had German, Irish, Spanish, English, and French heritage. His father ran an appliance shop in the East End of New Orleans, fixing radios and televisions and selling records. Growing up in the 3rd Ward of New Orleans, he found early musical inspiration in the minstrel tunes sung by his grandfather and a number of aunts, uncles, sister, and cousins who played piano. He did not take music lessons before his teens and endured only a short stint in choir before getting kicked out. His father exposed him as a young boy to jazz musicians King Oliver and Louis Armstrong, who later inspired his 2014 release, Ske-Dat-De-Dat: The Spirit of Satch. Throughout his adolescence his father’s connections enabled him access to the recording rooms of rock artists, including Little Richard and Guitar Slim. Later he began to perform in New Orleans clubs, mainly on guitar, and played on stage with various local artists. As a young man Rebennack was interested in New Orleans voodoo, and in Los Angeles he developed the idea of the Dr. John persona for his old friend Ronnie Barron, based on the life of Dr. John, a Senegalese prince, conjure man, herb doctor and spiritual healer who came to New Orleans from Haiti. This free man of color lived on Bayou Road and claimed to have 15 wives and over 50 children. He kept an assortment of snakes and lizards, along with embalmed scorpions and animal and human skulls, and sold gris-gris, voodoo amulets which supposedly protect the wearer from harm.

Along with Gris-Gris, Dr. John is perhaps best known for his recordings in the period 1972-74. 1972’s Dr. John’s Gumbo, an album covering several New Orleans R&B standards with only one original, is considered a cornerstone of New Orleans music. In his 1994 autobiography, Under a Hoodoo Moon, Dr. John writes, “In 1972, I recorded Gumbo, an album that was both a tribute to and my interpretation of the music I had grown up with in New Orleans in the late 1940s and 1950s. I tried to keep a lot of little changes that were characteristic of New Orleans, while working my own funknology on piano and guitar.” The lead single from the album, “Iko Iko“, broke into the Billboard Hot 100 singles chart, eventually reaching #71. In 2003, Dr. John’s Gumbo was ranked number 404 on Rolling Stone magazine’s list of the 500 greatest albums of all time.

With Gumbo, Dr. John expanded his career beyond the psychedelic voodoo music and theatrics which had driven his career since he took on the Dr. John persona, although it always remained an integral part of his music and identity. It was not until 1998’s Anutha Zone that he again concentrated on this aspect of his music wholly for a full album. “After we cut the new record”, he wrote, “I decided I’d had enough of the mighty-coo-de-fiyo hoodoo show, so I dumped the Gris-Gris routine we had been touring with since 1967 and worked up a new act—a Mardi Gras revue featuring the New Orleans standards we had covered in Gumbo.”

Westerhout 40 or W40 (also designated Sharpless 64, Sh2-64, or RCW 174) is a star-forming region in our galaxy located in the constellation Serpens Cauda. In this region, interstellar gas forming a diffuse nebula surrounds a cluster of several hundred new-born stars. The distance to W40 is 436±9 pc (1420±30 light-years), making it one of the closest sites of formation of high-mass O- and B-type stars. The Ionizing radiationfrom the massive OB stars has created an H II region, which has an hour-glass morphology.

Dust from the molecular cloud in which W40 formed obscures the nebula, rendering W40 difficult to observe at visible wavelengths of light. Thus, X-ray, infrared, and radio observations have been used to see through the molecular cloud to study the star-formation processes going on within.

W40 appears near to several other star-forming regions in the sky, including an infrared dark cloud designated Serpens South and a young stellar cluster designated the Serpens Main Cluster. Similar distances measured for these three star-forming regions suggests that they are near to each other and part of the same larger-scale collection of clouds known as the Serpens Molecular Cloud.

Bat-Sheva Ofra Haza-Ashkenazi, known professionally as Ofra Haza (Hebrew: עפרה חזה‎; 19 November 1957 – 23 February 2000) was an Israeli singer, actress and Grammy Award-nominee recording artist, commonly known as “The Israeli Madonna“, or “Madonna of the East”. Her voice has been described as a “tender” mezzo-soprano.

Haza’s music is known as a mixture of traditional and commercial singing styles, fusing elements of Eastern and Western instrumentation, orchestration and dance-beat. She became successful in Europe and the Americas; during her singing career, she earned many platinum and gold discs. Bat-Sheva Ofra Haza was born in Tel Aviv, Israel, to Yemeni-Jewish parents who immigrated to Israel. She was the youngest of nine children (six sisters and two brothers) to Yefet and Shoshana Haza. They were raised in a Masorti household in the Hatikva Quarter, then an impoverished neighborhood of Tel Aviv.

At age 12, Haza joined a local theater troupe, and manager Bezalel Aloni noticed her singing talent. He staged many of his productions around her, and later became her manager and mentor. At 19, she was Israel’s foremost pop star, and music journalists retrospectively described her as “the Madonna of the East”.

Haza completed her Israeli military service in 1979.

Kenny Werner (born November 19, 1951) is an American jazz pianist, composer, and author. Born in Brooklyn, New York, on November 19, 1951 and then growing up in Oceanside, Long Island, Werner began playing and performing at a young age, first recording on television at the age of 11. Although he studied classical piano as a child, he enjoyed playing anything he heard on the radio and improvisation was his true calling. In high school and his first years of college he attended the Manhattan School of Music as a classical piano major.

His aptitude for improvisation led him to the Berklee College of Music in 1970, where he met and studied with his first piano/spiritual teacher, Madame Chaloff. From Boston, Werner traveled to Brazil with the saxophonist Victor Assis Brasil. There he met Assis’s twin brother, Brazilian pianist Joao Assis Brasil. His studies with Joao and Madame Chaloff would lead to the writing of the book Effortless Mastery.

José Molina [Quijada], Spanish-born American flamenco dancer, born in Madrid, Spain (d. 2018)

Just as Billy Elliot discovered his love of dance on the way to his boxing lesson, José Molina Quijada, born in Madrid on November 19, 1936, was enrolled in a boxing school which shared space with Spanish dancers. In 1945, the nine year old Molina saw Pilar López and José Greco perform and knew that dance was his future.

His father, Ramón Molina, a Republican who was imprisoned for three years during the Spanish Civil War and then worked in a fish market, was adamantly opposed, but his mother, Carmen Quijada, accepted his ambition on the condition that he pay for his classes by working mornings in the fish market. For six years José earned just enough to pay for classes with Pilar Monterde in neo-Classical Spanish dance, Escuela Bolera, Ballet and Flamenco. Soledad Miralles, dancing in Madrid at the Lope de Vega Theatre, gave Molina his first break. From age sixteen to nineteen, he toured nightclubs throughout Europe and the Middle East as a Flamenco and Classical Spanish dance soloist accompanied by piano and orchestra.

In 1956, he came to New York to audition, successfully, for The Tonight Show, to which he returned as a regular guest and performer, as well as appearances on the Ed Sullivan and Merv Griffin television shows. José Greco presented him as a soloist in his internationally touring company for five years before he formed his own company, José Molina Bailes Españoles, in 1961. Molina’s only sibling Ramón played guitar in his company in the early years.

For more than 30 years his company toured North America annually, performing in 49 states and over 400 cities, including engagements at NYC’s Carnegie Hall and with the Boston Pops. His fame led to featured roles in a commercial for Levi Jeans and a music video for Carly Simon.

Molina’s charisma on stage transferred to the classroom where he drew countless students in NYC as well as in residencies across the US, including Miami, FL and Portland, OR. His classes included many he groomed to be professional dancers as well as others for whom flamenco was simply a personal passion. He welcomed everyone, demanding discipline and technical precision while teaching with a unique warmth, charm, and sense of humor.

In 2012 he became a US citizen and maintained dual citizenship.