mick laBriola

Willem Bernard “Pim” Jacobs (29 October 1934 – 3 July 1996) was a Dutch jazz pianist, composer and television presenter. Jacobs was born on 29 October 1934 in Hilversum, the Netherlands. His parents were artistic. He started playing the piano at the age of six. His brother, Ruud, was born in 1938 and became a jazz bassist. Pim and Ruud formed a trio with drummer Wessel Ilcken in 1954. The band grew with the addition of guitarist Wim Overgaauw and Ilcken’s wife, Rita Reys. The trio recorded with Herbie Mann in 1956. Following Ilcken’s death in 1957, Pim Jacobs and Reys performed as a duo or trio with Overgaauw, and married in 1960. They often recorded and played jazz festivals in Europe and New Orleans, “their typical program featuring arrangements of vocal music standards as well as bebop material”. He also composed film music.

“Jacobs also worked as a producer of non-jazz radio and television programs from 1964, briefly operated the Go Go Club in Loosdrecht, near Hilversum, from 1967, and recorded with Herbie Mann, Bob Cooper, Louis van Dijk, and his own trio.” For television, he hosted the music show Music for All. In the 1970s and 1980s he presented concerts in schools.

John Haley “Zoot” Sims (October 29, 1925 – March 23, 1985) was an American jazz saxophonist, playing mainly tenor but also alto (and, later, soprano) saxophone. He first gained attention in the “Four Brothers” sax section of Woody Herman‘s big band, afterward enjoying a long solo career, often in partnership with fellow saxmen Gerry Mulligan and Al Cohn, and the trombonist Bob Brookmeyer. Sims was born in 1925 in Inglewood, California to vaudeville performers Kate Haley and John Sims. His father was a vaudeville hoofer, and Sims prided himself on remembering many of the steps his father taught him. Growing up in a performing family, he learned to play drums and clarinet at an early age. His brother was the trombonist Ray Sims.

Following in the footsteps of Lester Young, Sims developed into an innovative tenor saxophonist. Throughout his career, he played with big bands, starting with those of Kenny Baker and Bobby Sherwood after dropping out of high school after one year. He played with Benny Goodman‘s band in 1943 and replaced his idol Ben Webster in Sid Catlett‘s Quartet in 1944.

Sims served as a corporal in the United States Army Air Force from 1944 to 1946,^[5] then returned to music in the bands of Artie Shaw, Stan Kenton, and Buddy Rich. He was one of Woody Herman‘s “Four Brothers”. He frequently led his own combos and toured with his friend Gerry Mulligan‘s sextet, and later with Mulligan’s Concert Jazz Band. Sims rejoined Goodman in 1962 for a tour of the Soviet Union.

In the 1950s and ’60s, Sims had a long, successful partnership as co-leader of a quintet with Al Cohn, which recorded under the name “Al and Zoot”. The group was a favorite at New York City’s Half Note Club. Always fond of the higher register of the tenor sax, he also played alto and late in his career added soprano saxophone to his performances, while recording a series of albums for the Pablo Records label of the impresario Norman Granz. He also played on some of Jack Kerouac‘s recording.

Richard Bona (born 28 October 1967 in Minta, Cameroon) is a virtuoso Cameroonian Grammy Award-winning jazz bassist.

Bona Pinder Yayumayalolo was born in Minta, Cameroon, into a family of musicians, which enabled him to start learning music from a young age. His grandfather was a griot – a West African singer of praise and storyteller – and percussionist, as his mother was a singer. When he was four years old, Bona started to play the balafon. At the age of five, he began performing at his village church. Not being wealthy, Bona made many of his own instruments: including flutes and guitars (with cords strung over an old motorcycle tank).

His talent was quickly noticed, and he was often invited to perform at festivals and ceremonies. Bona began learning to play the guitar at the age of 11, and in 1980, aged just 13, he assembled his first ensemble for a French jazz club in Douala. The owner befriended him and helped him discover jazz music, in particular that of Jaco Pastorius, which inspired Bona to switch his focus to the electric bass. Bona emigrated to Germany at the age of 22 to study music in Düsseldorf, soon relocating to France, where he furthered his studies in music.

While in France, he regularly played in various jazz clubs, sometimes with players such as Manu Dibango, Salif Keita, Jacques Higelin and Didier Lockwood.

In 1995, Bona left France and established himself in New York, where he still lives and works. In New York he played bass guitar with artists including Joe Zawinul, Larry Coryell, Michael and Randy Brecker, Mike Stern, George Benson, Branford Marsalis, Chaka Khan, Bobby McFerrin, and Steve Gadd.

In 1998, Bona was the Musical Director on Harry Belafonte‘s European Tour.

Glen Moore (born October 28, 1941 in Portland, Oregon) is a jazz bassist who occasionally performs on piano, flute and violin.

His performing career began at age 14 with the Young Oregonians in Portland, Oregon where he met and played with Native American saxophonist, Jim Pepper. He graduated with a degree in History and Literature from the University of Oregon. His formal bass instruction started after college with Jerome Magil in Portland, James Harnett in Seattle, Gary Karr in New York, Plough Christenson in Copenhagen, Ludwig Streicher in Vienna and Francois Rabbath in Hawaii. For the past 30 years, Glen has played a Klotz bass fiddle crafted in Tyrol circa 1715 on which he has made extensive use of a unique tuning with both a low and high C string.

Moore is a founding member of Oregon, but worked also regularly with Rabih Abou-Khalil, Vasant Rai, Nancy King and Larry Karush.

Charles Edward Daniels (born October 28, 1936) is an American singer, songwriter and multi-instrumentalist known for his contributions to Southern rock, country, and bluegrass music. He is best known for his number-one country hit “The Devil Went Down to Georgia“. Daniels has been active as a singer and musician since the 1950s. He was inducted into the Cheyenne Frontier Days Hall of Fame in 2002, the Grand Ole Opry in 2008, the Musicians Hall of Fame and Museum in 2009, and the Country Music Hall of Fame in 2016. Daniels was born October 28, 1936, in Wilmington, North Carolina, and raised on a musical diet that included Pentecostal gospel, local bluegrass bands, and the rhythm & blues and country music from Nashville’s 50,000-watt radio stations WLAC and WSM (AM). In 2016, he shared memories of his youth and baseball in Wilmington when he wrote the foreword for a book on the Tobacco State League. As a teenager, Daniels moved to the small town of Gulf, Chatham County, North Carolina. He graduated from high school in 1955. Already skilled on guitar, fiddle, banjo, and mandolin, he formed a rock ‘n’ roll band and hit the road. In 1964, Daniels co-wrote “It Hurts Me” (a song which Elvis Presley recorded) with his friend, producer Bob Johnston, under Bob’s wife’s name, Joy Byers. He worked as a Nashville session musician, often for Johnston, including playing guitar and electric bass on three Bob Dylan albums during 1969 and 1970, and on recordings by Leonard Cohen. Daniels recorded his first solo album, Charlie Daniels, in 1971 (see 1971 in country music). He also produced the 1969 album by the Youngbloods, Elephant Mountain.

Andrew W. Bey (born October 28, 1939 in Newark, New Jersey) is an American jazz singer and pianist. Bey has a wide vocal range, with a four-octave baritone voice.

He worked on the 1959/1960 television show Startime with Connie Francis, and sang for Louis Jordan. At age 17, he formed a trio with his siblings Salome Bey and Geraldine Bey (de Haas) called Andy and the Bey Sisters. The trio went on a 16-month tour of Europe. The jazz trumpeter Chet Baker 1988 documentary Let’s Get Lost includes footage of Bey and his sisters delighting a Parisian audience. The trio recorded three albums (one for RCA Victor in 1961 and two for Prestige in 1964 and 1965) before breaking up in 1967. Bey also worked with Horace Silver and Gary Bartz.

In 1973, Bey and Dee Dee Bridgewater were the featured vocalists on Stanley Clarke‘s album Children of Forever. Later, Bey recorded the album Experience and Judgment (1974), which was influenced by Indian music.^[1] He then returned to hard bop, and recorded covers of music by non-jazz musicians, such as Nick Drake.

In 1976, Bey performed in a theatre production of Adrienne Kennedy‘s A Rat’s Mass directed by Cecil Taylor at La MaMa Experimental Theatre Club in the East Village of Manhattan. Musicians Rashid Bakr, Jimmy Lyons, Karen Borca, David S. Ware, and Raphe Malik also performed in the production. Taylor’s production combined the original script with a chorus of orchestrated voices used as instruments.

While braving the cold to watch the skies above northern Canada in the Northwest Territories early one morning in 2013, a most unusual aurora appeared. The aurora definitely appeared to be shaped like something , but what? Two ghostly possibilities recorded by the astrophotographer were “witch” and “goddess of dawn”, but please feel free to suggest your own Halloween-enhanced impressions. Regardless of fantastical pareidolic interpretations, the pictured aurora had a typical green color and was surely caused by the scientifically commonplace action of high energy particles from space interacting with oxygen in Earth’s upper atmosphere. In the image foreground, at the bottom, is a frozen Alexandra Falls, while evergreen trees cross the middle.

Philip Catherine was born in London to an English mother and Belgian father and was raised in Brussels. His grandfather played violin in the London Symphony Orchestra. Catherine started on guitar in his teens, and by seventeen he was performing professionally at local venues.

He released his debut album, Stream, in 1972. During the next few years, he studied at Berklee College of Music in Boston and with Mick Goodrickand George Russell. In 1976, he and guitarist Larry Coryell recorded and toured as an acoustic duo. The following year he recorded with Charles Mingus, who dubbed him “Young Django”. In the early 1980s, he toured briefly with Benny Goodman. He was in trio with Didier Lockwood and Christian Escoudé, then in a trio with Chet Baker. During the 1990s, he recorded three albums with trumpeter Tom Harrell.

Catherine has also worked with Lou Bennett, Kenny Drew, Dexter Gordon, Stéphane Grappelli, Karin Krog, Paul Kuhn, Sylvain Luc, Michael Mantler, Charlie Mariano, Palle Mikkelborg, Niels-Henning Ørsted Pedersen, Enrico Rava, Toots Thielemans, and Miroslav Vitous.

Babs Gonzales (October 27, 1919 – January 23, 1980), born Lee Brown, was an American bebop vocalist, poet, and self-published author. His books portrayed the jazz world that many black musicians struggled in, portraying disk jockeys, club owners, liquor, drugs, and racism. “There are jazz people whose influence can be described as minor,” wrote Val Wilmer, “yet who are well-known to musicians and listeners alike … You’d have to be hard-pressed to ignore the wealth of legend that surrounds Babs Gonzales.” Jazz writer Jack Cooke explained that Gonzales “assumed the role of spokesman for the whole hipster world… [becoming] something more than just a good and original jazz entertainer: the incarnation of a whole social group.”

Gonzales was born Lee Brown in Newark, New Jersey. He was raised solely by his mother Lottie Brown alongside two brothers. Of his nickname, Gonzales explained, “my brothers are basketball players… there was a basketball star in America named Big Babbiad, and so they were called Big Babs, Middle Babs, and I’m Little Babs.” As a young man, Gonzales worked as band boy for swing bandleader Jimmie Lunceford, after which he relocated to Los Angeles. To circumvent racial segregation, Gonzales wore a turban and used the pseudonym Ram Singh, passing as an Indian national. Using this identity, Gonzales worked at the Los Angeles Country Club until becoming a private chauffeur to movie star Errol Flynn. Whilst hospitalized for appendicitis in 1944, he assumed the Spanish surname Gonzales as he “didn’t want to be treated as a Negro,” later explaining that “they was Jim Crowing me in ofay hotels and so I said if it’s just simple enough to change my last name, why not?” After the outbreak of World War II, Gonzales was forced to return home to Newark to report for military duty, but was declared unfit for service after arriving to his inspection dressed as a woman.

George Wallington (October 27, 1924, – February 15, 1993) was an American jazz pianist and composer. Wallington was born Giacinto Figlia (some sources give “Giorgio”) in Sicily, and then moved to the United States (New York) with his family in 1925. His father sang opera and introduced his son to classical music, but Wallington listened to jazz after hearing the music of saxophonist Lester Young. He said that he acquired the name Wallington in high school: “I like to wear flashy clothes […] and the kids in the neighborhood would say, ‘Hey, look at Wallington!'” He left school at the age of 15 to play piano in New York. From 1943 to 1953 Wallington played with Dizzy Gillespie, Joe Marsala, Charlie Parker, Serge Chaloff, Allan Eager, Kai Winding, Terry Gibbs, Brew Moore, Al Cohn, Gerry Mulligan, Zoot Sims, and Red Rodney, and recorded as a leader for Savoy and Blue Note (1950). Wallington toured Europe in 1953 with Lionel Hampton‘s big band. In 1954-60 he led bands in New York that contained rising musicians including Donald Byrd, Jackie McLean, and Phil Woods.

From 1954 to 1960 he led groups in New York that included newcomers Donald Byrd, Jackie McLean, and Phil Woods, recording as leader with these musicians for the Prestige and Atlantic labels. A Blue Note septet session from 1954 George Wallington Showcase is not included in this discography.

https://www.youtube.com/watch?v=Cfaa44LUsM8

Albert Einstein’s general theory of relativity, published over 100 years ago, predicted the phenomenon of gravitational lensing. And that’s what gives these distant galaxies such a whimsical appearance, seen through the looking glass of X-ray and optical image data from the Chandra and Hubble space telescopes. Nicknamed the Cheshire Cat galaxy group, the group’s two large elliptical galaxies are suggestively framed by arcs.The arcs are optical images of distant background galaxies lensed by the foreground group’s total distribution of gravitational mass. Of course, that gravitational mass is dominated by dark matter. The two large elliptical “eye” galaxies represent the brightest members of their own galaxy groups which are merging. Their relative collisional speed of nearly 1,350 kilometers/second heats gas to millions of degrees producing the X-ray glow shown in purple hues. Curiouser about galaxy group mergers? The Cheshire Cat group grins in the constellation Ursa Major, some 4.6 billion light-years away.

Astronomers think that in the future the “Cheshire Cat” group will become what is known as a fossil group, a gathering of galaxies that contains one giant elliptical galaxy and other much smaller, fainter ones. Today, researchers know each “eye” galaxy is the brightest member of its own group of galaxies and these two groups are racing toward one another at over 300,000 miles per hour. Data from Chandra (purple), which has been combined with optical data from Hubble, show hot gas that has been heated to millions of degrees, which is evidence that the galaxy groups are slamming into one another. Chandra’s X-ray data also reveal that the left “eye” of the Cheshire Cat group contains an actively feeding supermassive black hole at the center of the galaxy.

William Earl “Bootsy” Collins (born October 26, 1951) is an American musician and singer-songwriter.

Rising to prominence with James Brown in the early 1970s, and later with Parliament-Funkadelic, Collins’s driving bass guitar and humorous vocals established him as one of the leading names in funk. He is a member of the Rock and Roll Hall of Fame, inducted in 1997 with 15 other members of Parliament-Funkadelic.

Collins was born in Cincinnati, Ohio, United States, on October 26, 1951. He said that his mother named him “Bootsy”. “I asked her why,” he explained to a journalist, “and she just said, ‘Because you looked like a Bootsy.’ I left it at that.”

His brother Phelps “Catfish” Collins (1943–2010) was also a musician. He and Bootsy were once part of James Brown’s backing band, The Pacemakers.

With his elder brother Phelps “Catfish” Collins, Frankie “Kash” Waddy, and Philippé Wynne, Collins formed a funk band, The Pacemakers, in 1968.In March 1970, after most of the members of James Brown’s band quit over a pay dispute, The Pacemakers were hired as Brown’s backing band and they became known as The J.B.’s. (They are often referred to as the “original” J.B.’s to distinguish them from later line-ups that went by the same name.) Although they worked for Brown for only 11 months, the original J.B.’s played on some of Brown’s most intense funk recordings, including “Get Up (I Feel Like Being a) Sex Machine“, “Bewildered (1970)”, “Super Bad“, “Soul Power“, “Talkin’ Loud and Sayin’ Nothing“, and two instrumental singles, the much-sampled “The Grunt” and “These Are the J.B.’s”.

Milton Nascimento (Portuguese pronunciation: [miwˈtõ nasiˈmẽtu]; born October 26, 1942) is a prominent Brazilian singer-songwriter and guitarist. Milton Nascimento was born in Rio de Janeiro. His mother, Maria Nascimento, was a maid. As a baby, Nascimento was adopted by a couple who were his mother’s former employers; Josino Brito Campos, a bank employee, mathematics teacher and electronic technician and Lília Silva Campos, a music teacher and choir singer. When he was 18 months old, Nascimento’s biological mother died, and he moved with his adoptive parents to the city of Três Pontas, in the state of Minas Gerais.

Nascimento was an occasional DJ on a radio station that his father once ran. He lived in the boroughs of Laranjeiras and Tijuca in Rio de Janeiro.

In the early stages of his career, Nascimento played in two samba groups, Evolussamba and Sambacana. In 1963, he moved to Belo Horizonte, where his friendship with Lô Borges led to the Clube da Esquina (“street corner club”) movement. Members included Beto Guedes, Toninho Horta, Wagner Tiso, and Flávio Venturini, with whom he shared compositions and melodies. One composition was “Canção do Sal”, which was first interpreted by singer Elis Regina in 1966 and led to a television appearance with Nascimento. The collective, as well as some others, released Clube da Esquina in 1972. Several hit singles were also released.

Nascimento’s compositions include songs such as “Maria, Maria”, “Canção da América” (“Song from America”/”Unencounter”), “Travessia” (“Bridges”), “Bailes da Vida”, and “Coração de Estudante” (“Student’s Heart”), a song about the funeral of Edson Luís, who was killed by police officers in 1968. The song became the hymn for the Diretas Já social-political campaign in 1984, was played at the funeral of the late President of Brazil Tancredo Neves the next year, and was also played at Ayrton Senna‘s funeral.