mick laBriola

Roddis Franklin Drake (October 8, 1932 – July 29, 1988) professionally known as Pete Drake, was a Nashville-based American record producer and pedal steel guitar player.

One of the most sought-after backup musicians of the 1960s, Drake played on such hits as Lynn Anderson‘s “Rose Garden“, Charlie Rich‘s “Behind Closed Doors“‘ Bob Dylan‘s “Lay Lady Lay“‘ and Tammy Wynette‘s “Stand by Your Man“. Drake was born in Augusta, Georgia, the son of a Pentecostal preacher, in 1932. In 1950 he drove to Nashville, heard Jerry Byrd on the Grand Ole Opry, and was inspired to buy a steel guitar. Later in the 1950s he organized the country music band Sons of the South in Atlanta, Georgia, which included future country stars like Jerry Reed, Doug Kershaw, Roger Miller, Jack Greene, and Joe South.

In 1959 he moved to Nashville, joined the Nashville A-Team, and went on the road as a backup musician for Don Gibson, Marty Robbins. and others. In 1964 he had an international hit on Smash Records with his “talking steel guitar” playing on Bill Anderson’s 1963 album Still.

The single, “Forever“, charted in March 1964 and reached #25 in the Billboard Hot 100, eventually sold over one million copies, and was awarded a gold disc. His innovative use of what would be called the talk box, later used by Peter Frampton, Joe Walsh, Roger Troutman and Jeff Beck, added novel effects to the pedal steel guitar. The album Pete Drake and His Talking Steel Guitar, harkened back to the sounds of Alvino Rey and his wife Luise King, who first modulated a guitar tone with the signal from a throat microphone in 1939. The unique sound of the talk box with a steel guitar was new in the 1960s, and it made the sounds of vocalizing along with the strings of the steel guitar.

Park Frederick “Pepper” Adams III (October 8, 1930 – September 10, 1986) was an American jazz baritone saxophonist and composer. He composed 42 pieces, was the leader on eighteen albums spanning 28 years, and participated in 600 sessions as a sideman. He worked with an array of musicians, and had especially fruitful collaborations with trumpeter Donald Byrd and as a member of the Thad Jones/Mel Lewis Big Band. Pepper Adams was born in Highland Park, Michigan, to father Park Adams II and mother Cleo Marie Coyle. Both of his parents were college graduates, with each spending some time at the University of Michigan. Due to the onset of the Great Depression, Adams’ parents separated to allow his father to find work without geographic dependence. In the fall of 1931 Adams moved with his mother to his extended family’s farm near Columbia City, Indiana, where food and support were more readily available. In 1933 Adams began playing piano. His family moved to Rochester, New York, in 1935 and in that city he began his musical efforts on tenor sax and clarinet. Two years later Adams began deepening his developing passion for music by listening to Fats Waller‘s daily radio show. He was also influenced at a young age by listening to Fletcher Henderson‘s big band radio broadcasts out of Nashville, Jimmie Lunceford, Duke Ellington, and Cab Calloway. Adams would later describe “[his] time up until the age of eight or so [as] really just traveling from one place to another”. As early as 4th grade, Adams sold cigarettes and candy door-to-door in order to contribute to his family’s income for essential items.

https://www.youtube.com/watch?v=zDQ-hea-zx8

Clarence Williams (October 8, 1893 – November 6, 1965) was an American jazz pianist, composer, promoter, vocalist, theatrical producer, and publisher. Williams was born in Plaquemine, Louisiana, ran away from home at age 12 to join Billy Kersands‘ Traveling Minstrel Show, then moved to New Orleans. At first, Williams worked shining shoes and doing odd jobs, but soon became known as a singer and master of ceremonies. By the early 1910s, he was a well-regarded local entertainer also playing piano, and was composing new tunes by 1913. Williams was a good businessman and worked arranging and managing entertainment at the local African-American vaudeville theater as well as at various saloons and dance halls around Rampart Street, and at clubs and houses in Storyville.

Williams started a music publishing business with violinist/bandleader Armand J. Piron in 1915, which by the 1920s was the leading African-American owned music publisher in the country. He toured briefly with W. C. Handy, set up a publishing office in Chicago, then settled in New York in the early 1920s. In 1921, he married blues singer and stage actress Eva Taylor, with whom he would frequently perform.

He was one of the primary pianists on scores of blues records recorded in New York during the 1920s. He supervised African-American recordings (the 8000 race series) for the New York offices of Okeh phonograph company in the 1920s in the Gaiety Theatre office building in Times Square. He recruited many of the artists who performed on that label. He also recorded extensively, leading studio bands frequently for OKeh, Columbia and occasionally other record labels.

Peter Edward “Ginger” Baker (19 August 1939 – 6 October 2019) was an English drummer and a co-founder of the rock band Cream. His work in the 1960s and 1970s earned him the reputation of “rock’s first superstar drummer”, for a style that melded jazz and African rhythms and pioneered both jazz fusion and world music.

Baker began playing drums at age 15, and later took lessons from English jazz drummer Phil Seamen. In the 1960s he joined Blues Incorporated, where he met bassist Jack Bruce. The two clashed often, but would be rhythm section partners again in the Graham Bond Organisation and Cream, the latter of which Baker co-founded with Eric Clapton in 1966. Cream achieved worldwide success but lasted only until 1968, in part due to Baker’s and Bruce’s volatile relationship. After briefly working with Clapton in Blind Faith and leading Ginger Baker’s Air Force, Baker spent several years in the 1970s living and recording in Africa, often with Fela Kuti, in pursuit of his long-time interest in African music. Among Baker’s other collaborations are his work with Gary Moore, Masters of Reality, Public Image Ltd, Hawkwind, Atomic Rooster, Bill Laswell, jazz bassist Charlie Haden, jazz guitarist Bill Frisell and Ginger Baker’s Energy.

Baker’s drumming is regarded for its style, showmanship, and use of two bass drums instead of the conventional one. In his early days, he performed lengthy drum solos, most notably in the Cream song “Toad“, one of the earliest recorded examples in rock music. Baker was an inductee of the Rock and Roll Hall of Fame as a member of Cream, of the Modern Drummer Hall of Fame in 2008,^[4] and of the Classic Drummer Hall of Fame in 2016.Baker was noted for his eccentric, often self-destructive lifestyle, and he struggled with heroin addiction for many years. He was married four times and fathered three children.

Arp 272 is a pair of interacting galaxies consisting of the two spiral galaxies NGC 6050 (left) and IC 1179 (right). Arp 272 lies around 490 million light years from Earth in the constellation of Hercules. The galaxies are part of the Hercules Cluster, which is itself part of the CfA2 Great Wall.

The two galaxies in Arp 272 are in physical contact through their spiral arms. A third galaxy can be seen at the top of them; that galaxy is also interacting with them. Arp 272 is located some 450 million light-years away from Earth.

Larry Young (also known as Khalid Yasin [Abdul Aziz]; 7 October 1940 in Newark, New Jersey – 30 March 1978 in New York City) was an American jazz organist and occasional pianist. Young pioneered a modal approach to the Hammond B-3 (in contrast to Jimmy Smith‘s soul jazz style). However, he did also play soul jazz, among other styles.

Young played with various R&B bands in the 1950s before gaining jazz experience with Jimmy Forrest, Lou Donaldson, Kenny Dorham, Hank Mobleyand Tommy Turrentine. Recording as a leader for Prestige from 1960, Young made a number of soul jazz discs, Testifying, Young Blues and Groove Street. When Young signed with Blue Note around 1964, his music began to show the marked influence of John Coltrane. In this period, he produced his most enduring work. He recorded several times as part of a trio with guitarist Grant Green and drummer Elvin Jones, occasionally augmented by additional players; most of these albums were released under Green’s name, though Into Somethin’ (with Sam Rivers on saxophone) became Young’s Blue Note debut. Unity, recorded in 1965, remains his best-known album; it features a front line of Joe Henderson and the young Woody Shaw. Subsequent albums for Blue Note (Contrasts, Of Love and Peace, Heaven On Earth, Mother Ship) also drew on elements of the ’60s avant-garde and utilised local musicians from Young’s hometown of Newark. Young then became a part of some of the earliest fusion groups: first on Emergency! with the Tony Williams Lifetime (with Tony Williams and John McLaughlin) and also on Miles Davis‘s Bitches Brew. His sound with Lifetime was made distinct by his often very percussive approach and often heavy use of guitar and synthesizer-like effects. He is also known for a jam he recorded with rock guitarist Jimi Hendrix, which was released after Hendrix’s death on the album Nine to the Universe. In March 1978 he checked into the hospital for stomach pains. He died there on March 30, 1978, while being treated for what is said to be pneumonia. However, the actual cause of his death is unclear.

Mel Brown (October 7, 1939 – March 20, 2009) was an American-born blues guitarist and singer. Brown was nominated for a Juno Award in both 2001 and 2002. For many years in the 1980s and 1990s, Brown was a prominent member of the house band at Antone’s Night Club in Austin, Texas. Brown died aged 69, on March 20, 2009, in Kitchener, Ontario, of complications from emphysema. One of his most celebrated tracks is the 11+ minute guitar solo, “Eighteen Pounds of Unclean Chitluns”, which is on I’d Rather Suck My Thumb(1970), and was reissued as the lead track (and title) on a BluesWay Records collection released in 1973. A documentary film, Love Lost & Found: The Story of Mel Brown directed by Sean Jasmins for Blue Fusion Productions was granted a theatrical release in 2014. On June 25, 2019, The New York Times Magazine listed Mel Brown (guitarist) among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

Jonathan David Samuel Jones (October 7, 1911 – September 3, 1985) was an American jazz drummer. A band leader and pioneer in jazz percussion, Jones anchored the Count Basie Orchestra rhythm section from 1934 to 1948. He was sometimes known as Papa Jo Jones to distinguish him from younger drummer Philly Joe Jones.

Born in Chicago, Illinois, Jones moved to Alabama, where he learned to play several instruments, including saxophone, piano, and drums. He worked as a drummer and tap-dancer at carnival shows until joining Walter Page‘s band, the Blue Devils in Oklahoma City in the late 1920s. He recorded with trumpeter Lloyd Hunter‘s Serenaders in 1931, and later joined pianist Count Basie‘s band in 1934. Jones, Basie, guitarist Freddie Greenand bassist Walter Page were sometimes billed as an “All-American Rhythm section,” an ideal team. Jones took a brief break for two years when he was in the military, but he remained with Basie until 1948. He participated in the Jazz at the Philharmonic concert series.

He was one of the first drummers to promote the use of brushes on drums and shifting the role of timekeeping from the bass drum to the hi-hat cymbal. Jones had a major influence on later drummers such as Buddy Rich, Kenny Clarke, Roy Haynes, Max Roach, and Louie Bellson. He also starred in several films, most notably the musical short Jammin’ the Blues (1944).

https://www.youtube.com/watch?v=czxMQ6-y10s

The Horsehead Nebula is one of the most famous nebulae on the sky. It is visible as the dark indentation to the red emission nebula in the center of the above photograph. The horse-head feature is dark because it is really an opaque dust cloud that lies in front of the bright red emission nebula. Like clouds in Earth’s atmosphere, this cosmic cloud has assumed a recognizable shape by chance. After many thousands of years, the internal motions of the cloud will surely alter its appearance. The emission nebula‘s red color is caused by electrons recombining with protons to form hydrogen atoms. On the image left is the Flame Nebula, an orange-tinged nebula that also contains filaments of dark dust. Just to the lower left of the Horsehead nebula featured picture is a blueish reflection nebulae that preferentially reflects the blue light from nearby stars.

Millicent Dolly May Small, CD (born 6 October 1946), is a Jamaican singer-songwriter, best known for her 1964 recording of “My Boy Lollipop.” Small was born in Clarendon, Jamaica, the daughter of a sugar plantation overseer. Like many Jamaican singers of the era, her career began by winning the Vere Johns Opportunity Hour talent contest, which she won at the age of twelve. Wishing to pursue a career as a singer she moved to live with relatives in Love Lane in Kingston. In her teens, she recorded a duet with Owen Gray (“Sugar Plum”) in 1962 and later recorded with Roy Panton for Coxsone Dodd‘s Studio One record label as ‘Roy and Millie’. They had a local hit with “We’ll Meet”.

These hits brought her to the attention of Chris Blackwell who became her manager and legal guardian, who in late 1963 took her to Forest Hill, London, where she was given intensive training in dancing and diction. There she made her fourth recording, an Ernest Ranglin rearrangement of “My Boy Lollipop“, a song originally released by Barbie Gaye in late 1956. Released in March 1964, Small’s version was a massive hit, reaching number two both in the UK Singles Chart and in the US Billboard Hot 100, and number three in Canada. It also topped the chart in Australia. Initially it sold over 600,000 copies in the United Kingdom. Including singles sales, album usage and compilation inclusions, the song has since sold more than seven million copies worldwide. Her later recordings, “Sweet William” and “Bloodshot Eyes”, also charted in the UK, at numbers 30 and 48 respectively, and “Sweet William” also peaked at number 40 in the US, her only other American chart single. “My Boy Lollipop” re-charted in the UK in 1987 at no. 46.

Tony Oladipo Allen (born 1940 in Lagos, Nigeria) is a Nigerian drummer, composer and songwriter who currently lives and works in Paris, France. His career and life story have been documented in his 2013 autobiography Tony Allen: Master Drummer of Afrobeat, co-written with author/musician Michael E. Veal, who previously wrote a comprehensive biography of Fela Kuti.

As drummer and musical director of Fela Anikulapo Kuti’s band Africa ’70 from 1968 to 1979, Allen was one of the primary co-founders of the genre of Afrobeat music. Fela once stated that, “without Tony Allen, there would be no Afrobeat.” He has also been described by Brian Eno as “perhaps the greatest drummer who has ever lived.” A self-taught musician, Allen began playing a drum kit at the age of 18, while working as an engineer for a Nigerian radio station. Allen was influenced by music his father listened to Jùjú, a popular Yoruba music from the 1940s, but also American jazz, and the growing highlife scene in Nigeria and Ghana. Allen worked hard to develop a unique voice on the drums, feverishly studying LPs and magazine articles by Max Roach and Art Blakey, but also revolutionary Ghanaian drummer Guy Warren (later known as Kofi Ghanaba – who developed a highly sought-after sound that mixed tribal Ghanaian drumming with bop – working with Dizzy Gillespie, Charlie Parker, Thelonious Monk, and Max Roach).

https://www.youtube.com/watch?v=R70MyZpVxBE

Samuel Blythe Price (October 6, 1908 – April 14, 1992) was an American jazz, boogie-woogie and jump blues pianist and bandleader. Price’s playing is dark, mellow, and relaxed rather than percussive, and he was a specialist at creating the appropriate mood and swing for blues and rhythm and blues recordings. Price was born in Honey Grove, Texas, United States. Price formally studied the piano with Booker T. Washington‘s daughter, Portia Marshall Washington (1883–1978). In the mid-1920s, when he was employed in a Dallas music store, Price wrote to Paramount Records recommending Blind Lemon Jefferson to the label.

During his early career, he was a singer and dancer in local venues in the Dallas area. Price lived and played jazz in Kansas City, Chicago and Detroit. In 1938 he was hired by Decca Records as a session sideman on piano, assisting singers such as Trixie Smith and Sister Rosetta Tharpe.

Price was most noteworthy for his work on Decca Records with his own band, known as the Texas Bluesicians, that included fellow musicians Don Stovall and Emmett Berry. He was the accompanist on countless recording sessions for the Decca blues, race, and rhythm-and-blues catalogs, and featuring such singers as Trixie Smith (“Trixie Blues”), Blue Lu Barker (“Georgia Grind”), and Cousin Joe (“Box Car Shorty”). Price recorded under his own name, with gospel singers (Rosetta Tharpe, Evelyn Knight) and with Lester Young, toured Europe with Jimmy Rushing, appeared at numerous jazz festivals, and performed in a Broadway play starring Tallulah Bankhead (Clash By Night). Price also had a decade-long partnership with Henry “Red” Allen.

During the 1960s, he was active in the law, politics, and civil rights advocating for the homeless. In Harlem he was organizing street-level campaigns for Congressman Adam Clayton Powell Jr., President Lyndon Johnson and Senator Robert F. Kennedy.

This spectacular edge-on galaxy, called ESO 243-49, is home to a possible intermediate-mass black hole that may have been purloined from a cannibalised dwarf galaxy. The black hole, with an estimated mass of more than 1000 times that of our Sun, lies above the galactic plane. This is an unlikely place for such a massive back hole to exist. One explanation is that the black hole belonged to a small galaxy that was gravitationally torn apart by ESO 243-49. The circle identifies a unique X-ray source that pinpoints the black hole. The X-rays are believed to be radiation from a hot accretion disc around the black hole. The blue light not only comes from a hot accretion disc, but also from a cluster of hot young stars that formed around the black hole. The galaxy is 290 million light-years from Earth. Hubble can’t resolve the stars individually because the suspected cluster is too far away. Their presence is inferred from the colour and brightness of the light coming from the black hole’s location.

Delroy George Wilson CD (5 October 1948 – 6 March 1995) was a Jamaican ska, rocksteady and reggae singer. Wilson is often regarded as Jamaica’s first child star, having first found success as a teenager. His son Karl ‘Konan’ Wilson has found success as part of British duo Krept and Konan. Delroy Wilson began his recording career at the age of thirteen, while still a pupil at Boys Town Primary School.^[2] Wilson released his first single “Emy Lou”^{[citation needed]} in 1962 for record producer, Clement “Coxsone” Dodd. His early years with Coxsone yielded a number of ska hits, the biggest of which, the Lee Perry-written “Joe Liges” was an attack on rival producer and former Dodd employee Prince Buster. This was followed by another Perry-written attack on Buster, “Spit in the Sky”. Further singles followed, including “One Two Three”, “I Shall Not Remove”, “Look Who Is Back Again” (a duet with Slim Smith), and another anti-Buster song, “Prince Pharaoh”, notably the only record featuring the voice of Dodd himself. He is regarded as Jamaica’s first child star.

His voice matured as he left his teens, around the time of ska’s transition to rocksteady and this period in the late 1960s produced many hits including one of the first rocksteady records, “Dancing Mood”, “Jerk in Time” (with the Wailers), “Feel Good All Over”, “I’m Not a King”, “True Believer in Love”, “Rain From the Skies”, “Conquer Me” and “Riding for a Fall”. “Won’t You Come Home”, a duet with Ken Boothe on a rhythm originally cut by The Conquerors for Sonia Pottinger has become one of the most-versioned Jamaican tracks ever. After leaving Studio One he recorded for other labels, with varying degrees of success, and set up his own short-lived W&C label. He enjoyed success with Bunny Lee in the late 1960s and early 1970s with tracks such as “This Old Heart of Mine”, “Footsteps of Another Man”, and “Better Must Come”. His double A-side “It Hurts”/”Put Yourself in My Place” was a skinhead favourite and narrowly missed UK chart success. He recorded a version of “Run Run”, a song he had originally recorded for Dodd, for maverick producer Keith Hudson. Wilson toured the UK and recorded for Trojan Records in 1970.

In 1972, Michael Manley‘s People’s National Party chose Wilson’s “Better Must Come” as their election campaign song. The same year saw the release of one of his most popular songs, “Cool Operator”, which became his nickname. He worked with a string of producers in the years that followed, including Joe Gibbs (“Mash Up Illiteracy”, “Pretty Girl”), Gussie Clarke (“Love”), Winston “Niney” Holness (“Rascal Man”), Harry J (“Ask The Lonely”), and Joseph Hoo Kim (“It’s a Shame”).

In 1976, he recorded a cover of The Wailers‘ “I’m Still Waiting” for Lloyd Charmers, which was hugely popular, and enjoyed some cross-over success, and was followed by the album Sarge, which is considered one of his strongest. Also a Bob Andy produced song, “The Last Thing on My Mind” rose to number one in Jamaica. Wilson continued to be successful until the end of the decade, but his career floundered during the early 1980s, with releases less common. His fortunes revived in the digital age with releases for King Jammy (“Don’t Put The Blame on Me”) and Bunny Lee (“Ease Up”), with new albums following, but he again drifted out of the limelight, with his health declining, and is best remembered for his earlier work. Wilson is referenced by The Clash in their 1978 track “(White Man) In Hammersmith Palais“. Delroy Wilson died at the age of 46 on 6 March 1995 at Kingston‘s UWI hospital, of complications from cirrhosis of the liver.