mick laBriola

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.

Steven Haworth Miller (born October 5, 1943) is an American guitarist, singer, and songwriter, known as leader of the Steve Miller Band. He began his career in blues and blues rock and evolved to a more pop-oriented sound which, from the mid-1970s through the early 1980s, resulted in a series of highly popular singles and albums. Miller was inducted into the Rock and Roll Hall of Fame as part of their class of 2016.

Born in Milwaukee, Wisconsin, Miller received his first exposure to music from his mother, Bertha, whom he described as a remarkable jazz-influenced singer, and his physician father, George, known as “Sonny” who, in addition to his profession as a pathologist, was a jazz enthusiast and accomplished amateur recording engineer. Guitar virtuoso Les Paul and his musical partner Mary Ford were regular visitors at the Miller house. Dr. and Mrs. Miller were best man and maid of honor at the December 1949 wedding of Les Paul and Mary Ford. Les Paul heard Steve, who was six, on a wire recording made by Dr. Miller, as the youngster was “banging away” on a guitar given to him by his uncle, Dr. K. Dale Atterbury. Paul encouraged Miller to continue with his interest in the guitar … and “perhaps he will be something one day.”

In 1950, the family relocated to Texas. Sonny had many distinguished musicians come to the house to record and Steve absorbed much from many “greats” right in his living room, such as T-Bone Walker, Charles Mingus and Tal Farlow. T-Bone Walker taught Steve how to play his guitar behind his back and also with his teeth in 1952. Later in 1955, Steven began attending Dallas‘ St. Mark’s School, a non-denominational preparatory day school for boys where he formed his first band, “The Marksmen”. He taught his older brother Buddy to play the bass and also instructed his classmate, future musical star Boz Scaggs, a few guitar chords so that he could join the band. After leaving St. Mark’s — “I got kicked out”, he recalled with a laugh in a 2004 interview — he then attended a school in the Lakewood area of Dallas, Woodrow Wilson High School, from which he graduated in 1961. He was inducted into Woodrow’s Hall of Fame in 2009. Another member is Dusty Hill of ZZ Top.

https://www.youtube.com/watch?v=Rgu5zMWolGE

Chicago Blues guitar player. Born: October 5, 1935 in Greenville, MS Died: January 14, 1992 in Los Angeles, CA

Left Hand Frank was a fun loving, powerfully built bluesman who liked to amuse audiences in Chicago’s South Side blues clubs with comical Donald Duck imitations and muscle-flexing tricks. But what crowds enjoyed even more was the way Frank Craig played guitar. Employing a confident, four-fingered picking style, he played his axe upside down, like several other left-handed bluesmen, with the treble strings at the top. And he played some of the strongest, most distinctive vintage blues to be heard in Chicago. Frank worked in countless bands during his nearly 40 years in Chicago. He was probably the best musician in most of those groups. But until 1978, Frank never played guitar or sang on a record. Frank found that it was more fun to be a sideman, and he never thought much about becoming a headliner or leading a band. “Mainly, I don’t like to be worried with it,” Frank explained. “I’ve had quite a few jobs myself, but guys don’t want to act right. It’s too much of a headache. I’d switch over and put that headache on somebody else. I hate to have a headache.” So Frank left the band leading headaches to bluesmen like Junior Wells, Little Walter, Hound Dog Taylor, and Willie Cobbs. Frank was happy just to play guitar or bass as part of someone else’s band. When Frank started playing in his hometown of Greenville, Mississippi, he didn’t even have to worry about bands. He could stroll the streets, playing by himself to earn tips from passersby. He got his first guitar on his fourth birthday, October 5, 1939, and quickly learned both blues and country & western from older musicians who were always at his house buying homebrewed corn whiskey from Frank’s mother. Before moving to Chicago at the age of 14, young Frank performed at the local sheriff’s parties, at the local fairgrounds, and around the countryside, carrying his guitar with him on the bus and playing wherever people would pay to see such a child prodigy. During the early ‘50s in Chicago, Frank was still a street and house party musician, too young to be allowed in the taverns. But he lived within a block of two blues clubs, The Zanzibar and Vi’s Lounge. Frank and two teenaged friends, guitarist Eddie King and bassist Willie Black, eagerly listened at the door whenever Muddy Waters, Little Walter, Memphis Slim or Howlin’ Wolf were performing. After some intense rehearsals, the trio started playing outside The Zanzibar and Vi’s, sharing wine and whiskey with the onlookers. “We’d have a bigger crowd outside than they did inside!” Frank would laugh.
Willie Cobbs, originator of the blues standard “You Don’t Love me,” hired the young bluesmen (who had boldly named themselves the Chicago All-Stars) to work with him in the West Side clubs and on the road. Jimmy Rogers and Lee Jackson let Frank sit in on bass at The Squeeze Club, and in the mid-‘50s, Frank began a long association with his steadiest employer, guitarist James Scott, Jr., at Joe’s 1015 Club on 43rd Street. There were also gigs with Jimmy Dawkins at The Pink Poodle, with Delta bluesman Boyd Gilmore in Pine Bluff, Arkansas, and with Good Rockin’ Charles at a West Side club where the crowds “barn danced” to Frank’s country breakdowns. In the ‘60s, Frank, who was working as a manual laborer during the daytime, played with Junior Wells, Junior Simpkins, Willie Williams, Carey Bell, Little Arthur Gray, Hound Dog Taylor, Little Walter and others, including Willie Cobbs and James Scott again at times. Frank recorded, as a bass player, on an Eddie King single in 1960 and on later sessions behind Morris Pejoe, Little Eddie Newell and Willie Williams. Frank was just as active, and just as sought after by various bandleaders, in the ‘70s. He was a regular with Johnny Bernard’s group at Louise’s, Porter’s, and other South Side clubs, and continued to work on and off with James Scott. He was a familiar face at the famed Sunday afternoon jam sessions at Florence’s, where Hound Dog Taylor held forth for years. In the late ‘70s, Frank teamed up with two young white newcomers, Dimestore Fred and Pocketwatch Paul, who appeared on his recording debut on Alligator’s Living Chicago Blues series. Frank’s session proved him to be totally rooted in the raw, Delta-based Chicago style of the 1950s, bringing to mind his friends Magic Slim, Jimmy Rogers and Brewer Phillips.

James Blanton (October 5, 1918 – July 30, 1942) was an American jazz double bassist. Blanton is credited with being the originator of more complex pizzicato and arco bass solos in a jazz context than previous bassists. Blanton was born in Chattanooga, Tennessee. He originally learned to play the violin, but took up the bass while at Tennessee State University, performing with the Tennessee State Collegians from 1936 to 1937, and during the vacations with Fate Marable. Blanton left university in 1938 to play full-time in St Louis with the Jeter-Pillars Orchestra. Blanton joined Duke Ellington‘s band in 1939.^[2]:121 On November 22 of that year, Blanton and Ellington recorded two tracks – “Blues” and “Plucked Again” – which were the first commercially recorded piano–bass duets. Further duet recordings were made in 1940, and Blanton was also featured in orchestra tracks  “Blanton also took part in a few of the informal jam sessions at Minton’s Playhouse in New York that contributed to the genesis of the bop style.” He had to leave Ellington’s band near the end of 1941, because of poor health.

Ellington put Blanton front-and-center on the bandstand nightly, unheard of for a bassist at the time. Such was his importance to Ellington’s band at the time, together with tenor saxophonist Ben Webster, that it became known as the Blanton–Webster band. Blanton also played in the “small group” sessions led by Barney Bigard, Rex Stewart, Johnny Hodges, and Cootie Williams in 1940-41.

In 1941, Blanton was diagnosed with tuberculosis. Blanton died on July 30, 1942, at a sanatorium in Duarte, California, aged 23.

This image reveals a dramatic binary star system named R Aquarii, located 700 light-years from Earth, as seen in 2012 by ESO’s Very Large Telescope (VLT). R Aquarii is a so-called “symbiotic binary”, comprising two stars surrounded by a large, dynamic cloud of gas (a nebula). Systems like this contain two stars in an unequal and complex relationship. R Aquarii is made up of one hot white dwarf and one red giant. The red giant is losing matter to its small companion and occasionally ejecting matter in weird spurts, loops and trails, forming the intriguing shapes seen here. There is a lot going on between the performers in this cosmic double act. The red giant is a variable star, with a brightness that changes by a factor of 750 every year and three weeks. The faint nebula is named Cederblad 211 and is thought to be the result of a violent nova 250 years ago. Also visible is a narrow, vertical, S-shaped feature, with blobs of superheated material moving outward at tremendous speeds of 600 to 850 kilometres per second. R Aquarii was also imaged 15 years ago — and several times in the intervening period — to track its ongoing activity. The system is very dynamic and complex, and has expanded and evolved significantly in recent years (an image from 1997 can be seen here, and a comparison between the two is available here).

Edgar Gómez (born October 4, 1944) is a jazz double bassist born in Santurce, Puerto Rico, known for his work with the Bill Evans Trio from 1966 to 1977. Gómez moved with his family from Puerto Rico at a young age to New York, where he was raised. He started on double bass in the New York City school system at the age of eleven and at age thirteen went to the New York City High School of Music & Art. He played in the Newport Festival Youth Band (led by Marshall Brown) from 1959 to 1961, and graduated from Juilliard in 1963.

His résumé includes performances with jazz giants such as Miles Davis, Dizzy Gillespie, Gerry Mulligan, John Coltrane, New York Art Quartet, Benny Goodman, Buck Clayton, Ahmad Jamal, Bill Bruford, Scott LaFaro, Marian McPartland, Paul Bley, Michael Brecker, Wayne Shorter, Steps Ahead, Steve Gadd, Ron Carter, Jeremy Steig, Herbie Hancock, Tony Williams, Al Foster, Chick Corea, Mark Kramer, Eugenio Toussaint and Carli Muñoz. Time lauded, “Eddie Gómez has the world on his strings.”^{[citation needed]} He spent a total of eleven years with the Bill Evans Trio, which included performances in the United States, Europe and Asia, as well as dozens of recordings. Two of the Trio’s recordings won Grammy awards. In addition, Gómez was a member of the Manhattan Jazz Quintet.

https://www.youtube.com/watch?v=ObN55DQmFZI

Steve Swallow (born October 4, 1940) is a jazz bassist and composer noted for his collaborations with Jimmy Giuffre, Gary Burton, and Carla Bley.He was one of the first jazz double bassists to switch entirely to electric bass guitar.

Born in Fair Lawn, New Jersey, Swallow studied piano and trumpet, as a child, before turning to the double bass^[1] at age 14. While attending a prep school, he began trying his hand in jazz improvisation. In 1960, he left Yale, where he was studying composition, and settled in New York City, playing at the time in Jimmy Giuffre‘s trio along with Paul Bley. After joining Art Farmer‘s quartet in 1963, Swallow began to write. It is in the 1960s that his long-term association with Gary Burton‘s various bands began.

In the early 1970s, Swallow switched exclusively to electric bass guitar, of which he prefers the five-string variety. Along with Monk Montgomery and Bob Cranshaw, Swallow was among the first jazz bassists to do so (with much encouragement from Roy Haynes, one of Swallow’s favorite drummers). He plays with a pick (made of copper by Hotlicks), and his style involves intricate solos in the upper register; he was one of the early adopters of the high C string on a bass guitar.

In 1974–1976, Swallow taught at the Berklee College of Music. He contributed several of his compositions to the Berklee students who assembled the first edition of The Real Book. He later recorded an album, Real Book, with the picture of a well-worn, coffee-stained book on the cover.

In 1978 Swallow became a member of Carla Bley‘s band. He has been Bley’s romantic partner since the 1980s. He toured extensively with John Scofield in the early 1980s, and has returned to this collaboration several times over the years.

Swallow has consistently won the electric bass category in Down Beat yearly polls, both Critics’ and Readers’, since the mid-80s. His compositions have been covered by, among others, Jim Hall (who recorded his very first tune, “Eiderdown”), Bill Evans, Chick Corea, Stan Getz and Gary Burton.

Amos Leon Thomas Jr. (October 4, 1937 – May 8, 1999), better known by his stage name Leon Thomas, was an American jazz and blues vocalist, born in East St. Louis, Illinois, and known for his bellowing glottal-stop style of free jazz singing in the late 1960s and 1970s. Leon Thomas was born Amos Thomas, Jr. on October 4, 1937, in East St. Louis, Illinois. He studied music at Tennessee State University. At the time of his studies, he had begun a singing career as a guest vocalist for the jazz bands of percussionist Armando Peraza, saxophonist Jimmy Forest, and guitarist Grant Green. His musical development at this time was shaped in part by seeing saxophonist John Coltrane perform in trumpeter Miles Davis‘s sextet during the late 1950s. Thomas moved to New York City in 1959, singing at the Apollo Theater as a vocalist for acts such as jazz ensemble The Jazz Messengers and singer Dakota Staton. In 1961, he joined the Count Basie Orchestra but soon left after being conscripted into the army.

Thomas was discharged from the army in the late 1960s and resumed his music career, first working with avant-garde jazz saxophonist Pharoah Sanders. In 1969, he released his first solo album for Bob Thiele‘s Flying Dutchman label. Thomas became best known for his work with Sanders, particularly the 1969 song “The Creator Has a Master Plan” from Sanders’ Karma album. Thomas’s most distinctive device was that he often broke out into yodeling in the middle of a vocal. This style has influenced singers James Moody, Tim Buckley and Bobby McFerrin. He said in an interview that he developed this style after he fell and broke his teeth before an important show. Some of the vocal style is classified as ‘jive singing’. (Ref: Leon Thomas Blues Band album)  Thomas saw music as a means of social commentary during this period, saying, “You just have to be more than an entertainer. How the blazes can you ignore what is happening?

Flamenco Fridays featuring Siguiriyas.

Siguiriyas (Spanish pronunciation: [seɣiˈɾiʝas]; also seguiriyas, siguerillas, siguirillas, seguidilla gitana, etc.) is a form of flamenco music belonging to the cante jondo category. Its deep, expressive style is among the most important in flamenco. The siguiriyas are normally played in the key of A Phrygian with each measure (or compás) consisting of 12 counts with emphasis on the 1st, 3rd, 5th, 8th and 11th beats as shown here:

[1] 2 [3] 4 [5] 6 7 [8] 9 10 [11] 12

This rhythm can be contrasted to the rhythmic pattern of the soleares, which also has 12 beats, but the accents fall differently. Taking the unusual accenting into account, it can technically be seen as a measure of 3/4 (counted in eighth notes) starting on “2”, then a measure of 6/8 followed by the “1 and” of the 3/4. Every note is evenly spaced apart. For example:

[2] and [3] and [1] 2 3 [4] 5 6 [1] and

However, this presents difficulties in counting and is counted more simply in 5 beats, with three “short” and two “long” beats:

[1] and [2] and [3] and uh [4] and uh [5] and

In this case, the 1, 2, and 5 are the short beats and the 3 and 4 are long beats.

Gorgeous spiral galaxy M33 seems to have more than its fair share of glowing hydrogen gas. A prominent member of the local group of galaxies, M33 is also known as the Triangulum Galaxy and lies a mere 3 million light-years away. The galaxy’s inner 30,000 light-years or so are shown in this magnificent 25 panel telescopic mosaic. Based on image data from space and ground-based telescopes, the portrait of M33 shows off the galaxy’s reddish ionized hydrogen clouds or HII regions. Sprawling along loose spiral arms that wind toward the core, M33’s giant HII regions are some of the largest known stellar nurseries, sites of the formation of short-lived but very massive stars. Intense ultraviolet radiation from the luminous, massive stars ionizes the surrounding hydrogen gas and ultimately produces the characteristic red glow. To enhance this image, broadband data was used to produce a color view of the galaxy and combined with narrowband data recorded through a hydrogen-alpha filter. That filter transmits the light of the strongest visible hydrogen emission line.

Big music day with Von Freeman, Steve Reich, Eddie Cochran, Chubby Checker, Lindsey Buckingham, Ronnie Laws, Stevie Ray Vaughan, Gwen Stefani etc

Stephen Ray Vaughan (October 3, 1954 – August 27, 1990) was an American musician, singer, songwriter, and record producer, and one of the most influential guitarists in the revival of blues in the 1980s. He is commonly referred to as one of the greatest guitar players of all time.

Vaughan was born and raised in Dallas, Texas. He began playing guitar at the age of seven, inspired by his older brother Jimmie. He dropped out of high school in 1971 and moved to Austin the following year. He played gigs with numerous bands, earning a spot in Marc Benno‘s band the Nightcrawlers and later with Denny Freeman in the Cobras, with whom he continued to work through late 1977. He then formed his own group Triple Threat Revue, but he renamed them Double Trouble after hiring drummer Chris Layton and bassist Tommy Shannon. He gained fame after his performance at the Montreux Jazz Festival in 1982, and his debut studio album Texas Flood charted at number 38 in 1983, a commercially successful release that sold over half a million copies. Vaughan headlined concert tours with Jeff Beck in 1989 and Joe Cocker in 1990. He died in a helicopter crash on August 27, 1990, at the age of 35.

Vaughan received several music awards during his lifetime and posthumously. In 1983, readers of Guitar Player voted him Best New Talent and Best Electric Blues Guitar Player. In 1984, the Blues Foundation named him Entertainer of the Year and Blues Instrumentalist of the Year, and in 1987, Performance Magazine honored him with Rhythm and Blues Act of the Year. He won six Grammy Awards and ten Austin Music Awards and was inducted posthumously into the Blues Hall of Fame in 2000 and the Musicians Hall of Fame in 2014. Rolling Stone ranked him as the 12th greatest guitarist of all time. In 2015, Vaughan and Double Trouble were inducted into the Rock and Roll Hall of Fame.

Stevie’s grandfather, Thomas Lee Vaughan, married Laura Belle LaRue and moved to Rockwall County, Texas, where they lived by sharecropping. Stevie’s father, Jimmie Lee Vaughan, was born on September 6, 1921.

Jimmie, also known as Jim and Big Jim, dropped out of school at age sixteen, and enlisted in the United States Navy during World War II. After his discharge, he married Martha Cook on January 13, 1950. They had a son, Jimmie, in 1951. Stephen was born on October 3, 1954, in Dallas, Texas. Big Jim secured a job as an asbestos worker, an occupation that involved rigorous manual effort. The family moved frequently, living in other states such as Arkansas, Louisiana, Mississippi, and Oklahoma before ultimately moving to the Oak Cliff section of Dallas. A shy and insecure boy, Vaughan was deeply affected by his childhood experiences. His father struggled with alcohol abuse, and often terrorised his family and friends with his bad temper. In later years, Vaughan recalled that he had been a victim of his father’s violence. His father died on August 27, 1986, exactly four years before Vaughan. In the early 1960s, Vaughan’s admiration for his brother Jimmie resulted in him trying different instruments such as the drums and saxophone. In 1961, for his seventh birthday, Vaughan received his first guitar, a toy from Sears with Western motif. Learning by ear, he diligently committed himself, following along to songs by the Nightcaps, particularly “Wine, Wine, Wine” and “Thunderbird”. He listened to blues artists such as Albert King, Otis Rush, and Muddy Waters, and rock guitarists such as Jimi Hendrix and Lonnie Mack, as well as jazz guitarists including Kenny Burrell. In 1963, he acquired his first electric guitar, a Gibson ES-125T, as a hand-me-down from Jimmie.

Chubby Checker (born Ernest Evans; October 3, 1941) is an American rock ‘n roll singer and dancer. He is widely known for popularising many dance styles including the twist dance style, with his 1960 hit cover of Hank Ballard & The Midnighters‘ R&B hit “The Twist” and the Pony with hit “Pony Time“. In September 2008, “The Twist” topped Billboard‘s list of the most popular singles to have appeared in the Hot 100 since its debut in 1958, an honor it maintained for an August 2013 update of the list. He also popularized the “Limbo Rock” and its trademark limbo dance, as well as various dance styles such as The Fly.

Ernest Evans, later known as Chubby Checker, was born in Spring Gully, South Carolina. He was raised in the projects of South Philadelphia, where he lived with his parents, Raymond and Eartle Evans, and two brothers. By age eight Evans formed a street-corner harmony group, and by the time he entered high school, took piano lessons at Settlement Music School. He entertained his classmates by performing vocal impressions of popular entertainers of the day, such as Jerry Lee Lewis, Elvis Presley and Fats Domino. One of his classmates and friends at South Philadelphia High School was Fabiano Forte, who would become a popular performer of the late 1950s and early 1960s as Fabian.

Stephen Michael Reich (/raɪʃ/ born October 3, 1936) is an American composer who, along with La Monte Young, Terry Riley, and Philip Glass, pioneered minimal music in the mid to late 1960s.

Reich’s style of composition influenced many composers and groups. His innovations include using tape loops to create phasing patterns (for example, his early compositions It’s Gonna Rain and Come Out), and the use of simple, audible processes to explore musical concepts (for instance, Pendulum Musicand Four Organs). These compositions, marked by their use of repetitive figures, slow harmonic rhythm and canons, have significantly influenced contemporary music, especially in the US. Reich’s work took on a darker character in the 1980s with the introduction of historical themes as well as themes from his Jewish heritage, notably Different Trains.

Writing in The Guardian, music critic Andrew Clements suggested that Reich is one of “a handful of living composers who can legitimately claim to have altered the direction of musical history”. The American composer and critic Kyle Gann has said that Reich “may … be considered, by general acclamation, America’s greatest living composer”.

Reich was born in New York City to the Broadway lyricist June Sillman and Leonard Reich. When he was one year old, his parents divorced, and Reich divided his time between New York and California. He is the half-brother of writer Jonathan Carroll. He was given piano lessons as a child and describes growing up with the “middle-class favorites”, having no exposure to music written before 1750 or after 1900. At the age of 14 he began to study music in earnest, after hearing music from the Baroque period and earlier, as well as music of the 20th century. Reich studied drums with Roland Kohloff in order to play jazz. While attending Cornell University, he minored in music and graduated in 1957 with a B.A. in Philosophy.

Earle Lavon “Von” Freeman Sr. (October 3, 1923 – August 11, 2012) was an American hard bop jazz tenor saxophonist. Born in Chicago, Illinois, Freeman as a young child was exposed to jazz. His father, George, a city policeman, was a close friend of Louis Armstrongwith Armstrong living at the Freeman house when he first arrived in Chicago.

Freeman’s father taught him to play piano and bought him his first saxophone when he was seven. His musical education was furthered at DuSable High School, where his band director was Walter Dyett. Freeman began his professional career at the age of 16 in Horace Henderson‘s Orchestra.

Freeman enlisted into the Navy during World War II and was trained at Camp Robert Smalls in Chicago. “All the great musicians ended up at Great Lakes”, he recalled. “It was an incubator for the best and the brightest lights in the jazz world at that time, and the musical jam sessions were simply phenomenal.” After training, he was sent to Hawaii as part of the Hellcats stationed at Barbers Point Naval Air Station in a band that starred Harry “Pee Wee” Jackson, the trumpeter from Cleveland whose nickname was Gabriel. The Hellcats were frequent winners of the islands’ competitive Battle of the Bands competitions and included musicians who had formerly played in bands fronted by Duke Ellington, Fletcher Henderson, Ella Fitzgerald, Lucky Millinder, Les Hite, Count Basie, Fats Waller, and Tiny Bradshaw.

After his return to Chicago, where he remained for the duration of his career, Freeman played with his brothers George on guitar and Eldridge “Bruz” Freeman on drums at the Pershing Hotel Ballroom. Various leading jazzmen such as Charlie Parker, Roy Eldridge and Dizzy Gillespie played there with the Freemans as the backing band. In the early 1950s, Von played in Sun Ra‘s band.

The Carina Nebula is a bright, large emission nebula surrounding the star Eta Carinae, located in the southern constellation Carina. It is also sometimes called the Eta Carinae Nebula, the Grand Nebula, or the Great Nebula in Carina. The nebula’s designation in the New General Catalogue is NGC 3372. It is one of the largest diffuse nebulae known, one that contains several open star clusters. The Carina Nebula is home to several notable objects: the Mystic Mountain, the Homunculus Nebula, and the Keyhole Nebula. The Carina Nebula lies in the Carina-Sagittarius Arm of the Milky Way, at a distance between 6,500 and 10,000 light years from Earth. The estimated distance of the nebula is 7,500 light years.