mick laBriola

Leon Brown “Chu” Berry (September 13, 1908 – October 30, 1941) was an American jazz tenor saxophonist during the 1930s.

According to music critic Gary Giddins, musicians called him “Chu” because he chewed on the mouthpiece of his saxophone or because he had a Fu Manchu mustache.

Berry was born in Wheeling, West Virginia. He graduated from Lincoln High School, in Wheeling, then attended West Virginia State College for three years. His sister Ann played piano. Berry became interested in music at an early age, playing alto saxophone, at first with local bands. He was inspired to take up the tenor saxophone after hearing Coleman Hawkins on tour.

Most of Berry’s career was spent with swing bands: Sammy Stewart, 1929–1930, with whom he switched to tenor sax, Benny Carter, 1932–1933, Teddy Hill, 1933–1935, Fletcher Henderson, 1935–1937, Cab Calloway, his best-known affiliation, from 1937 to 1941. Throughout his brief career, Berry was in demand as a sideman for recording sessions under the names of various other jazz artists, including Spike Hughes (1933), Bessie Smith (1933), the Chocolate Dandies (1933), Mildred Bailey (1935–1938), Teddy Wilson (1935–1938), Billie Holiday (1938–1939), Wingy Manone (1938–1939) and Lionel Hampton (1939).

William Smith Monroe (/mənˈroʊ/; September 13, 1911 – September 9, 1996) was an American mandolinist, singer, and songwriter, who created the style of music known as bluegrass. Because of this, he is commonly referred to as the “Father of Bluegrass“. The genre takes its name from his band, the Blue Grass Boys, named for Monroe’s home state of Kentucky. Monroe’s performing career spanned 69 years as a singer, instrumentalist, composer and bandleader.

Monroe was born on his family’s farm near Rosine, Kentucky, the youngest of eight children of James Buchanan “Buck” and Malissa (Vandiver) Monroe. His mother and her brother, Pendleton “Pen” Vandiver, were both musically talented, and Monroe and his family grew up playing and singing at home. Bill was of Scottish heritage. Because his older brothers Birch and Charlie already played the fiddle and guitar, Bill Monroe was resigned to playing the less desirable mandolin. He recalled that his brothers insisted he should remove four of the mandolin’s eight strings so he would not play too loudly.

Flamenco Fridays featuring Malagueñas is one of the traditional styles of Andalusian music (flamenco), derived from earlier types of fandango from the area of Málaga, classified among the Cantes de Levante. Originally a folk-song type, it became a flamenco style in the 19th century. It is not normally used for dance, as it is generally interpreted with no regular rhythmic pattern, as a “cante libre”. It has a very rich melody with virtuous flourishes and use of microtones. Its guitar accompaniment is normally played in open position first inversion giving E for the tonic, which can be transposed by using a capo.

The singing develops on a major mode (tonic, subdominant, dominant), resolving in the corresponding Phrygian mode of the same scale. The Phrygian mode is used for the short interludes after of before verses. The usual progression is the typical of all fandangos:

• First line of singing: G7, C Major
• Second line: C Major, C7, F Major
• Third line is just a repetition of the first
• Fourth line: C Major, G7
• Fifth line: G7, C Major
• Sixth line: C Major, C7, F Major, G Major, F Major, E Major

1,300 light-years away, in the fertile starfields of the constellation Cepheus. Called the Iris Nebula, NGC 7023 is not the only nebula to evoke the imagery of flowers, though. Still, this deep telescopic image shows off the Iris Nebula’s range of colors and symmetries, embedded in surrounding fields of interstellar dust. Within the Iris itself, dusty nebular material surrounds a hot, young star. The dominant color of the brighter reflection nebula is blue, characteristic of dust grains reflecting starlight. Central filaments of the reflection nebula glow with a faint reddish photoluminesence as some dust grainseffectively convert the star’s invisible ultraviolet radiation to visible red light. Infrared observations indicate that this nebula contains complex carbon molecules known as PAHs. The pretty blue petals of the Iris Nebula span about six light-years. The colorful field-of-view stretches almost five Full Moons across the sky.

Maria Muldaur (born September 12, 1943) is an American folk and blues singer who was part of the American folk music revival in the early 1960s. She recorded the 1973 hit song “Midnight at the Oasis” and continues to record albums in the folk traditions.

She was the wife of musician Geoff Muldaur and is the mother of singer-songwriter Jenni Muldaur.

Muldaur was born Maria Grazia Rosa Domenica D’Amato in Greenwich Village, New York City, where she attended Hunter College High School.

Muldaur began her career in the early 1960s as Maria D’Amato, performing with John Sebastian, David Grisman, and Stefan Grossman as a member of the Even Dozen Jug Band. She then joined Jim Kweskin & the Jug Band as a featured vocalist and occasional violinist. During this time, she was part of the Greenwich Village scene that included Bob Dylan, and some of her recollections of the period, particularly with respect to Dylan, appear in Martin Scorsese‘s 2005 documentary film No Direction Home.

She married fellow Jug Band member Geoff Muldaur, and after the Kweskin group broke up, the two of them produced two albums. She began her solo career when their marriage ended in 1972, but retained her married name.

Her first solo album, Maria Muldaur, released in 1973, contained her hit single “Midnight at the Oasis“, which reached number 6 on the Billboard Hot 100 in 1974. It also peaked at number 21 in the UK Singles Chart. Later that year, she released her second album, Waitress in a Donut Shop. This included a re-recording of “I’m a Woman“, the Leiber and Stoller number first associated with Peggy Lee and a standout feature from her Jug Band days. The title of this album is taken from a line in another song on the album, “Sweetheart”, by Ken Burgan.

William Alonzo “Cat” Anderson (September 12, 1916 – April 29, 1981) was an American jazz trumpeter known for his long period as a member of Duke Ellington‘s orchestra and for his wide range (more than five octaves), especially his playing in the higher registers.

Born in Greenville, South Carolina, Anderson lost both parents when he was four years old, and was sent to live at the Jenkins Orphanage in Charleston, where he learned to play trumpet. Classmates gave him the nickname “Cat” (which he used all his life) based on his fighting style. He toured and made his first recording with the Carolina Cotton Pickers, a small group based at the orphanage. After leaving the Cotton Pickers, Anderson played with guitarist Hartley Toots, Claude Hopkins‘ big band, Doc Wheeler’s Sunset Orchestra (1938–1942), with whom he also recorded, Lucky Millinder, the Erskine Hawkins Orchestra, Sabby Lewis‘s Orchestra, and Lionel Hampton, with whom he recorded the classic “Flying Home No. 2”.

Anderson’s career took off, however, in 1944, when he joined Duke Ellington’s orchestra at the Earle Theater in Philadelphia. He quickly became a central part of Ellington’s sound. Anderson was capable of playing in a number of jazz styles, but is best remembered as a high-note trumpeter. He had a big sound in all registers, but could play in the extreme high register (up to triple C) with great power (he was able to perform his high-note solos without a microphone, while other members of a big band were usually amplified for their solos). Wynton Marsalis called him “one of the best” high-note trumpeters. More than just a high-note trumpeter, though, Anderson was also a master of half valve and plunger mute playing. He played with Ellington’s band from 1944 to 1947, from 1950 to 1959, and from 1961 to 1971, with each break corresponding to a failure to lead his own big band. After 1971, Anderson settled in the Los Angeles area, where he continued to play studio sessions, to perform with local bands (including Louie Bellson‘s and Bill Berry‘s big bands), and to tour Europe. He died of cancer in 1981.

Leo Kottke (born September 11, 1945) is an acoustic guitarist. He is known for a fingerpicking style that draws on blues, jazz, and folk music, and for syncopated, polyphonic melodies. He overcame a series of personal obstacles, including partial loss of hearing and a nearly career-ending bout with tendon damage in his right hand, to emerge as a widely recognized master of his instrument. He currently resides in the Minneapolis area with his family.

Focusing primarily on instrumental composition and playing, Kottke also sings sporadically, in an unconventional yet expressive baritone described by himself as sounding like “geese farts on a muggy day”. In concert, Kottke intersperses humorous and often bizarre monologues with vocal and instrumental selections from throughout his career, played solo on his 6- and 12-string guitars.

Born in Athens, Georgia, Kottke moved with his parents so frequently that he was raised in twelve different states. As a youth living in Muskogee, Oklahoma, he was influenced by folk and delta blues music, notably that of Mississippi John Hurt. Kottke learned to play trombone and violin before trying the guitar and developing his own unconventional picking style.

Oliver Theophilus Jones, OC CQ (born September 11, 1934 in Little Burgundy, Montreal, Quebec) is a Canadian jazz pianist, organist, composer and arranger.

Born to Barbadian parents, Oliver Jones began his career as a pianist at the age of five, studying with Mme Bonner in Little Burgundy’s Union United Church, made famous by Trevor W. Payne‘s Montreal Jubilation Gospel Choir. He continued to develop his talent through his studies with Oscar Peterson‘s sister Daisy Peterson Sweeney starting at eight years old. In addition to performing at Union United Church when he was a child, he also performed a solo novelty act at the Cafe St. Michel as well as other clubs and theaters in the Montreal area. “I had a trick piano act, dancing, doing the splits, playing from underneath the piano, or with a sheet over the keys.

https://www.youtube.com/watch?v=P-GHlwNgqQI

Roosevelt “Baby Face” Willette (September 11, 1933 – April 1, 1971) was a hard bop and soul-jazz musician most known for playing Hammond organ. It is unclear whether he was born in Little Rock, Arkansas, or New Orleans, Louisiana

His mother was a missionary who played the piano in the church where his father was a minister. His musical roots are therefore in gospel and Baby Face started out playing the piano for various gospel groups, and spent his early career travelling across the United States, Canada and Cuba. In Chicago he decided to switch from gospel and rhythm and blues to playing in jazz bands. He played piano with the bands of King Kolax, Joe Houston, Johnny Otis and Big Jay McNeely before switching to organ. He also played piano and organ at a neighborhood lounge on the west side of Chicago, the Squeeze Club on 16th. & Homan. In 1960 he arrived in New York City where he met Lou Donaldson and Grant Green, and played on a few Blue Note sessions with them. This led to Willette being signed to Blue Note Records, which recorded his debut album Face to Face . Willette formed his own trio in 1963 and recorded two more albums for Argo. He has a son named Kevin D. Bailey. Willette taught himself to play the piano. His organ playing was inspired by Jimmy Smith‘s work, though Willette’s style is more heavily influenced by gospel and soul jazz than Smith’s. Willette was also a professional hairdresser. Before his time in New York City, he was based out of Milwaukee, playing with his vocalist wife Jo Gibson at clubs such as The Flame Club, The Pelican Club, The Moonglow and Max’s among others. After stints in New York City, and then California, failing health forced a return to Chicago, where his family resided. He died in 1971.

Messier 96 (also known as M96 or NGC 3368) is an intermediate spiral galaxy about 31 million light-years away in the constellation Leo (the Lion). It was discovered by French astronomer Pierre Méchain on March 20, 1781. After communicating his finding, French astronomer Charles Messierconfirmed the finding four days later and added it to his catalogue of nebulous objects. Finding this object is extremely difficult with binoculars. With a telescope of 25.4 cm (10.0 in) aperture, the galaxy is visible as a 3 × 5 arcminute halo with a brighter core region.

This complex galaxy is inclined by an angle of about 53° to the line of sight from the Earth, which is oriented at a position angle of 172°. It is categorized as a double-barred spiral galaxy with a small inner bulge through the core along with an outer bulge. The nucleus displays a weak level of activity of the LINER2 type. Variations in ultraviolet emission from the core suggest the presence of a supermassive black hole. Estimates for the mass of this object range from 1.5×10⁶ to 4.8×10⁷ times the mass of the Sun.

On May 9, 1998 a supernova event was observed in this galaxy. Designated SN 1998bu, this was a Type Ia supernova explosion. It reached maximum light on May 21, then steadily declined in magnitude thereafter. Observations of the ejecta a year later showed that the explosion created 0.4 times the mass of the Sun worth of iron. The spectrum of the supernova remnant confirmed the presence of radioactive ⁵⁶Co, which decays into ⁵⁶Fe.

Messier 96 is about the same mass and size as the Milky Way. It is a very asymmetric galaxy; its dust and gas are unevenly spread throughout its weak spiral arms, and its core is not exactly at the galactic center. Its arms are also asymmetrical, thought to have been influenced by the gravitational pull of other galaxies within the same group as Messier 96.

Roy Ayers (born September 10, 1940) is an American funk, soul, and jazz composer, vibraphone player, and music producer. Ayers began his career as a post-bop jazz artist, releasing several albums with Atlantic Records, before his tenure at Polydor Records beginning in the 1970s, during which he helped pioneer jazz-funk. He is a key figure in the acid jazz movement, and has been dubbed “The Godfather of Neo Soul”. He is best known for his compositions “Everybody Loves The Sunshine”, “Searchin” and “Running Away”. and at one time was said to have more sampled hits by rappers than any other artist.

Ayers was born in Los Angeles, and grew up in a musical family, where his father played trombone and his mother played piano.^[7][8] At the age of five, he was given his first pair of vibraphone mallets by Lionel Hampton. The area of Los Angeles that Ayers grew up in, South Park (later known as South Central) was the epicenter of the Southern California Black music scene. The schools he attended (Wadsworth Elementary, Nevins Middle School, and Thomas Jefferson High School) were all close to the famed Central Avenue, Los Angeles’ equivalent of Harlem‘s Lenox Avenue and Chicago’s State Street. Roy would likely have been exposed to music as it not only emanated from the many nightclubs and bars in the area, but also poured out of many of the homes where the musicians who kept the scene alive lived in and around Central. During high school, Ayers sang in the church choir and fronted a band named The Latin Lyrics, in which he played steel guitar and piano. His high school, Thomas Jefferson High School, produced some of the most talented new musicians, such as Dexter Gordon.

William B. Lawsha, better known as Prince Lasha (pronounced “La-shay“), (September 10, 1929 – December 12, 2008)^[1] was an American jazzalto saxophonist, flautist, and clarinetist.

He was born in Fort Worth, Texas, where he came of age studying and performing alongside fellow I.M. Terrell High School students John Carter, Ornette Coleman, King Curtis, Charles Moffett, and Dewey Redman.

Lasha moved to California during the 1950s. In the 1960s, he was active in the burgeoning free jazz movement, of which his Fort Worth cohort Ornette Coleman was a pioneer. Lasha recorded with Eric Dolphy (Iron Man and Conversations, both in 1963) and the Elvin Jones/Jimmy Garrison Sextet featuring McCoy Tyner (Illumination! in 1964).

Lasha moved to Europe and in 1966 was based in Kensington, London, The album Insight (1966) by the Prince Lasha Ensemble was recorded in England and featured local musicians, including Bruce Cale, Dave Willis, Jeff Clyne, Rick Laird, Joe Oliver (drums), David Snell (harp), Mike Carr, Stan Tracey, John Mumford (trombone) and Chris Bateson (trumpet).

Returning to the US in 1967, Lasha worked closely with saxophonist Sonny Simmons, with whom he recorded two albums, The Cry (1962) and Firebirds (1967), for Contemporary Records. The latter album received five stars and an AMG Albumpick at Allmusic.

https://www.youtube.com/watch?v=HDS0lSGt95A