mick laBriola

Mary Allin Travers (November 9, 1936 – September 16, 2009) was an American singer-songwriter and member of the folk music group Peter, Paul and Mary, along with Peter Yarrow and Paul Stookey. Peter, Paul and Mary was one of the most successful folk music groups of the 1960s. Unlike most folk musicians of the early 1960s who were a part of the burgeoning music scene in New York City’s Greenwich Village, Travers grew up there. A contralto, Travers released five solo albums in addition to her work with Peter, Paul and Mary.

Mary Travers was born in Louisville, Kentucky, to Robert Travers and Virginia Coigney, both journalists and active organizers of The Newspaper Guild, a trade union. In 1938, the family moved to Greenwich Village in New York City. Mary attended the progressive Little Red School House, where she met musical icons like Pete Seeger and Paul Robeson. Robeson sang her lullabies. Travers did not graduate from high school; she left school in the 11th grade to become a member of the Song Swappers folk group.

Milton Mesirow (November 9, 1899 – August 5, 1972), better known as Mezz Mezzrow, was an American jazz clarinetist and saxophonist from Chicago, Illinois. He is well known for organizing and financing historic recording sessions with Tommy Ladnier and Sidney Bechet. He also recorded a number of times with Bechet and briefly acted as manager for Louis Armstrong. Mezzrow is equally well remembered as a colorful character, as portrayed in his autobiography, Really the Blues (which takes its title from a Bechet composition), co-written with Bernard Wolfe and published in 1946.

Mezzrow organized and took part in recording sessions involving black musicians in the 1930s and 1940s, including Benny Carter, Teddy Wilson, Frankie Newton, Tommy Ladnier and Sidney Bechet. Mezzrow’s 1938 sessions for the French jazz critic Hugues Panassie involved Bechet and Ladnier and helped spark the “New Orleans revival”.

In the mid-1940s Mezzrow started his own record label, King Jazz Records, featuring himself with groups, usually including Sidney Bechet and often including the trumpeter Oran “Hot Lips” Page. He also played on six recordings by Fats Waller.

He appeared at the 1948 Nice Jazz Festival, following which he made his home in France and organized many bands that included French musicians like Claude Luter and visiting Americans, such as Buck Clayton, Peanuts Holland, Jimmy Archey, Kansas Fields and Lionel Hampton. With ex-Basie trumpeter Buck Clayton, he made a recording of the Louis Armstrong’s “West End Blues” in Paris in 1953.

NGC 3572. A beautiful emission nebula and star cluster in far southern skies, the region is often overlooked by astroimagers in favor of its brighter neighbor, the nearby Carina Nebula. Stars from NGC 3572 are toward the upper left in the telescopic frame that would measure about 100 light-years across at the cluster’s estimated distant of 9,000 light-years. The visible interstellar gas and dust is part of the star cluster’s natal molecular cloud. Dense streamers of material within the nebula, eroded by stellar winds and radiation, clearly trail away from the energetic young stars. They are likely sites of ongoing star formation with shapes reminiscent of the cosmic Tadpoles of IC 410 better known to northern skygazers. In the coming tens to hundreds of millions of years, gas and stars in the cluster will be dispersed though, by gravitational tides and by violent supernova explosions that end the short lives of the massive cluster stars.

Bonnie Lynn Raitt (born November 8, 1949) is an American blues singer, guitarist, songwriter, and activist.

During the 1970s, Raitt released a series of roots-influenced albums that incorporated elements of blues, rock, folk and country. In 1989, after several years of critical acclaim but little commercial success, she had a major hit with the album Nick of Time. The following two albums, Luck of the Draw(1991) and Longing in Their Hearts (1994), were also multimillion sellers, generating several hit singles, including “Something to Talk About“, “Love Sneakin’ Up on You“, and the ballad “I Can’t Make You Love Me” (with Bruce Hornsby on piano).

Raitt has received 10 Grammy Awards. She is listed as number 50 in Rolling Stone‘s list of the “100 Greatest Singers of All Time” and number 89 on the magazine’s list of the “100 Greatest Guitarists of All Time”. Australian Country Music Artist Graeme Connors has said, “Bonnie Raitt does something with a lyric no one else can do; she bends it and twists it right into your heart.”

In the summer of 1970, she played with her brother David on stand up bass with Mississippi Fred McDowell at the Philly Folk Festival as well as Opening for John Hammond at the Gaslight Cafe in New York, she was seen by a reporter from Newsweek, who began to spread the word about her performance. Scouts from major record companies were soon attending her shows to watch her play. She eventually accepted an offer from Warner Bros., who soon released her debut album, Bonnie Raitt, in 1971. The album was warmly received by the music press, with many writers praising her skills as an interpreter and as a bottleneck guitarist; at the time, few women in popular music had strong reputations as guitarists.

While admired by those who saw her perform, and respected by her peers, Raitt gained little public acclaim for her work. Her critical stature continued to grow but record sales remained modest. Her second album, Give It Up, was released in 1972 to positive reviews. Though many critics still regard it as her best work, it did not change her commercial fortunes. 1973’s Takin’ My Time was also met with critical acclaim, but these notices were not matched by the sales.

Raitt began to receive greater press coverage, including a 1975 cover story for Rolling Stone, but with 1974’s Streetlights, reviews for her work were becoming increasingly mixed. By this point, Raitt was already experimenting with different producers and different styles, and she began to adopt a more mainstream sound that continued through 1975’s Home Plate. In 1976, Raitt made an appearance on Warren Zevon‘s eponymous album.

Donald Byron (born November 8, 1958) is an American composer and multi-instrumentalist. He primarily plays clarinet but has also played bass clarinet and saxophone in a variety of genres that includes free jazz and klezmer.

His mother was a pianist. His father worked as a mailman and played bass in calypso bands. Byron listened to Dizzy Gillespie and Miles Davis while growing up, but he was exposed to other styles through trips to the ballet and symphony orchestra. When he was a child, he had asthma, and a doctor recommended playing an instrument to improve his breathing. This was why he started playing clarinet. He grew up in the South Bronx among many Jewish neighbors who sparked an interest in klezmer. Other influences include Joe Henderson, Artie Shaw, Jimmy Hamilton, and Tony Scott. In he teens he took clarinet lessons from Joe Allard. George Russell was one of his teachers at the New England Conservatory of Music in Boston. At the school he was a member of Klezmer Conservatory Band led by Hankus Netsky. In the 1980s he moved to New York City where he played with avant-garde jazz musicians such as Hamiet Bluiett, Craig Harris, and David Murray.

Byron is a member of the Black Rock Coalition. In 2001, he performed “Bli Blip” for the Red Hot Organization‘s compilation album Red Hot + Indigo, a tribute to Duke Ellington which raised money for charities devoted to increasing AIDS awareness and fighting the disease. He has recorded with Bill Frisell, Joe Henry, Marc Ribot, Vernon Reid, and Allen Toussaint.

Kenny Cox (November 8, 1940 – December 19, 2008) was a jazz pianist performing in the post bop, hard bop and bebop mediums. Cox was pianist for singer Etta Jones during the 1960s and was also a member of a quintet led by trombonist George Bohannon. By the end of the late 1960s he had formed his own Kenny Cox and the Contemporary Jazz Quintet, which recorded two albums for Blue Note Records before the end of the decade. Cox has appeared as a contributor on various albums, and has also performed live with such musicians as Rahsaan Roland Kirk, Eddie Harris, Jackie McLean, Roy Haynes, Ben Webster, Wes Montgomery, Kenny Dorham, Philly Joe Jones, Kenny Burrell, Donald Byrd, Roy Brooks, Charles McPherson, and Curtis Fuller. During the 1980s he formed the Detroit-based Guerilla Jam Band, a group which performed with Regina Carter, James Carter, Tani Tabbal, and Craig Taborn.^[1] Cox was responsible for the short-lived Strata Records.

Warren Battiste was born in New Orleans in 1925 and was taught to play the guitar by his father who was a banjo player at Preservation Hall. Warren has performed at numerous jazz clubs on Bourbon Street, Preservation Hall, Snug Harbor, the Matador and many others. Warren also appeared in the film “Shy People” with Jill Clayburgh and Barbara Hershey. He has taught music at Wequachie High School, Essex County College and the Newark Art Center in Newark, New Jersey. Warren has performed with George Benson, The Platters, The Inkspots and Illinois Jacquet to name a few. In 2000 he received the Lifetime Achievement Award in Jazz from the New Orleans Jazz and Heritage Festival.
In 2001 he released his debut CD “Street Jazz” to rave reviews.
In 2004 he was backed by Nocturnal Records for a second CD entitled “Just Friends”.
In 2007 Progressive Records, a division of George Buck’s recording company in New Orleans, released a third CD entitled “Quiet Storm”.
BIRTHPLACE: New Orleans, Louisiana on November 8, 1925
EDUCATION: Father was a banjo player at Preservation Hall and the initial Instructor to young Warren. Later Warren completed 4 years of instructions at Gruenwald Music School in New Orleans.

INSTRUMENTS: Primary: Guitar
Others: Bass, Banjo, and Piano
EXPERIENCE:
Featured on Louisiana Jukebox May 2002 and September 20, 2002. Featured artist in UNO’s Jazz Series April 2002. Numerous jazz clubs around Bourbon Street in the French Quarter, Preservation Hall, Harrah’s Casino, Club 201, Snug Harbor, The Matador, Café Sbisa, and many others.

Cameoed in the Motion Picture, SHY PEOPLE, starring Jill Clayburgh and Barbara Hershey.

Taught Music at Wequachic High School, Essex County College, and Newark Art Center in Newark, New Jersey.

PERFORMED WITH:
George Benson Jimmy McGriff
The Platters Frank Foster
The Inkspots Barry Harris
Illinois Jacquet Woody Shaw …and many others

Hurtling through a cosmic dust cloud a mere 400 light-years away, the lovely Pleiades or Seven Sisters open star cluster is well-known for its striking blue reflection nebulae. It lies in the night sky toward the constellation Taurus and the Orion Arm of our Milky Way Galaxy. The sister stars and cosmic dust cloud are not related though, they just happen to be passing through the same region of space. Known since antiquity as a compact grouping of stars, Galileo first sketched the star cluster viewed through his telescope with stars too faint to be seen by eye. Charles Messier recorded the position of the cluster as the 45th entry in his famous catalog of things which are not comets. In Greek myth, the Pleiades were seven daughters of the astronomical Titan Atlas and sea-nymph Pleione. Their parents names are included in the cluster’s nine brightest stars. This deep and wide telescopic image spans over 20 light-years across the Pleides star cluster.

David Spencer Ware (November 7, 1949 – October 18, 2012) was an American jazz saxophonist, composer, and bandleader.

Ware was born in Plainfield, New Jersey, grew up in Scotch Plains, New Jersey, graduated from Scotch Plains-Fanwood High School, and briefly attended the Berklee College of Music. He moved to NYC in 1973, where he participated in the loft jazz scene, and later worked as a cab driver for 14 years in order to focus on his own group concept. In the early 1980s, he returned to Scotch Plains with his wife Setsuko S. Ware.

Ware’s debut album as a leader was recorded in 1977 – together with pianist Gene Ashton (aka Cooper-Moore) and drummer Marc Edwards – and released by HatHut in 1979. He performed and recorded with the groups of pianist Cecil Taylor and drummer Andrew Cyrille in the mid-late 1970s. He formed his own quartet in 1989. The group was originally composed of Ware, pianist Matthew Shipp, bassist William Parker, and drummer Marc Edwards. While Shipp and Parker were members for the group’s entire existence, the drum chair was later occupied by Whit Dickey, Susie Ibarra, and Guillermo E. Brown.

The David S. Ware Quartet performed across the US and Europe and released a series of increasingly acclaimed albums spanning the 1990s on the independent labels Silkheart, DIW, Homestead, and AUM Fidelity. Saxophonist Branford Marsalis signed Ware to Columbia Records in 1998 for a three-album contract. In 2001, jazz critic Gary Giddins described Ware’s quartet as “the best small band in jazz today”. In 2007, after 17 years together, the quartet was disbanded following the release of the album Renunciation and a final European tour that spring. Ware proceeded to perform concerts and record albums with a series of new group configurations: a new quartet featuring guitarist Joe Morris, William Parker, and drummer Warren Smith; a special trio celebrating his 50th year of playing saxophone (in 2009) with Parker and Smith; a 2-volume series of solo saxophone performances; and finally with his last quartet, Planetary Unknown, featuring Cooper-Moore, Parker, and drummer Muhammad Ali. His final concert performance was with Planetary Unknown on August 27, 2011, at Jazzfestival Saalfelden in Austria. The recording of that concert was released in July 2012 on AUM Fidelity.

Ware was first diagnosed with kidney failure in 1999, and, following nearly a decade of undiminished creative activity while on a strict regimen of peritoneal dialysis, Ware underwent a critically necessary and successful kidney transplantation in May 2009. The organ donor was Floridian Laura Mehr, who responded to an urgent email message sent out to nearly 1,000 of Ware’s fans.

Roberta Joan “Joni” Mitchell CC (née Anderson; born November 7, 1943) is a Canadian singer-songwriter. Drawing from folk, pop, rock, and jazz, Mitchell’s songs often reflect social and environmental ideals as well as her feelings about romance, confusion, disillusionment, and joy. She has received many accolades, including nine Grammy Awards and induction into the Rock and Roll Hall of Fame in 1997. Rolling Stone called her “one of the greatest songwriters ever”, and AllMusic has stated, “When the dust settles, Joni Mitchell may stand as the most important and influential female recording artist of the late 20th century”.

Mitchell began singing in small nightclubs in her hometown of Saskatoon, Saskatchewan, and throughout western Canada, before busking in the streets and nightclubs of Toronto, Ontario. In 1965, she moved to the United States and began touring. Some of her original songs (“Urge for Going”, “Chelsea Morning“, “Both Sides, Now“, “The Circle Game“) were covered by other folk singers, allowing her to sign with Reprise Records and record her debut album, Song to a Seagull, in 1968. Settling in Southern California, Mitchell, with popular songs like “Big Yellow Taxi” and “Woodstock“, helped define an era and a generation. Her 1971 album Blue is often cited as one of the best albums of all time; it was rated the 30th best album ever made in Rolling Stone‘s list of the “500 Greatest Albums of All Time“. In 2000, The New York Times chose Blue as one of the 25 albums that represented “turning points and pinnacles in 20th-century popular music”.^[6] In 2017, NPR ranked Blue number 1 on a list of Greatest Albums Made By Women. Mitchell’s fifth album, For the Roses, was released in 1972. She then switched labels and began exploring more jazz-influenced melodic ideas, by way of lush pop textures, on 1974’s Court and Spark, which featured the radio hits “Help Me” and “Free Man in Paris“ and became her best-selling album.

Around 1975, Mitchell’s vocal range began to shift from mezzo-soprano to more of a wide-ranging contralto. Her distinctive piano and open-tuned guitar compositions also grew more harmonically and rhythmically complex as she explored jazz, melding it with influences of rock and roll, R&B, classical music and non-western beats. In the late 1970s, she began working closely with noted jazz musicians, among them Jaco Pastorius, Wayne Shorter, Herbie Hancock, Pat Metheny, as well as Charles Mingus, who asked her to collaborate on his final recordings. She later turned again toward pop, embraced electronic music, and engaged in political protest. In 2002, she was awarded a Lifetime Achievement Award at the 44th Annual Grammy Awards.

Mitchell is the sole producer credited on most of her albums, including all her work in the 1970s. A blunt critic of the music industry, she quit touring and released her 17th, and reportedly last, album of original songs in 2007. With roots in visual art, Mitchell has designed most of her own album covers. She describes herself as a “painter derailed by circumstance”.

Joe Bushkin (November 7, 1916 – November 3, 2004) was an American jazz pianist.

Born in New York City, Bushkin began his career by playing trumpet and piano with New York City dance bands, including Frank LaMare’s Band at the Roseland Ballroom in Brooklyn. He joined Bunny Berigan‘s band in 1935, played with Eddie Condon from 1936–37, and with Max Kaminsky and Joe Marsala, before rejoining Berigan in 1938. He then left to join Muggsy Spanier‘s Ragtime Band in 1939. From the late 1930s through to the late 1940s he also worked with Tommy Dorsey Eddie Condon on records, radio and television. After service in World War II he worked with Louis Armstrong, Bud Freeman and Benny Goodman.

Bushkin performed with Louis Armstrong and his All Stars with Velma Middleton singing vocals for the famed ninth Cavalcade of Jazz concert held at Wrigley Field in Los Angeles. The concert was produced by Leon Hefflin, Sr. on June 7, 1953. Also featured that day were Roy Brown and his Orchestra, Don Tosti and His Mexican Jazzmen, Earl Bostic, Nat “King” Cole, and Shorty Rogers and his Orchestra. He married Francice Netcher, elder sister of socialite Mollie Wilmot. The couple had four children – Nina, Maria, Terasa, and Christina. They lived in Santa Barbara, California, on a ranch. His best-known composition might be “Oh! Look at Me Now“, with John DeVries, written when he worked in Tommy Dorsey‘s band. That song would become Frank Sinatra‘s second hit and one of his most enduring songs right after “Polkadots & Moonbeams.”

Howard Rumsey (November 7, 1917 – July 15, 2015) was an American jazz double-bassist known for his leadership of the Lighthouse All-Stars in the 1950s.

Born in Brawley, California, Rumsey first began playing the piano, followed by the drums and finally the bass. After jobs with Vido Musso and Johnnie Davis, Rumsey became part of Stan Kenton‘s first band. Rumsey soon left Kenton after an argument. He played with Charlie Barnet and Barney Bigard before taking a short hiatus from music. Following this absence from music, Rumsey returned to the Los Angeles jazz scene to form the group the Lighthouse All-Stars. For most of the 1950s this group played each Sunday at the Lighthouse Cafe in Hermosa Beach. During its lifetime, the Lighthouse All-Stars were one of the primary modern jazz institutions on the west coast, providing a home for many Los Angeles musicians.

Rumsey died from complications of pneumonia in Newport Beach, California, at the age of 97. In early 1949, Rumsey was in search of a playing job and came across the Lighthouse Club on Pier Avenue in Hermosa Beach, which he felt would be an ideal place to play music. The Lighthouse was built in 1934 as a restaurant named Verpilates. In 1940, the business changed hands, and under new ownership it was turned into a Polynesian-styled club named the Lighthouse, primarily serving merchant seamen. In 1948 the club was sold to John Levine. After convincing Levine to permit the playing of jazz in the club, Rumsey played his first show on Sunday 29 May 1949, to immediate success.

The first Lighthouse All-Stars was a group made up of Los Angeles musicians who had been a part of the Central Avenue scene in the 1940s, including Teddy Edwards, Sonny Criss, Hampton Hawes, Frank Patchen, Bobby White and Keith Williams. This band lasted for a time before Rumsey changed personnel to feature a new wave of players. The second edition of the Lighthouse All-Stars featured Jimmy Giuffre, Shorty Rogers, and Shelly Manne. The success of this group soon landed them with a recording contract for Les Koenig’s Contemporary Records. Not only were the Lighthouse All-Stars recording for Contemporary, but many of the members of the group were also leading sessions for this same label.

https://www.youtube.com/watch?v=su5oljCO30k

Wilder Community Center for Aging in St Paul. Wednesday November 6th Great Room session 945-1145am & Day Room session 1-230pm. Also November 11th & 13th.

This image of the Pinwheel Galaxy, or M101, combines data in the infrared, visible, ultraviolet and x-rays from four of NASA’s space telescopes. This multi-spectral view shows that both young and old stars are evenly distributed along M101’s tightly-wound spiral arms. Such composite images allow astronomers to see how features in one part of the spectrum match up with those seen in other parts. It is like seeing with a regular camera, an ultraviolet camera, night-vision goggles and X-Ray vision, all at once! The Pinwheel Galaxy is in the constellation of Ursa Major (also known as the Big Dipper). It is about 70% larger than our own Milky Way Galaxy, with a diameter of about 170,000 light years, and sits at a distance of 21 million light years from Earth. This means that the light we’re seeing in this image left the Pinwheel Galaxy about 21 million years ago – many millions of years before humans ever walked the Earth. The red colors in the image show infrared light, as seen by the Spitzer Space Telescope. These areas show the heat emitted by dusty lanes in the galaxy, where stars are forming. The yellow component is visible light, observed by the Hubble Space Telescope. Most of this light comes from stars, and they trace the same spiral structure as the dust lanes seen in the infrared. The blue areas are ultraviolet light, given out by hot, young stars that formed about 1 million years ago. The Galaxy Evolution Explorer (GALEX) captured this component of the image. Finally, the hottest areas are shown in purple, where the Chandra X-ray observatory observed the X-ray emission from exploded stars, million-degree gas, and material colliding around black holes.