mick laBriola

Horace Ward Martin Tavares Silver (September 2, 1928 – June 18, 2014 Norwalk, CT) was an American jazz pianist, composer, and arranger, particularly in the hard bop style that he helped pioneer in the 1950s.

After playing tenor saxophone and piano at school in Connecticut, Silver got his break on piano when his trio was recruited by Stan Getz in 1950. Silver soon moved to New York City, where he developed a reputation as a composer and for his bluesy playing. Frequent sideman recordings in the mid-1950s helped further, but it was his work with the Jazz Messengers, co-led by Art Blakey, that brought both his writing and playing most attention. Their Horace Silver and the Jazz Messengers album contained Silver’s first hit, “The Preacher“. After leaving Blakey in 1956, Silver formed his own quintet, with what became the standard small group line-up of tenor saxophone, trumpet, piano, bass, and drums. Their public performances and frequent recordings for Blue Note Records increased Silver’s popularity, even through changes of personnel. His most successful album was Song for My Father, made with two iterations of the quintet in 1963 and 1964.

Several changes occurred in the early 1970s: Silver disbanded his group to spend more time with his wife and to concentrate on composing; he included lyrics in his recordings; and his interest in spiritualism developed. The last two of these were often combined, resulting in commercially unsuccessful releases such as The United States of Mind series. Silver left Blue Note after 28 years, founded his own record label, and scaled back his touring in the 1980s, relying in part on royalties from his compositions for income. In 1993, he returned to major record labels, releasing five albums before gradually withdrawing from public view because of health problems.

As a player, Silver transitioned from bebop to hard bop by stressing melody rather than complex harmony, and combined clean and often humorous right-hand lines with darker notes and chords in a near-perpetual left-hand rumble. His compositions similarly emphasized catchy melodies, but often also contained dissonant harmonies. Many of his varied repertoire of songs, including “Doodlin’“, “Peace“, and “Sister Sadie“, became jazz standardsthat are still widely played. His considerable legacy encompasses his influence on other pianists and composers, and the development of young jazz talents who appeared in his bands over the course of four decades.

Lawrence (Booker T.) Laury (September 2, 1914 – September 23, 1995) was an American boogie-woogie, blues, gospel and jazz pianist and singer. Laury worked with Memphis Slim and Mose Vinson but did not record his debut album until he was almost eighty years of age. He appeared in two films.

Laury was born in Memphis, Tennessee, and grew up with his lifelong friend Memphis Slim. At the age of six, after helping his mother play the family’s pump organ, Laury learned to play the keyboards. His barrelhouse playing style, which he developed alongside Slim, was based on the influence of the Memphis performers Roosevelt Sykes, Sunnyland Slim, and Speckled Red. In the early 1930s, and in the company of the younger Mose Vinson, Slim and Laury began playing in local clubs.

In 1935, Sykes suggested to Laury and Slim that they relocate to Chicago, with a view to obtaining a recording contract. Slim took the advice, but Laury decided to remain in Memphis, where he played in gambling houses and clubs for decades. Laury had a large hand width, which enabled him to span ten keys. His playing dexterity was such that, after losing one finger on his left hand following an accident with a circular saw in the 1950s, he was still able to play well. Based around Beale Street, in Memphis, as that area started to degenerate, Laury traveled around Tennessee, Arkansas and Missouri. Despite differing fortunes, his friendship with Slim did not diminish over the years, up to Slim’s death in 1988.

Laury recorded his debut album in his late seventies. A concert with a full band was recorded in 1980. A 1980 Paris concert was released by Indigo Records in France.

The 1989 Dennis Quaid film Great Balls of Fire! portrayed the young Jerry Lee Lewis and Jimmy Swaggart looking into a juke joint to see Laury playing “Big Legged Woman”. The attention helped to give Laury an opportunity to record later in his life.

In 1994, Bullseye Blues Records issued Nothin’ but the Blues, an album of Laury’s voice and piano, performing ten of his own compositions. The same year, the Austrian label Wolf Records released a live album, containing concert recordings made in 1987.

Laury died of cancer in September 1995, at the age of 81, in Memphis. He has a brass note on Beale Street’s Walk of Fame.

The bright stars of the Pleiades can be seen without binoculars from even the depths of a light-polluted city. With a long exposure from a dark location, though, the dust cloud surrounding the Pleiades star cluster becomes very evident. The featured exposure took over 12 hours and covers a sky area several times the size of the full moon. Also known as the Seven Sisters and M45, the Pleiades lies about 400 light years away toward the constellation of the Bull (Taurus). A common legend with a modern twist is that one of the brighter stars faded since the cluster was named, leaving only six stars visible to the unaided eye. The actual number of Pleiades stars visible, however, may be more or less than seven, depending on the darkness of the surrounding sky and the clarity of the observer’s eyesight.

Gene Harris (born Eugene Haire, September 1, 1933 – January 16, 2000) was an American jazz pianist known for his warm sound and blues and gospel infused style that is known as soul jazz.

From 1956 to 1970, he played in The Three Sounds trio with bassist Andy Simpkins and drummer Bill Dowdy. During this time, The Three Sounds recorded regularly for Blue Note and Verve.

He mostly retired to Boise, starting in the late 1970s, although he performed regularly at the Idanha Hotel there. Ray Brown convinced him to go back on tour in the early 1980s. He played with the Ray Brown Trio and then led his own groups, recording mostly on Concord Records, until his death from kidney failure in 2000. Gene Harris is survived by his 3 daughters, Tracy Haire, Beth Haire- Lewis and Gina Haire (Niki Haris), and a son Eugene Haire. One of his most popular numbers was his “Battle Hymn of the Republic,” a live version of which is on his Live at Otter Crest album, published by Concord.

Arthur Edward Pepper Jr. (September 1, 1925 – June 15, 1982) was an American alto saxophonist and very occasional tenor saxophonist and clarinetist. A longtime figure in West Coast jazz, Pepper came to prominence in Stan Kenton‘s big band. He was known for his emotionally charged performances and several stylistic shifts throughout his career, and was described by critic Scott Yanow as “the world’s great altoist” at the time of his death.

Art Pepper was born in Gardena, California, on September 1, 1925. His mother was a 14-year-old runaway; his father, a merchant seaman. Both were violent alcoholics, and when Art was still quite young he was sent to live with his paternal grandmother. He expressed early musical interest and talent, and he was given lessons. He began playing clarinet at nine, switched to alto saxophone at 13 and immediately began jamming on Central Avenue, the black nightclub district of Los Angeles.

At the age of 17 he began playing professionally with Benny Carter and then became part of the Stan Kenton orchestra, touring with that band until he was drafted in 1943. After the war he returned to Los Angeles and joined the Kenton Innovations Orchestra. By the 1950s Pepper was recognized as one of the leading alto saxophonists in jazz, finishing second only to Charlie Parker as Best Alto Saxophonist in the DownBeat magazine Readers Poll of 1952. Along with Chet Baker, Gerry Mulligan and Shelly Manne, and perhaps due more to geography than playing style, Pepper is often associated with the musical movement known as West Coast jazz, as contrasted with the East Coast (or “hot”) jazz of Charlie Parker, Dizzy Gillespie and Miles Davis. Some of Pepper’s most famous albums from the 1950s are Art Pepper Meets the Rhythm Section, Art Pepper + Eleven – Modern Jazz Classics, Gettin’ Together, and Smack Up. Representative music from this time appears on The Aladdin Recordings (three volumes), The Early Show, The Late Show, The Complete Surf Ride, and The Way It Was!, which features a session recorded with Warne Marsh.

Near Orion’s belt is a fuzzy area known as the Great Nebula of Orion or M42. In this nebula is a bright star cluster known as the Trapezium, shown above. New stellar systems are forming there in gigantic globs of gas and dust known as Proplyds. Looking closely at the above picture also reveals that gas and dust surrounding some of the dimmer stars appears to form structures that point away from the brighter stars. The above false color image was made by combining several exposures from the orbiting Hubble Space Telescope.

The Trapezium or Orion Trapezium Cluster, also known by its Bayer designation of Theta¹ Orionis, is a tight open cluster of stars in the heart of the Orion Nebula, in the constellation of Orion. It was discovered by Galileo Galilei. On February 4, 1617 he sketched three of the stars (A, C, D), but missed the surrounding nebulosity The fourth component (B) was identified by several observers in 1673, and several more components were discovered later, for a total of eight by 1888. Subsequently, several of the stars were determined to be binaries. Telescopes of amateur astronomers from about 5 inch aperture can resolve six stars under good seeing conditions.

The Trapezium is a relatively young cluster that has formed directly out of the parent nebula. The five brightest stars are on the order of 15-30 solar masses in size. They are within a diameter of 1.5 light-years of each other and are responsible for much of the illumination of the surrounding nebula. The Trapezium may be a sub-component of the larger Orion Nebula Cluster, a grouping of about 2,000 stars within a diameter of 20 light-years.

Sir George Ivan “Van” Morrison OBE (born 31 August 1945) is a Northern Irish singer-songwriter, instrumentalist and record producer. His professional career began as a teenager in the late 1950s playing a variety of instruments including guitar, harmonica, keyboards and saxophone for various Irish showbands, covering the popular hits of that time. Van Morrison rose to prominence in the mid-1960s as the lead singer of the Northern Irish R&B band Them, with whom he recorded the garage band classic “Gloria“. His solo career began under the pop-hit oriented guidance of Bert Berns with the release of the hit single “Brown Eyed Girl” in 1967. After Berns’s death, Warner Bros. Records bought out his contract and allowed him three sessions to record Astral Weeks (1968). Though this album gradually garnered high praise, it was initially a poor seller.

Moondance (1970) established Morrison as a major artist, and he built on his reputation throughout the 1970s with a series of acclaimed albums and live performances. He continues to record and tour, producing albums and live performances that sell well and are generally warmly received, sometimes collaborating with other artists, such as Georgie Fame and The Chieftains.

Much of Morrison’s music is structured around the conventions of soul music and R&B, such as the popular singles “Brown Eyed Girl“, “Jackie Wilson Said (I’m in Heaven When You Smile)“, “Domino” and “Wild Night“. An equal part of his catalogue consists of lengthy, loosely connected, spiritually inspired musical journeys that show the influence of Celtic tradition, jazz and stream-of-consciousness narrative, such as the album Astral Weeks and the lesser known Veedon Fleece and Common One. The two strains together are sometimes referred to as “Celtic soul”. He has received two Grammy Awards, the 1994 Brit Award for Outstanding Contribution to Music, the 2017 Americana Music Lifetime Achievement Award for Songwriting and has been inducted into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. In 2016, he was knighted for services to the music industry and to tourism in Northern Ireland.

Herman Riley (August 31, 1933 – April 14, 2007) was a jazz saxophonist who spent most of his life as a studio musician in Los Angeles. He worked with Gene Ammons, Lorez Alexandria, Count Basie, Bobby Bryant, Donald Byrd, Benny Carter, Quincy Jones, Shelly Manne, Blue Mitchell, and Joe Williams.

Paul Winter (born August 31, 1939) is an American saxophonist who founded the Paul Winter Consort. He has recorded more than 40 albums and won seven Grammy Awards. He has toured and recorded in 52 countries and six continents. He often records while traveling in wilderness areas, including on rafts, mules, dog sleds, horses, kayaks, sailboats, steamers, tug-boats, and Land Rovers. He performs benefit concerts for environmental and world peace organizations. Paul Winter attended Altoona Area High School and graduated in 1957. In 1961, while he was in college at Northwestern University, the band that he founded, the Paul Winter Sextet won the Intercollegiate Jazz Festival and was signed by Columbia Records. The next year, the band toured Latin America as cultural ambassadors for the United States State Department, playing 160 concerts in 23 countries. The Sextet was also the first jazz band to perform at the White House. Winter returned to Brazil in the mid-1960s and his interest in Brazilian music and the emerging bossa nova led to the 1965 release of the album Rio, with liner notes by Vinicius de Moraes.

After Winter’s band changed its name to the Paul Winter Consort in the late 1960s, it contributed to the development of world music and space music. The Consort’s 1972 release, Icarus, was produced by George Martin. Most of the musicians who worked on this album went on to form the jazz group Oregon. The Consort has continued over the years with different musicians.

In 1975, Winter sailed aboard the Greenpeace V anti-whaling expedition for three days of playing saxophone to wild gray whales off the coast of Vancouver Island (Tofino). He was accompanied in this effort by Melville Gregory and Will Jackson, musicians attempting to “communicate” with the whales using various instruments and a Serge synthesizer. Photos of Winter and the whales [by Rex Weyler] appeared on wire services and in media around the world, helping the ultimate success of the mission against Soviet whalers. In 1978 Winter released “Common Ground” an album that combined his music and animal sounds (Wolves, Eagles, Whales) and ushered in what became known as “New Age” music.

Also known as the Lobster Nebula and the War and Peace Nebula, NGC 6357 is a diffuse nebula. It is located in the constellation Scorpius, approximately 5,500 light-years away. NGC 6357 is actually a ‘cluster of clusters,’ containing at least three clusters of young stars, including many hot, massive, luminous stars. Astronomers call NGC 6357 and other objects like it ‘HII’ regions. An HII region is created when the radiation from hot, young stars strips away the electrons from neutral hydrogen atoms in the surrounding gas to form clouds of ionized hydrogen. The X-rays from NASA’s Chandra space telescope reveal hundreds of point sources, which are the young stars in NGC 6357, as well as diffuse X-ray emission from hot gas. There are bubbles, or cavities, that have been created by radiation and material blowing away from the surfaces of massive stars, plus supernova explosions.

John Edmund Andrew Phillips (August 30, 1935 – March 18, 2001) was an American singer, guitarist, songwriter, and promoter of the 1967 Monterey Pop Festival. Phillips was a member and leader of the vocal group The Mamas & the Papas.

Phillips was born August 30, 1935 in Parris Island, South Carolina. His father, Claude Andrew Phillips, was a retired United States Marine Corpsofficer. Claude Phillips, while on his way home from France following World War I, managed, in a poker game, to win a tavern business located in Oklahoma from another Marine. His mother, Edna Gertrude (née Gaines), who had English ancestry, met his father in Oklahoma. According to his autobiography, Papa John, Phillips’ father was a heavy drinker who suffered from poor health.

Phillips was the primary songwriter and musical arranger of The Mamas & the Papas. In a 1968 interview, Phillips described some of his arrangements as “well arranged two-part harmony moving in opposite directions”. After being signed to Dunhill, they had several Billboard Top Ten hits, including “California Dreamin’“, “Monday, Monday“, “I Saw Her Again“, “Creeque Alley“, and “12:30 (Young Girls Are Coming to the Canyon)“. John Phillips also wrote “San Francisco (Be Sure to Wear Flowers in Your Hair)” in 1967 for former Journeymen bandmate Scott McKenzie. “San Francisco” is widely regarded as emblematic of 1960s American counterculture music. Phillips wrote the oft-covered “Me and My Uncle“, which was a favorite in the repertoire of the Grateful Dead.

Phillips helped promote and performed with The Mamas & the Papas in the Monterey International Pop Music Festival held June 16 to 18, 1967 in Monterey, California. The festival was planned in just seven weeks and was developed as a way to validate rock music as an art form in the way jazz and folk were regarded. It was the first major pop-rock music event in history.

McKinley Howard “Kenny” Dorham (August 30, 1924 – December 5, 1972) was an American jazz trumpeter, singer, and composer. Dorham’s talent is frequently lauded by critics and other musicians, but he never received the kind of attention or public recognition from the jazz establishment that many of his peers did. For this reason, writer Gary Giddins said that Dorham’s name has become “virtually synonymous with underrated.”^[1]Dorham composed the jazz standard “Blue Bossa“, which first appeared on Joe Henderson‘s album Page One.

Dorham was one of the most active bebop trumpeters. He played in the big bands of Lionel Hampton, Billy Eckstine, Dizzy Gillespie, and Mercer Ellington and the quintet of Charlie Parker. He joined Parker’s band in December 1948.^[2] He was a charter member of the original cooperative Jazz Messengers. He also recorded as a sideman with Thelonious Monk and Sonny Rollins, and he replaced Clifford Brown in the Max Roach Quintet after Brown’s death in 1956. In addition to sideman work, Dorham led his own groups, including the Jazz Prophets (formed shortly after Art Blakeytook over the Jazz Messengers name). The Jazz Prophets, featuring a young Bobby Timmons on piano, bassist Sam Jones, and tenorman J. R. Monterose, with guest Kenny Burrell on guitar, recorded a live album ‘Round About Midnight at the Cafe Bohemia in 1956 for Blue Note.

In 1963 Dorham added the 26-year-old tenor saxophonist Joe Henderson to his group, which later recorded Una Mas (the group also featured a young Tony Williams). The friendship between the two musicians led to a number of other albums, such as Henderson’s Page One, Our Thing and In ‘n Out. Dorham recorded frequently throughout the 1960s for Blue Note and Prestige Records, as leader and as sideman for Henderson, Jackie McLean, Cedar Walton, Andrew Hill, Milt Jackson and others.

https://www.youtube.com/watch?v=PdQ6kFl59rM

born 8-30-1922 died May-9-1982

Brown when, at age five, she sang at a sanctified temple in St. Louis. By then her family, including a mother who played ragtime piano, had relocated to Detroit. Her professional debut was in Motor City clubs in the early ’40s, and within several years she had relocated west to the Windy City. Brown maintained an axis of gigging most of her career between Chicago, Detroit, and St. Louis. Because of both being born and dying in the latter city, it is there that her name is often listed as a native talent, following Helen Brown alphabetically. Her connection with Chicago is just as strong, however, and includes the required connections with talent such as the Todd Rhodes Orchestra, Earl Bostic, Cecil Gant, Tiny Bradshaw, Gene Ammons, and even the young soul singer Jackie Wilson.

In the mid-’60s she recorded for the Spivey label, a typical mishmash organized by label maestro Victoria Spivey, which allows listeners to sample the color contrast between guest star Muddy Watersand Olive Brown, a brown-in that might be followed nicely with the album Raw Sienna by Savoy Brown. In this same period, Brown began nearly a decade living in Canada, but this was hardly an exile from music. The roster at a Colonial Tavern date recorded by the CBC in Toronto promises great things, featuring Brown as vocalist with a band including the marvelous trumpeter Buck Clayton, stalwart pianist Sir Charles Thompson, and basso profundo Tommy Potter. Like many of the radio network’s live recordings, this ’60s session has never been issued on disc.

Flamenco Fridays with Tango.

In flamenco a tango (Spanish pronunciation: [ˈtaŋɡo]) is one of the flamenco palos closely related in form and feeling to the rumba flamenca. It is often performed as a finale to a flamenco tiento. Its compás and llamada are the same as that of the farruca and share the farruca’s lively nature. However, the tango is normally performed in the A Phrygian mode. In some English sources the flamenco tango is written with an -s; “the tangos is…”

The flamenco tango is distinct from the flamenco rumba primarily through the guitar playing. In Rumba the guitar flows more freely, whereas in Tangos the accents on beats 2, 3 & 4 are marked clearly with heavy strumming.

Tangos is only vaguely related to Argentine tango, and objectively they only share compás binario or double stroke rhythm. The fact that Argentine tango is one of the first couple dances in America has led historians to believe that both could be based in a minuet-style European dance, therefore sharing a common ancestor, while those who compare the present day forms do not see them as related.