mick laBriola

Eddie Lang (born Salvatore Massaro, October 25, 1902 – March 26, 1933) is known as the father of jazz guitar. During the 1920s, he gave the guitar a prominence it previously lacked as a solo instrument, as part of a band or orchestra, and as accompaniment for vocalists. He recorded duets with guitarists Lonnie Johnson and Carl Kress and jazz violinist Joe Venuti, and played rhythm guitar in the big bands of Paul Whiteman and Bing Crosby. Eddie Lang Pennsylvania Historical Marker and mural by Jared Bader at 7th and Fitzwater Streets in South Philadelphia (October 19, 2016)

The son of an Italian-American instrument maker, Lang was born in Philadelphia, Pennsylvania, and grew up with violinist Joe Venuti. His first instrument was violin when he was seven. He performed on violin in 1917 and became a member of a trio. In 1920, he dropped the violin for banjo and worked with Charlie Kerr, then Bert Estlow, Vic D’Ippolito, and Billy Lustig‘s Scranton Siren Orchestra. A few years later, he dropped the banjo for guitar when he became a member of the Mound City Blue Blowers led by Red McKenzie. He recorded one of the first solos in 1924 on “Deep 2nd Street Blues”. His performances with McKenzie’s band drew attention, and he found many jobs as a freelance guitarist. Before Lang, the guitar hadn’t been a prominent instrument in jazz bands and dance orchestras.

Lang and Joe Venuti recorded with Roger Wolfe Kahn and Jean Goldkette and performed with the Adrian Rollini Orchestra. Lang recorded with blues guitarist Lonnie Johnson under the name Blind Willie Dunn to hide his race and as a tribute to blues guitarist Blind Lemon Jefferson. He also worked with Frankie Trumbauer, Hoagy Carmichael, Annette Hanshaw, Red Nichols, Jack Pettis, Bessie Smith, and Clarence Williams.

Georges Bizet (UK: /ˈbiːzeɪ/ BEE-zay, US: /biːˈzeɪ/ bee-ZAY, French: [ʒɔʁʒ bizɛ]; 25 October 1838 – 3 June 1875), registered at birth as Alexandre César Léopold Bizet, was a French composer of the Romantic era. Best known for his operas in a career cut short by his early death, Bizet achieved few successes before his final work, Carmen, which has become one of the most popular and frequently performed works in the entire opera repertoire.

During a brilliant student career at the Conservatoire de Paris, Bizet won many prizes, including the prestigious Prix de Rome in 1857. He was recognised as an outstanding pianist, though he chose not to capitalise on this skill and rarely performed in public. Returning to Paris after almost three years in Italy, he found that the main Parisian opera theatres preferred the established classical repertoire to the works of newcomers. His keyboard and orchestral compositions were likewise largely ignored; as a result, his career stalled, and he earned his living mainly by arranging and transcribing the music of others. Restless for success, he began many theatrical projects during the 1860s, most of which were abandoned. Neither of his two operas that reached the stage in this time—Les pêcheurs de perles and La jolie fille de Perth—were immediately successful.

After the Franco-Prussian War of 1870–1871, during which Bizet served in the National Guard, he had little success with his one-act opera Djamileh, though an orchestral suite derived from his incidental music to Alphonse Daudet‘s play L’Arlésienne was instantly popular. The production of Bizet’s final opera, Carmen, was delayed because of fears that its themes of betrayal and murder would offend audiences. After its premiere on 3 March 1875, Bizet was convinced that the work was a failure; he died of a heart attack three months later, unaware that it would prove a spectacular and enduring success.

Bizet’s marriage to Geneviève Halévy was intermittently happy and produced one son. After his death, his work, apart from Carmen, was generally neglected. Manuscripts were given away or lost, and published versions of his works were frequently revised and adapted by other hands. He founded no school and had no obvious disciples or successors. After years of neglect, his works began to be performed more frequently in the 20th century. Later commentators have acclaimed him as a composer of brilliance and originality whose premature death was a significant loss to French musical theatre.

Light-years across, this suggestive shape known as the Seahorse Nebula appears in silhouette against a rich, luminous background of stars. Seen toward the royal northern constellation of Cepheus, the dusty, obscuring clouds are part of a Milky Way molecular cloud some 1,200 light-years distant. It is also listed as Barnard 150 (B150), one of 182 dark markings of the sky cataloged in the early 20th century by astronomer E. E. Barnard. Packs of low mass stars are forming within from collapsing cores only visible at long infrared wavelengths. Still, colorful stars in Cepheus add to the pretty, galactic skyscape.

Odean Pope (born October 24, 1938) is an American jazz tenor saxophonist. Pope was raised in Philadelphia, where he learned from Ray Bryant while young. Early in his career, at Philadelphia’s Uptown Theater, Pope played behind a number of noted rhythm and blues artists including James Brown, Marvin Gaye and Stevie Wonder.

He played briefly in the 1960s with Jimmy McGriff, and late in the 1960s he began working with Max Roach, including on tours of Europe in 1967-68. He was a member of Philadelphia group Catalyst in the early and mid-1970s, and assembled the Saxophone Choir, which consists of nine saxophones and a rhythm section (piano, bass and drums), in 1977. He became a regular member of Roach’s quartet in 1979 and recorded extensively with him, in addition to numerous releases as a leader.

James Henry “Jimmy” Dawkins (October 24, 1936 – April 10, 2013) was an American Chicago blues and electric blues guitarist and singer. He is generally considered to have been a practitioner of the “West Side sound” of Chicago blues.

Dawkins was born in Tchula, Mississippi. He moved to Chicago in 1955, where he worked in a box factory, started to play in local blues clubs, and gained a reputation as a session musician.

In 1969, thanks to the efforts of his friend Magic Sam, his first album, Fast Fingers, was released by Delmark Records. It won the Grand Prix du Disque from the Hot Club de France. In 1971, Delmark released his second album, All for Business, with the singer Andrew Odom and the guitarist Otis Rush.

Dawkins toured in the late 1970s, backed up by James Solberg (of Luther Allison and the Nighthawks) on guitar and Jon Preizler (the Lamont Cranston Band, Luther Allison, and Albert King), a Seattle-based Hammond B-3 organ player known for his soulful jazz-influenced style. Other musicians that toured with Dawkins in the late 1970s were Jimi Schutte (drums), Sylvester Boines (bass), Rich Kirch and Billy Flynn (guitars). Dawkins toured in Europe with this group of musicians. He also toured in Japan and recorded more albums in the United States and Europe. He contributed a column to the blues magazine Living Blues.

Willie James Mabon (October 24, 1925 – April 19, 1985) was an American R&B singer, songwriter and pianist, who had two number one hits on the Billboard R&B chart: “I Don’t Know” in 1952 and “I’m Mad” in 1953. Mabon was born and brought up in the Hollywood district of Memphis, Tennessee. He moved to Chicago in 1942, by which time he had become known as a singer and pianist. He formed a group, the Blues Rockers, and in 1949 began recording for Aristocrat Records and then Chess Records.

His biggest success came in 1952 when his debut solo release, “I Don’t Know“, written by Cripple Clarence Lofton (who received no royalties),topped the Billboard R&B chart for eight weeks. It was one of the most popular releases of its era and was Chess’s biggest hit before the successes of Chuck Berry and Bo Diddley. It was also one of the first R&B hit records to be covered by a leading white artist, Tennessee Ernie Ford. Mabon’s original was played on Alan Freed‘s early radio shows and also sold well to white audiences, crossing over markets at the start of the rock-and-roll era.

Mabon returned to the top R&B slot in 1953 with “I’m Mad” and had another hit in 1954 with the Mel London song “Poison Ivy”. However, his career failed to maintain its momentum, and record releases in the late 1950s on various labels were largely unsuccessful. Releases in the 1960s included “I’m the Fixer” and “Got to Have Some”.

Saunders Teddell, or Saunders Terrell (or other variants, sources differ) (October 24, 1911 – March 11, 1986), known as Sonny Terry, was an American Piedmont blues and folk musician, who was known for his energetic blues harmonica style, which frequently included vocal whoops and hollers and occasionally imitations of trains and fox hunts. Terry was born in Greensboro, Georgia. His father, a farmer, taught him to play basic blues harp as a youth. He sustained injuries to his eyes and went blind by the time he was 16, which prevented him from doing farm work, and was forced to play music in order to earn a living. Terry played Campdown Races to the plow horses which improved the efficiency of farming in the area. He began playing blues in Shelby, North Carolina. After his father died, he began playing in the trio of Piedmont blues–style guitarist Blind Boy Fuller. When Fuller died in 1941, Terry established a long-standing musical relationship with Brownie McGhee, and they recorded numerous songs together. The duo became well known among white audiences during the folk music revival of the 1950s and 1960s. This included collaborations with Styve Homnick, Woody Guthrie and Moses Asch, producing classic recordings for Folkways Records (now Smithsonian/Folkways).

In 1938 Terry was invited to play at Carnegie Hall for the first From Spirituals to Swing concert,^[4] and later that year he recorded for the Library of Congress. He recorded his first commercial sides In 1940. Some of his most famous works include “Old Jabo”, a song about a man bitten by a snake, and “Lost John”, which demonstrates his amazing breath control.

Despite their fame as “pure” folk artists, in the 1940s Terry and McGhee fronted a jump blues combo with honking saxophone and rolling piano, which was variously billed as Brownie McGhee and his Jook House Rockers or Sonny Terry and his Buckshot Five.

RCW 49 (Gum 29) is a H II region nebula located 13,700 light years away. It is a dusty stellar nursery that contains more than 2,200 stars and is about 350 light years across.

The nebula RCW49, shown in infrared light in this image from the Spitzer Space Telescope, is a nursery for newborn stars. Using NASA’s Spitzer Space Telescope, astronomers have found in RCW49 more than 300 newborn or ‘protostars,’ all with circumstellar disks of dust and gas. The discovery reveals that galaxies make new stars at a much more prolific rate than previously imagined. The stellar disks of dust and gas not only feed material onto the growing new stars, but can be the raw material for new planetary systems.

Gary Robert McFarland (October 23, 1933 – November 3, 1971) was a composer, arranger, vibraphonist and vocalist, prominent on Verve and Impulse! Records during the 1960s, when he made “one of the more significant contributors to orchestral jazz”. McFarland was born in Los Angeles, on October 23, 1933, but grew up in Grants Pass, Oregon.

He attained a small following after working with Bill Evans, Gerry Mulligan, Johnny Hodges, John Lewis, Stan Getz, Bob Brookmeyer, and Anita O’Day.

As well as his own albums and arrangements for other musicians he composed the scores to the films Eye of the Devil (1966) and Who Killed Mary What’s ‘Er Name? (1971). By the end of the 1960s, he was moving away from jazz towards an often wistful or melancholy style of instrumental pop, as well as producing the recordings of other artists on his Skye Records label (run in partnership with Gábor Szabó and Cal Tjader until its bankruptcy in 1970).

Frank Hewitt (October 23, 1935 – September 5, 2002) was an American hard bop jazz pianist. Born in Queens, New York, Hewitt lived most of his life in Harlem. His mother was a church pianist, and he initially studied classical and gospel music, but switched to jazz after hearing a Charlie Parker record. He took the bop pianists Thelonious Monk, Bud Powell and Elmo Hope as his role models. In the 1950s and 1960s he worked with Howard McGhee, Cecil Payne, John Coltrane, Dinah Washington and Billie Holiday, among others; in 1961 he also participated in the Living Theater‘s production of Jack Gelber‘s The Connection. He became a regular figure in the circle of the pianist Barry Harris. In the 1990s Hewitt became a central figure at New York’s Smalls Jazz Club; aside from playing there several nights a week, he sometimes also ended up using the walk-in refrigerator as a place to bunk when times were rough.

During his lifetime only one track of Hewitt’s playing was released, a version of the Kenny Dorham tune “Prince Albert” on the compilation Jazz Underground: Live at Smalls (Impulse, 1998). After Hewitt’s death, however, recordings made by Luke Kaven began to surface on Kaven’s Smalls Records label: the trio discs We Loved You, Not Afraid to Live, Fresh from the Cooler, and Out of the Clear Black Sky, and the quintet date Four Hundred Saturdays. His reputation as a neglected jazz master has steadily grown among fans of bebop piano.

William “Sonny” Criss (23 October 1927 – 19 November 1977) was an American jazz musician.

An alto saxophonist of prominence during the bebop era of jazz, he was one of many players influenced by Charlie Parker.

William Criss was born in Memphis, Tennessee and moved to Los Angeles at the age of 15. He then went on to play in various bands including Howard McGhee‘s, which also featured Charlie Parker.

Criss had developed his own, concise, bluesy tone by this point, and though his basic style did not vary much, his ability on the instrument continued to develop. Nevertheless, he continued to drift from band to band, and played on some records with Johnny Otis and Billy Eckstine.

His first major break came in 1947, on a number of jam sessions arranged by jazz impresario Norman Granz. In 1956 he signed to Imperial Records, based in New York, and recorded a series albums including Jazz U.S.A , Go Man! and Sonny Criss Plays Cole Porter featuring pianist Sonny Clark. Capitol, which owned the master recordings, reissued them as a 2-CD set on their Blue Note imprint in 2000. Criss also recorded At the Crossroadswith pianist Wynton Kelly.

Prestige signed Criss in 1965, and he continued to record well-acclaimed albums which were mainly rooted in hard bop traditions. Sonny’s Dreamfeatured arrangements by Horace Tapscott. Later sessions were recorded for Muse and Impulse.

https://www.youtube.com/watch?v=Fj00v0ssjqU

A delicate ribbon of gas floats eerily in our galaxy. A contrail from an alien spaceship? A jet from a black-hole? Actually this image, taken by NASA’s Hubble Space Telescope, is a very thin section of a supernova remnant caused by a stellar explosion that occurred more than 1,000 years ago.

On or around May 1, 1006 A.D., observers from Africa to Europe to the Far East witnessed and recorded the arrival of light from what is now called SN 1006, a tremendous supernova explosion caused by the final death throes of a white dwarf star nearly 7,000 light-years away. The supernova was probably the brightest star ever seen by humans, and surpassed Venus as the brightest object in the night time sky, only to be surpassed by the moon. It was visible even during the day for weeks, and remained visible to the naked eye for at least two and a half years before fading away.

It wasn’t until the mid-1960s that radio astronomers first detected a nearly circular ring of material at the recorded position of the supernova. The ring was almost 30 arcminutes across, the same angular diameter as the full moon. The size of the remnant implied that the blast wave from the supernova had expanded at nearly 20 million miles per hour over the nearly 1,000 years since the explosion occurred.

In 1976, the first detection of exceedingly faint optical emission of the supernova remnant was reported, but only for a filament located on the northwest edge of the radio ring. A tiny portion of this filament is revealed in detail by the Hubble observation. The twisting ribbon of light seen by Hubble corresponds to locations where the expanding blast wave from the supernova is now sweeping into very tenuous surrounding gas.

The hydrogen gas heated by this fast shock wave emits radiation in visible light. Hence, the optical emission provides astronomers with a detailed “snapshot” of the actual position and geometry of the shock front at any given time. Bright edges within the ribbon correspond to places where the shock wave is seen exactly edge on to our line of sight.

Today we know that SN 1006 has a diameter of nearly 60 light-years, and it is still expanding at roughly 6 million miles per hour. Even at this tremendous speed, however, it takes observations typically separated by years to see significant outward motion of the shock wave against the grid of background stars. In the Hubble image as displayed, the supernova would have occurred far off the lower right corner of the image, and the motion would be toward the upper left.

SN 1006 resides within our Milky Way Galaxy. Located more than 14 degrees off the plane of the galaxy’s disk, there is relatively little confusion with other foreground and background objects in the field when trying to study this object. In the Hubble image, many background galaxies (orange extended objects) far off in the distant universe can be seen dotting the image. Most of the white dots are foreground or background stars in our Milky Way galaxy.

This image is a composite of hydrogen-light observations taken with Hubble’s Advanced Camera for Surveys in February 2006 and Wide Field Planetary Camera 2 observations in blue, yellow-green, and near-infrared light taken in April 2008. The supernova remnant, visible only in the hydrogen-light filter was assigned a red hue in the Heritage color image.

Leslie West (born Leslie Weinstein; October 22, 1945) is an American rock guitarist, vocalist, and songwriter. He is best known as a founding member of the hard rock band Mountain. West was born in New York City, to a Jewish family. He grew up in Hackensack, New Jersey, and in East Meadow, New York, Forest Hills, New York and Lawrence, New York.^[1] After his parents divorced, he changed his surname to West. His musical career began with the Vagrants, an R&B/blue-eyed soul-rock band influenced by the likes of the Rascals that was one of the few teenage garage rock acts to come out of the New York metropolitan area itself (as opposed to the Bohemian Greenwich Village scene of artists, poets and affiliates of the Beat Generation, which produced bands like The Fugs and The Velvet Underground). The Vagrants had two minor hits in the Eastern US: 1966’s “I Can’t Make a Friend” and a cover of Otis Redding‘s “Respect” the following year.

Some of the Vagrants’ recordings were produced by Felix Pappalardi, who was also working with Cream on their album Disraeli Gears. In 1969, West and Pappalardi formed the pioneering hard rock act Mountain, which was also the title of West’s debut solo album. Rolling Stone identified the band as a “louder version of Cream”.^[2] With Steve Knight on keyboards and original drummer N. D. Smart, the band appeared on the second day of the Woodstock Festival on Saturday, August 16, 1969 starting an 11-song set at 9 pm. The band’s original incarnation saw West and Pappalardi sharing vocal duties and playing guitar and bass, respectively. New drummer Corky Laingjoined the band shortly after Woodstock. They had success with “Mississippi Queen“, which reached No. 21 on the Billboard charts and No. 4 in Canada. It was followed by the Jack Bruce-penned “Theme For an Imaginary Western”. Mountain is one of the bands considered to be forerunners of heavy metal.

Cándido de Guerra Camero (born April 22, 1921), also known simply as Cándido, is a Cuban conga and bongo player. He also plays the tres, drums, and acoustic bass. He has worked in many genres of popular music from pop, rock, R&B and disco to Afro-Cuban dance music and Latin jazz. He is the first player to develop techniques to play multiple conga drums, coordinated independence and the use of multiple percussion, one player playing a variety of percussion instruments simultaneously. Early in his career, Camero recorded in his native Cuba with many of the early pioneers of the son movement as well as being the conga drummer for the Tropicana night club in Havana from its opening night in 1940 and subsequently for the next eight years. He first appeared in NYC in the musical review, Tidbits, at the Plymouth Theater on Broadway in 1946 backing up the Cuban dance team of Carmen and Rolando. In 1948 he made his first U.S. recording with Machito and His Afro-Cubans on the tune, “El Rey Del Mambo.” as well as working with Dizzy Gillespie. During 1953–54, he was in the Billy Taylor Trio and in 1954 he performed and recorded with Stan Kenton.

He also enjoyed success during the disco era of the 1970s, most notably with the Babatunde Olatunji-penned track “Jingo” from his Dancin’ and Prancin‘ album, which he recorded for Salsoul Records in 1979. The album has also been acknowledged as an influence and precursor to house music, predating the emergence of the genre by over five years.