Eddie Harris (October 20, 1934 – November 5, 1996) was an American jazz musician, best known for playing tenor saxophone and for introducing the electrically amplified saxophone. He was also fluent on the electric piano and organ. His best-known compositions are “Freedom Jazz Dance”, recorded and popularized by Miles Davis in 1966, and “Listen Here.”Harris was born and grew up in Chicago. His father was originally from Cuba, and his mother from New Orleans. He studied music under Walter Dyettat DuSable High School, as had many other successful Chicago musicians (such as Nat King Cole, Dinah Washington, Clifford Jordan, Johnny Griffin, Gene Ammons, Julian Priester, and Bo Diddley and others). He later studied music at Roosevelt University, by which time he was proficient on piano, vibraphone, and tenor saxophone. While in college, he performed professionally with Gene Ammons.

After college, Harris was drafted into the United States Army and while serving in Europe, he was accepted into the 7th Army Band, which also included Don Ellis, Leo Wright, and Cedar Walton.

William “Willie” Jones, Jr. (October 20, 1929 – April 1991) was a jazz drummer. He is known for playing and recording with Thelonious Monk, Elmo Hope, and Charles Mingus.

Jones was born in New York on October 20, 1929. He mainly taught himself to play the drums, and played left handed. He played and recorded with pianist Thelonious Monk in 1953,including on the album Thelonious Monk and Sonny Rollins. This recording, on November 13, was Jones’ first. He also appeared with Monk on the television program The Tonight Show, on June 10, 1955.^[2]:187 Jones was sideman for another pianist’s recording in 1955 – Elmo Hope‘s Meditations; and for Randy Weston‘s The Modern Art of Jazz by Randy Weston in the following year. In 1956 Jones had a two-week engagement with Monk in Philadelphia. Jones also played with Kenny Dorham, J. J. Johnson, Charlie Parker, and Cecil Payne in the mid-1950s.

In 1955–56 Jones was part of Charles Mingus‘ Jazz Workshop, and was the drummer in the bassist’s band that recorded Pithecanthropus Erectus, which helped develop a freer form of group improvisation. Jones was tenor saxophonist Lester Young‘s drummer from late 1956 to early 1959. In 1961, Jones played on Sun Ra‘s The Futuristic Sounds of Sun Ra. After this, nothing is known about Jones, and his date of death was taken from social security records. These associations – with the traditional Young and the avant-garde Sun Ra – illustrated Jones’ versatility.

Ferdinand Joseph LaMothe (October 20, 1890 – July 10, 1941), known professionally as Jelly Roll Morton, was an American ragtime and early jazz pianist, bandleader and composer who started his career in New Orleans, Louisiana.

Widely recognized as a pivotal figure in early jazz, Morton was jazz’s first arranger, proving that a genre rooted in improvisation could retain its essential spirit and characteristics when notated. His composition “Jelly Roll Blues“, published in 1915, was the first published jazz composition. Morton also wrote the standards “King Porter Stomp“, “Wolverine Blues“, “Black Bottom Stomp“, and “I Thought I Heard Buddy Bolden Say”, the last a tribute to New Orleans musicians from the turn of the 20th century.

Morton’s claim to have invented jazz in 1902 aroused resentment. The jazz historian, musician, and composer Gunther Schuller says of Morton’s “hyperbolic assertions” that there is “no proof to the contrary” and that Morton’s “considerable accomplishments in themselves provide reasonable substantiation”. Morton was born into the inward-looking Creole community in the Faubourg Marigny neighborhood of downtown New Orleans, Louisiana, c. 1890. Both parents could trace their Creole ancestry back four generations to the 18th century. Morton’s exact date and year of birth are uncertain, owing to the fact that in common with the majority of babies born in 19th-century New Orleans, no birth certificate was ever issued for him. The law requiring birth certificates for citizens was not enforced until 1914. His parents were Edward Joseph (Martin) Lamothe, a bricklayer by trade, and Louise Hermance Monette, a domestic worker. His father left his mother when Morton was three (they were never married) and when his mother married William Mouton in 1894, Ferdinand adopted his stepfather’s surname: anglicizing it to Morton. He showed musical talent at an early age. At the age of 12, he had depression; he suffered for a month before getting help.

NGC 5713 is a peculiar, asymmetric galaxy in the constellation Virgo. Although classified as a spiral galaxy by most galaxy catalogs, NGC 5713 galaxy is very different from most normal spiral galaxies. While most spiral galaxies either have either two well-defined spiral arms or a filamentary spiral-like structure, this spiral galaxy has only one visible spiral arm in its disk.This makes it a galaxy of the Magellanic type. Gravitational interactions with the nearby spiral galaxy NGC 5719 may be responsible for producing the disturbed, asymmetric structure including the single spiral arm.

NGC 5713 is at the center of a small group of spiral galaxies that also includes NGC 5691, NGC 5705, and NGC 5719.

Paul Blake (19 October 1965 – 18 May 2017), better known as Frankie Paul, was a Jamaican dancehall reggae artist. Born blind, he has been dubbed by some ‘The Jamaican Stevie Wonder’. Born in Jamaica in 1965, Blake was born blind but as a child had his sight partially restored by an operation on a hospital ship.He sang for, and impressed Stevie Wonder when Wonder visited the school that Blake attended, prompting him to pursue a singing career.

Adopting the stage name Frankie Paul, he first found fame in the early 1980s, and he recorded prolifically throughout the decade. He recorded for virtually every producer/studio in Jamaica at some time, and was known to release several albums a year.

Notable works of Frankie Paul include the popular “Sara” and “Worries in the Dance”.

Paul resided in The Gambia from 1994. In January 2016 he underwent surgery to amputate a foot and part of his leg.

Frankie Paul died on 18 May 2017 at the University Hospital of the West Indies in Kingston, Jamaica.

Peter Tosh, OM (born Winston Hubert McIntosh; 19 October  1944 – 11 September 1987) was a Jamaican reggae musician. Along with Bob Marley and Bunny Wailer, he was one of the core members of the band the Wailers (1963–1976), after which he established himself as a successful solo artist and a promoter of Rastafari. He was murdered in 1987 during a home invasion.

Tosh was born in Westmoreland, the westernmost parish of Jamaica. He was abandoned by his parents and “shuffled among relatives”. When McIntosh was fifteen, his aunt died and he moved to Trenchtown in Kingston, Jamaica. He first learned guitar after watching a man in the country play a song that captivated him. He watched the man play the same song for half a day, memorizing everything his fingers were doing. He then picked up the guitar and played the song back to the man. The man then asked McIntosh who had taught him to play; McIntosh told him that he had. During the early 1960s, as an aspiring musician, Tosh went to vocal teacher Joe Higgs, who gave free music lessons to young people. Through his contact with Higgs, Tosh met Robert Nesta Marley (Bob Marley) and Neville O’Reilly Livingston (Bunny Wailer). He then changed his name to Peter Tosh and the trio started singing together in 1962. Higgs taught the trio to harmonize and while developing their music, they would often play on the street corners of Trenchtown.^{[citation needed]}

In 1964 Tosh helped organize the band the Wailing Wailers, with Junior Braithwaite, a falsetto singer, and backup singers Beverley Kelso and Cherry Smith. Initially, Tosh was the only one in the group who could play musical instruments. According to Bunny Wailer, Tosh was critical to the band because he was a self-taught guitarist and keyboardist, and thus became an inspiration for the other band members to learn to play. The Wailing Wailers had a major ska hit with their first single, “Simmer Down”, and recorded several more successful singles before Braithwaite, Kelso and Smith left the band in late 1965. Marley spent much of 1966 in Delaware in the United States with his mother, Cedella (Malcolm) Marley-Booker, and for a brief time was working at a nearby Chrysler factory. He then returned to Jamaica in early 1967 with a renewed interest in music and a new spirituality. Tosh and Bunny were already Rastafarians when Marley returned from the US, and the three became very involved with the Rastafari faith. Soon afterwards, they renamed the musical group the Wailers. Tosh would explain later that they chose the name Wailers because to “wail” means to mourn or to, as he put it, “…express one’s feelings vocally”. He also claims that he was the beginning of the group, and that it was he who first taught Bob Marley the guitar. The latter claim may very well be true, for according to Bunny Wailer, the early Wailers learned to play instruments from Tosh.

Farid al-Atrash (Arabic: فريد الأطرش‎; October 19, 1910 – December 26, 1974), also written Farid El-Atrache, was a Syrian composer, singer, virtuoso oud player, and actor. Having immigrated to Egypt at the age of nine years old with his mother and siblings, Al-Atrash embarked on a highly successful career spanning more than four decades—recording 500 songs and starring in 31 movies. Sometimes referred to as “King of the Oud”, he is one of the most important figures of 20th century Arab music.

Al-Atrash was born in Al-Qurayya, in southern Syria to the Druze al-Atrash family who fought the French colonial army. His father was Syrian and his mother was Lebanese. As a child, al-Atrash emigrated with his mother and siblings to Egypt, escaping the French occupation. Later, they were naturalized by the Egyptian government as citizens. Farid’s mother sang and played the Oud, which spurred his musical interest at an early age.

As a child and young adult, al-Atrash sang in school events. He studied in a music conservatory and became an apprentice of the renowned composer Riad Al Sunbati. In the 1930s, al-Atrash began his professional singing career by working for privately owned Egyptian radio stations. Eventually, he was hired as an oud player for the national radio station and later as a singer. His sister, Asmahan, was also a talented singer, and for a while they worked together. In 1941, they starred in their first successful movie Intisar a l-Shabab (انتصار الشباب – The Triumph of Youth, 1941), in which Farid himself composed all the music.

UGC 8335 is a strongly interacting pair of spiral galaxies resembling two ice skaters. The interaction has united the galaxies via a bridge of material and has yanked two strongly curved tails of gas and stars from the outer parts of their “bodies”. Both galaxies show dust lanes in their centres. UGC 8335 is located in the constellation of Ursa Major, the Great Bear, about 400 million light-years from Earth. It is the 238th galaxy in Arp’s Atlas of Peculiar Galaxies.

William “Billy” Cox (born October 16, 1939) is an American bassist, best known for performing with Jimi Hendrix. Cox is the only surviving musician to have regularly played with Hendrix: first with the experimental group that backed Hendrix at Woodstock (informally referred to as “Gypsy Sun and Rainbows”), followed by the trio with drummer Buddy Miles that recorded the live Band of Gypsys album, and, lastly, The Cry of Love Tour trio with Mitch Mitchell back on drums. Cox continues to perform dates with the Band of Gypsys Experience and the Experience Hendrix Tour.

In addition to Hendrix, he has either been a member of the house or touring band or recorded sessions for Sam Cooke, Slim Harpo, Joe Simon, Charlie Daniels, John McLaughlin, Rufus Thomas, Carla Thomas, Lou Rawls, Etta James, Jackie Wilson and Little Richard. Born in Wheeling, West Virginia, Billy Cox was raised in Pittsburgh, Pennsylvania, and attended Schenley High School.

Esperanza Emily Spalding (born October 18, 1984) is an American jazz bassist and singer. Spalding was raised in Portland, Oregon, and was a musical prodigy, playing violin in the Chamber Music Society of Oregon at five years old. She was later both self-taught and -trained on a number of instruments, including guitar and bass. Her proficiency earned her scholarships to Portland State University and the Berklee College of Music. In 2017, she was appointed Professor of the Practice of Music at Harvard University.

She has won four Grammy Awards, including the Grammy Award for Best New Artist at the 53rd Grammy Awards, making her the first jazz artist to win the award. Spalding was born in Portland, Oregon, to an African-American father and a mother of Welsh, Native American, and Hispanic descent.^[8][9] She was raised in the King neighborhood in Northeast Portland, which at that time was at its height of gang violence. Her mother raised her and her brother as a single parent.

Wynton Learson Marsalis (born October 18, 1961) is an American virtuoso trumpeter, composer, teacher, and artistic director of Jazz at Lincoln Center. He has promoted classical and jazz music, often to young audiences. Marsalis has been awarded nine Grammy Awards and his Blood on the Fields was the first jazz composition to win the Pulitzer Prize for Music. He is the son of jazz musician Ellis Marsalis Jr. (pianist), grandson of Ellis Marsalis Sr., and brother of Branford (saxophonist), Delfeayo (trombonist), and Jason (drummer). Marsalis is the only musician to win a Grammy Award in jazz and classical during the same year.

Marsalis was born in New Orleans, Louisiana, on October 18, 1961 and grew up in the suburb of Kenner. He is the second of six sons born to Delores Ferdinand and Ellis Marsalis Jr., a pianist and music teacher. He was named for jazz pianist Wynton Kelly.Branford Marsalis is his older brother and Jason Marsalis and Delfeayo Marsalis are younger. All three are jazz musicians. While sitting at a table with trumpeters Al Hirt, Miles Davis, and Clark Terry, his father jokingly suggested that he might as well get Wynton a trumpet, too. Hirt volunteered to give him one, so at the age of six Marsalis received his first trumpet.

Laura Nyro (/ˈnɪəroʊ/ NEER-oh; born Laura Nigro, October 18, 1947 – April 8, 1997) was an American songwriter, singer, and pianist. She achieved critical acclaim with her own recordings, particularly the albums Eli and the Thirteenth Confession (1968) and New York Tendaberry(1969), and had commercial success with artists such as Barbra Streisand and The 5th Dimension recording her songs. Her style was a hybrid of Brill Building-style New York pop, jazz, rhythm and blues, show tunes, rock, and soul.

Between 1968 and 1970, a number of artists had hits with her songs: The 5th Dimension with “Blowing Away“, “Wedding Bell Blues“, “Stoned Soul Picnic“, “Sweet Blindness“, and “Save the Country“; Blood, Sweat & Tears and Peter, Paul and Mary, with “And When I Die“; Three Dog Night and Maynard Ferguson, with “Eli’s Comin’“; and Barbra Streisand with “Stoney End“, “Time and Love”, and “Hands off the Man (Flim Flam Man)”. Nyro’s best-selling single was her recording of Carole King‘s and Gerry Goffin‘s “Up on the Roof“.

In 2010, Laura Nyro was posthumously inducted into the Songwriters Hall of Fame, arguably her greatest professional accolade, in the footsteps of composers like George Gershwin, Oscar Hammerstein, and Stephen Sondheim.

Afterwards, in 2012, Nyro was also posthumously inducted into the Rock and Roll Hall of Fame. Nyro was born Laura Nigro in the Bronx, the daughter of Gilda (née Mirsky) Nigro, a bookkeeper, and Louis Nigro, a piano tuner and jazz trumpeter. Laura had a younger brother, Jan Nigro, who has become a well-known children’s musician. Laura was of Russian Jewish, Polish Jewish, with Italian ancestry from her paternal grandfather.

Charles Edward Anderson Berry (October 18, 1926 – March 18, 2017) was an American singer and songwriter, and one of the pioneers of rock and roll music. With songs such as “Maybellene” (1955), “Roll Over Beethoven” (1956), “Rock and Roll Music” (1957) and “Johnny B. Goode” (1958), Berry refined and developed rhythm and blues into the major elements that made rock and roll distinctive. Writing lyrics that focused on teen life and consumerism, and developing a music style that included guitar solos and showmanship, Berry was a major influence on subsequent rock music.

Born into a middle-class African-American family in St. Louis, Missouri, Berry had an interest in music from an early age and gave his first public performance at Sumner High School. While still a high school student he was convicted of armed robbery and was sent to a reformatory, where he was held from 1944 to 1947. After his release, Berry settled into married life and worked at an automobile assembly plant. By early 1953, influenced by the guitar riffs and showmanship techniques of the blues musician T-Bone Walker, Berry began performing with the Johnnie Johnson Trio. His break came when he traveled to Chicago in May 1955 and met Muddy Waters, who suggested he contact Leonard Chess, of Chess Records. With Chess, he recorded “Maybellene”—Berry’s adaptation of the country song “Ida Red“—which sold over a million copies, reaching number one on Billboard magazine’s rhythm and blues chart. By the end of the 1950s, Berry was an established star, with several hit records and film appearances and a lucrative touring career. He had also established his own St. Louis nightclub, Berry’s Club Bandstand. However, he was sentenced to three years in prison in January 1962 for offenses under the Mann Act—he had transported a 14-year-old girl across state lines. After his release in 1963, Berry had several more hits, including “No Particular Place to Go“, “You Never Can Tell“, and “Nadine“. But these did not achieve the same success, or lasting impact, of his 1950s songs, and by the 1970s he was more in demand as a nostalgic performer, playing his past hits with local backup bands of variable quality. However, in 1972 he reached a new level of achievement when a rendition of “My Ding-a-Ling” became his only record to top the charts. His insistence on being paid in cash led in 1979 to a four-month jail sentence and community service, for tax evasion. His reputation took a nosedive in the early 1990s, when the FBI seized home videos of him urinating in women’s eyes, farting in their mouths, and having them defecate into his mouth and played them in court.

Berry was among the first musicians to be inducted into the Rock and Roll Hall of Fame on its opening in 1986; he was cited for having “laid the groundwork for not only a rock and roll sound but a rock and roll stance.” Berry is included in several of Rolling Stone magazine’s “greatest of all time” lists; he was ranked fifth on its 2004 and 2011 lists of the 100 Greatest Artists of All Time. The Rock and Roll Hall of Fame’s 500 Songs That Shaped Rock and Roll includes three of Berry’s: “Johnny B. Goode”, “Maybellene”, and “Rock and Roll Music”. Berry’s “Johnny B. Goode” is the only rock-and-roll song included on the Voyager Golden Record. He was nicknamed by NBC as the “Father of Rock and Roll”. Born in St. Louis, Missouri, Berry was the fourth child in a family of six. He grew up in the north St. Louis neighborhood known as the Ville, an area where many middle-class people lived. His father, Henry William Berry (1895–1987), was a contractor and deacon of a nearby Baptist church; his mother, Martha Bell (Banks) (1894–1980), was a certified public school principal.

Flamenco Friday presents Soleá.

The metre or “compás” of the soleá is one of the most widely used in Flamenco. Other palos have derived their compás from the soleá, including Bulerías por soleá, the palos in the Cantiñasgroup, like Alegrías, Romeras, Mirabrás, Caracoles or, to a certain extent, Bulerías. It consists of 12 beats, and could be described as a combination of triple and duple beat bars, so it’s a polymetre form, with strong beats at the end of each bar. The basic “skeleton” of the soleá rhythm, thus, follows this pattern:

(Each number represents a beat. Blue squares mean weak beats, while big brown dots are strong beats.)

Nevertheless, this is just an underlying structure, like a foundation, a kind of grid where flamenco artists creatively draw the rhythm by means of subdivisions, articulation, and less commonly, syncopation and accent displacement.

The first example of “palmas” is a very common, simple pattern:

Notice that palmas are often (though by no means always) silent during beats 4 to 6, even if beat number 6 is a “strong one”. This is specially true when no dancing takes place: the main interest there is the singing (or playing) and too much percussion can take attention away from the music. Those beats though are often marked when there is dance, or when performing other palos in the same metre like Alegrías or Bulería por soleá. However, these are not to be taken as hard-and-fast rules, but just as general guidelines.

A more complex example.