mick laBriola

Joseph Charles “Joe” Jones (August 12, 1926 – November 27, 2005) was an American R&B singer, songwriter and arranger, who was born in New Orleans, Louisiana. Jones is also generally credited with discovering the Dixie Cups. He also worked with B.B. King. As a singer, Jones had his greatest hit in the form of the Top Five 1960 R&B hit “You Talk Too Much“, which also reached #3 on the pop chart. Jones served in the U.S. Navy, where he played piano in a band, before studying music at the Juilliard Conservatory of Music. He formed a band, Joe Jones and his Atomic Rebops, in the late 1940s; band members played on Roy Brown‘s 1947 hit “Good Rocking Tonight“. He was expelled from the New Orleans local chapter of the American Federation of Musicians for attempting to set up a rival organization but was later reinstated.

He became a valet, then pianist and arranger for B.B. King, and recorded his first solo single, “Adam Bit the Apple”, for Capitol Records in 1954. He also discovered Shirley and Lee, whose recording of “Let the Good Times Roll” became a hit in 1956. In 1960, a re-recording of a song he had first recorded in 1958, “You Talk Too Much” on Ric Records, became a national success, but his subsequent releases were less successful.

Jones claimed to have composed many songs, including the song “Iko Iko.” Although his assertions were originally successful, a federal jury and then Court of Appeals ruled that Jones did not write “Iko Iko,” that his claims were fraudulent, and that the true writers were the band he managed, the Dixie Cups (the true original recording of this song had been released as Checker 787 by New Orleans singer and pianist Sugar Boy Crawford and his Cane Cutters in late 1953). The band hired music attorney Oren Warshavsky, who had previously won a case demonstrating that Jones falsely professed ownership of another Mardi Gras classic song, “It Ain’t My Fault.” Jones also failed in his bid to declare title (though not as an author) to yet another Mardi Gras classic song, “Carnival Time.” He also recorded the original “California Sun” on Roulette Records in 1961, which was made a hit by the Rivieras in 1963.

Visible in the constellation of Leo Minor, NGC 3432 is located some 45 million light-years away from Earth.Also known as LEDA 32643 and UGC 5986, the galaxy was discovered by British astronomer William Herschel on March 19, 1787.Its distinctive shape is due to the ongoing gravitational interaction with UGC 5983, a dwarf galaxy to the southwest of NGC 3432.The interacting duo is included in Arp’s catalogue with the label Arp 206.“It turns out that we see NGC 3432 orientated directly edge-on to us from our vantage point here on Earth,” Hubble astronomers said.“The galaxy’s spiral arms and bright core are hidden, and we instead see the thin strip of its very outer reaches.”“Dark bands of cosmic dust, patches of varying brightness, and pink regions of star formation help with making out the true shape of NGC 3432 — but it’s still somewhat of a challenge!”“Because observatories such as Hubble have seen spiral galaxies at every kind of orientation, we can tell when we happen to have caught one from the side.”In May 2000, an unusual and very luminous stellar explosion, named SN 2000ch, was spotted in NGC 3432 by astronomers from the Lick Observatory Supernova Search.

Bill Heid (born August 11, 1948) is an American soul jazz and hard bop jazz pianist and organist, born in Pittsburgh, Pennsylvania, United States, probably better known for his work with musicians such as Koko Taylor, Henry Johnson and Fenton Robinson, amongst others.

Manabendra Mukhopadhyay (Bengali: মানবেন্দ্র মুখোপাধ্যায়) was an Indian singer and music composer. Manabendra was born in Kolkata on 11 August 1931. His father’s name was Atulchandra Mukhopadhay. It is considered that during the 1950s, 1960s and 1970s the Bengali modern songs reached its peak of excellence and that period is usually called the “Golden age of Bengali Adhunik Songs”. At that time Bengal had a unique mix of singers which inspired composers and lyricists to create innumerable treasure of creative music. Each singer had his own inimitable style and compositions were made to match their individual ability. Bengali non-film modern songs were in fact was as popular, if not more, than film songs which also reached a level of popularity in the 1950s and 1960s.

Coming to limelight in the early 1950s Manabendra was an innovative and stylish singer who had a strong foundation in Indian classical music. With his distinctive voice, Manabendra was an instant hit with the audience. demonstrating great talent also as a composer, using the lyrics and melody of a song with good effect. At that time Bengali modern song world had the presence of some outstanding performers like Dhananjay Bhattacharya, Manna Dey, Satinath Mukherjee, Akhil Bandhu Ghosh, Hemanta Mukhopadhyay to name a few.

https://www.youtube.com/watch?v=mYdTVwVtla8&t=591s

Also known as KPG 82 and Z 0251.2+1446, this galactic duo is located approximately 424 million light-years away from Earth in the constellation Aries. The two galaxies, called UGC 2369N and UGC 2369S, are interacting, meaning that their mutual gravitational attraction is pulling them closer and closer together and distorting their shapes. In the process, the two galaxies pulled material out into space across the diminishing divide between them. The tenuous bridge of gas, dust, and stars can be seen connecting UGC 2369N and UGC 2369S.

Ian Scott Anderson MBE (born 10 August 1947) is a Scottish-born musician, singer, songwriter and multi-instrumentalist best known for his work as the lead vocalist, flautist and acoustic guitarist of British rock band Jethro Tull. Anderson plays several other musical instruments, including keyboards, bass guitar, bouzouki, balalaika, saxophone, harmonica, and a variety of whistles. His solo work began with the 1983 album Walk into Light, and since then he has released another five works, including the sequel to the Jethro Tull album Thick as a Brick (1972) in 2012, entitled Thick as a Brick 2. Ian Anderson was born in Dunfermline, Fife, Scotland, the youngest of three brothers. His father, James Anderson, ran the RSA Boiler Fluid Company in East Port, Dunfermline. Anderson spent the first part of his childhood in Edinburgh.

In 1963, he formed The Blades from among school friends: Michael Stephens (guitar), John Evan (keyboards), Jeffrey Hammond (bass) and Barriemore Barlow (drums). This was a soul and bluesband, with Anderson on vocals and harmonica – he had yet to take up the flute. They played their first show at the Holy Family Church Hall in North Shore.

In late 1967, Anderson was still holding down a day job, namely cleaning the Ritz Cinema in Luton, including the toilets, in the mornings, “which took me half the day” he said in a later interview. He took an old, chipped urinal from the cinema storeroom and had it for a time after leaving the job. It was not, however, the urinal which “was bolted to the side of John Evan’s Hammond organ on stage” and figured in early 1970s Tull performances.

At this time Anderson abandoned his ambition to play electric guitar, allegedly because he felt he would never be “as good as Eric Clapton“. As he himself tells it in the introduction to the video Nothing Is Easy: Live at the Isle of Wight 1970, he traded his electric guitar in for a flute which, after some weeks of practice, he found he could play fairly well in a rock and blues style. According to the sleeve notes for the first Tull album, This Was (1968), he had been playing the flute only a few months when the album was recorded. His guitar practice did not go to waste either, as he continued to play acoustic guitar, using it as a melodic and rhythmic instrument. As his career progressed, he added soprano saxophone, mandolin, keyboards and other instruments to his arsenal.

His tendency to stand on one leg while playing the flute came about by accident, as he had been inclined to stand on one leg while playing the harmonica, holding the microphone stand for balance. Anderson was known for his famous one-legged flute stance, and was once referred to as a “deranged flamingo” This stance is on many album covers of Jethro Tull. During a long stint at the Marquee Club, a journalist described him, wrongly, as standing on one leg to play the flute, when in fact he was originally playing the harmonica on one leg. He decided to live up to the reputation, albeit with some difficulty. His early attempts are visible in The Rolling Stones Rock and Roll Circus (1968) film appearance of Jethro Tull. This was referenced in the facetious liner notes for Thick as a Brick in a quote about “the one-legged pop flautist, Ian Anderson”.

https://www.youtube.com/watch?v=EsCyC1dZiN8

Gertrude E. “Trudy” Pitts (August 10, 1932 – December 19, 2010) was an American soul jazz keyboardist from Philadelphia, Pennsylvania. She was known primarily for playing the Hammond B3 organ. Trained as a musician and a music educator, Pitts studied at the Philadelphia Musical Academy, Temple University and Juilliard, as well as other institutions. Early work experience included a position as an assistant to the pianist in the Tony Award-winning musical Raisin.

At the end of the musical’s tour, she was encouraged by her husband (who had worked with Shirley Scott as a drummer) to continue developing her repertoire.

In 1967, the Boston Globe printed a piece calling her a rising star and complimented her drawbar variation, vibrato shadings, and bass pedal work. Her husband, William Theodore Carney II (born 1925), aka “Mr. C.”, often joined her on the drums.

Trudy Pitts eventually went on to play with Ben Webster, Gene Ammons, and Sonny Stitt. She recorded four albums for Prestige Records, appearing with Willis Jackson among others. In 1999, a compilation album of several records was released as Legends of Acid Jazz, Trudy Pitts & Pat Martino. Recent festival appearances include the 11th Annual Mary Lou Williams Women in Jazz Festival at the Kennedy Center in Washington, D.C., in May 2006. On September 15, 2006, Pitts was the first jazz artist play a concert on Philadelphia’s Kimmel Center’s 7,000 pipe organ, “taking the medium to a whole new level.

Charles H. Israels (born August 10, 1936) is a composer, arranger, and bassist who is best known for his work with the Bill Evans Trio. He has also worked with Billie Holiday, Benny Goodman, Coleman Hawkins, Stan Getz, Herbie Hancock, J. J. Johnson, John Coltrane, and Judy Collins.

Born in New York City, Chuck Israels was raised in a musical family which moved to Cleveland, Ohio when he was 10. His stepfather Mordecai Bauman was a singer who performed extensively with composer Hanns Eisler. He, along with Israels’ mother, Irma Commanday, created a home environment in which music was a part of normal daily activity. Paul Robeson, Pete Seeger, and The Weavers were visitors to the Bauman home. In 1948, the appearance of Louis Armstrong‘s All Stars in a concert series produced by his parents gave him his first opportunity to meet and hear jazz musicians.

Arnett Cleophus Cobb (August 10, 1918 – March 24, 1989) was an American jazz tenor saxophonist, sometimes known as the “Wild Man of the Tenor Sax” because of his uninhibited stomping style. Cobb wrote the words and music for the jazz standard “Smooth Sailing” (1951), which Ella Fitzgerald recorded for Decca on her album Lullabies of Birdland. Born in Houston, Texas, he was taught to play piano by his grandmother, and he went on to study violin before taking up tenor saxophone in the high school band. At the age of 15 he joined Louisiana bandleader Frank Davis’s band, doing shows in Houston and throughout Louisiana during the summer. Cobb continued his musical career with the local bands of trumpeter Chester Boone, from 1934 to 1936, and Milt Larkin, from 1936 to 1942 (which included a period on the West Coast with Floyd Ray). Among his bandmates in the Larkin band were Illinois Jacquet, Eddie “Cleanhead” Vinson, Tom Archia, Cedric Haywood, and Wild Bill Davis. Having turned down an offer from Count Basie in 1939, Cobb replaced Jacquet in Lionel Hampton‘s band in 1942, staying with Hampton until 1947. Cobb’s featured solo on Hampton’s theme song “Flying Home No. 2” generated much excitement, his blasting style earning him the label “Wild Man of the Tenor Sax”.

NGC 2985 is a spiral galaxy located in the constellation Ursa Major. It is located at a distance of circa 70 million light years from Earth, which, given its apparent dimensions, means that NGC 2985 is about 95,000 light years across. It was discovered by William Herschel on April 3, 1785.

The galaxy is seen with an inclination of 37 degrees. The galaxy has a bright nucleus from which emanate multiple tightly wound spiral fragments.Numerous blue knots are visible at the galactic disk. At the outer part of the galaxy lies a massive spiral arm that forms a pseudoring that encircles the galaxy. The inner part of the galaxy, where active star formation has been observed, has been found to be unstable, contrary to the outer stable one. It has been suggested that the presence of molecular clouds accounts for the instability of the region.

The nucleus of NGC 2985 is active, and based on its spectrum has been categorised as a LINER. The most accepted theory for the activity source is the presence of an accretion disk around a supermassive black hole.

Jack DeJohnette (born August 9, 1942) is an American jazz drummer, pianist, and composer.

An important figure of the fusion era of jazz, DeJohnette is one of the most influential jazz drummers of the 20th century, given his extensive work as leader and sideman for musicians including Charles Lloyd, Freddie Hubbard, Keith Jarrett, Bill Evans, John Abercrombie, Alice Coltrane, Sonny Rollins, Miles Davis, Joe Henderson, Michael Brecker, Herbie Hancock and John Scofield. He was inducted into the Modern Drummer Hall of Fame in 2007.

DeJohnette was born in Chicago, Illinois. He began his musical career as a pianist, studying from age four and first playing professionally at age fourteen. He later switched focus to the drums. DeJohnette credits his uncle, Roy I. Wood Sr., a Chicago disc jockey and vice president of the National Network of Black Broadcasters, as his inspiration to play music.

DeJohnette played R&B, hard bop, and avant-garde music in Chicago. He led his own groups in addition to playing with Richard Abrams, Roscoe Mitchell and other eventual core members of the Association for the Advancement of Creative Musicians (founded in 1965). He also occasionally performed with Sun Ra and his Arkestra (and later in New York as well). In the early 1960s, DeJohnette had the opportunity to sit in for three tunes with John Coltrane and his quintet, an early foray into playing with big-name jazz musicians.

In 1966 DeJohnette moved to New York City, where he became a member of the Charles Lloyd Quartet. A band that recognized the potential influence of rock and roll on jazz, Lloyd’s group was where DeJohnette first encountered pianist Keith Jarrett, who would work extensively with him throughout his career. However, DeJohnette left the group in early 1968, citing Lloyd’s deteriorating, “flat” playing as his main reason for leaving.While Lloyd’s band was where he received international recognition for the first time, it was not the only group DeJohnette played with during his early years in New York, as he also worked with groups including Jackie McLean, Abbey Lincoln, Betty Carter, and Bill Evans. DeJohnette joined Evans’ trio in 1968, the same year the group headlined the Montreux Jazz Festival and produced the album Bill Evans at the Montreux Jazz Festival. In November 1968 he worked briefly with Stan Getz and his quartet, which led to his first recordings with Miles Davis.

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

Flamenco Fridays featuring Seguiriyas-Solea and Bulerias.

Siguiriyas (Spanish pronunciation: [seɣiˈɾiʝas]; also seguiriyas, siguerillas, siguirillas, seguidilla gitana, etc.) is a form of flamenco music belonging to the cante jondo category. Its deep, expressive style is among the most important in flamenco. The siguiriyas are normally played in the key of A Phrygian with each measure (or compás) consisting of 12 counts with emphasis on the 1st, 3rd, 5th, 8th and 11th beats as shown here:

[1] 2 [3] 4 [5] 6 7 [8] 9 10 [11] 12