mick laBriola

Jonathan David Samuel Jones (October 7, 1911 – September 3, 1985) was an American jazz drummer. A band leader and pioneer in jazz percussion, Jones anchored the Count Basie Orchestra rhythm section from 1934 to 1948. He was sometimes known as Papa Jo Jones to distinguish him from younger drummer Philly Joe Jones.

Born in Chicago, Illinois, Jones moved to Alabama, where he learned to play several instruments, including saxophone, piano, and drums. He worked as a drummer and tap-dancer at carnival shows until joining Walter Page‘s band, the Blue Devils in Oklahoma City in the late 1920s. He recorded with trumpeter Lloyd Hunter‘s Serenaders in 1931, and later joined pianist Count Basie‘s band in 1934. Jones, Basie, guitarist Freddie Greenand bassist Walter Page were sometimes billed as an “All-American Rhythm section,” an ideal team. Jones took a brief break for two years when he was in the military, but he remained with Basie until 1948. He participated in the Jazz at the Philharmonic concert series.

He was one of the first drummers to promote the use of brushes on drums and shifting the role of timekeeping from the bass drum to the hi-hat cymbal. Jones had a major influence on later drummers such as Buddy Rich, Kenny Clarke, Roy Haynes, Max Roach, and Louie Bellson. He also starred in several films, most notably the musical short Jammin’ the Blues (1944).

https://www.youtube.com/watch?v=czxMQ6-y10s

The Horsehead Nebula is one of the most famous nebulae on the sky. It is visible as the dark indentation to the red emission nebula in the center of the above photograph. The horse-head feature is dark because it is really an opaque dust cloud that lies in front of the bright red emission nebula. Like clouds in Earth’s atmosphere, this cosmic cloud has assumed a recognizable shape by chance. After many thousands of years, the internal motions of the cloud will surely alter its appearance. The emission nebula‘s red color is caused by electrons recombining with protons to form hydrogen atoms. On the image left is the Flame Nebula, an orange-tinged nebula that also contains filaments of dark dust. Just to the lower left of the Horsehead nebula featured picture is a blueish reflection nebulae that preferentially reflects the blue light from nearby stars.

Millicent Dolly May Small, CD (born 6 October 1946), is a Jamaican singer-songwriter, best known for her 1964 recording of “My Boy Lollipop.” Small was born in Clarendon, Jamaica, the daughter of a sugar plantation overseer. Like many Jamaican singers of the era, her career began by winning the Vere Johns Opportunity Hour talent contest, which she won at the age of twelve. Wishing to pursue a career as a singer she moved to live with relatives in Love Lane in Kingston. In her teens, she recorded a duet with Owen Gray (“Sugar Plum”) in 1962 and later recorded with Roy Panton for Coxsone Dodd‘s Studio One record label as ‘Roy and Millie’. They had a local hit with “We’ll Meet”.

These hits brought her to the attention of Chris Blackwell who became her manager and legal guardian, who in late 1963 took her to Forest Hill, London, where she was given intensive training in dancing and diction. There she made her fourth recording, an Ernest Ranglin rearrangement of “My Boy Lollipop“, a song originally released by Barbie Gaye in late 1956. Released in March 1964, Small’s version was a massive hit, reaching number two both in the UK Singles Chart and in the US Billboard Hot 100, and number three in Canada. It also topped the chart in Australia. Initially it sold over 600,000 copies in the United Kingdom. Including singles sales, album usage and compilation inclusions, the song has since sold more than seven million copies worldwide. Her later recordings, “Sweet William” and “Bloodshot Eyes”, also charted in the UK, at numbers 30 and 48 respectively, and “Sweet William” also peaked at number 40 in the US, her only other American chart single. “My Boy Lollipop” re-charted in the UK in 1987 at no. 46.

Tony Oladipo Allen (born 1940 in Lagos, Nigeria) is a Nigerian drummer, composer and songwriter who currently lives and works in Paris, France. His career and life story have been documented in his 2013 autobiography Tony Allen: Master Drummer of Afrobeat, co-written with author/musician Michael E. Veal, who previously wrote a comprehensive biography of Fela Kuti.

As drummer and musical director of Fela Anikulapo Kuti’s band Africa ’70 from 1968 to 1979, Allen was one of the primary co-founders of the genre of Afrobeat music. Fela once stated that, “without Tony Allen, there would be no Afrobeat.” He has also been described by Brian Eno as “perhaps the greatest drummer who has ever lived.” A self-taught musician, Allen began playing a drum kit at the age of 18, while working as an engineer for a Nigerian radio station. Allen was influenced by music his father listened to Jùjú, a popular Yoruba music from the 1940s, but also American jazz, and the growing highlife scene in Nigeria and Ghana. Allen worked hard to develop a unique voice on the drums, feverishly studying LPs and magazine articles by Max Roach and Art Blakey, but also revolutionary Ghanaian drummer Guy Warren (later known as Kofi Ghanaba – who developed a highly sought-after sound that mixed tribal Ghanaian drumming with bop – working with Dizzy Gillespie, Charlie Parker, Thelonious Monk, and Max Roach).

https://www.youtube.com/watch?v=R70MyZpVxBE

Samuel Blythe Price (October 6, 1908 – April 14, 1992) was an American jazz, boogie-woogie and jump blues pianist and bandleader. Price’s playing is dark, mellow, and relaxed rather than percussive, and he was a specialist at creating the appropriate mood and swing for blues and rhythm and blues recordings. Price was born in Honey Grove, Texas, United States. Price formally studied the piano with Booker T. Washington‘s daughter, Portia Marshall Washington (1883–1978). In the mid-1920s, when he was employed in a Dallas music store, Price wrote to Paramount Records recommending Blind Lemon Jefferson to the label.

During his early career, he was a singer and dancer in local venues in the Dallas area. Price lived and played jazz in Kansas City, Chicago and Detroit. In 1938 he was hired by Decca Records as a session sideman on piano, assisting singers such as Trixie Smith and Sister Rosetta Tharpe.

Price was most noteworthy for his work on Decca Records with his own band, known as the Texas Bluesicians, that included fellow musicians Don Stovall and Emmett Berry. He was the accompanist on countless recording sessions for the Decca blues, race, and rhythm-and-blues catalogs, and featuring such singers as Trixie Smith (“Trixie Blues”), Blue Lu Barker (“Georgia Grind”), and Cousin Joe (“Box Car Shorty”). Price recorded under his own name, with gospel singers (Rosetta Tharpe, Evelyn Knight) and with Lester Young, toured Europe with Jimmy Rushing, appeared at numerous jazz festivals, and performed in a Broadway play starring Tallulah Bankhead (Clash By Night). Price also had a decade-long partnership with Henry “Red” Allen.

During the 1960s, he was active in the law, politics, and civil rights advocating for the homeless. In Harlem he was organizing street-level campaigns for Congressman Adam Clayton Powell Jr., President Lyndon Johnson and Senator Robert F. Kennedy.

This spectacular edge-on galaxy, called ESO 243-49, is home to a possible intermediate-mass black hole that may have been purloined from a cannibalised dwarf galaxy. The black hole, with an estimated mass of more than 1000 times that of our Sun, lies above the galactic plane. This is an unlikely place for such a massive back hole to exist. One explanation is that the black hole belonged to a small galaxy that was gravitationally torn apart by ESO 243-49. The circle identifies a unique X-ray source that pinpoints the black hole. The X-rays are believed to be radiation from a hot accretion disc around the black hole. The blue light not only comes from a hot accretion disc, but also from a cluster of hot young stars that formed around the black hole. The galaxy is 290 million light-years from Earth. Hubble can’t resolve the stars individually because the suspected cluster is too far away. Their presence is inferred from the colour and brightness of the light coming from the black hole’s location.

Delroy George Wilson CD (5 October 1948 – 6 March 1995) was a Jamaican ska, rocksteady and reggae singer. Wilson is often regarded as Jamaica’s first child star, having first found success as a teenager. His son Karl ‘Konan’ Wilson has found success as part of British duo Krept and Konan. Delroy Wilson began his recording career at the age of thirteen, while still a pupil at Boys Town Primary School.^[2] Wilson released his first single “Emy Lou”^{[citation needed]} in 1962 for record producer, Clement “Coxsone” Dodd. His early years with Coxsone yielded a number of ska hits, the biggest of which, the Lee Perry-written “Joe Liges” was an attack on rival producer and former Dodd employee Prince Buster. This was followed by another Perry-written attack on Buster, “Spit in the Sky”. Further singles followed, including “One Two Three”, “I Shall Not Remove”, “Look Who Is Back Again” (a duet with Slim Smith), and another anti-Buster song, “Prince Pharaoh”, notably the only record featuring the voice of Dodd himself. He is regarded as Jamaica’s first child star.

His voice matured as he left his teens, around the time of ska’s transition to rocksteady and this period in the late 1960s produced many hits including one of the first rocksteady records, “Dancing Mood”, “Jerk in Time” (with the Wailers), “Feel Good All Over”, “I’m Not a King”, “True Believer in Love”, “Rain From the Skies”, “Conquer Me” and “Riding for a Fall”. “Won’t You Come Home”, a duet with Ken Boothe on a rhythm originally cut by The Conquerors for Sonia Pottinger has become one of the most-versioned Jamaican tracks ever. After leaving Studio One he recorded for other labels, with varying degrees of success, and set up his own short-lived W&C label. He enjoyed success with Bunny Lee in the late 1960s and early 1970s with tracks such as “This Old Heart of Mine”, “Footsteps of Another Man”, and “Better Must Come”. His double A-side “It Hurts”/”Put Yourself in My Place” was a skinhead favourite and narrowly missed UK chart success. He recorded a version of “Run Run”, a song he had originally recorded for Dodd, for maverick producer Keith Hudson. Wilson toured the UK and recorded for Trojan Records in 1970.

In 1972, Michael Manley‘s People’s National Party chose Wilson’s “Better Must Come” as their election campaign song. The same year saw the release of one of his most popular songs, “Cool Operator”, which became his nickname. He worked with a string of producers in the years that followed, including Joe Gibbs (“Mash Up Illiteracy”, “Pretty Girl”), Gussie Clarke (“Love”), Winston “Niney” Holness (“Rascal Man”), Harry J (“Ask The Lonely”), and Joseph Hoo Kim (“It’s a Shame”).

In 1976, he recorded a cover of The Wailers‘ “I’m Still Waiting” for Lloyd Charmers, which was hugely popular, and enjoyed some cross-over success, and was followed by the album Sarge, which is considered one of his strongest. Also a Bob Andy produced song, “The Last Thing on My Mind” rose to number one in Jamaica. Wilson continued to be successful until the end of the decade, but his career floundered during the early 1980s, with releases less common. His fortunes revived in the digital age with releases for King Jammy (“Don’t Put The Blame on Me”) and Bunny Lee (“Ease Up”), with new albums following, but he again drifted out of the limelight, with his health declining, and is best remembered for his earlier work. Wilson is referenced by The Clash in their 1978 track “(White Man) In Hammersmith Palais“. Delroy Wilson died at the age of 46 on 6 March 1995 at Kingston‘s UWI hospital, of complications from cirrhosis of the liver.

Steven Haworth Miller (born October 5, 1943) is an American guitarist, singer, and songwriter, known as leader of the Steve Miller Band. He began his career in blues and blues rock and evolved to a more pop-oriented sound which, from the mid-1970s through the early 1980s, resulted in a series of highly popular singles and albums. Miller was inducted into the Rock and Roll Hall of Fame as part of their class of 2016.

Born in Milwaukee, Wisconsin, Miller received his first exposure to music from his mother, Bertha, whom he described as a remarkable jazz-influenced singer, and his physician father, George, known as “Sonny” who, in addition to his profession as a pathologist, was a jazz enthusiast and accomplished amateur recording engineer. Guitar virtuoso Les Paul and his musical partner Mary Ford were regular visitors at the Miller house. Dr. and Mrs. Miller were best man and maid of honor at the December 1949 wedding of Les Paul and Mary Ford. Les Paul heard Steve, who was six, on a wire recording made by Dr. Miller, as the youngster was “banging away” on a guitar given to him by his uncle, Dr. K. Dale Atterbury. Paul encouraged Miller to continue with his interest in the guitar … and “perhaps he will be something one day.”

In 1950, the family relocated to Texas. Sonny had many distinguished musicians come to the house to record and Steve absorbed much from many “greats” right in his living room, such as T-Bone Walker, Charles Mingus and Tal Farlow. T-Bone Walker taught Steve how to play his guitar behind his back and also with his teeth in 1952. Later in 1955, Steven began attending Dallas‘ St. Mark’s School, a non-denominational preparatory day school for boys where he formed his first band, “The Marksmen”. He taught his older brother Buddy to play the bass and also instructed his classmate, future musical star Boz Scaggs, a few guitar chords so that he could join the band. After leaving St. Mark’s — “I got kicked out”, he recalled with a laugh in a 2004 interview — he then attended a school in the Lakewood area of Dallas, Woodrow Wilson High School, from which he graduated in 1961. He was inducted into Woodrow’s Hall of Fame in 2009. Another member is Dusty Hill of ZZ Top.

https://www.youtube.com/watch?v=Rgu5zMWolGE

Chicago Blues guitar player. Born: October 5, 1935 in Greenville, MS Died: January 14, 1992 in Los Angeles, CA

Left Hand Frank was a fun loving, powerfully built bluesman who liked to amuse audiences in Chicago’s South Side blues clubs with comical Donald Duck imitations and muscle-flexing tricks. But what crowds enjoyed even more was the way Frank Craig played guitar. Employing a confident, four-fingered picking style, he played his axe upside down, like several other left-handed bluesmen, with the treble strings at the top. And he played some of the strongest, most distinctive vintage blues to be heard in Chicago. Frank worked in countless bands during his nearly 40 years in Chicago. He was probably the best musician in most of those groups. But until 1978, Frank never played guitar or sang on a record. Frank found that it was more fun to be a sideman, and he never thought much about becoming a headliner or leading a band. “Mainly, I don’t like to be worried with it,” Frank explained. “I’ve had quite a few jobs myself, but guys don’t want to act right. It’s too much of a headache. I’d switch over and put that headache on somebody else. I hate to have a headache.” So Frank left the band leading headaches to bluesmen like Junior Wells, Little Walter, Hound Dog Taylor, and Willie Cobbs. Frank was happy just to play guitar or bass as part of someone else’s band. When Frank started playing in his hometown of Greenville, Mississippi, he didn’t even have to worry about bands. He could stroll the streets, playing by himself to earn tips from passersby. He got his first guitar on his fourth birthday, October 5, 1939, and quickly learned both blues and country & western from older musicians who were always at his house buying homebrewed corn whiskey from Frank’s mother. Before moving to Chicago at the age of 14, young Frank performed at the local sheriff’s parties, at the local fairgrounds, and around the countryside, carrying his guitar with him on the bus and playing wherever people would pay to see such a child prodigy. During the early ‘50s in Chicago, Frank was still a street and house party musician, too young to be allowed in the taverns. But he lived within a block of two blues clubs, The Zanzibar and Vi’s Lounge. Frank and two teenaged friends, guitarist Eddie King and bassist Willie Black, eagerly listened at the door whenever Muddy Waters, Little Walter, Memphis Slim or Howlin’ Wolf were performing. After some intense rehearsals, the trio started playing outside The Zanzibar and Vi’s, sharing wine and whiskey with the onlookers. “We’d have a bigger crowd outside than they did inside!” Frank would laugh.
Willie Cobbs, originator of the blues standard “You Don’t Love me,” hired the young bluesmen (who had boldly named themselves the Chicago All-Stars) to work with him in the West Side clubs and on the road. Jimmy Rogers and Lee Jackson let Frank sit in on bass at The Squeeze Club, and in the mid-‘50s, Frank began a long association with his steadiest employer, guitarist James Scott, Jr., at Joe’s 1015 Club on 43rd Street. There were also gigs with Jimmy Dawkins at The Pink Poodle, with Delta bluesman Boyd Gilmore in Pine Bluff, Arkansas, and with Good Rockin’ Charles at a West Side club where the crowds “barn danced” to Frank’s country breakdowns. In the ‘60s, Frank, who was working as a manual laborer during the daytime, played with Junior Wells, Junior Simpkins, Willie Williams, Carey Bell, Little Arthur Gray, Hound Dog Taylor, Little Walter and others, including Willie Cobbs and James Scott again at times. Frank recorded, as a bass player, on an Eddie King single in 1960 and on later sessions behind Morris Pejoe, Little Eddie Newell and Willie Williams. Frank was just as active, and just as sought after by various bandleaders, in the ‘70s. He was a regular with Johnny Bernard’s group at Louise’s, Porter’s, and other South Side clubs, and continued to work on and off with James Scott. He was a familiar face at the famed Sunday afternoon jam sessions at Florence’s, where Hound Dog Taylor held forth for years. In the late ‘70s, Frank teamed up with two young white newcomers, Dimestore Fred and Pocketwatch Paul, who appeared on his recording debut on Alligator’s Living Chicago Blues series. Frank’s session proved him to be totally rooted in the raw, Delta-based Chicago style of the 1950s, bringing to mind his friends Magic Slim, Jimmy Rogers and Brewer Phillips.

James Blanton (October 5, 1918 – July 30, 1942) was an American jazz double bassist. Blanton is credited with being the originator of more complex pizzicato and arco bass solos in a jazz context than previous bassists. Blanton was born in Chattanooga, Tennessee. He originally learned to play the violin, but took up the bass while at Tennessee State University, performing with the Tennessee State Collegians from 1936 to 1937, and during the vacations with Fate Marable. Blanton left university in 1938 to play full-time in St Louis with the Jeter-Pillars Orchestra. Blanton joined Duke Ellington‘s band in 1939.^[2]:121 On November 22 of that year, Blanton and Ellington recorded two tracks – “Blues” and “Plucked Again” – which were the first commercially recorded piano–bass duets. Further duet recordings were made in 1940, and Blanton was also featured in orchestra tracks  “Blanton also took part in a few of the informal jam sessions at Minton’s Playhouse in New York that contributed to the genesis of the bop style.” He had to leave Ellington’s band near the end of 1941, because of poor health.

Ellington put Blanton front-and-center on the bandstand nightly, unheard of for a bassist at the time. Such was his importance to Ellington’s band at the time, together with tenor saxophonist Ben Webster, that it became known as the Blanton–Webster band. Blanton also played in the “small group” sessions led by Barney Bigard, Rex Stewart, Johnny Hodges, and Cootie Williams in 1940-41.

In 1941, Blanton was diagnosed with tuberculosis. Blanton died on July 30, 1942, at a sanatorium in Duarte, California, aged 23.

This image reveals a dramatic binary star system named R Aquarii, located 700 light-years from Earth, as seen in 2012 by ESO’s Very Large Telescope (VLT). R Aquarii is a so-called “symbiotic binary”, comprising two stars surrounded by a large, dynamic cloud of gas (a nebula). Systems like this contain two stars in an unequal and complex relationship. R Aquarii is made up of one hot white dwarf and one red giant. The red giant is losing matter to its small companion and occasionally ejecting matter in weird spurts, loops and trails, forming the intriguing shapes seen here. There is a lot going on between the performers in this cosmic double act. The red giant is a variable star, with a brightness that changes by a factor of 750 every year and three weeks. The faint nebula is named Cederblad 211 and is thought to be the result of a violent nova 250 years ago. Also visible is a narrow, vertical, S-shaped feature, with blobs of superheated material moving outward at tremendous speeds of 600 to 850 kilometres per second. R Aquarii was also imaged 15 years ago — and several times in the intervening period — to track its ongoing activity. The system is very dynamic and complex, and has expanded and evolved significantly in recent years (an image from 1997 can be seen here, and a comparison between the two is available here).

Edgar Gómez (born October 4, 1944) is a jazz double bassist born in Santurce, Puerto Rico, known for his work with the Bill Evans Trio from 1966 to 1977. Gómez moved with his family from Puerto Rico at a young age to New York, where he was raised. He started on double bass in the New York City school system at the age of eleven and at age thirteen went to the New York City High School of Music & Art. He played in the Newport Festival Youth Band (led by Marshall Brown) from 1959 to 1961, and graduated from Juilliard in 1963.

His résumé includes performances with jazz giants such as Miles Davis, Dizzy Gillespie, Gerry Mulligan, John Coltrane, New York Art Quartet, Benny Goodman, Buck Clayton, Ahmad Jamal, Bill Bruford, Scott LaFaro, Marian McPartland, Paul Bley, Michael Brecker, Wayne Shorter, Steps Ahead, Steve Gadd, Ron Carter, Jeremy Steig, Herbie Hancock, Tony Williams, Al Foster, Chick Corea, Mark Kramer, Eugenio Toussaint and Carli Muñoz. Time lauded, “Eddie Gómez has the world on his strings.”^{[citation needed]} He spent a total of eleven years with the Bill Evans Trio, which included performances in the United States, Europe and Asia, as well as dozens of recordings. Two of the Trio’s recordings won Grammy awards. In addition, Gómez was a member of the Manhattan Jazz Quintet.

https://www.youtube.com/watch?v=ObN55DQmFZI

Steve Swallow (born October 4, 1940) is a jazz bassist and composer noted for his collaborations with Jimmy Giuffre, Gary Burton, and Carla Bley.He was one of the first jazz double bassists to switch entirely to electric bass guitar.

Born in Fair Lawn, New Jersey, Swallow studied piano and trumpet, as a child, before turning to the double bass^[1] at age 14. While attending a prep school, he began trying his hand in jazz improvisation. In 1960, he left Yale, where he was studying composition, and settled in New York City, playing at the time in Jimmy Giuffre‘s trio along with Paul Bley. After joining Art Farmer‘s quartet in 1963, Swallow began to write. It is in the 1960s that his long-term association with Gary Burton‘s various bands began.

In the early 1970s, Swallow switched exclusively to electric bass guitar, of which he prefers the five-string variety. Along with Monk Montgomery and Bob Cranshaw, Swallow was among the first jazz bassists to do so (with much encouragement from Roy Haynes, one of Swallow’s favorite drummers). He plays with a pick (made of copper by Hotlicks), and his style involves intricate solos in the upper register; he was one of the early adopters of the high C string on a bass guitar.

In 1974–1976, Swallow taught at the Berklee College of Music. He contributed several of his compositions to the Berklee students who assembled the first edition of The Real Book. He later recorded an album, Real Book, with the picture of a well-worn, coffee-stained book on the cover.

In 1978 Swallow became a member of Carla Bley‘s band. He has been Bley’s romantic partner since the 1980s. He toured extensively with John Scofield in the early 1980s, and has returned to this collaboration several times over the years.

Swallow has consistently won the electric bass category in Down Beat yearly polls, both Critics’ and Readers’, since the mid-80s. His compositions have been covered by, among others, Jim Hall (who recorded his very first tune, “Eiderdown”), Bill Evans, Chick Corea, Stan Getz and Gary Burton.

Amos Leon Thomas Jr. (October 4, 1937 – May 8, 1999), better known by his stage name Leon Thomas, was an American jazz and blues vocalist, born in East St. Louis, Illinois, and known for his bellowing glottal-stop style of free jazz singing in the late 1960s and 1970s. Leon Thomas was born Amos Thomas, Jr. on October 4, 1937, in East St. Louis, Illinois. He studied music at Tennessee State University. At the time of his studies, he had begun a singing career as a guest vocalist for the jazz bands of percussionist Armando Peraza, saxophonist Jimmy Forest, and guitarist Grant Green. His musical development at this time was shaped in part by seeing saxophonist John Coltrane perform in trumpeter Miles Davis‘s sextet during the late 1950s. Thomas moved to New York City in 1959, singing at the Apollo Theater as a vocalist for acts such as jazz ensemble The Jazz Messengers and singer Dakota Staton. In 1961, he joined the Count Basie Orchestra but soon left after being conscripted into the army.

Thomas was discharged from the army in the late 1960s and resumed his music career, first working with avant-garde jazz saxophonist Pharoah Sanders. In 1969, he released his first solo album for Bob Thiele‘s Flying Dutchman label. Thomas became best known for his work with Sanders, particularly the 1969 song “The Creator Has a Master Plan” from Sanders’ Karma album. Thomas’s most distinctive device was that he often broke out into yodeling in the middle of a vocal. This style has influenced singers James Moody, Tim Buckley and Bobby McFerrin. He said in an interview that he developed this style after he fell and broke his teeth before an important show. Some of the vocal style is classified as ‘jive singing’. (Ref: Leon Thomas Blues Band album)  Thomas saw music as a means of social commentary during this period, saying, “You just have to be more than an entertainer. How the blazes can you ignore what is happening?