mick laBriola

William Alonzo “Cat” Anderson (September 12, 1916 – April 29, 1981) was an American jazz trumpeter known for his long period as a member of Duke Ellington‘s orchestra and for his wide range (more than five octaves), especially his playing in the higher registers.

Born in Greenville, South Carolina, Anderson lost both parents when he was four years old, and was sent to live at the Jenkins Orphanage in Charleston, where he learned to play trumpet. Classmates gave him the nickname “Cat” (which he used all his life) based on his fighting style. He toured and made his first recording with the Carolina Cotton Pickers, a small group based at the orphanage. After leaving the Cotton Pickers, Anderson played with guitarist Hartley Toots, Claude Hopkins‘ big band, Doc Wheeler’s Sunset Orchestra (1938–1942), with whom he also recorded, Lucky Millinder, the Erskine Hawkins Orchestra, Sabby Lewis‘s Orchestra, and Lionel Hampton, with whom he recorded the classic “Flying Home No. 2”.

Anderson’s career took off, however, in 1944, when he joined Duke Ellington’s orchestra at the Earle Theater in Philadelphia. He quickly became a central part of Ellington’s sound. Anderson was capable of playing in a number of jazz styles, but is best remembered as a high-note trumpeter. He had a big sound in all registers, but could play in the extreme high register (up to triple C) with great power (he was able to perform his high-note solos without a microphone, while other members of a big band were usually amplified for their solos). Wynton Marsalis called him “one of the best” high-note trumpeters. More than just a high-note trumpeter, though, Anderson was also a master of half valve and plunger mute playing. He played with Ellington’s band from 1944 to 1947, from 1950 to 1959, and from 1961 to 1971, with each break corresponding to a failure to lead his own big band. After 1971, Anderson settled in the Los Angeles area, where he continued to play studio sessions, to perform with local bands (including Louie Bellson‘s and Bill Berry‘s big bands), and to tour Europe. He died of cancer in 1981.

Leo Kottke (born September 11, 1945) is an acoustic guitarist. He is known for a fingerpicking style that draws on blues, jazz, and folk music, and for syncopated, polyphonic melodies. He overcame a series of personal obstacles, including partial loss of hearing and a nearly career-ending bout with tendon damage in his right hand, to emerge as a widely recognized master of his instrument. He currently resides in the Minneapolis area with his family.

Focusing primarily on instrumental composition and playing, Kottke also sings sporadically, in an unconventional yet expressive baritone described by himself as sounding like “geese farts on a muggy day”. In concert, Kottke intersperses humorous and often bizarre monologues with vocal and instrumental selections from throughout his career, played solo on his 6- and 12-string guitars.

Born in Athens, Georgia, Kottke moved with his parents so frequently that he was raised in twelve different states. As a youth living in Muskogee, Oklahoma, he was influenced by folk and delta blues music, notably that of Mississippi John Hurt. Kottke learned to play trombone and violin before trying the guitar and developing his own unconventional picking style.

Oliver Theophilus Jones, OC CQ (born September 11, 1934 in Little Burgundy, Montreal, Quebec) is a Canadian jazz pianist, organist, composer and arranger.

Born to Barbadian parents, Oliver Jones began his career as a pianist at the age of five, studying with Mme Bonner in Little Burgundy’s Union United Church, made famous by Trevor W. Payne‘s Montreal Jubilation Gospel Choir. He continued to develop his talent through his studies with Oscar Peterson‘s sister Daisy Peterson Sweeney starting at eight years old. In addition to performing at Union United Church when he was a child, he also performed a solo novelty act at the Cafe St. Michel as well as other clubs and theaters in the Montreal area. “I had a trick piano act, dancing, doing the splits, playing from underneath the piano, or with a sheet over the keys.

https://www.youtube.com/watch?v=P-GHlwNgqQI

Roosevelt “Baby Face” Willette (September 11, 1933 – April 1, 1971) was a hard bop and soul-jazz musician most known for playing Hammond organ. It is unclear whether he was born in Little Rock, Arkansas, or New Orleans, Louisiana

His mother was a missionary who played the piano in the church where his father was a minister. His musical roots are therefore in gospel and Baby Face started out playing the piano for various gospel groups, and spent his early career travelling across the United States, Canada and Cuba. In Chicago he decided to switch from gospel and rhythm and blues to playing in jazz bands. He played piano with the bands of King Kolax, Joe Houston, Johnny Otis and Big Jay McNeely before switching to organ. He also played piano and organ at a neighborhood lounge on the west side of Chicago, the Squeeze Club on 16th. & Homan. In 1960 he arrived in New York City where he met Lou Donaldson and Grant Green, and played on a few Blue Note sessions with them. This led to Willette being signed to Blue Note Records, which recorded his debut album Face to Face . Willette formed his own trio in 1963 and recorded two more albums for Argo. He has a son named Kevin D. Bailey. Willette taught himself to play the piano. His organ playing was inspired by Jimmy Smith‘s work, though Willette’s style is more heavily influenced by gospel and soul jazz than Smith’s. Willette was also a professional hairdresser. Before his time in New York City, he was based out of Milwaukee, playing with his vocalist wife Jo Gibson at clubs such as The Flame Club, The Pelican Club, The Moonglow and Max’s among others. After stints in New York City, and then California, failing health forced a return to Chicago, where his family resided. He died in 1971.

Messier 96 (also known as M96 or NGC 3368) is an intermediate spiral galaxy about 31 million light-years away in the constellation Leo (the Lion). It was discovered by French astronomer Pierre Méchain on March 20, 1781. After communicating his finding, French astronomer Charles Messierconfirmed the finding four days later and added it to his catalogue of nebulous objects. Finding this object is extremely difficult with binoculars. With a telescope of 25.4 cm (10.0 in) aperture, the galaxy is visible as a 3 × 5 arcminute halo with a brighter core region.

This complex galaxy is inclined by an angle of about 53° to the line of sight from the Earth, which is oriented at a position angle of 172°. It is categorized as a double-barred spiral galaxy with a small inner bulge through the core along with an outer bulge. The nucleus displays a weak level of activity of the LINER2 type. Variations in ultraviolet emission from the core suggest the presence of a supermassive black hole. Estimates for the mass of this object range from 1.5×10⁶ to 4.8×10⁷ times the mass of the Sun.

On May 9, 1998 a supernova event was observed in this galaxy. Designated SN 1998bu, this was a Type Ia supernova explosion. It reached maximum light on May 21, then steadily declined in magnitude thereafter. Observations of the ejecta a year later showed that the explosion created 0.4 times the mass of the Sun worth of iron. The spectrum of the supernova remnant confirmed the presence of radioactive ⁵⁶Co, which decays into ⁵⁶Fe.

Messier 96 is about the same mass and size as the Milky Way. It is a very asymmetric galaxy; its dust and gas are unevenly spread throughout its weak spiral arms, and its core is not exactly at the galactic center. Its arms are also asymmetrical, thought to have been influenced by the gravitational pull of other galaxies within the same group as Messier 96.

Roy Ayers (born September 10, 1940) is an American funk, soul, and jazz composer, vibraphone player, and music producer. Ayers began his career as a post-bop jazz artist, releasing several albums with Atlantic Records, before his tenure at Polydor Records beginning in the 1970s, during which he helped pioneer jazz-funk. He is a key figure in the acid jazz movement, and has been dubbed “The Godfather of Neo Soul”. He is best known for his compositions “Everybody Loves The Sunshine”, “Searchin” and “Running Away”. and at one time was said to have more sampled hits by rappers than any other artist.

Ayers was born in Los Angeles, and grew up in a musical family, where his father played trombone and his mother played piano.^[7][8] At the age of five, he was given his first pair of vibraphone mallets by Lionel Hampton. The area of Los Angeles that Ayers grew up in, South Park (later known as South Central) was the epicenter of the Southern California Black music scene. The schools he attended (Wadsworth Elementary, Nevins Middle School, and Thomas Jefferson High School) were all close to the famed Central Avenue, Los Angeles’ equivalent of Harlem‘s Lenox Avenue and Chicago’s State Street. Roy would likely have been exposed to music as it not only emanated from the many nightclubs and bars in the area, but also poured out of many of the homes where the musicians who kept the scene alive lived in and around Central. During high school, Ayers sang in the church choir and fronted a band named The Latin Lyrics, in which he played steel guitar and piano. His high school, Thomas Jefferson High School, produced some of the most talented new musicians, such as Dexter Gordon.

William B. Lawsha, better known as Prince Lasha (pronounced “La-shay“), (September 10, 1929 – December 12, 2008)^[1] was an American jazzalto saxophonist, flautist, and clarinetist.

He was born in Fort Worth, Texas, where he came of age studying and performing alongside fellow I.M. Terrell High School students John Carter, Ornette Coleman, King Curtis, Charles Moffett, and Dewey Redman.

Lasha moved to California during the 1950s. In the 1960s, he was active in the burgeoning free jazz movement, of which his Fort Worth cohort Ornette Coleman was a pioneer. Lasha recorded with Eric Dolphy (Iron Man and Conversations, both in 1963) and the Elvin Jones/Jimmy Garrison Sextet featuring McCoy Tyner (Illumination! in 1964).

Lasha moved to Europe and in 1966 was based in Kensington, London, The album Insight (1966) by the Prince Lasha Ensemble was recorded in England and featured local musicians, including Bruce Cale, Dave Willis, Jeff Clyne, Rick Laird, Joe Oliver (drums), David Snell (harp), Mike Carr, Stan Tracey, John Mumford (trombone) and Chris Bateson (trumpet).

Returning to the US in 1967, Lasha worked closely with saxophonist Sonny Simmons, with whom he recorded two albums, The Cry (1962) and Firebirds (1967), for Contemporary Records. The latter album received five stars and an AMG Albumpick at Allmusic.

https://www.youtube.com/watch?v=HDS0lSGt95A

Otis Ray Redding Jr. (September 9, 1941 – December 10, 1967) was an American singer, songwriter, record producer, arranger, and talent scout. He is considered one of the greatest singers in the history of American popular music and a seminal artist in soul music and rhythm and blues. Redding’s style of singing gained inspiration from the gospel music that preceded the genre. His singing style influenced many other soul artists of the 1960s.

Redding was born in Dawson, Georgia, and at the age of 2, moved to Macon, Georgia. Redding quit school at age 15 to support his family, working with Little Richard‘s backing band, the Upsetters, and by performing in talent shows at the historic Douglass Theatre in Macon. In 1958, he joined Johnny Jenkins‘s band, the Pinetoppers, with whom he toured the Southern states as a singer and driver. An unscheduled appearance on a Stax recording session led to a contract and his first single, “These Arms of Mine“, in 1962.

Stax released Redding’s debut album, Pain in My Heart, two years later. Initially popular mainly with African-Americans, Redding later reached a wider American pop music audience. Along with his group, he first played small shows in the American South. He later performed at the popular Los Angeles night club Whisky a Go Go and toured Europe, performing in London, Paris and other major cities. He also performed at the Monterey Pop Festival in 1967.

Shortly before his death in a plane crash, Redding wrote and recorded his iconic “(Sittin’ On) The Dock of the Bay” with Steve Cropper. The song became the first posthumous number-one record on both the Billboard Hot 100 and R&B charts. The album The Dock of the Bay was the first posthumous album to reach number one on the UK Albums Chart. Redding’s premature death devastated Stax. Already on the verge of bankruptcy, the label soon discovered that the Atco division of Atlantic Records owned the rights to his entire song catalog.

Redding received many posthumous accolades, including the Grammy Lifetime Achievement Award and induction into the Rock and Roll Hall of Fameand the Songwriters Hall of Fame. In addition to “(Sittin’ On) The Dock of the Bay,” “Respect” and “Try a Little Tenderness” are among his best-known songs.

Redding was born in Dawson, Georgia, U.S., the fourth of six children, and the first son, of Otis Redding, Sr., and Fannie Roseman. Redding senior was a sharecropper and then worked at Robins Air Force Base, near Macon, and occasionally preached in local churches. When Otis was three the family moved to Tindall Heights, a predominantly African-American public housing project in Macon. At an early age, Redding sang in the Vineville Baptist Church choir and learned guitar and piano. From age 10, he took drum and singing lessons. At Ballard-Hudson High School, he sang in the school band. Every Sunday he earned $6 by performing gospel songs for Macon radio station WIBB.

1. Elvin Ray Jones (September 9, 1927 – May 18, 2004) was an American jazz drummer of the post-bop era. He showed an interest in drums at a young age, watching the circus bands march by his family’s home in Pontiac, Michigan. He served in the United States Army from 1946 to 1949 and subsequently played in a Detroit house band led by Billy Mitchell. He moved to New York City in 1955 and worked as a sideman for Charles Mingus, Teddy Charles, Bud Powell and Miles Davis.

From 1960 to 1966, he was a member of the John Coltrane quartet (along with Jimmy Garrison on bass and McCoy Tyner on piano), a celebrated recording phase, appearing on such albums as A Love Supreme and Live at Birdland. Following his work with Coltrane, Jones led several small groups, some under the name The Elvin Jones Jazz Machine. His brothers Hank Jones and Thad Jones were also jazz musicians with whom he recorded. He was inducted into the Modern Drummer Hall of Fame in 1995.  Elvin Jones was born in Pontiac, Michigan to parents Henry and Olivia Jones, who had moved to Michigan from Vicksburg, Mississippi. His brothers, Hank Jones and Thad Jones, both became important jazz musicians. By age two, he said he knew he held a fascination for drums. He would watch the circus marching band parades go by his home as a boy, particularly fascinated by the drummers.

https://www.youtube.com/watch?v=IsBbM5PIAHk

The center of the galaxy doesn’t look like much, even if you’re lucky enough to live in a place where the night sky is sufficiently dark to see the bands of the Milky Way. In visible light, the stars between here and there blur together into a single brilliant source, like a bright beam hiding the lighthouse behind it. But in other types of radiation—radio waves, infrared, X-rays—astronomers have detected the presence of an object with the mass of four million suns packed into a region smaller than our solar system: a supermassive black hole. Astronomers call it Sagittarius A*, or Sgr A* (pronounced “sadge A star”) for short, because it’s located (from our point of view) in the Sagittarius constellation. Discovering the Milky Way’s black hole has helped cement the idea that the center of nearly every large galaxy harbors a supermassive black hole. But despite mounting evidence for black holes, we still haven’t seen one directly. That may change very soon. Astronomers are about to begin an observing project that may result in what was once thought impossible: a picture of the supermassive black hole at the center of our galaxy.