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Milton John Hinton (June 23, 1910 – December 19, 2000) was an American double bassist and photographer.

Regarded as the Dean of American jazz bass players, his nicknames included “Sporty” from his years in Chicago, “Fump” from his time on the road with Cab Calloway, and “The Judge” from the 1950s and beyond.Hinton’s recording career lasted over 60 years, mostly in jazz but also with a variety of other genres as a prolific session musician.

He was also a photographer of note, praised for documenting American jazz during the 20th Century.

Hinton was born in Vicksburg, Mississippi, the only child of Hilda Gertrude Robinson, whom he referred to as “Titter,” and Milton Dixon Hinton. He was three-months-old when his father left the family. He grew up in a home with his mother, his maternal grandmother (whom he referred to as “Mama”), and two of his mother’s sisters.

His childhood in Vicksburg was characterized by extreme poverty and extreme racism. Lynching was a common practice at the time. Hinton said that one of the clearest memories of his childhood was when he accidentally came upon a lynching.

Messier 74 (also known as NGC 628 and Phantom Galaxy) is a spiral galaxy in the constellation Pisces. It is at a distance of about 32 million light-years away from Earth. The galaxy contains two clearly defined spiral arms and is therefore used as an archetypal example of a grand design spiral galaxy. The galaxy’s low surface brightness makes it the most difficult Messier object for amateur astronomers to observe. However, the relatively large angular size of the galaxy and the galaxy’s face-on orientation make it an ideal object for professional astronomers who want to study spiral arm structure and spiral density waves. It is estimated that M74 is home to about 100 billion stars.

Hermeto Pascoal (born June 22, 1936) is a Brazilian composer and multi-instrumentalist. He was born in Lagoa da Canoa, Alagoas, Brazil. Pascoal is a beloved figure in the history of Brazilian music, known for his abilities in orchestration and improvisation, as well as being a record producer and contributor to many Brazilian and international albums by other artists.

Pascoal comes from a remote corner of northeastern Brazil, an area that lacked electricity at the time he was born. He learned the accordion from his father and practised for hours indoors as, being albino, he was incapable of working in the fields with the rest of his family.

Hermeto’s career began in 1964 with appearances on several Brazilian recordings alongside relatively unknown groups. These now-classic albums and the musicians involved (Edu Lobo, Elis Regina, Cesar Camargo Mariano) established widely influential new directions in post-bossa nova Brazilian jazz.

In 1966, he played in the Sambrasa Trio, with Airto Moreira and Humberto Clayber; they released only one album, Em Som Maior. Then he joined Trio Novo (Airto Moreira, Heraldo do Monte, Theo de Barros) and in 1967 the group, renamed Quarteto Novo, released an album that launched the careers of Pascoal and Moreira. Pascoal would then go on to join the multi-faceted group Brazilian Octopus.

Kristoffer Kristofferson (born June 22, 1936) is an American actor and singer-songwriter. Among his songwriting credits are the songs “Me and Bobby McGee“, “For the Good Times“, “Sunday Mornin’ Comin’ Down“, and “Help Me Make It Through the Night“, all of which were hits for other artists. Kristofferson composed his own songs and collaborated with Nashville songwriters such as Shel Silverstein. In 1985, Kristofferson joined fellow country artists Waylon Jennings, Willie Nelson and Johnny Cash in forming the country music supergroup The Highwaymen, and formed a key creative force in the Outlaw country music movement that eschewed the Nashville music machine in favor of independent songwriting and producing. In 2004, Kristofferson was inducted into the Country Music Hall of Fame. He is also known for his starring roles in Alice Doesn’t Live Here Anymore, Heaven’s Gate, Blade and A Star Is Born, the latter of which earned him a Golden Globe Award for Best Actor.

Raymond Mantilla (born June 22, 1934) is an American jazz drummer. He has played as a session musician and toured with some of the most significant jazz musicians of his time. Mantilla has been a bandleader of his own ensembles and was a founding member of the percussion ensemble M’Boom with Max Roach. Mantilla played in New York from the 1950s, inspired by Afro-Cuban jazz. He played with a number of latin jazz ensembles in the 1950s, including the La Playa Sextet, Xavier Cugat, Lou Perez, René Touzet, Miguelito Valdez, and Monguito Conjunto. He played behind Eartha Kitt in 1955. In 1960 he toured with Herbie Mann and recorded with Max Roach. He recorded with Al Cohn in 1961, and recorded with Freddie Hubbard, Buddy Rich, and Larry Coryell in the 1960s. From 1963 to 1969 Mantilla led his own band in Puerto Rico, and in 1970 joined forces with Max Roach’s percussion ensemble, M’Boom.

Mantilla was a member of Art Blakey‘s Jazz Messengers in the 1970s, during which time the ensemble toured the U.S., Europe, and Japan. Following this he recorded with Gato Barbieri, Joe Farrell, Michał Urbaniak (1974), Richie Cole, Don Pullen (1976–77), Charles Mingus (1977–78), Walter Bishop, Jr., and Morgana King (1979). He toured Cuba with Dizzy Gillespie in 1977.

In 1979 he founded his own ensemble, the Ray Mantilla Space Station, and through the 1980s toured or recorded with Muhal Richard Abrams, Kenny Burrell, Shirley Scott, and Warren Chiasson. In 1991 he put together a new ensemble, the Jazz Tribe.

NGC 1169 (UGC 2503) is an intermediate barred spiral galaxy in the constellation of Perseus. NGC 1169 has a reddish center, indicating the region is dominated by older stars. In contrast, the outer ring contains larger blue-white stars, a sign of recent star formation. The entire galaxy is rotating at approximately 265 km/

NGC 1169 was discovered on December 11, 1786 by William Herschel. Measurements of its distance range from 20.9 Mpc – 49.7 Mpc with an average of 35.1 Mpc. and exhibits a slight ring structure.

NGC 1169 is about 85 million light-years away

Horace Swaby (21 June 1954 – 18 May 1999), known as Augustus Pablo, was a Jamaican roots reggae and dub record producer, melodicaplayer and keyboardist, active from the 1970s till his death.

He popularised the use of the melodica (an instrument at that time primarily used in Jamaica to teach music to schoolchildren) in reggae music. His album King Tubbys Meets Rockers Uptown (1976) is often regarded as one of the most important examples of dub. He was born in St. Andrew, Jamaica, and learned to play the organ at the Kingston College School, where a girl lent him a melodica, an instrument that fascinated him. He also met Herman Chin Loy, who after working at his cousin Leslie Kong‘s Beverley’s record shop, had set up his own Aquarius store in Half Way Tree. Swaby recorded early tracks including “Higgi Higgi”, “East of the River Nile”, “Song of the East” and “The Red Sea” between 1971 and 1973 for Chin-Loy’s Aquarius Records. Chin Loy had previously used the name Augustus Pablo generically for keyboard instrumentals recorded by Lloyd Charmers and Glen Adams,^[4][5] and Swaby took the name for this recording.

“East of the River Nile”, a unique blend of East Asian and Jamaican sounds, became a moderate hit. He soon joined Now Generation (Mikey Chung‘s band) and played keyboard with them while his friend Clive Chin began his own career as a record producer. Pablo and Chin recorded “Java” (1972) together, as soon as Pablo quit Now Generation and Clive was able to obtain studio time. This instrumental was a massive hit and launched Pablo’s solo career. He recorded with Chin and others including Lee Perry and Chin’s uncle, Leonard Chin. Pablo scored another smash hit with “My Desire” (John Holt).

Pablo formed the labels Hot Stuff, Message and Rockers (named after his brother’s soundsystem, Rockers), and released a steady stream of well-received instrumentals, mostly versions of older hits from Studio One. In spite of his success with Rockers, Pablo’s 1974 album, This Is Augustus Pablo was recorded with Clive and Pat Chin. This was followed by a collaboration with the legendary reggae engineer King Tubby, 1975’s Ital Dub.

Pablo produced a steady stream of hits in the late 1970s, including the hit “Black Star Liner” (Fred Locks). He also worked with Dillinger, Norris Reid, I-Roy, Jacob Miller, The Immortals, Paul Blackman, Earl Sixteen, Roman Stewart, Lacksley Castell, The Heptones, Bob Marley, Ricky Grant, Delroy Wilson, Junior Delgado, Horace Andy and Freddy McKay. This period was eventually commemorated with a series of critically acclaimed LPs including King Tubbys Meets Rockers Uptown (1976) and Hugh Mundell‘s classic Africa Must Be Free by 1983. This was followed by East of the River Nile (1978), Original Rockers (1979) and another acclaimed hit album, Rockers Meets King Tubbys in a Firehouse.

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

Boris Claudio Schifrin June 21, 1932 in Buenos Aires, Argentina

Alexandre Lagoya (29 June 1929 – 24 August 1999) was a French classical guitarist and composer. His early career included boxing and guitar, and as he cites on the sleeve of a 1981 Columbia album, his parents hoped he would outgrow his predilection for both.

Lagoya was born in Alexandria, Egypt, to a Greek father and an Italian mother. By 1955, when he married the French guitarist Ida Presti, his career had already begun. On the sleeve of his 1981 record with Columbia, Lagoya pays deep tribute to Presti and admits that after her premature death he was unable to play for years. He returned to the guitar as a teacher, tutoring among other famous guitarists the Canadian virtuoso Liona Boyd (who claims in her autobiography that she was also his lover). In the early 1980s, at the advanced age of 52, he burst back on the international scene with a record for Columbia and an international tour.

Lagoya played a variety of works for guitar, performing concerts and recording albums, often collaborating with Presti and also with other musicians. Lagoya was also a successful teacher. He taught at the Conservatoire de Paris and, in Canada, and developed a new method of hand positioning which he believed helped people learn to play the guitar better. He also added the use of the little finger to plucking and claimed to have invented a method for maximizing the sound coming from the classical guitar.

https://www.youtube.com/watch?v=W304E_XCZd8&t=26s

Nehemiah Curtis “Skip” James (June 9, 1902 – October 3, 1969) was an American Delta blues singer, guitarist, pianist and songwriter.

His guitar playing is noted for its dark, minor-key sound, played in an open D-minor tuning with an intricate fingerpicking technique. James first recorded for Paramount Records in 1931, but these recordings sold poorly, having been released during the Great Depression, and he drifted into obscurity.

After a long absence from the public eye, James was rediscovered in 1964 by blues enthusiasts, helping further the blues and folk music revival of the 1950s and early 1960s. During this period, James appeared at folk and blues festivals, gave concerts around the country and recorded several albums for various record labels. His songs have influenced generations of musicians and have been adapted by numerous artists. He has been hailed as “one of the seminal figures of the blues.”

James was born near Bentonia, Mississippi. His father was a bootlegger who reformed and became a preacher.  As a youth, James heard local musicians, such as Henry Stuckey, from whom he learned to play the guitar, and the brothers Charlie and Jesse Sims. James began playing the organ in his teens. He worked on road construction and levee-building crews in Mississippi in the early 1920s and wrote what is perhaps his earliest song, “Illinois Blues”, about his experiences as a laborer. He began playing the guitar in open D-minor tuning.

Flamenco Fridays palo Bulerias.

When performed, the bulería usually starts on beat twelve of the compas, so the accented beat is heard first.

It is played at about 240 beats per minute, most commonly in an A-phrygian mode, with a sharpened third to make A major the root chord. A typical rasgueado (a strumming pattern that sets the rhythm) involves only the A and B♭ chords as follows:

Big, bright, beautiful spiral, Messier 106 dominates this cosmic vista. The nearly two degree wide telescopic field of view looks toward the well-trained constellation Canes Venatici, near the handle of the Big Dipper. Also known as NGC 4258, M106 is about 80,000 light-years across and 23.5 million light-years away, the largest member of the Canes II galaxy group. For a far away galaxy, the distance to M106 is well-known in part because it can be directly measured by tracking this galaxy’s remarkable maser, or microwave laser emission. Very rare but naturally occurring, the maser emission is produced by water molecules in molecular clouds orbiting its active galactic nucleus. Another prominent spiral galaxy on the scene, viewed nearly edge-on, is NGC 4217 below and right of M106. The distance to NGC 4217 is much less well-known, estimated to be about 60 million light-years.

Leslie Johnson (June 20, 1933 – August 22, 2018), better known as Lazy Lester, was an American blues musician who sang and played the harmonica and guitar. His career spanned the 1950s to 2018.

Best known for regional hits recorded with Ernie Young’s Nashville-based Excello Records, Lester also contributed to songs recorded by other Excello artists, including Slim Harpo, Lightnin’ Slim, and Katie Webster. Cover versions of his songs have been recorded by (among others) the Kinks, the Flamin’ Groovies, Freddy Fender, Dwight Yoakam, Dave Edmunds, Raful Neal, Anson Funderburgh, and the Fabulous Thunderbirds. In the comeback stage of his career (since the late 1980s) he recorded new albums backed by Mike Buck, Sue Foley, Gene Taylor, Kenny Neal, Lucky Peterson, and Jimmie Vaughan.

In the mid-1950s, Lester was on the margins of the Louisiana blues scene. According to Rolling Stone (February 23, 2006), Buddy Guy, before moving to Chicago, had played in Louisiana “with some of the old masters: Lightnin’ Hopkins, Lazy Lester, Slim Harpo.” When Guy left for Chicago, in 1957, Lester replaced him, on guitar, in a local band—even though Lester, at the time, did not own one.

Eric Allan Dolphy, Jr. (June 20, 1928 – June 29, 1964) was an American jazz alto saxophonist, bass clarinetist and flautist. On a few occasions, he also played the clarinet and piccolo. Dolphy was one of several multi-instrumentalists to gain prominence around the time that he was active. His use of the bass clarinet helped to establish the instrument within jazz. Dolphy extended the vocabulary and boundaries of the alto saxophone, and was among the earliest significant jazz flute soloists.

His improvisational style was characterized by the use of wide intervals, in addition to using an array of extended techniques to emulate the sounds of human voices and animals. Although Dolphy’s work is sometimes classified as free jazz, his compositions and solos were often rooted in conventional (if highly abstracted) tonal bebop harmony and melodic lines that suggest the influences of modern classical composers such as Béla Bartók and Igor Stravinsky. Dolphy was born in Los Angeles to Eric Allan Dolphy, Sr. and Sadie Dolphy, who immigrated to the United States from Panama. He picked up the clarinet at the age of six, and in less than a month was playing in the school’s orchestra. He also learned the oboe in junior high school, though he never recorded on the instrument. Hearing Fats Waller, Duke Ellington and Coleman Hawkins led him toward jazz, and he picked up the saxophoneand flute while in high school.