mick laBriola

Drifting through the Orion Arm of the spiral Milky Way Galaxy, this cosmic cloud by chance echoes the outline of California on the west coast of the United States. Our own Sun also lies within the Milky Way’s Orion Arm, only about 1,500 light-years from the California Nebula. Also known as NGC 1499, the classic emission nebula is around 100 light-years long. The California Nebula shines with the telltale reddish glow characteristic of hydrogen atoms recombining with long lost electrons. The electrons have been stripped away, ionized by energetic starlight. Most likely providing the energetic starlight that ionizes much of the nebular gas is the bright, hot, bluish star Xi Persei just to the right of the nebula. A popular target for astrophotographers, this deep California Nebula image is a 6 panel telecopic mosaic and covers a wide field of view. The nebula lies toward the constellation Perseus, not far from the Pleiades.

Robert Michael Watson Jr. (born August 23, 1953), known professionally as Bobby Watson, is an American saxophonist, composer, and educator.

Watson was born in Lawrence, Kansas and grew up in Kansas City, Kansas. He attended the University of Miami at the same time as Pat Metheny, Jaco Pastorius, and Bruce Hornsby. He graduated in 1975, moved to New York City, and became music director for the Jazz Messengers from 1977 to 1981. After leaving the band, he was productive as a session musician, recording with Wynton Marsalis, Branford Marsalis, Max Roach, Joe Williams, Dianne Reeves, Lou Rawls, Betty Carter, and Carmen Lundy. He formed the band Bobby Watson & Horizon with bassist Curtis Lundy and drummer Victor Lewis, with whom he played throughout the 1980s and ’90s.

Watson led a group known as the High Court of Swing (a tribute to the music of Johnny Hodges), the sixteen-piece Tailor-Made Big Band, and is a founding member of the 29th Street Saxophone Quartet, an all-horn, four-piece group with alto saxophonist Ed Jackson, tenor saxophonist Rich Rothenberg, and baritone saxophonist Jim Hartog. Watson also composed a song for the soundtrack to the movie A Bronx Tale (1993).

A resident of New York for most of his professional life, he served as a member of the adjunct faculty and taught saxophone privately at William Paterson University from 1985 to 1986 and the Manhattan School of Music from 1996 to 1999. He is involved with the Thelonious Monk Institute‘s annual Jazz in America high school outreach program.

Terje Rypdal (born 23 August 1947) is a Norwegian guitarist and composer. He has been an important member in the Norwegian jazz community, and has also given show concerts with guitarists Ronni Le Tekrø and Mads Eriksen as “N3”.Rypdal was born in Oslo, the son of a composer and orchestra leader. He studied classical piano and trumpet as a child, and then taught himself to play guitar as he entered his teens. Starting out as a Hank Marvin-influenced rock guitarist with The Vanguards, Rypdal turned towards jazz in 1968 and joined Jan Garbarek‘s group and later George Russell‘s sextet and orchestra. An important step towards international attention was his participation in the free jazz festival in Baden-Baden, Germany, in 1969, where he was part of a band led by Lester Bowie. During his musical studies at Oslo university and conservatory, he led the orchestra of the Norwegian version of the musical Hair. He has often been recorded on the ECM record label, both jazz-oriented material and classical compositions (some of which do not feature Rypdal’s guitar).

Keith John Moon (23 August 1946 – 7 September 1978) was an English drummer for the rock band the Who. He was noted for his unique style and his eccentric, often self-destructive behaviour. His drumming continues to be praised by critics and musicians. He was posthumously inducted into the Modern Drummer Hall of Fame in 1982, becoming only the second rock drummer to be chosen, and in 2011, Moon was voted the second-greatest drummer in history by a Rolling Stone readers’ poll.

Moon grew up in Alperton, a suburb of Wembley, in Middlesex, and took up the drums during the early 1960s. After playing with a local band, the Beachcombers, he joined the Who in 1964 before they recorded their first single. Moon remained with the band during their rise to fame, and was quickly recognised for his drumming style, which emphasised tom-toms, cymbal crashes, and drum fills. Throughout Moon’s tenure with the Who his drum kit steadily grew in size, and along with Ginger Baker, Moon has been credited as one of the earliest rock drummers to regularly employ double bass drums in his setup. He occasionally collaborated with other musicians and later appeared in films, but considered playing in the Who his primary occupation and remained a member of the band until his death. In addition to his talent as a drummer, however, Moon developed a reputation for smashing his kit on stage and destroying hotel rooms on tour. He was fascinated by blowing up toilets with cherry bombs or dynamite, and by destroying television sets. Moon enjoyed touring and socialising, and became bored and restless when the Who were inactive. His 21st birthday party in Flint, Michigan, has been cited as a notorious example of decadent behaviour by rock groups.

Moon suffered a number of setbacks during the 1970s, most notably the accidental death of chauffeur Neil Boland and the breakdown of his marriage. He became addicted to alcohol, particularly brandy and champagne, and acquired a reputation for decadence and dark humour; his nickname was “Moon the Loon”. After moving to Los Angeles with personal assistant Peter “Dougal” Butler during the mid-1970s, Moon recorded his only solo album, the poorly received Two Sides of the Moon. While touring with the Who, on several occasions he passed out on stage and was hospitalised. By their final tour with him in 1976, and particularly during production of The Kids Are Alright and Who Are You, the drummer’s deterioration was evident. Moon moved back to London in 1978, dying in September of that year from an overdose of Heminevrin, a drug intended to treat or prevent symptoms of alcohol withdrawal.

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

Alvin Gilbert “Gil” Coggins (August 23, 1928 – February 15, 2004) was an American jazz pianist.

Coggins was born to parents of West Indian heritage. His mother was a pianist and had her son start on piano from an early age. He attended school in New York City and Barbados. In Harlem, New York City, he attended The High School of Music & Art.

In 1946, Coggins met Miles Davis while stationed at Jefferson Barracks in Missouri. After his discharge he began playing piano professionally, working with Davis on several of his Blue Note and Prestige releases. Coggins also recorded with John Coltrane, Sonny Rollins, Lester Young, Art Blakey‘s Jazz Messengers, Ray Draper, and Jackie McLean.

Coggins gave up playing jazz professionally in 1954 and took up a career in real estate, playing music only occasionally. He did not record as a leader until 1990, when Interplay Records released Gil’s Mood. He continued performing through the 1990s and 2000s until 2004, when he died from complications sustained in a car crash eight months earlier in Forest Hills, New York. Better Late Than Never, his second album recorded as a leader, was released posthumously.

Flamenco Fridays featuring Solearas. Soleares (plural of soleá, pronounced [soleˈa]) is one of the most basic forms or palos of Flamenco music, probably originated around Cádiz or Seville in Andalusia, the most southern region of Spain. It is usually accompanied by one guitar only, in phrygian mode “por arriba” (fundamental on the 6th string); “Bulerías por soleá” is usually played “por medio” (fundamental on the 5th string). Soleares is sometimes called “mother of palos” although it is not the oldest one (e.g. siguiriyas is older than soleares) and not even related to every other palo (e.g. fandangos family is from a different origin).

Soléa develops in (altered) Phrygian mode “por arriba” (fundamental on the 6th string), with the III degree of the mode altered to a major 3rd when resolving to I.

To adapt to the singer’s vocal range, guitarists can use a “cejilla” (capo) to play in any key while preserving the known chord positions. Modern guitarists often play soleá using other chord positions or even changing the tuning of the guitar to experiment with new sounds, especially in solo instrumental pieces.

The typical flamenco progression iv, III, II, I (an altered Phrygian cadence) is heard several times during the development of the song. In E altered Phrygian, the progression would be Am, G, F, E (the E chord should be Em in a diatonic Phrygian cadence, but its diatonic third – G – is altered to a G♯).

Large spiral galaxy NGC 4945 is seen edge-on near the center of this cosmic galaxy portrait. In fact, it’s almost the size of ourMilky Way Galaxy. NGC 4945’s own dusty disk, young blue star clusters, and pink star forming regions standout in the sharp, colorful telescopic image. About 13 million light-years distant toward the expansive southern constellation Centaurus, NGC 4945 is only about six times farther away than Andromeda, the nearest large spiral galaxy to the Milky Way. Though this galaxy’s central region is largely hidden from view for optical telescopes, X-ray and infrared observations indicate significant high energy emission and star formation in the core of NGC 4945. Its obscured but active nucleus qualifies the gorgeous island universe as a Seyfert galaxy and home to a central supermassive black hole.

Malachi Favors (August 22, 1927–January 30, 2004) was an American jazz bassist who played with the Art Ensemble of Chicago.

“Favors’s tendency to dissemble about his age was a well-known source of mirth to fellow musicians of his generation”. Most reference works give his year of birth of 1937, but, following his death, his daughter stated that it was 1927.

Favors primarily played the double bass, but also played the electric bass guitar, banjo, zither, gong, and other instruments. He began playing double bass at the age of 15 and began performing professionally upon graduating high school. Early performances included work with Dizzy Gillespie and Freddie Hubbard. By 1965, he was a founder of the Association for the Advancement of Creative Musicians and a member of Muhal Richard Abrams‘ Experimental Band.

John Lee Hooker (August 22, 1917– June 21, 2001) was an American blues singer, songwriter, and guitarist. The son of a sharecropper, he rose to prominence performing an electric guitar-style adaptation of Delta blues. Hooker often incorporated other elements, including talking bluesand early North Mississippi Hill country blues. He developed his own driving-rhythm boogie style, distinct from the 1930s–1940s piano-derived boogie-woogie.

Some of his best known songs include “Boogie Chillen’” (1948), “Crawling King Snake” (1949), “Dimples” (1956), “Boom Boom” (1962), and “One Bourbon, One Scotch, One Beer” (1966). Several of his later albums, including The Healer (1989), Mr. Lucky (1991), Chill Out (1995), and Don’t Look Back (1997), were album chart successes in the U.S. and U.K. The Healer (for the song “I’m In The Mood”) and Chill Out (for the album) both earned him Grammy wins as well as Don’t Look Back, which went on to earn him a double-Grammy win for Best Traditional Blues Recording and Best Pop Collaboration with Vocals (with Van Morrison).

Hooker’s date of birth is a subject of debate; the years 1912, 1915, 1917, 1920, and 1923 have been suggested. Most sources give 1917, though at times Hooker stated he was born in 1920. Information in the 1920 and 1930 censuses indicates that he was born in 1912. In 2017, a series of events took place to celebrate the purported centenary of his birth. In the 1920 federal census, John Hooker is seven years old and one of nine children living with William and Minnie Hooker in Tutwiler Mississippi.

(Achille) Claude Debussy (French: [aʃil klod dəbysi]; 22 August 1862 – 25 March 1918) was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the late 19th and early 20th centuries.

Born to a family of modest means and little cultural involvement, Debussy showed enough musical talent to be admitted at the age of ten to France’s leading music college, the Conservatoire de Paris. He originally studied the piano, but found his vocation in innovative composition, despite the disapproval of the Conservatoire’s conservative professors. He took many years to develop his mature style, and was nearly 40 when he achieved international fame in 1902 with the only opera he completed, Pelléas et Mélisande.

Debussy’s orchestral works include Prélude à l’après-midi d’un faune (1894), Nocturnes (1897–1899) and Images (1905–1912). His music was to a considerable extent a reaction against Wagner and the German musical tradition. He regarded the classical symphony as obsolete and sought an alternative in his “symphonic sketches”, La mer (1903–1905). His piano works include two books of Préludes and two of Études. Throughout his career he wrote mélodies based on a wide variety of poetry, including his own. He was greatly influenced by the Symbolist poetic movement of the later 19th century. A small number of works, including the early La Damoiselle élue and the late Le Martyre de saint Sébastien have important parts for chorus. In his final years, he focused on chamber music, completing three of six planned sonatas for different combinations of instruments.

With early influences including Russian and far-eastern music, Debussy developed his own style of harmony and orchestral colouring, derided – and unsuccessfully resisted – by much of the musical establishment of the day. His works have strongly influenced a wide range of composers including Béla Bartók, Olivier Messiaen, George Benjamin, and the jazz pianist and composer Bill Evans. Debussy died from cancer at his home in Paris at the age of 55 after a composing career of a little more than 30 years.

The constellation of Orion is much more than three stars in a row. It is a direction in space that is rich with impressive nebulas. To better appreciate this well-known swath of sky, an extremely long exposurewas taken over many clear nights in 2013 and 2014. After 212 hours of camera time and an additional year of processing, the featured 1400-exposure collage spanning over 40 times the angular diameter of the Moonemerged. Of the many interesting details that have become visible, one that particularly draws the eye is Barnard’s Loop, the bright red circular filament arcing down from the middle. The Rosette Nebula is not the giant red nebula near the top of the image — that is a larger but lesser known nebula known as Lambda Orionis. The Rosette Nebula is visible, though: it is the red and white nebula on the upper left. The bright orange star just above the frame center is Betelgeuse, while the bright blue star on the lower right is Rigel. Other famous nebulas visible include the Witch Head Nebula, the Flame Nebula, the Fox Fur Nebula, and, if you know just where to look, the comparatively small Horsehead Nebula. About those famous three stars that cross the belt of Orion the Hunter — in this busy frame they can be hard to locate, but a discerning eye will find them just below and to the right of the image center.

Leon Parker (born August 21, 1965 in White Plains, New York) is a jazz percussionist and composer. He is known for occasionally using a minimalist drum set with fewer components than usual, “sometimes consisting only of a snare drum, bass drum and a cymbal.”

His 1998 album, Awakening (Columbia), reached the 20th position on Billboard ‘s “Top Jazz albums” chart. It was his second album for Columbia.

Parker played on pianist Jacky Terrasson‘s first three albums. Parker toured with guitarist Charlie Hunter, who commented that “What I always look for in drummers is that they have a perfect blend of the visceral and the intellectual […] Leon definitely had that.”

https://www.youtube.com/watch?v=qJEAkNFwexw&t=130s

Arthur Stewart Farmer (August 21, 1928 – October 4, 1999) was an American jazz trumpeter and flugelhorn player. He also played flumpet, a trumpet–flugelhorn combination especially designed for him. He and his identical twin brother, double bassist Addison Farmer, started playing professionally while in high school. Art gained greater attention after the release of a recording of his composition “Farmer’s Market” in 1952. He subsequently moved from Los Angeles to New York, where he performed and recorded with musicians such as Horace Silver, Sonny Rollins, and Gigi Gryce and became known principally as a bebop player.

As Farmer’s reputation grew, he expanded from bebop into more experimental forms through working with composers such as George Russell and Teddy Charles. He went on to join Gerry Mulligan‘s quartet and, with Benny Golson, to co-found the Jazztet. Continuing to develop his own sound, Farmer switched from trumpet to the warmer flugelhorn in the early 1960s, and he helped to establish the flugelhorn as a soloist’s instrument in jazz.He settled in Europe in 1968 and continued to tour internationally until his death. Farmer recorded more than 50 albums under his own name, a dozen with the Jazztet, and dozens more with other leaders. His playing is known for its individuality – most noticeably, its lyricism, warmth of tone and sensitivity. Art Farmer was born an hour before his twin brother, on August 21, 1928, in Council Bluffs, Iowa, reportedly at 2201 Fourth Avenue. Their parents, James Arthur Farmer and Hazel Stewart Farmer, divorced when the boys were four, and their steelworker father was killed in a work accident not long after this. Art moved with his grandfather, grandmother, mother, brother and sister to Phoenix, Arizona when he was still four.

https://www.youtube.com/watch?v=gl0rF0-2cQ8

William James “Count” Basie (/ˈbeɪsi/; August 21, 1904 – April 26, 1984) was an American jazz pianist, organist, bandleader, and composer. In 1935, Basie formed his own jazz orchestra, the Count Basie Orchestra, and in 1936 took them to Chicago for a long engagement and their first recording. He led the group for almost 50 years, creating innovations like the use of two “split” tenor saxophones, emphasizing the rhythm section, riffing with a big band, using arrangers to broaden their sound, and others. Many musicians came to prominence under his direction, including the tenor saxophonists Lester Young and Herschel Evans, the guitarist Freddie Green, trumpeters Buck Clayton and Harry “Sweets” Edison and singers Jimmy Rushing, Helen Humes, Thelma Carpenter, and Joe Williams.

William Basie was born to Lillian and Harvey Lee Basie in Red Bank, New Jersey. His father worked as a coachman and caretaker for a wealthy judge. After automobiles replaced horses, his father became a groundskeeper and handyman for several wealthy families in the area. Both of his parents had some type of musical background. His father played the mellophone, and his mother played the piano; in fact, she gave Basie his first piano lessons. She took in laundry and baked cakes for sale for a living. She paid 25 cents a lesson for Count Basie’s piano instruction.