mick laBriola

Antonio Salieri (Italian: [anˈtɔːnjo saˈljɛːri]; 18 August 1750 – 7 May 1825) was an Italian classical composer, conductor, teacher and rival of Wolfgang Amadeus Mozart. He was born in Legnago, south of Verona, in the Republic of Venice, and spent his adult life and career as a subject of the Habsburg Monarchy.

Salieri was a pivotal figure in the development of late 18th-century opera. As a student of Florian Leopold Gassmann, and a protégé of Christoph Willibald Gluck, Salieri was a cosmopolitan composer who wrote operas in three languages. Salieri helped to develop and shape many of the features of operatic compositional vocabulary, and his music was a powerful influence on contemporary composers.

Appointed the director of the Italian opera by the Habsburg court, a post he held from 1774 until 1792, Salieri dominated Italian-language opera in Vienna. During his career he also spent time writing works for opera houses in Paris, Rome, and Venice, and his dramatic works were widely performed throughout Europe during his lifetime. As the Austrian imperial Kapellmeister from 1788 to 1824, he was responsible for music at the court chapel and attached school. Even as his works dropped from performance, and he wrote no new operas after 1804, he still remained one of the most important and sought-after teachers of his generation, and his influence was felt in every aspect of Vienna’s musical life. Franz Liszt, Franz Schubert, Ludwig van Beethoven, Johann Nepomuk Hummel and Franz Xaver Wolfgang Mozart were among the most famous of his pupils.

Salieri’s music slowly disappeared from the repertoire between 1800 and 1868 and was rarely heard after that period until the revival of his fame in the late 20th century. This revival was due to the dramatic and highly fictionalized depiction of Salieri in Peter Shaffer‘s play Amadeus (1979) and its 1984 film version. The death of Wolfgang Amadeus Mozart in 1791 at the age of 35 was followed by rumors that he and Salieri had been bitter rivals, and that Salieri had poisoned the younger composer, yet it is likely that they were, at least, mutually respectful peers.

IC 2177 is a region of nebulosity that lies along the border between the constellations Monoceros and Canis Major. It is a roughly circular H II regioncentered on the Be star HD 53367. This nebula was discovered by Welsh amateur astronomer Isaac Roberts and was described by him as “pretty bright, extremely large, irregularly round, very diffuse.”

The name Seagull Nebula is sometimes applied by amateur astronomers to this emission region, although it more properly includes the neighboring regions of star clusters, dust clouds and reflection nebulae. This latter region includes the open clusters NGC 2335 and NGC 2343.

NGC 2327 is located in IC 2177. It is also known as the Seagull’s Head, due to its larger presence in the Seagull nebula.

Luther Allison (August 17, 1939 – August 12, 1997) was an American blues guitarist. He was born in Widener, Arkansas, and moved with his family to Chicago in 1951. He taught himself guitar and began listening to blues extensively. Three years later he began hanging around outside blues nightclubs with the hopes of being invited to perform. He played with Howlin’ Wolf‘s band and backed James Cotton.

Allison’s big break came in 1957, when Howlin’ Wolf invited him to the stage. Freddie King took Allison under his wing, and after King got a record deal, Allison took over his gig in the house band of a club on Chicago’s West Side. He worked the club circuit in the late 1950s and early 1960s and recorded his first single in 1965. He signed a recording contract with Delmark Records in 1967 and released his debut album, Love Me Mama, the following year. He performed a well-received set at the 1969 Ann Arbor Blues Festival and as a result was asked to perform there in each of the next three years. He toured nationwide. In 1972, he signed with Motown Records, one of the few blues artists on that label. In the mid-1970s he toured Europe. He moved to France in 1977.

Allison was known for his powerful concert performances, lengthy soulful guitar solos and crowd walking with his Gibson Les Paul. He lived briefly during this period in Peoria, Illinois, where he signed with Rumble Records, releasing two live recordings, “Gonna Be a Live One in Here Tonight”, produced by Bill Knight, and “Power Wire Blues”, produced by George Faber and Jeffrey P. Hess. Allison played the bar circuit in the United States during this period and spent eight months of the year in Europe at high-profile venues, including the Montreux Jazz Festival. In 1992, he performed with the French rock and roll star Johnny Hallyday in 18 shows in Paris, also playing during the intermission.

Floyd Westerman, also known as Kanghi Duta i.e. “Red Crow” in Dakota (August 17, 1936 – December 13, 2007), was a Sioux musician, political activist, and actor. After establishing a career as a country music singer, later in his life, he became a leading actor depicting Native Americans in American films and television. He is sometimes credited simply as Floyd Westerman. He worked as a political activist for Native American causes.

He was born Floyd Westerman on the Lake Traverse Indian Reservation, home of the Sisseton Wahpeton Oyate, a federally recognized tribe. It is one of the tribes of the Eastern Dakota subgroup of the Great Sioux Nation, living within the U.S. state of South Dakota. His indigenous name Kanghi Duta means “Red Crow” in Dakota (one of the three Sioux related languages).

At the age of 10, Westerman was sent to the Wahpeton Boarding School, where he first met Dennis Banks (who as an adult became a leader of the American Indian Movement). There Westerman and other boys were forced to cut their traditionally long hair and forbidden to speak their native languages. This experience would profoundly impact Westerman’s later life. As an adult, he championed his own heritage.

He graduated from Northern State University with a B.A. degree in secondary education. He served two years in the US Marines, before beginning his career as a singer.

Columbus Calvin “Duke” Pearson Jr. (August 17, 1932 – August 4, 1980) was an American jazz pianist and composer. Allmusic describes him as having a “big part in shaping the Blue Note label’s hard bop direction in the 1960s as a record producer.”

Pearson was born Columbus Calvin Pearson Jr. in Atlanta, Georgia, to Columbus Calvin and Emily Pearson. The moniker “Duke” was given to him by his uncle, who was a great admirer of Duke Ellington. Before he was six, his mother started giving him piano lessons. He studied the instrument until he was twelve, when he took an interest in brass instruments: mellophone, baritone horn and ultimately trumpet. He was so fond of the trumpet that through high school and college he neglected the piano. He attended Clark College while also playing trumpet in groups in the Atlanta area. While in the U.S. Army, during his 1953–54 draft, he continued to play trumpet and met, among others, the pianist Wynton Kelly. Pearson himself confessed in a 1959 interview that he was “so spoiled by Kelly’s good piano” that he decided to switch to piano again. Also, it seems that dental problems forced him to give up brass instruments.

Carl Perkins (August 16, 1928 – March 17, 1958) was an American jazz pianist. Perkins was born in Indianapolis but worked mainly in Los Angeles. He is best known for his performances with the Curtis Counce Quintet, which also featured Harold Land, Jack Sheldon and drummer Frank Butler. He also performed with Tiny Bradshaw, Big Jay McNeely in 1948-49, and played dates with Miles Davis in 1950. Following a short stint in the Army (January 1951 to November 1952), he worked intermittently with the Oscar Moore Trio (1953-1955) and the Clifford Brown–Max Roach group in 1954. He recorded with Frank Morgan in 1955, and with his own group in 1956. Perkins composed the standard “Grooveyard”.

His playing was influenced by his polio-affected left arm, which he held parallel to the keyboard. He used his elbow to play deep bass notes. He was thus known as “the crab”.

He died of a drug overdose at age 29, in Los Angeles, California. He recorded one album, Introducing Carl Perkins, and a short series of singles under his own name. Authors Paul Tanner, Maurice Gerow, and David Megill cite Perkins as one of the best “funky”, or hard bop, piano players, but his early death prevented him from leaving a legacy.

William John Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist and composer who mostly played in trios. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, “singing” melodic lines continue to influence jazz pianists today.

Born in Plainfield, New Jersey, in 1929, he was classically trained at Southeastern Louisiana University and the Mannes School of Music, where he majored in composition and received the Artist Diploma. In 1955, he moved to New York City, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis‘s sextet, which in 1959, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time. During that time, Evans was also playing with Chet Baker for the album Chet.

In late 1959, Evans left the Miles Davis band and began his career as a leader, with bassist Scott LaFaro and drummer Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, ten days after finishing an engagement at the New York Village Vanguard jazz club, LaFaro died in a car accident. After months of seclusion, Evans re-emerged with a new trio, featuring bassist Chuck Israels.

In 1963, Evans recorded Conversations with Myself, a solo album using the unconventional technique of overdubbing over himself. In 1966, he met bassist Eddie Gómez, with whom he would work for eleven years.

Many of Evans’s compositions, such as “Waltz for Debby“, have become standards, played and recorded by many artists. Evans was honored with 31 Grammy nominations and seven awards, and was inducted into the Down Beat Jazz Hall of Fame. Evans grew up in North Plainfield, New Jersey, the son of Harry and Mary Evans (née Soroka). His father was of Welsh descent and ran a golf course; his mother was of Carpatho-Rusyn ancestry and descended from a family of coal miners. The marriage was stormy owing to his father’s heavy drinking, gambling, and abuse.

https://www.youtube.com/watch?v=XMHsz5VqLhM

Malcolm Earl “Mal” Waldron (August 16, 1925 – December 2, 2002) was an American jazz pianist, composer, and arranger. He started playing professionally in New York in 1950, after graduating from university. In the following dozen years or so Waldron led his own bands and played for those led by Charles Mingus, Jackie McLean, John Coltrane, and Eric Dolphy, among others. During Waldron’s period as house pianist for Prestige Records in the late 1950s, he appeared on dozens of albums and composed for many of them, including writing his most famous song, “Soul Eyes“, for Coltrane. Waldron was often an accompanist for vocalists, and was Billie Holiday‘s regular accompanist from April 1957 until her death in July 1959.

A breakdown caused by a drug overdose in 1963 left Waldron unable to play or remember any music; he regained his skills gradually, while redeveloping his speed of thought. He left the U.S. permanently in the mid-1960s, settled in Europe, and continued touring internationally until his death.

In his 50-year career, Waldron recorded more than 100 albums under his own name and more than 70 for other band leaders. He also wrote for modern ballet, and composed the scores of several feature films. As a pianist, Waldron’s roots lay chiefly in the hard bop and post-bop genres of the New York club scene of the 1950s, but with time he gravitated more towards free jazz. He is known for his dissonant chord voicings and distinctive later playing style, which featured repetition of notes and motifs. Mal Waldron was born in New York City on August 16, 1925, to West Indian immigrants. His father was a mechanical engineer who worked on the Long Island Rail Road. The family moved to Jamaica, Queens when Mal was four years old.

Flamenco Fridays with Malagueñas .

Malagueñas (Spanish pronunciation: [malaˈɣeɲas]) is one of the traditional styles of Andalusian music (flamenco), derived from earlier types of fandango from the area of Málaga, classified among the Cantes de Levante. Originally a folk-song type, it became a flamenco style in the 19th century. It is not normally used for dance, as it is generally interpreted with no regular rhythmic pattern, as a “cante libre”. It has a very rich melody with virtuous flourishes and use of microtones. Its guitar accompaniment is normally played in open position first inversion giving E for the tonic, which can be transposed by using a capo. Malagueñas derive from local variety of the Fandangos, a type of dance that, with different regional variations and even different names, became very popular in great part of Spain in the 18th century. Although nowadays malagueñas are a typical instance of “cante libre”, performed at libitum and normally not used for the dance, folkloric fandangos were originally sung and played at a fast speed, with a rhythmic pattern in ^6/₈, to accompany dance. Some of these primitive fandangos from Málaga, called Verdiales are still performed nowadays at folkloric gatherings by large non-professional groups called “Pandas”, which use a high number of guitars, “bandurrias” (a sort of mandoline), violins, and tambourines.

Towards the second half of the 19th century, some interpreters gave the first steps in transforming this folkloric songs into real flamenco. They slowed it down (although still keeping the eastern fandango rhythm pattern known as “abandolao”), they enriched the melody with flourishes and ornaments and reduced accompanying instruments to a single guitar. In this process, they were probably influenced by other flamenco styles, but modern research also suggests that the influence of Opera, Zarzuela and other classical music styles also played a part in this development

NGC 2022 is a planetary nebula located in the constellation of Orion.Also known as PK 196-10 1 and IRAS 05393+0903, the nebula is 8,213 light-years away from Earth.The object was discovered on December 28, 1785 by the German-born British astronomer William Herschel.“This type of object is called, somewhat confusingly, a planetary nebula, though it has nothing to do with planets,” said members of the Hubble science team.“The name derives from the rounded, planet-like appearance of these objects in early telescopes.”“When stars like the Sun grow advanced in age, they expand and glow red,” they explained.“These so-called red giants then begin to lose their outer layers of material into space.”“More than half of such a star’s mass can be shed in this manner, forming a shell of surrounding gas.”“At the same time, the star’s core shrinks and grows hotter, emitting ultraviolet light that causes the expelled gases to glow.”

Joseph Armand “Joe” Castro (August 15, 1927 – December 13, 2009) was an American bebop jazz pianist, based primarily on the West Coast of the United States. Castro was born in Miami, Arizona on August 15, 1927 to John L. Castro and Lucy Sanchez. Castro went to school in Pittsburg, California in the San Francisco Bay area, north of Oakland, where he began playing professionally at the age of 15. His enrollment at San Jose State University was interrupted twice—first by a stint in the army from 1946 to 1947 and then when he formed his first jazz trio working on both the West Coast and in Hawaii. In 1956 Castro moved to New York City, where his trio successfully appeared in the city’s top jazz clubs—Basin Street, The Embers, The Hickory House and Birdland. He was critically lauded by the likes of Leonard Feather who described his style as “assertively swinging,” and Dave Brubeck, who had known Castro since the early 1950s, as “an extremely talented individual, a fine musician, an excellent pianist and a tasteful performer.” In 1958, he moved to Los Angeles to be associated almost exclusively with Teddy Edwards, Billy Higgins and Leroy Vinnegar. “The group has been very important to me,” Castro says. “I had been working so long with piano trios, I had to learn how to play less and say more. Actually I have more freedom in this group without having to carry the load.” Castro recorded and performed extensively with The Teddy Edwards Quartet while also making two of his own recordings as a leader for Atlantic Records.

Oscar Emmanuel Peterson, CC CQ OOnt (August 15, 1925 – December 23, 2007) was a Canadian jazz pianist and composer. He was called the “Maharaja of the keyboard” by Duke Ellington, but simply “O.P.” by his friends. He released over 200 recordings, won eight Grammy Awards, and received numerous other awards and honours. He is considered one of the greatest jazz pianists, and played thousands of concerts worldwide in a career lasting more than 60 years. Peterson was born in Montreal, Quebec, to immigrants from the West Indies; his father worked as a porter for Canadian Pacific Railway. Peterson grew up in the neighbourhood of Little Burgundy in Montreal. It was in this predominantly black neighborhood that he encountered the jazz culture. At the age of five, Peterson began honing his skills on trumpet and piano, but a bout of tuberculosis when he was seven prevented him from playing the trumpet again, so he directed all his attention to the piano. His father, Daniel Peterson, an amateur trumpeter and pianist, was one of his first music teachers, and his sister Daisy taught him classical piano. Peterson was persistent at practising scales and classical études.

Buster Brown (August 15, 1911 – January 31, 1976) was an American blues and R&B singer best known for his hit, “Fannie Mae“.

Brown was born in Cordele, Georgia. In the 1930s and 1940s he played harmonica at local clubs and made a few non-commercial recordings. These included “War Song” and “I’m Gonna Make You Happy” (1943), which were recorded when he played at the folk festival at Fort Valley (GA) State Teachers College, for the Library of Congress’ Folk Music Archive.

Brown moved to New York in 1956, where he was discovered by Fire Records owner Bobby Robinson. In 1959, at almost fifty years of age, Brown recorded the rustic blues, “Fannie Mae“, which featured Brown’s harmonica playing and whoops, which went to # 38 in the U.S. Top 40, and to #1 on the R&B chart in April 1960. His remake of Louis Jordan‘s “Is You Is or Is You Ain’t My Baby” reached # 81 on the pop charts later in 1960, but did not make the R&B chart.“Sugar Babe” was his only other hit, in 1962, reaching # 19 on the R&B chart and # 99 on the pop chart.

https://www.youtube.com/watch?v=-M7CZBtkvws