mick laBriola

Hamid Drake (born August 3, 1955) is an American jazz drummer and percussionist.

By the close of the 1990s, Hamid Drake was widely regarded as one of the best percussionists in jazz and improvised music. Incorporating Afro-Cuban, Indian, and African percussion instruments and influence, in addition to using the standard trap set, Drake has collaborated extensively with top free jazz improvisers. Drake also has performed world music; by the late 1970s, he was a member of Foday Musa Suso’s Mandingo Griot Society and has played reggae throughout his career.

Drake has worked with trumpeter Don Cherry, pianist Herbie Hancock, saxophonists Pharoah Sanders, Fred Anderson, Archie Shepp and David Murray and bassists Reggie Workman and William Parker (in a large number of lineups)

He studied drums extensively, including eastern and Caribbean styles. He frequently plays without sticks, using his hands to develop subtle commanding undertones. His tabla playing is notable for his subtlety and flair. Drake’s questing nature and his interest in Caribbean percussion led to a deep involvement with reggae.

Hamid Drake (birth name Henry Lawrence Drake) was born in 1955 in Monroe, Louisiana, and his family moved to Evanston, Illinois when he was a child, just as an older musician from Monroe named Fred Anderson also moved to Evanston, with his family. Hamid started playing with local rock and R&B bands, which eventually brought him to Fred Anderson‘s attention. Drake worked with Anderson from 1974 to 2010 including on Anderson‘s 1979 The Missing Link. At Fred Anderson’s workshops, a young Hamid met Douglas Ewart, George Lewis and other members of Chicago‘s Association for the Advancement of Creative Musicians (AACM). Another of the most significant percussion influences on Drake, Ed Blackwell, dates from this period. Hamid‘s flowing rhythmic expressions and interest in the roots of the music drew like~minded musicians together into a performance and educational collective named the Mandingo Griot Society, which combined traditional African music and narrative with distinctly American.

Roscoe Mitchell (born August 3, 1940) is an American composer, jazz instrumentalist, and educator, known for being “a technically superb – if idiosyncratic – saxophonist”. The Penguin Guide to Jazz described him as “one of the key figures” in avant-garde jazz; All About Jazz states that he has been “at the forefront of modern music” for the past 35 years. Critic Jon Pareles in The New York Times has mentioned that Mitchell “qualifies as an iconoclast”. In addition to his own work as a bandleader, Mitchell is known for cofounding the Art Ensemble of Chicago and the Association for the Advancement of Creative Musicians (AACM).

Mitchell was born in Chicago, Illinois. He also grew up in the Chicago area, where he played saxophone and clarinet at around age twelve. His family was always involved in music with many different styles playing in the house when he was a child as well as having a secular music background. His brother, Norman, in particular was the one who introduced Mitchell to jazz. While attending Englewood High School in Chicago, he furthered his study of the clarinet. In the 1950s, he joined the United States Army, during which time he was stationed in Heidelberg, Germany and played in military parades with fellow saxophonists Albert Ayler and Rubin Cooper, the latter of whom, Mitchell commented, “took me under his wing and taught me a lot of stuff”. He also studied under the first clarinetist of the Heidelberg Symphony while in Germany. Mitchell returned to the United States in the early 1960s, relocated to the Chicago area, and performed in a band with Wilson Junior College undergraduates Malachi Favors (bass), Joseph Jarman, Henry Threadgill, and Anthony Braxton (all saxophonists). Mitchell also studied with Muhal Richard Abrams and played in his band, the Muhal Richard Abrams’ Experimental Band, starting in 1961. In 1965, Mitchell was one of the first members of the non-profit organization Association for the Advancement of Creative Musicians (AACM) along with Jodie Christian (piano), Steve McCall(drums), and Phil Cohran (composer). The following year Mitchell, Lester Bowie (trumpet), Kalaparusha Maurice McIntyre (tenor saxophone), Favors, Lester Lashley (trombone), and Alvin Fielder(drums), recorded their first studio album, Sound. The album was “a departure from the more extroverted work of the New York-based free jazz players” due in part to the band recording with “unorthodox devices” such as toys and bicycle horns.

Eddie Jefferson (August 3, 1918 – May 9, 1979) was a jazz vocalist and lyricist. He is credited as an innovator of vocalese, a musical style in which lyrics are set to an instrumental composition or solo. Jefferson himself claims that his main influence was Leo Watson. Perhaps his best-known song is “Moody’s Mood for Love“, though it was first recorded by King Pleasure, who cited Jefferson as an influence. Jefferson’s songs “Parker’s Mood” and “Filthy McNasty” were also hits.

Jefferson was born in Pittsburgh, Pennsylvania. One of his most notable recordings, “So What“, combined the lyrics of artist Christopher Acemandese Hall with the music of Miles Davis to highlight his skills, and enabled him to turn a phrase, into his style he calls jazz vocalese.

Jefferson’s last recorded performance was at the Joe Segal’s Jazz Showcase in Chicago and was released on video by Rhapsody Films. He shared the stand with Richie Cole (alto sax), John Campbell (piano), Kelly Sill (bass) and Joel Spencer (drums). The performance was part of a tour that Jefferson and Cole led together. Their opening night in Detroit, Michigan, was at Baker’s Keyboard Lounge, a jazz club built in the 1930s that has played host to famous musicians including musicians who spanned the genre with artists as diverse as Dexter Gordon and Sonny Stitt.

A previously unreleased live recording from July 1976 was released in August 2009 as, Eddie Jefferson At Ali’s Alley, with the quintet of drummer Rashied Ali featured.

Eddie Jefferson was shot and killed at Baker’s Keyboard Lounge on May 8, 1979, aged 60. He had left the club with fellow bandleader Cole around 1:35 a.m. and was shot while walking out of the building. A late-model Lincoln Continental was spotted speeding away from the scene. The driver was later picked up by Detroit police and identified as a disgruntled dancer with whom Jefferson once worked and had fired from a gig. The suspect was charged with murder, but was later acquitted in a Detroit criminal trial.

The Pelican Nebula (also known as IC 5070 and IC 5067) is an H II region associated with the North America Nebula in the constellation Cygnus. The gaseous contortions of this emission nebula bear a resemblance to a pelican, giving rise to its name.^[1] The Pelican Nebula is located nearby first magnitude star Deneb, and is divided from its more prominent neighbour, the North America Nebula, by a molecular cloud filled with dark dust.

The Pelican is much studied because it has a particularly active mix of star formation and evolving gas clouds. The light from young energetic stars is slowly transforming cold gas to hot and causing an ionization front gradually to advance outward. Particularly dense filaments of cold gas are seen to still remain, and among these are found two jets emitted from the Herbig–Haro object 555. Millions of years from now this nebula might no longer be known as the Pelican, as the balance and placement of stars and gas will leave something that appears completely different. 1,800 ly distant

Nicola James Capaldi (2 August 1944 – 28 January 2005) was an English drummer, singer, and songwriter. His musical career spanned more than four decades. He co-founded the psychedelic rock band Traffic in 1967 with Steve Winwood with whom he co-wrote the majority of the band’s output. He was inducted into the Rock and Roll Hall of Fame as a part of Traffic’s original line-up.

Capaldi also performed with Jimi Hendrix, Eric Clapton, George Harrison, Alvin Lee, Cat Stevens, and Mylon LeFevre, and wrote lyrics for other artists, such as “Love Will Keep Us Alive” and “This is Reggae Music”. As a solo artist he scored more than a half dozen chart hits in various countries, the most well-known being “That’s Love” as well as his cover of “Love Hurts“.

Juvenal de Holanda Vasconcelos, known as Naná Vasconcelos (2 August 1944 – 9 March 2016), was a Brazilian percussionist, vocalist and berimbau player, notable for his work as a solo artist on over two dozen albums, and as a backing musician with Pat Metheny, Don Cherry, Björk, Jan Garbarek, Egberto Gismonti, Gato Barbieri, and Milton Nascimento.

Vasconcelos was born in Recife, Brazil. Beginning from 1967 he joined many artists’ works as a percussionist. Among his many collaborations, he contributed to four Jon Hassell albums from 1976 to 1980 (including Possible Musics by Brian Eno and Hassell), and later to several Pat Metheny Group works and Jan Garbarek concerts from early 1980s to early 1990s. In 1984 he appeared on the Pierre Favre album Singing Drums along with Paul Motian. He also appears on Arild Andersen‘s album If You Look Far Enough with Ralph Towner.

He formed a group named Codona with Don Cherry and Collin Walcott, which released three albums in 1978, 1980 and 1982 Between 1984 and 1989, he was the Honorary President of the first samba school in the UK, the London School of Samba.

In 1981 he performed at the Woodstock Jazz Festival, held in celebration of the tenth anniversary of the Creative Music Studio. In 1998, Vasconcelos contributed “Luz de Candeeiro” to the AIDS benefit compilation album Onda Sonora: Red Hot + Lisbon produced by the Red Hot Organization.

Vasconcelos was awarded the Best Percussionist Of The Year by the Down Beat Critics Poll for seven consecutive years, from 1984 to 1990. He was also honored with eight Grammy Awards.

Vasconcelos was diagnosed with lung cancer in mid 2015. He died from the disease on 9 March 2016, in Recife.

George Walker “Big Nick” Nicholas (August 2, 1922, – October 29, 1997) was an American jazz saxophonist and singer. Strongly influenced by his hero, Coleman Hawkins, Nicholas in turn influenced a young John Coltrane to compose his tribute “Big Nick”, included on the 1962 album Duke Ellington & John Coltrane.

Nicholas contributed the 16-bar solo to Dizzy Gillespie‘s classic African-Cuban jazz piece “Manteca” (1947). At that time, he also started playing with Hot Lips Page, a working relationship that continued until 1954. He joined Buck Clayton in 1955.

Nicholas started playing with Hank and Thad Jones, Earl Hines, and Tiny Bradshaw before going into the army and, on being discharged in the late 1940s, he worked with bands led by Sabby Lewis, J. C. Heard, and Lucky Millinder. He went on to play with Duke Ellington, Cab Calloway, Charlie Parker, and Charlie Mingus.

Nicholas died of heart failure in October 1997 at the age of 75.

Massive stars spend their brief lives furiously burning nuclear fuel. Through fusion at extreme temperatures and densities surrounding the stellar core, nuclei of light elements ike Hydrogen and Helium are combined to heavier elements like Carbon, Oxygen, etc. in a progression which ends with Iron. So a supernova explosion, a massive star’s inevitable and spectacular demise, blasts back into space debris enriched in heavier elements to be incorporated into other stars and planets and people). This detailed false-color x-ray image from the orbiting Chandra Observatory shows such a hot, expanding stellar debris cloud about 36 light-years across. Cataloged as G292.0+1.8, this young supernova remnant is about 20,000 light-years distant toward the southern constellation Centaurus. Light from the inital supernova explosion reached Earth an estimated 1,600 years ago. Bluish colors highlight filaments of the mulitmillion degree gas which are exceptionally rich in Oxygen, Neon, and Magnesium. This enriching supernova also produced a pulsar in its aftermath, a rotating neutron star remnant of the collapsed stellar core. The stunning image was released as part of the 20th anniversary celebration of the Chandra X-ray Observatory.

Robert William Cray (born August 1, 1953) is an American blues guitarist and singer. He has led his own band and won five Grammy Awards. Robert Cray was born on August 1, 1953, in Columbus, Georgia, while his father was stationed at Fort Benning. Cray’s musical beginnings go back to when he was a student at Denbigh High School in Newport News, Virginia. While there, he played in his first band, The One-Way Street. His family eventually settled in the Tacoma, Washington, area. There, he attended Lakes High School in Lakewood, Washington.

By the age of twenty, Cray had seen his heroes Albert Collins, Freddie King and Muddy Waters in concert and decided to form his own band; they began playing college towns on the West Coast. In the late 1970s he lived in Eugene, Oregon, where he formed the Robert Cray Band and collaborated with Curtis Salgado in the Cray-Hawks. In the 1978 film National Lampoon’s Animal House, Cray was the uncredited bassist in the house party band Otis Day and the Knights.

Paddy Moloney (Irish: Pádraig Ó Maoldomhnaigh; born 1 August 1938) is an Irish musician, composer, and producer who is the founder and leader of the Irish musical group The Chieftains and has played on every one of their albums.

Paddy Moloney was born in Donnycarney, Dublin, Ireland. His mother bought him a tin whistle when he was six and he started to learn the Uilleann pipes at the age of eight.

In addition to the tin whistle and the Uilleann pipes, Paddy Moloney also plays button accordion and bodhrán. In the late 1950s he met Seán Ó Riada and joined his group Ceoltóirí Chualann in the early 1960s. Along with Sean Potts and Michael Tubridy, Paddy Moloney formed the traditional Irish band The Chieftains in Dublin in November 1962. As the band leader, he is the primary composer and arranger of much of the Chieftains’ music, and has composed for films including Treasure Island, The Grey Fox, Braveheart, Gangs of New York, and Kubrick’s Barry Lyndon.

Ramblin’ Jack Elliott (born Elliot Charles Adnopoz; August 1, 1931) is an American folk singer and performer. Elliott was born in 1931 in Brooklyn, New York, the son of Florence (Rieger) and Abraham Adnopoz. His family was Jewish. He attended Midwood High School in Brooklyn and graduated in 1949. Elliott grew up inspired by the rodeos at Madison Square Garden, and wanted to be a cowboy. Encouraged instead to follow his father’s example and become a surgeon, Elliott rebelled, running away from home at the age of 15 to join Col. Jim Eskew’s Rodeo, the only rodeo east of the Mississippi. They traveled throughout the Mid-Atlantic states and New England. He was only with them for three months before his parents tracked him down and had him sent home, but Elliott was exposed to his first singing cowboy, Brahmer Rogers, a rodeo clown who played guitar and five-string banjo, sang songs, and recited poetry. Back home, Elliott taught himself guitar and started busking for a living. Eventually he got together with Woody Guthrie and stayed with him as an admirer and student.

With banjo player Derroll Adams, he toured the United Kingdom and Europe. By 1960, he had recorded three folk albums for the UK record label Topic Records. In London, he played small clubs and pubs by day and West End cabaretnightclubs at night. When he returned to the States, Elliott found he had become renowned in American folk music circles.

Elmer Crumbley (1 August 1908 – 1993) was an American trombonist. Crumbley made a lifetime out of music mainly in the traditional swing tradition, as with the Cab Calloway and Earl Hines bands of the 1960s and ’70s. He joined the Dandie Dixie Minstrels in 1926 with bandleader Lloyd Hunter. He played with the George E. Lee Band, western swing pioneer Tommy Douglas, and Bill Owens. But he continued to work with Hunter as well as players such as Jabbo Smith and Erskine Tate. Crumbley founded his own ensemble in Omaha in 1934, and joined up with the Jimmie Lunceford Band the same year. He also played with Eddie Wilcox, Lucky Millinder, and Erskine Hawkins. He toured Europe in the late 1950s with Sammy Price, a period when he also became part of the scene at the Apollo in Harlem with a lively combo led by Reuben Phillips.

This colorful cosmic portrait really features glowing gas and obscuring dust clouds in The Fishhead Nebula IC 1795, a star forming region in the northern constellation Cassiopeia. The nebula’s colors were created by adopting the Hubble color palette for mapping narrow emission from oxygen, hydrogen, and sulfur atoms to blue, green and red colors, and further blending the data with images of the region recorded through broadband filters. Not far on the sky from the famous Double Star Cluster in Perseus, IC 1795 is itself located next to IC 1805, the Heart Nebula, as part of a complex of star forming regions that lie at the edge of a large molecular cloud. Located just over 6,000 light-years away, the larger star forming complex sprawls along the Perseus spiral arm of our Milky Way Galaxy. At that distance, this picture would span about 70 light-years across IC 1795.

Stanley Jordan (born July 31, 1959) is an American jazz guitarist whose technique involves tapping his fingers on the fretboard of the guitar with both hands.

Jordan was born in Chicago, Illinois. When he was six, he started on piano, then at eleven switched to guitar. He later began playing in rock and soul bands. In 1976, he won an award at the Reno Jazz Festival. At Princeton University, he studied music theory and composition with Milton Babbitt and computer music with Paul Lansky. While at Princeton he played with Benny Carter and Dizzy Gillespie.

In 1985, Bruce Lundvall became president of Blue Note Records and Stanley Jordan was the first person he signed. Blue Note released his album Magic Touch, which sat at No.1 on Billboard ‘s jazz chart for 51 weeks, setting a record.

Normally, a guitarist uses two hands to play each note. One hand presses down a guitar string behind a chosen fret to prepare the note, and the other hand either plucks or strums the string to play that note. Jordan’s touch technique is an advanced form of two-handed tapping. The guitarist produces a note using only one finger by quickly tapping (or hammering) his finger down behind the appropriate fret. The impact causes the string to vibrate enough to sound the note, and the volume can be controlled by varying the force of impact. Jordan taps with both hands, and more legato than is normally associated with guitar tapping. His technique allows the guitarist to play melody and chords simultaneously. It is also possible, as he has demonstrated, to play simultaneously on two different guitars, as well as guitar and piano.

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