mick laBriola

Kenneth Earl Burrell (born July 31, 1931) is an American jazz guitarist known for his work on the Blue Note label. His collaborations with Jimmy Smith produced the 1965 Billboard Top Twenty hit album Organ Grinder Swing. He has cited jazz guitarists Charlie Christian and Django Reinhardtas influences, along with blues guitarists T-Bone Walker and Muddy Waters. Burrell is a professor and Director of Jazz Studies at the UCLA Herb Alpert School of Music.

Burrell was born in Detroit, Michigan. Both his parents played instruments, and he began playing guitar at the age of 12 after listening Charlie Christian‘s recordings. During World War II, due to metal shortage, he abandoned the idea of becoming a saxophonist, and bought an acoustic guitarfor $10. He was inspired to play jazz after listening to Oscar Moore, but it was Django Reinhardt who told showed him “that you could get your own individuality on an instrument.” He went on to study composition and theory with Louis Cabara and classical guitar with Joe Fava. While a student at Wayne State University, he made his recording debut as a member of Dizzy Gillespie‘s sextet in 1951, followed by the “Rose of Tangier”/”Ground Round” single recorded under his own name at Fortune Records in Detroit. While in college, Burrell founded the New World Music Society collective with fellow Detroit musicians Pepper Adams, Donald Byrd, Elvin Jones, and Yusef Lateef.

https://www.youtube.com/watch?v=H3PMyiq-xB4

Henry Jones Jr. (July 31, 1918 – May 16, 2010), best known as Hank Jones, was an American jazz pianist, bandleader, arranger, and composer. Critics and musicians described Jones as eloquent, lyrical, and impeccable. In 1989, The National Endowment for the Arts honored him with the NEA Jazz Masters Award. He was also honored in 2003 with the American Society of Composers, Authors, and Publishers (ASCAP) Jazz Living Legend Award. In 2008, he was awarded the National Medal of Arts. On April 13, 2009, the University of Hartford presented Jones with an honorary Doctorate of Music for his musical accomplishments.

Jones recorded more than 60 albums under his own name, and countless others as a sideman, including Cannonball Adderley‘s celebrated album Somethin’ Else. On May 19, 1962, he played piano as actress Marilyn Monroe sang her famous “Happy Birthday, Mr. President” song to then U.S. president John F. Kennedy.

Born in Vicksburg, Mississippi, Henry “Hank” Jones moved to Pontiac, Michigan, where his father, Henry Jones Sr. a Baptist deacon and lumber inspector, bought a three-story brick home. One of seven children, Jones was raised in a musical family. His mother Olivia Jones sang; his two older sisters studied piano; and his two younger brothers—Thad, a trumpeter, and Elvin, a drummer—also became prominent jazz musicians. He studied piano at an early age and came under the influence of Earl Hines, Fats Waller, Teddy Wilson, and Art Tatum. By the age of 13 Jones was performing locally in Michigan and Ohio. While playing with territory bands in Grand Rapids and Lansing in 1944 he met Lucky Thompson, who invited Jones to work in New York City at the Onyx Club with Hot Lips Page.

What’s happening in the Statue of Liberty nebula? Bright stars and interesting molecules are forming and being liberated. The complex nebula resides in the star forming region called RCW 57, and besides the iconic monument, to some looks like a flying superhero or a weeping angel. By digitally removing the stars, this image showcases dense knots of dark interstellar dust, fields of glowing hydrogen gas ionized by these stars, and great loops of gas expelled by dying stars. A detailed study of NGC 3576, also known as NGC 3582 and NGC 3584, uncovered at least 33 massive stars in the end stages of formation, and the clear presence of the complex carbon molecules known as polycyclic aromatic hydrocarbons (PAHs). PAHs are thought to be created in the cooling gas of star forming regions, and their development in the Sun’s formation nebula five billion years ago may have been an important step in the development of life on Earth.

David William Sanborn (born July 30, 1945) is an American alto saxophonist. Though Sanborn has worked in many genres, his solo recordings typically blend jazz with instrumental pop and R&B. He released his first solo album Taking Off in 1975, but has been playing the saxophone since before he was in high school.

One of the most commercially successful American saxophonists to earn prominence since the 1980s, Sanborn is described by critic Scott Yannow as “the most influential saxophonist on pop, R&B, and crossover players of the past 20 years.” He is often identified with radio-friendly smooth jazz, but he has expressed a disinclination for the genre and his association with it. Sanborn was born in Tampa, Florida, and grew up in Kirkwood, Missouri. He suffered from polio for eight year in his youth. He began playing saxophone on a physician’s advice to strengthen his weakened chest muscles and improve his breathing. Alto saxophonist Hank Crawford, at the time a member of Ray Charles‘s band, was an early and lasting influence on Sanborn.

Sanborn attended college at Northwestern University and studied music. But he transferred to the University of Iowa where he played and studied with saxophonist J.R. Monterose.

George “Buddy” Guy (born July 30, 1936) is an American blues guitarist and singer. He is an exponent of Chicago blues and has influenced eminent guitarists including Eric Clapton, Jimi Hendrix, Jimmy Page, Keith Richards, Stevie Ray Vaughan, Jeff Beck, Gary Clark Jr. and John Mayer. In the 1960s, Guy played with Muddy Waters as a house guitarist at Chess Records and began a musical partnership with the harmonica player Junior Wells.

Guy was ranked 23rd in Rolling Stone magazine’s “100 Greatest Guitarists of All Time“. His song “Stone Crazy” was ranked 78th in the Rolling Stone list of the “100 Greatest Guitar Songs of All Time”. Clapton once described him as “the best guitar player alive”. In 1999, Guy wrote the book Damn Right I’ve Got the Blues, with Donald Wilcock. His autobiography, When I Left Home: My Story, was published in 2012.

Guy was born and raised in Lettsworth, Louisiana. His parents were sharecroppers and Guy as a child would pick cotton for $2.50 per 100 pounds. He began learning to play the guitar using a two-string diddley bow he made. Later he was given a Harmony acoustic guitar, which, decades later in Guy’s lengthy career, was donated to the Rock and Roll Hall of Fame.

Vernel Anthony Fournier (July 30, 1928 – November 4, 2000) and, from 1975, known as Amir Rushdan, was an American jazz drummer probably best known for his work with Ahmad Jamal from 1956 to 1962.

Fournier was born in New Orleans, Louisiana, into a Creole family. He left college to join a big band led by King Kolax. After Kolax downsized to a quintet, Fournier moved to Chicago in 1948, where he played with such musicians as Buster Bennett, Paul Bascomb and Teddy Wilson. As house drummer at the Bee Hive club on Chicago’s South Side in 1953-55, he accompanied many visiting soloists, including Lester Young, Ben Webster, Sonny Stitt, J.J. Johnson, Earl Washington and Stan Getz.

From 1953 to 1956, Fournier also worked many recording sessions with Al Smith, Red Holloway, Lefty Bates, and others. He joined Ahmad Jamal’s trio in 1957, along with bass player Israel Crosby, and remained with the group until 1962, appearing on a series of recordings for the Chess label. The best known of these, At the Pershing: But Not for Me (1958), became one of the best selling jazz records of all time, remaining on the Billboard jazz charts for over two years.

After leaving the Jamal trio, Fournier joined George Shearing for two years before rejoining Jamal briefly in 1965-66. He then took a long-running gig with a trio at a restaurant owned by Elijah Muhammad.

He converted to Islam in 1975, and took the Muslim name of Amir Rushdan.

He worked with Nancy Wilson, Clifford Jordan, Billy Eckstine and Joe Williams, John Lewis and Barry Harris. Fournier was also a teacher of drumming, working at Barry Harris’s Jazz Cultural Theater, the New School, and the Mannes College of Music.

https://www.youtube.com/watch?v=Xnf3oIkolXI

I met Donald on the West Bank in the 80’s he often hung out at the Viking Bar when the Maroons were performing and a very supportive friend. He was the first Native American I met with dreadlocks. Donald was a West Bank fixture with a revolutionary spirit beaming a wonderful smile and a vigilant determination for social change.
Govan, Donald D. Donald, a lifelong healer, returned to the spirit world July 22, 2019 at the age of 74. He was a prolific poet and indigenous preacher who pioneered an entire culture of radicals and inspired souls far and wide through his poems and persona. A cultivator of good times, Donald’s love for his guitar was only surpassed by his love for beautiful women. He was a father of two but a surrogate Godfather to countless of folk. His legend is too expansive for writings and he will be missed by all who encountered his spirit.

NGC 7822 is a young star forming complex in the constellation of Cepheus. Distance 2900 ly. The complex encompasses the emission region designated Sharpless 171, and the young cluster of stars named Berkeley 59. The complex is believed to be some 800–1000 pc distant, with the younger components aged no more than a few million years. The complex also includes one of the hottest stars discovered within 1 kpc of the Sun, namely BD+66 1673, which is an eclipsing binary system consisting of an O5V that exhibits a surface temperature of nearly 45,000 K and a luminosity about 100,000 times that of the Sun. The star is one of the primary sources illuminating the nebula and shaping the complex’s famed pillars of creation-type formations, the elephant trunks.

Charles Henry Christian (July 29, 1916 – March 2, 1942) was an American swing and jazz guitarist.

Christian was an important early performer on the electric guitar and a key figure in the development of bebop and cool jazz. He gained national exposure as a member of the Benny Goodman Sextet and Orchestra from August 1939 to June 1941. His single-string technique, combined with amplification, helped bring the guitar out of the rhythm section and into the forefront as a solo instrument. John Hammond and George T. Simoncalled Christian the best improvisational talent of the swing era. In the liner notes to the album Solo Flight: The Genius of Charlie Christian (Columbia, 1972), Gene Lees wrote that “Many critics and musicians consider that Christian was one of the founding fathers of bebop, or if not that, at least a precursor to it.”

Christian’s influence reached beyond jazz and swing. In 1990, he was inducted into the Rock and Roll Hall of Fame in the category Early Influence.

In 2006 Oklahoma City renamed a street in its Bricktown entertainment district “Charlie Christian Avenue” (Christian was raised in Oklahoma City and was one of many musicians who jammed along the city’s “Deep Deuce” section on N.E. Second Street).

Christian was born in Bonham, Texas. His family moved to Oklahoma City, Oklahoma, when he was a small child. His parents were musicians. He had two brothers, Edward, born in 1906, and Clarence, born in 1911. All three sons were taught music by their father, Clarence Henry Christian. Clarence Henry was struck blind by fever, and in order to support the family he and the boys worked as buskers, on what the Christians called “busts.” He would have them lead him into the better neighborhoods, where they would perform for cash or goods. When Charles was old enough to go along, he first entertained by dancing.

Christian’s solos are frequently described as “horn-like”, and in that sense he was more influenced by horn players such as Lester Young and Herschel Evan  than by early acoustic guitarists like Eddie Lang and the jazz- and bluesman Lonnie Johnson, although they both had contributed to the expansion of the guitar’s role from the rhythm section to a solo instrument. Christian stated he wanted his guitar to sound like a tenor saxophone. The French gypsy jazz guitarist Django Reinhardt had little influence on him, but Christian was obviously familiar with some of his recordings. The guitarist Mary Osborne recalled hearing him play Django’s solo on “St. Louis Blues” note for note, but then following it with his own ideas.

In the late 1930s Christian contracted tuberculosis, and in early 1940 he was hospitalized for a short period in which the Goodman group was on hiatus because of Goodman’s back trouble. Goodman was hospitalized in the summer of 1940 after a brief stay at Santa Catalina Island, California, where the band stayed when they were on the West Coast.

Christian returned home to Oklahoma City in late July 1940 and returned to New York City in September 1940. In early 1941, Christian resumed his hectic lifestyle, heading to Harlem for late-night jam sessions after finishing gigs with the Goodman Sextet and Orchestra in New York City. In June 1941 he was admitted to Seaview, a sanitarium on Staten Island in New York City. He was reported to be making progress, and Down Beat magazine reported in February 1942 that he and Cootie Williams were starting a band.

After a visit to the hospital that same month by the tap dancer and drummer Marion Joseph “Taps” Miller, Christian declined in health. He died March 2, 1942, at the age of 25. He was buried in an unmarked grave in Bonham, Texas. A Texas State Historical Commission Marker and headstone were placed in Gates Hill Cemetery in 1994. The location of the historical marker and headstone was disputed, and in March 2013, Fannin County, Texas, recognized that the marker was in the wrong spot and that Christian is buried under the concrete slab.

Donald Matthew Redman (July 29, 1900 – November 30, 1964) was an American jazz musician, arranger, bandleader, and composer. Redman was born in Piedmont, Mineral County, West Virginia. His father was a music teacher, his mother was a singer. Don began playing the trumpet at the age of three, joined his first band at the age of six and by the age of 12 was proficient on all wind instruments ranging from trumpet to oboe as well as piano. He studied at Storer College in Harper’s Ferry and at the Boston Conservatory, then joined Billy Page’s Broadway Syncopaters in New York City. (He was the uncle of saxophonist Dewey Redman, and thus great-uncle of saxophonist Joshua Redman and trumpeter Carlos Redman.) In 1923, Redman joined the Fletcher Henderson orchestra, mostly playing clarinet and saxophones.

He began writing arrangements, and Redman did much to formulate the sound that was to become swing. A trademark of Redman’s arrangements was the band playing harmony under written solos.

NGC 7129 is a reflection nebula located 3,300 light years away in the constellation Cepheus. A young open cluster is responsible for illuminating the surrounding nebula. A recent survey indicates the cluster contains more than 130 stars less than 1 million years old. NGC 7129 is located just half a degree from nearby cluster NGC 7142.

The nebula is rosebud-shaped; the young stars have blown a large, oddly shaped bubble in the molecular cloud that once surrounded them at their birth. The rosy pink color comes from glowing dust grains on the surface of the bubble being heated by the intense light from the young stars within. The ultra-violet and visible light produced by the young stars is absorbed by the surrounding dust grains. They are heated by this process and release the energy at longer infrared wavelengths as photographed by the Spitzer Space Telescope. The reddish colors in the false-colour infrared image suggest the distribution of hydrocarbon rich molecular material.

The much cooler molecular cloud outside the bubble is mostly invisible to Spitzer. However, three very young stars near the center of the nebula are sending jets of supersonic gas into the cloud. The collision of these jets heats carbon monoxide molecules in the nebula. This produces the complex nebulosity that appears like a stem of a rosebud.

Michael Bernard Bloomfield (July 28, 1943 – February 15, 1981) was an American guitarist and composer, born in Chicago, Illinois, who became one of the first popular music superstars of the 1960s to earn his reputation almost entirely on his instrumental prowess, since he rarely sang before 1969. Respected for his guitar playing, Bloomfield knew and played with many of Chicago’s blues legends before achieving his own fame and was instrumental in popularizing blues music in the mid-1960s. He was ranked No. 22 on Rolling Stone‘s list of “100 Greatest Guitarists of All Time” in 2003 and No. 42 by the same magazine in 2011. He was inducted into the Blues Hall of Fame in 2012 and, as a member of the Paul Butterfield Blues Band, was inducted into the Rock and Roll Hall of Fame in 2015.

Bloomfield was born into a wealthy Chicago Jewish-American family. Bloomfield’s father, Harold Bloomfield, was born in Chicago in 1914. After pursuing business ventures in California during the 1920s, he returned to the city in the early 1930s. Harold Bloomfield began manufacturing restaurant supplies, and by the latter part of the decade his company, Bloomfield Industries, was making pie cases, kitchen utensils, salt and pepper shakers, and sugar pourers. By the early 1940s Bloomfield Industries had acquired more manufacturing and warehouse space. The company expanded during World War II by manufacturing supplies needed for the war effort. Working with his brother, Daniel, and his father, Samuel, Harold Bloomfield built up Bloomfield Industries into a thriving business. Michael Bloomfield’s mother was born Dorothy Klein in Chicago in 1918 and married Harold Bloomfield in 1940. She came from an artistic, musical family, and worked as an actor and a model before marrying Bloomfield.

Charles Reed “Charlie” Biddle, CM (July 28, 1926 – February 5, 2003) was an American-Canadian jazz bassist. He lived most of his life in Montreal, organizing and performing in jazz music events.

Biddle was born and grew up in West Philadelphia. He served in the United States Armed Forces during World War II, serving in China, India and Burma. After the war, he studied music at Temple University in Philadelphia, where he started playing bass.

In 1948, Biddle arrived in Montreal while touring with Vernon Isaac’s Three Jacks and a Jill. Biddle was impressed by the fact that in Canada, particularly Quebec, black jazz musicians often played alongside white jazz musicians as friends and bandmates. He decided to settle down in Montreal, and fell in love with a French-Canadian woman, Constance. The two eventually married and raised three daughters – Sonya, Stephanie and Tracy – and a son, Charles Biddle Jr.

Biddle was employed as a car salesman from 1954 to 1972, while performing with pianists Charlie Ramsey, Milt Sealey, Alfie Wade, Sadik Hakim, and Stan Patrick in local Montreal nightclubs. He became a promoter, and booked musicians Johnny Hodges, John Coltrane, Pepper Adams, Bill Evans, Art Farmer, Tommy Flanagan and Thad Jones to perform in Montreal. He performed occasionally with guitarist Nelson Symonds between 1959 and 1978. Between 1961 and 1963 the pair performed together under Biddle’s leadership at Dunn’s and La Tête de l’Art, and under Symonds’ leadership at the Black Bottom from 1964 to 1968. As a duo they performed at several resort communities in the Laurentians between 1974 and 1978.

David “Junior” Kimbrough (July 28, 1930 – January 17, 1998) was an American blues musician. His best-known works are “Keep Your Hands off Her” and “All Night Long”. Kimbrough was born in Hudsonville, Mississippi, and lived in the north Mississippi hill country near Holly Springs. His father, a barber, played the guitar, and Junior picked his guitar as a child. He was apparently influenced by the guitarists Lightnin’ Hopkins, Mississippi Fred McDowell and Eli Green (who had a reputation as a dangerous voodoo man).

In the late 1950s Kimbrough began playing the guitar in his own style, using mid-tempo rhythms and a steady drone played with his thumb on the bass strings. This style would later be cited as a prime example of hill country blues. His music is characterized by the tricky syncopation between his droning bass strings and his midrange melodies. His soloing style has been described as modal and features languorous runs in the middle and upper registers. The result was described by music critic Robert Palmer as “hypnotic”. In solo and ensemble settings it is often polyrhythmic, which links it to the music of Africa. North Mississippi bluesman and former Kimbrough bassist Eric Deaton suggested similarities between Kimbrough’s music and that of Fulani musicians such as Ali Farka Touré. The music journalist Tony Russell wrote that “his raw, repetitive style suggests an archaic forebear of John Lee Hooker, a character his music shares with that of fellow North Mississippian R. L. Burnside“.

In 1966 Kimbrough traveled to Memphis, Tennessee, to record for Goldwax Records, owned by the R&B and gospel producer Quinton Claunch. Claunch was a founder of Hi Records and is known as the man who gave James Carr and O.V. Wright their starts. Kimbrough recorded one session at American Studios.