mick laBriola

Billy Taylor (July 24, 1921 – December 28, 2010) was an American jazz pianist, composer, broadcaster and educator. He was the Robert L. Jones Distinguished Professor of Music at East Carolina University in Greenville, and from 1994 was the artistic director for jazz at the John F. Kennedy Center for the Performing Arts in Washington, D.C.

A jazz activist, Taylor sat on the Honorary Founders Board of The Jazz Foundation of America, an organisation he started in 1989, with Ann Ruckert, Herb Storfer and Phoebe Jacobs, to save the homes and the lives of America’s elderly jazz and blues musicians, later including musicians who survived Hurricane Katrina. Taylor was also a jazz educator, who lectured in colleges, served on panels and travelled worldwide as a jazz ambassador. Critic Leonard Featheronce said, “It is almost indisputable that Dr. Billy Taylor is the world’s foremost spokesman for jazz.” Taylor was born in Greenville, North Carolina, but moved to Washington, D.C., when he was five years old. He grew up in a musical family and learned to play different instruments as a child, including guitar, drums and saxophone. He was most successful at the piano, and had classical piano lessons with Henry Grant, who had educated Duke Ellington a generation earlier. Taylor made his first professional appearance playing keyboard at the age of 13 and was paid one dollar.

Taylor moved to New York City after graduation and started playing piano professionally from 1944, first with Ben Webster‘s Quartet on New York’s 52nd Street. The same night he joined Webster’s Quartet, he met Art Tatum, who became his mentor. Among the other musicians Taylor worked with was Machito and his mambo band, from whom he developed a love for Latin music. After an eight-month tour with the Don Redman Orchestra in Europe, Taylor stayed there with his wife, Theodora, and in Paris and the Netherlands. Taylor returned to New York later that year and cooperated with Bob Wyatt and Sylvia Syms at the Royal Roost jazz club and Billie Holiday in a successful show called Holiday on Broadway. A year later, he became the house pianist at Birdland and performed with Charlie Parker, J.J. Johnson, Stan Getz, Dizzy Gillespie and Miles Davis. Taylor played at Birdland longer than any other pianist in the history of the club.^[6] In 1949, Taylor published his first book, a textbook about bebop piano styles.

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

Alison Maria Krauss (born July 23, 1971) is an American bluegrass–country singer and musician. She entered the music industry at an early age, winning local contests by the age of 10 and recording for the first time at 14. She signed with Rounder Records in 1985 and released her first solo album in 1987. She was invited to join the band with which she still performs, Alison Krauss and Union Station, and later released her first album with them as a group in 1989.

She has released fourteen albums, appeared on numerous soundtracks, and helped renew interest in bluegrass music in the United States. Her soundtrack performances have led to further popularity, including the O Brother, Where Art Thou? soundtrack, an album also credited with raising American interest in bluegrass, and the Cold Mountain soundtrack, which led to her performance at the 2004 Academy Awards.

As of 2018, she has won 27 Grammy Awards from 42 nominations, ranking her third behind Quincy Jones and classical conductor Georg Solti for most Grammy Award wins. She is the most awarded singer and the most awarded female artist in Grammy history.

At the time of her first, the 1991 Grammy Awards, she was the second-youngest winner (currently tied as the ninth-youngest). Alison Maria Krauss was born in Decatur, Illinois, to Fred and Louise Krauss. Her father was a German immigrant who came to the United States in 1952 and taught his native language. Her mother, of German and Italian descent, is the daughter of artists. Her older brother, Viktor, is also a musician. Krauss grew up in the college town of Champaign, home to the University of Illinois at Urbana–Champaign where she lived from 1971 to around 1990. She began studying classical violin at age 5 but soon switched to bluegrass. Krauss said she first became involved with music because “[my] mother tried to find interesting things for me to do” and “wanted to get me involved in music, in addition to art and sports”.

Steve Lacy (July 23, 1934 – June 4, 2004), born Steven Norman Lackritz in New York City, was an American jazz saxophonist and composer recognized as one of the important players of soprano saxophone. Coming to prominence in the 1950s as a progressive dixieland musician, Lacy went on to a long and prolific career. He worked extensively in experimental jazz and to a lesser extent in free improvisation, but Lacy’s music was typically melodic and tightly-structured. Lacy also became a highly distinctive composer, with compositions often built out of little more than a single questioning phrase, repeated several times.

The music of Thelonious Monk became a permanent part of Lacy’s repertoire after a stint in the pianist’s band, with Monk’s songs appearing on virtually every Lacy album and concert program; Lacy often partnered with trombonist Roswell Rudd in exploring Monk’s work. Beyond Monk, Lacy performed the work of jazz composers such as Charles Mingus, Duke Ellington and Herbie Nichols; unlike many jazz musicians he rarely played standard popular or show tunes.

Lacy began his career at sixteen playing Dixieland music with much older musicians such as Henry “Red” Allen, Pee Wee Russell, George “Pops” Foster and Zutty Singleton and then with Kansas City jazz players like Buck Clayton, Dicky Wells, and Jimmy Rushing. He then became involved with the avant-garde, performing on Jazz Advance (1956), the debut album of Cecil Taylor,^[2]:55 and appearing with Taylor’s groundbreaking quartet at the 1957 Newport Jazz Festival; he also made a notable appearance on an early Gil Evans album. His most enduring relationship, however, was with the music of Thelonious Monk: he recorded the first album to feature only Monk compositions (Reflections, Prestige, 1958) and briefly played in Monk’s band in 1960^[3]:241 and later on Monk’s Big Band and Quartet in Concert album (Columbia, 1963).

William Thomas “Champion Jack” Dupree (July 23, 1909 or July 4, 1910 – January 21, 1992) was an American blues and boogie-woogie pianist and singer. His nickname was derived from his early career as a boxer. Dupree was a New Orleans blues and boogie-woogie pianist, a barrelhouse “professor”. His father was from the Belgian Congo and his mother was part African American and Cherokee. His birth date has been given as July 4, July 10, and July 23, 1908, 1909, or 1910; the researchers Bob Eagle and Eric LeBlanc give July 4, 1910.

He was orphaned at the age of eight and was sent to the Colored Waifs Home in New Orleans, an institution for orphaned or delinquent boys (about the same time, Louis Armstrong was also sent there as a child, after being arrested as a “dangerous and suspicious character”). Dupree taught himself to play the piano there and later apprenticed with Tuts Washington and Willie Hall, whom he called his father and from whom he learned “Junker’s Blues“. He was also a “spy boy” for the Yellow Pocahontas tribe of the Mardi Gras Indians. He soon began playing in barrelhouses and other drinking establishments.

He began a life of travelling, living in Chicago, where he worked with Georgia Tom, and in Indianapolis, Indiana, where he met Scrapper Blackwell and Leroy Carr. He also worked as a cook. In Detroit, after Joe Louis encouraged him to become a boxer, he fought 107 bouts, winning Golden Gloves and other championships and picking up the nickname Champion Jack, which he used the rest of his life.

He returned to Chicago at the age of 30 and joined a circle of recording artists, including Big Bill Broonzy and Tampa Red, who introduced him to the record producer Lester Melrose. Many of Dupree’s songs were later credited to Melrose as composer, and Melrose claimed publishing rights to them.

Dupree’s career was interrupted by military service in World War II. He was a cook in the United States Navy and was held by the Japanese for two years as a prisoner of war.

After the war, his biggest commercial success was “Walkin’ the Blues”, which he recorded as a duet with Teddy McRae. This led to several national tours and eventually a European tour. In 1959 he played an unofficial (and unpaid) duo gig with Alexis Korner at the London School of Economics.

https://www.youtube.com/watch?v=F9OVRxMeP14

The source of the cosmic squall is a supermassive black hole buried at the center of the galaxy, officially known as SDSS 1430+1339. As matter in the central regions of the galaxy is pulled toward the black hole, it is energized by the strong gravity and magnetic fields near the black hole. The infalling material produces more radiation than all the stars in the host galaxy. This kind of actively growing black hole is known as a quasar.

Located about 1.1 billion light years from Earth, the Teacup’s host galaxy was originally discovered in visible light images by citizen scientists in 2007 as part of the Galaxy Zoo project, using data from the Sloan Digital Sky Survey. Since then, professional astronomers using space-based telescopes have gathered clues about the history of this galaxy with an eye toward forecasting how stormy it will be in the future. This new composite image contains X-ray data from Chandra (blue) along with an optical view from NASA’s Hubble Space Telescope (red and green).

The “handle” of the Teacup is a ring of optical and X-ray light surrounding a giant bubble. This handle-shaped feature, which is located about 30,000 light-years from the supermassive black hole, was likely formed by one or more eruptions powered by the black hole. Radio emission — shown in a separate composite image with the optical data — also outlines this bubble, and a bubble about the same size on the other side of the black hole.

Al Laurence Di Meola (born July 22, 1954) is an American guitarist. Known for his works in jazz fusion and world music, he began his career as a guitarist of the group Return to Forever in 1974. Between the 1970s and 1980s, albums such as Elegant Gypsy and Friday Night in San Franciscoearned him both critical and commercial success.

Born in Jersey City, New Jersey, into an Italian family with roots in Cerreto Sannita, a small town northeast of Naples, Di Meola grew up in Bergenfield, where he attended Bergenfield High School. He has been a resident of Old Tappan, New Jersey.

When he was eight years old, he was inspired by Elvis Presley and the Ventures to start playing guitar. His teacher directed him toward jazz standards. He cites as influences jazz guitarists George Benson and Kenny Burrell and bluegrass and country guitarists Clarence White and Doc Watson. He attended Berklee College of Music in the early 1970s. At nineteen, he was hired by Chick Corea to replace Bill Connors in the pioneering jazz fusion band Return to Forever with Stanley Clarke and Lenny White. He recorded three albums with Return to Forever, helping the quartet earn its greatest commercial success as all three albums cracked the Top 40 on the U.S. Billboard pop albums chart. He could play so fast, that he was sometimes criticized for playing too many notes.

As Return to Forever was disbanding around 1976, Di Meola began recording solo albums on which he demonstrated mastery of jazz fusion, flamenco, and Mediterranean music.^[7] His album Elegant Gypsy (1977) received a gold certification. In 1980 he recorded the acoustic live album Friday Night in San Francisco with Paco de Lucía and John McLaughlin.

George Edward Clinton (born July 22, 1941) is an American singer, songwriter, bandleader, and record producer. His Parliament-Funkadeliccollective (which primarily recorded under the distinct band names Parliament and Funkadelic) developed an influential and eclectic form of funk musicduring the 1970s that drew on science-fiction, outlandish fashion, psychedelic culture, and surreal humor. He launched a solo career with the 1982 album Computer Games, and would go on to influence 1990s hip-hop and G-funk. He is regarded, along with James Brown and Sly Stone, as one of the foremost innovators of funk music. He was inducted into the Rock and Roll Hall of Fame in 1997, alongside 15 other members of Parliament-Funkadelic. In 2019, he and Parliament-Funkadelic will be given Grammy Lifetime Achievement Awards.

Clinton was born in Kannapolis, North Carolina, grew up in Plainfield, New Jersey, and currently resides in Tallahassee, Florida. During his teen years Clinton formed a doo-wop group inspired by Frankie Lymon & the Teenagers called The Parliaments, while straightening hair at a barber salon in Plainfield.

The West End of Plainfield, New Jersey was once home to the Silk Palace, a barbershop at 216 Plainfield Avenue owned in part by Clinton, staffed by various members of Parliament-Funkadelic and known as the “hangout for all the local singers and musicians” in Plainfield’s 1950s and 1960s doo-wop, soul, rock and proto-funk music scene.

Herman “Junior” Cook (July 22, 1934 – February 3, 1992) was a hard bop tenor saxophone player.

Cook was born in Pensacola, Florida. After playing with Dizzy Gillespie in 1958, Cook gained some fame for his longtime membership in the Horace Silver Quintet (1958–1964); when Silver left the group in the hands of Blue Mitchell Cook stayed in the quintet for five more years (1964–1969). Later associations included Freddie Hubbard, Elvin Jones, George Coleman, Louis Hayes (1975–1976), Bill Hardman (1979–1989), and the McCoy Tynerbig band.

In addition to many appearances as a sideman, Junior Cook recorded as a leader for Jazzland (1961), Catalyst (1977), Muse, and SteepleChase.

He also taught at Berklee School of Music for a year during the 1970s.

In the early 1990s Cook was playing with Clifford Jordan and also leading his own group. He died in his apartment in New York City.

Apollo 11 launched from Cape Kennedy on July 16, 1969, carrying Commander Neil Armstrong, Command Module Pilot Michael Collins and Lunar Module Pilot Edwin “Buzz” Aldrin into an initial Earth-orbit of 114 by 116 miles. An estimated 650 million people watched Armstrong’s televised image and heard his voice describe the event as he took “…one small step for a man, one giant leap for mankind” on July 20, 1969.

Two hours, 44 minutes and one-and-a-half revolutions after launch, the S-IVB stage reignited for a second burn of five minutes, 48 seconds, placing Apollo 11 into a translunar orbit. The command and service module, or CSM, Columbia separated from the stage, which included the spacecraft-lunar module adapter, or SLA, containing the lunar module, or LM, Eagle. After transposition and jettisoning of the SLA panels on the S-IVB stage, the CSM docked with the LM. The S-IVB stage separated and injected into heliocentric orbit four hours, 40 minutes into the flight.

The first color TV transmission to Earth from Apollo 11 occurred during the translunar coast of the CSM/LM. Later, on July 17, a three-second burn of the SPS was made to perform the second of four scheduled midcourse corrections programmed for the flight. The launch had been so successful that the other three were not needed.

On July 18, Armstrong and Aldrin put on their spacesuits and climbed through the docking tunnel from Columbia to Eagle to check out the LM, and to make the second TV transmission.

On July 19, after Apollo 11 had flown behind the moon out of contact with Earth, came the first lunar orbit insertion maneuver. At about 75 hours, 50 minutes into the flight, a retrograde firing of the SPS for 357.5 seconds placed the spacecraft into an initial, elliptical-lunar orbit of 69 by 190 miles. Later, a second burn of the SPS for 17 seconds placed the docked vehicles into a lunar orbit of 62 by 70.5 miles, which was calculated to change the orbit of the CSM piloted by Collins. The change happened because of lunar-gravity perturbations to the nominal 69 miles required for subsequent LM rendezvous and docking after completion of the lunar landing. Before this second SPS firing, another TV transmission was made, this time from the surface of the moon.

On July 20, Armstrong and Aldrin entered the LM again, made a final check, and at 100 hours, 12 minutes into the flight, the Eagle undocked and separated from Columbia for visual inspection. At 101 hours, 36 minutes, when the LM was behind the moon on its 13th orbit, the LM descent engine fired for 30 seconds to provide retrograde thrust and commence descent orbit insertion, changing to an orbit of 9 by 67 miles, on a trajectory that was virtually identical to that flown by Apollo 10. At 102 hours, 33 minutes, after Columbia and Eagle had reappeared from behind the moon and when the LM was about 300 miles uprange, powered descent initiation was performed with the descent engine firing for 756.3 seconds. After eight minutes, the LM was at “high gate” about 26,000 feet above the surface and about five miles from the landing site.

The descent engine continued to provide braking thrust until about 102 hours, 45 minutes into the mission. Partially piloted manually by Armstrong, the Eagle landed in the Sea of Tranquility in Site 2 at 0 degrees, 41 minutes, 15 seconds north latitude and 23 degrees, 26 minutes east longitude. This was about four miles downrange from the predicted touchdown point and occurred almost one-and-a-half minutes earlier than scheduled. It included a powered descent that ran a mere nominal 40 seconds longer than preflight planning due to translation maneuvers to avoid a crater during the final phase of landing. Attached to the descent stage was a commemorative plaque signed by President Richard M. Nixon and the three astronauts.

The flight plan called for the first EVA to begin after a four-hour rest period, but it was advanced to begin as soon as possible. Nonetheless, it was almost four hours later that Armstrong emerged from the Eagle and deployed the TV camera for the transmission of the event to Earth. At about 109 hours, 42 minutes after launch, Armstrong stepped onto the moon. About 20 minutes later, Aldrin followed him. The camera was then positioned on a tripod about 30 feet from the LM. Half an hour later, President Nixon spoke by telephone link with the astronauts.

Commemorative medallions bearing the names of the three Apollo 1 astronauts who lost their lives in a launch pad fire, and two cosmonauts who also died in accidents, were left on the moon’s surface. A one-and-a-half inch silicon disk, containing micro miniaturized goodwill messages from 73 countries, and the names of congressional and NASA leaders, also stayed behind.

During the EVA, in which they both ranged up to 300 feet from the Eagle, Aldrin deployed the Early Apollo Scientific Experiments Package, or EASEP, experiments, and Armstrong and Aldrin gathered and verbally reported on the lunar surface samples. After Aldrin had spent one hour, 33 minutes on the surface, he re-entered the LM, followed 41 minutes later by Armstrong. The entire EVA phase lasted more than two-and-a-half hours, ending at 111 hours, 39 minutes into the mission.

Armstrong and Aldrin spent 21 hours, 36 minutes on the moon’s surface. After a rest period that included seven hours of sleep, the ascent stage engine fired at 124 hours, 22 minutes. It was shut down 435 seconds later when the Eagle reached an initial orbit of 11 by 55 miles above the moon, and when Columbia was on its 25th revolution. As the ascent stage reached apolune at 125 hours, 19 minutes, the reaction control system, or RCS, fired so as to nearly circularize the Eagle orbit at about 56 miles, some 13 miles below and slightly behind Columbia. Subsequent firings of the LM RCS changed the orbit to 57 by 72 miles. Docking with Columbia occurred on the CSM’s 27th revolution at 128 hours, three minutes into the mission. Armstrong and Aldrin returned to the CSM with Collins. Four hours later, the LM jettisoned and remained in lunar orbit.

Trans-Earth injection of the CSM began July 21 as the SPS fired for two-and-a-half minutes when Columbia was behind the moon in its 59th hour of lunar orbit. Following this, the astronauts slept for about 10 hours. An 11.2 second firing of the SPS accomplished the only midcourse correction required on the return flight. The correction was made July 22 at about 150 hours, 30 minutes into the mission. Two more television transmissions were made during the trans-Earth coast.

Re-entry procedures were initiated July 24, 44 hours after leaving lunar orbit. The SM separated from the CM, which was re-oriented to a heat-shield-forward position. Parachute deployment occurred at 195 hours, 13 minutes. After a flight of 195 hours, 18 minutes, 35 seconds – about 36 minutes longer than planned – Apollo 11 splashed down in the Pacific Ocean, 13 miles from the recovery ship USS Hornet. Because of bad weather in the target area, the landing point was changed by about 250 miles. Apollo 11 landed 13 degrees, 19 minutes north latitude and 169 degrees, nine minutes west longitude July 24, 1969.

Yusuf Islam (born Steven Demetre Georgiou; 21 July 1948), commonly known by his stage name Cat Stevens, and later Yusuf, is a British singer-songwriter and multi-instrumentalist. His 1967 debut album reached the top 10 in the UK, and its title song “Matthew and Son” reached number 2 on the UK Singles Chart. Stevens’ albums Tea for the Tillerman (1970) and Teaser and the Firecat (1971) were certified triple platinum in the US by the RIAA.^[2] His musical style consists of folk, pop, rock, and, in his later career, Islamic music.

His 1972 album Catch Bull at Four spent three weeks at number one on the Billboard 200, and fifteen weeks at number one in the Australian ARIA Charts. He earned two ASCAP songwriting awards in 2005 and 2006 for “The First Cut Is the Deepest“, and the song has been a hit for four artists. His other hit songs include “Father and Son“, “Wild World“, “Moonshadow“, “Peace Train“, and “Morning Has Broken“. In 2007, he received the Ivor Novello Award for Outstanding Song Collection from the British Academy of Songwriters, Composers and Authors.

In December 1977, Stevens converted to Islam and adopted the name Yusuf Islam the following year. In 1979, he auctioned all of his guitars for charity and left his musical career to devote himself to educational and philanthropic causes in the Muslim community. He was embroiled in a long-running controversy regarding comments he made in 1989 about the death fatwa on author Salman Rushdie. He has received two honorary doctorates and awards for promoting peace from two organisations founded by Mikhail Gorbachev.

In 2006, he returned to pop music – releasing his first new studio album of new pop songs in 28 years, titled An Other Cup. With that release and subsequent ones, he dropped the surname “Islam” from the album cover art – using the stage name Yusuf as a mononym. In 2009, he released the album Roadsinger, and in 2014, he released the album Tell ‘Em I’m Gone, and began his first US tour since 1978. He was inducted into the Rock and Roll Hall of Fame in 2014. His second North American tour since his resurgence, featuring 12 shows in intimate venues, ran from 12 September to 7 October 2016. In 2017, he released the album The Laughing Apple.

https://www.youtube.com/watch?v=d34f0ts2PGs

Conrad Yeatis “Sonny” Clark (July 21, 1931 – January 13, 1963) was an American jazz pianist who mainly worked in the hard bop idiom. Clark was born and raised in Herminie, Pennsylvania, a coal mining town east of Pittsburgh. His parents were originally from Stone Mountain, Georgia. His miner father, Emery Clark, died of a lung disease two weeks after Sonny was born. Sonny was the youngest of eight children. At age 12, he moved to Pittsburgh.

When visiting an aunt in California at age 20, Clark decided to stay and began working with saxophonist Wardell Gray. Clark went to San Franciscowith Oscar Pettiford and after a couple months, was working with clarinetist Buddy DeFranco in 1953. Clark toured the United States and Europe with DeFranco until January 1956, when he joined The Lighthouse All-Stars, led by bassist Howard Rumsey.

Wishing to return to the east coast, Clark served as accompanist for singer Dinah Washington in February 1957 in order to relocate to New York City. In New York, Clark was often requested as a sideman by many musicians, partly because of his rhythmic comping. He frequently recorded for Blue Note Records, playing as a sideman with many hard bop players, including Kenny Burrell, Donald Byrd, Paul Chambers, John Coltrane, Dexter Gordon, Art Farmer, Curtis Fuller, Grant Green, Philly Joe Jones, Clifford Jordan, Jackie McLean, Hank Mobley, Art Taylor, and Wilbur Ware. He also recorded sessions with Charles Mingus, Sonny Rollins, Billie Holiday, Stanley Turrentine, and Lee Morgan.

https://www.youtube.com/watch?v=W3FLd1eBmTU&t=21s

Isaac Stern (21 July 1920 – 22 September 2001) was an American violinist. The son of Solomon and Clara Stern, Isaac Stern was born in Kremenets, Poland (now Ukraine), into a Jewish family. He was 14 months old when his family moved to San Francisco in 1921. He received his first music lessons from his mother. In 1928, he enrolled at the San Francisco Conservatory of Music, where he studied until 1931 before going on to study privately with Louis Persinger. He returned to the San Francisco Conservatory to study for five years with Naoum Blinder, to whom he said he owed the most. At his public début on 18 February 1936, aged 15, he played Saint-Saëns’ Violin Concerto No. 3 in B minor with the San Francisco Symphony under the direction of Pierre Monteux. Reflecting on his background, Stern once memorably quipped that cultural exchanges between the U.S. and Soviet Russia were simple affairs:

“They send us their Jews from Odessa, and we send them our Jews from Odessa.”

Stern toured the Soviet Union in 1951, the first American violinist to do so. In 1967, Stern stated his refusal to return to the USSR until the Soviet regime allowed artists to enter and leave the country freely. His only visit to Germany was in 1999, for a series of master classes, but he never performed publicly in Germany.