mick laBriola

Harry Edward Nilsson III (June 15, 1941 – January 15, 1994), usually credited as Nilsson, was an American singer-songwriter who achieved the peak of his commercial success in the early 1970s. His work is characterized by pioneering vocal overdub experiments, returns to the Great American Songbook, and fusions of Caribbean sounds. A tenor with a 3½ octave range, Nilsson was one of the few major pop-rock recording artists of his era to achieve significant commercial success without ever performing major public concerts or undertaking regular tours. The craft of his songs and the defiant attitude he projected remains a touchstone for later generations of indie rock musicians.

Born in Brooklyn, Nilsson moved to Los Angeles as a teenager to escape his family’s poor financial situation. While working as a computer programmer at a bank, he grew interested in musical composition and close-harmony singing, and was successful in having some of his songs recorded by various artists such as the Monkees. In 1967, he debuted on RCA Victor with the LP Pandemonium Shadow Show, followed by a variety of releases that include a collaboration with Randy Newman (Nilsson Sings Newman, 1970) and the original children’s story The Point! (1971). His most commercially successful albums, Nilsson Schmilsson (1971) and Son of Schmilsson (1972), produced the international top 10 singles “Without You” (1971) and “Coconut” (1972). His other top 10 hit, “Everybody’s Talkin’” (1968), was a prominent song in the 1969 film Midnight Cowboy. A version of Nilsson’s “One“, released by Three Dog Night in 1969, also reached the U.S. top 10.

During a 1968 press conference, the Beatles were asked what their favorite American group was and answered “Nilsson”. He soon formed close friendships with John Lennon and Ringo Starr. In the 1970s, Nilsson and Lennon were members of the Hollywood Vampires drinking club, embroiling themselves in a number of widely publicized, alcohol-fueled incidents. At the same time, they produced one collaborative album, Pussy Cats (1974). After 1977, Nilsson left RCA, and his record output diminished. In response to Lennon’s 1980 murder, he took a hiatus from the music industry to campaign for gun control. For the rest of his life, he recorded only sporadically.

Nilsson created the first remix album (Aerial Pandemonium Ballet, 1971) and recorded the first mashup song (“You Can’t Do That“, 1967). He was voted No. 62 in Rolling Stone‘s 2015 list of the “100 Greatest Songwriters of All Time“, where he was described as “a pioneer of the Los Angeles studio sound, a crucial bridge between the baroque psychedelic pop of the late Sixties and the more personal singer-songwriter era of the Seventies”. The RIAA certified Nilsson Schmilsson and Son of Schmilsson as gold records, indicating over 500,000 units sold each. His honors include Grammy Awards for two of his recordings; Best Contemporary Vocal Performance, Male in 1970 for “Everybody’s Talkin'” and Best Pop Vocal Performance, Male in 1973 for “Without You”. In 1994, Nilsson died of a heart attack while in the midst of recording new material for a since-unreleased comeback album.

John Arthur “Jaki” Byard (June 15, 1922 – February 11, 1999) was an American jazz multi-instrumentalist, composer and arranger. Mainly a pianist, he also played tenor and alto saxophones, among several other instruments. He was known for his eclectic style, incorporating everything from ragtime and stride to free jazz.

Byard played with trumpeter Maynard Ferguson in the late 1950s and early 1960s, and was a member of bands led by bassist Charles Mingus for several years, including on several studio and concert recordings. The first of his recordings as a leader was in 1960, but, despite being praised by critics, his albums and performances did not gain him much wider attention. In his 60-year career, Byard recorded at least 35 albums as leader, and more than 50 as a sideman. Byard’s influence on the music comes from his combining of musical styles during performance, and his parallel career in teaching.

From 1969 Byard was heavily involved in jazz education: he began teaching at the New England Conservatory of Music and went on to work at several other music institutions, as well as having private students. He continued performing and recording, mainly in solo and small group settings, but he also led two big bands – one made up of some of his students, and the other of professional musicians. His death, from a single gunshot while in his home, remains an unsolved mystery.

Byard was born in Worcester, Massachusetts. At that time, his parents – John Sr and Geraldine Garr – were living at 47 Clayton Street. Both of his parents played musical instruments; his mother played the piano, as did his uncles and grandmother, the last playing in cinemas during the silent film era. He began piano lessons at the age of six, but they ended when his family was affected by the Great Depression. He was also given a trumpet that belonged to his father, and attempted to copy the popular players of the time, Roy Eldridge and Walter Fuller.^[4] As a boy he often walked to Lake Quinsigamond to listen to bands performing there. He heard Benny Goodman, Lucky Millinder, Fats Waller, and Chick Webb, and listened to other bands of the era on the radio. “Those were the things that inspired me – I guess it stuck with me”, he commented decades later.

https://www.youtube.com/watch?v=OqR1wtZgMA0

Erroll Louis Garner (June 15, 1923 – January 2, 1977; some sources say b. 1921) was an American jazz pianist and composer known for his swing playing and ballads. His best-known composition, the ballad “Misty“, has become a jazz standard. Scott Yanow of Allmusic calls him “one of the most distinctive of all pianists” and a “brilliant virtuoso.” He received a star on the Hollywood Walk of Fame at 6363 Hollywood Blvd.

Garner was born with his twin brother Ernest in Pittsburgh, Pennsylvania on June 15, 1923, the youngest of six children in an African-American family. He attended George Westinghouse High School (as did fellow pianists Billy Strayhorn and Ahmad Jamal). Garner began playing piano at the age of three. His elder siblings were taught piano by Miss Bowman. From an early age, Erroll would sit down and play anything she had demonstrated, just like Miss Bowman, his eldest sister Martha said. Garner was self-taught and remained an “ear player” all his life, never learning to read music. At age seven, he began appearing on the radio station KDKA in Pittsburgh with a group called the Candy Kids. By age 11, he was playing on the Allegheny riverboats. At 14 in 1937, he joined local saxophonist Leroy Brown.

He played locally in the shadow of his older pianist brother Linton Garner.

Garner moved to New York City in 1944. He briefly worked with the bassist Slam Stewart, and though not a bebop musician per se, in 1947 played with Charlie Parker on the “Cool Blues” session. Although his admission to the Pittsburgh music union was initially refused because of his inability to read music, it relented in 1956 and made him an honorary member. Garner is credited with a superb memory of music. After attending a concert by the Russian classical pianist Emil Gilels, Garner returned to his apartment and was able to play a large portion of the performed music by recall.

https://www.youtube.com/watch?v=wmJ-mi9mAuo

Marcus Miller (born William Henry Marcus Miller Jr.; June 14, 1959) is an American jazz composer, producer and multi-instrumentalist, best known as a bass guitarist. He has worked with trumpeter Miles Davis, pianist Herbie Hancock, singer Luther Vandross, and saxophonist David Sanborn, among others. Miller was born in Brooklyn, New York City, in 1959 and raised in a musical family that included his father, William Miller (a church organist and choir director) and jazz pianist Wynton Kelly. He is classically trained as a clarinetist and also plays keyboards, saxophone and guitar. He began to work regularly in New York City, eventually playing bass and writing music for jazz flutist Bobbi Humphrey and keyboardist Lonnie Liston Smith. Miller soon became a session musician, appearing on over 500 albums by such artists as Michael Jackson, Beyoncé, Herbie Hancock, Mariah Carey, The Crusaders, Wayne Shorter, McCoy Tyner, Frank Sinatra, George Benson, Dr. John, Aretha Franklin, Elton John, Joe Walsh, Jean-Michel Jarre, Grover Washington Jr., Donald Fagen, Bill Withers, Bernard Wright, Kazumi Watanabe, Chaka Khan, LL Cool J and Flavio Sala.

Kenny Drew Jr. (June 14, 1958 – August 3, 2014) was an American jazz pianist. His music is known for its hard-swinging bluesy sound and large, two-handed rooty chords contrasting with fast runs. The son of jazz pianist Kenny Drew, he did not credit his father as an influence. His initial study was in classical music with his aunt and grandmother. In his teens he became interested in jazz and pop, but initially worked in funk bands. Later he went into jazz piano and in 1990 won the Great American Jazz Piano competition in Jacksonville, Florida. Drew continued to perform jazz, but he also performed some chamber music. His style has some similarities to his father’s, but is different enough to generally avoid comparison; he was considered the more eclectic of the two men.

Drew attended Iona College in New Rochelle, New York, for a period during 1977 to 1978. There, he became pianist for the Iona College Singers, an entertainment troop promoting the college’s name and goodwill among local high schools, retirement homes and the like in the Northeast region of the USA.

Drew cited Thelonious Monk as an influence and like Monk often recorded (and performed) solo.

Drew died at home in St. Petersburg, Florida, on August 3, 2014

https://www.youtube.com/watch?v=7j409BULnuQ

The Spitzer Space Telescope looked into this optically-dark star-forming region in four colors of infrared light. The Cave Nebula, cataloged as Sh2-155, is quite bright in infrared, revealing details not only of internal pillars of gas and dust, but of the illuminating star cluster too – all near the top of the image. The red glow around the Cave’s entrance is created by dust heated by bright young stars. To the right is Cepheus B, a star cluster that formed previously from the same cloud of gas and dust. Other interesting stars of Cepheus come to light in infrared as well, including those illuminating an even younger nebula toward the image bottom, and a runaway star pushing a bow shock, tinged in red near the image center. This region spans about 50 light years and lies about 2,500 light years toward the constellation of the King of Aethiopia (Cepheus).

Adolphus Anthony Cheatham, better known as Doc Cheatham (June 13, 1905 – June 2, 1997), was a jazz trumpeter, singer, and bandleader. Doc Cheatham was born in Nashville, Tennessee of African, Cherokee and Choctaw heritage. He noted there was no jazz music there in his youth; like many in the United States he was introduced to the style by early recordings and touring groups at the end of the 1910s. He abandoned his family’s plans for him to be a pharmacist (although retaining the medically inspired nickname “Doc”) to play music, initially playing soprano and tenor saxophone in addition to trumpet in Nashville’s African American Vaudeville theater. Cheatham later toured in band accompanying blues singers on the Theater Owners Booking Association circuit.^[1] His early jazz influences included Henry Busse and Johnny Dunn, but when he moved to Chicago in 1924 he heard King Oliver. Oliver’s playing was a revelation to Cheatham. Cheatham followed the jazz King around. Oliver gave young Cheatham a mute which Cheatham treasured and performed with for the rest of his career. A further revelation came the following year when Louis Armstrong returned to Chicago. Armstrong would be a lifelong influence on Cheatham.

Cheatham played in Albert Wynn’s band (and occasionally substituted for Armstrong at the Vendome Theater), and recorded on sax with Ma Rainey before moving to Philadelphia in 1927, where he worked with the bands of Bobby Lee and Wilbur de Paris before moving to New York City the following year. After a short stint with Chick Webb he left to tour Europe with Sam Wooding‘s band.

Attila Cornelius Zoller (June 13, 1927 – January 25, 1998) was a jazz guitarist born in Hungary. After World War II, he escaped the Soviet takeover of Hungary by fleeing through the mountains on foot into Austria. In 1959, he moved to the U.S., where he spent the rest of his life as a musician and teacher. Zoller was born in Visegrád, Hungary in 1927. As a child, he learned violin from his father, a professional violinist. While in school, he played flugelhorn and bass before choosing guitar. He dropped out of school and played in jazz clubs in Budapest while Russia occupied Hungary. He fled Hungary in 1948 as the Soviet Union was establishing communist military rule. He escaped on foot, carrying his guitar through the mountains into Austria. He settled in Vienna, became an Austrian citizen, and started a jazz group with accordionist Vera Auer.

In the 1950s, Zoller moved to Germany and played with German musicians Jutta Hipp and Hans Koller. When American jazz musicians passed through, such as Oscar Pettiford and Lee Konitz, they persuaded him to move to the United States. He moved to the U.S. after receiving a scholarship to the Lenox School of Jazz. One of his teachers was guitarist Jim Hall and his roommate was Ornette Coleman, who got him interested in free jazz.

From 1962–1965, Zoller performed in a group with flautist Herbie Mann, then Lee Konitz and Albert Mangelsdorff. Over the years, he played and recorded with Benny Goodman, Stan Getz, Red Norvo, Jimmy Raney, Herbie Hancock, Ron Carter, Shirley Scott, Cal Tjader, and Jimi Hendrix.

Positive Vibrations quartet with Van Nixon, Onesmo Kibira, JD and mick laBriola. Performing 6-12-19 from 3-6pm to an open to the public event @ St Mary’s University Event Center Ballroom at 2540 Park Ave So Minneapolis for Ebenezer’s 101st Annual Ice Cream Social.

https://deafmn.com/event/ebenezers-101st-annual-ice-cream-social/

Dust lanes seem to swirl around the core of Messier 96 in this colorful, detailed portrait of the center of a beautiful island universe. Of course M96 is a spiral galaxy, and counting the faint arms extending beyond the brighter central region, it spans 100 thousand light-years or so, making it about the size of our own Milky Way. M96, also known as NGC 3368, is known to be about 35 million light-years distant and a dominant member of the Leo I galaxy group. The featured image was taken by the Hubble Space Telescope. The reason for M96‘s asymmetry is unclear — it could have arisen from gravitational interactions with other Leo I group galaxies, but the lack of an intra-group diffuse glow seems to indicate few recent interactions. Galaxies far in the background can be found by examining the edges of the picture.

Armando Anthony “Chick” Corea (born June 12, 1941) is an American jazz pianist/electric keyboardist and composer.His compositions “Spain“, “500 Miles High“, “La Fiesta” and “Windows“, are considered jazz standards. As a member of Miles Davis‘s band in the late 1960s, he participated in the birth of jazz fusion. In the 1970s he formed the fusion band Return to Forever. With Herbie Hancock, McCoy Tyner, and Keith Jarrett, he has been described as one of the major jazz piano voices to emerge in the post-John Coltrane era.

Corea continued to pursue other collaborations and to explore musical styles throughout the 1980s and 1990s. He is also known for promoting and fundraising for a number of social issues. Armando Corea was born in Chelsea, Massachusetts. He is of southern Italian and Spanish descent. His father, a jazz trumpeter who led a Dixieland band in Boston in the 1930s and 1940s, introduced him to the piano at the age of four. Surrounded by jazz, he was influenced at an early age by bebop and Dizzy Gillespie, Charlie Parker, Bud Powell, Horace Silver, and Lester Young. At eight he took up drums, which would influence his use of the piano as a percussion instrument.

In the early 1970s, Corea took a profound stylistic turn from avant-garde to a crossover jazz fusion style that incorporated Latin jazz with Return to Forever. Named after their eponymous 1972 album, the band relied on both acoustic and electronic instrumentation and drew upon Latin American styles more than on rock music. On their first two records, Return to Forever consisted of Flora Purim on vocals, Joe Farrell on flute and soprano saxophone, Airto Moreira on drums , and Stanley Clarke on double bass.^[3] Drummer Lenny White and guitarist Bill Connors later joined Corea and Clarke to form the second version of the group, which expanded the earlier Latin jazz elements with a more rock and funk-oriented sound inspired by the Mahavishnu Orchestra, led by his Bitches Brew bandmate John McLaughlin. This incarnation of the group recorded the album Hymn of the Seventh Galaxy, before Connors’ departure and replacement by Al Di Meola, who was present on the subsequent releases Where Have I Known You Before, No Mystery, and Romantic Warrior.

Corea’s composition “Spain” appeared on the 1972 Return to Forever album Light as a Feather. This is probably his most popular piece, and it has been recorded by a variety of artists. There are also a variety of recordings by Corea himself. These included an arrangement for piano and symphony orchestra that appeared in 1999 and a collabration with vocalist Bobby McFerrin on the 1992 album Play. Corea usually performs “Spain” with a prelude based on Joaquín Rodrigo‘s Concierto de Aranjuez(1940), which earlier received a jazz orchestration on Davis and Gil Evans‘ Sketches of Spain.^{[citation needed]}

In 1976, he issued My Spanish Heart, influenced by Latin American music and featuring vocalist Gayle Moran (Corea’s wife) and electric violinist Jean-Luc Ponty. The album combined jazz and flamenco, supported by Minimoog backup and a horn section.

https://www.youtube.com/watch?v=BlSUt0_jHAI

Marcus Batista Belgrave (June 12, 1936 – May 24, 2015) was an American jazz trumpet player from Detroit, born in Chester, Pennsylvania. He recorded with numerous musicians from the 1950s onwards. Belgrave was inducted into the class of 2017 of the National Rhythm & Blues Hall of Fame in Detroit, Michigan.

Belgrave was tutored by Clifford Brown before joining the Ray Charles touring band. He later worked with Motown Records, and recorded with Martha Reeves and the Vandellas, The Temptations, The Four Tops, Gunther Schuller, Carl Craig, Max Roach, Ella Fitzgerald, Charles Mingus, Tony Bennett, La Palabra, Sammy Davis Jr., Dizzy Gillespie, Odessa Harris^[4] and John Sinclair, plus more recently with his wife Joan Belgrave, amongst others.