mick laBriola

The Heart Nebula, officially dubbed IC 1805and visible in the featured image on the bottom right, has a shape reminiscent of a classical heart symbol. The Soul Nebula is officially designated IC 1871 and is visible on the upper left. Both nebulas shine brightly in the red light of energized hydrogen. Also shown in this three-color montage is light emitted from sulfur, shown in yellow, and oxygen, shown in blue. Several young open clusters of stars are visible near the nebula centers. Light takes about 6,000 years to reach us from these nebulas, which together span roughly 300 light years. Studies of stars and clusters like those found in the Heart and Soul Nebulas have focused on how massive starsform and how they affect their environment.

Don Van Vliet (/væn ˈvliːt/, born Don Glen Vliet; January 15, 1941 – December 17, 2010), best known by the stage name Captain Beefheart, was an American singer, songwriter, multi-instrumentalist, and visual artist. Sometimes collaborating with his teenage friend Frank Zappa, Van Vliet’s musical work was conducted with a rotating ensemble of musicians called the Magic Band, with whom he recorded 13 studio albums between 1964 and 1982. His music blended elements of blues, free jazz, rock, and avant-garde composition with idiosyncratic rhythms, surrealist wordplay, and his wide vocal range, commonly reported as five octaves.Known for his enigmatic persona, Beefheart frequently constructed myths about his life and was known to exercise an almost dictatorial control over his supporting musicians.

Van Vliet developed an eclectic musical taste during his teen years in Lancaster, California, and formed “a mutually useful but volatile” friendship with Zappa. He began performing with his Captain Beefheart persona in 1964 and joined the original Magic Band line-up, initiated by Alexis Snouffer, the same year. The group released their debut album Safe as Milk in 1967 on Buddah Records. After being dropped by two consecutive record labels they signed to Zappa’s Straight Records, where they released 1969’s Trout Mask Replica; an album variously described as “unlistenable”, “a joke”, and a “masterpiece”, that would later rank 58th in Rolling Stone magazine’s 2003 list of the 500 greatest albums of all time. In 1974, frustrated by lack of commercial success, he pursued a more conventional rock sound, but the ensuing albums were critically panned; this move, combined with not having been paid for a European tour, and years of enduring Beefheart’s abusive behavior, led the entire band to quit. Beefheart eventually formed a new Magic Band with a group of younger musicians and regained critical approval through three final albums: Shiny Beast (1978), Doc at the Radar Station (1980) and Ice Cream for Crow (1982).

Widely regarded as unusual and interesting, critics have had difficulty in pinning down Beefheart’s musical style; he has been described as “one of modern music’s true innovators”, though most see his music as a quirky and idiosyncratic variation of blues music which, while not achieving mainstream commercial success, attracted a cult following and was an influence on new wave, punk, and experimental rock artists.

Earl Zebedee Hooker (January 15, 1930 – April 21, 1970) was a Chicago blues guitarist known for his slide guitar playing. Considered a “musician’s musician”, he performed with blues artists such as Sonny Boy Williamson II, Junior Wells, and John Lee Hooker and fronted his own bands. An early player of the electric guitar, Hooker was influenced by the modern urban styles of T-Bone Walker and Robert Nighthawk. He recorded several singles and albums as a bandleader and with other well-known artists. His “Blue Guitar”, a slide guitar instrumental single, was popular in the Chicago area and was later overdubbed with vocals by Muddy Waters as “You Shook Me“.

In the late 1960s, Hooker began performing on the college and concert circuit and had several recording contracts. Just as his career was on an upswing, he died in 1970, at age 40, after a lifelong struggle with tuberculosis. His guitar playing has been acknowledged by many of his peers, including B.B. King, who commented, “to me he is the best of modern guitarists. Period. With the slide he was the best. It was nobody else like him, he was just one of a kind”.

Eugene Bertram Krupa (January 15, 1909 – October 16, 1973) was an American jazz drummer, band leader, actor, and composer known for his energetic style and showmanship. His drum solo on “Sing, Sing, Sing” (1937) elevated the role of the drummer as a frequently used solo voice in the band.

He is also known for defining the standard drum kit used today in collaboration with brands Slingerland and Zildjian. Krupa is considered “the founding father of the modern drumset” by Modern Drummer magazine.

The youngest of Anna (née Oslowski) and Bartłomiej Krupa’s nine children, Gene Krupa was born in Chicago. Bartłomiej was an immigrant from Poland. Anna was born in Shamokin, Pennsylvania and was also of Polish descent. His parents were Roman Catholics who groomed him for the priesthood. He spent his grammar school days at parochial schools. After graduation he attended Saint Joseph’s College for a year but decided the priesthood was not his vocation.

Krupa studied with Sanford A. Moeller and began playing drums professionally in the mid-1920s with bands in Wisconsin. In 1927 he was hired by MCA to become a member of Thelma Terryand Her Playboys, the first notable American jazz band—all-girl bands excepted—to be led by a female musician.^{[citation needed]} The Playboys were the house band at The Golden Pumpkin nightclub in Chicago and toured throughout the eastern and central United States.

Krupa made his first recordings in 1927 with a band under the leadership of Red McKenzie and guitarist Eddie Condon. Along with other recordings by musicians from the Chicago jazz scene, such as Bix Beiderbecke, these recordings are examples of Chicago style jazz. Krupa’s influences during this time included Father Ildefonse Rapp and Roy Knapp (both teachers of Gene), and drummers Tubby Hall, Zutty Singleton and Baby Dodds. Press rolls were a fairly common technique in the early stages of his development. There were many other drummers (Ray Bauduc, Chick Webb, George Wettling, Dave Tough) who influenced his approach to drumming and other instrumentalists and composers such as Frederick Delius who influenced his approach to music.

UGC 6945 (also known as Arp 194) is a trio of interacting galaxies. The highly disrupted galaxy to the northwest is actually two galaxies in the advanced stages of merger, and has an angular size of 0′.8 × 0′.6. About 40″ to the southeast is a third galaxy with an angular size of 0′.35 × 0′.35.

Based upon a radial velocity of about 10,500 km s⁻¹, the interacting pair of galaxies at the northwest are located at a distance of 175 Mpc (570 Mly) from us (assuming a Hubble constantvalue of 60 km s⁻¹ Mpc⁻¹). If we further assume that the third galaxy lies at the same distance away from us, we find that the galaxies are separated by a projected linear distance of roughly 34 Kpc (110 Kly), though later findings from Hubble may cast this assumption into doubt (see below)

As the pair of galaxies in the north gravitationally interact with each other, tidally-stripped gas from both galaxies is draped over the southern galaxy as a series of blobs, which are fueling a burst of star formation. While it has long been believed to be interacting with the northern galaxy, images from the Hubble Space Telescope clearly show that this stream of material is actually superimposed on the southern galaxy. This suggests that this third galaxy may actually lie in the background. Due to this uncertainty, the third galaxy may not be involved in the interaction.

Allen Toussaint (/ˈtuːsɑːnt/; January 14, 1938 – November 10, 2015) was an American musician, songwriter, arranger and record producer, who was an influential figure in New Orleans R&Bfrom the 1950s to the end of the century, described as “one of popular music’s great backroom figures.” Many musicians recorded Toussaint’s compositions, including “Java“, “Mother-in-Law“, “I Like It Like That“, “Fortune Teller“, “Ride Your Pony“, “Get Out of My Life Woman“, “Working in the Coal Mine“, “Everything I Do Gonna Be Funky”, “Here Come the Girls“, “Yes We Can Can“, “Play Something Sweet“, and “Southern Nights“. He was a producer for hundreds of recordings, among the best known of which are “Right Place, Wrong Time”, by his longtime friend Dr. John (“Mac” Rebennack), and “Lady Marmalade“, by Labelle.

The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated “second-line” piano style of Professor Longhair.

After a lucky break at age 17, in which he stood in for Huey “Piano” Smith at a performance with Earl King‘s band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino’s record “I Want You to Know“, on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer also came in 1957 with Lee Allen’s “Walking with Mr. Lee”. He began performing regularly in Bartholomew’s band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers.

Kenneth Vincent John Wheeler, OC (14 January 1930 – 18 September 2014) was a Canadian composer and trumpet and flugelhorn player, based in the U.K. from the 1950s onwards.

Most of his performances were rooted in jazz, but he was also active in free improvisation and occasionally contributed to rock music recordings. Wheeler wrote over one hundred compositions and was a skilled arranger for small groups and large ensembles.

Wheeler was the patron of the Royal Academy Junior Jazz course.

Wheeler was born in Toronto, Ontario, on 14 January 1930. Growing up in Toronto, he began playing cornet at age 12, and became interested in jazz in his mid-teens. Wheeler spent a year studying composition at The Royal Conservatory of Music in 1950. In 1952 he moved to Britain. He found his way into the London jazz scene of the time, playing in groups led by Tommy Whittle, Tubby Hayes, and Ronnie Scott.

Grady Bernard Tate (January 14, 1932 – October 8, 2017) was an American jazz and soul-jazz drummer and baritone vocalist. In addition to his work as sideman, Tate released many albums as leader lent his voice to songs in the animated Schoolhouse Rock! series.

Tate was born in Hayti, Durham, North Carolina. In 1963 he moved to New York City, where he became the drummer in Quincy Jones‘s band.

Grady Tate’s drumming helped to define a particular hard bop, soul jazz and organ trio sound during the mid-1960s and beyond. His slick, layered and intense sound is instantly recognizable for its understated style in which he integrates his trademark subtle nuances with sharp, crisp “on top of the beat” timing (in comparison to playing slightly before, or slightly after the beat). The Grady Tate sound can be heard prominently on many of the classic Jimmy Smith and Wes Montgomery albums recorded on the Verve label in the 1960s.

During the 1970s he was a member of the New York Jazz Quartet. In 1981 he played drums and percussion for Simon and Garfunkel’s Concert in Central Park.

As a sideman he has played with musicians including Jimmy Smith, Astrud Gilberto, Ella Fitzgerald, Duke Ellington, Count Basie, Rahsaan Roland Kirk, Quincy Jones, Stan Getz, Wes Montgomery, and Michel Legrand.

“Let me be a free man, free to travel, free to stop, free to work, free to trade where I choose, free to choose my own teachers, free to follow the religion of my fathers, free to talk, think and act for myself — and I will obey every law or submit to the penalty.” Chief Joseph of the Nez Perce.

NGC 3310 is a grand design spiral galaxy in the constellation Ursa Major. It is a starburst galaxy and it is likely that NGC 3310 collided with one of its satellite galaxies about 100 million years ago, triggering widespread star formation. It is thought to be located approximately 46 million light-years away from the Earth, and is thought to be about 22,000 light-years wide.

The ring clusters of NGC 3310 have been undergoing starburst activity for at least the last 40 million years.

Joe Pass (born Joseph Anthony Jacobi Passalaqua; January 13, 1929 – May 23, 1994) was an American jazz guitarist of Sicilian descent. He is considered one of the greatest jazz guitarists of the 20th century. He created possibilities for jazz guitar through his style of chord-melody, his knowledge of chord inversions and progressions, and his use of walking basslines and counterpoint during improvisation. Pass worked often with pianist Oscar Peterson and vocalist Ella Fitzgerald.

Born in New Brunswick, New Jersey, Joe Pass was the son of Mariano Passalaqua, a Sicilian-born steel mill worker. He was raised in Johnstown, Pennsylvania. He received his first guitar, a Harmony, on his ninth birthday. His father recognized early that his son had “a little something happening” and pushed him to learn tunes by ear, practice scales, play pieces written for other instruments, and to fill in the space between the notes of the melody.

As early as 14, Pass started getting jobs performing. He played with bands led by Tony Pastor and Charlie Barnet, honing his guitar skills while learning about the music business. He began traveling with small jazz groups and moved from Pennsylvania to New York City. In a few years, he developed a heroin addiction and spent much of the 1950s in prison. He emerged from addiction through a two-and-a-half-year stay in the Synanon rehabilitation program. During that time he “didn’t do a lot of playing”. In 1962 he recorded Sounds of Synanon. Around this time he received his trademark Gibson ES-175 guitar as a gift, which he used on tours and records for many years.

Daniel Moses Barker (January 13, 1909 – March 13, 1994) was an American jazz musician, vocalist, and author from New Orleans. He was a rhythm guitarist for various bands of the day, including Cab Calloway, Lucky Millinder and Benny Carter throughout the 1930s.

One of Barker’s earliest teachers in New Orleans was fellow banjoist Emanuel Sayles, with whom he recorded. Throughout his career, he played with Jelly Roll Morton, Baby Dodds, James P. Johnson, Sidney Bechet, Mezz Mezzrow, and Red Allen. He also toured and recorded with his wife, singer Blue Lu Barker. From the 1960s, Barker’s work with the Fairview Baptist Church Brass Band was pivotal in ensuring the longevity of jazz in New Orleans, producing generations of new talent, including Wynton and Branford Marsalis who played in the band as youths.

Danny Barker was born to a family of musicians in New Orleans in 1909, the grandson of bandleader Isidore Barbarin and nephew of drummers Paul Barbarin and Louis Barbarin. He took up clarinet and drums before switching to a ukulele that his aunt got him, and then a banjo from his uncle or a trumpeter named Lee Collins.

Barker began his career as a musician in his youth with his streetband the Boozan Kings, and also toured Mississippi with Little Brother Montgomery. In 1930 he moved to New York City and switched to the guitar. On the day of his arrival in New York, his uncle Paul took him to the Rhythm Club, where he saw an inspiring performance by McKinney’s Cotton Pickers. It was their first performance in New York as a band.

Barker played with several acts when he moved to New York, including Fess Williams, Billy Fowler and the White Brothers. He worked with Buddy Harris in 1933, Albert Nicholas in 1935, Lucky Millinder from 1937 to 1938, and Benny Carter in 1938. During his time in New York, he frequently played with West Indian musicians, who often mistook him for one of them due to his Creole style of playing.