mick laBriola

Joe Henderson (April 24, 1937 – June 30, 2001) was an American jazz tenor saxophonist. In a career spanning more than four decades, Henderson played with many of the leading American players of his day and recorded for several prominent labels, including Blue Note, Milestone, and Verve.

Born in Lima, Ohio, Henderson was one of 14 children. He was encouraged by his parents, Dennis and Irene (née Farley) and older brother James T. to study music. He dedicated his first album to them “for being so understanding and tolerant” during his formative years. Early musical interests included drums, piano, saxophone and composition. According to trumpeter Kenny Dorham, two local piano teachers who went to school with Henderson’s brothers and sisters, Richard Patterson and Don Hurless, gave him a knowledge of the piano. He was particularly enamored of his brother’s record collection.

A hometown drummer, John Jarette, advised Henderson to listen to musicians like Lester Young, Stan Getz, Dexter Gordon and Charlie Parker. He also liked Flip Phillips, Lee Konitz and the Jazz at the Philharmonic recordings. However, Parker became his greatest inspiration. Henderson’s first approach to the saxophone was under the tutelage of Herbert Murphy in high school. During this time, he wrote several scores for the school band.

By age 18, Henderson was active on the Detroit jazz scene of the mid-’50s, playing in jam sessions with visiting New York City stars. While attending classes for flute and bass at Wayne State University, he further developed his saxophone and compositional skills under the guidance of renowned teacher Larry Teal at the Teal School of Music. In late 1959, he formed his first group. By the time he arrived at Wayne State University, he had transcribed and memorized so many Lester Young solos that his professors believed he had perfect pitch. Henderson’s college classmates included Yusef Lateef, Barry Harris and Donald Byrd. He also studied music at Kentucky State College.

Astronomers are well-known for naming objects with odd conventions, and the cometary globule GN 16.43.7.01 seen in this Picture of the Week is no exception. Cometary globules have nothing to do with comets aside from appearance: they are named for their dusty head and elongated, dark tail, as seen in this image taken with the VLT Survey Telescope (VST) hosted at ESO’s Paranal Observatory in Chile. This globule, dubbed the Dark Tower — astronomers compensate with obvious names — lies about 5000 light-years away from Earth in the southern constellation Scorpius (the Scorpion). It contains dense clumps of collapsing gas and dust out of which stars will be born. The curious shape of this object is carved out from an intense bombardment of radiation from a cluster of young, bright stars located off-camera to the upper-left. This radiation has swept around and outlined the cometary globule with the characteristic pink glow of hot, excited matter.

Sergei Sergeyevich Prokofiev (27 April [O.S. 15 April] 1891 – 5 March 1953) was a Russian composer, pianist, and conductor who later worked in the Soviet Union. As the creator of acknowledged masterpieces across numerous music genres, he is regarded as one of the major composers of the 20th century. His works include such widely heard pieces as the March from The Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet—from which “Dance of the Knights” is taken—and Peter and the Wolf. Of the established forms and genres in which he worked, he created—excluding juvenilia—seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, a symphony-concerto for cello and orchestra, and nine completed piano sonatas.

A graduate of the Saint Petersburg Conservatory, Prokofiev initially made his name as an iconoclastic composer-pianist, achieving notoriety with a series of ferociously dissonant and virtuosic works for his instrument, including his first two piano concertos. In 1915, Prokofiev made a decisive break from the standard composer-pianist category with his orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes. Diaghilev commissioned three further ballets from Prokofiev—Chout, Le pas d’acier and The Prodigal Son—which, at the time of their original production, all caused a sensation among both critics and colleagues. But Prokofiev’s greatest interest was opera, and he composed several works in that genre, including The Gambler and The Fiery Angel. Prokofiev’s one operatic success during his lifetime was The Love for Three Oranges, composed for the Chicago Opera and performed over the following decade in Europe and Russia.

After the Revolution of 1917, Prokofiev left Russia with the approval of Soviet People’s Commissar Anatoly Lunacharsky, and resided in the United States, then Germany, then Paris, making his living as a composer, pianist and conductor. In 1923 he married a Spanish singer, Carolina (Lina) Codina, with whom he had two sons; they divorced in 1947. In the early 1930s, the Great Depression diminished opportunities for Prokofiev’s ballets and operas to be staged in America and Western Europe. Prokofiev, who regarded himself as a composer foremost, resented the time taken by touring as a pianist, and increasingly turned to the Soviet Union for commissions of new music; in 1936, he finally returned to his homeland with his family. His greatest Soviet successes included Lieutenant Kijé, Peter and the Wolf, Romeo and Juliet, Cinderella, Alexander Nevsky, the Fifth and Sixth Symphonies, On Guard for Peace, and the Piano Sonatas Nos. 6–8.

The Nazi invasion of the USSR spurred Prokofiev to compose his most ambitious work, an operatic version of Leo Tolstoy’s War and Peace; he co-wrote the libretto with Mira Mendelson, his longtime companion and later second wife. In 1948, Prokofiev was attacked for producing “anti-democratic formalism“. Nevertheless, he enjoyed personal and artistic support from a new generation of Russian performers, notably Sviatoslav Richter and Mstislav Rostropovich: he wrote his Ninth Piano Sonata for the former and his Symphony-Concerto for the latter.

Monday April 22nd 2024 third Class. Teaching a Rhythm Roots Workshop Residency. At Ecumen North Branch Senior Living twice a week Mondays & Thursdays 1-230pm starting Monday April 15th 2024 thru May 13th. Celebrating world cultures through drumming and chanting.

This Hubble Picture of the Week depicts the spiral galaxy ESO 422-41, which lies about 34 million light-years from Earth in the constellation Columba. The patchy, star-filled structure of the galaxy’s spiral arms and the glow from its dense core are laid out in intricate detail here by Hubble’s Advanced Camera for Surveys. Images of this galaxy have, however, a decades-long history.

The name ESO 422-41 comes from its identification in the European Southern Observatory (B) Atlas of the Southern Sky. In the times before automated sky surveys with space observatories such as ESA’s Gaia, many stars, galaxies and nebulae were discovered by means of large photographic surveys. Astronomers used the most advanced large telescopes of the time to produce hundreds of photographs, covering an area of the sky. They later studied the resulting photographs, attempting to catalogue all the new astronomical objects revealed.

In the 1970s a new telescope at ESO’s La Silla facility in Chile performed such a survey of the southern sky, which still had not been examined in as much depth as the sky in the north. At the time, the premier technology for recording images was glass plates treated with chemicals. The resulting collection of photographic plates became the ESO (B) Atlas of the Southern Sky. Astronomers at ESO and in Uppsala, Sweden collaborated to study the plates, recording hundreds of galaxies — ESO 422-41 being just one of those — star clusters, and nebulae. Many were new to astronomy.

Astronomical sky surveying has since transitioned through digital, computer-aided surveys such as the Sloan Digital Sky Survey and the Legacy Surveys, to surveys made by space telescopes including Gaia and the Wide-Field Infrared Survey Explorer. Even so, photographic sky surveys contributed immensely to astronomical knowledge for decades, and the archives of glass plates serve as an important historical reference for large swathes of the sky. Some are still actively used today, for instance to study variable stars through time. And the objects that these surveys revealed, including ESO 422-41, can now be studied in depth by telescopes such as Hubble.

[Image Description: A spiral galaxy, with a brightly shining core and two large arms. The arms are broad, faint overall and quite patchy, and feature several small bright spots where stars are forming. A few foreground stars with small diffraction spikes can be seen in front of the galaxy.]

Charles Mingus Jr. (April 22, 1922 – January 5, 1979) was an American jazz upright bassist, composer, bandleader, pianist, and author. A major proponent of collective improvisation, he is considered to be one of the greatest jazz musicians and composers in history,^[1] with a career spanning three decades and collaborations with other jazz greats such as Duke Ellington, Charlie Parker, Max Roach, and Eric Dolphy. Mingus’ work ranged from advanced bebop and avant-garde jazz with small and midsize ensembles, to pioneering the post-bop style on seminal recordings like Pithecanthropus Erectus (1956) and Mingus Ah Um (1959), and progressive big band experiments such as The Black Saint and the Sinner Lady (1963).

Mingus’ compositions continue to be played by contemporary musicians ranging from the repertory bands Mingus Big Band, Mingus Dynasty, and Mingus Orchestra, to the high school students who play the charts and compete in the Charles Mingus High School Competition. In 1993, the Library of Congress acquired Mingus’ collected papers—including scores, sound recordings, correspondence and photos—in what they described as “the most important acquisition of a manuscript collection relating to jazz in the Library’s history”.

Charles Mingus was born in Nogales, Arizona. His father, Charles Mingus Sr., was a sergeant in the U.S. Army. Mingus Jr. was largely raised in the Watts area of Los Angeles. By the mid-1970s, Mingus was feeling the effects of motor neuron disease. His once formidable bass technique declined until he could no longer play the instrument. He continued composing, however, and supervised a number of recordings before his death. Mingus died on January 5, 1979, aged 56, in Cuernavaca, Mexico, where he had traveled for treatment and convalescence. His ashes were scattered in the Ganges River.

The Little Ghost Nebula (NGC 6369) is a relatively faint planetary nebula that lies between 2,000 and 5,000 light-years away from Earth in the constellation of Ophiuchus (the Serpent-bearer). Its doughnut-shaped blue-green ring is about a light-year across, while the fainter outer regions cover about twice that distance. The nebula is expanding at roughly 24 kilometers per second and it is approaching us at approximately 106 kilometers per second. It is nicknamed the “Little Ghost Nebula,” because it appears as a small, ghostly cloud surrounding the faint, dying central star.

Despite their name, planetary nebulae have nothing to do with planets. The name was coined by Sir William Herschel because when he first viewed a planetary nebula through a telescope, he could only identify a hazy smoky sphere, similar to gaseous planets such as Uranus. The name has stuck even though modern telescopes make it obvious that these objects are not planets at all, but the glowing gassy outer layers thrown off by a hot dying star.

When a star with a mass up to eight times that of the Sun runs out of fuel at the end of its life, it blows off its outer shells and begins to lose mass. This allows the hot, inner core of the star (collapsing from a red giant to a white dwarf) to radiate strongly, causing this outward-moving cocoon of gas to glow brightly.

This image reveals remarkable details of the star’s last gasps, when it expels its outer layers into space, producing the faintly glowing nebula. Many of the details of ejection process are not visible from ground-based telescopes because of the blurring produced by the Earth’s atmosphere.

The central white dwarf star appears slightly off-center, and is on the side away from the brightest part of the nebula. It is now relatively cool, about 58,000 Kelvin, but it is still sending out a flood of ultraviolet light into the surrounding gas and powers the expanding nebula’s glow. The prominent blue-green ring marks the location where the energetic ultraviolet light has stripped electrons off of atoms in the gas. This process is called ionization.

In the redder gas at larger distances from the star, where the ultraviolet light is less intense, the ionization process is less advanced. Even farther outside the main body of the nebula, one can see fainter wisps of gas that were lost from the star at the beginning of the ejection process.

Over the next several thousand years, the Little Ghost Nebula will gradually disperse into space, and its central white dwarf will gradually cool off for billions of years, and eventually wink out. Our own Sun is expected to undergo a similar fate, but fortunately this will not occur until some 5 billion years from now.

This image is taken in February 2002 with the Wide Field Planetary Camera 2 onboard the Hubble Space Telescope. It has been produced by combining pictures taken through filters that isolate light emitted by three different chemical elements with different degrees of ionization. The blue-green ring represents light from ionized oxygen atoms that have lost two electrons (blue) and from hydrogen atoms that have lost their single electrons (green). Red marks emission from nitrogen atoms that have lost only one electron.

more...