mick laBriola

Powerful gushers of energy from seething stars can sculpt eerie-looking figures with long, flowing veils of gas and dust. One striking example is “the Ghost of Cassiopeia,” officially known as IC 63, located 550 light-years away in the constellation Cassiopeia the Queen.

The nebula’s ethereal glow might remind people of apparitions such as those reported by paranormal investigators. In reality, it’s simply hydrogen that is being bombarded with ultraviolet radiation from the nearby, blue-giant star Gamma Cassiopeiae (not seen here), causing it to glow in red light. The blue color is from light reflected off of the nebula’s dust.

The IC 63 nebula is not the only object under the influence of the blinding star, which unleashes as much energy as 34,000 suns. The Ghost Nebula is part of a much larger nebulous region surrounding Gamma Cassiopeiae that measures approximately two degrees on the sky — roughly four times as wide as the full Moon.

The constellation Cassiopeia is visible every clear night from mid-northern and higher latitudes. Its distinctive “W” asterism, which forms the queen’s throne, is best seen high in the sky on autumn and winter evenings. Gamma Cassiopeiae, the middle star in the W, is visible to the unaided eye, but a large telescope is needed to see IC 63.

Azar Lawrence (born November 3, 1952) is an American jazz saxophonist, known for his contributions as sideman to McCoy Tyner, Miles Davis, Freddie Hubbard, and Woody Shaw. Lawrence was the tenor saxophonist Tyner used following John Coltrane‘s death.

Lawrence released Summer Solstice on Prestige Records in 1975, produced by Orrin Keepnews. It featured Raul de Souza, Gerald Hayes, Amaury Tristão, Dom Salvador, Ron Carter, Guilherme Franco on the songs “Novo Ano” and “Highway” which were composed by Amaury Tristão, and Lawrence, Souza, Albert Dailey, Carter and Billy Hart on all other selections.

Bridge Into The New Age featured Jean Carn, Woody Shaw, Ray Straughter, Woody Murray, Clint Houston, Billy Hart, Guillerme Franco, Julian Priester, Hadley Caliman, Black Arthur, Joe Bonner, John Heard, Leon “Ndugu” Chancler, Mtume and Kenneth Nash.

Henry Grimes (born November 3, 1935) is a jazz double bassist, violinist, and poet.

After more than a decade of activity and performance, notably as a leading bassist in free jazz, Grimes completely disappeared from the music scene by 1970. Grimes was often presumed dead, but he was rediscovered in 2002 and returned to performing.

Henry Grimes was born in Philadelphia. He took up the violin at the age of 12, then began playing tuba, English horn, percussion, and finally the double bass in high school. He furthered his musical studies at Juilliard and established a reputation as a versatile bassist by the mid-1950s. He recorded or performed with saxophonists Gerry Mulligan, Sonny Rollins, pianist Thelonious Monk, singer Anita O’Day, clarinetist Benny Goodman and many others.

William Melvin Mitchell (November 3, 1926 – April 18, 2001) was an American jazz tenor saxophonist.

Mitchell was born in Kansas City, Missouri. He and his family moved to Detroit, where he received early music education at Cass Tech. He was known for his close association with trumpeter Thad Jones, who was also from Detroit, and worked in several big bands, including Woody Herman‘s when he replaced Gene Ammons. In 1949 Mitchell recorded with the Milt Buckner band, as well as making several recordings with Thad Jones.

From 1951 to 1954, Mitchell led the house band at the Blue Bird Inn in Detroit.The band operated in different configurations, including with drummer Oliver Jackson and his bassist brother Ali; as a quartet with Terry Pollard, Beans Richardson, and Elvin Jones; as a quintet including Thad Jones; and, for several months in 1953, with Miles Davis as a guest soloist.

From 1956 to 1957 he played with Dizzy Gillespie in his big band. From 1957 until 1961 and from 1966 to 1967 Mitchell played with Count Basie. In the early 1960s he co-led a group with Al Grey, The Al Grey Billy Mitchell Sextet, which won the Down Beat magazine new band award in 1962.

Mitchell performed and recorded with the Kenny Clarke/Francy Boland Big Band in Europe in the late 1960s and early 1970s. He was musical director for Stevie Wonder for a short time during this period. He died in Rockville Centre, New York, in 2001.

World Music on Flamenco Fridays is one day late.

Guajira (Flamenco) is a palo based on the Cuban Punto Guajira Cubana. It is in 12 beats and feels like it starts on 12. Guajíras is a prime example of so-called Cantes de Ida y Vuelta. The flamenco guajira is the adaptation to Melos flamenco of the Cuban point, the peasant point, a genre that brings together a series of songs called Guajiros that are grown in the rural areas of the island of Cuba. Guajíras is simply a song for voice and guitar with a series of similar letras.

The Guajíras is traditionally a woman’s dance. The dancer will often use a large Spanish fan. The fan is twirled and otherwise manipulated throughout the dance, adding an elegant and flirtatious air

Cygnus Shell Supernova Remnant W63

The ghost of a long-dead star, the W63 supernova remnant shines like a faint cosmic smoke-ring along the plane of the Milky Way galaxy toward the northern constellation Cygnus the swan. Its wraithlike appearance is traced against the region’s rich complex of interstellar clouds and dust by an eerie blue glow. Spanning over four full moons on the sky, the beautiful image is a telescopic mosaic in twelve panels that combines 100 hours of exposure time using narrow band filters. It shows characteristic light from ionized atoms of sulfur, hydrogen and oxygen in red, green, and blue hues. Likely over 5,000 light-years away, the visible part of the still expanding shell supernova remnant is around 150 light-years in diameter. So far no source has been identified as with the remains of W63’s original star. Light from the star’s supernova explosion would have reached Earth over 15,000 years ago.

11-2-1972

Canadian bassist and composer, Rubim de Toledo, combines the influences of his Brazilian heritage and his dedication to the jazz tradition, to create an approach to music that is refreshing and uplifting.  Boasting a diverse rhythmic palette inspired by world music, jazz, and contemporary music, a lure towards improvisation and a forward-looking traditionalism, Rubim nurtures a commanding sound and style as a bassist, soloist, and composer.

Rubim began his professional career in Edmonton at the age of seventeen performing with Albertan Jazz legends, Tommy Banks, PJ Perry and Clarence “Big” Miller.  Since then he has become a sought-after sideman and a productive bandleader.

With his award winning fifth release, “The Gap,” Rubim distinguishes himself as a composer with a unique ability to explore jazz styles while maintaining a sound that is modern yet inviting.  Featuring internationally renowned drummer Jason Marsalis on half the record, and Albertan mainstay Jon McCaslin on the other, along with pianist Chris Andrew, the disc boasts inventive acoustic jazz trio arrangements embellished by compelling solo improvisations.

Rubim has worked extensively as musical director with Calgary’s Decidedly Jazz Danceworks.  He is a passionate music educator and serves as the section head of the bass department at MacEwan University.

Philip Wells Woods (November 2, 1931 – September 29, 2015) was an American jazz alto saxophonist, clarinetist, bandleader, and composer.

Woods was born in Springfield, Massachusetts. He studied music with Lennie Tristano, who influenced him greatly, at the Manhattan School of Musicand at the Juilliard School. His friend, Joe Lopes, coached him on clarinet as there was no saxophone major at Juilliard at the time. Although he did not copy Charlie “Bird” Parker, he was known as the New Bird, a nickname also given to other alto saxophone players such as Sonny Stitt and Cannonball Adderley.

In the 1950s, Woods began to lead his own bands. Quincy Jones invited him to accompany Dizzy Gillespie on a world tour sponsored by the U.S. State Department. A few years later he toured Europe with Jones, and in 1962 he toured Russia with Benny Goodman

All Saints’ Day, also known as All Hallows’ Day, Hallowmas, the Feast of All Saints, or Solemnity of All Saints,is a Christian festival celebrated in honour of all the saints, known and unknown. In Western Christianity, it is celebrated on November 1 by the Roman Catholic Church, the Anglican Communion, the Methodist Church, the Lutheran Church, the Reformed Church, and other Protestant churches. The Eastern Orthodox Church and associated Eastern Catholic Churches and Byzantine Lutheran Churches celebrate it on the first Sunday after Pentecost.^[8] Oriental Orthodox churches of Chaldea and associated Eastern Catholic churches celebrate All Saints’ Day on the first Friday after Easter.

In the Western Christian practice, the liturgical celebration begins at Vespers on the evening of 31 October, All Hallows’ Eve (All Saints’ Eve), and ends at the close of 1 November. It is thus the day before All Souls’ Day, which commemorates the faithful departed. In many traditions, All Saints’ Day is part of the season of Allhallowtide, which includes the three days from 31 October to 2 November inclusive and in some denominations, such as Anglicanism, extends to Remembrance Sunday. On All Saints Day, it is common for families to attend church, as well as visit cemeteries in order to lay flowers and candles on the graves of their deceased loved ones. It is a national holiday in many historically Christian countries.

Lyle Pearce Lovett (born November 1, 1957) is an American country singer-songwriter and actor. Active since 1980, he has recorded 13 albums and released 25 singles to date, including his highest entry, the number 10 chart hit on the U.S. Billboard Hot Country Songs chart, “Cowboy Man”. Lovett has won four Grammy Awards, including Best Male Country Vocal Performance and Best Country Album. It’s Not Big It’s Large was released in 2007, where it debuted and peaked at number 2 on the Top Country Albums chart. A new studio album, Natural Forces, was released on October 20, 2009 by Lost Highway Records. The last studio album on his Curb Records contract, Release Me, was released in February 2012.

Lovett was born in Houston, Texas

Lou Donaldson (born November 1, 1926) is a jazz alto saxophonist. He is best known for his soulful, bluesy approach to playing the alto saxophone, although in his formative years he was, as many were of the bebop era, heavily influenced by Charlie Parker.

Donaldson was born in Badin, North Carolina. He attended North Carolina Agricultural and Technical State University in Greensboro in the early 1940s. He enlisted in the U.S. Navy during World War II and was trained at the Great Lakes bases in Chicago, where he was introduced to bop music in the lively club scene.

Donaldson is best known now for his soulful, funky 1960s recordings that feature some of the greatest soul jazz players ever to record. These include guitarists Grant Green, Melvin Sparks, Jimmy Ponder and George Benson, organists John Patton, Billy Gardner, Lonnie Smith, Charles Earland and Leon Spencer, Jr, drummers Ben Dixon (one of the great underrated groovers), and Leo Morris/Idris Muhammad, whose work on the kit defined the funky boogaloo soul jazz sound of the late 1960s. Records such as Good Gracious! (1963, Blue Note), Musty Rusty (1965, Cadet), Alligator Bogaloo [sic], Mr. Shing-A-Ling (1967, Blue Note) and Hot Dog (1970, Blue Note), among others, are quintessential examples of the jukebox, funky, soulful 1960s jazz that came to define “rare grooves” in the soul jazz revival period of the 1990s.

https://www.youtube.com/watch?v=Y4_CAag8rII