mick laBriola

born 10-27-1967

Philip Catherine (born 27 October 1942) is a Belgian jazz guitarist.

Philip Catherine was born in London to an English mother and Belgian father and was raised in Brussels. His grandfather played violin in the London Symphony Orchestra. Catherine started on guitar in his teens, and by seventeen he was performing professionally at local venues.

He released his debut album, Steam, in 1970. During the next few years, he studied at Berklee College of Music in Boston and with Mick Goodrick and George Russell. In 1976, he and guitarist Larry Coryell recorded and toured as an acoustic duo. The following year he recorded with Charles Mingus, who dubbed him “Young Django”. In the early 1980s, he toured briefly with Benny Goodman. He was in trio with Didier Lockwood and Christian Escoudé, then in a trio with Chet Baker. During the 1990s, he recorded three albums with trumpeter Tom Harrell.

Catherine has also worked with Lou Bennett, Kenny Drew, Dexter Gordon, Stéphane Grappelli, Karin Krog, Paul Kuhn, Sylvain Luc, Michael Mantler, Charlie Mariano, Palle Mikkelborg, Niels-Henning Ørsted Pedersen, Enrico Rava, Toots Thielemans, and Miroslav Vitous.

Henry “Mule” Townsend (October 27, 1909 – September 24, 2006) was an American blues singer, guitarist and pianist.

Townsend was born Henry Jesse James Townsend, in Shelby, Mississippi, and grew up in Cairo, Illinois. He left home at the age of nine because of an abusive father and hoboed his way to St. Louis, Missouri. He learned guitar while in his early teens from a locally renowned blues guitarist known as Dudlow Joe.

By the late 1920s he had begun touring and recording with the pianist Walter Davis and had acquired the nickname Mule, because he was sturdy in both physique and character. In St. Louis, he worked with some of the early blues pioneers, including J. D. Short.

Townsend was one of the only artists known to have recorded in nine consecutive decades. He first recorded in 1929 and remained active up to 2006. By the mid-1990s, Townsend and his one-time collaborator Yank Rachell were the only active blues artists whose careers had started in the 1920s. He recorded on several different labels, including Columbia Records, Bluesville Records, and Folkways Records

These bright rims and flowing shapes look ghostly on a cosmic scale. A telescopic view toward the constellation Cassiopeia, the colorful (zoomable) skyscape features the swept-back, comet-shaped clouds IC 59 (left) and IC 63. About 600 light-years distant, the clouds aren’t actually ghosts, but they are slowly disappearing under the influence of energetic radiation from hot,luminous star gamma Cas. Gamma Cas is physically located only 3 to 4 light-years from the nebulae, just off the top right edge of the frame. Slightly closer to gamma Cas, IC 63 is dominated by red H-alpha light emitted as hydrogen atoms ionized by the star’s ultraviolet radiation recombine with electrons. Farther from the star, IC 59 shows proportionally less H-alpha emission but more of the characteristic blue tint of dust reflected star light. The field of view spans about 1 degree or 10 light-years at the estimated distance of gamma Cas and friends.

IC 59 and IC63 near Gamma Cas

William Earl “Bootsy” Collins (born October 26, 1951) is an American musician and singer-songwriter.

Rising to prominence with James Brown in the early 1970s, and later with Parliament-Funkadelic, Collins’s driving bass guitar and humorous vocals established him as one of the leading names in funk.He is a member of the Rock and Roll Hall of Fame, inducted in 1997 with 15 other members of Parliament-Funkadelic.

William “Bootsy” Collins was born in Cincinnati, Ohio on October 26, 1951. His brother Phelps “Catfish” Collins was also a musician.Bootsy Collins has maintained a strong connection with Cincinnati. He has said that his mother named him “Bootsy” saying “I asked her why and she just said, “Because you looked like a Bootsy.” I left it at that.

Eddie Henderson (born October 26, 1940 NY, NY) is an American jazz trumpet and flugelhorn player. He came to prominence in the early 1970s as a member of pianist Herbie Hancock‘s band, going on to lead his own electric/fusion groups through the decade. Henderson earned his medical degree and worked a parallel career as a psychiatrist and musician, turning back to acoustic jazz by the 1990s.

Henderson’s influences include Booker Little, Clifford Brown, Woody Shaw, and Miles Davis.

Emery “Detroit Junior” Williams, Jr. (October 26, 1931 – August 9, 2005) was an American Chicago blues pianist, vocalist and songwriter. He is known for songs such as “So Unhappy”, “Call My Job”, “If I Hadn’t Been High”, “Ella” and “Money Tree”. His songs have been covered by Koko Taylor, Albert King and other blues artists.

Born in Haynes, Arkansas, Detroit recorded his first single, “Money Tree”, with the Bea & Baby label in 1960. His first full album, Chicago Urban Blues, was released in the early 1970s on the Blues on Blues label.He also has recordings on Alligator, Blue Suit, The Sirens Records, and Delmark.

Detroit Junior began his career in Detroit, Michigan, backing touring musicians such as Eddie Boyd, John Lee Hooker, and Amos Milburn. Boyd brought him to Chicago in 1956, where he spent the next twelve years. In the early 1970s, Detroit toured and recorded with Howlin’ Wolf. After the death of Wolf in 1976, Detroit returned to Chicago, where he lived and performed until his death from heart failure in 2005.

World Music on Flamenco Fridays with Manolo Franco performing Solea.

Soleá is one of the flamenco palos with the highest number of traditional songs, and it is particularly appreciated by knowledgeable artists and audiences. It is very demanding for singers, as they have to strive to be creative and, at the same time, respectful of the tradition, and they have to succeed in finding a good balance between melodic and rhythmic sides, both extremely difficult. It demands great vocal faculties, and the singer should achieve a balance between passion and restraint.

The melody of a soleá stanza usually stays within a limited range (usually not more than a 5th). Its difficulty lies in the use of melisma and microtones, which demand great agility and precision in the voice. It is usual to start a series of soleares with a more restrained stanza in the low register, while continuing to more and more demanding ornaments in a higher register. The series is quite often finished with a stanza in a much more vivid tempo in the relative Major mode.

You are cordially invited to the 11th Abrahamic Traditions Dinner which will feature a presentation by Laurie Wohl, a textile artist, with musical accompaniment by Voices of Sepharad, an ensemble of musicians from the Christian, Jewish, and Muslim traditions on Thursday, October 25, 2018. The dinner will be held in Sabes Jewish Community Center Minneapolis (4330 S. Cedar Lake Road, Minneapolis MN, 55416).

Please CLICK for Directions and Contact info for the Venue :  https://www.sabesjcc.org/contact/

This event will bring community members from different cultures, religions, and experiences together to share the joy of friendship and universal values to learn the art of living together. More than 100 people from all walks of life of diverse communities, religions, and organizations will come together to discuss religious education today from different perspectives.

Niagara Foundation Minnesota Branch organizes this event in association with
Turkish American Society of Minnesota,
Jay Phillips Center Interfaith Learning at the University of St. Thomas,
Jay Phillips Center Interfaith Learning at St. John’s University.

Tentative Program
6:00 – Doors open
6:30 – Opening Remarks
Presentation by artist Laurie Wohl with musical accompaniment
by Voices of Sepharad
(A few of Wohl’s art pieces can be seen during the event, however, the full exhibit can be seen in the Gorecki Gallery in the Benedicta Arts Center at the College of Saint Benedict)
7:30 – Dinner and Round Table Conversations
8:30 – Adjourn 

Dinner – All meat is Halal; Vegetarian options served; Kosher meals ordered upon request.

This event is free and open to the public, however online RSVP is required.
Please click for the online RSVP form.

If you wish to donate any amount please use this link. 

[email protected] .

“Birds of Longing: Exile and Memory” by Laurie Wohl
This exhibit of Laurie Wohl’s stunningly beautiful “Unweavings,” as she calls her fiber art pieces, interweaves Christian, Jewish and Muslim spiritual writings from the Convivencia in Spain (8th-15th centuries) with contemporary Middle Eastern poetry, particularly Palestinian and Israeli. Wohl emphasizes the striking parallels between Arabic and Hebrew texts, with the common themes of love, exile, nostalgia, mistrust of enemies and yearning for reconciliation. An audio component includes readings in English, Arabic, and Hebrew and a specially-composed soundscape by composer Daniel Wohl, illustrating the commonality of the Middle Eastern languages. The exhibit will be in the Gorecki Gallery in the Benedicta Arts Center at the College of Saint Benedict from August 27-October 28.

Laurie Wohl is an internationally known fiber artist whose unique Unweavings® convey spiritual narratives through form, color, texture, and calligraphy. Her works are held in the collections of the Museum of Arts and Design, Constitutional Court of South Africa, Catholic Theological Union, and numerous other public and private collections. Among her special projects have been interactive set designs for full-length dance pieces by Callince Dance (New York City) and Jan Erkert & Dancers (Chicago). She speaks frequently on art and worship, as well as on text and textile.

Voices of Sepharad, a Twin Cities-based ensemble founded in 1986 and directed by David Jordan Harris, celebrates the rich multicultural world of Sephardic music, dance and storytelling.

David Jordan Harris is co-founder and artistic director of Voices of Sepharad. He has pursued study and performance of Sephardic music throughout North America, Morocco, Greece, France, Israel, Turkey, Poland, Bosnia, and Spain. He is executive director of Rimon: The Minnesota Jewish Arts Council and interfaith arts special consultant for the Jay Phillips Center for Interfaith Learning.

Mick LaBriola is a freelance performer/percussionist, educator, residency artist, dance-theater accompanist, and founding member of Voices of Sepharad. He is a roster artist with a number of arts organization, including the Minnesota State Arts Board and the Nevada State Arts Council.

David Burk plays a variety of stringed instruments used in Arabic, Persian, Turkish, Latin, African, Caribbean, and North American musical traditions. While maintaining a full private lesson studio for guitar, bass, banjo, and mandolin students, he has performed regularly with The Rose Ensemble (since 2005) as well as with Voices of Sepharad (since 1998).

Salah Abdel Fattah, a native of Egypt, has played the Arabic violin since the 1960s and has recorded in Egypt for television with Abdel Aziz Mahmoud. He currently plays with the Minneapolis-based classical Arabic music ensemble Amwaaj, which he founded more than 15 years ago.

Maryam Yusefzadeh received her early musical training in Iran at the Tehran School of Music, later earning a BFA in Art, Music, and Dance Performance at the University of Minnesota. A co-founder of the ensemble Roboyat, she is actively involved with Persian music as a vocalist, percussionist, educator, and guest lecturer.

The North America Nebula in the sky can do what North Americans on Earth cannot — form stars. Specifically, in analogy to the Earth-confined continent, the bright part that appears as Central America and Mexico is actually a hot bed of gas, dust, and newly formed stars known as the Cygnus Wall. The above image in representative colors shows the star forming wall lit and eroded by bright young stars, and partly hidden by the dark dust they have created. The part of the North America nebula (NGC 7000) shown spans about 15 light years and lies about 1,500 light years away toward the constellation of Cygnus.

The North America Nebula (NGC 7000 or Caldwell 20) is an emission nebula in the constellation Cygnus, close to Deneb (the tail of the swan and its brightest star). The remarkable shape of the nebula resembles that of the continent of North America, complete with a prominent Gulf of Mexico. It is sometimes incorrectly^{[citation needed]} called the “North American Nebula”.

The North America Nebula is large, covering an area of more than four times the size of the full moon; but its surface brightness is low, so normally it cannot be seen with the unaided eye. Binoculars and telescopes with large fields of view (approximately 3°) will show it as a foggy patch of light under sufficiently dark skies. However, using a UHC filter, which filters out some unwanted wavelengths of light, it can be seen without magnification under dark skies. Its prominent shape and especially its reddish color (from the hydrogen Hα emission line) show up only in photographs of the area.

James Edward Heath (born October 25, 1926), nicknamed Little Bird, is an American jazz saxophonist, composer, arranger and big band leader. He is the brother of bassist Percy Heath and drummer Albert Heath.

Heath originally played alto saxophone, but, after the influence of Charlie Parker on his work for Howard McGhee and Dizzy Gillespie in the late 1940s, he earned the nickname “Little Bird” (Parker’s nickname was “Bird”) and he switched to tenor saxophone.

During World War II, Heath was rejected for the draft for being under the weight limit. From late 1945 through most of 1946 he performed with the Nat Towles band. In 1946 he formed his own band, which was a fixture on the Philly jazz scene until 1949. John Coltrane was one of four saxophonists in this band, which played gigs with Charlie Parker and also at the Apollo Theater in Harlem. Although Heath recalls that the band recorded a few demos on acetate, it never released any recordings, and its arrangements were lost at a Chicago train station. The band dissolved in 1949 so that Heath could join Dizzy Gillespie’s band.

One of Heath’s earliest big bands (1947-1948) in Philadelphia included John Coltrane, Benny Golson, Specs Wright, Cal Massey, Johnny Coles, Ray Bryant, and Nelson Boyd. Charlie Parker and Max Roach sat in on one occasion.

Earl Cyril Palmer (October 25, 1924 – September 19, 2008) was an American rock-and-roll and rhythm-and-blues drummer. He is a member of the Rock and Roll Hall of Fame.

Palmer played on many recordings, including Little Richard‘s first several albums and many other well-known rock-and-roll records. According to one obituary, “his list of credits read like a Who’s Who of American popular music of the last 60 years.”

Born into a show-business family in New Orleans and raised in the Tremé district, Palmer started his career at five as a tap dancer, joining his mother and aunt on the black vaudeville circuit in its twilight and touring the country extensively with Ida Cox‘s Darktown Scandals Review. His father is thought to have been the local pianist and bandleader Walter “Fats” Pichon.

Palmer was 12 when he headlined a floor show at the Rhythm Club in New Orleans, “a very beautiful spot where one can enjoy a floor show, headed by Alvin Howey and Little Earl Palmer.”

Eddie Lang (born Salvatore Massaro, October 25, 1902 – March 26, 1933) is known as the father of jazz guitar. During the 1920s, he gave the guitar a prominence it previously lacked as a solo instrument, as part of a band or orchestra, and as accompaniment for vocalists. He recorded duets with guitarists Lonnie Johnson and Carl Kress, with jazz violinist Joe Venuti, and played rhythm guitar in the big bands of Paul Whiteman and Bing Crosby.

The son of an Italian-American instrument maker, Lang was born in Philadelphia, Pennsylvania, and grew up with violinist Joe Venuti. His first instrument was violin when he was seven. He performed on violin in 1917 and became a member of a trio. In 1920, he dropped the violin for banjo and worked with Charlie Kerr, then Bert Estlow, Vic D’Ippolito, and Billy Lustig‘s Scranton Siren Orchestra. A few years later, he dropped the banjo for guitar when he became a member of the Mound City Blue Blowers led by Red McKenzie.