mick laBriola

Pharoah Sanders (born Farrell Sanders, October 13, 1940) is an American jazz saxophonist.

Saxophonist Ornette Coleman once described him as “probably the best tenor player in the world.” Emerging from John Coltrane‘s groups of the mid-1960s, Sanders is known for his overblowing, harmonic, and multiphonic techniques on the saxophone, as well as his use of “sheets of sound“. Sanders is an important figure in the development of free jazz; Albert Ayler famously said: “Trane was the Father, Pharoah was the Son, I am the Holy Ghost”.

Pharoah Sanders was born on October 13, 1940 in Little Rock, Arkansas. His mother worked as a cook in a school cafeteria, and his father worked for the City of Little Rock.

Sanders came to greater prominence playing with John Coltrane‘s band, starting in 1965, as Coltrane began adopting the avant-garde jazz of Albert Ayler, Sun Ra and Cecil Taylor. Sanders first performed with Coltrane on Ascension (recorded in June 1965), then on their dual-tenor recording Meditations (recorded in November 1965). After this Sanders joined Coltrane’s final quintet, usually performing very lengthy, dissonant solos. Coltrane’s later style was strongly influenced by Sanders.

Although Sanders’ voice developed differently from John Coltrane, Sanders was strongly influenced by their collaboration. Spiritual elements such as the chanting in Om would later show up in many of Sanders’ own works. Sanders would also go on to produce much free jazz, modified from Coltrane’s solo-centric conception. In 1968 he participated in Michael Mantler and Carla Bley‘s Jazz Composer’s Orchestra Association album The Jazz Composer’s Orchestra, featuring Cecil Taylor, Don Cherry, Larry Coryell and Gato Barbieri.

Pharoah’s first album, Pharoah’s First, wasn’t what he expected. The musicians playing with him were much more straightforward than Sanders, which made the solos played by the other musicians a bit out of place. Starting in 1966 Sanders signed with Impulse! and recorded Tauhid that same year. His years with Impulse! caught the attention of jazz fans, critics, and musicians alike, including John Coltrane, Ornette Coleman, and Albert Ayler.

In the 1970s, Sanders continued to produce his own recordings and also continued to work with the likes of Alice Coltrane on her Journey In Satchidananda album. Most of Sanders’ best-selling work was made in the late 1960s and early 1970s for Impulse Records, including the 30-minute wave-on-wave of free jazz “The Creator has a Master Plan” from the album Karma. This composition featured vocalist Leon Thomas‘s unique, “umbo weti” yodeling, and Sanders’ key musical partner, pianist Lonnie Liston Smith, who worked with Sanders from 1969-1971. Other members of his groups in this period include bassist Cecil McBee, on albums such as Jewels of Thought, Izipho Zam, Deaf Dumb Blind and Thembi.

Lee Konitz (born October 13, 1927) is an American composer and alto saxophonist.

He has performed successfully in a wide range of jazz styles, including bebop, cool jazz, and avant-garde jazz. Konitz’s association with the cool jazz movement of the 1940s and 1950s includes participation in Miles Davis‘s Birth of the Cool  sessions and his work with pianist Lennie Tristano. He was notable during this era as one of relatively few alto saxophonists to retain a distinctive style when Charlie Parker exerted a massive influence.

Like other students of Tristano, Konitz was noted for improvising long, melodic lines with the rhythmic interest coming from odd accents, or odd note groupings suggestive of the imposition of one time signature over another. Other saxophonists were strongly influenced by Konitz, notably Paul Desmond and Art Pepper.

Konitz was born on October 13, 1927, in Chicago to Jewish parents of Austrian and Russian descent.

Arthur Tatum Jr. (/ˈteɪtəm/, October 13, 1909 – November 5, 1956) was an American jazz pianist.

Tatum is considered one of the greatest jazz pianists of all time. His performances were hailed for their technical proficiency and creativity, which set a new standard for jazz piano virtuosity. Critic Scott Yanow wrote, “Tatum’s quick reflexes and boundless imagination kept his improvisations filled with fresh (and sometimes futuristic) ideas that put him way ahead of his contemporaries.”

Tatum was born in Toledo, Ohio, on October 13, 1909.

Tatum drew inspiration from the pianists James P. Johnson and Fats Waller, who exemplified the stride piano style, and from the more modern Earl Hines, six years Tatum’s senior. Tatum identified Waller as his biggest influence, but according to pianist Teddy Wilson and saxophonist Eddie Barefield his favorite jazz pianist was Hines. He bought and listened to records by Hines and practiced improvising with them.

In 1927, Tatum began playing on Toledo radio station WSPD as ‘Arthur Tatum, Toledo’s Blind Pianist’, during interludes in Ellen Kay’s shopping chat program and soon had his own program. During 1928–29, his radio program was re-broadcast nationwide.

Lester summarized Tatum’s abilities and effect on others even from near the start of the pianist’s career: “his accomplishment, even at an early age, was of a different order from what most people, from what even musicians, had ever heard. It made musicians reconsider their definitions of excellence, of what was possible.” As word of Tatum spread, national performers passing through Toledo, including Duke Ellington, Louis Armstrong, Joe Turner, and Fletcher Henderson dropped in to hear him play.

The men and women of Ensemble Tartit are Tuaregs residing in the Timbuktu and the Goundam region of the Niger River basin in Northern Mali.

Colorful NGC 1579 resembles the better known Trifid Nebula, but lies much farther north in planet Earth’s sky, in the heroic constellation Perseus. About 2,100 light-years away and 3 light-years across, NGC 1579 is, like the Trifid, a study in contrasting blue and red colors, with dark dust lanes prominent in the nebula’s central regions. In both, dust reflects starlight to produce beautiful blue reflection nebulae. But unlike the Trifid, in NGC 1579 the reddish glow is not emission from clouds of glowing hydrogen gas excited by ultraviolet light from a nearby hot star. Instead, the dust in NGC 1579 drastically diminishes, reddens, and scatters the light from an embedded, extremely young, massive star, itself a strong emitter of the characteristic red hydrogen alpha light.

Ed Cherry (October 12, 1954 New Haven, CT) is an American jazz guitarist and studio musician. Cherry is perhaps best known for his long association with trumpeter Dizzy Gillespie, with whom he performed from 1978 until shortly before Gillespie’s death in 1993. Since that time, he has worked with Paquito D’Rivera, Jon Faddis, John Patton, Hamiet Bluiett, Henry Threadgill, and Paula West. He has recorded a number of albums as a leader.

https://www.youtube.com/watch?v=aUVfV_2BZhI

Melvin Rhyne (October 12, 1936 – March 5, 2013, Indianapolis, Indiana), was a jazz organist best known for his work with Wes Montgomery.

Melvin Rhyne was born in Indianapolis in 1936 and started playing the piano shortly after. At 19 years old, Rhyne started playing piano with then-unknown tenor saxophonist Rahsaan Roland Kirk but quickly switched over to the instrument that would make him famous: the Hammond B3 organ. Rhyne’s piano skills translated to the organ fluently and before long he was backing famous blues players like B.B. King and T-Bone Walker. In 1959 he was asked to join fellow Indianapolis musician Wes Montgomery‘s newly formed trio.

Rhyne then moved to Wisconsin and largely kept to himself for the next two decades. In 1991, however, he played on Herb Ellis‘s album Roll Call, Brian Lynch‘s At the Main Event, and his own album, The Legend. He continued to be prolific in the years to come, releasing eight more solo albums on the Criss Cross Jazz label. Rhyne also recorded with The Mark Ladley Trio for the 1992 release, Strictly Business and the 1994 release, Evidence. Both landed in the Jazz Charts at CMJ New Music Report and The Gavin Report. The group also appeared on a Jazziz Magazine sampler disc during that time. Altenburgh Records posthumously released, Final Call in 2013 by the same group.

https://www.youtube.com/watch?v=mY9eso_YyDY

World Music on Flamenco Fridays with Agustin Carbonell ‘Bola’ performing Tangos.

In flamenco a tango (Spanish pronunciation: [ˈtaŋɡo]) is one of the flamenco palos closely related in form and feeling to the rumba flamenca. It is often performed as a finale to a flamenco tiento. Its compás and llamada are the same as that of the farruca and share the farruca’s lively nature. However, the tango is normally performed in the A Phrygian mode. In some English sources the flamenco tango is written with an -s; “the tangos is…”

The flamenco tango is distinct from the flamenco rumba primarily through the guitar playing. In Rumba the guitar flows more freely, whereas in Tangos the accents on beats 2, 3 & 4 are marked clearly with heavy strumming.

Tangos is only vaguely related to Argentine tango, and objectively they only share compás binario or double stroke rhythm. The fact that Argentine tango is one of the first couple dances in America has led historians to believe that both could be based in a minuet-style European dance, therefore sharing a common ancestor, while those who compare the present day forms do not see them as related.

World Music on Flamenco Fridays with Agustin Carbonell ‘Bola’ performing Tangos.

In flamenco a tango (Spanish pronunciation: [ˈtaŋɡo]) is one of the flamenco palos closely related in form and feeling to the rumba flamenca. It is often performed as a finale to a flamenco tiento. Its compás and llamada are the same as that of the farruca and share the farruca’s lively nature. However, the tango is normally performed in the A Phrygian mode. In some English sources the flamenco tango is written with an -s; “the tangos is…”

The flamenco tango is distinct from the flamenco rumba primarily through the guitar playing. In Rumba the guitar flows more freely, whereas in Tangos the accents on beats 2, 3 & 4 are marked clearly with heavy strumming.

Tangos is only vaguely related to Argentine tango, and objectively they only share compás binario or double stroke rhythm. The fact that Argentine tango is one of the first couple dances in America has led historians to believe that both could be based in a minuet-style European dance, therefore sharing a common ancestor, while those who compare the present day forms do not see them as related.

The prominent ridge of emission featured in this vivid skyscape is designated IC 5067. Part of a larger emission nebula with a distinctive shape, popularly called The Pelican Nebula, the ridge spans about 10 light-years and follows the curve of the cosmic pelican’s head and neck. The Pelican Nebula close-up was constructed from narrowband data mapping emission from sulfur, hydrogen, and oxygen atoms to red, green, and blue colors. Fantastic, dark shapes inhabiting the view are clouds of cool gas and dust sculpted by energetic radiation from young, hot, massive stars. But stars are also forming within the dark shapes. In fact, twin jets emerging from the tip of the long, dark tendril below center are the telltale signs of an embedded protostar cataloged as Herbig-Haro 555. The Pelican Nebula itself, also known as IC 5070, is about 2,000 light-years away. To find it, look northeast of bright star Deneb in the high flying constellation Cygnus.

Lester Bowie (October 11, 1941 – November 8, 1999) was an American jazz trumpet player and composer. He was a member of the Association for the Advancement of Creative Musicians and co-founded the Art Ensemble of Chicago.

Born in the historic village of Bartonsville in Frederick County, Maryland, Bowie grew up in St Louis, Missouri. At the age of five he started studying the trumpet with his father, a professional musician. He played with blues musicians such as Little Milton and Albert King, and rhythm and blues stars such as Solomon Burke, Joe Tex, and Rufus Thomas. In 1965, he became Fontella Bass‘s musical director and husband. He was a co-founder of Black Artists Group (BAG) in St Louis.

In 1966, he moved to Chicago, where he worked as a studio musician, and met Muhal Richard Abrams and Roscoe Mitchell and became a member of the AACM. In 1968, he founded the Art Ensemble of Chicago^[1] with Mitchell, Joseph Jarman, and Malachi Favors. He remained a member of this group for the rest of his life, and was also a member of Jack DeJohnette‘s New Directions quartet. He lived and worked in Jamaica and Africa, and played and recorded with Fela Kuti. Bowie’s onstage appearance, in a white lab coat, with his goatee waxed into two points, was an important part of the Art Ensemble’s stage show.

Billy Higgins (October 11, 1936 – May 3, 2001) was an American jazz drummer. He played mainly free jazz and hard bop.

In his career, he played on over 700 recordings, including recordings of rock and funk. He appeared as a jazz drummer in the 2001 movie Southlander.

Arthur “Art” Blakey (October 11, 1919 – October 16, 1990) was an American jazz drummer and bandleader. He was known as Abdullah Ibn Buhaina after he became a Muslim.

Blakey made a name for himself in the 1940s in the big bands of Fletcher Henderson and Billy Eckstine. He worked with bebop musicians Thelonious Monk, Charlie Parker and Dizzy Gillespie. In the mid-1950s Horace Silver and Blakey formed the Jazz Messengers, a group that the drummer was associated with for the next 35 years. The group was formed as a collective of contemporaries, but over the years the band became known as an incubator for young talent, including Freddie Hubbard, Wayne Shorter, Lee Morgan, Benny Golson, and Wynton Marsalis. The Biographical Encyclopedia of Jazz calls the Jazz Messengers “the archetypal hard bop group of the late 50s”.

He was inducted into the Down Beat Jazz Hall of Fame (in 1981), the Grammy Hall of Fame (in 1998 and 2001), and was awarded the Grammy Lifetime Achievement Award in 2005. He was inducted into the Modern Drummer Hall of Fame in 1991.

Blakey was born on October 11, 1919, in Pittsburgh, Pennsylvania, probably to a single mother who died shortly after his birth, and her name is often cited as Marie Roddicker (or Roddericker) although Blakey’s own 1937 marriage license shows her maiden name to have been Jackson. His biological father was Bertram Thomas Blakey, originally of Ozark, Alabama, whose family migrated northward to Pittsburgh sometime between 1900 and 1910. Blakey’s uncle, Rubi Blakey, was a popular Pittsburgh singer, choral leader, and teacher who attended Fisk University

Bambara region of Mali

Rhythm Roots Workshop returns to PRI Partnership Resources Inc in Minneapolis. 1130am-130pm
The last Drumming rehearsal session for MIA Minneapolis Institute of Art “Expressing Me” showcase on October 19th.
Drumming for the Developmentally Disabled community.

With Geordy, Mohammed and Yvette.

NGC 6726 in Corona Australis

This beautiful star forming region in the constellation Corona Australis has so much to offer, with many outstanding nebula and unusual objects. One of the more dynamic and colorful areas in the southern sky. There is an annotated image for reference.

 It features NGC 2726-27 a blue reflection nebula which are clouds of interstellar dust lit up by the bright nearby stars and IC 4812 is another.

NGC 6729 is the diamond shaped object which is an Emission/Reflection nebula  object that is also a variable nebula.

Bernes 157 and SL 41 are areas called Dark Nebula interstellar clouds that are dense enough to obscure the light from behind.

Herbig-Haro or HH objects are small patches of nebulosity linked to new born stars. Stars that are or have ejected gas and that gas collides with nearby clouds of gas at enormous speeds. There are many of these objects in this image.

Telescope: 16″ RCOS, FLI 16803, Planewave 200HR CTIO Chile.

21 Hours Luminance, 14.5 Red, 13.5 Green, 13.5 Blue

62 Hours Total

Julian Clifford Mance, Jr. (known as Junior Mance, born October 10, 1928) is an American jazz pianist and composer.

Mance was born in Evanston, Illinois. When he was five years old, Mance started playing piano on an upright in his family’s home in Evanston. His father, Julian, taught Mance to play stride piano and boogie-woogie.

Charlie Parker encouraged Mance to move to New York, which he did after saving money from working nearly a year at the Bee Hive. In 1954, Mance was asked to record with Dinah Washingtonafter Wynton Kelly was drafted. Mance toured with Washington over the next two years and learned accompaniment technique from Washington’s arranger, Jimmy Jones. EmArcy released two LPs, Dinah Jams and Jam Session, from a live session recorded August 14–15, 1954 in Los Angeles with Mance, Washington, Clifford Brown, Clark Terry, Maynard Ferguson, Herb Geller, Harold Land, Richie Powell, Keter Betts, George Morrow, and Max Roach.

https://www.youtube.com/watch?v=6zEK76RHR4g