mick laBriola

Roosevelt “Baby Face” Willette (September 11, 1933 – April 1, 1971) was a hard bop and soul-jazz musician most known for playing Hammond organ. It is unclear whether he was born in Little Rock, Arkansas, or New Orleans, Louisiana

His mother was a missionary who played the piano in the church where his father was a minister. His musical roots are therefore in gospel and Baby Face started out playing the piano for various gospel groups, and spent his early career travelling across the United States, Canada and Cuba. In Chicago he decided to switch from gospel and rhythm and blues to playing in jazz bands. He played piano with the bands of King Kolax, Joe Houston, Johnny Otis and Big Jay McNeely before switching to organ. In 1960 he arrived in New York City where he met Lou Donaldson and Grant Green, and played on a few Blue Note sessions with them. This led to Willette being signed to Blue Note Records, which recorded his debut album Face to Face . Willette formed his own trio in 1963 and recorded two more albums for Argo. He has a son named Kevin D. Bailey. Willette taught himself to play the piano and was inspired by Jimmy Smith‘s work, however his playing style is heavily influenced by gospel and soul jazz. Willette was also a professional hairdresser. Before his time in New York City, he was based out of Milwaukee, playing with his vocalist wife Jo Gibson at clubs such as The Flame Club, The Pelican Club, The Moonglow and Max’s among others. After stints in New York City, and then California, failing health forced a return to Chicago, where his family resided. He died in 1971.

https://www.youtube.com/watch?v=3DN1lLhtdck

Oliver Theophilus Jones, OC CQ (born September 11, 1934 in Little Burgundy, Montreal, Quebec) is a Canadian jazz pianist, organist, composer and arranger.

Born to Barbadian parents, Oliver Jones began his career as a pianist at the age of five, studying with Mme Bonner in Little Burgundy’s Union United Church, made famous by Trevor W. Payne‘s Montreal Jubilation Gospel Choir. He continued to develop his talent through his studies with Oscar Peterson‘s sister Daisy Peterson Sweeneystarting at eight years old. In addition to performing at Union United Church when he was a child, he also performed a solo novelty act at the Cafe St. Michel as well as other clubs and theaters in the Montreal area. “I had a trick piano act, dancing, doing the splits, playing from underneath the piano, or with a sheet over the keys.

https://www.youtube.com/watch?v=YIiKe_L56R4

https://www.youtube.com/watch?v=N34jtTajYTA

NGC 2787 is a barred lenticular galaxy approximately 24 million light-years away in the constellation Ursa Major. In 1999, the Hubble Space Telescope took a look at NGC 2787. The supermassive black hole at the core has a mass of 4.1+0.4
−0.5×10⁷ M_☉.

NGC 2787 contains a low-ionization nuclear emission-line region (LINER), a type of region that is characterized by spectral line emission from weakly ionized atoms. LINERs are very common within lenticular galaxies, approximately one-fifth of nearby lenticular galaxies contain LINERs

Dave Burrell (born September 10, 1940) is an American jazz pianist. He has worked for many jazz musicians including Archie Shepp, Pharoah Sanders, Marion Brown and David Murray.

Born in Middletown, Ohio, Burrell grew fond of jazz at a young age after meeting Herb Jeffries. Burrell studied music at the University of Hawaiibefore transferring to Berklee College of Music in Boston in 1961. He worked in Boston and then settled on the Lower East Side in New York City in 1965 after graduating with a degree in musical composition. He started the Untraditional Jazz Improvisational Team with saxophonist Byard Lancaster, Sirone, and Bobby Kapp.

Roy Ayers (born September 10, 1940) is an American funk, soul, and jazz composer and vibraphone player. Ayers began his career as a post-bop jazz artist, releasing several albums with Atlantic Records, before his tenure at Polydor Records beginning in the 1970s, during which he helped pioneer jazz-funk. He is a key figure in the acid jazz movement, which is a mixture of jazz into hip-hop and funk, and has been dubbed by many as “The Godfather of Neo Soul”.  He is most well known for his signature compositions “Everybody Loves The Sunshine” and “Searchin”, and is also famous for having more sampled hits by rappers than any other artist.

Ayers was born in Los Angeles, and grew up in a musical family, where his father played trombone and his mother played piano. At the age of five, he was given his first pair of vibraphone mallets by Lionel Hampton. The area of Los Angeles that Ayers grew up in, South Park (later known as South Central) was the epicenter of the Southern California Black music scene. The schools he attended (Wadsworth Elementary, Nevins Middle School, and Thomas Jefferson High School) were all close to the famed Central Avenue, Los Angeles’ equivalent of Harlem‘s Lenox Avenue and Chicago’s State Street. Roy would likely have been exposed to music as it not only emanated from the many nightclubs and bars in the area, but also poured out of many of the homes where the musicians who kept the scene alive lived in and around Central. During high school, Ayers sang in the church choir and fronted a band named The Latin Lyrics, in which he played steel guitar and piano. His high school, Thomas Jefferson High School, produced some of the most talented new musicians, such as Dexter Gordon.

William B. Lawsha, better known as Prince Lasha (pronounced “La-shay“), (September 10, 1929 – December 12, 2008) was an American jazzalto saxophonist, flautist, and clarinetist.

He was born in Fort Worth, Texas, where he came of age studying and performing alongside fellow I.M. Terrell High School students John Carter, Ornette Coleman, King Curtis, Charles Moffett, and Dewey Redman.

Lasha moved to California during the 1950s. In the 1960s, he was active in the burgeoning free jazz movement, of which his Fort Worth cohort Ornette Coleman was a pioneer. Lasha recorded with Eric Dolphy (Iron Man and Conversations, both in 1963) and the Elvin Jones/Jimmy Garrison Sextet featuring McCoy Tyner (Illumination! in 1964).

From Cambodia

6,523 light years from Earth

This is the mess that is left when a star explodes. The Crab Nebula, the result of a supernova seen in 1054 AD, is filled with mysterious filaments. The filaments are not only tremendously complex, but appear to have less mass than expelled in the original supernova and a higher speed than expected from a free explosion. The featured image, taken by the Hubble Space Telescope, is presented in three colors chosen for scientific interest. The Crab Nebula spans about 10 light-years. In the nebula‘s very center lies a pulsar: a neutron star as massive as the Sun but with only the size of a small town. The Crab Pulsar rotates about 30 times each second.

Otis Ray Redding Jr. (September 9, 1941 – December 10, 1967 Dawson, GA) was an American singer, songwriter, record producer, arranger, and talent scout. He is considered one of the greatest singers in the history of American popular music and a seminal artist in soul music and rhythm and blues. Redding’s style of singing gained inspiration from the gospel music that preceded the genre. His singing style influenced many other soul artists of the 1960s. During his lifetime, his recordings were produced by Stax Records, based in Memphis, Tennessee.

Redding was born in Dawson, Georgia, and at the age of 2, moved to Macon, Georgia. Redding quit school at age 15 to support his family, working with Little Richard‘s backing band, the Upsetters, and by performing in talent shows at the historic Douglass Theatre in Macon, Georgia. In 1958, he joined Johnny Jenkins‘s band, the Pinetoppers, with whom he toured the Southern states as a singer and driver. An unscheduled appearance on a Stax recording session led to a contract and his first single, “These Arms of Mine“, in 1962.

Stax released Redding’s debut album, Pain in My Heart, two years later. Initially popular mainly with African-Americans, Redding later reached a wider American pop music audience. Along with his group, he first played small gigs in the American South. He later performed at the popular Los Angeles night club Whisky a Go Go and toured Europe, performing in London, Paris and other major cities. He also performed at the Monterey Pop Festival in 1967.

Shortly before his death in a plane crash, Redding wrote and recorded his iconic “(Sittin’ On) The Dock of the Bay” with Steve Cropper. The song became the first posthumous number-one record on both the Billboard Hot 100 and R&B charts. The album The Dock of the Bay was the first posthumous album to reach number one on the UK Albums Chart. Redding’s premature death devastated Stax. Already on the verge of bankruptcy, the label soon discovered that the Atco division of Atlantic Records owned the rights to his entire song catalog.

Redding received many posthumous accolades, including the Grammy Lifetime Achievement Award and induction into the Rock and Roll Hall of Fameand the Songwriters Hall of Fame. In addition to “(Sittin’ On) The Dock of the Bay,” “Respect” and “Try a Little Tenderness” are among his best-known songs.

Elvin Ray Jones (September 9, 1927 – May 18, 2004 Pontiac, MI) was an American jazz drummer of the post-bop era. He showed an interest in drums at a young age, watching the circus bands march by his family’s home in Pontiac, Michigan. He served in the United States Army from 1946 to 1949 and subsequently played in a Detroit house band led by Billy Mitchell. He moved to New York City in 1955 and worked as a sideman for Charles Mingus, Teddy Charles, Bud Powell and Miles Davis.

From 1960 to 1966 he was a member of the John Coltrane quartet (along with Jimmy Garrison on bass and McCoy Tyner on piano), a celebrated recording phase, appearing on such albums as A Love Supreme. Following his work with Coltrane, Jones led several small groups, some under the name The Elvin Jones Jazz Machine. His brothers Hank Jones and Thad Jones were also jazz musicians with whom he recorded. He was inducted into the Modern Drummer Hall of Fame in 1995.

Badie Muhammad El Tayb, is one of the Haqibah generation, he performing one of the traditional Haqibah songs, Nour Jabienou Sabah HAQIBAH Modern Northern Sudanese music has its roots in haqibah (pronounced hagee-ba). It originated in the early 1920s, and was originally derived from the Muslim gospel style known as madeeh. Haqibah is essentially a harmonic a cappella and vocal style, with percussion coming from the tambourine-like riq and from other instruments. Occasionally tonal instruments such as the piano and the qanun are used. The early pioneers were mostly singer-songwriters, including the prolific Karoma, author of several hundred songs, the innovative Ibrahim al-Abadi and Khalil Farah, who was active in the Sudanese independence movement. Al-Abadi was known for an unorthodox style of fusing tradition wedding poetry with music. Other songwriters of the era included Mohammed Ahmed Sarror, Al-Amin Burhan, Mohamed Wad Al Faki and Abdallah Abdel Karim.

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

The RCW 120 bubble seen by ESA’s Herschel space observatory. It lies about 4300 light-years away.

A star at the centre, not visible at these infrared wavelengths, has blown a beautiful bubble around itself with the mighty pressure of the light it radiates. The pressure is so strong that it has compressed the material at the edge of the bubble, causing it to collapse and triggering the birth of new stars.

The image is a composite of the wavelengths of 70 microns (blue), 160 microns (green) and 350 microns (red).

Edward Rudolph “Butch” Warren Jr. (September 8, 1939 – October 5, 2013) was an American jazz bassist who was active during the 1950s and ’60s.

Warren’s mother was a typist. His father, Edward Sr., was an electronics technician who played piano and organ part-time in clubs in Washington, D.C. The Warren home was often visited by jazz musicians Billy Hart, Jimmy Smith, and Stuff Smith. The first time Butch Warren played bass was at home on a instrument left by Billy Taylor, who had played bass for Duke Ellington. Warren has cited Jimmy Blanton, another Ellington bassist, as his biggest inspiration.

Warren began playing professionally at age 14 in a Washington, D.C. band led by his father. He later worked with other local groups, including that of Stuff Smith, as well as with altoist and bandleader Rick Henderson at the Howard Theatre.

When he was 19, he sat in with Kenny Dorham to substitute for an absent trumpeter. A few days later, Dorham invited him to New York City, where he spent the next six months as a sideman at a club in Brooklyn. He appeared on his first recording in January 1960 with Dorham, saxophonist Charles Davis, pianist Tommy Flanagan, and drummer Buddy Enlow. Through his friendship with Sonny Clark he recorded for Blue Note Records in 1961 on Clark’s album Leapin’ and Lopin’ . Alfred Lion, president of Blue Note, hired Warren to fill the vacancy of staff bassist. During this job he played on “Watermelon Man” with Herbie Hancock. As sideman, he also recorded with Miles Davis, Hank Mobley, Donald Byrd, Dexter Gordon, Joe Henderson, Jackie McLean, and Stanley Turrentine.

https://www.youtube.com/watch?v=CTijrDIU-m4

James Earl Clay (b. Sept. 8, 1935, Dallas, Texas – d. there, Jan. 1, 1994) was an American hard bop jazz tenor saxophonist and flutist. While in school Clay played alto saxophone, became a professional musician, and played with local bands in Dallas, including with Booker Ervin. Later, he went to California, there he played in 1957 in Red Mitchell‘s quartet and on recordings with Lawrence Marable. at the end of 1957 he returned to his hometown of Dallas, and served in the Army in 1959.

After a few decades of obscurity, Clay enjoyed a modestly successful career revival in the late 1980s and early 1990s.

Wilbur Bernard Ware (September 8, 1923 – September 9, 1979) was an American jazz double-bassist^[1] known for his creative use of time and space, his angular, unorthodox solo technique and a distinctive percussive sound. He was a staff bassist at Riverside Records in the 1950s, playing on many of the label’s sessions, including LPs with such widely diverse stylists as J.R. Monterose, Toots Thielemans, Tina Brooks, Zoot Sims, and Grant Green.

Born in Chicago, Ware taught himself to play banjo and bass and he approached the double bass not only as a melodic and rhythmic instrument but also as a percussive instrument. In the 1940s, he worked with Stuff Smith, Sonny Stitt and Roy Eldridge. He recorded with Sun Ra in the early 1950s.^[1] Later in the 1950s, settling in New York City, Ware played with Eddie Vinson, Art Blakey, and Buddy DeFranco. His only album recorded under his own name during his lifetime was The Chicago Sound, from 1957, while Ware was signed to Riverside. Ware was also active in studio recordings of several Music Minus One (MMO) jazz instructional LPs made in a New Jersey studio in the late 1950s, several of which have now been re-released on compact disc. In 1958, Ware was one of 57 jazz musicians to appear in the photograph A Great Day in Harlem.