mick laBriola

George Allen “Buddy” Miles Jr. (September 5, 1947 – February 26, 2008), was an American rock drummer, vocalist, composer, and producer. He was a founding member of The Electric Flag (1967), a member of Jimi Hendrix‘s Band of Gypsys (1969–1970), founder and leader of the Buddy Miles Express and later, the Buddy Miles Band. In addition to Jimi Hendrix, Miles played and recorded with Carlos Santana, Mike Bloomfield, and others. In a lighter vein, he sang lead vocals on the popular “California Raisins” claymation TV commercials and recorded two California Raisins R&B albums.

Miles was born in Omaha, Nebraska on September 5, 1947. Buddy’s father played upright bass for the likes of Duke Ellington, Count Basie, Charlie Parker, and Dexter Gordon. By age twelve, Miles had begun touring with his father’s band, the Bebops. Given the nickname “Buddy” by his aunt after the drummer Buddy Rich, he was often seen as a teenager hanging out and recording at Universal Promotions Corporation recording studios, which later became Rainbow Recording Studios.

Miles played with a variety of rhythm and blues and soul acts as a teenager, including Ruby & the Romantics, the Delfonics, and Wilson Pickett. In 1964, at the age of 16, Miles met Jimi Hendrix at a show in Montreal, where both were performing as sidemen for other artists.

In 1967, Miles joined Hendrix in a jam session at the Malibu home of Stephen Stills. They also went on to play together again in 1968 in both Los Angeles and New York. In the same year, Miles moved to Chicago where he teamed with guitarist Mike Bloomfield and vocalist Nick Gravenites to form The Electric Flag, a blues/soul/rock band. In addition to playing drums, Miles sometimes sang lead vocals for the band, which made its live debut at the Monterey Pop Festival in mid-1967.

In early 1968, the band released A Long Time Comin’, its first album for Columbia. The Electric Flag’s second album, An American Music Band, followed late the same year. Shortly after that release, though, the group disbanded. In the same year, Hendrix used several guest artists, including Miles, during the recording of the album, Electric Ladyland. Miles played drums on one long jam that was eventually split into two album cuts, “Rainy Day, Dream Away” and “Still Raining, Still Dreaming”, with a different song, “1983 a Merman I Should Turn To Be”, edited in between.

At age 21, after the breakup of The Electric Flag, Miles put together a new band with Jim McCarty, who later became the guitarist for Cactus. This new group performed and recorded as the Buddy Miles Express. In 1969, Hendrix wrote a short poem as a liner note for Expressway To Your Skull, the first studio album recorded by the Buddy Miles Express. Hendrix went on to produce four of the tracks on the group’s follow-up album, Electric Church. The title of the latter LP was taken from Hendrix’s poem on the first.

In 1969 he appeared on British jazz guitarist John McLaughlin‘s album Devotion.

John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage’s romantic partner for most of their lives.

Cage is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not “four minutes and 33 seconds of silence,” as is often assumed, but rather the sounds of the environment heard by the audience during performance. The work’s challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. The best known of these is Sonatas and Interludes(1946–48).

His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage’s major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951.^[10] The I Ching, an ancient Chinese classic text on changing events, became Cage’s standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as “a purposeless play” which is “an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living”.

Cage was born September 5, 1912, at Good Samaritan Hospital in downtown Los Angeles. His father, John Milton Cage Sr. (1886–1964), was an inventor, and his mother, Lucretia (“Crete”) Harvey (1885–1969), worked intermittently as a journalist for the Los Angeles Times. The family’s roots were deeply American: in a 1976 interview, Cage mentioned that George Washingtonwas assisted by an ancestor named John Cage in the task of surveying the Colony of Virginia. Cage described his mother as a woman with “a sense of society” who was “never happy”, while his father is perhaps best characterized by his inventions: sometimes idealistic, such as a diesel-fueled submarine that gave off exhaust bubbles, the senior Cage being uninterested in an undetectable submarine; others revolutionary and against the scientific norms, such as the “electrostatic field theory” of the universe. John Milton Sr. taught his son that “if someone says ‘can’t’ that shows you what to do.” In 1944–45 Cage wrote two small character pieces dedicated to his parents: Crete and Dad. The latter is a short lively piece that ends abruptly, while “Crete” is a slightly longer, mostly melodic contrapuntal work.

Albert Luandrew (September 5, 1906 – March 17, 1995), known as Sunnyland Slim, was an American blues pianist who was born in the Mississippi Delta and moved to Chicago, helping to make that city a center of postwar blues. The Chicago broadcaster and writer Studs Terkel said Sunnyland Slim was “a living piece of our folk history, gallantly and eloquently carrying on in the old tradition.”

Sunnyland Slim was born on a farm in Quitman County, near Vance, Mississippi. He moved to Memphis, Tennessee, in 1925, where he performed with many of the popular blues musicians of the day. His stage name came from the song “Sunnyland Train”, about a railroad line between Memphis and St. Louis, Missouri. In 1942 he moved to Chicago, in the great migration of southern workers to the industrial north.

At that time the electric blues was taking shape in Chicago, and through the years Sunnyland Slim played with such musicians as Muddy Waters, Howlin’ Wolf, Robert Lockwood, Jr., and Little Walter. His piano style is characterised by heavy basses or vamping chords with the left hand and tremolos with the right. His voice was loud, and he sang in a declamatory style.

The Maayan Band – a group of friends from Toronto – different characters, tastes and backgrounds, but sharing the sense that the ancient sources, writings of the Jewish sages are the highest expression of the art of being human.

The subject of this image is NGC 6861, a galaxy discovered in 1826 by the Scottish astronomer James Dunlop. Almost two centuries later we now know that NGC 6861 is the second brightest member of a group of at least a dozen galaxies called the Telescopium Group — otherwise known as the NGC 6868 Group — in the small constellation of Telescopium (The Telescope). This NASA/ESA Hubble Space Telescope view shows some important details of NGC 6861. One of the most prominent features is the disc of dark bands circling the centre of the galaxy. These dust lanes are a result of large clouds of dust particles obscuring the light emitted by the stars behind them. Dust lanes are very useful for working out whether we are seeing the galaxy disc edge-on, face-on or, as is the case for NGC 6861, somewhat in the middle. Dust lanes like these are typical of a spiral galaxy. The dust lanes are embedded in a white oval shape, which is made up of huge numbers of stars orbiting the centre of the galaxy. This oval is, rather puzzlingly, typical of an elliptical galaxy. So which is it — spiral or elliptical? The answer is neither! NGC 6861 does not belong to either the spiral or the elliptical family of galaxies. It is a lenticular galaxy, a family which has features of both spirals and ellipticals. The relationships between these three kinds of galaxies are not yet well understood. A lenticular galaxy could be a faded spiral that has run out of gas and lost its arms, or the result of two galaxies merging. Being part of a group increases the chances for galactic mergers, so this could be the case for NGC 6861. A version of this image was entered into the Hubble’s Hidden Treasures image processing competition by contestant Josh Barrington. 98.14 million light years

Biréli Lagrène (born 4 September 1966) is a French jazz guitarist. He came to prominence in the 1980s for his Django Reinhardt-influenced style. He often performs in swing, jazz fusion and post-bop styles.

Lagrène was born on 4 September 1966 in Saverne, Alsace, France, into a Romani family and community. His father and grandfather were guitarists, and he was raised in the gypsy guitar tradition. He started playing at age four or five, and by seven was improvising jazz in a style similar to Django Reinhardt‘s, who his father admired and wanted his sons to emulate. In 1980, while still in his early teens, he recorded his first album, Routes to Django: Live at the Krokodil (Jazz Point, 1981).

Gerald Stanley Wilson (September 4, 1918 – September 8, 2014) was an American jazz trumpeter, big band bandleader, composer/arranger, and educator. Born in Mississippi, he was based in Los Angeles from the early 1940s. In addition to being a band leader, Wilson wrote arrangements for Duke Ellington, Sarah Vaughan, Ray Charles, Julie London, Dizzy Gillespie, Ella Fitzgerald, Benny Carter, Lionel Hampton, Billie Holiday, Dinah Washington, and Nancy Wilson.

Wilson was born in Shelby, Mississippi, and at the age of 16 moved to Detroit, where he graduated from Cass Technical High School (one of his classmates was saxophonist Wardell Gray).

Anderson Meade Lewis (September 4, 1905 – June 7, 1964), known as Meade Lux Lewis, was an American pianist and composer, noted for his playing in the boogie-woogie style. His best-known work, “Honky Tonk Train Blues”, has been recorded by many artists.

Lewis was born in Chicago, though some sources state Louisville, Kentucky, on September 4, 1905 (September 3 and 13 have also been cited as his date of birth in various sources). In his youth he was influenced by the pianist Jimmy Yancey. His father, a guitarist who made two recordings of his own, introduced Meade to music and arranged for him to have violin lessons. He gave up the violin at age 16, shortly after his father’s death, and switched to the piano. The nickname “Lux” was given to him by his boyhood friends. He would imitate a couple of characters from a popular comic strip in Chicago, Alphonse and Gaston, and stroke an imaginary beard as part of the routine. His friends started calling him the Duke of Luxembourgbecause of this, and the name stuck for the rest of his life. He became friends with Albert Ammons during childhood, a friendship that would last throughout their lives. They went to the same school together briefly, and they practiced and learned the piano together on the Ammons family piano.

United States-based Ugandan musician and former refugee Samite. His main instrument is the flute and he delivers a set of engaging musical pieces that incorporate Ugandan roots music and jazz.

In this image the NASA/ESA Hubble Space Telescope takes a close look at the spiral galaxy NGC 4217, 60 million light-years away. The galaxy is seen almost perfectly edge on and is a perfect candidate for studying the nature of extraplanar dust structures — the patterns of gas and dust above and below the plane on the galaxy, seen here as brown wisps coming off NGC 4217. These tentacle-like filaments are visible in the Hubble image only because the contrast with their surroundings is so high. This implies that the structures are denser than their surroundings. The image shows dozens of dust structures some of which reach as far as 7000 light-years away from the central plane. Typically the structures have a length of about 1000 light-years and are about 400 light-years in width. Some of the dust filaments are round or irregular clouds, others are vertical columns, looplike structures or vertical cones. These structures can help astronomers to identify the mechanisms responsible for the ejection of gas and dust from the galactic plane of spiral galaxies and reveal information on the transport of the interstellar medium to large distances away from galactic discs. The properties of the observed dust structures in NGC 4217 suggest that the gas and dust was driven out of the midplane of the galaxy by powerful stellar winds resulting from supernovae — explosions that mark the deaths of massive stars. This image was entered into the Hubble Hidden Treasures competition by contestant Ralf Schoofs.

Freddie King (September 3, 1934 – December 28, 1976) was an American blues guitarist and singer. He has been described as one of the “Three Kings” of electric blues guitar, along with Albert King and B.B. King. He was an influential guitarist with hits for Federal Records in the early 1960s. His soulful and powerful voice and distinctive guitar style inspired countless musicians, particularly guitarists (Eric Clapton is a notable example). He was inducted into the Rock and Roll Hall of Fame in 2012.

King based his guitar style on Texas blues and Chicago blues influences. His best-known recordings include the singles “Have You Ever Loved a Woman” (1960) and his Top 40 hit “Hide Away” (1961) and albums such as the early, instrumental-packed Let’s Hide Away and Dance Away with Freddy King (1961) and Burglar (1974), which displayed his mature versatility as both a guitarist and a singer in a range of blues and funk styles. He was one of the first bluesmen to have a multiracial backing band at live performances.

According to his birth certificate he was named Fred King, and his parents were Ella Mae King and J. T. Christian. When Freddie was six years old, his mother and his uncle began teaching him to play the guitar. In autumn 1949, he and his family moved from Dallas to the South Side of Chicago.

In 1952 King started working in a steel mill. In the same year he married another Texas native, Jessie Burnett. They had seven children.

Granville William “Mickey” Roker (September 3, 1932 – May 22, 2017) was an American jazz drummer.

Roker was born into extreme poverty in Miami to Granville (Sr.) and Willie Mae Roker. After his mother died (his father never lived with them), when he was only ten, he was taken by his grandmother to live in Philadelphia with his uncle Walter, who gave him his first drum kit and communicated his love of jazz to his nephew. He also introduced the young Roker to the jazz scene in Philadelphia, where drummer Philly Joe Jones became Roker’s idol.

In the early 1950s, he began to gain recognition as a sensitive yet hard-driving big-band drummer. He was especially favored by Dizzy Gillespie, who remarked of him that “once he sets a groove, whatever it is, you can go to Paris and come back and it’s right there. You never have to worry about it.” Roker was soon in demand for his supportive skills in both big-band and small-group settings. While in Philadelphia he played with Jimmy Oliver, Jimmy Heath, Jimmy Divine, King James and Sam Reed before moving to New York in 1959, where his first gigs were with Gigi Gryce, Ray Bryant, Joe Williams–Junior Mance, Nancy Wilson and the Duke Pearson big band.

In 1992, he replaced Connie Kay in the Modern Jazz Quartet.

Memphis Slim (September 3, 1915 – February 24, 1988) was an American blues pianist, singer, and composer. He led a series of bands that, reflecting the popular appeal of jump blues, included saxophones, bass, drums, and piano. A song he first cut in 1947, “Every Day I Have the Blues“, has become a blues standard, recorded by many other artists. He made over 500 recordings.

Memphis Slim was born John Len Chatman, in Memphis, Tennessee. For his first recordings, for Okeh Records in 1940, he used the name of his father, Peter Chatman (who sang, played piano and guitar, and operated juke joints);^[1] it is commonly believed that he did so to honor his father. He started performing under the name “Memphis Slim” later that year but continued to publish songs under the name Peter Chatman.

He spent most of the 1930s performing in honky-tonks, dance halls, and gambling joints in West Memphis, Arkansas, and southeast Missouri. He settled in Chicago in 1939 and began teaming with the guitarist and singer Big Bill Broonzy in clubs soon afterward. In 1940 and 1941 he recorded two songs for Bluebird Records that became part of his repertoire for decades, “Beer Drinking Woman” and “Grinder Man Blues”. These were released under the name “Memphis Slim,” given to him by Bluebird’s producer, Lester Melrose. Slim became a regular session musician for Bluebird, and his piano talents supported established stars such as John Lee “Sonny Boy” Williamson, Washboard Sam, and Jazz Gillum. Many of Slim’s recordings and performances until the mid-1940s were with Broonzy, who had recruited Slim to be his piano player after the death of his accompanist Joshua Altheimer in 1940.

Labor Day Tribute 2018

Arp 87 is a stunning pair of interacting galaxies. Stars, gas, and dust flow from the large spiral galaxy, NGC 3808, forming an enveloping arm around its companion. The shapes of both galaxies have been distorted by their gravitational interaction. Arp 87 is located in the constellation of Leo, the Lion, approximately 300 million light-years away from Earth. Arp 87 appears in Arp’s Atlas of Peculiar Galaxies. As also seen in similar interacting galaxies, the corkscrew shape of the tidal material suggests that some stars and gas drawn from the larger galaxy have been caught in the gravitational pull of the smaller one. This image was taken in February 2007 with Hubble’s Wide Field Planetary Camera 2 detector.

Clifford Laconia Jordan (September 2, 1931 – March 27, 1993) was an American jazz tenor saxophone player. While in Chicago, he performed with Max Roach, Sonny Stitt, and some rhythm and blues groups. He moved to New York City in 1957, after which he recorded three albums for Blue Note.^[1] He recorded with Horace Silver, J.J. Johnson, and Kenny Dorham, among others. He was part of the Charles Mingus Sextet, with Eric Dolphy, during its 1964 European tour.

Jordan toured Africa with Randy Weston, and performed in Paris while living in Belgium. In later years, he led his own groups, performed with Cedar Walton‘s quartet Eastern Rebellion, and led a big band.

Jordan was married to Shirley Jordan, a designer and former owner of Clothing Manufacturing Corporation in New York. He later married Sandy Jordan (née Williams), a graphic artist and Honorary Founding Board member of the Jazz Foundation of America. 

https://www.youtube.com/watch?v=qeHRER7kILw

Horace Ward Martin Tavares Silver  (September 2, 1928 – June 18, 2014 Norwalk, CT) was an American jazz pianist, composer, and arranger, particularly in the hard bop style that he helped pioneer in the 1950s.

After playing tenor saxophone and piano at school in Connecticut, Silver got his break on piano when his trio was recruited by Stan Getz in 1950. Silver soon moved to New York City, where he developed a reputation as a composer and for his bluesy playing. Frequent sideman recordings in the mid-1950s helped further, but it was his work with the Jazz Messengers, co-led by Art Blakey, that brought both his writing and playing most attention. Their Horace Silver and the Jazz Messengers album contained Silver’s first hit, “The Preacher“. After leaving Blakey in 1956, Silver formed his own quintet, with what became the standard small group line-up of tenor saxophone, trumpet, piano, bass, and drums. Their public performances and frequent recordings for Blue Note Records increased Silver’s popularity, even through changes of personnel. His most successful album was Song for My Father, made with two iterations of the quintet in 1963 and 1964.