mick laBriola

Orchestre National de Barbés is a piece of North Africa stranded in the heart of Paris. In English, the name means The National Barbés Orchestra, implying that Barbés is a nation unto itself. It is a sentiment that few who visit the neighborhood would dispute.

The band’s story started in Belcourt, a working class section of Algiers, Algeria at the peak of the 1980 baby boom. Youcef Boukella’s older brothers listened to rock and bossa nova, people watched Cairo film classics on TV and tuned to Kabyl folk music on the radio. Outside the Belcourt alleyways, there were street peddlers, muezzins, Gnawa street performers, shaabi concerts, and ghetto blasters playing reggae, funk and raï.

The alluring Cat’s Eye nebula, however, lies three thousand light-years from Earth across interstellar space. A classic planetary nebula, the Cat’s Eye (NGC 6543) represents a final, brief yet glorious phase in the life of a sun-like star. This nebula‘s dying central star may have produced the simple, outer pattern of dusty concentric shells by shrugging off outer layers in a series of regular convulsions. But the formation of the beautiful, more complex inner structures is not well understood. Seen so clearly in this digitally sharpened Hubble Space Telescope image, the truly cosmic eye is over half a light-year across. Of course, gazing into this Cat’s Eye, astronomers may well be seeing the fate of our sun, destined to enter its own planetary nebula phase of evolution … in about 5 billion years.

The full beauty of the Cat’s Eye Nebula (NGC 6543) is revealed in this new, detailed view from NASA’s Hubble Space Telescope. The image from Hubble’s Advanced Camera for Surveys (ACS) shows a bull’s eye pattern of eleven or even more concentric rings, or shells, around the Cat’s Eye. Each ‘ring’ is actually the edge of a spherical bubble seen projected onto the sky – that’s why it appears bright along its outer edge.

Observations suggest the star ejected its mass in a series of pulses at 1,500-year intervals. These convulsions created dust shells, each of which contain as much mass as all of the planets in our solar system combined (still only one percent of the Sun’s mass). These concentric shells make a layered, onion-skin structure around the dying star. The view from Hubble is like seeing an onion cut in half, where each skin layer is discernible.

The bull’s-eye patterns seen around planetary nebulae come as a surprise to astronomers because they had no expectation that episodes of mass loss at the end of stellar lives would repeat every 1,500 years. Several explanations have been proposed, including cycles of magnetic activity somewhat similar to our own Sun’s sunspot cycle, the action of companion stars orbiting around the dying star, and stellar pulsations. Another school of thought is that the material is ejected smoothly from the star, and the rings are created later on due to formation of waves in the outflowing material.

Gary Thomas (born June 10, 1961, Baltimore, Maryland) is an American jazz saxophonist and flautist from Baltimore, Maryland. He was a member of Jack DeJohnette‘s Special Edition band and has worked with John McLaughlin, Herbie Hancock, Pat Metheny, John Scofield, Jim Hall, Dave Holland, Greg Osby, Wayne Shorter, Ravi Coltrane, Cassandra Wilson, Wallace Roney, Steve Coleman, and Miles Davis.

Thomas was the Director and Chair of Jazz Studies at Johns Hopkins University in Baltimore.

João Gilberto Prado Pereira de Oliveira, known as João Gilberto (Portuguese: [ˈʒoɐ̃w ʒiwˈbɛʁtu]; June 10, 1931), is a Brazilian singer, songwriter, and guitarist. João created the musical genre of bossa nova in the late 1950s.

João Gilberto was born in Juazeiro, Bahia, Brazil. From an early age, music was a part of Gilberto’s life. His grandfather bought him his first guitar at the age of 14. During high school, Gilberto teamed up with some of his classmates to form a small band. Gilberto, who led the band, was influenced by Brazilian popular songs, American jazz, and even some opera, among other genres. After trying his luck as a radio singer in Salvador, the young Gilberto was recruited in 1950 as lead singer of the vocal quintet Garotos da Lua (Moon Boys) and moved to Rio de Janeiro. A year and a half later, he was dismissed from the group for his lack of discipline (he would often show up late to rehearsals or not at all).

João Gilberto’s first recordings were released in Brazil as two-song 78-rpm singles between 1951 and 1959. In the 1960s, Brazilian singles evolved to the “double compact” format, and João would release some EPs in this new format, which carried 4 songs on a 45-rpm record.

Chester Arthur Burnett (June 10, 1910 – January 10, 1976), known as Howlin’ Wolf, was a Chicago blues singer, guitarist, and harmonica player, originally from Mississippi. With a booming voice and imposing physical presence, he is one of the best-known Chicago blues artists. The musician and critic Cub Koda noted, “no one could match Howlin’ Wolf for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits.” Producer Sam Phillips recalled, “When I heard Howlin’ Wolf, I said, ‘This is for me. This is where the soul of man never dies.'” Several of his songs, including “Smokestack Lightnin’“, “Killing Floor” and “Spoonful“, have become blues and blues rock standards. In 2011, Rolling Stone magazine ranked him number 54 on its list of the “100 Greatest Artists of All Time“.

Burnett was born on June 10, 1910, in White Station, Mississippi, near West Point. He was given the name Chester Arthur, after Chester A. Arthur, the 21st President of the United States. His physique garnered him the nicknames “Big Foot Chester” and “Bull Cow” as a young man: he was 6 feet 3 inches (191 cm) tall and often weighed close to 300 pounds (136 kg). He explained the origin of the name Howlin’ Wolf: “I got that from my grandfather”, who would tell him stories about wolves in that part of the country and warn him that if he misbehaved the “howling wolves” would get him. The blues historian Paul Oliver wrote that Burnett once claimed to have been given his nickname by his idol Jimmie Rodgers.

https://www.youtube.com/watch?v=5hwMb6JTvBE

Martin Abraham, better known as Chink Martin (June 10, 1886, New Orleans – January 7, 1981, New Orleans) was an American jazz tubist.

Martin (second from right) on bass horn with Jack Laine’s band in 1910

Martin played guitar in his youth before settling on tuba as his main instrument. He played with Papa Jack Laine‘s Reliance Brass Band around 1910, and worked in various other brass bands in the city in the 1910s. In 1923, he traveled to Chicago and played with the New Orleans Rhythm Kings with whom he made his first records. He also recorded guitar duets with Leon Roppolo, but these unfortunately were never issued. He returned to New Orleans with the Rhythm Kings in 1925, and made further recordings with them. He also played with the Halfway House Orchestra (with which he recorded on both tuba and string bass), the New Orleans Harmony Kings, and the New Orleans Swing Kings. In the 1930s, Martin worked as a staff musician at WSMB radio. He continued to play tuba for his entire career, though he also played and recorded on the double-bass (like many New Orleans tubists) from at least the 1920s onward. He played with dozens of noted New Orleans jazz musicians, appearing on record with Sharkey Bonano, Santo Pecora, Pete Fountain, Al Hirt, and others, and released one album under his own name on Southland Records in 1963.

Malian guitarist and vocalist Samba Touré. It’s a delight for guitar fans and lovers of what has been called desert blues, the music of northern Mali, Niger, Mauritania and the Western Sahara.

What sets Touré’s music a part is his use of traditional instruments such as the tama, the talking drum that plays a leading role throughout the album. Touré dedicated a love song to his wife in the title cut and also celebrates the late Zoumana Tereta, the musician that participated in many of his recordings playing the soku, a Wasulu fiddle. Zouman appears in the form of some samples of his performances.

This image from the NASA/ESA Hubble Space Telescope shows the rich galaxy cluster Abell 3827. The strange blue structures surrounding the central galaxies are gravitationally lensed views of a much more distant galaxy behind the cluster. Observations of the central four merging galaxies have provided hints that the dark matter around one of the galaxies is not moving with the galaxy itself, possibly implying dark matter-dark matter interactions of an unknown nature are occuring.

The central supermassive galaxy (ESO 146-IG 005) is clearly visible among its cluster companions as well as the remains of at least four nuclei that are being “digested” by the large galaxy. The central galaxy is thought to be the most massive galaxy in our local universe (out to about 1.5 billion light years).

Kenny Barron (born June 9, 1943) is an American jazz pianist, who has appeared on hundreds of recordings as leader and sideman and is considered one of the most influential mainstream jazz pianists since the bebop era.

Born in Philadelphia, Pennsylvania, Kenny Barron is the younger brother of tenor saxophonist Bill Barron (1927–1989). One of his first gigs was as pianist with the Dizzy Gillespie quartet. Barron was briefly a member of the Jazztet around 1962, but did not record with them.

He graduated in 1978 with a BA in Arts from Empire State College (Metropolitan Center, New York City).

He also co-led the groups Sphere and the Classical Jazz Quartet.

Lester William Polsfuss (June 9, 1915 – August 12, 2009), known as Les Paul, was an American jazz, country, and blues guitarist, songwriter, luthier, and inventor. He was one of the pioneers of the solid-body electric guitar. Paul taught himself how to play guitar, and while he is mainly known for jazz and popular music, he had an early career in country music. He is credited with many recording innovations. Although he was not the first to use the technique, his early experiments with overdubbing (also known as sound on sound),delay effects such as tape delay, phasing effects and multitrack recording were among the first to attract widespread attention.

His innovative talents extended into his playing style, including licks, trills, chording sequences, fretting techniques and timing, which set him apart from his contemporaries and inspired many guitarists of the present day. He recorded with his wife Mary Ford in the 1950s, and they sold millions of records.

Among his many honors, Paul is one of a handful of artists with a permanent, stand-alone exhibit in the Rock and Roll Hall of Fame. He is prominently named by the music museum on its website as an “architect” and a “key inductee” with Sam Phillips and Alan Freed. Les Paul is the only person to be included in both the Rock and Roll Hall of Fame and the National Inventors Hall of Fame.

Les Paul was born Lester William Polsfuss in Waukesha, Wisconsin, to George and Evelyn (Stutz) Polsfuss. His family was of German ancestry.  Paul’s mother was related to the founders of Milwaukee’s Valentin Blatz Brewing Company and the makers of the Stutz automobile His parents divorced when he was a child. His mother simplified their Prussian family name first to Polfuss, then to Polfus, although Les Paul never legally changed his name. Before taking the stage name Les Paul, he also performed as Red Hot Redand Rhubarb Red.

Cole Albert Porter (June 9, 1891 – October 15, 1964) was an American composer and songwriter. Born to a wealthy family in Indiana, he defied the wishes of his domineering grandfather and took up music as a profession. Classically trained, he was drawn towards musical theatre. After a slow start, he began to achieve success in the 1920s, and by the 1930s he was one of the major songwriters for the Broadway musical stage. Unlike many successful Broadway composers, Porter wrote the lyrics, as well as the music, for his songs.

After a serious horseback riding accident in 1937, Porter was left disabled and in constant pain, but he continued to work. His shows of the early 1940s did not contain the lasting hits of his best work of the 1920s and ’30s, but in 1948 he made a triumphant comeback with his most successful musical, Kiss Me, Kate. It won the first Tony Award for Best Musical.

Porter’s other musicals include Fifty Million Frenchmen, DuBarry Was a Lady, Anything Goes, Can-Can and Silk Stockings. His numerous hit songs include “Night and Day“, “Begin the Beguine“, “I Get a Kick Out of You“, “Well, Did You Evah!“, “I’ve Got You Under My Skin“, “My Heart Belongs to Daddy” and “You’re the Top“. He also composed scores for films from the 1930s to the 1950s, including Born to Dance (1936), which featured the song “You’d Be So Easy to Love“; Rosalie (1937), which featured “In the Still of the Night“; High Society (1956), which included “True Love“; and Les Girls (1957).

Porter was born in Peru, Indiana, the only surviving child of a wealthy family.  His father, Samuel Fenwick Porter, was a druggist by trade. His mother, Kate, was the indulged daughter of James Omar “J. O.” Cole, “the richest man in Indiana”, a coal and timber speculator who dominated the family. J. O. Cole built the couple a home on his Peru-area property, known as Westleigh Farms. After high school, Porter returned to the property only for occasional visits.

Ethiopian Orthodox Church

https://www.youtube.com/watch?v=SjnGmO-j9QA

This new portrait of the bright star-forming region NGC 346, in which different wavelengths of light swirl together like watercolours, reveals new information about how stars form. NGC 346 is located 210,000 light-years away in the Small Magellanic Cloud, a neighbouring dwarf galaxy of the Milky Way. The image is based on data from ESA XMM-Newton (X-rays; blue), ESO’s New Technology Telescope (visible light; green), and NASA’s Spitzer (infrared; red). The infrared light shows cold dust, while the visible light denotes glowing gas, and the X-rays represent very hot gas. Ordinary stars appear as blue spots with white centres, while young stars enshrouded in dust appear as red spots with white centres.

William Royce “Boz” Scaggs (born June 8, 1944) is an American singer, songwriter, and guitarist. He was a guitarist and occasional lead singer with the Steve Miller Band in the 1960s, and in the 1970s gained fame with several solo Top 20 hit singles in the United States, including the hits “Lido Shuffle” and “Lowdown” from the critically acclaimed album Silk Degrees (1976), which peaked at #2 on the Billboard 200. Scaggs continues to write, record music, and tour.

Scaggs was born in Canton, Ohio, the eldest child of a traveling salesman. Their family moved to McAlester, Oklahoma, then to Plano, Texas (at that time a farm town), just north of Dallas. He attended a Dallas private school, St. Mark’s School of Texas, where schoolmate Mal Buckner gave him the nickname “Bosley”, later shortened to “Boz”

William Russell Watrous III (born June 8, 1939) is a jazz trombonist. He is perhaps best known by casual fans of jazz music for his rendition of Sammy Nestico‘s arrangement of the Johnny Mandel ballad “A Time for Love,” which he recorded on a 1993 album of the same name. A self-described “bop-oriented” player, he is well known among fellow trombonists as a master technician and for his mellifluous sound.

Watrous’ father, also a trombonist, introduced him to the instrument at an early age. While serving in the U.S. Navy, Watrous studied with jazz pianist and composer Herbie Nichols. His first professional performances were in Billy Butterfield‘s band.

Wilhelmina Goodson, known professionally as Billie Pierce (June 8, 1907 – September 29, 1974), was an American jazz pianist and singer.

Wilhelmina (Billie) Goodson was born on June 8, 1907 in her mother’s hometown of Marianna, Florida, United States, and grew up in Pensacola, Florida. She was one of six piano-playing sisters (including Ida Goodson and Sadie Goodson) whose mother and father (Madison H. Goodson and Sarah Jenkins Goodson) also played the piano.^[2] There was a seventh daughter, Maggie, who died young. Billie was the second youngest of the girls; the order of the sisters from oldest to youngest went Mabel (b. 1899), Della (1901), Sadie (1903), Edna (1904), Billie (1907), and Ida (1909).

Goodson was never formally trained to read music. Both of her parents musicians, they played hymns and sang in the choir at the Baptist church where Madison Goodson was a Deacon. According to Billie, she was about two years old when she first started to play the piano.

Though her parents disapproved of ragtime, blues, and jazz, only playing religious music, Billie and her sisters were drawn to it. When Ms. Pierce was about ten years old, she and her sisters would go down to the Belmont Theater to listen to Ma Rainey, Ida Cox, and Bessie Smith when they passed through Pensacola, Florida. In 1922, when Ms. Pierce was almost thirteen, Bessie Smith passed through town again. Bessie’s pianist, Clarence Williams, suffered a heart attack and Ms. Pierce subbed in to played piano with Bessie Smith for two weeks at the Belmont Theater.

World Music on Flamenco Fridays