mick laBriola

Enoch Henry Light (18 August 1905, in Canton, Ohio – 31 July 1978, in Redding, Connecticut) was a classically trained violinist, danceband leader, and recording engineer. As the leader of various dance bands that recorded as early as March 1927 and continuing through at least 1940, Light and his band primarily worked in various hotels in New York. For a time in 1928 he also led a band in Paris. In the 1930s Light also studied conducting with the French conductor Maurice Frigara in Paris.

Throughout the 1930s, Light and his outfits were steadily employed in the generally more upscale hotel restaurants and ballrooms in New York that catered to providing polite ambiance for dining and functional dance music of current popular songs rather than out and out jazz. (It must be remembered that at the time there was always some crossover between popular and jazz music and that the most successful bandleaders frequently played a mixture of both to some extent in order to cater to the demands of their audiences, although the bands employed in swank hotel ballrooms were generally far more subdued in nature.)

At some point his band was tagged “The Light Brigade” and they often broadcast over radio live from the Hotel Taft in New York where they had a long residency. Through 1940, Light and his band recorded for various labels including Brunswick, ARC, Vocalion and Bluebird. Later on, as A&R (Artists and Repertoire) chief and vice-president of Grand Award Records, he founded his own label Command Records in 1959. Light’s name was prominent on many albums both as musician and producer.

Fela Anikulapo Kuti (15 October 1938 – 2 August 1997), also professionally known as Fela Kuti, or simply Fela, was a Nigerian multi-instrumentalist, musician, composer, pioneer of the Afrobeat music genre and human rights activist. He has been called “superstar, singer, musician, Panafricanist, polygamist, mystic, legend.” At the height of his popularity, he was referred to as one of Africa’s most “challenging and charismatic music performers.

https://www.youtube.com/watch?v=FktqOli6Hq4

New observations with ESO’s Very Large Telescope show the star cluster RCW 38 in all its glory. This image was taken during testing of the HAWK-I camera with the GRAAL adaptive optics system. It shows the cluster and its surrounding clouds of brightly glowing gas in exquisite detail, with dark tendrils of dust threading through the bright core of this young gathering of stars.

RCW 38 is an HII region containing a massive star cluster located approximately 5,500 light years away from Earth in the direction of the constellation Vela (known as, the Sails). The stars were very recently formed, and are still enshrouded within the dark cloud in which they were born. The star cluster is surrounded by clouds of brightly glowing gas and is composed of several short-lived massive stars, hundreds of young stars, and many protostars.

The star cluster several O-type stars with masses much larger than the sun. When these stars die, likely before the dispersal of the cluster, they will explode as supernovae.

Luther Allison (August 17, 1939 – August 12, 1997) was an American blues guitarist. He was born in Widener, Arkansas, and moved with his family to Chicago in 1951. He taught himself guitar and began listening to blues extensively. Three years later he began hanging around outside blues nightclubs with the hopes of being invited to perform. He played with Howlin’ Wolf‘s band and backed James Cotton.

Allison’s big break came in 1957, when Howlin’ Wolf invited him to the stage. Freddie King took Allison under his wing, and after King got a record deal, Allison took over his gig in the house band of a club on Chicago’s West Side. He worked the club circuit in the late 1950s and early 1960s and recorded his first single in 1965. He signed a recording contract with Delmark Records in 1967 and released his debut album, Love Me Mama, the following year. He performed a well-received set at the 1969 Ann Arbor Blues Festival and as a result was asked to perform there in each of the next three years. He toured nationwide. In 1972, he signed with Motown Records, one of the few blues artists on that label. In the mid-1970s he toured Europe. He moved to France in 1977.

Allison was known for his powerful concert performances, lengthy soulful guitar solos and crowd walking with his Gibson Les Paul. He lived briefly during this period in Peoria, Illinois, where he signed with Rumble Records, releasing two live recordings, “Gonna Be a Live One in Here Tonight”, produced by Bill Knight, and “Power Wire Blues”, produced by George Faber and Jeffrey P. Hess.

Columbus Calvin “Duke” Pearson Jr. (August 17, 1932 – August 4, 1980) was an American jazz pianist and composer. Allmusic describes him as having a “big part in shaping the Blue Note label’s hard bop direction in the 1960s as a record producer.”

Pearson was born Columbus Calvin Pearson Jr. in Atlanta, Georgia, to Columbus Calvin and Emily Pearson. The moniker “Duke” was given to him by his uncle, who was a great admirer of Duke Ellington. Before he was six, his mother started giving him piano lessons.

Pearson performed with different ensembles in Georgia and Florida, including with Tab Smith and Little Willie John, before he moved to New York City in January 1959. He had, however, been able to get at least one song, “Tribute to Brownie” (dedicated to Clifford Brown), recorded by the Cannonball Adderley Quintet on their 1957 album, Sophisticated Swing. In New York, Pearson gained the attention of the trumpeter Donald Byrd, who saw Pearson performing with the Art Farmer/Benny Golson Sextet (known as the Jazztet). Shortly afterwards, Byrd asked Pearson to join his newly formed band, the Donald Byrd–Pepper Adams Quintet. Pearson was also the accompanist for Nancy Wilson on tour in 1961. During that same year, Pearson became ill before a Byrd-Adams show, and a newcomer, Herbie Hancock, took over for him. Hancock eventually took over the position permanently.

Ike Abrams Quebec (August 17, 1918 – January 16, 1963) was an American jazz tenor saxophonist. He began his career in the big band era of the 1940s, then fell from prominence for a time until launching a comeback in the years before his death.

Critic Alex Henderson wrote, “Though he was never an innovator, Quebec had a big, breathy sound that was distinctive and easily recognizable, and he was quite consistent when it came to down-home blues, sexy ballads, and up-tempo aggression.”

Quebec was born in Newark, New Jersey. An accomplished dancer and pianist, he switched to tenor sax as his primary instrument in his early twenties, and quickly earned a reputation as a promising player. His recording career started in 1940, with the Barons of Rhythm.

Later on, he recorded or performed with Frankie Newton, Hot Lips Page, Roy Eldridge, Trummy Young, Ella Fitzgerald, Benny Carter and Coleman Hawkins. Between 1944 and 1951, he worked intermittently with Cab Calloway. He recorded for Blue Note Records in this era, and also served as a talent scout for the label (helping pianists Thelonious Monk and Bud Powell come to wider attention). Due to his exceptional sight reading skills, Quebec was also an uncredited impromptu arranger for many Blue Note sessions.

World Music on Flamenco Fridays featuring Paco de Lucia performing Tarantas.

Tarantas and Taranto are two related styles (palos) of Flamenco music, that originated in the Andalusian province of Almería. Each is characterized by a shared modality (F-sharp Phrygian) and harmonic progression (Bm – A7 – G – F-sharp), but differ significantly with respect to rhythm and meter. Tarantas is a cante libre (or tocque libre, if played as a solo), meaning that it lacks both a regular rhythmic pattern (compás, in flamenco terminology) and a regular rhythmic unit (or beat). It can be sung or played, but not danced. Taranto, conversely, has a regular 2/4 meter, and is danceable. When played on, or accompanied by, the guitar, both palos have a unique and characteristic sound that is created, in part, by dissonances that result from the use of the guitar’s first three open strings (E, B, and G, respectively), in combination with harmonies and melodies based on the F-sharp Phrygian mode.

Farwell Aretha Franklin

You will Shine Forever!

The great American soul singer Aretha Franklin has died at the age of 76, her representative has said. She was reported to have been gravely ill with her family at her bedside.

“In one of the darkest moments of our lives, we are not able to find the appropriate words to express the pain in our heart. We have lost the matriarch and rock of our family. The love she had for her children, grandchildren, nieces, nephews, and cousins knew no bounds,” Franklin’s family said.

Franklin had been in ill health since 2010, when she was diagnosed with a tumour but returned to intermittent live performance after undergoing surgery. She died of advanced pancreatic cancer. Despite having announced her retirement from performing in 2017, she was due to headline two shows at the New Orleans Jazz and Heritage Fest this April but cancelled on doctor’s orders. Her last performance was at the Cathedral of Saint John the Divine in New York City during Elton John’s 25th anniversary gala for the Elton John Aids Foundation on 7 November 2017.

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Known as “the queen of soul”, Franklin sold more than 75m records in her lifetime and won 18 Grammy awards. She had 77 entries in the US Billboard Hot 100 and 20 No 1 singles on the R&B chart. Her last album was A Brand New Me, released in November 2017, which paired archival vocal recordings for Atlantic Records with new orchestral arrangements by the Royal Philharmonic Orchestra. Her last original recording was Aretha Franklin Sings the Great Diva Classics in 2014, which included her take on Adele’s Rolling in the Deep.

William John Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist and composer who mostly worked in a trio setting.Evans’ use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, “singing” melodic lines continue to influence jazz pianists today.

Born in Plainfield, New Jersey, in 1929, he was classically trained, and studied at Southeastern Louisiana University and the Mannes School of Music, where he majored in composition and received the Artist Diploma. In 1955, he moved to New York City, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis‘s sextet, where he was to have a profound influence. In 1959, the band, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time.^[3] During that time, Evans was also playing with Chet Baker for the album Chet.

In late 1959, Evans left the Miles Davis band and began his career as a leader, with bassist Scott LaFaro and drummer Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, ten days after recording the highly acclaimed Sunday at the Village Vanguard and Waltz for Debbyalbums, LaFaro died in a car accident. After months of seclusion, Evans re-emerged with a new trio, featuring bassist Chuck Israels.

In 1963, Evans recorded Conversations with Myself, an innovative solo album using the unconventional (in jazz solo recordings) technique of overdubbing over himself. In 1966, he met bassist Eddie Gómez, with whom he would work for eleven years. Many successful albums followed, in trio, duo, and solo settings, such as Bill Evans at the Montreux Jazz Festival, Alone, and The Bill Evans Album, among others.

Many of Evans’s compositions, such as “Waltz for Debby“, have become standards and have been played and recorded by many artists. Evans was honored with 31 Grammy nominations and seven awards and was inducted into the Down Beat Jazz Hall of Fame.

Evans grew up in North Plainfield, New Jersey, the son of Harry and Mary Evans (née Soroka). His father was of Welsh descent and ran a golf course; his mother was of Carpatho-Rusyn ancestry and descended from a family of coal miners. The marriage was stormy owing to his father’s heavy drinking, gambling, and abuse. He had a brother, Harry (Harold), two years his senior, with whom he shared a very close relationship.

Malcolm Earl “Mal” Waldron (August 16, 1925 – December 2, 2002) was an American jazz pianist, composer, and arranger. He started playing professionally in New York in 1950, after graduating from university. In the following dozen years or so Waldron led his own bands and played for those led by Charles Mingus, Jackie McLean, John Coltrane, and Eric Dolphy, among others. During Waldron’s period as house pianist for Prestige Records in the late 1950s, he appeared on dozens of albums and composed for many of them, including writing his most famous song, “Soul Eyes“, for Coltrane. Waldron was often an accompanist for vocalists, and was Billie Holiday‘s regular accompanist from April 1957 until her death in July 1959.

A breakdown caused by a drug overdose in 1963 left Waldron unable to play or remember any music; he regained his skills gradually, while redeveloping his speed of thought. He left the U.S. permanently in the mid-1960s, settled in Europe, and continued touring internationally until his death.

In his 50-year career, Waldron recorded more than 100 albums under his own name and more than 70 for other band leaders. He also wrote for modern ballet, and composed the scores of several feature films. As a pianist, Waldron’s roots lay chiefly in the hard bop and post-bop genres of the New York club scene of the 1950s, but with time he gravitated more towards free jazz. He is known for his dissonant chord voicings and distinctive later playing style, which featured repetition of notes and motifs.

Mal Waldron was born in New York City on August 16, 1925, to West Indian immigrants. His father was a mechanical engineer who worked on the Long Island Rail Road. The family moved to Jamaica, Queens when Mal was four years old.

Carl Lee Perkins (April 9, 1932 – January 19, 1998) was an American singer-songwriter who recorded most notably at the Sun Studio, in Memphis, beginning in 1954. His best-known song is “Blue Suede Shoes“.

According to Charlie Daniels, “Carl Perkins’ songs personified the rockabilly era, and Carl Perkins’ sound personifies the rockabilly sound more so than anybody involved in it, because he never changed.” Perkins’s songs were recorded by artists (and friends) as influential as Elvis Presley, the Beatles, Jimi Hendrix, and Johnny Cash, which further established his place in the history of popular music. Paul McCartney claimed that “if there were no Carl Perkins, there would be no Beatles.”

Called “the King of Rockabilly”, he was inducted into the Rock and Roll Hall of Fame, the Rockabilly Hall of Fame, the Memphis Music Hall of Fame, and the Nashville Songwriters Hall of Fame. He also received a Grammy Hall of Fame Award.

Perkins was born near Tiptonville, Tennessee, the son of poor sharecroppers, Buck and Louise Perkins (misspelled on his birth certificate as “Perkings”). He grew up hearing southern gospelmusic sung by white friends in church and by African-American field workers when he worked in the cotton fields.^[5] Beginning at the age of six, during spring and autumn, school days would be followed by a few hours of work in the fields. In the summer, workdays were 12 to 14 hours, “from can to can’t.”

Joseph Armand “Joe” Castro (August 15, 1927 – December 13, 2009) was an American bebop jazz pianist, based primarily on the West Coast of the United States.

Castro was born in Miami, Arizona on August 15, 1927 to John L. Castro and Lucy Sanchez. Castro went to school in Pittsburg, California in the San Francisco Bay area, north of Oakland, where he began playing professionally at the age of 15. His enrollment at San Jose State University was interrupted twice—first by a stint in the army from 1946 to 1947 and then when he formed his first jazz trio working on both the West Coast and in Hawaii. In 1956 Castro moved to New York City, where his trio successfully appeared in the city’s top jazz clubs—Basin Street, The Embers, The Hickory House and Birdland. He was critically lauded by the likes of Leonard Feather who described his style as “assertively swinging,” and Dave Brubeck, who had known Castro since the early 1950s, as “an extremely talented individual, a fine musician, an excellent pianist and a tasteful performer.” In 1958, he moved to Los Angeles to be associated almost exclusively with Teddy Edwards, Billy Higgins and Leroy Vinnegar. “The group has been very important to me,” Castro says. “I had been working so long with piano trios, I had to learn how to play less and say more. Actually I have more freedom in this group without having to carry the load.” Castro recorded and performed extensively with The Teddy Edwards Quartet while also making two of his own recordings as a leader for Atlantic Records.

Oscar Emmanuel Peterson, CC, CQ, OOnt (August 15, 1925 – December 23, 2007) was a Canadian jazz pianist and composer. He was called the “Maharaja of the keyboard” by Duke Ellington, but simply “O.P.” by his friends. He released over 200 recordings, won eight Grammy Awards, and received numerous other awards and honours. He is considered one of the greatest jazz pianists, and played thousands of concerts worldwide in a career lasting more than 60 years.

Peterson was born to immigrants from the West Indies; his father worked as a porter for Canadian Pacific Railway. Peterson grew up in the neighborhood of Little Burgundy in Montreal, Quebec.

In 1950 Peterson worked in a duo with double bassist Ray Brown. Two years later they added guitarist Barney Kessel. Then Herb Ellis stepped in after Kessel grew wearing of touring. The trio remained together from 1953 to 1958, often touring with Jazz at the Philharmonic. Peterson also worked in a duo with Sam Jones, Niels-Henning Ørsted Pedersen, Joe Pass, Irving Ashby, Count Basie, and Herbie Hancock.

The group Aljibe, based in Guadalajara