mick laBriola

Lester Rallingston “Shad” Collins (June 27, 1910 – June 6, 1978) was an American jazz trumpet player, composer and arranger, who played in several leading bands between the 1930s and 1950s, including those led by Chick Webb, Benny Carter, Count Basie, Lester Young, Cab Calloway and Sam “The Man” Taylor.

Born in Elizabeth, New Jersey, the son of a clergyman, he acquired the nickname of “Shad” in his teens, and by the late 1920s had joined Charlie Dixon‘s band. He also performed with pianist Eddie White, before joining Chick Webb’s band in 1931. In the mid-1930s he played in Teddy Hill‘s band, with whom he toured in Britain and Europe, before joining the Count Basie Orchestra. He performed in Basie’s band at the From Spirituals to Swing concerts in New York City in 1938 and 1939. He also worked in the late 1930s in bands led by Benny Carter, Lester Young and Don Redman, among others.

Eleftheria Arvanitaki has been one of the most important figures of contemporary Greek music for the past years. The clarity and emotional depth of her voice, her magical stage presence, and the sincerity in her musical choices allow her to combine traditional Greek music idioms with up-to-date western rhythms and sounds.

The galaxy NGC 1187 is seen almost face-on, which gives us a good view of its spiral structure. About half a dozen prominent spiral arms can be seen, each containing large amounts of gas and dust. The bluish features in the spiral arms indicate the presence of young stars born out of clouds of interstellar gas.

Looking towards the central regions, we see the bulge of the galaxy glowing yellow. This part of the galaxy is mostly made up of old stars, gas and dust. In the case of NGC 1187, rather than a round bulge, there is a subtle central bar structure. Such bar features are thought to act as mechanisms that channel gas from the spiral arms to the centre, enhancing star formation there.

Around the outside of the galaxy many much fainter and more distant galaxies can also be seen. Some even shine right through the disc of NGC 1187 itself. Their mostly reddish hues contrast with the pale blue star clusters of the much closer object.

NGC 1187 looks tranquil and unchanging, but it has hosted two supernovae explosions since 1982. A supernova is a violent stellar explosion, resulting from the death of either a massive star or a white dwarf in a binary system . Supernovae are amongst the most energetic events in the Universe and are so bright that they often briefly outshine an entire galaxy before fading from view over several weeks or months. During this short period a supernova can radiate as much energy as the Sun is expected to emit over its entire life span.

In October 1982, the first supernova seen in NGC 1187 — SN 1982R was discovered at ESO’s La Silla Observatory and more recently, in 2007, the amateur astronomer Berto Monard in South Africa spotted another supernova in this galaxy — SN 2007Y. A team of astronomers subsequently performed a detailed study and monitored SN 2007Y for about a year using many different telescopes . This new image of NGC 1187 was created from observations taken as part of this study and the supernova can be seen, long after the time of maximum brightness, near the bottom of the image.

These data were acquired using the FORS1 instrument attached to the ESO’s Very Large Telescope at the Paranal Observatory in Chile.

Reginald “Reggie” Workman (born June 26, 1937 in Philadelphia, Pennsylvania) is an American avant-garde jazz and hard bop double bassist, recognized for his work with both John Coltrane and Art Blakey.

Workman was a member of jazz groups led by Gigi Gryce, Roy Haynes, Wayne Shorter and Red Garland. In 1961, Workman joined the John ColtraneQuartet, replacing Steve Davis. He was present for the saxophonist’s Live at the Village Vanguard sessions, and also recorded with a second bassist (Art Davis) on the 1961 album, Olé Coltrane. After a European tour, Workman left Coltrane’s group at the end of the year. Workman also played with James Moody, Art Blakey‘s Jazz Messengers, Yusef Lateef, Pharoah Sanders, Herbie Mann and Thelonious Monk. He has recorded with Archie Shepp, Lee Morgan and David Murray. Workman, with pianist Tommy Flanagan and drummer Joe Chambers, formed The Super Jazz Trio in 1978.

Big Bill Broonzy (born Lee Conley Bradley, June 26, 1903 – August 14, 1958) was an American blues singer, songwriter and guitarist. His career began in the 1920s, when he played country blues to mostly African-American audiences. Through the 1930s and 1940s he successfully navigated a transition in style to a more urban blues sound popular with working-class African-American audiences. In the 1950s a return to his traditional folk-blues roots made him one of the leading figures of the emerging American folk music revival and an international star. His long and varied career marks him as one of the key figures in the development of blues music in the 20th century.

Broonzy copyrighted more than 300 songs during his lifetime, including both adaptations of traditional folk songs and original blues songs. As a blues composer, he was unique in writing songs that reflected his rural-to-urban experiences.

Born Lee Conley Bradley, he was one of the seventeen children of Frank Broonzy (Bradley) and Mittie Belcher. The date and place of his birth are disputed. Broonzy claimed to have been born in Scott, Mississippi, but a body of emerging research compiled by the blues historian Robert Reisman suggests that he was born in Jefferson County, Arkansas.

The band’s catchy style is inspired by Afro-Colombian music, fueled by accordion and slow, steady cumbia beats along with vallenato rhythms.

Central region of the Trifid Nebula (M20 in the Messier Catalogue) taken by the Gemini North 8-meter Telescope on Mauna Kea on the Big Island of Hawaii, June 5, 2002. Located in the constellation of Sagittarius, the beautiful nebula is a much-photographed, dynamic cloud of gas and dust where stars are being born. One of the massive stars at the nebula’s center was born approximately 100,000 years ago. The nebula’s distance from the Solar System remains in dispute, but it is generally agreed to be somewhere between 2,200 to 9,000 light years away.

Joe Chambers (born June 25, 1942, near Philadelphia) is an American jazz drummer, pianist, vibraphonist and composer. He attended the Philadelphia Conservatory for one year. In the 1960s and 1970s Chambers gigged with many high-profile artists such as Eric Dolphy, Charles Mingus, Wayne Shorter, and Chick Corea. He has released eight albums as a bandleader and been a member of several incarnations of Max Roach‘s M’Boom percussion ensemble.

He has also taught, including at the New School for Jazz and Contemporary Music in New York City, where he leads the Outlaw Band.

Clifton Chenier (June 25, 1925 – December 12, 1987), a Louisiana French-speaking native of Opelousas, Louisiana, was an eminent performer and recording artist of Zydeco, which arose from Cajun and Creole music, with R&B, jazz, and blues influences. He played the accordion and won a Grammy Award in 1983. In 1984 he was honored as a National Heritage Fellow.^[3] He was inducted posthumously into the Blues Hall of Fame in 1989, and the Louisiana Music Hall of Fame in 2011. In 2014, he was a Grammy recipient of the Lifetime Achievement Award.

He was known as the King of Zydeco, and also billed as the King of the South.

John Henry Smith II (June 25, 1922 – June 11, 2013) was an American cool jazz and mainstream jazz guitarist. He wrote “Walk, Don’t Run” in 1954. In 1984, Smith was inducted into the Alabama Jazz Hall of Fame.

An extremely diverse musician, Johnny Smith was equally at home playing in the famous Birdland jazz club or sight-reading scores in the orchestral pit of the New York Philharmonic. From Schoenberg to Gershwin to originals, Smith was one of the most versatile guitarists of the 1950s.

As a staff studio guitarist and arranger for NBC from 1946 to 1951, and on a freelance basis thereafter until 1958, he played in a variety of settings from solo to full orchestra and had his own trio, The Playboys, with Mort Lindsey and Arlo Hults.

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

Haig Yazdjian was born of Armenian parents in Syria and has been living in Greece for the last 20 years. In Syria he discovered the enchanting elements of Eastern music, and took up the ud as the means to express an inner undiscovered domain.

https://www.youtube.com/watch?v=Wu59WhIN8rk

Your Community Band!
Performing Sunday 6-24-18 2pm
East Phillips Park (near Little Earth)
2307 17th Ave S, Minneapolis, MN 55404
An eclectic brass band extravaganza.
Ralph-tuba, Sawebone and Rob-trombone, Andrew-clarinet,Dana,Kathryn,Jill-flutes,Hilary-trumpet, mick-drums,
Russell-al s, Van-trombone
Performing this Abdullah Ibrahim Dollar Brand tune.

Approximately 95 million light-years away, in the southern constellation of Octans (The Octant), lies NGC 7098 — an intriguing spiral galaxy with numerous sets of double features. The first of NGC 7098’s double features is a duo of distinct ring-like structures that loop around the galaxy’s hazy heart. These are NGC 7098’s spiral arms, which have wound themselves around the galaxy’s luminous core. This central region hosts a second double feature: a double bar.

NGC 7098 has also developed features known as ansae, visible as small, bright streaks at each end of the central region. Ansae are visible areas of overdensity — they commonly take looping, linear, or circular shapes, and can be found at the extremities of planetary ring systems, in nebulous clouds, and, as is the case with NGC 7098, in parts of galaxies that are packed to the brim with stars.

This image is formed from data gathered by the FOcal Reducer and low dispersion Spectrograph (FORS) instrument, installed on ESO’s Very Large Telescope at Paranal Observatory. An array of distant galaxies are also visible throughout the frame, the most prominent being the small, edge-on, spiral galaxy visible to the left of NGC 7098, known as ESO 048-G007.

Geoffrey Arnold Beck (born 24 June 1944) is an English rock guitarist. He is one of the three noted guitarists to have played with The Yardbirds (the other two being Eric Clapton and Jimmy Page). Beck also formed The Jeff Beck Group and with Tim Bogert and Carmine Appice, he formed Beck, Bogert & Appice.

Much of Beck’s recorded output has been instrumental, with a focus on innovative sound, and his releases have spanned genre ranging from blues rock, hard rock, and an additional blend of guitar-rock and electronica. Although he recorded two hit albums (in 1975 and 1976) as a solo act, Beck has not established or maintained the sustained commercial success of many of his contemporaries and bandmates. Beck appears on albums by Rod Stewart, Mick Jagger, Tina Turner, Morrissey, Donovan, Diana Ross, Jon Bon Jovi, Malcolm McLaren, Kate Bush, Roger Waters, Stevie Wonder, Les Paul, Zucchero, Cyndi Lauper, Brian May, Roger Taylor, Stanley Clarke, Screaming Lord Sutch, ZZ Top, and Toots and the Maytals.

Lester B. Williams (June 24, 1920 – November 13, 1990) was an American Texas blues and electric blues guitarist, singer and songwriter. He is best known for his song “Winter Time Blues” and “I Can’t Lose with the Stuff I Use”. His main influence was T-Bone Walker.

Williams released several singles in the 1950s. His recording career lasted from 1949 to 1956, but he remained a stalwart of the Houston blues circuit for decades.

Williams was born in Groveton, Texas. When he was a young boy his family relocated to Houston. After serving in World War II, Williams sang at Houston’s Eldorado Ballroom, but quit and enrolled at the New England Conservatory in Boston, Massachusetts, to study piano and voice. He did not graduate, and he returned to Houston, where he taught himself to play the guitar and started to write songs. Walker’s influence inspired Williams, who said to himself, “I could learn to play guitar and pull in some of that money that T-Bone made”. Having formed his own group in 1949, he wrote “Winter Time Blues”, which came from his own experience when his wife and daughter traveled to Los Angeles for the summer, leaving him to contemplate the winter alone. The song included the lyric “Winter without your baby, you might as well be dead”.

Terrence Mitchell “Terry” Riley (/ˈraɪli/; born June 24, 1935) is an American composer and performing musician associated with the minimalistschool of Western classical music, of which he was a pioneer. His work is deeply influenced by both jazz and Indian classical music, and has utilized innovative tape music techniques and delay systems. He is best known for works such as his 1964 composition In C and 1969 album A Rainbow in Curved Air, both considered landmarks of minimalist music.

Born in Colfax, California in 1935, Riley studied at Shasta College, San Francisco State University, and the San Francisco Conservatory before earning an MA in composition at the University of California, Berkeley, studying with Seymour Shifrin and Robert Erickson. He was involved in the experimental San Francisco Tape Music Center, working with Morton Subotnick, Steve Reich, Pauline Oliveros, and Ramon Sender. His most influential teacher, however, was Pandit Pran Nath (1918–1996), a master of Indian classical voice who also taught La Monte Young and Marian Zazeela. Riley made numerous trips to India over the course of their association to study and to accompany him on tabla, tambura, and voice. Throughout the 1960s he traveled frequently around Europe as well, taking in musical influences and supporting himself by playing in piano bars, until he joined the Mills College faculty in 1971 to teach Indian classical music. He was awarded an Honorary Doctorate Degree in Music at Chapman University in 2007.

Aside from his wonderful singing voice, his great gift was as a band leader and musical arranger.  His arrangements were totally new within the context of Middle Eastern music, with the needs of the dancer totally in mind, thus he pioneered something new and accessible to the American audiences that were coming to the shows.  He brought this music out from the weddings and haflas and into the clubs.  Another very important detail was the role of the dancer as an essential contribution to the musical ensemble, and not simply as a decorative ornament.  I feel in this context the dancer was part of a band, which was very different in America previously, where belly dancing was to be seen mostly as Burlesque, with completely unrelated music, or a worse environment – Hollywood movies.  I believe he helped bring belly dancing to an appreciative art-form and changed its image by being faithful to it, without removing the sensuality from it, or disguising it with colorful genre terminology such as “Goddess Dance” or “American Tribal” sub-divisions that thankfully, didn’t exist in those days drawing boundaries.  If this was all he ever did for the art-form, his contribution is huge.