mick laBriola

Sally Nyolo was born in a small village called Eyen-Meyong, in southern Cameroon.

Chant Down Babylon

3-22-18

RHYTHM ROOTS WORKSHOP

Wednesday March 21st 2018 noon-2pm

Partnership Resources Inc Minneapolis

With the GOLD STARS percussion ensemble with Fartun, Katrina, Tami, Darani, Maria, Brad, Monique, Mohamed, Breanna and Daisy.

NGC 3972, also known as LEDA 37466 and IRAS 11531+5535, lies approximately 59 million light-years away from Earth.

First discovered by the British astronomer William Herschel in 1789, the galaxy is a member of the M109 group of galaxies, also known as the NGC 3992 Group or Ursa Major cloud.

In 2011, Chinese astronomers Zhangwei Jin and Xing Gao observed a Type Ia supernova, called SN 2011by, in NGC 3972.

All of these supernovae peak at the same brightness and are brilliant enough to be seen over relatively longer distances.

NGC 3972 also contains many pulsating stars called Cepheid variables.

These stars change their brightness at a rate matched closely to their intrinsic luminosity, making them ideal cosmic lighthouses for measuring accurate distances to relatively nearby galaxies.

Astronomers search for Cepheid variables in nearby galaxies which also contain a Type Ia supernova so they can compare the true brightness of both types of stars.

That brightness information is used to calibrate the luminosity of Type Ia supernovae in far-flung galaxies so that they can calculate the galaxies’ distances from Earth.

Once astronomers know accurate distances to galaxies near and far, they can determine and refine the expansion rate of the Universe.

This image of NGC 3972 was taken in 2015 with Hubble’s Wide Field Camera 3(WFC3), as part of a project to improve the precision of the Hubble constant.

Yoshio Suzuki (Bassist, Composer/Arranger)

March 21, 1946

Born in Kiso-Fukushima, Nagano Prefecture, Japan.
Mr. Suzuki grew up in a musical family where his father was a violin craftsman, his mother a piano teacher, and his uncle, the founder of the world renowned “Suzuki Method”. He learnt piano and violin as a child and also played guitar during high school. He played piano in the Waseda University Modern Jazz ensemble.

Upon graduation, Mr. Suzuki started his professional career as a pianist. Soon he started studying under Japanese jazz icon, Sadao Watanabe. Around this time, Mr. Watanabe advised him to pursue bass as his main instrument.

From 1969 ~ ’73 he was the bass chair for Sadao Watanabe group and Masabumi Kikuchi group.

In October 1973, he moved to New York and started his career in America.
In 1974 he worked for Stan Getz as his regular bassist. Furthermore, he was the bassist for the legendary group “Art Blakey and the Jazz Messengers” from 1975 ~ ’76.

From 1976 ~ ’80, Mr. Suzuki worked mainly with Bill Hardman&Junior Cook band. He also led his own group in New York City featuring David Liebman on saxophone. During this period, he also worked with Sonny Rollins, Lee Konitz, and Chet Baker. Simultaneously, he studied classical composition. By blending his jazz, classical and Japanese influences, he created a unique composing style and a musical voice.

Mr. Suzuki returned to Japan in 1985 and formed his own group MATSURI.
In 1992, he signed a contract with Video Arts Music and released an all -original composition featured album “THE MOMENT”(recorded in NY) from the ONE VOICE label. His proceeding releases also feature all original compositions of his own.

In 1993 He formed his own group EAST BOUNCE featuring Souichi Noriki (p, key), Masahiro Fujioka (sax) and Cecil Monroe (ds).

Solomon Burke (born James Solomon McDonald, March 21, 1940 – October 10, 2010 Philadelphia,PA) was an American preacher and singer who shaped the sound of rhythm and blues as one of the founding fathers of soul music in the 1960s. He has been called a “a key transitional figure bridging R&B and soul”, and was known for his “prodigious output”.

He had a string of hits including “Cry to Me“, “If You Need Me“, “Got to Get You Off My Mind“, “Down in the Valley” and “Everybody Needs Somebody to Love“. Burke was referred to as “King Solomon”, the “King of Rock ‘n’ Soul”, “Bishop of Soul” and the “Muhammad Ali of soul”. Due to his minimal chart success in comparison to other soul music greats such as James Brown, Wilson Pickett and Otis Redding, Burke has been described as the genre’s “most unfairly overlooked singer” of its golden age. Atlantic Records executive Jerry Wexler once referred to Burke as “the greatest male soul singer of all time”

Eddie James “Son” House, Jr. (March 21, 1902 – October 19, 1988 Lyon, MS) was an American delta blues singer and guitarist, noted for his highly emotional style of singing and slide guitar playing.

After years of hostility to secular music, as a preacher and for a few years also as a church pastor, he turned to blues performance at the age of 25. He quickly developed a unique style by applying the rhythmic drive, vocal power and emotional intensity of his preaching to the newly learned idiom. In a short career interrupted by a spell in Parchman Farm penitentiary, he developed to the point that Charley Patton, the foremost blues artist of the Mississippi Delta region, invited him to share engagements and to accompany him to a 1930 recording session for Paramount Records.

Issued at the start of the Great Depression, the records did not sell and did not lead to national recognition. Locally, House remained popular, and in the 1930s, together with Patton’s associate Willie Brown, he was the leading musician of Coahoma County. There he was a formative influence on Robert Johnson and Muddy Waters. In 1941 and 1942, House and the members of his band were recorded by Alan Lomax and John W. Work for the Library of Congress and Fisk University. The following year, he left the Delta for Rochester, New York, and gave up music.

In 1964, a group of young record collectors discovered House, whom they knew of from his records issued by Paramount and by the Library of Congress. With their encouragement, he relearned his repertoire and established a career as an entertainer, performing for young, mostly white audiences in coffeehouses, at folk festivals and on concert tours during the American folk music revival, billed as a “folk blues” singer. He recorded several albums, and some informally taped concerts have also been issued as albums. House died in 1988.

In addition to his early influence on Robert Johnson and Muddy Waters, he was an inspiration to John Hammond, Alan Wilson (of Canned Heat), Bonnie Raitt, the White Stripes, Dallas Green and John Mooney.

From the Yorba tradition of Egrem, Cuba

https://www.youtube.com/watch?v=OBy3QD9f8yU&t=0s&list=PLEB3LPVcGcWbHKyo-uy8CkVvebHEsluVK&index=14

Sentry

3-21-18

RHYTHM ROOTS WORKSHOP

Tuesday March 20th noon-2pm

Partnership Resources Inc St Louis Park

Annie and Marrie working with Chicka Boom Chicka Boom

Percussion Ensemble.

The new image shows a part of a bigger complex called the Orion Molecular Cloud located about 1,350 light-years away. This region is a rich melting pot of bright nebulae, hot young stars and cold dust clouds.

The submillimeter-wavelength glow arising from the cold dust clouds is seen in orange in this image and is overlaid on a view of the region taken in the more familiar visible light.

The large bright cloud in the upper right of the image is the well-known Orion Nebula, also known as Messier 42.

The Orion Nebula is the brightest part of a huge stellar nursery where new stars are being born, and is the closest site of massive star formation to Earth.

The dust clouds form beautiful filaments, sheets, and bubbles as a result of processes including gravitational collapse and the effects of stellar winds. These winds are streams of gas ejected from the atmospheres of stars, which are powerful enough to shape the surrounding clouds into the convoluted forms seen here.

The astronomers have used these and other data to search the region of Orion for protostars – an early stage of star formation.

They have so far been able to identify 15 objects that appeared much brighter at longer wavelengths than at shorter wavelengths.

These newly discovered rare objects, described in a paper published in the Astrophysical Journal (ESO’s version), are probably among the youngest protostars ever found, bringing astronomers closer to witnessing the moment when a star begins to form.

Harold Mabern, Jr. (born March 20, 1936) is an American jazz pianist and composer, principally in the hard bop, post-bop, and soul jazz fields. He is described in The Penguin Guide to Jazz Recordings as “one of the great post-bop pianists”.

Mabern was born in Memphis, Tennessee. He initially started learning drums before switching to learning piano. He had access to a piano from his teens, after his father, who worked in a lumber yard, saved to buy him one. Mabern learned by watching and emulating pianists Charles Thomas and Phineas Newborn, Jr. Mabern attended Douglass High School, before transferring to Manassas High School; he played with Frank Strozier, George Coleman and Booker Little at this time, but was most influenced by Newborn, Jr. In 1954, after graduating, Mabern moved to Chicago, intending to attend the American Conservatory of Music. He was unable to afford to attend music college because of a change in his parents’ financial circumstances, but had private lessons there for six months and developed his reading ability by playing with trombonist Morris Ellis’ big band. He also developed by listening to Ahmad Jamal and others in clubs, and “playing and practicing 12 hours a day” for the next five years, but he remained self-taught as a pianist. Mabern went on to play with Walter Perkins‘ MJT + 3 and others in Chicago.

Margaret Marian McPartland, OBE (née Turner; 20 March 1918 – 20 August 2013), was an English-American jazz pianist, composer and writer. She was the host of Marian McPartland’s Piano Jazz on National Public Radio from 1978 to 2011.

After her marriage to trumpeter Jimmy McPartland in February 1945, she resided in the United States when not travelling throughout the world to perform. In 1969 she founded Halcyon Records, a recording company that produced albums for 10 years. In 2000 she was named a National Endowment for the Arts Jazz Master. In 2004 she was given a Grammy Award for lifetime achievement. In 2007 she was inducted into the National Radio Hall of Fame. Although known mostly for jazz, she composed other types of music as well, performing her own symphonic work A Portrait of Rachel Carson with the University of South Carolina Symphony Orchestra in 2007. In 2010 she was named a member of the Order of the British Empire.

Margaret Marian Turner was born on 20 March 1918 to Frank and Janet (née Payne) Turner. She had one younger sibling, a sister, Joyce. She demonstrated early aptitude at the piano, and would later realize that she had perfect pitch. Margaret (Maggie to her family) studied violin from the age of nine, but never took to the instrument. She also trained as a vocalist and received a number of favorable reviews in the local paper. Janet refused to find her daughter a piano teacher until the age of 16, by which time Margaret was already adept at learning songs by ear. This lack of early education meant that Marian was never a strong reader of notated music, and would always prefer to learn through listening.

Sister Rosetta Tharpe (March 20, 1915 – October 9, 1973 Cotton Plant, AK) was an American singer, songwriter, guitarist, and recording artist. As a pioneer of mid-20th-century music, she attained popularity in the 1930s and 1940s with her gospel recordings, characterized by a unique mixture of spiritual lyrics and rhythmic accompaniment that was a precursor of rock and roll. She was the first great recording star of gospel music and among the first gospel musicians to appeal to rhythm-and-blues and rock-and-roll audiences, later being referred to as “the original soul sister” and “the Godmother of rock and roll”. She influenced early rock-and-roll musicians, including Little Richard, Johnny Cash, Carl Perkins, Chuck Berry, Elvis Presley and Jerry Lee Lewis.

Tharpe was a pioneer in her guitar technique; she was among the first popular recording artists to use heavy distortion on her electric guitar, presaging the rise of electric blues. Her guitar playing technique had a profound influence on the development of British blues in the 1960s; in particular a European tour with Muddy Waters in 1963 with a stop in Manchester is cited by prominent British guitarists such as Eric Clapton, Jeff Beck, and Keith Richards.

https://www.youtube.com/watch?v=MnAQATKRBN0

Traditional music from the Yoruba via Sanataria y Candoble

https://www.youtube.com/watch?v=lrmRcSz2jGQ&index=2&list=RDI_zt28ldH1I

No Wicked Shall Enter The Kingdom Of Zion (extended mix)

3-20-18

A new composite image of the Crab Nebula features X-rays from Chandra (blue and white), optical data from Hubble (purple), and infrared data from Spitzer (pink). Chandra has repeatedly observed the Crab since the telescope was launched into space in 1999. The Crab Nebula is powered by a quickly spinning, highly magnetized neutron star called a pulsar, which was formed when a massive star ran out of its nuclear fuel and collapsed. The combination of rapid rotation and a strong magnetic field in the Crab generates an intense electromagnetic field that creates jets of matter and anti-matter moving away from both the north and south poles of the pulsar, and an intense wind flowing out in the equatorial direction.

Clarence Henry II (born March 19, 1937), known as Clarence “Frogman” Henry, is an American rhythm and blues singer and pianist, best known for his hits “Ain’t Got No Home” (1956) and “But I Do” (1961).

Clarence Henry was born in New Orleans in 1937, moving to the Algiers neighborhood in 1948. He started learning piano as a child, with Fats Domino and Professor Longhair being his main influences. When Henry played in talent shows, he dressed like Longhair and wore a wig with braids on both sides. He joined Bobby Mitchell & the Toppers in 1952, playing piano and trombone, before leaving when he graduated in 1955 to join saxophonist Eddie Smith’s band.^[1][2]

He used his trademark croak to improvise the song “Ain’t Got No Home” one night in 1955. Chess Records‘ A&R man Paul Gayten heard the song, and had Henry record it in Cosimo Matassa‘s studio in September 1956. Initially promoted by local DJ Poppa Stoppa, the song eventually rose to number 3 on the national R&B chart and number 20 on the US pop chart. The gimmick earned Henry his nickname of ‘Frogman’ and jump-started a career that endures to this day.

https://www.youtube.com/watch?v=ZlDBLIkHih8

Leonard Joseph “Lennie” Tristano (March 19, 1919 – November 18, 1978) was an American jazz pianist, composer, arranger, and teacher of jazz improvisation.

Tristano studied for bachelor’s and master’s degrees in music in Chicago before moving to New York City in 1946. He played with leading bebopmusicians and formed his own small bands, which soon displayed some of his early interests – contrapuntal interaction of instruments, harmonic flexibility, and rhythmic complexity. His quintet in 1949 recorded the first free group improvisations. Tristano’s innovations continued in 1951, with the first overdubbed, improvised jazz recordings, and two years later, when he recorded an atonal improvised solo piano piece that was based on the development of motifs rather than on harmonies. He developed further via polyrhythms and chromaticism into the 1960s, but was infrequently recorded.

Tristano started teaching music, especially improvisation, in the early 1940s, and by the mid-1950s was concentrating on teaching in preference to performing. He taught in a structured and disciplined manner, which was unusual in jazz education when he began. His educational role over three decades meant that he exerted an influence on jazz through his students, including saxophonists Lee Konitz and Warne Marsh.

Musicians and critics vary in their appraisal of Tristano as a musician. Some describe his playing as cold and suggest that his innovations had little impact; others state that he was a bridge between bebop and later, freer forms of jazz, and assert that he is less appreciated than he should be because commentators found him hard to categorize and because he chose not to commercialize.