mick laBriola

Willie Hugh Nelson (born April 29, 1933 Abbott, TX) is an American country singer, guitarist and songwriter. He was one of the main figures of the outlaw country subgenre that developed in the late 1960s as a reaction to the conservative restrictions of the Nashville sound. The critical success of his album Shotgun Willie (1973), combined with the critical and commercial success of Red Headed Stranger (1975) and Stardust (1978), made Nelson one of the most recognized artists in country music. Nelson has acted in over 30 films, co-authored several books, and has been involved in activism for the use of biofuels and the legalization of marijuana.

Nelson wrote his first song at age seven and joined his first band at ten. During high school, he toured locally with the Bohemian Polka as their lead singer and guitar player. After graduating from high school in 1950, he joined the U.S. Air Force but was later discharged due to back problems. After his return, Nelson attended Baylor University for two years but dropped out because he was succeeding in music. He worked as a disc jockey at radio stations in his native Texas, and in several radio stations in the Pacific Northwest, all the while working as a singer and songwriter throughout the late 1950s. During that time, he wrote songs that would become country standards, including “Funny How Time Slips Away“, “Hello Walls“, “Pretty Paper“, and “Crazy“. In 1960 he moved to Nashville, Tennessee, and later signed a publishing contract with Pamper Music which allowed him to join Ray Price’s band as a bassist. In 1962, he recorded his first album, …And Then I Wrote. Due to this success, Nelson signed in 1964 with RCA Victor and joined the Grand Ole Opry the following year. After mid-chart hits in the late 1960s and the early 1970s, Nelson grew weary of the corporate Nashville music scene, and in 1972 he moved to Austin, Texas. The ongoing music scene of Austin motivated Nelson to return to performing, appearing frequently at the Armadillo World Headquarters.

In 1973, after signing with Atlantic Records, Nelson turned to outlaw country, including albums such as Shotgun Willie and Phases and Stages. In 1975, he switched to Columbia Records, where he recorded the critically acclaimed album Red Headed Stranger. The same year, he recorded another outlaw country album, Wanted! The Outlaws, along with Waylon Jennings, Jessi Colter, and Tompall Glaser. During the mid-1980s, while creating hit albums like Honeysuckle Rose and recording hit songs like “On the Road Again“, “To All the Girls I’ve Loved Before“, and “Pancho and Lefty“, he joined the country supergroup The Highwaymen, along with fellow singers Johnny Cash, Waylon Jennings, and Kris Kristofferson. In 1985, he helped organize the first Farm Aid concert to benefit American farmers; the concerts have been held annually ever since and Nelson has been a fixture, appearing at every one.

In 1990, Nelson’s assets were seized by the Internal Revenue Service, which claimed that he owed $32 million. The difficulty of paying his outstanding debt was aggravated by weak investments he had made during the 1980s. In 1992, Nelson released The IRS Tapes: Who’ll Buy My Memories?; the profits of the double album—destined to the IRS—and the auction of Nelson’s assets cleared his debt. During the 1990s and 2000s, Nelson continued touring extensively, and released albums every year. Reviews ranged from positive to mixed. He explored genres such as reggae, blues, jazz, and folk.

Nelson made his first movie appearance in the 1979 film The Electric Horseman, followed by other appearances in movies and on television. Nelson is a major liberal activist and the co-chair of the advisory board of the National Organization for the Reform of Marijuana Laws (NORML), which is in favor of marijuana legalization. On the environmental front, Nelson owns the biodiesel brand Willie Nelson Biodiesel, whose product is made from vegetable oil. Nelson is also the honorary chairman of the advisory board of the Texas Music Project, the official music charity of the state of Texas.

Jean-Baptiste Frédéric Isidor, Baron Thielemans (29 April 1922 – 22 August 2016), known professionally as Toots Thielemans, was a Belgian jazz musician. He was mostly known for playing the chromatic harmonica, as well as his guitar and whistling skills, and composing. According to jazz historian Ted Gioia, his most important contribution was in “championing the humble harmonica”, which Thielemans made into a “legitimate voice in jazz”. He eventually became the “preeminent” jazz harmonica player.

His first professional performances were with Benny Goodman‘s band when they toured Europe in 1949 and 1950. He emigrated to the U.S. in 1951, becoming a citizen in 1957. From 1953 to 1959 he played with George Shearing, and then led his own groups on tours in the U.S. and Europe. In 1961 he recorded and performed live one of his own compositions, “Bluesette“, which featured him playing guitar and whistling. In the 1970s and 1980s, he continued touring and recording, appearing with musicians such as Oscar Peterson, Ella Fitzgerald, Sarah Vaughan, Bill Evans, Dizzy Gillespie, Kenny Werner, Pat Metheny, Jaco Pastorius, Mina Mazzini, Elis Regina, Quincy Jones, George Shearing, Natalie Cole, Billy Joel, Paul Simon, and Paquito D’Rivera.

Thielemans recorded the soundtracks for The Pawnbroker (1964), Midnight Cowboy (1969), The Getaway(1972), Cinderella Liberty (1973), The Sugarland Express (1974) and Looking for Mr. Goodbar (1977). His harmonica theme song for the popular Sesame Street TV show was heard for 40 years. He often performed and recorded with Quincy Jones, who once called him “one of the greatest musicians of our time.” In 2009 he was designated a Jazz Master by the National Endowment for the Arts, the highest honor for a jazz musician in the United States.

Prudencio Mario Bauzá Cárdenas (April 28, 1911 – July 11, 1993) was an Afro-Cuban jazz, and jazzmusician. He was among the first to introduce Cuban music to the United States by bringing Cuban musical styles to the New York City jazz scene. While Cuban bands had had popular jazz tunes in their repertoire for years, Bauzá’s composition “Tangá” was the first piece to blend jazz harmony and arranging technique, with jazz soloists and Afro-Cuban rhythms. It is considered the first true Afro-Cuban jazz tune.

As a child he studied clarinet becoming recognized as a child prodigy on the instrument and was featured with the Havana Symphony at the age of 11. Bauzá then performed on clarinet and bass clarinet with pianist Antonio María Romeu‘s charanga (flute and violins) orchestra. This proved a fateful event as the orchestra visited New York City to record in 1926. Bauzá’s stayed with his cousin, trumpeter René Endreira, who was a Harlem resident and played with The Santo Domingo Serenaders, a band was made up of Panamanians, Cubans, and Puerto Ricans playing jazz. The teenage Bauzá was impressed with Harlem’s African American community and the freedom they had. He also witnessed a performance of George Gershwin‘s “Rhapsody in Blue” and was inspired with saxophonist Frankie Trumbauer‘s feature in the piece. Upon his return to Cuba, he vowed he would return to New York City to become a jazz musician doing so in 1930 learning to play the alto saxophone while maintaining his clarinet technique. A chance encounter with vocalist Cuban vocalist Antonio Machin, who needed a trumpet player for an upcoming record date he was leading, gave Bauzá an unusual opportunity. Machin was the vocalist for the Don Azpiazú Havana Casino Orchestra who had taken New York City by storm with their public performances and recent hit recording of “El Manisero” (“The Peanut Vendor”). Machin was offered a record date to record four tunes. When Machin performed solo, he did so with two guitars, a trumpet, and himself on maracas. All the trumpet players that knew how to play in the Cuban style who were part of Azpiazú’s orchestra had left to return to Cuba. Faced with a dilemma Bauzá offered his services to Machin because he knew the finger positions on the horn buying a trumpet and in two weeks developed enough technique to play on the recordings. He now devoted his time to playing the instrument being inspired by Louis Armstrong. By 1933, Bauzá had been hired as lead trumpeter and musical director for drummer Chick Webb‘s Orchestra, and it was during this time with Webb that Bauzá both met fellow trumpeter Dizzy Gillespie, and allegedly discovered and brought into the band singer Ella Fitzgerald.

vdB 123¹, as designated in the van den Bergh catalog², is a blue reflection nebula⁷ located in the constellation Serpens approximately 800 light years (230 +/- 20 parsecs)³ from the Earth. This colorful nebula is embedded in a large cloud of dust and gas known as the Serpens Cloud³. This cloud overlays a rich field of background Milky Way stars. These background stars appear to be heavily “reddened” by the cloud’s intervening dust. A large dark nebula extending throughout the region is cataloged Dobashi 1260^5,6. These areas of dense dust obscures background stars and other celestial objects. The bright blue central nebula shines from light reflected from the bright star designed HD 170634¹. The blue color is a result of the surrounding dust reflecting the shorter wavelengths of light more efficiently than longer wavelengths. This is essentially the same phenomena that makes our Earthly sky appear blue.

James Lee Keltner (born April 27, 1942) is an American drummer and percussionist known primarily for his session work. He was characterized by Bob Dylan biographer Howard Sounes as “the leading session drummer in America”.

Keltner was inspired to start playing because of an interest in jazz, but the popularity of jazz was declining during the late 1950s and early 1960s, and it was the explosion of pop/rock in the mid-1960s that enabled him to break into recording work in Los Angeles. His first gig as a session musician was recording “She’s Just My Style” for the pop group Gary Lewis and the Playboys.

Keltner’s music career was hardly paying a living, and for several years at the outset he was supported by his wife. Toward the end of the 1960s, he finally began getting regular session work and eventually became one of the busiest drummers in Los Angeles. His earliest credited performances on record were with Gabor Szabo on the 1968 album Bacchanal.

In 1968, Keltner was also working in a music shop in Pasadena just down the street from the old Ice House coffeehouse when he was recruited to play drums in a “psychedelic” vocal group named “MC Squared” along with Michael Crowley, Michael Clough, Linda Carey—all from the folk group The Back Porch Majority)—and session guitarist/bassist Randy Cierley Sterling. They were signed by Mo Ostin and recorded an album for Warner/Reprise originally titled “MC Squared” which has later been re-mastered and re-released in 2012 with the album title “Tantalizing Colors.” They appeared live that same year on the Hugh Hefner / Playboy Magazine television show Playboy After Dark playing two songs: an original by MC Squared members Michael Clough and Michael Crowley titled “I Know You” and a version of the Fred Neilsong Everybody’s Talkin’. Both Playboy After Dark performances with Keltner playing drums can currently be viewed on YouTube.

It was his work with Leon Russell playing on Delaney & Bonnie’s Accept No Substitute that attracted the attention of Joe Cocker, who recruited Russell and everyone else he could out of the Delaney & Bonnie band for his Mad Dogs & Englishmen tour. Playing with Joe Cocker led to work in 1970 and 1971, on records by Carly Simon (No Secrets), Barbra Streisand (Barbra Joan Streisand), Booker T. Jones (Booker T. & Priscilla), George Harrison (The Concert for Bangladesh) and John Lennon (Imagine).

The Rosette Nebula (also known as Caldwell 49) is an H II region located near one end of a giant molecular cloud in the Monoceros region of the Milky Way Galaxy. The open cluster NGC 2244(Caldwell 50) is closely associated with the nebulosity, the stars of the cluster having been formedfrom the nebula’s matter.

The nebula has been noted to be having a shape reminiscent of a human skull, and is sometimes referred to as the “Skull Nebula.” It is not to be confused with NGC 246, which is also nicknamed the “Skull Nebula. Here is the panoramic photo of the Rosette Nebula, Cone Nebula, Christmas tree.
Following these two clear nights, without a Moon at the start of the night, I took a wide shot of the Rosette nebula, of the cone / Christmas tree, there are 3 photos with the 300mm f2.8 canon to make this panorama.
There are 4 hours per panel with unit exposures of 5 min.