Willie James Mabon (October 24, 1925 – April 19, 1985) was an American R&B singer, songwriter and pianist, who had two number one hits on the Billboard R&B chart: “I Don’t Know” in 1952 and “I’m Mad” in 1953.
Mabon was born and brought up in the Hollywood district of Memphis, Tennessee. He moved to Chicago in 1942, by which time he had become known as a singer and pianist. He formed a group, the Blues Rockers, and in 1949 began recording for Aristocrat Records and then Chess Records.
His biggest success came in 1952 when his debut solo release, “I Don’t Know“, written by Cripple Clarence Lofton (who received no royalties),topped the Billboard R&B chart for eight weeks. It was one of the most popular releases of its era and was Chess’s biggest hit before the successes of Chuck Berry and Bo Diddley. It was also one of the first R&B hit records to be covered by a leading white artist, Tennessee Ernie Ford. Mabon’s original was played on Alan Freed‘s early radio shows and also sold well to white audiences, crossing over markets at the start of the rock-and-roll era.
Mabon returned to the top R&B slot in 1953 with “I’m Mad” and had another hit in 1954 with the Mel London song “Poison Ivy”. However, his career failed to maintain its momentum, and record releases in the late 1950s on various labels were largely unsuccessful. Releases in the 1960s included “I’m the Fixer” and “Got to Have Some”.
see full post...Saunders Teddell, or Saunders Terrell (or other variants, sources differ) (October 24, 1911 – March 11, 1986), known as Sonny Terry, was an American Piedmont blues and folk musician, who was known for his energetic blues harmonica style, which frequently included vocal whoops and hollers and occasionally imitations of trains and fox hunts.
Terry was born in Greensboro, Georgia. His father, a farmer, taught him to play basic blues harp as a youth. He sustained injuries to his eyes and went blind by the time he was 16, which prevented him from doing farm work, and was forced to play music in order to earn a living. Terry played “Campdown Races” to the plow horses which improved the efficiency of farming in the area. He began playing blues in Shelby, North Carolina. After his father died, he began playing with Piedmont blues–style guitarist Blind Boy Fuller. When Fuller died in 1941, Terry established a long-standing musical relationship with Brownie McGhee, and they recorded numerous songs together. The duo became well known among white audiences during the folk music revival of the 1950s and 1960s. This included collaborations with Styve Homnick, Woody Guthrie and Moses Asch, producing classic recordings for Folkways Records (now Smithsonian/Folkways).
see full post...This complex is the eastern neighbour of IC1805 (Heart Nebula) and the two are often mentioned together as the “Heart and Soul”.
Located about 6,000 light-years from Earth, the Heart and Soul nebulae form a vast star-forming complex that makes up part of the Perseus spiral arm of our Milky Way galaxy. The Soul nebula is also known as the Embryo nebula, IC 1848 or W5.
The Perseus arm lies further from the centre of the Milky Way than the arm that contains our sun. The Heart and Soul nebulae stretch out nearly 580 light-years across; the diameter of the Milky Way, is roughly 100,000 light-years across.
Ernest James Watts (born October 23, 1945) is an American jazz and rhythm and blues saxophonist who plays soprano, alto, and tenor saxophone. He has worked with Charlie Haden‘s Quartet West and toured with the Rolling Stones. On Frank Zappa‘s album The Grand Wazoo he played the “Mystery Horn”, a straight-necked C melody saxophone. He played the notable saxophone riff on “The One You Love” by Glenn Frey.
Watts was born in Norfolk, Virginia, and began playing saxophone at thirteen. After a brief period at West Chester University, he attended the Berklee College of Music on a Down Beat magazine scholarship. He toured with Buddy Rich in the late-1960s, occupying one of the alto saxophone chairs. He visited Africa on a U.S. State Department tour with Oliver Nelson‘s group. For twenty years he played alto saxophone with The Tonight Show Bandunder Doc Severinsen. He was a featured soloist on many of Marvin Gaye‘s albums on Motown during the 1970s, as well as on many other pop and R&B sessions during his twenty-five years as a studio musician in Los Angeles. He has won two Grammy Awards as an instrumentalist.
In the mid-1980s Watts decided to rededicate himself to jazz. He recorded and toured with German guitarist and composer Torsten de Winkel, drummer Steve Smith, and keyboardist Tom Coster. He was invited to join Charlie Haden‘s Quartet West. They met backstage one night after Haden heard Watts play “Nightbird” by Michel Colombier. Watts played on soundtracks for the movies Grease and The Color Purple and on the theme song for the TV show Night Court.
see full post...Frank Hewitt (October 23, 1935 – September 5, 2002) was an American hard bop jazz pianist.
Born in Queens, New York, Hewitt lived most of his life in Harlem. His mother was a church pianist, and he initially studied classical and gospel music, but switched to jazz after hearing a Charlie Parker record. He took the bop pianists Thelonious Monk, Bud Powell and Elmo Hope as his role models. In the 1950s and 1960s he worked with Howard McGhee, Cecil Payne, John Coltrane, Dinah Washington and Billie Holiday, among others; in 1961 he also participated in the Living Theater‘s production of Jack Gelber‘s The Connection. He became a regular figure in the circle of the pianist Barry Harris. In the 1990s Hewitt became a central figure at New York’s Smalls Jazz Club; aside from playing there several nights a week, he sometimes also ended up using the walk-in refrigerator as a place to bunk when times were rough.
During his lifetime only one track of Hewitt’s playing was released, a version of the Kenny Dorham tune “Prince Albert” on the compilation Jazz Underground: Live at Smalls (Impulse, 1998). After Hewitt’s death, however, recordings made by Luke Kaven began to surface on Kaven’s Smalls Records label: the trio discs We Loved You, Not Afraid to Live, Fresh from the Cooler, and Out of the Clear Black Sky, and the quintet date Four Hundred Saturdays. His reputation as a neglected jazz master has steadily grown among fans of bebop piano.
see full post...Gary Robert McFarland (October 23, 1933 – November 3, 1971) was an American composer, arranger, vibraphonist and vocalist. He recorded for the prestigious jazz imprints Verve and Impulse! Records during the 1960s. Down Beat magazine said he made “one of the more significant contributors to orchestral jazz”. A 2015 review of a McFarland DVD documentary called him “one of the busiest New York jazz arrangers of the 1960s.” The review further stated that McFarland’s “ascendance coincided with the rise of bossa nova, and McFarland was adept at translating the mercurial song form into orchestrations. He wrote some beautiful orchestral settings for great soloists, yet wasn’t immune to commercial forces.”
McFarland was born in Los Angeles, on October 23, 1933, but grew up in Grants Pass, Oregon. He attained a small following after working with jazz luminaries Bill Evans, Gerry Mulligan, Johnny Hodges, John Lewis, Stan Getz, Bob Brookmeyer, and Anita O’Day.
As well as his own albums and arrangements for other musicians he composed the scores to the films Eye of the Devil (1966) and Who Killed Mary What’s ‘Er Name? (1971). By the end of the 1960s, he was moving away from jazz towards an often wistful or melancholy style of instrumental pop, as well as producing the recordings of other artists on his Skye Records label (run in partnership with Norman Schwartz, Gábor Szabó and Cal Tjader, until its bankruptcy in 1970). He also produced and arranged the soft-rock album Genesis by singing sisters Wendy and Bonnie Flower.
McFarland was considering a move into writing and arranging for film and stage. However, at age 38, on November 3, 1971 – the same day that he completed the Broadway album, To Live Another Summer; To Pass Another Winter – McFarland died in New York City at St. Vincent’s Hospital from a lethal dose of liquid methadone that he had ingested at Bar 55 at 55 Christopher Street in Greenwich Village.
see full post...William “Sonny” Criss (23 October 1927 – 19 November 1977) was an American jazz musician. An alto saxophonist of prominence during the bebop era of jazz, he was one of many players influenced by Charlie Parker
William Criss was born in Memphis, Tennessee,United States, and moved to Los Angeles at the age of 15. He then went on to play in various bands including Howard McGhee‘s, which also featured Charlie Parker. Criss had developed his own, concise, bluesy tone by this point, and though his basic style did not vary much, his ability on the instrument continued to develop. Nevertheless, he continued to drift from band to band, and played on some records with Johnny Otis and Billy Eckstine.
His first major break came in 1947, on a number of jam sessions arranged by jazz impresario Norman Granz. In 1956 he signed to Imperial Records, based in New York, and recorded a series albums including Jazz U.S.A , Go Man! and Sonny Criss Plays Cole Porter featuring pianist Sonny Clark. Capitol, which owned the master recordings, reissued them as a double-CD set on their Blue Note imprint in 2000. Criss also recorded At the Crossroads with pianist Wynton Kelly.
see full post...Field of view spans over 2 degrees or 4 full moons on the sky, filled with stars toward the constellation Taurus, the Bull. Above and right of center in the frame you can spot the faint fuzzy reddish appearance of Messier 1 (M1), also known as the Crab Nebula. M1 is the first object in 18th century comet hunter Charles Messier’s famous catalog of things which are definitely not comets. Made from image data captured this October 11, there is a comet in the picture though. Below center and left lies the faint greenish coma and dusty tail of periodic comet 67P Churyumov-Gerasimenko, also known as Rosetta’s comet. In the 21st century, it became the final resting place of robots from planet Earth. Rosetta’s comet is now returning to the inner solar system, sweeping toward its next perihelion or closest approach to the Sun, on November 2. Too faint to be seen by eye alone, the comet’s next perigee or closest approach to Earth will be November 12.
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Leslie West (born Leslie Abel Weinstein; October 22, 1945 – December 23, 2020) was an American rock guitarist, vocalist, and songwriter. He was best known as a founding member and co-lead vocalist of the hard rock band Mountain. West was born on October 22, 1945 in New York City to Jewish parents, but grew up in Hackensack, New Jersey, and in East Meadow, New York, Forest Hills, New York, and Lawrence, New York. After his parents divorced, he changed his surname to West. His musical career began with the Vagrants, an R&B/blue-eyed soul-rock band influenced by the likes of the Rascals that was one of the few teenage garage rock acts to come out of the New York metropolitan area itself (as opposed to the Bohemian Greenwich Village scene of artists, poets, and affiliates of the Beat Generation, which produced bands like The Fugs and The Velvet Underground). The Vagrants had two minor hits in the Eastern United States; 1966’s “I Can’t Make a Friend” and a cover of Otis Redding‘s “Respect” the following year.
see full post...Douglas Clare Fischer (October 22, 1928 – January 26, 2012 Durand, Michigan) was an American keyboardist, composer, arranger, and bandleader. After graduating from Michigan State University (from which, five decades later, he would receive an honorary doctorate), he became the pianist and arranger for the vocal group the Hi-Lo’s in the late 1950s. Fischer went on to work with Donald Byrd and Dizzy Gillespie, and became known for his Latin and bossa nova recordings in the 1960s. He composed the Latin jazz standard “Morning“, and the jazz standard “Pensativa“. Consistently cited by jazz pianist and composer Herbie Hancock as a major influence (“I wouldn’t be me without Clare Fischer”), he was nominated for eleven Grammy Awards during his lifetime, winning for his landmark album, 2+2 (1981), the first of Fischer’s records to incorporate the vocal ensemble writing developed during his Hi-Lo’s days into his already sizable Latin jazz discography; it was also the first recorded installment in Fischer’s three-decade-long collaboration with his son Brent. Fischer was also a posthumous Grammy winner for ¡Ritmo! (2012) and for Music for Strings, Percussion and the Rest (2013).
Beginning in the early 1970s, Fischer embarked on a parallel (and far more lucrative) career, eventually becoming a much sought-after arranger, providing orchestral “sweeteners” for pop and R&B artists such as Rufus (with Chaka Khan), Prince (a regular client from 1984 onwards, and by far Fischer’s most frequent in pop music), Robert Palmer, Paul McCartney, Michael Jackson and many others.
see full post...Cándido Camero Guerra (22 April 1921 – 7 November 2020), known simply as Cándido, was a Cuban conga and bongo player. He is considered a pioneer of Afro-Cuban jazz and an innovator in conga drumming. He was responsible for the development of tuneable conga sets, as well as the combination of congas and bongos, and other instruments such as the foot-operated cowbell.
After moving to New York in 1946, Camero played with Dizzy Gillespie, Billy Taylor and Stan Kenton, and from 1956 he recorded several albums as a leader. His biggest success came in 1979 with his disco recordings for Salsoul. He continued to perform until the late 2010s, recording several albums for the audiophile label Chesky Records, including Inolvidable, with Graciela, which earned him a nomination at the 47th Annual Grammy Awards.
Cándido Camero Guerra was born in San Antonio de los Baños, near Havana, to Caridad Guerra and Cándido Camero. His interest in music began at the age of 4, when his maternal uncle Andrés, a professional bongosero for the Septeto Segundo Nacional, taught him to play bongos on condensed milk cans. At a very young age, he moved with his family to Cerro, a neighborhood in Havana. Camero’s father taught him how to play the tres, a type of Cuban guitar. While focusing on the tres, he also learned to play bass and percussion, mostly bongo and conga. In 1935, at the age of 14, Camero began to play tres professionally for various son ensembles such as Gloria Habanera, Sonora Piñón and Conjunto Segundo de Arsenio Rodríguez(Arsenio’s backup band). The increasing popularity of the conga drums—promoted primarily by Arsenio’s conjunto—and the fact that Camero could not read sheet music, led him to switch to the conga, which became his primary instrument, although he would also record with other percussion instruments, especially the bongo.
see full post...Franz Liszt (German: [ˈlɪst]; Hungarian: Liszt Ferencz, in modern usage Liszt Ferenc [ˈlist ˈfɛrɛnt͡s];[n 1] 22 October 1811 – 31 July 1886) was a Hungarian composer, virtuoso pianist, conductor, music teacher, arranger, and organist of the Romantic era. He was additionally a philanthropist, Hungarian nationalist, and Franciscan tertiary.
Liszt gained renown in Europe during the early nineteenth century for his prodigious virtuosic skill as a pianist.[1] He was a friend, musical promoter and benefactor to many composers of his time, including Frédéric Chopin, Charles-Valentin Alkan, Richard Wagner, Hector Berlioz, Robert Schumann, Clara Schumann, Camille Saint-Saëns, Edvard Grieg, Ole Bull, Joachim Raff, Mikhail Glinka, and Alexander Borodin.
A prolific composer, Liszt was one of the most prominent representatives of the New German School (German: Neudeutsche Schule). He left behind an extensive and diverse body of work that influenced his forward-looking contemporaries and anticipated 20th-century ideas and trends. Among Liszt’s musical contributions were the symphonic poem, developing thematic transformation as part of his experiments in musical form, and radical innovations in harmony.
see full post...Tango as flamenco style has a couplet, composed by 3 or 4 eight-syllable verses. It is considered as one of the most basic flamenco styles.
There are different variations: the tango of Badajoz, Cádiz, Jerez, Triana and Malaga. Theories indicate that the origin of this genre would be between Cadiz and Seville. From there it deployed to America, where later Río de la Plata tango was created. It is possible that “tango flamenco” comes from ancient songs of the 19th century. These changed gradually and reached its present form.
It is a 4/4 singing that can be performed in any of the tonalities. Its first performers were El Mellizo and Aurelio Selles (Cádiz). El Titi and Pastora Pavón “la Niña de los Peines” (Sevilla). The Mojama and Frijones (Jerez). La Pirula, La Repompa and El Pillayo in Malaga and Cadiz.
see full post...Blown by fast winds from a hot, massive star, this cosmic bubble is huge. Cataloged as Sharpless 2-308 it lies some 5,000 light-years away toward the constellation of the Big Dog (Canis Major) and covers slightly more of the sky than a Full Moon. That corresponds to a diameter of 60 light-years at its estimated distance. The massive star that created the bubble, a Wolf-Rayet star, is the bright one near the center of the nebula. Wolf-Rayet stars have over 20 times the mass of the Sun and are thought to be in a brief, pre-supernova phase of massive star evolution. Fast winds from this Wolf-Rayet star create the bubble-shaped nebula as they sweep up slower moving material from an earlier phase of evolution. The windblown nebula has an age of about 70,000 years. Relatively faint emission captured by narrowband filters in the deep image is dominated by the glow of ionized oxygen atoms mapped to a blue hue. Presenting a mostly harmless outline, SH2-308 is also known as The Dolphin-head Nebula.
Elvin Richard Bishop (born October 21, 1942) is an American blues and rock music singer, guitarist, bandleader, and songwriter. An original member of the Paul Butterfield Blues Band, he was inducted into the Rock and Roll Hall of Fame as a member of that group in 2015 and the Blues Hall of Fame in his own right in 2016. Bishop feels that the limitations of his voice have helped his songwriting.
Bishop was born in Glendale, California, the son of Mylda (Kleege) and Elvin Bishop, Sr. He grew up on a farm near Elliott, Iowa. His family moved to Tulsa when he was 10. There he attended Will Rogers High School, winning a full scholarship to the University of Chicago as a National Merit Scholar. He moved to Chicago in 1960 to attend the university, where he majored in physics. In 1963, Bishop met harmonica player Paul Butterfield in the neighborhood of Hyde Park, joined Butterfield’s blues band, and remained with them for five years. Bishop was originally Butterfield’s only guitarist, but was later joined by Mike Bloomfield, who largely took over the lead guitar role for the band’s classic first two albums. After Bloomfield departed, the Butterfield Band’s third album, The Resurrection of Pigboy Crabshaw, took its name from Bishop’s nickname and his renewed role as lead guitarist. Bishop recorded a fourth album, In My Own Dream, with Butterfield, his last with the band, in 1968.
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