NGC 1497 is a lenticular galaxy in the zodiac sign Taurus. The celestial object ran out on 11 December 1876 discovered by the French astronomer Édouard Jean-Marie Stephan. Center top brightest image

Geri Antoinette Allen (June 12, 1957 – June 27, 2017) was an American jazz pianist, composer, and educator. In addition to her career as a performer and bandleader, Allen was also an associate professor of music at the University of Pittsburgh and the director of the university’s Jazz Studies program.

Allen was born in Pontiac, Michigan, on June 12, 1957, and grew up in Detroit. “Her father, Mount Allen Jr, was a school principal, her mother, Barbara, a government administrator in the defence industry.” Allen was educated in Detroit Public Schools. She started playing the piano at the age of 7, and settled on becoming a jazz pianist in her early teens.

Allen graduated from Howard University‘s jazz studies program in 1979. She then continued her studies: with pianist Kenny Barron in New York; and at the University of Pittsburgh, where she completed a master’s degree in ethnomusicology in 1982. After this, she returned to New York.

Armando Anthony “Chick” Corea (June 12, 1941 – February 9, 2021) was an American jazz composer, keyboardist, bandleader, and occasional percussionist. His compositions “Spain“, “500 Miles High“, “La Fiesta”, “Armando’s Rhumba” and “Windows” are widely considered jazz standards. As a member of Miles Davis‘s band in the late 1960s, he participated in the birth of jazz fusion. In the 1970s he formed Return to Forever. Along with Herbie Hancock, McCoy Tyner, Keith Jarrett and Bill Evans, he is considered one of the foremost jazz pianists of the post-John Coltrane era.

Corea continued to collaborate frequently while exploring different musical styles throughout the 1980s and 1990s. He won 25 Grammy Awards and was nominated over 60 times.

Armando Corea was born in Chelsea, Massachusetts, to parents Anna (née Zaccone) and Armando J. Corea. He was of southern Italian descent, his father having been born to an immigrant from Albi comune, in the Province of Catanzaro in the Calabria region. His father, a jazz trumpeter who led a Dixieland band in Boston in the 1930s and 1940s, introduced him to the piano at the age of four. Surrounded by jazz, he was influenced at an early age by bebop and Dizzy Gillespie, Charlie Parker, Bud Powell, Horace Silver, and Lester Young. When he was eight, he took up drums, which would influence his use of the piano as a percussion instrument.

Corea developed his piano skills by exploring music on his own. A notable influence was concert pianist Salvatore Sullo, from whom Corea started taking lessons at age eight and who introduced him to classical music, helping spark his interest in musical composition. He also spent several years as a performer and soloist for the St. Rose Scarlet Lancers, a drum and bugle corps based in Chelsea.

Given a black tuxedo by his father, he started playing gigs when in high school. He enjoyed listening to Herb Pomeroy‘s band at the time and had a trio that played Horace Silver’s music at a local jazz club. He moved to New York City, where he studied music at Columbia University, then transferred to the Juilliard School. He quit after finding both disappointing, but remained in New York City.

https://www.youtube.com/watch?v=w-XZu8DBLSs

Marcus Batista Belgrave (June 12, 1936 – May 24, 2015) was an American jazz trumpet player from Detroit, born in Chester, Pennsylvania. He recorded with numerous musicians from the 1950s onwards. Belgrave was inducted into the class of 2017 of the National Rhythm & Blues Hall of Fame in Detroit, Michigan.

Belgrave was tutored by Clifford Brown before joining the Ray Charles touring band. Belgrave later worked with Motown Records, and recorded with Martha Reeves and the Vandellas, The Temptations, The Four Tops, Gunther Schuller, Carl Craig, Max Roach, Ella Fitzgerald, Charles Mingus, Tony Bennett, La Palabra, Sammy Davis Jr., Dizzy Gillespie, Odessa Harris and John Sinclair, plus more recently with his wife Joan Belgrave, among others.

Belgrave was an occasional faculty member at Stanford Jazz Workshop and a visiting professor of jazz trumpet at the Oberlin Conservatory.

Belgrave died on May 23, 2015, in Ann Arbor, Michigan, of heart failure, after being hospitalized since April with complications of chronic obstructive pulmonary disease and congestive heart failure.

Emmett Louis Hardy (June 12, 1903 – June 16, 1925) was a jazz cornet player during the early 1900s. Hardy was born in the New Orleans suburb of Gretna, Louisiana, and lived much of his life in the Algiers neighborhood on the west bank of New Orleans. Hardy was a child prodigy, described as already playing marvelously in his early teens. Some New Orleans musicians remembered as a musical highlight of their lives a 1919 cutting contest where, after long and intense struggle, Hardy succeeded in outplaying Louis Armstrong. (It is likely that Armstrong, although 2 years older than Hardy, had not yet hit his full stride at that time.)

In Hardy’s early teens, he was a member of Papa Jack Laine‘s band, then worked in the Carlisle Evans Band and Norman Brownlee‘s Orchestra of New Orleans. He belonged to a small band that supported singer Bee Palmer. After moving to Chicago, he became a member of the New Orleans Rhythm Kings. For a time during its Friar’s Inn residency the NORK used a two-cornet format — Paul Mares, leader and first cornet, and Emmett Hardy as second. (Note that, as with other New Orleans jazz bands of that time (such as King Oliver‘s Creole Jazz Band and The Original Tuxedo Orchestra), the more creative player played the second part, with the first cornet staying closer to the lead line. Hardy did not appear on any of the Rhythm Kings recording sessions, never making any commercial recordings before his early death.

After returning to New Orleans he led his own band and played in the band of Norman Brownlee. Hardy died of tuberculosis in New Orleans, just four days after his 22nd birthday, and was buried in Gretna.

On June 10 a New Moon passed in front of the Sun. In silhouette only two days after reaching apogee, the most distant point in its elliptical orbit, the Moon’s small apparent size helped create an annular solar eclipse. The brief but spectacular annular phase of the eclipse shows a bright solar disk as a ring of fire when viewed along its narrow, northerly shadow track across planet Earth. Cloudy early morning skies along the US east coast held gorgeous views of a partially eclipsed Sun though. Rising together Moon and Sun are captured in a sequence of consecutive frames near maximum eclipse in this digital composite, seen from Quincy Beach south of Boston, Massachusetts. The serendipitous sequence follows the undulating path of a bird in flight joining the Moon in silhouette with the rising Sun.

Clarence Smith (June 11, 1904 – March 15, 1929), better known as Pinetop Smith or Pine Top Smith, was an American boogie-woogie style blues pianist. His hit tune “Pine Top’s Boogie Woogie” featured rhythmic “breaks” that were an essential ingredient of ragtime music, but also a fundamental foreshadowing of rock & roll. The song was also the first known use of the term “boogie woogie” on a record, and cemented that term as the moniker for the genre.

Smith was born to an African American family in Troy, Alabama and raised in Birmingham, Alabama. He received his nickname as a child from his liking for climbing trees. In 1920 he moved to Pittsburgh, Pennsylvania, where he worked as an entertainer before touring on the T. O. B. A.vaudeville circuit, performing as a singer and comedian as well as a pianist. For a time he worked as accompanist for blues singer Ma Rainey and Butterbeans and Susie.

In the mid-1920s he was recommended by Cow Cow Davenport to J. Mayo Williams at Vocalion Records, and in 1928 he moved, with his wife and young son, to Chicago, Illinois to record. For a time he, Albert Ammons, and Meade Lux Lewis lived in the same rooming house.

Bernard Lee “Pretty” Purdie (born June 11, 1939) is an American drummer, and an influential R&B, soul, funk, and jazz musician. He is known for his precise musical time keeping and his signature use of triplets against a half-time backbeat: the “Purdie Shuffle.” He was inducted into the Modern Drummer Hall of Fame in 2013.

Purdie recorded Soul Drums (1968) as a band leader and although he went on to record Alexander’s Ragtime Band, the album remained unreleased until Soul Drums was reissued on CD in 2009 with the Alexander’s Ragtime Band sessions. Other solo albums include Purdie Good!(1971), Soul Is… Pretty Purdie (1972) and the soundtrack for the blaxploitation film Lialeh (1973).

In the mid-1990s he was a member of The 3B’s, with Bross Townsend and Bob Cunningham.

Purdie was born on June 11, 1939 in Elkton, Maryland, US, the eleventh of fifteen children. At an early age he began hitting cans with sticks and learned the elements of drumming techniques from overhearing lessons being given by Leonard Heywood. He later took lessons from Heywood and played in Heywood’s big band. Purdie’s other influences at that time were Papa Jo Jones, Buddy Rich, Gene Krupa, Joe Marshall, Art Blakey,^[10] as well as Cozy Cole, Sticks Evans, Panama Francis, Louis Bellson, and Herbie Lovelle.

In 1961, he moved from his home town of Elkton, Maryland, to New York City. There he played sessions with Mickey and Sylvia and regularly visited the Turf Club on 50th and Broadway, where musicians, agents, and promoters met and touted for business. It was during this period that he played for the saxophonist Buddy Lucas, who nicknamed him ‘Mississippi Bigfoot’. Eventually Barney Richmond contracted him to play session work. In a 1978 interview, Purdie claimed to have added drum overdubs to “several [tracks] of the Beatles’ Hamburg recording” with Tony Sheridan, including “Ain’t She Sweet”, “Take Out Some Insurance On Me Baby” and “Sweet Georgia Brown”, to give them a punchier sound for the US market. He can be seen drumming for the house band at Murray the K’s 1965 Brooklyn Fox show excerpts of which were shown on CBS that year.

Hazel Dorothy Scott (June 11, 1920 – October 2, 1981) was a Trinidadian-born jazz and classical pianist, singer, and actor. She was a critically acclaimed performing artist and an outspoken critic of racial discrimination and segregation. She used her influence to improve the representation of Black Americans in film.

Born in Port of Spain, Scott moved to New York City with her mother at the age of four. Scott was a child musical prodigy, receiving scholarships to study at the Juilliard School when she was eight. In her teens, she performed in a jazz band. She also performed on the radio.

She was prominent as a jazz singer throughout the 1930s and 1940s. In 1950, she became the first black American to host her own TV show, The Hazel Scott Show. Her career in America faltered after she testified before the House Un-American Activities Committee in 1950 during the McCarthy era. Scott subsequently moved to Paris in 1957 and began performing in Europe, not returning to the United States until 1967.

Born in Port of Spain, Trinidad and Tobago, on June 11, 1920, Hazel Dorothy Scott was the only child of R. Thomas Scott, a West African scholar from Liverpool, England, and Alma Long Scott, a classically trained pianist, and music teacher. In 1924, the family moved from Trinidad to the United States and settled in Harlem, New York City. By that time, Scott could play anything she heard on the piano. With her mother’s guidance and training, she mastered advanced piano techniques and was labeled a child prodigy. A few years later, when Scott was eight years old, Professor Paul Wagner of the Juilliard School of Music accepted her as his own student. In 1933, her mother organized her own “Alma Long Scott’s All-Girl Jazz Band,” where Scott played the piano and trumpet.

Sheldon Manne (June 11, 1920 – September 26, 1984), professionally known as Shelly Manne, was an American jazz drummer. Most frequently associated with West Coast jazz, he was known for his versatility and also played in a number of other styles, including Dixieland, swing, bebop, avant-garde jazz and fusion, as well as contributing to the musical background of hundreds of Hollywood films and television programs.

Manne’s father and uncles were drummers. In his youth he admired many of the leading swing drummers of the day, especially Jo Jones and Dave Tough. Billy Gladstone, a colleague of Manne’s father and the most admired percussionist on the New York theatrical scene, offered the teenage Shelly tips and encouragement. From that time, Manne rapidly developed his style in the clubs of 52nd Street in New York in the late 1930s and 1940s. His first professional job with a known big band was with the Bobby Byrne Orchestra in 1940.^[4] In those years, as he became known, he recorded with jazz stars like Coleman Hawkins, Charlie Shavers, and Don Byas. He also worked with a number of musicians mainly associated with Duke Ellington, like Johnny Hodges, Harry Carney, Lawrence Brown, and Rex Stewart. In 1942, during World War II, Manne joined the Coast Guard and served until 1945. In 1943, Manne married a Rockette named Florence Butterfield (known affectionately to family and friends as “Flip”). The marriage would last 41 years, until the end of Manne’s life. When the bebop movement began to change jazz in the 1940s, Manne loved it and adapted to the style rapidly, performing with Dizzy Gillespie and Charlie Parker.

https://www.youtube.com/watch?v=Ukw7qTawjfY

Tientos, a slow cante jondo music and dance in a four-count rhythm, was first developed by the singer Enrique el Mellizo (1848 -1906) as an expressive variation of the Tangos. Poet Federico García Lorca considered the Tientos to be almost liturgical in its solemnity. Traditional Tientos lyrics – letras – set a dark mood, and have to do with loss, unrequited love, imprisionment, longing for freedom and other serious messages. Dancers strive to capture this mood in their solos. The most notable aspect of the slow Tientos tempo is the beat structure. Where the first beat in Tangos is subdued, it is strongly emphasized in the Tientos, as is the “and” of the second beat.

Although many variations are possible, the most basic form of the Tientos is as follows :

​Guitar introduction – The guitarist sets the basic tempo and key

​Temple – The singer sings fragments – estribillos – (le le, la, etc.) to establish thekey, pulse and mood of the piece.

​The dancer’s llamada – call/cue the guitarist performs double time here. The dancer generally performs footwork.

​First Letra – The singer sings the first verse, and the dancer interprets thisimpressionistically and rhythmically.

After the 1st line of the song, the singer may take a 1 or 2 compás break – the respira – and the dancer usually inserts footwork here.

​Guitar falseta  – a short melodic phrase that the dancer interprets lyrically.

​First Escobilla – The dancer’s 1st prolonged footwork section. This ends with a llamada call in the 2nd verse.

​Second Letra – Similar or identical to the 1st verse.

​Second Escobilla = The dancer’s final long footwork section.

​Macho – It is common for a flamenco song to end in a faster song/rhythm, and it is usually the Tangos for Tientos. The most traditional Tangos lyrics performed here are the song, “Triana.”

This ESO Picture of the Week features a galaxy named both NGC 4254 and Messier 99, a beautiful cosmic spectacle located in the constellation of Coma Berenices (Berenice’s Hair).  Messier 99 is special, owing to its classification as a grand design spiral galaxy: a kind of galactic architecture featuring strong, prominent, well-defined arms that wrap clearly around the galaxy’s centre. Only around 10 percent of all spirals are of the grand design variety, making objects like Messier 99 somewhat uncommon. The justification behind Messier 99’s categorisation is clear in this image; bright, swirling arms carve through the dark surrounding space, and are easily identifiable as a number of different, coherent structures. This image was created as part of the ESO Cosmic Gems programme, an outreach initiative to produce images of interesting, intriguing or visually attractive objects using ESO telescopes, for the purposes of education and public outreach. The programme makes use of telescope time that cannot be used for science observations. All data collected may also be suitable for scientific purposes, and are made available to astronomers through ESO’s science archive.

Charnett Moffett (born June 10, 1967) is an American jazz bassist.

Moffett started playing bass in the family band, touring the Far East in 1975 at the age of eight. In the mid-1980s he played with Wynton Marsalis and Branford Marsalis. In 1987 he recorded his debut album Netman for Blue Note Records. He has worked with Art Blakey, Ornette Coleman, Pharoah Sanders, Dizzy Gillespie, Ellis Marsalis, Sonny Sharrock, Stanley Jordan, Wallace Roney. Arturo Sandoval, Courtney Pine, David Sanborn, David Sánchez, Dianne Reeves, Frank Lowe, Harry Connick, Jr., Herbie Hancock, Joe Henderson, Kenny Garrett, Kenny Kirkland, Kevin Eubanks, Lew Soloff, Manhattan Jazz Quintet, Melody Gardot, Mulgrew Miller and Tony Williams.

Charnett Moffett attended Fiorello H. LaGuardia High School of Music & Art and Performing Arts in New York City and later studied at Mannes College of Music and the Juilliard School of Music. In 1983, he played on saxophonist Branford Marsalis‘ debut as a leader, Scenes in the City, and the following year he joined trumpeter Wynton Marsalis’ quintet, appearing on 1985’s Grammy-winning Black Codes (From the Underground). During the 1980s, Moffett also worked with Stanley Jordan, appearing on the innovative guitarist’s best-selling 1985 Blue Note debut, Magic Touch, as well as two Blue Note albums with drummer Tony Williams’ quintet: 1987’s Civilization and 1988’s Angel Street. In 1987, Moffett signed with Blue Note Recordsand debuted as a leader that year with his first of three albums for Blue Note, NetMan (1987) which featured Michael Brecker, Kenny Kirkland and Al Foster. His second Blue Note release, Beauty Within (1989) was a family affair featuring his father Charles Moffett on drums, older brothers Mondre Moffett on trumpet, Charles Moffett, Jr on tenor sax, Codaryl Moffett on drums, and his sister Charisse on vocals. Also featured were Kenny Garrett on alto saxophone, and Stanley Jordan on guitar. HIs third Blue Note release, Netman (1991), produced by Kenny Kirkland, especially focused on Moffett’s piccolo bass and electric bass work.

Max Alfred “Maxi” Elliott (born 10 June 1961), known by his stage name Maxi Priest, is a British reggae vocalist of Jamaican descent. He is best known for singing reggae music with an R&B influence, otherwise known as reggae fusion. He was one of the first international artists to have success in this genre, and one of the most successful reggae fusion acts of all time.

Maxi Priest was born in Lewisham, London, the second youngest of nine brothers and sisters. His parents had moved to England from Jamaica to provide more opportunity for their family and he grew up listening to gospel, reggae, R&B, and pop music. He first learned to sing in church, encouraged by his mother, who was a Pentecostal missionary. Maxi grew up listening to Jamaican greats such as Dennis Brown, John Holt, Ken Boothe and Gregory Isaacs as well as singers like Marvin Gaye, Al Green, the Beatles, Phil Collins and Frank Sinatra.

As a teenager, he lifted speaker boxes for the Jah Shaka and Negus Negast sound-systems. He was a founder member of Saxon Studio International, and it was with Saxon that Maxi began performing at neighbourhood youth clubs and house parties.

His music is sometimes closer to R&B and pop than to reggae. His cousin, Jacob Miller, a reggae icon, was the frontman in the popular reggae group Inner Circle.

M.S. Gopalakrishnan, a.k.a. MSG, (10 June 1931 – 3 January 2013) was a violinist in the field of Carnatic music. He is commonly grouped with Lalgudi Jayaraman and T.N.Krishnan as part of the violin-trinity of Carnatic Music. He was awarded the Madras Music Academy‘s Sangeetha Kalanidhi in 1997. He was a recipient of the Padma Bhushan, Padma Shri, Kalaimamani, Sangeetha Kalanidhi and Sangeet Natak Akademi awards.

Gopalakrishnan was born in Mylapore, Chennai, India, and was taught violin by his father, Parur Sundaram Iyer, who was well versed in both Carnatic and Hindustani systems of Indian classical music. He learned both systems from his father, with whom he gave his first performance when he was 8 years old. He also drew great inspiration from the legendary violinist Sri Dwaram Venkataswamy Naidu.

He has played the violin for over fifty years as a soloist and accompanist, having accompanied Omkarnath Thakur and D. V. Paluskar, and has toured Australia, the US, the UK, the Netherlands, South Africa, Malaysia, and Hong Kong. His daughter, Dr M. Narmadha, is also a violinist.

João Gilberto (born João Gilberto Prado Pereira de Oliveira – Portuguese: [ʒuˈɐ̃w ʒiwˈbɛʁtu]; 10 June 1931 – 6 July 2019), was a Brazilian singer, songwriter, and guitarist, who was a pioneer of the musical genre of bossa nova in the late 1950s. Around the world he was often called “father of bossa nova”; in his native Brazil, he was referred to as “O Mito” (“The Legend”).

João Gilberto was born in Juazeiro, Bahia, the son of Joviniano Domingos de Oliveira, a wealthy merchant, and Martinha do Prado Pereira de Oliveira. He lived in his native city until 1942, when he began to study in Aracaju, Sergipe, returning to Juazeiro in 1946. At the age of 14, Gilberto got his first guitar from his grandfather despite disapproval from Gilberto’s father. Still, in Juazeiro, he formed his first band, called “Enamorados do Ritmo”. Gilberto moved to Salvador, Bahia, in 1947. During his three years in the city, he dropped out of his studies to dedicate himself exclusively to music and at the age of 18 began his artistic career as a crooner at the Rádio Sociedade da Bahia.

https://www.youtube.com/watch?v=eKy6NJO8GPQ&list=PLBHcUEhUrXk5obQ9CD_1uoG-hvv6UhofE&index=4