NGC 4651 is a spiral galaxy located in the constellation of Coma Berenices that can be seen with amateur telescopes, at a distance not well determined that ranges from 35 million light years to 72 million light years

This remarkable spiral galaxy, known as NGC 4651, may look serene and peaceful as it swirls in the vast, silent emptiness of space, but don’t be fooled — it keeps a violent secret. It is believed that this galaxy consumed another smaller galaxy to become the large and beautiful spiral that we observe today. Although only a telescope like the NASA/ESA Hubble Space Telescope, which captured this image, could give us a picture this clear, NGC 4651 can also be observed with an amateur telescope — so if you have a telescope at home and a star-gazing eye, look out for this glittering carnivorous spiral.

Stan Levey (April 5, 1926 – April 19, 2005) was an American jazz drummer. He was known for working with Charlie Parker and Dizzy Gillespie in the early development of bebop during the 1940s, and in the next decade had stint with bandleader Stan Kenton. Levy retired from music in the 1970s to work as a photographer.

Born Adolph Stanley Levey in Philadelphia, Levey is considered one of the earliest bebop drummers, and one of the very few white drummers involved in the formative years of bebop. He played in Philadelphia with Dizzy Gillespie‘s group in 1942, at the age of 16. Soon after, he went to New York City, where he and Gillespie worked on 52nd Street with Charlie Parker and Oscar Pettiford.

After his tenure with the Stan Kenton Orchestra he moved to the West Coast in 1954, joining Howard Rumsey, Don Joham and the Lighthouse All-Stars, and was a major influence in West Coast jazz. Though “cool” jazz was common on the West Coast, Levey’s crisp, melodic style continued to have more in common with bop than cool, and he inspired every group he ever played in. A right-handed person, Levey played the drums, as if left-handed. Levey has played on thousands of recordings, including those with musicians Dizzy Gillespie, Charlie Parker, Miles Davis, Stan Getz, Ella Fitzgerald, Peggy Lee, Frank Sinatra, Nat King Cole and with bands such as that of Quincy Jones, and Skitch Henderson and The Tonight Show Band.

Stanley William Turrentine (April 5, 1934 – September 12, 2000) was an American jazz tenor saxophonist. He began his career playing R&B for Earl Bostic and later soul jazz recording for the Blue Note label from 1960, touched on jazz fusion during a stint on CTI in the 1970s. He was described by critic Steve Huey as “renowned for his distinctively thick, rippling tone [and] earthy grounding in the blues.” Turrentine was married to organist Shirley Scott in the 1960s, with whom he frequently recorded, and was the younger brother of trumpeter Tommy Turrentine.

Turrentine was born in Pittsburgh‘s Hill District into a musical family. His father, Thomas Turrentine, Sr., was a saxophonist with Al Cooper’s Savoy Sultans, his mother played stride piano, and his older brother Tommy Turrentine became a professional trumpet player.

He began his prolific career with blues and rhythm and blues bands, and was at first greatly influenced by Illinois Jacquet. In the 1950s, he went on to play with the groups of Lowell Fulson and Earl Bostic. In Bostic’s group, he replaced John Coltrane in 1953 and also played in groups led by the pianist and composer Tadd Dameron.

Turrentine received his only formal musical training during his military stint in the mid-1950s. In 1959, he left the military and went straight into the band of the drummer Max Roach.

Billy Bland (April 5, 1932, Wilmington, North Carolina – March 22, 2017, New York City) was an American R&B singer and songwriter.

Bland, the youngest of 19 children, first sang professionally in 1947 in New York City, and sang with a group called The Bees in the 1950s on New Orleans‘s Imperial Records. In 1954, “Toy Bell” by the group caused some unrest by veering into the dirty blues genre. Dave Bartholomew brought them to New Orleans, where they recorded a song he had written and recorded twice before: firstly in 1952 for King Records as “My Ding-a-Ling,” and later that year for Imperial as “Little Girl Sing Ting-A-Ling.” Bland later pursued a solo career.

In 1960, Bland heard Titus Turner recording the song “Let the Little Girl Dance” in the studio, and demonstrated for Turner how to sing it (along with guitarist Mickey Baker and other session musicians). The event was recorded by record producer Henry Glover, and was eventually released as a single. The tune was a hit in the US, peaking at number 11 on the US Billboard R&B chart. and number 7 on the Billboard Hot 100. Bland had two other minor hits that year, “Harmony” (U.S. Hot 100 number 91) and “You Were Born to Be Loved” (U.S. Hot 100 number 94). He recorded until 1963 for Old Town, and then quit the music industry.

The Manicouagan Crater in Quebec, Canada, is a favorite photographic landmark for astronauts which is near the height of the International Space Station’s orbital trek of 51.6 degrees.

Manicouagan Reservoir (also Lake Manicouagan) is an annular lake in central Quebec, Canada, covering an area of 1,942 km² (750 sq mi). The lake island in its centre is known as René-Levasseur Island, and its highest point is Mount Babel. The structure was created 214 (±1) million years ago by the impact of a meteorite of five km (three mi) diameter. The lake and island are clearly seen from space and are sometimes called the “eye of Quebec”. The lake has a volume of 137.9 km³ (33.1 cu mi)

Hugh Ramapolo Masekela (4 April 1939 – 23 January 2018) was a South African trumpeter, flugelhornist, cornetist, singer and composer who has been described as “the father of South African jazz“. Masekela was known for his jazz compositions and for writing well-known anti-apartheid songssuch as “Soweto Blues” and “Bring Him Back Home“. He also had a number-one US pop hit in 1968 with his version of “Grazing in the Grass“.

Masekela was born in the township of KwaGuqa in Witbank to Thomas Selena Masekela, who was a health inspector and sculptor and his wife, Pauline Bowers Masekela, a social worker. His young sister Barbara Masekela is a poet, educator and ANC activist. As a child, he began singing and playing piano and was largely raised by his grandmother, who ran an illegal bar for miners. At the age of 14, after seeing the 1950 film Young Man with a Horn (in which Kirk Douglas plays a character modelled on American jazz cornetist Bix Beiderbecke), Masekela took up playing the trumpet.

McKinley Morganfield (April 4, 1913  – April 30, 1983), known professionally as Muddy Waters, was an American blues singer-songwriter and musician who is often cited as the “father of modern Chicago blues“, and an important figure on the post-war blues scene. His style of playing has been described as “raining down Delta beatitude“. Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson. He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941. In 1943, he moved to Chicago to become a full-time professional musician. In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess.

In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon. These songs included “Hoochie Coochie Man“, “I Just Want to Make Love to You” and “I’m Ready“. In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there. His performance at the Newport Jazz Festival in 1960 was recorded and released as his first live album, At Newport 1960. Muddy Waters’ music has influenced various American music genres, including rock and roll and rock music.

Muddy Waters’ birthplace and date are not conclusively known. He stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug’s Corner, in neighboring Issaquena County, in 1913.

Cecil Gant (April 4, 1913 – February 4, 1951) was an American blues singer, songwriter and pianist, whose recordings of both ballads and “fiery piano rockers” were successful in the mid- and late 1940s, and influenced the early development of rock and roll. His biggest hit was the 1944 ballad, “I Wonder“. Gant was born in Columbia, Tennessee, but was raised in Cleveland, Ohio. He returned to Nashville, Tennessee and worked there as a musician, as well as touring with his own band, from the mid-1930s until he joined the army during World War II. In 1944, after performing at a War Bondrally in Los Angeles, California, he recorded his composition “I Wonder” for the tiny black-owned Bronze record label. When it started to become locally popular, he re-recorded it for the newly established white-owned independent Gilt-Edge record label. His recording of “I Wonder” was released under the name “Pvt. Cecil Gant”, as were later releases on the label.

CELEBRATED MALIAN MUSICIAN HAMA SANKARÉ DIES AFTER EXPLOSIVE DEVICE ATTACK

Alpha Ousmane “Hama” Sankaré (aka Pedro) was killed in the vehicle he was riding in when it was struck by an improvised explosive device (IED) land mine 30 minutes from Niafunke, on Sunday, March 29, 2020 at approximately 3:00 PM. There were 9 people in the vehicle.

This is a major tragedy not only for the music of Northern Mali but also for the country which continues to be plagued by insecurity. The explosion occurred on the national legislative Election Day and Hama had gone home to Niafunke to vote. He was on route back to Bamako when he was killed.

Hama Sankare had accompanied many great artists of Northern Mali. Most notable was his longtime close collaboration with Ali Farka Toure with whom he was best known for his ground breaking work as calabash percussionist and backing singer. Sankare can be heard on Toure’s albums: The Red Album, The Source, Talking Timbuktu, Niafunke and Savane.

This scene of stellar creation, captured by the Hubble Space Telescope, sits near the outskirts of the famous Tarantula Nebula, the largest known stellar nursery in the local universe.

Called LHA 120-N 150, this cloud of gas and dust, along with the many young and massive stars surrounding it, is the perfect laboratory to study the origin of massive stars. The nebula is situated more than 160,000 light-years away in the Large Magellanic Cloud, a neighboring dwarf irregular galaxy that orbits our galaxy, the Milky Way.

Also known as 30 Doradus or NGC 2070, the Tarantula Nebula owes its name to the arrangement of bright patches that somewhat resemble the legs of a tarantula. It measures nearly 1,000 light-years across. Its proximity, the favorable inclination of the Large Magellanic Cloud, and the absence of intervening dust make the Tarantula Nebula one of the best laboratories in which to study the formation of stars, in particular massive stars. This nebula has an exceptionally high concentration of massive stars, often referred to as super star clusters.

Astronomers have studied LHA 120-N 150 to learn more about the environment in which massive stars form. Theoretical models of the formation of massive stars suggest that they should form within clusters of stars; but observations indicate that up to ten percent of them also formed in isolation. The giant Tarantula Nebula with its numerous substructures is the perfect laboratory in which to resolve this puzzle as in it massive stars can be found both as members of clusters and in isolation.

Rocco Scott LaFaro (April 3, 1936 – July 6, 1961) was an American jazz double bassist known for his work with the Bill Evans Trio. Born in Irvington, New Jersey, the son of a big band musician, LaFaro was five when his family moved to Geneva, New York. He started playing piano in elementary school, bass clarinet in middle school, and tenor saxophone when he entered high school. He took up double bass at 18 before entering college because learning a string instrument was required of music education majors. After three months at Ithaca College, he concentrated on bass. He played in groups at the College Spa and Joe’s Restaurant on State Street in downtown Ithaca. Beginning in 1955, he was a member of the Buddy Morrow big band. He left that organization to work in Los Angeles. LaFaro spent most of his days practicing his instrument. He practiced from sheet music for the higher-pitched clarinet to improve his facility the upper register for bass. Fellow bassist Red Mitchell taught him how to pluck strings with both the index and middle fingers independently. For much of 1958 LaFaro was with pianist/vibraphonist Victor Feldman‘s band.

In 1959, after working with trumpeter Chet Baker, bandleader Stan Kenton, vibraphonist Cal Tjader, and clarinetist Benny Goodman, LaFaro returned to the east and joined Bill Evans, who had recently left the Miles Davis Sextet. With Evans and drummer Paul Motian he developed the counter-melodic style that would come to characterize his playing. Evans, LaFaro, and Motian were committed to the idea of three equal voices in the trio, working together for a singular musical idea and often without any musician explicitly keeping time.

By late 1960, LaFaro was in demand as a bassist. He replaced Charlie Haden as Ornette Coleman‘s bassist in January 1961. For a time, Haden and LaFaro shared an apartment. He also played in Stan Getz’s band between jobs with the Bill Evans trio. Around this time he received a greeting card from Miles Davis suggesting that Davis wanted to hire him.

In June 1961, the Bill Evans trio began two weeks of performances at the Village Vanguard in New York City. The trio attracted attention for its style. The last day was recorded for two albums, Sunday at the Village Vanguard and Waltz for Debby

James Harrell McGriff (April 3, 1936 – May 24, 2008) was an American hard bop and soul-jazz organist and organ trio bandleader.

Born in Germantown, Pennsylvania, United States, McGriff started playing piano at the age of five and by his teens had also learned to play vibes, alto sax, drums and upright bass. His first group was as bassist in a piano trio. When he joined the United States Army, McGriff served as a military policeman during the Korean War. He later became a police officer in Philadelphia for two years. Music kept drawing McGriff’s attention away from the police force. His childhood friend, organist Jimmy Smith, had begun earning a substantial reputation in jazz for his Blue Note albums (the two played together once in 1967) and McGriff became entranced by the organ sound while Richard “Groove” Holmes played at his sister’s wedding. Holmes went on to become McGriff’s teacher and friend and they recorded together on two occasions in 1973 for two Groove Merchant records.

James Wesley “Bubber” Miley (April 3, 1903 – May 20, 1932) was an American early jazz trumpet and cornet player, specializing in the use of the plunger mute. Miley was born in Aiken, South Carolina, U.S., into a musical family. At the age of six, he and his family moved to New York City where, as a child, he occasionally sang for money on the streets, and later, at the age of fourteen, studied to play the trombone and cornet. In 1920, after having served in the Navy for eighteen months, he joined a jazz formation named the Carolina Five, and remained a member for the next three years, playing small clubs and boat rides all around New York City. After leaving the band at the age of nineteen, Miley briefly toured the Southern States with a show titled The Sunny South, and then joined Mamie Smith‘s Jazz Hounds, replacing trumpeter Johnny Dunn. They regularly performed in famous clubs around New York City and Chicago. While touring in Chicago, he heard King Oliver‘s Creole Jazz Band playing and was captivated by Oliver’s use of mutes. Soon Miley found his own voice by combining the straight and plunger mute with a growling sound.

Miley’s talent and unique style were soon noticed in New York’s jazz scene – among others by Duke Ellington who wanted him to jump in for trumpeter Arthur Whetsol. According to saxophonist Otto Hardwick, Ellington’s band members had to shanghai Miley into joining them for his first performance, at the Hollywood on Broadway in 1923. At the time, Ellington’s Washingtonians were formally led by Elmer Snowden, but Ellington, who factually had already been running the formation, also took over its official leadership a few months later.

Miley’s collaboration with Ellington in what later became The Duke Ellington Orchestra has secured his place in jazz history. Early Ellington hits, such as Black and Tan Fantasy, Doin’ the Voom Voom, East Saint Louis Toodle-oo (covered by Steely Dan in 1974 on their album Pretzel Logic), The Mooche, and Creole Love Call prominently feature Miley’s solo work and were thematically inspired by his melodic ideas, which he, in turn, often borrowed from Baptist hymns sung in his church, such as Stephen Adams’ Holy City.

In flamenco a tango is one of the flamenco palos closely related in form and feeling to the rumba flamenca. It is often performed as a finale to a flamenco tiento. Its compás and llamada are the same as that of the farruca and share the farruca’s lively nature. However, the tango is normally performed in the A Phrygian mode. In some English sources the flamenco tango is written with an -s; “the tangos is…” The flamenco tango is distinct from the flamenco rumba primarily through the guitar playing. In Rumba the guitar flows more freely, whereas in Tangos the accents on beats 2, 3 & 4 are marked clearly with heavy strumming.