#daniel ponce

Tras muchos años trabajando en logística y control de transporte de mercancías y como coordinador de VOX en el municipio, Daniel Ponce será el número uno de la candidatura VOX en las elecciones municipales de 2023. Daniel Ponce será el candidato de VOX en las elecciones municipales de mayo del 2023 en el municipio de Camarma de Esteruelas. A sus 34 años, Daniel ha trabajado durante muchos años…

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Helen Merrill (vocalist) 1930 :: Many happy returns to Helen Merrill. Helen is an internationally known jazz vocalist.

Merrill’s recording career has spanned six decades and she is popular with fans of jazz in Japan and Italy (where she lived for many years) as well as in her native United States. She has recorded and performed with some of the most notable figures in the American jazz scene. She began singing in jazz clubs in the Bronx at the age of fourteen. By the time she was sixteen, Merrill had taken up music full time. In 1952, Merrill made her recording debut when she was asked to sing “A Cigarette For Company” with the Earl Hines Band; the song was released on their Xanadu album. Etta Jones made her debut on the same album.

In 1954, Merrill recorded her first (and to date most acclaimed) LP, an eponymous record featuring legendary jazz trumpet player Clifford Brown and bassist/cellist Oscar Pettiford, among others. The album was produced and arranged by Quincy Jones, who was then just twenty-one years old. The success of Helen Merrill prompted Mercury to sign her for an additional four-album contract.

Merrill’s follow-up to Helen Merrill was the 1956 LP, Dream of You, which was produced and arranged by bebop arranger and pianist Gil Evans. Evans’ work on Dream of You was his first in many years. His arrangements on Merrill’s laid the musical foundations for his work in following years with Miles Davis.

After recording sporadically through the late 1950s and 1960s, Merrill spent much of her time touring Europe, where she enjoyed more commercial success than she had in the United States. She settled for a time in Italy, recording an album there and doing live concerts with jazz notables Chet Baker, Romano Mussolini, and Stan Getz.

Merrill returned to the U.S. in the 1960s, but moved to Japan in 1966, staying after touring there due to a romantic involvement that resulted in her marrying Donald J. Brydon (of United Press International, then Vice President, Asian Division chief) in April 1967. Merrill developed a following in Japan that remains strong to this day. In addition to recording while in Japan, Merrill became involved in other aspects of the music industry, producing albums for Trio Records and hosting a show on a Tokyo radio station.

Merrill returned to the US in 1972 and has continued recording and regular touring since then. One of Merrill’s millennium released recordings draws from her Croatian heritage as well as her American upbringing. Jelena Ana Milcetic, a.k.a. Helen Merrill (2000), combines jazz, pop and blues songs with several traditional Croatian songs sung in Croatian.

Kay Starr(vocalist) 1922 :: Birthday wishes to Kay Starr. Kay is an American pop and jazz singer who enjoyed considerable success in the 1940s and 1950s. She is best remembered for introducing two songs that became #1 hits in the 1950s, “Wheel of Fortune" and "The Rock And Roll Waltz”. Starr was successful in every field of music she tried: jazz, pop and country. But her roots were in jazz; and Billie Holiday, considered by many the greatest jazz singer of all time, called Starr “the only white woman who could sing the blues.”

Kay Starr was born Katherine Laverne Starks on a reservation in Dougherty, Oklahoma. Her father, Harry, was a full-blooded Iroquois Indian; her mother, Annie, was of mixed Irish and American Indian heritage.

Kay’s aunt Nora was impressed by her 7-year-old niece’s singing and arranged for her to sing on a Dallas radio station, WRR. First she took a talent competition by storm, finishing 3rd one week and placing first every week thereafter. Eventually she had her own 15-minute show. She sang pop and “hillbilly” songs with a piano accompaniment. By age 10 she was making $3 a night, which was quite a salary in the Depression days.

At 15, she was chosen to sing with the Joe Venuti orchestra. Venuti had a contract to play in the Peabody Hotel in Memphis which called for his band to feature a girl singer, which he did not have. Venuti’s road manager heard Kay Starr on the radio and suggested her to Venuti. She was still in junior high school and her parents insisted on a midnight curfew.

Although she had brief stints in 1939 with Bob Crosby and Glenn Miller (who hired her in July of that year when his regular singer, Marion Hutton, was sick), she spent most of her next few years with Venuti, until he dissolved his band in 1942.

In 1946 she became a soloist, and in 1947 signed a solo contract with Capitol Records. Capitol had a number of other female singers signed up (such as Peggy Lee, Ella Mae Morse, Jo Stafford, and Margaret Whiting), so it was hard to find her a niche. In 1948 when the American Federation of Musicians was threatening a strike, Capitol wanted to have all its singers record a lot of songs for future release. Since she was junior to all these other artists, every song she wanted to sing got offered to all the others, leaving her a list of old songs from earlier in the century, which nobody else wanted to record.

Around 1950 Starr made a trip back home to Dougherty and heard a fiddle recording of Pee Wee King’s song, Bonaparte’s Retreat. She liked it so much that she wanted to record it, and contacted Roy Acuff’s publishing house in Nashville, Tennessee, and spoke to Acuff directly. He was happy to let her record it, but it took a while for her to make clear that she was a singer, not a fiddler, and therefore needed to have some lyrics written. Eventually Acuff came up with a new lyric, and “Bonaparte’s Retreat” became her biggest hit up to that point, with close to a million sales.

In 1955, she signed with RCA Victor Records. However, at this time, rock-and-roll was displacing the existing forms of pop music and Kay had only two hits, the aforementioned which is sometimes considered her attempt to sing rock and roll and sometimes as a song poking fun at it, “The Rock And Roll Waltz”. She stayed at RCA Victor until 1959, hitting the top ten only once more with My Heart Reminds Me, then returned to Capitol.

After rock-and-roll swept older performers from the charts, Starr subsequently appeared in such television series as NBC’s Club Oasis, mostly associated with the bandleader Spike Jones.

After departing from Capitol Records for a second time in 1966, Starr continued touring concert venues in the US and the UK.

Starr was one of the first female artists to perform country western swing music. As of 2012, she is now 90 years old and still performing.

Sonny Clark(piano) 1931-1963  :: Conrad Yeatis “Sonny” Clark was an American jazz pianist who mainly worked in the hard bop idiom.

At age 12, he moved to Pittsburgh. When visiting an aunt in California at age 20, Clark decided to stay and began working with saxophonist Wardell Gray. Clark went to San Francisco with Oscar Pettiford and after a couple months, was working with clarinetist Buddy DeFranco in 1953. Clark toured the U.S. and Europe with DeFranco until January 1956, when he joined The Lighthouse All-Stars, led by bassist Howard Rumsey.

Wishing to return to the east coast, Clark served as accompanist for singer Dinah Washington in February 1957 in order to relocate to New York City. In New York, Clark was often requested as a sideman by many musicians, partly because of his rhythmic comping. He frequently recorded for Blue Note Records, playing as a sideman with many hard bop players, including Kenny Burrell, Donald Byrd, Paul Chambers, John Coltrane, Dexter Gordon, Art Farmer, Curtis Fuller, Grant Green, Philly Joe Jones, Clifford Jordan, Jackie McLean, Hank Mobley, Art Taylor, and Wilbur Ware. He also recorded sessions with Charles Mingus, Sonny Rollins, Billie Holiday, Stanley Turrentine, and Lee Morgan.

As a band leader, Clark recorded albums Dial “S” for Sonny (1957), Sonny’s Crib (1957), Sonny Clark Trio (1957), with Paul Chambers and Philly Joe Jones, and Cool Struttin’ (1958). Sonny Clark Trio, with George Duvivier and Max Roach was released in 1960.

Close friend and fellow jazz pianist Bill Evans dedicated the composition “NYC’s No Lark” (an anagram of “Sonny Clark”) to him after his death, included on Evans’ Conversations with Myself (1963). John Zorn, Wayne Horvitz, Ray Drummond, and Bobby Previte recorded an album of Clark’s compositions, Voodoo (1985), as The Sonny Clark Memorial Quartet. Zorn also recorded several of Clark’s compositions with Bill Frisell and George Lewis on News for Lulu (1988) and More News for Lulu (1992).

Arthur Edghill (drums) 1926 ::  Birthday greetings to Arthur Edgehill. Arthur is a hard bop jazz drummer active in the 1950s, 60s and 70s, appearing on several of the Prestige recordings recorded at the successive Van Gelder Studios, in Hackensack and Englewood Cliffs, including Mal Waldron’s debut album, Mal-1 (1956), but especially with Eddie “Lockjaw” Davis and Shirley Scott.

His first professional work was touring with Mercer Ellington in 1948, and in 1953 he toured with Ben Webster. He played with Kenny Dorham’s Jazz Prophets in 1956 and with Gigi Gryce and in 1957-58 toured with Dinah Washington.

He was a member of Eddie “Lockjaw” Davis’ quartet with George Duvivier and/or Wendell Marshall, and Shirley Scott, and appears on several of Scott’s recordings, including her debut album, Great Scott! (1958), as well as on the classic Very Saxy (1959), featuring Eddie “Lockjaw” Davis, Buddy Tate, Coleman Hawkins, and Arnett Cobb on tenors, an album recorded shortly after Blow Arnett, Blow (1959).

As well as appearing on recordings with the above lineups, he also played in quartets led by Horace Silver, including one featuring Cecil Payne, in 1954, and at Minton’s with Hank Mobley and Doug Watkins, a lineup that also jammed on one occasion with Charlie Parker and Annie Laurie.

Daniel Ponce(percussion) 1953 :: A happy birthday to Daniel Ponce. Daniel is a star percussionist and one of the finest to come from Cuba since the heyday of Chano Pozo, Candido Camero, and Armando Peraza.

Daniel Ponce displayed rhythmic mastery of both traditional Cuban sounds and contemporary African-American rhythms. Ponce's grandfather was a famous bata drum player and gave his grandson his earliest training.

Ponce played cowbell with Los Brillantes in Havana at 11. He switched to congas as a teen, and played with Comparso Federacion Estudiantil Universitario.

He came to America in 1980, and soon moved to New York. Andy and Jerry González invited Ponce to sit in at the Village Gate, where he met saxophonist Paquito D’Rivera. He later played on a pair of d’Rivera albums, and did sessions for Eddie Palmieri. But producer/bassist Bill Laswell really aided Ponce. He landed him a session with Herbie Hancock that led to the critically and commercially successful release Future Shock in the mid-’80s. Ponce did several sessions for OAO and Celluloid, and issued his first session as a leader, New York Now!, in 1983. His next outing, Arawe, arrived in 1987, followed by Chango Te Llama in 1991. Ponce also led a pair of New York groups, New York Now and Jazzbata, in addition to considerable session work on dates led by others.

Floyd Jones(guitar) 1917-1989 :: Floyd Jones was an American blues singer, guitarist and songwriter, who is significant as one of the first of the new generation of electric blues artists to record in Chicago after World War II. A number of Jones’ recordings are regarded as classics of the Chicago blues idiom, and his song “On The Road Again” was a top ten hit for Canned Heat in 1968. Notably for a blues artist of his era, several of his songs have economic or social themes, such as “Stockyard Blues” (which refers to a strike at the Union Stockyards), “Hard Times” or “Schooldays”.

Jones was born in Marianna, Arkansas. He started playing guitar seriously after being given a guitar by Howlin’ Wolf, and worked as an itinerant musician in the Arkansas and Mississippi area in the 1930s and early 1940s, before settling in Chicago in 1945.

In Chicago, Jones took up the electric guitar, and was one of a number of musicians playing on Maxwell Street and in non-union venues in the late 1940s who played an important role in the development of the post-war Chicago Blues sound. This group included Little Walter and Jimmy Rogers, both of who went on to become mainstays of the Muddy Waters band, and also Snooky Pryor, Floyd’s cousin Moody Jones and mandolin player Johnny Young. His first recording session in 1947, with Snooky on harmonica and Moody on guitar, produced the sides “Stockyard Blues” and “Keep What You Got”, which formed one of the two records released by the Marvel Label, and was one of the first examples of the new style on record. A second session in 1949 resulted in a release on the similarly short-lived Tempo-Tone label. During the 1950s Jones also had records released on JOB, Chess and Vee-Jay, and in 1966 he recorded for the Testament label’s Masters of Modern Blues series.

Jones continued performing in Chicago for the rest of his life, although he had few further recording opportunities. Later in his career the electric bass became his main instrument.

Omer Simeon(clarinet) 1902-1959 :: Omer Simeon was an American jazz clarinetist. He also played soprano, alto, and baritone saxophone and bass clarinet.

Omer Simeon was born in New Orleans, Louisiana, the son of a cigar maker. His family moved to Chicago, Illinois. He learned clarinet from the New Orleans master Lorenzo Tio, Jr., and started playing professionally in 1920.

He worked in Chicago and Milwaukee, Wisconsin with various bands, including Jimmy Bell’s Band and Charlie Elgar’s Creole Orchestra. Starting in 1926 he began playing with Jelly Roll Morton, and made a well regarded series of recordings with Morton’s Red Hot Peppers and smaller groups. Simeon also taught music. In 1927 he joined King Oliver’s Dixie Syncopators with whom he moved to New York City. After time back in Chicago with Elgar, he joined the Luis Russell in Manhattan, then again returned to Chicago in 1928 to play with the Erskine Tate Orchestra. In 1931 he began a 10 year stint with Earl Hines.

Lightning strikes above Florianopolis, Brazil. Photo by Daniel Ponce.

"On a very stormy day, I was seeing 4-5 lights per minute. It was very impressive, I had the idea to pick up my tripod and leave my camera with a maximum opening time and wait for lightning and the result was this."

Southern Brazil is one of the most frequent places with lightning flashes in the world.