Last-minute technical problem delays NASA’s flight to sun

Parker Solar Probe will travel through the Sun's atmosphere, closer to the surface than any spacecraft before it. (Bill Ingalls/NASA/Reuters)
Updated 13 August 2018
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Last-minute technical problem delays NASA’s flight to sun

  • The $1.5 million mission is already a week late because of rocket issues
  • Thousands of spectators gathered in the middle of the night to witness the launch

CAPE CANAVERAL, Fla: A last-minute technical problem has delayed NASA’s unprecedented flight to the sun.
Saturday’s launch countdown was halted with just one-minute, 55 seconds remaining, keeping the Delta IV (four) rocket at Cape Canaveral, Florida, with the Parker Solar Probe. This followed earlier trouble in the countdown.
NASA says it will try again Sunday.
Once on its way, the Parker probe will venture closer to our star than any other spacecraft. The $1.5 million mission is already a week late because of rocket issues.
Thousands of spectators gathered in the middle of the night to witness the launch, including the University of Chicago astrophysicist for whom the spacecraft is named. Eugene Parker predicted the existence of solar wind 60 years ago. He’s now 91 and eager to see the solar probe soar.


Miles Davis and all that jazz

Miles Davis teaches actress Jeanne Moreau to play the trumpet. (AFP)
Updated 17 min 7 sec ago
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Miles Davis and all that jazz

  • Thankfully, the tapes were rolling on Dec. 19, 1970 — just one more historic evening when Miles changed music forever, before tearing up the rulebook again in pursuit of that most quixotic muse

ROTTERDAM: Miles Davis once claimed to have “changed music five or six times,” and while a man known for neither understatement nor modesty, some argue that the jazz icon sold himself short — biographer John Szwed once traced at least nine musical subgenres either born or shaped by Davis’ innovations. 

The revolutionary shopping list includes inventing cool-jazz in the 1940s, spawning hard bop, modal jazz and third-stream in the 1950s, and pioneering post-bop in the 1960s. However, the stylistic sea change Davis devoted most blood, sweat and tape toward were the ‘70s adventures in fusion most often epitomized by “B*****s Brew”, the first of ten dense double-LPs (plus two singles) recorded in just five years — which over 44 sides of vinyl explored and/or anticipated jazz-rock, funk, ambient, minimalism, worldbeat, psychedelic, space-jazz and even techno.

Trippy stuff, for sure, but not always easily listenable. Not the case with the misleadingly titled “Live-Evil” (1971) — a part-studio, mostly live set which captures Davis’ increasingly oblique electric permutations at their most fun, and funky. The bulk of the 102-minute runtime documents a one-night encounter with guest guitarist John McLaughlin, whose furious fretwork conceals an unusually ragged looseness and bluesy simplicity.

Such a raw approach suits the thick, squelchy grooves conjured by electric bassist Michael Henderson — recently recruited from Aretha Franklin’s band — grounding the untethered attack of drummer Jack DeJohnette’s crazed rock rhythms.

Recorded at the height of his boxing obsession, there’s a controlled aggression to Davis’ playing — the hurried rhythms of jabs and parries, ducks and dives — his horn harshly amplified through a wah-wah guitar pedal in a wholehearted Hendrix homage.

What little harmony there is comes from Keith Jarrett, whose overdriven organ scurries lend a frazzled energy and cerebral counter-balance. Soon after Jarrett — now the most renowned solo pianist on the planet — would quit and disavow electronic instruments altogether.

Thankfully, the tapes were rolling on Dec. 19, 1970 — just one more historic evening when Miles changed music forever, before tearing up the rulebook again in pursuit of that most quixotic muse.