14 November

Art Hodes – Piano, b.1904 d.1993, Nikoliev, Ukraine – Arthur W. Hodes(born November 14, 1904 in the Ukraine; died March 4, 1993 in Harvey, Illinois) is an American jazz pianist born in the Ukraine. His family settled in Chicago, Illinois when he was a few months old. His career began in Chicago clubs, but he did not gain wider attention until moving to New York City in 1938 . In that city he played with Sidney Bechet, Joe Marsala, and Mezz Mezzrow. Later Hodes founded his own band in the 1940s and it would be associated with his home town of Chicago. He and his band played mostly in that area for the next forty years. He also wrote for jazz magazines like Jazz Record. He remained an educator and writer in jazz. – His style tended to be traditional and influenced by the Blues. This meant he had generally taken the position against Bop in the jazz debates of the 1940s. In 1998 he was inducted into the Big Band and Jazz Hall of Fame.

Billy Bauer – Guitar, b.1915 d.2005, New York, NY – He was one of the great (and often overlooked) jazz guitarists of the 20th century. Bauer established himself early on in the New York jazz scene. He played with the Jerry Wald band before joining Woody Herman in 1944 as a member of the 1st Herd. And in 1946 he played with Benny Goodman and Jack Teagarden. – Bauer established himself as a solid rhythm player with these bands; however, it was in the small groups that emerged from these bands, led by Chubby Jackson, Bill Harris and Lennie Tristano, that Bauer established himself as a significant soloist in the evolving bebop movement. Bauer’s solo work with these groups has been sited as some of the best examples of early bebop guitar. But, more significantly, his solo work has been sited as some of the most progressive playing for any era. His work with Tristano in the mid 1940’s represented some of the most progressive guitar playing up to that time. – During the 1940’s, Tristano and Bauer enjoyed a natural synergy in style and approach to their music. Tristano’s intricate arrangements beautifully highlighted Bauer’s unique style. These examples demonstrated that Bauer was not just a good guitarist, but also an outstanding musician. His unison playing with Tristano was precise, and his accompaniment to Tristano’s piano represented some of the best and earliest examples of great guitar comping. – Bauer continued his pioneering guitar work with Lee Konitz in the 50’s and 60’s. As with Tristano, Bauer found a kindred musical spirit in Konitz. Konitz’s avant-garde saxophone work was a perfect match for Bauer’s advanced guitar. Together, the two musicians demonstrated a unique musical dialogue across a range of styles from bop and cool to the avant-garde. Duet For Saxophone and Guitar, was an unusual instrument paring, that really allowed Bauer’s great musicianship to be heard. Early in 1956, Bauer made a recording under his own name. Plectrist put Bauer front and center throughout, playing great jazz guitar. – Near the end of his career, Bauer appeared at the 1997 JVC Tributes for Barney Kessel and Tal Farlow. – In the history of jazz guitar there have been many examples of great musicians who are often overlooked for the enormous influence they had. He led the way for guitarists like Jimmy Raney and student Joe Satriani. Together with Tristano, they brought the piano, guitar, bass trio to a whole new level.

Buckwheat Zydeco (accordion) – 1947

Butch Walker (guitar) – 1969

Carey Bell – 1936

Chris Benavidez (sax, tenor) – 1979

Christopher Bates (bass) – 1970

Clarence Leonard Hayes  – Banjo, b.1908 d.1972, Carney, KS – Was a jazz vocalist, banjoist and guitarist born in 1908 in Caney, Kansas. He worked always as a professional musician turning up in San Francisco in 1926. By 1927 he was a regular on the music scene there. He performed regularly on radio in San Francisco until the 1950s when live music came to be replaced with recordings. – For two years beginning in 1938 he was a singer, banjoist and sometimes percussionist with Lu Watters’s Yerba Buena Jazz band, the group that helped spark the Dixieland revival that continues to this day. He went on to play with Bob Scobey’s Frisco Jazz Band for many years; both he and Scobey were alumni of Watters’s earlier band, as was trombonist Turk Murphy at whose San Francisco nightclub Hayes often played. He recorded fairly widely and with many different groups. – Hayes’s light baritone singing is relaxed, unmannered and marked by a perfect sense of rhythm which allowed him to attack phrases at just the perfect instant, and his renditions of classics from the twenties and of moralistic saloon songs such as “Ace in the Hole”, “Wise Guy” and “Silver Dollar” are splendid. Hayes wrote only one hit tune, “Huggin’ and Chalkin'”, made famous by Hoagy Carmichael, though Hayes himself recorded it with Scobey’s band. – Hayes’s banjo playing was essentially rhythmic rather than melodic and is generally unobtrusive and very tasteful, two qualities often lacking in jazz banjoists. He was unusual in playing a six-string banjo rather than the more common plectrum or tenor which have four strings. – He died in San Francisco in 1972.

Cynthia Hilts (piano)

Darryl Harper (clarinet) – 1968

Derek Gripper (guitar, acoustic) Cape Town South Africa – 1977

Don Ewell – Piano, b.1916 d.1983, Baltimore, MD

EL’s MystERy (band/ensemble/orchestra) – 1966

Ellis Marsalis – Piano, b.1934, New Orleans, LA – An American musician. He is considered one of the premier pianists in modern jazz. Ellis Marsalis is the son of the late Ellis Marsalis, Sr., a businessman and social activist. Ellis and wife Delores have 6 sons. – He started out as a tenor saxophonist, switching to piano while in high school. From his first professional performance with “The Groovy Boys” over fifty years ago, Ellis Marsalis has been a major influence in jazz. At that time, Marsalis was one of the few New Orleans musicians who did not specialize in Dixieland or rhythm and blues. He played with fellow modernists including Cannonball Adderley, Nat Adderley, and Al Hirt, becoming one of the most respected pianists in jazz. Though he has recorded almost twenty of his own albums, and was featured on many discs with such jazz greats as David “Fathead” Newman, Eddie Harris, Marcus Roberts, and Courtney Pine, he shunned the spotlight to focus on teaching. As a leading educator at the New Orleans Center for Creative Arts and Xavier University of Louisiana, Ellis has influenced the careers of countless musicians, including Terence Blanchard, Harry Connick Jr., Nicholas Payton, and his four musician sons: Wynton, Branford, Delfeayo and Jason. His website is at http://www.ellismarsalis.com/

Friso Woudstra – b. 1980 Pretoria South Africa, Guitarist

George Andrew Cables Piano, b.1944, Brooklyn, NY – A jazz pianist who has played with Art Blakey, Sonny Rollins, Art Pepper, and others. He is most noted for his collaborations and as a sideman. – When Cables was going to school in New York City, he used to walk the streets at night, taking in the cosmopolitan sights and sounds, mentally recording his encounters with “so many different kinds of people.” In his musical career as well, Cables has prowled sidestreets and main thoroughfares in relative anonymity, absorbing countless influences into his personal style. – Cables was classically trained as a youth, and when he started at the “Fame”-worthy New York High School of Performing Arts, he admittedly “didn’t know anything about jazz.” But he was soon smitten with the potential for freedom of expression he heard in jazz. The young Cables was impressed by such keyboardists as Herbie Hancock and Chick Corea, but, as he points out, “I never really listened to pianists when I was coming up. I would probably say I’ve been more influenced by Miles or Trane and their whole bands rather than by any single pianist. The concept of the music is more important than listening to somebody’s chops, somebody’s technique, The Way Miles’ band held together, it was just like magic. You were transported to another world.” – Cables attended Mannes College of Music for two years, and by 1964 he was playing in a band called The Jazz Samaritans which included such rising stars as Billy Cobham, Lenny White, and Clint Houston. Gigs around New York at the Top of the Gate, Slugs, and other clubs attracted attention to Cables’ versatility and before long he had recorded with tenor saxophonist Paul Jeffrey, played on Max Roach’s “Lift Every Voice and Sing,” and earned a brief 1969 tenure at the piano bench with Art Blakey and the Jazz Messengers. – A 1969 tour with tenor titan Sonny Rollins took Cables to the West Coast. By 1971 he became a significant figure in the jazz scenes of Los Angeles, where he first resided, and San Francisco, where he also lived. Collaborations and recordings with tenor saxophonists Rollins (“Next Album:) and Joe Henderson, trumpeters Freddie Hubbard and Woody Shaw (“Blackstone Legacy”), and vibist Bobby Hutcherson made Cables’ wide-ranging keyboard skills, often on electric piano, amply evident. Demand for his sensitive accompaniment increased and by the end of the 1970s, Cables was garnering a reputation as everyone’s favorite sideman. – Perhaps the most pivotal turn came when hard bop legend Dexter Gordon invited Cables into his quartet in 1977. The two years he spent with the reappreciated tenor giant ignited Cables’s passion for the acoustic piano and rimmersed him in the bebop vocabulary. “I don’t feel that one should be stuck in the mud playing the same old stuff all the time, trying to prove that this music is valid,” Cables says. “We don’t need to prove anything. But I think you really have to be responsive to your heritage and then go on and find your own voice.” – The longest standing relationship Cables developed in the late seventies was with alto saxophonist Art Pepper. Cables, who Pepper called “Mr. Beautiful,” became Art’s favorite pianist, appearing on many quartet dates for Contemporary and Galaxy, and joining Art for the extraordinary duet album, Goin’ Home, that would be Pepper’s final recording session. “I’ve been able to play with some of the greatest musicians in the world,” Cables says, ..but it’s funny, if you’re not seen as a bandleader, doing the same thing a lot of times, it’s easy to wonder, `Well, who are you really? What do you really feel?’ And sometimes I have to ask myself that, because every time I play with somebody different I have to put on a different hat.” – George has performed and recorded with some of the greatest jazz musicians of his time, including: Joe Henderson, Roy Haynes, Max Roach, Art Blakey, Sonny Rollins, Freddie Hubbard, Woody Shaw, Sarah Vaughn, Tony Williams, Bobby Hutcherson and Dizzy Gillespie. – George Cables has emerged as a major voice in modern jazz. He is currently performing and recording as a soloist, with trio and larger ensembles, and as a clinician in college jazz programs. In addition to composing and arranging for his own albums, George Cables has contributed to recordings by many other jazz performers. He is noted for his fresh interpretations of classic compositions, and for his innovative style of writing. His website is at http://www.georgecables.com/

George Fierstone – Drums, b.1916 d.1984, London, England

Holger Jetter (violin) – 1958

Jay Migliori – 1930

John Henry Barbee – 1905

Johnny Desmond – 1920

Kim A. Clarke (bass, acoustic) – 1954

Kim Nalley (vocals) – 1971

Lena Prima (vocals) – 1963

Leo Caruso (piano) – 1965

Llewellyn Arnold -b 1962 Cape Town South Africa, Saxophonist, teacher, member of the South African Navy Band

Lucio Amanti (cello) – 1977

Malianna Korsten – b. 1989 Singer Songwriter London UK

Marianne Solivan (vocals) – 1976

Martha Tilton (vocals) – 1915

Masao Yagi – Piano, Composer, b.1932, Tokyo, Japan

Paul Peress (drums)

Rockie Charles – 1942

Sam Neal (saxophone) – 1995

Shelton Gary – Drums, b.1943, Fairfield, AL

Valerie Wellington (vocals) – 1959

Willerm Delisfort (piano) – 1983

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