26 October

Aaron Irwin (saxophone) – 1978

Bill Champitto (piano) – 1958

Charles Daly Barnet  – American tenor saxophonist compose, conductor and bandleader.  b.1913 d.1991, New York, NY, He was one of the first bandleaders to integrate his band; the year is variously given as 1935 or 1937. He was an outspoken admirer of Count Basie and Duke Ellington; Ellington once lent Barnet his charts after Barnet’s had been destroyed in a fire. Throughout his career he was an opponent of syrupy arrangements. Barnet was at the height of his popularity between 1939 and 1941, a period that began with his hit “Cherokee.” In 1944 he had another big hit with “Skyliner”. In 1947 he started to switch from swing to bop. During his swing period his band included Buddy DeFranco, Roy Eldridge, Neal Hefti, Lena Horne, Barney Kessel, Dodo Marmorosa and Oscar Pettiford, while later versions of the band included Maynard Ferguson, Doc Severinsen, and Clark Terry. In 1949 he retired, apparently because he had lost interest in music; he was able to retire so young because he had been born wealthy. He occasionally returned from retirement for brief tours but never returned to music full time.

Christopher K. Acree (drums) – 1988

Chuck Stevens (guitar) – 1979

Detroit Junior – 1931

Dima Shechter (piano) – 1969

Eddie Henderson – Trumpet, b.1940, New York, NY

Hank Duncan – Piano, b.1896 d.1968, Bowling Green, KY

Jacques Loussier – Piano, b.1934, in Angers, north-western France He is well known for his jazz interpretations of many of Johann Sebastian Bach’s works, such as the Goldberg variations. Loussier formed the Play Bach Trio in 1959, with himself as pianist, Pierre Michelot as bassist and Christian Garros as percussionist. The group performed interpretations of Bach’s works, and had many live appearances, tours and concerts, as well as a number of recordings. In total, the trio sold over six million albums. In 1978 the trio broke up, and Loussier set up his own recording studio in Provence where he worked on compositions for acoustic and electric instruments. He also worked together with musicians like Pink Floyd, Elton John, Sting and Yes. Allegedly, parts of the Pink Floyd album The Wall were recorded at his studio. In 1985 – three hundred years after Bach’s birth – he refounded the Play Bach Trio with two new partners, percussionist Andre Arpino and double-bassist Vincent Charbonnier. Recent recordings include interpretations of compositions by Erik Satie, Claude Debussy, Maurice Ravel, Antonio Vivaldi and more. A recording, entitled Take Bach, made by the trio along with the Pekinel sisters feature adaptations of Bach’s concertos for two and three pianos. His website is http://www.loussier.com/

Jason Bowen (trumpet) – 1989

John Cocuzzi (vibes) – 1964

Lamar Harris (trombone) – 1975

Mahalia Jackson (vocals) – 1911

Marc Wagnon (vibes) – 1956

Milton Nascimento (guitar) – 1942

Ranee Lee (vocals) – 1942

Scott Samenfeld (bass) – 1951

Sean O’Bryan Smith (bass) – 1971

Sigrid (vocals) – 1984

Sterling Bruce  Conaway – Banjo, b.1900 d.1973, Washington, DC

Thomas Rotter (bass) – 1963

Tony Pastor – Tenor Sax, Vocal, Leader, b.1907 d.1969, Middletown, CT

Vanessa Gageos (vocals) – 1989

Warne Marion Marsh  – Tenor Sax, b.1927 d.1987, Los Angeles, CA – Marsh came from an affluent background: his father was the cinematographer Oliver T. Marsh (1892-1941), and his mother Elizabeth was a violinist. Mae Marsh, the actress, was his aunt. He was tutored by Lennie Tristano, and along with Lee Konitz became one of the pre-eminent saxophonists of the Tristano-inspired “Cool School”. He was often recorded in the company of other Cool School musicians, and remained one of the most faithful to the Tristano philosophy of improvisation – the faith in the purity of the long line, the avoidance of licks and emotional chain-pulling, the concentration on endlessly mining the same small body of jazz standards. Nevertheless, his distinctively sombre, grainy tone (which set Marsh apart from other Lester Young-influenced saxophonists); uncannily fluent use of the high register; and rhythmically subtle lines are immediately recognizable. He has been called by Anthony Braxton “the greatest vertical improviser.” In the 1970s he gained renewed exposure as a member of Supersax, a large ensemble which played orchestral arrangements of Charlie Parker solos; Marsh also recorded one of his most celebrated albums during this period, All Music, with the Supersax rhythm section. He died onstage at the Los Angeles club Donte’s in 1987, in the middle of playing “Out of Nowhere”. Though he remains something of a cult figure among jazz fans and musicians, his influence has grown since his death; younger players such as Mark Turner have increasingly been borrowing from his music as a way of counterbalancing the pervasive influence of John Coltrane. Marsh’s discography remains somewhat scattered and elusive, as much of it was done for small labels, but more and more of his work has been issued on compact disc in recent years.