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“Malagueñas” is a traditional flamenco style from Málaga. It comes from the ancient “fandangos malagueños”.

By the first half of the 19th century, it became a flamenco style. Although this singing hasn’t its own dance, it has a large melodic range. This is a ad libitum singing, singer extends intentionally some verses. Rhythm is sometimes delayed and some other times overtaken.

It is accompanied by a guitar which gains richness and complexity in “malagueña” melodies because of its rhythmic freedom. Unlike local “fandango”, “toque” of Malaga is getting slower and more sustained. Thus, it obtains an extraordinary richness.

“Malagueña” singing is composed by a “copla” of four or five eight-syllable verses. It is usually composed by six verses, as some of them are repeated. It is a solemn and melodious singing that acquires the category of “cante grande” (great singing) in the voices of Chacon and Enrique el Mellizo. There are several types of “malagueñas” due to personal creations of interpreters, either born in Malaga or other parts of Andalusia. Diego Clavel recorded 47 “malagueñas” forms.

Some authors consider that the first “malagueñas” born with Juan Breva. Others point to Juan Reyes “El Canario” as the creator of this genre. Álora, the town where “El Canario” was born, is considered as the origin of “malagueñas”. “Malagueñas” of “El Niño” Tomares are also well-known as well as the ones of “la Trini” and “Ojana”. Enrique “el Mellizo”, Chacon and Fosforito “El Viejo” were the creators of “malagueñas nuevas” (new version of “malagueñas”). An evolutionary leap, from which has been called “malagueñas de transición”.

Harold Forster Chapin (/ˈtʃeɪpɪn/ CHAY-pin; December 7, 1942 – July 16, 1981) was an American singer-songwriter, philanthropist, and hunger activist best known for his folk rock and pop rock songs. He achieved worldwide success in the 1970s. Chapin, a Grammy Award-winning artist and Grammy Hall of Fameinductee, has sold over 16 million records worldwide.

Chapin recorded a total of 11 albums from 1972 until his death in 1981. All 14 singles that he released became hits on at least one national music chart. Chapin’s best-known songs include “Taxi” and “Cat’s in the Cradle.”

As a dedicated humanitarian, Chapin fought to end world hunger. He was a key participant in the creation of the Presidential Commission on World Hunger in 1977. In 1987, Chapin was posthumously awarded the Congressional Gold Medal for his humanitarian work.

Mads Vinding (born 7 December 1948, Copenhagen, Denmark) is a Danish jazz double-bassist.

Vinding began his professional career when he was 16 as the house bassist for Jazzhus Montmartre, a jazz club in Copenhagen. He has played on more than 800 recordings and more than 1000 Radio/TV shows.

Louis Leo Prima (December 7, 1910 – August 24, 1978) was an American trumpeter, singer, entertainer, and bandleader. While rooted in New Orleans jazz, swing music, and jump blues, Prima touched on various genres throughout his career: he formed a seven-piece New Orleans-style jazz band in the late 1920s, fronted a swing combo in the 1930s and a big band group in the 1940s, helped to popularize jump blues in the late 1940s and early to mid 1950s, and performed frequently as a Vegas lounge act beginning in the 1950s.

From the 1940s through the 1960s, his music further encompassed early R&B and rock ‘n’ roll, boogie-woogie, and Italian folk music, such as the tarantella. Prima made prominent use of Italian music and language in his songs, blending elements of his Italian and Sicilian identity with jazz and swing music. At a time when ethnic musicians were discouraged from openly stressing their ethnicity, Prima’s conspicuous embrace of his Sicilian ethnicity opened the doors for other Italian-American and ethnic American musicians to display their ethnic roots.

Prima is also known for providing the voice for the orangutan King Louie in the 1967 Disney film The Jungle Book.

Zeki Müren  6 December 1931 – 24 September 1996) was a Turkish singer, composer, songwriter, actor and poet. Known by the nicknames “The Sun of Art” and “Pasha“, he was one of the prominent figures of Turkish classical music. Due to his contributions to the art industry, he was named a “State Artist” in 1991. He was the first singer to receive a gold certification in Turkey and throughout his career recorded and released hundreds of songs on cassettes and phonograph records.

Miroslav Ladislav Vitouš (born 6 December 1947) is a Czech jazz bassist.

Born in Prague, Vitouš began the violin at age six, switching to piano after about three years, and then to bass at age fourteen. As a young man in Europe, Vitouš was a competitive swimmer. One of his early music groups was the Junior Trio with his brother Alan on drums and Jan Hammer on keyboards. He studied music at the Prague Conservatory under František Pošta, and won a music contest in Vienna in 1966 that gave him a scholarship to the Berklee College of Music in Boston, which he attended one year before going to Chicago to play with a group co-led by the classically inclined trombonist Bob Brookmeyer and flugelhorn pioneer Clark Terry.

Miles Davis saw Vitouš playing in Chicago with Brookmeyer and Terry in 1967 and invited him to join his own group playing at the Village Gate in New York City. It was with Davis that Vitouš first encountered saxophonist Wayne Shorter, keyboardist Herbie Hancock and the Davis-centric scene that was transforming mainstream jazz from late hard bop into what would be known as jazz fusion.

Joseph Francis Lamb (December 6, 1887 – September 3, 1960) was an American composer of ragtime music. Lamb, of Irish descent, was the only non-African American of the “Big Three” composers of classical ragtime, the other two being Scott Joplin and James Scott. The ragtime of Joseph Lamb ranges from standard popular fare to complex and highly engaging. His use of long phrases was influenced by classical works he had learned from his sister and others while growing up, but his sense of structure was potentially derived from his study of Joplin’s piano rags. By the time he added some polish to his later works in the 1950s, Lamb had mastered the classic rag genre in a way that almost no other composer was able to approach at that time, and continued to play it passably as well, as evidenced by at least two separate recordings done in his home, as well as a few recorded interviews.

Lamb was born in Montclair, New Jersey. The youngest of four children, he taught himself to play the piano and admired the early ragtime publications of Scott Joplin. His first known works were “Meet Me at the Chutes,” and “Idle Dreams”, at the age of 13 in 1900, but they are unpublished and assumed lost.

José Monje Cruz (5 December 1950 – 2 July 1992), better known by his stage name Camarón de la Isla(Spanish: Shrimp from the Island), was a Spanish Romani flamenco singer. Considered one of the all-time greatest flamenco singers, he was noted for his collaborations with Paco de Lucía and Tomatito, and the three of them were of major importance to the revival of flamenco in the second half of the 20th century.

He was born in San Fernando, Cádiz, Spain, into a Spanish Romani family, the seventh of eight children. His mother was Juana Cruz Castro, a “Canastera”, literally a basket weaver, and meaning from a wandering Roma family, and whose gift of singing was a strong early influence.

His father, Juan Luis Monje, was also a singer as well as a blacksmith, and had a forge where Camarón worked as a boy. His uncle José nicknamed him Camarón (Spanish for “Shrimp”) because he was blonde and fair skinned.

When his father died of asthma, while still very young, the family went through financial hardship. At the age of eight he began to sing at inns and bus stops with Rancapino to earn money. At sixteen, he won first prize at the Festival del Cante Jondo in Mairena del Alcor. Camarón then went to Madrid with Miguel de los Reyes and in 1968 became a resident artist at the Tablao Torres Bermejas, where he remained for twelve years.