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Samuel Jones (November 12, 1924 – December 15, 1981) was an American jazz double bassist, cellist, and composer.

Sam Jones was born in Jacksonville, Florida, United States, to a musical family. His father played piano and drums and his aunt played organ in church. In 1955, he moved to New York City and began his recording career with Tiny Bradshaw, before working with Bill Evans, Bobby Timmons, Les Jazz Modes, Kenny Dorham, Illinois Jacquet, Freddie Hubbard, Dizzy Gillespie (1958–59), and Thelonious Monk. He is probably best known for his work with Cannonball Adderley, performing in his quintet from 1955 to 1956 and then again from 1959 to 1964, and recording extensively for Riverside Records as both a leader and sideman. He later spent several years working with Oscar Peterson (1966-1970) and Cedar Walton (1972-1977). In the 1970s, Jones recorded several albums as a bandleader for the Xanadu and SteepleChaselabels. Jones wrote the jazz standards “Del Sasser” and “Unit 7” while working with Adderley. Other compositions include “Blue Funk”, “O.P.”, “Bittersweet”, and “Seven Minds”. He died of lung cancer in 1981 at the age of 57.

Booker T. Washington “Bukka” White (born on November 12, between 1900 and 1909; died February 26, 1977) was an American Delta blues guitarist and singer.

Booker T. Washington White was born on a farm south of Houston, in northeastern Mississippi. He was born on November 12; various years between 1900 and 1909 are recorded – census data suggests 1904. Bukka is a phonetic spelling of White’s first name; he was named after the African-American educator and civil rights activist Booker T. Washington. White was a first cousin of B.B. King‘s mother (White’s mother and King’s maternal grandmother were sisters). His father John White was a railroad worker, and also a musician who performed locally, primarily playing the fiddle, but also mandolin, guitar and piano. He gave Booker a guitar for his ninth birthday. White started his career playing the fiddle at square dances. He got married at 16 years old, with his father giving him a new Stella guitar as a wedding present. He and his wife lived at Houston, but after a few years she died of a burst appendix.

Mario Pavone (November 11, 1940 – May 15, 2021) was an American jazz bassist, composer and bandleader. Jazz critic Kevin Whitehead offers that Pavone was not only “great bass player [but also a] big-hearted mensch.”

Pavone was born in Waterbury, Connecticut. Pavone attended B. W. Tinker grammar school, Leavenworth High School, and the University of Connecticut at Storrs, where he graduated with a B.S. in engineering. When his Town Plot neighbor, world-renowned guitarist Joe Diorio, recognized him as an unrealized musician Mario was inspired to take up the bass. Primarily self-taught, he was a natural on his instrument. Pavone began playing bass soon after witnessing John Coltrane at the Village Vanguard in 1961.

Ernestine Anderson (November 11, 1928 – March 10, 2016 Houston, TX) was an American jazz and blues singer. In a career spanning more than six decades, she recorded over 30 albums. She was nominated four times for a Grammy Award. She sang at Carnegie Hall, the Kennedy Center, the Monterey Jazz Festival (six times over a 33-year span), as well as at jazz festivals all over the world. In the early 1990s she joined Qwest Records, the label founded by fellow Garfield High School graduate Quincy Jones.

Delores LaVern Baker (November 11, 1929 – March 10, 1997) was an American R&B singer who had several hit records on the pop chart in the 1950s and early 1960s. Her most successful records were “Tweedle Dee” (1955), “Jim Dandy” (1956), and “I Cried a Tear” (1958).

Baker was inducted into the Rock and Roll Hall of Fame in 1991. The Hall remarked that her “fiery fusion of blues, jazz and R&B showcased her alluring vocals and set the stage for the rock and roll surge of the Fifties”. From 1955 to 1965, 20 of her songs made the R&B charts. Over the years, Elvis Presley recorded eight Baker songs.

Baker was born Delores Evans in Chicago. She was raised in Calumet City, Illinois. Under her mother’s new surname, McMurley, Delores – on December 23, 1948, at age nineteen, in Cook County, Illinois – married Eugene Williams.

Hubert Laws (born November 10, 1939) is an American flutist and saxophonist with a career spanning over 40 years in jazz, classical, and other music genres. Laws is one of the few classical artists who has also mastered jazz, pop, and rhythm-and-blues genres, moving effortlessly from one repertory to another. He has three Grammy nominations.

Hubert Laws, Jr. was born November 10, 1939, in the Studewood section of Houston, Texas, the second of eight children to Hubert Laws, Sr. and Miola Luverta Donahue. Many of his siblings also entered the music industry, including saxophonist Ronnie and vocalists Eloise, Debra, and Johnnie Laws. He began playing flute in high school after volunteering to substitute for the school orchestra’s regular flutist. He became adept at jazz improvisation by playing in the Houston-area jazz group the Swingsters, which eventually evolved into the Modern Jazz Sextet, the Night Hawks, and The Crusaders. At the age of 15, he was a member of the early Jazz Crusaders while in Texas (1954–60), and also played classical music during those years.

Andrew Charles Cyrille (born November 10, 1939) is an American avant-garde jazz drummer. Throughout his career, he has performed both as a leader and a sideman in the bands of Walt Dickerson and Cecil Taylor, among others. AllMusic biographer Chris Kelsey wrote: “Few free-jazz drummers play with a tenth of Cyrille’s grace and authority. His energy is unflagging, his power absolute, tempered only by an ever-present sense of propriety.”

Cyrille was born in Brooklyn, New York, United States, into a Haitian family. He began studying science at St. John’s University, but was already playing jazz in the evenings and switched his studies to the Juilliard School. His first drum teachers were fellow Brooklyn-based drummers Willie Jones and Lenny McBrowne; through them, Cyrille met Max Roach. Nonetheless, Cyrille became a disciple of Philly Joe Jones.

Paul Bley, CM (November 10, 1932 – January 3, 2016) was a Canadian jazz pianist known for his contributions to the free jazz movement of the 1960s as well as his innovations and influence on trio playing and his early live performance on the Moog and ARP synthesizers. His music has been described by Ben Ratliff of the New York Times as “deeply original and aesthetically aggressive”. Bley’s prolific output includes influential recordings from the 1950s through to his solo piano recordings of the 2000s.

Bley was born in Montreal, Quebec, on November 10, 1932. His adoptive parents were Betty Marcovitch, an immigrant from Romania, and Joseph Bley, owner of an embroidery factory, who named him Hyman Bley. However, in 1993 a relative from the New York branch of the Bley family walked into the Sweet Basil Jazz Club in New York City and informed Bley that his father was actually his biological parent.

The core of the Tangos is the letra, three or four octosyllabic lines. As with the Bulerías, the  the first line is often repeated, and the repeated lines are balanced by a longer consequent phrase. Before a letra a Tangos may open with a guitar falseta or an estribillo, in which the singer sings a traditional melody with nonsense syllables (“le le le, ni, ni, etc.). The estribillo may return throughout the piece as a chorus after a letra.

Once the letra begins it can be broken up several times with remates performed by the dancer. This usually occurs between the first and second line of the letra, and often occurs more frequently, giving the dance a improvisatory air. Thus, the letras themselves can be further broken up with remates or escobillas from the dancer or with guitar falsetas. A dancer may also choose to perform a long footwork passage accompanied by compás patterns from the guitarist and palmista (an escobilla performed “a palo seco” or dry, without guitar accompaniment). As in Bulerías, Tangos can end with a cierre – a closing pattern – that is based on a different set of chords than the letras. The dancer can also perform a cue (llamada) that leads into a traveling exit – a salida. It’s also common to end certain forms in flamenco with a macho, a transition into a faster, related form. Tangos wiil often end with a brief Rumba Flamenca. Similarly, Tientos will often end with a brief Tangos.