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Kevin Edward Locke (Lakota name: Tȟokéya Inážiŋ, meaning “The First to Arise”; June 23, 1954 – September 30, 2022) was of Lakota descent of the Standing Rock Sioux Tribe and Anishinaabe of White Earth. He was a preeminent player of the Native American flute, a traditional storyteller, cultural ambassador, recording artist and educator. He was best-known for his hoop dance, The Hoop of Life.

Born on June 23, 1954, in Los Angeles, CA. At the age of five years Locke moved north with his family, later to settle in South Dakota on the Standing Rock Reservation in 1966. It was from his mother, Patricia Locke, his uncle Abraham End-of-Horn, mentor Joe Rock Boy, and many other elders and relatives that Kevin received training in the values, traditions and language of his native Sioux culture.

Sahib Shihab (born Edmund Gregory; June 23, 1925 – October 24, 1989) was an American jazz and hard bop saxophonist (baritone, alto, and soprano) and flautist. He variously worked with Luther Henderson, Thelonious Monk, Fletcher Henderson, Tadd Dameron, Dizzy Gillespie, Kenny Clarke, John Coltrane and Quincy Jones among others.

He was born in Savannah, Georgia, United States. Edmund Gregory first played alto saxophone professionally for Luther Henderson aged 13, and studied at the Boston Conservatory, and to perform with trumpeter Roy Eldridge. He played lead alto with Fletcher Henderson in the mid-1940s.

He was one of the first jazz musicians to convert to Islam and changed his name in 1947. He belonged to the Ahmadiyya sect of Islam.^[5] During the late 1940s, Shihab played with Thelonious Monk, and on July 23, 1951 he recorded with Monk (later issued on the album Genius of Modern Music: Volume 2). During this period, he also appeared on recordings by Art Blakey, Kenny Dorham and Benny Golson. The invitation to play with Dizzy Gillespie‘s big band in the early 1950s was of particular significance, as it marked Shihab’s switch to baritone.

George Allen Russell (June 23, 1923 – July 27, 2009) was an American jazz pianist, composer, arranger and theorist. He is considered one of the first jazz musicians to contribute to general music theory with a theory of harmony based on jazz rather than European music, in his book Lydian Chromatic Concept of Tonal Organization (1953).

Russell was born in Cincinnati, Ohio, on June 23, 1923, to a white father and a black mother. He was adopted by a nurse and a chef on the B & O Railroad, Bessie and Joseph Russell. Young Russell sang in the choir of the African Methodist Episcopal Church and listened to the Kentucky Riverboat music of Fate Marable. He made his stage debut at age seven, singing “Moon Over Miami” with Fats Waller.

Milton John Hinton (June 23, 1910 – December 19, 2000) was an American double bassist and photographer.

Regarded as the Dean of American jazz bass players, his nicknames included “Sporty” from his years in Chicago, “Fump” from his time on the road with Cab Calloway, and “The Judge” from the 1950s and beyond. Hinton’s recording career lasted over 60 years, mostly in jazz but also with a variety of other genres as a prolific session musician.

He was also a photographer of note, praised for documenting American jazz during the 20th Century.

Hinton was born in Vicksburg, Mississippi, United States, the only child of Hilda Gertrude Robinson, whom he referred to as “Titter,” and Milton Dixon Hinton. He was three-months-old when his father left the family. He grew up in a home with his mother, his maternal grandmother (a former slave of Joe Davis, the brother of Jefferson Davis), and two of his mother’s sisters.

The martinete is one of the main ‘cantes’ (songs) of flamenco and is considered a form of toná. Although its origin is uncertain, most researchers place it in the forges of Jerez, Cádiz and Triana (Seville), places where the Andalusian gypsies used to work, who began to develop these songs.

Considered a modality of the toná, the martinete is interpreted without guitar, ‘a palo seco’, although sometimes it is accompanied by the sounds that are reminiscent of those of a forge, hitting some metal.

In fact, the name of this song refers to the hammer with which the blacksmiths or the twin bellows used in the forges that are called hammers worked.

It is a song with a couplet, of four verses of eight syllables. His lyrics are characterized by having a sad content and a monochrome tone. It begins with an om ‘tran-tran’onomatopoeic, which recalls the sound of the hammer on the anvil, and ends with long ‘quejío’.

The martinete, together with the soleá, seguiriya or tonás, are considered “cantes grandes” of flamenco and styles that support the tree of this artistic genre.

Hermeto Pascoal (born June 22, 1936) is a Brazilian composer and multi-instrumentalist. He was born in Lagoa da Canoa, Alagoas, Brazil. Pascoal is a significant figure in the history of Brazilian music, mainly known for his abilities in orchestration and improvisation, as well as being a record producer and contributor to many Brazilian and international albums.

Pascoal comes from Northeastern Eastern Brazil, in an area that lacked electricity at the time he was born. He learned the accordion from his father and practiced for hours indoors, as, being albino, he was incapable of working in the countryside with the rest of his family.

Raymond Mantilla (June 22, 1934 – March 21, 2020) was an American percussionist.

• Mantilla (Inner City, 1978)
• Hands of Fire (Red, 1984)
• Synergy (Red, 1986)
• Dark Powers (Red, 1988)
• The Next Step (Red, 2000)
• Man-Ti-Ya (Savant, 2004)
• Good Vibrations (Savant, 2006)
• The Connection (Savant, 2013)
• High Voltage (Savant, 2017)
• Rebirth (Savant, 2021).

Nils Hilmer Lofgren (born June 21, 1951) is an American rock musician, recording artist, songwriter, and multi-instrumentalist. Along with his work as a solo artist, he has been a member of Bruce Springsteen‘s E Street Band since 1984, a member of Crazy Horse, and founder/frontman of the band Grin. Lofgren was inducted into the Rock and Roll Hall of Fame as a member of the E Street Band in 2014.

Lofgren was born in Chicago, Illinois, United States, to an Italian mother and a Swedish father. When he was a young child, the family moved to the Washington, D.C., suburb of Bethesda, Maryland. Lofgren’s first instrument was classical accordion, beginning at age five, which he studied seriously for ten years. After studying classical music and jazz, throughout his youth, Lofgren switched his emphasis to rock music, and focused on the piano and the guitar.