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Narasimhan Ravikiran (born 12 February 1967) is an Indian slide instrumentalist, vocalist, composer, and orator, who created the concept of melharmony. He is the son of gottuvadhyam player Chitravina Narasimhan and the grandson of Narayan Iyengar, who was also a Carnatic musician.

Ravikiran was born in Mysore, Karnataka. He made his first appearance at the age of two, in April and again in August 1969, in Bangalore, and was interviewed by Semmangudi Srinivasa Iyer, Pandit Ravi Shankar, M S Subbulakshmi and Flute T R Mahalingam. He also performed at the XLIII Madras Music Conference held at The Madras Music Academy in December 1969, and was awarded a scholarship from the academy.He was able to identify about 325 ragas (melodic scales) and 175 talas (rhythmic cycles) of Carnatic music. Ravi Shankar is said to have declared “If you don’t believe in God, look at Ravikiran”. Soon after, he was presented at leading institutions such as Shanmukhananda Fine Arts, Bombay and Tyagaraja Sabha, Coimbatore.

Didier Lockwood (11 February 1956 – 18 February 2018) was a French violinist. He played in the French rock band Magma in the 1970s, and was known for his use of electric amplification and his experimentation with different sounds on the electric violin.

In 1979, Lockwood released his first album as a leader, New World, and recorded more than 20 albums.In 1994, he moved to New York City for two years. During that time he recorded two albums, New York Rendez Vous and Storyboard. Lockwood’s influences include violinist Jean-Luc Ponty. He started playing electric violin after hearing Ponty on the album King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa. Another important influence was Frenchman Stéphane Grappelli. In 2000, Lockwood recorded a tribute album to Grappelli.

Little Johnny Taylor (born Johnny Lamont Merrett; February 11, 1943 – May 17, 2002) was an American blues and soul singer. He made recordings throughout the 1960s and 1970s, and continued public performances through the 1980s and 1990s.

Born in Gregory, Arkansas, United States, he is frequently confused with his contemporary and near namesake Johnnie Taylor, especially since the latter made a cover version of the song that Little Johnny Taylor was most famous for, “Part Time Love” (1963), and the fact that both men began their careers as gospel singers.

Little Johnny Taylor moved to Los Angeles in 1950, and sang with the Mighty Clouds of Joy before moving into secular music. Influenced by Little Willie John, he first recorded as an R&B artist for the Swingin’ record label.

Sérgio Santos Mendes (Brazilian Portuguese: [ˈsɛʁʒju ˈsɐ̃tuz ˈmẽdʒis]; born February 11, 1941) is a Brazilian musician. His career took off with worldwide hits by his group Brasil ’66. He has over 55 releases and plays bossa nova heavily crossed with jazz and funk. He was nominated for an Oscar for Best Original Song in 2012 as co-writer of the song “Real in Rio” from the animated film Rio.

Mendes is a unique example of a Brazilian musician primarily known in the United States, where his albums were recorded and where most of his touring took place.

Mendes is married to Gracinha Leporace, who has performed with him since the early 1970s. Mendes has also collaborated with many artists through the years, including The Black Eyed Peas, with whom he re-recorded in 2006 a version of his breakthrough hit “Mas que Nada“.

Vincent Eugene Craddock (February 11, 1935 – October 12, 1971), known as Gene Vincent, was an American musician who pioneered the styles of rockabilly and rock and roll. His 1956 top ten hit with his backing band the Blue Caps, “Be-Bop-a-Lula“, is considered a significant early example of rockabilly. His chart career was brief, especially in his home country of the US, where he notched three top 40 hits in 1956 and ’57, and never charted in the top 100 again. In the UK, he was a somewhat bigger star, racking up eight top 40 hits from 1956 to 1961.

Vincent was inducted into the Rock and Roll Hall of Fame and the Rockabilly Hall of Fame. He is sometimes referred to by his somewhat unusual nickname/moniker the “Screaming End”.

Craddock was born February 11, 1935, in Norfolk, Virginia, to Mary Louise and Ezekiah Jackson Craddock. His musical influences included country, rhythm and blues, and gospel. His favorite composition was Beethoven’s Egmont overture. He showed his first real interest in music while his family lived in Munden Point (now Virginia Beach), in Princess Anne County, Virginia, near the North Carolina line, where they ran a country store. He received his first guitar at the age of twelve as a gift from a friend.

Rufus Reid (born February 10, 1944, in Atlanta, Georgia) is an American jazz bassist, educator, and composer.

Reid was raised in Sacramento, California, where he played the trumpet through junior high and high school. Upon graduation from Sacramento High School, he entered the United States Air Force as a trumpet player. During that period he began to be seriously interested in the bass.

After fulfilling his duties in the military, Rufus had decided he wanted to pursue a career as a professional bassist. He moved to Seattle, Washington, where he began serious study with James Harnett of the Seattle Symphony. He continued his education at Northwestern University in Evanston, Illinois, where he studied with Warren Benfield and principal bassist, Joseph Guastefeste, both of the Chicago Symphony. He graduated in 1971 with a Bachelor of Music Degree as a Performance Major on the Double Bass.

Emmanuel N’Djoké “Manu” Dibango (12 December 1933 – 24 March 2020) was a Cameroonian musician and songwriter who played saxophone and vibraphone. He developed a musical style fusing jazz, funk, and traditional Cameroonian music. His father was a member of the Yabassi ethnic group, while his mother was a Duala. He was best known for his 1972 single “Soul Makossa“. He died from COVID-19 on 24 March 2020.

Emmanuel “Manu” Dibango was born in Douala, Cameroon in 1933. His father, Michel Manfred N’Djoké Dibango, was a civil servant. Son of a farmer, he met his wife travelling by pirogue to her residence, Douala. Emmanuel’s mother was a fashion designer, running her own small business. Both her ethnic group, the Douala, and his, the Yabassi, viewed this union of different ethnic groups with some disdain.Dibango had only a stepbrother from his father’s previous marriage, who was four years older than him.In Cameroon, one’s ethnicity is dictated by one’s father, though Dibango wrote in his autobiography, Three Kilos of Coffee, that he had “never been able to identify completely with either of [his] parents”.

“The King of the Savoy” reigned supreme over jazz drummers in New York in the 1930’s. He was the consummate showman and with his fluid and rhythmic style, was perfectly suited for the swing era. He raised the standard for drummer awareness, and paved the way for drummer led bands.

Born in Baltimore, Feb. 10, 1909, William Henry Webb, was an unlikely candidate to become a jazz drummer. Stricken with spinal tuberculosis, he was left with a hunched back, and little use of his legs. He took up drumming as a way to relieve joint stiffness, and never stopped. He saved enough to buy a drum set which he had fit with special pedals for his legs. He joined local band the Jazzola Orchestra, then in 1925 decided to try New York City. He sat in on sessions with Johnny Hodges, Benny Carter, and Duke Ellington, after settling in by 1926 he had his own quintet, and played for five months at the Black Bottom Club. He formed an eight piece band, playing the Paddock Club, moving next to the Savoy with his now called Harlem Stompers, and setting up there in 1927. This band grew to eleven members, and by the end of the ‘20’s they were gigging at all the major jazz clubs in the city as the Cotton Club, the Roseland, and the Strand Roof. In 1930 they toured with the “Hot Chocolate Revue”.

“Mineras” is a flamenco style from the mining area of “Sierra Cartagena-La Union” and developed in the 19th century, together with the rest of “cantos minero-levantinos”. This was the result of the great migrations from Andalusia, specially from Almería.

“Minera” was originated in mid-nineteenth century, emerging as a derivation of local “fandangos”, which already existed in “Sierra de la Union” in Murcia. Creator of this “palo” was Rojo “el Alpargatero”, whose son maintained it, but adding some new variants. In the 50s, “minera” rose again after being gone for some years.

“Minera” is composed by a stanza of four or five eight-syllable verses. Main topics are mining and their workers. It is a serious song, which is difficult to be interpreted. There are two kind of “minera”: the one which is a derivation of local “fandangos” and belongs to “cantos de Levante”, more precisely to “cantes de las minas”. These latter constitute currently a very definite form of “taranta”.

Although “minera” is still present in the area where it originated, current singers do not usually include it in their performances, but some do it in their discography. It is a singing which is very closed to its native place.