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Charles Edward Haden (August 6, 1937 – July 11, 2014) was an American jazz double bass player, bandleader, composer and educator whose career spanned more than 50 years. In the late 1950s, he was an original member of the ground-breaking Ornette Coleman Quartet.

Haden revolutionized the harmonic concept of bass playing in jazz. German musicologist Joachim-Ernst Berendt wrote that Haden’s “ability to create serendipitous harmonies by improvising melodic responses to Coleman’s free-form solos (rather than sticking to predetermined harmonies) was both radical and mesmerizing. His virtuosity lies (…) in an incredible ability to make the double bass ‘sound out’. Haden cultivated the instrument’s gravity as no one else in jazz. He is a master of simplicity which is one of the most difficult things to achieve.” Haden played a vital role in this revolutionary new approach, evolving a way of playing that sometimes complemented the soloist and sometimes moved independently. In this respect, as did his predecessor bassists Jimmy Blanton and Charles Mingus, Haden helped liberate the bassist from a strictly accompanying role to becoming a more direct participant in group improvisation. In 1969, he formed his first band, the Liberation Music Orchestra, featuring arrangements by pianist Carla Bley. In the late 1960s, he became a member of pianist Keith Jarrett’s trio, quartet and quintet. In the 1980s, he formed his band, Quartet West. Haden also often recorded and performed in a duo setting, with musicians including guitarist Pat Metheny and pianist Hank Jones. Haden was born in Shenandoah, Iowa. His family was exceptionally musical and performed on the radio as the Haden Family, playing country music and American folk songs. Haden made his professional debut as a singer on the Haden Family’s radio show when he was just two years old. He continued singing with his family until he was 15 when he contracted a bulbar (brainstem) form of polio affecting his throat and facial muscles. At the age of 14, Haden had become interested in jazz after hearing Charlie Parker and Stan Kenton in concert. Once he recovered from his bout with polio, Haden began in earnest to concentrate on playing the bass. Haden’s interest in the instrument was not sparked by jazz bass alone, but also by the harmonies and chords he heard in compositions by Bach.

Baden Powell de Aquino (Brazilian Portuguese: [ˈbadẽ ˈpaw]; 6 August 1937 – 26 September 2000), known professionally as Baden Powell, was a Brazilian guitarist.He combined classical techniques with popular harmony and swing. He performed in many styles, including bossa nova, samba, Brazilian jazz, Latin jazz and MPB. He performed on stage during most of his lifetime. Powell composed many pieces for guitar, such as “Abração em Madrid”, “Braziliense”, “Canto de Ossanha”, “Casa Velha”, “Consolação”, “Horizon”, “Imagem”, “Lotus”, “Samba”, “Samba Triste”, “Simplesmente”, “Tristeza e Solidão”, and “Samba da Benção”. He released Os Afro-sambas, a watershed album in MPB, with Vinicius de Moraes in 1966.

Jemeel Moondoc (August 5, 1946 – August 29, 2021) was a jazz saxophonist who played alto saxophone. He was a proponent of a highly improvisationalstyle.

He was born in Chicago, Illinois, United States, and studied clarinet and piano before settling on saxophone at sixteen. He became interested in jazz largely due to Cecil Taylor and at the University of Wisconsin–Madison, he was a student of Taylor’s. After that he moved to New York City, where he founded “Ensemble Muntu” with William Parker, Roy Campbell, Jr., and Rashid Bakr. The group also had its own Muntu record label, but eventually faced financial difficulties. In 1984, he formed the Jus Grew Orchestra, which secured a residency at the Neither/Nor club in the Lower East Side. He worked with Parker again in 1998’s album, New World Pygmies.

He died in August 2021, at the age of 75 from the effects of sickle cell anemia.

Airto Guimorvan Moreira (born August 5, 1941) is a Brazilian jazz drummer and percussionist. He is married to jazz singer Flora Purim, and their daughter Diana Moreira is also a singer. Coming to prominence in the late 1960s as a member of the Brazilian ensemble Quarteto Novo, he moved to the United States and worked in jazz fusion with Miles Davis and Return to Forever.

Airto Moreira was born in Itaiópolis, Brazil, into a family of folk healers, and raised in Curitiba and São Paulo. Showing an extraordinary talent for music at a young age, he became a professional musician at age 13, noticed first as a member of the samba jazz pioneers Sambalanço Trio and for his landmark recording with Hermeto Pascoal in Quarteto Novo in 1967. Shortly after, he followed his wife Flora Purim to the United States.

The performance of soleá singing has guitar and clapping accompaniment. Like many of the flamenco styles, it has a formal structure that responds to the following model:

A guitar introduction, accompanied by a departure ayeo (the singer’s famous ‘ay ay ay’).

The cante (singing), made up of various types such as the brave cante and auction, accompanied by the guitarist’s improvisation collected under the name of “falsetas”, which appear interspersed during the performance.

The closing of the performance, given the time in which it is performed, causes a silence that encourages the public to broadcast the famous “olé”.

As for the metric, the soleá shares a great similarity with the seguiriyas, with a 3 × 4 rhythm and a twelve-beat measure, which are divided into two of six. The stanza is made up of four or three octosyllabic verses and its theme evokes deep and sad feelings.

Jeff Hamilton (born August 4, 1953) is an American jazz drummer and co-leader of the Clayton-Hamilton Jazz Orchestra. A former member of the L.A. Four, Hamilton has played with jazz pianist Monty Alexander, bandleader Woody Herman, and singer Rosemary Clooney, and has worked extensively with singer Diana Krall.

Hamilton was born in Richmond, Indiana, United States,. From a young age he took piano lessons but was inspired at age five by Gene Krupa and then began drumming at the age of eight. At fifteen, he was invited to play with the Earlham College jazz ensemble. He later attended Indiana University while studying under the tutelage of John Von Ohlen.

https://www.youtube.com/watch?v=y3Egvhpm35g

Huey “Sonny” Simmons (August 4, 1933 – April 6, 2021) was an American jazz musician.

Simmons was born on August 4, 1933 in Sicily Island, Louisiana. He grew up in Oakland, California, where he began playing the English horn. (Along with Vinny Golia, Simmons was among the few musicians to play the instrument in a jazz context.) At age 16 he took up the alto saxophone, which became his primary instrument. Simmons played primarily in an avant-garde style, often delving into free jazz.

His then-wife, Barbara Donald, played trumpet on several of his early records, including his ESP-Disk titles Staying on the Watch and Music from the Spheres; Arhoolie title Manhattan Egos, and Contemporary titles Rumasuma and the double album Burning Spirits. Simmons also partnered with Prince Lasha on several recordings, two of which – The Cry! (1963) and Firebirds (1968) – were released by Contemporary.

Mitchell Herbert Ellis (August 4, 1921 – March 28, 2010), known professionally as Herb Ellis, was an American jazz guitarist. During the 1950s, he was in a trio with pianist Oscar Peterson.

Born in Farmersville, Texas, and raised in the suburbs of Dallas, Ellis first heard the electric guitar performed by George Barnes on a radio program. This experience is said to have inspired him to take up the guitar. He became proficient on the instrument by the time he entered North Texas State University. Ellis majored in music, but because they did not yet have a guitar program at that time, he studied the string bass. Unfortunately, due to lack of funds, his college days were short-lived. In 1941, Ellis dropped out of college and toured for six months with a band from the University of Kansas.

What created the unusual halo around the Cat’s Eye nebula? No one is sure. What is sure is that the Cat’s Eye Nebula (NGC 6543) is one of the best known planetary nebulae on the sky. Although haunting symmetries are seen in the bright central region, this image was taken to feature its intricately structured outer halo, which spans over three light-years across. Planetary nebulae have long been appreciated as a final phase in the life of a Sun-like star. Only recently however, have some planetaries been found to have expansive halos, likely formed from material shrugged off during earlier puzzling episodes in the star’s evolution. While the planetary nebula phase is thought to last for around 10,000 years, astronomers estimate the age of the outer filamentary portions of the Cat’s Eye Nebula‘s halo to be 50,000 to 90,000 years.