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Robert Allen Palmer (19 January 1949 – 26 September 2003) was an English singer-songwriter, musician, and record producer. He was known for his powerful, distinctive, gritty, soulful voice and sartorial elegance, and for combining soul, jazz, rock, pop, reggae, and blues.

Palmer’s involvement in the music industry began in the 1960s and included a spell with the band Vinegar Joe. He found success both in his solo career and with the Power Station, and had Top 10 songs in the United Kingdom and the United States in the 1980s. Three of his hit singles, “I Didn’t Mean to Turn You On“, “Addicted to Love” and “Simply Irresistible“, were accompanied by stylish music videos directed by British fashion photographer Terence Donovan.

Palmer received a number of awards throughout his career, including two Grammy Awards for Best Male Rock Vocal Performance and an MTV Video Music Award. He was nominated by the Brit Award for Best British Male Solo Artist. He died at age 54, following a heart attack on 26 September 2003.

Willis Robert “Billy” Drummond Jr. (born June 19, 1959) is an American jazz drummer.

Billy Drummond was born in Newport News, Virginia, where he grew up listening to the extensive jazz record collection of his father, an amateur drummer and jazz enthusiast. He started playing the drums at four and was performing locally in his own band by the age of eight, and playing music with other kids in the neighborhood, including childhood friends Victor Wooten and his brothers, who lived a few doors away and through whom he met Consuela Lee Moorehead, composer, arranger, music theory professor, and the founder of the Springtree/Snow Hill Institute for the Performing Arts. He attended Shenandoah College and Conservatory of Music on a Classical Percussion scholarship and, upon leaving school, became a member of a local Top 40 band called The Squares with bass phenom Oteil Burbridge.

https://www.youtube.com/watch?v=DDEAVoAqeT8&t=1951s

Prince Lincoln Thompson, known as Sax (10 July 1949 in Jonestown, Kingston, Jamaica – 14 January 1999 in London, England), was a Jamaican singer, musician and songwriter with the reggae band the Royal Rasses, and a member of the Rastafari movement. He was noted for his high falsetto singing voice, very different from his spoken voice.

He began his recording career as a harmony singer along with Cedric Myton of The Congos in 1967, in a band called The Tartans, who then split up in 1969. In 1971 he was taken on by Coxsone Dodd, and recorded three songs with him at Studio One called “Daughters of Zion”, “True Experience” and “Live Up to Your Name”. In 1974, he recorded the Humanity album with Cedric Myton, Clinton Hall and Keith Peterkin, and set up the God Sent label. He had two hit singles with “Kingston 11” and “Love the Way It Should Be”.

Ray McKinley (June 18, 1910 – May 7, 1995) was an American jazz drummer, singer, and bandleader.

Born in Fort Worth, Texas, United States, McKinley’s parents bought him his first drum set at the age of nine. Soon after he began playing with a local band called The Jolly Jazz Band in the Dallas–Fort Worth area. He left home when he was 15 and played with Milt Shaw’s Detroiters and the Smith Ballew and Duncan-Marin bands. His first substantial professional engagement came in 1934 with the Dorsey Brothers’ Orchestra. It was with the Smith Ballew band in 1929 that McKinley met Glenn Miller. The two formed a friendship that lasted from 1929 until Miller’s death in 1944. McKinley and Miller joined the Dorsey Brothers in 1934. Miller left for Ray Noble in December 1934, while McKinley remained.

Ray Bauduc (June 18, 1906 – January 8, 1988) was an American jazz drummer best known for his work with the Bob Crosby Orchestra and their band-within-a-band, the Bobcats, between 1935 and 1942. He is also known for his shared composition of “Big Noise from Winnetka,” a jazz standard. Bauduc was born in New Orleans, Louisiana, United States. He was the son of cornetist Jules Bauduc. His older brother, Jules Jr., was a banjoist and bandleader. His sister was also a musician, a pianist. Bauduc’s youthful work in New Orleans included performing in the band of Johnny Bayersdorffer, and on radio broadcasts. His New Orleans origin instilled in him a love for two-beat drumming, which he retained when he played with Bob Crosby’s swing-era big band. In 1926, he moved to New York City to join Joe Venuti‘s band. His other work in the 1920s included recording with the Original Memphis Five and the Scranton Sirens, which included Tommy Dorsey and Jimmy Dorsey.

Charles Walter Rainey III (born June 17, 1940) is an American bass guitarist who has performed and recorded with many well-known acts, including Aretha Franklin, Steely Dan, and Quincy Jones. Rainey is credited for playing bass on more than 1,000 albums, and is one of the most recorded bass players in the history of recorded music.

Rainey was born in Cleveland, Ohio on June 17, 1940, and grew up in Youngstown. His parents were both amateur pianists. He learned piano, violin, and trumpet as a child and majored in brass instruments in college. He attended Lane College in Jackson, Tennessee. Rainey began playing bass guitar in the military.

After leaving the military, Rainey joined a local band. His first big professional gig was playing with Big Jay McNeely. He then joined up with Sil Austin to tour Canada and New York. In 1962, Rainey joined King Curtis and his All-Star band; in 1965, they opened for The Beatles’ 1965 US tour. He joined Quincy Jones‘s big band in 1972. By the 1970s he had played with Jerome Richardson, Grady Tate, Mose Allison, Gato Barbieri, and Gene Ammons, as well as with Eddie Vinson at the 1971 Montreux Festival.

Tony Scott (born Anthony Joseph Sciacca June 17, 1921 – March 28, 2007) was an American jazz clarinetist and arranger with an interest in folk music around the world. For most of his career he was held in high esteem in new-age music circles because of his involvement in music linked to Asian cultures and to meditation.

Born in Morristown, New Jersey, United States, Scott attended Juilliard School from 1940 to 1942. In the 1950s he worked with Sarah Vaughanand Billie Holiday. He also had a young Bill Evans and Paul Motian as side-men on several albums released between 1957 and 1959. In the late 1950s, he won on four occasions the DownBeat critics poll for clarinetist in 1955, 1957, 1958 and 1959. He was known for a more “cool” style on the instrument than his peer Buddy DeFranco who often played a more aggressive bebop style.

Igor Fyodorovich Stravinsky ComSE (17 June [O.S. 5 June] 1882 – 6 April 1971) was a Russian composer, pianist and conductor, later of French (from 1934) and American (from 1945) citizenship. He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music.

Stravinsky’s compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev’s Ballets Russes: The Firebird (1910), Petrushka (1911), and The Rite of Spring(1913). The last transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky’s enduring reputation as a revolutionary who pushed the boundaries of musical design. His “Russian phase”, which continued with works such as Renard, L’Histoire du soldat, and Les noces, was followed in the 1920s by a period in which he turned to neoclassicism. The works from this period tended to make use of traditional musical forms (concerto grosso, fugue, and symphony) and drew from earlier styles, especially those of the 18th century. In the 1950s, Stravinsky adopted serial procedures. His compositions of this period shared traits with examples of his earlier output: rhythmic energy, the construction of extended melodic ideas out of a few two- or three-note cells, and clarity of form and instrumentation.

Entrada – Entrance, often performed to a guitar falseta or to the singer’s entrance (salida) ti ri ti tran, tran…

Llamada – The dancer’s call starting on count 1, indicating that a new section is about to begin. This can be a long sequence of footwork or just one or two sets of compás (12 or 24 counts). This is also the cue for the singer’s entrance.

Letra – The dancer’s call starting on count 1, indicating that a new section is about to begin. This can be a long sequence of footwork or just one or two sets of compás (12 or 24 counts). This is also the cue for the singer’s entrance.

​First Escobilla – The first extended footwork section. The dancer displays virtuosic footwork here while the guitar plays a standardized arpeggio pattern. The singer doesn’t usually sing during an escobilla. This builds to a subída, two or more sets of compás in which the dancer builds to a climax.

​Silencio – This is a traditional 6-12 compás falseta performed by the guitarist. The music is slow and in the parallel minor key. The dancer interprets the music, usually in a lyrical rather than percussive manner. The final compás moves back to the major key and the original tempo, leading to the castellana.

Castellana – This is a combination footwork/remate section that leads away from the silencio into an escobilla. Usually 4 compás long, the singer sings the traditional ‘tiriti tran tran tran” or a shortened verse. This generally ends with one or more sets of compás for the remate. This section is not always performed, but is often included in a completely traditional version of the dance.

​Seco – This footwork section is often performed a palo seco, where the guitar acts as a rhythm instrument as the guitarist strums muted strings, and palmistas perform strong palmas. The dancer can establish the tempo with palmas and traveling steps for two or more compás, and will continue on to perform many intricate footwork variations.

​Third Escobilla – The guitar returns with traditional escobilla music while the dancer performs more intricate footwork variations.

​Cambio – The traditional escobilla starts on count 1 of the compás while the Bulerías de Ca’i, the closing section, starts on beat 12. In the cambio section, the guitarist and dancer move the accent structure to beat 12 to segue into the bulerías.

​Buleria de C’ai – Bulerías de Ca’i is performed as a finale/remate for the entire dance. The singer sings the traditional bulerías de Ca’i in a major key. This section transitions into the salida/cierre with a desplante llamada – a standardized 12 to 24 count pattern that is the bridge/cue into Bulerías e Ca’i.

Salida – The dancer dances off stage to traditional closing music. The dancer can also end on stage, but will usually perform a long traveling pattern leading to the closing cierre.