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Jack DeJohnette (born August 9, 1942)^[1] is an American jazz drummer, pianist, and composer.

An important figure of the fusion era of jazz, DeJohnette is one of the most influential jazz drummers of the 20th century, given his extensive work as leader and sideman for musicians including Charles Lloyd, Freddie Hubbard, Keith Jarrett, Bill Evans, John Abercrombie, Alice Coltrane, Sonny Rollins, Miles Davis, Joe Henderson, Michael Brecker, Herbie Hancock and John Scofield. He was inducted into the Modern Drummer Hall of Fame in 2007.

DeJohnette was born in Chicago, Illinois, to Jack DeJohnette (1911–2011) and Eva Jeanette Wood (maiden; 1918–1984) DeJohnette. Although of predominantly African American heritage, he has stated that he has some Native American ancestry, specifically Seminole and Crow. He began his musical career as a pianist, studying from age four and first playing professionally at age fourteen. He later switched focus to the drums. When Jack switched to drums he was also taught drumming techniques from a local jazz drummer who lived in the same neighborhood named Bobby Miller Jr. DeJohnette credits his uncle, Roy Wood, Sr. (1915–1995), a Chicago disc jockey and vice president/co-founder of the National Black Network of Black Broadcasters, as his inspiration to play music.

https://www.youtube.com/watch?v=VluEgxOY0as

Edward Rudolph “Butch” Warren Jr. (August 9, 1939 – October 5, 2013) was an American jazz bassist who was active during the 1950s and 1960s.

Warren’s mother was a typist at the CIA. His father, Edward Sr., was an electronics technician who played piano and organ part-time in clubs in Washington, D.C. The Warren home was often visited by jazz musicians Billy Hart, Jimmy Smith, and Stuff Smith. The first time Butch Warren played bass was at home on an instrument left by Billy Taylor, who had played bass for Duke Ellington. Warren has cited Jimmy Blanton, the innovative and virtuoso bassist with Ellington from 1939-1941, as his biggest inspiration. Warren began playing professionally at age 14 in a Washington, D.C. band led by his father. He later worked with other local groups, including that of Stuff Smith, as well as with altoist and bandleader Rick Henderson at the Howard Theatre. When he was 19, he sat in with Kenny Dorham to substitute for an absent bassist. A few days later, Dorham invited him to New York City, where he spent the next six months as a sideman at a club in Brooklyn. He appeared on his first recording in January 1960 with Dorham, saxophonist Charles Davis, pianist Tommy Flanagan, and drummer Buddy Enlow. Through his friendship with Sonny Clark, he recorded for Blue Note Records in 1961 on Clark’s album Leapin’ and Lopin‘. Alfred Lion, producer at Blue Note, hired Warren to fill the vacancy of staff bassist. During this job he played on “Watermelon Man” with Herbie Hancock. As sideman, he also recorded with Miles Davis, Hank Mobley, Donald Byrd, Dexter Gordon, Joe Henderson, Jackie McLean, and Stanley Turrentine.

John Renbourn (8 August 1944 – 26 March 2015) was an English guitarist and songwriter. He was best known for his collaboration with guitarist Bert Jansch as well as his work with the folk group Pentangle, although he maintained a solo career before, during and after that band’s existence (1967–1973).

While most commonly labelled a folk musician, Renbourn’s musical tastes and interests took in early music, classical music, jazz, blues and world music. His most influential album, Sir John Alot (1968), featured his take on tunes from the Medieval era.

John Renbourn studied classical guitar at school and it was during this period that he was introduced to early music. In the 1950s, along with many others, he was greatly influenced by the musical craze of skiffle and this eventually led him to explore the work of artists such as Lead Belly, Josh White and Big Bill Broonzy.

Urban Clifford “Urbie” Green (August 8, 1926 – December 31, 2018) was an American jazz trombonist who toured with Woody Herman, Gene Krupa, Jan Savitt, and Frankie Carle. He played on over 250 recordings and released more than two dozen albums as a soloist. He was inducted into the Alabama Jazz Hall of Fame in 1995.

Born in Mobile, Alabama, United States, Green was taught the piano as a child by his mother. He learned jazz and popular tunes from the beginning. He started to play trombone, which both older brothers played, when he was about 12. Although he listened to trombonists Tommy Dorsey, J. C. Higginbotham, Jack Jenney, Jack Teagarden and Trummy Young, he has said he was more influenced by the styles of Dizzy Gillespie, Charlie Parker, and Lester Young. His style was also influenced by the vocals of Perry Como and Louis Armstrong. At Auburn High School he was member of The Auburn Knights Orchestra.

Bennett Lester Carter (August 8, 1907 – July 12, 2003) was an American jazz saxophonist, clarinetist, trumpeter, composer, arranger, and bandleader. With Johnny Hodges, he was a pioneer on the alto saxophone. From the beginning of his career in the 1920s, he worked as an arranger including written charts for Fletcher Henderson‘s big band that shaped the swing style. He had an unusually long career that lasted into the 1990s. During the 1980s and ’90s, he was nominated for eight Grammy Awards, which included receiving a Lifetime Achievement Award.

Born in New York City in 1907, Carter was given piano lessons by his mother and others in the neighborhood. He played trumpet and experimented briefly with C-melody saxophone before settling on alto saxophone. In the 1920s, he performed with June Clark, Billy Paige, and Earl Hines, then toured as a member of the Wilberforce Collegians led by Horace Henderson. He appeared on record for the first time in 1927 as a member of the Paradise Ten led by Charlie Johnson. He returned to the Collegians and became their bandleader through 1929, including a performance at the Savoy Ballroom in New York City.

In his early 20s, Carter worked as arranger for Fletcher Henderson after that position was vacated by Don Redman. He had no formal education in arranging, learning by trial and error, getting on his knees and looking at the existing charts, “writing the lead trumpet first and the lead saxophone first—which, of course, is the hard way. It was quite some time that I did that before I knew what a score was.

https://www.youtube.com/watch?v=F4RlLG1zPP8

Marthaniel “Marcus” Roberts (born August 7, 1963) is an American jazz pianist, composer, arranger, bandleader, and teacher.

Roberts was born in Jacksonville, Florida. Blind since the age of five due to glaucoma and cataracts,^[1] he attended the Florida School for the Deaf and the Blind in St. Augustine, Florida, the alma mater of blind pianist Ray Charles. Roberts began teaching himself to play piano at an early age, having his first lesson at age 12, and then studying the instrument with pianist Leonidas Lipovetsky while attending Florida State University.

In the 1980s, Roberts replaced pianist Kenny Kirkland in Wynton Marsalis’s band. Like Marsalis’s, his music is rooted in the traditional jazz of the past. His style has been influenced more by Jelly Roll Morton and Fats Waller than McCoy Tyner and Bill Evans, with an emphasis on ragtime and stride piano rather than bebop. His album New Orleans Meets Harlem, Vol. 1 (2009) covers music by Scott Joplin, Duke Ellington, Morton, and Waller.

In 1975, Kirk suffered a major stroke which led to partial paralysis of one side of his body. He continued to perform and record, modifying his instruments to enable him to play with one arm. At a live performance at Ronnie Scott’s Jazz Club in London he even managed to play two instruments, and carried on to tour internationally and to appear on television.^[5]

He died from a second stroke in 1977, aged 42, the morning after performing in the Frangipani Room of the Indiana University Student Union in Bloomington, Indiana.

Rahsaan Roland Kirk (born Ronald Theodore Kirk; August 7, 1935 – December 5, 1977), known earlier in his career simply as Roland Kirk, was an American jazz multi-instrumentalist who played tenor saxophone, flute, and many other instruments. He was renowned for his onstage vitality, during which virtuoso improvisation was accompanied by comic banter, political ranting, and the ability to play several instruments simultaneously.

Kirk was born Ronald Theodore Kirk in Columbus, Ohio, where he lived in a neighborhood known as Flytown. He became blind at two years old, which he said was a result of improper medical treatment. As a teenager, Kirk studied at the Ohio State School for the Blind. By age fifteen he was on the road playing rhythm and blues on weekends with Boyd Moore’s band. According to saxophonist Hank Crawford, “He would be like this 14 year-old blind kid playing two horns at once. They would bring him out and he would tear the joint up.” Hank heard him during this period and said he was unbelievable. He remarked, “Now they had him doing all kinds of goofy stuff but he was playing the two horns and he was playing the shit out of them. He was an original from the beginning.” Kirk felt compelled by a dream to transpose two letters in his first name to make ‘”Roland”.^[2] In 1970, Kirk added “Rahsaan” to his name after hearing it in a dream.

George Van Eps (August 7, 1913 – November 29, 1998) was an American swing and mainstream jazz guitarist.

George Van Eps was born in Plainfield, New Jersey, into a family of musicians. His three brothers were musicians. His mother was a classical pianist and his father, Fred Van Eps, was a ragtime banjoist and sound engineer. George Van Eps began playing banjo when he was eleven years old. After hearing Eddie Lang on the radio, he put down the banjo and devoted himself to guitar. By the age of thirteen, in 1926, he was performing on the radio. Through the middle of the 1930s, he played with Harry Reser, Smith Ballew, Freddy Martin, Benny Goodman, and Ray Noble.

Van Eps moved to California and spent most of his remaining career as a studio musician, playing on many commercials and movie soundtracks.

In the 1930s, he invented a model of guitar with another bass string added to the common six-string guitar. The seven-string guitar allowed him to play basslines below his chord voicings, unlike the single-string style of Charlie Christian and Django Reinhardt. He called his technique “lap piano”. It anticipated the fingerpicking style of country guitarists Chet Atkins and Merle Travis and inspired jazz guitarists Bucky Pizzarelli, John Pizzarelli, and Howard Alden to pick up the seven-string.

Charles Luckyth Roberts (August 7, 1887 – February 5, 1968), better known as Luckey Roberts, was an American composer and stride pianist who worked in the jazz, ragtime, and blues styles.

Luckey Roberts was born in Philadelphia, Pennsylvania, and was playing piano and acting professionally with traveling Negro minstrel shows in his childhood. He settled in New York City about 1910 and became one of the leading pianists in Harlem, and started publishing some of his original rags.

Roberts toured France and the UK with James Reese Europe during World War I, then returned to New York where he wrote music for various shows and recorded piano rolls.

With James P. Johnson, Roberts developed the stride piano style of playing about 1919.