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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.

Regina Carter (Detroit, August 6, 1966) is an American jazz violinist. She is the cousin of jazz saxophonist James Carter.

Carter was born in Detroit and was one of three children in her family. She began piano lessons at the age of two after playing a melody by ear for her brother’s piano teacher. After she deliberately played the wrong ending note at a concert, the piano teacher suggested she take up the violin, indicating that the Suzuki Method could be more conducive to her creativity. Carter’s mother enrolled her at the Detroit Community Music School when she was four years old and she began studying the violin. She still studied the piano, as well as tap and ballet. As a teenager, she played in the youth division of the Detroit Symphony Orchestra. While at school, she was able to take master classes from Itzhak Perlman and Yehudi Menuhin.

Carter attended Cass Technical High School with a close friend, jazz singer Carla Cook, who introduced her to Ella Fitzgerald. In high school, Carter performed with the Detroit Civic Orchestra and played in a pop-funk group named Brainstorm. In addition to taking violin lessons, she also took viola, oboe, and choir lessons. Carter was studying classical violin at the New England Conservatory of Music in Boston when she decided to switch to jazz. She transferred to Oakland University in Rochester, Michigan where she was a jazz major under the direction of Marvin “Doc” Holladay . She also studied and performed with trumpeter Marcus Belgrave Through Belgrave Carter was able to meet a lot of people active in the Detroit jazz scene, including Lyman Woodard. She graduated in 1985. After graduating, she taught strings in Detroit public schools. Needing a change of scene, she moved to Europe and spent two years in Germany. While making connections, she worked as a nanny for a German family and taught violin on a U.S. military base.

Anna Marie Wooldridge (August 6, 1930 – August 14, 2010), known professionally as Abbey Lincoln, was an American jazz vocalist, songwriter, and actress. She was a civil rights activist beginning in the 1960s. Lincoln made a career not only out of delivering deeply felt presentations of standards but writing and singing her own material.

Born in Chicago but raised in Calvin Center, Cass County, Michigan, Lincoln was one of many singers influenced by Billie Holiday. Her debut album, Abbey Lincoln’s Affair – A Story of a Girl in Love, was followed by a series of albums for Riverside Records. In 1960 she sang on Max Roach‘s landmark civil rights-themed recording, We Insist! Lincoln’s lyrics were often connected to the civil rights movement in America. After a tour of Africa in the mid-1970s, she adopted the name Aminata Moseka.

During the 1980s, Lincoln’s creative output was smaller and she released only a few albums. Her song “For All We Know” is featured in the 1989 film Drugstore Cowboy. During the 1990s and until her death, however, she fulfilled a 10-album contract with Verve Records.

These albums are highly regarded and represent a crowning achievement in Lincoln’s career. Devil’s Got Your Tongue (1992) featured Rodney Kendrick, Grady Tate, Yoron Israel, J. J. Johnson, Stanley Turrentine, Babatunde Olatunji and The Staple Singers, among others. In 2003, Lincoln received a National Endowment for the Arts Jazz Master Award.

Soleares is one of the most basic forms or palos of Flamenco music, probably originated around Cádiz or Seville in Andalusia, the most southern region of Spain. It is usually accompanied by one guitar only, in phrygian mode “por arriba” (fundamental on the 6th string); “Bulerías por soleá” is usually played “por medio” (fundamental on the 5th string). Soleares is sometimes called “mother of palos” although it is not the oldest one (e.g. siguiriyas is older than soleares) and not even related to every other palo (e.g. fandangos family is from a different origin)

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.

Leonard Harold Breau (August 5, 1941 – August 12, 1984) was a Canadian-American guitarist and music educator. Breau blended many styles of music, including jazz, country, classical, and flamenco. Inspired by country guitarists like Chet Atkins, Breau used fingerstyle techniques not often used in jazz guitar. By using a seven-string guitar and approaching the guitar like a piano, he opened up possibilities for the instrument.

Breau was born August 5, 1941, in Auburn, Maine, but moved with his family to Moncton, New Brunswick in 1948. His francophone parents, Harold Breau and Betty Cody, were professional country and western musicians who performed and recorded from the mid-1930s until the mid-1970s. From the mid to late 1940s they played summer engagements in southern New Brunswick, advertising their performances by playing free programs on radio station CKCW Moncton. Lenny began playing guitar at the age of eight. When he was twelve, he started a small band with friends, and by the age of fourteen he was the lead guitarist for his parents’ band, billed as “Lone Pine Junior”, playing Merle Travis and Chet Atkins instrumentals and occasionally singing. He made his first professional recordings in Westbrook, Maine at Event Records with Al Hawkes at the age of 15 while working as a studio musician. Many of these recordings were released posthumously on the album Boy Wonder. Breau had problems with drugs beginning in the 1960s which he managed to control during the last years of his life. On August 12, 1984, his body was found in a swimming pool at his apartment complex in Los Angeles, California. The coroner reported that Breau had been strangled. Breau’s wife, Jewel, was the chief suspect, but she was not charged.