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Paddy Moloney (Irish: Pádraig Ó Maoldomhnaigh; born 1 August 1938) is an Irish musician, composer, and producer who is the founder and leader of the Irish musical group The Chieftains and has played on every one of their albums.

Paddy Moloney was born in Donnycarney, Dublin, Ireland. His mother bought him a tin whistle when he was six and he started to learn the Uilleann pipes at the age of eight.

In addition to the tin whistle and the Uilleann pipes, Paddy Moloney also plays button accordion and bodhrán.

Ramblin’ Jack Elliott (born Elliot Charles Adnopoz; August 1, 1931) is an American folk singer.

Elliott was born in 1931 in Brooklyn, New York, United States, the son of Florence (Rieger) and Abraham Adnopoz, an eminent doctor. His family was Jewish. He attended Midwood High School in Brooklyn and graduated in 1949. Elliott grew up inspired by the rodeos at Madison Square Garden, and wanted to be a cowboy. Encouraged instead to follow his father’s example and become a surgeon, Elliott rebelled, running away from home at the age of 15 to join Col. Jim Eskew’s Rodeo, the only rodeo east of the Mississippi. They traveled throughout the Mid-Atlantic states and New England. He was with them for only three months before his parents tracked him down and had him sent home, but Elliott was exposed to his first singing cowboy, Brahmer Rogers, a rodeo clown who played guitar and five-string banjo, sang songs, and recited poetry. Back home, Elliott taught himself guitar and started busking for a living. Eventually he got together with Woody Guthrie and stayed with him as an admirer and student.

With banjo player Derroll Adams, he toured the United Kingdom and Europe. By 1960, he had recorded three folk albums for the UK record label Topic Records. In London, he played small clubs and pubs by day and West End cabaretnightclubs at night. When he returned to the States, Elliott found he had become renowned in American folk music circles.

Elmer Crumbley (1 August 1908 – 1993) was an American trombonist.

Crumbley made a lifetime out of music mainly in the traditional swing tradition, as with the Cab Calloway and Earl Hines bands of the 1960s and ’70s. He joined the Dandie Dixie Minstrels in 1926 with bandleader Lloyd Hunter. He played with the George E. Lee Band, western swing pioneer Tommy Douglas, and Bill Owens. But he continued to work with Hunter as well as players such as Jabbo Smith and Erskine Tate. Crumbley founded his own ensemble in Omaha in 1934, and joined up with the Jimmie Lunceford Band the same year. He also played with Eddie Wilcox, Lucky Millinder, and Erskine Hawkins. He toured Europe in the late 1950s with Sammy Price, a period when he also became part of the scene at the Apollo in Harlem with a lively combo led by Reuben Phillips.

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

Stanley Jordan (born July 31, 1959) is an American jazz guitarist noted for his playing technique, which involves tapping his fingers on the fretboard of the guitar with both hands.

Jordan was born in Chicago, Illinois, United States. When he was six, he started on piano, then at eleven switched to guitar. He later began playing in rock and soul bands. In 1976, he won an award at the Reno Jazz Festival. At Princeton University, he studied music theory and composition with Milton Babbitt and computer music with Paul Lansky. He also took freshman calculus with Edward Nelson. While at Princeton he played with Benny Carter and Dizzy Gillespie.

In 1985, Bruce Lundvall became president of Blue Note Records and Stanley Jordan was the first person he signed. Blue Note released his album Magic Touch, which sat at No.1 on Billboard ‘s jazz chart for 51 weeks, setting a record.

Normally, a guitarist uses two hands to play each note. One hand presses down a guitar string behind a chosen fret to prepare the note, and the other hand either plucks or strums the string to play that note. Jordan’s touch technique is an advanced form of two-handed tapping. The guitarist produces a note using only one finger by quickly tapping (or hammering) his finger down behind the appropriate fret. The impact causes the string to vibrate enough to sound the note, and the volume can be controlled by varying the force of impact. Jordan taps with both hands, and more legato than is normally associated with guitar tapping. His technique allows the guitarist to play melody and chords simultaneously. It is also possible, as he has demonstrated, to play simultaneously on two different guitars, as well as guitar and piano.

David William Sanborn (born July 30, 1945) is an American alto saxophonist. Though Sanborn has worked in many genres, his solo recordings typically blend jazz with instrumental pop and R&B. He released his first solo album Taking Off in 1975, but has been playing the saxophone since before he was in high school.

One of the most commercially successful American saxophonists to earn prominence since the 1980s, Sanborn is described by critic Scott Yannow as “the most influential saxophonist on pop, R&B, and crossover players of the past 20 years.” He is often identified with radio-friendly smooth jazz, but he has expressed a disinclination for the genre and his association with it.

Sanborn was born in Tampa, Florida, and grew up in Kirkwood, Missouri. He suffered from polio for eight years in his youth. He began playing saxophone on a physician’s advice to strengthen his weakened chest muscles and improve his breathing. Alto saxophonist Hank Crawford, at the time a member of Ray Charles‘s band, was an early and lasting influence on Sanborn.

Sanborn attended college at Northwestern University and studied music. But he transferred to the University of Iowa where he played and studied with saxophonist J.R. Monterose.

Sanborn performed with blues musicians Albert King and Little Milton at the age of 14. He continued playing blues when he joined Paul Butterfield blues band in 1967. Sanborn recorded on four Butterfield albums as a horn section member and soloist from 1967 to 1971. In the early morning of Monday, August 18, 1969 Sanborn appeared as a member of the band at the WoodstockMusic Festival at Bethel, NY.

George “Buddy” Guy (born July 30, 1936) is an American blues guitarist and singer. He is an exponent of Chicago blues and has influenced guitarists including Eric Clapton, Jimi Hendrix, Jimmy Page, Keith Richards, Stevie Ray Vaughan, Jeff Beck, Gary Clark Jr. and John Mayer. In the 1960s, Guy played with Muddy Waters as a house guitarist at Chess Records and began a musical partnership with the harmonica player Junior Wells.

Guy was ranked 23rd in Rolling Stone magazine’s “100 Greatest Guitarists of All Time“. His song “Stone Crazy” was ranked 78th in the Rolling Stone list of the “100 Greatest Guitar Songs of All Time”. Clapton once described him as “the best guitar player alive”. In 1999, Guy wrote the book Damn Right I’ve Got the Blues, with Donald Wilcock. His autobiography, When I Left Home: My Story, was published in 2012.Guy was born and raised in Lettsworth, Louisiana. His parents were sharecroppers and as a child, Guy would pick cotton for $2.50 per 100 pounds. He began learning to play the guitar using a two-string diddley bow he made. Later he was given a Harmony acoustic guitar which, decades later in Guy’s lengthy career, was donated to the Rock and Roll Hall of Fame.

Vernel Anthony Fournier (July 30, 1928 – November 4, 2000) and, from 1975, known as Amir Rushdan, was an American jazz drummer probably best known for his work with Ahmad Jamal from 1956 to 1962.

Fournier was born in New Orleans, Louisiana, into a Creole family. He left college to join a big band led by King Kolax. After Kolax downsized to a quintet, Fournier moved to Chicago in 1948, where he played with such musicians as Buster Bennett, Paul Bascomb and Teddy Wilson. As house drummer at the Bee Hive club on Chicago’s South Side in 1953-55, he accompanied many visiting soloists, including Lester Young, Ben Webster, Sonny Stitt, J.J. Johnson, Earl Washington and Stan Getz.

From 1953 to 1956, Fournier also worked many recording sessions with Al Smith, Red Holloway, Lefty Bates, and others. He joined Ahmad Jamal’s trio in 1957, along with bass player Israel Crosby, and remained with the group until 1962, appearing on a series of recordings for the Chess label. The best known of these, At the Pershing: But Not for Me (1958), became one of the best selling jazz records of all time, remaining on the Billboard jazz charts for over two years.