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John Arthur “Johnny” Van Derrick (* 11 August 1926 in Ealing; † 15 May 1995 in Denham, Buckinghamshire) was a British Jazz violinist, who also worked as session musician in pop music.

Van Derrick was introduced to music by his father, a Dutch cornet player. He attended the conservatory in Brussels, and until the outbreak of the Second World War he received a classical musical training. In London during the war he played trumpet in dance bands, initially Louis Mexano’s Accordion Band, before joining the merchant navy. In the post-war years he played trumpet in the dance bands of Maurice Winnick and Lou Preager. Subsequently, he took violin lessons with his mentor Sascha Lasserson and played in the Halle Orchestra, before setting up as a freelance musician. He appeared with Roy Fox and Geraldo, and in the early 1960s played in the Diz Disley String Quintet, with which he made his first recording (At the Jazz Band Ball), as well as with Tubby Hayes, Gary Potter and the Jack Toogood Swingtet. In 1976, after serious illness, he was able to start working again.

Bill Heid (born August 11, 1948) is an American jazz pianist and organist from Pittsburgh, Pennsylvania.

Jess Alexandria Stacy (born Jesse Alexander Stacy;August 11, 1904 – January 1, 1995) was an American jazz pianist who gained prominence during the swing era. He may be best remembered for his years with the Benny Goodman band during the late 1930s, particularly his performance at Goodman’s 1938 concert at Carnegie Hall.

Jess Stacy was born in Bird’s Point, Missouri, a small town across the Mississippi River from Cairo, Illinois, to Frederick Lee Stacy, a railroad engineer, and Sara (Alexander) Stacy, a seamstress. His first piano teacher was Mabel Irene Bailey, who played piano for silent movies.

Ian Scott Anderson MBE (born 10 August 1947) is a British musician best known for his work as the singer, flautist, acoustic guitarist, primary songwriter, and sole continuous member of the rock band Jethro Tull. He is a multi-instrumentalist who also plays harmonica, keyboards, bass guitar, bouzouki, balalaika, saxophoneand a variety of whistles. His solo work began with Walk into Light in 1983; since then he has released another five albums, including the sequel to the 1972 Jethro Tull album Thick as a Brick, titled TaaB 2: Whatever Happened to Gerald Bostock? (2012).

Clarence Leonidas Fender (August 10, 1909 – March 21, 1991 Anaheim, CA) was an American inventor and founder of the Fender Musical Instruments Corporation.

Fender designed the company’s iconic early instruments: the Fender Telecaster, the first mass-produced solid-body electric guitar; the Fender Stratocaster, among the most iconic electric guitars; and the Fender Precision Bass, which set the standard for electric basses. He also designed the Fender Bassman amplifier, which became the archetype for later amplifiers (notably by Marshall and Mesa Boogie) that dominated rock and roll music. Fender, who was not a guitarist himself, was inducted into the Rock and Roll Hall of Fame in 1992.

Gertrude E. “Trudy” Pitts (August 10, 1932 – December 19, 2010) was an American soul jazz keyboardist from Philadelphia, Pennsylvania. She was known primarily for playing the Hammond B3 organ.

Trained as a musician and a music educator, Pitts studied at the Philadelphia Musical Academy (now the University of the Arts), Temple University, and Juilliard, as well as other institutions. Early work experience included a position as an assistant to the pianist in the Tony Award-winning musical Raisin.

Friday August 9th 2024 6pm Shabbat service with Inbal-Sharett-Singer, Jayson Rodovsky, Jeff Bailey, Pete Whitman and mick laBriola.

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

Known for 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, Pat Metheny, Herbie Hancock and John Scofield, DeJohnette was inducted into the Modern Drummer Hall of Fame in 2007. He has won two Grammy Awards and been nominated for five other.

DeJohnette was born in Chicago, Illinois, to Jack DeJohnette (1911–2011) and Eva Jeanette DeJohnette (née Wood, 1918–1984). 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 with Antoinette Rich, the leader of an all-female symphony orchestra in Chicago, and first playing professionally at the age of 14. When Jack was 13, he switched to drums and was taught drumming techniques from a local jazz drummer, Bobby Miller Jr, who lived in the same neighborhood. 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.

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

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; his uncle, Quentin — actually the same age as Butch — played guitar. 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 to 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.

The core of the Tangos is the letra, three or four octosyllabic lines. As with the Bulerías, the  the first line is often repeated, and the repeated lines are balanced by a longer consequent phrase.

​Before a letra a Tangos may open with a guitar falseta or an estribillo, in which the singer sings a traditional melody with nonsense syllables (“le le le, ni, ni, etc.). The estribillo may return throughout the piece as a chorus after a letra.

​Once the letra begins it can be broken up several times with remates performed by the dancer. This usually occurs between the first and second line of the letra, and often occurs more frequently, giving the dance a improvisatory air.

​Thus, the letras themselves can be further broken up with remates or escobillas from the dancer or with guitar falsetas. A dancer may also choose to perform a long footwork passage accompanied by compás patterns from the guitarist and palmista (an escobilla performed “a palo seco” or dry, without guitar accompaniment).

​As in Bulerías, Tangos can end with a cierre – a closing pattern – that is based on a different set of chords than the letras. The dancer can also perform a cue (llamada) that leads into a traveling exit – a salida.