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Charles McPherson (born July 24, 1939) is an American jazz alto saxophonist born in Joplin, Missouri, United States, and raised in Detroit, Michigan, who worked intermittently with Charles Mingus from 1960 to 1974, and as a performer leading his own groups.

McPherson also was commissioned to help record ensemble renditions of pieces from Charlie Parker, on the 1988 soundtrack for the film Bird.

In 2020, the JazzTimes magazine readers’ poll named McPherson Artist of the Year, and also selected his album Jazz Dance Suites as Best New Release.

Billy Taylor (July 24, 1921 – December 28, 2010 Greenville, NC) was an American jazz pianist, composer, broadcaster and educator. He was the Robert L. Jones Distinguished Professor of Music at East Carolina University in Greenville, and from 1994 was the artistic director for jazz at the John F. Kennedy Center for the Performing Arts in Washington, D.C.

A jazz activist, Taylor sat on the Honorary Founders Board of The Jazz Foundation of America, an organisation he founded in 1989, with Ann Ruckert, Herb Storfer and Phoebe Jacobs, to save the homes and the lives of America’s elderly jazz and blues musicians, later including musicians who survived Hurricane Katrina.

Taylor was a jazz educator, who lectured in colleges, served on panels and travelled worldwide as a jazz ambassador. Critic Leonard Feather once said, “It is almost indisputable that Dr. Billy Taylor is the world’s foremost spokesman for jazz.

John Mayall, legendary blues guitarist and founder of John Mayall & the Bluesbreakers, died on Monday at the age of 90, Vanity Fair reports.

Born in Macclesfield, England in 1933, Mayall taught himself to play the piano, guitars and harmonica as a kid. After graduating from the Manchester College of Art, he maintained a side hustle playing with local musicians. In 1963, he founded the Bluesbreakers with drummer Peter Ward, bassist John McVie (who would later join Fleetwood Mac) and guitarist Bernie Watson. Together they helped bring the sound of American Delta blues — artists like Muddy Waters, John Lee Hooker and Elmore James — to English venues and audiences. In 1965, Eric Clapton, who’d quit the Yardbirds, joined the lineup. “The blues fitted in with the early ’60s, the social way of life at the time,” Mayall explained to The Guardian in 2014. “Things were changing anyway – in fashion, art, political views. … It happened here, rather than in America, because at the time, the scene in America was racially segregated – over there, never the twain would meet. In Europe, however – not just England – the Black blues began to be heard by an audience that was not listening to them in America. We discovered Elmore James, Freddie King, JB Lenoir, and they spoke to our feelings, our life stories and that was it. Hooked.”

Carey Frank “Carei” Thomas (* July 23, 1938 in Pittsburgh; † May 28, 2020 in Minneapolis) was an American jazz musician (piano, composition, also vocals) who was active in a six-decade career as a jazz pianist, composer, educator, and organizer of art exhibitions in Minneapolis.

Thomas spent his teenage and early adult years in Chicago, where he met one of his idols, the bandleader and pianist Sun Ra. There he founded a doo-wop group and worked with the Association for the Advancement of Creative Musicians. After serving two years overseas in the US Army, Thomas moved to Minneapolis in 1972 to study music education and therapy at the University of Minnesota. He was involved in many organizations in the Twin Cities in the years that followed, serving as music director for the Interact Center for Visual and Performing Arts and as a music educator at the West Bank School of Music and St. Paul’s High School for Recording Arts. In 1993, he was diagnosed with Guillain-Barré syndrome, and invented new ways to play the piano. The nerve disorder required years of physical therapy and limited his finger movements.

Thomas was known for developing experimental and genre-bending pieces of music under his own name and with groups and collectives such as Zeitgeist, The Elders, and the Neighborhood Ensemble. He also pioneered musical concepts such as controlled improvisation and sound generation. In 2000, Thomas recorded the album Minding Our Bid’ness with his Feel Free Ensemble at the Bryant-Lake Bowl Theater in Minneapolis, which featured saxophonist George Cartwright, among others. On it he played his own compositions such as “Tippy/One Ahead (For All Victims of Violence)” and “Invention #1: Way North of the Order (Dedicated to Paul Bley and Ornette Coleman)”. In 2003 he participated in an album by the formation Fat Kid Wednesdays; around 2005 he released his last album under his own name, Sound Window(s), which was released on Innove Records.[4] In 2011 he published “Compositions and Concepts” with notes and stories behind his pieces from 1959. Thomas died in late May 2020 when complications of hypertrophic cardiomyopathy occurred after a fall, leading to heart failure.

Jazz singer José James, who performed with Thomas’ many Twin Cities ensembles and was his student, called him “a brilliant pianist, composer and mentor to a generation of artists”.  

A city-sized magnetized neutron star spinning around 30 times a second. Known as the Crab Pulsar, it is the bright spot in the center of the gaseous swirl at the nebula’s core. About 10 light-years across, the spectacular picture of the Crab Nebula (M1) frames a swirling central disk and complex filaments of surrounding and expanding glowing gas. The picture combines visible light from the Hubble Space Telescope in red and blue with X-ray light from the Chandra X-ray Observatory shown in white, and diffuse X-ray emission detected by Imaging X-ray Polarimetry Explorer (IXPE) in diffuse purple. The central pulsar powers the Crab Nebula‘s emission and expansion by slightly slowing its spin rate, which drives out a wind of energetic electrons. The featured image released today, the 25th Anniversary of the launch of NASA’s flagship-class X-ray Observatory: Chandra.

Montez Coleman, a sharp and ebullient drummer best known for his close association with Roy Hargrove, died on Jan. 14 at Barnes-Jewish Hospital in St. Louis, MO.

He was 48. The cause was congestive heart failure, his wife, Carlynda Coleman, tells WBGO.

An exemplar and proud exponent of the jazz community in St. Louis, Coleman radiated crisp authority as a drummer, exerting lift and momentum in any setting. “He had a natural swing that made you feel good right away,” bassist Vicente Archer, a regular partner, tells WBGO. “On a personal level and musically, you knew when he was in the room. He was a loving person, and he always had your back, too.”

Among Coleman’s steady affiliations was a group with Archer and pianist Bruce Barth, which recorded a forthcoming album last summer, one day after a gig at Mezzrow in New York. “I took an immediate liking to Montez,” says Barth, whose first encounter with Coleman was at Jazz St. Louis 20 years ago. “He had such a deep groove and this exuberant, positive energy that was infectious.”

Steve Lacy (born Steven Norman Lackritz; July 23, 1934 – June 4, 2004) was an American jazz saxophonist and composer recognized as one of the important players of soprano saxophone. Coming to prominence in the 1950s as a progressive dixieland musician, Lacy went on to a long and prolific career. He worked extensively in experimental jazz and to a lesser extent in free improvisation, but Lacy’s music was typically melodic and tightly-structured. Lacy also became a highly distinctive composer, with compositions often built out of little more than a single questioning phrase, repeated several times.

The music of Thelonious Monk became a permanent part of Lacy’s repertoire after a stint in the pianist’s band, with Monk’s works appearing on virtually every Lacy album and concert program; Lacy often partnered with trombonist Roswell Rudd in exploring Monk’s work. Beyond Monk, Lacy performed the work of jazz composers such as Charles Mingus, Duke Ellington and Herbie Nichols; unlike many jazz musicians he rarely played standard popular or show tunes.

William Thomas “Champion Jack” Dupree (July 23, 1909 or July 4, 1910 – January 21, 1992) was an American blues and boogie-woogie pianist and singer. His nickname was derived from his early career as a boxer. Dupree was a New Orleans blues and boogie-woogiepianist, a barrelhouse “professor”. His father was from the Belgian Congo and his mother was part African Americanand Cherokee. His birth date has been given as July 4, July 10, and July 23, 1908, 1909, or 1910; the researchers Bob Eagle and Eric LeBlanc give July 4, 1910.

Albert Laurence Di Meola (born July 22, 1954) is an American guitarist. Known for his works in jazz fusion and world music, he began his career as guitarist with the group Return to Forever in 1974. From 1976 to 1978 he played with Stomu Yamashta in the supergroup Go on three records. The 1970s and 1980s saw albums such as Land of the Midnight Sun, Elegant Gypsy, Casino and Friday Night in San Francisco earn him both critical and commercial success.

Born in Jersey City, New Jersey, into an Italian family with roots in Cerreto Sannita, a small town northeast of Benevento, Di Meola grew up in Bergenfield, where he attended Bergenfield High School. He has been a resident of Old Tappan, New Jersey.

Herman “Junior” Cook (July 22, 1934 – February 3, 1992) was an American hard bop tenor saxophone player.

Cook was born in Pensacola, Florida. A member of a musical family, he started on alto saxophone before switching to tenor during his high school years.

After playing with Dizzy Gillespie in 1958, Cook was a member of the Horace SilverQuintet (1958–1964); when Silver left the group in the hands of Blue Mitchell Cook stayed in the quintet for five more years (1964–1969). Later associations included Freddie Hubbard, Elvin Jones, George Coleman, Louis Hayes (1975–1976), Bill Hardman (1979–1989), and the McCoy Tyner big band.