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Adolphe Paul Barbarin (May 5, 1899 – February 17, 1969) was an American jazz drummer from New Orleans.

Barbarin grew up in New Orleans in a family of musicians, including his father Isidore, three of his brothers (including Louis), and his nephew (Danny Barker). He was a member of the Silver Leaf Orchestra and the Young Olympia Band. He moved to Chicago in 1917 and worked with Freddie Keppard and Jimmie Noone. From 1925–1927, he was a member of King Oliver‘s band.

During the following year, he moved to New York City and played in Luis Russell‘s band for about four years. He left Russell and worked as a freelance musician, but he returned to Russell’s band when it supported Louis Armstrong. For a brief time beginning in 1942, he worked for Red Allen‘s sextet, with Sidney Bechet in 1944 and Art Hodes in 1953. In 1955, he founded the Onward Brass Band in New Orleans. He spent the rest of his life as the leader of that band.

Barbarin died on February 17, 1969, while playing snare drums during a Mardi Gras parade. Record producer Al Rose said that his funeral “attracted one of the great mobs in New Orleans funeral history.

Stanley Cowell (May 5, 1941 – December 17, 2020) was an American jazz pianist and co-founder of the Strata-East Records label.

Cowell was born in Toledo, Ohio. He began playing the piano around the age of four, and became interested in jazz after seeing Art Tatum at the age of six. Tatum was a family friend.

After high school, Cowell studied classical piano with Emil Danenberg at Oberlin Conservatory of Music He included “Emil Danenberg” in his 1973 suite “Musa: Ancestral Dreams”. During his time at Oberlin, he played with jazz multi-instrumentalist Roland Kirk, which proved to be formative. He went on to receive a graduate degree in classical piano from the University of Michigan. He moved to New York in the mid-1960s.

J. B. Lenoir  March 5, 1929 – April 29, 1967) was an American blues guitarist and singer-songwriter, active in the Chicago blues scene in the 1950s and 1960s.

Lenoir was born in Monticello, Mississippi. His full given name was simply “J. B.”; the letters were not initials. Lenoir’s guitar-playing father introduced him to the music of Blind Lemon Jefferson, which became a major influence. During the early 1940s, Lenoir worked with the blues artists Sonny Boy Williamson II and Elmore James in New Orleans. He was later influenced by Arthur Crudup and Lightnin’ Hopkins.

In 1949, he moved to Chicago, where Big Bill Broonzy helped introduce him to the blues community. He began to perform at local nightclubs, with musicians such as Memphis Minnie, Big Maceo Merriweather, and Muddy Waters, and became an important part of the city’s blues scene. Lenoir began recording in 1951 for J.O.B. Records and Chess Records. His recording of “Korea Blues” was licensed to and released by Chess, as having been performed by J. B. and his Bayou Boys. His band included the pianist Sunnyland Slim, the guitarist Leroy Foster, and the drummer Alfred Wallace.

Donald Ernest Friedman (May 4, 1935 – June 30, 2016) was an American jazz pianist. He began playing in Los Angeles and moved to New York in 1958. In the 1960s, he played with both modern stylists and more traditional musicians.

Friedman was born on May 4, 1935, in San Francisco. Both of his parents immigrated to the United States: his father, Edward Friedman, was from Lithuania, and his mother, Alma Loew, was from Germany. He began playing the piano at the age of four, switching from classical music to jazz after his family moved to Los Angeles when he was fifteen. His early jazz piano influence was Bud Powell. Friedman briefly studied composition at Los Angeles City College.

Ronald Levin Carter (born May 4, 1937) is an American jazz double bassist. His appearances on 2,221 recording sessions make him the most-recorded jazz bassist in history. He has won three Grammy Awards, and is also a cellist who has recorded numerous times on that instrument. In addition to a solo career of more than 60 years, Carter is well-known for playing on numerous iconic Blue Note albums in the 1960s, as well as being the anchor of trumpeter Miles Davis‘s “Second Great Quintet” from 1963-1968.

Beginning with Where? in 1961, Carter’s studio albums as leader also include Uptown Conversation(1969), Blues Farm (1973), All Blues (1973), Spanish Blue (1974), Anything Goes (1975), Yellow & Green(1976), Pastels (1976), Piccolo (1977), Third Plane (1977), Peg Leg (1978), A Song for You (1978), Etudes(1982), The Golden Striker (2003), Dear Miles (2006), and Ron Carter’s Great Big Band (2011).

Carter was born in Ferndale, Michigan. At the age of 10, he started playing the cello, switching to bass while at Cass Technical High School. He earned a B.A. in music from the Eastman School of Music(1959) and a master’s degree in music from the Manhattan School of Music (1961).

Walter Maynard Ferguson CM (May 4, 1928 – August 23, 2006) was a Canadian jazz trumpeter and bandleader. He came to prominence in Stan Kenton‘s orchestra before forming his own big band in 1957. He was noted for his bands, which often served as stepping stones for up-and-coming talent, his versatility on several instruments, and his ability to play in a high register.

Ferguson was born in Verdun (now part of Montreal), Quebec, Canada. Encouraged by his parents, he started playing piano and violin at the age of four. At nine years old, he heard a cornet for the first time in his local church and asked his parents to buy one for him. When he was thirteen, he soloed with the Canadian Broadcasting Corporation Orchestra. He was heard frequently on the CBC, notably featured on a “Serenade for Trumpet in Jazz” written for him by Morris Davis. He won a scholarship to the Conservatoire de musique du Québec à Montréal where he studied from 1943 to 1948 with Bernard Baker.

Friday May 3rd 2024 6:00 p.m. Erev Shabbat Service Featuring Kohenet Elana Brody with Inbal Sharett-Singer, Jayson Rodovsky, Pete Whitman, Joel Sayles and mick laBriola.

John Aaron Lewis (May 3, 1920 – March 29, 2001) was an American jazz pianist, composer and arranger, best known as the founder and musical director of the Modern Jazz Quartet.

John Lewis was born in La Grange, Illinois, and after his parents’ divorce moved with his mother, a trained singer, to Albuquerque, New Mexico when he was two months old. She died from peritonitis when he was four and he was raised by his grandmother and great-grandmother. He began learning classical music and piano at the age of seven. His family was musical and had a family band that allowed him to play frequently and he also played in a Boy Scout music group. Even though he learned piano by playing the classics, he was exposed to jazz from an early age because his aunt loved to dance and he would listen to the music she played. After attending Albuquerque High School, he then studied at the University of New Mexico, where he led a small dance band that he formed and double majored in Anthropology and Music. His piano teacher at the university was Walter Keller, to whom he paid tribute on the title composition of the Modern Jazz Quartet’s 1974 album In Memoriam. Eventually, he decided not to pursue Anthropology because he was advised that careers from degrees in the subject did not pay well. In 1942, Lewis entered the Army and played piano alongside Kenny Clarke, who influenced him to move to New York once their service was over. Lewis moved to New York in 1945 to pursue his musical studies at the Manhattan School of Music and eventually graduated with a master’s degree in music in 1953. Although his move to New York turned his musical attention more towards jazz, he still frequently played and listened to classical works and composers such as Chopin, Bach and Beethoven.

Derived from flamenco’s earliest root forms, the tonás, siguiriyas is one of flamenco’s oldest and deepest forms. Its name is a corruption of the term seguidillas, a group of 18th Century songs and dances. Siguiriyas first emerged in the 18th Century in Cádiz, Sevilla and Jerez de la Frontera. Slow, majestic and tragic, Siguiriyas is the most jondo of cante jondo forms. Its lyrics focus on tragedy, inconsolable sorrow, and pain. An important feature of Siguiriyas is its unusual compás which gives the form its unique, uneven pattern and much of its expressive power. Siguiriyas is a highly personal form and most artists associated with the style, such as El Planeta, La Niña de los Peines, Manuel Molina and Antonio Chacón, created their own extraordinary versions.