Herbert Harper (2 July 1920 — 21 January 2012) was an American jazz trombonist of the West Coast jazz school.

Born in Salina, Kansas, he played swing music with Benny Goodman and Charlie Spivak in the 1940s and 1950s. Working on the West Coast jazz scene, he performed with such musicians as Stan Kenton, Bill Perkins and Maynard Ferguson, among others.

In June 1949, he was a member of the band backing Billie Holiday on her Just Jazz radio broadcast for AFRS in Los Angeles. Other band members were Neal Hefti (trumpet), Herbie Steward (clarinet, tenor saxophone), Jimmy Rowles (piano), Robert “Iggy” Shevak (bass) and Roy “Blinky” Garner (drums).

In 1954, he recorded several sessions as a member of Steve White‘s Hollywood-based quartet.

Angelo Chambers, 2 July 1924, Denton, Texas, USA, d. 7 June 1993, St. Paul, Minnesota, USA. While living in Dallas, Chambers worked for a while as a waiter at a blues club where he also acted as emcee and developed an engaging stage presence. Later, he appeared regularly at blues clubs in many Midwestern cities. His day job was a bus driver but whenever the opportunity arose he would be on stage, singing, occasionally playing drums, and introducing other acts with considerable panache. Although he lived in several other cities, he eventually settled in St. Paul, Minnesota. There, he led his own band, the Blue Birds, and also worked with a band led by Harmonica Tom Schafer. In 1991 he recorded the single, ‘Mean And Evil Woman’, which became a local hit, as did the b-side, ‘Cleo’. These tracks appeared on his sole album, which was completed not long before his death. A cassette was prepared for a launch, which Milwaukee Slim was able to attend even though he was failing in health. The album itself was released two years later and included ‘Standing On The Outside Crying’, ‘Sweet Little Angel’, ‘You Got Me Thinkin’’, ‘I’m A Legend’, ‘Double Trouble Blues’, ‘Mean And Evil Woman’, and ‘Mean Old World’, as well as his hit singles.

Ahmad Jamal (born Frederick Russell Jones; July 2, 1930 – April 16, 2023) was an American jazz pianist, composer, bandleader, and educator. For six decades, he was one of the most successful small-group leaders in jazz. He was a National Endowment for the Arts (NEA) Jazz Master and won a Lifetime Achievement Grammy for his contributions to music history.

Jamal was born Frederick Russell Jones in Pittsburgh, Pennsylvania, on July 2, 1930. He began playing piano at the age of three, when his uncle Lawrence challenged him to duplicate what he was doing on the piano. Jamal began formal piano training at the age of seven with Mary Cardwell Dawson, whom he described as having greatly influenced him. His Pittsburgh roots remained an important part of his identity (“Pittsburgh meant everything to me and it still does,” he said in 2001) and it was there that he was immersed in the influence of jazz artists such as Earl Hines, Billy Strayhorn, Mary Lou Williams, and Erroll Garner. Jamal also studied with pianist James Miller and began playing piano professionally at the age of fourteen, at which point he was recognized as a “coming great” by the pianist Art Tatum. When asked about his practice habits by a critic from The New York Times, Jamal commented that, “I used to practice and practice with the door open, hoping someone would come by and discover me. I was never the practitioner in the sense of twelve hours a day, but I always thought about music. I think about music all the time.

Sameer Gupta (born July 1, 1976) is a Brooklyn-based jazz percussionist, tabla player, and composer. He is a co-founder of Brooklyn Raga Massive, the jazz ensemble The Supplicants and drummer for the Marc Cary Focus Trio. He has also worked with vidyA, Kosmic Renaissance, Grachan Moncur III, Victor Goines, Vincent Gardner, Sekou Sundiata, Sonny Simmons, Marcus Shelby, Calvin Keys, Richard Howell, Dayna Stephens, and Julian Lage.

The Jazz Observer called his playing kinetic, bass-heavy, and tender.

Rashied Ali, born Robert Patterson (July 1, 1933 – August 12, 2009) was an American free jazz and avant-garde drummer who was best known for performing with John Coltrane in the last years of Coltrane’s life.

Patterson was born and raised in Philadelphia, Pennsylvania. His family was musical; his mother sang with Jimmie Lunceford. His brother, Muhammad Ali, is also a drummer, who played with Albert Ayler. Ali, his brother, and his father converted to Islam.

Starting off as a pianist, he eventually took up the drums, via trumpet and trombone. He joined the United States Army and played with military bands during the Korean War. After his military service, he returned home and studied with Philly Joe Jones, then toured with Sonny Rollins.

James Henry Cotton (July 1, 1935 – March 16, 2017) was an American blues harmonica player, singer and songwriter, who performed and recorded with many fellow blues artists and with his own band. He also played drums early in his career.

Cotton began his professional career playing the blues harp in Howlin’ Wolf‘s band in the early 1950s. He made his first recordings in Memphis for Sun Records, under the direction of Sam Phillips. In 1955, he was recruited by Muddy Waters to come to Chicago and join his band. Cotton became Muddy’s bandleader and stayed with the group until 1965. In 1965, he formed the Jimmy Cotton Blues Quartet, with Otis Spann on piano, to record between gigs with the Muddy Waters band. He eventually left to form his own full-time touring group. His first full album, on Verve Records, was produced by the guitarist Mike Bloomfield and the singer and songwriter Nick Gravenites, who later were members of the band Electric Flag.

In the 1970s, Cotton played harmonica on Muddy Waters’ Grammy Award–winning 1977 album Hard Again, produced by Johnny Winter.

Cotton was born in Tunica, Mississippi. He became interested in music when he first heard Sonny Boy Williamson II on the radio. He left home with his uncle and moved to West Helena, Arkansas, finding Williamson there. For many years Cotton claimed that he told Williamson that he was an orphan and that Williamson took him in and raised him, a story he admitted in recent years is not true. However, Williamson did mentor Cotton during his early years.

Lena Mary Calhoun Horne (June 30, 1917 – May 9, 2010) was an American dancer, actress, singer, and civil rights activist. Horne’s career spanned more than seventy years, appearing in film, television, and theatre. Horne joined the chorus of the Cotton Club at the age of sixteen and became a nightclub performerbefore moving to Hollywood.

Horne advocated for human rights and took part in the March on Washington in August 1963. Later she returned to her roots as a nightclub performer and continued to work on television while releasing well-received record albums. She announced her retirement in March 1980, but the next year starred in a one-woman show, Lena Horne: The Lady and Her Music, which ran for more than 300 performances on Broadway. She then toured the country in the show, earning numerous awards and accolades. Horne continued recording and performing sporadically into the 1990s, retreating from the public eye in 2000.

Lena Horne was born in Bedford–Stuyvesant, Brooklyn. Both sides of her family were African American. She belonged to the well-educated, upper stratum of Black New Yorkers at the time.

Stanley Clarke (born June 30, 1951) is an American bassist, composer and founding member of Return to Forever, one of the first jazz fusion bands. Clarke gave the bass guitar a prominence it lacked in jazz-related music. He is the first jazz-fusion bassist to headline tours, sell out shows worldwide and have recordings reach gold status.

Clarke is a 5-time Grammy winner, with 15 nominations, 3 as a solo artist, 1 with the Stanley Clarke Band, and 1 with Return to Forever. Clarke was selected to become a 2022 recipient of the National Endowment for the Arts Jazz Masters Fellowship.

A Stanley Clarke electric bass is permanently on display at the National Museum of African American History and Culture in Washington, D.C.

Clarke was born on June 30, 1951 in Philadelphia. His mother sang opera around the house, belonged to a church choir, and encouraged him to study music.

Andrew Hill (June 30, 1931 – April 20, 2007) was an American jazz pianist and composer.

Jazz critic John Fordham described Hill as a “uniquely gifted composer, pianist and educator” although “his status remained largely inside knowledge in the jazz world for most of his career.” Hill recorded for Blue Note Records for nearly a decade, producing a dozen albums.

Andrew Hill was born in Chicago, Illinois, to William and Hattie Hill. He had a brother, Robert, who was a singer and classical violin player. Hill took up the piano at the age of thirteen, and was encouraged by Earl Hines. As a child, he attended the University of Chicago Experimental School. He was referred by jazz composer Bill Russo to Paul Hindemith, with whom he studied informally until 1952.

While a teenager, he performed in rhythm and blues bands and with touring jazz musicians, including Charlie Parker and Miles Davis. Hill recalls some of his experience as a youngster, during a 1964 interview with Leonard Feather: “I started out in music as a boy soprano, singing and playing the accordion, and tap dancing. I had a little act and made quite a few of the talent shows around town from 1943 until 1947. I won turkeys at two Thanksgiving parties at the Regal Theatre,” parties sponsored by the newspaper Chicago Defender, which Hill coincidentally used to sell on the streets.

Within this cante jondo several types must be distinguished. On the one hand, we find the soleá grande (four lines); the soleá del cambio (to finish off and in another tonality); the soleá por bulerías(harmony of soleá and compás de bulería); the soleá corta, the soleariya (shortened melody soleá with the first verse reduced to four syllables); the soleá apolá (with which the pole closes, another type of triana soleá); the soleá de preparación (to start a specific cante); and those of zurraque(typical of the potters).

The soleá has been establishing its own style in each place where it has been practiced, for example, it is inevitable to speak of the soleá of Triana, so typical of this neighborhood, the cradle of Sevillian singers such as El Moreno or Francisco Amaya. Referring to the styles of other corners of Andalusia, we must also speak of those of Cádiz and the Ports, of Jerez, of Alcalá, of Utrera and Lebrija, of Córdoba and Marchena, among others.

Soleá is a complex flamenco style, full of feeling and considered one of the most traditional of this artistic genre. A style that has influenced others and is part of the essence of this art. Seeing a soleá live is a highly recommended experience for lovers and fans of pure and traditional flamenco.

https://www.youtube.com/watch?v=EednEVElCkM&t=59s