Eberhard Weber (born 22 January 1940, in Stuttgart, Germany) is a German double bassist and composer. As a bass player, he is known for his highly distinctive tone and phrasing. Weber’s compositions blend chamber jazz, European classical music, minimalism and ambient music, and are regarded as characteristic examples of the ECM Records sound.

Weber began recording in the early 1960s, and released The Colours of Chloë (ECM 1042), his first record under his own name, in 1973. In addition to his career as a musician, he also worked for many years as a television and theater director. He has designed an electric-acoustic bass with an additional string tuned to C.

Weber’s music, often in a melancholic tone, frequently utilizes ostinatos, yet is highly organized in its colouring and attention to detail. He was an early proponent of the solid-body electric double bass, which he has played regularly since the early 1970s.

From the early 1960s to the early 1970s, Weber’s closest musical association was with pianist Wolfgang Dauner. Their many mutual projects were diverse, from mainstream jazz to jazz-rock fusion to avant-garde sound experiments. During this period, Weber also played and recorded with pianists Hampton Hawes and Mal Waldron, guitarists Baden Powell de Aquino and Joe Pass, The Mike Gibbs Orchestra, violinist Stephane Grappelli, and many others.

J.J. Johnson (January 22, 1924 – February 4, 2001), born James Louis Johnson and also known as Jay Jay Johnson, was an American jazztrombonist, composer and arranger. Johnson was one of the earliest trombonists to embrace bebop.

After studying the piano beginning at age nine, Johnson decided to play trombone at the age of 14. In 1941, he began his professional career with Clarence Love, and then played with Snookum Russell in 1942. In Russell’s band, he met the trumpeter Fats Navarro, who influenced him to play in the style of the tenor saxophonist Lester Young. Johnson played in Benny Carter‘s orchestra between 1942 and 1945, and made his first recordings in 1943 under Carter’s leadership, recording his first solo (on “Love for Sale”) in October 1943. In 1944, he took part in the first Jazz at the Philharmonic concert, presented in Los Angeles and organized by Norman Granz. In 1945, he joined the big band of Count Basie, touring and recording with him until 1946.

Héctor “Tito” Matos, a master of Puerto Rico’s indigenous music forms, bomba and plena, died on Jan. 18, at his home in the city of Santurce, Puerto Rico. He was 53.

His family confirmed his death to El Nuevo Dia, without providing a cause.

As cofounder of the band Viento De Agua, Matos helped modernize the bomba and plena traditions with the addition of trap drums and keyboards; elements of funk, rock and jazz harmony; and arranging techniques that have influenced every subsequent group in the styles today.

A virtuoso percussionist, vocalist, composer, and bandleader, Matos was also a committed educator who was passionate in his preservation and propagation of the island’s African-rooted music forms, especially plena. Whereas bomba is rooted in Bantú Congolese rhythms played on barrel drums covered with goat skin, accompanied by a large maraca and two sticks known as the cuá striking any wood surface, the plena is a separate art form with its own history and rhythmic language.

Born in the cities of Guayama and Ponce in the late 19th century, its acknowledged creator was a Black ox plow driver, Joselino “Bum Bum” Oppenheimer. The genre’s first acknowledged composer, he taught his new creations in tertulias (gatherings) held in bars. At its heart is its propulsive rhythm and a vocal tradition of commenting on the day’s events, society, local gossip, politics, love of country, news, or any other topic of importance. Thus it became known as the island’s musical newspaper.

“He was one of the most important innovators of plena, especially with his work with Viento de Agua, while cultivating in great detail the most traditional and popular roots of the genre.”

Richard Pierce Havens (January 21, 1941 – April 22, 2013) was an American singer-songwriter and guitarist. His music encompassed elements of folk, soul, and rhythm and blues. He had an intense and rhythmic guitar style (often in open tunings), and played soulful covers of pop and folk songs. He was the opening act at Woodstock.

Born in Bedford–Stuyvesant, Brooklyn, New York City, New York, Havens was the oldest of nine children. He was of Native American (Blackfoot) descent on his father’s side and of the British West Indies on his mother’s. His grandfather was Blackfoot of the Montana/South Dakota area.

Havens’s grandfather and great-uncle joined Buffalo Bill’s Wild West Show, moved to New York City thereafter, and settled on the Shinnecock Reservation on Long Island. Havens’s grandfather married, then moved to Brooklyn.

As a youth, Havens began organizing his neighborhood friends into a street corner doo-wop group. At age 16, he was performing with the McCrea Gospel Singers.

Fird Eaglin Jr. (January 21, 1936 or 1937 – February 18, 2009), known as Snooks Eaglin, was an American guitarist and singer based in New Orleans. In his early years he was sometimes credited under other names, including Blind Snooks Eaglin, “Lil” Snook, Ford Eaglin, Blind Guitar Ferd.

His vocal style was reminiscent of that of Ray Charles; in the 1950s, when he was in his late teens, he sometimes billed himself as “Little Ray Charles”. He played a wide range of styles of music within the same concert, album, or even song: blues, rock and roll, jazz, country, and Latin. In his early years, he also played acoustic blues.

His ability to play a wide range of songs and make them his own earned him the nickname “The Human Jukebox.” Eaglin claimed in interviews that his musical repertoire included some 2,500 songs.

At live shows, he usually did not prepare set lists and was unpredictable, even to his bandmates. He played songs that came to him on stage, and he also took requests from the audience.

María Dolores “Lola” Flores Ruiz (21 January 1923 – 16 May 1995) was a Spanish singer, actress, bailaora and businesswoman. Born in Jerez de la Frontera, Flores became interested in the performing arts at a very young age. Known for her overwhelming personality onstage, she first debuted as a dancer at age sixteen at the stage production Luces de España, in her hometown. After being discovered by film director Fernando Mignoni, Flores moved to Madrid to pursue a professional career in music and film, with her first gig being the lead role in Mignoni’s Martingala (1940). Flores succeeded as a film and stage actress. In 1943 she obtained her breakthrough role in the musical stage production Zambra alongside Manolo Caracol, in which she sung original compositions by Rafael de León, Manuel López-Quiroga Miquel and Antonio Quintero, including “La Zarzamora” and “La Niña de Fuego”, mostly singing flamenco music, copla, rumba and ranchera. She then started to receive widespread media coverage.

In 1951, Flores signed a five-film contract with Suevia Films for a value of 6 million pesetas, which became the best paid contract for a performing artist in Spanish history. Under that contract she starred in major productions like La Niña de la Venta (1951), ¡Ay, Pena, Penita, Pena! (1953), La Danza de los Deseos (1954) and El Balcón de la Luna (1962), among many others, which spawned the signature songs “A Tu Vera” and “¡Ay, Pena, Penita, Pena!”. Since then, she was popularly dubbed as La Faraona. During her life, Flores performed in more than 35 films, pigeonholed, in many of them, in Andalusian folklore. As a bailaora, Flores enraged several generations of continents, although she distanced herself from flamenco canons. She also recorded over twenty albums, which she toured though Europe, Latin America and the United States.

Her strong personality, recognizable image, remarkable professional trajectory and her sometimes controversial personal life, have turned Flores into a Spanish pop culture icon. She is often cited as the “biggest exporter of Andalusian culture to date” as well as a “pioneer”, being tributed many times in recent television series and documentaries such as the biographical film Lola, la Película (2007). Lola became the matriarch of what would later be the Flores family, filled with popular singers and television personalities such as Lolita Flores, Rosario, Alba Flores and Elena Furiase. In 1995, Lola Flores died, aged 72, in Alcobendas due to health complications caused by a breast cancer.

https://www.youtube.com/watch?v=fMZk67VCIs4&t=22s

Jeff “Tain” Watts (born January 20, 1960) is a jazz drummer who has performed with Wynton Marsalis, Branford Marsalis, Betty Carter, Michael Brecker, Alice Coltrane, Ravi Coltrane, and others.

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

Ottis Dewey Whitman (January 20, 1923 – June 19, 2013) known by stage name Slim Whitman, was an American country music singer-songwriter and guitarist known for his yodeling abilities and his use of falsetto. He personally stated that he had sold in excess of 120 million records, although the recorded sales figures give 70 million, during a career that spanned over seven decades, and consisted of a prolific output of over 100 albums and around 500 recorded songs, that not only consisted of country music, but also of contemporary gospel, Broadway show tunes, love songs and standards. In the 1950s, Whitman toured with Elvis Presley as the opening act. In the 1990s and 2000s a new generation was exposed to Whitman through his songs featured in the film Mars Attacks!; his famed “Indian Love Call” would kill the invading Martians every time the record was played and his rendition of “I Remember You” was heard in Rob Zombie‘s House of 1000 Corpses.

Whitman was born in Oak Park, Tampa, Florida, on January 20, 1923, one of six siblings^{[citation needed]}, to Ottis Dewey Whitman Sr. (1896-1961) and Lucy Whitman (née Mahon) (1903–1987). Growing up, he liked the country music of Jimmie Rodgers and the songs of Gene Autry, but he did not embark on a musical career of his own until the end of World War II, after he had served in the South Pacific with the United States Navy. While aboard ship he would sing and entertain members aboard. This resulted in the captain blocking his transfer to another ship—hence saving his life, as the other ship later sank with all hands lost. Whitman’s early ambitions were to become either a boxer or a professional baseball player.

Juan García Esquivel (January 20, 1918 – January 3, 2002), often known mononymously as Esquivel!, was a Mexican band leader, pianist, and composer for television and films. He is recognized today as one of the foremost exponents of a sophisticated style of largely instrumental music that combines elements of lounge music and jazz with Latin flavors. Esquivel is sometimes called “The King of Space Age Pop” and “The Busby Berkeleyof Cocktail Music”, and is considered one of the foremost exponents of a style of late 1950s-early 1960s quirky instrumental pop that became known (in retrospect) as “Space Age Bachelor Pad Music”.

He was born in 1918, in Tampico, Tamaulipas, and his family moved to Mexico City in 1928 where he became a self-taught musician from an early age. In interviews, Esquivel’s family members have stated that the young boy started playing piano when he was around 6 years old, to the amazement of older musicians who would gather around him in disbelief and to his own delight exhibiting his musical gifts. They have also stated that Esquivel continued to eschew formal musical training as he grew older, preferring to learn from books and by listening to and playing music instead.

Wilbur James Cobb (January 20, 1929 – May 24, 2020) was an American jazz drummer. He was part of Miles Davis‘s First Great Sextet. At the time of his death, he had been the band’s last surviving member for nearly thirty years. He was awarded an NEA Jazz Masters Fellowship in 2009.

Cobb was born in Washington, D.C. on January 20, 1929. Before he began his music career, he listened to jazz albums and stayed awake into the late hours of the night in order to listen to Symphony Sid performing in New York City. Cobb started his touring career in 1950 with the saxophonist Earl Bostic. He subsequently performed with vocalist Dinah Washington, pianist Wynton Kelly, saxophonist Cannonball Adderley, bassist Keter Betts, Frank Wess, Leo Parker, and Charlie Rouse. His website also recounts his gigs with Billie Holiday, Pearl Bailey, and Dizzy Gillespie that took place before 1957.