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  1918 promotional postcard of the ODJB showing (from left), drummer Tony Sbarbaro (aka Tony Spargo), trombonist Edwin "Daddy" Edwards, cornetist Dominick James "Nick" LaRocca, clarinetist Larry Shields, and pianist Henry Ragas

  
  TheOriginal Dixieland Jass Band (ODJB) was aDixieland jazz band that made the first jazz recordings in early 1917. Their "Livery Stable Blues" became the first jazz record ever issued. The group composed and recorded manyjazz standards, the most famous being "Tiger Rag". In late 1917, the spelling of the band's name was changed to Original Dixieland Jazz Band.
  
  The band consisted of five musicians who had played in thePapa Jack Laine bands. (Full article...)
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  Coltrane for Lovers is acompilation album of recordings by Americanjazz saxophonist-composerJohn Coltrane, released posthumously on January 23, 2001, byImpulse! andVerve Records. The 11 tracks compiled for the album are all romanticballads fromColtrane's early years with Impulse!, being recorded during December 1961 to April 1963 at engineerRudy Van Gelder'srecording studio inEnglewood Cliffs, New Jersey. Dominated by Coltrane'sclassic quartet, the sessions also included collaborations with vocalistJohnny Hartman and pianistDuke Ellington.
  
  The recordings onColtrane for Lovers initially received criticism for Coltrane's stylistic move from complex jazz compositions of thefree jazz form to a simpler formula of ballads and blues. In the years since, they gained a legacy as one of Coltrane's most popular recordings and significant in the romantic jazz mode. For their inclusion onColtrane for Lovers, the tracks were selected by producer Richard Seidel and remastering engineer Allan Tucker at Foothill Digital in New York City. (Full article...)
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  TheGrammy Award for Best Jazz Vocal Performance, Female was an honor presented at theGrammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, to female recording artists for qualityjazz vocal performances (songs or albums). Honors in several categories are presented at the ceremony annually by theNational Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position".
  
  Prior to 1981, the gender-neutral category ofBest Jazz Vocal Performance existed. The first award specifically for female performances was presented toElla Fitzgerald in 1981 for the albumA Perfect Match. The category remained unchanged until 1985, when it was combined with the award forBest Jazz Vocal Performance, Male and presented in the genderless category. Gender-specific awards were once again presented from 1986 until 1991. In 1992, the two categories were combined and presented as the category Best Jazz Vocal Performance. This category was later renamed to Best Jazz Vocal Album beginning in 2001. While the gender-specific award has not been presented since the category merge in 1992, an official confirmation of its retirement has not been announced. (Full article...)
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  Birth of the Cool is acompilation album by the Americanjazz trumpeter and bandleaderMiles Davis. It was released in February or March 1957 onCapitol Records. It compiles eleven tracks recorded by Davis's nonet for the label over the course of three sessions during 1949 and 1950.
  
  Featuring unusual instrumentation and several notable musicians, the music consisted of innovative arrangements influenced by Afro-American music andclassical music techniques, and marked a major development in post-bebop jazz. As the title suggests, these recordings are considered seminal in the history ofcool jazz. Most of them were originally released in the10-inch 78-rpm format and are all approximately three minutes long. (Full article...)
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  "Ory's Creole Trombone" is ajazz composition byKid Ory. Ory first recorded it in Los Angeles in 1921 (or 1922, according to other sources). The band included Ory on trombone,Mutt Carey on cornet,Dink Johnson on clarinet,Fred Washington on piano,Ed Garland on bass andBen Borders on drums. The recording of "Ory's Creole Trombone" was released byJohn andReb Spikes' short-livedSunshine Records label. It was the first issued recording session by an African American jazz band from New Orleans. (Contrary to sometimes repeated misinformation that it marked the first jazz recording made by a black orchestra that honor goes toWilbur Sweatman. ) Other numbers recorded the same day included "When You're Alone Blues", "Krooked Blues", "Society Blues", "That Sweet Something Dear", "Maybe Some Day" and "Froggie Moore".
  
  Ory's band was called Kid Ory's Creole Orchestra, but they used the name "Spike's Seven Pods of Pepper Orchestra" for the Sunshine recordings. The label also released the same records credited to the Sunshine Band. According to Reb Spikes, recording studio owner Arne Nordskog first put his ownNordskog labels on the produced records; Spikes then had to paste the Sunshine label over Nordskog's. The original records have become collector's items. In many cases the Sunshine label has eroded and parts of the Nordskog label can be seen beneath it. (Full article...)
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  TheNewport Jazz Festival is an annual American multi-dayjazzmusic festival held every summer inNewport, Rhode Island.Elaine Lorillard established the festival in 1954, and she and husband Louis Lorillard financed it for many years. They hiredGeorge Wein to organize the first festival and bring jazz to Rhode Island.
  
  Most of the early festivals were broadcast onVoice of America radio, and many performances were recorded and released as albums. In 1972, the Newport Jazz Festival was moved to New York City. In 1981, it became a two-site festival when it was returned to Newport while continuing in New York. From 1984 to 2008, the festival was known as theJVC Jazz Festival; in the economic downturn of 2009, JVC ceased its support of the festival and was replaced byCareFusion. (Full article...)
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  Smalls Jazz Club in New York City

  
  Smalls Jazz Club is ajazz club at 183 West 10th Street,Greenwich Village, New York City. Established in 1994, it earned a reputation in the 1990s as a "hotbed for New York's jazz talent" with a "well-deserved reputation as one of the best places in the city to see rising talent in the New York jazz scene". Its jazz musicians are noted for being "talented, though largely unknown" while its music is characterized as "modern versions ofbebop andhard bop". The club's main room is in a basement with a capacity of 50 people that expanded to 60 people. (Full article...)
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  The Jazz Messengers in 1960. From left:Lee Morgan,Wayne Shorter (obscured),Jymie Merritt, andArt Blakey

  
  The Jazz Messengers were a jazz combo which existed for over thirty-five years beginning in the early 1950s as a collective, and only ended when long-time leader and foundingdrummerArt Blakey died in 1990. Blakey led or co-led the group from the outset. "Art Blakey" and "Jazz Messengers" became synonymous over the years, though Blakey did lead non-Messenger recording sessions and played as a sideman for other groups throughout his career.
  
  The group evolved into a proving ground for young jazz talent. While veterans occasionally re-appeared in the group, by and large, each iteration of the Messengers included a lineup of new young players. Having the Messengers on one's resume was a rite of passage in the jazz world, and conveyed immediatebona fides. (Full article...)
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  "Amar pelos dois" (Portuguese pronunciation:[ɐˈmaɾp(e)luʒˈðojʃ]; English: "To Love for the Both of Us") is a song recorded by Portuguese singerSalvador Sobral. The song was written and produced by his sisterLuísa Sobral and released fordigital download as a single on 10 March 2017 by Sons em Trânsito. It premiered earlier that year, on 19 February, when it was performed during the first semi-final ofFestival da Canção 2017.
  
  "Amar pelos dois" is ajazz waltz with the lyrical theme ofheartbreak after a breakup. The track received praise frommusic critics. The song earned the Sobral siblings various awards, including twoMarcel Bezençon Awards. The track achieved commercial success, particularly in Europe, reaching the top ten in several countries. It was certifiedplatinum by theAssociação Fonográfica Portuguesa (AFP). Sobral has performed "Amar pelos dois" at his international tours. It is included in theEuropean Union Songbook as the all-time topPortugueselove song, and it is listed in theGuinness World Records. The song has been covered by several artists. (Full article...)
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  Agharta is a livedouble album by Americanjazz trumpeter, composer, and bandleaderMiles Davis. It was first released in Japan byCBS/Sony in August 1975. By the time he recorded the album, Davis was 48 years old and had alienated many in the jazz community while attracting youngerrock audiences with his radical electricfusion music. After experimenting with different line-ups, he established a stable live band in 1973 and toured constantly for the next two years, despite physical pain from worsening health and emotional instability brought on by substance abuse. During a three-week tour of Japan in 1975, the trumpeter performed two concerts at theFestival Hall inOsaka on February 1; the afternoon show producedAgharta, and the evening show was released asPangaea the following year.
  
  Davis led aseptet at the concert; saxophonistSonny Fortune, bassistMichael Henderson, and guitaristPete Cosey were given space to improvise against a dense backdrop ofriffs, electronic effects,cross-beats, andfunkgrooves from therhythm section – drummerAl Foster, guitaristReggie Lucas, and percussionistJames Mtume. Davis controlled their rhythmic and musical direction with hand and head gestures,phrases played on hiswah-wah processed trumpet, anddrones from an accompanyingelectronic organ. The evolving nature of the performance led to the widespread misunderstanding that it had no compositional basis, while its dark, angry, and somber musical qualities were seen as a reflection of the bandleader's emotional and spiritual state at the time. (Full article...)
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  Bossa nova (Portuguese pronunciation:[ˈbɔsɐˈnɔvɐ]^ⓘ) is a relaxed style ofsamba developed in the late 1950s and early 1960s inRio de Janeiro, Brazil. It is mainly characterized by a calmsyncopated rhythm with chords and fingerstyle mimicking the beat of a samba groove, as if it was a simplification and stylization on the guitar of the rhythm produced by asamba school band. Another defining characteristic of the style is the use of unconventional chords in some cases with complex progressions and "ambiguous" harmonies. A common misconception is that these complex chords and harmonies were derived fromjazz, but samba guitar players have been using similararrangement structures since the early 1920s, indicating a case ofparallel evolution of styles rather than a simple transference from jazz to bossa nova. Nevertheless, bossa nova was influenced by jazz, both in the harmonies used and also by the instrumentation of songs, and today many bossa nova songs are consideredjazz standards. The popularity of bossa nova has helped to renew samba and contributed to the modernization ofBrazilian music in general.
  
  One of the major innovations of bossa nova was the way to synthesize the rhythm of samba on theclassical guitar. According to musicologistGilberto Mendes, the bossa nova was one of the "three rhythmic phases of samba", in which the "bossa beat" had been extracted byJoão Gilberto from the traditional samba. The synthesis performed byGilberto's guitar was a reduction of the "batucada" of samba, a stylization produced from one of the percussion instruments: the thumb stylized asurdo; the index, middle and ring fingers phrased like a tamborim. In line with this thesis, musicians such asBaden Powell,Roberto Menescal, andRonaldo Bôscoli also understand the bossa nova beat as being extracted from thetamborim play in thebateria. (Full article...)
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  Dave Brubeck Quartet in 1962

  
  Cool jazz is a style and genre of modernjazz music inspired bybebop andbig band that arose in the United States afterWorld War II. It is characterized by relaxedtempos and a lighter tone than that used in the fast and complexbebop style. Cool jazz often employs formal arrangements and incorporates elements ofclassical music. Broadly, the genre refers to a number of post-war jazz styles employing a more subdued approach than that of contemporaneous jazz idioms. AsPaul Tanner, Maurice Gerow, and David Megill suggest, "the tonal sonorities of these conservative players could be compared topastel colors, while the solos of[Dizzy] Gillespie and his followers could be compared to fiery red colors."
  
  The termcool started being applied to this music around 1953, whenCapitol Records released the albumClassics in Jazz: Cool and Quiet. Mark C. Gridley, writing in theAll Music Guide to Jazz, identifies four overlapping sub-categories of cool jazz: (Full article...)
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  Art Blakey and the Jazz Messengers, 1960. Pictured are Lee Morgan (left),Jymie Merritt (center), and Art Blakey (right) (saxophonistWayne Shorter stands mostly hidden behind Merritt).

  
  Hard bop is a subgenre ofjazz that is an extension ofbebop (or "bop") music. Journalists and record companies began using the term in the mid-1950s to describe a new current within jazz that incorporated influences fromrhythm and blues,gospel music, andblues, especially insaxophone andpiano playing.
  
  David H. Rosenthal contends in his bookHard Bop that the genre is, to a large degree, the natural creation of a generation ofAfrican-American musicians who grew up at a time when bop andrhythm and blues were the dominant forms of black American music. Prominent hard bop musicians includedHorace Silver,Clifford Brown,Charles Mingus,Art Blakey,Cannonball Adderley,Miles Davis,John Coltrane,Hank Mobley,Thelonious Monk,Lee Morgan,Wes Montgomery,Pat Martino and others. (Full article...)
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  Performing in San Francisco, 2008

  
  Squirrel Nut Zippers is an American swing and jazz band formed in 1993 inChapel Hill, North Carolina, byJames "Jimbo" Mathus (vocals and guitar),Tom Maxwell (vocals and guitar),Katharine Whalen (vocals, banjo, ukulele), Chris Phillips (drums), Don Raleigh (bass guitar), and Ken Mosher.
  
  The band's music is a fusion ofDelta blues,gypsy jazz, 1930s–eraswing,klezmer, and other styles. They found commercial success during theswing revival of the late 1990s with their 1996 single "Hell", written by Tom Maxwell. After a hiatus of several years, the original band members reunited and performed in 2007, playing in the U.S. and Canada. (Full article...)
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  Wu Hen is the second studio album by English musicianKamaal Williams, released on 24 July 2020 under his Black Focus label. It is considered to define Williams' own genre "Wu Funk", a blend ofjazz,hip-hop,contemporary R&B andEDM. Other styles explored includefunk,acid jazz,traditional jazz,breakbeat andhouse music.
  
  The album was announced simultaneously with the premiere of "One More Time" in May 2020; and was followed by "Hold On" in June and "Mr. Wu" in July. The second of the three tracks features the singer Lauren Faith.Wu Hen received generally favourable reviews frommusic critics, some praising Williams' drift from the sounds of its predecessor,Black Focus (2016), that informed him in his career with Yussef Kamaal, while others said the album's ideas shifted too urgently. In the United Kingdom, it reached number 2 on the Jazz & Blues Albums Chart and number 15 on theIndependent Albums Chart. (Full article...)

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  Evans in 1961

  
  William John Evans (August 16, 1929 – September 15, 1980) was an Americanjazz pianist and composer who worked primarily as the leader of his trio. His extensive use ofimpressionist harmony,block chords, innovative chord voicings, and trademark rhythmically independent "singing" melodic lines continue to influence jazz pianists today.
  
  Born inPlainfield, New Jersey, Evans studied classical music atSoutheastern Louisiana College and theMannes School of Music, in New York City, where he majored in composition and received anartist diploma. In 1955, he moved toNew York City, where he worked with bandleader and theoristGeorge Russell. In 1958, Evans joinedMiles Davis's sextet, which in 1959, then immersed inmodal jazz, recordedKind of Blue, the best-selling jazz album of all time. (Full article...)
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  Max van Gelder (12 February 1916 – 2 October 2004), professionally known asMax Geldray, was a Dutchjazzharmonica player. Best known for providing musical interludes for theBBC radio comedy programmeThe Goon Show, he was also credited as being the first harmonica player to embrace the jazz style.
  
  Geldray was born in the Netherlands and played jazz in the United Kingdom, Belgium, France and his home country, before settling in Britain at the outbreak of the Second World War; he was wounded during theInvasion of Normandy. He appeared in nearly every episode ofThe Goon Show from 1951 until the end of the show's run in 1960, providing one of the musical interludes and the closing music for each programme, as well as sometimes taking brief speaking roles. AfterThe Goon Show series ended, Geldray settled in the US, where he worked as an entertainer in the Reno casinos alongside performers such asSarah Vaughan andBilly Daniels. Moving to Palm Springs, he eventually became a part-time counsellor at theBetty Ford Center. He was married twice and had one son. Geldray died in October 2004, aged 88. (Full article...)
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  Kenny G in 2013

  
  Kenneth Bruce Gorelick (born June 5, 1956) is an Americansmooth jazz saxophonist, composer, and record producer. His 1986 albumDuotones brought him commercial success. Kenny G is one of thebest-selling artists of all time, with global sales totaling more than 75 million records, making him also the best-selling instrumentalist in history.
  
  Kenny G was born in Seattle, Washington and started playing the saxophone at the age of ten, inspired by a performance onThe Ed Sullivan Show. He attended several schools in Seattle, including theUniversity of Washington. During high school, he took private saxophone lessons and played in the school jazz band. (Full article...)
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  Photograph by theWarnecke studio, 1947

  
  Louis Daniel Armstrong (August 4, 1901 – July 6, 1971), nicknamed "Satchmo", "Satch", and "Pops", was an Americanjazz andblues trumpeter and vocalist. He was among the most influential figures in jazz. His career spanned five decades and several eras in the history of jazz. Armstrong received numerous accolades including theGrammy Award for Best Male Vocal Performance forHello, Dolly! in 1965, as well as a posthumous win for theGrammy Lifetime Achievement Award in 1972. His influence crossed musical genres, with inductions into theDownBeat Jazz Hall of Fame, theRock and Roll Hall of Fame, and theNational Rhythm & Blues Hall of Fame, among others.
  
  Armstrong was born and raised inNew Orleans. Coming to prominence in the 1920s as an inventive trumpet andcornet player, he was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. Around 1922, Armstrong followed his mentor,Joe "King" Oliver, to Chicago to play in Oliver's Creole Jazz Band. Armstrong earned a reputation at "cutting contests", and his fame reached band leaderFletcher Henderson. Armstrong moved to New York City, where he became a featured and musically influential band soloist and recording artist. By the 1950s, Armstrong was an international musical icon, appearing regularly in radio and television broadcasts and on film. Apart from his music, he was also beloved as an entertainer, often joking with the audience and keeping a joyful public image at all times. (Full article...)
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  Monk atMinton's Playhouse, New York, 1947

  
  Thelonious Sphere Monk (/θəˈloʊniəs/ October 10, 1917 – February 17, 1982) was an Americanjazz pianist andcomposer. He had a uniqueimprovisational style and made numerous contributions to thestandard jazz repertoire, including "'Round Midnight", "Blue Monk", "Straight, No Chaser", "Ruby, My Dear", "In Walked Bud", and "Well, You Needn't". Monk is the second-most-recorded jazz composer afterDuke Ellington.
  
  Monk's compositions and improvisations featuredissonances and angularmelodic twists, often using flat ninths, flat fifths, unexpectedchromatic notes together, low bass notes and stride, and fastwhole tone runs, combining a highly percussive attack with abrupt, dramatic use of switched key releases, silences, and hesitations. (Full article...)
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  Bailey photographed byWilliam P. Gottlieb in New York City, 1947

  
  Mildred Bailey (bornMildred Rinker; February 27, 1907 – December 12, 1951) was aSkitswishjazz singer during the 1930s, known as "The Queen of Swing", "The Rockin' Chair Lady", and "Mrs. Swing".
  
  She recorded the songs "For Sentimental Reasons", "It's So Peaceful in the Country", "Doin' The Uptown Lowdown", "Trust in Me", "Where Are You?", "I Let a Song Go Out of My Heart", "Small Fry", "Please Be Kind", "Darn That Dream", "Rockin' Chair", "Blame It on My Last Affair", and "Says My Heart". She had three records that reached number one on the popular charts. (Full article...)
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  Bessie Smith (April 15, 1892 – September 26, 1937) was an African-Americanblues singer widely renowned during theJazz Age. Nicknamed the "Empress of the Blues" and formerly Queen of the Blues, she was the most popular female blues singer of the 1930s. Inducted into theRock and Roll Hall of Fame in 1989, she is often regarded as one of the greatest singers of her era and was a major influence on fellowblues singers, as well asjazz vocalists. (Full article...)
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  Makeba during a performance in 1991

  
  Zenzile Miriam Makeba (/məˈkeɪbə/mə-KAY-bə,Xhosa:[máˈkʼêːɓà̤]^ⓘ; 4 March 1932 – 9 November 2008), nicknamedMama Africa, was a South African singer, songwriter, actress, andcivil rights activist. Associated with musical genres includingAfropop,jazz, andworld music, she was an advocate againstapartheid and white-minority government in South Africa.
  
  Born inJohannesburg toSwazi andXhosa parents, Makeba was forced to find employment as a child after the death of her father. She had a brief and allegedly abusive first marriage at the age of 17, gave birth to her only child in 1950, and survived breast cancer. Her vocal talent had been recognized when she was a child, and she began singing professionally in the 1950s, with the Cuban Brothers, theManhattan Brothers, and an all-woman group,the Skylarks, performing a mixture of jazz, traditional African melodies, and Western popular music. In 1959, Makeba had a brief role in the anti-apartheid filmCome Back, Africa, which brought her international attention, and led to her performing in Venice, London, and New York City. In London, she met the American singerHarry Belafonte, who became a mentor and colleague. She moved to New York City, where she became immediately popular, and recorded her first solo album in 1960. Her attempt to return to South Africa that year for her mother's funeral was prevented by the country's government. (Full article...)
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  Henry Franklin"Buster" Smith (August 24, 1904 – August 10, 1991), also known asProfessor Smith, was an Americanjazzalto saxophonist andmentor toCharlie Parker. Smith was instrumental in instituting the Texas Sax Sound withCount Basie andLester Young in the 1930s.
  
  Smith played saxophone for a number of prominent band leaders includingDuke Ellington andEarl Hines as well as vocalistElla Fitzgerald. He recorded his only album as leader in 1959 and despite intending to record a follow-up, he was injured in an accident and nothing else was released. (Full article...)
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  Mingus in 1976

  
  Charles Mingus Jr. (April 22, 1922 – January 5, 1979) was an Americanjazzupright bassist,composer,bandleader,pianist, andauthor. A major proponent of collectiveimprovisation, he is considered one of the greatest jazz musicians and composers in history, with a career spanning three decades and collaborations with other jazz greats such asDuke Ellington,Charlie Parker,Max Roach, andEric Dolphy. Mingus's work ranged from advancedbebop andavant-garde jazz with small and midsizeensembles to pioneering thepost-bop style on seminal recordings likePithecanthropus Erectus (1956) andMingus Ah Um (1959) andprogressive big band experiments such asThe Black Saint and the Sinner Lady (1963).
  
  Mingus's compositions continue to be played by contemporary musicians ranging from the repertory bandsMingus Big Band,Mingus Dynasty, and Mingus Orchestra to high school students who play the charts and compete in the Charles Mingus High School Competition. In 1993, theLibrary of Congress acquired Mingus's collected papers—including scores, sound recordings, correspondence and photos—in what it called "the most important acquisition of a manuscript collection relating to jazz in the Library's history". (Full article...)
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  Davis in 1956

  
  Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American trumpeter, bandleader and composer. He is among the most influential and acclaimed figures in the history ofjazz and20th-century music. Davis adopted a variety of musical directions in a roughly five-decade career that kept him at the forefront of many major stylistic developments in genres such as jazz, classical, and experimental music.
  
  Born into an upper-middle-class family inAlton, Illinois, and raised inEast St. Louis, Davis started on the trumpet in his early teens. He left to study atJuilliard in New York City, before dropping out and making his professional debut as a member of saxophonistCharlie Parker'sbebop quintet from 1944 to 1948. Shortly after, he recorded theBirth of the Cool sessions forCapitol Records, which were instrumental to the development ofcool jazz. In the early 1950s, while addicted to heroin, Davis recorded some of the earliesthard bop music underPrestige Records. After a widely acclaimed comeback performance at theNewport Jazz Festival, he signed a long-term contract withColumbia Records, and recorded the album'Round About Midnight in 1955. It was his first work with saxophonistJohn Coltrane and bassistPaul Chambers, key members of the sextet he led into the early 1960s. During this period, he alternated between orchestral jazz collaborations with arrangerGil Evans, such as theSpanish music–influencedSketches of Spain (1960), and band recordings, such asMilestones (1958) andKind of Blue (1959). The latter recording remains one of the most popular jazz albums of all time, having sold over five million copies in the U.S. (Full article...)
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  Reinhardt in 1946

  
  Jean Reinhardt (23 January 1910 – 16 May 1953), known by hisRomani nicknameDjango (French:[dʒãŋɡoʁɛjnaʁt] or[dʒɑ̃ɡoʁenɑʁt]), was aBelgian-born Romani jazz guitarist and composer who lived most of his life inFrance. He was one of the first majorjazz talents to emerge in Europe and has been hailed as one of its most significant exponents.
  
  With violinistStéphane Grappelli, Reinhardt formed the Paris-basedQuintette du Hot Club de France in 1934. The group was among the first to play jazz that featured the guitar as a lead instrument. Reinhardt recorded in France with many visiting American musicians, includingColeman Hawkins andBenny Carter, and briefly toured the United States withDuke Ellington's orchestra in 1946. He died suddenly of a brain hemorrhage in 1953 at the age of 43. (Full article...)
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  Jan Garbarek in Oslo in 2016

  
  Jan Garbarek (Norwegian pronunciation:[ˈjɑːnɡɑɾˈbɑ̀ːɾək]) (born 4 March 1947) is a Norwegianjazz saxophonist, who is also active inclassical music andworld music.
  
  Garbarek was born inMysen,Østfold, southeasternNorway, the only child of a former Polish prisoner of war, Czesław Garbarek, and a Norwegian woman,Kari Nordbø. He grew up inOslo, stateless until the age of seven, as there was no automatic grant of citizenship in Norway at the time. When he was 21, he married the author Vigdis Garbarek. He is the father of musician and composerAnja Garbarek. (Full article...)
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  Getz in 1958

  
  Stan Getz (bornStanley Gayetski; February 2, 1927 – June 6, 1991) was an Americanjazzsaxophonist. Playing primarily thetenor saxophone, Getz was known as "The Sound" because of his warm, lyrical tone, with his prime influence being the wispy, mellow timbre of his idol,Lester Young. Coming to prominence in the late 1940s withWoody Herman's big band, Getz is described by criticScott Yanow as "one of the all-time great tenor saxophonists". Getz performed inbebop andcool jazz groups. Influenced byJoão Gilberto andAntônio Carlos Jobim, he also helped popularizebossa nova in the United States with the hit 1964 single "The Girl from Ipanema". (Full article...)
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  Ralph Oliver Patt (5 December 1929 – 6 October 2010) was an American jazz guitarist who introducedmajor-thirds tuning. Patt's tuning simplified the learning of thefretboard andchords by beginners andimprovisation by advanced guitarists. He invented major-thirds tuning under the inspiration of first theatonal music ofArnold Schoenberg and second thejazz ofJohn Coltrane andOrnette Coleman.
  
  He graduated with a degree in geology from theUniversity of Pittsburgh. After his career as a guitarist, he worked as a geologist and as a hydrologist, often consulting on projects related to theU.S. Department of Energy. (Full article...)

"At the Jazz Band Ball", played by the Dixieland Jazz Band ensemble of theU.S. Coast Guard Band for the album "U.S. Coast Guard Bicentennial, 1790–1990".