"A talented trumpeter with a vivid musical imagination and the willingness to try new things, Don Ellis led some of the most colorful big bands of the 1965-75 period. After graduating from Boston University, Ellis played in the big bands of Ray McKinley, Charlie Barnet, and Maynard Ferguson (he was featured with the latter on "Three More Foxes"), recorded with Charles Mingus, and played with George Russell's sextet (at the same time as Eric Dolphy). Ellis led four quartet and trio sessions during 1960-1962 for Candid, New Jazz, and Pacific Jazz, mixing together bop, free jazz, and his interest in modern classical music. However it was in 1965 when he put together his first orchestra that he really started to make an impression in jazz. Ellis's big bands were distinguished by their unusual instrumentation (which in its early days had up to three bassists and three drummers including Ellis himself), the leader's desire to investigate unusual time changes (including 7/8, 9/8, and even 15/16), its occasionally wacky humor (highlighted by an excess of false endings), and an openness towards using rock rhythms and (in later years) electronics. Ellis invented the four-valve trumpet and utilized a ring modulator and all types of wild electronic devices by the late '60s. By 1971, his band consisted of an eight-piece brass section (including French horn and tuba), a four-piece woodwind section, a string quartet, and a two-drum rhythm section. A later unrecorded edition even added a vocal quartet.

AutumnAmong Don Ellis's sidemen were Glenn Ferris, Tom Scott, John Klemmer, Sam Falzone, Frank Strozier, Dave MacKay, and the brilliant pianist (straight from Bulgaria) Milcho Leviev. The orchestra's most memorable recordings were Autumn, Live at the Fillmore, and Tears of Joy (all for Columbia). After suffering a mid-'70s heart attack, Ellis returned to live performing, playing the "superbone" and a later edition of his big band featured Art Pepper. Ellis's last recording was at the 1977 Montreux Jazz Festival, a year before his heart finally gave out."-Scott Yanow, All Music

"John Arthur "Jaki" Byard, June 15, 1922 - February 11, 1999, was an American jazz multi-instrumentalist, composer, and arranger. Mainly a pianist, he also played tenor and alto saxophones, among several other instruments. He was known for his eclectic style, incorporating everything from ragtime and stride to free jazz.

Byard played with trumpeter Maynard Ferguson in the late 1950s and early 1960s, and was a member of bands led by bassist Charles Mingus for several years, including on several studio and concert recordings. The first of his recordings as a leader was in 1960, but, despite being praised by critics, his albums and performances did not gain him much wider attention. In his 60-year career, Byard recorded at least 35 albums as leader, and more than 50 as a sideman. Byard's influence on the music comes from his combining of musical styles during performance, and his parallel career in teaching.

From 1969 Byard was heavily involved in jazz education: he began teaching at the New England Conservatory of Music and went on to work at several other music institutions, as well as having private students. He continued performing and recording, mainly in solo and small group settings, but he also led two big bands - one made up of some of his students, and the other of professional musicians. His death, from a single gunshot while in his home, remains an unsolved mystery."

"Ron Carter is among the most original, prolific, and influential bassists in jazz. He has recorded over 2200 albums, and has a Guinness world record to prove it!

In Jazz: Over his 60 year career, he has recorded with so many of the jazz greats greats: Lena Horne, Bill Evans, B.B. King, Dexter Gordon, Wes Montgomery, Bobby Timmons, Eric Dolphy, Cannonball Adderley and Jaki Byard to name a few. From 1963 to 1968, he was a member of the acclaimed Miles Davis Quintet.

In other genres: After leaving the quintet he embarked on a prolific 50-year free lance career that spanned vastly different music genres and continues to this day. He recorded with Aretha Franklin, appeared on the seminal hip-hop album Low End Theory with a Tribe Called Quest, wrote and recorded pieces for string quartets and Bach chorales for 2-8 basses and accompanied Danny Simmons on a spoken word album.

As a leader: Carter spends at least half the year on worldwide tours with his various groups. The Ron Carter Trio, The Ron Carter quartet, the Ron Carter Nonet and Ron CarterÕs Great Big Band. He has recorded multiple albums with his groups.

As an author: Carter shares his expertise in the series of books he authored, where he explains his creative process and teaches bassists of all levels to improve their skills and develop their own unique sound. He also penned his autobiography ÒFinding the Right NotesÓ which is available in print and also as an audiobook read by the Maestro himself.

As a teacher: Carter has lectured, conducted, and performed at clinics and master classes, instructing jazz ensembles and teaching the business of music at numerous universities. He was Artistic Director of the Thelonious Monk Institute of Jazz Studies while it was located in Boston and, after 18 years on the faculty of the Music Department of The City College of New York, he is now Distinguished Professor Emeritus, he currently teaches at Manhattan School of Music.

In film scoring: In addition to scoring and arranging music for many films, including some projects for Public Broadcasting System, Carter composed music for A Gathering of Old Men, starring Lou Gosset Jr., The Passion of Beatrice directed by Bertrand Tavernier, and Blind Faith starring Courtney B. Vance.

Film appearances: Most jazz documentaries feature the Maestro because of his indelible contribution to the genre. Ken Burns ÒJazzÓ, ÒBirth of the CoolÓ about Miles Davis, "It Must be Schwing", the story of the Blue Note and many more. He also appeared as himself in HBOÕs hit series ÒTremeÓ and was the bassist on soundtracks of Twin Peaks, Bird, and way too many others to mention.

Education: Carter earned a bachelor of music degree from the Eastman School in Rochester and a master's degree in double bass from the Manhattan School of Music in New York City. He has also received five honorary doctorates, from the New England Conservatory of Music, Manhattan School of Music, University of Rochester, Juilliard and Berklee, and was the 2002 recipient of the prestigious Hutchinson Award from the Eastman School at the University of Rochester."

"Charli Persip (born July 26, 1929) is an American jazz drummer. Born in Morristown, New Jersey, as Charles Lawrence Persip, and formerly known as Charlie Persip, he changed the spelling of his name to Charli in the early 1980s.

Raised in Newark, New Jersey, Persip attended West Side High School, preferring it over Newark Arts High School because he wanted to join the former's football team. He later studied drums with Al Germansky in Newark. After playing with Tadd Dameron in 1953, he gained recognition as a jazz drummer as he toured and recorded with Dizzy Gillespie's big and small bands between 1953 and 1958. He then joined Harry "Sweets" Edison's quintet and later the Harry James Orchestra before forming his own group, the Jazz Statesmen, with Roland Alexander, Freddie Hubbard, and Ron Carter in 1960. Around this time, Persip also recorded with several other formidable jazz musicians, including Lee Morgan, Dinah Washington, Melba Liston, Kenny Dorham, Zoot Sims, Red Garland, Gil Evans, Don Ellis, Eric Dolphy, Rahsaan Roland Kirk, and Gene Ammons. Persip was also the drummer on the legendary "Eternal Triangle" recording, Sonny Side Up (Verve Records), featuring Sonny Rollins and Sonny Stitt. From 1960 to 1973 he toured as a drummer and conductor with Billy Eckstine.

Along with his performing activities, Persip has earned a reputation as an educator. Since 1974, he has been instructor of drums and music for Jazzmobile, Inc. in New York City. He is currently (2008) Associate Professor at the New School for Jazz and Contemporary Music in Manhattan.

Persip leads Supersound, his jazz big band that was started in the mid-1980s as Superband. SupersoundÕs first album was recorded on the Stash label, and was titled Charli Persip and Superband. The groupÕs second album, Superband II, and third album, No Dummies Allowed, were recorded on the Soul Note label. Their fourth album is Intrinsic Evolution."

"Hyman Paul Bley, CM (November 10, 1932 - January 3, 2016) was a Canadian pianist known for his contributions to the free jazz movement of the 1960s as well as his innovations and influence on trio playing and his early live performance on the Moog and Arp audio synthesizers. Bley was a long-time resident of the United States. His music has been described by Ben Ratliff of the New York Times as "deeply original and aesthetically aggressive." Bley's prolific output includes influential recordings from the 1950s through to his solo piano records of the 2000s.

Bley was born in Montreal, Quebec, on November 10, 1932. His adoptive parents were Betty Marcovitch, an immigrant from Romania, and Joe Bley, owner of an embroidery factory. However, in 1993 a relative from the New York branch of the Bley family walked into Sweet Basil in NYC and informed him that his father was actually his biological parent. At age five Bley studied violin, but at age seven he decided to switch to the piano. By eleven he received a junior diploma from the McGill Conservatory in Montreal. At thirteen he formed a band which played at summer resorts in Ste. Agathe, Quebec. As a teenager he played with touring American bands, including Al Cowan's Tramp Band. In 1949, when Bley was starting his senior year of high school, Oscar Peterson asked Bley to fulfill his contract at the Alberta Lounge in Montreal. The next year Bley left Montreal for New York City and Julliard.

In the 1951, on a return trip to Montreal, Bley organized the Jazz Workshop with a group of Montreal musicians. In 1953 Bley invited the bebop alto saxophonist and composer Charlie Parker to the Jazz Workshop, where he played and recorded with him. When Bley returned to New York City he hired Jackie McLean, Al Levitt and Doug Watkins to play an extended gig at the Copa City on Long Island. In 1953 the Shaw Agency booked Bley and his trio to tour with Lester Young, billed as "Lester Young and the Paul Bley Trio" in ads. He also performed with tenor saxophonist Ben Webster at that time. He then conducted for bassist Charles Mingus on the Charles Mingus and His Orchestra album. Additionally, in 1953, Mingus produced the Introducing Paul Bley album for his label, Debut Records with Mingus on bass and drummer Art Blakey . (In 1960 Bley recorded again with the Charles Mingus Group.)

In 1954 Bley received a call from Chet Baker inviting him to play opposite Baker's quintet at Jazz City in Hollywood, California for the month of March. This was followed by a tour with singer Dakota Staton.

Down Beat Magazine interviewed Bley for its July 13, 1955 issue. The prescient title of the article read, "PAUL BLEY, Jazz Is Just About Ready For Another Revolution." The article, reprinted in Down Beat's 50th Anniversary edition, quoted Bley as saying, "I'd like to write longer forms, I'd like to write music without a chordal center."

Bley's trio with Hal Gaylor and Lennie McBrowne toured across the US in 1956, including a club in Juarez. Mexico. The tour culminated with an invitation to play a 1956 New Year's Eve gig at Lucile Ball and Desi Arnez's home in Palm Springs. During the evening, Bley collapsed on the bandstand with a bleeding ulcer and Lucy immediately took him to the Palm Springs hospital where she proceeded to pay for all of his medical care. Bley, who had met Karen Borg while she was working as a cigarette girl at Birdland in NYC, married her after she came out to meet him in Los Angeles, where she became Carla Bley.

In 1957 Bley stayed in Los Angeles where he had the house band at the Hillcrest Club. By 1958 the original band, with vibe player, Dave Pike, evolved into a quintet with Bley hiring young avant garde musicians trumpet player Don Cherry, alto saxophonist Ornette Coleman, bassist Charlie Haden and drummer Billy Higgins.

In the early 1960s Bley was part of "The Jimmy Giuffre 3," with Giuffre on reeds, and Steve Swallow on bass. Its repertoire included compositions by Giuffre, Bley and his now ex-wife, composer Carla Bley. The group's music moved towards chamber jazz and free jazz. The 1961 European tour of The Giuffre 3 shocked a public expecting Bebop, however the many recordings released from this tour have proven to be classics of free jazz. During the same period, Bley was touring and recording with tenor saxophonist Sonny Rollins, which culminated with the RCA Victor album Sonny Meets Hawk! with tenor saxophonist Coleman Hawkins. Bley's solo on "All The Things You Are" from this album has been called "the shot heard around the world" by Pat Metheny.

In 1964 Bley was instrumental in the formation of the Jazz Composers Guild, a co-operative organization which brought together many free jazz musicians in New York: Roswell Rudd, Cecil Taylor, Archie Shepp, Carla Bley, Michael Mantler, Sun Ra, and others. The guild organized weekly concerts and created a forum for the "October Revolution" of 1964.

In the late 1960s, Bley pioneered the use of the Arp and Moog synthesizers, performing live before an audience for the first time at Philharmonic Hall in New York City on December 26, 1969. This "Bley-Peacock Synthesizer Show" performance, a group with singer/composer Annette Peacock, who had written much of his personal repertoire since 1964, was followed by her playing on the recordings Dual Unity (credited to "Annette & Paul Bley") and Improvisie. The latter was a French release of two extended improvisational tracks with Bley on synthesizers, Peacock's voice and keyboards, and percussion by Dutch free jazz drummer Han Bennink, who had also appeared on part of Dual Unity. [biography continues...]"

"Steve Swallow has long been many jazz critics' favorite electric bassist: rather than playing his instrument in a rock-oriented manner, Swallow emphasizes the high notes and, to an extent, approaches the electric bass as if it were a guitar. He originally started on piano and trumpet before settling on the acoustic bass as a teenager. Swallow joined the Paul Bley trio in 1960 and with Bley was part of an avant-garde version of the Jimmy Giuffre 3 during 1960-1962. Swallow recorded with George Russell and was a member of Art Farmer's quartet (1962-1965), Stan Getz's band (1965-1967), and an important edition of Gary Burton's quartet (1967-1970). The latter group (starting with the addition of guitarist Larry Coryell) was actually one of the first fusion groups, and it was during that time that Swallow began playing electric bass; within a few years, he stopped playing acoustic altogether. Swallow spent a few years in the early '70s living in northern California, during which time he mostly played locally. After the late '70s, he was closely associated with Carla Bley's groups, although he occasionally worked on other projects (including a reunion of the Jimmy Giuffre 3). Swallow has also proved to be a talented composer with "Eiderdown," "Falling Grace," "General Mojo's Well Laid Plan," and "Hotel Hello" among his better-known pieces. The 21st century saw the release of several Swallow sets, including Damaged in Transit (2003), Histoire Du Clochard: The Bum's Tale (2004), and an intriguing set with poet Robert Creeley, So There (2006). Hotel Hello appeared in 2007, followed by Believe in Spring, a collection of standards with Hans Ulrik and Jonas Johansen issued on the Stunt label, and Carla's Christmas Carols in 2008. In 2010, he recorded IS with trumpeter Tore Johanson for the Inner Ear label. Swallow formed We3 along with Adam Nussbaum and David Leibman; they recorded Amazing in 2011. In 2012, he and drummer Joey Barron played in Steve Kuhn's trio for the recording of Wisteria on ECM. It was a busy year for the bassist: he also recorded another duet offering, The Agnostic Chant Book, with reed and woodwind master Jonas Schoen. He led his own quintet for Into the Woodwork, which was issued on Xtra WATT, in June of 2013, and shared triple-billing with Carla Bley and Andy Sheppard on Trios, which was released in September of that year. In 2016, Swallow once again joined Bley and Sheppard for Andando el Tiempo."

"Gary Peacock (born May 12, 1935, in Burley, Idaho, United States) is an American jazz double-bassist.

After military service in Germany, in the early sixties he worked on the west coast with Barney Kessel, Bud Shank, Paul Bley and Art Pepper, then moved to New York. He worked there with Bley, the Bill Evans Trio (with Paul Motian), and Albert Ayler's trio with Sunny Murray. There were also some live dates with Miles Davis, as a temporary substitute for Ron Carter.

Peacock spent time in Japan in the late 1960s, abandoning music temporarily and studying Zen philosophy. After returning to the United States in 1972, he studied Biology at the University of Washington in Seattle, and taught music theory at Cornish College of the Arts from 1976 to 1983.

In 1983 he joined Keith Jarrett's "Standards Trio" with Jack DeJohnette (the three musicians had previously recorded Tales of Another in 1977 for ECM Records, under Peacock's leadership). Among the trio's albums are Standards, Vol. 1 and Standards, Vol. 2 and Standards Live.

With the breakup of the "Standards Trio" in 2014, Peacock decided to continue his career as the leader of his own piano trio, with Marc Copland on piano and Joey Baron on drums. His 80th birthday year (2015) saw him touring worldwide with this trio to support their ECM release."

Gene Stone is an American jazz drummer, known for the group Don Randi Trio, Prince Lasha Quintet, Gene Stone Quintet.