"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 Carter�s 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 �Finding the Right Notes� 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 �Jazz�, �Birth of the Cool� about Miles Davis, "It Must be Schwing", the story of the Blue Note and many more. He also appeared as himself in HBO�s hit series �Treme� 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."

"Roy Owen Haynes (born March 13, 1925) is an American jazz drummer. He is among the most recorded drummers in jazz. In a career lasting over 75 years he has played swing, bebop, jazz fusion, avant-garde jazz and is considered the father of modern jazz drumming. "Snap Crackle" was a nickname given to him in the 1950s.

He has led bands such as the Hip Ensemble. His albums Fountain of Youth and Whereas were nominated for a Grammy Award. He was inducted into the Modern Drummer Hall of Fame in 1999. His son Graham Haynes is a cornetist; his son Craig Holiday Haynes and grandson Marcus Gilmore are both drummers. "

"Pete "La Roca" Sims (born Peter Sims; April 7, 1938 - November 20, 2012, known as Pete La Roca from 1957 until 1968) was an American jazz drummer and attorney. Born and raised in Harlem by a pianist mother and a stepfather who played trumpet, he was introduced to jazz by his uncle Kenneth Bright, a major shareholder in Circle Records and the manager of rehearsal spaces above the Lafayette Theater. Sims studied percussion at the High School of Music and Art and at the City College of New York, where he played tympani in the CCNY Orchestra. He adopted the name La Roca early in his musical career, when he played timbales for six years in Latin bands. In the 1970s, during a hiatus from jazz performance, he resumed using his original surname. When he returned to jazz in the late 1970s, he usually inserted "La Roca" into his name in quotation marks to help audiences familiar with his early work identify him. He told The New York Times in 1982 that he did so only out of necessity:

"I can't deny that I once played under the name La Roca, but I have to insist that my name is Peter Sims with La Roca in brackets or in quotes. For 16 or 17 years, when I have not been playing the music, people have known me as Sims....When I was 14 or 15, I thought ["La Roca"] was clever; right now, it's an embarrassment. I thought that it would be something that people would probably remember - boy, was I ever right on that one! I can't make my conversion."

In 1957, Max Roach became aware of him while jamming at Birdland and recommended him to Sonny Rollins. As drummer of Rollins' trio on the afternoon set at the Village Vanguard on November 3 he became part of the important record A Night at the Village Vanguard. (Only one of five recorded tracks with La Roca was included on the original single LP release of the album). In 1959 he recorded with Jackie McLean (New Soil) and in a quartet with Tony Scott, Bill Evans and Jimmy Garrison. Besides Garrison he often joined with bassists who played in the Bill Evans Trio, especially Scott LaFaro and Steve Swallow, and also accompanied pianists like Steve Kuhn, Don Friedman and Paul Bley.

Between the end of the 1950s and 1968, he also played with Slide Hampton, the John Coltrane Quartet, Marian McPartland, Art Farmer, Freddie Hubbard, Mose Allison, and Charles Lloyd, among others. During this period, he led his own group and worked as the house drummer at the Jazz Workshop in Boston, Massachusetts. He recorded two albums as a leader during the mid-1960s, Basra (Blue Note, 1965) and Turkish Women at the Bath (Douglas, 1967).

In 1968, with the market for acoustic jazz in decline, Sims decided to enroll in law school. By this time he was already earning most of his income by driving a taxi cab in New York City, a job he held for five years during the 1960s. Sims became a lawyer in the early 1970s, and was still practicing at the time of a 1997 radio interview with WNYC's Steve Sullivan. When his album Turkish Women at the Bath was re-released on Muse Records as "Bliss" in 1973 under Chick Corea's name (without Sims' consent), Sims filed a lawsuit and served as his own legal counsel. Sims won his suit, and the erroneously-labeled records were recalled.

He returned to jazz part-time in 1979, and recorded one new album as a leader, Swing Time (Blue Note, 1997).

Sims died in 2012 in New York of lung cancer, at the age of 74."

Bassist Richard Williams appears on Strange Celestial Road (1980) and is listed among Arkestra bassists in that period. Although not as widely documented as earlier Arkestra bassists like Ronnie Boykins, Williams contributed foundational low-end support to Sun Ra's evolving sound during these later developments of the ensemble. Unfortunately, detailed personal or career biographical data remains limited.

"Booker Telleferro Ervin II (October 31, 1930 - August 31, 1970) was an American tenor saxophone player. His tenor playing was characterised by a strong, tough sound and blues/gospel phrasing. He is remembered for his association with bassist Charles Mingus.

Ervin was born in Denison, Texas, United States. He first learned to play trombone at a young age from his father, who played the instrument with Buddy Tate. After leaving school, Ervin joined the United States Air Force, stationed in Okinawa, Japan, during which time he taught himself tenor saxophone. After completing his service in 1953, he studied at Berklee College of Music in Boston, Massachusetts. Moving to Tulsa in 1954, he played with the band of Ernie Fields.

After stays in Denver and Pittsburgh, Ervin moved to New York City in spring 1958, initially working a day job and playing jam sessions at night. Ervin then worked with Charles Mingus regularly from late 1958 to 1960, rejoining various outfits led by the bassist at various times up to autumn 1964, when he departed for Europe. During the mid-1960s, Ervin led his own quartet, recording for Prestige Records with, among others, ex-Mingus associate pianist Jaki Byard, along with bassist Richard Davis and Alan Dawson on drums.

Ervin later recorded for Blue Note Records and played with pianist Randy Weston, with whom he recorded between 1963 and 1966. Weston said: "Booker Ervin, for me, was on the same level as John Coltrane. He was a completely original saxophonist.... He was a master.... 'African Cookbook', which I composed back in the early '60s, was partly named after Booker because we (musicians) used to call him 'Book,' and we would say, 'Cook, Book.' Sometimes when he was playing we'd shout, 'Cook, Book, cook.' And the melody of 'African Cookbook' was based upon Booker Ervin's sound, a sound like the north of Africa. He would kind of take those notes and make them weave hypnotically. So, actually the African Cookbook was influenced by Booker Ervin."

Between October 1964 to summer 1966, Ervin worked and lived in Europe, playing gigs in France, Spain, Italy, Germany, Norway, Sweden, Denmark and The Netherlands. Basing himself in Barcelona, Spain, he featured regularly at the city's Jamboree Club. He recorded and broadcast while overseas, making albums with his own quartet, Dexter Gordon and Catalan vocalist Núria Feliu, featuring on various radio programmes and appearing at several jazz festivals, including a guest slot at the 1965 Berlin Jazz Festival, during which he performed a 25-minute improvisation. This performance was issued as "Blues For You" on the album Lament For Booker Ervin (Enja Records) in 1977.

Following his return to the United States in summer 1966, Ervin led his own groups in jazz clubs throughout the country, and appeared at both the Newport Jazz Festival (1967) and the Monterey Jazz Festival (1966) performing with Randy Weston; a recording of their performance was issued on CD in 1994. In 1968, Ervin again appeared at clubs and festivals in Scandinavia, broadcasting with the Danish Radio Big Band. He recorded again for Prestige, but in late 1966 was signed to West Coast label, Pacific Jazz, for whom he taped two albums, Structurally Sound and Booker 'n' Brass (1967), before switching to Blue Note. Ervin recorded two Blue Note albums under his own name, In Between and Tex Book Tenor, the latter going unissued during his lifetime, initially being released in the 1970s as part of a double album shared with recordings (on which Ervin features) made under the leadership of Horace Parlan (Back from the Gig). In 2005, Blue Note issued as single CD of Tex Book Tenor in its limited edition Connoisseur series.

Ervin's final recorded appearance occurred in January 1969, when he guested on a further Prestige album headed by teenage multi-instrumentalist Eric Kloss.

Ervin died of kidney disease in New York City in 1970, aged 39. Most biographical accounts of Ervin's death give an incorrect date. His gravestone in The National Cemetery, East Farmingdale, New York, clearly shows the date as August 31, 1970.

In 2017, Ervin was the subject of a mini-biography written by English saxophonist and author Simon Spillett, published as part of an anthology package titled The Good Book (Acrobat Records)."

American bassist Bob Cranshaw (1932-2016) was a versatile and widely recorded musician who worked extensively with Sonny Rollins over several decades, known for his steady groove on both upright and electric bass, and for his adaptability across hard bop, post-bop, and more contemporary styles.

"Walter 'Sweets' Perkin was an American jazz drummer, born February 10, 1932 in Chicago, Illinois, died February 14, 2004 in Queens, New York."

"Joseph Carl Firrantello (December 16, 1937 - January 10, 1986), known as Joe Farrell, was an American jazz multi-instrumentalist who primarily performed as a saxophonist and flutist. He is best known for a series of albums under his own name on the CTI record label and for playing in the initial incarnation of Chick Corea's Return to Forever.

Farrell was born in Chicago Heights, Illinois. As a child, Farrell began playing the flute and clarinet. After graduating from the University of Illinois at Urbana-Champaign in 1959, he moved to New York City to work as a freelance musician.

He joined the Ralph Marterie Band in 1957 and later played with Maynard Ferguson and The Thad Jones/ Mel Lewis Orchestra. He also recorded with Charles Mingus, Andrew Hill, Jaki Byard, Players Association and Elvin Jones. After the death of John Coltrane, Elvin Jones formed a pianoless trio with Jimmy Garrison and Farrell, recording two albums for Blue Note in 1968.

In the late 1960s and throughout the 1970s, Farrell performed with Chick Corea and Return to Forever. He is the flutist on the original recording of the Corea-penned jazz standard "Spain."

He did numerous sessions and contributed a flute solo to Aretha Franklin's 1973 hit "Until You Come Back to Me (That's What I'm Gonna Do)". The Santana track "When I Look into Your Eyes" (from Welcome ) includes prominent flute solos from Farrell. During this period, he also contributed tenor saxophone and oboe solos to Hall & Oates' Abandoned Luncheonette (1973). Some of the most famous funk singles of James Brown feature Farrell as a part of the horn section.

In 1976, Joe recorded a duo album with George Benson called Benson & Farrell on CTI Records.

Farrell recorded Flute Talk with Sam Most in 1979, which was billed as a duet of the world's two greatest jazz flutists.

Farrell performs with Brazilian percussionist Airto and Airto's wife Flora Purim on the album Three-Way Mirror. A message on the CD jacket dedicates the 1987 album to Farrell and states it contains his final recordings.

Farrell died of myelodysplastic syndrome (MDS) in Duarte, California, on January 10, 1986, at the age of 48."

"George Andrew Tucker (December 10, 1927, in Palatka, Florida � October 10, 1965, in New York City) was an American jazz double-bassist.

Tucker studied bass at the New York Conservatory of Modern Music in the late 1940s. Early in his career, he played with Earl Bostic, John Coltrane, and Jackie McLean. He worked in the house bands of several lauded New York jazz venues, such as the Continental Lounge, The Playhouse, and Minton's; he played with Eric Dolphy, Clifford Jordan, Horace Parlan, Booker Ervin, Jerome Richardson, and Junior Mance during this time. In 1958, he recorded with Melba Liston on her jazz classic, Melba Liston and Her 'Bones. In 1960�61 he recorded with Stanley Turrentine, Parlan, Ervin, Dexter Gordon, and Shirley Scott, and in 1962�63 he toured with the trio of Dave Lambert, John Hendricks and Yolande Bavan. Near the end of his life Tucker recorded with Coleman Hawkins and Jaki Byard.

George Tucker died from a cerebral hemorrhage while performing with guitarist Kenny Burrell."