And her skill on the drums began to attract the attention of the best musicians of the era and thus worked with virtually every great jazz from the forties and fifties: Sonny Rollins and Miles Davis at meetings of the Village Vanguard in 1955, with the group’s extraordinary trombonist Jay Jay Johnson from 1956 to 1957, with the extraordinary trumpeter Donald Byrd in 1958, and the final step in his career and which will go down in jazz history, their extraordinary work with saxophonist, John Coltrane, in their different groups between 1960 and 1965.

With Coltrane, Elvin Jones would record a number of masterpieces and his death record, Elvin, form their own groups during the seventies. In the early eighties created the “Elvin Jones Jazz Machine “by the saxophonist Sonny and likeness of Art Blakey, from the group promoted the training of young musical talent. From his school came the talented saxophonist, Joshua Redman. Elvin Jones, is one of the greatest drummers in history dela jazz style, unmistakable to the first hearing of its dishes, has impacted on many musicians and still remains active recording for labels.

Today – November 2003 – this prodigious drummer still active. At 76 years, and with the physical logically impaired, Elvin Jones, still on the road with his group, “Elvin Jones Jazz Machine “training in driving with inflammatory statements to their young accompanists. Apoloybaco” had the privilege to attend on 12 November 2003 at one of their live performances at the Teatro Central in Seville. It was a magical night, spectacular apotheosis. Elvin and his extraordinary musicians, the tenor saxophonist Mark Shim and pianist Carlos McKinney – offered an extraordinary concert of the seats up several times a packed auditorium.

Elvin Jones, he showed that night in Seville that despite his physical deterioration, his creativity, his stormy instrumental touch and strength are still intact.

With extensive experience as a musician and actor, Al Jolson, in 1926 participated in the short film entitled “Al Jolson in a Plantation Act, “an experimental film produced by Hollywood on the eve of the talkies that would occur the following year, on 26 October of 1927 when the film premiered in the first film entirely sound of film history, titled” The Jazz Singer “. This stellar role allowed him to interpret the following years new films and be the most admired actor in the early days of cinema. The company was Columbia in 1946 endorsed a biopic titled The Jolson History. Three years later, in his second film would star 1949: Jolson Sings Again

His fame was built on the gift of a unique theatrical magnetism, which operated skillfully in his films tearful, his voice cracking and his emphatic gestures. To give more emphasis to his papers, he would paint their faces black.

His contribution to the evolution of the passing of Ragtime to Jazz was also decisive and his playing the piano style known as “stride”. James P. Johnson was not only a great soloist, accompanist for some of the most celebrated blues singers as Ethel Waters, or the great Bessie Smith. Also composed the music for various theatrical performances of the era and several pieces for piano and orchestra, and even an opera-blues with a libretto by writer Langston Hughes, titled “The Organizer”

Throughout his career, James P. Johnson, hobnobbed with the great figures of traditional jazz as the cornetist, King Oliver, clarinetist, Pee Wee Russell, guitarist Eddie Condon, and the soprano saxophonist Sidney Bechet. Johnson was always present in your life a certain sense of frustration or dissatisfaction. I knew the music he made, heretofore unsuspected evolutionary and therefore was aware that his style would belong to the past.

But he could not know is that his music would inspire a legion of pianists and composers of jazz, Fats Waller, Willie “The Lion Smith, Count Basie, Duke Ellington, Art Tatum or even longer in the era of bebop, to own, Thelonius Monk.

With seventeen years and is professional and gets his first contract with Clarence Love’s band. In 1942 achieved progress in their instrument well enough to be hired in the orchestra of the famous salon “Snookum Russell” where you team with trumpeter Fats Navarro, which makes friends and often listen to the records of Lester Young and Roy Eldridge, whom he considers his first Jay Jay and definite influences. His next job was with the great big band with Benny Carter who went on tour in California staying at his side three years, from 1942 to 1945.

After leaving Benny Carter, joined by a few months to Count Basie’s orchestra in the next line to work with Bud Powell Quartet serving daily in the club Spolito. “There, Johnson stunned everyone leaves when dares to improvise with a boundless imagination and impeccable technique in an instrument, the trombone, which nobody did. Powell’s quartet with the addition of more alto sax, Cecil Payne, came first in a studio to record a session in your name. It was 1946 and their first album “Jay Jay Quintets” recorded for Savoy, is a musical gem that all trombonists of the city acquire without believing that the sound and those notes out of a trombone.

Johnson’s career, is secured by that great album and in 1947 joined the band tenor, who is collaborating with Illinois Jacquet until 1949. Let Jacquet and first joined Woody Herman and later with Dizzy Gillespie in 1951 who went on tour to Korea and Japan with the group led by bassist Oscar Pettiford. It reaches 1954, the year’s leap to fame the trombone when the Savoy label offers to record a duet of trombones. There will be born with Kai Winding duo produced several great albums. They separate in 1956, but will rejoin occasionally in 1958, 1961 and 1968. In 1970 he leaves for California to dedicate himself to music composition for film and TV.

Keep making records with some regularity but leaves live performance save for a tour of Japan in 1984. Gets, year after year, the first since the referendum of readers of the prestigious magazine “Beat Down” on his instrument and was at the top of jazz until his death on 4 d February 2001

Along with Vinicius de Moraes working in various jobs, the result of which emerged one of his biggest hits, and for which he is remembered in particular: “Garota de Ipanema”. This issue is one of the icons of Brazil, the one that best portrays the beauty of Ipanema beach and the beauty of women who walk by it. In the sixties, Jobim traveled to America, where bossa nova is an enormous acceptance. He recorded several albums, including “Wawe” “Tide” and “Stone Flowers”, some of his best work. In the seventies goes into finding a new style, using more traditional sounds of Brazil, creating issues with nature and with some ecological concerns. Some discs of this stage are “Matita Pere”, “vulture” and “Terra Brasilis.

In 1980 his close friend dies Vinicius de Moraes and 1984, and in Brazil, form a group called “Nova Banda”, whom he recorded albums such as “Passarim” “Unpublished” and “Antonio Brasileiro”. Other works are notable “Cega de Saudade” (1959), “Samba of a single note” and “Desafinado.” Antonio Carlos Jobim is considered a legend of bossa nova and Brazilian music in general and certainly was one of the most dazzling contemporary music. On December 8, 1994 died at Mount Sinai Hospital in New York due to a heart attack occurred after an operation.

She also studied at the music workshop in Barcelona and in various international jazz workshops in which she has been taught by masters such as Joe Pass, Walter Bishop, Jack Walrat Sean Leavitt, or Santiago Reyes among others.

In its musical aspect as creating groups Cannajazz Jazz, Big Band del Ayuntamiento de Logrono, Threejazz, In fusion, and his last and most anticipated work Dealing with the sextet, which is the composer of the themes of the band, and the newly recording his first album with the title “Coming Home”.

At present he combines his musical work in front of the sextet “Coping” with the direction of his own music school, a professor of jazz harmony at the Conservatory of Music Pablo Sarasate of Pamplona and the preparation of their second album.

Eddie Jefferson, singing the lyrics to collect any and all of the inflections of Moody’s sax just going beyond the scat – the improvised song without words – and thus creating the basis for a new song. Early in his career, Jefferson had introduced sporadically into their club performances, short vocal solos versions Chu Berry and Lester Young. Earlier, in 1939, did something similar with the theme of Coleman Hawkins, “Body and Soul” . And it was when Jefferson was working in the “Cotton Club of Cincinnati in 1950 when King Pleasure was presented at the Apollo Theater in Harlem and won the amateur contest with the theme of Jefferson.

In 1953, Eddie Jefefrson associated with saxophonist James Moody and his group for a decade and had the opportunity to record several albums for labels: Argo, Prestige and Riverside. During the seventies, also teamed with saxophonist, Richie Cole, recording several albums with him for the label “Muse” before dying tragically killed outside a Detroit club where she worked.