McCoy Turner was born 1938 in Philadelphia where he became a part of the fertile jazz and R&B scene of the early ’50s. His parents imbued him with a love for music from an early age. His mother encouraged him to explore his musical interests through formal training.

At 17, he began a career-changing relationship with Miles Davis’ sideman, saxophonist John Coltrane. Tyner joined Coltrane for the classic album My Favorite Things in 1960, and remained at the core of what became one of the most seminal groups in jazz history, The John Coltrane Quartet. The band, which also included drummer Elvin Jones and bassist Jimmy Garrison, had an extraordinary chemistry, fostered in part by Tyner’s almost familial relationship with Coltrane.

From 1960 through 1965, Tyner’s name was propelled to international renown, as he developed a new vocabulary that transcended the piano styles of the time, providing a unique harmonic underpinning and rhythmic charge essential to the group’s sound. He performed on Coltrane’s classic recordings such as Live at the Village Vanguard, Impressions and Coltrane’s signature suite, A Love Supreme.

In 1965, after over five years with Coltrane’s quartet, Tyner left the group to explore his destiny as a composer and bandleader. Among his major projects is a 1967 album entitled The Real McCoy, on which he was joined by saxophonist Joe Henderson, bassist Ron Carter and fellow Coltrane alumnus Elvin Jones. His 1972 Grammy-award nomination album Sahara, broke new ground by the sounds and rhythms of Africa. Since 1980, he has also arranged his lavishly textured harmonies for a big band that performs and records when possible. In the late 1980s, he mainly focused on his piano trio featuring Avery Sharpe on bass and Aarron Scott on drums. Today, this trio is still in great demand. He returned to Impulse in 1995, with a superb album featuring Michael Brecker. In 1996 he recorded a special album with the music of Burt Bacharach. In 1998, he changed labels again and recorded an interesting latin album and an album featuring Stanley Clarke for TelArc.

In the summer of 2005, Tyner joined forces with the Blue Note Jazz Club in New York and became the first client of Blue Note Management. That summer, Tyner began work on some unique projects, including performances with tap-dancer Savion Glover and the development of the Impulse! Septet, featuring his trio with some of today’s top hornmen.

Tyner’s partnership with the Blue Note has led to the formation of his own record label, aptly titled McCoy Tyner Music. The label is a subsidiary of the Blue Note’s In-House record label, Half Note Records. The label launched on September 11, 2007, upon the release of Tyner’s latest CD, Quartet, featuring Joe Lovano, Christian McBride, and Jeff “Tain” Watts. Recorded live on New Year’s Eve 2006, the album features a working band at its finest with some of today’s “legends in training.” Additionally, the record shows that Tyner, who now carries the torch as the only surviving member of the John Coltrane Quartet, is still at the top of his game as a composer, performer, and bandleader.

Tyner has always expanded his vision of the musical landscape and incorporated new elements, whether from distant continents or diverse musical influences. More recently he has arranged for big bands, employed string arrangements, and even reinterpreted popular music. Today, Tyner has released nearly 80 albums under his name, earned four Grammys and was awarded Jazz Master from the National Endowment for the Arts in 2002. He continues to leave his mark on generations of improvisers, and yet remains a disarmingly modest and spiritually directed man.

Etta Jones was born on November 5, 1928, in Aiken, S.C. and died on October 16, 2001, in Mount Vernon, N.Y. Jazz vocalist Etta Jones recorded more than two dozen albums and earned three Grammy Award nominations during her six-decade-long career. Her popularity peaked in 1960 with the release of her single Don’t Go to Strangers, which climbed to number five on the R&B charts. In the late 1960s, Jones formed a duo with tenor saxophonist Houston Person, with whom she toured for the next 35 years. “All I want to do is work, make a decent salary, and have friends,” Jones told National Public Radio in a quotation cited in the Dallas Morning News. Although she never attained a level of stardom comparable to such jazz and blues greats as Aretha Franklin, Billie Holiday, and Dinah Washington, Jones had a devoted following of listeners and made her own unique mark on jazz history.  As a three-year old she dreamed of becoming a singer and would pose in front of a mirror to mimic songs from the radio. Billie Holiday, who she saw in concert, and Thelma Carpenter, were two of her earliest influences. When Jones was 15 years old, she attended Amateur Night at the famed Apollo Theater in Harlem. Like jazz greats Ella Fitzgerald and Sarah Vaughn, her career began at the Apollo, though at first glance her debut did not seem promising.

Jones made her first recording, arranged by pianist Leonard Feather, in 1944. In subsequent years she performed and recorded with such jazz personalities as Pete Johnson, J. C. Heard, Kenny Burrell, Charles Brown, Milt Johnson, and Cedar Walton. In 1949, she started singing with Earl “Fatha” Hines, performing with his band for the next three years. Jones also attempted to launch a solo career, though she was not successful at first. She recorded sides with such labels as Black & White and RCA Victor, but these singles flopped. At the time, R&B was enjoying increased popularity, but Jones avoided this genre, preferring to sing jazz. This decision limited her audience and her exposure as an artist, and for a number of years she remained an obscure singer.

Throughout the 1950s, Jones faced hard times and had to take day jobs occasionally to make ends meet, working as an elevator operator, an album stuffer, and a seamstress. She continued to perform sporadically, as opportunities arose. In 1956, Jones recorded her first full-length album, The Jones Girl… Etta … Sings, Sings, Sings, with King Records. But the album debuted with little fanfare and went largely unnoticed.

In 1968, Jones formed a musical partnership that would change her career. She met Houston Person, a highly regarded tenor saxophonist, when she performed on the same bill as him at a Washington, D.C., nightclub. Jones and Person immediately hit it off, and they decided to tour together as a duo with equal billing, a partnership that would last for more than three decades. “They say … a lot of times singers and musicians don’t get along too well,” Jones told Billy Taylor of Billy Taylor’s Jazz at the Kennedy Center on National Public Radio in 1998, “but we got along famously.”  Person became not only Jones’ collaborator but also–after 1975–her manager and record producer. Their connection was so close that some jazz aficionados have mistakenly assumed they were married, though they were not. Yet their rapport as musicians was unique, and they developed a conversational style with vocals and saxophone riffs. “[Person] knows exactly what I’m going to do,” the New York Times recalls Jones saying. “He knows if I’m in trouble; he’ll give me a note. He leaves me room.”

From the mid-1970s until her death in 2001, Jones and Person recorded 18 albums for the Muse label, which later became High Note Records. While these albums appealed to a relatively narrow audience of jazz aficionados, they occasionally contained minor hits attracting a wider group of listeners. In 1981, Jones received a Grammy Award nomination for her album Save Your Love for Me. A third Grammy nomination came in 1999 for her tribute to her former boss, My Buddy–Etta Jones Sings the Songs of Buddy Johnson.

After a battle with cancer, Jones died and was survived by her husband, John Medlock, two sisters, and a granddaughter (a daughter predeceased her). The day she died, High Note released her final recording, Etta Jones Sings Lady Day.