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Hélio Delmiro is a refined, self-taught musician who developed a distinctive Brazilian jazz style on the violão (acoustic guitar), taking the guitar mostly when amplification is needed
Born in Berlin on New Year’s Day of 1931, the composer, bandleader, and baritone saxophonist Helmut Brandt was a vital force on the German jazz scene throughout the entire second-half of the 20th century
This trombonist, who had a tone as chewy as alligator sausage, came out of the Louisiana music scene and a background of formal studies at Leland College and the school band at Atlanta, Georgia’s Morehouse College
Ever since he started taking harmonica solos in the mid-’50s, Toots Thielemans has been without any close competition on his instrument, at least until Hendrik Meurkens arrived on the scene
Trombonist Seldom recorded, at least on major or domestic labels, trombonist Henning Berg was caught in fine form at the 1982 Kolner Jazz Hauss Festival A knowledgeable, accomplished player in the free vein
Henri Renaud gained a strong reputation in the 1950’s, organizing and playing on dates with many top American jazzmen who were visiting France Renaud started on the violin when he was five, switching to piano three years later
Conductor and arranger Henri Rene was born and raised in Germany, where he studied at Berlin’s Royal Academy of Music; he emigrated to the US during the mid-1920s, appearing with a series of orchestras before returning to Berlin a few years later to serve as an arranger with a German record label
Vocalist Henri Smith has been on the New Orleans music scene much longer than his debut album would at first make it appear New Orleans born and bred, Smith has long been a radio personality on WWOZ, the radio arm of the New Orleans Jazz and Heritage Foundation
Henri Texier is an outstanding French bassist who has concentrated most of his activity in his native land Born in Paris, Texier began his career at age 15 playing piano in nightclubs, but he soon switched to bass in order to play in the big band of Jef Gilson
One of the last great New Orleans trumpeters to emerge during the post-Louis Armstrong era, Henry “Red” Allen has long been overshadowed by Satch and his successors but actually had a fresh new approach of his own to offer