Biography: James Hill, James Ingram, James Jamerson, James Jones, James Mack, John Brown, John Long,

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Baritone singer James Hill was the owner of one of the most perfect voices in the recording industry He was famous for his participation in two historic vocal groups, the black gospel Fairfield Four and the more pop-orientated Skylarks, but this Hill was part of the scenery at a variety of recording sessions by top artists, making contributions to several generations of pop music landscape

James Ingram Biography, Photos, Pictures

James Ingram began performing with the band Revelation Funk in the early ’70s, moving from Akron, OH, to Los Angeles in 1973 During the ’70s, Ingram supported Ray Charles on the road with backup vocals and piano, played keyboards behind the Coasters on Dick Clark’s oldies revues, and was Leon Haywood’s musical director

James Jamerson Biography, Photos, Pictures

Legendary Motown bassist James Jamerson single-handedly revolutionized bass playing Throughout the entire classic Motown catalog (and some non-Motown sides), Jamerson shaped a new inventive style of bass playing and brought what had been regarded by some as a “minor” instrument to the forefront through the use of the electric Fender bass, powered by his musical genius and amazing dexterity

Gospel artist James Jones is a keyboard player and arranger who accompanies soloists such as Richard Foy as well as tending to various responsibilities involving choirs His touch has extended beyond the normal realm of sanctified music to the unusually spiritual improvisations of saxophonist Charles Gayle

During the Chicago soul heydays of the ’60s and the ’70s, arranger James Mack’s skills were displayed throughout the Brunswick Records catalog and on releases for other labels

There are more bassists named John Brown than there are members of an average size combo This one is a house rocker who uses the nickname John “Bubs” Brown to differentiate himself from the masses

John Long’s uncanny ability to sound like a prewar country blues player — even as he plays original blues pieces he wrote himself or with his older brother Claude Long — makes his music sound both like a facsimile of the 1920s and early-’30s blues 78s he so treasures while somehow simultaneously sounding refreshingly modern, maybe because nobody plays this kind of throwback blues anymore, at least not with the care and precision that Long brings to it

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