Not much in the way of details seems to be available at this time. Wednesday would have been his 29th birthday. There was a musical tribute given by his friends and family at The Howell Mill Road Blues Bar where Costello practically set up a second home for himself.

Here is Sean’s MySpace page, where you can still post condolences: http://www.myspace.com/seancostello

Here’s a live performance of this young and dazzlingly talented man. Gone too soon, rest in peace.

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According to Peter Margasak, who writes the “Post No Bills” blog, “Although he released only six albums under his own name during a career that spanned as many decades, he was a crucial presence on the city’s bop scene. (Sadly, only his excellent 1959 album, Serenata, on Delmark, is currently in print.) He was a product of Du Sable High School, under the leadership of the legendary Captain Walter Dyett, and he got his first serious professional experience as a member of Andy Kirk’s orchestra in the early 40s. By the decade’s end he was back in town working with everyone from saxophonists Eddie Chamblee and Von Freeman to blues guitarist T-Bone Walker to singers Lorez Alexandria and Nancy Wilson. In the liner notes to his 1963 trio album, A Touch of Pepper (Argo), Jazz Showcase proprietor Joe Segal observed, ‘He is constantly sought for all types of live and recording dates; from preferred anonymity on rock ‘n’ roll gigs to ‘elite’ pleasing fashion and club dances.’”

As Peter mentions, only one of Young’s albums is readily available.  While it is sad that when it comes to our jazz legends, it is their deaths that cause a renewed interest, maybe with John passing away, there will be an increase in the demand for more of his recordings. 

John was a piano player and like many Chicago jazz musicians, he was a working musician who hired himself out to various performers of a wide number of genres.  This, apparently, was very common for the Chicago-based bop jazz musicians.  They even played into the rock and roll era, their talents recognized and sought after even then.  John was one of those.

So, once again, the world and the world of jazz and music is a little bit emptier.  Here is hoping John and his family find peace.

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Earl was one of those guys. You can find more about him at JazzTimes Magazine but here is the article about him:

Born in New York in 1927, May’s career began in 1949 at the famed Harlem nightclub Minton’s Playhouse, where he worked with such prominent artists as Carmen McRae and Lester Young. Initially inspired by fellow bassists Oscar Pettiford and Slam Stewart, May became a protégé of Charles Mingus when Dr. Billy Taylor, a pianist in whose band May was playing, suggested that May check him out. While in Taylor’s band, May got a chance to play alongside Coleman Hawkins, and his early Harlem days also found him serving as the musical director for singer Gloria Lynne. He also played behind the famed comedienne Moms Mabley and teamed with drummers Roach and Connie Kay.

As May became more established in the jazz community, he worked more steadily, adding to his resumé gigs with Gene Ammons, Sonny Stitt, Charlie Parker, Miles Davis, Mercer Ellington, the Buddy Rich Big Band, John Coltrane (the Lush Life album), Herbie Mann and many others. In the early ’60s, May switched from acoustic to electric bass and launched his own group, the Earl May Quartet. He also performed or recorded with such artists as Cab Calloway, Doc Cheatham, Ruth Brown, Jon Hendricks, Frank Foster, Dizzy Gillespie and others.”

So, another legend dies and the world is a little bit emptier.  Rest in peace Earl.

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Within the music vaults of KSLH we had several Oscare Peterson Trio CDs.  The best ones were the live ones and that’s not just because the songs were nice and long.  The fact is, he could play and he could play well.  When the greatest jazz piansts list is made, Oscar can easily be named along with Earl Hines and Thelonius Monk.

Oscar played with all of the jazz greats.  He played piano while Ella Fitzgerald sang.  He played with the great Count Basie and Duke Ellington.  He also played for Charlie Parker.  He even played with Dizzy Gillespie.  His most-famous trio is one he lead along with bassist Ray Brown and guitarist Herb Ellis in the 1950s, the heyday and golden time for great jazz.

Duke Ellington himself was so in awe of Oscar that he once referred to him as the “Maharajah of the keyboard.”  Count Basie was also willing to heap praise upon him and once stated, “Oscar Peterson plays the best ivory box I’ve ever heard.”

Oscar has gone on to influence countless jazz musicians.  No less than Herbie Hancock lists Oscar as one of his biggest influences.  Billy Taylor has also cited Oscar as a major influence.

Oscar was a native of Canada.  In fact during his career he recieved the Order of Canada, seven Grammys and a lifetime achievement Grammy in 1997, plus all of Canada’s highest awards. 

Peterson started out in music at the tender age of 5 when he learned trumpet and piano.  He suffered a bout of tuberculosis that put an end to his trumpet-playing aspirations.  Like many jazz pianists, he was classically trained during his lifetime and became well-known for his speedy fingerwork on the keyboard.

In 1993 Oscar suffered a stroke that slowed those speedy fingers down a bit, but he continued to play.  It took two years of recovery, but he even returned to recording.  In 2005 he became the first living person who was not a reigning monarch to have a commemorative stamp made for him in Canada. 

I strongly recommend, and have done so on here before, that you add a little bit of Oscar Peterson to your jazz collection.  If you can find some of the Oscar Peterson Trio recordings, particularly the live ones, then you will truly hear a piano virtuoso at work, loving his work and tranferring that joy to those who listen.

Oscar will be missed.

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Still, I knew the name of Joe Zawinul.  He was the influential electronic keyboard player who helped bring that synthesizer sound to jazz.  He was villified by some, but some of us appreciated it.  As a fan of Miles Davis, it would be impossible not to appreciate his contribution to “Bitches Brew” which was one of the most influential albums in all of music, let alone jazz, during the latter half of the twentieth century.

Joe passed away, unfortunately, this week.  In fact, he passed away on September 11. 

Joe not only played with Miles on that particlar album, but he also played with Miles on “In a Silent Way” which is another fantastic Miles Davis album.  He also played with Cannonball Adderly, yet another of my all-time favorite jazz musicians.

Joe was most famous for forming Weather Report with horn player Wayne Shorter.  They released some great albums and just because I was not into them, does not mean you shouldn’t be.  In fact, you should probably go right now to your nearest music store or music download site and look up some Weather Report albums.  I am sure you will appreciate them.

Joe was instrumental in the jazz/fusion scene.  Whether or not you are a fan of that kind of music is up to you.  I personally feel that any form of experimentation when it comes to music is welcomed and important.  If it isn’t your cupe of tea, rather than denouncing it, I say just appreciate the freedom that music allows and understand that others may like it a lot.

Joe was loved by a lot of jazz fans and musicians.  He was close with the jazz great Herbie Hancock. 

Joe had a rare form of skin cancer.  After a six-week European tour, in August, he was hospitalilzed in Vienna.  He passed away very quickly.

The jazz world will miss him.  Music fans may not appreciate his contributions, but they should. 

Rest in peace, Joe.

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