There has been a slow but steady transition taking place in jazz over the past few years as a number of legendary figures pass away. Since early 2004 alone, the list of names of those who will never perform again reads like a “Who’s Who” of the genre, including the likes of Shirley Horn, Elvin Jones, Nils Henning Orsted-Pedersen and James Williams. The loss of Williams in July 2004 weighed especially heavily to many of us here in the Seacoast who enjoyed his long, ongoing association with the University of New Hampshire jazz program. His diverse and soulful piano work was an extension of his equally soulful and giving personality. I, for one, miss his presence greatly.

2006 has seen the trend continue with the loss of four leading lights in jazz: congeuro Ray Barretto, percussionist/drummer Don Alias, saxophonist Jackie McLean and pianist John Hicks, each of whom left their mark on the music with an original  combination of their perspective and their personality.

Ray Barretto was a musician with great ears and a deep pocket groove, one of the few conguerros who could play on a straight-ahead jazz session and help it to swing, such as on Gene Ammons “Boss Tenor” or Kenny Burrell’s “Midnight Blue.” He was at the fore of the 1970s salsa revival, but returned to his first love, jazz, in the late ’80s. Over the last 15 years, he fronted the New World Spirit Band, one of the best in the so-called Latin jazz arena. Their 1996 Blue Note recording, “Contact,” is one of the genre’s all-time best. A month before his death in February, Barretto received an NEA Jazz Masters Award at the 2006 International Association of Jazz Education Conference in New York City, a testament to the rich body of work and musical legacy of a remarkable musician.

Don Alias was one of those enviable musicians who could play in any style. Whether it was providing percussion for a Herbie Hancock session or playing drums for Joni Mitchell, Alias could be counted on to find the right percussive sound for the moment at hand. He worked with Nina Simone, participated in the Miles Davis legendary “Bitches Brew” album and toured with Joni Mitchell, playing on her seminal live recording “Shadows and Light.” Alias was also a member of the cooperative trio Stone Alliance with bassist Gene Perla and saxophonist Steve Grossman, one of the great un-sung groups in jazz. Alias passed away in late March, leaving us all a little richer for his having shared his gifts.

Jackie McLean, a.k.a. J-Mac to his associates, was a fiery, passionate alto saxophonist with a creative and forward-thinking approach to the music. A student associate of Sonny Rollins, McLean studied with Bud Powell, recorded with Miles Davis and became one of the leading proponents of the late ’50s hard-bop school, as can be heard on his Blue Note recordings “Swing, Swang, Swingin’” and “Capuchin Swing.” In the early ’60s, he embraced the more experimental free-jazz approach of John Coltrane and Ornette Coleman, as can be heard on his mid-decade recordings “One Step Beyond” and “Demon’s Dance.” McLean settled in Hartford in the late ’60s, where he founded a community music and art school with his wife. In 1970, he was hired to chair the African American Music program at the Hartt School of Music, a position he held for over 30 years. McLean passed away in late March at age 74, leaving us a rich legacy of generosity and creativity.

Though the least known of these four, John Hicks was a remarkable, incisive pianist every bit the equal to the others in terms of ability and creative imagination. A player who could move from down-home blues to fiery avant-garde jazz, Hicks began his career with Art Blakey before moving on to work with a variety of musicians, including Woody Herman, Clark Terry, Joe Henderson and Larry Coryell and singers Betty Carter, Jon Hendricks and Carmen McRae. He was one of the first pianists to record on the prestigious Maybeck Recital Hall series for Concord Jazz Records in the late 1980s, and in recent years was a member of the Mingus Big Band in New York City.  Thoughtful and lyrical, powerful and swinging, Hicks was the consummate jazz pianist. He passed away in late April at the age of 64.

Two prominent local musicians also passed away recently. Ken LaRoche, co-founder of the legendary Do’ah World Music Ensemble with Randy Armstrong, died early this year. A superb multi-instrumentalist, composer and all around musician, LaRoche was a highly gifted and creative spirit who gave much to the state music scene.

And finally, Ted Herbert was a New Hampshire institution. Founder of the Ted Herbert Orchestra in the late 1930s, owner of Ted Herbert’s Music Mart in Manchester and a tireless advocate for music education, Herbert was a warm and generous individual and a superb musician. His was the house band at the Hampton Beach Casino Ballroom for many years and was one of the most popular big band dance attractions in the region for decades.

Like many in southern New Hampshire, my music journey began at Herbert’s Music Mart. Ted was always encouraging and, on the many visits I had to the store over the years, a never-ending source of wisdom and humorous stories. Later, I had the honor of playing a couple of gigs in his big band. He was a kind and giving soul and, like all of the people mentioned above, ceaselessly helped to perpetuate the joy and beauty of good music.

pick of the week
As we’re waiting for the summer music scene to unfold, with lots of jazz coming to outdoor parks and ampitheaters, two shows coming up on Friday offer one great night of entertainment.

Folk-blues great Odetta returns to The Stone Church at 7 p.m. for an evening of her remarkable blend of classic folk, blues and jazz with a subtle feminist edge.   

Later, singer/songwriter Ryan Montbleau performs at 10 p.m. I have it from a reliable source that this fine young musician is the real deal and more than worth the time to check him out. Let’s hope the folks at “American Idol” don’t get wind of him. I want his career to have a chance to be long and fruitful.