Profession: musician

Gillespie and Parker played in Eckstine’s band, where the school-student Davis got his first break; later in New York, he spent more time following and playing with Parker than studying. Gil Evans was a significant collaborator for 20 years, and a close friend for life. Bill Evans, Blakey, Mingus, Monk, Rollins, Silver, Jones, Coltrane and Adderley were all important sidemen in his earlier bands; Hancock and Shorter among the later ones. Vian was a ‘fixer’ during his time in Paris, and the first person to write about him. Davis’s lover Gréco introduced him to Malle, who asked him to compose the score for his directorial debut.

He studied under Albrechtsberger, Salieri and Clementi, and was pall-bearer at Clementi’s funeral. Moscheles raised money for his idol Beethoven as he was dying, and translated his biography into English. Moscheles’ extemporised piano-duets with his close friend Meyerbeer were famed. He taught Mendelssohn and his sister as youngsters, the start of an intense lasting relationship with Mendelssohn, the two often playing together in public (Thalberg and Clara Schumann sometimes playing third keyboard). Grieg and Sullivan were also taught by him. Joachim was one among a wide network of Jewish composers and musicians he maintained links with.

Reicha, Czerny and Salieri taught him (Hummel charged too much). Whether Beethoven really kissed the 12-year-old’s forehead is not known. He met his friends Mendelssohn and Chopin aged 20, Chopin becoming a professional rival. He met Hiller in Paris, was friendly with Lamennais, Andersen, Heine, Ingres and Baudelaire, and became close to Berlioz, Schumann and Wagner. He championed Berlioz and Wagner, although he began to find Wagner (who had married his daughter) somewhat repulsive. He taught Siloti and Friedheim free after taking holy orders. Saint-Saëns was a lifelong friend, Sand an intimate (not a lover).

Waller heard Ellington’s band on their first foray to New York, and persuaded them to try again. Smith influenced his style, and helped him survive. Hodges, Webster, Miley and Blanton were among the most influential of his band-members. Stayhorn impressed him with his composing and arranging skills, and became his closest friend and right-hand man (though he didn’t get given all the credit due). Ellington was godfather to Vian’s daughter, while his friend Grainger tried to tempt him into academia. Fitzgerald recorded his music, while Ibrahim, Mingus, Coleman and Roach all played alongside him.

Gillespie met Parker through a Kansas City friend, and then in Hines’ band. They were close friends and immensely influential collaborators, though polar opposites as people, this leading to their eventual split. Eldridge, a formative influence as a trumpeter, played with him later in life. Christian was an early accomplice; Davis had been met in Eckstine’s band. Monk was an important musical colleague, the two trying things out together. Gillespie played in Hawkins’ band, producing some of the earliest bebop recordings. Roach was a key member of the Gillespie/Parker quintet, and with Mingus of a later Gillespie quintet.