Alfredo José da Silva (May 19, 1929 – March 4, 2010), popularly known as Johnny Alf, was a Brazilian musician, sometimes known as the "Father of Bossa Nova".

Alf was born in Vila Isabel, Rio de Janeiro, and began playing piano at age 9. His father died when he was 3 and he was raised by his mother who worked as a maid to raise him. He attended Colégio Pedro II, receiving support from his mother's employers. He played in nightclubs in the Copacabana neighborhood of Rio, where he was noticed by later bossa nova pioneers. His first single was "Falsetto" and was released in 1952, with a debut album following in 1961.

Over his career, he recorded nine albums and appeared on nearly fifty others. He died in 2010, aged 80, from prostate cancer.


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Johnny Alf, a ‘Father of Bossa Nova,’ Dies at 80

Johnny Alf, an influential Brazilian songwriter, pianist and singer whose delicately swinging music was a precursor to the bossa nova, died on March 4 in Santo André, Brazil, just outside São Paulo. He was 80 and lived in São Paulo.

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Johnny Alf in 2001. In the 1950s, other musicians would sneak into clubs to listen to him play and study his technique.

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The cause was prostate cancer, said his manager, Nelson Valencia.
Though he was not widely known outside Brazil and enjoyed mass popularity only intermittently in his homeland, Mr. Alf, born Alfredo José da Silva, is highly regarded among Brazilian musicians and musicologists. The writer Ruy Castro, the author of several authoritative books on Brazilian popular music, has called him “the true father of the bossa nova.”
Mr. Alf was a contemporary of Antônio Carlos Jobim, João Gilberto and others who would make the bossa nova a worldwide phenomenon, but he began his career earlier and spent the mid-1950s playing on what was known as Bottle Alley, a street in Copacabana full of bars and nightclubs. His younger admirers would sneak into those clubs to listen to him play and study his technique and improvisational style.
“From him I learned all of the modern harmonies that Brazilian music began to use in the bossa nova, samba-jazz and instrumental songs,” the pianist and arranger João Donato said Friday. The guitarist and composer Carlos Lyra added: “He opened the doors for us with his way of playing piano, with its jazz influence. When my generation arrived, he had already planted the seeds.”
Alfredo José da Silva was born in the Vila Isabel neighborhood of Rio de Janeiro, a hotbed of samba, on May 19, 1929. His father was a corporal in the Brazilian Army, his mother a housekeeper. He began studying the piano at age 9, focusing on the classical repertory. But his love of American movies pushed him toward jazz and away from the classics, a shift on which he later reflected in an amusing composition called “Seu Chopin, Desculpe” (“Pardon Me, Chopin”).
Mr. Alf started playing professionally at 14, when he was given his Americanized stage name. He helped found a Frank Sinatra fan club in Rio and also admired George Gershwin and Cole Porter. But his biggest influence, as both pianist and singer, was probably Nat King Cole, whose smooth vocal delivery, gentle touch and sophisticated chords meshed with Mr. Alf’s quiet, even timid, personality.
“I always played in my own style,” Mr. Alf said in an interview last year with the Brazilian daily Folha de São Paulo. “I had the idea of joining Brazilian music with jazz. I try to bring everything together to achieve an agreeable result.”
At its best, Mr. Alf’s music had a light and airy feeling that expressed the optimism and joie de vivre that Brazilians think of as among their defining national traits. It was reflected not just in the title of his best-known song, “Eu e a Brisa” (“Me and the Breeze”) but also in hits like “Ilusão à Toa” (“Carefree Illusion”) and “Céu e Mar” (“Sky and Sea”), as well as “O Tempo e o Vento” (“Time and the Wind”) and “Rapaz de Bem” (“Well-Intentioned Guy”), a two-sided success released as a 78 r.p.m. single in 1955 and now widely regarded as the first glimmering of bossa nova on record.
But Mr. Alf eventually tired of the glitz of Rio and moved to São Paulo in the mid-1960s to take a job teaching in a conservatory. After that, while continuing to perform regularly, he recorded only sporadically. In 1990 he recorded “Olhos Negros” (“Black Eyes”), a widely praised CD dominated by duets with a second generation of admirers, including Caetano Veloso, Gilberto Gil, Chico Buarque and Gal Costa.
According to Brazilian press reports, Mr. Alf left no immediate survivors.
“At least I’m not completely forgotten,” he said last year. “My music was always considered difficult. The record labels sensed the value of my music, but it never had the commercial appeal that they would have liked.”

Naima Akef, Egyptian Belly Dancer

Naima Akef (October 7, 1929 - April 23, 1966) was a famous Egyptian belly dancer during the Egyptian cinema's golden age and starred in many films of the time. Naima Akef was born in Tanta on the Nile Delta. Her parents were acrobats in the Akef Circus (run by Naima’s grandfather), which was one of the best known circuses at the time. She started performing in the circus at the age of four, and quickly became one of the most popular acts with her acrobatic skills. Her family was based in the Bab el Khalq district of Cairo, but they traveled far and wide in order to perform.

The circus disbanded when Naima was 14, but this was only the beginning of her career. Her grandfather had many connections in the performance world of Cairo and he introduced her to his friends. When Naima’s parents divorced, she formed an acrobatic and clown act that performed in many clubs throughout Cairo. She then got the chance to work in Badeia Masabny's famous nightclub, where she became a star and was one of the very few who danced and sang. Her time with Badeia, however, was short-lived, as Badeia favored her, which made the other performers jealous. One day they ganged up on her and attempted to beat her up, but she proved to be stronger and more agile and won the fight. This caused her to be fired, so she started performing elsewhere.

The Kit Kat club was another famous venue in Cairo, and this is where Naima was introduced to film director Abbas Kemal. His brother Hussein Fawzy, also a film director, was very interested in having Naima star in one of his musical films. The first of such films was “Al-Eïch wal malh” (Bread and Salt). Her costar was singer Saad Abdel Wahab, the nephew of the legendary singer and composer Mohammed Abdel Wahab. The film premiered on the 17th of January 1949, and was an instant success, bringing recognition also to Nahhas Film studios. Naima quit acting in 1964 to take care of her only child, a son from her second marriage to accountant Salaheldeen Abdel Aleem. She died two years later from cancer, on April 23, 1966, at the age of 36. The filmography of Naima Akef reads as follows:

• Aish Wal Malh (1949)
• Lahalibo (1949).
• Baladi Wa Khafa (1949).
• Furigat (1950).
• Baba Areess (1950).
• Fataat Al Sirk (1951).
• Ya Halawaat Al Hubb (1952).
• Arbah Banat Wa Zabit (1954).
• Aziza (1955).
• Tamr Henna (1957). with Ahmed Ramzy, Fayza Ahmed and Rushdy Abaza.
• Amir El Dahaa (1964).

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Jacob Ajayi, Nigerian Historian

Jacob Festus Ade Ajayi, commonly known as J. F. Ade Ajayi, (born May 26, 1929^[1]) is a Nigerian historian and a member of the Ibadan school, a group of scholars interested in introducing African perspectives to African history and focusing on the internal historical forces that shaped African lives. Ade Ajayi favors the use of historical continuity more often than focusing on events only as powerful agents of change that can move the basic foundations of cultures and mold them into new ones. ^[2] Instead, he sees many critical events in African life, sometimes as weathering episodes which still leave some parts of the core of Africans intact. He also employs a less passionate style in his works, especially in his early writings, utilizing subtle criticism of controversial issues of the times.

Ajayi was born in Ikole-Ekiti, his father was a personal assistant of the Oba of Ikole during the era of Native Authorities. He started education at St Paul's School, Ikole, at the age of five. He then proceeded to Ekiti Central School for preparation as a pupil teacher. However, after hearing from a friend about Igbobi College in Lagos, he decided to try his luck and applied. Thereafter, he gained admission into the college, and equipped with a scholarship from the Ikole Ekiti Native authority, he went to Lagos for secondary education. After completing his studies at Igbobi, he gained admission to the University of Ibadan, where he was to pick between History, Latin or English for his degree. He chose History. ^[3] In 1952, he traveled abroad and studied at Leicester University, under the tutelage of Professor Jack Simmons, a brilliant Oxford-trained historian. After graduation, he was a research fellow at the Institute of Historical Research, London from 1957-1958. He later returned to Nigeria and joined the history department of the University of Ibadan.

In 1964, he was made Dean of Arts at the University and later promoted a deputy Vice Chancellor. After his stint as deputy Vice Chancellor, he was made the Vice Chancellor of the University of Lagos in 1972. The twilight of his career as Vice Chancellor was a controversial one, the then Obasanjo regime had introduced some student fees to the dismay of the students, who demanded free education. Students then decided to riot, a situation which was termed Ali must go. During the protest and riots, a student named Akintunde Ojo was shot by the police. At the time his mother was rumored to be a mistress of Obasanjo. The ensuing protest by students against the killing led opportunists to seize the situation and cause mayhem. In 1978, he was arbitrarily relieved of his position and returned to Ibadan, where he continued his effort in historical scholarship.

In 1993, Ajayi was awarded the "Distinguished Africanist Award" by the African Studies Association.^[4]

As an early writer of Nigerian and African history, though not a pioneer like Kenneth Dike, Ajayi brought considerable respect to the Ibadan School and African research. He is known for the arduous research and rigorous effort he puts into his work. By extensive use of oral sources in some of his works such as pre-twentieth century Yoruba history, he was able to weigh, balance and assay each and all of his sources, uncovering a pathway towards facts in the period which was scarce in written and non prejudiced forms.^[5] Ajayi also tries to be dispassionate in his writings, especially when writing about controversial or passionate subjects in African history. In an article on the history of Yoruba writing, he was able to appraise critically and with resignation, Samuel Ajayi Crowther, a hero to Ade Ajayi. His style of rigorous research presented new pathways in African historiography and augmented awareness among scholarly circles outside the continent to African methodologies and perceptions. By weighing sources both written and oral, he was able to find new issues of interest that formed the basis of British colonization of Lagos, balancing official British documentation of the event with additional material.

Another theme in many of his works is nationalism. Ajayi sees religious currents as setting the foundation for modern Nigerian nationalism. The Fulani Jihad of the early twentieth century set a basis for a common front, while Christian missionaries such as CMS, had laid the foundation for a movement towards unity in the south. The missionaries also established schools that created a new educated class who later broke with the Europeans and fought for a new social and political order. However, the new order embraced European contemporary social, political and economic structures as ideals of the new society.

Ajayi, however, with gradation has expressed a much more critical stance on the need to embrace Pan-Africanism as the foundation of nationalism.

• Yoruba Warfare in the Nineteenth century
• Christian Missions in Nigeria, 1841-1891: The Making of a New elite
• Editor, General History of Africa, vol. VI, UNESCO, 1989
• Co-Editor, A Thousand Years of West African History
• Co-Editor with Michael Crowder: History of West Africa, Longman, London 1971.

Martin Bernal, "Black Athena Scholar"

Martin Bernal, ‘Black Athena’ Scholar, Dies at 76

By PAUL VITELLO

Published: June 22, 2013

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Martin Bernal, whose three-volume work “Black Athena” ignited an academic debate by arguing that the African and Semitic lineage of Western civilization had been scrubbed from the record of ancient Greece by 18th- and 19th-century historians steeped in the racism of their times, died on June 9 in Cambridge, England. He was 76.

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Martin Bernal, who taught at Cornell for almost 30 years.

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The cause was complications of myelofibrosis, a bone marrow disorder, said his wife, Leslie Miller-Bernal.

“Black Athena” opened a new front in the warfare over cultural diversity already raging on American campuses in the 1980s and ’90s. The first volume, published in 1987 — the same year as “The Closing of the American Mind,” Allan Bloom’s attack on efforts to diversify the academic canon — made Mr. Bernal a hero among Afrocentrists, a pariah among conservative scholars and the star witness at dozens of sometimes raucous academic panel discussions about how to teach the foundational ideas of Western culture.

Mr. Bernal, a British-born and Cambridge-educated polymath who taught Chinese political history at Cornellfrom 1972 until 2001, spent a fair amount of time on those panels explaining what his work did not mean to imply. He did not claim that Greek culture had its prime origins in Africa, as some news media reports described his thesis. He said only that the debt Greek culture owed to Africa and the Middle East had been lost to history.

His thesis was this: For centuries, European historians of classical Greece had hewed closely to the origin story suggested by Plato, Herodotus and Aeschylus, whose writings acknowledged the Greek debt to Egyptian and Semitic (or Phoenician) forebears.

But in the 19th century, he asserted, with the rise of new strains of racism and anti-Semitism along with nationalism and colonialism in Europe, historians expunged Egyptians and Phoenicians from the story. The precursors of Greek, and thus European, culture were seen instead as white Indo-European invaders from the north.

In the first volume of “Black Athena,” which carried the forbidding double subtitle “The Afroasiatic Roots of Classical Civilization: The Fabrication of Ancient Greece — 1785-1985,” Mr. Bernal described his trek through the fields of classical Greek literature, mythology, archaeology, linguistics, sociology, the history of ideas and ancient Hebrew texts to formulate his theory of history gone awry (though he did not claim expertise in all these subjects).

The scholarly purpose of his work, he wrote in the introduction, was “to open up new areas of research to women and men with far better qualifications than I have,” adding, “The political purpose of ‘Black Athena,’ is, of course, to lessen European cultural arrogance.”

He published “Black Athena 2: The Archaeological and Documentary Evidence” in 1991, and followed it in 2006 with “Black Athena 3: The Linguistic Evidence.”

Another book, “Black Athena Writes Back,” published in 2001, was a response to his critics, who were alarmed enough by Mr. Bernal’s work to publish a collection of rebuttals in 1996, “Black Athena Revisited.”

One critic derided Mr. Bernal’s thesis as evidence of “a whirling confusion of half-digested reading.” Some were more conciliatory. J. Ray, a British Egyptologist, wrote, “It may not be possible to agree with Mr. Bernal, but one is the poorer for not having spent time in his company.”

Stanley Burstein, a professor emeritus of ancient Greek history at California State University, Los Angeles, said Mr. Bernal’s historiography — his history of history-writing on ancient Greece — was flawed but valuable. “Nobody had to be told that Greece was deeply influenced by Egypt and the Phoenicians, or that 19th-century history included a lot of racial prejudice,” he said in a phone interview Tuesday. “But then, nobody had put it all together that way before.”

The specific evidence cited in his books was often doubtful, Professor Burstein added, but “he succeeded in putting the question of the origins of Greek civilization back on the table.”

Martin Gardiner Bernal was born on March 10, 1937, in London to John Desmond Bernal, a prominent British scientist and radical political activist, and Margaret Gardiner, a writer. His parents never married, a fact their son asserted with some pride in interviews.

“My father was a communist and I was illegitimate,” he said in 1996. “I was always expected to be radical because my father was.”

His grandfather Alan Gardiner was a distinguished Egyptologist.

Mr. Bernal graduated from King’s College, Cambridge, in 1957, earned a diploma of Chinese language from Peking University in 1960 and did graduate work at the University of California, Berkeley, in 1963 and Harvard in 1964. He received his Ph.D. in Oriental studies from Cambridge in 1966 and remained there as a fellow until he was recruited by Cornell.

His other books, which also focused on the theme of intercultural borrowing, were “Chinese Socialism Before 1907” (1976) and “Cadmean Letters: The Westward Diffusion of the Semitic Alphabet Before 1400 B.C.” (1990).

Besides his wife, he is survived by his sons, William, Paul and Patrick; a daughter, Sophie; a stepson, Adam; a half-sister, Jane Bernal; and nine grandchildren.

Mr. Bernal was asked in 1993 if his thesis in “Black Athena” was “anti-European.” He replied: “My enemy is not Europe, it’s purity — the idea that purity ever exists, or that if it does exist, that it is somehow more culturally creative than mixture. I believe that the civilization of Greece is so attractive precisely because of those mixtures.”

Will Campbell, Maverick Minister of Civil Rights Era

Rev. Will D. Campbell, Maverick Minister in Civil Rights Era, Dies at 88

Henry Groskinsky/Time & Life Pictures, via Getty Images

The Rev. Will D. Campbell, right, and the Rev. Ralph D. Abernathy comforted each other on April 4, 1968, at the Lorraine Hotel in Memphis after the assassination of the Rev. Dr. Martin Luther King Jr.

By ROBERT D. McFADDEN

Published: June 4, 2013

The Rev. Will D. Campbell, a renegade preacher and author who joined the civil rights struggle in the 1950s, quit organized religion and fought injustice with nonviolent protests and a storyteller’s arsenal of autobiographical tales and fictional histories, died on Monday night in Nashville. He was 88.

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The Rev. Will D. Campbell.

A family friend, John Egerton, confirmed the death. He said Mr. Campbell had moved to a nursing home in Nashville from his family farm near Mount Juliet, Tenn., after a stroke in 2011.

Mr. Campbell, one of the few white clerics with an extensive field record as a civil rights activist, wrote a score of books that explored the human costs of racism and the contradictions of Christian life in the segregated South, notably in a memoir, “Brother to a Dragonfly” (1977), a National Book Award finalist.

A knot of contradictions himself, he was a civil rights advocate who drank whiskey with Klansmen, a writer who layered fact and fiction, and a preacher without a church who presided at weddings, baptisms and funerals in homes, hospitals and graveyards for a flock of like-minded rebels that included Johnny Cash, Willie Nelson, Dick Gregory, Jules Feiffer and Studs Terkel.

Most of his scattered “congregation,” however, were poor whites and blacks, plain people alienated from mainstream Christianity and wary of institutions, churches and governments that stood for progress but that in their view achieved little. He once conducted a funeral for a ghost town, Golden Pond, Ky., where the residents had been removed in the late 1960s to make way for a Tennessee Valley Authority project.

After a fashion, he was also an eccentric voice of wisdom in the funny papers — the model for the Rev. Will B. Dunn, the bombastic preacher with the broad-brimmed clerical hat in “Kudzu,” Doug Marlette’s syndicated comic strip about rural Southerners.

Followers and friends called Mr. Campbell hilarious, profound, inspiring and apocalyptic, a guitar-picking, down-home country boy who made moonshine and stomped around his Tennessee cabin in cowboy boots and denim uttering streams of sacred and profane commentary that found their way into books, articles, lectures and sermons.

“Brother Will, as he was called by so many of us who knew him, made his own indelible mark as a minister and social activist in service to marginalized people of every race, creed and calling,” former President Jimmy Carter said.

The son of Mississippi cotton farmers, Mr. Campbell grew up in a backwater of segregated schools, churches and cracker-barrel country stores where men chewed tobacco and spat bigotry. He was ordained a Baptist minister at 17 and attended three colleges and Yale Divinity School before embarking on an unsatisfying life as a small-town pastor and then chaplain at the University of Mississippi. He left Ole Miss amid death threats over his integrationist views.

As a race-relations troubleshooter for the National Council of Churches from 1956 to 1963, he joined the Rev. Dr. Martin Luther King Jr., the Rev. Ralph Abernathy, James Farmer, Bayard Rustin, John Lewis and other civil rights luminaries in historic confrontations across the South.

Mr. Campbell was the only white person invited by Dr. King to the founding of the Southern Christian Leadership Conference at Ebenezer Baptist Church in Atlanta in 1957. Months later, Mr. Campbell helped escort nine black students through angry crowds in an attempt to integrate Central High School in Little Rock, Ark. (The students were turned away by mob violence, but succeeded the next day with an escort of federal troops.)

In 1961, he counseled and accompanied Freedom Riders of the Congress of Racial Equality and the Student Nonviolent Coordinating Committee who integrated interstate bus travel at the cost of beatings by white mobs in Anniston, Birmingham and Montgomery, Ala.

And in 1963, he joined Dr. King’s campaign of boycotts, sit-ins and marches in Birmingham, one of America’s most segregated cities. In scenes that stunned the nation, protesters were met with snarling police dogs and high-pressure water hoses.

“If it hits you right, the pressure from a fire hose can break your back,” Mr. Campbell said years later. “I remember seeing adults and children hit and rolling along the sidewalk like pebbles at high tide.”

Later in the 1960s, after appeals to Christian churches in the South to end segregation in their own ranks and actively fight discrimination, Mr. Campbell abandoned organized religion, though not his faith. He accused Southern Protestant churches in particular of standing silent in the face of bigotry.

Widening his horizons in the 1960s, he protested American involvement in the Vietnam War, helped draft resisters find sanctuaries in Canada, spoke against capital punishment and turned against politics, government and institutions in general for failing to provide solutions to the nation’s social problems.

His belief that Christ died for bigots as well as devout people prompted his contacts with the Ku Klux Klan, and he visited James Earl Ray in prison after the 1968 assassination of Mr. Campbell’s friend Dr. King. He was widely criticized for both actions.

In later years, Mr. Campbell campaigned for equal rights for women, gays and lesbians, and turned increasingly to writing. “Brother to a Dragonfly” was both an elegy to his brother, Joe, who died after years of alcoholism and drug addiction, and a memoir of the civil rights era and its bombings, murders and terrifying calls in the night.

“Will D. Campbell is a brave man who doesn’t like to talk about it,” John Leonard wrote in a review of the book for The New York Times, “one of a handful of white Southerners — like P. D. East, Ralph McGill, James Silver, Charles Morgan and Claude Sitton, all of whom appear in these pages — who Mr. Campbell says stood with the Rev. Dr. Martin Luther King Jr. and Fanny Lou Hamer and John Lewis in the worst of times.”

Will Davis Campbell was born on July 18, 1924, in Amite County, Miss., to Lee and Hancie Campbell. At 5, he survived a near-fatal case of pneumonia. He and his sister and two brothers attended local schools, and he went to Louisiana College before joining the Army in 1942. He was a combat medic in the South Pacific in World War II.

In 1946, he married Brenda Fisher. They had a son, Webb, and two daughters, Penny and Bonnie. They survive him, as do four grandchildren.

After earning a degree in English from Wake Forest College in 1950 and a year at Tulane University, Mr. Campbell graduated from Yale Divinity School in 1952. His two years at a small Baptist church in Taylor, La., dissuaded him from a pastoral career; two more as a chaplain at Ole Miss coincided with his growing opposition to segregation.

After his years in the civil rights movement, he directed the Committee of Southern Churchmen and for decades published Katallagete, its quarterly journal of politics and social change, whose title referred to a biblical passage on reconciliation. He wrote books at his farm near Mount Juliet and traveled widely, lecturing and ministering to followers who shared his distrust of institutions.

His books included critiques of modern Christianity, “Race and the Renewal of the Church” (1962) and “Up to Our Steeples in Politics” (1970); spiritual-historical novels, “The Glad River” (1982) and “Cecelia’s Sin” (1983); memoirs, “Forty Acres and a Goat” (1986) and “Crashing the Idols: The Vocation of Will D. Campbell” (2010, with Richard C. Goode); and various biographies, histories and children’s books.

In 2000, Mr. Campbell received the National Endowment for the Humanities medal from President Bill Clinton and was profiled in a PBS documentary, “God’s Will,” narrated by Ossie Davis.

Joseph Adetiloye, Primate of the Church of Nigeria

Joseph Abiodun Adetiloye (Odo-Owa, Ekiki State, December 25, 1929 - Odo-Owa, Ekiki State, December 14, 2012) was the former Primate of the Church of Nigeria. He was married briefly for 11 months, until his wife's death in 1968. They had a son.

Joseph lost his father, who was a devout Christian, when Joseph was 3 years old. Joseph and his siblings were raised by his mother. He entered school in 1937 and it was reported that "he was always neat in school each day despite the fact that he had only one uniform". Joseph decided to become an Anglican priest at a very young age.

Joseph passed with distinction his first school leaving examination in 1944 and was a teacher for 6 years. He was the acting church agent at St. Paul's Church in Ara-Yero, now called Araromi at his 6th year.

Joseph decided to attend Melville Hall, in Kudeti, Ibadan, in 1949, to become a priest. He was further educated in England at King's College London (BD), and Wycliffe Hall, Oxford. He was ordained a deacon at the end of 1953 at the Cathedral Church of Lagos, by the first Archbishop of West Africa, Leslie Vining. In 1954, he became a curate at St. Peter's Church, in Ake, Abeokuta, and later was a chaplain to Archbishop Vining and afterwards to Archbishop Howells. This enabled him to move to Wycliffe Hall, to continue his studies. He was involved in some parish ministries at St. George in Leeds and was a curate at St. Mary's Church in Plaistow. Returning to Nigeria, the Reverend Adetiloye became a teacher at the Immanuel College of Theology in Ibadan, for four years and three months. On August 10, 1966, he became vicar and provost at the Cathedral Church of St. James, in Ibadan. In August 1970, he was elected and nominated bishop of the Diocese of Ekiti, later being transferred to the Diocese of Lagos, of which he was bishop from 1985 to 1999.

Adetiloye was enthroned as the second Primate of the Church of Nigeria on December 26, 1986, at the Cathedral Church of Lagos, by his predecessor, Archbishop Timothy O. Olufosoye. He retired on December 1999, after 13 years in office. During his tenure, the Church of Nigeria became a fast growing church, expanding from 27 dioceses in 1986 to 76 in 1999. In 1997, the growth of the Church of Nigeria led to a division into three ecclesiastical provinces. Archbishop Adetiloye headed the Province One, consisting of the dioceses in the West, while remaining Primate of All Nigeria.

Joseph Adetiloye died in his home city of Odo-Owa, on December 14, 2012. His passing was mourned as a great national loss.

Jean Bach, Jazz Documentarian

Jean Bach, Jazz Documentarian and Fan, Dies at 94

"Harlem 1958" courtesy Art Kane Archive

“A Great Day in Harlem,” the famous jazz group portrait taken in 1958, inspired Ms. Bach to make her first film, about the photo, released in 1994.

By DOUGLAS MARTIN

Published: May 28, 2013

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Jean Bach, a lifelong jazz zealot whose fascination with a photograph of the titans of jazz gathered in front of a Harlem brownstone in 1958 led her to make a prizewinning movie about that moment, “A Great Day in Harlem,” 36 years later, died on Monday at her home in Manhattan. She was 94.

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Jean Bach with her friend Bobby Short.

The photographer Carol Friedman, a friend, announced the death.

A print of that black-and-white photograph — one of the most famous in jazz history — had for years hung in the office of Ms. Bach’s husband, Bob, a television executive. Art Kane, a fashion and music photographer on assignment for Esquire magazine, had taken it on Aug. 12, 1958, in front of 17 East 126th Street, off Fifth Avenue, having assembled 57 jazz musicians for the group portrait at the ungodly hour — for most of them — of 10 a.m.

On the stoop or standing in front of it were Count Basie, Lester Young, Gene Krupa, Dizzy Gillespie, Thelonious Monk, Art Blakey, Charles Mingus, Horace Silver, Sonny Rollins, Marian McPartland, Coleman Hawkins, Gerry Mulligan, Mary Lou Williams and 44 other musicians (along with children from the neighborhood). Esquire published the photo in 1959.

After her husband died in 1985, Ms. Bach, a radio producer, learned that Milt Hinton, the bassist and jazz photographer, had a home movie of the original 1958 shoot. Though she had no experience making movies, Ms. Bach acquired it and decided to use it as the basis of an hourlong film, complementing the footage with interviews with musicians who were in the photo, clips of their performances, and narration by Quincy Jones.

Released in 1994, “A Great Day in Harlem” won the top award at the Chicago International Film Festival and was nominated for an Academy Award.

The jazz critic Whitney Balliett, writing in The New Yorker, called the film “a brilliant, funny, moving, altogether miraculous documentary.”

Ms. Bach had not originally intended it to be a movie. She had envisioned it as a series of recorded conversations that she would ultimately donate to the Smithsonian Institution. “I even planned on what I was going to wear to the ceremony,” she told The Chicago Tribune, “which pearls I would select, and how I was going to be very gracious about it all.”

For years, Ms. Bach was a fixture in the New York jazz world, with encyclopedic knowledge of the music, virtually unmatched connections and a reputation for giving great parties at her home in Greenwich Village. A gossip columnist once wrote that Frank Sinatra’s first question on coming to town was, “What’s happening down at Jean’s?”

After Ms. Bach and the pianist and singer Bobby Short had a party in 1981 to celebrate their 40 years of friendship, Mr. Short described what drew him to her when they met in 1942 at the Sherman Hotel in Chicago.

“I was a baby just out of high school,” he told The New Yorker in 1983, “and what drew me to Jean was not only her love for Duke Ellington but the fact that she could sing note for note Ben Webster solos and Cootie Williams solos and Johnny Hodges solos. And — she knew my idol, Ivie Anderson,” who sang with Ellington’s band.

Ms. Bach, he said, was “by far the most elegant and beautiful and sharply intelligent person I had ever met.”

Jean Enzinger was born on Sept. 27, 1918, in Chicago and grew up there and in Milwaukee. Her father worked in advertising, and her childhood household was full of music and parties. As a teenager she knocked on Duke Ellington’s door and established a lasting friendship.

Moving east to attend Vassar College, a short train ride from Harlem, she practically majored in trips to the Apollo Theater. In 1941, back in Chicago, she was at the Three Deuces when she met the trumpeter Shorty Sherock, then with Gene Krupa’s band. They married three weeks later.

Mr. Sherock later had his own band, which she managed. After they divorced in 1947, Ms. Bach worked as a radio scriptwriter and then as a press agent.

In 1948 she married Bob Bach, who was production coordinator for the television show “What’s My Line?” One member of the show’s celebrity panel was Arlene Francis, whose daily radio show on WOR she produced from 1960 to 1984.

Ms. Francis’s show, originally broadcast from Sardi’s, the theater district restaurant, became known for the wide range of guests Ms. Bach booked, including Ellington, Leopold Stokowski and Carl Sandburg.

In 1997 Ms. Bach directed a second movie, using outtakes from “A Great Day in Harlem.” In 20 minutes it solved one of the stranger riddles in jazz history: Did Dizzy Gillespie, in 1941, actually shoot spitballs onstage at his boss, the bandleader Cab Calloway, who promptly fired him?

No, Ms. Bach found. Interviewed for the film, “The Spitball Story,” the trumpeter Jonah Jones confessed to having done the deed. The short won awards at the Chicago International Film Festival, the Newport International Film Festival and the USA Film Festival.

In her later years, Ms. Bach, who left no immediate survivors, worked on a documentary about the saxophonist Gerry Mulligan, which is unfinished. It was all part of her mission of finding and preserving a world that seemed to be fading away in front of her.

Until six months ago, she was out on the town listening to jazz.

Wayne Miller, Photographer of War and Peace

Wayne Miller, Photographer of War and Peace, Dies at 94

By WILLIAM YARDLEY

Published: May 25, 2013

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Wayne Miller, a photographer whose intimate images from the front lines of war, the streets of Chicago’s South Side and his own family life captured a world in transition in the middle of the 20th century, died on Wednesday at his home in Orinda, Calif. He was 94.

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Joan B. Miller

Wayne Miller said he wanted to “explain man to man.” More Photos »

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Wayne Miller, Magnum Photographer, Dies at 94

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His death was confirmed by his granddaughter Inga Miller Gilbert.

Mr. Miller, the Chicago-born son of a doctor and a nurse, was given a camera as a high school graduation present and a few years later enrolled in art school. Quickly determining that it did not suit him, he joined the Navy, and that, perhaps surprisingly, was where he got his first real chance to do what he wanted to do: “to photograph mankind,” he once put it, “and explain man to man.”

Mr. Miller was one of a half-dozen photographers asked by the photographer and curator Edward Steichen to join a special Navy photography unit he had formed during World War II. Mr. Miller traveled the world in his new role, capturing American soldiers in battle from the Philippines to the south of France, hopscotching his way through combat zones with rare freedom for a soldier.

He was among the first Americans to photograph Hiroshima after the atomic bomb was dropped in 1945. One of his best-known images is of a wounded airman being pulled from a damaged plane. Mr. Miller had been scheduled to be on that plane; a photographer who had asked to replace him was killed.

After the war, Mr. Miller returned to Chicago, where, living on grants from the Guggenheim Foundation, he spent three years photographing black life on the city’s South Side in the wake of the Great Migration of blacks from the South. He photographed construction workers, families living in shanties, a little girl on crutches. He did not treat his subjects as art objects; he identified them, if not by name then by their job or task or where they lived. The project was formally titled “The Way of Life of the Northern Negro.”

“His pictures have none of that title’s polite anthropological squeamishness,” the critic Margo Jefferson wrote in 2001 in The New York Times about “Chicago’s South Side: 1946-1948,” a book by Mr. Miller published in 2000 that featured images from the project.

“Miller’s work is intimate but never presumptuous; each black-and-white image retains its mystery,” Ms. Jefferson wrote. “You realize there is more to know about this community than a camera’s eye — or ours — can find. It is part of his gift that he knows this, too.”

Mr. Steichen recruited Mr. Miller again in the early 1950s to help him organize an ambitious exhibition at the Museum of Modern Art, “The Family of Man.” That show, which included more than 500 photographs taken by more than 250 photographers in 68 countries, was intended, as Carl Sandburg wrote in a prologue to a book of the same name, to portray “one big family hugging close to the ball of Earth for its life and being.”

The exhibition, and the book published shortly afterward, included a series of pictures that Mr. Miller had made showing his wife, Joan, in labor, then giving birth, then nursing their son David. The doctor delivering David is Mr. Miller’s father, who had given him that first camera.

Wayne Forest Miller was born on Sept. 19, 1918. He studied banking at what is now the University of Illinois at Urbana-Champaign, and later enrolled at the Art Institute of Los Angeles.

Mr. Miller worked as a freelance photographer for Life, Ebony, National Geographic and other publications for many years. He also took pictures for “A Baby’s First Year,” by Dr. Benjamin Spock and John B. Reinhart. In 1958 he published “The World Is Young,” which captured the lives of his four children growing up in Orinda. From 1962 to 1968 he was president of the Magnum Photos collective.

In addition to his granddaughter Ms. Gilbert, his survivors include his wife of 70 years, the former Joan Baker; four children, Jeanette, David, Peter and Dana Blencowe; eight other grandchildren; and a great-granddaughter.

Mr. Miller largely stopped working as a professional photographer in the 1970s and took up the cause of protecting ancient redwood forests in Northern California. He replanted many acres of trees on his own land and helped found Forest Landowners of California, which successfully lobbied for changes to state laws to encourage forest preservation.