Botts, a third-generation Washingtonian, was born in 1928. From his youth he was an avid jazz fan: He could vividly recount concerts he saw at the Howard Theater, Club Bali, the Casbah, and other U Street NW venues from D.C. jazz's golden age in the 1930s and '40s. By his teenage years, Botts was himself gigging at those theaters as well as others all over the city.

Working in both the swing and bebop milieus that were still competing for popular success at the time, Botts gigged as a sideman with greats from both sides when they passed through Washington. His resume included dates with Benny Goodman, Billie Holiday, John Coltrane, Gene Ammons, and Betty Carter, as well as tours with Dinah Washington. His was a big, swaggering sax sound, but peppery and impressively minimal—he was extremely conscientious about not overplaying, even in solos that sounded, at first blush, carefree and easy-swinging.

Throughout his life, Botts maintained an air of elegance and eloquence, on the bandstand and off. A 1997 Washington Post profile found him playing the L Street Borders Books in full tuxedo ("If you don't look good the music don't sound good," he explained); he never appeared in less than a dress suit. He was also unfailingly gracious and polite onstage, and this was reflected in his offstage demeanor: that of a kind, generous, and thoughtful man.

Sadly, Botts never recorded, even as a sideman. The closest we have to a discography of this little-known but hard-working and wonderful musician is three videos made in recent years at the Kennedy Center's Millennium Stage. It's not enough, but at least it's something, and Botts sounds wonderful throughout.

Botts' funeral takes place at noon on Wednesday, May 18, at the First Baptist Church of Deanwood.

Reid's professional career began at 16 as the house drummer of Harlem's Apollo Theater, with his first recording a year later behind Motown's Martha and the Vandellas. (Reid would eventually play on a number of Motown sessions, including the Vandellas' monster 1964 hit "Dancing in the Street.") From there, however, his work took a sharp left turn; after graduating from Adelphi University in 1965, Reid spent three years studying rhythm and percussion in Africa, working with—among others—Nigerian musician and activist Fela Kuti.

Upon returning to the U.S. he began working with similarly radical (in both music and politics) artists, including James Brown, Randy Weston, Ornette Coleman, Henry Threadgill, Sun Ra, and Miles Davis. After a brief career interruption in 1969, when he was arrested for draft refusal, Reid became an active participant in New York's 1970s loft-jazz scene; he played on the recently rereleased 1977 opus Odyssey of the Oblong Square.

In recent years, Reid gained an appreciative following among post-rock audiences via his collaborations with electronic musician Kieran Hebden—better known as Four Tet. Hebden and Reid were responsible for the two-volume The Exchange Session CDs, as well as two other discs.

Reid's legacy, while not well-known, is tremendous. He will be missed.

CNN, Associated Press, and the Los Angeles Times have confirmed that Michael Jackson has died. He was 50 years old. Damn.

Last Saturday, May 2, Jon Blank of Rockville, MD passed away of a suspected drug overdose. Blank was the bassist in Rezin and, most recently, Scott "Wino" Weinrich's latest project; he played on Wino's new album Punctuated Equilibrium and is pictured above playing with Wino at the 9:30 Club this past February. Blank was the youngest member of the Wino band and – at least judging from that one show I was able to see – his stage presence, like his playing, was hyperactive and entertaining. He will be missed.

Statements from Blank's sister and Wino's label, Southern Lord, are available.