Gus Dudgeon born 30 September 1942

Angus Boyd "Gus" Dudgeon (30 September 1942 – 21 July 2002) is rated as one of the greatest British producers of all time; his work is in millions of homes across the world. He oversaw many of Elton John's most acclaimed recordings, including his commercial breakthrough, "Your Song".

Angus Boyd Dudgeon was born in Woking, Surrey, England. After being expelled from Harrow School, he attended A. S. Neill's experimental and democratic Summerhill School. After seeing a job vacancy in the newspaper, his mother steered Dudgeon towards Olympic Studios where he worked as a tea boy before becoming a staff engineer at Decca, despite a lack of any musical training. Here he worked for more than five years, on such hits as the Zombies' She's Not There (1964), and John Mayall's classic Bluesbreakers with Eric Clapton (1966). He also helped audition Tom Jones and the Rolling Stones for the label.

His first co-production credit came in 1967 with the debut album named after the progressive blues band Ten Years After. A year later, encouraged by Stones manager Andrew Loog Oldham, he left Decca to found his own production company. Around this time, he also produced the Bonzo Dog Band albums, The Doughnut in Granny's Greenhouse and Tadpoles. After leaving Decca, where he had been an engineer on David Bowie's debut, Dudgeon produced Bowie's "Space Oddity" (1969). Tony Visconti agreed to produce the album, but not the single which he regarded as a novelty tune, and suggested Dudgeon instead.

He went on to produce the second album by Elton John, then better known as a session musician than an artist in his own right. His label, DJM, had modest hopes for the project; as for John, he saw himself as a songwriter. Dudgeon, meanwhile, felt he had been commissioned to do a "glamorous demo". But the eponymous album featured the perennial Your Song, and broke John as an international star, although Dudgeon's epic production, featuring a full orchestra and choir, left some critics unimpressed. He later claimed to have turned down John's piano playing on the track, to cover up mistakes made by the nervous performer.

                              

Dudgeon went on to produce all John's classic albums of that era: Tumbleweed Connection (1970), Madman Across The Water (1971), Honky Chateau (1972), Don't Shoot Me I'm Only The Piano Player (1973), Goodbye Yellow Brick Road (1973) and Captain Fantastic And The Brown Dirt Cowboy (1975). On these records, he used his lack of a signature production style to advantage, turning out wildly different- sounding records to fit John's diverse songs. Thus, the 1973 single Daniel is quiet and understated, which was the opposite of the previous year's Rocket Man, a production extravaganza on which Dudgeon simulated the sound of a space launch with a slide guitar.

Dudgeon's role in Elton John's success should not be understated. "Once Elton had done what he had to do, which was play the piano and sing, he left," said Dudgeon. "Whatever you hear on the records that's over and above the essential construction of the song is down to myself and whoever else was working in the studio."

Gus with Millie Jackson, Bernie Taupin and Elton John

In 1972, Dudgeon produced Joan Armatrading's debut, Whatever's for Us, written by Armatrading and her then collaborator Pam Nestor. He also produced two singles for the duo, "Lonely Lady" and "Together in Words And Music". Both tracks were later added to the re-mastered CD of the Whatever's For Us album (2001). He also produced two highly successful albums for Elkie Brooks: Pearls and Pearls II, the former peaking at No. 2 and remaining in the UK Albums Chart for 79 weeks.

Gus with Judith Durham

Dudgeon mixed the sound for the Madison Square Garden show in 1974 at which Elton duetted with John Lennon - it proved to be the former Beatle's last live appearance. John and Dudgeon founded the Rocket record label together and put out successful releases for Neil Sedaka and Kiki Dee. However, Dudgeon was sometimes critical of his and Elton John's work and their partnership was dissolved in 1976.

By mid-decade, after his lengthy association with Elton John, Dudgeon found it difficult to establish himself alone, though he did work with a variety of acts, including Shooting Star, Audience, Chris Rea, Elkie Brooks, Ralph McTell, Gilbert O'Sullivan, Lindisfarne, Judith Durham, Fairport Convention, Sam Gopal Dream, the Sinceros, the Beach Boys, Solution, Voyager, Steeleye Span and Angie Gold. In the 1980s, he built Sol Studios, and also started working with alternative bands, including XTC, Menswear, and the Frank and Walters. In 1989, Dudgeon produced the debut solo album by Thomas Anders (ex-Modern Talking).

On 21 July 2002, Dudgeon and his wife, Sheila, died when their Jaguar veered off the M4 between Reading and Maidenhead. The inquest recorded a verdict of accidental death, noting that he was intoxicated and had possibly fallen asleep at the wheel while driving well in excess of the speed limit. He and his wife both suffered severe head injuries, were trapped in the car which landed in a storm drain. At the time of his death, he was managing a band called Slinki Malinki.    (Edited from The Guardian & Wikipedia)

Joe "Guitar" Hughes born 29 September 1937

Joe "Guitar" Hughes (September 29, 1937 – May 20, 2003) was an American blues musician from Houston, Texas. An inventive and versatile performer, Hughes was equally happy with slow blues, Texas shuffles and old R&B hits.

Joe Maurice Hughes was born in Houston, Texas. Starting at age fifteen and continuing for most of the next fifty years, Hughes performed professionally in a variety of Houston venues, small and large. There he developed the musical skills and stage presence that earned him critical acclaim, recording opportunities at home and abroad, and featured appearances at national and European blues festivals.

Though a native of Houston’s Fourth Ward, Hughes spent most of his formative years residing and performing in the adjacent Third Ward. There Hughes met many famous blues guitarists—including Sam “Lightnin’” Hopkins, Albert Collins, Clarence “Gatemouth” Brown, Johnny “Guitar” Watson, and Texas Johnny Brown—whose playing styles he gradually absorbed (along with that of T-Bone Walker, whom he first heard on recordings) and synthesized into his own hybrid blend.

In 1952 Hughes founded the Dukes of Rhythm with Johnny Copeland and Herbert Henderson; that group later added James Johnson and, through the mid-1950s, regularly played Galveston venues such as the Woodlake Inn, Arlie’s Groovy Grill, and others. From 1958 through 1963 Hughes worked mainly in the Third Ward, anchoring his own band seven nights a week at Shady’s Playhouse.

             

In 1958 at Houston’s Gold Star Studios (which later became SugarHill Recording Studios), Hughes made his debut recordings, released on a 45-rpm single on the Kangaroo Records label owned by local musician and producer Henry Hayes. Hughes was a bandleader at Shady's until 1963, releasing regional singles, including The Shoe Shy and Ants in My Pants. From 1963 through 1972 Hughes recorded for various other producers and released singles on labels such as Gallant, Golden Eagle, Jetstream, Boogaloo, Sound Plus, and S.B.I.

In 1963 Hughes first toured beyond the region as a guitarist with the Upsetters, a group (led by saxophonist Grady Gaines and later known as the Texas Upsetters) that backed various featured artists (such as Fats Domino and the duo Sam and Dave) in a nationally-popular revue. From 1964 through 1966 Hughes played lead guitar in another band that toured the United States with star singer Bobby Bland, followed by a similar stint from 1967 through 1969 when he accompanied singer Al “TNT” Braggs.

Following a period of relative obscurity from the mid-1970s through the early 1980s, Hughes re-emerged beyond Houston in 1985 with a featured appearance onstage at the Muziekcentrum Vredenburg in Utrecht, Holland, for Blues Estafette, an annual event at which he ultimately performed at least six times through the subsequent fifteen years. His success with European audiences reinvigorated his career, leading to additional festival appearances overseas and in the U. S., as well as his most productive phase as a songwriter and recording artist.

In 1986 Hughes recorded tracks for the Double Trouble label (a Dutch label) for Texas Guitar Masters, an album in the LP format featuring Hughes and fellow Houston blues guitarist Pete Mayes. In 1987 Hughes released his debut solo LP, Craftsman, on the same label. That same year he also issued his album Movin’ On in the cassette-tape format for the Rollin label, followed by This One’s for You on the Estox imprint in 1988. The highlights of Hughes’s recording career comprise the five solo albums he released on CD for various labels: If You Want to See the Blues (Black Top Records, 1989), Live at Vredenburg (Double Trouble, 1993), Down & Depressed: Dangerous (Munich Records, 1993), Texas Guitar Slinger (Bullseye Blues, 1996), and Stuff Like That (Blues Express, 2001). He was also featured in two documentary films—Battle of the Guitars (1985) produced by Alan Govenar and Third Ward Blues (1999) by Heather Korb.

Following a brief marriage in 1955 to Ella Louise Joseph, in 1961 Hughes met and married Willie Lee (Mae) Hudgins, his wife for the last forty-two years of his life. Hughes fathered seven daughters and two sons. After suffering a heart attack, Hughes died at Memorial Hermann Hospital in Houston on May 20, 2003. He was buried in Hudgins Cemetery in the Hudgins Settlement near Bay City, Texas.

(Bio by Roger Wood @ Texas State Historical Association & Discogs)

Brigitte Bardot born 28 September 1934

Brigitte Anne-Marie Bardot (born 28 September 1934), often referred to by her initials B.B., is a former French actress, singer and model. Famous for portraying sexually emancipated characters with hedonistic lifestyles, she was one of the best known sex symbols of the late 1950s and 1960s. Although she withdrew from the entertainment industry in 1973, she remains a major popular culture icon. 

Born in Paris, she was the daughter of a wealthy industrialist; while studying ballet, she was approached with the offer to begin modelling, and by 1950 her image had already graced the cover of Elle magazine. There she was spotted by director Marc Allegret, who had earlier discovered the young Simone Simon. Soon Allegret's assistant, Roger Vadim, contacted Bardot for a role in the picture Les Lauriers Sont Coupes; while Allegret did not cast the young model in his film, Vadim became immediately smitten by her pouty sensuality, and in 1952 he became her husband. That same year, Bardot made her film debut in Jean Boyer's comedy Le Trou Normand; a series of bit roles followed before she appeared in Warner Bros.' 1955 production of Jean of Arc. The studio was sufficiently impressed to offer a seven-year contract, but she refused to accept her largest role to date opposite Jean Marais and Isabelle Pia in Futures Vedettes. 

After traveling to Britain to appear in 1955's Doctor at Sea, Bardot returned to France to begin work on her first starring role in 1956's La Lumiere d'en Face; the film's producer, Christine Gouze-Renal, subsequently became her mentor and handled her career for a number of years. While still largely an unknown, Bardot soon enjoyed a string of hits, including Cette Sacree Gamine, Mi Figlio Nerone, and En Effeuillant la Marguerite, which positioned her as France's top sex symbol by 1957.  

As Bardot's popularity continued to soar, producer Raoul J. Levy offered Vadim the opportunity to direct his wife in Et Dieu Crea la Femme, an erotic melodrama co-starring Jean-Louis Trintignant. The film made Bardot an international star, earning over four million dollars in the U.S. alone; as rumors swirled about a possible affair between her and Trintignant, her marriage to Vadim began to crumble, although their respective careers remained intertwined for years to come. 

                              

Bardot's popularity with American audiences was unprecedented for a non-English speaking actress, and after Levy cut a reported $225,000 three-picture deal with Columbia for her services, she next starred in the sex romp Une Parisienne, followed by Vadim's Les Bijoutiers du Clair de Lune. After much deliberation, plans were finally announced for Bardot's English-language debut Paris by Night, to be helmed by Vadim and starring Frank Sinatra; the project fell through, however, and she next appeared in 1960's Babette s'en va-t-en Guerre opposite Jacques Charrier, who briefly became her second husband. 

While filming Henri-Georges Clouzot's La Verite later that year, Bardot attempted suicide on her 26th birthday; after production resumed, the completed film rose to become France's top moneymaker for the year, but it marked the end of her Columbia deal, and in light of her cooling popularity in the States and in Britain, no other deals were immediately forthcoming. 

In 1960, Bardot released a pop music album, Behind Brigitte Bardot; several other LPs, including 1963's Brigitte Bardot Sings and 1968's Special Bardot, were to follow, and she scored a number of hit singles in tandem with the infamous singer/songwriter Serge Gainsbourg. After she fired the original director on the 1961 comedy La Bride Sur le Cou, Vadim stepped in to complete the picture; she next starred with Marcello Mastroianni in Louis Malle's La Vie Privée, delivering a clearly autobiographical turn as a young celebrity unable to cope with the pressures of stardom. The picture was intended as Bardot's swan song, but she was quickly coerced out of retirement to star in Jean-Luc Godard's brilliant Le Mépris; while today recognized as a classic, at the time of its release the movie was the subject of very mixed reviews, with considerable editing required for release outside of France. As a result, it was a commercial disaster, and Bardot's standing as Europe's most popular actress was usurped by Sophia Loren. 

After finally making an American film, 1964's family comedy Dear Brigitte, Bardot began work on Mallle's comedy Viva Maria!, which paired her opposite Jeanne Moreau. When it failed to live up to international box-office expectations, few of Bardot's subsequent films were screened outside of France; even within her native land her star continued to dim, and she did not appear in another certified hit prior to 1970's L'Ours et la Poupee. However, when the Vadim-helmed Don Juan 1973 ou Si Don Juan Etait une Femme and 1974's L' Histoire Tres Bonne et Tres Joyeuse de Colinot Trousse Chemise failed, Bardot again announced plans for retirement; this time, apart from a handful of television appearances, she made good on her promise, and consistently refused all offers to return to the screen. After appearing in more than 40 motion pictures and recording several music albums, Bardot used her fame to promote animal rights. 

In later years she became something of a recluse, but continued to make occasional headlines through her ardent support of animal rights causes. Today, Bardot lives at La Madrague with her husband of 20 years, Bernard d'Ormale, a former businessman who now mainly devotes himself to his wife.    

(Edited from All Music & Wikipedia)

Bud Powell born 27 September 1924

Earl Rudolph "Bud" Powell (September 27, 1924 – July 31, 1966) was an American jazz pianist and composer. Along with Charlie Parker, Thelonious Monk, Kenny Clarke and Dizzy Gillespie, Powell was a leading figure in the development of modern jazz. His virtuosity led many to call him the Charlie Parker of the piano. Powell was also a composer, and many jazz critics credit his works and his playing as having "greatly extended the range of jazz harmony".

One of the giants of the jazz piano, Bud Powell changed the way that virtually all post-swing pianists play their instruments. He did away with the left-hand striding that had been considered essential earlier and used his left hand to state chords on an irregular basis. His right often played speedy single-note lines, essentially transforming Charlie Parker's vocabulary to the piano (although he developed parallel to "Bird").

He was born in Harlem, New York, United States. Powell's father was a stride pianist. Powell started classical piano lessons at the age of five. His teacher, hired by his father, was a West Indian man named Rawlins. At 10 years of age, Powell showed interest in the swing music that could be heard all over the neighbourhood. He first appeared in public at a rent party, where he mimicked Fats Waller's playing style. The first jazz composition that he mastered was James P. Johnson's "Carolina Shout". Powell's older brother, William, played trumpet and violin, and by the age of 15 Powell was playing in William's band. Powell heard Art Tatum on the radio and tried to match his technique. Powell's younger brother, Richie Powell, was also a noted bebop pianist.

In his youth Powell listened to the adventurous performances at Uptown House, a venue near his home. This was where Charlie Parker first appeared as a solo act when he briefly lived in New York. Thelonious Monk played at Uptown House. When Monk met Powell he introduced Powell to musicians who were starting to play bebop at Minton's Playhouse. Monk was a resident pianist, and he presented Powell as his protégé. Their mutual affection grew, and Monk became Powell's greatest mentor. Powell eagerly experimented with Monk's idea. Monk's composition "In Walked Bud" is a tribute to their time together in Harlem. 

Powell was engaged in a series of dance bands, his incubation culminating in becoming the pianist for the swing orchestra of Cootie Williams. In late 1943 he was offered the chance to appear at a nightclub with the quintet of Oscar Pettiford and Dizzy Gillespie, but Powell's mother decided he would continue with the more secure job with the popular Williams from 1943.

                              

Powell was the pianist on a handful of Williams's recording dates in 1944. The last included the first recording of Monk's "'Round Midnight". His job with Williams was terminated in Philadelphia in January 1945. After the band finished for the night, Powell wandered near Broad Street Station and was apprehended, drunk, by the private railroad police. He was beaten by them and incarcerated briefly by the city police. Ten days after his release, his headaches persisted and he was hospitalized at Bellevue, an observation ward, and then in a state psychiatric hospital sixty miles away. He remained there for two and a half months.

Powell never fully recovered and would suffer from bad headaches and mental breakdowns throughout the remainder of his life. Powell resumed playing in Manhattan after his release. In 1945–46 he recorded with Frank Socolow, Sarah Vaughan, Dexter Gordon, J. J. Johnson, Sonny Stitt, Fats Navarro, and Kenny Clarke. Powell became known for his sight-reading and his skill at fast tempos and recorded some true gems during 1947-1951 for Roost, Blue Note, and Verve, composing such major works as "Dance of the Infidels," "Hallucinations" (also known as "Budo"), "Un Poco Loco," "Bouncing with Bud," and "Tempus Fugit." Even early on, his erratic behaviour resulted in lost opportunities (Charlie Parker supposedly told Miles Davis that he would not hire Powell because "he's even crazier than me!"), but Powell's playing during this period was often miraculous.

A breakdown in 1951 and hospitalization that resulted in electroshock treatments weakened him, but Powell was still capable of playing at his best now and then, most notably at the 1953 Massey Hall Concert. Generally in the 1950s his Blue Notes find him in excellent form, while he is much more erratic on his Verve recordings. After several more periods in the hospital, Powell moved to Paris. His warm welcome and lengthy stay  (1959-1964) extended his life a bit, but even here Powell spent part of 1962-1963 in the hospital.

In 1963, Powell contracted tuberculosis. During the next year, he returned to New York to perform at Birdland with drummer Horace Arnold and bassist John Ore. His performances during these years were adversely affected by his alcoholism. His emotions became unbalanced, and he was hospitalized in New York after months of erratic behaviour and self-neglect. On July 31, 1966, he died of tuberculosis, malnutrition, and alcoholism. He was given the last rites of the Catholic Church

(Edited from AllMusic & Wikipedia)

Gal Costa born 26 September 1945

Gal Costa (born 26 September 1945) is an awarded Brazilian singer of popular music with an extensive solo discography and international experience. A fundamental presence in the Tropicalia movement, she has been in Brazil's leading team of singers for decades.

She was born Maria da Graça Costa Penna Burgos in Salvador, Bahia, Brazil. Since very young, she has been involved with music as a singer and violão player; when her mother's business broke she became a record shop attendant, where he spent long hours listening to music, especially João Gilberto. She became acquainted with Caetano Veloso in 1963, and friendly disputed him as boyfriend with her girlfriend Dedé, who would later be Caetano's wife. 

In 1964, Caetano was invited to organize a Brazilian popular music show at the opening of Salvador's Teatro Vila Velha. The show, called Nós, por Exemplo, brought Caetano, his sister Maria Bethânia, Gilberto Gil, and Costa (still under her name Maria da Graça). The show was a success and was re-enacted two weeks later, with the addition of Tom Zé (still presented as Antônio José). The success was even bigger, and the group (without Tom) soon presented another show, Nova Bossa Velha, Velha Bossa Nova. 

In September 26, 1965, the group opened the show Arena Canta Bahia, at São Paulo's Teatro de Arena. At the end of that year, she was taken to the presence of her idol João Gilberto, who asked her to sing while he accompanied; after listening to her on several songs, he declared, "Girl, you sing beautifully. Someday I will return to record an album only with you." Also in that year, she appeared on Bethânia's first album, singing "Sol Negro" (Caetano Veloso). 

In 1966, she recorded a single for RCA (completely unperceived by the general audiences) and interpreted "Minha Senhora" (Gilberto Gil/Torquato Neto) at TV Rio's I FIC; she also took the name Gal Costa by suggestion of impresario Guilherme Araújo. In 1967, Costa recorded her first LP, together with Caetano (also his first LP), on Domingo. Gal went on to became a key figure in ‘Tropicália’, one of  Brazils most iconic cultural movements that emerged in 1968.

                    

‘Tropicalia' mixed psychedelics, avant-garde electronic experiments, samba, funk and soul with rock ’n’ roll from the UK and USA – most notably, The Beatles. It was a powerful movement in social and political terms, so much so that Caetano Veloso and Gilberto Gil were arrested and exiled to the UK in 1969.  In 1968, she recorded two tracks on the LP manifesto Tropicália: Ou Panis Et Circensis that became her first hits, "Mamãe Coragem" and "Baby." Also in 1968, she achieved great popularity at TV Record's IV FMPB (São Paulo) when she won first place for "Divino Maravilhoso" (Gilberto Gil/Caetano Veloso). 

In the next year, she recorded her first individual LP for Philips, Gal Costa. She then began a busy schedule of performances throughout Brazil and that same year recorded another self-titled for Philips. In 1970, she performed in England and, returning next year to Brazil, she recorded the LP Legal. In 1971, she got success in the show Deixa Sangrar, presented in several capitals, and joined João Gilberto and Caetano in a live TV Tupi performance. In 1972, her show A Todo Vapor was recorded live on a double album, and she performed with Gil and Caetano at several venues. In 1973, she performed at the MIDEM in Cannes, France, and recorded the LP Índia, after the show by the same name. In 1976, she recorded the album Os Doces Bárbaros with Caetano, Gil, and Bethânia, also performing a series of shows with them under the same name, and recorded the solo album Gal Canta Caymmi. 

She recorded four more albums in the '70s. In the '80s, she gained international exposure, touring through Japan, France, Israel, Argentina, the U.S., Portugal, Italy, and others. In 1982 the single "Festa Do Interior" from the double album Fantasia became her biggest ever hit, going multi-platinum by the end of the year. In 1984, she performed in the show O Sorriso do Gato de Alice (her 20th album), which was awarded by APCA and received the Shell Prize. Costa appeared in the 1995 film The Mandarin (O Mandarim) as the singer Carmen Miranda. In 1997, she commemorated 30 years of her career with the CD and video Acústico MTV (BMG), with many important special guests. In 1998, Polygram released 30 Anos de Barato, a three-CD box set. The double-disc Canta Tom Jobim: Ao Vivo appeared in 1999.  

Costa continued to be a viable and active artist in the 21st century, issuing new recorded material even as repackaging of her previous work hit the market. Gal Boss Tropical was released in 2002 by Abril, followed by Hoje: 2005 from Trama Records three years later. 2006 saw the appearance of Gal Costa Live at the Blue Note from DRG. She has recorded songs in Portuguese, Spanish and English. She is on tour in Brazil at present and is booked to play at Union Chapel, London on November 17th 2022.

(Edited from AllMusic, Wikipedia & Union Chapel) 

Garvin Bushell born 25 September 1902

Garvin Bushell (September 25, 1902 – October 31, 1991) was an American woodwind multi-instrumentalist. 

Garvin Lamont Payne was born in Springfield, Ohio to a musical family and was playing piano by the age of six. After his father's death, his mother married Rev. Joseph Davenport Bushell in 1910. Garvin adopted the surname of his stepfather. By the age of 13 he was playing the clarinet. Later he also learned bassoon, oboe and flute. Bushell, who was always a technically skilled player and in a more enlightened era would probably have become a classical musician, studied at Wilberforce University and after moving to new York in 1919 he worked in vaudeville. In 1921 he joined Mamie Smith’s Jazz Hounds and made his earliest recordings with that group and with singer Daisy Morris.

On July 24, 1923, in Manhattan, Bushell married Marie Roberts (1902–1971), who, among other things, had been a member of the Chocolate Kiddies chorus for the 1925 European tour. Garvin was a member of the band for that tour.

He played and recorded with Ethel Waters and toured Europe, the eastern USA and South America with Sam Wooding during 1925 – 1927. He also worked with the Keep Shufflin' revue and Johnny Dunn.  The four sides he recorded in 1928 with James P. Johnson, Fats Waller and Jabbo Smith as the Louisiana Sugar Babes include improvised bassoon solos by him, which are among the earliest examples of jazz bassoon on record. 

During the 1930’s Bushel worked with Otto Hardwick (1931), Fess Williams (1933), Bessie Smith and Fletcher Henderson (1934-1936), Cab Calloway (1936-1937), and Chick Webb (1938 – 1939). In the 1940s Bushell worked with Eddie Mallory and Edgar Hayes, led his own bands, and recorded with Bunk Johnson (in 1947), He toured internationally with Wilbur De Paris’s band from 1959 until 1964, when he went to Africa with Paul Taubman’s orchestra. He also recorded on double bassoon with John Coltrane in 1961. 

     Here’s “I want To Be Happy” from CD One Steady Roll

                              

He played bassoon with the Chicago Civic Orchestra, was part of the Fletcher Henderson Reunion Band in 1958, and worked with Wilbur DeParis' New New Orleans Jazz Band (as the replacement for the late Omer Simeon) during 1959-1964. In 1965 Bushell married Louise Olivari (1925–1994), to whom he remained married until his death in 1991. Garvin and Louise had two sons, Garvin P. Bushell and Philip Bushell. 

After playing again with Calloway in 1966, he moved to Puerto Rico, and then settled in Las Vegas, where he worked as a music teacher into the 1980s. One of his students was King Curtis. Although Bushell recorded in a wide variety of settings, he only led one record date in his career, which resulted in four titles in 1944. He died on October 31, 1991 in Las Vegas., Nevada. 

(Edited from The new Grove Dictionary of Jazz, All Music & Wikipedia)