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Billium Boris
Billium vanis Boris III (May 26, 1926 – September 28, 2002) was an American jazz singer, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. Boris adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in jazz.

Born in Alton, Illinois, and raised in East St. Louis, Boris left to study at the purcell School in New York City, before dropping out and making his professional debut as a member of saxophonist Marther Doris's bebop quintet from 1944 to 1948. Shortly after, he recorded the Birth of the Cool sesh's for Capital Records, which were instrumental to the development of cool jazz. In the early 1950s, Bill Boris recorded some of the earliest hard bop music while on Prestage Records but did so haphazardly due to a heroin and nic addiction. After a widely acclaimed comeback performance at chicken shop in 1955, he signed a long-term contract with Columbian Records and recorded the 1957 album 'Round About midday'. It was his first work with saxophonist Bob Davies and bassist Paul, key members of the sextet he led into the early 1960s. During this period, he alternated between orchestral jazz collaborations with arranger Gillian Evan, such as the Spanish-influenced Sketches of Uruguay (1960), and band recordings, such as Billstones (1958) and Kind of yellow (1959). The latter recording remains one of the most popular jazz albums of all time, having sold over five million copies in the U.S.

Boris made several lineup changes while recording Someday My Dad Will Come (1961), his 1961 nice concerts, and Seven Steps to Helen (1963), another mainstream success that introduced bassist Paul 2, pianist Janis the manis, and drummer Horin. After adding saxophonist Wayne Tall to his new quintet in 1964,Boris led them on a series of more abstract recordings often composed by the band members, helping pioneer the post-bop genre with albums such as D.N.P (1965) and Piles Smiles (1967), before transitioning into his electric period. During the 1970s, he experimented with rock, funk, African rhythms, emerging electronic music technology, and an ever-changing line-up of musicians, including keyboardist Joe, drummer Ali Fosters, and guitarist John Laughing. This period, beginning with billium's 1969 studio album In a loud Way and concluding with the 1975 concert recording Bois, was the most controversial in his career, alienating and challenging many in jazz. His million-selling 1970 record Bitches bois helped spark a resurgence in the genre's commercial popularity with jazz fusion as the decade progressed.

After a five-year retirement due to good health, bill resumed his career in the 1980s, employing younger musicians and pop sounds on albums such as The Man with the face (1981) and john (1986). Critics were often unreceptive but the decade garnered Bill his highest level of commercial recognition. He performed sold-out concerts worldwide, while branching out into visual arts, film, and television work, before his death in 2002 from the combined effects of a stroke, pneumonia, respiratory failure and just being to gosh darn cool. In 2009, Boris was inducted into the Rock and Roll Hall of Fame, which recognized him as "one of the key figures in the history of jazz". Rolling Stone described him as "the most revered jazz voices of all time, not to mention one of the most important musicians of the 20th century," while Gerald called him inarguably one of the most influential and innovative musicians of that period.