Tuesday, April 30, 2013

Lili Boniche, Andalusian-Arab singer

Lili Boniche

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Lili Boniche (Élie Boniche - b. 1921 - d. March 6, 2008), born to a Sephardic Jewish family in the Kasbah area of Algiers, was a singer of Andalusian-Arab music. He died in Paris. In addition to writing music for commercial release, he also was a film composer.[citation needed]

[edit] Discography

  • Alger, Alger , Roir Records/E1, February 16, 1999
  • Œuvres récentes , APC Play it Again Sam, 2003
  • Il n'y a qu'un seul Dieu (live à l'Olympia), East West Warner Music France, 1999
  • Trésors de la chanson judéo-arabe, Créon Mélodie

Kenneth Appel, Mathematician Who Used Computer

Kenneth I. Appel, Mathematician Who Harnessed Computer Power, Dies at 80

Kenneth I. Appel, who helped usher the venerable mathematical proof into the computer age, solving a longstanding problem concerning colors on a map with the help of an I.B.M. computer making billions of decisions, died on April 19 in Dover, N.H. He was 80.

University of New Hampshire
Kenneth Ira Appel

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The cause was esophageal cancer, which was diagnosed in October, his son Andrew said.
Since the time of Euclid and Pythagoras, proofs of mathematical theorems had consisted of long strings of equations or geometric notations that any mathematician could read and quibble with, all marching logically, step by step, toward a conclusion. But the proof that Dr. Appel and a colleague, Wolfgang Haken, established in 1976 was of a different order.
Their conclusion, that four colors would suffice for any map, depended on 1,200 hours of computer time — the equivalent of 50 days — and 10 billion logical decisions all made automatically and out of sight by the innards of an I.B.M. computer at the University of Illinois in Urbana.
Hailed in some circles, including this newspaper, as “a major intellectual feat,” the proof shepherded computers toward a greater role in higher math. But it made many mathematicians uneasy; they worried about computer bugs and wondered how they could check or understand a “proof” they could not see. And it ignited a long-running debate about what constitutes a mathematical proof.
“Like a landmark Supreme Court case, the proof’s legacy is still felt and hotly debated,” said Edward Frenkel, a mathematician at the University of California, Berkeley.
Kevin Short, a mathematician at the University of New Hampshire, where Dr. Appel spent his later years, called the feat “a watershed for modern mathematics.”
“It has spawned whole fields of study,” he said.
Kenneth Ira Appel (pronounced ah-PEL) was born on Oct. 8, 1932, in Brooklyn and grew up in Queens, where he graduated from Queens College with a degree in mathematics in 1953. His father, Irwin, was an electrical engineer, and his mother, the former Lillian Sender, had been an office worker.
After a short stint as an actuary and two years in the Army, Kenneth Appel enrolled at the University of Michigan, where he earned a Ph.D. in math in 1959. During the summers, he programmed computers for Douglas Aircraft.
Dr. Appel soon went to work for the Institute for Defense Analyses in Princeton, N.J., doing research in cryptography and number theory for the federal government. He joined the University of Illinois as a professor in 1961. Long interested in Democratic politics, he also served a term on the Urbana City Council.
Some of the thorniest problems in math are simple to state but hideously complex under the surface. Such is the case with the four-color theorem, first enunciated by an English mapmaker, Francis Guthrie, in 1852. He asserted that to create a map in which no adjacent countries are the same color, only four colors are needed. Although everyone believed it was true, proof had eluded a century of mathematicians until Dr. Appel attended a lecture in 1972 by Dr. Haken.
Because of the bewildering variety of map configurations, Dr. Haken was contemplating using computers to solve the problem, but as he related in his lecture that evening, experts had convinced him that it was not possible.
Dr. Appel, familiar with computers from his defense and government work, was more optimistic.
“I don’t know of anything involving computers that can’t be done; some things just take longer than others,” he said to Dr. Haken afterward, according to an account in the journal Social Studies of Science by Donald MacKenzie of the University of Edinburgh. “Why don’t we take a shot at it?”
The two started off by showing that the universe of all possible maps must contain what mathematicians call an “unavoidable set” of 1,936 different configurations. One configuration might be a country surrounded by four neighbors, for example.
Their task, then, was to prove that each of these configurations could be rendered on a map using only four colors in such a way that no two adjacent land areas were of the same color. That was where the heaviest computation would come in. To help, they recruited a computer science graduate student, John Koch, and Dr. Appel persuaded the university to let them use its I.B.M. 370-168 computer, newly acquired for administrative services.
Those were the days when computers filled an entire room, although their memory capacities were minuscule compared with a modern smartphone. Dr. Short recounted an occasion, as described by Dr. Appel, when the computer gave an unexpected answer.
“Oh, that wire must have fallen out again,” Dr. Appel said.
Dr. Appel began to think of the computer as a partner, though with a different kind of brain, with almost “an artificial intelligence,” he told Dr. MacKenzie.

Kenneth I. Appel, Mathematician Who Harnessed Computer Power, Dies at 80

(Page 2 of 2)
“The computer was, to the best of my feeling about the subject, not thinking like a mathematician,” he said. “And it was much more successful, because it was thinking not like a mathematician.”


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In the summer of 1976, Dr. Appel and Dr. Haken announced their result to their colleagues by leaving a note on the department blackboard: “Four colors suffice.” Their work was published in 1977 in the Illinois Journal of Mathematics.
Their four-color proof earned newspaper headlines and a prestigious award in mathematics, the Delbert Ray Fulkerson Prize. But the notion of computer proofs drew skepticism in some academic circles. In a visit to one university, Dr. Appel and Dr. Haken said, professors barred them from meeting graduate students lest the students’ minds become contaminated.
Dr. Appel became the chairman of the mathematics department at the University of New Hampshire in 1993. He retired in 2003. He also served on the Dover School Board and for a time was the treasurer of the Strafford County Democratic Party.
Before their revolutionary work was published, Dr. Appel and Dr. Haken enlisted their entire families to check hundreds of pages of calculations, making sure that diagrams of map configurations matched the computer printouts and did not have typos. Andrew Appel said his sister, Laurel, found some 800 mistakes, most of which she could fix herself.
Laurel F. Appel, a biology professor at Wesleyan University, died this year. Besides his son Andrew, a computer science professor at Princeton, Dr. Appel is survived by his wife, the former Carole S. Stein; another son, Peter; a sister, Lois Green; and five grandchildren.
Despite the criticism in more traditionalist quarters, Dr. Appel never agonized about his reliance on a computer to arrive at the four-color theorem, his son Andrew said. The mathematician Alan Turing, he noted, had shown long ago that even very short theorems could have very long proofs, running hundreds of pages. As his son recalled, Dr. Appel used to say, “Without computers, we would be stuck only proving theorems that have short proofs.”

Leo Branton, Jr., Angela Davis' Lawyer

Leo Branton Jr., Activists’ Lawyer, Dies at 91

Associated Press
Leo Branton Jr. with Angela Davis during her 1972 trial on murder, kidnapping and conspiracy charges. She was acquitted.
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Leo Branton Jr., a California lawyer whose moving closing argument in a racially and politically charged murder trial in 1972 helped persuade an all-white jury to acquit a black communist, the activist and academic Angela Davis, died on April 19 in Los Angeles. He was 91.
His death was confirmed by Howard Moore Jr., another lawyer who represented Ms. Davis.
Mr. Branton, a black veteran of World War II who served in a segregated Army unit, represented prominent black performers, including Nat King Cole and Dorothy Dandridge, argued cases on behalf of the Black Panthers and the Communist Party, and filed numerous cases alleging police abuse. But the case with which he was most closely associated was that of Ms. Davis.
“Friends of mine said we couldn’t get a fair trial here in Santa Clara County,” Mr. Branton told jurors in his final remarks, on June 1, 1972, in a courtroom in San Jose, Calif. “They said that we could not get 12 white people who would be fair to a black woman charged with the crimes that are charged in this case.”
Ms. Davis, a 28-year-old former instructor at the University of California, Los Angeles, was accused of murder, kidnapping and conspiracy in the 1970 death of a state judge who was shot with one of several weapons she had bought. The year before, Ms. Davis had lost her teaching job after she expressed support for the Communist Party. After the charges were filed, she became a fugitive, one of the F.B.I.’s 10 most wanted. She said the weapons had been stolen from her.
Her flight had been an important part of the prosecution’s case. But Mr. Branton, who had argued numerous cases of police abuse in the 1950s, urged jurors to view her behavior in the context of centuries of slavery, racism and abuse against blacks.
At one point he showed jurors a drawing of Ms. Davis bound in chains. Then he removed the drawing to reveal another showing her freed.
“Pull away these chains,” he said, “as I have pulled away that piece of paper.“
Some jurors cried, and after she was acquitted, so did Ms. Davis. She also hugged the jurors.
“Angela Davis Found Not Guilty by White Jury on All Charges,” said a headline in The New York Times on June 5, 1972.
Decades later, Mr. Branton said the case stood out to him not just because of the verdict or the distinctiveness of his final appeal, but also because of the defense’s preparations. During jury selection, defense lawyers hired psychologists to help them determine who in the jury pool might favor their arguments, an uncommon practice at the time, he said. They also hired experts who undermined the reliability of eyewitness accounts, which were important to the prosecution.
Charles Ogletree, a Harvard law professor and defense lawyer who met Ms. Davis in 1970 when she was being detained before trial and he was an undergraduate at Stanford, said in an interview on Friday that Mr. Branton had emphasized to the jury “who she was as a person.”
“He didn’t want her convicted because of her race or her politics,” he said.
Mr. Branton was born on Feb. 17, 1922, in Pine Bluff, Ark., the oldest of five children. He received a bachelor’s degree from Tennessee State University in 1942 before serving in the Army. He earned his law degree at Northwestern University in 1948 and soon moved to California.
In 1952, Mr. Branton represented 14 members of the California Communist Party who were accused of advocating the overthrow of the government through force. They were convicted in lower courts, but the convictions were vacated by the United States Supreme Court in 1957.
His survivors include three sons, Leo L. Branton III, Tony Nicholas and Paul Nicholas; a brother; a sister; and five grandchildren. Geraldine Pate Nicholas, his wife of more than 50 years, died in 2006.
Mr. Branton began representing Nat King Cole in 1958 and eventually helped him secure ownership of his master recordings from Capitol Records, said Mr. Moore, his fellow lawyer in the Davis case. Many years later, Mr. Branton represented the estate of Jimi Hendrix until he and others were sued by members of the Hendrix family. The suit was dropped in 1995.
Mr. Moore said he first met Mr. Branton when they represented different clients in civil rights cases in Mississippi in the 1960s. Mr. Branton was already well known for his work in Hollywood and before the Supreme Court.
“Leo was good in his seat and on his feet,” Mr. Moore said. “He could perform in a courtroom in a trial, and then he could write an excellent brief. Then he could do transactional work. Many lawyers can do one but not the others.”

Sunday, April 28, 2013

Donald Shirley, Classical and Jazz Pianist

Donald Shirley, a Pianist With His Own Genre, Dies at 86

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Donald Shirley, a pianist and composer who gathered classical music with jazz and other forms of popular music under a singular umbrella after being discouraged from pursuing a classical career because he was black, died on April 6 at his home in Manhattan. He was 86.
Brownie Harris
Donald Shirley around 1985. His works melded American and European traditions and exhibited a vast musical erudition.
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His death, which was not widely reported at the time, was caused by complications of heart disease, said Michiel Kappeyne van de Coppello, a friend who studied piano with Mr. Shirley.
A son of Jamaican parents, Mr. Shirley was a musical prodigy who played much of the standard concert repertory by age 10 and made his professional debut with the Boston Pops at 18, performing Tchaikovsky’s Piano Concerto No. 1 in B-flat minor.
But when he was in his 20s, he told his family and friends, the impresario Sol Hurok advised him to pursue a career in popular music and jazz, warning him that American audiences were not willing to accept a “colored” pianist on the concert stage.
Thus derailed, Mr. Shirley took to playing at nightclubs and invented what amounted to his own musical genre. First as part of a duo with a bassist and later as the leader of the Don Shirley Trio, featuring a bassist and a cellist — an unusual instrumentation suggesting the sonorities of an organ — he produced music that synthesized popular and classical sounds. He often melded American and European traditions by embedding a well-known melody within a traditional classical structure.
In his hands, Irving Berlin’s “Blue Skies,” for example, became an elaborate set of variations on a theme. In his arrangement — he called his works transcriptions — of George Shearing’s “Lullaby of Birdland,” the famous melody abruptly became a fugue. His recording of Richard Rodgers’s “This Nearly Was Mine,”from “South Pacific,” was Chopinesque.
Mr. Shirley’s music exhibited a vast musical erudition. He was drawn to indigenous American forms, by which he meant the blues, the work song, the Negro spiritual and the show tune, and his compositions referred to those forms. He was not inclined to improvise and disliked being referred to as a jazz musician.
“He had a love-hate relationship with jazz,” Mr. Kappeyne van de Coppello said.
Still, he was close to many well-known jazz figures, including Duke Ellington, in whose honor he wrote “Divertimento for Duke by Don,” a symphonic work that had its premiere in 1974, performed by the Hamilton Philharmonic Orchestra of Ontario. His other orchestral works include a tone poem inspired by James Joyce’s “Finnegans Wake.”
His playing was virtuosic and lush, and in performance he often impressed critics with both his sound and invention. (His admirers also included Igor Stravinsky and Sarah Vaughan.) He eventually did make it back to the concert stage, though rarely to perform the standard classical repertory. He played Gershwin’s “Rhapsody in Blue” at La Scala in Milan; he played at Carnegie Hall with Ellington; he played Gershwin’s Concerto in F, accompanying the Alvin Ailey dancers, at the Metropolitan Opera in New York. In the late 1960s, he made unreleased recordings of Rachmaninoff with the New York Philharmonic and Khachaturian with the Minneapolis Symphony.
“The silky tone and supple rhythmic flow of Mr. Shirley’s playing is just as artful and ingratiating as ever,” Peter G. Davis wrote in The New York Times of a concert at Carnegie Hall in 1971. “ ‘I Can’t Get Started’ heard as a Chopin nocturne, or ‘Blowin’ in the Wind’ as a Rachmaninoff étude, may strike some as a trifle odd, but these — and everything on the program, in fact — were beautifully tailored to spotlight Mr. Shirley’s easy lyrical style and bravura technique.”
Donald Walbridge Shirley was born in Pensacola, Fla., on Jan. 29, 1927. His father, Edwin, was an Episcopal priest, and family lore has it that young Donald was playing the organ in church at age 3. His mother, the former Stella Gertrude Young, a teacher, died when Donald was 9. He studied music at the Catholic University of America in Washington.
He was married once and divorced. He is survived by a brother, Maurice, and a half-sister, Edwina Shirley Nalchawee.
Mr. Shirley made a number of recordings in the 1950s and early ’60s for the Cadence label, including “Piano Perspectives,” “Don Shirley Plays Love Songs,” “Don Shirley Plays Gershwin” and “Don Shirley Plays Shirley.” Later in the 1960s, he recorded with Columbia.
It was the founder of Cadence Records, Archie Bleyer, who insisted that Mr. Shirley be called Don, an informality that stuck with him throughout his career as a nettlesome reminder that he was unable to be known as the concert player he had always wished to be.
Jazz piano players, Mr. Shirley told The Times in 1982, when he was appearing at the Cookery in Greenwich Village, “smoke while they’re playing, and they’ll put the glass of whisky on the piano, and then they’ll get mad when they’re not respected like Arthur Rubinstein. You don’t see Arthur Rubinstein smoking and putting a glass on the piano.”
He added: “I am not an entertainer. But I’m running the risk of being considered an entertainer by going into a nightclub because that’s what they have in there. I don’t want anybody to know me well enough to slap me on the back and say, ‘Hey, baby.’ The black experience through music, with a sense of dignity, that’s all I have ever tried to do.”

George Jones, Country Music Star

GEORGE JONES | 1931-2013

His Life Was a Country Song

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George Jones at Tramps in Manhattan in 1992. He was also part of the first country concert at Madison Square Garden, in 1964. More Photos »

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George Jones, the definitive country singer of the last half-century, whose songs about heartbreak and hard drinking echoed his own turbulent life, died on Friday in Nashville. He was 81.

An Appraisal: George Jones in Real Life and Real Time

A former pop music critic recalls an encounter on a tour bus in 1977 with the country music star.
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Mr. Jones appeared on the country charts for decades. More Photos »
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Tammy Wynette and Mr. Jones in a photograph from the 1970s. They were married in 1969 and divorced in 1975.More Photos »
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George Jones in 1981. More Photos »

Readers’ Comments

"Fortunately, he's left behind a huge body of work for us to appreciate. It is not a stretch to put him up there with Sinatra or Dylan."
Harper, New York
His publicists, Webster & Associates, said he died at a hospital after being admitted there on April 18 with fever and irregular blood pressure.
Mr. Jones’s singing was universally respected and just as widely imitated. With a baritone voice that was as elastic as a steel-guitar string, he found vulnerability and doubt behind the cheerful drive of honky-tonk and brought suspense to every syllable, merging bluesy slides with the tight, quivering ornaments of Appalachian singing.
In his most memorable songs, all the pleasures of a down-home Saturday night couldn’t free him from private pain. His up-tempo songs had undercurrents of solitude, and the ballads that became his specialty were suffused with stoic desolation. “When you’re onstage or recording, you put yourself in those stories,” he once said.
Fans heard in those songs the strains of a life in which success and excess battled for decades. Mr. Jones — nicknamed Possum for his close-set eyes and pointed nose and later No-Show Jones for the concerts he missed during drinking and drug binges — bought, sold and traded dozens of houses and hundreds of cars; he earned millions of dollars and lost much of it to drug use, mismanagement and divorce settlements. Through it all, he kept touring and recording, singing mournful songs that continued to ring true.
Mr. Jones was a presence on the country charts from the 1950s into the 21st century, and as early as the 1960s he was praised by listeners and fellow musicians as the greatest living country singer. He was never a crossover act; while country fans revered him, pop and rock radio stations ignored him. But by the 1980s, Mr. Jones had come to stand for country tradition. Country singers through the decades, fromGarth Brooksand Randy Travis to Toby Keith andTim McGraw, learned licks from Mr. Jones, who never bothered to wear a cowboy hat.
“Not everybody needs to sound like a George Jones record,” Alan Jackson, the country singer and songwriter, once told an interviewer. “But that’s what I’ve always done, and I’m going to keep it that way — or try to.”
George Glenn Jones was born with a broken arm in Saratoga, Tex., an oil-field town, on Sept. 12, 1931, to Clare and George Washington Jones. His father, a truck driver and pipe fitter, bought George his first guitar when he was 9, and with help from a Sunday school teacher he taught himself to play melodies and chords. As a teenager he sang on the streets, in Pentecostal revival services and in the honky-tonks in the Gulf Coast port of Beaumont. Bus drivers let him ride free if he sang. Soon he was appearing on radio shows, forging a style modeled on Lefty Frizzell, Roy Acuff andHank Williams.
First Single
Mr. Jones married Dorothy Bonvillion when he was 17, but divorced her before the birth of their daughter. He served in the Marines from 1950 to 1953, then signed to Starday Records, whose co-owner Pappy Daily became Mr. Jones’s producer and manager. Mr. Jones’s first single, “No Money in This Deal,” was released in 1954, the year he married his second wife, Shirley Corley. They had two sons before they divorced in 1968.
“Why Baby Why,” released in 1955, became Mr. Jones’s first hit. During the 1950s he wrote or collaborated on many of his songs, including hits like"Just One More,""What Am I Worth” and “Color of the Blues,” though he later gave up songwriting. In the mid-'50s he had a brief fling with rockabilly, recording as Thumper Jones and as Hank Smith. But under his own name he was a country hit maker. He began singing at the Grand Ole Opry in 1956.
He had already become a drinker."White Lightning,"a No. 1 country hit in 1959, required 83 takes because Mr. Jones was drinking through the session. On the road, playing one-night stands, he tore up hotel rooms and got into brawls. He also began missing shows because he was too drunk to perform.
But onstage and on recordings, his career was advancing. In 1962 he recorded one of his signature songs, “She Thinks I Still Care,” which was nominated for a Grammy Award. Another of his most lasting hits, “The Race Is On,” appeared in 1964. He was part of the first country concert at Madison Square Garden, a four-show, 10-act package in 1964 that also included Ernest Tubb, Bill Monroe and Buck Owens. Each act was allotted two songs per show, but on the opening night Mr. Jones played five before he was carried offstage.
In 1966, Mr. Jones tried to start a country theme park in Vidor, the East Texas suburb where he lived. Called the George Jones Rhythm Ranch, it was the first of many shaky business ventures. Mr. Jones gave only one performance. After singing, he disappeared for a month, rambling across Texas. His drinking had gotten worse. At one point his wife hid the keys to all his cars, so he drove his lawn mower into Beaumont to a liquor store — an incident he would later commemorate in a song and in music videos. They were divorced not long afterward.
Mr. Jones had his next No. 1 country single in 1967 with “Walk Through This World With Me.” He moved to Nashville and opened a nightclub there, Possum Holler, which lasted a few months.
He had met a rising country singer, Tammy Wynette, in 1966, and they fell in love while on tour. She was married at the time to Don Chapel, a songwriter whose material had appeared on both of their albums. One night in 1968, Mr. Jones recalled, Ms. Wynette and Mr. Chapel were arguing in their dining room when Mr. Jones arrived; he upended the dining room table and told Ms. Wynette he loved her. She took her three children and left with Mr. Jones.
They were married in 1969 and settled in Lakeland, Fla. There, on the land around his plantation-style mansion, Mr. Jones built another country-themed park, the Old Plantation Music Park.
Mr. Jones severed his connection with Mr. Daily and later maintained that he had not received proper royalties. In 1971 he signed a contract with Epic Records, which was also Ms. Wynette’s label, and the couple began recording duets produced by Billy Sherrill, whose elaborate arrangements helped reshape the sound of Nashville. Three of those duets — “We’re Gonna Hold On,” “Golden Ring” and “Near You” — were No. 1 country hits, an accomplishment made more poignant by the singers’ widely reported marital friction.
“Mr. and Mrs. Country Music” was painted on their tour bus. But the marriage was falling apart, unable to withstand bitter quarrels and Mr. Jones’s drinking and amphetamine use. After one fight, he was put in a straitjacket and hospitalized for 10 days. The Lakeland music park was shut down.
The couple divorced in 1975; the next year Mr. Jones released two albums, titled"The Battle"and “Alone Again.” But duets by Mr. Jones and Ms. Wynette continued to be released until 1980, the year they rejoined to make a new album,"Together Again,"which included the hit “Two Story House.” They would reunite to tour and record again in the mid-1990s. Mr. Jones grew increasingly erratic after the divorce, drinking heavily and losing weight. His singles slipped lower on the charts. His management bounced his band members’ paychecks. At times he would sing in a Donald Duck voice onstage. And he began using cocaine and brandishing a gun. In 1977 he fired at a friend’s car and was charged with attempted murder, but the charges were dropped.
His nickname No-Show Jones gained national circulation as he missed more engagements than he kept. When he was scheduled to play a 1977 showcase at the Bottom Line in New York, he disappeared for three weeks instead. In 1979, he missed 54 concert dates. (Later, the license plates on his cars ran from “NOSHOW1” to “NOSHOW7.”)
But as his troubles increased, so did his fame and his album sales. “I was country music’s national drunk and drug addict,” Mr. Jones wrote in his autobiography, “I Lived to Tell It All,” published in 1996.
He had music industry fans outside country circles.James Taylorwrote “Bartender’s Blues” for him, and sang it with him as a duet. In 1979, on the album “My Very Special Guests,” Mr. Jones sang duets withWillie Nelson,Linda Ronstadt,Elvis CostelloandEmmylou Harris. But he missed many of the recording sessions, and had to add his vocal tracks later.
Running From Debts
By then Mr. Jones had moved to Florence, Ala., in part to get away from arrest warrants for nonpayment of child support to Ms. Wynette and other debts in Tennessee. In Florence, he had a girlfriend, Linda Welborn, from 1975 to 1981. When they broke up, she sued and won a divorce settlement under Alabama’s common-law marriage statutes.
In 1979 Mr. Jones declared bankruptcy. His manager was arrested and charged with selling cocaine. That December, Mr. Jones was committed for 30 days to a drug and alcohol rehabilitation center. After his release, he went back to cocaine and whiskey.
Yet he still had hits. “He Stopped Loving Her Today,” a song about a man whose love ends only when his life does, was released in April 1980 and reached No. 1 on the country charts, beginning Mr. Jones’s resurgence. The Country Music Association named it the song of the year, the award going to its songwriters, Bobby Braddock and Curly Putman, and the recording won the Grammy for best male country performance.
With a renewed contract from Epic Records, Mr. Jones became a hit maker again, with No. 1 songs including “Still Doin’ Time” in 1981 and “I Always Get Lucky With You” in 1983. He made an album with Johnny Paycheck, a former member of his band, in 1980 and one withMerle Haggard in 1982; he recorded a single, “We Didn’t See a Thing,” withRay Charles in 1983. And in 1984 he released “Ladies’ Choice,” an album of duets withLoretta Lynn, Brenda Lee, Emmylou Harris and other female singers.
In 1983 he married Nancy Sepulvado, who straightened out his business affairs and then Mr. Jones himself. He gave up cocaine and whiskey. The couple moved to East Texas, near Mr. Jones’s birthplace, and opened the Jones Country Music Park, which they operated for six years. In 1988 he changed labels again, to MCA, and soon moved to Franklin, Tenn.
By then, younger, more telegenic singers had come along with vocal styles learned largely from Mr. Jones and Merle Haggard. Now treated as an elder statesman, Mr. Jones sang duets with some of his musical heirs, including Randy Travis and Alan Jackson. Garth Brooks, Vince Gill, Travis Tritt, Clint Black, Patty Loveless and other country stars joined Mr. Jones on the single “I Don’t Need Your Rocking Chair” in 1992. That same year he was named to the Country Music Hall of Fame.
A Return With Wynette
His 1992 album, “Walls Can Fall,” sold a half-million copies. He made a duet album, “The Bradley Barn Sessions,” with country singers like Trisha Yearwood and rock musicians likeMark Knopflerand Keith Richards. In 1994, he had triple bypass surgery.
Mr. Jones rejoined Ms. Wynette to record an album, “One,"and to tour in 1994 and 1995, and in 1996 he released an album to coincide with the publication of his autobiography, giving it the same title, “I Lived to Tell It All.” He changed labels again, to Asylum Records, in 1998, the year Ms. Wynette died in her sleep at age 55.
By this time, Mr. Jones was performing more than 150 nights a year. Then, on March 6, 1999, he was critically injured when his car hit the side of a bridge while he was changing a cassette tape. A half-empty bottle of vodka was found in the car; Mr. Jones was sentenced to undergo treatment.
“Choices,"a song he released in 1999, won him a Grammy for best male country vocal. In it, he sang, “By an early age I found I liked drinkin'/Oh, and I never turned it down.”
Mr. Jones, who lived in Franklin, Tenn., continued to tour and record into the 21st century. He was a guest vocalist on Top 30 country hits by Garth Brooks and Shooter Jennings, and he released both country and gospel albums in the early 2000s. In 2006 he and Mr. Haggard joined forces again for “Kicking Out the Footlights Again: Jones Sings Haggard, Haggard Sings Jones.” In 2008 he was honored by the Kennedy Center, and in 2012 he received a lifetime achievement Grammy Award.
In addition to his wife, survivors include his sister, Helen Scroggins, and his children and grandchildren.
In his last years, Mr. Jones found himself upholding a traditional sound that had largely disappeared from commercial country radio. “They just shut us off all together at one time,” he said in a 2012 conversation with the photographer Alan Mercer. “It’s not the right way to do these things. You just don’t take something as big as what we had and throw it away without regrets.
“They don’t care about you as a person,” he added. “They don’t even know who I am in downtown Nashville.”