We forget how ubiquitous the group's horn section was during the 70s and 80s. Phil Collins, in particular, used them all over his first two solo albums. And never to the great effect that Maurice White and his crew once did.

I remember being called a racist after I wrote a review of Collins' “But Seriously …” in my college newspaper, complaining that Collins should stop putting on blackface and pretending to be a soul singer. I still think he should.

We have to remember that some of Louis' finest albums – yes, even his early more traditional jazz ones – featured his singing. His collaborations with Ella, his take of “Do You Know What It Means To Miss New Orleans?” and the great version of the Eubie Blake tune “Memories of You.” He was an amazing trumpeter, but singing was almost always part of his repertoire.

And “September” is simply one of the best songs ever, and never fails to put a smile on my face.

Louis took a lot of shit from younger jazz musicians for his on-stage demeanor; he was regularly accused of “Tomming it up.” But in later years, many of those same critics came to understand that Louis understood racism and prejudice just as well as they did, he simply wouldn't allow it to poison his outlook on life.