Two of the most influential producers of their respective genres died over the weekend, leaving the reggae and jazz worlds mourning their loss.

Joe Gibbs, whose stamp on reggae music spanned more than three decades, died of a heart attack at the University Hospital of the West Indies in Kingston, Jamaica late last week. He was 65.

Meanwhile, celebrated jazz producer Teo Macero, who helped Miles Davis turn his electric jazz work into classics in the late 1960s and early 1970s, died following a long illness near his home in Long Island, New York. He was 82. Gibbs is perhaps the lesser known of the two, but his credits read like a history of reggae music itself.

Born in Montego Bay in 1943, Gibbs left Jamaica to train as an engineer in the US. He returned home in the mid-1960s, eventually adding music sales to the TV repair shop he'd set up. His record shop quickly became a hit, and he then turned to setting up his music production studio.

His collaboration with Roy Shirley on "Hold Them" almost singlehandedly created rock steady music, and he formed an early bond with a young Lee "Scratch" Perry.

Gibbs would go on to work almost every big name in Jamaican music, forming a longtime partnership with Errol Thompson and pairing up with Mighty Diamonds, Dennis Brown, Big Youth, the Heptones, Beres Hammond, and Gregory Isaacs, among others.

He helmed such classics as Nicky Thomas' "Love of the Common People," Althea & Donna's 1977 pop crossover anthem "Uptown Top Ranking," Prince Far I's "Heavy Manners," and Culture's influential album Two Sevens Clash.

Macero's imprint can be found on countless classic jazz recordings, most famously during Davis' electric years, when he recorded such albums as Bitches Brew, On the Corner, and Agharta.

Macero's central role in Davis' work was to help the legendary composer and trumpeter edit down his experimental recording sessions into a cohesive sonic collage.

Macero began his career began as a Julliard-trained saxophonist and composer who performed with jazz giants like Charles Mingus. But in the late 1950s, Macero found his calling, working for Columbia Records as a producer for such artists as Dave Brubeck, Thelonius Monk, Mahalia Jackson, J.J. Johnson, and Davis.

Macero used techniques partly inspired by composers like Edgard Varese, who had been using tape-editing and electronic effects to help shape the music. Such techniques were then new to jazz and have largely remained separate from it since.

According to the New York Times, Macero strongly believed that the finished versions of Davis' LPs, with all their intricate splices and sequencing--done on tape with a razor blade, in the days before digital editing--were the work of art, the entire point of the exercise.

He opposed the current practice of releasing boxed sets that include all the material recorded in the studio, including alternate and unreleased takes. Mr. Macero was not involved in Columbia's extensive reissuing of Davis' work for the label, in lavish boxed sets from the mid-'90s until last year.

Macero left Columbia in 1975. He later worked with Robert Palmer, the Lounge Lizards, Vernon Reid, D.J. Logic, and others.

Macero is survived by his wife, Jeanne, of Quogue, N.Y., and his sister, Lydia Edwards, as well as his stepdaughter, Suzie Lightbourn.