Record company and label. The company was established in 1957 by Doug Dobell (b London, 1918; d Nice, France, 10 July 1987), the owner of a record store in London. The first discs to be released were 10-inch EPs, which were put out in limited quantities. Later the catalogue was expanded to include 12-inch LPs; by the mid-1970s the company had issued more than 50 albums, mostly of traditional and mainstream jazz. The catalogue included recordings made by such English musicians as Tubby Hayes, Bruce Turner, Dick Morrissey, Keith Smith, Kenny Baker, and Tony Coe and items by visiting Americans, among them Bud Freeman, Eddie Miller, Buck Clayton, Albert Nicholas, and George Lewis (i). In 1962 the company sponsored and issued the results of Jack McVea’s first session as a leader in 15 years. Much of the repertory was produced by Dobell, who, as a pianist himself, was responsible for recording albums by Dick Wellstood, Dill Jones, Brian Lemon, Don Ewell, Dick Katz, Joe Turner (i), and Ralph Sutton. In addition 77 issued some albums first put out by Delmark and other small American labels....
Gary W. Kennedy
Record company and label. It was established in 1975 by Trevor Watts and John Stevens and released only three recordings, two by the Spontaneous Music Ensemble and one by the group Amalgam.
Both an American Detroit-based hard rock band and the adopted name of its singer and main creative force Vincent Damon Furnier (b Detroit, MI, 4 Feb 1946). Cooper was the son of a minister and the nephew of the storyteller Damon Runyon, after whom he was named. He moved to Arizona, where he attended high school and formed the Nazz. This band eventually took the name Alice Cooper and developed an over-the-top, theatrical shock-rock style that influenced a host of other rock performers.
With snide and clever lyrics, Alice Cooper’s style was mainly hard rock, but some tunes were psychedelic and others would be suitable in a Broadway musical. After moving to Michigan, the band scored numerous hits in the early 1970s. Many of the songs were rebellious youth-focused anthems, including “Eighteen” (Warner, 1971) and “School’s Out” (Warner, 1972). Others centered on ghoulish menace or mere gothic gruesomeness like “Dead Babies” (Warner, ...
Terence J. O’Grady
revised by Bryan Proksch
(b Los Angeles, CA, March 31, 1935). American trumpeter, composer, bandleader, and record company executive. He studied trumpet as a child and left college to play in the army for a two-year period. After three years of producing records on his own, he launched A&M Records with Jerry Moss in 1962. A&M’s first issue was also Alpert’s first recording as a trumpeter and bandleader, The Lonely Bull (A&M, 1962). The title track included sounds from the bullring in Tijuana, Mexico, so Alpert dubbed his band the Tijuana Brass. His music exploited a distinctive combination of Mexican mariachi-style brass with jazz rhythms, which was dubbed Ameriachi. A string of hits including “Mexican Shuffle” (A&M, 1964) and “Tijuana Taxi” (A&M, 1965) followed. In 1966 Alpert had five recordings simultaneously listed on the Billboard Top 20. His cover of “This guy’s in love with you” reached no.1 in ...
Lori Burns and Jada Watson
(b Newton, NC, Aug 22, 1963). American alternative-rock singer-songwriter, pianist, and record producer. She emerged in the early 1990s amid a resurgence of female singer-songwriters and has been one of the few well known alternative-rock artists to use the piano as her primary instrument. She attended the preparatory division of the prestigious Peabody Conservatory but left the school at the age of 11. She began to play her own music in nightclubs at 14, chaperoned by her father, who was a preacher. After Amos moved to Los Angeles in her late teens to pursue a recording career, her band Y Kant Tori Read released a self-titled album (Atl., 1987). Although this was unsuccessful, Atlantic Records retained her six-album contract.
Amos’s debut solo album, Little Earthquakes (Atl., 1992), earned her critical acclaim for her vocal expressivity, pianistic virtuosity, and fearless exploration of a wide range of personal themes, notably female sexuality, personal relationships, religion, sexual violence, and coming of age. The album ...
Roxanne R. Reed
Gospel ensemble. The Angelic Gospel Singers, or the Angelics, were an African American female gospel quartet based in Philadelphia. Founder, lead singer, and pianist Margaret Allison (1921–2008) a native of McCormick, South Carolina, moved with her family to Philadelphia as a youth. Allison joined the Spiritual Echoes in 1942 and learned vocal arranging, composition, and accompanying techniques. Allison’s family was affiliated with the Pentecostal Church, but stylistically her gospel sound was closer to that of the southern Baptist church and gospel tradition. Allison left the Spiritual Echoes in 1944 to form the Angelics. Joining her were fellow former Spiritual Echoes members Lucille Shird and Ella Mae Norris. The third member was Allison’s sister Josephine MacDowell. The quartet’s sound mimicked that of popular male quartets such as the Fairfield Four and the Dixie Hummingbirds with controlled harmonies and simple accompaniment. The Angelic Gospel Singers commonly performed with the Hummingbirds. As a group, the Angelics performed primarily on the Pentecostal Church circuit. Their rendition of Lucie Campbell’s “Touch Me, Lord Jesus” (...
Bill C. Malone
revised by Barry Mazor
[Chester Burton ]
(b nr Luttrell, TN, June 20, 1924, d Nashville, TN, June 30, 2001). American country-music guitarist and recording company executive. Although the first instrument he played professionally was the fiddle, he became internationally famous as a guitarist. Developed while he was in high school, his guitar style was influenced by Merle Travis, Les Paul, Django Reinhardt, and George Barnes and was characterized by the use of the thumb to establish a rhythm on the lower strings and multiple fingers to play melodic or improvisational passages on the higher strings, sometimes with complex voicings. In the early 1940s Atkins toured with Archie Campbell and Bill Carlisle playing both fiddle and guitar, and appeared with them on WNOX radio in Knoxville. He then toured with the second generation Carter Family as a sideman and in 1946 joined Red Foley. After beginning his association with the “Grand Ole Opry” he settled in Nashville in ...
Tammy L. Kernodle
The Black Arts Movement is most commonly referred to as the artistic arm of the Black Power Movement. Although it has largely been referred to as a literary movement—due in large part to the impact of writers such as Amiri Baraka (LeRoi Jones), Larry Neal, and Nikki Giovanni—the movement’s goals were also advanced by musicians, painters, photographers and filmmakers. Aesthetically and philosophically the movement and its leaders sought to articulate and represent, through various forms of artistic expression, the diverse cultural and historical phenomenon that have shaped the African American experience. Its beginnings can be traced to the assassination of Malcolm X (El Hajj Malik El-Shabazz) in 1965. Jones and Neal, both black nationalists, called out to artists to join the black liberation movement and work toward creating a decidedly “black” art that would appeal both to the masses and those within the academy by drawing heavily from an Afrocentric cultural tradition. Many avant-garde jazz artists, including John Coltrane, Albert Ayler, and Archie Shepp, among others, embraced the tenets of the movement. A ...
American hip-hop group. It was formed in 1995 in Los Angeles by will.i.am (William James Adams, Jr.; b Inglewood, CA, 15 March 1975; rapping, vocals, various instruments), apl.de.ap (Allan Pineda Lindo, Jr.; b Angeles City, Philippines, 28 November 1975; rapping, drums), and Taboo (Jaime Luis Gómez; b Los Angeles, CA, 14 July 1975; rapping, keyboard). The group grew out of Atban Klann (1991–5), a Los Angeles-based group signed for a time to Eazy-E’s Ruthless Records. The Black Eyed Peas developed an approach that fused elements of global pop, jazz-rock, funk, soul, noise music, and a variety of hip-hop styles. Initially considered somewhat of an underground phenomenon, the Black Eyed Peas achieved worldwide commercial success after being joined by Fergie (Stacy Ann Ferguson; b Hacienda Heights, CA, 27 March 1975; rapping, vocals) in 2003. The group’s third and fourth albums, Elephunk (2003) and Monkey Business (2005...
Jesús A. Ramos-Kittrell
[Grupo Bronco, El Gigante de América]
Mexican grupera ensemble. Formed by José Guadalupe Esparza, Ramiro Delgado, Javier Villarreal, and José Luis Villarreal in 1979, this band came together at a time when the genre later known as onda grupera was still in development. Influenced by the sounds of cumbia ranchera music, and romantic ballad, the band became a decisive factor in the commercialization of the grupera phenomenon. Not only did Bronco consolidate cowboy clothing as a grupera staple but they also pioneered the use of elaborate staging, fireworks, and gigantic screens in grupera concerts. After seven years of activity Bronco reached international popularity with the hit “Que no quede huella” (1989), and in 1993 starred in Dos mujeres, un camino, a soap opera that became a commercial hit in Latin America. Clothing, concert entertainment, television, and motion pictures brought international recognition for the band in the United States, Latin America, and Europe. Ultimately, these elements, accompanying Bronco’s enormous record and ticket sales, marked the mainstream emergence of onda grupera. After announcing their retirement in ...
[Five Brown Brothers, Six Brown Brothers]
American saxophone ensemble of the vaudeville and musical theater stages that was comprised of Canadian-born brothers. The group began as a saxophone ensemble led by Tom Brown (1882–1950), along with his brothers Percy and Vern; brothers Alec and Fred joined to form the Five Brown Brothers in 1908. William joined in 1912, forming the Six Brown Brothers. Personnel in the ensemble was in constant flux, and included musicians not related to the Browns. The sextet contained two each of alto and tenor saxophones, one baritone saxophone, and one bass saxophone. The Brown Brothers benefited from the “Saxophone Craze” of the 1910s and 20s, for which Tom Brown has claimed the ensemble was responsible. At the height of the Brown Brothers’ popularity, they performed in Broadway musicals and music revues such as Chin Chin (1914). The Brown Brothers’ shows were equal parts musical act and comedy show in which the Brothers often appeared in clown costumes, and leader Tom Brown performed in blackface. In ...
revised by Megan E. Hill
International festival of orchestral and chamber music, solo recitals, and staged works, established in 1963 in Aptos, California. It was founded by Lou Harrison, the bassoonist Robert Hughes, and Ted Toews, an instructor at Cabrillo College. Held for two weeks in August in the Santa Cruz Civic Auditorium and at various other locations, such as the Mission San Juan Bautista, the festival is noted for its innovative programming and emphasis on the works of living composers: it has staged at least 120 world premieres and over 60 US premieres. The first music director, Gerhard Samuel, was succeeded by Richard Williams in 1969, Carlos Chávez in 1970, Dennis Russell Davies in 1974, John Adams in 1991, and Marin Alsop in 1992. The directors have stressed making the artists accessible to their audiences through workshops and “Meet the Composer” sessions, open rehearsals, and a composer-in-residence program, in which John Adams, William Bolcom, John Cage, Elliott Carter, Carlos Chávez, Aaron Copland, John Corigliano, Michael Daugherty, Philip Glass, Osvaldo Golijov, Lou Harrison, Jennifer Higdon, Keith Jarrett, Aaron Jay Kernis, Libby Larsen, Tania León, Pauline Oliveros, Arvo Pärt, Christopher Rouse, Joseph Schwantner, Virgil Thomson, and Joan Tower have participated. The festival orchestra consists of about 65 musicians from leading orchestras in the United States and Canada....
Mexican rock band. Saúl Hernández formed Caifanes in 1988 with Sabo Romo, Alfonso André, and Diego Herrera. Alejandro Marcovich joined later. Caifanes challenged the norms of mainstream Mexican rock music with their dark, somber music and by dressing in black, using makeup, and performing with disheveled hair. The band’s musical style and their appearance was at first a liability, initially preventing them from landing a record deal. They caught a break when they were invited to open for Argentinean singer Miguel Mateos and impressed his producer. This exposure and the need for Mexican labels to sign bands to compete with Argentine and Spanish bands contributed to their signing a recording contract. Their first album quieted previous doubts with strong sales. They have since been recognized as a key component in the Rock en tu Idioma (Rock in Your Language) movement and in Mexican rock not only for their commercial success but also for their musical ability. Caifanes separated in ...
Benjamin J. Harbert
Publishing company. It was founded in 1953 by Grand Ole Opry manager Jim Denny and performer Webb Pierce. It was one of the original Nashville music publishing companies, competing with Acuff-Rose and Tree. Along with the Grand Ole Opry, these companies contributed to the initial consolidation of the country music industry. Its building was located on 7th Avenue across the street from the studio of Owen Bradley, a legendary local producer. With Bradley and an association with Decca Records, Cedarwood quickly surpassed Acuff-Rose as the premiere Nashville publishing house. Songs published under the Cedarwood name formed the repertoire of the Nashville country music industry; significant recorded works included “The Long Black Veil” by Lefty Frizzell, “So Wrong” by Patsy Cline, “Detroit City” by Bobby Bare, “Daddy Sang Bass” by Johnny Cash, and “The Comeback” by Faron Young. Other notable songwriters whose work was published by Cedarwood include Marijohn Wilkin, Buddy Holly, Danny Dill, Cindy Walker, Ronnie Self, and John D. Loudermilk. In the mid-1960s, Cedarwood began to develop its religious music catalog. Co-founder Denny died in ...
The Center for Black Music Research (CBMR) was founded in 1983 at Columbia College Chicago by Samuel A. Floyd, Jr. Its mission has remained the same since its inception: to document, preserve, and promote the music of the African Diaspora. This mission is accomplished through publications, conferences and symposia, performances, research fellowships, and the Library and Archives, housing books and research collections.
The Center’s flagship publication, Black Music Research Journal (1980–), antedates Floyd’s move to Columbia College. The Center has also published Lenox Avenue (1995–1999), the scholarly journal for a grant-funded project which explored music’s role in the arts of the African Diaspora. Various newsletters, including Black Music Research Newsletter/CBMR Bulletin (1977–1990), and CBMR Digest (1990–) informed members about the Center’s activities. Kalinda! (1994–1997), Stop-Time (1998–2000), and Cariso! (2003–2006) were published for specific grant-funded projects. The Center’s publications also include a bibliographic and reference series consisting of five CBMR monographs, ...
Edgardo Díaz Díaz
Puerto Rican dance band. Founded by Cayetano Cesar Concepción Martínez (1909–74), it first performed on 14 June 1947, alongside Noro Morales’ orchestra at the New Yorker Club in San Juan, Puerto Rico. Its lineup consisted of three trumpets, three saxophones or clarinets, and a rhythm section (piano, bass, timbales, conga, and bongos), as well as a singer who alternated slow boleros with faster guaracha-like genres. Boleros were arranged in a strophic format, with lyrics in the charge of the bolerista, or bolero singer, and Concepción performing solo melodies on trumpet during introductory and inner instrumental sections. Between 1947 and 1954 Joe Valle (1921–80) was the orchestra’s main singer; he was considered to be among Puerto Rico’s most notable boleristas. The orchestra was best known for presenting its ballroom versions of the popular plena to affluent audiences. A lively sound otherwise played by arrabal and rural ...
Chamber music society. Resident in New York at Alice Tully Hall, the society is a constituent of Lincoln Center for the Performing Arts. It was conceived by William Schuman, the president of Lincoln Center, who appointed the pianist charles Wadsworth as the society’s first artistic director (1969–89). Among the musicians Wadsworth assembled to perform for the opening season (1969–70) were Charles Treger (violin), Walter Trampler (viola), Leslie Parnas (cello), Paula Robison (flute), Leonard Arner (oboe), Gervase de Peyer (clarinet), Loren Glickman (bassoon), and Richard Goode (piano). In 2010, led by artistic directors cellist David Finckel and pianist Wu Han, the society numbered around 35 members, joined by guest artists for its annual concert series, educational programs, and national and international tours. Many concerts are broadcast on radio and television, and in 2007 the society started its own recording label.
Following its premiere performance on 11 September 1969...
[John Henderson ]
(b Whitehaven, TN, April 8, 1931). American singer-songwriter, producer, publisher, and entrepreneur. He began playing bluegrass while in the military and after his discharge in 1952, played at radio stations in Wheeling, West Virginia, and Boston. While enrolled in Memphis State University (from 1954), he worked nights and weekends at the Eagle’s Nest club. After working briefly for Fernwood Records, he was hired by Sun Records, where he recorded Roy Orbison, Jerry Lee Lewis, and Johnny Cash, among others. He wrote hits for several of Sun’s artists, including Johnny Cash’s singles “Ballad of a Teenage Queen” and “Guess things happen that way” (both Sun, 1958).
Clement left Sun in 1960 to became a staff producer for RCA in Nashville. In 1963 he moved to Texas, started a publishing company, and produced Dickey Lee’s hit “Patches” (Smash, 1963). After returning to Nashville in 1965, he discovered and produced Charlie Pride and wrote songs for a variety of country artists, including Pride (“Just between you and me,” RCA Victor, ...