(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 ...
Terence J. O’Grady
revised by Bryan Proksch
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 ...
(b United States). American new Age pianist and producer. He played jazz trumpet and guitar during the 1960s in New York, and has credited John Coltrane as an early influence. He became interested in sonic healing and Eastern religions, both of which became fundamental to the transformation of his musical style. After undergoing a spiritual awakening in 1969 in the Santa Cruz mountains, Halpern developed what he called “anti-frantic alternative” music, releasing his first album, Spectrum Suite, in 1975. It became one of the foundational, and most influential, albums of New Age music. To create what was labeled music for “meditation and inner peace,” Halpern performed slowly unfolding, almost arrhythmic melodies on keyboards and synthesizers. Often using choral backdrops for his minimalist, meandering, and warm sonic environments, he weaves together spiritual growth and musical freedom with the goal of bringing self-actualization and wellness to the listener. He has released over 70 recordings featuring instrumental music as well as guided meditation. These include recordings targeted for specific purposes, such as ...
(b Canton, OH, Aug 18, 1905; d West Redding, CT, July 31, 1978). American composer, violinist, bandleader, recording engineer, and producer. After graduating from Johns Hopkins University, he performed as a light classical violinist in the United States and Europe. During the 1930s he studied conducting with Maurice Frigara in Paris. After a near-fatal car accident in 1940, he organized his own dance band, the Light Brigade, which recorded for RCA and Columbia. After he disbanded it at the turn of the decade, Light devoted himself to management, working for several record companies before becoming president of Waldorf Music Hall Records in 1954. He founded his own label, Grand Award, in 1956 and had success with Dixieland and honky-tonk piano albums. In 1959, he founded Command Records on which he released Persuasive Percussion, the first in a successful series of high-fidelity albums that used stereo technology to great advantage. Over the next two decades, he continued to produce hit albums drawing on the latest technological savvy and packaged with covers usually designed by Josef Albers. Musicians who appeared on Light’s albums include the Free Design, Doc Severinsen, Dick Hyman, Bobby Byrne, and Bobby Hackett. In ...
(b LaGrange, GA, June 12, 1936; d LaGrange, June 13, 2016). American guitarist, songwriter, producer, and entrepreneur. At age 14 he arrived in Memphis and soon worked with Johnny and Dorsey Burnette. His song “This Time” became a hit for Troy Shondell (1961, Liberty). He then worked for Stax Records, overseeing their first three hits. Ousted in 1962, he founded American Studios and assembled a house band, the Memphis Boys. With Dan Penn, he wrote “Dark End of the Street” for James Carr (1966, Goldwax) and “Do Right Woman” for Aretha Franklin (1967, Atl.). He produced works by Elvis Presley, the Gentrys, Dionne Warwick, B.J. Thomas, and many others. In 1972 he moved to Atlanta and then Nashville, where he became prominent in the Outlaw movement, producing Waylon Jennings and Willie Nelson and cowriting “Lukenbach, Texas (Back to the Basics of Love)” (1977, RCA) with Bobby Emmons. In ...
Olivia Carter Mather
[Alvis Edgar ]
(b Sherman, TX, Aug 12, 1929; d Bakersfield, CA, March 25, 2006). American country musician and businessman. He is widely considered the central figure of the Bakersfield sound, and his dominance of the country charts in the 1960s challenged Nashville’s hegemony and bolstered the West Coast country scene in Bakersfield and Los Angeles. During the 1950s he worked as a guitarist and session player for several Bakersfield artists before signing with Capitol Records in 1957. In 1963 he began a streak of 14 consecutive number-one country hits with “Act Naturally,” which was later covered by the Beatles. Other hits included “Together Again” (1964), “I’ve got a tiger by the tail” (1965), and a cover of “Johnny B. Goode” (1969).
Owens’s songs eschewed themes of hard living and rambling for a portrayal of the male subject as a lonely victim of romance. With his backing band, the Buckaroos, he developed a bright, driving sound which he described as a freight train feel: heavy bass and drums accompanying two Fender Telecaster electric guitars played by Owens and the guitarist Don Rich. The twangy Telecaster sound and high, close harmony of Owens and Rich characterized many of his recordings. The Buckaroos both toured and recorded with Owens, a contrast to country norms. Owens thus established an alternative to the popular “countrypolitan” sound produced in Nashville (he also never joined the “Grand Ole Opry”); in doing so he inspired such country-rock musicians as Gram Parsons and the Flying Burrito Brothers. He also marketed himself as a hard-country artist free of pop influence; in ...
(b New York, NY, Sept 19, 1952). American producer, composer, and guitarist. At the helm of the band Chic , Rodgers and his bass-playing production partner Bernard Edwards (1952–96) epitomized the very best of the disco era while transcending the genre with one of popular music’s most dynamic and cohesive rhythm sections. Individually with highly distinctive guitar licks, Rodgers also successfully transitioned into the 1980s, producing platinum pop records for David Bowie, Madonna, Duran Duran, and many other major acts. This effectively made him one of that decade’s most highly regarded and commercially bankable industry figures.
Rodgers and Edwards met in 1970, becoming members of the Big Apple Band that backed R&B vocal group New York City in 1973, and eventually formed Chic in 1977, releasing an eponymous debut album that year on Atlantic Records that included the Top Ten hit and gold record “Dance, Dance, Dance (Yowsah, Yowsah).” The follow-up album ...
[Bridges, Claude Russell]
(b Lawton, OK, April 2, 1942; d Nashville, Nov 10, 2016). American singer, songwriter, keyboard player, and producer. He is well respected for his solo work—a mix of rock, folk, and country music—but his work as a session musician also brought significant recognition. He began playing piano at the age of four and was playing in clubs in Tulsa as a high school student. His band, the Starlighters, managed to score a spot as the opening act for Jerry Lee Lewis in 1959. Russell moved to Los Angeles the same year and quickly established himself as a session musician, notably with the Wrecking Crew the group of musicians Phil Spector used to accompany his artists. With the Wrecking Crew, the accompanied artists such as the Byrds, Herb Alpert, and Gary Lewis and the Playboys. The keyboard player on hundreds of recordings, he opened his own recording studio in ...
(b Thunder Bay, ON, Nov 28, 1949). Canadian pianist, composer, musical director, actor, producer, and bandleader. He has been musical director for David Letterman’s late-night shows since 1982. Prior to working with Letterman, Shaffer was a featured performer on “Saturday Night Live.” He has served as musical director and producer for the Blues Brothers and cowrote the 1980s dance hit “It’s raining men.” He has served as musical director for the Rock and Roll Hall of Fame induction ceremony since its inception in ...
[Ragsdale, Harold Ray ]
(b Clarkdale, GA, Jan 24, 1939). American singer-songwriter, multi-instrumentalist, producer, arranger, music publisher, television star, and entrepreneur. Harold Ragsdale began his musical career with a high school band that played R&B songs by the Coasters, Drifters, and other R&B groups. In 1955 the family moved to Atlanta, where publisher Bill Lowery signed him as a songwriter and secured his first recording contract with Capitol Records; Capitol’s Head of A&R, Ken Nelson changed Ragsdale’s name to Ray Stevens. After attending Georgia State University, where he studied music, Stevens had his first success with his recording of “Jeremiah Peabody’s Poly Unsaturated Quick Dissolving Fast Acting Pleasant Tasting Green and Purple Pills” (Mercury, 1961). In 1962 he moved to Nashville, supplementing his own recording career with work as a session musician, arranger, and background vocalist. He garnered a number-one pop hit and his first Grammy with his recording of “Everything is beautiful” (Barnaby, ...
(b Clarksdale, MI, Nov 5, 1931; d San Marcos, CA, Dec 12, 2007). American songwriter, guitarist, pianist, bandleader, talent scout, and record producer. He began playing piano as a boy in Clarksdale, forming the Kings of Rhythm while still in school. His musical education consisted of listening to music and playing with blues musicians such as B.B. King. Turner is often credited with writing and recording the first rock and roll record (according to the Rock and Roll Hall of Fame), “Rocket 88,” although the track was released under the name of Jackie Brenston (a member of Turner’s band who sang and played sax on the record). Recorded in 1951 at Sam Phillips’s Sun Studios in Memphis, this uptempo R&B song provided a template for the rock and roll emerging later in the decade. The modified 12-bar blues form, boogie woogie bass line, percussive piano, guitar distortion, and rowdy sax solo became standard features of songs by Little Richard, Jerry Lee Lewis, and others....
[Mattern, David ]
(b Lancaster, PA, Aug 24, 1949). American dj, remixer, and producer. He began his career in music as a producer in the mid-1980s after a period working in the fashion industry. Immersed in the night life in New York, he was fascinated by the work of DJs and decided to try his hand, and he eventually secured a place at Club Bassline. Working alongside Shep Pettibone, he landed numerous high-profile opportunities to remix the music of such pop stars as Madonna and Janet Jackson. Vasquez then co-established his own club, the Sound Factory, which brought him wider exposure and more offers to remix music from major labels. The club closed in 1995, and Vasquez went to other venues, the most notable being the Twilo, where he spun records in a custom-designed booth. Throughout the 1990s he released several albums of remixes, including The Future Sound of New York...
(b Michigan, 1949). American composer, pianist, producer, and guitarist. He is best known for his evocative and introspective solo piano works. He often draws on nature for his picturesque titles, perhaps responding to his time in the Midwest and areas such as eastern Montana. He did not receive any formal training, but instead learned to play the organ by ear in 1967 by listening to records. In 1971, he turned to the piano, influenced by 1920s jazz and the stride piano style of Thomas “Fats” Waller and Teddy Wilson, among others. He studied music at Stetson University in Deland, Florida. The style he developed has been described by Winston as “rural folk piano,” and he was asked to record by John Fahey for Takoma Records in 1972. His first album, Ballads and Blues, did not receive much popular or critical acclaim, but it brought Winston to the attention of New Age guru William Ackerman in ...