21-40 of 2,386 results  for:

  • Popular Music x
  • Musical Concepts, Genres, and Terms x
Clear all

Article

Akwid  

Elijah Wald

Musical group formed in 2002 in Los Angeles. The most successful exponents of the Southern California style known as “banda rap” or “urban regional” music, Akwid is a duo of brothers Francisco and Sergio Gómez. Born in Michoacan and raised in Los Angeles, the Gomezes made their debut in the mid 1990s as English-language rappers Juvenile Style, then switched to Spanish and renamed themselves Akwid (a combination of their deejay pseudonyms, A.K. and Wikid) in 2000.

Their first album gained only lackluster sales, but after they signed with a subsidiary of Univision in 2003, their second, Proyecto Akwid, sold a third of a million CDs. Its sound mixed traditional Mexican music—especially the West Coast brass band style known as banda—with rhythms and studio techniques adapted from gangsta rap. Other groups were attempting similar fusions, but where most had to rely on outside producers, Akwid controlled their own sound and created a particularly organic musical combination, driven by the thump of tuba samples and clever use of familiar ...

Article

Alabama  

David B. Pruett

Country music group. Acknowledged by the Academy of Country Music (ACM) in 1989 as the Artist of the Decade for the 1980s, Alabama is arguably the most celebrated country music group in the history of the genre. Three of the band’s members—lead vocalist Randy Owen (b Fort Payne, AL, 13 Dec 1949), multi-instrumentalist Jeff Cook (b Fort Payne, AL, 27 Aug 1949), and bassist Teddy Gentry (b Fort Payne, AL, 22 Jan 1952)—had been performing their unique blend of southern rock and country pop together throughout the American South since 1969. Beginning in 1974, the group began playing regular shows in Myrtle Beach, South Carolina, where drummer Mark Herndon (b Springfield, MA, 11 May 1955) became the group’s fourth and final member in 1979, one year before Alabama signed with RCA. The group’s first major label release My Home’s in Alabama (RCA, ...

Article

Robin Denselow

[Albion Country Band, Albion Dance Band]

British folk-rock group. It was created by the bass player Ashley Hutchings after his departure from Steeleye Span in 1971, when he put together a group of musicians to back Shirley Collins (to whom he was then married) on her album No Roses (Pegasus, 1971). It proved so successful that several of them, including guitarist Richard Thompson and accordion player John Kirkpatrick, joined Hutchings in recording a selection of amplified morris dance tunes, Morris On (1972). Hutchings fused English traditional music with rock sounds in subsequent versions of the band, whose repertories included contemporary songs (some by Hutchings) and traditional material. The group has featured some of the finest British folk musicians, including Martin Carthy, Shirley Collins, John Kirkpatrick, Simon Nicol, John Tams and Richard Thompson. Different line-ups have played both amplified and acoustic material and have been documented in albums such as Live at the Cambridge Folk Festival...

Article

E. Ron Horton

(Anthony )

(b Hollywood, CA, Aug 30, 1957). American jazz and pop saxophonist. With Grover Washington jr and George Benson he was at the forefront of a movement in the 1970s that combined a jazz sensibility with more mass-market styles such as funk, rock, and rhythm and blues. Albright attended Locke High School where Patrice Rushen was a fellow student. At the University of Redlands, he read business management with a minor in music; during this time he refined his saxophone technique and learned to play bass guitar. He subsequently performed and recorded with Rushen, playing the well-known saxophone solo on her hit single “Forget me nots” (Rhino, 1982). Thereafter, his career flourished as he worked with a range of artists including Anita Baker, the Winans Family, Lola Folana, Whitney Houston, Phil Collins, and Quincy Jones. One of Bill Clinton’s favorite saxophonists, Albright performed at the president’s inauguration as well as at several of his private functions. As a leader, he has made nine albums and sold more than one million records in the United States; his recordings ...

Article

Album  

David Buckley

The term was first applied to a colection of 78 r.p.m. discs used to record a long work, such as a symphony, that would not fit onto a single disc; these collections were presented in a format resembling a family album, although containing sleeves for discs rather than pages for photographs. The term was later adopted for long-playing records of over 30 minutes of music, and later again also denoted the aesthetic qualitites of the music contained within. In the mid-1960s albums were often a collection of songs organized around one central theme; thus artists such as the Small Faces, the Mothers of Invention, the Moody Blues, the Who and the Beatles were described as making ‘concept’ albums. These consisted of a selection of songs either unified by one pivotal idea, for example the work of the Moody Blues, which centred around eastern mysticism and spirituality, or built around a narrative sequence, as in the cases of the Who’s ...

Article

(b Jewett, TX, Sept 12, 1900; d Richards, TX, April 18, 1954). American blues singer. He spent most of his life in east Texas, where he worked as a farmhand in Leon and Grimes counties and as a storeman in Dallas. There he was heard by the record salesman and blues pianist Sam Price, who arranged his first recording session. Alexander became one of the most popular recording blues singers of the 1920s. He was imprisoned for at least two offenses in the course of his career, and his earliest recordings, including “Levee Camp Moan” (1927, OK), are strongly influenced by work song. Unlike most male folk blues singers, he did not accompany himself; on this and the well-known “West Texas Blues” (1928, OK) among others, he was supported by the guitarist Lonnie Johnson, who was able to complement his irregular timing and verse structure. Alexander had a low, moaning singing style and used hummed choruses to good effect, as on “St. Louis Fair Blues” (...

Article

Horace Clarence Boyer

revised by Tammy L. Kernodle

(b Hamilton, MS, Jan 21, 1916; d Los Angeles, CA, July 8, 1996). American gospel singer, manager, and promoter. He moved to Los Angeles in the early 1940s to become a member of the Southern Gospel Singers, an all-male quartet. In 1946 he joined the Pilgrim Travelers, another male quartet, of which he soon became the guiding force. During its period of greatest popularity in the 1950s and 1960s the group became known for its close and smooth harmonies. Its members have included Kylo Turner and Keith Barber (leads), Jesse Whitaker (baritone), and Raphael Taylor (bass); jazz singer Lou Rawls also sang with the group in the late 1950s. Among their popular recordings were “Mother Bowed” (1950) and “I was there when the spirit came” (1952). The group performed in concert throughout the United States and won acclaim for their appearances at the Apollo Theater in New York. When the Travelers disbanded following a car accident that left Rawls hospitalized, Alexander shifted his focus to production and management. Alexander was instrumental in securing a recording contract for Dorothy Love Coates and the Original Gospel Harmonettes, recommended the singer Jessy Dixon to Brother Joe May and is credited as one of Little Richard’s early mentors and managers. He started working with Sam Cooke, who left gospel music in the late 1950s to pursue a career in pop music, and together they formed SAR records in ...

Article

Martin Bernheimer

revised by Claudio Vellutini

(b Meridian, MS, Oct 21, 1923; d Meridian, MS, Dec 8, 1990). American tenor. He trained at the Cincinnati Conservatory and made his debut as Faust with the Cincinnati Opera in 1952. He joined the New York City Opera as Alfredo five years later. In 1961 he made his Metropolitan debut as Ferrando, and performed there regularly until 1987. He also collaborated with other major American opera companies. He was heard at the San Francisco Opera beginning in 1967 (debut as Julien in Gustave Charpentier’s Louise). In May 1973 he sang the title role in the American premiere of the original French version of Don Carlos, staged by the Boston Opera. Two years later he appeared for the first time at the Opera Company of Philadephia as Calaf. Important European engagements included Korngold’s Die tote Stadt at the Vienna Volksoper (1967), La bohème at the Vienna Staatsoper (...

Article

Gareth Dylan Smith

[Patterson, Robert, Jr. ]

(b Philadelphia, PA, July 1, 1935; d New York, NY, Aug 13, 2009). American jazz drummer. He learned congas from the age of nine and studied percussion while in the US Army (1952–5). After attending the Granoff School in Philadelphia, he worked in jazz and rhythm-and-blues bands and in 1963 moved to New York, where he was a key figure in the free-jazz movement, performing with Albert Ayler, Don Cherry, Sun Ra, and Archie Shepp. In addition he collaborated with John Coltrane, including the albums Expression and Interstellar Space (both 1967, Imp.), on which Ali’s performance displays the influence of Sunny Murray and Milford Graves. Ali also learned from Elvin Jones, with whom he competed for the drum chair in Coltrane’s band. In 1967 Ali worked in Europe with Niels-Henning Orsted Pedersed, studied with Philly Joe Jones, and worked at Ronnie Scott’s, London, with Jon Hendricks and Dave Holland. The following year he returned to New York, where he played with Sonny Rollins and Jackie McLean, and for five years from ...

Article

Deena Weinstein

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, ...

Article

Alan Lewis

Mixed troupe of popular vocalists and bell ringers. Organized at New York City in 1846 and billed early as the “Alleghanians, or American Singers,” the group, usually a quartet, toured widely from 1847. Members at that time included James M. Boulard (bass), Richard Dunning (tenor), Carrie Hiffert (contralto), and William H. Oakley (alto). From the start, comparisons to the Rainer and Hutchinson family troupes were common. Miriam G. Goodenow, a young soprano, replaced Hiffert, evidently in 1849. This lineup, managed and promoted expansively by Jesse Hutchinson, Jr., toured Gold Rush California in 1852. Frank Stoepel, renowned for dazzling performances on a novel “wood and straw instrument,” is said to have introduced handbell ringing to the company in 1857. This ensemble, renamed the Alleghanians Vocalists and Swiss Bell Ringers, embarked on a world tour in 1858, presenting American popular music to audiences in many lands.

Guided by agent Daniel G. Waldron, the Alleghanians traveled with evident success from San Francisco to Honolulu, through the South Seas, and back via South America. The group, at times, included pioneers of their instruments, such as concertina player Alfred B. Sedgwick in the early 1860s and harmonica soloist L. Percy Williams a decade later. In ...

Article

Lars Helgert

(Antoinette )

(b Pontiac, MI, June 12, 1957). American jazz pianist and composer. She began classical piano study at age seven with Patricia Wilhelm, who also encouraged her interest in jazz. After graduating from Detroit’s Cass Technical High School in 1975 (where trumpeter Marcus Belgrave was one of her teachers), she studied with John Malachi at Howard University (BA 1979, jazz studies) and with Nathan Davis at the University of Pittsburgh (MA 1982, ethnomusicology). She also took private piano lessons with Kenny Barron in 1979. She moved to New York in the early 1980s, where she became a member of the M-BASE collective. Allen recorded her first album as a leader, The Printmakers, in 1984 (Minor Music). Since then she has performed on more than 100 recordings in a variety of capacities. She worked in trios with Ron Carter and Tony Williams (on albums such as Twenty One, 1994, Blue Note) and with Charlie Haden and Paul Motian (...

Article

Barry Long

(b Louisville, KY, May 25, 1924). American alto saxophonist and bandleader. He began clarinet lessons when he was ten and later took up alto saxophone. After joining the US Army at 18 years of age, Allen performed in military bands and, while stationed in Paris, formed a trio with Art Simmons and Don Byas. Allen remained in Europe following his discharge, touring with James Moody and studying clarinet at the Paris Conservatory with Ulysse Delécluse. He returned to the United States in 1951 and led dance bands and worked as a composer in Chicago. After hearing a demo recording of Sun Ra’s Arkestra in a record store, Allen sought out the bandleader during a rehearsal and began an apprenticeship. He subsequently rehearsed with the Arkestra for more than a year before joining officially in 1958. His association with the ensemble has lasted more than 50 years.

Allen worked closely with Sun Ra for much of his professional career, composing for the bandleader and performing both in concert and on more than 200 albums; he even shared a house with him. Alongside John Gilmore Allen anchored the reed section, adding flute, clarinet, oboe, and in later years wind synthesizer. He invented the morrow, a woodwind instrument combining a saxophone mouthpiece with an open-holed wooden body, and learned to play and build the kora, a West African multi-string instrument. Allen rarely worked outside the Arkestra, although he made a notable recording with Paul Bley (...

Article

Douglas B. Green

(Elvie )

(b near Willcox, AZ, Dec 31, 1924; d Tucson, AZ, Dec 19, 1999). American singing cowboy, songwriter, actor, and radio and recording artist. Born on a remote ranch, Allen had a powerful voice of tremendous range, was a world-class yodeler, and a prolific songwriter. He had begun a performing career straight out of high school and, after a stint at WTTM in Trenton, NJ, was added to the National Barn Dance cast in 1945. A true westerner and a good horseman, he seemed a natural for the singing cowboy film genre, but it was a genre in decline, and his was the last singing series any studio launched. Allen’s first film for Republic was the fittingly titled Arizona Cowboy (1950), and his last of 19 movies was Phantom Stallion (1954).

Allen then turned to television, starring in Frontier Doctor (1958). He was able to keep up an active recording and touring career, supplemented by Disney Studios’ (and other studios’) frequent use of his avuncular and authoritative speaking voice as a narrator of documentaries, television features, and feature films such as ...

Article

Mark Tucker

[Stephen Valentine Patrick William]

(b New York, NY, Dec 16, 1921; d Encino, CA, Oct 30, 2000). American composer, radio and television personality, pianist, singer, and comedian. The son of Belle Montrose and Billy Allen, both of whom worked in vaudeville, he moved from place to place as a child, attending many schools for short periods of time. He played piano from an early age, although his musical training was mainly informal. He began a professional career in Los Angeles as a disc jockey on radio during the 1940s, then turned to television in the 1950s; he established himself as a comedian, and often played the piano during his shows, improvising jazz and singing his own songs. Among the musicians who appeared with him regularly was the vibraphonist Terry Gibbs. Allen’s most popular television program was “The Tonight Show,” which he began broadcasting locally in New York in 1953, subsequently leading it to nationwide success the following year. Allen performed the title role in the film ...

Article

Horace Clarence Boyer

(b McCormick, SC, Sept 25, 1921; d Philadelphia, PA, July 30, 2008). American gospel singer, pianist, and composer. She moved to Philadelphia at an early age and sang and played at a local Church of God in Christ. In 1942 she joined a female quartet, the Spiritual Echoes, and served as their pianist for two years, leaving the group in 1944 to organize the Angelic Gospel Singers with her sister Josephine McDowell and two friends, Lucille Shird and Ella Mae Norris. Their first recording, “Touch Me, Lord Jesus” (1950), sold 500,000 copies in less than six months. Her most famous composition is “My Sweet Home” (1960). The incidental harmony of their rural singing style and Allison’s sliding technique appealed to a large number of supporters who otherwise found the gospel music of the period controlled and calculated. The group traveled and recorded with the Dixie Hummingbirds during the 1950s. Allison toured, recorded, and performed gospel music for over seven decades....

Article

Patti Jones

(John, Jr. )

(b Tippo, MI, Nov 11, 1927). American jazz and blues pianist, singer and songwriter. His style was influenced by the blues music he heard on the juke box at his father’s general store. Primarily self taught on piano and trumpet, Allison began playing professionally in Delta roadhouses and attended the University of Mississippi, Oxford. However, he left to enlist in the US Army in 1946, and during his service he played trumpet and piano and wrote arrangements for an army band. After completing a degree in English at Louisiana State University, he moved to New York in 1956 and attracted attention nationally playing piano with such leaders as Chet Baker, Al Cohn, Zoot Sims, Gerry Mulligan, and Stan Getz.

Allison created a hybrid style that integrated country blues with urbane jazz; it can be heard on his first album, Back Country Suite (1959, Prst.), which includes what became his signature tune, “Young Man’s Blues.” In the 1960s Allison’s music influenced British rock musicians, and this tune was covered as a generational anthem by The Who. During the same period Allison recorded for Atlantic and wrote pithy lyrics about public service and social commentary (“Everybody Cryin’ Mercy”) and personal crisis (“Hello There, Universe”), some with a playful sense of humor (“Your Mind’s on Vacation”). Later songs such as “Ever Since the World Ended” and “Certified Senior Citizen” focused on contemporary culture and aging. Allison has also interpreted blues and jazz standards such as Willie Dixon’s “Seventh Son,” Muddy Waters’ “Rollin’ Stone,” and Duke Ellington’s “I ain’t got nothin’ but the blues.” His elaborate piano instrumentals and improvisations draw upon the music of Charles Ives and Alexander Scriabin and reflect his experimentation with conventional ideas of time....

Article

Chris Walters

American rock group. Its original members were (Howard) Duane Allman (b Nashville, TN, 20 Nov 1946; d Macon, GA, 29 Oct 1971; guitar), Gregg (Gregory Lenoir) Allman (b Nashville, TN, 8 Dec 1947; guitar, keyboard and vocals), Dickey (Richard) Betts (b West Palm Beach, FL, 12 Dec 1943; guitar and vocals), Jai Johanny (Jaimoe) Johanson (John Lee Johnson; b Ocean Springs, MS, 8 July 1944; drums and percussion), Berry Oakley (b Chicago, 4 April 1948; d Macon, GA, 11 Nov 1972; bass guitar) and Butch (Claude Hudson) Trucks (b Jacksonville, FL; drums). The two Allman brothers grew up in Florida and worked in several short-lived groups during the 1960s, including the Hourglass with whom they recorded two albums for Liberty Records in Los Angeles. In 1968 they moved to Fame Studios in Muscle Shoals, Alabama, where Duane Allman was engaged as a studio guitarist; he participated in sessions with Wilson Pickett, King Curtis and Aretha Franklin among others. Having signed a recording contract with Atlantic Records, Duane Allman with his brother Gregg formed the Allman Brothers Band, though even after the release of its first album and during its early tours he continued his session work, most significantly with Eric Clapton on Derek and the Dominos’ single, ...

Article

Mark Lomanno

(Pastor Gomez )

(b Sincelejo, Colombia, Feb 18, 1949). American saxophonist of Colombian birth. His father was a percussionist who performed traditional Colombian music and Almario began his career playing in this style. Influenced by the Cuban music that was popular along the Caribbean coast of Colombia, Almario studied wind instruments and theory in Barranquilla, where he later moved. After a tour of the United States in 1967, he accepted an invitation to move to Miami and in 1969 was offered a scholarship to the Berklee School of Music. Two years later, while he was still studying, Almario was invited to sit in with Mongo Santamaria, who subesequently hired him as musical director for his ensemble; Almario can be heard on a number of Santamaria’s recordings, including Afro-Indio (1975, Fania). In the following years, Almario worked with Duke Ellington, Machito, Willie Bobo, and Charles Mingus. His group Koinonia, which he formed with Alex Acuña, performed West Coast jazz and promoted Christian spirituality, such as on the album ...

Article

Cathy Ragland

(b Skidmore, TX, July 25, 1911; d Sunnyside, WA, July 8, 1999). American conjunto musician. Santiago Almeida is best known for playing the bajo sexto on some of the earliest and best known recordings of Texas-Mexican conjunto music. Almeida was born into a farmworker family that played music to make ends meet. At 15, he joined the family band, Orquesta Almeida, and played numerous dances in the lower Rio Grande Valley. It was at these dances that he likely encountered accordionist narciso Martínez . The duo performed together at dances before making their first recording in 1936 for Bluebird Records, a low budget sub-label of RCA records marketed to regional and ethnic audiences. It was a 78-rpm disk of a polka, “La Chicharronera” and a schottische, “El Troconal,” which sold well and is now regarded as the first modern conjunto recording. The pairing of these two instruments was significant as it established the musical “core” of the modern Texas-Mexican ...