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ICON GREAT MUSICIANS IN HISTORY

BY PETER GERSTENZANG

WHO: Rock quartet from , England WHAT: One of the essential acts of the original ; loud, lyrical, and ambitious WHEN: Formed in 1964, still active Iconography in 2017, even after losing two key members

ICON GREAT MUSICIANS IN HISTORY and matured into one of the towering songwriters of BY PETER GERSTENZANG BY PETER GERSTENZANG the time. With their 1969 “” Who showed they could, : Classical pianist GREAT MUSICIANS IN HISTORY make a conceptually uni- ICON WHAT: A brilliant, if eccentric,  ed album that brought in musical interpreter who ICON GREAT MUSICIANS IN HISTORY By Peter GerstenzanG Singer and elements of classical music some tracks with a nine- redefi ned how a classical WHO: WHO: Trumpeter, and told a story—a strange composer, bandleader piece group. These musician could play, record, The Who WHat: A restless giant of tracks, as quiet and con- electric guitar player 20th-century music who templative as was changed the course of jazz loud and frenetic, were act, and look HE ARGUMENT A gospel and tale about a deaf, dumb, many times over instantly acclaimed and WHAT: OR THE FIRST 10 years of their existence, the Who WHen: Born May 26, 1926 came to be regarded as in Alton, Ill.; died Sept. 28, and blind boy who mirac- 1991 in Santa Monica, Calif. an early example of a new WHEN: R&B pioneer who may style, “cool jazz.” (Even- Born Sept. 25, 1932 in about who was thrillingly stretched the boundaries of rock, becoming tually they were compiled on an album aptly called Birth of the Cool.) Toronto, Ont., Canada; died Oct. just be the mother of ulously regains his senses Davis continued to explore this style America’s rst true and becomes a prophet—while never through the 1950s, reaching a peak in 1959 4, 1982 in Toronto one of the most important and in uential British bands with Kind of Blue, an album that featured Born Mar. 20, up-and-coming players like saxophonist John F sounding pretentious. WHEN: Coltrane and pianist (no relation T of the ’60s, along with and . to Gil). Universally considered a master- piece, Kind of Blue has sold over four million rock ’n’ roller is nev- 1915, Cotton Plant, The music only improved from there copies in the U.S. alone, making it the challenging 20th-century compos- biggest-selling jazz album of all time. Ark.; died Oct. 9, 1973, But if anyone thought success would keep er-ending: ? with the 1971 masterpiece Who’s Next and Davis in one place, they didn’t know Miles. ers such as Paul Hindemith and After a brief stint as the Detours, gui- In short order there were new touchstones: Philadelphia, Pa. discs like the delicate Sketches of Spain (one tarist (pronounced with a a second rock opera, 1973’s , of several more arranged by Gil Evans) and Arnold Schoenberg. Clearly, the ? Ike Turner? the hard-driving Miles Smiles. Davis contin- just a nimble-fingered but also a ued to be a superb talent scout, introducing silent which told stories of both the mods and to many gifted young performers, young Canadian had his own ideas in a way that’s di erent from other h), bassist , drummer including saxophonist , ? Louis Jor- talented brass player and arranger, Moon E DIDN’T LIkE LABELS, including the term “jazz.” keyboardist , and , and everyday English life in the ’60s, in writerly And so, for more than 40 years, Miles Davis took John McLaughlin—all of whom soon about music. Most famously, after gospel singers of the time. Then put was a wildly inventive orchestral-style America’s native art form and continually reimagined became stars themselves. H Starting with 1969’s In a Silent Way and dan? Too often lost in the o cially became the Who in 1964. From detail with near-symphonic arrangements. it, to the delight of music fans and the horror of jazz purists. continuing through the mid-’70s, Davis having established himself as a per- incorporated rock and funk sounds into his on a or drummer, Daltrey was the archetypal leath- Davis’ childhood in East St. Louis, Ill., recording debut as a sideman in 1945, and music, adding electric instruments to his the beginning, the was musically Townshend was an early adopter of the was unusual for the Great Depression era formed his own sextet the following year. bands and playing his trumpet through wah- former, he came to believe that shuffle is Sister Rosetta because his family was prosperous. He took Davis played plenty of bebop with Parker wah and effects. Controversial at the track and see if you can’t hear er-lunged rock singer, and Townshend was trumpet lessons at an early age, discovering and others, but his trademark spare style time, this phase of his career proved hugely startling and visually arresting. Spokesmen synthesizer and put it to imaginative use the -less sound that would soon set wouldn’t truly emerge until later. influential to both jazz and rock musicians, concerts were a needless distraction Tharpe’s style coming through the him apart. Although he was scouted by star Unhappy dwelling in Parker’s shadow, spawning another new style called fusion. Tharpe, an African-Amer- arguably the finest rhythm guitarist in bandleaders while still in high school, his Davis left the saxman’s band in 1948 and After a five-year layoff, Davis returned for a subculture of young, well-dressed during this time. parents insisted that he continue his educa- teamed with arranger Gil Evans to record to music in the early ’80s. As always, he and gave up playing live at the age music of those two early rockers. tion. This led the teenager to the Juilliard confounded expectations, covering such Britain, if not the world. School in New York. contemporary pop songs as Cyndi Lauper’s ican woman who spanked English hipsters known as mods, they played Quadrophenia

Miles of Tracks IMAGES Once Davis got to Manhattan, he spent “Time After Time” and working with rap- of 31. For the rest of his life, he was Tharpe’s biggest success came in Once Townshend, ’s main was the pinnacle of the more time playing nightclubs with his hero, Davis’ discography is loaded pers. By the time of his death, he had secured GETTY

/ Who’s recording career. What followed saxophonist —originator with classics, but you can’t go wrong his place for all time as a jazz innovator, easily an electric guitar with an ferocious of and songs starting off with Kind of Blue, In a of an exciting new branch of jazz called on par with , Duke Elling- ERN f a creature of the studio. 1945 with “Strange Things Happen- Silent Way, or any of the albums he tunesmith, found his style with the 1965 bebop—than he did studying. He made his ton, and his former boss Charlie Parker. ED

recorded with Gil Evans. R were a series of uneven releases, long hia- ID

v in the style of thuggish lunatics, smashing A “Man, sometimes it takes you a long time to sound like yourself.” –Miles Davis D Gould was fascinated by recording ing Every Day,” the rst gospel song single “I Can’t Explain,” he went on to pro- HEN GLENN GOULD EXPLODED onto the insistent downbeat, sang ’s Race Records (later tuses—including a 24-year gap between 16 In Tune Monthly • October 2016 intunemonthly.com their instruments at the ends of shows technology, by microphones and to enter Billboard renamed Rhythm duce a string of brilliant songs (“My Gen- classical music landscape in the 1950s, no other audio editing. When it came to sound and with the hair-raising squall (Townshend called it “auto-destructive art”) studio albums—and tragedies. In 1978, & Blues) chart. It eration,” “Substitute,” “”) technique, he was a perfectionist. But at the of a gospel singer—and and even occasionally  ghting each other Moon died from a drug overdose. In 2002, W pianists played like he did, looked like he did, or got all the way up spoke their mind like he did. And no one else hummed along same time, his famous humming habit made onstage. Entwistle did the same. Townshend and heavily in uenced all of to No. 2, the rst of a perfect recording difficult to achieve, Perhaps the of their era— Who’s Listening Daltrey, however, brought in other musicians while playing compositions by Bach, Beethoven, and Berg. the above male artists. several Top 10 hits understandably driving his engineers to their in-concert volume kept them in the and carried on, even as they maintained their The Who Hits 50! own successful solo careers. They continue distraction. that Tharpe would have over the nextGuinness Book of World Records for years Is a Deemed a prodigy early on, Gould was comprehensive collection of the as the Who to this day, drawing large crowds In the studio and out, Gould also distin- decade. When she married her man-(and destroyed their hearing)—the Who band’s many great singles. discovered to have perfect pitch by the age Goldberg Variations paved the way for , , punk, and, on a good night, still sounding superb. . His record label had guished himself by his offbeat dress. ager and third husband Russell Mor- Who’s Next, Tommy, of three. His parents claimed that he was shown some resistance to his choice of such and heavy metal, in uencing everyone from Quadrophenia But both they and their audience understand Whether in winter or summer, he wore a Sister Rosetta Tharperison in 1951, the ceremony—fol- 1967’s The Who Sell Out , and able to read music before he could read that they can never top what they achieved a seemingly “minor” piece—a set of 30 overcoat, scarf, and mittens. This wasn’t Tharpe started early. Born Rosetta lowed by a concert—was heldBlack in aSabbath to . They also con- excellent entry points as well. are Andall words. By 10, he was studying piano at the variations on a single theme—but the disc Live at in the 1960s and ’70s. At their peak, the just a strange a ectation; he su ered from Nubin, a member of the Church of Washington, D.C. sports stadium,sisted of four virtuosos: Entwistle was not (1970) is on the short Royal Conservatory of Music in Toronto. sold extremely well and Gould was vindi- list of rock’s best live albums. Who were tuneful, thoughtful, transcen- a condition called  bromyalgia, which made God in Christ, she began playing He quickly set himself apart from his peers cated. Generations of listeners would dis- attracting 25,000 paying guests. dent; in short, everything rock musicians him prey to chronic pain and chills—and guitar at age four and was soon accom- By the mid-1950s, Tharpe’s popularity“We were holding up a mirror to our audience and refl ecting them.” with his impressive, almost machine-like cover, or rediscover, Bach due to Gould’s makes his creative output that much more should be. panying her evangelist mother, Katie “My Man and I,” and the epochal “Rock Me.” had begun to wane. Many gospel enthusiasts ability to play at extreme speeds while still championing of such pieces. 16 remarkable. In Tune Monthly MICHAEL OCHS ARCHIVES/GETTY IMAGES Bell Nubin, on her travels through (Despite the secular-sounding titles, their found her later music too bluesy. Still, there clearly articulating every note. Besides Bach, Gould was partial to more • January 2017 The great pianist didn’t only confine the American South. (Their church was lyrics are clearly religious.) Many critics were ne things awaiting her down the line. —Pete Townshend As a young professional, Gould made himself to playing. He wrote extensively ahead of its time in encouraging women to argue that these songs set the template for In the ’60s, she was discovered by a new even more of a stir by rejecting most of the about music and lectured on the topic, as be ministers and musicians.) Little Rosetta rock ’n’ roll singing, and they’ve got a point. generation of blues fans and toured Europe intunemonthly.com piano repertoire favored at the time (mainly well as producing a number of radio and TV Piano Rolls was billed as a “singing and guitar-playing Listen to how Tharpe holds certain syllables alongside giants like . Sadly, 19th-century Romantic composers like documentaries. Sadly, his health, never Liszt, Schumann, and Chopin) and showing Gould’s Bach recordings, including miracle,” and by the time she was six, she’d for a few extra beats, belting out the words in 1970, Tharpe’s career was curtailed by a The Goldberg Variations good,  nally failed him when he was still in a strong preference for the 18th-century already won the hearts of countless church- stroke and an amputated leg; she died three The Well-Tempered Clavier and his prime. A few days after his 50th birthday, goers. The family eventually settled in Baroque period, especially the work of J.S. , are justly Sister’s Songs years later at the still-young age of 58. But famous, but also worth hearing he su ered a massive stroke. He died a week Chicago, where Rosetta made a name for , which Bach. In 1955, he achieved a commercial are Beethoven: Piano Sonatas with a 32-cent stamp issued in her honor in later. Fittingly, his  nal recording was a new, herself as one of gospel music’s most exciting The Gospel of the Blues ) produced in breakthrough with his recording of Bach’s Nos. 30-32 (1956), 1998, an excellent documentary about her

Berg: Sonata for drastically reinterpreted version of the piece collects 18 tracks recorded between performers. Speaking of names, Tharpe was IMAGES ARCHIVES/GETTY OCHS KRIEGSMANN/MICHAEL JAMES Piano, Op. 1 (1959), and (The Godmother of Rock & Roll of Arnold Schoenberg The Music that had first brought him to worldwide her rst husband’s last name, and “Sister” 1938 and 1948, is a fi ne overview 2013, and musicians still singing her praises (1966). of Tharpe’s work. For deeper “The justifi cation of art is the internal combustion it ignites inattention: the hearts The Goldberg of men…”Variations was not an official title but a stage name . today, her spirit is clearly here to stay. . digging, check out the three-volume HAROLD WHYTE/TORONTO STAR VIA GETTY IMAGES meant to re ect her church background. Complete Recorded Works 14 In Tune Monthly • November 2016 In 1938, backed by Lucky Millinder’s jazz

orchestra, Tharpe recorded her rst singles intunemonthly.com for , including “That’s All,” intunemonthly.com “She’s singing religious music, but she is singing rock ’n’ roll.” —Jerry Lee Lewis

• December 2016 16 In Tune Monthly

istory is such a central part of academics that we almost forget There’s a lot to be learned from studying how frequently we use our knowledge of it. In fact, the way we the life and career of an iconic musician. For some of us, it offers a path we might be process the world around us depends on a knowledge of past interested in replicating. By setting out the events. To pick an example relevant to this magazine: When details of someone’s life brick by brick—and often showing that those bricks weren’t laid being exposed to a new band, it’s a rare music fan who doesn’t down in the straightest or swiftest man- at some point consider what other, more familiar artists that ner—that person’s success can seem more H realistic, and in turn more attainable. Stu- band reminds them of. A knowledge of historical context equips us to dents can see that every musician who now speak on our favorite subjects, to make quality judgments on new infor- holds a tremendous influence over others mation, and act in accordance with what has been proven to work in the had to start somewhere. History lessons often teach themselves, past. Because of history’s importance in music education, it’s only natural but there’s always a way to take something that In Tune has its own recurring history lesson: Icon. that might seem predictable and turn it into

6 May 2017 • In Tune Monthly • Teacher’s Edition intunemonthly.com ICON GREAT MUSICIANS IN HISTORY Every issue of In Tune features a

BY PETER GERSTENZANG short history lesson: the Icon page.

WHO: Rock quartet from London, Here are some additional England WHAT: One of the essential acts of the original 1960s British Invasion; loud, lyrical, and ambitious suggestions for making use of it WHEN: Formed in 1964, still active in 2017, even after losing two key members in your classroom. By Kate Koenig and matured into one of the towering songwriters of BY PETER GERSTENZANG the time. With their 1969 “rock opera” Tommy Who showed they could, the GREAT MUSICIANS IN HISTORY make a conceptually uni- ICON  ed album that brought in Singer and elements of classical musicICON GREAT MUSICIANS IN HISTORY BY PETER GERSTENZANG ICON GREAT MUSICIANS IN HISTORY BY PETER GERSTENZANG ICON GREAT MUSICIANS IN HISTORY BY KATE KOENIG ICON GREAT MUSICIANS IN HISTORY BY PETER GERSTENZANG WHO: for a time in the mid-’60s to Goodman’s popular big responded by following his muse, spiritually and told a story—a strange WHO: Drummer, Who’s that on WHO: Guitarist and and was inspired by what band in 1934, Krupa developed bandleader, composer Santana’s shirt? Our bandleader and musically. In 1973, he became enam- The Who October 2016 Icon, electric guitar player he heard on American pop WHO: R&B/rock/pop The former began to out- a reputation for the urgency of WHAT: An inspirational ored of fellow guitarist John McLaughlin’s WHAT: A swing Miles Davis. radio.) vocalist weigh the latter in the late drummer who put his his playing. His vigorous, player whose singular jazz fusion playing, as well as his Indian HE ARGUMENT A gospel and tale about a deaf, dumb, However, after another WHAT: A singer whose ’60s, as the couple toured instrument at the arm- ailing performance style voice on the electric guru (spiritual leader) Sri Chinmoy. Santana guitar mixes Latin, WHAT: OR THE FIRST 10 years of their existence, the Who Jamaican group, Toots and fl amethrower voice with acts like the Rolling center of jazz usually left him drenched with was accepted as a disciple of Chinmoy’s— blues, jazz, and rock and frenzied stage the Maytals, cut the 1968 Stones and released songs like WHEN: Born Jan. 15, sweat. When the Goodman who gave him “Devadip” as a new first and blind boy who mirac- movements infl uenced 1909 in Chicago, Ill.; WHEN: Born Jul. 20, R&B pioneer who may classic “Do the Reggay,” the generations their wild remake of Creed- died Oct. 16, 1973 in band played a groundbreaking 1947 in Autlán de name—and made a lovely, if uncommercial, about who was Wailers realized that here ence Clearwater Revival’s Yonkers, N.Y. concert at New York’s Carn- Navarro, Jalisco, album with McLaughlin called Love, Devo- WHEN: Born Anna Mae Mexico thrillingly stretched the boundaries of rock, becoming Bullock on Nov. 26, was a sound they could “Proud Mary.” egie Hall in January 1938 (the tion, Surrender. just be the mother of ulously regains his sensesWHO: Singer, songwriter, 1939 in Nutbush, Tenn. guitarist, king of follow and improve on: a On an awful, non-musical rst time jazz had been played in that hal- Through various membership changes, and becomes a prophet—while neverWHAT : A fi ery and socially hypnotic sound, slower and note, it’s well documented lowed classical venue), Krupa’s thunderous Santana kept his namesake band going, but America’s rst true rock music conscious artist who brought more stripped-down than that Ike was physically abusive solo on Louis Prima’s “Sing, Sing, Sing” the ’80s and early ’90s found him somewhat one of the most important and in uential British bands ’s music to the world the they’d been playing. to Tina. His violent streak got produced a de ning moment of the Swing adrift as new wave, metal, and alternative Born Mar. 20, WHEN: Born Feb. 6, 1945, Nine They soon developed into worse as the Revue’s popu- Era, making him a celebrity. rock dominated the musical landscape. F sounding pretentious. Mile, St. Ann Parish, Jamaica; WHEN: T died , 1981, , Fla. one of the most exciting larity waned in the ’70s. In Despite the success that Goodman However, in 1999, the guitarist partnered of the ’60s, along with the Beatles and the Rolling Stones. bands in the world. 1976, Tina decided she’d had enjoyed with Krupa behind the kit, the with several popular singers and produced rock ’n’ roller is nev- 1915, Cotton Plant, The music only improved from there Most non-Jamaicans enough, leaving Ike and going relationship between bandleader and drum- Supernatural, which won the GRAMMY rst heard ’s compo- solo. At first, she went mer grew sour. Krupa quit shortly after the for Album of the Year, produced the hit Ark.; died Oct. 9, 1973, sitions in cover versions by nowhere fast, playing Las show and debuted his own single “Smooth” (co-written and sung by er-ending: Elvis Presley? with the 1971 masterpiece Who’s Next and (“”) Vegas, appearing on tired TV big band that spring, one of the earliest Matchbox 20’s Rob Thomas), and sold 15 After a brief stint as the Detours, gui- and (“I Shot shows, trotting out the old examples of a drummer-led jazz group. The million copies. Philadelphia, Pa. the Sheri ”). The Wailers hits and costumes. By the band gave a stage to such luminaries as singer Since that watershed album, Santana has tarist Pete Townshend (pronounced with a a second rock opera, 1973’s Quadrophenia, quickly built on that early dawn of the ’80s, this superb singer and Anita O’Day and trumpeter Roy Eldridge, NTIL CARLOS SANTANA, rock and Latin music toured regularly, reunited with the surviving Chuck Berry? Ike Turner? OB MARLEY WAS reggae’s Elvis Presley. Elvis didn’t awareness with their own albums like 1973’s show-woman seemed totally over. scoring hits with “Blue Rhythm Fantasy,” were only . They’d meet occasionally members of his original band, and confirmed just a nimble-fingered bassist but also a and 1974’s . These Enter a new manager, Roger Davies, who “Drummin’ Man,” and “Drum Boogie.” what had already been evident since the ’70s: invent rock ’n’ roll, and Marley didn’t discover the sound Gene Krupa at family reunions (the biggest being Ritchie Valens’ silent which told stories of both the mods and albums came with a strong message: Marley HE SHOWED how to strut and shimmy. got Tina to ditch her band, dress hipper, and Krupa’s fortunes shifted in the late ’40s U that his instantly recognizable, sweetly in a way that’s di erent from other h), bassist John Entwistle, drummer B or o beat rhythm (one-two-three-four) of reggae. But adhered to the religion of Rastafarianism, record edgy material. In 1982, her version NE OF THE MOST INFLUENTIAL percussionists as big bands came to seem old-fashioned. massive 1958 hit “La Bamba”) and move on. Then, at the end singing tone (produced, for the last four Fats Domino? Louis Jor- talented brass player and arranger, Moon this island music, which took its name from a Jamaican slang in which followers wear their hair in dread- She gave his theatricality and icy stare. She of ’ “Ball Of Confusion” to emerge from the 1930s Swing Era, Gene Krupa After brie y reuniting with Goodman and of the 1960s, with songs like “Evil Ways,” “Soul Sacrifice,” and decades, with help from his trademark Paul Keith Moon, and lead vocalist Roger Daltrey everyday English life in the ’60s, in writerlyterm for “ragged,” rst reached a mass audience through Marley’s locks, reject materialism, and worship the taught it was okay for a woman to sweat like took over the dance clubs of Europe; the drew attention to the drums in an unprecedented way. touring with trombonist Tommy Dorsey’s “Jingo,” Santana and his band invented “Latin rock.” It’s a term Reed Smith guitar) acts as a multicultural late Ethiopian king as a god. S next year’s cover of ’s “Let’s Stay O orchestra, he reinvented his group to include lure, leading rock fans toward greater appre- a stevedore onstage and sing a song with as much punch as gospel singers of the time. Then put was a wildly inventive orchestral-style e orts, much as rock ’n’ roll had through Presley’s. His faith had a profound e ect on his world Together” did even better. In 1984, Tina He also helped create the drum set as we know it. a 10-person string section. It had mild suc- he dislikes almost as much as the world loves his music, but ciation of other styles. For 50 years, Carlos dan? Too often lost in the o cially became the Who in 1964. From detail with near-symphonic arrangements. view, his lyrics, and his legendary generosity melody. She also had, very possibly, the single greatest comeback crowned these achievements with her nest cess but failed to return him to the com- nearly five decades on, you can’t deny that it’s had staying power. Santana has shown that more things connect Marley tightened up the elements of ber of singles throughout the ’60s, featuring in his hometown of Kingston. in music history. She is Tina; hear her roar! solo album, Private Dancer. Grounded more Born into a poor Polish immigrant com- Depression began in 1929, he accompanied mercial heights of his 1930s prime. various kinds of music—and people—than on a Jerry Lee Lewis or Little Richard drummer, Daltrey was the archetypal leath- previously existing Jamaican music styles sweet vocal harmonies that showed the Livingston and Tosh embarked on solo in pop and rock than R&B, the disc was a munity in Chicago, Krupa was the youngest the Chicagoans east to join the jazz scene in Disbanding his large ensemble in 1951, Born and raised in Mexico, Santana Santana was the first band to immac- barriers could ever keep apart. the beginning, the band was musically Townshend was an early adopter of thelike ska, bluebeat, and , adding in uence of U.S. R&B group the Impres- careers in the mid-’70s, making the Wailers After a childhood of poverty and aban- For a decade and a half, the Ike and Tina colossal success (it has sold more than 25 of nine children. Though his parents hoped New York. Krupa continued to perform in trios and began playing the guitar at age eight. As ulately combine rock, Latin jazz, and the shuffle is Sister Rosetta attitude and edge. He also made the music sions. (Marley lived near Wilmington, Del., a permanent showcase for Marley’s passion- donment, Anna Mae Bullock put her feet Turner Revue was one of the most thrilling million copies worldwide). Sold-out arena he would enter the Catholic priesthood, he It was there that Krupa eventually got quartets. Still a big name, he engaged in a a teenager, the blues caught his ear, espe- Cuban/Puerto Rican dance music soon track and see if you can’t hear er-lunged rock singer, and Townshend was more radio-friendly and accessible, without ate songs and vinegary voice. Beloved not on glory road as a teenager, becoming a live acts in the world, even as their recording tours, more multiplatinum albums, and a had already discovered a passion for music his big break, in the form of bandleader and drum battle with fellow virtuoso Buddy Rich cially the stinging leads of B.B. King and to be called salsa. Before they even had Choice startling and visually arresting. Spokesmen synthesizer and put it to imaginative use sacri cing its excitement, depth, or inten- only in his home country but also in Amer- backup singer for Ike Turner’s Kings of catalog was dotted with hits and misses. featured role in the movie Mad Max: Beyond by age 10. Saxophone was his rst instru- clarinetist , otherwise at Carnegie Hall in 1952 and appeared in the grungy grooves of . an album in stores, they were stars, elec- Carlos sity. And by the time of his early death, again Bob’s Best ica, Europe, and several African nations, he Rhythm in the late 1950s. Ike, legendary Thunderdome followed—not to mention a ment, but he stayed after school to practice known as the “King of Swing.” Recruited several lms, including The Benny Goodman In 1966, he formed his own group in San trifying the crowd at the Tharpe’s style coming through the arguably the finest rhythm guitarist in The reputation of Santana—the Tharpe, an African-Amer- like Elvis, he had become not just a symbol was well on his way to becoming a global then and now, had written and performed bestselling autobiography, which in turn drums—until his older brother bought him Story. When his health began Francisco. Taken under the wing of in August of ’69. That fall, their band and the guitarist—will The Marley compilation Legend, during this time. Tina Tracks impresario , he began to make self-titled first disc sold briskly, spurred always rest on two albums: for a subculture of young, well-dressed of the music he played but a quasi-religious originally released in 1984, icon when a freak toe injury, badly treated, the 1951 song “Rocket 88,” which many spawned another hit movie, What’s Love Got his own. Cream of the Krupa failing in the ’60s, he opened a gure to fans around the world. is the all-time best-selling reggae developed into terminal cancer. Marley died consider to be the rst rock ’n’ roll record- Because Ike and Tina recorded for to Do With It. Within a few years, Krupa was playing drum school in New York. a name for himself as a guitar slinger with on by a Top 10 hit, “Evil Ways” (originally Santana (1969, featuring “Evil music of those two early rockers. Britain, if not the world. Ways” and “Soul Sacrifice”) and Born to a biracial couple in Jamaica, album for a reason, as it in 1981 at the age of 36, but his popularity ing. He gave Anna a new stage name—Tina so many different record labels over Turner’s most recent album came out professionally. In 1927, he made his debut For a primer on Krupa’s drumming style, Among the youngsters he taught a passionate, lyrical bent. By 1969, the recorded by Latin jazz percussionist Willie ican woman who spanked Quadrophenia Marley made his rst recordings in 1962 contains most of his top anthems, only grew after his death, with more than Turner—just before her lead vocal debut, the years, it’s impossible to fi nd a nearly two decades ago. Now in her late recordings with a jazz band called McKenzie listen to “Sing, Sing, Sing” on Benny before his death in 1973 were Santana Blues Band had been renamed Bobo). The band’s next two albums, Abraxas (1970, featuring “Black English hipsters known as mods, they played Magic Woman” and “Oye Como Tharpe’s biggest success came in for local producer . The next including “Get Up, Stand Up,” 75 million records sold worldwide. It is a the incendiary “A Fool in Love,” dropped comprehensive greatest-hits album, seventies, she considers herself retired. The and Condon’s Chicagoans, and turned heads Goodman’s The Famous 1938 Carnegie Hall the New York Dolls’ Jerry Nolan simply Santana, solidifying around a core 1970’s Abraxas and 1971’s Santana III, were was the pinnacle of the but Proud Mary: The Best of Ike and Va”). But later albums like Lotus Once Townshend, the band’s main year saw him join with the men who would “One Love,” and “.” testament to his greatness that, to this day, in 1960. Not only was it a hit, but it also fact that she has nothing left to prove is made for playing what was then considered Jazz Concert. To sample his later work as a and Kiss’ Peter Criss, part of a of bassist David Brown, keyboardist/ even more successful. Catch a Fire, Natty Dread, and Tina Turner comes close. As for solo bandleader, check out “Let Me Off Uptown,” (1974), Amigos (1976), and Who’s recording career. What followed make up his future band, the Wailers, no reggae artist has overshadowed him. He convinced Ike to make Tina the focus of his plain whenever her music is played. You can unusual: a full drum set, including an array new generation of rock drum- singer Gregg Rolie, drummer Michael At this point, the classic Santana lineup an electric guitar with an ferocious covers of Motown and blues songs Exodus are also excellent Tina, check out Simply the Best, or “Drum Boogie,” and “Leave Us Leap” from the Supernatural (1999) yield great Shrieve, and percussionists Michael Car- began to dissolve as members moved on to 1945 with “Strange Things Happen- tunesmith, found his style with the 1965 including fellow singers Neville “Bunny” introductions to his artistry. remains the biggest star that Jamaican music band. Within two years, they were just go straight to Private Dancer. hear great pain in her voice, but the sense of tom-toms and the newly invented hi-hat compilation Drummin’ Man. mers inspired by Krupa’s  am- rewards as well. GETTY IMAGES HULTON ARCHIVE/GETTYHULTON IMAGES in the style of thuggish lunatics, smashing were a series of uneven releases, long hia- Livingston and . They cut a num- has produced. married. of triumph is even greater. VERHORST/REDFERNSROB cymbal stand. Not long after the Great boyant playing. DEAN CONGER/THE DENVER POST VIA GETTY IMAGES abello and José “Chepito” Areas. other projects. The group’s leader ing Every Day,” the rst gospel song single “I Can’t Explain,” he went on to pro- “Musicians must be spokespeople for the oppressed masses.”—Bob Marley “I stayed on course because I believed in something inside of me.” —Tina Turner “Without balance, you cannot hope to get rhythm.” —Gene Krupa “My job in this life is to give people spiritual ecstasy through music.” —Carlos Santana insistent downbeat, sang ’s Race Records (later tuses—including a 24-year gap between to enter Billboard their instruments at the ends of shows duce a string of brilliant songs (“My Gen- 16 In Tune Monthly • February 2017 intunemonthly.com 20 In Tune Monthly • March 2017 intunemonthly.com 18 In Tune Monthly • April 2017 intunemonthly.com 18 In Tune Monthly • May 2017 intunemonthly.com with the hair-raising squall renamed Rhythm studio albums—and tragedies. In 1978, (Townshend called it “auto-destructive art”) eration,” “Substitute,” “I Can See for Miles”) of a gospel singer—and & Blues) chart. Itand even occasionally  ghting each other Moon died from a drug overdose. In 2002, got all the way uponstage. Entwistle did the same. Townshend and heavily in uenced all of to No. 2, the rst of Perhaps the loudest band of their era— Who’s Listening Daltrey, however, brought in other musicians the above male artists. several Top 10 hitstheir in-concert volume kept them in the and carried on, even as they maintained their The Who Hits 50! own successful solo careers. They continue that Tharpe would have over the nextGuinness Book of World Records for years Is a comprehensive collection of the as the Who to this day, drawing large crowds decade. When she married her man-(and destroyed their hearing)—the Who band’s many great singles. paved the way for hard rock, art rock, punk, and, on a good night, still sounding superb. ager and third husband Russell Mor- Who’s Next Tommy, and heavy metal, in uencing everyone from , Quadrophenia But both they and their audience understand Sister Rosetta Tharperison in 1951, the ceremony—fol- 1967’s The Who Sell Out , and that they can never top what they achieved Tharpe started early. Born Rosetta lowed by a concert—was heldBlack in aSabbath to Pearl Jam. They also con- excellent entry points as well. are Andall prevailing fashion and was unpopu- voice rang so clearly and recognizably in the 1960s and ’70s. At their peak, the Nubin, a member of the Church of Washington, D.C. sports stadium,sisted of four virtuosos: Entwistle was not (1970) is on the short list of rock’s best live albums. Who were tuneful, thoughtful, transcen- God in Christ, she began playing attracting 25,000 paying guests. dent; in short, everything rock musicians lar with his record label. He proved through his recordings that it was akin to guitar at age four and was soon accom- “We were holding up a mirror to our audience and refl ecting them.” By the mid-1950s, Tharpe’s popularity should be. panying her evangelist mother, Katie “My Man and I,” and the epochal “Rock Me.” had begun to wane. Many gospel enthusiasts 16 everyone wrong, leaving behind Miles Davis (our October 2016 icon) per- In Tune Monthly MICHAEL OCHS ARCHIVES/GETTY IMAGES Bell Nubin, on her travels through (Despite the secular-sounding titles, their found her later music too bluesy. Still, there • January 2017 the American South. (Their church was lyrics are clearly religious.) Many critics were ne things awaiting her down the line. —Pete Townshend ahead of its time in encouraging women to argue that these songs set the template for In the ’60s, she was discovered by a new interpretations of Bach’s The Gold- forming a jazz standard. be ministers and musicians.) Little Rosetta rock ’n’ roll singing, and they’ve got a point. generation of blues fans and toured Europe intunemonthly.com was billed as a “singing and guitar-playing Listen to how Tharpe holds certain syllables alongside giants like Muddy Waters. Sadly, berg Variations that changed popular miracle,” and by the time she was six, she’d for a few extra beats, belting out the words in 1970, Tharpe’s career was curtailed by a already won the hearts of countless church- stroke and an amputated leg; she died three opinion and arguably made him goers. The family eventually settled in Sister’s Songs years later at the still-young age of 58. But Chicago, where Rosetta made a name for , which with a 32-cent stamp issued in her honor in (December 2016) herself as one of gospel music’s most exciting The Gospel of the Blues 1998, an excellent documentary) produced about her in more of a cultural force than he collects 18 tracks recorded between performers. Speaking of names, Tharpe was (The Godmother of Rock & Roll IMAGES ARCHIVES/GETTY OCHS KRIEGSMANN/MICHAEL JAMES her rst husband’s last name, and “Sister” 1938 and 1948, is a fi ne overview a meaningful observation on culture, the would have been if he’d stuck with Chopin The story of Sister Rosetta Tharpe proves of Tharpe’s work. For deeper 2013, and musicians still singing her praises was not an official title but a stage name today, her spirit is clearly here to stay. digging, check out the three-volume meant to re ect her church background. Complete Recorded Works. music business, or the challenges of an art- or Rachmaninoff. that a lesser known artist can still wield a In 1938, backed by Lucky Millinder’s jazz orchestra, Tharpe recorded her rst singles intunemonthly.com for Decca Records, including “That’s All,” ist’s life. To help you in creating a lesson The unusual personality of Gould also lot of influence. “She’s singing religious music, but she is singing rock ’n’ roll.” —Jerry Lee Lewis for your students using Icon, we’ve taken came out in behavioral quirks: his habit of Maybe you were familiar with Tharpe

• December 2016 16 In Tune Monthly three examples from this season and offered humming so loudly while playing that it was before you read about her in In Tune. But it’s some additional perspectives that you can picked up on recordings; his decision to quit reasonable to assume that most of your expand on in class. For each lesson, be sure performing in public early in his career; his students weren’t—her name isn’t frequently to discuss and explain these concepts, and general habit of being so absorbed in his mentioned when talking about the founders include related YouTube videos and music that he didn’t seem to notice the world of rock ’n’ roll. In recent years, especially performances. around him. Gould was distinctly himself— following the 2011 biographical documen- and yet, he is famous for his performances tary The Godmother of Rock & Roll, she’s gotten GLENN GOULD of music written by others. more attention, but she remains relatively (November 2016) All classical performers are interpreters; obscure. Glenn Gould and the realm of classical music they learn the music of composers often Popularity can often be misconstrued as may not be subjects with which your students long deceased and broadcast it back out into a testament of worth. Artists with the most are all that familiar. But the lesson in Gould’s the world. The aspirations of many popular far-reaching influence are certainly of cul- life story is one that can be found in all genres and jazz musicians to establish their own tural value, but that doesn’t necessarily mean of music. compositional voice can overshadow the they’re more valuable than someone whose Gould was a quiet iconoclast, forgoing value of connecting with someone else’s name isn’t as well-known. Tharpe was one the trends of the times in favor of the direc- work. In fact, Gould’s example shows that of the first people to wail out a foreshadowing tion he chose for himself. His decision to artists don’t need to write their own mate- of rock, and inspired a host of other proto- resurrect the music of Bach went against rial to express their inner selves. His artistic rockers to do the same. She’ll probably never

intunemonthly.com In Tune Monthly • Teacher’s Edition • May 2017 7 Teaching with In Tune

s/ e v hi rc rns s A e h c df Re l O / e e a v h hi c rc ) Mi e s A e y arp e Th sual s; ( s; ge o) The Vi h tty Ima e /G he W have the visibility of someone like Elvis singer and instrumentalist in the age of Jim people, so too can your students learn to e

Presley, but she was arguably just as impor- Crow, less than two decades after women embrace their own artistic voices. (ts; yston ge

tant a link in the chain. gained the right to vote. Yet in photos and e Tharpe also went against societal norms videos, Tharpe exudes joy almost exclusively. THE WHO (January 2017) just by being who she was. It couldn’t have If she could be unapologetically herself at a Aside from being one of the biggest names tty Ima e (Gould) K been easy to be an African-American female time when that likely disturbed a lot of in classic rock, the Who are probably most G

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8NAMMF_IntuneAd7x4.875.inddMay 2017 • In Tune1 Monthly • Teacher’s Edition intunemonthly.com9/29/16 2:54 PM remembered for two things: smashing their instruments onstage and producing All the artists we’ve chosen to feature made rock operas. themselves worth remembering by being genuine Today, the idea of a hard in their art and career decisions. destroying its instruments at the end of a show has become something of a cliché. What tends to be forgotten is its roots in we’ve chosen to feature on this page over become aware of, the truer that general post-World War II England’s art scene. 14 seasons of In Tune made themselves observation becomes. Guitarist and composer Pete Townshend, worth remembering by being genuine In their actions, our Icons have said who attended in London in their art and career decisions. The something that’s much louder even than their in the early ’60s, was heavily influenced by examples are as diverse as artistic person- music. That’s why we’ve given them a special the work of , pioneer of the alities can be, but the more examples you place in our telling of history. auto-destructive art movement. (Metzger coined the term “auto-destructive” from the root auto-, meaning “self”—though his work did occasionally feature automobiles.) He used the breaking down of common objects to explore the relationship between art and destruction, and to symbolize mankind’s relationship with violence as Europe con- tinued to recover from the horrors of war. Townshend, deeply inspired by Metzger’s work, took this concept and applied it to the Who’s performances. The Who paired hot-blooded, aggressive FOR TEACHERS rock ’n’ roll with art-school intellectualism, though they’re certainly better known for the former. In 1969, this combination resulted in Townshend’s magnum opus, Tommy, often considered the first great rock opera. By applying the long-form, vocal- Plan Share Connect driven narrative style of opera to rock, Townshend opened for a new FOR STUDENTS subgenre of music. He also, in a sense, sub- verted both genres—by forcing one (opera) into an informal context and the other (rock) into a more formal one. The Who’s thoughtfulness defied appear- ances. It gave rock new depth, and pushed for the music’s recognition as something Learn Play • Record Have Fun more than an unrefined expression of the common man. It also paved the way for many masterpieces that came after Tommy—including the Who’s own Quadro- FREE phenia (1973), Genesis’ The Lamb Lies Down for teachers and students on Broadway (1974), and ’s The using Essential Elements Wall (1979). Band or Strings Books 1, 2, or 3 GREATER MEANING The societal and cultural meaning that essentialelementsinteractive.com can be found in our Icons’ life stories is fairly obvious, but they also have something else in common: authenticity. All the artists

intunemonthly.com In Tune Monthly • Teacher’s Edition • May 2017 9