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Sample Pages 3ඎൻඅංඌඁൾඋ¶ඌ1ඈඍൾ Music InnovatorsSUR¿OHVWKHPRVWLQQRYDWLYHDQGLQ- formers or appear in multiple groups, principles, ÀXHQWLDOLQGLYLGXDOVLQWKHGHYHORSPHQWRIPXVLF)URP distinctive instruments, style, or prominent role the classical and big band music of the 1940s to rock in culture are featured; and roll of the 1950s and 1960s, the punk and disco of • Synopsis of the individual’s historical impor- WKHVUDSDQGKLSKRSRIWKHVDQGVDQG tance in relation to music, indicating why the electronic dance music of the 2000s, the history of mu- person is or should be studied today. sic is immeasurably rich, with milestones that have rev- ROXWLRQL]HGRXUVRFLHW\7KLVQHZWLWOHH[DPLQHVWKRVH 7KHWH[WRIWKHHVVD\VDUHGLYLGHGLQWRWKHIROORZLQJ individuals most responsible for the technology and • Early Life provides facts about the individual’s strategies behind music today, from the community of upbringing. Where little is known about the per- PXVLFDOSHUIRUPHUVZKR¿UVWEHFDPHUHFRUGLQJDUWLVWV son’s early life, historical context is provided. to the musicians whose primary performances consist of • /LIH¶V:RUN, the heart of the article, consists of a digital recordings rather than live performances. straightforward, generally chronological account of how the individual gained recognition, em- 6ർඈඉൾඈൿ&ඈඏൾඋൺ඀ൾ SKDVL]LQJ WKHLU PRVW VLJQL¿FDQW HQGHDYRUV DQG Music Innovators features more than 350 biographies achievements—and failures. RILQGLYLGXDOVZKRKDYHKDGDVLJQL¿FDQWLQÀXHQFHRQ • Personal Information includes post-achieve- the development of music, culminating with the advent ment activities or positions, family life, and top- of digital recording and downloading and beyond, with ics of general interest. an emphasis on both musicians and production. Biogra- • Each essay also includes an annotated )XUWKHU phies represent a strong multi-ethnic, cross-gender fo- Reading section that provides a starting point for FXVZLWKDFFRPSDQ\LQJVLGHEDUVGHVFULELQJWKHD൶OLD- additional research. tion with which that individual is most often associated. Among the editors’ criteria for inclusion in the set was 6ඉൾർංൺඅ)ൾൺඍඎඋൾඌ DQLQGLYLGXDO¶VKLVWRULFDOVLJQL¿FDQFHZKHWKHUWKURXJK Several features distinguish this series from other bio- their representation of their particular genre; his or her JUDSKLFDOUHIHUHQFHZRUNV7KHEDFNPDWWHULQFOXGHVWKH relevance to popular culture; or his or her appeal to high following aids, appendices, and indexes: school and undergraduate students and general readers. • Timeline presents a comprehensive list of mile- stone events in the evolution of music since the (ඌඌൺඒ/ൾඇ඀ඍඁൺඇൽ)ඈඋආൺඍ 1940s. Each essay averages 3,000 words in length and displays • Category index lists musicians by area of pri- VWDQGDUGUHIHUHQFHWRSPDWWHUR൵HULQJHDV\DFFHVVWRWKH PDU\¿HOGRUVSHFLDOW\ following biographical information: • +DOORI)DPHIRU0XVLFDQG0XVLFLDQV • 7KHQDPHE\ZKLFKWKHVXEMHFWLVEHVWNQRZQ • Music Awards Ceremonies • Birth and death dates, followed by locations of • Index provides a detailed A-Z list of persons, those events as available; EDQGV VLJQL¿FDQW HYHQWV FRQFHSWV SULQFLSOHV • $UHDV RI DFKLHYHPHQW LQFOXGLQJ SULPDU\ ¿HOG and other topics of discussion. and specialty, an all-encompassing categorical • Sidebars GHVFULEH D VLJQL¿FDQW D൶OLDWLRQ IRU list including: American songbook, bluegrass, which each person is best known. blues, cinema, classical, country, dance, elec- • Images are provided for dozens of biographical tronic, folk, fusion, heavy metal, hip-hop, jazz, subjects. opera, pop, punk, R&B, rap, reggae, rock, soul, gospel, symphonic, techno, as well as theater and &ඈඇඍඋංൻඎඍඈඋඌ production; Salem Press would like to extend its appreciation to • Primary company or organization with which the all involved in the development and production of LQGLYLGXDOKDVEHHQPRVWVLJQL¿FDQWO\DVVRFLDW- this work. ed. Because musicians are solo or ensemble per- xi (Daniel) Louis Armstrong Music Innovators and the Chocolate Factory7KHYLGHRZKLFKIROORZVD meaning that she eats neither meat nor such animal scarecrow as he discovers the truth about factory farm- SURGXFWVDVHJJVDQGPLON,QVKHUHFRUGHGDPHV- ing and processed food, was described as “haunted,” VDJHIRUWKHRUJDQL]DWLRQ3HRSOHIRUWKH(WKLFDO7UHDW- “dystopian,” “bizarre,” and “beautiful.” In 2014, Apple PHQWRI$QLPDOV 3(7$ LQZKLFKVKHXUJHG$PHULFDQV wrote the opening theme, “Container,” for Showtime’s WRIRUJRHDWLQJWXUNH\RQ7KDQNVJLYLQJ'D\6KHOLYHV new show, 7KH $ৼDLU.https://en.wikipedia.org/wiki/ in Los Angeles. )LRQDB$SSOH FLWHBQRWH 'XULQJ $SSOH DOVR appeared at a number of performances by Blake Mills )ඎඋඍඁൾඋ5ൾൺൽංඇ඀ (including in New York city and Cambridge, MA) dur- BillboardS-XQHS1RYS ing his tour in support of his second full-length album, Oct. 8, 2005 Heigh Ho 7KH SDLU ¿UVW SXEOLFO\ FROODERUDWHG RQ DQ Entertainment WeeklyS0DUS)HE acoustic version of Apple’s “I Know” in 2013. 2005, p28+ Sep. 30, 2005 )LRQD$SSOH2൶FLDO:HEVLWH 3ൾඋඌඈඇൺඅ/ංൿൾ InterviewS1RY 7KHPDNLQJRIExtraordinary Machine and other recent Los Angeles Times Calendar p3 Nov. 3, 1996 experiences, Apple wrote for her Web site, as posted in Newsweek p94+ Nov. 8, 1999, p55 Apr. 4, 2005 early October 2006, “all just proves that you can grow Rock on the Net (on-line) up and be a happier person and make good things. You Rolling Stone S1RYS-DQ GRQ¶WKDYHWRVX൵HUDOOWKHWLPH´$SSOHLVDYHJDQ SpinS1RY 'ൺඇංൾඅ /ඈඎංඌ$උආඌඍඋඈඇ඀ 7UXPSHWHUVLQJHUDQGEDQGOHDGHU Born: July 4, 1900; New Orleans, Louisiana (ൺඋඅඒ/ංൿൾ Died:-XO\1HZ<RUN1HZ<RUN Daniel Louis Armstrong was born on July 4, 1900, in 3ULPDU\)LHOG Jazz a two-room, 50¢-a-month shack in James Alley, in the *URXS$൶OLDWLRQ Solo performer heart of the squalid Negro ghetto of New Orleans. His mother, Mary-Ann, the granddaughter of slaves, had ,ඇඍඋඈൽඎർඍංඈඇ been a domestic; his father, Willie, was a turpentine More than any other musician, it was the trumpeter ZRUNHU%\WKHWLPH/RXLVZDV¿YHKLVSDUHQWVKDGVHSD- and vocalist Louis (Satchmo) Armstrong who took jazz rated, and the boy and his sister Beatrice lived at Liberty out of the Negro quarter of New Orleans where it was DQG3HUGLGR6WUHHWVLQWKH7KLUG:DUGZLWKKLVPRWKHU born, made it a socially accepted part of American cul- and grandmother, who still remembered the days when ture, and introduced it around the world. A giant of jazz Negroes were “sold on the hoof like dumb cattle.” who became a legend in his own lifetime, Armstrong Louis Armstrong’s musical ability became evident was a leading creative force and instrumental virtuoso HDUO\$VDER\KHWRRNWLPHRXWIURPWKHURXQGRI¿JKW- for almost half a century, and his career encompassed ing in the streets and swimming in the Mississippi to a major portion of the history of American jazz. Much sing for pennies and to form part of a strolling quartet in imitated by later generations of instrumentalists and which he played a cigar-box guitar. At night he would VLQJHUVKHVWURQJO\LQÀXHQFHGVXFKMD]]PXVLFLDQVDV KDQJ DURXQG WKH 'DJR 7RQ\ 7RQN LQ WKH 6WRU\YLOOH &ROHPDQ+DZNLQV&RRWLH:LOOLDPV-RH7KRPDVDQG redlight district of New Orleans. He celebrated New %XFN&OD\WRQDPRQJRWKHUV7KHPRVWDGXODWHGRIDOO <HDU¶V(YHE\¿ULQJDFDOLEUHSLVWROKHKDG MD]]PHQKHEHFDPHWKHOHDGLQJXQR൶FLDODQGR൶FLDO borrowed from his mother and wound up in the Negro goodwill ambassador of jazz throughout the world. :DLIV¶+RPHIRUD\HDU¶VGLVFLSOLQH7KHUHWKHKRPH¶V drill instructor and bandmaster, Peter Davis, gave Louis a bugle and taught him to play. Louis fell in love with 48 Music Innovators (Daniel) Louis Armstrong WKHKRUQDORYHD൵DLUWKDWSURYHGODVWLQJDQGKHVRRQ learned to read music. Before the year was out he was playing the cornet and leading the home’s brass band. Not yet old enough to get work in a band on his release from the Negro Waifs’ Home in 1915, for the next three years Louis Armstrong delivered coal and fetched beer for residents of the Storyville bordellos, sold bananas, peddled newspapers, delivered milk, and foraged in garbage cans for food to bring home or sell to restaurants. He also began to take trumpet lessons from Joe (King) Oliver, the outstanding exponent of the then nascent Dixieland jazz, a Negro music that takes its rhythms from Africa, its instrumentation from the French culture of New Orleans, and its spirit from the blues, shouts, and transient joys of a people only one generation removed from slavery. /ංൿൾ¶ඌ:ඈඋ඄ :KHQWKH8QLWHG6WDWHV1DY\LQFORVHGGRZQWKH bordellos of the Storyville district, King Oliver left to take an engagement in Chicago, and Louis Armstrong replaced him in Kid Ory’s band. It was not long before Armstrong’s golden clarity of tone, formidable tech- nique, rhythmic freedom, and amazing ability to im- provise began to make him a drawing card in his own right. He joined Fate Marable’s band on the Mississippi excursion boat Dixie Belle, and played up and down improvisation of voice melodies) in a recording session the river in the summers of 1920 and 1921. Around this for the Okeh label in Chicago. Having dropped his sheet WLPHKHZURWHRQHRIKLV¿UVWWXQHV³*HW2൵.DWLH¶V music by accident, Armstrong had to improvise vocally Head,” but it was published as “I Wish I Could Shimmy until the recording director returned it to him. Eventu- like My Sister Kate” and Armstrong received from the ally Armstrong’s rasping, grating, and gravelly voice publishers neither credit as the composer nor the $50 became as famous as the golden sound of his beloved that they had promised to pay him for the song. Selmer trumpet. Successful with his Original Creole Jazz Band in Back in Chicago after his stint with Fletcher Hen- Chicago, King Oliver sent for Louis Armstrong in July derson in New York City, Armstrong organized his own 1922, and
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