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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- WKH VUDSDQGKLSKRSRIWKH VDQG VDQG 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&ඈඏൾඋൺൾ 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/ൾඇඍඁൺඇൽ)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 • $UHDV RI DFKLHYHPHQW LQFOXGLQJ SULPDU\ ¿HOG and other topics of discussion. and specialty, an all-encompassing categorical • Sidebars GHVFULEH D VLJQL¿FDQW D൶OLDWLRQ IRU list including: American songbook, bluegrass, which each person is best known. blues, cinema, classical, country, dance, elec- • Images are provided for dozens of biographical tronic, folk, fusion, heavy metal, hip-hop, jazz, subjects. opera, pop, punk, R&B, rap, reggae, rock, soul, gospel, symphonic, techno, as well as theater and &ඈඇඍඋංൻඎඍඈඋඌ production; Salem Press would like to extend its appreciation to • Primary company or organization with which the all involved in the development and production of LQGLYLGXDOKDVEHHQPRVWVLJQL¿FDQWO\DVVRFLDW- this work. ed. Because musicians are solo or ensemble per-
xi (Daniel) Louis Armstrong Music Innovators and the Chocolate Factory7KHYLGHRZKLFKIROORZVD meaning that she eats neither meat nor such animal scarecrow as he discovers the truth about factory farm- SURGXFWVDVHJJVDQGPLON,Q VKHUHFRUGHGDPHV- ing and processed food, was described as “haunted,” VDJHIRUWKHRUJDQL]DWLRQ3HRSOHIRUWKH(WKLFDO7UHDW- “dystopian,” “bizarre,” and “beautiful.” In 2014, Apple PHQWRI$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 $SSOH DOVR appeared at a number of performances by Blake Mills )ඎඋඍඁൾඋ5ൾൺൽංඇ (including in New York city and Cambridge, MA) dur- BillboardS-XQH S1RY S ing his tour in support of his second full-length album, Oct. 8, 2005 Heigh Ho 7KH SDLU ¿UVW SXEOLFO\ FROODERUDWHG RQ DQ Entertainment WeeklyS0DUS)HE acoustic version of Apple’s “I Know” in 2013. 2005, p28+ Sep. 30, 2005 )LRQD$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 S1RY S-DQ GRQ¶WKDYHWRVX൵HUDOOWKHWLPH´$SSOHLVDYHJDQ SpinS1RY
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Born: July 4, 1900; New Orleans, Louisiana (ൺඋඅඒ/ංൿൾ Died:-XO\ 1HZ 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\LQ FORVHGGRZQWKH 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 $50 became as famous as the golden sound of his beloved that they had promised to pay him for the song. Selmer trumpet. Successful with his Original Creole Jazz Band in Back in Chicago after his stint with Fletcher Hen- Chicago, King Oliver sent for Louis Armstrong in July derson in New York City, Armstrong organized his own 1922, and his former pupil became second cornetist in band at the Sunset Cafe, where he performed with Lil- the band. Although the association of the two masters ian Hardin, a pioneer among woman jazz pianists. Its of the cornet was a brief one, it constituted an epoch proprietor was Joe Glaser, now the head of the Associ- LQ MD]] KLVWRU\ ,Q &KLFDJR$UPVWURQJ PDGH KLV ¿UVW ated Booking Corporation, who was Armstrong’s per- UHFRUGLQJVDQGUDSLGO\PDWXUHGDVDPXVLFLDQUH¿QLQJ sonal manager for over forty years. Miss Hardin played his technique and experimenting with his instrument. In a major role in encouraging Armstrong to go out on his $UPVWURQJEULHÀ\MRLQHG)OHWFKHU+HQGHUVRQWKH RZQ7KH\HDUZDV DQG$UPVWURQJZDVDWWKHEH- jazz arranger and bandleader, at the Roseland Ballroom JLQQLQJRIZKDWMD]]FULWLF5XGL%OHVKLQ-D]]7UXPSHWV in New York and made a memorable series of record- called his “four golden years.” At this time Armstrong ings, among them the blues classics in which he accom- began to make his Hot Five and Hot Seven recordings panied the great Bessie Smith. By this time Armstrong on the Okeh label, playing with small groups and cre- had switched to the trumpet and had begun to do some ating the polyphonic sounds that Blesh believed might singing himself. Not the least of his contributions to stand as his greatest achievement. jazz was his invention of Scat singing (or the wordless 49 (Daniel) Louis Armstrong Music Innovators On Potato Head Blues, according to Blesh, Arm- loved for his humor and humanity, and respected for strong’s second solo chorus attained “heights of inven- his integrity. tion and subtle eloquence few cornetists or trumpet- Although Louis Armstrong did not take a public ers have ever reached.” Armstrong’s improvisational role in the civil rights movement, he was deeply con- ÀLJKWVPRYHG'L[LHODQGDZD\IURPHQVHPEOHSOD\LQJ scious of his people’s plight, and he often contributed and the rhythmic freedom he displayed in escaping generously, although anonymously, to Negro organi- the square four-four Dixieland beat, created a style zations. In 1964 he spoke bitterly to Charles L. Sand- that was to inspire jazzmen and arrangers for years to ers of the Negro magazine Ebony about his inability FRPHODWHUSRZHUIXOO\LQÀXHQFLQJHYHQWKH³FRRO´MD]] to bring his integrated band to play in his native New RIWKH ¶VDQG ¶V7KHWUXPSHWHU0LOHV'DYLV Orleans, and he exploded into an uncharacteristically a leading exponent of cool jazz, conceded: “You can’t DQJU\UHPDUN²³7KH\ZRXOGEHDW-HVXVLIKHZDVEODFN play anything on a horn that Louis hasn’t played.’’ In an appreciation of Armstrong Affiliation: Solo Performer published in the New Yorker on Janu- ary 15, 1966, jazz critic Whitney Bal- In 1932 Armstrong made his first trip abroad, and it was in Europe that liett wrote that during Armstrong’s his ebullient personality and natural charm came to the fore. There too “banner years’’—the period of the late he acquired the nickname of “Satchmo,” when the editor of the London 1920’s and early 1930’s—“he created Melody Maker, P. Mathison Brooks, inadvertently garbled his original nick- the sort of super, almost celestial art name of “Satchelmouth,” given to Armstrong because of the size of his that few men master; transcending both lips and teeth and the huge bellows his cheeks become when he plays. As its means and its materials, it attained he became more and more of a world figure, an illustration of Arm- a disembodied beauty. . . Armstrong’s strong’s lips and teeth on a billboard was all that was needed to announce outpouring emotion was universal. that Satchmo was coming. At the Palladium in London, he bowed to the 7KHUHZHUHSHDNVDQGFORXGNLQJGRPV royal box in which King George V and his party were sitting and declared, and heavenly pastures in his playing “This one’s for you, Rex.’’ Some twenty years later he was equally gallant that summoned the listener, elated him, to a granddaughter of the late King, Princess Margaret. “We really goin’ and sent him on his way.’’ to lay this one on the Princess,” he informed the audience, and then tore A turning point in Armstrong’s into a New Orleans jazz classic “Mahogany Hall Stomp,” which celebrates career occurred around 1930, when he one of the lamented Storyville sporting houses. began to perform in front of big bands Although Armstrong had toured Europe on many occasions, he did and to use popular songs for his mate- not attain official recognition as an export commodity until shortly after rial rather than Dixieland or blues or the end of World War II, by which time American GI’s had introduced original instrumental numbers. He thus American jazz and its offshoot, big-band swing, around the world. His helped to pave the way for the swing- first trip to Africa, in the spring of 1956, resembled the return of a con- band era that came into being around quering hero. In Accra, Ghana, 100,000 natives went into a frenzied 1935. For this he was often criticized demonstration when he began to blow. In i960, while touring Africa on a by jazz purists. “His grasp of what jazz cultural mission for the United States Information Agency, Armstrong means . . . unfortunately failed to match was carried on a canvas throne into Leopoldville Stadium in the Congo. his genius,’’ Rudi Blesh wrote in Jazz This successful mission was denounced by Moscow radio at the time as a Trumpets, and Whitney Balliett once capitalistic distraction, but the memory of his triumph did not prevent referred to Armstrong’s “vaudeville Armstrong from being invited to visit Central and Eastern Europe for mask.’’ But despite what jazz critics four weeks in the spring of 1965. He barnstormed through Prague, view as Armstrong’s abandonment of Leipzig, East Berlin, West Berlin, Frankfurt, Bucharest, Belgrade, Zagreb, pure jazz for swing or for vaudeville Liubljana, back to East Berlin, then on to Magdeburg, Erfurt, Schwerin, and despite his castigation by some and East Berlin again—an itinerary that would have felled anyone with- Negroes for what they considered out Armstrong’s enormous reserves. In June 1965, only two months after KLV ³8QFOH 7RP¶¶ FDYRUWLQJV EHIRUH his return home, Armstrong was off to Eastern Europe again, and in ZKLWHDXGLHQFHVKHUHPDLQHGD¿JXUH Budapest 91,000 persons jammed the NEP Stadium to hear him play. 50 Music Innovators (Daniel) Louis Armstrong and marched”—when state troopers attacked freedom sold 2,000,000 copies and displaced the Beatles from marchers in Selma, Alabama, in March 1965. In Octo- the top of the list of best sellers. It became as popular ber 1965, however, following the passage of the Civil as his recorded “Mack the Knife” and “Blueberry Hill.” Rights Act, he returned to New Orleans in triumph and 6LQFHKH¿UVWZRQLQWKHEsquire poll in 1944, the SOD\HGDEHQH¿WZLWKKLVLQWHJUDWHGEDQGIRUWKHFLW\¶V name of Louis Armstrong often turned up in polls con- jazz museum, which is located in the house where he ducted by such periodicals as Down Beat, Melody Mak- was born. er, Jazz Hot (France), Jazz Echo (Germany), and Muz- 7KURXJKRXWWKH\HDUV$UPVWURQJDSSHDUHGLQPDQ\ iek Express (Holland). In December 1965 Carnegie Hall movies, beginning with Pennies from Heaven (Colum- LQ1HZ 51 Lucille Ball & Desi Arnaz Music Innovators Life $SµSRUV Armstrong, Louis, Satchmo: My Life in New Orleans N Y Herald Tribune(S-HµSRU (1954) N Y Times 0DJS1µSRUV Feather, Leonard. New Encyclopedia of Jazz (1960) Toronto Globe and Mail0DJS1µSRUV S *R൵ULQ5REHUWHorn of Plenty $JµSRUV International Who’s Who, 1965-66 Washington (D.C.) Post *SL$JµSRU Who’s Who in America, 1964-65 /ඎർංඅඅൾ%ൺඅඅ Born: August 6, 1911; Jamestown, New York and later attended the Chautauqua Institute of Music for Died: April 26, 1989; Los Angeles, California two seasons. Her ambition, however, was to be an ac- 3ULPDU\)LHOG Motion picture actress; television tress. Every spring, she said, she would run away and producer walk in the direction of New York City until someone *URXS$൶OLDWLRQ Desilu Productions found her and brought her home. 'ൾඌං$උඇൺඓ /ංൿൾ¶ඌ:ඈඋ Appearing in a local Masonic revue, Lucille Ball put so Born:0DUFK 6DQWLDJRGH&XED&XED much gusto into an Apache dance that she dislocated an Died: December 2, 1986; Del Mar, California DUP7LPHTXRWHGKHUUHPDUNDERXWDKLJKVFKRROSHU- 3ULPDU\)LHOG Musician; motion picture actor; televi- formance of Charley’s Aunt: “I played the lead, directed sion producer it, cast it, sold the tickets, printed the posters, and hauled *URXS$൶OLDWLRQ Desilu Productions IXUQLWXUHWRWKHVFKRROIRUVFHQHU\DQGSURSV´$W¿IWHHQ she left high school to enroll in the John Murray Ander- ,ඇඍඋඈൽඎർඍංඈඇ VRQGUDPDWLFVFKRROLQ1HZ 52 0ඎඌංർ7ංආൾඅංඇൾ 'ൺඍൾ 0ංඅൾඌඍඈඇൾ 1936 Electric guitars debut. In 1946 the Fender Electric Instrument Manufacturing Company is founded. In 1950 the Fender Broadcaster is introduced for national distribution. 1942 %LQJ&URVE\UHOHDVHV³:KLWH&KULVWPDV´IURPWKH¿OPHoliday Inn.7KHVRQJJRHVRQWR EHWKHDOOWLPHWRSVHOOLQJVRQJIURPD¿OP 5&$9LFWRUVSUD\VJROGRYHU*OHQQ0LOOHU¶VPLOOLRQFRS\VHOOHUChattanooga Choo Choo, FUHDWLQJWKH¿UVW³JROGUHFRUG´ 1948 &ROXPELD5HFRUGVLQWURGXFHVWKH/3 ³ORQJSOD\LQJ´ UHFRUGDW1HZ 1949 USPUHFRUGVDUHVROGLQWKH86 1951 ,QDQH൵RUWWRLQWURGXFHUK\WKPDQGEOXHVWRDEURDGHUZKLWHDXGLHQFHZKLFKZDVKHVLWDQW WRHPEUDFH³EODFNPXVLF´GLVFMRFNH\$ODQ)UHHGXVHVWKHWHUPURFNµQ¶UROOWRGHVFULEH R&B. 1954 Bill Haley and the Comets begin writing hit songs. As a white band using black-derived forms, they venture into rock ‘n’ roll. 1956 :LWKPDQ\KLWVLQJOHV LQFOXGLQJ³+HDUWEUHDN+RWHO´ (OYLV3UHVOH\HPHUJHVDVRQHRIWKH ZRUOG¶V¿UVWURFNVWDUV7KHJ\UDWLQJURFNHUHQMR\VIDPHRQWKHVWDJHVRIWKH0LOWRQ%HUOH 6WHYH$OOHQDQG(G6XOOLYDQVKRZVDVZHOODVLQWKH¿UVWRIKLVPDQ\PRYLHVLove Me Tender. 1957 Leonard Bernstein completes West Side Story. 1958 BillboardGHEXWVLWV+RWFKDUW5LFN\1HOVRQ¶V³3RRU/LWWOH)RRO´ERDVWVWKH¿UVW1R record. 1959 7KH1DWLRQDO$FDGHP\RI5HFRUGLQJ$UWVDQG6FLHQFHVVSRQVRUVWKH¿UVW*UDPP\$ZDUG ceremony for music recorded in 1958. )UDQN6LQDWUDZLQVKLV¿UVW*UDPP\$ZDUG²%HVW$OEXPIRUCome Dance with Me. 1963 $ZDYHRI%HDWOHPDQLDKLWVWKH8.7KH%HDWOHVD%ULWLVKEDQGFRPSRVHGRI-RKQ/HQQRQ George Harrison, Ringo Starr and Paul McCartney, take Britain by storm. 7KH5ROOLQJ6WRQHVHPHUJHDVWKHDQWL%HDWOHVZLWKDQDJJUHVVLYHEOXHVGHULYHGVW\OH +ൺඅඅඈൿ)ൺආൾൿඈඋ0ඎඌංർൺඇൽ0ඎඌංർංൺඇඌ ,QWHUQDWLRQDO%OXHJUDVV0XVLF0XVHXP $ODEDPD-D]]+DOORI)DPH Owensboro, KY Birmingham, AL www.bluegrassmuseum.org/inductees/ ZZZMD]]KDOOFRPMD]]KDOOR൵DPHMD]]KDOOR൵DPHKWP Inductees listed by year Inductees listed by year of induction 0XVLFLDQV+DOORI)DPHDQG0XVHXP $PHULFDQ &ODVVLFDO 0XVLF +DOO RI )DPH DQG 0X 1DVKYLOOH71 VHXP ZZZPXVLFLDQVKDOOR൵DPHFRP Cincinnati, OH Musicians listed by year of induction KWWS FODVVLFDOZDONR൵DPHRUJ Inductees listed both alphabetically and by year of 1HZ -HUVH\ -D]] 6RFLHW\$PHULFDQ -D]] +DOO RI induction )DPH(1983) New Jersey %OXHV)RXQGDWLRQ%OXHV+DOORI)DPH http://rockhall.com/visit-the-museum/plan/ 0HPSKLV71 www.njjs.org/p/AJHOF_roster.php http://blues.org Inductees listed alphabetically Inductees listed alphabetically 2NODKRPD-D]]+DOORI)DPH &RXQWU\0XVLF+DOORI)DPH 7XOVD2. 1DVKYLOOH71 http://okjazz.org KWWS FRXQWU\PXVLFKDOOR൵DPHRUJ Inductees listed alphabetically Inductees listed by year 5K\WKPDQG%OXHV+DOORI)DPH )RON0XVLF+DOORI)DPH 0HPSKLV71DQG'HWURLW0, New York http://rhythmandblueshof.com/ KWWS IRONPXVLFKDOOR൵DPHRUJ 2013–15 inductees listed +LS+RS+DOORI)DPH ± UHODXQFKHG 5RFNDQG5ROO+DOORI)DPH New York Cleveland, OH http://hiphophof.tv/ http://rockhall.com No inductees listed on web site Musicians listed alphabetically 0ඎඌංർ$ඐൺඋൽඌ&ൾඋൾආඈඇංൾඌ $PHULFDQ0XVLF$ZDUGV $0$V *UDPP\$ZDUGV http://theamas.com www.grammy.com/ 20 award categories 33 award categories Billboard0XVLF$ZDUGV 0790XVLF$ZDUGV 90$V www.billboard.com/billboard-music-awards http://mtv.com 41 award categories 20 award categories *RVSHO0XVLF$ZDUGV *0$V ZZZJPDKDOOR൵DPHRUJ