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First performed at the Royal Opera House in London’s Covent Garden on 1 December 1951, this adaptation of Herman Melville’s short story saw E. M. Forster writing large portions of prose while Eric Crozier focused on the dramatic execution. Accordingly, Billy Budd was one of the most meticulously researched and well-written librettos of any Benjamin Britten opera. Typically for ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Billy F. Gibbons (b. 1949), also known as the Reverend Willie G, led his Texas boogie band, ZZ Top, to international superstardom in the early days of MTV, combining a unique image with driving Southern rock and a series of eye-catching videos. At the music’s core was Gibbons’ tasteful blend of rhythmic crunch and fiery soloing, ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

Buddy Holly helped define and popularize rock’n’roll in its earliest days, when its future was in doubt and its existence was under attack. Strumming a Fender Stratocaster, he brought an extra dose of country to a sound that was still closely related to pure blues and rhythm and blues. He blazed a trail for white artists who, unlike ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

Brooklyn’s Steve Stevens (b. 1959) grew up as a fan of progressive rock and honed his chops by studying guitar at Manhattan’s LaGuardia High School of Performing Arts. He worked the Long Island and Manhattan club scenes with bands and eventually was hired for session work, including tracks for ex-Kiss drummer Peter Criss. But Stevens’ star really began to shine ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

Alternative-rock guitarist Billy Corgan (b. 1967) was born in Chicago, Illinois. Shortly after starting high school, Corgan began to learn guitar on an imitation Gibson Les Paul. His father, a musician, suggested that Billy listen to Jeff Beck and Jimi Hendrix but refused to teach him to play; consequently, Corgan was self-taught. His early influences were ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

One of the young gunslingers who invigorated the blues in the 1960s, Buddy Guy (b. 1936) wowed audiences with high-octane guitar histrionics and energy that were matched by a tortured vocal manner. Guy is a master of dynamics, allowing a song to drift towards oblivion before suddenly bringing it back to a crescendo of intensity. Notable fans have included ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

A slapped upright bass, twanging lead guitar and acoustic rhythm guitar; a blues structure with country and blues inflections; a strong beat and moderate-to-fast tempo; a wild, yelping, often stuttering vocal style, together with plenty of echo on the recordings are the main ingredients of rockabilly. The rockabilly style was an eclectic hybrid of R&B, hillbilly ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

(Vocals, 1908–67) A crooner and scat singer, Billy Banks was a protégé of agency impresario Irving Mills. He headlined a handful of legendary records in 1932 by the Rhythmakers – less interesting for his vocals than for the punchy, eccentric work of the all-star band, which included Henry ‘Red’ Allen, Pee Wee Russell, Fats Waller ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel

(Clarinet, b. 1923) Buddy DeFranco (Boniface Ferdinand Leonardo) became the leading clarinet player of the post-swing era. His liquid sonority and flowing improvisations drew on elements from both swing and bebop, but without settling fully in either camp. He served a big-band apprenticeship with Gene Krupa, Charlie Barnet and Tommy Dorsey in the mid-1940s, but is best ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel

(Vocals, 1914–93) Billy Eckstine’s smooth baritone voice and suave manner brought his music to a wide audience. He joined pianist Earl Hines in Chicago in 1939 and then led a big band from 1944–47 that many see as the cradle of bebop, although few recordings survive. He was one of the few black singers to be featured on national ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel

(Drums, 1917–87) Bernard ‘Buddy’ Rich was a powerhouse drummer with a phenomenal technique, but he was also capable of great delicacy when required. He grew up in the family vaudeville act before joining Joe Marsala’s band in 1937. It was the beginning of a series of associations with major swing era bandleaders such as Harry James, Artie Shaw ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel

‘When I first heard of the electric guitar, I thought somebody was bullshittin’ me,’ says George ‘Buddy’ Guy. ‘We lived so far in the country I didn’t even know what an acoustic guitar was until my mother started getting mail-order catalogs’. In 2005, Guy, who was born in Lettsworth, Louisiana on 30 July 1936, stands ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel

(Harmonica, vocals, b. 1951) Branch began playing harmonica at the age of 10, before polishing his onstage technique in Chicago with Big Walter, James Cotton, Junior Wells and Carey Bell. In 1975 he became a sideman for Willie Dixon and then formed Sons of Blues with Lurrie Bell (guitar). Branch continues to front the band and ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel

In the nineteenth century, country music belonged to fireside and family, to the frontier town and the backwoods hamlet. Four decades into the twentieth, it was utterly transformed, driven headlong into the new world of the new century. First, fiddlers’ conventions and other public events provided a context of competition and offered the musician the chance ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

‘The fiddle and guitar craze is sweeping northward!’ ran Columbia Records’ ad in Talking Machine World on 15 June 1924. ‘Columbia leads with records of old-fashioned southern songs and dances. [Our] novel fiddle and guitar records, by Tanner and Puckett, won instant and widespread popularity with their tuneful harmony and sprightliness… The records of these quaint musicians which ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen
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