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(Vocal/instrumental group, 1967–present) They were the most famous rock equivalent of a ‘brass band’ – founder member Al Kooper’s own description. With a sensational horn section always high in the mix, 1968’s Child Is Father To The Man established them a musicianly act that was to serve as role model for Colosseum and The Average White Band and the ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

(Vocal/instrumental group, 1990s) Blood Oranges never sold many records, but they made two terrific albums (1990’s Corn River and 1994’s The Crying Tree) thanks to some smart songwriting, a savvy mix of bluegrass and British folk-rock and the contrast between fizzy male vocals and melancholy female vocals. The band was founded by Jimmy Ryan (vocals, mandolin, ...

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

(Guitar, b. 1941) Drawing on systems that are both ancient (the blues) and modern (free jazz), this experimental guitarist forged an original vocabulary on his instrument that has rarely been imitated and remains one of the most strikingly individual approaches in jazz. Ulmer began his career working in organ bands around the Midwest in the 1960s, before moving to ...

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

(Vocal/instrumental group, 1969) Billed as ‘the supergroup of all times’, Steve Winwood (keyboards, vocals), Eric Clapton (guitar), Rick Grech (bass) and Ginger Baker (drums) were an amalgam of ex-members of Cream, Traffic and Family. Launched with a free concert in London’s Hyde Park, they broke up after a troubled US tour. Winwood then reformed a Traffic that ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

(Piano, vocals, 1947–97) An ill-fated performance at 1967’s Monterey Festival arrested the commercial progress of the late New Yorker, whose songs – imaginative fusions of jazz, gospel and folk – were to be covered by the diverse likes of Blood, Sweat and Tears, Fifth Dimension, Three Dog Night, Barbra Streisand and Frank Sinatra ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

Mike Stern (b. 1953), the American jazz guitarist, emerged as a major force in the jazz guitar scene through his work with Miles Davis’ band in the early Eighties, Stern has played with stars such as Stan Getz, Jaco Pastorius, Pat Martino and David Sanborn. Stern was also a guitarist in Steps Ahead and the Brecker Brothers ...

Source: The Illustrated Encyclopedia of Guitar Heroes, consultant editor Rusty Cutchin

(Guitar, vocals, drums, 1942–2004) In 1973 dynamic guitarist Frank ‘Son’ Seals became one of the most exciting artists signed to the fledgling Alligator Records label. His choppy technique and hard-hitting vocals on original songs such as ‘Your Love Is Like A Cancer’ combine to create an extremely powerful sound. His finest albums include horn sections, which help ...

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

Terry Kath (1946–78) was the guitarist and a founding member of the jazz-rock ensemble Chicago Transit Authority (soon shortened to Chicago), which, like their contemporaries Blood, Sweat & Tears, brought a jazzy, horn-based sound to hard rock with their early albums, before settling into a superstardom built around anthemic pop ballads. Early on, however, ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

(Vocal/instrumental group, 1965–71) The Blues Project was formed around respected session musicians Tommy Flanders (vocals), Danny Kalb (guitar), Steve Katz (guitar, vocals), Al Kooper (organ, vocals), Andy Kulberg (bass, flute) and Roy Blumenfeld (drums). This experimental band, with a love of urban and country blues, quickly rose to the apex of the New York City ...

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

As part of the Renaissance (literally ‘rebirth’), which began in Italy in around 1450, the Baroque era was a revolution within a revolution. It saw a break from the Medieval view of humanity as innately sinful. Instead, Renaissance thinking cast individuals as a dynamic force in their own right and gave free rein to human imagination, ingenuity and ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

The word ‘Baroque’ is derived from the Portuguese barrocco, a term for a misshapen pearl, and it was still with this sense of something twisted that it was first applied – to the period between about 1600 and 1750 – in the nineteenth century. In 1768, Jean-Jacques Rousseau wrote: ‘a Baroque music is that in which the harmony ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

Broadly speaking, empiricism, from the Greek empeiria (‘experience’), is a philosophical tradition that accepts as fact only what can be verified by observation, or experience, through the use of the five senses. Galileo Galilei’s support of Copernican theory was a result of his observation of the planet Venus through a telescope. His insistence that what he saw ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

The Romantic period in opera, music, literature and art lasted more than a century overall, from around 1790 – the year after the French Revolution – to 1910, four years before the outbreak of the First World War. In this context, the meaning of ‘romantic’ went far beyond the usual amorous connotations: it stood for the ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

‘The Flying Dutchman’ Initially a one-act opera, Der Fliegende Holländer was later expanded to three. Wagner was anxious to make sure it was performed in the way he wished, and wrote detailed production notes for the directors and singers. He also conducted the first performance at the Hofoper or Court Opera in Dresden on 2 January 1843. Although Wagner ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

‘The Woman Without a Shadow’ Like Ariadne auf Naxos, Die Frau ohne Schatten had a tempestuous genesis. The idea itself stemmed from the period immediately after the premiere of Der Rosenkavalier, but Hofmannsthal’s continual flood of ideas compounded by Strauss’s curmudgeonliness ensured the project stalled regularly. The start of the First World War did nothing to help, and ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie
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An extensive music information resource, bringing together the talents and expertise of a wide range of editors and musicologists, including Stanley Sadie, Charles Wilson, Paul Du Noyer, Tony Byworth, Bob Allen, Howard Mandel, Cliff Douse, William Schafer, John Wilson...

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Classical, Rock, Blues, Jazz, Country and more. Flame Tree has been making encyclopaedias and guides about music for over 20 years. Now Flame Tree Pro brings together a huge canon of carefully curated information on genres, styles, artists and instruments. It's a perfect tool for study, and entertaining too, a great companion to our music books.

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