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(Vocal/instrumental group, 1989–present) Texas-based band The Dixie Chicks initially included sisters Martie (vocals, violin, b. 1969) and Emily Erwin (vocals, dobro, banjo, b. 1972), Laura Lynch (bass) and Robin Lynn Macy (vocals, guitar). Their debut album, Thank Heavens For Dale Evans (1990), a mixture of folk music and traditional country, was released ...

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

A consummate guitarist in an extraordinary variety of styles, including jazz, classical, country, rock and heavy metal, Steve Morse also has the compositional skills and the improvising genius to match. He has played with, among others, Dixie Dregs, Kansas and Deep Purple, while also maintaining his own band. Morse was born in ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

By the end of the 1930s, the Swing era was in full force, ushered in by big bands led by Benny Goodman, Chick Webb, the Dorsey brothers (Jimmy and Tommy) and Glenn Miller. New Orleans jazz and its stylistic off-shoot, Dixieland, had both largely faded from popularity. New Orleans pioneers King Oliver and Jelly Roll ...

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

(Instrumental group, 1917–25) The Original Dixieland Jass Band were five young white musicians from working-class uptown New Orleans – Nick LaRocca (cornet), Larry Shields (clarinet), Eddie Edwards (trombone), Tony Spargo (real name Sbarbaro, drums) and Henry Ragas (piano). All alumni of ‘Papa’ Jack Laine’s stable of bands, they went to Chicago and then to New York, where ...

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

From its roots, country music has been associated with simplicity – in melody, in subject-matter and in instrumentation, and it is this that has perhaps ensured its longevity. However, all good musicians make their craft look simple, and the history of country music is packed with virtuosos, from the pioneering banjoist Earl Scruggs, through ...

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

Acoustic Guitar Throughout its history, the guitar has – perhaps more than any other instrument – managed to bridge the gap between the often disconnected worlds of classical, folk and popular music. Its roots go back to Babylonian times; by the 1500s it was prevalent in Spain, and is still sometimes called the Spanish guitar. Medieval versions – ...

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

(Vocals, songwriter, b. 1948) Gail Davies initially played jazz, and then formed a duo with her brother, songwriter Ron Davies. After session work in Los Angeles, she moved to Nashville in the mid-1970s. Two breaks came in 1978: Ava Barber’s only US Top 20 country hit was Davies’ song ‘Bucket To The South’, and Davies released ...

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

(Vocals, guitar, b. 1957) Lauderdale pays his bills by writing hook-laden hits for mainstream-country performers such as George Strait, The Dixie Chicks, Vince Gill and Mark Chesnutt, but his own recordings reflect a penchant for traditional country and a quirky sense of humour that land him in the alt.-country category. He grew up in South ...

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

(Vocals, guitar, mandolin, fiddle, b. 1954) Tim O’Brien is a good example of the restless spirit that puts the new in new-grass. He first fell in love with bluegrass during his West Virginia childhood, and he led the 1978–90 Colorado new-grass band Hot Rize that also included Pete Wernick (banjo, b. 1946), Charlie Sawtelle (bass ...

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

The young country movement was an industry-driven trend aimed at the mass market of teens and twenty-something music fans. Like the urban cowboys, young country artists often contemporized or diluted prevailing styles like honky-tonk and pop country for mass consumption. The early 1990s saw a continuation of the mid- and late-1980s neo-traditionalist movement and produced a glut of gifted young ...

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

The impact of rap on the rock market was everywhere to be seen in the first years of the new millennium. White artists, black artists and rock bands attempting to incorporate the style made this area the biggest musical melting pot since the 1950s. The means by which music was accessed switched from CD to downloading from the internet, ...

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

The undisputed Queen of Soul since the title was first applied to her in the late 1960s, Aretha Franklin has been hailed as the greatest soul diva of all time. Possessing a voice of power and passion (and an underrated talent on the piano) she has turned her attention to everything from pop through jazz to classical; but with a ...

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

For a brief period in early 1956, Carl Perkins was the first singer to take a pure rockabilly record – his self-penned ‘Blue Suede Shoes’ – to the summit of the best-selling charts in the USA. He beat Elvis to the top, but was never a realistic candidate to sustain this early promise because he lacked Presley’s film-star looks ...

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

Of all the new-traditionalist acts, Dwight Yoakam was arguably the most flamboyant, with his tight-fitting designer jeans and cowboy hat. He was also the most distinctive of those to emerge on the country scene in the mid-1980s. Yoakam was born in Pikesville, Kentucky, on 23 October 1956. He was primarily raised in Columbus, Ohio, before ...

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

(Piano, composer, 1883–1983) A long-surviving link to the ragtime era, James Hubert Blake wrote his first piece, ‘The Charleston Rag’, in 1899. The Baltimore native started out playing piano in sporting houses and with travelling medicine shows in the early 1900s. He also worked with bandleader-composer James Reese Europe before teaming up on the vaudeville circuit with ...

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