SEARCH RESULTS FOR: Elvin Bishop
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(Guitar, vocals, b. 1942) This Tulsa, Oklahoma native’s return to his roots as a blues player has been characterized by barnstorming live sets and albums for the Alligator label in the Chicago electric tradition, at times approximating the sound of Elmore James’s bands. Bishop, who became a charter member of the Paul Butterfield Blues Band while ...

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

(Drums, 1927–2004) Powerhouse drummer Elvin Jones was the engine of John Coltrane’s legendary quartet in the 1960s, appearing on most of the saxophonist’s most popular recordings. He was the younger brother of pianist Hank and trumpeter Thad Jones and had worked with Bud Powell, Miles Davis, Sonny Rollins and J.J. Johnson prior to joining Coltrane. A ...

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

(Harmonica, vocals, guitar, b. 1944) Often compared to his contemporary Paul Butterfield, Musselwhite has an exceptionally fluid and melodic harmonica style that places him head and shoulders above most competitors. He debuted on record in 1967 and has remained faithful to the Chicago style in his own projects and in supporting work for Elvin Bishop, Big ...

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

(Guitar, vocals, b. 1951) Folk-bluesman Bibb blends deep roots with pop influences, occasionally incorporating African and Afro-Cuban sounds. He resides in Sweden but was born in New York City, where his father, Leon, performed in musical theatre and on the folk scene. His uncle was John Lewis of the Modern Jazz Quartet, while Odetta ...

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

The original boogie man, John Lee Hooker (1917–2001) sustained a career of more than 50 years with his incessant one-chord stomp and half-spoken vocal style. But behind the captivating, hypnotic rhythm, Hooker found his own deep blues – one with dark tones and mysterious flurries of notes – as he groped to express, often with a wicked ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

(Guitar, vocals, 1943–81) Bloomfield apprenticed in Chicago with legends such as Muddy Waters and Howlin’ Wolf, as well as among his peers Paul Butterfield, Charlie Musselwhite and Elvin Bishop. He played on classics with the Paul Butterfield Blues Band (1966’s East-West), Bob Dylan (1965’s Highway 61 Revisited) and organist Al Kooper (1968’s Super Session). He helped to ...

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

(Vocal/instrumental group, 1963–67) Harmonica player and singer Butterfield conditioned his band – Jerome Arnold (bass), Elvin Bishop and Mike Bloomfield (guitars), Sam Lay (drums, vocals) and Mark Naftalin (keyboards) – in black Chicago clubs. They backed Dylan’s electric debut at the 1965 Newport Folk Festival and helped to usher blues into the psychedelic era, with the groundbreaking East-West ...

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

Blues rock grew out of the British blues movement that started during the late-1950s, which was in turn developed in the 1960s. The Brits used more powerful amplification than their American counterparts, resulting in a harder, more imposing sound. Jimi Hendrix, Led Zeppelin and other artists developed this into a riff-oriented rock style. Among the earliest blues ...

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

Chicago blues is a raw, rough-and-tumble music, defined by slashing, Delta-rooted electric slide guitars, raunchy-toned harmonicas overblown into handheld microphones to the point of distortion, uptempo shuffled rummers, insistently walking bass players and declamatory, soulful vocalists who imbued the tunes with Southern gospel fervour. It became a universally recognized sound by the 1960s, ...

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

The late Baroque era (1700–50) was a time of major political change throughout Europe, involving a shift in the balance of power between sovereign states. Across the continent it was a period of almost continuous warfare, the effects of which were later felt in other parts of the world as a result of conflicting ambitions among the various trading ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

By the beginning of the eighteenth century, opera was established in some form in most major European centres. The basic types of serious and comic opera in both Italian and French traditions shared similarities, although the content and style of an operatic entertainment could vary according to whether it was intended to flatter a private patron, resound with ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

The harp is clearly recognizable from its triangular shape, consisting of the resonator and neck. The strings in all harps run perpendicular to the resonator. In many cases a supporting arm, known as a forepillar, runs from the end of the neck to the resonator to help sustain the strings’ tension. Early Harps Although the earliest known use ...

Source: The Illustrated Complete Musical Instruments Handbook, general editor Lucien Jenkins

Classical ideals began to emerge and take shape in musical treatises in the late fifteenth century. One of the most famous exponents of this was Johannes Tinctoris (1430–after 1511), who, in his writings, claimed that music had been reborn in the works of John Dunstaple (c. 1390–1453) and his followers around 1440. Also central to Renaissance thinking about music ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

European culture lay in ruins after the end of World War II. There were many who, in company with the philosopher Theodor Adorno, felt that Nazi atrocities such as Auschwitz rendered art impossible, at least temporarily. Others, though, felt that humanity could only establish itself anew by rediscovering the potency of art, including opera. On ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(Piano, b. 1934) Born Adolphe Johannes ‘Dollar’ Brand in Capetown, South Africa, Abdullah Ibrahim successfully fused African rhythms and lilting melodic lines with the piano styles of Duke Ellington and Thelonious Monk. In 1960, with trumpeter Hugh Masekela and others as the Jazz Epistles, he released the first contemporary South African jazz album. The racial climate ...

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