(Vocals, banjo, c. 1890–1938) New Orleans-born Charlie Jackson brought a jazzman’s sophistication to an instrument still too often overlooked by blues historians. He alternated single-string solos with percussive chording and dexterous fingerpicking, allowing him to bridge styles and genres with rare facility. He released more than 60 sides of his own, and he also recorded with Freddie ...
(Kle’-menz nôn Pa’-pa) c. 1510–55 Franco-Flemish composer His given name was Jacob Clemens, and it is not known how he came to be called Clemens non Papa (one translation of ‘non papa’ is ‘not the pope’ – a rather unlikely mistake). He composed some works in his native Dutch, the best-known of which are the souterliedekens. These three-voice, ...
Charlie Christian (1916–42) pushed guitar to the forefront of the big-band era, furthering the instrument’s evolution from a provider of acoustic accompaniment to an electrified foreground instrument that could pound out rhythm like a drum set or solo out front like a horn. His playing, in fact, was likened to jazz horn players who were leading the evolution ...
(Trumpet, vocals, 1884–1954) Oscar ‘Papa’ Celestin was a much-loved New Orleans fixture, who started out with the Algiers Brass Band, under Henry Allen Sr. at the turn of the century. In 1910 he founded the Original Tuxedo Jazz Orchestra with trombonist William ‘Baba’ Ridgley. Celestin recorded with OKeh and Columbia in the mid-1920s, and his recordings ...
Charlie Christian was the last great figure to emerge from the jazz scene of the 1930s. He not only brought a perfectly formed approach to his music, but also an entirely new musical platform – the electric guitar. His career in the big time was brief, but Christian was a lighthouse whose beam still illuminates anyone with serious intentions ...
Charlie Parker, also known as ‘Yardbird’ or ‘Bird’, was a largely self-taught musical genius with acute self-destructive tendencies. His career exemplified both the creative power and the destructive social ethos of bebop. His music burned as brightly as any in jazz, but his lifestyle sent out the wrong message to too many young musicians, despite his frequent warnings ...
(Various saxophones, 1913–91) Charlie Barnet led a successful big band from 1933 until the late 1940s and was one of the earliest white bandleaders to employ black musicians, beginning with Benny Carter as a guest soloist and arranger in 1934. He introduced singer Lena Horne as an unknown in 1941 and featured many notable musicians in his line-ups. His ...
(Tenor saxophone, vocals, 1919–89) Benjamin Joseph Jackson was born in Cleveland, Ohio and replaced Wynonie Harris as male vocalist with the Lucky Millinder Orchestra in 1945. From 1947 until the late 1950s he toured with his own group, the Buffalo Bearcats. He recorded for Queen/King from 1945; among his biggest hits were ‘I Love You, Yes ...
(Vibraphone, 1923–99) Milt Jackson diverged from his two great predecessors on vibes, Lionel Hampton and Red Norvo, by developing a linear, rhythmically inflected approach rooted in bebop rather than swing. He preferred the slightly larger vibraharp to the more familiar vibraphone, and adjusted the oscillator to give a trademark rich, warm sound. He recorded as ...
(Bass, b. 1937) Charlie Haden’s famed work with Ornette Coleman represents just one small facet of the versatile bassist’s career. As a child in Iowa he performed on radio with his family’s country and western band. At 15 he took up the bass while recovering from polio, acquiring a novel technique that makes his notes resonate deeply. Haden moved ...
(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 ...
(Guitar, b. 1967) The leading exponent ‘acid jazz’, guitarist Charlie Hunter has learned to emulate the organ-bass runs of his inspiration, Larry Young, on a customized guitar. Raised in Berkeley, California, the son of a guitar repairer, he was a street musician in Europe prior to founding Disposable Heroes of Hiphoprisy in the early 1990s ...
(Vocals, banjo, 1892–1931) A textile-mill worker and banjo player, Poole led one of the finest of old-time bands, The North Carolina Ramblers, with guitarist Roy Harvey (1892–1958) and a succession of fiddlers headed by Posey Rorer. Their first release, ‘Don’t Let Your Deal Go Down Blues’ and ‘Can I Sleep In Your Barn Tonight, ...
(Vocals, guitar, 1932–98) A cult hero, especially in Europe, Charlie enjoyed no commercial success whatsoever but was revered for his authentic rockabilly sound. Born near Holly Springs, Mississippi, he first recorded for Sun in 1954, but cut his finest rockabilly for King and Meteor. His unusual vocal technique – complete with hiccups and stutters ...
(Vocals, b. 1937) Born in Maud, Oklahoma, Jackson was discovered by Hank Thompson and first recorded country for Decca in 1954. After appearing on shows with Elvis Presley and a label switch to Capitol, she cut several rockabilly classics. Jackson introduced much-needed glamour to the largely male world of rockabilly, and her rasping vocal style is ...
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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.
David Bowie
Fantastic new, unofficial biography covers
his life, music, art and movies, with a
sweep of incredible photographs.