SEARCH RESULTS FOR: Sonny Terry
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(Harmonica, vocals, 1911–86) Saunders Terrell was born in Greensboro, Georgia and taught himself to play the harmonica at the age of eight. He lost the sight in one eye, aged 10, and the second eye at 16. Terry played mostly in North Carolina from the late 1920s. He teamed up with Blind Boy Fuller in 1934 ...

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

A blues guitarist best known for his slide-guitar work, Sonny Landreth (b. 1951) was born in Canton, Mississippi. The family relocated to Lafayette, Louisiana, where Sonny was immersed in the area’s swamp-pop and Zydeco music. Beginning as a trumpeter, he was already a virtuoso guitarist in his teens. His earliest role model was Scotty Moore, ...

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

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

(Harmonica, vocals, 1914–48) John Lee Williamson was born in Jackson, Tennessee. He taught himself harmonica at an early age and left home in his mid-teens to hobo with Yank Rachell and Sleepy John Estes through Tennessee and Arkansas. He settled in Chicago in 1934 and made his recording debut for Bluebird in 1937. His first song, ‘Good ...

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

(Tenor and soprano saxophone, b. 1930) Sonny Rollins stands alongside John Coltrane as the major bop-rooted stylist on tenor saxophone. He cut his teeth in New York with bop giants including Charlie Parker, Bud Powell, Thelonious Monk and Miles Davis. He was a member of the Clifford Brown–Max Roach Quintet (1955–57), and has led his own bands since ...

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

(Alto, tenor and baritone saxophones, 1924–82) Edward ‘Sonny’ Stitt was equally proficient on the alto and tenor saxophones. Initially a devotee of Charlie Parker, he developed into a hard-hitting and fluid improviser with a reputation for extreme toughness in ‘cutting’ contests. He worked with Dizzy Gillespie, Bud Powell, J.J. Johnson and Oscar Peterson, but ...

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

(Harmonica, vocals, c. 1912–65) Alex Ford ‘Rice’ Miller was born in Glendora, Mississippi. He taught himself the harmonica at the age of five and by his early teens had left home to sing and play as ‘Little Boy Blue’. He worked streets, clubs and functions through Mississippi and Arkansas during the 1930s, often playing with Robert ...

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

(Vocals, guitar, b. 1931) Born in Newport, Arkansas, Albert ‘Sonny’ Burgess cut some of Sun’s wildest and most primitive-sounding rockabilly. His growling vocals and heavily R&B-influenced style was too extreme for mass sales, but with his group, The Pacers, he had one of the top rockabilly stage acts in the South during the 1950s. ...

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

(Vocals, b. 1929) From the late 1950s through to the early 1980s, Hackleburg, Kentucky-born James Hugh Loden had a long string of chart-topping hits with romantic ballads, starting with ‘Young Love’, which reached the top of the country and pop charts in 1957. Other big hits for James were ‘Need You’ (1967), ‘Heaven Says Hello’ (1968) and ...

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

(Vocals, piano, songwriter, b. 1943) This Texas-raised musician, sculptor and playwright is an American original. His left-of-centre songs about the road and life’s characters have created a cult following via such albums as Juarez (1975), Lubbock (On Everything) (1979) and Human Remains (1995). ‘New Delhi Freight Train’ and ‘Amarillo Highway’ are his most covered songs. ​Styles & ...

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

b. 1935 American composer Initially influenced by Stockhausen, Riley was profoundly affected by the sustained, minimalist style of La Monte Young, whom he met at the University of California at Berkeley. He had paid for his studies by playing ragtime in a bar. He soon became interested in improvised music and ‘happenings’ and made a serious study of ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(Harmonica, vocals, 1912–65) The career of Mississippi’s Sonny Boy Williamson began as a case of identity theft. A 1930s delta bluesman named ‘Rice’ Miller had landed a starring spot on the blues radio show King Biscuit Time. The sponsor had Miller pose as Chicago harmonica star John Lee ‘Sonny Boy’ Williamson. The deception worked in rural America, and ...

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

(Vocal duo, 1964–76) Jobbing Hollywood songwriter and arranger Sonny Bono linked up, both professionally and romantically, with Cher La Pier, a session singer, for a handful of misses before striking gold with 1965’s chart-topping ‘I Got You Babe’. Its vague if fashionable ‘protest’ tenor, the overnight sensation’s proto-hippy appearance and an element of boy-girl ickiness ...

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

Few would deny that the blues has played a more important role in the history of popular culture than any other musical genre. As well as being a complete art form in itself, it is a direct ancestor to the different types of current popular music we know and love today. Without the blues there would have been no Beatles ...

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

It was Louis Armstrong (or Leadbelly, depending on whom you believe) who came up with the famous final word on the definition of folk music: ‘It’s ALL folk music … I ain’t never heard no horse sing.…’ The quote has been repeated ad nauseam throughout the years, but it has not prevented strenuous debate about the meaning of ...

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