By Benjamin Franklin V
Энциклопедия джазовых и блюзовых музыкантов Южной Каролины от XIX века до современности, включая не только таких звёзд, как James Brown и Dizzy Gillespie, но и забытых музыкантов. In An Encyclopedia of South Carolina Jazz and Blues Musicians, Benjamin Franklin V files the careers of South Carolina jazz and blues musicians from the 19th century to the current. The musicians variety from the popular (James Brown, Dizzy Gillespie), to the impressive (Freddie eco-friendly, Josh White), to the mostly forgotten (Fud Livingston, Josie Miles),to the imprecise (Lottie Frost Hightower, Horace Spoons Williams), to the unknown (Vince Arnold, Johnny Wilson). equipped alphabetically, from Johnny Acey to Webster younger, the books entries comprise uncomplicated biographical details, South Carolina apartments, profession information, compositions, recordings as leaders and as band individuals, movies, awards, sites, and lists of assets for added interpreting.
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Extra resources for An Encyclopedia of South Carolina Jazz and Blues Musicians
News, 8 December 1998, sec. B, p. 4 (obituary); “Peg Leg Bates, One-Legged Dancer, Dies at 91,” New York Times, 8 December 1998, sec. 10 (obituary); Frank Cullen, Vaudeville Old and New: An Encyclopedia of Variety Performers in America (New York: Routledge, 2007), 1: 80–81; Constance Valis Hill, Tap Dancing America: A Cultural History (New York: Oxford University Press, 2010), 164–68, 186–87. Baxter, Quentin E. C. residences: Charleston (1971–1989, 1992–), Columbia (1989–1992) Baxter began playing percussion instruments around age five and, through high school, followed his parents’ example by performing on drums at the Mount Zion Fire Baptized Holiness Church Quentin Baxter; photograph by Reese Moore, permission of Quentin Baxter Beckum, Jimmy in Charleston Heights.
A, pp. com/news /0504-storytellermac_64595260 [accessed 10 May 2015]) (comments by Arnold). C. C. , where he intended to become a dancer. At a Harlem church in 1964 he met seventeen-yearold Valerie Simpson, with whom he soon began writing songs, sometimes in collaboration with Josephine Armstead, including on “Let’s Go Get Stoned,” which became a hit for Ray Charles. As a result of their early work Ashford and Simpson affiliated with Motown Records in 1966. C. residence: Anderson (before and probably after 1895) Arnold was valued so highly in 1895 that an anonymous writer mentioned him as a standard to which young black fiddlers could only aspire.
Com /articles/view/title: mac_arnold ( July 2006; accessed 21 May 2014) (interview). SECONDARY : Tim Holek, “Mac Arnold: Cornbread and Collard Greens,” Living Blues 193 (December 2007): 18–25 (comments by Arnold); Brian S. : Blurb/Brian S. Kelley, 2009) (this book consists of Kelley’s photographs of Arnold and Adam N. ) Independent-Mail, 4 May 2015, sec. A, pp. com/news /0504-storytellermac_64595260 [accessed 10 May 2015]) (comments by Arnold). C. C. , where he intended to become a dancer. At a Harlem church in 1964 he met seventeen-yearold Valerie Simpson, with whom he soon began writing songs, sometimes in collaboration with Josephine Armstead, including on “Let’s Go Get Stoned,” which became a hit for Ray Charles.