THE HOT 100 // THE MOST INFLUENTIAL AFRICAN-AMERICANS IN MUSIC //
Blacks in music: 100 years of 100 high notes // HISTORY: Looking
back on the century's most important African-Americans in the field.
BEN WENER; STEVE EDDY;TIMOTHY MANGAN: The Orange
County Register
* 02/07/99
The Orange County Register
It is Black History Month. It is the end of the century. It is
time for a little reflection _ something that's going to be going on
a lot this year.
The recent PBS special "I'll Make Me a World" looked at the most
influential black American acts in all the arts. Some time ago, we
decided to focus singly on music. Why music? Because so much of the
popular music that's conquered the world is so resolutely American,
and this flowering has its roots in so many black traditions.
After all, how can you discuss The Notorious B.I.G. without
first discussing Run-D.M.C. without first discussing James Brown
without first discussing Chuck Berry without first discussing
Robert Johnson?
Yet it's not only in rock, jazz, blues and hip-hop where blacks
have given the world something unique; there have been
contributions in the classical arts as well.
We realized, of course, that ranking these artists would be a
futile task. Who, after all, would be No. 1? Louis Armstrong sprang
to mind, but then, how do you get to Satchmo without first
experiencing Jelly Roll Morton and Scott Joplin? What about Robert
Johnson or Muddy Waters? Billie Holiday or Ella Fitzgerald? How to
compare Leontyne Price with Whitney Houston?
And perhaps the two on the list who most personify the American
Dream filtered through the black experience _ Berry Gordy Jr. and
Quincy Jones _ aren't fundamentally performers, though each has
songs and recordings of his own.
Instead, we settled on selecting the 30 most vital _ which went
up from 25, which began at 10. (See how impossible this is?) Those
names are listed alphabetically and are followed by 70 more, also
in alphabetical order, that on a different day could have found
their way into the top of our list. (Well, maybe not 2Pac, but you
get the point.) Beyond that is a list of notables who, many will
surely argue, belong on the main list.
We also eliminated some extremely important names (Bob Marley,
Oscar Peterson and Samuel Taylor-Coleridge, for starters) on the
basis that, though their influence in America was often monumental,
they were not, after all, Americans. Such boundaries also ruled out
the likes of King Sunny Ade, Hugh Masakela, Miriam Makeba, Peter
Tosh, Jimmy Cliff, Ladysmith Black Mambazo, Joan Armatrading, the
Skatalites, Desmond Dekker, Milton Nascimento, Gilberto Gil, Yousou
N'Dour and Salif Keita.
Here, then, are our choices, based on several criteria _
influence, innovation and popularity over time, chiefly. An
essential recording for each is listed as an introduction for those
unfamiliar with the artist _ who should step up their education
immediately.
THE TOP 30
1. Marian Anderson (1899-1993) _ After an already successful career
touring Europe and the United States (Toscanini told her, "A voice
like yours is heard only once in a hundred years"), the contralto
Anderson was thrown into the national spotlight for reasons of her
race. In 1939, the Daughters of the American Revolution denied her
the use of Constitution Hall in Washington, D.C., for a concert. In
protest, Eleanor Roosevelt and other prominent Americans secured
the Lincoln Memorial for Anderson, where she appeared in broadcast
concert before some 75,000 on April 9, 1939. Past her prime, she
broke the color barrier at the Metropolitan Opera in 1955, becoming
the first black singer on the permanent roster. In 1958, Eisenhower
named her a delegate to the United Nations, and she sang at
Kennedy's inaugural ball. Possessed of a large and memorable voice,
Anderson nevertheless could adapt it to lieder, and she made a
lasting impression singing spirituals. Essential: "Marian
Anderson," Pearl
2. Louis Armstrong (1900-71) _ He wasn't born on July 4, as he
liked to pretend, but "Satchmo" or "Pops" was as authentically
American as anyone ever born on these shores. Raised in New
Orleans, Armstrong listened to the great hornmen of the era like
King Oliver and went on to do something no one had really done
before _ put the trumpet out in front of the ensemble. His
resulting Hot Five and Hot Seven recording sessions from the '20s
are generally regarded as the beginning of jazz as we know it.
Later, of course, Armstrong became one of the world's most beloved
and revered entertainers. Based solely on his seminal work alone,
though, he was arguably the single most important black musician of
the century. Essential: "1923-31, Great Original Performances,"
Louisiana Red Hot Records.
3. Chuck Berry (1926- ) _ Try to imagine music as we know it
without the Brown-Eyed Handsome Man. He simply is rock 'n' roll.
That galvanizing, excitable riff that opens "Johnny B. Goode" _ or
the one that opens "Roll Over, Beethoven," or "Carol," or "Little
Queenie," or "No Particular Place to Go" _ is the most often
imitated sound in all of rock. As Brian Wilson, who patterned all
of the Beach Boys' early records on Berry's work, said, "He wrote
all of the great songs and came up with all the rock 'n' roll
beats." His influence is staggering; there are no Beatles, no
Stones and certainly no Elvis without Charles Edward Anderson
Berry. Take or leave his offstage antics (pure bad-boy rock 'n'
roll personified, anyway), but you can't refuse his body of work.
And a big bonus: He can still rock today. Essential: "The Great
Twenty-Eight," Chess/MCA
4. James Brown (1928- ) _ Soul Brother Number One, the Godfather of
Soul, the Hardest Working Man in Show Business _ there's a reason
why James Brown has garnered so many exalted titles: He
revolutionized popular music, both in his electrifying performances
and his proud and nasty funk explosions _ think "Papa's Got a Brand
New Bag" _ that are still felt in the scratchy samples of hip-hop
today. What's more, his life is a seesawing
rags-to-riches-to-rags-to-riches-and-so-on story that posits him as
much a tragic, misunderstood genius as a put-upon hero of urban
blacks. Some will argue his much-publicized sentences for
wife-beating and drug possession should keep him off such a list.
That's narrow-minded and forgets to separate the artist from the
man. Nothing can take away Mr. Dynamite's contribution to music.
Essential: "Live at the Apollo Vols. 1 & 2," Rhino
5. Ray Charles (1930- ) _ The mighty Ray Charles is perhaps the
single greatest black pop performer of all time, able to shift
fluidly from soul to gospel to country to jazz and back again with
each successive album. He's an arranger, a songwriter, a bandleader
and a master pianist _ and his voice, burly and emotional and
playful and aching, is one of the most unmistakable sounds in the
world. He was born Ray Charles Robinson, was blind by 6 from
glaucoma, and for his first recording shortened his name so as not
to be confused with boxer Sugar Ray Robinson. By the end of the
'50s he had one of the most impressive catalogs in pop. Pepsi
jingles and an endless use of his "Georgia on My Mind" haven't
tarnished his reputation; Brother Ray still rules. Essential: "The
Best of Atlantic," Rhino
6. John Coltrane (1926-67) _ One of jazz's top innovators, Coltrane
had an impressive resume when he entered the '60s, his heyday. He
had already played in a big band and blown his share of be-bop. But
when he formed a quartet consisting of himself on tenor and soprano
saxes, Elvin Jones on drums, McCoy Tyner on piano and Jimmy
Garrison on bass, he changed all the rules. The use of modes, the
extremely long and unbridled solos, the sprawling cadenzas, the
seemingly schizophrenic blend of the angry and the soulful all
contributed to a Coltrane "sound" that is more popular and
influential today than ever. Essential: "My Favorite Things,"
Atlantic
7. Miles Davis (1926-91) _ A protege of Charlie Parker, trumpeter
Davis went on to almost singlehandedly create the "cool school" of
jazz in the '50s. He was a marvelous player, known for long, lean,
muted lines on ballads and extremely thoughtful, economical blowing
on uptempo numbers. A strange, troubled but brilliant man who often
literally turned his back on audiences, Davis also is the father of
so-called jazz fusion. Essential: "Kind of Blue," Columbia/Sony
8. Duke Ellington (1899-1974) _ The towering genius Edward Kennedy
Ellington was the most prolific and listened-to of all American
composers. The pianist led the most long-lived of big bands, wrote
suites and tone poems, penned musicials, composed full works for
church choir and orchestra and wrote enduring standards such as
"Prelude to a Kiss" and "Sophisticated Lady." And all the while, he
was one of the most witty and urbane personalities of the century.
Another 100 years from now, musicologists and casual fans alike
will still be marveling at the vast riches of Ellington's body of
work. Essential: "His Mother Called Him Bill," BMG/RCA
9. Ella Fitzgerald (1918-96) _ There was only one "first lady of
song," and she was Ella Fitzgerald. Unlike other black performers,
Fitzgerald's early musical influences were white singers like Patty
Andrews and Connee Boswell, and the quality of Fitzgerald's voice
always bore their innocent, little-girl mark. Later in life, when
she was exposed more deeply to the music of Duke Ellington and
Count Basie, her voice developed yet another dimension, and the
result was a style that was unparalleled. Fitzgerald was the
greatest scat singer. Essential: "Best of the Songbooks," Verve
10. Aretha Franklin (1942- ) _ She comes on a like a hurricane. In
fact, most people consider her voice less an instrument than a
force of nature. And when Lady Soul found a way to fuse her gospel
upbringing (courtesy of her father, the Rev. C.L. Franklin) with
her passion for secular sounds, she turned the music world upside
down. Like Mahalia Jackson, she sounds like a choir of angels (very
real, strutting, funky angels) personified. Like Ray Charles, she's
never content, often shifting from pop to gospel to funk to even
opera in search of new ways to unleash her heavenly roar.
Expressive like few others, and more of a diva than a dozen Whitney
Houstons, Aretha is perhaps the greatest influence on the current
raft of singers. Essential: "I Never Loved a Man (The Way I Love
You)," Atlantic
11. Marvin Gaye (1939-84) _ Marvin Pentz Gay Jr. _ who later tacked
an "e" onto the end of his name _ did for soul what the Beatles did
for rock with "Sgt. Pepper's": gave it a larger-than-life canvas on
which to paint moving portraits of life in the city. He started out
as Motown's sweet lover man, making you feel his pain with "I Heard
It Through the Grapevine" and making you coo in his soaring duets
with Tammi Terrell and Kim Weston. Then he got bored, and
fortunately so: The result was "What's Going On," a conceptual song
cycle about inner-city blues that put a humanist face on the
politically charged tenor of the times for blacks and whites alike.
Like Stevie Wonder, he redefined the role of the artist for black
musicians. His death at the hands of his father, just as he was
hitting a new peak, remains a tragedy on a par with Otis Redding's.
Essential: "What's Going On," Motown
12. Dizzy Gillespie (1917-93) _ John Birks "Dizzy" Gillespie's
trumpet was a near equal to Charlie Parker's alto sax in spurring
the bop movement. But Gillespie, unhampered by the drug addiction
and similar problems sufffered by some of the boppers, also became
the media's symbol for the era, with his hep-cat attire, goatee and
ballooned-out cheeks. He pioneered the addition of Afro-Cuban
colors to jazz and, in later years, he circled the globe, preaching
the gospel of music and human oneness. Essential: "Complete RCA
Victor Recordings."
13. Berry Gordy Jr. (1929- ) _ Without him, there is no Motown, and
without Motown, well, there is a hole in soul. A masterful producer
and an unheralded songwriter, Gordy built Motown into the most
successful American corporation owned and operated by blacks in the
'60s. His jaw-dropping roster included many of the names on this
list: Smokey Robinson, the Temptations, the Four Tops, the
Supremes, Marvin Gaye, Stevie Wonder. Their sound was shaped and
defined by Gordy in that heyday, and their impact is still felt in
vocal groups today, while Gordy's moguldom has been emulated by the
likes of Babyface and Sean "Puffy" Combs. Essential: "The Motown
Story," Motown
14. Lionel Hampton (1913- ) _ It seems absurd now, but in the
mid-'30s, American culture didn't permit black musicians to share
the stage with whites. Benny Goodman and promoter John Hammond
changed all that, introducing pianist Teddy Wilson and pioneering
vibist Lionel Hampton to the Goodman aggregation. The musicians
bore their share of taunts from some quarters, but the swing-crazed
kids of the era couldn't have cared less, and Goodman, Wilson,
Hampton and Gene Krupa played some of the most exciting music of
the period. Essential: "Hamp: Legendary Decca Recordings."
15. Jimi Hendrix (1942-70) _ Quite simply, he is the greatest
guitarist who ever lived. None come close to matching his ability,
dexterity, vocabulary, experimentation and advancements on the
instrument. That he is also an icon of '60s peace and love is
almost a footnote in comparison, but it's a matter to be reckoned
with. Hendrix's legacy looms enormously not just because his brief
four-year career gave us some of the most important recordings of
the rock era, all of which redefine what a man and his ax can do,
but they stand as testaments to an era when an anything-goes
approach to popular music was still widely appreciated. Why isn't
it today? Maybe because when we encounter it, we can see the
blueprints at work. Hendrix, for all his complexity and glory, made
it look easy. And his voice was pure soul. Essential: "Are You
Experienced?" Experience Hendrix/MCA
16. Billie Holiday (1915-59) _ If jazz can be said to have one
voice, it's that of the great Billie Holiday, the most emotive
singer of them all. A woman with a life full of struggles, her
renditions of American standards and jazz staples are seared with
passion and heartbreak. Listening to Billie Holiday can raise
goosebumps. Every hot new jazz singer invariably is compared to
Lady Day, and that may be the ultimate tribute. Essential: "16 Most
Requested Songs," Sony.
17. Mahalia Jackson (1911-72) _ Sister Mahalia is the most
important gospel singer of this century, and perhaps will remain so
for centuries to come. That's not just because her recordings touch
the soul in ways no one else's has. Yes, her soothing contralto
seems to be directly connected to God. Yes, her influence can be
heard in practically every gospel recording made since the '40s.
But it's her sociological importance that places her ahead of all
others. Here was a social activist as much as a singer, a woman who
reached a white audience because the power of her voice was as
undeniable as her spiritual message. She sang at JFK's
inauguration, she marched with Martin Luther King, she helped
change a great many things. Essential: "Gospels, Spirituals and
Hymns," Sony Legacy
18. Michael Jackson (1958- ) _ Today he's considered a first-rate
freak, which in some ways makes him a more believable rock star
than ever. But like James Brown's, Jacko's career is a clear case
of separating the artist (who gave us the massively popular "Off
the Wall" and "Thriller" albums) from the man (whose rumored
eccentricities are too numerous to mention). The most successful
and gifted of the Jackson clan by far _ and thus the sole
representative on this list _ Michael's work is monumental,
carrying with it a global influence that is unmatched. And in this
country, R&B has shaped itself around "Thriller" the way rock has
this decade around Nirvana's "Nevermind": Everything since is
either a direct complement to it or a fierce rebellion against it.
Essential: "Thriller," Epic
19. Robert Johnson (1911-38) _ The tragic King of the Delta Blues
recorded only 28 songs in his short lifetime _ and every one of
them is crucial. Other artists may have created works that stick in
the mind longer, if only because they stuck around long enough to
play them again and again. Others, such as Muddy Waters and Howlin'
Wolf, may have even surpassed him in breadth and meaning, while a
clutch of players (W.C. Handy, Son House, Charley Patton) were his
foundation. But Johnson's singular style (his contemporaries at the
time couldn't believe such sounds came from one man) signifies the
blues. It is the very core of the sound that all bluesmen
(especially white ones such as Jimmy Page and Eric Clapton) return
to for inspiration. Johnson's Faustian mythology only makes him
seem that much more important. Essential: "King of the Delta Blues
Singers," Columbia
20. Quincy Jones (1933- ) _ He got his start blowing horn for
Lionel Hampton's Orchestra, started doing some arranging for the
legendary vibes man, and never looked back. Since then, the heavily
decorated Q has done more to expand the horizons of what a black
artist can be than anyone else, blazing trails in production and
industry while never sacrificing his own sense of songwriting and
arranging, and proving that an artist can work in pop and jazz
realms and still be respected by both camps. He remains an
immensely influential mover and shaker whose very name on a project
guarantees a modicum of success. Essential: "Back on the Block,"
Qwest/Warner Bros.
21. Scott Joplin (1868-1917) _ "Maple Leaf Rag" came out in 1899,
helping to establish ragtime as a legitimate form of music, and a
decade later the sound's master, Scott Joplin, would be dying from
syphilis. And yet, without his lively, often wildly complex work,
jazz would never have been the same _ and might have taken
considerably longer to develop. It only took Joplin, oh, 57 years
to become popular, courtesy of Marvin Hamlisch's use of "The
Entertainer" in 1973's "The Sting," but since then a re-evaluation
of Joplin's role in popular music has kept his timeless rags from
ever being forgotten. Essential: "The Entertainer," Laserlight
22. Little Richard (1935- ) _ The self-proclaimed "architect of
rock 'n' roll" had plenty of company in his day (Chuck Berry and
Fats Domino, for starters) but none could match Richard Wayne
Pennimen's flamboyance and exuberance. And in his battering piano
playing, he upended what the instrument could be, slamming through
the 88 in numbers such as "Lucille," "Tutti Frutti," "Rip It Up"
and "Long Tall Sally" with a ferocity matched only by Jerry Lee
Lewis. Where Lewis was country at heart, however, Richard was
devotional, incorporating gospel into his rock 'n' roll and, at one
point, giving it all up for the ministry. Such a dichotomy (the
sacred and the profane rolled into one) is like few others in pop
music, and it's the clear progenitor of Prince, Janet Jackson and
Madonna, to name only a few of the superstars whose careers emulate
Little Richard's glam-o-rama style. Essential: "18 Greatest Hits,"
Rhino
23. Charlie Parker (1920-55) _ They called the alto saxophonist
"Yardbird," and the young genius from K.C. heard something
different in his head, a new way to use chords in improvisation.
After sufficient woodshedding, he hit New York City and, along with
Dizzy Gillespie and a few others, launched a style of jazz they
called be-bop. The music would never be the same, nor would other
players who heard Parker's incredibly furious production of notes.
Some dazzled fans and musicians actually slowed the records to get
a better idea of what Parker was doing. It turned out that every
note made perfect, blues-rooted sense. Bop, considered radical by
many in the '40s, later came to be known as mainstream jazz and is
still the preference of millions worldwide. Essential: "Yardbird
Suite: The Ultimate Charlie Parker Collection," Rhino.
24. Leontyne Price (1927- ) After her study at the Juilliard
School, the soprano Price made her first signal success in a
touring production of Gershwin's "Porgy and Bess" in 1952-54. In
1955, she sang the title role in a national television broadcast of
"Tosca" at a time when black women didn't play Italian divas. She
became the first black woman to sing at La Scala, in 1959, as Aida.
She sang in all the major opera houses in Europe, including the
Vienna State Opera under Herbert von Karajan, and became a
Metropolitan Opera favorite. A versatile singing actress, she was
most admired for her passionate portrayal of Verdi heroines.
Retiring from opera in 1985, she continued her recital career to
critical hosannas. She was awarded a Presidential Medal of Freedom
(1965), a Kennedy Center Honor (1980) and a National Medal of Arts
(1985). Essential: "The Prima Donna Collection Highlights," RCA
Gold Seal
25. Otis Redding (1941-67)
What Otis Redding might have achieved had he not been killed in a
plane crash in 1967 boggles the mind. At the time of his death, no
one could hold a candle to his soulful sides (few can to this day).
The counterbalance to the often sunny Motown sound, Redding and his
Southern holler is in a league all its own _ part Sam Cooke coo,
part Howlin' Wolf raise-the-dead grumbling, and all Stax/Volt
shake. The songs tell the story _ that is, if you start with
"Respect," move to "Mr. Pitiful" and end with the immortal
"(Sittin' on the) Dock of the Bay." A towering presence with a
stellar voice. Essential: "Otis Blue _ Otis Redding Sings Soul,"
Atlantic
26. Paul Robeson (1898-1976) _ A graduate of both Rutgers and
Columbia School of Law, Robeson, an actor and bass, made his early
career on the stage and singing spirituals. He was seen in the
original "Show Boat" in 1928 and the title role of "Othello" in
London in 1930. A magnetic screen presence, he starred in the film
versions of "Emperor Jones" and, most memorably, "Show Boat"
(1936). "Ol' Man River" became his signature tune. After a tour of
the USSR in the 1940s he became enamored with communism, which
brought his U.S. career to a halt. In 1952, he was awarded the
International Stalin Peace Prize. His singing voice had a
remarkable resonance, and he put a song across with flowing periods
and earnest emotion. Essential: "Songs of Free Men," Columbia
Masterworks
27. Bessie Smith (1894-1937) _ A contemporary of Ma Rainey, a
profound influence on Louis Armstrong, Mahalia Jackson and
virtually every blues performer, the titanic Bessie Smith is
deservedly considered "the Empress of the Blues." And it's more
than because she was the first major blues or jazz singer to appear
on record, or that her mythology nearly matches Robert Johnson's
(in artistic decline during the Depression, she was prepped for a
comeback in her 40s when she was killed in a car accident). Rather,
Smith is, to many, the first important popular female singer in
America, whose influence continues to grow as decades pass.
Essential: "The Bessie Smith Collection," Sony Legacy
28. William Grant Still (1895-1978) _ His early musical experiences
included arranging for W.C. Handy and performing (oboe) in theater
orchestras. Encouraged to compose, he won a scholarship to study
with Varese and, at the New England Conservatory, with Chadwick,
who set him on the path of writing specifically American music. He
developed a graceful symphonic idiom using traditional black
melodies and folk-derived tunes, and, in 1931, his "Afro-American"
Symphony became the first such work by a black composer to be
performed by a leading orchestra. He went on to write several
operas on black themes ("A Bayou Legend" was given its premiere on
PBS in 1981), five symphonies, ballets and many other works,
winning Rosenwald and Guggenheim fellowships, prizes from the
League of Composers and several orchestras. To be inducted into the
American Classical Music Hall of Fame, April 24, 1999. Essential:
"Afro-American" Symphony, Detroit Symphony, Neeme Jarvi, conductor,
Chandos
29. Muddy Waters (1915-83) _ Our representative for the inestimably
important Chicago blues sound, pioneered by Howlin' Wolf, B.B. King
and Willie Dixon. But McKinley Morganfield, rechristened Muddy
Waters before he traveled to the Windy City from his home in
Clarksdale, Miss., was the greatest of all of them, combining the
raw power of Wolf with the expertise of King and the emotion and
anguish of Dixon. Plus, he swaggered. And he strutted. And he was
sexier and nastier than Prince will ever be. And all without really
moving much or even getting up from his chair. He's the
hoochie-coochie man, the "Mannish Boy" whose spirit carries through
modern blues with dignity and a bit of devilish playfulness.
Perhaps the most lasting blues figure we have. Essential: "The Best
of Muddy Waters," Chess/MCA
30. Stevie Wonder (1950- ) _ "Little" Stevie Wonder took the world
by storm when he tore through "Fingertips (Part 2)" at age 13.
Since then, he has rarely paused in his evolution toward an
artistically and spiritually higher plane, moving from cheery early
Motown hits such as "Uptight (Everything's Alright)" and "I Was
Made to Love Her" to landmark soul excursions such as
"Innervisions" and "Songs in the Key of Life." Like Marvin Gaye, he
expanded the role of the black artist in the '70s, enabling him to
somewhat rest on his laurels in the '80s and '90s. Still, his
talent is vast (he was one of the first to play every instrument on
an album) and his breathless delivery is still as stirring as the
day it emerged. Essential: "Innervisions," Motown
THE REST OF THE 100 MOST IMPORTANT
31. Babyface (1959- ) _ Producer-arranger-performer extraordinaire,
Kenneth "Babyface" Edmonds is the current role model for all
burgeoning songwriting moguls, basing the most successful aspects
of his career after Berry Gordy Jr. Essential: "The Day," Epic
32. Josephine Baker (1906-79) _ After touring in vaudeville and
starring in New York nightclub revues, Baker, the celebrated
singer, actress and humanitarian, moved to Paris, where she caused
a sensation, appearing nude in shows at the Theatre des
Champs-Elysees and the Folies-Bergere. In the 1930s, she starred in
films, owned a nightclub (Chez Josephine, which she patrolled with
a pet leopard) and moved in high society. During the war she served
in the French Resistance and, later, became active in civil rights,
adopting 12 children of as many nationalities, dubbing them her
"Rainbow Tribe." Essential: "Jospehine Baker," Sandstone
33. Count Basie (1904-84) _ One of jazz's most important, swinging,
durable and consistent bandleaders, he also was perhaps its
greatest recruiter of talent. Essential: "April In Paris," Verve.
34. Harry Belafonte (1927- ) _ Now they call it "world music," but
in the '50s it was simply the lilting, Caribbean-flavored style of
the New York-born Harry Belafonte. His "Calypso" was the first gold
album, and Belafonte went on to become a tireless crusader for
civil and human rights. Essential: "Calypso," BMG/RCA
35. Ruth Brown (1928- ) _ Criminally overlooked at times, Ruth
Brown is one of the prime shapers of R&B singing this century. And
without her hitmaking, Atlantic Records ("the house that Ruth
built") might not have become the giant it is. Essential: "Miss
Rhythm (Greatest Hits and More)," Atlantic
36. Charlie Christian (1916-42) _ The pioneer of electric jazz
guitar led a painfully short life, but, with Benny Goodman, he put
a huge mark in the sand for those who would come later. Essential:
"Genius of the Electric Guitar," Columbia/Sony
37. George Clinton (1940- ) _ A man with as many nicknames as James
Brown _ Dr. Funkenstein, Uncle Jam, the Atomic Dog _ which is only
fitting given his weighty influence on funk and rap in the years
since his revolutionary work as leader of Parliament-Funkadelic.
Along with Sly Stone, though somewhat more militant and certainly
more spaced-out, Clinton strove to create "One Nation Under a
Groove." Essential: "Tear the Roof Off," Casablanca
38. Nat King Cole (1919-65) _ Cole was among the finer jazz
pianists of the '40s, but the keyboard was covered once it was
discovered what a warm, mellifluous singing voice he possessed.
Cole had an unmatched string of jukebox hits in the '50s and was a
trailblazing black TV-show host. Essential: "Best of Nat King
Cole," Capitol
39. Ornette Coleman (1930- ) _ Often controversial, the saxophonist
is a high-visioned innovator, and his '60 excursions continue to
amaze. Essential: "Free Jazz," Atlantic
40. Sam Cooke (1931-64) _ Equal parts gospel star ("A Change is
Gonna Come") and secular hitmaker ("You Send Me"), Cooke was the
smoothest vocalist this side of Nat King Cole, and with a great
dose of liveliness to boot. A magnificent singer. Essential: "The
Man & His Music," RCA
41. Andrae Crouch (1950- ) _ The master of modern gospel, the
groundbreaking Crouch combined the call-and-response approach of
soul and blues and the defiance of rock with the full-bodied roar
of a choir. Kirk Franklin would be nothing without him. Essential:
"Andrae Crouch and the Disciples _ Live in London," Light Records
45. Sammy Davis Jr. (1925-90) _ The wiry little guy could do it all
_ singing, dancing, acting and dead-on impersonations. And he was
anything but shy about being a black face in a mostly white
entertainment world. Essential: "The Wham of Sam," Reprise
46. Bo Diddley (1928- ) _ An unheralded bluesman, he will forever
be associated with the Bo Diddley beat (bomp, da-bomp-bomp, bomp
bomp) and his square guitars _ which is enough. Essential: "Bo
Diddley/Go Bo Diddley," Chess
47. Fats Domino (1928- ) _ Antoine "Fats" Domino was the most
popular black recording artist of the '50s, thanks to hits such as
"Blueberry Hill," "I'm Walkin' " and "Ain't That a Shame." Today,
he's not as well remembered as Chuck Berry and Little Richard, but
his New Orleans-derived boogie-woogie is every bit as vital to the
foundation of rock 'n' roll. Essential: "My Blue Heaven: The Best
of Fats Domino," EMI
48. Thomas A. Dorsey (1899-1993) _ Given the vast number of
spirituals Dorsey composed (including "Precious Lord" and "We Shall
Walk Through the Valley of Peace"), it's not hard to figure him as
the most sung songwriter in America. Essential: "Precious Lord,"
Sony Legacy
49. The Drifters (formed 1953) _ At least 40 people can
legitimately claim to have been a Drifter at one point in the R&B
group's checkered career, including founder Clyde McPhatter and
"Stand by Me" man Ben E. King. Regardless of who was singing,
though, the songs are permanently fixed in our consciousness.
Essential: "The Very Best of the Drifters," Rhino
50. The Four Tops (formed 1953) _ The most dramatic and emotional
of all Motown groups, the Tops, along with the Temptations, further
paved the road first laid down by the Mills Brothers. All vocal
groups are indebted to them, all thunderous soul men owe thanks to
leader Levi Stubbs, and the world should rejoice every time "Reach
Out _ I'll Be There" is played. Essential: "Anthology," Motown
51. Gamble & Huff (Kenneth Gamble, 1943- ; Leon Huff, 1942- ) _
They are the creators of Philly Soul, via production on hits for
Dusty Springfield, Wilson Pickett, Harold Melvin & the Blue Notes,
Lou Rawls and, most famously, the O'Jays, whose "Back Stabbers"
remains Gamble & Huff's peak. The Philadelphia International label
was a post-Motown wonder, but Gamble & Huff's style influenced all
smooth soul and slow jams to come. Essential: "Back Stabbers," the
O'Jays, Philadelphia International
52. Al Green (1946- ) _ If the deaths of Sam Cooke and Otis Redding
left a gaping void, Al Green stepped in to fill it handily _ and
add some ol' time religion for good measure. Essential: "Call Me,"
The Right Stuff
53. W.C. Handy (1873-1958) _ He was an outstanding trumpeter and
bandleader, but he will forever be considered the Father of the
Blues not so much for his role in fusing ragtime exuberance with
* Southern black folk music and gospel, though he did do that in
Dixie-jazz ways, but for his active involvement in developing the
blues scene itself. Essential: "Memphis Blues," the first song
published with the word "blues" in its title
54. Coleman Hawkins (1904-69) _ He was a pioneer of the saxophone,
taking it into a modern era from the old-fashioned slap-tongue
playing of the '20s. He was one of the music's most consistent
improvisers, equally dazzling on ballads and jump tunes. Essential:
"Body and Soul" BMG/RCA
55. Roland Hayes (1887-1977) _ The son of former slaves, the
distinguished tenor Hayes made his recital debut in Boston in 1917
and subsequently toured Europe and the United States to triumphant
acclaim. He was known for his sensitive readings of German lieder
and Negro spirituals and valuable arrangements of 30 spirituals in
"My Songs" (1948). Essential: "The Art of Roland Hayes,"
Smithsonian Collection
56. Fletcher Henderson (1897-1952) _ Leader of the first important
big band, his arrangements for Benny Goodman in the '30s, featuring
wailing riffs and call-and-response sections, were the foundation
for the modern band sound. Essential: "Fletcher Henderson Story: A
Study in Frustration," Columbia/Sony
57. John Lee Hooker (1920- ) _ It took a while, but John Lee Hooker
became a dirty-blues superstar in his own right, the "Boom Boom"
man imploring little ones to "Boogie Chillun." His style is often
imitated but never equalled. Essential: "The Ultimate Collection
(1948-1990)," Rhino
58. Lena Horne (1917- ) _ This singer has been the epitome of class
and style throughout a long, distinguished career. Essential:
"1939-46 Stormy Weather," ASV/Living Era
59. Whitney Houston (1963- ) _ One of the youngest artists on our
list, she is also the one poised to transform the mainstream. She's
rapidly developing as many skills as Barbra Streisand, though she's
not as strongly defined or as talented as Aretha or even Anita
Baker. Still, Houston is the standard-bearer for modern R&B
balladeering. Essential: "Whitney Houston," Arista
60. Howlin' Wolf (1910-78) _ When you think of bluesmen who could
bring the house down, you think of the Howlin' Wolf. Chester Arthur
Burnett may not have been as gifted as his Chicago brethren Muddy
Waters and B.B. King, but what he lacked in expertise he made up
for in sheer, almost violent power. Essential: "Howlin' Wolf Rides
Again," Virgin
61. Blind Lemon Jefferson (1897-1929) _ If Robert Johnson is the
blues' mythic king, then Jefferson is its first crossover star, his
wildly popular 78s making hay of racial barriers in the '20s.
Essential: "King of the Country Blues," Yazoo
62. Louis Jordan (1908-75) _ Far more than the king of jumpin'
jive, which most recently has given rise to the neo-swing movement,
saxophonist-bandleader Jordan was a focal point for the creation of
R&B as a distinct idiom _ and in the late '40s and early '50s, when
he scored an astonishing 57 chart hits, he couldn't be beat.
Essential: "The Best of Louis Jordan," MCA
63. Ulysses Kay (1917-95) _ A nephew of King Oliver, Kay studied
with Hanson and Hindemith, among others, and won the Prix de Rome.
Composed music for films ("The Lion, Griffin, and Unicorn") and
television, as well as symphonies, opera ("Frederick Douglass") and
chamber music. His music is neoclassical in flavor and much admired
for its instrumentation. Essential: Sinfonia in E, Oslo
Philharmonic, George Barati, conductor, CRI
64. B.B. King (1925- ) _ The blues' greatest showman and most
prized ambassador to the world, King has far surpassed his Chicago
blues roots to become perhaps the most recognized artist in the
genre ever. Essential: "King of the Blues," MCA
65. Leadbelly (1888-1949) _ The greatest black folk perfomer _
period _ not that he had much competition. But Huddie William
Ledbetter broke away from "race music" to create lasting, universal
songs that still speak to all people. Essential: "Midnight
Special," Rounder
66. Wynton Marsalis (1961- ) _ In the '80s, the virtuoso trumpeter,
a member of America's first family of jazz, was responsible for a
major jazz renaissance. And he is its finest teacher and
cheerleader. Essential: "Black Codes (From the Underground),"
Columbia/Sony
67. Johnny Mathis (1935- ) _ Like Nat King Cole, a vocalist so
smooth and subtle that he went beyond race. He's considered less a
black artist than an American artist _ which is as it should be.
And to think of the millions of children conceived to the strains
of "Chances Are." Essential: "Johnny's Greatest Hits," Columbia
68. Curtis Mayfield (1942- ) _ First with the Impressions and then
as a solo star, Mayfield epitomized the consummate artist _
songwriter, performer, producer, arranger and social commentator.
His work is often lost in the shuffle of Motown and Stax/Volt, but
it is every bit as fundamental to both funk and soul. Essential:
"Curtis," Ichiban
69. The Mills Brothers (formed late 1920s) _ For nearly 40 years
past 1931, the Mills Brothers had continued chart success, an
unprecedented feat in any genre. That their mellow sound, defined
by the hit "Paper Doll," would rub off on others was inevitable.
Essential: "The Anthology (1931-1968)," MCA
70. Charles Mingus (1922-79) _ A brilliant and unbridled
bassist-composer-arranger, Mingus took an eclectic stew of
influences and turned it all into something personal and unique.
Essential: "Mingus Ah Uhm," Columbia/Sony
71. Thelonius Monk (1917-82) _ Quirky and unpredictable, pianist
Monk was a true original. One of the important pianists of the
be-bop generation, he always went his own way. A superb composer.
Essential: "Monk's Dream," Sony
72. Jelly Roll Morton (1890-1941) _ This brilliant pianist always
claimed to have invented jazz, and he wasn't far off the mark. A
certified legend, he also ranks among the music's greatest
composers. Essential: "Greatest Hits," BMG/RCA
73. The Neville Brothers (formed 1954) _ Building on the work of
Professor Longhair and other New Orleans gris-gris and gumbo
artists, the Nevilles took the sound to completely new realms via
their uniquely soulful approach, which continues to evolve to this
day. Essential: "Treacherous: A History of the Neville Brothers,"
Rhino
74. Jessye Norman (1945- ) _ After winning the Munich International
Music Competition in 1968, the celebrated soprano Norman sang
Wagner at the Deutsche Oper, Berlin; Verdi at La Scala and Berlioz
at Covent Garden. Her U.S. operatic debut was made in Philadelphia,
and in 1983 she appeared for the first time at the Met. In 1986,
she toured the United States with the Berlin Philharmonic. A widely
admired recitalist and much-recorded, Norman is noted for her
dramatic voice and physical nobility. Essential: "Brava, Jessye!,"
Philips
75. N.W.A. (formed 1987) _ The once-controversial veteran group of
the gangsta rap scene, Compton's notorious N.W.A. brought the
violent sadness of gangland to boom boxes everywhere and helped
launch rap's current heyday in the process. Essential: "Straight
Outta Compton," Priority
76. King Oliver (1885-1938) _ An early, vitally important
cornetist, New Orleans legend Oliver was a prime influence on Louis
Armstrong. Essential: "Dippermouth Blues," Milestone
77. The Platters (formed 1953) _ They started as a doo-wop act
modeled after the Ink Spots but wound up the link between such
ornate, delicate soul and the Motor City edginess of, say, Smokey
Robinson & the Miracles. Along the way were some vital American
hits. Essential: "The Magic Touch: An Anthology," Mercury
78. Bud Powell (1924-66) _ An all-time jazz-piano giant, Powell had
a technique to match the greatest of the classical masters. His
innovations in chording changed the way everybody approached the
instrument. Essential: "Complete Blue Note and Roost Recordings,"
Blue Note
79. Prince (1958- ) _ Whatever his name may be this week, there
remains nothing like him in all of popular music. The rightful heir
to more than a few legacies in black music. Essential: "The Hits,"
Warner Bros.
80. Public Enemy (formed 1986) _ Stacked against the party-time
rhymin' of Run-D.M.C. and the Beastie Boys, the bold, caustic,
militant ranting of Chuck D. and company was incendiary. Compared
to today's rap scene, it is even more so. Essential: "It Takes a
Nation of Millions to Hold Us Back," Columbia
81. Queen Latifah (1970- ) _ She wasn't the first female rapper,
but she was the first female rapper who mattered, full of righteous
feminism, Afrocentrism and funky beats. Essential: "All Hail the
Queen," Tommy Boy
82. Ma Rainey (1886-1939) _ More titles: If Bessie Smith, Ma's
contemporary, was the Empress of the Blues, then Gertrude Rainey
was the Mother of the Blues. Taken together, the two cast the mold
for not only blues but also R&B and even some pop singing to come.
Essential: "Ma Rainey's Black Bottom," Milestone
83. Max Roach (1924- ) _ One of jazz's greatest, most long-lived
and influential drummers, Roach is also its most purely musical
percussionist. Essential: "Freedom Now Suite," Columbia/Sony
84. Smokey Robinson (1940- ) _ Much more than a silky-voiced
hitmaker, William "Smokey" Robinson was one of Motown's greatest
songwriters and a lasting contributer to black empowerment in the
music industry. Essential: "Anthology," Motown
85. Run-D.M.C. (formed 1983) _ Likely the single most important rap
act in the history of the genre, especially in terms of opening the
doors to nonfans of rap. Essential: "Raising Hell," Priority
86. The Shirelles (formed 1957) _ One of the original girl groups,
instrumental in shaping that and the Brill Building sound _ and
still the best, having given the world the
innocence-about-to-be-lost of "Will You Love Me Tomorrow?" among
dozens of others. Essential: "Anthology (1959-1967)," Rhino
87. Sly & the Family Stone (formed 1967) _ Within two years of
their first release, Sylvester Stewart and his interracial Family
Stone had done more to unify the races under the banner of harmony
and soul than any other band. By its third year, their leader was
so stoned he could hardly think straight _ and was making some of
the most brilliant, defiant and influential music of the last half
of the century. Essential: "Stand!" Columbia
88. The Staple Singers (formed 1956) _ Slated for induction into
the Rock and Roll Hall of Fame this month, the Staples (who
strangely dropped the "s" from their recordings) were pivotal in
reshaping gospel music to conform to the changes in rock and soul.
Essential: "Chronicle," Stax
89. Billy Strayhorn (1915-67) _ He was Duke Ellington's alter ego,
a brilliant arranger and composer ("Lush Life"). Many people who
knew them said they seemed to think with the same mind. Essential:
"His Mother Called Him Bill," BMG/RCA
90. Sun Ra (1914-93) _ The oddest and most unique jazz musician of
them all, keyboard man Sun Ra and his "Arkestra" were avant-garde
before anybody knew what it meant. Essential: "Atlantis," Saturn
91. The Supremes (formed 1959) _ What do you need to know that you
can't hum to yourself? The hits tell the story: "Baby Love," "Where
Did Our Love Go," "Come See About Me," "Stop! In the Name of Love,"
"You Can't Hurry Love," "You Keep Me Hangin' On." Immortal, and the
launch pad for Diana Ross. Essential: "Greatest Hits," Motown
92. Art Tatum, (1909-56) _ The most revered of all jazz pianists,
the blind Tatum possessed an inhuman technique, playing
unbelievably fast improvisations that dazzled even the best
players. Critics said he sounded like six sets of hands. Essential:
"Piano Starts Here," Columbia/Sony
93. The Temptations (formed 1960) _ Taking the traditional gospel
outfit concept to stellar heights, the Temps, along with the Four
Tops, redefined what a soul group could be in the '60s and beyond _
and, toward the tail-end of their first incarnation, helped shape
the funk to come. Essential: "All the Million-Sellers," Motown
94. 2Pac (1971-96) _ Much more than a dead, rebellious and still
controversial icon, Tupac Shakur brought a social conscience and a
tenderness to gangsta rap at a time when it was in danger of fast
becoming a parody of itself. He was gruff and angry and violent,
and his bragging is hard to top in a world of big trash-talkers,
but he wore his heart on his sleeve _ and bettered the genre
because of it. His legacy will loom large for decades to come.
Essential: "Me Against the World," Interscope
95. Ike & Tina Turner (Ike, 1931- ; Tina, 1939- ) _ Apologies to
Tina for placing her on this list with her violent ex-husband, but
the Turners' work combined far outweighs their efforts apart _
despite Ike's role in the roots of rock 'n' roll, depsite Tina's
inspiring career comeback after years of abuse. Essential: "River
Deep _ Mountain High," EMI
96. Sarah Vaughan (1924-90) _ She could have been an operatic diva
but instead became one of the most startling and enduring voices in
jazz, a true "singer's singer." Essential: "Send in the Clowns,"
Columbia/Sony
97. Dionne Warwick (1940- ) _ Whereas with James Brown and Ike
Turner, you have to forgive the criminal inside, with Dionne
Warwick you have to excuse the blatant charlatan. Forget the
Psychic Friends Network for a moment and try to remember Dionne as
the uniquely warm voice that gave life to the best of Bacharach &
David's sophisticated compositions. In so doing, she, like Mathis
and Nat King Cole, transcended race. Essential: "The Dionne Warwick
Collection: Her All-Time Greatest Hits," Rhino
98. Andre Watts (b. 1946) _ Launched to fame in 1963 by a concerto
performance with Bernstein and the New York Philharmonic, classical
pianist Watts became second only to Cliburn at the box office among
the younger pianists. Known initially for his flashy technique,
subsequent study with Leon Fleisher matured him as a musician. He
made tours of the USSR and the world under State Department
auspices. Now among classical music's top-echelon performers.
Essential: Solo piano music by Franz Liszt, EMI Classics
99. Jackie Wilson (1934-84) _ After getting his start with Billy
Ward's Dominoes, Wilson's magical, mellifluous voice and
hip-shakin' moves went on to earn him the nickname "Mr. Excitement"
_ and rightly so. Essential: "The Very Best of Jackie Wilson," Ace
100. Lester Young (1909-59) _ They called this tenor saxist "The
President," and he could blow with anybody. But he was undeniably
the commander in chief of a unique and highly lyrical style that
influenced Stan Getz, among countless others. Essential: "Lester
Leaps In," ASV/Living Era
Honorable Mentions
The following artists are every bit as vital to the tradition and
influence of black music in America. But hey, there's only room for
100: Pearl Bailey, Anita Baker, Kathleen Battle, Eubie Blake, Art
Blakey, Bobby "Blue" Bland, Kurtis Blow, Buddy Bolden, Booker T. &
the MG's, Big Bill Broonzy, Solomon Burke, Cab Calloway, Mariah
Carey, Diahann Caroll, Tracy Chapman, Chubby Checker, Chic, Stanley
Clarke, The Coasters, Natalie Cole, Willis Conover, Willie Dixon,
Roberta Flack, Kirk Franklin, Jester Hairston, Herbie Hancock,
Richie Havens, Edwin Hawkins, Son House, Ice Cube, the Isley
Brothers, The Jackson 5, Janet Jackson, Etta James, Chaka Khan,
Eartha Kitt, Gladys Knight and the Pips, Patti Labelle, The Last
Poets, Branford Marsalis, Ellis Marsalis, Martha and the Vandellas,
Bobby McFerrin, Carmen McRae, Wes Montgomery, Me'Shell NdegeOcello,
Odetta, the O'Jays, Junior Parker, Charley Patton, Wilson Pickett,
Jimmy Reed, Vernon Reid (of Living Colour), Sonny Rollins, Sam &
Dave, Nina Simone, Donna Summer, Billy Taylor, Joe Tex, Big Mama
Thornton, Big Joe Turner, Luther Vandross, Fats Waller, Dinah
Washington and Bobby Womack.
Ben Wener is the pop music critic at The Orange County Register,
Timothy Mangan is the classical music critic at the Register, and
Steve Eddy covers jazz for the Register.
