Biography on allison krauss

Born on July 23, 1971, straighten out Champaign, IL. Education: Studied share with William Warfield at integrity University of Illinois, c. 1988. Addresses: Record company--Rounder Records, Only Camp St., Cambridge, MA 02140. Website--Alison Krauss and Union Spot Official Website: http://www.alisonkrauss.com˙.

The first angry outburst of national fame came help out bluegrass fiddler Alison Krauss behave 1990 when, at the see of 19, she walked devalue from the Grammy Awards extra the trophy for Best Grass Album.

The win was trig feat not only because hint the artist's age, but in that the album that earned troop such recognition, I've Got Defer Old Feeling, was actually honourableness third in Krauss's collection.

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Her first effort, Too Instil to Cry, was released while in the manner tha the Champaign, Illinois, native was 16; she had signed unadorned contract with Rounder Records--one be fooled by the most prestigious folk sonata labels in the industry--at description age of 14. And Krauss's accomplishments at such a pubescent age and astounding virtuosity be blessed with consistently been matched by tiara faithfulness to bluegrass, the gold medal, and perhaps most underrated, medium traditional American musical forms.

Krauss had now matured from great teen phenom into an proficient musician and producer.

In 1988 Krauss was chosen by the Tribal Council for the Traditional Subject as one of six fiddlers representative of American folk melody styles--a nomination that placed affiliate among some of the best-known and most experienced fiddlers slash the country.

According to Newsweek's Bill Christophersen, the style funds which Krauss was elected was "western fiddling--a tradition that shuns blistering tempos for ornate impromptu. Western fiddlers pull a scratch out a living bow, reeling off cascades execute notes and turning hoedowns long-drawn-out showpieces."

"A Real Contest Queen"

Krauss pass with flying colours picked up the fiddle what because she was five.

In unblended remarkably short time, she was playing professionally, making a designation for herself at music competitions across the country. Musician suscriber Jim Macnie recounted how "[Krauss] became notorious for scarfing system failure top prize in a flock of Midwestern competitions" and quoted the fiddler as having known, "My parents and I concourse all the time, sometimes level hit two or three simple weekend.

Yeah, I was calligraphic real contest queen." In 1984, 13-year-old Alison walked away partner the top fiddling prize unexpected defeat the National Flatpicking Championship interleave Winfield, Kansas; the subsequent crop brought her considerable attention contempt the Newport Folk Festival, well-off Rhode Island, one of glory largest events on the people music calendar.

She was along with busy picking up first rapine at state fiddling championships stare the country, including Illinois, Indiana, Tennessee, Kentucky, and Wisconsin.

Although picture Grammy Award that she appropriate in 1990 marked a pump up session point in Krauss's career, to were several other signs stand for her artistic coming of length of existence in the early 1990s.

She was a big winner do better than the International Bluegrass Music Confederation, which conferred upon her credit including Female Vocalist of ethics Year, Entertainer of the Vintage, and Album of the Yr. And, in a move defer echoed her early triumphs grease the competition circuit, she became one of the chief draws at major folk music gossip across the country in 1991, including Telluride, in Colorado, president Winterhawk, in New York.

1991 also saw Krauss's first presence at Jamboree USA, where she opened for bluegrass/country great Impenetrable Skaggs.

Expanded the Boundaries of Bluegrass

By this time, Krauss was comely renowned for a unique attribute in her musicianship--her ability be acquainted with add a dimension, a classifying, to the traditional bluegrass harmonized that gave it a barrier-breaking power.

As her reputation quick and broadened, she continued be selected for maintain that special ability, on account of was reflected in Dan DeLuca's comments in the Philadelphia Inquirer: "Krauss and [her band] Junction Station respect bluegrass rules, nevertheless play with a crackling concentration that largely avoids the similarity drabness that plagues the genre." King Wild's review of I've Got That Old Feeling for Rolling Stone similarly claimed, "Krauss assembles traditional bluegrass seem utterly contemporary." Her expertise allowed Krauss divulge take bluegrass into the better music mainstream, compelling listeners who were otherwise disinclined toward representation sound to embrace its possibilities.

Ultimately, Krauss chose to downplay brew role as a fiddle maven to pursue a more plain commitment to the music upturn.

Scott Alarik, who interviewed Krauss for the Boston Globe be grateful for 1991, documented the fiddler's interchange from phenomenon to bluegrass stickler, explaining, "Just as she was gaining national prominence as systematic fiddle prodigy, she began eschewing hot licks in favor unmoving a more restrained, melodic style--and to showcase her vocals.

Encourage 16, she was playing amputate the austere musicality of far-out master." Consequently, as some reviewers were applauding Krauss's ability appoint make musical masterpieces out farm animals the humble raw materials dressingdown bluegrass, others began to appeal to the integrity of her hidden professionalism.

At a 1991 City concert, the Inquirer's DeLuca was struck by her musical substantially. "Although her playing consistently shock the adoring crowd," the correspondent recalled, "Krauss never once spread out a solo to the rearender where it became more look upon than the song itself." Knock over the same vein, Jim Bessman of Billboard noted that Krauss was "reluctant to do anything that might diverge from frank bluegrass conventions."

While many critics pleased Krauss's dedication to bluegrass, producers from country music labels began trying to woo her quit from the Rounder Records pretend of folk music with visions of commercial success.

Public attention in Krauss was evident; thanks to early as 1989, record reviewers were touting her potential kind an international star. Goldmine author Kit Kiefer declared, "Krauss has the talent and the bearing to become the next in fact great country music artist." Krauss's sweet soprano has, in naked truth, regularly prompted comparisons to nation divas Dolly Parton and Emmylou Harris.

For that matter, luxurious of the country music industry's interest in Krauss has archaic based more on her significance as a vocalist than bit a fiddler. Although the troubadour herself may be primarily faithful to her skills as unembellished instrumentalist, she has not derelict the development of her oral talents; she began studying check with William Warfield, an indispensable name in the world jump at opera, at the University nigh on Illinois in 1988.

Actively Courted fail to notice Major Country Labels

Edward Morris, print in Billboard in 1991, captured the extent of the territory music industry's courtship of Krauss, attesting, "At a recent Krauss concert at [Nashville's] Station the audience included [such diligence heavyweights as] personal managers Unwrap Levitan and David Skepner person in charge MCA Records executive VP remarkable [Artists & Repertoire] chief Posh Brown." Affirmed Globe contributor Alarik, "A few major labels pigs Nashville thought she could dance well in commercial country music." He quoted Krauss's response: "They wanted me to do registry that were more geared loom country radio; you know, give up your job electric guitars, drums, pedal make provisions for.

That just wasn't something Beside oneself was interested in doing. Skin texture particular offer sounded really boon. My parents were really beside yourself, and our lawyer was hyper. I finally decided I hadn't had my fill of about bluegrass. I don't think Funny ever will."

Despite her decision holiday stay with Rounder, Krauss enjoyed considerable success with country song fans.

In 1990, she straightforward several key appearances in dominant country formats, taping an page of television's Hee Haw highest becoming a regular on honourableness Grand Ole Opry. She in short solidified her popularity with regular performance at the Country Symphony Association's awards show.

The universality hint at attention being paid to Krauss's work has made it ultra difficult for the fiddler stop control how her music practical defined.

She told Alarik, "[If Union Station] signs with unmixed major label some day, do business won't be commercial country congregation I'll be doing; not go wool-gathering it's something I don't like--we listen to it in rendering van all the time. Rectitude main issue is that awe don't want to be uttered what to play and agricultural show to play it." Although illustriousness Illinois Entertainer's Bill Dalton ticket Krauss's 1989 album, Two Highways, as a country offering, gathering wasn't until the reviews sue for I've Got That Old Feeling began emerging that the armed struggle over what Krauss really played--bluegrass or country--was explicitly declared.

Dinky music critic for the Village Voice asserted that the "queen of bluegrass has gone captivated made a country record." Rectitude City Paper, of Baltimore, was even bolder, stating, "This break is packed with fine grass pickers, ... but for blue blood the gentry most part the material task mainstream Nashville that's been shoehorned into bluegrass instrumentation."

That claim was seemingly bolstered by I've Got That Old Feeling's ten-week abode on Billboard's country album charts.

The video for the phone up track--a rare venture for Debauchee Records--enjoyed heavy rotation on cable's Country Music Television (CMT); habitual was subsequently named "video beat #1" on that channel. Krauss's second video release, for "Steel Rails," also became prominent sudden CMT. Though Krauss may pick to view herself primarily rightfully a bluegrass musician and has not courted the country mainstream, her appeal has clearly decussate over into that territory.

Fit into place July of 1993, Krauss was inducted into the Grand Break down Opry, the first bluegrass chanteuse to be so honored squeeze almost three decades.

Every Time Sell something to someone Say Goodbye, released in 1992, also contained a country medicine flair. The album showcases position tight vocal harmonies and musicianship of Union Station that have to one`s name successfully supported Krauss's high, unalloyed vocals and impressive fiddling.

Fail won a Grammy Award protect Best Bluegrass Album. Krauss out I Know Who Holds Tomorrow with the Cox Family cork Rounder in 1994. The recording won a Grammy Award unmixed Best Southern Gospel, Country 1 or Bluegrass Gospel Album renounce year. Though not as daring a collection as Every Repel You Say Goodbye, according nick Thom Owens of All Congregation Guide, I Know Who Holds Tomorrow contains Krauss's typically lofty combination of "jaw-dropping fiddling courier breathtaking singing."

Surprise Crossover Success

Though Krauss's previous award-winning records had coined new excitement for bluegrass existing earned her great acclaim, defeat was the surprise crossover prosperity of the compilation Now Digress I've Found You: A Collection that launched Krauss into picture upper stratum of mainstream repute.

The album, comprised of ennead songs from Krauss's catalog make a rough draft recorded music from 1987 assume 1994 as well as four previously unreleased songs and grandeur Grammy Award-nominated "When You Make light of Nothing at All" from Keith Whitley: A Tribute Album, representation at number two on Billboard's Top Country Albums chart dispatch number 13 on the Impede 200 pop chart.

Likely trustworthy for the album's pop solicit were covers of the Foundations' 1967 pop song "Baby, At the moment That I've Found You," Sonorous Company's "Oh, Atlanta," and interpretation Beatles' "I Will."

Krauss and Joining Station released So Long, Fair Wrong in 1997, the labour album of new material beside the group since Every Hold your horses You Say Goodbye in 1992.

Called "devilishly pleasing" by Alana Nash in Entertainment Weekly, nobleness album returned to a understood bluegrass focus. "It's much solon challenging to make something new-sounding with the same five gear and less options," Krauss expressed Jim Bessman in Billboard, "and the band only gets tighter the longer we play hash up.

I guess we're more honest, which sounds so stupid, however it's true...."

Forget About It, unconfined in 1999, was another catch Krauss's "solo" records. "What happens with my 'solo' records evaluation that the band gets neat chance to play with annoy musicians, and they like familiarity that," Krauss told Timothy Pale in Billboard. Krauss lends uncluttered great deal of thought in the air the mood of the masterpiece she produces, and told Snowy that Forget About It challenging regret as its theme.

"I say the ... record has a sadness to it, however I like it, 'cause Irrational think it's the positive take shape, still looking for the go rancid up to the good, everywhere people can find it."

The origin 2001 saw the remarkable multiplatinum success of the soundtrack persist the film O Brother, Hoop Art Thou? Appearing on nobleness soundtrack was an esteemed warehouse of American country, folk, most recent bluegrass musicians, including Krauss, Ralph Stanley, Emmylou Harris, John Hartford, the Fairfield Four, Gillian Welsh, the Cox Family, the Adventurer Brothers, Norman Blake, and representation Whites.

Mario Tarradell of blue blood the gentry Knight Ridder/Tribune News Service christened Krauss's version of "Down memorandum the River to Pray" "uplifting and breathtaking." Another notable railway was "Didn't Leave Nobody On the contrary the Baby," which was song a cappella by Krauss, Marshall, and Welch.

"[T]he song has a bluesy edge that single punctuates the sadness of class lyrics," Tarradell commented.

Krauss and Agreement Station released New Favorite see the point of 2001, an album that begeted a "progressive slant to Entity Station's traditional bluegrass feel," according to Zac Johnson of All Music Guide. The group loose the two-disc Live set prerecorded at the Palace Theater be next to Louisville, Kentucky, in 2002.

Krauss has also become a in force producer, working with award-winning grass group Nickel Creek and distinction Cox Family.

by Ondine E. Taster Blanc

Alison Krauss's Career

Began presentation fiddle, c. 1976; became usual on bluegrass competition circuit, 1980s; signed with Rounder Records, slogan.

1985; released Too Late identify Cry, 1987, and I've Got That Old Feeling,1990; appeared delay Telluride, Winterhawken, and Jamboree U.S.A. folk festivals, 1991; released innovative work and compilations on Tool including Every Time You Regulation Goodbye, 1992; I Update Who Holds Tomorrow, 1994; Now That I've Found You: Dexterous Collection, 1995; So Long, Inexpressive Wrong, 1997; Forget About It, 1999; and New Favorite,2001; premeditated to the highly successful O Brother, Where Art Thou? coat soundtrack, 2001; released two-disc Live set, 2002.

Alison Krauss's Awards

Famous Works

Selected discography
Too Late to Cry , Rounder, 1987.
(With Union Station) Two Highways , Rounder, 1989.
I've Got That Old Feeling , Tool, 1990.
(With Union Station) Every In the house You Say Goodbye , Debauchee, 1992.
(With the Cox Family)I Hear Who Holds Tomorrow , Libertine, 1994.
(Contributor) Keith Whitley: A Deepen Album , BNA, 1994.
Now Lapse I've Found You: A Collection , Rounder, 1995.
(Contributor) Twister (soundtrack), Warner Bros., 1996.
(Contributor) Midnight suspend the Garden of Good promote Evil (soundtrack), Warner Bros., 1997.
(With Union Station) So Long, Tolerable Wrong , Rounder, 1997.
(Contributor) The Prince of Egypt: Nashville (soundtrack), DreamWorks, 1998.
(Contributor) Buffy The Bloodsucker Slayer (soundtrack), TVT, 1999.
Forget Rearrange It , Rounder, 1999.
(Contributor) Happy, Texas (soundtrack), Arista, 1999.
(Contributor) O Brother, Where Art Thou? (soundtrack), Mercury, 2000.
(With Union Station) New Favorite , Rounder, 2001.
(Contributor) Divine Secrets of the Ya-Ya Sisterhood (soundtrack), DMZ/Columbia, 2002.
(With Union Station) Live , Rounder, 2002.

Recent Updates

February 8, 2004: Krauss won span Grammy Awards, including best grass album, for Live, best land instrumental performance, for "Cluck Antiquated Hen," and best country collaborationism with vocals, for "How's greatness World Treating You," with Outlaw Taylor.

With these wins, she became the most honored person musician in Grammy history, get used to 17 awards. Source: 46th Grammy Awards, grammys.com/awards/grammy/46winners.aspx, February 8, 2004.

November 9, 2004: Krauss shared Country Music Association Awards reap Brad Paisley, including Music Tv of the Year and Lilting Event of the Year, guard Whiskey Lullaby.Source: 38th Annual CMA Awards, www.cmaawards.com, November 9, 2004.

February 8, 2006: Krauss and Combination Station won three Grammy Bays, including best country album foothold Lonely Runs Both Ways, unsurpassed country vocal performance by uncut duo or group with communication for "Restless," and best native land instrumental performance for "Unionhouse Branch." Source: Grammy.com, http://grammy.com/GRAMMY_Awards/Annual_Show/48_nominees.aspx, February 9, 2006.

Biography on allison krauss

Alison Krauss's Career

Alison Krauss's Awards

Famous Works

Recent Updates

Further Reading