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Donna Summer was an American singer and songwriter who helped popularise disco worldwide, becoming a global star and one of the most influential artists in the genre.

Iconic songs like 'I Feel Love', 'Love To Love You Baby', 'Hot Stuff' and 'Bad Girls' brought Summer to prominence during the disco boom of the 1970s
Horsfall N/D
https://www.smoothradio.com/news/music/donna-summer-facts-death-husband/

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Sonny Terry, original name Saunders Terrell, (born October 24, 1911, Greensboro, Georgia, U.S.—died March 11, 1986, Mineola, New York), American blues singer and harmonica player who became the touring and recording partner of guitarist Brownie McGhee in 1941.
The editors of Encyclopaedia Britannica
https://www.britannica.com/biography/Sonny-Terry

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Texas bluesman Lightnin’ Hopkins career was both long and fruitful. He performed live for six decades and recorded for over 30 years, amassing a catalogue that was larger than almost any of his contemporaries. Not only was he prolific, but he was also a great raconteur and a very good live performer with an act honed to perfection at pre-war dances and parties.
Havers - March 15 2023

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Charlie Parker, byname of Charles Parker, Jr, also called Bird or Yardbird, (born August 29, 1920, Kansas City, Kansas, U.S.—died March 12, 1955, New York City, New York), American alto saxophonist, composer, and bandleader, a lyric artist generally considered the greatest jazz saxophonist.
The editors of Britannica
https://www.britannica.com/biography/Charlie-Parker

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Charlie Parker, byname of Charles Parker, Jr., also called Bird or Yardbird, (born August 29, 1920, Kansas City, Kansas, U.S.-died March 12, 1955, New York City, New York), American alto saxophonist, composer, and bandleader, a lyric artist generally considered the greatest jazz saxophonist. Parker was the principal stimulus of the modern jazz idiom known as bebop, and-together with Louis Armstrong and Ornette Coleman -he was one of the three great revolutionary geniuses in jazz.

Parker grew up in Kansas City, Missouri, during the great years of Kansas City jazz and began playing alto saxophone when he was 13. At 14 he quit school and began performing with youth bands, and at 16 he was married-the first of his four marriages. The most significant of his early stylistic influences were tenor saxophone innovator Lester Young and the advanced swing-era alto saxophonist Buster Smith, in whose band Parker played in 1937. Two years later Parker experienced a personal stylistic breakthrough during a jam session in New York City. He described this moment of revelation in Hear Me Talkin' to Ya (1955), edited by Nat Hentoff and Nat Shapiro:

I'd been getting bored with the stereotyped changes (harmonies) that were being used all the time....I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes I could play the thing I'd been hearing. I came alive.

Parker recorded his first solos as a member of Jay McShann's band, with whom he toured the eastern United States in 1940-42. It was at this time that his childhood nickname "Yardbird" was shortened to "Bird." His growing friendship with trumpeter Dizzy Gillespie led Parker to develop his new music in avant-garde jam sessions in New York's Harlem. Bebop grew out of these experiments by Parker, Gillespie, and their adventurous colleagues; the music featured chromatic harmonies and, influenced especially by Parker, small note values and seemingly impulsive rhythms. Parker and Gillespie played in Earl Hines's swing-oriented band and Billy Eckstine 's more modern band. In 1944 they formed their own small ensemble, the first working bebop group. The next year Parker made a series of classic recordings with Red Norvo, with Gillespie's quintet ("Salt Peanuts" and "Shaw Nuff"), and for his own first solo recording session ("Billie's Bounce," "Now's the Time," and "Koko"). The new music he was espousing aroused controversy but also attracted a devoted audience. By this time Parker had been addicted to drugs for several years. While working in Los Angeles with Gillespie's group and others, Parker collapsed in the summer of 1946, suffering from heroin and alcohol addiction, and was confined to a state mental hospital.

Following his release after six months, Parker formed his own quintet, which included trumpeter Miles Davis and drummer Max Roach. He performed regularly in New York City and on tours to major U.S. cities and abroad, played in a Gillespie concert at Carnegie Hall (1947), recorded with Machito's Afro-Cuban band (1949-50), and toured with the popular Jazz at the Philharmonic troupe (1949). A Broadway nightclub, Birdland, was named after him, and he performed there on opening night in late 1949; Birdland became the most famous of 1950s jazz clubs.

The recordings Parker made for the Savoy and Dial labels in 1945-48 (including the "Koko" session, "Relaxin' at Camarillo," "Night in Tunisia," "Embraceable You," "Donna Lee," "Ornithology," and "Parker's Mood") document his greatest period. He had become the model for a generation of young saxophonists. His alto tone was hard and ideally expressive, with a crying edge to his highest tones and little vibrato. One of his most influential innovations was the establishment of eighth notes as the basic units of his phrases. The phrases themselves he broke into irregular lengths and shapes and applied asymmetrical accenting. His brilliant, innovative technique-speed of execution, full sound in all registers, and precision during very fast tempos-was widely imitated.

Parker's most popular records, recorded in 1949-50, featured popular song themes and brief improvisations accompanied by a string orchestra. These recordings came at the end of a period of years when his narcotics and alcohol addictions had a less disruptive effect on his creative life. By the early 1950s, however, he had again begun to suffer from the cumulative effects of his excesses; while hospitalized for treatment of an ulcer, he was informed that he would die if he resumed drinking. He was banned from playing in New York City nightclubs for 15 months. He missed engagements and failed to pay his accompanying musicians, and his unreliability led his booking agency to stop scheduling performances for him. Even Birdland, where he had played regularly, eventually fired him. His two-year-old daughter died; his fourth marriage fell apart. He twice attempted suicide and again spent time in a mental hospital.

If Parker's life was chaotic in the 1950s, he nonetheless retained his creative edge. From roughly 1950 he abandoned his quintet to perform with a succession of usually small, ad hoc jazz groups; on occasion he performed with Latin American bands, big jazz bands (including Stan Kenton's and Woody Herman's), or string ensembles. Recording sessions with several quartets and quintets produced such pieces as "Confirmation," "Chi-Chi," and "Bloomdido," easily the equals of his best 1940s sessions. Outstanding performances that were recorded at concerts and in nightclubs also attest to his vigorous creativity during this difficult period. He wanted to study with classical composer Edgard Varèse, but, before the two could collaborate, Parker's battle with ulcers and cirrhosis of the liver got the better of him. While visiting his friend Baroness Nica de Koenigswarter, he was persuaded to remain at her home because of his illness, and there, a week after his last engagement, he died of a heart attack.

The impact of Parker's tone and technique has already been discussed; his concepts of harmony and melody were equally influential. Rejecting the diatonic scales common to earlier jazz, Parker improvised melodies and composed themes using chromatic scales. Often he played phrases that implied added harmonies or created passages that were only distantly related to his songs' harmonic foundations (chord changes). Yet for all the tumultuous feelings in his solos, he created flowing melodic lines. At slow tempos as well as fast, his were intense improvisations that communicated complex, often subtle emotions. The harmonies and inflections of the blues, which he played with passion and imagination, reverberated throughout his improvisations. Altogether, Parker's lyric art was a virtuoso music resulting from a coordination of nerve, muscle, and intellect that pressed human agility and creativity to their limits.

Parker's influence upon modern jazz was immense. His many followers included Ornette Coleman, John Coltrane, and Albert Ayler-leading figures in the development of free jazz. His difficult life was the subject of Bird (1988), a film directed by Clint Eastwood.

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Charlie Parker | Biography, Music, & Facts

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Charlie Parker, American alto saxophonist, composer, and bandleader, a lyric artist generally considered the greatest jazz saxophonist. Parker was the principal stimulus of the modern jazz idiom known as bebop, and he was one of the three great revolutionary geniuses in jazz.

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A monumental innovator, icon, and maverick, trumpeter Miles Davis helped define the course of jazz as well as popular culture in the 20th century, bridging the gap between bebop, modal music, funk, and fusion. Throughout most of his 50-year career, Davis played the trumpet in a lyrical, introspective style, often employing a stemless Harmon mute to make his sound more personal and intimate.
Ruhlmann - ND
https://www.allmusic.com/artist/miles-davis-mn0000423829/biography

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Blakey’s first musical education came in the form of piano lessons; he was playing professionally as a seventh grader, leading his own commercial band. He switched to drums shortly thereafter, learning to play in the hard-swinging style of Chick Webb and Sid Catlett.
Kelsey - ND
https://www.bluenote.com/artist/art-blakey/

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Tangerine Dream are unquestionably one of the most influential electronic groups of all time. Their music has made an immeasurable impact on ambient, new age, techno, trance, and progressive rock, as well as modern film score composition.
Bush - ND
https://www.allmusic.com/artist/tangerine-dream-mn0000002411/biography

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Tangerine Dream Biography, Songs, & Albums | AllMusic

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Tangerine Dream biography and history on AllMusic including birthday, best songs, existing and new album information, and more.

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Kraftwerk, German experimental group widely regarded as the godfathers of electronic pop music. The original members were Ralf Hutter (b. 1946, Krefeld, West Germany) and Florian Schneider (b. 1947, Dusseldorf, West Germany—d. 2020).
Greg Kot - 08/09/2023
https://www.britannica.com/topic/Kraftwerk

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Kraftwerk, German experimental group widely regarded as the godfathers of electronic pop music. The original members were Ralf Hütter (b. 1946, Krefeld, West Germany) and Florian Schneider (b. 1947, Düsseldorf, West Germany-d. 2020).

Hütter and Schneider met while studying classical music at Düsseldorf Conservatory in the late 1960s, and their early work with a five-piece band called the Organisation showed the influence of the German keyboard band Tangerine Dream. Adopting the name Kraftwerk ("Power Plant"), Hütter, Schneider, and a series of collaborators forged an austere sound and image as part of a small but highly influential cult of German bands who experimented with electronic instruments long before it was fashionable. The movement, dubbed "Krautrock" by British journalists, also included such innovative bands as Can, Faust, and Neu!, but Kraftwerk became the best known.

The foundation for Kraftwerk's music was the sounds of everyday life, a concept first fully realized on the 22-minute title track of the Autobahn album (1974). Repetitious, monotonous, lulling, and entrancing, "Autobahn" became an unlikely hit in Europe and the United States (where it was played on commercial radio stations in severely edited form). Subsequent albums explored such subjects as radios and trains with a combination of childlike wonder and cold objectivity. The band revolutionized ideas about how a " rock" tour should look and sound by appearing in the United States in the guise of identical mannequins who performed their music exclusively on keyboards. The title of their album The Man-Machine (1978) epitomized the concept. Although the band recorded rarely in the 1980s and '90s and virtually stopped touring, its music was a huge influence on New York hip-hop, particularly Afrika Bambaataa's hit "Planet Rock"; Detroit techno dance music; Neil Young's album Trans (1983); the collaborations between David Bowie and Brian Eno; and the synth-pop of Depeche Mode, Soft Cell, and countless others.

The group resumed a limited touring schedule in the early 2000s and released Tour de France Soundtracks (2003), their first album of original material in some 17 years. Minimum-Maximum, their first live album, appeared in 2005. Schneider's departure from Kraftwerk was announced in early 2009, but the band continued to tour. In 2012 New York City's Museum of Modern Art presented "Kraftwerk-Retrospective 12345678," in which the band performed eight of its studio albums, beginning with Autobahn, over eight evenings. The exhibit later traveled to other museums, including Tate Modern in London, and it was the basis for a tour that took Kraftwerk to various venues around the world. A live recording made from several of the performances, 3-D: The Catalogue (2017), won a Grammy Award for best dance/electronic album. The band received a Grammy for lifetime achievement in 2014, and in 2021 it was inducted into the Rock and Roll Hall of Fame.

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Kraftwerk | Members, Albums, Autobahn, & Facts

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Kraftwerk, German experimental group widely regarded as the godfathers of electronic pop music. They had an unlikely hit in Europe and the United States with the album Autobahn (1974) and its 22-minute title song and were widely influential. Learn more about Kraftwerk's history, sound, and career.

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Brian Eno, in full Brian Peter George St. John le Baptiste de la Salle Eno, (born May 15, 1948), Woodbridge Suffolk, England), British producer, composer, keyboardist, and singer who helped define and reinvent the sound of some of the most popular bands of the 1980s and ’90s and who created the genre of ambient music.
Tikkanen - ND
https://www.britannica.com/biography/Brian-Eno

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Tom "Squarepusher" Jenkinson makes complex, experimental drum'n'bass with a heavy progressive jazz influence and a bent for pushing the clichés of the genre out the proverbial window. A skilled bassist and multi-instrumentalist, Jenkinson's fretless accompaniment is a staple of his music and one of the more obvious affiliations with jazz (although his formal arrangements are often as jazz-derived as his playing).
Jenkinson grew up listening to jazz greats like Miles Davis, Charlie Parker, and Art Blakey, as well as dub pioneers such as Augustus Pablo and King Tubby. The son of a jazz drummer, Jenkinson followed in his father's footsteps, playing bass and drums in high school. Introduced to electronic music through experimental electro-techno artists such as LFO and Carl Craig, Jenkinson soon began assembling his disparate influences into amalgams of breakbeat techno and post-bop avant-garde and progressive jazz.
Cooper - ND
https://www.allmusic.com/artist/squarepusher-mn0000158849/biography

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Aspiring producer in experimental genres, Bass music.

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Richard D James, best known as Aphex Twin, is far and away one of the most celebrated and influential electronic musicians of all time. Influenced by Brian Eno ,808 State, Mr. Fingers, Philip Glass,Tod Dockstader. Meat Beat, Manifesto, Cabaret Voltaire ,Deuter, Drexciya, John CageJuan,  Atkins, Kraftwerk, Popol Vuh, Renegade Soundwave, Tangerine Dream and The Art of Noise Throbbing Gristle.
https://www.allmusic.com/artist/aphex-twin-mn0000493848/related

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Brazilian-born, LA-based electro pioneer Amon Tobin began making his own music at the age of 13. The methods were, you could say, primitive.

“I started messing about with cassette tape,” he recalls. “I'd make edits in my bedroom on a twin cassette deck and re-organise music I liked.”
https://jaxsta.com/news-article/45131?fbclid=IwAR2k4Rh8RK5sV1ZhK2IKKWIdaD0mriHnPYz14bCQUACU-VDYiu-b2bmIbnM
N/A 29 Jun 2020
"His first real immersion in music was as a teenage blues fanatic, listening to the acoustic blues of performers such as Sonny Terry and Lightnin' Hopkins"
https://musicianguide.com/biographies/1608002923/Amon-Tobin.html
Tavaner - ND
Raised in the ’80s on a diet of hip-hop and blues, he struggles to recall his first exposure to electronic music, but thinks it was probably “I Feel Love”, the Donna Summer song produced and co-written by Giorgio Moroder.
https://jaxsta.com/news-article/45131
N/A 29 Jun 2020

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Image: Gaetan Tracqui

From Giorgio Moroder to Man Parrish, the electronic music maverick wouldn't be who he is today without these songs
Brazilian-born, LA-based electro pioneer Amon Tobin began making his own music at the age of 13. The methods were, you could say, primitive.

"I started messing about with cassette tape," he recalls. "I'd make edits in my bedroom on a twin cassette deck and re-organise music I liked."

Raised in the '80s on a diet of hip-hop and blues, he struggles to recall his first exposure to electronic music, but thinks it was probably " I Feel Love", the Donna Summer song produced and co-written by Giorgio Moroder. "But," he qualifies, "I wouldn't have known it was electronic."

The DIY approach he embraced while cutting together cassette tapes as a 13-year-old informed his earliest home recordings while living in Brighton in the mid-'90s, and he released his first album, Adventures in Foam, under the name Cujo in 1996.

Since then Tobin has forged a singular path through the electronic music scene, reinventing his sound between albums and projects, leaning on everything from jazz to manipulated found sounds.

In 2009 he launched his drum'n'bass-leaning alter-ego Two Fingers, collaborating with fellow producer Doubleclick on a self-titled debut album. He followed it up with 2012's Stunt Rhythms, before composing the theme song for TV show Orphan Black. Now Tobin has just released his third album under the Two Fingers moniker, Fight! Fight! Fight!.

"I wanted it to be like a personal view of hip-hop made with drum'n'bass production," he explains of the record. "Music for clubs that had depth and energy. That was the goal since the first album I made with Joe Doubleclick and has carried on since."

Here, Tobin discusses five pivotal electronic music tracks that have influenced his career. Well, four pivotal electronic tracks, and one TV theme tune...
Giorgio Moroder "Chase" (Taken from Midnight Express OST, 1978)
"It's just the best synth line ever. But even as a kid I hated the melodic section that came in after the first part of the track. This inspired me to make edits on cassette that were just loops of the main line. So it was true inspiration in the sense that it made me want to do something more than just listen."
Man Parrish "Boogie Down Bronx" (Taken from Boogie Down, 1985)
"When I first heard this I was mainly listening to music on cassette tape. Taped and copied and re-taped... noisy and somewhat distorted. So everything sounded a certain way to an extent. Except for this though. It was so far and away ahead of everything else. It had a minimalism in its production that somehow survived the format degradation. A distilled sound that was totally alien. It led me to investigate."
Morton Subotnick "The Wild Bull Parts I & II" (Taken from The Wild Bull, 1968)
"I can't say I ever liked this record, but I was fascinated by it when I heard it. It's annoying and beautiful, mysterious and boring... so many other things all at the same time. I remember making drum'n'bass in the '90s when it was the most cutting-edge genre of its day and thinking it sounded nothing like as futuristic as this. Since then I've explored Buchla synths and the mystery is somewhat unravelled. But I can't deny its profound effect on me."
Gaynor Colbourn & Hugh Wisdom, Conducted by Ronnie Hazlehurst The theme from 'Sorry!' (1981)
"It's not exactly electronic, but it had so much of an impact in a way I still draw from I thought I'd include it. The simplicity of the melody and wanting to listen to it going round and round forever. I feel rudely interrupted every time it ends."
Raymond Scott
"The Rhythm Modulator" (Taken from Manhattan Research, Inc., originally recorded in 1954)
"I could drone on and on about Raymond Scott. This particular track has a direct line for me in terms of influence though. Particularly for Two Fingers. The swing, the attachment to each variation of a cycled melody, is like listening to someone thinking their way through a song. I could say the same about ' Night and Day'... and honestly any number of his songs. ' Night and Day ' is particularly dear to me. Maybe that's my favourite, I can't decide."

Two Fingers' latest album, Fight! Fight! Fight!, is out now.
Read More: The Hip-Hop Albums That Influenced Briggs Bruno Major's Melting Pot Of Eras And Styles Humans of Music: Miiesha Melanie C Podcast Humans of Music: Kian

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The Electronic Music Tracks That Influenced Amon Tobin

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From Giorgio Moroder to Man Parrish, the electronic music maverick wouldn't be who he is today without these songs