Christopher Choate, Sr. was born in 1660 in England. He emigrated in 1676 and settled in Anne Arundel County, Maryland. He married in about 1686 and had two sons. He died in 1692. Descendants and relatives lived mainly in Maryland, Virginia, Tennessee, Michigan and Illinois.

This book is a cultural tour of the burial places of Southern musicians. It honors the men and women that formed modern American music. Detailed here are the gravesites of more than 300 blues, country and rock musicians through the South from New Orleans to Kentucky. The gravesites of well-known musicians such as Bill Monroe, Tammy Wynette, Duane Allman and Mahalia Jackson are visited, as well as the final resting places of dozens of less well known, but vitally important, American musicians. Many pictures of gravesites are included, along with specific directions to burial sites. The book is especially thorough in relation to the most important cities in Southern music--Nashville, New Orleans and Memphis. There are numerous side trips through Cajun country, blues related sites in Mississippi, old time country musicians' final resting places throughout Alabama and North Carolina, and many other places in all the states of the South.

Graced by more than 200 illustrations, many of them seldom seen and some never before published, this sparkling volume offers vivid portraits of the men and women who created country music, the artists whose lives and songs formed the rich tradition from which so many others have drawn inspiration. Included here are not only such major figures as Jimmie Rodgers, The Carter Family, Fiddlin' John Carson, Charlie Poole, and Gene Autry, who put country music on America's cultural map, but many fascinating lesser-known figures as well, such as Carson Robison, Otto Gray, Chris Bouchillon, Emry Arthur and dozens more, many of whose stories are told here for the first time. To map some of the winding, untraveled roads that connect today's music to its ancestors, Tony Russell draws upon new research and rare source material, such as contemporary newspaper reports and magazine articles, internet genealogy sites, and his own interviews with the musicians or their families. The result is a lively mix of colorful tales and anecdotes, priceless contemporary accounts of performances, illuminating social and historical context, and well-grounded critical judgment. The illustrations include artist photographs, record labels, song sheets, newspaper clippings, cartoons, and magazine covers, recreating the look and feel of the entire culture of country music. Each essay includes as well a playlist of recommended and currently available recordings for each artist. Finally, the paperback edition now features an extensive index.

In 1946, Harry Choates, a Cajun fiddle virtuoso, changed the course of American musical history when his recording of the so-called Cajun national anthem "Jole Blon" reached number four on the national Billboard charts. Cajun music became part of the American consciousness for the first time thanks to the unprecedented success of this issue, as the French tune crossed cultural, ethnic, racial, and socio-economic boundaries. Country music stars Moon Mullican, Roy Acuff, Bob Wills, and Hank Snow rushed into the studio to record their own interpretations of the waltz-followed years later by Waylon Jennings and Bruce Springsteen. The cross-cultural musical legacy of this plaintive waltz also paved the way for Hank Williams Sr.'s Cajun-influenced hit "Jamabalaya." Choates' "Jole Blon" represents the culmination of a centuries-old dialogue between the Cajun community and the rest of America. Joining into this dialogue is the most thoroughly researched and broadly conceived history of Cajun music yet published, Cajun Breakdown. Furthermore, the book examines the social and cultural roots of Cajun music's development through 1950 by raising broad questions about the ethnic experience in America and nature of indigenous American music. Since its inception, the Cajun community constantly refashioned influences from the American musical landscape despite the pressures of marginalization, denigration, and poverty. European and North American French songs, minstrel tunes, blues, jazz, hillbilly, Tin Pan Alley melodies, and western swing all became part of the Cajun musical equation. The idiom's synthetic nature suggests an extensive and intensive dialogue with popular culture, extinguishing the myth that Cajuns were an isolated folk group astray in the American South. Ryan André Brasseaux's work constitutes a bold and innovative exploration of a forgotten chapter in America's musical odyssey.