"RnB" redirects here. For the Japanese television station that uses the abbreviation RNB, see Nankai Broadcasting. For the EP by Ruger and Bnxn, see RnB (EP).
Rhythm and blues, frequently abbreviated as R&B or R'n'B, is a genre of popular music that originated within the African-American community in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to African Americans, at a time when "rocking, jazz based music... [with a] heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of a piano, one or two guitars, bass, drums, one or more saxophones, and sometimes background vocalists. R&B lyrical themes often encapsulate the African-American history and experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of societal racism, oppression, relationships, economics, and aspirations.
The term "rhythm and blues" has undergone a number of shifts in meaning. In the early 1950s, it was frequently applied to blues records. Starting in the mid-1950s, after this style of music had contributed to the development of rock and roll, the term "R&B" became used in a wider context. It referred to music styles that developed from and incorporated electric blues, as well as gospel and soul music. By the 1970s, the term "rhythm and blues" had changed once again and was used as a blanket term for soul and funk.
In the late 1980s, a newer style of R&B developed, becoming known as "contemporary R&B". This contemporary form combines rhythm and blues with various elements of pop, soul, funk, disco, hip hop, and electronic music.
Etymology, definitions and description
Although Jerry Wexler of Billboard magazine is credited with coining the term "rhythm and blues" as a musical term in the United States in 1948,[3] the term had been used in Billboard as early as 1943.[4][5] However, the company's first list of songs popular among African Americans was named Harlem Hit Parade; created in 1942, it listed the "most popular records in Harlem," and is the predecessor to the BillboardRnB chart.[6] “Rhythm and Blues” replaced the common term "race music", a term coined by Okeh producer Ralph Peer based on the common self description by the African American press as “people of race.”[7][8] The term "rhythm and blues" was then used by Billboard in its chart listings from June 1949 until August 1969, when its "Hot Rhythm & Blues Singles" chart was renamed as "Best Selling Soul Singles".[9] Before the "Rhythm and Blues" name was instated, various record companies had already begun replacing the term "race music" with the term "sepia series".[10] "Rhythm and blues" is often abbreviated as "R&B" or "R'n'B".[11]
In the early 1950s, the term "rhythm & blues" was frequently applied to blues records.[12] Writer and producer Robert Palmer defined rhythm & blues as "a catchall term referring to any music that was made by and for black Americans".[13] He has also used the term "R&B" as a synonym for jump blues.[14] However, AllMusic separates it from jump blues because of R&B's stronger gospel influences.[15]Lawrence Cohn, author of Nothing but the Blues, writes that "rhythm and blues" was an umbrella term invented for industry convenience. According to him, the term embraced all black music except classical music and religious music, unless a gospel song sold enough to break into the charts.[7] Well into the 21st century, the term R&B continues in use (in some contexts) to categorize music made by black musicians, as distinct from styles of music made by other musicians.
In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of piano, one or two guitars, bass, drums, and saxophone. Arrangements were rehearsed to the point of effortlessness and were sometimes accompanied by background vocalists. Simple repetitive parts mesh, creating momentum and rhythmic interplay producing mellow, lilting, and often hypnotic textures while calling attention to no individual sound. While singers are emotionally engaged with the lyrics, often intensely so, they remain cool, relaxed, and in control. The bands dressed in suits, and even uniforms, a practice associated with the modern popular music that rhythm and blues performers aspired to dominate. Lyrics often seemed fatalistic, and the music typically followed predictable patterns of chords and structure.[16] R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy,[17][pageneeded] as well as triumphs and failures in terms of relationships, economics, and aspirations.[citation needed]
One publication of the Smithsonian Institution provided this summary of the origins of the genre in 2016.
"A distinctly African American music drawing from the deep tributaries of African American expressive culture, it is an amalgam of jump blues, big band swing, gospel, boogie, and blues that was initially developed during a thirty-year period that bridges the era of legally sanctioned racial segregation, international conflicts, and the struggle for civil rights".[2]
The Rock & Roll Hall of Fame defines some of the originators of R&B, including Joe Turner's big band, Louis Jordan's Tympany Five, James Brown and LaVern Baker. In fact, this source states that "Louis Jordan joined Turner in laying the foundation for R&B in the 1940s, cutting one swinging rhythm & blues masterpiece after another". Other artists who were "cornerstones of R&B and its transformation into rock & roll" include Etta James, Fats Domino, Roy Brown, Little Richard and Ruth Brown. The "doo wop" groups were also noteworthy, including the Orioles, the Ravens and the Dominoes.[18]
The term "rock and roll" had a strong sexual connotation in jump blues and R&B, but when DJ Alan Freed referred to rock and roll on mainstream radio in the mid-1950s, "the sexual component had been dialed down enough that it simply became an acceptable term for dancing".[19]
The great migration of Black Americans to the urban industrial centers of Chicago, Detroit, New York City, Los Angeles, Washington, D.C. and elsewhere in the 1920s and 1930s created a new market for jazz, blues, and related genres of music. These genres of music were often performed by full-time musicians, either working alone or in small groups. The precursors of rhythm and blues came from jazz and blues, which overlapped in the late-1920s and 30s through the work of musicians such as the Harlem Hamfats, with their 1936 hit "Oh Red", as well as Lonnie Johnson, Leroy Carr, Cab Calloway, Count Basie, and T-Bone Walker. There was also increasing emphasis on the electric guitar as a lead instrument, as well as the piano and saxophone.[20]
Late 1940s
R&B originated in African-American communities in the 1940s.[21] In 1948, RCA Victor was marketing black music under the name "Blues and Rhythm". In that year, Louis Jordan dominated the top five listings of the R&B charts with three songs, and two of the top five songs were based on the boogie-woogie rhythms that had come to prominence during the 1940s.[22] Jordan's band, the Tympany Five (formed in 1938), consisted of him on saxophone and vocals, along with musicians on trumpet, tenor saxophone, piano, bass and drums.[23][24] Lawrence Cohn described the music as "grittier than his boogie-era jazz-tinged blues".[7]:173 Robert Palmer described it as "urbane, rocking, jazz-based music... [with a] heavy, insistent beat".[25] Jordan's music, along with that of Big Joe Turner, Roy Brown, Billy Wright, and Wynonie Harris, before 1949, was referred to as jump blues. Then, Paul Gayten, Roy Brown, and others had had hits in the style now referred to as rhythm and blues. In 1948, Wynonie Harris's remake of Brown's 1947 recording "Good Rockin' Tonight" reached number two on the charts, following band leaderSonny Thompson's "Long Gone" at number one.[26][27]
In 1949, the term "Rhythm and Blues" (R&B) replaced the Billboard category Harlem Hit Parade.[7] Also in that year, "The Huckle-Buck", recorded by band leader and saxophonist Paul Williams, was the number one R&B tune, remaining on top of the charts for nearly the entire year. Written by musician and arranger Andy Gibson, the song was described as a "dirty boogie" because it was risque and raunchy.[28] Paul Williams and His Hucklebuckers' concerts were sweaty riotous affairs that got shut down on more than one occasion. Their lyrics, by Roy Alfred (who later co-wrote the 1955 hit "(The) Rock and Roll Waltz"), were mildly sexually suggestive, and one teenager from Philadelphia said "That Hucklebuck was a very nasty dance".[29][30] Also in 1949, a new version of a 1920s blues song, "Ain't Nobody's Business" was a number four hit for Jimmy Witherspoon, and Louis Jordan and the Tympany Five once again made the top five with "Saturday Night Fish Fry".[31] Many of these hit records were issued on new independent record labels, such as Savoy (founded 1942), King (founded 1943), Imperial (founded 1945), Specialty (founded 1946), Chess (founded 1947), and Atlantic (founded 1948).[20]
Afro-Cuban rhythmic influence
African American music began incorporating Afro-Cuban rhythmic motifs in the 1800s with the popularity of the Cuban contradanza (known outside of Cuba as the habanera).[32] The habanera rhythm can be thought of as a combination of tresillo and the backbeat.
The habanera rhythm shown as tresillo (lower notes) with the backbeat (upper note).
For the more than a quarter-century in which the cakewalk, ragtime and proto-jazz were forming and developing, the Cuban genre habanera exerted a constant presence in African American popular music.[33] Jazz pioneer Jelly Roll Morton considered the tresillo/habanera rhythm (which he called the Spanish tinge) to be an essential ingredient of jazz.[34] There are examples of tresillo-like rhythms in some African American folk music such as the hand-clapping and foot-stomping patterns in ring shout, post-Civil War drum and fife music, and New Orleanssecond line music.[35]Wynton Marsalis considers tresillo to be the New Orleans "clave" (although technically, the pattern is only half a clave).[36] Tresillo is the most basic duple-pulse rhythmic cell in Sub-Saharan African music traditions, and its use in African American music is one of the clearest examples of African rhythmic retention in the United States.[37] The use of tresillo was continuously reinforced by the consecutive waves of Cuban music, which were adopted into North American popular culture. In 1940 Bob Zurke released "Rhumboogie", a boogie-woogie with a tresillo bass line, and lyrics proudly declaring the adoption of Cuban rhythm:
Harlem's got a new rhythm, man it's burning up the dance floors because it's so hot! They took a little rhumba rhythm and added boogie-woogie and now look what they got! Rhumboogie, it's Harlem's new creation with the Cuban syncopation, it's the killer! Just plant your both feet on each side. Let both your hips and shoulder glide. Then throw your body back and ride. There's nothing like rhumbaoogie, rhumboogie, boogie-woogie. In Harlem or Havana, you can kiss the old Savannah. It's a killer![38]
Although originating in the metropolis at the mouth of the Mississippi River, New Orleans blues, with its Afro-Caribbean rhythmic traits, is distinct from the sound of the Mississippi Delta blues.[39] In the late 1940s, New Orleans musicians were especially receptive to Cuban influences precisely at the time when R&B was first forming.[40] The first use of tresillo in R&B occurred in New Orleans. Robert Palmer recalls:
New Orleans producer-bandleader Dave Bartholomew first employed this figure (as a saxophone-section riff) on his own 1949 disc "Country Boy" and subsequently helped make it the most over-used rhythmic pattern in 1950s rock 'n' roll. On numerous recordings by Fats Domino, Little Richard and others, Bartholomew assigned this repeating three-note pattern not just to the string bass, but also to electric guitars and even baritone sax, making for a very heavy bottom. He recalls first hearing the figure– as a bass pattern on a Cuban disc.[41]
In a 1988 interview with Palmer, Bartholomew (who had the first R&B studio band),[42] revealed how he initially superimposed tresillo over swing rhythm:
I heard the bass playing that part on a 'rumba' record. On 'Country Boy' I had my bass and drums playing a straight swing rhythm and wrote out that 'rumba' bass part for the saxes to play on top of the swing rhythm. Later, especially after rock 'n' roll came along, I made the 'rumba' bass part heavier and heavier. I'd have the string bass, an electric guitar and a baritone all in unison.[43]
Bartholomew referred to the Cuban son by the misnomer rumba, a common practice of that time. Fats Domino's "Blue Monday", produced by Bartholomew, is another example of this now classic use of tresillo in R&B. Bartholomew's 1949 tresillo-based "Oh Cubanas" is an attempt to blend African American and Afro-Cuban music. The word mambo, larger than any of the other text, is placed prominently on the record label. In his composition "Misery", New Orleans pianist Professor Longhair plays a habanera-like figure in his left hand.[44] The deft use of triplets is a characteristic of Longhair's style.
Gerhard Kubik notes that with the exception of New Orleans, early blues lacked complex polyrhythms, and there was a "very specific absence of asymmetric time-line patterns (key patterns) in virtually all early-twentieth-century African American music... only in some New Orleans genres does a hint of simple time line patterns occasionally appear in the form of transient so-called 'stomp' patterns or stop-time chorus. These do not function in the same way as African timelines."[45] In the late 1940s, this changed somewhat when the two-celled timeline structure was brought into the blues. New Orleans musicians such as Bartholomew and Longhair incorporated Cuban instruments, as well as the clave pattern and related two-celled figures in songs such as "Carnival Day", (Bartholomew 1949) and "Mardi Gras In New Orleans" (Longhair 1949). While some of these early experiments were awkward fusions, the Afro-Cuban elements were eventually integrated fully into the New Orleans sound.
Robert Palmer reports that, in the 1940s, Professor Longhair listened to and played with musicians from the islands and "fell under the spell of Perez Prado's mambo records."[46] He was especially enamored with Afro-Cuban music. Michael Campbell states: "Professor Longhair's influence was... far-reaching. In several of his early recordings, Professor Longhair blended Afro-Cuban rhythms with rhythm and blues. The most explicit is 'Longhair's Blues Rhumba,' where he overlays a straightforward blues with a clave rhythm."[47] Longhair's particular style was known locally as rumba-boogie.[48] In his "Mardi Gras in New Orleans", the pianist employs the 2–3 clave onbeat/offbeat motif in a rumba boogie "guajeo".[49]
Piano excerpt from the rumba boogie "Mardi Gras in New Orleans" (1949) by Professor Longhair. 2–3 claves are written above for rhythmic reference.
The syncopated, but straight subdivision feel of Cuban music (as opposed to swung subdivisions) took root in New Orleans R&B during this time. Alexander Stewart states that the popular feel was passed along from "New Orleans—through James Brown's music, to the popular music of the 1970s," adding: "The singular style of rhythm & blues that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from a triplet or shuffle feel to even or straight eighth notes.[50] Concerning the various funk motifs, Stewart states that this model "...is different from a time line (such as clave and tresillo) in that it is not an exact pattern, but more of a loose organizing principle."[51]
Johnny Otis released the R&B mambo "Mambo Boogie" in January 1951, featuring congas, maracas, claves, and mambo saxophone guajeos in a blues progression.[52]Ike Turner recorded "Cubano Jump" (1954) an electric guitar instrumental, which is built around several 2–3 clave figures, adopted from the mambo. The Hawketts, in "Mardi Gras Mambo" (1955) (featuring the vocals of a young Art Neville), make a clear reference to Perez Prado in their use of his trademark "Unhh!" in the break after the introduction.[53]
Ned Sublette states: "The electric blues cats were very well aware of Latin music, and there was definitely such a thing as rhumba blues; you can hear Muddy Waters and Howlin' Wolf playing it."[54] He also cites Otis Rush, Ike Turner and Ray Charles, as R&B artists who employed this feel.[54]
The use of clave in R&B coincided with the growing dominance of the backbeat, and the rising popularity of Cuban music in the U.S. In a sense, clave can be distilled down to tresillo (three-side) answered by the backbeat (two-side).[55]
3–2 clave written in two measures in cut-timeTresillo answered by the backbeat, the essence of clave in African American music
The "Bo Diddley beat" (1955) is perhaps the first true fusion of 3–2 clave and R&B/rock 'n' roll. Bo Diddley has given different accounts of the riff's origins. Sublette asserts: "In the context of the time, and especially those maracas [heard on the record], 'Bo Diddley' has to be understood as a Latin-tinged record. A rejected cut recorded at the same session was titled only 'Rhumba' on the track sheets."[54]Johnny Otis's "Willie and the Hand Jive" (1958) is another example of this successful blend of 3–2 claves and R&B. Otis used the Cuban instruments claves and maracas on the song.
Afro-Cuban music was the conduit by which African American music was "re-Africanized", through the adoption of two-celled figures like clave and Afro-Cuban instruments like the conga drum, bongos, maracas and claves. According to John Storm Roberts, R&B became the vehicle for the return of Cuban elements into mass popular music.[56]Ahmet Ertegun, producer for Atlantic Records, is reported to have said that "Afro-Cuban rhythms added color and excitement to the basic drive of R&B."[57] As Ned Sublette points out though: "By the 1960s, with Cuba the object of a United States embargo that still remains in effect today, the island nation had been forgotten as a source of music. By the time people began to talk about rock and roll as having a history, Cuban music had vanished from North American consciousness."[58]
At first, only African Americans were buying R&B discs. According to Jerry Wexler of Atlantic Records, sales were localized in African-American markets; there were no white sales or white radio play. During the early 1950s, more white teenagers started to become aware of R&B and began purchasing the music. For example, 40% of 1952 sales at Dolphin's of Hollywood record shop, located in an African-American area of Los Angeles, were to whites. Eventually, white teens across the country turned their musical taste toward rhythm and blues.[59]
Johnny Otis, who had signed with the Newark, New Jersey–based Savoy Records, produced many R&B hits in 1951, including "Double Crossing Blues", "Mistrustin' Blues" and "Cupid's Boogie", all of which hit number one that year. Otis scored ten top ten hits that year. Other hits include "Gee Baby", "Mambo Boogie" and "All Nite Long".[60]The Clovers, a quintet consisting of a vocal quartet with accompanying guitarist, sang a distinctive-sounding combination of blues and gospel.[61] They had the number five hit of the year with "Don't You Know I Love You" on Atlantic.[60][62][63] Also in July 1951, Cleveland, Ohio DJ Alan Freed started a late-night radio show called "The Moondog Rock Roll House Party" on WJW (850 AM).[64][65] Freed's show was sponsored by Fred Mintz, whose R&B record store had a primarily African-American clientele. Freed began referring to the rhythm and blues music he played as "rock and roll".
In 1951 Little Richard Penniman began recording for RCA Records in the jump blues style of late 1940s stars Roy Brown and Billy Wright. However, it was not until he recorded a demo in 1954 that caught the attention of Specialty Records that the world would start to hear his new uptempo funky rhythm and blues that would catapult him to fame in 1955 and help define the sound of rock 'n' roll. A rapid succession of rhythm and blues hits followed, beginning with "Tutti Frutti"[66] and "Long Tall Sally", which would influence performers such as James Brown,[67]Elvis Presley,[68] and Otis Redding.[67]
Also in 1951, the song Rocket 88 was recorded by Ike Turner and his Kings of Rhythm at a studio owned by Sam Phillips with the vocal by Jackie Brenston. This song is often cited as a precursor to rock and roll or as one of the first records in that genre.[69] In a later interview, however, Ike Turner offered this comment: "I don't think that 'Rocket 88' is rock 'n' roll. I think that 'Rocket 88' is R&B, but I think 'Rocket 88' is the cause of rock and roll existing".[70]
In 1954 the Chords' "Sh-Boom"[79] became the first hit to cross over from the R&B chart to hit the top 10 early in the year. Late in the year, and into 1955, "Hearts of Stone" by the Charms made the top 20.[80]
At Chess Records in the spring of 1955, Bo Diddley's debut record "Bo Diddley"/"I'm a Man" climbed to number two on the R&B charts and popularized Bo Diddley's own original rhythm and blues clave-based vamp that would become a mainstay in rock and roll.[81]
At the urging of Leonard Chess at Chess Records, Chuck Berry reworked a country fiddle tune with a long history, entitled "Ida Red".[82] The resulting "Maybellene" was not only a number three hit on the R&B charts in 1955, but also reached into the top 30 on the pop charts. Alan Freed, who had moved to the much larger market of New York City in 1954, helped the record become popular with white teenagers. Freed had been given part of the writing credit by Chess in return for his promotional activities, a common practice at the time.[83]
R&B was also a strong influence on rock and roll.[84] A 1985 article in The Wall Street Journal, titled, "Rock! It's Still Rhythm and Blues"[full citation needed] reported that the "two terms were used interchangeably" until about 1957. The other sources quoted in the article said that rock and roll combined R&B with pop and country music.[85]
Fats Domino was not convinced that there was any new genre. In 1957, he said, "What they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans".[86] According to Rolling Stone, "this is a valid statement ... all Fifties rockers, black and white, country born and city bred, were fundamentally influenced by R&B, the black popular music of the late Forties and early Fifties".[87]
In 1956, an R&B "Top Stars of '56" tour took place, with headliners Al Hibbler, Frankie Lymon and the Teenagers, and Carl Perkins, whose "Blue Suede Shoes" was very popular with R&B music buyers.[88] Some of the performers completing the bill were Chuck Berry, Cathy Carr, Shirley & Lee, Della Reese, Sam "T-Bird" Jensen, the Cleftones, and the Spaniels with Illinois Jacquet's Big Rockin' Rhythm Band.[89] Cities visited by the tour included Columbia, South Carolina; Annapolis, Maryland; Pittsburgh, Pennsylvania; Syracuse, Rochester and Buffalo, New York; and other cities.[citation needed] In Columbia, the concert ended with a near riot as Perkins began his first song as the closing act. Perkins is quoted as saying, "It was dangerous. Lot of kids got hurt". In Annapolis, 50,000 to 70,000 people tried to attend a sold-out performance with 8,000 seats. Roads were clogged for seven hours.[90] Filmmakers took advantage of the popularity of "rhythm and blues" musicians as "rock n roll" musicians beginning in 1956. Little Richard, Chuck Berry, Fats Domino, Big Joe Turner, the Treniers, the Platters, and the Flamingos all made it onto the big screen.[91]
Two Elvis Presley records made the R&B top five in 1957: "Jailhouse Rock"/"Treat Me Nice" at number one, and "All Shook Up" at number five, an unprecedented acceptance of a non-African American artist into a music category known for being created by blacks.[92]Nat King Cole, also a jazz pianist who had two hits on the pop charts in the early 1950s ("Mona Lisa" at number two in 1950 and "Too Young" at number one in 1951), had a record in the top five in the R&B charts in 1958, "Looking Back"/"Do I Like It".[93]
In 1959, two black-owned record labels, one of which would become hugely successful, made their debut: Sam Cooke's Sar and Berry Gordy's Motown Records.[94]Brook Benton was at the top of the R&B charts in 1959 and 1960 with one number one and two number two hits.[95] Benton had a certain warmth in his voice that attracted a wide variety of listeners, and his ballads led to comparisons with performers such as Nat King Cole, Frank Sinatra and Tony Bennett.[96]Lloyd Price, who in 1952 had a number one hit with "Lawdy Miss Clawdy", regained predominance with a version of "Stagger Lee" at number one and "Personality" at number five in 1959.[97][98]
The white bandleader of the Bill Black Combo, Bill Black, who had helped start Elvis Presley's career and was Elvis's bassist in the 1950s, was popular with black listeners.[citation needed] Ninety percent of his record sales were from black people, and his "Smokie, Part 2" (1959) rose to the number one position on black music charts.[citation needed] He was once told that "a lot of those stations still think you're a black group because the sound feels funky and black."[citation needed]Hi Records did not feature pictures of the Combo on early records.[99]
In the late 1980s and early 1990s, hip-hop started to capture the imagination of America's youth. R&B started to become homogenized, with a group of high-profile producers responsible for most R&B hits. It was hard for R&B artists of the era to sell their music or even have their music heard because of the rise of hip-hop, but some adopted a "hip-hop" image, were marketed as such, and often featured rappers on their songs. In 1990, Billboard reintroduced R&B to categorize all of Black popular music other than hip-hop.[109] Newer artists such as Usher, R. Kelly, Janet Jackson, TLC, Aaliyah, Brandy, Destiny's Child, Tevin Campbell and Mary J. Blige enjoyed success. L.A. Reid, the CEO of LaFace Records, was responsible for some of R&B's greatest successes in the 1990s in the form of Usher, TLC and Toni Braxton. Later, Reid successfully marketed Boyz II Men.[110] In 2004, 80% of the songs that topped the R&B charts were also at the top of the Hot 100. That period was the all-time peak for R&B and hip hop on the Billboard Hot 100 and on Top 40 Radio.[111] From about 2005 to 2013, R&B sales declined.[112] However, since 2010, hip-hop has started to take cues from the R&B sound, choosing to adopt a softer, smoother sound that incorporates traditional R&B with rappers such as Drake, who has opened an entire new door for the genre. This sound has gained in popularity and created great controversy for both hip-hop and R&B as to how to identify it.[113] In 2010, the National Rhythm & Blues Hall of Fame was founded by LaMont "ShowBoat" Robinson.[114]
Jewish influence in the business end of rhythm and blues
According to the Jewish writer, music publishing executive, and songwriter Arnold Shaw, during the 1940s in the US, there was generally little opportunity for Jews in the WASP-controlled realm of mass communications, but the music business was "wide open for Jews as it was for blacks".[115] Jews played a key role in developing and popularizing African American music, including rhythm and blues, and the independent record business was dominated by young Jewish men who promoted the sounds of black music.[116]
British rhythm and blues and blues rock developed in the early 1960s, largely as a response to the recordings of American artists, often brought over by African American servicemen stationed in Britain or seamen visiting ports such as London, Liverpool, Newcastle and Belfast.[117][118] Many bands, particularly in the developing London club scene, tried to emulate black rhythm and blues performers, resulting in a "rawer" or "grittier" sound than the more popular "beat groups".[119] During the 1960s, Geno Washington, the Foundations, and the Equals gained pop hits.[120] Many British black musicians helped form the British R&B scene. These included Geno Washington, an American singer stationed in England with the Air Force. He was invited to join what became Geno Washington & the Ram Jam Band by guitarist Pete Gage in 1965 and enjoyed top 40 hit singles and two top 10 albums before the band split up in 1969.[121] Another American GI, Jimmy James, born in Jamaica, moved to London after two local number one hits in 1960 with The Vagabonds, who built a strong reputation as a live act. They released a live album and their studio debut, The New Religion, in 1966 and achieved moderate success with a few singles before the original Vagabonds broke up in 1970.[122] White blues rock musician Alexis Korner formed new jazz rock band CCS in 1970.[123] Interest in the blues would influence major British rock musicians, including Eric Clapton, Mick Taylor, Peter Green, and John Mayall, the groups Free and Cream adopted an interest in a wider range of rhythm and blues styles.[119]
The Rolling Stones became the second most popular UK band (after the Beatles)[124] and led the "British Invasion" of the US pop charts.[119] The Rolling Stones covered Bobby Womack & the Valentinos'[125] song "It's All Over Now", giving them their first UK number one in 1964.[126] Under the influence of blues and R&B, bands such as the Rolling Stones, the Yardbirds, and the Animals, and more jazz-influenced bands like the Graham Bond Organisation and Zoot Money, had blue-eyed soul albums.[119] White R&B musicians popular in the UK included Steve Winwood, Frankie Miller, Scott Walker & the Walker Brothers, the Animals from Newcastle, [127] the Spencer Davis Group, and Van Morrison & Them from Belfast.[119] None of these bands exclusively played rhythm and blues, but it remained at the core of their early albums.[119]
Champion Jack Dupree was a New Orleans blues and boogie woogie pianist who toured Europe and settled there from 1960, living in Switzerland and Denmark, then in Halifax, England in the 1970s and 1980s, before finally settling in Germany.[128] From the 1970s to 1980s, Carl Douglas, Hot Chocolate, Delegation, Junior, Central Line, Princess, Jacki Graham, David Grant, the Loose Ends, the Pasadenas and Soul II Soul gained hits on the pop or R&B charts.[129] The music of the British mod subculture grew out of rhythm and blues and later soul performed by artists who were not available to the small London clubs where the scene originated.[130] In the late 1960s, the Who performed American R&B songs such as the Motown hit "Heat Wave", a song which reflected the young mod lifestyle.[130] Many of these bands enjoyed national success in the UK, but found it difficult to break into the American music market.[130] The British white R&B bands produced music which was very different in tone from that of African-American artists.[119]
Funk is a music genre that originated in African-American communities in the mid-1960s when musicians created a rhythmic, danceable new form of music through a mixture of various music genres that were popular among African-Americans in the mid-20th century. It deemphasizes melody and chord progressions and focuses on a strong rhythmic groove of a bassline played by an electric bassist and a drum part played by a percussionist, often at slower tempos than other popular music. Funk typically consists of a complex percussive groove with rhythm instruments playing interlocking grooves that create a "hypnotic" and "danceable" feel. It uses the same richly colored extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, and dominant seventh chords with altered ninths and thirteenths.
Rock and roll is a genre of popular music that evolved in the United States during the late 1940s and early 1950s. It originated from African American music such as jazz, rhythm and blues, boogie-woogie, electric blues, gospel, and jump blues, as well as country music. While rock and roll's formative elements can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until 1954.
Soul music is a popular music genre that originated in African-American communities throughout the United States in the late 1950s and early 1960s. It has its roots in African-American gospel music and rhythm and blues. Soul music became popular for dancing and listening, and U.S. record labels such as Motown, Atlantic and Stax were influential in its proliferation during the civil rights movement. Soul also became popular worldwide, directly influencing rock music and the music of Africa. It had a resurgence in the mid-to late 1990s with the subgenre neo soul, which incorporated modern production elements and hip hop influences.
Doo-wop is a subgenre of rhythm and blues music that originated in African-American communities during the 1940s, mainly in the large cities of the United States, including New York, Philadelphia, Pittsburgh, Chicago, Baltimore, Newark, Detroit, Washington, D.C., and Los Angeles. It features vocal group harmony that carries an engaging melodic line to a simple beat with little or no instrumentation. Lyrics are simple, usually about love, sung by a lead vocal over background vocals, and often featuring, in the bridge, a melodramatically heartfelt recitative addressed to the beloved. Harmonic singing of nonsense syllables is a common characteristic of these songs. Gaining popularity in the 1950s, doo-wop was "artistically and commercially viable" until the early 1960s and continued to influence performers in other genres.
Henry Roeland "Roy" Byrd, better known as Professor Longhair or "Fess" for short, was an American singer and pianist who performed New Orleans blues. He was active in two distinct periods, first in the heyday of early rhythm and blues and later in the resurgence of interest in traditional jazz after the founding of the New Orleans Jazz and Heritage Festival in 1970. His piano style has been described as "instantly recognizable, combining rumba, mambo, and calypso".
The United States' multi-ethnic population is reflected through a diverse array of styles of music. It is a mixture of music influenced by the music of Europe, Indigenous peoples, West Africa, Latin America, Middle East, North Africa, amongst many other places. The country's most internationally renowned genres are traditional pop, jazz, blues, country, bluegrass, rock, rock and roll, R&B, pop, hip-hop/rap, soul, funk, religious, disco, house, techno, ragtime, doo-wop, folk, americana, boogaloo, tejano, surf, and salsa, amongst many others. American music is heard around the world. Since the beginning of the 20th century, some forms of American popular music have gained a near global audience.
The music of Louisiana can be divided into three general regions: rural south Louisiana, home to Creole Zydeco and Old French, New Orleans, and north Louisiana. The region in and around Greater New Orleans has a unique musical heritage tied to Dixieland jazz, blues, and Afro-Caribbean rhythms. The music of the northern portion of the state starting at Baton Rouge and reaching Shreveport has similarities to that of the rest of the US South.
Ella Mae Morse was an American singer of popular music whose 1940s and 1950s recordings mixing jazz, blues, and country styles influenced the development of rock and roll. Her 1942 recording of "Cow-Cow Boogie" with Freddie Slack and His Orchestra gave Capitol Records its first gold record. In 1943, her single "Get On Board, Little Chillun", also with Slack, charted in what would soon become the R&B charts, making her one of the first white singers to do so. Morse stopped recording in 1957 but continued to perform and tour into the 1990s. In 1960, she received a star on the Hollywood Walk of Fame.
The origins of rock and roll are complex. Rock and roll emerged as a defined musical style in the United States in the early to mid-1950s. It derived most directly from the rhythm and blues music of the 1940s, which itself developed from earlier blues, the beat-heavy jump blues, boogie woogie, up-tempo jazz, and swing music. It was also influenced by gospel, country and western, and traditional folk music. Rock and roll in turn provided the main basis for the music that, since the mid-1960s, has been generally known simply as rock music.
Afro-Cuban jazz is the earliest form of Latin jazz. It mixes Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation. Afro-Cuban music has deep roots in African ritual and rhythm. The genre emerged in the early 1940s with the Cuban musicians Mario Bauzá and Frank Grillo "Machito" in the band Machito and his Afro-Cubans in New York City. In 1947, the collaborations of bebop trumpeter Dizzy Gillespie and percussionist Chano Pozo brought Afro-Cuban rhythms and instruments, such as the tumbadora and the bongo, into the East Coast jazz scene. Early combinations of jazz with Cuban music, such as "Manteca" and "Mangó Mangüé", were commonly referred to as "Cubop" for Cuban bebop.
Music history of the United States includes many styles of folk, popular and classical music. Some of the best-known genres of American music are rhythm and blues, jazz, rock and roll, rock, soul, hip hop, pop, and country. The history began with the Native Americans, the first people to populate North America.
Urban adult contemporary, often abbreviated as urban AC or UAC, is the name for a format of radio music, similar to an urban contemporary format. Radio stations using this format usually would not have hip hop music on their playlists, and generally include some mix of contemporary R&B and traditional R&B. Urban adult contemporary playlists generally consist of many different genres that originated amongst Black Americans including R&B, soul, funk, disco, jazz, pop, hip-hop, electro, quiet storm, gospel, new jack swing, and hip-hop soul.
American popular music is popular music produced in the United States and is a part of American pop culture. Distinctive styles of American popular music emerged early in the 19th century, and in the 20th century the American music industry developed a series of new forms of music, using elements of blues and other genres. These popular styles included country, R&B, jazz and rock. The 1960s and 1970s saw a number of important changes in American popular music, including the development of a number of new styles, such as heavy metal, punk, soul, and hip hop.
"You Send Me" is a song written and originally recorded by American singer Sam Cooke, released as a single in 1957 by Keen Records. Produced by Bumps Blackwell and arranged and conducted by René Hall. The song, Cooke's debut single, was a massive commercial success, becoming a No. 1 hit on both Billboard's Rhythm & Blues Records chart and the Billboard Hot 100.
The music of New Orleans assumes various styles of music which have often borrowed from earlier traditions. New Orleans, Louisiana, is especially known for its strong association with jazz music, universally considered to be the birthplace of the genre. The earliest form was dixieland, which has sometimes been called traditional jazz, 'New Orleans', and 'New Orleans jazz'. However, the tradition of jazz in New Orleans has taken on various forms that have either branched out from original dixieland or taken entirely different paths altogether. New Orleans has also been a prominent center of funk, home to some of the earliest funk bands such as The Meters.
This article includes an overview of the major events and trends in popular music in the 1950s.
A guajeo is a typical Cuban ostinato melody, most often consisting of arpeggiated chords in syncopated patterns. Some musicians only use the term guajeo for ostinato patterns played specifically by a tres, piano, an instrument of the violin family, or saxophones. Piano guajeos are one of the most recognizable elements of modern-day salsa. Piano guajeos are also known as montunos in North America, or tumbaos in the contemporary Cuban dance music timba.
Tresillo is a rhythmic pattern used in Latin American music. It is a more basic form of the rhythmic figure known as the habanera.
"Drinkin' Wine, Spo-Dee-O-Dee" is a jump blues song written by Stick McGhee and J. Mayo Williams in 1949 and originally recorded by "Sticks” McGhee & His Buddies. It became an early hit for Atlantic Records, reaching #2 on the US R&B charts.
References
1 2 3 4 Jessie Carney Smith,ed. "Encyclopedia of African American popular culture" Greenwood, 2011, p.1163.
↑ Night Club Reviews Billboard February 27, 1943, p. 12
↑ Vaudeville reviews Billboard March 4, 1944, p. 28
↑ "Weekly Chart Notes: Baauer Continues The 'Harlem' Hit Parade'". Billboard. February 22, 2013. Retrieved September 4, 2023. based on sales reports from Rainbow Music Shop, Harvard Radio Shop, Lehman Music Company, Harlem De Luxe Music Store, Ray's Music Shop and Frank's Melody Music Shop, New York." Andy Kirk and His Clouds of Joy topped the inaugural tally with "Take It and Git."
↑ Morrison, Craig (1952). "Go Cat Go!" University of Illinois Press. page 30. ISBN0-252-06538-7
↑ Gilroy, Paul. The Black Atlantic: Modernity and Double Consciousness. Cambridge, MA: Harvard UP, 1993.
↑ "Funk and R&B". Rock & Roll Hall of Fame. June 15, 2020. Retrieved December 25, 2020. Not the least of R&B's legacy was its perpetuation of the group-harmony tradition as heard in the vocal blend of "doo-wop" groups
↑ "[Afro]-Latin rhythms have been absorbed into black American styles far more consistently than into white popular music, despite Latin music's popularity among whites" (Roberts The Latin Tinge 1979: 41).
↑ Roberts, John Storm (1999: 16) Latin Jazz. New York: Schirmer Books.
↑ Morton, "Jelly Roll" (1938: Library of Congress Recording): "Now in one of my earliest tunes, 'New Orleans Blues', you can notice the Spanish tinge. In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz." The Complete Recordings By Alan Lomax.
↑ Kubik, Gerhard (1999: 52). Africa and the Blues. Jackson, MS: University Press of Mississippi.
↑ "Wynton Marsalis part 2." 60 Minutes. CBS News (June 26, 2011).
↑ Schuller, Gunther (1968: 19) "It is probably safe to say that by and large the simpler African rhythmic patterns survived in jazz... because they could be adapted more readily to European rhythmic conceptions. Some survived, others were discarded as the Europeanization progressed. It may also account for the fact that patterns such as [tresillo have]... remained one of the most useful and common syncopated patterns in jazz." Early Jazz; Its Roots and Musical Development. New York: Oxford Press.
↑ Palmer, Robert (1981: 247). Deep Blues. New York: Penguin Books.
↑ "Rhythm and blues-influenced by Afro-Cuban music first surfaced in New Orleans." Campbell, Michael, and James Brody (2007: 83). Rock and Roll: An Introduction. Schirmer. ISBN0534642950
↑ Palmer, Robert (1979: 14). A Tale of Two Cities: Memphis Rock and New Orleans Roll. Brooklyn.
↑ Campbell, Michael, and James Brody (2007: 83). Rock and Roll: An Introduction. Schirmer. ISBN0534642950
↑ Stewart, Alexander (2000: 298). "Funky Drummer: New Orleans, James Brown and the Rhythmic Transformation of American Popular Music." Popular Music, v. 19, n. 3. October 2000, p. 293-318.
↑ Kevin Moore: "There are two common ways that the three-side [of clave] is expressed in Cuban popular music. The first to come into regular use, which David Peñalosa calls 'clave motif,' is based on the decorated version of the three-side of the clave rhythm. By the 1940s [there was] a trend toward the use of what Peñalosa calls the 'offbeat/onbeat motif.' Today, the offbeat/onbeat motif method is much more common." Moore (2011). Understanding Clave and Clave Changes p. 32. Santa Cruz, CA: Moore Music/Timba.com. ISBN1466462302
↑ Boggs, Vernon (1993 pp. 30–31). "Johnny Otis R&B/Mambo Pioneer" Latin Beat Magazine. v. 3 n. 9. Nov.
↑ Stewart, Alexander (2000 p. 307). "Funky Drummer: New Orleans, James Brown and the Rhythmic Transformation of American Popular Music." Popular Music, v. 19, n. 3. October 2000, pp. 293–318.
↑ Peñalosa, David (2010 p. 174). The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins. Redway, California: Bembe Inc. ISBN1-886502-80-3.
↑ Roberts, John Storm (1999 p. 136).The Latin Tinge. Oxford University Press.
↑ "Roots of Rock". Rock & Roll Hall of Fame. June 15, 2020. Retrieved December 25, 2020. rock and roll's roots: Gospel, Blues, Country/Folk/Bluegrass and R&B
↑ Vickie Cox Edmondson (July 18, 2008). "A preliminary review of competitive reactions in the hip-hop music industry: Black American entrepreneurs in a new industry". Management Research News. 31 (9): 637–649. doi:10.1108/01409170810898536. ISSN0140-9174.
↑ "About Us | R&B HOF". Rbhalloffamemarksms.com. July 24, 2022. Retrieved August 30, 2023.
↑ R. F. Schwartz, How Britain Got the Blues: the Transmission and Reception of American Blues Style in the United Kingdom (Aldershot: Ashgate, 2007), ISBN0-7546-5580-6, p. 28.
1 2 3 4 5 6 7 V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN0-87930-653-X, pp. 1315–1316.
1 2 3 V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN0-87930-653-X, pp. 1321–1322.
White, Charles (2003). The Life and Times of Little Richard: The Authorised Biography. Omnibus Press.
Further reading
Guralnick, Peter. Sweet Soul Music: Rhythm and Blues and the Southern Dream of Freedom. First ed. New York: Harper & Row, 1986. x, 438 p., ill., chiefly with b&w photos. ISBN0-06-096049-3
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