Rhythm and blues

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Rhythm and blues, commonly abbreviated as R&B, is a genre of popular music that originated in African American communities in the 1940s. [1] The term was originally used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when "urbane, rocking, jazz based music with a heavy, insistent beat" was becoming more popular. [2] 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, one or more saxophones, and sometimes background vocalists. R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy, [3] as well as triumphs and failures in terms of relationships, economics, and aspirations.

Popular music is music with wide appeal that is typically distributed to large audiences through the music industry. These forms and styles can be enjoyed and performed by people with little or no musical training. It stands in contrast to both art music and traditional or "folk" music. Art music was historically disseminated through the performances of written music, although since the beginning of the recording industry, it is also disseminated through recordings. Traditional music forms such as early blues songs or hymns were passed along orally, or to smaller, local audiences.

Jazz is a music genre that originated in the African-American communities of New Orleans, United States. It originated in the late 19th and early 20th centuries, and developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression. It then emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms and improvisation. Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms".

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The term "rhythm and blues" has undergone a number of shifts in meaning. In the early 1950s, it was frequently applied to blues records. [4] Starting in the mid-1950s, after this style of music contributed to the development of rock and roll, the term "R&B" became used to refer to music styles that developed from and incorporated electric blues, as well as gospel and soul music. In the 1960s, several British rock bands such as the Rolling Stones, the Who and the Animals were referred to and promoted as being R&B bands; posters for the Who's residency at the Marquee Club in 1964 contained the slogan, "Maximum R&B". [5] Their mix of rock and roll and R&B is now known as "British rhythm and blues". By the 1970s, the term "rhythm and blues" changed again and was used as a blanket term for soul and funk. In the 1980s, a newer style of R&B developed, becoming known as "contemporary R&B". It combines rhythm and blues with elements of pop, soul, funk, hip hop, and electronic music. Popular R&B vocalists at the end of the 20th century included Prince, R. Kelly, Stevie Wonder, [6] Chaka Khan, Michael Jackson, Whitney Houston, [6] [7] [8] Mariah Carey. In the 21st century, R&B has remained a popular genre becoming more pop orientated and alternatively influenced with successful artists including Bruno Mars, Daft Punk, Robin Thicke, The Weeknd, and Mark Ronson [9] .

Blues is a music genre and musical form which was originated in the Deep South of the United States around the 1870s by African Americans from roots in African musical traditions, African-American work songs, and spirituals. Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads. The blues form, ubiquitous in jazz, rhythm and blues and rock and roll, is characterized by the call-and-response pattern, the blues scale and specific chord progressions, of which the twelve-bar blues is the most common. Blue notes, usually thirds, fifths or sevenths flattened in pitch are also an essential part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove.

Rock and roll is a genre of popular music that originated and evolved in the United States during the late 1940s and early 1950s from musical styles such as gospel, jump blues, jazz, boogie woogie, and rhythm and blues, along with country music. While elements of what was to become rock and roll 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.

Electric blues refers to any type of blues music distinguished by the use of electric amplification for musical instruments. The guitar was the first instrument to be popularly amplified and used by early pioneers T-Bone Walker in the late 1930s and John Lee Hooker and Muddy Waters in the 1940s. Their styles developed into West Coast blues, Detroit blues, and post-World War II Chicago blues, which differed from earlier, predominantly acoustic-style blues. By the early 1950s, Little Walter was a featured soloist on blues harmonica or blues harp using a small hand-held microphone fed into a guitar amplifier. Although it took a little longer, the electric bass guitar gradually replaced the stand-up bass by the early 1960s. Electric organs and especially keyboards later became widely used in electric blues.

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, [10] the term was used in Billboard as early as 1943. [11] [12] It replaced the term "race music", which originally came from within the black community, but was deemed offensive in the postwar world. [13] [14] The term "rhythm and blues" was 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". [15] Before the "Rhythm and Blues" name was instated, various record companies had already begun replacing the term "race music" with "sepia series". [16]

Jerry Wexler

Gerald "Jerry" Wexler was a music journalist-turned music producer, and was one of the main record industry players behind music from the 1950s through the 1980s. He coined the term "rhythm and blues", and was integral in signing and/or producing many of the biggest acts of the time, including Ray Charles, the Allman Brothers, Chris Connor, Aretha Franklin, Led Zeppelin, Wilson Pickett, Dire Straits, Dusty Springfield and Bob Dylan. Wexler was inducted to the Rock and Roll Hall of Fame in 1987 and in 2017 to the National Rhythm & Blues Hall of Fame.

<i>Billboard</i> (magazine) American music magazine

Billboard is an American entertainment media brand owned by the Billboard-Hollywood Reporter Media Group, a division of Eldridge Industries. It publishes pieces involving news, video, opinion, reviews, events, and style, and is also known for its music charts, including the Hot 100 and Billboard 200, tracking the most popular songs and albums in different genres. It also hosts events, owns a publishing firm, and operates several TV shows.

The Hot R&B/Hip-Hop Songs chart ranks the most popular R&B and hip hop songs in the United States and is published weekly by Billboard. Rankings are based on a measure of radio airplay, sales data, and streaming activity. The chart had 100 positions but was shortened to 50 positions in October 2012.

Writer and producer Robert Palmer defined rhythm & blues as "a catchall term referring to any music that was made by and for black Americans". [17] He has used the term "R&B" as a synonym for jump blues. [18] However, AllMusic separates it from jump blues because of R&B's stronger gospel influences. [19] 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. [13] 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.

Jump blues is an up-tempo style of blues, usually played by small groups and featuring saxophone or brass instruments. It was popular in the 1940s and was a precursor of rhythm and blues and rock and roll. Appreciation of jump blues was renewed in the 1990s as part of the swing revival.

AllMusic Online music database

AllMusic is an online music database. It catalogs more than 3 million album entries and 30 million tracks, as well as information on musical artists and bands. It launched in 1991, predating the World Wide Web.

Classical music broad tradition of Western art music

Classical music is art music produced or rooted in the traditions of Western culture, including both liturgical (religious) and secular music. While a more precise term is also used to refer to the period from 1750 to 1820, this article is about the broad span of time from before the 6th century AD to the present day, which includes the Classical period and various other periods. The central norms of this tradition became codified between 1550 and 1900, which is known as the common-practice period.

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. [20]

History

Precursors

Louis Jordan in New York City, c. July 1946 (William P. Gottlieb 04721). Louis Jordan, New York, N.Y., ca. July 1946 (William P. Gottlieb 04721).jpg
Louis Jordan in New York City, c. July 1946 (William P. Gottlieb 04721).

The migration of African Americans to the urban industrial centers of Chicago, Detroit, New York City, Los Angeles 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 1930s 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. [21]

Great Migration (African American) Six million African Americans left Southern US to urban Northeast, Midwest, and West between 1916 and 1970.

The Great Migration, sometimes known as the Great Northward Migration or the Black Migration, was the movement of 6 million African Americans out of the rural Southern United States to the urban Northeast, Midwest, and West that occurred between 1916 and 1970. In every U.S. Census prior to 1910, more than 90% of the African-American population lived in the American South. In 1900, only one-fifth of African Americans living in the South were living in urban areas. By the end of the Great Migration, just over 50% of the African-American population remained in the South, while a little less than 50% lived in the North and West, and the African-American population had become highly urbanized. By 1960, of those African Americans still living in the South, half now lived in urban areas, and by 1970, more than 80% of African Americans nationwide lived in cities. In 1991, Nicholas Lemann wrote that:

The Great Migration was one of the largest and most rapid mass internal movements in history—perhaps the greatest not caused by the immediate threat of execution or starvation. In sheer numbers it outranks the migration of any other ethnic group—Italians or Irish or Jews or Poles—to [the United States]. For blacks, the migration meant leaving what had always been their economic and social base in America, and finding a new one.

The Harlem Hamfats was a Chicago jazz band formed in 1936. Initially, they mainly provided backup music for jazz and blues singers, such as Johnny Temple, Rosetta Howard, and Frankie Jaxon, for Decca Records. Their first record, "Oh! Red", became a hit, securing them a Decca contract for fifty titles, and they launched a successful recording career performing danceable music.

Lonnie Johnson (musician) musician from the USA

Alonzo "Lonnie" Johnson was an American blues and jazz singer, guitarist, violinist and songwriter. He was a pioneer of jazz guitar and jazz violin and is recognized as the first to play an electrically amplified violin.

Late 1940s

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". [13] :173 Robert Palmer described it as "urbane, rocking, jazz-based music with a heavy, insistent beat". [2] Jordan's music, along with that of Big Joe Turner, Roy Brown, Billy Wright, and Wynonie Harris, is now also referred to as jump blues. Already Paul Gayten, Roy Brown, and others had had hits in the style now referred to as rhythm and blues. In 1948, Wynonie Harris' remake of Brown's 1947 recording "Good Rockin' Tonight" reached number two on the charts, following band leader Sonny Thompson's "Long Gone" at number one. [25] [26]

In 1949, the term "Rhythm and Blues" replaced the Billboard category Harlem Hit Parade. [13] 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. [27] 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". [28] [29] 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". [30] 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). [21]

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). [31] 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). Habanera cut-time.jpg
The habanera rhythm shown as tresillo (lower notes) with the backbeat (upper note).

For the more than 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. [32] Jazz pioneer Jelly Roll Morton considered the tresillo/habanera rhythm (which he called the Spanish tinge) to be an essential ingredient of jazz. [33] There are examples of tresillo-like rhythms in some African American folk musics such as the hand clapping and foot stomping patterns in ring shout, post-Civil War drum and fife music, and New Orleans second line music. [34] Wynton Marsalis considers tresillo to be the New Orleans "clave" (although technically, the pattern is only half a clave). [35] 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. [36] 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! [37]

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. [38] In the late 1940s, New Orleans musicians were especially receptive to Cuban influences precisely at the time when R&B was first forming. [39] The first use of tresillo in R&B occurred in New Orleans. Robert Palmer recalls:

Fats Domino in 1956. Fats Domino 1956.png
Fats Domino in 1956.

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. [40]

In a 1988 interview with Palmer, Bartholomew (who had the first R&B studio band), [41] 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. [42]

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.[ citation needed ] The deft use of triplets is a characteristic of Longhair's style.

Rhythm and blues

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 time lines." [43] In the late 1940s, this changed somewhat when the two-celled time line 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." [44] 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." [45] Longhair's particular style was known locally as rumba-boogie. [46] In his "Mardi Gras in New Orleans," the pianist employs the 2–3 clave onbeat/offbeat motif in a rumba boogie "guajeo". [47]

Piano excerpt from the rumba boogie "Mardi Gras in New Orleans" (1949) by Professor Longhair. 2-3 clave is written above for rhythmic reference. Mardi gras in new orleans.tif
Piano excerpt from the rumba boogie "Mardi Gras in New Orleans" (1949) by Professor Longhair. 2–3 clave is 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 triplet or shuffle feel to even or straight eighth notes. [48] 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." [49]

Johnny Otis released the R&B mambo "Mambo Boogie" in January 1951, featuring congas, maracas, claves, and mambo saxophone guajeos in a blues progression. [50] 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. [51]

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." [52] He also cites Otis Rush, Ike Turner and Ray Charles, as R&B artists who employed this feel. [52]

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). [53]

3-2 clave written in two measures in cut-time. Clave in cut-time.tiff
3–2 clave written in two measures in cut-time.
Tresillo answered by the backbeat, the essence of clave in African American music. Tresillo and backbeat.tiff
Tresillo 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' "Willie and the Hand Jive" (1958) is another example of this successful blend of 3–2 clave and R&B. Otis used the Cuban instruments claves and maracas on the song.

Bo Diddley's "Bo Diddley beat" is a clave-based motif. Bo-Diddley.jpg
Bo Diddley's "Bo Diddley beat" is a clave-based motif.

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. [55] 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." [56] 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." [57]

Early to mid-1950s

Ray Charles in 1971. Photo: Heinrich Klaffs. Ray Charles 260971neu000.jpg
Ray Charles in 1971. Photo: Heinrich Klaffs.

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 was no white sales nor white radio play. During the early 1950s, more white teenagers started to become aware of R&B and to purchase 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 music taste towards rhythm and blues. [58]

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". [59] The Clovers, a vocal trio who sang a distinctive sounding combination of blues and gospel, [60] had the number five hit of the year with "Don't You Know I Love You" on Atlantic. [59] [61] [62] 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). [63] [64] 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 prepared 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" [65] and "Long Tall Sally", which would influence performers such as James Brown, [66] Elvis Presley, [67] and Otis Redding. [68]

Ruth Brown was known as the "Queen of R&B" Ruth Brown cropped.jpg
Ruth Brown was known as the "Queen of R&B"

Ruth Brown on the Atlantic label, placed hits in the top five every year from 1951 through 1954: "Teardrops from My Eyes", "Five, Ten, Fifteen Hours", "(Mama) He Treats Your Daughter Mean" and "What a Dream". [60] Faye Adams's "Shake a Hand" made it to number two in 1952. In 1953, the R&B record-buying public made Willie Mae Thornton's original recording of Leiber and Stoller's "Hound Dog" [69] the number three hit that year. Ruth Brown was very prominent among female R&B stars; her popularity was most likely derived because of "her deeply rooted vocal delivery in African American tradition" [70] [71] That same year The Orioles, a doo-wop group, had the #4 hit of the year with "Crying in the Chapel". [72]

Fats Domino made the top 30 of the pop charts in 1952 and 1953, then the top 10 with "Ain't That a Shame". [73] [74] Ray Charles came to national prominence in 1955 with "I Got a Woman". [75] Big Bill Broonzy said of Charles' music: "He's mixing the blues with the spirituals ... I know that's wrong." [13] :173

In 1954 the Chords' "Sh-Boom" [76] 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. [77]

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. [78]

At the urging of Leonard Chess at Chess Records, Chuck Berry had reworked a country fiddle tune with a long history, entitled "Ida Red". [79] 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 writers' credit by Chess in return for his promotional activities; a common practice at the time. [80]

Late 1950s

Della Reese Della Reese Jubilee Records.jpg
Della Reese

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. [81] Some of the performers completing the bill were Chuck Berry, Cathy Carr, Shirley & Lee, Della Reese, the Cleftones, and the Spaniels with Illinois Jacquet's Big Rockin' Rhythm Band.[ citation needed ] 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 70,000 to 50,000 people tried to attend a sold out performance with 8,000 seats. Roads were clogged for seven hours. [82] Film makers 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, the Flamingos, all made it onto the big screen. [83]

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. [84] 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". [85]

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. [86] Brook Benton was at the top of the R&B charts in 1959 and 1960 with one number-one and two number-two hits.[ citation needed ] 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. [87] 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 for in 1959. [88] [89]

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. [90]

1960s–1970s

Sam Cooke Sam Cooke 2.jpg
Sam Cooke

Sam Cooke's number five hit "Chain Gang" is indicative of R&B in 1960, as is pop rocker Chubby Checker's number five hit "The Twist". [91] [92] By the early 1960s, the music industry category previously known as rhythm and blues was being called soul music, and similar music by white artists was labeled blue eyed soul. [93] [94] Motown Records had its first million-selling single in 1960 with the Miracles' "Shop Around", [95] and in 1961, Stax Records had its first hit with Carla Thomas' "Gee Whiz (Look at His Eyes)". [96] [97] Stax's next major hit, The Mar-Keys' instrumental "Last Night" (also released in 1961) introduced the rawer Memphis soul sound for which Stax became known. [98] In Jamaica, R&B influenced the development of ska. [99] [100] In 1969 black culture and rhythm and blues reached another great achievement when the Grammys first added the Rhythm and Blues category, giving academic recognition to the category.[ citation needed ]

By the 1970s, the term "rhythm and blues" was being used as a blanket term for soul, funk, and disco. [101] Around the same time, mods band influenced by R&B. The Who played Motown hit "Heat Wave". In the 70s, Philadelphia International (featuring The O'Jays, Harold Melvin & the Blue Notes, Jerry Bell, Archie Bell & The Drells and Billy Paul) and Hi Records (featuring Al Green, O. V. Wright and Ann Peebles) got R&B hits [102] .

1980s to present

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. Newer artists such as Usher, R. Kelly, Janet Jackson, TLC, Aaliyah, Beyoncé, Christina Aguilera 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. [103] In 2004, 80% of the songs that topped the R&B charts, were also on 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. [104] From about 2005 to 2013, R&B sales declined. [105] However; since 2010 Hip-Hop has started to take from the R&B sound choosing to adopt a softer smoother sound incorporating that of 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 in how to identify it. [106]

British rhythm and blues

Eric Burdon & the Animals (1964). Eric Burdon & the Animals.jpg
Eric Burdon & the Animals (1964).

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. [107] [108] 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". [109] Initially developing out of the jazz, skiffle and blues club scenes, early artists tended to focus on major blues performers and standard forms, particularly blues rock musician Alexis Korner [110] , who acted with members of the Rolling Stones, Colosseum, the Yardbirds, Manfred Mann, and the Graham Bond Organisation. [109] Although this interest in the blues would influence major British rock musicians, including Eric Clapton, Mick Taylor, Peter Green, John Mayall, Free, and Cream adopted an interest in a wider range of rhythm and blues styles. [109]

The Rolling Stones and other beat groups became second most popular UK bands (after the Beatles) [111] and led the "British Invasion" of the US pop charts [109] . The Rolling Stones covered Bobby Womack & the Valentinos [112] song It's All Over Now", and that song gave them their first UK number one in 1964. [113] 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 [109] . White R&B musicians included Steve Winwood, Frankie Miller, Scott Walker & the Walker Brothers, the Animals from Newcastle [114] and Spencer Davis Group and Van Morrison & Them from Belfast were popular in the UK [109] . None of these bands played exclusively rhythm and blues, but it remained at the core of their early albums. [109]

The music of the British mod subculture grew out of rhythm and blues and later soul, performed by artists that were not available to the small London clubs where the scene originated. [115] As a result, a number of bands emerged to fill this gap, including Small Faces, and most successfully the Who. [115] About 1966 The Who moved from attempting to emulate American R&B to producing songs that reflected the Mod lifestyle. [115] Many of these bands enjoyed national success in the UK, but found it difficult to break into the American music market. [115] . But British White blues musicians could not play real R&B, and UK black musician such as Carl Douglas, Hot Chocolate(UK), Delegation, Junior, Princess, the Pasadenas, Mica Paris, Soul II Soul, and Central Line [116] played real R&B and sometimes they had hits.

The British R&B bands produced music which was very different in tone from that of African-American artists, often with more emphasis on guitars and sometimes with greater energy. [109] They have been criticized for exploiting the massive catalogue of African-American music, but it has also been noted that they both popularized that music, bringing it to British, world and in some cases American audiences, and helped to build the reputation of existing and past rhythm and blues artists. [109] Most of these bands rapidly moved on from recording and performing American standards to writing and recording their own music, often leaving their R&B roots behind. [109] .

See also

Related Research Articles

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Latin jazz is a genre of jazz with Latin American rhythms. The two main categories are Afro-Cuban jazz, rhythmically based on Cuban popular dance music, with a rhythm section employing ostinato patterns or a clave, and Afro-Brazilian jazz, which includes bossa nova and samba.

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New Orleans blues, is a subgenre of blues music and a variation of Louisiana blues that developed in the 1940s and 1950s in and around the city of New Orleans, rooted by the rich blues roots of the city going back generations earlier. Strongly influenced by jazz and incorporated Caribbean influences, it is dominated by piano and saxophone but has also produced major guitar bluesmen. Major figures in the genre include Professor Longhair and Guitar Slim, who both produced major regional, R&B chart and even mainstream hits.

Spanish Tinge

The phrase Spanish tinge is a reference to an Afro-Latin rhythmic touch that spices up the more conventional 4
4
rhythms commonly used in jazz and pop music. The phrase is a quotation from Jelly Roll Morton. In his Library of Congress recordings, after referencing the influence of his own French Creole culture in his music, he noted the Spanish presence:

Then we had Spanish people there. I heard a lot of Spanish tunes. I tried to play them in correct tempo, but I personally didn't believe they were perfected in the tempos. Now take the habanera "La Paloma", which I transformed in New Orleans style. You leave the left hand just the same. The difference comes in the right hand — in the syncopation, which gives it an entirely different color that really changes the color from red to blue.

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.

Music of New Orleans

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.

Guajeo

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.

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Further reading and listening