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In the commercial rhythm and blues music typical of the s through the s, the bands usually consisted of piano, one or two guitars, bass, drums, one or more saxophones, and sometimes background vocalists.
The term "rhythm and blues" has undergone a number of shifts in meaning. In the early s, it was frequently applied to blues records. By the end of the s, the term "rhythm and blues" had changed again and was used as a blanket term for soul and funk. It combines rhythm and blues with elements of pop , soul, funk, disco , hip hop , and electronic music. Although Jerry Wexler of Billboard magazine is credited with coining the term "rhythm and blues" as a musical term in the United States in , [6] the term was used in Billboard as early as 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.
In the commercial rhythm and blues music typical of the s through the s, 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.
One publication of the Smithsonian Institution provided this summary of the origins of the genre in The great migration of Black Americans to the urban industrial centers of Chicago, Detroit, New York City, Los Angeles and elsewhere in the s and s 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 lates and s through the work of musicians such as the Harlem Hamfats , with their 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. Already Paul Gayten , Roy Brown, and others had had hits in the style now referred to as rhythm and blues. Written by musician and arranger Andy Gibson , the song was described as a "dirty boogie" because it was risque and raunchy. Their lyrics, by Roy Alfred who later co-wrote the hit " The Rock and Roll Waltz " , were mildly sexually suggestive, and one teenager from Philadelphia said "That Hucklebuck was a very nasty dance".
African American music began incorporating Afro-Cuban rhythmic motifs in the s with the popularity of the Cuban contradanza known outside of Cuba as the habanera. 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.
In 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! 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. Robert Palmer recalls:. New Orleans producer-bandleader Dave Bartholomew first employed this figure as a saxophone-section riff on his own disc "Country Boy" and subsequently helped make it the most over-used rhythmic pattern in s 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. 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. Bartholomew referred to the Cuban son by the misnomer rumba , a common practice of that time. 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.
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 These do not function in the same way as African timelines.
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 and "Mardi Gras In New Orleans" Longhair 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 s, Professor Longhair listened to and played with musicians from the islands and "fell under the spell of Perez Prado's mambo records.
Michael Campbell states: "Professor Longhair's influence was 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. In a related development, the underlying rhythms of American popular music underwent a basic, yet the generally unacknowledged transition from triplet or shuffle feel to even or straight eighth notes.
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. In a sense, clave can be distilled down to tresillo three-side answered by the backbeat two-side.
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. 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.
By the time people began to talk about rock and roll as having a history, Cuban music had vanished from North American consciousness. According to Jerry Wexler of Atlantic Records, sales were localized in African-American markets; there were no white sales or white radio play. Eventually, white teens across the country turned their musical taste toward rhythm and blues. Otis scored ten top ten hits that year.
Freed began referring to the rhythm and blues music he played as "rock and roll". However, it was not until he recorded a demo in 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 and help define the sound of rock 'n' roll.
A rapid succession of rhythm and blues hits followed, beginning with " Tutti Frutti " [63] and " Long Tall Sally ", which would influence performers such as James Brown , [64] Elvis Presley , [65] and Otis Redding.
Fats Domino made the top 30 of the pop charts in and , then the top 10 with " Ain't That a Shame ". I know that's wrong. Late in the year, and into , " Hearts of Stone " by the Charms made the top Alan Freed , who had moved to the much larger market of New York City in , 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.
It's Still Rhythm and Blues". In fact, the author stated that the "two terms were used interchangeably" until about Fats Domino was not convinced that there was any new genre.
In , he said, "What they call rock 'n' roll now is rhythm and blues. Perkins is quoted as saying, "It was dangerous.
Lot of kids got hurt". In Annapolis, 50, to 70, people tried to attend a sold-out performance with 8, seats. Roads were clogged for seven hours. In , 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.
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 s, was popular with black listeners. By the s, the term "rhythm and blues" was being used as a blanket term for soul , funk , and disco.
In the late s and early s, hip-hop started to capture the imagination of America's youth. Newer artists such as Usher , R. Blige enjoyed success. According to the Jewish writer, music publishing executive, and songwriter Arnold Shaw , during the s 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.
British rhythm and blues and blues rock developed in the early s, 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. They released a live album and their studio debut, The New Religion, in and achieved moderate success with a few singles before the original Vagabonds broke up in Champion Jack Dupree was a New Orleans blues and boogie woogie pianist who toured Europe and settled there from , living in Switzerland and Denmark, then in Halifax, England in the s and s, before finally settling in Germany.
From Wikipedia, the free encyclopedia. Music genre that originated in the s. For other uses, see Rhythm and blues disambiguation. Audio playback is not supported in your browser.
You can download the audio file. Main article: Jewish influence in rhythm and blues. Main article: British rhythm and blues. Wikiquote has quotations related to Rhythm and blues.
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