The New Blue Music: Changes in Rhythm and Blues, 1950-1999 (American Made Music Series)

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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.

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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 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.

The new blue music : changes in rhythm & blues, - University of Missouri-Kansas City

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. 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. 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. 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.

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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 time lines.

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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.

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. Alexander Stewart states that the popular feel was passed along from "New Orleans—through James Brown's music, to the popular music of the s," adding: 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.

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. 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.

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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 was no white sales nor white radio play.

Eventually, white teens across the country turned their music taste towards 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 prepared 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 " [66] and " Long Tall Sally ", which would influence performers such as James Brown , [67] Elvis Presley , [68] and Otis Redding.

Ruth Brown on the Atlantic label, placed hits in the top five every year from through 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 writers' credit by Chess in return for his promotional activities; a common practice at the time. Perkins is quoted as saying, "It was dangerous. Lot of kids got hurt. There was a lot of rioting going on, just crazy, man! The music drove 'em insane. Roads were clogged for seven hours. In , two black-owned record labels, one of which would become hugely successful, made their debut: 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.

Look at His Eyes ". By the s, the term "rhythm and blues" was being used as a blanket term for soul , funk , and disco. The Who played Motown hit " Heat Wave ". 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. 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 during the Cold War , or merchant seamen visiting ports such as London, Liverpool, Newcastle upon Tyne and Belfast.

Most successful were the Rolling Stones , whose first eponymously titled album in largely consisted of rhythm and blues songs. 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. From Wikipedia, the free encyclopedia. For other uses, see Rhythm and blues disambiguation. Jazz blues negro spirituals gospel boogie-woogie. Drums bass guitar horns keyboards electric guitar vocals background vocals.

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