Rhythm and Blues | St. James Encyclopedia of Pop Culture

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Its antecedents were the jazz and blues of the 1930s, especially Kansas City jazz; in the 1960s, it turned into soul. R&B;, as it is often known, was the precursor and the vital center of rock 'n' roll. It used small-group jazz instrumentation, centered on piano and saxophone as often as on guitar, and it moved in the direction of straightforward, danceable rhythms at the time when jazz was moving toward the more complex structures of bebop. Blending the emotional immediacy of the blues, the instrumental intensity of jazz, and the wit of black vaudeville, it became arguably the most irresistible of American musical forms.</p> <p>Billboard magazine first used the term "Rhythm and Blues" as the title for its black music charts in 1949, replacing "race music." But more than the name was new. The postwar era had created an entirely new musical landscape, involving new black audiences, new black musical styles, and new musical markets that were being serviced by a new music business.</p> <p>There were social and technological reasons for these changes. The black migration to Los Angeles, New York, Chicago, and Detroit, with their healthy blue collar economy of defense plants that then retooled to service the postwar economy, created a solid urban working class with some disposable income and a changed social dynamic. Black performers, meanwhile, had been hardest hit by the wartime demand for shellac in the defense industry, which had drastically cut back on the production of records, and had made labels trim their rosters dramatically. But a war-created technology was about to open unprecedented possibilities for entrepreneurship in the music industry. The development of recording tape meant that anyone could have a recording studio, and the recording business was no longer in the hands of a few major companies. Thus newly entrepreneurial musicians began producing music for a waiting audience.</p> <iframe src="https://web.archive.org/web/20091207042839if_/http://bwp.findarticles.com/search?style=leaderboard&ordinal=3&key=7878717971&dw-siteid=23&category=lifestyle&dw-ptid=2100&dw-ontid=14334&unit=3" align="top" frameborder="0" category="lifestyle" height="280" width="500" scrolling="no" marginheight="0" marginwidth="0" class="bidwar" allowtransparency="true" unit="3"></iframe> <p>The precursors of rhythm and blues came from the jazz and blues worlds, which were starting to come closer together in the 1930s. Singer-pianist Leroy Carr was the first of the Delta blues singers to incorporate jazz influences and smooth urban stylings. Through the early 1930s, until his death in 1935, Carr was one of the most influential figures in blues. Kansas City blues shouter Big Joe Turner worked with piano player Pete Johnson and such jazz greats as Benny Moten and Count Basie to create a robust, sexual, and celebratory style. Texas-born T-Bone Walker created a solo style on a new instrument, the electric guitar. Jazzman Illinois Jacquet, in Lionel Hampton's 1941 recording, "Flying Home," played a honking, emotionally charged tenor sax solo that became the model for rhythm and blues instrumentals.</p> <p></p> <p> </p> <p>The most important jazzman to enter rhythm and blues, though, was Louis Jordan, who virtually created "jump blues." Like so much of the music of the 1940s, jump blues came out of the driving dance music of Count Basie's great 1930s bands, in such numbers as "One O'clock Jump" and "Jumpin' at the Woodside." Jordan adapted Basie's big band swing to small group instrumentation, with an emphatic 2/4 shuffle beat and brilliant comic showmanship derived from Cab Calloway and black vaudevillians. Jordan dominated the charts throughout the early 1940s.</p> <p>Jordan recorded on Decca. The new rhythm and blues performers of the 1940s, though, were a phenomenon of the new independent labels. Many of these labels were located in the entertainment centers of New York and Los Angeles, but others were regional. They tended to be run by entrepreneurs (more often than not white) who had businesses that serviced the black urban communities and who saw a hugely popular sound ripe for commercial exploitation. Each label contributed some facet of the developing rhythm and blues sound.</p> <p>The earliest important indie label was Savoy (founded in 1942). Founded by a Newark, New Jersey, record store owner, Herman Lubinsky, Savoy was one of the few labels to specialize in both of the cutting edge black musical styles of the 1940s: bebop and rhythm and blues. Apollo (founded in 1943), a New York label, and King (1944), a Cincinnati label that also recorded country singers, also came along during the war years, but the real explosion of independents began in the postwar era.</p> <p>Los Angeles, in these years, became a huge center for rhythm and blues recording. T-Bone Walker had settled in Los Angeles. The first breakout rhythm and blues single, "I Wonder," was recorded by Private Cecil Gant in a simple basement studio and released in 1944 on Gilt Edge Records, a short-lived L.A. indie. When "I Wonder" went to the top of Billboard's race charts, a number of labels sprang up to capitalize on the smooth, cool, Leroy Carr-derived L.A. blues style Gant had popularized. The most successful of these was Modern Records, which was to have its biggest success with a T-Bone Walker disciple, B. B. King. Aladdin Records signed Charles Brown, who brought jazz-pop stylings reminiscent of Nat "King" Cole to R&B.; Swingtime recorded Lowell Fulson, who combined the smooth L.A. sound with a T-Bone Walker-influenced guitar style and a Charles Brown-influenced singer-pianist who would later develop his own, revolutionary style: Ray Charles.</p>  <div class="pagination clear"> <ul class="clear"> <li class="on"><a href="https://web.archive.org/web/20091207042839/http://findarticles.com/p/articles/mi_g1epc/is_tov/ai_2419101026/">1</a></li> <li><a href="https://web.archive.org/web/20091207042839/http://findarticles.com/p/articles/mi_g1epc/is_tov/ai_2419101026/pg_2/">2</a></li> <li><a href="https://web.archive.org/web/20091207042839/http://findarticles.com/p/articles/mi_g1epc/is_tov/ai_2419101026/pg_3/">3</a></li> <li><a href="https://web.archive.org/web/20091207042839/http://findarticles.com/p/articles/mi_g1epc/is_tov/ai_2419101026/pg_4/">4</a></li> <li><a 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If you want to get the real dope on prospective employees, ask job candidates these seven questions.</p> <img src="https://web.archive.org/web/20091207042839im_/http://dw.com.com/rubicsimp/c.gif?ver=2&ts=2009.12.06.20.28.38.PST&edId=&onId=&ptId=&sId=&appId=25&unitId=57&poolId=1&f1=-0&f2=-0&f3=-0&alg=3&opt=1&off=210,-1" alt="" height="1" width="1"/> </div> </li> <li> <h5><a href="https://web.archive.org/web/20091207042839/http://dw.com.com/rubicsclk?ver=2&ts=2009.12.06.20.28.38.PST&edId=&onId=&ptId=&sId=&appId=25&offId=572&unitId=57&poolId=2&f1=-0&f2=-0&f3=-0&alg=3&&opt=1&linkPos=1&destUrl=http:%2F%2Findustry.bnet.com%2Ftechnology%2F10004299%2Fcomcast-not-satisfied-with-success-decides-to-become-aol-time-warner%2F">Your Industry <span>The Comcast-NBC Deal Is a Really, Truly Terrible Idea</span></a></h5> <div class="inner"> <h4><a href="https://web.archive.org/web/20091207042839/http://dw.com.com/rubicsclk?ver=2&ts=2009.12.06.20.28.38.PST&edId=&onId=&ptId=&sId=&appId=25&offId=572&unitId=57&poolId=2&f1=-0&f2=-0&f3=-0&alg=3&&opt=1&linkPos=1&destUrl=http:%2F%2Findustry.bnet.com%2Ftechnology%2F10004299%2Fcomcast-not-satisfied-with-success-decides-to-become-aol-time-warner%2F">The Comcast-NBC Deal Is a Really, Truly Terrible Idea</a></h4> <p>We’re finally at the point where Time Warner (TWX) is going to spin off AOL, which was originally the acquired in one of the most ill-conceived merger deals of all time. And now what happens? Comcast (CMSA) decides that it isn’t satisfied with creating a trend of increasing share prices. No, it sees a vacuum [...]</p> <img src="https://web.archive.org/web/20091207042839im_/http://dw.com.com/rubicsimp/c.gif?ver=2&ts=2009.12.06.20.28.38.PST&edId=&onId=&ptId=&sId=&appId=25&unitId=57&poolId=2&f1=-0&f2=-0&f3=-0&alg=3&opt=1&off=572,-1" alt="" height="1" width="1"/> </div> </li> <li> <h5><a href="https://web.archive.org/web/20091207042839/http://dw.com.com/rubicsclk?ver=2&ts=2009.12.06.20.28.38.PST&edId=&onId=&ptId=&sId=&appId=25&offId=535&unitId=57&poolId=3&f1=-0&f2=-0&f3=-0&alg=3&&opt=1&linkPos=2&destUrl=http:%2F%2Fmoneywatch.bnet.com%2Fsaving-money%2Farticle%2Fdumbest-things-you-do-with-your-money%2F365768%2F">Your Money <span>Dumbest Things You Do With Your Money</span></a></h5> <div class="inner"> <h4><a href="https://web.archive.org/web/20091207042839/http://dw.com.com/rubicsclk?ver=2&ts=2009.12.06.20.28.38.PST&edId=&onId=&ptId=&sId=&appId=25&offId=535&unitId=57&poolId=3&f1=-0&f2=-0&f3=-0&alg=3&&opt=1&linkPos=2&destUrl=http:%2F%2Fmoneywatch.bnet.com%2Fsaving-money%2Farticle%2Fdumbest-things-you-do-with-your-money%2F365768%2F">Dumbest Things You Do With Your Money</a></h4> <p>Even smart people make financial moves that are downright illogical. Emotions and superstitions have a sneaky way of keeping you from rational financial decisions. But dumb choices can have serious, real-world consequences. 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