Description: This is a rare find for music enthusiasts! The handwritten musical score by Bill Doggett, a pioneer in the rock and roll industry, is a valuable addition to any collection. His unique style and talent as a musician have made him a legend among rock and pop artists. This item is an original, authentic piece of music memorabilia Don't miss this opportunity to own a piece of music history! William Ballard Doggett was an American pianist and organist. He began his career playing swing music before transitioning into rhythm and blues. Best known for his instrumental compositions "Honky Tonk" and "Hippy Dippy", Doggett was a pioneer of rock and roll. obtained directly from his estate after he died William Ballard Doggett (February 16, 1916 – November 13, 1996)[1] was an American pianist and organist.[2] He began his career playing swing music before transitioning into rhythm and blues.[3] Best known for his instrumental compositions "Honky Tonk" and "Hippy Dippy", Doggett was a pioneer of rock and roll.[4] He worked with the Ink Spots, Johnny Otis, Wynonie Harris, Ella Fitzgerald, and Louis Jordan.[1] BiographyDoggett was born in Philadelphia.[1] During the 1930s and early 1940s he worked for Lucky Millinder, Frank Fairfax and arranger Jimmy Mundy.[2] In 1942 he was hired as the Ink Spots' pianist and arranger.[2] In 1951, Doggett organized his own trio and began recording for King Records.[2] His best known recording is "Honky Tonk", a rhythm and blues hit of 1956,[2] which sold four million copies (reaching No. 1 R&B and No. 2 Pop), and which he co-wrote with Billy Butler.[5] The track topped the US Billboard R&B chart for over two months.[6] He also arranged for many bandleaders and performers, including Louis Armstrong, Count Basie, Ella Fitzgerald, and Lionel Hampton.[2] He continued to play and arrange until he died, aged 80, from cancer in New York City.[1] DiscographySinglesYearTitles (A-side, B-side)Both sides from same album except where indicatedChart positionsAlbumUSUS R&B1945"Be-Baba-Leba"b/w "Every Now and Then"Both sides feature vocalist Helen Humes3Non-album tracks"He May Be Your Man"b/w "Blue Prelude"Both sides feature vocalist Helen Humes1953"Moondust" /18Moon Dust"Early Bird"21Hot Doggett"No More In Life" (Vocals by Mildred Anderson)b/w "Real Gone Mambo" (from The Many Moods Of Bill Doggett)20Non-album track"Eventide"b/w "And The Angels Sing" (from The Doggett Beat For Happy Feet)Moon Dust"The Christmas Song"b/w "Winter Wonderland"All Time Christmas Favorites (later on 12 Songs Of Christmas)1954"It's A Dream"b/w "The Song Is Ended (But The Melody Lingers On)" (from Dance Awhile With Doggett)Moon Dust"There's No You"b/w "Easy" (from The Doggett Beat For Happy Feet)"Sweet Lorraine"b/w "Tailor Made" (from Dance Awhile With Doggett)Dame Dreaming"High Heels"b/w "Sweet Slumber" (from Moon Dust)15Hot Doggett"Honey"b/w "The Nearness Of You" (from Moon Dust)The Doggett Beat For Happy Feet"Gumbo"b/w "Tara's Theme" (from Moon Dust)Hot Doggett1955"My Reverie"b/w "King Bee" (from The Doggett Beat For Happy Feet)Moon Dust"I'll Be Around"b/w "Wild Oats" (from Hot Doggett)"Oof!"b/w "Street Scene" (from Moon Dust)Hot Doggett"Quaker City"b/w "True Blue""Shove Off"b/w "You Don't Know What Love Is" (from Moon Dust)"Honey Boy"b/w "Misty Moon" (from Dance Awhile With Doggett)1956"In A Sentimental Mood"b/w "Who's Who" (from Hot Doggett)Candle Glow"Squashy"b/w "We Found Love" (from Candle Glow)Hot Doggett"The Bo-Do Rock"b/w "Mean To Me"Both sides with Earl BosticNon-album tracks"What A Diff'rence A Day Made"b/w "Stella By Starlight" (from Candle Glow)The Doggett Beat For Happy Feet"Honky Tonk"—Parts 1 & 221Everybody Dance The Honky Tonk"Bubbins Rock"b/w "Indiana"Both sides with Earl BosticNon-album tracks"Slow Walk"b/w "Hand In Hand" (from Candle Glow)264Everybody Dance The Honky Tonk"Honky Tonk" (Vocals by Tommy Brown)b/w "Peacock Alley" (from Everybody Dance The Honky Tonk)The Many Moods Of Bill Doggett1957"Ram-Bunk-Shush"b/w "Blue Largo" (from The Many Moods Of Bill Doggett)6710The Doggett Beat For Happy Feet"Chloe"b/w "Number Three" (from Everybody Dance The Honky Tonk)"Ding Dong"b/w "Cling To Me" (from Candle Glow)"Shindig"b/w "Hammer Head""Soft"b/w "Hot Ginger"3511"Leaps and Bounds"—Part 1b/w Part 213Everybody Dance The Honky Tonk1958"Hippy Dippy"b/w "Flying Home" (from Dance Awhile With Doggett)Hold It!"Boo-Da-Ba"b/w "Pimento""Blues For Handy"b/w "How Could You" (from Dance Awhile With Doggett)"Blip Blop"b/w "Tanya"8211"Hold It"b/w "Birdie"923"Rainbow Riot"—Part 1b/w Part 2151959"Monster Party"b/w "Scott's Bluff"27High and Wide"Ocean Liner"b/w "The Madison"On Tour"After Hours"b/w "Big City Drag"Big City Dance Party"Yocky Dock"—Part 1b/w Part 230On Tour"Goofy Organ"b/w "Zee" (from On Tour)Back Again With More Bill Doggett"Smokie"—Part 2b/w "Evening Dreams" (from On Tour)951960"Raw Turkey"b/w "Back Woods" (Non-album track)On Tour"Smoochie""Big Boy" (from Everybody Dance The Honky Tonk)Dance Awhile With Doggett"The Slush"b/w "Buttered Popcorn"Back Again With More Bill Doggett"Trav'lin Light"b/w "A Lover's Dream" (from The Many Moods Of Bill Doggett)For Reminiscent Lovers, Romantic Songs"Slidin'"b/w "Afternoon Jump" (from Everybody Dance The Honky Tonk)Back Again With More Bill Doggett"Earl's Dog" (With Earl Bostic)B-side by Earl Bostic: "Special Delivery Stomp"Non-album tracks"(Let's Do) The Hully Gully Twist"b/w "Jackrabbit"663,046 People Danced 'Til 4 AM1961"Honky Tonk"—Part 2b/w "Floyd's Guitar Blues" (from Big City Dance Party)5721Everybody Dance The Honky Tonk"Let's Do The Continental"b/w "Pony Walk"The Band With The Beat"You Can't Sit Down"—Part 1b/w Part 23,046 People Danced 'Til 4 AM"The Doodle"b/w "Bugle Nose"Back Again With More Bill Doggett"High and Wide"b/w "In The Wee Hours"High and Wide1962"The Doodle Twist"b/w "Gene's Dream"Non-album tracks"Lady's Choice"b/w "Buster"Oops! The Swinging Sounds Of Bill Doggett and His Combo"George Washington Twist"b/w "Eleven O'clock Twist"The Many Moods Of Bill Doggett"Moondust"b/w "Teardrops" (from Candle Glow)Moon Dust"Oops"b/w "Choo Choo"Oops! The Swinging Sounds Of Bill Doggett and His Combo"For All We Know"b/w "Hometown Shout" (from On Tour)For Reminiscent Lovers, Romantic Songs1963"Soda Pop"b/w "Ham Fat"Prelude To The Blues"Honky Tonk Bossa Nova"—Part 2b/w "Ocean Liner Bossa Nova"American Songs In Bossa Nova Style"Down Home Bossa Nova"b/w "Si-Si-Nova""Groovy Movie"b/w "The Fog" (from The Many Moods Of Bill Doggett)Impressions"The Worm"b/w "Hot Fudge"Fingertips1964"Fat Back"b/w "Si Si Cisco"Non-album tracks"Night Train"—Part 1b/w Part 2Back Again With More Bill Doggett"Hey, Big Boy, Hey Hey"b/w "The Rail" (from Big City Dance Party)The Best Of Bill Doggett"Crackers"b/w "That's Enough, Lock 'Em Up""The Kicker"b/w "Mudcat"Wow!"Snuff Box"b/w "Blood Pressure" (Non-album track)The Best Of Bill Doggett1965"Slidin'"b/w "Teardrops"Bonanza Of 24 Songs1967"Sapphire"b/w "Ko-Ko"Honky Tonk A-La Mod!"Lovin' Mood"b/w "The Funky Whistler"Non-album tracks1969"Twenty-Five Miles"b/w "For Once In My Life" (Non-album track)Honky Tonk Popcorn"Honky Tonk Popcorn"b/w "Honky Tonk"1970"The Nearness Of You""Moondust"The Nearness Of You1971"Eventide"b/w "In A Sentimental Mood"Sentimental Mood7" EPs (all on King)KEP-259 Bill Doggett, His Organ And Combo, Vol. 1 (1954)KEP-325 Bill Doggett, His Organ And Combo, Vol. 2 (1954)KEP-326 Bill Doggett, His Organ And Combo, Vol. 3 (1954)KEP-334 Bill Doggett, His Organ And Combo, Vol. 4 (1955)KEP-346 All Time Christmas Favorites (1955)KEP-352 Bill Doggett, His Organ And Combo, Vol. 5 (1955)KEP-382 Doggett Dreams, Vol. 6 (1956)KEP-388 Doggett Jumps, Vol. 7 (1956)KEP-390 Bill Doggett, His Organ And Combo: Honky Tonk! (1956)KEP-391 Bill Doggett, Volume 1 (1956)KEP-392 Bill Doggett, Volume 2 (1956)KEP-393 Bill Doggett, Volume 3 (1956)KEP-394 As You Desire Me (Volume 1) (1956)KEP-395 As You Desire Me (Volume 2) (1956)KEP-396 As You Desire Me (Volume 3) (1956)KEP-397 Earl Bostic – Bill Doggett (1956)KEP-399 A Salute To Ellington (Volume 1) (1957)KEP-400 A Salute To Ellington (Volume 2) (1957)KEP-401 A Salute To Ellington (Volume 3) (1957)KEP-402 Dame Dreaming (Volume 1) (1957)KEP-403 Dame Dreaming (Volume 2) (1957)KEP-404 Dame Dreaming (Volume 3) (1957)KEP-407 Bill Doggett, His Organ And Combo: Hot Doggett (1957)KEP-408 Bill Doggett, His Organ And Combo: Soft (1957)KEP-424 Hold It! (Volume 1) (1958)KEP-425 Hold It! (Volume 2) (1958)KEP-426 Hold It! (Volume 3) (1958)KEP-442 High And Wide (Volume 1) (1959)KEP-443 High And Wide (Volume 2) (1959)KEP-444 High And Wide (Volume 3) (1959)KEP-448 Big City Dance Party (Volume 1) (1959)KEP-449 Big City Dance Party (Volume 2) (1959)KEP-450 Big City Dance Party (Volume 3) (1959)10" LPsBill Doggett, His Organ And Combo, Volume 1 King 295-82 (1954)Bill Doggett, His Organ And Combo, Volume 2 King 295-83 (1954)All Time Christmas Favorites King 295-89 (1954)Sentimentally Yours King 295-102 (1955)12" LPsMoon Dust King 395-502 (1956)Hot Doggett King 395-514 (1956)As You Desire Me King 395-523 (1956) [reissue of King 295-102 plus 4 additional tracks]Everybody Dance the Honky Tonk King 395-531 (1956)Dame Dreaming King 395-532 (1957)A Salute to Ellington King 533 (1957)Doggett Beat for Dancing Feet King 557 (1957)Candle Glow King 563 (1958)Swingin' Easy King 582 (1958)Dance Awhile with Doggett King 585 (1958)12 Songs Of Christmas King 600 (1958) [reissue of King 295-89 plus 6 additional tracks]Hold It! King 609 (1959)High And Wide King 633 (1959)Big City Dance Party King 641 (1959)Bill Doggett on Tour [this is NOT a live album] King 667 (1959)For Reminiscent Lovers, Romantic Songs By Bill Doggett King 706 (1960)Back With More Bill Doggett King 723 (1960)The Many Moods Of Bill Doggett King 778 (1962)Bill Doggett Plays American Songs, Bossa Nova Style King 830 (1963)Impressions [compilation] King 868 (1963)The Best Of Bill Doggett [compilation] King 908 (1964)Bonanza Of 24 Songs [compilation] King 959 (1966)Take Your Shot King 1041 (1969)Honky Tonk Popcorn King 1078 (1970)The Nearness Of You [compilation] King 1097 (1970)Ram-Bunk-Shush [compilation] King 1101 (1970)Sentimental Mood [compilation] King 1104 (1971)Soft [compilation] King 1108 (1971)14 Original Greatest Hits [compilation; reissued as All His Hits] King-Starday 5009 (1977)Charles Brown: PLEASE COME HOME FOR CHRISTMAS [this vocal album includes 4 instrumental tracks by Bill Doggett] King-Starday 5019 (1978)12" LPs issued by other labels3,046 People Danced 'Til 4 A.M. To Bill Doggett [this is a live album] Warner Bros. WS-1404 (1961)The Band With The Beat! Warner Bros. WS-1421 (1961)Bill Doggett Swings Warner Bros. WS-1452 (1962)Rhythm Is My Business (Ella Fitzgerald with Bill Doggett) Verve V6-4056 (1962)Oops! The Swinging Sounds Of Bill Doggett Columbia CL-1814/CS-8614 (1962)Prelude To The Blues Columbia CL-1942/CS-8742 (1963)Fingertips Columbia CL-2082/CS-8882 (1963)Wow! ABC-Paramount S-507 (1964)Honky Tonk A-La-Mod! Roulette SR-25330 (1966)Bill Doggett Disques Black And Blue 33.029 (1971) - later released on CD as I Don't Know Much About Love (Black & Blue 59.029) in 1991.Bill Doggett feat. Eddie Davis & Eddie Vinson Disques Black And Blue 33.138 (1978) - with Eddie "Lockjaw" Davis, Eddie "Cleanhead" VinsonMidnight Slows, Vol. 9 Disques Black And Blue 33.145 (1978)Midnight Slows, Vol. 10 Disques Black And Blue 33.160 (1979) - with Eddie "Lockjaw" DavisMister Honky Tonk Disques Black And Blue 33.562 (1980)The Right Choice After Hours/Ichiban AFT-4112 (1991) - note: this is Doggett's last recorded album of original material; also released on CD.CD releases/compilations of noteGon' Doggett Charly R&B CRB-1094 [LP] (1985)Trading Licks Charly R&B CD-51 (1987) [shared CD with Earl Bostic; 12 tracks by Doggett and 8 tracks by Bostic; all King material]Leaps And Bounds Charly R&B CD-281 (1991)The EP Collection See For Miles SEECD-689 (1999)Everyday, I Have The Blues (The Definitive Black & Blue Sessions) Black & Blue BB-911 (2002)Honky Tonk: The Very Best Of Bill Doggett Collectables 2876 (2004)The Chronological Bill Doggett 1952-1953 Classics (Blues & Rhythm Series) 5097 (2004)Am I Blue Black & Blue BB-468 (2005)The Chronological Bill Doggett 1954 Classics (Blues & Rhythm Series) 5175 (2006)Honky Tonk Popcorn Beat Goes Public/BGP CDBGPD-249 (2012) reissue of King 1078 plus 5 bonus tracks.Everybody Dance The Honky Tonk/Doggett Beat For Dancing Feet Soul Jam 806174 (2019) 2LP-on-1CDDancing With Doggett: Bill Doggett, His Organ & Combo 1955-1960 Jasmine JASMCD-3142 (2019) - compilation that also includes the entire 3,046 People Danced 'Til 4 A.M. album.As sidemanWith Ella FitzgeraldLullabies of Birdland (Decca DL-8149, 1945–1955 [rel. 1956]) note: includes "Rough Ridin'", "Smooth Sailing", and "Air Mail Special" with Doggett on organ.With Coleman HawkinsThe Hawk Talks (Decca DL-8127, 1952–1953 [rel. 1955])With Helen HumesComplete 1927–1950 Studio Recordings (Jazz Factory JFCD-22844, 2001) 3-CD set - note: includes the 5 tracks that Humes recorded with Doggett's octet for Philo/Aladdin in 1945: "Unlucky Woman", "Every Now And Then", "He May Be Your Man", "Blue Prelude", and "Be-Baba-Leba".With Willis JacksonCall of the Gators (Delmark, DD-460, 1949–1950 Apollo recordings [rel. 1992])With Illinois JacquetIllinois Jacquet And His Tenor Sax (Aladdin LP-708 [10-inch], 1945–1947 [rel. 1954]; Aladdin LP-803 [rel. 1956]; Imperial LP-9184/LP-12184 [rel. 1962])With Louis JordanJivin' with Jordan (Proper Box 47, 1938–1951 Decca recordings [rel. 2002]) 4-CD setWith Lucky MillinderThe Chronological Lucky Millinder & His Orchestra 1941–1942 (Classics 712, 1993)The Chronological Lucky Millinder & His Orchestra 1943–1947 (Classics 1026, 1998)With Paul QuinichetteThe Vice Pres (EmArcy MG-36027, 1951–1952 [rel. 1954])With Buddy TateJumping on the West Coast (Black Lion 760175, 1947–1949 Supreme recordings [rel. 1992])With Lucky ThompsonThe Chronological Lucky Thompson 1944–1947 (Classics 1113, 2000) Bill Doggett Biography by Craig HarrisWith his instrumental hit "Honky Tonk" in February 1956, Bill Doggett (born William Ballard Doggett) created one of rock's greatest instrumental tracks. Although it generated scores of offers to perform in rock & roll clubs throughout the United States, Doggett remained tied to the jazz and organ-based R&B that he had performed since the 1930s. Continuing to record for the Cincinnati-based King label until 1960, he went on to record for Warner Brothers, Columbia, ABC-Paramount and Sue. His last session came as a member and producer of an all-star jazz/R&B group, Bluesiana Hurricane in 1995. Born on the north side of Philadelphia, Doggett struggled with poverty as a youngster. Although he initially dreamed of playing the trumpet, his family was unable to afford lessons. Persuaded by his mother (a church pianist), to try keyboards instead, he quickly mastered the instrument. Hailed as a child prodigy by his 13th birthday, he formed his first band, the Five Majors, at the age of 15. Performing with the Jimmy Gorman Band, the pit orchestra at the Nixon Grand Theater, while still in high school, Doggett assumed leadership of the group in 1938. The experience was brief, however, as Doggett sold the orchestra to Lucky Millinder, with whom he continued to work off and on for the next four years. He made his recording debut on Millinder's tracks, "Little Old Lady From Baltimore" and "All Aboard" in 1939. Although he formed a short-lived orchestra with Benny Goodman's arranger, Jimmy Mundy, in late 1939, Doggett continued to work primarily as a sideman. Playing piano and arranging for the Ink Spots from 1942 until 1944, he went on to arrange tunes for Count Basie's band and tour and/or record with Coleman Hawkins, Johnny Otis, Wynonie Harris, Ella Fitzgerald and Lionel Hampton. Replacing Wild Bill Davis in Louis Jordan's band, in 1947, he appeared on the influential tunes, "Saturday Night Fish Fry" and "Blue Light Boogie." He made his debut as an organist during June 1951 recording sessions with Ella Fitzgerald. Debuting his own organ-led combo at New York nightclub, the Baby Grand, in June 1952, Doggett recorded more than a dozen singles before striking gold with "Honky Tonk" four years later. A longtime resident of Long Island, New York, Doggett died on November 13, 1996, three days after suffering a heart attack. He played piano and organ with some of the greatest names in jazz and rhythm-and-blues. But Bill Doggett, 80, who died last week at Lenox Hill Hospital in Manhattan, became an immortal in his own right on the basis of one record. That was "Honky Tonk," a 1956 recording that spread over both sides of a 45-rpm single. This sweet-swinging, down-and-dirty example of lounge-club blues became a crossover hit, part of the then-burgeoning sonic landscape that the world came to know as rock and roll. By 1979 it had sold more than 3 million copies. The Islip resident, who was born in Philadelphia, continued to lead his own blues bands through the 1960s, 1970s and 1980s, touring Europe regularly. Mr. Doggett started out with his own band, which in 1938 toured with the Lucky Millinder band. A couple of years later, he was a full-time pianist with Millinder. Between 1942 and 1944 he was pianist and arranger with the Ink Spots. Throughout the rest of the decade he played with blues singer Jimmy Rushing and saxophonists Lucky Thompson and Illinois Jacquet. Sign up for the NewsdayTV newsletterFrom breaking news to special features and documentaries, the NewsdayTV team is covering the issues that matter to you. Email addressSign upBy clicking Sign up, you agree to our privacy policy. In 1949 he became pianist with a group led by singer-saxophonist Louis Jordan, who set the pace for the postwar R&B boom. Following the path laid down by Wild Bill Davis, his predecessor in Jordan's band, Mr. Doggett added the organ to his repertoire. When he left Jordan in 1951 to record with his own groups, he made the organ a basic staple of his hard-driving music. Among the musicians who played in Mr. Doggett's groups were guitarist Mickey Baker and saxophonists Earl Bostic and Percy France. Swing music is a style of jazz that developed in the United States during the late 1920s and early 1930s. It became nationally popular from the mid-1930s. The name derived from its emphasis on the off-beat, or nominally weaker beat. Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of big bands and bandleaders such as Benny Goodman was the dominant form of American popular music from 1935 to 1946, known as the swing era, when people were dancing the Lindy Hop. The verb "to swing" is also used as a term of praise for playing that has a strong groove or drive. Musicians of the swing era include Duke Ellington, Benny Goodman, Count Basie, Cab Calloway, Benny Carter, Jimmy Dorsey, Tommy Dorsey, Woody Herman, Earl Hines, Bunny Berigan, Harry James, Lionel Hampton, Glenn Miller, Artie Shaw, Jimmie Lunceford, and Django Reinhardt. OverviewSwing has its roots in 1920s dance music ensembles, which began using new styles of written arrangements, incorporating rhythmic innovations pioneered by Louis Armstrong, Coleman Hawkins, Benny Carter and other jazzmen.[1] During the World War II era Swing began to decline in popularity, and after war, bebop and jump blues gained popularity.[2] Swing blended with other genres to create new musical styles. In country music, artists such as Jimmie Rodgers, Moon Mullican, Milton Brown and Bob Wills introduced elements of swing along with blues to create a genre called "western swing".[3] Famous roma guitarist Django Reinhardt created gypsy swing music[4] and composed the gypsy swing standard "Minor Swing".[5] In the late 1980s to early 1990s, new urban-styled swing-beat emerged called new jack swing (New York go-go), created by young producer Teddy Riley.[6] In the late 1990s and into the 2000s, there was a swing revival, led by Squirrel Nut Zippers,[7] Brian Setzer orchestra and Big Bad Voodoo Daddy.[8] 1920s: Roots Fletcher Henderson (middle) with his orchestra in 1925. Coleman Hawkins is sitting on the floor to the extreme left with Louis Armstrong above him to the right.Developments in dance orchestra and jazz music during the 1920s both contributed to the development of the 1930s swing style. Starting in 1923, the Fletcher Henderson Orchestra featured innovative arrangements by Don Redman that featured call-response interplay between brass and reed sections, and interludes arranged to back up soloists. The arrangements also had a smoother rhythmic sense than the ragtime-influenced arrangements that were the more typical "hot" dance music of the day.[9] In 1924 Louis Armstrong joined the Henderson band, lending impetus to an even greater emphasis on soloists. The Henderson band also featured Coleman Hawkins, Benny Carter, and Buster Bailey as soloists, who all were influential in the development of swing era instrumental styles. During the Henderson band's extended residency at the Roseland Ballroom in New York, it became influential on other big bands. Duke Ellington credited the Henderson band with being an early influence when he was developing the sound for his own band.[9] In 1925 Armstrong left the Henderson band and would add his innovations to New Orleans style jazz to develop Chicago style jazz, another step towards swing. Traditional New Orleans style jazz was based on a two-beat meter and contrapuntal improvisation led by a trumpet or cornet, typically followed by a clarinet and trombone in a call-response pattern. The rhythm section consisted of a sousaphone and drums, and sometimes a banjo. By the early 1920s guitars and pianos sometimes substituted for the banjo and a string bass sometimes substituted for the sousaphone. Use of the string bass opened possibilities for 4/4 instead of 2/4 time at faster tempos, which increased rhythmic freedom. The Chicago style released the soloist from the constraints of contrapuntal improvisation with other front-line instruments, lending greater freedom in creating melodic lines. Louis Armstrong used the additional freedom of the new format with 4/4 time, accenting the second and fourth beats and anticipating the main beats with lead-in notes in his solos to create a sense of rhythmic pulse that happened between the beats as well as on them, i.e. swing.[10] In 1927 Armstrong worked with pianist Earl Hines, who had a similar impact on his instrument as Armstrong had on trumpet. Hines' melodic, horn-like conception of playing deviated from the contemporary conventions in jazz piano centered on building rhythmic patterns around "pivot notes". His approaches to rhythm and phrasing were also free and daring, exploring ideas that would define swing playing. His approach to rhythm often used accents on the lead-in instead of the main beat, and mixed meters, to build a sense of anticipation to the rhythm and make his playing swing. He also used "stops" or musical silences to build tension in his phrasing.[11][12] Hines' style was a seminal influence on the styles of swing-era pianists Teddy Wilson, Art Tatum, Jess Stacy, Nat "King" Cole, Erroll Garner, Mary Lou Williams, and Jay McShann. Black territory dance bands in the southwest were developing dynamic styles that often went in the direction of blues-based simplicity, using riffs in a call-response pattern to build a strong, danceable rhythm and provide a musical platform for extended solos.[13] The rhythm-heavy tunes for dancing were called "stomps". The requirement for volume led to continued use of the sousaphone over the string bass with the larger ensembles, which dictated a more conservative approach to rhythm based on 2/4 time signatures. Meanwhile, string bass players such as Walter Page were developing their technique to the point where they could hold down the bottom end of a full-sized dance orchestra.[14] The growth of radio broadcasting and the recording industry in the 1920s allowed some of the more popular dance bands to gain national exposure. The most popular style of dance orchestra was the "sweet" style, often with strings. Paul Whiteman developed a style he called "symphonic jazz", grafting a classical approach over his interpretation of jazz rhythms in an approach he hoped would be the future of jazz.[15][16] Whiteman's Orchestra enjoyed great commercial success and was a major influence on the sweet bands. Jean Goldkette's Victor Recording Orchestra featured many of the top white jazz musicians of the day including Bix Beiderbecke, Jimmy Dorsey, Frank Trumbauer, Pee Wee Russell, Eddie Lang, and Joe Venuti. The Victor Recording Orchestra won the respect of the Fletcher Henderson Orchestra in a Battle of the Bands; Henderson's cornetist Rex Stewart credited the Goldkette band with being the most influential white band in the development of swing music before Benny Goodman's.[17][18] As a dance music promoter and agent, Goldkette also helped organize and promote McKinney's Cotton Pickers and Glen Gray's Orange Blossoms (later the Casa Loma Orchestra), two other Detroit-area bands that were influential in the early swing era. Early swingAs the 1920s turned to the 1930s, the new concepts in rhythm and ensemble playing that comprised the swing style were transforming the sounds of large and small bands. Starting in 1928, The Earl Hines Orchestra was broadcast throughout much of the midwest from the Grand Terrace Cafe in Chicago, where Hines had the opportunity to expound upon his new approaches to rhythm and phrasing with a big band. Hines' arranger Jimmy Mundy would later contribute to the catalog of the Benny Goodman Orchestra. The Duke Ellington Orchestra had its new sounds broadcast nationally from New York's Cotton Club, followed by the Cab Calloway Orchestra and the Jimmie Lunceford Orchestra. Also in New York, the Fletcher Henderson Orchestra featured the new style at the Roseland Ballroom and the swing powerhouse Chick Webb Orchestra started its extended stay at the Savoy Ballroom in 1931.[19] Bennie Moten and the Kansas City Orchestra showcased the riff-propelled, solo-oriented form of swing that had been developing in the hothouse of Kansas City.[20][21] Emblematic of the evolving music was the change in the name of Moten's signature tune, from "Moten Stomp" to "Moten Swing". Moten's orchestra had a highly successful tour in late 1932. Audiences raved about the new music, and at the Pearl Theatre in Philadelphia in December 1932, the doors were let open to the public who crammed into the theatre to hear the new sound, demanding seven encores from Moten's orchestra.[14] With the early 1930s came the financial difficulties of the Great Depression that curtailed recording of the new music and drove some bands out of business, including the Fletcher Henderson Orchestra and McKinney's Cotton Pickers in 1934. Henderson's next business was selling arrangements to up-and-coming bandleader Benny Goodman. At this time, "Sweet" dance music remained most popular with white audiences and was successfully showcased by bandleaders such as Guy Lombardo[22] [23] and Shep Fields,[24][25][26][27][28] but the Casa Loma Orchestra and the Benny Goodman Orchestra went against that grain, targeting the new swing style to younger audiences. Despite Benny Goodman's claim that "sweet" music was a "weak sister" as compared to the "real music" of America, Lombardo's band enjoyed widespread popularity for decades while crossing over racial divides and was even praised by Louis Armstrong as one of his favorites[29] [30] 1935–1946: The swing eraMain article: Swing era Benny Goodman, one of the first swing bandleaders to achieve widespread fameIn 1935 the Benny Goodman Orchestra had won a spot on the radio show Let's Dance and started showcasing an updated repertoire featuring Fletcher Henderson arrangements. Goodman's slot was on after midnight in the East, and few people heard it. It was on earlier on the West Coast and developed the audience that later led to Goodman's Palomar Ballroom triumph. At the Palomar engagement starting on 21 August 1935, audiences of young white dancers favored Goodman's rhythm and daring arrangements. The sudden success of the Goodman orchestra transformed the landscape of popular music in America. Goodman's success with "hot" swing brought forth imitators and enthusiasts of the new style throughout the world of dance bands, which launched the "swing era" that lasted until 1946.[31] A typical song played in swing style would feature a strong, anchoring rhythm section in support of more loosely-tied woodwind and brass sections playing call-response to each other. The level of improvisation that the audience might expect varied with the arrangement, song, band, and band-leader. Typically included in big band swing arrangements were an introductory chorus that stated the theme, choruses arranged for soloists, and climactic out-choruses. Some arrangements were built entirely around a featured soloist or vocalist. Some bands used string or vocal sections, or both. Swing-era repertoire included the Great American Songbook of Tin Pan Alley standards, band originals, traditional jazz tunes such as the "King Porter Stomp", with which the Goodman orchestra had a smash hit, and blues. Hot swing music is strongly associated with the jitterbug dancing that became a national craze accompanying the swing craze. Swing dancing originated in the late 1920s as the "Lindy Hop", and would later incorporate other styles including The Suzie Q, Truckin', Peckin' Jive, The Big Apple, and The Shag in various combinations of moves. A subculture of jitterbuggers, sometimes growing quite competitive, congregated around ballrooms that featured hot swing music. A dance floor full of jitterbuggers had cinematic appeal; they were sometimes featured in newsreels and movies. Some of the top jitterbuggers gathered in professional dance troupes such as Whitey's Lindy Hoppers (featured in A Day At the Races, Everybody Dance, and Hellzapoppin'). Swing dancing would outlive the swing era, becoming associated with R&B and early Rock&Roll. As with many new popular musical styles, swing met with some resistance because of its improvisation, tempo, occasionally risqué lyrics, and frenetic dancing. Audiences used to traditional "sweet" arrangements, such as those offered by Guy Lombardo, Sammy Kaye, Kay Kyser and Shep Fields, were taken aback by the rambunctiousness of swing music. Swing was sometimes regarded as light entertainment, more of an industry to sell records to the masses than a form of art, among fans of both jazz and "serious" music. Some jazz critics such as Hugues Panassié held the polyphonic improvisation of New Orleans jazz to be the pure form of jazz, with swing a form corrupted by regimentation and commercialism. Panassié was also an advocate of the theory that jazz was a primal expression of the black American experience and that white musicians, or black musicians who became interested in more sophisticated musical ideas, were generally incapable of expressing its core values.[32] In his 1941 autobiography, W. C. Handy wrote that "prominent white orchestra leaders, concert singers and others are making commercial use of Negro music in its various phases. That's why they introduced "swing" which is not a musical form" (no comment on Fletcher Henderson, Earl Hines, Duke Ellington, or Count Basie).[33] The Dixieland revival started in the late 1930s as a self-conscious re-creation of New Orleans jazz in reaction against the orchestrated style of big band swing. Some swing bandleaders saw opportunities in the Dixieland revival. Tommy Dorsey's Clambake Seven and Bob Crosby's Bobcats were examples of Dixieland ensembles within big swing bands. Between the poles of hot and sweet, middlebrow interpretations of swing led to great commercial success for bands such as those led by Artie Shaw, Glenn Miller and Tommy Dorsey. Miller's trademark clarinet-led reed section was decidedly "sweet", but the Miller catalog had no shortage of bouncy, medium-tempo dance tunes and some up-tempo tunes such as Mission to Moscow and the Lionel Hampton composition "Flying Home". "The Sentimental Gentleman of Swing" Tommy Dorsey made a nod to the hot side by hiring jazz trumpeter and Goodman alumnus Bunny Berigan, then hiring Jimmie Lunceford's arranger Sy Oliver to spice up his catalog in 1939. New York became a touchstone for national success of big bands, with nationally broadcast engagements at the Roseland and Savoy ballrooms a sign that a swing band had arrived on the national scene. With its Savoy engagement in 1937, the Count Basie Orchestra brought the riff-and-solo oriented Kansas City style of swing to national attention. The Basie orchestra collectively and individually would influence later styles that would give rise to the smaller "jump" bands and bebop. The Chick Webb Orchestra remained closely identified with the Savoy Ballroom, having originated the tune "Stompin' at the Savoy", and became feared in the Savoy's Battles of the Bands. It humiliated Goodman's band,[19] and had memorable encounters with the Ellington and Basie bands. The Goodman band's 1938 Carnegie Hall Concert turned into a summit of swing, with guests from the Basie and Ellington bands invited for a jam session after the Goodman band's performance. Coleman Hawkins arrived back from an extended stay in Europe to New York in 1939, recorded his famous version of "Body and Soul", and fronted his own big band. 1940 saw top-flight musicians such as Charlie Parker, Dizzy Gillespie, Don Byas, Charlie Christian, and Gene Ramey, whose careers in swing had brought them to New York, beginning to coalesce and develop the ideas that would become bebop. 1940s: DeclineThe early 1940s saw emerging trends in popular music and jazz that would, once they had run their course, result in the end of the swing era. Vocalists were becoming the star attractions of the big bands. Vocalist Ella Fitzgerald, after joining the Chick Webb Orchestra in 1936, propelled the band to great popularity and the band continued under her name after Webb's death in 1939. In 1940 vocalist Vaughn Monroe was leading his own big band and Frank Sinatra was becoming the star attraction of the Tommy Dorsey Orchestra, inciting mass hysteria among bobby-soxers. Vocalist Peggy Lee joined the Goodman Orchestra in 1941 for a two-year stint, quickly becoming its star attraction on its biggest hits. Some big bands were moving away from the swing styles that dominated the late 1930s, for both commercial and creative reasons. Some of the more commercial big bands catered to more "sweet" sensibilities with string sections. Some bandleaders such as John Kirby, Raymond Scott, and Claude Thornhill were fusing swing with classical repertoire. Lower manpower requirements and simplicity favored the rise of small band swing. The Savoy Sultans and other smaller bands led by Louis Jordan, Lucky Millinder, Louis Prima, and Tony Pastor were showcasing an exuberant "jump swing" style that would lead to the postwar rise of R&B. In a 1939 Downbeat interview, Duke Ellington expressed dissatisfaction with the creative state of swing music;[34] within a few years he and other bandleaders would be delving into more ambitious, and less danceable, forms of orchestral jazz and the creative forefront for soloists would be moving into smaller ensembles and bebop. The Earl Hines Orchestra in 1943 featured a collection of young, forward-looking musicians who were at the core of the bebop movement and would in the following year be in the Billy Eckstine Orchestra, the first big band to showcase bebop. As the swing era went into decline, it secured legacies in vocalist-centered popular music, "progressive" big band jazz, R&B, and bebop. The trend away from big-band swing was accelerated by wartime conditions and royalty conflicts.[35] In 1941 the American Society of Composers and Producers (ASCAP) demanded bigger royalties from broadcasters and the broadcasters refused. Consequently, ASCAP banned the large repertoire they controlled from airplay, severely restricting what the radio audience could hear. ASCAP also demanded pre-approval of set lists and even written solos for live broadcasts, to assure that not even a quoted fragment of ASCAP repertoire was broadcast. Those restrictions made broadcast swing much less appealing for the year in which the ban was in place. Big band swing remained popular during the war years, but the resources required to support it became problematic. Wartime restriction on travel, coupled with rising expenses, curtailed road touring. The manpower requirements for big swing bands placed a burden on the scarce resources available for touring and were impacted by the military draft. In July 1942 the American Federation of Musicians called a ban on recording until record labels agreed to pay royalties to musicians. That stopped recording of instrumental music for major labels for over a year, with the last labels agreeing to new contract terms in November 1944. In the meantime, vocalists continued to record backed by vocal groups and the recording industry released earlier swing recordings from their vaults, increasingly reflecting the popularity of big band vocalists. In 1943 Columbia Records re-released the 1939 recording of "All or Nothing at All" by the Harry James Orchestra with Frank Sinatra, giving Sinatra top billing ("Acc. Harry James and his Orchestra"). The recording found the commercial success that had eluded its original release. Small band swing was recorded for small specialty labels not affected by the ban. These labels had limited distribution centered in large urban markets, which tended to limit the size of the ensembles with which recording could be a money-making proposition. Another blow fell on the market for dance-oriented swing in 1944 when the federal government levied a 30% excise tax on "dancing" nightclubs, undercutting the market for dance music in smaller venues.[36] 1950s–1960sSwingin' pop Frank SinatraSwing bands and sales continued to decline from 1953 to 1954. In 1955, a list of top recording artists from the previous year was publicly released. The list revealed that big band sales had decreased since the early 1950s.[37] However, big band music saw a revival in the 1950s and 1960s. One impetus was the demand for studio and stage orchestras as backups for popular vocalists, and in radio and television broadcasts. Ability to adapt performing styles to various situations was an essential skill among these bands-for-hire, with a somewhat sedated version of swing in common use for backing up vocalists. The resurgent commercial success of Frank Sinatra with a mildly swinging backup during the mid-1950s solidified the trend. It became a sound associated with pop vocalists such as Bobby Darin, Dean Martin, Judy Garland, and Nat King Cole, as well as jazz-oriented vocalists such as Ella Fitzgerald and Keely Smith. Many of these singers were also involved in the "less swinging" vocal pop music of this period. The bands in these contexts performed in relative anonymity, receiving secondary credit beneath the top billing. Some, such as the Nelson Riddle and Gordon Jenkins Orchestras, became well known in their own right, with Riddle particularly associated with the success of Sinatra and Cole. Swingin' pop remained popular into the mid-1960s, becoming one current of the "easy listening" genre. Big band jazzBig band jazz made a comeback as well. The Stan Kenton and Woody Herman bands maintained their popularity during lean years of the late 1940s and beyond, making their mark with innovative arrangements and high-level jazz soloists (Shorty Rogers, Art Pepper, Kai Winding, Stan Getz, Al Cohn, Zoot Sims, Serge Chaloff, Gene Ammons, Sal Nistico). Lionel Hampton was a leader in the R&B genre during the late 1940s then re-entered big band jazz in the early 1950s, remaining a popular attraction through the 1960s. Count Basie and Duke Ellington had both downsized their big bands during the first half of the 1950s, then reconstituted them by 1956. Ellington's venture back into big band jazz was encouraged by its reception at the 1956 Newport Jazz Festival. The Basie and Ellington bands flourished creatively and commercially through the 1960s and beyond, with both veteran leaders receiving high acclaim for their contemporary work and performing until they were physically unable. Drummer Buddy Rich, after briefly leading one big band during the late 1940s and performing in various jazz and big band gigs, formed his definitive big band in 1966. His name became synonymous with the dynamic, exuberant style of his big band. Other big jazz bands that drove the 1950s–60s revival include those led by Thad Jones, Mel Lewis, Quincy Jones, and Oliver Nelson. Big band jazz remains a major component of college jazz instruction curricula. Cross-genre swingIn country music Jimmie Rodgers, Moon Mullican, and Bob Wills combined elements of swing and blues to create a Western swing. Mullican left the Cliff Bruner band to pursue solo career that included many songs that maintained a swing structure. Artists like Willie Nelson and Asleep at the Wheel have continued the swing elements of country music. Asleep at the Wheel has also recorded the Count Basie tunes "One O'Clock Jump", "Jumpin' at the Woodside", and "Song of the Wanderer" using a steel guitar as a stand-in for a horn section. Nat King Cole followed Sinatra into pop music, bringing with him a similar combination of swing and ballads. Like Mullican, he was important in bringing piano to the fore of popular music. Gypsy swing is an outgrowth of the jazz violin swing of Joe Venuti and Eddie Lang. In Europe it was heard in the music of guitarist Django Reinhardt and violinist Stéphane Grappelli. Their repertoire overlaps 1930s swing, including French popular music, gypsy songs, and compositions by Reinhardt, but gypsy swing bands are formulated differently. There is no brass or percussion; guitars and bass form the backbone, with violin, accordion, clarinet or guitar taking the lead. Gypsy swing groups generally have no more than five players. Although they originated in different continents, similarities have often been noted between gypsy swing and Western swing]l, leading to various fusions. Rock music hitmakers like Fats Domino and Elvis Presley included swing-era standards in their repertoire, making crooning ballads "Are You Lonesome Tonight" and "My Blue Heaven" into rock and roll-era hits. The doo-wop vocal group the Marcels had a big hit with their lively version of the swing-era ballad "Blue Moon". Multi-genre mandolinist Jethro Burns is widely known for playing Swing, Jazz, and many other forms of the genre on the mandolin. He has produced many albums that feature Jazz rhythms and swing chord progressions. He is often considered "The Father of Jazz Mandolin". 1960s–2000: Big Band nostalgia and swing revivalMain article: Swing revivalThough swing music was no longer mainstream, fans could attend "Big Band Nostalgia" tours from the 1970s into the 1980s. The tours featured bandleaders and vocalists of the swing era who were semi-retired, such as Harry James and vocalist Dick Haymes. Historically-themed radio broadcasts featuring period comedy, melodrama, and music also played a role in sustaining interest in the music of the swing era. Dan Hicks and His Hot Licks, and later David Grisman, presented adaptations of Gypsy Swing, rekindling interest in the musical form. Other swing revivals occurred during the 1970s. The jazz, R&B, and swing revival vocal group Manhattan Transfer and Bette Midler included swing era hits on albums during the early 1970s. In Seattle the New Deal Rhythm Band and the Horns O Plenty Orchestra revived 1930s swing with a dose of comedy behind vocalists Phil "De Basket" Shallat, Cheryl "Benzene" Bentyne, and six-foot-tall "Little Janie" Lambert. Bentyne would leave the New Deal Rhythm Band in 1978 for her long career with Manhattan Transfer. Founding leader of the New Deal Rhythm Band John Holte led swing revival bands in the Seattle area until 2003. A Swing revival occurred during the 1990s and 2000s led by Royal Crown Revue, Big Bad Voodoo Daddy, The Cherry Poppin' Daddies, Squirrel Nut Zippers, Lavay Smith, and Brian Setzer. Many of the bands played neo-swing which combined swing with rockabilly, ska, and rock. The music brought a revival in swing dancing. In 2001 Robbie Williams's album Swing When You're Winning consisted mainly of popular swing covers. The album sold more than 7 million copies worldwide. In November 2013, Robbie Williams released Swings Both Ways. 1990s to present: swing house, electro swing, and swing popAnother modern development consists of fusing swing (original, or remixes of classics) with hip hop and house techniques. "Swing house" is a sub genre of swing that has been influenced by the likes of Louis Jordan and Louis Prima. Electro swing is mainly popular in Europe, and electro swing artists incorporate influences such as tango and Django Reinhardt's gypsy swing. Leading artists include Caravan Palace and Parov Stelar , who were made popular in by the late 2010's. Both genres of swing house and electro swing have been connected with the revival of swing dances, such as the Lindy hop. See alsoiconJazz portalLindy HopBig bandGypsy jazzList of music stylesSwing (dance)Swing (jazz performance style)Original Dixieland Jass BandLost GenerationInterbellum Generation Rhythm and blues, frequently abbreviated as R&B or R'n'B, is an African-American genre of popular music that originated within African-American communities 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. From 1960s to 70s, some British groups were referred to and promoted as being R&B bands. 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 descriptionAlthough 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 Billboard RnB 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][page needed] 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] HistoryPrecursors Louis Jordan in New York City, c. July 1946The great migration of Black 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 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 1940sR&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, 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's 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.[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 influenceAfrican 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 Orleans second 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: Fats Domino in 1956New 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. { \new PianoStaff << \new Staff << \relative c'' { \clef treble \key f \major \time 4/4 \tuplet 3/2 { r8 f f } \tuplet 3/2 { f f f } \tuplet 3/2 { f f f } \tuplet 3/2 { f f f } r4 r8
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