A report on Rhythm and bluesJazz and Louis Jordan

Louis Jordan in New York City, c. undefined July 1946
American jazz composer, lyricist, and pianist Eubie Blake made an early contribution to the genre's etymology
Jordan in New York City, 1946
The habanera rhythm shown as tresillo (lower notes) with the backbeat (upper note)
Albert Gleizes, 1915, Composition for "Jazz" from the Solomon R. Guggenheim Museum, New York
Louis Jordan's Tympany Five
Fats Domino in 1956
Ethel Waters sang "Stormy Weather" at the Cotton Club.
Jordan in New York, July 1946, shortly after getting second billing to Glen Gray at the Paramount
Piano excerpt from the rumba boogie "Mardi Gras in New Orleans" (1949) by Professor Longhair. 2–3 claves are written above for rhythmic reference.
Al Jolson in 1929
3–2 clave written in two measures in cut-time
Dance in Congo Square in the late 1700s, artist's conception by E. W. Kemble from a century later
Tresillo answered by the backbeat, the essence of clave in African American music
In the late 18th-century painting The Old Plantation, African-Americans dance to banjo and percussion.
Bo Diddley's "Bo Diddley beat" is a clave-based motif.
The blackface Virginia Minstrels in 1843, featuring tambourine, fiddle, banjo and bones
Ray Charles in 1971
Scott Joplin in 1903
Ruth Brown was known as the "Queen of R&B"
W. C. Handy at 19, 1892
Della Reese
The Bolden Band around 1905
Sam Cooke
Jelly Roll Morton, in Los Angeles, California, c. 1917 or 1918
Eric Burdon & the Animals (1964)
The King & Carter Jazzing Orchestra photographed in Houston, Texas, January 1921
Louis Armstrong began his career in New Orleans and became one of jazz's most recognizable performers.
Benny Goodman (1943)
Duke Ellington at the Hurricane Club (1943)
The "classic quintet": Charlie Parker, Tommy Potter, Miles Davis, Dizzy Gillespie, and Max Roach performing at Three Deuces in New York City. Photograph by William P. Gottlieb (August 1947), Library of Congress.
Machito (maracas) and his sister Graciella Grillo (claves)
Dizzy Gillespie, 1955
Mongo Santamaria (1969)
Art Blakey (1973)
John Coltrane, 1963
Peter Brötzmann is a key figure in European free jazz.
Naná Vasconcelos playing the Afro-Brazilian Berimbau
Randy Weston
C pentatonic scale beginning on the I (C pentatonic), IV (F pentatonic), and V (G pentatonic) steps of the scale.
V pentatonic scale over II–V–I chord progression
Fusion trumpeter Miles Davis in 1989
Wynton Marsalis
David Sanborn, 2008
John Zorn performing in 2006
Steve Coleman in Paris, July 2004

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.

- Rhythm and blues

Jordan began his career in big-band swing jazz in the 1930s, but he became known as one of the leading practitioners, innovators and popularizers of jump blues, a swinging, up-tempo, dance-oriented hybrid of jazz, blues and boogie-woogie.

- Louis Jordan

The mid-1950s saw the emergence of hard bop, which introduced influences from rhythm and blues, gospel, and blues to small groups and particularly to saxophone and piano.

- Jazz

With his dynamic Tympany Five bands, Jordan mapped out the main parameters of the classic R&B, urban blues and early rock-and-roll genres with a series of highly influential 78-rpm discs released by Decca Records.

- Louis Jordan

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.

- Rhythm and blues

Other younger performers, such as singer Big Joe Turner and saxophonist Louis Jordan, who were discouraged by bebop's increasing complexity, pursued more lucrative endeavors in rhythm and blues, jump blues, and eventually rock and roll.

- Jazz
Louis Jordan in New York City, c. undefined July 1946

2 related topics with Alpha

Overall

American blues singer Ma Rainey (1886–1939), the "Mother of the Blues"

Blues

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Music genre and musical form which originated in the Deep South of the United States around the 1860s by African-Americans from roots in African-American work songs and spirituals.

Music genre and musical form which originated in the Deep South of the United States around the 1860s by African-Americans from roots in African-American work songs and spirituals.

American blues singer Ma Rainey (1886–1939), the "Mother of the Blues"
A minor pentatonic scale;
Musicologist John Lomax (left) shaking hands with musician "Uncle" Rich Brown in Sumterville, Alabama
Sheet music from "Saint Louis Blues" (1914)
Bessie Smith, an early blues singer, known for her powerful voice
A typical boogie-woogie bass line
John Lee Hooker
Blues legend B.B. King with his guitar, "Lucille"
Texas blues guitarist Stevie Ray Vaughan, 1983
Italian singer Zucchero is credited as the "Father of Italian Blues", and is among the few European blues artists who still enjoy international success.
Eric Clapton performing at Hyde Park, London, in June 2008
Duke Ellington straddled the big band and bebop genres. Ellington extensively used the blues form.
The music of Taj Mahal for the 1972 movie Sounder marked a revival of interest in acoustic blues.

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.

Jump blues tunes by Louis Jordan and Big Joe Turner, based in Kansas City, Missouri, influenced the development of later styles such as rock and roll and rhythm and blues.

Jordan in New York, July 1946

Jump blues

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Up-tempo style of blues, usually played by small groups and featuring horn instruments.

Up-tempo style of blues, usually played by small groups and featuring horn instruments.

Jordan in New York, July 1946
Louis Jordan's Tympany Five
Lionel Hampton

It was popular in the 1940s and was a precursor of rhythm and blues and rock and roll.

Jump blues evolved from the music of big bands such as those of Lionel Hampton and Lucky Millinder in the early 1940s which produced musicians such as Louis Jordan, Jack McVea, Earl Bostic, and Arnett Cobb.

Blues and jazz were part of the same musical world, with many musicians straddling both genres.