R&B: 1942 - 1954 (Continued)

Jazz Influences

It should be noted that many jazz musicians recorded with 1950s R&B artists. Early R&B performers who recorded songs with vibraphonists include Johnny Ace, Earl Connelly King, Lavern Baker, and Chuck Willis. Some musicians and producers who were involved in early R&B are:

• Cab Calloway - Jazz musician and orchestra leader; influenced many artists during the 1930s through the 1950s; a cultural legend worthy of additional study.
• Earl Hines - influenced many artists during the 1940s; joined Louis Armstrong's All Stars after Earl's orchestra disbanded.
• Johnny Otis - produced Johnny Ace in Memphis, Tennessee
• Lionel Hampton - vibraphonist/leader
• Louis Armstrong - Cornet player, arranger, singer, and universal musician who shaped New Orleans jazz, and the future of New Orleans music during the 1940s. In 1963 Armstrong scored a huge international hit with his version of "Hello Dolly". This number- one single knocked the Beatles off the top of the charts. Louis Armstrong's contribution to American popular music and Jazz cannot be measured.
• Teddy Charles - vibraphonist; recorded with Earl Connelly King in New York City
  recorded with Chuck Willis in New York City
• Quincy Jones - Arranged jazz recordings for Ray Charles. Quincy became the first high-level black executive of an established major record company when he became vice-president at Mercury Records in 1961.

A Transitional Period: 1954 - 1955

By 1954, a pivotal transitional year, white teenagers (so-called baby boomers) became aware of R&B. Many born just before the baby boom, who had served in the Korean War (1950-1953), had returned home from military duty. Americans were excited about a post-Korean War economy. Younger people wanted R&B - not the old fashioned music of their parents!!! Many white radio stations banned R&B, and these actions made the records more desirable than ever.

Here is a short list of a few recordings considered too explicit for white radio stations during the mid-1950s.

• Big Joe Turner - (Atlantic 1026 1954) Shake Rattle & Roll
• Drifters w/ Clyde McPhatter - (Atlantic 1029 1954) Honey Love
• The Royals (with Hank Ballard) - (Federal 12169 1954) Work with Me Annie

By the end of 1954 and 1955, record producers realized that to make big money, they needed the R&B sound without sexually explicit lyrics.

Here is a short list of a few recordings made by white artists for white radio stations, to counteract the raunchy lyrics found in the R&B race music during the mid-1950s.

• Bill Haley and His Comets - (Decca 29124 1954) Rock Around the Clock introduced in the 1955 movie, "Blackboard Jungle."
• Bill Haley and His Comets - (Decca 29204 1954) Shake, Rattle & Roll cover and cleaned-up version of Big Joe Turner's tune!!!
• Etta James - (Modern 947 1955) Roll with Me Henry aka "Dance with Me Henry," "The Wallflower"; covers and cleaned-up versions of The Royal's tune from 1954!!! Specifically issued for white audiences

For further discography of primarily Memphis artists during the formative years, visit the following web pages from our web site:

• Bobby Bland
• Johnny Ace
• Ike Turner
• Jackie Brenston
• Junior Parker
• Roscoe Gordon

Doo Wop

About the same timeframe, 1954, another related genre named Doo Wop, or rhythyn & blues group harmony, was coming of age. Doo Wop had the appeal of R&B, but focused on group harmonies, romance and jilted lovers. Again, as a backlash against the explicit R&B lyrics, black groups were singing group harmonies about romance, and some wore light makeup to make themselves more accceptable to white audiences.

Here is a short list of a few recordings considered early Doo Wop.

• The Penguins - (Dootone 348 1954) Earth Angel
• The Channels - (Whirlin' Disc 100 1956) The Closer You Are
• Don & Dewey - (Specialty 610 1957) Leavin' It All Up To You

Rockabilly

In addition to R&B and Doo Wop, yet another genre was born - Rockabilly! From 1954 through 1956, white artists, mainly from the Mississippi Delta, fused country & western music with jump style blues to produce a new sound that became known as Rockabilly. The Rockabilly genre exploded with popularity when Elvis Presley performed at the Louisiana Hayride in 1954.

A Louisiana sheriff named Faron Young took Louisiana Country music national when appearing on the Louisiana Hayride. This was a breakthrough album, putting Faron Young on the map as an alternative to raunchy R&B lyrics!!!

Sam Phillips, Sun records owner and founder, focused exclusively on Rockabilly after selling Elvis Presley's recording contract to RCA. This was done to raise money, and to capitalize on the demand for music by white artists, from white radio station owners and the white establishment. Rockabilly was viewed as "respectable," while R&B was thought of as the devils music by the white establishment. And, at the time, rock and roll was misunderstood, and ridiculed ny many white radio station DJs.

Here is a short list of a few Rockabilly recordings made by white artists for white radio stations, to counteract the raunchy lyrics found in the R&B race music during the mid-1950s.

• Buddy Holly - (Coral 61885 1957) Peggy Sue
• Carl Perkins - (Sun 234 1956) Blue Suede Shoes
• Dale Hawkins - (Checker 863 1957) Susie-Q
• Roy Orbison - (Sun 242 1956) Ooby Dooby

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