| African American Drum Orchestra |
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| Title= Rhythmic pattern; Instruments:drums;shakers;gangoui(cowbell); played with hands and beaters;voice: natural and expressive;Dancing:Athletic,expressive;music related;played the song ?agbekor? |
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| Music was ensemble based with soloists and accompaniment; polyrhythmic;repetitive and ostinato pattern based; Rhythms were related to the language; the master drummer did solo improvisation; vocal: singing;whoops;shouts and speech like;Dance was interpretations of the music and usually told a story used in war etc. |
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| A fusion of blues and swing |
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| 1920s;used in a positive way to describe the African americans after the civil war;Described records made for the black community; Changed to Rhythm and Blues in late 1940?s. |
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| 1940s; In WWII 1500000 african americans moved to northern and western cities; high paying jobs; created new kinds of Black Music that reflected the life of the Urban Black Community |
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| Louis Jordan and his Timpani Five |
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| saxophonist/singer/composer/bandleader; He transformed big band swing into the combo sound; had the ?jump blues sound?; Played caldonia; |
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| Instrumentation of Louis Jordan and his timpani five |
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| 2 saxophones; electric guitar; piano;trumpet;bass;drums |
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| Louis Jordan and his timpani five song titles |
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| His song titles reflected black folk life: such as ?aint nobody here but us chickens; beans and corn bread; Saturday night fish fry; choo choo ch boogie |
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| West coast; central avenue los angeles; they included piano;guitar;bass;drums and latin rhythms as well as a honking tenor saxophone style |
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| Had the boogie woogie feel; blues form; instrumental accompaniment-riffs;saxophone;piano;drums;bass;electric guitar; unusual timbres; and eventually had a heavy back beat it developed throughout the years portrayed in songs that he had in slides |
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| Piano/Band Leader/singer; played jazz;club blues;cocktail music; Appealed to Black and white audiences;mellow background music;Guitar;piano;bass instrumentation; played :straighten up and fly right and ; Unforgettable |
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Background:
? Barbershop style of early 20th century
? Male quartets singing stylized four-part harmony of popular songs.
? Themes were mostly comic tunes, snappy pop tunes, or melancholy love songs.
? A cappella – without instrumental accompaniment
played “let me call you sweetheart” |
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Black barbershop harmonies
? Instrumental vocal sounds
? Vocal bass lines
? Crossed racial boundaries |
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| The Mills Brothers song “Hold That Tiger” |
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? 1930s movie short
? Four singers with guitar accompaniment
? Guitarist sings bass lines
? Vocal trumpet sounds
? Scat vocal
Early microphones frightened some singers so the engineer camouflaged them. |
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Contemporaries of the Mills Brothers
? Also appealed to both Black and White
audiences
? Signature feature: Spoken lyrics by the bass voice
? “If I Didn’t Care” – #1 hit. |
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? Beganin1930ssinging Barbershop arrangements with jazz and blues inflection
? Sang at FranklinD. Roosevelt’s inauguration.
? 1930s national radio show
? Vocal Group Hall of Fame 1998 |
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| Golden gate jubilee quartet continued |
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Arrangementsincluded vocal instrumental sounds
? A Cappella singing
? Tightharmony
? Rhythmicdelivery
? GoldenGate“GospelTrain”
? No accompaniment
? Vocal train imitations
? “Chugging train rhythm”
? Syncopation |
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| Second generation Vocal R&B |
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? 1950s teenagers seeking a way out of poverty
? Performed on street corners, at school gatherings, in city parks, and on sidewalk stoops.
? Songs dealt with teenage experiences and fantasies |
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1950s
? 1945 – NYC
? Bridged the gap
between pre-war and post-war vocal groups
? Repertoire included pop standards and ballads in a jazz-blues treatment |
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| The Ravens – 1950s “Old Man River” |
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? Piano, Guitar accompaniment
? Bass vocal lead
? Vocal background
? Non-sense syllables
? Swing rhythm
? Syncopation |
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1946 ? InspiredbyBlacksacred music
? Church harmonies
? Tenor obbligato
? Religiousballads
? Inspiredlater‘bird”groups; Swallows, Penguins, The Robins, and the Cardinals.
played “crying in the chapel” |
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? Used non-sense syllables “doo-doo- doo—doo-do” adding rhythmic interest to ballads.
? Bass sang “jazz style walking bass lines”
played goodnite sweetheart |
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• Louisville,KY
• Started as the “Crazy Sounds.” Alan Freed changed their name to the “Moonglows.”
• Recorded “Sincerely” for Chess in 1954
• Developed the “blow harmony” technique
• This technique became standard for Black vocal groups and ushered in the “Doo Wop” sound of the fifties. |
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| Moonglows “sincerely-1954 |
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? Doo Wop vocal quartet
? Ballad style
? Lead singer with vocal background
? Used “blow harmony”
? Instruments? piano,guitar,saophone
? What is the meter?4/4 |
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?? Teenagers became the major group for popular music consumption
? Also, many performers of R&B were teen- age Black singers from urban areas.
? Record companies signed R&B vocal groups aimed at the African American market. |
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? Black talent scouts developed new dance forms by introducing Cuban rhythms into the doo wop vocal styles.
? Regional R&B styles developed including New Orleans
? “Professor Longhair (Roy Byrd),” “Fats” Domino exemplified this style |
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| “Hey Little Girl”-Professor Longhair |
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? Instruments? Piano, bass, drums
? Rhythm? Rhumba – “Latin Tinge”
? Musical Form? The Blues
? Lyric form? aab form
? Vocal Timbre? timbre |
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? New Orleans
? Influenced by “Professor Longhair”
? Piano
? Most famous of the New Orleans R&B performers
“blueberry Hill” |
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| Songs like shboom by the black band chords were done as covers by bands like the crew cuts in order to appeal to white audiences. |
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| played “smoke gets in your eyes” |
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bands like the clovers whoo played”fool,fool,fool”
ruth Brown who played “5-10-15 house “. And big Joe Turner played shake rattle and roll paved the path for bands to come in to rock and roll |
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| Billy Ward and the dominoes |
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? East Coast Doo wop
? Ballad style
? 1951
? “HarborLights” ? “Stardust”
? “DeepPurple”
? “60MinuteMan” |
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? Richard Penniman (b. 1932) ? Religious Background
? Rhythm and Blues
? Piano – Energetic – Hard
? Singer – Influence |
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| Played by little Richard it had Falsetto “whoops”,nonsense syllables and a fast rock beat. |
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Considered father of Rock and Roll
• Chicago
• Electric Guitar • Hit records:
• “Maybellene” – “Ida Red” • “Roll Over Beethoven and Johny b. goode |
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? Elias McDaniel ? “Diddley Bo”
? Rhythm Patent tried to
played “Bo’Diddley” |
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| Reactions to Rock and Roll |
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? 1956 – White Citizens Council of Birmingham, Alabama: [rock and roll] appeals to the base in man, brings out animalism and vulgarity, and most important, represented a “plot to mongrelize America.”
? Rock and roll brought “the animal instinct in modern teenagers.”
? We are talking about“hugs”and“squeeze”andother “euphemisms which are attempting a total breakdown of all reticence’s about sex” |
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? The Platters (1953)
? Hit Recordings:
? “Only You”
? “The Great Pretender” ? “My Prayer”
? “Twilight Time” |
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| Jerry Leiber and Mike Stoller |
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? Atlantic Records
? Incorporated “Pop”
production techniques:
? Chorus/refrainsongs
? Blues/Gospelharmonies
? Comboarrangements
with orchestral
accompaniment
? TheCoastersandElvis Presley |
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? Humorous tunes composed by Leiber and Stoller
? “Searchin”
? “YacketyYak” ? CharlieBrown ? “PoisonIvy” |
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| Latin Rhythms(habanara and Baion) |
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| ben e king- up on the roof |
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? Ray Charles ? R&B Hits
? Country
? “Georgia”
? “I Can’t Stop Loving You”
? 1st Crossover song
? “What’d I Say” |
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? The Soul Stirrers
? Teen idol
? Recorded R&B in
1957 – forced to leave
? “The greatest sex
symbol in gospel history” |
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