Ancestors of Rock and Roll ,搖滾樂的祖先 - Caldonia" and "Choo Choo Ch'Boogie" - Louis Jordan "jump blues","boogie woogie", "Rhythm and blues" (R&B)
搖滾樂的祖先
節奏與藍調(R&B),來自鬆弛的、以即興反覆段為基礎的、布魯斯式的搖擺樂。
一個由鋼琴、吉他、貝斯和鼓 組成的小節奏組伴奏著幾個薩克斯管和其他“號”(爵士音樂家對各種銅管樂器 的統稱)。
節奏與布魯斯(起初叫作“競賽 音樂”或“跳躍布魯斯”)是以歌曲和舞蹈為基礎的。這種風格的作品的特點是 一個獨唱的人聲用一種明確的二拍子:有時強調弱拍(經常叫作“後拍”)的 拍演唱有關愛情(或缺乏愛情)的內容。和聲的公式經常是一個十二小節布魯斯, 下方是一種叫作“布吉烏吉”的行走低音的風格。
在這種驅動性的音樂中,低音 演奏的不是和弦,而是一系列同等長度的快速的音高。
易斯·喬丹的很多流行的“跳躍布魯斯”的歌曲開 始從“哈萊姆主打歌曲榜”進入整個美國的市場。到了1945年初,喬丹製作了商業上很成功的歌曲,如《卡爾多尼亞》(Caldonia, 1945)和《火車頭布吉》(Choo Choo Ch'Boogie, 1946)。
In post-World War II America, two new musical styles emerged from African American swing music. One was the highly improvisational, frenetic rhythmic jazz known as bebop The other was rhythm and blues (R&B), which grew out of the relaxed, riff-based, bluesy swing (. In both styles, a small rhythm section consisting of piano, guitar, bass, and drums accompanied several saxophones and other "horns" (a general term for various brass instruments used by jazz musicians). However, unlike the instrumentally complex bebop, rhythm and blues (originally called "race music" or "jump blues") was based on song and dance. Compositions in this style are characterized by a solo voice singing about love (or the lack of it) in a clear two-beat rhythm: sometimes with emphasis on the weak beat (often called the "backbeat"). The harmonic formula is often a twelve-bar blues, with a walking bass style called "boogie woogie" underneath. In this driving music, the bass plays not chords but a series of rapid pitches of equal length. This leisurely, popular sound developed in African American music circles and was first marketed to black audiences. However, in the early 1940s, many popular "jump blues" songs by lead singer Louis Jordan began to enter the American market from the "Harlem Hits Chart". By early 1945, Jordan had produced commercially successful songs such as "Caldonia" (1945) and "Choo Choo Ch'Boogie" (1946). Unlike esoteric bebop, rhythm and blues became a popular music, especially among rebellious American youth. Songs like Roy Brown's "Good Rokin' Tonight" (1947) and Jimmy Preston's "Rock the Joint" (1949) pointed to a raucous style with direct lyrics, simple instrumentation, and an emphasis on repetitive riffs and call-and-response structures.