Rhythm ‘n’ Blues (R&B;, Rhythm and Blues – however you wish to title it) is akin to free verse in poetry. As free verse sheds the constraints placed on so-called “classic poetry,” an adherence to set and prescribed meter; or cadence; or form; so it is with R&B.;
R&B; disdains the European concept of the dominance of melody and harmony in its musical compositions for the more profound and moving effects of rhythm and timbre by use of African polyrhythm as opposed to the European linear rhythm. The questions of why, and how this difference is present in R&B; can and is to be found in its historical roots.
Art, whatever the medium chosen by the artist; to express what ever it is the artist wishes to convey; is directly influenced by the cultural, social, and environmental circumstances he or she finds themselves in. Historically this cannot be truer then when we speak of the origins of R&B.;
Up rooted and transported into the chaotic world of slavery, forced into never ending labor, an African, male or female, would strive to find someway to not just survive, but also maintain some semblance of individuality. Music would be essential to this end. Not being allowed to learn how to read or write, music would become the means by which slaves would learn to communicate which each other. To express themselves.
The rhythmic tones, chants, and percussive beats, once used to convey masculinity or sexual prowess in rituals of music and dance in their native Africa, became work songs, synchronized with the rhythm of the work and thus became the foundation on which the vocalization called the Blues would attach itself to.
Hence, herein is where we find the true origin of R&B.;
How might this translate into the modern usage of the term R&B;?
We need only look back into the past once again and examine the lives of slaves. More accurately the lives of slaves AFTER the civil war primarily, and the official abolishment of slavery in 1865. Free now to move around the country, many southern blacks migrated to urban centers. With them, they brought their own music.
A music, which was born of personal experience, not learned in an academic venue. Not hampered or restrained by rules or unwavering definitions. The only limitation placed on this music was what each and every individual placed on it himself or herself. It was allowed to grow, to accept outside influence, or to reject it.
It was, like the new black artists, free.
Free to join; or to take from; and more importantly; to ADD to other more traditional forms of music. Gospel, ragtime, swing, jumpblues, jazz, doowop, rock&roll;, hiphop, rap, blues, all in some measure or another have been influenced and some even born from the Rhythms of the work songs of slaves and the vocalizations found in the Blues.
The following is a list of some significant events and people germane to the history of R&B; (not listed by importance or chronological order, just for reference in case further inquiry into the subject may be desired)
Most of these genres were once called “race music.” The term R&B;, to encompass this wide range of music propagated mainly by black artists, for a mainly black audience, is credited with being coined by the billboard writer Jerry Wexler in 1947.
In 1949, Billboard changed its chart for “RACE RECORDS” to RHYTHM & BLUES
In 1920, Mamie Smith with” THAT THING CALLED LOVE” becomes the first black female artist to record
In 1920, Mamie Smiths ” CRAZY BLUES” sells 200,000 copies, becomes first blues national hit
In 1921, the Okeh label introduces a ” Colored catalogue” first series of “race records”
In 1912, “BABY SEALS BLUES” becomes the first published blues song by ragtime artist Artie Matthews
Around 1931 Les Paul, guitarist and inventor lays ground work for the perfection of the electric guitar
1946 Clarence Leonidas Fender designed the first commercially successful electric guitar
( the introduction of the electric guitar into music opened the flood gates for experimentation and revolutionized blues music forever )
BB KING, Louis Jordan, Aaron “T bone walker, White band leader Johnny “OTIS” Veliotes, “Muddy Waters” McKinley Morganfield, John Lee Hooker, shouter “Big” Joe Turner, Chester “Howling Wolf” Burnett, Dinah Washington(real name Ruth Lee Jones), Ike Turner, Antoine “Fats Domino”, Are just some of the multitude of black artists that deserve mentioning.
In the groups category
The Ravens, from New York—-Orioles from Baltimore (no not the base ball team)—
From Washington the Clovers—-Billy Wards, Dominoes out of Harlem—The Drifters-the Coasters-The Orlons(who did one of my all time favorites-South Street)-Little Anthony and the Imperials—
So in conclusion, I feel safe in saying that R&B; has been and will always be at the front of innovation, not only in music, but also in our ability as human beings to transcend our differences and focus more on our similarities. Music is a common ground that we all can stand on and begin to enhance our lives. As R&B; pulls together a myriad of musical differences into one, so may it pull us all into the one family of man ( and of course womankind also, lol)——-Peace
