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te the 1955 hit the rock and roll waltz were mildly sexually suggestive and one teenager from philadelphia said that hucklebuck was a very nasty dance 31 32 also in 1949 a new version of a 1920s blues song ain t nobody s business was a number four hit for jimmy witherspoon and louis jordan and the tympany five once again made the top five with saturday night fish fry 33 many of these hit records were issued on new independent record labels such as savoy founded 1942 king founded 1943 imperial founded 1945 specialty founded 1946 chess founded 1947 and atlantic founded 1948 22 afro cuban rhythmic influence edit african american music began incorporating afro cuban rhythmic motifs in the 1800s with the popularity of the cuban contradanza known outside of cuba as the habanera 34 the habanera rhythm can be thought of as a combination of tresillo and the backbeat the habanera rhythm shown as tresillo lower notes with the backbeat upper note for the more than a quarter century in which the cakewalk ragtime and proto jazz were forming and developing the cuban genre habanera exerted a constant presence in african american popular music 35 jazz pioneer jelly roll morton considered the tresillo habanera rhythm which he called the spanish tinge to be an essential ingredient of jazz 36 there are examples of tresillo like rhythms in some african american folk music such as the hand clapping and foot stomping patterns in ring shout post civil war drum and fife music and new orleans second line music 37 wynton marsalis considers tresillo to be the new orleans clave although technically the pattern is only half a clave 38 tresillo is the most basic duple pulse rhythmic cell in sub saharan african music traditions and its use in african american music is one of the clearest examples of african rhythmic retention in the united states 39 the use of tresillo was continuously reinforced by the consecutive waves of cuban music which were adopted into north american popular culture in 1940 bob zurke released rhumboogie a boogie woogie with a tresillo bass line and lyrics proudly declaring the adoption of cuban rhythm dizzy gillespie was instrumental in blending afro cuban rhythms with jazz harlem s got a new rhythm man it s burning up the dance floors because it s so hot they took a little rhumba rhythm and added boogie woogie and now look what they got rhumboogie it s harlem s new creation with the cuban syncopation it s the killer just plant your both feet on each side let both your hips and shoulder glide then throw your body back and ride there s nothing like rhumbaoogie rhumboogie boogie woogie in harlem or havana you can kiss the old savannah it s a killer 40 although originating in the metropolis at the mouth of the mississippi river new orleans blues with its afro caribbean rhythmic traits is distinct from the sound of the mississippi delta blues 41 in the late 1940s new orleans musicians were especially receptive to cuban influences precisely at the time when r b was first forming 42 the first use of tresillo in r b occurred in new orleans british singer robert palmer who sampled r b on his album don t explain recalls fats domino in 1956 new orleans producer bandleader dave bartholomew first employed this figure as a saxophone section riff on his own 1949 disc country boy and subsequently helped make it the most over used rhythmic pattern in 1950s rock n roll on numerous recordings by fats domino little richard and others bartholomew assigned this repeating three note pattern not just to the string bass but also to electric guitars and even baritone sax making for a very heavy bottom he recalls first hearing the figure as a bass pattern on a cuban disc 43 in a 1988 interview bartholomew who had the first r b studio band 44 revealed how he initially superimposed tresillo over swing rhythm i heard the bass playing that part on a rumba record on country boy i had my bass and drums playing a straight swing rhythm and wrote out that rumba bass part for the saxes to play on top of the swing rhythm later especially after rock n roll came along i made the rumba bass part heavier and heavier i d have the string bass an electric guitar and a baritone all in unison 45 bartholomew referred to the cuban son by the misnomer rumba a common practice of that time fats domino s blue monday produced by bartholomew is another example of this now classic use of tresillo in r b bartholomew s 1949 tresillo based oh cubanas is an attempt to blend african american and afro cuban music the word mambo larger than any of the other text is placed prominently on the record label in his composition misery new orleans pianist professor longhair plays a habanera like figure in his left hand 46 the deft use of triplets is a characteristic of longhair s style audio playback is not supported in your browser you can download the audio file gerhard kubik notes that with the exception of new orleans early blues lacked complex polyrhythms and there was a very specific absence of asymmetric time line patterns key patterns in virtually all early twentieth century african american music only in some new orleans genres does a hint of simple time line patterns occasionally appear in the form of transient so called stomp patterns or stop time chorus these do not function in the same way as african timelines 47 in the late 1940s this changed somewhat when the two celled timeline structure was brought into the blues new orleans musicians such as bartholomew and longhair incorporated cuban instruments as well as the clave pattern and related two celled figures in songs such as carnival day bartholomew 1949 and mardi gras in new orleans longhair 1949 while some of these early experiments were awkward fusions the afro cuban elements were eventually integrated fully into the new orleans sound in the 1940s professor longhair listened to and played with musicians from the islands and fell under the spell of perez prado s mambo records 48 he was especially enamored with afro cuban music michael campbell states professor longhair s influence was far reaching in several of his early recordings professor longhair blended afro cuban rhythms with rhythm and blues the most explicit is longhair s blues rhumba where he overlays a straightforward blues with a clave rhythm 49 longhair s particular style was known locally as rumba boogie 50 in his mardi gras in new orleans the pianist employs the 2 3 clave onbeat offbeat motif in a rumba boogie guajeo 51 piano excerpt from the rumba boogie mardi gras in new orleans 1949 by professor longhair 2 3 claves are written above for rhythmic reference the syncopated but straight subdivision feel of cuban music as opposed to swung subdivisions took root in new orleans r b during this time alexander stewart states that the popular feel was passed along from new orleans through james brown s music to the popular music of the 1970s adding the singular style of rhythm blues that emerged from new orleans in the years after world war ii played an important role in the development of funk in a related development the underlying rhythms of american popular music underwent a basic yet generally unacknowledged transition from a triplet or shuffle feel to even or straight eighth notes 52 concerning the various funk motifs stewart states that this model is different from a time line such as clave and tresillo in that it is not an exact pattern but more of a loose organizing principle 53 johnny otis released the r b mambo mambo boogie in january 1951 featuring congas maracas claves and mambo saxophone guajeos in a blues progression 54 ike turner recorded cubano jump 1954 an electric guitar instrumental which is built around several 2 3 clave figures adopted from the mambo the hawketts in mardi gras mambo 1955 featuring the vocals of a young art neville make a clear reference to perez prado in their use of his trademark unhh in the break after the introduction 55 ned sublette states the electric blues cats were very well aware of latin music and there was definitely such a thing as rhumba blues you can hear muddy waters and howlin wolf playing it 56 he also cites otis rush ike turner and ray charles as r b artists who employed this feel 56 the use of clave in r b coincided with the growing dominance of the backbeat and the rising popularity of cuban music in the u s in a sense clave can be distilled down to tresillo three side answered by the backbeat two side 57 3 2 clave written in two measures in cut time tresillo answered by the backbeat the essence of clave in african american music the bo diddley beat 1955 is perhaps the first true fusion of 3 2 clave and r b rock n roll bo diddley has given different accounts of the riff s origins sublette asserts in the context of the time and especially those maracas heard on the record bo diddley has to be understood as a latin tinged record a rejected cut recorded at the same session was titled only rhumba on the track sheets 56 johnny otis s willie and the hand jive 1958 is another example of this successful blend of 3 2 claves and r b otis used the cuban instruments claves and maracas on the song bo diddley s bo diddley beat is a clave based motif afro cuban music was the conduit by which african american music was re africanized through the adoption of two celled figures like clave and afro cuban instruments like the conga drum bongos maracas and claves according to john storm roberts r b became the vehicle for the return of cuban elements into mass popular music 58 ahmet ertegun producer for atlantic records is reported to have said that afro cuban rhythms added color and excitement to the basic drive of r b 59 as ned sublette points out though by the 1960s with cuba the object of a united states embargo that still remains in effect today the island nation had been forgotten as a source of music by the time people began to talk about rock and roll as having a history cuban music had vanished from north american consciousness 60 early to mid 1950s edit little richard in 1967 at first only african americans were buying r b discs according to jerry wexler of atlantic records sales were localized in african american markets there were no white sales or white radio play during the early 1950s more white teenagers started to become aware of r b and began purchasing the music for example 40 of 1952 sales at dolphin s of hollywood record shop located in an african american area of los angeles were to whites eventually white teens across the country turned their musical taste toward rhythm and blues 61 johnny otis who had signed with the newark new jersey based savoy records produced many r b hits in 1951 including double crossing blues mistrustin blues and cupid s boogie all of which hit number one that year otis scored ten top ten hits that year other hits include gee baby mambo boogie and all nite long 62 the clovers a quintet consisting of a vocal quartet with accompanying guitarist sang a distinctive sounding combination of blues and gospel 63 they had the number five hit of the year with don t you know i love you on atlantic 62 64 65 also in july 1951 cleveland ohio dj alan freed started a late night radio show called the moondog rock roll house party on wjw 850 am 66 67 freed s show was sponsored by fred mintz whose r b record store had a primarily african american clientele freed began referring to the rhythm and blues music he played as rock and roll in 1951 little richard penniman began recording for rca records in the jump blues style of late 1940s stars roy brown and billy wright however it was not until he recorded a demo in 1954 that caught the attention of specialty records that the world would start to hear his new uptempo funky rhythm and blues that would catapult him to fame in 1955 and help define the sound of rock n roll a rapid succession of rhythm and blues hits followed beginning with tutti frutti 68 and long tall sally which would influence performers such as james brown 69 elvis presley 70 and otis redding 69 also in 1951 the song rocket 88 was recorded by ike turner and his kings of rhythm at a studio owned by sam phillips with the vocal by jackie brenston this song is often cited as a precursor to rock and roll or as one of the first records in that genre 71 in a later interview however ike turner offered this comment i don t think that rocket 88 is rock n roll i think that rocket 88 is r b but i think rocket 88 is the cause of rock and roll existing 72 ruth brown performing on the atlantic label placed hits in the top five every year from 1951 through 1954 teardrops from my eyes five ten fifteen hours mama he treats your daughter mean and what a dream 63 faye adams s shake a hand made it to number two in 1952 in 1953 the r b record buying public made big mama thornton s original recording of leiber and stoller s hound dog 73 the year s number three hit ruth brown was very prominent among female r b stars her popularity most likely came from her deeply rooted vocal delivery in african american tradition 74 75 that same year the orioles a doo wop group had the number four hit of the year with crying in the chapel 76 fats domino made the top 30 of the pop charts in 1952 and 1953 then the top 10 with ain t that a shame 77 78 ray charles came to national prominence in 1955 with i got a woman 79 big bill broonzy said of charles s music he s mixing the blues with the spirituals i know that s wrong 7 173 in 1954 the chords sh boom 80 became the first hit to cross over from the r b chart to hit the top 10 early in the year late in the year and into 1955 hearts of stone by the charms made the top 20 81 at chess records in the spring of 1955 bo diddley s debut record bo diddley i m a man climbed to number two on the r b charts and popularized bo diddley s own original rhythm and blues clave based vamp that would become a mainstay in rock and roll 82 etta james blended blues r b and gospel influences at the urging of leonard chess at chess records chuck berry reworked a country fiddle tune with a long history entitled ida red 83 the resulting maybellene was not only a number three hit on the r b charts in 1955 but also reached into the top 30 on the pop charts alan freed who had moved to the much larger market of new york city in 1954 helped the record become popular with white teenagers freed had been given part of the writing credit by chess in return for his promotional activities a common practice at the time 84 r b was also a strong influence on rock and roll 85 a 1985 article in the wall street journal titled rock it s still rhythm and blues full citation needed reported that the two terms were used interchangeably until about 1957 the other sources quoted in the article said that rock and roll combined r b with pop and country music 86 fats domino was not convinced that there was any new genre in 1957 he said what they call rock n roll now is rhythm and blues i ve been playing it for 15 years in new or...
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