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89-531: German jazz publicist Joachim-Ernst Berendt first had the idea of bringing original African-American blues performers to Europe. Jazz and rock and roll had become very popular, and both genres drew influences directly back to the blues. Berendt thought that European audiences would flock to concert halls to see them in person. Promoters Horst Lippmann and Fritz Rau brought this idea to reality. By contacting Willie Dixon , an influential blues composer and bassist from Chicago , they were given access to

178-637: A "Battle of the Blues" with Wynonie Harris and T-Bone Walker . In 1965, he toured in England with the trumpeter Buck Clayton and the trombonist Vic Dickenson , accompanied by Humphrey Lyttelton and his band. Part of a studio concert was televised by the BBC and later issued on DVD. A sound recording of a club appearance made during this tour is not thought of sufficient sound quality to justify commercial issue. He also toured Europe with Count Basie and his orchestra. He won

267-621: A "special relationship to time defined as 'swing ' ". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, improvising, group interaction, developing an 'individual voice', and being open to different musical possibilities". Krin Gibbard argued that "jazz

356-546: A Count Basie solo, rich and grainy as a section of saxophones, which dominated the room with the sheer sumptuousness of its sound." In announcing Turner's death, the British music magazine NME , in its December 1985 issue, described him as "the grandfather of rock and roll". According to the Blues Hall of Fame, Turner "was a king of the jump blues genre, a boogie woogie belter, progenitor of rhythm & blues and rock 'n' roll, and

445-573: A Little Girl" and "Wee Baby Blues". "Cherry Red" was recorded in 1939 for the Vocalion label , with Hot Lips Page on trumpet and a full band in attendance. During the next year Turner contracted with Decca and recorded "Piney Brown Blues" with Johnson on piano. In 1941, he went to Los Angeles and performed in Duke Ellington 's revue Jump for Joy in Hollywood. He appeared as a singing policeman in

534-540: A band made up of Sunnyland Slim , Hubert Sumlin , Willie Dixon and drummer Clifton James ), Champion Jack Dupree , Son House , Armand "Jump" Jackson , Skip James , Sleepy John Estes , Little Brother Montgomery , Victoria Spivey , J. B. Lenoir , Little Walter , Carey Bell , Louisiana Red , Lightnin' Hopkins , Joe Turner , Buddy Guy , Magic Sam , Lee Jackson , Matt "Guitar" Murphy , Roosevelt Sykes , Doctor Ross , Koko Taylor , Hound Dog Taylor , Archie Edwards , Helen Humes and Sugar Pie DeSanto . Many of

623-568: A collection of traditional blues lyrics . It was a song that Turner recorded many times, with various musicians, over the ensuing years. In 1939, along with the boogie-woogie pianists Albert Ammons and Meade Lux Lewis , Turner and Johnson began a residency at Café Society , a nightclub in New York City, where they appeared on the same playbill as Billie Holiday and Frankie Newton 's band. Besides "Roll 'Em, Pete", Turner's best-known recordings from this period are probably "Cherry Red", "I Want

712-625: A comedy sketch, "He's on the Beat". Los Angeles was his home for a time, and during 1944 he worked in Meade Lux Lewis 's Soundies musical movies. He sang on the soundtrack recordings but was not present for filming, and his vocals were mouthed by the comedian Dudley Dickerson for the camera. In 1945 Turner and Pete Johnson established the Blue Moon Club, a bar in Los Angeles. In 1945, he also signed

801-597: A cook and later as a singing bartender. He became known as "The Singing Barman", and worked in such venues as the Kingfish Club and the Sunset, and would frequently perform at these venues alongside his friend Pete Johnson on piano. The Sunset was managed by Piney Brown. It featured "separate but equal" facilities for white patrons. Turner wrote "Piney Brown Blues" in his honor and sang it throughout his career. At that time Kansas City nightclubs were subject to frequent raids by

890-467: A drum made by stretching skin over a flour-barrel. Lavish festivals with African-based dances to drums were organized on Sundays at Place Congo, or Congo Square, in New Orleans until 1843. There are historical accounts of other music and dance gatherings elsewhere in the southern United States. Robert Palmer said of percussive slave music: Usually such music was associated with annual festivals, when

979-456: A form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations. These work songs were commonly structured around a repetitive call-and-response pattern, but early blues was also improvisational. Classical music performance is evaluated more by its fidelity to the musical score , with less attention given to interpretation, ornamentation, and accompaniment. The classical performer's goal

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1068-410: A limited melodic range, sounding like a field holler, and the guitar accompaniment was slapped rather than strummed, like a small drum which responded in syncopated accents, functioning as another "voice". Handy and his band members were formally trained African-American musicians who had not grown up with the blues, yet he was able to adapt the blues to a larger band instrument format and arrange them in

1157-460: A multi- strain ragtime march with four parts that feature recurring themes and a bass line with copious seventh chords . Its structure was the basis for many other rags, and the syncopations in the right hand, especially in the transition between the first and second strain, were novel at the time. The last four measures of Scott Joplin's "Maple Leaf Rag" (1899) are shown below. African-based rhythmic patterns such as tresillo and its variants,

1246-523: A number of successes for them, including the blues standards , " Chains of Love " and "Sweet Sixteen". Many of his vocals are punctuated with shouts to the band members, as in "Boogie Woogie Country Girl" ("That's a good rockin' band!", "Go ahead, man! Ow! That's just what I need!" ) and " Honey Hush " (he repeatedly sings, "Hi-yo, Silver!", a famous command used by the Lone Ranger on his popular radio show, to his horse named Silver). Turner's records reached

1335-509: A pitch which he called a 'jazz ball' "because it wobbles and you simply can't do anything with it". The use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune . Its first documented use in a musical context in New Orleans was in a November 14, 1916, Times-Picayune article about "jas bands". In an interview with National Public Radio , musician Eubie Blake offered his recollections of

1424-652: A popular music form. Handy wrote about his adopting of the blues: The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor. Whether in the cotton field of the Delta or on the Levee up St. Louis way, it was always the same. Till then, however, I had never heard this slur used by a more sophisticated Negro, or by any white man. I tried to convey this effect ... by introducing flat thirds and sevenths (now called blue notes) into my song, although its prevailing key

1513-567: A recording contract with National Records , for which he recorded under the supervision of Herb Abramson . His first hit single was a cover of Saunders King 's "S.K. Blues" (1945). He recorded the songs "My Gal's a Jockey" and the risqué "Around the Clock" the same year, and Aladdin Records released "Battle of the Blues", a duet with Wynonie Harris . Turner stayed with National until 1947, but none of his recordings were big sellers. In 1950, he recorded

1602-661: A respected performer in jazz circles. Dave Alvin wrote a song about an evening he spent with Turner, entitled "Boss of the Blues", for his 2009 album, Dave Alvin and the Guilty Women . Alvin discussed the song in issue 59 of the Blasters Newsletter . Alvin later collaborated with his brother and former Blaster Phil Alvin on a second reunion album, Lost Time , released in 2015, containing four covers of songs by Turner, including "Cherry Red", "Wee Baby Blues" and "Hide and Seek". The brothers met Turner in Los Angeles, where he

1691-454: Is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". Duke Ellington , one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues ,

1780-663: Is a fundamental rhythmic figure heard in many different slave musics of the Caribbean, as well as the Afro-Caribbean folk dances performed in New Orleans Congo Square and Gottschalk's compositions (for example "Souvenirs From Havana" (1859)). Tresillo (shown below) is the most basic and most prevalent duple-pulse rhythmic cell in sub-Saharan African music traditions and the music of the African Diaspora . Tresillo

1869-548: Is a reminder of "an oppressive and racist society and restrictions on their artistic visions". Amiri Baraka argues that there is a "white jazz" genre that expresses whiteness . White jazz musicians appeared in the Midwest and in other areas throughout the U.S. Papa Jack Laine , who ran the Reliance band in New Orleans in the 1910s, was called "the father of white jazz". The Original Dixieland Jazz Band , whose members were white, were

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1958-486: Is heard prominently in New Orleans second line music and in other forms of popular music from that city from the turn of the 20th century to present. "By and large the simpler African rhythmic patterns survived in jazz ... because they could be adapted more readily to European rhythmic conceptions," jazz historian Gunther Schuller observed. "Some survived, others were discarded as the Europeanization progressed." In

2047-437: Is to play the composition as it was written. In contrast, jazz is often characterized by the product of interaction and collaboration, placing less value on the contribution of the composer, if there is one, and more on the performer. The jazz performer interprets a tune in individual ways, never playing the same composition twice. Depending on the performer's mood, experience, and interaction with band members or audience members,

2136-804: The Melody Maker award for best "new" vocalist of 1956. After a number of successes in popular music, Turner resumed singing with small jazz combos, recording numerous albums in that style during the 1960s and 1970s. In 1966, Bill Haley helped revive Turner's career by lending him the Comets for a series of popular recordings for the Orfeón label in Mexico. During the 1960s and 1970s he resumed performing jazz and blues music, performing at many music festivals and recording for Norman Granz 's Pablo Records . He also worked with Axel Zwingenberger . Turner also participated in

2225-620: The Atlantic slave trade had brought nearly 400,000 Africans to North America. The slaves came largely from West Africa and the greater Congo River basin and brought strong musical traditions with them. The African traditions primarily use a single-line melody and call-and-response pattern, and the rhythms have a counter-metric structure and reflect African speech patterns. An 1885 account says that they were making strange music (Creole) on an equally strange variety of 'instruments'—washboards, washtubs, jugs, boxes beaten with sticks or bones and

2314-612: The Dixieland jazz revival of the 1940s, Black musicians rejected it as being shallow nostalgia entertainment for white audiences. On the other hand, traditional jazz enthusiasts have dismissed bebop, free jazz, and jazz fusion as forms of debasement and betrayal. An alternative view is that jazz can absorb and transform diverse musical styles. By avoiding the creation of norms, jazz allows avant-garde styles to emerge. For some African Americans, jazz has drawn attention to African-American contributions to culture and history. For others, jazz

2403-411: The 1920s Jazz Age , it has been recognized as a major form of musical expression in traditional and popular music . Jazz is characterized by swing and blue notes , complex chords , call and response vocals , polyrhythms and improvisation . As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in

2492-451: The 1950s, many women jazz instrumentalists were prominent, some sustaining long careers. Some of the most distinctive improvisers, composers, and bandleaders in jazz have been women. Trombonist Melba Liston is acknowledged as the first female horn player to work in major bands and to make a real impact on jazz, not only as a musician but also as a respected composer and arranger, particularly through her collaborations with Randy Weston from

2581-684: The 1980s. Turner died of heart failure in November 1985, at the age of 74, in Inglewood, California , having suffered from effects of arthritis, a stroke and diabetes. His funeral included musical tributes from Etta James and Barbara Morrison . He was buried at Roosevelt Memorial Park in Gardena , California. He was posthumously inducted into the Rock and Roll Hall of Fame in 1987. The New York Times music critic Robert Palmer wrote of "his voice, pushing like

2670-468: The 21st century, such as Latin and Afro-Cuban jazz . The origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm , a slang term dating back to 1860 meaning ' pep, energy ' . The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described

2759-613: The Black middle-class. Blues is the name given to both a musical form and a music genre, which originated in African-American communities of primarily the Deep South of the United States at the end of the 19th century from their spirituals , work songs , field hollers , shouts and chants and rhymed simple narrative ballads . The African use of pentatonic scales contributed to

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2848-636: The British Jazz Journal award as top male singer of 1965. In 1977, Turner recorded a cover version of Guitar Slim 's song " The Things That I Used to Do ", and " I'm Gonna Sit Right Down and Write Myself a Letter ", for Spivey Records , with Lloyd Glenn on piano. Turner received top billing with Count Basie in the Kansas City jazz reunion movie The Last of the Blue Devils (1979), featuring Jay McShann , Jimmy Forrest , and other players from

2937-460: The Caribbean. African-based rhythmic patterns were retained in the United States in large part through "body rhythms" such as stomping, clapping, and patting juba dancing . In the opinion of jazz historian Ernest Borneman , what preceded New Orleans jazz before 1890 was "Afro-Latin music", similar to what was played in the Caribbean at the time. A three-stroke pattern known in Cuban music as tresillo

3026-525: The Hall lauding him as "the brawny voiced 'Boss of the Blues ' ". AllMusic called Turner "the premier blues shouter of the postwar era". Turner was born May 18, 1911, in Kansas City, Missouri , United States. His father was killed in a train accident when Turner was four years old. He sang in his church, and on street corners for money. He left school at age fourteen to work in Kansas City's nightclubs, first as

3115-658: The Starlight Roof at the famed Waldorf-Astoria Hotel . He entertained audiences with a light elegant musical style which remained popular with audiences for nearly three decades from the 1930s until the late 1950s. Jazz originated in the late-19th to early-20th century. It developed out of many forms of music, including blues , ragtime , European harmony , African rhythmic rituals, spirituals , hymns , marches , vaudeville song, and dance music . It also incorporated interpretations of American and European classical music, entwined with African and slave folk songs and

3204-584: The U.S. Female jazz performers and composers have contributed to jazz throughout its history. Although Betty Carter , Ella Fitzgerald , Adelaide Hall , Billie Holiday , Peggy Lee , Abbey Lincoln , Anita O'Day , Dinah Washington , and Ethel Waters were recognized for their vocal talent, less familiar were bandleaders, composers, and instrumentalists such as pianist Lil Hardin Armstrong , trumpeter Valaida Snow , and songwriters Irene Higginbotham and Dorothy Fields . Women began playing instruments in jazz in

3293-552: The blues are undocumented, though they can be seen as the secular counterpart of the spirituals. However, as Gerhard Kubik points out, whereas the spirituals are homophonic , rural blues and early jazz "was largely based on concepts of heterophony ". During the early 19th century an increasing number of black musicians learned to play European instruments, particularly the violin, which they used to parody European dance music in their own cakewalk dances. In turn, European American minstrel show performers in blackface popularized

3382-606: The blues culture of the southern United States. The first festival was held in 1962, and they continued almost annually until 1972, after an eight-year hiatus reviving the festival in 1980 until its final performance in 1985. The concerts featured some of the leading blues artists of the 1960s, such as Muddy Waters , Howlin' Wolf , Willie Dixon , John Lee Hooker and Sonny Boy Williamson , some playing in unique combinations such as T-Bone Walker playing guitar for pianist Memphis Slim , Otis Rush with Junior Wells , and Sonny Boy Williamson with Muddy Waters. The Festival DVDs include

3471-478: The city. In 1983, two years before his death, Turner was inducted into the Blues Hall of Fame . That same year, the album Blues Train was released by Muse Records ; the album featured Turner with the band Roomful of Blues . Turner's career endured from the barrooms of Kansas City in the 1920s (when at the age of twelve he performed with a pencilled moustache and his father's hat) to European jazz festivals of

3560-506: The concerts were released on a long-running annual series of records, which was collated again for release in the 1990s. Official: Available on DVD: Bootleg: Jazz Jazz is a music genre that originated in the African-American communities of New Orleans , Louisiana , in the late 19th and early 20th centuries, with its roots in blues , ragtime , European harmony , African rhythmic rituals, spirituals , hymns , marches , vaudeville song, and dance music . Since

3649-541: The development of blue notes in blues and jazz. As Kubik explains: Many of the rural blues of the Deep South are stylistically an extension and merger of basically two broad accompanied song-style traditions in the west central Sudanic belt: W. C. Handy became interested in folk blues of the Deep South while traveling through the Mississippi Delta. In this folk blues form, the singer would improvise freely within

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3738-434: The early 1910s, combining earlier brass band marches, French quadrilles , biguine , ragtime and blues with collective polyphonic improvisation . However, jazz did not begin as a single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented swing big bands , Kansas City jazz (a hard-swinging, bluesy, improvisational style), and gypsy jazz (a style that emphasized musette waltzes) were

3827-506: The early 1920s, drawing particular recognition on piano. When male jazz musicians were drafted during World War II, many all-female bands replaced them. The International Sweethearts of Rhythm , which was founded in 1937, was a popular band that became the first all-female integrated band in the U.S. and the first to travel with the USO , touring Europe in 1945. Women were members of the big bands of Woody Herman and Gerald Wilson . Beginning in

3916-480: The education of freed African Americans. Although strict segregation limited employment opportunities for most blacks, many were able to find work in entertainment. Black musicians were able to provide entertainment in dances, minstrel shows , and in vaudeville , during which time many marching bands were formed. Black pianists played in bars, clubs, and brothels, as ragtime developed. Ragtime appeared as sheet music, popularized by African-American musicians such as

4005-556: The entertainer Ernest Hogan , whose hit songs appeared in 1895. Two years later, Vess Ossman recorded a medley of these songs as a banjo solo known as "Rag Time Medley". Also in 1897, the white composer William Krell published his " Mississippi Rag " as the first written piano instrumental ragtime piece, and Tom Turpin published his "Harlem Rag", the first rag published by an African-American. Classically trained pianist Scott Joplin produced his " Original Rags " in 1898 and, in 1899, had an international hit with " Maple Leaf Rag ",

4094-459: The first jazz group to record, and Bix Beiderbecke was one of the most prominent jazz soloists of the 1920s. The Chicago Style was developed by white musicians such as Eddie Condon , Bud Freeman , Jimmy McPartland , and Dave Tough . Others from Chicago such as Benny Goodman and Gene Krupa became leading members of swing during the 1930s. Many bands included both Black and white musicians. These musicians helped change attitudes toward race in

4183-415: The first written music which was rhythmically based on an African motif (1803). From the perspective of African-American music, the "habanera rhythm" (also known as "congo"), "tango-congo", or tango . can be thought of as a combination of tresillo and the backbeat . The habanera was the first of many Cuban music genres which enjoyed periods of popularity in the United States and reinforced and inspired

4272-519: The foundation for R&B in the 1940s, "cutting one swinging rhythm & blues masterpiece after another". Turner made many albums with Johnson, Art Tatum , Willie "The Lion" Smith , Sammy Price , and other jazz groups. He recorded for several record companies. He also performed with the Count Basie Orchestra . During his career, Turner was part of the transition from big bands to jump blues to rhythm and blues to rock and roll . He

4361-447: The fourth annual Cavalcade of Jazz concert held at Wrigley Field in Los Angeles, on September 12, 1948. Also on the program that day were Frankie Laine , The Sweethearts of Rhythm , The Honeydrippers , Little Miss Cornshucks , Jimmy Witherspoon , The Blenders, and The Sensations. Turner was a significant figure in the development of rhythm and blues . According to the Rock & Roll Hall of Fame , Turner and Louis Jordan laid

4450-532: The habanera rhythm and cinquillo , are heard in the ragtime compositions of Joplin and Turpin. Joplin's " Solace " (1909) is generally considered to be in the habanera genre: both of the pianist's hands play in a syncopated fashion, completely abandoning any sense of a march rhythm. Ned Sublette postulates that the tresillo/habanera rhythm "found its way into ragtime and the cakewalk," whilst Roberts suggests that "the habanera influence may have been part of what freed black music from ragtime's European bass". In

4539-424: The influences of West African culture. Its composition and style have changed many times throughout the years with each performer's personal interpretation and improvisation, which is also one of the greatest appeals of the genre. By the 18th century, slaves in the New Orleans area gathered socially at a special market, in an area which later became known as Congo Square , famous for its African dances. By 1866,

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4628-455: The instruments of jazz: brass, drums, and reeds tuned in the European 12-tone scale. Small bands contained a combination of self-taught and formally educated musicians, many from the funeral procession tradition. These bands traveled in black communities in the deep south. Beginning in 1914, Louisiana Creole and African-American musicians played in vaudeville shows which carried jazz to cities in

4717-567: The late 1950s into the 1990s. Jewish Americans played a significant role in jazz. As jazz spread, it developed to encompass many different cultures, and the work of Jewish composers in Tin Pan Alley helped shape the many different sounds that jazz came to incorporate. Jewish Americans were able to thrive in Jazz because of the probationary whiteness that they were allotted at the time. George Bornstein wrote that African Americans were sympathetic to

4806-539: The late 1950s, using the mode , or musical scale, as the basis of musical structure and improvisation, as did free jazz , which explored playing without regular meter, beat and formal structures. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music 's rhythms, electric instruments, and highly amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay. Other styles and genres abound in

4895-924: The many top players he employed, such as George Brunies , Sharkey Bonano , and future members of the Original Dixieland Jass Band . During the early 1900s, jazz was mostly performed in African-American and mulatto communities due to segregation laws. Storyville brought jazz to a wider audience through tourists who visited the port city of New Orleans. Many jazz musicians from African-American communities were hired to perform in bars and brothels. These included Buddy Bolden and Jelly Roll Morton in addition to those from other communities, such as Lorenzo Tio and Alcide Nunez . Louis Armstrong started his career in Storyville and found success in Chicago. Storyville

4984-413: The melody was stated briefly at the beginning and most of the piece was improvised. Modal jazz abandoned chord progressions to allow musicians to improvise even more. In many forms of jazz, a soloist is supported by a rhythm section of one or more chordal instruments (piano, guitar), double bass, and drums. The rhythm section plays chords and rhythms that outline the composition structure and complement

5073-679: The music internationally, combining syncopation with European harmonic accompaniment. In the mid-1800s the white New Orleans composer Louis Moreau Gottschalk adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. New Orleans was the main nexus between the Afro-Caribbean and African American cultures. The Black Codes outlawed drumming by slaves, which meant that African drumming traditions were not preserved in North America, unlike in Cuba, Haiti, and elsewhere in

5162-578: The music of New Orleans with the music of Cuba, Wynton Marsalis observes that tresillo is the New Orleans "clavé", a Spanish word meaning "code" or "key", as in the key to a puzzle, or mystery. Although the pattern is only half a clave , Marsalis makes the point that the single-celled figure is the guide-pattern of New Orleans music. Jelly Roll Morton called the rhythmic figure the Spanish tinge and considered it an essential ingredient of jazz. The abolition of slavery in 1865 led to new opportunities for

5251-404: The northeastern United States, a "hot" style of playing ragtime had developed, notably James Reese Europe 's symphonic Clef Club orchestra in New York City, which played a benefit concert at Carnegie Hall in 1912. The Baltimore rag style of Eubie Blake influenced James P. Johnson 's development of stride piano playing, in which the right hand plays the melody, while the left hand provides

5340-596: The northern and western parts of the U.S. Jazz became international in 1914, when the Creole Band with cornettist Freddie Keppard performed the first ever jazz concert outside the United States, at the Pantages Playhouse Theatre in Winnipeg , Canada. In New Orleans, a white bandleader named Papa Jack Laine integrated blacks and whites in his marching band. He was known as "the father of white jazz" because of

5429-523: The only known footage of Little Walter , and rare recordings of Hooker playing harmonica instead of his customary guitar. The audience at Manchester in 1962, the first venue for the festival in Britain, included Mick Jagger , Keith Richards , Brian Jones and Jimmy Page . Subsequent attendees at the first London festivals are believed to have also included such influential musicians as Eric Burdon , Eric Clapton , and Steve Winwood . Collectively, these were

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5518-470: The performer may change melodies, harmonies, and time signatures. In early Dixieland , a.k.a. New Orleans jazz, performers took turns playing melodies and improvising countermelodies . In the swing era of the 1920s–40s, big bands relied more on arrangements which were written or learned by ear and memorized. Soloists improvised within these arrangements. In the bebop era of the 1940s, big bands gave way to small groups and minimal arrangements in which

5607-495: The period 1820–1850. Some of the earliest [Mississippi] Delta settlers came from the vicinity of New Orleans, where drumming was never actively discouraged for very long and homemade drums were used to accompany public dancing until the outbreak of the Civil War. Another influence came from the harmonic style of hymns of the church, which black slaves had learned and incorporated into their own music as spirituals . The origins of

5696-454: The perspective of other musical traditions, such as European music history or African music. But critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has

5785-487: The plight of the Jewish American and vice versa. As disenfranchised minorities themselves, Jewish composers of popular music saw themselves as natural allies with African Americans. The Jazz Singer with Al Jolson is one example of how Jewish Americans were able to bring jazz, music that African Americans developed, into popular culture. Benny Goodman was a vital Jewish American to the progression of Jazz. Goodman

5874-532: The police; Turner said, "The Boss man would have his bondsmen down at the police station before we got there. We'd walk in, sign our names and walk right out. Then we would cabaret until morning." His partnership with Johnson proved fruitful. Together they went to New York City in 1936, where they appeared on a playbill with Benny Goodman , but as Turner recounted, "After our show with Goodman, we auditioned at several places, but New York wasn't ready for us yet, so we headed back to K.C." Eventually they were seen by

5963-459: The post-Civil War period (after 1865), African Americans were able to obtain surplus military bass drums, snare drums and fifes, and an original African-American drum and fife music emerged, featuring tresillo and related syncopated rhythmic figures. This was a drumming tradition that was distinct from its Caribbean counterparts, expressing a uniquely African-American sensibility. "The snare and bass drummers played syncopated cross-rhythms ," observed

6052-672: The pre-jazz era and contributed to the codification of jazz through the publication of some of the first jazz sheet music. The music of New Orleans , Louisiana had a profound effect on the creation of early jazz. In New Orleans, slaves could practice elements of their culture such as voodoo and playing drums. Many early jazz musicians played in the bars and brothels of the red-light district around Basin Street called Storyville . In addition to dance bands, there were marching bands which played at lavish funerals (later called jazz funerals ). The instruments used by marching bands and dance bands became

6141-1146: The primary movers in the blues explosion that would lead to the British Invasion . Sonny Boy Williamson's visit to London with the 1963 festival led to him spending a year in Europe including recording the Sonny Boy Williamson and the Yardbirds album, (first released on Star-Club Records in 1965), and recording with the Animals . Blues musicians who performed on the American Folk Blues Festival tours included Muddy Waters , Sonny Boy Williamson , John Lee Hooker , Sippie Wallace , T-Bone Walker , Sonny Terry & Brownie McGhee , Memphis Slim , Otis Rush , Lonnie Johnson , Eddie Boyd , Big Walter Horton , Junior Wells , Big Joe Williams , Mississippi Fred McDowell , Willie Dixon , Otis Spann , Big Mama Thornton , Bukka White , Jimmy Reed , Howlin' Wolf (with

6230-537: The prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines. The mid-1950s saw the emergence of hard bop , which introduced influences from rhythm and blues , gospel , and blues to small groups and particularly to saxophone and piano. Modal jazz developed in

6319-410: The rhythm and bassline. In Ohio and elsewhere in the mid-west the major influence was ragtime, until about 1919. Around 1912, when the four-string banjo and saxophone came in, musicians began to improvise the melody line, but the harmony and rhythm remained unchanged. A contemporary account states that blues could only be heard in jazz in the gut-bucket cabarets, which were generally looked down upon by

6408-553: The rock music songs, he released Boss of the Blues album in 1956. "(I'm Gonna) Jump for Joy", his last hit, reached the US R&;B record chart on May 26, 1958. He toured Australia in 1957 with Lee Gordon 's Big Show sharing the bill with Bill Haley and the Comets , LaVern Baker and Freddie Bell and the Bellboys . He won the Esquire magazine award for male vocalist in 1945. He won

6497-552: The slang connotations of the term, saying: "When Broadway picked it up, they called it 'J-A-Z-Z'. It wasn't called that. It was spelled 'J-A-S-S'. That was dirty, and if you knew what it was, you wouldn't say it in front of ladies." The American Dialect Society named it the Word of the 20th Century . Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to rock -infused fusion . Attempts have been made to define jazz from

6586-444: The soloist. In avant-garde and free jazz , the separation of soloist and band is reduced, and there is license, or even a requirement, for the abandoning of chords, scales, and meters. Since the emergence of bebop, forms of jazz that are commercially oriented or influenced by popular music have been criticized. According to Bruce Johnson, there has always been a "tension between jazz as a commercial music and an art form". Regarding

6675-617: The song "Still in the Dark", released by Freedom Records . Joe Turner also played at the Cavalcades of Jazz concert held at Wrigley Field in Los Angeles which was produced by Leon Hefflin Sr. on September 23, 1945, to a crowd of 15,000. Count Basie , the Honeydrippers, The Peters Sisters , Slim and Bam and Valaida Snow were also featured artists. Turner also performed alongside Dizzy Gillespie at

6764-508: The sun comes shinin' through! I can't believe my eyes, all that mess belongs to you." He sang it on film for the 1955 theatrical feature Rhythm and Blues Revue . Although the cover version of the song by Bill Haley & His Comets , with the risqué lyrics partly omitted, was a greater sales success, many listeners sought out Turner's version and were introduced thereby to rhythm and blues. Elvis Presley 's version of "Shake, Rattle and Roll" combined Turner's lyrics with Haley's arrangement, but

6853-399: The talent scout John Hammond in 1938, who invited them back to New York to appear in one of his From Spirituals to Swing concerts at Carnegie Hall , which were instrumental in introducing jazz and blues to a wider American audience. In part because of their appearance at Carnegie Hall, Turner and Johnson had a major success with the song " Roll 'Em Pete ". The track was basically

6942-495: The top of the rhythm-and-blues charts. Some of his songs were so risqué that some radio stations refused to play them, but they received much play on jukeboxes. Turner had great success during 1954 with " Shake, Rattle and Roll ", which significantly boosted his career, turning him into a teenage favorite, and also helped to transform popular music. During the song, Turner yells at his woman to "get outta that bed, wash yo' face an' hands" and comments that she's "wearin' those dresses,

7031-500: The twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City. John Storm Roberts states that the musical genre habanera "reached the U.S. twenty years before the first rag was published." For the more than quarter-century in which the cakewalk , ragtime , and proto-jazz were forming and developing, the habanera was a consistent part of African-American popular music. Habaneras were widely available as sheet music and were

7120-566: The use of tresillo-based rhythms in African-American music. New Orleans native Louis Moreau Gottschalk 's piano piece "Ojos Criollos (Danse Cubaine)" (1860) was influenced by the composer's studies in Cuba: the habanera rhythm is clearly heard in the left hand. In Gottschalk's symphonic work "A Night in the Tropics" (1859), the tresillo variant cinquillo appears extensively. The figure was later used by Scott Joplin and other ragtime composers. Comparing

7209-498: The writer Robert Palmer, speculating that "this tradition must have dated back to the latter half of the nineteenth century, and it could have not have developed in the first place if there hadn't been a reservoir of polyrhythmic sophistication in the culture it nurtured." African-American music began incorporating Afro-Cuban rhythmic motifs in the 19th century when the habanera (Cuban contradanza ) gained international popularity. Musicians from Havana and New Orleans would take

7298-493: The year's crop was harvested and several days were set aside for celebration. As late as 1861, a traveler in North Carolina saw dancers dressed in costumes that included horned headdresses and cow tails and heard music provided by a sheepskin-covered "gumbo box", apparently a frame drum; triangles and jawbones furnished the auxiliary percussion. There are quite a few [accounts] from the southeastern states and Louisiana dating from

7387-465: Was a master of traditional blues verses , and at Kansas City jam sessions he could swap choruses with instrumental soloists for hours. In 1951, while performing with the Count Basie Orchestra at Harlem's Apollo Theater as a replacement for Jimmy Rushing , he was spotted by Ahmet and Nesuhi Ertegun , who contracted him to their new recording company, Atlantic Records . Turner recorded

7476-418: Was an American blues shouter from Kansas City, Missouri . According to songwriter Doc Pomus , " Rock and roll would have never happened without him". Turner's greatest fame was due to his rock and roll recordings in the 1950s, particularly " Shake, Rattle and Roll ", but his career as a performer endured from the 1920s into the 1980s. Turner was inducted into the Rock and Roll Hall of Fame in 1987, with

7565-433: Was major ... , and I carried this device into my melody as well. The publication of his " Memphis Blues " sheet music in 1912 introduced the 12-bar blues to the world (although Gunther Schuller argues that it is not really a blues, but "more like a cakewalk"). This composition, as well as his later " St. Louis Blues " and others, included the habanera rhythm, and would become jazz standards . Handy's music career began in

7654-499: Was not a successful single. "The Chicken and the Hawk", " Flip, Flop and Fly ", "Hide and Seek", "Morning, Noon and Night", and "Well All Right" were successful recordings from this period. He performed on the television program Showtime at the Apollo and in the movie Shake Rattle & Rock! (1956). The song " Corrine, Corrina " was another great seller during 1956. In addition to

7743-558: Was playing in clubs on Central Avenue and living in the Adams district between tours in the 1960s. Phil Alvin opened for Turner a few times with his first band, Delta Pacific. Turner continued mentoring the Alvin brothers until his death in 1985. He is pictured on the back cover of Lost Time . The biographical film The Buddy Holly Story refers to Turner and his contemporaries Little Richard and Fats Domino as major influences on Holly , who

7832-480: Was shut down by the U.S. government in 1917. Cornetist Buddy Bolden played in New Orleans from 1895 to 1906. No recordings by him exist. His band is credited with creating the big four: the first syncopated bass drum pattern to deviate from the standard on-the-beat march. As the example below shows, the second half of the big four pattern is the habanera rhythm. Big Joe Turner Joseph Vernon " Big Joe " Turner Jr. (May 18, 1911 – November 24, 1985)

7921-529: Was the leader of a racially integrated band named King of Swing. His jazz concert in the Carnegie Hall in 1938 was the first ever to be played there. The concert was described by Bruce Eder as "the single most important jazz or popular music concert in history". Shep Fields also helped to popularize "Sweet" Jazz music through his appearances and Big band remote broadcasts from such landmark venues as Chicago's Palmer House , Broadway's Paramount Theater and

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