History of the “Sounds” of Music Part #8

The 40s... Pre Rock n Roll Evolution of the Sounds of Music

Classic Rock Turntables.com

By William W. Nelson

Founder of the Asheville School of Classic Rock

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Pre Rock n Roll Period

Introduction

In 1922 in New York City 27 year old Trixie Smith along with the Jazz Masters went into the studio to cut a couple of sides. Who made up the Jazz Masters have been lost down the crack in the shellac, all except one – Fletcher Henderson a name ubiquitous within jazz circles and whose band Louis Armstrong joined in 1924. One of the sides Trixie and the boys cut was ‘My Daddy Rocks Me (with one steady roll); as clear evidence as you can get for the link between rock and roll, and sex…

My daddy rocks me with one steady roll.
There’s no slippin’ when he once takes hold.
I looked at the clock and the clock struck one.
I said “Now Daddy, ain’t we got fun.”
He kept rockin’ with one steady roll.

In 1928, "Rockin' In Rhythm" by Duke Ellington

In 1929, a twenty-five year old by the name of Tampa Red, who seems to have hailed from Florida, but grew up in Georgia and was a bit of a whizz on the kazoo, as well as piano and guitar decided to do a little rocking of his own. Tampa recorded such risqué songs as ‘It’s Tight Like That’ and ‘Jelly Whippin’ Blues’ but he also fronted the Hokum Jug Band. One weekend in April 1929 Tampa and his band recorded several tunes including ‘She is Hot’ which sounds like the perfect rock ‘n’ roll title and they also covered Trixie’s ‘’My Daddy Rocks Me (with one steady roll)’. Now, Tampa being a man doing a song about his Daddy rocking him with one steady roll obviously poses some questions, but on this occasion it wasn’t Tampa singing – it was instead the cross-dressing Frankie ‘Half-Pint’ Jaxon.

During the 1930s, the country enjoyed the emergence of a range of distinctly American musical sounds. The radio introduced Americans to more types of music than they had ever heard before. Radio continued to do so when the Great Depression (1929–41) caused declines in phonograph-record sales. Jukeboxes spread music throughout the country in taverns, soda fountains, and "juke joints," especially after the repeal of Prohibition (1920–33).

Though musicians suffered because of the Depression, the New Deal programs of President Franklin D. Roosevelt (1882–1945) supported musicians as never before. The federally sponsored Works Progress Administration Federal Music Project sponsored radio programs, commissioned new work from composers, and sought out unique American musicians to feature in recordings.

Though the Jazz Age had ended, during the 1930s jazz continued to mature as a musical form. Jazz music changed to a sweeter sound. Big bands began transforming it into danceable swing music. Several famous female vocalists got their start as jazz singers in the 1930s, including Ella Fitzgerald (1918–1996) and Billie Holiday (1915–1959).

In urban areas, especially Chicago and Illinois, blues was a dominant musical style in the 1930s. Singers, many from the Mississippi Delta, strummed guitars and sang the blues about their current situations. Their music was sought out and appreciated by the many Southern blacks who continued to migrate northward during the decade. These "bluesmen," including Charley (Charlie) Patton (1891–1934), Blind Lemon Jefferson (1897–1929), and Robert Johnson (1911–1938), were cheap to record, making blues record sales quite profitable. Boogie-woogie, gospel, and swing music were all influenced by the blues. "Rock It For Me" Chick Webb w. Ella Fitzgerald 1938... "Rock Me Mama" Big Joe Turner 1941... "I Want To Rock" Cab Calloway 1942

Hillbilly music, a folk music from the Appalachian Mountains and the Southeast, became popular through artists such as the Carter family (now known as the Original Carter Family: A. P. Carter, 1891–1960; Sara Carter, 1899–1979; and Maybelle Carter, 1909–1978); Jimmie Rodgers (1897–1933), "the Singing Brakeman"; and Roy Acuff (1903–1992) and the Smoky Mountain Boys. Hillbilly music benefited especially from radio programming like the National Barn Dance and the Grand Ole Opry broadcasts and Mexican radio stations that could be heard in forty–eight states. These folk musicians influenced the later bluegrass music of the decade.

Another style of music that developed during the decade was distinctly "Western" in form. By the 1930s, the American West with its cowboys and open country had become legendary. This new style of Western music capitalized on the range with its "singing" cowboys. Singers such as Gene Autry (1907–1998; nicknamed the "singing cowboy") and Roy Rogers (1911–1998) sang songs like "The Last Roundup" and "The Call of the Canyon" with Texas or Oklahoma accents and dressed in elaborate cowboy costumes. The center of this new western music was Texas, where taverns with new jukeboxes or stages for traveling groups entertained patrons. With the repeal of Prohibition and the resulting increase in the number of taverns that sprang up, western music became more danceable and rowdy by the end of the decade, giving rise to honky-tonk and western swing music.

The Music Scene of the 40s...

The 1940s marked a transformative period in the American music scene, characterized by the evolution of existing genres, the emergence of new styles, and significant technological advancements. This decade saw the music industry adapting to the challenges of World War II while also laying the groundwork for the revolutionary changes that would come in the 1950s.

At the beginning of the 1940s, swing music and big bands dominated the popular music landscape. Artists like Glenn Miller, Benny Goodman, and Duke Ellington were at the height of their popularity, providing upbeat, danceable tunes that served as a morale booster during the war years. However, as the decade progressed, several factors contributed to the decline of the big band era, including the draft of musicians into military service and economic constraints on large touring ensembles.

As swing began to wane, new genres started to emerge. Bebop, a more complex and experimental form of jazz, developed in the early 1940s. Led by innovators like Charlie Parker, Dizzy Gillespie, and Thelonious Monk, bebop shifted jazz from danceable popular music to a more sophisticated "musician's music." This change represented a significant evolution in the jazz landscape, emphasizing improvisation and technical virtuosity.The 1940s also saw the rise of rhythm and blues (R&B), which evolved from blues and jazz.

Artists like Louis Jordan pioneered a style called "jump blues," which combined elements of swing, blues, and boogie-woogie. This new genre laid important groundwork for the development of rock and roll in the following decade.

In the realm of country music, the 1940s witnessed the emergence of honky-tonk, a style characterized by its use of electric instruments and its focus on working-class themes. Artists like Ernest Tubb helped popularize this new sound, which would become a defining element of country music for decades to come.T

he decade also saw significant changes in popular vocal styles. Crooners like Bing Crosby and Frank Sinatra rose to prominence, capitalizing on advances in microphone technology to deliver more intimate, nuanced vocal performances. This style of singing would dominate popular music well into the 1950s.

Technological advancements played a crucial role in shaping the music scene of the 1940s. The introduction of magnetic tape recording near the end of the decade revolutionized the recording process, offering superior sound quality and the ability to edit recordings. This technology would have far-reaching effects on music production in the coming years.

Another significant technological development was the introduction of the long-playing (LP) record by Columbia Records in 1948. The LP could hold up to 25 minutes of music per side, a vast improvement over the 3-4 minutes offered by 78 rpm records. This innovation would change how music was packaged and consumed, paving the way for concept albums and more expansive musical works.

The jukebox, while not new to the 1940s, played an increasingly important role in popularizing music during this decade. Jukeboxes provided a crucial platform for exposing audiences to new music, especially in bars, diners, and other public spaces. They were particularly important in promoting music by African American artists who were often excluded from mainstream radio play.

By the end of the 1940s, the groundwork had been laid for the rock and roll revolution of the 1950s. The blending of R&B, country, and pop elements, along with the increasing use of electric instruments, set the stage for this new genre to emerge.

In conclusion, the 1940s was a decade of significant transition in American music. While starting with the dominance of swing and big bands, the era saw the birth of bebop, the evolution of R&B and country music, and the rise of the crooners. Technological advancements in recording and playback opened up new possibilities for music creation and consumption. These developments collectively set the stage for the dramatic changes that would reshape popular music in the following decades.

Recording R&B Records

The record Labels that published (competition was Rampant) R&B Records include:

Savoy Records (1942)

Founded by Herman Lubinsky in Newark, it specialized in Jazz, R&B, and Gospel. Taking advantage of the lack of focus by the major labels on the less mainstream musical styles of bop, gospel and blues, Savoy soon established itself as one of the premiere independents of the 1940’s... notable first for their impressive roster of Jazz Artists including some of the most legendary names in history including Dizzy Gillespie, Charlie Parker, Dexter Gordon, Lester Young, Don Byas, Erroll Garner, Miles Davis, and vocalist Jimmy Scott.

Notable R&B Songs were Bunnie Banks Trio with Bonnie Davis with the Hit "Don't Stop Now". Paul Williams and His Hucklebuckers' had a major Hit with "The Hucklebuck"... their concerts were sweaty riotous affairs that got shut down on more than one occasion. Their lyrics, by Roy Alfred (who later co-wrote 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".

King Records (1943)

Founded by Sid Nathan in Cincinnati started out specializing in Country and Western with Hank Ballard & The Midnighters... realizing the Crossover potential, they added Wynonie Harris, Roy Brown, Little Willie John, and Freddy King. His greatest claim when he signed James Brown in 1956.

Specialty Records (1944)

Founded by Art Rupe in LA focused on Jazz, Gospel, and R&B... notable Artists included Joe Liggons, Percy Mayfield, and Roy Milton. In 1952, Specialty discovered and signed 17-year-old Lloyd Price, whose song "Lawdy Miss Clawdy" became a major R&B hit and one of the first to "cross over" to white audiences. Specialty's biggest star was Little Richard, who had fourteen top ten R&B hits and two top ten pop hits in just eighteen months, including classics like "Tutti Frutti" and "Long Tall Sally."

Imperial Records (1947)

Founded by Lew Chudd in Hollywood under the guise of the Universal Music Group, Imperial was given Fats Domino, Frankie Ford, Rickie Nelson, and Slim Whitman.

Atlantic Records... Jerry Wexler and Ike Turner

RPM and Modern Records in LA...

RPM Records was an American Los Angeles-based record label launched in 1950. It was a subsidiary of Modern Records and part of the Bihari Brothers record empire. RPM played an important role in recording and promoting blues, R&B, and early rock and roll artists in the 1950s.

Some notable artists who recorded for RPM include:

• B.B. King (released many successful singles on RPM)

• Ike Turner (worked as a talent scout for the Bihari Brothers)

• Howlin' Wolf

• Roscoe Gordon

• Paul Anka early in his career, including his first single in 1956.

Chess and Vee-Jay Records on the Windy City's "Record Row"...

Chess Records was founded in 1950 in Chicago by Polish immigrant brothers Leonard and Phil Chess. It grew out of their earlier label Aristocrat Records, which they had acquired in 1947. The label played a crucial role in bringing blues and R&B music to mainstream audiences, helping to popularize the Chicago blues sound.

Chess Records discovered and recorded many influential blues artists, including:

• Muddy Waters

• Howlin' Wolf

• Little Walter

• Willie Dixon

• Chuck Berry

• Bo Diddley

The label was instrumental in the development of rock and roll, with artists like Chuck Berry recording some of the earliest and most influential rock and roll songs. Chess helped pioneer new recording techniques, like using unconventional methods to create echo effects.

The Chess studio at 2120 S. Michigan Avenue in Chicago became famous for its unique acoustics that contributed to the "Chess sound." The label influenced many later rock artists, including The Rolling Stones, who recorded at Chess studios on their first US visit.

Chess expanded into other genres like soul, gospel, and jazz in the 1960s, but the 1950s were the most influential period for blues and early rock and roll. The label helped bring African American musical styles to wider audiences and played a key role in the evolution of popular music in the 1950s and beyond.

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Vee-Jay Records was founded in 1953 in Gary, Indiana by husband and wife team Vivian Carter and James Bracke... It quickly became "the most successful black-owned record company in the US" at the time. The label moved to Chicago, on South Michigan Avenue's "Record Row". Vee-Jay initially specialized in rhythm and blues but later expanded into jazz and pop music.

Notable artists: Vee-Jay's roster included blues classics by Jimmy Reed, John Lee Hooker, and Billy Boy Arnold, as well as doo-wop, soul, gospel, and jazz artists. The Beatles connection: Vee-Jay was the first label to sign The Beatles in the US after Capitol Records initially passed on the opportunity.

They were among the very first record labels to release stereo recordings, starting in 1957. Financial problems and legal issues eventually led to the label's downfall in 1966. Vee-Jay's impact on the development of R&B, soul, and early rock and roll was significant, helping to shape the music scene of the 1950s and early 1960s.

RCA Victor Records

In 1948, RCA Victor was marketing black music under the name "Blues and Rhythm". In that year, Louis Jordan dominated the top five listings of the R&B charts with three songs, and two of the top five songs were based on the boogie-woogie rhythms that had come to prominence during the 1940s. Jordan's band, the Tympany Five (formed in 1938), consisted of him on saxophone and vocals, along with musicians on trumpet, tenor saxophone, piano, bass and drums.

Lawrence Cohn described the music as "grittier than his boogie-era jazz-tinged blues". Robert Palmer described it as "urbane, rocking, jazz-based music … [with a] heavy, insistent beat". Jordan's music, along with that of Big Joe Turner, Roy Brown, Billy Wright, and Wynonie Harris, is now also referred to as jump blues. Already Paul Gayten, Roy Brown, and others had had hits in the style now referred to as rhythm and blues. In 1948, Wynonie Harris's remake of Brown's 1947 recording "Good Rockin' Tonight" reached number two on the charts, following band leader Sonny Thompson's "Long Gone" at number one.

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Folk, Blues, Gospel, Jazz, Soul, Funk, and Boogie Woogie are their own Categories within the broader term of Rhythm and Blues. R&B Musical Styles and Lyrics have been influenced by Genres as Jump Blues, Gospel, and Jazz. Rhythm and Blues music influenced Rock and Roll, which then branched out into its own divisions... evolving under the master Genre called "Rock Music" that became solidified in the 1960s.

While R&B music was not explicitly political from the late 1940s through the 1950s, its appeal across racial divides served as an emotion and psychological bond that linked American youth of all races and ethnic backgrounds. By the late 1950s, social and cultural changes were occurring that set the stage for the coalescence of civil rights activism and ethnic consciousness in Rock and Roll and Rockabilly

Doo-Wap...

Doo-wop music originated in America in the late 1940s. It was in the bigger cities, such as Chicago, Detroit, Los Angeles, and New York, where young African American teenagers would gather to sing in public places.

In the late 1940s and 1950s, American segregation was at its highest point. Young African American musicians were often too poor and could not afford musical instruments. Because of that, they had to be creative. They would meet together, mostly as a group of 4, and start producing sounds by only using a wide range of vocal parts. They would sing a capella and simultaneously generate meaningless onomatopoeiae to imitate musical instruments (e.g. “doo doo-wop” or “do wop de wadda”).

Jazz dominated in America and, most radio stations would broadcast popular swing music. This music was an inspiration for the early form of doo-wop music. In the early stages of doo-wop, no instruments got used. It was in its purest form and, the only sounds were produced by the voice, usually from bass to falsetto.

The Mills Brothers was a band that brought the genre to life. They had a major influence, especially when it came to the use of onomatopoeia, rhythmic punctuation, and multi-layered harmonies. The songs were slow and jazzy, and they had a spiritual influence. The lyrics were quite ordinary, usually about love and addressed to a beloved.

Another doo-wop group with an important influence on the genre was Sonny Til And The Orioles. They were the first to gain nationwide fame. Bandleader, Sonny Til, was even considered a rock star and, he was loved and adored by the audience. The group named themselves after the Baltimore Oriole, the official state bird of Maryland. Using a bird in the naming became a trend among doo-wop groups. Examples of this are The Ravens, The Penguins, The Flamingos, The Crows, and The O’Jays.

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