| Rhythm and blues (or R&B) was coined as a
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| | on Charlie Mingus's breakthrough jazz
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| musical marketing term in the United
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| | recordings were R&B veterans. Lionel
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| States in 1949 by Jerry Wexler at
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| | Hampton's big band of the early 1940s,
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| Billboard magazine, and was used to
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| | which produced the classic recording
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| designate upbeat popular music performed
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| | "Flying Home" (tenor sax solo by Illinois
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| by African American artists that combined
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| | Jacquet) was the breeding ground for many
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| jazz, gospel, and blues. It replaced the
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| | of the bebop legends of the 1950s. Eddie
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| term race music, which was deemed
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| | "Cleanhead" Vinson was a one-man fusion, a
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| offensive, as well as the Billboard
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| | bebop saxophonist and a blues shouter.The
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| category name "Harlem Hit Parade," in June
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| | 1950s was the premier decade for classic
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| of 1949, and was initially used to
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| | rhythm and blues. Overlapping with other
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| identify the rocking style of music that
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| | genres such as jazz and rock and roll, R&B
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| combined the 12 bar blues format and
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| | also developed regional variations. A
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| boogie woogie with a backbeat, later known
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| | strong, distinct style straddling the
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| as rock and roll. In 1948, RCA Victor was
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| | border with blues came out of New Orleans
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| marketing black music under the name
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| | and was based on a rolling piano style
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| "Blues and Rhythm," but the words were
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| | first made famous by Professor Longhair.
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| reversed by Wexler of Atlantic Records,
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| | In the late 1950s, Fats Domino hit the
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| the most aggressive and most dominant
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| | national charts with "Blueberry Hill" and
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| label in the R&B field in the early years.
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| | "Ain't That a Shame". Other artists who
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| By the 1970s, rhythm and blues was being
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| | popularized this Louisiana flavor of R&B
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| used as a blanket term to describe soul
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| | included Clarence "Frogman" Henry, Frankie
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| and funk as well. Today, the acronym "R&B"
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| | Ford, Irma Thomas, The Neville Brothers,
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| is almost always used instead of "rhythm
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| | and Dr. John.At the start of their career,
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| and blues", and defines the modern version
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| | The Rolling Stones were essentially an R&B
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| of the soul and funk influenced
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| | band.Contemporary R&BIt was not until the
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| African-American pop music that originated
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| | 1980s that the term "R&B" regained
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| with the demise of disco in 1980.Original
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| | ordinary usage. During that time, the soul
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| rhythm and blues
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| | music of James Brown and Sly & the Family
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| In its first manifestation, rhythm and
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| | Stone had adapted elements from
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| blues was a predecessor to rock and roll.
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| | psychedelic music and other styles through
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| It was strongly influenced by jazz and
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| | the work of performers like George
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| jump music as well as black gospel music,
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| | Clinton. Funk also became a major part of
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| and influenced jazz in return (hard bop
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| | disco, a kind of dance pop electronic
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| was the product of the influence of rhythm
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| | music. By the early 1980s, however, funk
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| and blues, blues, and gospel music on
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| | and soul had become sultry and
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| bebop) and African tribal beats.The first
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| | sexually-charged with the work of Prince
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| rock and roll consisted of rhythm and
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| | and others. At that time, the modern style
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| blues songs like "Rocket 88" and "Shake,
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| | of contemporary R&B came to be a major
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| Rattle and Roll" making an appearance on
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| | part of American popular music.R&B today
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| the popular music charts as well as the
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| | defines a style of African-American music,
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| R&B charts. "Whole Lotta Shakin' Goin'
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| | originating after the demise of disco in
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| On", the first hit by Jerry Lee Lewis was
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| | 1980, that combines elements of soul
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| an R&B cover song that made #1 on pop, R&B
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| | music, funk music, pop music, and (after
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| and country and western charts.Musicians
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| | 1986) hip hop in the form known as
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| paid little attention to the distinction
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| | contemporary R&B. In this context only the
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| between jazz and rhythm and blues, and
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| | abbreviation "R&B" is used, not the full
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| frequently recorded in both genres.
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| | expression.Sometimes referred to as "urban
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| Numerous swing bands (for example, Jay
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| | contemporary" (the name of the radio
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| McShann's, Tiny Bradshaw's, and Johnny
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| | format that plays hip hop and R&B music)
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| Otis's) also recorded rhythm and blues.
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| | or "urban pop", contemporary R&B is
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| Count Basie had a weekly live rhythm and
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| | distinguished by a slick, electronic
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| blues broadcast from Harlem. Even a bebop
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| | record production style, drum
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| icon like arranger Tadd Dameron also
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| | machine-backed rhythms, and a smooth, lush
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| arranged for Bull Moose Jackson and spent
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| | style of vocal arrangement. Uses of hip
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| two years as Jackson's pianist after
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| | hop inspired beats are typical, although
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| establishing himself in bebop. Most of the
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| | the roughness and grit inherent in hip hop
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| studio musicians in R&B were jazz
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| | are usually reduced and smoothed
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| musicians. And it worked in the other
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| | out.HistoryContemporary R&B singer Mary J.
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| direction as well. Many of the musicians
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