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Hey! Ba-Ba-Re-Bop
"Hey! Ba-Ba-Re-Bop" is a 1946 song by Lionel Hampton and His Orchestra. The song's lead vocals were performed by Lionel Hampton himself and the recording featured Herbie Fields on alto sax. The song went to number one on the R&B Juke Box chart for sixteen non-consecutive weeks and reached number nine on the national pop charts. Although the writing of "Hey! Ba-Ba-Re-Bop" was credited to Hampton and his drummer Curley Hamner, it was essentially a partial rewriting of Helen Humes' 1945 R&B hit "Be-Baba-Leba", which in turn was closely related to "Ee-Bobaliba" by Jim Wynn. Precursors The song "Be-Baba-Leba" was recorded by Helen Humes with the Bill Doggett Octet in August 1945, in Los Angeles, and rose to number 3 on the '' Billboard'' R&B chart at the end of the year. The writing of the song was credited to Humes, who wrote the lyrics, such as: "He thrills me in the morning, thrills me in the night, the way he loves me makes me scream with delight, oooh oooh oooh baba-leba...." ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lionel Hampton
Lionel Leo Hampton (April 20, 1908 – August 31, 2002) was an American jazz vibraphonist, pianist, percussionist, and bandleader. Hampton worked with jazz musicians from Teddy Wilson, Benny Goodman, and Buddy Rich, to Charlie Parker, Charles Mingus, and Quincy Jones. In 1992, he was inducted into the Alabama Jazz Hall of Fame, and he was awarded the National Medal of Arts in 1996. Biography Early life Lionel Hampton was born in 1908 in Louisville, Kentucky, and was raised by his mother. Shortly after he was born, he and his mother moved to her hometown of Birmingham, Alabama. He spent his early childhood in Kenosha, Wisconsin, before he and his family moved to Chicago, Illinois, in 1916. As a youth, Hampton was a member of the Bud Billiken Club, an alternative to the Boy Scouts of America, which was off-limits because of racial segregation. During the 1920s, while still a teenager, Hampton took xylophone lessons from Jimmy Bertrand and began to play drums. Hampton was raised ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bebop
Bebop or bop is a style of jazz developed in the early-to-mid-1940s in the United States. The style features compositions characterized by a fast tempo, complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody. Bebop developed as the younger generation of jazz musicians expanded the creative possibilities of jazz beyond the popular, dance-oriented swing music-style with a new "musician's music" that was not as danceable and demanded close listening.Lott, Eric. Double V, Double-Time: Bebop's Politics of Style. Callaloo, No. 36 (Summer, 1988), pp. 597–605 As bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation, altered chords, extended chords, chord substitutions, asymmetrical phrasing, and intricate melodi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cover Version
In popular music, a cover version, cover song, remake, revival, or simply cover, is a new performance or recording by a musician other than the original performer or composer of the song. Originally, it referred to a version of a song released around the same time as the original in order to compete with it. Now, it refers to any subsequent version performed after the original. History The term "cover" goes back decades when cover version originally described a rival version of a tune recorded to compete with the recently released (original) version. Examples of records covered include Paul Williams' 1949 hit tune "The Hucklebuck" and Hank Williams' 1952 song "Jambalaya". Both crossed over to the popular hit parade and had numerous hit versions. Before the mid-20th century, the notion of an original version of a popular tune would have seemed slightly odd – the production of musical entertainment was seen as a live event, even if it was reproduced at home via a cop ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wynonie Harris
Wynonie Harris (August 24, 1915 – June 14, 1969) was an American blues shouter and rhythm-and-blues singer of upbeat songs, featuring humorous, often ribald lyrics. He had fifteen Top 10 hits between 1946 and 1952. Harris is attributed by many music scholars to be one of the founding fathers of rock and roll. His "Good Rocking Tonight" is mentioned at least as a precursor to rock and roll. His dirty blues repertoire included "Lolly Pop Mama" (1948), "I Like My Baby's Pudding" (1950), "Sittin on It All the Time" (1950), " Keep On Churnin' (Till the Butter Comes)" (1952), and "Wasn't That Good" (1953). Biography Early life and family Harris's mother, Mallie Hood Anderson, was fifteen and unmarried at the time of his birth. His paternity is uncertain. His wife, Olive E. Goodlow, and daughter, Patricia Vest, said that his father was a Native American named Blue Jay. Wynonie had no father figure in his family until 1920, when his mother married Luther Harris, fifteen years her ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rock And Roll
Rock and roll (often written as rock & roll, rock 'n' roll, or rock 'n roll) is a Genre (music), genre of popular music that evolved in the United States during the late 1940s and early 1950s. It Origins of rock and roll, originated from African-American music such as jazz, rhythm and blues, boogie woogie, gospel music, gospel, as well as country music. While rock and roll's formative elements can be heard in blues records from the 1920s and in country records of the 1930s,Peterson, Richard A. ''Creating Country Music: Fabricating Authenticity'' (1999), p. 9, . the genre did not acquire its name until 1954. According to journalist Greg Kot, "rock and roll" refers to a style of popular music originating in the United States in the 1950s. By the mid-1960s, rock and roll had developed into "the more encompassing international style known as rock music, though the latter also continued to be known in many circles as rock and roll."Kot, Greg"Rock and roll", in the ''Encyclopædia Bri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Choo Choo Ch'Boogie
"Choo Choo Ch'Boogie" is a popular song written by Vaughn Horton, Denver Darling, and Milt Gabler. The song was recorded in January 1946 by Louis Jordan & His Tympany Five and released by Decca Records. It topped the R&B charts for 18 weeks from August 1946, a record equalled by only one other hit, "The Honeydripper." The record was one of Jordan's biggest hits with both black and white audiences, peaking at number seven on the national chart and provided an important link between blues and country music, foreshadowing the development of "rock and roll" a few years later. History and background Although "Choo Choo Ch'Boogie" is now seen as epitomising the style known as jump blues, it was written by white songwriters whose background was in country and western music. The song is credited to Darling, Horton and Gabler. Denver Darling (1909–1981) was a "hillbilly" guitarist and songwriter, as was his occasional songwriting partner Vaughn Horton (1911–1988). Darling and H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Louis Jordan
Louis Thomas Jordan (July 8, 1908 – February 4, 1975) was an American saxophonist, multi-instrumentalist, songwriter and bandleader who was popular from the late 1930s to the early 1950s. Known as " the King of the Jukebox", he earned his highest profile towards the end of the swing era. He was inducted into the Rock and Roll Hall of Fame as an "early influence" in 1987. Specializing in the alto sax, Jordan played all forms of the saxophone, as well as piano and clarinet. He also was a talented singer with great comedic flair, and fronted his own band for more than twenty years. He duetted with some of the biggest solo singing stars of his time, including Bing Crosby, Ella Fitzgerald and Louis Armstrong. Jordan was also an actor and a film personality—he appeared in dozens of "soundies" (promotional film clips) He also made numerous cameos in mainstream features and short films, and starred in two musical feature films: Swing Parade of 1946, probably targeting white viewers ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Honeydripper
"The Honeydripper (Parts 1 and 2)" is an R&B song by Joe Liggins and his Honeydrippers which topped the US Billboard R&B chart (at that time called the "Race Records" chart) for 18 weeks, from September 1945 to January 1946. History Liggins claimed to have written the tune around 1942, when playing piano in Los Angeles with a group called the California Rhythm Rascals. The tune was based around the traditional song "Shortnin' Bread". It was adopted by dancers performing a dance called the Texas Hop, and Liggins wrote words to fit the tune - ''"The honeydripper, he's a killer, the honeydripper ... he's a solid gold cat, he's the height of jive ... he's a riffer, the honeydripper."'' The term "honeydripper" was black slang for a "sweet" guy, and had already been adopted as a nickname by blues pianist Roosevelt Sykes. Liggins tried to persuade his next bandleader, Sammy Franklin, to record it, but Franklin refused and Liggins put together his own four-man group with Little Will ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Joe Liggins
Joseph Christopher Liggins, Jr. (born Theodro Elliott; July 9, 1916 – July 26, 1987) was an American R&B, jazz and blues pianist and vocalist who led Joe Liggins and his Honeydrippers in the 1940s and 1950s. His band appeared often on the ''Billboard'' magazine charts. The band's biggest hit was "The Honeydripper", released in 1945. Joe Liggins was the older brother of R&B performer Jimmy Liggins. Music career The son of Harriett and Elijah Elliott, he was born in Seminole, Oklahoma, and took his stepfather's surname, Liggins, as a child. He apparently dropped the name Theodro and adopted the names Joseph Christopher during the 1930s. The family moved to San Diego in 1932.Michael Jack Kirby, "Joe Liggins – Pink Champagne", ''Wayback Attack'' Retrieved November 15, 2016 He ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Philo Records (rhythm & Blues)
Philo Records was a short-lived record company and label founded in 1945 by the brothers Eddie and Leo Messner. Soon after it was founded, the name was changed to Aladdin. Philo's releases included 78 RPM singles of Illinois Jacquet, Wynonie Harris, Helen Humes with the Bill Doggett Octet, Jay McShann and Lester Young, and an album (set of two 78 RPM records) of Lester Young, Nat King Cole and Red Callender. When the U.S. Patent Office refused to register the label because of the similarity in name with the Philco radio corporation, which produced blanks for the record industry, the dispute was settled when the owners agreed to continue the name as Medlee. On March 2, the company placed an advertisement in ''Billboard'' magazine, announcing the new trade name. The next week, though, they placed a new ad "correcting their mistake", announcing Aladdin Records.''The Billboard'', March 9, 1946, p. 24. The numbering of the releases was continued, and older Philo releases were reprint ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Call And Response
Call and response is a form of interaction between a speaker and an audience in which the speaker's statements ("calls") are punctuated by responses from the listeners. This form is also used in music, where it falls under the general category of antiphony. African cultures In some African cultures, call-and-response is a widespread pattern of democratic participation—in public gatherings, in the discussion of civic affairs, in religious rituals, as well as in vocal and instrumental musical expression (see call and response in music). African bondsmen and bondswomen in the Americas continued this practice over the centuries in various forms of expression—in religious observance; public gatherings; even in children's rhymes; and, most notably, in music in its multiple forms: blues, gospel, rhythm and blues, soul, jazz, hip-hop and go-go. Many work songs sung on plantations by enslaved men and women also incorporate the call and response format. African-American Women Work Son ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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