Editing Jump blues (section)

==Origins==
Jump blues evolved from the music of [[big band]]s such as those of [[Lionel Hampton]] and [[Lucky Millinder]] in the early 1940s. The typical jump blues lineup consisted of 5-7 members including sax, bass, drums and piano and/or guitar.<ref>{{Cite web |title=The History of Jump Blues: High Energy Groove and Expressive Feel |url=https://blueschronicles.com/the-history-of-jump-blues-high-energy-groove-and-expressive-feel/}}</ref> The genre produced musicians such as [[Louis Jordan]], [[Jack McVea]], [[Earl Bostic]], and [[Arnett Cobb]].<ref>Dietsche, pp. 9–10.</ref> Jordan was the most popular of the jump blues stars; other artists who played the genre include [[Roy Brown (blues musician)|Roy Brown]], [[Amos Milburn]], and [[Joe Liggins]], as well as sax soloists Jack McVea, [[Big Jay McNeely]], and [[Bull Moose Jackson]]. Hits included singles such as Jordan's "[[Saturday Night Fish Fry]]", Roy Brown's "[[Good Rockin' Tonight]]" and Big Jay McNeely's "Deacon's Hop".<ref name="auto">{{Cite web|url=https://www.baltimoresun.com/news/bs-xpm-1993-12-05-1993339172-story.html|title=The missing link in the evolution of rock and roll JUMP BLUES|first=J. D.|last=Considine|website=The Baltimore Sun|date=5 December 1993 |access-date=23 February 2021}}</ref>

<blockquote>One important stylistic prototype in the development of R&B was jump blues, pioneered by Louis Jordan, with ... His Tympany Five ... three horns and a rhythm section, while stylistically his music melded elements of swing and blues, incorporating the shuffle rhythm, boogie-woogie bass lines, and short horn patterns or riffs. The songs featured the use of African American vernacular language, humor, and vocal call-and-response sections between Jordan and the band. Jordan’s music appealed to both African American and white audiences, and he had broad success with hit songs like "Is You Is or Is You Ain’t My Baby" (1944).<ref>{{Cite web|first=Mark|last=Puryear |url=https://folklife.si.edu/magazine/freedom-sounds-tell-it-like-it-is-a-history-of-rhythm-and-blues |title=Tell It Like It is: A History of Rhythm and Blues &#124; Smithsonian Folklife|website=Smithsonian Center for Folklife and Cultural Heritage |access-date=2021-02-21 |archive-date=2020-10-25 |archive-url=https://web.archive.org/web/20201025032411/https://folklife.si.edu/magazine/freedom-sounds-tell-it-like-it-is-a-history-of-rhythm-and-blues |url-status=dead }}</ref></blockquote>

[[Blues]] and [[jazz]] were part of the same musical world, with many musicians straddling both genres.<ref>Wald, p. 198.</ref> Jump bands such as the [[Tympany Five]], which came into being at the same time as the [[boogie-woogie]] revival, achieved maximum effect with an eight-to-the-bar boogie-woogie style.<ref name="jumptown9">Dietsche, p. 9.</ref>

Jordan's "raucous recordings" with the Tympany Five like "[[Saturday Night Fish Fry]]", one of the first to feature a distorted electric guitar,<ref name="what">{{cite book |last1=Dawson |first1=Jim |last2=Propes |first2=Steve|author-link1=Jim Dawson|author-link2=Steve Propes |title=What Was the First Rock 'N' Roll Record? |date=1992 |publisher=Faber and Faber |location=Boston & London |isbn=0-571-12939-0}}</ref> "literally made its listeners jump to its pulsing beat".<ref>{{Cite web|url=https://www.npr.org/2008/03/04/87905064/louis-jordan-jukebox-king|title=Louis Jordan: 'Jukebox King'|website=NPR|date=March 4, 2008|access-date=23 February 2021}}</ref> At least two other Jordan records are viewed as jump blues, "[[Caldonia]]" and "[[Choo Choo Ch'Boogie]]".<ref>Perone, James E., [https://books.google.com/books?id=CvyFDwAAQBAJ&dq=Louis+jordan+fish+fry+R%26B&pg=PA93 ''Listen to the Blues! Exploring a Musical Genre''],ABC-CLIO, 2019 ({{ISBN|9781440866159}}), p. 93.</ref> Jordan's jump blues combined good-natured novelty lyrics (some with suggestive double meanings); pushing the tempo; strengthening the beat; layering the sound with his bluesy saxophone and playful melodies.<ref>{{Cite web|url=https://ampopmusic.com/topic/jump-blues-grandfather-of-rock-n-roll|title=Jump Blues – Grandfather of Rock 'n' Roll |website=Ampopmusic.com|access-date=23 February 2021}}</ref> 

[[Lionel Hampton]] recorded the stomping big-band blues song "[[Flying Home]]" in 1942.<ref name="Music"/> Featuring a choked, screaming [[tenor saxophone|tenor sax]]  performance by [[Illinois Jacquet]], the song was a hit in the "[[Race music|race]]" category.<ref name="auto"/><ref name="Palmer, p. 134">Palmer, p. 134.</ref> ''[[Billboard (magazine)|Billboard]]'' described "Flying Home" as "an unusually swingy side...with a bright bounce in the medium tempo and a steady drive maintained, it's a jumper that defies standing still". 

Both Hampton and Jordan combined the popular boogie-woogie rhythm, a grittier version of swing-era saxophone styles as exemplified by [[Coleman Hawkins]] and [[Ben Webster]], and playful, humorous lyrics or verbal asides laced with [[Glossary of jive talk|jive talk]].<ref name="Palmer, p. 134"/>

As this urban, jazz-based music became more popular, musicians who wanted to "play for the people" began favoring a heavy, insistent beat. which appealed to black listeners who no longer wished to be identified with "life down home".<ref>Palmer, p. 146.</ref>

Jump groups, employed to play for [[jitterbug]] dances at a much lower cost than big bands, became popular with agents and ballroom owners. The saxophonist Art Chaney said "[w]e were insulted when an audience wouldn't dance".<ref name="jumptown9"/>

Jump was especially popular in the late 1940s and early 1950s, through artists such as [[Louis Jordan]], [[Big Joe Turner]], [[Roy Brown (blues musician)|Roy Brown]], [[Charles Brown (musician)|Charles Brown]], [[Helen Humes]], [[T-Bone Walker]], [[Roy Milton]], [[Billy Wright (musician)|Billy Wright]], [[Wynonie Harris]], [[Louis Prima]], and [[Sonny Terry]] and [[Brownie McGhee]].<ref name="Music"/><ref>{{Cite web|url=https://blues.org/blues_hof_inductee/big-joe-turner/|title=Big Joe Turner|website=Blues.org|first=Jim |last=O’Neal|date=November 10, 2016|access-date=23 February 2021}}</ref> Less frequently mentioned, [[Goree Carter]] also recorded some jump blues; his "[[Rock Awhile]]" is said by [[Robert Palmer (American writer)|Robert Palmer]] to be an appropriate candidate for the title of [[first rock and roll record]].<ref>{{cite web |url= https://www.texasmonthly.com/arts-entertainment/roll-over-ike-turner/ |title=Roll Over, Ike Turner |date=December 1, 2014 |work=Texas Monthly|first=John Nova|last=Lomax |access-date=19 December 2022 |quote=Citing its unmistakable resemblance to Chuck Berry’s later work, its lyrical instruction to “rock awhile,” and the way the guitar crackled through an overdriven amp}}</ref>  

By the mid-1950s, some jump blues songs had become core standards, with songs like "Train Kept a Rollin" played by rock groups including [[the Yardbirds]], [[Aerosmith]] and [[Motorhead]].{{cn|date=January 2025}}  "Five Guys Named Moe" was covered in the 1980s by [[the Honeydrippers]].<ref name="auto" />  

The term "rock and roll" had a strong sexual connotation in jump blues and R&B, but by the time DJ [[Alan Freed]] referred to rock and roll in the mid 1950s, "the sexual component had been dialled down enough that it simply became an acceptable term for dancing".<ref>{{cite web |url=https://www.bbc.co.uk/music/articles/dc64e24d-c4e7-4e34-b2f7-e34a00ea16ad |title=The unexpected origins of music's most well-used terms |date=October 12, 2018 |work=BBC |access-date=February 22, 2021 |quote=its meaning covering both sex and dancing}}</ref>

<gallery widths="200" heights="200">
File:Louis Jordan, New York, N.Y., ca. July 1946 (William P. Gottlieb 04731).jpg|Alto saxophonist [[Louis Jordan]] in New York, July 1946
File:Louis Jordan's Typany Five, New York, N.Y., between 1946 and 1948 (William P. Gottlieb 04751).jpg|Jordan with his [[Tympany Five]]
File:Drummer-and-Vibrafonist-Lionel-Hampton-during-a-show-in-Stockholm-consert-hall-142452987990.jpg|[[Lionel Hampton]]
</gallery>