Editing New Orleans rhythm and blues (section)

== Early pioneers ==
New Orleans rhythm and blues was pioneered by local barrelhouse pianists [[Champion Jack Dupree]], [[Archibald (musician)|Archibald]], and [[Professor Longhair]].

Professor Longhair, otherwise known as "Fess", was considerably influential in the development of the New Orleans R&B sound. [[Allen Toussaint]], an important figure in New Orleans R&B, described him as "The Bach of Rock 'n' Roll".<ref>John Broven, ''Rhythm and Blues in New Orleans'' (Gretna: Pelican, 1974), p. 4, {{ISBN|978-1455619511}}</ref> He combined Caribbean and [[boogie-woogie]] rhythms to create his signature style. The result was a usage of polyrhythms that he often whistled while playing.<ref name=":32">McKnight, "Researching New Orleans Rhythm and Blues," p. 115</ref> Although he was admired by other New Orleans musicians, he did not gain national attention until the end of his career.<ref>McKnight, "Researching New Orleans Rhythm and Blues," p. 117</ref>

During his early career, Longhair visited the Caldonia Inn to listen to Dave Bartholomew's band. When he sat in for Bartholomew's pianist, a large crowd suddenly flooded the venue. He then decided to start his own band called the Four Hairs combo. Soon after, the band recorded their first four tunes at the Hi-Hat club for the Star Talent Label. In 1950, Longhair worked briefly with Mercury Records and recorded "Bald Head". The song reached No.5 on ''Billboard's'' R&B chart. Due to financial complications, his work with Mercury was cut short. During the 1950s, he worked with Atlantic Records and recorded "[[Tipitina]]", which at the time was only a local hit, but today is recognized as a New Orleans R&B classic.<ref name=":1">Broven, ''Rhythm and Blues in New Orleans'', p. 7</ref>

=== Professors and barrelhouse pianists ===
There were two types of local pianists in New Orleans; "professor" pianists and "barrelhouse" pianists. Professors were often classically trained and understood music theory. They played in a variety of styles in the brothels of Storyville. Because they were more skilled, audiences expected them to play any request that was thrown their way. Notable "professor" pianists include [[Buddy Christian]], [[Clarence Williams (musician)|Clarence Williams]], [[Alton Purnell]], [[Spencer Williams]], and [[Jelly Roll Morton]]. Barrelhouse pianists were often untrained with little to no background in music theory. They were mostly self-taught and played mostly in a blues style. Barrelhouse pianists were considered semi-professional and played for drinks, food, or tips.<ref>Jeff Hannusch, ''I Hear You Knockin' '' (Ville Platte: Swallow, 1987), p. 3, {{ISBN|978-0961424503}}</ref>