Pre-War R&B

PRE-WAR R&B
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Introduction
Pre-war R&B was a style of music that emerged in the 1920s and 1940s and was the precursor to modern rhythm and blues. It combined African American musical styles such as blues, jazz, sacred, and folk music. The music was characterized by its up-tempo swing and bluesy sound, and often featured various instruments, including horns, drums, and piano. The style also included prominent call-and-response vocals, in which a lead singer would sing a line, and the band or other singers would respond with their phrase or line. This call-and-response style was used by many of the early R&B singers and was a defining feature of the genre. The lyrics of pre-war R&B were lighthearted and featured themes of love, relationships, and good times. The music featured a lot of improvisation, and the singing was mostly in a blues style. In terms of instrumentation, the music was usually heavily syncopated and featured a lot of horns, drums, and pianos. The sound was upbeat and energetic, and the lyrics featured bold, punchy rhymes.[Abbott, Lynn, and Doug Seroff. Out of sight: The rise of African American popular music, 1889-1895. Univ. Press of Mississippi, 2009.]
Use of Horns, Saxophones, and Pianos
The use of horns, saxophones, and pianos was a defining feature of pre-war R&B. These instruments provided the foundation of the sound, providing a driving rhythm and melodic accompaniment. Horns and saxophones typically took the lead in the ensemble, providing a strong presence that could be heard over the other instruments. Meanwhile, the piano typically provided a more subtle accompaniment, often taking the form of a steady, rolling rhythm. The use of horns and saxophones in pre-war R&B was characterized by what is known as "call-and-response" playing. This is a style of playing in which one instrument takes the lead, and another follows, taking the same melody but with a slightly different rhythm. The lead instrument would play a short riff or phrase, and then the responding instrument would repeat the exact phrase but with a slightly different rhythm. This call-and-response style was employed to create a lively, energetic feel that was typical of the pre-war R&B sound.
In addition to using horns, saxophones, and pianos, pre-war R&B was characterized by using blues-based chord progressions and rhythms. These chord progressions mostly featured the use of seventh chords, which provided a jazzy feel to the music. The rhythms used in pre-war R&B were often influenced by African-American music, such as blues and gospel, and typically featured a strong backbeat. This backbeat provided a strong foundation for the horns and saxophones to play over. Starr and Waterman contend that black and white artists prominently represent the countryside and the R&B sides where such instruments are prevalent.
An excellent example can be heard in Louis Jordan's classic "Caldonia." In this song, the horns, and saxophones trade-off in a lively call-and-response pattern, while the piano provides a steady, rolling rhythm. Another example of this style can be heard in Big Joe Turner's "Roll 'Em Pete," in which the saxophone and piano both take turns in a call-and-response pattern, while the drums provide a driving beat.
Gospel-Style Vocals and Spiritual Themes
Gospel-style vocals and spiritual themes have long been staples in pre-war R&B. Combining these two elements creates a powerful, emotive sound that is distinctively soulful and captivating. The vocal style of pre-war R&B is characterized by a strong, passionate performance of lyrics, often with a heavy emphasis on vocal improvisation and melisma. This improvisational style is heavily influenced by gospel music, particularly call-and-response singing and layered, contrapuntal vocal harmonies. Additionally, the vocal delivery of pre-war R&B includes techniques such as yodeling, yelps, and wails, all of which are heavily influenced by African-American spirituals and other traditional spiritual music. The spiritual themes in pre-war R&B were derived from or directly referenced religious or spiritual concepts. For instance, many early R&B songs by seminal artists such as Sister Rosetta Tharpe and Big Bill Broonzy include references to the Bible, God, and the church.[Cusic, Don. The sound of light: A history of gospel music. Popular Press, 1990.]
Additionally, many of the lyrics in pre-war R&B songs are written from a spiritual perspective, with many songs containing messages of hope and faith even in difficult times. Pre-war R&B also includes instrumentation heavily influenced by gospel and traditional spiritual music. Common instruments such as the piano, organ, and banjo are often featured prominently in pre-war R&B recordings and are used to create a cohesive, gospel-inspired sound. Besides, instruments such as the maracas, tambourine, and washboard are employed to create a rhythmic, lively accompaniment to the vocals. Examples of pre-war R&B songs that include gospel-style vocals and spiritual themes include Sister Rosetta Tharpe's "This Train," Big Bill Broonzy's "God Don't Like It," Mahalia Jackson's "Move On Up A Little Higher," and Louis Jordan's "Let the Good Times Roll." These songs feature improvisational, gospel-style vocals and spiritual themes integral to pre-war R&B.
Call-and-Response Vocals
Call-and-response vocals are an essential element of pre-war R&B. This form of vocal delivery, which dates back to African-American spirituals, has been used by countless R&B artists over the years. In pre-war R&B, call-and-response vocals were used to create a sense of unity between the artist and audience and emphasize specific musical ideas. The call-and-response format is a simple yet effective way of communicating musical ideas. The most basic form involves a leader (the "caller") singing a phrase and then the audience ("responders") echoing back the exact phrase. The latter can be as simple as a single word or as complex as a complete sentence. In pre-war R&B, the call-and-response format was often used to emphasize the chorus or bridge of a song, allowing the audience to become an integral part of the performance.
The call-and-response method was frequently utilized to foster unity between the singer and the listener. The performer established a sense of unity that was frequently missing in other musical forms by calling out to the crowd and then having them reply. This was especially true in African-American music, where the social and political climate of the time marginalized the African-American community. Pre-war R&B performers also utilized the call-and-response technique to highlight specific musical concepts and provide an impression of forward momentum in the song. The artist built tension and energy in the music by having the audience respond to the exact phrase or musical idea. This was especially when the call and response took the form of a question and answer.
Call-and-response vocals were another technique utilized by pre-war R&B singers to foster a feeling of community and camaraderie among listeners. By singing together, the audience felt connected to the artist and each other. This feeling of unity is still present in many forms of African-American music today. The call-and-response technique was usually used in combination with other stylistic features of pre-war R&B. According to Maultsby, rhythm and blues resulted from blacks migrating to urban from rural areas in the South during World War II and adopting various lifestyles there.[Maultsby, Portia K. "Rhythm and Blues/R&B." In African American Music, pp. 255-292. Routledge, 2014.]
In addition, the use of horns and other instruments gave the songs a jazzy feel, while other elements, like bluesy guitar licks and bluesy vocals, added a soulful flavor to the recordings. Finally, call-and-response vocals were a common stylistic feature of pre-war R&B. This method was used to enhance the songs' emotional depth and to build a strong feeling of solidarity between artists and the audience. Call-and-response vocals were often combined with other stylistic features, such as jazz and blues, to create a unique sound that defined pre-war R&B.
One example of call-and-response vocals in pre-war R&B is Big Joe Turner's "Roll 'Em Pete" (1938). In this song, Big Joe Turner sings the lead vocal while other vocalists repeat the phrase "roll 'em Pete" in response. The call-and-response technique is used throughout the song, creating a lively and engaging sound. Another example of call-and-response vocals in pre-war R&B is "Let The Good Time Roll by Louis Jordan." Ideally, in "Choo Ch'Boogie," Louis Jordan sings the lead vocal while other vocalists repeat the phrase "choo ch'boogie" in response. The call-a...