Chapter 4: Influences do Blues in Rock, Jazz and Pop.

The influences of  Blues in rock-and-roll.

Muddy Waters got it right in his song "The Blues had a baby and named it rock They-and-roll." Rock and roll was born out of the blues. The birth of rock-and-roll is Generally Placed around 1947 or 1948, and is IDENTIFIED BY those blues songs that had an even stronger-than-usual rhythm and were Especially well-suited for dancing. A great website, "Rock before Elvis," documents the birth of rock-and-roll in detail.

As the years passed, rock-and-roll musicians to fully realize Began Their blues roots. More and more Often, Otherwise forgotten blues songs (and musicians) were revived by rock bands. Many rock songs are nothing more than old blues songs with a more electrified sound and a heavier beat. Musicians who have lifted directly songs from the blues masters include the Beatles, the Yard birds, the Rolling Stones, ZZ Top, Stevie Ray Vaughan, and many more.

Over the years, many rock stars have sought blues masters October those who wrote All Those great old songs because they wanted to perform with them. The blues masters were like idols to the younger rockers, and often the source of their childhood inspiration.

The influences of Blues in Jazz

The blues and jazz have much in common, from their origins in the African-American communities of the southern United States at the beginning of the 20th century to their spread, through the then-developing

Media of sound recordings and radio broadcasts, to national and international art forms. Both the blues and jazz have multiple definitions that sometimes go beyond music and speak to the processes and viewpoints that give these revered musical art forms relevance today.

From the perspective of musical structure, jazz as we know it would not exist without the blues. The twelve-bar blues chorus, with its familiar harmonic structure and narrative form, was the single most popular template for early jazz improvisation, as compact yet profound in its way as the sonnet proved to be in the realm of poetry. Early jazz giants including Jelly Roll Morton, King Oliver and Louis Armstrong used blues songs as the foundation for many of their most important creations, while Duke Ellington, despite a half-century of composing that led him to write extended suites and programs of sacred music, continued to employ the blues as the primary template in his arsenal. As jazz evolved and jazz musicians applied more sophisticated ideas of rhythm and harmony, the blues remained a constant, the basis for such influential recordings as Count Basie's "One O’clock Jump" in the '30s, Thelonious Monk's "Mysterious" in the '40s, Miles Davis' "Walk-in'" in the '50s and Herbie Hancock's "Watermelon Man" in the'60s.

From the outset, the blues frequently deviated from its twelve-bar form, and jazz musicians have similarly displayed a willingness to bend the blues to their own devices. Sometimes this means an adjustment of