Wikipedia

Jewish influence in rhythm and blues

(Redirected from Jewish Influence in Rhythm and Blues)

Though the music itself developed in African-American communities, the Jewish influence in rhythm and blues, particularly in terms of the music's presentation to a wider audience, was important. According to the Jewish writer, music publishing executive, and songwriter Arnold Shaw, during the 1940s in the United States there was generally little opportunity for Jews in the WASP-controlled realm of mass communications, but the music business was "wide open for Jews as it was for blacks".[1] Jews played a key role in developing and popularizing African American music, including rhythm and blues, and the independent record business was dominated by young Jewish men, and some women, who promoted the sounds of black music.[2]

Studio of Chess Records in Chicago, founded in 1950 by Leonard and Phil Chess

Jewish-owned record companies and the promotion of African American music

edit

Jewish composers, musicians, and promoters had a prominent role in the transition from jazz and swing to doo-wop and rock 'n' roll in American popular music of the 1950s,[3] while Jewish businessmen founded many of the labels that recorded rhythm and blues during the height of the vocal group era. According to Israeli Jewish historian Ari Katorza, although only two percent of the total US population was Jewish, their representation in the music industry was much higher,[4] and by this time they owned or managed about "forty percent of the independent record companies recording and distributing rock 'n' roll and rhythm and blues music in the United States."[5]

In the decade from 1944 to 1955, many of the most influential record companies specializing in "race" music (or rhythm and blues, as it later came to be known) were owned or co-owned by Jews. These included Chess and National Records in Chicago; King in Cincinnati; Savoy in Newark; Apollo, Old Time (Old Town?), and Atlantic in New York; and Specialty, Aladdin, and Modern in Los Angeles, as well as many others; [6] they were the small independent record companies that recorded, marketed, and distributed doo-wop music.[7] Jack and Devora Brown, a Jewish couple in Detroit, founded Fortune Records in 1946, and recorded a variety of eccentric artists and sounds; in the mid-1950s they became champions of Detroit rhythm and blues, including the music of local doo-wop groups.[8]

Jewish entrepreneurs started scores of independent record companies between 1940 and 1960; many of them focused on black popular music and promoting black talent with their new vocal group sound. Although black-owned independent labels competed with the Jewish-owned indie labels in the rhythm and blues era, Jewish entrepreneurs had access to a wide network in popular entertainment that made Jews preeminent in music publishing, talent agencies, A&R, and record distribution. This network wielded considerable influence in American culture and business.[9]

Running an independent record label in the rhythm and blues and early rock 'n' roll era was practically a Jewish business niche. Prominent Jewish entrepreneurs included Herb Abramson of Atlantic, Jules Bihari of Modern, Al Green of National, Florence Greenberg of Apollo, Herman Lubinsky of Savoy, Syd Nathan of King, Art Rupe of Specialty, and Hy Weiss of Old Town.[9]

Jewish women in the business end of rhythm and blues

edit
 
The Shirelles (1962)

Deborah Chessler, a young Jewish sales clerk interested in black music, attended shows at black and white performance venues in segregated Baltimore, where she absorbed the music that influenced her own songwriting. After the shows, she tried to sell her songs, which she described as in the "black vein", to the groups backstage. Chessler, who could not read or write music, would repeat melodies she composed in her mind until she could find a pianist to transcribe them. She wrote the lyrics to her song "It's Too Soon To Know" on toilet paper when she could find no other paper in her hotel room.[10] With Chessler as their manager and songwriter, the Baltimore doo-wop group the Orioles recorded the song and it reached no. 1 on Billboard's race records charts in November 1948.[11]

A few Jewish women were in the recording business, such as Florence Greenberg, who started the Scepter label in 1959, and signed the African American girl group, the Shirelles. The songwriting team of Gerry Goffin and Carole King, who worked for Don Kirshner's Aldon Music at 1650 Broadway (near the famed Brill Building at 1619);[12] offered Greenberg a song, "Will You Love Me Tomorrow", which was recorded by the Shirelles and rose to number 1 on the Billboard Hot 100 chart in 1961. During the early 1960s, Scepter was the most successful independent record label.[13]

Business practice and relations with black artists

edit

The prevailing narrative of the historical record has described the unfair treatment of black performers by the men who ran the postwar music industry; the most controversial among them were the Jewish owners of independent record companies that sprang up in the United States in the 1940s. Record company owners such as Herman Lubinsky had a reputation for exploiting black artists, and only a few Jewish owners were never accused of dealing unfairly with the black artists they recorded.[14] The sometimes morally dubious business practices of men like Lubinsky and Syd Nathan caused Jewish label heads to be regarded as parasites on black culture by some groups and commentators.[15]

Lubinsky, who founded Savoy Records in 1942, produced and recorded the Carnations, the Debutantes, The Falcons, the Jive Bombers, the Robins, and many others. Although his entrepreneurial approach to the music business and his role as a middleman between black artists and white audiences created opportunities for unrecorded groups to pursue wider exposure,[14] his business partner Ozzie Cadena, a producer and A&R scout for Savoy Records, told an interviewer that Lubinsky hated blacks;[16] Lubinsky in turn was reviled by many black musicians.[17]

Historians Robert Cherry and Jennifer Griffith maintain that regardless of Lubinsky's personal shortcomings, the evidence that he treated African American artists worse in his business dealings than other independent label owners did is unconvincing. They contend that in the extremely competitive independent record company business during the postwar era, the practices of Jewish record owners generally were more a reflection of changing economic realities in the industry than of their personal attitudes.[14]

Some Jewish company owners genuinely appreciated the music they recorded and were committed to the struggle for racial equality. Milt Gabler of Commodore Records has been frequently lauded for his taste in music, support of civil rights for African Americans, and fair business practices. Syd Nathan and Leonard Chess were successful Jewish businessmen who could recognize talent, and while focussed at first exclusively on profits, they were examples of record company owners who gradually developed an appreciation for the music and the artists. In 1949, the Cincinnati Post reported how Nathan's business policies subverted Jim Crow segregation, while Chess's part ownership of local black oriented radio station WVON helped foster good relations between the black and white communities in Chicago.[14]

Jews in the business with black identity

edit

There were also Jews in the music business who considered themselves black culturally, but Jewish in their roles as entrepreneurs who managed black singing groups. Jewish creative people in the industry—artists, arrangers, producers, and songwriters—also sometimes preferred to mask their ethnic background and assume an African American cultural identity.[5] According to Jerry Wexler, these men identified with black culture, spoke and carried themselves as if they were "black", and married black women.[18] Jerry Leiber, who grew up in lower-class West Baltimore where his mother opened a grocery store in a black neighborhood,[19] once commented, “I felt black. I was, as far as I was concerned.”[20][21]

Brill Building songwriting

edit
 
Brill Building at 1619 Broadway, Manhattan, New York

The American girl groups of the late 1950s and early 1960s had a sound directly influenced by the vocal harmonizing of the earlier black groups who sang doo-wop. Many of the doo-wop songs informing early rock 'n' roll music were written by the so-called "Brill Building" writers, most notably the songwriting team of Jerry Leiber and Mike Stoller, who wrote songs for the Robins, the Clovers, and then did the same for the Coasters.[22] The "Brill Building" hit-maker businesses in New York that created the Brill Building sound were known for the strong Jewish and female presence in their stables of young songwriters.[23] These songwriters contributed to a revitalization of doo-wop and pioneered the girl group stylings of the Shirelles, the Crystals, the Ronettes, and the Shangri-Las,[12] all of whom had great Billboard chart success in the late 1950s and early 1960s.[24]

The music conceived at the Brill Building was more sophisticated than other pop styles of the time, combining contemporary sounds with classic Tin Pan Alley songwriting.[25] Ellie Greenwich, Carole King, and Cynthia Weil were among the most accomplished of the Brill Building songwriters who wrote R&B and doo-wop hits,[26] and used doo-wop conventions to express the drama of teenage love and give voice to the romantic concerns of young female music fans.[27]

See also

edit

References

edit
  1. ^ Arnold Shaw (1978). Honkers and Shouters: The Golden Years of Rhythm and Blues. Collier Books. p. 343. ISBN 978-0-02-061760-0.
  2. ^ Muchin, Andrew (August 1994). "How a Bunch of Upstart Jewish Independent Record Producers Helped Turn African American Music into a National Treasure" (PDF). Moment Magazine. pp. 53–54. Retrieved 20 March 2021.
  3. ^ David A. Rausch (1996). Friends, Colleagues, and Neighbors: Jewish Contributions to American History. Baker Books. p. 139. ISBN 978-0-8010-1119-1.
  4. ^ Henry L. Feingold (1992). A Time for Searching: Entering the Mainstream, 1920-1945. Johns Hopkins University Press. p. 252. ISBN 978-0-8018-4346-4. Jewish impresarios contributed disproportionately to bringing Negro 'rhythm and blues' into the mainstream of American culture.
  5. ^ a b Ari Katorza (21 January 2016). "Walls of Sounds: Leiber & Stoller, Phil Spector, the Black-Jewish Alliance, and the "Enlarging" of America". In Amalia Ran; Moshe Morad (eds.). Mazal Tov, Amigos! Jews and Popular Music in the Americas. Brill. pp. 83, 86, 88. ISBN 978-90-04-20477-5.
  6. ^ Jonathan Karp (20 August 2012). "Blacks, Jews, and the Business of Race Music, 1945–1955". In Rebecca Kobrin (ed.). Chosen Capital: The Jewish Encounter with American Capitalism. Rutgers University Press. p. 141. ISBN 978-0-8135-5329-0.
  7. ^ John Michael Runowicz (2010). Forever Doo-wop: Race, Nostalgia, and Vocal Harmony. University of Massachusetts Press. pp. 45, 48. ISBN 978-1-55849-824-2.
  8. ^ M. L. Liebler; S.R. Boland (2016). "3: The Pre-Motown Sounds". Heaven was Detroit: From Jazz to Hip-hop and Beyond. Wayne State University Press. pp. 100–104. ISBN 978-0-8143-4122-3.
  9. ^ a b Jonathan Karp (15 September 2015). "Brokering a Rock 'n' Roll International". In Rebecca Kobrin; Adam Teller (eds.). Purchasing Power: The Economics of Modern Jewish History. University of Pennsylvania Press. pp. 126–127. ISBN 978-0-8122-9165-0.
  10. ^ Pamela Horner (2009). "An Evening with Deborah Chessler, Songwriter and former manager of the Orioles at The Rock And Roll Hall of Fame" (PDF). classic harmony.com. Archived from the original (PDF) on 8 January 2010. Retrieved 17 January 2021.
  11. ^ Eric L. Goldstein; Deborah R. Weiner (28 March 2018). On Middle Ground: A History of the Jews of Baltimore. JHU Press. p. 281. ISBN 978-1-4214-2452-1.
  12. ^ a b Ken Emerson (26 September 2006). Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era. Penguin Publishing Group. pp. 11–13. ISBN 978-1-101-15692-6.
  13. ^ Jon Stratton (5 July 2017). Jews, Race and Popular Music. Taylor & Francis. p. 43. ISBN 978-1-351-56170-9.
  14. ^ a b c d Robert Cherry; Jennifer Griffith (Summer 2014). "Down to Business: Herman Lubinsky and the Postwar Music Industry" (PDF). Journal of Jazz Studies. 10 (1): 1–4. doi:10.14713/JJS.V10I1.84. S2CID 161459134. Archived from the original (PDF) on 2021-01-29.
  15. ^ CommonQuest. American Jewish Committee and Howard University. 1996. p. 25.
  16. ^ CommonQuest. American Jewish Committee and Howard University. 1996. p. 24.
  17. ^ Barbara J. Kukla (2002). Swing City: Newark Nightlife, 1925-50. Rutgers University Press. p. 153. ISBN 978-0-8135-3116-8.
  18. ^ Jonathan Karp (20 August 2012). "Blacks, Jews, and the Business of Race Music, 1945-1955". In Rebecca Kobrin (ed.). Chosen Capital: The Jewish Encounter with American Capitalism. Rutgers University Press. p. 156. ISBN 978-0-8135-5329-0.
  19. ^ Apperson, Jay (4 December 1997). "A Baltimore Jewish kid who rocked Music: Jerry Leiber's childhood around Sandtown-Winchester led to "Hound Dog," "Stand By Me" and other legendary tunes of rock 'n' roll". baltimoresun.com. Archived from the original on 27 November 2020. Retrieved 21 January 2021.
  20. ^ Steven Lee Beeber (2006). "The Shiksa Goddess". The Heebie-Jeebies at CBGB's: A Secret History of Jewish Punk. Chicago Review Press. p. 159. ISBN 978-1-55652-761-6.
  21. ^ "Jerry Leiber: Remembering One Of Rock's Great Songwriters". NPR.org. 26 August 2011. Archived from the original (Interview by Terry Gross) on 21 January 2021. Retrieved 21 January 2021. We really felt that we were very black, and we acted black, and we spoke black because, you see, when I was a kid growing up, it was–where I came from, it was hip to be black, you know. I mean, to be white was kind of square, you know.
  22. ^ David Ritz; Jerry Leiber; Mike Stoller (18 October 2010). Hound Dog: The Leiber and Stoller Autobiography: The Leiber and Stoller Autobiography. Omnibus Press. p. 147. ISBN 978-0-85712-494-4. We also wrote songs for black groups like the Coasters and the Clovers who, once doo-woppers, were now considered rock and rollers… Maybe a critic could see rock and roll as R&B or deconstructed/reconstructed doo-wop. At the time, no one knew exactly what to call anything.
  23. ^ Evan Rapport (24 November 2020). Damaged: Musicality and Race in Early American Punk. University Press of Mississippi. p. 104. ISBN 978-1-4968-3125-5.
  24. ^ Lawrence Pitilli (2 August 2016). Doo-Wop Acappella: A Story of Street Corners, Echoes, and Three-Part Harmonies. Rowman & Littlefield Publishers. p. 77. ISBN 978-1-4422-4430-6.
  25. ^ Jack R. Fischel (30 December 2008). Encyclopedia of Jewish American Popular Culture. ABC-CLIO. p. 33. ISBN 978-0-313-08734-9.
  26. ^ Mina Carson; Tisa Lewis; Susan M. Shaw; Jennifer Baumgardner; Amy Richards (23 July 2004). Girls Rock!: Fifty Years of Women Making Music. University Press of Kentucky. p. 24. ISBN 978-0-8131-2310-3.
  27. ^ Barton, Laura (3 September 2009). "Simply Brill: the women who shaped rock'n'roll". The Guardian. London. Retrieved 2021-05-06.
edit
Retrieved from "https://en.wikipedia.org/w/index.php?title=Jewish_influence_in_rhythm_and_blues&oldid=1202885880"