Louis Jordan

USA, 1938–1974

American saxophonist and bandleader, billed as the King of the Jukebox. His Tympany Five reduced big-band swing to a small riffing group on records such as 'Caldonia' and 'Choo Choo Ch'Boogie', a step between swing and rock and roll.

MusicRoots documents 1 artist who influenced Louis Jordan and 12 artists Louis Jordan influenced in turn. Every connection cites a published source.

Who influenced Louis Jordan?

• Cab Calloway — Calloway's showman-bandleader model — comedy, style and swing in one act — was the documented template for Jordan's Tympany Five.

Which artists did Louis Jordan influence?

• Prince Buster — Prince Buster built ska by flipping American R&B and jump blues — the jive of Louis Jordan is part of that source.
• Jack McVea — McVea's small jump band stood alongside Louis Jordan's — Jordan's jukebox jump-blues was the model for the danceable, riffing R&B McVea made.
• James Brown — Brown named Louis Jordan his first idol — 'Caldonia' was the first song he performed publicly.
• Bo Diddley — Diddley named Louis Jordan among the artists who made him want to perform — the jump-blues showman model.
• Fats Domino — Jordan's jump blues was the commercial and rhythmic model for the New Orleans R&B Domino and Bartholomew perfected.
• Chuck Berry — Berry named his source plainly: 'I identify myself with Louis Jordan more than any other artist' — the wit and riffs of the Tympany Five became rock and roll.
• The Coasters — The Coasters' comic, storytelling R&B descends straight from Louis Jordan's jump-blues jukebox hits — the humour and shuffle beneath 'Yakety Yak' and 'Charlie Brown'.
• Bill Haley — Haley grafted Louis Jordan's jump-blues jive and shuffle onto his western-swing band — the R&B ingredient that turned it into rock'n'roll.
• Lloyd Price — Louis Jordan's jump blues was part of the R&B foundation under Price's proto-rock'n'roll.
• Hank Crawford — Louis Jordan's jump-blues alto and showmanship were an early model for Crawford's bluesy, R&B-rooted saxophone.
• Little Walter — The decisive one, and it is not a blues harmonica player at all. Walter learned Jordan's saxophone solos note for note on the harp — which is why his lines are fast, horn-shaped and unlike anyone else's.
• Ray Charles — Jordan's jump blues — small band, shouted lyric, saxophone where a horn section used to be — is the format Charles's early Atlantic sides work in.