Classifier Instance:

Anchor text: Louis Jordan
Target Entity: Louis_Jordan
Preceding Context: In the 1940s, a new style of dance music called rhythm and blues developed, incorporating elements of the earlier styles of blues and swing.
Succeeding Context: , the first innovator of this style, featured an upright bass in his group, the Tympany Five. The upright bass remained an integral part of pop lineups throughout the 1950s, as the new genre of rock and roll was built largely upon the model of rhythm and blues, with strong elements also derived from jazz, country, and bluegrass. However, upright bass players using their instruments in these contexts faced inherent problems. They were forced to compete with louder horn instruments (and later amplified electric guitars), making bass parts difficult to hear. The upright bass is difficult to amplify in loud concert venue settings, because it can be prone to feedback howls. The upright bass is large and awkward to transport, which also created transportation problems for touring bands. In some groups, the slap bass was utilized as band percussion in lieu of a drummer; such was the case with Bill Haley & His Saddlemen (the forerunner group to the Comets), which did not use drummers on recordings and live performances until late 1952; prior to this the slap bass was relied on for percussion, including on recordings such as Haley's versions of Rock the Joint and Rocket 88.
Paragraph Title: Use in popular music
Source Page: Double bass

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