bands unwieldy; Louis Jordan left Chick Webb's orchestra the same year to form the Tympany Five. Mixing of genres continued through the shared experiences of the World War II, and afterward a new style of music emerged, featuring "honking" saxophone solos, increasing use of the electric guitar, and strongly accented boogie rhythms. This "jump blues" encompassed both novelty records, such as those by Jordan, and more heavily rhythmic recordings such as those by Lionel Hampton. Increasingly, the term "rocking" was used in the records themselves, and by the late 1940s frequently was used to describe the music of performers such as Wynonie Harris whose records reached the top of the newly christened "rhythm and blues" charts. In 1947, blues singer Roy Brown recorded "Good Rocking Tonight", a song that parodied church music by appropriating its references, including the word "rocking" and the gospel call "Have you heard the news?", relating them to very worldly lyrics about dancing, drinking and sex. The song became much more successful the following year when recorded by Wynonie Harris, whose version changed the steady blues rhythm to an uptempo gospel beat, and it was re-recorded by Elvis Presley in 1954 as his second single. A craze began in the rhythm and blues market for songs about "rocking", including "We're Gonna Rock" by Wild Bill Moore, the first commercially successful "honking" sax record, with the words "We're gonna rock, we're gonna roll" as a background chant. One of the most popular was "Rock the Joint", first recorded by Jimmy Preston in May 1949, and a R&B top 10 hit that year. Preston's version is often considered a prototype of a rock-and-roll song, and it was covered in 1952 by Bill Haley and the Saddlemen. Marshall Lytle, Haley's bass player, claimed that this was one of the songs that inspired Alan Freed to coin the phrase "rock and roll" to refer to the music he played. Freed first started playing the music in 1951, and by 1953 the phrase "rock and roll" was becoming used much more widely to market the music beyond its initial black audience. The practitioners of the music were young black artists, appealing to the post-war community's need for excitement, dancing and increasing social freedoms, but the music also became very attractive to white teenagers. As well as "rocking" rhythm and blues songs, such as the massively successful and influential "Rocket 88" recorded