Boogie Woogie-King Oliver’s Jazz Orchestra:1930
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- Опубликовано: 14 окт 2024
- Joseph Nathan "King" Oliver (December 19, 1881 - April 10, 1938) was an American jazz cornet player and bandleader. He was particularly recognized for his playing style and his pioneering use of mutes in jazz. Also a notable composer, he wrote many tunes still played today, including "Dippermouth Blues", "Sweet Like This", "Canal Street Blues", and "Doctor Jazz". He was the mentor and teacher of Louis Armstrong. His influence was such that Armstrong claimed, "if it had not been for Joe Oliver, Jazz would not be what it is today."
Joseph Nathan Oliver was born in Aben, Louisiana, near Donaldsonville in Ascension Parish, and moved to New Orleans in his youth. He first studied the trombone, then changed to cornet. From 1908 to 1917 he played cornet in New Orleans brass bands and dance bands and in the city's red-light district, which came to be known as Storyville. A band he co-led with trombonist Kid Ory was considered one of the best and hottest in New Orleans in the late 1910s.[2] He was popular in New Orleans across economic and racial lines and was in demand for music jobs of all kinds.
According to an interview at Tulane University's Hogan Jazz Archive with Oliver's widow Estella, a fight broke out at a dance where Oliver was playing, and the police arrested him, his band, and the fighters. After Storyville closed, he moved to Chicago in 1918 with his wife and step-daughter, Ruby Tuesday Oliver.[3] Noticeably different in his approach were faster tempos, unlike the slow drags in the African-American dance halls of New Orleans.
In Chicago, he found work with colleagues from New Orleans, such as clarinetist Lawrence Duhé, bassist Bill Johnson, trombonist Roy Palmer, and drummer Paul Barbarin. He became leader of Duhé's band, playing at a number of Chicago clubs. In the summer of 1921 he took a group to the West Coast, playing engagements in San Francisco and Oakland, California. On the west coast, Oliver and his band engaged with the vaudeville tradition, performing in plantation outfits.
Oliver and his band returned to Chicago in 1922, where they started playing in the Royal Gardens cabaret as King Oliver and his Creole Jazz Band (later renamed the Lincoln Gardens). In addition to Oliver on cornet, the personnel included his protégé Louis Armstrong on second cornet, Baby Dodds on drums, Johnny Dodds on clarinet, Lil Hardin (later Armstrong's wife) on piano, Honoré Dutrey on trombone, and Bill Johnson on double bass.[3] Recordings made by this group in 1923 for Gennett, Okeh, Paramount, and Columbia demonstrated the New Orleans style of collective improvisation, also known as Dixieland, and brought it to a larger audience. Armstrong notably had to stand in the corner of the room, away from the horn, because of his powerful playing. In addition, white musicians would visit Lincoln Gardens in order to learn from Oliver and his band. A prospective tour in the midwestern states ultimately broke up the band in 1924.
In the mid-1920s Oliver enlarged his band to nine musicians, performing under the name King Oliver and his Dixie Syncopators, and began using more written arrangements with jazz solos. This band led by Oliver at the Plantation Café was in direct competition with Louis Armstrong's Sunset Stompers, who performed at the Sunset Café.[10] In 1927 the band went to New York, but he disbanded it to do freelance jobs. In the later 1920s, he struggled with playing trumpet due to his gum disease, so he employed others to handle the solos, including his nephew Dave Nelson, Louis Metcalf, and Red Allen. He reunited the band in 1928, recording for Victor Talking Machine Company one year later. He continued with modest success until a downturn in the economy made it more difficult to find bookings. His periodontitis made playing the trumpet progressively difficult. He quit playing music in 1937
Almost all the illustrations here are of the Creole Jazz band of the early 1920s in Chicago. As the caption shows, this is the Oliver band of 1930,which has very few pictures. This was basically near the end of Oliver's career. His last record session would be a year after this. It is just the last sentence in the description above.. Brian Rust, Jazz Records gives: NY April 10, 1930. Carroll Dickerson directing: King Oliver, Dave Nelson, Henry Allen,t; Jimmy Archey,trb; Hilton Jefferson , Glynn Pacque,cl-as; Walter Wheeler,ts; Norman Lester,p; Arthur Taylor,bj; Clinton Walker,bb; Fred Moore,d. Henry Allen took the trumpet solo, Dave Nelson did the arrangement which makes the band sound like a mid-level NY band of the era.
Thank you! I was fortune it enough to find the pictures I do have, even if it isn’t the actual band.
What happened in 1929-30 is that King Oliver got a Victor contract but no longer had a band. His previous band The Dixie Syncopators had mostly gone to work for Luis Russell. So Luis Russell and his Orchestra recorded these sides as King Oliver and his Orchestra. Oliver has some solos, his nephew Dave Nelson could sound exactly like him, and Red Allen is very audible too. In 1937 Oliver got stranded on tour in Savannah, Georgia when the band promoter (as I recall) stole all their money. He took a job sweeping out a pool hall and trying to raise funds to get back to New York when he died of a cerebral hemorrhage in 1938. Truly a tragic hero of jazz.
Thank you for this.
Nice tune but doesn't sound like Boogie Woogie at all to me!
Sorry!
@@NippersLounge Don't worry; I'm a constant complainer! My sons tell me that all the time!
@bobboscarato1313 you’re probably more used to the style of boogie woogie from the 1930’s and the swing era.
@@NippersLounge Well Pinetop Smith came up the BW in 1929 and I always associate it with him and many of the following bands!
@@bobboscarato1313 The piano style known as "boogie woogie" was being played as far back as the ragtime era, when it was known as "sixteens."