King Oliver: New Orleans Jazz Pioneer

Joe “King” Oliver is among the seminal figures in the history of jazz music. Oliver was an influential musician in the early days of jazz whose hot cornet playing influenced all those who followed in his footsteps including Louis Amstrong, Oliver’s student, charge and employee. It was Oliver who convinced Armstrong to leave New Orleans for Chicago, and play second cornet in Oliver’s Creole Jazz Band took the first steps on a journey that would see Armstrong revolutionize jazz and American popular music.

Oliver was born in New Orleans in 1885 and was blinded in one eye as a child. He often played cornet while wearing a derby hat in such a way as to obscure his bad eye. Oliver was one of the first cornetists to use a mute to alter the sound of his cornet. Using a mute, he was able to produce a wide variety of sounds including the whinnying of a horse.

Oliver started his professional career in New Orleans around 1908. He was a member of several marching bands, and he worked at various times in Kid Ory’s band. Ory began referring to him as “King” Oliver around 1917.

In 1919, Oliver moved to Chicago with Kid Ory and played in Bill Johnson’s band at the Dreamland Ballroom. Oliver formed “King Oliver’s Creole Jazz Band” in 1922, and landed a residency at Chicago’s Lincoln Gardens. His new band featured some of the best jazz musicians of the time including clarinetist Johnny Dodds, trombonist Honore Dutrey, pianist Lil Hardin, drummer Baby Dodds, and Louis Armstrong on second cornet.

King Oliver’s Creole Jazz Band 1923 recording sessions for the Gennet label produced some of the best-ever recordings of jazz with “Chimes Blues,” “Just Gone,” “Dippermouth Blues,” and “Snake Rag.” These recordings revealed the brilliant dual cornet playing of Armstrong and Oliver, and introduced Armstrong’s virtuosity to the world. Armstrong soon headed to New York City to join Fletcher Henderson Orchestra and the Creole Jazz Band would cease to be in 1924.

Oliver took over Dave Peyton’s band in 1925, renamed it the “Dixie Syncopators,”and moved the band to New York in 1927. Once in New York, Oliver passed up a chance to have the Dixie Syncopators become the house band at the Cotton Club. Duke Ellington took the job and went on to fame and riches. In 1929, Luis Russell took over the Dixie Syncopaters and changed their name to “Luis Russell and his Orchestra.”

Oliver recorded until 1931, but his New Orleans hot jazz style was falling out of fashion. Oliver finally settled down in Georgia, where he worked as a poolroom janitor until his death in 1938.

Oliver’s classic sides are available on the following compilations: “King Oliver’s Jazz Band 1923” (1975), “King Oliver’s Creole Jazz Band: The Complete Set” (1997), and the series, “The Chronological Classics: King Oliver” (1991).

James Reese Europe and the Harlem Hellfighters 369th Infantry Regiment: ...

James Reese Europe: Harlem Hellfighter

James Reese Europe was one of the earliest figures of jazz music. He was a great bandleader and an inspiration to African-Americans in the early years of the last century. Europe was the leader of Europe’s Society Orchestra that first recorded in 1913. That orchestra ostensibly played ragtime music, the forerunner of jazz; however, Europe’s orchestra played a highly- improvised version of ragtime which could easily be classified as jazz. Europe took ragtime music and speeded it up considerably, making it a frenetic and highly infectious and danceable music.

Europe was the first African-American bandleader to ever make a commercial recording and in 1914, Europe and the Society Orchestra recorded Castle’s Lame Duck” and “Castle House Rag” for the Victor label.

During World War One, Europe was enlisted in the U.S, army as a lieutenant with the African-American 369^th Infantry Regiment that was dubbed the “Harlem Hellcats.” Europe also directed the regimental band and with them made recordings for the Pathe brothers while stationed in France. Europe and the band also performed concerts, making a hit of the number, “Memphis Blues.”

Shortly after returning to America at the conclusion of the war, Europe was stabbed in the neck with a pen by one of his drummers during the intermission of a concert in Boston. Europe succumbed to the wound, and became the first African-American citizen to be honoured with a public funeral in New York City.

Roy Eldridge: Trumpet Virtuoso

Most jazz critics consider Roy Eldridge as the successor of Louis Armstrong in the evolution of jazz trumpet players. Armstrong is almost universally considered as the greatest jazz trumpeter in history; however, Eldridge is viewed as the musician who took the hot New Orleans style of Armstrong and turned it into something new.

Eldridge was notable for his rough and speedy technique, particularly when playing high notes on the trumpet. A now almost forgotten trumpeter, Jabbo Smith, who rivaled the virtuosity of Armstrong in the late Twenties, was a huge influence on Eldridge, as was Armstrong.

In terms of jazz cornet/trumpet greatness, the progression is loosely as follows: Buddy Bolden-Freddie Keppard-King Oliver-Louis Armstrong-Roy Eldridge-Dizzy Gillespie-Miles Davis-Clifford Brown.

Eldridge was born to a musical family in Pittsburgh, Pennsylvania, in 1911. As a child, Eldridge became a drummer in the band of his brother, Joe, before his brother convinced him to pick up the trumpet. By the age of 20, he had started his own band in Pittsburgh and then left that band to join the band of Horace Henderson, brother of the great New York bandleader, Fletcher Henderson. Shortly thereafter, in 1930, Eldridge moved to New York City.

In New York, Eldridge found work with a number of dance bands, and by 1935, while as a member of the Teddy Hill Orchestra, Eldridge made his first recordings. Eldridge would eventually land a gig with the Fletcher Henderson Orchestra from 1935-36, becoming Henderson’s star soloist by lending his hot solos to the Henderson classics, “Christopher Columbus” and “Blue Lou.”

Eldridge later moved on to work with white bands led by Gene Kroupa, and later, Artie Shaw. The presence of an African-American musician in a white band was a rarity in the segregated America of the Thirties. In the post-war era, Eldridge became one of the leading musicians that toured under the banner of “Jazz at the Philharmonic.” He also freelanced with the bands of Count Basie, Ella Fitzgerald and Benny Goodman.