King Oliver and his Dixie Syncopaters - West End Blues (1928)

Joe "King" Oliver (Dec.19,1885 - April 10,1938) was a jazz cornet player and bandleader.

He was particularly noted for his playing style, pioneering the use of mutes. Also a notable composer, he wrote many tunes still played regularly, including "Dippermouth Blues", "Sweet Like This", "Canal Street Blues", and "Doctor Jazz". He was the mentor and teacher of Louis Armstrong. Two of Armstrong's most famous recordings, "West End Blues" and "Weather Bird", were Oliver compositions. His influence was such that Armstrong claimed, "if it had not been for Joe Oliver, Jazz would not be what it is today".

Joseph Oliver was born in Aben, Louisiana, near Donaldsonville in Ascension Parish, and moved to New Orleans in his youth. Oliver played cornet in the New Orleans brass bands and dance bands and also in the city's red-light district, Storyville. The band he co-led with trombonist Kid Ory was considered New Orleans' hottest and best in the 1910s. Oliver achieved great popularity in New Orleans across economic and racial lines, and was in demand for playing jobs from rough working class black dance halls to white society debutante parties.

According to an interview at the Tulane's Hogan Jazz Archive with Oliver's widow Stella Oliver, in 1919 a fight broke out at a dance where Oliver was playing, and the police arrested Oliver and the band along with the fighters. This made Oliver decide to leave the Jim Crow South.

By 1922, after travels in California, Oliver was the jazz king in Chicago, with King Oliver and his Creole Jazz Band performing at the Royal Gardens. Virtually all the members of this band went on to notable solo careers. Personnel were Oliver on cornet, his protegé Louis Armstrong, second cornet, Baby Dodds, drums, Johnny Dodds, clarinet, Lil Hardin, on piano, Honore Dutrey on trombone, and Bill Johnson, bass and banjo. Recordings made by this group in 1923 demonstrated the serious artistry of the New Orleans style of collective improvisation or Dixieland music to a wider audience.

In the mid and late 1920s Oliver's band transformed into a hybrid of the old New Orleans style jazz band and the nationally popular larger dance band, and in 1926 was christened "King Oliver and His Dixie Syncopators". Although he suffered from gum disease which started to diminish his playing abilities, Oliver remained a popular band leader through the decade.

The Great Depression was harsh to Oliver; he lost his life savings when a Chicago bank collapsed, as he struggled to keep his band together on a series of hand-to-mouth gigs until the band broke up and Oliver was stranded in Savannah, Georgia, where he worked as a janitor at Wimberly's Recreation Hall and died in poverty at a rooming house).

As a player, Oliver took great interest in altering his horn's sound. He pioneered in the use of mutes, including the plumber's plunger, derby hat, and bottles and cup in the bell of his horn. His recording "WaWaWa" with the Dixie Syncopators can be credited with giving the name wah-wah to such techniques.

Oliver was also noted as a composer, having written many tunes still regularly played, including "Dippermouth Blues", "Sweet Like This", "Canal Street Blues", and "Doctor Jazz". Two of Armstrong's most famous recordings, "West End Blues" and "Weather Bird", were Oliver compositions.

Oliver performed mostly on cornet. Oliver credited Buddy Bolden, as an early influence. Oliver, in turn, was a major influence on many younger musicians in New Orleans and Chicago, including Tommy Ladnier, Paul Mares, Muggsy Spanier, Louis Panico, Johnny Wiggs, and most famously Louis Armstrong.

Armstrong called Oliver "Papa Joe" and referred to Oliver as his idol and inspiration all his life. In Armstrong's autobiography, "Satchmo - My Life in New Orleans", he writes about Oliver: "It was my ambition to play as he did. I still think that if it had not been for Joe Oliver, Jazz would not be what it is today. He was a creator in his own right."


King Oliver and his Dixie Syncopaters - West End Blues (1928)

Category:

Music

Tags:

• King
• Oliver
• 1928
• 20's

[sirjuandabicho]

@fillra King Oliver tan solo toca la corneta desde el minuto 1:41 hasta el 2:09 junto al tombonista J. C. Higginbotham.

Creo que Oliver traduce muy bién con su corneta, el maravilloso solo vocal de Louie.

[otmq]

what you're saying may be true, but how can we be sure?

[jrpitcherjr]

This is certainly the authentic version that stands above all others in the blues category. What an array of talented musicians playing it exactly as it should be.

[christianmaggiora]

Does anyone have a link to the original recording of this song by Oliver?

[113355ism]

jazz musicians in the '20's and '30's had problems with booze and only some smoked etc. Some of the jazz musicians of the '40's had problems with hard drugs etc etc

[justcrazyYT]

wow . . .

ive learnt so much from these comments

[SweetJaneofGoth]

My grandmother was a whore in NYC and said that most of those jazz guys died young because they were on dope. She didn't use dope, but screwed the office managers for extra money. I think she worked for a respectable metropolitan insurance company.

[MrCeasone]

check this out...

[fillra]

Joe Oliver wrote this tune and recorded it on June 11th 1928.

Louis Armstrong recorded his own stunning version on June 28th 1928.

Joe Oliver re-recorded it on January 16th 1929, but did not play the main trumpet part. That was played (shakily) by Louis Metcalfe, and this is what you can hear on this recording... it is not Joe Oliver and it is not Louis Armstrong.

The excellent 'dippermouth dot blogspot' has a detailed feature on the recordings of this tune on his blog for June 28th 2009.

[fillra]

Joe Oliver knew about Louis in New Orleans, looked out for him, but didn't teach him how to read music. Louis was a genius, a one-off, and Joe invited him to join the Creole Jazz Band in 1922 to keep potential 'rivals' in his team.

Joe wasn't always truthful about the money that the band made, and the other musicians left. Louis hung on for a while, and in 1924 left Oliver, quite amicably, and he went to New York. Oliver was offered the residency at the famous Cotton Club, but turned it down.