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Joseph Nathan " King" Oliver (December 19, 1881Some other sources cite 1884 or 1885. – 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."]]
He 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 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. He was popular in New Orleans across economic and racial lines and was in demand for music jobs of all kinds.
According to an oral history interview at Tulane University's Hogan Jazz Archive with Oliver's widow, Stella, a fight broke out at a dance where Oliver was playing, and the police arrested him, his band, and the fighters.
He was living in Chicago with his wife, Estelle "Stella" Dominick, whom he had married in New Orleans in September 1911. He continued to work at the Dreamland, forming a band there in January 1920, which included Johnny Dodds, Honoré Dutrey, and Lil Hardin, the nucleus of his famous Creole Jazz Band. After Storyville closed, he moved to Chicago in 1918 with his wife and step-daughter, Ruby Tuesday Oliver (born 1905).
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 Lincoln Gardens as King Oliver and his Creole Jazz Band. 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. Recordings made by this group in 1923 for Gennett Records, Okeh Records, Paramount, and Columbia Records demonstrated the New Orleans style of collective improvisation, also known as Dixieland, and brought it to a larger audience. Because they were recording acousticly into a horn that was directly connected to the needle making the record master, Armstrong notably had to stand in the corner of the room, away from the horn, because his powerful playing bounced the needle off the master. In addition, white musicians would visit Lincoln Gardens in order to learn from Oliver and his band. Because Lincoln Gardens was in Chicago's black neighborhood and only admitted blacks, the white players listened outside near the front door. 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 Cafe. 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.
accessed 20/4/2024
Oliver was also a talented composer, and wrote many tunes that are still regularly played, including "Dippermouth Blues," "Sweet Like This," "Canal Street Blues," and "Doctor Jazz." "Dippermouth Blues," for example, was adapted by Don Redman for Fletcher Henderson's Orchestra under the new name of "Sugar Foot Stomp".
Oliver performed mostly on cornet, but like many cornetists he switched to trumpet in the late 1920s. He credited jazz pioneer Buddy Bolden as an early influence, and in turn was a major influence on numerous younger cornet/trumpet players in New Orleans and Chicago, including Tommy Ladnier, Paul Mares, Muggsy Spanier, Johnny Wiggs, Frank Guarente and, the most famous of all, Armstrong.
As mentor to Armstrong in New Orleans, Oliver taught young Louis and gave him his job in Kid Ory's band when he went to Chicago. A few years later Oliver summoned him to Chicago to play with his band. Louis remembered Oliver as "Papa Joe" and considered him his idol and inspiration. In his autobiography, Satchmo: My Life in New Orleans, Armstrong wrote: "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."
The Great Depression brought hardship to Oliver. He lost his life savings to a collapsed bank in Chicago, and he struggled to keep his band together through a series of hand-to-mouth gigs until the group broke up.
Oliver also had health problems, such as pyorrhea, a gum disease that was partly caused by his love of sugar sandwiches and it made it very difficult for him to play and he soon began delegating solos to younger players, but by 1935, he could no longer play the trumpet at all. Oliver was stranded in Savannah, Georgia, where he pawned his trumpet and finest suits and briefly ran a fruit stall, then he worked as a janitor at Wimberly's Recreation Hall (526–528 West Broad Street).
Oliver died in poverty "of arteriosclerosis, too broke to afford treatment" in a Savannah rooming house around April 1938.There is disagreement on the date of Oliver's death. His grave marker says April 8 and this date appears in John Chilton's Who's Who in Jazz, as well as in his biography at AllMusic. However, in his biography at Portraits from Jelly Roll's New Orleans, by Peter Hanley, the author quotes an April 10 date from Oliver's Chatham County, Georgia, death certificate No. 8483. His sister spent her rent money to have his body brought to New York, where he was buried at Woodlawn Cemetery in The Bronx. Armstrong and other loyal musician friends were in attendance.Williams, MT. King Oliver (Kings of Jazz). Barnes; Perpetua (1961), p. 31. ASIN: B0007ECVCE.
| + !Title !Rec. date !co-composer !Title !Rec. date !co-composer !Title !Rec. date !co-composer | ||||||||
| Working man blues | The Trumpet's Prayer | Rhythm Club Stomp | Nelson | |||||
| Snag it | Can I Tell You | You're Just My Type | Nelson | |||||
| Sugar foot stomp | My Good Man Sam | Nelson | Edna | Nelson | ||||
| Doctor Jazz | Sweet Like This | Nelson | Boogie Woogie | Nelson | ||||
| Showboat Shuffle | Too Late | Nelson | Mule Face Blues | Nelson | ||||
| Every Tub | I'm Lonesome Sweetheart | Nelson | Don't You Think I Love You? | |||||
| West End Blues | I Want you Just Myself | Olga | Nelson | |||||
| Speakeasy Blues | I can't Stop Loving You | Nelson | Nelson Stomp | Nelson | ||||
| I'm Watching The Clock | New Orleans Shout | Nelson | Stop Crying | |||||
| Slow And Steady | Delaney | I must Have It |
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