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1885 
Joe Oliver is born in Louisiana, and by 1905
is a busy (though not highly competent) musician in New
Orleans performing with various brass and dance bands. By 1915,
through much practice, his weak tone has improved and he is technically
more assured.
1921-24 
His intitial foray
to California in 1921 is not met with total success,
as cornetist Mutt Carey - who had in fact copied Oliver's style!
- has established himself there playing with Kid
Ory. A return visit in 1922 with his
Creole Jazz Band is a great success; the band features
Honore Dutrey on trombone, Johnny Dodds on clarinet, Lil
Hardin on piano and, most importantly,
Louis Armstrong on trumpet. Armstrong
is Joe Oliver's passport to great success, his youthful,
original and exciting playing sets the highest standards, is rarely
equalled, and takes jazz on to a new level. Oliver proves to be
a successful and forceful band leader and in 1923 leads classic
recordings at the Gennett Studios
in Indiana. The band splits in 1924 when it is discovered that Oliver
has not been completely honest in his handling of his sidemen's
salaries.

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1919
Oliver, now with his regal appellation, migrates
to Chicago, which has now become the
centre of the jazz universe. Ambition and self interest dictate
his move, as the young Louis Armstrong
is beginning to sweep all before him in New
Orleans.
1925-30
From 1925 to 1927 Oliver is back in Chicago
with Barney Bigard in his band, and in 1927 he attempts to settle
in New York. His career and health, with
dental and gum problems, are both on the wane and he
is unable to weather setbacks well. Work slips away because of his
reluctance to lower his fee (he loses the Cotton Club contract to
Duke Ellington), and whilst he tours
with some success in the early-1930s, jazz fashion and his former
pupils have left him far behind.
1936-38
In bad health, Joe Oliver works in a pool
room as a janitor. He dies in 1938.
STYLE
Joe Oliver, like many of his contemporaries,
was more interested in tone and colour than technique, and was a true
ensemble player in the spirit of early jazz rather than
a soloist. He never had the ability to dance over the beat, as did
Armstrong; he made great use of theatrical and vocal-like wa-wa effects. |