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JOE 'KING' OLIVER cornet
LIFELINE
1885-1938

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.

King Oliver and his Creole Jazz Band of 1923



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.
It is difficult to assess Oliver's role in jazz history: there are too many significant gaps in the recorded documentation. It is unlikely that his early recordings caught him in his heyday, and by the mid-1920s he was in decline and already trailing in Armstrong's wake. He is perhaps the link between the early jazz pioneers - like Buddy Bolden and Emmett Hardy who were never recorded or Buddy Petit, Freddie Keppard and Manuel Perez who were rarely or unsuccessfully recorded - and Louis Armstrong and his successors.

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