King Oliver

Joseph Nathan "King" Oliver (December 19, 1881 – c. 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."

Joseph Nathan Oliver was born in Aben, Louisiana, near Donaldsonville in Ascension Parish, to Nathan Oliver and Virginia "Jinnie" Jones. He claimed 1881 as his year of birth in his draft registration in September 1918 (two months before the end of World War I) but that year is open to debate, with some census records and other sources suggesting 1884 or 1885 as his true year of birth.

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 brass bands 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, Okeh, Paramount, and Columbia 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 Café. 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.