Okeh 4918 – King Oliver’s Jazz Band – 1923

Posted on December 19, 2018 by R. Connor Montgomery

Though unquestionably a truly legendary figure in the history of jazz, the legacy of Joe Oliver has been overshadowed that of his foremost disciple: Louis Armstrong. But to some of us moldy figs, Joe Oliver is still king.

King Oliver’s Creole Jazz Band around 1923. From left to right: Johnny Dodds, Baby Dodds, Honoré Dutrey, Louis Armstrong, King Oliver, Lil Hardin, and Bud Scott. Pictured in Jazzmen, 1939.

Joseph Nathan Oliver was born in Aben, Louisiana and moved to New Orleans in his youth. The date of his birth is uncertain, but December 19, 1881 is the most probable candidate; the same date in 1885, and May 11, 1885 have also been posited. At first taking up the trombone, Oliver soon switched to cornet. As a youth, Joe Oliver lost sight in his left eye in a fight, and often played with a derby hat tipped down over it. He won the title “King” of New Orleans cornettists, which had earlier belonged to Buddy Bolden, from Freddie Keppard one night in 1916. Oliver took up in Chicago in 1919 and founded his famous Creole Jazz Band, soon becoming a fixture in the Windy City. In 1922, he sent for his young protégé Louis Armstrong, who was back home in New Orleans, to join him in the city. King Oliver’s Creole Jazz band waxed their first phonograph record sides for the Starr Piano Company, makers of Gennett records, in their famous “shack by the track” in Richmond, Indiana on April 5, 1923. They made a total of thirteen sides for Gennett before moving on to record fifteen more for Okeh, four for Columbia, and three for Paramount, before breaking up in 1924. Thereafter, he recorded some landmark duets with Jelly Roll Morton for Marsh Labs in Chicago in 1925, and soon started a new band, the Dixie Syncopators, which began recording for Brunswick/Vocalion in 1926. The Dixie Syncopators, which at various times included Luis Russell, Kid Ory, Barney Bigard, and other luminaries, stuck together until the end of 1928, after which Russell took over the reins. In 1927, at the height of his success, Oliver was offered the position of house bandleader at Harlem’s Cotton Club, but he declined, hoping to hold out for more money. Instead, the gig went to Duke Ellington and his Orchestra. On the side, Oliver also recorded occasionally as a sidemen with jazz bands such as Clarence Williams’ various orchestras and Lonnie Johnson and Eddie Lang‘s Gin Bottle Five, and with blues singers like “Texas” Alexander, Victoria Spivey, and Lizzie Miles. Thanks in no small part to his penchant for sugar sandwiches washed down with a bucket of sugar water, Oliver by this time had developed gum disease, which limited his ability to play cornet. Nonetheless, he signed with Victor in 1929 to record with a new orchestra, which often featured his nephew Dave Nelson, though his own involvement was frequently relegated to directing. In 1931, Oliver went back to Brunswick for three final sessions, from which the last three titles were released on Vocalion under the pseudonym “Chocolate Dandies”, and he never recorded again. He continued to tour with a band until money ran out, leaving him broke and stranded, in a Savannah, Georgia, where he found work as a janitor in a pool hall. Joe Oliver died penniless of arteriosclerosis on April 10, 1938

Okeh 4918 was recorded June 23, 1923 in Chicago, Illinois. King Oliver’s (Creole) Jazz Band consists of Joseph “King” Oliver and Louis Armstrong on cornets, Honoré Dutrey on trombone, Johnny Dodds on clarinet, Lil Hardin on piano, Bud Scott on banjo, and Baby Dodds on drums.

A re-doing of the same tune King Oliver’s Creole Jazz Band originally recorded for Gennett in April of 1923, “Dipper Mouth Blues”, composed by Oliver and Armstrong is certainly the group’s most famous efforts. Oliver famous cornet solo beginning one minute and seventeen seconds into the recording was hugely influential to the genre, and frequently imitated in subsequent years. After Louis Armstrong left the band, he took “Dipper Mouth” with him to Fletcher Henderson’s orchestra, and the piece was re-arranged by Don Redman and recorded as “Sugar Foot Stomp”. Henderson kept the piece in his repertoire after Armstrong’s departure and recorded it at least thrice more.

Dipper Mouth Blues, recorded June 23, 1923 by King Oliver’s Jazz Band.

On the reverse of this disc is Lil Hardin and Louis Armstrong’s composition: “Where Did You Stay Last Night?”. Armstrong kept the tune in his repertoire and in later years performed it with his All-Stars.

Where Did You Stay Last Night?, recorded June 23, 1923 by King Oliver’s Jazz Band.

Champion 15714 – Smoke Jackson and his Red Onions – 1929

Posted on February 26, 2016 by R. Connor Montgomery

Recorded on this day in 1929, herein is one of my favorite discs, though the condition is rather lacking, owing to a heavily scratched surface from many years of unsleeved storage. “Smoke Jackson and his Red Onions” is a pseudonym for Zack Whyte’s Chocolate Beau Brummels, a fine Midwestern territory band. The 78 Quarterly estimated “at least 15” copies of this record in their “Rarest 78s” article. While it may likely not be quite that scarce (although there surely are at least fifteen copies), it’s still far from a common disc.

Zack Whyte was born in 1898 in Richmond, Kentucky, and attended Wilberforce College, where he played banjo with Horace Henderson’s Collegians. He started leading his own Cincinnati-based bands in 1923, and eventually formed the Chocolate Beau Brummels, a territory band that recorded six sides with Gennett in 1929, and helped to bring several greats including Sy Oliver and Herman Chittison to prominence. Whyte retired from music in 1939 and died in 1967.

These two superb sides of Champion 15714 were recorded in Richmond, Indiana on February 26, 1929. This Champion issue sold 9,060 copies. It was also issued on Gennett 6797 and Supertone 9368 under the pseudonym “Eddie Walker and his Band.” The Chocolate Beau Brummels consist of the star-studded lineup of Zack Whyte directing and playing banjo, Bubber Whyte (his brother?), Henry Savage, and the great Sy Oliver on trumpets, Floyd Brady on trombone, Clarence Paige, Ben “Snake” Richardson, and Earl Tribble on alto saxes, Al Sears on tenor and baritone sax, the always excellent Herman Chittison on piano, Montgomery Morrison on tuba, and William Benton on drums.

Beginning with side “A”, the Chocolate Beau Brummels play a stomping rendition of Hudson Whittaker and Thomas A. Dorsey’s (a.k.a. Tampa Red and Georgia Tom) hit “It’s Tight Like That”. I believe this is the second take, and it really gets in the groove.

It's Tight Like That, recorded February 26, 1929 by Zack Whyte and his Chocolate Beau Brummels.

It’s Tight Like That, recorded February 26, 1929 by Smoke Jackson and his Red Onions.

A bit worse for wear than the previous, on the flip-side they play a masterful rendition of Joe “King” Oliver’s “West End Blues”, with a beautiful piano intro by Herman Chittison and some fine banjo by the leader. The label splits the composer’s credit between Oliver and publisher Clarence Williams. I believe this one is the third take, but with Gennett’s lack of any identifying marks in the “dead wax”, it’s hard to be sure.

West End Blues, recorded February 26, 1929 by Zack Whyte and his Chocolate Beau Brummels.

West End Blues, recorded February 26, 1929 by Smoke Jackson and his Red Onions.

Updated with improved audio on April 22, 2018, and again on August 24, 2023.

Victor 22298 – King Oliver and his Orchestra – 1930

Posted on January 28, 2016 by R. Connor Montgomery

...hang a twenty dollar gold piece on my watch chain, the the boys'll know I died standing pat...

…put a twenty dollar gold piece on my watch chain, so the boys’ll know I died standing pat… (Illustration from 1930 Victor catalog.)

“Here’s a treat! Hot playing, hot singing, and rhythm that will make you squirm when you hear it,” is what Victor said of this record in their April 1930 supplemental catalog, “It’s one of the meanest, hottest, most irresistible dance records ever. It’s the kind that breaks down all inhibitions!” This was actually the first King Oliver record I ever owned. I got it by accidentally bidding more than I’d intended to in an online auction. In spite of that, I was thrilled to have such a great record in my clutches, and I still get a thrill thinking of this outstanding hot jazz record. Since it was my first, I think it’s fair for it to be the first King Oliver record uploaded here.

By this late time in his career, King Joe was suffering from gum disease, and took far fewer solos on his trumpet than he did in years prior, and did not play on many of his Victor recordings at all. On this one however, Oliver does in fact play, though not a whole lot.

Victor 22298 was recorded January 28, 1930 at 28 West 44th Street in New York by King Oliver and his Orchestra. There seems to be some confusion as to the personnel, it features either Bubber Miley and Henry “Red” Allen, Jr. or Dave Nelson and Oliver on trumpet, Jimmy Archey on trombone, Bobby Holmes on clarinet and soprano sax, Glyn Paque and possibly Hilton Jefferson on clarinet and alto sax, Walter Wheeler on tenor sax, Carroll Dickerson on violin, Arthur Taylor on banjo, Jean Stultz on guitar, Clinton Walker on tuba, Don Frye or Hank Duncan on piano, and possibly Fred Moore on drums. Dickerson directed this session under Oliver’s name. Studio vocalist and occasional Jimmie Rodgers imitator Frankie Marvin provides the vocals. If anyone out there could tell me which personnel is definitively correct, I’d be much appreciative.

Of the first track, the Victor catalog says, “the ‘St. James Infirmary’ has created a sensation among dance enthusiasts. This record by King Oliver has capped the climax,” later continuing, “the song is taken from the old-time ‘Gambler’s Blues’.” Old time blues, they say, can’t say I have any complaints about that! While I couldn’t say for sure, many of the trumpet solos in this one do sound a lot like Bubber Miley’s style.

St. James Infirmary, recorded January 28, 1930 by King Oliver and his Orchestra.

“King Oliver’s second number is a fox trot, ‘When You’re Smiling’. [This record] should be under your arm, carefully wrapped, the next time you come from a shopping excursion… And after that, you’ll have many moments in which to praise your buying instinct!” If you hadn’t guessed, that’s how Victor finished their marketing ploy for this record. Can’t say I really disagree with them, but thanks to Old Time Blues, you won’t have to wait ’till your next shopping trip in 1930 to hear it!

When You’re Smiling (The Whole World Smiles With You), recorded January 28, 1930 by King Oliver and his Orchestra.

Victor 20415 – Jelly-Roll Morton’s Red Hot Peppers/Dixieland Jug Blowers – 1926

Posted on October 20, 2015 by R. Connor Montgomery

October 20, 1890 is one of several possible birth dates for famed jazz pianist and composer Ferd. “Jelly Roll” Morton, the others being September 20, 1885, September 20, 1889, and September 13, 1884. For the sake of this post, happy 125th birthday, Jelly Roll. For the occasion, I present one of his finest recordings.

One of the most interesting and storied characters in jazz, Jelly Roll Morton, born Ferdinand LaMothe, later Mouton after his mother remarried, started out playing piano in the Storyville “sporting houses” of his home town of New Orleans before taking off to tour around the United States, working in minstrel shows and vaudeville, as well as reportedly a gambler, pool shark and pimp. He first recorded in 1923 for Paramount, and recorded with a number of different groups until he was signed to Victor in 1926, with whom he remained until he was abruptly dropped in 1930. The Depression years proved difficult for Morton, who was robbed of royalties by his publisher, Walter Melrose. He was recorded again for the Library of Congress in 1938 and began recording again around then. Blaming his declining health on a voodoo spell, Jelly Roll Morton died in Los Angeles, California in 1941.

Victor 20415 was recorded December 16 and 11, 1926 at the Webster Hotel in Chicago, Illinois. The Jelly Roll side features George Mitchell on cornet, Kid Ory on trombone, Omer Simeon on clarinet, Jelly Roll Morton on piano and also singing the vocal, Johnny St. Cyr on banjo, John Lindsay on string bass, and Andrew Hilaire on drums. The Dixieland Jug Blowers side features Johnny Dodds on clarinet, Lockwood Lewis on alto sax, Freddie Smith on banjo, Cal Smith on tenor banjo, Curtis Hayes on guitjo, and Henry Clifford and Earl McDonald on jugs.

First up, Jelly Roll’s Red Hot Peppers play one of their all-time greatest sides, King Oliver’s “Doctor Jazz Stomp” (and boy does it stomp), recorded on the December 16 date.