Wide suspenders held up an expanse of trousers of unbelievable width. Oliver's musical reputation soon began to match his imposing stature, and by he became a formidable figure on the New Orleans music scene. His forceful melodic phrasing and use of assorted trumpet mutes earned him the title of "King.
He used to shove a kazoo in the bell to give it a different effect. Along with his passion for music, Oliver possessed an equally voracious appetite for food. His diet consisted of sugar sandwiches made from whole loaves of bread, which he chased down with a pot of tea or a pitcher of sugar water.
Foster recalled how Oliver would eat six hamburgers and a quart of milk in one sitting or how--with one dip of a finger--he would pull out an entire pouch of tobacco and chew it while blowing his horn. Affectionately known as "Papa Joe" by musicians, he was also called "Tenderfoot" because of the painful corns that covered his feet. He accepted the offer and left for Chicago with clarinetist Jimmy Noone. Housed in a large building on 31st Street, the Royal Gardens--soon to be renamed the Lincoln Gardens--had an upstairs balcony and a spotlighted crystal chandelier that reflected on the dance floor.
By he was leading King Oliver's Creole Jazz Band at the Dreamland and playing a second engagement from one till six in the morning at a State Street gangster hangout. During the following year, his band played a brief engagement at the Pergola Dance Pavilion in San Francisco. From the Pergola, the band traveled southward to perform in Los Angeles.
That autumn he decided to add a second cornet to his band and sent a telegram to Louis Armstrong in New Orleans, inviting him to join the group. A devout student of the Oliver style, Armstrong went north to play with the band in Our music was appreciated in Chicago and it made you free and easy. We played so much music that I dreamed about it at night and woke up thinking about it.
Some musicians even took notes on their shirt sleeves. I never blew my horn over Joe Oliver at no time unless he said, 'Take it! During the summer of Oliver sent for Armstrong to play second cornet. The band quickly gained a local reputation and made its first recordings on April 5 and 6, , for Gennett Records. These recordings represented Oliver at his best and have attained legendary status in the history of jazz. The band fell apart in late , largely due to interpersonal problems among the members and financial issues.
Throughout the s, Oliver frequently worked as a sideman on recording sessions for blues and popular singers. In Oliver reorganized his band into a slightly larger group titled the Dixie Syncopators. Oliver added a saxophone to his lineup and recorded popular tunes suggested by record executives. The recordings are uneven, though stellar solos and inspired segments can be found even in the poorer performances.
In he relocated to New York City. He took on more work as a sideman and appeared with various groups led by Clarence Williams. Oliver continued to front his own band, but his reputation was slowly slipping. He spent most of the s touring the South and the Southwest. Within this framework all of the musicians improvised at the same time - improvised polyphony - and solos were played with little or no accompaniment while others rested.
His groups became more popular and in Kid Ory pronounced him "King" of the trumpeters. The nickname stuck to him for the rest of his career.
The closing of Storyville, New Orleans' red light district, and the northern migration of many blacks from the south to Chicago made Chicago an attractive destination.
He moved there in joining bass player Bill Johnson and clarinetist Laurence Duhe for a job playing at the Dreamland Ballroom in Chicago. He took over this band, changed some of the personnel and went to California.
The California trip was not very successful and in they returned to Chicago and opened up at the Lincoln Gardens. Cyr-banjo and Came Oliver-cornet. This band was called the Creole Jazz Band and it became the hottest band in Chicago as Chicago became the new center of jazz. The Lincoln Gardens was jammed every night with dancers and musicians coming to hear this revolutionary band. King Oliver's Creole Jazz Band recorded and ruled the roost in Chicago until when this great band broke up.
The Dodds brothers quit the band after they learned that Joe Oliver was skimming money from their checks and Louis Armstrong and Lil Harden who was now Armstrong's wife left shortly thereafter ending Oliver's greatest band. Each artist has their own story, and their own reason for the end of their career.
Some lived their life out in fame and glory, while others were shown the more dramatic side of life. Their upbringing may differ, but they all had one thing in common; a lasting contribution for not only the Jazz Era, but for all other generations and genres of music to come.
Jelly Roll Morton was fortunate enough to be. Introduction 1. Jazz is a music genre in which artist express themselves with instruments and a type of tune, to let their audience know what they have been dealing with or what they have experienced in their lives.
Jazz was born in the United States. If you listen to jazz today, you will hear expanded musical harmonies, musicians playing more complex chords, and musical harmonies borrowed from many different genres of music, including pop. Jazz was first born in New Orleans and eventually moved to Chicago. Jazz had a major impact on society and the …show more content… As a powerful musician and the creator of one of the first big New Orleans jazz band, Oliver was the beginning of jazz in New Orleans and the start of generation of cornet players who advanced their musical style during the s, including Louis Armstrong, who was Oliver's apprentice.
All throughout olivers musical career he stood out through his techniques. Joseph Oliver was the first to change the history of jazz music. Together the band brought new songs and music into Chicago. Unfortunately in , the band broke up due to the increasing financial problems among the …show more content… His unique style was created by trumpet mutes and four square rhythms. This style resembles what various cornetists before him tried to achieve, but completely different from what Armstrong and other artists tried to create.
Oliver used this contrasting music style to try and appear different from what other artists tried to create.
Additionally, his style of jazz incorporated many changes in pitch and rhythm and had a blend of blues style and pop sounds. Oliver would perform with timbre modifiers of many shapes and sizes which allowed him to get a wah-wah sound that no other musician, at the time, could produce know Louisiana.
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