Classic Jazz

Jazz has been broken into styles and periods. John F. Szwed gives the following chronology:

The pieces in this section fall I like to refer to as Classic Jazz. They would fall into Szwed's Early Jazz category.

Joseph King Oliver (1885 – 1938)

Preeminent cornetist and bandleader of the Classic jazz era. There are few details about his early life, but he began playing trombone and later switched to cornet. By 1907, he was alternating on both instruments with several local brass bands such as the Melrose Brass Band and Walter Kinchin’s Brass Band.

Much of the Oliver’s early was spent playing at cabarets and bars with such well-known New Orleans groups as the Olympias, the Eagles, the Onward Brass Band, and the Magnolias. Around 1912, he met trombonist, Edward “Kid” Ory, who reportedly gave him the name “King.” He and Ory played together in New Orleans before Oliver left in 1918 for Chicago which was subsequently to become the next musical capital of the country. In Chicago, Oliver played with Lawrence Duhe’s band, but began leading his own group. In 1921, the group played in California and returned the following year. It was then that the group reorganized as the Creole Jazz Band. Shortly after the formation of this group, Oliver’s protégé from New Orleans, Louis Armstrong, joined the group as the second cornetist. Oliver’s recording career began in 1923 with works such as Canal Street Blues, Weather Bird Rag, Dippermouth Blues. Snake Rag, High Society Rag, Zulu’s Ball, and Working Man’s Blues. The following year he made a little-known recording with jazz pianist, Ferdinand “Jelly Roll” Morton. After taking the Creole Jazz Band on tour throughout the Midwest and east coast, Oliver made a solo tour of New York where he was a guest of cornetist Dave Peyton. After returning to Chicago, he reorganized his group as the Dixie Syncopators. They toured between 1925 and 1927. Oliver also recorded with eminent blues singers of the era including Gertrude “Ma” Rainey, Beulah Sippie Wallace, and Victoria Spivey. The effects of the 1929 stock market crash was especially devastating for African American musicians.

Oliver left New York after a decline in his career and after a brief stay in Tennessee, moved to Savannah, Georgia. He died there while working as a fruit vendor and pool hall attendant. He was buried in New York. He was one of the most significant musicians of the Classic Jazz style. His muting techniques were widely imitated, especially after he began recording.

Dippermouth Blues (King Oliver)

See above.

Sweet Lovin' Man (King Oliver)

See above.

New Orleans Stomp (King Oliver)

See above.

Camp Meeting Blues (King Oliver)

See above.

Grandpa's Spell (Jelly Roll Morton)

Another celebrated musician of the Classic Jazz era. He performed with legendary names like William Geary “Bunk” Johnson. Ferdinand “Jelly Roll” Morton is often cited as the individual who first notated jazz. His was a formidable pianist and traveled to several parts of the country as a performer. In the third work, “My Gal Sal,” Jelly Roll sings and plays. He was interviewed by the Smithsonian folkways project in the 1930s and he often bragged that he invented jazz and was its greatest musician.

Wolverine Blues (Jelly Roll Morton)

See above.

My Gal Sal (Jelly Roll Morton)

See above.

Tears (Louis Armstrong/Lil Hardin)

One of jazz’s greatest musicians was Louis Armstrong (1901- 1971). He was also one of the world’s best known musicians. Having strong credentials with Joseph King Oliver, he moved out from under Oliver’s shadow and established himself as one of the great jazz soloist by the late 1920s. In the first two works, he is joined by his second wife, Lil Hardin-Armstrong (1898-1971), who was also an eminent pianist (who also played with Oliver in Chicago) and composer. In the second work, “Hotter Than That,” which was also written with Hardin, note Armstrong’s scatting. After an illustrious career, Louis Armstrong died in the summer of 1971. Lil died a few months later while performing in a memorial concert honoring him.

The third work, “Weather Bird,” is a musical collaboration between Armstrong and the Pittsburgh-based pianist, Earl “Fatha” Hines. Hines major contribution to jazz would be to make the piano more of a solo instrument as opposed to it being an accompanying instrument.

Hotter Than That (Louis Armstrong/Lil Hardin)

See above.

Weather Bird (Louis Armstrong/Earl Hines)

See above.