DAVE DAVIES, HOST:
That is FRESH AIR. 100 years in the past right this moment, Louis Armstrong wrapped up his first recording session. The 21-year-old Armstrong on cornet was a protege of New Orleans fellow cornetist and bandleader King Joe Oliver. And on April 5, 1923, they went right into a Richmond, Ind., studio for a two-day recording session. Jazz critic Kevin Whitehead tells us the story.
(SOUNDBITE OF KING OLIVER’S “CHIMES BLUES”)
KEVIN WHITEHEAD, BYLINE: Louis Armstrong on cornet taking his first solo on report, King Oliver’s “Chimes Blues,” April 5, 1923. Even then, you possibly can hear Louis’ rhythmic assurance, sturdy tone and love of melody. His boss and idol, Joe Oliver, was identified for muting his horn with varied objects to paint the sound. He might make cornets sing or discuss like a human voice, an concept Duke Ellington’s brass freaks would run with. The next day, April 6, 1923, King Joe Oliver recorded his iconic solo on “Dippermouth Blues,” an extended solo for its time and one jazz trumpeters and composers wish to quote from later.
(SOUNDBITE OF KING OLIVER’S “DIPPERMOUTH BLUES”)
WHITEHEAD: The recording high quality is primitive, however your ear could alter to allow you to hear the music behind the noise. However these recordings distort the septet’s precise sound. Bass and drums did not report effectively, so right here, animated drummer Child Dodds principally clops on woodblocks, whereas bassist Invoice Johnson switches to banjo. Different string gamers used banjo to faux a snare drum beat. Invoice Johnson on banjo simply performs a bass half, solely greater. That is Johnny Dodds on clarinet.
(SOUNDBITE OF KING OLIVER’S “CANAL STREET BLUES”)
WHITEHEAD: In one other band, two high gamers of the identical horn would battle for supremacy. However Louis Armstrong revered Joe Oliver and would not upstage him, though it was evident the coed was surpassing the grasp. Armstrong might play greater, louder and longer. However they play with one thoughts once they workforce up at ratty, tough unisons or easy concord, taking part in melodies and quick duo breaks the place the opposite gamers drop out.
(SOUNDBITE OF KING OLIVER’S CREOLE JAZZ BAND SONG, “SNAKE RAG”)
WHITEHEAD: Duo and solo breaks have been an early jazz specialty, and Louis Armstrong will get an prolonged exercise on “Tears,” recorded in Chicago later in 1923. The tune is credited to him and band pianist Lil Hardin, quickly to be Mrs. Armstrong. Honore Dutrey is on slide trombone.
(SOUNDBITE OF KING OLIVER’S CREOLE JAZZ BAND’S “TEARS”)
WHITEHEAD: Louis Armstrong left King Oliver in 1924. The next 12 months, Louis began recording underneath his personal identify, after which there was no stopping him. Later, Pops may very well be vital of some outdated timers, however he by no means had a foul phrase for Joe Oliver. Within the 1947 jazz film “New Orleans,” Armstrong recreates his hero’s solo on “Dippermouth Blues” however with out the wah-wah mute. Mutes have been Oliver’s factor. Louis favored a cleaner sound.
(SOUNDBITE OF LOUIS ARMSTRONG’S “DIPPERMOUTH BLUES”)
WHITEHEAD: King Oliver’s later profession was shorter and fewer triumphant. He was stricken by dental issues attributable to an epic candy tooth. He favored sugar sandwiches washed down with sugar water. In New York in 1927, Oliver spurned a proposal to guide the band on the Cotton Membership. Duke Ellington took that career-making engagement. Oliver saved touring within the ’30s however performed much less and fewer as his chops deteriorated. However even towards the tip, now and again, he’d seize his wah-wah mute and blow the blues at size. Let’s exit with King Oliver in 1926, post-Armstrong, on “Snag It,” if solely to remind us how a lot grasp and star pupil might sound alike.
(SOUNDBITE OF KING OLIVER AND HIS DIXIE SYNCOPATORS SONG, “SNAG IT (FIRST VERSION)”)
DAVIES: Kevin Whitehead is the writer of the e-book “Play The Manner You Really feel: The Important Information To Jazz Tales On Movie.” And he writes for Level of Departure and the Audio Beat.
(SOUNDBITE OF SONG, “SNAG IT (FIRST VERSION)”)
KING OLIVER AND HIS DIXIE SYNCOPATORS: (Singing) Oh, snag it. Snag it.
DAVIES: If you would like to atone for interviews you have missed, like our dialog with actress Brooke Shields, who’s the topic of a brand new documentary, or with Bible scholar Bart Ehrman, who discusses what the Bible has to say in regards to the finish instances, take a look at our podcast. You may discover plenty of FRESH AIR interviews. For Terry Gross, I am Dave Davies.
(SOUNDBITE OF KING OLIVER AND HIS DIXIE SYNCOPATORS SONG, “SNAG IT (FIRST VERSION)”)
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