120666bk Oliver
23/1/03
5:14 pm
1. Just Gone 2:40
(Joe Oliver)
Gennett 5133, mx 11383-B
Recorded 5 April 1923, Richmond, Indiana
2. Canal Street Blues 2:27
(Joe Oliver–Louis Armstrong)
Gennett 5133, mx 11384-B
Recorded 5 April 1923, Richmond, Indiana
3. Mandy Lee Blues 2:09
(Marty Bloom–Walter Melrose)
Gennett 5134, mx 11385-C
Recorded 5 April 1923, Richmond, Indiana
4. I’m Going Away To Wear You Off My
Mind 2:48
(Clarence Johnson–Lloyd Smith–Warren
Smith)
Gennett 5134, mx 11386-C
Recorded 5 April 1923, Richmond, Indiana
5. Chimes Blues 2:49
(Joe Oliver)
Gennett 5135, mx 11387-A
Recorded 5 April 1923, Richmond, Indiana
6. Weather Bird Rag 2:41
(Louis Armstrong)
Gennett 5132, mx 11388
Recorded 6 April 1923, Richmond, Indiana
7. Dipper Mouth Blues 2:26
(Joe Oliver–Louis Armstrong)
Gennett 5132, mx 11389-B
Recorded 6 April 1923, Richmond, Indiana
8. Froggie Moore 2:57
(Ferdinand Morton–Benjamin Spikes–Roy
Carew)
Gennett 5135, mx 11390-B
Recorded 6 April 1923, Richmond, Indiana
5
Page 2
9. Snake Rag 3:14
(Joe Oliver)
OKeh 4933, mx 8391-A
Recorded 22 June 1923, Chicago
10. Sweet Lovin’ Man 2:42
(Walter Melrose–Lil Hardin)
OKeh 4906, mx 8392-B
Recorded 22 June 1923, Chicago
11. High Society Rag 2:53
(Porter Steele-Walter Melrose)
OKeh 4933, mx 8393-B
Recorded 22 June 1923, Chicago
12. Where Did You Stay Last Night 2:32
(Louis Armstrong–Lil Hardin)
OKeh 4918, mx 8401-A
Recorded 23 June 1923, Chicago
13. Jazzin’ Babies Blues 3:01
(Richard M. Jones)
OKeh 4975, mx 8403-A
Recorded 23 June 1923, Chicago
14. Alligator Hop 2:22
(Joe Oliver)
Gennett 5274, mx 11633-B
Recorded 5 October 1923, Richmond, Indiana
15. Krooked Blues 2:51
(John Spikes–Benjamin Spikes–Dink Johnson)
Gennett 5274, mx 11638
Recorded 5 October 1923, Richmond, Indiana
16. Buddy’s Habit 3:02
(Arnett Nelson–Charley Straight)
OKeh 40000, mx 8475-B
Recorded c. 25 October 1923, Chicago
17. Tears 3:07
(Louis Armstrong–Lil Hardin)
OKeh 40000, mx 8476-B
Recorded c. 25 October 1923, Chicago
8.120666
18. Room Rent Blues 2:47
(Irving Newton)
OKeh 8148, mx 8478-A
Recorded c. 25 October 1923, Chicago
19. Riverside Blues 2:51
(Thomas A. Dorsey-Richard M. Jones)
OKeh 40034, mx 8484-A
Recorded c. 26 October 1923, Chicago
20. I Ain’t Gonna Tell Nobody 3:13
(Richard M. Jones)
OKeh 8148, mx 8477-B
Recorded c. 25 October 1923, Chicago
Tracks 1–8: King Oliver’s Creole Jazz Band
Tracks 9–13 & 16–20: King Oliver’s Jazz band
Tracks 14–15: King Oliver & His Creole Jazz Band
Transfers and Production: David Lennick
Digital Noise Reduction: Graham Newton
Original Recordings from the collection of John
Wilby
Discographical information courtesy of The Jazz
Discography by Tom Lord, www.lordisco.com
The Naxos Historical labels aim to make available the greatest recordings of the history of recorded
music, in the best and truest sound that contemporary technology can provide. To achieve this aim,
Naxos has engaged a number of respected restorers who have the dedication, skill and experience to
produce restorations that have set new standards in the field of historical recordings.
Also available in the Naxos Jazz Legends series ...
8.120581
6
8.120587 *
8.120609 *
8.120666
120666bk Oliver
23/1/03
5:14 pm
Page 1
KING OLIVER Oh Play That Thing!
Original 1923 Recordings with Louis Armstrong
When King Oliver’s Creole Jazz Band made
their recordings in 1923, they were by far the
most significant and stirring jazz group to
appear on records up to that point. The
pacesetting band of the era, Oliver’s group was
the epitome of classic New Orleans jazz,
emphasizing group improvising with occasional
brief solos and breaks. Unlike most of its
predecessors on records, the band featured
legato rather than staccato notes, relaxed
phrasing and a solid sense of swing years
before the word “swing” was applied to jazz.
Although the group’s second cornetist, Louis
Armstrong, would soon take jazz in another
direction, towards becoming a vehicle for highly
individual soloists, that step would not have
happened so soon if King Oliver had not sent
to New Orleans for his protégé to join his band
in Chicago.
The seven musicians who comprised the Creole
Jazz Band on 5 April 1923 were each making
their recording début, and all of them could be
considered giants at the time. Joe “King” Oliver
(1885-1938) was on his way to becoming a
major voice on his instrument as early as 1905.
Within a decade he succeeded Freddie Keppard
(who had earlier taken Buddy Bolden’s place)
as the “king” cornetist of New Orleans, playing
with trombonist Kid Ory’s group and in many
2
parade bands. In 1919 he left his hometown to
play in Chicago with bassist Bill Johnson’s band
at the Dreamland Ballroom. Within a year he
was heading his own group and, after spending
some time in California, in 1922 King Oliver’s
Creole Jazz Band was based at Lincoln Gardens
in Chicago.
Trombonist Honore Dutrey (1894-1935)
played with King Oliver as early as 1907. His
lungs were damaged in an accident while
serving in the Navy during World War I, and
sometimes he had difficulty breathing, but he
was an asset to the Creole Jazz Band, being a
strong ensemble player with an unusual tone.
Johnny Dodds (1892-1940) was arguably the
top clarinetist of the 1920s, playing with Ory
and pianist Fate Marable in his earlier days.
His cutting tone (which allowed him to be
heard over louder instruments) and ability to be
either the lead voice or the main harmonizing
instrument made him a pacesetter. Pianist Lil
Hardin (1898-1971) was the only member of
the Creole Jazz Band who was not born in New
Orleans, being a native of Memphis, and she
(unlike the others) was classically trained. She
worked with Freddie Keppard in Chicago and
had her own band before joining Oliver. Bill
Johnson (1872-1972) was originally a guitarist,
became the top bassist in New Orleans, and
8.120666
left the South for California as early as 1909.
He led the Original Creole Orchestra, helping
to introduce jazz to Los Angeles, Chicago and
New York although unfortunately that group
never recorded. Best known as a bassist, he
played banjo with Oliver. Baby Dodds (18981959), Johnny Dodds’ younger brother, was the
first important drummer to record in jazz. Full
drum kits could not be recorded in 1923 (they
would drown out the other instruments) so
Dodds made the most with the least, often
recording with just a snare drum, woodblocks
and a cymbal.
King Oliver’s band was already established in
Chicago when he sent for Louis Armstrong
(1901-71). Armstrong grew up in the poorest
section of New Orleans and spent a couple
years in a waif’s home when it was decided that
his mother was unable to care for him properly.
He loved to hear brass band music and was
inspired to take up the cornet when he was ten.
While at the waif’s home, he seriously studied
the instrument and upon his release he began
playing with local groups, idolizing King Oliver.
Armstrong succeeded Oliver with Kid Ory’s
band in 1919, played on riverboats with Fate
Marable and probably would have stayed in
New Orleans if Oliver had not sent for him in
1922. Although he was nervous at first,
Armstrong fit in perfectly with Oliver’s band,
playing second cornet behind his hero, instantly
harmonizing two and four-bar breaks with
Oliver and developing quickly as a soloist.
3
During April-December 1923, King Oliver’s
Creole Jazz Band recorded 33 songs plus four
alternate takes for the Gennett, Okeh,
Columbia and Paramount labels. Twenty of the
very best performances are on this superior
sampler, with the first eight selections being
from 5 April. In listening to these selections,
one has to get beyond the fact that the
recording quality is quite primitive and just play
the music loud so one can fully enjoy listening
to the interplay of the four horns. Most
notable on the initial session are Louis
Armstrong’s first solo (on Chimes Blues), the
introduction of the future dixieland standard
Canal Street Blues, the early version of
Weather Bird Rag (five years before it was
recorded by Armstrong and pianist Earl Hines
as a remarkable duet) and Oliver’s famous
three-chorus solo on Dippermouth Blues.
The next five selections (from 22-23 June) have
the same band except that Bud Scott (18901949), a fine rhythm banjoist, takes over from
Bill Johnson. Snake Rag was the most famous
of the Creole Jazz Band’s ensemble-oriented
pieces and it includes several of the legendary
harmonized cornet breaks. High Society Rag
(as “High Society”) became a standard while
Jazzin’ Babies Blues is a particularly catchy
number.
Alligator Hop and Krooked Blues from
5 October has the four horns, Hardin and Baby
Dodds joined by Stump Evans (1904-1928) on
8.120666
C-melody sax and banjoist Johnny St. Cyr
(1890-1966) who became a permanent
member of the band. The final five selections
on this CD feature the same band during 2526 October, except that the obscure Charlie
Jackson is on bass sax and tuba, replacing
Evans. Buddy’s Habit (which has Armstrong
taking a slide whistle solo) and Riverside Blues
are prime examples of King Oliver’s Creole Jazz
Band at its very best.
Lil Hardin (who became his wife) stayed into
mid-1924 before Armstrong accepted an offer
to join Fletcher Henderson’s big band in New
York. After the Creole Jazz Band broke up later
in 1924, Oliver led other worthy bands
including the Dixie Syncopators and an
underrated unit during his New York years.
But no other group of his had the influence,
importance and pure excitement of King
Oliver’s Creole Jazz Band.
Oliver’s group began to change a few months
later. A money dispute resulted in Johnny and
Baby Dodds departing. Louis Armstrong and
Scott Yanow
– author of seven jazz books including Classic Jazz
(which covers the 1920s), Swing and Trumpet Kings
Personnel
5–6 April 1923: King Oliver, Louis Armstrong,
cornets; Honore Dutrey, trombone; Johnny
Dodds, clarinet; Lil Hardin, piano; Bill
Johnson, banjo, vocal break on track 7; Baby
Dodds, drums
22–23 June 1923: King Oliver, Louis
Armstrong, cornets; Honore Dutrey,
trombone; Johnny Dodds, clarinet; Lil Hardin,
piano; Bud Scott, banjo; Baby Dodds, drums
5 October 1923: King Oliver, Louis Armstrong,
cornets; Honore Dutrey, trombone; Johnny
Dodds, clarinet; Stump Evans, C Melody Sax;
Lil Hardin, piano; Johnny St. Cyr, banjo; Baby
Dodds, drums
25–26 October 1923: King Oliver, Louis
Armstrong, cornets; Honore Dutrey,
trombone; Johnny Dodds, clarinet; Charlie
Jackson, bass sax, tuba; Lil Hardin, piano;
Johnny St. Cyr, banjo; Baby Dodds, drums
(Louis Armstrong doubles on slide whistle on
track 16)
Cover photo of King Oliver’s Creole Jazz Band in 1923, from left to right: Warren ‘Baby’ Dodds,
Honore Dutrey, King Oliver, Louis Armstrong, Bill Johnson, Johnny Dodds, Lil Hardin
4
8.120666
120666bk Oliver
23/1/03
5:14 pm
Page 1
KING OLIVER Oh Play That Thing!
Original 1923 Recordings with Louis Armstrong
When King Oliver’s Creole Jazz Band made
their recordings in 1923, they were by far the
most significant and stirring jazz group to
appear on records up to that point. The
pacesetting band of the era, Oliver’s group was
the epitome of classic New Orleans jazz,
emphasizing group improvising with occasional
brief solos and breaks. Unlike most of its
predecessors on records, the band featured
legato rather than staccato notes, relaxed
phrasing and a solid sense of swing years
before the word “swing” was applied to jazz.
Although the group’s second cornetist, Louis
Armstrong, would soon take jazz in another
direction, towards becoming a vehicle for highly
individual soloists, that step would not have
happened so soon if King Oliver had not sent
to New Orleans for his protégé to join his band
in Chicago.
The seven musicians who comprised the Creole
Jazz Band on 5 April 1923 were each making
their recording début, and all of them could be
considered giants at the time. Joe “King” Oliver
(1885-1938) was on his way to becoming a
major voice on his instrument as early as 1905.
Within a decade he succeeded Freddie Keppard
(who had earlier taken Buddy Bolden’s place)
as the “king” cornetist of New Orleans, playing
with trombonist Kid Ory’s group and in many
2
parade bands. In 1919 he left his hometown to
play in Chicago with bassist Bill Johnson’s band
at the Dreamland Ballroom. Within a year he
was heading his own group and, after spending
some time in California, in 1922 King Oliver’s
Creole Jazz Band was based at Lincoln Gardens
in Chicago.
Trombonist Honore Dutrey (1894-1935)
played with King Oliver as early as 1907. His
lungs were damaged in an accident while
serving in the Navy during World War I, and
sometimes he had difficulty breathing, but he
was an asset to the Creole Jazz Band, being a
strong ensemble player with an unusual tone.
Johnny Dodds (1892-1940) was arguably the
top clarinetist of the 1920s, playing with Ory
and pianist Fate Marable in his earlier days.
His cutting tone (which allowed him to be
heard over louder instruments) and ability to be
either the lead voice or the main harmonizing
instrument made him a pacesetter. Pianist Lil
Hardin (1898-1971) was the only member of
the Creole Jazz Band who was not born in New
Orleans, being a native of Memphis, and she
(unlike the others) was classically trained. She
worked with Freddie Keppard in Chicago and
had her own band before joining Oliver. Bill
Johnson (1872-1972) was originally a guitarist,
became the top bassist in New Orleans, and
8.120666
left the South for California as early as 1909.
He led the Original Creole Orchestra, helping
to introduce jazz to Los Angeles, Chicago and
New York although unfortunately that group
never recorded. Best known as a bassist, he
played banjo with Oliver. Baby Dodds (18981959), Johnny Dodds’ younger brother, was the
first important drummer to record in jazz. Full
drum kits could not be recorded in 1923 (they
would drown out the other instruments) so
Dodds made the most with the least, often
recording with just a snare drum, woodblocks
and a cymbal.
King Oliver’s band was already established in
Chicago when he sent for Louis Armstrong
(1901-71). Armstrong grew up in the poorest
section of New Orleans and spent a couple
years in a waif’s home when it was decided that
his mother was unable to care for him properly.
He loved to hear brass band music and was
inspired to take up the cornet when he was ten.
While at the waif’s home, he seriously studied
the instrument and upon his release he began
playing with local groups, idolizing King Oliver.
Armstrong succeeded Oliver with Kid Ory’s
band in 1919, played on riverboats with Fate
Marable and probably would have stayed in
New Orleans if Oliver had not sent for him in
1922. Although he was nervous at first,
Armstrong fit in perfectly with Oliver’s band,
playing second cornet behind his hero, instantly
harmonizing two and four-bar breaks with
Oliver and developing quickly as a soloist.
3
During April-December 1923, King Oliver’s
Creole Jazz Band recorded 33 songs plus four
alternate takes for the Gennett, Okeh,
Columbia and Paramount labels. Twenty of the
very best performances are on this superior
sampler, with the first eight selections being
from 5 April. In listening to these selections,
one has to get beyond the fact that the
recording quality is quite primitive and just play
the music loud so one can fully enjoy listening
to the interplay of the four horns. Most
notable on the initial session are Louis
Armstrong’s first solo (on Chimes Blues), the
introduction of the future dixieland standard
Canal Street Blues, the early version of
Weather Bird Rag (five years before it was
recorded by Armstrong and pianist Earl Hines
as a remarkable duet) and Oliver’s famous
three-chorus solo on Dippermouth Blues.
The next five selections (from 22-23 June) have
the same band except that Bud Scott (18901949), a fine rhythm banjoist, takes over from
Bill Johnson. Snake Rag was the most famous
of the Creole Jazz Band’s ensemble-oriented
pieces and it includes several of the legendary
harmonized cornet breaks. High Society Rag
(as “High Society”) became a standard while
Jazzin’ Babies Blues is a particularly catchy
number.
Alligator Hop and Krooked Blues from
5 October has the four horns, Hardin and Baby
Dodds joined by Stump Evans (1904-1928) on
8.120666
C-melody sax and banjoist Johnny St. Cyr
(1890-1966) who became a permanent
member of the band. The final five selections
on this CD feature the same band during 2526 October, except that the obscure Charlie
Jackson is on bass sax and tuba, replacing
Evans. Buddy’s Habit (which has Armstrong
taking a slide whistle solo) and Riverside Blues
are prime examples of King Oliver’s Creole Jazz
Band at its very best.
Lil Hardin (who became his wife) stayed into
mid-1924 before Armstrong accepted an offer
to join Fletcher Henderson’s big band in New
York. After the Creole Jazz Band broke up later
in 1924, Oliver led other worthy bands
including the Dixie Syncopators and an
underrated unit during his New York years.
But no other group of his had the influence,
importance and pure excitement of King
Oliver’s Creole Jazz Band.
Oliver’s group began to change a few months
later. A money dispute resulted in Johnny and
Baby Dodds departing. Louis Armstrong and
Scott Yanow
– author of seven jazz books including Classic Jazz
(which covers the 1920s), Swing and Trumpet Kings
Personnel
5–6 April 1923: King Oliver, Louis Armstrong,
cornets; Honore Dutrey, trombone; Johnny
Dodds, clarinet; Lil Hardin, piano; Bill
Johnson, banjo, vocal break on track 7; Baby
Dodds, drums
22–23 June 1923: King Oliver, Louis
Armstrong, cornets; Honore Dutrey,
trombone; Johnny Dodds, clarinet; Lil Hardin,
piano; Bud Scott, banjo; Baby Dodds, drums
5 October 1923: King Oliver, Louis Armstrong,
cornets; Honore Dutrey, trombone; Johnny
Dodds, clarinet; Stump Evans, C Melody Sax;
Lil Hardin, piano; Johnny St. Cyr, banjo; Baby
Dodds, drums
25–26 October 1923: King Oliver, Louis
Armstrong, cornets; Honore Dutrey,
trombone; Johnny Dodds, clarinet; Charlie
Jackson, bass sax, tuba; Lil Hardin, piano;
Johnny St. Cyr, banjo; Baby Dodds, drums
(Louis Armstrong doubles on slide whistle on
track 16)
Cover photo of King Oliver’s Creole Jazz Band in 1923, from left to right: Warren ‘Baby’ Dodds,
Honore Dutrey, King Oliver, Louis Armstrong, Bill Johnson, Johnny Dodds, Lil Hardin
4
8.120666
120666bk Oliver
23/1/03
5:14 pm
Page 1
KING OLIVER Oh Play That Thing!
Original 1923 Recordings with Louis Armstrong
When King Oliver’s Creole Jazz Band made
their recordings in 1923, they were by far the
most significant and stirring jazz group to
appear on records up to that point. The
pacesetting band of the era, Oliver’s group was
the epitome of classic New Orleans jazz,
emphasizing group improvising with occasional
brief solos and breaks. Unlike most of its
predecessors on records, the band featured
legato rather than staccato notes, relaxed
phrasing and a solid sense of swing years
before the word “swing” was applied to jazz.
Although the group’s second cornetist, Louis
Armstrong, would soon take jazz in another
direction, towards becoming a vehicle for highly
individual soloists, that step would not have
happened so soon if King Oliver had not sent
to New Orleans for his protégé to join his band
in Chicago.
The seven musicians who comprised the Creole
Jazz Band on 5 April 1923 were each making
their recording début, and all of them could be
considered giants at the time. Joe “King” Oliver
(1885-1938) was on his way to becoming a
major voice on his instrument as early as 1905.
Within a decade he succeeded Freddie Keppard
(who had earlier taken Buddy Bolden’s place)
as the “king” cornetist of New Orleans, playing
with trombonist Kid Ory’s group and in many
2
parade bands. In 1919 he left his hometown to
play in Chicago with bassist Bill Johnson’s band
at the Dreamland Ballroom. Within a year he
was heading his own group and, after spending
some time in California, in 1922 King Oliver’s
Creole Jazz Band was based at Lincoln Gardens
in Chicago.
Trombonist Honore Dutrey (1894-1935)
played with King Oliver as early as 1907. His
lungs were damaged in an accident while
serving in the Navy during World War I, and
sometimes he had difficulty breathing, but he
was an asset to the Creole Jazz Band, being a
strong ensemble player with an unusual tone.
Johnny Dodds (1892-1940) was arguably the
top clarinetist of the 1920s, playing with Ory
and pianist Fate Marable in his earlier days.
His cutting tone (which allowed him to be
heard over louder instruments) and ability to be
either the lead voice or the main harmonizing
instrument made him a pacesetter. Pianist Lil
Hardin (1898-1971) was the only member of
the Creole Jazz Band who was not born in New
Orleans, being a native of Memphis, and she
(unlike the others) was classically trained. She
worked with Freddie Keppard in Chicago and
had her own band before joining Oliver. Bill
Johnson (1872-1972) was originally a guitarist,
became the top bassist in New Orleans, and
8.120666
left the South for California as early as 1909.
He led the Original Creole Orchestra, helping
to introduce jazz to Los Angeles, Chicago and
New York although unfortunately that group
never recorded. Best known as a bassist, he
played banjo with Oliver. Baby Dodds (18981959), Johnny Dodds’ younger brother, was the
first important drummer to record in jazz. Full
drum kits could not be recorded in 1923 (they
would drown out the other instruments) so
Dodds made the most with the least, often
recording with just a snare drum, woodblocks
and a cymbal.
King Oliver’s band was already established in
Chicago when he sent for Louis Armstrong
(1901-71). Armstrong grew up in the poorest
section of New Orleans and spent a couple
years in a waif’s home when it was decided that
his mother was unable to care for him properly.
He loved to hear brass band music and was
inspired to take up the cornet when he was ten.
While at the waif’s home, he seriously studied
the instrument and upon his release he began
playing with local groups, idolizing King Oliver.
Armstrong succeeded Oliver with Kid Ory’s
band in 1919, played on riverboats with Fate
Marable and probably would have stayed in
New Orleans if Oliver had not sent for him in
1922. Although he was nervous at first,
Armstrong fit in perfectly with Oliver’s band,
playing second cornet behind his hero, instantly
harmonizing two and four-bar breaks with
Oliver and developing quickly as a soloist.
3
During April-December 1923, King Oliver’s
Creole Jazz Band recorded 33 songs plus four
alternate takes for the Gennett, Okeh,
Columbia and Paramount labels. Twenty of the
very best performances are on this superior
sampler, with the first eight selections being
from 5 April. In listening to these selections,
one has to get beyond the fact that the
recording quality is quite primitive and just play
the music loud so one can fully enjoy listening
to the interplay of the four horns. Most
notable on the initial session are Louis
Armstrong’s first solo (on Chimes Blues), the
introduction of the future dixieland standard
Canal Street Blues, the early version of
Weather Bird Rag (five years before it was
recorded by Armstrong and pianist Earl Hines
as a remarkable duet) and Oliver’s famous
three-chorus solo on Dippermouth Blues.
The next five selections (from 22-23 June) have
the same band except that Bud Scott (18901949), a fine rhythm banjoist, takes over from
Bill Johnson. Snake Rag was the most famous
of the Creole Jazz Band’s ensemble-oriented
pieces and it includes several of the legendary
harmonized cornet breaks. High Society Rag
(as “High Society”) became a standard while
Jazzin’ Babies Blues is a particularly catchy
number.
Alligator Hop and Krooked Blues from
5 October has the four horns, Hardin and Baby
Dodds joined by Stump Evans (1904-1928) on
8.120666
C-melody sax and banjoist Johnny St. Cyr
(1890-1966) who became a permanent
member of the band. The final five selections
on this CD feature the same band during 2526 October, except that the obscure Charlie
Jackson is on bass sax and tuba, replacing
Evans. Buddy’s Habit (which has Armstrong
taking a slide whistle solo) and Riverside Blues
are prime examples of King Oliver’s Creole Jazz
Band at its very best.
Lil Hardin (who became his wife) stayed into
mid-1924 before Armstrong accepted an offer
to join Fletcher Henderson’s big band in New
York. After the Creole Jazz Band broke up later
in 1924, Oliver led other worthy bands
including the Dixie Syncopators and an
underrated unit during his New York years.
But no other group of his had the influence,
importance and pure excitement of King
Oliver’s Creole Jazz Band.
Oliver’s group began to change a few months
later. A money dispute resulted in Johnny and
Baby Dodds departing. Louis Armstrong and
Scott Yanow
– author of seven jazz books including Classic Jazz
(which covers the 1920s), Swing and Trumpet Kings
Personnel
5–6 April 1923: King Oliver, Louis Armstrong,
cornets; Honore Dutrey, trombone; Johnny
Dodds, clarinet; Lil Hardin, piano; Bill
Johnson, banjo, vocal break on track 7; Baby
Dodds, drums
22–23 June 1923: King Oliver, Louis
Armstrong, cornets; Honore Dutrey,
trombone; Johnny Dodds, clarinet; Lil Hardin,
piano; Bud Scott, banjo; Baby Dodds, drums
5 October 1923: King Oliver, Louis Armstrong,
cornets; Honore Dutrey, trombone; Johnny
Dodds, clarinet; Stump Evans, C Melody Sax;
Lil Hardin, piano; Johnny St. Cyr, banjo; Baby
Dodds, drums
25–26 October 1923: King Oliver, Louis
Armstrong, cornets; Honore Dutrey,
trombone; Johnny Dodds, clarinet; Charlie
Jackson, bass sax, tuba; Lil Hardin, piano;
Johnny St. Cyr, banjo; Baby Dodds, drums
(Louis Armstrong doubles on slide whistle on
track 16)
Cover photo of King Oliver’s Creole Jazz Band in 1923, from left to right: Warren ‘Baby’ Dodds,
Honore Dutrey, King Oliver, Louis Armstrong, Bill Johnson, Johnny Dodds, Lil Hardin
4
8.120666
120666bk Oliver
23/1/03
5:14 pm
1. Just Gone 2:40
(Joe Oliver)
Gennett 5133, mx 11383-B
Recorded 5 April 1923, Richmond, Indiana
2. Canal Street Blues 2:27
(Joe Oliver–Louis Armstrong)
Gennett 5133, mx 11384-B
Recorded 5 April 1923, Richmond, Indiana
3. Mandy Lee Blues 2:09
(Marty Bloom–Walter Melrose)
Gennett 5134, mx 11385-C
Recorded 5 April 1923, Richmond, Indiana
4. I’m Going Away To Wear You Off My
Mind 2:48
(Clarence Johnson–Lloyd Smith–Warren
Smith)
Gennett 5134, mx 11386-C
Recorded 5 April 1923, Richmond, Indiana
5. Chimes Blues 2:49
(Joe Oliver)
Gennett 5135, mx 11387-A
Recorded 5 April 1923, Richmond, Indiana
6. Weather Bird Rag 2:41
(Louis Armstrong)
Gennett 5132, mx 11388
Recorded 6 April 1923, Richmond, Indiana
7. Dipper Mouth Blues 2:26
(Joe Oliver–Louis Armstrong)
Gennett 5132, mx 11389-B
Recorded 6 April 1923, Richmond, Indiana
8. Froggie Moore 2:57
(Ferdinand Morton–Benjamin Spikes–Roy
Carew)
Gennett 5135, mx 11390-B
Recorded 6 April 1923, Richmond, Indiana
5
Page 2
9. Snake Rag 3:14
(Joe Oliver)
OKeh 4933, mx 8391-A
Recorded 22 June 1923, Chicago
10. Sweet Lovin’ Man 2:42
(Walter Melrose–Lil Hardin)
OKeh 4906, mx 8392-B
Recorded 22 June 1923, Chicago
11. High Society Rag 2:53
(Porter Steele-Walter Melrose)
OKeh 4933, mx 8393-B
Recorded 22 June 1923, Chicago
12. Where Did You Stay Last Night 2:32
(Louis Armstrong–Lil Hardin)
OKeh 4918, mx 8401-A
Recorded 23 June 1923, Chicago
13. Jazzin’ Babies Blues 3:01
(Richard M. Jones)
OKeh 4975, mx 8403-A
Recorded 23 June 1923, Chicago
14. Alligator Hop 2:22
(Joe Oliver)
Gennett 5274, mx 11633-B
Recorded 5 October 1923, Richmond, Indiana
15. Krooked Blues 2:51
(John Spikes–Benjamin Spikes–Dink Johnson)
Gennett 5274, mx 11638
Recorded 5 October 1923, Richmond, Indiana
16. Buddy’s Habit 3:02
(Arnett Nelson–Charley Straight)
OKeh 40000, mx 8475-B
Recorded c. 25 October 1923, Chicago
17. Tears 3:07
(Louis Armstrong–Lil Hardin)
OKeh 40000, mx 8476-B
Recorded c. 25 October 1923, Chicago
8.120666
18. Room Rent Blues 2:47
(Irving Newton)
OKeh 8148, mx 8478-A
Recorded c. 25 October 1923, Chicago
19. Riverside Blues 2:51
(Thomas A. Dorsey-Richard M. Jones)
OKeh 40034, mx 8484-A
Recorded c. 26 October 1923, Chicago
20. I Ain’t Gonna Tell Nobody 3:13
(Richard M. Jones)
OKeh 8148, mx 8477-B
Recorded c. 25 October 1923, Chicago
Tracks 1–8: King Oliver’s Creole Jazz Band
Tracks 9–13 & 16–20: King Oliver’s Jazz band
Tracks 14–15: King Oliver & His Creole Jazz Band
Transfers and Production: David Lennick
Digital Noise Reduction: Graham Newton
Original Recordings from the collection of John
Wilby
Discographical information courtesy of The Jazz
Discography by Tom Lord, www.lordisco.com
The Naxos Historical labels aim to make available the greatest recordings of the history of recorded
music, in the best and truest sound that contemporary technology can provide. To achieve this aim,
Naxos has engaged a number of respected restorers who have the dedication, skill and experience to
produce restorations that have set new standards in the field of historical recordings.
Also available in the Naxos Jazz Legends series ...
8.120581
6
8.120587 *
8.120609 *
8.120666
120666bk Oliver
23/1/03
5:14 pm
1. Just Gone 2:40
(Joe Oliver)
Gennett 5133, mx 11383-B
Recorded 5 April 1923, Richmond, Indiana
2. Canal Street Blues 2:27
(Joe Oliver–Louis Armstrong)
Gennett 5133, mx 11384-B
Recorded 5 April 1923, Richmond, Indiana
3. Mandy Lee Blues 2:09
(Marty Bloom–Walter Melrose)
Gennett 5134, mx 11385-C
Recorded 5 April 1923, Richmond, Indiana
4. I’m Going Away To Wear You Off My
Mind 2:48
(Clarence Johnson–Lloyd Smith–Warren
Smith)
Gennett 5134, mx 11386-C
Recorded 5 April 1923, Richmond, Indiana
5. Chimes Blues 2:49
(Joe Oliver)
Gennett 5135, mx 11387-A
Recorded 5 April 1923, Richmond, Indiana
6. Weather Bird Rag 2:41
(Louis Armstrong)
Gennett 5132, mx 11388
Recorded 6 April 1923, Richmond, Indiana
7. Dipper Mouth Blues 2:26
(Joe Oliver–Louis Armstrong)
Gennett 5132, mx 11389-B
Recorded 6 April 1923, Richmond, Indiana
8. Froggie Moore 2:57
(Ferdinand Morton–Benjamin Spikes–Roy
Carew)
Gennett 5135, mx 11390-B
Recorded 6 April 1923, Richmond, Indiana
5
Page 2
9. Snake Rag 3:14
(Joe Oliver)
OKeh 4933, mx 8391-A
Recorded 22 June 1923, Chicago
10. Sweet Lovin’ Man 2:42
(Walter Melrose–Lil Hardin)
OKeh 4906, mx 8392-B
Recorded 22 June 1923, Chicago
11. High Society Rag 2:53
(Porter Steele-Walter Melrose)
OKeh 4933, mx 8393-B
Recorded 22 June 1923, Chicago
12. Where Did You Stay Last Night 2:32
(Louis Armstrong–Lil Hardin)
OKeh 4918, mx 8401-A
Recorded 23 June 1923, Chicago
13. Jazzin’ Babies Blues 3:01
(Richard M. Jones)
OKeh 4975, mx 8403-A
Recorded 23 June 1923, Chicago
14. Alligator Hop 2:22
(Joe Oliver)
Gennett 5274, mx 11633-B
Recorded 5 October 1923, Richmond, Indiana
15. Krooked Blues 2:51
(John Spikes–Benjamin Spikes–Dink Johnson)
Gennett 5274, mx 11638
Recorded 5 October 1923, Richmond, Indiana
16. Buddy’s Habit 3:02
(Arnett Nelson–Charley Straight)
OKeh 40000, mx 8475-B
Recorded c. 25 October 1923, Chicago
17. Tears 3:07
(Louis Armstrong–Lil Hardin)
OKeh 40000, mx 8476-B
Recorded c. 25 October 1923, Chicago
8.120666
18. Room Rent Blues 2:47
(Irving Newton)
OKeh 8148, mx 8478-A
Recorded c. 25 October 1923, Chicago
19. Riverside Blues 2:51
(Thomas A. Dorsey-Richard M. Jones)
OKeh 40034, mx 8484-A
Recorded c. 26 October 1923, Chicago
20. I Ain’t Gonna Tell Nobody 3:13
(Richard M. Jones)
OKeh 8148, mx 8477-B
Recorded c. 25 October 1923, Chicago
Tracks 1–8: King Oliver’s Creole Jazz Band
Tracks 9–13 & 16–20: King Oliver’s Jazz band
Tracks 14–15: King Oliver & His Creole Jazz Band
Transfers and Production: David Lennick
Digital Noise Reduction: Graham Newton
Original Recordings from the collection of John
Wilby
Discographical information courtesy of The Jazz
Discography by Tom Lord, www.lordisco.com
The Naxos Historical labels aim to make available the greatest recordings of the history of recorded
music, in the best and truest sound that contemporary technology can provide. To achieve this aim,
Naxos has engaged a number of respected restorers who have the dedication, skill and experience to
produce restorations that have set new standards in the field of historical recordings.
Also available in the Naxos Jazz Legends series ...
8.120581
6
8.120587 *
8.120609 *
8.120666
AA ✓
DL ✓
SY ✓
PB ✓
KH ✓
KING OLIVER Oh Play That Thing!
Original 1923 Recordings with Louis Armstrong
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5.
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10.
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15.
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8.120666
Just Gone 2:40
Canal Street Blues 2:27
Mandy Lee Blues 2:09
I’m Going Away To Wear You Off My Mind 2:48
Chimes Blues 2:49
Weather Bird Rag 2:41
Dipper Mouth Blues 2:26
Froggie Moore 2:57
Snake Rag 3:14
Sweet Lovin’ Man 2:42
High Society Rag 2:53
Where Did You Stay Last Night 2:32
Jazzin’ Babies Blues 3:01
Alligator Hop 2:22
Krooked Blues 2:51
Buddy’s Habit 3:02
Tears 3:07
Room Rent Blues 2:47
Riverside Blues 2:51
I Ain’t Gonna Tell Nobody 3:13
NOTES AND FULL RECORDING DETAILS INCLUDED
www.naxos.com
h & g 2003 HNH International Ltd
MADE IN E.C.
Design: Ron Hoares
Total
Time
56:42
ADD
8.120666
Transfers and Production by David Lennick
Digital Noise Reduction by Graham Newton
KING OLIVER Oh Play That Thing!
KING OLIVER Oh Play That Thing!
8.120666
K&A Timings ✓