All About King Oliver

Often forgotten as one of the jazz greats, Oliver laid the blueprint  for many jazz musicians to follow. Oliver was the premiere jazz player for the larger part of a  decade, making a name for himself  in Chicago. Blessed with talent on the cornet, Oliver wasn't as gifted at making business decisions, leading to his downfall, and near erasure from jazz history. 

Early Beginnings 

Deep in the northern part of the Bronx, you will find Woodlawn Cemetery. Founded in 1863, it is a national historic landmark, known for its beautiful rolling hills and landscape architecture; spanning 400 acres, it is also home to famous graves such as Herman Melville, Celia Cruz, and jazz legends like Miles Davis and Duke Ellington. Hidden away among the rolling hills and vast collections of funerary art, lies the headstone marker of a 6-year-old boy by the name of Godfrey Emmett Moody. Little is known about this young boy. Nothing besides that he died at the age of six. Etched above Moody's name, one will find the following inscription: Joseph 'King' Oliver. 

King Oliver's headstone reads "Jazz Pioneer," and he was. But why is it that a jazz legend, a jazz pioneer; one of the most influential jazz musicians of all time, shares a headstone with a six-year-old child with whom he had no relation to? It's a mystery, and one that requires us to go back in time to properly understand why a jazz legend such as King Oliver, is often forgotten in the names of famous graves found at Woodlawn Cemetery.

Bayou Country: A Star in the Making//Dixieland Jazz: A Star is Born

On May 11, 1885, Joseph Oliver was born in Aben, Louisiana,  just upriver from New Orleans. He was the son of a preacher and a working class woman, Virginia "Jinnie" Jones and Nathan Oliver. Oliver grew up on the River Road Salsburg sugar plantation and lived there up until the death of his mother and father. With nothing tying him down to his hometown, he then moved to New Orleans where he made a living by working for a Jewish family. Practically a member of the family, his wife, Stella, mentions they raised him as one of his own, letting him go as he pleased. According to Stella, Joe got his start working for a man named Kichen who took him and a couple of boys on tour.  There wasn't much Oliver knew about music, let alone the cornet. In fact, he knew nothing about either. But he knew the most important thing: he knew he wanted to learn. He was determined to, and he had the heart and the gumption to do so. 

By 1907, Oliver was not only musically active, but he was making a living playing in New Orleans' famed red-light district, Storyville. Oliver was playing the cornet for the Onward Brass Band, as well as others like the Eagle and Magnolia. He was hailed for both his "stamina and enthusiasm," qualities that were paramount for a band leader. It was clear as day and everyone could see that Oliver had the makings of a star; and anyone who saw him play could attest, they were witnessing a legend in the making. Oliver quickly became a household name, with the many onlookers who observed him, remarking on the "creative stride," he seemed to be hitting. His creative genius was unquestioned, but despite being a beloved musician, a household name, Oliver was still Black, and in the eyes of white New Orleans residents—subhuman. On one hot summer night on June 19, 1918, while playing at the Winter Garden, Oliver was the victim of a police raid which landed him in jail for allegedly "disturbing the peace." His wife, Stella, remarked "Joe thought it was awful that a man who was making an honest living could be taken to jail like that, so he went to Chicago." 

Chicago: The Land of Opportunity// Northbound to the Windy City

In the early 20th century, it  wasn't uncommon for Black people to migrate to Chicago and other Northern cities. The North was viewed as a land of opportunity both in an economical and social sense. Cities such as Chicago, offered an opportunity to move away from the agrarian economy of the South that heavily relied on underpaid labor from both Black and white Americans to produce crops such as tobacco, cotton, and sugar. Further, racial tensions founded on a largely anti-Black history, led to widespread legal discriminatory practices. There were Jim Crow laws which allowed for the segregation of Black people from schools, parks, libraries, drinking fountains, restrooms, buses, trains, and restaurants. Black people were and could be segregated from anywhere white Americans deemed necessary, and no one would bat an eye. Racial segregation was simply the norm.  If that wasn't enough, there were also terrorist organizations such as the Ku Klux Klan, threatening the livelihood of Black Americans for simply existing. 

Black people had no reason to stay and every reason to leave. As a Chicago Defender headline put it, "If you can freeze to death in the North and be free, why freeze to death in the South and be a slave? The Defender says come." While social and economic factors played a hand in lots of Black people migrating North, there was no greater catalyst than World War 1. A  Defender editorial described the war in Europe as "an ill wind that blows no one good," but due to the war, the prospect of upward mobility for Black Americans was changing for the better. European governments reduced the availability of laborers by recalling many of their citizens to enlist for military service, which saw a drop-off of more than 1.2 million European immigrants in 1914 to around 300,000 in 1915. This meant that the industrial North, filled with factory jobs, had to start hiring Black people. With the dramatic shortage of European laborers, stockyard owners sent recruiting agents down South to enlist Black workers to move up North. This began the first mass migration of Black Southerners during and after World War 1 to various Northern cities,  historically known as the Great Migration. This mass exodus led to an increase of Black Americans in Chicago from 44,103 in 1910 to 109, 458 by 1920.

But why  Chicago?

Chicago was a popular destination for Black Southerners for a myriad of reasons, mainly the high paying factory jobs that offered a substantially higher wage than any provided by working in the agrarian South, as well as an escape from the racial abuse suffered at the hands of their white counterparts. Another pivotal factor was the city's proximity to the South as Chicago was easily accessible to Black Southerners through the Illinois Central Railroads, which had tracks that went Southward all the way to rural Tennessee, Louisiana, and Mississippi. This made it possible for a large number of people to mobilize within a short period of time. Further, there was the constant push of propaganda from The Chicago Defender, an all-Black newspaper, which was also the most read paper by Black Americans in the South. Its constant push to mobilize Black people away from the South culminated on May 15th, 1917, when  The Defender declared it to be the day of the Great Northern Drive, encouraging a million people to leave the South in a show of solidarity. This resulted in everyday citizens migrating  in search of a better America. 

Oliver was one of these many migrants, deciding to move in February of 1919. Racial tensions coupled with an invitation from Bill Johnson at the Royal Gardens and Lawrence Duhé from the Dreamland Café, led Oliver to greener pastures: the Windy City. Oliver quickly rose to fame, finding early success in the Chicago jazz scene with hits such as "Dipper Mouth Blues." During his first night at the Royal Gardens, Oliver was rightfully crowned King, by a West Indian MC, after a perfect rendition of "I'm not rough." Later that year, Oliver had risen both in fame and talent. So much so that he replaced Duhé, the same man who extended Oliver an invitation. By then, Oliver hired his own musicians, sending up for Louis Armstrong whose arrival from New Orleans on August 8, 1922, defined an unprecedented period of jazz, and suggested new horizons for the genre. 

King Oliver's Dixie Syncopators 

The setting is the Plantation Cafe and the year is 1927. By this time, Armstrong was long gone, making a name of his own.  But still, on stage you could find King Oliver blowing hot air out his cornet, lighting a fire under the crowd's feet, dictating the rhythmic movements of the tables, chairs, and the crowd of people, hypnotized by the melodies emanating from him and the Dixie Syncopators. People would flood the dance floor, pushing chairs and tables against the wall, letting their hearts and feet do all the thinking. Located on the South Side on 338 East 35th street, Plantation Cafe was home to  King Oliver. On any given night you could find them there, riffing away their greatest records from" Every Tub, "Sugar Foot Stomp, to "Aunt Hagar's Blues." King Oliver's Dixie Syncopators were characterized by Variety magazine as "real jazz" that was "loud, wailing, and pulsating." They were so good that they often appeared to be playing with "no conscience." They made jazz seem effortless, as if the music was simply in them. They were the premiere show at the Plantation Cafe, and featured prominent Black jazz musicians such as Barney Bigard, Paul Barbarin, Albert Paul "Stump" Evans, Darnell Howard,  Albert Nicholas, as well as  Edward "Kid" Ory. Whatever the night, you were guaranteed to get your money's worth. This great run lasted from February 1925 until the spring of 1927 when eventually the Plantation Cafe shut down after numerous bombing attempts of the cabaret took place. This is often considered King Oliver's last great run as a jazz musician before his career trajectory took a turn. 

Sunset Years

For almost three decades, Chicago had been the place to be. If you wanted to be somebody in the jazz world, you played in Chicago. That was the name of the game. Around the mid to late 1920s there was a growing feeling that New York would soon be the new Mecca for jazz musicians, and Chicago, well, that would be yesterday's news. The jazz landscape was changing, there was new talent and with that, a desire for new music. This new jazz scene was not kind to New Orleans jazz players, especially those, who like Oliver, were devoted to collective improvisation, and there was no longer that demand for "sweeter" orchestras like the Dixie Syncopators.(Oxford encyclopedia, 98).  But there was no quit in Oliver. 

By 1927, Oliver moved his band to New York, where they had a three-month stint at the Savoy Ballroom. While no one would dare question Oliver's talent and ability on the cornet, his business acumen was suspect at best. Throughout his career, Oliver was reluctant in hiring a manager, and as one of his sidemen put it, Oliver was no  business savant,  often turning down good business opportunities for lesser ones. Having enjoyed a successful run in Chicago, making him one of the biggest jazz names of the 1920s, Oliver was accustomed to success. While at the Savoy Ballroom, he grew dissatisfied with the pay, and demanded more money. This was refused, ending his run at the club. Similarly, Oliver rejected a gig at the Cotton Club, which famously went to Duke Ellington. Ironically, Ellington had a successful run at the Cotton Club from 1927-1931, which provided him with the financial security needed to assemble a truly remarkable band, which springboarded him to legendary status within the music world. Oliver was a star, a King, and he wanted to be treated as such. But time had passed him by. His lack of business expertise, along with his own hubris, led to the tragic burning out of one of jazz's brightest stars. In 1927, Oliver relocated to New York with a hope and a dream to recapture his throne as king, but instead, found himself swindled and for once in his life—forced to settle for crumbs. 

A King Without Crown: Oliver in Savannah 

New York had spit and chewed King Oliver and he was left to pick up the pieces of a once great career. But this was impossible. By 1929 tragedy had struck everywhere in the United States. The Great Depression was in full swing, sparing no one. Especially not musicians. People barely had enough income for the bare necessities, let alone money to consider expanding income on hobbies, such as records. The Great Depression led to people consuming cheaper mediums of art, such as the radio and films. This meant a painstakingly low  number of records were purchased through this difficult time. At the beginning of the decade, 100 million records were sold in 1921 alone, and by 1933, only 2 million. This meant, any royalties musicians could earn were lost to a shattered economy. By this time Oliver was out of work, bank failures following the market crash of 1929, led to him losing all his life savings. He was no longer a King, but struggling like everyone else. The once famed King Oliver spent the remaining years of his life in Savannah Georgia. Oliver arrived in Savannah after a broken tour bus left him stranded in South Carolina. His dear friend, Mr. Frank Dillworth, drove up to pick him up. During his last years in Savannah, Oliver worked at Wimberly's Recreation Hall, on West Broad Street, which today it's known as West Broad Bandshell. To many, he was often the man sweeping under their feet while humming a familiar melodious tune. To others, he was simply the old man on the corner selling peaches, cabbage, and sweet corn to go along with the rest of their groceries. He was a regular Joe. No longer a king. 

An Everlasting Flame

While on tour in the South, Louis Armstrong, Oliver's protege, encountered his once-proud mentor selling fruit from a stand and sweeping the floors of a poolroom. They reminisced, talked of old times, hoping to linger on Oliver's days just a tad longer. It is said Oliver talked about future tours he'd go on —yearning to remind himself of the King he once was. Hope still lingered in him, but it was too late. By this point in his life, he'd reached life's highest highs—and its lowest lows. Oliver suffered greatly from health problems, with his bad habits having finally caught up with him. His fondness of sugar, to an addicting level, led to pyorrhea, a gum disease which brought him great physical pain when playing, but none greater than that of no longer being able to play the cornet like he once did. With grace and gusto. Having pawned his one true love: his cornet, Oliver had nothing to serve as a reminder of the glory days of yesteryear. Those  memories lived somewhere deep within his soul, where only he could feel that pulsating sound coming from his lungs.  Armstrong smiled, hugged Oliver, and handed him a 100 dollar bill. He died seven months later, on April 10, 1938 , suffering from a cerebral hemorrhage and a glamouring past he could never return to. He died alone, penniless, and with that burning desire to play just one more time. Having died in Savannah, his wife sent up for his body to be brought to New York. Having little money left, Stella could not afford Oliver's headstone, and instead, had to share a resting place with a young Emmett Moody. When asked about his mentor, Papa Oliver, Armstrong had the following to say, "The King of all musicians was Joe Oliver, the finest trumpeter who ever played in New Orleans…No one had the fire and endurance Joe had. No one in jazz has created as much music as he has. Almost everything important in music today came from him. That is why they called him King."    

While not often remembered, King Oliver's influence over the genre is undeniable. While playing in Chicago, Oliver brought New Orleans jazz with him, and introduced it to a larger audience, popularizing the genre.      

    At West Broad Bandshell, we are proud to remember Oliver for who he was, the King of Jazz, and to honor his memory by bringing his story and life to light. Oliver was a pioneer of jazz, and should be remembered as such. We hope to rewrite history and make way for the king to have his rightful seat in the pantheon of jazz greats. 

Sources

Armstrong, L. (1954). Satchmo. Prentice-Hall. 

Armstrong, L. (2001). Louis Armstrong in his own words: Selected writings (T. Brothers , Ed.). Oxford University Press. 

Djana. (2013, April 17). Joe Oliver is still the "king." jazzfest.ba. https://jazzfest.ba/en/2013/04/10/joe-oliver-is-still-the-king/ 

Grossman, J. R. (1991). Land of hope: Chicago, Black Southerns, and the Great Migration. The University of Chicago Press. 

Heflin, T. (2012, October 29). The Louis Armstrong House and the mystery of king oliver's grave. The Jazz Trumpet Project. https://jazztrumpetproject.blogspot.com/2012/10/the-louis-armstrong-house-and-mystery.html 

KENNEY, W. H. (1993). Chicago Jazz: A cultural history, 1904-1930. Oxford University Press. 

Michaeli, E. (2016). The defender: How the legendary black newspaper changed America. Houghton Mifflin. 

Oral history, Stella Oliver, Tulane Jazz Archive, April 22, 1959

Raceburn, B. B. (2000). King Oliver, Jelly Roll Morton, and Sidney Bechet: Ménage à Trois, New Orleans Style. In The Oxford Companion to Jazz (pp. 88–101). essay, Oxford University Press.