1926-28

King Oliver | Format: Audio CD

Product Details

• Audio CD (May 13, 1994)
• Label: Jazz Chronological Classics
• ASIN: B000001NLA
• Also Available in: Audio CD
• Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
• Amazon Best Sellers Rank: #1,188,637 in Music (See Top 100 in Music)

Track Listings

1. Someday, Sweetheart

2. Dead Man Blues

3. New Wang Wang Blues

4. Snag It

5. Doctor Jazz

6. Showboat Shuffle

7. Every Tub

8. Willie the Weeper

9. Black Snake Blues

10. Farewell Blues

11. Sobbin' Blues

12. Tin Roof Blues

13. West End Blues

14. Sweet Emmalina

15. Lazy Mama

16. Got Everything (Don't Want Anything But You) [Vocal Version]

17. Got Everything (Don't Want Anything But You) [Instrumental]

18. Four or Five Times [Vocal Version]

19. Four or Five Times [Instrumental]

20. Speakeasy Blues

See all 21 tracks on this disc

Editorial Reviews

Amazon.com

The Dixie Syncopators led by King Oliver in this period at Chicago's Plantation Café were a very different kind of band than Oliver's earlier Creole Jazz Band, which had featured Louis Armstrong and Johnny Dodds. On the first nine tracks, recorded in Chicago, the new orchestra was a larger group than its legendary predecessor, accomodating the New Orleans improvisers into more developed arrangements, with two cornets and a three-member reed section. There are also fine small-group New York recordings from 1928, with Clarence Williams on piano and vocals, that include a stately "Tin Roof Blues." Two vitality-filled versions of "Got Everything (Don't Want Anything but You)," one with vocals and one without, are performed by a larger New York group. Throughout the band's evolution and permutating personnel on this CD, there are outstanding solo moments by Barney Bigard on tenor, Luis Russell on piano, and Dodds and Omer Simeon on clarinet, but it's Oliver's cornet that stands out, whether muted and vocal or a noble and stoic open-horned presence. --Stuart Broomer

Customer Reviews

Most Helpful Customer Reviews

1 of 1 people found the following review helpful:

5.0 out of 5 stars The Genius Of King Oliver Rediscovered, December 27, 2001

By 

Peter Acebal (Christiansburg, VA United States) - See all my reviews

This review is from: 1926-28 (Audio CD)

Like his New Orleans cohort Jelly Roll Morton,King Oliver was responsible for the syncopated polyphony that a decade later became stock-in-trade as the Big Band "Swing" era (being milked for all it was worth by predominantly White bandleaders);the Dixie Syncopators featured on this disc captures Oliver's vision of a large New Orleans rooted Ensemble perfectly,-the band literally smokes on "Willie The Weeper" and "Aunt Hagar's Blues".These records sold moderately ok when they were released but Oliver was heading for his downfall come 1931 with a host of financial and career woes as well as severe dental problems that increasingly affected his playing.I'm honestly not a big fan of his 1929-1930 Orchestra (they were too 'Pop' ) but this CD still captures Oliver in his very prime - I would recommend people also listen to (and buy) the preceding "King Oliver And His Jazz Band 1923-1926" (also available from our friends at Amazon) on the same Chronological Classics label to get the whole picture of just how Oliver came to this big band.I am a very biased King Oliver nut - I live by his Creole Jazz Band but this set is essential listening to anyone who loves just plain Great jazz!

5.0 out of 5 stars Great Pre Armstrong Jazz, February 27, 2002

By 

nadav haber (jerusalem Israel) - See all my reviews
(REAL NAME)   

Amazon Verified Purchase

This review is from: 1926-28 (Audio CD)

King Oliver's 1923 recordings with Louis Armstrong and the Creole Jazz band are an explosion of greatness. This CD shows Oliver a few years later.
Oliver is a master of collective improvisation, New Orleans style. He is a sincere musician who thinks of the group sound before his own. These recordings show him in a good period, with master musicians and good material. The style is no longer collective, as the emphasis is on individual solos. Still Oliver's group orientation is strongly evident.
The sound of these tracks throws me back to other times, like good music can.
Oliver's solo trumpet playing represents the older style. He cannot burst into flaring solos like his protege Armstrong, and his swing is less obvious. At the time of these recordings there were already trumpeters who were copying Louis' style (Red Allen) and moving jazz forward.
These recordings are indispensable as they represent an era that was not recorded enough. Oliver's ability to get the best out of his sidemen is evident and shows the big heart this tragic person had.
I recommend the CD to anyone who loves 1920's jazz.