King Oliver - Great Original Performances 1923-30
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CD Details
Artist: King OliverEdition: Music CD
CD Release Date: 1998-05-19
Music Label: Louisiana Red Hot
Soundtracks:
Music CD 1
- Mabel's Dream
- The Southern Stomps
- Riverside Blues
- Weather Bird Rag
- Dipper Mouth Blues
- Snake Rag
- Sweet Lovin' Man
- High Society Rag
- Sobbin' Blues
- Chattanooga Stomp
- King Porter
- Too Bad
- Deep Henderson
- Jackass Blues
- Sugar Foot Stomp
- Wa Wa Wa
- Dead Man Blues
- Snag It
- Jet Black Blues
- Blue Blood Blues
- It's Right Here For You
- Show Boat Shuffle
- Every Tub
- Willie The Weeper
- Black Snake Blues
- Farewell Blues
- Sobbin' Blues
- Tin Roof Blues
- West End Blues
- Longshoreman's Blues
- Death Sting Me Blues
- Tell Me Woman Blues
- In The Bottle Blues
- What Ya Want Me To Do?
- New Orleans Shout
- Rhythm Club Stomp
- Edna
- Mule Face Blues
- Don't You Think I Love You?
- Shake It And Break It
- Stingaree Blues
Music reviews of Great Original Performances 1923-30
Music Review: For those of us who are King Oliver cultists
Rating: 4 Stars
"How horrible to have lived in the 20th century and never to have heard King Oliver", as the fine English poet Philip Larkin said, quoted in the excellent liner notes to the great Australian re-masterer Robert Parker's 2-CD collection of Kingoliveriana. King Oliver fascinates jazz fans, I think, because he comes somewhere between Buddy Bolden, who never recorded and whose sound therefore can only be imagined (see the book "In search of Buddy Bolden" by Donald Marquis)and the stupendous youngster Louis Armstrong, whose genius is very nearly fully attested, and in fine sound, thanks to the Okeh label (and John R.T. Davies' superlative remastering of those 78's in his 4-CD set on the JSP label "Hot Fives and Hot Sevens"). King Oliver seems to have reached his artistic height sometime before he first recorded in Chicago in 1923. These first recordings are among the first of authentic African American jazz ensemble, with sound tolerable only to those of us who are accustomed to very old records. Unfortunately, as recording technology improved, Joe Oliver's chops wobbled, and his breath weakened. Was he really the King? Yes, and we have the sonic evidence to prove it. But it is proof by combination, conclusion, sympathy, and imagination.
Robert Parker does his usual job of finding the best preserved 78's, judicious use of noise reduction and other tricks, and addition of reverb to produce a surprising presence and oomph from archival recordings. The early tracks definitely outclass the sound of the Jazz Heritage and GRP (i.e. Decca) recordings I have. It's easy to imagine being a kid just arrived in Chicago from Nebraska or Mississippi, braving your way into a Rush Street or Bronzeville dive, and hearing and seeing these great musicians shaking the walls and cutting every cheap dance orchestra to shreds, and above the pack the magisterial presence of King Oliver.
My criticism of this package would be the inclusion, in the second disc, of some sides where Joe Oliver may not have played (at least one where he definitely did not) and some sides that are really nothing more than generic late New Orleans style stomps. I would, I say, criticise Parker's collection for this reason if I were not also a member of the King Oliver cult, who appreciates every piece of evidence which helps us to establish the nature of this great artist in his setting. How horrible that Joe Oliver's fall is so much better documented than his rise.
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Description of Great Original Performances 1923-30
CD featuring King Oliver.Jazz CDs
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