King Oliver's Creole Jazz Band 1923-1924

The initial 8 tracks are revered by jazz enthusiasts and are amongst the first jazz recordings made by a Negro band. This was in Richmond, Indiana, with the rest of the 37 Creole Jazz Band tracks being recorded in Chicago. All this took place in the year 1923, and with no earlier jazz recordings it can be claimed these are the first real records of the authentic sound of New Orleans jazz. Indeed, it may be argued that there is no real New Orleans jazz other than that recorded elsewhere.

It is not practicable to comment on all 41 tracks, but the 37 by the Creole Jazz Band demonstrate a most important element in traditional jazz termed "collective improvisation" where all instruments improvise in relation to the melodies and harmonies of the others and blend into an ensemble sound. There is also an element of creating openings for others and taking advantage of openings by others for solo slots, and of siezing opportunities to join in chorus lines. My favourites are "Canal Street Blues" from the initial recording session, together with "Jazzin' Baby Blues", "Zulu's Ball", "Sobbin' Blues", "I Ain't Gonna Tell Nobody" and "Room Rent Blues" from Chicago sessions. Louis Armstrong is part of the line-ups on all these recordings and there is a rare opportunity to hear him playing swanee whistle. Alternative takes and versions are included for such numbers as "Dipper Mouth Blues", "Snake Rag", "Mabel's Dream", "Riverside Blues" and "Southern Stomps" that allow appreciation of the considerable flexibility of the musicians and the wide diversity of the band.

Surprisingly these multiple numbers do not detract from the easy listening nature of the CDs for the Creole Jazz Band numbers. However, for me the final 4 tracks recorded in 1924 fit rather uncomfortably with the 1923 recordings. It is perhps as well that positioning at the end of the second CD allows the vaudeville numbers to be ignored. Of some interest are the King Oliver cornet solos as these give a glimpse of him playing in isolation. I find "King Porter Stomp" full of inventiveness though rather ragged, and "Tom Cat" has the cornet as subdued staccato to Jelly Roll Morton's more melodic piano.

King Oliver had built on the playing of Buddy Bolden and Freddie Keppard, just as Louis Armstrong was to go on and build on the playing of King Oliver. In his heyday King Oliver was amongst the "greats" of New Orleans horn players, and the Creole Jazz Band was his most famous group. These CDs include the best of what was being played at the time. King Oliver on cornet and the Creole Jazz Band were the sensation of this "golden age" playing the authentic jazz sound of New Orleans.