Jazz royalty is a term that reflects the many great jazz musicians who have some sort of royal, aristocratic or other honorific title added to their names or nicknames. It is a notable subset of nicknames of jazz musicians.
Earliest jazz "monarchs" in New Orleans
The practice goes back to New Orleans at the start of the 20th century, back before the music was commonly known as "jazz". Buddy Bolden was known as "King Bolden", as the top hot music and hot trumpeter of the city.
The realization that such titles might have commercial or public relations values also dates to this era. Violinist and bandleader Alex Watzke, observing Bolden's popularity, started billing himself as "King Watzke", and paid children coins to publicly point at him as he walked down the street and say "There goes King Watzke". While he succeeded in appending that nickname to himself, some fellow musicians used it more with amusement than with the respect accorded to Bolden.
After Bolden was institutionalized in 1907, his "crown" was taken by Freddie Keppard who, in turn, "ruled" until 1914 when Joe Oliver took over the title.
Joe Oliver left New Orleans in 1919. Some later writers have assumed that the trumpet crown at that time went to Oliver's protegé Louis Armstrong, but Armstrong and his contemporaries made no such claim. Armstrong had a powerful rival in Buddie Petit, whom many ranked higher than young Armstrong in the period of 1919-1922. Neither billed himself as "king".
Oliver was known as "King Oliver" in Chicago, and was still regarded as the jazz king as late as 1925, when Louis Armstrong returned to Chicago from New York City. Armstrong's great respect and affection for Oliver was probably a factor in never claiming Oliver's kingship, although at the urging of his wife Lil Hardin Armstrong, Louis Armstrong was billed as the "world's greatest jazz trumpeter", rendering Oliver's title more ceremonial than a claim of supremacy.
Meanwhile in New York City in the 1920s, Paul Whiteman controversially began billing himself as the "King of Jazz". His nationally popular band with many hit records arguably played more jazz-influenced popular music than jazz per se, but to the dismay of many later jazz fans, Whiteman's self-conferred moniker stuck, and a motion picture The King of Jazz starring Whiteman and his band appeared in 1930. The "King of Jazz" title was a publicity stunt in 1924, by a musical instrument manufacturer that Whiteman endorsed, and Whiteman's publicists used it to good measure.citation needed
Jelly Roll Morton was one of many annoyed by Whiteman's claim and had enough bravado to challenge it. In 1924 he billed his band as "The Kings of Jazz", but the title never caught on.
The New Orleans Rhythm Kings were popular in Chicago.
Swing era
Benny Goodman was regularly called the "King of Swing". His rival, Artie Shaw, was often called "King of the Clarinet". Goodman's song "King Porter Stomp" was written by Jelly Roll Morton after a piano player he knew named Porter King. Later a little-known bandleader took the name "King Porter".
Nat King Cole's nickname is partly inspired by the nursery rhyme "Old King Cole" and partly inspired by his impressive jazz piano technique.
There was a popular, if somewhat tongue-in-cheek "sweet" big band, led by Blue Barron, a stage name. Blue Barron once billed himself as competing for the title of "King of the Mickey Mouse Bands".
Pianist Albert Ammons was referred to both as the "King of Boogie Woogie" and the "Rhythm King" in the 30s and 40s.
Later jazz monarchs and aristocrats
- Many of Al Hirt's records credited him as Al "He's The King" Hirt.
Best known jazz royalty titles
Blues monarchs
Mamie Smith was billed as the "Queen of the Blues"; Bessie Smith outdid her with the billing "Empress of the Blues". In a later era, Dinah Washington was also billed as the "Queen of the Blues".
B. B. King always called himself the "Blues Boy" or "Beale Street Blues Boy" and fellow bluesmen Albert King (born Albert Nelson) and Freddie King were content to share a last name with him. They are now known as the "Three Kings of the Blues", a partial reference to the Three Magi.
See also
References
- ^ Jones, Max; Stanley Dance (2000). Jazz Talking: Profiles, Interviews, and Other Riffs on Jazz Musicians. Da Capo Press, 204. ISBN 0306809486.
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