The Authorship of Dippermouth Blues: Exploring the Debate
The song “Dippermouth Blues” holds a significant place in the history of jazz. Recorded in April 1923 by King Oliver’s Creole Jazz Band for Gennett Records and later in June of the same year for Okeh Records, it has sparked a debate regarding its authorship. This article delves into the different perspectives surrounding the composition and examines the contributions of Joe “King” Oliver and Louis Armstrong.
Attribution Controversy
The attribution of “Dippermouth Blues” as the work of either Oliver or Armstrong has been a subject of discussion among scholars and jazz enthusiasts. While some credit Oliver as the composer, others argue that Armstrong played a crucial role in creating the main theme. It is worth noting that the title of the song, “Dippermouth,” was a nickname of Louis Armstrong, adding to the intrigue surrounding its authorship.
Joint Credit and Lead Sheet
The phonograph recordings from 1922 provided joint credit to Armstrong and Oliver, further complicating the matter. However, Armstrong’s involvement in the composition is supported by the fact that the lead sheet of “Dippermouth Blues” was handwritten by Lilian Hardin and signed by Joe Oliver. Additionally, Armstrong is credited as a co-composer on the Gennett label.
The Influence of the Blues
The song itself reflects the influence of the blues on early jazz. It features a twelve-bar blues harmonic progression, characterized by frequent bent notes and slides into notes. These elements demonstrate the musical language of the blues, which had a profound impact on the development of jazz as a genre.
Performances and Innovations
During the recording of “Dippermouth Blues,” Louis Armstrong played second cornet on the April 6, 1923 session. His skillful execution and improvisation on this instrument contributed to the song’s distinctiveness. Notably, Joe Oliver’s plunger mute solo on first cornet became one of the most frequently imitated solos of his generation, showcasing his virtuosity and musical innovation.
Evolution and Adaptation
In later years, while Armstrong was a member of the Fletcher Henderson Orchestra, the song was recorded again in 1925 under the title “Sugarfoot Stomp.” This version featured a new arrangement by Don Redman, in which Armstrong paraphrased Oliver’s solo without the plunger effects. The evolution of the song highlights its adaptability and continued popularity within the jazz repertoire.
Conclusion
In conclusion, the authorship of “Dippermouth Blues” remains a subject of debate, with proponents supporting both Joe “King” Oliver and Louis Armstrong as contributors to its creation. The song’s composition reflects the blues influence on early jazz, and the distinct performances of Armstrong and Oliver contributed to its enduring appeal. As the years pass, the song’s legacy continues to captivate audiences and serve as a testament to the rich history of jazz.
FAQs
Who recorded the song “Dippermouth Blues” in 1923?
The song “Dippermouth Blues” was first recorded by King Oliver’s Creole Jazz Band in April 1923 for Gennett Records and in June of the same year for Okeh Records.
Who is credited with the composition of “Dippermouth Blues”?
The composition of the song has been attributed to both Joe “King” Oliver and Louis Armstrong.
What is the significance of the title “Dippermouth” in the song?
The title of the song, “Dippermouth,” was a nickname of Louis Armstrong.
Were both Louis Armstrong and Joe Oliver credited for the song on the 1922 recordings?
Yes, the phonograph recordings from 1922 credited both Armstrong and Oliver jointly.
What is the argument regarding Armstrong’s contribution to the composition?
Some argue that Armstrong was the actual composer of the main theme of the song, while Oliver and Lil Hardin provided the arrangement.
How does “Dippermouth Blues” showcase the influence of the blues on early jazz?
The song showcases the influence of the blues on early jazz, with a twelve-bar blues harmonic progression and frequent bent notes and slides into notes.
What were the notable performances on the recording of “Dippermouth Blues”?
Louis Armstrong played second cornet on the April 6, 1923 recording, while Oliver’s plunger mute solo on first cornet became one of the most frequently-imitated solos of his generation.
Was “Dippermouth Blues” recorded under a different title in later years?
Yes, during Armstrong’s time in the Fletcher Henderson Orchestra, the song was recorded in 1925 under the title “Sugarfoot Stomp” with a new arrangement by Don Redman.