Nat "King" Cole, Pianist/SingerBorn: March 17, 1919 (Montgomery, AL)
Died: February 15, 1965 (Santa Monica, CA)
Nat "King" Cole, byname of "Nathaniel Adams Cole", family name originally "Coles" was an American musician hailed as one of the best and most influential pianists and small-group leaders of the swing era. Cole attained his greatest commercial success, however, as a vocalist specializing in warm ballads and light swing.
Cole grew up in Chicago, where, by age 12, he sang and played organ in the church where his father was pastor. He formed his first jazz group, the "Royal Dukes", five years later. In 1937, after touring with a black musical revue, he began playing in jazz clubs in Los Angeles. There he formed the "King Cole Trio" (originally King Cole and His Swingsters), with guitarist Oscar Moore (later replaced by Irving Ashby) and bassist Wesley Prince (later replaced by Johnny Miller). The trio specialized in swing music with a delicate touch in that they did not employ a drummer; also unique were the voicings of piano and guitar, often juxtaposed to sound like a single instrument. An influence on jazz pianists such as Oscar Peterson, Cole was known for a compact, syncopated piano style with clean, spare, melodic phrases.
During the late 1930s and early ’40s the trio made several instrumental recordings, as well as others that featured their harmonizing vocals. They found their greatest success, however, when Cole began doubling as a solo singer. Their first chart success, “Straighten Up and Fly Right” (1943), was followed by hits such as “Sweet Lorraine,” “It’s Only a Paper Moon,” “(I Love You) For Sentimental Reasons,” and “Route 66.” Eventually, Cole’s piano playing took a backseat to his singing career. Noted for his warm tone and flawless phrasing, Cole was regarded among the top male vocalists, although jazz critics tended to regret his near-abandonment of the piano.
Nat "King" Cole: Straighten Up and Fly Right
He first recorded with a full orchestra (the trio serving as rhythm section) in 1946 for “The Christmas Song,” a holiday standard and one of Cole’s biggest-selling recordings. By the 1950s, he worked almost exclusively as a singer, with such notable arrangers as Nelson Riddle and Billy May providing lush orchestral accompaniment. “Nature Boy,” “Mona Lisa,” “Too Young,” “A Blossom Fell,” and “Unforgettable” were among his major hits of the period. He occasionally revisited his jazz roots, as on the outstanding album After Midnight (1956), which proved that Cole’s piano skills had not diminished.Cole’s popularity allowed him to become the first African-American to host a network variety program, "The Nat King Cole Show", which debuted on NBC television in 1956. The show fell victim to the bigotry of the times, however, and was canceled after one season; few sponsors were willing to be associated with a black entertainer. Cole had greater success with concert performances during the late 1950s and early ’60s and twice toured with his own vaudeville-style reviews, The Merry World of Nat King Cole (1961) and Sights and Sounds (1963). His hits of the early ’60s—“Ramblin’ Rose,” “Those Lazy, Hazy, Crazy Days of Summer,” and “L-O-V-E”—indicate that he was moving even farther away from his jazz roots and concentrating almost exclusively on mainstream pop. Adapting his style, however, was one factor that kept Cole popular up to his early death from lung cancer in 1965.
Nat "King" Cole - When I Fall in Love
The prejudices of the era in which Cole lived hindered his potential for even greater stardom. His talents extended beyond singing and piano playing: he excelled as a relaxed and humorous stage personality, and he was also a capable actor, evidenced by his performances in the films Istanbul (1957), China Gate (1957), Night of the Quarter Moon (1959), and Cat Ballou (1965); he also played himself in The Nat “King” Cole Musical Story (1955) and portrayed blues legend W.C. Handy in St. Louis Blues (1958). His daughter Natalie is also a popular singer who achieved her greatest chart success in 1991 with “Unforgettable,” an electronically created
duet with her father.
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Source: ~www.britannica.com
Photo Credit: Metronome/© Archive Photos
Audio track above, quoted from the album:
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