Nat King Cole: Hittin’ the Ramp: The Early Years (1936-1943)

Before pianist/vocalist Nat King Cole had a career as a pop crooner—his many hits included "All for You," "The Christmas Song," "(Get Your Kicks on) Route 66," "(I Love You) For Sentimental Reasons," "Nature Boy" and "Mona Lisa" (the No. 1 song in 1950)—he led a successful jazz trio which featured both his piano playing and vocals. This voluminous collection aims to document all of his early work. There are many surprises for those who only know the pop hits, and plenty to interest jazz fans who may have dismissed him as a sellout.

The earliest recordings (1936) were made under the leadership of Nat's brother, bassist/vocalist Eddie Cole, with Nat playing piano. By 1938 the King Cole Trio had been formed with guitarist/vocalist Oscar Moore and double bassist/vocalist Wesley Prince. After demonstrating vocal skills on live gigs, Nat had been encouraged to sing. So much of this material features vocals, although substantially different from the later pop records. Cole's first hit was "Sweet Lorraine" (Decca, 1940) after many radio transcriptions and recordings for small labels. The trio was a hot, jiving swing machine, prone to novelty tunes like "The Sheik of Araby," "'Taint What You Do" and "Straighten Up and Fly Right." Given the recording technology of the time, most of the tracks are in the two to three minute range, with a few hitting the five minute mark. But these recording sessions cover a broad range.

There are guest vocalists, most notably the vocal group The Dreamers. Their session includes a range of contemporary pop with the trio in a purely accompanying role. Instrumental tracks also have a place. Some of them have the feel of spontaneous jams, with titles like "Riffin' in F Minor" and "I Like to Riff." But there are also tunes like "Moon Song" and "Rhythm Serenade" (which includes a bass solo). The trio also made instrumental sessions with guest soloists. Tenor saxophonist Lester Young played on one in 1942, regrettably without guitarist Oscar Moore. In 1943 they were joined by trumpeter Harry "Sweets" Edison and tenor saxophonist Dexter Gordon. That recording was produced by renowned producer Norman Granz, and included a drummer (an occasional addition in this collection).

It is easy to forget that Cole was originally a pianist who also sang, rather than the other way around. As a pianist he was in the line of greats like Earl Hines and Art Tatum, and himself was a huge inspiration to Oscar Peterson, George Shearing, Erroll Garner, and others. Most of these recordings feature his deep partnership with guitarist Oscar Moore. His style was a synthesis of such influences as George Van Eps, Django Reinhardt, and Charlie Christian, and a template for modern jazz guitar playing.

This deluxe seven-CD/10-LP package is the first comprehensive collection of Cole's early years, compiling nearly 200 pre-Capitol Records recordings, and produced in partnership with the Cole Estate. While few of these tracks are easy to find, the collection also includes several previously unreleased studio sides, transcriptions, and private recordings. The extensive accompanying booklet includes interviews, quotes and essays by Johnny Mathis, Tony Bennett, Quincy Jones, Harry Belafonte, Freddy Cole, Michael Feinstein, John Pizzarelli and others.

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