But it was the interplay of his piano with Oscar Moore’s guitar that really made the group catch on at that point. Cole, who can finally be heard singing a ballad (“Nothing Ever Happens”) on a radio transcription from July 22, 1940, was starting to be noticed, both as an increasingly influential pianist and a likable singer. Of greater significance were a dozen titles made for Decca on Decemand March 14 and Jfor they include Nat King Cole having his first hit with a solo vocal on “Sweet Lorraine,” and doing a fine job on “This Will Make You Laugh” in addition to participating on some more group vocals and instrumentals.īy that time, the King Cole Trio, which had become quite popular in Los Angeles, was beginning to gain a national reputation, helped out by its radio broadcasts. The trio’s first official recordings were four titles made for the Ammor label on Apand these ironically have Lee Young added on drums perhaps the label thought they were playing it safe. The legendary tale about how Nat King Cole first sang, being requested by an annoying drunk in a club, is a good story but obviously not true as evidenced by these performances. On some numbers the trio accompanies other singers (Bonnie Lake, Juanelda Carter, Maxine Johnson, Anita Boyer, Pauline and her Perils, and the Dreamers) but up to that time Cole was not singing solos and the group’s ballads tended to be instrumentals. The music alternates hot swing instrumentals and ballads with vocalizing by the trio in worked out scat-filled unison passages on heated versions of standards and novelties. These noncommercial renditions were made strictly for radio airplay and were not available for purchase. The release starts off with the Eddie Coles date and then includes no less than 71 selections that were recorded by the trio for radio transcription services that predate the trio’s first official recordings in 1940. At first they called themselves the King Cole Swingsters before settling on the King Cole Trio.Īll of the music that exists from Nat King Cole’s first period (1936-43) except for two sessions as a sideman with Lionel Hampton in 1940, has recently been released on the superb seven-CD (or ten-LP) Resonance box set Hittin’ The Band: The Early Years. That year he married a member of the cast, Nadine Robinson, and settled in Los Angeles after the show ended.Ĭole led a short-lived big band and then formed a trio to play in clubs that also included guitarist Oscar Moore and bassist Wesley Prince. The following year they toured with a revival of the musical Shuffle Along. When Eddie Coles returned to Chicago after touring with Noble Sissle, they formed a sextet, Eddie Coles’ Swingsters, recording four titles for the Decca label in 1936. He considered his musical hero and main influence to be Earl Hines although, by the late 1930s, one could also hear bits of Teddy Wilson and Art Tatum in his playing.Ĭole dropped out of school when he was 15 to work as a pianist, leading the Royal Dukes in 1934. Raised in Chicago, Nat started on the organ when he was four and had his first piano lessons when he was 12.
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He was one of four brothers who became musicians: bassist Eddie Coles (who was nine years older) and pianists Ike Cole and Freddy Cole, all of whom also sang. Nathaniel Adams Coles (he changed his last name to Cole early in his career) was born Ma(although his birthdate has sometimes been given as 1917) in Montgomery, Alabama. Equally skilled as a jazz pianist and a middle-of-the-road pop crooner, Cole would still be remembered with affection today if he only had one of those musical identities. The Nat King Cole story is a tale of two major talents, both owned by the same person. Nat King Cole: Discovering the real man (behind the great musician).
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