Gavin Gregory who stars as King Joe Oliver

Growing up, jazz transcended mere entertainment; it formed the very rhythm of my existence. My childhood was a mosaic of rich, soulful sounds, emanating from the vinyl records my father, a talented jazz pianist, lovingly played in our home. He opened my ears to the greatness of legends like Charlie Parker and Big Mama Thornton, their resonant melodies lingering in my mind long after the music stopped. Inspired by John Coltrane’s innovative spirit, I was encouraged to think beyond the conventional, while the unmistakable voice of Louis Armstrong, the epitome of jazz’s essence, carved a permanent space in my heart. His music served as a timeless backdrop, sculpting my understanding of a genre that weaves together melody, rhythm, and profound emotional expression.

As I pen this piece about Broadway’s latest homage to jazz through the lens of the incomparable Louis Armstrong, I’m flooded with nostalgia. “A Wonderful World: The Louis Armstrong Musical”,  is not just a musical; it’s a heartfelt exploration of the man behind the music and the indelible influence he had on generations of artists, particularly the groundbreaking King Oliver. Oliver, a jazz pioneer in his own right, was not only Armstrong’s mentor but a crucial figure in shaping the sound of jazz during the early 20th century with an emphasis on muting music.

Recently, I had the distinct pleasure of interviewing Gavin Gregory, the dynamic actor taking on the role of King Oliver in this vibrant new production. Our conversation unfolded over a delightful half-hour on a crisp morning between his rehearsal sessions. Gavin’s exuberant spirit and infectious passion for his craft drew me in, making our connection feel effortless. He shared a delightful story about how his oldest brother, a drummer, gifted him a trumpet years ago — an instrument that’s now crucial to his portrayal of the legendary King Oliver. With palpable enthusiasm for the role, I am eager to witness how Gavin breathes life into Oliver’s rich story on stage.

In weaving this narrative, I find Gavin’s insights about the jazz legacy and his own journey with the trumpet enriches the tapestry of this piece. Below are some highlights from our conversation that reveal the depth of Gavin’s preparation and his connection to this remarkable project.

Gavin at work in a scene as King Joe Oliver

D.B. Frick: Who pushed you to play the trumpet?

Gavin Gregory: My oldest brother! God bless him; he’s a drummer. We were both involved in all the school bands — marching band, symphonic band, jazz band, you name it. He was known as “The Little Drummer Boy.” When he became an adult, he ended up buying me this trumpet, and it blew me away. That sent me on my way.

D.B. Frick: How did you prepare for the character, and how is he different from you?

Gavin Gregory: (Gavin bursts into laughter) The character is worlds apart from who I am, but I can relate to his artistry and experiences. As a Black man from that era, he faced many social challenges. I’ve done a few period pieces that have helped me understand that historical context. It’s not that my family members were like King Oliver, but my grandparents and their peers informed my understanding of that time — how they carried themselves and the weight of their experiences.

D.B. Frick: Was there jazz music at home growing up?

Gavin Gregory:  Absolutely! My oldest brother influenced me a lot, but my parents loved all types of music. Jazz was a constant in our house. I remember an old Jimmy Smith album that was always on rotation. We listened on big, 12-inch records that kids today wouldn’t even know how to use!

D.B. Frick: What kind of research did you do to dive into this character?

Gavin Gregory: I listened to a lot of King Oliver’s music and read the book *Pops*. There isn’t a wealth of information about King Oliver, so I had to dig deep. I also listened to podcasts to grasp the essence of his artistry. Understanding King Oliver’s influence on Louis Armstrong is vital — there would be no Louis without him.

D.B. Frick: Do you have a favorite song or scene that stands out to you?

Gavin Gregory: It’s tough to choose, but I absolutely love a song called “Tight Like That.”

D.B. Frick: Funny, when you said that, I felt chills.

Gavin Gregory: It’s so much fun and high-energy! I think it’s the perfect introduction to this character. He didn’t perform this exact song, but it captures the era and fits beautifully within the storytelling of his life. I also love singing “It Don’t Mean A Thing.”

D.B. Frick: Is there something you’ve learned about yourself through this show?

Gavin Gregory: Definitely! I’m so glad I didn’t get rid of my trumpet.

D.B. Frick: How long ago was that when you almost sold it?

Gavin Gregory: I’ve had this trumpet since middle school, and it’s a family heirloom now. When I first moved back to NYC years ago for this show, I needed money and almost sold it. Something deep inside told me to hold onto it, and I’m so grateful I did. I know for a fact that I needed that trumpet to walk through the doors of this show. I’ve learned that the artistic gifts available in the past still have relevance now; you can’t just walk away from them.

Gavin Gregory (King Joe Oliver), Cory Pattak (Lighting Designer) and Adam Koch (Co-Scenic and Video Designer) ©Jeremy Daniel.

D.B. Frick: What were the biggest challenges in approaching this character?

Gavin Gregory: I’d say believing in yourself and the dreams you have. Without giving too much away, we know King Oliver’s fate. Sometimes, as an artist or actor, you question whether this will ever happen for you. What does success really mean? Watching King Oliver’s life play out can be daunting, and you have to fight against those negative thoughts.

D.B. Frick: You mentioned King Oliver’s fate — what was it?

Gavin Gregory: It’s public record, so I’m not spoiling anything. King Oliver was the guy of his time, and everyone wanted to emulate him. He moved to Chicago during a period when jazz, especially by Black artists, was being overlooked. Many former jazz musicians found themselves in domestic work, but King Oliver refused that fate. Eventually, he lost his teeth and could no longer play the trumpet; he ended up selling whatever he could on the road. Louis Armstrong once ran into him and helped him out, which is beautifully reflected in the story we’re telling.

A Wonderful World: The Louis Armstrong Musical,

Previews for the show begin on October 13th, with the grand opening set for November 11th, 2024.

For tickets, visit: [Broadway.com](https://www.broadway.com/shows/a-wonderful-world-the-louis-armstrong-musical/?gad_source=1&gclid=CjwKCAjwmaO4BhAhEiwA5p4YLzwuJAV3U4ZCETiKkt2uKXs4I6T7a5mbKx0gcyIwaDbEEOgQPea3UhoC9g4QAvD_BwE)

As this incredible project approaches its debut, I look forward to seeing how Gavin Gregory channels King Oliver’s legacy and passion for jazz through his performance, bringing to life a story that resonates deeply with fans of this timeless genre.