DOCSLIB.ORG

West End Blues / Mark Scheme Area of Study D / Jazz

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
West End Blues / Mark Scheme Area of Study D / Jazz WEST END BLUES / MARK SCHEME AREA OF STUDY D / JAZZ 3. You will hear two extracts of music, both performed by jazz ensembles. You may wish to place a tick in the box each time you hear the extract. EXTRACT EXTRACT EXTRACT EXTRACT 5 EXTRACT EXTRACT 1 1 2 2 MINS 1 2 Answer questions (a-f) in relation to extract 1 only. Question (g) is a comparison of extract 1 with extract 2. Each extract will be played 3 times with a 30 second pause between each playing, a 5 minute pause after the second playing of extract 2 and a 7 minute silence after the last playing for you to complete your answer. You now have 30 seconds to read the questions. 20 WEST END BLUES PG. 1 WEST END BLUES / MARK SCHEME AREA OF STUDY D / JAZZ First, you will hear an extract taken from a piece recorded by Louis Armstrong and his hot five in 1928. An outline of the structure of the extract is printed below. Introduction First chorus Second chorus Third chorus Fourth chorus (cadenza) Trumpet only Trumpet and Solo Clarinet Piano solo band Improvisation and voice with band improvisation with band a. Describe the music played by the trumpet in the introduction [ 3 ] AO4 (cadenza) of the extract. • Improvisatory • Wide range of the instrument • Arpeggios • Some scalic movement • Use of ‘blue’ notes • Chromatic • Syncopation • Monophonic (apart from last chord) • Virtuoso playing • Vibrato WEST END BLUES PG. 2 WEST END BLUES / MARK SCHEME AREA OF STUDY D / JAZZ b. Identify the solo instrument that improvises during the second [ 1 ] AO3 chorus. Trombone c. State the name given to the style of singing heard in the third [ 1 ] AO3 chorus. Scat d. Tick √ two statements that best describe the rhythm section in [ 2 ] AO3 this extract. Tick The rhythm section is piano, bass and percussion The rhythm section is piano, banjo and percussion √ The piano and banjo play simple comping chords √ There is a walking bass with piano chords The drum kit uses the ride cymbal to provide a swing rhythm WEST END BLUES PG. 3 WEST END BLUES / MARK SCHEME AREA OF STUDY D / JAZZ e. Describe the music heard in the piano solo in the fourth chorus [ 2 ] AO4 at the end of this extract. • Stride piano style • Left hand leaps from low bass notes to high chords • Right hand virtuosic playing in a high register • Right hand playing in octaves • Wide stretches in left hand (intervals of a 10th) • Wide range of the piano used f. Identify the musical structure that forms the basis of this [ 2 ] AO3 piece. 12 bar blues WEST END BLUES PG. 4 WEST END BLUES / MARK SCHEME AREA OF STUDY D / JAZZ g. Next, you will hear an extract from ‘Billie’s bounce’ recorded [ 10 ] AO4 by Charlie Parker in 1945. Compare and contrast the stylistic features of this extract with those of extract 1. You may wish to discuss organisation of musical material, use of instrumentation/ musical resources or any other features of interest relating to the style. An outline of the structure of the extract is printed below. Intro Head Head Chorus one Chorus two Chorus three Chorus four Chorus five (repeated) Improvisation Improvisation Improvisation Improvisation Improvisation Soloist one Soloist one Soloist one Soloist one Soloist two WEST END BLUES PG. 5 WEST END BLUES / MARK SCHEME AREA OF STUDY D / JAZZ Answers will present any correct and appropriate musical and stylistic features of extract 2, including observation of any possible comparison with extract 1 Both extracts: • 12 bar blues • Major key • Diatonic harmonies • improvisation • use of front line and rhythm section • introduction before ‘head’ • structure of introduction/head/solos • both have trumpet, piano and drums (percussion) • 4/4 time • Syncopation • ‘blue’ notes • Chords I, IV and V most common • Piano comping style • Solos for instrumentalists • Virtuosic style in solos Differences in Extract 2: • Piano introduction of four bars (shorter than extract 1) • Head is played by two solo instruments with rhythm section (trumpet only in extract 1) • Instrumentation: Alto Saxophone, Trumpet, piano, double bass & drum kit • Be-bop style • Solo passages are faster and more virtuosic • ‘Head’ stated in unison/3rds/ and octaves by the two instruments • Melody is chromatic • Melody contains triplets • Solo section is longer (48 bars) instead of 12 • Length of solos allow for greater display of technical ability • Chords Vi and ii used as part of the blues chord sequence • ‘two note’ repeated idea in the head • Use of rests in the ‘head’ create syncopated feel • Lots of syncopation • Arpeggio figures in head and solos • Bass line follows step wise pattern • Use of diminished chords (sharpened 4th diminished) • Second inversion dominant chord • Mixolydian scale used in solos • Solos contain triplets • Solos contain arpeggio patterns • Solos contain scalic runs • Solos contain grace notes • Swing quavers used on cymbal PG. 6 WEST END BLUES / MARK SCHEME AREA OF STUDY D / JAZZ AO4 Use analytical and appraising skills to make evaluative and critical judgements about music Band Criteria 5 9-10 marks • A highly perceptive answer which presents a highly convincing comparison of the extracts. • Material is structured effectively, including accurate use of appropriate musical vocabulary 4 7-8 marks • A convincing answer which presents a comparison of the extracts. • Material is structured effectively, including accurate use of appropriate musical vocabulary 3 5-6 marks • A generally secure answer, which presents some comparison of the extracts. • Material is not always well structured, and there is insufficient use of appropriate musical vocabulary 2 3-4 marks • An inconsistent answer, which presents a few comparisons of the extracts. • Material is not always well structured, and there is insufficient use of appropriate musical vocabulary 1 1-2 marks • A limited answer which presents few or no accurate comparisons of the extracts. • Material is not always well structured, and there is little or no use of appropriate musical vocabulary 0 0 marks • Response not worthy of credit WEST END BLUES PG. 5.
Load more

Recommended publications
  • Finding Aid for the Sheldon Harris Collection (MUM00682)
    University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr.
    [Show full text]
  • STEVE INSKEEP, Host: Our Series 50 Great Voices Continues Today With
    STEVE INSKEEP, host: Our series 50 Great Voices continues today with one of the most distinctive voices of all time. (Soundbite of song, "All of Me") Ms. BILLIE HOLIDAY (Musician): (Singing) All of me, why not take all of me? Can't... INSKEEP: Billie Holiday's very personal style continues to inspire singers some five decades after her death. And in the same way, Holiday was herself inspired by great musicians she heard growing up. Tom Vitale reports from New York. TOM VITALE: Billie Holiday became famous after she recorded a 1939 protest song about lynchings of African-Americans. It was called "Strange Fruit." (Soundbite of song, "Strange Fruit") Ms. HOLIDAY: (Singing) Southern trees bear a strange fruit, blood on the leaves and blood at the root. Black bodies swinging in the Southern breeze, strange fruit hanging from the poplar trees. VITALE: The haunting vocal offers a stark illustration of Billie Holiday's greatest gift: the ability to convey emotion. Phil Schaap is curator of Jazz at Lincoln Center. Mr. PHIL SCHAAP (Curator of Jazz, Lincoln Center): She speaks to your heart. She catches your ear. She reaches your mind, and she does this with an emotional power that, of course, is genius and is beyond words. (Soundbite of song, "God Bless the Child") Ms. HOLIDAY: (Singing) Mamma may have. Papa may have. But God bless the child that's got his own, that's got his own. VITALE: The emotional power of Billie Holiday's vocals comes from the way she sings the melodies. It's about rhythm and phrasing that Holiday learned from listening to the best.
    [Show full text]
  • The Top 7000+ Pop Songs of All-Time 1900-2017
    The Top 7000+ Pop Songs of All-Time 1900-2017 Researched, compiled, and calculated by Lance Mangham Contents • Sources • The Top 100 of All-Time • The Top 100 of Each Year (2017-1956) • The Top 50 of 1955 • The Top 40 of 1954 • The Top 20 of Each Year (1953-1930) • The Top 10 of Each Year (1929-1900) SOURCES FOR YEARLY RANKINGS iHeart Radio Top 50 2018 AT 40 (Vince revision) 1989-1970 Billboard AC 2018 Record World/Music Vendor Billboard Adult Pop Songs 2018 (Barry Kowal) 1981-1955 AT 40 (Barry Kowal) 2018-2009 WABC 1981-1961 Hits 1 2018-2017 Randy Price (Billboard/Cashbox) 1979-1970 Billboard Pop Songs 2018-2008 Ranking the 70s 1979-1970 Billboard Radio Songs 2018-2006 Record World 1979-1970 Mediabase Hot AC 2018-2006 Billboard Top 40 (Barry Kowal) 1969-1955 Mediabase AC 2018-2006 Ranking the 60s 1969-1960 Pop Radio Top 20 HAC 2018-2005 Great American Songbook 1969-1968, Mediabase Top 40 2018-2000 1961-1940 American Top 40 2018-1998 The Elvis Era 1963-1956 Rock On The Net 2018-1980 Gilbert & Theroux 1963-1956 Pop Radio Top 20 2018-1941 Hit Parade 1955-1954 Mediabase Powerplay 2017-2016 Billboard Disc Jockey 1953-1950, Apple Top Selling Songs 2017-2016 1948-1947 Mediabase Big Picture 2017-2015 Billboard Jukebox 1953-1949 Radio & Records (Barry Kowal) 2008-1974 Billboard Sales 1953-1946 TSort 2008-1900 Cashbox (Barry Kowal) 1953-1945 Radio & Records CHR/T40/Pop 2007-2001, Hit Parade (Barry Kowal) 1953-1935 1995-1974 Billboard Disc Jockey (BK) 1949, Radio & Records Hot AC 2005-1996 1946-1945 Radio & Records AC 2005-1996 Billboard Jukebox
    [Show full text]
  • UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive Permalink https://escholarship.org/uc/item/79v6m6c0 Author Singleton, Tyfahra Danielle Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive By Tyfahra Danielle Singleton A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Judith Butler, Chair Professor Chana Kronfeld Professor Linda Williams Fall 2011 Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive Copyright © 2011 by Tyfahra Danielle Singleton Abstract Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive by Tyfahra Danielle Singleton Doctor of Philosophy in Comparative Literature University of California, Berkeley Professor Judith Butler, Chair ―Facing Jazz, Facing Trauma‖ posits American jazz music as a historical archive of an American history of trauma. By reading texts by Gayl Jones, Ralph Ellison, Franz Kafka; music and performances by Louis Armstrong and Billie Holiday; the life, art and films of Josephine Baker, and the film The Jazz Singer (1927), my goal is to give African American experiences of trauma a place within American trauma studies and to offer jazz as an extensive archive of testimony for witnessing and for study. Initially, I explore the pivotal historical moment where trauma and jazz converge on a groundbreaking scale, when Billie Holiday sings ―Strange Fruit‖ in 1939.
    [Show full text]
  • ​ Mio Ricky Riccardi Show Playlist
    MIO RICKY RICCARDI SHOW PLAYLIST ​ A Monday Date — Live 1951 Pasadena Louis Armstrong & His All-Stars CD: Satchmo — A Musical Autobiography No (Papa, No) Louis Armstrong and His Hot Five CD: Louis Armstrong: The Complete Hot Five and Hot Seven Recordings Piano Theme, Animal Crackers The Marx Brothers & Chico Marx CD: The Marx Brothers Strike Again, Vol. 1 Piano & Violin Duet Charlie Chaplin & Buster Keaton Limelight (Original Motion Picture Soundtrack) Maxi the Taxi Eddie Cantor CD: Eddie Cantor (44 Songs) Basin Street Blues Louis Armstrong & His All-Stars CD: The Glenn Miller Story (Motion Picture Soundtrack) Baby It’s Cold Outside Louis Armstrong & His All-Stars, feat. Velma Middleton CD: What a Wonderful World — Louis Armstrong in Concert All of Me Louis Armstrong & His All-Stars CD: Louis Armstrong: 16 Most Requested Songs Canal Street Blues Louis Armstrong CD: Satchmo — A Musical Autobiography Beau Koo Jack Louis Armstrong and the Hot Five CD: Louis Armstrong: The Complete Hot Five and Hot Seven Recordings Mack the Knife Louis Armstrong & His All-Stars CD: Louis Armstrong: 16 Most Requested Songs Flat Foot Floogie The Mills Brothers & Louis Armstrong CD: The Anthology 1931-1968 Tight Like This Louis Armstrong and His Hot Five CD: Louis Armstrong: The Complete Hot Five and Hot Seven Recordings Who’Sit Louis Armstrong His Hot Five CD: Louis Armstrong: The Complete Hot Five and Hot Seven Recordings West End Blues Louis Armstrong and His Hot Five CD: Louis Armstrong: The Complete Hot Five and Hot Seven Recordings The Real Ambassador
    [Show full text]
  • LOUIS ARMSTRONG: PUSHING the JAZZ IDIOM Brenna A. Bixler MH
    LOUIS ARMSTRONG: PUSHING THE JAZZ IDIOM Brenna A. Bixler MH 835: American Music Robert Crowe April 3, 2017 1 In 1910, jazz emerged as a new genre of music in New Orleans, Louisiana.1 Chief among the musicians that played a role in the development of jazz was Louis Armstrong. He pushed the boundaries of the New Orleans jazz idiom in many ways. As his career flourished in the 1920’s, his music refined the genre that we know as jazz today. Early New Orleans jazz ensembles typically consisted of five to seven musicians.2 “Traditional New Orleans jazz is band music characterized by a front line usually consisting of cornet (or trumpet), clarinet, and trombone engaging in polyphony with varying degrees of improvisation (without distorting the melody) and driven by a rhythm section consisting of piano (although rarely before 1915), guitar (or, later, banjo), bass (or tuba), and drums delivering syncopated rhythms for dancing (usually, but not always, in common or 4/4 time).”3 This style of playing results in an evenly blended, busy sound with a continuous texture, as all three melodic voices are sounded simultaneously throughout the entirety of the piece. Two of Louis Armstrong’s most famous and influential contemporaries were Jelly Roll Morton and King Oliver.4 Jelly Roll was an accomplished pianist and vocalist who was born in New Orleans in 1890.5 In his “The Bolden Blues” and “Mr. Jelly Lord,” the only instrument used is the piano. Jelly Roll speaks during his recording of “The Bolden Blues.” He sings in his recording of “Mr.
    [Show full text]
  • “Body and Soul”--Coleman Hawkins (1939) Added to the National Registry: 2004 Essay by Stephen Rush (Guest Post)*
    “Body and Soul”--Coleman Hawkins (1939) Added to the National Registry: 2004 Essay by Stephen Rush (guest post)* Coleman Hawkins “Body and Soul”--lyrics by Edward Heyman, Robert Sour and Frank Eyton; music by Johnny Green; recorded by Coleman Hawkins on RCA records in 1939. Attributed to three lyricists and one composer, “Body and Soul” was performed first by singer Gertrude Lawrence in London, England, where it was published in 1930. “Body and Soul” was recorded by Coleman Hawkins in 1939, when he was 35 years old, after playing with Fletcher Henderson, Louis Armstrong, Django Reinhardt and Benny Carter. Soon after, it was also recorded by none other than Louis Armstrong (arguably the founder of the genre called “jazz”). It was also recorded in a more conventional style by Paul Whiteman. Hawkins’ recording is often thought to be the second most important recording for jazz improvisation--the first being Louis Armstrong’s “West End Blues.” This is due to Hawkins’ focus on the harmony and phrasing of the composition, all but ignoring the actual written melody. Hawkins’ recording is also thought by some to be the harbinger of “bebop” approaches, virtually devoid of New Orleans stylings or traditional swing conventions of the twenties and thirties. Art lies in the abstraction of common knowledge, and Coleman Hawkins’ version of “Body and Soul” is an exemplary demonstrator of that principle--it is the not-so-subtle difference between art and entertainment. Hawkins’ recording of “Body and Soul” is not just a popular rendition of the song, it is an intellectual and artistic statement--using that composition as a vehicle.
    [Show full text]
  • Magic Carpet
    Armed Forces Radio Service MAGIC CARPET TEEN TIMERS CLUB Edit and Preparation: Dennis M. Spragg Primary Documentation: Lothar Polomski Source Materials: Dr. Michael Arié Updated: May 17, 2017 GMA-22 TABLE OF CONTENTS 1. INTRODUCTION .......................................................................................................... 3 2. PROGRAMS .............................................................................................................. 10 3. ARTISTS .................................................................................................................. 175 4. LOCATIONS ............................................................................................................ 201 5. ISSUES .................................................................................................................... 212 6. GLENN MILLER ARCHIVE ..................................................................................... 230 7. STAR SPANGLED RADIO HOUR .......................................................................... 233 ACKNOWLEGMENTS This is the first comprehensive public catalog of the AFRS “Magic Carpet” series R-4 and AFRS “Teen Timers Club” series. It is being released in stages as the documentation of all the 1,020 “Magic Carpet” programs is completed for publication. The late Lothar Polomski of Berlin, Germany prepared comprehensive “Magic Carpet” and “Teen Timers Club” studies that he passed to Carl Hällström in 1977. Lothar’s study is the original basis for this report, which adds information
    [Show full text]
  • Louis Armstrong
    Louis Armstrong Louis Armstrong (August 4, 1901 – July 6, 1971),[1] nicknamed Satchmo[2] or Pops, was an American jazz trumpeter, composer and singer who became one of the pivotal and most influential figures in jazz music. His ca- reer spanned from the 1920s to the 1960s, covering many different eras of jazz. Coming to prominence in the 1920s as an “inventive” trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from col- lective improvisation to solo performance. With his in- stantly recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also skilled at scat singing. Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong’s influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African- American entertainers to “cross over”, whose skin color was secondary to his music in an America that was ex- tremely racially divided. He rarely publicly politicized his race, often to the dismay of fellow African-Americans, Handcolored etching Louis Armstrong (2002) by Adi Holzer but took a well-publicized stand for desegregation dur- ing the Little Rock Crisis. His artistry and personality allowed him socially acceptable access to the upper ech- elons of American society which were highly restricted in the care of his grandmother, Josephine Armstrong, and for black men of his era.
    [Show full text]
  • CD 64 Motion Poet Peter Erskine Erskoman (P. Erskine) Not a Word (P
    Prairie View A&M University Henry Music Library 5/23/2011 JAZZ CD 64 Motion Poet Peter Erskine Erskoman (P. Erskine) Not a Word (P. Erskine) Hero with a Thousand Faces (V. Mendoza) Dream Clock (J. Zawinul) Exit up Right (P. Erskine) A New Regalia (V. Mendoza) Boulez (V. Mendoza) The Mystery Man (B. Mintzer) In Walked Maya (P. Erskine) CD 65 Real Life Hits Gary Burton Quartet Syndrome (Carla Bley) The Beatles (John Scofield) Fleurette Africaine (Duke Ellington) Ladies in Mercedes (Steve Swallow) Real Life Hits (Carla Bley) I Need You Here (Makoto Ozone) Ivanushka Durachok (German Lukyanov) CD 66 Tachoir Vision (Marlene Tachoir) Jerry Tachoir The Woods The Trace Erica’s Dream Township Square Ville de la Baie Root 5th South Infraction Gibbiance A Child’s Game CD 68 All Pass By (Bill Molenhof) Bill Molenhof PB Island Stretch Motorcycle Boys All Pass By New York Showtune Precision An American Sound Wave Motion CD 69 In Any Language Arthur Lipner & The Any Language Band Some Uptown Hip-Hop (Arthur Lipner) Mr. Bubble (Lipner) In Any Language (Lipner) Reflection (Lipner) Second Wind (Lipner) City Soca (Lipner) Pramantha (Jack DeSalvo) Free Ride (Lipner) CD 70 Ten Degrees North 2 Dave Samuels White Nile (Dave Samuels) Ten Degrees North (Samuels) Real World (Julia Fernandez) Para Pastorius (Alex Acuna) Rendezvous (Samuels) Ivory Coast (Samuels) Walking on the Moon (Sting) Freetown (Samuels) Angel Falls (Samuels) Footpath (Samuels) CD 71 Marian McPartland Plays the Music of Mary Lou Williams Marian McPartland, piano Scratchin’ in the Gravel Lonely Moments What’s Your Story, Morning Glory? Easy Blues Threnody (A Lament) It’s a Grand Night for Swingin’ In the Land of Oo Bla Dee Dirge Blues Koolbonga Walkin’ and Swingin’ Cloudy My Blue Heaven Mary’s Waltz St.
    [Show full text]
  • JAZZ Vinyl-Plattensammlung Inkl
    Zu verkaufen: JAZZ Vinyl-Plattensammlung inkl. diverse Literatur durch: Fam. ERNST Dürrenmattweg 84 4123 Allschwil mail: [email protected] phone: 0614831500 mobil: 0793207900 Plattensammlung Seite 1 von 12 Nr. Interpret Titel Label Nr. Anz. 400 Acker Bilk HMA 216 444 All Stars, The In Philadelphia 1948-1949 Jazz Archives JA-20 503 Ammons, Albert / Johnson, Pete / Lewis, Meade Lux Giants Of Boogie Woogie SM 3094 502 Ammons, Albert / Johnson, Pete / Lewis, Meade Lux The Complete Library of Congress Boogie Woogie Recordings of The Jazz Piano JP 5003 206 Armstrong All Stars, Louis Palm 30 P30:01 222 Armstrong And His All Stars, Louis Louis Armstrong CBS 52602 229 Armstrong and The All Stars, Louis New Orleans Nights Coral COPS 3319 189 Armstrong and The All Stars, Louis SATCHMO at Pasadena Ace Of Hearts AH 79 188 Armstrong and The All Stars, Louis SATCHMO live in Concert Coral COPS 1902/1-2 2 Disks 187 Armstrong and The All Stars, Louis The Best Of Coral COPS 1830/1-2 2 Disks 199 Armstrong and The All Stars, Louis Vol.1 "New Orleans Function" MCA 510 125 200 Armstrong and The All Stars, Louis Vol.2 "Old Favorites" MCA 510 126 204 Armstrong with Orchestra, Louis SATCHMO SINGS Coral COPS 1559 234 Armstrong with The All Stars, Louis I remember… Louis ember CJS 838 214 Armstrong, Louis "country & western" AVCO EMBASSY AVE-33022 197 Armstrong, Louis "I will wait for you" Brunswick 940.099 194 Armstrong, Louis & Bing Crosby Live family records SFR-DP 655 76 Armstrong, Louis *4.7.1900 - +6.7.1971 Verve 10 Disks 81 Armstrong, Louis 1 Young Louis "the aide man" 1924-1927 MCA 510010 218 Armstrong, Louis A Merry Christmas with God Old Satch MCA Coral 6.22258 79 Armstrong, Louis and his all stars CBS 66 304 3 Disks 95 Armstrong, Louis and his all stars, Duke Ellington and his orchestra At Newport CBS 62 614 232 Armstrong, Louis And His Friends Philips 6369 401 235 Armstrong, Louis And His Orchestra 1944-1945 Joker SM 3082/E 83 Armstrong, Louis Archive of Jazz Vol.
    [Show full text]
  • Louis Armstrong -Portrait of the Artist As a Young Man 1923-1934
    Louis Armstrong—Portrait of the Artist as a Young Man 1923-1934 Dan Morgenstern Grammy Award for Best Album Notes 1994 Columbia/Legacy Smithsonian Institution Press C4K 57176 Transcript provided by Hank Hehmsoth – National Endowment for the Arts 2019 INDEX OF RECORDINGS: for discographical reference and music commentary, see designated page next to each selection. Title Page A Monday Date ............................................................................................................................. 19 Ain’t Misbehavin’ .......................................................................................................................... 16 Alone at Last .................................................................................................................................. 10 Anybody Here Want to Try My Cabbage? .................................................................................... 07 Basin Street Blues (rec. 1928) ...................................................................................................... 20 Basin Street Blues (rec. 1933) ...................................................................................................... 33 Beau Koo Jack ............................................................................................................................... 21 Between the Devil and the Deep Blue Sea .................................................................................... 33 Big Butter and Egg Man ................................................................................................................
    [Show full text]