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120817bk Louis7:120817bk Louis7 10/11/06 5:47 PM Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Available in the Naxos Jazz Legends series … 8.120762 8.120766 8.120768 8.120774 8.120816 8.120825 These titles are not for retail sale in the USA 120817bk Louis7:120817bk Louis7 10/11/06 5:47 PM Page 2 LOUIS ARMSTRONG Personnel Vol.7 Tracks 1–4: Louis Armstrong, trumpet, vocals; Tracks 15–16: Louis Armstrong, trumpet, ‘Stop Playing Those Blues’ Original Recordings 1946-1947 Vic Dickenson, trombone; Barney Bigard, vocals; Bobby Hackett, cornet; Jack Teagarden, clarinet; Charlie Beal, piano; Allan Reuss, guitar; trombone, vocals; Peanuts Hucko, clarinet, During 1946-47, Louis Armstrong was at the 1919 when Oliver moved up North, Armstrong Red Callender, bass; Zutty Singleton, drums tenor; Ernie Caceres, baritone, clarinet; Johnny turning point of his career. He had been leading was considered such a promising player that he Track 5: Louis Armstrong, trumpet, vocals; Guarnieri, piano; Al Casey, guitar; Al Hall, big bands since 1929 but there was increasing was recommended for the King’s spot in Kid Robert Butler, Louis Gray, Fats Ford, Ed bass; Cozy Cole, drums pressure on him to break up the orchestra and Ory’s important band. Williams, trumpets; Big Chief Russell Moore, form a smaller all-star band. Satch was reluctant In 1922, King Oliver sent for Armstrong to Track 17: Louis Armstrong, trumpet, vocals; Waddet Williams, Nat Allen, James Whitney, to put his sidemen out of work, but a series of join his Creole Jazz Band in Chicago as second Jack Teagarden, trombone, vocals; Barney trombones; Don Hill, Amos Gordon, altos; Joe events made it obvious to him that this change cornetist. Louis Armstrong was more than ready Bigard, clarinet; Dick Cary, piano; Arvell Shaw, Garland, John Sparrow, tenors; Ernest would make sense. and it was soon obvious that he was surpassing bass; Sid Catlett, drums Thompson, baritone; Earl Mason, piano; Elmer Louis Armstrong had already been a major his idol. He made his recording debut with Oliver Track 18: Louis Armstrong, trumpet, vocals; Warner, guitar; Arvell Shaw, bass; Edmond jazz star for nearly 25 years and a household in 1923 and married pianist Lil Hardin, his second Tommy Dorsey, trombone; Benny Goodman, McConney, drums name for over fifteen by 1946. He was born on of four wives. In 1924 Lil urged Armstrong to clarinet; Charlie Barnet, tenor; Lionel 4 August 1901 in New Orleans. Raised in poverty accept an offer to join Fletcher Henderson’s big Tracks 6–8: Louis Armstrong, trumpet, vocals; Hampton, vibes; Mel Powell, piano; Al by a single mother, he grew up loving watching band in New York, feeling that he would never Kid Ory, trombone; Barney Bigard, clarinet; Hendrickson, guitar; Harry Babasin, bass; the New Orleans brass bands. Little Louis sang in make it big if he was content to be someone Charlie Beal, piano; Bud Scott, guitar; Red Louie Bellson, drums; Jeri Sullavan and the a vocal group on the streets and began to play else’s second cornetist. She was right for Callender, bass; Minor Hall, drums Golden Gate Quartet, vocals cornet in hopes of playing with the bands he Armstrong became a sensation in the jazz world, Tracks 9–14: Louis Armstrong, trumpet, vocals; admired. On New Year’s Eve of 1912 his life changing the way that most New York jazz Bobby Hackett, cornet; Jack Teagarden, changed. To celebrate the New Year, he shot off musicians played. Armstrong knew how to use trombone, vocals; Peanuts Hucko, clarinet; a pistol in the air, and was arrested. Viewed by space dramatically, he ‘told a story’ in his solos, Dick Cary, piano; Bob Haggart, bass; Sid the courts as an unsupervised delinquent, his phrasing was smooth and legato, he had very Catlett, drums Armstrong was sent to live in a waif’s home. But impressive technique and his tone was beautiful. instead of treating this as a tragedy, he thrived in After a year with Henderson, Armstrong the disciplined setting. He worked at studying returned to Chicago where in his series of Hot cornet and it was a highlight of his early life when Five and Hot Seven recordings during 1925-28, he was given the chance to play with the school’s he recorded one classic after another, permanently band. changing jazz from an ensemble-oriented folk Released from the home after two years, music into a solo vehicle for brilliant virtuosos. In Louis Armstrong worked odd jobs, befriended addition to his trumpet solos (he switched from his idol cornetist Joe ‘King’ Oliver, and worked cornet in 1926), his raspy vocals featured horn- his way up in the New Orleans music world. By like phrasing, inventive scat-singing and a perfect 2 8.120817 8.120817 7 120817bk Louis7:120817bk Louis7 10/11/06 5:47 PM Page 6 11. Back O’ Town Blues 4:13 15. Jack-Armstrong Blues 2:59 placement of notes. If Louis Armstrong had The music on this highly enjoyable collection (Louis Armstrong–Luis Russell) (Louis Armstrong–Jack Teagarden) passed away in 1929, he would still be is from the transitional period of 1946-47. The Louis Armstrong & His All Stars; Louis Armstrong & His All Stars; remembered as one of jazz’s true giants. first eight selections were recorded during the Louis Armstrong & Jack Teagarden, vocals Louis Armstrong & Jack Teagarden, vocals But he had many accomplishments ahead of time that Armstrong was filming New Orleans, RCA Victor 40-4006, mx D8-VC-75 RCA Victor 20-2348, mx D7-VB-952-2 him. Moving back to New York in 1929, he led a and many of the players on these numbers Recorded 17 May 1947, New York Recorded 10 June 1947, New York series of big bands for the next eighteen years, appeared in the film. Sugar, I Want A Little Girl, 12. Pennies From Heaven 3:40 16. Fifty-Fifty Blues 2:58 orchestras that largely acted as a backdrop for Blues For Yesterday and Blues In The South are (Arthur Johnston–Johnny Burke) (Billy Moore, Jr.) his trumpet solos and vocals. He became an all played at moderate tempos and given tasteful Louis Armstrong & His All Stars Louis Armstrong & His All Stars; international star, helping to make dozens of and swinging vocals by Armstrong, who is assisted Louis Armstrong, vocal Louis Armstrong & Jack Teagarden, vocals songs into standards, being a hit in Europe in the septet by trombonist Vic Dickenson and RCA Victor 40-4005, mx D8-VC-76 RCA Victor 20-2530, mx D7-VB-955-2 during 1931 and 1933-34, making appearances future All-Star clarinettist Barney Bigard. Endie Recorded 17 May 1947, New York Recorded 10 June 1947, New Yok in a few Hollywood movies and becoming a sort features the Louis Armstrong big band about of father figure for the swing era. Although his seven months before their final record date. 13. Save It, Pretty Mama 4:27 17. Please Stop Playing Those Blues 3:17 big band was never one of the pacesetters, he The future standard Do You Know What It (Paul Denniker–Joseph Davis–Don Redman) (Claude Demetrius–Fleecie Moore) was the main influence on other trumpeters, Means To Miss New Orleans was introduced in Louis Armstrong & His All Stars; Louis Armstrong & His All Stars; from Bunny Berigan and Cootie Williams to the film New Orleans (a very interesting if flawed Louis Armstrong, vocal Louis Armstrong & Jack Teagarden, vocals Harry James. production) as was Where The Blues Were Born RCA Victor 40-4004, mx D8-VC-77 RCA Victor 20-2648, mx D7-VB-1083-1 However by the early 1940s, Louis In New Orleans while Mahogany Hall Stomp Recorded 17 May 1947, New York Recorded 16 October 1947, Chicago Armstrong was in danger of being thought of as was revived for the picture. Kid Ory’s presence on 14. St James Infirmary 3:35 18. A Song Was Born 4:59 merely a nostalgic figure, and his big band was trombone gives these numbers a welcome (Joe Primrose) (Don Raye–Gene de Paul) sounding stale and uninspired. He kept the vintage New Orleans feel. Louis Armstrong & His All Stars; Giants of Jazz; The Golden Gate Quartet, orchestra together despite its cost, but there The great success of the 17 May 1947 Town Jack Teagarden, vocal Jeri Sullavan & Louis Armstrong, vocals were strong hints that it was time for a change. Hall Concert led to the final breakup of the Louis RCA Victor 40-4996, mx D8-VC-78 Capitol 10172, mx 3426/7 At a special concert put on by Esquire in 1944, Armstrong Big Band. Armstrong and Recorded 17 May 1947, New York Recorded 6 August 1947, Los Angeles Armstrong played with combos that included trombonist-singer Jack Teagarden made for a trombonist Jack Teagarden and clarinettist perfect team, having been friends since 1929, Transfers & Production: David Lennick • Digital Restoration: Graham Newton Barney Bigard. There were a few special small- and Teagarden would be a major part of the All- Original monochrome photo of Louis Armstrong from Max Jones Files / Redferns group dates recorded as V-Discs and for the Stars for the next four years. Pianist Dick Cary 1946 movie New Orleans, Armstrong was heard and drummer Sid Catlett would soon join the with a freewheeling group that included Kid Ory.
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