120735bk Louis4 9/7/04 5:32 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. Also available in the Naxos Jazz Legends series

8.120621* 8.120625* 8.120666*

8.120672 8.120676* 8.120712

* Not available in the USA NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 120735bk Louis4 9/7/04 5:32 PM Page 2

LOUIS ARMSTRONG Vol.4 Personnel Track 1: Louis Armstrong, Leonard Davis, Gus Tracks 10-11: Louis Armstrong, trumpet, vocal; ‘Satchel Mouth Swing’ Original Recordings 1936-1938 Aiken, Louis Bacon, trumpet; Harry White, Harry Mills, baritone, vocal trumpet; Herbert Louis Armstrong’s accomplishments were so the streets for pennies and playing a little bit of Jimmy Archey, trombone; Henry Jones, Charlie Mills, Donald Mills, tenor, vocal saxes; John huge during his first decade on records (1923- cornet, he may very well have led a forgotten life Holmes, alto sax; Bingie Madison, clarinet, Mills Sr., guitar, vocal tuba 33) that his Decca recordings from the second spent in poverty were it not for a lucky break. tenor sax; Greely Walton, tenor sax; Luis Tracks 12-17: Louis Armstrong, Shelton half of the 1930s tend to be underrated. On New Year’s Eve of 1912, he shot off a pistol Russell, piano; Lee Blair, guitar; Pops Foster, Hemphill, Louis Bacon, Henry Allen, trumpet; Consider that Armstrong was to a large extent in the air in celebration, and was immediately bass; Paul Barbarin, drums George Matthews, George Washington, responsible for jazz quickly evolving in the 1920s arrested and sent to live in a waif’s home. Track 2: Louis Armstrong, Bunny Berigan, Bob J. C. Higginbotham, trombone; Pete Clark, from an ensemble-oriented music to one that Armstrong enjoyed the discipline of the Mayhew, trumpet; Al Philburn, trombone; Sid Charlie Holmes, alto sax; Albert Nicholas, featured the solos of colorful virtuosi. Partly surroundings and began to seriously play the Trucker, clarinet, baritone sax; Phil Waltzer, alto Bingie Madison, clarinet, tenor sax; Luis Russell, because of his brilliant playing, the staccato cornet, graduating to the school’s band. When sax; Paul Ricci, tenor sax; Fulton McGrath, piano; Lee Blair, guitar; Pops Foster, bass; Paul phrases often heard in New York recordings of he was released two years later, he was a piano; Dave Barbour, guitar; Pete Peterson, Barbarin, drums the early 1920s were quickly replaced by legato promising young cornettist, ready to gain bass; Stan King, drums Tracks 18-20: Louis Armstrong, Shelton phrasing, introducing a swinging feel to jazz. experience playing in New Orleans brass bands. Tracks 3-7: Louis Armstrong, George Thow, Hemphill, Louis Bacon, Henry Allen, trumpet; Satch’s Hot Five and Hot Seven recordings of Joe “King” Oliver became his hero, Toots Camarata, trumpet; Bobby Byrne, Joe Wilbur de Paris, George Washington, 1925-28 are among the finest documented recommended him as his replacement with Kid Yukl, Don Mattison, trombone; Jimmy Dorsey, J. C. Higginbotham, trombone; Pete Clark, performances of all time and showed how Ory’s band in 1919, and three years later sent clarinet, alto sax; Jack Stacey, clarinet, alto sax; Charlie Holmes, alto sax; Albert Nicholas, powerful a solo instrument the trumpet could be for his protégé to join his Creole Jazz Band in Fud Livingston, Skeets Herfurt, clarinet, tenor Bingie Madison, clarinet, tenor sax; Luis Russell, in the right hands. Armstrong’s scat singing, Chicago. Armstrong gained a great deal of sax; Bobby Van Eps, piano; Roscoe Hillman, piano; Lee Blair, guitar; Pops Foster, bass; Paul starting with 1926’s “Heebies Jeebies”, attention while playing with Oliver (1923-24) guitar; Jim Taft, bass; Ray McKinley, drums Barbarin, drums, vibraphone popularized vocal improvising and showed and his playing grew month-by-month. When he hundreds of vocalists how to sing jazz. When he joined Fletcher Henderson’s orchestra in 1924, Tracks 8-9: Louis Armstrong, trumpet; Sam began singing current pop tunes in 1929, he he became famous in New York. His Hot Five Koki, steel guitar; George Archer, Harry Baty, became so influential with his phrasing that it and Seven recordings made him renowned in guitar, vocal; Andy Iona, ukulele, vocal; Joe altered pop singing forever. And his sunny and jazz and his 1929-33 big band recordings and Nawahi, bass; Lionel Hampton, drums, humorous personality did more than anything appearances on radio and theatres made him vibraphone else to make jazz look like a very attractive and internationally famous. fun style of music. After having spent much of 1934-35 Born 4 August 1901 in New Orleans, Louis overseas, Armstrong returned to the United Armstrong grew up in a poor family and was States just as the swing era was building up raised by a single mother. Although he showed momentum. He took over the struggling Luis early musical ability, singing in a vocal group on Russell Orchestra, using the band as a backdrop

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12. Public Melody Number One 3:09 17. Alexander’s Ragtime Band 2:36 for his playing and singing through 1940. a spot on clarinet by Jimmy Dorsey and Louis (Harold Arlen–Ted Koehler) (Irving Berlin) ‘Satchel Mouth Swing’ begins with a fine playing his variations of Oliver’s famous three- Louis Armstrong, vocal, & His Orchestra Louis Armstrong, vocal, & His Orchestra remake of Mahogany Hall Stomp which chorus trumpet solo. It is a little surprising that Decca 1347, mx 62328-A Decca 1408, mx 61336-A Armstrong had previously recorded at his first Armstrong chose to record Swing That Music Recorded 2 July 1937, New York Recorded 7 July 1937, New York big band session in 1929. Trombonist Jimmy during the session for he had just recorded it less 13. Red Cap 3:09 18. Satchel Mouth Swing 2:37 Archey, tenor-saxophonist Bingie Madison and than three months earlier; this version is a bit (Louis Armstrong–Ken Hecht) (Louis Armstrong–Lil Armstrong–Clarence altoist Charlie Holmes take a chorus apiece as faster and has a solo just as spectacular. Louis Armstrong, vocal, & His Orchestra Williams) Armstrong reprises his original solo. Then, upon Just as Bing Crosby was captured in a lot of Decca 1347, mx 62330-A Louis Armstrong, vocal, & His Orchestra his return after Holmes’ spot, he creates a different musical settings during his period on Recorded 2 July 1937, New York Decca 1636, mx DLA 1132-A completely new chorus. I’m Putting All My Eggs Decca, Louis Armstrong also recorded frequently In One Basket has short statements by tenor- away from his big band. To You, Sweetheart, 14. Cuban Pete 3:07 Recorded 12 January 1938, Los Angeles saxophonist Paul Ricci and clarinettist Sid Aloha and On A Coconut Island are successful (Jose Norman) 19. The Trumpet Player’s Lament 2:57 Trucker but otherwise it is Armstrong’s encounters with the Polynesians (consisting of Louis Armstrong, vocal, & His Orchestra (Johnny Burke–James V. Monaco) showcase, concluding with a wonderful high steel guitar, two guitars, ukulele and bass) with Decca 1353, mx 62337-A Louis Armstrong, vocal, & His Orchestra note. Bunny Berigan is in the trumpet section; guest Lionel Hampton on vibes and drums. Recorded 7 July 1937, New York Decca 1653, mx DLA 1135-A this session was his only chance to record next to Hampton, who recorded his first vibes solos with Recorded 12 January 1938, Los Angeles 15. She’s The Daughter Of A Planter From his idol. Armstrong in 1930, was just three days from Havana 3:18 20. Struttin’ With Some Barbecue 3:02 The next five selections find Louis Armstrong making his debut recording as a member of the (Sammy Cahn–Saul Chaplin) (Lil Hardin) being joined by the Jimmy Dorsey Orchestra. Benny Goodman Quartet. Satch sounds quite Louis Armstrong, vocal, & His Orchestra Louis Armstrong, vocal, & His Orchestra One of the musical highpoints of Pennies From comfortable in this unusual setting. Decca 1353, mx 62335-A Decca 1661, mx DLA 1134-A Heaven, a Bing Crosby movie that gave Another unexpected but very successful Recorded 7 July 1937, New York Recorded 12 January 1938, Los Angeles Armstrong his first opportunity to appear in a collaboration was when Armstrong joined the 16. I’ve Got A Heart Full Of Rhythm 3:08 major film, was when Louis performed The Mills Brothers for some dates. Billed as ‘four (Horace Gerlach–Louis Armstrong) Transfers & Production: David Lennick Skeleton In The Closet. His version with boys with a guitar’ and renowned for their ability Louis Armstrong, vocal, & His Orchestra Digital Noise Reduction: K&A Productions Ltd Dorsey’s band recaptures the magic of the to closely emulate instruments while only Decca 1408, mx 62338-A Original monochrome photo of Louis Armstrong original. While When Ruben Swings The Cuban actually using their voices and an acoustic guitar, Recorded 7 July 1937, New York from Michael Ochs Archives / Redferns and Hurdy-Gurdy Man are not classic the Mills Brothers clearly inspire Armstrong to compositions, Armstrong makes them his own some joyful playing and singing on In The Shade through his charming ad-libbing (referring to Of The Old Apple Tree and Old Folks At Home. ‘Old Gatemouth Ruben’ on the former) and his The remainder of the selections on ‘Satchel solos. Dippermouth Blues, which Satch Mouth Swing’ have Satch performing in his usual originally recorded with King Oliver in 1923 and setting, with the nucleus of the old Luis Russell with Fletcher Henderson’s orchestra in 1925 Orchestra. Public Melody Number One is long (where it was retitled “Sugar Foot Stomp”), has forgotten but the leader’s trumpet breaks work

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quite well as does the driving drumming of Paul himself. Charlie Holmes and trombonist 1. Mahogony Hall Stomp 2:54 6. Dipper Mouth Blues 2:41 Barbarin. Red Cap salutes the type of working J. C. Higginbotham are heard from briefly. In (Spencer Williams) (Louis Armstrong–King Oliver) class job that Armstrong did not have to worry contrast, The Trumpet Player’s Lament has Louis Armstrong & His Orchestra Louis Armstrong with Jimmy Dorsey's about anymore in 1937 when he was one of the Armstrong singing words that make it sound as Decca 824, mx 61111-A Orchestra biggest names in show business. if he would rather be playing classical music than Recorded 18 May 1936, New York Decca 906, mx DLA 542-A Satch goes south of the border, sort of, jazz! The final chorus makes it obvious that he 2. I’m Putting All My Eggs In One Basket Recorded 7 August 1936, Los Angeles during the next two numbers. A swing version of had made the right career choice. 2:59 7. Swing That Music 2:51 Cuban Pete can be thought of as a follow-up to Wrapping up this collection is an exciting (Irving Berlin) (Horace Gerlach–Louis Armstrong) “The Peanut Vendor” which he had recorded in version of Struttin’ With Some Barbecue. Louis Armstrong, vocal, & His Orchestra Louis Armstrong, vocal, with Jimmy Dorsey's 1930. She’s The Daughter Of A Planter From Armstrong had recorded a classic solo on this Decca 698, mx 60438-A Orchestra Havana, although not composed by Cubans, piece with the Hot Five in 1927 and he would Recorded 4 February 1936, New York Decca 866, mx DLA 543-A does utilize some rhythms that hint a little at utilize a completely different set solo during the 3. The Skeleton In The Closet 3:07 Recorded 7 August 1936, Los Angeles Havana, at least until the closing swinging years that he led the All-Stars (starting in 1947). (Johnny Burke–Arthur Johnston) 8. To You, Sweetheart, Aloha 2:59 choruses. Louis Armstrong composed relatively This 1938 version (which has spots for Louis Armstrong, vocal, with Jimmy Dorsey's (Harry Owens) few songs, which makes I’ve Got A Heart Full clarinettist Bingie Madison and altoist Holmes) Orchestra Louis Armstrong, vocal, with The Polynesians Of Rhythm a rarity in his career. The optimistic is a gem in its own way, with Armstrong stating Decca 949, mx DLA 539-A Decca 914, mx DLA 581-A lyrics, which sound like something Al Jolson or the melody during the next-to-last chorus before Recorded 7 August 1936, Los Angeles Recorded 18 August 1936, Los Angeles Ted Lewis might have sung, are much hipper improvising a statement that differs almost when rendered by Satch. Clarinettist Albert completely from his other ‘Struttin’’ solos. 4. When Ruben Swings The Cuban 2:38 9. On A Coconut Island 3:11 Nicholas and altoist Charlie Holmes help out Louis Armstrong, still just 36 at the time of (Ted White–Leon Flatow–Jack Meskill) (R. Alex Anderson) before Armstrong takes two dazzling choruses. this final session, had 33 more years ahead of Louis Armstrong, vocal, with Jimmy Dorsey's Louis Armstrong, vocal, with The Polynesians Alexander’s Ragtime Band, a major hit for Irving him. The twenty recordings on ‘Satchel Mouth Orchestra Decca 914, mx DLA 582-A Berlin in 1911, proves to still have plenty of life Swing’ show that, far from being an off period, Decca 1049, mx DLA 541-A Recorded 18 August 1936, Los Angeles left in 1937, particularly during the closing his work from the second half of the 1930s are Recorded 7 August 1936, Los Angeles 10. In The Shade Of The Old Apple Tree 2:19 trumpet solo. full of underrated treasures well worth 5. Hurdy-Gurdy Man 3:01 (H. H. Williams–E. Van Alstyne) Moving to 1938, Satchel Mouth Swing is a discovering. (Sammy Cahn–Saul Chaplin) Louis Armstrong & The Mills Brothers, vocal remake of “Coal Cart Blues” which Armstrong Louis Armstrong, vocal, with Jimmy Dorsey's Decca 1495, mx 62322-B had recorded as part of Clarence Williams’ Blue Scott Yanow Orchestra Recorded 29 June 1937, New York Five back in 1925. This rendition, if one listens – author of 7 jazz books including Swing, Bebop, Decca 949, mx DLA 541-A 11. Old Folks At Home 2:23 to the words, is really a tribute to the trumpeter Trumpet Kings and Jazz On Record 1917-76 Recorded 7 August 1936, Los Angeles (Stephen Foster) Louis Armstrong & The Mills Brothers, vocal Decca 1495, mx 62323-A Recorded 29 June 1937, New York

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quite well as does the driving drumming of Paul himself. Charlie Holmes and trombonist 1. Mahogony Hall Stomp 2:54 6. Dipper Mouth Blues 2:41 Barbarin. Red Cap salutes the type of working J. C. Higginbotham are heard from briefly. In (Spencer Williams) (Louis Armstrong–King Oliver) class job that Armstrong did not have to worry contrast, The Trumpet Player’s Lament has Louis Armstrong & His Orchestra Louis Armstrong with Jimmy Dorsey's about anymore in 1937 when he was one of the Armstrong singing words that make it sound as Decca 824, mx 61111-A Orchestra biggest names in show business. if he would rather be playing classical music than Recorded 18 May 1936, New York Decca 906, mx DLA 542-A Satch goes south of the border, sort of, jazz! The final chorus makes it obvious that he 2. I’m Putting All My Eggs In One Basket Recorded 7 August 1936, Los Angeles during the next two numbers. A swing version of had made the right career choice. 2:59 7. Swing That Music 2:51 Cuban Pete can be thought of as a follow-up to Wrapping up this collection is an exciting (Irving Berlin) (Horace Gerlach–Louis Armstrong) “The Peanut Vendor” which he had recorded in version of Struttin’ With Some Barbecue. Louis Armstrong, vocal, & His Orchestra Louis Armstrong, vocal, with Jimmy Dorsey's 1930. She’s The Daughter Of A Planter From Armstrong had recorded a classic solo on this Decca 698, mx 60438-A Orchestra Havana, although not composed by Cubans, piece with the Hot Five in 1927 and he would Recorded 4 February 1936, New York Decca 866, mx DLA 543-A does utilize some rhythms that hint a little at utilize a completely different set solo during the 3. The Skeleton In The Closet 3:07 Recorded 7 August 1936, Los Angeles Havana, at least until the closing swinging years that he led the All-Stars (starting in 1947). (Johnny Burke–Arthur Johnston) 8. To You, Sweetheart, Aloha 2:59 choruses. Louis Armstrong composed relatively This 1938 version (which has spots for Louis Armstrong, vocal, with Jimmy Dorsey's (Harry Owens) few songs, which makes I’ve Got A Heart Full clarinettist Bingie Madison and altoist Holmes) Orchestra Louis Armstrong, vocal, with The Polynesians Of Rhythm a rarity in his career. The optimistic is a gem in its own way, with Armstrong stating Decca 949, mx DLA 539-A Decca 914, mx DLA 581-A lyrics, which sound like something Al Jolson or the melody during the next-to-last chorus before Recorded 7 August 1936, Los Angeles Recorded 18 August 1936, Los Angeles Ted Lewis might have sung, are much hipper improvising a statement that differs almost when rendered by Satch. Clarinettist Albert completely from his other ‘Struttin’’ solos. 4. When Ruben Swings The Cuban 2:38 9. On A Coconut Island 3:11 Nicholas and altoist Charlie Holmes help out Louis Armstrong, still just 36 at the time of (Ted White–Leon Flatow–Jack Meskill) (R. Alex Anderson) before Armstrong takes two dazzling choruses. this final session, had 33 more years ahead of Louis Armstrong, vocal, with Jimmy Dorsey's Louis Armstrong, vocal, with The Polynesians Alexander’s Ragtime Band, a major hit for Irving him. The twenty recordings on ‘Satchel Mouth Orchestra Decca 914, mx DLA 582-A Berlin in 1911, proves to still have plenty of life Swing’ show that, far from being an off period, Decca 1049, mx DLA 541-A Recorded 18 August 1936, Los Angeles left in 1937, particularly during the closing his work from the second half of the 1930s are Recorded 7 August 1936, Los Angeles 10. In The Shade Of The Old Apple Tree 2:19 trumpet solo. full of underrated treasures well worth 5. Hurdy-Gurdy Man 3:01 (H. H. Williams–E. Van Alstyne) Moving to 1938, Satchel Mouth Swing is a discovering. (Sammy Cahn–Saul Chaplin) Louis Armstrong & The Mills Brothers, vocal remake of “Coal Cart Blues” which Armstrong Louis Armstrong, vocal, with Jimmy Dorsey's Decca 1495, mx 62322-B had recorded as part of Clarence Williams’ Blue Scott Yanow Orchestra Recorded 29 June 1937, New York Five back in 1925. This rendition, if one listens – author of 7 jazz books including Swing, Bebop, Decca 949, mx DLA 541-A 11. Old Folks At Home 2:23 to the words, is really a tribute to the trumpeter Trumpet Kings and Jazz On Record 1917-76 Recorded 7 August 1936, Los Angeles (Stephen Foster) Louis Armstrong & The Mills Brothers, vocal Decca 1495, mx 62323-A Recorded 29 June 1937, New York

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12. Public Melody Number One 3:09 17. Alexander’s Ragtime Band 2:36 for his playing and singing through 1940. a spot on clarinet by Jimmy Dorsey and Louis (Harold Arlen–Ted Koehler) (Irving Berlin) ‘Satchel Mouth Swing’ begins with a fine playing his variations of Oliver’s famous three- Louis Armstrong, vocal, & His Orchestra Louis Armstrong, vocal, & His Orchestra remake of Mahogany Hall Stomp which chorus trumpet solo. It is a little surprising that Decca 1347, mx 62328-A Decca 1408, mx 61336-A Armstrong had previously recorded at his first Armstrong chose to record Swing That Music Recorded 2 July 1937, New York Recorded 7 July 1937, New York big band session in 1929. Trombonist Jimmy during the session for he had just recorded it less 13. Red Cap 3:09 18. Satchel Mouth Swing 2:37 Archey, tenor-saxophonist Bingie Madison and than three months earlier; this version is a bit (Louis Armstrong–Ken Hecht) (Louis Armstrong–Lil Armstrong–Clarence altoist Charlie Holmes take a chorus apiece as faster and has a solo just as spectacular. Louis Armstrong, vocal, & His Orchestra Williams) Armstrong reprises his original solo. Then, upon Just as Bing Crosby was captured in a lot of Decca 1347, mx 62330-A Louis Armstrong, vocal, & His Orchestra his return after Holmes’ spot, he creates a different musical settings during his period on Recorded 2 July 1937, New York Decca 1636, mx DLA 1132-A completely new chorus. I’m Putting All My Eggs Decca, Louis Armstrong also recorded frequently In One Basket has short statements by tenor- away from his big band. To You, Sweetheart, 14. Cuban Pete 3:07 Recorded 12 January 1938, Los Angeles saxophonist Paul Ricci and clarinettist Sid Aloha and On A Coconut Island are successful (Jose Norman) 19. The Trumpet Player’s Lament 2:57 Trucker but otherwise it is Armstrong’s encounters with the Polynesians (consisting of Louis Armstrong, vocal, & His Orchestra (Johnny Burke–James V. Monaco) showcase, concluding with a wonderful high steel guitar, two guitars, ukulele and bass) with Decca 1353, mx 62337-A Louis Armstrong, vocal, & His Orchestra note. Bunny Berigan is in the trumpet section; guest Lionel Hampton on vibes and drums. Recorded 7 July 1937, New York Decca 1653, mx DLA 1135-A this session was his only chance to record next to Hampton, who recorded his first vibes solos with Recorded 12 January 1938, Los Angeles 15. She’s The Daughter Of A Planter From his idol. Armstrong in 1930, was just three days from Havana 3:18 20. Struttin’ With Some Barbecue 3:02 The next five selections find Louis Armstrong making his debut recording as a member of the (Sammy Cahn–Saul Chaplin) (Lil Hardin) being joined by the Jimmy Dorsey Orchestra. Benny Goodman Quartet. Satch sounds quite Louis Armstrong, vocal, & His Orchestra Louis Armstrong, vocal, & His Orchestra One of the musical highpoints of Pennies From comfortable in this unusual setting. Decca 1353, mx 62335-A Decca 1661, mx DLA 1134-A Heaven, a Bing Crosby movie that gave Another unexpected but very successful Recorded 7 July 1937, New York Recorded 12 January 1938, Los Angeles Armstrong his first opportunity to appear in a collaboration was when Armstrong joined the 16. I’ve Got A Heart Full Of Rhythm 3:08 major film, was when Louis performed The Mills Brothers for some dates. Billed as ‘four (Horace Gerlach–Louis Armstrong) Transfers & Production: David Lennick Skeleton In The Closet. His version with boys with a guitar’ and renowned for their ability Louis Armstrong, vocal, & His Orchestra Digital Noise Reduction: K&A Productions Ltd Dorsey’s band recaptures the magic of the to closely emulate instruments while only Decca 1408, mx 62338-A Original monochrome photo of Louis Armstrong original. While When Ruben Swings The Cuban actually using their voices and an acoustic guitar, Recorded 7 July 1937, New York from Michael Ochs Archives / Redferns and Hurdy-Gurdy Man are not classic the Mills Brothers clearly inspire Armstrong to compositions, Armstrong makes them his own some joyful playing and singing on In The Shade through his charming ad-libbing (referring to Of The Old Apple Tree and Old Folks At Home. ‘Old Gatemouth Ruben’ on the former) and his The remainder of the selections on ‘Satchel solos. Dippermouth Blues, which Satch Mouth Swing’ have Satch performing in his usual originally recorded with King Oliver in 1923 and setting, with the nucleus of the old Luis Russell with Fletcher Henderson’s orchestra in 1925 Orchestra. Public Melody Number One is long (where it was retitled “Sugar Foot Stomp”), has forgotten but the leader’s trumpet breaks work

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LOUIS ARMSTRONG Vol.4 Personnel Track 1: Louis Armstrong, Leonard Davis, Gus Tracks 10-11: Louis Armstrong, trumpet, vocal; ‘Satchel Mouth Swing’ Original Recordings 1936-1938 Aiken, Louis Bacon, trumpet; Harry White, Harry Mills, baritone, vocal trumpet; Herbert Louis Armstrong’s accomplishments were so the streets for pennies and playing a little bit of Jimmy Archey, trombone; Henry Jones, Charlie Mills, Donald Mills, tenor, vocal saxes; John huge during his first decade on records (1923- cornet, he may very well have led a forgotten life Holmes, alto sax; Bingie Madison, clarinet, Mills Sr., guitar, vocal tuba 33) that his Decca recordings from the second spent in poverty were it not for a lucky break. tenor sax; Greely Walton, tenor sax; Luis Tracks 12-17: Louis Armstrong, Shelton half of the 1930s tend to be underrated. On New Year’s Eve of 1912, he shot off a pistol Russell, piano; Lee Blair, guitar; Pops Foster, Hemphill, Louis Bacon, Henry Allen, trumpet; Consider that Armstrong was to a large extent in the air in celebration, and was immediately bass; Paul Barbarin, drums George Matthews, George Washington, responsible for jazz quickly evolving in the 1920s arrested and sent to live in a waif’s home. Track 2: Louis Armstrong, Bunny Berigan, Bob J. C. Higginbotham, trombone; Pete Clark, from an ensemble-oriented music to one that Armstrong enjoyed the discipline of the Mayhew, trumpet; Al Philburn, trombone; Sid Charlie Holmes, alto sax; Albert Nicholas, featured the solos of colorful virtuosi. Partly surroundings and began to seriously play the Trucker, clarinet, baritone sax; Phil Waltzer, alto Bingie Madison, clarinet, tenor sax; Luis Russell, because of his brilliant playing, the staccato cornet, graduating to the school’s band. When sax; Paul Ricci, tenor sax; Fulton McGrath, piano; Lee Blair, guitar; Pops Foster, bass; Paul phrases often heard in New York recordings of he was released two years later, he was a piano; Dave Barbour, guitar; Pete Peterson, Barbarin, drums the early 1920s were quickly replaced by legato promising young cornettist, ready to gain bass; Stan King, drums Tracks 18-20: Louis Armstrong, Shelton phrasing, introducing a swinging feel to jazz. experience playing in New Orleans brass bands. Tracks 3-7: Louis Armstrong, George Thow, Hemphill, Louis Bacon, Henry Allen, trumpet; Satch’s Hot Five and Hot Seven recordings of Joe “King” Oliver became his hero, Toots Camarata, trumpet; Bobby Byrne, Joe Wilbur de Paris, George Washington, 1925-28 are among the finest documented recommended him as his replacement with Kid Yukl, Don Mattison, trombone; Jimmy Dorsey, J. C. Higginbotham, trombone; Pete Clark, performances of all time and showed how Ory’s band in 1919, and three years later sent clarinet, alto sax; Jack Stacey, clarinet, alto sax; Charlie Holmes, alto sax; Albert Nicholas, powerful a solo instrument the trumpet could be for his protégé to join his Creole Jazz Band in Fud Livingston, Skeets Herfurt, clarinet, tenor Bingie Madison, clarinet, tenor sax; Luis Russell, in the right hands. Armstrong’s scat singing, Chicago. Armstrong gained a great deal of sax; Bobby Van Eps, piano; Roscoe Hillman, piano; Lee Blair, guitar; Pops Foster, bass; Paul starting with 1926’s “Heebies Jeebies”, attention while playing with Oliver (1923-24) guitar; Jim Taft, bass; Ray McKinley, drums Barbarin, drums, vibraphone popularized vocal improvising and showed and his playing grew month-by-month. When he hundreds of vocalists how to sing jazz. When he joined Fletcher Henderson’s orchestra in 1924, Tracks 8-9: Louis Armstrong, trumpet; Sam began singing current pop tunes in 1929, he he became famous in New York. His Hot Five Koki, steel guitar; George Archer, Harry Baty, became so influential with his phrasing that it and Seven recordings made him renowned in guitar, vocal; Andy Iona, ukulele, vocal; Joe altered pop singing forever. And his sunny and jazz and his 1929-33 big band recordings and Nawahi, bass; Lionel Hampton, drums, humorous personality did more than anything appearances on radio and theatres made him vibraphone else to make jazz look like a very attractive and internationally famous. fun style of music. After having spent much of 1934-35 Born 4 August 1901 in New Orleans, Louis overseas, Armstrong returned to the United Armstrong grew up in a poor family and was States just as the swing era was building up raised by a single mother. Although he showed momentum. He took over the struggling Luis early musical ability, singing in a vocal group on Russell Orchestra, using the band as a backdrop

2 8.120735 8.120735 7 120735bk Louis4 9/7/04 5:32 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. Also available in the Naxos Jazz Legends series

8.120621* 8.120625* 8.120666*

8.120672 8.120676* 8.120712

* Not available in the USA NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality LOUIS ARMSTRONG Vol. 4 8.120735 “SATCHEL MOUTHSWING” ARMSTRONG LOUIS www. NOTES ANDFULLRECORDING DETAILS INCLUDED NoiseReduction byK&AProductionsLtd Digital Transfers andProductionbyDavid Lennick h 0 Struttin’WithSome Barbecue 20. TheTrumpet Player’s Lament 19. SatchelMouthSwing 18. Alexander’sRagtimeBand 17. Full OfRhythm I’ve GotAHeart 16. She’sTheDaughterOfAPlanterFrom Havana 15. CubanPete 14. RedCap 13. PublicMelodyNumberOne 12. InTheShadeOfOldAppleTree 10. 1 OldFolksAtHome 11. .OnACoconutIsland 9. To You, Aloha Sweetheart, 8. SwingThatMusic 7. DipperMouthBlues 6. Hurdy-GurdyMan 5. SwingsTheCuban WhenRuben 4. TheSkeleton InTheCloset 3. I’mPuttingAllMyEggsInOneBasket 2. .MahoganyHallStomp 1. & g 04NxsRgt nentoa t Design:RonHoares 2004 NaxosRightsInternationalLtd naxos.com 3:09 3:07 2:51 3:01 2:23 2:41 2:37 3:11 2:54 2:36 2:59 3:07 3:09 Made intheEU 2:57 3:02 2:38 3:08 2:19 2:59 3:18 58:11 ADD Total Time Vol.4 Original 1936-1938Original Recordings

8.120735

OI RSRN Vl 4 Vol. ARMSTRONG LOUIS 8.120735