Also available in the Naxos Jazz Legends series

Transcription

1 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 * * * * * Not available in the USA NAXOS RADIO Over 50 Channels of Classical Music Jazz, Folk/World, Nostalgia Accessible Anywhere, Anytime Near-CD Quality

2 LOUIS ARMSTRONG Vol.4 Satchel Mouth Swing Original Recordings Louis Armstrong s accomplishments were so huge during his first decade on records ( ) that his Decca recordings from the second half of the 1930s tend to be underrated. Consider that Armstrong was to a large extent responsible for jazz quickly evolving in the 1920s from an ensemble-oriented music to one that featured the solos of colorful virtuosi. Partly because of his brilliant playing, the staccato phrases often heard in New York recordings of the early 1920s were quickly replaced by legato phrasing, introducing a swinging feel to jazz. Satch s Hot Five and Hot Seven recordings of are among the finest documented performances of all time and showed how powerful a solo instrument the trumpet could be in the right hands. Armstrong s scat singing, starting with 1926 s Heebies Jeebies, popularized vocal improvising and showed hundreds of vocalists how to sing jazz. When he began singing current pop tunes in 1929, he became so influential with his phrasing that it altered pop singing forever. And his sunny and humorous personality did more than anything else to make jazz look like a very attractive and fun style of music. Born 4 August 1901 in New Orleans, Louis Armstrong grew up in a poor family and was raised by a single mother. Although he showed early musical ability, singing in a vocal group on the streets for pennies and playing a little bit of cornet, he may very well have led a forgotten life spent in poverty were it not for a lucky break. On New Year s Eve of 1912, he shot off a pistol in the air in celebration, and was immediately arrested and sent to live in a waif s home. Armstrong enjoyed the discipline of the surroundings and began to seriously play the cornet, graduating to the school s band. When he was released two years later, he was a promising young cornettist, ready to gain experience playing in New Orleans brass bands. Joe King Oliver became his hero, recommended him as his replacement with Kid Ory s band in 1919, and three years later sent for his protégé to join his Creole Jazz Band in Chicago. Armstrong gained a great deal of attention while playing with Oliver ( ) and his playing grew month-by-month. When he joined Fletcher Henderson s orchestra in 1924, he became famous in New York. His Hot Five and Seven recordings made him renowned in jazz and his big band recordings and appearances on radio and theatres made him internationally famous. After having spent much of overseas, Armstrong returned to the United States just as the swing era was building up momentum. He took over the struggling Luis Russell, using the band as a backdrop 2

3 for his playing and singing through Satchel Mouth Swing begins with a fine remake of Mahogany Hall Stomp which Armstrong had previously recorded at his first big band session in Trombonist Jimmy Archey, tenor-saxophonist Bingie Madison and altoist Charlie Holmes take a chorus apiece as Armstrong reprises his original solo. Then, upon his return after Holmes spot, he creates a completely new chorus. I m Putting All My Eggs In One Basket has short statements by tenorsaxophonist Paul Ricci and clarinettist Sid Trucker but otherwise it is Armstrong s showcase, concluding with a wonderful high note. Bunny Berigan is in the trumpet section; this session was his only chance to record next to his idol. The next five selections find Louis Armstrong being joined by the Jimmy Dorsey. One of the musical highpoints of Pennies From Heaven, a Bing Crosby movie that gave Armstrong his first opportunity to appear in a major film, was when Louis performed The Skeleton In The Closet. His version with Dorsey s band recaptures the magic of the original. While When Ruben Swings The Cuban and Hurdy-Gurdy Man are not classic compositions, Armstrong makes them his own through his charming ad-libbing (referring to Old Gatemouth Ruben on the former) and his solos. Dippermouth Blues, which Satch originally recorded with King Oliver in 1923 and with Fletcher Henderson s orchestra in 1925 (where it was retitled Sugar Foot Stomp ), has a spot on clarinet by Jimmy Dorsey and Louis playing his variations of Oliver s famous threechorus trumpet solo. It is a little surprising that Armstrong chose to record Swing That Music during the session for he had just recorded it less than three months earlier; this version is a bit faster and has a solo just as spectacular. Just as Bing Crosby was captured in a lot of different musical settings during his period on Decca, Louis Armstrong also recorded frequently away from his big band. To You, Sweetheart, Aloha and On A Coconut Island are successful encounters with the Polynesians (consisting of steel guitar, two guitars, ukulele and bass) with guest Lionel Hampton on vibes and drums. Hampton, who recorded his first vibes solos with Armstrong in 1930, was just three days from making his debut recording as a member of the Benny Goodman Quartet. Satch sounds quite comfortable in this unusual setting. Another unexpected but very successful collaboration was when Armstrong joined the Mills Brothers for some dates. Billed as four boys with a guitar and renowned for their ability to closely emulate instruments while only actually using their voices and an acoustic guitar, the Mills Brothers clearly inspire Armstrong to some joyful playing and singing on In The Shade Of The Old Apple Tree and Old Folks At Home. The remainder of the selections on Satchel Mouth Swing have Satch performing in his usual setting, with the nucleus of the old Luis Russell. Public Melody Number One is long forgotten but the leader s trumpet breaks work 3

4 quite well as does the driving drumming of Paul Barbarin. Red Cap salutes the type of working class job that Armstrong did not have to worry about anymore in 1937 when he was one of the biggest names in show business. Satch goes south of the border, sort of, during the next two numbers. A swing version of Cuban Pete can be thought of as a follow-up to The Peanut Vendor which he had recorded in She s The Daughter Of A Planter From Havana, although not composed by Cubans, does utilize some rhythms that hint a little at Havana, at least until the closing swinging choruses. Louis Armstrong composed relatively few songs, which makes I ve Got A Heart Full Of Rhythm a rarity in his career. The optimistic lyrics, which sound like something Al Jolson or Ted Lewis might have sung, are much hipper when rendered by Satch. Clarinettist Albert Nicholas and altoist Charlie Holmes help out before Armstrong takes two dazzling choruses. Alexander s Ragtime Band, a major hit for Irving Berlin in 1911, proves to still have plenty of life left in 1937, particularly during the closing trumpet solo. Moving to 1938, Satchel Mouth Swing is a remake of Coal Cart Blues which Armstrong had recorded as part of Clarence Williams Blue Five back in This rendition, if one listens to the words, is really a tribute to the trumpeter himself. Charlie Holmes and trombonist J. C. Higginbotham are heard from briefly. In contrast, The Trumpet Player s Lament has Armstrong singing words that make it sound as if he would rather be playing classical music than jazz! The final chorus makes it obvious that he had made the right career choice. Wrapping up this collection is an exciting version of Struttin With Some Barbecue. Armstrong had recorded a classic solo on this piece with the Hot Five in 1927 and he would utilize a completely different set solo during the years that he led the All-Stars (starting in 1947). This 1938 version (which has spots for clarinettist Bingie Madison and altoist Holmes) is a gem in its own way, with Armstrong stating the melody during the next-to-last chorus before improvising a statement that differs almost completely from his other Struttin solos. Louis Armstrong, still just 36 at the time of this final session, had 33 more years ahead of him. The twenty recordings on Satchel Mouth Swing show that, far from being an off period, his work from the second half of the 1930s are full of underrated treasures well worth discovering. Scott Yanow author of 7 jazz books including Swing, Bebop, Trumpet Kings and Jazz On Record

5 1. Mahogony Hall Stomp 2:54 (Spencer Williams) Louis Armstrong & His Decca 824, mx A Recorded 18 May 1936, New York 2. I m Putting All My Eggs In One Basket 2:59 (Irving Berlin) Decca 698, mx A Recorded 4 February 1936, New York 3. The Skeleton In The Closet 3:07 (Johnny Burke Arthur Johnston) Louis Armstrong, vocal, with Jimmy Dorsey's Decca 949, mx DLA 539-A 4. When Ruben Swings The Cuban 2:38 (Ted White Leon Flatow Jack Meskill) Louis Armstrong, vocal, with Jimmy Dorsey's Decca 1049, mx DLA 541-A 5. Hurdy-Gurdy Man 3:01 (Sammy Cahn Saul Chaplin) Louis Armstrong, vocal, with Jimmy Dorsey's Decca 949, mx DLA 541-A 6. Dipper Mouth Blues 2:41 (Louis Armstrong King Oliver) Louis Armstrong with Jimmy Dorsey's Decca 906, mx DLA 542-A 7. Swing That Music 2:51 (Horace Gerlach Louis Armstrong) Louis Armstrong, vocal, with Jimmy Dorsey's Decca 866, mx DLA 543-A 8. To You, Sweetheart, Aloha 2:59 (Harry Owens) Louis Armstrong, vocal, with The Polynesians Decca 914, mx DLA 581-A Recorded 18 August 1936, Los Angeles 9. On A Coconut Island 3:11 (R. Alex Anderson) Louis Armstrong, vocal, with The Polynesians Decca 914, mx DLA 582-A Recorded 18 August 1936, Los Angeles 10. In The Shade Of The Old Apple Tree 2:19 (H. H. Williams E. Van Alstyne) Louis Armstrong & The Mills Brothers, vocal Decca 1495, mx B Recorded 29 June 1937, New York 11. Old Folks At Home 2:23 (Stephen Foster) Louis Armstrong & The Mills Brothers, vocal Decca 1495, mx A Recorded 29 June 1937, New York 5

6 12. Public Melody Number One 3:09 (Harold Arlen Ted Koehler) Decca 1347, mx A Recorded 2 July 1937, New York 13. Red Cap 3:09 (Louis Armstrong Ken Hecht) Decca 1347, mx A Recorded 2 July 1937, New York 14. Cuban Pete 3:07 (Jose Norman) Decca 1353, mx A Recorded 7 July 1937, New York 15. She s The Daughter Of A Planter From Havana 3:18 (Sammy Cahn Saul Chaplin) Decca 1353, mx A Recorded 7 July 1937, New York 16. I ve Got A Heart Full Of Rhythm 3:08 (Horace Gerlach Louis Armstrong) Decca 1408, mx A Recorded 7 July 1937, New York 17. Alexander s Ragtime Band 2:36 (Irving Berlin) Decca 1408, mx A Recorded 7 July 1937, New York 18. Satchel Mouth Swing 2:37 (Louis Armstrong Lil Armstrong Clarence Williams) Decca 1636, mx DLA 1132-A Recorded 12 January 1938, Los Angeles 19. The Trumpet Player s Lament 2:57 (Johnny Burke James V. Monaco) Decca 1653, mx DLA 1135-A Recorded 12 January 1938, Los Angeles 20. Struttin With Some Barbecue 3:02 (Lil Hardin) Decca 1661, mx DLA 1134-A Recorded 12 January 1938, Los Angeles Transfers & Production: David Lennick Digital Noise Reduction: K&A Productions Ltd Original monochrome photo of Louis Armstrong from Michael Ochs Archives / Redferns 6

7 Personnel Track 1: Louis Armstrong, Leonard Davis, Gus Aiken, Louis Bacon, trumpet; Harry White, Jimmy Archey, trombone; Henry Jones, Charlie Holmes, alto sax; Bingie Madison, clarinet, tenor sax; Greely Walton, tenor sax; Luis Russell, piano; Lee Blair, guitar; Pops Foster, bass; Paul Barbarin, drums Track 2: Louis Armstrong, Bunny Berigan, Bob Mayhew, trumpet; Al Philburn, trombone; Sid Trucker, clarinet, baritone sax; Phil Waltzer, alto sax; Paul Ricci, tenor sax; Fulton McGrath, piano; Dave Barbour, guitar; Pete Peterson, bass; Stan King, drums Tracks 3-7: Louis Armstrong, George Thow, Toots Camarata, trumpet; Bobby Byrne, Joe Yukl, Don Mattison, trombone; Jimmy Dorsey, clarinet, alto sax; Jack Stacey, clarinet, alto sax; Fud Livingston, Skeets Herfurt, clarinet, tenor sax; Bobby Van Eps, piano; Roscoe Hillman, guitar; Jim Taft, bass; Ray McKinley, drums Tracks 8-9: Louis Armstrong, trumpet; Sam Koki, steel guitar; George Archer, Harry Baty, guitar, vocal; Andy Iona, ukulele, vocal; Joe Nawahi, bass; Lionel Hampton, drums, vibraphone Tracks 10-11: Louis Armstrong, trumpet, vocal; Harry Mills, baritone, vocal trumpet; Herbert Mills, Donald Mills, tenor, vocal saxes; John Mills Sr., guitar, vocal tuba Tracks 12-17: Louis Armstrong, Shelton Hemphill, Louis Bacon, Henry Allen, trumpet; George Matthews, George Washington, J. C. Higginbotham, trombone; Pete Clark, Charlie Holmes, alto sax; Albert Nicholas, Bingie Madison, clarinet, tenor sax; Luis Russell, piano; Lee Blair, guitar; Pops Foster, bass; Paul Barbarin, drums Tracks 18-20: Louis Armstrong, Shelton Hemphill, Louis Bacon, Henry Allen, trumpet; Wilbur de Paris, George Washington, J. C. Higginbotham, trombone; Pete Clark, Charlie Holmes, alto sax; Albert Nicholas, Bingie Madison, clarinet, tenor sax; Luis Russell, piano; Lee Blair, guitar; Pops Foster, bass; Paul Barbarin, drums, vibraphone 7

8 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 * * * * * Not available in the USA NAXOS RADIO Over 50 Channels of Classical Music Jazz, Folk/World, Nostalgia Accessible Anywhere, Anytime Near-CD Quality

9 LOUIS ARMSTRONG Vol. 4 LOUIS ARMSTRONG Vol.4 SATCHEL MOUTH SWING 1. Mahogany Hall Stomp 2:54 2. I m Putting All My Eggs In One Basket 2:59 3. The Skeleton In The Closet 3:07 4. When Ruben Swings The Cuban 2:38 5. Hurdy-Gurdy Man 3:01 6. Dipper Mouth Blues 2:41 7. Swing That Music 2:51 8. To You, Sweetheart, Aloha 2:59 9. On A Coconut Island 3: In The Shade Of The Old Apple Tree 2: Old Folks At Home 2: Public Melody Number One 3: Red Cap 3: Cuban Pete 3: She s The Daughter Of A Planter From Havana 3: I ve Got A Heart Full Of Rhythm 3: Alexander s Ragtime Band 2: Satchel Mouth Swing 2: The Trumpet Player s Lament 2: Struttin With Some Barbecue 3:02 Transfers and Production by David Lennick Digital Noise Reduction by K&A Productions Ltd NOTES AND FULL RECORDING DETAILS INCLUDED Made in the EU h & g 2004 Naxos Rights International Ltd Design: Ron Hoares Total Time 58:11 ADD Original Recordings LOUIS ARMSTRONG Vol. 4