This 10-CD set is as good a compendium of the genius of Louis Armstrong as anyone could wish for. It’s all here: the early years with the King Oliver and Fletcher Henderson bands, the glorious period of the Hot Fives and Sevens, the big band recordings of the Thirties, the collaborations with contemporaries such as Ella Fitzgerald. Then there are the later recordings, when Satchmo’s celebrity empowered him to soar over many political and racial divides. There’s also a fascinating unreleased Hollywood Bowl concert from 1956, a CD of “out-takes” from recording sessions, and a revealing interview with Dan Morgenstern.
Louis Armstrong's tenure as second cornetist to the great King Oliver is one of jazz history's legendary apprenticeships, on par with the one Miles Davis served with Charlie Parker or Stephane Grappelli's with Django Reinhardt. Sadly, only a handful of recordings survive from this formative period in Armstrong's career. This LP features 18 of King Oliver's 1923 recordings with Armstrong, as well as a bonus appendix consisting of seven tracks recorded in 1924 by the Red Onion Jazz Babies under Armstrong's sole leadership (and featuring, on one number, a very young Alberta Hunter). The performances are as red-hot as you'd expect, and include two King Oliver and Jelly Roll Morton duets.
Recorded in 1957, Ella & Louis Again re-teams Ella Fitzgerald and Louis Armstrong after the success of their first album and a popular series of concerts at the Hollywood Bowl the previous year. Stylistically, Fitzgerald and Armstrong had very different histories; he started out in Dixieland before branching out into classic jazz and swing, whereas Fitzgerald started out as a swing-oriented big-band vocalist before becoming an expert bebopper…
The 43 tracks that make up the first part of the The Complete Decca Studio Master Takes 1940-1949 of Louis Armstrong are remarkable not only for the outstanding performances they reflect, but for the many settings Armstrong recorded in during the era. While none of this material will come as a surprise to collectors, those who are starting to check out Armstrong's post-New Orleans period would do themselves a favor in scoping this collection because the Decca years, even more so than his long tenure with Verve, showcase Armstrong at the pinnacle of American popular music, and that that music happens to be jazz is even more revelatory.
Louis Armstrong and Duke Ellington were (and are) two of the main stems of jazz. Any way you look at it, just about everything that's ever happened in this music leads directly – or indirectly – back to them. Both men were born on the cusp of the 19th and 20th centuries, and each became established as a leader during the middle '20s. …
Louis Armstrong and Duke Ellington were (and are) two of the main stems of jazz. Any way you look at it, just about everything that's ever happened in this music leads directly – or indirectly – back to them. Both men were born on the cusp of the 19th and 20th centuries, and each became established as a leader during the middle '20s. Although their paths had crossed from time to time over the years, nobody in the entertainment industry had ever managed to get Armstrong and Ellington into a recording studio to make an album together. On April 3, 1961, producer Bob Thiele achieved what should be regarded as one of his greatest accomplishments; he organized and supervised a seven-and-a-half-hour session at RCA Victor's Studio One on East 24th Street in Manhattan, using a sextet combining Duke Ellington with Louis Armstrong & His All-Stars. This group included ex-Ellington clarinetist Barney Bigard, ex-Jimmie Lunceford swing-to-bop trombonist Trummy Young, bassist Mort Herbert, and drummer Danny Barcelona. A second session took place during the afternoon of the following day.
Reissue with latest 2014 DSD remastering. Comes with liner notes. One of the key turning points of Louis Armstrong's career occurred at the Town Hall concert fully documented on this two-CD set, a reissue of the earlier two-LP release. Armstrong, who had been leading a big band for 18 years, was showcased with some musical friends who were all very complementary players (including trombonist Jack Teagarden, clarinetist Peanuts Hucko and cornetist Bobby Hackett), and the results were so exciting that Armstrong soon broke up his orchestra to form a similar all-star sextet.