As far as the caveats go, Louis' horn is not as full-sounding as a modern recording would represent it, nor the bass as prominent. Otherwise, the fidelity leaves little to be desired--the vocals are exceptionally well recorded and the ensemble balance sounds just fine except perhaps to ears conditioned to disproportionate bass.
It's true that this particular ensemble was far from Louis' most admired. Velma Middleton had her detractors, especially among the Down Beat critics she's not featured and is heard on only a couple of numbersand Barney Bigard had more favorite licks to fall back on than Edmund Hall, the other clarinetist Louis frequently toured with during this period.
And there are even some who found Trummy Young's trombone "blatty" compared to Jack Teagarden's true, but there was only one "T". Overall, and especially in retrospect, it's a cohesive, relaxed, and "comfortable" group of players, perfect for setting off the grandfatherly, fun-loving yet wise and laconic patriarchal icon that Armstrong had become by the '50s.
Still, he's far from a museum piece. There are plenty of passages of highly engaging, even brilliant and, especially on the bonus historical recordings, "passionate" trumpet work, vocals, and scat singing by the father of the jazz solo.
The original LP Keepin Out Of Mischief Now - Louis Armstrong - The Greatest Of (Vinyl 9 tracks, and the CD reissue was inferior due to the inadvertent substitution of alternate tracks for Keepin Out Of Mischief Now - Louis Armstrong - The Greatest Of (Vinyl originals.
The present disc has 20 tunes--not just masters and alternates from the session but 7 Armstrong performances of Waller's music recorded between and with surprisingly "modern" fidelity and enough evidence to convince all but the most unperceptive of Armstrong's singular importance and genius stature in American music.
You could download the twenty tracks for twenty bucks, of course, but in doing so you would miss out on the liner notes or more accurately, booklet. It includes a facsimile of the original LP front and back, complete listings of personnel from Red Allen to J. Higginbotham specific dates, an essay about Fats Waller, and brief analyses of each of the songs. This recording walks all over a far-less satisfying collection such as the Ken Burns anthology, which presents Pops' commercial treacle from "Blueberry Hill" and "Mack the Knife" to "What a Wonderful World" and "Hello Dolly.
This session has plenty of meat on the bones and lots of pep in Pops' step dig the surprisingly fast tempo of "Ain't Misbehaving". I could listen to this all night. Compared to my unused new HDTV, it's no contest: Satch and Fats surpass high definition any time; in fact, they defined and redefined jazz Keepin Out Of Mischief Now - Louis Armstrong - The Greatest Of (Vinyl all of American popular music. Waller and Armstrong were of the same generation and were collaborators in music in the s.
Louis's first big leap to popular stardom beyond the tight group of Jazz musicians and performers came when he introduced "Ain't Mis Behavin'" on the Broadway stage. The audiences often forced him to do three or four encores. Folks who had seen the show before would pay full price just to get in to hear Louis sing this one song.
The recordings in the late 20s by Louis with all the vocals are simply my idea of the best music ever recorded by anyone. Rather than get them selected this way, you might want to get one of the CDs or collections that covers that period of time with everything, rather than just the songs by Waller. Likewise, while the All Stars were not as good as his original Chicago and New York Groups, particularly these later all-stars I prefer the albums with the great Jack Teagardenif you get into the music you will want that all too.
At any rate, there is no one else but Louis who can do these songs justice except the Fat man himself, Mr. If there were a question about who was the most influential musician of the Twentieth Century, one need look only to the "Hot Fives and Hot Sevens" and to this album.
Armstrong, here in his mid-fifties, is the mature improviser with the immaculate structure and rhythmic grace that allow him to make the most serenely beautiful choices of interpretation. His reading of the wonderful Waller music and Razaf lyrics is unsurpassed. His three [!
But his vocals on both the and recordings of "Blue Turning Grey Over You" demonstrate why he was simply the greatest singer of popular ballads ever: He imparts just enough sly humor to keep the song from becoming maudlin, and his unabashed tenderness makes you feel lost love in a way that goes straight to the heart. Waller's music --as subtly complex as it is immediately engaging-- never sounded better. If you love Louis Armstrong, buy it. If you love Fats Waller, buy it. If you just love jazz with a swing beat, then this collection is for you.
Satchmo gives us an incomparable interpretation of Waller's music that would have made the corpulent keyboard king himself very proud indeed. You won't be disappointed. Armstrong infuses these pieces with a style very true to Fats' own, including the humour and wit that Satchmo weaves into the lyrics. The sound LP) smooth, and the rhythm is HOT! Recording quality is very good, and the selection is impecable -- some of Waller's greatest hits.
This is a great gift item, and I plan to give it to my Dad [a lifelong big band fan and a dancing fool] for his 85th birthday next month. See all reviews from the United States. Top international reviews. Translate all reviews to English. This album was recorded in at the height of the All Stars resurgence, Armstrong having fallen into the shadows during the 'forties. This themed album is excellent, firstly because Armstrong's trumpet playing was still top flight, and secondly Armstrong has the personality to interpret Waller's fine music.
Both men were skilled musicians, but both thought of themselves first and foremost as entertainers. Both wanted to bring some humour and enjoyment into the world. Since the majority of Waller's compositions had words, and the fact that Louis liked to sing more than play the trumpet the pairing is particularly apt. The recordings feature the small band, the All Stars, with Velma Middleton who joins Satch on vocals. Also included are some alternate takes, so the disc is pretty full and some tunes feature several times e.
One person found this helpful. Thank you for your feedback. Sorry, we failed to record your vote. Please try again. But the cd is not clear and Armstrong's trumpet is not to the fore unfortunately. But I still play it!! Ordered next day and it arrived on time.
Excellent condition and played faultlessly. Very good recording which warants repeat listining, recommended. Would you also like to submit a review for this item? You already recently rated this item. Your rating has been recorded. Write a review Rate this item: 1 2 3 4 5. Preview this item Preview this item. Series: Columbia musical treasury. Subjects Jazz -- More like this Similar Items.
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Remember me on this computer. However, it transpires that the take is the same, but with Louis Armstrong overdubbing to plug the gap, to add some verbal responses and, on trumpet, to fill in behind the verse and, conveniently, to cover the spot where Velma Middleton sings: "Something 'bout you, I can't resist".
The track stands as a perfect example of the way in which Louis Armstrong coped with tunes of a repetitive symmetrical structure by varying the phrasing in the most subtle way while at the same time continuing to "play that lead! Trummy Young is at his mellowest here, reminding us that the most pervasive of his influence had always been Louis Armstrong.
The fine, free-wheeling version of "I've Got A Feeling I'm Falling" is issued here without the overdubbing that enabled Louis Armstrong to sing a duet with himself.
The pattern for Ain't Misbehavin' was established in Louis Armstrong's recording inright down to the break that quotes from "Rhapsody In Blue". The New York Town Hall version was quicker and varied the pattern considerably, and this model, taken here slower than on the chosen take, is full of fresh notions. What's more, bang in the middle of this chain of development, there was a version made with a studio band in that is quite different from all of them.
Humphrey Lyttelton - Louis Armstrong: a bio He is considered the most important improviser in jazz, and he taught the world to swing. Louis Armstrongfondly known as "Satchmo" which is short for "Satchelmouth" referring to the size of his mouth or "Pops"had a sense of humour, natural and unassuming manner, and positive disposition that made everyone around him feel good. With his infectious, wide grin and instantly recognizable gravelly voice, he won the hearts of people everywhere.
He had an exciting and innovative style of playing that musicians imitate to this day. Throughout his career, Louis Armstrong spread the language of jazz around the world, serving as an international ambassador of swing.
His profound impact on the music of the 20th century continues into the 21st century. He started working at a very young age to support his family, singing on street corners for pennies, working on a junk wagon, cleaning graves for tips, and selling coal. His travels around the city introduced him to all kinds of music, from the blues played in the Storyville honky tonks to the brass bands accompanying the New Orleans parades and funerals.
The music that surrounded him was a great source of inspiration. He received his first formal music instruction in the Colored Waif's Home for Boys, where he was allegedly confined for a year and a half as punishment for firing blanks into the air on New Year's Eve. As the young Louis Armstrong began to perform with pick-up bands in small clubs and play funerals and parades around town, he captured the attention and respect of some of the older established musicians of New Orleans. Joe "King" Olivera member of Kid Ory's band and one of the finest trumpet players around, became Louis Armstrong's mentor.
A year later, he was hired to work on riverboats that traveled the Mississippi. This experience enabled him to play with many prominent jazz musicians and to further develop his skills, learning to read music and undertaking the responsibilities of a professional gig.
As a member of Joe "King" Oliver's band, Louis Armstrong began his lifetime of touring and recording. Louis Armstrong continued his touring and recording activities with Fletcher Henderson's group and also made recordings with Sidney BechetMa Raineyand Bessie Smith.
From to he continued a rigorous schedule of performing and recording, which included "Heebie Jeebies"the tune that introduced scat singing to a wide audience and "West End Blues"one of the most famous recordings in early jazz. During this period, his playing steadily improved, and his traveling and recording activities introduced his music to more and more people. His recording of "Ain't Misbehavin' " introduced the use of a pop song as material for jazz interpretation, helping set the stage for the popular acceptance of jazz that would follow.
During the next year, he performed in several U. Inhe toured England for three months, and during the next few years, continued his extensive domestic and international tours, including a lengthy stay in Paris. When Louis Armstrong returned to the U, Keepin Out Of Mischief Now - Louis Armstrong - The Greatest Of (Vinyl.
Not only did Joe Glaser free Louis Armstrong from the managerial battles and legal difficulties of the past few years, he remained his manager for the duration of his career and helped transform Louis Armstrong into an international star. He worked with big bands, playing music of an increasingly commercial nature as well as small groups that showcased his singing of popular songs. InLouis Armstrong married Lucille Wilsona dancer at the Cotton Club where his band had a running engagement.
The following year, they purchased a home in Corona, Queens, where they lived for the rest of their lives.
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