Louis Armstrong - The Chronological Classics: 1944-1946 '1997

Artist	Louis Armstrong Related artists
Album name	The Chronological Classics: 1944-1946
Country
Date	1997
Genre	Jazz
Play time	70:29
Format / Bitrate	Stereo 1420 Kbps / 44.1 kHz MP3 320 Kbps
Media	CD
Size	244 MB(+3%)
Price	Download $1.95

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Tracks list

Tracklist

01. Mop Mop (5:18)
02. Blues (2:52)
03. Esquire Bounce (1:58)
04. Basin Street Blues (3:56)
05. Back O'Town Blues (3:41)
06. Grooving (2:52)
07. Baby Don't You Cry (2:56)
08. Whatcha Say (3:05)
09. "Jack-Armstrong" Blues (3:42)
10. I'm Confessin' That I Love You (3:23)
11. Jodie Man (3:20)
12. I Wonder (3:04)
13. Long Long Journey (4:31)
14. Snafu (4:14)
15. You Won't Be Satisfied (3:01)
16. The Frim Fram Sauce (3:21)
17. Linger in My Arms a Little Longer, Baby (3:00)
18. Whatta Ya Gonna Do (2:56)
19. No Variety Blues (2:57)
20. Joseph 'n His Brudders (3:06)
21. Back O'Town Blues (3:16)
 
Here's an example of the Classics Chronological Series serving as a valuable
tool for savoring and comprehending a temporal segment of one artist's personal
and professional development. Over a span of 27 months, Louis Armstrong waxed 21
sides that appeared on three different record labels, beginning with a set of
V-Discs cut at New York's Metropolitan Opera House on January 18, 1944. How
interesting and exciting it is to hear Louis Armstrong, Barney Bigard, and Jack
Teagarden in the company of Roy Eldridge, Coleman Hawkins, Art Tatum, Al Casey,
Oscar Pettiford, and Sidney Catlett. The opening track, a five-minute version of
Hawkins' "Mop! Mop!," constitutes thrilling proof that two generations of jazz
musicians had plenty of stylistic common ground regardless of any imaginary
divisions invented and imposed by jazz critics. Armstrong wasn't able to record
again as a leader until August of 1944, when he cut three sides for Decca in Los
Angeles. Backed by his 16-piece orchestra, Armstrong sang a couple of pop tunes,
including a duet with actress Dorothy Dandridge. "Whatcha Say" is typical of the
"hep cat" material often foisted upon this beautiful woman whose life would soon
begin to unravel. The third track, "Groovin'," is the real chestnut in this part
of the discography. Harmonically similar to "Yard Dog," a Roy Eldridge/Buster
Harding collaboration recorded by Eldridge's big band in May of 1946, "Groovin'"
is a fine piece of work featuring a handsome tenor sax solo by Ted McRae, who
had a hand in composing the tune. The other tenor in Armstrong's band at this
time was young Dexter Gordon. Back in New York at the beginning of December
1944, Armstrong cut a couple of sides with the V-Disc All-Stars. His only 1945
studio recordings as a leader, apparently, were two little sides for Decca.
"Jodie Man" is 100 percent wartime propaganda, depicting draft dodgers and men
who didn't enlist as slackers and ne'er-do-wells. An "All-American" band
assembled according to Esquire magazine poll specifications recorded twice for
Victor in January of 1946. Duke Ellington announces and sits in with Billy
Strayhorn at the piano behind a small sampling of their best players -- Johnny
Hodges, Jimmy Hamilton, and Sonny Greer -- commingled with Charlie Shavers, Neal
Hefti, Don Byas, Remo Palmieri, Chubby Jackson, and Louis Armstrong. Eight days
later, Pops was in the studio singing duets with Ella Fitzgerald for Decca. This
entertaining album of historical treats closes with five selections using the
big band. The presence of vocalist Velma Middleton seems to presage the eventual
formation of Louis Armstrong's All-Stars, destined to become his preferred
configuration.



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