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Louis Armstrong: Complete History 15 CD Box (CD04 • Mahogany Hall Stomp)

 A l b u m   D e t a i l s


Label: International Music Company
Released: 2000.10.04
Time:
 65:12
Category: New Orleans Jazz, Dixieland
Producer(s): See Artists ...
Rating:
Media type: CD
Web address: www.satchmo.net
Appears with:
Purchase date: 2014
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Muggles (Louis Armstrong / Earl Hines) - 2:50
[2] Hear Me Talkin' to Ya? (Louis Armstrong / Don Redman) - 3:24
[3] St. James Infirmary (Joe Primrose / Traditional) - 3:18
[4] Tight Like This (Louis Armstrong / Langston Curl) - 3:19
[5] Knockin' a Jug (Louis Armstrong / Eddie Condon) - 3:25
[6] I Can't Give You Anything But Love (Dorothy Fields / Jimmy McHugh) - 3:31
[7] Mahogany Hall Stomp (Spencer Williams) - 3:25
[8] Ain't Misbehavin' (Harry Brooks / Andy Razaf / Fats Waller) - 3:22
[9] [What Did I Do to Be So] Black and Blue (Harry Brooks / Andy Razaf / Fats Waller) - 3:08
[10] That Rhythm Man (Harry Brooks / Andy Razaf / Fats Waller) - 3:09
[11] Sweet Savannah Sue (Harry Brooks / Andy Razaf / Fats Waller) - 3:13
[12] Some of These Days (Shelton Brooks) - 3:13
[13] When You're Smiling [The Whole World Smiles With You] (Mark Fisher / Joe Goodwin / Larry Shay) - 3:29
[14] After You've Gone (Henry Creamer / Turner Layton) - 3:21
[15] I Ain't Got Nobody (Roger Graham / Dave Peyton / Spencer Williams) - 2:44
[16] Dallas Blues (Lloyd Garrett / Hart A. Wand) - 3:14
[17] St. Louis Blues (W.C. Handy) - 3:00
[18] Rockin' Chair (Hoagy Carmichael) - 3:20
[19] Song of the Islands (Charles E. King) - 3:27
[20] Bessie Couldn't Help It (Charles A. Bayha / Jacques Richmond / Byron Warner) - 3:20

 A r t i s t s ,   P e r s o n n e l


Louis Armstrong - Vocals, Trumpet

Gene Anderson - Celeste, Piano
Paul Barbarin - Drums
William Thornton Blue - Clarinet, Alto Saxophone
Pete Briggs - Tuba
Happy Caldwell - Tenor Saxophone
Hoagy Carmichael - Vocals
Mancy Carr - Banjo
Eddie Condon - Banjo
Bert Curry - Alto Saxophone
Carroll Dickerson - Bandleader, Violin
Pops Foster - Bass
J.C. Higginbotham - Trombone
Teddy Hill - Tenor Saxophone
Earl Hines - Piano
Homer Hobson - Trumpet
Charlie Holmes - Clarinet, Alto Saxophone
Lonnie Johnson - Guitar
Will Johnson - Guitar
Albert Nicholas - Clarinet, Alto Saxophone
Don Redman - Clarinet, Alto Saxophone
Fred Robinson - Trombone
Luis Russell - Piano
Zutty Singleton - Drums
Jimmy Strong - Clarinet, Tenor Saxophone
Joe Sullivan - Piano
Jack Teagarden - Trombone
Crawford Wethington - Alto Saxophone

 C o m m e n t s ,   N o t e s


The fourth title in the History label's 15-CD box set Louis Armstrong and the third in the Past Perfect label's ten-CD box set Portrait (both imprints are part of the German firm the International Music Company), Mahogany Hall Stomp covers a period of almost 14 months in Louis Armstrong's recording career, 1928-30, that marks a crucial transition in his work. The album opens with the last five tracks considered part of his Hot Five and Hot Seven small band recordings of the 1920s, among them the hit "St. James Infirmary." These performances of often original material helped set the parameters of jazz improvisation for decades to come. The big change in Armstrong's recording approach comes in March 1929, when he has moved from Chicago to New York, is recording with a big band, and is performing standards like the first song in this style, "I Can't Give You Anything But Love." By now, the band is basically a backup unit intended to support him. Among the selections are the hits "Ain't Misbehavin'," "When You're Smiling," "St. Louis Blues," "Rockin' Chair," and "After You've Gone." What sounds like considerable sound processing has resulted in a hiss- and crackle-free sound that misses the highs as a result. Although this material is in the public domain in Europe, it is claimed by Sony Music in the U.S.; nevertheless, the two box sets are readily available at a modest price domestically through mail order. Columbia/Legacy's albums Louis Armstrong and Earl Hines, Louis in New York, and St. Louis Blues contain these recordings in better fidelity and with far superior annotations, and so are recommended over this barebones collection, which cuts off arbitrarily after 20 tracks, or in the middle of the February 1, 1930, recording session. But this one is also far less expensive.

William Ruhlmann - All Music Giude
 

 L y r i c s


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 M P 3   S a m p l e s


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