Louis Armstrong

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Cat No: 8120816

Release Date: 12 January 2005

Label: Naxos - Jazz Legends / Naxos Jazz Legends

Packaging Type: Jewel Case

No of Units: 1

Barcode: 636943281628

Genres: Jazz

Description
LOUIS ARMSTRONG Vol.6'You Rascal, You' Original Recordings 1939-1941The Louis Armstrong of the late 1930s was aman at a crossroads in his career, faced withseveral creative dilemmas. Popularity was not oneof them. He was now a bonafide superstar, withradio programmes, tours, and concerts crowdinghis schedule. Already recognized as a pioneer ofjazz and one of the supreme jazz musicians of hisday, Armstrong could pretty much do what hewanted. But the years just prior to America'sentry into World War II showed Armstrongstruggling, at least in the studio, to find his nichein the rapidly changing musical landscape.Riding on top of the tidal wave of the BigBand Era, Armstrong had assembled his ownorchestra early on, making records for OKeh andthen Victor before signing with the new Deccalabel in 1935. By the end of 1939, Armstrong'sorchestra was relying mainly on its leader'scharisma and celebrity as more progressive bandstook the spotlight. Listening to Harlem Stomp,from the following May, is a perfect example. Thenondescript big band leads off with theintroduction to the song, sounding not muchunlike any other group of the period. It isn't untilSatchmo comes in with his gravelly vocal andclarion trumpet chorus that the sound becomessingularly his. Aside from Louis himself, theArmstrong orchestra had no identity of its ownand exhibited little growth during the '30s, unlikebands led by Benny Goodman, which featuredpowerhouse soloists and Fletcher Henderson'sextraordinary charts, Duke Ellington, with itsunique arrangements of original tunes, andGlenn Miller, which had its own musical identityas well. Occasionally, J. C. Higginbotham or LuisRussell was given a chance to shine, but ingeneral, it was Satch's show from start to finish.But, like a superstar basketball player on a teamof anonymous underachievers, Armstrong wasable to transform his records by himself with hispersonality and musical genius.Although Armstrong was a great innovator ofjazz vocals, fans of his trumpet playing weregetting dismayed that there was less and less ofthis on his records. Armstrong's records weremainly vocal-oriented, with novelty-tinged songsplaying on Satchmo's effusive personality and jivelanguage (Hep Cats' Ball, Cut Off My Legs AndCall Me Shorty, You Run Your Mouth, I'll RunMy Business).Decca's penchant for teaming up its mostpopular artists resulted in Armstrong cutting asession with another of its successful acts, theMills Brothers, in April 1940. Armstrong had firstteamed up with the Mills clan three years beforeand the combination was still effective; the foursongs they recorded are all here, including anearly Jesse Stone composition making fun ofAmerica's Works Progress Administration(W. P. A.), and the tendency for workers togoldbrick on the job, knowing they would not befired. Both Armstrong and the Mills Brotherswould continue to do duets with other Deccastalwarts in succeeding years.As much as Decca's decision makers tried toshoehorn Louis Armstrong into the
Tracklisting