Louis Armstrong Ft. Earl Hines - The 1928 Hot Five Masterworks

Опубликовано 8 июля 2016, 10:30

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LOUIS ARMSTRONG
the 1928 Hot Five masterworks
featuring Earl Hines

LOUIS ARMSTRONG AND HIS HOT FIVE: Louis Armstrong (tp, voc), Fred Robinson (tb), Jimmy Strong (cl, ts), Earl Hines (p), Mancy Cara (bj), Zutty Singleton (dm) - june 27/28/29, 1928
1 A Monday Date (Hines) 00:00
2 West End Blues (Oliver) 03:10
3 Fireworks (Williams) 06:26
4 Skip the Gutter (Williams) 09:32
5 Sugar Foot Strut (Pierce - Schwab - Myers) 12:39
6 Don't Jive Me (Armstrong) 15:58
7 Two Deuces (Hardin) 18:44
8 Squeeze Me (Waller - Williams) 21:38

same - july 5, 1928
9 Knee Drops (Hardin) 25:00

same - december 4, 1928
10 No (Papa No) (Spivey) 28:23
11 Basin Street Blues (Williams) 31:14

LOUIS ARMSTRONG AND HIS SAVOY BALLROOM FIVE: Don Redman (cl, as) and Dave Wilborn (bj, g) replace Strong and Cara - december 5, 1928
12 No One Else But You (Redman) 34:26
13 Beau Koo Jack (Hill - Armstrong - Melrose) 37:47
14 Save It Pretty Mama (Redman) 40:43
Armstrong and Hines, trumpet / piano duet - same session
15 Weather Bird (Armstrong) 44:00

same full band. Strong and Cara back, Redman and Wilborn out - december 7, 1928
16 Muggles (Armstrong) 46:38

same. Redman (cl, as) added - december 12, 1928
17 Heah Me Talkin’ to Ya? (Armstrong - Hill) 49:27
18 St. James Infirmary (Primrose) 52:35
19 Tight Like This (Curl) 55:45

CARROLL DICKERSON’S SAVOYAGERS: Carroll Dickerson (vn, dir), Louis Armstrong (tp, voc), Homer Hobson (tp), Fred Robinson (tb), Bert Curry, Crawford Wethington (as), Pete Briggs (tu), Jimmy Strong (cl, ts), Earl Hines (p), Mancy Cara (bj), Zutty Singleton (dm) - July 5, 1928
20 Symphonic Raps (Steven - Abrams) 59:00
21 Savoyagers’ Stomp (Armstrong - Hines) 01:03:48

LOUIS ARMSTRONG & HIS STOMPERS: Louis Armstrong, Bill Wilson (tp), Honore Dutrey (tb), Boyd Atkins (cl, sop), Joe Walker (as, bar), Albert Washington (ts), Earl Hines (p), Rip Bassett (g), Pete Briggs (tu), Tubby Hall (dm) - May 9, 1927
22 Chicago Breakdown (Morton) 01:05:21

VICTORIA SPIVEY, voc. acc. by: Louis Armstrong (tp), Fred Robinson (tb), Jimmy Strong (ts), Gene Anderson (p), Mancy Cara (bj), Zutty Singleton (dm) - july 10, 1929
23 How Do You Do It (Spivey - Floyd) 01:08:39
24 Funny Feathers (Spivey - Floyd) 01:11:57

LOUIS ARMSTRONG AND HIS ORCHESTRA: Louis Armstrong (tp), Jack Teagarden (tb), Happy Caldwell (ts), Joe Sullivan (p), Eddie Lang (g), Kaiser Marshall (dm) - march 5, 1929
25 Knockin' a Jug (Armstrong - Condon) 01:15:13

The first thing we hear at the beginning of this collection are the voices of Louis Armstrong and Earl Hines. It’s an amusing silly sketch.
But when Louis says “We’re goin’ to play anyway” we know what they are really going to do: playing some of the all-time masterworks of jazz. How else would you call “West End Blues”, “Muggles” and “Basin Street Blues”?
In 1928, three years after the now legendary "Hot Five" recordings, Armstrong made some damatic changes. He put up a completely new group of musicians drawn from the Carroll Dickerson Orchestra whom he regularly worked with.
The core of the new Hot Five was Louis’ collaboration with piano player Earl Hines whom he knew before but had scarcely met on record. What they could do together is fully demonstrated by “Weather Bird”, which they played as a bare duet.
“Chicago Breakdown”, a nice Jelly Roll Morton’s tune better known as “Stratford Hunch”, is an earlier Hines’ appearance in the only existing record by Louis’ regular band of the time (the album was anyhow wrongly credited as by the “Hot Seven”).
After 1928 the Hot Five were never revived. But in 1929, after Louis and the Dickerson Band moved to New York, all of them but Hines, who remained in Chicago, backed singer Victoria Spivey in a couple of tunes that you hear at tracks 23 and 24.
“Knockin’ a Jug” is a kind of jam-session-party that five New York musicians held in a recording studio to salute Louis’ comeback (he had been there in 1924/25, instantly becoming a living legend) and has no link with the former material. It fits here because, besides its very high musical value, it marks the end of the HOT FIVE ERA, still not belonging to the coming big band format.

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