Louis Armstrong - Louis Armstrong (CD) download full album zip cd mp3 vinyl flac

Blues Classical Country. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying.

Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists. Streams Videos All Posts. Genre Jazz. Recording Date November 12, - November 16, Track Listing. My Heart. Lil Armstrong. Louis Armstrong. I'm in the Barrel.

Gut Bucket Blues. Come Back Sweet Papa. Georgia Grind. Spencer Williams. Heebie Jeebies. Cornet Chop Suey. Oriental Strut. Johnny St. You're Next. Muskrat Ramble. Static Strut. Stomp Off, Let's Go. Elmer Schoebel. Georgia Bo Bo. Drop That Sack. To distinguish them from other hawkers, he tried playing a tin horn to attract customers.

Morris Karnoffsky gave Armstrong an advance toward the purchase of a cornet from a pawn shop. When Armstrong was eleven, he dropped out of school.

He also got into trouble. Cornetist Bunk Johnson said he taught the eleven-year-old to play by ear at Dago Tony's honky tonk. He said about his youth, "Every time I close my eyes blowing that trumpet of mine—I look right in the heart of good old New Orleans It has given me something to live for.

Borrowing his stepfather's gun without permission, he fired a blank into the air and was arrested on December 31, Mattresses were absent. Meals were often little more than bread and molasses. Captain Joseph Jones ran the home like a military camp and used corporal punishment.

Armstrong developed his cornet skills by playing in the band. Peter Davis, who frequently appeared at the home at the request of Captain Jones, [26] became Armstrong's first teacher and chose him as bandleader. With this band, the thirteen year-old Armstrong attracted the attention of Kid Ory.

On June 14,Armstrong was released into the custody of his father and his new stepmother, Gertrude. He lived in this household with two stepbrothers for several months. After Gertrude gave birth to a daughter, Armstrong's father never welcomed him, so he returned to his mother, Mary Albert.

In her small home, he had to share a bed with his mother and sister. He found a job at a dance hall owned by Henry Ponce, who had connections to organized crime. He met the six-foot tall drummer Black Bennywho became his guide and bodyguard. Armstrong played in brass bands and riverboats in New Orleans, first on an excursion boat in September He traveled with the band of Fate Marablewhich toured on the steamboat Sidney with the Streckfus Steamers line up and down the Mississippi River.

Armstrong described his time with Marable as "going to the University", since it gave him a wider experience Louis Armstrong - Louis Armstrong (CD) with written arrangements. He did return to New Orleans periodically. He also became second trumpet for the Tuxedo Brass Band. Throughout his riverboat experience, Armstrong's musicianship began to mature and expand. At twenty, he could read music. He became one of the first jazz musicians to be featured on extended trumpet solos, injecting his own personality and style.

He started singing in his performances. With Oliver's Creole Jazz Band he could make enough money to quit his day jobs. Although race relations were poor, Chicago was booming. The city had jobs for blacks making good wages at factories with some left over for entertainment. Oliver's band was among the most influential jazz bands in Chicago in the early s. Armstrong lived luxuriously in his own apartment with his first private bath. Excited as he was to be in Chicago, he began his career-long pastime of writing letters to friends in New Orleans.

Armstrong could blow two hundred high Cs in a row. As his reputation grew, he was challenged to cutting contests by other musicians. His first studio recordings were with Oliver for Gennett Records on April 5—6, They endured several hours on the train to remote Richmond, Indianaand the band was paid little. The quality of the performances was affected by lack of rehearsal, crude recording equipment, bad acoustics, and a cramped studio. In addition, Richmond was associated with the Ku Klux Klan.

Lil Hardin Armstrong urged him to seek more prominent billing and develop his style apart from the influence of Louis Armstrong - Louis Armstrong (CD). She encouraged him to play classical music in church concerts to broaden his skills. She prodded him into wearing more stylish attire to offset his girth. Her influence eventually undermined Armstrong's relationship with his mentor, especially concerning his salary and additional money that Oliver held back from Armstrong and other band members.

Armstrong and Oliver parted amicably in He switched to the trumpet to blend in better with the other musicians in his section. His influence on Henderson's tenor sax soloist, Coleman Hawkinscan be judged by listening to the records made by the band during this period. Armstrong adapted to the tightly controlled style of Henderson, playing trumpet and experimenting with the trombone.

The other members were affected by Armstrong's emotional style. His act included singing and telling tales of New Orleans characters, especially preachers.

Duke Ellington's orchestra went to Roseland to catch Armstrong's performances. InArmstrong returned to Chicago largely at the insistence of Lil, who wanted to expand his career and his income.

In publicity, much to his chagrin, she billed him as "the World's Greatest Trumpet Player". For a time he was a member of the Lil Hardin Armstrong Band and working for his wife. The word "muggles" was a slang term for marijuanasomething he used often during his life. Cyr banjoLil Armstrong on piano, and usually no drummer. Over a twelve-month period starting in Novemberthis quintet produced twenty-four records.

Cyr noted, "One felt so relaxed working with him, and he was very broad-minded Armstrong was now free to develop his personal style as he wished, which included a heavy dose of effervescent jive, such as "Whip That Thing, Miss Lil" and "Mr. They furnished music for silent movies and live shows, including jazz versions of classical music, such as "Madame Butterfly", which gave Armstrong experience with longer forms of music and with hosting before a large audience.

He began to scat sing improvised vocal jazz using nonsensical words and was among the first to record Louis Armstrong - Louis Armstrong (CD), on the Hot Five recording " Heebie Jeebies " in The recording was so popular that the group became the most famous jazz band in the United States, even though they had not performed live to any great extent. Young musicians across the country, black or white, were turned on by Armstrong's new type of jazz.

Hines and Armstrong became fast friends and successful collaborators. It was during Hall's tenure at the venue that she experimented, developed and expanded her use and art of Scat singing with Armstrong's guidance and encouragement. In the first half ofArmstrong assembled his Hot Seven group, which added drummer Al "Baby" Dodds and tuba player, Pete Briggs, while preserving most of his original Hot Five lineup.

John Thomas replaced Kid Ory on trombone. Later that year he organized a series of new Hot Five sessions which resulted in nine more records. Armstrong returned to New York inwhere he played in the pit orchestra for the musical Hot Chocolatesan all-black revue written by Andy Razaf and pianist Fats Waller. He also made a cameo appearance as a vocalist, regularly stealing the show with his rendition of " Ain't Misbehavin' ".

His version of the song became his biggest selling record to date. Armstrong started to work at Connie's Inn in Harlem, chief rival to the Cotton Cluba venue for elaborately staged floor shows, [53] and a front for gangster Dutch Schultz. Armstrong also had considerable success with vocal recordings, including versions of famous songs composed by his old friend Hoagy Carmichael. His s recordings took full advantage of the new RCA ribbon microphoneintroduced inwhich imparted a characteristic warmth to vocals and immediately became an intrinsic part of the ' crooning ' sound of artists like Bing Crosby.

Armstrong's famous interpretation of Carmichael's " Stardust " became one of the most successful versions of this song ever recorded, showcasing Armstrong's unique vocal sound and style and his innovative approach to singing songs that had already become standards. Armstrong's radical re-working of Sidney Arodin and Carmichael's " Lazy River " recorded in encapsulated many features of his groundbreaking approach to melody and phrasing. The song begins with a brief trumpet solo, then the main melody is introduced by sobbing horns, memorably punctuated by Armstrong's growling interjections at the end of each bar: "Yeah!

In the second stanza he breaks into an almost fully improvised melody, which then evolves into a classic passage of Armstrong " scat singing ". As with his trumpet playing, Armstrong's vocal innovations served as a foundation stone for the art of jazz vocal interpretation. The uniquely gravelly coloration of his voice became a musical archetype that was much imitated and endlessly impersonated.

His scat singing style was enriched by his matchless experience as a trumpet soloist. His resonant, velvety lower-register tone and bubbling cadences on sides such as "Lazy River" exerted a huge influence on younger white singers such as Bing Crosby. The Great Depression of the early s was especially hard on the jazz scene.

The Cotton Club closed in after a long downward spiral, and many musicians stopped playing altogether as club dates evaporated. Bix Beiderbecke died and Fletcher Henderson's band broke up. King Oliver made a few records but otherwise struggled. Armstrong moved to Los Angeles in to seek new opportunities.

The band drew the Hollywood crowd, which could still afford a lavish night life, while radio broadcasts from the club connected with younger audiences at home. Bing Crosby and many other celebrities were regulars at the club. InArmstrong appeared in his first movie, Ex-Flame and was also convicted of marijuana possession but received a suspended sentence. When the mob insisted that he get out of town, [56] Armstrong visited New Orleans, had a hero's welcome, and saw old friends.

He sponsored a local baseball team known as Armstrong's Secret Nine and had a cigar named after him. After a tour across the country shadowed by the mob, he fled to Europe. After returning to the United States, he undertook several exhausting tours. His agent Johnny Collins's erratic behavior and his own spending ways left Armstrong short of cash. Breach of contract violations plagued him. He hired Joe Glaser as his new manager, a tough mob-connected wheeler-dealer, who began to straighten out his legal mess, his mob troubles, and his debts.

Armstrong also began to experience problems with his fingers and lips, which were aggravated by his unorthodox playing style. As a result, he branched out, developing his vocal style and making his first theatrical appearances. He appeared in movies again, including Crosby's hit Pennies from Heaven.

During the s, Louis Armstrong brought a huge impact during the Harlem Renaissance within the Jazz world. The music he created was an incredible part of his life during the Harlem Renaissance. The admiration he had for Armstrong and acknowledging him as one of the most recognized musicians during the era. Just as the musicians, Hughes wrote his words with jazz. Armstrong changed the jazz during the Harlem Renaissance.

Being known as "the world's greatest trumpet player" during this time he continued his legacy and decided to continue a focus on his own vocal career. The popularity he gained brought together many black and white audiences to watch him perform.

After spending many years on the road, Armstrong settled permanently in Queens, New York in in contentment with his fourth wife, Lucille. Although subject to the vicissitudes of Tin Pan Alley and the gangster-ridden music business, as well as anti-black prejudice, he continued to develop his playing.

During the next 30 years, Armstrong played more than performances a year. Bookings for big bands tapered off during the s due to changes in public tastes: ballrooms closed, and there was competition from television and from other types of music becoming more popular than big band music. It became impossible under such circumstances to finance a piece touring band.

During the s, a widespread revival of interest in the traditional jazz of the s made it possible for Armstrong to consider a return to the small-group musical style of his youth. The new group was announced at the opening of Billy Berg's Supper Club. During this period, Armstrong made many recordings and appeared in over thirty films.

He was the first jazz musician to appear on the cover of Time magazine, on February 21, By the s, Armstrong was a widely beloved American icon and cultural ambassador who commanded an international fanbase. However, a growing generation gap became apparent between him and the young jazz musicians who emerged in the postwar era such as Charlie ParkerMiles Davisand Sonny Rollins.

The postwar generation regarded their music as abstract art and considered Armstrong's vaudevillian style, half-musician and half-stage entertainer, outmoded and Uncle Tomism" Guys who invent terms like that are walking the streets with their instruments under their arms.

Louis Armstrong was present and loved the song. When it was released, the disc was a worldwide success and the song was then performed by the greatest international singers. In the s, he toured Ghana and Nigeria.

After finishing his contract with Decca Recordshe became a freelance artist and recorded for other labels. Inafter over two years without setting foot in a studio, he recorded his biggest-selling record, " Hello, Dolly! Armstrong's version remained on the Hot for 22 weeks, longer than any other record produced that year, and went to No. In the process, he dislodged the Beatles from the No. Armstrong kept touring well into his 60s, even visiting part of the communist bloc in Byhe was approaching 70 and his health began to give out.

He suffered heart and kidney ailments that forced him to stop touring. He did not perform publicly at all in and spent most of the year recuperating at home. Meanwhile, his longtime manager Joe Glaser died. By the summer ofhis doctors pronounced him fit enough to resume live performances. He embarked on another world tour, but a heart attack forced him to take a break for two months. Armstrong made his last recorded trumpet performances on his album Disney Songs the Satchmo Way.

Judging from home recorded tapes now in our Museum Collections, Louis pronounced his own name as "Lewis". Many broadcast announcers, fans, and acquaintances called him "Louie" and in a videotaped interview from Lucille Armstrong calls her late husband "Louie" as well.

Musicians and close friends usually called him "Pops". In a memoir written for Robert Goffin between andArmstrong states, "All white folks call me Louie," perhaps suggesting that he himself did not or, on the other hand, that no whites addressed him by one of his nicknames such as Pops.

On various live records he's called "Louie" on stage, such as on the "Can Anyone Explain? The same applies to his studio recording of the song "Chloe", where the choir in the background sings "Louie Louie", with Armstrong responding "What was that?

Somebody called my name? InLouis and Lucille appeared on The Mike Douglas Show to demonstrate the preparation red beans and ricea dish so enjoyed by Armstrong that he signed correspondence "Red Beans and Ricely Yours" [80]. In the video with Armstrong standing at her side, Lucille prepares his favorite red beans recipe and refers to "Louie" several times. He started the affair as a client.

He returned to Gretna on several occasions to visit her. He found the courage to look for her home to see her away from work. It was on this occasion that he found out that she had a common-law husband. Not long after this fiasco, Parker traveled to Armstrong's home on Perdido Street. Clarence Armstrong was mentally disabled as the result of a head injury at an early age, and Armstrong spent the rest of his life taking care of him. She had divorced her first husband a few years earlier.

His second wife helped him develop his career, but they separated in and divorced in Armstrong then married Alpha Smith. Louis then married Lucille Wilson in Octobera singer at the Cotton Clubto whom he was married until his death in Armstrong's marriages never produced any offspring. Armstrong was noted for his colorful and charismatic personality. His autobiography vexed some biographers and historians, as he had a habit of telling tales, particularly of his early childhood when he was less scrutinized, and his embellishments of his history often lack consistency.

In addition to being an entertainer, Armstrong was a leading personality of the day. He was beloved by an American public that gave even the greatest African American performers little access beyond their public celebrity, and he was able to live a private life of access and privilege afforded to few other African Americans during that era. He generally remained politically neutral, which at times alienated him from members of the black community who looked to him to use his prominence with white America to become more of an outspoken figure during the civil rights movement.

However, he did criticize President Eisenhower for not acting forcefully enough on civil rights. The trumpet is a notoriously hard instrument on the lipsand Armstrong suffered from lip damage over much of his life due to his aggressive style of playing and preference for narrow mouthpieces that would stay in place easier, but which tended to dig into the soft flesh of his inner lip. During his s European tour, he suffered an ulceration so severe that he had to stop playing entirely for a year.

Eventually he took to using salves and creams on his lips and also cutting off scar tissue with a razor blade. By the s, he was an official spokesman for Ansatz-Creme Lip Salve. During a backstage meeting with trombonist Marshall Brown inArmstrong received the suggestion that he should go to a doctor and receive proper treatment for his lips instead of relying on home remedies, but he did not get around to doing it until the final years of his life, by which point his health was failing and doctors considered surgery too risky.

The nicknames "Satchmo" and "Satch" are short for "Satchelmouth". The nickname has many possible origins. He scooped the coins off the street and stuck them into his mouth to prevent bigger children from stealing them. Someone dubbed him "satchel mouth" for his mouth acting as a satchel. Another tale is that because of his large mouth, he was nicknamed "satchel mouth" which was shortened to "Satchmo".

Early on he was also known as "Dipper", short for "Dippermouth", a reference to the piece Dippermouth Blues. The nickname "Pops" came from Armstrong's own tendency to forget people's names and simply call them "Pops" instead. The nickname was turned on Armstrong himself. It was used as the title of a biography of Armstrong by Terry Teachout. After a competition at the Savoy, he was crowned and nicknamed "King Menelik," after the Emperor of Ethiopia, for slaying "ofay jazz demons.

Armstrong was largely accepted into white society, both on stage and off, a rarity for a black person at the time. Some musicians criticized Armstrong for playing in front of segregated audiences, and for not taking a strong enough stand in the American civil rights movement. As a protest, Armstrong canceled a planned tour of the Soviet Union on behalf of the State Department saying: "The way they're treating my people in the South, the government can go to hell" and that he could not represent his government abroad when it was in conflict with its own people.

When asked about his religion, Armstrong answered that he was raised a Baptistalways wore a Star of Davidand was friends with the pope. Armstrong was concerned with his health. He used laxatives to control his weight, a practice he advocated both to acquaintances Louis Armstrong - Louis Armstrong (CD) in the diet plans he published under the title Lose Weight the Satchmo Way.

Armstrong was a heavy marijuana smoker for much of his life and spent nine days in jail in after being arrested for drug possession outside a club. He described marijuana as "a thousand times better than whiskey". The concern with his health and weight was balanced by his love of food, reflected in such songs as "Cheesecake", "Cornet Chop Suey", [] though "Struttin' with Some Barbecue" was written about a fine-looking companion, not about food.

Armstrong's gregariousness extended to writing. On the road, he wrote constantly, sharing favorite themes of his life with correspondents around the world. He avidly typed or wrote on whatever stationery was at hand, recording instant takes on music, sex, food, Louis Armstrong - Louis Armstrong (CD), childhood memories, his heavy "medicinal" marijuana use—and even his bowel movements, which he gleefully described. Louis Armstrong was not, as is often claimed, a Freemason.

Although he is usually listed as being a member of Montgomery Lodge No. However, Armstrong stated in his autobiography that he was a member of the Knights of Pythiaswhich although real is not a Masonic group.

In his early years, Armstrong was best known for his virtuosity with the cornet and trumpet. Along with his "clarinet-like figurations and high notes in his cornet solos", he was also known for his "intense rhythmic 'swing', a complex conception involving Armstrong's improvisations, while unconventionally sophisticated for that era, were also subtle and highly melodic.

The solo that Armstrong plays during the song " Potato Head Blues " has long been considered his best solo of that series. Prior to Armstrong, most collective ensemble playing in jazz, along with its occasional solos, simply varied the melodies of the songs.

Armstrong was virtually the first to create significant variations based on the chord harmonies of the songs instead of merely on the melodies. This opened a rich field for creation and improvisation, and significantly changed the music into a soloist's art form. Often, Armstrong re-composed pop-tunes he played, simply with variations that made them more compelling to jazz listeners of the era. At the same time, however, his oeuvre includes many original melodies, creative leaps, and relaxed or driving rhythms.

Armstrong's playing technique, honed by constant practice, extended the range, tone and capabilities of the trumpet. In his records, Armstrong almost single-handedly created the role of the jazz soloist, taking what had been essentially a collective folk music and turning it into an art form with tremendous possibilities for individual expression.

Armstrong was one of the first artists to use recordings of his performances to improve himself. Armstrong was an avid audiophile.

He had a large collection of recordings, including reel-to-reel tapes, which he took on the road with him in a trunk during his later career. He enjoyed listening to his own recordings, and comparing his performances musically. In the den of his home, he had the latest audio equipment and would sometimes rehearse and record along with his older recordings or the radio. As his music progressed and popularity grew, his singing also became very important.

Armstrong was not the first to record scat singingbut he was masterful at it and helped popularize it with the first recording on which he scatted, " Heebie Jeebies ". At a recording session for Okeh Recordswhen the sheet music supposedly fell on the floor and the music began before he could pick up the pages, Armstrong simply started singing nonsense syllables while Okeh president E.

Fearn, who was at the session, kept telling him to continue. Armstrong did, thinking the track would be discarded, but that was the version that was pressed to disc, sold, and became an unexpected hit. Although the story was thought to be apocryphal, Armstrong himself confirmed it in at least one interview as well as in his memoirs. Such records were hits and scat singing became a major part of his performances.

Long before this, however, Armstrong was playing around with his vocals, shortening and lengthening phrases, interjecting improvisations, using his voice as creatively as his trumpet. Armstrong was a gifted composer who wrote more than fifty songs, some of which have become jazz standards e. During his long career he played and sang with some of the most important instrumentalists and vocalists of the time; among them were Bing CrosbyDuke EllingtonFletcher HendersonEarl HinesJimmie RodgersBessie Smith and perhaps most famously Ella Fitzgerald.

His influence upon Crosby is particularly important with regard to the subsequent development of popular music: Crosby admired and copied Armstrong, as is evident on many of his early recordings, notably "Just One More Chance" His techniques—easing the weight of the breath on the vocal cords, passing into a head voice at a low register, using forward production to aid distinct enunciationsinging on consonants a practice of black singersand making discreet use of appoggiaturasmordentsand slurs to emphasize the text—were emulated by nearly all later popular singers.

Handy and Satch Plays Fats all Fats Waller tunes were both being considered masterpieces, as well as moderately well selling. The albums feature many of Ellington's most famous compositions as well as two exclusive cuts with Duke sitting in on piano.

Although this Christmas compilation is credited to "Louis Armstrong & Friends," it's really more aptly categorized as a various artists anthology, since Armstrong only has six of the fourteen tracks. The disc is filled out with seasonal offerings by Dinah Washington, Mel Torme, Louis Jordan, Lionel Hampton, Peggy Lee, Eartha Kitt, and Lena Horne, Duke Ellington, mostly from the pegaternatheza.pingbeetvantgistvisanrerolabdiopase.co: $ Jul 31,  · Louis Armstrong, the leading trumpeter and one of the most influential artists in jazz history. He was also a bandleader, singer, film star, and comedian. With his great sensitivity, technique, and capacity to express emotion, Armstrong led in the development of jazz into a fine art. make offer - louis armstrong, legends of american music series, time life, incl. 2 cd's,1 dvd The Very Best Of By Louis Armstrong (CD Universal) 13 Tracks C $ Louis Armstrong | Biography, Facts, & Songs | Britannica. View all records by Louis Armstrong for sale on CDandLP in LP, CD, 12inch, 7inch format. Sep 03,  · This agreeable set of standards sung by Louis Armstrong backed by the Oscar Peterson Quartet, then consisting of Herb Ellis, Ray Brown and Louis Bellson recorded at the then new Capitol Studios, L.A. in but not released in stereo until , was a follow-up of sorts to the highly successful Norman Granz-produced Ella & Louis (Verve MGV) recorded August of Louis Armstrong – 4 CD Box Set. “Jazz is what I play for a living.”. – Louis Armstrong. Louis Armstrong is an icon – a towering figure – a superstar way before anyone had even coined. If one CD compilation could represent a body of work that defined the art of jazz during the mid-'20s, this might be it: cornetist Louis Armstrong 's first recordings as leader of his own band, beginning in November of and covering almost exactly one year of vigorously creative activity as the OKeh record label's hottest act. View credits, reviews, tracks and shop for the CD release of Louis Armstrong on Discogs. Label: History - • Format: 15x, CD Compilation Box Set • Country: Germany • Genre: Jazz • Style: Dixieland, Swing, Big Band/5(6). This CD is a collection of separate tracks by Armstrong and Fitgerald rather than a duet album by the two performers. The overall sound quality is poor to middling. There are any number of better CDs than this mashup; for example the duet CD Ella and Louis or the Two Disk Ella and Louis Again/5(58).


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8 Replies to “ Louis Armstrong - Louis Armstrong (CD) ”

  1. Niktilar says: Reply
    View credits, reviews, tracks and shop for the CD release of Louis Armstrong on Discogs. Label: History - • Format: 15x, CD Compilation Box Set • Country: Germany • Genre: Jazz • Style: Dixieland, Swing, Big Band/5(6).
  2. Shakalkis says: Reply
    Louis Armstrong CDs. Louis Armstrong. CDs. Plays W.C. Handy: Complete Ed. (CD) Three Original Albums, Plus Bonus Tracks (Ella And Louis / Ella And Louis Again / Porgy (CD).
  3. Louis Armstrong | Biography, Facts, & Songs | Britannica.
  4. Louis Armstrong: Louis Armstrong's All Time Greatest Hits ‎ (CD, Comp, Club, RM) MCA Records: MCAD US: Sell This Version/5(24).
  5. Malazahn says: Reply
    If one CD compilation could represent a body of work that defined the art of jazz during the mid-'20s, this might be it: cornetist Louis Armstrong 's first recordings as leader of his own band, beginning in November of and covering almost exactly one year of vigorously creative activity as the OKeh record label's hottest act.
  6. Louis Armstrong zählt zu den geachtetsten Jazz- Musikern überhaupt. Mit ”Hello, Dolly” () und ”What A Wonderful World” ( und ) gelangen ihm internationale Hits als Sänger. Der Filmschlager Kisses in der Nacht” (aus "Die Nacht vor der Premiere”) wurde am
  7. This recording was not only Louis Armstrong 's finest record of the s but one of the truly classic jazz sets. Armstrong and his All-Stars (trombonist Trummy Young, clarinetist Barney Bigard, pianist Billy Kyle, bassist Arvell Shaw, drummer Barrett Deems, and singer Velma Middleton) were clearly inspired by the fresh repertoire, 11 songs written by W.C. Handy.
  8. Moogugul says: Reply
    54 rows · Listen to What a Wonderful World, La vie en rose and more from Louis Armstrong. Find .

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