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378
August, 1931
with ARBOGAST
TO TAKE the mind (water on the brain is actually what it is) off the floods, we'll launch our pocket-size Kon' Tiki, with portable typewriter askance, ball-point head jutting above the turbulent torrents, and bat out something good about phonograph records.
And, as we write this, it is watery in the five state area around the WHB studios in Kansas City, Missouri — but very.
When you read this (Mom) it'll be sumpin' like 101 degrees in this area; so this'U serve as a reminder that such inundays (that's a Winchellism) did exist in mid-July of 1951.
But let's forget all that now and speak of prettier things. There's nothing better than good music for a starter and we have plenty for this issue. We're thankful to the Columbia and Decca recording people that there is this good stuff to talk about — and to the Savoy recording directors, too.
THE LOUIS ARMSTRONG STORY (Columbia). There was a time, not long ago, when avid Armstrong fans paid as much as $2? and $50 for one scratchy, breakable record of the great Satchmo's. Now, but for some completely unobtainable sides, those mad-spending days are over.
Thanks to George Avakian, one of this country's foremost jazz experts, and to the progressive go-getters who people the Columbia Record Corporation, we are able to bring frantic tidings to Louis* followers everywhere. For Columbia has released a musical anthology, compiled and annotated by the Mr. Avakian, that should leave all us lovers of the fine things jumping glee-wise. This gem, called "The Louis Armstrong Story," is an anthology consisting of 48 Armstrong recordings on either four 12-inch Long Playing Records, or forty-eight 45-rpm records in four volumes.
The sides contained in "The Armstrong Story" series feature trumpet and vocaU by Louis on things he has cut with various groups (The Hot Five, The Hot Seven, The Orchestra, etc.) from 1925 through the very recent past.
On record with Armstrong in this set are such top-notch individual performers as trombonists Kid Ory and Jack Teagarden, and piano-master Earl "Fathah" Hines. Even Louis' wife, Lil, comes in for an ivory-lick on some of these.
We can't be too enthusiastic about this Armstrong music as set up by Columbia, for it is jazz at its wonderful best by Satchmo and friends as they lived it and loved it during this fifteen year period.
Titles? "Potato Head Blues," "Heebie Jeebies," "Muskrat Ramble," "Weather Bird," "I Can't Give You Anything But Love," among others . . . but that should tip you off that it's a "Don't Miss." And if that doesn't do it, wait'll you check out on Louis' scat vocals. 'Nuff said.
1947 JAZZ CONCERT (Symphony Hall, Boston . . . Decca). In answer to the Armstrong smash from Columbia, the live-wires at the Decca recording studios have done a good thing, too. Prior to 1947, a cat name of Serge Koussevitsky reigned at Boston's Symphony Hall. In one night, it's said, Louis Armstrong lifted Serge's crown (albeit momentarily, but I betcha Louis'd win in a return go).
As we understand it, Satchmo and some of the boys got together in the B.S.H. to do this show they called a jazz concert. Not having been in Boston at the time we might never have known about this