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The modern trombone can be traced back to the 14th and 15th century "sackbut," a rudimentary slip horn descended from the medieval slide trumpet. The 20th century jazz trombone grew [more]
Joe "King" Oliver was Louis Armstrong's idol and mentor. Although preceded by the earliest recordings of the Original Dixieland Jazz Band (1917) and both the [more]
Of less importance than the concurrent release of The Best of Louis Armstrong: The Hot Five and Seven Recordings is Satch Blows the Blues, since it only distills the great [more]
It reads splendidly on paper: Shout Factory's Doctors, Professors, Kings and Queens: The Big Ol' Box of New Orleans is a [more]
The extraordinary 1924 recordings with Louis Armstrong are on the first CD, plus material from his long stint with Noble Sissle. The second volume includes the complete New Orleans [more]
Draw up a list of some of the top jazz artists of all time, and the legend featured in this recording would likely be at the top of that list. Louis [more]
This four-CD set does its best to summarize Louis Armstrong's career during 1923-1934, reissuing 81 of his finest recordings. The problem is that virtually [more]
This two-disc set follows the legendary Blue Note label from its inception as the smallest of independent labels, issuing 12" jazz singles in the [more]
In conjunction with documentary filmmaker Ken Burns' ten-part 2000 PBS special, Columbia/Legacy and Verve teamed up to issue a special series of [more]
In conjunction with documentary filmmaker Ken Burns' ten-part 2000 PBS special, Columbia/Legacy and Verve teamed up to issue a special series of reissues covering much of [more]
A superb clarinetist with an attractive mellow tone, Albert Nicholas had a long and diverse career but his playing was always consistently rewarding. He studied with Lorenzo Tio, Jr. in New Orleans, and played with cornet legends Buddy Petit, King Oliver, and Manuel Perez while in his teens. After three years in the Merchant Marines, he joined King Oliver in Chicago for much of 1925-1927, recording with Oliver's Dixie Syncopators. He spent a year in the Far East and Egypt, arriving in New York in 1928 to join Luis Russell for five years. Nicholas, who had recorded in several settings in the 1920s, sounded perfectly at home with Russell, taking his solos alongside Red Allen, J.C. Higginbottham, and Charlie Holmes. He would later re-join Russell when the pianist had the backup orchestra for Louis Armstrong a few years later, and Nicholas also worked with Jelly Roll Morton in 1939 (he had recorded with Morton previously in 1929). Things slowed down for a time in the early '40s, but the New Orleans revival got him working again in the mid-'40s with Art Hodes, Bunk Johnson, and Kid Ory; by 1948, the clarinetist was playing regularly with Ralph Sutton's trio at Jimmy Ryan's. In 1953, Nicholas followed Sidney Bechet's example and moved to France where, other than returning to the U.S. for recording sessions in 1959 and 1960, he happily remained for his final 20 years. ~ Scott Yanow, All Music Guide