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Louis Armstrong and Fats Waller only worked together twice, briefly in 1925 in Erskine Tate's band and four years later in the New York [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]
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]
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]
"Armstrong jovially balanced his calling as a musician with his job as an entertainer, applying his virtuosity while showing audiences a good time." —New York Times
In conjunction with the release of Ken Burns' ten-part, 19-hour epic PBS documentary {#Jazz}, Columbia issued 22 single-disc compilations devoted to jazz's most significant [more]
While Louis Armstrong didn't invent jazz, he certainly shaped it in his own image, personalizing it, popularizing it, and giving it a template to follow into the modern [more]
This 23-track compilation contains alternate takes of many of Armstrong's signature songs from this period on one album. The songs include
Now here's a collection that is guaranteed to please anyone with a predilection for New Orleans-style jazz as it was played in Chicago during the 1920s and early '30s. [more]
Louis Armstrong was this classic jazz pianist's most famous boss. During Alexander's stint as a member of the Armstrong big band in the early '30s, big boss Satchmo used to like to jokingly introduce his keyboard man as being from New Orleans. Actually Alexander hailed from Cincinatti, where he came up playing professionally in theatre orchestras in the early '20s.
He headed off to Chicago, where he began working in the group of J. Rosamund Johnson, once again exclusively playing on the theatre circuit. When he finally got off the road with this crew, it was back to Chicago and jazz in earnest. Players with the surname of Dodds seemed to like Alexander, or perhaps came across his name first in an alphabetical list from the Musician's Union. At any rate he gigged with both drummer Baby Dodds and the fine clarinetist Johnny Dodds. In 1928 he was member of the Johnny Dodds Trio with bassist Bill Johnson. He was part of the musical cast of the Johnny Dodds Washboard Band, which also featured Baby Dodds on drums as well as vocalist Lil Armstrong.
A long residency followed at the Bert Kelly's Stables venue on Chicago's north side, a job that was excellent enough for the pianist to ward off all other offers, that is until Armstrong came along with his new big band. Alexander played piano in the latter ensemble until the leader decided to go back to a smaller working group in 1932. One of Alexander's finest recording sessions with Armstrong was the wonderful Fats Waller tribute entitled Satch Plays Fats. Alexander eventually returned to the Windy City, where he remained until moving to California. ~ Eugene Chadbourne, All Music Guide