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This recording was not only Louis Armstrong's finest record of the 1950s but one of the truly classic jazz sets. Armstrong and his All-Stars [more]
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]
One of the giants of American popular song gets his due with this three-disc Verve box, comprising a trio of separately released compilations. Though Mercer's [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]
Armstrong and the 1960 version of his All-Stars (which included trombonist Trummy Young, clarinetist Barney Bigard, pianist Billy Kyle, bassist Mort [more]
A really cool CD, and one of the better Goodman volumes, despite its 16 songs being drawn from across five years (1941-1946). Most of the material is instrumental [more]
Piano Man is the title of a Victor Bluebird record cut on July 12, 1939 by Earl "Fatha" Hines and his Orchestra. Piano Man is also the title of at least four different Earl Hines CD [more]
This CD sampler draws its 18 selections from the Blue Note, Pacific Jazz, Roulette, Solid State and Capitol vaults. There are two selections apiece [more]
Blue Note designed Oscillatin' Rhythm: Great Swing Hits in Hi-Fi to appeal to Gen-X hipsters enamored with Sinatra, martinis, lounge music, cigars and [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]
Trummy Young was one of the finest trombonists to emerge during the swing era and, even though he was never really a star or a bandleader himself, he did have one hit with his version of "Margie," which he played and sang with Jimmy Lunceford's Orchestra. Growing up in Washington, Young was originally a trumpeter, but by the time he debuted in 1928 he had switched to trombone. Extending the range and power of his instrument, Young was a major asset to Earl Hines' orchestra during 1933-1937 and really became a major influence in jazz while with Lunceford (1937-1943). Young was a modern swing stylist with an open mind who fit in well with Charlie Parker and Dizzy Gillespie on a Clyde Hart-led session in 1945, and with Jazz at the Philharmonic. It was therefore a surprise when he joined the Louis Armstrong All-Stars in 1952 and stayed a dozen years. Trummy Young was a good foil for Armstrong (most memorably on their 1954 recording of "St. Louis Blues"), but he simplified his style due to his love for the trumpeter. In 1964, Young quit the road to settle in Hawaii, occasionally emerging for jazz parties and special appearances. ~ Scott Yanow, All Music Guide