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| 1. | Chimes Blues
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| 2. | Cake Walking Babies from Home
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| 3. | Heebie Jeebies
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| 4. | Potato Head Blues
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| 5. | West End Blues
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| 6. | Tight Like This
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| 7. | Mahogany Hall Stomp
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| 8. | Ain't Misbehavin'
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| 9. | Black and Blue
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| 10. | St. Louis Blues
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| 11. | When It's Sleepy Time Down South
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| 12. | Blue Again
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| 13. | Lazy River
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| 14. | Chinatown, My Chinatown
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| 15. | Stardust
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| 16. | Shadrack
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| 17. | I Double Dare You
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| 18. | When the Saints Go Marching In
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| 19. | Marie
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| 20. | Rockin' Chair
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| 21. | Blueberry Hill
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| 22. | Mack the Knife
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| 23. | A Fine Romance
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| 24. | Hello, Dolly!
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| 25. | What a Wonderful World
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Jazz
Recorded between 1923 and 1967
Digitally remastered by Darcy M. Proper (Sony Studios, New York, New York).
This is part of the Columbia/Legacy Ken Burns JAZZ series.
Louis Armstrong - Trumpet, Vocals
"Big" Mike McKendrick - Banjo, Guitar
Albert Nicholas - Clarinet, Sax (Alto)
Albert Washington, Jr. - Sax (Tenor)
Allen Hanlon - Guitar
Art Drelinger - Sax (Tenor)
Art Ryerson - Guitar
Art Taylor - Drums
Arvell Shaw - Bass
Baby Dodds - Chimes, Drums
Barney Bigard - Clarinet
Barrett Deems - Drums
Bernie Leighton - Piano
Bert Curry - Sax (Alto)
Big Sid Catlett - Drums
Bill Johnson - Banjo
Billy Butterfield - Trumpet
Billy Kyle - Piano
Bingie Madison - Clarinet, Sax (Tenor)
Bob Haggart - Bass
Bobby Hackett - Cornet
Buddy Christian - Banjo
Carl Kress - Guitar
Carl Poole - Trumpet
Carroll Dickerson - Violin
Charlie Alexander - Piano, Speech/Speaker/Speaking Part
Charlie Holmes - Sax (Alto)
Charlie Irvis - Trombone
Clarence Williams - Piano
Clark Terry - Trumpet
Crawford Wethington - Sax (Alto)
Daniel Trimboli - Flute, Sax (Alto), Sax (Tenor)
Danny Barcelona - Drums
Dick Cary - Piano
Don Redman - Arranger, Sax (Alto), Speech/Speaker/Speaking Part
Earl Hines - Piano
Eddie Condon - Banjo
Edmond Hall - Clarinet
Ella Fitzgerald - Vocals
Eva Taylor - Vocals
Fred Robinson - Trombone
Gene Anderson - Celeste, Piano
George James - Clarinet, Sax (Alto), Sax (Soprano)
Grady Tate - Drums
Hank Jones - Piano
Harry Carney - Clarinet, Sax (Baritone)
Harry Mills - Vocals
Henry "Red" Allen - Trumpet
Herb Ellis - Guitar
Herbert Mills - Vocals
Homer Hobson - Trumpet
Honore Dutrey - Trombone
Hymie Schertzer - Sax (Alto)
J.C. Higginbotham - Trombone
J.J. Johnson - Trombone
Jack Lesberg - Bass
Jack Teagarden - Trombone, Vocals
Jerome Richardson - Clarinet, Flute, Sax (Tenor)
Jimmy Strong - Clarinet, Sax (Tenor)
Joe Darensbourg - Clarinet
Joe Wilder - Trumpet
John Lindsay - Bass
John Mills, Sr. - Vocals
John Thomas - Trombone
Johnny Blowers - Drums
Johnny Dodds - Clarinet
Johnny St. Cyr - Banjo, Speech/Speaker/Speaking Part
Kid Ory - Trombone
King Oliver - Cornet
King Oliver's Creole Jazz Band
Lee Blair - Guitar
Lester Boone - Clarinet, Sax (Alto)
Lil Armstrong - Piano
Lil Hardin - Piano
Lonnie Johnson - Guitar
Louie Bellson - Drums
Louis Bacon - Trumpet
Luis Russell - Piano
Mancy Carr - Banjo
Oscar Peterson - Piano
Otis Johnson - Trumpet
Paul Barbarin - Drums
Peanuts Hucko - Clarinet
Pete Briggs - Tuba
Pete Clark - Sax (Alto)
Pops Foster - Bass
Preston Jackson - Trombone
Ray Brown - Bass
Raymond Stanfeld - Sax (Baritone)
Red Callender - Bass
Rupert Cole - Clarinet, Sax (Alto)
Russell Savkas - Bass
Sam Marowitz - Clarinet, Flute, Sax (Alto)
Shelton Hemphill - Trumpet
Sidney Bechet - Clarinet, Sax (Soprano)
Teddy Hill - Sax (Tenor)
The Mills Brothers
Thomas Parshley - Sax (Tenor)
Tony Gattuso - Banjo
Trummy Young - Trombone
Tubby Hall - Drums
Urbie Green - Trombone
Warren Hard - Percussion
Wilbur DeParis - Trombone
Will Bradley - Trombone
Will Johnson - Guitar
Willard Suyker - Guitar
Yank Lawson - Trumpet
Zilner Randolph - Trumpet
Zutty Singleton - Drums
Though documentarian Ken Burns's ten-part series JAZZ moves through several decades and several styles of jazz, the one figure who dominates the sonic/cultural landscape of the entire documentary is Louis Armstrong, the trumpeter/vocalist generally credited with inventing jazz as we know it and pioneering the art of improvisation. Covering Armstrong's career on a single disc is a tough job, but in conjunction with the series, we are able to see how these selections represent Armstrong's various periods of development. We get not only his pioneering early New Orleans cuts lie "Potato Head Blues" and "Chimes Blues," but his later pop crossover hits, such as "Hello Dolly" and "Mack the Knife." While the latter should be familiar to all, the former are probably known only to jazz fans, and will be a special treat for the neophyte listener.
* Adam Owett - Art Direction
* Ben Young - Discographical Information
* Carlos Kase - Discographical Information
* Clare Walker - Packaging Manager
* Darcy Proper - Mastering
* Doug Ramsey - Liner Notes
* Gordon Jenkins - Arranger, Conductor
* Harry Coster - Restoration
* Herman Leonard - Cover Photo
* Hollis King - Art Direction
* Howard Fritzon - Art Direction
* Jeffrey Peisch - Photo Research
* John Christiana - Packaging Manager
* Ken Burns - Compilation Producer, Executive Producer
* Lauren Atlas - Packaging Manager
* Mark Wilder - Mastering
* Michael Brooks - Compilation Producer
* Milt Yaner - Sax (Alto)
* Nathan Savage - Design
* Peter Keepnews - Editing
* Ron Goldstein - Executive Producer
* Tommy Goodman - Arranger, Conductor
* Victoria Gohl - Photo Research
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 artists, as well as a five-disc historical summary. Since the individual compilations attempt to present balanced overviews of each artist's career, tracks from multiple labels have thankfully been licensed where appropriate. Louis Armstrong is arguably the most important figure in jazz history -- he was jazz's first real virtuoso and first true improviser; he invented scat singing; and his gravelly, instantly recognizable voice and larger-than-life personality made him a crucial force in popularizing the music. Over the course of 25 tracks, this installment of Ken Burns Jazz traces Armstrong's career from his seminal early sides up through his pop hits of the '50s and early '60s. The set opens with selections from his recordings with the Hot Fives and Hot Sevens, some of the most celebrated in jazz thanks to Armstrong's jubilant, impeccably constructed solos. His later pop material isn't as interesting to some jazz purists -- especially since it doesn't always emphasize his instrumental work -- but it went a long way toward cementing Armstrong's status as an icon among the general public and is full of his warmly ingratiating personality. Ken Burns Jazz features the best of the best from both distinct phases of Armstrong's career, and while there are more extensive (and cohesive) compilations of each, this makes for an extremely strong introduction to one of the greatest figures in American music.
---Steve Huey, All Music Guide |
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