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| 3.228 Ft
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| 1. | What a Wonderful World
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| 2. | Cabaret
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| 3. | The Home Fire
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| 4. | Dream a Little Dream of Me
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| 5. | Give Me Your Kisses
I'll Give You My Heart
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| 6. | The Sunshine of Love
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| 7. | Hello Brother
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| 8. | There Must Be a Way
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| 9. | Fantastic, That's You
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| 10. | I Guess I'll Get the Papers
And Go Home
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| 11. | Hellzapoppin'
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Jazz / Vocal Jazz; Classic Jazz; Traditional Pop
Recorded: 1968, New York and Las Vegas
Louis Armstrong's place in jazz history as an instrumentalist needs no comment; his trumpet shaped the form and style of every solosit to follow. There isn't a traditional or avant garde trumpeter who doesn't show the indluence of the Armstrong approach to single notes and brassy runs...the influence best characterized as "swing." But as a singer, too, "Pops" fashioned an approach to songs that many vocalists have envied and emulated.
The basic Armstrong lesson with songs is simple: it's not the voice that counts in singing, it's what you do with it. What Louis does is to treat the voice as an instrument, concentrating on the quality of attack and release of every note: sometimes he slides into a word and spits out the ending, or reverses the process. One of his favorite effects (and one that scares less secure singers) is to delay a word or a phrase behind the beat until it seems he can't regain the rhythm; then with a flourish, he races forward, carrying song, band, and listener with him in the act of swinging.
But the most striking quality of Armstrong's singing is the sense of confidence he expresses with every song. It's as if no melody or verse is not suited to his approach. Armstrong has not only saved many a fine song that went starving for a sympathetic treatment, but he has also rescued lesser material from the stock pile of bad songwriting. (For a sample of Louis' sense of ease with a song, listen to his opening chorus of There Must Be a Way : it's as if the song has been waiting for him to sing it.)
Louis Armstrong - Vocal, Trumpet |
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