A wonderful pairing of jazz giant Louis Armstrong with revered father of the blues composer W.C. Handy. These historic sessions from 1954 and 1956 include St. Louis Blues; Loveless Love , plus five previously unreleased tracks.
William Christopher Handy (Alabama, 1873-1958) was a musician and composer, considered by his work among the most influential in America. It was called 'The Father of the Blues' because, although it was not the first to publish music in that style, he managed to raise it to be one of the dominant styles of American music. Louis Armstrong also felt a deep connection with the 'blues'. He made this album in 1954 with the collaboration of Handy and accompanied by his best musical training, the 'All Stars' (Barney Bigard on clarinet, Trummy Young on trombone, Arvell Shaw on bass, Billy Kyle on piano, Barrett Deems on drums and the great voice of Velma Middleton).
A wonderful meeting of two institutions of American music, this 1954 album was the finest recording of Louis Armstrong's later career, with the great trumpeter-singer turning to material that was very close to his roots. Both W.C. Handy and Armstrong had a complex relationship with the blues, an essential source for both Handy's popular songs and Armstrong's improvisational art, and these recordings touch on the heart of the matter. On "Yellow Dog Blues," a product of Handy's own early and chance encounter with the rural blues, there's a majesty that recalls Armstrong's early recordings with Bessie Smith. ~ Amazon
This 10-CD set is as good a compendium of the genius of Louis Armstrong as anyone could wish for. It’s all here: the early years with the King Oliver and Fletcher Henderson bands, the glorious period of the Hot Fives and Sevens, the big band recordings of the Thirties, the collaborations with contemporaries such as Ella Fitzgerald. Then there are the later recordings, when Satchmo’s celebrity empowered him to soar over many political and racial divides. There’s also a fascinating unreleased Hollywood Bowl concert from 1956, a CD of “out-takes” from recording sessions, and a revealing interview with Dan Morgenstern.
Kid Ory was one of the great New Orleans pioneers, an early trombonist who virtually defined the "tailgate" style (using his horn to play rhythmic bass lines in the front line behind the trumpet and clarinet) and who was fortunate enough to last through the lean years so he could make a major comeback in the mid-'40s. Originally a banjoist, Ory soon switched to trombone and by 1911 was leading a popular band in New Orleans. Among his trumpeters during the next eight years were Mutt Carey, King Oliver and a young Louis Armstrong and his clarinetists included Johnny Dodds, Sidney Bechet, and Jimmie Noone. In 1919, Ory moved to California and in 1922 (possibly 1921) recorded the first two titles by a Black New Orleans jazz band ("Ory's Creole Trombone" and "Society Blues") under the band title of Spike's Seven Pods of Pepper Orchestra. In 1925 he moved to Chicago, played regularly with King Oliver, and recorded many classic sides with Oliver, Louis Armstrong (in his Hot Five and Seven), and Jelly Roll Morton, among others.
W.C. Clark is known as the "Godfather of Austin Blues" and is among the best-loved guitarists and vocalists in the blues world. In addition to his popular and critical acclaim, Clark won W.C. Handy Awards for "Blues Song of the Year" and "Best Blues/Soul Record" and has been nominated for "Male Soul Artist of the Year". Clark has been playing for over 50 years and been mentoring countless young blues and soul players in Austin for almost as long……