Louis Armstrong Butter and Eggman
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- by Louis Armstrong ~ Satch Plays Fats ~ $5.97 (Save 25%)
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- Released: July 26, 2005
- Originally Released: 2005
- Label: Tomato Records
- 1.Do You Know What It Means To Miss New Orleans?
- 2.Dear Old Southland
- 3.Jelly Roll Blues
- 4.I Want A Big Butter & Eggman
- 5.Someday You Will Be Sorry
- 6.Confessin' (That I Love You)
- 7.When You're Smiling
- 8.If I Could Be With You One Hour
- 9.Body And Soul
- 10.Memories Of You
- 11.You're Lucky To Me
- 12.Black And Blue
- 13.I'm In The Market For You
- 14.La Vie En Rose
- 15.Summertime (with Ella Fitzgerald)
- 16.Old Rockin' Chair
- 17.Onkel Satchmo's Lullaby (with Gabriele Clonisch)
Personnel includes: Louis Armstrong (vocals, trumpet); Erwin Halletz (conductor); Jack Teagarden (vocals, trombone); Ella Fitzgerald, Gabriele Clonisch (vocals); Willie Stark, Les Hite (alto saxophone); Leon Elkins, George Orendorff, Harold Scott (trumpet); Bobby Hackett (cornet); Tommy Dorsey, Lawrence Brown (trombone); Reggie Jones (tuba); Jimmy Dorsey, Barney Bigard (clarinet); Joe Venutil (violin); Lionel Hampton (vibraphone); Arthur Schutt, Harvey Brooks, Henry Prince, Earl Hines (piano); Eddie Lang (guitar); Ceele Burke (Hawaiian guitar, banjo); Joe Eailey, Arvell Shaw (bass); Stan King, Sid Catlett (drums); Russ Garcia Orchestra.
Includes liner notes by Pete Welding.
This varied and appealing collection gathers tracks from different periods of Armstrong's career and features accompaniments ranging from medium-sized orchestra to smaller combos with a loose improvisatory feel. The earliest recordings, from 1929 and 1930 (and with Tommy Dorsey on trombone), are excellent--including "When You're Smiling" and "Body and Soul." Jumping ahead nearly 20 years to the middle-late 1940s, the collection also focuses on the recordings Armstrong made with his Allstars on such numbers as "Black and Blue," "Jelly Roll Blues" and the title track, which showcases a wonderful scat solo.
Despite skips in chronology, the tracks co-exist remarkably well (with the exception perhaps of the over-orchestrated duet with Ella Fitzgerald on "Summertime" and the hokey "Onkel Satchmo's Lullaby"). What impresses one most about listening to these recordings is that Armstrong's revolutionary trumpet playing and singing, both characterized by their warm tone, conversational style, phrasing and brilliantly placed accents, seem as fresh and gripping today as when they first appeared over 70 years ago. A compelling document of some this jazz great's finest moments, BUTTER AND EGG MAN is an excellent sampler of the music of Louis Armstrong--the man who, many have argued, wrote the book on jazz.
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