Over 50 Channels of Classical Music • Jazz, Folk/World, NostalgiaAccessible Anywhere, Anytime • Near-CD Quality

NAXOS RADIOwww.naxosradio.com

8.120621* 8.120625* 8.120666*

* Not available in the USA

The Naxos Historical labels aim to make available the greatest recordings of the history of recordedmusic, in the best and truest sound that contemporary technology can provide. To achieve this aim,Naxos has engaged a number of respected restorers who have the dedication, skill and experience toproduce restorations that have set new standards in the field of historical recordings.

Also available in the Naxos Jazz Legends series

8.120672 8.120676* 8.120712

120735bk Louis4 9/7/04 5:32 PM Page 8

Track 1: Louis Armstrong, Leonard Davis, GusAiken, Louis Bacon, trumpet; Harry White,Jimmy Archey, trombone; Henry Jones, CharlieHolmes, alto sax; Bingie Madison, clarinet,tenor sax; Greely Walton, tenor sax; LuisRussell, piano; Lee Blair, guitar; Pops Foster,bass; Paul Barbarin, drums

Track 2: Louis Armstrong, Bunny Berigan, BobMayhew, trumpet; Al Philburn, trombone; SidTrucker, clarinet, baritone sax; Phil Waltzer, altosax; Paul Ricci, tenor sax; Fulton McGrath,piano; Dave Barbour, guitar; Pete Peterson,bass; Stan King, drums

Tracks 3-7: Louis Armstrong, George Thow,Toots Camarata, trumpet; Bobby Byrne, JoeYukl, Don Mattison, trombone; Jimmy Dorsey,clarinet, alto sax; Jack Stacey, clarinet, alto sax;Fud Livingston, Skeets Herfurt, clarinet, tenorsax; Bobby Van Eps, piano; Roscoe Hillman,guitar; Jim Taft, bass; Ray McKinley, drums

Tracks 8-9: Louis Armstrong, trumpet; SamKoki, steel guitar; George Archer, Harry Baty,guitar, vocal; Andy Iona, ukulele, vocal; JoeNawahi, bass; Lionel Hampton, drums,vibraphone

Tracks 10-11: Louis Armstrong, trumpet, vocal;Harry Mills, baritone, vocal trumpet; HerbertMills, Donald Mills, tenor, vocal saxes; JohnMills Sr., guitar, vocal tuba

Tracks 12-17: Louis Armstrong, SheltonHemphill, Louis Bacon, Henry Allen, trumpet;George Matthews, George Washington,J. C. Higginbotham, trombone; Pete Clark,Charlie Holmes, alto sax; Albert Nicholas,Bingie Madison, clarinet, tenor sax; Luis Russell,piano; Lee Blair, guitar; Pops Foster, bass; PaulBarbarin, drums

Tracks 18-20: Louis Armstrong, SheltonHemphill, Louis Bacon, Henry Allen, trumpet;Wilbur de Paris, George Washington,J. C. Higginbotham, trombone; Pete Clark,Charlie Holmes, alto sax; Albert Nicholas,Bingie Madison, clarinet, tenor sax; Luis Russell,piano; Lee Blair, guitar; Pops Foster, bass; PaulBarbarin, drums, vibraphone

8.120735 7

Personnel

8.1207352

Louis Armstrong’s accomplishments were sohuge during his first decade on records (1923-33) that his Decca recordings from the secondhalf of the 1930s tend to be underrated.Consider that Armstrong was to a large extentresponsible for jazz quickly evolving in the 1920sfrom an ensemble-oriented music to one thatfeatured the solos of colorful virtuosi. Partlybecause of his brilliant playing, the staccatophrases often heard in New York recordings ofthe early 1920s were quickly replaced by legatophrasing, introducing a swinging feel to jazz.Satch’s Hot Five and Hot Seven recordings of1925-28 are among the finest documentedperformances of all time and showed howpowerful a solo instrument the trumpet could bein the right hands. Armstrong’s scat singing,starting with 1926’s “Heebies Jeebies”,popularized vocal improvising and showedhundreds of vocalists how to sing jazz. When hebegan singing current pop tunes in 1929, hebecame so influential with his phrasing that italtered pop singing forever. And his sunny andhumorous personality did more than anythingelse to make jazz look like a very attractive andfun style of music.

Born 4 August 1901 in New Orleans, LouisArmstrong grew up in a poor family and wasraised by a single mother. Although he showedearly musical ability, singing in a vocal group on

the streets for pennies and playing a little bit ofcornet, he may very well have led a forgotten lifespent in poverty were it not for a lucky break.On New Year’s Eve of 1912, he shot off a pistolin the air in celebration, and was immediatelyarrested and sent to live in a waif’s home.Armstrong enjoyed the discipline of thesurroundings and began to seriously play thecornet, graduating to the school’s band. Whenhe was released two years later, he was apromising young cornettist, ready to gainexperience playing in New Orleans brass bands.Joe “King” Oliver became his hero,recommended him as his replacement with KidOry’s band in 1919, and three years later sentfor his protégé to join his Creole Jazz Band inChicago. Armstrong gained a great deal ofattention while playing with Oliver (1923-24)and his playing grew month-by-month. When hejoined Fletcher Henderson’s orchestra in 1924,he became famous in New York. His Hot Fiveand Seven recordings made him renowned injazz and his 1929-33 big band recordings andappearances on radio and theatres made himinternationally famous.

After having spent much of 1934-35overseas, Armstrong returned to the UnitedStates just as the swing era was building upmomentum. He took over the struggling LuisRussell Orchestra, using the band as a backdrop

LOUIS ARMSTRONG Vol.4‘Satchel Mouth Swing’ Original Recordings 1936-1938

120735bk Louis4 9/7/04 5:32 PM Page 2

for his playing and singing through 1940.‘Satchel Mouth Swing’ begins with a fine

remake of Mahogany Hall Stomp whichArmstrong had previously recorded at his firstbig band session in 1929. Trombonist JimmyArchey, tenor-saxophonist Bingie Madison andaltoist Charlie Holmes take a chorus apiece asArmstrong reprises his original solo. Then, uponhis return after Holmes’ spot, he creates acompletely new chorus. I’m Putting All My EggsIn One Basket has short statements by tenor-saxophonist Paul Ricci and clarinettist SidTrucker but otherwise it is Armstrong’sshowcase, concluding with a wonderful highnote. Bunny Berigan is in the trumpet section;this session was his only chance to record next tohis idol.

The next five selections find Louis Armstrongbeing joined by the Jimmy Dorsey Orchestra.One of the musical highpoints of Pennies FromHeaven, a Bing Crosby movie that gaveArmstrong his first opportunity to appear in amajor film, was when Louis performed TheSkeleton In The Closet. His version withDorsey’s band recaptures the magic of theoriginal. While When Ruben Swings The Cubanand Hurdy-Gurdy Man are not classiccompositions, Armstrong makes them his ownthrough his charming ad-libbing (referring to‘Old Gatemouth Ruben’ on the former) and hissolos. Dippermouth Blues, which Satchoriginally recorded with King Oliver in 1923 andwith Fletcher Henderson’s orchestra in 1925(where it was retitled “Sugar Foot Stomp”), has

a spot on clarinet by Jimmy Dorsey and Louisplaying his variations of Oliver’s famous three-chorus trumpet solo. It is a little surprising thatArmstrong chose to record Swing That Musicduring the session for he had just recorded it lessthan three months earlier; this version is a bitfaster and has a solo just as spectacular.

Just as Bing Crosby was captured in a lot ofdifferent musical settings during his period onDecca, Louis Armstrong also recorded frequentlyaway from his big band. To You, Sweetheart,Aloha and On A Coconut Island are successfulencounters with the Polynesians (consisting ofsteel guitar, two guitars, ukulele and bass) withguest Lionel Hampton on vibes and drums.Hampton, who recorded his first vibes solos withArmstrong in 1930, was just three days frommaking his debut recording as a member of theBenny Goodman Quartet. Satch sounds quitecomfortable in this unusual setting.

Another unexpected but very successfulcollaboration was when Armstrong joined theMills Brothers for some dates. Billed as ‘fourboys with a guitar’ and renowned for their abilityto closely emulate instruments while onlyactually using their voices and an acoustic guitar,the Mills Brothers clearly inspire Armstrong tosome joyful playing and singing on In The ShadeOf The Old Apple Tree and Old Folks At Home.

The remainder of the selections on ‘SatchelMouth Swing’ have Satch performing in his usualsetting, with the nucleus of the old Luis RussellOrchestra. Public Melody Number One is longforgotten but the leader’s trumpet breaks work

8.120735 38.1207356

12. Public Melody Number One 3:09(Harold Arlen–Ted Koehler)Louis Armstrong, vocal, & His OrchestraDecca 1347, mx 62328-ARecorded 2 July 1937, New York

13. Red Cap 3:09(Louis Armstrong–Ken Hecht)Louis Armstrong, vocal, & His OrchestraDecca 1347, mx 62330-ARecorded 2 July 1937, New York

14. Cuban Pete 3:07(Jose Norman)Louis Armstrong, vocal, & His OrchestraDecca 1353, mx 62337-ARecorded 7 July 1937, New York

15. She’s The Daughter Of A Planter From Havana 3:18(Sammy Cahn–Saul Chaplin)Louis Armstrong, vocal, & His OrchestraDecca 1353, mx 62335-ARecorded 7 July 1937, New York

16. I’ve Got A Heart Full Of Rhythm 3:08(Horace Gerlach–Louis Armstrong)Louis Armstrong, vocal, & His Orchestra Decca 1408, mx 62338-ARecorded 7 July 1937, New York

17. Alexander’s Ragtime Band 2:36(Irving Berlin)Louis Armstrong, vocal, & His OrchestraDecca 1408, mx 61336-ARecorded 7 July 1937, New York

18. Satchel Mouth Swing 2:37(Louis Armstrong–Lil Armstrong–Clarence Williams)Louis Armstrong, vocal, & His OrchestraDecca 1636, mx DLA 1132-ARecorded 12 January 1938, Los Angeles

19. The Trumpet Player’s Lament 2:57(Johnny Burke–James V. Monaco)Louis Armstrong, vocal, & His OrchestraDecca 1653, mx DLA 1135-ARecorded 12 January 1938, Los Angeles

20. Struttin’ With Some Barbecue 3:02(Lil Hardin)Louis Armstrong, vocal, & His OrchestraDecca 1661, mx DLA 1134-ARecorded 12 January 1938, Los Angeles

Transfers & Production: David Lennick

Digital Noise Reduction: K&A Productions Ltd

Original monochrome photo of Louis Armstrongfrom Michael Ochs Archives / Redferns

120735bk Louis4 9/7/04 5:32 PM Page 6

1. Mahogony Hall Stomp 2:54(Spencer Williams)Louis Armstrong & His OrchestraDecca 824, mx 61111-ARecorded 18 May 1936, New York

2. I’m Putting All My Eggs In One Basket2:59(Irving Berlin)Louis Armstrong, vocal, & His OrchestraDecca 698, mx 60438-ARecorded 4 February 1936, New York

3. The Skeleton In The Closet 3:07(Johnny Burke–Arthur Johnston)Louis Armstrong, vocal, with Jimmy Dorsey's OrchestraDecca 949, mx DLA 539-ARecorded 7 August 1936, Los Angeles

4. When Ruben Swings The Cuban 2:38(Ted White–Leon Flatow–Jack Meskill)Louis Armstrong, vocal, with Jimmy Dorsey's OrchestraDecca 1049, mx DLA 541-ARecorded 7 August 1936, Los Angeles

5. Hurdy-Gurdy Man 3:01(Sammy Cahn–Saul Chaplin)Louis Armstrong, vocal, with Jimmy Dorsey'sOrchestraDecca 949, mx DLA 541-ARecorded 7 August 1936, Los Angeles

6. Dipper Mouth Blues 2:41(Louis Armstrong–King Oliver)Louis Armstrong with Jimmy Dorsey's OrchestraDecca 906, mx DLA 542-ARecorded 7 August 1936, Los Angeles

7. Swing That Music 2:51(Horace Gerlach–Louis Armstrong)Louis Armstrong, vocal, with Jimmy Dorsey'sOrchestraDecca 866, mx DLA 543-ARecorded 7 August 1936, Los Angeles

8. To You, Sweetheart, Aloha 2:59(Harry Owens)Louis Armstrong, vocal, with The PolynesiansDecca 914, mx DLA 581-ARecorded 18 August 1936, Los Angeles

9. On A Coconut Island 3:11(R. Alex Anderson)Louis Armstrong, vocal, with The PolynesiansDecca 914, mx DLA 582-ARecorded 18 August 1936, Los Angeles

10. In The Shade Of The Old Apple Tree 2:19(H. H. Williams–E. Van Alstyne)Louis Armstrong & The Mills Brothers, vocalDecca 1495, mx 62322-BRecorded 29 June 1937, New York

11. Old Folks At Home 2:23(Stephen Foster)Louis Armstrong & The Mills Brothers, vocalDecca 1495, mx 62323-ARecorded 29 June 1937, New York

8.120735 58.1207354

quite well as does the driving drumming of PaulBarbarin. Red Cap salutes the type of workingclass job that Armstrong did not have to worryabout anymore in 1937 when he was one of thebiggest names in show business.

Satch goes south of the border, sort of,during the next two numbers. A swing version ofCuban Pete can be thought of as a follow-up to“The Peanut Vendor” which he had recorded in1930. She’s The Daughter Of A Planter FromHavana, although not composed by Cubans,does utilize some rhythms that hint a little atHavana, at least until the closing swingingchoruses. Louis Armstrong composed relativelyfew songs, which makes I’ve Got A Heart FullOf Rhythm a rarity in his career. The optimisticlyrics, which sound like something Al Jolson orTed Lewis might have sung, are much hipperwhen rendered by Satch. Clarinettist AlbertNicholas and altoist Charlie Holmes help outbefore Armstrong takes two dazzling choruses.Alexander’s Ragtime Band, a major hit for IrvingBerlin in 1911, proves to still have plenty of lifeleft in 1937, particularly during the closingtrumpet solo.

Moving to 1938, Satchel Mouth Swing is aremake of “Coal Cart Blues” which Armstronghad recorded as part of Clarence Williams’ BlueFive back in 1925. This rendition, if one listensto the words, is really a tribute to the trumpeter

himself. Charlie Holmes and trombonistJ. C. Higginbotham are heard from briefly. Incontrast, The Trumpet Player’s Lament hasArmstrong singing words that make it sound asif he would rather be playing classical music thanjazz! The final chorus makes it obvious that hehad made the right career choice.

Wrapping up this collection is an excitingversion of Struttin’ With Some Barbecue.Armstrong had recorded a classic solo on thispiece with the Hot Five in 1927 and he wouldutilize a completely different set solo during theyears that he led the All-Stars (starting in 1947).This 1938 version (which has spots forclarinettist Bingie Madison and altoist Holmes)is a gem in its own way, with Armstrong statingthe melody during the next-to-last chorus beforeimprovising a statement that differs almostcompletely from his other ‘Struttin’’ solos.

Louis Armstrong, still just 36 at the time ofthis final session, had 33 more years ahead ofhim. The twenty recordings on ‘Satchel MouthSwing’ show that, far from being an off period,his work from the second half of the 1930s arefull of underrated treasures well worthdiscovering.

Scott Yanow– author of 7 jazz books including Swing, Bebop,Trumpet Kings and Jazz On Record 1917-76

120735bk Louis4 9/7/04 5:32 PM Page 4

1. Mahogony Hall Stomp 2:54(Spencer Williams)Louis Armstrong & His OrchestraDecca 824, mx 61111-ARecorded 18 May 1936, New York

2. I’m Putting All My Eggs In One Basket2:59(Irving Berlin)Louis Armstrong, vocal, & His OrchestraDecca 698, mx 60438-ARecorded 4 February 1936, New York

3. The Skeleton In The Closet 3:07(Johnny Burke–Arthur Johnston)Louis Armstrong, vocal, with Jimmy Dorsey's OrchestraDecca 949, mx DLA 539-ARecorded 7 August 1936, Los Angeles

4. When Ruben Swings The Cuban 2:38(Ted White–Leon Flatow–Jack Meskill)Louis Armstrong, vocal, with Jimmy Dorsey's OrchestraDecca 1049, mx DLA 541-ARecorded 7 August 1936, Los Angeles

5. Hurdy-Gurdy Man 3:01(Sammy Cahn–Saul Chaplin)Louis Armstrong, vocal, with Jimmy Dorsey'sOrchestraDecca 949, mx DLA 541-ARecorded 7 August 1936, Los Angeles

6. Dipper Mouth Blues 2:41(Louis Armstrong–King Oliver)Louis Armstrong with Jimmy Dorsey's OrchestraDecca 906, mx DLA 542-ARecorded 7 August 1936, Los Angeles

7. Swing That Music 2:51(Horace Gerlach–Louis Armstrong)Louis Armstrong, vocal, with Jimmy Dorsey'sOrchestraDecca 866, mx DLA 543-ARecorded 7 August 1936, Los Angeles

8. To You, Sweetheart, Aloha 2:59(Harry Owens)Louis Armstrong, vocal, with The PolynesiansDecca 914, mx DLA 581-ARecorded 18 August 1936, Los Angeles

9. On A Coconut Island 3:11(R. Alex Anderson)Louis Armstrong, vocal, with The PolynesiansDecca 914, mx DLA 582-ARecorded 18 August 1936, Los Angeles

10. In The Shade Of The Old Apple Tree 2:19(H. H. Williams–E. Van Alstyne)Louis Armstrong & The Mills Brothers, vocalDecca 1495, mx 62322-BRecorded 29 June 1937, New York

11. Old Folks At Home 2:23(Stephen Foster)Louis Armstrong & The Mills Brothers, vocalDecca 1495, mx 62323-ARecorded 29 June 1937, New York

8.120735 58.1207354

quite well as does the driving drumming of PaulBarbarin. Red Cap salutes the type of workingclass job that Armstrong did not have to worryabout anymore in 1937 when he was one of thebiggest names in show business.

Satch goes south of the border, sort of,during the next two numbers. A swing version ofCuban Pete can be thought of as a follow-up to“The Peanut Vendor” which he had recorded in1930. She’s The Daughter Of A Planter FromHavana, although not composed by Cubans,does utilize some rhythms that hint a little atHavana, at least until the closing swingingchoruses. Louis Armstrong composed relativelyfew songs, which makes I’ve Got A Heart FullOf Rhythm a rarity in his career. The optimisticlyrics, which sound like something Al Jolson orTed Lewis might have sung, are much hipperwhen rendered by Satch. Clarinettist AlbertNicholas and altoist Charlie Holmes help outbefore Armstrong takes two dazzling choruses.Alexander’s Ragtime Band, a major hit for IrvingBerlin in 1911, proves to still have plenty of lifeleft in 1937, particularly during the closingtrumpet solo.

Moving to 1938, Satchel Mouth Swing is aremake of “Coal Cart Blues” which Armstronghad recorded as part of Clarence Williams’ BlueFive back in 1925. This rendition, if one listensto the words, is really a tribute to the trumpeter

himself. Charlie Holmes and trombonistJ. C. Higginbotham are heard from briefly. Incontrast, The Trumpet Player’s Lament hasArmstrong singing words that make it sound asif he would rather be playing classical music thanjazz! The final chorus makes it obvious that hehad made the right career choice.

Wrapping up this collection is an excitingversion of Struttin’ With Some Barbecue.Armstrong had recorded a classic solo on thispiece with the Hot Five in 1927 and he wouldutilize a completely different set solo during theyears that he led the All-Stars (starting in 1947).This 1938 version (which has spots forclarinettist Bingie Madison and altoist Holmes)is a gem in its own way, with Armstrong statingthe melody during the next-to-last chorus beforeimprovising a statement that differs almostcompletely from his other ‘Struttin’’ solos.

Louis Armstrong, still just 36 at the time ofthis final session, had 33 more years ahead ofhim. The twenty recordings on ‘Satchel MouthSwing’ show that, far from being an off period,his work from the second half of the 1930s arefull of underrated treasures well worthdiscovering.

Scott Yanow– author of 7 jazz books including Swing, Bebop,Trumpet Kings and Jazz On Record 1917-76

120735bk Louis4 9/7/04 5:32 PM Page 4

for his playing and singing through 1940.‘Satchel Mouth Swing’ begins with a fine

remake of Mahogany Hall Stomp whichArmstrong had previously recorded at his firstbig band session in 1929. Trombonist JimmyArchey, tenor-saxophonist Bingie Madison andaltoist Charlie Holmes take a chorus apiece asArmstrong reprises his original solo. Then, uponhis return after Holmes’ spot, he creates acompletely new chorus. I’m Putting All My EggsIn One Basket has short statements by tenor-saxophonist Paul Ricci and clarinettist SidTrucker but otherwise it is Armstrong’sshowcase, concluding with a wonderful highnote. Bunny Berigan is in the trumpet section;this session was his only chance to record next tohis idol.

The next five selections find Louis Armstrongbeing joined by the Jimmy Dorsey Orchestra.One of the musical highpoints of Pennies FromHeaven, a Bing Crosby movie that gaveArmstrong his first opportunity to appear in amajor film, was when Louis performed TheSkeleton In The Closet. His version withDorsey’s band recaptures the magic of theoriginal. While When Ruben Swings The Cubanand Hurdy-Gurdy Man are not classiccompositions, Armstrong makes them his ownthrough his charming ad-libbing (referring to‘Old Gatemouth Ruben’ on the former) and hissolos. Dippermouth Blues, which Satchoriginally recorded with King Oliver in 1923 andwith Fletcher Henderson’s orchestra in 1925(where it was retitled “Sugar Foot Stomp”), has

a spot on clarinet by Jimmy Dorsey and Louisplaying his variations of Oliver’s famous three-chorus trumpet solo. It is a little surprising thatArmstrong chose to record Swing That Musicduring the session for he had just recorded it lessthan three months earlier; this version is a bitfaster and has a solo just as spectacular.

Just as Bing Crosby was captured in a lot ofdifferent musical settings during his period onDecca, Louis Armstrong also recorded frequentlyaway from his big band. To You, Sweetheart,Aloha and On A Coconut Island are successfulencounters with the Polynesians (consisting ofsteel guitar, two guitars, ukulele and bass) withguest Lionel Hampton on vibes and drums.Hampton, who recorded his first vibes solos withArmstrong in 1930, was just three days frommaking his debut recording as a member of theBenny Goodman Quartet. Satch sounds quitecomfortable in this unusual setting.

Another unexpected but very successfulcollaboration was when Armstrong joined theMills Brothers for some dates. Billed as ‘fourboys with a guitar’ and renowned for their abilityto closely emulate instruments while onlyactually using their voices and an acoustic guitar,the Mills Brothers clearly inspire Armstrong tosome joyful playing and singing on In The ShadeOf The Old Apple Tree and Old Folks At Home.

The remainder of the selections on ‘SatchelMouth Swing’ have Satch performing in his usualsetting, with the nucleus of the old Luis RussellOrchestra. Public Melody Number One is longforgotten but the leader’s trumpet breaks work

8.120735 38.1207356

12. Public Melody Number One 3:09(Harold Arlen–Ted Koehler)Louis Armstrong, vocal, & His OrchestraDecca 1347, mx 62328-ARecorded 2 July 1937, New York

13. Red Cap 3:09(Louis Armstrong–Ken Hecht)Louis Armstrong, vocal, & His OrchestraDecca 1347, mx 62330-ARecorded 2 July 1937, New York

14. Cuban Pete 3:07(Jose Norman)Louis Armstrong, vocal, & His OrchestraDecca 1353, mx 62337-ARecorded 7 July 1937, New York

15. She’s The Daughter Of A Planter From Havana 3:18(Sammy Cahn–Saul Chaplin)Louis Armstrong, vocal, & His OrchestraDecca 1353, mx 62335-ARecorded 7 July 1937, New York

16. I’ve Got A Heart Full Of Rhythm 3:08(Horace Gerlach–Louis Armstrong)Louis Armstrong, vocal, & His Orchestra Decca 1408, mx 62338-ARecorded 7 July 1937, New York

17. Alexander’s Ragtime Band 2:36(Irving Berlin)Louis Armstrong, vocal, & His OrchestraDecca 1408, mx 61336-ARecorded 7 July 1937, New York

18. Satchel Mouth Swing 2:37(Louis Armstrong–Lil Armstrong–Clarence Williams)Louis Armstrong, vocal, & His OrchestraDecca 1636, mx DLA 1132-ARecorded 12 January 1938, Los Angeles

19. The Trumpet Player’s Lament 2:57(Johnny Burke–James V. Monaco)Louis Armstrong, vocal, & His OrchestraDecca 1653, mx DLA 1135-ARecorded 12 January 1938, Los Angeles

20. Struttin’ With Some Barbecue 3:02(Lil Hardin)Louis Armstrong, vocal, & His OrchestraDecca 1661, mx DLA 1134-ARecorded 12 January 1938, Los Angeles

Transfers & Production: David Lennick

Digital Noise Reduction: K&A Productions Ltd

Original monochrome photo of Louis Armstrongfrom Michael Ochs Archives / Redferns

120735bk Louis4 9/7/04 5:32 PM Page 6

Track 1: Louis Armstrong, Leonard Davis, GusAiken, Louis Bacon, trumpet; Harry White,Jimmy Archey, trombone; Henry Jones, CharlieHolmes, alto sax; Bingie Madison, clarinet,tenor sax; Greely Walton, tenor sax; LuisRussell, piano; Lee Blair, guitar; Pops Foster,bass; Paul Barbarin, drums

Track 2: Louis Armstrong, Bunny Berigan, BobMayhew, trumpet; Al Philburn, trombone; SidTrucker, clarinet, baritone sax; Phil Waltzer, altosax; Paul Ricci, tenor sax; Fulton McGrath,piano; Dave Barbour, guitar; Pete Peterson,bass; Stan King, drums

Tracks 3-7: Louis Armstrong, George Thow,Toots Camarata, trumpet; Bobby Byrne, JoeYukl, Don Mattison, trombone; Jimmy Dorsey,clarinet, alto sax; Jack Stacey, clarinet, alto sax;Fud Livingston, Skeets Herfurt, clarinet, tenorsax; Bobby Van Eps, piano; Roscoe Hillman,guitar; Jim Taft, bass; Ray McKinley, drums

Tracks 8-9: Louis Armstrong, trumpet; SamKoki, steel guitar; George Archer, Harry Baty,guitar, vocal; Andy Iona, ukulele, vocal; JoeNawahi, bass; Lionel Hampton, drums,vibraphone

Tracks 10-11: Louis Armstrong, trumpet, vocal;Harry Mills, baritone, vocal trumpet; HerbertMills, Donald Mills, tenor, vocal saxes; JohnMills Sr., guitar, vocal tuba

Tracks 12-17: Louis Armstrong, SheltonHemphill, Louis Bacon, Henry Allen, trumpet;George Matthews, George Washington,J. C. Higginbotham, trombone; Pete Clark,Charlie Holmes, alto sax; Albert Nicholas,Bingie Madison, clarinet, tenor sax; Luis Russell,piano; Lee Blair, guitar; Pops Foster, bass; PaulBarbarin, drums

Tracks 18-20: Louis Armstrong, SheltonHemphill, Louis Bacon, Henry Allen, trumpet;Wilbur de Paris, George Washington,J. C. Higginbotham, trombone; Pete Clark,Charlie Holmes, alto sax; Albert Nicholas,Bingie Madison, clarinet, tenor sax; Luis Russell,piano; Lee Blair, guitar; Pops Foster, bass; PaulBarbarin, drums, vibraphone

8.120735 7

Personnel

8.1207352

Louis Armstrong’s accomplishments were sohuge during his first decade on records (1923-33) that his Decca recordings from the secondhalf of the 1930s tend to be underrated.Consider that Armstrong was to a large extentresponsible for jazz quickly evolving in the 1920sfrom an ensemble-oriented music to one thatfeatured the solos of colorful virtuosi. Partlybecause of his brilliant playing, the staccatophrases often heard in New York recordings ofthe early 1920s were quickly replaced by legatophrasing, introducing a swinging feel to jazz.Satch’s Hot Five and Hot Seven recordings of1925-28 are among the finest documentedperformances of all time and showed howpowerful a solo instrument the trumpet could bein the right hands. Armstrong’s scat singing,starting with 1926’s “Heebies Jeebies”,popularized vocal improvising and showedhundreds of vocalists how to sing jazz. When hebegan singing current pop tunes in 1929, hebecame so influential with his phrasing that italtered pop singing forever. And his sunny andhumorous personality did more than anythingelse to make jazz look like a very attractive andfun style of music.

Born 4 August 1901 in New Orleans, LouisArmstrong grew up in a poor family and wasraised by a single mother. Although he showedearly musical ability, singing in a vocal group on

the streets for pennies and playing a little bit ofcornet, he may very well have led a forgotten lifespent in poverty were it not for a lucky break.On New Year’s Eve of 1912, he shot off a pistolin the air in celebration, and was immediatelyarrested and sent to live in a waif’s home.Armstrong enjoyed the discipline of thesurroundings and began to seriously play thecornet, graduating to the school’s band. Whenhe was released two years later, he was apromising young cornettist, ready to gainexperience playing in New Orleans brass bands.Joe “King” Oliver became his hero,recommended him as his replacement with KidOry’s band in 1919, and three years later sentfor his protégé to join his Creole Jazz Band inChicago. Armstrong gained a great deal ofattention while playing with Oliver (1923-24)and his playing grew month-by-month. When hejoined Fletcher Henderson’s orchestra in 1924,he became famous in New York. His Hot Fiveand Seven recordings made him renowned injazz and his 1929-33 big band recordings andappearances on radio and theatres made himinternationally famous.

After having spent much of 1934-35overseas, Armstrong returned to the UnitedStates just as the swing era was building upmomentum. He took over the struggling LuisRussell Orchestra, using the band as a backdrop

LOUIS ARMSTRONG Vol.4‘Satchel Mouth Swing’ Original Recordings 1936-1938

120735bk Louis4 9/7/04 5:32 PM Page 2

Over 50 Channels of Classical Music • Jazz, Folk/World, NostalgiaAccessible Anywhere, Anytime • Near-CD Quality

NAXOS RADIOwww.naxosradio.com

8.120621* 8.120625* 8.120666*

* Not available in the USA

The Naxos Historical labels aim to make available the greatest recordings of the history of recordedmusic, in the best and truest sound that contemporary technology can provide. To achieve this aim,Naxos has engaged a number of respected restorers who have the dedication, skill and experience toproduce restorations that have set new standards in the field of historical recordings.

Also available in the Naxos Jazz Legends series

8.120672 8.120676* 8.120712

120735bk Louis4 9/7/04 5:32 PM Page 8

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Transfers and Production by David LennickDigital Noise Reduction by K&A Productions LtdNOTES AND FULL RECORDING DETAILS INCLUDED

www.naxos.com Made in the EUh & g 2004 Naxos Rights International Ltd Design: Ron Hoares

LOUIS ARMSTRONG Vol.4“SATCHEL MOUTH SWING”

8.120735

ADD

TotalTime58:11

1. Mahogany Hall Stomp 2:542. I’m Putting All My Eggs In One Basket 2:593. The Skeleton In The Closet 3:074. When Ruben Swings The Cuban 2:385. Hurdy-Gurdy Man 3:016. Dipper Mouth Blues 2:417. Swing That Music 2:518. To You, Sweetheart, Aloha 2:599. On A Coconut Island 3:11

10. In The Shade Of The Old Apple Tree 2:1911. Old Folks At Home 2:2312. Public Melody Number One 3:0913. Red Cap 3:0914. Cuban Pete 3:0715. She’s The Daughter Of A Planter From Havana 3:1816. I’ve Got A Heart Full Of Rhythm 3:0817. Alexander’s Ragtime Band 2:3618. Satchel Mouth Swing 2:3719. The Trumpet Player’s Lament 2:5720. Struttin’ With Some Barbecue 3:02

Original 1936-1938Recordings