Louis Armstrong’s 70 Greatest Recordings

LOUIS ARMSTRONG’S 70 GREATEST RECORDINGS

Although I have long wanted to write about Louis Armstrong for The Syncopated Times, since Ricky Riccardi’s trio of books (Stomp Off Let’s Go, Heart Full Of Rhythm, and What A Wonderful World) definitively cover Satch’s life, I decided to try a different approach then a straight biography. Here are my picks (in chronological order) of the 70 top recordings (individual songs rather than albums) that the great man made during his 70 years. Since he made many more than 70 gems, feel free to argue over the ones that I missed!

1. Chimes Blues (Apr. 5, 1923) Armstrong did not get to solo much on his recordings with King Oliver’s Creole Jazz Band in 1923 but he did get a spot during their first session and his statement (worked out in advance) hints at the future.

2. Shanghai Shuffle (Nov. 7, 1924) While his solos during his year with the Fletcher Henderson tended to be a bit brief, they certainly made an impact on New York musicians with his ability to tell a story in his playing, use space for dramatic effect, and the way that he built up his solos. All of that is in evidence during his chorus on this performance with Henderson’s orchestra.

3. Cake Walkin’ Babies From Home (Jan. 8, 1925) The two top horn soloists in jazz at the time battle it out as Armstrong and soprano-saxophonist Sidney Bechet star on one of the hottest recordings of the 1920s.

4. St. Louis Blues (Jan. 14, 1925) While Fred Longshaw’s harmonium is sometimes distracting, Armstrong’s interplay with the powerful Bessie Smith is quite memorable.

5. Come Back Sweet Papa (Feb. 22, 1926) Louis Armstrong’s Hot Five and Hot Seven recordings of late 1925-27 forever changed jazz from an ensemble-oriented music to one featuring brilliant soloists, none hotter than Satch. This high-quality song has superior melodic improvising by Armstrong. It is strange that it did not stay in his repertoire for long.

6. Heebies Jeebies (Feb. 26, 1926) Satch’s scat-singing on “Heebies Jeebies” was preceded on records by others (including Gene “The Ragtime King” Greene back in 1911) and it is doubtful that he dropped his music and just scatted spontaneously (at least not on the released take), but this influential recording resulted in scat-singing catching on.

7. Cornet Chop Suey (Feb. 26, 1926) Armstrong’s flawless virtuosity on this classic solo amazed his fellow trumpeters.

8. Skid-Dat-De-Dat (Nov. 16, 1926) This atmospheric work has fine Johnny Dodds and Kid Ory but Armstrong steals the show both instrumentally and with a few remarkable vocal breaks.

9. Willie The Weeper (May 7, 1927) Pure joy from Armstrong and his Hot Seven with Baby Dodds’ cymbal crashes during the last two choruses a perfect fit behind Satch’s blazing horn.

10. Wild Man Blues (May 7, 1927) Armstrong’s dramatic breaks during the first chorus of this piece cannot be topped.

11. Chicago Breakdown (May 9, 1927) Heading what had been the Carroll Dickerson Orchestra, Satch climaxes the piece with a forceful final chorus.

12. Potato Head Blues (May 10, 1927) A superb recording topped off by Armstrong’s much-copied stop-time chorus.

13. Struttin’ With Some Barbecue (Dec. 9, 1927) On the original version of a song that he would play for 40 years, Satch creates a perfect solo chorus, one with a beginning, middle and end. Was it improvised on the spot or worked out in advance, and why did he never repeat this solo?

14. Hotter Than That (Dec. 13, 1927) Living up to its title, this performance has dazzling tradeoffs between Armstrong and guitarist Lonnie Johnson that helped inspire the idea of “trading fours.”

15. Too Busy (June 26, 1928) Certainly an offbeat choice, this performance features the so-so vocalizing of Lillie Delk Christian, an instrumental chorus, and some surprising scatting by Armstrong that completely overshadows Christian.

16. West End Blues (June 28, 1928) Recorded with his Savoy Ballroom Five in 1928 which co-starred Earl Hines. “West End Blues” was Satch’s personal favorite of all of his recordings. This is an undisputed masterpiece from the stunning opening cadenza and the haunting wordless singing to the remarkable final chorus.

17. Basin Street Blues (Dec. 4, 1928) The standard’s very first recording and the only one that has Armstrong scatting over two of his musicians’ vocal harmonies. His solo is particularly dramatic.

18. Weather Bird (Dec. 5, 1928) This immortal duet recording by Armstrong and Earl Hines has the two greats challenging each other and playing with time without losing a beat.

19. I Can’t Give You Anything But Love (Mar. 5, 1929) Armstrong launched his big band period (1929-47) by turning this pop song (the first of many) into a jazz standard.

20. Ain’t Misbehavin’ (July 19, 1929) In 1929 there were eight other recordings of the Fats Waller classic before Armstrong got to it, but his version is the one that is remembered.

21. Black And Blue (July 22, 1929) A protest song against racism in 1929. This was one of the earliest to ever be recorded and it is still one of the most effective.

22. When You’re Smiling (Sept. 11, 1929) Armstrong takes this song slower than usual and builds up the tension and suspense as he plays the melody fairly straight but in the upper register.

23. St. Louis Blues (Dec. 13, 1929) One of four very different versions of “St. Louis Blues” in this list, Satch is clearly excited by the playing of the Luis Russell Orchestra.

24. Dear Old Southland (Apr. 5, 1930) While pianist Buck Washington was not Earl Hines, this rare duet is filled with spine-tingling trumpet playing.

25. I’m A Ding Dong Daddy (July 21, 1930) This uptempo number is overflowing with excitement, dazzling scatting (after singing “I dun forgot the words”), and a perfectly constructed trumpet solo that builds and builds.

26. Shine (Mar. 9, 1931) The lyrics may not be “politically correct” but Armstrong plays a stirring solo that would be reprised by Harry James at Benny Goodman’s Carnegie Hall concert seven years later.

27. You Rascal You (Apr. 28, 1931) With words like “I’ll be standing on the corner high when they bring your body high,” and “When you’re laying six feet deep, no more fried chicken will you eat,” Armstrong solidified his position as a frequently hilarious performer.

28. Star Dust (Nov. 4, 1931) Already a dance band standard, Armstrong immortalized “Star Dust” on two versions even while playing around with the melody and the words.

29. Home (Dec. 8, 1932) A touching version of the nostalgic tune.

30. Hustlin’ and Bustlin’ For Baby (Jan. 26, 1933) This is an overlooked song that should have become a standard. Armstrong treats it as if it is a gem.

31. Laughin’ Louie (April 24, 1933) A unique performance with Armstrong’s comedy co-existing with his unaccompanied trumpet solo; listen to both versions he cut that day.

32. Dinah (Oct. 21, 1933) One of several performances on this list that is also available in a film, Louis Armstrong’s Copenhagen performance features his scatting and trumpet playing at its most creative.

33. On The Sunny Side Of The Street (Nov. 7, 1934) A two-sided extended version recorded when he was living in Europe, this rendition is simply magnificent.

34. Swing That Music (May 18, 1936) The joyous uptempo piece has a happily exhibitionistic solo by Armstrong; how many straight times does he hit the same high note during his solo?

35. Jubilee (Jan. 12, 1938) A now-obscure Hoagy Carmichael song (which Armstrong originally performed in the movie Every Day’s A Holiday) with marching band drumming from Paul Barbarin.

36. Struttin’ With Some Barbecue (Jan. 12, 1938) This exhilarating big band version mostly has the trumpeter displaying his beautiful tone and range while staying close to the melody.

37. I Double Dare You (Jan. 13, 1938) It is strange that this song did not catch on. Armstrong’s singing and trumpet playing are a joy throughout.

38. When The Saints Go Marching In (May 13, 1938) Thought of previously as a religious song, this recording (with prominent J.C. Higginbotham trombone) made it into a Dixieland standard.

39. Down In Honky Tonk Town (May 27, 1940) Armstrong and Bechet had a one-time reunion in 1940 and this was the hottest number from their last encounter.

40. Back O’ Town Blues (May 17, 1947) In 1947, Armstrong broke up his big band and formed a sextet called the Louis Armstrong All-Stars. Shortly before the personnel was solidified, he had a very successful Town Hall concert which included his homespun wisdom on “Back O’ Town Blues.”

41. Ain’t Misbehavin’ (May 17, 1947) Faster than his 1929 version, this is Armstrong’s definitive version of the Fats Waller classic.

42. Jack-Armstrong Blues (June 10, 1947) A testament to the musical partnership Armstrong had with Jack Teagarden, this superb recording has arguably Satch’s finest recorded solo of the 1940s.

43. Someday You’ll Be Sorry (June 10, 1947) The original version of Louis Armstrong’s best-known original.

44. La Vie En Rose (June 26, 1950 (In addition to his endless touring with the All-Stars, in the 1950 Armstrong also recorded as a single with orchestras. He interpreted the Edith Piaf classic in his own way.

45. Dream A Little Dream Of Me (Aug. 25, 1950) Louis Armstrong and Ella Fitzgerald make for a perfect team on this delightful recording.

46. When It’s Sleepy Time Down South (Nov. 28, 1951) Armstrong’s theme song since the 1930s and performed a countless number of times in his career, this version has him joined by the Gordon Jenkins orchestra.

47. Ole Miss (July 12, 1954) From the Satch Plays W.C. Handy album, Armstrong and his All-Stars romp throughout this instrumental.

48. St. Louis Blues (July 13, 1954) This nine-minute version of W.C. Handy’s “St. Louis Blues” is simply extraordinary including its long melody statement, the humorous singing, Trummy Young’s boisterous trombone, and every note that Satch plays.

49. Basin Street Blues (Jan. 21, 1955) With the All-Stars, Armstrong loved to start “Basin Street” as a ballad and then, after a drum break, have it swing hard. This is one of the better versions.

50. Honeysuckle Rose (Apr. 27, 1955) For this highlight of the Satch Plays Fats album, Velma Middleton takes one of her better vocals before the leader’s trumpet makes it hot.

51. I’m Crazy About My Baby (Apr. 27, 1955) Never part of Armstrong’s repertoire (though it should have been), this joyful jam is from his Fats Waller tribute album.

52. Mack The Knife (Sept. 28, 1955) Originally a morbid murder ballad, Armstrong turned it into a hit with a bright tempo and a happy vibe; just ignore the lyrics!

53. Indiana (Oct. 30, 1955) The perennial opener for Armstrong (following his theme), he worked out a perfect solo that was set by 1955.

54. Tin Roof Blues (Oct. 30, 1955) The passion displayed by the frontline of Armstrong, Trummy Young, and clarinetist Edmond Hall is remarkable during this slow and intense version.

55. New Orleans Function (June 1, 1956) Satch and his All-Stars recreated a New Orleans funeral with a somber “Flee As A Bird” followed by a joyful “Oh Didn’t He Ramble.”

56) Struttin’ With Some Barbecue (June 1, 1956) Completely different than his 1927 and 1937 recordings, Louis Armstrong stuck to the same predicable solo and ensemble parts that he worked out in the 1950s yet it never failed to excite.

57. St. Louis Blues (July 14, 1956) Performed with Leonard Bernstein and the New York Philharmonic (and filmed), this is a dramatic and very memorable meeting between classical music and Dixieland with the inspired Armstrong, Young and Hall amazing Bernstein.

58. Stompin’ At The Savoy (July 23, 1957) Louis Armstrong made three full albums with Ella Fitzgerald in the late 1950s with a lot of mostly tasteful ballads. This uptempo romp gets a bit crazy with plenty of ad-libbing and a brief but explosive trumpet outburst.

59. Rockin’ Chair (July 6, 1958) While Armstrong teamed up with other singers through the years on this humorous piece, Jack Teagarden was the perfect foil. They had a reunion at the 1958 Newport Jazz Festival, resulting in this version that was filmed for Jazz on a Summer’s Day and released on an album.

60. The Five Pennies Saints (Oct. 1958) From the movie The Five Pennies and available on the soundtrack album, Louis Armstrong and Danny Kaye perform a rollicking vocal duet filled with references to classical and jazz artists.

61. Avalon (May 24, 1960) In 1959 Louis Armstrong had a heart attack that put him out of action for a few months. He made a full comeback and joyfully hits very high notes during this performance with the Dukes of Dixieland.

62) Drop Me Off In Harlem (Apr. 4, 1961) While it is unfortunate that Armstrong never recorded with the Duke Ellington Orchestra, Duke did make a double-album in which he sat in with the All-Stars. This is a fine Ellington song that Satch otherwise never seems to have performed.

63. Summer Song (Sept. 20, 1961) At the 1961 Monterey Jazz Festival, Louis Armstrong sang and acted in the Dave Brubeck show The Real Ambassadors. Satch puts plenty of honest feeling into the Brubeck ballad.

64. Hello Dolly (Dec. 3, 1963) No matter how many times one hears this, it is impossible not to smile.

65. A Kiss To Build A Dream On (Apr. 18, 1964) Louis Armstrong began performing this ballad in 1950 (it was in the movie The Strip) and never lost his affection for the song.

66. Jeepers Creepers (Apr. 18, 1964) From the Hello Dolly album, this version has one of Armstrong’s last great trumpet solos.

67. When You Wish Upon A Star (May 16, 1968) Although in failing health, Armstrong uplifts all of the songs on the Disney Songs The Satchmo Way album.

68. What A Wonderful World (May 26, 1970) His second recording of “What A Wonderful World” has a spoken introduction and is the definitive version.

69. Boy From New Orleans (May 29, 1970) Armstrong’s semi-autobiographical song is from near the end of his life but is still full of happiness.

70. Blue Yodel No. 9 (Late 1970) Louis Armstrong’s last album was a set of country and western songs that he sang. He appeared on the Johnny Cash television show and surprisingly played trumpet on this collaboration with Cash, reviving a song that he recorded with Jimmy Rodgers 40 years earlier. Look for the heartwarming performance on YouTube.