Vol. V: Louis In New York

September 25, 1990 | Format: MP3

$9.99
Also available in CD Format
Song Title Artist
Time
Popularity  
30
1
3:23
30
2
3:31
30
3
3:23
30
4
3:14
30
5
3:06
30
6
3:14
30
7
3:17
30
8
3:22
30
9
3:06
30
10
3:08
30
11
3:12
30
12
3:05
30
13
3:11
30
14
2:58
30
15
3:28
30
16
2:56
30
17
3:21
30
18
3:17
30
19
3:18
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Product Details

  • Label: Columbia Jazz Masterpieces
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:01:30
  • Genres:
  • ASIN: B0013AUYS4
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #155,640 Paid in Albums (See Top 100 Paid in Albums)

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Most Helpful Customer Reviews

4 of 5 people found the following review helpful By Fred Wemyss (Actual Name) on December 10, 2003
Format: Audio CD
Here are the sides Satchmo recorded in the late nineteen-twenties. Some of these tracks on this disc are presented in several versions. For example, you'll hear "Ain't Misbehavin'" featuring Armstrong on cornet but with somebody else singing and, a few songs later you'll hear another take with Armstrong's vocal. Of course, he still takes the cornet solo. The difference in the vocals highlights how many light-years ahead of most singers Armstrong was.
The sound quality is much to my liking, although I know jazz enthusiasts who find it lacking. I think it sounds incredibly present. Of course, this particular collection has been on CD for about thirteen years now (which means it came out in 1990) and I wouldn't be surprised if, in all that time, Sony may have done something to the sound. In fact, I've had three copies in the last ten years, because I lost my first copy and for a while I was convinced the later pressings were a bit muffled. It seems to me it came out when Columbia was still called Columbia and now the word "Sony" is all over it. Would Sony altar the sound without saying so? I hope not.
Anyway, nobody double-tracked in the twenties and these, then, are live-in-the-studio takes of some songs which are still standards, featuring one of the most recognizable voices in the history of recorded music. That the man with the voice was also the biggest pioneer of the jazz solo shows what a dynamo he was.
Fats Waller's "What Did I Do To Be So Black and Blue" is sung with heartbreaking dignity and the cornet at the close of the song will stay with you.
The trombone and the bass throughout this collection make you think you're in a small cafe. The singing lets you know you're in good company. The cornet comes at you from the world stage.
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By RH on September 18, 2013
Format: MP3 Music
As Louis Armstrong completed his first decade of worldwide celebrite and utmost
praise at the end of the 1920’s, he had decide take his next step in his music career
when he formed a big band that result in the making of this highly versatile recorded
session (or a set of 78’s as usual). Realizing that Chicago wasn’t big enough to hold
him due to the epoch-making records he made with Earl Hines in 1928, he decide to
head to New York in 1929 to fully resumed his music career there, and after forming
his first-ever big band he recorded Louis In New York, a full-length recorded session
that showed he could swing just as great with a big band as with a small band, but it
never lasted. Highlighted with great arrangements and arresting performances, the
track set begins with Knockin’ A Jug (co-written by him and Eddie Condon), which is
proceded by an array of classic hits such as Mahogany Hall Stomp, S’Posin’, Funny
Feathers, That Rhythm Man and When You’re Smiling (in vocal or non-vocal takes).
You even get other important takes on other classic standards, like I Can’t Give You
Anything But Love, To Be In Love, Some Of These Days and a vocal and non-vocal
take on After You’ve Gone, as well as several Fats Waller classics like his signature
hit Ain’t Misbehaven and Sweet Savannah Sue, which makes this aspiring big band
masterwork a captivating stroke of genius and one of his greatest achievements, as
well as another important chapter in Armstrong’s rich colourful music history.
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