Recorded November 27, 1926
Track Time 2:37
Written by Percy Venable
Recorded in Chicago
Louis Armstrong, trumpet, vocal; Henry "Hy" Clark, trombone; Johnny Dodds, clarinet, alto saxophone; Lil Armstrong, piano; Johnny St. Cyr, banjo
Originally released on Okeh 8447
Currently available on CD: Both the JSP and Sony Complete Hot Five and Hot Seven boxes have it (I like the JSP better but the Sony has much better packaging if you go for that sort of thing)
Available on Itunes? Yes
Hi everybody! The e-mails have started trickling in from dear friends wondering if I'm okay since I just went two weeks without a blog after posting six in little over one week. I just want to say that everything is copasetic and the goose hangs high, as Pops would say. It's been a crazy busy few weeks with work, lectures, George Avakian's 92nd birthday bash at Birdland, my family (with my wife, very pregnant with our second daughter, due in June!) and putting the finishing touches on the book, which are due on Monday. I've already done a lot of prep work on my "Muskrat Ramble" series and hope to start rolling them out next week. But until then, it's St. Patrick's Day so let's make it a yearly tradition and listen to "Irish Black Bottom." Sound good? Here's what I wrote last year....enjoy!
Happy St. Patrick's Day, everyone! I don't know why it took me so long to celebrate this holiday on this blog but I've finally come to my senses (I guess it shows my heritage that I've already done a Columbus Day post, but nothing for St. Patty's!). It's not a hard topic by any means since Louis recorded a perfect song for the occasion: "Irish Black Bottom," a fun Hot Five record from 1926. Raise a beer, slice some corned beef and enjoy!
Isn't that a lot of fun? No, it's not earth-shaking art as "Potato Head Blues" or "West End Blues" but who cares? "Irish Black Bottom" comes from a series of Hot Fives Louis made in 1926 that most stoic historians tend to frown on or, in the case of some like Gunther Schuller, attempt to ignore completely. Why? Because they get in the way of the myth of the young Louis being a serious artist, not some commercial clown.
But all it takes is one listen to the complete Hot Fives and Hot Sevens to see that Louis was doing plenty of clowning during his "artist" days. On February 26, 1926, Armstrong's horn changed the world with his solo on "Cornet Chop Suey" and his stirring lead playing on songs like "Oriental Strut" and "Muskrat Ramble." But his voice also had equal impact that day as he rasped out the blues on "Georgia Grind" and popularized scat singing with "Heebie Jeebies." Naturally, the records all sold well with "Heebie Jeebies" causing a sensation.
OKeh was thrilled and corralled Armstrong into their studios for a string of sessions in June and another in late November. And these are the sessions that make the "serioius" Armstrong fans sweat: there's Louis shouting about doing the "mess around" or getting off eye-rolling lyrics on "Dropping Shucks." There's Louis playing a slide whistle on "Who'sit." There's Louis inviting vaudeville entertainers--friends of his--to the studio, people like Butterbeans and Susie, Clarence Babcock and Mae Alix. Here's Louis performing material he did nightly at the Sunset Cafe, songs written by that club's choreography Percy Venable. THIS is the Louis Armstrong of the 20s, not some frowning artist who forced to "go commercial" in later years.
And oh yeah, he still sounds like a genius on all of these cuts, taking a dramatic solo on "Skid-Dat-De-Dat" and one for the pantheon on "Big Butter and Egg Man." The critics particuarly adore that latter solo, with good reason, but they don't seem to want to discuss Mae Alix's booming vocal--she was a favorite of Louis's--or Louis's own Al Jolson-tinged offering. Nope, to them it's just about the trumpet, trumpet, trumpet. The trumpet IS brilliant...but they're missing a helluva lot of fun!
Which brings us to "Irish Black Bottom." Admittedly, this is not songwriting as its finest but as a novelty, it's good fun. The "black bottom" was a popular dance of the 1920s so this tune humorously pretends that it's also taken Ireland by storm. If Louis had to record something so silly in the 1950s, critics would scream at the producers for forcing it on him. But "Irish Black Bottom" was written by the aforementioned Percy Venable so more than likely, it was a staple of Louis's act at the Sunset. And can't you imagine Louis bringing down the house with that vocal? That "ha, ha" he gives after singing "And I was born in Ireland," breaks me up every time. I can only imagine what it did to the audiences who heard him do it live.
The song begins with the funny sound of Louis and his Hot Five swinging through a sample of the Irish classic "Where the River Shannon Flows" before Louis swings out with the main melody, which is predominantly in a minor mode until the end. Louis's lead sounds great and Dodds is bouncing around as usual but trombonist Hy Clark, a substitute for Kid Ory, sounds hesitant and doesn't add much. After a chorus and an interlude by pianist Lil Armstrong, Louis takes the vocal. If you can't make it out, here's what he says:
All you heard for years in Ireland,
was the "Wearin' Of The Green",
but the biggest change that's come in Ireland
I have ever seen.
All the laddies and the cooies
laid aside their Irish reels,
and I was born in Ireland
(Ha, Ha), so imagine how I feels.
Now Ireland's gone Black Bottom crazy,
see them dance,
you ought to see them dance.
Folks supposed to be related, even dance,
I mean they dance.
They play that strain,
works right on their brain.
Now it goes Black Bottom,
a new rhythm's drivin' the folks insane.
I hand you no Blarney, when I say
that song really goes,
and they put it over with a wow,
I mean now.
All over Ireland
you can see the people dancin' it,
'cause Ireland's gone Black Bottom crazy
I don't know how you can't get swept up in that offering. Armstrong doesn't so much sing it as shout it, or talk it, but his spirit sure gets the message across (though sometimes, he's so far from the written melody, it sounds like he's singing a different song on top of Lil's chording on the piano). After the vocal, Clark and Dodds take forgettable short solos and breaks before Louis carries the troops home with brio. Louis's lip trill towards the end is particularly violent and right before his closing breaks, he dips into his bag for a favorite phrases, one that ended both "You're Next" and "Big Fat Ma and Skinny Pa." The concluding break is so perfect in its phrasing and choice of notes that I believe it might have already been set in stone by Pops during his live performances of the tune at the Sunset. Either way, that's no reason to criticize him; it's a perfect ending and puts an emphatic stamp on a very entertaining record.
That's all for now. Have a happy St. Patrick's day and don't forget to mix in a little Louis with your Guiness. I hand you no blarney, it's a great combination...