Friday, May 30, 2014

The Mosaic Has Landed

On June 23, 2006, I took a few minutes to write an e-mail to Mosaic Records, pitching them a crazy idea I had to do what I estimated as an 8-10 disc boxed set of live recordings Louis Armstrong recorded for George Avakian at Columbia throughout the 1950s. Scott Wenzel wrote back and said he'd look into it.

On May 27, 2014, a 9-CD Mosaic Records boxed set arrived at my front door: Columbia and RCA Victor Live Recordings of Louis Armstrong and the All Stars. Co-produced by Scott Wenzel and Ricky Riccardi. Liner notes by yours truly.
Ta da! Seconds after opening it.
It's been nearly eight years since I first had the idea and anyone who has followed this blog for the past year knows that it's been full of all sorts of craziness. But now it's over. The set is here, it is real and if I say so myself, it is fantastic.

This is slightly old news if you follow me on Facebook as I've pretty much devoted every post this week to basking in the glow of this set. It's been absolutely beautiful hearing from Armstrong fans from all over the world who are just as excited by it, telling me when they're getting shipping notices and when their credit cards have been charged! Right now, I feel like I'm one of only a handful of people to have experienced this set (almost literally a handful; my set number is 8 out of 5,000!). I'm really excited for that number to grow in the coming weeks and years. Please, please, please let me know what you think of the set. Leave a comment, find me on Facebook, shoot me an e-mail, I'd love to hear from you.

I've already heard from one person who has enjoyed the set....a person with a huge audience, to boot! Imagine my surprise when I'm getting ready to go to sleep on Memorial Day (still without a set) and I get a Google alert with a link to a rave review in the Wall Street Journal by Tom Nolan! I'm still in shock but completely thrilled by Mr. Nolan's comments. He really got the point of this set and I'm hoping others do, too.

And though it's lovely that people keep congratulating me, please, please, please also give thanks to my co-producer, Scott Wenzel, and our engineer, Andreas Meyer. I just had the idea and wrote a lot of long e-mails, playing detective and trying to avoid catastrophes. Scott brought the usual class and thoroughness that we've come to expect from Mosaic Records. Seriously, no one else would do a set like this and if they did, it wouldn't be without the care and commitment that Scott brought to this project. And as I've chronicled before, Andreas Meyer was an absolute wizard in the studio, saving Louis's Newport 1956 vocals and making like a modern day George Avakian, with all sorts of crazy splices and edits to make. He nailed every one.

And obviously, this has been a very personal project for me, as well. Three years ago tomorrow (also my daughter's birthday), I saw my book for the first time. And here we go again with the Mosaic set, which is truly a sequel, or at least a companion, to the book, right down to the cover photos, which come from the same Paris concert in late 1955:

This here blog has been pretty much dedicated to Mosaic updates and news for the past year. I know some readers out there are anxious for me to get back to my excitable commentary on Armstrong recordings...and I'm anxious to get back to that myself. I'm sure I'll continue to have Mosaic news to report throughout the summer--reviews, public appearances, etc.--but once the excitement dies down, I, too, am planning to get back to tackling so many of the Armstrong recordings I've yet to write about.

But not yet. If you need me, I'll be listening to this set!

Thanks for all the support and for those who have purchased it and are planning to purchase it, please enjoy!

And as always, Pops, it's all for you, Louis, all for you.

Standing in the den of the Louis Armstrong House Museum with Pops smiling over my shoulder.

Thursday, May 22, 2014

Surprise! Louis Armstrong Meets Horace Heidt

It shouldn't be a surprise that I live for new Louis Armstrong discoveries, especially if it's footage. Since 2008, I've gone to the Satchmo Summerfest in New Orleans every year to show at least three hours of Pops videos and after doing this for six years, I'm starting to repeat myself. And though it doesn't happen often, anytime anything new pops up, I'm all over it.

Earlier this week, I was in a zombiefied state riding the bus to work one day after I spent 16 hours soaking in the music at the incredible New York Hot Jazz Festival. I wasn't sure if I could fully function but then I checked Facebook and my friend Simone Dabusti had something stronger than coffee: a brand new 8:26 long video of Louis on Horace Heidt's TV show, "The Swift Show Wagon," broadcast live from New Orleans on February 26, 1955! Eureka!

For years, I saw this entry in Jos Willems's Armstrong discography and wondered what it was all about (Willems might not have known either as he only listed an "unknown studio orchestra" and not the All Stars, who are clearly visible onstage). Then, when I started working at the Louis Armstrong House Museum, I found that Louis had the audio of this entire segment on one of his private reel-to-reel tapes. I listened to it and loved it but mistakenly described it as a "radio" broadcast (something I'll fix next week!). But would the visuals ever service?

When it comes to early TV broadcast, the answer is usually "no," but things keep popping up all the time. A few weeks ago, as part of the wonderful month-long "Marxfest" celebration that is currently gripping New York, I attended a presentation by the great Robert S. Bader on an upcoming boxed set he's producing for Shout Factory of rare Marx Brothers TV appearances. He told the stories of how he found most of them and sure enough, a good deal of kinescopes were found in the closets and attics of the Marx's descendents. Thus, it was no surprise to see the Horace Heidt video uploaded by an account called "Horace Heidt Productions" as Heidt's family must be the only ones to have the original film. And to upload it on YouTube? Bless them!

I'm going to shut up for a minute and share the video and then we'll give it the blow-by-blow analysis:

Heidt, of course, was one of the most popular bandleaders in the country at the time and a fixture on the radio since the early 1930s. Louis never talked much about him, only having one record in his collection ("Rain"), but one can imagine he was a fan since he had a sweet tooth when it came to some of his tastes in music (paging Guy Lombardo!). For this summit meeting, Louis back in his hometown of New Orleans, where he had been filmed on the "Colgate Comedy Hour" one week earlier. This would be his last trip home until 1965; in 1956, the city passed a law prohibiting integrated bands from performing in public and Louis, who was proud of his integrated All Stars, stayed away for ten years.

The All Stars can be seen in this clip, but they're mostly in the background. Still, this is the great "W.C. Handy/Satch Plays Fats" edition with Trummy Young, Barney Bigard, Billy Kyle, Arvell Shaw and Barrett Deems and it's always great to see them. They open with an appropriate choice, "Way Down Yonder in New Orleans," which had been in the band's book for years. However, this is a different version, complete with a key change and a three-chorus solo by Armstrong that builds higher and higher until he's wailing the melody an octave higher by the end, with plenty of improvised--inspired--phrasing. It's a swinging start....though the dancers could have used a little more rehearsal!

Then it's time for Louis to indulge in the usual white-guy-tries-hip-talk routine that he had to endure almost anytime he showed up on TV, too (he wasn't alone). But Louis, as always, is a natural, even with corny scripted comedy, delivering lines like "Horace Heidt, the corn cobbler" and later, "Dig you? I'll bury you!" with that impeccable comedic timing. I laughed.

And then a real neat thing, Louis introducing Faye Emerson by playing snippets of "'A' She's Adorable," "A Pretty Girl is Like a Melody" and "Sophisticated Lady." The latter is only two bars long but hearing Louis play Ellington's melody even so briefly is simply breathtaking. If only he had recorded a full version!

The finale is a "hot vs. sweet" battle between the "hot" Armstrong and Heidt's "sweet" saxophonist, Tony Johnson. It's a fun novelty with Pops blowing like made on "The World is Waiting for the Sunrise," a tune that was not in the repertoire, but he was in an improvising mood that day and sounds great (though I'm sure some in certain parts of white America at the time, the sweet sound of Johnson's alto was preferred!). Both bands then join forces on an exciting "Muskrat Ramble," with the Charleston dancers returning, still not quite together. A lovely moment is when the house lights are turned on the audience; everyone's clapping on a different beat (some in between!) but they're having a great time. Oddly, the microphone doesn't seem to be catching Pops, as his tone could normally cut through anything. Fortunately, after a short Trummy Young break, Louis takes it up and out and everyone goes home happy.

This is the second time in the last six months that a terrific piece of rare Pops television footage has shown up on YouTube (the other being the jaw-dropping "Nobody Knows the Trouble I've Seen" from 1957's "Crescendo" that I blogged about here). I know there's more out there...may they keep turning up! (And how nice would a "Louis Armstrong on Television" DVD set be? We can dream, can't we?)

Wednesday, May 14, 2014

New York Hot Jazz Festival 2014 - This Sunday!

I must take a break from Louis and Mosaic Madness to quickly mention that this Sunday is the event to end all events for lovers of traditional jazz and swing: the Second Annual New York Hot Jazz Festival. Seriously, if you within a 50 mile radius of The Players Club in New York City on Sunday and you choose NOT to go to the NY Hot Jazz Festival....all I can say is, for shame....

I don't think I have seen a lineup quite like this one, with a unbeatable mix of established veterans in this field like Vince Giordano (who will be featuring the great Catherine Russell), David Ostwald and Ken Peplowski, coming together with some of the emerging young stars like Bria Skonberg, Adrian Cunningham and the Hot Sardines. Take a minute and just look at the schedule....I still don't think I've wrapped my mind around it.

And I'm honored to be taking part and representing Pops throughout the first half, as I'll be showing five hours of Armstrong footage in the first floor grill room. Now, with so many living, breathing musicians in the building, I wouldn't suggest spending the first five hours watching old videos. But it IS Louis and as I wrote last year, these are Louis's grandchildren so even if you just need a breather to get "Dipp-ed" for a minute, please say hello! (I still haven't finalized my clips but do expect rare appearances of Louis on TV, in films and concert, as well the complete rarity of rarities, Satchmo the Great.)

The festivities start at 1 p.m. and will be running at the Players Club until 1 a.m., with an after-after party at Mona's from 1 a.m. until, I don't know, maybe Memorial Day. Last year, I was one of the few and proud who was there from the first note through the last and I expect to do the same this year. (Special thanks to coffee...a great invention I didn't discover until I turned 33 last September!)

Now, if you haven't noticed, the hot jazz movement has been building steadily for the past few years. Last year, it erupted in the first annual Hot Jazz Festival on August 25, 2013. If you don't mind, I'd like to quote some of what I wrote back then because I think it holds true (if you'd like to read the entire original post, click here):

"Hot jazz hasn't exactly been in the mainstream of modern pop music, but it's never gone away. Anyone who has spent just a few minutes at my brother Michael Steinman's Jazz Lives blog, already knows that this swinging style of music is alive and well both in New York and California, while friends of mine have told me about scenes in Boston, Portland, Austin and elsewhere (not to mention New Orleans, where I don't think it has ever slowed down)."
"Of course, don't tell this to the jazz mainstream press. Anytime a writer from the New York Times or Down Beat or whatever decides to go slumming into a city's traditional jazz scene, it's always to write a "nostalgia" based piece. None of the musicians who play this music get the cover of Jazz Times (hell, can anyone name the last time Louis was on the cover of a jazz magazine? 2001?). Bop came in in the 1940s, everything before it got relegated to the museum and that's pretty much been the story for the last 65 years, with every magazine and column covering the modern-bop-free stars of today and yesteryear, but turning a blind eye to anyone who just wants to swing and play hot music, preferably for dancers."

"Well, even though the above cities I listed all have popular, if underground, traditional scenes, the reality is for any kind movement to really gain traction, it has to blow up in New York City at some point. And that's what is happening now....I've noticed it for years now: more and more young musicians popping up all over NY interested in Louis Armstrong and the pre-bop style, musicians who find more of a challenge in ensemble interplay than running Coltrane substitutions. (Disclaimer: no disrespect to Coltrane or any of the other modern jazz stylists. I love all kinds of jazz, though my heart is with the traditional/swing stuff. The point is, it's a big world and there's plenty of room for anyone to play any style they like. There might not be plenty of gigs for that, but I see no need in reviving the jazz wars of the 1940s and to start calling out moderninsts and for them to start mocking the traditional players. No one's getting rich, so can't we all just play the music we want? End of rant.)"

"I've said it for years (to no one in particular) but the whole pre-bop aesthetic, to me, has always seemed like the only type of jazz that really gets people going, makes them want them to dance, makes them want to scream. I've been in those types of audiences, where the surge of emotion and noise is coming from both directions, on and off the bandstand. I've been in plenty of concert halls and respected plenty of quiet policies, but at some point, it's fun to let loose. I listen to broadcasts and concerts from the 1950s all the time--Louis, the George Lewis band, "Dr. Jazz" broadcasts from Central Plaza, etc.--and it's always blown me away, hearing the sounds of obviously younger people screaming and clapping for this style of music. That generation wanted to have fun and this music encouraged it. When the other styles of jazz said, "Shh, pipe down and listen," those fans got up, went to rock and roll, went to Ray Charles, went to Motown, and went right on down the line of American pop music, leaving jazz in the dust. But I've seen it for myself too many times now that when this style gets cooking, it elicits the same reaction in young people in 2013 as it did in 1953, 1943, 1933 and 1923. And it's not about nostalgia, it's about music that makes you feel good and want to move."

That was written BEFORE the first Hot Jazz Festival. The actual day's events ended up going down as one of the most memorable days I've ever spent as a jazz fan. The music was great, needless to say, but there was something about the audience that was especially heartening: about 80% seemed to be younger than 35 and they were not there from an ironic perspective. As I wrote in the previous paragraph, they were there to have a good time....and brother, they did. I'll never forget standing wall-to-wall in a crowd of people, standing, drinking and dancing to the music of trumpeter Bria Skonberg. At one point, she threw it to soprano saxophonist Aurora Nealand for a thoroughly New Orleans-ized (?) version of "Margie." People were going nuts. I was happy to be standing next to David Ostwald, who has been immersed in this music since the early 1970s. Even he had never seen anything like it. When everyone was screaming to "Margie," I turned to David and screamed, "Listen to this! They're screaming their heads off and dancing to a song written in 1920 by Con Conrad and J. Russell Robinson!" We just shook our heads in disbelief and went back to enjoying the music.

Fortunately, some videos popped up so if you think I'm just running my mouth for the helluva it, check these out.

Mona's Hot Four doing Bechet's "Chant in the Night":

The Hot Sardines tackling "Them There Eyes" (the opening "woo" is by the aforementioned David Ostwald):

And a few videos of the jam session shot by yours truly. First, everyone singing along (at about 1 a.m.) to "I'll Fly Away":

And finally, another jam session number, "Shine":

There's even more videos on Facebook but I'm going to quit while I'm ahead. So if you need me on Sunday, you'll know where to find me (and you might know where to find me on Monday, too: bed). But like last year, I'll leave Louis with the last words, taken from a letter he wrote to young trumpeter Chris Clifton on February 6, 1954 (you can read the whole thing here), after Clifton wrote him and told him he was a young trumpeter playing "Dixieland." Take it, Satch:

"‘Man, – you haven’t the least idea – how thrilled, I am, to be able to sit down and write to a ‘Cat, who feels the same way that ‘I do about the greatest music on this man’s earth,—DIXIELAND… ‘Lawd-today…’Gate—you’re a man after my own heart… I’ve always said—Dixieland is Universal… From one end of the earth to the other–the music’s the same, so help me….."

"Which again, makes my word come true, especially when I said – music is, er, wa, – Universal….. You yourself – could have done the same…Because, from the way that I dugged your very fine letter, – you take your horn serious the same as ‘I do…. God Bless Ya Son [...] And every country that we travel into, our music was the same… So you see in case you’d decide to make a tour to anywhere in the world, have no fear because our music (I’d say) is more of a Secret Order [...] real honest to goodness dixieland music will live for ever – without a doubt…"

"There was a certain big time musician, who made a nasty crack, as to, Dixieland Music, is ‘first grade music… Now – maybe you dont pick up on this Cat…But, I, being in the game for over forty years, etc, can easily see, that this young man who said it, the reason why he said it because he hasn’t the soul enough to express himself in dixie land music like he really would like to… So, he’ll say those slurring words knowing that the country’s full of idiots (also) who will believe him for a while, thinking that there really is such things as to different grades of music for the world to abide by [...] Where I came from, there weren’t but two kinds of music, – good or bad [...] Anyway my friend…Don’t let no one change your mind…Play the music that your heart tells you to play…There will always be somebody to gladly live it with you…"

Friday, May 9, 2014

50 Years Ago Today....Hello, Dolly at #1

Louis Armstrong and His All Stars
Recorded December 3, 1963
Track Time 2:28
Written by Jerry Herman
Recorded in New York City
Louis Armstrong, trumpet, vocal; Trummy Young, trombone; Joe Darensbourg, clarinet; Billy Kyle, piano; Tony Gottuso, banjo; Arvell Shaw, bass; Danny Barcelona, drums
Originally released on Kapp K-573
Currently available on CD: Close your eyes and pick an Armstrong C.D. and most likely, you’ll find one with “Dolly” on it
Available on Itunes? Yes, more versions than you can count
Back in December, I published this gigantic history of Louis Armstrong's relationship with "Hello, Dolly!" on the 50th anniversary of the recording of the song. Well, today is arguably an even bigger anniversary: today's the day when "Dolly" did the unthinkable and hit number 1 on the Billboard pop record charts! The Beatles had owned the top of the pops for 14 weeks but they were finally derailed by Pops himself.

Tomorrow, if you're in New York, I'm going to be taking part in a celebration of Hello, Dolly! at the Museum of the Moving Image in Queens, co-presented by the Louis Armstrong House Museum. After a dessert reception at 1 p.m., I'm going to give a 15-20 minute history of Louis and "Dolly" complete with audio and some footage of Pops performing Jerry Herman's tune live. And then at 2 p.m., the film Hello, Dolly! with Barbra Steisand and 90 seconds of Louis will roll. It should be a fun afternoon but if you can't make and want the whole story, allow me to re-post the whole thing here. Enjoy....and yeah, Pops, still #1 to me!


50 years ago this week, Louis Armstrong walked into a recording to studio for the first time in over two years. He hadn’t needed records for a while as he consistently sold out his live shows around the country and around the world. But on December 3, 1963, Armstrong and the All Stars recorded two Broadway showtunes as a favor for a friend of Joe Glaser. Much focus was put on one song, “A Lot of Livin’ to Do” from Bye Bye Birdie, a song Armstrong’s friend Jack Bradley predicted could become a hit with the proper push on the radio. The other song, “Hello, Dolly” was for a Broadway show that hadn’t even opened yet. Armstrong wasn’t too impressed but gave it his all. The date was over and that was that.

Well, of course, you know what happened. Armstrong forgot all about the tune until people in the audience of his shows began shouting for it. He had no idea what it was all about until he was reminded that it was from this forgotten record date. Using a record as a guide, the band worked out a routine and began featuring it. The result was bedlam and soon enough, Armstrong’s Kapp single began climbing the charts, entering on Cash Box at number 68 on February 22. The following week it was number 35. Slowly it climbed, even with the Beatles looming large at the top of the charts. That didn’t deter the “Hello, Dolly” express which hit number one in Billboard on May 9 and number 1 on Cash Box on May 16. Once again, Louis Armstrong was on top of the world.

Now, I know what you’re thinking: “Jesus, Rick, you write six pages on the history of ‘I’m in the Market for You’ but ‘Hello, Dolly’ gets two paragraphs? Are you feeling okay?” The truth is I’ve never felt better but there’s a few reasons for my unexpected backstory brevity. First, this special 50th anniversary post is an update of something I published on December 1, 2008 on the 45th anniversary of the tune. And it was in this paragraph that I teased the fact that both my then-upcoming book and Terry Teachout's then-upcoming book would have much new information on the song.

Well, five years have passed and both my work and Terry's work are in paperback. The story is out there in all its glory.

But only here, my friends, will you get the traditional Riccardi blowout examination of all the versions of “Hello, Dolly” in my collection, numbering over 20. Now before you immediately close down this window and switch back to Facebook, let me state that I’ve done my usual editing job so don’t worry, you won’t have to sit through a bunch of six-minute versions with a ton of encores. Instead, I’ve pulled out a lot of the trumpet solos because the truth is, “Dolly,” though not a tremendous piece of songwriting, featured a different set of chord changes that Armstrong responded to with great affection. He loved changing up his solo on this one, even if it was only a few notes at a time. We’re going to look at a bunch of those solos but first, to all get in the mood, let’s listen to the classic 1963 recording in all its splendor:

You’ve got to admit, it’s a pretty great record. The jazz world loves to crap on it, with people crying outrage when it was included in Ken Burns’s Jazz documentary. It’s no “West End Blues” but damn, it’s a lot of fun, starting right off with Tony Gottuso’s banjo introduction, which Gary Giddins once likened to an alarm clock. Then there’s the ingenious touch of “This is Louis, Dolly,” one of Armstrong’s all time greatest lyric changes. Okay, that is something that Terry and I covered that is worth mentioning again. It was session producer Mickey Kapp who suggested to Louis to sing something like "This is Louie, Dolly," causing Armstrong to respond, "It's Louis!" And sure enough, that's how he sang it. At the Louis Armstrong Archives, we have Louis's part from the session and sure enough, in somebody's handwriting, "It's Louie" is written on the lyrics. Louis went his own way and gave posterity a clue on how to pronounce his name properly.

The record is like an audible Red Bull, so peppy and infectious (and without the chemicals). Trummy Young, making his last recording date with the band, sounds great playing a muted trombone obbligato while the rhythm section makes the two-beat feel bounce appropriately before swinging hard during the trumpet solo (notice, an almost perfectly edited splice before the trumpet comes on, allowing Armstrong time to get his chops in his horn). If you listen carefully to the version I posted, you’ll hear soft strings and a pounding tack piano, two additions made in post production by producer Mickey Kapp, though thankfully you really have to listen to hear it. Don’t strain yourself and instead enjoy a wonderful, seamless ensemble chorus by the All Stars, an incredibly professional unit til the end.

Armstrong’s trumpet is a gem though it’s clear he’s working on about 95% power. Still, he swings with relaxed ease, turning up the heat in the second half. And for someone who apparently didn’t think much of the song, he sings the hell out of it in the reprise, a muted Trummy powering him along. Classic stuff.

On March 22, 1964, with “Dolly” in full flight, Arlene Francis asked Armstrong to sing a chorus during his appearance on What’s My Line. Armstrong happily obliged, turning in a full a cappella outing do huge applause, a clip that is excerpted in the Gary Giddins documentary Satchmo but somehow is not on YouTube. Just two weeks later, Kapp brought the All Stars into the studio to record an entire album to be titled, you guessed it, Hello Dolly! Armstrong got to record some of his old stand-bys (“Blueberry Hill,” “A Kiss to Build a Dream On,” “Someday,” “Jeepers Creepers”) while Kapp saddled him with a few more showtunes from the okay (“You Are Woman, I Am Man”) to the timeless (“Moon River”). It’s a very, very good album and naturally, it sold very well. On top of the world, Armstrong and the All Stars debuted “Hello, Dolly” on national television on The Hollywood Palace, an episode taped in April and aired in May, but one that I have never seen. We do have audio of this one at the Armstrong Archives, as all two other early versions from the summer of 1964, one from Sparks, Nevada in June and another from Ottawa. Both are terrific with completely different trumpet solos from later versions. Alas, because they're property of the Museum, I can't share them here but if you come visit me at Queens College, I'll play them for you all day long!

Armstrong eventually did it on the Ed Sullivan Show on October 4 and finally, it’s a version I have so we can begin the musical tour right here. Again, Armstrong sounds great but not quite 100% but still, it’s the only “Dolly” to get an introductory cadenza, so it gets points for that. Dig it:

I love Armstrong’s yell after the trumpet intro. He clearly loves the tune and delivers it with even more enthusiasm than the studio record. The trumpet solo is pretty spectacular, too, hitting some notes higher than any approached on the single. For those who want to just follow the trumpet solos, here it is again:

In early 1965, Armstrong and the All Stars embarked on a historic tour of Europe that finally found Armstrong breaking down the Iron Curtain by playing in places such as Prague and East Berlin. Numerous shows exist from this tour, all of them capturing Armstrong in peak form for one last extended period. In my collection, I have three complete versions (with encores) from the 1965 tour, as well as a video of another and one more extended performance from Paris in June of 1965. Examining all these versions is proof that Armstrong hit on a “set” solo for “Dolly” and rarely deviated from it during this period. But before we get into the nuts and bolts of the trumpet playing, why don’t you settle down for six minutes and enjoy “Hello, Dolly” in all its post-stardom glory. In my 2008 version of this blog, I posted the audio, but thanks to my man Austin Casey, here it is on YouTube from East Berlin, March 22, 1965 (and I hope to have a LOT more about this concert in a couple of days so come back soon!):

Pretty infectious stuff. It’s just six minutes of joy personified, with the band swinging like crazy and Armstrong sounding happier than ever. But pay attention to that trumpet because Armstrong played some wonderful stuff on “Dolly.” As I said, his solos didn’t change much, but there are some subtle differences and there. I’ve edited them all out, 43 seconds at a clip so here they are, beginning with Prague:

Isn’t that great? It’s one of those solos where Armstrong placed each note perfectly, treating them like individual diamonds in an elaborate setting. There are no quotes except something that’s very similar to “Struttin’ with Some Barbecue” leading into the second half. Still, even Superman occasionally goofed as could be heard in this solo from Armstrong’s last Prague performance. He muffs an early phrase but actually finishes a little stronger than the first solo (sorry, it’s pitched a little too fast):

Now here’s the Berlin solo you just heard in the complete version:

And a version from Paris a few months later:

Those are both pretty damn strong. But what about the encores? Even they stayed pretty much the same during this period. Let’s go back to the first Prague:

Quote city! He starts with “Here Comes the Bride,” plays a snatch of “Dixie,” improvises a bit, then quotes “Stormy Weather,” leading perfectly into “Japanese Sandman.” Four quotes in 40 seconds? You’ve got to give the man credit for that. Needless to say, with something so worked out, there’s very little variation in the other versions from this period. There is SOME variation, but not enough to waste a couple of minutes of your time. But how about a video? During the same tour, Armstrong did a TV appearance with tenor saxophonist Max Greger’s big band. Armstrong did “Dolly,” naturally, playing his normal solo once then coming back for an encore, which consisted of a vocal first before a trumpet solo of monumental strength. I have the full clip at home and can attest that Armstrong quickly fluffs a note in his first solo and finds time to have a quick sip of water to soothe his dry chops. However, of the five (!) different versions of this clip on the Internet, each and every one of this has this first solo edited out, which is a shame. But here’s the encore, and as you’ll hear, it’s different than the encore played above (no “Here Comes the Bride”). I like to play this during my Armstrong video presentations because few clips better capture the ridiculous large sound of Armstrong’s horn in the mid-60s. He lost a little velocity, but geez, what power, especially when backed by the big band. Even Armstrong worshipper George Avakian, no fan of "Dolly," told me after seeing this clip at Satchmo Summerfest, "Geez, I might have to change my opinion on that song!" Here ‘tis (over 6.5 million views on YouTube as of 12/3/13!):

Naturally, Armstrong continued to perform “Dolly” each night, but in my collection, I don’t have another version after the June 1965 Paris one until a Chicago concert date at the Arie Crown Theater in December 1966 (I do have video of Pops doing it on ABC's Shindig in July 1965 and it's great, but alas, not on YouTube and I don't have the audio). Armstrong still had his sound but in the interim period, a bunch of punishing songs took their final bows in the All Stars repertoire. It seems that there would be no more “Basin Street Blues” or “Royal Garden Blues” or “On the Sunny Side of the Street.” Some songs stayed but with differences: he began editing out his solos on “Indiana” and “Muskrat Ramble” and though he continued to play brilliantly on something like “The Faithful Hussar,” he had to come down a few notes from the crazy endings he played on it in 1965. “Dolly” was still around and it still had its encores but now all the encores would be sung, leaving Pops with a one chorus “Dolly” solo each night. Interestingly enough, it’s here where we’ll begin to hear Pops changing things up a bit. First, here’s the solo, in rough sound quality, I know, from Chicago, December 1966:

The entire first half is almost completely new and he even throws “Japanese Sandman” into the second half. He sounds great from top to bottom. In 1967, pneumonia kayo’d Armstrong for a bit but when he recovered, he proved that he was ready to blow by making an appearance on The Tonight Show that found him turning in strong solos on “Dolly” and even “Mame,” a song on which he never took a solo on otherwise. Here’s the driving “Dolly,” with two All Stars (Tyree Glenn and Marty Napoleon) and some personnel from the Tonight Show Orchestra, including Tommy Newsom on clarinet, Tony Mottola on banjo, Ed Sanfranski on bass and Ed Shaughnessy on drums, all terrific musicians:

It’s almost completely different from Chicago, opening with what sounds like a touch of “Idaho” while, later, he throws in both “Stormy Weather” and “Japanese Sandman.” But in between all the fun quotes, there’s a lot of different phrases. Just a few nights later, Armstrong and the All Stars were ready to go back out on the road, this time with a new clarinet player, Joe Muranyi. Muranyi told me about how the critics brushed off this edition of the All Stars, saying, “Oh, he’s just playing ‘Hello, Dolly’ all over again.” I’ll let the late Muranyi take over, an interview I conducted with him in October 2006:

“Now granted, yeah, he was playing ‘Hello, Dolly’ but he varied it. He varied it. I’ll tell you something interesting. I joined the band, we’re playing ‘Hello, Dolly.’ Okay, it’s not a bad song when you get down to it. Better than most rock that goes on today. But we got it so the ensemble worked very good. Tyree sort of led the way. He had been playing it, he had worked out these things. And I tell you, it’s an interesting thing, some people learn their own chorus and repeat it. Louis had some of that, but that’s a very deep sort of thing. But I didn’t, I kept trying. So we had a version of ‘Hello, Dolly’ that just by night after night after night was pretty good. I was smart enough to know that he leaves holes. There are many great things about him, that he did first or was very good at it, was the best, and one of them was that he was a perfect natural in terms of phrasing. He would leave holes for the clarinet and trombone to fill. And it was just a wonderful thing. And when he played, a lot of times, he makes a phrase, there’s a pause, and he does something. He sets himself, like call and answer, he’s doing both parts! I never knew if it was intuitive—I think there was a lot of that—or if he worked it out but I think he had a very profound mind in a way. I mean, I don’t want to make a god out of him. So we have this ‘Hello, Dolly’ down and I’m saying, ‘Okay, Hello, Dolly….uh! He’s changed!’ There’s another one. With little subtleties. I said, ‘Oh, isn’t this interesting.’ So I got that one down and one night, he goes back to one! But he’s got to know what he’s doing. And then we go right back to one and two, one and two, one and two and then one night--three! And I don’t know if we ever got more than three, but I’m not sure. So maybe for an audience, it was just ‘Hello, Dolly’ again, but I never got bored with it.”

So Pops had his three or so variations of the “Dolly” solo, of which can be heard on the following series of clips. Here’s the band at Ravinia Park in Illinois, June 30, 1967, Muranyi’s first week with the band:

It’s a good solo but the first half is almost identical to the Tonight Show version. But dig the second half: no “Japanese Sandman” and some new stuff. A few weeks later, Armstrong did a broadcast from the Steel Pier in Atlantic City on July 22. He wasn’t having one of his best nights and you’ll hear that he sounds awfully weak in the beginning. But in the middle, he eschews both “Stormy Weathe” and “Japanese Sandman” and comes up with different ideas, including a short descending motif that he works over brilliantly with his unfaltering sense of rhythm. Here it is:

Later that week, Armstrong embarked on a tour of Europe that featured some very erratic moments. But he always thrived on “Dolly.” Here it is from Juan-Les-Pins, France, July 26, 1967:

Now that’s a helluva solo. No quotes and he’s in command throughout. I love the stuff he does in the middle, always changing. He even toys with the descending idea he played in Atlantic City four days earlier, but quickly discards it in favor of something fresh. 24 hours later, still at Juan-Les-Pins, he turned in this solo:

Just one day later and it’s completely different with both “Stormy Weather” AND “Japanese Sandman” back in there. Now do you see what Muranyi meant? You never knew what Pops had in mind on this tune. In fact, let's take a little audio break and watch Pops in action, okay? Last time we saw him, it was in East Berlin in 1965. Now let's watch the entire Juan-Les-Pins performance from July 27, 1967 to see how he was doing the whole routine then, including encore:

Six months later, on December 20, 1967, Armstrong tore it up on “Dolly” again during an Operation: Entertainment ABC broadcast from the Fort Hood Army Base in Kileen, Texas, playing a solo similar to the one we just heard. But fortunately, this one exists on YouTube so we get to see how Armstrong worked over the crowd on the song. Here's the entire terrific segment, with "Dolly" starting at 5:40:

In February 1968, Louis was filmed for an episode of the Bell Telephone Hour called "Jazz: The Intimate Art." I blogged about the entire 16-minute clip here earlier this year. It's worth watching in total but there's a great excerpt of "Dolly" live in Pittsburgh, a version Joe Muranyi was very proud of, with good reason. Starting around bar 14, Louis plays a lot of new ideas but leaves those "holes" Joe told me about, allowing Muranyi to create an effective response each time. Here's the clip:

In June 1968, Armstrong headed to England for a relaxed stay that actually found him staying put for an unusual length of time, playing nightly at the Variety Club in Batley, Yorkshire, England for a couple of weeks. Two “Dollys” survive from the run, recorded within a day of each other. Here’s the first, again in shaky sound, from June 18:

I know what you’re saying: that was very similar to the ones we heard with both quotes in the middle. But here it is the following night, June 19:

Look ma, no quotes! Further proof that Pops continued switching things up on an almost nightly basis with "Hello, Dolly!"

Right before Armstrong left for England, he filmed a short role in the 20th Century Fox film of Hello, Dolly, starring Barbra Streisand, one of Armstrong’s favorite singers. Armstrong only appeared in the film long enough to sing one chorus but he received nearly top building and is an unquestionable bright spot in the film. Here’s the clip:

Louis Armstrong & Barbra Streisand [Hello Dolly] by ghaw2007

Unfortunately, by the time the film was released, Armstrong was suffering from a variety of a ailments that kept him away from performing for the entire year of 1969. When he returned to the public eye in 1970, he made a lot of television appearances but always as a singer, often doing “Dolly” (he once did it on the Mike Douglas Show as a duet with Pearl Bailey...via phone!). Around this time, he made a surprise appearance at a Duke Ellington tribute in Madison Square Garden and, after telling his favorite "hamburger" joke, sang a couple of choruses backed by the Ellington Orchestra, B.B. King and Ray Charles on organ! Insane. Here 'tis:

July 1970 found Armstrong celebrating what he believed to be his 70th birthday around the country. On July 3, he appeared at a tribute at the Shrine Auditorium in Los Angeles and he couldn’t resist closing the show with “Sleepy Time,” “Blueberry Hill” and “Hello, Dolly.” I love this version because the band (which included Clark Terry, Tyree Glenn, Barney Bigard and Louie Bellson) originally kicked it off at a fast, corny, two-beat Dixie pace before Armstrong halted them in their tracks. As the track begins, you’ll hear Armstrong count it off in the proper tempo and when they get it, he yells, “Hold that shit right there, Pops!”

By the end of 1970, Armstrong was playing trumpet again, sometimes incredibly well. However, sometimes his stamina went on him, such as a one-night Command Performance he did in England in October, an event that was filmed for a documentary, Boy From New Orleans. In the rehearsal for the show, Armstrong sounded very strong on “Dolly” but after a full day of rehearing and warming up, he was out of gas when showtime hit, playing quietly on “Dolly” before smiling and handing the ball over to Tyree Glenn to finish it out, kind of a sad moment.

But there’s nothing sad about my final clip. On January 29, 1971, less than six months before his death, Armstrong appeared at a function for the National Press Club. He brought along Tyree Glenn but otherwise, the band was made up of local musicians. Armstrong played a little trumpet on “Sleepy Time” but saved the best for “Dolly,” one of my all-time favorite versions. The first time I heard this, I cheered because I couldn’t believe my ears. Here it is:

Isn’t that something? The first half is almost exactly like it was in 1968 but then he goes on an entire new direction including a beautiful tribute to another fallen king by quoting “I Thought I Heard Buddy Bolden Say,” right down to the “your nasty, your filthy, take it away” line. Then he comes up with this ingenious little chromatic device, which he places brilliantly. The tone isn’t as strong as it was on those 1965 clips, but it’s still him and clearly the mind is still sharp. A great way to close out this look at the musical content of one of Armstrong’s best-known songs.

I’ll be back in a few days with another major anniversary post but for now, I’m going to leave Armstrong with the final word. “Aw, I am paid to entertain the people,” he told Larry L. King in 1967. “If they want me to come on all strutty and cutting up—if that makes ‘em happy, why not? For many years I blew my brains out. Hitting notes so high they hurt a dog’s ears, driving like crazy, screaming it. And everybody got this image I was some kind of a wild man. Joe Glaser told me, ‘Play and sing pretty. Give the people a show.’ So now I do Dolly how many times? Six jillion? How ever many you want to say. Do it every show. And you got to admit, Pops, it gets the biggest hand of any number I do.”

Tuesday, May 6, 2014

Jazz Times Profile and One Step Closer to the Mosaic Set!

Before diving into Mosaic-land, I'd like to call your attention to an extremely in-depth profile of myself that was put together by the great Mick Carlon for the Jazz Times website and published yesterday. It's called, Ricky Riccardi: Dedicated Disciple of Pops, and as Louis would have said, I kind of like this one myself. It covers pretty much every facet of my life from my upbringing in NJ, my days spent painting houses and writing blogs and how everything finally came together to allow me to live this all-Pops-all-the-time life. Only Mick could have done it so thank you, Mick, thank you Jazz Times, thank you longtime readers (and new ones) and thank you, Pops. (And if you haven't checked out Mick's young adult book about Pops, Travels with Louis, do check it out!)

With that personal plug out the of the way, a simple question:  did everybody get it? Well, well, didja!? Last week, I wrote about awaiting the official e-mail announcement from Mosaic Records and sure enough, it came through this morning! The pre-order link has been up for a week, but now that Mosaic has e-mailed their followers, the floodgates should open; in fact, I noticed the SoundCloud clicks on the sample tracks on the set's sit really jumped, with top link "Royal Garden Blues," jumping from the low 200's yesterday to 350 as of this writing. Let the buzz build, my friends.

If you don't get Mosaic's e-mail updates or follow their essential Daily Gazette, you're missing some great stuff. I was happy to see that along with their announcement, they included one of my ridiculous rambles about some of the pitfalls we narrowly avoided while putting the set together. I realized I've written a LOT about this set since we announced it on April 30, 2013. I don't think I set out to chronicle the process in such excruciating detail, but I've gotten some nice feedback about it, especially on the Organissimo jazz forums where more than one person has said they've bought Mosaics for years and never really thought about what it takes to put one of these things together.

So if anyone wants to relive it, here's the links for everything I've written here on the blog about the Mosaic box. Consider it something to pass the time as we wait these final weeks for the set to actually arrive. At that point, I'll shut up (though if you do get the set, you'll have to wade through my 27,000 word liner notes!).

After the April 30 announcement, it took until May 29 before I dove into it on the blog, giving details not only of the contents but also of my personal history in spending years to convince Mosaic to do such a set:

New Mosaic Records Louis Armstrong Boxed Set Coming Soon - May 29, 2013

Then it was quiet for a while as Mosaic had to take care of its Ella Fitzgerald-Chick Webb set. Once that was behind them, we dug in in October with the first of many visits to Andreas Meyer's studio in Astoria to begin the transferring process. This is when things started getting very interesting. Here's the first update:

Armstrong Odds and Ends: Mosaic Update - November 17, 2013

(Pssst - if you read that to the end, the whole "professor" thing bombed as the proposed Armstrong class didn't have enough students enrolled. No worries, I don't know how I would have squeezed it in!)

Heading into 2014, we were still in Andreas's studio, where I now started taking more photos and short videos of the process, as featured in this entry:

Record Making...With Mosaic Records! - January 17, 2014

On March 15, George Avakian turned 95. This entry included video of me and David Ostwald interviewing George during the Satchmo Summerfest in New Orleans last August. We played George samples of material that's going to be on the Mosaic set; watching George's emotional reaction to hearing himself interview Louis in 1956 is something I will never forget.

Happy 95th Birthday to George Avakian! - March 15, 2014

My March 28 entry included another re-telling of the Newport 1956 story as related on the Mosaic Gazette this morning:

Here and Now (And Looking Ahead to the Mosaic Set) - March 28, 2014

And to bring things up to date, the reveal of the cover of the set:

Mosaic Update: We Have a Pre-Order Date....and a Cover! - April 25, 2014

And finally, last week's update on how many people have been telling me they've already pre-ordered the set!

Mosaic Pre-Order Madness - May 2, 2014

As a treat for anyone who waded through all of this, Organissimo user TedR noted that the account of the Newport 1956 mess was written BEFORE Andreas used his expertise to splice the vocals from the Voice of America tapes into the Columbia balance, where Louis is way off-mike. Ted wanted to know if we were pleased with Andreas's results and the answers are yes, yes and positively yes. As already mentioned, the VOA tapes have some distortion, especially when the horns play; you can hear it slightly during the vocals, but I don't think anyone's going to ask for their money back....especially when compared to how it sounded on Columbia's original reels. So I just cooked up this little 67-second edit: first, you'll hear about 30 seconds of the Columbia reel, from the end of the opening ensemble to the first eight bars of Louis's vocal. You'll hear Louis sounded like he's singing  from inside his dressing room. Then after a fade, you'll hear it as it's going to sound on the Mosaic set, with the barely perceptible splice from the Columbia tape to the VOA tape just before the vocal:

So what do you think? I think Andreas nailed it. And without the dedication of guys like Andreas and Scott, this set would never be released in ANY capacity. But here we are, just a few weeks away from getting it complete and in the best possible quality imaginable. I can hardly wait.

Friday, May 2, 2014

Mosaic Pre-Order Madness!

We're one step closer, folks, one step closer. Last Friday, I wrote about how the good folks at Mosaic Records were going to make our upcoming 9-CD Columbia and RCA Victor Live Recordings of Louis Armstrong and His All Stars available for pre-order on April 30, International Jazz Day. Terrific! I shared the cover, alerted the world to watch out and waited for an announcement.... announcement that never came. International Jazz Day was swinging, but all seemed quiet on the Mosaic front. Then, around 11 a.m., I got a Facebook notification from my friend--and fellow Pops nut--Craig McNamara: "The mosaic set is now available. My order is already in." About 20 minutes later, the great Simone Dabusti of Italy, added "Me too!"

I went to the Mosaic site and saw nothing. How were they finding it? And then I noticed that if I clicked the "Artists" tab, scrolled to Louis and clicked....there it was! Pretty sneaky, sis. There were still kinks to be worked out--such as no photo of the box on top--which made Mosaic's hesitancy to sound the horns about the availability of the set.

But available it was and my goodness, you can't stop the Pops nuts! After Craig and Simone, I decided to share the link on my Facebook page and the Organissimo forums and for the last two years, the pre-orders have been tallying up. Still no official announcement from Mosaic, but it's now officially on the front page of their website as an "Upcoming Release," which is exciting to see. June 1 is still the assumed street date but if you're in a pre-order kind of mood (need I remind you that Mother's Day AND Father's Day are both right around the corner....) here is the link:

Columbia and RCA Victor Live Recordings of Louis Armstrong and His All Stars

Oh, that felt good. Let's try that about:

Pops Mosaic Set Ready For Pre-Order...About Damn Time, Rick!

Hmmm, I didn't like the attitude on that link. Anyway, if after all these posts, you're still a little confused just by what this set will contains here's the link to the Discography. Small note: the track listing isn't up yet and this is an earlier draft of the discography. Actually, the discography is fine, but in the Producer's Note, we added some people to the thank-you's and changed the "Carnegie Hall" mistake to "Town Hall" in the second paragraph. I don't know, but I'm assuming Mosaic is still going to tinker with this stuff, too, before they officially send out any announcements and such. So keep checking back for  that but because I just can't contain myself, now you have the link if you want to get the jump on the pre-orders.

Also, I haven't discussed it much, but for the vinyl-philes out there (which seems to be everyone), Mosaic is putting Louis's complete 1956 and 1958 Newport sets on special 180-gram vinyl, a 4-LP set with slightly different notes by yours truly. This one will be limited to 3,500 copies and is also available for pre-order by clicking this link.

In other news, another "Ricko Approved" Pops release came out a couple of weeks ago and it might be perfect for the Armstrong newbie or for the casual Armstrong fan who might run screaming in the other direction with all this Mosaic talk of alternate takes and fake applause. It's simply called Icons, part of a long-running series Universal has been overseeing for some time. It's 22 tracks over 2-CDs and I'm happy to report that I provided the track selection. I had the entire Universal Armstrong catalog to choose from (Decca, Verve, Mercury, Kapp, ABC-Paramount, etc.) and it was pitched to me as the kind of release aimed for a general fan perhaps shopping at Best Buy or somewhere that still sells CDs (if those kinds of places still exist). So with that in mind, I had to cut some personal favorites ("That's for Me," live "Bucket's Got a Hole in It," "On a Coconut Island") but I also cut some of the hits I saw as expendable ("Mame," "Cabaret," "Kiss of Fire"). In the end, this is what I came up with:

Disc: 1
What A Wonderful World
Hello, Dolly!
Nobody Knows The Trouble I've Seen
Our Love Is Here To Stay With Ella Fitzgerald
Summertime With Ella Fitzgerald
On The Sunny Side Of The Street
When You're Smiling (The Whole World Smiles With You)
Mack The Knife (Live From Jazz At The Hollywood Bowl)
(When We Are Dancing) I Get Ideas
A Kiss To Build A Dream On
La Vie En Rose

Disc: 2
Dream A Little Dream Of Me With Ella Fitzgerald
You Rascal You (I'll Be Glad When You're Dead) With Louis Jordan
That Lucky Old Sun (Just Rolls Around Heaven All Day)
Blueberry Hill
I Wonder
When It's Sleepy Time Down South (Instrumental)
West End Blues
Jeepers Creepers
When The Saints Go Marching In
Struttin' With Some Barbecue
Swing That Music

What do you think? I'm happy with it. Nothing before 1936 but Universal doesn't own much from the 1920s ("Georgia Bo Bo" would have been out of place). Also, I've noticed that some of Universal's recent Armstrong compilations had some inferior-sounding versions of certain tracks, such as "Dream a Little Dream of Me" and the 1938 "Struttin' with Some Barbecue." I was happy to help Universal do a little digging and with the help of the great Seth Foster at Sterling Sound, I think we found the best sounding masters for each of the 22 tracks. So again, if you're looking for a more general Pops best-of, check out "Icons"!

And that's that for now. I'll continue waiting for Mosaic to wave the flag and I'll pop back in when that occurs and when the website seems finalized (again, that's not stopping the pre-orders!). And we're already planning some fun stuff for the summer, including a possible launch party at Minton's in June, a listening party at Jazz at Lincoln Center on July 3 and a presentation by Scott Wenzel and myself on the making of this set at the Satchmo Summerfest in New Orleans in August. Fun times ahead, folks....thanks for help making this such a fun, satisfying ride!