Six Minutes With Satch: I Wonder Who / Don't Play Me Cheap
Another week of "Six Minutes With Satch" comes to an end at the same time we've reached the end of RCA Victor's official 78 RPM releases of 1932-1933 Louis Armstrong sides--well, kind of. RCA rejected three titles at the time and only released them a few years later on their cheaper Bluebird subsidiary. We'll get to those next Monday and Tuesday.
But for now, the glorious RCA sides end with a bit more of a whimper than a bang; one can understand A&R man Eli Oberstein releasing everything else and saving this for last when all the goodies were gone. "I Wonder Who" was originally credited to the mysterious "Sid Barbarian." I dug deeper and could only find one other credit, "Call of the Freaks," a Washboard Rhythm Kings number from 1931 also recorded by Oberstein for RCA. But what a minute: the more famous "New Call of the Freaks" was recorded famously by Luis Russell and credited to Russell and PAUL BARBARIN. Indeed, "I Wonder Who" was written by Paul Barbarin and Hortense Carter, which makes sense since since Louis had been recording his buddy Paul's compositions since the Hot Five days.
Armstrong spends the first chorus as part of the section, his big tone bursting out of the arrangement during the introduction and the first chorus, which is sans bridge, weighing in at only 16 bars. The reeds then get 16 bars to themselves before the verse, Armstrong still sticking with the arrangement, though punctuating it with a held high note. Trombonist Keg Johnson takes a good one with some dancing cymbal work from drummer Harry Dial before an effervescent vocal from Louis. The alto of I'm assuming Scoville Brown takes one, backed by some somewhat uncertain riffs.
Finally, Louis steps up and floats through a chorus, hitting some piercing high notes and swinging as usual but 16 bars later, everything wraps up abruptly and we're through. As I've chronicled Louis's chops could be unsteady in this period so perhaps he wanted to sit one out but except for the fun vocal, this one is the closest we've come to the band kind of going through the motions, Louis perhaps doing a favor for his friend but not exactly churning out one for the time capsule.
Speaking of favors for friends who happened to be drummers, the flip side of "I Wonder Who" is "Don't Play Me Cheap," written by Harry Dial, the man behind the tubs on this session. Dial joined the band right around this time and must have made a favorable enough early impression to have Louis record one of his compositions for RCA.
In some ways, it's the perfect compliment to "I Wonder Who" for its many similarities. After a big-toned intro by tenorman Budd Johnson, Louis once again sticks to section work, mostly hitting the response notes to the melody played by the reeds. Pianist Charlie Beal takes the bridge but otherwise it's another melody showcase for the band. And like "I Wonder Who," the vocal is delightful, though Louis clearly sounds like he just learned it that day (I think I even hear sheet music rustle in the last 8 bars). It does have a nifty little sing-song melody on the phrase "Thing called money, honey" that we already heard Louis sing on "Some Sweet Day" from January.
After the vocal, Louis trades fours with the band. Upon picking up the trumpet, he plays the exact same phrase he sang seconds earlier. The band also sounds on shaky ground but Louis rescues them with a powerful bridge, getting his favored accents on 1-and-3 underneath. He comes out of the bridge with a break in the upper register but does seem to be tiring, understandable as this was the 11th an final song he recorded over the course of two sessions. He also lets the band do most of the heavy lifting as they limp to the finish line but he does have enough strength left to flex his muscles one last time, though ending on a lower concert Ab and without any codas or closing cadenzas.
And that all for Louis and RCA Victor though as already mentioned, there's still some Bluebird sides left next week, beginning with what I consider to be a truly quintessential Armstrong recording. Have a great weekend--stay safe!
LOUIS ARMSTRONG AND HIS ORCHESTRA
Louis Armstrong (tp, voc, cond), Ellis Whitlock, Zilner Randolph (tp), Keg Johnson (tb), Scoville Brown, George Oldham (as, cl), Budd Johnson (ts), Charlie Beal (p), Mike McKendrick (g),
Bill Oldham (tu), Harry Dial (d).
Victor recording session - Chicago, IL April 26, 1933
LOUIS ARMSTRONG AND HIS ORCHESTRA
Louis Armstrong (tp, voc, cond), Ellis Whitlock, Zilner Randolph (tp), Keg Johnson (tb), Scoville Brown, George Oldham (as, cl), Budd Johnson (ts), Charlie Beal (p), Mike McKendrick (g),
Bill Oldham (tu), Harry Dial (d).
Victor recording session - Chicago, IL April 26, 1933
YouTube links:
But for now, the glorious RCA sides end with a bit more of a whimper than a bang; one can understand A&R man Eli Oberstein releasing everything else and saving this for last when all the goodies were gone. "I Wonder Who" was originally credited to the mysterious "Sid Barbarian." I dug deeper and could only find one other credit, "Call of the Freaks," a Washboard Rhythm Kings number from 1931 also recorded by Oberstein for RCA. But what a minute: the more famous "New Call of the Freaks" was recorded famously by Luis Russell and credited to Russell and PAUL BARBARIN. Indeed, "I Wonder Who" was written by Paul Barbarin and Hortense Carter, which makes sense since since Louis had been recording his buddy Paul's compositions since the Hot Five days.
Armstrong spends the first chorus as part of the section, his big tone bursting out of the arrangement during the introduction and the first chorus, which is sans bridge, weighing in at only 16 bars. The reeds then get 16 bars to themselves before the verse, Armstrong still sticking with the arrangement, though punctuating it with a held high note. Trombonist Keg Johnson takes a good one with some dancing cymbal work from drummer Harry Dial before an effervescent vocal from Louis. The alto of I'm assuming Scoville Brown takes one, backed by some somewhat uncertain riffs.
Finally, Louis steps up and floats through a chorus, hitting some piercing high notes and swinging as usual but 16 bars later, everything wraps up abruptly and we're through. As I've chronicled Louis's chops could be unsteady in this period so perhaps he wanted to sit one out but except for the fun vocal, this one is the closest we've come to the band kind of going through the motions, Louis perhaps doing a favor for his friend but not exactly churning out one for the time capsule.
Speaking of favors for friends who happened to be drummers, the flip side of "I Wonder Who" is "Don't Play Me Cheap," written by Harry Dial, the man behind the tubs on this session. Dial joined the band right around this time and must have made a favorable enough early impression to have Louis record one of his compositions for RCA.
In some ways, it's the perfect compliment to "I Wonder Who" for its many similarities. After a big-toned intro by tenorman Budd Johnson, Louis once again sticks to section work, mostly hitting the response notes to the melody played by the reeds. Pianist Charlie Beal takes the bridge but otherwise it's another melody showcase for the band. And like "I Wonder Who," the vocal is delightful, though Louis clearly sounds like he just learned it that day (I think I even hear sheet music rustle in the last 8 bars). It does have a nifty little sing-song melody on the phrase "Thing called money, honey" that we already heard Louis sing on "Some Sweet Day" from January.
After the vocal, Louis trades fours with the band. Upon picking up the trumpet, he plays the exact same phrase he sang seconds earlier. The band also sounds on shaky ground but Louis rescues them with a powerful bridge, getting his favored accents on 1-and-3 underneath. He comes out of the bridge with a break in the upper register but does seem to be tiring, understandable as this was the 11th an final song he recorded over the course of two sessions. He also lets the band do most of the heavy lifting as they limp to the finish line but he does have enough strength left to flex his muscles one last time, though ending on a lower concert Ab and without any codas or closing cadenzas.
And that all for Louis and RCA Victor though as already mentioned, there's still some Bluebird sides left next week, beginning with what I consider to be a truly quintessential Armstrong recording. Have a great weekend--stay safe!
LOUIS ARMSTRONG AND HIS ORCHESTRA
Louis Armstrong (tp, voc, cond), Ellis Whitlock, Zilner Randolph (tp), Keg Johnson (tb), Scoville Brown, George Oldham (as, cl), Budd Johnson (ts), Charlie Beal (p), Mike McKendrick (g),
Bill Oldham (tu), Harry Dial (d).
Victor recording session - Chicago, IL April 26, 1933
LOUIS ARMSTRONG AND HIS ORCHESTRA
Louis Armstrong (tp, voc, cond), Ellis Whitlock, Zilner Randolph (tp), Keg Johnson (tb), Scoville Brown, George Oldham (as, cl), Budd Johnson (ts), Charlie Beal (p), Mike McKendrick (g),
Bill Oldham (tu), Harry Dial (d).
Victor recording session - Chicago, IL April 26, 1933
YouTube links:
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