Getting the two most personable voices in jazz to sing an hour's worth of George Gershwin's opera Porgy & Bess (Ella doing all the female parts, Satchmo all the male) was a good idea, but not quite as great as it sounded. Armstrong savours the down-and-dirty Charlestonisms that inspired the cadences of the music and lyrics and they fit his happy rasp like an old shoe; Fitzgerald, conversely, sounds almost prissy every time she has to sing the word "ain't", though her melodic genius gets Gershwin's bold, supple tunes over. The arrangements are full-throttle Broadway, with a few leaps into Dixieland (including some fine Armstrong trumpet solos), but the disc works best when the vocalists break character and let their jazz side out. --Douglas Wolk

A brilliant soundtrack full of classic music., 06 May 2001
The music of the Porgy and Bess soundtrack virtually transports you back to the deep south. With "modern day lullabies" such as summertime this is a perfect album to sit back and relax to. Allowing the classic and original vocal tones of Ella Fitzgerald and Louis Armstrong to lull you away to a warm and romantic place.

A brilliant soundtrack full of classic music., 06 May 2001
The music of the Porgy and Bess soundtrack virtually transports you back to the deep south. With "modern day lullabies" such as summertime this is a perfect album to sit back and relax to. Allowing the classic and original vocal tones of Ella Fitzgerald and Louis Armstrong to lull you away to a warm and romantic place.

Hypnotic Sidney Bechet.., 13 Apr 2008

Very nearly didn't buy this. No-one had reviewed it so I was rather in
the dark. Now that I have the disc I am addicted to Sidney Bechet! RCA
Victor has given us a first-rate recording - apart from only one track
from 1949 which is a little scratchy - but I still feel the 5 stars
are merited for the standard of Bechet's artistry. His rendition of
Petite Fleur and Le Marchand De Poisson is hypnotic...He demands your
full undivided attention - and gets it. If you don't know Bechet but
like jazz - buy this CD - and if you are already a Bechet fan, you
won't be disappointed.

A brilliant soundtrack full of classic music., 06 May 2001
The music of the Porgy and Bess soundtrack virtually transports you back to the deep south. With "modern day lullabies" such as summertime this is a perfect album to sit back and relax to. Allowing the classic and original vocal tones of Ella Fitzgerald and Louis Armstrong to lull you away to a warm and romantic place.

Hypnotic Sidney Bechet.., 13 Apr 2008

Very nearly didn't buy this. No-one had reviewed it so I was rather in
the dark. Now that I have the disc I am addicted to Sidney Bechet! RCA
Victor has given us a first-rate recording - apart from only one track
from 1949 which is a little scratchy - but I still feel the 5 stars
are merited for the standard of Bechet's artistry. His rendition of
Petite Fleur and Le Marchand De Poisson is hypnotic...He demands your
full undivided attention - and gets it. If you don't know Bechet but
like jazz - buy this CD - and if you are already a Bechet fan, you
won't be disappointed.

Some of the coolest sounds around, 28 May 2000
This is a wonderful album of jazz by one of the great tenor saxophonists, Coleman Hawkins. Every note is played with feeling, tenderness and great skill. There's not a weak track on this album; each one is a carefully crafted piece of musicianship. At full price this would be highly recommended - at bargain price it more or less becomes an automatic choice. Coleman Hawkins should definitely be better known, and this album is a marvellous place to become acquainted with him and his music.

A brilliant soundtrack full of classic music., 06 May 2001
The music of the Porgy and Bess soundtrack virtually transports you back to the deep south. With "modern day lullabies" such as summertime this is a perfect album to sit back and relax to. Allowing the classic and original vocal tones of Ella Fitzgerald and Louis Armstrong to lull you away to a warm and romantic place.

Hypnotic Sidney Bechet.., 13 Apr 2008

Very nearly didn't buy this. No-one had reviewed it so I was rather in
the dark. Now that I have the disc I am addicted to Sidney Bechet! RCA
Victor has given us a first-rate recording - apart from only one track
from 1949 which is a little scratchy - but I still feel the 5 stars
are merited for the standard of Bechet's artistry. His rendition of
Petite Fleur and Le Marchand De Poisson is hypnotic...He demands your
full undivided attention - and gets it. If you don't know Bechet but
like jazz - buy this CD - and if you are already a Bechet fan, you
won't be disappointed.

Some of the coolest sounds around, 28 May 2000
This is a wonderful album of jazz by one of the great tenor saxophonists, Coleman Hawkins. Every note is played with feeling, tenderness and great skill. There's not a weak track on this album; each one is a carefully crafted piece of musicianship. At full price this would be highly recommended - at bargain price it more or less becomes an automatic choice. Coleman Hawkins should definitely be better known, and this album is a marvellous place to become acquainted with him and his music.

Ten thousand stars to the music..., 03 Sep 2007
...but only 3 for this boxed set, an average grade between -
Minus: muddy sound on the remastering. Plus: wide selection of tracks.

A Legend In His Short Lifetime, 29 Jul 2007
I'm trying in my reviews to tread the roads less travelled, but it would be remiss of me to pass over this 4-CD set, particularly when it has not attracted a single review to date. If you've never heard a recording by Bix you don't know what you've missed, and if you have you'll never forget it. He was unsurpassed for purity of tone, and his skill transcended mere improvisation, transmuting the most uninspired tunes into melodies of great beauty, seemingly without effort.

This compilation covers his first recordings with the Wolverines, the Sioux City Six, and the Rhythm Jugglers, the best of his recordings with Jean Goldkette and Paul Whiteman, interpolated by those made by studio groups under his own and Frank Trumbauer's name, the two Broadway Bellhops sides, and finishing up with the two Hoagy Carmichael sides.

This was a musician who claimed never to play the same solo twice, but the one thing that's missing is an alternate take or two (and there are many) to show the extent to which Bix's solos altered dramatically from one to the next. But that's a small reservation which does not detract from the impact of the set as a whole.

Individual discs are housed in slipcases, and are accompanied by an extremely detailed 56-page booklet setting out his career and full discographical details. An absolute bargain.

A brilliant soundtrack full of classic music., 06 May 2001
The music of the Porgy and Bess soundtrack virtually transports you back to the deep south. With "modern day lullabies" such as summertime this is a perfect album to sit back and relax to. Allowing the classic and original vocal tones of Ella Fitzgerald and Louis Armstrong to lull you away to a warm and romantic place.

Hypnotic Sidney Bechet.., 13 Apr 2008

Very nearly didn't buy this. No-one had reviewed it so I was rather in
the dark. Now that I have the disc I am addicted to Sidney Bechet! RCA
Victor has given us a first-rate recording - apart from only one track
from 1949 which is a little scratchy - but I still feel the 5 stars
are merited for the standard of Bechet's artistry. His rendition of
Petite Fleur and Le Marchand De Poisson is hypnotic...He demands your
full undivided attention - and gets it. If you don't know Bechet but
like jazz - buy this CD - and if you are already a Bechet fan, you
won't be disappointed.

Some of the coolest sounds around, 28 May 2000
This is a wonderful album of jazz by one of the great tenor saxophonists, Coleman Hawkins. Every note is played with feeling, tenderness and great skill. There's not a weak track on this album; each one is a carefully crafted piece of musicianship. At full price this would be highly recommended - at bargain price it more or less becomes an automatic choice. Coleman Hawkins should definitely be better known, and this album is a marvellous place to become acquainted with him and his music.

Ten thousand stars to the music..., 03 Sep 2007
...but only 3 for this boxed set, an average grade between -
Minus: muddy sound on the remastering. Plus: wide selection of tracks.

A Legend In His Short Lifetime, 29 Jul 2007
I'm trying in my reviews to tread the roads less travelled, but it would be remiss of me to pass over this 4-CD set, particularly when it has not attracted a single review to date. If you've never heard a recording by Bix you don't know what you've missed, and if you have you'll never forget it. He was unsurpassed for purity of tone, and his skill transcended mere improvisation, transmuting the most uninspired tunes into melodies of great beauty, seemingly without effort.

This compilation covers his first recordings with the Wolverines, the Sioux City Six, and the Rhythm Jugglers, the best of his recordings with Jean Goldkette and Paul Whiteman, interpolated by those made by studio groups under his own and Frank Trumbauer's name, the two Broadway Bellhops sides, and finishing up with the two Hoagy Carmichael sides.

This was a musician who claimed never to play the same solo twice, but the one thing that's missing is an alternate take or two (and there are many) to show the extent to which Bix's solos altered dramatically from one to the next. But that's a small reservation which does not detract from the impact of the set as a whole.

Individual discs are housed in slipcases, and are accompanied by an extremely detailed 56-page booklet setting out his career and full discographical details. An absolute bargain.


HERE'S MY (FIVE) PENNIES' WORTH, 21 Jul 2007
I originally had this recording on Brunswick (Stereo!) vinyl from 1959, but it has long gone.

After seeing it available on CD I had no hesitation in buying it again. Everyone on the recording seems to be having a good time, and the music ranges from pure jazz to a couple of more "ballad" type songs.

The US import I received is in Mono (which is probably better as some early stereo records seem too "separated"). Excellent quality and fine performances. 18 tracks, but it all fitted on one LP as some of the tunes are only between one and two minutes long.

I recall the film was partly fun, part "lump in throat" with a mushy ending, but well worth a viewing.

Not one of the best known soundtrack albums, but worth having it in your collection.

brings back memories, 15 Mar 2004
When my sister and I were young, if we couldn't get to sleep we'd shout out "Daaaad, sing us a magic song". The magic songs in question were three of the tracks included on this soundtrack: Lullaby in Ragtime, Good Night, Sleep Tight, and The Five Pennies. I've never seen the film and I don't think I've even heard the original versions of these songs, so I was overjoyed when the soundtrack was finally made available. Hearing the originals brought back so many memories, and even made me cry! The album is wonderful, even without having seen them film. The whole atmosphere of the soundtrack reminds me of It's a Wonderful Life, and I'm sure the film will be just as touching as that. The music is great - although you can't really go far wrong with Satchmo and Danny Kaye! You do have to like lots of trumpets and brass though. Catchy, stylish, moving, exuberant - everything a soundtrack from a classic musical should be!

A wonderful meeting of two institutions of American music, this 1954 album was the finest recording of Louis Armstrong's later career, with the great trumpeter-singer turning to material that was very close to his roots. Both W.C. Handy and Armstrong had a complex relationship with the blues, an essential source for both Handy's popular songs and Armstrong's improvisational art, and these recordings touch on the heart of the matter. On "Yellow Dog Blues," a product of Handy's own early and chance encounter with the rural blues, there's a majesty that recalls Armstrong's early recordings with Bessie Smith. Armstrong is clearly inspired by the classic material and the chance to stretch out on record, and his regular band of the period joins in perfectly. Trombonist Trummy Young, clarinetist Barney Bigard, pianist Billy Kyle, and singer Velma Middleton contribute stellar solos and support, while bassist Arvell Shaw and drummer Barrett Deems do an exceptional job of keeping the slower tempos rock steady. This is a deeply moving and consummately executed performance. --Stuart Broomer

A brilliant soundtrack full of classic music., 06 May 2001
The music of the Porgy and Bess soundtrack virtually transports you back to the deep south. With "modern day lullabies" such as summertime this is a perfect album to sit back and relax to. Allowing the classic and original vocal tones of Ella Fitzgerald and Louis Armstrong to lull you away to a warm and romantic place.

Hypnotic Sidney Bechet.., 13 Apr 2008

Very nearly didn't buy this. No-one had reviewed it so I was rather in
the dark. Now that I have the disc I am addicted to Sidney Bechet! RCA
Victor has given us a first-rate recording - apart from only one track
from 1949 which is a little scratchy - but I still feel the 5 stars
are merited for the standard of Bechet's artistry. His rendition of
Petite Fleur and Le Marchand De Poisson is hypnotic...He demands your
full undivided attention - and gets it. If you don't know Bechet but
like jazz - buy this CD - and if you are already a Bechet fan, you
won't be disappointed.

Some of the coolest sounds around, 28 May 2000
This is a wonderful album of jazz by one of the great tenor saxophonists, Coleman Hawkins. Every note is played with feeling, tenderness and great skill. There's not a weak track on this album; each one is a carefully crafted piece of musicianship. At full price this would be highly recommended - at bargain price it more or less becomes an automatic choice. Coleman Hawkins should definitely be better known, and this album is a marvellous place to become acquainted with him and his music.

Ten thousand stars to the music..., 03 Sep 2007
...but only 3 for this boxed set, an average grade between -
Minus: muddy sound on the remastering. Plus: wide selection of tracks.

A Legend In His Short Lifetime, 29 Jul 2007
I'm trying in my reviews to tread the roads less travelled, but it would be remiss of me to pass over this 4-CD set, particularly when it has not attracted a single review to date. If you've never heard a recording by Bix you don't know what you've missed, and if you have you'll never forget it. He was unsurpassed for purity of tone, and his skill transcended mere improvisation, transmuting the most uninspired tunes into melodies of great beauty, seemingly without effort.

This compilation covers his first recordings with the Wolverines, the Sioux City Six, and the Rhythm Jugglers, the best of his recordings with Jean Goldkette and Paul Whiteman, interpolated by those made by studio groups under his own and Frank Trumbauer's name, the two Broadway Bellhops sides, and finishing up with the two Hoagy Carmichael sides.

This was a musician who claimed never to play the same solo twice, but the one thing that's missing is an alternate take or two (and there are many) to show the extent to which Bix's solos altered dramatically from one to the next. But that's a small reservation which does not detract from the impact of the set as a whole.

Individual discs are housed in slipcases, and are accompanied by an extremely detailed 56-page booklet setting out his career and full discographical details. An absolute bargain.


HERE'S MY (FIVE) PENNIES' WORTH, 21 Jul 2007
I originally had this recording on Brunswick (Stereo!) vinyl from 1959, but it has long gone.

After seeing it available on CD I had no hesitation in buying it again. Everyone on the recording seems to be having a good time, and the music ranges from pure jazz to a couple of more "ballad" type songs.

The US import I received is in Mono (which is probably better as some early stereo records seem too "separated"). Excellent quality and fine performances. 18 tracks, but it all fitted on one LP as some of the tunes are only between one and two minutes long.

I recall the film was partly fun, part "lump in throat" with a mushy ending, but well worth a viewing.

Not one of the best known soundtrack albums, but worth having it in your collection.

brings back memories, 15 Mar 2004
When my sister and I were young, if we couldn't get to sleep we'd shout out "Daaaad, sing us a magic song". The magic songs in question were three of the tracks included on this soundtrack: Lullaby in Ragtime, Good Night, Sleep Tight, and The Five Pennies. I've never seen the film and I don't think I've even heard the original versions of these songs, so I was overjoyed when the soundtrack was finally made available. Hearing the originals brought back so many memories, and even made me cry! The album is wonderful, even without having seen them film. The whole atmosphere of the soundtrack reminds me of It's a Wonderful Life, and I'm sure the film will be just as touching as that. The music is great - although you can't really go far wrong with Satchmo and Danny Kaye! You do have to like lots of trumpets and brass though. Catchy, stylish, moving, exuberant - everything a soundtrack from a classic musical should be!

Fantastic, 15 Oct 2008
I bought this on the basis of the reviews and was knocked out by the album.Surely it must rank amongst the very best Louis Armstrong albums.Captivating from start to finish and the music quality is as fresh as tomorrow. Simply can't beleive the price, please don't let it put you off it is worth far far more.

One of my favourite albums..., 01 Jun 2008
What a magnificent CD!

I heard this album in the LP form at the beginnings of my explorations into jazz but, as the CD era started, I was warned that the 80's CD of "Armstrong plays W. C. Handy" contains inferior alternate versions.
The producer George Avakian explains in this 1997 CD what happened and how painstaking and meticolous research and restoration resulted in this issue, basically equall to the original album, although the recording company had lost not only masters but the back-up copies as well. So, all the compliments go to Mr. Avakian, the producer and the restorer of this music.

This is one of my favorite jazz albums and I feel it proves that Louis in the 50's could very well reach his Hot fives and Hot seven hights. Whether it is "Loveless love", "Chantez les-bas" or the ingenious and rightly famous "St. Louis Blues", Satchmo shines both through the clear sound of his trumpet and through the expressive groan and grumble of his vocal chords (how do such divine voices come about? Did he work on it or was it a gift?).

His accompanying ensemble is also great, particularly the explosive trombonist Trummy Young, who was rightly famous for his work in Lunceford's big band in the swing era, but seems liberated in Satchmo's All-stars concept - he propelles ensemble choruses and plays inspiring solos (Bigard is also great but his best work was done in the swing era with Ellington).

It is quite amazing that critics in the 50's didn't take Satchmo seriously enough but so it goes with music, cinema or anything else: Artists who still develops their concept when younger cats follow completely different leaders often go unnoticed. Fortunatelly, Armstrong was able to attract some of the non-jazz crowd and become popular entertainer, so he had a great amount of artistic liberty.

Additional attractions of this seminal album are rehearsing sequences and short interviews with Satchmo and W. C. Handy.

a classic recording date that will never age , 19 Jun 2007
This is quite simply one of the best recordings I have ever had the pleasure of listening to. I have heard many LPs over the years but this is fantastic, the quality of the recordings is matched by the wonderful playing and singing. The atmosphere is stunning and illustrates what is missing from today's music - performance, energy and humour. Also equally worth checking out is Satchmo's tribute to Fats waller, both albums are absolute classics!!!

WOW WOW WOW WOW WOW WOW and......... WOW, 26 Mar 2007
SPECTACULAR .... a friend put me on to this a few years back and if you really want to hear the best classic RnB then this is for you! Fan or no fan this really is one amazing album and i can honestly say it has changed my mindset into what maybe i should be listening to on a lazy sunday. Why there are only 3 reveiws on here i do not know.? i dont normally write them but like i said dont question it just buy it and expand your mind on how real music was made with real people.

If you only buy one classic jazz album, buy this!, 27 Nov 2001
Being relatively new to Jazz myself, the choice of Jazz albums seems staggering, even the number of Louis Armstrong CD's is daunting - but this is one of the best there is (the rather damning Penguin Jazz Guide review is based on an early reissue, this version of the original masters is worthy of a full 5 stars). The music is classic Armstrong playing combined with perfect Handy blues. If this CD inspires you (and at this price its got to be worth it), then try the Hot 5's and 7's box set for another taste of Armstrongs awesome vocal and musical abilities

A brilliant soundtrack full of classic music., 06 May 2001
The music of the Porgy and Bess soundtrack virtually transports you back to the deep south. With "modern day lullabies" such as summertime this is a perfect album to sit back and relax to. Allowing the classic and original vocal tones of Ella Fitzgerald and Louis Armstrong to lull you away to a warm and romantic place.

Hypnotic Sidney Bechet.., 13 Apr 2008

Very nearly didn't buy this. No-one had reviewed it so I was rather in
the dark. Now that I have the disc I am addicted to Sidney Bechet! RCA
Victor has given us a first-rate recording - apart from only one track
from 1949 which is a little scratchy - but I still feel the 5 stars
are merited for the standard of Bechet's artistry. His rendition of
Petite Fleur and Le Marchand De Poisson is hypnotic...He demands your
full undivided attention - and gets it. If you don't know Bechet but
like jazz - buy this CD - and if you are already a Bechet fan, you
won't be disappointed.

Some of the coolest sounds around, 28 May 2000
This is a wonderful album of jazz by one of the great tenor saxophonists, Coleman Hawkins. Every note is played with feeling, tenderness and great skill. There's not a weak track on this album; each one is a carefully crafted piece of musicianship. At full price this would be highly recommended - at bargain price it more or less becomes an automatic choice. Coleman Hawkins should definitely be better known, and this album is a marvellous place to become acquainted with him and his music.

Ten thousand stars to the music..., 03 Sep 2007
...but only 3 for this boxed set, an average grade between -
Minus: muddy sound on the remastering. Plus: wide selection of tracks.

A Legend In His Short Lifetime, 29 Jul 2007
I'm trying in my reviews to tread the roads less travelled, but it would be remiss of me to pass over this 4-CD set, particularly when it has not attracted a single review to date. If you've never heard a recording by Bix you don't know what you've missed, and if you have you'll never forget it. He was unsurpassed for purity of tone, and his skill transcended mere improvisation, transmuting the most uninspired tunes into melodies of great beauty, seemingly without effort.

This compilation covers his first recordings with the Wolverines, the Sioux City Six, and the Rhythm Jugglers, the best of his recordings with Jean Goldkette and Paul Whiteman, interpolated by those made by studio groups under his own and Frank Trumbauer's name, the two Broadway Bellhops sides, and finishing up with the two Hoagy Carmichael sides.

This was a musician who claimed never to play the same solo twice, but the one thing that's missing is an alternate take or two (and there are many) to show the extent to which Bix's solos altered dramatically from one to the next. But that's a small reservation which does not detract from the impact of the set as a whole.

Individual discs are housed in slipcases, and are accompanied by an extremely detailed 56-page booklet setting out his career and full discographical details. An absolute bargain.


HERE'S MY (FIVE) PENNIES' WORTH, 21 Jul 2007
I originally had this recording on Brunswick (Stereo!) vinyl from 1959, but it has long gone.

After seeing it available on CD I had no hesitation in buying it again. Everyone on the recording seems to be having a good time, and the music ranges from pure jazz to a couple of more "ballad" type songs.

The US import I received is in Mono (which is probably better as some early stereo records seem too "separated"). Excellent quality and fine performances. 18 tracks, but it all fitted on one LP as some of the tunes are only between one and two minutes long.

I recall the film was partly fun, part "lump in throat" with a mushy ending, but well worth a viewing.

Not one of the best known soundtrack albums, but worth having it in your collection.

brings back memories, 15 Mar 2004
When my sister and I were young, if we couldn't get to sleep we'd shout out "Daaaad, sing us a magic song". The magic songs in question were three of the tracks included on this soundtrack: Lullaby in Ragtime, Good Night, Sleep Tight, and The Five Pennies. I've never seen the film and I don't think I've even heard the original versions of these songs, so I was overjoyed when the soundtrack was finally made available. Hearing the originals brought back so many memories, and even made me cry! The album is wonderful, even without having seen them film. The whole atmosphere of the soundtrack reminds me of It's a Wonderful Life, and I'm sure the film will be just as touching as that. The music is great - although you can't really go far wrong with Satchmo and Danny Kaye! You do have to like lots of trumpets and brass though. Catchy, stylish, moving, exuberant - everything a soundtrack from a classic musical should be!

Fantastic, 15 Oct 2008
I bought this on the basis of the reviews and was knocked out by the album.Surely it must rank amongst the very best Louis Armstrong albums.Captivating from start to finish and the music quality is as fresh as tomorrow. Simply can't beleive the price, please don't let it put you off it is worth far far more.

One of my favourite albums..., 01 Jun 2008
What a magnificent CD!

I heard this album in the LP form at the beginnings of my explorations into jazz but, as the CD era started, I was warned that the 80's CD of "Armstrong plays W. C. Handy" contains inferior alternate versions.
The producer George Avakian explains in this 1997 CD what happened and how painstaking and meticolous research and restoration resulted in this issue, basically equall to the original album, although the recording company had lost not only masters but the back-up copies as well. So, all the compliments go to Mr. Avakian, the producer and the restorer of this music.

This is one of my favorite jazz albums and I feel it proves that Louis in the 50's could very well reach his Hot fives and Hot seven hights. Whether it is "Loveless love", "Chantez les-bas" or the ingenious and rightly famous "St. Louis Blues", Satchmo shines both through the clear sound of his trumpet and through the expressive groan and grumble of his vocal chords (how do such divine voices come about? Did he work on it or was it a gift?).

His accompanying ensemble is also great, particularly the explosive trombonist Trummy Young, who was rightly famous for his work in Lunceford's big band in the swing era, but seems liberated in Satchmo's All-stars concept - he propelles ensemble choruses and plays inspiring solos (Bigard is also great but his best work was done in the swing era with Ellington).

It is quite amazing that critics in the 50's didn't take Satchmo seriously enough but so it goes with music, cinema or anything else: Artists who still develops their concept when younger cats follow completely different leaders often go unnoticed. Fortunatelly, Armstrong was able to attract some of the non-jazz crowd and become popular entertainer, so he had a great amount of artistic liberty.

Additional attractions of this seminal album are rehearsing sequences and short interviews with Satchmo and W. C. Handy.

a classic recording date that will never age , 19 Jun 2007
This is quite simply one of the best recordings I have ever had the pleasure of listening to. I have heard many LPs over the years but this is fantastic, the quality of the recordings is matched by the wonderful playing and singing. The atmosphere is stunning and illustrates what is missing from today's music - performance, energy and humour. Also equally worth checking out is Satchmo's tribute to Fats waller, both albums are absolute classics!!!

WOW WOW WOW WOW WOW WOW and......... WOW, 26 Mar 2007
SPECTACULAR .... a friend put me on to this a few years back and if you really want to hear the best classic RnB then this is for you! Fan or no fan this really is one amazing album and i can honestly say it has changed my mindset into what maybe i should be listening to on a lazy sunday. Why there are only 3 reveiws on here i do not know.? i dont normally write them but like i said dont question it just buy it and expand your mind on how real music was made with real people.

If you only buy one classic jazz album, buy this!, 27 Nov 2001
Being relatively new to Jazz myself, the choice of Jazz albums seems staggering, even the number of Louis Armstrong CD's is daunting - but this is one of the best there is (the rather damning Penguin Jazz Guide review is based on an early reissue, this version of the original masters is worthy of a full 5 stars). The music is classic Armstrong playing combined with perfect Handy blues. If this CD inspires you (and at this price its got to be worth it), then try the Hot 5's and 7's box set for another taste of Armstrongs awesome vocal and musical abilities

The First Great Jazz Records, 05 Jun 2007
Having lived with these tracks for about 50 years, repeated listening has confirmed that these are the finest recordings of a 'classic' New Orleans ensemble ever made. The front line are completely integrated with no one (not even Louis Armstrong!) trying to hog the limelight. There are no 'star' soloists and the cornets, clarinet, and trombone, although distinctive voices, blend together to create a polyphony so perfect as to almost defy belief.

Sadly, this perfection could not last. The era of the great soloists was about to dawn and, although - for example - Armstrong, Hawkins, Bechet, etc created magnificent music, the very fact of their individual creativity meant the end of the truly integrated ensemble until the early 1940's. Duke Ellington, in the Blanton-Webster band, created just this and, importantly, found a way of integrating important solo voices within the ensemble that detracted from neither. But that's another story!

This edition of the Oliver Creole Band recordings was been splendidly remastered by the late, lamented, John R T Davis and contains the complete Gennett, Okeh, Columbia and Paramount sessions. Alternate takes are included. All in all, a perfect reissue of some of the most important of all jazz records.

This is how it started, 02 Jun 2007
There is that marching beat, harking back to the funerals and parades of New Orleans, and the popular songs and tunes of the day that any self-respecting musician had in his repertoire.
Armstrong's first solo! And you can easily play a track half a dozen times trying to distinguish between the cornets of Oliver and Armstrong, they're so entangled and anyway I'm far from sure who is who. Dodds warbling along on his clarinet is always a joy.
This CD is sheer bliss for a lover of raw and "primitive" jazz with its ensemble playing. Only Hot Five and Hot Seven are better, even if dominated by Armstrong's power.

The authentic jazz sound of New Orleans, 28 Feb 2001
This double album embraces 41 recordings made after the closing of Storyville and the shift of jazz from its birthplace in New Orleans. No jazz recordings had been made when Joe "King" Oliver formed his first bands and played there alongside such other New Orleans jazz "greats" as Kid Ory, Johnny Dodds and Sidney Bechet. The CDs include 37 tracks by King Oliver's Creole Jazz Band, 2 tracks with King Oliver and Clarence Williams accompanying vaudeville singers Jodie and Susie Edwards, and 2 tracks of King Oliver cornet solos accompanied by the "great" Jelly Roll Morton on piano.

The initial 8 tracks are revered by jazz enthusiasts and are amongst the first jazz recordings made by a Negro band. This was in Richmond, Indiana, with the rest of the 37 Creole Jazz Band tracks being recorded in Chicago. All this took place in the year 1923, and with no earlier jazz recordings it can be claimed these are the first real records of the authentic sound of New Orleans jazz. Indeed, it may be argued that there is no real New Orleans jazz other than that recorded elsewhere.

It is not practicable to comment on all 41 tracks, but the 37 by the Creole Jazz Band demonstrate a most important element in traditional jazz termed "collective improvisation" where all instruments improvise in relation to the melodies and harmonies of the others and blend into an ensemble sound. There is also an element of creating openings for others and taking advantage of openings by others for solo slots, and of siezing opportunities to join in chorus lines. My favourites are "Canal Street Blues" from the initial recording session, together with "Jazzin' Baby Blues", "Zulu's Ball", "Sobbin' Blues", "I Ain't Gonna Tell Nobody" and "Room Rent Blues" from Chicago sessions. Louis Armstrong is part of the line-ups on all these recordings and there is a rare opportunity to hear him playing swanee whistle. Alternative takes and versions are included for such numbers as "Dipper Mouth Blues", "Snake Rag", "Mabel's Dream", "Riverside Blues" and "Southern Stomps" that allow appreciation of the considerable flexibility of the musicians and the wide diversity of the band.

Surprisingly these multiple numbers do not detract from the easy listening nature of the CDs for the Creole Jazz Band numbers. However, for me the final 4 tracks recorded in 1924 fit rather uncomfortably with the 1923 recordings. It is perhps as well that positioning at the end of the second CD allows the vaudeville numbers to be ignored. Of some interest are the King Oliver cornet solos as these give a glimpse of him playing in isolation. I find "King Porter Stomp" full of inventiveness though rather ragged, and "Tom Cat" has the cornet as subdued staccato to Jelly Roll Morton's more melodic piano.

King Oliver had built on the playing of Buddy Bolden and Freddie Keppard, just as Louis Armstrong was to go on and build on the playing of King Oliver. In his heyday King Oliver was amongst the "greats" of New Orleans horn players, and the Creole Jazz Band was his most famous group. These CDs include the best of what was being played at the time. King Oliver on cornet and the Creole Jazz Band were the sensation of this "golden age" playing the authentic jazz sound of New Orleans.

A brilliant soundtrack full of classic music., 06 May 2001
The music of the Porgy and Bess soundtrack virtually transports you back to the deep south. With "modern day lullabies" such as summertime this is a perfect album to sit back and relax to. Allowing the classic and original vocal tones of Ella Fitzgerald and Louis Armstrong to lull you away to a warm and romantic place.

Hypnotic Sidney Bechet.., 13 Apr 2008

Very nearly didn't buy this. No-one had reviewed it so I was rather in
the dark. Now that I have the disc I am addicted to Sidney Bechet! RCA
Victor has given us a first-rate recording - apart from only one track
from 1949 which is a little scratchy - but I still feel the 5 stars
are merited for the standard of Bechet's artistry. His rendition of
Petite Fleur and Le Marchand De Poisson is hypnotic...He demands your
full undivided attention - and gets it. If you don't know Bechet but
like jazz - buy this CD - and if you are already a Bechet fan, you
won't be disappointed.

Some of the coolest sounds around, 28 May 2000
This is a wonderful album of jazz by one of the great tenor saxophonists, Coleman Hawkins. Every note is played with feeling, tenderness and great skill. There's not a weak track on this album; each one is a carefully crafted piece of musicianship. At full price this would be highly recommended - at bargain price it more or less becomes an automatic choice. Coleman Hawkins should definitely be better known, and this album is a marvellous place to become acquainted with him and his music.

Ten thousand stars to the music..., 03 Sep 2007
...but only 3 for this boxed set, an average grade between -
Minus: muddy sound on the remastering. Plus: wide selection of tracks.

A Legend In His Short Lifetime, 29 Jul 2007
I'm trying in my reviews to tread the roads less travelled, but it would be remiss of me to pass over this 4-CD set, particularly when it has not attracted a single review to date. If you've never heard a recording by Bix you don't know what you've missed, and if you have you'll never forget it. He was unsurpassed for purity of tone, and his skill transcended mere improvisation, transmuting the most uninspired tunes into melodies of great beauty, seemingly without effort.

This compilation covers his first recordings with the Wolverines, the Sioux City Six, and the Rhythm Jugglers, the best of his recordings with Jean Goldkette and Paul Whiteman, interpolated by those made by studio groups under his own and Frank Trumbauer's name, the two Broadway Bellhops sides, and finishing up with the two Hoagy Carmichael sides.

This was a musician who claimed never to play the same solo twice, but the one thing that's missing is an alternate take or two (and there are many) to show the extent to which Bix's solos altered dramatically from one to the next. But that's a small reservation which does not detract from the impact of the set as a whole.

Individual discs are housed in slipcases, and are accompanied by an extremely detailed 56-page booklet setting out his career and full discographical details. An absolute bargain.


HERE'S MY (FIVE) PENNIES' WORTH, 21 Jul 2007
I originally had this recording on Brunswick (Stereo!) vinyl from 1959, but it has long gone.

After seeing it available on CD I had no hesitation in buying it again. Everyone on the recording seems to be having a good time, and the music ranges from pure jazz to a couple of more "ballad" type songs.

The US import I received is in Mono (which is probably better as some early stereo records seem too "separated"). Excellent quality and fine performances. 18 tracks, but it all fitted on one LP as some of the tunes are only between one and two minutes long.

I recall the film was partly fun, part "lump in throat" with a mushy ending, but well worth a viewing.

Not one of the best known soundtrack albums, but worth having it in your collection.

brings back memories, 15 Mar 2004
When my sister and I were young, if we couldn't get to sleep we'd shout out "Daaaad, sing us a magic song". The magic songs in question were three of the tracks included on this soundtrack: Lullaby in Ragtime, Good Night, Sleep Tight, and The Five Pennies. I've never seen the film and I don't think I've even heard the original versions of these songs, so I was overjoyed when the soundtrack was finally made available. Hearing the originals brought back so many memories, and even made me cry! The album is wonderful, even without having seen them film. The whole atmosphere of the soundtrack reminds me of It's a Wonderful Life, and I'm sure the film will be just as touching as that. The music is great - although you can't really go far wrong with Satchmo and Danny Kaye! You do have to like lots of trumpets and brass though. Catchy, stylish, moving, exuberant - everything a soundtrack from a classic musical should be!

Fantastic, 15 Oct 2008
I bought this on the basis of the reviews and was knocked out by the album.Surely it must rank amongst the very best Louis Armstrong albums.Captivating from start to finish and the music quality is as fresh as tomorrow. Simply can't beleive the price, please don't let it put you off it is worth far far more.

One of my favourite albums..., 01 Jun 2008
What a magnificent CD!

I heard this album in the LP form at the beginnings of my explorations into jazz but, as the CD era started, I was warned that the 80's CD of "Armstrong plays W. C. Handy" contains inferior alternate versions.
The producer George Avakian explains in this 1997 CD what happened and how painstaking and meticolous research and restoration resulted in this issue, basically equall to the original album, although the recording company had lost not only masters but the back-up copies as well. So, all the compliments go to Mr. Avakian, the producer and the restorer of this music.

This is one of my favorite jazz albums and I feel it proves that Louis in the 50's could very well reach his Hot fives and Hot seven hights. Whether it is "Loveless love", "Chantez les-bas" or the ingenious and rightly famous "St. Louis Blues", Satchmo shines both through the clear sound of his trumpet and through the expressive groan and grumble of his vocal chords (how do such divine voices come about? Did he work on it or was it a gift?).

His accompanying ensemble is also great, particularly the explosive trombonist Trummy Young, who was rightly famous for his work in Lunceford's big band in the swing era, but seems liberated in Satchmo's All-stars concept - he propelles ensemble choruses and plays inspiring solos (Bigard is also great but his best work was done in the swing era with Ellington).

It is quite amazing that critics in the 50's didn't take Satchmo seriously enough but so it goes with music, cinema or anything else: Artists who still develops their concept when younger cats follow completely different leaders often go unnoticed. Fortunatelly, Armstrong was able to attract some of the non-jazz crowd and become popular entertainer, so he had a great amount of artistic liberty.

Additional attractions of this seminal album are rehearsing sequences and short interviews with Satchmo and W. C. Handy.

a classic recording date that will never age , 19 Jun 2007
This is quite simply one of the best recordings I have ever had the pleasure of listening to. I have heard many LPs over the years but this is fantastic, the quality of the recordings is matched by the wonderful playing and singing. The atmosphere is stunning and illustrates what is missing from today's music - performance, energy and humour. Also equally worth checking out is Satchmo's tribute to Fats waller, both albums are absolute classics!!!

WOW WOW WOW WOW WOW WOW and......... WOW, 26 Mar 2007
SPECTACULAR .... a friend put me on to this a few years back and if you really want to hear the best classic RnB then this is for you! Fan or no fan this really is one amazing album and i can honestly say it has changed my mindset into what maybe i should be listening to on a lazy sunday. Why there are only 3 reveiws on here i do not know.? i dont normally write them but like i said dont question it just buy it and expand your mind on how real music was made with real people.

If you only buy one classic jazz album, buy this!, 27 Nov 2001
Being relatively new to Jazz myself, the choice of Jazz albums seems staggering, even the number of Louis Armstrong CD's is daunting - but this is one of the best there is (the rather damning Penguin Jazz Guide review is based on an early reissue, this version of the original masters is worthy of a full 5 stars). The music is classic Armstrong playing combined with perfect Handy blues. If this CD inspires you (and at this price its got to be worth it), then try the Hot 5's and 7's box set for another taste of Armstrongs awesome vocal and musical abilities

The First Great Jazz Records, 05 Jun 2007
Having lived with these tracks for about 50 years, repeated listening has confirmed that these are the finest recordings of a 'classic' New Orleans ensemble ever made. The front line are completely integrated with no one (not even Louis Armstrong!) trying to hog the limelight. There are no 'star' soloists and the cornets, clarinet, and trombone, although distinctive voices, blend together to create a polyphony so perfect as to almost defy belief.

Sadly, this perfection could not last. The era of the great soloists was about to dawn and, although - for example - Armstrong, Hawkins, Bechet, etc created magnificent music, the very fact of their individual creativity meant the end of the truly integrated ensemble until the early 1940's. Duke Ellington, in the Blanton-Webster band, created just this and, importantly, found a way of integrating important solo voices within the ensemble that detracted from neither. But that's another story!

This edition of the Oliver Creole Band recordings was been splendidly remastered by the late, lamented, John R T Davis and contains the complete Gennett, Okeh, Columbia and Paramount sessions. Alternate takes are included. All in all, a perfect reissue of some of the most important of all jazz records.

This is how it started, 02 Jun 2007
There is that marching beat, harking back to the funerals and parades of New Orleans, and the popular songs and tunes of the day that any self-respecting musician had in his repertoire.
Armstrong's first solo! And you can easily play a track half a dozen times trying to distinguish between the cornets of Oliver and Armstrong, they're so entangled and anyway I'm far from sure who is who. Dodds warbling along on his clarinet is always a joy.
This CD is sheer bliss for a lover of raw and "primitive" jazz with its ensemble playing. Only Hot Five and Hot Seven are better, even if dominated by Armstrong's power.

The authentic jazz sound of New Orleans, 28 Feb 2001
This double album embraces 41 recordings made after the closing of Storyville and the shift of jazz from its birthplace in New Orleans. No jazz recordings had been made when Joe "King" Oliver formed his first bands and played there alongside such other New Orleans jazz "greats" as Kid Ory, Johnny Dodds and Sidney Bechet. The CDs include 37 tracks by King Oliver's Creole Jazz Band, 2 tracks with King Oliver and Clarence Williams accompanying vaudeville singers Jodie and Susie Edwards, and 2 tracks of King Oliver cornet solos accompanied by the "great" Jelly Roll Morton on piano.

The initial 8 tracks are revered by jazz enthusiasts and are amongst the first jazz recordings made by a Negro band. This was in Richmond, Indiana, with the rest of the 37 Creole Jazz Band tracks being recorded in Chicago. All this took place in the year 1923, and with no earlier jazz recordings it can be claimed these are the first real records of the authentic sound of New Orleans jazz. Indeed, it may be argued that there is no real New Orleans jazz other than that recorded elsewhere.

It is not practicable to comment on all 41 tracks, but the 37 by the Creole Jazz Band demonstrate a most important element in traditional jazz termed "collective improvisation" where all instruments improvise in relation to the melodies and harmonies of the others and blend into an ensemble sound. There is also an element of creating openings for others and taking advantage of openings by others for solo slots, and of siezing opportunities to join in chorus lines. My favourites are "Canal Street Blues" from the initial recording session, together with "Jazzin' Baby Blues", "Zulu's Ball", "Sobbin' Blues", "I Ain't Gonna Tell Nobody" and "Room Rent Blues" from Chicago sessions. Louis Armstrong is part of the line-ups on all these recordings and there is a rare opportunity to hear him playing swanee whistle. Alternative takes and versions are included for such numbers as "Dipper Mouth Blues", "Snake Rag", "Mabel's Dream", "Riverside Blues" and "Southern Stomps" that allow appreciation of the considerable flexibility of the musicians and the wide diversity of the band.

Surprisingly these multiple numbers do not detract from the easy listening nature of the CDs for the Creole Jazz Band numbers. However, for me the final 4 tracks recorded in 1924 fit rather uncomfortably with the 1923 recordings. It is perhps as well that positioning at the end of the second CD allows the vaudeville numbers to be ignored. Of some interest are the King Oliver cornet solos as these give a glimpse of him playing in isolation. I find "King Porter Stomp" full of inventiveness though rather ragged, and "Tom Cat" has the cornet as subdued staccato to Jelly Roll Morton's more melodic piano.

King Oliver had built on the playing of Buddy Bolden and Freddie Keppard, just as Louis Armstrong was to go on and build on the playing of King Oliver. In his heyday King Oliver was amongst the "greats" of New Orleans horn players, and the Creole Jazz Band was his most famous group. These CDs include the best of what was being played at the time. King Oliver on cornet and the Creole Jazz Band were the sensation of this "golden age" playing the authentic jazz sound of New Orleans.

Satch and Lady Ella blow up a storm, 08 Feb 2008
Back in the late '50's Ella Fitzgerald was just starting on her amazing 'songbook' series with Verve. Louis Armstrong was free of his long time Decca contract, touring the world and recording when he got the chance. Norman Granz at Verve has to be thanked for having the inspired idea of putting them together and making the arrangemetns to get Satch into his studio. They recorded three albums together, Ella and Louis (1956), Ella and Louis Again and Prgy and Bess (both 1957). Here we get the three complete albums and a wealth of extra material that wasn't released at the time.

It's hard to know where to start. I've always thought that both artists are superb, but both always attained new heights when paired with an equally strong artist (Louis' recordings with Duke Ellington, or Ella's with Count Basie for example, show them at the top of their game). Here they just go one further. I certainly rate these as the best recordings of Satch's career, and Ella was only better when she came to work with Duke Ellington on his songbook entry.

OK, so we have two superb artists, backed by some excellent musicians (including the Oscar Peterson trio), taking a joyous stroll through the great American songbook in the first two albums, and making a definitive version of Porgy and Bess in the third. I just can't rate these recordings highly enough. Louis is blowing some great trumpet solos (and laying down a sublime vocal) and Ella's singing is just amazing. The backing musicians are just swinging. And, most importantly, everyone just seems to be having a good time.

Definitely a set for any jazz fan, or just a fan of good music in general.

Morton, born in 1890, was the first true jazz composer. His great talent lay in creating small-band music which sounded so natural that you could almost believe it had been improvised on the spot. But when you listen more closely, you realise that no band could ever improvise music as perfectly proportioned and well balanced as that. He created his music with the musicians around him, not like an architect planning a building, but like a gardener trimming and training naturally growing plants. This five-CD box contains everything Morton recorded at the peak of his career, between 1926 and 1930. The bulk of it is band music by his Red Hot Peppers, with a scattering of piano solos, trios, quartets and some larger ensembles. It took years for the producers to collect the best possible original copies, which were then remastered by John R. T. Davies, a world expert on the restoration of classic jazz. The result is almost certainly the best Morton edition ever produced--or likely to be. --Dave Gelly

A brilliant soundtrack full of classic music., 06 May 2001
The music of the Porgy and Bess soundtrack virtually transports you back to the deep south. With "modern day lullabies" such as summertime this is a perfect album to sit back and relax to. Allowing the classic and original vocal tones of Ella Fitzgerald and Louis Armstrong to lull you away to a warm and romantic place.

Hypnotic Sidney Bechet.., 13 Apr 2008

Very nearly didn't buy this. No-one had reviewed it so I was rather in
the dark. Now that I have the disc I am addicted to Sidney Bechet! RCA
Victor has given us a first-rate recording - apart from only one track
from 1949 which is a little scratchy - but I still feel the 5 stars
are merited for the standard of Bechet's artistry. His rendition of
Petite Fleur and Le Marchand De Poisson is hypnotic...He demands your
full undivided attention - and gets it. If you don't know Bechet but
like jazz - buy this CD - and if you are already a Bechet fan, you
won't be disappointed.

Some of the coolest sounds around, 28 May 2000
This is a wonderful album of jazz by one of the great tenor saxophonists, Coleman Hawkins. Every note is played with feeling, tenderness and great skill. There's not a weak track on this album; each one is a carefully crafted piece of musicianship. At full price this would be highly recommended - at bargain price it more or less becomes an automatic choice. Coleman Hawkins should definitely be better known, and this album is a marvellous place to become acquainted with him and his music.

Ten thousand stars to the music..., 03 Sep 2007
...but only 3 for this boxed set, an average grade between -
Minus: muddy sound on the remastering. Plus: wide selection of tracks.

A Legend In His Short Lifetime, 29 Jul 2007
I'm trying in my reviews to tread the roads less travelled, but it would be remiss of me to pass over this 4-CD set, particularly when it has not attracted a single review to date. If you've never heard a recording by Bix you don't know what you've missed, and if you have you'll never forget it. He was unsurpassed for purity of tone, and his skill transcended mere improvisation, transmuting the most uninspired tunes into melodies of great beauty, seemingly without effort.

This compilation covers his first recordings with the Wolverines, the Sioux City Six, and the Rhythm Jugglers, the best of his recordings with Jean Goldkette and Paul Whiteman, interpolated by those made by studio groups under his own and Frank Trumbauer's name, the two Broadway Bellhops sides, and finishing up with the two Hoagy Carmichael sides.

This was a musician who claimed never to play the same solo twice, but the one thing that's missing is an alternate take or two (and there are many) to show the extent to which Bix's solos altered dramatically from one to the next. But that's a small reservation which does not detract from the impact of the set as a whole.

Individual discs are housed in slipcases, and are accompanied by an extremely detailed 56-page booklet setting out his career and full discographical details. An absolute bargain.


HERE'S MY (FIVE) PENNIES' WORTH, 21 Jul 2007
I originally had this recording on Brunswick (Stereo!) vinyl from 1959, but it has long gone.

After seeing it available on CD I had no hesitation in buying it again. Everyone on the recording seems to be having a good time, and the music ranges from pure jazz to a couple of more "ballad" type songs.

The US import I received is in Mono (which is probably better as some early stereo records seem too "separated"). Excellent quality and fine performances. 18 tracks, but it all fitted on one LP as some of the tunes are only between one and two minutes long.

I recall the film was partly fun, part "lump in throat" with a mushy ending, but well worth a viewing.

Not one of the best known soundtrack albums, but worth having it in your collection.

brings back memories, 15 Mar 2004
When my sister and I were young, if we couldn't get to sleep we'd shout out "Daaaad, sing us a magic song". The magic songs in question were three of the tracks included on this soundtrack: Lullaby in Ragtime, Good Night, Sleep Tight, and The Five Pennies. I've never seen the film and I don't think I've even heard the original versions of these songs, so I was overjoyed when the soundtrack was finally made available. Hearing the originals brought back so many memories, and even made me cry! The album is wonderful, even without having seen them film. The whole atmosphere of the soundtrack reminds me of It's a Wonderful Life, and I'm sure the film will be just as touching as that. The music is great - although you can't really go far wrong with Satchmo and Danny Kaye! You do have to like lots of trumpets and brass though. Catchy, stylish, moving, exuberant - everything a soundtrack from a classic musical should be!

Fantastic, 15 Oct 2008
I bought this on the basis of the reviews and was knocked out by the album.Surely it must rank amongst the very best Louis Armstrong albums.Captivating from start to finish and the music quality is as fresh as tomorrow. Simply can't beleive the price, please don't let it put you off it is worth far far more.

One of my favourite albums..., 01 Jun 2008
What a magnificent CD!

I heard this album in the LP form at the beginnings of my explorations into jazz but, as the CD era started, I was warned that the 80's CD of "Armstrong plays W. C. Handy" contains inferior alternate versions.
The producer George Avakian explains in this 1997 CD what happened and how painstaking and meticolous research and restoration resulted in this issue, basically equall to the original album, although the recording company had lost not only masters but the back-up copies as well. So, all the compliments go to Mr. Avakian, the producer and the restorer of this music.

This is one of my favorite jazz albums and I feel it proves that Louis in the 50's could very well reach his Hot fives and Hot seven hights. Whether it is "Loveless love", "Chantez les-bas" or the ingenious and rightly famous "St. Louis Blues", Satchmo shines both through the clear sound of his trumpet and through the expressive groan and grumble of his vocal chords (how do such divine voices come about? Did he work on it or was it a gift?).

His accompanying ensemble is also great, particularly the explosive trombonist Trummy Young, who was rightly famous for his work in Lunceford's big band in the swing era, but seems liberated in Satchmo's All-stars concept - he propelles ensemble choruses and plays inspiring solos (Bigard is also great but his best work was done in the swing era with Ellington).

It is quite amazing that critics in the 50's didn't take Satchmo seriously enough but so it goes with music, cinema or anything else: Artists who still develops their concept when younger cats follow completely different leaders often go unnoticed. Fortunatelly, Armstrong was able to attract some of the non-jazz crowd and become popular entertainer, so he had a great amount of artistic liberty.

Additional attractions of this seminal album are rehearsing sequences and short interviews with Satchmo and W. C. Handy.

a classic recording date that will never age , 19 Jun 2007
This is quite simply one of the best recordings I have ever had the pleasure of listening to. I have heard many LPs over the years but this is fantastic, the quality of the recordings is matched by the wonderful playing and singing. The atmosphere is stunning and illustrates what is missing from today's music - performance, energy and humour. Also equally worth checking out is Satchmo's tribute to Fats waller, both albums are absolute classics!!!

WOW WOW WOW WOW WOW WOW and......... WOW, 26 Mar 2007
SPECTACULAR .... a friend put me on to this a few years back and if you really want to hear the best classic RnB then this is for you! Fan or no fan this really is one amazing album and i can honestly say it has changed my mindset into what maybe i should be listening to on a lazy sunday. Why there are only 3 reveiws on here i do not know.? i dont normally write them but like i said dont question it just buy it and expand your mind on how real music was made with real people.

If you only buy one classic jazz album, buy this!, 27 Nov 2001
Being relatively new to Jazz myself, the choice of Jazz albums seems staggering, even the number of Louis Armstrong CD's is daunting - but this is one of the best there is (the rather damning Penguin Jazz Guide review is based on an early reissue, this version of the original masters is worthy of a full 5 stars). The music is classic Armstrong playing combined with perfect Handy blues. If this CD inspires you (and at this price its got to be worth it), then try the Hot 5's and 7's box set for another taste of Armstrongs awesome vocal and musical abilities

The First Great Jazz Records, 05 Jun 2007
Having lived with these tracks for about 50 years, repeated listening has confirmed that these are the finest recordings of a 'classic' New Orleans ensemble ever made. The front line are completely integrated with no one (not even Louis Armstrong!) trying to hog the limelight. There are no 'star' soloists and the cornets, clarinet, and trombone, although distinctive voices, blend together to create a polyphony so perfect as to almost defy belief.

Sadly, this perfection could not last. The era of the great soloists was about to dawn and, although - for example - Armstrong, Hawkins, Bechet, etc created magnificent music, the very fact of their individual creativity meant the end of the truly integrated ensemble until the early 1940's. Duke Ellington, in the Blanton-Webster band, created just this and, importantly, found a way of integrating important solo voices within the ensemble that detracted from neither. But that's another story!

This edition of the Oliver Creole Band recordings was been splendidly remastered by the late, lamented, John R T Davis and contains the complete Gennett, Okeh, Columbia and Paramount sessions. Alternate takes are included. All in all, a perfect reissue of some of the most important of all jazz records.

This is how it started, 02 Jun 2007
There is that marching beat, harking back to the funerals and parades of New Orleans, and the popular songs and tunes of the day that any self-respecting musician had in his repertoire.
Armstrong's first solo! And you can easily play a track half a dozen times trying to distinguish between the cornets of Oliver and Armstrong, they're so entangled and anyway I'm far from sure who is who. Dodds warbling along on his clarinet is always a joy.
This CD is sheer bliss for a lover of raw and "primitive" jazz with its ensemble playing. Only Hot Five and Hot Seven are better, even if dominated by Armstrong's power.

The authentic jazz sound of New Orleans, 28 Feb 2001
This double album embraces 41 recordings made after the closing of Storyville and the shift of jazz from its birthplace in New Orleans. No jazz recordings had been made when Joe "King" Oliver formed his first bands and played there alongside such other New Orleans jazz "greats" as Kid Ory, Johnny Dodds and Sidney Bechet. The CDs include 37 tracks by King Oliver's Creole Jazz Band, 2 tracks with King Oliver and Clarence Williams accompanying vaudeville singers Jodie and Susie Edwards, and 2 tracks of King Oliver cornet solos accompanied by the "great" Jelly Roll Morton on piano.

The initial 8 tracks are revered by jazz enthusiasts and are amongst the first jazz recordings made by a Negro band. This was in Richmond, Indiana, with the rest of the 37 Creole Jazz Band tracks being recorded in Chicago. All this took place in the year 1923, and with no earlier jazz recordings it can be claimed these are the first real records of the authentic sound of New Orleans jazz. Indeed, it may be argued that there is no real New Orleans jazz other than that recorded elsewhere.

It is not practicable to comment on all 41 tracks, but the 37 by the Creole Jazz Band demonstrate a most important element in traditional jazz termed "collective improvisation" where all instruments improvise in relation to the melodies and harmonies of the others and blend into an ensemble sound. There is also an element of creating openings for others and taking advantage of openings by others for solo slots, and of siezing opportunities to join in chorus lines. My favourites are "Canal Street Blues" from the initial recording session, together with "Jazzin' Baby Blues", "Zulu's Ball", "Sobbin' Blues", "I Ain't Gonna Tell Nobody" and "Room Rent Blues" from Chicago sessions. Louis Armstrong is part of the line-ups on all these recordings and there is a rare opportunity to hear him playing swanee whistle. Alternative takes and versions are included for such numbers as "Dipper Mouth Blues", "Snake Rag", "Mabel's Dream", "Riverside Blues" and "Southern Stomps" that allow appreciation of the considerable flexibility of the musicians and the wide diversity of the band.

Surprisingly these multiple numbers do not detract from the easy listening nature of the CDs for the Creole Jazz Band numbers. However, for me the final 4 tracks recorded in 1924 fit rather uncomfortably with the 1923 recordings. It is perhps as well that positioning at the end of the second CD allows the vaudeville numbers to be ignored. Of some interest are the King Oliver cornet solos as these give a glimpse of him playing in isolation. I find "King Porter Stomp" full of inventiveness though rather ragged, and "Tom Cat" has the cornet as subdued staccato to Jelly Roll Morton's more melodic piano.

King Oliver had built on the playing of Buddy Bolden and Freddie Keppard, just as Louis Armstrong was to go on and build on the playing of King Oliver. In his heyday King Oliver was amongst the "greats" of New Orleans horn players, and the Creole Jazz Band was his most famous group. These CDs include the best of what was being played at the time. King Oliver on cornet and the Creole Jazz Band were the sensation of this "golden age" playing the authentic jazz sound of New Orleans.

Satch and Lady Ella blow up a storm, 08 Feb 2008
Back in the late '50's Ella Fitzgerald was just starting on her amazing 'songbook' series with Verve. Louis Armstrong was free of his long time Decca contract, touring the world and recording when he got the chance. Norman Granz at Verve has to be thanked for having the inspired idea of putting them together and making the arrangemetns to get Satch into his studio. They recorded three albums together, Ella and Louis (1956), Ella and Louis Again and Prgy and Bess (both 1957). Here we get the three complete albums and a wealth of extra material that wasn't released at the time.

It's hard to know where to start. I've always thought that both artists are superb, but both always attained new heights when paired with an equally strong artist (Louis' recordings with Duke Ellington, or Ella's with Count Basie for example, show them at the top of their game). Here they just go one further. I certainly rate these as the best recordings of Satch's career, and Ella was only better when she came to work with Duke Ellington on his songbook entry.

OK, so we have two superb artists, backed by some excellent musicians (including the Oscar Peterson trio), taking a joyous stroll through the great American songbook in the first two albums, and making a definitive version of Porgy and Bess in the third. I just can't rate these recordings highly enough. Louis is blowing some great trumpet solos (and laying down a sublime vocal) and Ella's singing is just amazing. The backing musicians are just swinging. And, most importantly, everyone just seems to be having a good time.

Definitely a set for any jazz fan, or just a fan of good music in general.

Astonishing!!, 04 Oct 2008
Complete Recorded Works 1926-1930
Although praise is (rightly) heaped on Louis, his near contemporary Jelly Roll Morton is often mentioned in a slightly apologetic tone as if he is somehow in a different league to Armstrong. This is undoubtedly true when comparing performing talents (although Morton was a very fine pianist indeed). Jelly's true greatness lies in his band leading and arranging skills.

These discs contain a variety of styles of music, such as the sheer exuberance of the opening number (Black Bottom Stomp), the inanities of Billy Goat Stomp and little tone poems like "Mournful Serenade". Incidentally this last number is a pirated version of King Oliver's "Chimes Blues" but Morton's account is completely his own.

But above all I should mention "Deep Creek Blues". This is a profound, heartfelt blues drenched in sadness. I have never heard this number played by anyone else: indeed it seems impossible that anyone else could play it.

The remastering was done by the late John R T Davies. Need I say more on this score?

This box set thoroughly deserves five stars for everything: choice of material, performance and remastering.


Collecting Jelly Roll, 28 Dec 2005
I have collected Jelly Roll Morton for many years and in several formats, from vinyl to cassette to CD, and this is the best album and the most comprehensive I have found to date.Many of the tracks in the album are already in my collection, but some of them were recorded at different sessions, or are different takes, and give a fresh perspective on a familiar theme.
Wild Man Blues in particular is a very clear recording, and has obviously been cleaned up and digitally enhanced to a sparkling quality, as have most of the tracks.
There are also a few tracks featuring a trio comprising J.R. Morton, Johnny Dodds and Baby Dodds that are surprisingly fresh and crisp.
The unusual sound of a violin in a jazz band,(played by Darnell Howard?) and the cornet of George Mitchell also make this a very collectable set of CDs.

great jazz collection, 05 Oct 2005
i recently bought the the 5 cd set of jelly roll morton and enjoyed them.Have always been keen on morton's great jazz recordings.

A collection from the triumphal days of traditional jazz, 19 Feb 2001
This boxed set of 5 CDs has to be "5-star" value. To collect all the numbers individually would, even if possible, be ridiculously expensive as the CDs include every surviving recording made by Jelly Roll Morton over the years 1926-1930. The CDs embrace alternate takes for many of the numbers and so allow listeners to compare different versions and to trace their development.

Jelly Roll Morton proclaimed himself to be the "inventor" of jazz and these CDs provide insight to his disciplined approach to recording sessions. Others have claimed to originate jazz, but the qualities demonstrated on these CDs suggest Jelly Roll Morton's self-representation may be correct. He was a great composer and the vast majority of the numbers on the CDs are his own - he was an inventive arranger as indicated by both ensemble playing and solo interjections, and different treatments with alternates on the CDs - and above all, he was clearly an inspirational bandleader as he surrounded himself with many of the best musicians of the day as described in the discographies.

The CD insert notes have a reasonable amount of background material, but about the various recordings there are detailed and informative comments. It is fascinating to listen to the numbers and read up the explanatory notes - though there is at least one error (Original Jelly Roll Blues), and some remarks are flagrantly subjective - but relevant.

If there is a problem it is that there is just too much, and many collectors and jazz lovers are likely to already have tracks on "compilation" recordings or "best of" selections. Some of the recordings appear elsewhere with other names (example : Johnny Dodds) though most are Jelly Roll Morton with his Red Hot Peppers, or his Orchestra, or various Trios and other offshoots of his main groups. The real value of jazz is not in documentation but in personal experience - just as well as there are 99 tracks to comment on - but too much is hardly a criticism. As well as a "5-star" value this boxed set is a "5-star" collectors item from Jelly Roll Morton's triumphal days of traditional jazz.

A brilliant soundtrack full of classic music., 06 May 2001
The music of the Porgy and Bess soundtrack virtually transports you back to the deep south. With "modern day lullabies" such as summertime this is a perfect album to sit back and relax to. Allowing the classic and original vocal tones of Ella Fitzgerald and Louis Armstrong to lull you away to a warm and romantic place.

Hypnotic Sidney Bechet.., 13 Apr 2008

Very nearly didn't buy this. No-one had reviewed it so I was rather in
the dark. Now that I have the disc I am addicted to Sidney Bechet! RCA
Victor has given us a first-rate recording - apart from only one track
from 1949 which is a little scratchy - but I still feel the 5 stars
are merited for the standard of Bechet's artistry. His rendition of
Petite Fleur and Le Marchand De Poisson is hypnotic...He demands your
full undivided attention - and gets it. If you don't know Bechet but
like jazz - buy this CD - and if you are already a Bechet fan, you
won't be disappointed.

Some of the coolest sounds around, 28 May 2000
This is a wonderful album of jazz by one of the great tenor saxophonists, Coleman Hawkins. Every note is played with feeling, tenderness and great skill. There's not a weak track on this album; each one is a carefully crafted piece of musicianship. At full price this would be highly recommended - at bargain price it more or less becomes an automatic choice. Coleman Hawkins should definitely be better known, and this album is a marvellous place to become acquainted with him and his music.

Ten thousand stars to the music..., 03 Sep 2007
...but only 3 for this boxed set, an average grade between -
Minus: muddy sound on the remastering. Plus: wide selection of tracks.

A Legend In His Short Lifetime, 29 Jul 2007
I'm trying in my reviews to tread the roads less travelled, but it would be remiss of me to pass over this 4-CD set, particularly when it has not attracted a single review to date. If you've never heard a recording by Bix you don't know what you've missed, and if you have you'll never forget it. He was unsurpassed for purity of tone, and his skill transcended mere improvisation, transmuting the most uninspired tunes into melodies of great beauty, seemingly without effort.

This compilation covers his first recordings with the Wolverines, the Sioux City Six, and the Rhythm Jugglers, the best of his recordings with Jean Goldkette and Paul Whiteman, interpolated by those made by studio groups under his own and Frank Trumbauer's name, the two Broadway Bellhops sides, and finishing up with the two Hoagy Carmichael sides.

This was a musician who claimed never to play the same solo twice, but the one thing that's missing is an alternate take or two (and there are many) to show the extent to which Bix's solos altered dramatically from one to the next. But that's a small reservation which does not detract from the impact of the set as a whole.

Individual discs are housed in slipcases, and are accompanied by an extremely detailed 56-page booklet setting out his career and full discographical details. An absolute bargain.


HERE'S MY (FIVE) PENNIES' WORTH, 21 Jul 2007
I originally had this recording on Brunswick (Stereo!) vinyl from 1959, but it has long gone.

After seeing it available on CD I had no hesitation in buying it again. Everyone on the recording seems to be having a good time, and the music ranges from pure jazz to a couple of more "ballad" type songs.

The US import I received is in Mono (which is probably better as some early stereo records seem too "separated"). Excellent quality and fine performances. 18 tracks, but it all fitted on one LP as some of the tunes are only between one and two minutes long.

I recall the film was partly fun, part "lump in throat" with a mushy ending, but well worth a viewing.

Not one of the best known soundtrack albums, but worth having it in your collection.

brings back memories, 15 Mar 2004
When my sister and I were young, if we couldn't get to sleep we'd shout out "Daaaad, sing us a magic song". The magic songs in question were three of the tracks included on this soundtrack: Lullaby in Ragtime, Good Night, Sleep Tight, and The Five Pennies. I've never seen the film and I don't think I've even heard the original versions of these songs, so I was overjoyed when the soundtrack was finally made available. Hearing the originals brought back so many memories, and even made me cry! The album is wonderful, even without having seen them film. The whole atmosphere of the soundtrack reminds me of It's a Wonderful Life, and I'm sure the film will be just as touching as that. The music is great - although you can't really go far wrong with Satchmo and Danny Kaye! You do have to like lots of trumpets and brass though. Catchy, stylish, moving, exuberant - everything a soundtrack from a classic musical should be!

Fantastic, 15 Oct 2008
I bought this on the basis of the reviews and was knocked out by the album.Surely it must rank amongst the very best Louis Armstrong albums.Captivating from start to finish and the music quality is as fresh as tomorrow. Simply can't beleive the price, please don't let it put you off it is worth far far more.

One of my favourite albums..., 01 Jun 2008
What a magnificent CD!

I heard this album in the LP form at the beginnings of my explorations into jazz but, as the CD era started, I was warned that the 80's CD of "Armstrong plays W. C. Handy" contains inferior alternate versions.
The producer George Avakian explains