Louis Armstrong And His Orchestra - “St.

Louis Blues (1929)

A unique take on St. Louis blues. The more I’m exposed to Armstrong, the more I understand
how much be pushed jazz forward. The approach used paying homage to the melody and using
it as a jumping off point would continue later with Coleman Hawkins’ Body and Soul and even
later with Coltrane’s take on My Favorite Things (especially from the One Up One Down album).
I didn’t know St. Louis blues had lyrics, but I’m not so sure Armstrong stays true to them either;
his vocal approach seems to be more riffing on the tune rather than demonstrating the melody.

Cab Calloway, “St. Louis Blues” (1930)

Very different approach here. While there are louder shout sections, in terms of dynamics this
version is pretty static. I understand the arrangement is organized to feature Cab, but I do think
it falls flat in terms of energy; other arrangers of the time like Redman and Carter were
experimenting with orchestration and voicings. Here, the approach feels more like Broadway
than jazz.

Chick Webb, ‘If Dreams Come True”

The piano feature right in the middle of the tune works better than I thought it would. My guess
would be that has more to do with Webb’s playing rather than the arranger setting up the new
timbre well. I can hear the dancing that this band must’ve played for, and it feels like that - it
feels like dance music. Its music for people to move to, it’s not a political/historical statement ala
Ellington and its not pushing the envelope ala Armstrong. Its a well-rehearsed tight group that
plays the music well.

Earl Hines, “Rosetta” (1933) (Cecil Irwin, arranger)

Hines’ left hand is so good at using dynamics to support the melody, especially with his
approach to articulation. Considering the technology, it’s impressive that his playing still comes
through despite the primitive way in which it was captured. Irwins approach by starting with the
melody for bari and the wah sounds in the brass section indicate a purposeful approach to
timbre.

Jimmie Lunceford, “Sleepy Time Gal” (Edwin Wilcox, arr., 1935)

The reed soli kinda comes out of nowhere. I was going to write how this felt more like a pop
tune than something that would be called jazz for the time, but the soli is grounded in the jazz
language for the mid 1930’s. I think what's interesting here is the approach to phrasing and
articulation - many times its played straight, accenting 1 and 3, not accenting an upbeat eighth
note at the end of a phrase, so I guess the pop as opposed to jazz argument may hold water.
Even the bass player plays more of a Broadway big 2 feel.
Roy Eldridge, “Wabash Stomp: (1937) (Vocalion)

A nice feature for Eldridge. THis arrangement is a little simpler than what was happening in
other bands at the same time, but there are a few nice choices that are made. For example the
little shout figures that send off into the solo section creates energy for the improvisors.The
influence Eldridge had on Dizzy is clear, especially when I listen to how Eldridge approaches
articulation in the higher range, and the tight, fast vibrato he uses at the very end of the note.

Benny Goodman “Blue” (Brunswick) 1928

In the first pass of the melody, I noticed the guitar player arpeggiates some of the chords in
between phrases rather than chopping quarter notes. I picked this tune because I wanted to
hear Goodman on sax, and he definitely sounds like a clarinet player playing the saxophone.
The tone and his larger intervallic leaps give it away; the horn responds differently than a
clarinet does when you play these larger leaps - I can hear Goodman accommodating these
intervals as if he were playing clarinet.

Lionel Hampton, “Hot Mallets” (1939)

I chose this tune because of the lineup, and I wasn’t disappointed. I really enjoyed the contrast
between Chu Berry and Carter, and Hampton’s solo stands out above the others. His ability to
use rhythms and then displace them keep the energy of his solo going, and there are some
really hip lines in the last A section. Since the song is basically everyone improvising, I wonder if
they had studio time left over and just recorded a jam.