LOUIS ARMSTRONG AND HIS ORCHESTRA – 1929-1930 | The Classics Chronological Series – 557 (1990) FLAC (tracks+.cue), lossless

On March 1, 1929, Eddie Condon managed to assemble a completely unrehearsed band in a recording studio at Liederkranz Hall in New York City, where two of the greatest jazz records of the entire decade were waxed and soon issued under the name of Fats Waller & His Buddies. Four days later, Condon was in a different studio with a band led by Panamanian pianist Luis Russell. This ten-piece orchestra was identified on record as Louis Armstrong's Savoy Ballroom Five. Their "Mahogany Hall Stomp" perfectly embodies both the leader's personality and jazz itself at the end of the 1920s. The Armstrong chronology jumps to July of 1929 with four beautiful Fats Waller melodies and into September with a string of pretty tunes that seem to anticipate popular taste during the 1930s. In December of 1929 Armstrong made a series of records with Luis Russell's orchestra. This placed him in the same group with trumpeter Henry "Red" Allen, something that should have happened more often. Hoagy Carmichael sat in on December 13th to assist Armstrong in singing "Rockin' Chair." On January 24, 1930, the era of sweet bands seems to have officially opened with "Song of the Islands," garnished with three violins and vibraphone played by Paul Barbarin while the band's valet sat in on the drums. Moving into the spring of 1930, a duet rendition of "Dear Old Southland" paired the trumpeter with pianist Buck Washington. As the Great Depression settled over the listening public, Armstrong recorded numerous pop songs in front of a large, lightly sweetened orchestra. His trumpet and persona transform even the least of these ditties into precious delicacies that still nourish and satisfy many years after their creation. arwulf arwulf    Tracklist :

LOUIS ARMSTRONG AND HIS ORCHESTRA – 1928-1929 | The Classics Chronological Series – 570 (1991) FLAC (tracks+.cue), lossless

By June of 1928 Louis Armstrong had refined himself and his ensemble to the point where nearly every record they made was a study in collective genius, as the mature edition of the Hot Five resounded with Zutty Singleton's popping cymbals and Earl Hines' modernistic piano. The entire idiom of classic jazz is defined in part by the lively, well-oiled precision of "Fireworks," the humorous dialogue leading into the leader's velvety vocal on "A Monday Date" and the stunning vocal trio harmonies laid over Fats Waller's "Squeeze Me." On July 5, 1928, the Five found themselves surrounded by six other players to form a big band designated for posterity as Carroll Dickerson's Savoyagers. This interesting experiment in upsizing pointed in the direction that Armstrong was headed, for within one year, with violinist Dickerson in tow, the trumpeter would be performing in front of a significantly larger ensemble. For the time being, Armstrong's sextet began calling itself his Orchestra or, when Don Redman was in on the gig, his Savoy Ballroom Five. This portion of the Armstrong chronology is deliciously packed with some of his greatest moments on record. "Weather Bird" is an especially satisfying Hines/Armstrong duet update of King Oliver's "Weather Bird Rag." At the beginning of 1929 Armstrong headed back to New York City, where on the 5th of March he recorded the famous "Knockin' a Jug" with Jack Teagarden, Happy Caldwell, Joe Sullivan, Kaiser Marshall, and Eddie Lang. On the same day a gorgeous rendition of "I Can't Give You Anything But Love" was presented by the Luis Russell Orchestra in one of its most dazzling incarnations: drummer Paul Barbarin, bassist Pops Foster, guitarist Lonnie Johnson, Eddie Condon on the banjo, Russell at the piano, and a front line of Teddy Hill, Charlie Holmes, Albert Nicholas, J.C. Higginbotham, and Louis Armstrong. arwulf arwulf    Tracklist + Credits :

LOUIS ARMSTRONG AND HIS ORCHESTRA – 1936-1937 | The Classics Chronological Series – 512 (1990) FLAC (tracks+.cue), lossless

Continuing the complete chronological reissue of Louis Armstrong's output for Decca during the swing era, this set finds Satch at his most exhibitionistic (hitting dozens of high notes on "Swing That Music"), fronting Jimmy Dorsey's orchestra, doing a "Pennies from Heaven" medley with Bing Crosby, joining in for two collaborations with The Mills Brothers and, on four selections, even making charming (if weird) music with a group of Hawaiians. Not essential but quite enjoyable. Scott Yanow   Tracklist + Credits :

KING OLIVER's JAZZ BAND – 1923-1926 | The Chronogical Classics – 639 (1992) FLAC (tracks+.cue), lossless

We'd like to introduce the last 11 sides that Louis Armstrong made with Joe Oliver's Jazz Band. After listening through three or four of these, you'll have a pretty good idea why this group generated so much excitement in its heyday. Already the ensemble has begun to morph. Papa Charlie Jackson's bass saxophone adds an extra level of funk to "Buddy's Habit," a thrilling stomp gone slightly weird when Louis takes an entire chorus using a slippery "swanee whistle." Jackson played a worthy tuba but his bass sax was all prostate and peritoneum. This was a hot band and these are among the best records they ever managed to conjure. Two cornets harmonize in striking tandem during the breaks. Honore Dutrey's trombone is the perfect counterweight for Johnny Dodds' clarinet. We're experiencing authentic collective improvisation, eight people sharing one microphone. Each of these numbers will charm you if you give the music a chance. Go ahead. Spend more than a half-hour with this amazing band. Suddenly the chapter ends and we've entered a completely different phase of Oliver's life. The group has dissolved after a dispute over pay. Louis lingered longer than the rest but by December of 1924 he's off plowing his own turf. A full year has passed since the band's final session as a unit. King Oliver is heard in duet performance with Jelly Roll Morton, working up a gutsy "King Porter Stomp" and a "Tom Cat" which soon reveals itself as Morton's "Winin' Boy." Now we're wading into the year 1926. Oliver has put his name in front of a band, which is essentially Luis Russell & His Burning Eight. Suddenly there are a lot more reed players than have ever been heard on any of King Oliver's records. There's Albert Nicholas, Barney Bigard and an alto player from Detroit named Billy Paige. He wrote the arrangements for "Too Bad" and "Snag It." Vocals are by the venerably funky Richard M. Jones, the soulful Teddy Peters, the salty Georgia Taylor and the chronically blue Irene Scruggs. Albert Nicholas plays a mean soprano sax on "Home Town Blues." "Deep Henderson" kicks and shakes. "Jackass Blues" is a masterpiece of distorted reality. Gone is the precision of the Creole Jazz Band. The Dixie Syncopators blow hard and swing loose. "Sugar Foot Stomp" is a screamer. Conventional criticism is full of complaints about this band. Why compare it with the smaller, more disciplined ensembles of 1923? These big bumbling bands of 1926 are about feeling good. The records don't exist to authenticate some expert's theories of refined excellence. If Barney Bigard wants to slap his tongue against the reed and Stump Evans tries his luck with a soprano saxophone, well, good for them. It's all about having a good time. And this is good time music. arwulf arwulf  
Tracklist + Credits :

KING OLIVER AND HIS DIXIE SYNCOPATORS – 1926-1928 | The Chronogical Classics – 618 (1991) FLAC (tracks+.cue), lossless

It's the middle of September, just past the middle of the 1920s, and Bert Cobb is playing an entire chorus of "Someday, Sweetheart" on his tuba without adding any embellishments whatsoever. Barney Bigard moans through a saxophone, and Johnny Dodds pours the rest of it right out the bottom of his clarinet. Meet the Dixie Syncopators. King Oliver has surrounded himself with about ten musicians who tease, squeeze and wheeze their way through harmless pop songs and authentic jazz tunes without apologizing or going out of their way to prove themselves any better than they need to be to make it through to the end of the year 1926. Kid Ory sounds like Kid Ory and that sounds awfully good. Every tub on its own bottom, like the fellows said. The time line is peppered with exciting changes. By April of 1927, Lawson Buford has captured the tuba. Omer Simeon is in the reed section with Barney Bigard, who is still wielding a dangerous tenor sax. Joe Oliver sounds great most of the time, and his band should be appreciated on its own ground. Comparing it with Duke Ellington's orchestra is a pointless procedure. Ellington was different from this, although both Ellington and Bubber Miley listened carefully to King Oliver. These Dixie Syncopators occupy their own plateau in eternity, and we are free to visit them at will. There are no washouts. Even the drudge-nudge of "Black Snake Blues" is marvelous theater. "Farewell Blues" is gorgeous. Any inquisitive person could learn a lot just by following the stories of all the people who sat in with King Oliver during these years. The reed players! The trombonists! And yes, without a doubt, get a load of those tuba technicians. This is a fascinating period to listen back on, as banjos and tubas were often considered mutually essential equipment. Compare the puffing of Cyrus St. Clair with the huffing of Bass Moore. The session of August 13, 1928 gives us the option of enjoying instrumentals or really nice vaudeville vocals. At least they seem nice enough until you hear the line: "hang the dog and shoot the cat." Gosh, maybe the instrumental version is better after all. arwulf arwulf  
Tracklist + Credits :

LUIS RUSSELL AND HIS ORCHESTRA – 1926-1929 | The Chronogical Classics – 588 (1991) FLAC (tracks+.cue), lossless

This Classics Russell collection and the label's later 1929-1934 disc round up the entire output by the Panamanian bandleader. And while some know them better for the fact they eventually morphed into Louis Armstrong's first big band in the early '30s, Russell's outfit originally cut some of the best sides to surface during the music's transition from early jazz to big band music. The cream of the tracks were recorded between 1929-1930, when the group included such top soloists as trumpeter Henry Allen, trombonist J.C. Higginbotham, saxophonists Charlie Holmes and Albert Nicholas, bassist Pops Foster, and drummer Paul Barbarin. The majority of the collection spotlights this period, with such standouts as "Jersey Lightning," "The New Call of the Freaks," and "African Jungle." Starting things off, though, are eight numbers from Russell's first sessions as a leader (this was while he was still with King Oliver). Featuring Victoria Spivey on vocals and two Jell Roll Morton alums in Kid Ory and George Mitchell, the Chicago-cut sides, while not on par with the later large-band tracks, still impress with their mix of New Orleans and Chicago styles. A quality disc that's best left to completists; newcomers should first consider JSP's superior-sounding Savoy Shout collection as a starting point. Stephen Cook  
Tracklist + Credits :

LUIS RUSSELL AND HIS ORCHESTRA – 1930-1934 | The Chronogical Classics – 606 (1991) FLAC (tracks+.cue), lossless

It's a shame this and the earlier Classics collection split up the bandleader's prime 1930 recordings, but such is the way of a strictly chronological series. Those wanting just one disc that covers most of Russell's best work will want to pick up JSP's Savoy Shout disc, which includes 22 cuts from 1929-1930. But for collectors in need of all of the recordings Russell cut before Louis Armstrong practically swallowed up his band whole in 1934, the two Classics discs will certainly do the trick. And while this later disc pales a bit to the 1926-1930 collection, its first half does feature classic work from Russell's band and its spin-off combo, J.C. Higginbotham and His Six Hicks. Along with Higginbotham's own irrepressible trombone work, these sides also offer a wealth of solo treats from such band standouts as trumpeter Henry Allen and saxophonists Charlie Holmes and Albert Nicholas. The later 1931 and 1934 recordings might not match up to earlier classics like "Panama" and "Song of the Swanee," but they still include enough fine performances amongst the filler to keep the quality level up. A worthwhile disc, but one that's probably best suited for Russell completists. Stephen Cook
Tracklist + Credits :

LUIS RUSSELL AND HIS ORCHESTRA – 1945-1946 | The Chronogical Classics – 1066 (1999) FLAC (image+.cue), lossless

As different as can be from the Luis Russell recordings of the 1920s and early '30s, most of this material is heavily larded with male vocalists who use up lots of oxygen emulating Billy Eckstine. This was a stylistic trend during the years immediately following World War II, as entire big bands were yoked into subservience behind the all-important Big-Named Singer. As this development made Frank Sinatra and Perry Como into household words -- and caused Nat Cole to practically abandon the piano -- it paved the way for a morbid emphasis on the pop vocalist as cash cow core of the music business. This is a malady from which the industry has yet to recover. None of the singers heard on these Manor and Apollo sides enjoyed popular success, and neither did Russell's short-lived modernized big band. The young musicians who diligently back the singers are able to assert themselves wonderfully on three smoking instrumental tracks, which are as exciting as the vocal selections are soporific. Most noteworthy is the presence of 20-year-old percussionist Roy Haynes, who lathers up the ensemble on "Boogie in the Basement," "1280 Jive," and a bopping "Luke the Spook." The band also sings in unison during a novelty bounce called "I've Got a Gal." On these sides the orchestra sounds something like the rowdy big band being led during this same time period by Roy Eldridge. Additional excitement is generated by pianist Howard Biggs, trombonist Charles Stovall, and a very interesting tenor player by the name of Esmond Samuels. Confronted with only three or four hot jams surrounded by 18 syrupy vocals, the listener is left wishing that Luis Russell's last big band had been given the chance to record at least a dozen more of those tasty upbeat numbers with the instrumental talent out in front. Instead, this chronological package is swamped by gooey vocals without even the quirkiness of an Al Hibbler to relieve the sentimental congestion. arwulf arwulf
Tracklist + Credits :

HENRY "RED" ALLEN AND HIS ORCHESTRA – 1929-1933 | The Chronogical Classics – 540 (1990) FLAC (tracks+.cue), lossless

The first of a five-volume CD series released by the European Classics label that reissues all of the recordings led by trumpeter Red Allen during 1929-41 is one of the best. The great trumpeter is first heard fronting the Luis Russell Orchestra for such classics as "It Should Be You" and "Biff'ly Blues," he interacts with blues singer Victoria Spivey, and on the selections from 1933 (two of which were previously unreleased) he co-leads a group with tenor-saxophonist Coleman Hawkins. Not all of the performances are gems but there are many memorable selections including "How Do They Do It That Way," "Pleasin' Paul," "Sugar Hill Function,," and "Patrol Wagon Blues." Other soloists include trombonists J.C. Higginbottham and Dicky Wells, clarinetist Albert Nicholas and altoist Charlie Holmes. Scott Yanow
Tracklist + Credits :

HENRY "RED" ALLEN AND HIS ORCHESTRA – 1933-1935 | The Chronogical Classics – 551 (1990) FLAC (tracks), lossless

The second of five CDs put out by the European Classics label that document trumpeter Red Allen's 1929-41 recordings has three titles from a session co-led with tenor-saxophonist Coleman Hawkins, eight songs from 1934 and a dozen from the following year. Allen takes vocals on most of the tracks and, even if not all of the songs are gems, there are many highlights including "Pardon My Southern Accent," "Rug Cutter Swing," "Believe It, Beloved," "Rosetta" and "Truckin'." The strong supporting cast includes trombonists Dickie Wells and J.C. Higginbotham, clarinetists Buster Bailey and Cecil Scott and, on one date, tenorman Chu Berry. All five of the Red Allen Classics CDs are recommended. Scott Yanow
Tracklist + Credits :

HENRY "RED" ALLEN AND HIS ORCHESTRA – 1936-1937 | The Chronogical Classics – 590 (1991) FLAC (tracks+.cue), lossless

The fourth in the Classics label's five-CD series of Red Allen recordings reissues 20 obscure performances from a seven-month period. Although Red Allen was mostly playing with big bands during the 1930s, these small-group sides gave him a chance to be showcased quite a bit more than usual. Allen takes vocals on each of the tunes and, although many of the songs are long forgotten, his trumpet solos and the improvisations of altoist Tab Smith, clarinetist Buster Bailey and Ted McRae on tenor keep one's interest. This is actually the weakest of the five CDs but all are worth picking up. Scott Yanow
Tracklist + Credits :

HENRY "RED" ALLEN AND HIS ORCHESTRA – 1937-1941 | The Chronogical Classics – 628 (1992) FLAC (tracks+.cue), lossless

The final of the five Classics CDs that document the early recordings of trumpeter Henry "Red" Allen covers music from three very different bands. Allen is first heard singing and playing trumpet on eight pop tunes he uplifts with a recording group in 1937 that features altoist Tab Smith. Allen also plays four Dixieland standards with a hot septet in 1940 that includes trombonist Benny Morton, clarinetist Edmond Hall and pianist Lil Armstrong. The final eight numbers (four of which were previously unreleased) showcases his regular band from 1941 (with trombonist J.C. Higginbottham and clarinetist Edmond Hall) really romping through some hard-swinging performances, including "K.K. Boogie" and a two-part version of "Sometimes I'm Happy." All five of these Classics CDs are easily recommended; this is one of the better ones. Scott Yanow
Tracklist + Credits :

MILLS BLUE RHYTHM BAND – 1931-1932 | The Classics Chronological Series – 676 (1993) FLAC (tracks+.cue), lossless

Although somewhat forgotten, the Mills Blue Rhythm Band was one of the better jazz orchestras of the early 1930s. Classics has reissued all of the big band's recordings over five CDs. In its early days, the band did not have an excess of famous soloists (altoist Charlie Holmes, from the Luis Russell, band was the first "name" to join), but the band improved with time and always featured excellent ensembles (with fine arrangements from trombonist Harry White), along with worthwhile solo statements. The second Classics Blue Rhythm CD is highlighted by "The Scat Song," "Doin' the Shake," "The Growl," "Rhythm Spasm" and "White Lightning." Scott Yanow  
Tracklist + Credits :

LOUIS ARMSTRONG AND HIS ORCHESTRA – 1929-1930 | The Classics Chronological Series – 557 (1990) FLAC (tracks+.cue), lossless

On March 1, 1929, Eddie Condon managed to assemble a completely unrehearsed band in a recording studio at Liederkranz Hall in New York City, where two of the greatest jazz records of the entire decade were waxed and soon issued under the name of Fats Waller & His Buddies. Four days later, Condon was in a different studio with a band led by Panamanian pianist Luis Russell. This ten-piece orchestra was identified on record as Louis Armstrong's Savoy Ballroom Five. Their "Mahogany Hall Stomp" perfectly embodies both the leader's personality and jazz itself at the end of the 1920s. The Armstrong chronology jumps to July of 1929 with four beautiful Fats Waller melodies and into September with a string of pretty tunes that seem to anticipate popular taste during the 1930s. In December of 1929 Armstrong made a series of records with Luis Russell's orchestra. This placed him in the same group with trumpeter Henry "Red" Allen, something that should have happened more often. Hoagy Carmichael sat in on December 13th to assist Armstrong in singing "Rockin' Chair." On January 24, 1930, the era of sweet bands seems to have officially opened with "Song of the Islands," garnished with three violins and vibraphone played by Paul Barbarin while the band's valet sat in on the drums. Moving into the spring of 1930, a duet rendition of "Dear Old Southland" paired the trumpeter with pianist Buck Washington. As the Great Depression settled over the listening public, Armstrong recorded numerous pop songs in front of a large, lightly sweetened orchestra. His trumpet and persona transform even the least of these ditties into precious delicacies that still nourish and satisfy many years after their creation. arwulf arwulf  
Tracklist :
1     Mahogany Hall Stomp 3:27
Spencer Williams
2     Ain't Misbehavin' 3:24
Harry Brooks / Andy Razaf / Fats Waller
3     Black and Blue 3:10
Harry Brooks / Andy Razaf / Fats Waller
4     That Rhythm Man 3:11
Harry Brooks / Andy Razaf / Fats Waller
5     Sweet Savannah Sue 3:15
Harry Brooks / Andy Razaf / Fats Waller
6     Some of These Days 2:54
Shelton Brooks
7     Some of These Days 3:15
Shelton Brooks
8     When You're Smiling (The Whole World Smiles with You) 2:59
Mark Fisher / Joe Goodwin / Larry Shay
9     When You're Smiling (The Whole World Smiles with You) 3:31
Mark Fisher / Joe Goodwin / Larry Shay
10     After You've Gone 3:24
Henry Creamer / Turner Layton
11     I Ain't Got Nobody 2:46
Roger Graham / Dave Peyton / Spencer Williams
12     Dallas Blues 3:17
Lloyd Garrett / Hart A. Wand
13     St. Louis Blues 3:02
W.C. Handy
14     Rockin' Chair 3:22
Hoagy Carmichael
15     Song of the Islands 3:29
Charles E. King
16     Bessie Couldn't Help It 3:22
Charles A. Bayha / Hoagy Carmichael / Jacques Richmond / Byron Warner
17     Blue Turning Grey Over You 3:28
Andy Razaf / Fats Waller
18     Dear Old Southland 3:20
Henry Creamer / Turner Layton
19     My Sweet Hunk o' Trash 3:22
James P. Johnson / F.E. Miller
20     I Can't Believe That You're in Love with Me 3:10
Clarence Gaskill / Jimmy McHugh
21     Indian Cradle Song 3:00
Gus Kahn / Mabel Wayne
22     Exactly Like You 3:28
Dorothy Fields / Jimmy McHugh

LOUIS ARMSTRONG AND HIS ORCHESTRA – 1934-1936 | The Classics Chronological Series – 509 (1990) FLAC (tracks+.cue), lossless

This valuable CD includes Armstrong's often riotous Paris session from 1934 ("St. Louis Blues" and "Tiger Rag" almost get out of control) and then Satch's first 17 Decca recordings, smooth renditions of pop tunes that he turns into classic jazz. It duplicates and exceeds Decca's Rhythm Saved the World. Scott Yanow
Tracklist :
1     St. Louis Blues 2:43
W.C. Handy
2     Tiger Rag 3:07
Harry Da Costa / Eddie Edwards / Nick LaRocca / Henry W. Ragas / Tony Sbarbaro / Larry Shields
3     Will You, Won't You Be My Baby? 2:48
John Nesbitt / Howdy Quicksell
4     On the Sunny Side of the Street, Pt. I & II 6:02
Dorothy Fields / Jimmy McHugh
5     St. Louis Blues 3:06
W.C. Handy
6     Song of the Vipers 2:54
Traditional
7     I'm in the Mood for Love 3:12
Dorothy Fields / Jimmy McHugh
8     You Are My Lucky Star 3:03
Nacio Herb Brown / Arthur Freed
9     La Cucaracha 2:44
Dominico Savino / Ned Washington
10     Got a Bran' New Suit 2:56
Howard Dietz / Arthur Schwartz
11     I've Got My Fingers Crossed 2:31
Ted Koehler / Jimmy McHugh
12     Ol' Man Mose 2:37
Louis Armstrong / Zilner Randolph
13     I'm Shooting High 2:56
Ted Koehler / Jimmy McHugh
14     (Was I to Blame For) Falling in Love With You? 3:12
Gus Kahn / Mark Newman / Victor Young
15     Red Sails in the Sunset 3:04
Jimmy Kennedy / Hugh Williams
16     On Treasure Island 3:06
Joe Burke / Edgar Leslie
17     Thanks a Million 2:39
Arthur Johnston / Gus Kahn
18     Shoe Shine Boy 3:19
Sammy Cahn / Saul Chaplin
19     Solitude 3:01
Eddie DeLange / Duke Ellington / Irving Mills
20     I Hope Gabriel Likes My Music 3:19
David Franklin
21     The Music Goes 'Round and Around 3:19
Eddie Farley / Red Hodgson / Mike Riley
22     Rhythm Saved the World 3:05
Sammy Cahn / Saul Chaplin
23     I'm Putting All My Eggs in One Basket 2:59
Irving Berlin

LOUIS ARMSTRONG AND HIS ORCHESTRA - 1936-1937 {CC, 512} (1990) FLAC (tracks+.cue), lossless

Continuing the complete chronological reissue of Louis Armstrong's output for Decca during the swing era, this set finds Satch at his most exhibitionistic (hitting dozens of high notes on "Swing That Music"), fronting Jimmy Dorsey's orchestra, doing a "Pennies from Heaven" medley with Bing Crosby, joining in for two collaborations with The Mills Brothers and, on four selections, even making charming (if weird) music with a group of Hawaiians. Not essential but quite enjoyable. by Scott Yanow
Tracklist :
1     Yes! Yes! My! My! 2:35
Sammy Cahn / Saul Chaplin
2     Somebody Stole My Break 2:44
David Franklin
3     I Come from a Musical Family 2:58
David Franklin
4     If We Never Meet Again 3:07
Louis Armstrong / Horace Gerlach
5     Lyin' to Myself 3:09
Stanley Adams / Hoagy Carmichael
6     Ev'ntide 2:50
Hoagy Carmichael
7     Swing That Music 2:50
Louis Armstrong / Horace Gerlach
8     Thankful 2:54
Sammy Cahn / Saul Chaplin
9     Red Nose 3:01
Bonnie Lake / Marion Lake
10     Mahogany Hall Stomp 2:51
Spencer Williams
11     The Skeleton in the Closet 3:06
Johnny Burke / Arthur Johnston
12     When Ruben Swings the Cuban 2:34
Harry White
13     Hurdy Gurdy Man 2:57
Sammy Cahn / Saul Chaplin
14     Dippermouth Blues 2:43
King Oliver
15     Swing That Music 2:49
Louis Armstrong / Horace Gerlach
16     Pennies from Heaven 4:24
Johnny Burke / Arthur Johnston
17     Pennies from Heaven 4:19
Johnny Burke / Arthur Johnston
18     To You Sweetheart, Aloha 2:56
Harry Owens
19     On a Coconut Island 3:08
Alex Anderson
20     On a Little Bamboo Bridge 3:13
Robert Fletcher / Al Sherman
21     Hawaiian Hospitality 3:04
Ray Kinney / Harry Owens
22     Carry Me Back to Old Virginny 2:59
James A. Bland
23     Darling Nellie Gray 2:42
Louis Armstrong / Don Hanby  

LOUIS ARMSTRONG AND HIS ORCHESTRA – 1937-1938 | The Classics Chronological Series – 515 (1990) FLAC (tracks+.cue), lossless

22 of Armstrong's big-band recordings and a couple selections with The Mills Brothers are taken in chronological order. A few ("I Double Dare You," "On the Sunny Side of the Street" and his first version of "The Saints") are classics but mostly it is a matter of Armstrong joyfully uplifting mundane material, often higher up than it deserves. Scott Yanow
Tracklist :
1     In the Shade of the Old Apple Tree 2:19
Egbert VanAlstyne / Harry Williams
2     The Old Folks at Home 2:23
Stephen Foster
3     Public Melody Number One 3:09
Harold Arlen / Ted Koehler
4     Yours and Mine 2:42
Nacio Herb Brown / Arthur Freed
5     Red Cap 3:09
Louis Armstrong / Ben Hecht
6     She's the Daughter of a Planter from Havana 3:18
Sammy Cahn / Saul Chaplin
7     Alexander's Ragtime Band 2:36
Irving Berlin
8     Cuban Pete 3:08
Jose Norman
9     I've Got a Heart Full of Rhythm 3:08
Louis Armstrong / Horace Gerlach
10     Sun Showers 2:41
Nacio Herb Brown / Arthur Freed
11     Once in a While 3:08
Michael Edwards / Bud Green
12     On the Sunny Side of the Street 2:59
Dorothy Fields / Jimmy McHugh
13     Satchel Mouth Swing 2:35
Lil Hardin Armstrong / Louis Armstrong / Clarence Williams / Harry Williams
14     Jubilee 2:36
Stanley Adams / Hoagy Carmichael / Louis Jordan
15     Struttin' With Some Barbecue 2:58
Lil Hardin Armstrong / Louis Armstrong / Lil Hardin / Don Raye
16     The Trumpet Player's Lament 2:54
Johnny Burke / James V. Monaco
17     I Double Dare You 2:57
Jim Eaton / Terry Shand
18     True Confession 3:06
Sam Coslow / Frederick Hollander
19     Let That Be a Lesson to You 2:35
Johnny Mercer / Richard A. Whiting
20     Sweet as a Song 3:05
Mack Gordon / Harry Revel
21     So Little Time (So Much to Do) 2:44
Peter DeRose / Billy Hill
22     Mexican Swing 2:38
Terry Shand
23     As Long as You Live 2:15
Bernie Hanighen / Johnny Mercer
24     When the Saints Go Marching In 2:43
James Black / Traditional

LOUIS ARMSTRONG AND HIS ORCHESTRA – 1938-1939 | The Classics Chronological Series – 523 (1990) FLAC (tracks+.cue), lossless

A mixed bag of Armstrong, these 23 selections, if taken complete and in chronological order, include routine swing, three enjoyable numbers with The Mills Brothers, a few spirituals, an odd two-part sermon and some remakes of Armstrong's earlier classics. His career was drifting a bit but there is enough enjoyable music to make this a worthwhile acquisition. Scott Yanow
Tracklist :
1     On the Sentimental Side 2:24
Johnny Burke / James V. Monaco
2     It's Wonderful 2:34
Mitchell Parish / Stuff Smith / Robert Wells
3     Something Tells Me 2:32
Johnny Mercer / Harry Warren
4     Love Walked In 2:28
George Gershwin / Ira Gershwin
5     Flat Foot Floogie 2:57
Slim Gaillard / Bud Green / Slam Stewart
6     The Song Is Ended 3:09
Irving Berlin
7     My Walking Stick 2:40
Irving Berlin
8     Shadrack 2:28
Robert MacGimsey
9     Going to Shout All over God's Heaven 2:49
Traditional
10     Nobody Knows the Trouble I've Seen 3:11
Traditional
11     Jonah and the Whale 2:46
Traditional
12     Naturally 2:46
Harry Barris
13     I've Got a Pocketful of Dreams 2:52
Johnny Burke / James V. Monaco
14     I Can't Give You Anything But Love 2:54
Dorothy Fields / Jimmy McHugh
15     Ain't Misbehavin' 2:55
Harry Brooks / Andy Razaf / Fats Waller
16     Elder Eatmore's Sermon on Throwing Stones 4:17
Shorty Rogers
17     Elder Eatmore's Sermon on Generosity 4:21
Shorty Rogers
18     Jeepers Creepers 2:38
Johnny Mercer / Harry Warren
19     What Is This Thing Called Swing? 3:05
Louis Armstrong / Horace Gerlach
20     Rockin' Chair 3:15
Hoagy Carmichael
21     Lazy Bones 3:13
Hoagy Carmichael / Johnny Mercer
22     Hear Me Talkin' to Ya? 3:04
Louis Armstrong / Don Redman
23     Save It, Pretty Mama 2:58
Joe Davis / Paul Denniker / Don Redman

LOUIS ARMSTRONG AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 615 (1991) FLAC (tracks+.cue), lossless

Armstrong's Decca years by the late '30s found him treading water, playing well on these orchestra recordings (four songs find him having a good time with The Mills Brothers), but the remakes are generally more interesting than the newer novelty material from the swing era. Scott Yanow
Tracklist :
1     West End Blues 3:13
King Oliver / Clarence Williams
2     Savoy Blues 3:15
Kid Ory
3     Confessin' (That I Love You) 3:16
Doc Daugherty / Al J. Neiburg / Ellis Reynolds
4     Our Monday Date 2:29
Louis Armstrong / Earl Hines
5     If It's Good (Then I Want It) 2:38
Walter Hirsch / Gerald Marks
6     Me and Brother Bill 2:46
Louis Armstrong
7     Baby, Won't You Please Come Home? 3:19
Charles Warfield / Clarence Williams
8     Poor Old Joe 3:05
Hoagy Carmichael
9     Shanty Boat on the Mississippi 3:23
Jim Eaton / Terry Shand
10     Poor Old Joe 3:05
Hoagy Carmichael
11     You're a Lucky Guy 3:19
Sammy Cahn / Saul Chaplin
12     You're Just a No Account 2:55
Sammy Cahn / Saul Chaplin
13     Bye and Bye 2:34
Traditional
14     Hep Cats' Ball 3:19
Louis Armstrong / Jack Palmer
15     You've Got Me Voodoo'd 3:00
Louis Armstrong / Jack Lawrence / Luis Russell
16     Harlem Stomp 3:03
J.C. Higginbotham
17     Wolverine Blues 3:20
Jelly Roll Morton / Benjamin Franklin Spikes / John Spikes
18     Lazy 'Sippi Steamer 3:20
Louis Armstrong / Luis Russell / Victor Selsman
19     W.P.A. 2:49
J. Stone
20     Boog It 2:39
Cab Calloway / Jack Palmer / Buck Ram
21     Cherry 2:50
Don Redman
22     Marie 2:27
Irving Berlin
23     Sweethearts on Parade 2:54
Carmen Lombardo / Charles Newman
24     You Run Your Mouth, I'll Run My Business 3:01
Louis Armstrong

LOUIS ARMSTRONG AND HIS ORCHESTRA – 1940-1942 | The Classics Chronological Series –685 (1993) FLAC (tracks+.cue), lossless

While MCA continues to release incomplete samplers of his Decca recordings, the European Classics series has reissued the great trumpeter's performances the best possible way: complete and in chronological order. This final CD has 18 mostly rare big band selections from 1940-42 (highlighted by "I Cover the Waterfront," a remake of "When It's Sleepy Time down South," "Coquette" and "I Never Knew"), along with the four songs recorded by Armstrong during a reunion session with the great soprano saxophonist Sidney Bechet (including a heated "Down in Honky Tonk Town"). Ignore the better publicized MCA Louis Armstrong reissues, and get this series instead. Scott Yanow   
Tracklist :
1     Cut off My Legs and Call Me "Shorty" 2:33
Edna Alexander / Don Raye
2     Cain and Abel 3:01
Fensteck / Loman   
3     Perdido Street Blues 3:04
Lil Hardin
4     2:19 Blues 2:52
Mamie Desdume
5     Down in Honky Tonk Town 3:03
Chris Smith / Trixie Smith
6     Coal Cart Blues 2:55
Louis Armstrong / Lil Hardin
7     Ev'rything's Been Done Before 3:04
Harold Adamson / Charles E. King / Edwin Knopf
8     I Cover the Waterfront 3:12
Johnny Green / Edward Heyman
9     In the Gloaming 2:56
Annie Fortescue Harrison / Meta Orred
10     Long, Long Ago 2:51
Thomas Haynes Bayly
11     Hey, Lawdy Mama 2:57
Jim Eaton / Terry Shand
12     I'll Get Mine Bye and Bye 3:03
Jimmie Davis
13     Now, Do You Call That a Buddy? 3:18
W. Wilson
14     Yes, Suh! 2:19
Edgar Dowell / Andy Razaf
15     When It's Sleepy Time Down South 3:09
Clarence Muse / Otis Rene / Leon René
16     Leap Frog 2:57
Leo Corday / Joe Garland
17     I Used to Love You (But It's All over Now) 2:57
Lew Brown / Albert Von Tilzer
18     You Rascal You 2:58
Sam Theard
19     (Get Some) Cash for Your Trash 3:01
Ed Kirkeby / Fats Waller
20     Among My Souvenirs 2:44
Edgar Leslie / Horatio Nicholls
21     Coquette 2:34
Irving Berlin
22     I Never Knew 2:44
Gus Kahn / Ted Fio Rito