Louis Armstrong and Fats Waller only worked together twice, briefly in 1925 in Erskine Tate's band and four years later in the New York [more]
Some would undercut Page's greatness by merely calling him an Armstrong imitator who spent more time singing than blowing. But this best-of overview shows him to be a fine bandleader, [more]
As producer Michael Cuscuna explains in a helpful addendum, The Fabulous Sidney Bechet is a reissue of a reissue. The 1958 release combined two earlier 10" LPs recorded in [more]
Draw up a list of some of the top jazz artists of all time, and the legend featured in this recording would likely be at the top of that list. Louis [more]
This four-CD set does its best to summarize Louis Armstrong's career during 1923-1934, reissuing 81 of his finest recordings. The problem is that virtually [more]
This two-disc set follows the legendary Blue Note label from its inception as the smallest of independent labels, issuing 12" jazz singles in the [more]
In conjunction with documentary filmmaker Ken Burns' ten-part 2000 PBS special, Columbia/Legacy and Verve teamed up to issue a special series of [more]
In conjunction with documentary filmmaker Ken Burns' ten-part 2000 PBS special, Columbia/Legacy and Verve teamed up to issue a special series of reissues covering much of [more]
"Armstrong jovially balanced his calling as a musician with his job as an entertainer, applying his virtuosity while showing audiences a good time." —New York Times
In conjunction with the release of Ken Burns' ten-part, 19-hour epic PBS documentary {#Jazz}, Columbia issued 22 single-disc compilations devoted to jazz's most significant [more]
While Louis Armstrong didn't invent jazz, he certainly shaped it in his own image, personalizing it, popularizing it, and giving it a template to follow into the modern [more]
One of the first important bassists (along with Steve Brown, Bill Johnson, and Wellman Braud), Pops Foster had the longest career and he kept the tradition of slap bass solos alive into the late '60s. Foster was playing in bands around New Orleans as early as 1906. He played tuba with Fate Marable's group on riverboats (1918-1921) and was with Kid Ory's band in California. Foster was in St. Louis in the mid-'20s, working with Charlie Creath and Dewey Jackson. After he arrived in New York in 1928, Foster played with King Oliver and then joined the great Luis Russell Orchestra, where his thumping bass really propelled the ensembles. Foster stayed with Russell during the long period (1935-1940) when the orchestra was really the backup group for Louis Armstrong. After that stint ended, Foster was in demand during the New Orleans revival period, freelancing with many bands, including Art Hodes, Mezz Mezzrow, Sidney Bechet (1945), and Bob Wilber. He toured Europe with Sammy Price during 1955-1956, played with Earl Hines in San Francisco (1956-1961), and then spent 1963-1964 with Elmer Snowden's trio. He also wrote his autobiography, which was published posthumously in 1971. ~ Scott Yanow, All Music Guide