Tiger Rag - Various - The Seven Ages Of Jazz (Vinyl, LP)
Armstrong and his All Stars must have already been exhausted but this was nothing new, having grown used to traveling across the United States on Tiger Rag - Various - The Seven Ages Of Jazz (Vinyl endless series of one-nighters. But this was Louis's first European tour since and it was going to be a killer, nearly six months long, almost always two shows a day.
Louis was pushing 60 but--for now--he was ready to keep pushing. One thing that made the grind more bearable was the reaction of his fans, especially those in Europe, who routinely greeted and treated Louis like a superhero.
The fans in Copenhagen were especially ecstatic and it was their response to Louis's routine on "Tiger Tiger Rag - Various - The Seven Ages Of Jazz (Vinyl that inspired Pops to do some of the most jaw-dropping playing of his career. The All Stars had a huge book but when Louis would embark on these European tours, he usually came up a pretty strict set list, at least at the start.
After he would do his opening five or six numbers, he could change the rest of the show depending on how he felt and how the crowd was reacting. That was usually that--but not this time. Then another. Then one more. Four encores in all, topping himself on each one. I posted the audio to this version back in December with little explanation and was thrilled when Jon Faddis told me he was so knocked out, he sent it to a bunch of trumpet players he knew.
This time, I'll dig a little deeper with my description but for now, buckle your seat belt and enjoy this "Tiger Rag": If you were here for my last entry, you know the drill: Danny Barcelona drum break, Louis leads the opening strains, passes the ball to clarinetist Peanuts Hucko and trombonist Trummy Young for solos, then takes a spot himself, usually made up of many quotes he first came up with in his s recordings of the tune.
A few bars of Pops's solo has been lopped off but it comes back in time for Louis's "Pagliacci" quote. He then holds a giant Ab and repeats it in my different ways in the last chorus, ending on a high Eb. So far, so good. The encore begins at with another round of solos by Hucko and Young. Then Louis jumps in with a quote from "I'm Confessin'," leading into a "Dixie" break, a chorus completely lifted from his s set solo.
Boyd Atkins. Tiger Rag. Blues in My Heart. Rockin' in Rhythm. Beale Street Blues. Sugar Foot Stomp. I'm Through With Love. Echoes of the Jungle.
Them There Eyes. All of Me. Shakin' the African. Goodnight Sweetheart. Genre Jazz Vocal. Ted Lewis. Bing Crosby. Basin Street Blues Spencer Williams. The Charleston Chasers.
From here on out, the horns stick to driving riffs while the rhythm section simply cooks thank you, Mr. Clarinet's first up, bearing a resemblance to Buster Bailey, before trombonist Henry Hicks boots out a half of chours. A nervous break by Theodore McCord launches his fine half-chorus. But finally, after nearly two minutes, Louis makes his entrance, with one of his perfectly poised breaks, alternating just two pitches in a declamatory, swinging manner.
And then he's off, beginning his solo with a paraphrase of a quote of "The Irish Washerwoman. In fact, when you couple this recording with "Dinah," this session featured more quotes than an edition of Bartlett's. Gunther Schuller, for one, lambasted these quotes, claiming that Pops was simply playing for "audience titters. I, speaking for myself, don't need high art every time out; laughter's fine by me anytime. But it's not like Pops is doing it in an over-the-top, exaggerated, "Look at me!
No, his use of quotes was always very musical as he sometimes made the damned tunes fit inside his improvisations in a perfectly logical manner.
According to Taft Jordan, Louis was the one who pioneered this and got all the other musicians quoting other tunes in their solos. By the bop era, Dexter LP) and Charlie Parker would get lauded for their marvelous use of quotes.
Playing for "audience titters. Anyway, "The Irish Washerwoman" is only step one; look out for the ingenious use of "Singin' in the Rain" at"National Emblem March" at and "Pagliacci" at am I missing any? But in between the quotes is a beautifully constructed solo, full of virtuosity and all sorts of surprising turns of phrases. You want to talk about blurring Tiger Rag - Various - The Seven Ages Of Jazz (Vinyl bar lines? Jesus, what more are you looking for?
The tempo is up, which always allowed Pops to float along the beat, sounding Tiger Rag - Various - The Seven Ages Of Jazz (Vinyl relaxed at such demanding paces. For example, take a listen to Louis's second chorus. His break is nothing but a demanding gliss, always a hallmark of his style. He glisses right up to the first note of the "National Emblem" quote.
After this quote, though, listen to how relaxed he becomes. He plays something that sounds very similar to "Struttin' With Some Barbecue" not sure if I want to call it a direct quotebut he stretches it out and bends a couple of notes to make it appear that his brain is functioning at a completely different tempo. But then he snaps back into it with a whipping rip to a Tiger Rag - Various - The Seven Ages Of Jazz (Vinyl note, leading into a cluster of phrases but another high rip.
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