[Dixielandjazz] Melodious Drummers

[Ken Mathieson]

Hi Harry et al,

Louis recorded it 18 times between 1947 and 1968 according to the Louis Armstrong Discography at 
http://www.michaelminn.net/armstrong/index.php

I don't know any of the later versions, but the 1947 Symphony Hall version is a gas. There's clearly lots of "visuals" going on and Louis, Velma, the band and the audience are so obviously having a ball that it's irresistible, cornball or not. What is it about Louis' voice that causes everyone to break into a grin? When my kids were tiny they used to love my Armstrong records and are now cheering their own children with those classic Ella and Louis recordings. I guess its the sheer force of his genial personality that simply bursts out of the speakers that connects with everyone, whether they consciously like jazz or not. 

I got to know Benny Carter in the 1980s and he talked of Louis in awestruck  tones. He told me that of all the  musicians, entertainers, politicians, movie stars, movie moguls etc he had met over an 80 year career, nobody came close to Louis for his ability to light up a packed room and be the centre of attention without seeking it. If Louis was in the room, it just seemed to happen and everyone clamoured to get close to him. A genuine magnetic personality if ever there was one.

Cheers,

Ken Mathieson
www.classicjazzorchestra.org.uk
  ----- Original Message ----- 
  From: Harry Callaghan 
  To: Ken Mathieson 
  Cc: dixielandjazz at ml.islandnet.com 
  Sent: Thursday, July 15, 2010 10:42 PM
  Subject: Re: [Dixielandjazz] Melodious Drummers


  Ken:

  Is that the same album where Satch and Verna Middleton did a duet on "That's My Desire"?.

  It was strictly cornball but I've always loved it.

  HC

   
  On 7/15/10, Ken Mathieson <ken at kenmath.free-online.co.uk> wrote: 
    Hi Folks,

    Some drummers are great technical drummers and others are great musicians whose instrument happens to be drums. Big Sid Catlett is an outstanding example of the latter: his time was rock-solid, he phrased to support soloists' and ensemble phrasing, he swung like the clappers and you can sing great swathes of his solos on Boff Boff and Steak Face from the Armstrong All-Stars' 1947 Boston Symphony Hall recordings. He was cited by both Armstrong and Sidney Bechet as their favourite drummer because his playing made it easy for them to play oin a natural unforced manner. Small wonder then that Louis Armstrong remarked, on listening to several of his recordings, that the swingingest records all had Big Sid on them.

    Cheers,

    Ken Mathieson
    www.classicjazzorchestra.org.uk
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