<html><head><meta http-equiv="Content-Type" content="text/html charset=utf-8"><meta http-equiv="Content-Type" content="text/html charset=utf-8"><meta http-equiv="Content-Type" content="text/html charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class=""><div class="">The current issue of N.O.’s online Offbeat mag had the info and link below. I’m not in discussion of the 78s vs. LPs vs. CDs vs. YouTube sound differences. Just grateful to hear whatever good music comes through a speaker at any given time—staying in the moment--and pleased that the later formats sometimes allow me to hear things that I couldn’t on my 78s, esp. rhythm section work. The lineup of the “Knee Drops" side, found elsewhere, is: </div><div class=""><span style="color: rgb(51, 51, 51); font-family: Roboto, arial, sans-serif; font-size: 13px; background-color: rgb(255, 255, 255);" class=""><br class=""></span></div><div class=""><span style="color: rgb(51, 51, 51); font-family: Roboto, arial, sans-serif; font-size: 13px; background-color: rgb(255, 255, 255);" class="">Armstrong, Louis (Trumpet, Vocal)</span></div><div class=""><span style="color: rgb(51, 51, 51); font-family: Roboto, arial, sans-serif; font-size: 13px; background-color: rgb(255, 255, 255);" class="">Robinson, Fred (Trombone)</span><br style="color: rgb(51, 51, 51); font-family: Roboto, arial, sans-serif; font-size: 13px;" class=""><span style="color: rgb(51, 51, 51); font-family: Roboto, arial, sans-serif; font-size: 13px; background-color: rgb(255, 255, 255);" class="">Strong, Jimmy (Clarinet, Tenor Saxophone)</span><br style="color: rgb(51, 51, 51); font-family: Roboto, arial, sans-serif; font-size: 13px;" class=""><span style="color: rgb(51, 51, 51); font-family: Roboto, arial, sans-serif; font-size: 13px; background-color: rgb(255, 255, 255);" class="">Hines, Earl (Piano)</span><br style="color: rgb(51, 51, 51); font-family: Roboto, arial, sans-serif; font-size: 13px;" class=""><span style="color: rgb(51, 51, 51); font-family: Roboto, arial, sans-serif; font-size: 13px; background-color: rgb(255, 255, 255);" class="">Carr, Mancy (Banjo)</span><br style="color: rgb(51, 51, 51); font-family: Roboto, arial, sans-serif; font-size: 13px;" class=""><span style="color: rgb(51, 51, 51); font-family: Roboto, arial, sans-serif; font-size: 13px; background-color: rgb(255, 255, 255);" class="">Singleton, Zutty (Drums)</span></div><div class=""><br class=""></div><div class="">I recognized Louis, Hines, and Zutty. Didn’t know the others, though Strong on cl. and tenor sax was impressive. Both tracks show again that Louis was faaaar ahead of his time, and Hines not far behind.</div><div class=""><br class=""></div><div class="">Charlie</div><div class=""><br class=""></div><div class="">___________________________________________________</div><div class=""><br class=""></div><div class=""><p style="margin: 0px 0px 15px; padding: 0px; border: 0px; font-family: 'Droid Serif', Cambria, Georgia, 'New Century Schoolbook', 'Century Schoolbook L', Baskerville, 'Baskerville Old Face', 'Hoefler Text', Garamond, Times, 'Times New Roman', serif; font-size: 1.0375rem; outline: 0px; vertical-align: baseline; line-height: 1.55; color: rgb(29, 29, 29); max-width: 740px;" class="">An astonishingly clear recording of Louis Armstrong & His Orchestra performing “Ain’t Misbehavin'” has surfaced on YouTube. According to the video’s description, the track comes from a metal “mother record” that New York City’s Okeh Records sent to Germany’s Odeon Records for their pressings.</p><p style="margin: 0px 0px 15px; padding: 0px; border: 0px; font-family: 'Droid Serif', Cambria, Georgia, 'New Century Schoolbook', 'Century Schoolbook L', Baskerville, 'Baskerville Old Face', 'Hoefler Text', Garamond, Times, 'Times New Roman', serif; font-size: 1.0375rem; outline: 0px; vertical-align: baseline; line-height: 1.55; color: rgb(29, 29, 29); max-width: 740px;" class="">Another similar recording of Louis Armstrong and His Hot Five performing “Knee Drops” in Chicago in 1928 was also posted a few days later. Evidently, both of these new versions were transferred to a digital format by sound engineer Nick Dellow.</p><p style="margin: 0px 0px 15px; padding: 0px; border: 0px; font-family: 'Droid Serif', Cambria, Georgia, 'New Century Schoolbook', 'Century Schoolbook L', Baskerville, 'Baskerville Old Face', 'Hoefler Text', Garamond, Times, 'Times New Roman', serif; font-size: 1.0375rem; outline: 0px; vertical-align: baseline; line-height: 1.55; color: rgb(29, 29, 29); max-width: 740px;" class="">Considering the poor quality of most early jazz records, these tracks are a rare treat for any fan of the pioneering New Orleans trumpet master.</p><div class=""><br class=""></div></div><div class=""><a href="http://www.offbeat.com/news/crystal-clear-louis-armstrong-recording-surfaces/?utm_source=WB+04+14+16&utm_campaign=WB+04+14+16&utm_medium=email" class="">http://www.offbeat.com/news/crystal-clear-louis-armstrong-recording-surfaces/?utm_source=WB+04+14+16&utm_campaign=WB+04+14+16&utm_medium=email</a></div></body></html>