The Complete Hot Five and Hot Seven Recordings [Columbia/Legacy]

Editorial Reviews

Barnes & Noble - Lee Jeske
These are the most important recordings of the most important figure in 20th century American music. Any questions?

Okay, okay, you're used to hyperbole - "this is essential music by an essential artist that you absolutely, positively must have if you have any shred of sense, any scintilla of humanity." It's often attached to crummy 12-CD boxed sets of mediocre material from third-rate artists.So how should we put this? How about-this is essential music by an essential artist you absolutely, positively must have if you have any shred of sense, any scintilla of humanity. Really.

Traditional New Orleans ...

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Editorial Reviews

Barnes & Noble - Lee Jeske
These are the most important recordings of the most important figure in 20th century American music. Any questions?

Okay, okay, you're used to hyperbole - "this is essential music by an essential artist that you absolutely, positively must have if you have any shred of sense, any scintilla of humanity." It's often attached to crummy 12-CD boxed sets of mediocre material from third-rate artists.So how should we put this? How about-this is essential music by an essential artist you absolutely, positively must have if you have any shred of sense, any scintilla of humanity. Really.

Traditional New Orleans jazz, with its democratic group improvisation, was still a nascent art form and recording was in its earliest stages when a trumpet virtuoso named Louis Armstrong blasted out of King Joe Oliver's jazz band in 1925 with a group called the Hot Five. With a personality as large as America, Louis Armstrong set the stage for all the popular music to come. "West End Blues," "Weather Bird," "Wild Man Blues," "Gut Bucket Blues," "Heebie Jeebies," "Struttin' with Some Barbecue," and the rest -- recorded over the next five years -- introduced the concept of the jazz soloist, the concept of the instrumental virtuoso outside the realm of classical music, the concept of scat singing and the concept that art and popular entertainment were not necessarily mutually exclusive.

The Hot Five and Seven recordings don't need a Louis Armstrong centennial to be reissued. In fact, the tracks on this four-CD set have rarely been out of print in the 75 years since they were recorded -- on 78's, LPs, eight-track tapes, CDs, cassettes, and now MP-3 files, these groundbreaking recordings have rarely been unavailable. What we have here is the official Columbia Records version of everything, including recordings of Armstrong and his group backing up such singers as the eminently forgettable Lillie Delk Christian and sessions featuring Armstrong released under the names of other group members, 89 tracks in all. An unreleased track or two has been dug up. Some pitch correction has been achieved. A new order has been put to some of the recordings. And the sound has been tinkered with, again. You get a little more hiss and pop from those old 78s on some songs, but you get a little more music. Some people will prefer Columbia's earlier, cleaner CD versions -- a little less noise, but much less depth. Some will prefer the unofficial European versions (where this music is public domain). Some will prefer the "digital stereo" versions from England. Whatever. As the liner notes say, "Some of this may be sheer torture to the lay person, but to the cognoscenti and the enthusiast it is archeology of the highest priority."

What remains, of course, is the music. And what's most remarkable is just how enjoyable these recordings are, how much fun. Armstrong's trumpet is breathtaking-ask a trumpet player, these solos are still hard to play-and his singing is still a rollicking tickle to the ribs. "I'm with you sweet mama as long as you have the bucks, I mean money, mama," he sings in "S.O.L. Blues." Go ahead, don't smile. Everything good about America in the 20th century can be found in the recordings of Louis Armstrong's Hot Five and Seven. Essential? C'mon.

Rolling Stone - Tom Moon
What can the cyberworld learn from these Armstrong treasures, which, though cleaned up, do still sound like they were made in the Twenties? There’s his knack for generating soaring melodies, his ability to make his enthusiasm for everything he played feel contagious and, most of all, the order in which he got things done: He learned how to play before he turned on the charm.
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Product Details

  • Release Date: 8/22/2006
  • Label: Sony
  • UPC: 828768285022
  • Catalog Number: 82850

Tracks

Disc 1
  1. 1 Gut Bucket Blues (2:28)
  2. 2 My Heart (2:34)
  3. 3 Yes! I'm in the Barrel (2:54)
  4. 4 Come Back Sweet Papa (2:57)
  5. 5 Georgia Grind (3:02)
  6. 6 Heebie Jeebies (3:16)
  7. 7 Cornet Chop Suey (2:32)
  8. 8 Oriental Strut (2:42)
  9. 9 You're Next (2:25)
  10. 10 Muskrat Ramble (2:39)
  11. 11 Don't Forget to Mess Around (3:03)
  12. 12 I'm Gonna Gitcha (2:45)
  13. 13 Droppin' Shucks (2:52)
  14. 14 Who's It (2:46)
  15. 15 King of the Zulus (3:05)
  16. 16 Big Fat Ma and Skinny Pa (3:01)
  17. 17 Lonesome Blues (3:04)
  18. 18 Sweet Little Papa (2:45)
  19. 19 Jazz Lips (3:02)
  20. 20 Skid-Dat-De-Dat (3:05)
  21. 21 Big Butter and Egg Man (3:00)
  22. 22 Sunset Cafe Stomp (2:45)
  23. 23 You Made Me Love You (2:54)
  24. 24 Irish Black Bottom (2:40)
  25. 25 [Pause Track] (0:04)
Disc 2
  1. 1 Put 'Em Down Blues (3:15)
  2. 2 Ory's Creole Trombone (3:05)
  3. 3 The Last Time (3:29)
  4. 4 Struttin' With Some Barbecue (3:06)
  5. 5 Got No Blues (3:25)
  6. 6 Once in a While (3:17)
  7. 7 I'm Not Rough (3:04)
  8. 8 Hotter Than That (3:04)
  9. 9 Savoy Blues (3:28)
  10. 10 He Likes It Slow (2:44)
  11. 11 Gambler's Dream (2:27)
  12. 12 Sunshine Baby (2:45)
  13. 13 Adam and Eve Had the Blues (3:16)
  14. 14 Put It Where I Can Get It (2:57)
  15. 15 Washwoman Blues (2:58)
  16. 16 I've Stopped My Man (2:53)
  17. 17 Georgia Bo Bo (3:04)
  18. 18 Drop That Sack (2:49)
  19. 19 Drop That Sack (2:47)
  20. 20 Cornet Chop Suey (3:17)
  21. 21 [Pause Track] (0:04)
Disc 3
  1. 1 Willie the Weeper (3:08)
  2. 2 Wild Man Blues (3:11)
  3. 3 Alligator Crawl (3:03)
  4. 4 Potato Head Blues (2:58)
  5. 5 Melancholy (3:03)
  6. 6 Weary Blues (3:00)
  7. 7 Twelfth Street Rag (3:04)
  8. 8 Keyhole Blues (3:28)
  9. 9 S.O.L. Blues (2:53)
  10. 10 Gully Low Blues (3:16)
  11. 11 That's When I'll Come Back to You (2:57)
  12. 12 Chicago Breakdown (3:20)
  13. 13 Weary Blues (2:50)
  14. 14 New Orleans Stomp (2:46)
  15. 15 Wild Man Blues (3:03)
  16. 16 Wild Man Blues (3:08)
  17. 17 Melancholy (3:08)
  18. 18 Melancholy (3:23)
  19. 19 You're a Real Sweetheart (3:11)
  20. 20 Too Busy! (2:57)
  21. 21 Was It a Dream? (3:02)
  22. 22 Last Night I Dreamed You Kissed Me (3:10)
  23. 23 [Pause Track] (0:04)
Disc 4
  1. 1 Fireworks (3:11)
  2. 2 Skip the Gutter (3:09)
  3. 3 A Monday Date (3:14)
  4. 4 Don't Jive Me (2:49)
  5. 5 West End Blues (3:21)
  6. 6 Sugar Foot Strut (3:21)
  7. 7 Two Deuces (2:58)
  8. 8 Squeeze Me (3:25)
  9. 9 Knee Drops (3:26)
  10. 10 No, Papa, No (2:53)
  11. 11 Basin Street Blues (3:17)
  12. 12 No One Else But You (3:23)
  13. 13 Beau Koo Jack (3:01)
  14. 14 Save It, Pretty Mama (3:17)
  15. 15 Muggles (2:52)
  16. 16 Hear Me Talkin' to Ya? (3:18)
  17. 17 St. James Infirmary (3:14)
  18. 18 Tight Like This (3:14)
  19. 19 Weather Bird (2:47)
  20. 20 I Can't Give You Anything But Love (3:25)
  21. 21 I Can't Give You Anything But Love (3:29)
  22. 22 Mahogany Hall Stomp (3:16)
  23. 23 Knockin' a Jug (3:16)
  24. 24 [Pause Track] (0:04)
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Album Credits

Performance Credits
Louis Armstrong Primary Artist, Cornet, Leader, Vocals
Lonnie Johnson Guitar
Paul Barbarin Drums
Eddie Condon Banjo
Earl Hines Piano, Accompaniment
Kid Ory Trombone
Jack Teagarden Trombone
Luis Russell Piano, Leader
Jimmie Noone Clarinet
Zutty Singleton Drums
Joe Sullivan Piano
Don Redman Clarinet
Johnny St. Cyr Banjo
Barney Bigard Tenor Saxophone
Pete Briggs Tuba
Happy Caldwell Tenor Saxophone
Honore Dutrey Trombone
Susie Hawthorne Vocals
Pops Foster Bass
Tubby Hall Drums
Lil Hardin Piano
J.C. Higginbotham Trombone
Jimmy Strong Clarinet
Hersal Thomas Piano
Carroll Dickerson Piano, Leader
Fred Robinson Trombone
Hociel Thomas Vocals
Mancy Carr Banjo
Rip Basset Banjo
Jody "Butterbeans" Edwards Vocals
Kaiser Marshall Drums
Fred "Rodriguez" Robinson Trombone
Technical Credits
Sara Martin Composer
Victoria Spivey Composer
Paul Barbarin Composer
Earl Hines Composer
Jelly Roll Morton Composer
King Oliver Composer
Kid Ory Composer, Introduction
Luis Russell Composer
Don Redman Composer
Big Maceo Merriweather Composer
Steven Berkowitz Producer
Louis Armstrong Composer, Introduction
Lil Armstrong Composer
Boyd Atkins Composer
Marty Bloom Composer
Leroy "Sugarfoot" Bonner Composer
Langston Curl Composer
Joe Davis Composer
J. Edwards Composer
Lil Hardin Composer
R.J. Jones Producer
Don Raye Composer
Phil Schaap Producer, Liner Notes
Clarence Williams Composer
Spencer Williams Composer
Tommy Rockwell Producer
Herbert Stothart Composer
Carroll Dickerson Orchestra Director
Bill Ewing Composer
Hociel Thomas Composer
Seth Rothstein Producer
Ray Gilbert Composer
Billie Pierce Composer
Charlie Sarrica Graphic Design
Walter Melrose Composer
Paul Denniker Composer
Artie Matthews Composer
Sydney Robin Composer
Grant Rymal Composer
Percy Venable Composer
Ian Cuttler Art Direction
Traditional Composer
Sandy Yuzon Graphic Design
Joe Primrose Composer
William Butler Composer
E.J. Bennett Composer
Coslow Spier Composer
Edward "Kid" Ory Composer
A. Curl Composer
N. Wilson Composer
W. Butler Composer
F. Biggs Composer
V. Spivey Composer
Jones Composer
Lil Hardin Armstrong Composer
Edwin H. Morris Composer
E. Bennett Composer
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