“If the stars should appear one night in a thousand years, men would believe & adore & for a few generations preserve the remembrance of the city of God which had been shown. But every night come out these preachers of beauty, & light the Universe with their admonishing smile.” — Emerson
It is a substantial irony that some may regard a new recording — or a new complete issue of an already beloved Louis Armstrong recording — as we do the stars: beautiful but to be taken for granted, because they are and will always be there.
I am listening to the new complete issue of SATCHMO AT SYMPHONY HALL (the sixty-fifth anniversary issue) with my own kind of Emersonian delight. And my pleasure isn’t primarily because of the extra half-hour of music and speech I had never heard before, although thirty minutes of this band, this evening, is more than any ordinary half-hour on the clock. Permit me to call the roll — not only Louis in magnificent form, playing and singing, but also Jack Teagarden, Sidney Catlett, Arvell Shaw, Dick Cary, Barney Bigard, and Velma Middleton. Some of my joy comes from hearing music once again that has been dear to me for thirty years — the sweet ON THE SUNNY SIDE OF THE STREET, the charging MAHOGANY HALL STOMP, Teagarden’s tender, delicate STARS FELL ON ALABAMA, the serious BLACK AND BLUE, the electrifying STEAK FACE and MOP MOP (formerly titled BOFF BOFF).
What strikes me once again is the beautiful cohesion of this band. I know that others see this period of Louis’ artistic life as a gentle downhill slide into “popularity” and “showmanship”; these views, I think, could be blown away with an intent hearing of HIGH SOCIETY. This edition of the All-Stars (with or without hyphen) is uniformly superb, happy, and focused.
Teagarden’s playing is simply awe-inspiring (ask any trombonist about it) and his singing delicious, with none of the near-fatigue that occasionally colored his later work. Arvell Shaw never got the credit he deserved as a string bassist, but his time and tone couldn’t be better, providing a deep, rocking rhythmic foundation for the band. Dick Cary, nearly forgotten, is once again an ideal pianist — never setting a foot wrong in ensembles and offering shining, individualistic solos that sound like no one else. Barney Bigard is sometimes off-mike but his work is splendidly energized, his tone full and luscious. Velma Middleton fit this band beautifully — emotional and exuberant, clearly inspiring both audiences and the All-Stars. And readers of JAZZ LIVES should know how I revere Sidney Catlett, at one of his many peaks that night in Symphony Hall. Much has been made of the ideal partnerships in jazz — Bird and Dizzy, Duke and Blanton, Pres and Basie . . . but Louis and Sidney deserve to be in that number, with Sid not only supporting but lifting every member of the band throughout the evening. The little percussive flourishes with which Sid accents the end of a performance are worthy of deep study. But this band is more than a group of soloists — they work together with affection and enthusiasm.
Louis himself is sublimely in charge. Consider the variety of tempos — almost a lost art today — and the pacing of a two-hour show, not only so that he wouldn’t tire himself out (there is much more playing here, even on the “features” for other musicians, than one would expect) but so that the audience would be charged with the same emotional energy for two hours. And his playing! There are a few happy imperfections, reminding us that he was human and that trumpet playing at this level is not for amateurs. But overall I feel his mastery, subtly expressed. I hear a leisurely power. Yes, there were piles of handkerchiefs inside the piano (playing the trumpet is physically arduous) but one senses in Louis the dramatized image of a jungle cat who knows he has only to stretch out a huge paw to accomplish what he wants.
Inside this package are the original notes (Armstrongians of a certain vintage can quote sections of Ernie Anderson’s text at will) and a new appreciation by our man Ricky Riccardi. Beautiful photographs, too — several of them including the only shot known of the band at Symphony Hall for this concert — new to me.
Some discussions of this set, weighing the merits of its purchase, have focused on the question of “How much more is there that we haven’t heard?” surely a valid question — although it came to sound as if music could be weighed like apples or peanuts. Briefly, there are a good number of “new” spoken introductions by Louis and others, short versions of SLEEPY TIME DOWN SOUTH and I’VE GOT A RIGHT TO SING THE BLUES, complete versions of previously edited performances — BLACK AND BLUE, ROYAL GARDEN BLUES, TEA FOR TWO, and performances wholly “new”: a seven-minute VELMA’S BLUES with plenty of Louis and Sidney, a somber ST. JAMES INFIRMARY, a mock-serious BACK O’TOWN BLUES, and a vigorous JACK-ARMSTRONG BLUES. For some readers, that will not be enough to warrant a purchase, which I couldn’t argue with. However, this is a limited edition of 3000 copies . . . so those who wait might find themselves regretting their delay.
For me, it’s a “Good deal,” to quote both Louis and Sidney — we can’t go back to November 30, 1947, but this set is the closest thing possible to spending an evening in the company of the immortals. Thanks and blessings are due to Ricky Riccardi, the late Gosta Hagglof, and Harry Weingar . . . each making this wonderful set possible.)
And if you can’t afford the purchase, make sure to look up at the stars whenever you can.
May your happiness increase.