iTunes 10 New Releases
MDNA (Deluxe Edition) - Madonna
MDNA (Deluxe Edition) by Madonna
Lively Up Yourself - Bob Marley
Lively Up Yourself by Bob Marley
The Fray - The Collection - The Fray
The Fray - The Collection by The Fray
A Different Kind of Truth - Van Halen
A Different Kind of Truth by Van Halen
Scars & Stories - The Fray
Scars & Stories by The Fray
Don't Wanna Lose You (Glee Cast Version) - Single - Glee Cast
Don't Wanna Lose You (Glee Cast Version) - Single by Glee Cast
Scars & Stories (Deluxe Version) - The Fray
Scars & Stories (Deluxe Version) by The Fray
NOW That's What I Call Music Vol. 41 - Various Artists
NOW That's What I Call Music Vol. 41 by Various Artists
Bamboleo / Hero (Glee Cast Version) - Single - Glee Cast
Bamboleo / Hero (Glee Cast Version) - Single by Glee Cast
A Different Kind of Truth (Deluxe Version) - Van Halen
A Different Kind of Truth (Deluxe Version) by Van Halen
The 1920s are represented by his stellar performances as a "sideman" to regular associates, like his wife, Lil Hardin Armstrong, and clarinetist Johnny Dodds. The 1930s find him leading his own bands, big and small, and recording with Jimmy Dorsey and Bing Crosby ("Pennies from Heaven"), and the Mills Brothers. The '40s and '50s are the years of the All-Stars, with Armstrong's trumpet joyously exploding in the company of such fellow giants as trombonist Jack Teagarden and pianist Earl Hines.
He was also creating richly nostalgic recordings like "Blueberry Hill," and singing duets with the finest jazz singers of the period, women whose own art had been shaped in different ways by Armstrong's--Billie Holiday on "You Can't Lose a Broken Heart" and Ella Fitzgerald on "Stompin' at the Savoy." Armstrong's humor shows up on a mock recreation of a New Orleans jazz funeral and a version of "You Rascal, You" with Louis Jordan, and his brilliant trumpet is everywhere in evidence. Just as important as what's here is what's left out. Many of Armstrong's greatest recordings---those with King Oliver, all the Hot Fives and Hot Sevens of the late 1920s, the 1947 Town Hall concert, the '50s tributes to W.C. Handy and Fats Waller, and the late encounter with Duke Ellington--aren't touched. What's left is a fascinating and satisfying portrait of Armstrong that doesn't necessarily lead to a great deal of duplication in an expanding collection of his work. --Stuart Broomer