Fred Robinson on trombone, Jimmy Strong on clarinet and tenor saxophone , Earl Hines on piano, Mancy Carr not "Cara" as has often been misprinted on banjo, and Zutty Singleton on drums. The Hot Five played music that was specifically arranged as opposed to the more freewheeling improvised passages of the earlier Hot Five. A tentative movement toward the kind of fully arranged horn sections that would dominate swing music a decade later was starting to become fashionable, and this second Armstrong group embraced a rudimentary version of it, with Don Redman as arranger providing some written-out section parts.
Strong on clarinet and Robinson on trombone were not as strong soloists as Dodds and Ory had been with the earlier band, but Hines was more nearly Armstong's equal technically and creatively than any other in either band. Thus, these sessions resulted in some of the most important masterpieces of early jazz, of which " West End Blues " is arguably the best known.
In the last named, only Armstrong and Hines are present, turning an old rag number into a tour-de-force duet.
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Cornet Chop Suey - Cornet - Cornet | Sheet Music Now
Unsourced material may be challenged and removed. January Learn how and when to remove this template message. Retrieved from " https: Views Read Edit View history. This page was last edited on 31 July , at Right off the bat, for some of you who may have enjoyed this song for 85 years, it might sound a little different. That's because I went with the version of the song in the key of F, as included in Phil Schaap's "Complete Hot Fives and Sevens" box set of about a decade ago.
That's how Bobby Hackett played it and that's how John R. Davies mastered it in his JSP set. But Louis wrote it down in F and the three subsequent versions he made of the song which we'll get to in a bit , were each in F. That's good enough for me, but Norman Field really did the fieldwork in and published his results here.
Check that out and you'll be listening to this version for good. And then there's the matter of "cornet vs.
Cornet Chop Suey - Cornet - Cornet Sheet Music by Louis Armstrong and His Hot Five
I can't give an exact date for the switch but it was around this time when Louis joined Erskine Tate's orchestra at the Vendome Theater. Thus, it's possible that "Cornet Chop Suey" was played on a trumpet! Here's Louis on the Voice of America again, right after playing "Cornet Chop Suey," discussing the difference between the two instruments and why he made the switch: So there you have it, again, straight from the man himself.
- Die verhaltensbedingte Kündigung. Die häufigsten Kündigungsgründe und Abgrenzungsschwierigkeiten (German Edition)!
- Rate/Catalog;
- Iron Admirals: Naval Leadership in the Twentieth Century (Contributions in Military Studies);
- Cornet Chop Suey - Banjo - Banjo | Sheet Music Now.
But I don't hear anyting exotic about "Cornet Chop Suey"; I think the title is a play on "Clarinet Marmalade" that works in Louis's love of Chinese food, something that started as a kid and continued until the end of his life. I've said very little about the playing on "Cornet Chop Suey" but I think the record speaks for itself.
It's a masterpiece of the 20th century and was one of those recordings that pretty much said, "Jazz I have never seen any mentions of him playing it for the next 20 years of life but the next time he dug it out, stand back! The occasion was the historic Town Hall concert in May This concert plays a crucial role in the beginning of the book and I center on "Cornet Chop Suey" as the start of things to come.
Thus, I'm not going to run my mouth about the subject for long, other than to say, dig it: That, to me, is just an amazing performance. This concert was supposed to throw Louis back into his "old" styles, all at a time when the dixieland revival had trad bands trying to recreate s recordings with painstaking details.
And here comes Louis and not for one second does he treat it like And perhaps because he hadn't played it in so long, Louis is completely free. He makes plenty of allusions to the original, but makes enough changes to keep it fresh, right up to that giant high note at the end, all Definitely a magical performance that helped usher in the later years of Louis's career.
Concert programs from the early days of the All Stars listed "Cornet Chop Suey" as part of the repertoire but I have never come across a live performance of broadcast of it. Instead, it would be ten more years before Louis would take another crack at it and once again, he came through with flying colors.
Louis was well rested and had plenty of time to rehearse during these sessions, so his playing is note-perfect, but perhaps not quite as free as the Town Hall version. Regardless, Haggart has some neat ideas, such as having George Barnes's guitar double Louis's acrobatic introduction. Louis sounds in command and the rest of the band is equally enthusiastic though the Barrett Deems Drum Machine is too rigid; not his fault, Haggart wrote in the arrangements "closed hi-hat" on Deems's parts, keeping him locked down for some reason.
Everyone gets a solo but of course, the spotlight is on Louis for the stop-time bit and he nails it, though he passes the ball to Trummy for a half-chorus, probably to give his year-old chops a bit of a breather before the rideout, which has a new ending. Louis's crazy spiraling bit from the original is gone, replaced with the raw power of the s Armstrong. Enough from me, give it a listen: Alas, my final version of "Cornet Chop Suey" is a bit of a letdown.
It's from only two years later, but different circumstances lead to different recordings. First off, the session was only weeks after Louis's heart attack in Spoleto, Italy, which didn't have any major effects on his trumpet playing, but did seem to affect his ability to execute fast runs on the horn, something that especially became noticable in the mids. Also, this session was the Dukes seems like it was just thrown together, without any prepartion or rehearsal.
Because of that, Decca stepped in and didn't allow the recordins to be released until theirs had been on the market for a certain period of time. Armstrong and the Dukes got their act together and recorded fresh material for a fantastic album in but this meeting flew under the radar for years.
Thus, judged solely on itself, this recording features some fine, powerhouse playing by the Armstrong. But you can hear his memory trying to conjure up those phrases and then you can feel the execution slowing down tremendously since the project. Like an aging fastball pitcher, Louis still has the knowhow to throw enough offspeed stuff to strike the batter out.
Early Jazz Band
In fact, for a longtime, I winced when I heard this stop-time solo until I learned to just listen to it on its own. And you know what? It's grown on me until I think it's pretty terrific, with lots of new ideas to make up for what old ideas he couldn't execute anymore.
Still, it's a different ballgame from those and versions. And the whole thing is over in 2 minutes and 15 seconds so it's like everyone just wanted to get it over with. Anyway, here it is: I doubt Louis ever performed "Cornet Chop Suey" again after this recording there's an alternate from this session but it's very similar and I don't think worth sharing. I enjoy each of these versions but really, that first one, recorded 85 years ago this week, is the one that changed history.