The Hot Five and The Hot Seven
The Hot Five was Louis Armstrong´s first jazz recording band led under his own name.
It was a typical New Orleans Jazz Band in instrumentation, consisting of trumpet, clarinet, and trombone backed by a rhythm section.
The original New Orleans jazz style leaned heavily on collective improvisation, where the three horns together played the lead: the trumpet played the main melody, and the clarinet and trombone played improvised accompaniments to the melody.
This tradition was continued in the Hot Five, but because of Armstrong's creative gifts as a trumpet player, solo passages where the trumpet played alone began to appear more frequently.
In these brilliant solos, Armstrong laid down the basic vocabulary of jazz improvising, and became its founding and most influential exponent.
The Hot Five a recording group organized at the suggestion of Richard M. Jones for Okeh Records.
All their records were made in Okeh's Chicago, Illionis recording studio.
The exact same personel recorded a session made under the pseudonym "Lil's Hotshots" for Vocalion / Brunswick.
There were two different groups called "Louis Armstrong and his Hot Five", the first recording from 1925 through 1927 and the second in 1928.
In this year Armstrong revamped the recording band, replacing everyone but himself with his band-members in the Carroll Dickerson Orchestra which Armstrong was playing with Fred Robinson, trombone, Jimmy Strong, clarinet and tenor saxophone, Earl Hines, piano, Mancy Carr (not "Cara" as has often been misprinted) on banjo, and Zutty Singleton on drums); Armstrong was the only musician in both groups.
Louis Armstrong and his Hot Seven were the companion sessions of the Hot Five sides.
The personel is the same as the first Hot Five records except that John Thomas of Erskine Tate´s Vendome Orchestra takes over Kid Ory´s place on trombone, Pete Briggs of the Carroll Dickenson Orchestra plays Tuba, and Baby Dodds plays drums.
It is interesting to note that the addition of the tuba and drums to these sessions is probably less of an artistic decision than a technological one.
In 1928 Okeh switched from an acoustic means of recording music to the new improved sounding electrical based systems. The acoustic recording process was often ruined by the vibration created by drums or bass, and recording engineers preferred not to have these instruments in a session or placed them so far from the recording horn, that they can rarely be heard well on the old acoustic recordings.
--La colección que pondremos se compone de cuatro discos, divididos cada uno en dos partes
(A y B).
En total tendremos 8 publicaciones.
Cabe decir que una pequeña parte de las interpretaciones no corresponden a los Hot Five y Hot Seven. Son, principalmente, de orquestas lideradas por Armstrong.
Louis Armstrong - Hot Fives and Hot Seven - Disc 1 - Part A
02 - Yes! I'm In The Barrel.mp3
03 - Gut Bucket Blues.mp3
04 - Come Back, Sweet Papa.mp3
05 - Georgia Grind.mp3
06 - Heebie Jeebies.mp3
07 - Cornet Chop Suey.mp3
08 - Oriental Strut.mp3
09 - You're Next.mp3
10 - Muskrat Ramble.mp3
11 - Don't Forget To Mess Around.mp3
12 - I'm Gonna Gitcha.mp3
Publicaciones anteriores de Louis Armstrong
Ella Fitzgerald & Louis Armstrong - Ella & Louis Sing Gershwin
Louis Armstrong - Great Chicago Concert - 1956 - Cd 1 y 2
Louis Armstrong - First Class Jazz