West End Blues (amc) 2ai61

Listening Guide to West End Blues by Louis Armstrong INTRO Armstrong’s solo trumpet cadenza in the first twelve seconds of this recording is unlike anything previously recorded in jazz. Indeed, it became one of the most widely imitated phrases for aspiring trumpet players for a time. Notice the speed of his melodic lines, the wide range (high to low) that it traverses, and its rhythmic complexity. A sustained chord played by all three horns (trumpet, clarinet, and trombone) rounds out the introduction and sets the stage for the head melody to follow. CHORUS 1 - THEME This arrangement of Joe Oliver’s tune follows the simple twelve-bar blues structure faithfully, with Armstrong playing the melody and Jimmy Strong (clarinet) and Fred Robinson (trombone) providing harmonized . The rhythm section provides chords and the basic pulse. Notice that while Armstrong’s interpretation of the melody begins simply, but by the middle of its presentation he begins to elaborate the basic melody as Strong and Robinson maintain their simpler background roles. CHORUS 2 – TROMOBONE SOLO Fred Robinson (trombone) plays an improvised solo that maintains a relatively narrow range and uses longer note values. Notice his use of slides into and between notes. The rhythm section provides very simple chordal accompaniment behind Robinson’s solo. For the sake of variety Zutty Singleton’s woodblocks figure prominently in this chorus.

CHORUS 3– CLARINET SOLO Jimmy Strong’s clarinet solo might be more accurately described as a duet with Armstrong, who doesn’t play his trumpet but rather scat-sings some nonsense syllables. Listen to the interplay between the two performers: each of Strong’s “calls” prompts a “response” from Armstrong. CHORUS 4– PIANO SOLO Earl Hines was a significant figure in the development of jazz piano, particularly in the area of stride piano. Among his contributions was his manner of right-hand playing. In this solo, Hines begins in an ethereal manner, with an easy-going left hand providing the pulse and harmonic and his right hand playing very high and light. Hines becomes then much more aggressive, playing in the so-called “trumpet style” he was known for: right-hand melodic lines in octaves, punctuated and phrased as though it might be played by a horn, with tremelos suggesting a horn’s vibrato. Hines backs away from this style near the end of his solo, setting the mood for Armstrong’s entrance. CHORUS 5 – TRUMPET SOLO (partial) Armstrong announces himself from the opening of his solo, holding a high B-flat for four measures, his tone soaring over the rest of the ensemble (notice that both the clarinet and trombone are playing, as well as the rhythm section, but they are very much in the background). The ensuing four measures find Armstrong playing fast melodic figures, cascading down from the high point from which he began. Rather than completing the full twelve measures of Armstrong’s solo chorus, his solo ends after just eight measures.

Hines' piano decreases the energy built up during Armstrong’s solo by playing a slow, descending figure. OUTRO The tune ends with Armstrong, Strong, and Robinson leading the ensemble in three final chords. But the last word is for the drummer! INFO Arguably, Louis Armstrong is the best-known, most recognizable figure in all of jazz history, and certainly the earliest figure to be so well known. His stardom is international, due not only to his influential performing style, but also his contagious smile and infectious personality, on stage and off. Known as "Satchmo" (a shortened form of "Satchel-mouth," another nickname) and later as "Pops," Armstrong revolutionized jazz by elevating the status of the soloist in the context of a jazz performance to new heights. Though he grew up in New Orleans and his ears had been fully saturated with the sound of its music, Armstrong's music could not be contained by this style. His tone was the brightest, his facility on his instrument the most superior, and his improvisatory ideas the most imaginative of any of his contemporaries. In short, Armstrong was jazz's first virtuoso on his instrument; people wanted to hear what he would play next. This emphasis on solo improvisation has remained a focus for jazz musicians ever since. From the very first note of "West End Blues," a tune composed by Joe "King" Oliver, one can immediately sense the shift that was occurring

in

jazz

through

Armstrong's

influence.

From

his

introductory, fanfare-like opening to his solo later in the recording, Armstrong displays his power, range, and unique personality on the trumpet. Pianist Earl Hines is also featured.

This recording is considered a masterpiece, one of the singular performances in the history of jazz. Louis

Armstrong

(trumpet,

vocal);

and

His

Earl

Hot

Hines

Five: (piano);

Louis Fred

Armstrong Robinson

(trombone); Jimmy Strong (clarinet); Mancy Carr (banjo); Zutty Singleton (drums) Recorded in Chicago, February 28, 1928 The text of this Listening Guide comes from Ted Buehrer's "How to Listen to and Appreciate Jazz."