He signed with Capitol Records and released several critically lauded albums. It followed Me and Brother Bill, an Armstrong novelty that featured zero trumpet playing, as Pops obviously had to have the chops totally rested for what was about to follow. I've heard this track about a thousand times but still there's that tension of Is he going to make it? Dickerson's 1929 band plodded away with such a two-beat that it naturally sounded much slower than it really was. I should apologize, though, for screwing up a bunch of the links, including the YouTube videos; everything's fixed so dig it all over again! Once up there, he shows no quit, hitting it three more times going into the last eight bars. The non-vocal alternate I shared in my last posting was 144.
But don't worry, Armstrong next--and final--recording of When You're Smiling would put every other performance of the tune, before and after, to shame. The song was chosen to be second one recorded during the album's second session. I graduated with a Master's in Jazz History and Research from Rutgers and have delivered lectures on Armstrong at the Institute of Jazz Studies, the Satchmo Summerfest in New Orleans, the Monterey Jazz Festival and many more spots around the world. He could rest the chops before, rest them after, take a break, do whatever he had to do to get through this test of endurance one more time. With his instantly recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. Year: 25 Views Oh, when you're smiling When you're smiling The world Smiles with you, ba, be, ba, bo Oh, when you're laughing Babe, when you're laughing The sun shining through But when you're crying You on the rain So stop your sighing Be again And keep on smiling Keep on smiling And the world with you.
Billy Kyle's piano takes eight bars to allow Pops to get his lips in his horn. Rolfe, Armstrong keeps going with the melody, playing the last eight bars an octave higher, killing every damn note of it, Shaw cheering him on in the background. Sufficiently warmed up, it was time for When You're Smiling. Armstrong might have never played it again, but he was certainly proud of the Decca version. This is high notes, held notes, gigantic notes, vibrato-filled notes.
When you smilin', when you smilin The whole world smiles with you. His artistry and personality allowed him access to the upper echelons of American society, then highly restricted for black men. The images are for illustrative purposes only and are not contractual. He still phrases the melody in his own way and still inserts all the bits of scatting in all the right places. He sounds great, throwing in bits of scat and really wailing on that final, high when and do I detect a little Yiddish accent in Pops's final reading of smiles as schmiles? Even for me, it's the kind of performance that always puts me in the right frame of mind, too.
When they get to the bridge, Pops blows in, urged by Shaw's vocal exhortations to Go, Pops! His career spanned five decades, from the 1920s to the 1960s, and different eras in the. Enough from me, listen for yourself and just prepare to feel good about everything and anything: Well, I'm emotionally knocked out. Armstrong is renowned for his charismatic stage presence and voice almost as much as for his trumpet playing. As I explained, more than any other version, Armstrong's When You're Smiling really put the song on the map. Armstrong hits his first note at the 2:15 mark.
He's basically back to the melody by this point, but he's officially been up in the stratosphere for a minute-and-a-half. The voice is deep and low, and there is kind of no back vocal, which makes the song rather sad, not fun as it always appear in other versions. The tempo is much faster than it was in 1929--hence the shortened length--but Armstrong still takes it an octave up and still nails every note of it. Let's listen to the performance as think it's truly one of the All Stars's finest moments of the mid-50s, a period that was chock full of incredible performances. Dig it: Still nailed it, right? In fact, I don't need to share it here, but if you pull out your copy of this disc, you'll hear Armstrong announce Me and Brother Bill over the microphone, then turn and tell the band, 'When You're Smiling,' next. I digged all over youtube but can't find this version of the song. Though the conditions were ideal, one small curveball threatened to make this performance a lot more difficult then it had to be: the tempo.
Sinatra left Capitol to found his own record label, Reprise Records, toured internationally, and fraternized with the Rat Pack and President John F. His career spanned five decades, from the 1920s to the 1960s, and different eras in the history of jazz. Fortunately, the stars aligned beautifully to create that magical moment inside of Decca's New York studios that December day in 1956. Handy and about to record Satch Plays Fats, both seminal albums done for Columbia. I'm not sure I can even find the right words to describe what that recording does to me but even if I fail miserably, you should at least listen to it in full as I can guarantee that it will contain the greatest four minutes of music you will hear all day. I heard it about 6 years ago, I downloaded it somewhere on the internet and I don't remember the name of the artist but it's a really slow song, slower than Louis Amstrong 1956 version.
I guess at the beginning with Sy Oliver's reeds, mimicking the Lombardo saxes from the original. But for the 1956 remake, Armstrong and arranger Sy Oliver decided to up the ante. Nearing the finish line, Armstrong pushes himself another step higher, hitting a high Db during the song's final phrase, the whole world smiles with you. He did keep lip-busting charts such as Swing That Music, Chinatown and Tiger Rag in his live performances, but sometimes with notable differences. I co-produced Armstrong releases for Mosaic Records and Universal. My goodness, that band could swing! Armstrong improvises an exciting new line over the bridge, before he hits the melody. He never recreated his original Decca Swing That Music solo and he played fewer choruses on Chinatown and Tiger Rag than he did earlier in the decade.