By Richard Hadlock
Jazz Masters of the 20's
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On selections like No One Else But Yo and Beau Koo Jack, there seems to be no limit to Armstrong's imagination or to his ability to play as fast as he can think. Again, the trumpeter was building logically upon his own past, for the was a natural link to support provided by Redman's arrangements Louis' experience in Henderson's band, of which Redman was a member. Weather Bird Rag, a tune Louis had played with Joe also Oliver, is OF THE TWENTIES JAZZ MASTERS Hines and Armstrong It is, a monumental duet performance by of the Olof the complete abandonment 40 too a symbol trumpeter's New for improvisais improvisation Orleans old guard had little use for that all its wild volleying of modern ideas, Weather iver style, for this display piece tion s sake, outlook and the Still, with and thematic unity.
The family a fair trumpet player and his uncle, was father for Earl's surprise, Bill Phillips, played all the brass instruments. Earl experimented with the trumpet, but it didn't take, although he learned to a tunes before giving it up. It was about 1914, when Earl few play was 9, that Mrs. Hines traded in the organ for a piano so that her briefly son could begin serious keyboard studies. His first teacher was Emma D. Young of McKeesport. Making swift progress, Earl moved on to other teachers and more advanced lesson books.
West End begins with a magnificent trumpet cadenza in 2/4 that builds in intensity as it moves from quarter notes to eighthover twelve note triplets to sixteenths to sixteenth-note triplets bars of brilliant unaccompanied playing. The two blues choruses Armstrong plays after this (and they are not consecutive) are put in exactly the same way as the overturelike cadenza. The together chorus moves from initial simplicity to a set of ingenious triThe final chorus picks up the thread again and moves figures.
Jazz Masters of the Twenties by Richard Hadlock
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