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Hot Fives and Sevens | 
| Artist: Louis Armstrong
Label: Jsp
Category: Music
List Price: £19.99
Buy New: £15.69
You Save: £4.30 (22%)
New (15) Used (3) from £14.37
Rating:  8 reviews
Sales Rank: 4269
Format: Box Set
Media: Audio CD
Discs: 4
Shipping Weight (lbs): 0.8
Dimensions (in): 5.7 x 5.5 x 1.7
MPN: 100
UPC: 788065010027
EAN: 0788065010027
ASIN: B00001ZWLP
Release Date: December 13, 1999
Shipping: Eligible for Super Saver Shipping
Availability: Usually dispatched within 2 to 3 weeks
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| Tracks:
Disc 1
| • | My Heart | | • | Yes I'm In The Barrel | | • | Gut Bucket Blues | | • | Come Back Sweet Papa | | • | Georgia Grind | | • | Heebie Jeebies | | • | Cornet Chop Suey | | • | Oriental Strut | | • | You're Next | | • | Muskrat Ramble | | • | Don't Forget To Mess Around | | • | I'm Gonna Gitcha | | • | Dropping Shucks | | • | Who's It | | • | He Likes It Slow | | • | King Of The Zulus | | • | Big Fat Ma And Skinny Pa | | • | Lonesome Blues | | • | Sweet Little Papa | | • | Jazz Lips | | • | Skid Dat De Dat | | • | Big Butter And Egg Man From The West | | • | Sunset Cafe Stomp | | • | You Made Me Love You | | • | Irish Black Bottom | | • | Willie The Weeper | | • | Wild Man Blues | | • | Chicago Breakdown | | • | Alligator Crawl | | • | Potato Head Blues | | • | Melancholy Blues | | • | Weary Blues | | • | Twelfth Street Rag | | • | Keyhole Blues | | • | SOL Blues | | • | Gully Low Blues | | • | That's When I'll Come Back To You | | • | Put 'em Down Blues | | • | Ory's Creole Trombone | | • | Last Time | | • | Struttin' With Some Barbecue | | • | Got No Blues | | • | Once In A While | | • | I'm Not Rough | | • | Hotter Than That | | • | Savoy Blues | | • | Fireworks | | • | Skip The Gutter | | • | Monday Date | | • | Don't Jive Me | | • | West End Blues | | • | Sugarfoot Strut | | • | Two Deuces | | • | Squeeze Me | | • | Knee Drops | | • | Symphonic Raps | | • | Savoyager's Stomp | | • | No (No Papa No) | | • | Basin Street Blues | | • | No One Else But You | | • | Beau Koo Jack | | • | Save It Pretty Mama | | • | Weather Bird | | • | Muggles | | • | Heah Me Talkin' To Ya | | • | St James Infirmary | | • | Tight Like This | | • | Knockin' A Jug | | • | I Can't Give You Anything But Love | | • | Mahogany Hall Stomp | | • | Ain't Misbehavin' | | • | What Did I Do To Be So Black And Blue | | • | That Rhythm Man | | • | Sweet Savannah Sue | | • | Some Of These Days | | • | Some Of These Days (2) | | • | When You're Smiling | | • | When You're Smiling (2) | | • | After You've Gone | | • | Ain't Got Nobody | | • | Dallas Blues | | • | St Louis Blues | | • | Rockin' Chair | | • | Song Of The Islands | | • | Bessie Couldn't Help It | | • | Blue Turning Grey Over You | | • | Dear Old Southland | | • | Rockin' Chair (1) | | • | I Can't Give You Anything But Love |
Disc 2
| • | Willie The Weeper | | • | Wild Man Blues | | • | Chicago Breakdown | | • | Alligator Crawl | | • | Potato Head Blues | | • | Melancholy Blues | | • | Weary Blues | | • | Twelfth Street Rag | | • | Keyhole Blues | | • | SOL Blues | | • | Gully Low Blues | | • | That's When I'll Come Back To You | | • | Put 'em Down Blues | | • | Ory's Creole Trombone | | • | Last Time | | • | Struttin' With Some Barbecue | | • | Got No Blues | | • | Once In A While | | • | I'm Not Rough | | • | Hotter Than That | | • | Savoy Blues |
Disc 3
| • | Fireworks | | • | Skip The Gutter | | • | Monday Date | | • | Don't Jive Me | | • | West End Blues | | • | Sugarfoot Strut | | • | Two Deuces | | • | Squeeze Me | | • | Knee Drops | | • | Symphonic Raps | | • | Savoyager's Stomp | | • | No (No Papa No) | | • | Basin Street Blues | | • | No One Else But You | | • | Beau Koo Jack | | • | Save It Pretty Mama | | • | Weather Bird | | • | Muggles | | • | Heah Me Talkin' To Ya | | • | St James Infirmary | | • | Tight Like This | | • | Knockin' A Jug |
Disc 4
| • | I Can't Give You Anything But Love | | • | Mahogany Hall Stomp | | • | Ain't Misbehavin' | | • | What Did I Do To Be So Black And Blue | | • | That Rhythm Man | | • | Sweet Savannah Sue | | • | Some Of These Days | | • | Some Of These Days (2) | | • | When You're Smiling | | • | When You're Smiling (2) | | • | After You've Gone | | • | Ain't Got Nobody | | • | Dallas Blues | | • | St Louis Blues | | • | Rockin' Chair | | • | Song Of The Islands | | • | Bessie Couldn't Help It | | • | Blue Turning Grey Over You | | • | Dear Old Southland | | • | Rockin' Chair (1) | | • | I Can't Give You Anything But Love |
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| Editorial Reviews:
Amazon.co.uk Review
Fact: Some 70-plus years ago, Louis Armstrong was bigger than the Beatles. Fact: Louis' record sales provided the seed money for some of today's great communications empires. Fact: Pops' startling trumpet prowess and ingratiating vocals transformed the phrasing of every instrumentalist and vocalist on earth--and these are the sessions that started it all. Having performed as the second cornet with spiritual father Joe "King" Oliver's legendary New Orleans band, he turned everybody's head in New York during his stint with Fletcher Henderson's Orchestra in 1924. Then, at wife Lil Hardin's insistence, he returned to Chicago in 1925, which led to the first of his super sessions for the Okeh label--fronting an all-star band assembled just for the studio. Even amid the traditional New Orleans polyphony and ensemble work of "Gut Bucket Blues", the sheer power of Armstrong's cornet pulls along the rest of the band like a locomotive (and in setting the infectious closing riff, he not only anticipates the swing era but Dizzy Gillespie's "Salt Peanuts"). By the time we get to the 1926 sessions, featuring his innovative "scat singing" on "Heebie Jeebies" and his dynamic stop-time phrases on "Cornet Chop Suey", Louis Armstrong is well on his way to transforming jazz into a soloist's art, and himself into the most influential musician of the 20th century. --Chip Stern
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| Customer Reviews: Read 3 more reviews...
Just two things you should already know October 4, 2008
2 out of 2 found this review helpful
Hot Fives and Sevens
1. These four CDs contain what are without question the finest recordings in all jazz
2. The remastering was done by the late John R T Davies who ought to have received a Nobel prize for his work
But, of course, you know this already, because you already own this box set. You don't?? WHY NOT???
Is this the best edition of hot fives and hot sevens available? May 29, 2008
2 out of 2 found this review helpful
Frankly, I don't know.
I still have two "hot five" and "hot seven" audio tapes (Vol II i Vol III) bought in the late 1980s (edition "CBS masterpieces") and they also sound pretty good (and I didn't drink no gin... sorry for the lame "Monday Date" joke).
Basically, all I can say is, these cds sound great on my quite average cd player, confirming everything I have known about Armstrong before (and about Johnny Dodds, Zutty Singleton, Baby Dodds, Kid Ory , Lonnie Johnson and others,
while I must admit I'm only starting to get (and enjoy) Earl Hines.
Aditional, non hot five and non hot seven tracks certainly augment my understanding of Satchmo and his golden era, with adittional thrill of Jack Teagarden, Eddie Lang or Hoagy Carmichael on some tracks.
Admittedly, discs 3 and 4 contain some (commercial) duds, but the amount of brilliant music in this box is amazing...
Just listen to the first, best or at least seminal versions of songs such as "Struttin' with some barbicue", "West End Blues", "Potato Head Blues", "S.O.L. Blues", "Fireworks", "Ain't Misbehavin", "Knockin' the Jug"; "St. James Infirmary"....
BTW, it is important to know that many songs that have the word "blues" in their title don't really belong to that category... Just as the term jazz in the 20s didn't mean the same thing it means today.
p.s.
In very informative liner notes we read about banjoist Mancy Carr, while the song listing gives his name as Cara; if I remember my CBS Jazz masterpieces liner notes correctly, "Cara" was an early misprint that snowballed into the future decades.
p.p.s.
The only real fault of this cd box- names of authors of the songs are sometimes listed in the liner notes, there's no complete list... Ofcourse, some songs are by Ory, some by Lil Hardin/Armstorng, some by King Oliver, some by Fats Waller, but it would be nice to have the data next to the song title. But, the performers (and date) listing is complete.
An excellent glimps of early jazz February 7, 2008
3 out of 3 found this review helpful
These early Armstrong recordings, along with the King Oliver and Kid Ory recordings from the same era suffered from either being difficult to get hold of or being available in very poor quality forms for many years. Now they can be heard in all their glory and what wonderful stuff it is too. The other reason "this jazz" fell into disrepute was by association with the Trad Jazz movement of the late 50s and 1960s that sought to slavishly replicate what it saw as a definitive jazz. This was just plain wrong thinking. If jazz is about anything it is about creatively moving forward. Their have been a few people in jazz who have move the music forward as innovators or as a focus of developments but this has often been distorted in the publics, and indeed critics, imaginations because the people who are remembered are those who got the recording dates and got the tunes down. Much of the music here derived from the cross fertilisation of a community of musicians who shared ideas and played together long into the night after their paid gigs were over. Armstrong is however a unique individual, one of the early pioneers whose magical combination of supreme horn playing, fantastic voice and a almost cartoonish level of showmanship made him a star.
Many people think that he sold out in his later years and their is some justification for this view in that he was recorded in some pretty sterile settings, but he never lost he love of music making and entertaining.
These are the recording where Armstrong really took wings and made his mark. The another high point of his career is his recordings with Ella Fitzgerald back by Oscar Peterson (whose importance in that particular bit of musical alchemy often gets overlooked)and represents the popular face of Armstrong that many of us are most familiar with but the Hot Fives and Sevens recordings are pure magic and in the context of their era were as startling and new as Parker and Coltrane were in theirs. It is a great shame that many people feel the need to stick to one kind of jazz (what ever "jazz" as a label means). I simply love this music.
Genius. April 25, 2007
5 out of 5 found this review helpful
The Hot Fives and Sevens took what was best in New Orleans jazz - the bounce, the melancholy, the life-affirming joy, the common purpose, the shining individual contributions - and distilled it all as if to sum up an era. After this the bands grew, became more obviously sophisticated, mellowed out and moved away from the true spirit of jazz; revivalists kept it alive, some even to this day; but this is where the elements of the true jazz met to create a work of genius.
John R.T Davies remastered these sides. There ought to be a monument to that man too, or an award in his name, for services to great music.
The liner notes are detailed enough without becoming too wordy. In short, this is a package to treasure.
If you only buy ONE jazz album . . . February 10, 2004
16 out of 17 found this review helpful
Elvis Presley did not invent rock and roll – many artists were heading toward the same fusion of blues and country – but he was the first to refine and define it as a musical form, the first to create a coherent body of work, the first to sell it to a mass audience and so, by the default, the first to become a major star of the genre.Louis Armstrong arguably holds the same position in jazz. In 1924 he was a sideman in King Oliver’s Creole Jazz Band, playing what was still seen as an underground, “minority” music. By 1930 he had become jazz’s leading artist while jazz itself had crossed over to white audiences to such an extent that, until the advent of rock and roll, it would be the dominant stylistic influence on popular music. Both achievements are directly attributable to the records Armstrong cut between 1925 and 1929, his first solo recordings, widely known as “the hot fives and hot sevens” after the bands he fronted on them. They are to jazz what Elvis’s early Sun sessions and RCA Victor recordings are to rock and roll music: the core of genre, its central canon, its template. And these discs contain those recordings in their entirety, in the finest available mastering to date. Buy them. Quite simply, they ARE jazz.
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