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By Richard Hadlock

Jazz Masters of the 20's

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On these records, Dodds and background harmony unobtrusively and join Armstrong in elemental the period. fill riff patterns along lines fairly typical of result of these shifts of spired Armstrong than ever. Four titles emphasis were made, is all a more in- containing good examples of Louis near the apex of his musical career. Once in a White, notable for its dazzling cornet solo set against a stop-time backdrop, is otherwise rendered the syncopated New Orleans manner, but Savoy Blues is a low-key blues carried out with riffs and an easy tempo that give Louis lots of room to try his more advanced ideas, fm Not Rough is a curious mixture of country blues and an apparent attempt to capitalize on the doubfe-tae device that was helping to sell a ample raauer ana saoe My Best Gal Turned Me Than That, related to 5cke).

Without Armstrong, the story cluding Ray Charles, might have been quite different THE TWENTIES JAZZ MASTERS OF The substance of Louis' music cannot be explained, in the 48 final remarkable physical equipment, his showmanship, analysis, by mind that has or even his skill with the trumpet. It is the man's this vast body of marvelous music. Armstrong has alproduced serious about his trumpet playing, even in the been his ways utterly when many jazzmen assumed their and proceeded to blow themselves out at an frivolous years of the twenties, music couldn't last early age.

Rolls of Zez Confry EABL HINES $1 show bands, and, and James P, Johnson, traveling Aunt Nellie Phillips, with classics. classics whom of course, the Earl lived in the and frequently took her nephew favored light shows or revues at local theaters, including Lew to city, good Leslie's Black- fads and the Noble Sissle-Eubie Blake hit Shuffle Along. These events were Earl's first contacts with first-rate "rhythm" music, with which he was completely delighted. While attending Schenley High School in Pittsburgh, the formed a trio with a couple of friends who played drums pianist and banjo.

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