text:
Nutrition Facts
Ingredients and Preparation
- In a blender or food processor, combine chile, adobo sauce, olive oil, garlic, onion, paprika, chili powder, cumin and lime juice and process until smooth. Reserve 2 tablespoons marinade in a small bowl, cover, and refrigerate. Combine remaining marinade and chicken in a large plastic resealable bag, shake to coat chicken, and marinate in the refrigerator 2 hours to overnight.
- Prepare grill. Grill chicken 5-7 minutes on each side, or until cooked through, brushing with reserved marinade during last 2-3 minutes of cooking.


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Endothelial cells are easily seeded (via standard pipette) and cultured inside the microcapillaries of the biochip. As cells flow through the microcapillary of the Vena8 Endothelial+™ biochip, the cell surface receptors may interact with the endothelial cell monolayer which coats the microcapillary walls. Ideal for use with phase contrast imaging and fluorescence imaging to study cell-cell interactions under conditions mimicking physiological flow.
Manufacturer Cellix Ltd
Be the first to review this product

subset: commoncrawl


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The damage from what was Hurricane Sandy has triggered flight cancellations all over the country including more than 100 in the Bay Area.
More than 6,000 flights were canceled nationwide because of the storms battering parts of the East Coast, where at least 20 deaths have been attributed to the storms in the New York area.
A total of 114 of those flights in and out of San Francisco International Airport were canceled on Tuesday. In Los Angeles, 200 flights were canceled.
"Hell. No other words - hell," said Sonny Shar, who was stuck at SFO on Tuesday morning trying to get back home to New York. "I have a wife at home. She's fine, we're not in a flood area. But of course, she's anxious, as well. She knows I'm trying to get home."
Marty Badagliacca was also at SFO, anxiously trying to get home to Massapequa, NY. His neighborhood, on the south shore of the island, is "all devastated" with gas leaks and flooding "all over the place."
"I don't know what to expect when I get back," he said. "I know my house will be underwater and my son's house will be underwater. We just hope for the best."
Badagliacca was busy trying to reroute home to New York through Los Angeles, but didn't know if his last-minute negotiations with the airlines would work.
SFO spokesman Doug Yakel of that number 64 arriving flights and 50 departing flights are canceled. He said he expected those numbers to rise throughout the day, though he thought Boston and Washington, D.C.-area airports may open later in the day. He also said he thought that airlines are now considering adding red-eye flights to accommodate passengers, though there was no firm answer on that early on Tuesday.
The uncertainly was disappointing to Kathy Lutes of San Diego, also stuck at SFO. She had to sleep at the airport because of fog, not hurricanes, and there were no flights out in the morning to get her home.
"I live in San Diego," Lutes said. "It's like the best weather in the whose U.S. right? So, unaffected by Sandy and fogged in - I think that's kind of crazy."
Erika Okano contributed to this report.


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- Features
- News
- Arts
- Life
- Community
- Nightlife
- Scene
- Social
Ryan Fecteau, the Catholic University of America (CUA) student who spearheaded the effort to have CUA recognize an LGBT student group as an official campus organization, announced June 20 his candidacy for state representative in his home state of Maine in 2014.
Fecteau, who was elected CUA's first openly gay Speaker of the Student Association in the spring of 2012, will run as a Democrat for the District 135 seat being vacated by retiring Rep. Paulette Beaudoin (D-Biddeford), and will return home on most weekends during the spring semester of his senior year leading up to the June 10 primary next year.
Ryan Fecteau
In D.C., Fecteau was known mostly for his efforts to have CUA recognize the LGBT student group, CUAllies. The university rejected the group's proposal last December, citing concerns by administrators that the group would become an advocacy organization for causes contrary to Catholic Church teachings on homosexuality, despite the fact that the university had an officially recognized gay and lesbian student organization from 1988 to 2002.
Fecteau also previously served as an elected member of the Biddeford Charter Commission in 2011 and was the youngest and first openly gay chairman of the Biddeford Democratic Committee in 2012. He has since resigned from as chairman to avoid a conflict of interest during the June 2014 primary, according to a press release from the candidate.
Fecteau told Metro Weekly that running for office was an "incredible" chance to make a difference for his home state and believes he will bring good ideas to the table and serve as a "rejuvenating" presence in the State House, where the body is largely made up of retirees and is lacking in younger legislators.
"Our governor is hell-bent on causing as much havoc as possible in Augusta," Fecteau said of Gov. Paul LePage, a Tea Party conservative and anti-gay politician who was elected in a four-way race in 2010.
When asked about LePage's recent comments to Sen. Troy Jackson that "he's the first one to give it to people without providing Vaseline," Fecteau said he found the comments, nasty, unproductive and homophobic, even though Jackson is not gay.
"I'm personally not afraid of Gov. LePage, though some of his fellow Republicans might be," Fecteau said, claiming that several Republican legislators have changed their votes following LePage's vetoes of legislation. "Getting into a war of words with him is not very productive, and he make himself look worse when he speaks."
Although no other Democrats have announced their candidacy, Fecteau expects others to enter the race in the coming months. He is hopeful he will win the primary so that he will be able to run as part of the Democratic slate of candidates in November 2014, hopefully along with U.S. Rep. Michael Michaud, who is moving towards challenging LePage for the governor's office.


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All nonprofit organizations recognized by the Internal Revenue Service (IRS) under 26 U.S.C. §501(c)(3) are eligible to apply.
If you have any questions regarding the application process, please contact Customer Care at email@example.com or 888-232-4935. If you have any policy questions, please contact OPM at email@example.com or 202-606-2564.
- All organizations must apply each year whether they are required to provide a full application or a verification application.
- All organizations must pay the application fee whether they provide a full application or a verification application.
- Providing a verification application does not mean your organization has been automatically approved for participation in that campaign.
- All approved organizations must pay the listing fee to be included on the CFC Charity List. Listing fees are due prior to the start of the fall campaign. OPM will notify approved charities of the listing fee deadline in the summer.
For more information, please visit the CFC Charity Administration Center.


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Over many years, The Mandt System® has received data from organizations using our programs. A significant reduction in aggressive and violent behaviors is reflected in that data, which can be found throughout the website. For clarification, The Mandt System, Inc is the name of our company, The Mandt System® is the Training Program, Curriculum and Services that we offer.
Training Foundation
The Mandt System® training courses are based upon the philosophy that all people have a right to be treated with dignity and respect, the right to personal identity, the right to normalization and the right to the least restrictive and most appropriate environment. We believe that all individuals should be seen as people first. Therefore, we believe that relationships should be based on principles in which people are allowed to participate in decisions about their lives. We recognize and consider people´s behavior, even negative behavior, as a form of communication. Our approach to relationships with people requires that we proactively meet the needs of others striving to improve relationships by learning to avoid repeating mistakes.
The Mandt System® program presents an education and training system of gradual and graded alternatives for de-escalating and supporting people, using a combination of interpersonal communication skills and physical interaction techniques designed to reduce injury to all the participants in an encounter.
Whilst the Relational, Conceptual and Technical (RCT) sections of The Mandt System® curriculum can be taught as building blocks of learning, it is these that collectively are referred to and required for Trainer Training in The Mandt System® Training Program.
Relational Level Training
Relationships are the context in which the work gets done. This statement is true not only in human service settings, but in almost every human endeavor concerned with production, achievement, or service. When people feel safe in the context of these relationships, they are freed up to commit themselves to the task.
We designed the Relational Chapters for you if you interact on a daily basis with people who, for the most part, are cooperative. We feel that the Relational Chapters provide an adequate level of interpersonal interaction skills for use in most of these situations. The most important part of any crisis interaction training is having the proper attitude and philosophy. Therefore, we stress the importance of de-escalating and interacting with people – not controlling them. If you can manage and control yourself, you can better interact with other people.
In the first three chapters, Relational Chapters, you will review what it takes to build Healthy Relationships in the workplace. These three chapters are the most important ones we teach!
Specific Chapter Detail can be found in the Program Information Sections
Conceptual Level Training
Remember that injury does not have to be physical. As children many of us said, "Sticks and stones will break my bones but words will never hurt me." Truth be told, most of us were wounded far worse by words than any stick or stone that could be hurled. In the Relational chapters, you were introduced to the concepts of Interactions, Incidents, and Crises. The intention of The Mandt System® is to give you the tools needed to keep interactions at the interaction level. Therefore, the Conceptual Chapters now focus on using skills and competencies
We designed the Conceptual Chapters for you, if you interact on a daily basis with people who may become uncooperative. We feel that the Conceptual Chapters provide an adequate level of interpersonal interaction for use in most situations. We emphasize the use of a gradually progressive system of alternatives that involves the least restrictive means of interpersonal interaction.
Once healthy relationships have been established, there are four core competencies we want to give you so you can not only build healthy relationships but also use skills to address conflicts and meet unresolved needs. These next four chapters now focus on using skills and competencies.
Technical Level Training
We learned in the Relational chapters that treating people with dignity and respect was critical to the development of healthy relationships. The focus of the Relational and Conceptual chapters was on non-physical ways to treat people with dignity and respect in our interactions with them. We also focused on treating people with dignity and respect when an interaction became an incident.
We designed the Technical Chapters for you, if you interact on a daily basis with people who may become uncooperative and/or confused. We present a system of gradual and graded alternatives for de-escalating and managing people, using a combination of interpersonal communication skills and physical interaction techniques designed to reduce injury to all the participants in an encounter. The interpersonal skills from the Relational and Conceptual Chapters are reviewed and practiced, but emphasis is placed on learning appropriate physical skills while maintaining a high level of dignity and respect.
That same criteria must be present as we consider the possibility of an incident becoming a crisis. Just because there is a crisis and an increased risk of harm does not mean that we no longer treat people with dignity and respect. In these next chapters, we will focus more on teaching concepts than on teaching techniques.
(See detailed program information and FAQ for more detail on physical skills curriculum and safety standards)
To register for a Mandt System class in your area, click here.


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How To Help ONC
- Visit the web page at http://www.ournei...">www.ourneighorsch... for up-to-date information, current volunteer opportunities and a link for donations.
- To "adopt" a child and purchase his or her specific clothing needs, e-mail Stephanie Somers at volunteer@ourneig....
- Groups or businesses still have time to host a giving tree; the link to sign up is on the Web site. ONC will provide ornaments listing a child's specific gift wish, or organizations may host a general, gift or gift-card collection.
Gifts for young teens are particularly needed. Especially popular with teens are iTunes gift cards or Target or Walmart gift cards for clothing that allow them the opportunity to select just the right fit and style.
- A box of homemade cookies accompanies every ONC gift delivery. More than 20,000 cookies are needed. Anyone wishing to bake cookies for the families should drop them off Thursday, Dec. 13, from 10 a.m.-4 p.m., at the Virginia Run Community Center, 15355 Wetherburn Court, off Route 29 and Pleasant Valley Road in Centreville. Any type of disposable container is fine; they'll all be repackaged into assortments. Contact Pam Ryan at volunteer@ourneig... with any questions.
- Packaging Day is also Dec. 13, when hundreds of volunteers will be needed to help match up each item to the children's wish lists provided by the recipient parents.
- Delivery Day is Sunday, Dec. 16, from 1-4 p.m. People interested in volunteering for either packaging or delivery should go to www.ourneighborsc... and click on "Volunteer Needs."
- To volunteer for any part of this effort or to reach someone in charge of a particular portion, e-mail volunteer@ourneig... and the e-mail will be redirected to the volunteer Project Leader organizing that event.
- Financial contributions are more important than ever this season. These funds are critical to help ONC purchase any remaining gifts that aren't adopted by a sponsor. Due to the increase in clothing requests this year, that number is expected to be at an all-time high.
Checks payable to Our Neighbor's Child may be mailed to: Karen Moore, Treasurer, Our Neighbor's Child, P.O. Box 276, Centreville, VA 20120, or online donations may be made via the "donate now" link on the ONC website, http://www.ournei...">www.ourneighborsc.... One hundred percent of the monetary contributions collected by this all-volunteer organization go directly to the purchase of gifts for local children in need.
Centreville With only a week left until packaging day, the volunteers of Our Neighbor's Child are working to make sure local children's Christmas wishes come true.
The nonprofit ONC is responsible for providing new toys and clothing for 680 families — including 2,300 children — in Chantilly, Clifton, Fair Oaks and Fair Lakes. But it can only do it with the community's help.
And although children love receiving toys and games as presents, their parents also struggle with the reality of keeping them warmly clothed during the coming winter. So now, in its 21st year, ONC finds itself inundated with clothing requests.
Photo Gallery
ONC Toy DriveClick Photo for Flash
"Our clothing request list is more than twice what it was last year," said ONC Clothing Coordinator Stephanie Somers. "More children are receiving free and reduced-price lunches at school, so that means more families here are in need. That's what motivates me each day to try to fill all these requests — but we need more people willing to help buy clothes for these children."
Many of the clothing requests are listed on ornaments on the giving trees in various local churches, schools and businesses. People may also contact Somers at email@example.com to fulfill children's clothing needs.
This year, because the need for clothes is so acute, Somers said parents aren't requesting particular styles or colors of clothing for their children. They just need clothing — period.
"I think that, because of the economy, people need anything and everything," she said. "At this point, what I'm hoping for is to give a whole outfit to each child. That includes basic school clothes — shirts, pants, sweaters, underwear, etc. — as well as coats, jackets, scarves and mittens."
Actually, said Somers, "The clothing need is so huge that it's been very eye-opening. Parents just want something clean, new and good for their children to wear. And it may be one of the few times all year that they get something new."
Being ONC's clothing coordinator, she said, is "so rewarding and wonderful, but the demand for help is so overwhelming. But when people e-mail me and say they'll take care of some children's clothing needs, I'm just so happy."
Also important, said ONC Executive Director Kelly Lavin, is support for Stone Middle School's Panther Pick-Up/Drop-Off. The event is this Saturday, Dec. 8, from 9 a.m.-1 p.m. Area residents may bring new clothes and toys to the school, and it will all be donated to ONC.
Stone students will be posted in front of the school for drive-by drop off of new clothing, toys, books and/or games, and Westfield High students will be on hand to make pick-ups. To arrange for a pick up, e-mail the address to email@example.com.
Those unable to make it to Stone on Saturday may also go to the ONC Web site at www.ourneighborschild.org. and click on the "donate now" link. Monetary contributions made there will also help purchase the needed clothing.
"Our Neighbor's Child is not subsidized and there's no funding," said Lavin. "It's the goodness of the community's heart — and everyone pulling together — that makes it happen."
Each family in need has a story and many of them are heartbreaking. And ONC data manager Nicole Rogers hears them all.
For example, she said, "We have families that have recently been foreclosed upon and are living in hotels. Some are single parents who've been injured in car accidents and are unable to work. Others have only asked for grocery-store gifts cards so their children won't go hungry. A couple families are living in their cars, and one family of four is living on $520/month."
Whatever is collected will be packaged Dec. 13 and delivered on Sunday, Dec. 16. But with so many families receiving gifts, it's a monumental task, and more residents are needed to help with the deliveries.
"We have a lot of deliveries to make, but we can only do them if the community shows up to help," said Lavin. "Directions and maps are provided to each driver." To lend a hand, go to www.ourneighborschild.org and click on "Volunteer Needs."
Meanwhile, there's still a lot of work to do and a lot of children's gift wishes still unfulfilled. "I'm definitely concerned about the clothing needs and the impact it'll have on the families if not enough clothing — or the donations needed to purchase it — come in," said Lavin.
"But each year, there are a lot of unsung heroes who make all this possible," she continued. "And the community has always come through for us in the past, so I'm confident that it'll do it again — I have faith."


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Hicks' number switch a natural progression
MINNEAPOLIS -- Top prospect Aaron Hicks, who wore No. 5 and No. 31 in the Minor Leagues, explained his rationale for choosing to wear No. 32 for the Twins.
Hicks, who had his first Major League hit in Thursday's win over Detroit, said he wore the No. 31 in the Minor Leagues to honor his father, Joe, who wore that number as a Minor Leaguer. Hicks added that his father wore No. 31 in honor of Hall of Famer Dave Winfield, who coincidentally wore No. 32 while with the Twins in 1993 and '94 after wearing No. 31 most of his career.
"I'm happy with it," Hicks said. "It's a combination of my dad liking it, and also it's the next number up. Him saying, 'Just be better than I was, actually making it to the big leagues,' there's just a lot that goes with it."
Hicks had the chance to switch to No. 31 after reliever Alex Burnett was sent to the Minors and eventually claimed by the Blue Jays in waivers. But Hicks said he likes his new number and will stick with it, especially considering it's the same number Winfield wore with the Twins.
"I kind of knew the history before Spring Training started," Hicks said. "This just fell into place, I would say."


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A beautifully appointed tranquil 2 bedroomed self - contained apartment with hill and woodland walks on the doorstep yet not far from towns and cities, beaches and golf courses.
Balkelllo Woodland Apartment is part of an impressive modern country house set within a 50 acres of a working smallholding nestled privately in the Sidlaw hills offering a large garden with plenty of scope for relaxation and play, perfect for picnics with direct access to hill woodland walks providing an abundance of wildlife with a large diversity of birds and woodland creatures.
The apartment has its own external door with stair leading to a bright open plan living L-shaped area, dining and kitchen area with triple aspect windows and wonderful countryside views.
The modern fitted kitchen has ample facilities with washing machine, fridge, cooker and microwave and a dining table.
There are two cosy bedrooms, one double and one twin bedded room.
The shower room is beautifully fitted, down-lighters, shower cubicle, wash basin with cupboard below, heated towel rail, WC, light and shaverpoint.
The accommodation is modern with quality fittings giving a comfortable relaxing stay.
Tea, coffee, milk and biscuits are complimentary on arrival.
Balkello Woodland House smallholding specialises in pedigree cattle and sheep, with working sheep dogs that appear regularly at sheep dog trials (amazing to watch them at work!). Surrounded by agriculture there are local market towns with farmers markets at Forfar and Dundee. Local agricultural shows throughout summer are also well worth a visit.
Auchterhouse is in an ideal location in Angus within easy reach of surrounding counties Perthshire, Fife and Dundee, each within 10 miles from Balkello giving a huge range of different places, interests and activities to enjoy.
The nearest city Dundee (some claim the sunniest place in Scotland!!) located on the banks of the Tay estuary, is steeped in history. Attractions include RRS Discovery (Captain Scott's ship), and the Verdant Works which weaves the tale of jute with the life and work of old Dundee. There is modern technology at Dundee Science Centre - Sensation, Mills Observatory, art and culture at The McManus, Dundee's Art Gallery and Museum or Dundee Contemporary Arts (DCA). The city has plenty of shopping, cinemas, ice skating, a leisure pool and an abundance of restaurants and bars. You may also bump into the locals, Desperate Dan or Dennis the Menace!
Being near the coast it is not far from terrific beaches and harbours with the north to Broughty Ferry, Carnoustie, Lunan Bay, Arbroath and Montrose and heading south to St Andrews, Anstruther and Elie with lots of idyllic little hidden beaches in between.
Local golf courses within 5 miles include Downfield, Camperdown and Caird Park. Piperdam, Strathmore, the famous Old Course at St Andrews and Carnoustie and many more are within easy reach. There is also an impressive choice of country parks as well as the Dundee Botanic Gardens, on gently sloping land overlooking the banks of the River Tay.
There are lots of exciting places of history to explore. Glamis Castle, famed as the childhood home of the Queen Mother is a must for visitors, Broughty Castle, House of Dunn and Scone Palace. Dunnottar, Stirling and Edinburgh Castles are little bit further but worth the distance.
A bit of history on the doorstep is the Dovecot and Earthhouse in Tealing with many pictish stones locally including Aberlemno Sculptured Stones.
Only 2 miles takes you to the popular Auchterhouse Country Sports which features clay pigeon shooting, off road driving, quad biking, archery and more including tank driving!
There are many local cycle routes and walks from short strolls, either on the coast or in the hills, to more challenging walks over steeper and more rugged terrain. In winter months sledging is at your backdoor, skiing at Glenshee is only 32 miles away.
|£300 Per unit per week
Note: Prices are a guide only and may change on a daily basis.


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Our Services
Is it full product development or part of it for outsource, we can help you create anything what is related to games and gamification. Let us know what you need. Link to Our portfolio.
Full game development for mobile devices, PC and consoles.
2D and 3D asset creation adapted for your requirements.
Gamification projects adaptation, design and realization.
VR and AR games and business solutions.
Tabletop and board game porting for all platforms.
Mobile games and assistance applications.
UX/UI Design and Solutions.
Migration of existing projects to new platforms.
Prototyping and proof of concept products validation.
Product consulting and design.
Ad apps and social media integration.
Expanding app's functionality.


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Is there a way for the host program to know whether Pasti is using an ACSI drive?
I see nothing about it in pasti.h, but maybe it is outdated?
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I haven't been able to get through this show , I didn't care for it, but to each it's own.
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|By Pat Romanski
Article Rating:
|October 7, 2014 04:00 PM EDT
Amazon, Google and Facebook are household names in part because of their mastery of Big Data.
But what about organizations without billions of dollars to spend on Big Data tools - how can they extract value from their data?
In his session at 6th Big Data Expo®, Ion Stoica, CEO and co-founder of Databricks, will discuss how the zero management cost and scalability of the cloud is addressing the challenges and pain points that data engineers face when working with Big Data.
He will share how the growing demand for cloud-based Big Data workloads and frameworks is shaping the future of Big Data analysis.
Speaker Bio:
Ion Stoica is co-founder and CEO of Databricks, a company working to revolutionize Big Data analysis through the Apache Spark platform. He also serves as a professor of computer science at the University of California, Berkeley. Ion previously co-founded Conviva to commercialize technologies for large-scale video distribution
Conference Schedule Announced
Are you ready to put your data in the cloud?
What is the future of security in the cloud?
Does Docker quickly advance the development of an IoT application?
What are the implications of Moore's Law on Hadoop deployments?
Get all these questions and hundreds more like them answered at the 15th Cloud Expo, November 4-6, 2014, at the Santa Clara Convention Center, in Santa Clara, CA. The Cloud Expo / Big Data Expo / @ThingsExpo / DevOps Summit programs are now available for you to inspect and investigate in advance.
Our upcoming November 4-6 event in Santa Clara, California will present a total of 10 simultaneous tracks by an all-star faculty, over three days, plus a two-day "Cloud Computing Bootcamp" presented by Janakiram MSV, an Analyst with the Gigaom Research analyst network, where he covers the Cloud Services landscape.
Cloud and Big Data topics and tracks include: Enterprise Cloud Adoption, APM & Cloud Computing | Hot Topics, Cloud APIs & Business, Cloud Security | Mobility, Big Data | Analytics.
@ThingsExpo content tripled from a single track in New York to three simultaneous tracks: Consumer IoT, Enterprise IoT, IoT Developer | WebRTC Convergence.
DevOps Summit also doubled from a single track in New York to two simultaneous tracks: "Dev" Developer Focus and "Ops" Operations Focus.
Schedule for Cloud Expo / Big Data Expo / @ThingsExpo ▸ Here
Schedule for DevOps Summit ▸ Here
Now that we have published the full conference schedule, please check back for daily updates as we finalize new session abstracts by working with our distinguished faculty members. For your questions please contact us at events (at) sys-con.com. Last but not least we will announce our keynotes on the hottest subjects to be delivered by world-class speakers!
The largest 'Internet of Things' event in the world has announced "sponsorship opportunities" and "call for papers."
The 1st International Internet of @ThingsExpo was launched this June at the Javits Center in New York City with over 6,000 delegates in attendance. The 2nd International Internet of @ThingsExpo will take place November 4-6, 2014, at the Santa Clara Convention Center in Santa Clara, California, with an estimated 7,000 plus delegates attending over three days.
Sponsorship and Exhibit Opportunities for @ThingsExpo Silicon Valley and New York Are Now Available
Sponsors and exhibitors of Internet of @ThingsExpo will benefit from unmatched branding, profile building and lead generation opportunities through:
- Featured on-site presentation and ongoing on-demand webcast exposure to a captive audience of industry decision-makers.
- Showcase exhibition during our new extended dedicated expo hours
- Breakout Session Priority scheduling for sponsors that have been guaranteed a 35-minute technical session
- Online advertising in SYS-CON's i-Technology publications
- Capitalize on our comprehensive marketing efforts leading up to the show with print mailings, e-newsletters and extensive online media coverage.
- Unprecedented PR Coverage: Editorial coverage on IoT.sys-con.com, Tweets to our 75,000 plus followers, press releases sent on major wire services to over 500 combined analysts and press members who attended Internet of @ThingsExpo - making it the best-covered "Internet of Things" conference in the world
For more information on sponsorship, exhibit, and keynote opportunities contact Carmen Gonzalez by email at events (at) sys-con.com, or by phone 201 802-3021. Book both events for additional savings!
@ThingsExpo Silicon Valley (November 4-6, 2014, Santa Clara, CA)
@ThingsExpo New York (June 9-11, 2015, New York, NY)
Secure Your VIP Pass to Attend @ThingsExpo Silicon Valley
Internet of @ThingsExpo announced today a limited time free "Expo Plus" registration option. The onsite registration price of $600 will be set to 'free' for delegates who register during September.
To take advantage of this opportunity, attendees can use the coupon code "IoTSeptember" and secure their "@ThingsExpo Plus" registration to attend all keynotes and general sessions, as well as a limited number of technical sessions each day of the show, in addition to full access to the expo floor and the @ThingsExpo hackathon.
The registration page is located at the @ThingsExpo site here.
@ThingsExpo New York 2015 'Call for Papers' Now Open
The 3rd International Internet of @ThingsExpo, to be held June 9-11, 2015, at the Javits Center in New York City, New York announces that its 'Call for Papers' is now open. The event will feature a world class, all-star faculty with the hottest IoT topics covered in three distinct tracks.
Track 1 - Consumer IoT and Wearables: Smart Appliances, Wearables, Smart Cars, Smartphones 2.0, Smart Travel, Personal Fitness, Health Care, Personalized Marketing, Customized Shopping, Personal Finance, The Digital Divide, Mobile Cash & Markets, Games & the IoT, The Future of Education, Virtual Reality
Track 2 - Enterprise IoT: The Business Case for IoT, Smart Grids, Smart Cities, Smart Transportation, The Smart Home, M2M, Authentication/Security, Wiring the IoT, The Internet of Everything, Digital Transformation of Enterprise IT, Agriculture, Transportation, Manufacturing, Local & State Government, Federal Government
Track 3 - Developer IoT: WebRTC, Eclipse Foundation, Cloud Foundry, Docker & Linux Containers, Node-Red, Open Source Hardware, Leveraging SOA, Multi-Cloud IoT, Evolving Standards, WebSockets, Security & Privacy Protocols, GPS & Proximity Services, Bluetooth/RFID/etc., XMPP, Nest Labs
@ThingsExpo billboard is viewed by more than 1.3 million motorists per week on Highway 101, in the heart of Silicon Valley
Help plant your flag in the fast-expanding business opportunity that is the Internet of Things: Submit your speaking proposal today here!
Download @ThingsExpo Newsletter Today ▸ Here
Chris Matthieu Named @ThingsExpo Tech Chair
Internet of @ThingsExpo named Chris Matthieu tech chair of Internet of @ThingsExpo 2014 Silicon Valley.
Chris Matthieu has two decades of telecom and web experience. He launched his Teleku cloud communications-as-a-service platform at eComm in 2010, which was acquired by Voxeo. Next he built an open source Node.JS PaaS called Nodester, which was acquired by AppFog. His latest startups include Twelephone. Leveraging HTML5 and WebRTC, Twelephone's BHAG (Big Hairy Audacious Goal) is to become the next generation telecom company running in the Web browser. Chris is currently co-founder and CTO of Octoblu.
Website: http://www.ThingsExpo.com
Twitter: http://www.Twitter.com/ThingsExpo
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text:
Recorded June 28, 1928
Track Time 3:11
Written by Joe "King" Oliver and Clarence Williams
Recorded in Chicago
Louis Armstrong, trumpet, vocal; Fred Robinson, trombone; Jimmy Strong, clarinet; Earl Hines, piano; Mancy Carr, banjo; Zutty Singleton, hand-cymbals
Originally released on OKeh 8597
Currently available on CD: It's on almost any Hot Five compilation, as well as hundreds of "Best-of" discs
Available on Itunes? Yes, on about 40 different albums, so take your pick!
[Note: On this date in 2008 and 2009 and 2013, I celebrated Armstrong's seminal 1928 recording of "West End Blues" with a massive blowout posting charting the history of the tune. I haven't updated it since 2013 but the 90th anniversary is a biggie so here it is, 95% the same as the old version but a couple of new things peppered in.]
90 years ago today, Louis Armstrong did this:
'Nuff said.
Technically, that's all I should have to write about the subject of today's entry, "West End Blues." Louis Armstrong's 1928 performance of the tune has probably been the subject of more words and analysis than any other in the history of jazz. Gunther Schuller devoted page after page to it in 1967's Early Jazz, writing, "The clarion call of "West End Blues' served notice that jazz had the potential capacity to compete with the highest order of previously known musical expression." Gary Giddins wrote that this tune "came to symbolize more than any other the ascendancy of a classic American music." John Chilton called the introduction "a great moment in 20th century music." Ken Burns devoted an entire segment to it (if you'd like to hear Artie Shaw, Wynton Marsalis and Gary Giddins expound on it, check that out). Okay, so now we all know that this is one historic, pretty great recording. It would be senseless for me to come up with different ways of saying "West End Blues" in unbelievable so, with your kind permission, I'm going to take another route and look at the song itself: other versions, other attempts by Pops, tributes to Armstrong, anything and everything I can find. So get ready for another interactive journey through the history of "West End Blues"....the greatest record ever made during the 20th century.
(Sorry, I couldn't resist.)
"West End Blues" was written by two very important figures in Louis Armstrong's life. Joe "King" Oliver was perhaps the most important person to Armstrong in his early years, giving the younger man tips on playing the cornet in New Orleans and eventually hiring him to perform in Chicago with his band at the Lincoln Gardens. Armstrong cut his first records with Oliver and though he eventually left his mentor, the two enjoyed a warm friendship in Chicago, often sitting in with each other's bands (as Hot Lips Page testified). The lyrics of "West End Blues" were co-written by pianist Clarence Williams, a musician who gave Armstrong a lot of studio work during his time in New York City with Fletcher Henderson's band in 1924 and 1925. Williams wrote many jazz classics, including "Baby Won't You Please Come Home," "Royal Garden Blues" and a tune he apparently stole from Armstrong, "I Wish I Could Shimmy Like My Sister Kate" (Armstrong wrote it as "Get Off Katie's Head" in New Orleans; Williams heard it, cleaned it up and published it as his own, scoring a hit that is still being performed by New Orleans jazz bands today).
In 1925, Oliver organized a new, slightly bigger band, performing in Chicago and making fine records for Vocalion, including the popular "Snag It." In 1928, Oliver tried his luck in New York, making one of the worst decisions in jazz history when he turned down an offer to play at the Cotton Club, an offer that ended up going to Duke Ellington.
On June 11, 1928, Oliver recorded one of his new compositions, "West End Blues," a 32-bar, three-strain blues, with a band, the Dixie Syncopators, that included trombonist Jimmy Archey, Ernest Elliott and Arville Harris on reeds, Clarence Williams on piano, Leroy Harris on banjo and Cyrus St. Clair on tuba. Here is that first recorded of "West End Blues," as originally conceived by its composer (by the way, Williams hadn't written the lyrics yet, so the original record only credited Oliver).
Oliver's first "West End Blues" does well in invoking a quiet, blues atmosphere, but there's nothing remotely earth-shattering on that record. Oliver's lead is pretty and stately; one can definitely hear traces of Armstrong in his phrasing, especially the mature, later Armstrong. After Oliver's lead, the clarinets play a unison passage before a somber solo by trombonist Archey, who would go on to play in Armstrong's big band in the 1930s. Archey's followed by clarinetist Ernest Elliott, who really hams it up in his spot. So much for a pretty, stately, somber blues! Elliott's all over the place, playing like he's trying to impress his girlfriend, even throwing in a little rooster call for good measure (shades of ODJB!). Fortunately, Oliver swoops in to restore the dignity of the performance, entering on a phrase that could have easily been played by Armstrong. The record ends and well, that's all there is. Nice stuff, but pretty ho-hum.
Exactly 17 days later, in Chicago, Louis Armstrong prepared to record his own version of Oliver's tune. He had been playing with Carroll Dickerson's group at the Savoy Ballroom and had just resumed recording for OKeh after nearly a six month hiatus. Armstrong's new recordings featured former Dickerson pianist Earl "Fatha" Hines, one of Armstrong's only contemporaries to demonstrate a genius very nearly on par with the trumpeter.
"West End Blues" was the second song recorded that June 28 day, the third OKeh session that took place in three consecutive days. The first song, "Don't Jive Me" featured a very swinging Armstrong solo and rideout chorus, backed sublimely by Zutty Singleton's relentless hand-cymbals. "Don't Jive Me" is a good record (though one that was withheld from release by OKeh until George Avakian discovered it in 1940 and issued it on 1941's Louis and Earl on Columbia), but nothing on it foreshadows what happened next. Again, for convenience, here's the link for what exactly happened next:
Though only three minutes and 21 seconds, "West End Blues" feels like an epic film. The opening cadenza sets the mood, like a gripping action sequence that occurs before the credits (in this case, Armstrong's reading of the melody would serve as the credits, I suppose). Some critics have discussed the cadenza as if it were completely spontaneous, as if Armstrong said, "Okay, boys, let's cut Papa Joe's tune. I'll play a little intro and we'll take it." That cadenza is too damn perfect to be completely spontaneous, and besides, it contains fragments of ideas that Armstrong had already put into wax. The most famous example was originally spotted by one of my mentors, Lewis Porter, who wrote about in the liner notes of an LP set of Armstrong and Sidney Bechet recordings from their time in New York in 1924 and 1925. One of those recordings was "Changeable Daddy of Mine," recorded by a Clarence Williams group with a vocal by Margaret Johnson. Pay particular attention to the double time bridge and the break Armstrong takes:
It's not EXACTLY "West End Blues," but it's close, especially in those quick, little chromatic runs tossed around at the end of the break. Something similar can be heard in the breaks of the Hot Five record "Once in a While" from 1927, something that was pointed out by Joshua Berrett in his masterful "Louis Armstrong and Opera," as published in the spring 1992 issue of "The Musician's Quarterly." For those looking for a nuts and bolts analysis of every bar of Armstrong's cadenza, definitely look up Berrett's article as he thoroughly deconstructs each of what he hears as the four main phrases that make up the cadenza.
For me personally, the "West End Blues" cadenza could have been issued as a record by itself, like the later Charlie Parker "Famous Alto Break." It's like listening to a song with all its different components and each time I hear it, something different knocks me out: the opening descending quarter notes that sound like an alarm clock; the dizzying arpeggios that build to the stirring high concert C; the history-of-jazz-encapsulated-in-one-bluesy-run descending blitz of notes that immediately follows the high C, foreshadowing where jazz is going, yet firmly rooted in where it's been; and those scattered chromatic phrases, sounding so effortless in the hands (or chops) of an artist who is so completely in command of his horn. It's 12 seconds of heaven. The rest of the record could have consisted of nothing but a yodeler warbling, "Stick out your can, here comes the garbage man," and it would still be a classic just for that opening.
Fortunately, what follows is still pretty magical. Armstrong plays Oliver's lead in harmony with Jimmy Strong's clarinet as Fred Robinson's trombone lends a foggy bottom to the proceedings. Armstrong maintains the dignified, somber feel of Oliver's record, until he gets to bar seven, where his reading of the melody begins to grow more airy and ornate. At the 12-bar chorus, he spins another arpeggio up to a high concert Bb and then takes a breather, handing the ball over to Robinson to take a short solo. Robinson was no legend and on many of these 1928 sides, he doesn't hold a candle to Armstrong, but even he seems inspired on this one, taking his time and moaning the essence of the blues on Oliver's written second strain. He gets delicious backing by a Zutty Singleton shuffle beat with his hand cymbals and a steady, nearly 12-bar tremolo by Hines.
The feel of the record shifts in the third chorus, as Hines and banjoist Mancy Carr simply pound out the melody delicately over quarter notes behind clarinetist Strong's chalumeau take on Oliver's next strain. Every phrase Strong plays in answered by some of the most sober wordless vocalizing ever contributed by Armstrong. I hesitate to call it scatting because usually the word "scat" sounds happy and joyful and Armstrong is anything but that during "West End Blues." There's not a trace of gravel in his voice and he phrases up high, just like his trumpet, though it's so relaxed, he sounds like he's listening to the radio. There's not a trace of a laugh or a grin; it's just some very pretty singing.
On the Oliver record, the sober mood was broken by the ridiculous clarinet playing. On Armstrong's version, the fragile nature of the Armstrong-Strong duet is temporary upset by Earl Hines's dazzling piano solo. However, unlike the clarinet solo, this is not a bad thing. Hines was one of the most innovative pianists to ever sit behind a keyboard and his virtuosic display on "West End Blues" is one of the record's most memorable features. Singleton and Carr drop out, leaving Hines all alone but he makes the most of it. His left hand is consistently shifting; part stride, part descending and ascending octaves and tenths, all mixed up with the occasional jarring, off-the-beat accent. And that's just the left hand! The right hand plays a lot of those "trumpet style" octaves, but there's and a lot of single-note runs, too, leading to the solo being equal parts melodic and flashy. All of it is mesmerizing; just listen to the ascending chordal run he plays with both hands simultaneously for a second at the 2:28 mark for a short example of Hines's brilliance.
With 51 seconds to go, there's only enough room for one chorus and a coda. Again, this comes off so perfectly, I don't think anyone could write it off as being completely spontaneous. Almost like an arrangement, Robinson and Strong harmonize, Strong holding one note while Robinson discreetly accents on the first beat of every bar, hitting a blue note in bar for. Meanwhile, Hines and Carr comp dramatically, surging together as the song begins to sweat. And on top of it all, the celestial being known as Louis Armstrong, holding the most dramatic, throbbing, high Bb in the history of recorded music. He holds it for four bars (12 seconds), with just the right amount of vibrato to send the hairs on one's neck to rise to attention. It's such a genius move, because he basically takes the original motif from Oliver's melody, and inflates it into something much more bold and stunning than anything those original 12 bars suggest
But he's not done yet! After four bars of the held note, Armstrong unleashes a furious series of descending runs off an Ab7 chord - Bb-Ab-Gb-Eb, four notes repeated five times in five beats before Armstrong turns it inside out and hits a high C for a second. He continues onward, phrasing with a flair that does indeed suggest opera, especially with the upward, almost scalar, run he plays towards the very end of the chorus, as well as the little turn of a phrase that ends it.
Then it's on to the coda, or the final resolution, to continue my movie analogy from earlier. I think if "West End Blues" had a cute little Lil Hardin ending, it might have taken some of the steam out of it. But instead, the actual ending, with Hines's descending inversions and the final melancholy statement by the horns, delightfully maintains the mood of the entire record. In the noes to a Time-Life LP box set on Hines, the pianist remembered now the ending came about:
"Now how the ending was going to be we didn't know. We got to the end of it and Louis looked at me and I thought of the first thing I could think of, a little bit of classic thing that I did a long time ago and I did it five times and after I finished that, I held the chord and Louis gave the downbeat with his head and everybody hit the chord at the end."
Well, almost everybody. As everyone held their final chord, Zutty Singleton unleashed a somewhat strange "clop" from his bock-a-da-bock cymbals. I've always liked this sound because, to me, it sounds like someone closing a time capsule on the amazing brilliance that just occurred in the previous 200 seconds. But Hines explained that Singleton had a little trouble with his simple duty: "Zutty had this little clop cymbal...and he clopped it wrong. So then we had to start all over again...We spent hours in there with the hot wax." Thus, we can be fairly certain that "West End Blues" wasn't a completely spontaneous performance. No alternate takes survive but I often do wonder that if they did, would each one of them contain the exact same cadenza?
The musicians were justifiably proud of their efforts, as Hines attested to. "When it first came out," he said, "Louis and I stayed by that recording practically an hour and a half or two hours and we just knocked each other out because we had no idea it was gonna turn out as good as it did." Armstrong would go on to list "West End Blues" as one of his favorite records, but he never seemed to speak or write too much about it. This is a shame, especially since Gunther Schuller published Early Jazz in 1967 when Armstrong was alive and well. Would it have hurt him or some other musicologist to actually ask the man himself about what was going through his head when he played that cadenza? Then again, to Armstrong it was probably just another session, a brief respite from his daily gig with the Dickerson band (though, of course, he had to know how special "West End Blues" was).
Armstrong's song must have hit the jazz world like a meteor as other versions began popping up almost immediately. So for now, we'll leave Pops and focus a little on some of these other recordings. First up, here's Ethel Waters singing Clarence Williams's new lyrics to the tune, recorded August 23, 1928, less than two months after Armstrong's version.
Waters does a nice job, as always, singing Williams's lyrics about the West End section of New Orleans in an appropriately bluesy manner, covering the different strains of Oliver's tune with feeling. She also scats a bit in the manner of Armstrong (Clarence Williams, on piano, plays the same descending fun that Armstrong and Strong used to end their duet). Only the end is a little confusing as Williams completely misses Waters's final note, a dominant seventh Db, creating a slight clash. Otherwise, a fine record.
Just one week later, Hazel Smith recorded the lyrics of "West End Blues," once again with Clarence Williams on piano. This session, however, had one more special guest: the King himself, Joe Oliver on cornet. Give it a listen:
As can be heard almost immediately, Hazel Smith was no Ethel Waters. She definitely reminds me of a Lillie Delk Christian-type popular singer of the day, with a voice that's entirely too shrill. But pay attention to Oliver, who clearly listened to his protege's record. At the :35 second mark, Oliver quotes an arpeggiated phrase from Armstrong's chorus, though Oliver's tone is a little thin on the high notes. Also, Oliver's obbligato doesn't have the natural ease as the countless Armstrong played on records of the 1920s. Smith's vocal is almost humorously bad, but it's nice to hear Oliver playing at length.
Meanwhile, Clarence Williams continued to pass on his lyrics to anyone who entered one of his sessions. Next up was Katherine Henderson, who recorded it backed by Williams and his "orchestra," which included Ed Allen on cornet. Unfortunately, there's no solos as Henderson sings for the entire length of the record while the horns only get to play short arranged figures. There's nothing spectacular here, but if you'd like to hear it, here's the link:
As the months passed, the influence of Armstrong's version of "West End Blues" began creeping into other performances of songs that weren't even the Oliver tune. For example, listen to this track recorded by Albert Wynn's Creole Jazz Band on October 2, 1928. Wynn was a solid trombonist (check out his later Riverside recorded, produced by Chris Albertson for the "Chicago: The Living Legends" series in 1961) and his band included future Armstrong associates in reedman Lester Boone and drummer Sid Catlett. Alex Hill, a tremendous songwriter, plays piano while Armstrong disciple Punch Miller plays the trumpet and takes the vocal. At the 1:52 mark, Miller and Wynn do a scatting and trombone duet that is definitely influenced by Armstrong's "West End Blues." Take a listen:
There's also a version by Fred Hall's Jazz Band, but it only exists on Spotify at this 2018 date. Interestingly, they play "West End Blues" as if they never heard the Armstrong version. Only the short call-and-response strain between the violin and the trumpet makes me think of the Armstrong record. Hall was a pianist and seemed to lead more of a dance band than a pure jazz band and it almost feels like he's playing a basic stock arrangement of the Oliver tune.
Okay, who's still with me? I find all these other versions pretty interesting because each one palls besides Armstrong's. But now we'll turn to 1929 and the first outright tribute to the Hot Five "West End Blues," recorded by none other than King Oliver and His Orchestra. This comes from January 16, 1929 and was recorded for the Victor label. Oliver sounded strong on the Hazel Smith session but his teeth had begun deteriorating to the point where he could no longer play anything remotely like Armstrong's opening cadenza or the long, held high notes. He started keeping younger, stronger trumpet players in his bands--musicians such as Red Allen, Dave Nelson, Bubber Miley and Louis Metcalfe--who would do the heavy lifting, though Oliver still would take the occasional solo.
On "West End Blues," the role of Armstrong went to the fine St. Louis trumpeter Louis Metcalfe. This whole record fascinates me because it's basically a remake of the Armstrong version. This has to be one of the first jazz recordings to completely pay tribute to an earlier recording by recreating it in an almost note-for-note fashion. And remember, Armstrong's recording was made only six months earlier. Oliver's band had to notate every ounce of that record, practice it and get ready to record it. For the session Oliver basically led Luis Russell's wonderful band with the likes of J.C. Higginbotham, Charlie Holmes and Paul Barbarin. Take a listen and be prepared for the recreation of the opening cadenza:
Poor Metcalfe! And poor Oliver, who some writers attributed to the butchering of the opening cadenza. Metcalfe already has one strike against him when he starts on the wrong note, squealing it out like a mouse who just had his tail stepped on. Already in the hole, Metcalfe soldiers on and I do have to give him some credit. He gets most of it right with the occasional wrong note here and there but I always laugh at the pause before the high C. Armstrong hit it like it was second nature. Metcalfe? You can practically hear him sweat as he prepares to hit it...and he does so let's give him that. He even continues it, hitting the chromatic runs pretty decently before he finally gets to settle down and play the melody. He's not quite as free floating as Armstrong, but he does quote Armstrong's classic ending to that first chorus.
Higginbotham is next and he leaves Fred Robinson in the dust, contributing a lusty solo before Charlie Holmes takes over for a new chorus on alto. Then it's time for the next strain where Strong originally duetted with Armstrong's scatting. This time Higgy plays the melody "calls," while Oliver himself plays muted "responses," evoking the Armstrong record in a tender way by playing all of Armstrong's original scat lines as they were originally sung. He sounds quite good, by the way.
Then it's time for one of the most fascinating parts of the record. Luis Russell was apparently no great improviser, but if you gave him time to learn something in advance, he could surprise you. And here, he does surprise as he does a very good job in recreating Hines's superlative chorus. Russell's left hand is a little stiffer, sticking mainly to a simple stride, but he nails Hines's right hand octaves, tremolos and single note runs.
Because Oliver takes it at a slightly quicker tempo, there's time for some new choruses. In addition to the earlier alto solo, the piano solo is followed by a somewhat sloppily played arranged chorus. But then it's time for Metcalfe to step into the spotlight, jumping right in by holding the high Bb for four measures. So far, so good but when it comes time to play the intense descending arpeggios, Metcalfe begins on the wrong beat, only getting to play four instead of five, though he does hit the high C. He finishes well but it sounds like he's trying too hard and his tone doesn't hit one's soul like Armstrong's. Instead of recreating the mystical original ending, Metcalfe pays further tribute to Armstrong by playing the line Armstrong ended "You're Next" and "Big Fat Ma and Skinny Pa" with, two earlier Hot Fives. Overall, the Oliver record has its moments, but it really succeeds best in illustrating just how far ahead of the jazz world Louis Armstrong was during this period.
Still, other bands continued to record "West End Blues" as if Armstrong never recorded it. The song also reached the territories, as evidenced by the February 11, 1929 recording of the tune by Zack Whyte and His Chocolate Beau Brummels in Richmond, Indiana. Whyte's band included future jazz stars such as trumpeter Sy Oliver, pianist Herman Chittison and tenor saxophonist Al Sears. Whyte played banjo and is heard prominently on this pretty version. Still, all of these non-Armstrong versions sound dull to these ears; they're all atmospheric, bluesy records but without something to grab one's attention, like the Armstrong cadenza or his bravura climax, it's all kind of dreary. Nevertheless, there's some nice touches to the arrangement and if you have three minutes to kill, give it a listen:
Our look at "West End Blues" in the 1920s will end with the next recording, cut on July 31, 1929. Once again, Clarence Williams is on piano (did he ever get sick of recording this tune?) while the vocal is handled by longtime Williams cohort Eva "Cake Walking Babies From Home" Taylor. Taylor sang on so many of those mid-20s Williams sessions, always sounding alive and jaunty, with few of the shrill qualities that have dated so many of the other female singers of the period. I think she sounds magnificent on this recording. She sounds very mature and very sober, selling lines like "You're gonna see some shooting like you're never seen before" like she really means it. I like this one a lot:
And after such busy flurry of activity--all of the above discussed versions were cut between June 1928 and July 1929--"West End Blues" disappeared from the recording scene. Perhaps it was too old fashioned because goodness knows the likes of Oliver, Williams and Jelly Roll Morton soon found themselves on the outskirts of the jazz world. The Swing Era was getting started and musicians like Louis Armstrong and Luis Russell were hopping on board.
By the late 1930s, however, a segment of the jazz world finally put on the brakes and for the first time, began looking backward. The music had been progressing for around 40 years but now it was progressing a little too much for those who enjoyed the old days of the New Orleans style. Thus, the jazz revival was born and all of a sudden, men such as Bunk Johnson, George Lewis, Jelly Roll Morton and Sidney Bechet had a new audience who were thrilled to hear jazz as it was originally played in New Orleans (poor King Oliver died broke in 1938, unable to play his horn or lead a band anymore).
Louis Armstrong wasn't really inclined to look backward in the late 1930s and the revival sprung about. He had been leading a big band, recording pop songs and appearing in movies. He wasn't about to give it all up to go back to playing in a traditional "Dixieland" set-up. At the same time, Armstrong had become such a big star in 1939 that his recording company, Decca, thought it might be a good time to look back at some of the songs Armstrong originally waxed in the late 1920s. Thus, Armstrong began recording new big band arrangements of tunes like "Hear Me Talkin' To Ya," "Save It Pretty Mama," "Savoy Blues," "Confessin'," "Our Monday Date" and of course, "West End Blues." Armstrong's first remake of "West End" was recorded on April 5, 1939 and though it's remarkably lesser known than the original, I think there's still plenty to admire about it. Give it a listen and then we'll discuss...
Yeah, man, that record gets better every time I hear it. Armstrong still has the chops to nail the cadenza, though not quite with the wild abandon of the 1928 one. His tone is more clearer than the earlier one but this one is slightly longer (14 seconds as opposed to 12) and during the little chromatic runs, Armstrong now throws in a short gliss, which is a nice touch.
Otherwise, it's very interesting hear the big band behind Armstrong's lead. Even the subtle swing of the rhythm section makes this version sound light years ahead of the original (only Pops sounds the same; everyone else had to catch up!). Whoever wrote the arrangement wrote some very pretty phrases for the reeds to play softly as Pops plays the melody as he did in 1928, editing a note or two out, but generally following the same patterns.
J. C. Higginbotham, no stranger to the tune, takes the next chorus, displaying his usual authority with the blues. Then a new touch: a four-bar guitar break by Lee Blair sets up the call-and-response strain. Pops, though his voice had grown more gravelly through the years, still scats with charming clarity. He swings a little more intensely on this version while the arrangement neatly features a clarinet trio playing Strong's original part.
Then it's time for Luis Russell's piano solo. Perhaps Russell had forgotten how to play Hines's original or perhaps he just wanted to go for himself but, while what he plays is harmless, it's no Fatha Hines.
Next is a real treat: a brand new chorus of blues by Pops. It's very low-down and fits the mood appropriately. Years later, Pops would play this solo about an octave higher during his rideout choruses on "St. Louis Blues," but here, it works beautifully as played lower, prodded along by the slight nudge of Sid Catlett's drums.
Next, of course, is the high Bb and Pops nails it, holding it for nine seconds. I really love the arranged countermelody; it doesn't have the throbbing intensity of the original, but it swings more, again, with special thanks to Catlett's backbeat. Armstrong's descending arpeggios aren't quite as visceral as the original as he only gets four out instead of five and doesn't go for the split second high C. Instead, a few seconds later, he plays an impressive chromatic run up to a high Bb before discarding the original ending and phrasing a new one built around a giant gliss to a high C. This ending is perfectly suited to the Armstrong of 1939.
Because Armstrong's Decca big band sessions are neglected in general, this remake of "West End Blues" has never received much attention. As I think I've made clear, it doesn't quite have the spark or aura of the original, but there's plenty to recommend: Pops's gorgeous, more mature tone, the updated rhythm section, the furious scatting, the beautifully written arrangement, the brand new trumpet chorus and the updated ending. And I forget where I read this, but I know I read somewhere that a lot of younger jazz musicians were more familiar with this version than the original. This makes sense when one considers a musician who was born around 1920 or 1925 and would go on to great things in the 1940s. Those musicians would have probably been too young to appreciate the original and by the late 1930s, if you were a jazz fan or a Louis Armstrong fan, you were probably keeping up with his new Deccas and not fishing around for older records from the previous decade. And if you were a hip lindy-hopping dancer, the odds are that the swinging big band sound of the Decca would sound a lot more pleasing than the steady plunking of Mancy Carr's banjo. Thus, don't underestimate the influence of the 1939 version of "West End Blues" on a whole new generation of jazz musicians and fans.
If you're still with me, it's time to take one more brief, non-Pops break and focus on two more different takes on "West End Blues" from the ensuing years. The first one actually comes from later in 1939 (September 14, to be exact). Jelly Roll Morton was going through a resurgence in popularity and the Victor label decided to give him a second chance by letting him lead two sessions with groups made up of some of the finest New Orleans jazz players on the scene. For Morton's second session, he recorded "West End Blues" with a group of Armstrong associates including one past member of his big band (Albert Nicholas) and one future member (guitarist Lawrence Lucie). The band also featured two musicians from the original 1928 Armstrong recording of the tune, trombonist Fred Robinson and drummer Zutty Singleton. The record had the makings of a classic but Morton, never the biggest Armstrong fan in the world, decided to record a version that couldn't sound any more different from Armstrong's OKeh original. Morton picked up the tempo a bit and more or less jammed the blues in New Orleans style, creating a perfectly fine record, but nothing special. You can listen along here:
The opening breaks are a neat touch (dig trumpeter Sidney De Paris quoting "Tin Roof Blues") but are executed a little sloppily. Otherwise, I do enjoy this tempo and Zutty really moves things along with his cymbal splashes. It's interesting that the only part of the record that looks back at the Armstrong version is the recreation of Robinson's reading over the second strain backed by Singleton's shuffle-like rim playing. But even then, Morton adds Nicholas's clarinet to the mix to change things just enough. Morton stays out of the way, executing a few tremolos in the background, until a simple chromatic ending. A good, but not fantastic record.
We're now going to move to 1944 for another out-and-out tribute to Armstrong's record of "West End Blues." This one was recoded on October 17 of that year by Charlie Barnet's popular big band, featuring the likes of trumpeter Peanuts Holland, trombonist Porky Coehn and pianist Dodo Marmarosa (this was a well-nicknamed band!). Barnet had already paid tributes to heroes such as Count Basie and Duke Ellington with "The Count's Idea" and "The Duke's Idea" and now it was time to pay tribute to Pops. Barnet had the genius of idea of taking Armstrong's opening cadenza and scoring it for the entire band. At first it sounds a little ponderous, but when it gets to the double-timing and the chromatic runs, the effect is spell-binding. Thanks again to Fernando de Ortiz Urbina for sending this track along...enjoy!
As can be heard, the song turns into a string of solos after the cadenza, though Barnet's opening alto solo references the cascading arpeggio's of Armstrong's closing chorus on the original.
Okay, good news folks! I like to reward my readers who stick with me for the entire long, long journey and from here on out, it's going to be nothing but Armstrong, focusing on versions of "West End Blues" he played from 1946 through 1960. Some of these are common and others are unissued treats sent to me by the likes of the late Armstrong discographer Jos Willems and Swedish Armstrong expert Håkan Forsberg. I can never thank them enough for their generosity and I'm sure you'll want to thank them, too, after hearing some of these treats.
During the war years, Armstrong continued touring with his big band but on all of the surviving broadcasts from this period (and there are lots), there are no surviving versions of "West End Blues." The next time we encounter the song in the Armstrong discography is a version taken from the soundtrack of the 1946 film New Orleans. This film is pretty much a dog but it offered the novelty of Armstrong sans big band, jamming the old New Orleans classics with an all-star group that included trombonist Kid Ory, clarinetist Barney Bigard, pianist Charlie Beal, guitarist Bud Scott, bassist Red Callender and once again, Zutty Singleton on drums.
The group recorded a LOT of material for the soundtrack and sadly, not all of it was used (the film would have been better off if it was all music and no story!). One of the first songs recorded was "West End Blues," of which only the cadenza was used in the finished film. But what a cadenza! This is a pretty incredible version, I think:
Isn't that something else? Armstrong tears into the cadenza like it's 1928 all over again. He nails every note of it, except for a slight hesitation on his way down after the high C. Still, it's crazily impressive. The rest of the recording follows the OKeh to a tee, though Ory and Bigard bring more to the table than Robinson and Strong. Dig Armstrong's scat duet with Bigard where he drops Zutty's name early on. And I love that ending: "Oh take four bars." Beal listens and plays only four bars, instead of a full solo. Armstrong kills the high Bb but he only plays three of the descending arpeggios instead of F and he omits the quick little rip up to the high C. He still makes the run up to the Bb but he might have run out of a little gas. Also, for the first time since 1928, we get to hear the original "classical" Hines ending, just as beautiful as ever. A pretty great version.
The success of the small band work in New Orleans, as well as some small group records and concert appearances in 1946 and 1947 led Armstrong to ditch the big band and begin a new small group, the All Stars. I've frequently read criticisms of later Armstrong that focus on the trumpeter's showmanship and love of pop tunes and movie songs, lamenting the fact that the audiences who saw him clowning with the All Stars, never knew that this was the man who created "West End Blues," an American masterpiece.
Well, hold your horses, Charlie. As I've argued at length before, there was only one Armstrong as that guy who played on the 1928 original indulged in quite a bit of showmanship (at the time of the recording, he did a bit with Zutty on stage where Singleton dressed in drag!). But please do not think "West End Blues" disappeared during the All Stars years. It wasn't one of the tunes Armstrong called every night, but when he was in the mood or when he got a request for it, he still played it--beautifully. And to start, this should be the main event for most readers. If you want to call your friends and send a link to this posting through e-mail, I'll wait.
Back yet?
Okay, good. Here it is: The Grand Reunion. Louis Armstrong. Earl "Fatha" Hines. "West End Blues. October 20, 1949:
Did you catch your breath yet? To me, that just might be the second greatest "West End Blues" after the original. It comes from a Netherlands broadcast and you can hear the momentary confusion in the beginning as host Netty Rosenfeld introduces "Struttin' With Some Barbecue" as Pops is just launching into the cadenza. He later straightens it out during Jack Teagarden's trombone solo.
So we'll start with the cadenza, which is a fine illustration of a nearly 50-year-old Louis Armstrong. Yes, there's a slight hesitation in the first part but besides that, it's paced almost more dramatically than the original. For starters, it's 20 seconds long, as opposed to the 12 second original. The original makes the listener gasp because it happens so fast and is so damn incredible. Later Armstrong versions are a little slower and a little grander, especially in the high C. In 1928, Armstrong hit it. In 1949 (and later), Armstrong hits it...and HOLDS that mother. The effect is dazzling.
Though this is the first recorded version of the tune from the All Stars days, it's a very tight performance, making me speculate that they have to had played it before this date. Teagarden plays a pretty harmony to Armstrong's lead playing in the first chorus, while Bigard sounds quite good, too, harmonizing with Armstrong on the ascending arpeggio that ends the first 12 bars. The scat duet still works, though now, one can hear Armstrong smiling. Also, he has a new way to end it: "Oh yes I know," which, I think works perfectly.
But now hold on to your seats. I've said it before that Earl Hines was not a perfect fit during his tour of duty with the All Stars. He was unhappy being a sideman, he often didn't listen with his comping and he just plain wasn't a team player. However, as a soloist, there are few greater pianists and his solo on this "West End Blues" knocks me out. It's completely different from the original but--heresy alert--I think l like it more. It's so original, with its jabbing left hand accents and the last four bars always catch me by surprise. Great stuff.
Then it's on to Pops, who still had the breath control to hold that high Bb for all four measures (12 seconds). He gets in four descending arpeggios but most tellingly, he glisses up to the high C, which was just a quick jolt of lightening in the midst of a flurry of notes and phrases on the original. Again, it's a sign of the mature Armstrong. The flurries are gone, but that high C now sticks out a bit more.
The original ending is also back, though it's more drawn out than ever before, really creating a somber atmosphere. Nothing will ever replace the original, but this remake is pretty insane.
Interestingly, it was also in 1949 that Charlie Parker began peppering some of his solos with a quote of the "West End Blues" cadenza. 1949 was a bitter year in the Armstrong vs. bop war as I found numerous articles from that year alone of Armstrong hammering the boppers. When he called it "ju-jitsu" music, it made headlines and in a Leonard Feather "Blindfold Test," Armstrong beat up records by Miles Davis and Lennie Tristano. Thus, I sometimes wonder if Bird quoting "West End Blues" was an act of tribute or an act of scorn, a way of saying, "Ha ha, old man, I can play this stuff in my sleep." On the other hand, Bird had an appreciation of old school jazz, including his quoting of the famous "High Society" clarinet part on "Ko-Ko." We may never know Bird's motives, but here's a link to an excerpt of Bird playing it on the tune "Cheryl," recorded at Carnegie Hall in 1949:
The All Stars reprised "West End Blues" during a concert in France one month later and I'm sure they played it on and off during the next couple of years. The next time it was played in front of a microphone came at the Club Hangover in March 1952, a version that only survived on Louis Armstrong's private reel-to-reel tape collection....until 2017, when it was issued for the first time on The Nightclubs, part of Dot Time's "Louis Armstrong Legacy Series" of CDs. And Spotify wasn't a thing when I first took a stab at writing about "West End Blues"in 2008, but it is now so instead of me uploading the track, here's the link to listen to this version for free on the internet! Technology.....
I wrote extended liner notes for the "Collector's Edition" of The Nightclubs but in case you don't have it, here's the background on this new discovery:
By the beginning of 1952, the All Stars were deep in a rebuilding phase as Jack Teagarden, Arvell Shaw and Earl Hines each left by the end of 1951. Armstrong loved Teagarden until the end and welcomed Shaw back numerous times over the years but his was once-legendary partnership with Hines was over. "Hines!" Louis exclaimed in 1953. "I couldn't use Hines again if he was the last piano player in the world. I'd get a zither or something."
As a replacement for Hines, Joe Glaser originally sent in esteemed Chicago pianist Joe Sullivan but Sullivan's dependence on alcohol marred his playing to the point where he was let go after barely two months with the band. He was replaced by Marty Napoleon, a veteran of bands led by Gene Krupa, Buddy Rich, Charlie Barnet and others. Napoleon had multiple stints with the All Stars over the years and in the view of this writer was the band's most exciting pianist. The other replacements were more unknown but Armstrong valued their contributions. Trombonist Russ Phillips subbed for Teagarden one night in Colorado and when it came time to fill the trombone chair, Armstrong declared, "Get the fat white cat from Denver!" It was an incredible opportunity and according to Phillips's son, trombonist Russ Phillips Jr., his father loved being with Louis but never quite got settled in musically. Perhaps the thought of filling Big T's big shoes got in his head but he only lasted a year with the group. San Francisco bassist Dale "Deacon" Jones took over for Shaw and though he wasn't as gifted a player, he was a good showman with Armstrong privately telling friends that his addition to the band "elevated" the group as a whole.
In March 1952, this new edition of the All Stars did a record-breaking, heavily-publicized tour of Hawaii before settling in for an engagement at San Francisco's Club Hangover, run by bandleader and composer Doc Dougherty. The exact opposite of Bop City, Club Hangover catered to San Francisco's thriving traditional jazz scene, offering up regular appearances by the likes of Kid Ory, George Lewis, Turk Murphy and Muggsy Spanier. KCBS broadcast regularly from the club and some later Armstrong appearances have been released commercially in recent years but this March 1952 broadcast only seems to have survived in Armstrong's private tape collection.
We pick up the proceedings with Armstrong launching into the majestic, world-changing cadenza of "West End Blues"--while the radio announcer talks over it! Armstrong performed this demanding number more times than is realized with the All Stars, gradually slowing down the pace of the opening cadenza until it became a prolonged and seriously dramatic episode. The overall tempo is slower than the 1928 original, as Armstrong clearly relishes taking his time. Everything is fine but our attention wanders during Phillips trombone solo to some commotion in the audience as it sounds like a woman shouting, "Home sweet home! Hey! Home sweet home!" Louis finally greets her off-microphone: "Hello, Billie Holiday!"
Billie Holiday in the audience as Louis Armstrong performs "West End Blues"? That's as deep as it gets. Holiday wrote of hearing "West End Blues" for the first time when she was a child: "It was the first time I ever heard anybody sing without using any words. I didn't know he was singing whatever came into his head when he forgot the lyrics. Ba-ba-ba-ba-ba-ba-ba and the rest of it had plenty of meaning for me--just as much meaning as some of the other words that I didn't always understand. But the meaning used to change, depending on how I felt. Sometimes the record would make me so sad I'd cry up a storm. Other times the same damn record would make me so happy..."
And now here she was in San Francisco, in the audience as Louis scatted that same wordless vocal to her, but now incorporating one discernible phrase at the end: "Oh yes I know, Billie Holiday!" One of the greatest jazz singers of all time saluting another. It's a beautiful moment, made even more dramatic but Armstrong's Herculean trumpet playing that follows as he hits and holds that high note for an even longer duration than in 1928 (15 seconds versus 12 on the original). A photo of Holiday and Armstrong backstage around this time (quite possibly this particular evening) radiates with mutual love and affection. (Holiday was on the West Coast in March 1952, beginning a three-week engagement at the Tiffany Club in Los Angeles on March 19. Louis started at the Club Hangover on March 10; it is not known when this was broadcast).
Moving forward, we next encounter "West End Blues" on January 16, 1954 during a CBS broadcast, once again from the Club Hangover in San Francisco. This was a great edition of the All stars with Bigard still on clarinet, Trummy Young on trombone, Billy Kyle on piano, Milt Hinton on bass and Kenny John on drums. As mentioned above, the Club Hangover was a hot spot for New Orleans jazz, having housed musicians such as Kid Ory and George Lewis during the same period, so some knowledgeable jazz fan must have requested the tune beforehand. Armstrong just finished a furious version of "When The Saints Go Marchin In'" when, with the applause still ringing, he launched into the "West End Blues" cadenza. Here's how it came out:
Once again, there's a little hesitation in the beginning of the cadenza (in the same spot as the 1949 version), as Pops seems to need a little extra breath to get ready to make that climb to the high C. But make he does, really hitting it hard. Again, the descending portion seems to have gotten a little slower, but all the notes are there and I can only imagine the thrill of hearing it live. Armstrong's opening notes of the melody are greeted with applause by the obviously knowledgeable crowd. Armstrong plays some new ideas in the first chorus but, as always, all roads point to the Bb.
Trummy Young's next and he gets bluesy, adding a real lowdown feeling to the proceedings (Milt Hinton's bass lines are very nice behind him; he was such a natural fit). The scat once again ends with "Oh yes, you know" before Kyle takes a piano solo. Kyle was a classy, tasteful, urbane musician, but on "West End Blues," he usually demonstrated his strong ability as a pianist. Also, listen carefully to hear Kyle singing along with his solo. He had just joined the band and in his early days, you can often hear him singing as he plays, purely improvising every note from scratch. Once his solos settled into "set" patterns, the singing stopped, but his solos always were not perfect while his band playing fit like a glove.
Armstrong then enters with the high Bb, but for the first time, age has caught up with him a bit. He can now only hold it for two measures (seven seconds) before holding it for one more (five seconds), taking a breath and finishing off the sequence (three more seconds). The note is still stunning but clearly, between 1949 and 1954, Armstrong lost a little bit of lung capacity. Fortunately for us, his chops were arguable stronger than ever, as he would demonstrate in the upcoming years.
He also demonstrates it immediately after the held Bb, playing the descending arpeggio six times, one more than the original! So he still was blowing beautifully, following it up with the gliss to the high C. The band was really pushing now, accenting the first beat of every bar and swinging mightily. The original Hines ending is gone, replaced by a bit more of Kyle playing the blues before Pops and the horns come back to play the final notes like its 1928. Though there are some imperfections, it's still mighty impressive.
Almost two years later, on December 20, 1955, Armstrong and the All Stars found themselves in the middle of a long tour of Europe. With Edmond Hall, Arvell Shaw and Barrett Deems on board on clarinet, bass and drums respectively, the band was hitting a new peak in popularity. "Mack the Knife" was about to explode, Edward R. Murrow was filming a piece for Armstrong for See It Now and Columbia was recording parts of Armstrong's tour to be eventually released on an album whose title would give Armstrong a new nickname: Ambassador Satch.
Ambassador Satch did indeed feature a few tracks that were recorded live on the tour but some of it was recorded in a Los Angeles studio with applause dubbed in later. However, four of the finest tracks were recorded in an Italian movie theater in Milan on December 20. Now, get this: an almost 55-year-old Armstrong played three shows that night. Not one. Not two. Three! Wouldn't you think his chops would be dead? In fact, they were just getting warmed up. George Avakian met Armstrong, the band, some friends and local fans in the empty theater and decided to record some more material for the album. The group opened up with their usual opener, "Indiana," (a version that wouldn't be released until decades later) when Pops deemed his chops ready to tackle "West End Blues." Thus, here is how it came out, at 5:00 in the morning after two shows:
Amazing, isn't it? Especially knowing how much Armstrong had already blown that night and how much was to come: "The Faithful Hussur," "Tiger Rag," and "Royal Garden Blues" all followed, each one featuring hotter than hell trumpet playing. I've been fortunate enough to hear the session tapes from this date and can attest that Armstrong kept the strong blowing going into unissued tracks like "Someday You'll Be Sorry," "You Can Depend On Me" and "The Lonesome Road" before he finally started running out of gas a bit on "That's a Plenty." An Edmond Hall feature on "Dardanella," featuring no trumpet, closed out the session as the mighty Armstrong, after so many hours of fierce blowing, could blow no more.
But back to the mighty "West End Blues." Armstrong used to begin the cadenza with four fast quarter notes but now he announces his entrance with a soul-stirring G before he takes off. This time there's no hesitation; he hits and holds the high C squarely and takes off from there, playing all the descending phrases and chromatic runs a little slower than the original, but with just as much authority. There is a little hesitation in the ascending arpeggio that ends the first chorus, but it's slight and almost unnoticeable. Otherwise, the band--my favorite edition--and the sound quality makes this version one to rank up with the original and the 1949 reunion with Hines. The scatting is wonderful and Kyle's solo is much better than his 1954 one, sounding like the love child of Otis Span and Avery Parrish.
But it's Armstrong's concluding solo that moves me to no end. Even though it's the same one he had been playing for almost 30 years, there's something about this particular version that gets me every time. Like the 1954 one, Armstrong's breath control isn't what it used to be; he again has to spread the Bb over three breaths. But now the band is much more emphatic in their accompaniment. Deems's drum accents are played with authority, Kyle keeps a slight boogie feel going in the bass and Young fills Armstrong's gaps with tremendous blue notes. The whole thing surges as Armstrong gets to the descending arpeggios, only getting three out, but hitting and holding the high with a ferocity not heard in any of the previous versions. In his liner notes, producer Avakian argued that this version deserves to be held up there with the original and I agree. It might not be as revolutionary as the original, but it's quite a moving performance.
And Louis Armstrong would agree. Less than a year later, Armstrong found himself in the middle of his stretch of one-nighters, doing yet another interview. This one can be heard on one of Armstrong's private tapes at Queens College and it's telling because when the interviewer compliments Armstrong's recent Decca album recorded live at the Crescendo Club, Armstrong responds, "Okay, but you can get a later album than that: Ambassador Satch. That I made in Milano, Italy, just coming out over here. It's better than the Crescendo. Dig that. And we made that after the third concert in Milano. We did three concerts that day, with intermission included. And 1:00 that night, we begin to record that Ambassador Satch. And at 5:00 in the morning, we're wailing 'West End Blues." After praising the version of "Tiger Rag" cut that same evening, Armstrong said about the session, "If you didn't feel good, you couldn't do that. You can't force those things."
So Louis Armstrong himself knew how he was feeling and how good that "West End Blues." But if you read Lawrence Bergreen's biography of Armstrong, you might have come off with a differing opinion. In late 1956, Armstrong embarked on his Autobiography project, recreating some of his earliest, most demanding performances for Decca. Here's what Bergreen wrote after summing up those sessions: "One telling omission from the retrospective was 'West End Blues,' with its famous, bruising opening cadenza. In a recent live recording, he had mangled this sacred tune, but this exception was insignificant in the face of his overall accomplishment." Mangled? Did that 1955 version sound mangled? Armstrong was proud of it. Avakian was proud of it. That above performance also is the subject of a YouTube video that as I sit here in June 2018, has 1,884,054 views.....Pops lives! Here's the video:
I think Bergreen wanted to paint a picture of Armstrong not recording "West End Blues" for Decca because he had just mangled it and couldn't do it anymore. I think he didn't record it for Decca because it had just come out for Columbia. Armstrong's previous three Columbia albums included many songs he had recorded in the 1920s and early 1930s, including "St. Louis Blues," "Ain't Misbehavin'," "Black and Blue," "Blue Turning Grey Over You," "Squeeze Me," "Keepin' Out of Mischief Now," and "Tiger Rag." None of those songs appeared on the Autobiography probably because Columbia already beat Decca to the bunch (Ambassador Satch also included "Muskrat Ramble" and Decca chose not to rerecord that one either, using a live version from 1947 instead). That's the reason why "West End Blues" wasn't included on the Autobiography, not because he mangled it.
Need more proof? On June 1, 1956, Armstrong played it at a concert in Chicago, playing it just as strongly as ever and even holding the Bb for a longer period of time than the Ambassador Satch version before getting off four arpeggios. Only the off-mike opening mars this otherwise gorgeous performance:
And here's the final proof: from December 11 through December 14, 1956, Armstrong recorded four Decca sessions, three of which were devoted to the Autobiography. On December 18, Armstrong flew to England to perform for one-night only at a benefit concert with a group of British jazz musicians and the Royal Philharmonic Orchestra. The closing song that evening? "West End Blues." Armstrong then flew back to America and continued the Autobiography sessions.
And for those who have made it this far, here is the audio of that December 18, 1956 performance in London. This was the same concert from which I uploaded a breathtaking "Lonesome Road" in 2009. You'll hear Norman Del Mar's arrangement, complete with a opening for strings. The strings provide backing throughout, making this a pretty gorgeous version. As I wrote in my "Lonesome Road" entry, Armstrong had one of the best nights of his career that night and it shows on "West End Blues." Like the other versions from '55 and '56, there's a little pause in the cadenza but otherwise, everything else is spot on (I think he holds the climactic note longer here than on the other performances from this period). Armstrong couldn't bring his All Stars but the group of British musicians sound great. Trombonist George Chisholm cleverly quotes "Rockin' Chair," clarinetist Sid Phillips gets to back Pops's scat chorus, drummer Jack Parnell lays down Armstrong's favored backbeat and the great pianist Dill Jones causes Armstrong to remark, "Smooth, there!" (I'm sure bassist Lennie Bush did a great job but because of the sound quality, he's almost inaudible.) Enjoy it:
Thus, Louis Armstrong was not afraid to play "West End Blues" in the 1950s and honestly, we'll never know just how often he played it. But I do know that at least one more version exists it's pretty spectacular. Armstrong's heart episode in Spoleto, Italy in 1959 might have derailed him for a few weeks, but it had no immediate effects on his trumpet playing. In fact, 1960 has to go down as one of Armstrong's strongest years when one listens to the album he made with the Dukes of Dixieland, as well as a number of wonderful live concert recordings made that year.
In July 1960, Armstrong performed at Ravinia Park in a suburb of Chicago. Anytime Armstrong played in or near Chicago, he always brought his A+ game (he always brought an A game, naturally). Who knows what musicians and characters from those old 1920s days were in the audience when Armstrong returned to Chicago? In fact, at a 1967 Ravinia concert, Armstrong introduced his second wife, Lil Hardin, from the audience. So, knowing he had to give them something special, Armstrong called "West End Blues." Now, a warning: the sound quality on this track is pretty awful. I played it for Joe Muranyi, who remarked that it sounded like it was from a tape recorder whose batteries were dying. True enough, it does change keys a few time. But listen carefully, because Armstrong blows the hell out of the tune:
Pretty incredible, huh? The cadenza is pitched a half-step too sharp, but Armstrong's brilliance still comes through, especially on that high C. If you're expecting the 1928 version, listen to that one. This is nearly a 60-year-old man with a set of scarred chops that had been through the mill after almost 50 years of blowing at full force. That he could still do something as affecting as this is a testament to his skills and his everlasting genius. He still makes the Bb at the end of the first chorus, he holds the Bb in the last chorus for a longer period of time than the 1955 version, he gets in four arpeggios, he kills the high C, he plays the quasi-operatic run with great panache and he gently caresses the ending with the same fragile sensitivity of the original. Pure genius.
And also, listen to how tight the band is and how everyone knows the routine. Again, this was obviously something they had played before, not something that was being thrown together on stage. And for further proof, there's the recent discovery of a version of "West End Blues" from September 1961 at the short-lived amusement park, Freedomland in New York. On International Jazz Day in 2013, I played this magical moment at an event in Queens and people are still buzzing about it (though it hasn't been issued commercially yet). It was recorded by Peter Denis of Freedomland and donated by Peter Denis Jr. to the Louis Armstrong House Museum in 2012. I stared at it for an entire year before I learned how to operate the reel-to-reel tape deck earlier this year. The Freedomland tapes were two of the first I transferred and hearing "West End Blues" that first time was a chilling moment. For the International Jazz Day session, which was simulcast on the web (and I know some of my readers listened along...thanks!), the climax was "West End Blues" with Dan Morgenstern by my side.
Because the tapes are the property of the Armstrong House and not the Riccardi House, I cannot share the audio. But Dan wrote about it in the May 1962 issue of Jazz Journal and I'd like to share that passage right here. Titled "Pops in Perspective," Morgenstern wrote that after a rousing first set, Morgenstern visited Pops backstage as the trumpeter warmly greeted everyone there, "just as real and warm and strictly human as can be. And then it was time to go on again, and there was some more good music and then--then Louis Armstrong played 'West End Blues.' And that was one of those things: I had heard him play it before, and there is the record--three records, in fact. But I'd never heard it like this. And while Louis was playing, I stood transfixed--and there was just Louis and I and the music--and a presence I don't very often feel was there too." The International Jazz Day audience felt the same way with multiple people in attendance (including Stanley Crouch) and at home (my pal Craig McNamara) telling me it was their favorite of all the later versions. It's deep.
So Armstrong's "West End Blues" continued to transfix live audiences into at least 1961. Even if none of these later versions can match the brilliance and importance of the original, I think they're all very important documents of a later, more mature Armstrong still delivering a heartfelt, virtuosic, operatic, soul-stirring, life-affirming exposition of the blues. And that's something that can be celebrated today, 90 years after he first waxed that opening cadenza and it's something that will always be celebrated as long as human beings have the capability to listen to music. Long live Pops...and long live "West End Blues"!