Safe WC has been mobile with his compositions of the blues man of the first hour, and it's no wonder that the great figure of the jazz, the monument par excellence, Louis Armstrong, at some point assumed in his magnificent career of these roots of black music in North America and the Phones grossed pieces to highlight the essential link between blues and jazz.
The flippant title Louis Armstrong Plays WC Handy Louis Armstrong went 1954 into the studio to record a total of 15 pieces that came from WC phones work. Among hymns as the St. Louis Blues, Long Gone, The Memphis Blues, Beale Street Blues, Loveless Love or the alligator story. The Beneficial to the photographs that are on the album as a present a revised version and technical improvements as far as that goes up, their seemingly terse but highly professional arrangements. The key messages of the songs do not suffer from the perceived need for the artist Louis Armstrong that he would alienate to impose them his personal touch. Louis Armstrong was the one who took the Blues to the Jazz with over, and his trumpet was the praises on the Rhythmic-Binary. In these pieces, he manages to turn a worn, retarding idea something tremendously Drifting, he goes with this impulsivity on the trip to exactly the right time again to get there, where the whole story was invented.
It would be a shameful deception, what presents itself to the shots as easy, perhaps even seemingly infantile ways, than to take what it initially appears. There are basic patterns of simple, but also megalomaniac idea to take the history of an entire continent into everyday life, to tell them there and expect that their powerful message is received well manageable. That's all great music, and when Louis Armstrong begins to tell his unmistakable falsetto in Chantez Les Bas, one gets an idea with which musical wisdom one has to do it.