Coming to prominence in the 1920s as an inventive trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. With his instantly-recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also skilled at scat singing (vocalizing using sounds and syllables instead of actual lyrics).
Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong's influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to "cross over", whose skin-color was secondary to his music in an America that was severely racially divided. He rarely publicly politicized his race, often to the dismay of fellow African-Americans, but took a well-publicized stand for desegregation during the Little Rock Crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society that were highly restricted for a black man.
Armstrong was born and brought up in New Orleans, a culturally diverse town with a unique musical mix of creole, ragtime, marching bands, and blues. Although from an early age he was able to play music professionally, he didn't travel far from New Orleans until 1922, when he went to Chicago to join his mentor, King Oliver. Oliver's band played primitive jazz, a hotter style of ragtime, with looser rhythms and more improvisation, and Armstrong's role was mostly backing. Slow to promote himself, he was eventually persuaded by his wife Lil Hardin to leave Oliver, and In 1924 he went to New York to join the Fletcher Henderson Orchestra. At the time, there were a few other artists using the rhythmic innovations of the New Orleans style, but none did it with the energy and brilliance of Armstrong, and he quickly became a sensation among New York musicians. Back in Chicago in 1925, he made his first recordings with his own group, Louis Armstrong and his Hot Five, and these became not only popular hits but also models for the first generation of jazz musicians, trumpeters or otherwise.
Other hits followed through the twenties and thirties, as well as troubles: crooked managers, lip injuries, mob entanglements, failed big-band ventures. As jazz styles changed, though, musical purists never lost any respect for him -- although they were sometimes irritated by his hammy onstage persona. Around the late forties, with the help of a good manager, Armstrong's business affairs finally stablilized, and he began to be seen as an elder statesman of American popular entertainment, appearing in Hollywood films, touring Asia and Europe, and dislodging The Beatles from the number-one position with Hello Dolly". Today many people may know him as a singer (a good one), but as Miles Davis said: “You can’t play nothing on modern trumpet that doesn’t come from him."
The 62-year-old Armstrong became the oldest act to top the US charts when "Hello Dolly" reached #1 in 1964. Four years later Satchmo also became the oldest artist to record a UK #1, when "What a Wonderful World" hit the top spot.
I Can't Believe That You're in Love with Me
Louis Armstrong Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And when you smiled at me,
In my heart I felt a thrill you see,
That it was love at sight and
I was right to love you as I do.
Still I never dreamed that you could love me too.
Your eyes of blue, your kisses too,
I can't believe that you're in love with me.
You're telling ev'ry one I know
I'm on your mind each place we go
They can't believe that you're in love with me.
I have always placed you far above me.
I just can't imagine that you love me.
And after all is said and done,
To think that I'm the lucky one.
I can't believe that you're in love with me.
Skies are gray. I'm blue each day
When you are not around.
Ev'ry thing goes wrong, my dear I've found
But when you're by my side I fill with pride
For I'm so proud of you
It all seems too good to me to all be true
Your eyes of blue, your kisses too,
I never knew what they could do.
I can't believe that you're in love with me.
You're telling ev'ry one I know
I'm on your mind each place we go
They can't believe that you're in love with me.
I have always placed you far above me.
I just can't imagine that you love me.
And after all is said and done,
To think that I'm the lucky one.
I can't believe that you're in love with me.
The lyrics of Louis Armstrong and The All Stars' "I Can't Believe That You're in Love With Me" describe the amazement and disbelief of the singer upon discovering that the subject of their affections reciprocates their feelings. The song begins by referencing the moment the singer first fell in love with the subject, which apparently happened when the subject smiled at them. The singer emphasizes the unexpectedness of this turn of events by stating that they never dreamed the subject could love them back. The verse goes on to describe how the singer is amazed by the subject's blue eyes and kisses, which apparently have an intense effect on them.
The chorus of the song repeats the title phrase several times, with the singer expressing surprise that the subject loves them and noting that others also find this fact hard to believe. This chorus serves to further highlight the singer's amazement and disbelief at the unexpected turn of events that has brought them to this point. The final verse of the song features the singer emphasizing how the subject makes everything in their life better, and expressing their gratitude and joy at being the lucky person who gets to be loved by the subject.
Overall, "I Can't Believe That You're in Love With Me" is a song about the power of unexpected love and the joy that it can bring. The singer's awe and disbelief at the fact that the subject reciprocates their feelings effectively conveys the depth of their emotions and the surprise that love can bring.
Line by Line Meaning
Yesterday you came my way,
I am reminiscing about the time when you first entered my life.
And when you smiled at me,
Your beautiful smile touched my heart and made me feel special.
In my heart I felt a thrill you see,
My heart was filled with a rush of excitement when I saw you.
That it was love at sight and
I immediately fell in love with you when I first saw you.
I was right to love you as I do.
I always knew that you were special and deserving of my love.
Still I never dreamed that you could love me too.
I never imagined that you would return my love with the same intensity.
Your eyes of blue, your kisses too,
Your blue eyes and tender kisses have a power that I never realized before.
I never knew what they could do.
I never fully comprehended the impact of your affectionate gestures until now.
You're telling ev'ry one I know
You are so excited about our love that you cannot help but share it with others.
I'm on your mind each place we go
My presence is always on your mind, no matter where we go.
They can't believe that you're in love with me.
Others are surprised that you would fall in love with someone like me.
I have always placed you far above me.
I have always viewed you as someone who is superior to me in every way.
I just can't imagine that you love me.
It is difficult for me to fathom that someone like you would love someone like me.
And after all is said and done,
Despite everything that has happened between us,
To think that I'm the lucky one.
I cannot believe that I am the fortunate one who has captured your heart.
Skies are gray. I'm blue each day
When you are not around, my world seems dull and lifeless.
When you're by my side I fill with pride
When I am with you, I feel proud and fortunate to have you in my life.
For I'm so proud of you
I think highly of you and am honored to be with you.
It all seems too good to me to all be true
Our love feels like a dream come true, and I cannot believe how fortunate I am.
Lyrics © Sony/ATV Music Publishing LLC
Written by: CLARENCE GASKILL, JIMMY MC HUGH
Lyrics Licensed & Provided by LyricFind
@Trombonology
I adore this great jazz standard -- and count Louis' appropriately exuberant treatment among the very finest! In addition to his trumpet and vocal, I love Bernard Addison's guitar and bandleader Willie Lynch's drumming on this wonderful side.
@thendrjazz
Louis briefly supported by a NY group that would soon become the Mills Blue Rhythm Band, the third group behind Duke Ellington and Cab Calloway in the stable of manager Irving Mills.
@henridelagardere264
Apr 5, 1930, New York - I Can't Believe That You're in Love with Me - Jimmy McHugh (music) & Clarence Gaskill (words) - Louis Armstrong Orchestra: Edward Anderson - tp; Henry Hicks - tb; Bobby Holmes, Theodore McCord - as; Castor McCord - ts; Joe Turner - p; Bernard Addison - g; Lavert Hutchinson - tu; Willie Lynch - dr, ldr; Louis Armstrong - tp, voc.
"*I Can't Believe That You're in Love with Me"* is a 1926 popular song composed by Jimmy McHugh, with lyrics by Clarence Gaskill.
More than 20 recordings were made of "I Can't Believe That You're in Love with Me" in the 16 years following its publication. Early recordings included Roger Wolfe Kahn and His Orchestra (1926), Louis Armstrong (1930), Nat Gonella (1932), Earl Hines (1932), Artie Shaw (1938), Teddy Wilson (1938), and Ella Fitzgerald (1941).
It is sung twice by Claudia Drake in Edgar G. Ulmer's low-budget film noir classic Detour (1945); it is also featured in The Caine Mutiny (1954). In the 1967 film Thoroughly Modern Millie it is sung by an uncredited male vocalist on the gramophone.
Notable recordings
Billie Holiday (1938)
Anita O'Day (1945)
Frankie Laine (1946)
Ames Brothers - this charted briefly in 1953
Paul Quinichette - Moods (1954)
Nelson Riddle (1954) - included in the 2CD set Let's Face the Music (2008)
Tony Bennett for his album Cloud 7 (1955)
Louis Armstrong - included in the box set Satchmo: A Musical Autobiography (1956)
Mel Tormé - Prelude to a Kiss (1958)
Jimmy Rushing - Rushing Lullabies (1959)
Dean Martin - This Time I'm Swingin'! (1960)
Dinah Washington - included in her album September in the Rain (1960)
Dinah Shore - included in her album Dinah Sings Some Blues with Red (1960)
Art Pepper - Intensity (1960)
Frank Sinatra - Sinatra's Swingin' Session!!! (1961)
Bobby Darin - for his album It's You or No One (1963)
Joe Williams with Count Basie and his orchestra - The Greatest!! Count Basie Plays, Joe Williams Sings Standards
June Christy - A Friendly Session, Vol. 3_(2000) with the Johnny Guarnieri Quintet; _Cool Christy (2002)
Bing Crosby - recorded August 7, 1945, with Carmen Cavallaro on piano.
Joni James - for her album 100 Strings and Joni...I’m in the Mood for Love (1960).
Jack Jones - for his album There's Love & There's Love & There's Love (1965).
New York Voices - on their album Sing! Sing! Sing! (2001)
Dolores Valesco (1927); Ben Bernie and His Hotel Roosevelt Orchestra (1927); The Seven Aces (1927); Nick Lucas (1927); Ed Lowry (1927); Cliff Edwards (Ukelele Ike) (1927); Johnny Marvin (1927); Sam Lanin's Dance Orchestra (1927); Roger Wolfe Kahn and His Orchestra (1927); Devonshire Restaurant Dance Band (1927); m (1927); m (1927); Dolores Valesco (1927); Louis Armstrong and His Orchestra (1930); Mound City Blue Blowers (1931); Nat Gonella and His Trumpet (1932); Earl Hines and His Orchestra – Vocal Chorus Ida James (1937); Valaida, Queen of the Trumpet (1937); Cootie Williams and His Rug Cutters (1937); Teddy Wilson and His Orchestra - Vocal Chorus Billie Holiday (1938); Art Shaw and His Orchestra (1938); Count Basie and His Orchestra - Vocal Chorus by James Rushing (1939); Jess Stacy and His Orchestra (1939); Georgie Barnes (1940); The Chocolate Dandies (1940); Adrian Rollini Trio (1940); Bob Chester and His Orchestra - Vocal Refrain by Bob Haymes (1941); Frankie Carle (1941); Ella Fitzgerald and Her Famous Orchestra (1942); Bing Crosby with Carmen Cavallaro at the Piano (1945); Edmond Hall's Swingtet (1945); Eddie Heywood and His Orchestra (1947); Bill Stegmeyer Octet featuring Billy Butterfield (1947); Frankie Laine and Carl Fischer's Swingtet (1947); Mindy Carson (1948); Errol Garner (1949); Mel Henke (1949); The Red Norvo Trio (1950); David Allen & The Paul Smith Quartet (1950); Lisa Kirk (1951); Lionel Hampton and His Orchestra, vocal by Janet Thurlow (1951); Jesse Crawford with Jessie Leeds (1953); Lee Konitz and The Gerry Mulligan Quartet (1953); Milton "Mezz" Mezzrow (1953); Champ Butler with Paul Weston & His Orchestra (1953); Victor Young and His Singing Strings (1954); Oscar Peterson (1955); Pete Brown Sextette (1955); Paul Quinichette (1955); Eddie Condon and His All-Stars (1955); Tony Bennett (1955); Malcolm Mitchell and His Orchestra (1955); Ken Hanna and His Orchestra (1955); Teddi King with George Siravo and His Orchestra (1956); Sunny Gale with Ralph Burns and His Orchestra (1956); Count Basie with Joe Williams (1956); Lennie Niehaus (1956); Firehouse Five Plus Two (1956); The Brew Moore Quintet (1956); The Stork Town Dixie Kids (1956); Orchestra conducted by Jackie Gleason (1957); Hank D'Amico, His Clarinet & Orch (1957); Russ Morgan and His Orchestr (1957); Frank Chacksfield and His Orchestra (1957); Stanley Black and His Orchestra (1957); Pat Dodd (1957); Don Swan and His Orchestra (1957); Don Ewell (1957); Jerri Winters with The Al Belletto Sextet (1957); Fran Warren – Conducted & arranged by Marty Paich (1957); Faron Young (1956); Ike Cole (1958); Mel Tormé, arranged and conducted by Marty Paich (1958); Chet Roble (1958); Ames Brothers (1958); Georgie's Varsity 5 (1958); Kenny Baker (1958); Jørgen Ingmann (1958); Urbie Green His Trombone and Orchestra (1958); Eddie Baxter (1958); Luis Arcaraz and His Orchestra (1958); Al Anthony (1958); Len Barnard's Jazz Band (1959); Guy Lombardo and His Royal Canadians (1959); Joe Thomas and His All-Star Jazz Group (1959); m (1958); Wild Bill Davison und die Tremble Kids (1959); Hal McIntyre and His Orchestra (1959); The John Buzon Trio (1959); Buddy Collette and The Swinging Shepherds (1959); Jerry Burke (1959); Jimmy Rushing (1959); Dinah Shore with The Red Norvo Quintet (1960); A Hundred Strings and Joni James (1960); Pat Morrissey (1960); Fabian (1960); The Four Freshmen - Orchestra conducted by Dick Reynolds (1960); Dean Martin with Orchestra conducted by Nelson Riddle (1960); Lorez Alexandria (1960); Eddie Layton (1960); Bill Berry (1961); George Chisholm & The Tradsters (1961); Dinah Washington (1961); Frank Sinatra with Orchestra conducted by Nelson Riddle (1961); Joanie Sommers (1962); Helen O'Connell (1962); Art Pepper (1963); Singleton Palmer and His Dixieland Band (1963); Freddy Martin and His Orchestra (1963); Bobby Darin (1963); Johnny Mathis (1963); George Maharis (1963); Connie Francis (1964); André Previn His Trio and Orchestra (1964); Archie Semple Quartet (1964); Living Strings (1964); Mrs. Mills with accompaniment directed by Geoff Love (1965); Edna McGriff (1965); Jack Jones (1965); Jerry Gray (1966); Johnny Hodges (1966); The Jazz Crusaders (1966); The Mal Waldron Trio (1967); Stan Reynolds Original Savoy Hill Orchestra (1967); Henri Chaix (1969); Lionel Hampton and His Septet (1970).
@henridelagardere264
James Francis "Jimmy "McHugh (July 10, 1894 – May 23, 1969) was an American composer. One of the most prolific songwriters from the 1920s to the 1950s, he is credited with over 500 songs. His songs were recorded by many artists, including Chet Baker, June Christy, Bing Crosby, Deanna Durbin, Ella Fitzgerald, Judy Garland, Adelaide Hall, Billie Holiday, Beverly Kenney, Bill Kenny, Peggy Lee, Carmen Miranda, Nina Simone, Frank Sinatra, and Dinah Washington.
McHugh began his career in his hometown of Boston, Massachusetts, United States, where he published about a dozen songs with local publishers. His first success was with the World War I song "Keep the Love-Light Burning in the Window Till the Boys Come Marching Home", and this also came near the start of a decade-long collaboration with lyricist Jack Caddigan. After struggling in a variety of jobs, including rehearsal pianist for the Boston Opera House and pianist-song plugger for Irving Berlin's publishing company. In 1921, at the age of 26, McHugh relocated to New York City. Eventually finding employment as a professional manager with the music publisher Jack Mills Inc., it was there that McHugh published his first real hit, "Emaline", and briefly teamed up with Irving Mills as The Hotsy Totsy Boys to write the hit song "Everything Is Hotsy Totsy Now".
This songwriting partnership marked another of McHugh's many collaborations, among them Ted Koehler ("I'm Shooting High"), Al Dubin ("South American Way") and Harold Adamson ("It's a Most Unusual Day"). As impressive as these master lyricists were, perhaps McHugh's best symbiotic musical relationship was with the schoolteacher and poet Dorothy Fields. Since he had written material for many of Harlem's Cotton Club revues, it would be no coincidence that their first combined success would be the score for the all-black Broadway musical, Blackbirds of 1928, starring Adelaide Hall and Bill Bojangles Robinson, which jump-started the fledgling duo's career with the songs "I Can't Give You Anything but Love", "Diga Diga Doo", and "I Must Have That Man".
Other hits written for the stage were soon to follow, including 1930's "On the Sunny Side of the Street" for Lew Leslie's International Revue, which also contained the favorite "Exactly Like You"; "Blue Again" for The Vanderbilt Revue; and in 1932, "Don't Blame Me", which was featured in the Chicago revue Clowns In Clover. Some authors say that Fats Waller was the composer of "On the Sunny Side of the Street," but sold the rights to the song.
McHugh and Fields contributed title songs for films including "Cuban Love Song", "Dinner at Eight" and "Hooray for Love", as well as "I Feel a Song Comin' On"- and _"I'm in the Mood for Love" from 1935's Every Night at Eight. In the artistically fruitful years after they first collaborated in 1930, McHugh and Fields wrote over 30 songs for the film world.[Fields and McHugh finally parted company in 1935. McHugh's longest songwriting partner was Harold Adamson. Adamson provided lyrics to McHugh's compositions. Such hits as "Comin' In on a Wing and a Prayer" found its way into Bartlett's Familiar Quotations.
For the 1948 film A Date with Judy, he composed _"It's a Most Unusual Day"- for Jane Powell. It became the young singer and actress's signature tune.
Jimmy McHugh died in Beverly Hills, California, at the age of 74.
He was inducted into the Songwriters Hall of Fame in 1970
Works
Broadway credits
1928 – Blackbirds of 1928 (lyrics by Dorothy Fields)
1928 – Hello, Daddy (lyrics by Fields)
1930 – International Revue (lyrics by Fields)
1939 – The Streets of Paris (lyrics by Al Dubin)
1940 – Keep Off The Grass (lyrics by Dubin and Howard Dietz)
1948 – As the Girls Go (lyrics by Harold Adamson and musical book by William Roos)
A medley of his songs were included in the 1979 Broadway show Sugar Babies, starring Ann Miller and Mickey Rooney. The songs included were "I Can't Give You Anything but Love", "I'm Shooting High", "Roll Your Blues Away" and "On the Sunny Side of the Street".
Popular songs
"A Lovely Way to Spend an Evening" – June Christy (McHugh/Adamson) (Capitol/EMI)
"Blue Again" – Louis Armstrong (McHugh/Fields) (Okeh/Sony BMG)
"Comin' In on a Wing and a Prayer" – Bing Crosby (McHugh/Adamson) (Decca/UMG)
"Cuban Love Song" – Edmundo Ros (McHugh/Stothart/Fields) (London/WMG)
"Diga Diga Doo" – The Mills Brothers w/ Duke Ellington (McHugh/Fields) (Brunswick/Sony BMG)
"Doin' the New Low Down" – Bill “Bojangles” Robinson (McHugh/Fields) (Brunswick/Sony BMG)
"Don't Blame Me" – The Everly Brothers (McHugh/Fields) (Warner Bros./WMG)
"Dream Dream Dream" – Joni James (McHugh/Parish/Melle/Mottier) (MGM/UMG)
"Exactly Like You" – Aretha Franklin (McHugh/Fields) (Columbia/Sony BMG)
"Goodbye Blues" - The Mills Brothers (McHugh/Fields) (Brunswick/Sony BMG)
"Happy Times" – Hal Kemp & His Orchestra (McHugh/Fields) (Brunswick/Sony BMG)
"I Can't Believe That You're in Love with Me" – Dean Martin (McHugh/Gaskill) (Capitol/EMI)
"I Can't Give You Anything but Love" – Judy Garland (McHugh/Fields) (Capitol/EMI)
"I Couldn't Sleep a Wink Last Night" – Frank Sinatra (McHugh/Adamson) (Columbia/Sony BMG)
"I Just Found Out About Love" – Dinah Washington (McHugh/Adamson) (Mercury/UMG)
"I Love to Whistle" – Fats Waller (McHugh/Adamson) (RCA/Sony BMG)
"I'm in the Mood for Love" – Frances Langford (McHugh/Fields) (Regal Zonophone)
"I Must Have That Man" – Billie Holiday (McHugh/Fields) (Brunswick/Sony BMG)
"I'm Shooting High" – Ann Richards (McHugh/Koehler) (Capitol/EMI)
"It's a Most Unusual Day" – Andy Williams (McHugh/Adamson) (Columbia/Sony BMG)
"I've Got My Fingers Crossed" – Louis Armstrong (McHugh/Koehler) (Decca/UMG)
"Let's Get Lost" – Chet Baker (McHugh/Loesser) (Pacific)
"My! My!" - Tommy Dorsey w/ The Pied Pipers (McHugh/Loesser) (RCA/Sony BMG)
"On the Sunny Side of the Street" – Frank Sinatra (McHugh/Fields) (Capitol/EMI)
"Say It (Over and Over Again)" - Tommy Dorsey w/ Frank Sinatra (McHugh/Loesser) (RCA/Sony BMG)
"South American Way" – The Andrews Sisters (McHugh/Dubin) (Capitol/EMI)
"Take it Easy" - Fats Waller [1935]
"There's Something in the Air" – Ruth Etting (McHugh/Adamson) (Decca/UNI)
"Too Young to Go Steady" – Nat King Cole (McHugh/Adamson) (Capitol/EMI)
"Warm and Willing" – Nat King Cole (McHugh/Livingston/Evans) (Capitol/EMI)
"When My Sugar Walks Down the Street" – Peggy Lee (McHugh/Austin/Mills) (Capitol/EMI)
"Where Are You?" – Johnny Mathis (McHugh/Adamson) (Columbia/Sony BMG)
@henridelagardere264
Clarence Gaskill (February 2, 1892 – April 29, 1948) was an American composer and lyricist active during the 1920s to early 1930s. His most well-known songs include, Doo-Wacka-Doo (1921). I Can't Believe That You're in Love with Me (1926), and Prisoner of Love (1932). His first hit came in 1919 with I Love You Just the Same, Sweet Adeline.
Gaskill was born on February 2, 1892, in Philadelphia, Pennsylvania. He attended St. John's School and Friends School in Pennsylvania. Gaskill's first music teacher was his mother, but he was later taught by private teachers.
At the age of 16, Gaskill was employed at a local theatre, working as a pianist. By the age of 21, he had founded his own music publishing firm.
During World War I, he served as a machine gunner. For his service, he earned the Purple Heart. Gaskill also entertained troops during the war, and even wrote the war song, That's a Mother's Liberty Loan.
After the war was over, Gaskill toured vaudeville under the stage name, "Melody Monarch".
His first hit was in 1919, with the release of I Love You Just the Same, Sweet Adeline. Two years later he joined the American Society of Composers, Authors and Publishers. Gaskill wrote the song, Prisoner of Love in 1932. It was re-recorded by various artists including, The Ink Spots, Billy Eckstine, and Perry Como. His song, Doo-Wacka-Doo (1921), capitalized on the Hawaiian craze popular during that time. The song was made famous by Paul Whiteman's orchestra.
Gaskill was employed by Irving and Jack Mills. He wrote music for Earl Carroll's Vanities (1925) and Keep it Clean (1929). Throughout his career he collaborated with various musicians, lyricists, and composers, including Jimmy McHugh, Irving Mills, Duke Ellington, Leo Robin, and Cab Calloway.
Because he was very knowledgeable about the music business and copyright laws, Gaskill was able to use that to his advantage. He claimed composer credit on Christmas songs and nursery rhymes like, Jingle Bells, Adeste Fideles, The Farmer in the Dell, and Twinkle, Twinkle, Little Star.
Clarence Gaskill died on April 29, 1948, in New Brighton, New York City.
Selected works
"Another Perfect Day Has Passed Away"
With Robert H. Noeltner, Haia Kaa, and Ethel Shutta. 1933. Keit-Engel.
"Prisoner of Love"
With Leo Robin and Russ Columbo. 1931. Mayfair Music Corp.
"Minnie the Moocher"
With Cab Calloway and Irving Mills. 1931.
"I Can't Believe That You're in Love with Me"
With Jimmy McHugh. 1927. Jack Mills Inc.
"Nobody's Business Fox Trot"
With Irving Mills. 1926
"Doo-Wacka-Doo"
With Will Donaldson and George Horther. 1921. Capitol Records.
"I Love You Just the Same, Sweet Adeline"
With Harry Armstrong. 1919. Edison Blue Amberol.
@peteratkinson922
I have tended to overlook this track largely because Louis plays some bum notes in the easy bits and the band isn't as tight or as well rehearsed as some contemporaries.
It also comes between the 'hot five' and his more well known early big band stuff so kind of is overshadowed?
Thank you for this.
@janetgoldstein8293
Believe It Because It's True!!!
@yuanaresta
TOM & JERRY ?