Dixie Jazz Band - The Memphis Blues / The St. Louis Blues album flac

Louis Blues is a 1958 album by Nat King Cole, arranged by Nelson Riddle. St. Louis Blues was the soundtrack to the film of the same name that starred Cole. The Billboard album chart placed the disc at a peak position of Overture (Introducing Love Theme)/"Hesitating Blues" – 3:08. Harlem Blues" – 1:51. Chantez Les Bas" – 2:35. Friendless Blues" (Mercedes Gilbert) – 3:15. Stay" (Andy Razaf) – 2:37. Joe Turner's Blues" (Walter Hirsch) – 2:40. Beale Street Blues" – 2:56.

I got them Saint Louis Blues; just as blue as I can be He's got a heart like a rock cast in the sea Or else he wouldn't have gone so far from me. More on Genius. About The St. Louis Blues. Reminiscing on a chance encounter with a distraught woman in the streets of St. Louis, Missouri, . Handy, aptly nicknamed the Father of Blues, wrote St. Louis Blues in a Memphis bar titled Pwee. Being released by Parlophone and peaking at number 3 on the US pop charts, Bessie Smith was contracted for a film of the same name, St. Louis Blues, in 1929, further securing her connection to the song. Indeed, through Broadway renditions and subsequent re-releases of the original recording, the 1925 recording never faded out of popular culture and went on to be inducted into the Grammy Hall of Fame in 1993.

Louis Blues" also inspired three movies (one of them a 1958 biopic starring Nat "King" Cole as Handy), and was recorded by most of the major blues-based performers of the century. In fact, two of the best performances occurred on the same recording - the 1925 version with vocals by Bessie Smith and Louis Armstrong on trumpet. The duo trade off throughout the song, with Smith taking a languid vocal line and Armstrong echoing her words like a funeral march, in a fashion made ubiquitous only after the recording became legendary. Though the tempo is slow, Smith belts out.

5 ST. LOUIS BLUES (a) 5:28 Handy. 6 I’LL REMEMBER APRIL (a) 5:02 Raye – De Paul – Johnston. Whitney Balliett, one of America’s most distinguished jazz writers, produced a fine appreciation of Teddy Wilson in one of his New York Times columns in 1972 when he wrote: Teddy Wilson is a marvel and we must not take him for granted. He went on to describe Wilson’s feathery arpeggios, the easy, floating left hand, the impeccable rhythmic sense, the intense clusters of notes that believe the cool mask he wear when he plays. The band played such New York venues as the Famous Door on 52nd Street and the Golden Gate Ballroom, but broke up in June 1940. For the first half of the forties Wilson led various small combos, appearing in and around New York, and he devoted an increasing amount of time to teaching, arranging and broadcasting.