![[Jazz & Song] Armstrong, Louis. (1901–1971) Sugar Foot Stomp](http://www.schubertiademusic.com/cdn/shop/files/Armstrong_2C_Louis_Sugar_Foot_Stomp_10685.jpg?v=1722187967)
[Jazz & Song] Armstrong, Louis. (1901–1971). Sugar Foot Stomp. Chicago: Melrose Music. 1926. First edition. Upright folio [31 cm]. 5 pp. Cover photograph of Oliver's Creole Jazz Band, including a young Louis Armstrong center, next to Oliver. In clean and crisp condition, spine carefully repaired with transparent-tape. Sold together with an undated later re-print, same engravings, but the publisher now listed at Melrose Music Corp., New York. Rare. Worldcat records three copies of this first printing.
"Louis himself...helped to compose "Sugar Foot Stomp" (recorded on May 29, 1925, for Columbia). This was actually his signature number from his days with King Oliver's Creole Jazz Band, the 'Dippermouth Blues.' Redman's arrangement updated the song, which now sounded as though it had shed its threadbare overalls for a stylish tuxedo. Louis delivers his 'wah-wah' solo with offhand dignity rather than a mocking rasp, suggesting a terribly elegant song. Smack himself considered this one of the best recordings the orchestra ever made, if not THE best, and it became the one most associated with the still-developing sound of New York jazz. None of the glory or credit devolved on Louis, however, and it is no wonder he felt overlooked and underappreciated." (Laurence Gergreen, "Louis Armstrong," p. 386)
"Louis himself...helped to compose "Sugar Foot Stomp" (recorded on May 29, 1925, for Columbia). This was actually his signature number from his days with King Oliver's Creole Jazz Band, the 'Dippermouth Blues.' Redman's arrangement updated the song, which now sounded as though it had shed its threadbare overalls for a stylish tuxedo. Louis delivers his 'wah-wah' solo with offhand dignity rather than a mocking rasp, suggesting a terribly elegant song. Smack himself considered this one of the best recordings the orchestra ever made, if not THE best, and it became the one most associated with the still-developing sound of New York jazz. None of the glory or credit devolved on Louis, however, and it is no wonder he felt overlooked and underappreciated." (Laurence Gergreen, "Louis Armstrong," p. 386)
[Jazz & Song] Armstrong, Louis. (1901–1971). Sugar Foot Stomp. Chicago: Melrose Music. 1926. First edition. Upright folio [31 cm]. 5 pp. Cover photograph of Oliver's Creole Jazz Band, including a young Louis Armstrong center, next to Oliver. In clean and crisp condition, spine carefully repaired with transparent-tape. Sold together with an undated later re-print, same engravings, but the publisher now listed at Melrose Music Corp., New York. Rare. Worldcat records three copies of this first printing.
"Louis himself...helped to compose "Sugar Foot Stomp" (recorded on May 29, 1925, for Columbia). This was actually his signature number from his days with King Oliver's Creole Jazz Band, the 'Dippermouth Blues.' Redman's arrangement updated the song, which now sounded as though it had shed its threadbare overalls for a stylish tuxedo. Louis delivers his 'wah-wah' solo with offhand dignity rather than a mocking rasp, suggesting a terribly elegant song. Smack himself considered this one of the best recordings the orchestra ever made, if not THE best, and it became the one most associated with the still-developing sound of New York jazz. None of the glory or credit devolved on Louis, however, and it is no wonder he felt overlooked and underappreciated." (Laurence Gergreen, "Louis Armstrong," p. 386)
"Louis himself...helped to compose "Sugar Foot Stomp" (recorded on May 29, 1925, for Columbia). This was actually his signature number from his days with King Oliver's Creole Jazz Band, the 'Dippermouth Blues.' Redman's arrangement updated the song, which now sounded as though it had shed its threadbare overalls for a stylish tuxedo. Louis delivers his 'wah-wah' solo with offhand dignity rather than a mocking rasp, suggesting a terribly elegant song. Smack himself considered this one of the best recordings the orchestra ever made, if not THE best, and it became the one most associated with the still-developing sound of New York jazz. None of the glory or credit devolved on Louis, however, and it is no wonder he felt overlooked and underappreciated." (Laurence Gergreen, "Louis Armstrong," p. 386)