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the musicians of the 1932 band that toured Britain, nor all of those of the 1934 band that recorded in Paris. The Jones/Chilton book says nothing of the 1933 band, and the Melody Maker's Salute To Satchmo (p. 77) simply states, “When Louis returned in 1933, another pick-up band was imported from Paris”. On aural evidence, it consisted of tpt, tbn, 3 reeds, pno, sbs and dms. I cannot hear any second trumpet (or third, if we count Louis) and reviewers speak only of one other in addition to Louis. Nor can I hear any guitar. The pianist cannot be Herman Chittison, since he was still in the U.S. and did not come to Europe until April 1934 according to Who's Who Of Jazz.
Armstrong arrived in Copenhagen on 19 October, 1933, and was greeted by 5,000 people (see illustration). There was almost complete chaos at the Central Station, and the members of Eric Tuxen’s orchestra who had come along to salute their colleague were so overcome with emotion that they couldn’t play! A total of seven concerts were given at the Tivoli Concert Hall (two each at 7.15 p.m. and 9.15 p.m. on October 21st, 22nd and 23rd, plus an additional afternoon concert at 4.00 p.m. on the 23rd). The programme appears to have varied little at all the Scandinavian concerts: A first half comprising Them There Eyes, I’ve Got The World On A String, Dinah, On The Sunny Side Of The Street and St. Louis Blues. Then after the intermission That's My Home, I Cover The Waterfront, I've Gotta Right To Sing The Blues, Rockin’ Chair, Chinatown and Tiger Rag, with You Rascal You played as an encore. At the Copenhagen concerts he also played Hobo, You Can't Ride This Train. Of all the Scandinavian people, the Danes were the first to discover and appreciate jazz, and it is therefore not surprising to find that Louis got very good reviews (see illustration) in the Danish capital. On 21st October, he was invited to play in a sort of Danish “Big Broadcast” film entitled K<z>benhaven, Kal-undborg og ? (meaning Copenhagen, Kalund-borg and ? — Kalundborg being the place from which the Danish network is broadcast). The producer of the film, a Mr. Frede
Skaarup, announced that he also intended to feature Josephine Baker in the film, when the latter came to Copenhagen. Well, she did come, and gave several concerts on the first three days of November, but was never seen in the film — possibly she was unwilling to accept second billing to Louis. There were several orchestras in the film, including those of Eric Tuxen and Roy Fox (!). Louis was featured in three numbers: I Cover The Waterfront (2’39”), Dinah (2’38”) and Tiger Rag (2’37”). Dinah is especially interesting with sixteen bars from the unknown second trumpet after Louis’ vocal, and a quotation from Exactly Like You in Louis’ own solo.
On October 24th Armstrong arrived in Stockholm, and here, too, he received a right royal welcome. Originally he had been contracted for a single concert at the Auditorium Concert Hall at 8.00 p.m. on October 25th, but the tickets were sold out within a few hours, so extra concerts were arranged for the 27th, 28th and 29th. The concerts were a great success with the public, but not, unfortunately, with the critics. In contrast with the Danish critics, the Swedish ones were very hostile, complaining not only of the “noise” presented as music, but in particular of Louis’ stage antics. However, he was idolised by the Swedish dance band musicians, and certainly increased his popularity by sitting in at a jam session with trumpeter Gosta Tomer and other top musicians. He signed the photo shown for Tony Mason, then first sax of the Hakan von Eichwald, the finest Swedish big band of the time.
The Swedish Broadcasting Corporation, noting the furore Armstrong’s visit was creating, decided to broadcast one of his concerts for the benefit of all music lovers outside the capital, and to this end, cancelled the previously scheduled (and announced) programme, and instead, between 9.00 and 9.45 p.m. on Saturday, 28th October put out the second half of Armstrong’s concert.
This was quickly and easily arranged, for there was a permanent link between SBS and Auditorium — a telephone line provided by the Swedish State telephone monopoly.
Right.: Louis Armstrong in 1933 Photo courtesy of Tony Mason