1.Duke's Place (5:08)
2.I'm Just A Lucky So And So (3:11)
3.Cottontail (3:47)
4.Mood Indigo (4:00)
5.Do Nothin' Till You Hear From Me (2:39)
6.The Beautiful American (3:11)
7.Black And Tan Fantasy (4:03)
8.Drop Me Off At Harlem (3:53)
9.The Mooche (3:46)
10.In a Mellow Tone (3:53)
11.It Don't Mean A Thing (If It Ain't Got That Swing) (4:01)
12.Solitude (4:58)
13.Don't Get Around Much Anymore (3:35)
14.I'm Beginning To See The Light (3:40)
15.Just Squeeze Me (4:01)
16.I Got It Bad (And That Ain't Good) (5:34)
17.Azalea (5:06)

Bass – Mort Herbert
Clarinet – Barney Bigard
Drums – Danny Barcelona
Piano – Duke Ellington
Trombone – Trummy Young
Trumpet, Vocals – Louis Armstrong

Louis Armstrong and Duke Ellington were (and are) two of the main stems of jazz. Any way you look at it, just about everything that's ever happened in this music leads directly -- or indirectly -- back to them. Both men were born on the cusp of the 19th and 20th centuries, and each became established as a leader during the middle '20s. Although their paths had crossed from time to time over the years, nobody in the entertainment industry had ever managed to get Armstrong and Ellington into a recording studio to make an album together. On April 3, 1961, producer Bob Thiele achieved what should be regarded as one of his greatest accomplishments; he organized and supervised a seven-and-a-half-hour session at RCA Victor's Studio One on East 24th Street in Manhattan, using a sextet combining Duke Ellington with Louis Armstrong & His All-Stars. This group included ex-Ellington clarinetist Barney Bigard, ex-Jimmie Lunceford swing-to-bop trombonist Trummy Young, bassist Mort Herbert, and drummer Danny Barcelona. A second session took place during the afternoon of the following day. The music resulting from Thiele's inspired experiment is outstanding and utterly essential. That means everybody ought to hear this album at least once, and many will want to hear it again and again all the way through, for this is one of the most intriguing confluences in all of recorded jazz. Armstrong blew his horn with authority and sang beautifully and robustly. "Azalea" is a harmonically pixilated melody with complicated, peculiarly rhymed lyrics composed by Duke many years earlier with Armstrong in mind. Other highlights include the bluesy "I'm Just a Lucky So and So," a smoking hot, scat-laden rendition of "Cotton Tail," and "The Beautiful American," a marvelously modern exercise composed on the spot by Ellington that leaves one with the curious impression that Armstrong has just finished sitting in with Charles Mingus. It's also a premonition of the Ellington/Mingus/Roach Money Jungle session that would take place the following year. Since Thiele had "borrowed" Ellington from Columbia without permission, Roulette compensated by "lending" Count Basie & His Orchestra for the big-band blowout album entitled First Time! The Count Meets the Duke. The Armstrong/Ellington master takes were originally issued on two long-playing records; Together for the First Time came out on Roulette in 1961 and The Great Reunion appeared in 1963. Both albums later resurfaced as a Roulette LP two-fer entitled The Duke Ellington/Louis Armstrong Years. This material is also available in a Roulette Jazz Deluxe Edition with The Making of The Great Summit, a fascinating supplementary disc containing an hour's worth of rehearsals, conversations, and alternate takes. Those who truly love and respect Louis Armstrong and Duke Ellington will want to obtain, absorb, study, and cherish the Deluxe Edition of The Great Summit. ---arwulf arwulf, AllMusic Review

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01. Duke`s Place (5:05)
02. I'm Just A Lucky So And So (3:07)
03. Cottontail (3:44)
04. Mood Indigo (3:58)
05. Do Nothin' Till You Hear From Me (2:37)
06. The Beautiful American (3:08)
07. Black And Tan Fantasy (4:00)
08. Drop Me Off At Harlem (3:49)
09. The Mooche (3:42)
10. In A Mellow Tone (3:49)
11. It Don't Mean A Thing (3:58)
12. Solitude (4:54)
13. Don't Get Around Much Anymore (3:31)
14. I'm Beginning To See The Light (3:36)
15. Just Squeeze Me (3:58)
16. I Got It Bad And That Ain't Good (5:30)
17. Azalea (5:03)

Louis Armstrong - trumpet, vocals;
Duke Ellington - piano;
Barney Bigano - clarinet;
Trummy Young - trombone;
Mort Herbert - bass;
Danny Barselona - drums.

Recorded at RCA Studios, New York City on April 3 & 4, 1961.

Louis Armstrong and Duke Ellington were (and are) two of the main stems of jazz. Any way you look at it, just about everything that's ever happened in this music leads directly -- or indirectly -- back to them. Both men were born on the cusp of the 19th and 20th centuries, and each became established as a leader during the middle '20s. Although their paths had crossed from time to time over the years, nobody in the entertainment industry had ever managed to get Armstrong and Ellington into a recording studio to make an album together. On April 3, 1961, producer Bob Thiele achieved what should be regarded as one of his greatest accomplishments; he organized and supervised a seven-and-a-half-hour session at RCA Victor's Studio One on East 24th Street in Manhattan, using a sextet combining Duke Ellington with Louis Armstrong & His All-Stars. This group included ex-Ellington clarinetist Barney Bigard, ex-Jimmie Lunceford swing-to-bop trombonist Trummy Young, bassist Mort Herbert, and drummer Danny Barcelona. A second session took place during the afternoon of the following day. The music resulting from Thiele's inspired experiment is outstanding and utterly essential. That means everybody ought to hear this album at least once, and many will want to hear it again and again all the way through, for this is one of the most intriguing confluences in all of recorded jazz. Armstrong blew his horn with authority and sang beautifully and robustly. "Azalea" is a harmonically pixilated melody with complicated, peculiarly rhymed lyrics composed by Duke many years earlier with Armstrong in mind. Other highlights include the bluesy "I'm Just a Lucky So and So," a smoking hot, scat-laden rendition of "Cotton Tail," and "The Beautiful American," a marvelously modern exercise composed on the spot by Ellington that leaves one with the curious impression that Armstrong has just finished sitting in with Charles Mingus. It's also a premonition of the Ellington/Mingus/Roach Money Jungle session that would take place the following year. Since Thiele had "borrowed" Ellington from Columbia without permission, Roulette compensated by "lending" Count Basie & His Orchestra for the big-band blowout album entitled First Time! The Count Meets the Duke. The Armstrong/Ellington master takes were originally issued on two long-playing records; Together for the First Time came out on Roulette in 1961 and The Great Reunion appeared in 1963. Both albums later resurfaced as a Roulette LP two-fer entitled The Duke Ellington/Louis Armstrong Years. This material is also available in a Roulette Jazz Deluxe Edition with The Making of The Great Summit, a fascinating supplementary disc containing an hour's worth of rehearsals, conversations, and alternate takes. Those who truly love and respect Louis Armstrong and Duke Ellington will want to obtain, absorb, study, and cherish the Deluxe Edition of The Great Summit. --- arwulf arwulf, Rovi

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01. Louis Armstrong With Benny Carter’s Orchestra – Christmas In New Orleans (2:54)
02. Louis Armstrong With Gordon Jenkins & His Orchestra – White Christmas (2:39)
03. Dinah Washington – Silent Night (2:22)
04. Mel Tormé – The Christmas Song (3:06)
05. Louis Armstrong With Benny Carter’s Orchestra – Christmas Night In Harlem (2:39)
06. Peggy Lee With Jud Conlon’s Rhythmaires – Its Christmas Time Again (2:59)
07. Louis Armstrong & The Commanders – Cool Yule (2:55)
08. Sonny Parker And Lionel Hampton – Merry Christmas Baby (3:22)
09. Louis Armstrong & The Commanders – Zat You Santa Claus (2:39)
10. Eartha Kitt – Santa Baby (3:26)
11. Duke Ellington & His Orchestra – Jingle Bells (2:59)
12. Lena Horne – Santa Claus Coming To Town (2:42)
13. Louis Jordan & His Orchestra – May Everyday Be Christmas (3:10)
14. Louis Armstrong With Gordon Jenkins & His Orchestra – Winter Wonderland (2:59)

Although this Christmas compilation is credited to "Louis Armstrong & Friends," it's really more aptly categorized as a various artists anthology, since Armstrong only has six of the fourteen tracks. The disc is filled out with seasonal offerings by Dinah Washington, Mel Torme, Louis Jordan, Lionel Hampton, Peggy Lee, Eartha Kitt, and Lena Horne, Duke Ellington, mostly from the 1950s. It's pleasant pop-jazz that doesn't rate among the highlights of any of these talented artists' careers. But it makes for an above-average Christmas disc, especially on Lionel Hampton's "Merry Christmas, Baby," Louis Armstrong's "Cool Yule," and Louis Jordan's "May Everyday Be Christmas," which celebrate the holiday with more gutsy hipness than the usual Yuletide fare. --- Richie Unterberger, Rovi

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01. Rockin’ Chair (3:08)
02. Please Stop Playing Those Blues (3:17)
03. Jack-Armstrong Blues (3:02)
04. Before Long (2:51)
05. Baby Won’t You Please Come Home? (3:17)
06. Fifty-Fifty Blues (2:59)
07. My Bucket’s Got A Hole In It (3:44)
08. Someday (You’ll Be Sorry) (3:15)
09. A Song Was Born (3:20)
10. Back O’ Town Blues (4:15)
11. Basin Street Blues (4:12)
12. Do You Know What It Means To Miss New Orleans? (4:33)
13. Jeepers Creepers (3:29)
14. Lovely Weather We’re Having (3:17)
15. 12th Street Rag (5:42)
16. Thats For Me (5:09)
17. Panama (5:03)
18. Bugle Call Rag (8:45)

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1    That Old Feeling
2    Let's Fall In Love
3    I'll Never Be The Same
4    Blues In The Night (My Mama Done Tol' Me)
5    How Long Has This Been Going On?
6    I Was Doing All Right
7    What's New?
8    Moon Song
9    Just One Of Those Things
10    There's No You
11    You Go To My Head
12    Sweet Lorraine
13    I Get A Kick Out Of You
14    Makin' Whoopee
15    Willow Weep For Me
16    Let's Do It

Louis Armstrong - Vocals, Trumpet
Oscar Peterson - Piano
Herb Ellis - Guitar
Ray Brown - Bass
Louis Bellson – Drums

By 1957, hard bop was firmly established as the "jazz of now," while pianist Oscar Peterson and his ensemble with bassist Ray Brown and guitarist Herb Ellis were making their own distinctive presence felt as a true working band playing standards in the swing tradition. Louis Armstrong was more recognizable to the general public as a singer instead of the pioneering trumpet player he was. But popularity contests being the trend, Armstrong's newer fans wanted to hear him entertain them, so in retrospect it was probably a good move to feature his vocalizing on these tracks with Peterson's band and guest drummer Louie Bellson sitting in. The standard form of Armstrong singing the lead lines, followed by playing his pithy and witty horn solos based on the secondary melody, provides the basis for the format on this charming but predictable recording. What happens frequently is that Armstrong and Peterson play lovely ad lib vocal/piano duets at the outset of many tunes. They are all songs you likely know, with few upbeat numbers or obscure choices. It is, however, the familiarity of songs like the midtempo "Let's Fall in Love," with Armstrong's gravelly scat singing, and his marvelous ability to riff off of the basic songs, that make these offerings endearing. A classic take of "Blues in the Night" is the showstopper, while choosing "Moon Song" is a good, off-the-beaten-path pick as the trumpeter plays two solo choruses, and he leads out on his horn for once during the slightly bouncy, basic blues "I Was Doing All Right." Some extremely slow tunes crop up on occasion, like "How Long Has This Been Going On?," an atypically downtempo take of "Let's Do It," and "You Go to My Head," featuring Peterson's crystalline piano. There are the dependable swingers "Just One of Those Things," "I Get a Kick Out of You," and "Sweet Lorraine," with Peterson at his accompanying best. There's a ramped-up version of the usually downtrodden "Willow Weep for Me" and a duet between Armstrong and Ellis on the sad two-minute ditty "There's No You." All in all, it's difficult to critique or find any real fault with these sessions, though Peterson is subsumed by the presence of Armstrong, who, as Leonard Feather notes, really needs nobody's help. That this was their only collaboration speaks volumes to how interactive and communal the session really was, aside from the fairly precious music. ---Michael G. Nastos, AllMusic Review

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01. Honeysuckle Rose
02. Blue Turning Grey Over You
03. I'm Crazy 'Bout My Baby
04. Squeeze Me
05. Keepin' Out of Mischief Now
06. All That Meat And No Potatoes
07. I've Got A Feeling I'm Falling
08. (What Did I Do To Be So) Black And Blue
09. Ain't Misbehavin'				play
10. Black And Blue (Edited Alternate Version)
11. I'm Crazy 'Bout My Baby (Edited Alternate Version)
12. Blue Turning Grey Over You (Edited Alternate Version)
13. I've Got A Feeling I'm Falling (Edited Alternate Version)
14. Squeeze Me (Bonus)				play
15. (What Did I Do To Be So) Black And Blue (Bonus)
16. Ain't Misbehavin' (Bonus)
17. Blue Turning Grey Over You (Bonus)
18. Keepin' Out Of Mischief Now (Bonus)
19. Sweet Savannah Sue (Bonus)
20. That Rythm Man (Bonus)

Musicians:
Louis Armstrong (trumpet), 
Barney Bigard (clarinet), 
Barrett Deems (drums), 
Billy Kyle (piano), 
Velma Middleton (vocals), 
Arvell Shaw (bass), 
Trummy Young (trombone)

Armstrong and "harmful little armful" Fats Waller played together briefly in 1925, then Louis performed many of the pianist's best-known tunes in 1929's New York revue, Connie's Hot Chocolates. It took him until 1955 (12 years after Waller's death) to record an album devoted entirely to the Fats songbook. This disc corrects a mistake made on the 1986 CD, restoring the original versions alongside four, previously unreleased, edited alternate takes. Apart from a couple of sensitively delivered ballads, "Blue Turning Grey Over You" and "(What Did I Do To Be So) Black & Blue". It's a session of high-spirited romping, Satch's controlled-vibrato vocals caught in rough-hewn detail, his trumpet solos springing forth with gleaming perfection, razor-edged even when muted. "Honeysuckle Rose" is one of several duets with Velma Middleton, charging through a sequence of solos that serves to introduce Trummy Young (trombone), Billy Kyle (piano), Barney Bigard (clarinet) and Arvell Shaw (bass). That only leaves out drummer Barrett Deems. Velma and Louis are at their bawdiest on "All That Meat And No Potatoes", while Young takes a wonderfully apoplectic solo on the fast-trotting "Ain't Misbehavin'". Producer George Avakian has also included seven more Satch-Fats interpretations from 1929, 30 and 32, providing a good opportunity to compare the two eras. --Martin Longley

Following the artistic success of 1954's `Plays W.C. Handy', Louis Armstrong chose to record a second album devoted to the work of a single composer. He chose Fats Waller, a man whose songs he had recorded many times previously. It was an inspired choice. Waller, whilst a great songwriter and piano player was also a great entertainer, who derived obvious pleasure form the pleasure of an audience. Satchmo was very similar in the respect, and with his wry sense of humour he was perfectly suited to interpret the songs of the great Waller.

This is an artistic high point in Satchmo's career. A lot of work and passion went into the material recorded, and a really foot stomping feelgood album has resulted. There are some slow burners and delightful ballads, but in general this does what the two main men intended - it entertains and brings a smile to the face. Armstrong adds much depth to many of the songs, with careful shadings and colourings that allow them to really sparkle. This finds Satchmo in top form vocally and on trumpet, delivering one of the best recordings from his later years, matched only by the preceding Handy album and his Great Summit recordings with Duke Ellington.

As an added bonus on this record we are presented with a host of Waller tracks Armstrong had recorded earlier in his career. It is interesting to compare these earlier efforts with the 1955 material, and to see how even a prodigy such as Armstrong had developed musically. I especially enjoy the earlier recording of `Squeeze Me', so full of energy and life, and terribly infectious. The star of the record has to be `Ain't Misebehavin', probably one of Waller's best known songs. Both the old and new recordings shine and I defy you not to be singing it to yourself hours after the record has finished! ---Victor Tugelbend

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1. What A Wonderful World 
2. Hello Dolly 
3. Sittin' In The Sun 
4. Mack The Knife (Theme From 'Three Penny Opera') 
5. A Kiss To Build A Dream On 
6. It Takes Two To Tango Listen Listen 
7. That Lucky Old Sun (Just Rolls Around In Heaven... 
8. Kiss Of Fire 
9. (When We Are Dancin' ) I Get Ideas 
10. Gone Fishin' 
11. Skokiaan 
12. La Vie En Rose 
13. The Dummy Song 
14. Chloe 
15. I Still Get Jealous 
16. When You're Smiling (The Whole World Smiles With.. 
17. Blueberry Hill 
18. When It's Sleepy Time Down South

Recorded between 1949 and 1964.

Personnel includes: 
Louis Armstrong (vocals, trumpet); 
Bing Crosby (vocals); 
Dan Trimboli (alto & tenor saxophone, flute); 
Jerome Richardson (tenor saxophone, flute, clarinet); 
Lucky Thompson (tenor saxophone); 
Raymond Stanfeld (baritone saxophone); 
Joe Wilder, Clark Terry, Red Nichols, Charlie Shavers, Bernie Previn (trumpet); 
Urbie Green, J.J. Johnson, Trummy Young (trombone); 
Barney Bigard (clarinet); 
Hank Jones, Bill Kyle, Earl Hines, Buddy Cole, Marty Napoleon, Dave Martin,
 Bernie Leighton (piano); 
Art Ryerson, Willard Suyker (guitar); 
Tony Gattuso (banjo); 
Russell Savakus, Danny Barcelona, Joe Benjamin, Phil Stevens (bass); 
Grady Tate, Cozy Cole (drums); 
Warren Hard (percussion).

Louis Armstrong was one of the most influential jazz musicians of the 20th Century thanks to the way he improvised with his trumpet. Among non-jazz fans, "Satchmo" is best known for singing ballads like "What a Wonderful World".

Louis Armstrong was born in New Orleans in 1901. By the mid-20s he had moved to Chicago and was recording seminal jazz standards such as "Weatherbird", "Muggles" and "West End Blues". His trumpet improvisations on records such as these led to jazz shifting from a musical style that involved many musicians playing a set tune together to a form that concentrated on solo improvisation. He also helped to popularise the vocal style known as scat singing, which in turn had a profound effect on young singers like Bing Crosby and Ella Fitzgerald. Among mainstream audiences he is most famous for hit songs such as "What a Wonderful World", "Hello Dolly" and "We Have All the Time in the World".

Louis Armstrong died of a heart attack on July 6, 1971; he was 69. Exactly 100 years after the day he was born, New Orleans airport was renamed Louis Armstrong International Airport.

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A1 	I Will Wait For You (Love Theme From "Les Parapluies De Cherboureg") 	
A2 	Talk To The Animals (FRom The 20th Century-Fox Motion Picture "Doctor Dolittle") 	
A3 	The Gypsy In My Soul 	
A4 	The Happy Time (From The Musical Production "The Happy Time") 	
A5 	I Believe 	
B1 	Willkommen (From The Musical Production "Cabaret") 	
B2 	You'll Never Walk Alone 	
B3 	Sunrise, Sunset 	
B4 	Rosie (From Ross Hunter's Production "Rosie" A Universal Picture) 	
B5 	That's My Desire

Louis Armstrong - Primary Artist

Recorded late in Louis Armstrong's life, this obscure LP finds his All-Stars of the period (which included trombonist Tyree Glenn and clarinetist Joe Muranyi) joined by several studio musicians and a choir, arranged and conducted by Dick Jacobs. At this point in time, Armstrong's trumpet solos were quite brief and basic, although usually effective. The emphasis throughout is on his vocalizing, mostly on then-current show tunes such as "Talk to the Animals" (from Doctor Dolittle), "Willkommen" (from Cabaret) and "Sunrise, Sunset." The choir weighs down the music; the extra musicians (which often include a banjo) water down the sound of the All-Stars; and the material is largely forgettable. Only the charm of Louis Armstrong makes this long-out-of-print album worthwhile. ---Scott Yanow, AllMusic Review

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01.Cornet Shop Suey 03:05 
02.Muskrat Ramble 02:37 
03.Willie the Weeper 03:11 
04.Wild Man Blues 03:15 
05.Potato Head Blues 02:59 
06.Hotter than that 03:03 
07.Savoy Blues 03:28 
08.Skip the Gutter 03:09 
09.West End Blues 03:13 
10.Basin Street Blues 03:19 
11.No One Else But You 03:25

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1.Jeepers Creepers
2.The Song Is Ended Louis Armstrong feat. The Mills Brothers
3.Ain't Misbehavin'
4.Paper Doll Louis Armstrong feat. The Mills Brothers
5.Rose Room Louis Armstrong feat. Barney Bigard
6.Barrelhouse Bessie From Basin Street
7.The Peanut Vendor
8.Slender, Tender and Tall Louis Armstrong feat. Velma Middleton
9.Coquette
10.One O'Clock Jump
11.I Never Knew
12.What's the Good Word, Mr. Bluebird? Louis Armstrong feat. Ann Baker
13.The Salt Lake City Blues
14.You'll Never Know Louis Armstrong feat. Jimmy Anderson
15.Up a Lazy River
16.On the Sunny Side of the Street
17.Don't Cry Baby Louis Armstrong feat. Bea Booze
18.I Can't Give You Anything But Love
19.Hot Chestnuts

Personnel:
Louis Armstrong (vocals, trumpet);
Joe Garland (conductor, tenor saxophone, reeds);
The Mills Brothers, Velma Middleton, Ann Baker, Jimmy Anderson, Bea Brooze (vocals);
Rupert Cole (alto sax, clarinet);
Budd Johnson, Dexter Gordon (tenor saxophone);
Shelton Hemphill, Frank Galbreath (trumpet);
George Washington, Henderson Chambers (trombone);
Barney Bigard (clarinet);
Gerry Wiggins (piano);
Lawrence Lucie, Norman Brown (guitar);
Chick Morrison, Jesse Price (drums).

Other than the soundtrack version of "Jeepers Creepers" and two other items, all of this CD is taken from broadcasts of Armstrong's little-known and unrecorded orchestra of 1943. Much of the music is fairly routine swing, but the Armstrong trumpet (which always sounds so enthusiastic) and features for The Mills brothers ("Paper Doll") and clarinetist Barney Bigard make this rarity of some interest. ---Scott Yanow, Rovi

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