{"id":863,"date":"2007-03-19T01:04:00","date_gmt":"2007-03-19T08:04:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=863"},"modified":"2007-03-19T01:04:00","modified_gmt":"2007-03-19T08:04:00","slug":"good_old_louis","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2007\/03\/good_old_louis\/","title":{"rendered":"Good Old Louis"},"content":{"rendered":"<p>The Louis Armstrong recordings from 1928 that get the most attention are &#8220;West End Blues,&#8221; &#8220;Muggles,&#8221; &#8220;Weather Bird,&#8221; &#8220;Squeeze Me&#8221; and &#8220;Tight Like This,&#8221; but there is a gem of an Armstrong solo, and another by Earl Hines, on the piece called &#8220;Knee Drops,&#8221; which is less often played or discussed. <a href=\"http:\/\/redhotjazz.com\/Songs\/Louie\/Hot5\/kneedrops.ram\"target=\"_blank\">Click here<\/a> to hear the piece in its entirety, not in the greatest possible fidelity, but perfectly listenable. In better sound, it is also on <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FLouis-Armstrong-Collection-Vol-Hines%2Fdp%2FB0000026T8&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\">this CD<\/a>, part of Columbia&#8217;s invaluable Armstrong series.  Fred Robinson is the trombone soloist, Jimmy Strong the tenor saxophonist. Zutty Singleton, restricted by the engineering limitations of the day to cowbells and cymbals, nonetheless manages a charming, if strange, &#8220;drum&#8221; solo.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Louis Armstrong recordings from 1928 that get the most attention are &#8220;West End Blues,&#8221; &#8220;Muggles,&#8221; &#8220;Weather Bird,&#8221; &#8220;Squeeze Me&#8221; and &#8220;Tight Like This,&#8221; but there is a gem of an Armstrong solo, and another by Earl Hines, on the piece called &#8220;Knee Drops,&#8221; which is less often played or discussed. Click here to hear [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-863","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/863","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=863"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/863\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=863"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=863"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=863"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}