Louis Armstrong

Hot Five & Hot Seven at 100 honours the exact sessions where modern jazz first truly announced itself. Between 1925 and 1928, Louis Armstrong entered Chicago studios with the Hot Five and later the Hot Seven, cutting a series of records that permanently changed how jazz sounded, felt and was understood. What had largely been a collective ensemble music suddenly revolved around the personality and imagination of a single player. Armstrong’s trumpet tone, phrasing and sense of swing were so commanding that the structure of the music itself seemed to bend around him. A century later, these recordings still feel startlingly alive; this new edition presents them in carefully restored and newly mastered sound, inviting listeners to hear their originality with fresh ears.

The first Hot Five session, recorded on November 12, 1925, already contained the seeds of revolution. With Lil Hardin Armstrong on piano, Kid Ory on trombone, Johnny Dodds on clarinet and Johnny St. Cyr on banjo, Armstrong leads a small New Orleans‑rooted ensemble that he gradually remakes in his own image. Across the sessions collected here, you can hear him move from tightly woven collective improvisation toward extended, sculpted solos that sit front and centre. His trumpet lines leap out of the texture: rhythmically elastic yet locked into the beat, melodically daring yet always singable. Even when he steps back into the ensemble, there is no mistaking who is steering the music’s energy.

Armstrong’s vocal breakthroughs are equally crucial to the story. Scat choruses, conversational asides, playful reshaping of lyrics and timing - these sides helped redefine what a jazz singer could be, turning the voice into an improvising instrument on equal footing with the horn. That same rhythmic freedom permeates his trumpet playing, which continually pushes against bar lines and expected accents, making the music swing in a new, lighter yet more propulsive way. The later Hot Seven sessions, with expanded personnel and, eventually, the presence of Earl Hines at the piano, open up the sound even further, matching Armstrong’s inventiveness with harmonically and rhythmically richer backing.

For this centennial edition, the focus has been on presenting these recordings with as much clarity and presence as their age allows. The mastering by Michael Brändli offers an up‑to‑date perspective on the originals, reducing surface noise and highlighting detail without sacrificing their grain and period character. Armstrong’s horn sits in sharper relief, Dodds’ clarinet lines are easier to follow, Hardin’s and later Hines’s piano figures register with new definition, and the interplay of the rhythm section gains a welcome sense of depth. The result is not an attempt to modernise the music, but to let contemporary listeners experience it as vividly as possible.

Accompanying the music, the release includes postcards detailing instrumentation, personnel, recording locations and exact dates for each track, as noted in the booklet. These materials underline just how concentrated this burst of creativity was, and how many now‑legendary musicians were present at the creation. Taken together, Hot Five & Hot Seven at 100 functions both as an essential primer on early jazz and as a reminder that these “historical documents” are still, first and foremost, gripping, inventive performances. A hundred years on from that first Chicago session, the sense of discovery they carry has not dimmed.