In 1917, when the first jazz records sent shock waves through popular culture in the United States, 15-year-old Luis Russell was earning pocket money playing piano in the silent movie houses of Panama. Yankee soldiers would break into applause when he spiced up his repertoire with an American jazz tune like Panama"performed here by Jim Cullum and the Band.
Fate handed young Luis Russell the chance of a lifetime. On a lark he bought a lottery ticket and won $3,000the equivalent of about $50,000 today. His family decided that he should move north to New Orleans with his mother and sister. Already an accomplished pianist, he fell into the Crescent City jazz scene easilywith a gig at Tom Andersen's cabaret in Storyville. Soon he was on his way to Chicago to work with the great King Oliver.
By the mid-'20s the jazz scene shifted to New York, and Luis Russell made the move, landing on his feet, leading a band at a hot spot called The Nest.
A perpetually good-natured man and a snappy dresser who stood just a little over five feet tall, Luis Russell went on to become one of the most popular bandleaders in late-1920s New York. Russell knew how to hold a band together, had a good ear for arrangingand the vision for a highly individual band style. Jim Cullum says, I always admired the Luis Russell Orchestra for its great soloistseven before Armstrong joined themand especially for its own unique core sound and style."
By 1929, Russell's loose, swinging ensemble boasted such strong soloists as trombone great J.C. Higginbotham
's job away from him. The rhythm was really rompin,' man, I mean, really bouncing. And, the trumpet players were screaming softso you could hear the people's feet scraping the floor. We worked seven days a week and we loved it. It was like back home in New Orleans. Luis Russell's band was rompin' so good in 1929, we had everything around New York sewed up!"
Trumpeter Red Allen remembered,
That first week was scarythen, I learned it was the kind of band that hung out like family. It had a brotherly love thing going. It was the most swinging band in New York. It put audiences in an uproar. Russell did most of the arrangements and when you took a solothe whole band just caught fire."
After a long tour through the South with Louis Armstrong, the Luis Russell Orchestra would be hand-picked to back Armstrong on his rise to stardom. That tour was the beginning of a lifelong friendship between Russell and Armstrong that never wavered. Armstrong would remember the Luis Russell Orchestra like this,
Lew Russell's band is, without a doubt, one of the finest aggregations of swing players, all in one band, that you will ever find. When I am swinging my trumpet out in front of themI always know that however far I swing away from the music we're playingwherever the trumpet carries themthey will be right there, following closehot and sure of their rhythmand never losing their way for one second. It's just as though they could see right through my back and know what's coming nextalmost as soon as I doI was very proud 'n' happy to have played in that band every night."
1929 was a big year for the Luis Russell Orchestra. They moved into the Saratoga Club, a sprawling cabaret in Harlem that became their headquarters. A highlight of the year was a series of hit records, including one of Russell's original compositions featuring the band's star bassist, Pops Foster. They called it Jersey Lightning." In our version Dick Hyman tackles this difficult tune as an unaccompanied piano solo, we believe the first time this has ever been done.
Louis Armstrong was a rising star, and this ensemble backed him on radio dates, on the roadand for phonograph recordings. From 1935 to '43, the Luis Russell Orchestra worked with Armstrong full-timeand eventually morphed into the Louis Armstrong Orchestra.
Catherine Russell remembers her father's legacy with us, performing songs he wrote like Back O Town Blues," Slow as Molasses" and Sad Lover Blues." A highlight of the radio tribute is her performance of a piece her father recorded with Louis Armstrong in 1938, So Little Time, So Much to Do."