Contained within this essay is the opinionated analysis of two of the greatest contributors to music in America and Modern Jazz: Louis Armstrong and Billie Holiday. Both were great performers and colleagues. In the analysis an album from each artist was selected: Billie Holiday’s “Complete Decca Recordings” and Louis Armstrong’s famed “What A Wonderful World.” Each of them has quite a unique and distinguished vocal style. Armstrong, though, also plays an incredible trumpet, which had brought him to fame several decades ago.

The style used in Armstrong’s album “What A Wonderful World” is noticeably different than that of his earlier years. The album was originally recorded in 1968. Decca Records split the recording sessions between New York, New York and Las Vegas, Nevada. In this album Louis rarely plays his famed trumpet. Instead, he prefers to express all his creativity through his soft, yet scratchy vocals. Other artist such as Danny Barcelona on drums, Tyree Glenn on trombone, Joe Muranyi on clarinet, Buddy Catlett on bass and Marty Napoleon on piano were brought in to record this famous album.

The first song, “What A Wonderful World” was originally composed by George David Weiss and is a total of two minutes and sixteen seconds in length. It had become one of Armstrong’s most famous songs and dully noted it was also one of his favorites as well. The song is written in 4/4 time at about seventy-four beats per minute, a relatively slow song. A full string section accompanies Louie in the song. Also highlights of small flute and piccolo solos and some background french horns bring this song much color. However, what really stands the song out from the rest is the amount of love that he puts into this song. It seems as if this was the only song he could have ever sang or even listened to that he’d be a happy man doing either for the rest of his life.

Track two on this CD is entitled “Cabaret”. It was also composed by George David Weiss and is a total of two minutes and forty four seconds in length. Cabaret is a lot more syncopated than the prior track giving it an easy jazz feeling. It’s a very upbeat and energetic piece with a climatic ending.

Song number three, “The Home Fire”, was another song composed by George David Weiss. It is also in 4/4 time at about seventy-eight beats per minute. The basic rhythm seems to be a mix between the first two songs. It has the easier feeling of “What A Wonderful World” but with the more syncopated style of “Cabaret.” It starts off with a short clarinet solo followed by a slight call and response between the vocals and piano in the higher register. The guitar, bass and drums are all holding the beat with only the bass on every beat.

“Dream A Little Of Me” is the fourth track on the album written by a Fabian Andre. In this song, unlike the other, Louis has a small trumpet solo. Although it could not be considered one of his best solos it shows his fluidity with the instrument and his sheer control over it.

The fifth song, “Give Me Your Kisses” is one of the faster passed songs of the album. It runs around eighty beats per minute, however it’s in cut time which roughly would bring it around one hundred and sixty beats per minute. The introduction has the jazz style that was developed later by people such as Benny Motten and Count Basie, which had the ensemble playing a single melodic idea together. The idea occurs throughout the piece at select places including the outro.

“The Sunshine of Love” is the sixth song on the album and was written by Leonard Whitcup. One distinguishing factor in this song is the presence of Armstrong’s voice. Not yet heard at such a magnitude in this album, Louie brings out his voice; bringing loads of power to the song. A unique sound in this song is that of the male backup vocals. It has the distinctive sound of Paul Whitman that is strongly associated with 1930’s black and white cartoons.

“Hello Brother” is another song composed by George Weiss. As with Weiss’ other songs, Louis seems to be simply enchanted by the lyrics. He sings them as if he’s participating within them. The chimes in the background really highlight and accent Armstrong’s vocals. Towards the end is a trombone mute solo by Tyree Glenn.

The eighth song on the album is entitled “There Must Be A Way” which was composed by Sammy Gallop. It has it moments with the short solo between the trumpet and trombone (and later adding in a small clarinet voice), however, it is a disappointment compared to that of the prior songs.
Track nine is similar to the previous. Written by Bob Cates, “Fantastic, That’s You,” doesn’t have much to it. There’s a small, slow trombone solo that is merely an extension of the harmony with a string section carrying the melody through the piece and guitar, drums and bass keeping the beat.

The next song: “I Guess I’ll Get The Papers (And Go Home)” written by Hughie Price is an exciting break from the rest of the album. Armstrong starts the piece off with a unique trumpet solo that takes the melody in places it doesn’t come near venturing latter in the song. Also in the beginning of the song and the end the ensemble plays the same melodic line as describe in “Give Me You Kisses”. Although, when the melodic line is introduced again at the end of the piece Louie accompanies it with his voice.
The last song is a great ending to the album. Written by Marion Grudeff, “Hellzapoppin’” has an interesting sound and feel. It is relatively upbeat and syncopated. The beat is such that one would just want to snap their fingers on every upbeat. Louis Armstrong seems to simply have an excessive amount of fun singing these lyrics.