Louis Armstrong

Louis Armstrong's Greatest Hits

1967  ·  Columbia CS 9438  ·  Stereo (electronically re-channeled from mono)  ·  US  ·  LP · 33 1/3 RPM

Pressing details

LabelColumbia
Catalogue numberCS 9438
Year1967
Mono / StereoStereo (electronically re-channeled from mono)
CountryUS
FormatLP
Speed33 1/3 RPM
GenreJazz - Dixieland/Traditional Jazz
ConductorBob Mersey (Cabaret, 1966 session only)
Performer / OrchestraLouis Armstrong and the All-Stars
MusiciansLouis Armstrong (trumpet, vocals), Trummy Young (trombone), Barney Bigard (clarinet), Billy Kyle (piano), Arvell Shaw (bass), Barrett Deems (drums), Buster Bailey (clarinet), Tyree Glenn (trombone), Marty Napoleon (piano), Buddy Catlett (bass), Danny Barcelona (drums)

Matrix / Runout

Side A:  XSM116758-1G
Side B:  XSM116759-1G

Condition

Cover
NM
Vinyl
NM-

Variant chronology

1967 - Columbia 2-eye red label, Stereo (electronically re-channeled), CS 9438 <- this copy
1967 - Columbia mono issue, CL 2638 - No documented sale found for this variant
c. 1990s-2000s - Curb Records reissue, LDA33916/ACRB 77339

This Pressing

1967 US pressing - Columbia 2-eye red stereo label (CS 9438), electronically re-channeled for stereo, matched to mono CL 2638.

The Album

Assembled by Columbia in the late 1960s, this compilation gathers recordings Louis Armstrong made for the label across roughly four decades, from his 1955-56 remakes of Hot Five staples like 'West End Blues' and 'Struttin' With Some Barbecue' to his mid-1960s All-Stars concert performances. Armstrong, who had already reshaped jazz as a soloist and vocalist in the 1920s with the Hot Five and Hot Seven, spent his later career as a globally beloved entertainer, and this set captures that later persona fronting his working small group, the All-Stars. The centerpiece is 'Mack the Knife,' the Kurt Weill/Bertolt Brecht theme from 'The Threepenny Opera' that Armstrong had turned into a hit a decade earlier and which remained one of his signature vocal numbers. 'Cabaret,' recorded in 1966, shows Armstrong still mining contemporary Broadway material for his songbook late in his career. The collection blends the trumpet virtuosity that made him the music's most influential soloist with the warm, gravelly singing that made him a household name far beyond jazz circles, and it stands as an accessible summary of why Armstrong is regarded as one of the central figures in American popular music. Critically, such Armstrong compilations were valued less as artistic statements than as durable, well-loved samplers of a titan's most enduring recordings.

Tracklist

Side 1

1. A Theme From the Threepenny Opera (Mack the Knife)
2. Back O'Town Blues
3. (What Did I Do to Be So) Black and Blue
4. Ain't Misbehavin'
5. Basin Street Blues
6. Cabaret

Side 2

1. When It's Sleepytime Down South
2. All of Me
3. West End Blues
4. Struttin' With Some Barbecue
5. Indiana

The Label

The labels on this copy are the red Columbia 'walking eye' (2-eye) design with the guarantee logo top and bottom and rim text reading '"COLUMBIA", MARCAS REG. PRINTED IN U.S.A.' - the standard late-1960s domestic Columbia stereo label used from roughly 1965 through the early 1970s, with no deep groove and a plain catalog-number layout (CS 9438, no 360 Sound banner, no orange label variant). This places the pressing in the original 1967 Columbia release window for this compilation rather than any later Columbia reissue (which would carry the orange label from the mid-1970s) or the modern Curb Records reissue (different catalog number and jacket). The front cover's 'Electronically Re-Channeled for Stereo' banner and matching XSM matrix prefixes confirm this is the true-stereo-rechannel pressing paired with the mono CL 2638 release noted on the back cover.

Fidelity

This is an electronically re-channeled 'fake stereo' pressing, explicitly labeled as such on the jacket, derived from mono session tapes rather than true multitrack stereo masters. Collectors on the forums generally regard Columbia's rechanneled stereo Armstrong LPs of this era as inferior to the original true mono pressings (CL 2638), which preserve the source fidelity without the phasey, artificially widened rechannel processing. Within this title's own history there is no audiophile reissue tier to compare against, so this stereo rechannel sits below the mono original but is the only stereo option Columbia issued for this specific compilation.

Notes

1967 Columbia CS 9438 stereo pressing, electronically re-channeled from mono sources as stated on the jacket. The red 2-eye Columbia label with standard rim text and no deep groove is consistent with mid-to-late 1960s Columbia stereo pressings, matching the XSM 116758/116759 matrix prefixes on both sides. No later orange-label Columbia reissue markers or Curb Records reissue elements (different catalog number/jacket) are present, supporting an original-issue identification for this compilation.