The extraordinary thing about Armstrong is that every song he sings seems to have been written for him. Thus we have 'Mack the Knife' which opens side one: the perfect vehicle for his gravly voice, with brass giving way to exactly appropriate lilting piano and percussion. This is the best version of the song I know. And "All of Me", well-known to Billie Holliday enthusiasts, which proves Satchmo can be as tender as the best. 'Cabaret' sacrifices the raucous vigour of the atmosphere to the philosophical strain of the lyrics. Ten years older, there is a slightly different artist at work here, more sophisticated but still in superb control. 'West End Blues' is a remarkable epitome of Satchmo's elusive style: he ranges from Dixie to Chicago without ever losing his own unique character. The liner notes claim this is a track every trumpet player tried to match him or and failed: an extravagent statement but I almost believe it. 'Back O'Town Blues', an Armstrong original built up around conventional bluesy verse with strong brass chorus lines, features the maestro at his most approachable, as he back-chats his way through with the bandleader:

'Lay it on 'em Satchmo

lay it on 'em.'

Shall I tell' em everthing?'

'Yeah you tell 'em everything'

'Ok boss —

Never mistreat your woman

Or its gonna bounce right back at you'

That ain't no stage-joke either daddy.'