Louis' work on these sides is sensational, whether on the obscure My Sweet or standard Body and Soul. The first six titles here were cut in New York by Louis and the Coconut Grove Orchestra. From July 1930, Louis was at the New Cotton Club in Culver City, California. The band included two rising jazzmen, trombonist Lawrence Brown and drummer Lionel Hampton.. I'm A Ding Dong Daddy From Dumas is a result of his West Coast stay, swinging from the outset. We have Louis' fine scat vocal, followed by magnificent playing, including a series of stupendous breaks - an inspiration to many a trumpeter. The next date produced two more classics - Confessin' with Louis' tender vocal and trumpet playing, and If I Could Be With You which contains Brown's last solo with Louis. If one record from this period epitomizes Louis' art, it's a masterpiece - Sweethearts on Parade, which Louis had recorded before. From the muted trumpet start, through the moving vocal to the audacious later playing, it's an object lesson in jazz. Just over a year later, Louis was recording in Chicago. The final title of the set would become Louis' theme song. When It's Sleepy Time Down South. The first five titles on the second CD result from a two-day session at the end of March 1931. From his opening cadenza, Louis turns Blue Again, into a small gem. In November, Louis recorded at the rate of two titles a day. Lazy River remained in Louis' repertoire from then on. In late January 1932 the band was again recording. Between The Devil And The Deep Blue Sea is another masterpiece. The final recordings of the band were in March 1932. A second version of Tiger Rag which Louis features chorus after chorus of brilliant playing. It is the only non-vocal selection. The last title, Lawd You Made the Night Too Long demonstrates Louis' ability to reshape the humdrum into something of quality. Listen to any track and you'll hear the freshness and vitality of Louis' genius shining through.