By Hal Smith

Louis Armstrong used Russell’s musicians, including Foster, on his famous record of “Mahogany Hall

Stomp,” and the entire orchestra backed Armstrong on other classics such as “I Can’t Give You Anything

But Love,” “Rockin’ Chair,” “St. Louis Blues,” and “Song Of The Islands.” By 1935, Russell’s orchestra was

working full-time as Armstrong’s accompanying group. They recorded many sides for Decca, and

Foster’s huge tone and driving beat helped to make instant classics out of recordings like “Swing That

Music.”

Foster was fired from the Russell/Armstrong orchestra in 1940. The New Orleans Revival had not yet kicked into high gear, so Pops had to scramble for work. He took a part-time job with the New York Transit System. As the interest in older styles of jazz spread across the country, however, Foster began to get more musical work, and participated in great recording sessions with bands led by James P. Johnson, Omer Simeon, Sidney Bechet, Zutty Singleton, Art Hodes, Mezz Mezzrow and others. In 1945 he worked with Bechet and Bunk Johnson in Boston, and played Rudi Blesh’s This Is Jazz broadcasts with Wild Bill Davison, Muggsy Spanier, George Brunies, Albert Nicholas, Joe Sullivan, Ralph Sutton, Danny Barker, and Baby Dodds. He played concerts, club dates, and private parties throughout the Northeast. Foster also appeared at the 1948 Nice Jazz Festival in France with a band led by Mezz Mezzrow.

Throughout the ‘60s Foster played a variety of engagements with Muggsy Spanier, including an

appearance on Ralph Gleason’s “Jazz Casual” television program. He worked with Turk Murphy’s Jazz

Band at Earthquake McGoon’s, and played intermissions in a trio with Darnell Howard and Elmer

Snowden. Occasionally during the mid-‘60s, Foster worked with humorist/trombonist Mal Sharpe’s band

at LaVal’s in Berkeley. This group also included Darnell Howard and veteran trumpeter Amos White.

Sharpe, aware of Foster’s fondness for practical jokes, actually made the bassist a victim on a gag tape.

The recording, which also involved Howard and White, continues to induce uncontrollable laughter even

today.

To listen, click on an image below. When the audio player opens, click on the Play Button (arrow) in the top left corner of the screen.

Note: There is duplication of material between the Hines CDs listed above. Despite the fact that GNP-Crescendo 9054 and Storyville 6037 indicate different venues, all the tracks were recorded at Club Hangover. Though the GNP CD is labeled Vol. 2, there is no Vol. 1 in existence.

Note: Tracks 1-4 come from the television program described in the text, above. The remainder of the performances are piano solos by Joe Sullivan, from a different “Jazz Casual” program.

REFERENCES

Stoddard, Tom: The Autobiography of Pops Foster – New Orleans Jazzman. University of California Press, Berkeley, CA., 1971

AUTHOR'S CONVERSATIONS AND CORRESPONDENCE REGARDING POPS FOSTER