By Marilyn Lester*** Although he was possibly born in August, according to some research, Louis Armstrong celebrated his birthday on July 4, the date his mother gave him. For his 124th birthday, how appropriate that a terrific new band 
just made its debut at Dizzy’s Club—The Louis Armstrong House Orchestra, led by trumpeter extraordinaire, Alphonso Horne. And to make the occasion extra special, the concert celebrated Armstrong’s seminal studio album, Louis Armstrong and His Friends, recorded in May 1970 with arrangements by the now legendary Oliver Nelson.
Armstrong passed not long after this album was made (July 6, 1971), and he doesn’t play on it due to ill health, but the legacy of it still resonates with Horne and his all-star band true to the original. From the top, with the crew entering from the rear of Dizzy’s and playing a New Orleans-style second line to the stage, it was easy to see that this night of music was going to be 
something special. This tight, in-the-pocket band swung. Horne, a charming, personable leader, cut from the Armstrong cloth of joy, also happens to be a superstar of the trumpet. His playing is not only bright and sharp as the proverbial tack—technically flawless—but more importantly, full of heart and soul.
This band’s friends were three in premiere vocalists, Georgia Heers, Catherine Russell and a relatively new star on the scene, Tyreek McDole, someone to watch. He’s not only got a beautiful, smooth baritone but that genuine feel for jazz in phrasing and swingability. Louis Armstrong and His Friends was in large part, a statement album, with tunes reflecting high themes. Such a number was an evocative “The Creator Has a Master Plan” with McDole and Heers. Heers stayed on the bandstand for the novelty song “This Black Cat Has Nine Lives” 
by Lorenzo Pack, an autobiographical tune that Armstrong switched into the set list almost at the last minute. Russell swung the standard “Ain’t Misbehavin'” with her usual gusto and master class chops.
The trio soared with John Lennon’s “Give Peace A Chance,” offering the tune as a mantra and a prayer morphing into a funky fusion of jazz and rock. Armstrong didn’t record Beatles tunes, but he appreciated their music, and said of this Lennon standard, “a gospel song if I ever heard one.” Heers thus delivered an emotion-packed “Let It Be” with guitar backing only. Also cutting to the emotional heart, was the trio’s powerful rendition of “We Shall Overcome,” which, as it became clear, was one of many tunes as relevant today as when recorded in 1970. Concert closer was a spectacular “What a Wonderful World,” a full-out, all hands version of joy, hope and Horne evoking the 
spirit of the beloved Louis.
As the musicians exited the bandstand one by one, single file toward the venue’s entrance, they not only put a button on a fabulous evening, but in the true show business ethos of “leave ’em wanting more,” certainly accomplished that goal. To Alphonso Horne and The Louis Armstrong House Orchestra, we say, come back soon! There’s so much more to celebrate about Pops!
