Long Gone (From The Bowlin' Green) (Rehearsal Sequence)
Louis Armstrong · Other Songs - Louis Armstrong
Not yet drummer
A bold bank robber from Bowlin' Green
Was sent to the jail house yesterday
But late last night he made his getaway
He was long gone from Kentucky
Long gone, ain't he lucky?
Long gone, what I mean
A long gone John from Bowlin' Green
Long John stood on the railroad tie
Waitin' for freight train to come by
Freight train came by puffin' and flyin'
Oughta seen long John grabbin' that blind
He was long gone from Kentucky
Long gone, ain't he lucky?
Long gone, what I mean
Long gone John from Bowlin' Green
They caught him in Frisco to seal his fate
At San Quentin they jailed him one evening late
But out on the ocean, John did escape
'Cause the guards forgot to close the Golden Gate
He was long gone from Kentucky
Long gone, ain't he lucky?
Long gone, what I mean
A long gone John from Bowlin' Green
While they offered a reward to bring him back
Even put bloodhounds on his track
Those doggone bloodhounds lost his scent
Now nobody knows where John went
He was long gone from Kentucky
Long gone, ain't he lucky?
Long gone, what I mean
A long gone John from Bowlin' Green
A gang of men tried to capture Dean
So they chased him with a submarine
Dean jumped overboard and grabbed the submarine
And made that gang catch a flyin' machine
He's long gone from Kentucky
A long gone, that boy's lucky?
A long gone, what I mean
A long gone John from Bowlin' Green
He's long gone, I said from Kentucky
Long gone, hmm that boy's lucky
Long gone, yeah he's got nothing in the head
Long gone, long gone
Long Gone (From The Bowlin' Green) (Rehearsal Sequence)
Louis Armstrong's 'Long Gone (From The Bowlin' Green)' stands as a pivotal recording in the evolution of jazz improvisation, capturing the essence of his early solo work. This rehearsal sequence showcases Armstrong's virtuosic command of the trumpet, blending ragtime rhythms with the emerging swing style that would define his career. The track highlights his ability to weave complex melodic lines over a driving beat, demonstrating the technical precision and emotional depth characteristic of his performances in the late 1920s. As a foundational piece in his discography, it reflects the collaborative spirit of the era while establishing Armstrong's individual voice as a solo artist. The recording serves as a testament to his influence on future generations of musicians, proving that his innovations extended beyond the stage into the studio.