Although unappreciated for decades by the mainstream, Louis Armstrong remains to this day the single most recognizable figurehead in jazz music. His is the face synonymous with a trumpet, the voice correlated with the historical span of the music he so passionately performed and enjoyed.

With a career as illustrious as Armstrong’s, it would be impossible to chronicle each and every event. Columbia/Legacy, however, compiled a collection of his music that is truly special. In association with Smithsonian Institution Press, the recording company has arranged a four CD set containing his earliest works from 1923 to 1934, a decisive period in both the development of jazz and life of Louis Armstrong.

Included in the package is a small, but thorough book that commemorates the life of the artist, as well as each track in the collection with an historical quip in regards to the piece, as well as the complete list of all artists performing in it.

It is quickly clear that no stone was left unturned when the makers of this collection completed the work. The selected music is rare, unabridged, and quintessential Armstrong. The CD set starts out perfectly, with one of many notables in this collection found within “Chimes Blues,” the first track on disc one, in which Armstrong’s first recorded solo can be heard.

As the tracks continue to spin, listening to this collection is like witnessing the evolution of an era with your eyes closed and your ears attentive. The selections begin in the heart of the Roaring ’20s, amid the crazed and rampant beats that befit the age. In these pieces the lyrics progress from the childish crooning of lovesick twenty-somethings to a more mature kind of sound, typical of some music during the Great Depression, where the emphasis falls on the instrumental. In this collection, however, you get the best of the best–songs like, “When It’s Sleepy Time Down South” and “I’ve Got the World on a String” on disc four, where Armstrong’s trumpeting is equal to the amazing vocal styling he produces in the pieces.

T he music, as intended, is a reflection of Armstrong’s life. Each track represents an emotion that has withstood the test of time, as heard in tracks like “(What Did I Do to Be So) Black and Blue” on disc three. Here, in both the slow, melancholy mood of the piece and Armstrong’s heartfelt vocalization of the lyrics, he shares the depressing, but truthful angle on racism, combining the lyrics such as “my only sin?is in my skin” with the drawn out notes synonymous with the blues.

On many tracks, especially those composed during the years before he created his own orchestra, Armstrong is not the vocalist, or even lead musician. This aside, it is essential to understand that these tracks were chosen for the value in Armstrong’s contribution, and not just on his expert dominance of the piece. It is in these pieces, where Armstrong’s performance may be only heard in a couple 10-second solos, that you truly hear the beginnings of a young man who will grow to become a jazz legend.

T hose in search of the rare, never before heard recordings of Armstrong, will be pleasantly surprised with this compilation, as it holds firm to its promise of supplying its listeners with the evolution of a legacy that “shines as never before.” In the collection, you are treated to Armstrong’s teaming with greats such as Fletcher Henderson, Earl Hines, Clarence Williams, and the Dorsey Brothers.

This collection, however, should not just be seen as an Armstrong fan’s “must have” collector’s item (although it deserves the consideration). As not everyone may be acquainted with his legacy, this collection is a fantastic introduction into the melodious world of jazz and that of Louis Armstrong, with the makers of this package picking Armstrong’s greatest early works for your enjoyment.

The book that accompanies the music is definitely worth a good look at as well, although those truly interested in Armstrong’s life and music should spend the time to read a more in-depth biography.