By ERIC STEVENS

Louis Armstrong himself would've beamed at Marcus Belgrave's January 15th program at Hampton Roads' newest venue for the arts. Graduates of the former Suffolk High School will be delighted to see their alma mater remodeled and landscaped with an art gallery on each side of the entrance.

The Detroit singer-trumpeter brought an octet-plus-singer to fete "The Father of American Popular Music and Jazz." The charming veteran plays heartwarming horn, and sings authentically like the man known as "Pops," " Satchelmouth", "Gate," "Dipper," "Satchmo," and simply "Satch."  He reminds us that the gravel-toned New Orleanian had a "lovely" sound in his upper range.

The sixteen song program got moving with "West End Blues", followed by "Blueberry Hill" (which this writer used to imitate at JMU). Hard-working right-hand-man Charlie Gabriel (reeds and vocals), a show-wise vet, tried to get the band to sway their horns side-to-side.

Vivacious Joan Bow sang Irving Berlin's under-appreciated "Cheek To Cheek," then dueted with MB, on "My Sweet Hunk' "Trash," recalling Billie Holiday.

Gabriel showed some vocal chops on the inevitable "Hello, Dolly," and the delightful "Give Me A Kiss To Build A Dream On" evoked memories. The first set closed with a stomping "ItÕ\'s Your Last Chance To Dance."

Set two opened with an eye-moistening "Sleepy Time Down South," LA's theme, followed by "Old Man Mose Is Dead," (anything BUT) featuring swinging piano work by Bill Meyer, and a show stopping bass/drum duet, a la "Big Noise From Winnetka" with Pete Siers' drumsticks all over Paul Keller's bass.

Meyer roared on "Mack The Knife" which woke up the dead. The leader's arrangements added so much all night. As a singer himself, Marcus knows that backing a singer on a slow song requires little from the horns but sustained chords, which were tastefully served up by trombonist Chris Smith and reedman Dave Flanigan. Hugh Leal's banjo lent authenticity to the Crescent City atmosphere.

Because MB had played with Ray Charles, "You Don't Know Me" was sung by Joan with probably the best of many versions of this splendid song, boosted by Meyer's Nashville-style backup.

"Wonderful World" lived up to its name, and the rousing closer was guess-what? "The Saints" with the band promenading to a roaring climax.

Mid-February presents a vocal bonanza, with Linda Lavin on Valentine's Day, Portsmouth's blues-wonder Deborah Coleman two days later, and Canadian blues-man Charlie A' Court on the 23rd. For a host of other activities, see <http://www.suffolkcenter.org/>www.SuffolkCenter.org

Pianist-singer-songwriter Eric Stevens has been entertaining locally since the 1970's.