Jazz Music
Jazz Music
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Louis Daniel Armstrong (August 4, 1901 – July 6, 1971), nicknamed Satchmo,[2] Satch, and Pops,[3] was an American trumpeter, composer, vocalist and occasional actor who was one of the most influential figures in jazz. His career spanned five decades, from the 1920s to the 1960s, and different eras in the history of jazz.[4] In 2017, he was inducted into the Rhythm & Blues Hall of Fame.
Armstrong was born and raised in New Orleans. Coming to prominence in the 1920s as an "inventive" trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance.[5] Around 1922, he followed his mentor, Joe "King" Oliver, to Chicago to play in the Creole Jazz Band. In the Windy City, he networked with other popular jazz musicians, reconnecting with his friend, Bix Beiderbecke, and made new contacts, which included Hoagy Carmichael and Lil Hardin. He earned a reputation at "cutting contests", and relocated to New York in order to join Fletcher Henderson's band.
With his instantly recognizable rich, gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also very skilled at scat singing. Armstrong is renowned for his charismatic stage presence and voice almost as much as for his trumpet playing. Armstrong's influence extends well beyond jazz, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to "cross over", that is, whose skin color became secondary to his music in an America that was extremely racially divided at the time. He rarely publicly politicized his race, often to the dismay of fellow African Americans, but took a well-publicized stand for desegregation in the Little Rock crisis. His artistry and personality allowed him access to the upper echelons of American society, then highly restricted for black men.
Armstrong was born and raised in New Orleans. Coming to prominence in the 1920s as an "inventive" trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance.[5] Around 1922, he followed his mentor, Joe "King" Oliver, to Chicago to play in the Creole Jazz Band. In the Windy City, he networked with other popular jazz musicians, reconnecting with his friend, Bix Beiderbecke, and made new contacts, which included Hoagy Carmichael and Lil Hardin. He earned a reputation at "cutting contests", and relocated to New York in order to join Fletcher Henderson's band.
With his instantly recognizable rich, gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also very skilled at scat singing. Armstrong is renowned for his charismatic stage presence and voice almost as much as for his trumpet playing. Armstrong's influence extends well beyond jazz, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to "cross over", that is, whose skin color became secondary to his music in an America that was extremely racially divided at the time. He rarely publicly politicized his race, often to the dismay of fellow African Americans, but took a well-publicized stand for desegregation in the Little Rock crisis. His artistry and personality allowed him access to the upper echelons of American society, then highly restricted for black men.
Louis Armstrong - Wikipedia
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Jazz Docu - Louis Armstrong - The Wonderful World Of Louis Armstrong
Jazz Docu - Louis Armstrong - The Wonderful World Of Louis Armstrong .......................................... Profile of Louis Armstrong, the jazz legend w...
Thank you my friend Maj Marty Hogan for making us aware that August 4 is the anniversary of the birth of American trumpeter, composer, singer and occasional actor
Louis Daniel Armstrong who was one of the most influential figures in jazz.
Rest in peace Louis "Satchmo" Armstrong!
Jazz Docu - Louis Armstrong - The Wonderful World Of Louis Armstrong
"Profile of Louis Armstrong, the jazz legend whose glittering career included the hits What a Wonderful World and the James Bond theme We Have All the Time in the World.
Aside from his astonishing musical success, Armstrong also found time to appear in films and act as a global ambassador. Tributes and anecdotes are given by the likes of Max Roach, George Melly, Dave Brubeck and Humphrey Lyttelton."
https://www.youtube.com/watch?v=Anq3MPSVFV0
Images:
1. 1918 Louis Armstrong and Kid Ory
2. Louis Armstrong Elementary School picture
3. Louis Armstrong with his fourth and final wife Lucille Wilson [1942-1971]
4. Louis Armstrong and His Hot Five, 1926
Biographies:
1. imdb.com/name/nm0001918/bio
2. pbs.org/wnet/americanmasters/louis-armstrong-about-louis-armstrong
1. Background from {[https://www.imdb.com/name/nm0001918/bio]}
"Biography Louis Daniel Armstrong
Overview
Born August 4, 1901 in New Orleans, Louisiana, USA
Died July 6, 1971 in New York City, New York, USA (heart attack)
Birth Name Louis Daniel Armstrong
Nicknames The King of the Jazz Trumpet; Satchmo; Pops
Height 5' 6" (1.68 m)
Mini Bio
Louis Armstrong grew up poor in a single-parent household. He was 13 when he celebrated the New Year by running out on the street and firing a pistol that belonged to the current man in his mother's life. At the Colored Waifs Home for Boys, he learned to play the bugle and the clarinet and joined the home's brass band. They played at socials, picnics and funerals for a small fee. At 18 he got a job in the Kid Ory Band in New Orleans. Four years later, in 1922, he went to Chicago, where he played second coronet in the Creole Jazz Band. He made his first recordings with that band in 1923. In 1929 Armstrong appeared on Broadway in "Hot Chocolates", in which he introduced Fats Waller's "Ain't Misbehavin', his first popular song hit. He made a tour of Europe in 1932. During a command performance for King George V, he forgot he had been told that performers were not to refer to members of the royal family while playing for them. Just before picking up his trumpet for a really hot number, he announced: "This one's for you, Rex."
- IMDb Mini Biography By: Dale O'Connor < [login to see] .net>
Spouse (4)
Lucille Wilson (12 October 1942 - 6 July 1971) ( his death)
Alpha Smith (11 October 1938 - 1942) ( divorced)
Lil Armstrong (4 February 1924 - 1938) ( divorced)
Daisy Parker (19 March 1918 - 18 December 1923) ( divorced)
Trade Mark (1)
Distinctive gravelly singing voice
Trivia (21)
1. Satchmo became Armstrong's nickname after his 1932 Grand Tour of Europe. A London music magazine editor wrote "Satchmo" in an article -- probably because he could not read his garbled notes. Up until that time, Armstrong's nickname was Satchelmouth.
2. Pictured on a 32¢ US commemorative postage stamp in the Legends of American Music series, issued 1 September 1995.
3. Posthumously inducted into the Rock and Roll Hall of Fame (1990) (under the category Early Influence).
4. Posthumously inducted into the Big Band and Jazz Hall of Fame (1978) (charter member).
5. He was nicknamed "Pops" because that is the name he addressed everyone by. Later on in his career, he picked up the sobriquet "America's Jazz Ambassador" because of his frequent jazz concerts around the world.
6. For most of his life, Louis Armstrong always gave July 4, 1900, as his birthdate, possibly because it was easy to remember. In all likelihood, he probably believed it himself. It wasn't until many years after his death that a birth record was found confirming the correct date as August 4, 1901.
7. Although his career as a recording artist dates back to the 1920s, when he made now-classic recordings with Joe 'King' Oliver, Bessie Smith and the legendary Jimmie Rodgers, as well as his own Hot Five and Hot Seven groups, his biggest hits as a recording artist came comparatively late in his life: "Mack the Knife" (1956), "Hello, Dolly!" (a #1 hit in 1964), "What a Wonderful World" (1968) and "We Have All the Time in the World" (over 20 years after his death).
8. Interestingly enough, Armstrong had never heard of either the song or show "Hello, Dolly!" when he recorded it. To him, it was just the lead song on an album of show tunes, and he was more surprised than anyone when both the single and the album (Kapp 1964) went to #1 on the Billboard charts. What makes this accomplishment all the more remarkable is that it happened at the height of the so-called "British Invasion", when The Beatles and other British rock groups seemed to be dominating every aspect of the pop music charts. Armstrong later repeated his hit in the show's film version (Hello, Dolly!(1969)), singing it to Barbra Streisand.
9. Although the term didn't exist during his lifetime, there is much evidence to indicate that he may have been bulemic. He believed that it didn't matter what you ate, as long as you purged yourself regularly afterwards. He would do that with the help of an herbal laxative called Swiss Kriss, and even handed out mimeographed sheets on his diet regimen to friends. In all probability, this contributed to the health problems he suffered in the last years of his life.
10. Refused to go a State Department-sponsored concert tour of the Soviet Union in 1959 because he felt the administration of President Dwight D. Eisenhower wasn't doing enough to promote civil rights legislation.
11. Embittered by the treatment of blacks in his hometown of New Orleans, he chose to be buried in New York City.
12. The slang terms "cat" meaning a man about town and "chops" meaning a musician's playing ability were first coined by him.
13. Louis Armstrong passed away on July 6, 1971, a month away from what would have been his 70th birthday on August 4.
14. He was awarded a Star on the Hollywood Walk of Fame for Recording at 7018 Hollywood Boulevard in Hollywood, California on February 8, 1960.
15. Doc Louis, the trainer character in the boxing video game Mike Tyson's Punch-Out!!(1987), is based on his likeness.
16. When he died, his home was in the Corona section of Queens County, New York City. Today, it remains a museum where fans can check out his residence and its belongings as a citizen of New York City.
17. He was laid to rest at the Flushing Cemetery, Section 9 in Flushing, Queens, New York City not too far from his home in Corona, Queens. His tombstone is a red granite, emblazoned simply "Satchmo" Louis Armstrong with a beautiful white trumpet figure laden on top. Buried with him is his last of four wives, Lucille Armstrong who died in 1983.
18. On June 26, 1950, he recorded the American version of the French songs "La Vie en rose" and "C'est si bon". "La Vie en rose" was written by Louiguy (music) and Édith Piaf (lyrics) in 1946 and "C'est si bon" was written by Henri Betti (music) and André Hornez (lyrics) in 1947. The English lyrics of "La Vie en rose" were written by Mack David and the English lyrics of "C'est si bon" were written by Jerry Seelen. The recording took place in New York with Sy Oliver and his Orchestra.
19. Was good friends with Ella Fitzgerald.
20. Posthumously inducted into the Louisiana Music Hall of Fame (2007).
21. Posthumously inducted into the Long Island Hall of Fame (2008).
Personal Quotes (7)
1. I never tried to prove nothing, just wanted to give a good show. My life has always been my music, it's always come first, but the music ain't worth nothing if you can't lay it on the public. The main thing is to live for that audience, 'cause what you're there for is to please the people.
2. All music is folk music. I ain't never heard no horse sing a song.
3. What is jazz? Man, if you have to ask you'll never know.
4. There's some folks, that, if they don't know, you can't tell 'em.
5. If it wasn't for jazz, there wouldn't be no rock and roll.
6. [on being asked about his #1 song "Hello Dolly"] It sure feels good to be up there with [The Beatles].
7. A lotta cats copy the Mona Lisa, but people still line up to see the original.
2. Background from {[https://www.pbs.org/wnet/americanmasters/louis-armstrong-about-louis-armstrong/528/]}
"Satchmo: The Life of Louis Armstrong-Louis Armstrong Biography
July 6, 2005
Louis Armstrong is jazz. He represents what the music is all about.” — Wynton Marsalis
From a New Orleans boys’ home to Hollywood, Carnegie Hall, and television, the tale of Louis Armstrong’s life and triumphant six-decade career epitomizes the American success story. His trumpet playing revolutionized the world of music, and he became one of our century’s most recognized and best loved entertainers. Now, thirty years after his death, Armstrong’s work as an instrumentalist and vocalist continue to have a profound impact on American music. As a black man living and working in a segregated society, he symbolized the civil rights struggle that was part of the changing America in which he lived.
Born in New Orleans on August 4, 1901, Louis “Satchmo” Armstrong was heir to the poverty suffered by Southern blacks at the turn of the century. At the age of eleven, Armstrong began to develop an interest in music, harmonizing on street corners and playing a toy horn. Arrested for disturbing the peace, on New Year’s Eve, 1913, he was remanded to the New Orleans Colored Waif’s Home for Boys. In and out of the home throughout his teenage years, Armstrong was taken under the wing of Peter Davis, who taught music there. Under Davis’s tutelage, Armstrong joined a band, and his talent blossomed. He left the Waif’s Home in 1914, and began to play the cornet around New Orleans. In 1921, at the invitation of the great cornetist Joe “King” Oliver, Armstrong moved to Chicago.
In the 1920s, Armstrong performed with a number of different musical groups, and began to revolutionize the jazz world with his introduction of the extended solo. Prior to his arrival, jazz music was played either in highly orchestrated arrangements or in a more loosely structured “Dixieland”-type ensemble in which no one musician soloed for any extended period. Musicians everywhere soon began to imitate his style, and Armstrong himself became a star attraction. His popularity was phenomenal, and throughout the 1920s he was one of the most sought-after musicians in both New York and Chicago. Armstrong’s HOT FIVE and HOT SEVEN recordings remain to this day some of the best loved of the time.
Throughout the 1930s and 1940s Armstrong maintained one of the most grueling continual tours of all time. He began playing with the large bands that were popular at the time, but soon realized that his style was better suited to a smaller ensemble. With the help of manager, Joe Glaser, he formed Louis Armstrong and His All Stars. The band, which had a rotating cast of “all stars,” first included Jack Teagarden, Barney Bigard, Earl Hines, and Big Sid Catlett. Though many believed the 40s marked the beginning of a decline of Armstrong’s playing, the recordings bear out his continued technical proficiency, spirited interpretations, and the depth and soul of his playing during these years.
The 1950s proved to be a regeneration for Armstrong as both a musician and a public figure. Though he had been singing since his early days in Chicago, it was not until the 1950s that audiences recognized his remarkable skill as a singer as well. His rough and throaty voice became, almost instantly, the internationally recognized voice of jazz itself. His 1956 recording with Ella Fitzgerald of George Gershwin’s “Porgy and Bess” was one of the most popular and best loved duets of the 1950s. For many, his “scat” singing was the perfection of a genre just then in its infancy. With his increasing fame, however, came the criticism of a black community that felt he was not living up to the responsibilities of the times. The late fifties brought with them the civil rights movement, and many blacks saw Armstrong as an “uncle tom,” playing for primarily white audiences around the world. Though adamant that these claims were unjust, Armstrong was then in his sixties and primarily concerned with continuing to travel and perform.
Armstrong spent the final decade of his life in the same way that he had spent the four previous — entertaining audiences throughout the world. In 1971, he died of a heart attack in New York City. Though the history of jazz is filled with many exceptional and innovative musicians, it is hard to find any one who has had as profound an influence on the movement as Louis Armstrong. Armstrong’s legacy is more than simply his virtuoso trumpet playing (for which nearly every trumpet player since seems indebted), but his great formal innovations as well. His commitment to the search for new forms in jazz and his continued heartfelt performances will remain a major symbol not only of the musical life, but of the entire cultural life of 20th-century America."
FYI SGT James MurphySFC Francisco RosarioLCpl Donald Faucett MSgt David HoffmanSgt (Join to see)SFC (Join to see)cmsgt-rickey-denickeSGT Forrest FitzrandolphLTC (Join to see)SGT Steve McFarlandCol Carl Whicker]SGT Mark Anderson COL Mikel J. Burroughs SPC Nancy Greene SPC Margaret Higgins SPC Woody Bullard SGT Denny Espinosa
Louis Daniel Armstrong who was one of the most influential figures in jazz.
Rest in peace Louis "Satchmo" Armstrong!
Jazz Docu - Louis Armstrong - The Wonderful World Of Louis Armstrong
"Profile of Louis Armstrong, the jazz legend whose glittering career included the hits What a Wonderful World and the James Bond theme We Have All the Time in the World.
Aside from his astonishing musical success, Armstrong also found time to appear in films and act as a global ambassador. Tributes and anecdotes are given by the likes of Max Roach, George Melly, Dave Brubeck and Humphrey Lyttelton."
https://www.youtube.com/watch?v=Anq3MPSVFV0
Images:
1. 1918 Louis Armstrong and Kid Ory
2. Louis Armstrong Elementary School picture
3. Louis Armstrong with his fourth and final wife Lucille Wilson [1942-1971]
4. Louis Armstrong and His Hot Five, 1926
Biographies:
1. imdb.com/name/nm0001918/bio
2. pbs.org/wnet/americanmasters/louis-armstrong-about-louis-armstrong
1. Background from {[https://www.imdb.com/name/nm0001918/bio]}
"Biography Louis Daniel Armstrong
Overview
Born August 4, 1901 in New Orleans, Louisiana, USA
Died July 6, 1971 in New York City, New York, USA (heart attack)
Birth Name Louis Daniel Armstrong
Nicknames The King of the Jazz Trumpet; Satchmo; Pops
Height 5' 6" (1.68 m)
Mini Bio
Louis Armstrong grew up poor in a single-parent household. He was 13 when he celebrated the New Year by running out on the street and firing a pistol that belonged to the current man in his mother's life. At the Colored Waifs Home for Boys, he learned to play the bugle and the clarinet and joined the home's brass band. They played at socials, picnics and funerals for a small fee. At 18 he got a job in the Kid Ory Band in New Orleans. Four years later, in 1922, he went to Chicago, where he played second coronet in the Creole Jazz Band. He made his first recordings with that band in 1923. In 1929 Armstrong appeared on Broadway in "Hot Chocolates", in which he introduced Fats Waller's "Ain't Misbehavin', his first popular song hit. He made a tour of Europe in 1932. During a command performance for King George V, he forgot he had been told that performers were not to refer to members of the royal family while playing for them. Just before picking up his trumpet for a really hot number, he announced: "This one's for you, Rex."
- IMDb Mini Biography By: Dale O'Connor < [login to see] .net>
Spouse (4)
Lucille Wilson (12 October 1942 - 6 July 1971) ( his death)
Alpha Smith (11 October 1938 - 1942) ( divorced)
Lil Armstrong (4 February 1924 - 1938) ( divorced)
Daisy Parker (19 March 1918 - 18 December 1923) ( divorced)
Trade Mark (1)
Distinctive gravelly singing voice
Trivia (21)
1. Satchmo became Armstrong's nickname after his 1932 Grand Tour of Europe. A London music magazine editor wrote "Satchmo" in an article -- probably because he could not read his garbled notes. Up until that time, Armstrong's nickname was Satchelmouth.
2. Pictured on a 32¢ US commemorative postage stamp in the Legends of American Music series, issued 1 September 1995.
3. Posthumously inducted into the Rock and Roll Hall of Fame (1990) (under the category Early Influence).
4. Posthumously inducted into the Big Band and Jazz Hall of Fame (1978) (charter member).
5. He was nicknamed "Pops" because that is the name he addressed everyone by. Later on in his career, he picked up the sobriquet "America's Jazz Ambassador" because of his frequent jazz concerts around the world.
6. For most of his life, Louis Armstrong always gave July 4, 1900, as his birthdate, possibly because it was easy to remember. In all likelihood, he probably believed it himself. It wasn't until many years after his death that a birth record was found confirming the correct date as August 4, 1901.
7. Although his career as a recording artist dates back to the 1920s, when he made now-classic recordings with Joe 'King' Oliver, Bessie Smith and the legendary Jimmie Rodgers, as well as his own Hot Five and Hot Seven groups, his biggest hits as a recording artist came comparatively late in his life: "Mack the Knife" (1956), "Hello, Dolly!" (a #1 hit in 1964), "What a Wonderful World" (1968) and "We Have All the Time in the World" (over 20 years after his death).
8. Interestingly enough, Armstrong had never heard of either the song or show "Hello, Dolly!" when he recorded it. To him, it was just the lead song on an album of show tunes, and he was more surprised than anyone when both the single and the album (Kapp 1964) went to #1 on the Billboard charts. What makes this accomplishment all the more remarkable is that it happened at the height of the so-called "British Invasion", when The Beatles and other British rock groups seemed to be dominating every aspect of the pop music charts. Armstrong later repeated his hit in the show's film version (Hello, Dolly!(1969)), singing it to Barbra Streisand.
9. Although the term didn't exist during his lifetime, there is much evidence to indicate that he may have been bulemic. He believed that it didn't matter what you ate, as long as you purged yourself regularly afterwards. He would do that with the help of an herbal laxative called Swiss Kriss, and even handed out mimeographed sheets on his diet regimen to friends. In all probability, this contributed to the health problems he suffered in the last years of his life.
10. Refused to go a State Department-sponsored concert tour of the Soviet Union in 1959 because he felt the administration of President Dwight D. Eisenhower wasn't doing enough to promote civil rights legislation.
11. Embittered by the treatment of blacks in his hometown of New Orleans, he chose to be buried in New York City.
12. The slang terms "cat" meaning a man about town and "chops" meaning a musician's playing ability were first coined by him.
13. Louis Armstrong passed away on July 6, 1971, a month away from what would have been his 70th birthday on August 4.
14. He was awarded a Star on the Hollywood Walk of Fame for Recording at 7018 Hollywood Boulevard in Hollywood, California on February 8, 1960.
15. Doc Louis, the trainer character in the boxing video game Mike Tyson's Punch-Out!!(1987), is based on his likeness.
16. When he died, his home was in the Corona section of Queens County, New York City. Today, it remains a museum where fans can check out his residence and its belongings as a citizen of New York City.
17. He was laid to rest at the Flushing Cemetery, Section 9 in Flushing, Queens, New York City not too far from his home in Corona, Queens. His tombstone is a red granite, emblazoned simply "Satchmo" Louis Armstrong with a beautiful white trumpet figure laden on top. Buried with him is his last of four wives, Lucille Armstrong who died in 1983.
18. On June 26, 1950, he recorded the American version of the French songs "La Vie en rose" and "C'est si bon". "La Vie en rose" was written by Louiguy (music) and Édith Piaf (lyrics) in 1946 and "C'est si bon" was written by Henri Betti (music) and André Hornez (lyrics) in 1947. The English lyrics of "La Vie en rose" were written by Mack David and the English lyrics of "C'est si bon" were written by Jerry Seelen. The recording took place in New York with Sy Oliver and his Orchestra.
19. Was good friends with Ella Fitzgerald.
20. Posthumously inducted into the Louisiana Music Hall of Fame (2007).
21. Posthumously inducted into the Long Island Hall of Fame (2008).
Personal Quotes (7)
1. I never tried to prove nothing, just wanted to give a good show. My life has always been my music, it's always come first, but the music ain't worth nothing if you can't lay it on the public. The main thing is to live for that audience, 'cause what you're there for is to please the people.
2. All music is folk music. I ain't never heard no horse sing a song.
3. What is jazz? Man, if you have to ask you'll never know.
4. There's some folks, that, if they don't know, you can't tell 'em.
5. If it wasn't for jazz, there wouldn't be no rock and roll.
6. [on being asked about his #1 song "Hello Dolly"] It sure feels good to be up there with [The Beatles].
7. A lotta cats copy the Mona Lisa, but people still line up to see the original.
2. Background from {[https://www.pbs.org/wnet/americanmasters/louis-armstrong-about-louis-armstrong/528/]}
"Satchmo: The Life of Louis Armstrong-Louis Armstrong Biography
July 6, 2005
Louis Armstrong is jazz. He represents what the music is all about.” — Wynton Marsalis
From a New Orleans boys’ home to Hollywood, Carnegie Hall, and television, the tale of Louis Armstrong’s life and triumphant six-decade career epitomizes the American success story. His trumpet playing revolutionized the world of music, and he became one of our century’s most recognized and best loved entertainers. Now, thirty years after his death, Armstrong’s work as an instrumentalist and vocalist continue to have a profound impact on American music. As a black man living and working in a segregated society, he symbolized the civil rights struggle that was part of the changing America in which he lived.
Born in New Orleans on August 4, 1901, Louis “Satchmo” Armstrong was heir to the poverty suffered by Southern blacks at the turn of the century. At the age of eleven, Armstrong began to develop an interest in music, harmonizing on street corners and playing a toy horn. Arrested for disturbing the peace, on New Year’s Eve, 1913, he was remanded to the New Orleans Colored Waif’s Home for Boys. In and out of the home throughout his teenage years, Armstrong was taken under the wing of Peter Davis, who taught music there. Under Davis’s tutelage, Armstrong joined a band, and his talent blossomed. He left the Waif’s Home in 1914, and began to play the cornet around New Orleans. In 1921, at the invitation of the great cornetist Joe “King” Oliver, Armstrong moved to Chicago.
In the 1920s, Armstrong performed with a number of different musical groups, and began to revolutionize the jazz world with his introduction of the extended solo. Prior to his arrival, jazz music was played either in highly orchestrated arrangements or in a more loosely structured “Dixieland”-type ensemble in which no one musician soloed for any extended period. Musicians everywhere soon began to imitate his style, and Armstrong himself became a star attraction. His popularity was phenomenal, and throughout the 1920s he was one of the most sought-after musicians in both New York and Chicago. Armstrong’s HOT FIVE and HOT SEVEN recordings remain to this day some of the best loved of the time.
Throughout the 1930s and 1940s Armstrong maintained one of the most grueling continual tours of all time. He began playing with the large bands that were popular at the time, but soon realized that his style was better suited to a smaller ensemble. With the help of manager, Joe Glaser, he formed Louis Armstrong and His All Stars. The band, which had a rotating cast of “all stars,” first included Jack Teagarden, Barney Bigard, Earl Hines, and Big Sid Catlett. Though many believed the 40s marked the beginning of a decline of Armstrong’s playing, the recordings bear out his continued technical proficiency, spirited interpretations, and the depth and soul of his playing during these years.
The 1950s proved to be a regeneration for Armstrong as both a musician and a public figure. Though he had been singing since his early days in Chicago, it was not until the 1950s that audiences recognized his remarkable skill as a singer as well. His rough and throaty voice became, almost instantly, the internationally recognized voice of jazz itself. His 1956 recording with Ella Fitzgerald of George Gershwin’s “Porgy and Bess” was one of the most popular and best loved duets of the 1950s. For many, his “scat” singing was the perfection of a genre just then in its infancy. With his increasing fame, however, came the criticism of a black community that felt he was not living up to the responsibilities of the times. The late fifties brought with them the civil rights movement, and many blacks saw Armstrong as an “uncle tom,” playing for primarily white audiences around the world. Though adamant that these claims were unjust, Armstrong was then in his sixties and primarily concerned with continuing to travel and perform.
Armstrong spent the final decade of his life in the same way that he had spent the four previous — entertaining audiences throughout the world. In 1971, he died of a heart attack in New York City. Though the history of jazz is filled with many exceptional and innovative musicians, it is hard to find any one who has had as profound an influence on the movement as Louis Armstrong. Armstrong’s legacy is more than simply his virtuoso trumpet playing (for which nearly every trumpet player since seems indebted), but his great formal innovations as well. His commitment to the search for new forms in jazz and his continued heartfelt performances will remain a major symbol not only of the musical life, but of the entire cultural life of 20th-century America."
FYI SGT James MurphySFC Francisco RosarioLCpl Donald Faucett MSgt David HoffmanSgt (Join to see)SFC (Join to see)cmsgt-rickey-denickeSGT Forrest FitzrandolphLTC (Join to see)SGT Steve McFarlandCol Carl Whicker]SGT Mark Anderson COL Mikel J. Burroughs SPC Nancy Greene SPC Margaret Higgins SPC Woody Bullard SGT Denny Espinosa
(8)
(0)
LTC Stephen F.
Converted from an old VHS tape. Please excuse the less than stellar quality.
Louis Armstrong documentary
https://www.youtube.com/watch?v=WPspHmFoEYs
Images:
1. Louis Armstrong entertains a young fan backstage.
2. Louis as a teenager in New Orleans with his mother Mayann and sister Beatrice
3. Louis Armstrong on the steps of his home in Corona, Queens, sharing a few trumpet licks with the kids in the neighborhood.
Background from {[ https://www.allmusic.com/artist/louis-armstrong-mn [login to see] /biography]}
Artist Biography by William Ruhlmann
A jazz pioneer, Louis Armstrong was the first important soloist to emerge in jazz, and he became the most influential musician in the music's history. As a trumpet virtuoso, his playing, beginning with the 1920s studio recordings he made with his Hot Five and Hot Seven ensembles, charted a future for jazz in highly imaginative, emotionally charged improvisation. For this, he is revered by jazz fans. But Armstrong also became an enduring figure in popular music due to his distinctively phrased baritone singing and engaging personality, which were on display in a series of vocal recordings and film roles. He weathered the bebop period of the '40s, growing ever more beloved worldwide. By the '50s, Armstrong was widely recognized, even traveling the globe for the US. .State Department and earning the nickname "Ambassador Satch." His resurgence in the '60s with hit recordings like 1965's Grammy-winning "Hello Dolly" and 1968's classic "What a Wonderful World" solidified his legacy as a musical and cultural icon. In 1972, a year after his death, he received a Grammy Lifetime Achievement Award. Similarly, many of his most influential recordings, like 1928's "West End Blues" and 1955's "Mack the Knife," have been inducted into the Grammy Hall of Fame.
Born in 1901 in New Orleans, Louisiana, Armstrong had a difficult childhood. William Armstrong, his father, was a factory worker who abandoned the family soon after the boy's birth. Armstrong was brought up by his mother, Mary (Albert) Armstrong, and his maternal grandmother. He showed an early interest in music, and a junk dealer for whom he worked as a grade-school student helped him buy a cornet, which he taught himself to play. He dropped out of school at 11 to join an informal group, but on December 31, 1912, he fired a gun during a New Year's Eve celebration, and was sent to reform school. He studied music there and played cornet and bugle in the school band, eventually becoming its leader. He was released on June 16, 1914, and did manual labor while trying to establish himself as a musician. He was taken under the wing of cornetist Joe "King" Oliver, and when Oliver moved to Chicago in June 1918, Armstrong replaced him in the Kid Ory Band. He moved to the Fate Marable band in the spring of 1919, staying with Marable until the fall of 1921.
Armstrong moved to Chicago to join Oliver's band in August 1922 and made his first recordings as a member of the group in the spring of 1923. He married Lillian Harden, the pianist in the Oliver band, on February 5, 1924. (She was the second of his four wives.) With her encouragement, he left Oliver and joined Fletcher Henderson's band in New York, staying for a year and then going back to Chicago in November 1925 to join the Dreamland Syncopators, his wife's group. During this period, he switched from cornet to trumpet.
Armstrong had gained sufficient individual notice to make his recording debut as a leader on November 12, 1925. Contracted to OKeh Records, he began to make a series of recordings with studio-only groups called the Hot Fives or the Hot Sevens. For live dates, he appeared with the orchestras led by Erskine Tate and Carroll Dickerson. The Hot Fives' recording of "Muskrat Ramble" gave Armstrong a Top Ten hit in July 1926, the band for the track featuring Kid Ory on trombone, Johnny Dodds on clarinet, Lillian Harden Armstrong on piano, and Johnny St. Cyr on banjo.
By February 1927, Armstrong was well-enough known to front his own group, Louis Armstrong & His Stompers, at the Sunset Café in Chicago. (Armstrong did not function as a bandleader in the usual sense, but instead typically lent his name to established groups.) In April, he reached the charts with his first vocal recording, "Big Butter and Egg Man," a duet with May Alix. He took a position as star soloist in Carroll Dickerson's band at the Savoy Ballroom in Chicago in March 1928, later taking over as the band's frontman. "Hotter Than That" was in the Top Ten in May 1928, followed in September by "West End Blues," which later became one of the first recordings named to the Grammy Hall of Fame.
Armstrong returned to New York with his band for an engagement at Connie's Inn in Harlem in May 1929. He also began appearing in the orchestra of Hot Chocolates, a Broadway revue, and was given a featured spot singing "Ain't Misbehavin'." In September, his recording of that song entered the charts, becoming a Top Ten hit.
Armstrong fronted the Luis Russell Orchestra for a tour of the South in February 1930, and in May went to Los Angeles, where he led a band at Sebastian's Cotton Club for the next ten months. He made his film debut in Ex-Flame, released at the end of 1931. By the start of 1932, he had switched from the "race"-oriented OKeh label to its pop-oriented big sister Columbia, for which he recorded two Top Five hits, "Chinatown, My Chinatown" and "You Can Depend on Me" before scoring a number one hit with "All of Me" in March 1932; another Top Five hit, "Love, You Funny Thing," hit the charts the same month. He returned to Chicago in the spring of 1932 to front a band led by Zilner Randolph; the group toured around the country. In July, Armstrong sailed to England for a tour. He spent the next several years in Europe, his American career maintained by a series of archival recordings, including the Top Ten hits "Sweethearts on Parade" (August 1932; recorded December 1930) and "Body and Soul" (October 1932; recorded October 1930). His Top Ten version of "Hobo, You Can't Ride This Train," in the charts in early 1933, was on Victor Records; when he returned to the U.S. in 1935, he signed to the recently formed Decca Records and quickly scored a double-sided Top Ten hit, "I'm in the Mood for Love"/"You Are My Lucky Star."
Armstrong's new manager, Joe Glaser, organized a big band for him that had its premiere in Indianapolis on July 1, 1935; for the next several years, he toured regularly. He also took a series of small parts in motion pictures, beginning with Pennies from Heaven in December 1936, and he continued to record for Decca, resulting in the Top Ten hits "Public Melody Number One" (August 1937), "When the Saints Go Marching In" (April 1939), and "You Won't Be Satisfied (Until You Break My Heart)" (April 1946), the last a duet with Ella Fitzgerald. He returned to Broadway in the short-lived musical Swingin' the Dream in November 1939.
With the decline of swing music in the post-World War II years, Armstrong broke up his big band and put together a small group dubbed His All-Stars, which made its debut in Los Angeles on August 13, 1947. He embarked on his first European tour since 1935 in February 1948, and thereafter toured regularly around the world. In June 1951 he reached the Top Ten of the LP charts with Satchmo at Symphony Hall ("Satchmo" being his nickname), and he scored his first Top Ten single in five years with "(When We Are Dancing) I Get Ideas" later in the year. The single's B-side, and also a chart entry, was "A Kiss to Build a Dream On," sung by Armstrong in the film The Strip. In 1993, it gained renewed popularity when it was used in the film Sleepless in Seattle.
Armstrong completed his contract with Decca in 1954, after which his manager made the unusual decision not to sign him to another exclusive contract but instead have him freelance for different labels. Satch Plays Fats, a tribute to Fats Waller, became a Top Ten LP for Columbia in October 1955, and Verve Records contracted Armstrong for a series of recordings with Ella Fitzgerald, beginning with the chart LP Ella and Louis in 1956.
Armstrong continued to tour extensively, despite a heart attack in June 1959. In 1964, he scored a surprise hit with his recording of the title song from the Broadway musical Hello, Dolly!, which reached number one in May, followed by a gold-selling album of the same name. It won him a Grammy for best vocal performance. This pop success was repeated internationally four years later with "What a Wonderful World," which hit number one in the U.K. in April 1968. It did not gain as much notice in the U.S. until 1987, when it was used in the film Good Morning, Vietnam, after which it became a Top 40 hit. Armstrong was featured in the 1969 film of Hello, Dolly!, performing the title song as a duet with Barbra Streisand. He performed less frequently in the late '60s and early '70s, and died of a heart ailment in 1971 at the age of 69. A year later, he was honored with a Grammy Lifetime Achievement Award.
As an artist, Armstrong was embraced by two distinctly different audiences: jazz fans who revered him for his early innovations as an instrumentalist but were occasionally embarrassed by his lack of interest in later developments in jazz, especially his willingness to serve as a light entertainer; and pop fans, who delighted in his joyous performances, particularly as a vocalist, but were largely unaware of his significance as a jazz musician. Given his popularity, his long career, and the extensive label-jumping he did in his later years, as well as the differing jazz and pop sides of his work, his recordings are extensive and diverse, with parts of his catalog owned by numerous companies. But many of his recorded performances are masterpieces, and none are less than entertaining."
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https://www.youtube.com/watch?v=WPspHmFoEYs
Images:
1. Louis Armstrong entertains a young fan backstage.
2. Louis as a teenager in New Orleans with his mother Mayann and sister Beatrice
3. Louis Armstrong on the steps of his home in Corona, Queens, sharing a few trumpet licks with the kids in the neighborhood.
Background from {[ https://www.allmusic.com/artist/louis-armstrong-mn [login to see] /biography]}
Artist Biography by William Ruhlmann
A jazz pioneer, Louis Armstrong was the first important soloist to emerge in jazz, and he became the most influential musician in the music's history. As a trumpet virtuoso, his playing, beginning with the 1920s studio recordings he made with his Hot Five and Hot Seven ensembles, charted a future for jazz in highly imaginative, emotionally charged improvisation. For this, he is revered by jazz fans. But Armstrong also became an enduring figure in popular music due to his distinctively phrased baritone singing and engaging personality, which were on display in a series of vocal recordings and film roles. He weathered the bebop period of the '40s, growing ever more beloved worldwide. By the '50s, Armstrong was widely recognized, even traveling the globe for the US. .State Department and earning the nickname "Ambassador Satch." His resurgence in the '60s with hit recordings like 1965's Grammy-winning "Hello Dolly" and 1968's classic "What a Wonderful World" solidified his legacy as a musical and cultural icon. In 1972, a year after his death, he received a Grammy Lifetime Achievement Award. Similarly, many of his most influential recordings, like 1928's "West End Blues" and 1955's "Mack the Knife," have been inducted into the Grammy Hall of Fame.
Born in 1901 in New Orleans, Louisiana, Armstrong had a difficult childhood. William Armstrong, his father, was a factory worker who abandoned the family soon after the boy's birth. Armstrong was brought up by his mother, Mary (Albert) Armstrong, and his maternal grandmother. He showed an early interest in music, and a junk dealer for whom he worked as a grade-school student helped him buy a cornet, which he taught himself to play. He dropped out of school at 11 to join an informal group, but on December 31, 1912, he fired a gun during a New Year's Eve celebration, and was sent to reform school. He studied music there and played cornet and bugle in the school band, eventually becoming its leader. He was released on June 16, 1914, and did manual labor while trying to establish himself as a musician. He was taken under the wing of cornetist Joe "King" Oliver, and when Oliver moved to Chicago in June 1918, Armstrong replaced him in the Kid Ory Band. He moved to the Fate Marable band in the spring of 1919, staying with Marable until the fall of 1921.
Armstrong moved to Chicago to join Oliver's band in August 1922 and made his first recordings as a member of the group in the spring of 1923. He married Lillian Harden, the pianist in the Oliver band, on February 5, 1924. (She was the second of his four wives.) With her encouragement, he left Oliver and joined Fletcher Henderson's band in New York, staying for a year and then going back to Chicago in November 1925 to join the Dreamland Syncopators, his wife's group. During this period, he switched from cornet to trumpet.
Armstrong had gained sufficient individual notice to make his recording debut as a leader on November 12, 1925. Contracted to OKeh Records, he began to make a series of recordings with studio-only groups called the Hot Fives or the Hot Sevens. For live dates, he appeared with the orchestras led by Erskine Tate and Carroll Dickerson. The Hot Fives' recording of "Muskrat Ramble" gave Armstrong a Top Ten hit in July 1926, the band for the track featuring Kid Ory on trombone, Johnny Dodds on clarinet, Lillian Harden Armstrong on piano, and Johnny St. Cyr on banjo.
By February 1927, Armstrong was well-enough known to front his own group, Louis Armstrong & His Stompers, at the Sunset Café in Chicago. (Armstrong did not function as a bandleader in the usual sense, but instead typically lent his name to established groups.) In April, he reached the charts with his first vocal recording, "Big Butter and Egg Man," a duet with May Alix. He took a position as star soloist in Carroll Dickerson's band at the Savoy Ballroom in Chicago in March 1928, later taking over as the band's frontman. "Hotter Than That" was in the Top Ten in May 1928, followed in September by "West End Blues," which later became one of the first recordings named to the Grammy Hall of Fame.
Armstrong returned to New York with his band for an engagement at Connie's Inn in Harlem in May 1929. He also began appearing in the orchestra of Hot Chocolates, a Broadway revue, and was given a featured spot singing "Ain't Misbehavin'." In September, his recording of that song entered the charts, becoming a Top Ten hit.
Armstrong fronted the Luis Russell Orchestra for a tour of the South in February 1930, and in May went to Los Angeles, where he led a band at Sebastian's Cotton Club for the next ten months. He made his film debut in Ex-Flame, released at the end of 1931. By the start of 1932, he had switched from the "race"-oriented OKeh label to its pop-oriented big sister Columbia, for which he recorded two Top Five hits, "Chinatown, My Chinatown" and "You Can Depend on Me" before scoring a number one hit with "All of Me" in March 1932; another Top Five hit, "Love, You Funny Thing," hit the charts the same month. He returned to Chicago in the spring of 1932 to front a band led by Zilner Randolph; the group toured around the country. In July, Armstrong sailed to England for a tour. He spent the next several years in Europe, his American career maintained by a series of archival recordings, including the Top Ten hits "Sweethearts on Parade" (August 1932; recorded December 1930) and "Body and Soul" (October 1932; recorded October 1930). His Top Ten version of "Hobo, You Can't Ride This Train," in the charts in early 1933, was on Victor Records; when he returned to the U.S. in 1935, he signed to the recently formed Decca Records and quickly scored a double-sided Top Ten hit, "I'm in the Mood for Love"/"You Are My Lucky Star."
Armstrong's new manager, Joe Glaser, organized a big band for him that had its premiere in Indianapolis on July 1, 1935; for the next several years, he toured regularly. He also took a series of small parts in motion pictures, beginning with Pennies from Heaven in December 1936, and he continued to record for Decca, resulting in the Top Ten hits "Public Melody Number One" (August 1937), "When the Saints Go Marching In" (April 1939), and "You Won't Be Satisfied (Until You Break My Heart)" (April 1946), the last a duet with Ella Fitzgerald. He returned to Broadway in the short-lived musical Swingin' the Dream in November 1939.
With the decline of swing music in the post-World War II years, Armstrong broke up his big band and put together a small group dubbed His All-Stars, which made its debut in Los Angeles on August 13, 1947. He embarked on his first European tour since 1935 in February 1948, and thereafter toured regularly around the world. In June 1951 he reached the Top Ten of the LP charts with Satchmo at Symphony Hall ("Satchmo" being his nickname), and he scored his first Top Ten single in five years with "(When We Are Dancing) I Get Ideas" later in the year. The single's B-side, and also a chart entry, was "A Kiss to Build a Dream On," sung by Armstrong in the film The Strip. In 1993, it gained renewed popularity when it was used in the film Sleepless in Seattle.
Armstrong completed his contract with Decca in 1954, after which his manager made the unusual decision not to sign him to another exclusive contract but instead have him freelance for different labels. Satch Plays Fats, a tribute to Fats Waller, became a Top Ten LP for Columbia in October 1955, and Verve Records contracted Armstrong for a series of recordings with Ella Fitzgerald, beginning with the chart LP Ella and Louis in 1956.
Armstrong continued to tour extensively, despite a heart attack in June 1959. In 1964, he scored a surprise hit with his recording of the title song from the Broadway musical Hello, Dolly!, which reached number one in May, followed by a gold-selling album of the same name. It won him a Grammy for best vocal performance. This pop success was repeated internationally four years later with "What a Wonderful World," which hit number one in the U.K. in April 1968. It did not gain as much notice in the U.S. until 1987, when it was used in the film Good Morning, Vietnam, after which it became a Top 40 hit. Armstrong was featured in the 1969 film of Hello, Dolly!, performing the title song as a duet with Barbra Streisand. He performed less frequently in the late '60s and early '70s, and died of a heart ailment in 1971 at the age of 69. A year later, he was honored with a Grammy Lifetime Achievement Award.
As an artist, Armstrong was embraced by two distinctly different audiences: jazz fans who revered him for his early innovations as an instrumentalist but were occasionally embarrassed by his lack of interest in later developments in jazz, especially his willingness to serve as a light entertainer; and pop fans, who delighted in his joyous performances, particularly as a vocalist, but were largely unaware of his significance as a jazz musician. Given his popularity, his long career, and the extensive label-jumping he did in his later years, as well as the differing jazz and pop sides of his work, his recordings are extensive and diverse, with parts of his catalog owned by numerous companies. But many of his recorded performances are masterpieces, and none are less than entertaining."
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Louis Armstrong - Video Jazz Documentary
Louis Armstrong (August 4, 1901 -- July 6, 1971), nicknamed Satchmo or Pops, was an American jazz trumpeter and singer from New Orleans, Louisiana. Coming to...
Louis Armstrong - Video Jazz Documentary
https://www.youtube.com/watch?v=OSwXv6jTx2k
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https://www.youtube.com/watch?v=OSwXv6jTx2k
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*Louis Armstrong New Orleans International Airport*
http://www.flymsy.com/
https://satchmosummerfest.org/
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https://satchmosummerfest.org/
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