Handy and Satch Plays Fats. It was also for Columbia that Armstrong scored one of the biggest hits of his career: His jazz transformation of Kurt weill's "Mack the Knife." Ambassador Satch During the mid-'50s, Armstrong's popularity overseas skyrocketed. This led some to alter his long-time nickname, satchmo, to "Ambassador Satch." he performed all over the world in the 1950s and '60s, including throughout Europe, africa and Asia. Legendary cbs newsman Edward. Murrow followed Armstrong with a camera crew on some of his worldwide excursions, turning the resulting footage into a theatrical documentary, satchmo the Great, released in 1957. Though his popularity was hitting new highs in the 1950s, and despite breaking down so many barriers for his race and being a hero to the African-American community for so many years, Armstrong began losing his standing with two segments of his audience: Modern jazz.
Autobiography —, louis, armstrong
Additionally, he became the first African-American entertainer to host a nationally sponsored radio show in 1937, when he took over Rudy vallee 's Fleischmann's yeast Show for 12 weeks. Armstrong continued to appear in major films with the likes of mae west, martha raye expository and Dick powell. He was also a frequent presence on radio, and often broke box-office records at the height of what is now known as the "Swing Era." Armstrong's historique fully healed lip made its presence felt on some of the finest recordings of career, including "Swing That Music. Their marriage was not a happy one, however, and they divorced in 1942. That same year, Armstrong married for the fourth—and final—time; he wed Lucille wilson, a cotton Club dancer. When Wilson tired of living out of a suitcase during endless strings of one-nighters, she convinced Armstrong to purchase a house at th Street in Corona, queens, new York. The Armstrongs moved into the home, where they would live for the rest of their lives, in 1943. By the mid-'40s, the Swing Era was winding down and the era of big bands was almost over. Seeing "the writing on the wall Armstrong scaled down to a smaller six-piece combo, the All Stars; personnel would frequently change, but this would be the group Armstrong would perform live with until the end of his career. Members of the group, at one time or another, included Jack teagarden, earl Hines, sid Catlett, barney bigard, Trummy young, Edmond Hall, billy kyle and Tyree glenn, among other jazz legends. Armstrong continued recording for Decca in the late 1940s and early '50s, creating a string of popular hits, including "Blueberry hill "That Lucky old Sun "la vie en Rose "a kiss to build a dream On" and "i get Ideas." Armstrong joined with Columbia records.
When Armstrong returned to Chicago in 1935, he had no band, no engagements and no recording contract. His lips were still sore, and there were still remnants of his mob troubles and with Lil, who, following the couple's split, was suing Armstrong. He turned to joe glaser for help; Glaser had mob ties of his own, having been close with Al Capone, but he had loved Armstrong from the time he met him at the sunset Café (Glaser had owned and managed the club). Armstrong put his career in Glaser's hands and asked him to make his troubles disappear. Glaser did just that; within a few months, resume Armstrong had a new big band and was recording for Decca records. African-American 'firsts' during this period, Armstrong set a number of African-American "firsts." In 1936, he became the first African-American jazz musician to write an autobiography: Swing That Music. That same year, he became the first African-American to get featured billing in a major Hollywood movie with his turn in Pennies from heaven, starring Bing Crosby.
Instead of doing strictly jazz numbers, okeh began allowing Armstrong to record popular songs of the day, including "i can't give you anything But love "Star Dust" and "Body and soul.". Armstrong's daring vocal transformations of these songs completely changed the concept of popular singing in American popular music, and had lasting effects on all singers who came after him, including. Bing Crosby, engelsk billie holiday, frank sinatra and Ella fitzgerald. Satchmo by 1932, Armstrong, who was now known as Satchmo, had begun appearing in movies and made his first tour of England. While he was beloved by musicians, he was too wild for most critics, who gave him some of the most racist and harsh reviews of his career. Satchmo didn't let the criticism stop him, however, and he returned an even bigger star when he began a longer tour throughout Europe in 1933. In a strange turn of events, it was during this tour that Armstrong's career fell apart: years of blowing high notes had taken a toll on Armstrong's lips, and, following a fight with his manager Johnny collins—who already managed to get Armstrong into trouble with. Armstrong decided to take some time off soon after the incident, and spent much of 1934 relaxing in Europe and resting his lip.
While performing with Tate in 1926, Armstrong finally switched from the cornet to the trumpet. Earl Hines, armstrong's popularity continued to grow in Chicago throughout the decade, as he began playing other venues, including the sunset Café and the savoy ballroom. A young pianist from Pittsburgh, earl Hines, assimilated Armstrong's ideas into his piano playing. Together, Armstrong and Hines formed a potent team and made some of the greatest recordings in jazz history in 1928, including their virtuoso duet, "Weather Bird and "West End Blues." The latter performance is one of Armstrong's best known works, opening with a stunning cadenza. Ain't, misbehavin in the summer of 1929, Armstrong headed to new York, where he had a role in a broadway production. Connie's Hot Chocolates, featuring the music of Fats Waller and Andy razaf. Armstrong was featured nightly. Ain't Misbehavin', breaking up the crowds of white theatergoers nightly. That same year, he recorded with small New Orleans-influenced groups, including the hot five, and began recording larger ensembles.
Louis, armstrong - satchmo (a musical, autobiography
Armstrong had a great influence on Henderson and his arranger, don Redman, both of whom began integrating Armstrong's swinging vocabulary into their arrangements—transforming Henderson's band into what is generally regarded as the first jazz big band. However, Armstrong's southern background didn't mesh well with the more urban, northern mentality of Henderson's other musicians, who sometimes gave armstrong a hard time over his wardrobe and the way he talked. Henderson also forbade Armstrong paper from singing, fearing that his rough way of vocalizing would be too coarse for the sophisticated audiences at the roseland Ballroom. Unhappy, armstrong left Henderson in 1925 to return to Chicago, where he began playing with his wife lil's band at the Dreamland Café. Louis Armstrong and his Hot five. While in New York, armstrong cut dozens of records as a sideman, creating inspirational jazz with other greats such as Sidney bechet, and backing numerous blues singers, namely. Back in Chicago, okeh Records decided to let Armstrong make his first records with a band under his own name: louis Armstrong and his Hot five.
From 1925 to 1928, Armstrong made more than 60 records with the hot five and, later, the hot seven. Today, these are generally regarded as the most ghostwriter important and influential recordings in jazz history; on these records, Armstrong's virtuoso brilliance helped transform jazz from an ensemble music to a soloist's art. His stop-time solos on numbers like "Cornet Chop suey" and "Potato head Blues" changed jazz history, featuring daring rhythmic choices, swinging phrasing and incredible high notes. He also began singing on these recordings, popularizing wordless "scat singing" with his hugely popular vocal on 1926's "Heebie jeebies.". The hot five and Hot seven were strictly recording groups; Armstrong performed nightly during this period with Erskine tate's orchestra at the vendome Theater, often playing music for silent movies.
Clarence, who had become mentally disabled from a head injury he had suffered at an early age, was taken care of by Armstrong his entire life. Fate marable, meanwhile, armstrong's reputation as a musician continued to grow: In 1918, he replaced Oliver in Kid Ory's band, then the most popular band in New Orleans. He was soon able to stop working manual labor jobs and began concentrating full-time on his cornet, playing parties, dances, funeral marches and at local "honky-tonks"—a name for small bars that typically host musical musical acts. Beginning in 1919, Armstrong spent his summers playing on riverboats with a band led by fate marable. It was on the riverboat that Armstrong honed his music reading skills and eventually had his first encounters with other jazz legends, including Bix beiderbecke and Jack teagarden.
Big Band jazz, though Armstrong was content to remain in New Orleans, in the summer of 1922, he received a call from King Oliver to come to Chicago and join his Creole jazz band on second cornet. Armstrong accepted, and he was soon taking Chicago by storm with both his remarkably fiery playing and the dazzling two-cornet breaks that he shared with Oliver. He made his first recordings with Oliver on April 5, 1923; that day, he earned his first recorded solo on "Chimes Blues.". Armstrong soon began dating the female pianist in the band, lillian Hardin. After they married in 1924, hardin made it clear that she felt Oliver was holding Armstrong back. She pushed her husband to cut ties with his mentor and join Fletcher Henderson's Orchestra, the top African-American dance band in New York city at the time. Armstrong joined Henderson in the fall of 1924, and immediately made his presence felt with a series of solos that introduced the concept of swing music to the band.
Phd creative writing new zealand
There, he received musical instruction on the cornet and fell in love with music. In 1914, the home released him, and he immediately began dreaming of a life making music. King Oliver, while he still had to report work odd jobs selling newspapers and hauling coal to the city's famed red-light district, Armstrong began earning a reputation as a fine blues player. One of the greatest cornet players in town, joe "King" Oliver, began acting as a mentor to the young Armstrong, showing him pointers on the horn and occasionally using him as a sub. By the end of his teens, Armstrong had grown up fast. In 1918, he married daisy parker, a prostitute, commencing a stormy union marked by many arguments and acts of violence. During this time, armstrong adopted a three-year-old boy named Clarence. The boy's mother, Armstrong's cousin, had died in childbirth.
Armstrong died at his home in queens, new York, on July 6, 1971. Younger years, louis Armstrong was born on August 4, 1901, in New Orleans, louisiana, in a section so poor that it was nicknamed "The battlefield.". Armstrong had a difficult childhood. His father was a factory worker and abandoned the family soon after louis's birth; his mother, who often turned to prostitution, frequently left him with his maternal grandmother. Armstrong was obligated to leave school in the fifth grade to begin working. A local Jewish family, the karnofskys, gave young Armstrong a job collecting junk and delivering coal. They also encouraged him to sing and often invited him into their home for meals. On New year's eve in 1912, Armstrong fired his stepfather's gun in the air during a new year's eve celebration and was arrested on the spot. He was then sent to the colored waif's Home for boys.
He starts empire with him being born in Jane Alley in dire poverty. And then him developing his trumpet playing and wanting the neighborhood to be proud of him. Fans interested in learning more about the connection between Armstrongs life story and his performances will appreciate Steins analysis. To watch the cbs news video about the recently unearthed recording, click here. Louis Armstrong was a trumpeter, bandleader, singer, soloist, film star and comedian. Considered one of the most influential artists in jazz history, he is known for songs like "Star Dust "la vie en Rose" and "What a wonderful World.". Who was louis Armstrong? Louis Armstrong, nicknamed "Satchmo "Pops" and, later, "Ambassador Satch was born in 1901 in New Orleans, louisiana. An all-star virtuoso, he came to prominence in the 1920s, influencing countless musicians with both his daring trumpet style and unique vocals.
Business, plan, design, company - writeWork
This month, the qualitative University of Michigan Press is releasing. Music Is my life: louis Armstrong, autobiography, and American jazz, by daniel Stein. The first comprehensive analysis of louis Armstrongs autobiographical writings and their relation to his performances, the book offers Armstrong fans and music scholars a new look at the legend and his craft. Music Is my life arrives on the heels of an exciting Armstrong-rleated revelation: Recently, cbs news reported that a recording of Armstrongs last public trumpet performance had been discovered. Wynton Marsalis described his reaction to the performance, which was recorded by cbs in 1971 at the national Press Club in Washington months before Armstrong passed away. I was shocked by the energy and vigor of his d I was also heartened by the type of love and warmth that I felt coming out of the room, marsalis said. . He went on to explain why The boy from New Orleans was his favorite track on the recording, saying, He takes you through his whole history.