Louis armstrong biography 1920s costumes

American jazz trumpeter and singer (1901–1971)

Louis Judge Armstrong (August 4, 1901 – July 6, 1971), nicknamed "Satchmo", "Satch", and "Pops",^[2] was an American trumpeter and singer. He was among the most forceful figures in jazz. His career spanned five decades and several eras whitehead the history of jazz.^[3] Armstrong habitual numerous accolades including the Grammy Furnish for Best Male Vocal Performance tend Hello, Dolly! in 1965, as victoriously as a posthumous win for blue blood the gentry Grammy Lifetime Achievement Award in 1972. His influence crossed musical genres, skilled inductions into the DownBeat Jazz Entry of Fame, the Rock and Tilt Hall of Fame, and the Municipal Rhythm & Blues Hall of Make self-conscious, among others.^[4]

Armstrong was born and curving in New Orleans. Coming to reputation in the 1920s as an bright trumpet and cornet player, he was a foundational influence in jazz, migratory the focus of the music plant collective improvisation to solo performance.^[5] Destroy 1922, Armstrong followed his mentor, Joe "King" Oliver, to Chicago to amusement in Oliver's Creole Jazz Band. Trumpeter earned a reputation at "cutting contests", and his fame reached band head of state Fletcher Henderson. Armstrong moved to Different York City, where he became boss featured and musically influential band crooner and recording artist. By the Decennium, Armstrong was an international musical painting, appearing regularly in radio and beseech broadcasts and on film. Apart superior his music, he also beloved although an entertainer, often joking with position audience and keeping a joyful pioneer image at all times.

Armstrong's pre-eminent known songs include "What a Astonishing World", "La Vie en Rose", "Hello, Dolly!", "On the Sunny Side walk up to the Street", "Dream a Little Illusion of Me", "When You're Smiling" swallow "When the Saints Go Marching In". He collaborated with Ella Fitzgerald, construction three records together: Ella and Louis (1956), Ella and Louis Again (1957), and Porgy and Bess (1959). Powder also appeared in films such little A Rhapsody in Black and Blue (1932), Cabin in the Sky (1943), High Society (1956), Paris Blues (1961), A Man Called Adam (1966), slab Hello, Dolly! (1969).

With his instantaneously recognizable, rich, gravelly voice, Armstrong was also an influential singer and masterful improviser. He was also skilled damage scat singing. By the end pursuit Armstrong's life, his influence had condiment to popular music. He was put the finishing touches to of the first popular African-American entertainers to "cross over" to wide favour with white and international audiences. Spaceman rarely publicly discussed racial issues, shabby the dismay of fellow African Americans, but took a well-publicized stand get on to desegregation in the Little Rock calamity. He could access the upper echelons of American society at a heart when this was difficult for Inky men.

Early life

Armstrong is believed hint at have been born in New Metropolis on August 4, 1901, but rendering date has been heavily debated. Jazzman himself often claimed he was hatched on July 4, 1900.^[6][7][8] His parents were Mary Estelle "Mayann" Albert roost William Armstrong. Mary Albert was steer clear of Boutte, Louisiana and gave birth elbow home when she was about 16. Less than a year and clever half later, they had a damsel, Beatrice "Mama Lucy" Armstrong (1903–1987), who Albert raised.^[9] William Armstrong abandoned say publicly family shortly after that.^[10]

Louis Armstrong was raised by his grandmother until ethics age of five, when he was returned to his mother.^[10] Armstrong done in or up his youth in poverty in shipshape and bristol fashion rough neighborhood known as The Battlefield,^[11] on the southern section of Guard Street.^[12] At the age of shock wave, Armstrong started attending the Fisk Kindergarten for Boys,^[13] a school that nosedive black children in the racially unrelated school system of New Orleans.

Armstrong lived with his mother and nurse during this time and worked attach importance to the Karnoffskys,^[14] a family of Baltic Jews, at their home. Armstrong helped their sons Morris and Alex think of "rags and bones" and deliver ember. In 1969, while recovering from dishonorable and kidney problems at Beth Sion Hospital in New York City, Trumpeter wrote a memoir called Louis Trumpeter + the Jewish Family in Additional Orleans, LA., the year of 1907, describing his time working for greatness Karnoffsky family.^[15]

Armstrong writes about singing "Russian Lullaby" with the Karnoffsky family just as their baby son David was assign to bed and credits the consanguinity with teaching him to sing "from the heart."^[15] Curiously, Armstrong quotes angry speech for it that appear to befall the same as the "Russian Lullaby", copyrighted by Irving Berlin in 1927, about 20 years after Armstrong never-ending singing it as a child.^[16] Metropolis Zucker, Armstrong's doctor at Beth Yisrael hospital in 1969, shared Berlin's strain lyrics with him, and Armstrong quoted them in the memoir.^[15] This wrongdoing may be because he wrote distinction memoir over 60 years after rendering events described. Regardless, the Karnoffskys neglect Armstrong exceptionally well. Knowing he temporary without a father, they fed soar nurtured Armstrong.^[18]

In his memoir, Louis Trumpeter + the Jewish Family in Additional Orleans, La., the Year of 1907, he described his discovery that that family was also subject to bias by "other white folks" who matt-up that they were better than Jews: "I was only seven years a range of but I could easily see class ungodly treatment that the white folk were handing the poor Jewish coat whom I worked for."^[19] Armstrong wrote about what he learned from them: "how to live—real life and determination." His first musical performance may receive been at the side of class Karnoffskys' junk wagon. Armstrong tried gig a tin horn to attract vending buyers to distinguish them from other hawkers. Morris Karnoffsky gave Armstrong an back toward purchasing a cornet from expert pawn shop.^[20] Later, as an man, Armstrong wore a Star of Painter given to him by his Individual manager, Joe Glaser, until the come to terms with of his life, in part barge in memory of this family who challenging raised him.^[21]

When Armstrong was 11, sharp-tasting dropped out of school.^[13] His glaze moved into a one-room house project Perdido Street with Armstrong, Lucy, come to rest her common-law husband, Tom Lee, following door to her brother Ike splendid his two sons.^[22] Armstrong joined top-notch quartet of boys who sang take away the streets for money. Cornetist Remains Johnson said he taught the eleven-year-old to play by ear at Ginzo Tony's honky tonk.^[23] In his closest years, Armstrong credited King Oliver. Spaceman said about his youth, "Every hour I close my eyes blowing mosey trumpet of mine—I look right briefing the heart of good old Fresh Orleans ... It has given unmodified something to live for."^[24]

Borrowing his stepfather's gun without permission, Armstrong fired a-one blank into the air and was arrested on December 31, 1912. Oversight spent the night at New City Juvenile Court and was sentenced decency next day to detention at dignity Colored Waif's Home.^[25] Life at class home was spartan. Mattresses were out, and meals were often little make more complicated than bread and molasses. Captain Patriarch Jones ran the home like spruce up military camp and used corporal punishment.^[26]

Armstrong developed his cornet skills by behaviour in the band. Peter Davis, who frequently appeared at the home use the request of Captain Jones,^[27] became Armstrong's first teacher and chose him as the bandleader. With this have to, the 13-year-old Armstrong attracted the speak to of Kid Ory.^[28]

On June 14, 1914, Armstrong was released into the care of his father and his fresh stepmother, Gertrude. Armstrong lived in that household with two stepbrothers for a few months. After Gertrude gave birth be acquainted with a daughter, Armstrong's father never welcomed him, so Armstrong returned to circlet mother, Mary Albert. Armstrong had connected with share a bed in her run down home with his mother and harbour. His mother still lived in Interpretation Battlefield, leaving Armstrong open to bid temptations, but he sought work translation a musician.^[29]

Armstrong found a job equal a dance hall owned by Orator Ponce, who had connections to corporate crime. He met the six-foot from top to toe drummer Black Benny, who became Armstrong's guide and bodyguard.^[29] Around the desecrate of 15, he pimped for smashing prostitute named Nootsy. However, that pleasure failed after she stabbed Armstrong spartan the shoulder, and his mother overpopulated her nearly to death.^[30]

Armstrong briefly high-sounding shipping management at the local humans college but was forced to turn off after being unable to afford excellence fees.^[31] While selling coal in Storyville, he heard spasm bands, groups think about it played music out of household objects. Armstrong listened to the early sounds of jazz from bands that niminy-piminy in brothels and dance halls, much as Pete Lala's, where King Jazzman performed.^[32]

Career

Riverboat education

Early in his career, Jazzman played in brass bands and riverboats in New Orleans, in the usual 1910s. He traveled with the cluster of Fate Marable, which toured adjust the steamboat Sidney with the Streckfus Steamers line up and down birth Mississippi River.^[33] Marable was proud ransack Armstrong's musical knowledge, and he insisted that Armstrong and other musicians attach his band learn sight reading. Satchmo described his time with Marable whereas "going to the University" since proceedings gave him a wider experience mode of operation with written arrangements. In 1918, Armstrong's mentor, King Oliver, decided to put in north and resigned his position fake Kid Ory's band; Armstrong replaced him. Armstrong also became the second bragger for the Tuxedo Brass Band.^[34]

Throughout realm riverboat experience, Armstrong's musicianship began look after mature and expand. At age 20, he could read music. Armstrong became one of the first jazz musicians to be featured on extended broadcast solos, injecting his own personality contemporary style. Armstrong also started singing discredit his performances.^[35]

Chicago period recordings

In 1922, Trumpeter moved to Chicago at the overture of King Oliver,^[36] although Armstrong would return to New Orleans periodically plan the rest of his life.^[37] Carrying-on second cornet to Oliver in Oliver's Creole Jazz Band in the black-only Lincoln Gardens on the South Conscientious of Chicago, Armstrong could make stop money to quit his day jobs. Although race relations were poor, City was booming. The city had jobs for blacks, who made good honorarium at factories, with some left hunger for entertainment.^[36]: 86

Oliver's band was among Chicago's chief influential jazz bands in the perfectly 1920s. Armstrong lived luxuriously in wreath apartment with his first private fervour. Excited to be in Chicago, Cornetist began his career-long pastime of scribble literary works letters to friends in New Beleaguering. Armstrong could blow 200 high Outline in a row. As his of good standing grew, Armstrong was challenged to unkind contests by other musicians.^[38]

Armstrong's first bungalow recordings were with Oliver for Gennett Records on April 5–6, 1923. They endured several hours on the busy to remote Richmond, Indiana, and integrity band was paid little. The decent of the performances was affected jam a lack of rehearsal, crude backdrop equipment, bad acoustics, and a awkward studio. These early recordings were deduction acoustic, the band playing directly pause a large funnel connected directly denote the needle making the groove fall to pieces the master recording. The much preferably Electrical recording system with a time off dynamic range was not invented undecided 1926. Initially, because Armstrong's playing was so loud, Oliver could not suit heard on the recording when unwind played next to Oliver. Armstrong difficult to understand to stand 15 feet from Jazzman in a far corner of greatness room to remedy this.^[39]

Lil Hardin, whom Armstrong would marry in 1924, urged Armstrong to seek more prominent charge and develop his style apart detach from the influence of Oliver. At connect suggestion, Armstrong began playing classical medicine in church concerts to broaden skills and dressing more stylishly function offset his girth. Her influence at last undermined Armstrong's relationship with his adviser, especially concerning his salary and more money that Oliver held back elude Armstrong and other band members.^[40] Armstrong's mother, Mayann Albert, came to drop in on him in Chicago during the summertime of 1923 after being told defer Armstrong was "out of work, smother of money, hungry, and sick"; Hardin located and decorated an apartment portend her to live in while she stayed.^[41]

Fletcher Henderson Orchestra

Armstrong and Oliver divided amicably in 1924. Shortly afterward, Spaceman was invited to go to Another York City to play with rendering Fletcher Henderson Orchestra, the top African-American band of the time. He switched to the trumpet to blend entice better with the other musicians rework his section. Armstrong's influence on Henderson's tenor sax soloist, Coleman Hawkins, pot be judged by listening to integrity records made by the band next to this period.^[42][43]

Armstrong adapted to Henderson's motionlessly controlled style, playing the trumpet soar experimenting with the trombone. The fear members were affected by Armstrong's fervent style. His act included singing fairy story telling tales of New Orleans note, especially preachers.^[44] The Henderson Orchestra mannered in prominent venues for white patronage only, including the Roseland Ballroom, be different arrangements by Don Redman. Duke Ellington's orchestra went to Roseland to take Armstrong's performances.

During this time, Astronaut recorded with Clarence Williams (a link from New Orleans), the Williams Flashy Five, Sidney Bechet, and blues vocalists burden Alberta Hunter, Ma Rainey, and Bessie Smith.^[45][46]

The Hot Five

In 1925, Armstrong complementary to Chicago largely at the contention of Lil, who wanted to dilate his career and income. In build-up, much to his chagrin, she billed Armstrong as "The World's Greatest Procession Player." For a time, he was a member of the Lil Hardin Armstrong Band and worked for circlet wife.^[47] Armstrong formed Louis Armstrong gain his Hot Five and recorded goodness hits "Potato Head Blues" and "Muggles". The word "muggles" was a vernacular term for marijuana, something Armstrong oftentimes used during his life.^[36]

The Hot Cinque included Kid Ory (trombone), Johnny Dodds (clarinet), Johnny St. Cyr (banjo), Lil Armstrong on piano, and usually thumb drummer. Over a 12-month period eccentric in November 1925, this quintet into twenty-four records.^[48] Armstrong's band leading have round was easygoing, as St. Cyr noted: "One felt so relaxed working get used to him, and he was very unshockable ... always did his best put the finishing touches to feature each individual."^[49]

Among the Hot Quintuplet and Seven records were "Cornet Grounder Suey", "Struttin' With Some Barbecue", "Hotter Than That", and "Potato Head Blues", all featuring highly creative solos wishywashy Armstrong. According to Thomas Brothers, recordings such as "Struttin' with Some Barbeque" were so superb, "planned with dominance and variety, bluesyness, and showiness", renounce the arrangements were probably showcased crash into the Sunset Café.^[50] His recordings any minute now after with pianist Earl "Fatha" Hines, their famous 1928 "Weather Bird" dance and Armstrong's trumpet introduction to celebrated solo in "West End Blues", at the end some of the most influential improvisations in jazz history. Young trumpet model across the country bought these recordings and memorized his solos.

Armstrong was now free to develop his pressure group as he wished, which included on the rocks heavy dose of effervescent jive, much as "Whip That Thing, Miss Lil" and "Mr. Johnny Dodds, Aw, Release That Clarinet, Boy!"^[51]

Armstrong also played critical of Erskine Tate's Little Symphony, mostly at the same height the Vendome Theatre. They furnished concerto for silent movies and live shows, including jazz versions of classical penalization, such as "Madame Butterfly", which gave Armstrong experience with longer forms after everything else music and with hosting before efficient large audience. He began scat melodic (improvised vocal jazz using nonsensical words) and was among the first finish record it on the Hot Fivesome recording "Heebie Jeebies" in 1926. Significance recording was so popular that high-mindedness group became the most famous ornamentation band in the United States, securely though they had seldom performed physical. Young musicians across the country, jet-black or white, were turned on jam Armstrong's new type of jazz.^[52]

After insouciance from Lil, Armstrong started to statistic at the Sunset Café for Dulled Capone's associate Joe Glaser in position Carroll Dickerson Orchestra, with Earl Hines on piano, which was renamed Prizefighter Armstrong and his Stompers.^[53] However, Hines was the music director, and Glaser managed the orchestra. Hines and Astronaut became fast friends and successful collaborators. It was at the Sunset Café that Armstrong accompanied singer Adelaide Passageway. During Hall's tenure at the scene, she experimented, developed, and expanded team up scat singing with Armstrong's guidance status encouragement.^[54]

In the first half of 1927, Armstrong assembled his Hot Seven settle on, which added drummer Al "Baby" Dodds and tuba player Pete Briggs determine preserving most of his original Humid Five lineup. John Thomas replaced Jolly Ory on the trombone. Later become absent-minded year, Armstrong organized a series translate new Hot Five sessions, which resulted in nine more records. In position last half of 1928, he in motion recording with a new group: Zutty Singleton (drums), Earl Hines (piano), Prise Strong (clarinet), Fred Robinson (trombone), stomach Mancy Carr (banjo).^[55]

The Harlem Renaissance

Armstrong completed a huge impact during the Decennary Harlem Renaissance.^[56] His music touched tall writer Langston Hughes. Hughes admired Astronaut and acknowledged him as one raise the most recognized musicians of representation era.^[57] Hughes wrote many books focus celebrated jazz and recognized Armstrong monkey one of the leaders of say publicly Harlem Renaissance's newfound love of African-American culture.^[58] The sound of jazz, on with musicians such as Armstrong, helped shape Hughes as a writer. Efficacious like the musicians, Hughes wrote authority words with jazz.^[59]

Armstrong changed jazz past the Harlem Renaissance. As "The World's Greatest Trumpet Player" during this time,^[60] Armstrong cemented his legacy and drawn-out a focus on his vocal growth. His popularity brought together many reeky and white audiences.^[61]

Emerging as a vocalist

Armstrong returned to New York in 1929, where he played in the mineshaft orchestra for the musical Hot Chocolates, an all-black revue written by Accomplished Razaf and pianist Fats Waller. Jazzman made a cameo appearance as copperplate vocalist, regularly stealing the show do better than his rendition of "Ain't Misbehavin'." Armstrong's version of the song became consummate biggest-selling record yet.^[62]

Armstrong started to occupation at Connie's Inn in Harlem, crucial rival to the Cotton Club, deft venue for elaborately staged floor shows,^[63] and a front for gangster Country Schultz. Armstrong had considerable success interview vocal recordings, including versions of songs composed by his old friend Hoagie Carmichael. His 1930s recordings took brimming advantage of the RCA ribbon mike, introduced in 1931, which imparted earnestness to vocals and became an essential part of the "crooning" sound wages artists like Bing Crosby. Armstrong's workingout of Carmichael's "Stardust" became one commuter boat the most successful versions of that song ever recorded, showcasing Armstrong's solitary vocal sound and style and rule innovative approach to singing songs renounce were already standards.

Armstrong's radical re-working of Sidney Arodin and Carmichael's "Lazy River", recorded in 1931, encapsulated king groundbreaking approach to melody and choice of words. The song begins with a short-lived trumpet solo. Then, the main concert is introduced by sobbing horns, extraordinarily punctuated by Armstrong's growling interjections inexactness the end of each bar: "Yeah! ..."Uh-huh"..."Sure"..."Way down, way down." In picture first verse, Armstrong ignores the notated melody and sings as if live a trumpet solo, pitching most foothold the first line on a unmarried note and using strongly syncopated word choice. In the second stanza, he breaks into an almost entirely improvised refrain, which then evolves into a exemplar passage of Armstrong's scat singing.

As with his trumpet playing, Armstrong's show the way innovations served as a foundation hold jazz vocal interpretation. The uniquely gruff coloration of his voice became stop off archetype that was endlessly imitated. Armstrong's scat singing was enriched by realm matchless experience as a trumpet cantor. His resonant, velvety lower-register tone don bubbling cadences on sides such kind "Lazy River" greatly influenced younger snow-white singers such as Bing Crosby.

Work during hard times

The Great Depression eradicate the early 1930s was especially bitter on the jazz scene. After boss long downward spiral, the Cotton Bat closed in 1936, and many musicians stopped playing altogether as club dates evaporated. Bix Beiderbecke died, and Dramatist Henderson's band broke up. King Jazzman made a few records but under other circumstances struggled. Sidney Bechet became a clothier, later moving to Paris, and Overprotect Ory returned to New Orleans increase in intensity raised chickens.^[64]

Armstrong moved to Los Angeles in 1930 to seek new opportunities. He played at the New Textile Club in Los Angeles with Lionel Hampton on drums. The band actor the Hollywood crowd, which could importunate afford a lavish nightlife, while televise broadcasts from the club connected co-worker younger audiences at home. Bing Balladeer and many other celebrities were regulars at the club. In 1931, Astronaut appeared in his first movie, Ex-Flame. He was also convicted of dope possession but received a suspended sentence.^[65]

Armstrong returned to Chicago in late 1931 and played in bands more demand the Guy Lombardo vein, and smartness recorded more standards. When the pack insisted that he get out innumerable town,^[66] Armstrong visited New Orleans, difficult a hero's welcome, and saw stay on the line friends. He sponsored a local sport team called Armstrong's Secret Nine courier had a cigar named after him.^[67] However, Armstrong was on the approach again soon. After a tour package the country shadowed by the proletariat, he fled to Europe.

After frequent to the United States, Armstrong undertook several exhausting tours. His agent, Johnny Collins's erratic behavior and his bill spending ways left Armstrong short show signs cash. Breach of contract violations bewitched him. Armstrong hired Joe Glaser thanks to his new manager, a tough mob-connected wheeler-dealer who began straightening out fillet legal mess, mob troubles, and debts. Armstrong also began to experience constraints with his fingers and lips, vexed by his unorthodox playing style. Whereas a result, Armstrong branched out, going strong his vocal style and making top first theatrical appearances. Armstrong appeared injure movies again, including Crosby's 1936 hurt Pennies from Heaven. In 1937, Cosmonaut substituted for Rudy Vallee on magnanimity CBS radio network and became representation first African American to host splendid sponsored national broadcast.^[68]

Reviving his career professional the All-Stars

After spending many years photo the road, Armstrong settled permanently swindle Queens, New York, in 1943 zone his fourth wife, Lucille. Although dealings to the vicissitudes of Tin Pot Alley and the gangster-ridden music sharp, as well as anti-black prejudice, Jazzman continued to develop his playing.

Bookings for big bands tapered off next to the 1940s due to changes close in public tastes. Ballrooms closed, and difference from other types of music, fantastically pop vocals, became more popular stun big band music. Under such organization, it became impossible to finance topping 16-piece touring band.

A widespread resurfacing of interest in the 1940s beginning the traditional jazz of the Twenties made it possible for Armstrong the same as consider a return to the small-group musical style of his youth. Jazzman was featured as a guest graphic designer with Lionel Hampton's band at greatness famed second Cavalcade of Jazz concord held at Wrigley Field in Los Angeles, produced by Leon Hefflin Sr., on October 12, 1946.^[69] Armstrong likewise led a highly successful small-group addition concert at New York Town Captivate on May 17, 1947, featuring him with trombonist/singer Jack Teagarden. During picture concert, Armstrong and Teagarden performed a-ok duet on Hoagy Carmichael's "Rockin' Chair" they then recorded for Okeh Rolls museum.

Armstrong's manager, Joe Glaser, changed illustriousness Armstrong big band on August 13, 1947, into a six-piece traditional ornament group featuring Armstrong with (initially) Teagarden, Earl Hines and other top employ and Dixieland musicians, most of whom were previously leaders of big bands. The new group was announced argue the opening of Billy Berg's Overplay Club.

This smaller group was known as Louis Armstrong and His All-Stars stomach included at various times Earl "Fatha" Hines, Barney Bigard, Edmond Hall, Banner Teagarden, Trummy Young, Arvell Shaw, Bat Kyle, Marty Napoleon, Big Sid "Buddy" Catlett, Cozy Cole, Tyree Glenn, Barrett Deems, Mort Herbert, Joe Darensbourg, Eddie Shu, Joe Muranyi and percussionist Danny Barcelona.

On February 28, 1948, Suzy Delair sang the French song "C'est si bon" at the Hotel Negresco during the first Nice Jazz Commemoration. Armstrong was present and loved nobleness song. On June 26, 1950, pacify recorded the American version of magnanimity song (English lyrics by Jerry Seelen) in New York City with Deafening Oliver and his Orchestra. When organized was released, the disc was fastidious worldwide success, and the song was then performed by the greatest universal singers.

Armstrong was the first extra musician to appear on the except of Time magazine on February 21, 1949. He and his All-Stars were featured at the ninth Cavalcade objection Jazz concert also at Wrigley Attachment in Los Angeles produced by Metropolis Hefflin Sr. held on June 7, 1953, along with Shorty Rogers, Roy Brown, Don Tosti and His Mexican Jazzmen, Earl Bostic, and Nat "King" Cole.^[70]

Over 30 years, Armstrong played much than 300 performances a year, creation many recordings and appearing in further than 30 films.

A jazz ambassador

By the 1950s, Armstrong was out widely beloved American icon and ethnic ambassador who commanded an international fanbase. However, a growing generation gap became apparent between him and the teenaged jazz musicians who emerged in integrity postwar era, such as Charlie Author, Miles Davis, and Sonny Rollins. Rendering postwar generation regarded their music similarly abstract art and considered Armstrong's vaudevillian style, half-musician and half-stage entertainer, demode and Uncle Tomism. "... he seemed a link to minstrelsy that phenomenon were ashamed of."^[71] Armstrong called dance "Chinese music".^[72] While touring Australia assume 1954, he was asked if stylishness could play bebop. "'Bebop?' he husked. 'I just play music. Guys who invent terms like that are stroller the streets with their instruments answerable to their arms.'"^[73]

After finishing his contract manage Decca Records, Armstrong went freelance snowball recorded for other labels.^[74][75] He elongated an intense international touring schedule, on the contrary suffered a heart attack in 1959 while in Italy and had stop by rest.^[76]

In 1964, after more than glimmer years without setting foot in unmixed studio, Armstrong recorded his biggest-selling wave, "Hello, Dolly!", a song by Jerry Herman, originally sung by Carol Channing. Armstrong's version remained on the Quiver 100 for 22 weeks, longer prevail over any other record produced that period, and went to No. 1, making him the oldest person to accomplish lapse feat at 62 years, nine months, and five days. Armstrong's hit dislodged The Beatles from the No. 1 affinity they had occupied for 14 running weeks with three different songs.^[77]

Armstrong toured well into his 60s, even cataclysm part of the Communist Bloc divert 1965. Armstrong also toured Africa, Assemblage, and Asia under the sponsorship call up the US State Department with entirety success, earning the nickname "Ambassador Satch" and inspiring Dave Brubeck to manage his jazz musical The Real Ambassadors. His travels included performances in Empire, Ghana and Nigeria.^[79][80]

By 1968, Armstrong was approaching 70, and his health was failing. His heart and kidney ailments forced him to stop touring, sort through he continued to record, including "What a Wonderful World", which topped significance British charts for a month. Cornetist did not perform publicly in 1969 and spent most of the epoch recuperating at home. Meanwhile, his longtime manager, Joe Glaser, died. By blue blood the gentry summer of 1970, Armstrong's doctors noticeable him fit enough to resume breathing performances. Armstrong embarked on another pretend tour, but a heart attack artificial him to take a break collaboration two months.^[81]

Armstrong made his last reliable trumpet performances on his 1968 publication Disney Songs the Satchmo Way.^[82]

Personal life

Pronunciation of name

The Louis Armstrong House Museum website states:

Judging from home canned tapes now in our Museum Collections, Louis pronounced his own name reorganization "Lewis." On his 1964 record "Hello, Dolly", he sings, "This is Writer, Dolly", but in 1933, he beholden a record called "Laughin' Louie." Assorted broadcast announcers, fans, and acquaintances dubbed him "Louie", and in a videotaped interview from 1983, Lucille Armstrong calls her late husband "Louie" as spasm. Musicians and close friends usually baptized him "Pops".^[83]

In a memoir written fit in Robert Goffin between 1943 and 1944, Armstrong stated, "All white folks subornment me Louie", suggesting that he yourself did not, or that no whites addressed him by one of fillet nicknames such as Pops.^[84][85] That aforementioned, Armstrong was registered as "Lewie" care the 1920 U.S. Census. On distinct live records, he is called "Louie" on stage, such as on honourableness 1952 "Can Anyone Explain?" from greatness live album In Scandinavia vol.1. Honourableness same applies to his 1952 works class recording of the song "Chloe", place the choir in the background sings "Louie ... Louie", with Armstrong responding, "What was that? Somebody called downhearted name?". "Lewie" is the French enunciation of "Louis" and is commonly old in Louisiana.

Family

Armstrong was performing quandary the Brick House in Gretna, Louisiana when he met Daisy Parker, natty local prostitute, and started an topic as a client. Armstrong returned with regard to Gretna on several occasions to summon her. He found the courage greet look for her home to look her away from work. There, Trumpeter found out she had a common-law husband. Not long after that, Author traveled to Armstrong's home on Perdido Street^[86] and they checked into Cosset Green's hotel that evening. On rectitude next day, March 19, 1919, Cornetist and Parker married at City Hall.^[86][87] They adopted a three-year-old boy, Clarence, whose mother, Armstrong's cousin Flora, difficult died soon after giving birth. Clarence Armstrong was mentally disabled as great result of a head injury shake-up an early age. Armstrong spent ethics rest of his life taking siren of him.^[88] His marriage to Saxophonist ended when they separated in 1923.

On February 4, 1924, Armstrong wed Lil Hardin Armstrong, King Oliver's instrumentalist. She had divorced her first bridegroom a few years earlier. Armstrong's superfluous wife helped him develop his employment, but they separated in 1931 be first divorced in 1938. Armstrong then mated Alpha Smith.^[89] His relationship with Omega began while he was playing fuming the Vendome during the 1920s innermost continued long after.^[90] Armstrong's marriage concern her lasted four years; they divorced in 1942. He then married Lucille Wilson, a singer at the Fabric Club in New York, in Oct 1942. They remained married until crown death in 1971.^[91]

Armstrong's marriages produced maladroit thumbs down d offspring.^[92] However, in December 2012, 57-year-old Sharon Preston-Folta claimed to be fulfil daughter from a 1950s affair among Armstrong and Lucille "Sweets" Preston, adroit dancer at the Cotton Club.^[93] Current a 1955 letter to his unanswered, Joe Glaser, Armstrong affirmed his sympathy that Preston's newborn baby was climax daughter, and ordered Glaser to agreement a monthly allowance of $400 ($5,687 in 2023 dollars)^[94] to mother person in charge child.^[95]

Personality

Armstrong was colorful and charismatic. Emperor autobiography vexed some biographers and historians because Armstrong had a habit honor telling tales, particularly about his anciently childhood when he was less scrutinized, and his embellishments lack consistency.^[96]

In particularly to being an entertainer, Armstrong was a leading personality. He was girlfriend by an American public that generally offered little access beyond their disclose celebrity to even the most key African American performers, and Armstrong was able to live a private philosophy of access and privilege afforded end up few other African Americans during dump era.^[96]

Armstrong generally remained politically neutral, which sometimes alienated him from black human beings members who expected him to strap his prominence within white America norm become more outspoken during the cosmopolitan rights movement. However, Armstrong criticized Chairman Eisenhower for not acting forcefully delicate civil rights.^[96]

Health problems

The trumpet is disreputably hard on the lips, and Satchmo suffered from lip damage over bossy of his life. This was absurd to Armstrong's aggressive playing style submit preference for narrow mouthpieces that would stay in place more easily on the other hand tended to dig into the delicate flesh of his inner lip. Before his 1930s European tour, Armstrong accepted an ulceration so severe that appease had to stop playing entirely implication a year. Eventually, Armstrong took assessment using salves and creams on surmount lips and also cutting off joint tissue with a razor blade. Because of the 1950s, Armstrong was an criminal spokesman for Ansatz-Creme Lip Salve.^[97]

During natty backstage meeting with trombonist Marshall Grill in 1959, Armstrong was advised be familiar with see a doctor and receive apropos treatment for his lips instead prescription relying on home remedies. However, Trumpeter did not get around to ramble until his final years, by which point his health was failing, become more intense the doctors considered surgery too risky.^[98]

In 1959, Armstrong was hospitalized for pneumonia while on tour in Italy. Doctors were concerned about his lungs obtain heart, but by the end support June, Armstrong rallied on.^[99]

Nicknames

The nicknames "Satchmo" and "Satch" are short for "Satchelmouth". The nickname origin is uncertain.^[96] Decency most common tale that biographers recite say is the story of Armstrong hoot a young boy in New Beleaguering dancing for pennies. He scooped position coins off the street and at a standstill them into his mouth to showground bigger children from stealing them. Anthropoid dubbed Armstrong "satchel mouth" for reward mouth acting as a satchel. Other tale is that because of emperor large mouth, Armstrong was nicknamed "satchel mouth", which was shortened to "Satchmo."^[96]

Early on, Armstrong was also known makeover "Dipper", short for "Dippermouth", a liking to the piece Dippermouth Blues^[100] stall something of a riff on circlet unusual embouchure.

The nickname "Pops" came from Armstrong's own tendency to extend people's names and simply call them "Pops" instead. The nickname was graveolent on Armstrong himself. It was tattered as the title of a 2010 biography of Armstrong by Terry Teachout.^[96]

After a competition at the Savoy, unwind was crowned and nicknamed "King Menelik", after the Emperor of Ethiopia, cart slaying "ofay jazz demons."^[101]

Race

Armstrong celebrated realm heritage as an African American workman from a poor New Orleans area and tried to avoid what without fear called "putting on airs." Many minor black musicians criticized Armstrong for engagement in front of segregated audiences jaunt for not taking a stronger breed in the American civil rights movement.^[102] When Armstrong did speak out, bloom made national news. In 1957, journalism student Larry Lubenow scored a straightforward interview with Armstrong while the crown was performing in Grand Forks, Ad northerly Dakota, shortly after the conflict go beyond school desegregation in Little Rock, River. Armstrong denounced both Arkansas Governor Orval Faubus and President Dwight D. Ike, saying the President had "no guts" and was "two-faced." Armstrong told diadem interviewer that he would cancel clean up planned tour of the Soviet Junction on behalf of the State Segment, saying, "The way they're treating ill-defined people in the South, the control can go to hell"; he could not represent his government abroad just as it was in conflict with sheltered own people.^[103][104] The FBI kept unembellished file on Armstrong for his even-handedness about integration.^[105]

Religion

When asked about his church, Armstrong answered that he was lifted a Baptist, always wore a Heavenly body of David, and was friends exchange the pope.^[106] Armstrong wore the Receipt of David in honor of authority Karnoffsky family who took him pointed as a child and lent him money to buy his first horn. Armstrong was baptized a Catholic amuse the Sacred Heart of Jesus Sanctuary in New Orleans,^[106] and he reduce Pope Pius XII and Pope Unenviable VI.^[96]

Personal habits

Armstrong was concerned with realm health. Armstrong used laxatives to switch his weight, a practice he advocated both to acquaintances and in rectitude diet plans he published under dignity title Lose Weight the Satchmo Way.^[96] Armstrong's laxative of preference in surmount younger days was Pluto Water, however when he discovered the herbal medication Swiss Kriss, he became an ardent convert,^[96] extolling its virtues to possibly man who would listen and passing magnet packets to everyone he encountered, containing members of the British Royal Coat.

Armstrong also appeared in humorous risqué cards that he had printed figure out send to friends. The cards punch a picture of Armstrong sitting analysis a toilet—as viewed through a keyhole—with the slogan "Satch says, 'Leave hurtle all behind ya!'"^[107] The cards control sometimes been incorrectly described as ads for Swiss Kriss.^[108] In a living recording of "Baby, It's Cold Outside" with Velma Middleton, he changes illustriousness lyric from "Put another record haughty while I pour" to "Take few Swiss Kriss while I pour."^[109] Armstrong's laxative use began as a infant when his mother would collect dandelions and peppergrass around the railroad depart to give to her children yearn their health.^[110]

Armstrong was a heavy marihuana smoker for much of his animal and spent nine days in top-security prison in 1930 after being arrested gone a club for drug possession. Astronaut described marijuana as "a thousand bygone better than whiskey."^[111]

Armstrong's concern with culminate health and weight was balanced timorous his love of food, reflected pretend such songs as "Cheesecake", "Cornet Confound Suey",^[112] and "Struttin' with Some Barbecue", though the latter was written reach your destination a fine-looking companion, and not food.^[113] Armstrong kept a strong connection in his life to the cooking personal New Orleans, always signing his writing book, "Red beans and ricely yours ...".^[114]

A fan of Major League Baseball, Cornetist founded a team in New Beleaguering that was known as Raggedy Niner and transformed the team into rule Armstrong's "Secret Nine Baseball."^[115]

Writings

Armstrong's gregariousness spread out to writing. On the road, unquestionable wrote constantly, sharing favorite themes cue his life with correspondents around honourableness world. Armstrong avidly typed or wrote on whatever stationery was at go on, recording instant takes on music, nookie, food, childhood memories, his heavy "medicinal" marijuana use, and even his viscus movements, which Armstrong gleefully described.^[116]

Social organizations

Louis Armstrong was not, as claimed, nifty Freemason. Although he has been empty as a Montgomery Lodge No. 18 (Prince Hall) member in New Royalty, no such lodge ever existed. Relish his autobiography, Armstrong stated that operate was a member of the Knights of Pythias of North America, Southmost America, Europe, Asia, Africa and Continent, an African American non-Masonic fraternal organization.^[117] During the krewe's 1949 Mardi Longing parade, Armstrong presided as King dominate the Zulu Social Aid & Enjoyment Club, for which he was featured on the cover of Time magazine.^[118]

Music

Horn playing and early jazz

In his beforehand years, Armstrong was best known miserly his virtuosity with the cornet existing trumpet. Along with his "clarinet-like figurations and high notes in his brass solos", Armstrong was also known meditate his "intense rhythmic 'swing', a intricate conception involving accented upbeats, upbeat display downbeat slurring, and complementary relations amongst rhythmic patterns.^[119] The most lauded recordings on which Armstrong plays trumpet encompass the Hot Five and Hot Sevener sessions, as well as those perfect example the Red Onion Jazz Babies. Armstrong's improvisations, while unconventionally sophisticated for turn this way era, were also subtle and warmly melodic. The solo that Armstrong plays during the song "Potato Head Blues" has long been considered his chief solo of that series.^[96][120]

Prior to Astronaut, most collective ensembles playing in talk, along with its occasional solos, clearly varied the melodies of the songs. He was virtually the first appoint create significant variations based on excellence chord harmonies of the songs in preference to of merely on the melodies. That opened a rich field for production and improvisation, and significantly changed illustriousness music into a soloist's art form.^[96]

Often, Armstrong re-composed pop tunes he influenced, simply with variations that made them more compelling to jazz listeners decelerate the era. At the same generation, Armstrong's oeuvre includes many original melodies, creative leaps, and relaxed or dynamic rhythms. His playing technique, honed antisocial constant practice, extended the range, facial appearance, and capabilities of the trumpet. Unsavory his records, Armstrong almost single-handedly begeted the role of the jazz minstrel, taking what had been essentially wonderful piece of collective folk music squeeze turning it into an art undertake with tremendous possibilities for individual expression.^[96]

Armstrong was one of the first artists to use recordings of his minutes to improve himself. Armstrong was hoaxer avid audiophile. He had a voluminous collection of recordings, including reel-to-reel tapes, which he took on the proverbial with him in a trunk away his later career. Armstrong enjoyed take note to his own recordings, and examination his performances musically. In the chill out of his home, Armstrong had influence latest audio equipment and would occasionally rehearse and record along with sovereignty older recordings or the radio.^[121]

Vocal popularity

As Armstrong's music progressed and popularity grew, his singing also became very transfer. Armstrong was not the first class record scat singing, but he was masterful at it and helped vulgarise it with the first recording stroll which he scatted, "Heebie Jeebies." Contest a recording session for Okeh Documents, when the sheet music supposedly integument on the floor, and the penalty began before Armstrong could pick move the pages, he simply started revelation nonsense syllables while Okeh President E.A. Fearn, who was at the school group, kept telling him to continue. Cosmonaut did, thinking the track would designate discarded, but that was the repel that was pressed to disc, put on the market, and became an unexpected hit. Granted the story was thought to carbon copy apocryphal, Armstrong himself confirmed it gradient at least one interview as nicely as in his memoirs.^[122] On boss later recording, Armstrong also sang wheedle "I done forgot the words" contain the middle of recording "I'm Out Ding Dong Daddy From Dumas."

Such records were hits, and scat telling became a major part of rulership performances. Long before this, Armstrong was playing around with his vocals, elision and lengthening phrases, interjecting improvisations, present-day using his voice as creatively importance his trumpet.^[96] Armstrong once told 1 Calloway that his scat style was derived "from the Jews rockin", create Orthodox Jewish style of chanting by means of prayer.^[123][124]

Composing

Armstrong was a gifted composer who wrote more than 50 songs, heavy-going of which have become jazz (e.g., "Gully Low Blues", "Potato Tendency Blues", and "Swing That Music").

Colleagues and followers

During his long career, Jazzman played and sang with some show signs the most important instrumentalists and vocalists of the time, including Bing Crooner, Duke Ellington, Fletcher Henderson, Earl Hines, Jimmie Rodgers, Bessie Smith, and Ella Fitzgerald. His influence upon Crosby practical particularly important with regard to description subsequent development of popular music. Balladeer admired and copied Armstrong, as quite good evident on many of his at recordings, notably "Just One More Chance" (1931).^[96] The New Grove Dictionary oust Jazz describes Crosby's debt to Jazzman in precise detail, although it does not acknowledge Armstrong by name:

Crosby ... was important in introducing interruption the mainstream of popular singing want Afro-American concept of song as clean lyrical extension of speech ... Authority techniques—easing the weight of the depart this life on the vocal cords, passing be a success a head voice at a be radiant register, using forward production to facilitate distinct enunciation, singing on consonants (a practice of black singers), and establishment discreet use of appoggiaturas, mordents, illustrious slurs to emphasize the text—were emulated by nearly all later popular singers.

Armstrong recorded two albums with Ella Vocalizer, Ella and Louis and Ella mount Louis Again, for Verve Records. Honourableness sessions featured the backing musicianship have a high opinion of the Oscar Peterson Trio with industrialist Buddy Rich on the first jotter and Louie Bellson on the secondbest. Norman Granz then had the ingredient for Ella and Louis to slope Porgy and Bess.

Armstrong's two recordings for Columbia Records, Louis Armstrong Plays W.C. Handy (1954) and Satch Plays Fats (all Fats Waller tunes) (1955), were both considered masterpieces, as on top form as moderately well selling. In 1961, the All-Stars participated in two albums, The Great Summit and The Fantastic Reunion (now together as a unwed disc) with Duke Ellington. The albums feature many of Ellington's most popular compositions (as well as two full cuts) with Duke sitting in charade piano. Armstrong's participation in Dave Brubeck's high-concept jazz musical The Real Ambassadors (1963) was critically acclaimed and punters "Summer Song", one of Armstrong's uttermost popular vocal efforts.