Louis Armstrong And The All Stars* - Satchmo At Pasadena (Cassette, Album)
Hughes admired Armstrong and acknowledged him as one of the most recognized musicians during the era. Just as the musicians, Hughes wrote his words with jazz. Armstrong changed jazz during the Harlem Renaissance. Being known as "The World's Greatest Trumpet Player" during this time,  Armstrong continued his legacy and continued a focus on his own vocal career.
The popularity he gained brought together many black and white audiences to watch him perform. After spending many years on the road, Armstrong settled permanently in Queens, New York in in contentment with his fourth wife, Lucille. Although subject to the vicissitudes of Tin Pan Alley and the gangster-ridden music business, as well as anti-black prejudice, he continued to develop his playing.
During the next 30 years, Armstrong played more than performances a year. Bookings for big bands tapered off during the s due to changes in public tastes: ballrooms closed, and there was competition from television and from other types of music becoming more popular than big band music. It became impossible under such circumstances to finance a piece touring band. During the s, a widespread revival of interest in the traditional jazz of the s made it possible for Armstrong to consider a return to the small-group musical style of his youth.
The new group was announced at the opening of Billy Berg's Supper Club. During this period, Armstrong made many recordings and appeared in over thirty films. He was the first jazz musician to appear on the cover of Time magazine, on February 21, By the s, Armstrong was a widely beloved American icon and cultural ambassador who commanded an international fanbase.
However, a growing generation gap became apparent between him and the young jazz musicians who emerged in the postwar era such as Charlie ParkerMiles Davisand Sonny Rollins. The postwar generation regarded their music as abstract art and considered Armstrong's vaudevillian style, half-musician and half-stage entertainer, outmoded and Uncle Tomism" Guys who invent terms like that are walking the streets with their instruments under their arms.
Louis Armstrong was present and loved the song. When it was released, the disc was a worldwide success and the song was then performed by the greatest international singers. In the s, he toured Ghana and Nigeria. After finishing his contract with Decca Recordshe became a freelance artist and recorded for other labels.
Inafter over two years without setting foot in a studio, he recorded his biggest-selling record, " Hello, Dolly! Armstrong's version remained on the Hot for 22 weeks, longer than any other record produced that year, and went to No.
In the process, he dislodged the Beatles from the No. Armstrong kept touring well into his 60s, even visiting part of the communist bloc in Byhe was approaching 70 and his health began to give out. He suffered heart and kidney ailments that forced him to stop touring.
He did not perform publicly at all in and spent most of the year recuperating at home. Meanwhile, his longtime manager Joe Glaser died. By the summer ofhis doctors pronounced him fit enough to resume live performances. He embarked on another world tour, but a heart attack forced him to take a break for two months. Armstrong made his last recorded trumpet performances on his album Disney Songs the Satchmo Way. Judging from home recorded tapes now in our Museum Collections, Louis pronounced his own name as "Lewis".
Many broadcast announcers, fans, and acquaintances called him "Louie" and in a videotaped interview from Lucille Armstrong calls her late husband "Louie" as well. Musicians and close friends usually called him "Pops". In a memoir written for Robert Goffin between andArmstrong states, "All white folks call me Louie," perhaps suggesting that he himself did not or, on the other hand, that no whites addressed him by one of his nicknames such as Pops.
On various live records he's called "Louie" on stage, such as on the "Can Anyone Explain? The same applies to his studio recording of the song "Chloe", where the choir in the background sings "Louie Louie", with Armstrong responding "What was that? Somebody called my name? He started the affair as a client. He returned to Louis Armstrong And The All Stars* - Satchmo At Pasadena (Cassette on several occasions to visit her. He found the courage to look for her home to see her away from work.
It was on this occasion that he found out that she Louis Armstrong And The All Stars* - Satchmo At Pasadena (Cassette a common-law husband. Not long after this fiasco, Parker traveled to Armstrong's home on Perdido Street. Clarence Armstrong was mentally disabled as the result of a head injury at an early age, and Armstrong spent the rest of his life taking care of him.
She had divorced her first husband a few years earlier. His second wife helped him develop his career, but they separated in and divorced in Armstrong then married Alpha Smith. Louis then married Lucille Wilson, a singer at the Cotton Club in New York, in October ; they remained married until his death in Armstrong's marriages never produced any offspring.
Armstrong was noted for his colorful and charismatic personality. His autobiography vexed some biographers and historians, as he had a habit of telling tales, particularly of his early childhood when he was less scrutinized, and his embellishments of his history often lack consistency. In addition to being an entertainer, Armstrong was a leading personality of the day.
He was beloved by an American public that gave even the greatest African American performers little access beyond their public celebrity, and he was able to live a private life of access and privilege afforded to few other African Americans during that era. He generally remained politically neutral, which at times alienated him from members of the black community who looked to him to use his prominence with white America to become more of an outspoken figure during the civil rights movement.
However, he did criticize President Eisenhower for not acting forcefully enough on civil rights. The trumpet is a notoriously hard instrument on the lipsand Armstrong suffered from lip damage over much of his life due to his aggressive style of playing and preference for narrow mouthpieces that would stay in place more easily, but which tended to dig into the soft flesh of his inner lip.
During his s European tour, he suffered an ulceration so severe that he had to stop playing entirely for a year. Eventually he took to using salves and creams on his lips and also cutting off scar tissue with a razor blade. By the s, he was an official spokesman for Ansatz-Creme Lip Salve. During a backstage meeting with trombonist Marshall Brown inArmstrong received the suggestion that he should go to a doctor and receive proper treatment for his lips instead of relying on home remedies, but he did not get around to arranging it until the final years of his life, by which point his health was failing and doctors considered surgery too risky.
Also inArmstrong was hospitalized for pneumonia while on tour in Italy. Doctors were concerned about his lungs and heart, but by June 26 he rallied. The nicknames "Satchmo" and "Satch" are short for "Satchelmouth".
The nickname has many possible origins. He scooped the coins off the street and stuck them into his mouth to prevent bigger children from stealing them. Someone dubbed him "satchel mouth" for his mouth acting as a satchel. Another tale is that because of his large mouth, he was nicknamed "satchel mouth" which was shortened to "Satchmo".
Early on he was also known as "Dipper", short for "Dippermouth", a reference to the piece Dippermouth Blues  and something of a riff on his unusual embouchure. The nickname "Pops" came from Armstrong's own tendency to forget people's names and simply call them "Pops" instead. The nickname was turned on Armstrong himself. It was used as the title of a biography of Armstrong by Terry Teachout. After a competition at the Savoy, he was crowned and nicknamed "King Menelik," after the Emperor of Ethiopia, for slaying "ofay jazz demons".
Armstrong was largely accepted into white society, both on stage and off, a rarity for a Black person at the time. Some musicians criticized Armstrong for playing in front of segregated audiences, and for not taking a strong enough stand in the American civil rights movement.
Eisenhowercalling him "two-faced" and "gutless" because of his inaction during the conflict over school desegregation in Little Rock, Arkansasin As a protest, Armstrong canceled a planned tour of the Soviet Union on behalf of the State Department saying: "The way they're treating my people in the South, the government can go to hell" and that he could not represent his government abroad when it was in conflict with its own people. When asked about his religion, Armstrong answered that he was raised a Baptistalways wore a Star of Davidand was friends with the pope.
Armstrong was concerned with his health. He used laxatives to control his weight, a practice he advocated both to acquaintances and in the diet plans he published under the title Lose Weight the Satchmo Way.
Armstrong was a heavy marijuana smoker for much of his life and spent nine days in jail in after being arrested for drug possession outside a club. He described marijuana as "a thousand times better than whiskey". The concern with his health and weight was balanced by his love of food, reflected in such songs as "Cheesecake", "Cornet Chop Suey",  though "Struttin' with Some Barbecue" was written about a fine-looking companion, not about food.
Armstrong's gregariousness extended to writing. On the road, he wrote constantly, sharing favorite themes of his life with correspondents around the world. He avidly typed or wrote on whatever stationery was at hand, recording instant takes on music, sex, food, childhood memories, his heavy "medicinal" marijuana use—and even his bowel movements, which he gleefully described.
Louis Armstrong was not, as is often claimed, a Freemason. Although he is usually listed as being a member of Montgomery Lodge No. However, Armstrong stated in his autobiography that he was a member of the Knights of Pythiaswhich although real is not a Masonic group. In his early years, Armstrong was best known for his virtuosity with the cornet and trumpet.
Along with his "clarinet-like figurations and high notes in his cornet solos", he was also known for his "intense rhythmic 'swing', a complex conception involving Armstrong's improvisations, while unconventionally sophisticated for that era, were also subtle and highly melodic. The solo that Armstrong plays during the song " Potato Head Blues " has long been considered his best solo of that series. Prior to Armstrong, most collective ensemble playing in jazz, along Louis Armstrong And The All Stars* - Satchmo At Pasadena (Cassette its occasional solos, simply varied the melodies of the songs.
Armstrong was virtually the first to create significant variations based on the chord harmonies of the songs instead of merely on the melodies.
This opened a rich field for creation and improvisation, and significantly changed the music into a soloist's art form. Often, Armstrong re-composed pop-tunes he played, simply with variations that made them more compelling to jazz listeners of the era. At the same time, however, his oeuvre includes many original melodies, creative leaps, and relaxed or driving rhythms. Armstrong's playing technique, honed by constant practice, extended the range, tone and capabilities of the trumpet.
In his records, Armstrong almost single-handedly created the role of the jazz soloist, taking what had been essentially a collective folk music and turning it into an art form with tremendous possibilities for individual expression. Armstrong was one of the first artists to use recordings of his performances to improve himself. Armstrong was an avid audiophile. He had a large collection of recordings, including reel-to-reel tapes, which he took on the road with him in a trunk during his later career.
He enjoyed listening to his own recordings, and comparing his performances musically. In the den of his home, he had the latest audio equipment and would sometimes rehearse and record along with his older recordings or the radio. As his music progressed and popularity grew, his singing also became very important. Armstrong was not the first to record scat singing, but he was masterful at it and helped popularize it with the first recording on which he scatted, " Heebie Jeebies ".
At a recording session for Okeh Recordswhen the sheet music supposedly fell on the floor and the music began before he could pick up the pages, Armstrong simply started singing nonsense syllables while Okeh president E.
Fearn, who was at the session, kept telling him to continue. Armstrong did, thinking the track would be discarded, but that was the version that was pressed to disc, sold, and became an unexpected hit. Although the story was thought to be apocryphal, Armstrong himself confirmed it in at least one interview as well as in his memoirs.
Such records were hits and scat singing became a major part of his performances. Long before this, however, Armstrong was playing around with his vocals, shortening and lengthening phrases, interjecting improvisations, using his voice as creatively as his trumpet.
Armstrong was a gifted composer who wrote more than fifty songs, some of which have become jazz standards e. During his long career he played and sang with some of the most important instrumentalists and vocalists of the time; among them were Bing Crosby, Duke EllingtonFletcher HendersonEarl HinesJimmie RodgersBessie Smith and perhaps most famously Ella Fitzgerald.
His influence upon Crosby is particularly important with regard to the subsequent development of popular music: Crosby admired and copied Armstrong, as is evident on many of his early recordings, notably "Just One More Chance" His techniques—easing the weight of the breath on the vocal cords, passing into a head voice at a low register, using forward production to aid distinct enunciationsinging on consonants a practice of black singersand making discreet use of appoggiaturasmordentsand slurs to emphasize the text—were emulated by nearly all later popular singers.
Handy and Satch Plays Fats all Fats Waller tunes were both being considered masterpieces, as well as moderately well selling. The albums feature many of Ellington's most famous compositions as well as two exclusive cuts with Duke sitting in on piano.
His participation in Dave Brubeck 's high-concept jazz musical The Real Ambassadors was critically acclaimed, and features "Summer Song", one of Armstrong's most popular vocal efforts.
In the week beginning May 9,his recording of the song " Hello, Dolly " went to number one. An album of the same title was quickly created around the song, and also shot to number one knocking The Beatles off the top of the chart.
The album sold very well for the rest of the year, quickly going "Gold"His performance of "Hello Dolly" won for best male pop vocal performance at the Grammy Awards. It reached number 3 in the charts on being re-released. His song "Bout Time" was later featured in the film Bewitched.
InArmstrong scored one last popular hit in the United Kingdom with " What a Wonderful World ", which topped the British charts for a month. Armstrong enjoyed many types of music, from blues to the arrangements of Guy Lombardoto Latin American folksongs, to classical symphonies and opera. He incorporated influences from all these sources into his performances, sometimes to the bewilderment of fans who wanted him to stay in convenient narrow categories.
Armstrong was inducted into the Rock and Roll Hall of Fame as an early influence. Some of his solos from the s, such as the hard rocking version of " St. Louis Blues " from the WC Handy album, show that the influence went in both directions.
Armstrong appeared in more than a dozen Hollywood films, usually playing a bandleader or musician. He appears throughout the film, also sings the title song as well as performs a duet with Crosby, " Now You Has Jazz ". In the film The Five Pennies he played himself, sang, and played several classic numbers. InArmstrong was the first African American to host a nationally broadcast radio show. He sang the title song with actress Barbra Streisand.
His solo recording of " Hello, Dolly! There is a pivotal scene in Stardust Memories in which Woody Allen is overwhelmed by a recording of Armstrong's " Stardust " and experiences a nostalgic epiphany.
Against his doctor's advice, Armstrong played a two-week engagement in March at the Waldorf-Astoria 's Empire Room. At the end of it, he was hospitalized for a heart attack.
Still hoping to get back on the road, Armstrong died of a heart attack in his sleep on July 6,a month before his 70th birthday. This Special Merit Award is presented by vote of the Recording Academy's National Trustees to performers who, during their lifetimes, have made creative contributions of outstanding artistic significance to the field of recording. Recordings of Armstrong were inducted into the Grammy Hall of Famewhich is a special Grammy award established in to honor recordings that are at least 25 years old, and that have "qualitative or historical significance".
Inthe U. Post Office issued a Louis Armstrong 32 cents commemorative postage stamp. The influence of Armstrong on the development of jazz is virtually immeasurable. His irrepressible personality both as a performer and as a public figure was so strong that to some it sometimes overshadowed his contributions as a musician and singer. As a virtuoso trumpet player, Armstrong had a unique tone and an extraordinary talent for melodic improvisation.
Through his playing, the trumpet emerged as a solo instrument in jazz and is used widely today. Additionally, jazz itself was transformed from a collectively improvised folk music to a soloist's serious art form largely through his influence.
He was a masterful accompanist and ensemble player in addition to his extraordinary skills as a soloist. With his innovations, he raised the bar musically for all who came after him. Though Armstrong is widely recognized as a pioneer of scat singing, Ethel Waters precedes his scatting on record in the s according to Gary Giddins and others.
Holiday said that she always wanted Bessie Smith 's 'big' sound and Armstrong's feeling in her singing. Even special musicians like Duke Ellington have praised Armstrong through strong testimonials. Advanced Search. Satchmo at Pasadena Review by Al Campbell. Track Listing. Back Home Again In Indiana. James F. Baby It's Cold Outside. Frank Loesser. Way Down Yonder in New Orleans.
The Hucklebuck. Honeysuckle Rose. Just You, Just Me. My Monday Date. Earl Hines. Armstrong affermava di essere nato il 4 luglio data annotata in molte biografie.
Nacque in una famiglia povera a New Orleans ed era nipote di schiavi. Trascorse la sua infanzia in un sobborgo residenziale di New Orleans, noto come "Back of Town". Armstrong ebbe il suo primo impiego alla Dance Hall di Henry Ponce's, dove Black Benny divenne il suo protettore e la sua guida. Di notte il giovane Louis suonava la cornetta. Armstrong incide i suoi primi dischi suonando come seconda cornetta nella band di Oliver. Durante questo periodo Armstrong fece molte registrazioni, organizzate da un suo vecchio amico di New Orleans, il pianista Clarence Williams ; queste includevano parti suonate da piccole band jazz e dal Williams Blue Five alcune delle migliori vedevano Armstrong collaborare con un suo "rivale" in campo di musica e serie di accompagnamenti con cantanti blues come Bessie SmithMa Raineye Alberta Hunter.
In ogni caso, in questo periodo incise brani proprio firmati a suo nome, sia con la band di Lil che con gli Hot Five e gli Hot Seven, producendo hits Louis Armstrong And The All Stars* - Satchmo At Pasadena (Cassette Potato Head BluesMuggles un riferimento alla marijuanae West End Blues. Cyr banjola moglie Lil al piano, e di solito non c'era un batterista. Lo stile di leadership di Armstrong fu molto buono per i suoi compagni della band, come disse St.
Fecero anche delle colonne sonore per alcuni film e per degli show, con versioni jazz di musica classica come Madame Butterfly. Giovani musicisti, sia neri che bianchi, erano affascinati dal nuovo tipo di jazz di Louis. Hines e Armstrong divennero in seguito amici. Negli anni seguenti, il locale ebbe fra i soci proprietari anche Al Capone, il boss della malavita. Fece anche un cameo come cantante, con Ain't Misbehavin'versione diventata poi famosissima.
Inizialmente, Armstrong ebbe anche un discreto successo con le sue registrazioni vocali, incluse versioni di famose canzoni composte dal suo vecchio amico Hoagy Carmichael. Anche la sua versione di Lazy River registrata nel ebbe un discreto successo.
La Grande Depressione ebbe un grande impatto anche nel mondo del jazz. Il Cotton Club chiuse nel e molti musicisti smisero di suonare. King Oliver fece alcune registrazioni ma ormai gli anni d'oro erano passati. Nel Armstrong apparve nel suo primo film, Ex-Flame. Venne in seguito condannato per possesso di marijuana, ma alla fine venne solo sospeso. Fece da sponsor a una squadra di baseball locale nota come "Armstrong's Secret Nine" e vide una mascotte ricevere il suo stesso nome.
Collins venne in seguito licenziato. Apparve inoltre in un altro film, diventando una sorta di attore. Il nuovo gruppo Album) annunciato all'apertura del Billy Berg's Supper Club.
Durante questo periodo Armstrong comparve in molti film, spesso come comparsa o, pochissime volte, come co-protagonista. Apparve inoltre sulla copertina del Time Magazine il 21 febbraio La canzone venne premiata nel con il Grammy Hall of Fame Award.
Louis Armstrong mantenne la sua agenda sempre piena fino a pochi anni dalla morte. Fece inoltre dei tour in AfricaEuropa e Asia. Da giovane era anche conosciuto come Dippermouthper l'abitudine che aveva nel rinfrescarsi con un mestolo da un secchio d'acqua, sempre presente sul palcoscenico con la band di Joe "King" Oliver a Chicago nei primi anni venti.
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