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| louis armstrong in his own words: Louis Armstrong, in His Own Words Louis Armstrong, 2001 Louis Armstrong has been the subject of countless biographies and music histories. Yet scant attention has been paid to the remarkable array of writings he left behind. Louis Armstrong: In His Own Words introduces readers to a little-known facet of this master trumpeter, band leader, and entertainer. Based on extensive research through the Armstrong archives, this important volume includes some of his earliest letters, personal correspondence with one of his first biographers in 1943-44, autobiographical writings, magazine articles, and essays. Here are Armstrong's own thoughts on his life and career--from poverty in New Orleans to playing in the famous cafes, cabarets, and saloons of Storyville, from his big break in 1922 with the King Oliver band to his storming of New York, from his breaking of color barriers in Hollywood to the infamous King of the Zulus incident in 1949, and finally, to his last days in Queens, New York. Along the way Armstrong recorded touching portraits of his times and offered candid, often controversial, opinions about racism, marijuana, bebop, and other jazz artists such as Jelly Roll Morton and Coleman Hawkins. Indeed, these writings provide a balanced portrait of his life as a musician, entertainer, civil rights activist, and cultural icon. Armstrong's idiosyncratic use of language and punctuation have been preserved to give the reader an unvarnished portrayal of this compelling artist. This volume also includes introductions to the writings, as well as an annotated index of names and places significant to Armstrong's life. |
| louis armstrong in his own words: Louis Armstrong, in His Own Words Louis Armstrong, 1999 |
| louis armstrong in his own words: Swing That Music Louis Armstrong, 1993-08-22 The first autobiography of a jazz musician, Louis Armstrong's Swing That Music is a milestone in jazz literature. Armstrong wrote most of the biographical material, which is of a different nature and scope than that of his other, later autobiography, Satchmo: My Life in New Orleans (also published by Da Capo/Perseus Books Group). Satchmo covers in intimate detail Armstrong's life until his 1922 move to Chicago; but Swing That Music also covers his days on Chicago's South Side with ”King” Oliver, his courtship and marriage to Lil Hardin, his 1929 move to New York, the formation of his own band, his European tours, and his international success. One of the most earnest justifications ever written for the new style of music then called ”swing” but more broadly referred to as ”Jazz,” Swing That Music is a biography, a history, and an entertainment that really ”swings.” |
| louis armstrong in his own words: Louis Armstrong's New Orleans Thomas Brothers, 2007-03-27 Drawing on first-person accounts, this book tells the rags-to-riches tale of Louis Armstrong's early life and the social and musical forces in New Orleans that shaped him, their unique relationship, and their impact on American culture. Illustrations. |
| louis armstrong in his own words: Louis Armstrong, in His Own Words Louis Armstrong, 2023 This collection of previously unpublished essays, letters and memoirs, written by one of the kings of Jazz, throws new light on his early life in New Orleans, experiences in Chicago and New York in the 20's and later years in Queens, New York. |
| louis armstrong in his own words: Louis Armstrong--a Self-portrait Louis Armstrong, Richard Meryman, 1971 |
| louis armstrong in his own words: Louis Armstrong, Master of Modernism Thomas David Brothers, 2014-02-03 The definitive account of Louis Armstrong—his life and legacy—during the most creative period of his career. Nearly 100 years after bursting onto Chicago’s music scene under the tutelage of Joe King Oliver, Louis Armstrong is recognized as one of the most influential artists of the twentieth century. A trumpet virtuoso, seductive crooner, and consummate entertainer, Armstrong laid the foundation for the future of jazz with his stylistic innovations, but his story would be incomplete without examining how he struggled in a society seething with brutally racist ideologies, laws, and practices. Thomas Brothers picks up where he left off with the acclaimed Louis Armstrong's New Orleans, following the story of the great jazz musician into his most creatively fertile years in the 1920s and early 1930s, when Armstrong created not one but two modern musical styles. Brothers wields his own tremendous skill in making the connections between history and music accessible to everyone as Armstrong shucks and jives across the page. Through Brothers's expert ears and eyes we meet an Armstrong whose quickness and sureness, so evident in his performances, served him well in his encounters with racism while his music soared across the airwaves into homes all over America. Louis Armstrong, Master of Modernism blends cultural history, musical scholarship, and personal accounts from Armstrong's contemporaries to reveal his enduring contributions to jazz and popular music at a time when he and his bandmates couldn’t count on food or even a friendly face on their travels across the country. Thomas Brothers combines an intimate knowledge of Armstrong's life with the boldness to examine his place in such a racially charged landscape. In vivid prose and with vibrant photographs, Brothers illuminates the life and work of the man many consider to be the greatest American musician of the twentieth century. |
| louis armstrong in his own words: Hear Me Talkin' to Ya Nat Shapiro, Nat Hentoff, 2012-08-16 In this marvelous oral history, the words of such legends as Louis Armstrong, Fats Waller, Jelly Roll Morton, Duke Ellington, and Billy Holiday trace the birth, growth, and changes in jazz over the years. |
| louis armstrong in his own words: Satchmo Steven Brower, 2009-04 A biography in the form of an art book, Satchmo tells the story of Louis Armstrong's life through his writings, scrapbooks, and artworks, many of which have never been published before. |
| louis armstrong in his own words: Play, Louis, Play! Muriel Harris Weinstein, 2010-12-07 The childhood of Louis Armstrong was as fascinating as the great musician himself-and this chapter book biography tells it like never before. Play, Louis, Play! is written from the point of view of Louis' closest companion throughout his youth-his horn! In a jazz-inflected, exuberant voice, this unusual narrator tells it all, starting with the small New Orleans hock shop where little Louis bought his first trumpet for five hard-earned dollars. As Louis goes from a street quartet to the marching band of the Colored Waif 's Home to the big sounds of New Orleans jazz clubs, author Muriel Harris Weinstein creates a moving portrait of the jazz legend. Includes a detailed author's note, glossary of jazz terms, and bibliography. |
| louis armstrong in his own words: Heart Full of Rhythm Ricky Riccardi, 2020-08-05 Nearly 50 years after his death, Louis Armstrong remains one of the 20th century's most iconic figures. Popular fans still appreciate his later hits such as Hello, Dolly! and What a Wonderful World, while in the jazz community, he remains venerated for his groundbreaking innovations in the 1920s. The achievements of Armstrong's middle years, however, possess some of the trumpeter's most scintillating and career-defining stories. But the story of this crucial time has never been told in depth until now. Between 1929 and 1947, Armstrong transformed himself from a little-known trumpeter in Chicago to an internationally renowned pop star, setting in motion the innovations of the Swing Era and Bebop. He had a similar effect on the art of American pop singing, waxing some of his most identifiable hits such as Jeepers Creepers and When You're Smiling. However as author Ricky Riccardi shows, this transformative era wasn't without its problems, from racist performance reviews and being held up at gunpoint by gangsters to struggling with an overworked embouchure and getting arrested for marijuana possession. Utilizing a prodigious amount of new research, Riccardi traces Armstrong's mid-career fall from grace and dramatic resurgence. Featuring never-before-published photographs and stories culled from Armstrong's personal archives, Heart Full of Rhythm tells the story of how the man called Pops became the first King of Pop. |
| louis armstrong in his own words: Satchmo Gary Giddins, 2009-03-05 Gary Giddins has been called the best jazz writer in America today (Esquire). Louis Armstrong has been called the most influential jazz musician of the century. Together this auspicious pairing has resulted in Satchmo, one of the most vivid and fascinating portraits ever drawn of perhaps the greatest figure in the history of American music. Available now at a new price, this text-only edition is the authoritative introduction to Armstrong's life and art for the curious newcomer, and offers fresh insight even for the serious student of Pops. |
| louis armstrong in his own words: A Horn for Louis Eric A. Kimmel, 2009-09-09 How did famous New Orleans jazz trumpet player Louis Armstrong get his first horn? Seven-year-old Louis Armstrong was too poor to buy a real instrument. He didn’t even go to school. To help his mother pay the rent, every day he rode a junk wagon through the streets of New Orleans, playing a tin horn and collecting stuff people didn’t want. Then one day, the junk wagon passed a pawn shop with a gleaming brass trumpet in the window. . . . With messages about hard work, persistence, hope, tolerance, cooperation, trust, and friendship, A Horn for Louis is perfect for aspiring young musicians and nonfiction fans alike! History Stepping Stones now feature updated content that emphasizes Common Core and today’s renewed interest in nonfiction. Perfect for home, school, and library bookshelves! |
| louis armstrong in his own words: What it is Dave Liebman, Lewis Porter, 2012 Dave Liebman is one of the leading forces in contemporary jazz. Prominently known for performing with Miles Davis and Elvin Jones, he has exerted considerable influence as a saxophonist, bandleader, composer, author, and educator. In What It Is: The Life of a Jazz Artist, friend, pianist, and noted jazz scholar Lewis Porter conducts a series of in-depth interviews with Liebman, who discusses his professional, personal, and musical relationships with notable musicians, as well as such personal matters as contracting polio as a child. Featuring rare photos from Liebman's personal collection, this fascinating and witty story will not only appeal to jazz fans and scholars but also to those readers interested in the story of how a young man followed his dream to become one of the leading jazz artists of our time. |
| louis armstrong in his own words: Pops Terry Teachout, 2010 Draws on previously unavailable sources, including hundreds of private recordings made throughout the second half of the jazz master's life, to assess his artistic achievements and personal life. |
| louis armstrong in his own words: If I Only Had a Horn Roxane Orgill, 1997 Orgill's vivid words and Jenkins's dramatic pictures combine to tell the story of a boy who grew up to be a giant of jazz--the legendary and beloved Louis Armstrong. |
| louis armstrong in his own words: Creating the Jazz Solo Vic Hobson, 2018-10-09 Throughout his life, Louis Armstrong tried to explain how singing with a barbershop quartet on the streets of New Orleans was foundational to his musicianship. Until now, there has been no in-depth inquiry into what he meant when he said, “I figure singing and playing is the same,” or, “Singing was more into my blood than the trumpet.” Creating the Jazz Solo: Louis Armstrong and Barbershop Harmony shows that Armstrong understood exactly the relationship between what he sang and what he played, and that he meant these comments to be taken literally: he was singing through his horn. To describe the relationship between what Armstrong sang and played, author Vic Hobson discusses elements of music theory with a style accessible even to readers with little or no musical background. Jazz is a music that is often performed by people with limited formal musical education. Armstrong did not analyze what he played in theoretical terms. Instead, he thought about it in terms of the voices in a barbershop quartet. Understanding how Armstrong, and other pioneer jazz musicians of his generation, learned to play jazz and how he used his background of singing in a quartet to develop the jazz solo has fundamental implications for the teaching of jazz history and performance today. This assertive book provides an approachable foundation for current musicians to unlock the magic and understand jazz the Louis Armstrong way. |
| louis armstrong in his own words: Who Was Louis Armstrong? Yona Zeldis McDonough, Who HQ, 2004-12-29 If not for a stint in reform school, young Louis Armstrong might never have become a musician. It was a teacher at the Colored Waifs Home who gave him a cornet, promoted him to band leader, and saw talent in the tough kid from the even tougher New Orleans neighborhood called Storyville. But it was Louis Armstrong's own passion and genius that pushed jazz into new and exciting realms with his amazing, improvisational trumpet playing. His seventy-year life spanned a critical time in American music as well as black history. |
| louis armstrong in his own words: Treat It Gentle Sidney Bechet, 2013-04 The most valuable and moving of all jazz biographies. -Nat Hentoff |
| louis armstrong in his own words: Pops Foster George M. Foster, Pops Foster, George Murphy Foster (dit Pops.), George McClelland Foster, Tom Stoddard, 1971-01-01 |
| louis armstrong in his own words: Satchmo Louis Armstrong, 1955 |
| louis armstrong in his own words: Louis Armstrong Terry Lee Collins, 2013 Describes the life of Louis Armstrong, focusing on his rise as a pop-culture icon--Provided by publisher. |
| louis armstrong in his own words: What Is This Thing Called Jazz? Eric Porter, 2002-01-31 Among the many books on the history of jazz. . . an implicit division of labor has solidified, whereby black artists play and invent while white writers provide the commentary. . . . Eric Porter's brilliant book seeks to trace the ways in which black jazz musicians have made verbal sense of their accomplishments, demonstrating the profound self-awareness of the artists themselves as they engaged in discourse about their enterprise.—Susan McClary, author of Conventional Wisdom: The Content of Musical Form With What Is This Thing Called Jazz Eric Porter has given us an original portrait of black musicians as creators, thinkers and politically conscious individuals. This well-written, thoroughly researched work is a model of a new kind of scholarship about African American musicians: one that shows them as people who are both shaped by and actively shaping their political and social context. One of the book's most important contributions is that it takes seriously what the musicians themselves say about the music and allows their voices to join that of critics and musicologists in helping to construct a critical and philosophical framework for analyzing the music. Professor Porter's work is rare in it's balanced attention to the formal qualities of the music, historical interpretation and theoretical reflection. His is a work that will certainly shape the direction of future studies. What Is This Thing Called Jazz? is an extraordinary work.—Farah Jasmine Griffin, author of If You Can't Be Free, Be a Mystery: In Search of Billie Holiday A major contribution to American Studies in music, Eric Porter's lucidly written book is the first to thoroughly analyze and contextualize the critical, historical and aesthetic writings of some of today's most innovative composer-performers. Placing the vital concerns of artists at the center, this work provides academic and lay readers alike with important new insights on how African-American musicians sought to realize ambitious dreams and concrete goals through direct action--not only in sound, but through building alternative institutions that emphasized the importance of community involvement.—George E. Lewis, Professor of Music, Critical Studies/Experimental Practices Area University of California, San Diego |
| louis armstrong in his own words: Saint Louis Armstrong Beach Brenda Woods, 2011-09-01 The gripping story of a boy, a dog and a hurricane Saint is a boy with confidence as big as his name is long. A budding musician, he earns money playing clarinet for the New Orleans tourists. His best friend is a stray dog named Shadow, and it's because of Shadow that Saint's still in town when Hurricane Katrina hits. Saint's not worried about the hurricane at first--he plans to live to be a hundred just to defy his palm-reader friend Jupi, who told him he had a short life line. But now the city has been ordered to evacuate and Saint won't leave without Shadow. His search brings him to his elderly neighbor's home and the three of them flee to her attic when the waters rise. But when Miz Moran's medication runs out, it's up to Saint to save her life--and his beloved Shadow's. |
| louis armstrong in his own words: Oh, Didn't He Ramble Lee Collins, Mary Spriggs Collins, 1989 Surveys the jazz trumpeter's career from the formative years of jazz in New Orleans, through his club successes in Chicago after 1930, to his last European tour in 1954. |
| louis armstrong in his own words: Of Minnie the Moocher & Me Cab Calloway, Bryant Rollins, 1976 |
| louis armstrong in his own words: The Original Hot Five Recordings of Louis Armstrong Gene Henry Anderson, 2007 Between 1925 and 1928 the Hot Five--the incomparable Louis Armstrong and four seasoned practitioners of the burgeoning jazz style--recorded fifty-five performances in Chicago for the OKeh label. Oddly enough, the quintet immortalized on vinyl with recent technology rarely performed as a unit in local nightspots. And yet, like other music now regarded as especially historic, their work in the studio summarized approaches of the past and set standards for the future. Remarkable both for popularity among the members of the public and for influence on contemporary musicians, these recordings helped make Satchmo a familiar household name and ultimately its bearer an adored public figure. They showcased Armstrong's genius, notably his leadership in transforming the practice of jazz as an ensemble improvisation into jazz as the art of the improvising soloist. In his study Professor Anderson--for the first time--provides a detailed account of the origins of this pioneering enterprise, relates individual pieces to existing copyright deposits, and contextualizes the music by offering a reliable timeline of Armstrong's professional activities during these years. All fifty-five pieces, moreover, are described in informed commentary [Publisher description]. |
| louis armstrong in his own words: What a Wonderful World Ricky Riccardi, 2011-06-21 In this richly detailed and prodigiously researched book, jazz scholar and musician Ricky Riccardi reveals for the first time the genius and remarkable achievements of the last 25 years of Louis Armstrong’s life, providing along the way a comprehensive study of one of the best-known and most accomplished jazz stars of our time. Much has been written about Armstrong, but the majority of it focuses on the early and middle stages of his career. During the last third of his career, Armstrong was often dismissed as a buffoonish if popular entertainer. Riccardi shows us instead the inventiveness and depth of his music during this time. These are the years of his highest-charting hits, including “Mack the Knife” and “Hello, Dolly; the famed collaborations with Ella Fitzgerald and Duke Ellington; and his legendary recordings with the All Stars. An eminently readable and insightful book, What a Wonderful World completes and enlarges our understanding of one of America’s greatest and most beloved musical icons. |
| louis armstrong in his own words: Focus On: 100 Most Popular Grammy Lifetime Achievement Award Winners Wikipedia contributors, |
| louis armstrong in his own words: Struggling to Define a Nation Charles Hiroshi Garrett, 2008-10-12 Identifying music as a vital site of cultural debate, this book captures the dynamic, contested nature of musical life in the United States. It examines an array of genres - including art music, jazz, popular song, ragtime, and Hawaiian music - and well-known musicians, such as Charles Ives, Jelly Roll Morton, Louis Armstrong, and Irving Berlin. |
| louis armstrong in his own words: Louis Armstrong David Stricklin, 2010-04-16 In the twentieth century, African Americans not only helped make popular music the soundtrack of the American experience, they advanced American music as one of the preeminent shapers of the world's popular culture. Vast numbers of black American musicians deserve credit for this remarkable turn of events, but a few stand out as true giants. David Stricklin's superb new biography explores the life of one of them, Louis Armstrong. Mr. Stricklin concentrates on Armstrong's musical talent, something many observers called a thing of genius. But he also pays special attention to Armstrong's identity a black man in America and the ways in which he triumphed over the mistreatment and disrespect dealt countless people like him. |
| louis armstrong in his own words: Music Is My Life Daniel Stein, 2012-05-03 A groundbreaking study of Louis Armstrong’s autobiographical practices |
| louis armstrong in his own words: Louis Armstrong's Hot Five and Hot Seven Recordings Brian Harker, 2011-04-02 For jazz historians, Louis Armstrong's Hot Five and Hot Seven recordings mark the first revolution in the history of a music riven by upheaval. Yet few traces of this revolution can be found in the historical record of the late 1920s, when the discs were made. Even black newspapers covered Armstrong as just one name among many, and descriptions of his playing, while laudatory, bear little resemblance to those of today. Through a careful analysis of seven seminal recordings in this compact and engaging book, author Brian Harker recaptures the perspective of Armstrong's original audience without abandoning that of today's listeners. The world of vaudeville and show business provide crucial context to his readings, revealing how the demands of making a living in a competitive environment catalyzed Armstrong's unique artistic gifts. Invoking a breadth of influences ranging from New Orleans clarinet style to Guy Lombardo, and from tap dancing to classical music, Louis Armstrong's Hot Five and Hot Seven Recordings offers bold insights, fresh anecdotes, and, ultimately, a new interpretation of Louis Armstrong and his most influential body of work. |
| louis armstrong in his own words: Oxford Bibliographies , |
| louis armstrong in his own words: Smoke Signals Martin A. Lee, 2013-08-13 In this book the author, an investigative journalist, traces the social history of marijuana from its origins to its emergence in the 1960s as a defining force in an ongoing culture war. He describes how the illicit marijuana subculture overcame government opposition and morphed into a multibillion-dollar industry. In 1996, Californians voted to legalize marijuana for medicinal purposes. Similar laws have followed in several other states, but not without antagonistic responses from federal, state, and local law enforcement. The author draws attention to underreported scientific breakthroughs that are reshaping the therapeutic landscape: medical researchers have developed promising treatments for cancer, heart disease, Alzheimer's, diabetes, chronic pain, and many other conditions that are beyond the reach of conventional cures. This book is an examination of the medical, recreational, scientific, and economic dimensions of the world's most controversial plant. |
| louis armstrong in his own words: Louis Armstrong: Grove Music Essentials Gene H. Anderson, 2015-03-01 Biography of jazz trumpeter and singer Louis Armstrong. This ebook is a static version of an article from Grove Music Online, a continuously updated online resource, offering comprehensive coverage of the world’s music written by leading scholars. For more information, visit www.oxfordmusiconline.com. |
| louis armstrong in his own words: Armstrong David Bradbury, 2003 Accessible and affordable illustrated biography |
| louis armstrong in his own words: Encyclopedia of American Urban History David Goldfield, 2007 Publisher description |
| louis armstrong in his own words: Early Jazz Trumpet Legends Larry Kemp, 2018-10-16 Early Jazz Trumpet Legends By: Larry Kemp Early Jazz Trumpet Legends is an examination of the lives and contributions of jazz trumpeters born before 1925. Included are Louis Armstrong, Dizzy Gillespie, Harry James, Bix Beiderbecke, Bunny Berigan, and Roy Eldridge along with scores of other men and women who created jazz with a trumpet. This is an essential guide for the student of jazz, those interested in history, and those who just like to read entertaining true stories about the most colorful people. Early Jazz Trumpet Legends is the most comprehensive book on the subject. More than 320 trumpeters are discussed. There is a glossary of jazz terminology and a Forward explaining the nature of a trumpet, the nature of jazz, and what a legend is along with background information about New Orleans during the first 30 years of jazz. The scholarship involved is impeccable, while the text reads as easily as a novel. Those who travel to New Orleans will find the information in this book extremely useful to understand the soul of this exotic city and its role as the incubator of jazz. An ideal gift for any musician or lover of jazz. Early Jazz Trumpet Legends is the first of three volumes organized chronologically by date of birth. The second volume, Modern Jazz Trumpet Legends covers those born between 1925 and 1940 and the third volume, Current Jazz Trumpet Legends, covers those born after 1940. |
| louis armstrong in his own words: Music in the USA Judith Tick, Paul Beaudoin, 2008-09-26 Music in the USA: A Documentary Companion charts a path through American music and musical life using as guides the words of composers, performers, writers and the rest of us ordinary folks who sing, dance, and listen. The anthology of primary sources contains about 160 selections from 1540 to 2000. Sometimes the sources are classics in the literature around American music, for example, the Preface to the Bay Psalm Book, excerpts from Slave Songs of the United States, and Charles Ives extolling Emerson. But many other selections offer uncommon sources, including a satirical story about a Yankee music teacher; various columns from 19th-century German American newspapers; the memoirs of a 19th-century diva; Lottie Joplin remembering her husband Scott; a little-known reflection of Copland about Stravinsky; an interview with Muddy Waters from the Chicago Defender; a letter from Woody Guthrie on the spunkfire attitude of a folk song; a press release from the Country Music Association; and the Congressional testimony around Napster. Sidebar entries occasionally bring a topic or an idea into the present, acknowledging the extent to which revivals of many kinds of music play a role in American contemporary culture. This book focuses on the connections between theory and practice to enrich our understanding of the diversity of American musical experiences. Designed especially to accompany college courses which survey American music as a whole, the book is also relevant to courses in American history and American Studies. |
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