BLACK SOCIAL HISTORY
Louis Armstrong
Louis Armstrong restored.jpg
Armstrong in 1953
Born August 4, 1901
New Orleans, Louisiana, U.S.
Died July 6, 1971 (aged 69)
Corona, Queens, New York City, New York, U.S.
Cause of death Heart attack
Resting place Flushing Cemetery
Other names Satchmo
Ambassador Satch
Dipper
Dippermouth
Pops
Satch
Occupation Musician
Years active c. 1914–1971
Spouse(s) Daisy Parker
(Mar 19, 1918 – Dec 18, 1923; divorced)
Lil Hardin Armstrong
(Feb 4, 1924 – 1938; divorced)
Alpha Smith
(Oct 11, 1938 – 1942; divorced)
Lucille Wilson
(Oct 12, 1942 – Jul 6, 1971; his death)
Musical career
Genres Dixieland, jazz, swing, traditional pop
Instruments Trumpet, cornet, vocals
Associated acts Joe "King" Oliver, Ella Fitzgerald, Kid Ory, Jack Teagarden
Louis Armstrong (August 4, 1901 – July 6, 1971),[1] nicknamed Satchmo[2] or Pops, was an American trumpeter, composer and singer who was one of the most influential figures in jazz. His career spanned five decades, from the 1920s to the 1960s, and different eras in jazz.[3]
Coming to prominence in the 1920s as an "inventive" trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance.[4] With his instantly recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also skilled at scat singing.
Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong's influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to "cross over", whose skin color was secondary to his music in an America that was extremely racially divided. He rarely publicly politicized his race, often to the dismay of fellow African-Americans, but took a well-publicized stand for desegregation in the Little Rock Crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society which were highly restricted for black men of his era.
Contents
1 Early life
2 Career
2.1 1920s
2.2 1930s
2.3 1940s
2.3.1 The All Stars
2.4 1950s–1970s
3 Personal life
3.1 Pronunciation of name
3.2 Family
3.3 Personality
3.4 Nicknames
3.5 Race
3.6 Religion
3.7 Personal habits
3.8 Writings
3.9 Social organizations
4 Music
4.1 Horn playing and early jazz
4.2 Vocal popularity
4.3 Composing
4.4 Colleagues and followers
4.5 Hits and later career
4.6 Stylistic range
5 Literature, radio, films and TV
6 Death
7 Awards and honors
7.1 Grammy Awards
7.2 Grammy Hall of Fame
7.3 Rock and Roll Hall of Fame
7.4 Inductions and honors
8 Legacy
8.1 Home turned National Historic Landmark
9 Discography
9.1 Singles
9.2 Original albums
9.3 Posthumous releases
9.4 List of songs recorded
13.1 Video clips
Early life
Handcolored etching Louis Armstrong (2002) by Adi Holzer
Armstrong often stated that he was born on July 4, 1900,[5][6] a date that has been noted in many biographies. Although he died in 1971, it was not until the mid-1980s that his true birth date of August 4, 1901 was discovered by researcher Tad Jones through the examination of baptismal records.[7]
Armstrong was born into a poor family in New Orleans, Louisiana, and was the grandson of slaves. He spent his youth in poverty, in a rough neighborhood known as "the Battlefield", which was part of the Storyville legal prostitution district. His father, William Armstrong (1881–1922), abandoned the family when Louis was an infant and took up with another woman. His mother, Mary "Mayann" Albert (1886–1927), then left Louis and his younger sister, Beatrice Armstrong Collins (1903–1987), in the care of his grandmother, Josephine Armstrong, and at times, his Uncle Isaac. At five, he moved back to live with his mother and her relatives, and only saw his father in parades.
He attended the Fisk School for Boys, where he most likely had early exposure to music. He brought in some money as a paperboy and also by finding discarded food and selling it to restaurants, but it was not enough to keep his mother from prostitution. He hung out in dance halls close to home, where he observed everything from licentious dancing to the quadrille. For extra money he also hauled coal to Storyville, and listened to the bands playing in the brothels and dance halls, especially Pete Lala's, where Joe "King" Oliver performed as well as other famous musicians who would drop in to jam.
After dropping out of the Fisk School at age eleven, Armstrong joined a quartet of boys who sang in the streets for money. He also started to get into trouble. Cornet player Bunk Johnson said he taught Armstrong (then 11) to play by ear at Dago Tony's Tonk in New Orleans,[8] although in his later years Armstrong gave the credit to Oliver. Armstrong hardly looked back at his youth as the worst of times but drew inspiration from it instead: "Every time I close my eyes blowing that trumpet of mine—I look right in the heart of good old New Orleans... It has given me something to live for."[9]
He also worked for a Lithuanian-Jewish immigrant family, the Karnofskys, who had a junk hauling business and gave him odd jobs. They took him in and treated him like family; knowing he lived without a father, they fed and nurtured him.[10] He later wrote a memoir of his relationship with the Karnofskys titled, Louis Armstrong + the Jewish Family in New Orleans, La., the Year of 1907. In it he describes his discovery that this family was also subject to discrimination by "other white folks" nationalities who felt that they were better than the Jewish race... "I was only seven years old but I could easily see the ungodly treatment that the White Folks were handing the poor Jewish family whom I worked for."[11] Armstrong wore a Star of David pendant for the rest of his life and wrote about what he learned from them: "how to live—real life and determination."[12] The influence of Karnofsky is remembered in New Orleans by the Karnofsky Project, a non-profit organization dedicated to accepting donated musical instruments to "put them into the hands of an eager child who could not otherwise take part in a wonderful learning experience."[13]
Armstrong with his first trumpet instructor, Peter Davis, in 1965
Armstrong developed his cornet playing skills by playing in the band of the New Orleans Home for Colored Waifs, where he had been sent multiple times for general delinquency, most notably for firing his stepfather's pistol into the air at a New Year's Eve celebration, but it was only an empty shot, as police records confirm. Professor Peter Davis (who frequently appeared at the home at the request of its administrator, Captain Joseph Jones)[14] instilled discipline in and provided musical training to the otherwise self-taught Armstrong. Eventually, Davis made Armstrong the band leader. The home band played around New Orleans and the thirteen-year-old Louis began to draw attention by his cornet playing, starting him on a musical career.[15] At fourteen he was released from the home, living again with his father and new step-mother, Gertrude, and then back with his mother and thus back to the streets and their temptations. Armstrong got his first dance hall job at Henry Ponce's where Black Benny became his protector and guide. He hauled coal by day and played his cornet at night.
He played in the city's frequent brass band parades and listened to older musicians every chance he got, learning from Bunk Johnson, Buddy Petit, Kid Ory, and above all, Joe "King" Oliver, who acted as a mentor and father figure to the young musician. Later, he played in brass bands and riverboats of New Orleans, and began traveling with the well-regarded band of Fate Marable, which toured on a steamboat up and down the Mississippi River. He described his time with Marable as "going to the University," since it gave him a much wider experience working with written arrangements.
In 1919, Joe Oliver decided to go north and resigned his position in Kid Ory's band; Armstrong replaced him. He also became second trumpet for the Tuxedo Brass Band, a society[clarification needed] band.[16]
Career[
Label for gramophone record, "Heebie Jeebies" by Louis Armstrong and his Hot Five
"Muggles"(1938 reissue pressing)
"Skokiaan"
"Mack The Knife"
1920s[edit]
Throughout his riverboat experience, Armstrong's musicianship began to mature and expand. At twenty, he could read music and started to be featured in extended trumpet solos, one of the first jazz men to do this, injecting his own personality and style into his solo turns. He had learned how to create a unique sound and also started using singing and patter in his performances.[17] In 1922, Armstrong joined the exodus to Chicago, where he had been invited by his mentor, Joe "King" Oliver, to join his Creole Jazz Band and where he could make a sufficient income so that he no longer needed to supplement his music with day labor jobs. It was a boom time in Chicago and though race relations were poor, the city was teeming with jobs available for black people, who were making good wages in factories and had plenty to spend on entertainment.
Oliver's band was among the most influential jazz bands in Chicago in the early 1920s, at a time when Chicago was the center of the jazz universe. Armstrong lived luxuriously in Chicago, in his own apartment with his own private bath (his first). Excited as he was to be in Chicago, he began his career-long pastime of writing nostalgic letters to friends in New Orleans. As Armstrong's reputation grew, he was challenged to "cutting contests" by hornmen trying to displace the new phenomenon[clarification needed], who could blow two hundred high Cs in a row.[18] Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to boom across the country), including taking some solos and breaks, while playing second cornet in Oliver's band in 1923. At this time, he met Hoagy Carmichael (with whom he would collaborate later) who was introduced by friend Bix Beiderbecke, who now had his own Chicago band.
Armstrong enjoyed working with Oliver, but Louis' second wife, pianist Lil Hardin Armstrong, urged him to seek more prominent billing and develop his newer style away from the influence of Oliver. Armstrong took the advice of his wife and left Oliver's band. For a year Armstrong played in Fletcher Henderson's band in New York on many recordings. After playing in New York, Armstrong returned to Chicago, playing in large orchestras; there he created his most important early recordings.[19] Lil had her husband play classical music in church concerts to broaden his skill and improve his solo play and she prodded him into wearing more stylish attire to make him look sharp and to better offset his growing girth. Lil's influence eventually undermined Armstrong's relationship with his mentor, especially concerning his salary and additional moneys that Oliver held back from Armstrong and other band members. Armstrong and Oliver parted amicably in 1924. Shortly afterward, Armstrong received an invitation to go to New York City to play with the Fletcher Henderson Orchestra, the top African-American band of the time. Armstrong switched to the trumpet to blend in better with the other musicians in his section. His influence upon Henderson's tenor sax soloist, Coleman Hawkins, can be judged by listening to the records made by the band during this period.
Armstrong quickly adapted to the more tightly controlled style of Henderson, playing trumpet and even experimenting with the trombone. The other members quickly took up Armstrong's emotional, expressive pulse. Soon his act included singing and telling tales of New Orleans characters, especially preachers.[20] The Henderson Orchestra was playing in prominent venues for white-only patrons, including the famed Roseland Ballroom, featuring the arrangements of Don Redman. Duke Ellington's orchestra would go to Roseland to catch Armstrong's performances and young horn men around town tried in vain to outplay him, splitting their lips in their attempts.
During this time, Armstrong made many recordings on the side, arranged by an old friend from New Orleans, pianist Clarence Williams; these included small jazz band sides with the Williams Blue Five (some of the most memorable pairing Armstrong with one of Armstrong's few rivals in fiery technique and ideas, Sidney Bechet) and a series of accompaniments with blues singers, including Bessie Smith, Ma Rainey, and Alberta Hunter.
Armstrong returned to Chicago in 1925 due mostly to the urging of his wife, who wanted to pump up Armstrong's career and income. He was content in New York but later would concede that she was right and that the Henderson Orchestra was limiting his artistic growth. In publicity, much to his chagrin, she billed him as "the World's Greatest Trumpet Player". At first, he was actually a member of the Lil Hardin Armstrong Band and working for his wife.[21] He began recording under his own name for Okeh with his famous Hot Five and Hot Seven groups, producing hits such as "Potato Head Blues", "Muggles", (a reference to marijuana, for which Armstrong had a lifelong fondness), and "West End Blues", the music of which set the standard and the agenda for jazz for many years to come.
The group included Kid Ory (trombone), Johnny Dodds (clarinet), Johnny St. Cyr (banjo), wife Lil on piano, and usually no drummer. Armstrong's band leading style was easygoing, as St. Cyr noted, "One felt so relaxed working with him, and he was very broad-minded ... always did his best to feature each individual."[22] Among the most notable of the Hot Five and Seven records were "Cornet Chop Suey," "Struttin' With Some Barbecue," "Hotter Than that" and "Potato Head Blues,", all featuring highly creative solos by Armstrong. His recordings soon after with pianist Earl "Fatha" Hines (most famously their 1928 "Weatherbird" duet) and Armstrong's trumpet introduction to and solo in "West End Blues" remain some of the most famous and influential improvisations in jazz history. Armstrong was now free to develop his personal style as he wished, which included a heavy dose of effervescent jive, such as "whip that thing, Miss Lil" and "Mr. Johnny Dodds, Aw, do that clarinet, boy!"[23]
Armstrong also played with Erskine Tate's Little Symphony, which played mostly at the Vendome Theatre. They furnished music for silent movies and live shows, including jazz versions of classical music, such as "Madame Butterfly", which gave Armstrong experience with longer forms of music and with hosting before a large audience. He began to scat sing (improvised vocal jazz using nonsensical words) and was among the first to record it, on the Hot Five recording "Heebie Jeebies" in 1926. The recording was so popular that the group became the most famous jazz band in the United States, even though they had not performed live to any great extent. Young musicians across the country, black or white, were turned on by Armstrong's new type of jazz.[24]
With Jack Teagarden (left) and Barney Bigard (right), Armstrong plays the trumpet in Helsinki, Finland, October 1949
After separating from Lil, Armstrong started to play at the Sunset Café for Al Capone's associate Joe Glaser in the Carroll Dickerson Orchestra, with Earl Hines on piano, which was soon renamed Louis Armstrong and his Stompers,[25] though Hines was the music director and Glaser managed the orchestra. Hines and Armstrong became fast friends and successful collaborators.[26]
Armstrong returned to New York, in 1929, where he played in the pit orchestra of the successful musical Hot Chocolate, an all-black revue written by Andy Razaf and pianist/composer Fats Waller. He also made a cameo appearance as a vocalist, regularly stealing the show with his rendition of "Ain't Misbehavin'", his version of the song becoming his biggest selling record to date.[27]
1930s
Armstrong started to work at Connie's Inn in Harlem, chief rival to the Cotton Club, a venue for elaborately staged floor shows,[28] and a front for gangster Dutch Schultz. Armstrong also had considerable success with vocal recordings, including versions of famous songs composed by his old friend Hoagy Carmichael. His 1930s recordings took full advantage of the new RCA ribbon microphone, introduced in 1931, which imparted a characteristic warmth to vocals and immediately became an intrinsic part of the 'crooning' sound of artists like Bing Crosby. Armstrong's famous interpretation of Carmichael's "Stardust" became one of the most successful versions of this song ever recorded, showcasing Armstrong's unique vocal sound and style and his innovative approach to singing songs that had already become standards.
Armstrong's radical re-working of Sidney Arodin and Carmichael's "Lazy River" (recorded in 1931) encapsulated many features of his groundbreaking approach to melody and phrasing. The song begins with a brief trumpet solo, then the main melody is introduced by sobbing horns, memorably punctuated by Armstrong's growling interjections at the end of each bar: "Yeah! ..."Uh-huh" ..."Sure" ... "Way down, way down." In the first verse, he ignores the notated melody entirely and sings as if playing a trumpet solo, pitching most of the first line on a single note and using strongly syncopated phrasing. In the second stanza he breaks into an almost fully improvised melody, which then evolves into a classic passage of Armstrong "scat singing".
Louis Armstrong in 1953
As with his trumpet playing, Armstrong's vocal innovations served as a foundation stone for the art of jazz vocal interpretation. The uniquely gritty coloration of his voice became a musical archetype that was much imitated and endlessly impersonated. His scat singing style was enriched by his matchless experience as a trumpet soloist. His resonant, velvety lower-register tone and bubbling cadences on sides such as "Lazy River" exerted a huge influence on younger white singers such as Bing Crosby.
The Great Depression of the early 1930s was especially hard on the jazz scene. The Cotton Club closed in 1936 after a long downward spiral, and many musicians stopped playing altogether as club dates evaporated. Bix Beiderbecke died and Fletcher Henderson’s band broke up. King Oliver made a few records but otherwise struggled. Sidney Bechet became a tailor and Kid Ory returned to New Orleans and raised chickens.[29]
Armstrong moved to Los Angeles in 1930 to seek new opportunities. He played at the New Cotton Club in Los Angeles with Lionel Hampton on drums. The band drew the Hollywood crowd, which could still afford a lavish night life, while radio broadcasts from the club connected with younger audiences at home. Bing Crosby and many other celebrities were regulars at the club. In 1931, Armstrong appeared in his first movie, Ex-Flame and was also convicted of marijuana possession but received a suspended sentence.[30] He returned to Chicago in late 1931 and played in bands more in the Guy Lombardo vein and he recorded more standards. When the mob insisted that he get out of town,[31] Armstrong visited New Orleans, had a hero's welcome and saw old friends. He sponsored a local baseball team known as "Armstrong's Secret Nine" and had a cigar named after him.[32] But soon he was on the road again and after a tour across the country shadowed by the mob, Armstrong decided to go to Europe to escape.
After returning to the United States, he undertook several exhausting tours. His agent Johnny Collins' erratic behavior and his own spending ways left Armstrong short of cash. Breach of contract violations plagued him. Finally, he hired Joe Glaser as his new manager, a tough mob-connected wheeler-dealer, who began to straighten out his legal mess, his mob troubles, and his debts. Armstrong also began to experience problems with his fingers and lips, which were aggravated by his unorthodox playing style. As a result, he branched out, developing his vocal style and making his first theatrical appearances. He appeared in movies again, including Crosby's 1936 hit Pennies from Heaven. In 1937, Armstrong substituted for Rudy Vallee on the CBS radio network and became the first African American to host a sponsored, national broadcast.[33]
1940s
After spending many years on the road, Armstrong settled permanently in Queens, New York in 1943 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. He recorded Hoagy Carmichael's Rockin' Chair for Okeh Records.
During the subsequent thirty years, Armstrong played more than three hundred gigs a year. Bookings for big bands tapered off during the 1940s 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 support and finance a 16-piece touring band.
The All Stars
Louis Armstrong in 1953
During the 1940s, a widespread revival of interest in the traditional jazz of the 1920s made it possible for Armstrong to consider a return to the small-group musical style of his youth. Following a highly successful small-group jazz concert at New York Town Hall on May 17, 1947, featuring Armstrong with trombonist/singer Jack Teagarden, Armstrong's manager, Joe Glaser dissolved the Armstrong big band on August 13, 1947 and established a six-piece traditional jazz small group featuring Armstrong with (initially) Teagarden, Earl Hines and other top swing and Dixieland musicians, most of them ex-big band leaders. The new group was announced at the opening of Billy Berg's Supper Club.
This group was called Louis Armstrong and his All Stars and included at various times Earl "Fatha" Hines, Barney Bigard, Edmond Hall, Jack Teagarden, Trummy Young, Arvell Shaw, Billy Kyle, Marty Napoleon, Big Sid Catlett, Cozy Cole, Tyree Glenn, Barrett Deems, Joe Darensbourg, Eddie Shu and percussionist Danny Barcelona. 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, 1949. In 1948, he participated in the Nice Jazz Festival, where Suzy Delair sang "C'est si bon", by Henri Betti and André Hornez, for the first time in public.
1950s–1970s
Louis Armstrong in 1955
With the publishers' permission, Armstrong recorded the first American version of "C'est si bon" on June 26, 1950, in New York, with English lyrics by Jerry Seelen. When it was released, the disc garnered worldwide sales.[citation needed] In the 1960s, he toured Ghana and Nigeria, performing with Victor Olaiya during the Nigerian Civil war.[34][35] In 1964, he recorded his biggest-selling record, "Hello, Dolly!", a song by Jerry Herman, originally sung by Carol Channing. Armstrong's version remained on the Hot 100 for 22 weeks, longer than any other record produced that year, and went to No. 1 making him, at 62 years, 9 months and 5 days, the oldest person ever to accomplish that feat. In the process, he dislodged the Beatles from the No. 1 position they had occupied for 14 consecutive weeks with three different songs.[36]
Armstrong kept up his busy tour schedule until a few years before his death in 1971. He also toured Africa, Europe, and Asia under the sponsorship of the US State Department with great success, earning the nickname "Ambassador Satch" and inspiring Dave Brubeck to compose his jazz musical The Real Ambassadors.[37]
Personal life
Pronunciation of name
The Louis Armstrong House Museum website states:
Judging from home recorded tapes now in our Museum Collections, Louis pronounced his own name as "Lewis." On his 1964 record "Hello, Dolly," he sings, "This is Lewis, Dolly" but in 1933 he made a record called "Laughin’ Louie." Many broadcast announcers, fans, and acquaintances called him "Louie" and in a videotaped interview from 1983 Lucille Armstrong calls her late husband "Louie" as well. Musicians and close friends usually called him "Pops."[38]
In a memoir written for Robert Goffin between 1943 and 1944, Armstrong states, "All white folks call me Louie," suggesting that he himself did not.[39] That said, Armstrong was registered as "Lewie" for the 1920 U.S. Census. On various live records he's called "Louie" on stage, such as on the 1952 "Can Anyone Explain?" from the live album In Scandinavia vol.1. It should also be noted that "Lewie" is the French pronunciation of "Louis" and is commonly used in Louisiana.
Family
On March 19, 1918, at the age of 16, Louis married Daisy Parker, a prostitute from Gretna, Louisiana.[40] They adopted a 3-year-old boy, Clarence Armstrong, whose mother, Louis' cousin Flora, died soon after giving birth. Clarence Armstrong was mentally disabled (the result of a head injury at an early age) and Louis would spend the rest of his life taking care of him.[41] Louis' marriage to Parker failed quickly and they separated in 1923.
Armstrong with Lucille Wilson (c. 1960s)
On February 4, 1924, Louis married Lil Hardin Armstrong, who was Oliver's pianist and had also divorced her first spouse only a few years earlier. His second wife was instrumental in developing his career, but in the late 1920s Hardin and Louis grew apart. They separated in 1931 and divorced in 1938, after which Louis married longtime girlfriend Alpha Smith.[42] His marriage to his third wife lasted four years, and they divorced in 1942. Louis then married Lucille Wilson, a singer at the Cotton Club, to whom he was married until his death in 1971.[43]
Armstrong's marriages never produced any offspring, though he loved children.[44] However, in December 2012, 57-year-old Sharon Preston-Folta claimed to be his daughter from a 1950s affair between Armstrong and Lucille "Sweets" Preston, a dancer at the Cotton Club.[45] In a 1955 letter to his manager, Joe Glaser, Armstrong affirmed his belief that Preston's newborn baby was his daughter, and ordered Glaser to pay a monthly allowance of $400 to mother and child.[46]
Personality
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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 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 of U.S. history.
Nicknames
Autograph of Armstrong on the muretto of Alassio
The nicknames Satchmo and Satch are short for Satchelmouth. Like many things in Armstrong's life, which was filled with colorful stories both real and imagined, many of his own telling, the nickname has many possible origins.
The most common tale that biographers tell is the story of Armstrong as a young boy dancing for pennies in the streets of New Orleans, who would scoop up the coins off of the streets and stick them into his mouth to avoid having the bigger children steal them from him. 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 became shortened to Satchmo.
Early on he was also known as Dipper, short for Dippermouth, a reference to the piece Dippermouth Blues.[47] 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 soon turned on Armstrong himself. It was used as the title of a 2010 biography of Armstrong by Terry Teachout.
Armstrong's autograph from the 1960s
Race
Armstrong was largely accepted into white society, both on stage and off, a privilege reserved for very few African-American public figures, and usually those of either exceptional talent or fair skin tone.[citation needed] As his fame grew, so did his access to the finer things in life usually denied to African-Americans, even famous ones.[citation needed] His renown was such that he dined in reputable restaurants and stayed in hotels usually exclusively for whites.[48][not in citation given] It was a power and privilege that he enjoyed, although he was very careful not to flaunt it with fellow performers of color, and privately, he shared what access that he could with friends and fellow musicians.
That still did not prevent members of the African-American community, particularly in the late 1950s to the early 1970s, from calling him an Uncle Tom, a black-on-black racial epithet for someone who kowtowed to white society at the expense of their own racial identity. Billie Holiday countered, however, "Of course Pops toms, but he toms from the heart."[49] He was criticized for accepting the title of "King of The Zulus" for Mardi Gras in 1949. In the New Orleans African-American community it is an honored role as the head of leading black Carnival Krewe, but bewildering or offensive to outsiders with their traditional costume of grass-skirts and blackface makeup satirizing southern white attitudes.
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.[50] The few exceptions made it more effective when he did speak out. Armstrong's criticism of President Eisenhower, calling him "two-faced" and "gutless" because of his inaction during the conflict over school desegregation in Little Rock, Arkansas in 1957 made national news. 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.[51]
The FBI kept a file on Armstrong for his outspokenness about integration.[52]
Religion
When asked about his religion, Armstrong would answer that he was raised a Baptist, always wore a Star of David, and was friends with the Pope.[53] Armstrong wore the Star of David in honor of the Karnofsky family, who took him in as a child and lent him the money to buy his first cornet. Louis Armstrong was, in fact, baptized as a Catholic at the Sacred Heart of Jesus Church in New Orleans,[53] and he met popes Pius XII and Paul VI, though there is no evidence that he considered himself Catholic. Armstrong seems to have been tolerant towards various religions, but also found humor in them.[citation needed]
Personal habits
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.[citation needed] Armstrong's laxative of preference in his younger days was Pluto Water, but he then became an enthusiastic convert when he discovered the herbal remedy Swiss Kriss.[citation needed] He would extol its virtues to anyone who would listen and pass out packets to everyone he encountered, including members of the British Royal Family. (Armstrong also appeared in humorous, albeit risqué, cards that he had printed to send out to friends; the cards bore a picture of him sitting on a toilet—as viewed through a keyhole—with the slogan "Satch says, 'Leave it all behind ya!'")[54] The cards have sometimes been incorrectly described as ads for Swiss Kriss.[55] In a live recording of "Baby, It's Cold Outside" with Velma Middleton, he changes the lyric from "Put another record on while I pour" to "Take some Swiss Kriss while I pour."[56]
The concern with his health and weight was balanced by his love of food, reflected in such songs as "Cheesecake", "Cornet Chop Suey,"[57] though "Struttin’ with Some Barbecue" was written about a fine-looking companion, not about food.[58] He kept a strong connection throughout his life to the cooking of New Orleans, always signing his letters, "Red beans and ricely yours..."[59]
Writings
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.[60] He had a fondness for lewd jokes and dirty limericks as well.
Social organizations
Louis Armstrong was not, as is often claimed, a Freemason. Although he is usually listed as being a member of Montgomery Lodge No. 18 (Prince Hall) in New York, no such lodge has ever existed. However, Armstrong stated in his autobiography that he was a member of the Knights of Pythias which is not a Masonic group.[61]
Music
Horn playing and early jazz
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Selmer trumpet, given as a gift by King George V of the United Kingdom to Louis Armstrong in 1933
In his early years, Armstrong was best known for his virtuosity with the cornet and trumpet. The most lauded recordings on which Armstrong plays trumpet include the Hot Five and Hot Seven sessions, as well as those of the Red Onion Jazz Babies. Armstrong's improvisations, while unconventionally sophisticated for that era, were also subtle and highly melodic.
Prior to Armstrong, most collective ensemble playing in jazz, along with 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.[62]
Vocal popularity
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 Records, when 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.A. 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.[63] On a later recording, Armstrong also sang out "I done forgot the words" in the middle of recording "I'm A Ding Dong Daddy From Dumas."
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.
Composing
Armstrong was a gifted composer who wrote more than fifty songs, which in a number of cases have become jazz standards (e.g., “Gully Low Blues,” “Potato Head Blues,” and “Swing That Music”).
Colleagues and followers
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 Ellington, Fletcher Henderson, Earl Hines, Jimmie Rodgers, Bessie 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" (1931). The New Grove Dictionary of Jazz describes Crosby's debt to Armstrong in precise detail, although it does not acknowledge Armstrong by name:
Crosby... was important in introducing into the mainstream of popular singing an Afro-American concept of song as a lyrical extension of speech... 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 enunciation, singing on consonants (a practice of black singers), and making discreet use of appoggiaturas, mordents, and slurs to emphasize the text—were emulated by nearly all later popular singers.
Armstrong recorded two albums with Ella Fitzgerald: Ella and Louis, and Ella and Louis Again for Verve Records, with the sessions featuring the backing musicianship of the Oscar Peterson Trio and drummers Buddy Rich (on the first album), and Louie Bellson (on the second). Norman Granz then had the vision for Ella and Louis to record Porgy and Bess which is the most famous and critically acclaimed version[by whom?] of the Gershwin brothers' work.
His recordings for Columbia Records, Louis Armstrong Plays W.C. Handy (1954) and Satch Plays Fats (all Fats Waller tunes) (1955) were both being considered masterpieces, as well as moderately well selling. In 1961 the All Stars participated in two albums - "The Great Summit" and "The Great Reunion" (now together as a single disc) with Duke Ellington. 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 (1963) was critically acclaimed, and features "Summer Song," one of Armstrong's most popular vocal efforts.
Louis Armstrong in 1966
In 1964 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" (500,000). His performance of "Hello Dolly" won for best male pop vocal performance at the 1964 Grammy Awards.
Hits and later career
Armstrong had nineteen "Top Ten" records[64] including "Stardust", "What a Wonderful World", "When The Saints Go Marching In", "Dream a Little Dream of Me", "Ain't Misbehavin'", "You Rascal You", and "Stompin' at the Savoy". "We Have All the Time in the World" was featured on the soundtrack of the James Bond film On Her Majesty's Secret Service, and enjoyed renewed popularity in the UK in 1994 when it featured on a Guinness advert. It reached number 3 in the charts on being re-released.
In 1964, Armstrong knocked The Beatles off the top of the Billboard Hot 100 chart with "Hello, Dolly!", which gave the 63-year-old performer a U.S. record as the oldest artist to have a number one song. His 1964 song "Bout Time" was later featured in the film Bewitched.
Armstrong performed in Italy at the 1968 Sanremo Music Festival where he sang "Mi Va di Cantare"[65] alongside his friend, the Eritrean-born Italian singer Lara Saint Paul.[66] In February 1968, he also appeared with Lara Saint Paul on the Italian RAI television channel where he performed "Grassa e Bella," a track he sang in Italian for the Italian market and C.D.I. label.[67]
In 1968, Armstrong scored one last popular hit in the United Kingdom with "What a Wonderful World", which topped the British charts for a month; however, the single did not chart at all in America. The song gained greater currency in the popular consciousness when it was used in the 1987 movie Good Morning, Vietnam, its subsequent re-release topping many charts around the world. Armstrong even appeared on the October 28, 1970, Johnny Cash Show, where he sang Nat King Cole's hit "Rambling Rose" and joined Cash to re-create his performance backing Jimmie Rodgers on "Blue Yodel No. 9".
Stylistic range
Armstrong enjoyed many types of music, from blues to the arrangements of Guy Lombardo, to Latin American folksongs, to classical symphonies and opera. Armstrong 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 1950s, such as the hard rocking version of "St. Louis Blues" from the WC Handy album, show that the influence went in both directions.
Literature, radio, films and TV
Armstrong appeared in more than a dozen Hollywood films, usually playing a band leader or musician. His most familiar role was as the bandleader cum narrator in the 1956 musical, High Society, in which he sang the title song and performed a duet with Bing Crosby on "Now You Has Jazz". In 1947, he played himself in the movie New Orleans opposite Billie Holiday, which chronicled the demise of the Storyville district and the ensuing exodus of musicians from New Orleans to Chicago.[68] In the 1959 film, The Five Pennies (the story of the cornetist Red Nichols), Armstrong played himself as well as singing and playing several classic numbers. With Danny Kaye Armstrong performed a duet of "When the Saints Go Marching In" during which Kaye impersonated Armstrong. Armstrong also had a part in the film alongside James Stewart in The Glenn Miller Story in which Glenn (played by Stewart) jammed with Armstrong and a few other noted musicians of the time.
He was the first African American to host a nationally broadcast radio show in the 1930s. In 1969, Armstrong had a cameo role in the film version of Hello, Dolly! as the bandleader, Louis, to which he sang the title song with actress Barbra Streisand. His solo recording of "Hello, Dolly!" is one of his most recognizable performances.
Armstrong played a bandleader in the television production "The Lord Don't Play Favorites" on Producers' Showcase in 1956
He was heard on such radio programs as The Story of Swing (1937) and This Is Jazz (1947), and he also made countless television appearances, especially in the 1950s and 1960s, including appearances on The Tonight Show Starring Johnny Carson.
Argentine writer Julio Cortázar, a self-described Armstrong admirer, asserted that a 1952 Louis Armstrong concert at the Théâtre des Champs-Élysées in Paris played a significant role in inspiring him to create the fictional creatures called Cronopios that are the subject of a number of Cortázar's short stories. Cortázar once called Armstrong himself "GrandÃsimo Cronopio" (The Great Cronopio).
Armstrong appears as a minor fictionalized character in Harry Turtledove's Southern Victory Series. When he and his band escape from a Nazi-like Confederacy, they enhance the insipid mainstream music of the North. A young Armstrong also appears as a minor fictionalized character in Patrick Neate's 2001 novel Twelve Bar Blues, part of which is set in New Orleans, and which was a winner at that year's Whitbread Book Awards.
There is a pivotal scene in Stardust Memories (1980) in which Woody Allen is overwhelmed by a recording of Armstrong's "Stardust" and experiences a nostalgic epiphany.[69] The combination of the music and the perfect moment is the catalyst for much of the film's action, prompting the protagonist to fall in love with an ill-advised woman.[70]
Terry Teachout wrote a one-man play about Armstrong called Satchmo at the Waldorf that was premiered in 2011 in Orlando, Fla., and has since been produced by Shakespeare & Company, Long Wharf Theater, and the Wilma Theater. The production ran off Broadway in 2014.
A fledgling musician named "Louis," who is obsessed with Buddy Bolden, appears in two of David Fulmer's Storyville novels: Chasing the Devil's Tail and Jass.
Death
Against his doctor's advice, Armstrong played a two-week engagement in March 1971 at the Waldorf-Astoria's Empire Room. At the end of it he was hospitalized for a heart attack.[71] He was released from the hospital in May, and died of a heart attack in his sleep on July 6, 1971, a month before his 70th birthday.[72] He was residing in Corona, Queens, New York City, at the time of his death.[73] He was interred in Flushing Cemetery, Flushing, in Queens, New York City.[74] His honorary pallbearers included Bing Crosby, Ella Fitzgerald, Dizzy Gillespie, Pearl Bailey, Count Basie, Harry James, Frank Sinatra, Ed Sullivan, Earl Wilson, Alan King, Johnny Carson and David Frost.[75] Peggy Lee sang The Lord's Prayer at the services while Al Hibbler sang "Nobody Knows the Trouble I've Seen" and Fred Robbins, a long-time friend, gave the eulogy.[76]
Awards and honors
Grammy Awards
Armstrong was posthumously awarded the Grammy Lifetime Achievement Award in 1972 by the Academy of Recording Arts and Sciences. 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.[77]
Grammy Award
Year Category Title Genre Label Result
1964 Male Vocal Performance "Hello, Dolly!" Pop Kapp Winner
Grammy Hall of Fame[edit]
Recordings of Armstrong were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least 25 years old, and that have "qualitative or historical significance."[78][79]
Grammy Hall of Fame
Year recorded Title Genre Label Year inducted Notes
1925 "St. Louis Blues" Jazz (Single) Columbia 1993 Bessie Smith with Louis Armstrong, cornet
1926 "Heebie Jeebies" Jazz (Single) OKeh 1999
1928 "West End Blues" Jazz (Single) OKeh 1974
1928 "Weather Bird" Jazz (Single) OKeh 2008 with Earl Hines
1929 "St. Louis Blues" Jazz (Single) OKeh 2008 with Bessie Smith
1930 "Blue Yodel No. 9
(Standing on the Corner)" Country (Single) Victor 2007 Jimmie Rodgers (featuring Louis Armstrong)
1932 "All of Me" Jazz (Single) Columbia 2005
1955 "Mack the Knife" Jazz (Single) Columbia 1997
1958 Porgy and Bess Jazz (Album) Verve 2001 with Ella Fitzgerald
1964 "Hello Dolly!" Pop (Single) Kapp 2001
1967 "What a Wonderful World" Jazz (Single) ABC 1999
Rock and Roll Hall of Fame[edit]
The Rock and Roll Hall of Fame listed Armstrong's West End Blues on the list of 500 songs that shaped Rock and Roll.[80]
Year recorded Title Label Group
West End Blues Okeh Louis Armstrong and his Hot Five
Inductions and honors[edit]
In 1995, the U.S. Post Office issued a Louis Armstrong 32 cents commemorative postage stamp.
Year inducted Title Results Notes
1952 Down Beat Jazz Hall of Fame
1960[81] Hollywood Walk of Fame Star at 7601 Hollywood Blvd.
1978 Big Band and Jazz Hall of Fame
2004 Nesuhi Ertegün Jazz Hall of Fame
at Jazz at Lincoln Center
1990 Rock and Roll Hall of Fame Early influence
2007 Louisiana Music Hall of Fame
2007 Gennett Records Walk of Fame, Richmond, Indiana
2007 Long Island Music Hall of Fame
Legacy[edit]
Louis Armstrong and Grace Kelly on the set of High Society, 1956
The influence of Armstrong on the development of jazz is virtually immeasurable. Yet, his irrepressible personality both as a performer, and as a public figure later in his career, 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 1930s according to Gary Giddins and others.[82] Billie Holiday and Frank Sinatra are just two singers who were greatly indebted to him. 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. Duke Ellington said, "If anybody was a master, it was Louis Armstrong." In 1950, Bing Crosby, the most successful vocalist of the first half of the 20th century, said, "He is the beginning and the end of music in America."
In the summer of 2001, in commemoration of the centennial of Armstrong's birth, New Orleans's main airport was renamed Louis Armstrong New Orleans International Airport.
In 2002, the Louis Armstrong's Hot Five and Hot Seven recordings (1925–1928) were preserved in the United States National Recording Registry, a registry of recordings selected yearly by the National Recording Preservation Board for preservation in the National Recording Registry of the Library of Congress.[83]
The US Open tennis tournament's former main stadium was named Louis Armstrong Stadium in honor of Armstrong who had lived a few blocks from the site.[84]
Today, there are many bands worldwide dedicated to preserving and honoring the music and style of Satchmo, including the Louis Armstrong Society located in New Orleans, Louisiana.
Home turned National Historic Landmark
The house where Armstrong lived for almost 28 years was declared a National Historic Landmark in 1977 and is now a museum. The Louis Armstrong House Museum, at 34-56 107th Street (between 34th and 37th Avenues) in Corona, Queens, presents concerts and educational programs, operates as a historic house museum and makes materials in its archives of writings, books, recordings and memorabilia available to the public for research. The museum is operated by the City University of New York's Queens College, following the dictates of Lucille Armstrong's will. The museum opened to the public on October 15, 2003. A new visitors center is planned.[85]
Discography
This list is incomplete; you can help by expanding it.
Singles[edit]
Year Title(s) Label Credit (if not Louis Armstrong)
1923 "Froggie Moore" / "Chimes Blues" Gennett Records 5135 King Oliver's Creole Jazz Band
1923 "Mandy Lee Blues" / "I'm Going Away to Wear You Off My Mind" Gennett Records 5134 King Oliver's Creole Jazz Band
1923 "Riverside Blues" / "Mabel's Dream" [Take 1] Claxtonola 40292 King Oliver's Jazz Band
1924 "Prince of Wails" [Take 2] / "Mandy Make Up Your Mind" [Take 2] Fletcher Henderson and His Orchestra
1928 "Hotter Than That" / "Savoy Blues" OKeh 8535
1930 "I Ain't Got Nobody (And Nobody Cares for Me)" / "Rockin' Chair" OKeh 8756
1930 "I'm a Ding Dong Daddy from Dumas" / "I'm in the Market for You" Odeon 36141
1930 "Song of the Islands" / "Blue Turning Grey Over You" Odeon 36039
1938 "Elder Eatmore's Sermon on Generosity" / "Elder Eatmore's Sermon on Throwing Stones" Decca Records 15043
1939 "Jeepers Creepers" / "What Is This Thing Called Swing?" Decca Records 2267
1940 "Marie" / "Sleepy Time Gal" Decca Records 3291 Louis Armstrong and Mills Brothers / Mills Brothers
1946 "Endie" / "Do You Know What It Means to Miss New Orleans" RCA Victor 20-2087
1951 "(When We Are Dancing) I Get Ideas" / "A Kiss to Build a Dream On" Decca Records 27720
1952 "It Takes Two to Tango" / "I Laughed at Love" Decca Records 28394
1962 "Mack the Knife" / "The Faithful Husar" CBS CA 281.144 [France]
1967 "What a Wonderful World" / "Cabaret" ABC Records 10982 [7-inch vinyl]
1968 "What a Wonderful World" / "Cabaret" His Master's Voice [Great Britain]
1968 "I Will Wait for You" / "Talk to the Animals" [7-inch vinyl]
Original albums[edit]
These LPs and EPs were released during Armstrong's lifetime and contained original studio and/or live recordings. The year and label information is for the first vinyl release, unless otherwise noted. Additional information such as number of tracks is given only when necessary to distinguish between different releases under the same title. In most cases, the number of CD releases listed is limited, with preference given to the label that originally released the album.
Year Title Label CD release(s) Credit (if not Louis Armstrong) and additional notes
1951 Satchmo at Symphony Hall Decca DL 3087/8038 2-LP set; concert recorded November 30, 1947
1951 Satchmo at Pasadena Decca
1954 Louis Armstrong Plays W.C. Handy Columbia CL 591 (11 tracks) Columbia: 1986 (12 tracks), 1997 (16 tracks), 1999 (16 tracks, SACD) composer W. C. Handy
1954 Louis Armstrong and the Mills Brothers, Volume One Decca Records ED 2113 (4 tracks) [Decca Records 3291?] Louis Armstrong & The Mills Brothers
1955 Satch Plays Fats: A Tribute to the Immortal Fats Waller Columbia CL 708 (9 tracks) Columbia: 2000 (20-track SACD); Legacy: 2008 (20-track CD); Sony Music: 2009 (20-track CD) composer Fats Waller
1955 Louis Armstrong at the Crescendo, Vol. 1 Decca
1956 Louis Armstrong and Eddie Condon at Newport Columbia CL-931 Louis Armstrong & Eddie Condon
1956 Satchmo the Great Columbia: 1994, 2000 songs are introduced by excerpts from interviews with Edward R. Murrow
1956 An Evening With Louis Armstrong and His All Stars
1956 Ella and Louis Verve MG V-4003 Verve: 1985, 2000, 2002 (SACD) Ella Fitzgerald & Louis Armstrong
1957 Ella and Louis Again Verve Records MGV 4006-2 [double LP] Verve: 2003 Ella Fitzgerald & Louis Armstrong
1957 I've Got the World on a String [10 tracks]
1957 Louis Armstrong Meets Oscar Peterson Verve Records [12 tracks] Verve: 1997 (16 tracks) Louis Armstrong & Oscar Peterson
1957 Under the Stars Verve Records MGV 4012
1957 Louis and the Angels Decca Universal/MCA: 2000; Verve: 2001
1958 Porgy & Bess Verve Records MGV 4011-2 [double LP] Verve: 1986; Verve Music Group: 2008; Essential Jazz Classics Ella Fitzgerald & Louis Armstrong
1958 Louis and the Good Book Decca Records DL 8741 [12 tracks] MCA [France]: 1987, 1992; Verve [Germany]: 2001 (20 tracks)
1959 Satchmo In Style Decca
1959 The Five Pennies London Records SAH-U 6044 Danny Kaye & Louis Armstrong
1960 Bing & Satchmo MGM E3882P DRG: 2009 Bing Crosby & Louis Armstrong
1961 Recording Together for the First Time Roulette Records SR52074 [10 tracks] Louis Armstrong & Duke Ellington
1961 The Great Reunion Louis Armstrong & Duke Ellington
1962 The Real Ambassadors Columbia OL 5850 [15 tracks] CBS: 1990 [20 tracks], 1994 [20 tracks]; Poll Winners: 2012 [25 tracks] with Dave Brubeck, Carmen McRae, and Lambert, Hendricks & Ross
1964 Hello, Dolly! Kapp KL-1364 [mono], KS-3364 [stereo] MCA: 2000
1968 Disney Songs the Satchmo Way Buena Vista Records STBV 4044 Walt Disney: 1996, 2001
1968 The One and Only Vocalion VL 73871
1970 What a Wonderful World Bluebird
Posthumous releases[edit]
These LPs and CDs were released after Armstrong's 1971 death.
Louis Armstrong Hot Five and Hot Seven Sessions
Hot Fives & Sevens (JSP, 1998)
The Complete Hot Five & Hot Seven Recordings (Columbia/Legacy)
Struttin' (Drive Archive, 1996) — 8 February 1947 concert with Edmond Hall's All-Stars
The Complete Ella Fitzgerald & Louis Armstrong on Verve (1997) — repackaging of Ella and Louis, Ella and Louis Again, and Porgy and Bess
rereleases of Together For The First Time and The Great Reunion
The Great Summit: The Master Takes (2001)
Louis Armstrong and Duke Ellington: The Great Summit/Complete Sessions (2000) — includes additional CD of alternate takes
The Legendary Berlin Concert (Jazzpoint Records, 2000) — 22 March 1965 concert with Billy Kyle, Tyree Glenn, Eddie Shu, Arvell Shaw and Danny Barcelona
List of songs recorded[edit]
Chronology of the recordings of Armstrong's songs:
[show]Song title Year(s) recorded
Louis Armstrong restored.jpg
Armstrong in 1953
Born August 4, 1901
New Orleans, Louisiana, U.S.
Died July 6, 1971 (aged 69)
Corona, Queens, New York City, New York, U.S.
Cause of death Heart attack
Resting place Flushing Cemetery
Other names Satchmo
Ambassador Satch
Dipper
Dippermouth
Pops
Satch
Occupation Musician
Years active c. 1914–1971
Spouse(s) Daisy Parker
(Mar 19, 1918 – Dec 18, 1923; divorced)
Lil Hardin Armstrong
(Feb 4, 1924 – 1938; divorced)
Alpha Smith
(Oct 11, 1938 – 1942; divorced)
Lucille Wilson
(Oct 12, 1942 – Jul 6, 1971; his death)
Musical career
Genres Dixieland, jazz, swing, traditional pop
Instruments Trumpet, cornet, vocals
Associated acts Joe "King" Oliver, Ella Fitzgerald, Kid Ory, Jack Teagarden
Louis Armstrong (August 4, 1901 – July 6, 1971),[1] nicknamed Satchmo[2] or Pops, was an American trumpeter, composer and singer who was one of the most influential figures in jazz. His career spanned five decades, from the 1920s to the 1960s, and different eras in jazz.[3]
Coming to prominence in the 1920s as an "inventive" trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance.[4] With his instantly recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also skilled at scat singing.
Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong's influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to "cross over", whose skin color was secondary to his music in an America that was extremely racially divided. He rarely publicly politicized his race, often to the dismay of fellow African-Americans, but took a well-publicized stand for desegregation in the Little Rock Crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society which were highly restricted for black men of his era.
Contents
1 Early life
2 Career
2.1 1920s
2.2 1930s
2.3 1940s
2.3.1 The All Stars
2.4 1950s–1970s
3 Personal life
3.1 Pronunciation of name
3.2 Family
3.3 Personality
3.4 Nicknames
3.5 Race
3.6 Religion
3.7 Personal habits
3.8 Writings
3.9 Social organizations
4 Music
4.1 Horn playing and early jazz
4.2 Vocal popularity
4.3 Composing
4.4 Colleagues and followers
4.5 Hits and later career
4.6 Stylistic range
5 Literature, radio, films and TV
6 Death
7 Awards and honors
7.1 Grammy Awards
7.2 Grammy Hall of Fame
7.3 Rock and Roll Hall of Fame
7.4 Inductions and honors
8 Legacy
8.1 Home turned National Historic Landmark
9 Discography
9.1 Singles
9.2 Original albums
9.3 Posthumous releases
9.4 List of songs recorded
13.1 Video clips
Early life
Handcolored etching Louis Armstrong (2002) by Adi Holzer
Armstrong often stated that he was born on July 4, 1900,[5][6] a date that has been noted in many biographies. Although he died in 1971, it was not until the mid-1980s that his true birth date of August 4, 1901 was discovered by researcher Tad Jones through the examination of baptismal records.[7]
Armstrong was born into a poor family in New Orleans, Louisiana, and was the grandson of slaves. He spent his youth in poverty, in a rough neighborhood known as "the Battlefield", which was part of the Storyville legal prostitution district. His father, William Armstrong (1881–1922), abandoned the family when Louis was an infant and took up with another woman. His mother, Mary "Mayann" Albert (1886–1927), then left Louis and his younger sister, Beatrice Armstrong Collins (1903–1987), in the care of his grandmother, Josephine Armstrong, and at times, his Uncle Isaac. At five, he moved back to live with his mother and her relatives, and only saw his father in parades.
He attended the Fisk School for Boys, where he most likely had early exposure to music. He brought in some money as a paperboy and also by finding discarded food and selling it to restaurants, but it was not enough to keep his mother from prostitution. He hung out in dance halls close to home, where he observed everything from licentious dancing to the quadrille. For extra money he also hauled coal to Storyville, and listened to the bands playing in the brothels and dance halls, especially Pete Lala's, where Joe "King" Oliver performed as well as other famous musicians who would drop in to jam.
After dropping out of the Fisk School at age eleven, Armstrong joined a quartet of boys who sang in the streets for money. He also started to get into trouble. Cornet player Bunk Johnson said he taught Armstrong (then 11) to play by ear at Dago Tony's Tonk in New Orleans,[8] although in his later years Armstrong gave the credit to Oliver. Armstrong hardly looked back at his youth as the worst of times but drew inspiration from it instead: "Every time I close my eyes blowing that trumpet of mine—I look right in the heart of good old New Orleans... It has given me something to live for."[9]
He also worked for a Lithuanian-Jewish immigrant family, the Karnofskys, who had a junk hauling business and gave him odd jobs. They took him in and treated him like family; knowing he lived without a father, they fed and nurtured him.[10] He later wrote a memoir of his relationship with the Karnofskys titled, Louis Armstrong + the Jewish Family in New Orleans, La., the Year of 1907. In it he describes his discovery that this family was also subject to discrimination by "other white folks" nationalities who felt that they were better than the Jewish race... "I was only seven years old but I could easily see the ungodly treatment that the White Folks were handing the poor Jewish family whom I worked for."[11] Armstrong wore a Star of David pendant for the rest of his life and wrote about what he learned from them: "how to live—real life and determination."[12] The influence of Karnofsky is remembered in New Orleans by the Karnofsky Project, a non-profit organization dedicated to accepting donated musical instruments to "put them into the hands of an eager child who could not otherwise take part in a wonderful learning experience."[13]
Armstrong with his first trumpet instructor, Peter Davis, in 1965
Armstrong developed his cornet playing skills by playing in the band of the New Orleans Home for Colored Waifs, where he had been sent multiple times for general delinquency, most notably for firing his stepfather's pistol into the air at a New Year's Eve celebration, but it was only an empty shot, as police records confirm. Professor Peter Davis (who frequently appeared at the home at the request of its administrator, Captain Joseph Jones)[14] instilled discipline in and provided musical training to the otherwise self-taught Armstrong. Eventually, Davis made Armstrong the band leader. The home band played around New Orleans and the thirteen-year-old Louis began to draw attention by his cornet playing, starting him on a musical career.[15] At fourteen he was released from the home, living again with his father and new step-mother, Gertrude, and then back with his mother and thus back to the streets and their temptations. Armstrong got his first dance hall job at Henry Ponce's where Black Benny became his protector and guide. He hauled coal by day and played his cornet at night.
He played in the city's frequent brass band parades and listened to older musicians every chance he got, learning from Bunk Johnson, Buddy Petit, Kid Ory, and above all, Joe "King" Oliver, who acted as a mentor and father figure to the young musician. Later, he played in brass bands and riverboats of New Orleans, and began traveling with the well-regarded band of Fate Marable, which toured on a steamboat up and down the Mississippi River. He described his time with Marable as "going to the University," since it gave him a much wider experience working with written arrangements.
In 1919, Joe Oliver decided to go north and resigned his position in Kid Ory's band; Armstrong replaced him. He also became second trumpet for the Tuxedo Brass Band, a society[clarification needed] band.[16]
Career[
Label for gramophone record, "Heebie Jeebies" by Louis Armstrong and his Hot Five
"Muggles"(1938 reissue pressing)
"Skokiaan"
"Mack The Knife"
1920s[edit]
Throughout his riverboat experience, Armstrong's musicianship began to mature and expand. At twenty, he could read music and started to be featured in extended trumpet solos, one of the first jazz men to do this, injecting his own personality and style into his solo turns. He had learned how to create a unique sound and also started using singing and patter in his performances.[17] In 1922, Armstrong joined the exodus to Chicago, where he had been invited by his mentor, Joe "King" Oliver, to join his Creole Jazz Band and where he could make a sufficient income so that he no longer needed to supplement his music with day labor jobs. It was a boom time in Chicago and though race relations were poor, the city was teeming with jobs available for black people, who were making good wages in factories and had plenty to spend on entertainment.
Oliver's band was among the most influential jazz bands in Chicago in the early 1920s, at a time when Chicago was the center of the jazz universe. Armstrong lived luxuriously in Chicago, in his own apartment with his own private bath (his first). Excited as he was to be in Chicago, he began his career-long pastime of writing nostalgic letters to friends in New Orleans. As Armstrong's reputation grew, he was challenged to "cutting contests" by hornmen trying to displace the new phenomenon[clarification needed], who could blow two hundred high Cs in a row.[18] Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to boom across the country), including taking some solos and breaks, while playing second cornet in Oliver's band in 1923. At this time, he met Hoagy Carmichael (with whom he would collaborate later) who was introduced by friend Bix Beiderbecke, who now had his own Chicago band.
Armstrong enjoyed working with Oliver, but Louis' second wife, pianist Lil Hardin Armstrong, urged him to seek more prominent billing and develop his newer style away from the influence of Oliver. Armstrong took the advice of his wife and left Oliver's band. For a year Armstrong played in Fletcher Henderson's band in New York on many recordings. After playing in New York, Armstrong returned to Chicago, playing in large orchestras; there he created his most important early recordings.[19] Lil had her husband play classical music in church concerts to broaden his skill and improve his solo play and she prodded him into wearing more stylish attire to make him look sharp and to better offset his growing girth. Lil's influence eventually undermined Armstrong's relationship with his mentor, especially concerning his salary and additional moneys that Oliver held back from Armstrong and other band members. Armstrong and Oliver parted amicably in 1924. Shortly afterward, Armstrong received an invitation to go to New York City to play with the Fletcher Henderson Orchestra, the top African-American band of the time. Armstrong switched to the trumpet to blend in better with the other musicians in his section. His influence upon Henderson's tenor sax soloist, Coleman Hawkins, can be judged by listening to the records made by the band during this period.
Armstrong quickly adapted to the more tightly controlled style of Henderson, playing trumpet and even experimenting with the trombone. The other members quickly took up Armstrong's emotional, expressive pulse. Soon his act included singing and telling tales of New Orleans characters, especially preachers.[20] The Henderson Orchestra was playing in prominent venues for white-only patrons, including the famed Roseland Ballroom, featuring the arrangements of Don Redman. Duke Ellington's orchestra would go to Roseland to catch Armstrong's performances and young horn men around town tried in vain to outplay him, splitting their lips in their attempts.
During this time, Armstrong made many recordings on the side, arranged by an old friend from New Orleans, pianist Clarence Williams; these included small jazz band sides with the Williams Blue Five (some of the most memorable pairing Armstrong with one of Armstrong's few rivals in fiery technique and ideas, Sidney Bechet) and a series of accompaniments with blues singers, including Bessie Smith, Ma Rainey, and Alberta Hunter.
Armstrong returned to Chicago in 1925 due mostly to the urging of his wife, who wanted to pump up Armstrong's career and income. He was content in New York but later would concede that she was right and that the Henderson Orchestra was limiting his artistic growth. In publicity, much to his chagrin, she billed him as "the World's Greatest Trumpet Player". At first, he was actually a member of the Lil Hardin Armstrong Band and working for his wife.[21] He began recording under his own name for Okeh with his famous Hot Five and Hot Seven groups, producing hits such as "Potato Head Blues", "Muggles", (a reference to marijuana, for which Armstrong had a lifelong fondness), and "West End Blues", the music of which set the standard and the agenda for jazz for many years to come.
The group included Kid Ory (trombone), Johnny Dodds (clarinet), Johnny St. Cyr (banjo), wife Lil on piano, and usually no drummer. Armstrong's band leading style was easygoing, as St. Cyr noted, "One felt so relaxed working with him, and he was very broad-minded ... always did his best to feature each individual."[22] Among the most notable of the Hot Five and Seven records were "Cornet Chop Suey," "Struttin' With Some Barbecue," "Hotter Than that" and "Potato Head Blues,", all featuring highly creative solos by Armstrong. His recordings soon after with pianist Earl "Fatha" Hines (most famously their 1928 "Weatherbird" duet) and Armstrong's trumpet introduction to and solo in "West End Blues" remain some of the most famous and influential improvisations in jazz history. Armstrong was now free to develop his personal style as he wished, which included a heavy dose of effervescent jive, such as "whip that thing, Miss Lil" and "Mr. Johnny Dodds, Aw, do that clarinet, boy!"[23]
Armstrong also played with Erskine Tate's Little Symphony, which played mostly at the Vendome Theatre. They furnished music for silent movies and live shows, including jazz versions of classical music, such as "Madame Butterfly", which gave Armstrong experience with longer forms of music and with hosting before a large audience. He began to scat sing (improvised vocal jazz using nonsensical words) and was among the first to record it, on the Hot Five recording "Heebie Jeebies" in 1926. The recording was so popular that the group became the most famous jazz band in the United States, even though they had not performed live to any great extent. Young musicians across the country, black or white, were turned on by Armstrong's new type of jazz.[24]
With Jack Teagarden (left) and Barney Bigard (right), Armstrong plays the trumpet in Helsinki, Finland, October 1949
After separating from Lil, Armstrong started to play at the Sunset Café for Al Capone's associate Joe Glaser in the Carroll Dickerson Orchestra, with Earl Hines on piano, which was soon renamed Louis Armstrong and his Stompers,[25] though Hines was the music director and Glaser managed the orchestra. Hines and Armstrong became fast friends and successful collaborators.[26]
Armstrong returned to New York, in 1929, where he played in the pit orchestra of the successful musical Hot Chocolate, an all-black revue written by Andy Razaf and pianist/composer Fats Waller. He also made a cameo appearance as a vocalist, regularly stealing the show with his rendition of "Ain't Misbehavin'", his version of the song becoming his biggest selling record to date.[27]
1930s
Armstrong started to work at Connie's Inn in Harlem, chief rival to the Cotton Club, a venue for elaborately staged floor shows,[28] and a front for gangster Dutch Schultz. Armstrong also had considerable success with vocal recordings, including versions of famous songs composed by his old friend Hoagy Carmichael. His 1930s recordings took full advantage of the new RCA ribbon microphone, introduced in 1931, which imparted a characteristic warmth to vocals and immediately became an intrinsic part of the 'crooning' sound of artists like Bing Crosby. Armstrong's famous interpretation of Carmichael's "Stardust" became one of the most successful versions of this song ever recorded, showcasing Armstrong's unique vocal sound and style and his innovative approach to singing songs that had already become standards.
Armstrong's radical re-working of Sidney Arodin and Carmichael's "Lazy River" (recorded in 1931) encapsulated many features of his groundbreaking approach to melody and phrasing. The song begins with a brief trumpet solo, then the main melody is introduced by sobbing horns, memorably punctuated by Armstrong's growling interjections at the end of each bar: "Yeah! ..."Uh-huh" ..."Sure" ... "Way down, way down." In the first verse, he ignores the notated melody entirely and sings as if playing a trumpet solo, pitching most of the first line on a single note and using strongly syncopated phrasing. In the second stanza he breaks into an almost fully improvised melody, which then evolves into a classic passage of Armstrong "scat singing".
Louis Armstrong in 1953
As with his trumpet playing, Armstrong's vocal innovations served as a foundation stone for the art of jazz vocal interpretation. The uniquely gritty coloration of his voice became a musical archetype that was much imitated and endlessly impersonated. His scat singing style was enriched by his matchless experience as a trumpet soloist. His resonant, velvety lower-register tone and bubbling cadences on sides such as "Lazy River" exerted a huge influence on younger white singers such as Bing Crosby.
The Great Depression of the early 1930s was especially hard on the jazz scene. The Cotton Club closed in 1936 after a long downward spiral, and many musicians stopped playing altogether as club dates evaporated. Bix Beiderbecke died and Fletcher Henderson’s band broke up. King Oliver made a few records but otherwise struggled. Sidney Bechet became a tailor and Kid Ory returned to New Orleans and raised chickens.[29]
Armstrong moved to Los Angeles in 1930 to seek new opportunities. He played at the New Cotton Club in Los Angeles with Lionel Hampton on drums. The band drew the Hollywood crowd, which could still afford a lavish night life, while radio broadcasts from the club connected with younger audiences at home. Bing Crosby and many other celebrities were regulars at the club. In 1931, Armstrong appeared in his first movie, Ex-Flame and was also convicted of marijuana possession but received a suspended sentence.[30] He returned to Chicago in late 1931 and played in bands more in the Guy Lombardo vein and he recorded more standards. When the mob insisted that he get out of town,[31] Armstrong visited New Orleans, had a hero's welcome and saw old friends. He sponsored a local baseball team known as "Armstrong's Secret Nine" and had a cigar named after him.[32] But soon he was on the road again and after a tour across the country shadowed by the mob, Armstrong decided to go to Europe to escape.
After returning to the United States, he undertook several exhausting tours. His agent Johnny Collins' erratic behavior and his own spending ways left Armstrong short of cash. Breach of contract violations plagued him. Finally, he hired Joe Glaser as his new manager, a tough mob-connected wheeler-dealer, who began to straighten out his legal mess, his mob troubles, and his debts. Armstrong also began to experience problems with his fingers and lips, which were aggravated by his unorthodox playing style. As a result, he branched out, developing his vocal style and making his first theatrical appearances. He appeared in movies again, including Crosby's 1936 hit Pennies from Heaven. In 1937, Armstrong substituted for Rudy Vallee on the CBS radio network and became the first African American to host a sponsored, national broadcast.[33]
1940s
After spending many years on the road, Armstrong settled permanently in Queens, New York in 1943 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. He recorded Hoagy Carmichael's Rockin' Chair for Okeh Records.
During the subsequent thirty years, Armstrong played more than three hundred gigs a year. Bookings for big bands tapered off during the 1940s 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 support and finance a 16-piece touring band.
The All Stars
Louis Armstrong in 1953
During the 1940s, a widespread revival of interest in the traditional jazz of the 1920s made it possible for Armstrong to consider a return to the small-group musical style of his youth. Following a highly successful small-group jazz concert at New York Town Hall on May 17, 1947, featuring Armstrong with trombonist/singer Jack Teagarden, Armstrong's manager, Joe Glaser dissolved the Armstrong big band on August 13, 1947 and established a six-piece traditional jazz small group featuring Armstrong with (initially) Teagarden, Earl Hines and other top swing and Dixieland musicians, most of them ex-big band leaders. The new group was announced at the opening of Billy Berg's Supper Club.
This group was called Louis Armstrong and his All Stars and included at various times Earl "Fatha" Hines, Barney Bigard, Edmond Hall, Jack Teagarden, Trummy Young, Arvell Shaw, Billy Kyle, Marty Napoleon, Big Sid Catlett, Cozy Cole, Tyree Glenn, Barrett Deems, Joe Darensbourg, Eddie Shu and percussionist Danny Barcelona. 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, 1949. In 1948, he participated in the Nice Jazz Festival, where Suzy Delair sang "C'est si bon", by Henri Betti and André Hornez, for the first time in public.
1950s–1970s
Louis Armstrong in 1955
With the publishers' permission, Armstrong recorded the first American version of "C'est si bon" on June 26, 1950, in New York, with English lyrics by Jerry Seelen. When it was released, the disc garnered worldwide sales.[citation needed] In the 1960s, he toured Ghana and Nigeria, performing with Victor Olaiya during the Nigerian Civil war.[34][35] In 1964, he recorded his biggest-selling record, "Hello, Dolly!", a song by Jerry Herman, originally sung by Carol Channing. Armstrong's version remained on the Hot 100 for 22 weeks, longer than any other record produced that year, and went to No. 1 making him, at 62 years, 9 months and 5 days, the oldest person ever to accomplish that feat. In the process, he dislodged the Beatles from the No. 1 position they had occupied for 14 consecutive weeks with three different songs.[36]
Armstrong kept up his busy tour schedule until a few years before his death in 1971. He also toured Africa, Europe, and Asia under the sponsorship of the US State Department with great success, earning the nickname "Ambassador Satch" and inspiring Dave Brubeck to compose his jazz musical The Real Ambassadors.[37]
Personal life
Pronunciation of name
The Louis Armstrong House Museum website states:
Judging from home recorded tapes now in our Museum Collections, Louis pronounced his own name as "Lewis." On his 1964 record "Hello, Dolly," he sings, "This is Lewis, Dolly" but in 1933 he made a record called "Laughin’ Louie." Many broadcast announcers, fans, and acquaintances called him "Louie" and in a videotaped interview from 1983 Lucille Armstrong calls her late husband "Louie" as well. Musicians and close friends usually called him "Pops."[38]
In a memoir written for Robert Goffin between 1943 and 1944, Armstrong states, "All white folks call me Louie," suggesting that he himself did not.[39] That said, Armstrong was registered as "Lewie" for the 1920 U.S. Census. On various live records he's called "Louie" on stage, such as on the 1952 "Can Anyone Explain?" from the live album In Scandinavia vol.1. It should also be noted that "Lewie" is the French pronunciation of "Louis" and is commonly used in Louisiana.
Family
On March 19, 1918, at the age of 16, Louis married Daisy Parker, a prostitute from Gretna, Louisiana.[40] They adopted a 3-year-old boy, Clarence Armstrong, whose mother, Louis' cousin Flora, died soon after giving birth. Clarence Armstrong was mentally disabled (the result of a head injury at an early age) and Louis would spend the rest of his life taking care of him.[41] Louis' marriage to Parker failed quickly and they separated in 1923.
Armstrong with Lucille Wilson (c. 1960s)
On February 4, 1924, Louis married Lil Hardin Armstrong, who was Oliver's pianist and had also divorced her first spouse only a few years earlier. His second wife was instrumental in developing his career, but in the late 1920s Hardin and Louis grew apart. They separated in 1931 and divorced in 1938, after which Louis married longtime girlfriend Alpha Smith.[42] His marriage to his third wife lasted four years, and they divorced in 1942. Louis then married Lucille Wilson, a singer at the Cotton Club, to whom he was married until his death in 1971.[43]
Armstrong's marriages never produced any offspring, though he loved children.[44] However, in December 2012, 57-year-old Sharon Preston-Folta claimed to be his daughter from a 1950s affair between Armstrong and Lucille "Sweets" Preston, a dancer at the Cotton Club.[45] In a 1955 letter to his manager, Joe Glaser, Armstrong affirmed his belief that Preston's newborn baby was his daughter, and ordered Glaser to pay a monthly allowance of $400 to mother and child.[46]
Personality
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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 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 of U.S. history.
Nicknames
Autograph of Armstrong on the muretto of Alassio
The nicknames Satchmo and Satch are short for Satchelmouth. Like many things in Armstrong's life, which was filled with colorful stories both real and imagined, many of his own telling, the nickname has many possible origins.
The most common tale that biographers tell is the story of Armstrong as a young boy dancing for pennies in the streets of New Orleans, who would scoop up the coins off of the streets and stick them into his mouth to avoid having the bigger children steal them from him. 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 became shortened to Satchmo.
Early on he was also known as Dipper, short for Dippermouth, a reference to the piece Dippermouth Blues.[47] 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 soon turned on Armstrong himself. It was used as the title of a 2010 biography of Armstrong by Terry Teachout.
Armstrong's autograph from the 1960s
Race
Armstrong was largely accepted into white society, both on stage and off, a privilege reserved for very few African-American public figures, and usually those of either exceptional talent or fair skin tone.[citation needed] As his fame grew, so did his access to the finer things in life usually denied to African-Americans, even famous ones.[citation needed] His renown was such that he dined in reputable restaurants and stayed in hotels usually exclusively for whites.[48][not in citation given] It was a power and privilege that he enjoyed, although he was very careful not to flaunt it with fellow performers of color, and privately, he shared what access that he could with friends and fellow musicians.
That still did not prevent members of the African-American community, particularly in the late 1950s to the early 1970s, from calling him an Uncle Tom, a black-on-black racial epithet for someone who kowtowed to white society at the expense of their own racial identity. Billie Holiday countered, however, "Of course Pops toms, but he toms from the heart."[49] He was criticized for accepting the title of "King of The Zulus" for Mardi Gras in 1949. In the New Orleans African-American community it is an honored role as the head of leading black Carnival Krewe, but bewildering or offensive to outsiders with their traditional costume of grass-skirts and blackface makeup satirizing southern white attitudes.
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.[50] The few exceptions made it more effective when he did speak out. Armstrong's criticism of President Eisenhower, calling him "two-faced" and "gutless" because of his inaction during the conflict over school desegregation in Little Rock, Arkansas in 1957 made national news. 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.[51]
The FBI kept a file on Armstrong for his outspokenness about integration.[52]
Religion
When asked about his religion, Armstrong would answer that he was raised a Baptist, always wore a Star of David, and was friends with the Pope.[53] Armstrong wore the Star of David in honor of the Karnofsky family, who took him in as a child and lent him the money to buy his first cornet. Louis Armstrong was, in fact, baptized as a Catholic at the Sacred Heart of Jesus Church in New Orleans,[53] and he met popes Pius XII and Paul VI, though there is no evidence that he considered himself Catholic. Armstrong seems to have been tolerant towards various religions, but also found humor in them.[citation needed]
Personal habits
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.[citation needed] Armstrong's laxative of preference in his younger days was Pluto Water, but he then became an enthusiastic convert when he discovered the herbal remedy Swiss Kriss.[citation needed] He would extol its virtues to anyone who would listen and pass out packets to everyone he encountered, including members of the British Royal Family. (Armstrong also appeared in humorous, albeit risqué, cards that he had printed to send out to friends; the cards bore a picture of him sitting on a toilet—as viewed through a keyhole—with the slogan "Satch says, 'Leave it all behind ya!'")[54] The cards have sometimes been incorrectly described as ads for Swiss Kriss.[55] In a live recording of "Baby, It's Cold Outside" with Velma Middleton, he changes the lyric from "Put another record on while I pour" to "Take some Swiss Kriss while I pour."[56]
The concern with his health and weight was balanced by his love of food, reflected in such songs as "Cheesecake", "Cornet Chop Suey,"[57] though "Struttin’ with Some Barbecue" was written about a fine-looking companion, not about food.[58] He kept a strong connection throughout his life to the cooking of New Orleans, always signing his letters, "Red beans and ricely yours..."[59]
Writings
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.[60] He had a fondness for lewd jokes and dirty limericks as well.
Social organizations
Louis Armstrong was not, as is often claimed, a Freemason. Although he is usually listed as being a member of Montgomery Lodge No. 18 (Prince Hall) in New York, no such lodge has ever existed. However, Armstrong stated in his autobiography that he was a member of the Knights of Pythias which is not a Masonic group.[61]
Music
Horn playing and early jazz
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Selmer trumpet, given as a gift by King George V of the United Kingdom to Louis Armstrong in 1933
In his early years, Armstrong was best known for his virtuosity with the cornet and trumpet. The most lauded recordings on which Armstrong plays trumpet include the Hot Five and Hot Seven sessions, as well as those of the Red Onion Jazz Babies. Armstrong's improvisations, while unconventionally sophisticated for that era, were also subtle and highly melodic.
Prior to Armstrong, most collective ensemble playing in jazz, along with 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.[62]
Vocal popularity
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 Records, when 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.A. 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.[63] On a later recording, Armstrong also sang out "I done forgot the words" in the middle of recording "I'm A Ding Dong Daddy From Dumas."
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.
Composing
Armstrong was a gifted composer who wrote more than fifty songs, which in a number of cases have become jazz standards (e.g., “Gully Low Blues,” “Potato Head Blues,” and “Swing That Music”).
Colleagues and followers
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 Ellington, Fletcher Henderson, Earl Hines, Jimmie Rodgers, Bessie 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" (1931). The New Grove Dictionary of Jazz describes Crosby's debt to Armstrong in precise detail, although it does not acknowledge Armstrong by name:
Crosby... was important in introducing into the mainstream of popular singing an Afro-American concept of song as a lyrical extension of speech... 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 enunciation, singing on consonants (a practice of black singers), and making discreet use of appoggiaturas, mordents, and slurs to emphasize the text—were emulated by nearly all later popular singers.
Armstrong recorded two albums with Ella Fitzgerald: Ella and Louis, and Ella and Louis Again for Verve Records, with the sessions featuring the backing musicianship of the Oscar Peterson Trio and drummers Buddy Rich (on the first album), and Louie Bellson (on the second). Norman Granz then had the vision for Ella and Louis to record Porgy and Bess which is the most famous and critically acclaimed version[by whom?] of the Gershwin brothers' work.
His recordings for Columbia Records, Louis Armstrong Plays W.C. Handy (1954) and Satch Plays Fats (all Fats Waller tunes) (1955) were both being considered masterpieces, as well as moderately well selling. In 1961 the All Stars participated in two albums - "The Great Summit" and "The Great Reunion" (now together as a single disc) with Duke Ellington. 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 (1963) was critically acclaimed, and features "Summer Song," one of Armstrong's most popular vocal efforts.
Louis Armstrong in 1966
In 1964 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" (500,000). His performance of "Hello Dolly" won for best male pop vocal performance at the 1964 Grammy Awards.
Hits and later career
Armstrong had nineteen "Top Ten" records[64] including "Stardust", "What a Wonderful World", "When The Saints Go Marching In", "Dream a Little Dream of Me", "Ain't Misbehavin'", "You Rascal You", and "Stompin' at the Savoy". "We Have All the Time in the World" was featured on the soundtrack of the James Bond film On Her Majesty's Secret Service, and enjoyed renewed popularity in the UK in 1994 when it featured on a Guinness advert. It reached number 3 in the charts on being re-released.
In 1964, Armstrong knocked The Beatles off the top of the Billboard Hot 100 chart with "Hello, Dolly!", which gave the 63-year-old performer a U.S. record as the oldest artist to have a number one song. His 1964 song "Bout Time" was later featured in the film Bewitched.
Armstrong performed in Italy at the 1968 Sanremo Music Festival where he sang "Mi Va di Cantare"[65] alongside his friend, the Eritrean-born Italian singer Lara Saint Paul.[66] In February 1968, he also appeared with Lara Saint Paul on the Italian RAI television channel where he performed "Grassa e Bella," a track he sang in Italian for the Italian market and C.D.I. label.[67]
In 1968, Armstrong scored one last popular hit in the United Kingdom with "What a Wonderful World", which topped the British charts for a month; however, the single did not chart at all in America. The song gained greater currency in the popular consciousness when it was used in the 1987 movie Good Morning, Vietnam, its subsequent re-release topping many charts around the world. Armstrong even appeared on the October 28, 1970, Johnny Cash Show, where he sang Nat King Cole's hit "Rambling Rose" and joined Cash to re-create his performance backing Jimmie Rodgers on "Blue Yodel No. 9".
Stylistic range
Armstrong enjoyed many types of music, from blues to the arrangements of Guy Lombardo, to Latin American folksongs, to classical symphonies and opera. Armstrong 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 1950s, such as the hard rocking version of "St. Louis Blues" from the WC Handy album, show that the influence went in both directions.
Literature, radio, films and TV
Armstrong appeared in more than a dozen Hollywood films, usually playing a band leader or musician. His most familiar role was as the bandleader cum narrator in the 1956 musical, High Society, in which he sang the title song and performed a duet with Bing Crosby on "Now You Has Jazz". In 1947, he played himself in the movie New Orleans opposite Billie Holiday, which chronicled the demise of the Storyville district and the ensuing exodus of musicians from New Orleans to Chicago.[68] In the 1959 film, The Five Pennies (the story of the cornetist Red Nichols), Armstrong played himself as well as singing and playing several classic numbers. With Danny Kaye Armstrong performed a duet of "When the Saints Go Marching In" during which Kaye impersonated Armstrong. Armstrong also had a part in the film alongside James Stewart in The Glenn Miller Story in which Glenn (played by Stewart) jammed with Armstrong and a few other noted musicians of the time.
He was the first African American to host a nationally broadcast radio show in the 1930s. In 1969, Armstrong had a cameo role in the film version of Hello, Dolly! as the bandleader, Louis, to which he sang the title song with actress Barbra Streisand. His solo recording of "Hello, Dolly!" is one of his most recognizable performances.
Armstrong played a bandleader in the television production "The Lord Don't Play Favorites" on Producers' Showcase in 1956
He was heard on such radio programs as The Story of Swing (1937) and This Is Jazz (1947), and he also made countless television appearances, especially in the 1950s and 1960s, including appearances on The Tonight Show Starring Johnny Carson.
Argentine writer Julio Cortázar, a self-described Armstrong admirer, asserted that a 1952 Louis Armstrong concert at the Théâtre des Champs-Élysées in Paris played a significant role in inspiring him to create the fictional creatures called Cronopios that are the subject of a number of Cortázar's short stories. Cortázar once called Armstrong himself "GrandÃsimo Cronopio" (The Great Cronopio).
Armstrong appears as a minor fictionalized character in Harry Turtledove's Southern Victory Series. When he and his band escape from a Nazi-like Confederacy, they enhance the insipid mainstream music of the North. A young Armstrong also appears as a minor fictionalized character in Patrick Neate's 2001 novel Twelve Bar Blues, part of which is set in New Orleans, and which was a winner at that year's Whitbread Book Awards.
There is a pivotal scene in Stardust Memories (1980) in which Woody Allen is overwhelmed by a recording of Armstrong's "Stardust" and experiences a nostalgic epiphany.[69] The combination of the music and the perfect moment is the catalyst for much of the film's action, prompting the protagonist to fall in love with an ill-advised woman.[70]
Terry Teachout wrote a one-man play about Armstrong called Satchmo at the Waldorf that was premiered in 2011 in Orlando, Fla., and has since been produced by Shakespeare & Company, Long Wharf Theater, and the Wilma Theater. The production ran off Broadway in 2014.
A fledgling musician named "Louis," who is obsessed with Buddy Bolden, appears in two of David Fulmer's Storyville novels: Chasing the Devil's Tail and Jass.
Death
Against his doctor's advice, Armstrong played a two-week engagement in March 1971 at the Waldorf-Astoria's Empire Room. At the end of it he was hospitalized for a heart attack.[71] He was released from the hospital in May, and died of a heart attack in his sleep on July 6, 1971, a month before his 70th birthday.[72] He was residing in Corona, Queens, New York City, at the time of his death.[73] He was interred in Flushing Cemetery, Flushing, in Queens, New York City.[74] His honorary pallbearers included Bing Crosby, Ella Fitzgerald, Dizzy Gillespie, Pearl Bailey, Count Basie, Harry James, Frank Sinatra, Ed Sullivan, Earl Wilson, Alan King, Johnny Carson and David Frost.[75] Peggy Lee sang The Lord's Prayer at the services while Al Hibbler sang "Nobody Knows the Trouble I've Seen" and Fred Robbins, a long-time friend, gave the eulogy.[76]
Awards and honors
Grammy Awards
Armstrong was posthumously awarded the Grammy Lifetime Achievement Award in 1972 by the Academy of Recording Arts and Sciences. 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.[77]
Grammy Award
Year Category Title Genre Label Result
1964 Male Vocal Performance "Hello, Dolly!" Pop Kapp Winner
Grammy Hall of Fame[edit]
Recordings of Armstrong were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least 25 years old, and that have "qualitative or historical significance."[78][79]
Grammy Hall of Fame
Year recorded Title Genre Label Year inducted Notes
1925 "St. Louis Blues" Jazz (Single) Columbia 1993 Bessie Smith with Louis Armstrong, cornet
1926 "Heebie Jeebies" Jazz (Single) OKeh 1999
1928 "West End Blues" Jazz (Single) OKeh 1974
1928 "Weather Bird" Jazz (Single) OKeh 2008 with Earl Hines
1929 "St. Louis Blues" Jazz (Single) OKeh 2008 with Bessie Smith
1930 "Blue Yodel No. 9
(Standing on the Corner)" Country (Single) Victor 2007 Jimmie Rodgers (featuring Louis Armstrong)
1932 "All of Me" Jazz (Single) Columbia 2005
1955 "Mack the Knife" Jazz (Single) Columbia 1997
1958 Porgy and Bess Jazz (Album) Verve 2001 with Ella Fitzgerald
1964 "Hello Dolly!" Pop (Single) Kapp 2001
1967 "What a Wonderful World" Jazz (Single) ABC 1999
Rock and Roll Hall of Fame[edit]
The Rock and Roll Hall of Fame listed Armstrong's West End Blues on the list of 500 songs that shaped Rock and Roll.[80]
Year recorded Title Label Group
West End Blues Okeh Louis Armstrong and his Hot Five
Inductions and honors[edit]
In 1995, the U.S. Post Office issued a Louis Armstrong 32 cents commemorative postage stamp.
Year inducted Title Results Notes
1952 Down Beat Jazz Hall of Fame
1960[81] Hollywood Walk of Fame Star at 7601 Hollywood Blvd.
1978 Big Band and Jazz Hall of Fame
2004 Nesuhi Ertegün Jazz Hall of Fame
at Jazz at Lincoln Center
1990 Rock and Roll Hall of Fame Early influence
2007 Louisiana Music Hall of Fame
2007 Gennett Records Walk of Fame, Richmond, Indiana
2007 Long Island Music Hall of Fame
Legacy[edit]
Louis Armstrong and Grace Kelly on the set of High Society, 1956
The influence of Armstrong on the development of jazz is virtually immeasurable. Yet, his irrepressible personality both as a performer, and as a public figure later in his career, 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 1930s according to Gary Giddins and others.[82] Billie Holiday and Frank Sinatra are just two singers who were greatly indebted to him. 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. Duke Ellington said, "If anybody was a master, it was Louis Armstrong." In 1950, Bing Crosby, the most successful vocalist of the first half of the 20th century, said, "He is the beginning and the end of music in America."
In the summer of 2001, in commemoration of the centennial of Armstrong's birth, New Orleans's main airport was renamed Louis Armstrong New Orleans International Airport.
In 2002, the Louis Armstrong's Hot Five and Hot Seven recordings (1925–1928) were preserved in the United States National Recording Registry, a registry of recordings selected yearly by the National Recording Preservation Board for preservation in the National Recording Registry of the Library of Congress.[83]
The US Open tennis tournament's former main stadium was named Louis Armstrong Stadium in honor of Armstrong who had lived a few blocks from the site.[84]
Today, there are many bands worldwide dedicated to preserving and honoring the music and style of Satchmo, including the Louis Armstrong Society located in New Orleans, Louisiana.
Home turned National Historic Landmark
The house where Armstrong lived for almost 28 years was declared a National Historic Landmark in 1977 and is now a museum. The Louis Armstrong House Museum, at 34-56 107th Street (between 34th and 37th Avenues) in Corona, Queens, presents concerts and educational programs, operates as a historic house museum and makes materials in its archives of writings, books, recordings and memorabilia available to the public for research. The museum is operated by the City University of New York's Queens College, following the dictates of Lucille Armstrong's will. The museum opened to the public on October 15, 2003. A new visitors center is planned.[85]
Discography
This list is incomplete; you can help by expanding it.
Singles[edit]
Year Title(s) Label Credit (if not Louis Armstrong)
1923 "Froggie Moore" / "Chimes Blues" Gennett Records 5135 King Oliver's Creole Jazz Band
1923 "Mandy Lee Blues" / "I'm Going Away to Wear You Off My Mind" Gennett Records 5134 King Oliver's Creole Jazz Band
1923 "Riverside Blues" / "Mabel's Dream" [Take 1] Claxtonola 40292 King Oliver's Jazz Band
1924 "Prince of Wails" [Take 2] / "Mandy Make Up Your Mind" [Take 2] Fletcher Henderson and His Orchestra
1928 "Hotter Than That" / "Savoy Blues" OKeh 8535
1930 "I Ain't Got Nobody (And Nobody Cares for Me)" / "Rockin' Chair" OKeh 8756
1930 "I'm a Ding Dong Daddy from Dumas" / "I'm in the Market for You" Odeon 36141
1930 "Song of the Islands" / "Blue Turning Grey Over You" Odeon 36039
1938 "Elder Eatmore's Sermon on Generosity" / "Elder Eatmore's Sermon on Throwing Stones" Decca Records 15043
1939 "Jeepers Creepers" / "What Is This Thing Called Swing?" Decca Records 2267
1940 "Marie" / "Sleepy Time Gal" Decca Records 3291 Louis Armstrong and Mills Brothers / Mills Brothers
1946 "Endie" / "Do You Know What It Means to Miss New Orleans" RCA Victor 20-2087
1951 "(When We Are Dancing) I Get Ideas" / "A Kiss to Build a Dream On" Decca Records 27720
1952 "It Takes Two to Tango" / "I Laughed at Love" Decca Records 28394
1962 "Mack the Knife" / "The Faithful Husar" CBS CA 281.144 [France]
1967 "What a Wonderful World" / "Cabaret" ABC Records 10982 [7-inch vinyl]
1968 "What a Wonderful World" / "Cabaret" His Master's Voice [Great Britain]
1968 "I Will Wait for You" / "Talk to the Animals" [7-inch vinyl]
Original albums[edit]
These LPs and EPs were released during Armstrong's lifetime and contained original studio and/or live recordings. The year and label information is for the first vinyl release, unless otherwise noted. Additional information such as number of tracks is given only when necessary to distinguish between different releases under the same title. In most cases, the number of CD releases listed is limited, with preference given to the label that originally released the album.
Year Title Label CD release(s) Credit (if not Louis Armstrong) and additional notes
1951 Satchmo at Symphony Hall Decca DL 3087/8038 2-LP set; concert recorded November 30, 1947
1951 Satchmo at Pasadena Decca
1954 Louis Armstrong Plays W.C. Handy Columbia CL 591 (11 tracks) Columbia: 1986 (12 tracks), 1997 (16 tracks), 1999 (16 tracks, SACD) composer W. C. Handy
1954 Louis Armstrong and the Mills Brothers, Volume One Decca Records ED 2113 (4 tracks) [Decca Records 3291?] Louis Armstrong & The Mills Brothers
1955 Satch Plays Fats: A Tribute to the Immortal Fats Waller Columbia CL 708 (9 tracks) Columbia: 2000 (20-track SACD); Legacy: 2008 (20-track CD); Sony Music: 2009 (20-track CD) composer Fats Waller
1955 Louis Armstrong at the Crescendo, Vol. 1 Decca
1956 Louis Armstrong and Eddie Condon at Newport Columbia CL-931 Louis Armstrong & Eddie Condon
1956 Satchmo the Great Columbia: 1994, 2000 songs are introduced by excerpts from interviews with Edward R. Murrow
1956 An Evening With Louis Armstrong and His All Stars
1956 Ella and Louis Verve MG V-4003 Verve: 1985, 2000, 2002 (SACD) Ella Fitzgerald & Louis Armstrong
1957 Ella and Louis Again Verve Records MGV 4006-2 [double LP] Verve: 2003 Ella Fitzgerald & Louis Armstrong
1957 I've Got the World on a String [10 tracks]
1957 Louis Armstrong Meets Oscar Peterson Verve Records [12 tracks] Verve: 1997 (16 tracks) Louis Armstrong & Oscar Peterson
1957 Under the Stars Verve Records MGV 4012
1957 Louis and the Angels Decca Universal/MCA: 2000; Verve: 2001
1958 Porgy & Bess Verve Records MGV 4011-2 [double LP] Verve: 1986; Verve Music Group: 2008; Essential Jazz Classics Ella Fitzgerald & Louis Armstrong
1958 Louis and the Good Book Decca Records DL 8741 [12 tracks] MCA [France]: 1987, 1992; Verve [Germany]: 2001 (20 tracks)
1959 Satchmo In Style Decca
1959 The Five Pennies London Records SAH-U 6044 Danny Kaye & Louis Armstrong
1960 Bing & Satchmo MGM E3882P DRG: 2009 Bing Crosby & Louis Armstrong
1961 Recording Together for the First Time Roulette Records SR52074 [10 tracks] Louis Armstrong & Duke Ellington
1961 The Great Reunion Louis Armstrong & Duke Ellington
1962 The Real Ambassadors Columbia OL 5850 [15 tracks] CBS: 1990 [20 tracks], 1994 [20 tracks]; Poll Winners: 2012 [25 tracks] with Dave Brubeck, Carmen McRae, and Lambert, Hendricks & Ross
1964 Hello, Dolly! Kapp KL-1364 [mono], KS-3364 [stereo] MCA: 2000
1968 Disney Songs the Satchmo Way Buena Vista Records STBV 4044 Walt Disney: 1996, 2001
1968 The One and Only Vocalion VL 73871
1970 What a Wonderful World Bluebird
Posthumous releases[edit]
These LPs and CDs were released after Armstrong's 1971 death.
Louis Armstrong Hot Five and Hot Seven Sessions
Hot Fives & Sevens (JSP, 1998)
The Complete Hot Five & Hot Seven Recordings (Columbia/Legacy)
Struttin' (Drive Archive, 1996) — 8 February 1947 concert with Edmond Hall's All-Stars
The Complete Ella Fitzgerald & Louis Armstrong on Verve (1997) — repackaging of Ella and Louis, Ella and Louis Again, and Porgy and Bess
rereleases of Together For The First Time and The Great Reunion
The Great Summit: The Master Takes (2001)
Louis Armstrong and Duke Ellington: The Great Summit/Complete Sessions (2000) — includes additional CD of alternate takes
The Legendary Berlin Concert (Jazzpoint Records, 2000) — 22 March 1965 concert with Billy Kyle, Tyree Glenn, Eddie Shu, Arvell Shaw and Danny Barcelona
List of songs recorded[edit]
Chronology of the recordings of Armstrong's songs:
[show]Song title Year(s) recorded
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