Post by crowhats on Jan 9, 2012 18:18:11 GMT -5
Louis Armstrong
While I had a number of possible artists in mind for this new music segment, every choice I could have made all seemed to lead me back to my love of the musician Louis Armstrong. For this reason I knew that I’d have to begin this segment with the inclusion of one of favorite musicians Louis Armstrong. Armstrong is a fantastic, and inspiring musician who changed jazz music, and my life forever. He is unbelievably talented both in playing of the trumpet (and cornet), and in his unique style of singing. I remember the moment in life that I was given a CD of the Hot Five sessions. While this album wasn’t the first jazz album I had received or heard, it was the first one that inspired me to become a musician in the first place. To this day that album, and Louis Armstrong are both personal favorites of mine. These are just some of the many reasons that inspired me to focus upon Armstrong as the first artist for this new segment.
Louis Armstrong was one of the key musicians responsible for the popularisation, and stylistic development of jazz. While he certainly wasn’t the first widely popular jazz musician, his influence upon the form, and format of jazz is perhaps the most lasting of any musician. He helped to develop and popularize among musician the concepts of skat singing, and improvised solo that are based upon chord changes. He also helped to bring the concept of swinging the music to a number of most famous big bands, including Duke Ellington bands. His influence on musicians of the Swing era is clearly unprecedented. Armstrong is for jazz a figure akin to Osamu Tezuka, Jack Kirby and Beethoven. Like these other figures he is clearly a genius so influential that without existing it’s hard to image that his area of expertise, (jazz music) would even exist now, or at least would have the same major impact on American popular music.
Louis Armstrong grew up in a special time musically in New Orleans. During this period jazz very was young, and was beginning the exciting process of developing. Despite it being a relatively new concept as a genera, New Orleans was a remarkable place during this experimental early period to hear jazz music and it’s roots (as it still is today). Many modern jazz musicians have seemed to have forgotten that during this time, jazz was mainly the music of brothels and saloons, and a lower class genera of music that was considered rebellious, dangerous, and sexy. Jazz was mainly performed by people known for having distinct and strong personalities, this included musicians like Freddie Kepperard, Jellyroll Morton, Sidney Bechet and Armstrong’s musical mentor Joe “King,” Oliver. Oliver was a truly amazing performer, but even his enormous skill was eventually overshadowed by Armstrong’s own amazing talent. Under Oliver’s tutelage, and the absorbing of the music of his contemporaries Armstrong would quickly develop to become one of the most talented cornet/trumpet players within New Orleans.
Armstrong’s most famous period of music is commonly attributed to be his works with the groups the Hot Five, and Hot Seven. He made recording with this early all star group, after leaving the famous Fletcher Henderson Big Band in New York, and having recorded with Clarence Williams. It was during these recordings with the Hot Five and Seven that Armstrong was finally given the chance to sing. As a result he produced a number of major and influential hits such as “Heebie Jeebies.” These songs helped to spread many New Orleans traditions such as skat singing outside of the city to other musicians. What really impresses me about these sessions, however is how well the musicians in the band play off each other. I think that the most overlooked element about Armstrong career is that he was also a amazing bandleader, and great judge of musical talent. He definitely partly inherit these traits from his mentor King Oliver. Armstrong brought together many of his close colleagues, many of which who were part of the Oliver band to play during these sessions. All these musicians knew each other closely, and were able to seamlessly play off one another to create a truly breath taking sound. The band members were definitely some of the best players New Orleans had to offer at the time of these recordings.
Eventually Armstrong would go on to meet with Earl Hines, and then go on to lead his own big band. Though I loved the combination of Hines and Armstrong, this period of Armstrong’s career was probably my least favorite. This doesn’t mean, however that Armstrong still didn’t produce many great tracks, and that he personally was any less talented or productive during this period of time. The problem with this period of his career though was with the exception of Hines, few musicians in his bands could match his performance level. Armstrong was clearly the front man, and carried the bands he worked for with his outstanding musicianship.
It wasn’t until 1947 that Armstrong was finally able to find a group with musicians that had the talent, and musicianship to work with him as equals. In May 17, 1947 Armstrong created a small group comprised of top level Swing and Dixieland musicians, including the famous trombone player Jack Teagarden (another one of my favorite musicians) and pianist Earl Hines. It was during this final, and longest period of Armstrong's career that his talent really was most prominent. While some narrow minded jazz critics scuffed Armstrong’s playing during this period for his use of show tunes, his use of a standard set of repertory, and a more old fashion style, I feel this is clearly Armstrong strongest career period.
These sessions finally brought Armstrong together with a group musicians that were as talented as he was, and could keep up with his playing. It is a shame that so many of the talented musicians with the All Stars have been so overlooked outside of their contributions to the ensemble. Most of the musicians who were a part of Armstrong’s All Star group were clearly talented enough to manage bands of their own (many of them such as Teagarden in fact would go on to do so).
Not only was Armstrong’s playing with the All Stars outstanding during this period, he also collaborated and played with some of the greatest musicians of his time. Armstrong made a number of famous, and momentous collaborative recordings with Ella Fitzgerald, and Duke Ellington. Without a doubt this was definitely the most influential period, and important part of Armstrong’s career. It was during this time that Armstrong was given the most freedom and inspiration to grow.
It’s so hard to recommend specific songs of Armstrong’s to listen to, because so many of his songs are masterpieces. Almost any track from any era of his career is bound to be at the very least outstanding, and is well worth while to listening to. From his earlier period I’d advise the pieces “West End Blues,” “Potato Head Blues,” “Cornet Chop Suey,” and “Gut Bucket Blues,” (though all the songs from this period are similar in nature, and worth hearing). These takes all show off Armstrong powerful leading role in the ensemble, but most importantly his group’s remarkable ability to work together as a unit.
While I’m not as fond of Armstrong’s big band period there are still many great tracks to be found from this period. The “Tiger Rag” is a great example of Armstrong's outstanding power and stamina, and one of my favorites of this period. I also enjoy the Latin influenced piece “The Peanut Vendor,” and Armstrong great singing on “On the Sunny Side of the Street,” and “Blueberry Hill.” While these tracks aren’t nearly as powerful as Armstrong’s work with the All Stars, they are still well worth hearing and landmark recordings.
The longest and best category of music by Armstrong is to be found with his group the All Stars. It’s even harder to come up with a list of some of the best works recorded by the All Stars then it is for the Hot Five and Seven sessions, because this period of Armstrong’s career was so long and dynamic. Armstrong’s Broadway show tones are some of the best works of this period, including his versions of “Hello Dolly,” “Ain’t Misbehavin’,” and “Cabaret.” I also love his work during this period when he worked with the amazing female vocalist Velma Middleton, including “Baby it’s cold outside,” and “Big Mamma’s back in town.” His work with people like Middleton, and his friend Jack Teagarden in pieces such as, “Rockin’ Chair,” highlight his ability to vocally play off, and compliment his singing partners (though this trait can also be attributed to his trumpet solos as well). Some other great tracks of this period include trombone player Trummy Young’s signature track “Margie,” and the one of my personal favorites from his California concerts “The Buckets got a hole in it.”
Armstrong is also famous for teaming up with the top jazz performers of his time. While there are tons of amazing recording that documented these collaborations which can be considered amazing, I have a few personal favorite team up albums, and tracks that are really worth hearing. My favorite of these team ups is monumental album Porgy and Bess. This album was recorded with jazz legend Ella Fitzgerald, and displays some of the best of both their vocal work and a exceptional out of this world passion. Any album with the combination of Fitzgerald and Armstrong, however is also a most have. Another amazing album is the Louis Armstrong and Duke Ellington: The Great Summit/Complete Sessions. In this album Ellington and Armstrong’s groups team up, and record some of the best vocal tracks in the Ellington library (and a few great non-vocal tracks as well). While Armstrong never really had a major team up with Sidney Bechet, “Cake Walkin' Babies from Home,” is a great early period example of Armstrong playing with this jazz legend. Regrettably I have had to leave out a huge amount of amazing tracks in my short list of tracks, but this is because Armstrong’s recordings offer a nearly endless supply of great music.
Armstrong is a special sort of musician that only come around once ever. Armstrong’s distinct, and passionate singing is responsible for creating a standards that jazz singers are still measured by today (such as skat singing). Armstrong’s trumpet playing is one of a kind, and definitely deserves the status as legendary. This genius is combined his talent humanistic love of life to create some of the best jazz music ever. This combination of musicianship and humanism makes him a personal hero of mine. It is clear without his contributions to jazz it wouldn’t be the same at all, and I feel it wouldn’t have ever been able to reach it’s status as a popular medium without him. I think the most accurate statement about Armstrong’s music comes from his statement about the goal of his group’s music, "What we play is life.” Some more great quotes about Armstrong and his works can be found here: www.satchmo.com/louisarmstrong/quotes.html
While I had a number of possible artists in mind for this new music segment, every choice I could have made all seemed to lead me back to my love of the musician Louis Armstrong. For this reason I knew that I’d have to begin this segment with the inclusion of one of favorite musicians Louis Armstrong. Armstrong is a fantastic, and inspiring musician who changed jazz music, and my life forever. He is unbelievably talented both in playing of the trumpet (and cornet), and in his unique style of singing. I remember the moment in life that I was given a CD of the Hot Five sessions. While this album wasn’t the first jazz album I had received or heard, it was the first one that inspired me to become a musician in the first place. To this day that album, and Louis Armstrong are both personal favorites of mine. These are just some of the many reasons that inspired me to focus upon Armstrong as the first artist for this new segment.
Louis Armstrong was one of the key musicians responsible for the popularisation, and stylistic development of jazz. While he certainly wasn’t the first widely popular jazz musician, his influence upon the form, and format of jazz is perhaps the most lasting of any musician. He helped to develop and popularize among musician the concepts of skat singing, and improvised solo that are based upon chord changes. He also helped to bring the concept of swinging the music to a number of most famous big bands, including Duke Ellington bands. His influence on musicians of the Swing era is clearly unprecedented. Armstrong is for jazz a figure akin to Osamu Tezuka, Jack Kirby and Beethoven. Like these other figures he is clearly a genius so influential that without existing it’s hard to image that his area of expertise, (jazz music) would even exist now, or at least would have the same major impact on American popular music.
Louis Armstrong grew up in a special time musically in New Orleans. During this period jazz very was young, and was beginning the exciting process of developing. Despite it being a relatively new concept as a genera, New Orleans was a remarkable place during this experimental early period to hear jazz music and it’s roots (as it still is today). Many modern jazz musicians have seemed to have forgotten that during this time, jazz was mainly the music of brothels and saloons, and a lower class genera of music that was considered rebellious, dangerous, and sexy. Jazz was mainly performed by people known for having distinct and strong personalities, this included musicians like Freddie Kepperard, Jellyroll Morton, Sidney Bechet and Armstrong’s musical mentor Joe “King,” Oliver. Oliver was a truly amazing performer, but even his enormous skill was eventually overshadowed by Armstrong’s own amazing talent. Under Oliver’s tutelage, and the absorbing of the music of his contemporaries Armstrong would quickly develop to become one of the most talented cornet/trumpet players within New Orleans.
Armstrong’s most famous period of music is commonly attributed to be his works with the groups the Hot Five, and Hot Seven. He made recording with this early all star group, after leaving the famous Fletcher Henderson Big Band in New York, and having recorded with Clarence Williams. It was during these recordings with the Hot Five and Seven that Armstrong was finally given the chance to sing. As a result he produced a number of major and influential hits such as “Heebie Jeebies.” These songs helped to spread many New Orleans traditions such as skat singing outside of the city to other musicians. What really impresses me about these sessions, however is how well the musicians in the band play off each other. I think that the most overlooked element about Armstrong career is that he was also a amazing bandleader, and great judge of musical talent. He definitely partly inherit these traits from his mentor King Oliver. Armstrong brought together many of his close colleagues, many of which who were part of the Oliver band to play during these sessions. All these musicians knew each other closely, and were able to seamlessly play off one another to create a truly breath taking sound. The band members were definitely some of the best players New Orleans had to offer at the time of these recordings.
Eventually Armstrong would go on to meet with Earl Hines, and then go on to lead his own big band. Though I loved the combination of Hines and Armstrong, this period of Armstrong’s career was probably my least favorite. This doesn’t mean, however that Armstrong still didn’t produce many great tracks, and that he personally was any less talented or productive during this period of time. The problem with this period of his career though was with the exception of Hines, few musicians in his bands could match his performance level. Armstrong was clearly the front man, and carried the bands he worked for with his outstanding musicianship.
It wasn’t until 1947 that Armstrong was finally able to find a group with musicians that had the talent, and musicianship to work with him as equals. In May 17, 1947 Armstrong created a small group comprised of top level Swing and Dixieland musicians, including the famous trombone player Jack Teagarden (another one of my favorite musicians) and pianist Earl Hines. It was during this final, and longest period of Armstrong's career that his talent really was most prominent. While some narrow minded jazz critics scuffed Armstrong’s playing during this period for his use of show tunes, his use of a standard set of repertory, and a more old fashion style, I feel this is clearly Armstrong strongest career period.
These sessions finally brought Armstrong together with a group musicians that were as talented as he was, and could keep up with his playing. It is a shame that so many of the talented musicians with the All Stars have been so overlooked outside of their contributions to the ensemble. Most of the musicians who were a part of Armstrong’s All Star group were clearly talented enough to manage bands of their own (many of them such as Teagarden in fact would go on to do so).
Not only was Armstrong’s playing with the All Stars outstanding during this period, he also collaborated and played with some of the greatest musicians of his time. Armstrong made a number of famous, and momentous collaborative recordings with Ella Fitzgerald, and Duke Ellington. Without a doubt this was definitely the most influential period, and important part of Armstrong’s career. It was during this time that Armstrong was given the most freedom and inspiration to grow.
It’s so hard to recommend specific songs of Armstrong’s to listen to, because so many of his songs are masterpieces. Almost any track from any era of his career is bound to be at the very least outstanding, and is well worth while to listening to. From his earlier period I’d advise the pieces “West End Blues,” “Potato Head Blues,” “Cornet Chop Suey,” and “Gut Bucket Blues,” (though all the songs from this period are similar in nature, and worth hearing). These takes all show off Armstrong powerful leading role in the ensemble, but most importantly his group’s remarkable ability to work together as a unit.
While I’m not as fond of Armstrong’s big band period there are still many great tracks to be found from this period. The “Tiger Rag” is a great example of Armstrong's outstanding power and stamina, and one of my favorites of this period. I also enjoy the Latin influenced piece “The Peanut Vendor,” and Armstrong great singing on “On the Sunny Side of the Street,” and “Blueberry Hill.” While these tracks aren’t nearly as powerful as Armstrong’s work with the All Stars, they are still well worth hearing and landmark recordings.
The longest and best category of music by Armstrong is to be found with his group the All Stars. It’s even harder to come up with a list of some of the best works recorded by the All Stars then it is for the Hot Five and Seven sessions, because this period of Armstrong’s career was so long and dynamic. Armstrong’s Broadway show tones are some of the best works of this period, including his versions of “Hello Dolly,” “Ain’t Misbehavin’,” and “Cabaret.” I also love his work during this period when he worked with the amazing female vocalist Velma Middleton, including “Baby it’s cold outside,” and “Big Mamma’s back in town.” His work with people like Middleton, and his friend Jack Teagarden in pieces such as, “Rockin’ Chair,” highlight his ability to vocally play off, and compliment his singing partners (though this trait can also be attributed to his trumpet solos as well). Some other great tracks of this period include trombone player Trummy Young’s signature track “Margie,” and the one of my personal favorites from his California concerts “The Buckets got a hole in it.”
Armstrong is also famous for teaming up with the top jazz performers of his time. While there are tons of amazing recording that documented these collaborations which can be considered amazing, I have a few personal favorite team up albums, and tracks that are really worth hearing. My favorite of these team ups is monumental album Porgy and Bess. This album was recorded with jazz legend Ella Fitzgerald, and displays some of the best of both their vocal work and a exceptional out of this world passion. Any album with the combination of Fitzgerald and Armstrong, however is also a most have. Another amazing album is the Louis Armstrong and Duke Ellington: The Great Summit/Complete Sessions. In this album Ellington and Armstrong’s groups team up, and record some of the best vocal tracks in the Ellington library (and a few great non-vocal tracks as well). While Armstrong never really had a major team up with Sidney Bechet, “Cake Walkin' Babies from Home,” is a great early period example of Armstrong playing with this jazz legend. Regrettably I have had to leave out a huge amount of amazing tracks in my short list of tracks, but this is because Armstrong’s recordings offer a nearly endless supply of great music.
Armstrong is a special sort of musician that only come around once ever. Armstrong’s distinct, and passionate singing is responsible for creating a standards that jazz singers are still measured by today (such as skat singing). Armstrong’s trumpet playing is one of a kind, and definitely deserves the status as legendary. This genius is combined his talent humanistic love of life to create some of the best jazz music ever. This combination of musicianship and humanism makes him a personal hero of mine. It is clear without his contributions to jazz it wouldn’t be the same at all, and I feel it wouldn’t have ever been able to reach it’s status as a popular medium without him. I think the most accurate statement about Armstrong’s music comes from his statement about the goal of his group’s music, "What we play is life.” Some more great quotes about Armstrong and his works can be found here: www.satchmo.com/louisarmstrong/quotes.html