Louis Armstrong
Louis Daniel Armstrong, nicknamed "Satchmo", "Satch", and "Pops", was an American jazz and blues trumpeter and vocalist. He was among the most influential figures in jazz. His career spanned five decades and several eras in the history of jazz. Armstrong received numerous accolades including the Grammy Award for Best Male Vocal Performance for Hello, Dolly! in 1965, as well as a posthumous win for the Grammy Lifetime Achievement Award in 1972. His influence crossed musical genres, with inductions into the DownBeat Jazz Hall of Fame, the Rock and Roll Hall of Fame, and the National Rhythm & Blues Hall of Fame, among others.
Armstrong was born and raised in New Orleans. Coming to prominence in the 1920s as an inventive trumpet and cornet player, he was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. Around 1922, Armstrong followed his mentor, Joe "King" Oliver, to Chicago to play in Oliver's Creole Jazz Band. Armstrong earned a reputation at "cutting contests", and his fame reached band leader Fletcher Henderson. Armstrong moved to New York City, where he became a featured and musically influential band soloist and recording artist. By the 1950s, Armstrong was an international musical icon, appearing regularly in radio and television broadcasts and on film. Apart from his music, he was also beloved as an entertainer, often joking with the audience and keeping a joyful public image at all times.
Armstrong's best known songs include "What a Wonderful World", "La Vie en Rose", "Hello, Dolly!", "On the Sunny Side of the Street", "Dream a Little Dream of Me", "When You're Smiling" and "When the Saints Go Marching In". He collaborated with Ella Fitzgerald, producing three records together: Ella and Louis, Ella and Louis Again, and Porgy and Bess. He also appeared in films such as A Rhapsody in Black and Blue, Cabin in the Sky, High Society, Paris Blues, A Man Called Adam, and Hello, Dolly!.
With his instantly recognizable, rich, gravelly voice, Armstrong was also an influential singer and skillful improviser. He was also skilled at scat singing. By the end of Armstrong's life, his influence had spread to popular music. He was one of the first popular African-American entertainers to "cross over" to wide popularity with white and international audiences. Armstrong rarely publicly discussed racial issues, sometimes to the dismay of fellow black Americans, but took a well-publicized stand for desegregation in the Little Rock Crisis. He could access the upper echelons of American society at a time when this was difficult for black men. His recording of “Melancholy Blues” is included on the Voyager Golden Record, a sample of the sights and sounds of Earth sent into space.
Early life
Armstrong is believed to have been born in New Orleans on August 4, 1901, but the accuracy of this date has been heavily debated. Armstrong himself often claimed he was born on July 4, 1900. His parents were Mary Estelle "Mayann" Albert and William Armstrong. Mary Albert was from Boutte, Louisiana, and gave birth at home when she was about 16. Less than a year and a half later, they had a daughter, Beatrice "Mama Lucy" Armstrong, whom Albert raised. William Armstrong abandoned the family shortly after that.Louis Armstrong was raised by his grandmother until the age of five, when he was returned to his mother. Armstrong spent his youth in poverty in a rough neighborhood known as The Battlefield, on the southern section of Rampart Street. At the age of six, Armstrong started attending the Fisk School for Boys, a school that accepted black children in the racially segregated school system of New Orleans.
Armstrong lived with his mother and sister during this time and worked for the Karnoffskys, a family of Lithuanian Jews, at their home. Armstrong helped their sons Morris and Alex collect "rags and bones" and deliver coal. In 1969, while recovering from heart and kidney problems at Beth Israel Hospital in New York City, Armstrong wrote a memoir called Louis Armstrong + the Jewish Family in New Orleans, LA., the Year of 1907, describing his time working for the Karnoffsky family.
Armstrong writes about singing "Russian Lullaby" with the Karnoffsky family when their baby son David was put to bed and credits the family with teaching him to sing "from the heart." Curiously, Armstrong quotes lyrics for it that appear to be the same as the "Russian Lullaby", copyrighted by Irving Berlin in 1927, about 20 years after Armstrong remembered singing it as a child. Gary Zucker, Armstrong's doctor at Beth Israel hospital in 1969, shared Berlin's song lyrics with him, and Armstrong quoted them in the memoir. This inaccuracy may be because he wrote the memoir over 60 years after the events described. Regardless, the Karnoffskys treated Armstrong exceptionally well. Knowing he lived without a father, they fed and nurtured Armstrong.
In his memoir, Louis Armstrong + the Jewish Family in New Orleans, La., the Year of 1907, he described his discovery that this family was also subject to discrimination by "other white folks" who felt that they were better than Jews: "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." Armstrong wrote about what he learned from them: "how to live—real life and determination." His first musical performance may have been at the side of the Karnoffskys' junk wagon. Armstrong tried playing a tin horn to attract customers to distinguish them from other hawkers. Morris Karnoffsky gave Armstrong an advance toward purchasing a cornet from a pawn shop.
Later, as an adult, Armstrong wore a Star of David given to him by his Jewish manager, Joe Glaser, until the end of his life, in part in memory of this family who had raised him.
When Armstrong was 11, he dropped out of school. His mother moved into a one-room house on Perdido Street with Armstrong, Lucy, and her common-law husband, Tom Lee, next door to her brother Ike and his two sons. Armstrong joined a quartet of boys who sang in the streets for money. Cornetist Bunk Johnson said he taught the eleven-year-old to play by ear at Dago Tony's honky tonk. In his later years, Armstrong credited King Oliver. Armstrong said about his youth, "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."
Borrowing his stepfather's gun without permission, Armstrong fired a blank into the air and was arrested on December 31, 1912. He spent the night at New Orleans Juvenile Court and was sentenced the next day to detention at the Colored Waif's Home. Life at the home was spartan. Mattresses were absent, and meals were often little more than bread and molasses. Captain Joseph Jones ran the home like a military camp and used corporal punishment.
Armstrong developed his cornet skills by playing in the band. Peter Davis, who frequently appeared at the home at the request of Captain Jones, became Armstrong's first teacher and chose him as the bandleader. With this band, the 13-year-old Armstrong attracted the attention of Kid Ory.
On June 14, 1914, Armstrong was released into the custody of his father and his new stepmother, Gertrude. Armstrong lived in this household with two stepbrothers for several months. After Gertrude gave birth to a daughter, Armstrong's father never welcomed him, so Armstrong returned to his mother, Mary Albert. Armstrong had to share a bed in her small home with his mother and sister. His mother still lived in The Battlefield, leaving Armstrong open to old temptations, but he sought work as a musician.
Armstrong found a job at a dance hall owned by Henry Ponce, who had connections to organized crime. He met the six-foot tall drummer Black Benny, who became Armstrong's guide and bodyguard. Around the age of 15, he pimped for a prostitute named Nootsy. However, that relationship failed after she stabbed Armstrong in the shoulder, and his mother choked her nearly to death.
Armstrong briefly studied shipping management at the local community college but was forced to quit after being unable to afford the fees. While selling coal in Storyville, he heard spasm bands, groups that played music out of household objects. Armstrong listened to the early sounds of jazz from bands that played in brothels and dance halls, such as Pete Lala's, where King Oliver performed.
Career
Riverboat education
Early in his career, Armstrong played in brass bands and riverboats in New Orleans, in the late 1910s. He traveled with the band of Fate Marable, which toured on the steamboat Sidney with the Streckfus Steamers line up and down the Mississippi River. Marable was proud of Armstrong's musical knowledge, and he insisted that Armstrong and other musicians in his band learn sight reading. Armstrong described his time with Marable as "going to the University" since it gave him a wider experience working with written arrangements. In 1918, Armstrong's mentor, King Oliver, decided to go north and resigned his position in Kid Ory's band; Armstrong replaced him. Armstrong also became the second trumpet for the Tuxedo Brass Band.Throughout his riverboat experience, Armstrong's musicianship began to mature and expand. At age 20, he could read music. Armstrong became one of the first jazz musicians to be featured on extended trumpet solos, injecting his own personality and style. Armstrong also started singing in his performances.
Chicago period recordings
In 1922, Armstrong moved to Chicago at the invitation of King Oliver, although Armstrong would return to New Orleans periodically for the rest of his life. Playing second cornet to Oliver in Oliver's Creole Jazz Band in the black-only Lincoln Gardens on the South Side of Chicago, Armstrong could make enough money to quit his day jobs. Although race relations were poor, Chicago was booming. The city had jobs for blacks, who made good wages at factories, with some left for entertainment.Oliver's band was among Chicago's most influential jazz bands in the early 1920s. Armstrong lived luxuriously in his apartment with his first private bath. Excited to be in Chicago, Armstrong began his career-long pastime of writing letters to friends in New Orleans. Armstrong could blow 200 high Cs in a row. As his reputation grew, Armstrong was challenged to cutting contests by other musicians.
Armstrong's first studio recordings were with Oliver for Gennett Records on April 56, 1923. They endured several hours on the train to remote Richmond, Indiana, and the band was paid little. The quality of the performances was affected by a lack of rehearsal, crude recording equipment, bad acoustics, and a cramped studio. These early recordings were true acoustic, the band playing directly into a large funnel connected directly to the needle making the groove in the master recording. The much improved Electrical recording system with a better dynamic range was not invented until 1926. Initially, because Armstrong's playing was so loud, Oliver could not be heard on the recording when he played next to Oliver. Armstrong had to stand 15 feet from Oliver in a far corner of the room to remedy this.
Lil Hardin, whom Armstrong would marry in 1924, urged Armstrong to seek more prominent billing and develop his style apart from the influence of Oliver. At her suggestion, Armstrong began playing classical music in church concerts to broaden his skills and dressing more stylishly to offset his girth. Her influence eventually undermined Armstrong's relationship with his mentor, especially concerning his salary and additional money that Oliver held back from Armstrong and other band members. Armstrong's mother, Mayann Albert, came to visit him in Chicago during the summer of 1923 after being told that Armstrong was "out of work, out of money, hungry, and sick"; Hardin located and decorated an apartment for her to live in while she stayed.