Louis Armstrong – Hello Dolly (Live) | united architects music

Louis Armstrong – Hello Dolly (Live)

Louis Daniel Armstrong (August 4, 1901 — July 6, 1971) nicknamed Satchmo or Pops, was an American jazz trumpeter and singer from New Orleans, Louisiana.
Coming to prominence in the 1920s as an “inventive” cornet and trumpet player, Armstrong was a foundational influence on jazz, shifting the music’s focus from collective improvisation to solo performers. With his distinctive 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 greatly skilled at scat singing, or vocalizing using syllables instead of actual lyrics.
Renowned for his charismatic stage presence and deep, instantly recognizable 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 often stated that he was born on July 4, 1900, 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 through the examination of baptismal records.
Armstrong was born into a very poor family in New Orleans, Louisiana, the grandson of slaves. He spent his youth in poverty, in a rough neighborhood of Uptown New Orleans, known as “Back of Town”, as 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 (1886–1942), 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 saw his father only in parades.
He attended the Fisk School for Boys. It was there that he likely had his first exposure to Creole 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, the famed red-light district, and listened to the bands playing in the brothels and dance halls, especially Pete Lala’s where Joe “King” Oliver performed and other famous musicians would drop in to jam.
In his early years, Armstrong was best known for his virtuosity with the cornet and trumpet. The greatest trumpet playing of his early years can be heard on his Hot Five and Hot Seven records, as well as the Red Onion Jazz Babies. The improvisations he made on these records of New Orleans jazz standards and popular songs of the day are unsurpassed by later jazz performers. The older generation of New Orleans jazz musicians often referred to their improvisations as “variating the melody.” Armstrong’s improvisations were daring and sophisticated for the time, while often subtle and melodic.
He often essentially re-composed pop-tunes he played, making them more interesting. Armstrong’s playing is filled with joyous, inspired original melodies, creative leaps, and subtle relaxed or driving rhythms. The genius of these creative passages is matched by Armstrong’s playing technique, honed by constant practice, which extended the range, tone and capabilities of the trumpet. In these records, Armstrong almost single-handedly created the role of the jazz soloist, taking what was essentially a collective folk music and turning it into an art form with tremendous possibilities for individual expression.
Armstrong’s work in the 1920s shows him playing at the outer limits of his abilities. The Hot Five records, especially, often have minor flubs and missed notes, which do little to detract from listening enjoyment since the energy of the spontaneous performance comes through. By the mid 1930s, Armstrong achieved a smooth assurance, knowing exactly what he could do and carrying out his ideas to perfection.

Louis Armstrong, Satchmo, Pops, American, jazz, trumpeter, singer, New Orleans, Louisiana scat singing, Live, HD, Hello Dolly

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