LOUIS ARMSTRONG AND HIS ORCHESTRA

Biography

Louis Armstrong (August 4, 1901 – July 6, 1971), nicknamed "Satchmo," "Satch," and "Pops," was born in New Orleans, Louisiana and became the most significant jazzman in the history of the music.[1] After being arrested on New Year's Eve 1912, Armstrong was sent to the Colored Waif's Home for Boys, where he learned to play the cornet under Peter Davis's tutelage and eventually became leader of the Waif's Home Brass Band.[2] Released in 1914, he was mentored by the city's top cornetist, Joe "King" Oliver, and quickly became one of the most in-demand cornetists in New Orleans, working steadily on Mississippi riverboats and with various ensembles.[2]

In 1922, King Oliver invited Armstrong to join his Creole Jazz Band in Chicago, marking Armstrong's transition to full-time professional musicianship.[7] Armstrong and Oliver became renowned for their intricate two-cornet breaks, and they began recording together in 1923.[2] During this period, Armstrong married Lillian Hardin, the band's pianist, who encouraged him to pursue a solo career.[2] After a year in New York with Fletcher Henderson's Orchestra in 1924, Armstrong returned to Chicago in 1925 and began recording under his own name for the first time, creating his most important early works with the Hot Five and Hot Seven recordings (1925–1928), through which he emerged as the first great jazz soloist.[7]

From the late 1920s onward, Armstrong worked as both sideman and bandleader in formats ranging from small combos to big bands.[6] In 1947, as big band popularity waned, Armstrong's manager Joe Glaser transformed his ensemble into a six-piece traditional jazz group called Louis Armstrong and His All Stars, which remained his primary performing vehicle for the rest of his career.[2][4] Armstrong's international tours made him so popular that he was dubbed "Ambassador Satch," and he became a dominant influence on the swing era, with most trumpeters attempting to emulate his dramatic structure, melody, and technical virtuosity.[2][7]

Fun Facts

• Armstrong described his time with Fate Marable's Orchestra in 1920 as "going to the University" because it gave him wider experience working with written arrangements.[4]
• The Hot Five, Armstrong's first jazz recording band, produced twenty-four records over a 12-month period starting in November 1925, with no drummer in the original lineup.[4]
• Armstrong made his first international tour in 1932, performing in Scotland and Northern England and appearing at the London Palladium.[1]
• Armstrong made more than 1,500 recordings throughout his career, beginning with his first recordings at Gennett Studios in Richmond, Indiana in 1923.[1]

Musical Connections

Mentors/Influences

• Joe "King" Oliver - Armstrong's primary mentor and the city's top cornetist who taught him professional musicianship and invited him to Chicago (King Oliver's Creole Jazz Band recordings) [1918-1924]
• Peter Davis - Instructor at the Colored Waif's Home for Boys who taught Armstrong how to properly play the cornet (Waif's Home Brass Band) [1912-1914]

Key Collaborators

• Lillian Hardin Armstrong - Pianist in King Oliver's band who married Armstrong in 1924 and encouraged his solo career; played on his early recordings (Hot Five and Hot Seven recordings) [1923-1931]
• Johnny Dodds - Clarinetist who performed with Armstrong in King Oliver's Creole Jazz Band and the Hot Five (King Oliver's Creole Jazz Band, Hot Five recordings) [1923-1925]
• Kid Ory - Trombonist who worked with Armstrong in the Hot Five ensemble (Hot Five recordings) [1925-1928]
• Earl Hines - Pianist and music director who collaborated with Armstrong at the Sunset Café and on recordings; became a fast friend and successful collaborator (Carroll Dickerson Orchestra, Louis Armstrong and his Stompers, later Hot Five sessions) [1927-1928]
• Fletcher Henderson - Bandleader who employed Armstrong in his orchestra in New York (Fletcher Henderson and His Orchestra) [1924]
• Joe Glaser - Armstrong's manager from 1935 onward who managed his bands, film career, and radio appearances (Louis Armstrong and His All Stars) [1935-1971]

Artists Influenced

• Swing era trumpeters - Armstrong was the dominant influence on the swing era, with most trumpeters attempting to emulate his dramatic structure, melody, and technical virtuosity (All Armstrong recordings) [1930s-1940s onward]
• Adelaide Hall - Singer who developed and expanded her scat singing with Armstrong's guidance and encouragement at the Sunset Café (Sunset Café performances) [1927-1928]

External Links

• Spotify
• Wikipedia