Biography of Louis Armstrong

Byography who was Louis Armstrong? Unrivaled virtuoso, he gained fame in the X, influencing countless musicians both his daring style of playing a pipe and a unique vocal. The charismatic performance of Armstrong on stage was impressed not only by the world of jazz, but also by all popular music. During his career, he recorded several songs, including such as “Star dust”, “Life in pink color” and “What a wonderful world”.

Louis Armstrong. Armstrong had a difficult childhood: his father was a worker in the factory and threw his family shortly after Louis's birth. His mother often left him with his mother’s grandmother. Armstrong had to quit school in the fifth grade to start working. The local Jewish family of Karnofsky gave young Armstrong work to collect garbage and delivery of coal. They also encouraged his singing and often invited his home for lunch.

On New Year's Eve in the year, Armstrong shot his stepfather into the air during the New Year’s celebration and was arrested on the spot. Then he was sent to the house for children-recesses. There he received a musical education in the game on the cornet and fell in love with music. In the year, the house freed him, and he immediately began to dream of life, engaged in music.

Louis Armstrong in childhood. Photo: Joe King Oliver, although he still had to earn extra money by the sale of newspapers and carrier of coal to the famous city “Red Lights Quarter”, Armstrong began to earn a reputation as a beautiful bluesman. One of the greatest players on the cornet in the city, Joe King Oliver, began to act as a mentor of a young Armstrong, showing him the methods of playing a mug and sometimes using it as a replacement.

The first wife by the end of adolescence Armstrong quickly matured. In the year, he married Daisy Parker, laid the foundation for a stormy union marked by many quarrels. During this time, Armstrong adopted a three -year -old boy named Clarence. The boy’s mother, the cousin of Armstrong, died during childbirth. Clarence, which became mentally inferior due to an injury to the head received at an early age, Armstrong took care of his whole life.

The fate of the change, meanwhile, the reputation of Armstrong as a musician continued to grow: in the year he replaced Oliver in the Kida Ori group, then the most popular group in New Orleans. Louis Armstrong in the young years. Photo: social networks soon could stop engaging in physical labor and began to completely concentrate on his cornet, playing at parties, dancing, funerals and local “honiki-tones”-small bars, in which musical performances are usually held.

Starting from the year, Armstrong spent summer, playing on river ships with a group under the leadership of Faith Marabla. It was on the river steamer that Armstrong honed his music reading skills and ultimately first met with other legends of jazz, including Bideerbek and Jack Tigarden. Big-Bend-jazz, although Armstrong was pleased that he was in New Orleans, in the summer of the year Oliver called him a proposal to come to Chicago and join his Creolian jazz band on the second cornet.

Armstrong agreed, and soon he took Chicago by storming both his surprisingly incendiary game and dazzling pauses that he shared with Oliver. He made his first notes with Oliver on April 5; On that day, he recorded his first solo on Chimes Blues. Soon Armstrong began to meet with a pianist from the group, Lilian Hardin. After they got married in the year, Hardin made it clear that, in her opinion, Oliver restrains Armstrong.

She pushed her husband to tear off his relationship with his mentor and join the orchestra Fletcher Henderson, at that time the best African American dance group in New York. Armstrong joined Henderson in the fall of the year and immediately made itself felt by a series of solo, which presented the group with the concept of swing music. Armstrong had a great influence on Henderson and his arranger Don Redman, both of which began to use the swinging vocabulary of Armstrong in their arrangements, turning the Henderson group into what is usually considered the first jazz beig-band.

However, the southern origin of Armstrong was poorly combined with the more urban, northern mentality of other Henderson musicians, who sometimes caused Armstrong trouble about his wardrobe and manner to speak. Henderson also forbade Armstrong to sing, fearing that his gross manner of voicing would be too rude for the sophisticated audience in Rosland Ballroom. Dissatisfied, Armstrong left Henderson in the year to return to Chicago, where he began to play with his wife’s group in the Dreamland cafe.

Louis Armstrong in his youth. Photo: Louis Armstrong's social networks and his “hot five” while in New York, Armstrong recorded dozens of records as Sidman, creating an inspiring jazz with other great musicians, such as Sydney Blash, and supporting numerous blues singers, including Bessie Smith.Today they are usually considered the most important and influential records in the history of jazz; On these records, the virtuoso shine of Armstrong helped to turn jazz from ensemble music into the art of a soloist.

His solo with stops in numbers such as Cornet Chop Suey and Potato Head Blues changed the history of jazz, thanks to the bold rhythmic elections, sweeping phrases and incredible high notes. He also began to sing on these records, popularizing the wordless “Squet” with his extremely popular vocal in the song Heebie Jeebies of the year. The Hot Five and Hot Seven were strictly recorded groups; During this period, Armstrong performed with the orchestra Erskin Teita at the Wandom Theater, often performing music for dumb films.

Speaking with Teit in the year, Armstrong finally switched from Cornet to the pipe. The young pianist from Pittsburgh Earl Hines embodied the ideas of Armstrong in his game on the piano. Together, Armstrong and Hines formed a powerful team and made some of the greatest records in the history of jazz in the year, including their virtuoso duet Weather Bird and West End Blues.

The latest performance is one of the most famous work of Armstrong, which opens with amazing cadence, in which elements of the opera and blues are equally present; By his output, West End Blues proved to the world that the genre of cheerful, dance jazz music is also able to create high art. In the same year, he signed up with small groups under the influence of the New Orleans, including The Hot Five, and began to record larger ensembles.

Instead of performing strictly jazz numbers, OKEH began to allow Armstrong to record the popular songs of that time, including “I cannot give you anything but love”, “Star dust” and “body and soul”. The bold vocal transformations of Armstrong in these songs completely changed the concept of popular singing in American popular music and had a long impact on all the singers who came after it, including Bing Crosby, Billy Holide, Frank Sinatra and Ella Fitzgerald.

Satchmo Louis Armstrong on stage. Photo: Global Look Press by the year Armstrong, which was now known as Sachmo, began to act in films and made his first tour of England. Although the musicians loved him, he was too unbridled for most critics who gave him one of the most racist and sharp reviews in his entire career. However, Satchmo did not allow criticism to stop him, and he returned even a larger star when he began a longer tour of Europe in the year.

According to a strange coincidence, it was during this tour that Armstrong's quarry collapsed: the years of blowing high notes affected the lips of Armstrong, and after a quarrel with his manager Johnny Collins, who had already managed to draw Armstrong into troubles with the mafia, Collins left him abroad abroad. Soon after the incident, Armstrong decided to take a short vacation and spent most of the year, resting in Europe and giving rest to his lip.

When Armstrong returned to Chicago in the year, he had neither a group, no engagements, nor a recording contract. His lips were still sick, and there were still traces of his problems with the mafia and Lil, who, after a break of the couple, filed a lawsuit at Armstrong. He turned to Joe Glaiser for help; Glaiser had his own connections in the mafia, he was close to Al Capone, but he fell in love with Armstrong from the moment Glazer met him in the Sanset cafe and controlled him.

Armstrong entrusted his career in the hands of Glaiser and asked him to make his problems disappear. Glazer did so; For several months, Armstrong had a new Big group, and it was recorded for Decca Records. The first among African Americans during this period Armstrong established a number of African American “championships”. In the year, he became the first African American jazz musician to write the autobiography "Supply this music." In the same year, he became the first African American to receive a major role in the large Hollywood film “His turn” in Penny from Heaven with Bing Crosby in the title role.

In addition, he became the first African American artist, leading radio show, sponsored by the state in the year, when he headed the Rudy Valle's show “Fleishman’s yeast” for 12 weeks. Louis Armstrong and Bing Crosby in the film "Penny from heaven." Photo: A frame from the film of the year Armstrong continued to act in large films with actors such as May West, Marta Ray and Dick Powell.

He also often spoke on the radio and often beat the records of cash fees in the midst of what is now known as the Era of the Pig. Armstrong wives and divorces in the year finally divorced Lil Hardin and married Alpha Smith, with whom he met for more than ten years. However, their marriage was not happy, and they divorced in the year. In the same year, Armstrong married the fourth - and the last one - once for Lucille Wilson, the Cotton Club dancer.

The house of Louis Armstrong when Wilson was tired of living on a suitcase during an endless series of nights for one night, she convinced Armstrong to buy a house on a street in a crown, Queens, New York.Armstrongs moved to the house where they had to live the rest of their lives in the year. By the middle of the X era, the swing was drawing to an end, and the era of the Big Bandes almost ended.

Armstrong reduced the composition to a group of six people, The All Stars; The composition often changed, but it was a group with which Armstrong spoke live until the end of his career. Armstrong continued to record for Decca at the end of the x and beginning of X, creating a series of popular hits, including Blueberry Hill, that Lucky Old Sun, “Life in the Rose”, “A kiss on which you can embody a dream” and “I have ideas.” Armstrong signed a contract with Columbia Records in the middle of X and soon recorded several best albums in his career for producer George Avakyan, including Louis Armstrong, and Satch plays Fats.

Also for Columbia, Armstrong recorded one of the greatest hits in his career: the jazz transformation of Kurt Vale Mack The Knife.

Gabriel and Louis Armstrong sing a lullaby to Uncle Satchmos with a duet. Photo: Frame from the German musical film "La Paloma" Satch Ambassador in the middle of X the popularity of Armstrong abroad took off to heaven. This prompted some to change his longtime nickname Satchmo to the ambassion of Satch. In the X and X years, he performed around the world, including in Europe, Africa and Asia.

Marrow accompanied Armstrong with a film crew on some of his trips around the world, turning the personnel received into the theater documentary “Satchmo the Great”, released in the year. Louis Armstrong in the music documentary "Satchmo Great". Photo: a frame from the film of the year, although its popularity reached new maximums in the 10ths, and despite the fact that he destroyed so many barriers to his race and was a hero for the African American community for so many years, Armstrong began to lose the eyes in the eyes of two segments of his audience: fans of modern jazz and young African Americans.

Bibop, a new form of jazz, bloomed in the X years. With the participation of young geniuses, such as Dizzy Gillespi, Charlie Parker and Miles Davis, the younger generation of musicians saw themselves artists, not artists of the stage. They considered the stage image and music of Armstrong old -fashioned and criticized him in the press. Armstrong resisted, but for many young fans of jazz, he was considered an obsolete performer, whose best days were left behind.

The civil rights movement became stronger every year, with a large number of protests, marches and performances of African Americans who wanted equal rights. At that time, many young listeners of Jazz at that time the ever -smiling behavior of Armstrong seemed to come from the departed era, and the refusal of the trumpeter to comment on politics for many years only strengthened the impression that he was torn off from life.

Louis Armstrong in London, May 3 of the year. Photo: Global look Press Ninth Little Rock these views changed in the year when Armstrong saw on television a crisis of integration of a central school of Little Rock. The Governor of Arkansas Orval Faubus sent the National Guard to interfere with the "Little Rock Nyn"-nine to the Afro-American students-to enter the public school. When Armstrong saw this-as well as white protesting, showing a branch,-he lost his himself to the press, telling the reporter that President Dwight D.

Eisenhower “did not have the spirit” to allow Faubus to rule the country, and saying: “Due to how they treat my people in the south, the government could go to hell.” Louis Armstrong and Trami Young perform at the Manhattan casino on March 3 of the year.