By: Billy Gee
Looks like everybody’s here, so let’s get right into it. Last time we talked about the incomparable Mr. Louis Armstrong – jazz trumpeter extraordinaire, inimitable vocalist, and one of America’s most notable ambassadors of goodwill. You may recall that, following an impoverished childhood and a two-year stint at the Home for Colored Waifs, “Little Louis,” who had just begun to learn the cornet, set out to become a professional musician._ Soon, Armstrong became a formidable contender on the New Orleans music scene. So much so, that fellow cornetist Joe “King” Oliver hired him to play second cornet in his band. Considered one of the best jazz players in New Orleans, “Papa Joe” Oliver not only served as Louis’ bandleader, but he became, too, the father figure Armstrong never knew._ In 1918, during a mass exodus of blacks to Northern cities, Oliver made his way to Chicago, in search of greater musical opportunities. After establishing himself on an entirely new “turf,” Oliver sent word for Louis to join him. As it turned out, the Windy City held for Armstrong a true date with destiny. Lillian Hardin, Oliver’s pianist, was a pretty, well-educated, young Memphis native who, upon first meeting Louis, was not particularly impressed. She considered him a “country bumpkin” in need of an enormous amount of “schooling.” As you may have guessed, they eventually fell in love and were married._ It was at Lil’s insistence, in 1924, that a twenty-three-year-old Armstrong left King Oliver’s band for the Fletcher Henderson Orchestra in New York. The move resulted in increased popularity for Louis amongst other musicians, and hailed Louis’ emergence as a pre-eminent practitioner of this new, hot music called “jazz.”_ Returning to Chicago in November of 1925, Armstrong made a series of recordings with his Hot Five and Hot Seven bands that created an uproar amongst fans and musicians alike. One of the songs he recorded on those sessions was “Heebie Jeebies,” wherein he made his debut as a scat singer. It was also during this period that Armstrong switched from cornet to trumpet._ In 1929, Tommy Rockwell took Armstrong back to New York to appear in a_Broadway show entitled “Hot Chocolates.” His rendition of Fats Waller’s “Ain’t Misbehavin’” introduced the use of pop material for jazz interpretation.
Joe Glaser, who managed Louis’ career from 1935 onward, made him a nationwide star, landing him gigs in feature-length films and his own radio show._ Although “Pops” (as he was affectionately known) was not what you might call a “political activist,” on September 17, 1957 he cancelled an overseas tour, citing racism in America as the motive. A staunch supporter of Dr. M. L. King and the ever-growing Civil Rights Movement, Armstrong became rather unpopular in Washington, D.C. as a result of his sharp criticism of President Eisenhower’s lukewarm stance on school desegregation in Little Rock, AR._ It’s almost time for that confound bell to ring, so we’d better wrap things up. Although we could go on for days discussing “Satchmo” (short for “Satchel Mouth”), perhaps we’ll just end our session today with a few listening suggestions from your faithful music teacher: If you haven’t heard Louis’ “Hello Dolly” or “What A Wonderful World,” you’ve been leading a sheltered life, indeed!
Other gems to consider… “The Great Summit” (his recording with the legendary Duke Ellington) and his record date with the Queen of Scat, Ella Fitzgerald. And come December, keep your ears peeled for “’Zat You, Santa Claus?” Truly, a masterpiece!_ And there goes the bell! Before you scurry along, here’s your assignment: Don’t be afraid to share whatever you have with friends and relatives. Doing so will truly help build “A Wonderful World!” Class dismissed.
Click here to learn more about Louis Armstrong at the part 1 of this article