Louis 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 trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. With his instantly-recognizable 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 skilled at scat singing (vocalizing using sounds and syllables instead of actual lyrics). Renowned for his charismatic stage presence and 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 was one of the first truly popular African-American entertainers to "cross over", whose skin-color was secondary to his music in an America that was severely racially divided. He rarely publicly politicized his race, often to the dismay of fellow African-Americans, but took a well-publicized stand for desegregation during the Little Rock Crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society that were highly restricted for a black man.
Armstrong was born and brought up in New Orleans, a culturally diverse town with a unique musical mix of creole, ragtime, marching bands, and blues. Although from an early age he was able to play music professionally, he didn't travel far from New Orleans until 1922, when he went to Chicago to join his mentor, King Oliver. Oliver's band played primitive jazz, a hotter style of ragtime, with looser rhythms and more improvisation, and Armstrong's role was mostly backing. Slow to promote himself, he was eventually persuaded by his wife Lil Hardin to leave Oliver, and In 1924 he went to New York to join the Fletcher Henderson Orchestra. At the time, there were a few other artists using the rhythmic innovations of the New Orleans style, but none did it with the energy and brilliance of Armstrong, and he quickly became a sensation among New York musicians. Back in Chicago in 1925, he made his first recordings with his own group, Louis Armstrong and his Hot Five, and these became not only popular hits but also models for the first generation of jazz musicians, trumpeters or otherwise.
Other hits followed through the twenties and thirties, as well as troubles: crooked managers, lip injuries, mob entanglements, failed big-band ventures. As jazz styles changed, though, musical purists never lost any respect for him -- although they were sometimes irritated by his hammy onstage persona. Around the late forties, with the help of a good manager, Armstrong's business affairs finally stablilized, and he began to be seen as an elder statesman of American popular entertainment, appearing in Hollywood films, touring Asia and Europe, and dislodging The Beatles from the number-one position with Hello Dolly". Today many people may know him as a singer (a good one), but as Miles Davis said: “You can’t play nothing on modern trumpet that doesn’t come from him."
The 62-year-old Armstrong became the oldest act to top the US charts when "Hello Dolly" reached #1 in 1964. Four years later Satchmo also became the oldest artist to record a UK #1, when "What a Wonderful World" hit the top spot. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
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Jazz - Released January 1, 2001 | Decca
Jazz - Released August 3, 2009 | Fremeaux Heritage
Between November 1926 and December 1928, Louis Armstrong recorded about 67 titles as leader, sideman, and accompanist. Vol. 4 in Fremeaux's exhaustively complete Louis Armstrong series follows his footsteps as he recorded for OKeh, Vocalion, Brunswick, Columbia, and Odeon, leading his Hot Four, Five, and Seven as well as his Stompers and his Savoy Ballroom Five. Armstrong's resilient diversity is prominently displayed in high relief as he is heard sitting in with Jimmy Bertrand's Washboard Wizards, Johnny Dodds' Black Bottom Stompers, and Carroll Dickerson's Orchestra, or providing artful and passionate accompaniments for Bertha "Chippie" Hill, Sippie Wallace, Lillie Delk Christian, and Hociel Thomas, whose November 1925 recording of "Sunshine Baby" was chucked into this volume in order to correct a previous omission in the series, prompting the producers to apologize for a "muddled chronology" that jumps all over the place anyway in order to stack 11 Hot Seven recordings at the beginning of disc two. The inclusion of Chippie, Sippie, Lillie, and Hociel makes this a special treat for those who want to contemplate Armstrong's fascinating abilities as an improvising partner for vocalists. Chippie's punchiest number is "Mess, Katie, Mess" and Sippie is heard at her most relaxed and powerful on "Lazy Man Blues." The other two singers have been criticized, ridiculed, belittled, and even reviled by critics and historians who really ought to place their refined egos on mothballs and listen to these women with courtesy and open-mindedness. Hociel Thomas was the daughter of pianist and composer George Washington Thomas, Jr. and the niece of both pianist Hersal Thomas and the aforementioned Sippie Wallace (née Beulah Thomas). Rather than harping about whether or not she had perfect pitch, one ought to listen with the heart and get onto Hociel's wonderful organic wavelength. Because Lillie Delk Christian sang in a sweet and often delicate and sentimental manner, certain boorish commentators sling mud at her memory, including David Nevers, who in his otherwise helpful liner notes cruelly describes her as "abominable and bleating." Sympathetic ears will accept her as a pop singer who sang pretty songs with superb accompaniments by Louis Armstrong, who clearly appreciated her voice and did everything in his power to support it. © arwulf arwulf /TiVo
Jazz - Released August 22, 2000 | Columbia - Legacy
Jazz - Released June 1, 1956 | Columbia - Legacy
Jazz - Released December 21, 2004 | Columbia Jazz Masterpieces
Jazz - Released December 12, 2006 | Fremeaux Heritage
The Quintessence New York - Chicago: 1925-1940 captures a number of classics recorded by Louis Armstrong between 1925 and 1940. These 36 tracks include such Satchmo standards as "Struttin' with Some Barbecue," "Cornet Chop Suey," "Potato Head Blues," and "Perdido Street Blues." While the Frémeaux & Associés releases are recommended to casual fans, as a first purchase Columbia/Legacy's The Best of Louis Armstrong: The Hot Five and Seven Recordings or Bluebird/RCA's Pops would be easier to locate. © Al Campbell /TiVo
Jazz - Released January 1, 1956 | Columbia
Jazz - Released January 1, 1955 | Columbia - Legacy
Jazz - Released December 20, 2010 | Fremeaux Heritage
Jazz - Released January 1, 2000 | Verve
Jazz - Released January 1, 2001 | Geffen*
Jazz - Released April 2, 1993 | Legacy - Columbia
Jazz - Released March 22, 1991 | Columbia
Jazz - Released June 25, 2012 | Fremeaux Heritage
Jazz - Released March 7, 2000 | RCA Bluebird
Most of the music on this four-CD set from 1997 has been reissued many times, both on LP and CD, but this is the most "complete" set thus far. Louis Armstrong recorded for RCA during two separate times. During 1932-1933, he led an erratic (and under-rehearsed) big band on a series of numbers, but all of the selections have their moments of interest. Although not up to the level of his Hot Five and Seven recordings of five years earlier, these spirited tracks find Armstrong mostly in excellent form both instrumentally and vocally, and the reissue has four alternate takes never released before. Highlights include the two-part "Hits Medley," "That's My Home," "I've Got the World on a String," "There's a Cabin in the Pines," "Hustlin' and Bustlin' for Baby," a unique 1930 collaboration with country singer Jimmie Rodgers, and the two bizarre versions of "Laughin' Louis." The second half of the reissue features Armstrong during 1946-1947, including appearances with the Esquire poll winners (Louis takes a surprisingly modern solo on "Snafu"), the last titles by his big band, a few wonderful combo performances (including the classic "Jack-Armstrong Blues"), and the first songs by Armstrong's All-Stars (co-starring Jack Teagarden); this collection concludes with two unrelated 1956 orchestral tracks. Overall, this is wonderful music, although collectors who already have everything other than the alternates have a right to hesitate. © Scott Yanow /TiVo
Jazz - Released March 24, 1989 | Columbia
Jazz - Released March 1, 2013 | Fremeaux Heritage
Jazz - Released January 1, 1992 | Milestone
Jazz - Released September 21, 1990 | Columbia Jazz Masterpieces