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Research paper topic: Louis Armstrong: His Childhood, And Early Years Of His Music - 1039 words
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.. re King Oliver was playing and would show up and ask to carry his bag and help out with other things. King Oliver started to help Louis out with his cornet. King Oliver recognized his talent and gave Lois jobs that he couldn't take. Storyville had closed and there was a mass exodus of musicians going North to Chicago.
King Oliver Louis' mentor left while Louis stayed behind; he still didn't earn enough from his music to support himself. He took over King Olivers position in Kid Ory's band and made a name for himself around Chicago. He landed a job in Fat Marable's Orchestra and finally learned to read music. This also meant that Louis had to leave New Orleans in order to travel up and down the Mississippi to play on the riverboats. For a couple of years he played on these river boats, but felt restricted by Fat Marables formula for success in the music business.
"Louis now wanted to play his own music but, the boss would not allow that aboard the river boats. (Bergreen P. 168) Just as Louis was getting tired of his stay on the riverboats, what he was waiting for arrived. An invitation from King Oliver to join his band in Chicago. Louis soon became a great asset to King Olivers' band. Louis and Oliver were meant to play together, Louis and Joe complimented each other when they played.
Drummer George Wettling said, "He (Oliver) and Louis Armstrong had some breaks they played together that I've never heard played since. I don't know how they knew what was coming up next, but they would play those breaks and never miss. (Jones & Chilton p.60) For Armstrong his years with King Oliver were inspiring. Armstrong confessed later that his days with the Creole Jazz band were the most thrilling days of his life. King Oliver took Louis and molded him into the next great trumpet player. Louis was well known throughout Chicago and people came to see him and the Creole Jazz Band play at the Lincoln Gardens. Louis' name was also well known throughout the jazz world. He was being asked to play with all the big name musicians.
In 1928 Louis received a telegram from Fletcher Henderson asking Louis to come to New York and play with him. Louis accepted and took a pay cut to do so. Louis had an unbelievable effect on the band; Fletcher Henderson's group never sounded better. The bulk of their shows were played in the Roseland Ballroom, but from time to time the band would go on the road and tour New England, Pennsylvania and elsewhere. Armstrong had a great impact on other musicians which started in Chicago, but with King Oliver and the Creole Jazz Band Armstrong didn't get much solo exposure, with the Henderson band it was different.
He was a featured musician and soloed on approximately half the records. He was getting a great deal of exposure at the Roseland where white musicians came to hear him and he also was getting exposure from the black by playing clubs in Harlem. Armstrong was also taking another step and that was to have an enormous consequences for him and inevitably for the history of jazz. He began to sing with the Henderson Band. By 1925 Satchmo had established himself as a force in the music business, but was till unknown by the public.
He could have stayed with Henderson as long as he wanted but he was getting restless in the band. He was annoyed that Henderson didn't take his singing seriously and didn't think that many of the musicians within in the band took their jobs seriously. So in November 0f 1925 he left Henderson and went back to Chicago. This was a critical move for the history of Jazz. Armstrong almost immediately entered the studios and started recording a series of recording called the Hot Fives and Sevens, which gave him a lasting name. Had he remained with Henderson sharing solo space with other musicians he still would have been influential but he wouldn't had the impact on the jazz world.
When Armstrong returned to Chicago in 1925 it was different than before. Jazz was now a national fad with a wide audience that included whites as well as blacks. Another thing that had changed was the influence of the mob in Chicago. Most of the clubs in Chicago were owned by gangsters. The Five dozen records generally titled the Louis Armstrong Hot Fives constitute one of the most significant bodies of American recorded music. (Collier P.
169) These records were immediately recognized by musicians, and jazz fans. All across the United States musicians were enthralled at what Armstrong was doing and they all wanted to do the same. The Hot Fives wiped away the old style of New Orleans style. It came to be that you either played like Armstrong or you might as well not play at all. The Hot Fives and Sevens put Louis on the map and opened all kinds of doors that were normally closed to Afro-Americans at this time.
Through his music he became a movie star , staring in such films as Jam Session and When the Boys Meet the Girls. He also became an ambassador of goodwill throughout the world, in Africa several nations issued stamps in his honor. He was known all over the world as one of the greatest entertainers of his time. His popularity also allowed him to meet some of the most important people of his time including Pope Paul IIV in 1968. Satchmo lived a full life that was amazing for anyone, never mind for an Afro-American that had everything working against him from day one.
Bibliography BiBliography: 1)Collier, James Lincoln. "Louis Armstrong: An American success story." Macmillan Publishing company, New York 1985. 2) Collier, James Lincoln. "Louis Armstrong: An American genius. Oxford publishing company New York 1983. 3)Bergreen, Lawrence.
"Louis Armstrong: An extravagent life." Bantam Doubleday Dell Publishing, New York 1997. 4)Jones, Max; Chilton John. "Louis: The Louis Armstrong Story." November Books Limited, London England 1971. 5)Kanien, Roger. "Music: An Appreciation Third Edition." McGraw Hill 1998. 6) Giddons, Gary.
"Satchmo." Bantam Doubleday Dell Publishing 1988. 7)Louis Armstrong: The best of the Decca Years, Volume One. MCA Records INC, Universal city, CA. 1989 Music Essays.
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