Louis Armstrong: A Trailblazer in Jazz Music
LOIS ARMSTRONG
Predmet:Angleščina
Jazz
Jazz has roots in the combination of Western and
Jazz has roots in the combination of Western and
African
African
music traditions,
music traditions,
including
including
spirituals
spirituals
,
,
blues
blues
and
and
ragtime
ragtime
, stemming from
, stemming from
West Africa
West Africa
,
,
western
western
Sahel
Sahel
, and
, and
New England
New England
's religious
's religious
hymns
hymns
,
,
hillbilly music
hillbilly music
, and
, and
European
European
military band music. After originating in African American
military band music. After originating in African American
communities near the beginning of the
communities near the beginning of the
20th century
20th century
, jazz styles spread in
, jazz styles spread in
the
the
1920s
1920s
, influencing other musical styles. The origins of the word
, influencing other musical styles. The origins of the word
jazz
jazz
are uncertain. The word is rooted in American
are uncertain. The word is rooted in American
slang
slang
, and various
, and various
derivations have been suggested.
derivations have been suggested.
[1]
[1]
Jazz is rooted in the blues, the folk music of former
Jazz is rooted in the blues, the folk music of former
enslaved
enslaved
Africans in
Africans in
the
the
U.S. South
U.S. South
and their descendants, which is influenced by West African
and their descendants, which is influenced by West African
cultural and musical traditions that evolved as black musicians migrated
cultural and musical traditions that evolved as black musicians migrated
to the cities. Jazz musician
to the cities. Jazz musician
Wynton Marsalis
Wynton Marsalis
states that "Jazz is something
states that "Jazz is something
Negroes
Negroes
invented...the nobility of the race put into sound ... jazz has all
invented...the nobility of the race put into sound ... jazz has all
the elements, from the spare and penetrating to the complex and
the elements, from the spare and penetrating to the complex and
enveloping.
enveloping.
[2]
[2]
►
The instruments used in marching bands and dance band music at the
The instruments used in marching bands and dance band music at the
turn of century became the basic instruments of jazz: brass, reeds, and
turn of century became the basic instruments of jazz: brass, reeds, and
drums, using the Western 12-tone scale. A "...black musical spirit
drums, using the Western 12-tone scale. A "...black musical spirit
(involving rhythm and melody) was bursting out of the confines of
(involving rhythm and melody) was bursting out of the confines of
European
European
musical tradition [of the marching bands], even though the
musical tradition [of the marching bands], even though the
performers were using European styled instruments."
performers were using European styled instruments."
[3]
[3]
►
Small bands of black musicians, mostly self taught, who led
Small bands of black musicians, mostly self taught, who led
funeral
funeral
processions in
processions in
New Orleans
New Orleans
played a seminal role in the articulation
played a seminal role in the articulation
and dissemination of early jazz, traveling throughout black
and dissemination of early jazz, traveling throughout black
communities in the Deep South and to northern cities.
communities in the Deep South and to northern cities.
►
The
The
postbellum
postbellum
network of black-established schools, as well as civic
network of black-established schools, as well as civic
societies and widening mainstream opportunities for education,
societies and widening mainstream opportunities for education,
produced more formally trained African-American musicians.
produced more formally trained African-American musicians.
Lorenzo
Lorenzo
Tio
Tio
and
and
Scott Joplin
Scott Joplin
were schooled in classical European musical forms.
were schooled in classical European musical forms.
Joplin, the son of a former slave and a free-born woman of color, was
Joplin, the son of a former slave and a free-born woman of color, was
largely self-taught until age 11, when he received lessons in the
largely self-taught until age 11, when he received lessons in the
fundamentals of music theory. Black musicians with formal music skills
fundamentals of music theory. Black musicians with formal music skills
helped to preserve and disseminate the essentially improvisational
helped to preserve and disseminate the essentially improvisational
musical styles of jazz.
musical styles of jazz.
Lois biography
Name:Louis Daniel
ArmstrongBirth
Date:July 4,
1900.Death
Date:July 6,
1971.Place of
Birth:New Orleans,
Louisiana, United
States.Place of
Death:New York,
New York, United
StatesNationality:
AmericanEthnicity:
African
AmericanGender:
Male.Occupations:
musician, singer
►
Early life
Early life
►
Armstrong was born
Armstrong was born
August 4
August 4
,
,
1901
1901
, to a poor family in
, to a poor family in
New Orleans
New Orleans
,
,
Louisiana
Louisiana
. Nicknamed "Satchel Mouth", Louis Armstrong's youth was spent in
. Nicknamed "Satchel Mouth", Louis Armstrong's youth was spent in
poverty in a rough neighborhood of
poverty in a rough neighborhood of
uptown New Orleans
uptown New Orleans
, as his father, William
, as his father, William
Armstrong (1881-????), abandoned the family when Louis was an infant. His
Armstrong (1881-????), abandoned the family when Louis was an infant. His
mother, Mary Albert Armstrong (1886–1942) then left him and his younger
mother, Mary Albert Armstrong (1886–1942) then left him and his younger
sister Beatrice Armstrong Collins (1903–1987) under the upbringing of his
sister Beatrice Armstrong Collins (1903–1987) under the upbringing of his
grandmother Josephine Armstrong. He first learned to play the
grandmother Josephine Armstrong. He first learned to play the
cornet
cornet
(his first
(his first
of which was bought with money loaned to him by the Karnofskys, a
of which was bought with money loaned to him by the Karnofskys, a
Russian
Russian
-
-
Jewish
Jewish
immigrant
immigrant
family) in the band of the New Orleans Home for Colored
family) in the band of the New Orleans Home for Colored
Waifs, where he had been sent multiple times for general delinquency, most
Waifs, where he had been sent multiple times for general delinquency, most
notably for a long term after (as police records show) firing his father's
notably for a long term after (as police records show) firing his father's
pistol
pistol
into the air at a
into the air at a
New Year's Eve
New Year's Eve
celebration. He followed the city's frequent
celebration. He followed the city's frequent
brass band
brass band
parades and listened to older musicians every chance he got,
parades and listened to older musicians every chance he got,
learning from
learning from
Bunk Johnson
Bunk Johnson
,
,
Buddy Petit
Buddy Petit
, and above all
, and above all
Joe "King" Oliver
Joe "King" Oliver
, who
, who
acted as a mentor and almost a father figure to the young Armstrong.
acted as a mentor and almost a father figure to the young Armstrong.
Armstrong later played in the brass bands and riverboats of New Orleans, and
Armstrong later played in the brass bands and riverboats of New Orleans, and
first started traveling with the well-regarded band of
first started traveling with the well-regarded band of
Fate Marable
Fate Marable
which
which
toured on a steamboat up and down the
toured on a steamboat up and down the
Mississippi River
Mississippi River
; he described his
; he described his
time with Marable as "going to the University", since it gave him a much wider
time with Marable as "going to the University", since it gave him a much wider
experience working with written
experience working with written
arrangements
arrangements
. When Joe Oliver left town in
. When Joe Oliver left town in
1919, Armstrong took Oliver's place in
1919, Armstrong took Oliver's place in
Kid Ory
Kid Ory
's band, regarded as the top hot
's band, regarded as the top hot
jazz band in the city
jazz band in the city
►
Early career
Early career
►
Muggles
Muggles
►
On March 19, 1918, Louis wed Daisy Parker, a prostitute from Gretna,
On March 19, 1918, Louis wed Daisy Parker, a prostitute from Gretna,
Louisiana. They adopted a 3-year-old boy, Clarence Armstrong, whose mother,
Louisiana. They adopted a 3-year-old boy, Clarence Armstrong, whose mother,
Louis's cousin Fiona, died soon after birth. Louis's marriage to Parker failed
Louis's cousin Fiona, died soon after birth. Louis's marriage to Parker failed
quickly and they separated. In 1922, Armstrong joined the exodus to
quickly and they separated. In 1922, Armstrong joined the exodus to
Chicago
Chicago
,
,
where he had been invited by Joe "King" Oliver to join his Creole Jazz Band.
where he had been invited by Joe "King" Oliver to join his Creole Jazz Band.
Oliver's band was the best and most influential hot jazz band in Chicago in the
Oliver's band was the best and most influential hot jazz band in Chicago in the
early 1920s, at a time when Chicago was the center of jazz. Armstrong made
early 1920s, at a time when Chicago was the center of jazz. Armstrong made
his first recordings, including taking some solos and breaks, while playing
his first recordings, including taking some solos and breaks, while playing
second cornet in Oliver's band in 1923.
second cornet in Oliver's band in 1923.
►
Armstrong was happy working with Oliver, but his second wife, pianist
Armstrong was happy working with Oliver, but his second wife, pianist
Lil
Lil
Hardin Armstrong
Hardin Armstrong
, urged him to seek more prominent billing. He and Oliver
, urged him to seek more prominent billing. He and Oliver
parted amicably in 1924 and Armstrong moved to
parted amicably in 1924 and Armstrong moved to
New York City
New York City
to play with
to play with
the
the
Fletcher Henderson
Fletcher Henderson
Orchestra, the top African American band of the day.
Orchestra, the top African American band of the day.
Armstrong switched to the trumpet to blend in better with the other musicians
Armstrong switched to the trumpet to blend in better with the other musicians
in his section. His influence upon Henderson's tenor sax soloist,
in his section. His influence upon Henderson's tenor sax soloist,
Coleman
Coleman
Hawkins
Hawkins
, can be judged by listening to the records that the band made during
, can be judged by listening to the records that the band made during
this period. During this time, he also made many recordings on the side
this period. During this time, he also made many recordings on the side
arranged by an old friend from New Orleans, pianist
arranged by an old friend from New Orleans, pianist
Clarence Williams
Clarence Williams
; these
; these
included small jazz band sides (some of the best pairing Armstrong with one of
included small jazz band sides (some of the best pairing Armstrong with one of
Armstrong's few rivals in fiery technique and ideas,
Armstrong's few rivals in fiery technique and ideas,
Sidney Bechet
Sidney Bechet
) and a
) and a
series of accompaniments for
series of accompaniments for
Blues
Blues
singers.
singers.
►
He returned to Chicago, in 1925, and began recording under his own
He returned to Chicago, in 1925, and began recording under his own
name with his famous
name with his famous
Hot Five
Hot Five
and
and
Hot Seven
Hot Seven
with such hits as
with such hits as
"
"
Potato Head Blues
Potato Head Blues
", "
", "
Muggles
Muggles
" (a reference to
" (a reference to
marijuana
marijuana
, for which
, for which
Armstrong had a lifelong fondness), and "
Armstrong had a lifelong fondness), and "
West End Blues
West End Blues
", the music
", the music
of which set the standard and the agenda for jazz for many years to
of which set the standard and the agenda for jazz for many years to
come. His recordings with
come. His recordings with
Earl "Fatha" Hines
Earl "Fatha" Hines
(most famously their
(most famously their
1928 "Weatherbird" duet) and Armstrong's trumpet introduction to
1928 "Weatherbird" duet) and Armstrong's trumpet introduction to
"West End Blues" remain some of the most famous and influential
"West End Blues" remain some of the most famous and influential
improvisations in jazz history.
improvisations in jazz history.
►
Armstrong returned to New York, in 1929; then moved to
Armstrong returned to New York, in 1929; then moved to
Los Angeles
Los Angeles
in 1930; then toured
in 1930; then toured
Europe
Europe
. After spending many years on the road,
. After spending many years on the road,
he settled permanently in
he settled permanently in
Queens
Queens
,
,
New York
New York
in 1943. Although subject
in 1943. Although subject
to the vicissitudes of
to the vicissitudes of
Tin Pan Alley
Tin Pan Alley
and the
and the
gangster
gangster
-ridden music
-ridden music
business, he continued to develop his playing.
business, he continued to develop his playing.
►
During the subsequent thirty years, Armstrong played more than three
During the subsequent thirty years, Armstrong played more than three
hundred gigs a year. Bookings for big bands tapered off during the
hundred gigs a year. Bookings for big bands tapered off during the
1940's due to changes in public tastes: ballrooms closed, and there
1940's due to changes in public tastes: ballrooms closed, and there
was competition from
was competition from
television
television
and from other types of music
and from other types of music
becoming more popular than big band music. It became impossible to
becoming more popular than big band music. It became impossible to
support and finance a 16-piece touring band.
support and finance a 16-piece touring band.
Louis Armstrong, a legendary jazz trumpeter, was born in poverty in New Orleans in 1900. Despite humble beginnings, he became a pioneering figure in jazz music, blending Western and African musical traditions to create a unique sound that resonated worldwide. Armstrong's talent and influence continue to shape the world of music to this day.
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Presentation Transcript
Jazz trumpeter Louis Armstrong is a well-known jazz musician. LOIS ARMSTRONG Predmet:Angle ina
Jazz Jazz has roots in the combination of Western and African music traditions, including spirituals, blues and ragtime, stemming from West Africa, western Sahel, and New England's religious hymns, hillbilly music, and European military band music. After originating in African American communities near the beginning of the 20th century, jazz styles spread in the 1920s, influencing other musical styles. The origins of the word jazz are uncertain. The word is rooted in American slang, and various derivations have been suggested. [1] Jazz is rooted in the blues, the folk music of former enslaved Africans in the U.S. South and their descendants, which is influenced by West African cultural and musical traditions that evolved as black musicians migrated to the cities. Jazz musician Wynton Marsalis states that "Jazz is something Negroes invented...the nobility of the race put into sound ... jazz has all the elements, from the spare and penetrating to the complex and enveloping.[2]
The instruments used in marching bands and dance band music at the turn of century became the basic instruments of jazz: brass, reeds, and drums, using the Western 12-tone scale. A "...black musical spirit (involving rhythm and melody) was bursting out of the confines of European musical tradition [of the marching bands], even though the performers were using European styled instruments."[3] Small bands of black musicians, mostly self taught, who led funeral processions in New Orleans played a seminal role in the articulation and dissemination of early jazz, traveling throughout black communities in the Deep South and to northern cities. The postbellum network of black-established schools, as well as civic societies and widening mainstream opportunities for education, produced more formally trained African-American musicians. Lorenzo Tio and Scott Joplin were schooled in classical European musical forms. Joplin, the son of a former slave and a free-born woman of color, was largely self-taught until age 11, when he received lessons in the fundamentals of music theory. Black musicians with formal music skills helped to preserve and disseminate the essentially improvisational musical styles of jazz.
Lois biography Name:Louis Daniel ArmstrongBirth Date:July 4, 1900.Death Date:July 6, 1971.Place of Birth:New Orleans, Louisiana, United States.Place of Death:New York, New York, United StatesNationality: AmericanEthnicity: African AmericanGender: Male.Occupations: musician, singer Louis Armstrong
Early life Armstrong was born August 4, 1901, to a poor family in New Orleans, Louisiana. Nicknamed "Satchel Mouth", Louis Armstrong's youth was spent in poverty in a rough neighborhood of uptown New Orleans, as his father, William Armstrong (1881-????), abandoned the family when Louis was an infant. His mother, Mary Albert Armstrong (1886 1942) then left him and his younger sister Beatrice Armstrong Collins (1903 1987) under the upbringing of his grandmother Josephine Armstrong. He first learned to play the cornet (his first of which was bought with money loaned to him by the Karnofskys, a Russian- Jewish immigrant family) in the band of the New Orleans Home for Colored Waifs, where he had been sent multiple times for general delinquency, most notably for a long term after (as police records show) firing his father's pistol into the air at a New Year's Eve celebration. He followed the city's frequent brass band parades and listened to older musicians every chance he got, learning from Bunk Johnson, Buddy Petit, and above all Joe "King" Oliver, who acted as a mentor and almost a father figure to the young Armstrong. Armstrong later played in the brass bands and riverboats of New Orleans, and first started traveling with the well-regarded band of Fate Marable which toured on a steamboat up and down the Mississippi River; he described his time with Marable as "going to the University", since it gave him a much wider experience working with written arrangements. When Joe Oliver left town in 1919, Armstrong took Oliver's place in Kid Ory's band, regarded as the top hot jazz band in the city
Early career Muggles On March 19, 1918, Louis wed Daisy Parker, a prostitute from Gretna, Louisiana. They adopted a 3-year-old boy, Clarence Armstrong, whose mother, Louis's cousin Fiona, died soon after birth. Louis's marriage to Parker failed quickly and they separated. In 1922, Armstrong joined the exodus to Chicago, where he had been invited by Joe "King" Oliver to join his Creole Jazz Band. Oliver's band was the best and most influential hot jazz band in Chicago in the early 1920s, at a time when Chicago was the center of jazz. Armstrong made his first recordings, including taking some solos and breaks, while playing second cornet in Oliver's band in 1923. Armstrong was happy working with Oliver, but his second wife, pianist Lil Hardin Armstrong, urged him to seek more prominent billing. He and Oliver parted amicably in 1924 and Armstrong moved to New York City to play with the Fletcher Henderson Orchestra, the top African American band of the day. Armstrong switched to the trumpet to blend in better with the other musicians in his section. His influence upon Henderson's tenor sax soloist, Coleman Hawkins, can be judged by listening to the records that the band made during this period. During this time, he also made many recordings on the side arranged by an old friend from New Orleans, pianist Clarence Williams; these included small jazz band sides (some of the best pairing Armstrong with one of Armstrong's few rivals in fiery technique and ideas, Sidney Bechet) and a series of accompaniments for Blues singers.
He returned to Chicago, in 1925, and began recording under his own name with his famous Hot Five and Hot Seven with such hits as "Potato Head Blues", "Muggles" (a reference to marijuana, for which Armstrong had a lifelong fondness), and "West End Blues", the music of which set the standard and the agenda for jazz for many years to come. His recordings with Earl "Fatha" Hines (most famously their 1928 "Weatherbird" duet) and Armstrong's trumpet introduction to "West End Blues" remain some of the most famous and influential improvisations in jazz history. Armstrong returned to New York, in 1929; then moved to Los Angeles in 1930; then toured Europe. After spending many years on the road, he settled permanently in Queens, New York in 1943. Although subject to the vicissitudes of Tin Pan Alley and the gangster-ridden music business, he continued to develop his playing. During the subsequent thirty years, Armstrong played more than three hundred gigs a year. Bookings for big bands tapered off during the 1940's due to changes in public tastes: ballrooms closed, and there was competition from television and from other types of music becoming more popular than big band music. It became impossible to support and finance a 16-piece touring band.
