Louis+Armstrong

media type="custom" key="3327808"  =Louis Armstrong = ====media type="youtube" key="vnRqYMTpXHc" height="344" width="425" Louis Armstrong was one of the main jazz players during the Harlem Renaissance who changed the way jazz music would be looked at forever. From the 1920s to the 1950s, he amazed the world with his different approach to music.Louis Armstrong was one of the first jazz players who was able to break away from 4/4 timing, which was common at the time. During Armstrong’s vocal solos, he would often scat, which means saying syllables which sound like musical instruments and notes instead of regular words and lyrics. He introduced scat on his Hot Five recording, and paved the way for others to mimic his scatting. He also introduced a soloist as the main point of a song. Two of his most popular recordings that included these techniques that changed jazz forever were the Hot Five and the Hot Seven, with popular songs such as “Wild Man Blues” and “Hotter than Hot.” ==== ====Louis Armstrong was able to inspire future jazz artists with his husky voice, trumpet solos, and changes in jazz that would make him remembered forever. Many of his songs have become jazz standards. In fact, one of Louis Armstrong’s most famous songs, “What a Wonderful World” was an influential musical piece during the Harlem Renaissance to help people realize the positives they had to look forward in life during the hard times in life. ==== ====All-in-all, Louis Armstrong was one of the famous jazz players in the world and was able to be a role model for the jazz players of the future and a very influential artist during the Harlem Renaissance. He is still remembered today for all of his musical pieces. ==== 


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media type="youtube" key="f5Hbh_-IRs8" height="344" width="425" Louis Armstrong was one of the earliest jazz artists to use scat singing. In vocal jazz, scat singing is vocal improvisation with random vocables and syllables or without words at all. Scat singing gives singers the ability to sing improvised melodies and rhythms, to create the equivalent of an instrumental solo using their voice. There are many innovations in scat singing, which include musical and non-musical vocal sounds such as mumbling, laughing, sobbing, screaming, growling, humming, and yodeling. Louis Armstrong's 1926 recording of the "Heebie Jeebie's" is often cited as the first recording to use scat singing. Armstrong enjoyed many types of music, from blues, to Latin American folksongs, to classical symphonies and opera. Armstrong incorporated influences from all these sources into his performances, sometimes to the bewilderment of fans who wanted Armstrong to stay in convenient narrow categories. <span style="display: block; color: rgb(0, 0, 0); text-align: center;"> media type="youtube" key="ksmGt2U-xTE" height="265" width="320"

<span style="font-size: 14pt; font-family: 'Times New Roman',Times,serif;">Louis Daniel Armstrong was born August 4, 1901, New Orleans, Louisiana and Died July 6, 1971. Armstrong grew up in dire poverty in New Orleans Louisiana when jazz was very young. As a child he worked at plenty of odd jobs and sang in a boy’s quartet. He was sent to jail in 1913(colored Waifs Home) for firing a gun on New Years Day. Soon Armstrong learned to play cornet in the home’s band. Jazz became a passion to Armstrong. He mastered music by listening to pioneer jazz artists at that time such as King Oliver. Armstrong was obvi<span style="font-size: 14pt; font-family: 'Times New Roman',Times,serif;">ously a fast learner because he soon played in marching and jazz bands. Success shot up from their in 1918 and in the 1920s he played in the Mississippi river boat dances. <span style="font-family: 'Times New Roman',Times,serif;"><span style="font-size: 14pt; font-family: 'Times New Roman',Times,serif;">The early 1920s saw Armstrong's popularity explode as he left New Orleans for Chicago to play with "King" Oliver's Creole Jazz Band, and then moved on to New York, where he influenced the Fletcher Henderson Orchestra with improvisation and a new musical vocabulary. <span style="font-size: 14pt; color: black; font-family: 'Times New Roman',Times,serif;">When he returned to Chicago in 1926, he was a headliner on records and radio, and in jazz clubs, wowing audiences with the utter fearlessness and freedom of his groundbreaking trumpet solos. His "scat" singing transformed vocal tradition and musicians studied his recordings to hear what a horn could do. It has been said that Armstrong used his horn like a singer's voice and used his voice like a musical instrument. In 1929, he returned to New York, where he performed at Connie's Inn in Harlem and on Broadway in Connie's Hot Chocolates, and made his first nationwide hit recordings. Jazz was becoming a worldwide phenomenon and Armstrong was its leader, as was recorded in the November 1934 issue of Music: Le Magazine du Jazz (Brussels): "Armstrong arrives! He was one of America's most significant artists by the late 1930s, and had created a sensation in Europe with live performances and records. His music had had a major effect on "swing" and the big band sound. After World War II and though the early years of the Cold War, Armstrong served as "Ambassador Satch," spreading good will for America around the globe including State Department-sponsored tours and broadcasts in the '60s. He was especially well-received in the newly independent nations of Africa, marked by such events as a 1956 concert celebrating Ghana's independence, attended by more than 100,000 Louis Armstrong fans. Although he was no stranger to racial prejudice himself, Armstrong rarely made public statements. In 1957, however, he publicly condemned the violence that swept Little Rock over school integration and how it was handled. "Do you dig me when I say, 'I have a right to blow my top over injustice?'" he said. For this statement, Armstrong was called a firebrand in newspapers across the country. By the '50s, Armstrong was an established international celebrity--an icon to musicians and lovers of jazz--and a genial, infectiously optimistic presence wherever he appeared. His death on July 6, 1971, was front-page news around the world, and more than 25,000 mourners filed past his coffin as he lay in state at the New York National Guard Armory. Armstrong summarized his philosophy in the spoken introduction to his 1970 recording <span style="font-family: 'Times New Roman',Times,serif;">It's A Wonderful World. "And all I'm saying is, see what a wonderful world it would be if only we would give it a chance. Love, baby, love. That's the secret. Yeah."

Sites: Louis Armstrong –Cultural Legacy and Biography

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