Westport. Louis Daniel Armstrong (August 4, 1901 – July 6, ... During his 1930s European tour, he suffered an ulceration so severe that he had to stop playing entirely for a year. Gone are Johnny Dodds' perfect-foil clarinet lines and the combo's sophisticated polyphony, replaced by Armstrong's template for 20th century popular song: raiding Tin Pan Alley, Armstrong loosened up many a stilted stage song to create a wealth of swinging pop gems. Connecticut 1947, ISBN 978-0-313-20398-5. Blessed with John R.T. Davies' top-drawer transfers, this Armstrong collection stands as one of the cornerstones of American popular culture. He performed in Europe for the first time in 1932 and returned in 1933, staying for over a year because of a damaged lip. His resonant, velvety lower-register tone and bubbling cadences on sides such as "Lazy River" exerted a huge influence on younger white singers such as Bing Crosby.During the next 30 years, Armstrong played more than 300 performances a year. JSP's budget two-disc set provides 42 examples, in fact, with the added bonus of Satchmo's usual clarion-call trumpet work and in-the-pocket humor ("The Lonesome Road"). In the jazz world, there has long been a theory that Louis Armstrong sold out by the mid-1930s, says historian Ricky Riccardi.
Sure, Armstrong was an innovator and influential in His scat singing style was enriched by his matchless experience as a trumpet soloist.
His career spanned five decades, from the 1920s to the 1960s, and different eras in jazz.
Robert Goffin: Horn Of Plenty. Belser Verlag, Stuttgart 1991, ISBN 3-7630-9047-9.
Louis Armstrong, sein Leben und seine Zeit (Satchmo). It became impossible under such circumstances to finance a 16-piece touring band. By the 1950s, he was an official spokesman for Ansatz-Creme Lip Salve. The Louis Armstrong House Museum website states:The influence of Armstrong on the development of jazz is virtually immeasurable. Back in America in 1935, Armstrong hired Joe Glaser as his manager and began fronting a big band, recording pop songs for Decca, and appearing regularly in movies. Following up the groundbreaking work he did with his Hot Fives and Sevens was going to difficult, but Louis Armstrong pulled it off with typical panache by way of these infectious big band vocal sides. Following up the groundbreaking work he did with his Hot Fives and Sevens was going to difficult, but Louis Armstrong pulled it off with typical panache by way of these infectious big band vocal sides.
Eventually he took to using salves and creams on his lips and also cutting off scar tissue with a razor blade. Greenwood Press Publishers.
His irrepressible personality both as a performer and as a public figure was so strong that to some it sometimes overshadowed his contributions as a musician and singer.As with his trumpet playing, Armstrong's vocal innovations served as a foundation stone for the art of jazz vocal interpretation.
Louis Armstrong (1901–1971), nicknamed Satchmo or Pops, was an American trumpeter, composer, singer and occasional actor who was one of the most influential figures in jazz and in all of American popular music. The uniquely gravelly coloration of his voice became a musical archetype that was much imitated and endlessly impersonated.
By June of 1928 Louis Armstrong had refined himself and his ensemble to the point where nearly every record they made was a study in collective genius, as the mature edition of the Hot Five resounded with Zutty Singleton's popping cymbals and Earl Hines' modernistic piano. The 1930s also found Armstrong achieving great popularity on radio, in films, and with his recordings.