Louis Armstrong Timeline Essay Research Paper LOUIS
Louis Armstrong Timeline Essay, Research Paper
Louis Armstrong Timeline Essay Research Paper LOUIS Essay Example
LOUIS ARMSTRONG TIMELINE
Louis Armstrong & # 8217 ; s was born Aug. 4, 1901. He grew up in New Orleans and received his first music direction in 1913 in a kids & # 8217 ; s place. By 1915 he was sitting in with local sets. He went to Chicago to fall in King Oliver in 1922 and made his first records with Oliver the the following April ( & # 8221 ; Chimes Blues & # 8221 ; ) . Though Chicago would be his base for the following 12 old ages, he went to New York for the first clip in September 1924 to fall in Fletcher Henderson & # 8217 ; s set and record with assorted blues vocalists, including Bessie Smith, Clarence Williams, and Sidney Bechet. In November 1925 he went back to Chicago, where he began entering under his ain name and constructing the nucleus work which his repute as a major entertainer would everlastingly rest. These included the Hot Five and Hot Seven Sessionss and the early old ages of large set records from 1929 to 1934. ? During this period his cornet manner went from powerful New Orleans ensemble lead into a solo voice whose stateliness seemed to surge with a rapacious and famished luster.
In 1929 Armstrong began entering popular vocals. In vocals such as & # 8220 ; Stardust, & # 8221 ; & # 8220 ; Sweethearts On Parade, & # 8221 ; & # 8220 ; Lazy River & # 8221 ; and many others, he helped put the footing for the connection of wind and popular music in the & # 8217 ; 30s, and set the? criterions? in which such participants as Red Allen, Harry James, Roy Eldridge, Taft Jordan, Bunny Berigan, Dizzy Gillespie and others would work for the following 10 to 15 old ages.
By the mid-1930s, as the swing epoch began and Armstrong took to executing a more settled show, the period of illustriousness in his calling came to an terminal. His cardinal solos took on an unchangin
g signifier, and a long recording association with Decca Records began. There would be updated agreements of early pieces, many of them outstanding, but no new musical discovery. The personality of Armstrong’s public presentation now came frontward in wireless, recordings with other Decca creative persons, and cameo movie functions in Pennies From Heaven, Dr. Rhythm, Going Places, Cabin In The Sky, and many more.
In 1947 Armstrong officially dropped the large set and resumed executing traditional wind with an all-star group that included Earl Hines, Sid Catlett, Jack Teagarden and Barney Bigard. Armstrong & # 8217 ; s playing loosened up slightly, though he ne’er strayed far from established modus operandis. He toured and recorded with assorted versions of the All-Stars for the remainder of his calling.
In 1955 he made his first concert circuit of Europe since the early & # 8217 ; 30s. Another circuit followed taking him to Africa. ? The international Tourss in the political context of the Cold War earned him the rubric & # 8220 ; Ambassador Satch. & # 8221 ;
? In the mid-1950s he recorded his last unmitigated wind chef-d’oeuvre work, Armstrong Plays W.C. Handy, for Columbia. There were besides some great reworkings of his early classics in A Musical Autobiography for Decca, and a few session with Ella Fitzgerald for Verve that became major Sellerss. He continued a full touring agenda until 1968, when his wellness eventually gave in to a diminished bosom. ? Armstrong died in July 1970, a wealthy and much beloved adult male, though his music was considered by some to be antique, and his acting manner dated and politically wrong.
In 1953, Armstrong became the first instrumentalist elected by Readers to the new Down Beat Hall of Fame.