New Orleans, Louisiana is the home to Jazz and Louis Armstrong. Born August 4, 1901, Louis Armstrong goes on to greatly contributing to the development of early Jazz, the spreading of Swing and his continual influences in the modern day. Armstrong grew up poor, therefore he spent many of his time traveling and working at various places. The traveling helped merge him into New Orleans festivities such as the parades and funerals. Being surrounded by all the music really inspired him to show off his singing on the streets and soon taught himself how to play the cornet. Later on, he would learn music in the colored Waif’s Home for boys. After that he began to play at small clubs, parades, and funerals and captured the attention of some very …show more content…
As he continued, many others in New Orleans were also following his lead. They were testing out other instrumental parts with their own different instruments. For example, “New York trombonist Jimmy Harrison imitated Armstrong, memorizing his solos and even learning harmony parts to his lead” (Harker 143). Armstrong’s unique way of playing has now influenced a different take on playing your instrument. It seems that you are not limited to what your instrument can …show more content…
Brent Hayes Edwards states that “scat is almost always defined, without further comment, as singing or vocal improvising with ‘nonsense syllables’” (622). There are many stories about how Armstrong introduced scatting into Jazz singing. But here is a story that Armstrong accounts for: apparently he was in the middle of recording the song “Heebie Jeebies” and he had dropped his lyrics. He didn’t want to interrupt the recording so he just started to scat horn-like. Many of the producers liked it so they kept it as part of the song (Edwards 619). According to NPR music, his singing was a “gritty tenor mirrored his trumpet style and influenced practically every singer in pop and jazz. Artists including Frank Sinatra, Bing Crosby, Ella Fitzgerald, and Sarah Vaughan deeply admired Armstrong’s singing and used his example to mold their own vocal styles” (Louis Armstrong: ‘The Singer’ 3). I believe that the reason why his innovative scat singing was so influential to the early development of Jazz is because he didn’t need to have a “nice” voice to sing. He sang like he was playing his cornet. The emotions he poured when playing the cornet, also showed when he scatted. Bill Monroe agrees by stating that “it was Louis who got across the idea that you don’t need a pretty voice to sing a song. That voice of his fell harshly on many ears when they first heard it. But the sheer music and feeling
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He was released from the home two years later. While staying at this home for hoys he fell in love with music when he met Joe Oliver. King Oliver gave him his first cornet. A cornet is a brass instrument resembling a trumpet but shorter and wider. He became famous for his innovative ways of altering the sound of the cornet.
Wes Montgomery is an American jazz guitarist, who was born on March 6th 1923. During his career he was extremely influential throughout the jazz community. Unlike many musicians, Montgomery started playing music at the late age of 19. He had no formal training, having to teach himself the craft of guitar.
The positive legacies that Charlie Parker left behind were his numerous record-ings that are still influential today, the fact that he redefined virtuosity with his style, helped define new bebop vocabulary, and he created a style that is rooted in the Kan-sas blues tradition. Charlie Parker’s recordings that he did with his musical group made an admirable and profound impression on the listeners and makers of jazz and he also became the first artist to make a recording with orchestral accompaniment. The nega-tive legacies Charlie Parker left behind were his influences of drug and alcohol on other musicians in hopes that they would play like him. His drug and alcohol addiction influ-enced other jazz musicians, causing jazz musicians lives and
Rough Beginnings It was 1915 and the music scene was just getting hot. New Orleans was busting at the seam with young cats prowling the streets, lurking in seedy after-hours clubs looking to get a wild jam session in before the night was through. An insanely talented and equally arrogant ragtime pianist by the name of Jelly Roll Morton began to play with a different kind of flavor that drove audiences crazy, and with that the invention of Jazz was born. The heavy syncopated beats making your pulse jump, the bluesy lilt of a melody lapping lazily at your senses; this was the time to be alive.
Louis Armstrong was a singer, bandleader and trumpeter who was described as one of the most significant artists in jazz history. His passion for rhythm and timing helped to take jazz from a dull, to a leisurely, and more sophisticated atmosphere. This would pave the way for swing and big bands so that soloists can be a focal point on stage. He would become the first and greatest genius in jazz trumpet history. Not only was Armstrong a visionary of impressive magnitudes, he also never forgot who or what influenced him throughout his jazz career.
1. What a Wonderful World by Louis Armstrong and Fleurette Africaine (Little Flower) by Duke Ellington. 2. Louis Armstrong and Duke Ellington are two of the greatest geniuses contributing to the development of jazz music. Both pieces symbolize the civil rights struggle that was part of the changing America, which Armstrong and Ellington lived in.
Charles Joseph “Buddy” Bolden is considered the father of jazz music. His specialty is the cornet which he played in his band that was discovered as the first group to play jazz music. The rhythm from his talent inspired the perfect sound to dance to. Though his music entertained crowds of people, a recording of Bolden’s ability was never created. It is only up to the imagination of what he really sounded like.
While in New York, Armstrong made dozens of records as a sideman, creating inspirational jazz and backup singing for many blues singers. Moreover, he had records as a soloist including "Cornet Chop Suey" and "Potato Head Blues." These solos changed jazz history, by incorporating daring rhythm choices, swing and high notes on cornet(Source B). Furthermore, in 1926, Armstrong finally switched from the cornet to the trumpet. After 1926, Louis became more and more famous and broke more and more barriers through his music.
Armstrong was born in New Orleans, Louisiana, in 1901, even though he sometimes said later in his life that he was born on July 4, 1900. He was raised by his mother and grandmother after his father, who was a factory worker, left the family while Armstrong was still a child. His family was very poor, and as a child Armstrong worked many odd jobs to help support the family. Armstrong was surrounded by music while working and playing in the streets of New Orleans. Since he could not afford an instrument, he learned to sing and joined a vocal quartet that sang on street corners for a little extra money.
Due to all his hard work, Oliver is recognized for having raised the bar of jazz through his famous solo piece, Dippermouth Blues (1923) which was a treat for many 1920s trumpeters and led to the arrival of Sugar Foot Stomp. Oliver also showed his vocal abilities through his blues song Sippie
Joe King Oliver was born in New Orleans, 1885. He spent his youth as a trombonist playing in brass bands. During this time, Jelly Roll Morton, Sidney Bechet, and Louis Armstrong, were all born in New Orleans. All of them learned and played different instruments and had inspiration from the bands that had started playing this new genre of music. Joe King Oliver invited Armstrong to join his band in Chicago along with Sidney.
For African Americans, jazz music, has always had a political undercurrent. Slave songs spoke of the “Israelites” enslaved by the Egyptians, such as in Go Down Moses, symbolising their own yearning for freedom. However, it took time for the assertion of the political message to develop in a more discernible way. Jazz’s status as a form of entertainment had effectively subdued the message for many years, because of the ostracisation of those involved and because of the early popularity of the white swing bands. The majority of jazz musicians were not political activists, rarely explicitly political in their work, however, they often expressed their political ideals, sometimes more subtley other times more overtly through their music.