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.
Louis “Satchmo” Armstrong, often called the grandfather of jazz, pioneered the artform and to this day is considered one of the most influential musicians of all time. When asked to describe jazz, he famously responded “If you have to ask, you’ll never know”. Many have criticised this reply for its vague nature and for not directly answering the question, but I believe this quote describes jazz and its purpose perfectly. What Armstrong was trying to say was that jazz is meant to be felt rather than thought about. The purpose of improvisational music is to provide a framework for musicians to display unique creative ideas through spontaneous improvisation, and in doing so, communicating with the audience in a way that other genres of music simply
Even though Armstrong did not learn to read music until he was over twenty, he was a musical genius and his talents were groundbreaking. Thanks to the support of his teacher Joe "King" Oliver, Louis Armstrong played in some of his bands in New Orleans, and when Joe Oliver left town in 1919, Armstrong took the place of his mentor in the band
The power of jazz dance would have never influence so many people today with the famous American dancer, Jack Cole. Jack Cole was mainly known as the “Father of Jazz Dance” and had a unique style of movement that he portrayed in a variety of commercial setting. Jack Cole was not only known as a mentor to many dancers throughout the world but also as an innovator of dance movement and a filmmaker who connected the relationship of the camera and dance together. Jack Cole was given the name of “The Father of Dance” because he has created a genre of dance that has a mixture of modern, ethnic, ballet into a movement language as we know as theatrical jazz dance. Without Cole’s inspiration jazz dance would have never been born.
Louis Armstrong shaping scat singing to make it achieve posterity Louis Armstrong (1901-1971) is surely one of the most famous and incredible jazz singer and trumpet player. He influenced widely, and still does, jazz music. But there is something that only jazz specialists or some aficionados know: he actually reinvented a brand new genre of vocal jazz, the scat singing. And I said “reinvented” on purpose. Indeed, though Louis Armstrong 's recording Heebie Jeebies in 1926 is often cited as the first song to use scatting, there are some earlier examples of artists ' pieces of work that could be considered as premises of scat singing.
Trumpeters Louis Armstrong and Miles Davis became two of the most inspiring American jazz musicians of all time by accessing very differently to their art. In the analysis an album from each artist, I choose “What A Wonderful World” of Louis Armstrong and “Kind of Blue” of Miles Davis. Louis Armstrong (August 4, 1901 – July 6, 1971) was the most influential performer to affect a lot of Jazz musicians. He influenced the whole jazz population with his amazing voice and energetic trumpet. And he played a great role in the modernization of jazz.
Another artist who had a large influence in the black freedom movement and the third world struggles during the 1960’s and 70’s is Sun Ra. Sun Ra is a revolutionary jazz musician who began performing professionally as a kid. Once Sun Ra moved to Chicago in 1945, he immersed himself in jazz. Throughout his life, Sun Ra was influenced by space, religion and radical social movements and he expresses his beliefs and ideals through his music. Sun Ra’s love of astronomy and spiritual awakening opened doors for his music because he started fighting the constraints in jazz.
Matthew Silkowski Mister Saleeba English IV 12 March 2018 Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart is, and always will be, regarded as one of, if not the, greatest composer of his time. Mozart opened the door for all composers to come, and his pieces are still referred to today for new composers. Mozart left over 600 symphonies, concertos, chamber music, operas, and many other forms of music of his time. He was the master of every genre during his time. He left an enormous mark in the world of music, and will never be forgotten.
Louis Armstrong is one of the most influential jazz musicians to ever live. His trumpet defined the role of the jazz soloist and revolutionized jazz itself, and his way of singing was every bit as influential as the instrument he played. His daring trumpet style and unique vocals paved his way to fame. Armstrong style of singing was not always as well liked as it is today. In the beginning, he struggled to make his voice heard.
Louis Armstrong is a phenomenal example of improvisation and is also considered one of the best trumpet players that there has ever been. It is very clear that improvisation is a strong suit of Louis Armstrong just by listening to his song “Heebie Jeebies” from 1926. Without the intermingling of European classical music and African traditional music in the early stages of America, jazz would not contain the distinct components that it does to this very day. Politics/government is a cultural influence that people seem to feel uncomfortable talking about but it is impossible to neglect the fact that politics had a huge impact on the way jazz was shaped. In 1803, the United States purchased a tract of land from the French that spanned from the bayous of Louisiana all along the Mississippi river up to the
The Great Decade Of the 1920’s “Did you know in the 1920ś”, American imports were numerous songs, and musical elements that referred to places or cultures considered to be exotic to Americans? (Pope) The 1920’s tied together a bunch of events from the decade to even the next decade. This decade separated the genre of jazz from ragtime and the blues. (Funk & Wagnalls) The 1920’s had opened up opportunities for musicians in many ways from getting jobs to earning money, and or getting to hear the snazzy new sounds of the 20’s. The technology of music was a weightful impact not only on the 1920’s but also the 30’s, 40’s, and so on.
Louis was becoming a star. After a quick trip to Los Angeles, he returned to Chicago to form a band and began touring. For the first time in 9 years, Louis returned home to New Orleans to play with Oliver once again. In short, he was greeted a hero. While in New Orleans, he realized that he wanted to spread his music throughout the world.
So many new entertainers, musicians, and inventions are becoming such a huge hit. From swinging jazz music to bright lights and the silver screen, this decade will get your shindig pumped up. A new type of music came out, it’s called “jazz music”, there are even different types of jazz just like “cool jazz” and “soul jazz’. This new music brings everyone a new happy atmosphere. Mostly people in black neighborhoods are listening to jazz because it was originated by African music and combined with band instruments and rhythm & blues.
There was also Ragtime music and Broadway musicals that were also very famous. Exuberant dances were invented for the upbeat tempo’s. Jazz spread to many dance alls and other venues. The main form of popular concert music was marching bands and dance bands. The arrival of the radio and the phonograph records introduced jazz to remote locations.
Without surprise, the music slid into a familiar crossover jazz spiced with thick chunks of spirited funk and smooth pop rock. Avid fans of the smooth jazz genre effusively applauded the quartet co-led by the iconic Dave Grusin and the Grammy award-winning guitarist Lee Ritenour. Rounding out the group are the bassist Melvin Lee and the drummer Sonny Emory, two musicians that belong to a much younger generation. This formation gained even more emphasis with the guests David Sanborn, an altoist whose career brought him six Grammy awards, and Phil Perry, a vocalist known for having a remarkable falsetto. The diversified repertoire included a couple of tunes from Wes Bound - Ritenour’s 1993 homage to the colossal jazz guitarist Wes Montgomery, a rendition of Oliver Nelson’s “Stolen Moments”, a pair of Sanborn’s numbers that move in a traditional pop-jazz meets R&B, Grusin’s “Punta Del Sol” and a solo interpretation of Jobim’s “Retrato em Branco e Preto”, and Phil Perry singing in a weird Portuguese the fantastic song “Arlequim Desconhecido” by the Brazilian Ivan