In 1932 in jazz:

Victor Young (August 8, 1900 – November 10, 1956) was an American composer, arranger, violinist and conductor. He was born in Chicago.

Young was born in Chicago on 8 August 1900 into a very musical family, his father being a member of one Joseph Sheehan’s touring Opera company. The young Victor began playing violin at the age of six, and was sent over to Poland when he was ten to stay with his grandfather and study at Warsaw Imperial Conservatory, achieving the Diploma of Merit. He studied the piano with Isidor Philipp of the Paris Conservatory. While still a teenager he embarked on a career as a concert violinist with the Warsaw Philharmonic under Julius Wertheim before returning to Chicago in 1920 to join the orchestra at Central Park Casino. He then went to Los Angeles to join his Polish fiancée, finding employment first as a fiddler in impresario Sid Grauman's Million Dollar Theatre Orchestra then going on to be appointed concert-master for Paramount-Publix Theatres. In the mid-1930s he moved to Hollywood where he concentrated on films, recordings of light music and providing backing for popular singers, including Bing Crosby. His composer credits include "When I Fall in Love," "Blue Star (The 'Medic' Theme)," "Moonlight Serenade (Summer Love)" from the motion picture The Star (1952), "Sweet Sue," "Can't We Talk It Over," "Street of Dreams," "Love Letters," "Around the World," "My Foolish Heart," "Golden Earrings," "Stella by Starlight", "Delilah", "Johnny Guitar" and "I Don't Stand a Ghost of a Chance with You."

Nathaniel Charles (Nat) Gonella (7 March 1908–6 August 1998) was an English jazz trumpeter, bandleader, vocalist and mellophonist born in London, perhaps most notable for his work with the big band he founded, The Georgians, during the British dance band era.

His vocal style was reminiscent of Louis Armstrong, though the voice was often eclipsed by his achievements as a band leader and trumpeter. Gonella has been a major influence on other British jazz trumpeters, including Humphrey Lyttelton and Digby Fairweather.

Gonella was born in a deprived area of east London, and took up cornet while attending an institution for underprivileged children, St Mary's Guardian School in Islington.

His first professional job arrived when, after a short spell as a furrier's apprentice, he joined Archie Pitt's Busby Boy's Band in 1924, a small junior pit orchestra and touring review band. He remained with the band until 1928, and it was during this period that he became acquainted with the early recordings of Louis Armstrong, and the New Orleans jazz style in general. He transcribed Armstrong's solos and learned them by heart.

Lew Stone (1898-1969) was a bandleader and arranger of the British dance band era, and was well known in Britain during the 1930s.

Stone learned music at an early age and became an accomplished pianist. In the 1920s, he worked with many important dance bands. Some arrangements attributed to Stone can be heard on particular records by the Savoy Orpheans (1927) and Ray Starita and his Ambassador's Band (1928).

During 1927-1931, Stone's arrangements for the Bert Ambrose Orchestra made it virtually the best in Europe. The HMV discs are today sought after as much for those arrangements as for the superb instrumentalists or vocals.

Stone continued to work with other bands like Jack Hylton's and Jack Payne's BBC Dance Orchestra, and he also took several top musicians into the studio to make a few recordings that were issued on the Duophone label as 'Stoneis Stone and his Orchestra'.

Roy Fox's Band opened at the Monseigneur Restaurant in 1931 and Stone took up the position of pianist and arranger. When Fox became ill in October he was sent to Switzerland to rest and Stone assumed leadership of the band. The main vocalist at the Monseigneur was the very popular Al Bowlly who had already sung on over 30 recordings.

Louis Armstrong (August 4, 1901 – July 6, 1971), nicknamed Satchmo or Pops, was an American jazz trumpeter and singer from New Orleans, Louisiana.

Coming to prominence in the 1920s as an "inventive" cornet and trumpet player, Armstrong was a foundational influence in jazz, shifting the music's focus from collective improvisation to solo performance. With his instantly recognizable deep and distinctive gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also greatly skilled at scat singing (vocalizing using sounds and syllables instead of actual lyrics).

Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong's influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to "cross over," whose skin-color was secondary to his music in an America that was severely racially divided. It allowed him socially acceptable access to the upper echelons of American society that were highly restricted for a black man. While he rarely publicly politicized his race, often to the dismay of fellow African-Americans, he was privately a strong supporter of the Civil Rights movement in America.^{[citation needed]}