W.C. Handy
In July 1941, by Carl Van Vechten
Background information
Birth name	William Christopher Handy
Also known as	The Father of Blues
Born	(1873-11-16)November 16, 1873 Florence, Alabama, U.S.
Origin	Memphis, Tennessee, U.S.
Died	March 28, 1958(1958-03-28) (aged 84) New York City, New York, U.S.
Genres	Blues, Jazz
Occupations	Composer, songwriter, musician, bandleader, author
Instruments	Piano, cornet, trumpet, vocals
Years active	1893–1948

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William Christopher Handy (November 16, 1873 – March 28, 1958) was a blues composer and musician.^[1] He was widely known as the "Father of the Blues".

Handy remains among the most influential of American songwriters. Though he was one of many musicians who played the distinctively American form of music known as the blues, he is credited with giving it its contemporary form. While Handy was not the first to publish music in the blues form, he took the blues from a regional music style with a limited audience to one of the dominant national forces in American music.

Handy was an educated musician who used folk material in his compositions. He was scrupulous in documenting the sources of his works, which frequently combined stylistic influences from several performers. He loved this folk musical form and brought his own transforming touch to it.

Early life[link]

W.C. Handy at age 19

Handy was born in Florence, Alabama. His father was the pastor of a small church in Guntersville, another small town in northeast central Alabama. Handy wrote in his 1941 autobiography, Father of the Blues, that he was born in the log cabin built by his grandfather William Wise Handy, who became an African Methodist Episcopal (AME) minister after emancipation. The log cabin of Handy's birth has been saved and preserved in downtown Florence.

Handy was a deeply religious man, whose influences in his musical style were found in the church music he sang and played as a youth, and in the natural world. He later cited the sounds of nature, such as "whippoorwills, bats and hoot owls and their outlandish noises", the sounds of Cypress Creek washing on the fringes of the woodland, and "the music of every songbird and all the symphonies of their unpremeditated art" as inspiration.^{[citation needed]}

Growing up he apprenticed in carpentry, shoemaking and plastering. He bought his first guitar, which he had seen in a local shop window and secretly saved for by picking berries, nuts and making lye soap, without his parents' permission. His father asked him, "What possessed you to bring a sinful thing like that into our Christian home?" Ordering Handy to "Take it back where it came from", his father quickly enrolled him in organ lessons. Handy's days as an organ student were short lived, and he moved on to learn the cornet. Handy joined a local band as a teenager, but he kept this fact a secret from his parents. He purchased a cornet from a fellow band member and spent every free minute practicing it.

Musical development[link]

He worked on a "shovel brigade" at the McNabb furnace, and described the music made by the workers as they beat shovels, altering the tone while thrusting and withdrawing the metal part against the iron buggies to pass the time while waiting for the overfilled furnace to digest its ore. "With a dozen men participating, the effect was sometimes remarkable...It was better to us than the music of a martial drum corps, and our rhythms were far more complicated."^[2] He wrote, "Southern Negroes sang about everything...They accompany themselves on anything from which they can extract a musical sound or rhythmical effect..." He would later reflect that, "In this way, and from these materials, they set the mood for what we now call blues".^[3]

In September 1892, Handy traveled to Birmingham to take a teaching exam, which he passed easily, and gained a teaching job in the city. Learning that it paid poorly, he quit the position and found industrial work at a pipe works plant in nearby Bessemer.

During his off-time, he organized a small string orchestra and taught musicians how to read notes. Later, Handy organized the Lauzetta Quartet. When the group read about the upcoming World's Fair in Chicago, they decided to attend. To pay their way, group members performed at odd jobs along the way. They arrived in Chicago only to learn that the World's Fair had been postponed for a year. Next they headed to St. Louis but found working conditions very bad.

After the quartet disbanded, Handy went to Evansville, Indiana, where he helped introduce the blues. He played cornet in the Chicago World's Fair in 1893. In Evansville, Handy joined a successful band that performed throughout the neighboring cities and states. His musical endeavors were varied: he sang first tenor in a minstrel show, worked as a band director, choral director, cornetist and trumpeter.

At age 23, Handy became band master of Mahara's Colored Minstrels. In their three-year tour, they traveled to Chicago, throughout Texas and Oklahoma, through Tennessee, Georgia and Florida, and on to Cuba. Handy earned a salary of $6 per week. Returning from Cuba, the band traveled north through Alabama, and stopped to perform in Huntsville. Weary of life on the road, he and his wife Elizabeth decided to stay with relatives in his nearby hometown of Florence.

Marriage and family[link]

In 1896 while performing at a barbecue in Henderson, Kentucky, Handy met Elizabeth Price. They married shortly afterward on July 19, 1896. She had Lucille, the first of their six children, on June 29, 1900 after they had settled in Florence, Alabama, his hometown. Henderson's W.C. Handy Blues & Barbecue Festival is held annually in June.

Teaching music[link]

W.C. Handy, ca. 1900, Director of the Alabama Agriculture & Mechanical College Band

Around that time, William Hooper Councill, President of Alabama Agricultural and Mechanical College for Negroes (AAMC) (today named Alabama Agricultural and Mechanical University) in Normal, Alabama, recruited Handy to teach music at the college. Handy became a faculty member in September 1900 and taught through much of 1902.

His enthusiasm for the distinctive style of uniquely American music, then often considered inferior to European classical music, was part of his development. He was disheartened to discover that the college emphasized teaching European music considered to be "classical". Handy felt he was underpaid and could make more money touring with a minstrel group.

Studying the blues[link]

In 1902 Handy traveled throughout Mississippi, where he listened to the various black popular musical styles. The state was mostly rural, and music was part of the culture, especially of the Mississippi Delta cotton plantation areas. Musicians usually played the guitar, banjo and to a much lesser extent, the piano. Handy's remarkable memory enabled him to recall and transcribe the music heard in his travels.

After a dispute with AAMC President Councill, Handy resigned his teaching position to rejoin the Mahara Minstrels and tour the Midwest and Pacific Northwest. In 1903 he became the director of a black band organized by the Knights of Pythias, located in Clarksdale, Mississippi. Handy and his family lived there for six years. In 1903 while waiting for a train in Tutwiler in the Mississippi Delta, Handy had the following experience:

"A lean loose-jointed Negro had commenced plunking a guitar beside me while I slept... As he played, he pressed a knife on the strings of the guitar in a manner popularized by Hawaiian guitarists who used steel bars....The singer repeated the line three times, accompanying himself on the guitar with the weirdest music I had ever heard."^[3][4]

About 1905 while playing a dance in Cleveland, Mississippi, Handy was given a note asking for “our native music”.^[5] He played an old-time Southern melody, but was asked if a local colored band could play a few numbers. Three young men with a battered guitar, mandolin, and a worn-out bass took the stage.^{[6] [7]}

“They struck up one of those over and over strains that seem to have no beginning and certainly no ending at all. The strumming attained a disturbing monotony, but on and on it went, a kind of stuff associated with [sugar] cane rows and levee camps. Thump-thump-thump went their feet on the floor. It was not really annoying or unpleasant. Perhaps “haunting” is the better word.”^[6][8]

Handy noted square dancing by Mississippi blacks with "one of their own calling the figures, and crooning all of his calls in the key of G."^[9] He remembered this when deciding on the key for "St Louis Blues".

"It was the memory of that old gent who called figures for the Kentucky breakdown—the one who everlastingly pitched his tones in the key of G and moaned the calls like a presiding elder preaching at a revival meeting. Ah, there was my key – I'd do the song in G."^[10]

In describing "blind singers and footloose bards" around Clarksdale, Handy wrote, "[S]urrounded by crowds of country folks, they would pour their hearts out in song ... They earned their living by selling their own songs – "ballets," as they called them—and I'm ready to say in their behalf that seldom did their creations lack imagination."^[11]

Transition: popularity, fame and business[link]

In 1909 Handy and his band moved to Memphis, Tennessee, where they started playing at clubs on Beale Street. The genesis of his "Memphis Blues" was as a campaign tune written for Edward Crump, a successful Memphis mayoral candidate in 1909 (and future "boss"). Handy later rewrote the tune and changed its name from "Mr. Crump" to "Memphis Blues."

Handy's first popular success, "Memphis Blues". Recorded by Victor Military Band, July 15, 1914.

The 1912 publication of his "Memphis Blues" sheet music introduced his style of 12-bar blues; it was credited as the inspiration for the foxtrot dance step by Vernon and Irene Castle, a New York–based dance team. Some consider it to be the first blues song. Handy sold the rights to the song for US$100. By 1914, when Handy was 40, he had established his musical style, his popularity increased significantly, and he composed prolifically.

Handy wrote about using folk songs:

"The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor. Whether in the cotton field of the Delta or on the Levee up St. Louis way, it was always the same. Till then, however, I had never heard this slur used by a more sophisticated Negro, or by any white man. I tried to convey this effect... by introducing flat thirds and sevenths (now called blue notes) into my song, although its prevailing key was major..., and I carried this device into my melody as well... This was a distinct departure, but as it turned out, it touched the spot."^[12]

W. C. Handy with his 1918 Memphis Orchestra: Handy is center rear, holding trumpet.

"The three-line structure I employed in my lyric was suggested by a song I heard Phil Jones sing in Evansville ... While I took the three-line stanza as a model for my lyric, I found its repetition too monotonous ... Consequently I adopted the style of making a statement, repeating the statement in the second line, and then telling in the third line why the statement was made."^[13]

Regarding the "three-chord basic harmonic structure" of the blues, Handy wrote the "(tonic, subdominant, dominant seventh) was that already used by Negro roustabouts, honky-tonk piano players, wanderers and others of the underprivileged but undaunted class".^[12] He noted,

"In the folk blues the singer fills up occasional gaps with words like 'Oh, lawdy' or 'Oh, baby' and the like. This meant that in writing a melody to be sung in the blues manner one would have to provide gaps or waits."^[14]

Writing about the first time "St Louis Blues" was played (1914), Handy said,

"The one-step and other dances had been done to the tempo of Memphis Blues ... When St Louis Blues was written the tango was in vogue. I tricked the dancers by arranging a tango introduction, breaking abruptly into a low-down blues. My eyes swept the floor anxiously, then suddenly I saw lightning strike. The dancers seemed electrified. Something within them came suddenly to life. An instinct that wanted so much to live, to fling its arms to spread joy, took them by the heels."^[15]

His published musical works were groundbreaking because of his ethnicity, and he was among the first blacks to achieve economic success because of publishing. In 1912, Handy met Harry H. Pace at the Solvent Savings Bank in Memphis. Pace was valedictorian of his graduating class at Atlanta University and student of W. E. B. Du Bois. By the time of their meeting, Pace had already demonstrated a strong understanding of business. He earned his reputation by recreating failing businesses. Handy liked him, and Pace later became manager of Pace and Handy Sheet Music.

W.C. Handy Place in Yonkers, NY

While in New York City, Handy wrote:

"I was under the impression that these Negro musicians would jump at the chance to patronize one of their own publishers. They didn't... The Negro musicians simply played the hits of the day...They followed the parade. Many white bands and orchestra leaders, on the other hand, were on the alert for novelties. They were therefore the ones most ready to introduce our numbers." But, "Negro vaudeville artists...wanted songs that would not conflict with white acts on the bill. The result was that these performers became our most effective pluggers."^[16]

In 1917, he and his publishing business moved to New York City, where he had offices in the Gaiety Theatre office building in Times Square.^[17] By the end of that year, his most successful songs: "Memphis Blues", "Beale Street Blues", and "St. Louis Blues", had been published. That year the Original Dixieland Jazz Band, a white New Orleans jazz ensemble, had recorded the first jazz record, introducing the style to a wide segment of the American public. Handy initially had little fondness for this new "jazz", but bands dove into his repertoire with enthusiasm, making many of them jazz standards.

Handy encouraged performers such as Al Bernard, "a young white man" with a "soft Southern accent" who "could sing all my Blues". Handy sent Bernard to Thomas Edison to be recorded, which resulted in "an impressive series of successes for the young artist, successes in which we proudly shared." Handy also published the original "Shake Rattle and Roll" and "Saxophone Blues", both written by Bernard. "Two young white ladies from Selma, Alabama (Madelyn Sheppard and Annelu Burns) contributed the songs "Pickaninny Rose" and "O Saroo", with the music published by Handy's company. These numbers, plus our blues, gave us a reputation as publishers of Negro music." ^[18]

"Ole Miss Rag", a ragtime composed by W. C. Handy and recorded by Handy's Orchestra of Memphis in 1917 in New York.

Expecting to make only "another hundred or so" on a third recording of his "Yellow Dog Blues" (originally titled "Yellow Dog Rag"^[19] ), Handy signed a deal with the Victor company. The Joe Smith ^[20] recording of this song in 1919 became the best-selling recording of Handy's music to date.^{[21] [22]}

Handy tried to interest black women singers in his music, but initially was unsuccessful. In 1920 Perry Bradford persuaded Mamie Smith to record two of his non-blues songs, published by Handy, accompanied by a white band: "That Thing Called Love" and "You Can't Keep a Good Man Down". When Bradford's "Crazy Blues" became a hit as recorded by Smith, African-American blues singers became increasingly popular. Handy found his business began to decrease because of the competition.^[23]

In 1920 Pace amicably dissolved his long-standing partnership with Handy, with whom he also collaborated as lyricist. As Handy wrote: "To add to my woes, my partner withdrew from the business. He disagreed with some of my business methods, but no harsh words were involved. He simply chose this time to sever connection with our firm in order that he might organize Pace Phonograph Company, issuing Black Swan Records and making a serious bid for the Negro market. . . . With Pace went a large number of our employees. . . . Still more confusion and anguish grew out of the fact that people did not generally know that I had no stake in the Black Swan Record Company."^[24]

Although Handy's partnership with Pace was dissolved, he continued to operate the publishing company as a family-owned business. He published works of other black composers as well as his own, which included more than 150 sacred compositions and folk song arrangements and about 60 blues compositions. In the 1920s, he founded the Handy Record Company in New York City. Bessie Smith's January 14, 1925, Columbia Records recording of "St. Louis Blues" with Louis Armstrong is considered by many to be one of the finest recordings of the 1920s. So successful was Handy's "St. Louis Blues" that in 1929, he and director Kenneth W. Adams collaborated on a RCA motion picture project of the same name, which was to be shown before the main attraction. Handy suggested blues singer Bessie Smith have the starring role, since she had gained widespread popularity with that tune. The picture was shot in June and was shown in movie houses throughout the United States from 1929 to 1932.

In 1926 Handy authored and edited a work entitled Blues: An Anthology—Complete Words and Music of 53 Great Songs. It is probably the first work that attempted to record, analyze and describe the blues as an integral part of the U.S. South and the history of the United States.

The genre of the blues was a hallmark of American society and culture in the 1920s and 1930s. So great was its influence, and so much was it recognized as Handy's hallmark, that author F. Scott Fitzgerald wrote in his novel The Great Gatsby that "All night the saxophones wailed the hopeless comment of the "Beale Street Blues" while a hundred pairs of golden and silver slippers shuffled the shining dust. At the gray tea hour there were always rooms that throbbed incessantly with this low, sweet fever, while fresh faces drifted here and there like rose petals blown by the sad horns around the floor."

Later life[link]

Following publication of his autobiography, Handy published a book on African-American musicians entitled Unsung Americans Sing (1944). He wrote a total of five books:

1. Blues: An Anthology: Complete Words and Music of 53 Great Songs
2. Book of Negro Spirituals
3. Father of the Blues: An Autobiography
4. Unsung Americans Sing
5. Negro Authors and Composers of the United States

During this time, he lived on Strivers' Row in Harlem. He became blind following an accidental fall from a subway platform in 1943. After the death of his first wife, he remarried in 1954, when he was eighty. His new bride was his secretary, the former Irma Louise Logan, whom he frequently said had become his eyes.

In 1955, Handy suffered a stroke, following which he began to use a wheelchair. More than eight hundred attended his 84th birthday party at the Waldorf-Astoria Hotel.

The grave of W.C. Handy at Woodlawn Cemetery

On March 28, 1958 he died of bronchial pneumonia at Sydenham Hospital in New York City.^[25] Over 25,000 people attended his funeral in Harlem's Abyssinian Baptist Church. Over 150,000 people gathered in the streets near the church to pay their respects. He was buried in the Woodlawn Cemetery in Bronx, New York.

Compositions[link]

Handy's songs do not always follow the classic 12-bar pattern, often having 8- or 16-bar bridges between 12-bar verses.

• "Memphis Blues", written 1909, published 1912. Although usually subtitled "Boss Crump", it is a distinct song from Handy's campaign satire, "Boss Crump don't 'low no easy riders around here", which was based on the good-time song "Mamma Don't Allow It."
• "Yellow Dog Blues" (1912), "Your easy rider's gone where the Southern cross the Yellow Dog." The reference is to the crossing at Moorhead, Mississippi, of the Southern Railway and the local Yazoo and Mississippi Valley Railroad, called the Yellow Dog. By Handy's telling locals assigned the words "Yellow Dog" to the letters Y.D.(for Yazoo Delta) on the freight trains that they saw.^[26]
• "St. Louis Blues" (1914), "the jazzman's Hamlet."
• "Loveless Love", based in part on the classic, "Careless Love". Possibly the first song to complain of modern synthetics, "with milkless milk and silkless silk, we're growing used to soulless soul."
• "Aunt Hagar's Blues", the biblical Hagar, handmaiden to Abraham and Sarah, was considered the "mother" of the African Americans.
• "Beale Street Blues" (1916), written as a farewell to the old Beale Street of Memphis (actually called Beale Avenue until the song changed the name); but Beale Street did not go away and is considered the "home of the blues" to this day. B.B. King was known as the "Beale Street Blues Boy" and Elvis Presley watched and learned from Ike Turner there.
• "Long Gone John (From Bowling Green)", tribute to a famous bank robber.
• "Chantez-Les-Bas (Sing 'Em Low)", tribute to the Creole culture of New Orleans.
• "Atlanta Blues", includes the song known as "Make Me a Pallet on your Floor" as its chorus.
• "Ole Miss Rag" (1917), a ragtime composition, recorded by Handy's Orchestra of Memphis.^[27]

Performances and honors[link]

• On April 27, 1928, he performed a program of jazz, blues, plantation songs, work songs, piano solos, spirituals and a Negro rhapsody in Carnegie Hall.
• In 1938 he performed at the National Folk Festival in Washington, DC, his first national performance on a desegregated stage.
• He performed at the Chicago World's Fair in 1933 and 1934 and the New York World's Fair in 1939 and 1940.
• In 1940, NBC broadcast an all-Handy program as part of its weekly series The Chamber Music Society of Lower Basin Street. His songs were performed by Dinah Shore and by the composer himself.
• Louis Armstrong Plays W.C. Handy (1954)
• He is referenced in Prof. Harold Hill's lead-in to the song Seventy-Six Trombones in Meredith Willson's 1957 musical The Music Man.
• In 1958, a movie about his life - appropriately entitled St. Louis Blues - was released starring legendary African-American musicians Nat "King" Cole (in the main role), Pearl Bailey, Mahalia Jackson, Cab Calloway, Ella Fitzgerald, and Eartha Kitt. It was released the year of Handy's death.

US Postage Stamp 1969

• On May 17, 1969, the United States Postal Service issued a commemorative stamp in his honor.
• Inducted in the National Academy of Popular Music Songwriters Hall of Fame in 1970.
• He was inducted into the Nashville Songwriters Hall of Fame in 1983.
• He is referenced in Joni Mitchell's 1975 song Furry Sings the Blues.
• He is referenced in Marc Cohn's 1991 song Walking in Memphis, covered by Lonestar, Cher, and other artists. "...Touched down in the land of the Delta Blues, in the middle of the pouring rain. W.C. Handy, won't you look down over me?"
• He received a Grammy Trustees Award for his lifetime achievements in 1993.
• He was inducted into the Alabama Jazz Hall of Fame in 1985, and was a 1993 Inductee into the Alabama Music Hall of Fame, with the Lifework Award for Performing Achievement.
• Citing 2003 as "the centennial anniversary of when W.C. Handy composed the first Blues music..." the United States Senate in 2002 passed a resolution declaring the year beginning February 1, 2003 as the "Year of the Blues."
• Each November 16, Handy's birthday is celebrated with free music, birthday cake and free admission to the W.C. Handy Museum in Florence, Alabama. The hand-hewn log cabin made by his grandfather is his birthplace and museum.
• An autographed 1937 photo from W.C. Handy to Anton Lada of Lada's Louisiana Orchestra sold for $850 in 2006.

Awards, festivals and memorials[link]

Bronze Statue of W.C. Handy in Handy Park, Beale Street, Memphis

• The Blues Music Award, widely recognized as the most prestigious award for blues artists was known as the W. C. Handy Award until the name change in 2006.
• The W. C. Handy Music Festival is held annually in the Muscle Shoals area of Florence, Alabama. Previous week-long festivals have featured jazz and blues legends including Jimmy Smith, Ramsey Lewis, Dizzy Gillespie, Bobby Blue Bland, Diane Schuur, Billy Taylor, Dianne Reeves and Charlie Byrd, Ellis Marsalis and Take 6. The festival also features a roster of annual regulars, called the W. C. Handy Jazz All-Stars.
• W. C. Handy Park is a city park located on Beale Street in Memphis, Tennessee. The park contains a life-sized bronze statue of Handy.
• The W.C. Handy Blues & Barbeque Festival is a week-long musical event that features blues and Zydeco bands from across the U.S and is held every June on the banks of the Ohio River in downtown Henderson, Kentucky.

The footstone of W.C. Handy in Woodlawn Cemetery

• In 1979, New York City joined the list of institutions and municipalities to honor Handy by naming one block of West 52nd Street in Manhattan "W.C. Handy Place".

See also[link]

• St. Louis Blues (1958 film)

References[link]

• Father of the Blues: An Autobiography. by W.C. Handy, edited by Arna Bontemps: foreword by Abbe Niles. Da Capo paperback, New York; Macmillan, (1941) ISBN 0-306-80421-2.

External links[link]

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (May 2012)

Wikimedia Commons has media related to: W. C. Handy

Wikiquote has a collection of quotations related to: W. C. Handy

Listen[link]

• Handy's Memphis Blues Band 1922 performance of "St. Louis Blues": audio on redhotjazz.com
• Bessie Smith sings the "Saint Louis Blues", accompanied by Louis Armstrong and Fred Longshaw, 1925: audio on redhotjazz.com

Read[link]

• W.C. Handy website at the University of North Alabama
• Official Site of the Annual W.C. Handy Music Festival in Florence, Alabama
• W.C. Handy's 1993 Lifework Award for Performing Achievement; Induction into the Alabama Music Hall of Fame
• The Blues Foundation's W.C. Handy Blues Awards
• Book excerpt on Handy by Tom Morgan
• Year of the Blues Official website
• Rare American Sheet Music Collection at Duke University, shows musical content of published sheet music
• United States Library of Congress African-American Sheet Music Collection, 1850-1920 (from Brown University), a searchable database; shows copies of original works
• Photographs of W.C. Handy's gravesite
• Interview with W.C. Handy by folklorist
• Free scores by William Christopher Handy at the International Music Score Library Project
• Sheet music for "Joe Turner Blues", Memphis: Pace & Handy, 1915. From Alabama Sheet Music Collection.
• Sheet music for "St. Louis Blues", New York: Handy Bros., 1914. From Alabama Sheet Music Collection.
• Sheet music for "The Memphis Blues: A Southern Rag", New York: Theron C. Bennett Co., 1913. From Alabama Sheet Music Collection.

Louis Armstrong
Louis Armstrong's stage personality matched his flashy cornet and trumpet playing. Armstrong is also known for his raspy singing voice.
Background information
Birth name	Louis Armstrong
Born	August 4, 1901 New Orleans, Louisiana, U.S.
Died	July 6, 1971(1971-07-06) (aged 69) Corona, Queens, New York City, U.S.
Genres	Dixieland, jazz, swing, traditional pop
Occupations	Musician
Years active	c. 1914–71
Associated acts	Joe "King" Oliver, Ella Fitzgerald, Kid Ory, Bobby Hackett

Louis Armstrong^[1] (August 4, 1901 – July 6, 1971),^[2] nicknamed Satchmo^[3] 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]}

Early life[link]

Handcolored etching Louis Armstrong by Adi Holzer 2002.

Armstrong often stated that he was born on July 4, 1900,^[4] a date that has been noted in many biographies. Although he died in 1971, it was not until the mid-1980s that his true birth date of August 4, 1901 was discovered through the examination of baptismal records.^[5]

Armstrong was born into a very poor family in New Orleans, Louisiana, the grandson of slaves. He spent his youth in poverty, in a rough neighborhood of Uptown New Orleans, known as “Back of the Town”, as his father, William Armstrong (1881–1922), abandoned the family when Louis was an infant and took up with another woman. His mother, Mary "Mayann" Albert (1886–1942), then left Louis and his younger sister Beatrice Armstrong Collins (1903–1987) in the care of his grandmother, Josephine Armstrong, and at times, his Uncle Isaac. At five, he moved back to live with his mother and her relatives, and saw his father only in parades.

He attended the Fisk School for Boys, where he likely had early exposure to music. He brought in some money as a paperboy and also by finding discarded food and selling it to restaurants, but it was not enough to keep his mother from prostitution. He hung out in dance halls close to home, where he observed everything from licentious dancing to the quadrille. For extra money he also hauled coal to Storyville, the famed red-light district, and listened to the bands playing in the brothels and dance halls, especially Pete Lala's where Joe "King" Oliver performed and other famous musicians would drop in to jam.

After dropping out of the Fisk School at age eleven, Armstrong joined a quartet of boys who sang in the streets for money. But he also started to get into trouble. Cornet player Bunk Johnson said he taught Armstrong (then 11) to play by ear at Dago Tony's Tonk in New Orleans,^[6] although in his later years Armstrong gave the credit to Oliver. Armstrong hardly looked back at his youth as the worst of times but instead drew inspiration from it, “Every time I close my eyes blowing that trumpet of mine—I look right in the heart of good old New Orleans...It has given me something to live for.”^[7]

He also worked for a Lithuanian-Jewish immigrant family, the Karnofskys, who had a junk hauling business and gave him odd jobs. They took him in and treated him as almost a family member, knowing he lived without a father, and would feed and nurture him.^[8] He later wrote a memoir of his relationship with the Karnofskys titled, Louis Armstrong + the Jewish Family in New Orleans, La., the Year of 1907. In it he describes his discovery that this family was also subject to discrimination by "other white folks' nationalities who felt that they were better than the Jewish race. I was only seven years old but I could easily see the ungodly treatment that the White Folks were handing the poor Jewish family whom I worked for." Armstrong wore a Star of David pendant for the rest of his life and wrote about what he learned from them: "how to live—real life and determination."^[9] The influence of Karnofsky is remembered in New Orleans by the Karnofsky Project, a non-profit organization dedicated to accepting donated musical instruments to "put them into the hands of an eager child who could not otherwise take part in a wonderful learning experience."^[10]

Armstrong developed his cornet playing seriously in the band of the New Orleans Home for Colored Waifs, where he had been sent multiple times for general delinquency, most notably for a long term after firing his stepfather's pistol into the air at a New Year's Eve celebration, as police records confirm. Professor Peter Davis (who frequently appeared at the Home at the request of its administrator, Captain Joseph Jones)^[11] instilled discipline in and provided musical training to the otherwise self-taught Armstrong. Eventually, Davis made Armstrong the band leader. The Home band played around New Orleans and the thirteen year old Louis began to draw attention by his cornet playing, starting him on a musical career.^[12] At fourteen he was released from the Home, living again with his father and new stepmother and then back with his mother and also back to the streets and their temptations. Armstrong got his first dance hall job at Henry Ponce’s where Black Benny became his protector and guide. He hauled coal by day and played his cornet at night.

He played in the city's frequent brass band parades and listened to older musicians every chance he got, learning from Bunk Johnson, Buddy Petit, Kid Ory, and above all, Joe "King" Oliver, who acted as a mentor and father figure to the young musician. Later, he played in the brass bands and riverboats of New Orleans, and began traveling with the well-regarded band of Fate Marable, which toured on a steamboat up and down the Mississippi River. He described his time with Marable as, "going to the University," since it gave him a much wider experience working with written arrangements.

In 1919, Joe Oliver decided to go north and resigned his position in Kid Ory's band; Armstrong replaced him. He also became second trumpet for the Tuxedo Brass Band, a society band.^[13]

Career[link]

"Muggles"

On March 19, 1918, Louis married Daisy Parker from Gretna, Louisiana. They adopted a 3-year-old boy, Clarence Armstrong, whose mother, Louis' cousin Flora, died soon after giving birth. Clarence Armstrong was mentally disabled (the result of a head injury at an early age) and Louis would spend the rest of his life taking care of him.^[14] Louis' marriage to Parker failed quickly and they separated. She died shortly after the divorce.

Through all his riverboat experience Armstrong’s musicianship began to mature and expand. At twenty, he could read music and he started to be featured in extended trumpet solos, one of the first jazzmen to do this, injecting his own personality and style into his solo turns. He had learned how to create a unique sound and also started using singing and patter in his performances.^[15] In 1922, Armstrong joined the exodus to Chicago, where he had been invited by his mentor, Joe "King" Oliver, to join his Creole Jazz Band and where he could make a sufficient income so that he no longer needed to supplement his music with day labor jobs. It was a boom time in Chicago and though race relations were poor, the “Windy City” was teeming with jobs for black people, who were making good wages in factories and had plenty to spend on entertainment.

Oliver's band was the best and most influential hot jazz band in Chicago in the early 1920s, at a time when Chicago was the center of the jazz universe. Armstrong lived like a king in Chicago, in his own apartment with his own private bath (his first). Excited as he was to be in Chicago, he began his career-long pastime of writing nostalgic letters to friends in New Orleans. As Armstrong’s reputation grew, he was challenged to “cutting contests” by hornmen trying to displace the new phenom, who could blow two hundred high C’s in a row.^[16] Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to boom across the country), including taking some solos and breaks, while playing second cornet in Oliver's band in 1923. At this time, he met Hoagy Carmichael (with whom he would collaborate later) who was introduced by friend Bix Beiderbecke, who now had his own Chicago band.

Armstrong enjoyed working with Oliver, but Louis' second wife, pianist Lil Hardin Armstrong, urged him to seek more prominent billing and develop his newer style away from the influence of Oliver. Armstrong took the advice of his wife and left Oliver's band. For a year Armstrong played in Fletcher Henderson's band in New York on many recordings. After playing in New York, Armstrong returned to Chicago, playing in large orchestras; there he created his most important early recordings.^[17] Lil had her husband play classical music in church concerts to broaden his skill and improve his solo play and she prodded him into wearing more stylish attire to make him look sharp and to better offset his growing girth. Lil’s influence eventually undermined Armstrong’s relationship with his mentor, especially concerning his salary and additional moneys that Oliver held back from Armstrong and other band members. Armstrong and Oliver parted amicably in 1924. Shortly afterward, Armstrong received an invitation to go to New York City to play with the Fletcher Henderson Orchestra, the top African-American band of the day. Armstrong switched to the trumpet to blend in better with the other musicians in his section. His influence upon Henderson's tenor sax soloist, Coleman Hawkins, can be judged by listening to the records made by the band during this period.

Armstrong getting fitted for a hat, about 1955.

Armstrong quickly adapted to the more tightly controlled style of Henderson, playing trumpet and even experimenting with the trombone and the other members quickly took up Armstrong’s emotional, expressive pulse. Soon his act included singing and telling tales of New Orleans characters, especially preachers.^[18] The Henderson Orchestra was playing in the best venues for white-only patrons, including the famed Roseland Ballroom, featuring the classy arrangements of Don Redman. Duke Ellington’s orchestra would go to Roseland to catch Armstrong’s performances and young hornmen around town tried in vain to outplay him, splitting their lips in their attempts.

During this time, Armstrong made many recordings on the side, arranged by an old friend from New Orleans, pianist Clarence Williams; these included small jazz band sides with the Williams Blue Five (some of the best pairing Armstrong with one of Armstrong's few rivals in fiery technique and ideas, Sidney Bechet) and a series of accompaniments with blues singers, including Bessie Smith, Ma Rainey, and Alberta Hunter.

Armstrong returned to Chicago in 1925 due mostly to the urging of his wife, who wanted to pump up Armstrong’s career and income. He was content in New York but later would concede that she was right and that the Henderson Orchestra was limiting his artistic growth. In publicity, much to his chagrin, she billed him as “the World’s Greatest Trumpet Player”. At first he was actually a member of the Lil Hardin Armstrong Band and working for his wife.^[19] He began recording under his own name for Okeh with his famous Hot Five and Hot Seven groups, producing hits such as "Potato Head Blues", "Muggles", (a reference to marijuana, for which Armstrong had a lifelong fondness), and "West End Blues", the music of which set the standard and the agenda for jazz for many years to come.

The group included Kid Ory (trombone), Johnny Dodds (clarinet), Johnny St. Cyr (banjo), wife Lil on piano, and usually no drummer. Armstrong’s bandleading style was easygoing, as St. Cyr noted, "One felt so relaxed working with him and he was very broad-minded ... always did his best to feature each individual."^[20] His recordings soon after with pianist Earl "Fatha" Hines (most famously their 1928 Weatherbird duet) and Armstrong's trumpet introduction to "West End Blues" remain some of the most famous and influential improvisations in jazz history. Armstrong was now free to develop his personal style as he wished, which included a heavy dose of effervescent jive, such as "whip that thing, Miss Lil" and "Mr. Johnny Dodds, Aw, do that clarinet, boy!"^[21]

Armstrong also played with Erskine Tate’s Little Symphony, actually a quintet, which played mostly at the Vendome Theatre. They furnished music for silent movies and live shows, including jazz versions of classical music, such as “Madame Butterfly,” which gave Armstrong experience with longer forms of music and with hosting before a large audience. He began to scat sing (improvised vocal jazz using non-sensical words) and was among the first to record it, on "Heebie Jeebies" in 1926. So popular was the recording the group became the most famous jazz band in the USA even though they as yet had not performed live to any great degree. Young musicians across the country, black or white, were turned on by Armstrong’s new type of jazz.^[22]

After separating from Lil, Armstrong started to play at the Sunset Café for Al Capone's associate Joe Glaser in the Carroll Dickerson Orchestra, with Earl Hines on piano, which was soon renamed Louis Armstrong and his Stompers,^[23] though Hines was the music director and Glaser managed the orchestra. Hines and Armstrong became fast friends as well as successful collaborators.

Armstrong returned to New York, in 1929, where he played in the pit orchestra of the successful musical Hot Chocolate, an all-black revue written by Andy Razaf and pianist/composer Fats Waller. He also made a cameo appearance as a vocalist, regularly stealing the show with his rendition of "Ain't Misbehavin'", his version of the song becoming his biggest selling record to date.^[24]

Armstrong started to work at Connie's Inn in Harlem, chief rival to the Cotton Club, a venue for elaborately staged floor shows,^[25] and a front for gangster Dutch Schultz. Armstrong also had considerable success with vocal recordings, including versions of famous songs composed by his old friend Hoagy Carmichael. His 1930s recordings took full advantage of the new RCA ribbon microphone, introduced in 1931, which imparted a characteristic warmth to vocals and immediately became an intrinsic part of the 'crooning' sound of artists like Bing Crosby. Armstrong's famous interpretation of Hoagy Carmichael's "Stardust" became one of the most successful versions of this song ever recorded, showcasing Armstrong's unique vocal sound and style and his innovative approach to singing songs that had already become standards.

Armstrong's radical re-working of Sidney Arodin and Carmichael's "Lazy River" (recorded in 1931) encapsulated many features of his groundbreaking approach to melody and phrasing. The song begins with a brief trumpet solo, then the main melody is stated by sobbing horns, memorably punctuated by Armstrong's growling interjections at the end of each bar: "Yeah! ..."Uh-huh" ..."Sure" ... "Way down, way down." In the first verse, he ignores the notated melody entirely and sings as if playing a trumpet solo, pitching most of the first line on a single note and using strongly syncopated phrasing. In the second stanza he breaks into an almost fully improvised melody, which then evolves into a classic passage of Armstrong "scat singing".

As with his trumpet playing, Armstrong's vocal innovations served as a foundation stone for the art of jazz vocal interpretation. The uniquely gritty coloration of his voice became a musical archetype that was much imitated and endlessly impersonated. His scat singing style was enriched by his matchless experience as a trumpet soloist. 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.

The Depression of the early Thirties was especially hard on the jazz scene. The Cotton Club closed in 1936 after a long downward spiral and many musicians stopped playing altogether as club dates evaporated. Bix Beiderbecke died and Fletcher Henderson’s band broke up. King Oliver made a few records but otherwise struggled. Sidney Bechet became a tailor and Kid Ory returned to New Orleans and raised chickens.^[26] Armstrong moved to Los Angeles in 1930 to seek new opportunities. He played at the New Cotton Club in LA with Lionel Hampton on drums. The band drew the Hollywood crowd, which could still afford a lavish night life, while radio broadcasts from the club connected with younger audiences at home. Bing Crosby and many other celebrities were regulars at the club. In 1931, Armstrong appeared in his first movie, Ex-Flame. Armstrong was convicted of marijuana possession but received a suspended sentence.^[27] He returned to Chicago in late 1931 and played in bands more in the Guy Lombardo vein and he recorded more standards. When the mob insisted that he get out of town, Armstrong visited New Orleans, got a hero’s welcome and saw old friends. He sponsored a local baseball team known as “Armstrong’s Secret Nine” and got a cigar named after himself.^[28] But soon he was on the road again and after a tour across the country shadowed by the mob, Armstrong decided to go to Europe to escape.

After returning to the States, he undertook several exhausting tours. His agent Johnny Collins’ erratic behavior and his own spending ways left Armstrong short of cash. Breach of contract violations plagued him. Finally, he hired Joe Glaser as his new manager, a tough mob-connected wheeler-dealer, who began to straighten out his legal mess, his mob troubles, and his debts. Armstrong also began to experience problems with his fingers and lips, which were aggravated by his unorthodox playing style. As a result he branched out, developing his vocal style and making his first theatrical appearances. He appeared in movies again, including Crosby's 1936 hit Pennies from Heaven. In 1937, Armstrong substituted for Rudy Vallee on the CBS radio network and became the first African American to host a sponsored, national broadcast.^[29] He finally divorced Lil in 1938 and married longtime girlfriend Alpha.

After spending many years on the road, Armstrong settled permanently in Queens, New York in 1943 in contentment with his fourth wife, Lucille. Although subject to the vicissitudes of Tin Pan Alley and the gangster-ridden music business, as well as anti-black prejudice, he continued to develop his playing. He recorded Hoagy Carmichael's Rockin' Chair for Okeh Records.

During the subsequent thirty years, Armstrong played more than three hundred gigs a year. Bookings for big bands tapered off during the 1940s due to changes in public tastes: ballrooms closed, and there was competition from television and from other types of music becoming more popular than big band music. It became impossible under such circumstances to support and finance a 16-piece touring band.

The All Stars[link]

Louis Armstrong in 1953

Following a highly successful small-group jazz concert at New York Town Hall on May 17, 1947, featuring Armstrong with trombonist/singer Jack Teagarden, Armstrong's manager Joe Glaser dissolved the Armstrong big band on August 13, 1947 and established a six-piece small group featuring Armstrong with (initially) Teagarden, Earl Hines and other top swing and dixieland musicians, most of them ex-big band leaders. The new group was announced at the opening of Billy Berg's Supper Club.

This group was called Louis Armstrong and his All Stars and included at various times Earl "Fatha" Hines, Barney Bigard, Edmond Hall, Jack Teagarden, Trummy Young, Arvell Shaw, Billy Kyle, Marty Napoleon, Big Sid Catlett, Cozy Cole, Tyree Glenn, Barrett Deems, Joe Darensbourg and the Filipino-American percussionist, Danny Barcelona. During this period, Armstrong made many recordings and appeared in over thirty films. He was the first jazz musician to appear on the cover of Time Magazine on February 21, 1949.

In 1964, he recorded his biggest-selling record, "Hello, Dolly!" The song went to #1 on the pop chart, making Armstrong (age 63) the oldest person to ever accomplish that feat. In the process, Armstrong dislodged The Beatles from the #1 position they had occupied for 14 consecutive weeks with three different songs.^[30]

Armstrong kept up his busy tour schedule until a few years before his death in 1971. In his later years he would sometimes play some of his numerous gigs by rote, but other times would enliven the most mundane gig with his vigorous playing, often to the astonishment of his band. He also toured Africa, Europe, and Asia under sponsorship of the US State Department with great success, earning the nickname "Ambassador Satch." While failing health restricted his schedule in his last years, within those limitations he continued playing until the day he died.

Death[link]

Armstrong died of a heart attack in his sleep on July 6, 1971, a month before his 70th birthday,^[31] and 11 months after playing a famous show at the Waldorf-Astoria's Empire Room.^[32] He was residing in Corona, Queens, New York City, at the time of his death.^[33] He was interred in Flushing Cemetery, Flushing, in Queens, New York City.^[34]

His honorary pallbearers included Bing Crosby, Ella Fitzgerald, Dizzy Gillespie, Pearl Bailey, Count Basie, Harry James, Frank Sinatra, Ed Sullivan, Earl Wilson, Alan King, Johnny Carson and David Frost.^[35] Peggy Lee sang The Lord's Prayer at the services while Al Hibbler sang "Nobody Knows the Trouble I've Seen" and Fred Robbins, a long-time friend, gave the eulogy.^[36]

Autograph of Armstrong on the muretto of Alassio

Personal life[link]

Personality[link]

This section may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (November 2011)

Armstrong was a colorful character. His own biography vexes biographers and historians, because he had a habit of telling tales, particularly of his early childhood, when he was less scrutinized, and his embellishments of his history often lack consistency.

He was not only an entertainer. Armstrong was a leading personality of the day who was so beloved by America that gave even the greatest African American performers little access beyond their public celebrity, that he was able to live privately a life of access and privilege accorded to few other African Americans.

He tried to remain politically neutral, which gave him a large part of that access, but often alienated him from members of the black community who looked to him to use his prominence with white America to become more of an outspoken figure during the Civil Rights Era of U.S. history.

Nicknames[link]

The nicknames Satchmo and Satch are short for Satchelmouth. Like many things in Armstrong's life, which was filled with colorful stories both real and imagined, many of his own telling, the nickname has many possible origins.

The most common tale that biographers tell is the story of Armstrong as a young boy dancing for pennies in the streets of New Orleans, who would scoop up the coins off of the streets and stick them into his mouth to avoid having the bigger children steal them from him. Someone dubbed him "satchel mouth" for his mouth acting as a satchel. Another tale is that because of his large mouth, he was nicknamed "satchel mouth" which became shortened to Satchmo.

Early on he was also known as Dipper, short for Dippermouth, a reference to the piece Dippermouth Blues.^[37] and something of a riff on his unusual embouchure.

The nickname Pops came from Armstrong's own tendency to forget people's names and simply call them "pops" instead. The nickname was soon turned on Armstrong himself. It was used as the title of a 2010 biography of Armstrong by Terry Teachout.

Armstrong and race[link]

Armstrong was largely accepted into white society, both on stage and off, a privilege reserved for very few African-American public figures, and usually those of either exceptional talent and fair skin-tone. As his fame grew, so did his access to the finer things in life usually denied to a black man, even a famous one. His renown was such that he dined in the best restaurants and stayed in hotels usually exclusively for whites.^[38]

It was a power and privilege that he enjoyed, although he was very careful not to flaunt it with fellow performers of color, and privately, he shared what access that he could with friends and fellow musicians.

That still did not prevent members of the African-American community, particularly in the late 1950s to the early 1970s, from calling him an Uncle Tom, a black-on-black racial epithet for someone who kowtowed to white society at the expense of their own racial identity.

He was criticized for accepting the title of "King of The Zulus" for Mardi Gras in 1949. In the New Orleans African-American community it is an honored role as the head of leading black Carnival Krewe, but bewildering or offensive to outsiders with their traditional costume of grass-skirts and blackface makeup satirizing southern white attitudes.

Some musicians criticized Armstrong for playing in front of segregated audiences, and for not taking a strong enough stand in the civil rights movement.^[39]

Billie Holiday countered, however, "Of course Pops toms, but he toms from the heart."^[40]

The few exceptions made it more effective when he did speak out. Armstrong's criticism of President Eisenhower, calling him "two-faced" and "gutless" because of his inaction during the conflict over school desegregation in Little Rock, Arkansas in 1957 made national news.

As a protest, Armstrong canceled a planned tour of the Soviet Union on behalf of the State Department saying "The way they're treating my people in the South, the government can go to hell" and that he could not represent his government abroad when it was in conflict with its own people.^[41] Six days after Armstrong's comments, Eisenhower ordered Federal troops to Little Rock to escort students into the school.^[42]

The FBI kept a file on Armstrong, for his outspokenness about integration.^[43]

Religion[link]

When asked about his religion, Armstrong would answer that he was raised a Baptist, always wore a Star of David, and was friends with the Pope.^[44] Armstrong wore the Star of David in honor of the Karnofsky family, who took him in as a child and lent him the money to buy his first cornet. Louis Armstrong was, in fact, baptized as a Catholic at the Sacred Heart of Jesus Church in New Orleans,^[44] and he met popes Pius XII and Paul VI, though there is no evidence that he considered himself Catholic. Armstrong seems to have been tolerant towards various religions, but also found humor in them.

Personal habits[link]

Purging[link]

Armstrong was also greatly concerned with his health and bodily functions. He made frequent use of laxatives as a means of controlling his weight, a practice he advocated both to personal acquaintances and in the diet plans he published under the title Lose Weight the Satchmo Way. Armstrong's laxative of preference in his younger days was Pluto Water, but he then became an enthusiastic convert when he discovered the herbal remedy Swiss Kriss. He would extol its virtues to anyone who would listen and pass out packets to everyone he encountered, including members of the British Royal Family. (Armstrong also appeared in humorous, albeit risqué, cards that he had printed to send out to friends; the cards bore a picture of him sitting on a toilet—as viewed through a keyhole—with the slogan "Satch says, 'Leave it all behind ya!'")^[45] The cards have sometimes been incorrectly described as ads for Swiss Kriss.^[46]

In a live recording of "Baby, It's Cold Outside" with Velma Middleton, he changes the lyric from "Put another record on while I pour" to "Take some Swiss Kriss while I pour." The line, slightly garbled in the live recording, could just as likely be "Take some Swiss Miss while I pour"—Swiss Miss is a hot chocolate mix that would have been fairly new on the market in 1951. (The line comes at 1:04 in the song.)^[47]

Love of food[link]

The concern with his health and weight was balanced by his love of food, reflected in such songs as "Cheesecake", "Cornet Chop Suey,"^[48] though "Struttin’ with Some Barbecue" was written about a fine-looking companion, not about food.^[49] He kept a strong connection throughout his life to the cooking of New Orleans, always signing his letters, "Red beans and ricely yours..."^[50]

Writings[link]

Armstrong’s gregariousness extended to writing. On the road, he wrote constantly, sharing favorite themes of his life with correspondents around the world. He avidly typed or wrote on whatever stationery was at hand, recording instant takes on music, sex, food, childhood memories, his heavy "medicinal" marijuana use—and even his bowel movements, which he gleefully described.^[51] He had a fondness for lewd jokes and dirty limericks as well.

Social organizations[link]

Louis Armstrong was not, as is often claimed, a Freemason. Although he is usually listed as being a member of Montgomery Lodge No. 18 (Prince Hall) in New York, no such lodge has ever existed. Armstrong states in his autobiography, however, that he was a member of the Knights of Pythias, which is not a Masonic group.^[52]

Music[link]

Horn playing and early jazz[link]

In his early years, Armstrong was best known for his virtuosity with the cornet and trumpet. The greatest trumpet playing of his early years can be heard on his Hot Five and Hot Seven records, as well as the Red Onion Jazz Babies. The improvisations he made on these records of New Orleans jazz standards and popular songs of the day are unsurpassed by later jazz performers. The older generation of New Orleans jazz musicians often referred to their improvisations as "variating the melody." Armstrong's improvisations were daring and sophisticated for the time, while often subtle and melodic.

He often essentially re-composed pop-tunes he played, making them more interesting. Armstrong's playing is filled with joyous, inspired original melodies, creative leaps, and subtle relaxed or driving rhythms. The genius of these creative passages is matched by Armstrong's playing technique, honed by constant practice, which extended the range, tone and capabilities of the trumpet. In these records, Armstrong almost single-handedly created the role of the jazz soloist, taking what was essentially a collective folk music and turning it into an art form with tremendous possibilities for individual expression.

Armstrong's work in the 1920s shows him playing at the outer limits of his abilities. The Hot Five records, especially, often have minor flubs and missed notes, which do little to detract from listening enjoyment since the energy of the spontaneous performance comes through. By the mid 1930s, Armstrong achieved a smooth assurance, knowing exactly what he could do and carrying out his ideas to perfection.

He was one of the first artists to use recordings of his performances to improve himself. Armstrong was an avid audiophile. He had a large collection of recordings, including reel-to-reel tapes, which he took on the road with him in a trunk during his later career. He enjoyed listening to his own recordings, and comparing his performances musically. In the den of his home, he had the latest audio equipment and would sometimes rehearse and record along with his older recordings or the radio.^[53]

Vocal popularity[link]

As his music progressed and popularity grew, his singing also became very important. Armstrong was not the first to record scat singing, but he was masterful at it and helped popularize it. He had a hit with his playing and scat singing on "Heebie Jeebies" when, according to some legends, the sheet music fell on the floor and he simply started singing nonsense syllables. Armstrong stated in his memoirs that this actually occurred. He also sang out "I done forgot the words" in the middle of recording "I'm A Ding Dong Daddy From Dumas."

Such records were hits and scat singing became a major part of his performances. Long before this, however, Armstrong was playing around with his vocals, shortening and lengthening phrases, interjecting improvisations, using his voice as creatively as his trumpet.

Colleagues and followers[link]

During his long career he played and sang with some of the most important instrumentalists and vocalists of the time; among them were Bing Crosby, Duke Ellington, Fletcher Henderson, Earl Hines, the singing brakeman Jimmie Rodgers, Bessie Smith and perhaps most famously Ella Fitzgerald.

His influence upon Bing Crosby is particularly important with regard to the subsequent development of popular music: Crosby admired and copied Armstrong, as is evident on many of his early recordings, notably "Just One More Chance" (1931). The New Grove Dictionary Of Jazz describes Crosby's debt to Armstrong in precise detail, although it does not acknowledge Armstrong by name:

Crosby... was important in introducing into the mainstream of popular singing an Afro-American concept of song as a lyrical extension of speech... His techniques - easing the weight of the breath on the vocal cords, passing into a head voice at a low register, using forward production to aid distinct enunciation, singing on consonants (a practice of black singers), and making discreet use of appoggiaturas, mordents, and slurs to emphasize the text - were emulated by nearly all later popular singers.

Armstrong recorded three albums with Ella Fitzgerald: Ella and Louis, Ella and Louis Again, and Porgy and Bess for Verve Records, with the sessions featuring the backing musicianship of the Oscar Peterson Trio and drummer Buddy Rich. His recordings Satch Plays Fats, all Fats Waller tunes, and Louis Armstrong Plays W.C. Handy in the 1950s were perhaps among the last of his great creative recordings, but even oddities like Disney Songs the Satchmo Way are seen to have their musical moments. And, his participation in Dave Brubeck's high-concept jazz musical The Real Ambassadors was critically acclaimed. For the most part, however, his later output was criticized as being overly simplistic or repetitive.

Hits and later career[link]

Armstrong had many hit records including "Stardust", "What a Wonderful World", "When The Saints Go Marching In", "Dream a Little Dream of Me", "Ain't Misbehavin'", "You Rascal You,"and "Stompin' at the Savoy." "We Have All the Time in the World" was featured on the soundtrack of the James Bond film On Her Majesty's Secret Service, and enjoyed renewed popularity in the UK in 1994 when it featured on a Guinness advert. It reached number 3 in the charts on being re-released.

In 1964, Armstrong knocked the Beatles off the top of the Billboard Hot 100 chart with "Hello, Dolly!", which gave the 63-year-old performer a U.S. record as the oldest artist to have a number one song. His 1964 song, "Bout Time" was later featured in the film "Bewitched" (2005).

Armstrong performed in Italy at the 1968 Sanremo Music Festival where he sang "Mi Va di Cantare"^[54] alongside his friend, the Eritrean-born Italian singer Lara Saint Paul.^[55] In February 1968, he also appeared with Lara Saint Paul on the Italian RAI television channel where he performed "Grassa e Bella," a track he sang in Italian for the Italian market and C.D.I. label.^[56]

In 1968, Armstrong scored one last popular hit in the United Kingdom with the highly sentimental pop song "What a Wonderful World", which topped the British charts for a month; however, the single did not chart at all in America. The song gained greater currency in the popular consciousness when it was used in the 1987 movie Good Morning, Vietnam, its subsequent rerelease topping many charts around the world. Armstrong even appeared on the October 28, 1970 Johnny Cash Show, where he sang Nat "King" Cole's hit "Rambling Rose" and joined Cash to re-create his performance backing Jimmie Rodgers on "Blue Yodel #9".

Stylistic range[link]

Armstrong enjoyed many types of music, from blues to the arrangements of Guy Lombardo, to Latin American folksongs, to classical symphonies and opera. Armstrong incorporated influences from all these sources into his performances, sometimes to the bewilderment of fans who wanted him to stay in convenient narrow categories. Armstrong was inducted into Rock and Roll Hall of Fame as an early influence. Some of his solos from the 1950s, such as the hard rocking version of "St. Louis Blues" from the WC Handy album, show that the influence went in both directions.

Literature, radio, films and TV[link]

Armstrong appeared in more than a dozen Hollywood films, usually playing a band leader or musician. His most familiar role was as the bandleader cum narrator in the 1956 musical, High Society, in which he sang the title song and performed a duet with Bing Crosby on "Now You Has Jazz". In 1947, he played himself in the movie New Orleans opposite Billie Holiday, which chronicled the demise of the Storyville district and the ensuing exodus of musicians from New Orleans to Chicago.^[57] In the 1959 film, The Five Pennies (the story of the cornetist Red Nichols), Armstrong played himself as well as singing and playing several classic numbers. With Danny Kaye Armstrong performed a duet of "When the Saints Go Marching In" during which Kaye impersonated Armstrong. Armstrong also had a part in the film alongside James Stewart in The Glenn Miller Story in which Glenn (played by Stewart) jammed with Armstrong and a few other noted musicians of the time.

He was the first African American to host a nationally broadcast radio show in the 1930s. In 1969, Armstrong had a cameo role in the film version of Hello, Dolly! as the bandleader, Louis, to which he sang the title song with actress Barbra Streisand. His solo recording of "Hello, Dolly!" is one of his most recognizable performances.

Armstrong played a bandleader in the television production, "The Lord Don't Play Favorites", on Producers' Showcase in 1956.

He was heard on such radio programs as The Story of Swing (1937) and This Is Jazz (1947), and he also made countless television appearances, especially in the 1950s and 1960s, including appearances on The Tonight Show Starring Johnny Carson.

Many of Armstrong's recordings remain popular. Almost four decades since his passing, a larger number of his recordings from all periods of his career are more widely available than at any time during his lifetime. His songs are broadcast and listened to every day throughout the world, and are honored in various movies, TV series, commercials, and even anime and video games. "A Kiss to Build a Dream On" was included in the video game Fallout 2, accompanying the intro cinematic. It was also used in the 1993 film Sleepless in Seattle and the 2005 film Lord of War. His 1923 recordings, with Joe Oliver and his Creole Jazz Band, continue to be listened to as documents of ensemble style New Orleans jazz, but more particularly as ripper^[jargon] jazz records in their own right. All too often, however, Armstrong recorded with stiff, standard orchestras leaving only his sublime trumpet playing as of interest. "Melancholy Blues," performed by Armstrong and his Hot Seven was included on the Voyager Golden Record sent into outer space to represent one of the greatest achievements of humanity. Most familiar to modern listeners is his ubiquitous rendition of "What a Wonderful World". In 2008, Armstrong's recording of Edith Piaf's famous "La Vie En Rose" was used in a scene of the popular Disney/Pixar film WALL-E. The song was also used in parts, especially the opening trumpets, in the French film Jeux d'enfants (Love Me If You Dare.)

Argentine writer Julio Cortázar, a self-described Armstrong admirer, asserted that a 1952 Louis Armstrong concert at the Théâtre des Champs-Élysées in Paris played a significant role in inspiring him to create the fictional creatures called Cronopios that are the subject of a number of Cortázar's short stories. Cortázar once called Armstrong himself "Grandísimo Cronopio" (The Great Cronopio).

Armstrong appears as a minor fictionalized character in Harry Turtledove's Southern Victory Series. When he and his band escape from a Nazi-like Confederacy, they enhance the insipid mainstream music of the North. A young Armstrong also appears as a minor fictionalized character in Patrick Neate's 2001 novel Twelve Bar Blues, part of which is set in New Orleans, and which was a winner at that year's Whitbread Book Awards.

There is a pivotal scene in 1980s Stardust Memories in which Woody Allen is overwhelmed by a recording of Armstrong's Stardust and experiences a nostalgic epiphany.^[58] The combination of the music and the perfect moment is the catalyst for much of the film's action, prompting the protagonist to fall in love with an ill-advised woman.^[59]

Awards and honors[link]

Grammy Awards[link]

Armstrong was posthumously awarded the Grammy Lifetime Achievement Award in 1972 by the Academy of Recording Arts and Sciences. This Special Merit Award is presented by vote of the Recording Academy's National Trustees to performers who, during their lifetimes, have made creative contributions of outstanding artistic significance to the field of recording.^[60]

Grammy Hall of Fame[link]

Recordings of Armstrong were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance."^[61][62]

Rock and Roll Hall of Fame[link]

The Rock and Roll Hall of Fame listed Armstrong's West End Blues on the list of 500 songs that shaped Rock and Roll.^[63]

Inductions and honors[link]

In 1995, the U.S. Post Office issued a Louis Armstrong 32 cents commemorative postage stamp.

Legacy[link]

The influence of Armstrong on the development of jazz is virtually immeasurable. Yet, his irrepressible personality both as a performer, and as a public figure later in his career, was so strong that to some it sometimes overshadowed his contributions as a musician and singer.

As a virtuoso trumpet player, Armstrong had a unique tone and an extraordinary talent for melodic improvisation. Through his playing, the trumpet emerged as a solo instrument in jazz and is used widely today. He was a masterful accompanist and ensemble player in addition to his extraordinary skills as a soloist. With his innovations, he raised the bar musically for all who came after him.

Though Armstrong is widely recognized as a pioneer of scat singing, Ethel Waters precedes his scatting on record in the 1930s according to Gary Giddins and others.^[65] Billie Holiday and Frank Sinatra are just two singers who were greatly indebted to him. Holiday said that she always wanted Bessie Smith's 'big' sound and Armstrong's feeling in her singing. Even special musicians like Duke Ellington have praised Armstrong through strong testimonials. Duke Ellington said, "If anybody was a master, it was Louis Armstrong." In 1950, Bing Crosby, the most successful vocalist of the first half of the 20th century, said, "He is the beginning and the end of music in America."

On August 4, 2001, the centennial of Armstrong's birth, New Orleans's airport was renamed Louis Armstrong International Airport in his honor.

In 2002, the Louis Armstrong's Hot Five and Hot Seven recordings (1925–1928) are preserved in the United States National Recording Registry, a registry of recordings selected yearly by the National Recording Preservation Board for preservation in the National Recording Registry of the Library of Congress.^[66]

The US Open tennis tournament's former main stadium was named Louis Armstrong Stadium in honor of Armstrong who had lived a few blocks from the site.^[67]

Today, there are many bands worldwide dedicated to preserving and honoring the music and style of Satchmo, including the Louis Armstrong Society located in New Orleans, LA.

House[link]

The house where Louis Armstrong lived for close to 28 years was declared a National Historic Landmark in 1977 and is now a museum. The Louis Armstrong House Museum, at 34-56 107th Street (between 34th and 37th Avenues) in Corona, Queens, presents concerts and educational programs, operates as a historic house museum and makes materials in its archives of writings, books, recordings and memorabilia available to the public for research. The museum is operated by the City University of New York's Queens College, following the dictates of Lucille Armstrong'swill.

The museum opened to the public on October 15, 2003. A new visitors center is planned.^[68]

Discography[link]

• Louis Armstrong albums
• Louis Armstrong songs

Notes[link]

References[link]

• Armstrong, Louis. Satchmo: My Life in New Orleans. ISBN 0-306-80276-7
• Armstrong, Louis and Thomas Brothers. Armstrong, in His Own Words: Selected Writings. ISBN 0-19-514046-X
• Bergreen, Laurence "Louis Armstrong: An Extravagant Life" ISBN 0-553-06768-0
• Brothers, Thomas "Louis Armstrong's New Orleans" ISBN 0-393-06109-4
• Cogswell, Michael. Armstrong: The Offstage Story. ISBN 1-888054-81-6
• Elie, Lolis Eric. A Letter from New Orleans. Originally printed in Gourmet. Reprinted in Best Food Writing 2006, Edited by Holly Hughes, ISBN 1-56924-287-9
• Jones Max and John Chilton. Louis Armstrong Story. ISBN 0-306-80324-0
• Meckna, Michael. Satchmo: The Louis Armstrong Encyclopedia. ISBN 0-313-30137-9
• Storb, Ilse. "Louis Armstrong: The Definitive Biography". ISBN 0-8204-3103-6

Video clips[link]

	New Orleans portal
	Biography portal

• "Now You Has Jazz"
• "Blueberry Hill"
• "Stompin' At The Savoy" Germany, 1959
• "Tiger Rag"
• "C'est si bon 1962
• "Dream a Little Dream" photo slide show
• "Louis Armstrong and Frank Sinatra - The Birth of The Blues" - The Edsel Show

External links[link]

	Book: Louis Armstrong
Wikipedia books are collections of articles that can be downloaded or ordered in print.

Wikimedia Commons has media related to: Louis Armstrong

Wikiquote has a collection of quotations related to: Louis Armstrong

• louis-armstrong.net - Sony BMG Music Entertainment
• Louis Armstrong by Nat Hentoff
• Obituary, NY Times
• Quotes and tributes
• Discography
• Filmography @ imdb.com
• The Louis Armstrong Society Jazz Band
• Louis Armstrong: A Life in Music - slideshow by Life magazine
• Seeing Black jazz critic on the Uncle Tom question
• the official website of the Louis Armstrong House & Archives
• "Louis Armstrong Transcription Project - john p birchall"
• Louis Armstrong at pbskids.org
• David Margolick, The Day Louis Armstrong Made Noise
• Smithsonian Louis Armstrong: A Cultural Legacy
• Louis Armstrong at NPR Music
• Louis Armstrong in Athens, Blog of the Digital Library of Georgia
• Louis Armstrong: discography and early recordings (Real Player format) on the Red Hot Jazz website.
• Milestone Louis Armstrong recordings at Three Perfect Minutes
• Louis Armstrong's autobiography online book
  • "Satchmo - My Life in New Orleans(1954)" free download
  • "Satchmo - My Life in New Orleans" another website
• Louis Armstrong collected news and commentary at The New York Times
• Works by or about Louis Armstrong in libraries (WorldCat catalog)
• Louis Armstrong discography at Discogs

Eubie Blake
Background information
Birth name	James Hubert Blake
Born	(1887-02-07)February 7, 1887 Baltimore, Maryland, USA
Died	February 12, 1983(1983-02-12) (aged 96) Brooklyn, New York, USA
Genres	Jazz, popular, ragtime
Occupations	Composer, pianist
Labels	Emerson, Victor
Associated acts	Noble Sissle

James Hubert Blake (February 7, 1887^[1][2][3] – February 12, 1983) was an American composer, lyricist, and pianist of ragtime, jazz, and popular music. In 1921, Blake and long-time collaborator Noble Sissle wrote the Broadway musical Shuffle Along, one of the first Broadway musicals to be written and directed by African Americans. Blake's compositions included such hits as, "Bandana Days", "Charleston Rag", "Love Will Find A Way", "Memories of You", and "I'm Just Wild About Harry". The musical Eubie! featured the works of Blake and opened on Broadway in 1978.

Biography[link]

Early years[link]

Blake was born at 319 Forrest Street in Baltimore, Maryland to former slaves John Sumner Blake (1838–1917) and Emily "Emma" Johnstone (1861–1917).^[1][2][3] He was the only surviving child of eight, all the rest of whom died in infancy. In 1894 the family moved to 414 North Eden Street, and later to 1510 Jefferson Street. John Blake worked earning US$9.00 weekly as a stevedore on the Baltimore docks.

In later years Blake claimed to have been born in 1883, but his Social Security application and all other official documents issued in the first half of his life list his year of birth as 1887. Many otherwise reliable sources mistakenly give his year of birth as the earlier year, reprinting the false information that had been printed before these official documents and census records came to light.

Music[link]

Cover page for "I'm Just Wild About Harry" from the musical Shuffle Along by Noble Sissle and Eubie Blake, 1921.

Blake's musical training began when he was just four or five years old. While out shopping with his mother, he wandered into a music store, climbed on the bench of an organ, and started "foolin’" around. When his mother found him, the store manager said to her: "The child is a genius! It would be criminal to deprive him of the chance to make use of such a sublime, God-given talent." The Blakes purchased a pump organ for US$75.00 making payments of 25 cents a week. When Blake was seven, he received music lessons from their neighbor, Margaret Marshall, an organist from the Methodist church.^[4] At age fifteen, without knowledge of his parents, he played piano at Aggie Shelton’s Baltimore bordello. Blake got his first big break in the music business when world champion boxer Joe Gans hired him to play the piano at Gans' Goldfield Hotel, the first "black and tan club" in Baltimore in 1907.

Blake said he first composed the melody to the "Charleston Rag" in 1899, which would have made him 12 years old, but he did not commit it to paper until 1915, when he learned to write in musical notation.

In 1912, Blake began playing in vaudeville with James Reese Europe's "Society Orchestra" which accompanied Vernon and Irene Castle's ballroom dance act. The band played ragtime music which was still quite popular at the time. Shortly after World War I, Blake joined forces with performer Noble Sissle to form a vaudeville music duo, the "Dixie Duo." After vaudeville, the pair began work on a musical revue, Shuffle Along, which incorporated many songs they had written, and had a book written by F. E. Miller and Aubrey Lyles. When it premiered in June 1921, Shuffle Along became the first hit musical on Broadway written by and about African-Americans. The musicals also introduced hit songs such as "I'm Just Wild About Harry" and "Love Will Find a Way."^[5]

In 1923, Blake made three films for Lee DeForest in DeForest's Phonofilm sound-on-film process. They were Noble Sissle and Eubie Blake featuring their song "Affectionate Dan", Sissle and Blake Sing Snappy Songs featuring "Sons of Old Black Joe" and "My Swanee Home", and Eubie Blake Plays His Fantasy on Swanee River featuring Blake performing his "Fantasy on Swanee River". These films are preserved in the Maurice Zouary film collection in the Library of Congress collection.

Personal and later life[link]

In July 1910, Blake married Avis Elizabeth Cecelia Lee (1881–1938), proposing to her in a chauffeur-driven car he hired. Blake and Lee met around 1895 while both attended Primary School No. 2 at 200 East Street in Baltimore. In 1910 Blake brought his newlywed to Atlantic City, New Jersey, where he had already found employment at the Boathouse nightclub.

The headstone of Eubie Blake in Cypress Hills Cemetery; note inscription with the false birth date

In 1938 Avis was diagnosed with tuberculosis and died later that year at 58. Of his loss, Blake is on record saying, "In my life I never knew what it was to be alone. At first when Avis got sick, I thought she just had a cold, but when time passed and she didn’t get better, I made her go to a doctor and we found out she had TB … I suppose I knew from when we found out she had the TB, I understood that it was just a matter of time."^[4]

While serving as bandleader with the United Service Organizations (USO) during World War II, Blake met and married Marion Grant Tyler, widow of violinist Willy Tyler, in 1945. Tyler, also a performer and a businesswoman, became his valued business manager until her death in 1982.

In 1946, as Blake's career was winding down, he enrolled in New York University, graduating in two and a half years. Later his career revived again culminating in the hit Broadway musical, Eubie!.

In the 1950s, interest in ragtime revived and Blake, one of its last surviving artists, found himself launching yet another career as ragtime artist, music historian, and educator. Blake signed recording deals with 20th Century Records and Columbia Records, lectured and gave interviews at major colleges and universities all over the world, and appeared as guest performer and clinician at top jazz and rag festivals.

He was a frequent guest of The Johnny Carson Show and Merv Griffin. Blake was featured by leading conductors such as Leonard Bernstein and Arthur Fiedler. By 1975 Blake had been awarded honorary doctorates from Rutgers, the New England Conservatory, the University of Maryland, Morgan State University, Pratt Institute, Brooklyn College, and Dartmouth. On October 9, 1981, Blake received the Presidential Medal of Freedom, awarded by President Ronald Reagan.

On March 10, 1979 Blake performed with Gregory Hines on Saturday Night Live.

Blake claimed that he started smoking cigarettes when he was 10 years old, and continued to smoke all his life. The fact that he smoked for 85 years was used by some politicians in tobacco-growing states to build support against anti-tobacco legislation.

Blake continued to play and record into late life, until his death. Eubie Blake died February 12, 1983 in Brooklyn, just five days after celebrating his (claimed) 100th birthday (actually his 96th—see below). He was interred in the Cypress Hills Cemetery in Brooklyn, New York. His head stone,engraved with the musical notation for I'm Just Wild About Harry, was commissioned by the African Atlantic Genealogical Society (AAGS). The bronze sculpture of Eubie's bespectacled face was created by David Byer-Tyre, Curator/Director of the African American Museum and Center for Education and Applied Arts, Hempstead NY. The original inscription indicated his correct year of birth, but individuals close to him insisted that Eubie be indulged; and paid to have the inscription changed.

Age discrepancy[link]

In later years Blake listed his birth year as 1883; his 100th birthday was celebrated in 1983. Most sources, including the Encyclopædia Britannica,^[6] and a U.S. Library of Congress biography,^[7] incorrectly list his birth year as 1883 based on his word. Every official document issued by the government, however, records his birthday as February 7, 1887. This includes the 1900 Census,^[3] his 1917 World War I draft registration,^[1] 1920 passport application,^[2] 1936 Social Security application, and death records as reported by the United States Social Security Administration.^[8] Peter Hanley writes: "In the final analysis, however, the fact that he was only ninety-six years of age and not one hundred when he died does not in any way detract from his extraordinary achievements. Eubie will always remain among the finest popular composers and songwriters of his era."^[9]

Timeline[link]

Honors and awards[link]

• 1969: Eubie Blake's nomination for a Grammy Award for The 86 Years of Eubie Blake in the category of "Best Instrumental Jazz Performance, Small Group or Soloist with Small Group".^[10]
• 1972: Omega Psi Phi Scroll of Honor
• 1974: Diploma, Rutgers University Doctor of Fine Arts^[11]
• 1974: Diploma, Dartmouth College, Doctor of Humane Letters
• 1978: Diploma, University of Maryland Doctor of Fine Arts
• 1979: Diploma, Morgan State University Doctor of Music
• 1980: Received the Johns Hopkins University's, George Peabody Medal
• 1981: Received the Presidential Medal of Freedom on October 9, 1981, awarded by President Ronald Reagan.
• 1982: Diploma, Howard University Doctor of Music
• 1983: Inducted in the Big Band and Jazz Hall of Fame
• 1995: The United States Postal Service issued a stamp in his honor.
• 1995: Inducted into the New York's American Theatre Hall of Fame.^[12]
• 1998: James Hubert Blake High School was built in Cloverly, Maryland in his honor. Eubie Blake HS has a strong focus on the performing arts.
• 2006: The album The Eighty-Six Years of Eubie Blake (1969) was included by the National Recording Preservation Board in the Library of Congress' National Recording Registry.^[13] The board selects songs in an annual basis that are "culturally, historically, or aesthetically significant."

See also[link]

Biography portal

	"I'm Just Wild About Harry" Instrumental version of "I'm Just Wild About Harry" recorded 17 May 1922. Duration 3:54.
Problems listening to this file? See media help.

• African American musical theater
• Age fabrication
• Black and Blue (musical)

References[link]

Further reading[link]

• Rose, Al (1979). Eubie Blake. New York: Schirmer Books. ISBN 0-02-872170-5. 
• Salute to Eubie Blake; The Rag Times; May/June 1969
• New York Times; December 27, 1982, Monday. "Eubie Blake Birthday Party. In honor of Eubie Blake's 100th birthday, St. Peter's Church, at Lexington Avenue and 54th Street, will hold a 24-hour celebration beginning at midnight February 6. The tribute to the composer will feature a host of musicians, vocalists and dancers, including Billy Taylor, Bobby Short, Dick Hyman, Honi Coles and the Copacetics, Bill Bolcom and Joan Morris, Max Morath, Marianne McPartland, Maurice Hines and Cab Calloway. Mr. Blake, born in Baltimore February 7, 1882, may attend."
• New York Times; February 13, 1983, Sunday. "Five days after his 100th birthday was celebrated with gala performances of his music, Eubie Blake, the composer and pianist whose career covered a span from the ragtime era in the 19th century to the contemporary Broadway theater a year ago, died yesterday at his home in Brooklyn"
• Waldo, Terry (2009). This is Ragtime. New York: Jazz at Lincoln Center Library Editions. ISBN 978-1-934793-01-5. 

External links[link]

Wikisource has original text related to this article: Eubie Blake

• Eubie Blake at Find a Grave
• Eubie Blake at the Internet Broadway Database
• Eubie Blake at the Internet Movie Database
• The Eubie Blake National Jazz Institute and Cultural Center Baltimore, MD
• The Eubie Blake Collection at the Maryland Historical Society
• Eubie Blake & Ragtime includes transcription of 1970 interview with Blake
• James Hubert Blake's WWI Draft Registration Card and essay

Leonard Geoffrey Feather (13 September 1914 – 22 September 1994) was a British-born jazz pianist, composer, and producer who was best known for his music journalism and other writing.

Biography[link]

Feather was born in London into a strictly conformist upper middle-class Jewish family. He learned to play the piano and clarinet without formal training and started writing about jazz and film by his late teens. At age of twenty-one, Feather made his first visit to the United States, and after working in the U.K. and the U.S. as a record producer finally settled in New York City in 1939, where he lived until moving to Los Angeles in 1960. Feather was co-editor of the Metronome magazine^[1] and served as chief jazz critic for the Los Angeles Times until his death. He died in Sherman Oaks, California at age eighty.

Feather's compositions have been widely recorded, including "Evil Gal Blues" and "Blowtop Blues" by Dinah Washington, and what is possibly his biggest hit, "How Blue Can You Get?" by blues artists Louis Jordan and B. B. King, and some of his own recordings as a bandleader are still available. But it was as a writer on jazz (as a journalist, critic, historian, and campaigner) that he made his biggest mark: "Feather was for a long time the most widely read and most influential writer on jazz."^[2] Even jazz enthusiasts who didn't read his books and articles would have known him from the liner notes that he wrote for hundreds of jazz albums.

He wrote the lyrics to the jazz song "Whisper Not" which was then recorded by Ella Fitzgerald on her 1966 Verve release of the same name.

He is the father of lyricist/songwriter Lorraine Feather.

Bibliography[link]

• 1956: The Encyclopedia Yearbook of Jazz (Horizon)
  • 1993 reprint (Da Capo) ISBN 0-306-80529-4
• 1963: Laughter from the Hip co-written with Jack Tracy (Da Capo) ISBN 978-0-306-80092-4
• 1966: The Encyclopedia of Jazz in the Sixties
• 1977: Inside Jazz (Da Capo) ISBN 0-306-80076-4
• 1977: Pleasures of Jazz (Delacorte) ISBN 0-385-28786-0
• 1987: From Satchmo to Miles (Da Capo) ISBN 1-4176-1892-2
• 1987: Encyclopedic Yearbook of Jazz reprint (Da Capo) ISBN 0-306-76289-7
• 1987: The Jazz Years — Earwitness to an Era (Da Capo)
• 1988: Book of Jazz (Horizon) ISBN 0-8180-1202-1
• 1999: The Biographical Encyclopedia of Jazz co-written with Ira Gitler, second (revised) edition (Oxford University Press) ISBN 0-19-507418-1
• 2000: Oxford Dictionary of National Biography

Discography[link]

• 1937–1945: Leonard Feather 1937–1945 (Classics)
• 1951: Leonard Feather's Swingin' Swedes (Prestige)
• 1954: Dixieland vs. Birdland (MGM)
• 1954: Cats Vs. Chicks (MGM)
• 1954: Winter Sequence (MGM)
• 1956: West Coast vs. East Coast (MGM)
• 1956: Swingin' on the Vibories (MGM)
• 1957: Hi-Fi Suite (MGM)
• 1957: 52nd Street (VSOP)
• 1958: Swingin' Seasons (MGM)
• 1959: Jazz from Two Sides (Concept)
• 1971: Night Blooming Jazzmen featuring Kittie Doswell (Mainstream)
• 1971: Freedom Jazz Dance (Mainstream)
• 1971–1972: Night Blooming (Mainstream)
• 1972: All-Stars (Mainstream)
• 1997: Presents Bop (Tofrec)

References[link]

External links[link]

• The Leonard Feather Collection, part of the International Jazz Collections at the University of Idaho Library
• The Leonard Feather Scrapbooks
• Leonard Feather — brief biography by Scott Yanow, for AllMusic.
• Carr, Ian, Digby Fairweather, & Brian Priestley. Jazz: The Rough Guide. London: Rough Guides. ISBN 1-85828-528-3
• Richard Cook & Brian Morton. The Penguin Guide to Jazz on CD 6th edition. ISBN 0-14-051521-6
• Leonard Feather pianist and producer appearing on Continental 78 rpm Jazz Records

John Francis Oscar Arpin
John Arpin at the 1990 Scott Joplin Ragtime Festival in Sedalia, Missouri
Born	(1936-12-03)3 December 1936 Port McNicoll, Ontario, Canada
Died	8 November 2007(2007-11-08) (aged 70) Toronto, Ontario, Canada
Occupation	Canadian composer, recording artist and entertainer, ragtime pianist.

John Francis Oscar Arpin (3 December 1936 – 8 November 2007)^[1] was a Canadian composer, recording artist and entertainer, best known for his work as a virtuoso ragtime pianist.

Born in Port McNicoll, Ontario Arpin was educated at The Royal Conservatory of Music graduating at the age of sixteen, and the University of Toronto.

Arpin performed and toured widely. He died 8 November 2007 in Toronto, Ontario.

Recording career[link]

Arpin recorded more than sixty albums, mostly of ragtime, but also played Broadway music, pop music, and classical music.

In 2002 he recorded seven CDs of piano solo music on the April Avenue record label. These albums consisted of favorite Broadway themes and familiar pop tunes. While just two compilations are still available in CD format, most of the other tracks can still be found on iTunes. Here is a complete list:

A Nightingale Sang In Berkeley Square, All The Way, An Affair To Remember, Any Dream Will Do, As Time Goes By, Bewitched, Blue Moon, Brian's Song, Cabaret, Call Me Irresponsible, Cheek To Cheek, Climb Every Mountain, Dear Heart, Don't Cry For Me Argentina, Edelweiss, Fly Me To The Moon, Georgia On My Mind, Getting To Know You, Have You Met Miss Jones?, Hello Young Lovers, Here, I Didn't Know What Time It Was, I Left My Heart In San Francisco, I Only Have Eyes For You, I Will Wait For You, If I Loved You, Isn't It Romantic?, It Had To Be You, It Might As Well Be Spring, It's Impossible, I've Got You Under My Skin, Jean, Killing Me Softly, La Mer, Little Girl Blue, Love Is A Many-Splendored Thing, Mame, Manhattan, Memory, Misty, Moon River, More, Mountain Greenery, My Funny Valentine, My Romance, My Way, Nadia's Theme, Oh What a Beautiful Morning, On The Street Where You Live, Once Upon A Time, Over The Rainbow, People, People Will Say We're In Love, Put On A Happy Face, Que Sera, Raindrops Keep Falling On My Head, Sera, Smile, Smoke Gets In Your Eyes, Some Enchanted Evening, Spanish Eyes, Spring Is Here, Star Dust, Stranger On The Shore, Tammy, The Blue Room, The Days Of Wine And Roses, The Entertainer, The Look Of Love, The Music Of The Night, The Shadow Of Your Smile, The Sound Of Music, The Surrey With The Fringe On Top, The Way We Were, Theme From "Nicholas And Alexandra", There And Everywhere, There's A Small Hotel, Till There Was You, Tomorrow, Unchained Melody, Unforgettable, We Kiss In A Shadow, What I Did For Love, What Kind Of Fool Am I?, When I Fall In Love, Where Or When, Who Can I Turn To?, With A Song In My Heart, Yesterday, You Took Advantage Of Me

Performances[link]

Arpin performed as a solo entertainer and with orchestras throughout the world. In Canada, he performed with Maureen Forrester and Peter Appleyard.

Awards[link]

Arpin was nominated three times for Juno Awards, given to show excellence in Canadian music. In June 1998, he won the Scott Joplin Award from the Scott Joplin Foundation of Sedalia, Missouri.

Critical acclaim[link]

Ragtime great Eubie Blake pronounced John Arpin "the Chopin of Ragtime", while The New York Times labeled him "the Richter of Ragtime". High Fidelity magazine said of one of his albums: "This is the best recorded collection of piano rags that I know of and is, I suspect, the most authentically performed."

Compositions[link]

Notable among his own compositions are "Jogging Along" (a theme song for the acclaimed CBC radio program Morningside). He also composed the theme for TVOntario's children's shows, Polka Dot Door and Polka Dot Shorts and wrote the music for the shows. Arpin also composed the themes for several CTV network shows in the 1960s. His "Lyric Suite for Piano, Strings and Percussion" won first prize out of 450 entrants in the Yamaha Second International Original Concert in Tokyo. He also arranged music for several Canadian recording acts.

In 2005, he was commissioned by St. Michael's Choir School (Toronto) to compose and arrange a "medley" of Christmas tunes which he titled "Yuletide on the Cool Side". It was very warmly received in its premiere on a concert tour across Canada.

Further reading[link]

• Popple, Robert. John Arpin Keyboard Virtuoso. Dundurn Press. ISBN 978-1-55002-866-9. 

References[link]

1. ^ "Pianist was 'Chopin of ragtime'". Ottawa Citizen. 10 November 2007. http://www.canada.com/ottawacitizen/news/arts/story.html?id=330f07f0-beb3-4a0f-ae29-70173376582a. Retrieved 2010-02-26. 

External links[link]

Wikimedia Commons has media related to: John Arpin

• Canadian Encyclopedia entry
• Arpin's personal web site
• JohnAndMaryJane.blogspot Blog maintained by Arpin's wife