louis armstrong quotes about new orleans


He had already been the target of a bombing, during an integrated performance at Knoxville’s Chilhowee Park auditorium, in February, 1957. Yes, unfortunately, there were.

The moonlight on the bayou a creole tune that fills the air.

They are something that is, and will be, listened to again and again. How about all them wars all over the place? Is there one blues guy who was the most sophisticated and influential, like Duke Ellington or Louis Armstrong in jazz?

To insist on the value of vernacular culture and to reject assimilation was not an idle position to take. I loved this book. Things like old folks singing in the moonlight in the back yard on a hot night or something said long ago.”, “Do you know what it means to miss New Orleans. Those characters are a colorful bunch. I find his raspy voice and incredible horn playing refreshingly unique. "In all my whole career the Brick House was one of the toughest joints I ever played in. “These same society people may go around the corner and lynch a Negro.”, Armstrong chose his battles carefully. Always love it.” -- Louis Armstrong, “Every time I close my eyes blowing that trumpet of mine, I look right into the heart of good old New Orleans. It has given me something to live for. My dad thought my teeth came together in a way that was perfect for playing the trumpet. Soon he became very famous and successful, landing him the deal of his career as Chicago’s Dreamland Café’s featured act. This memoir really felt genuine and real. If it's good you don't mess about it, you just enjoy it.” -- Louis Armstrong, “Never play a thing the same way twice.” -- Louis Armstrong, “My whole life, my whole soul, my whole spirit is to blow that horn.” -- Louis Armstrong, “You blows who you is.” -- Louis Armstrong, “I don't need words. Louis Armstrong Quotes. #Cat #People #Lines “Jazz is played from the heart. One musician answers, in a typical stuttering minstrel style, “Aw, Pops, w-we j-just m-muggin’ lightly.” Armstrong starts to answer in that stuttering style, too, then catches himself. Throughout it all, he proudly promoted his love for New Orleans with pride, dignity and charm. reported that State Department officials had conceded that “Soviet propagandists would undoubtedly seize on Mr. Armstrong’s words.”, Doing things Armstrong’s way, no one had to accept responsibility for his actions but Louis Armstrong. Who doesn't love Louis Armstrong and anything he writes or says? If you want to know how New Orleans looked, smelled, and sounded at the dawn of the Jazz Age, it's all here, and it's told as if Louis Armstrong were sitting with you at a honkytonk and talking to you over a beer. On October 31, 1965, Louis (Satchmo) Armstrong gave his first performance in New Orleans, his home town, in nine years. A FANTASTIC book. He would also venture into films, becoming the first African-American to get featured billing in a major Hollywood movie.

Armstrong and his band were thrown in jail as policemen shouted that they needed cotton pickers in the area. Armstrong had happily joined in the home’s parades in the past, but his refusal here can be read as a sign of the times.

His voice remains unassimilated, as well. If lots more of us loved each other, we'd solve lots more problems. As far as music, Louis Armstrong is one of my heroes. Name me a jazz pianist who wasn't influenced by European music! Louis Armstrong playing the trumpet, courtesy of the United States Library of Congress's Prints and Photographs division . Louis Armstrong's personal tale of growing up in New Orleans. This culture is original, potent and seductive. I think this actually probably deserves 4.5 stars. Now, if you'll excuse me, I'm going to learn to cook cubie yon! As Teachout recounts in “Pops,” here Armstrong had leverage, and spoke out. Armstrong’s humble beginnings in New Orleans soon transformed into worldwide stardom. A photo of him as Zulu made the cover of TIME magazine in 1949. You might be able to buy a little better booze than the wino on the corner. A wonderful memoir of the first two decades of Armstrong's life in New Orleans, ending just as he moved up to Chicago to join his boyhood idol, King Oliver. Louis Armstrong grew up in dire poverty in New Orleans, Louisiana. They are the hustlers, madams, pimps, wor. He had played for presidents and royalty from Europe to Africa, released multiple number one records and singles, and toured internationally as a special envoy for the U.S. State Department. My curiosity led me to purchase and read the book, but there was absolutely no mention of anything Jewish in the book. Probably half. As the years passed, Satchmo's star appeal continued to grow. You can even live by it. I enjoyed this book, and I have gained a lot of respect for Armstrong.

Sign up for the Books & Fiction newsletter. When local kids asked Armstrong to join them in a homecoming parade, as he had done with the Colored Waif’s Home in his youth, he said no. Start by marking “Satchmo: My Life in New Orleans” as Want to Read: Error rating book. That's the secret. In 2001, his centennial year, New Orleans International Airport was renamed Louis Armstrong International Airport after him and the Satchmo SummerFest began on his birthday weekend.

Every time I close my eyes blowing that trumpet of mine, I look right into the heart of good old New Orleans. Told in the first person, it is charming and hip. Was it Muddy Waters, Little Walter, Lightnin' Hopkins, John Lee Hooker, B.B. “As for Satchmo himself,” Kopkind wrote, “he seems untouched by all the doubts around him. The legacy of Louis "Satchmo" Armstrong will endure as long as American music is played.

He did not invent scat (as was mistakenly thought for decades), but here he popularized it by cheerfully mocking the song’s inane lyrics with his own nonsensical sound, one that flows along with the melody better than the original words. Satchmo's focus on the players he loved and the characters he ran with, suffused with warmth and good humor throughout, whet my appetite for some serious listening.

What a sweet, honest, talented and kind man! He tells of the musicians he admired and the characters he learned from. Yeah. High energy writing that's clear and full of sauce (though several times the modesty of the times allowed Armstrong to equivocate when I wanted DETAILS!

Downtown/Central Business District Hotels and Lodging, New Orleans Ernest N. Morial Convention Center. By the time of his 1914 release, Armstrong’s longtime love affair with music took a more serious turn when he started learning about older musicians such as Joe ‘King’ Oliver (who later became his mentor), Buddy Petit and Kid Ory.

Honing his skills by playing in early brass bands with Joe "King" Oliver, Bunk Johnson, Kid Ory and others, he replaced Oliver in Ory's band in 1919 when Oliver moved to Chicago. In “Ain’t Misbehavin’,” a widely recorded song of the day, which Armstrong sang in the Broadway musical “Connie’s Hot Chocolates,” he takes a modernist’s approach of distancing himself from the source material, not assimilating. I had to read this for my jazz history class sophomore year in college. To the country at large, he insisted on remaining a breezy entertainer with all the gravitas of a Jimmy Durante or Dean Martin. Though he was a universal figure and celebrity, Armstrong was a New Orleans native who took New Orleans-style music from its raw origins and introduced it to the world as a refined art form. As the pieces come together, a consistency of thought in Armstrong once obscured to us has finally become clear: “You name the country and we’ve just about been there,” he said of his travels with his wife Lucille. He speaks about the importance of tone.

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