Louis Armstrong, byname Satchmo (truncation of “Handbag Mouth”), (brought into the world August 4, 1901, New Orleans, Louisiana, U.S.— passed on July 6, 1971, New York, New York), the main trumpeter and a standout amongst the most persuasive specialists in jazz history.
In spite of the fact that Armstrong professed to be conceived in 1900, different archives, remarkably a baptismal record, show that 1901 was his introduction to the world year. He experienced childhood in desperate destitution in New Orleans, Louisiana, when jazz was youthful. As a youngster he worked at unspecialized temp jobs and sang in a young men’s group of four. In 1913 he was sent to the Colored Waifs Home as an adolescent reprobate. There he figured out how to play cornet in the home’s band, and playing music rapidly turned into an energy; in his adolescents he learned music by tuning in to the pioneer jazz craftsmen of the day, including the main New Orleans cornetist, King Oliver. Armstrong grew quickly: he played in walking and jazz groups, getting to be able enough to supplant Oliver in the significant Kid Ory band around 1918, and in the mid 1920s he played in Mississippi riverboat move groups.
Notoriety coaxed in 1922 when Oliver, at that point driving a band in Chicago, sent for Armstrong to play second cornet. Oliver’s Creole Jazz Band was the summit of the early, contrapuntal New Orleans group style, and it included exceptional artists, for example, the siblings Johnny and Baby Dodds and piano player Lil Hardin, who wedded Armstrong in 1924. The youthful Armstrong ended up well known through his smart group lead and second cornet lines, his cornet two part harmony entries (called “breaks”) with Oliver, and his performances. He recorded his first performances as an individual from the Oliver band in such pieces as “Tolls Blues” and “Tears,” which Lil and Louis Armstrong created.
Empowered by his significant other, Armstrong quit Oliver’s band to look for further popularity. He played for a year in New York City in Fletcher Henderson’s band and on numerous accounts with others before coming back to Chicago and playing in huge symphonies. There he made his most significant early works, the Armstrong Hot Five and Hot Seven chronicles of 1925–28, on which he rose as the main extraordinary jazz soloist. By then the New Orleans troupe style, which permitted few solo chances, could never again contain his dangerous inventiveness. He held remnants of the style in such artful culminations as “More blazing than That,” “Struttin’ with Some Barbecue,” “Wild Man Blues,” and “Potato Head Blues” however to a great extent deserted it while joined by piano player Earl Hines (“West End Blues” and “Climate Bird”). At that point Armstrong was playing trumpet, and his system was better than that all things considered. Out and out, his tremendously convincing swing; his splendid method; his modern, brave feeling of agreement; his ever-portable, expressive assault, timbre, and affectations; his present for making imperative songs; his emotional, frequently complex feeling of solo plan; and his outsized melodic vitality and virtuoso made these accounts real advancements in jazz.
Armstrong was a well known artist by 1929, when he moved from Chicago to New York City and performed in the auditorium survey Hot Chocolates. He visited America and Europe as a trumpet soloist joined by enormous groups; for quite a long while starting in 1935, Luis Russell’s huge band filled in as the Louis Armstrong band. During this time he deserted the regularly blues-based unique material of his prior years for a surprisingly fine decision of well known tunes by such noted arrangers as Hoagy Carmichael, Irving Berlin, and Duke Ellington. With his new collection came another, streamlined style: he made melodic summarizes and varieties just as harmony change-put together act of spontaneities with respect to these tunes. His trumpet range kept on growing, as exhibited in the high-note masterpieces in his collection. His wonderful tone and present for organizing bravura performances with splendid high-note peaks prompted such masterworks as “That is My Home,” “Body and Soul,” and “Star Dust.” One of the creators of scat singing, he started to sing verses on the vast majority of his accounts, changing tunes or designing with scat expresses in a rock voice that was quickly recognizable. In spite of the fact that he sang such comical melodies as “Beggar, You Can’t Ride This Train,” he additionally sang numerous standard tunes, regularly with a power and imagination that rose to those of his trumpet playing.
Louis and Lil Armstrong isolated in 1931. From 1935 as far as possible of his life, Armstrong’s vocation was overseen by Joe Glaser, who enlisted Armstrong’s groups and guided his movie profession (starting with Pennies from Heaven, 1936) and radio appearances. Despite the fact that his own groups normally played in a progressively traditionalist style, Armstrong was the prevailing effect on the swing period, when most trumpeters endeavored to copy his tendency to emotional structure, song, or specialized virtuosity. Trombonists, as well, appropriated Armstrong’s stating, and saxophonists as various as Coleman Hawkins and Bud Freeman demonstrated their styles on various parts of Armstrong’s. To the exclusion of everything else, his swing-style trumpet playing affected for all intents and purposes all jazz horn players who tailed him, and the swing and musical suppleness of his vocal style were significant effects on artists from Billie Holiday to Bing Crosby.
In the vast majority of Armstrong’s film, radio, and TV appearances, he was included as an agreeable performer. He assumed an uncommon emotional job in the film New Orleans (1947), in which he additionally performed in a Dixieland band. This provoked the arrangement of Louis Armstrong’s All-Stars, a Dixieland band that at first included such other jazz greats as Hines and trombonist Jack Teagarden. For the majority of an amazing remainder, he visited the world with evolving All-Stars sextets; surely, “Envoy Satch” in his later years was noted for his practically constant visiting plan. It was the time of his most noteworthy notoriety; he delivered hit accounts, for example, “Mack the Knife” and “Hi, Dolly!” and remarkable collections, for example, his tributes to W.C. Convenient and Fats Waller. In his last years sick wellbeing reduced his trumpet playing, however he proceeded as a vocalist. His last film appearance was in Hello, Dolly! (1969).
In excess of an extraordinary trumpeter, Armstrong was a bandleader, vocalist, soloist, film star, and comic. A standout amongst his most wonderful accomplishments was his incessant triumph of the famous market with accounts that daintily masked genuine jazz with Armstrong’s infectious funniness. He in any case had his most prominent effect on the development of jazz itself, which toward the beginning of his profession was famously viewed as minimal in excess of a curiosity. With his extraordinary affectability, strategy, and ability to express feeling, Armstrong guaranteed the survival of jazz as well as drove in its advancement into a compelling artwork.
Armstrong’s self-portrayals incorporate Swing That Music (1936, reproduced with another foreword, 1993) and Satchmo: My Life in New Orleans (1954).