Faubus", David Margolick, The Day Louis Armstrong Made Noise, "9 Things You May Not Know About Louis Armstrong – History Lists", "Rare Footage of Duke Ellington Highlights When Jazz and Baseball Were in Perfect Harmony", "NPR's Jazz Profiles from NPR: Louis Armstrong: The Singer", "Louis Armstrong's Secret Lessons From Judaism", Hit Parade Italia – Festival di Sanremo 1968, "Louis Armstrong, Jazz Trumpeter and Singer, Dies", "Louis Armstrong Dies: 1971 Year in Review", "Experience The Music: One Hit Wonders and The Songs That Shaped Rock and Roll", "At Home with Harold Bloom: (3) The Jazz Bridge", "Here Are Hundreds More Artists Whose Tapes Were Destroyed in the UMG Fire", Louis Armstrong: discography and early recordings (RealPlayer format), "Louis Armstrong Transcription Project – John P Birchall", Discography of American Historical Recordings, "How (and Why) I Grew to Love King Louis", "When I Pick Up That Horn, That's All" by Nat Hentoff, "Louis Armstrong collected news and commentary", You Won't Be Satisfied (Until You Break My Heart), The Complete Ella Fitzgerald & Louis Armstrong on Verve. [141], On June 25, 2019, The New York Times Magazine listed Louis Armstrong among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire. [136], 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. Pendant les trente années qui suivent, Louis Armstrong joue en moyenne plus de 300 concerts par an. [98], When asked about his religion, Armstrong answered that he was raised a Baptist, always wore a Star of David, and was friends with the pope. Au cours des années 1940, les réservations pour les orchestres diminuent progressivement à cause des changements de goût du public : les salles de bal ferment, et la concurrence de la télévision et des autres genres de musique se font de plus en plus fortes. Elliot Hurwitt et al., in Cary D. Wintz and Paul Finkelman, eds.. “Satchmo Band Spice To Open Air Show” Article Los Angeles Sentinel May 28, 1953. Cependant, il n'appréciait pas le mouvement bop et ses successeurs. The postwar generation regarded their music as abstract art and considered Armstrong's vaudevillian style, half-musician and half-stage entertainer, outmoded and Uncle Tomism, "... he seemed a link to minstrelsy that we were ashamed of. (1969) starring Barbra Streisand. The nickname "Pops" came from Armstrong's own tendency to forget people's names and simply call them "Pops" instead. Son influence sur Bing Crosby est particulièrement importante étant donné le développement ultérieur de la musique populaire : Crosby admirait et copiait Armstrong, comme on peut le constater sur beaucoup de ses premiers enregistrements, notamment « Just One More Chance » (1931). Louis Armstrong naît dans un milieu défavorisé de la Nouvelle Orléans. [91], Often, Armstrong re-composed pop-tunes he played, simply with variations that made them more compelling to jazz listeners of the era. On the road, he wrote constantly, sharing favorite themes of his life with correspondents around the world. Considéré comme lun des artistes les plus influents de lhistoire du jazz, il est connu pour ses chansons comme « Star Dust », « La Vie En Rose » et « What a Wonderful World ». Retrouvez tout Louis Armstrong à la fnac. It was on this occasion that he found out that she had a common-law husband. When it was released, the disc was a worldwide success and the song was then performed by the greatest international singers. [91], The trumpet is a notoriously hard instrument on the lips, and Armstrong suffered from lip damage over much of his life due to his aggressive style of playing and preference for narrow mouthpieces that would stay in place easier, but which tended to dig into the soft flesh of his inner lip. À sa sortie, le disque connaît un succès mondial et la chanson est ensuite reprise par les plus grands chanteurs internationaux. 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. '")[100] The cards have sometimes been incorrectly described as ads for Swiss Kriss. Grandissant dans un quartier difficile, il exerce de nombreux petits métiers (porteur de charbon, livreur de journaux, balayeur de tombes) pour aider sa famille. His influence on Henderson's tenor sax soloist, Coleman Hawkins, can be judged by listening to the records made by the band during this period. Une fois libéré en 1914, il joue du cornet dans les cabarets du quartier chaud de Storyville. Sa technique d’interprétation est remplie de mélodies innovantes, joyeuses et inspirées, de bonds créatifs et de rythmes subtilement relâchés ou forts. His solo recording of "Hello, Dolly!" 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. By the summer of 1970, his doctors pronounced him fit enough to resume live performances. Il impose des responsabilités. Melancholy Blues, joué par Armstrong et les Hot Seven, fait partie des enregistrements sonores embarqués à bord des sondes Voyager envoyées dans l'espace. Linkedin : https://www.linkedin.com/company/groupedeboeck [48], 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 renamed Louis Armstrong and his Stompers,[49] though Hines was the music director and Glaser managed the orchestra. Armstrong was featured as a guest artist with Lionel Hampton's band at the famed second Cavalcade of Jazz concert held at Wrigley Field in Los Angeles which was produced by Leon Hefflin Sr. on October 12, 1946. He played at the New Cotton Club in Los Angeles with Lionel Hampton on drums. However, Armstrong stated in his autobiography that he was a member of the Knights of Pythias, which although real is not a Masonic group. [96] When he did speak out, it made national news, including his 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. Alors que le jazz instrumental était encore proche des fanfares, que l'improvisation sur un thème donné – une des caractéristiques essentielles de cet a […] La noblesse d'un phrasé impérial, l'éclat et la […] Armstrong was an avid audiophile. [91] Armstrong once told Cab Calloway that his scat style was derived "from the Jews rockin", an Orthodox Jewish style of chanting during prayer.[115][116]. The Cotton Club closed in 1936 after a long downward spiral, and many musicians stopped playing altogether as club dates evaporated. Armstrong a en fait été l'un des principaux soutiens financiers de Martin Luther King Jr. et d'autres activistes pour les droits civiques, mais il préférait aider discrètement ce mouvement et ne pas mêler ses opinions politiques à son métier de musicien. Définir le titre comme obsession du moment, Saint James Infirmary (Traditional, Arr. Armstrong appeared in more than a dozen Hollywood films, usually playing a bandleader or musician. Son talent de trompettiste, son charisme, ses qualités d'homme de scène et sa personnalité généreuse ont forgé au fil du temps sa renommée internationale. It has given me something to live for. He also toured Africa, Europe, and Asia under the sponsorship of the US State Department with great success, earning the nickname "Ambassador Satch" and inspiring Dave Brubeck to compose his jazz musical The Real Ambassadors. Souvent, il réécrivait les fondements des airs pop qu’il jouait, les rendant ainsi intéressants. Pierre BRETON, For a time he was a member of the Lil Hardin Armstrong Band and working for his wife. Il connaît également des tournées à succès en Afrique, en Europe et en Asie avec le soutien du Département d'État américain et il est bientôt surnommé « Ambassador Satch ». L'influence d'Armstrong sur le développement du jazz est sans pareil. "[102] His laxative use began as a child when his mother would collect dandelions and peppergrass around the railroad tracks to give to her children for their health. John Thomas replaced Kid Ory on trombone. He had a part in the film alongside James Stewart in The Glenn Miller Story. Sa mère Mary ”Mayann” Albert[2](1886–1942), est bonne à tout faire chez les Blancs et doit vivre de ses charmes pour s'en sortir, si bien qu'il est élevé par sa grand-mère paternelle Joséphine (née esclave)[3]. He heard the early sounds of jazz from bands that played in brothels and dance halls such as Pete Lala's, where King Oliver performed.

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