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 distinctenunciation, 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. Chartboxen sind in ebendiesen zu finden. Radio Belgrano Rundfunk-Übertragung – Teatro Opera, Radio El Mundo Rundfunk-Übertragung – Teatro Opera, Buenos Aires, Argentinien, CBC Rundfunk-Übertragung – Brant Inn, Burlington, Ontario, Kanada, „Louis and the Good Book“ – Louis Armstrong mit Sy Oliver’s Orchestra, CBS TV-Show – Studio 50, New York City, New York, Memorial Hall, University of North Carolina, Chapel Hill, New York, New Orleans Function: Flee As A Bird / Didn’t He Ramble, Medley: Shadrack / When The Saints Go Marchin’ In, Louis Armstrong and The International Youth Band, -Interview mit Louis Armstrong durch Willis Connover, USO TV-Show – Unbekannter Ort, wahrscheinlich Los Angeles, Kalifornien, -Vorstellung der Band durch Dizzy Gillespie, Decca Recording Session, Los Angeles, Kalifornien, CBS TV-Show – Americana Hotel, Miami, Florida, WPDR Konzert Rundfunk-Übertragung – Orpheum Theater, Madison, Wisconsin, „Timex All Star Show #4 – The Golden Age Of Jazz“, Erstes Konzert – Falkoner Centret, Kopenhagen, Dänemark, Zweites Konzert – Falkoner Centret, Kopenhagen, Dänemark, Nachmittagskonzert – Falkoner Centret, Kopenhagen, Dänemark, Abendkonzert – Falkoner Centret, Kopenhagen, Dänemark, Film Soundtrack (ASA Films) – Kopenhagen, Dänemark, VARA Rundfunk-Übertragung – Konzert, Concertgebouw, Amsterdam, Niederlande, Konzert – Unbekannter Ort, wahrscheinlich Europa, -Intro und When It’s Sleepy Time Down South, Film Soundtrack (Alfa Film) – Polydor Recording Session – Berlin, Bundesrepublik Deutschland, Louis Armstrong and The Dukes Of Dixieland, Audio Fidelity Recording Session – Oriental Theater, Chicago, Illinois, I Ain't Gonna Give Nobody None Of My Jelly Roll, Konzert – „Playboy Jazz Festival“, Chicago Stadium, Chicago, Illinois, Audio Fidelity Recording Session – Los Angeles, Kalifornien, I Ain’t Gonna Give Nobody None Of My Jelly Roll, Columbia Recording Session – veröffentlicht in Look Magazine, Audio Fidelity Recording Session – Webster Hall, New York City, New York, Konzert – Madison Square Garden, New York City, New York, Project Records Recording Session – Hollywood, Kalifornien, Interview – The Knickerbocker Hotel, Los Angeles, Kalifornien, Film Soundtrack (United Artists) – Paris, Frankreich, I Don’t Mean A Thing (if It Ain’t Got That Swing), Roulette Recording Session – New York City, New York, I’m Beginning To See The Light (Take 1, 4-7), Do Nothin’ Till You Hear From Me (Take 1-3), Konzert – „Music at Newport“, Newport, Rhode Island. ..."Uh-huh" ..."Sure" ... "Way down, way down." In the process, Armstrong dislodgedThe Beatles from the No. 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. Louis Armstrong (1901–1971), nicknamed Satchmo or Pops, was an American trumpeter, composer, singer and occasional actor who was one of the most influential figures in jazz and in all of American popular music. 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. Hello, Dolly! [22], [8]With Jack Teagarden (left) andBarney Bigard (right), Armstrong plays the trumpet in Helsinki, Finland, October 1949, 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. label.[63]. … Sie ist meine Geliebte, und sie liebt mich … Ich bin glücklich, wenn ich meine Trompete spielen kann, und fühle mich stark. Armstrong was posthumously awarded the Grammy Lifetime Achievement Award in 1972 by the Academy of Recording Arts and Sciences. He attended the Fisk School for Boys, where he likely had early exposure to music. Show) – Sheppards Bush Studios, London, Grossbritannien, BBC TV-Show (2. Mit seiner unverkennbaren rauen Stimme war Armstrong auch ein einflussreicher Sänger, der großes Geschick als Improvisator zeigte. Ich möchte deshalb Louis Armstrong buchstäblich für mein Leben danken.“, Besonders bedeutsam in seinem Schaffen sind die Louis Armstrong Hot Five and Hot Seven Sessions, Schallplattenaufnahmen, die Armstrong als Bandleader zwischen 1925 und 1928 mit seinen Bands Hot Five und Hot Seven in Chicago für OKeh Records aufgenommen hat. The greatest musical genius of the 20th century. The group included Kid Ory (trombone), Johnny Dodds (clarinet), Johnny St. Cyr (banjo), wife Lil on piano, and usually no drummer. "[68][69], The Rock and Roll Hall of Fame listed Armstrong's West End Blues on the list of 500 songs that shaped Rock and Roll.[70]. 1 on the pop chart, making Armstrong (age 62 years, 9 months, 5 days) the oldest person to date to ever accomplish that feat. The nickname Pops came from Armstrong's own tendency to forget people's names and simply call them "pops" instead. Louis Armstrong, I Hope To Die If I Told A Lie / No, Baby, Nobody But You / I’m Confessin’ That I Love You, Erskine Hawkins And His Orchestra / Louis Armstrong And The V-Disc All Stars, You Won’t Be Satisfied / The Frim Fram Sauce, Endie / Do You Know What It Means to Miss New Orleans, Reminiscin’ With Louis / Ain’t Misbehavin’, Do You Know What It Means To Miss New Orleans / Who’s Sorry Now, Louis Armstrong And Billie Holiday / Benny Goodman And His Orchestra, He’s Funny That Way / It Ain’t Gonna Be Like That / Old Rockin’ Chair, Kay Starr / Frankie Laine / Louis Armstrong mit Edmund Hall And Men, You Can’t Lose A Broken Heart / My Sweet Hunk O’ Trash, Louis Armstrong And Gordon Jenkins And His Orchestra, Louis Armstrong mit Sy Oliver And His Orchestra, Life Is So Peculiar / (I’ll Be Glad When You’re Dead) You Rascal You, Louis Armstrong And Louis Jordan And His Tympany Five, Can Anyone Explain? He was the first jazz musician to appear on the cover of Time Magazine on February 21, 1949. The influence of Armstrong on the development of jazz is virtually immeasurable. His 1930s recordings took full advantage of the newRCA 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.
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