Louis Armstrong
Louis Armstrong
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Full Name and Common Aliases
Louis Daniel Armstrong was born on August 4, 1901, in New Orleans, Louisiana. His nickname "Satchmo" was a shortened form of his given name's diminutive form.
Birth and Death Dates
Armstrong was born on August 4, 1901, and passed away on July 6, 1971.
Nationality and Profession(s)
Nationality: American
Profession(s): Musician, Singer, Trumpeter, Bandleader, Actor
Early Life and Background
Growing up in a poor African-American family in New Orleans' Treme neighborhood, Armstrong's early life was marked by poverty and hardship. His mother, Mary "Mary Ann" Armstrong, was a laundry worker and his father, William Armstrong, was a coal delivery man. With his mother's encouragement, Louis began playing the cornet at the Colored Waif's Home for Boys, a juvenile detention center where he was sent after being arrested for firing a gun into the air on New Year's Eve in 1912.
Major Accomplishments
Armstrong's talent and charisma quickly earned him recognition within the music industry. He began performing professionally in his late teens, playing trumpet with local bands and eventually forming his own group, the Stompers. In the 1920s, Armstrong became a prominent figure in jazz, known for his distinctive trumpet playing style and gravelly vocals.
During his career, Armstrong was awarded numerous accolades, including multiple Grammy Awards, an American Music Award, and induction into the Rock and Roll Hall of Fame. He also received the National Medal of Arts from President Jimmy Carter in 1977, posthumously.
Notable Works or Actions
Armstrong's most notable works include his iconic recordings "What a Wonderful World," "When the Saints Go Marching In," and "Cool Yule." He also starred in several films, including "Pennies from Heaven" (1936), "New Orleans Underground" (1945), and "Carmen Jones" (1954).
In addition to his artistic contributions, Armstrong was a vocal advocate for civil rights and racial equality. In the 1960s, he became an outspoken supporter of the Civil Rights Movement, performing at benefit concerts and advocating for integration in the music industry.
Impact and Legacy
Louis Armstrong's impact on jazz and popular music cannot be overstated. His unique trumpet playing style and charismatic stage presence helped to popularize jazz worldwide, paving the way for future generations of musicians. Armstrong's influence extends beyond his own genre, with artists such as Miles Davis, Chet Baker, and Harry Connick Jr. citing him as a major inspiration.
Armstrong's legacy also extends beyond the realm of music. As an African-American icon, he played a significant role in promoting racial understanding and equality through his performances and public statements. His commitment to social justice and human rights continues to inspire artists and activists today.
Why They Are Widely Quoted or Remembered
Louis Armstrong is widely quoted and remembered for his wit, wisdom, and unwavering dedication to his craft. His quotes, which often reflected his irreverent and humorous personality, have become iconic phrases that continue to resonate with audiences today. From "What a wonderful world!" to "Don't play wrong notes," Armstrong's words offer timeless advice on the importance of creativity, perseverance, and living life to the fullest.
Armstrong's enduring legacy is a testament to his boundless talent, charisma, and commitment to social justice. As one of the most beloved and respected figures in jazz history, Louis Armstrong continues to inspire generations of musicians, artists, and activists around the world.
Quotes by Louis Armstrong
Louis Armstrong's insights on:
I gathered that those two Big-shot Boys, Joe + Fletcher, just was afraid to let me sing, thinking maybe I'd sort of ruin their reputations with their musical public. They not knowing that I had been singing all of my life. In churches, etc. I had one of the finest All Boys Quartets that ever walked the streets of New Orleans.
When the other kids started calling me nicknames, I knew everything was all right. I have a pretty big mouth, so they hit on that and began calling me Gatemouth or Satchelmouth, and that Satchelmouth has stuck to me all my life, except that now it's been made into 'Satchmo' - 'Satchmo' Armstrong.
When I play, maybe 'Back o' Town Blues,' I'm thinking about one of the old, low-down moments - when maybe your woman didn't treat you right. That's a hell of a moment when a woman tell you, 'I got another mule in my stall.'
I do believe that my whole success goes back to that time I was arrested as a wayward boy at the age of thirteen. Because then I had to quit running around and began to learn something. Most of all, I began to learn music.
I warm up at home. I hit the stage, I'm ready, whether it's rehearsal or anything.
I had a long time admiration for the Jewish people. Especially with their long time of courage, taking so much abuse for so long. 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.
The first time I heard Jack Teagarden on the trombone, I had goose pimples all over.
When this ugly gangster told Joe Glaser that he must take the name of Armstrong down, off of the marquee, and it was an 'order from Al Capone,' Mr. Glaser looked this cat straight in the face and told him these words: 'I think that Louis Armstrong is the world's greatest, and this is my place, and I defy anybody to take his name down from there.'
Very few of the men whose names have become great in the early pioneering of jazz and of swing were trained in music at all. They were born musicians: they felt their music and played by ear and memory. That was the way it was with the great Dixieland Five.
Well, I tell you... the first chorus, I plays the melody. The second chorus, I plays the melody round the melody, and the third chorus, I routines.