What Style Of Jazz Music Most Influenced The Beat Poets

What Style Of Jazz Music Most Influenced The Beat Poets – When most people hear the name Louis Armstrong, they think of the charming old man with the booming voice who sang “Hello, Dolly” and “What a Wonderful World.” But there is more to his legacy than that. Oh, more than that. Armstrong is the most important American musician of the 20th century. His influences are endless and span the jazz age, from Leonard Bernstein to the Rolling Stones.

Without Louis Armstrong, music would be very different today. A man called Satchmo and the Pops turned a single player into jazz and turned music into art. He developed the rhythmic language of swimming and made it the basis of jazz and popular music. It inspired a new style of singing.

What Style Of Jazz Music Most Influenced The Beat Poets

Armstrong’s influence on not only American music, but music around the world is even more remarkable when you consider his origins. He was born in New Orleans on August 4, 1901, in deep poverty, and grew up in a violent environment surrounded by violence and cruelty. But it was also an area filled with the early sounds of blues and jazz. It is not known when he first picked up the cornet, but he was 11 years old when he had his first opportunity to study music. In a stroke of luck, she is arrested after shooting her stepfather’s gun in the air and sent to the House of Colored Waifs. He studied law, learned to read, and soon became the star of a marching band.

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After leaving the club in 1914, he stayed with his musical heroes, especially New Orleans superstar Joe “King” Oliver. Unlike other older musicians, Oliver was happy to share his knowledge of music with the growing youth and considered promising young people his patrons. In the summer of 1922, Oliver invited Armstrong to join the Creole Jazz Band in Chicago, which replaced New Orleans as the jazz center of the world. Word quickly spread of the hot coral hero performing with Oliver on the Lincoln Gardens dance floor. Even curious white youth flocked to hear him play, including future jazz trumpeters Benny Goodman and Beak Beiderbecke.

Armstrong’s role in Oliver’s band was as second cornetist, providing support to a band that often featured soloists. But even on the old acoustic recordings, Armstrong’s horn penetrates the band’s notes dramatically and overshadows its leader. His presence in Oliver’s band marked the end of the New Orleans band style.

In 1924, Armstrong and Oliver left Chicago and moved to New York, where band manager Fletcher Henderson hired him as a musician. The following year, Armstrong continued to develop and refine his musical identity, forming the basis of several jazz releases under his own name before returning to Chicago.

Recorded between 1925 and 1928, the popular singles Hot Five and Hot Seven captured Armstrong’s development as the first professional jazz musician. Other musicians preceded him, notably soprano saxophonist Sidney Behet, but Armstrong possessed the highest levels of melodic creativity, rhythmic drive, flash, and technical mastery.

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With some barbecue, “Struttin'”, “Cornet Chop Suey” and “Potato Head Blues” are three of Armstrong’s masterpieces that show his confidence and growing command. At this point, Armstrong switched from the soft-sounding cornet to the trumpet, preferring its brighter sound. He pushed the limits of the trumpet as he reached higher and higher notes. Perhaps the pinnacle of his Hot Five and Seven recordings is 1928’s West End Blues. It is not accompanied by Armstrong’s amazing, beautiful, daring, epic (something big enough). A trumpet cadenza, the record borders on jazz’s past. and its future.

Nearly 100 years later, it may be hard for today’s listeners to understand just how powerful Armstrong was on his Hot Five and Hot Seven records. Armstrong’s words, expressions and distortions are part of the original jazz language. Its recommendations have been developed and expanded over the decades. What is now commonplace was once new and it started with Armstrong.

To hear Armstrong with fresh ears, it’s best to compare him to other jazz musicians of the era. A good example of Armstrong’s influence is the November 1924 recording of “Mandy, Make Up Your Mind” as a member of the Fletcher Henderson Orchestra. Henderson’s band is filled with some of the best musicians of all time, but they are difficult to play. and rickety-tall, powerful with strong rhythms. But then Armstrong comes out of the trombone with a sweet, composed, quiet cornet that keeps changing despite the oom-pah rhythm. Henderson’s rough, New York musicians initially thought Armstrong was a New Orleans rub, but they were driving an old horse and buggy, and Armstrong was behind the wheel of a sports car. Duesenberg.

Listen to other artists on Armstrong’s Hot Five and Seven. While others were great New Orleans players and influential, none could match Armstrong’s creativity and experience. When pianist Earl Hines joined the recording in 1928, the musician approached the level of his musical mastery.

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Armstrong’s influence was not limited to other musicians. All musicians were inspired by his playing. He changed the whole idea of ​​what jazz could be. Although Fletcher Henderson wasn’t interested in Armstrong’s playing (he was wrong about Lester Young a decade later), Armstrong changed his team behind him. Henderson tenor saxophonist Coleman Hawkins perfected his cheeky style and emerged as one of jazz’s greatest musicians. The group’s arranger, Don Redman, also fell under Armstrong’s spell and echoed the ideals, freedom and rhythmic feel of his writing. These arrangements, in turn, formed the basis of the band’s massive growth over the next ten years.

In 1929, Armstrong’s managers began working to expand the audience for the trumpet beyond the limited jazz music. He played and recorded only with the backing of a large band and emphasized his singing. Instead of jazz and blues songs, his repertoire was devoted to late Tin Pan Alley songs, many of which he developed and turned into timeless jazz standards.

Armstrong’s husky, powerful voice didn’t make him sound like a performer. But he has been singing since he was a boy working with other street kids in New Orleans. Armstrong made his first recordings as a vocalist with the Hot Five, most notably “Heebie Jeebie”, which featured Armstrong singing a cover song. Legend has it that he wrote the song, which he spewed during a recording session, after taking down a song’s lyrics and singing gibberish on a flight. It’s a great story, but it’s not true. The band was already part of the jazz tradition. However, as in his other works, Armstrong developed, refined and popularized the art of the wordless.

Armstrong’s 1931 recording of Hoagie Carmichael’s “Stardust,” which still featured lyrics by Mitchell Parish, is a notable example of what made him one of the greatest musicians of all time. The record opens with Armstrong’s bright trumpet, weaving new chords and phrases into Carmichael’s sweet, flowing melody. After two songs, Armstrong puts down his trumpet and Carmichael and Paris begin to alternate between songs. It shortens and lengthens melodic lines; he sings behind the page and in front; often adds a bit of commentary to his songs, squeezing out obscure words. Armstrong’s incredible creativity gives him the freedom to re-sculpt “Stardust” into an incomparable personality.

New Orleans Style

As with Trump, Armstrong changed the way he sang. Before then, the most popular singers were stentorian tenors, vaudeville stars or crooners. Armstrong created a loose, free, spontaneous, soulful and exciting vocal style that inspired Billie Holiday, Ella Fitzgerald, Frank Sinatra and other great jazz and pop singers who influenced her. Even Bing Crosby, who promoted a new vocal style in the late 1920s, found inspiration in Armstrong’s singing.

When the swing revolution arrived in 1935, Armstrong was not really part of the scene, although it was based on the rhythmic revolution he had started a decade earlier. His riffs, licks and lyrics have been heard in big band arrangements played by famous orchestras led by Benny Goodman, Jimmy Lunsford, Glenn Miller, Tommy Dorsey and others.

Although Armstrong was at the height of jazz in the mid-to-late 1930s, he was still developing as a musician. And he made great records, including a remake of “Struttin’ with the Barbeque,” a rocking “Eventide” and a bravura tour of “Shaking the Music,” in which Armstrong plays 42 consecutive Cs. .

As the Swing era ended after World War II, Armstrong broke away from the big band and formed his own band, The Stars, a small impersonation band.

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