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Pops: A Life of Louis Armstrong free read Æ 106 Ô Product Description Louis Armstrong was the greatest jazz musician of the twentieth century and a giant of modern American culture He knocked the Beatles off the top of the charts wrote the finest of all jazz autobiographies without a collaborator and created collages that have been cProduct Description Louis Armstrong was the greatest jazz musician of the twentieth century and a giant of modern American culture He knocked the Beatles off the top of the charts wrote the finest of all jazz autobiographies without a collaborator and created collages that have been compared to the art of Romare Bearden The ranks of his admirers included Johnny Cash Jackson Pollock and Orson Welles Offstage he was witty introspective and unexpectedly complex a beloved colleague with an explosive temper whose larger than life personality was tougher and sharp edged than his worshipping fans ever knew Wall Street Journal arts columnist Terry Teachout has drawn on a cache of important new sources unavailable to previous Armstrong biographers including hundreds of private recordings of backstage and after hours conversations that Armstrong made throughout the second half of his life to craft a sweeping new narrative biography of this towering figure that shares full accurate versions of such storied events as Armstrong's decision to break up his big band and his uarrel with President Eisenhower for the first time Certain to be the definitive word on Armstrong for our generation Pops paints a gripping portrait of the man his world and his music that will stand alongside Gary Giddins' Bing Crosby A Pocketful of Dreams and Peter Guralnick's Last Train to Memphis The Rise of Elvis Presley as a classic biography of a major American musician Exclusive A Letter from Terry Teachout Author of Pops A Life. On a radio jazz show that I once listened to the host remarked that “There is jazz and there is Louis Armstrong” He is in a class by himselfNever has an American music personality risen to the very top from the very bottom of the heap Louis Armstrong had every lined up against him – his race and wretched poverty His mother was fifteen when he was born and his father was absent His formative years were spent in a rough area of New Orleans where brothels were plentiful and disputes were settled by fists and guns But there was plenty of music and this is where Louis startedAll this must be kept in mind when Louis vaulted to fame starting in the 1930’s Louis was from way on the other side of the tracks and his language and mannerisms would often reflect this He could be abrupt with anyone who rubbed him the wrong way For example when Benny Goodman tried to upstage and boss Louis on a tour in the 1950’s he was put in his place After a few days Goodman had to leave the tour for “medical reasons”Louis was the first African American to appeal to all audiences He toured across North America Europe starting in the 1930’s and Africa in the 1950’sSome African Americans criticized Louis Armstrong for being too much of a showman – and for being a “Tom” subservient to the white man Some of this is due to his music no longer being at the fore front of the new jazz world that began in the late 1940’s namely bebop But Louis saw himself as both a musician and an entertainer – and he excelled at both One must also remember the era of Louis Armstrong; he was born in 1901 in the Southern US – when to transgress a line could have meant a severe beating or even death by lynching The music business in New Orleans and then Chicago and New York where Louis became famous was dominated by organized crime Louis’ New Orleans upbringing was a preparation for this; he knew how to deal with these characters and form the proper alliances Joe Glaser being a good example as the author explains in his book His life was under threat a number of times but he managed to wiggle outAll this is outlined in the book The author is a musicologist so I found certain passages overly meticulous about the musical notes being played by Louis on the trumpet I wish there would have been on Louis’s singing He was the first African American whose singing voice became immensely popular and recognizable with all audiences The author mentions how Louis charisma was a factor in interviews Ed Murrow for example short screen bits a radio show host Louis knew how to attract attention He was a superstar and a worldwide iconNobody Knows the Trouble I've SeenhttpswwwyoutubecomwatchvSVKKR

characters Ü PDF, eBook or Kindle ePUB ✓ Terry Teachout

Of Louis Armstrong I tell the story of a beloved giant of jazz whose greathearted larger than life personality shone through every record he made Here are ten of my special favorites 1 I Gotta Right to Sing the Blues 1933 Of all Louis Armstrong's records this is the one I love best Listen to how he floats atop the beat in the last chorus he sounds just like a tenor going for a high C 2 West End Blues 1928 The most celebrated of all Armstrong recordings and the uintessence of swing 3 Hotter Than That 1927 “I just played the way I sang Pops said His wordless vocal on this Hot Seven track proves it 4 Star Dust 1931 Further proof listen to how he rewrites the lyrics to this familiar Hoagy Carmichael ballad 5 Darling Nelly Gray 1937 Satchmo transforms an old slave song backed up by the suavely swinging Mills Brothers 6 Jeepers Creepers 1939 A charming souvenir of Armstrong's film career he introduced this Johnny Mercer song in Going Places 7 Struttin' with Some Barbecue 1938 A boiling hot big band remake of a classic 1927 Hot Five side in which the trumpeter improves on perfection 8 You Rascal You 1950 Louis meets Louis in this raucous romp through an Armstrong standard accompanied to high spirited effect by Louis Jordan's Tympany Five 9 New Orleans Function 1950 An old time New Orleans jazz funeral recreated by the All Stars with Earl Hines on piano and Jack Teagarden on trombone 10 Sleepy Time Down South 1941 Armstrong's theme song an irreplaceable example of his rich and resplendent lyricis. This book explains as well as anything I've ever read the kinds of losses our country has suffered as a result of racism Louis Armstrong is probably the greatest American musician of the 20th century yet he had to develop his style and his music to conform to the confines of racismHow much could he have done in a culture free of racism The most difficult thing for Teachout to explain is the relationship between Glaser Armstrong's white manager and promoter and Armstrong Armstrong hired him because of his ability to penetrate the white music scene Glaser suceeded but at great cost to Armstrong's pride and the direction that Armstrong's music tookI think Teachout has done a great job in telling us how Armstrong survived and even thrived within these limitations I am so glad I read this book I listen with new appreciation to Satchmo's music How ironic it is that I am reluctant to type Satchmo It sounds so much like Sambo yet that was what Armstrong preferred to be called contraction of Satchel Mouth This discomfort is at the heart of accepting the man and the music and his era

Terry Teachout ✓ 6 review

Pops A Life of Louis ArmstrongOf Louis Armstrongimage Dear Readers Pops A Life of Louis Armstrong my new book is the story of a great artist who was also a good man A genius who was born in the gutter and became a celebrity known in every corner of the world A beloved entertainer who was complex and much tougher than his fans ever imagined It's not the first Armstrong biography but it's the first one to tell Satchmo's story accurately I based it in part on hundreds of private after hours recordings made by Armstrong himself candid tapes in which he tells the amazing tale of his ascent to stardom in blunt plainspoken language I'm the first biographer to have had access to those tapes Read Pops and you'll learn the facts about his 1930 marijuana arrest his life threatening run in with the gangsters of Chicago his triumphant Broadway and Hollywood debuts his complicated love life and much much You'll also come away understanding exactly what it was that made him the most influential jazz musician of the twentieth century an entertainer so irresistibly magnetic that he knocked the Beatles off the top of the charts four decades after he cut his first record If you've ever thrilled to the sounds of West End Blues Mack the Knife Hello Dolly or What a Wonderful World this is the book for you and yours Give Pops a read and find out all about the man from New Orleans who changed the face of American music Sincerely yours Terry Teachout Photo © Ken Howard Exclusive Terry Teachout's Top 10 Louis Armstrong Recordings In Pops A Life. A dandy of a book For years I had the pleasure of reading short pieces by Terry Teachout in the Wall Street Journal where he was the drama critic He also writes broadly on the arts in Commentary His WSJ articles put this book in my sights for years especially because Teachout also is a trained musician and jazz bassist But even his drama articles impressed me with the breadth of his erudition his writing is very good though perhaps not top drawer; his insights however are both penetrating and connect concepts where relationship was non obvious moments beforeLouis not Lou ie; he wasn't French Armstrong was born in New Orleans around the turn of the Century in the poorest possible circumstances He was the family's breadwinner from about age six got busted and sent to reform school at 12 which turned out to be his first lucky break Somehow he'd already fiddled with a cornet but now had access to a real trumpet Within two years of his release Armstrong at age 18 was the best bluesboogie trumpeter in town and was starting to play the new music then called jass Lured to Chicago then Harlem he made some of his finest recordings then albeit on lo fi 78s or even wax cylinders His playing was his prime ticket; and the best bands and in the 1920s these still were segregated demanded musicians that could sight read music Armstrong's reform school years gave him that Indeed it soon became clear that Armstrong was serious about music than almost any of his band mates in any combo between sets they would play cards; Armstrong would seek the best musician in the club black or white and jam after the showNo sooner did he make his debut at Roseland in Harlem than word went out that he was something special 'Louis played that opening night at Roseland and my goodness people stopped dancing to come around and listen to him The next night you couldn't get into the place Just that uick' So said Howard Scott who sat next to him in band leader Henderson's trumpet section and there is no shortage of corroborating testimony Coleman Hawkins told of another night where he played Don Redman's 'Shanghai Shuffle' so sensationally that 'I think they made him play ten choruses After that piece a dancer lifted Armstrong up onto his shoulders'We need not take these stories entirely on faith for the Henderson band went into the recording studio a week after Armstrong's arrival in New York and one of the first sides it cut was 'Shanghai Shuffle' The band's playing of Redman's arrangement a coy piece of pop 'chinoserie' is bouncy but suare if no so than most of the other records cut in 1924 by dance bands of both races Then Armstrong crashes out of the starting gate with a syncopated phrase that leads into a blistering hot chorus in which he pulls one of his favorite musical tricks out of his hat for the first time on record he plays eighteen high Cs in a row avoiding monotony by varying the accentuation of each one To modern ears his solo contains no surprises for the rhythmic language he was forging on Henderson's bandstand was to become the lingua franca of jazz But in Armstrong's case familiarity breeds no contempt and 'Shanghai Shuffle' remains listenable to this dayCrucially in addition to being able to sight read music Armstrong could write He wasn't a reader But he wrote compulsively later in his career dictating into early reel to reel tape recorders The results are at least two authentic Armstrong autobiographies with minimal ghostwriting Moreover Armstrong left and published a few essays about his life and his views of music not to mention race relations including an essay praising the Jews for being subjected to nearly as much discrimination but sticking together and not wasting their money on gambling and whoring These materials and Armstrong's perpetual smile and ham it up vaudeville style early in his career made him an anathema to black musicians from surprisingly Dizzy Gillespie to obviously Miles DavisArmstrong's Achilles' heel was his unwillingness to take leadership of his own band or finances even after he became the star attraction with top billing For a while his third wife and sometimes piano accompanist Lil ordered him around probably to Armstrong's benefit But ultimately Armstrong turned his entire business over to Joe Glasser a white man who Louis always called Mr Glasser never Joe Glasser found the bands got the gigs and paid Armstrong a fixed fee later renegotiated to a 5050 split in a 10 year contract Most everyone found the deal inconceivable even rather Uncle Tom But Armstrong wanted nothing to do with business This hurt Armstrong in four ways in the prime of his career his sidemen were mediocre and couldn't carry part of the load; therefore Armstrong played too much permanently damaging his lips which would split open and gush blood some nights; he played too many road shows including in the segregated South rather than having a fixed home eg Sinatra at the Sands; and it turned out Glasser was mobbed up a Chicago mafia figure paid off Glasser's start up loan Glasser only was a figurehead something Armstrong didn't learn until the reading of Glasser's willThat didn't stop Armstrong from making good records and having even fun He was the first jazz musician to make the cover of Time magazine And with Hello Dolly he became the oldest person age 63 to record a number one pop song; until Armstrong recorded the song the musical didn't have a title Later the president of ABC records refused to publicize What a Wonderful World which sank without a trace when released in the US; in England it sold over 600000 copies and may be Armstrong's most recognizable song todayBefore Armstrong's death the GillespieMonk generation were able to consider the man in his time and made both peace and musical tributes Armstrong died on June 27 1970 twenty five thousand people filed past his coffin as it lay in state Armstrong's honorary pallbearers all were celebrities in their own right Pearl Bailey Count Basie Johnny Carson Dick Cavvet Bing Crosby Duke Ellington Ella Fitzgerald David Frost Dizzy Gillespie Merv Griffin Bobby Hacket Harry James Alan King John Lindsay Guy Lumbardo Nelson Rockefeller Frank Sinatra Ed Sullivan and Earl Wilson Duke Ellington summed it up best He was born poor died rich and never hurt anyone on the way What a wonderful worldOther biographies of Armstrong exist But I doubt any of them were better able to describe what was so pathbreaking about his playing so amazing about his music his proper place as a cultural icon