Biography of Louis Armstrong, Expert Trumpeter and Entertainer
Originally Answered: What instruments did Louie Armstrong play? He played cornet and trumpet. And his name is spelled Louis. Because of the French influence in New Orleans, it’s pronounced Louie (except when he’s singing “Hello, Dolly.”). Learn What instrument did Louis Armstrong play? with free interactive flashcards. Choose from 6 different sets of What instrument did Louis Armstrong play? flashcards on Quizlet. Start a free trial of Quizlet Plus by Thanksgiving | Lock in 50% off all year Try it free. Ends in 03d 06h 26m 42s.
One of the standout musical artifacts kouis go on view at what instruments did louis armstrong play National Museum of African American History and Culture when it opens this fall is the elegant year-old brass trumpet from Louis Armstrong.
One of dozens he played through his five decades of performing, it came to life loujs Armstrong played it. Blending popular song with the blues and an unerring assurance and tone, Armstrong is credited with helping shape the distinctly American art form.
I love them notes. Armstrong was born in New Orleans August 4, —not July 4,as he often boasted—in a poor part of the city, the grandson of slaves. He tooted a tin horn working on a junk wagon, before earning enough money to play his first horn.
And though Armstrong funded Civil Rights movement efforts and supported it, some activists saw him as whzt part of the old guard. His image was not something that was popular at that how to make a soup. Louis Armstrong played more straight notes.
And then I began to study his music. The previously resistant Marsalis spent the rest of his teens listening to the early records. Vid all changed when he heard and studied the music.
Skorton, in a ceremony last fall, accompanied how to make dry air clay the Smithsonian Jazz Masterworks Orchestra. It was ordered in by his friend and manager Joe Glaser. A correspondence from Glaser to the Selmer instrument company dated Feb.
Armstrong said once he went through trumpets fairly regularly. The horn was not in danger. Which gave me a little bit of challenge. Still, Marsalis, a nine-time Grammy winner who wrote the first jazz piece to win a Pulitzer, says he usually plays a Selmer trumpet as well—and like, Armstrong, he gives his instruments away after about five years as well.
There were some preparations needed to make the horn playable, says Dwandalyn Reece, culture curator for the museum. And there was some treatment to put it in that condition. But musical instruments are different than other historic items in the collection, she says.
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A jazz pioneer, Louis Armstrong was the first important soloist to emerge in jazz, and he became the most influential musician in the music's history. As a trumpet virtuoso, his playing, beginning with the s studio recordings he made with his Hot Five and Hot Seven ensembles, charted a future for jazz in highly imaginative, emotionally charged improvisation. Aug 31, · Each group member had a nickname; Louis was known as "Satchelmouth" (later shortened to "Satchmo"), a reference to his wide grin. Armstrong saved up enough money to buy a used cornet (a brass musical instrument similar to a trumpet), which he taught himself to play. May 23, · Although Armstrong played dozens of instruments, the Smithsonian’s horn, made by Henri Selmer of Paris is among only a few to be inscribed with .
Louis Armstrong August 4, —July 6, was a masterful trumpet player and beloved entertainer in the 20th century. He rose above the hardship and challenges of poverty from a young age and the racism he was subjected to throughout his life to become one of the most influential musicians of his genre.
He played a key role in the development of one of the early 20th century's most important new styles of music: jazz. Though he mostly kept quiet about racial discrimination, much to the disapproval of fellow Black Americans, Armstrong sparked controversy when he spoke out publicly against segregation in Little Rock, Arkansas, in Armstrong's inventiveness and improvisational techniques—along with his energetic, dazzling style—have influenced generations of musicians.
One of the first to perform scat-style singing, he is also well-known for his distinctive, gravelly singing voice. Armstrong wrote two autobiographies, becoming the first Black jazz musician to write an autobiography, and appeared in more than 30 films. Willie left Mary Ann only weeks after Louis' birth, and Louis was placed in the care of his grandmother, Josephine Armstrong. Josephine brought in some money doing laundry for White families but struggled to keep food on the table because she was paid little money for her work.
Young Louis had no toys, very few clothes, and went barefoot most of the time. Despite their hardships, Josephine made sure her grandson attended school and church. While Louis was living with his grandmother, his mother briefly reunited with Willie Armstrong and gave birth to a second child, Beatrice, in While Beatrice was still very young, Willie once again left Mary Ann. Four years later, when Armstrong was 6 years old, he moved back in with his mother, who was then living in a highly dangerous neighborhood, a red-light district called Storyville.
Because Armstrong was young during this period, not much is known about his mother's situation and why she lived there, but Black women, especially single mothers, were heavily discriminated against at the time. When recounting his mother's occupation, Armstrong confessed that he did not know whether his mother was a sex worker, an occupation that he referred to as "hustling," or not because she "kept it out of sight.
By the age of 7, Armstrong was looking for work wherever he could find it. He sold newspapers and vegetables and made a little money singing on the street with a group of friends.
Each group member had a nickname; Louis was known as "Satchelmouth" later shortened to "Satchmo" , a reference to his wide grin. Armstrong saved up enough money to buy a used cornet a brass musical instrument similar to a trumpet , which he taught himself to play. He quit school at age 11 to concentrate on earning money for his family, as was common for children from poor backgrounds at this time.
While performing on the street, Armstrong and his friends came into contact with local musicians, many of whom played in Storyville honky-tonks bars with working-class patrons, often found in the South. Armstrong was befriended by one of the city's best-known trumpeters, Bunk Johnson, a fellow Black performer who taught him songs and new techniques and allowed Louis to sit in with him during performances in the honky-tonks.
An incident on New Year's Eve in changed the course of Armstrong's life. During a New Year's Eve street celebration at the end of , year-old Louis fired a pistol into the air.
He was taken to the police station and spent the night in a cell. The next morning, a judge sentenced him to the Colored Waif's Home for an unspecified period of time. At this time, Black juvenile offenders were often given harsh prison sentences while White juvenile offenders were sentenced to time in reformatory homes for equal crimes.
It is often the case still today that Black people and people of color receive harsher sentences than White people. The home, a reformatory for Black youths, was operated by a former soldier, Captain Jones. Jones was a strict disciplinarian dedicated to reducing juvenile delinquency in Black boys who "never had a chance. A Black man himself, Jones advocated for Black boys who were arrested to be placed in a reformatory home—designed specifically for Black juveniles—rather than thrown in jails with adult criminals.
He wanted to give incarcerated Black boys an opportunity to rise above unfair treatment and not become the criminals that the judicial system already perceived them to be. Due to the structure and opportunities that Armstrong received there, Jones and his home had an overall positive effect on him.
Of the home, Armstrong said: "It sure was the greatest thing that ever happened to me. Me and music got married in the Home The place seemed more like a health center, or a boarding school, than a boys' jail.
Eager to participate in the home's brass band, Armstrong was disappointed when he was not allowed to join right away. Director of music Peter Davis was initially hesitant to allow a boy who had fired a gun to join his band.
However, Armstrong eventually convinced him and worked his way up the ranks. He first sang in the choir and later was assigned to play various instruments, eventually taking over the cornet. Having demonstrated his willingness to work hard and act responsibly, Louis was made the leader of the band. He reveled in this role. The home's music program played an especially large role in the direction Armstrong's life would take from there.
Davis, in particular, influenced young Armstrong greatly. He saw the raw talent the boy possessed and was persistent in nurturing him into the skilled musician he would become. According to Dr. Robert S. Mikell of The Syncopated Times , when the two reunited years later, Davis' pride and Armstrong's gratitude were palpable to onlookers.
In , after 18 months at the Colored Waif's Home, Armstrong returned home to his mother. Back home, Armstrong delivered coal during the day and spent his nights in local dance halls listening to music. He became friends with Joe "King" Oliver, a leading cornet player, and ran errands for him in return for cornet lessons. Armstrong learned quickly and began to develop his own style.
He filled in for Oliver at gigs and gained further experience playing in parades and funeral marches. When the U. When several sailors stationed in New Orleans became victims of violent crime in the Storyville district, the secretary of the Navy shut down the district, including brothels and clubs.
While a large number of musicians from New Orleans moved north, many relocating to Chicago, Armstrong stayed and soon found himself in demand as a cornet player. By , Armstrong had become well-known on the New Orleans music circuit, playing at numerous venues. That year, he met and married Daisy Parker, a sex worker who worked in one of the clubs he played in. Impressed by Armstrong's natural talent, band conductor Fate Marable hired him to play in his riverboat band on excursions up and down the Mississippi River.
Though disappointed to see him go, Daisy understood that this was a good move for his career and supported him.
Armstrong played on the riverboats for three years. The discipline and high standards that he was held to made him a better musician; he also learned to read music for the first time. Yet, chafing under Marable's strict rules, Armstrong grew restless. He yearned to strike out on his own and find his unique style. Armstrong quit the band in and returned to New Orleans. He and Daisy divorced that year. Armstrong played the second cornet and was careful not to outshine bandleader Oliver.
Through Oliver, Armstrong met Lil Hardin , a classically trained jazz pianist from Memphis and the second woman he would marry. Lil recognized Armstrong's talent and thus urged him to break away from Oliver's band. After two years with Oliver, Armstrong quit the band and took a new job with another Chicago band, this time as the first trumpet; however, he only stayed a few months.
Lil did not accompany him, preferring to stay at her job in Chicago. The band played mostly live gigs but made recordings as well. They played backup for pioneering blues singers such as Ma Rainey and Bessie Smith, furthering Armstrong's growth as a performer. Just 14 months later, Armstrong moved back to Chicago at Lil's urging; Lil believed that Henderson held back Armstrong's creativity.
Lil helped to promote Armstrong in Chicago clubs billing him as "the world's greatest trumpet player. The group recorded several popular records, many of which featured Armstrong's raspy singing. On one of the most popular of the recordings, "Heebie Jeebies," Armstrong spontaneously launched into scat-singing, in which the singer replaces the actual lyrics with nonsense syllables that often mimic the sounds made by instruments.
Armstrong did not invent the singing style but helped to make it enormously popular. During this time, Armstrong permanently switched from cornet to trumpet, preferring the brighter sound of the trumpet to the more mellow cornet. The records gave Armstrong name recognition outside of Chicago. He returned to New York in , but again, Lil did not want to leave Chicago. They stayed married but lived apart for many years before divorcing in In New York, Armstrong found a new venue for his talents.
He was cast in a musical revue that featured the hit song "Ain't Misbehavin'" and Armstrong's accompanying trumpet solo. Armstrong displayed showmanship and charisma, gaining a greater following after the show. Because of the Great Depression , Armstrong, like many other Americans and especially Black Americans, had trouble finding work. In , approximately one half of Black Americans were unemployed, some fired from their jobs simply because White Americans were out of work.
Armstrong decided to make a new start in Los Angeles, moving there in May He found work in clubs and continued to make records.
He made his first film, "Ex-Flame," appearing as himself in the movie in a small role. Armstrong gained more fans through this widespread exposure. After an arrest for marijuana possession in November , Armstrong received a suspended sentence and returned to Chicago.
According to writer Marco Medic, it is widely believed that the police officers responsible for his arrest were fans of his and that this played a role in his receiving a lighter sentence even though marijuana-related crimes were harshly punished across the board during this time. Some also speculate that higher-ups in the music industry had something to do with securing Armstrong a suspended sentence, though none of this is documented.
Despite his arrest, he stayed afloat during the Depression, touring the U. Armstrong continued to tour throughout the s and s and appeared in a few more movies. He became well-known not only in the U. In the late s, band leaders such as Duke Ellington and Benny Goodman helped to propel jazz into the mainstream, ushering in the swing music era.