Louis Armstrong, Master of Modernism
Page 71
sports activity of, 308–9, 424
stature and physique of, 3, 25, 153, 237, 308–9
strong initial attacks of, 142, 197, 242
study of the “classics” by, 10, 141, 198
stylized facial expressions of, 169
success and fame of, 3, 114–15, 118, 122–23, 303–4, 309, 365–66
touring of, 1–2, 40, 84, 116–18, 288, 366, 415, 425–31, 433–37
trumpet virtuosity of, 2, 7, 9, 180–81, 190–92, 217, 221, 263, 323, 331, 340–41, 349, 352, 364–65, 384, 410, 434, 435–36
unique singing style of, 2, 7, 8, 9, 118, 151, 166, 169, 174, 182, 189–90, 197–98, 211–21, 236, 237, 263, 278–79, 296–99, 326, 329–32, 346–48, 351–54, 356–61, 365–68, 383–84, 396–403, 434, 438–39
use of mutes by, 101, 402
vernacular values of, 3–4, 7–9, 10, 11, 69, 141, 145, 166, 189, 196, 200, 224, 354, 454–55
whistling of, 109–10
white admirers and friends of, 38, 174, 304–7, 326–28, 365–66, 380, 451
youthful shyness of, 71, 78, 119
Armstrong, Willie (father), 277
Ash, Paul, 218, 286, 326–27
Association of Trade and Commerce, 124
Atkins, Boyd, 211, 213, 214, 218–19, 308
Atkins, Eddie, 180
Atlanta University, 125, 126–27, 129
Atlantic City, N.J., 53, 214
Auld Lang Syne, 421
Aunt Harriet Becha Stowe, 363
Austin, Gene, 298, 400
Austin, Mary, 230–31
Austin, Obie, 386
Austin, Tex., 426, 427
Baby Face, 182
Bach, Johann Sebastian, 135, 267, 366
Backwater Blues, 52
Bagnall, Robert W., 124–25
Bailey, Buster, 22, 35, 103, 117, 117, 141–42, 145, 154, 163, 223, 228, 297
growl clarinet technique of, 142
Bailey, Joe, 399
Bailey, Mildred, 238
Baker, Houston, 145
Baker, Josephine, 342, 344
Baldwin, James, 317, 394, 398, 400
Baltimore, Md., 434
Royal Theater in, 435
Baltimore Afro-American, 125, 138, 385, 386, 426, 494, 498, 501, 508
bands, 5, 272
contests between, 5, 8
dance, 5, 26, 31–33, 58–60, 63, 88, 90, 115, 130, 135, 138–39, 272
marching, 4–5, 21, 32, 85, 248, 395, 438
minstrel, 23
pick-up, 153–54, 163
swing, 165
white, 10, 17, 23–24, 57, 58, 63, 76, 129–31, 138–41, 143–44, 151, 286, 494–95
banjos, 18, 61–62, 64, 88, 123
Baraka, Amiri, 48, 142, 293, 365
Barbarin, Paul, 35, 40, 207, 214, 217, 235, 243, 256, 332, 362, 500, 514
Barker, Danny, 2, 52, 123, 128, 246, 307, 329, 336, 338, 436, 511
Barnes, Paul, 158
Barney Google comic strip, 214
Barrymore, John, 185
Basie, Count, 31, 317
Basin Street Blues, 325, 359
Beatles, 10, 11
Beau Koo Jack, 323–24, 364, 415, 511
bebop, 89, 97
improvisation in, 251
Bechet, Sidney, 17, 57, 91, 153, 164, 196, 344, 417–18, 517
confidence and virtuosity of, 83, 159
European move of, 157
first successful recording of, 83
influence of, 64
jazz breaks and obbligato of, 83, 159
LA and, 83, 155–59
New Orleans sound of, 59
rivalry of LA and, 83, 156
on soprano sax, 98
Beethoven, Ludwig van, 10–11, 136, 178, 366
Beiderbecke, Bix, 61, 143, 218, 238, 280–82, 313, 364, 391, 403, 495, 505
LA’s influence on, 267–68, 281
premature death of, 282
Bell, Jimmy, 279–80
Belt, Madeline, 346
Benjamin, Walter, 354
Bennett, Eloise, 278
Ben Selvin’s Famous Moulin Rouge Orchestra, 130
Benson Orchestra, 131, 138, 144
Berigan, Bunny, 154–55, 410
Berlin, Irving, 78, 134, 135, 193
Berlioz, Hector, 393
Bernhardt, Clyde, 60, 65, 146, 326, 372, 454
Bernstein, Leonard, 451
Berquist, Whitey, 239
Berton, Vic, 387
Bertrand, Jimmy, 180, 186, 192
Bessie Couldn’t Help It, 367
Best, Edward, 124
Betty Boop cartoons, 437, 444–46, 447, 454
Between the Devil and the Deep Blue Sea, 436
Bigard, Barney, 22, 83, 209
Big Butter and Egg Man, 174, 190, 221, 237, 242–43, 244–45, 247–50, 259, 266, 278, 281, 286, 348, 352, 371, 375, 438, 508–9
LA’s famous trumpet solo in, 243, 245, 249–55, 252, 260, 263, 374, 459, 460
Billboard, 342
Bill Brownie’s Boys, 386
Billups, Pope, 124
Binga, Jesse, 75
Birth of a Nation (film), 443
Bix Beiderbecke and His Rhythm Jugglers, 61
Black, Charles L., Jr., 427
Black, Clarence, 290, 309
Black and Tan (film), 378
Black and Tan Fantasy, 300, 489, 514
Blackbirds of 1928, 329, 345, 347, 350, 354
Black Bottom, 234–37, 241, 501
Black Boy (Wright), 305
Blacker the Berry, The (Thurman), 352
Black Swan Records, 53, 127–29
Henderson as musical director at, 128
Blake, Eubie, 73, 155, 326, 338, 341–44, 347, 351, 398, 497, 517
Bleyer, Archie, 304
Blue Again, 413
Blue Five, 83
blue notes, b, 149, 154, 156, 197, 258, 281, 372, 448
blues, 15, 47–56, 76, 370
AAB standard form of, 51, 58, 64, 90, 155
adaptations of, 50–54
additive rhythm in, 94, 134
black opposition to, 50
call and response in, 90
as “colored folks’ opera,” 51–52
commercial explosion of, 127
“crooning,” 298
delta tradition in, 49
diminished chords in, 66
dragging behind the beat in, 65, 94
flexible concepts of, 57–59
gutbucket, 52, 57
harmonies of, 5, 66–68, 134, 136, 156
heightened emotion in, 48–49, 52–53
heterophony in, 67
“hot,” 65
improvisation in, 5, 11, 49, 59, 72, 83, 131
intense vibratos in, 68
irregularly placed accents in, 94
LA’s playing of, 4, 5, 11, 47, 50, 56, 62–67, 115, 282–83, 292–95, 393, 438, 455
lowdown, dirty, 56
New Orleans style, 47–48, 54–60, 65–69, 72, 133
obbligato lines in, 5, 49, 90
origins of, 48–50
ornamentation in, 49, 52, 65, 84
pastiche approach to, 64
performer-centered, 51–54, 59–60, 69, 81–84, 91
phrasing and fleeting rhythmic patterns of, 49, 56, 57, 118–19, 188–89
pitch bending and “blue notes” of, 49, 50–52, 56, 57, 64, 65, 68, 112, 134–35, 149
playing by ear in, 36, 49, 59, 68, 73, 86–87, 91, 92, 133
popularity of, 51, 57
publication of, 50–52, 59
recordings of, 50, 53–54, 60–67, 129
slow tempos of, 31, 51–52, 57, 58, 154, 156, 162, 163, 256, 295, 308, 455
strong initial attacks in, 68, 118–19
“talking,” 213
unequivocal black identity of, 49
vocal style of, 5, 49, 51–52, 59–60, 65–66, 129
on wind instruments, 54–56, 62–67, 156
“blues people,” 48
blues singers, 52–5
4, 59–60, 129
LA’s playing for, 153–55, 158–63, 165
see also specific singers
blue tritone dissonance, 144
Blue Turning Grey Over, 365, 367
Blue Yodel Number 9 (Standin’ on the Corner), 381
B-Minor Mass (Bach), 135
Bocage, Peter, 212
“Bodidly,” 29
Body and Soul, 386, 398, 406–7
Bogalousa Strut, 283
Bolden, Charles “Buddy,” 293
blues playing of, 56, 69, 90–91, 110
popularity and fame of, 56
Bolton, James “Red Happy,” 212, 237, 491–92
Bordoni, Irene, 367
Borneo, 313
Boston, Mass., 489
Metropolitan Theater (Wang Theater) in, 436–37
Paul Revere Hall in, 437
Boswell Sisters, 220, 411
Bottoms, Bill, 77, 167–68
Bourdieu, Pierre, 47–48
Bradford, Perry, 53, 54, 155, 163, 165, 215, 258, 344, 501
Brahms, Johannes, 267
Branen, Jeff, 278
Braud, Wellman, 103
Briggs, Peter, 260, 308
Brooks, Harvey, 399
Brooks, Shelton, 155
Broomfield, Leroy, 182, 379
Brown, Herbert, 247, 267
Brown, Lawrence, 380, 382
Brown, Ralph, 59, 185, 187
Brown, Scoville, 305, 309
Brown and McGraw, 203–4, 235, 246–47, 248–49, 251–52, 264, 276, 290, 502, 504
Brown Brothers, 235
Brown v. Board of Education, 427
Brymn, Tim, 344
Bryson, Prentice A., 276
Buck and Bubbles, 244, 247, 264–65, 312, 355
Buffalo Express, 410
Bugle Blues, 98, 101, 102
Bugle Call Rag, 101, 102, 105
bugle calls, 101–2
Bunny Hug, 18
Burke, Ceele, 384
burlesque, 167
Bushell, Garvin, 53, 58–59, 65, 88, 97, 152, 177, 509, 512, 520
on Henderson, 139–41
Butterbeans and Susie, 238
Butterfly Fantasy, 279–80
Bye and Bye, 147
By the Waters of Minnetonka (Lieurance), 122
cabarets, 28, 53, 113, 130, 165–74, 182, 189, 203, 231
“black and tan,” 22–23, 34, 40, 228, 229, 232–33, 238–44, 338–43, 340, 489
integration in, 226–29, 232–33, 238
liberation and hedonism in, 232–38, 240–41
white patrons of, 33–39, 63, 82, 143, 226, 238–39
cakewalk, 283
Cake Walking Babies from Home, 158–59
California, 21, 22–24, 30, 73, 86, 325, 360, 376–87, 410, 412, 437
California Eagle, 389, 410
California Ramblers, 138, 144
call and response, 90, 143–44
Calloway, Blanche, 165, 218, 278, 513
Calloway, Cab, 165, 276, 278, 308, 339, 346, 392, 403, 411, 422, 447
dancing and scatting of, 445
on LA, 218
Campbell, Dick, 379
Campbell, E. Simms, 391
Campbell, Floyd, 291
Camp Meeting Blues, 107
Canal Street Blues, 61, 63–64, 90
LA and Oliver as co-composers of, 64, 106, 107, 457
Can’t Help Lovin’ Dat Man, 239–40
Capone, Al, 226, 415
LA and, 227
Carey, Mutt, 155
Caribbean Sea, 28, 92
Carmichael, Dorothy, 268
Carmichael, Hoagy, 35, 233, 238, 393, 443
compositions of, 268, 360, 362–63, 367, 396, 403–7, 405, 515
on LA, 102, 281, 301, 331–32, 397, 403–4
Carolina Stomp, 150
Carolina Sunshine, 440
Carpenter, Charlie, 393, 412, 435–36, 509
Carpenter, John Alden, 134
Carr, Mancy “Peek,” 292
Carroll Dickerson’s Orchestra, 101, 205, 216, 244, 255, 290, 294, 308–9, 334–37, 340, 347, 491, 510–11
Carroll Dickerson’s Syncopators, 259
Carter, Bennie, 333
Carter, William J., 124
Carter Temple CME Church, 276
Casa Loma Orchestra, 436–37
Castle, Irene and Vernon, 32, 235
Cato, Minta, 434
Cavalleria Rustican (Mascagni), 180, 186–87, 188, 438, 497, 498
Cayton, Horace, 174, 183
Celestin, Oscar “Papa,” 91
Chambers, Elmer, 147
Changeable Daddy of Mine, 158
Charleston (dance), 135, 163, 169, 182, 184, 218, 233–37, 240, 244, 258, 338, 343–44
Charleston Rag, 214
Charlie Davis and His Orchestra, 143
Charlie Elgar’s Creole Band, 23
Charlie Johnson’s Paradise Ten, 386
Chauvin, Louis, 219
Cheatham, Adolphus “Doc,” 7, 75, 173, 192, 227, 331
on LA, 248, 251, 309
Check and Double Check (film), 378, 385
Chicago, Ill., 2, 7–8, 13–39, 436
African-American community of, 16–17, 43, 46–48, 74–75, 174, 183
after-hours clubs in, 176
Apex Club in, 14, 194, 225
Arlington Restaurant in, 79
Big Fat Mammy from Alabamy in, 283
Black Hawk Grill in, 277
black-owned businesses in, 75, 77–78, 165–71
Café de Paris in, 276
Chicago Theater in, 280
City Hall in, 113
classical music teachers in, 103–5
Club Baghdad in, 286
Coliseum in, 215–16, 278–79
Columbia Hotel in, 75
Congress Hotel in, 278
crime and prostitution in, 226–27, 238
Deluxe Café in, 194
Drake Hotel in, 36, 99, 179
Dreamland Café in, 14, 21, 70, 71, 73, 77–78, 102–3, 120, 165–71, 175–76, 183, 189, 203–6, 208–9, 453, 459
Edelweiss Gardens in, 75–76
Edgewater Beach resorts in, 36
Ed Victor’s Barber Shop in, 14, 46
Eighth Regiment Armory in, 14, 203–4, 217
Elite Café #1 in, 14, 17
Erlanger Theater in, 76–77
Fiume Café in, 14, 76
garment industry in, 43
“Gold Coast” of, 99
Granada Inn in, 326–28
Grand Theater in, 14, 17, 52
Hotel Sherman in, 327
Ideal Tea Room in, 113
Jackson’s Music Shop in, 17
job opportunities in, 15, 40, 43, 45
Jones Music Store in, 14, 72
Kelley’s Stables in, 194
Kimball Hall in, 104, 105, 141, 188, 198, 283, 292–93, 493
LA’s 1922 arrival in, 3, 7, 15–17, 39, 49
LA’s 1925 return to, 113, 163–65, 430, 458
Liberty Congregational Church in, 291
Lincoln Cemetery in, 276
Loop in, 104, 277, 280, 413
meatpacking industry in, 15, 43
Mecca Flats in, 14, 46, 47
Metropolitan Theater in, 14, 261, 279–80, 286, 288
Monogram Theater in, 14, 52, 177
movie theaters in, 175–97, 175, 195
Nest Club in, 225
New Orleans musicians in, 15, 17–28, 19, 43, 46, 54, 58–59, 62–63, 103, 123, 194
night life in, 16–17, 74–79
1919 race riots in, 43
1925 battle of the bands in, 8
Palace Theater (Cadillac Palace) in, 430–32
Pekin Theater and Cabaret in, 14, 17, 76, 103
Phoenix Theater in, 52
Plantation Café in, 14, 194, 222–28, 232, 235–38, 241, 255–56, 259, 334
police in, 236–37
racial conditions in, 33–39, 42–45
racial integration in, 33–39, 76, 226–29, 23
2–33, 326–28, 404–6
red-light district in, 17
Regal Theater in, 14, 328–29, 366, 412
Roosevelt Theater in, 327
St. Thomas Episcopal Church in, 98–99, 105
Savoy Ballroom in, 283, 285, 287–97, 289, 294, 303–4, 307–10, 310, 324, 327–30, 366, 387, 433, 438, 453
Schiller’s Café in, 17, 98
Show Boat in, 413–15, 433
South Side of, 11, 14, 18, 38, 43–44, 59, 68, 70, 77, 102–3, 130, 131, 141, 168, 178, 190, 194, 224, 412
South State Street in, 16–17, 21, 46, 52, 72, 74, 76, 77
steel industry in, 15, 43
Sunset Café (Grand Terrace) in, 14, 34, 101–2, 209, 216–17, 220–34, 224, 236–44, 261, 274–75, 286, 317, 372, 434, 438, 453, 459
Trianon Ballroom in, 202
12th Street Railroad Station in, 15
urban sophistication of, 8
Vendome Theater in, 8, 14, 17, 52, 166, 175–97, 175, 199–204, 206–7, 242, 246, 261–63, 268, 273–75, 288, 318–19, 370–71, 405–6, 434, 438, 453, 458
Vincennes Hotel in, 276, 288
Warwick Hall in, 14, 259, 286–87, 287
see also Lincoln Gardens
Chicago Breakdown, 260–62, 279, 312
Chicago College of Music, 334
Chicago Daily News, 172, 501
Chicago Daily Tribune, 430, 490, 501, 507, 511, 518
Chicago Defender, 15, 37, 40, 42, 44, 44, 50, 54, 75, 76, 98, 102, 167, 173, 235–36, 307, 439
on LA, 100, 166, 326, 356, 387, 413, 429
music reviews in, 17, 32, 51, 53, 100, 104, 119, 130–31, 138, 141, 166, 178, 344, 346
Chicago Symphony, 103
Chicago Whip, 50
Chicago White Sox, 20, 179
Chimes Blues, 7, 61, 63, 86, 90, 107, 148, 272, 502
LA’s solo on, 64, 66, 69, 83, 112, 143, 172, 194, 250, 253, 253, 255, 456
Chinatown, My Chinatown, 435, 445–46, 511
Cincinnati, Ohio, 430, 433
Albee Theater in, 429–30
Palace Theater in, 441, 444
Cincinnati Enquirer, 430
civil rights movement, 3, 28, 427
Civil War, U.S., 27, 450
Clarence Jones’s Orchestra, 279–80, 288–89
Clarence Williams’s Blue Five, 83, 155–59, 165
Clarinet Marmalade, 102, 105, 106, 184
Clayton, Buck, 382, 384, 386–87, 439, 516
Cleveland, Ohio, 433, 454
Cohan, George M., 155
Cold in Hand Blues, 160–61, 332
Cold War, 3
Cole and Man, 182
Coleman, Bill, 151
Coleridge, Samuel Taylor, 393
Coles, Charles “Honi,” 171, 350, 501–2
Collins, Chief, 237
Collins, Johnny, 413–15, 414, 418–19, 422–23, 425–26, 428–29, 434, 446
Collins, Lee, 105, 119, 430
Collins, Mary, 428
Colored Waif’s Home for Boys, 418, 421, 421
LA sent to, 102, 276–77, 498
Coltrane, John, 292
Columbia Records, 60, 130, 159, 319–20