Louis Armstrong, Master of Modernism
Page 73
I Got Rhythm, 436
Ike Dixon Amusement Company, 288
I’ll Be Glad When You’re Dead You Rascal You, 1–2, 413, 429, 434
I’ll Be Glad When You’re Dead You Rascal You (film), 437, 443, 444–47, 446
Illinois, 60
I’ll See You in My Dreams, 148
I’ll Take My Stand: The South and the Agrarian Tradition, 442
I’m a Ding Dong Daddy (from Dumas), 382
I’m Confessin’ That I Love You, 384, 397, 401, 413, 432
I’m in the Market for You, 382, 516
I Miss My Swiss, 150
I’m Just Wild About Harry, 342
Immerman, Connie, 340, 341, 345, 347, 354–55, 429
Immerman, George, 341
I’m Not Rough, 22, 284
In a Mist, 282
In Bamville (Sissle and Blake), 344, 347
Indiana, 60, 74
Indian Cradle Song, 340–41, 349, 368, 515
I Need Lovin’, 278
In Shadowland, 357
Interracial Commission on Race Relations, 43
Interstate Tattler, 124, 343, 346, 347, 512
In the Evening by the Moonlight in Dear Old Tennessee, 440
Invisible Man (Ellison), 354
Irish Black Bottom, 214, 236, 246, 438
Irish Fantasy, 290
Isham Jones and His Orchestra, 131, 138
I Surrender Dear, 413
It’s Getting Dark on Old Broadway, 343
It’s Tight Like That, 321–22
I Wish I Could Shimmy Like My Sister Kate, 106, 155
Jackson, Charlie, 117, 117
Jackson, James, 103
Jackson, Jigsaw, 171
Jackson, Mahalia, 45, 48
Jackson, Oliver, 311
Jackson, Preston, 1–2, 46, 58, 91, 110, 122, 225, 243, 413–14, 426, 492, 503
on LA, 197, 426, 429, 436–37
in LA’s band, 113, 422–23, 426–27
Jackson, Rudy, 117, 117, 223
on LA, 118
Jackson, Tony, 17, 45
Jacobson, Bud, 215, 389
James, George, 383, 414, 428–29, 436
jam sessions, 251, 281–82, 315, 328
jazz, 4
African roots of, 6–7, 92–95, 134
birth of, 109
Chicago, 28–39, 97
collective improvisation in, 5–6, 8, 59, 84–87, 90, 92–93, 95, 133–35, 143–44, 147–48, 206, 250, 284–85, 312, 331, 363–64, 370, 372
competition in, 5, 8, 83, 97, 98
composed, 135, 136
“cool,” 364
criticism of, 37–38, 133, 134, 135, 136
crossing racial lines in, 33–39, 134, 150, 198, 200
dancing to, 171, 208, 214, 224, 234–37, 256
definitions of, 132–38, 144, 447, 457
dissonance in, 201, 255
evolution of, 136–38
fixed and variable model of, 6–7, 9, 11, 68, 92–97, 119, 148, 162, 448
four-beat style of, 87–88
free, 97
harmonic dislocations in, 254
historical concepts of, 7, 9–10, 200, 230
“hot,” 31, 33, 57, 65, 139, 141–51, 192–95, 364, 402, 456–57
impact of LA on development of, 7, 11, 66, 94, 251, 264, 269–75
LA as central figure in, 376
listening to, 202–4, 208, 248, 433, 460
memorization in, 36, 49, 91, 372, 410
modal, 97
modern, 201, 203
moral concerns about, 37–38
musical riffs and chord changes in, 35
New Orleans style, 17, 31, 32, 35, 54–60, 62, 67, 82–83, 87–95, 102, 105, 109, 119, 201–2, 208, 395
plurality of rhythms (polymeters) in, 6, 73
rhythmic hierarchy of, 6
sexuality and, 38, 232–33, 238, 317–19, 321–23, 330
social pressures of, 68
standard length of numbers in, 33
styles encompassed in, 57, 132–38
“sweet,” 327–28, 364, 365
symphonic, 136–38, 152, 201, 203
syncopation in, 134
tempos in, 31–32
tension between accessibility and exploration in, 146
as a term, 57, 58, 82, 132–38
uptempo, 57
vaudeville and, 26–30, 117–18
white, 7, 9–10, 23–24, 33–39, 57, 58, 63, 76, 129–31, 134, 135, 137–41
white “alligators” appropriation of, 23–24, 35–39, 63, 143, 239–40, 242, 306–7, 365, 372, 389
jazz age, 48, 233, 366
jazz breaks, 81–84, 90
dance connection to, 82
definition of, 81–82
duet, 82–83, 117, 248
of LA, 82–84, 100, 111, 117, 142, 146–47, 149, 172, 257, 266, 292
notated, 111
of Oliver, 82–83, 117
solo, 29, 81–84
Jazzmania, 217–18, 245, 499–500
Jazzmen (Russell), 493
Jazz Modernism: From Ellington and Armstrong to Matisse and Joyce (Appel), 408
jazz orchestras, 132–38
Jersey City, N.J., 435
Jews, 409, 448
as mediators between Africa and Europe, 135
in popular music, 135, 291
Jim Crow legal system, 3, 27, 307
Joe Oliver’s Dixieland Syncopators, 255–56, 503
Johnny Dodd’s Black Bottom Stompers, 257, 263
Johnson, Bill, 17, 18–20, 29–30, 37, 76–77, 150, 213, 362, 490
banjo playing of, 18, 61–62, 64, 491
influential bass style of, 26, 59, 62, 64
Johnson, Budd, 243, 374, 391, 392, 427–28
Johnson, Bunk, 90, 106–7, 109
Johnson, Chick, 244
Johnson, Jack, 46
Johnson, James P., 129, 163, 214, 237, 318, 341, 344, 401–2
Johnson, James Weldon, 15, 125, 128, 264, 338–39
Johnson, Jimmy, 278
Johnson, Joe, 105
Johnson, Lonnie, 216, 282, 284–86, 312
Johnson, Margaret, 154, 158
Johnson, Marvin, 399
Johnson, Otis, 362
Johnson, Walter, 192, 308
Joker, The, 280
Jolson, Al, 167
Jones, Billy, 150
Jones, Calwell “King,” 22, 28, 32, 37
Jones, Charlie, 399
Jones, Clarence, 279–80, 288–89
Jones, Clifford “Snags,” 117, 117
Jones, Dave, 29, 418
Jones, Isham, 33, 58, 131, 133, 135, 222
Jones, Joseph, 418
Jones, Maggie, 154, 158, 160
Jones, Reverend, 42
Jones, Richard M., 81–82, 91, 104, 165, 204, 216, 381, 392, 489, 514
Joplin, Scott, 11, 106, 109, 111, 219, 264, 266, 274, 275, 371, 401, 457, 459
jukeboxes, 220, 410
Just a Gigolo, 439, 516
Just Like a Butterfly That’s Caught in the Rain, 279–80
Juvenile Protection Association, 32, 235, 236–38
Kahn, Gus, 222
Kaminsky, Max, 281
Katie’s Head, 106
Keith Vaudeville Circuit, 429, 433
Kentucky, 59, 429
Kentucky Derby, 415
Keppard, Fred, 17, 36, 42, 46, 63, 91, 101, 303, 371, 516
cornet playing of, 67–68, 75–76, 194, 308, 497
LA and, 75–76
King of the Bungaloos, 212
King of the Zulus, 217
King Oliver and His Creole Jazz Band, 30, 149, 224–25, 428, 447
admiration of white musicians for, 33–39, 57
blend of music and entertainment by, 26–30
break up and rebuilding of, 116–19, 117
competition in, 97
Eddie Condon on, 34, 88, 89, 95, 97, 149, 206
fast tempos of, 31–32
harmonic precision lacking in, 67–68, 73, 86, 9
5
LA as second cornet player in, 20, 24, 47, 62, 69, 74, 80–81, 90, 97, 115, 117–19, 117, 121, 389
LA’s solo debut with, 54, 56
Lil Armstrong’s role in, 37, 66, 68, 73–74, 86–88, 90, 91, 95, 97, 115, 117, 117, 119
main melody instruments of, 89–91, 94–95, 117
musicians in, 18–21, 29–33, 37, 103, 117, 117, 141
Oliver’s leadership of, 86–91, 97
recordings of, 32–33, 58, 60–67, 68, 74, 80–81, 86, 88–91, 94, 95, 97, 99–104, 116, 155, 206
rehearsals of, 91–92, 117
rhythm section of, 87–89, 94
singers featured with, 28–29
success of, 86–87
touring of, 21, 22–23, 60–61, 73, 74, 116–18
white criticism of, 67–68
see also Lincoln Gardens
King Oliver’s Dixie Syncopators, 294–95
KMIC radio, 410
Knee Drops, 364
Knockin’ a Jug, 332
KPVD radio, 410
Krupa, Gene, 59, 389
Kubik, Gerhard, 95
Ku Klux Klan, 2, 60, 231, 443
Ladnier, Tommy, 101, 279, 391, 509
Lady Be Good, 436
LaGuardia, Fiorello, 342
Lake Ponchartrain, 293, 424
Langston, Tony, 53
Lanin, Sam, 130, 131, 132, 138, 151, 495
Larenzo, 4, 56
Last Time, The, 282
Latin language, 125, 126, 127, 129
Lazy River, 396
Lennon, John, 393
Leslie, Lew, 329, 344–45, 347
Le Tang, Mrs., 124
Levette, Harry, 378, 385
Lewis, Art, 318
Lewis, Ted, 328
Library of Congress, 390
Liebestraum (Liszt), 290
Lieurance, Thurlow, 122
Light, 187, 328, 503
Light and Heebie Jeebies, 244, 259, 265, 287, 308, 327, 497, 506
Lillian Hardin’s Dreamland Orchestra, 205
Lincoln Gardens, 11, 14, 15, 116–17, 121, 381, 438
black audiences at, 28, 40, 201–2
crystal ball in, 18
floor show and dancing at, 25–26, 28–33, 34, 47, 172–73
interior of, 18, 25
King Oliver and His Creole Jazz Band at, 18–40, 45, 47–48, 56, 60, 63, 67–69, 73, 74, 76, 78, 88–92, 97, 100, 112, 119, 143, 206, 248, 452
white musicians ringside at, 33–39, 63, 82, 143, 226, 242, 420
whites only “midnight ramble” at, 35, 225
Lindsey, Joe, 424, 426
Lindy Hop, 383, 491
Lips, Kid, 218, 245, 246, 247, 500
Liszt, Franz, 290, 314
Little Ida, 182
Little Joe, 438–39
Little Rock, Ark., 428
Livery Stable Blues, 136
Liza, 336, 344, 436
Locke, Alain, 125
Loew, Marcus, 176
Loew’s Theaters, 334, 367, 380, 384
Lombardo, Carmen, 400
Lombardo, Guy, 326–28, 357, 366, 403, 513
London, 408–9
Palladium in, 409
Lonesome Blues, 295
Lonesome Road, The, 392
Long, Huey, 419
Longshaw, Fred, 159, 161–62
Lopez, Carmen, 244
Lopez, Vincent, 130, 131, 132, 138, 151, 270, 274, 366
Los Angeles, Calif., 22, 373, 377–87, 410, 430
Apex in, 378
Appomattox Country Club in, 384
Dunbar Hotel in, 377–78, 384, 389
Frank Sebastian’s Cotton Club in, 378–84, 386–87, 388, 392, 399, 402–3, 408, 411, 412, 439, 440
Loew’s State Theater in, 384
Los Angeles Evening Herald, 378, 384
Los Angeles Times, 236, 385
Louis Armstrong and His Hot Five, 165, 430, 438
musicians in, 165, 204–7, 205, 210, 242
recordings of, 155, 160–61, 166–67, 204–19, 236, 238, 239, 242, 262, 263, 282–86, 288, 295–97, 303, 363–64, 372–76, 411, 490
Louis Armstrong and His Hot Seven, 257, 259, 260–63, 364, 411, 435
musicians in, 260
Louis Armstrong and His Hot Six, 287–88
Louis Armstrong and His Orchestra, 1–2, 323, 364
musicians in, 113
recordings of, 308, 337, 392
Louis Armstrong and His Savoy Ballroom Five, 317, 323, 324, 364
Louis Armstrong’s Chocolate Drop Orchestra, 355
Louis Armstrong’s 50 Hot Choruses for Cornet, 170
Louis Armstrong’s Jazz Four, 165, 490
Louis Armstrong’s New Orleans (Brothers), 3, 57
Louis Armstrong’s 125 Jazz Breaks for Cornet, 170
Louis Armstrong’s Sunset Stompers, 244, 257, 259, 276–79
Louisiana, 46, 48, 67, 95, 235, 425, 428, 440
Louisiana, 356–57
Love Supreme, A, 292
Love Will Find a Way, 72–73
Lovie Austin and Her Blues Serenaders, 214
Luandrew, Albert (Sunnyland Slim), 48
Luis Russell Orchestra, 332–33, 361–63, 362, 367
Lyles, Aubrey, 341–42
Lyttelton, Humphrey, 163, 267, 364, 489, 496
Mabel’s Dream, 97, 159
Mack, Baby, 379, 385
Mack, Cecil, 344
Mack, Red, 387
Madama Butterfly (Puccini), 280
Magee, Jeffrey, 143
Mahler, Gustav, 177
Mahogany Hall Stomp, 150, 332–33
Mailer, Norman, 317, 322
Majors, Florence, 18, 91
Malcolm X, 197
Mammy’s Little Coal Black Rose, 167
Manda, 142
Mandy, 254, 266
Mandy Lee Blues, 61
Mandy Make Up Your Mind, 148
Manone, Wingy, 33, 239, 281, 304
Maple Leaf Rag, 82, 111
Marable, Fate, 104, 180, 189
Mares, Paul, 24, 33, 36
“Marijuana: Assassin of Youth” (Anslinger), 389
Marshall, Kaiser, 122, 332
Marshall, Thurgood, 441
Martin, David, 124
Martin-Smith Music School, 124
Mascagni, Pietro, 186–87
Matisse, Henri, 408, 409
Maxwell, Jimmy, 267, 410
MCA Agency, 117
McCartney, Paul, 393
McClendon, Dotty, 244
McCutcheon, Joe, 179
McGraw, Naomi, 247
McHargue, James “Rosy,” 67–68, 239
McHugh, Jimmy, 341, 345, 367, 368
McKendrick, Mike, 413, 422–23
McKinney, Nina Mae, 378, 385, 389
McKinney’s Cotton Pickers, 290, 321–22, 412, 415
McPartland, Jimmy, 33
Meers, Paul, 346, 355
Meers, Thelma, 346, 355
Melancholy Blues, 263
Melody Maker, 299
Melrose Music Company, 266–67
Memories of You, 366, 383, 384, 386, 398, 517
“Memphis,” 57
Memphis, Tenn., 42, 51, 58, 59, 72, 103, 258, 381, 428–29
Peabody Hotel in, 1–2, 429
Memphis Blues (Handy), 50
Memphis Commercial Appeal, 428
Memphis Police Department, 1–2, 428, 444
Mencken, H. L., 291
Menelik II, Emperor of Ethiopia, 291, 405, 438, 446, 448
Mess Around, 234–35
Metcalf, Louis, 146, 149, 372
Metropolitan Opera House, 131
Meyer, Sig, 99, 139, 389, 496
Mezzrow, Mez, 63, 89, 170, 238–41, 282, 340, 346, 391, 393, 452, 495
autobiography of, 240, 388
LA and, 38, 218, 307, 389, 429
MGM Studios, 380
Michael, Gertrude, 391
microphones, 65, 284, 370
LA’s use of, 9, 296–98, 296, 330, 347, 358, 393, 400,
516, 519
Mid-Summer Follies, 182
Mike, Gladys, 324
Miley, Bubber, 58–59, 249, 300, 489
Miller, Flournoy, 341–42
Miller, Punch, 60, 212, 261, 302, 503–4
Miller, Ray, 193
Miller and Lyles, 215, 341–42, 385
Mills, Florence, 342, 345
Minnie the Moocher, 392
minstrel shows, 23, 26–28, 38, 39, 51, 169, 220, 241, 381, 438, 453
Miss Cleo Mitchell and Her Fast Steppers, 29
Mississippi, 40–41, 45, 60, 67, 95, 183, 425, 428
“delta” region of, 48
Mississippi Mud, 288
Mississippi River, 420, 449
LA’s playing on riverboats in, 11, 15–16, 29, 34, 71, 104, 106, 121, 180, 189, 198, 199, 214, 313, 418
Mitchell, George, 69, 319
Mole, Miff, 239
Monday Date, A, 297, 303, 311, 364, 507
Monk, Thelonius, 401
Montgomery, Little Brother, 428
Mood Indigo, 292
Morton, Jelly Roll, 17, 26, 45, 46, 56, 103, 168, 303, 309, 438
compositions of, 86, 107, 257, 260
on LA, 212
on music, 82, 336, 417–18, 448–49
piano playing style of, 72
Mosby, Curtis, 378, 384
Moton, Robert, 305–6, 439, 441, 446, 519
movies, 412, 417
LA in, 28, 376, 385, 415, 437, 443–45, 448, 454, 519–20
orchestral accompaniment to, 176–78, 184–89
racist, 28, 182–83, 437, 443–45, 448, 454
silent, 176–78, 184–89
talking, 9, 334, 376
Mozart, Wolfgang Amadeus, 245, 250, 252–53, 255, 334, 455, 496
Muggles, 308, 392
Muse, Clarence, 385, 440
musical arrangements, 92, 119, 121, 122, 137, 150, 151, 164, 206, 383
commercial “stock,” 91, 139, 193, 243
published, 143–44
musical notation, 5–6, 10, 20, 35, 49, 50, 52, 92, 106–11, 121, 381, 430, 457–58
of breaks, 111
lead sheets in, 108, 111–12, 250, 371, 459
reading of, 122, 180–81, 198, 243, 261, 291
Music Trades Convention, 99
Muskrat Ramble, 208, 210–11, 216, 218, 251, 254, 266, 459, 503
My Baby Knows How, 190
My Blue Heaven, 298
My Daddy Rocks Me, 192
Myers, Alonzo, 124
My Heart, 204, 206
“My Old Kentucky Home,” 26
My Rose Marie, 142, 143
My Sweet, 367–68
Nabokov, Vladimir, 401
Nail, John, 124, 128
Naitland, Johnny, 413
Nation, 230
National Association for the Advancement of Colored People (NAACP), 191, 236, 439, 441
annual ball of, 123–25
Women’s Auxiliary of New York branch of, 123
National Association of Colored Women, 124
National Association of Negro Musicians, 124
Native Americans, 38
Navy, U.S., 21
Nearon, Leo Fitz, 124
Negro Baseball League, 303