Lui Armstrong - Louis Armstrong

Lui Armstrong
Lui Armstrong qayta tiklandi.jpg
Armstrong 1953 yilda
Tug'ilgan
Louis Daniel Armstrong[1]

(1901-08-04)1901 yil 4-avgust
Yangi Orlean, Luiziana, BIZ.
O'ldi1971 yil 6-iyul(1971-07-06) (69 yosh)
Korona, Kvins, Nyu-York, AQSh
Dafn etilgan joyYuvish qabristoni, Nyu-York, AQSh
Boshqa ismlar
  • "Satchmo"
  • "Ushlash"
  • "Poplar"
  • "Louie"
Ta'limRangli Waif-ning O'g'il bolalar uchun uyi, O'g'il bolalar uchun Fisk maktabi
Kasb
  • Musiqachi
  • bastakor
  • ashulachi
Turmush o'rtoqlar
Daisy Parker
​
​
(m. 1919; div 1923)​
​
​
(m. 1924; div 1938)​
Alfa Smit
​
​
(m. 1938; div 1942)​
Lyusil Uilson
​
(m. 1942)​
Musiqiy martaba
Janrlar
Asboblar
  • Vokal
  • karnay
Faol yillar1919–1971
Birlashtirilgan aktlar
Imzo
Louis Armstrong signature.svg

Louis Daniel Armstrong (1901 yil 4 avgust - 1971 yil 6 iyul), laqabli "Satchmo",[a] "Uchrashuv", va"Poplar",[2] amerikalik edi karnaychi, bastakor, vokalist va eng ta'sirchan shaxslardan biri bo'lgan aktyor jazz. Uning karerasi 20-asrning 20-yillaridan 60-yillariga qadar bo'lgan besh o'n yillik va jaz tarixidagi turli davrlarni qamrab oldi.[3] 2017 yilda u Ritm va Blyuz shon-sharaf zaliga kiritildi.

Armstrong tug'ilib o'sgan Yangi Orlean. 1920 yillarda ixtiro sifatida taniqli bo'lgan karnay va kornet pleyer, Armstrong musiqa markazini jamoaviy improvizatsiyadan yakkaxon ijroga o'zgartirib, jazzga asos solgan.[4] 1922 yil atrofida u ustoziga ergashdi, Jou "Qirol" Oliver, Krikol Jazz guruhida o'ynash uchun Chikagoga. Chikagoda u boshqa mashhur jaz musiqachilari bilan vaqt o'tkazdi, do'sti bilan aloqani tikladi Bix Beiderbecke va vaqt o'tkazish Hoagy Karmayl va Lil Hardin. U shuhrat qozongan "tanlov musobaqalari "ga qo'shilish uchun Nyu-Yorkka ko'chib o'tdi Fletcher Xenderson guruhi.

Armstrong bir zumda tanib bo'ladigan boy, shag'alli ovozi bilan, shuningdek, ta'sirli qo'shiqchi va mohir improvizator bo'lib, qo'shiqning so'zi va ohangini egib oldi. U shuningdek mahoratli edi sochib kuylash. Armstrong o'zining xarizmatik sahnasi va ovozi hamda karnay chalishi bilan mashhur. 1960-yillarda Armstrongning karerasi oxirida uning ta'siri umuman mashhur musiqaga tarqaldi. Armstrong birinchilardan biri edi Afroamerikalik ko'ngil ochuvchilar (va xalqaro) tomoshabinlar orasida keng mashhurlikka "o'tish". U afroamerikalik amerikaliklarni xafa qilish uchun kamdan-kam hollarda o'z irqini siyosiylashtirdi, ammo taniqli pozitsiyani oldi degregatsiya ichida Little Rock inqirozi. U qora tanli erkaklar uchun qiyin bo'lgan paytda u Amerika jamiyatining yuqori darajalariga kira oldi.

Armstrong kabi filmlarda paydo bo'ldi Oliy jamiyat (1956) bilan birga Bing Krosbi, Greys Kelli va Frank Sinatra va Salom, Dolli! (1969) bosh rollarda Barbra Streisand. U ko'plab maqtovlarga sazovor bo'ldi, shu jumladan uchta Grammy mukofoti nominatsiyalar va uning vokal ijrosi uchun g'alaba Salom, Dolli! 1964 yilda.[5]

Hayotning boshlang'ich davri

Lui Armstrong (2002), qo'lda rangli zarb qilish tomonidan Adi Xolzer

Armstrong ko'pincha 1900 yil 4-iyulda tug'ilganligini ta'kidlardi.[6] U 1971 yilda vafot etgan bo'lsa-da, 1980-yillarning o'rtalariga kelib uning haqiqiy tug'ilgan sana - 1901 yil 4-avgust tomonidan aniqlandi. Tad Jons suvga cho'mish to'g'risidagi yozuvlarni o'rganish orqali.[7] Kamida uchta tarjimai hol 4 iyulda tug'ilgan kunni afsona sifatida qabul qiladi.[8][9][10]

Armstrong tug'ilgan Yangi Orlean Meri Albert va Uilyam Armstrongga. Albert edi Butte, Luiziana va o'n olti yoshida uyda tug'di. Ko'p o'tmay Uilyam Armstrong oilani tark etdi.[11] Taxminan ikki yil o'tgach, uning Albert tomonidan tarbiyalangan Beatris "Mama Lucy" Armstrong ismli qizi bor edi.[12]

Lui Armstrong onasiga qaytarilguniga qadar besh yoshigacha buvisi tomonidan tarbiyalangan.[11] U yoshligini qashshoqlikda, jang maydoni deb nomlangan qo'pol mahallada o'tkazdi.[13] Olti yoshida u Fisk O'g'il bolalar maktabida o'qidi,[14] qora tanli bolalarni Nyu-Orleanning irqiy ajratilgan tizimiga qabul qilgan maktab. U Litva yahudiylari oilasi bo'lgan Karnoffskiylar uchun g'alati ishlarni bajargan. Ko'mir sotayotganda Storyville, u eshitdi spazm bantlari, uy-ro'zg'or buyumlaridan musiqa chaladigan guruhlar. Jazning dastlabki tovushlarini u fohishaxonalarda va Pete Lala singari raqs zallarida o'ynagan guruhlardan eshitgan. Qirol Oliver amalga oshirildi.[15]

Karnoffskiylar[16] uni qabul qildi va oiladek muomala qildi. Uning otasiz yashashini bilib, uni boqishdi va boqishdi.[17][18] Uning xotirasida Lui Armstrong + Nyu-Orleandagi yahudiy oilasi, La., 1907 yil, u o'zining kashfiyotini ushbu oila ham ekanligini tasvirlab berdi kamsitishlarga duch keladi o'zlarini yahudiylardan yaxshiroq deb bilgan "boshqa oq tanlilar" tomonidan: "Men atigi etti yoshda edim, lekin men ishlagan kambag'al yahudiylar oilasiga oq tanlilar tomonidan qilingan xudosiz muomalani osongina ko'rishim mumkin edi."[19] U kiygan Dovudning yulduzi umrining oxirigacha pendon va ulardan nimani o'rganganligi haqida yozgan: "qanday yashash kerak - haqiqiy hayot va qat'iyat".[17] Uning birinchi musiqiy ijrosi Karnoffskiyning keraksiz vagon yonida bo'lishi mumkin edi. Ularni boshqa sotuvchilardan farqlash uchun u xaridorlarni jalb qilish uchun kalay shoxida o'ynashga harakat qildi. Morris Karnoffskiy Armstrongga lombarddan kornet sotib olishga avans berdi.[20]

Armstrong o'n bir yoshida maktabni tashlab ketgan.[14] Onasi, u, Lyusi va uning turmush o'rtog'i Tom Lining yonida, akasi Ike va uning ikki o'g'lining yonida, Perdido ko'chasidagi bitta xonali uyga ko'chib o'tdi.[21] Armstrong pul uchun ko'chalarda qo'shiq aytadigan o'g'il bolalar kvartetiga qo'shildi. U ham muammoga duch keldi. Kornetist Bunk Jonson u o'n bir yoshli bolaga Dago Toni honk tonkida quloq bilan o'ynashni o'rgatdi.[22] (Uning keyingi yillarida Armstrong qirol Oliverga ishongan.) U o'zining yoshligi haqida shunday degan edi: "Har safar o'zimning karnayimni chalayotganimda ko'zlarimni yumganimda - men yaxshi Orleanning qadimgi yuragiga to'g'ri qarayman ... Bu menga nimadir berdi uchun yashang. "[23]

Armstrong birinchi karnay ustasi Piter Devis bilan 1965 yilda

Ruxsatatsiz o'gay otasining qurolini qarzga olgan holda, u osmonga o'q otdi va 1912 yil 31-dekabrda hibsga olindi. U tunni Nyu-Orlean voyaga etmaganlar sudida o'tkazdi, keyin ertasi kuni Rangli Vaifning uyida hibsga olingan.[24] Uydagi hayot spartan edi. To'shak yo'q edi; ovqat ko'pincha non va pekmezdan biroz ko'proq edi. Kapitan Jozef Jons uyni harbiy lager kabi yugurdi va jismoniy jazoni qo'lladi.[25]

Armstrong guruhda o'ynash orqali kornet mahoratini rivojlantirdi. Kapitan Jonsning iltimosiga binoan tez-tez uyda paydo bo'lgan Piter Devis,[26] Armstrongning birinchi o'qituvchisi bo'ldi va uni guruh rahbari sifatida tanladi. Ushbu guruh bilan o'n uch yoshli Armstrong e'tiborini tortdi Kid Ory.[27]

1914 yil 14-iyunda Armstrong otasi va yangi o'gay onasi Gertrudning qaramog'iga qo'yib yuborildi. U bu xonadonda bir necha oy davomida ikki o'gay ukasi bilan yashagan. Gertruda qiz tug'gandan so'ng, Armstrongning otasi uni hech qachon kutib olmagan, shuning uchun u onasi Meri Albertning oldiga qaytgan. Uning kichkina uyida u onasi va singlisi bilan bir karavotda turishi kerak edi.[28] Onasi hali ham jang maydonida yashab, uni eski vasvasalarga berib qo'ydi, ammo u musiqachi sifatida ish izladi. U uyushgan jinoyatchilik bilan aloqasi bo'lgan Genri Ponsga tegishli bo'lgan raqs zalida ish topdi. U olti metr uzunlikdagi barabanchi bilan uchrashdi Qora Benni, kim uning yo'lboshchisi va qo'riqchisi bo'ldi.[29] Taxminan o'n besh yoshida u Nootsi ismli fohishani qidirib topdi, ammo u Armstrongning yelkasiga pichoq urganidan va onasi uni bo'g'ib o'ldirganidan keyin bu munosabatlar muvaffaqiyatsiz tugadi.[30]

Karyera

Riverboat ta'limi

Armstrong 1918 yilda "Fate Marable" ning "New Orlean's Band" guruhining a'zosi bo'lgan, bu erda S.S. Sidni

Armstrong guruch guruhlarida o'ynagan va daryo qayiqlari Nyu-Orleanda, birinchi bo'lib 1918 yil sentyabr oyida ekskursiya kemasida. U guruhi bilan sayohat qilgan Fate Marable paroxodda sayohat qilgan Sidni bilan Streckfus paroxodlari Missisipi daryosiga yuqoriga va pastga tushing.[31] Marable o'zining musiqiy bilimlari bilan faxrlanar edi va Armstrong va uning guruhidagi boshqa musiqachilar o'rganishini talab qildi ko'rish o'qish. Armstrong Marable bilan bo'lgan vaqtini "Universitetga boraman" deb ta'riflagan edi, chunki bu unga yozma ravishda ishlashda kengroq tajriba yaratdi kelishuvlar. U vaqti-vaqti bilan Yangi Orleanga qaytib keldi.[32] 1919 yilda Oliver shimolga borishga qaror qildi va Kid Ory guruhidagi lavozimidan iste'foga chiqdi; Armstrong uning o'rnini egalladi. U shuningdek, ikkinchi karnayga aylandi Smokinli jasur orkestr.[33]

Chikago va Gennett uchun yozuv

Daryo bo'yidagi qayiq tajribasi davomida Armstrong musiqachiligi etuklasha va kengayib bora boshladi. Yigirma yoshda u musiqa o'qiy olardi. U o'ziga xos shaxsiyati va uslubini yangrab, karnay-surnayning yakka qo'shiqlarida namoyish etilgan birinchi jaz musiqachilaridan biri bo'ldi. U o'z chiqishlarida qo'shiq kuylashni boshladi.[34] 1922 yilda u qirol Oliverning taklifiga binoan Chikagoga ko'chib o'tdi. Oliver's Creole Jazz Band bilan u bir kunlik ishdan bo'shash uchun etarli pul ishlab topishi mumkin edi. Irqiy munosabatlar yomon bo'lsa-da, Chikago juda tez rivojlanayotgan edi. Shaharda qora tanlilar uchun fabrikalarda yaxshi maosh oladigan ish joylari bor edi, ba'zilari esa ko'ngil ochish uchun qolgan.[iqtibos kerak ]

Oliver guruhi 1920-yillarning boshlarida Chikagodagi eng nufuzli jazz guruhlaridan biri bo'lgan. Armstrong o'zining birinchi shaxsiy hammomi bilan o'z xonadonida hashamatli yashadi. U Chikagoda bo'lishidan juda xursand bo'lib, karerasida Nyu-Orleandagi do'stlariga xat yozish bilan shug'ullangan. Armstrong ketma-ket ikki yuz baland Cs-ni uchirishi mumkin edi. Uning obro'si o'sishi bilan unga qarshi kurash olib borildi tanlov musobaqalari boshqa musiqachilar tomonidan.[35]

Uning birinchi studiya yozuvlari Oliver uchun bo'lgan Gennett Records 1923 yil 5–6 aprel kunlari. Ular poezdda masofadan turib bir necha soat sabr qildilar Richmond, Indiana va guruhga ozgina maosh to'langan. Mashg'ulotlar sifatiga repetitsiyaning etishmasligi, qo'pol ovoz yozish uskunalari, yomon akustika va tor studiya ta'sir ko'rsatdi. Bundan tashqari, Richmond bilan bog'liq edi Ku-kluks-klan.[36]

Lil Hardin Armstrong uni ko'proq taniqli hisob-kitoblarni qidirishga va Oliver ta'siridan tashqari o'z uslubini rivojlantirishga undadi. U mahoratini kengaytirish uchun uni cherkov kontsertlarida mumtoz musiqa chalishni rag'batlantirdi. U atrofini qoplash uchun uni zamonaviyroq kiyim kiyishga undadi. Uning ta'siri, oxir-oqibat Armstrongning ustozi bilan munosabatlarini, ayniqsa Oliverning Armstrong va boshqa guruh a'zolaridan ushlab turgan maoshi va qo'shimcha pullari bilan aloqalarini buzdi.[37] Armstrongning onasi May Ann Albert 1923 yil yozida Armstrong "ishsiz, pulsiz, och va kasal" deb aytilganidan keyin uni ziyorat qilish uchun Chikagoga kelgan; Hardin u qolgan vaqt ichida yashash uchun unga kvartirani joylashtirdi va bezatdi.[38]

Fletcher Henderson orkestrida

Armstrong va Oliver 1924 yilda do'stona ravishda ajralib ketishdi. Ko'p o'tmay, Armstrong Nyu-York shahriga o'ynash uchun taklif oldi. Fletcher Xenderson Orkestr, o'sha paytdagi eng afro-amerikalik guruh. U o'z bo'limidagi boshqa musiqachilar bilan yaxshiroq moslashish uchun karnayga o'tdi. Uning Xendersonning tenor saks solistiga ta'siri, Coleman Hawkins, ushbu davrda guruh tomonidan yozilgan yozuvlarni tinglash orqali hukm qilish mumkin.[iqtibos kerak ]

Armstrong Xendersonning qattiq boshqariladigan uslubiga moslashib, karnay chalib, trombon bilan tajriba o'tkazdi. Boshqa a'zolarga Armstrongning hissiy uslubi ta'sir ko'rsatdi. Uning harakati Nyu-Orlean qahramonlari, ayniqsa va'zgo'ylarni kuylash va aytib berishdan iborat edi.[39] Henderson orkestri nafaqat homiylar uchun taniqli joylarda, shu jumladan Roseland bal zali tomonidan tashkil etilgan Don Redman. Dyuk Ellingtonning orkestri Armstrongning chiqishlarini tomosha qilish uchun Roselandga bordi.

Shu vaqt ichida Armstrong yozgan Klarens Uilyams (Nyu-Orleandan do'stim), Uilyams Moviy Beshlik, Sidney Bechet va blyuz qo'shiqchilari Alberta ovchisi, Ma Reyni va Bessi Smit.[40][41]

Issiq beshlik

1925 yilda Armstrong asosan Chikagoga Lilning talabiga binoan qaytib keldi, u o'z karerasini va daromadlarini kengaytirishni xohladi. Jamoatchilikda, uning xafa bo'lishiga qaramay, u uni "Dunyodagi eng buyuk karnaychi" deb e'lon qildi. Bir muncha vaqt u Lil Hardin Armstrong guruhining a'zosi bo'lgan va uning rafiqasida ishlagan.[42] U shakllandi Lui Armstrong va uning issiq beshligi va xitlarni yozdi "Kartoshkaning bosh ko'klari "va"Magllar "Magllar" so'zi a marixuana uchun jargon atamasi, hayoti davomida u tez-tez ishlatib turadigan narsa.[43]

"Heebie Jeebies "Lui Armstrong va uning" Issiq beshligi "tomonidan

"Issiq beshlik" tarkibiga kiritilgan Kid Ory (trombon), Johnny Dodds (klarnet), Johnny St. Cyr (banjo), Lil Armstrong pianinoda va odatda barabanchi yo'q. 1925 yil noyabr oyidan boshlab o'n ikki oy davomida ushbu kvintet yigirma to'rtta yozuvni yaratdi.[44] Armstrong guruhining etakchi uslubi bemalol edi, chunki Sent-Kyr ta'kidlaganidek: "Biror kishi u bilan ishlashda o'zini juda erkin his qilar edi va u juda keng fikrli edi ... har doim har bir insonning o'ziga xos xususiyati uchun qo'lidan kelganicha harakat qildi".[45] "Hot Corn" va "Seven" yozuvlari orasida eng ko'zga ko'ringanlari orasida "Cornet Chop Suey", "Struttin 'With some Barbecue", "Hotter Than" and "Potato Head Blues" hammasi Armstrong tomonidan yaratilgan juda ijodiy yakkaxon qo'shiqlar. Tomas Brothersning so'zlariga ko'ra, "Struttin 'with some Barbeque" kabi yozuvlar shu qadar ajoyib, "zichlik va xilma-xillik, mavimsi va shov-shuv bilan rejalashtirilgan" bo'lib, ularni Sunset kafesida namoyish etishgan.[46] Tez orada pianinochi bilan birga uning yozuvlari Graf "Fatha" Xines (eng taniqli ularning 1928 yildagi "Ob-havo qushi "duet) va Armstrongning" West End Blues "dagi karnay va yakka qo'shiqlari jaz tarixidagi eng taniqli va nufuzli improvizatsiyalarning bir qismi bo'lib qolmoqda. Armstrong endi shaxsiy uslubini xohlaganicha rivojlantirishi mumkin edi. , "Whip That Thing, Miss Lil" va "Mr. Johnny Dodds, Aaa, shunday klarnet qil, bola! "[47]

Armstrong ham o'ynagan Erskine Teyt Ko'pincha Vendome teatrida o'ynagan kichik simfoniya. Ular jimjit filmlar va jonli shoular uchun musiqa, shu jumladan "Madam Butterfly" kabi mumtoz musiqaning jazz versiyalari, bu Armstrongga uzoqroq musiqa turlari va katta auditoriya oldida mezbonlik qilish tajribasini taqdim etdi. U qo'shiq kuylashni boshladi (bema'ni so'zlarni qo'llagan holda vokal jaz) va uni birinchilardan bo'lib "Hot Five" yozuviga yozib qo'ydi.Heebie Jeebies "1926 yilda. Yozuv shu qadar ommalashganki, guruh AQShda eng taniqli jazz guruhiga aylandi, garchi ular hech qanday darajada jonli ijro qilmagan bo'lsalar-da. Mamlakat bo'ylab yosh yoki oq tanli musiqachilar Armstrong tomonidan ijro etildi. jazning yangi turi.[48]

Lildan ajralib chiqqanidan keyin Armstrong Sunset kafesi uchun Al Kapone sherik Djo Gleyzer ichida Kerrol Dikerson Orkestr, bilan Graf Xayns Luis Armstrong va uning Stomperlari deb nomlangan pianinoda,[49] garchi Xines musiqa direktori va Glaser orkestrni boshqargan bo'lsa ham. Hines va Armstrong tezkor do'stlar va muvaffaqiyatli hamkasblar bo'lishdi. Bu edi Sunset kafesi Armstrong qo'shiqchiga hamroh bo'ldi Adelaida Xoll. Aynan Xoll ushbu joyda ishlagan paytida u Armstrongning rahbarligi va rag'batlantirishi bilan tajriba o'tkazdi, skatta kuylash san'atini va tajribasini rivojlantirdi va kengaytirdi.[50]

1927 yilning birinchi yarmida Armstrong o'zining "Hot Seven" guruhini yig'di, uning tarkibiga barabanchi Al "Baby" Dodds va tuba o'yinchisi Pit Briggs qo'shildi, shu bilan birga u o'zining asl beshlik tarkibini saqlab qoldi. Jon Tomas Kid Orining o'rnini trombonga almashtirdi. O'sha yili u yana bir qator yangi "Hot Five" sessiyalarini tashkil etdi va natijada yana to'qqizta yozuvlar paydo bo'ldi. 1928 yilning so'nggi yarmida u yangi guruh bilan yozuvlarni boshladi: Zutty Singleton (barabanlar), Earl Hines (pianino), Jimmi Strong (klarnet), Fred Robinson (trombon) va Mensi Karr (banjo).[51]

Vokalchi sifatida paydo bo'lmoqda

Armstrong 1929 yilda Nyu-Yorkka qaytib keldi va u erda musiqa uchun pit orkestrida o'ynadi Issiq shokolad, tomonidan yozilgan butunlay qora revyu Andy Razaf va pianistchi Fats Waller. Shuningdek, u vokalchi sifatida epizodik ko'rinishga ega bo'lib, "Shou" dasturini muntazam ravishda o'g'irlab bordi.Misbehavin emasman "Uning qo'shiq versiyasi shu kungacha eng katta sotilgan rekord bo'ldi.[52]

Armstrong ish boshladi Conni's Inn Harlemda, raqibning asosiy raqibi Paxta klubi, puxta sahnalashtirilgan tomoshalar uchun joy,[53] va gangster uchun front Gollandiyalik Shults. Armstrong vokal yozuvlari, jumladan eski do'sti tomonidan yaratilgan mashhur qo'shiqlarning versiyalari bilan ham katta muvaffaqiyatlarga erishdi Hoagy Karmayl. Uning 1930-yilgi yozuvlari yangi RCA-dan to'liq foydalangan lenta mikrofoni 1931 yilda vokalga o'ziga xos iliqlik bag'ishlagan va darhol ichki qismga aylangan "kroning kabi san'atkorlarning ovozi Bing Krosbi. Armstrongning Karmaylning mashhur talqini "Yulduz "Armstrongning o'ziga xos vokal ovozi va uslubi va allaqachon standartga aylangan qo'shiqlarni kuylashga yangicha yondoshishini namoyish etgan ushbu qo'shiqning eng muvaffaqiyatli versiyalaridan biriga aylandi.

Armstrongning tubdan qayta ishlanishi Sidney Arodin va Karmaylning "Dangasa daryo "(1931 yilda yozib olingan) uning ohang va iboralarga yangitdan yondashuvining ko'plab xususiyatlarini o'zida mujassam etgan. Qo'shiq qisqa karnay yakka bilan boshlanadi, so'ngra asosiy ohang shoshilib, shovqin-suron bilan yangraydi, har bir satr oxirida Armstrongning xiralashgan shovqinlari bilan eskirgan: "Ha! ... "Uh-huh" ... "Albatta" ... "Yo'l pastga, pastga tushish." Birinchi baytda u notalangan musiqani umuman e'tiborsiz qoldiradi va xuddi karnay yakka chalayotgandek kuylaydi, birinchi satrning aksariyat qismini bitta notada chalg'itadi va kuchli sinxronlashtirilgan iboralarni ishlatadi. Ikkinchi misrada u deyarli to'liq ishlangan musiqani buzadi va keyinchalik Armstrongning klassik parchasiga aylanadi "sochib kuylash ".

Karnay chalishda bo'lgani kabi, Armstrongning vokal yangiliklari ham jaz vokal talqini san'ati uchun asos bo'lib xizmat qildi. Uning ovozining noyob shag'al ranglanishi juda taqlid qilingan va cheksiz taqlid qilingan musiqiy arxetipga aylandi. Uning karnay-solist sifatida tengsiz tajribasi uning tarqoq ashula uslubini boyitdi. Uning "Dangasa daryo" singari jarangdor, baxmal kabi pastki registrdagi ohanglari va ko'pikli qobiliyatlari Bing Krosbi singari yosh oq tanli qo'shiqchilarga katta ta'sir ko'rsatdi.

Qiyin paytlarda ishlash

The Katta depressiya 1930-yillarning boshlarida jaz sahnasida ayniqsa qiyin bo'lgan. Paxta klubi 1936 yilda uzoq davom etgan pasayishdan so'ng yopildi va ko'plab san'atkorlar klub xurmolari bug'lanib ketishi bilan umuman o'ynashni to'xtatdilar. Bix Beiderbecke vafot etdi va Fletcher Xendersonning guruhi tarqaldi. Qirol Oliver bir nechta yozuvlarni yozdi, ammo boshqacha kurashdi. Sidney Bechet tikuvchiga aylandi, keyinchalik Parijga ko'chib o'tdi va Kid Ory Yangi Orleanga qaytib keldi va tovuq boqdi.[54]

Armstrong 1930 yilda yangi imkoniyatlarni izlash uchun Los-Anjelesga ko'chib o'tdi. U Los Anjelesdagi New Cotton Club-da o'ynagan Lionel Xempton barabanlarda. Guruh Gollivud olomonini jalb qildi, ular hali ham tungi hayotni bahramand bo'lishlari mumkin edi, klubdan esa radioeshittirishlar uydagi yosh tomoshabinlar bilan bog'liq edi. Bing Krosbi va boshqa ko'plab taniqli kishilar klubning doimiy a'zolari edilar. 1931 yilda Armstrong o'zining birinchi filmida paydo bo'ldi, Sobiq alanga va shuningdek, marixuana saqlashda aybdor deb topilgan, ammo shartli qamoq jazosini olgan.[55] U Chikagoga 1931 yil oxirida qaytib keldi va guruhlarda ko'proq o'ynadi Gay Lombardo tomir va u ko'proq standartlarni qayd etdi. Olomon uni shahardan chiqib ketishni talab qilganda,[56] Armstrong Yangi Orleanga tashrif buyurdi, qahramonni kutib oldi va eski do'stlarini ko'rdi. U Armstrongning Secret Nine nomi bilan tanilgan mahalliy beysbol jamoasiga homiylik qildi va uning nomi bilan chekilgan.[57] Ammo tez orada u yana yo'lga chiqdi. Olomon tomonidan soyada bo'lgan mamlakat bo'ylab sayohatdan so'ng u Evropaga qochib ketdi.

Qo'shma Shtatlarga qaytib kelgandan so'ng, u bir nechta charchagan turlarni amalga oshirdi. Uning agenti Jonni Kollinzning notekis xatti-harakatlari va o'z mablag'larini sarflash usullari Armstrongga naqd pul etishmasligini keltirib chiqardi. Shartnomani buzish uni qiynagan. U o'zining yangi menejeri sifatida Jou Gleyzerni yolladi, u juda ko'p odamlar bilan bog'langan g'ildirak sotuvchisi edi, u qonuniy tartibsizliklar, olomon muammolari va qarzlarini to'g'irlashni boshladi. Armstrong shuningdek, barmoqlari va lablari bilan muammolarni boshdan kechira boshladi, bu uning g'ayritabiiy o'yin uslubi tufayli og'irlashdi. Natijada, u vokal uslubini rivojlantirdi va birinchi teatr tomoshalarini namoyish etdi. U yana filmlarda, shu jumladan Krosbining 1936 yildagi hitlarida ham paydo bo'ldi Osmondan tinlar. 1937 yilda Armstrong o'rnini egalladi Rudi Valli CBS radio tarmog'ida va homiylik qilingan milliy eshittirishni uyushtirgan birinchi afroamerikalik bo'ldi.[58]

Harlem Uyg'onish davri

1920 yillar davomida Lui Armstrong paytida katta ta'sir ko'rsatdi Harlem Uyg'onish davri Jazz dunyosida. U yaratgan musiqa Garlem Uyg'onish davrida uning hayotining ajoyib qismi edi.[59] Uning ta'siri ko'pchilikka ta'sir qildi, shu vaqt ichida taniqli odam ham Langston Xyuz. Armstrongga qoyil qolgani va uni davr mobaynida eng taniqli musiqachilardan biri sifatida tan olgan.[60] Xyuz yozgan asarlari davomida u ko'plab madaniyatlarni yangi sevib topilgan muhabbatli shaxslardan biri sifatida Armstrongga jazz va tan olishning asosiy g'oyasini o'zida mujassam etgan.[61] Armstrong kabi boshqa ko'plab musiqachilar bilan birga jazz ovozi Xyuzni yozuvchi sifatida shakllanishiga yordam berdi. Xuddi musiqachilar singari Xyuz ham so'zlarini jaz bilan yozgan.[62]

Armstrong Harlem Uyg'onish davrida jazni o'zgartirdi. Shu vaqt ichida "dunyodagi eng katta karnaychi" sifatida tanilgan, u o'z merosini davom ettirdi va o'z vokal karerasiga e'tiborni qaratishga qaror qildi. U qo'lga kiritgan mashhurligi uning ijroini tomosha qilish uchun ko'plab oq va qora tomoshabinlarni birlashtirdi.[63]

Barcha yulduzlar bilan jazni jonlantirish

Armstrong 1953 yilda

Ko'p yillar davomida yo'lda harakat qilgan Armstrong, to'rtinchi rafiqasi Lyusildan mamnun bo'lib, 1943 yilda Nyu-Yorkning Kvins shahrida doimiy ravishda yashaydi. Ning zilzilalariga bo'ysunsa ham Kalay pan xiyoboni va gangsterlar tomonidan boshqarilgan musiqa biznesi, shuningdek, qora tanlilarga qarshi xurofot, u o'z o'yinini rivojlantirishda davom etdi. U Hoagy Karmaylning "Rokkin kafedrasi " uchun Okeh Records.

Keyingi 30 yil ichida Armstrong yiliga 300 dan ortiq spektakllarni ijro etdi. Ommaviy didning o'zgarishi sababli 1940 yillarda katta guruhlar uchun buyurtmalar qisqartirildi: bal zallari yopildi, televizor va boshqa musiqa turlari raqobati katta guruh musiqasidan ko'ra ommalashmoqda. Bunday sharoitda 16 kishilik gastrol guruhini moliyalashtirish imkonsiz bo'lib qoldi.

1940-yillarda, 20-asrning 20-yillarida an'anaviy jazzga bo'lgan qiziqishning keng tarqalishi Armstrongga yoshligidagi kichik guruh musiqiy uslubiga qaytish haqida o'ylashga imkon berdi. Armstrong Lionel Xempton guruhining mehmoni sifatida taniqli Jazzning ikkinchi Cavalcade kontsertida qatnashdi. Wrigley Field tomonidan ishlab chiqarilgan Los-Anjelesda Leon Xeflin Sr. 1946 yil 12 oktyabrda.[64] 1947 yil 17-mayda Nyu-York taun-zalida Armstrong trombonist / qo'shiqchi ishtirokida juda muvaffaqiyatli guruh ishtirokidagi jaz-kontsertidan so'ng. Jek Teagarden, Armstrongning menejeri Djo Glaser 1947 yil 13-avgustda Armstrong katta guruhini tarqatib yubordi va (dastlab) Teagarden bilan Armstrong ishtirokidagi olti qismli an'anaviy jaz guruhini tashkil etdi, Graf Xayns va boshqa eng yaxshi belanchak va Dixieland musiqachilari, ularning aksariyati ilgari katta guruhlarning rahbarlari bo'lgan. Yangi guruh ochilish marosimida e'lon qilindi Billi Bergniki Supper Club.

Ushbu guruh "Lui Armstrong va uning barcha yulduzlari" deb nomlangan va turli vaqtlarda tarkibiga kiritilgan Graf "Fatha" Xines, Barni Bigard, Edmond Xoll, Jek Teagarden, Trummy Young, Arvell Shou, Billi Kayl, Marti Napoleon, Katta Sid "Buddy" Katlett, Qulay Koul, Tree Glenn, Barrett, Mort Herbert, Jou Darensburg, Eddi Shu, Djo Muranyi va perkussionist Denni Barselona. Ushbu davrda Armstrong ko'plab yozuvlarni yaratdi va o'ttizdan ortiq filmlarda suratga tushdi. U muqovada paydo bo'lgan birinchi jaz musiqachisi edi Vaqt jurnal, 1949 yil 21 fevralda. Lui Armstrong va uning barcha yulduzlari Jazzning to'qqizinchi Cavalcade kontsertida ham ishtirok etishdi. Wrigley Field tomonidan ishlab chiqarilgan Los-Anjelesda Leon Xeflin Sr. bilan birga 1953 yil 7-iyunda bo'lib o'tgan Shorty Rogers, Roy Braun, Don Tosti va uning meksikalik jazmenlari, Earl Bostic va Nat "King" Cole.[65]

Jaz elchisi

Armstrong 1955 yilda

1950-yillarga kelib, Armstrong juda sevilgan amerikalik belgi va xalqaro muxlislarga rahbarlik qilgan madaniy elchi edi. Biroq, u bilan urushdan keyingi davrda paydo bo'lgan yosh jaz musiqachilari o'rtasida o'sib borayotgan avlodlar orasidagi bo'shliq aniq bo'ldi Charli Parker, Maylz Devis va Sonni Rollins. Urushdan keyingi avlodlar o'zlarining musiqalarini mavhum san'at deb hisoblashgan va Armstrongning vedevilli uslubi, yarim musiqachi va yarim sahna ko'ngilochari, eskirgan va Tomism amaki, "... u havola bo'lib tuyuldi minstrelsy biz uyalganmiz ".[66] U bebopni "Xitoy musiqasi" deb atagan.[67] 1954 yilda Avstraliyada gastrol safari chog'ida undan bebop o'ynay olasizmi, deb so'rashgan. "Bebop?" u hushted. "Men shunchaki musiqa chalaman. Shunga o'xshash atamalarni ixtiro qiladigan bolalar asboblarini qo'ltiqlab ko'chalarda yurishadi".[68]

"Mack pichoq "1956 yilda chiqarilgan.
Armstrongning Braziliyaga tashrifi to'g'risidagi yozuv, 1957 yil.

1948 yil 28-fevral, Suzi Delair frantsuzcha qo'shiqni kuyladi C'est si bon da Negresco mehmonxonasi birinchi paytida Qanchadan-qancha Jazz festivali. Lui Armstrong hozir bo'lgan va qo'shiqni juda yaxshi ko'rgan. 1950 yil 26-iyun, u qo'shiqning Amerika versiyasini yozdi (inglizcha so'zlari) Jerri Seelen ) ichida Nyu-York shahri bilan Sy Oliver va uning orkestri. U chiqarilgandan so'ng, disk dunyo miqyosida muvaffaqiyat qozondi va qo'shiqni eng katta xalqaro qo'shiqchilar ijro etishdi.

1960-yillarda u gastrol safarlarida bo'lgan Gana va Nigeriya.[69][70]

Bilan shartnomasini tugatgandan so'ng Decca Records, u erkin rassomga aylandi va boshqa yorliqlar uchun yozib qo'ydi.[71][72] U intensiv xalqaro sayohatlar jadvalini davom ettirdi, ammo 1959 yilda u Italiyada yurak xurujiga uchradi va dam olishga to'g'ri keldi.[73]

1964 yilda, ikki yildan ortiq studiyaga qadam bosmasdan, u o'zining eng ko'p sotilgan rekordini yozdi ".Salom, Dolli! ", qo'shiq muallifi Jerri Xerman, dastlab kuylagan Kerol Channing. Armstrongning versiyasi Hot 100-da 22 hafta davomida, o'sha yilgi boshqa har qanday rekorddan uzoqroq turdi va uni 62 yosh, 9 oy va 5 kun ichida eng yaxshi odam deb atab, 1-o'ringa chiqdi. Bu jarayonda u joyidan chiqib ketdi Bitlz 1-o'rindan ular 14 hafta ketma-ket uch xil qo'shiq bilan band edilar.[74]

Tashqi audio
audio belgisi Lui Daniel Armstrong Studs Terkel bilan WFMT bo'yicha suhbatlashmoqda; 1962/6/24, 33:43, Studs Terkel radio arxivi[75]

Armstrong 60 yoshlariga qadar gastrol safarlarini davom ettirdi, hattoki 1965 yilda kommunistik blokning bir qismiga tashrif buyurdi. Shuningdek, u AQSh Davlat departamenti homiyligi ostida Afrika, Evropa va Osiyoni aylanib chiqdi va "Elchi Satch" laqabini oldi va Deyv Bryubekni ruhlantirdi uning jaz musiqiy asarini yaratish Haqiqiy elchilar. 1968 yilga kelib, u 70 yoshga yaqinlashdi va sog'lig'i yomonlasha boshladi. U yuragi va buyrak kasalligiga chalingan, shuning uchun uni gastrol safarini to'xtatishga majbur qilishgan. U 1969 yilda umuman jamoatchilik oldida chiqish qilmagan va yilning aksariyat qismini uyda tiklanish bilan o'tkazgan. Ayni paytda, uning uzoq yillik menejeri Djo Gleyzer vafot etdi. 1970 yil yoziga kelib, uning shifokorlari uni jonli ijrolarni davom ettirish uchun etarlicha tayyor deb topishdi. U yana bir jahon turiga chiqdi, ammo yurak xuruji uni ikki oy davomida tanaffus qilishga majbur qildi.[76]

Armstrong o'zining so'nggi yozilgan karnay ijrochiligini 1968 yilgi albomida ijro etdi Disney qo'shiqlari Satchmo Way.[77]

Shaxsiy hayot

Ismni talaffuz qilish

Louis Armstrong uy muzeyi veb-saytida:

Hozirda bizning muzey kollektsiyamizdagi uyga yozib olingan lentalar bo'yicha Lui o'zining ismini "Lyuis" deb atagan. 1964 yildagi "Salom, Dolli" yozuvida u "Bu Lyuis, Dolli" deb kuylaydi, lekin 1933 yilda u "Lauin 'Louie" nomli yozuvni yaratadi. Ko'plab eshittirishlar olib boradigan diktorlar, muxlislar va tanishlar uni "Loui" deb atashgan va 1983 yilda videotasvirga olingan intervyusida Lyusil Armstrong marhum erini ham "Loui" deb atagan. Odatda musiqachilar va yaqin do'stlari uni "Poplar" deb atashgan.[78]

Uchun yozilgan xotirada Robert Goffin 1943 yildan 1944 yilgacha Armstrong: "Barcha oq tanlilar meni Loui deb atashadi", deb aytishi mumkin, ehtimol u o'zini o'zi qilmagan yoki boshqa tomondan, hech qanday oq tanlilar unga Poplar kabi laqablaridan biri murojaat qilmagan.[79] Demak, Armstrong "Levi" sifatida ro'yxatdan o'tgan 1920 yilgi AQSh aholini ro'yxatga olish. Har xil jonli yozuvlarda u sahnada "Louie" deb nomlangan, masalan 1952 yildagi "Kimdir tushuntirib bera oladimi?" jonli albomdan Skandinaviyada vol.1. Xuddi shu narsa uning 1952 yildagi studiyasida yozilgan "Xloi" qo'shig'iga tegishli bo'lib, u erda fonda xor "Loui ... Loui" ni kuylaydi, Armstrong esa "Bu nima edi? Kimdir mening ismimni aytdi?" "Lewie" frantsuzcha "Louis" talaffuzi bo'lib, odatda Luiziana shtatida qo'llaniladi. 1970 yilda Louis va Lucille paydo bo'ldi Mayk Duglas shousi qizil fasol va guruch tayyorlanishini namoyish qilish, Armstrong tomonidan juda sevilgan taom, u "Qizil loviya va Ricely Yours" yozishmalariga imzo chekdi.[80] Armstrong yonida turgan videoda Lyusil tayyorlanmoqda uning sevimli qizil loviya retsepti va "Louie" ga bir necha bor murojaat qiladi.

Oila

Armstrong Lyusil Uilson bilan (taxminan 1960-yillarda)

Armstrong Brick House-da chiqish qilayotgan edi Gretna, Luiziana, u Daisy Parker bilan uchrashganda, mahalliy fohisha. U ishni mijoz sifatida boshladi. U Gretnaga bir necha bor tashrif buyurish uchun qaytib kelgan. U jasorat topib, uni ishdan uzoqroq joyda ko'rish uchun uyini izladi. Aynan shu paytda u uning umumiy eri borligini bilib qoldi. Ushbu fiyaskodan ko'p o'tmay, Parker Armstrongning Perdido ko'chasidagi uyiga bordi.[81] O'sha kuni kechqurun ular Kid Grinning mehmonxonasiga kirishdi. Ertasi kuni, 1919 yil 19 martda Armstrong va Parker shahar hokimiyatida turmush qurishdi.[81][82] Ular uch yoshli Klarens bolasini asrab olishdi, uning onasi Armstrongning amakivachchasi Flora tug'ilgandan ko'p o'tmay vafot etgan. Klarens Armstrong yoshligidan bosh jarohati natijasida ruhiy nogiron bo'lib qolgan va Armstrong butun umrini unga g'amxo'rlik qilish bilan o'tkazgan.[83] Uning Parker bilan nikohi 1923 yilda ajralib chiqqanida tugagan.

1924 yil 4-fevralda u turmushga chiqdi Lil Hardin Armstrong, Qirol Oliverning pianistoni. U bir necha yil oldin birinchi eridan ajrashgan edi. Ikkinchi xotini unga kariyerasini rivojlantirishga yordam berdi, ammo ular 1931 yilda ajralib, 1938 yilda ajrashishdi. Keyin Armstrong Alfa Smitga uylandi.[84] Alfa bilan bo'lgan munosabati, ammo 1920-yillarda Vendomda o'ynab yurganida boshlangan va ancha vaqt o'tgach ham davom etgan.[85] Uning uchinchi xotini bilan turmushi to'rt yil davom etdi va ular 1942 yilda ajrashishdi. Lui keyin uylandi Lyusil Uilson 1942 yil oktyabrda Paxta klubi, u bilan 1971 yilda vafotiga qadar turmush qurgan.[86]

Armstrongning nikohlari hech qachon nasl bermagan.[87] Biroq, 2012 yil dekabr oyida 57 yoshli Sharon Preston-Folta o'zining paxtakor klubining raqqosasi Armstrong va Lyusil "Shirinliklar" Preston o'rtasidagi 1950-yilgi ishqiy munosabatda bo'lgan qizi ekanligini da'vo qildi.[88] Armstrong 1955 yilda menejeri Djo Glaserga yozgan maktubida Prestonning yangi tug'ilgan chaqalog'i uning qizi ekanligiga ishonishini tasdiqlagan va Glaserga oylik 400 AQSh dollari (2019 yilda 4772 AQSh dollari) to'lashni buyurgan.[89]) onaga va bolaga.[90]

Shaxsiyat

Armstrong o'zining rang-barang va xarizmatik xarakteri bilan ajralib turardi. Uning tarjimai holi ba'zi biograflar va tarixchilarni bezovta qildi, chunki u ertaklarni aytib berish odatiga ega edi, ayniqsa, u ozroq sinchkovlik bilan o'rganib chiqilgan erta bolaligi va ko'pincha o'zining tarixidagi bezaklarida izchillik yo'q.[91]

Ko'ngil ochishdan tashqari, Armstrong bu kunning etakchi kishisi edi. U amerikalik jamoatchilik tomonidan sevilgan, hatto eng buyuk narsalarga ham erishgan Afroamerikalik Ijrochilar o'zlarining taniqli shaxslaridan tashqarida kam imkoniyatga ega edilar va u o'sha davrda boshqa bir necha afro-amerikaliklarga berilgan kirish va imtiyozlarni shaxsiy hayotida yashay oldi.[91]

U umuman siyosiy jihatdan betaraf bo'lib qoldi, bu esa uni ba'zan qora tanli jamiyat a'zolaridan chetlashtirdi, chunki u oq Amerika bilan o'z obro'sidan foydalanib, o'zining taniqli obro'siga ega bo'lgan davrda ko'proq ochiqchasiga aylandi. fuqarolik huquqlari harakati. Biroq, u tanqid qildi Prezident Eyzenxauer fuqarolik huquqlari bo'yicha etarlicha kuch ishlatmaslik uchun.[91]

Dudoqlar bilan bog'liq muammolar

Karnay - bu taniqli qattiq asbob lablar va Armstrong hayotining ko'p qismida lablarini shikastlanishiga olib keldi, chunki u tajovuzkor o'yin uslubi va joyida qolishi mumkin bo'lgan tor og'izlarni afzal ko'rgan, ammo ichki labning yumshoq go'shtini qazishga moyil edi. 1930 yilgi Evropa safari davomida u shunchalik qattiq yaraga duch kelganki, u bir yil davomida butunlay o'ynashni to'xtatishi kerak edi. Oxir-oqibat u lablariga salyangoz va kremlardan foydalanishni, shuningdek, ustara pichog'i bilan chandiq to'qimalarini kesishni boshladi. 1950 yillarga kelib, u Ansatz-Creme Lip Salve kompaniyasining rasmiy vakili edi.[92]

1959 yilda trombonist Marshal Braun bilan sahnada o'tkazilgan uchrashuvda Armstrong uy sharoitida davolanishga emas, balki shifokorga borishi va lablari uchun to'g'ri davolanishi kerakligi to'g'risida taklif oldi, ammo u buni oxirigacha davom ettirmadi uning hayoti, shu paytgacha sog'lig'i yomonlashdi va shifokorlar operatsiyani juda xavfli deb hisoblashdi.[93]

Taxalluslar

Murstrongda Armstrongning avtografi Alassio

"Satchmo" va "Satch" taxalluslari "Satchelmouth" uchun qisqartirilgan. Taxallusning kelib chiqishi juda ko'p.[91] Biograflar aytadigan eng keng tarqalgan voqea - bu Armstrongning Nyu-Orleandagi tangalar uchun raqsga tushgan yosh bola haqidagi hikoyasi. U kattaroq bolalar o'g'irlashiga yo'l qo'ymaslik uchun u tangalarni ko'chadan olib, og'ziga tiqdi. Kimdir uni og'zini sumka vazifasini bajargani uchun "xalta og'zi" deb nomlagan. Yana bir ertak shundaki, og'zi katta bo'lganligi sababli unga "xalta og'zi" laqabini berishgan va u "Satchmo" ga qisqartirilgan.[91]

Dastlab u "Dipper" nomi bilan ham tanilgan, qisqasi "Dippermouth", asarga havola Dippermut ko'klari.[94] va uning g'ayritabiiy jihatlari nimadir embouchure.

"Poplar" taxallusi Armstrongning odamlarning ismlarini unutish va ularni o'rniga "Poplar" deb atash tendentsiyasidan kelib chiqqan. Taxallus Armstrongning o'ziga qaratildi. Terri Teachout tomonidan 2010 yilda Armstrongning tarjimai holi nomi sifatida ishlatilgan.[91]

Savoyda o'tkazilgan musobaqadan so'ng, u "ofay jazz jinlarini" o'ldirgani uchun Efiopiya imperatori sharafiga "Qirol Menelik" laqabini oldi.[95]

Musobaqa

Armstrong asosan qabul qilindi oq jamiyat, ham sahnada, ham tashqarida, o'sha paytda qora tanli odam uchun kamdan-kam uchraydi. Ba'zi musiqachilar Armstrongni ajratilgan tomoshabinlar oldida o'ynaganligi va maydonda etarlicha kuchli turmagani uchun tanqid qildilar Amerika fuqarolik huquqlari harakati.[96] U gapirganda, bu milliy yangiliklarni, shu jumladan uning tanqidlarini keltirib chiqardi Prezident Eyzenxauer, uni "ikki yuzli" va "ichsiz" deb ataganligi sababli uning harakatsizligi sababli ziddiyat maktab ustidan degregatsiya yilda Little Rok, Arkanzas, 1957 yilda. Norozilik sifatida Armstrong rejalashtirilgan sayohatini bekor qildi Sovet Ittifoqi nomidan Davlat departamenti "Janubdagi mening xalqimga qanday munosabatda bo'lishsa, hukumat do'zaxga tushishi mumkin" va u o'z hukumati o'z xalqi bilan to'qnashganda chet elda uning vakili bo'la olmasligi.[97] The Federal qidiruv byurosi Armstrongga integratsiya to'g'risida ochiqchasiga gapirgani uchun fayl saqlagan.[98]

Din

When asked about his religion, Armstrong answered that he was raised a Baptist, always wore a Dovudning yulduzi, and was friends with the pope.[99] He wore the Star of David in honor of the Karnoffsky family, who took him in as a child and lent him money to buy his first cornet. He was baptized a Catholic in the Sacred Heart of Jesus Church in New Orleans,[99] va u uchrashdi Papa Pius XII va Papa Pol VI.[91]

Personal habits

Armstrong was concerned with his health. U foydalangan laksatiflar to control his weight, a practice he advocated both to acquaintances and in the diet plans he published under the title Lose Weight the Satchmo Way.[91] Armstrong's laxative of preference in his younger days was Pluton suvi, but when he discovered the herbal remedy Swiss Kriss, he became an enthusiastic convert,[91] extolling its virtues to anyone who would listen and passing out packets to everyone he encountered, including members of the Britaniya qirollik oilasi. (Armstrong also appeared in humorous, albeit risqué, cards that he had printed to send out to friends; the cards bore a picture of him sitting on a toilet—as viewed through a keyhole—with the slogan "Satch says, 'Leave it all behind ya!'")[100] The cards have sometimes been incorrectly described as ads for Swiss Kriss.[101] In a live recording of "Chaqaloq, bu tashqarida sovuq "bilan Velma Midlton, he changes the lyric from "Put another record on while I pour" to "Take some Swiss Kriss while I pour."[102] His laxative use began as a child when his mother would collect dandelions and peppergrass around the railroad tracks to give to her children for their health.[103]

Armstrong was a heavy marixuana smoker for much of his life and spent nine days in jail in 1930 after being arrested for drug possession outside a club. He described marijuana as "a thousand times better than whiskey".[104]

The concern with his health and weight was balanced by his love of food, reflected in such songs as "Cheesecake", "Cornet Chop Suey",[105] though "Struttin' with Some Barbecue" was written about a fine-looking companion, not about food.[106] He kept a strong connection throughout his life to the cooking of New Orleans, always signing his letters, "Red beans and ricely yours ..."[107]

A fan of Major League Baseball, he founded a team in New Orleans that was known as Raggedy Nine and transformed the team into his Armstrong's "Secret Nine Baseball ".[108]

Yozuvlar

Armstrong's gregariousness extended to writing. On the road, he wrote constantly, sharing favorite themes of his life with correspondents around the world. He avidly typed or wrote on whatever stationery was at hand, recording instant takes on music, sex, food, childhood memories, his heavy "medicinal" marijuana use—and even his bowel movements, which he gleefully described.[109]

Ijtimoiy tashkilotlar

Louis Armstrong was not, as is often claimed, a Mason. Although he is usually listed as being a member of Montgomery Lodge No. 18 (Prince Hall) in New York, no such lodge has ever existed. However, Armstrong stated in his autobiography that he was a member of the Pythias ritsarlari, which although real is not a Masonic group.[110]

Musiqa

Horn playing and early jazz

Selmer trumpet, given as a gift by Qirol Jorj V of the United Kingdom to Louis Armstrong in 1933

In his early years, Armstrong was best known for his virtuosity with the cornet and trumpet. Along with his "clarinet-like figurations and high notes in his cornet solos", he was also known for his "intense rhythmic 'swing', a complex conception involving ... accented upbeats, upbeat to downbeat slurring, and complementary relations among rhythmic patterns."[111] The most lauded recordings on which Armstrong plays trumpet include the Hot Five and Hot Seven sessions, shuningdek Red Onion Jazz Babies. Armstrong's improvisations, while unconventionally sophisticated for that era, were also subtle and highly melodic. The solo that Armstrong plays during the song "Kartoshkaning bosh ko'klari " has long been considered his best solo of that series.[91][112]

Prior to Armstrong, most collective ensemble playing in jazz, along with its occasional solos, simply varied the melodies of the songs. Armstrong was virtually the first to create significant variations based on the chord harmonies of the songs instead of merely on the melodies. This opened a rich field for creation and improvisation, and significantly changed the music into a soloist's art form.[91]

Often, Armstrong re-composed pop-tunes he played, simply with variations that made them more compelling to jazz listeners of the era. At the same time, however, his oeuvre includes many original melodies, creative leaps, and relaxed or driving rhythms. Armstrong's playing technique, honed by constant practice, extended the range, tone and capabilities of the trumpet. In his records, Armstrong almost single-handedly created the role of the jazz soloist, taking what had been essentially a collective folk music and turning it into an art form with tremendous possibilities for individual expression.[91]

Armstrong was one of the first artists to use recordings of his performances to improve himself. Armstrong was an avid audiophile. He had a large collection of recordings, including reel-to-reel tapes, which he took on the road with him in a trunk during his later career. He enjoyed listening to his own recordings, and comparing his performances musically. In the den of his home, he had the latest audio equipment and would sometimes rehearse and record along with his older recordings or the radio.[113]

Vocal popularity

As his music progressed and popularity grew, his singing also became very important. Armstrong was not the first to record sochib kuylash, but he was masterful at it and helped popularize it with the first recording on which he scatted, "Heebie Jeebies ". At a recording session for Okeh Records, when the sheet music supposedly fell on the floor and the music began before he could pick up the pages, Armstrong simply started singing nonsense syllables while Okeh president E.A. Fearn, who was at the session, kept telling him to continue. Armstrong did, thinking the track would be discarded, but that was the version that was pressed to disc, sold, and became an unexpected hit. Although the story was thought to be apocryphal, Armstrong himself confirmed it in at least one interview as well as in his memoirs.[114] On a later recording, Armstrong also sang out "I done forgot the words" in the middle of recording "I'm A Ding Dong Daddy From Dumas".

Such records were hits and scat singing became a major part of his performances. Long before this, however, Armstrong was playing around with his vocals, shortening and lengthening phrases, interjecting improvisations, using his voice as creatively as his trumpet.[91] Armstrong once told Clow Calloway that his scat style was derived "from the Jews rockin", an Orthodox Jewish style of chanting during prayer.[115][116]

Bastakorlik

Armstrong was a gifted composer who wrote more than fifty songs, some of which have become jaz standartlari (e.g. "Gully Low Blues", "Potato Head Blues" and "Swing That Music").

Colleagues and followers

Bilan Jek Teagarden (chapda) va Barni Bigard (right), Armstrong plays the trumpet in Xelsinki, Finlyandiya, October 1949

During his long career he played and sang with some of the most important instrumentalists and vocalists of the time; ular orasida edi Bing Krosbi, Dyuk Ellington, Fletcher Xenderson, Graf Xayns, Jimmi Rojers, Bessi Smit and perhaps most famously Ella Fitsjerald. His influence upon Crosby is particularly important with regard to the subsequent development of popular music: Crosby admired and copied Armstrong, as is evident on many of his early recordings, notably "Just One More Chance" (1931).[91] The Jazzning yangi Grove lug'ati describes Crosby's debt to Armstrong in precise detail, although it does not acknowledge Armstrong by name:

Crosby ... was important in introducing into the mainstream of popular singing an Afro-American concept of song as a lyrical extension of speech ... His techniques—easing the weight of the breath on the vocal cords, passing into a bosh ovozi at a low register, using forward production to aid distinct ovoz berish, singing on consonants (a practice of black singers), and making discreet use of appoggiaturalar, mordentslar va sharmandalar to emphasize the text—were emulated by nearly all later popular singers.

Armstrong recorded two albums with Ella Fitzgerald: Ella va Lui va Ella va Luis yana uchun Verve Records, with the sessions featuring the backing musicianship of the Oskar Peterson Trio and drummers Buddy Rich (on the first album), and Louie Bellson (on the second). Norman Granz then had the vision for Ella and Louis to record Porgy va Bess.

Uning yozuvlari Columbia Records, Lui Armstrong Vashingtonda o'ynaydi Qulay (1954) va Satch Plays Fats (barchasi Fats Waller tunes) (1955) were both being considered masterpieces, as well as moderately well selling. In 1961 the All Stars participated in two albums—Buyuk sammit va Buyuk uchrashuv (now together as a single disc) with Dyuk Ellington. The albums feature many of Ellington's most famous compositions (as well as two exclusive cuts) with Duke sitting in on piano. Uning ishtiroki Deyv Bryubek 's high-concept jazz musical Haqiqiy elchilar (1963) was critically acclaimed, and features "Summer Song", one of Armstrong's most popular vocal efforts.

Louis Armstrong in 1966

In 1964, his recording of the song "Hello Dolly" went to number one. An xuddi shu nomdagi albom was quickly created around the song, and also shot to number one (knocking Bitlz off the top of the chart). The album sold very well for the rest of the year, quickly going "Gold" (500,000). His performance of "Hello Dolly" won for best male pop vocal performance at the 1964 Grammy mukofotlari.

Hits and later career

Armstrong had nineteen "Top Ten" records[117] shu jumladan "Yulduz ", "Qanday ajoyib dunyo ", "When The Saints Go Marching In ", "Meni bir oz orzu qiling ", "Misbehavin emasman ", "You Rascal You ", va"Savoyda stompin qiling ". "Dunyoda bizda hamma vaqt bor " was featured on the soundtrack of the Jeyms Bond film Janob hazratlarining maxfiy xizmati to'g'risida, and enjoyed renewed popularity in the UK in 1994 when it featured on a Ginnes reklama. It reached number 3 in the charts on being re-released.

In 1964, Armstrong knocked Bitlz off the top of the Billboard Issiq 100 chart with "Salom, Dolli! ", which gave the 63-year-old performer a U.S. record as the oldest artist to have a number one song. His 1964 song "Bout Time" was later featured in the film Sehrlangan.[91]

Armstrong performed in Italy at the 1968 Sanremo musiqiy festivali where he sang "Mi Va di Cantare"[118] alongside his friend, the Eritreya -born Italian singer Lara Seynt Pol.[119] In February 1968, he also appeared with Lara Saint Paul on the Italian RAI television channel where he performed "Grassa e Bella", a track he sang in Italian for the Italian market and C.D.I. yorliq.[120]

In 1968, Armstrong scored one last popular hit in the United Kingdom with "Qanday ajoyib dunyo ", which topped the British charts for a month. Armstrong appeared on the October 28, 1970, Johnny Cash Show, u qaerda qo'shiq aytdi Nat King Cole urdi "Ramblin 'atirgul " and joined Cash to re-create his performance backing Jimmie Rodgers on "Blue Yodel No. 9".

Stylistic range

Armstrong enjoyed many types of music, from blues to the arrangements of Gay Lombardo, to Latin American folksongs, to classical symphonies and opera. He incorporated influences from all these sources into his performances, sometimes to the bewilderment of fans who wanted him to stay in convenient narrow categories. Armstrong tarkibiga kiritildi Rok-Roll shon-sharaf zali sifatida early influence. Some of his solos from the 1950s, such as the hard rocking "versiyasiSent-Luis Blyuz " dan WC Handy album, show that the influence went in both directions.[91]

Film, television, and radio

Shuningdek qarang: Louis Armstrong filmography
Armstrong entertains Greys Kelli to'plamida Oliy jamiyat 1956 yilda.
Armstrong alongside Barbra Streisand yilda Salom, Dolli! (1969)

Armstrong appeared in more than a dozen Hollywood films, usually playing a bandleader or musician. His most familiar role was as the bandleader jum narrator in the 1956 musical Oliy jamiyat yulduzcha Bing Krosbi, Greys Kelli, Frank Sinatra va Celeste Holm. He appears throughout the film, also sings the title song as well as performs a duet with Crosby, "Endi sizda jazz bor ".[121] In 1947, he played himself in the movie Yangi Orlean opposite Billie Holiday, which chronicled the demise of the Storyville district and the ensuing exodus of musicians from New Orleans to Chicago. 1959 yilda filmda Besh tiyin he played himself, sang, and played several classic numbers. Bilan Denni Kaye he performed a duet of "When the Saints Go Marching In" during which Kaye impersonated Armstrong. He had a part in the film alongside James Stewart in Glenn Miller haqidagi hikoya.

Armstrong was the first African American to host a nationally broadcast radio show in the 1930s. In 1969, he had a cameo role in Jin Kelli 's film version of Salom, Dolli! as the bandleader Louis. He sang the title song with actress Barbra Streisand. His solo recording of "Salom, Dolli! " is one of his most recognizable performances.[91] He was heard on such radio programs as The Story of Swing (1937) va This Is Jazz (1947), and he also made television appearances, especially in the 1950s and 1960s, including appearances on Johnny Carson ishtirokidagi "Tonight Show".[91]

Argentinalik yozuvchi Xulio Kortazar, a self-described Armstrong admirer, asserted that a 1952 Louis Armstrong concert at the Théâtre des Champs-Élysées in Paris played a significant role in inspiring him to create the fictional creatures called Cronopios that are the subject of a number of Cortázar's short stories. Cortázar once called Armstrong himself "Grandísimo Cronopio" (The Great Cronopio).[91]

There is a pivotal scene in Stardust xotiralari (1980) in which Vudi Allen is overwhelmed by a recording of Armstrong's "Yulduz " and experiences a nostalgic epiphany.[122]

O'lim

Against his doctor's advice, Armstrong played a two-week engagement in March 1971 at the Waldorf-Astoria 's Empire Room. At the end of it, he was hospitalized for a yurak xuruji.[123] He was released from the hospital in May, and quickly resumed practicing his trumpet playing. Still hoping to get back on the road, Armstrong died of a heart attack in his sleep on July 6, 1971, a month before his 70th birthday.[124] U yashayotgan edi Korona, Kvins, New York City, at the time of his death.[125] U aralashdi Yuvish qabristoni, Yuvish, yilda Malika, New York City.His honorary toshbo'ron qiluvchilar kiritilgan Bing Krosbi, Ella Fitsjerald, Bosh aylanishi Gillespi, Pearl Bailey, Graf Basi, Garri Jeyms, Frank Sinatra, Ed Sallivan, Graf Uilson, Alan King, Jonni Karson va Devid Frost.[126] Peggi Li qo'shiq aytdi Rabbimizning ibodati at the services while Al Hibbler kuyladi "Men ko'rgan muammoni hech kim bilmaydi " and Fred Robbins, a long-time friend, gave the eulogy.[127]

Mukofotlar va sharaflar

Grammy mukofotlari

Armstrong was posthumously awarded the Grammy Lifetime Achievement mukofoti in 1972 by the Academy of Recording Arts and Sciences. This Special Merit Award is presented by vote of the Recording Academy's National Trustees to performers who, during their lifetimes, have made creative contributions of outstanding artistic significance to the field of recording.[128]

Grammy mukofoti
YilTurkumSarlavhaJanrYorliqNatija
1964Erkaklarning vokal ijrosi"Salom, Dolli! "PopKappG'olib

Grammy Shon-sharaf zali

Recordings of Armstrong were inducted into the Grammy Shon-sharaf zali, which is a special Grammy award established in 1973 to honor recordings that are at least 25 years old, and that have "qualitative or historical significance".[129][130]

Grammy Shon-sharaf zali
Yil yozilganSarlavhaJanrYorliqYil boshlandiIzohlar
1925"Sent-Luis Blyuz "Jazz (bitta)Kolumbiya1993Bessi Smit with Louis Armstrong, cornet
1926"Heebie Jeebies "Jazz (bitta)Yaxshi1999
1928"West End Blues "Jazz (bitta)Yaxshi1974
1928"Weather Bird "Jazz (bitta)Yaxshi2008bilan Graf Xayns
1929"Sent-Luis Blyuz "Jazz (Bitta)Yaxshi2008bilan Qizil Allen
1930"Blue Yodel No. 9
(Standing on the Corner) "		Country (Single)Viktor2007Jimmie Rodgers (featuring Louis Armstrong)
1932"Barcham "Jazz (bitta)Kolumbiya2005
1938"Qachon avliyolar marshrutga borishadi "Blues (Single)Decca2016
1955"Mack pichoq "Jazz (bitta)Kolumbiya1997
1958Porgy va BessJazz (Albom)Verve2001bilan Ella Fitsjerald
1964"Salom, Dolli! "Pop (Single)Kapp2001
1967"Qanday ajoyib dunyo "Jazz (bitta)ABC1999

Rok-Roll shon-sharaf zali

The Rok-Roll shon-sharaf zali listed Armstrong's West End Blues on the list of 500 songs that shaped Rock and Roll.[131]

Yil yozilganSarlavhaYorliqGuruh
1928West End BluesOkehLui Armstrong va uning issiq beshligi

Inductions and honors

1995 yilda AQSh pochta idorasi issued a Louis Armstrong 32 cents commemorative postage stamp.

Yil boshlandiSarlavhaNatijalarIzohlar
1952Down Beat Jazz shuhrat zali
1960[132]Gollivudning Shon-sharaf xiyoboniYulduzat 7601 Hollywood Blvd.
1978Big Band va Jazz Shon-sharaf zali
2004Nesuhi Ertegun Jazz shon-sharaf zali
da Linkoln markazidagi jazz
1990Rok-Roll shon-sharaf zaliDastlabki ta'sir
2007Luiziana musiqiy shon-sharaf zali
2007Gennett Records Shon-sharaf xiyoboni, Richmond, Indiana
2007Long Island musiqa shon-sharaf zali

Film honors

In 1999 Armstrong was nominated for inclusion in the Amerika kino instituti "s 100 Years ... 100 Stars.[133]

Meros

The influence of Armstrong on the development of jazz is virtually immeasurable. His irrepressible personality both as a performer and as a public figure was so strong that to some it sometimes overshadowed his contributions as a musician and singer.

As a virtuoso trumpet player, Armstrong had a unique tone and an extraordinary talent for melodic improvizatsiya. Through his playing, the trumpet emerged as a solo instrument in jazz and is used widely today. Additionally, jazz itself was transformed from a collectively improvised folk music to a soloist's serious art form largely through his influence. He was a masterful accompanist and ensemble player in addition to his extraordinary skills as a soloist. With his innovations, he raised the bar musically for all who came after him.

Though Armstrong is widely recognized as a pioneer of sochib kuylash, Ethel Waters precedes his scatting on record in the 1930s according to Gari Giddins va boshqalar.[134] Billie Holiday and Frank Sinatra are just two singers who were greatly indebted to him. Holiday said that she always wanted Bessi Smit 's 'big' sound and Armstrong's feeling in her singing. Even special musicians like Duke Ellington have praised Armstrong through strong testimonials. Dyuk Ellington, DownBeat magazine in 1971, said, "If anybody was a master, it was Louis Armstrong. He was and will continue to be the embodiment of jazz."[135] 1950 yilda, Bing Krosbi, the most successful vocalist of the first half of the 20th century, said, "He is the beginning and the end of music in America."[136]

In the summer of 2001, in commemoration of the centennial of Armstrong's birth, New Orleans's main airport was renamed Louis Armstrong Nyu-Orlean xalqaro aeroporti.

2002 yilda, Louis Armstrong's Hot Five and Hot Seven recordings (1925–1928) were preserved in the United States National Recording Registry, a registry of yozuvlar selected yearly by the National Recording Preservation Board ichida saqlash uchun Milliy yozuvlar registri ning Kongress kutubxonasi.[137]

The US Open tennis tournament's former main stadium was named Louis Armstrong stadioni in honor of Armstrong who had lived a few blocks from the site.[138]

Kongo maydoni was a common gathering place for African-Americans in New Orleans for dancing and performing music. The park where Congo Square is located was later renamed Louis Armstrong Park.[139] Dedicated in April 1980, the park includes a 12-foot statue of Armstrong, trumpet in hand.[140]

The house where Armstrong lived for almost 28 years was declared a Milliy tarixiy yo'nalish in 1977 and is now a museum. The Louis Armstrong uy muzeyi, at 34-56 107th Street between 34th and 37th avenues in Korona, Kvins, presents concerts and educational programs, operates as a historic house museum and makes materials in its archives of writings, books, recordings and memorabilia available to the public for research. Muzey tomonidan boshqariladi Queens kolleji, Nyu-York shahar universiteti, following the dictates of Lucille Armstrong's will. The museum opened to the public on October 15, 2003. A new visitors center is planned.[141]

Armstrong appeared at many New York area venues, including several extended engagements at Freedomland AQSh yilda Bronks. His performances there are featured in the book, Freedomland AQSh: aniq tarix (Theme Park Press, 2019).

According to literary critic Harold Bloom, "The two great American contributions to the world's art, in the end, are Walt Whitman and, after him, Armstrong and jazz ... If I had to choose between the two, ultimately, I wouldn't. I would say that the genius of this nation at its best is indeed Walt Whitman and Louis Armstrong." [142]

2019 yil 25 iyunda, The New York Times jurnali listed Louis Armstrong among hundreds of artists whose material was reportedly destroyed in the 2008 yong'in.[143]

Diskografiya

Asosiy maqola: Louis Armstrong diskografiyasi

Shuningdek qarang

  • Louis Armstrong albums on Wikipedia
  • Louis Armstrong songs on Wikipedia

Izohlar

  1. ^ For "satchel-mouth".

Adabiyotlar

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Asarlar keltirilgan

  • Armstrong, Lui (1954). Satchmo: Yangi Orleandagi hayotim. ISBN  0-306-80276-7
  • Bergreen, Lorens (1997). Lui Armstrong: Ekstravagant hayot. ISBN  0-553-06768-0
  • Cogswell, Maykl (2003). Armstrong: sahnadan tashqari voqea. ISBN  1-888054-81-6
  • Terri (2009). Poplar - Lui Armstrongning hayoti. ISBN  978-0-15-101089-9

Qo'shimcha o'qish

  • Elie, Lolis Erik. Nyu-Orleandan xat. Dastlab Gurme. Qayta nashr etilgan 2006 yildagi eng yaxshi ovqat yozuvi, tahrir. Xolli Xyuz tomonidan, Da Capo Press, 2006 y. ISBN  1-56924-287-9
  • Goffin, Robert. Mo'llik shoxi: Lui Armstrong haqida hikoya. Da Capo Press, 1977 yil. ISBN  0-306-77430-5
  • Jons, Maks va Chilton, Jon. Louis: Louis Armstrong hikoyasi, 1900–1971. Da Capo Press, 1988 yil. ISBN  978-0-306-80324-6
  • Mekka, Maykl (2004). Satchmo: Lui Armstrong Entsiklopediyasi. ISBN  0-313-30137-9
  • Storb, Ilse (1999). Lui Armstrong: aniq biografiya. ISBN  0-8204-3103-6
  • Willems, Jos. Barcham: Lui Armstrongning to'liq diskografiyasi. Qo'rqinchli matbuot, 2006 yil. ISBN  978-0-8108-5730-8
  • Uilyams, Ieyn Kemeron Harlem Oy ostida: Harlemdan Parijgacha Adelaida Xoll. Bloomsbury Publishers, 2002 yil. ISBN  0-8264-5893-9

Tashqi havolalar

Kutubxona resurslari haqida
Lui Armstrong
Louis Armstrong tomonidan