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'''Louis Daniel Armstrong''' (August 4, 1901 – July 6, 1971), nicknamed "'''Satchmo'''", "'''Satch'''", and "'''Pops'''",<ref>For background on nicknames, see {{cite book|author=Laurence Bergreen|year=1997|title=Louis Armstrong: An Extravagant Life|url-access=registration|location=New York|publisher=Broadway Books|isbn=978-0553067682|pages=[https://archive.org/details/louisarmstrong00laur/page/4 4{{endash}}5]|url=https://archive.org/details/louisarmstrong00laur/page/4}}</ref> was an American trumpeter and vocalist. He was among the most influential figures in [[jazz]]. His career spanned five decades and several eras in the history of jazz.<ref name="RCJE">{{Cite book|last=Cook|first=Richard|year=2005|title=Richard Cook's Jazz Encyclopedia|publisher=Penguin Books|location=London|isbn=978-0141006468|pages= 18–19}}</ref> Armstrong received numerous accolades including the [[Grammy Award for Best Male Pop Vocal Performance|Grammy Award for Best Male Vocal Performance]] for ''[[Hello, Dolly! (film)|Hello, Dolly!]]'' in 1965, as well as a posthumous win for the [[Grammy Lifetime Achievement Award]] in 1972 and induction into the [[National Rhythm & Blues Hall of Fame]] in 2017.<ref>{{cite web|url=https://www.grammy.com/grammys/artists/louis-armstrong|title= Louis Armstrong – Artist|website= Grammy.com|date= November 19, 2019|access-date= May 27, 2020}}</ref>
Armstrong was born and raised in [[New Orleans]]. Coming to prominence in the 1920s as an inventive trumpet and [[cornet]] player, he was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance.<ref>Bergreen (1997), p. 1.</ref> Around 1922, Armstrong followed his mentor, [[King Oliver|Joe "King" Oliver]], to Chicago to play in Oliver's {{interlanguage link|Creole Jazz Band|als||fr}}. Armstrong earned a reputation at "[[cutting contest]]s
Armstrong's best known songs include "[[What a Wonderful World]]", "[[La Vie en Rose]]", "[[Hello, Dolly! (song)|Hello, Dolly!]]", "[[On the Sunny Side of the Street]]", "[[Dream a Little Dream of Me]]", "[[When You're Smiling]]" and "[[When the Saints Go Marching In]]". He collaborated with [[Ella Fitzgerald]], producing three records together: ''[[Ella and Louis]]'' (1956), ''[[Ella and Louis Again]]'' (1957), and ''[[Porgy and Bess (Ella Fitzgerald and Louis Armstrong album)|Porgy and Bess]]'' (1959). He also appeared in films such as ''[[A Rhapsody in Black and Blue]]'' (1932), ''[[Cabin in the Sky (film)|Cabin in the Sky]]'' (1943), ''[[High Society (1956 film)|High Society]]'' (1956), ''[[Paris Blues]]'' (1961), ''[[A Man Called Adam (film)|A Man Called Adam]]'' (1966), and ''Hello, Dolly!'' (1969).
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Armstrong lived with his mother and sister during this time and worked for the Karnoffskys,<ref>Some sources spell Karnofsky with one "f". This article is spelling it with two "f"s based on Bergreen (1998).</ref> a family of [[Lithuanian Jews]], at [[Karnofsky Tailor Shop–House|their home]]. Armstrong helped their sons Morris and Alex collect "rags and bones" and deliver coal. In 1969, while recovering from heart and kidney problems at Beth Israel Hospital in New York City, Armstrong wrote a memoir called ''Louis Armstrong + the Jewish Family in New Orleans, LA., the year of 1907'', describing his time working for the Karnoffsky family.<ref name="in-his-own-words-karnofskys">{{Cite book |last=Armstrong |first=Louis |title=Louis Armstrong, in His Own Words: Selected Writings |publisher=[[Oxford University Press]] |others=Annotated index by Charles Kinzer |year=1999 |isbn=0-19-511958-4 |editor=Brothers |editor-first=Thomas |editor-link=Thomas Brothers |pages=3–36 |chapter=Louis Armstrong + the Jewish Family in New Orleans, LA., the year of 1907 |chapter-url=https://archive.org/details/louisarmstrongin00arms/page/3/mode/ |via=[[Internet Archive]]}}</ref>
Armstrong writes about singing "Russian Lullaby" with the Karnoffsky family when their baby son David was put to bed and credits the family with teaching him to sing "from the heart."<ref name="in-his-own-words-karnofskys" /> Curiously, Armstrong quotes lyrics for it that appear to be the same as the "Russian Lullaby
In his memoir, ''Louis Armstrong + the Jewish Family in New Orleans, La., the Year of 1907'', he described his discovery that this family was also [[History of antisemitism in the United States|subject to discrimination by "other white folks"]] who felt that they were better than Jews: "I was only seven years old but I could easily see the ungodly treatment that the white folks were handing the poor Jewish family whom I worked for."<ref name="InHisOwnWords">{{cite book |last1=Armstrong |first1=Louis |editor1-last=Brothers |editor1-first=Thomas|title=Louis Armstrong, in His Own Words: Selected Writings |date=2001 |publisher=Oxford University Press |location=Oxford |isbn=978-0195140460 |page=8 |edition= 1st Oxford University Press paperback | quote=I had a long time admiration for the Jewish people. Especially with their long time of courage, taking so much abuse for so long. I was only seven years old, but I could easily see the ungodly treatment that the white folks were handing the poor Jewish family whom I worked for. It dawned on me how drastically. Even "my race
Later, as an adult, Armstrong wore a [[Star of David]] given to him by his Jewish manager, Joe Glaser, until the end of his life, in part in memory of this family who had raised him.<ref>Manuscript titled ''Louis Armstrong and the Jewish Family in New Orleans, the Year of 1907'', written in 1969 and finished in 1970. 77 leaves, numbered 1-77. Recto only. Written in ink on lined notebook paper.</ref>
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The Hot Five included [[Kid Ory]] (trombone), [[Johnny Dodds]] (clarinet), [[Johnny St. Cyr]] (banjo), Lil Armstrong on piano, and usually no drummer. Over a twelve-month period starting in November 1925, this quintet produced twenty-four records.<ref name="harker">{{cite book|author=Harker, Brian|title=Louis Armstrong's Hot Five and Hot Seven Recordings |publisher=Oxford University Press|year=2011|location=Oxford|pages=4{{endash}}5|isbn=978-0195388404}}</ref> Armstrong's band leading style was easygoing, as St. Cyr noted, "One felt so relaxed working with him, and he was very broad-minded ... always did his best to feature each individual."<ref>Bergreen (1997), p. 274.</ref>
Among the Hot Five and Seven records were "Cornet Chop Suey
Armstrong was now free to develop his style as he wished, which included a heavy dose of effervescent jive, such as "Whip That Thing, Miss Lil" and "Mr. Johnny Dodds, Aw, Do That Clarinet, Boy!"<ref>Bergreen (1997), p. 264.</ref>
Armstrong also played with [[Erskine Tate]]'s Little Symphony, mostly at the Vendome Theatre. They furnished music for silent movies and live shows, including jazz versions of classical music, such as "[[Madame Butterfly]]
After separating from Lil, Armstrong started to play at the [[Sunset Cafe|Sunset Café]] for [[Al Capone]]'s associate [[Joe Glaser]] in the [[Carroll Dickerson]] Orchestra, with Earl Hines on piano, which was renamed Louis Armstrong and his Stompers.<ref>{{cite book|last=Collier|first=James Lincoln |author-link=James Lincoln Collier| title=Louis Armstrong | publisher=Pan Books | year=1985|isbn=978-0330286077|pages=160–162}}</ref> However, Hines was the music director, and Glaser managed the orchestra. Hines and Armstrong became fast friends and successful collaborators. It was at the [[Sunset Cafe|Sunset Café]] that Armstrong accompanied singer [[Adelaide Hall]]. During Hall's tenure at the venue, she experimented, developed, and expanded her scat singing with Armstrong's guidance and encouragement.<ref>Williams, Iain Cameron [http://www.bloomsbury.com/us/underneath-a-harlem-moon-9780826458933/ ''Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall''] {{Webarchive|url=https://web.archive.org/web/20210226182123/https://www.bloomsbury.com/us/underneath-a-harlem-moon-9780826458933/ |date=February 26, 2021 }}. Bloomsbury Publishers, 2002. {{ISBN|0826458939}}. {{oclc|51780394}}</ref>
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===The Harlem Renaissance===
Armstrong made a huge impact during the 1920s [[Harlem Renaissance]].<ref>{{cite news |url=https://www.npr.org/2007/08/01/12208712/louis-armstrong-the-man-and-his-music-part-1 |title=Louis Armstrong: 'The Man and His Music
Armstrong changed jazz during the Harlem Renaissance. As "The World's Greatest Trumpet Player" during this time,<ref>{{cite web |last=Andrews |first=Evan |date=August 22, 2018 |title=9 Things You May Not Know About Louis Armstrong |url=https://www.history.com/news/9-things-you-may-not-know-about-louis-armstrong |url-status=live |work=[[History (American TV network)]] |location= |archive-url=https://web.archive.org/web/20201120054543/https://www.history.com/news/9-things-you-may-not-know-about-louis-armstrong |archive-date=November 20, 2020 |access-date=April 3, 2021}}</ref> Armstrong cemented his legacy and continued a focus on his vocal career. His popularity brought together many black and white audiences.<ref>{{cite journal|author=Collins, Willie|title=Armstrong, Louis (1901–1971)|journal=St. James Encyclopedia of Popular Culture|editor=Thomas Riggs|edition=Second|volume=1|publisher=[[St. James Press]]|date=2013|pages=133–135|url=http://0-link.galegroup.com.library.4cd.edu/apps/doc/CX2735800126/GVRL?u=plea38277&sid=GVRL&xid=30818ba4}}{{Dead link|date=August 2023 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>
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Armstrong started to work at [[Connie's Inn]] in Harlem, chief rival to the [[Cotton Club]], a venue for elaborately staged floor shows,<ref name=morgenstern>{{citation|last=Morgenstern|first=Dan|author-link=Dan Morgenstern|contribution=Louis Armstrong and the Development and Diffusion of Jazz|title=Louis Armstrong: A Cultural Legacy|editor-first=Marc H.|editor-last=Miller|publisher=Queens Museum of Art in association with University of Washington Press|year=1994|page=110}}</ref> and a front for gangster [[Dutch Schultz]]. Armstrong had considerable success with vocal recordings, including versions of songs composed by his old friend [[Hoagy Carmichael]]. His 1930s recordings took full advantage of the RCA [[ribbon microphone]], introduced in 1931, which imparted warmth to vocals and became an intrinsic part of the "[[crooning]]" sound of artists like [[Bing Crosby]]. Armstrong's interpretation of Carmichael's "[[Stardust (1927 song)|Stardust]]" became one of the most successful versions of this song ever recorded, showcasing Armstrong's unique vocal sound and style and his innovative approach to singing songs that were already standards.
Armstrong's radical re-working of [[Sidney Arodin]] and Carmichael's "[[Lazy River]]
As with his trumpet playing, Armstrong's vocal innovations served as a foundation for jazz vocal interpretation. The uniquely gravelly coloration of his voice became an archetype that was endlessly imitated. Armstrong's scat singing was enriched by his matchless experience as a trumpet soloist. His resonant, velvety lower-register tone and bubbling cadences on sides such as "Lazy River" greatly influenced younger white singers such as Bing Crosby.
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The Louis Armstrong House Museum website states:
{{blockquote|Judging from home recorded tapes now in our Museum Collections, Louis pronounced his own name as "Lewis." On his 1964 record "Hello, Dolly
In a memoir written for [[Robert Goffin]] between 1943 and 1944, Armstrong stated, "All white folks call me Louie
|last1=Armstrong
|first1=Louis
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|archive-url=https://web.archive.org/web/20150915205007/https://books.google.com/books?id=fdxDDe-fb8sC&pg=PA109
|url-status=live
}}</ref><ref>Goffin, Robert. ''Horn of Plenty: The Story of Louis Armstrong''. Da Capo Press, 1977. {{ISBN|0306774305}}{{page needed|date=December 2022}}</ref> That said, Armstrong was registered as "Lewie" for the [[United States Census, 1920|1920 U.S. Census]]. On various live records, he is called "Louie" on stage, such as on the 1952 "Can Anyone Explain?" from the live album ''In Scandinavia vol.1''. The same applies to his 1952 studio recording of the song "Chloe
===Family===
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[[File:Armstrong-Alassio (crop).jpg|thumb|An autograph of Armstrong on the muretto of [[Alassio]]]]
The nicknames "Satchmo" and "Satch" are short for "Satchelmouth". The nickname origin is uncertain.<ref name="bergreen7"/> The most common tale that biographers tell is the story of Armstrong as a young boy in New Orleans dancing for pennies. He scooped the coins off the street and stuck them into his mouth to prevent bigger children from stealing them. Someone dubbed Armstrong "satchel mouth" for his mouth acting as a satchel. Another tale is that because of his large mouth, Armstrong was nicknamed "satchel mouth
Early on, Armstrong was also known as "Dipper
The nickname "Pops" came from Armstrong's own tendency to forget people's names and simply call them "Pops" instead. The nickname was turned on Armstrong himself. It was used as the title of a 2010 biography of Armstrong by Terry Teachout.<ref name="bergreen7"/>
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Armstrong was a heavy [[marijuana]] smoker for much of his life and spent nine days in jail in 1930 after being arrested outside a club for drug possession. Armstrong described marijuana as "a thousand times better than whiskey."<ref>{{Cite web|url=https://www.history.com/news/9-things-you-may-not-know-about-louis-armstrong|title=9 Things You May Not Know About Louis Armstrong|first=Evan|last=Andrews|website=History.com|date=October 17, 2022|access-date=April 3, 2021|archive-date=November 20, 2020|archive-url=https://web.archive.org/web/20201120054543/https://www.history.com/news/9-things-you-may-not-know-about-louis-armstrong|url-status=live}}</ref>
The concern with Armstrong's health and weight was balanced by his love of food, reflected in such songs as "Cheesecake
A fan of Major League Baseball, Armstrong founded a team in New Orleans that was known as Raggedy Nine and transformed the team into his Armstrong's "[[Secret Nine Baseball]]."<ref>{{cite web|url=http://www.smithsonianmag.com/smithsonian-institution/rare-footage-duke-ellington-highlights-when-jazz-baseball-were-perfect-harmony-180950303/|title=Rare Footage of Duke Ellington Highlights When Jazz and Baseball Were in Perfect Harmony|last=Hasse|first=John E.|date=April 1, 2014|website=Smithsonian|access-date=March 6, 2017|archive-date=March 7, 2017|archive-url=https://web.archive.org/web/20170307050207/http://www.smithsonianmag.com/smithsonian-institution/rare-footage-duke-ellington-highlights-when-jazz-baseball-were-perfect-harmony-180950303/|url-status=live}}</ref>
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===Horn playing and early jazz===
[[File:Selmer Trumpet given by King George V to Louis Armstrong.jpg|thumb|right|[[Henri Selmer Paris|Selmer]] trumpet, given as a gift by [[King George 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
Prior to Armstrong, most collective ensembles playing in jazz, along with its occasional solos, simply varied the melodies of the songs. He 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.<ref name="bergreen7"/>
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As Armstrong's music progressed and popularity grew, his singing also became very important. Armstrong was not the first to record scat singing, but he was masterful at it and helped popularize it with the first recording on which he scatted, "[[Heebie Jeebies (composition)|Heebie Jeebies]]." At a recording session for [[Okeh Records]], when the sheet music supposedly fell on the floor, and the music began before Armstrong could pick up the pages, he 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.<ref>{{cite news|url=https://www.npr.org/2007/08/22/13829155/louis-armstrong-the-singer|title=NPR's Jazz Profiles from NPR: Louis Armstrong: The Singer|newspaper=NPR|publisher=National Public Radio|date=August 22, 2007|access-date=June 16, 2021|archive-date=June 14, 2021|archive-url=https://web.archive.org/web/20210614225900/https://www.npr.org/2007/08/22/13829155/louis-armstrong-the-singer|url-status=live}}</ref> 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, Armstrong was playing around with his vocals, shortening and lengthening phrases, interjecting improvisations, and using his voice as creatively as his trumpet.<ref name="bergreen7"/> Armstrong once told [[Cab Calloway]] that his scat style was derived "from the Jews ''rockin''
===Composing===
Armstrong was a gifted composer who wrote more than 50 songs, some of which have become [[jazz standards]] (e.g., "Gully Low Blues
===Colleagues and followers===
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Armstrong recorded two albums with Ella Fitzgerald, ''[[Ella and Louis]]'' and ''[[Ella and Louis Again]]'', for [[Verve Records]]. The sessions featured the backing musicianship of the [[Oscar Peterson]] Trio with drummer [[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 and Bess (Ella Fitzgerald and Louis Armstrong album)|Porgy and Bess]]''.
Armstrong's two recordings for [[Columbia Records]], ''[[Louis Armstrong Plays W.C. Handy]]'' (1954) and ''Satch Plays Fats'' (all [[Fats Waller]] tunes) (1955), were both considered masterpieces, as well as moderately well selling. In 1961, the All Stars participated in two albums, ''The Great Summit'' and ''The Great Reunion'' (now together as a single disc) with [[Duke Ellington]]. The albums feature many of Ellington's most famous compositions (as well as two exclusive cuts) with Duke sitting in on piano. Armstrong's participation in [[Dave Brubeck]]'s high-concept jazz musical ''[[The Real Ambassadors]]'' (1963) was critically acclaimed and features "Summer Song
[[File:Louis Armstrong NYWTS 4.jpg|thumb|upright|Louis Armstrong in 1966]]
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In 1964, Armstrong knocked [[The Beatles]] off the top of the [[Billboard Hot 100|''Billboard'' Hot 100]] chart with "[[Hello, Dolly! (song)|Hello, Dolly!]]", 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 ''[[Bewitched (2005 film)|Bewitched]]''.<ref name="bergreen7"/>
In February 1968, Armstrong appeared with Lara Saint Paul on the Italian [[RAI]] television channel, where he performed "Grassa e Bella
In 1968, Armstrong scored one last popular hit in the UK with "[[What a Wonderful World]]
===Stylistic range===
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