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Word: armstrong (lookup in dictionary) (lookup stats)
Dates: during 1950-1959
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Usage:

Many employers are dubious too. J.E. Smith, employment manager for the Armstrong Cork Company of Lancaster, Penn, is one. Basically, he thinks that college placement offices like Harvard's, make recruiting for companies impractical...

Author: NO WRITER ATTRIBUTED | Title: Sink or Swim Is Motto of Placement Office | 2/6/1952 | See Source »

...WILL ARMSTRONG The Methodist Church Ancon, Canal Zone...

Author: /time Magazine | Title: Letters, Dec. 10, 1951 | 12/10/1951 | See Source »

Before she died, Bessie recorded more than 160 numbers for Columbia. This week Columbia released 47 of them on four LPs, and titled them The Bessie Smith Story. Bessie's album contains some of the best jazz of her day, features such instrumentalists as Armstrong, James P. Johnson, Fletcher Henderson, Benny Goodman, Frankie Newton, Jack Teagarden. Some of the titles: St. Louis Blues, Careless Love Blues, Empty Bed Blues, Yellow Dog Blues, Send Me to the 'Lectric Chair, Gimme a Pigfoot...

Author: /time Magazine | Title: Music: New Pop Records, Nov. 26, 1951 | 11/26/1951 | See Source »

Almost a decade has passed since Sidney Bechet replaced Louis Armstrong as the unquestioned King of Jazz. Bechet is a complete original. He invented his own instrument, the soprano saxophone, a metal clarinet which is both reedier and brassier than the wooden version. With it he produces soaring, melodious, and fanciful clarinet passeges; deep, throaty, and emotional "trombone" interjections; and the clear, fiercely driving attack associated with the trumpet. Usually he does all at once, with a tone so magnificent one feels he could drive a truck down it and with such imagination and variety that one actually...

Author: By Andrew E. Norman, | Title: The Jazzgoer | 10/22/1951 | See Source »

...contemporaries in the Twenties. But commercial success did not come to him as it did to the "orthodox" of the Joe Oliver camp. Perhaps his fondness for France cost him his share in the proceeds from the enthusiastic public acceptance of jazz. Whatever the reasons, it is still Armstrong who gets thousands for appearances at the vast showplaces and theatres, while Bechet plays at the far smaller Storyville, in the Hotel Buckminster at Kenmore Square, and in tiny Jimmy Ryan's, the only remaining "52nd Street dive" in New York. And Bechet's superb records are made for Bluenote...

Author: By Andrew E. Norman, | Title: The Jazzgoer | 10/22/1951 | See Source »

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