Word: jazzing
(lookup in dictionary)
(lookup stats)
Dates: during 1940-1949
Sort By: most recent first
(reverse)
...came tours that took Louis to the West Coast and points between. He switched from cornet to trumpet (chiefly because the longer horn "looked better"). In 1926, when he dropped some lyrics on the floor during a recording session, he quickly substituted nonsense syllables, and added "scat-singing" to jazz. He had formed "Louis Armstrong and His Hot Five" (Satchmo, Clarinetist Johnny Dodds, Trombonist Kid Ory, Johnny St. Cyr on the banjo and second wife Lil Hardin Armstrong on the piano) to make recordings of his best numbers for Okeh. When he played Chicago, such youngsters as Bix Beiderbecke, Benny...
...November 1917, with the U.S. at war, Storyville and jazz were handed a stunning jolt. At the Navy's request, New Orleans clamped down on the disease-ridden "District," put it permanently out of business. New Orleans witnessed an exodus unique in U.S. history. Hundreds of prostitutes streamed from their cribs carrying their belongings. Establishments like Lulu White's renowned Mahogany Hall (one of Louis' most prized recordings is Mahogany Hall Stomp) closed for good, and so did scores of "in mills and honky-tonks that had prepared a home for jazz music and jobs...
...When he came back to New Orleans, he was met at the landing by cheering crowds. Among them, a young white trombone player from Texas named Jack Teagarden waited at the gangway to say hello, asked to shake hands with Louis. Teagarden, soon to become a great name in jazz himself, remembers his first look at Louis: "[He] wasn't much to look at. Just a little guy with a big mouth. But, man, how he could blow that horn!" Louis soon found that his horn had been heard all the way to Chicago: Joe Oliver sent...
...same thing. And he's the one that stopped me playin' all those variations-what they call bebop today. 'You get yourself a lead [melody] and you stick to it,' Papa Joe told me. And I always do." It was the kind of jazz that didn't take written arrangements, if a man had "a lead" and could "cut loose from the heart...
...Musician Today." So far as the U.S. public was concerned in the '20s, there were a good many other ways of playing jazz. Paul Whiteman, with his 30-piece band and his smooth arrangements of Tin Pan Alley hit tunes and minor classics (The Song of India), was "King of Jazz," and his music and records were far better known than the small-band New Orleans variety. But after Louis arrived in Manhattan in 1924, and persuaded Fletcher Henderson to let him "open up" on his horn at Broadway's Roseland Ballroom one night, jazz musicians...