Word: satchmo
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Dates: during 1990-1999
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...Sure, it's un-American not to back the underdog, but even the hardworking, muttily named Utah Jazz (did Satchmo summer in Salt Lake?), with its working-class Mailman and great white hopes, couldn't drag us away from Jordan's charm. For a spasm of a second last month, it seemed O.K. if Larry Bird's Pacers won the conference championship--there was mythological resonance to the protagonist's being felled by a warrior ghost--but by Game 7, we were right back in our proper seats behind Jordan. We wanted one more hit of Jordan's hyperintensity...
Pops. Sweet Papa Dip. Satchmo. He had perfect pitch and perfect rhythm. His improvised melodies and singing could be as lofty as a moon flight or as low-down as the blood drops of a street thug dying in the gutter. Like most of the great innovators in jazz, he was a small man. But the extent of his influence across jazz, across American music and around the world has such continuing stature that he is one of the few who can easily be mentioned with Stravinsky, Picasso and Joyce. His life was the embodiment of one who moves from...
What struck him most, as his memoir, Satchmo: My Life in New Orleans, attests, was the ceremonial vigor of the people. Ranging from almost European pale to jet black, the Negroes of New Orleans had many social clubs, parades and picnics. With rags, blues, snippets from opera, church music and whatever else, a wide breadth of rhythm and tune was created to accompany or stimulate every kind of human involvement. Before becoming an instrumentalist, Armstrong the child was either dancing for pennies or singing for his supper with a strolling quartet of other kids who wandered New Orleans freshening...
...single, featured horn, which soon became the convention. His combination of virtuosity, strength and passion was unprecedented. No one in Western music--not even Bach--has ever set the innovative pace on an instrument, then stood up to sing and converted the vocalists. Pops. Sweet Papa Dip. Satchmo...
...Scrooge. Freeman admits it "gives me pause" to have his craft, honed over decades, equated with a newfound hobby. He readily applauds one debut actor, however: Thomas Henry Brooks Jr., 66, who plays a handful of the 162 characters, most notably a pawnbroker with a steely manner and a Satchmo Armstrong voice. Says Brooks: "I strongly believed that an old man on crutches with no teeth wouldn't get cast. When they called me back, I thought it was just keeping up appearances." Brooks is a natural, with a commanding presence and instant believability. He is enough at ease offstage...