Page Elghf

Ghi‘iii’iis MOTE$

The greatest of all jazz solo-
ists, Louis Armstrong and his
All Stars bring the best in show

business to this year's home
coming dance. Beginning at
9:30 pm. Saturday in Darby
Gymnasium, Armstrong will
play dance music and a short
concert in the middle of the eve
ning.

Playing with Armstrong are
Tyree Glenn, trombone and
~vibes; Joe Nuranal, clarindti]
Arvell Shaw. bass; Danny Bar-
celona, dnlms; Many Napolean,
piano; and Jewel Brown, a new
guest vocalist.

The following. taken from
The New Edition of The Erl-
cyclopedla of Jan by Leonard
Feather, best expresses the per-
sonal life history of Louis Arm-
strong.

Born in New Orleans on July
4, 1900, Louis‘ singing career
began several years before he
started to play. When he was
about seven, he and a group of
iriends would sing in the streets
for pennies and nickels; he re-
calls that he always enjoyed
singing, for pleasure and for
money, Then on the night of
December 31, 1913, he celebrated
by running out in the street and
ﬁring a gun he had borrowed
from his mother without her
knowledge. Arrested and sent
to the Waifs' Home in New
Orleans. he was given a comet
to play in the lnstltution‘s band
and soon was playing picnics
and parades, studying his horn
with Peter Davis of the Waiis‘
Home,

Alter his release from the
home he worked in a variety
of jobs and was befriended by
Joe (King) Oliver, who was his
sole musical influence and men-
tor. Later, when Oliver was
leading his own band in Chl-
cago, he sent for Louis to join
him as second cornetist, in July
1922. By this time Louis had
had considerable experience in
Oliver's previous job as a mem-
her or the Kid 0ry band.

It was in Chicago that Arm-
strong, who had been married
briefly in New Orleans to Daisy
Parker, met Lilian Hardin, Oli-
.ver's pianist, who became the
second Mrs. Armstrong. Louis,
then working with Lilian in Ollie
Powers' Dreamland band, left
to join the Fletcher Henderson
band in New York. After an ex-
tensive road tour with the hand
through the spring and summer
of 1925, Louis left to return to
Chicago and to Dreamland,
where Lil now had her own
band.

Early in 1926 Louis joined the
"symphonic jazz" orchestra of
Erskine Tate at the Vendome
Theatre. A few months later he
began doubling in Carroll Dick-
ersun's orchestra at the Sunset
Cabaret. where he was billed
as “Louis Armstrong, World‘s
Greatest Trumpet Player." The
proprietor of the Sunset was
Joe Glaser, who for almost all
of the past 30 years has been
Armstrong’s manager.

It was during this period that
he began to make records
under his own (Louis Arm~
ltrong's Hot give or Hot Seven);
his first tune he‘reoorded as a

By KATHY SHEA

leader was “My Heart.” From
then until December, 1928 a ser-
ies of classic sides was re-
corded, most of the later ones
prominently leaturing Earl
Hines, the pianist with whom he
had worked in Dickerson‘s hand.
These were the records that
earned Armstrong a world-wide
reputation. By 1929, when he re-
turned to New York, he was
the ldol not only of the Negro
public that had known him for
several years but also of white
musicians and fans at home
and abroad. His technical iacii<
lty Was exceptional; his limited
reading ability had improved.
Most important, the emotional
intensity and basic simplicity at
his solos, especially when he
played the blues, had no paral<
Iel in jazz.

Back in New York, Louis
fronted the Dickerson band at
Connie's Inn in Harlem and
doubled into a featured role with
Leroy Smith's band in the re-
vue “Hot Chocolates" at the
Hudson Theatre on Broadway.
It was in this Show that he
introduced “Ain’t Mishehavin’,“
his first popular-song hit per-
romance.

This was the pivotal point in
Armstrong’s career. From this
time on he fronted a big band,
and used popular songs rather
than blues or original instru<
mentols for his material. Most
of the large orchestras Louis
fronted from this time until 1946
tell for short of his own musi-
oel standards.

Meanwhile. the phenomenal
reception of his records over-
seas Ied to his first European
trip. in June 1932 he was head-
lined in the Show at the Lon-
don Palladium. it was during
this visit that the editor of the
London “Melody Maker,” un<
wittingly gave him his nick
name “Satchmo” by garoling an
earlier nickname, "Satcheh
mouth."

ln 1936 Armstrong went to
Hollywood to take part in the
film Pennies from Heaven with
Bing Crosby. During the next
few years, his transition from
the status of musicians' ldol to
that of personalityrentertainer
saw many changes in the mat-
ter and manner of his presem
rations. His singing played an
increasingly dominant role. The
greater his impact on the pub-
lic, the less important were his
musical settings and the less
durable his musical contribu-
tlons.

One of his rare opportunities
to appear before the public with
a small, improvising jazz group
came in 1944 when, celebrating
his first Vlctory in the “Esquire"
poll, he appeared with fellow-
winners in the first jazz con<
cert ever held at the Metropol-
itan Opera House in New York
City,

ln1957 after acting in the
film New Orleans, Armstrong
took his place at the head of
a sextet featuring Jack Tea‘
garden, trombone; Barney Bl-
gard, clarinet; Dick Cary, piano:
Sid Catlett, dnlms, and Arveil
Shaw. bass. This belated use of
a small group was an im-
mediate success and he made
it his permanent setting.

SCARLET AND BLACK

Friday, October 21. I?"

 

This man is:

c. Discussing Venezuelan architecture

A. Juggling
B. Throwing pizzas

Hillsboro, Kansas; another is a junior in P0

D. None or these ,

C is correct, Pictured here, Associate Pro-
fessor Peter Van Deursen Haven discusses
Venezuelan architecture at Central Univen
sity in Caracas with students enrolled in
World Campus AfloabChapman College
during the Spring 1961 semester at sea.
This group was one or many to ran-out
over Caracas ror various courserelated
ﬁeld experiences during the several days
the 5.5. RYNDAM, campus and dormitory
for the traveling students and facility. was
docked in the South American port.
Professor Haven now teaches art courses
at the University of Miaml, Florida. His .
students have transferred credits earned
aboard the ﬂoating campus to their home‘
campuses and have resumed regular
classes. One is from South Dakota,

majoring in Sociology at Tabor College hi
lltical Science at San Francisco State

College; a thlrd is a sophomore in Latin Amer-lean Studies at Indiana University and
still another a business student at Santa Monica City College in Callfomla.

As you read thls, more then 500 students, representing 200 colleges and unlversltlel
throughout the country. accompanied by a distinguished faculty, already have
embarked from New York (or the Fall 1957 semester which will take them to ports in
Europe, Africa and Asia, returning to Los Angsles via Honolulu.

Students are now enrolling for the Spring 1953 semester and will depart from Lei
[Angeles to engage tn shipboard study supplemented by visits to ports in Peru. Chile.
Argentina, Uruguay, Brezll, Senegal, Morocco, Spain, Greece,1urkey,Yugoslavla.

Italy, Portugal, The Netherlands and Great Britain, terminating in May tuNew York;

To discover how you can include the Spring semester at sea in your college plans,
complete the coupon below and mail at onCe.

World Campus Afloat , Director of Admissions
Chapman College Dmnga. Call/amid 92m

r__________________
l 1

Nam

LAST
Name of SchooL*___

Campus “crush
City—____State__2lp_.__ Senior
Permanent Address

City
Interested fur

a Fall 19— :1 Spring 19—

L_____

FIRST

Tel.

Stalo__21p_

semester at sea.’

CampusState 1
Presentstatusr I
Freshman 1:1 I
Sophomore u I
Junior’ :1 1
El

Graduate :1 I

i. l
SAFETY INFORMATION: The 5.5. Ryndam,reglstered in the I
Netherlands, meets International Safety Standards for I
new ships developed in 1943,

___.__._______._._l

 

 

The mounting interest in Ann-
strong as a symbol of Ameri-
can jazz led to more frequent
appearances abroad.

Armstrong during the 19503

enhanced his reputation in the

popular music held through re«
cordings with elaborate orches-
tral settings including large
string sections, under the db

, rection of Gordon Jenkins, Russ

Garcia, and others.

Through the years, Armstrong
has had major comedy parts
in various ﬁlms. A film and
record commemorating some of
his travels, entitled Satchmo
the Great were released in 1957.

Louis has appeared at New-
port and most of the other ma-
jor jazz festivals. He has won
”Down Beat" and "Melody
Maker” polls among others.

It is difficult, admittedly, to
see in correct perspective Arm-
strong's contribution as the first
vital jazz soloist to attain world
wlde influence as trumpeter,
s i n ge r, entertainer, dynamic
show business personality and
strong force in stimulating in-
tel'est in jazz. His style, mel-
odicaliy and harmonically Sim<
ple by the standards of later
jazz trends, achieved in his
early records an unprecedented
warmth and beauty. His sing-
ing, lacking most of the tras
ditional vocal quailtles accepted
outside the jazz world, had A
rhythmic intensity and guttural

charm that induced literally
thousands of other vocalists to
imitate him, just as countless
trumpeters through the years
reflected the impact of his
style. By 1960 Armstrong, set
in his ways, improvised com-
paratively little; but he retained
vocally and instrumentally many
of the qualities that had estab«
lished him, even though enter-
tainment values, by his own ad-
mission, meant more to him
than the reactions of a minor~
ity of musicians and specialists.

The best recording demonstra-
ting his early years can be
found in the four-volume “Louis
Armstrong Story" on Columbia
available in Burling Library.

Leonard Feather's Encyclope<
the of Jazz in the Sixties com
tributes additional recent In-
formation.

During the 19905 Louis Arm-
strong became more than ever
a symbol of the basic beauty,
simplicity, and international ap-
peal of traditional American
jazz. In 1960 he Visited Africa,
in two separate tours, one spon-
sored by a soft drink company.
the other by the U, S. State
Department. In 1961 through
1965, he toured Europe, Asia,
and Australia. During his 1965
tour throughout Eastern and
Central Europe, Armstrong
played belore an audience of
Baooo in the Budapest Football
Stadium.

After several years at cords
parative quiescence as a record-
ing artist, Armstrong came to
the forefront in .1964 With the
release of “Hello Dolly”. The
best-seller both as a single, and
record became a phenomenal
in an album. The success of the
song, according to its composer,
Jerry Herman, was due almost
entirely to his gruff, globally,
imitated style, During the next
two years he concentrated more
on his voice than his horn, but
retained the brilliance and pull-
ity of tone and the gently syn.
copated manner of phrasing,
marks Of his work, since the
first classic Hot Five records
of the late 19205. -

JD'S RESTAURANT

712V: Main
Them-Set. 5 to lo punt
Sunday—Neon to in p.m.

 

