Joshua Berrett
- Published in print:
- 2004
- Published Online:
- October 2013
- ISBN:
- 9780300103847
- eISBN:
- 9780300127478
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300103847.003.0004
- Subject:
- Music, History, American
This chapter considers Louis Armstrong's association with Lil Hardin's band, after his split from Fletcher Henderson's band. His next four years in Chicago were to be spent composing a body of work ...
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This chapter considers Louis Armstrong's association with Lil Hardin's band, after his split from Fletcher Henderson's band. His next four years in Chicago were to be spent composing a body of work in the form of the Hot Five and Hot Seven recordings. Armstrong then followed a traditional New Orleans formula, and this “New Orleans groove” was the kind of hot jazz that was in Armstrong's blood. It differentiated him from the likes of Paul Whiteman and symphonic jazz. His collaboration with Lil Hardin helped Armstrong to make this brand of hot jazz what it was. The chapter also mentions Armstrong's attendance of a performance of Bix Beiderbecke and Paul Whiteman at the Chicago Theater in July 2, 1928. It also notes Whiteman's hiring of Bing Crosby, and how Whiteman's association with Beiderbecke and Crosby brought the worlds of Paul Whiteman and Louis Armstrong closer together than ever before.Less
This chapter considers Louis Armstrong's association with Lil Hardin's band, after his split from Fletcher Henderson's band. His next four years in Chicago were to be spent composing a body of work in the form of the Hot Five and Hot Seven recordings. Armstrong then followed a traditional New Orleans formula, and this “New Orleans groove” was the kind of hot jazz that was in Armstrong's blood. It differentiated him from the likes of Paul Whiteman and symphonic jazz. His collaboration with Lil Hardin helped Armstrong to make this brand of hot jazz what it was. The chapter also mentions Armstrong's attendance of a performance of Bix Beiderbecke and Paul Whiteman at the Chicago Theater in July 2, 1928. It also notes Whiteman's hiring of Bing Crosby, and how Whiteman's association with Beiderbecke and Crosby brought the worlds of Paul Whiteman and Louis Armstrong closer together than ever before.
Joshua Berrett
- Published in print:
- 2004
- Published Online:
- October 2013
- ISBN:
- 9780300103847
- eISBN:
- 9780300127478
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300103847.001.0001
- Subject:
- Music, History, American
This book offers a provocative revision of the history of early jazz by focusing on two of its most notable practitioners—Whiteman, legendary in his day, and Armstrong, a legend ever since. Paul ...
More
This book offers a provocative revision of the history of early jazz by focusing on two of its most notable practitioners—Whiteman, legendary in his day, and Armstrong, a legend ever since. Paul Whiteman's fame was unmatched throughout the twenties. Bix Beiderbecke, Bing Crosby, and Jimmy and Tommy Dorsey honed their craft on his bandstand. Celebrated as the “King of Jazz” in 1930 in a Universal Studios feature film, Whiteman's imperium has declined considerably since. The legend of Louis Armstrong, in contrast, grows ever more lustrous: for decades it has been Armstrong, not Whiteman, who has worn the king's crown. This dual biography explores these diverging legacies in the context of race, commerce, and the history of early jazz. Early jazz was not a story of black innovators and white usurpers. In this book, a much richer, more complicated story emerges—a story of cross-influences, sidemen, and sundry movers and shakers who were all part of a collective experience that transcended the category of race. In the world of early jazz, the book contends, kingdoms had no borders.Less
This book offers a provocative revision of the history of early jazz by focusing on two of its most notable practitioners—Whiteman, legendary in his day, and Armstrong, a legend ever since. Paul Whiteman's fame was unmatched throughout the twenties. Bix Beiderbecke, Bing Crosby, and Jimmy and Tommy Dorsey honed their craft on his bandstand. Celebrated as the “King of Jazz” in 1930 in a Universal Studios feature film, Whiteman's imperium has declined considerably since. The legend of Louis Armstrong, in contrast, grows ever more lustrous: for decades it has been Armstrong, not Whiteman, who has worn the king's crown. This dual biography explores these diverging legacies in the context of race, commerce, and the history of early jazz. Early jazz was not a story of black innovators and white usurpers. In this book, a much richer, more complicated story emerges—a story of cross-influences, sidemen, and sundry movers and shakers who were all part of a collective experience that transcended the category of race. In the world of early jazz, the book contends, kingdoms had no borders.
