Coming to prominence in the 1920s as an inventive trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. With his instantly-recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also skilled at scat singing (vocalizing using sounds and syllables instead of actual lyrics).
Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong's influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to "cross over", whose skin-color was secondary to his music in an America that was severely racially divided. He rarely publicly politicized his race, often to the dismay of fellow African-Americans, but took a well-publicized stand for desegregation during the Little Rock Crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society that were highly restricted for a black man.
Armstrong was born and brought up in New Orleans, a culturally diverse town with a unique musical mix of creole, ragtime, marching bands, and blues. Although from an early age he was able to play music professionally, he didn't travel far from New Orleans until 1922, when he went to Chicago to join his mentor, King Oliver. Oliver's band played primitive jazz, a hotter style of ragtime, with looser rhythms and more improvisation, and Armstrong's role was mostly backing. Slow to promote himself, he was eventually persuaded by his wife Lil Hardin to leave Oliver, and In 1924 he went to New York to join the Fletcher Henderson Orchestra. At the time, there were a few other artists using the rhythmic innovations of the New Orleans style, but none did it with the energy and brilliance of Armstrong, and he quickly became a sensation among New York musicians. Back in Chicago in 1925, he made his first recordings with his own group, Louis Armstrong and his Hot Five, and these became not only popular hits but also models for the first generation of jazz musicians, trumpeters or otherwise.
Other hits followed through the twenties and thirties, as well as troubles: crooked managers, lip injuries, mob entanglements, failed big-band ventures. As jazz styles changed, though, musical purists never lost any respect for him -- although they were sometimes irritated by his hammy onstage persona. Around the late forties, with the help of a good manager, Armstrong's business affairs finally stablilized, and he began to be seen as an elder statesman of American popular entertainment, appearing in Hollywood films, touring Asia and Europe, and dislodging The Beatles from the number-one position with Hello Dolly". Today many people may know him as a singer (a good one), but as Miles Davis said: “You can’t play nothing on modern trumpet that doesn’t come from him."
The 62-year-old Armstrong became the oldest act to top the US charts when "Hello Dolly" reached #1 in 1964. Four years later Satchmo also became the oldest artist to record a UK #1, when "What a Wonderful World" hit the top spot.
Ain't Misbehaving
Louis Armstrong Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
All by myself
No one to walk with
I'm happy on the shelf
Ain't misbehavin'
I'm savin' my love for you
Mama, I know for certain
Through with flirtin'
Just you that I'm thinkin' of
Misbehavin'
Savin' my love for you
Hmm, like Jack Horner
In the corner
Don't go nowhere
What do I care?
All your kisses
Worth waitin' for, believe me
I don't stay out late
Don't care to go
Home about eight
Me and my radio
Misbehavin', savin' love for you
The lyrics of Ain't Misbehavin' by Louis Armstrong convey the emotions and thoughts of the singer, who is alone and content in their solitude. The lyrics describe the lack of companionship that the singer is experiencing, but they are happy to be alone, passing time on their own. In the first verse, the singer expresses the feeling of being alone, with nobody to share their thoughts with, and no one to take a stroll with. However, the singer reassures their loved one that they are not engaging in any mischievous behavior but are instead saving their love for them.
The second verse focuses more on the singer's feelings for their loved one. The singer conveys the message that they are done with flirting with other people and have their heart set on their one true love. The line "just you that I'm thinkin' of" emphasizes the depth of the singer's love. The third verse talks about how the singer is content to sit in a corner like Jack Horner as long as they have their loved one's kisses to look forward to. The last verse conveys a sense of contentment with the singer's life, where they do not feel the need to go out and party but instead spend their time listening to the radio, safe in the knowledge that they are faithful.
Line by Line Meaning
No one to talk with
I don't have anyone to have a conversation with.
All by myself
I am alone.
No one to walk with
I don't have anyone to take a walk with.
I'm happy on the shelf
I am content with being on my own.
Ain't misbehavin'
I am not causing any trouble or being disobedient.
I'm savin' my love for you
I am preserving my feelings of love for you.
Mama, I know for certain
Mom, there is no doubt in my mind.
The one I love
I am in love with a specific person.
Through with flirtin'
I am done trying to attract or seduce other people.
Just you that I'm thinkin' of
Only you are on my mind.
Misbehavin'
I am not causing any trouble or being disobedient.
Savin' my love for you
I am preserving my feelings of love for you.
Hmm, like Jack Horner
I am relaxed and comfortable, like Jack Horner sitting in the corner.
In the corner
I am in a quiet or inconspicuous place.
Don't go nowhere
I'm not going anywhere.
What do I care?
It doesn't matter to me.
All your kisses
Every kiss from you.
Worth waitin' for, believe me
Waiting for your kisses is worthwhile.
I don't stay out late
I go home early.
Don't care to go
I don't want to go anywhere.
Home about eight
I arrive home at around eight.
Me and my radio
I spend time listening to the radio.
Misbehavin', savin' love for you
I am not causing any trouble or being disobedient while preserving my feelings of love for you.
Lyrics © Warner/Chappell Music, Inc., BMG Rights Management
Written by: Andy Razaf, Fats Waller, Harry Brooks
Lyrics Licensed & Provided by LyricFind
@Fernandez212
No one to talk with
All by myself
No one to walk with
But I'm happy on the shelf
Ain't misbehavin'
I'm savin' my love for you
I know for certain
The one I love
I'm through with flirtin'
It's just you I'm thinkin' of
Ain't misbehavin'
I'm savin' my love for you
Like Jack Horner
In the corner
Don't go nowhere
What do I care?
Your kisses are worth waitin' for
Believe me
I don't stay out late
Don't care to go
I'm home about eight
Just me and my radio
Ain't misbehavin'
I'm savin' my love for you
Like Jack Horner
In the corner
Don't go nowhere
What do I care?
Your kisses are worth waitin' for
Believe me
I don't stay out late
Don't care to go
I'm home about eight
Just me and my radio
Ain't misbehavin'
I'm savin' my love for you
@gameon17680
• Crystal clear transfer from an official, 1929 master pressing • Parlophone R 462 [W 402534 B]
——————————
In the summer of 1929, Louis Armstrong and his band mates from the Carroll Dickerson Orchestra found work playing for the floor show and dancing at Connie's Inn, in Harlem, NY, the main competitor of The Cotton Club. Connie Immerman, who ran the club with his brother George, had just opened a new musical revue called "Connie's Hot Chocolates" featuring songs composed by Thomas "Fats" Waller and written by Andy Razaf. The show was immensely popular and the Immermans needed a good orchestra to replace the house band as the show opened simultaneously in new venues. After a brief but successful run at the Windsor Theatre in the Bronx, "Hot Chocolates" was slated to open off Broadway at the Hudson Theater on 44th St. on June 20. Sometime before the Broadway opening, Armstrong got a big break when he was asked to double as part of the Leroy Smith orchestra, the original house band which would now be playing the show at the Hudson (he would still have to run uptown every night to rejoin the Dickerson group to play the show at Connie's Inn). It had been suggested by Andy Razaf that Armstrong sing and play a chorus of the show's theme song "Ain't misbehavin'" from the band pit as a between-act number. As an anonymous member of the orchestra, Armstrong's name did not appear on the opening-night program, but word quickly spread of his great talent. Writing about the show's Broadway debut, a critic from the New York Times stated:
“One song, a synthetic but entirely pleasant jazz ballad called 'Ain’t Misbehavin''' stands out, and its rendition between the acts by an unnamed member of the orchestra was a highlight of the premier."
Armstrong's name was soon added to the bill and his performance, now the highlight of the entire show, was moved from the orchestra pit to the stage. The song was a huge hit and a star was born. Within a matter of weeks he and the Dickerson band were in the Okeh studios making this recording of "Ain't misbehavin'" [it was also released the same year in the U.K. on the Parlophone record label]. ◆
————○▣○—————
• Louis Armstrong And His Orchestra •
[New York, NY, July 19, 1929]
Louis Armstrong (Trumpet, Vocal)
Homer Hobson (Trumpet)
Fred Robinson (Trombone)
Jimmy Strong (Tenor Saxophone)
Bert Curry (Alto Saxophone)
Crawford Wethington (Alto Saxophone)
Carroll Dickerson (Conductor, Violin)
Gene Anderson (Piano)
Mancy Carr (Banjo)
Pete Briggs (Tuba)
Unknown (Triangle)
Zutty Singleton (Drums)
—————※—————
Ain't Misbehavin' (Waller, Thomas; Razaf, Andy; Brooks, H.) [master W 402534-B] OKeh 8714
——————————
Digital audio and photograph copyright © 2016 Steven Kozobarich. All Rights Reserved
—————※—————
[Connie's Hot Chocolates, 1920's, twenties, jazz, New Orleans, trumpet, Fox Trot, New Rhythm Style Series No. 5, original 78 rpm record, phonograph, Gramophone, shellac, Satchmo, Pops, Louie, big band, swing, new transfer, 2016]
121 Comments
Game on176
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InTheory
InTheory
1 year ago
Who would comment, "Doesn't sound like Armstrong at all."? Louis has one of the most uniquely recognizable voices in all of music and all the world for that matter. The sound quality is so good you can almost imagine it's a hot and sticky night on Bourbon Street. The booze is flowing freely, the dancers are dancing, and the juke joint is jumping. I just watched 'High Society' on TCM and Louis brought me here.🌹🎺🌹
20
RantePlayz
RantePlayz
4 years ago
i remember this song my grandma used too play this on youtube shes 92 still alive
93
Michael Carlon
Michael Carlon
3 months ago
When Louis sings, "Oh, baby, my love for you!", soul singing was born.
4
Nate Carlson
Nate Carlson
3 years ago (edited)
This is probably my favourite Louis Armstrong tune. I didn't know the backstory though (in the description, which is very informative by the way, thanks for sharing it!). Hard to believe anybody could call the song "synthetic", Louis is a genius!
14
Steven Kozobarich
Steve Coward
Steve Coward
1 year ago (edited)
Fantastic recording and back story. Enjoyed it so much so I tracked down a copy of this on the Odeon label to play on my HMV portable, thanks!
2
MissNovemberTuesday
MissNovemberTuesday
4 years ago
2 people accidentally hit the thumbs down icon. How silly of them! No way could anyone in their right mind dislike this.
80
Tito Martino
Tito Martino
1 year ago
Outstanding transfer of a gigantic classic. Thanks!
1
Steven Kozobarich
Blzzrdwzzrd X1
Blzzrdwzzrd X1
2 months ago
I can walk into any room and if Louis is playing (it could be a song I never heard) I can identify his trumpet immediately. There is no Artist who carries the same TONE, and if they do, it is easy to identify the EXPERIENCE in that TONE, and know when it’s Louis and when it’s
@debivancleave5106
My Pop-pop used to play this on his banjo. He belted it out just like Louis Armstrong. Miss him and those singing and dancing days. RIP Harry Brower.
@Decentralized_Maze
RIP and thank you Harry Brower for living, loving and sharing your memories with others in your life! You'll always be remembered! 🙏
I wish you Debi ....MANY more wonderful memories to come. Music, dancing, happy memories that impact us strongly like that (or people, or both) is critical. Mine was my Polish grandparents moving furniture to make the entire dining room empty (except for the radio and record player unit), where they proceeded to dance to loud polka!!! 🎉😂 I was super young and the memories are vague, but I'll NEVER forget it and it impacted me for life. Your comment triggered great memories for me and it put me in tears honestly. This is soooo odd, but as a thanks for your comment.... you're welcome to my channel contents (dozens of playlists for this era). Its different so brace yourself, interesting, but hopefully helpful somehow. 😊 I don't know why, but maybe I'm offering for a reason. There's music and food stuff in there too!
@Una_fan_de_the_beatles
RIP Harry Brower
@intheory9772
Who would comment, "Doesn't sound like Armstrong at all."? Louis has one of the most uniquely recognizable voices in all of music and all the world for that matter. The sound quality is so good you can almost imagine it's a hot and sticky night on Bourbon Street. The booze is flowing freely, the dancers are dancing, and the juke joint is jumping. I just watched 'High Society' on TCM and Louis brought me here.🌹🎺🌹
@JJPlays
It's because he was younger this was when he was 28 he didn't have the gravelly voice we all know
@jancana
@@JJPlays but it's still unique tho
@JJPlays
@@jancana it is
@jazzvictrola7104
@@JJPlays The gravel are pebbles at this point! No mistaking him!
@JJPlays
@@jazzvictrola7104 Thats true! Even if it wasn't as gravelly, you just can't mistake the voice of Louis Armstrong, it's too unique!
@rxse0
I remember my great grandpa would hold me when I was 6 years old and we would listen to it r.i.p Alfonso Cardenas