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.
Christmas In New Orleans
Louis Armstrong Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Fields of cotton look wintry white
When it's Christmas time in New Orleans
A barefoot choir in prayer fills the air
Mississippi folks gathering there
'Cause it's Christmas time in New Orleans
Leading the band to a good old Creole beat
Golly, what a spirit, you can only hear it
Down on Basin Street
Your kids will disappear, when you hear
Hallelujah, St. Nicholas is here
When it's Christmas time in New Orleans
You'll see a Dixieland Santa Claus
A leading the band to a good, good old Creole beat
And golly, what a spirit and you can only hear it
A down on Basin Street
Your kids will disappear and when you hear
Hallelujah, old Santa is near
When it's Christmas time in New Orleans
Yes, when it's Christmas time
It's Christmas time in New Orleans
Louis Armstrong's song Christmas In New Orleans is a beautiful tribute to the holiday season in this beautiful city. The first verse describes the picturesque scene of the magnolia trees sparkling bright at night and the fields of cotton looking wintry white. The second verse describes a choir in prayer and Mississippi folks gathering to celebrate the occasion. The third verse talks of a Dixieland Santa Claus leading a band to a good old Creole beat, illuminating the spirit of the place. Children disappear in joy and excitement when they hear Hallelujah, old Santa is near.
The song beautifully encapsulates the essence of Christmas in New Orleans. The place reverberates with a spirit that can only be experienced in this city. The residents gather to celebrate the festival with great zeal and enthusiasm. The unique culture and music of the city come alive in a charming way in the song. The leader of the band, Dixieland Santa Claus, adds a special charm that makes the city one of a kind. The song invites people to come and be a part of the festivities and witness the magical spirit of Christmas in New Orleans.
Line by Line Meaning
Magnolia trees at night, sparkling bright
The magnolia trees in New Orleans shine so bright at night during Christmas time
Fields of cotton look wintry white
During winter in New Orleans, the cotton fields look like they're covered in snow
When it's Christmas time in New Orleans
The song is referring to the unique experience of celebrating Christmas in New Orleans
A barefoot choir in prayer fills the air
People in New Orleans gather for a prayer led by a choir, who do not wear shoes during the prayer
Mississippi folks gathering there
Locals from Mississippi also join in the Christmas celebration in New Orleans
'Cause it's Christmas time in New Orleans
The reason for the gathering is because it's Christmas time in New Orleans
You'll see a Dixieland Santa Claus
In New Orleans, Santa Claus is dressed in the Dixieland style of clothing
Leading the band to a good old Creole beat
Santa Claus leads the band while they play in the Creole style
Golly, what a spirit, you can only hear it
The festive spirit is so strong in New Orleans during Christmas time that it can only be felt by being there
Down on Basin Street
This refers to the specific location of where the band is playing - Basin Street in New Orleans
Your kids will disappear, when you hear
Children get excited and disappear when they hear that Santa Claus is near
Hallelujah, St. Nicholas is here
People shout out "Hallelujah!" when they see Santa Claus arriving
You'll see a Dixieland Santa Claus
The song repeats this line to emphasize the unique way Santa Claus is portrayed in New Orleans
A leading the band to a good, good old Creole beat
Once again emphasizing the way Santa Claus leads the band in playing Creole music
And golly, what a spirit and you can only hear it
The energetic and lively spirit of the Christmas celebration in New Orleans can only be truly experienced by being there
A down on Basin Street
The location of the band playing is highlighted once again
Your kids will disappear and when you hear
Children get excited and run away when they hear that Santa Claus is near
Hallelujah, old Santa is near
People shout out "Hallelujah!" when they see Santa Claus arriving once again
When it's Christmas time in New Orleans
The song repeats this line to bring the listener back to the unique experience of celebrating Christmas in New Orleans
Yes, when it's Christmas time
The song once again emphasizes that it's only during Christmas time that one can have this unique experience in New Orleans
It's Christmas time in New Orleans
The last line of the song reinforces the idea that New Orleans is truly magical during Christmas time
Lyrics © Kanjian Music
Written by: Joe Van Winkle, Richard M. Sherman
Lyrics Licensed & Provided by LyricFind
@CanadaPatriot
Louis Armstrong's songs are like presents, they make you happy. R.I.P Legend...
@scottyd8900
He was born poor ,died rich , and never hurt anyone along the way -Duke ellington on louis Armstrong
@kevind7422
I dunno, both passed when I was still a kid in the '70s. Can't overstate how huge that was. But, I differ w Duke. We all hurt somebody, many more than one, on our journey - however unintentional (and somtimes very much otherwise). We are fallible and occasionally foul creatures who - if we're lucky - learn from our transgressions and mistakes. Repent, make amends, do better next time.
@ericmccaulley5008
God that solo, Louie gave you just what you needed! Merry Christmas!❤
@biketech60
America's greatest music ambassador .
@harryjamessmithmusic7762
Such a brilliant artist! He is still irreplaceable as his voice!
@m.a.c7351
On the Crescent City Bridge and this song 🎵 comes on the radio, WOWW!!!
@kellyhundley6515
It's not Christmas at my house without this song.
@dakomkervalidze2799
lui you are the best!❤
@carolvaquero6234
This are some of my favorites.. His voice is amazing 💖