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.
Cuban Pete
Louis Armstrong Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You've seen how the rumba goes
What rhythm, fascinating rhythm
Havana brings news to you
They've just introduced a new sensation
A dancing creation
They call him Cuban Pete
When he plays the maracas he goes
Chick-chicky-boom
Chick-chicky-boom
Yes sir, he's Cuban Pete
He's the craze of his native street
When he plays the maracas he goes
Chick-chicky-boom
Chick-chicky-boom
The senoritas they sing
And how they swing with his sombrero
He's very nice, so full of spice
And to the music they bring
A happy ring, never a care-o
Singing a song, all the day long
Hey, hey, for Cuban Pete
He's the king of the rumba beat
When he plays the maracas he goes
Chick-chicky-boom
Chick-chicky-boom
Louis Armstrong's song Cuban Pete is a lively and energetic tune that speaks of the new sensation in Havana, the king of the rumba beat named Cuban Pete. The opening lines highlight how the singer assumes that the listeners have been to dancing shows and have witnessed the rumba dance style firsthand. The singer then goes on to introduce the new craze in Havana named Cuban Pete, emphasizing his excellent maracas skills, which creates a catchy and irresistible rhythm that makes everyone dance along to the beat. The song alludes to the way Cuban Pete's music makes everyone happy and carefree as they dance along to his tunes.
The lyrics of Cuban Pete focus on describing the lively atmosphere and festive spirit of Havana. The song glorifies Cuban Pete as a talented musician who creates an irresistible beat that everyone can dance to. It also highlights how his music brings people together and makes them forget their worries, even for just a moment. The lyrics evoke a sense of joy and celebration, mirroring the lively and energetic music style that Cuban Pete represents.
Line by Line Meaning
You've been to the dancing shows
You must have attended a lot of dance shows
You've seen how the rumba goes
You must be familiar with the rumba dance
What rhythm, fascinating rhythm
It has a captivating rhythm
Havana brings news to you
Havana has something to tell you
They've just introduced a new sensation
They have introduced something new and exciting
A dancing creation
A new style of dancing
They call him Cuban Pete
He's known as Cuban Pete
He's the king of the rumba beat
He's the best at playing and dancing to the rumba
When he plays the maracas he goes Chick-chicky-boom Chick-chicky-boom
His maraca playing has a distinct and catchy sound
Yes sir, he's Cuban Pete
Indeed, he is Cuban Pete
He's the craze of his native street
He's very popular among the locals
The senoritas they sing
The ladies sing along
And how they swing with his sombrero
They dance gracefully with his hat
He's very nice, so full of spice
He's a charming and lively person
And to the music they bring
They add their own flair to the music
A happy ring, never a care-o
Their singing is filled with happiness and carefree spirit
Singing a song, all the day long
They sing and dance all day long
Hey, hey, for Cuban Pete
Let's cheer for Cuban Pete
He's the king of the rumba beat
He's the best at playing and dancing to the rumba
When he plays the maracas he goes Chick-chicky-boom Chick-chicky-boom
His maraca playing has a distinct and catchy sound
Lyrics © Sony/ATV Music Publishing LLC
Written by: JOSE NORMAN
Lyrics Licensed & Provided by LyricFind
Mohamed Alaa
They call him Cuban Pete
He's the king of the rumba beat
When he plays the maracas he goes
Chick-chicky-boom
Chick-chicky-boom
Yes sir, he's Cuban Pete
He's the craze of his native street
When he plays the maracas he goes
Chick-chicky-boom
Chick-chicky-boom
The senoritas they sing
And how they swing with this rumbero
He's very nice, so full of spice
And to the music they bring
A happy ring, never a care-o
Singing a song, all the day long
Hey, hey, for Cuban Pete
He's the king of the rumba beat
When he plays the maracas he goes
Chick-chicky-boom
Chick-chicky-boom
julie Parsons
When my mother was a teenager in the 1930s in Ireland she fell in love with a boy called John Synge and this was their favourite song. She used to sing it to us when we were kids! I love it
Rachel Sofaer
I never knew Louis Armstrong sang this! Such an interesting version.
Mohamed Alaa
They call him Cuban Pete
He's the king of the rumba beat
When he plays the maracas he goes
Chick-chicky-boom
Chick-chicky-boom
Yes sir, he's Cuban Pete
He's the craze of his native street
When he plays the maracas he goes
Chick-chicky-boom
Chick-chicky-boom
The senoritas they sing
And how they swing with this rumbero
He's very nice, so full of spice
And to the music they bring
A happy ring, never a care-o
Singing a song, all the day long
Hey, hey, for Cuban Pete
He's the king of the rumba beat
When he plays the maracas he goes
Chick-chicky-boom
Chick-chicky-boom
Erik the Red
It's not "his sombrero" but "this rumbero" (one who dances the rumba).
Lady Aly
It's "Zig zigaa, Boom. Zig ziga a, Boom. Zig ziga, Boom". The "Jig" and the "Zig" were very popular in the 20's.
gustavo isaias torres quevedo
Alguien español que disfruta esta buena musica?
amparo ospina
Sensacional, gracias Clemens
Hyoobee
어렸을 땐 암스트롱의 노래를 왜 듣는지 이해가 안갔는데, 나이를 먹으니 정말 주옥같은 곡들이다..
Patrick Finch
Great remaster mate!
LA VIDA ES BELLA
Wow... exelent 👌👍