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.
I Hope Gabriel Likes My Music
Louis Armstrong Lyrics
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When I meet him way up there
If I play to sweethearts and lonely
Oh-spel-dah-doo-di
I hope Gabriel likes my music
When I meet him way up there
If there's too much toot, I'll use my mute
Do not come knockin'
Oh, please start rockin'
Oh, the place starts swingin'
Golden bells will be ringin'
Oh-spay (Scat singing)
I hope Gabriel likes my music
When I climb that golden stair
If there's too much moan, I'll change my tone
Play too sharp, I'll try that harp
If he says no, I'll bolt the door
I hope Gabriel likes my music
Gabriel!
Gabriel!
Louis Armstrong is known for his jazzy and soulful music, but this particular song takes a more introspective tone as he muses about his music and the afterlife. The lyrics suggest that the music he creates on earth will be judged by none other than the archangel Gabriel when he reaches heaven. Louis hopes that his music will be appreciated by Gabriel and that he will be able to join the heavenly band.
The first stanza of the song shows Louis hoping that Gabriel likes his music when they meet in heaven. He wants his music to be played not only for sweethearts but also for the lonely, those who might be in a state of despair. He tells Gabriel that he hopes his music can offer comfort and solace even in the afterlife. Note the scat singing in this line: "Oh-spel-dah-doo-di" which suggests the improvised and playful style of jazz music.
Moving on to the next stanza, Louis shows his adaptability as a musician. He suggests that if there's too much toot (referring to loud and harsh sound), he'll use his mute to tone it down. In jazz music, using a mute is a common technique where a musician dampens the sound of their instrument to create a muted effect. This stanza also shows the singer's eagerness to please, his desire to make the music enjoyable for everyone, even in heaven.
The third stanza is a call to action. Louis wants the music to be played loud and clear for Gabriel to hear, to start rocking the place. He envisions the golden bells ringing as a festive atmosphere is created. The scat singing during this part implies the liveliness of the music.
The final stanza summarizes the entire song. Louis hopes that even if he plays imperfectly, he'll win Gabriel's approval. He promises to change his tone if there's too much moan (referring to a sad tone) or to use the harp if the sound is too sharp. If Gabriel doesn't appreciate his music, Louis will even bolt the door! The repetition of the line "I hope Gabriel likes my music" at the end is a reminder of his central concern thinking about the afterlife.
Line by Line Meaning
I hope Gabriel Likes My Music
Louis Armstrong hopes that when he finally meets the Angel Gabriel in the afterlife, Gabriel will appreciate his contribution to the world of music.
When I meet him way up there
Louis Armstrong looks forward to the day when he can meet the Angel Gabriel in heaven.
If I play to sweethearts and lonely
Louis Armstrong hopes that his music can comfort the lonely and those who are in love.
Oh-spel-dah-doo-di
This line is simply scat singing.
If there's too much toot, I'll use my mute
If he thinks he's playing too loudly or aggressively, he can tone down his horn using a mute.
Oh-spel-dah-di-doo
This line is simply scat singing.
Do not come knockin'
Here, Louis Armstrong is hoping that Gabriel will embrace his music whenever he makes it to heaven.
Oh, please start rockin'
He is hoping that his music will get Gabriel excited and maybe even get him up and dancing.
Oh, the place starts swingin'
Here he is saying that the music will start up and everyone will be tapping their feet and dancing around.
Golden bells will be ringin'
This line suggests that Gabriel and other angels may be ringing bells in celebration of the music being played.
Oh-spay (Scat singing)
This line is simply scat singing.
When I climb that golden stair
Louis Armstrong plans to make it to heaven someday and he hopes that he can play his music for Gabriel when he gets there.
If there's too much moan, I'll change my tone
If he is playing too mournfully or too slowly, he can change the tone of his horn.
Play too sharp, I'll try that harp
If he plays too high or sharp, he will switch to the harp.
If he says no, I'll bolt the door
If Gabriel doesn't appreciate his music, Louis Armstrong will lock him out! (Kidding, this is just a funny line).
I hope Gabriel likes my music
Once again, Louis Armstrong just hopes that Gabriel likes his music.
Lyrics © O/B/O APRA AMCOS
Written by: DAVE FRANKLIN
Lyrics Licensed & Provided by LyricFind
@JonBlondell
Ya Louis, your high G!
@bobboscarato1313
I also forgot my words!
@sebastianignacio9790
eu drak