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.
Let
Louis Armstrong Lyrics
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To be or not to be, let our hearts discover
I have a feeling, it's a feeling I'm concealing - I don't know why
It's just a mental, incidental, sentimental alibi
But I adore you, so strong for you
Why go on stalling? I am falling; love is calling; why be shy?
Why shouldn't we fall in love?
Our hearts are made of it; let's take a chance
Why be afraid of it?
Let's close our eyes
And make our own paradise
Little we know of it; still we can try
To make a go of it
We might have been meant for each other
To be or not to be; let our hearts discover
Let's fall in love
Why shouldn't we fall in love?
Now is the time for it, while we are young
Let's fall in love
The lyrics of Let's Fall in Love by Louis Armstrong & Oscar Peterson speak of a feeling of love that is growing between two individuals. The opening stanza implies that they are meant to be together but are hesitant to accept it. The following stanza speaks of the singer's feelings that they are concealing, which may be due to fear or uncertainty. However, the lyrics further state that love is calling, and it is time for them to stop stalling and take a chance on each other.
The chorus of the song builds on this idea of taking a chance on love. It expresses that love is a part of our very being and suggests that the singers let their guard down and take a leap of faith. The following stanza speaks of closing their eyes and creating their own paradise. Despite their limited knowledge of what might be in store for them, the duo ought to take the opportunity to try and make it work.
Line by Line Meaning
We might have been meant for each other
Perhaps destiny has put us together
To be or not to be, let our hearts discover
Regardless of the outcome, let's follow our hearts
I have a feeling, it's a feeling I'm concealing - I don't know why
I have an unexplainable emotion that I'm hiding
It's just a mental, incidental, sentimental alibi
It's an excuse I make to justify my feelings
But I adore you, so strong for you
I love you deeply and intensely
Why go on stalling? I am falling; love is calling; why be shy?
Why delay any longer? I'm falling for you and love is beckoning. Why be hesitant?
Let's fall in love
Let's commit to each other romantically
Why shouldn't we fall in love?
What's holding us back from falling in love?
Our hearts are made of it; let's take a chance
Love is a fundamental part of who we are. Let's gamble on it.
Why be afraid of it?
Why let fear keep us from experiencing love?
Let's close our eyes
Let's shut out the world and focus on each other
And make our own paradise
Let's create our own perfect world of love
Little we know of it; still we can try
We may be inexperienced in love, but we can still make an effort
To make a go of it
To commit to making the relationship work
Now is the time for it, while we are young
Let's seize the opportunity to fall in love while we're still young
Let's fall in love
One final call to commit to each other romantically
Lyrics © Warner/Chappell Music, Inc.
Written by: COLE PORTER
Lyrics Licensed & Provided by LyricFind
Нина Сарикова
Ступай, Моисей
В землю Египетскую.
Скажи фараону
Отпустить мой народ!
Когда народ Израилев в Египте
Отпусти мой народ!
Изнывает под тяжким игом рабства
Отпусти мой народ!
Припев:
Господь повелел: “Ступай, Моисей,
В землю Египетскую.
Скажи фараону
Отпустить мой народ!”
И пошел Моисей в землю Египетскую-
Отпусти мой народ!
И говорил фараону:
Отпусти мой народ!
Припев
“Такова воля Господа, - сказал отважный
Моисей -
Отпусти мой народ!
Если ты не послушаешь Его, Он поразит
первенца твоего.
Отпусти мой народ!”
Припев
Скажи всем, фараон
Отпустить мой народ!
Перевод
Natalia Gulich
Это уникально!!!
Анна- Мишель🖤
Божественно!
Andrey Kukushkin
Величайший артист! Полвека прошло, а его песни слушали, слушают и будут слушать.
друг падажди неспши
Жаль не ценили.очень жаль.
Андрей Михайлюк
1:34
Виктор Пирожник
@друг падажди неспши А кто это не ценил?
Crow
Да очень хороший испольнитель))
-PreacheR-
вряд ли будут дальнейшие поколения слушать. у них в голове одно дерьмо
Юра Высотин
Голос нереальный☝Высший пилотаж ✌
Holder Beats
Спасибо Армстронгу за то что дает концерты на прямой линии Альфа-банка