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.
Muskat Ramble
Louis Armstrong Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ramblin' and scramblin' and a-headin' for town
Hoppin' and boppin' and a-buzzin' around
Happily awaitin' at the station
I look at that train number 709
Hoppin' and boppin' and arrivin' on time
Who do you think is about to arrive?
The band they call the Dixieland Five
They're gonna play that muskrat ramble tune
Like the way you never heard it played
Get ready for the big parade
All together now, one and two
Join that happy crowd
Tellin' me that ramblin', scramblin' muskrat song
Come on, ramble along
Yeah
The lyrics to Louis Armstrong's "Muskat Ramble" describe the arrival of a Dixieland jazz band in a town, and the excitement and anticipation that comes with their performance. The first stanza sets the scene, with the singer watching as the band members make their way towards the train station, shuffling and scrambling in anticipation. The second stanza reveals that the train they are waiting for is the Dixieland Five, and the third stanza announces their arrival with the signature tune, "Muskat Ramble." The final stanza incites the crowd to join in the fun and "ramble along."
This song captures the spirit and energy of New Orleans jazz, with its upbeat tempo and lively lyrics. The use of the word "ramble" throughout the song is a nod to the popular phrase "ramblin' man," which was used to describe jazz musicians who traveled and performed frequently. Additionally, the reference to the "muskat ramble tune" is a play on words, as it is meant to sound like "muskrat" but is actually a reference to the musical term "ramble," which means to play a solo or improvise.
Overall, "Muskat Ramble" is a joyous celebration of Dixieland jazz, capturing the excitement and energy of a live performance. Through its catchy melody and upbeat lyrics, the song invites listeners to join in the fun and take part in the festive atmosphere.
Line by Line Meaning
I look at them shuffle and the shuffle come down
I observe the people shuffling and their movements slowing down
Ramblin' and scramblin' and a-headin' for town
They are wandering and rushing towards the town
Hoppin' and boppin' and a-buzzin' around
They are jumping, dancing, and creating a lively atmosphere
Happily awaitin' at the station
They are joyfully waiting at the station
I look at that train number 709
I notice train number 709
Hoppin' and boppin' and arrivin' on time
The train arrives on time with a lively and energetic demeanor
Who do you think is about to arrive?
I ask myself who might be coming
The band they call the Dixieland Five
The Dixieland Five band is arriving
They're gonna play that muskrat ramble tune
The band is going to perform the Muskrat Ramble melody
Like the way you never heard it played
They will perform the melody in an unfamiliar and exciting way
Get ready for the big parade
Prepare yourself for a grand and exciting celebration
All together now, one and two
Everyone is encouraged to join and dance together in unison
Join that happy crowd
Come be a part of the joyous gathering
Tellin' me that ramblin', scramblin' muskrat song
Singing about the lively and energetic Muskrat Ramble melody
Come on, ramble along
Join in and ramble away with the music
Yeah
An enthusiastic exclamation
Lyrics © Wixen Music Publishing, BMG Rights Management, Warner Chappell Music, Inc.
Written by: Ray Gilbert, Edward Ory
Lyrics Licensed & Provided by LyricFind
Django
Incredible chops for a 62 year-old horn player, who played 300 nights a year until very close to the end. And every show he gave what we see here - 100%. If I could get one note right for every 100 Louis blew, I would be happy. We won't see his like again. I think it was Benny Green who said "Anyone can learn what Louis Armstrong knows about music in a few weeks. No one could learn to play like him in a thousand years."
Ralph Gilbert
Classic jazz. Louis is so good, yet humble. Observe how he gives each of his fellow players a turn in the spotlight. Music is to be shared. Louis invented the jazz solo, but not just so he could receive all the plaudits. Love him forever!
Davnkatzr
Love that bass solo. I'm 72 and hope to be able to learn that technique before I die. Really great version (early Louis can't be beat).
My Man Marty
hi are you 85
l
I hope you got to learn it
Landon Butler
Hope you got too
redbenus
Brings up an emotion that today's music can't make you feel... absolutely wonderful
Hermann Otto
Its definitely Trummy Young (who was sideman to Dizzy and Parker) His style and tone is unmistakeable.Teagarden was sophisticated, melodical. Trummy is mor a frontlne agressive player,also wonderful,powerful.
Ricky Riccardi
WOW! This is from a two-part German TV show, "The Satchmo Story"...it was filmed May 15, 1962 and aired on October 3 (Part 2 was filmed the following day and aired May 16). I have waited to see clips from this special for years because it featured Pops playing some stuff he didn't play with the All Stars anymore ("Dippermouth Blues," "Mahogany Hall Stomp" and the already posted incredible clip of "Canal Street"). Whatever you have of this, please post it!
ethan day
I also play trumpet and Louis Armstrong is my idol.No one else will ever play as well as Louis Armstrong.