Louis Armstrong (August 4, 1901 - July 6, 1971) nicknamed Satchmo or Pops, … Read Full Bio ↴Louis Armstrong (August 4, 1901 - July 6, 1971) nicknamed Satchmo or Pops, was an American jazz trumpeter and singer from New Orleans, Louisiana.
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.

Papa De Da Da
Louis Armstrong Lyrics

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Papa de da da
He's a lady's man
Papa de da da
Sweetest in the land

Papa de da da
Watch him clap his hands
He can play piano grand

Papa de da da
He's a lady's man
Papa de da da
Always plays the blues

Neat and keen
That's what I mean
Got all the gals in New Orleans

Papa de, da, da da da
He's the hottest man in town

He's nice and soft
Never scoffs

Red hot mamas
He cools them off

Overall Meaning

The song "Papa De-Da-Da" by Louis Armstrong is a lively tune that celebrates the talents and charm of a local musician, Papa De-Da-Da. The lyrics repeatedly refer to him as a "lady's man," suggesting that he has a way with women that sets him apart from other musicians in town. The chorus is catchy and upbeat, with a playful rhythm that invites listeners to join in clapping and dancing.

The verses of the song provide more detail about Papa De-Da-Da's musical skill, describing how he can play the grand piano and always plays the blues. The lyrics also emphasize his popularity among women, with the line "Got all the gals in New Orleans" suggesting that he is something of a local celebrity. The phrase "neat and keen" is used to describe his overall style and demeanor, adding to the sense that he is a polished and confident performer.

Overall, "Papa De-Da-Da" is a fun and lighthearted song that captures the spirit of New Orleans in its celebration of music and charismatic personalities. The repeated refrain of "da-da-da" adds to the playful tone of the song, making it a great choice for dancing or just enjoying a lively musical performance.

Papa De Da DaLouis Armstrong Lyrics

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Papa De Da Da
Louis Armstrong Lyrics