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.
Pennies From Heaven Medley: Let's Call A Heart A Heart So Do I Skeleton In The Closet
Louis Armstrong Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
My conversation
May not be smart,
But if we're to have a perfect understanding,
Let's call a heart a heart!
There are words that should be whispered gently,
That's evidently
If I tell you what my dreams have been demanding,
Let's call a heart a heart!
Can I prove how I yearn
Just by the turn of a phrase?
Can I keep my control
When all my soul is ablaze?
Maybe you would call a true confession
An indiscretion
On someone's part,
But if I'm to say how madly I adore you,
Let's call a heart a heart!
Maybe you would call a true confession
An indiscretion
On someone's part,
But if I'm to say how madly I adore you,
Let's call a heart a heart!
The lyrics of Louis Armstrong's song "Pennies From Heaven Medley: Let's Call A Heart A Heart" express a desire for open and honest communication in a friendly and loving relationship. The singer acknowledges that their conversation may not always be clever or sophisticated, but they value authenticity and transparency above all else. By urging to "call a heart a heart," the singer is emphasizing the importance of speaking from the heart and sharing true emotions without pretense.
The lyrics suggest that there are certain words and feelings that should be expressed softly and tenderly, as it sets the right tone for meaningful communication. The singer hints at a deep longing and yearning that they feel, and they believe that being honest about these emotions is essential for true connection. By emphasizing the importance of honesty and vulnerability, the singer is inviting their partner to engage in a deeper level of intimacy and understanding.
The lyrics question whether simple words or expressions can truly convey the depth of one's feelings or if it's possible to maintain composure when one's emotions are overpowering. This tension between restraint and passion adds a layer of complexity to the emotional landscape described in the song, highlighting the struggle to articulate deep emotions while maintaining a sense of control.
In the final verses, the singer acknowledges that expressing deep admiration and adoration for someone may be seen as a bold or risky move, but they believe that honesty and authenticity should prevail. By urging to "call a heart a heart," the singer is advocating for openness and courage in expressing love and affection without reservation. Overall, the lyrics of the song convey a message of emotional vulnerability, authenticity, and the importance of speaking from the heart in relationships.
Line by Line Meaning
When we're in a friendly situation,
When we are in a comfortable and pleasant setting,
My conversation may not be smart,
My words may not be clever or intelligent,
But if we're to have a perfect understanding,
But if we want to truly communicate and connect,
Let's call a heart a heart!
let's be honest and open about our emotions!
There are words that should be whispered gently,
There are things that should be said softly and delicately,
That's evidently the way to start,
That seems to be the proper way to begin,
If I tell you what my dreams have been demanding,
If I share what my deepest desires have been longing for,
Can I prove how I yearn just by the turn of a phrase?
Can my words alone truly express how much I long for you?
Can I keep my control when all my soul is ablaze?
Can I remain composed when my inner self is burning with passion?
Maybe you would call a true confession
Perhaps you might consider a genuine admission
An indiscretion on someone's part,
As a breach of proper behavior,
But if I'm to say how madly I adore you,
But if I must express how deeply I love you,
Let's call a heart a heart!
let's be truthful about our feelings and emotions!
Lyrics © Sony/ATV Music Publishing LLC
Written by: JOHNNY BURKE, ARTHUR JOHNSTON
Lyrics Licensed & Provided by LyricFind
Anonymous
on What A Wonderful World
What A Wonderful World - Casey Abrams - Lyrics
I see trees of green
Red roses too
I see them bloom
For me and you
And I think to myself
What a wonderful world
I see skies of blue
And clouds of white
The bright blessed day
The dark sacred night
And I think to myself
What a wonderful world
The colors of the rainbow
So pretty in the sky
Are also on the faces
Of people going by
I see friends shaking hands
Singing how do you do
They're really singing
I love you
I hear babies cry
I watch them grow
They'll learn much more
Than I'll ever know
And I think to myself
What a wonderful world
Musical Interlude
The colors of the rainbow
So pretty in the sky
Are also on the faces
Of people going by
I see friends shaking hands
Singing how do you do
They're really singing
I love you
I hear babies cry
I watch them grow
They goin’ learn much more
Than I'll ever know
And I think to myself
What a wonderful world
I think to myself
What a wonderful world