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.
Satchel Mouth Swing
Louis Armstrong Lyrics
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Old Satchel's in the mood
It's Satchel time to swing
Better hurry up; it's satchel's time to say
When Satchel's feelin' high
Just kiss your cares goodbye
Old Satchel Mouth is lookin' right at you
Rhythm don't mean a thing
When Satchel Mouth starts to swing
The lyrics of the song Satchel Mouth Swing by Louis Armstrong vividly depict the fun and excitement surrounding the performance of jazz music. It begins by noting that the titular character, Satchel, is in the groove and the mood to swing. This highlights the idea that jazz musicians must connect with the rhythm of the music to deliver an authentic performance. As the song progresses, Louis Armstrong makes it clear that it is the moment for Satchel to shine. The lyrics serve as an invitation to listeners to join in the jubilation and enjoy the show.
The second verse brings to the fore the infectious nature of jazz, with Satchel's happiness being contagious. The mention of the trumpet player smiling and never being blue emphasizes the idea that jazz music brings joy to both the performer and the audience. Also, it further shows how jazz is not just music but an experience that uplifts the spirits of everyone around it. Additionally, the final line of the verse emphasizes that rhythm is vital to jazz, and no one embodies it more than Satchel.
In summary, the lyrics of Satchel Mouth Swing by Louis Armstrong beautifully capture the essence of jazz music - its ability to uplift and bring joy to people's lives. The song expresses the excitement surrounding Satchel's performance and speaks to jazz's infectious nature, highlighting its essential aspects that make it a beloved genre of music.
Line by Line Meaning
Old Satchel's in the groove
Satchel is in the zone and playing exceptionally well
Old Satchel's in the mood
Satchel is in the right frame of mind to play and enjoy the music
It's Satchel time to swing
Now is the moment for Satchel to play his best swing music
Better hurry up; it's satchel's time to say
Don't miss the chance to hear Satchel play his best music
When Satchel's feelin' high
When Satchel is happy and confident
Just kiss your cares goodbye
Forget your troubles and enjoy the music when Satchel is playing like this
Old Satchel Mouth is lookin' right at you
Satchel is giving you his full attention and playing just for you
Look at him smile: he's never blue
Satchel is happy when he is playing, and it shows on his face
Rhythm don't mean a thing
The timing and structure of the music is not important when Satchel is playing
When Satchel Mouth starts to swing
The music reaches its peak when Satchel gets into his best swing rhythms
Lyrics © Universal Music Publishing Group
Written by: LILIAN HARDING, LOUIS ARMSTRONG
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