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.
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.
The Faithful Hassar
Louis Armstrong Lyrics
We have lyrics for these tracks by Louis Armstrong:
"C" Jam Blues Baby, take me down to Duke's place Wildest box in town…
"Jack Armstrong" Blues Old rockin' chair's got me, my cane by my side Fetch…
"What a wonderfull world" I see trees of green, red roses too I see them…
'Bout Time 'Bout time, 'bout time we had little taste of wasted…
'Tain't What You Do Do you know what it means to miss New Orleans And…
'zat you santa claus Is that you, Santa Claus? Gifts I'm preparing for some Chris…
(I've Got) A Heart Full of Rhythm Got no shoes on my feet Ain't got nothing to eat But…
(When We Are Dancin') I Get Ideas When we are dancing and you're dangerously near me I get…
(When We Are Dancin') I Get Ideas - Single Version When we are dancing And you're dangerously near me I get ide…
. Some Day You'll Be Sorry Someday you'll be sorry The way you treated me was wrong I…
02 'Cause my hair is curly Just because my teeth are pearly J…
05-A Kiss To Build A Dream On Give me a kiss to build a dream on And my…
2 19 blues The two-nineteenth brought my baby away The two-nineteenth b…
2-19 Blues The two-nineteenth brought my baby away The two-nineteenth …
3. Hello Dolly Hello, Dolly This is Louis, Dolly It's so nice to have you…
93. I'll Never Be the Same I'll never be the same Stars have lost their meaning for…
A Fine Romance A fine romance, with no kisses A fine romance, my friend…
A Foggy Day I was a stranger in the city Out of town were…
A Hundred Years From Today Life is such a great adventure Learn to live it as…
A Kiss to Build a Dream Give me a kiss to build a dream on And my…
A Kiss to Build Dream On Give me a kiss to build on and my imagination…
A Lot of Livin There are girls just ripe for some kissin' And I mean…
A Monday Date Don't forget our Monday date Oh little baby, don't be late I…
A Sinner Kissed An Angel Stars in the sky were dancing One night perfect for romancin…
A Song Is Born My thoughts go back to a heavenly dance A moment of…
A Theme from the Threepenny Op Dig, man, there goes Mack The Knife! Oh, the shark has…
A Woman Is A Sometime Thing (To Clara) What, that chile ain`t asleep yet? Give him to…
After You Now won't you listen honey, while I say, How could…
After You’ve Gone Now won't you listen honey, while I say, How could…
Ain't It De Truth Life is short brother, Ain't it the truth? And there is no…
Ain't Misbehavin No one to talk with All by myself No one to walk…
Ain't Misbehaving No one to talk with All by myself No one to walk…
Ain’t Misbehavin’ No one to talk with All by myself No one to walk…
Alexander Come on and hear... come on and hear Alexander's ragtime ban…
Alexander's Rag Time Band Come on and hear, come on and hear Alexander's Ragtime Band…
Alexander's Ragtime Band Come on and hear... come on and hear Alexander's ragtime ban…
Alexanders Ragtime Band Come on and hear, come on and hear Alexander's Ragtime Band…
All Meat and No Potatoes A man works hard then comes on home, Expects to find…
All My Eggs in One Basket I've been a roaming Romeo My Juliets have been many But now…
All of Me All of me, why not take all of me? Baby, can't…
All That Meat A man works hard then comes on home, Expects to find…
All The Time We have all the time in the world Time enough for…
All the Time in the World We have all the time in the world Time enough for…
Almost Persuaded Last night all alone in a barroom Met a girl with…
Amazing Grace Amazing grace How sweet the sound That saved a wretch like m…
Among My Souvenirs There's nothing left for me of days that used to…
And the Angels Sing We meet and the angels sing The angels sing the sweetest…
Angel There's been a change in me! I have a lovely disposition Tha…
Angela Mia Angela mia, you are my angel, dear, The heavens sent you…
Angelina I eat antipasta twice Just because she is so nice Angelina A…
April in Paris April in Paris, chestnuts in blossom Holiday tables under th…
As Time Goes By You must remember this A kiss is still a kiss, a…
At Home There they come, oh here we come Look at them syncopators Go…
Aun't Hagar's Blues Old Deacon Splivin, his flock was givin' the way of…
Autumn in New York Autumn in New York Why does it seem so inviting Autumn in…
Autumn Leaves The falling leaves drift by the window The autumn leaves of…
Avalon Every morning memories stray Across the sea where flying fi…
Ävalon Every morning memories stray Across the sea where flying fis…
Azalea It was such a fine spring day down Lou'siana way, with fragr…
Baby I really can't stay Mama it's cold outside I've got to go…
Baby Don I say, baby, don't you cry You know I'll soon discover One…
Baby It I really can't stay Mama it's cold outside I've got to go…
Baby Won I've got the blues, I feel so lonely I'd give…
Baby Won't You Please Come Home? I've got the blues, I feel so lonely I'd give…
Baby Wont You Please Come Home I've got the blues, I feel so lonely I'd give…
Baby Won´t You Please Come Home I've got the blues, I feel so lonely I'd give…
Baby, It's Cold Outside As recorded live with velma middleton 1949 (louis in parenth…
Back 'O Town Blues I had a woman Livin' way back o' town Yeah she treated…
Back Home Again in Indiana I have always been a wanderer Over land and sea Yet a…
Back O I had a woman Livin' way back o' town Yeah she treated…
Basin St. Blues I hate to see The evening sun go down I hate to…
Basin Street Now won't you come along with me To the Mississippi? We'll t…
Battle Hymn of the Republic Mine eyes have seen the glory of the coming of…
Be My Life You won't be satisfied until you break my heart You're never…
Be My Life's Companion Be my life's companion, and you'll never grow old I'll love…
Be my love Forever my darling our love will be true Always and forever…
Be With You Tonight Baby, baby I wanna be with you tonight If I could be…
Beale Street Blues You'll see pretty browns in beautiful gowns You'll see tail…
Because of You Because of you there's a song in my heart Because of…
Before Long Before long you'll realize How blue the skies can be Before …
Bess Oh Where Is My Bess Bess, oh, where's my Bess? Won't somebody tell me where? I d…
Bess You Is My Woman Now Bess, you is my woman now You is, you is And you…
Bessie Couldn Bessie couldn't help it Bessie couldn't help it Bessie could…
Bessie Couldn't Help It Bessie couldn't help it Bessie couldn't help it Bessie coul…
Bessie Couldnt Help It Bessie couldn't help it Bessie couldn't help it Bessie could…
Bessie Couldn’t Help It Bessie couldn't help it Bessie couldn't help it Bessie coul…
Between The Devil & The Deep Blue Sae I don't want you, but I'd hate to lose you You've…
Bibbidi-Bobbidi-Boo Salagadoola mechicka boola Bibbidi-bobbidi-boo Put them toge…
Big Btter and Egg Man Now she wants, a butter an egg man From way out…
Big Butter and Eggman Now she wants a butter an egg man From way out…
Bill Bailey Won't you come home, bill bailey, won't you come home I've…
Bill Bailey Won't You Please Come Home Won't you come home, Bill Bailey, won't you come home? I've…
Bill Bailey,Wont You Please Come Home Won't you come home, Bill Bailey, won't you come home I've…
Bill Baileywont You Please Come Home Won't you come home, Bill Bailey, won't you come home? I've…
Billie I love my man I'm a liar if I say I…
Birth Of The Blues Oh, they say some people long ago Were searching for a…
Black & Blue Cold empty bed, springs hard as lead Feel like old Ned,…
Blue Again Blue again Blue again And you know darn well It's you again …
Blue Berry Hill I found my thrill on Blueberry Hill On Blueberry Hill when…
Blue Moon Blue moon you saw me standing alone Without a dream in…
Blue Skies Blue skies smilin' at me Nothin' but blues skies do I…
Blue Turning Gray Over You Gee, how I miss Your tender kiss, And the wonderful things w…
Blue, Turning Grey Over You Gee, how I miss Your tender kiss And the wonderful things we…
Blueberry Hill I found my thrill on Blueberry Hill On Blueberry Hill when…
Blues Well, I know that things won't be the same And I…
Blues again Blue again Blue again And you know darn well It's you again …
Blues Are Brewin' When the moon's kinda dreamy Starry eyed and dreamy And nigh…
Blues for Yesterday I've got the Blues for yesterday, it keeps on hauntin'…
Blues in the Night My mama done tol' me When I was in pigtails My mama…
Blues in the South Folks I've just been down, down to Memphis town That's where…
Body & Soul My heart is sad and lonely For you I sigh, for…
Body and Soul My heart is sad and lonely For you I sigh, for…
Body and Soul My heart is sad and lonely For you I sigh, for…
Boog It Boog it, nothin' to it Jack, Boog it, in the mellow…
Boogie Woogie On St. Louis Blues Porque No Puedo Eternamente Ser El Dueño De Tu Amor Why Not…
Bucket's Got a Hole in it Oh, the bucket's got a hole in it Hmm, the bucket's…
and many more tracks by Louis Armstrong.
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
@gunterangel
Little late, Ik, but in case you're still interested:
It's actually a soldiers-/folk song,
this melodic version at least even stands in the march metrum, therefore the singing blends in the marching band version without any effort at the end credits.
The song the girl ( played by Kubrick's later wife, Christiane, they both had met for the first time on the set of this movie )is singing, is the Austrian/German folk- or soldier- song "Der treu' Husar"
( "The Faithful Husar"),
that had first appeared around 1820 and was printed in several German folk song editions throughout the 19th. century with half a dozen different text and melodic versions, but all tell the same story at the core.
The version to be heard here is certainly the most popular and famous one, but interestingly Kubrick allowed himself a slight anachronism here, since that version in march rhythm was only composed and released a few years AFTER the end of WW1 by the Colognian composer,
Heinrich Frantzen
( 1880 - 1953 ).
And ironically it became hugely popular as a Carneval song in Cologne INSPITE its actually bittersweet and sad lyrics.
Today it's a sort of "National Hymn" of the city of Cologne and its melody is played each hour by the Glockenspiel at the house of 4711 in Cologne.
By the time Kubrick had made the movie it had become quite popular also in the USA, since no other than Louis Armstrong had released a cover version just recently.
There is also an English cover version by Vera Lynn.
Here are the three verses of the song Christiane is singing :
( I admit my translation has no poetic quality at all, since it's just literal and regards no rhyme or metric pattern.)
1. Es war einmal ein treuer Husar,
Der liebt’ sein Mädchen ein ganzes Jahr,
|: Ein ganzes Jahr und noch viel mehr,
Die Liebe nahm kein Ende mehr. :|
( Once there was a faithful husar,
who loved his girl one whole year.
One whole year and much much more, the love never came to an end.)
( she is leaving out this verse :
2. Der Knab’, der fuhr ins fremde Land,
Derweil ward ihm sein Mädchen krank,
|: Sie ward so krank bis auf den Tod,
Drei Tag, drei Nacht sprach sie kein Wort. :|
( The lad, he went to a foreign land,
while by that time his girl became ill.
She became so ill, ill onto death,
so that she spoke not a single word for three days and three nights.) )
She directly jumps to verse 3:
3. Und als man ihm die Botschaft bracht,
daß sein Herzliebchen im Sterben lag,
|: da ließ er all sein Hab und Gut,
und eilte seinem Herzliebchen zu :|
( And when he got the message, that the dearest to his heart would lay down onto death.
he left all his belongings at the spot
and hurried to his dearest of heart.)
4. Ach bitte, Mutter, bring' ein Licht,
Mein Liebchen stirbt, ich seh’ es nicht,
|: Das war fürwahr ein treuer Husar,
Der liebt’ sein Mädchen ein ganzes Jahr. :|
( Ach, Mother, please, bring a light,
my dearest is dying,
and I can't see her !
That was truly a faithful husar,
who loved his girl one whole year. )
There are some more verses, that are not sung in this scene telling, how the girl eventually dies and the mourning husar is looking for six strong young peasant men as pallbearers for her funeral.
But Christiane simply sings only three of the first verses and at 2:29 she just starts to repeat the same verses from the beginning.
While the first verse had ended:
"The love came never to an end.,
the very last refrain ( as said not sung in this scene ) profoundly ends:
"The grief came never to an end "
Really a sad song indeed !
And the blending of the sung version into the military march version played by a big brass band, when the end credits are rolling, is perhaps a sarcastic comment without words by Kubrick, that this short moment of relief for these men was only a short, peaceful reconnection with their human heart, before they were thrown again without mercy into the trenches, where they would soonly have to mutate into fiercly fighting beasts again in order to survive.
Btw. this kind of big-brass-marching-band arrangement during the end credits is just of the same kind as those, one can hear in Cologne during the sessions of the big carneval societies there, when the big carneval gardes are marching into the festivity halls.
There is even a famous garde in Cologne named after this song,
"Der treu' Husar" !
Kind regards from Germany !
@gunterangel
Little late, Ik, but in case you're still interested:
It's actually a soldiers-/folk song,
this melodic version at least even stands in the march metrum, therefore the singing blends in the marching band version without any effort at the end credits.
The song the girl ( played by Kubrick's later wife, Christiane, they both had met for the first time on the set of this movie )is singing, is the Austrian/German folk- or soldier- song "Der treu' Husar"
( "The Faithful Husar"),
that had first appeared around 1820 and was printed in several German folk song editions throughout the 19th. century with half a dozen different text and melodic versions, but all tell the same story at the core.
The version to be heard here is certainly the most popular and famous one, but interestingly Kubrick allowed himself a slight anachronism here, since that version in march rhythm was only composed and released a few years AFTER the end of WW1 by the Colognian composer,
Heinrich Frantzen
( 1880 - 1953 ).
And ironically it became hugely popular as a Carneval song in Cologne INSPITE its actually bittersweet and sad lyrics.
Today it's a sort of "National Hymn" of the city of Cologne and its melody is played each hour by the Glockenspiel at the house of 4711 in Cologne.
By the time Kubrick had made the movie it had become quite popular also in the USA, since no other than Louis Armstrong had released a cover version just recently.
There is also an English cover version by Vera Lynn.
Here are the three verses of the song Christiane is singing :
( I admit my translation has no poetic quality at all, since it's just literal and regards no rhyme or metric pattern.)
1. Es war einmal ein treuer Husar,
Der liebt’ sein Mädchen ein ganzes Jahr,
|: Ein ganzes Jahr und noch viel mehr,
Die Liebe nahm kein Ende mehr. :|
( Once there was a faithful husar,
who loved his girl one whole year.
One whole year and much much more, the love never came to an end.)
( she is leaving out this verse :
2. Der Knab’, der fuhr ins fremde Land,
Derweil ward ihm sein Mädchen krank,
|: Sie ward so krank bis auf den Tod,
Drei Tag, drei Nacht sprach sie kein Wort. :|
( The lad, he went to a foreign land,
while by that time his girl became ill.
She became so ill, ill onto death,
so that she spoke not a single word for three days and three nights.) )
She directly jumps to verse 3:
3. Und als man ihm die Botschaft bracht,
daß sein Herzliebchen im Sterben lag,
|: da ließ er all sein Hab und Gut,
und eilte seinem Herzliebchen zu :|
( And when he got the message, that the dearest to his heart would lay down onto death.
he left all his belongings at the spot
and hurried to his dearest of heart.)
4. Ach bitte, Mutter, bring' ein Licht,
Mein Liebchen stirbt, ich seh’ es nicht,
|: Das war fürwahr ein treuer Husar,
Der liebt’ sein Mädchen ein ganzes Jahr. :|
( Ach, Mother, please, bring a light,
my dearest is dying,
and I can't see her !
That was truly a faithful husar,
who loved his girl one whole year. )
There are some more verses, that are not sung in this scene telling, how the girl eventually dies and the mourning husar is looking for six strong young peasant men as pallbearers for her funeral.
But Christiane simply sings only three of the first verses and at 2:29 she just starts to repeat the same verses from the beginning.
While the first verse had ended:
"The love came never to an end.,
the very last refrain ( as said not sung in this scene ) profoundly ends:
"The grief came never to an end "
Really a sad song indeed !
And the blending of the sung version into the military march version played by a big brass band, when the end credits are rolling, is perhaps a sarcastic comment without words by Kubrick, that this short moment of relief for these men was only a short, peaceful reconnection with their human heart, before they were thrown again without mercy into the trenches, where they would soonly have to mutate into fiercly fighting beasts again in order to survive.
Btw. this kind of big-brass-marching-band arrangement during the end credits is just of the same kind as those, one can hear in Cologne during the sessions of the big carneval societies there, when the big carneval gardes are marching into the festivity halls.
There is even a famous garde in Cologne named after this song,
"Der treu' Husar" !
Kind regards from Germany !
@jacekr2655
Louis took this sad song, and made it a happy, joyous one. Play on Mr. Armstrong!
@johnastrup1549
You got it Louis. With good musicians.
@ufotalk9434
Louie Armstrong was just so talented
@JuanFecit
Muchas gracias por compartirlo.
@ErnestoFidelDiazGuerrero
Classic!
@danaroberds8676
Nationwide still my favorite.....
@hilmarsknopper
The one and only!!!
@sammartin908
paiths of glory
@petatap
@Stahl und Eisen In Stanley Kubrick's film "Paths of Glory" ("Wege zum Ruhm") the song "Der treue Husar" is sung by a captive German girl in presence of French soldiers (WW I). Watch and listen:
https://www.youtube.com/watch?v=pJH8hO7VlWE
@petatap
@Stahl und Eisen Your point ;)