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.
What’s New
Louis Armstrong Lyrics
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How is the world treating you?
You haven't changed a bit
Lovely as ever I must admit
Oh, what's new?
How did that romance come through?
We haven't met since then
What's new? Probably I'm boring you
But seeing you is grand
And you were sweet to offer your hand
I understand, adieu
Pardon my asking what's new
Of course you couldn't know
I haven't changed: I still love you so
Oh, what's new? Probably I'm boring you
But seeing you is grand
And you were sweet to offer your hand
Mama, I understand, adieu
Pardon my asking what's new
Of course you couldn't know
I haven't changed: I still love you so
Louis Armstrong's song "What's New?" is a classic tune that speaks to a lover who hasn't been seen for some time. The first verse starts with the question "What's new?" which can refer to many things: news from the world, personal news, or the emotional state of the person being addressed. The next lines ask how the world has been treating the person, essentially asking if they've been alright, but the meter and melody are upbeat and playful, suggesting that the question is a joke.
The verse continues by stating that the person being addressed hasn't changed a bit and is just as lovely as ever. The phrasing and emphasis on "lovely" and "must admit" suggests the singer isn't quite sure why they're telling this to the person across from them, but still feels compelled to say it. The second verse repeats the same opening question, but is more specific to the listener's romantic life. The singer is curious to know if the person has been in a relationship since they last met.
Line by Line Meaning
What's new?
Louis Armstrong is starting a conversation and asking if anything new or exciting has happened in the world.
How is the world treating you?
Louis Armstrong is asking how the person he's talking to is doing and if they are facing any struggles in their life.
You haven't changed a bit
Louis Armstrong is complimenting the person he's talking to and saying that they still look great.
Lovely as ever I must admit
Louis Armstrong is still complimenting the person he's talking to and admitting that he finds them as lovely as ever.
How did that romance come through?
Louis Armstrong is asking about a past romantic relationship that he and the person he's talking to share and wondering how it turned out.
We haven't met since then
Louis Armstrong is acknowledging that he hasn't seen the person he's talking to since their past romantic relationship and is probably curious about what's different.
Gee, but it's nice to see you again
Louis Armstrong is expressing his pleasure at seeing the person he's talking to again and catching up with them.
Probably I'm boring you
Louis Armstrong is apologizing for potentially boring the person he's talking to by asking the same questions many times, indicating that he may be forgetful.
But seeing you is grand
Louis Armstrong is still expressing that he's happy to see the person he's talking to and the thrill he feels from interacting with them.
And you were sweet to offer your hand
Louis Armstrong is thanking the person he's talking to for extending a friendly greeting and being kind to him.
I understand, adieu
Louis Armstrong is saying goodbye and thanking the person he's talking to, indicating he has enjoyed their conversation.
Pardon my asking what's new
Louis Armstrong is apologizing for asking too many questions and attempting to be polite, expressing he is genuinely interested in hearing about how the person he's talking to is doing.
Of course you couldn't know
Louis Armstrong is acknowledging that the person he's talking to couldn't possibly know everything about him and his life, indicating he may have changed since their last interaction.
I haven't changed: I still love you so
Louis Armstrong is admitting that he still has love for the person he's talking to and suggesting that this love has persisted even though they have not seen each other in a long time.
Lyrics © Warner/Chappell Music, Inc.
Written by: JOHNNY BURKE, BOB HAGGART
Lyrics Licensed & Provided by LyricFind
Lizah carnaúba
Excelent interpretation, with great sensibility.