Armstrong was a charismatic, innovative performer whose inspired, improvised soloing was the main influence for a fundamental change in jazz, shifting its focus from collective melodic playing, often arranged in one way or another, to the solo player and improvised soloing. One of the most famous jazz musicians of the 20th century, he was first known as a cornet player, then as a trumpet player, and toward the end of his career he was best known as a vocalist and became one of the most influential jazz singers.
Early life
Armstrong often stated in public interviews that he was born on July 4, 1900 (Independence Day in the USA), a date that has been noted in many biographies. Although he died in 1971, it wasn't until the mid-1980s that his true birth date of August 4th, 1901 was discovered through the examination of baptismal records.[5] He was recorded as an illegitimate black child.
Armstrong was born into a very poor family in New Orleans, Louisiana, the grandson of slaves. He spent his youth in poverty in a rough neighborhood of Uptown New Orleans, known as “Back of Town”, as his father, William Armstrong (1881–1922), abandoned the family when Louis was an infant, and took up with another woman. His mother, Mary Albert Armstrong (1886–1942), then left Louis and his younger sister Beatrice Armstrong Collins (1903–1987) in the care of his grandmother, Josephine Armstrong and at times, his Uncle Isaac. At five, he moved back to live with his mother and her relatives, and saw his father only in parades. He attended the Fisk School for Boys where he likely had his first exposure to Creole music. He brought in a little money as a paperboy and also by finding discarded food and selling it to restaurants but it wasn’t enough to keep his mother from prostitution. He hung out in dance halls particularly the “Funky Butt” which was the closest to his home, where he observed everything from licentious dancing to the quadrille. He hauled coal to Storyville, the famed red-light district, and listened to the bands playing in the brothels and dance halls, especially Pete Lala’s where Joe "King" Oliver performed and other famous musicians would drop in to jam.
Armstrong grew up at the bottom of the social ladder, in a highly segregated city, but one which lived in a constant fervor of music, which was generally called “ragtime”, and not yet “jazz”. Despite the hard early days, Armstrong seldom looked back at his youth as the worst of times but instead drew inspiration from it, “Every time I close my eyes blowing that trumpet of mine—I look right in the heart of good old New Orleans...It has given me something to live for.”
After dropping out of the Fisk School at eleven, Armstrong joined a quartet of boys in similar straits as he, and they sang in the streets for money. He also started to get into trouble. Cornet player Bunk Johnson said he taught Armstrong (then 11) to play by ear at Dago Tony's Tonk in New Orleans,[7] although in his later years Armstrong gave the credit to Oliver. His first cornet was bought with money loaned to him by the Karnofskys, a Russian-Jewish immigrant family who had a junk hauling business and gave him odd jobs. To express gratitude towards the Karnofskys, who took him in as almost a family member, and fed and nurtured him, Armstrong wore a Star of David pendant for the rest of his life.
Armstrong seriously developed his cornet playing in the band of the New Orleans Home for Colored Waifs, where he had been sent multiple times for general delinquency, most notably for a long term after firing his stepfather's pistol into the air at a New Year's Eve celebration, as police records confirm. Professor Peter Davis (who frequently appeared at the Home at the request of its administrator, Captain Joseph Jones)[9] instilled discipline in and provided musical training to the otherwise self-taught Armstrong. Eventually, Davis made Armstrong the band leader. The Home band played around New Orleans and the thirteen year old began to draw attention to his cornet playing, starting him on a musical career.[10]At fourteen he was released from the Home, and living again with his father and new stepmother, and then back to his mother and also back to the streets and its temptations. Armstrong got his first dance hall job at Henry Ponce’s where Black Benny became his protector and guide. He hauled coal by day and played his cornet at night.
He also played in the city's frequent brass band parades and listened to older musicians every chance he got, learning from Bunk Johnson, Buddy Petit, Kid Ory, and above all, Joe "King" Oliver, who acted as a mentor and father figure to the young musician. Later, he played in the brass bands and riverboats of New Orleans, and first started traveling with the well-regarded band of Fate Marable which toured on a steamboat up and down the Mississippi River. He described his time with Marable as "going to the University," since it gave him a much wider experience working with written arrangements.
In 1919, Joe Oliver decided to go north and he resigned his position in Kid Ory's band, then regarded as the best hot jazz group in New Orleans. Armstrong replaced his mentor and played second cornet. Soon he was promoted to first cornet and he also became second trumpet for the Tuxedo Brass Band, a society band.
Ain't Misbehavin'
Louis Armstrong & His Orchestra Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
All by myself
No one to walk with
I'm happy on the shelf
Ain't misbehavin'
Savin' all my love for you
I know for certain
I'm through with flirtin'
It's just you that I've been thinkin' of
Ain't misbehavin'
Savin' all my love for you
Like Jack Horner
In that old corner
Don't go nowhere
What do I care?
Your kisses are worth waitin' for
Believe me
I don't stay out late
Nowhere to go
I'm home about eight
Just me and my radio
Ain't misbehavin'
Savin' all my love for you
Like Jack Horner
In that old corner
Don't go nowhere
What do I care?
Your kisses are worth waitin' for
Believe me
I don't stay out late
Nowhere to go
I'm home about eight
Just me and my radio
Ain't misbehavin'
Savin' all my love for you
Ain't misbehavin'
I'm savin' all my love for you
The song "Ain't Misbehavin'" by Louis Armstrong & His Orchestra is a jolly and upbeat song, yet sings of a deep and profound love for someone else. The song begins with a lonely, introspective tone, as the singer laments their solitude, "No one to talk to, all by myself, no one to walk with, I'm happy on the shelf." The mood then suddenly shifts with the chorus, as the singer proclaims their undying love for someone and their commitment to them, "Ain't misbehavin', savin' all my love for you."
The rest of the song is a testament to the singer's love and devotion, as they stay in on weekends ("I don't stay out late, nowhere to go, I'm home about eight, just me and my radio") and patiently wait for their beloved ("Your kisses are worth waitin' for, believe me"). The singer compares themselves to Jack Horner in the corner with nowhere to go, claiming that they don't care as long as they have their love's kisses to look forward to. Overall, "Ain't Misbehavin'" is a joyful and lighthearted love song, despite its underlying themes of loneliness and devotion.
Line by Line Meaning
No one to talk to
I'm alone, there's no one to have a conversation with
All by myself
I'm on my own and I'm content with it
No one to walk with
I'm not going on a walk with anyone because I'm by myself
I'm happy on the shelf
I'm content with being by myself, I don't need anyone else
Ain't misbehavin'
I'm not doing anything wrong, I'm just being myself and enjoying my own company
Savin' all my love for you
I'm not giving my love to anyone else, I'm reserving it for the person I truly love
I know for certain
I'm sure
The one I love
The person I truly love
I'm through with flirtin'
I'm done with flirting with other people
It's just you that I've been thinkin' of
I'm only thinking about you, I'm not interested in anyone else
Like Jack Horner
Similar to the character Jack Horner from the nursery rhyme
In that old corner
In a particular spot that is familiar to me
Don't go nowhere
I don't go anywhere, I stay where I am
What do I care?
I don't care about anything else, only my affection for you
Your kisses are worth waitin' for
I'm willing to wait for your affection, it's worth it to me
Believe me
Trust me, what I'm saying is genuine
I don't stay out late
I'm not out late during the evenings
Nowhere to go
I have nothing to do outside of my home
I'm home about eight
I'm usually home around eight in the evening
Just me and my radio
I'm alone at home with just my radio for company
Ain't misbehavin'
I'm behaving appropriately and not doing anything wrong
Savin' all my love for you
I'm keeping my love reserved just for you and not giving it to anyone else
Ain't misbehavin'
I'm happy with my current behavior, I'm not causing any trouble
I'm savin' all my love for you
I'm keeping my love just for you, my devotion is true
Lyrics © Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc., Universal Music Publishing Group, BMG RIGHTS MANAGEMENT US, LLC
Written by: ANDY RAZAF, HARRY BROOKS, FATS WALLER
Lyrics Licensed & Provided by LyricFind
@Fernandez212
No one to talk with
All by myself
No one to walk with
But I'm happy on the shelf
Ain't misbehavin'
I'm savin' my love for you
I know for certain
The one I love
I'm through with flirtin'
It's just you I'm thinkin' of
Ain't misbehavin'
I'm savin' my love for you
Like Jack Horner
In the corner
Don't go nowhere
What do I care?
Your kisses are worth waitin' for
Believe me
I don't stay out late
Don't care to go
I'm home about eight
Just me and my radio
Ain't misbehavin'
I'm savin' my love for you
Like Jack Horner
In the corner
Don't go nowhere
What do I care?
Your kisses are worth waitin' for
Believe me
I don't stay out late
Don't care to go
I'm home about eight
Just me and my radio
Ain't misbehavin'
I'm savin' my love for you
@gameon17680
• Crystal clear transfer from an official, 1929 master pressing • Parlophone R 462 [W 402534 B]
——————————
In the summer of 1929, Louis Armstrong and his band mates from the Carroll Dickerson Orchestra found work playing for the floor show and dancing at Connie's Inn, in Harlem, NY, the main competitor of The Cotton Club. Connie Immerman, who ran the club with his brother George, had just opened a new musical revue called "Connie's Hot Chocolates" featuring songs composed by Thomas "Fats" Waller and written by Andy Razaf. The show was immensely popular and the Immermans needed a good orchestra to replace the house band as the show opened simultaneously in new venues. After a brief but successful run at the Windsor Theatre in the Bronx, "Hot Chocolates" was slated to open off Broadway at the Hudson Theater on 44th St. on June 20. Sometime before the Broadway opening, Armstrong got a big break when he was asked to double as part of the Leroy Smith orchestra, the original house band which would now be playing the show at the Hudson (he would still have to run uptown every night to rejoin the Dickerson group to play the show at Connie's Inn). It had been suggested by Andy Razaf that Armstrong sing and play a chorus of the show's theme song "Ain't misbehavin'" from the band pit as a between-act number. As an anonymous member of the orchestra, Armstrong's name did not appear on the opening-night program, but word quickly spread of his great talent. Writing about the show's Broadway debut, a critic from the New York Times stated:
“One song, a synthetic but entirely pleasant jazz ballad called 'Ain’t Misbehavin''' stands out, and its rendition between the acts by an unnamed member of the orchestra was a highlight of the premier."
Armstrong's name was soon added to the bill and his performance, now the highlight of the entire show, was moved from the orchestra pit to the stage. The song was a huge hit and a star was born. Within a matter of weeks he and the Dickerson band were in the Okeh studios making this recording of "Ain't misbehavin'" [it was also released the same year in the U.K. on the Parlophone record label]. ◆
————○▣○—————
• Louis Armstrong And His Orchestra •
[New York, NY, July 19, 1929]
Louis Armstrong (Trumpet, Vocal)
Homer Hobson (Trumpet)
Fred Robinson (Trombone)
Jimmy Strong (Tenor Saxophone)
Bert Curry (Alto Saxophone)
Crawford Wethington (Alto Saxophone)
Carroll Dickerson (Conductor, Violin)
Gene Anderson (Piano)
Mancy Carr (Banjo)
Pete Briggs (Tuba)
Unknown (Triangle)
Zutty Singleton (Drums)
—————※—————
Ain't Misbehavin' (Waller, Thomas; Razaf, Andy; Brooks, H.) [master W 402534-B] OKeh 8714
——————————
Digital audio and photograph copyright © 2016 Steven Kozobarich. All Rights Reserved
—————※—————
[Connie's Hot Chocolates, 1920's, twenties, jazz, New Orleans, trumpet, Fox Trot, New Rhythm Style Series No. 5, original 78 rpm record, phonograph, Gramophone, shellac, Satchmo, Pops, Louie, big band, swing, new transfer, 2016]
121 Comments
Game on176
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InTheory
InTheory
1 year ago
Who would comment, "Doesn't sound like Armstrong at all."? Louis has one of the most uniquely recognizable voices in all of music and all the world for that matter. The sound quality is so good you can almost imagine it's a hot and sticky night on Bourbon Street. The booze is flowing freely, the dancers are dancing, and the juke joint is jumping. I just watched 'High Society' on TCM and Louis brought me here.🌹🎺🌹
20
RantePlayz
RantePlayz
4 years ago
i remember this song my grandma used too play this on youtube shes 92 still alive
93
Michael Carlon
Michael Carlon
3 months ago
When Louis sings, "Oh, baby, my love for you!", soul singing was born.
4
Nate Carlson
Nate Carlson
3 years ago (edited)
This is probably my favourite Louis Armstrong tune. I didn't know the backstory though (in the description, which is very informative by the way, thanks for sharing it!). Hard to believe anybody could call the song "synthetic", Louis is a genius!
14
Steven Kozobarich
Steve Coward
Steve Coward
1 year ago (edited)
Fantastic recording and back story. Enjoyed it so much so I tracked down a copy of this on the Odeon label to play on my HMV portable, thanks!
2
MissNovemberTuesday
MissNovemberTuesday
4 years ago
2 people accidentally hit the thumbs down icon. How silly of them! No way could anyone in their right mind dislike this.
80
Tito Martino
Tito Martino
1 year ago
Outstanding transfer of a gigantic classic. Thanks!
1
Steven Kozobarich
Blzzrdwzzrd X1
Blzzrdwzzrd X1
2 months ago
I can walk into any room and if Louis is playing (it could be a song I never heard) I can identify his trumpet immediately. There is no Artist who carries the same TONE, and if they do, it is easy to identify the EXPERIENCE in that TONE, and know when it’s Louis and when it’s
@debivancleave5106
My Pop-pop used to play this on his banjo. He belted it out just like Louis Armstrong. Miss him and those singing and dancing days. RIP Harry Brower.
@Decentralized_Maze
RIP and thank you Harry Brower for living, loving and sharing your memories with others in your life! You'll always be remembered! 🙏
I wish you Debi ....MANY more wonderful memories to come. Music, dancing, happy memories that impact us strongly like that (or people, or both) is critical. Mine was my Polish grandparents moving furniture to make the entire dining room empty (except for the radio and record player unit), where they proceeded to dance to loud polka!!! 🎉😂 I was super young and the memories are vague, but I'll NEVER forget it and it impacted me for life. Your comment triggered great memories for me and it put me in tears honestly. This is soooo odd, but as a thanks for your comment.... you're welcome to my channel contents (dozens of playlists for this era). Its different so brace yourself, interesting, but hopefully helpful somehow. 😊 I don't know why, but maybe I'm offering for a reason. There's music and food stuff in there too!
@Una_fan_de_the_beatles
RIP Harry Brower
@intheory9772
Who would comment, "Doesn't sound like Armstrong at all."? Louis has one of the most uniquely recognizable voices in all of music and all the world for that matter. The sound quality is so good you can almost imagine it's a hot and sticky night on Bourbon Street. The booze is flowing freely, the dancers are dancing, and the juke joint is jumping. I just watched 'High Society' on TCM and Louis brought me here.🌹🎺🌹
@JJPlays
It's because he was younger this was when he was 28 he didn't have the gravelly voice we all know
@jancana
@@JJPlays but it's still unique tho
@JJPlays
@@jancana it is
@jazzvictrola7104
@@JJPlays The gravel are pebbles at this point! No mistaking him!
@JJPlays
@@jazzvictrola7104 Thats true! Even if it wasn't as gravelly, you just can't mistake the voice of Louis Armstrong, it's too unique!
@rxse0
I remember my great grandpa would hold me when I was 6 years old and we would listen to it r.i.p Alfonso Cardenas