Louis Armstrong was an influential jazz musician whose early life was shaped by hardship as a black man in America during the early 20th century. He was born in New Orleans, a culturally diverse city where different musical styles blended together, including European, African and Creole influences. Armstrong learned cornet in a youth home and went on to fame, innovating jazz with his unique style of improvisation and influential solos. His career showed how African American musical traditions emerged from oppression yet became a globally celebrated art form.

1. WHAT A WONDERFUL MAN OF THE WORLD:a praiseto LOUIS ARMSTRONG

2. Place Jazz in thecontext of African-American music in general Place the individual jazzman intothecontext of Jazz

3. Analogy Tensionbetweenfreedom and social order in theircomittedgroups and publiclife The musictheyperform -> jazz Freedomforsoloistsbutappear at theirbest in thecompany of theirgroups

4. WhenApproachingLegends as -> Charlie Parker <- -> Coltrane <- -> Miles Davis <- -> Armstrong himself <- Be cautiousabout individual gifts

5. Notionfound in many Histories of Jazz The verynature of Jazz performance makesevident performersdependononeanother in everythingthey do

6. The Hot Five FromLefttoRight: Louis Armstrong, Johnny St. Cyr, Johnny Dodds, KidOry and LilHardin Armstrong.

7. EarlyYears of Jazz withspecialreferencetothe life and work of Louis Armstrong

8. Stupendous Cultural Achievements From U. S. Slaves GenerationafterGeneration

9. Kidnapped, Middlepassage, Slavery Dispossessed of material and immaterialthings: thesupport of king The respect & status withinthegroup Stablefamilylife Deferenceduetotheold

11. Factors of Slavery Nothingtowaitforbut A lifetime of labour & Physical and continuouspunishment

12. Tool of survival

13. Learnsomethingaboutsurvival Their use of musictomakesense of anotherwise senselesssituation

14. Identity Knowledge -> whothey are -> whathavebeen done tothem Contrast -> thatiswho (“what”) you are -> lessthanfullyhuman

15. Around 1800 byunknownartist Aroundslaves, dancingbecame a physicalresistance test

16. Learning bits & pieces In plantations From Europeanculture The houses of theirMasters And Churches

17. The Great Awakening Black slavessingingtheir spirituals combine certainty of heaven withthe hope of freedom in thisworld

18. Whateveritiswe are doingwe are doingittogether

19. Black slavessingingtheir spirituals combine certainty of heaven withthe hope of freedom in thisworld

20. Linguistssaythereis no suchthing as a primitivelanguage In thesameway no music can beconsideredprimitive

21. Black Diaspora + White music Absortion of European musical traditions Attraction and Repulsion BetweenEuropean and Africanvalues Metaphor

22. Black peopleefficient and imaginativewiththespokenword Tensionbetween Western Euro-American + African-American music Improvisation versus notation

23. New Orleans The Blackest of Black The Whitest of White

24. New Orleans Crystallization of a new style

25. Spanish & FrenchoriginsWealth & corruptionCosmopolitismDevotiontopleasure Contrast -> puritanism

26. Place Congo Dancingthebamboula in the Place Congo

27. At Place Congo Slaveswouldfreely do theirmusic and dance

28. New Orleans Class of Creole Blacks Everyculturecontributessomethingtothecreation of thisstyle

29. New Orleans Children of wealthywhitemasters and theircoloredmistresses Educated in EuropeanCulture Consideredthemselves as white

30. New Orleans Afteroppressivelegislation of 1894 Reclassified as Black ForcedtoplaywithBlacks

31. New Orleans Rightcombinationtocreate a flexible abilitytoplaybothstyles

32. New Orleans The result of creole musicians (europeanstyle) intorougheratmospheres (heldtogetherby a minimumwritten material) Musicianswiththeabilitytoplaybothstyles; skilled in reading and writingmusic

33. New Orleans CREOLE TEACHERS WITH EUROPEAN STYLE Something of that training wasfosteringspecialabilitiesinto new musicians -> Armstrong

34. New Styles Blues, ragtime, … 1917 - > firstrecording of jazz

35. EarlyYears of Jazz 1917 - > firstrecording of jazz music

36. Playerscould improvise faithfultothecommunity Dueregardtooveralleffect Mutual humancare Satisfaction of the (dancingaudience)

37. Louis Armstrong Earlylifedeprivedmaterially and emotionally

38. Playshismusic In bands, mississippiboats,

39. He himselfplayedforpenniesonstreetcorners 1913 -> Arrested (Coloredwaif home)learntToplaythecornet

40. 1922 - > King oliversentforhim and armstrongwentto chicago (a sensation)

41. Ownedtheseskills: Slowvibratto, cadences, melodicinventiveness 1924 -> aftermarryinglilLIANhardIn (classicallytrained) shehelpshim in hiscareersummary

42. keywords HistoricalHardship Affirmativeaction Steorotypethreat U.S. Slave Descendants Racism Segregation UndervaluedbyOfficialCulture Theirvaluesdisputed and contested Consideredprimitives Survival Orality Identity Comittedgroup Complex web of humanrelations Black ExpressingCulture Politicalaction (music) Humanright: thepowerto define oneself

43. West end blues solo Louis Armstrong