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Dippermouth Blues - Take 1 - Louis Armstrong & Billie Holiday - New Orleans (Original Motion Picture

18.01.2020at 18:50 | Author : Zoloshakar | Category : DEFAULT | : Thumbtack


Do you know the lyrics for this track? Add lyrics on Musixmatch. Don't want to see ads? Upgrade Now. Scrobbling is when Last. Learn more. There was an issue displaying the shoutbox.

View all shouts. View full artist profile. View all similar artists. View all trending tracks. Loading player…. Scrobble from Spotify? Connect to Spotify Dismiss. Search Search. Play album. Length Related Tags jazz blues louis armstrong metro jazz Add tags View all tags. From The Album Play album. Play track. Artist images 75 more. Coming to prominence in the s 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 sing… read more. Coming to prominence in the s as an inv… read more. Coming to prominence in the s as an inventive trumpet and cornet player, Armstrong wa… read more. Similar Artists Play all.

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Introspection Late Night Partying. The Great Summit - Complete Sessions. Duke Ellington. An American Songbook. Louis Armstrong. What A Wonderful World. Hello, Dolly! These 17 selections are the entire result of the only studio meeting by Duke Ellington and Louis Armstrong. Satchmo In Style. Louis Under The Stars. Ella And Louis Again. It is the "sequel" to their album, Ella and Louis; in contrast to their previous collaboration, this album does not only feature duets. Meanwhile, his longtime manager Joe Glaser died.

By the summer of , his doctors pronounced him fit enough to resume live performances. He embarked on another world tour, but a heart attack forced him to take a break for two months. Armstrong made his last recorded trumpet performances on his album Disney Songs the Satchmo Way.

Judging from home recorded tapes now in our Museum Collections, Louis pronounced his own name as "Lewis". Many broadcast announcers, fans, and acquaintances called him "Louie" and in a videotaped interview from Lucille Armstrong calls her late husband "Louie" as well. Musicians and close friends usually called him "Pops". In a memoir written for Robert Goffin between and , Armstrong states, "All white folks call me Louie," perhaps suggesting that he himself did not or, on the other hand, that no whites addressed him by one of his nicknames such as Pops.

On various live records he's called "Louie" on stage, such as on the "Can Anyone Explain? The same applies to his studio recording of the song "Chloe", where the choir in the background sings "Louie Louie", with Armstrong responding "What was that? Somebody called my name? He started the affair as a client. He returned to Gretna on several occasions to visit her. He found the courage to look for her home to see her away from work.

It was on this occasion that he found out that she had a common-law husband. Not long after this fiasco, Parker traveled to Armstrong's home on Perdido Street. Clarence Armstrong was mentally disabled as the result of a head injury at an early age, and Armstrong spent the rest of his life taking care of him. She had divorced her first husband a few years earlier. His second wife helped him develop his career, but they separated in and divorced in Armstrong then married Alpha Smith.

Louis then married Lucille Wilson in October , a singer at the Cotton Club , to whom he was married until his death in Armstrong's marriages never produced any offspring. Armstrong was noted for his colorful and charismatic personality. His autobiography vexed some biographers and historians, as he had a habit of telling tales, particularly of his early childhood when he was less scrutinized, and his embellishments of his history often lack consistency.

In addition to being an entertainer, Armstrong was a leading personality of the day. He was beloved by an American public that gave even the greatest African American performers little access beyond their public celebrity, and he was able to live a private life of access and privilege afforded to few other African Americans during that era.

He generally remained politically neutral, which at times alienated him from members of the black community who looked to him to use his prominence with white America to become more of an outspoken figure during the civil rights movement.

However, he did criticize President Eisenhower for not acting forcefully enough on civil rights. The trumpet is a notoriously hard instrument on the lips , and Armstrong suffered from lip damage over much of his life due to his aggressive style of playing and preference for narrow mouthpieces that would stay in place easier, but which tended to dig into the soft flesh of his inner lip.

During his s European tour, he suffered an ulceration so severe that he had to stop playing entirely for a year. Eventually he took to using salves and creams on his lips and also cutting off scar tissue with a razor blade.

By the s, he was an official spokesman for Ansatz-Creme Lip Salve. During a backstage meeting with trombonist Marshall Brown in , Armstrong received the suggestion that he should go to a doctor and receive proper treatment for his lips instead of relying on home remedies, but he did not get around to doing it until the final years of his life, by which point his health was failing and doctors considered surgery too risky.

The nicknames "Satchmo" and "Satch" are short for "Satchelmouth". The nickname has many possible origins. He scooped the coins off the street and stuck them into his mouth to prevent bigger children from stealing them.

Someone dubbed him "satchel mouth" for his mouth acting as a satchel. Another tale is that because of his large mouth, he was nicknamed "satchel mouth" which was shortened to "Satchmo". Early on he was also known as "Dipper", short for "Dippermouth", a reference to the piece Dippermouth Blues.

The nickname "Pops" came from Armstrong's own tendency to forget people's names and simply call them "Pops" instead. The nickname was turned on Armstrong himself. It was used as the title of a biography of Armstrong by Terry Teachout.

Armstrong was largely accepted into white society, both on stage and off, a rarity for a black person at the time. Some musicians criticized Armstrong for playing in front of segregated audiences, and for not taking a strong enough stand in the American civil rights movement.

As a protest, Armstrong canceled a planned tour of the Soviet Union on behalf of the State Department saying: "The way they're treating my people in the South, the government can go to hell" and that he could not represent his government abroad when it was in conflict with its own people.

When asked about his religion, Armstrong answered that he was raised a Baptist , always wore a Star of David , and was friends with the pope. Armstrong was concerned with his health. He used laxatives to control his weight, a practice he advocated both to acquaintances and in the diet plans he published under the title Lose Weight the Satchmo Way. Armstrong was a heavy marijuana smoker for much of his life and spent nine days in jail in after being arrested for drug possession outside a club.

He described marijuana as "a thousand times better than whiskey". The concern with his health and weight was balanced by his love of food, reflected in such songs as "Cheesecake", "Cornet Chop Suey", [95] though "Struttin' with Some Barbecue" was written about a fine-looking companion, not about food. Armstrong's gregariousness extended to writing.

On the road, he wrote constantly, sharing favorite themes of his life with correspondents around the world. He avidly typed or wrote on whatever stationery was at hand, recording instant takes on music, sex, food, childhood memories, his heavy "medicinal" marijuana use—and even his bowel movements, which he gleefully described. Louis Armstrong was not, as is often claimed, a Freemason. Although he is usually listed as being a member of Montgomery Lodge No.

However, Armstrong stated in his autobiography that he was a member of the Knights of Pythias , which although real is not a Masonic group.

In his early years, Armstrong was best known for his virtuosity with the cornet and trumpet. Along with his "clarinet-like figurations and high notes in his cornet solos", he was also known for his "intense rhythmic 'swing', a complex conception involving Armstrong's improvisations, while unconventionally sophisticated for that era, were also subtle and highly melodic.

The solo that Armstrong plays during the song " Potato Head Blues " has long been considered his best solo of that series. Prior to Armstrong, most collective ensemble playing in jazz, along with its occasional solos, simply varied the melodies of the songs. Armstrong was virtually the first to create significant variations based on the chord harmonies of the songs instead of merely on the melodies. This opened a rich field for creation and improvisation, and significantly changed the music into a soloist's art form.

Often, Armstrong re-composed pop-tunes he played, simply with variations that made them more compelling to jazz listeners of the era. At the same time, however, his oeuvre includes many original melodies, creative leaps, and relaxed or driving rhythms.

Armstrong's playing technique, honed by constant practice, extended the range, tone and capabilities of the trumpet. In his records, Armstrong almost single-handedly created the role of the jazz soloist, taking what had been essentially a collective folk music and turning it into an art form with tremendous possibilities for individual expression.

Armstrong was one of the first artists to use recordings of his performances to improve himself. Armstrong was an avid audiophile. He had a large collection of recordings, including reel-to-reel tapes, which he took on the road with him in a trunk during his later career.

He enjoyed listening to his own recordings, and comparing his performances musically. In the den of his home, he had the latest audio equipment and would sometimes rehearse and record along with his older recordings or the radio. As his music progressed and popularity grew, his singing also became very important. Armstrong was not the first to record scat singing , but he was masterful at it and helped popularize it with the first recording on which he scatted, " Heebie Jeebies ".

At a recording session for Okeh Records , when the sheet music supposedly fell on the floor and the music began before he could pick up the pages, Armstrong simply started singing nonsense syllables while Okeh president E. Fearn, who was at the session, kept telling him to continue. Armstrong did, thinking the track would be discarded, but that was the version that was pressed to disc, sold, and became an unexpected hit.

Although the story was thought to be apocryphal, Armstrong himself confirmed it in at least one interview as well as in his memoirs. Such records were hits and scat singing became a major part of his performances. Long before this, however, Armstrong was playing around with his vocals, shortening and lengthening phrases, interjecting improvisations, using his voice as creatively as his trumpet. Armstrong was a gifted composer who wrote more than fifty songs, some of which have become jazz standards e.

During his long career he played and sang with some of the most important instrumentalists and vocalists of the time; among them were Bing Crosby , Duke Ellington , Fletcher Henderson , Earl Hines , Jimmie Rodgers , Bessie Smith and perhaps most famously Ella Fitzgerald. His influence upon Crosby is particularly important with regard to the subsequent development of popular music: Crosby admired and copied Armstrong, as is evident on many of his early recordings, notably "Just One More Chance" His techniques—easing the weight of the breath on the vocal cords, passing into a head voice at a low register, using forward production to aid distinct enunciation , singing on consonants a practice of black singers , and making discreet use of appoggiaturas , mordents , and slurs to emphasize the text—were emulated by nearly all later popular singers.

View credits, reviews, tracks and shop for the Gatefold Vinyl release of New Orleans Original Motion Picture Soundtrack on Discogs/5(6).

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  1. New Orleans, a Bootleg of songs by Billie Holiday & Louis Armstrong. Released in (catalog no. GOJ; Vinyl 12").
  2. Various Artists - New Orleans / Various - newwave.zulkikreegavinrarathorgagra.infoinfo Music. Skip to main content. Try Prime CDs & Vinyl Go Search EN Hello, Sign in.
  3. Louis Armstrong & Billie Holiday Louis Armstrong & Billie Holiday - New Orleans (Original Motion Picture Soundtrack) ‎ (LP, Album, Mono, Fir) Giants Of Jazz Records.
  4. Featuring the great Louis Armstrong and Billie Holliday, New Orleans was an American musical romance released in A veritable who's who of immortal jazz greats, including Kid Ory, Zutty Singleton, Barney Bigard, Bud Scott, Charlie Beal, Meade Lux Lewis 4/5(2).
  5. Louis Armstrong Lyrics "Dippermouth Blues" Out on the plains, down near Santa Fe I met a cowboy ridin' the range one day And as he jogged along, I heard him singin' A most peculiar cowboy song It was a ditty, he learned in the city Comma ti yi yi yeah, comma ti yippity yi yeah.
  6. motion picture | Feature film (over 60 minutes). "Do you know what it means to miss New Orleans?" by Eddie De Lange, Louis Alter (BH); "Endie" (LA), "The blues are brewin'" by Eddie De Lange, Louis Alter (BH); "Where the blues were born in New Orleans" by Bob Carleton, Cliff Dixon (LA); "New Orleans stomp" by King Oliver (LA); "West End blues" by King Oliver (LA); "Buddy Bolden's blues" by.

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