Louis Armstrong, Master of Modernism

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by Thomas Brothers


  Columbia University, 126, 427

  Columbus, Ohio, 415, 433, 454

  Come Back Sweet Papa, 207, 216

  Compton, Glover, 59, 171, 286

  Condon, Eddie, 33–34, 239, 332, 391, 505

  on King Oliver band, 34, 88, 89, 95, 97, 149, 206

  on rhythm, 94

  Conover, Willis, 200

  contests, 5, 8, 98

  Charleston, 233, 237, 240

  cutting, 83, 102, 105, 110, 112, 159, 173, 191, 203

  singing, 151

  talent, 118, 158

  whistling, 110

  Cook, Albert, 103

  Cook, Louise, 340, 345–46

  Cook, Sherman, 424, 426

  Cooke, Sam, 8

  Cooper, Ralph, 264

  Copenhagen, 44, 431–32

  Copenhagen, 143–46, 297, 351, 454, 495

  LA’s hot solos in, 144–46

  Copyin’ Louis, 365

  Corea, Chick, 275

  Cornet Chop Suey, 100–101, 102–4, 105–6, 193, 203, 242, 264, 430, 458–59

  buglelike introduction of, 111, 112

  copyrighting of, 102, 108, 109, 111, 112, 250, 269

  as a creative breakthrough, 109, 112

  LA’s composing of, 108–12, 193, 263

  LA’s solo in, 102, 112, 158, 266

  melodic variety in, 111–12

  musical form of, 110–11

  notated breaks in, 111, 250–51

  recording of, 108–9, 110–11, 202–10, 372

  Coward, Noel, 237, 258, 371

  Cox, Baby, 346

  Craven, Luther “Sonny,” 399

  Crawford, Joan, 236, 298

  Crawley, Wilton, 278

  Craze-O-Logy, 239

  Crazy Blues, 53, 154, 215

  Creamer, Henry, 278

  Creath, Charlie, 429

  Creation, The (Haydn), 98

  Creole Band, 23, 30, 56, 438, 440

  blackface minstrel shows of, 26–28, 38, 39

  Creoles, 22–24, 104, 197, 275, 379

  distinction between Negroes and, 22–23, 46

  French patois of, 23, 24, 46

  Crisis, 125, 128

  “crooning,” 297–98, 398, 403, 405, 453

  Crosby, Bing, 151, 239, 400, 403, 404, 411

  LA and, 363, 380

  Cruze, James, 380

  Cullen, Countee, 125

  Curl, Langston, 321–22

  Cuthbert, Ga., 125–26

  Dabney, Ardelle Mitchell, 124

  Dabney, Ford, 124

  Daily Herald (London), 408–9

  Dallas, Tex., 426–27

  Damrosch, Frank, 500

  dancing, 93, 151

  buck and wing, 264

  chorus line, 216, 233–34, 243, 337, 339–40, 342–43, 345

  contortionist, 171, 342

  quick tempos for, 172–73

  shimmy, 76, 78

  tap, 247–48, 265, 346

  team, 170, 171, 182, 203–4, 234, 235, 238, 246–47, 251–52, 264–65

  trumpet accompaniment to, 248–49, 249, 251–52

  vernacular, 88, 203

  see also specific dance styles

  Dancing Masters of America, 236

  Davis, Charlie, 143–44, 342

  Davis, Miles, 105, 365, 401

  on LA, 271

  Davis, Peter, 5, 418

  Davison, Wild Bill, 35, 210, 239, 304–5

  De Droit, Johnny, 419

  Deep South, 3, 8, 80, 103, 134, 204, 224, 247, 263, 270, 429

  bollweevil epidemic in, 13–14

  cotton pickers in, 41, 51

  floods in, 13

  lynchings in, 15

  slave plantations of, 4, 23, 26, 27–28, 30, 48, 50, 53, 56, 57, 59, 66, 67, 95, 131, 272, 283, 440, 442, 450

  DeFaut, Voltaire, 67–68

  De Paris, Sidney, 386

  De Pass, Lillian, 110

  Depression, Great, 2, 3, 366, 383, 417–18, 442

  Desmond, Mrs. Binga, 124

  Detroit, Mich., 419, 421–22

  Dickerson, Carroll, 222–23, 243, 244, 255, 259, 287, 289–90, 300, 333, 335, 348, 355, 357, 391

  Dickerson, Dudley, 379

  Diggs, May “Miss Snakehips,” 384

  Dill, Augustus Granville, 125

  Dinah, 368–69, 371, 411, 413, 431, 432

  Dinah (Bechet and Brymn), 344

  Dipper Mouth Blues, 58, 61, 101, 109, 143, 301

  LA and Oliver as co-composers of, 69, 106, 457, 490

  Oliver’s solo on, 64–65, 66, 69, 252, 458, 490, 495

  recordings of, 64–65, 90, 95, 149

  d’Ippolito, Vic, 151

  Dixiana (film), 385

  Dixieland, 57, 256

  Dixie Stompers, 193

  Dixon, Mort, 280

  Doctor Jazz, 256

  Dodds, Johnny, 20, 37, 59, 69, 92, 116–17, 144, 227, 489

  breaks and obbligatos of, 90

  funky blues playing of, 20, 64

  in Hot Five and Hot Seven, 165, 206–7, 260

  on Oliver, 86–87

  personality of, 20

  Dodds, Warren “Baby,” 20–23, 31, 34–36, 37, 59, 79, 95, 110, 116–17, 141, 389

  on collective improvisation, 85

  drinking of, 21, 62

  in Hot Seven, 260

  on LA, 79, 108

  percussion instruments of, 62, 88–89

  “shimmy beat” and counterrhythms of, 29, 64

  solo breaks of, 82

  Dodge, Roger Pryor, 249

  Dominique, Natty, 232, 243, 256, 356, 430, 504

  Don’t Forget to Mess Around When You’re Doing the Charleston, 214, 235, 332, 499

  Don’t Jive Me, 359

  Dorsey, Jimmy, 239, 280

  Dorsey, Thomas A., 51–53, 91, 321, 492

  Dorsey, Tommy, 239, 280, 422

  Douge, Robert F., 124

  Douglas, Aaron, 335

  Down by the Levee, 302

  Down Hearted Blues, 54

  Down Home Blues, 129

  Drake, St. Clair, 174, 183

  Dreamland Syncopators, 167

  drum ensembles, 92–94

  in New Orleans, 93

  in West Africa, 93–94, 95

  Du Bois, W. E. B., 125–28, 235–36, 377, 450, 454

  Duhé, Lawrence, 21–22, 223

  Lillian Armstrong and, 72–73, 395

  Dunn, Johnny, 59, 258–59, 347

  DuPont, Floyd, 218

  Durante, Jimmy, 338–39

  Dutrey, Honoré, 21, 23, 37, 89–90, 148, 207, 223, 260

  band of, 116–17

  Dvořák, Antonin, 291

  dynamic markings, 122

  Eagle Band, 20

  Earl Hines and His Orchestra, 324, 511

  Early, Gerald, 449

  East St. Louis Toodle-Oo, 300

  Eccentric, 29–30, 36, 63, 83, 171

  eccentric acts, 170–72

  Eckstine, Billy, 317

  Edie, Irene, 278

  1812 Overture (Tchaikovsky), 280

  Eldridge, Roy, 262, 410, 435

  Ellington, Duke, 31, 59, 137, 139, 145, 275, 291, 292, 336–37, 354, 378, 385, 422, 447, 489

  LA and, 384

  sophisticated style of, 200, 300

  Ellington Band, 367, 376, 378, 409, 512

  Ellington Orchestra, 346, 380, 385

  Ellis, Seger, 358, 400

  Ellison, Ralph, 263–64, 426, 462

  Emerson Race Records, 138

  England, 326

  LA’s first trip to, 408–9, 415

  Entertainer, The, 111, 266

  Erenberg, Lewis, 232, 240–41

  Esquire, 268

  Etude, 135, 500

  Europe, James Reese, 270, 335

  Evans, Paul “Stump,” 180, 192

  Evening News (Manchester), 165, 166

  Everybody Loves My Baby, 151, 157–58

  Everybody Step, 134, 135

  Every Day’s a Holiday (film), 448

  Exactly Like You, 365, 368, 379
, 515

  Excelsior Brass Band, 20, 21

  Ex-Flame (film), 376, 443

  Experiment in Modern Music, 202

  Fanning, Mae, 237, 501

  Feather, Leonard, 302

  Federal Bureau of Narcotics, 389

  Federal Council of Churches of Christ in America, 124

  Ferguson, Jimmy, 278

  Ferrer, José, 361

  Fetchit, Stepin, 378, 385

  Fields, Dorothy, 345, 368

  Fifty Hot Choruses for Cornet (Armstrong), 266–67

  Filo, 45–46, 47

  Fiorito, Ted, 146

  Fire in the Flint, The (White), 125

  Fireworks, 364

  Fisher, Rudolf, 338, 341

  Fisk University, 70, 71, 72, 80, 120

  Fitzgerald, F. Scott, 48, 233, 417

  flappers, 9

  flatted thirds, 144

  Fleischer brothers, 444–46

  Fletcher Henderson and His Famous Club Alabam Orchestra, 130, 138

  Fletcher Henderson Orchestra, 120–23, 137, 205, 278–79, 335, 437, 489

  gradual turn to jazz in, 132, 141–51, 224

  LA as third cornet in, 121, 124, 132, 138–41, 496

  LA’s solos in, 121, 139, 142–51, 157, 170–71, 456

  musicians of, 141–42

  recordings of, 121, 138–39, 143–44, 147–51, 193

  rehearsals of, 121–22, 142, 335

  sections and written arrangements of, 121, 122, 131, 132, 383

  touring of, 141, 151

  Floyd Campbell’s Orchestra, 291

  For No Reason at All in C, 364

  Foster, Frankie, 415

  Foster, Pops, 56, 58, 60, 157, 248, 284, 311, 361–63, 362

  bass playing of, 56, 332, 362

  on LA, b, 388

  Foster, Stephen, 26, 514

  Four Covens, 385

  Four or Five Times, 322

  Four Sons (film), 298

  Fox, Ed, 237

  fox trot, 78, 122, 135, 138, 213, 283, 340, 383, 401

  Frankie Trumbauer and His Orchestra, 281

  Frazier, Josiah, 209–10

  “freak music,” 5–6, 21, 36, 69, 109, 156, 278

  of King Oliver, 21, 22, 29–30, 58–59, 64–65, 101, 171, 199, 213, 260, 458

  use of mutes in, 22, 29, 65, 171, 199

  Freeman, Bud, 31, 33, 35, 36, 38, 152, 331, 422, 452

  on LA, 49, 239–40, 258, 267, 283, 410, 413, 505–6

  Freud, Sigmund, 241, 393

  Friars Society Orchestra, 230–31

  Froggie Moore, 492, 495

  From Monday On, 280, 297, 507

  Frost, Arthur Burdette, 442

  Gabbard, Krin, 192

  Galveston, Tex., 426, 428

  Garland, Ed “Montudie,” 88, 103, 311, 489

  Garvey, Marcus, 236

  Gauguin, Paul, 233

  Gellhorn, Martha, 384

  Gennett Records, 36, 60–65, 61, 68, 74, 81, 100, 101, 107, 116

  Georgia, 40, 60

  Georgia Grind, 208, 214

  Germany, Nazi, 448

  Gershwin, George, 9–10, 58, 119, 135, 291, 300, 336, 349–50, 457

  Gershwin, Ira, 200

  Giddins, Gary, 350

  Gillespie, Dizzy, 28, 137, 348–49, 394, 441

  Glaser, Joe, 286

  LA’s finances managed by, 100, 237, 388, 501

  Glason, Billy, 238

  Goddess of Rain, 345–46

  Going Home, 291

  Go Long Mule, 143, 147, 148, 210

  Gonella, Nat, 410

  Gonsoulin, Bertha, 20, 73

  Goodman, Benny, 33–34, 59, 103, 238, 239, 422

  Goodman, Freddy, 239

  Good Time Flat Blues, 158, 160

  Goofus Five, 218

  Graham, Billy, 52

  Graham, George, 380

  Grant, Ulysses S., 420–21

  Gray, Jack, 104

  Gray, Mrs. W. T., 104

  Great Day (Youmans), 334–35

  Greely, Aurora, 379

  Green, Charlie, 142, 145, 147, 154, 510

  Green, Lil, 326

  Greene, Gene, 212

  Greer, Sonny, 227

  Griffith, D. W., 443

  Grofé, Ferde, 122

  Guinan, Texas, 245–46

  guitars, 49, 72, 88, 93, 284, 412

  Gulf of Mexico, 449

  Gully Low Blues, 262

  Gut Bucket Blues, 40, 48, 161, 204, 218, 283, 314, 436

  Guy Lombardo and His Royal Canadians, 326–28, 400

  Haas, John F., 237

  Half-Century Magazine, 75

  Hall, Adelaide, 276, 342

  Hall, Bert, 335

  Hall, John, 385

  Hall, Tubby, 59, 73, 237, 308, 413

  Hallelujah, 278

  Hallelujah (film), 378, 385

  Hammond, John, 393

  Hampton, Lionel, 194–95, 226, 399

  LA and, 380, 382, 383, 402

  Handy, W. C., 50–52, 54, 59–60, 64, 126–27, 154, 155

  band of, 58, 258

  published music of, 50–51, 59, 134, 161–63

  Hardin, Dempsey, 71–72, 73, 114, 120, 319

  Harker, Brian, 247

  Harlem, 122, 126, 128, 141, 142, 146, 166, 171, 231, 337–41

  Alhambra in, 220

  Amsterdam Club in, 153

  Connie’s Inn in, 337, 339–41, 340, 343, 345, 354–55, 414, 419

  Cotton Club in, 228, 234, 338, 339, 341, 345

  elite social occasions in, 123–25

  Lafayette Theater in, 140, 152, 339, 355–57, 410, 435

  musical scene of, 126, 152–54

  New Manhattan Casino in, 123–24, 140

  Rhythm Club in, 140, 153

  Savoy Ballroom in, 333, 333, 337

  Small’s Paradise in, 149, 163–64

  “Striver’s Row” in, 131

  white tourism in, 338–41

  Harlem Renaissance, 128, 145

  Harlem Symphony Orchestra, 166

  Harlem Tattler, 297

  harmonicas, 93

  harmoniums, 161–62

  harmony, 149

  LA’s command of, 66–67, 198, 253–55, 269–73, 406

  barbershop, 26–27, 395, 437

  blues and jazz, 5, 66–68, 134, 136, 156

  disregard of, 67–68, 73, 86, 95

  European, 93, 94

  Harper, Leonard, 345

  Harris, Charles, 190, 193

  Harris, Jimmy, 279, 333

  Harris, Joel Chandler, 442

  Hart, William, 104

  Hawkins, Coleman, 142, 154, 273, 406–7

  Haydn, Joseph, 98

  Haynes, Elizabeth, 124

  Haynes, George F., 124

  Heah Me Talkin’ to Ya?, 324, 333, 367, 513

  Hearts in Dixie (film), 385

  Heebie Jeebies, 174, 190, 203–4, 208, 220–21, 245, 246, 249, 259, 278, 296, 297, 370, 459

  scat vocals on, 209, 211–18, 220, 242, 263

  Heebie Jeebies (dance), 234

  Heebie Jeebies Dance, 216, 218–19, 219

  Heebie Jeebies weekly, 170, 182, 186, 190, 204, 214, 217, 235, 244, 497–98

  Hello Dolly, 220, 274

  Hemingway, Ernest, 37–38

  Henderson, Fletcher, Jr., 113, 120–27, 127, 270, 274, 291

  blues accompanying of, 129

  childhood of, 125–26

  classical piano studies of, 126, 131, 179

  education of, 125, 126–27, 129, 130

  fame of, 126, 149

  jazz career of, 126, 129–32, 138, 141–51

  LA and, 120, 123, 131, 141, 163, 170–72, 176, 198, 207, 245, 278–79, 309, 351, 355, 430, 458

  white orchestras emulated by, 131–32, 139–41, 143, 152, 203

  Henderson, Fletcher Hamilton, Sr., 125–26, 127, 129

  Henderson, Katherine, 295

  Henderson, Mrs. Fletcher, 124

  Henderson’s Rainbow Orchestra, 124

  Henry, Charles “Sunny,” 97

&nb
sp; Herbert, Victor, 344

  heterophony, 4–5, 6, 67

  church, 84–87

  definition of, 4

  Hi De Ho, 218

  Higginbotham, J. C., 362, 362, 451

  High Society, 32–33, 102, 105, 106, 119, 402, 420, 435, 445

  High Society Blues (film), 382

  Hill, Alex, 324

  Hill, Bertha, 165

  Hill, Teddy, 362

  Hillare, Andre, 223

  Hill, Letha, 78, 337

  Hines, Earl, 62, 75, 120, 170, 173, 180, 192, 257, 261, 365, 499

  on accompanying, 81

  on cabarets, 227, 233–34, 238, 239, 243, 247

  conducting of, 184–85, 244, 260, 394

  on LA, 234, 246, 249, 251, 259, 302–3

  LA and, 222–23, 260–61, 263, 281, 286, 288–89, 292, 302–18, 451–52

  piano style of, 171–72, 260–61, 295, 299, 302, 310–17, 325, 508

  Hines, Laura, 501

  Hinton, Hilda, 41, 43, 46, 183, 196

  Hinton, Milton, 40–45, 59, 123, 186, 196, 226, 309, 377, 414, 448

  childhood of, 40–43, 183, 196

  on LA, 195, 199, 201, 293, 307

  Hite, Les, 379, 385, 399, 412, 516

  Hitting the High Spots with Louis Armstrong, 382

  Hoagy Carmichael and His Pals, 403

  Hobson, Homer, 336

  Hodeir, André, 252

  Hodes, Arthur, 239, 290, 296, 304–5

  Hold That Tiger, 184

  Holiday, Billie, 298–99, 301, 356, 368, 392, 399–400, 411, 413

  Hollywood, Calif., 380, 385

  Cocoanut Grove in, 411

  Holmes, Charlie, 362, 363, 489, 511–12

  Holy City, 63–64, 90, 489

  Holy Roller churches, 236

  Home, 436

  homosexuality, 45

  Honeysuckle Rose, 436

  Hooper, Louis, 152

  Hoover, Herbert, 389

  Hopkins, Lightning, 48

  Hoskins, Allen (Little Farina), 385

  Hoskins, Mr., 49

  Hot Chocolates, 341, 345–47, 352–55, 353, 434, 512

  Hotter Than That, 282, 284–85, 312, 315, 332, 352, 382, 507

  House of Representatives, U.S., 43

  Houston, Tex., 426

  Howard, Darnell, 74, 496

  Howard Normal School, 125–26

  How Come, 347

  Hudgins, Johnny, 248, 515

  Hughes, Howard, 379, 382, 434

  Hughes, Langston, 128, 196, 199–200, 297–98, 338, 341

  on LA, 203

  Hungarian Rhapsodies (Liszt), 314

  Hunter, Alberta, 53, 58, 60, 78, 102–3, 154, 158–59, 167, 218, 513

  on LA, 63, 70, 114

  Hunt in a Black Forest, A (Voelker), 278

  Hunton, Addie W., 124

  Hurston, Zora Neale, 84, 398, 447, 513

  I Ain’t Gonna Play No Second Fiddle, 163, 279

  I Can’t Believe That You’re in Love with Me, 367

  I Can’t Give You Anything but Love, 329–32, 345, 349, 356–57, 359, 368, 383, 386, 396–97, 460, 511

  I Covered the Waterfront, 431

  I’d Love to Have Somebody to Love Me, 244

  If I Could Be with You (One Hour Tonight), 384, 401–2, 413

 

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