Book Read Free

Louis Armstrong, Master of Modernism

Page 73

by Thomas Brothers


  I Got Rhythm, 436

  Ike Dixon Amusement Company, 288

  I’ll Be Glad When You’re Dead You Rascal You, 1–2, 413, 429, 434

  I’ll Be Glad When You’re Dead You Rascal You (film), 437, 443, 444–47, 446

  Illinois, 60

  I’ll See You in My Dreams, 148

  I’ll Take My Stand: The South and the Agrarian Tradition, 442

  I’m a Ding Dong Daddy (from Dumas), 382

  I’m Confessin’ That I Love You, 384, 397, 401, 413, 432

  I’m in the Market for You, 382, 516

  I Miss My Swiss, 150

  I’m Just Wild About Harry, 342

  Immerman, Connie, 340, 341, 345, 347, 354–55, 429

  Immerman, George, 341

  I’m Not Rough, 22, 284

  In a Mist, 282

  In Bamville (Sissle and Blake), 344, 347

  Indiana, 60, 74

  Indian Cradle Song, 340–41, 349, 368, 515

  I Need Lovin’, 278

  In Shadowland, 357

  Interracial Commission on Race Relations, 43

  Interstate Tattler, 124, 343, 346, 347, 512

  In the Evening by the Moonlight in Dear Old Tennessee, 440

  Invisible Man (Ellison), 354

  Irish Black Bottom, 214, 236, 246, 438

  Irish Fantasy, 290

  Isham Jones and His Orchestra, 131, 138

  I Surrender Dear, 413

  It’s Getting Dark on Old Broadway, 343

  It’s Tight Like That, 321–22

  I Wish I Could Shimmy Like My Sister Kate, 106, 155

  Jackson, Charlie, 117, 117

  Jackson, James, 103

  Jackson, Jigsaw, 171

  Jackson, Mahalia, 45, 48

  Jackson, Oliver, 311

  Jackson, Preston, 1–2, 46, 58, 91, 110, 122, 225, 243, 413–14, 426, 492, 503

  on LA, 197, 426, 429, 436–37

  in LA’s band, 113, 422–23, 426–27

  Jackson, Rudy, 117, 117, 223

  on LA, 118

  Jackson, Tony, 17, 45

  Jacobson, Bud, 215, 389

  James, George, 383, 414, 428–29, 436

  jam sessions, 251, 281–82, 315, 328

  jazz, 4

  African roots of, 6–7, 92–95, 134

  birth of, 109

  Chicago, 28–39, 97

  collective improvisation in, 5–6, 8, 59, 84–87, 90, 92–93, 95, 133–35, 143–44, 147–48, 206, 250, 284–85, 312, 331, 363–64, 370, 372

  competition in, 5, 8, 83, 97, 98

  composed, 135, 136

  “cool,” 364

  criticism of, 37–38, 133, 134, 135, 136

  crossing racial lines in, 33–39, 134, 150, 198, 200

  dancing to, 171, 208, 214, 224, 234–37, 256

  definitions of, 132–38, 144, 447, 457

  dissonance in, 201, 255

  evolution of, 136–38

  fixed and variable model of, 6–7, 9, 11, 68, 92–97, 119, 148, 162, 448

  four-beat style of, 87–88

  free, 97

  harmonic dislocations in, 254

  historical concepts of, 7, 9–10, 200, 230

  “hot,” 31, 33, 57, 65, 139, 141–51, 192–95, 364, 402, 456–57

  impact of LA on development of, 7, 11, 66, 94, 251, 264, 269–75

  LA as central figure in, 376

  listening to, 202–4, 208, 248, 433, 460

  memorization in, 36, 49, 91, 372, 410

  modal, 97

  modern, 201, 203

  moral concerns about, 37–38

  musical riffs and chord changes in, 35

  New Orleans style, 17, 31, 32, 35, 54–60, 62, 67, 82–83, 87–95, 102, 105, 109, 119, 201–2, 208, 395

  plurality of rhythms (polymeters) in, 6, 73

  rhythmic hierarchy of, 6

  sexuality and, 38, 232–33, 238, 317–19, 321–23, 330

  social pressures of, 68

  standard length of numbers in, 33

  styles encompassed in, 57, 132–38

  “sweet,” 327–28, 364, 365

  symphonic, 136–38, 152, 201, 203

  syncopation in, 134

  tempos in, 31–32

  tension between accessibility and exploration in, 146

  as a term, 57, 58, 82, 132–38

  uptempo, 57

  vaudeville and, 26–30, 117–18

  white, 7, 9–10, 23–24, 33–39, 57, 58, 63, 76, 129–31, 134, 135, 137–41

  white “alligators” appropriation of, 23–24, 35–39, 63, 143, 239–40, 242, 306–7, 365, 372, 389

  jazz age, 48, 233, 366

  jazz breaks, 81–84, 90

  dance connection to, 82

  definition of, 81–82

  duet, 82–83, 117, 248

  of LA, 82–84, 100, 111, 117, 142, 146–47, 149, 172, 257, 266, 292

  notated, 111

  of Oliver, 82–83, 117

  solo, 29, 81–84

  Jazzmania, 217–18, 245, 499–500

  Jazzmen (Russell), 493

  Jazz Modernism: From Ellington and Armstrong to Matisse and Joyce (Appel), 408

  jazz orchestras, 132–38

  Jersey City, N.J., 435

  Jews, 409, 448

  as mediators between Africa and Europe, 135

  in popular music, 135, 291

  Jim Crow legal system, 3, 27, 307

  Joe Oliver’s Dixieland Syncopators, 255–56, 503

  Johnny Dodd’s Black Bottom Stompers, 257, 263

  Johnson, Bill, 17, 18–20, 29–30, 37, 76–77, 150, 213, 362, 490

  banjo playing of, 18, 61–62, 64, 491

  influential bass style of, 26, 59, 62, 64

  Johnson, Budd, 243, 374, 391, 392, 427–28

  Johnson, Bunk, 90, 106–7, 109

  Johnson, Chick, 244

  Johnson, Jack, 46

  Johnson, James P., 129, 163, 214, 237, 318, 341, 344, 401–2

  Johnson, James Weldon, 15, 125, 128, 264, 338–39

  Johnson, Jimmy, 278

  Johnson, Joe, 105

  Johnson, Lonnie, 216, 282, 284–86, 312

  Johnson, Margaret, 154, 158

  Johnson, Marvin, 399

  Johnson, Otis, 362

  Johnson, Walter, 192, 308

  Joker, The, 280

  Jolson, Al, 167

  Jones, Billy, 150

  Jones, Calwell “King,” 22, 28, 32, 37

  Jones, Charlie, 399

  Jones, Clarence, 279–80, 288–89

  Jones, Clifford “Snags,” 117, 117

  Jones, Dave, 29, 418

  Jones, Isham, 33, 58, 131, 133, 135, 222

  Jones, Joseph, 418

  Jones, Maggie, 154, 158, 160

  Jones, Reverend, 42

  Jones, Richard M., 81–82, 91, 104, 165, 204, 216, 381, 392, 489, 514

  Joplin, Scott, 11, 106, 109, 111, 219, 264, 266, 274, 275, 371, 401, 457, 459

  jukeboxes, 220, 410

  Just a Gigolo, 439, 516

  Just Like a Butterfly That’s Caught in the Rain, 279–80

  Juvenile Protection Association, 32, 235, 236–38

  Kahn, Gus, 222

  Kaminsky, Max, 281

  Katie’s Head, 106

  Keith Vaudeville Circuit, 429, 433

  Kentucky, 59, 429

  Kentucky Derby, 415

  Keppard, Fred, 17, 36, 42, 46, 63, 91, 101, 303, 371, 516

  cornet playing of, 67–68, 75–76, 194, 308, 497

  LA and, 75–76

  King of the Bungaloos, 212

  King of the Zulus, 217

  King Oliver and His Creole Jazz Band, 30, 149, 224–25, 428, 447

  admiration of white musicians for, 33–39, 57

  blend of music and entertainment by, 26–30

  break up and rebuilding of, 116–19, 117

  competition in, 97

  Eddie Condon on, 34, 88, 89, 95, 97, 149, 206

  fast tempos of, 31–32

  harmonic precision lacking in, 67–68, 73, 86, 9
5

  LA as second cornet player in, 20, 24, 47, 62, 69, 74, 80–81, 90, 97, 115, 117–19, 117, 121, 389

  LA’s solo debut with, 54, 56

  Lil Armstrong’s role in, 37, 66, 68, 73–74, 86–88, 90, 91, 95, 97, 115, 117, 117, 119

  main melody instruments of, 89–91, 94–95, 117

  musicians in, 18–21, 29–33, 37, 103, 117, 117, 141

  Oliver’s leadership of, 86–91, 97

  recordings of, 32–33, 58, 60–67, 68, 74, 80–81, 86, 88–91, 94, 95, 97, 99–104, 116, 155, 206

  rehearsals of, 91–92, 117

  rhythm section of, 87–89, 94

  singers featured with, 28–29

  success of, 86–87

  touring of, 21, 22–23, 60–61, 73, 74, 116–18

  white criticism of, 67–68

  see also Lincoln Gardens

  King Oliver’s Dixie Syncopators, 294–95

  KMIC radio, 410

  Knee Drops, 364

  Knockin’ a Jug, 332

  KPVD radio, 410

  Krupa, Gene, 59, 389

  Kubik, Gerhard, 95

  Ku Klux Klan, 2, 60, 231, 443

  Ladnier, Tommy, 101, 279, 391, 509

  Lady Be Good, 436

  LaGuardia, Fiorello, 342

  Lake Ponchartrain, 293, 424

  Langston, Tony, 53

  Lanin, Sam, 130, 131, 132, 138, 151, 495

  Larenzo, 4, 56

  Last Time, The, 282

  Latin language, 125, 126, 127, 129

  Lazy River, 396

  Lennon, John, 393

  Leslie, Lew, 329, 344–45, 347

  Le Tang, Mrs., 124

  Levette, Harry, 378, 385

  Lewis, Art, 318

  Lewis, Ted, 328

  Library of Congress, 390

  Liebestraum (Liszt), 290

  Lieurance, Thurlow, 122

  Light, 187, 328, 503

  Light and Heebie Jeebies, 244, 259, 265, 287, 308, 327, 497, 506

  Lillian Hardin’s Dreamland Orchestra, 205

  Lincoln Gardens, 11, 14, 15, 116–17, 121, 381, 438

  black audiences at, 28, 40, 201–2

  crystal ball in, 18

  floor show and dancing at, 25–26, 28–33, 34, 47, 172–73

  interior of, 18, 25

  King Oliver and His Creole Jazz Band at, 18–40, 45, 47–48, 56, 60, 63, 67–69, 73, 74, 76, 78, 88–92, 97, 100, 112, 119, 143, 206, 248, 452

  white musicians ringside at, 33–39, 63, 82, 143, 226, 242, 420

  whites only “midnight ramble” at, 35, 225

  Lindsey, Joe, 424, 426

  Lindy Hop, 383, 491

  Lips, Kid, 218, 245, 246, 247, 500

  Liszt, Franz, 290, 314

  Little Ida, 182

  Little Joe, 438–39

  Little Rock, Ark., 428

  Livery Stable Blues, 136

  Liza, 336, 344, 436

  Locke, Alain, 125

  Loew, Marcus, 176

  Loew’s Theaters, 334, 367, 380, 384

  Lombardo, Carmen, 400

  Lombardo, Guy, 326–28, 357, 366, 403, 513

  London, 408–9

  Palladium in, 409

  Lonesome Blues, 295

  Lonesome Road, The, 392

  Long, Huey, 419

  Longshaw, Fred, 159, 161–62

  Lopez, Carmen, 244

  Lopez, Vincent, 130, 131, 132, 138, 151, 270, 274, 366

  Los Angeles, Calif., 22, 373, 377–87, 410, 430

  Apex in, 378

  Appomattox Country Club in, 384

  Dunbar Hotel in, 377–78, 384, 389

  Frank Sebastian’s Cotton Club in, 378–84, 386–87, 388, 392, 399, 402–3, 408, 411, 412, 439, 440

  Loew’s State Theater in, 384

  Los Angeles Evening Herald, 378, 384

  Los Angeles Times, 236, 385

  Louis Armstrong and His Hot Five, 165, 430, 438

  musicians in, 165, 204–7, 205, 210, 242

  recordings of, 155, 160–61, 166–67, 204–19, 236, 238, 239, 242, 262, 263, 282–86, 288, 295–97, 303, 363–64, 372–76, 411, 490

  Louis Armstrong and His Hot Seven, 257, 259, 260–63, 364, 411, 435

  musicians in, 260

  Louis Armstrong and His Hot Six, 287–88

  Louis Armstrong and His Orchestra, 1–2, 323, 364

  musicians in, 113

  recordings of, 308, 337, 392

  Louis Armstrong and His Savoy Ballroom Five, 317, 323, 324, 364

  Louis Armstrong’s Chocolate Drop Orchestra, 355

  Louis Armstrong’s 50 Hot Choruses for Cornet, 170

  Louis Armstrong’s Jazz Four, 165, 490

  Louis Armstrong’s New Orleans (Brothers), 3, 57

  Louis Armstrong’s 125 Jazz Breaks for Cornet, 170

  Louis Armstrong’s Sunset Stompers, 244, 257, 259, 276–79

  Louisiana, 46, 48, 67, 95, 235, 425, 428, 440

  Louisiana, 356–57

  Love Supreme, A, 292

  Love Will Find a Way, 72–73

  Lovie Austin and Her Blues Serenaders, 214

  Luandrew, Albert (Sunnyland Slim), 48

  Luis Russell Orchestra, 332–33, 361–63, 362, 367

  Lyles, Aubrey, 341–42

  Lyttelton, Humphrey, 163, 267, 364, 489, 496

  Mabel’s Dream, 97, 159

  Mack, Baby, 379, 385

  Mack, Cecil, 344

  Mack, Red, 387

  Madama Butterfly (Puccini), 280

  Magee, Jeffrey, 143

  Mahler, Gustav, 177

  Mahogany Hall Stomp, 150, 332–33

  Mailer, Norman, 317, 322

  Majors, Florence, 18, 91

  Malcolm X, 197

  Mammy’s Little Coal Black Rose, 167

  Manda, 142

  Mandy, 254, 266

  Mandy Lee Blues, 61

  Mandy Make Up Your Mind, 148

  Manone, Wingy, 33, 239, 281, 304

  Maple Leaf Rag, 82, 111

  Marable, Fate, 104, 180, 189

  Mares, Paul, 24, 33, 36

  “Marijuana: Assassin of Youth” (Anslinger), 389

  Marshall, Kaiser, 122, 332

  Marshall, Thurgood, 441

  Martin, David, 124

  Martin-Smith Music School, 124

  Mascagni, Pietro, 186–87

  Matisse, Henri, 408, 409

  Maxwell, Jimmy, 267, 410

  MCA Agency, 117

  McCartney, Paul, 393

  McClendon, Dotty, 244

  McCutcheon, Joe, 179

  McGraw, Naomi, 247

  McHargue, James “Rosy,” 67–68, 239

  McHugh, Jimmy, 341, 345, 367, 368

  McKendrick, Mike, 413, 422–23

  McKinney, Nina Mae, 378, 385, 389

  McKinney’s Cotton Pickers, 290, 321–22, 412, 415

  McPartland, Jimmy, 33

  Meers, Paul, 346, 355

  Meers, Thelma, 346, 355

  Melancholy Blues, 263

  Melody Maker, 299

  Melrose Music Company, 266–67

  Memories of You, 366, 383, 384, 386, 398, 517

  “Memphis,” 57

  Memphis, Tenn., 42, 51, 58, 59, 72, 103, 258, 381, 428–29

  Peabody Hotel in, 1–2, 429

  Memphis Blues (Handy), 50

  Memphis Commercial Appeal, 428

  Memphis Police Department, 1–2, 428, 444

  Mencken, H. L., 291

  Menelik II, Emperor of Ethiopia, 291, 405, 438, 446, 448

  Mess Around, 234–35

  Metcalf, Louis, 146, 149, 372

  Metropolitan Opera House, 131

  Meyer, Sig, 99, 139, 389, 496

  Mezzrow, Mez, 63, 89, 170, 238–41, 282, 340, 346, 391, 393, 452, 495

  autobiography of, 240, 388

  LA and, 38, 218, 307, 389, 429

  MGM Studios, 380

  Michael, Gertrude, 391

  microphones, 65, 284, 370

  LA’s use of, 9, 296–98, 296, 330, 347, 358, 393, 400,
516, 519

  Mid-Summer Follies, 182

  Mike, Gladys, 324

  Miley, Bubber, 58–59, 249, 300, 489

  Miller, Flournoy, 341–42

  Miller, Punch, 60, 212, 261, 302, 503–4

  Miller, Ray, 193

  Miller and Lyles, 215, 341–42, 385

  Mills, Florence, 342, 345

  Minnie the Moocher, 392

  minstrel shows, 23, 26–28, 38, 39, 51, 169, 220, 241, 381, 438, 453

  Miss Cleo Mitchell and Her Fast Steppers, 29

  Mississippi, 40–41, 45, 60, 67, 95, 183, 425, 428

  “delta” region of, 48

  Mississippi Mud, 288

  Mississippi River, 420, 449

  LA’s playing on riverboats in, 11, 15–16, 29, 34, 71, 104, 106, 121, 180, 189, 198, 199, 214, 313, 418

  Mitchell, George, 69, 319

  Mole, Miff, 239

  Monday Date, A, 297, 303, 311, 364, 507

  Monk, Thelonius, 401

  Montgomery, Little Brother, 428

  Mood Indigo, 292

  Morton, Jelly Roll, 17, 26, 45, 46, 56, 103, 168, 303, 309, 438

  compositions of, 86, 107, 257, 260

  on LA, 212

  on music, 82, 336, 417–18, 448–49

  piano playing style of, 72

  Mosby, Curtis, 378, 384

  Moton, Robert, 305–6, 439, 441, 446, 519

  movies, 412, 417

  LA in, 28, 376, 385, 415, 437, 443–45, 448, 454, 519–20

  orchestral accompaniment to, 176–78, 184–89

  racist, 28, 182–83, 437, 443–45, 448, 454

  silent, 176–78, 184–89

  talking, 9, 334, 376

  Mozart, Wolfgang Amadeus, 245, 250, 252–53, 255, 334, 455, 496

  Muggles, 308, 392

  Muse, Clarence, 385, 440

  musical arrangements, 92, 119, 121, 122, 137, 150, 151, 164, 206, 383

  commercial “stock,” 91, 139, 193, 243

  published, 143–44

  musical notation, 5–6, 10, 20, 35, 49, 50, 52, 92, 106–11, 121, 381, 430, 457–58

  of breaks, 111

  lead sheets in, 108, 111–12, 250, 371, 459

  reading of, 122, 180–81, 198, 243, 261, 291

  Music Trades Convention, 99

  Muskrat Ramble, 208, 210–11, 216, 218, 251, 254, 266, 459, 503

  My Baby Knows How, 190

  My Blue Heaven, 298

  My Daddy Rocks Me, 192

  Myers, Alonzo, 124

  My Heart, 204, 206

  “My Old Kentucky Home,” 26

  My Rose Marie, 142, 143

  My Sweet, 367–68

  Nabokov, Vladimir, 401

  Nail, John, 124, 128

  Naitland, Johnny, 413

  Nation, 230

  National Association for the Advancement of Colored People (NAACP), 191, 236, 439, 441

  annual ball of, 123–25

  Women’s Auxiliary of New York branch of, 123

  National Association of Colored Women, 124

  National Association of Negro Musicians, 124

  Native Americans, 38

  Navy, U.S., 21

  Nearon, Leo Fitz, 124

  Negro Baseball League, 303

 

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