Satchmo: The Genius of Louis Armstrong

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Hachette Books, 2009 M03 5 - 216 páginas
Gary Giddins has been called "the best jazz writer in America today" (Esquire). Louis Armstrong has been called the most influential jazz musician of the century. Together this auspicious pairing has resulted in Satchmo, one of the most vivid and fascinating portraits ever drawn of perhaps the greatest figure in the history of American music. Available now at a new price, this text-only edition is the authoritative introduction to Armstrong's life and art for the curious newcomer, and offers fresh insight even for the serious student of Pops.

Dentro del libro

Contenido

Sección 1
7
Sección 2
22
Sección 3
33
Sección 4
52
Sección 5
67
Sección 6
72
Sección 7
89
Sección 8
109
Sección 9
124
Sección 10
136
Sección 11
150
Sección 12
192
Sección 13
211
Sección 14
229
Derechos de autor

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Página 29 - My real dad was a sharp man, tall and handsome and well built. He made the chicks swoon when he marched by as the grand marshal in the Odd Fellows parade. I was very proud to see him in his uniform and his high hat with the beautiful streamer hanging down by his side.
Página 99 - ... We youngsters were the closest rivals the Ory band had. I saw Joe Oliver the night of the day he had cut in on us. "Why in hell," he said before I could open my mouth, "didn't you stand up?" "Papa Joe, it was all my fault. I promise I won't ever do that again." We laughed it all off, and Joe bought me a bottle of beer. This was a feather in my cap because Papa Joe was a safe man, and he did not waste a lot of money buying anybody drinks. But for me he would do anything he thought would make me...
Página 101 - ... happened when I met a gal named Irene, who had just arrived from Memphis, Tennessee, and did not know a soul in New Orleans. She got mixed up with a gambler in my neighborhood named Cheeky Black who gave her a real hard time. She used to come into a honky-tonk where I was playing with a three-piece combo. I played the cornet; Boogus, the piano; and Sonny Garbie, the drums. After their night's work was over, all the hustling gals used to come into the joint around four or five o'clock in the morning....
Página 58 - All you have to do is to put on your long pants and play the blues for the whores that hustle all night. They come in with a big stack of money in their stockings for their pimps. When you play the blues they will call you sweet names and buy you drinks and give you tips.
Página 112 - If anyone made the mistake of passing that growler to him first he would put it to his chops and all we could see was his Adam's apple moving up and down like a perpetual motion machine. We heard a regular google, google, google. Then he would take the can from his mouth with a sigh, wipe the foam off his mouth with his...
Página 97 - We did not use a piano in those days. There were only six pieces: cornet, clarinet, trombone, drums, bass violin and guitar, and when those six kids started to swing, you would swear it was Ory and Oliver's jazz band. Kid Ory and Joe Oliver got together and made one of the hottest jazz bands that ever hit New Orleans. They often played in a tail gate wagon to advertise a ball or other entertainments. When they found themselves on a street corner next to another band in another wagon, Joe and Kid...
Página 46 - I would put the bugle nonchalantly to my lips and blow real mellow tones. The whole place seemed to change. Satisfied with my tone Mr. Davis gave me a cornet and taught me how to play Home, Sweet Home.
Página 8 - There were churchpeople, gamblers, hustlers, cheap pimps, thieves, prostitutes and lots of children. There were bars, honky-tonks and saloons, and lots of women walking the streets for tricks to take to their "pads,

Acerca del autor (2009)

Gary Giddins wrote the Weather Bird jazz column in the Village Voice for over 30 years and later directed the Leon Levy Center for Biography at the CUNY Graduate Center. He received the National Nook Critics Circle Award, the Ralph J. Gleason Music Book Award, and the Bell Atlantic Award for Visions of Jazz: The First Century in 1998.

His other books include Bing Crosby: A Pocketful of Dreams-The Early Years, 1930-1940, which won the Ralph J. Gleason Music Book Award and the ARSC Award for Excellence in Historical Sound Research; Weatherbird: Jazz at the Dawn of Its Second Century; Faces in the Crowd; Natural Selection; Warning Shadow; and biographies of Louis Armstrong and Charlie Parker. He has won six ASCAP-Deems Taylor Awards, a Guggenheim Fellowship, and a Peabody Award in Broadcasting. He lives in New York, NY.

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