Armstrong, known for playing the trumpet, moved to New York City in 1924 to play with Fletcher Henderson. In 1925 as band leader of Hot Five, he made his first recordings in Chicago. He toured in England in 1932 for three months Armstrong stayed busy setting up band rehearsals and playing for his fans up until just days before his death on July 6, 1971 (Louis Armstrong).
Armstrong met his second wife Lil Hardin who urged him to break away from the band because she recognized Louis’s talent. After two years passed, Louis Armstrong quit the Creole jazz band and joined another Chicago band where he played first trumpet but only stayed with the band for a few months. Louis Armstrong moved to New York City, New York in 1924 at the invitation of bandleader Fletcher Henderson. Fourteen months after joining the band Armstrong moved back to Chicago because of Lil’s urging. Lil’ promoted Armstrong in clubs and had him billed as “The World’s Greatest Trumpet Player.” Lil and Armstrong formed a studio band called Louis Armstrong and his hot five.
Using no vocals, a song called the “Dixie Jazz Band One-Step” as constructed with these five different instruments. It was recorded under the leadership of cornetist Nick LaRoca in 1917. The drummer in the piece has a soft undertone that is called a “roll-off”, a devise usually played by a parade bands drummer to prepare the musicians to march, under the horns. The pitch and rhythm of this piece tend to blend together to make a very complimentary sound to the ear. Cymbals are used sparingly and when the use of a cymbal crash this symbolizes something significant in the piece.
He began helping people like Trummy Young, Ted Buckner and Willie Smith and with helping people like them; he created what people called the Sy Oliver style. After all this occurred, Oliver made his way to the Tommy Dorsey. He wanted to keep his music writing style in the picture but he was going into a band that was “Dixieland-orientated” but Dorsey wanted a Swing band. Sy explained “swing music is not an intellectual exercise; you can’t do it with your mind alone”. He later joined the service; after the service he became a band director of the Zanzibar Club.
His amalgamation of gospel and R&B assited in creating a new musical style branded the name soul. By the cessation of the 1950s, Charles commenced amusing the universe of jazz, cutting records with affiliates of the Modern Jazz Quartet. Other musicians commenced to call Charles "The Genius," an fitting title for the ramblin' musician, who by no means worked with just one technique, but amalgamated and titivated all that he handled. Charles's major success was possibly his gift to cross over into pop music, attaining No. 6 on the pop charts and No.
Kammeron Brown HUM2525 Class: M W 5:30 Pro. Robert Fleischmann The artist I choose is Kenny G Kenneth Bruce Gorelick was born June 5, 1956, better known by his stage name Kenny G, is a Grammy winning American, adult contemporary and smooth jazz saxophonist. first came into contact with a saxophone when he heard someone performing with one on The Ed Sullivan Show.He started playing the saxophone in 1966 when he was 10 years old I would say he is a child prodigy. He learned how to play under the direction of local trumpeter Gerald Pfizer and by practicing along with records, trying to emulate the sounds that he was hearing. His first saxophone was a Buffet Crampon alto The type of genre is a Jazz, Easy Listening music the musical forces in this song is he primarily plays the Soprano saxophone but his Secondary are the Alto saxophone,Tenor, saxophone, Flute.
Louis Armstrong and The Hot Five Study- By Hannah Brown Louis Armstrong and The Hot Five Study- By Hannah Brown The Hot Five was Louis Armstrong's first jazz recording band led under his own name. It was a typical New Orleans jazz band in instrumentation, consisting of trumpet, clarinet, and trombone backed by a rhythm section. The original New Orleans jazz style leaned heavily on collective improvisation, where the three horns together played the lead: the trumpet played the main melody, and the clarinet and trombone played improvised accompaniments to the melody. This tradition was continued in the Hot Five, but because of Armstrong's creative gifts as a trumpet player, solo passages where the trumpet played
Upon arriving in New York, he spent most of his first weeks in town trying to get in contact with Charlie Parker, despite being advised against doing so by several people he met during his quest, including saxophonist Coleman Hawkins.  Finally locating his idol, Davis became one of the cadre of musicians who held nightly jam sessions at two of Harlem's nightclubs, Minton's Playhouse and Monroe's. The group included many of the future leaders of the bebop revolution: young players such as Fats Navarro, Freddie Webster, and J. J. Johnson. Established musicians including Thelonious Monk and Kenny Clarke were also regular participants. Davis dropped out of Juilliard, after asking permission from his father.
By 1943 he began a series of annual concerts at Carnegie Hall, which was an indication of how much jazz was now accepted in prestigious western classical concert venues. Ellington used this opportunity to write longer and more ambitious works in several movements, like the epic musical history of African-American life, Black, Brown and Beige. Between 1927 and 1931 the Ellington Orchestra played its most famous residency. At the Cotton Club in Harlem, the band backed ‘jungle’ dance-theatre routines in a variety of shows, part of a new popular interest in African-American culture later known as the Harlem Renaissance. During the Cotton Club years, the Ellington band
Early on I had started collecting Bix and then early Armstrong, Oliver, Clarence Williams and such groups and to some extent Morton records. They weren't easy to find but I had most of the Red Hot Peppers, many of which were re-issued on the Bluebird label. In early 1941 David heard that Jelly Roll was in Los Angeles and we made an effort to find where he was staying. A few weeks later we got his address in the Central Avenue district of Los Angeles, at the house of Dink Johnson, also a piano player, who was, I believe, Jelly's brother-in-law. After all those years of hearing about him and searching out his music, finding him that Saturday morning at Dink's house was a great treat.