Louis Armstrong: influences, peers and legacy

Every connection with its receipt

Louis Armstrong carried New Orleans cornet tradition into the modern world, inventing the jazz solo and a vocal style that reshaped American popular singing. This mix traces the Storyville mentors who taught him, the opera records and dance bands he loved offstage, the Chicago and New York peers who sparred with him, and the trumpeters and singers who have lived in his shadow ever since.

The Kynda mix for Louis Armstrong

• Key Influence · Dippermouth Blues by King Oliver's Creole Jazz Band (1923). Joe "King" Oliver was Armstrong's surrogate father in New Orleans, giving the teenager a cornet, lessons and his first big break when he summoned him to Chicago in 1922 to play second cornet in the Creole Jazz Band. This Gennett side captures Oliver's famous wa-wa mute chorus and the two-cornet breaks the pair worked out by ear on the bandstand at Lincoln Gardens — the template Armstrong would soon explode into solo art.
• Influencia Obscura · Stock Yards Strut by Freddie Keppard's Jazz Cardinals (1926). Keppard was the cornet king between Buddy Bolden and Oliver, famous for refusing to record early so rivals couldn't steal his licks, and for playing with a handkerchief over his valves. Armstrong heard him in New Orleans and later in Chicago, where the older man's power and bravura set the standard Armstrong had to beat. These rare Paramount sides are nearly all that survives of a legend who shaped the lineage.
• Local Roots · Black Bottom Stomp by Jelly Roll Morton's Red Hot Peppers (1926). Morton was the other New Orleans giant recording in Chicago in 1926, and his Red Hot Peppers Victor sessions ran parallel to Armstrong's Hot Five dates for OKeh. Where Armstrong pushed the individual soloist forward, Morton perfected composed, arranged ensemble jazz with Creole rhythm. The two men knew the same Storyville world, the same tunes and the same South Side clubs that made Chicago the capital of recorded jazz.
• Beyond the Medium · Vesti la giubba by Enrico Caruso (1907). Armstrong was a lifelong opera listener who kept Caruso and other Italian tenor records in his collection and credited operatic singing for ideas about tone, breath and dramatic climax. The sob-laden declamation of Caruso's Pagliacci aria — the best-selling record of its era — maps directly onto the way Armstrong built a trumpet chorus toward an emotional peak, and onto the theatrical catch in his own vocals.
• Peer · Mood Indigo by Duke Ellington (1930). Ellington and Armstrong were the twin poles of early jazz — the composer-orchestrator against the soloist-singer — circling each other for decades before finally recording together in 1961 for the Great Summit sessions, with Duke sitting in at Armstrong's All Stars' piano. This muted three-horn trio, a sound nobody had made before, shows the orchestral imagination that complemented Armstrong's individual voice.
• From the Canon · West End Blues by Louis Armstrong and His Hot Five (1928). The unaccompanied twelve-second opening cadenza is the moment jazz announced that a soloist could be an author. Recorded in Chicago with Earl Hines, it moves through Armstrong's trumpet fanfare, a wordless scat duet with clarinet, Hines's piano chorus and a held high B-flat that resolves into quiet. Every element of Armstrong's mature art — virtuosity, blues feeling, architectural design — is present in three minutes.
• Key Collaborator · A Monday Date by Earl Hines (1928). Earl "Fatha" Hines was Armstrong's great instrumental foil in 1928, inventing a "trumpet-style" piano of single-note right-hand lines that could answer the cornet as an equal. Together they cut "West End Blues" and the duet "Weather Bird." Hines later led the band Armstrong fronted and rejoined him in the All Stars. This solo piano version shows the rhythmic daring he brought to those sessions.
• Legacy · Groovin' High by Dizzy Gillespie (1945). Gillespie publicly sparred with Armstrong over bebop versus older styles in the 1940s, then spent his later years insisting that no jazz trumpeter, himself included, existed outside Armstrong's shadow, and the two appeared together warmly on television. The showmanship, the bent horn, the singing, the role of ambassador abroad — Gillespie inherited the whole Armstrong package and modernized the harmony inside it.

What influenced Louis Armstrong

• Bunk Johnson. Johnson said he taught Armstrong to play by ear. (also via Bunk Johnson and His Superior Jazz Band) “Cornetist Bunk Johnson said he taught the eleven-year-old to play by ear at Dago Tony's honky tonk.” (Wikipedia)
• Guy Lombardo. Lombardo's arrangements are among the sources the article says Armstrong drew on. (also via Sweethearts on Parade) “Armstrong enjoyed many types of music, from blues to the arrangements of Guy Lombardo , to Latin American folksongs, to classical symphonies and opera. Armstrong incorporated influences from all these sources into his performances” (Wikipedia)
• Famous Negro Music Makers by Langston Hughes. Louis Armstrong is profiled in Langston Hughes' book on notable Black musicians. “such outstanding musicians ‘and music makers as Marian Anderson, Roland Hayes, Duke Ellington, Ethel Waters, Louis Armstrong, the Fisk Jubilee Singers, Bert Williams and others.” (St. Croix Avis (Christiansted, St. Croix [V.I.]))
• Singin' the Blues by Frankie Trumbauer and His Orchestra (1927). Singin' the Blues (Frankie Trumbauer and His Orchestra) — titan for Louis Armstrong “His solos on seminal recordings such as "Singin' the Blues" and "I'm Coming, Virginia" (both 1927) demonstrate a gift for extended improvisation that heralded the jazz ballad style, in which jazz solos are an integral part of the composi…” (en.wikipedia.org)
• Bunk Johnson and His Superior Jazz Band by Bunk Johnson (1942). Bunk Johnson and His Superior Jazz Band (Bunk Johnson) — ghost for Louis Armstrong “Cornetist Bunk Johnson said he taught the eleven-year-old to play by ear at Dago Tony's honky tonk.” (en.wikipedia.org)
• King Oliver. Armstrong credited Oliver as an early musical influence. “In his later years, Armstrong credited King Oliver.” (Wikipedia)
• Peter Davis. Davis was Armstrong's first teacher. “Peter Davis , who frequently appeared at the home at the request of Captain Jones, [ 28 ] became Armstrong's first teacher and chose him as the bandleader.” (Wikipedia)
• Dippermouth Blues by King Oliver's Creole Jazz Band (1923). Dippermouth Blues (King Oliver's Creole Jazz Band) — titan for Louis Armstrong “He was the mentor and teacher of Louis Armstrong.” (en.wikipedia.org)
• Ory's Creole Trombone by Kid Ory's Sunshine Orchestra (1922). Ory's Creole Trombone (Kid Ory's Sunshine Orchestra) — titan for Louis Armstrong “Ory had one of the best-known bands in New Orleans in the 1910s, hiring many of the great jazz musicians of the city, including the cornetists Joe "King" Oliver, Mutt Carey, and Louis Armstrong, who joined the band in 1919; and the clari…” (en.wikipedia.org)
• Stock Yards Strut by Freddie Keppard's Jazz Cardinals (1926). Stock Yards Strut (Freddie Keppard's Jazz Cardinals) — ghost for Louis Armstrong “Born in 1890, Keppard was Buddy Bolden's junior by thirteen years and Louis Armstrong's senior by eleven years.” (en.wikipedia.org)
• Vesti la giubba by Enrico Caruso (1907). Vesti la giubba (Enrico Caruso) — culture for Louis Armstrong (musicbrainz.org)
• Sweethearts on Parade by Guy Lombardo and His Royal Canadians (1928). Sweethearts on Parade (Guy Lombardo and His Royal Canadians) — culture for Louis Armstrong “Yet, despite his success as a recording artist, some jazz critics described Lombardo's "sweet" big-band style as "boring, mainstream pap." The legendary jazz trumpeter Louis Armstrong disagreed and often described Lombardo's band as his …” (en.wikipedia.org)
• The Souls of Black Folk by W. E. B. Du Bois (1903). The Souls of Black Folk (W. E. B. Du Bois) — culture for Louis Armstrong (openlibrary.org)

Peers and kindred spirits

• Duke Ellington (1899). Ellington recorded with Louis Armstrong. (also via West End Blues, Mood Indigo) “In 1961, the All-Stars participated in two albums, The Great Summit and The Great Reunion (now together as a single disc) with Duke Ellington .” (Wikipedia)
• Bessie Smith. Armstrong recorded with Smith. (also via West End Blues, St. Louis Blues) “She made 160 recordings for Columbia, often accompanied by the finest musicians of the day, notably Louis Armstrong , Coleman Hawkins , Fletcher Henderson , James P. Johnson , Joe Smith , and Charlie Green .” (Wikipedia)
• Ella Fitzgerald. Armstrong and Fitzgerald made three records together. (also via Hot Fives and Sevens, Ella Fitzgerald Sings the George and Ira Gershwin Song Book) “Teaming up with Bob Haggart’s orchestra, Ella and Louis duetted on the single “You Won’t Be Satisfied (Until You Break My Heart),”” (uDiscover Music)
• James P. Johnson. Johnson performed with Armstrong. (also via If I Could Be with You (One Hour Tonight)) “Music James P. Johnson Lyrics Henry Creamer Vocalist Eva Taylor introduced this song in a 1927 recording with husband Clarence Williams ’ Blue Five.” (JazzStandards.com)
• Sidney Bechet. Armstrong recorded with Bechet. (also via Blue Horizon) “During this time, Armstrong recorded with Clarence Williams (a friend from New Orleans), the Williams Blue Five, Sidney Bechet , and blues singers Alberta Hunter , Ma Rainey , and Bessie Smith .” (Wikipedia)
• Earl Hines (1903). Armstrong recorded a duet and other music with Hines. (also via A Monday Date) “His recordings soon after with pianist Earl "Fatha" Hines , their famous 1928 " Weather Bird " duet and Armstrong's trumpet introduction to and solo in " West End Blues ", remain some of the most influential improvisations in jazz history.” (Wikipedia)
• Hello, Dolly!. Armstrong recorded Herman's song after Channing had sung it. “Hello, Dolly! 1969 USA 2h 19min U Directed by: Gene Kelly Written by: Ernest Lehman Cast: Barbra Streisand, Walter Matthau, Louis Armstrong” (Data Thistle)
• Danny Kaye. Armstrong performed a duet with Kaye. “Best of all: the Satchmo-Kaye "When The Saints Go Marching In" duet, with the legends scat singing a list of music world saints and adding a little "Frere Jacques" too!” (Paramount Pictures)
• Barbra Streisand. Armstrong sang with Streisand in the film Hello, Dolly!. “Hello, Dolly! 1969 USA 2h 19min U Directed by: Gene Kelly Written by: Ernest Lehman Cast: Barbra Streisand, Walter Matthau, Louis Armstrong” (Data Thistle)
• Charles Mingus. Mingus toured with Armstrong. “Charles topped the Saturday evening bill along with Max Roach, Louis Armstrong and Carol Sloane.” (Charles Mingus)
• King Oliver's Creole Jazz Band. Armstrong played second cornet in Oliver's band. (also via Dippermouth Blues) “Playing second cornet to Oliver in Oliver's Creole Jazz Band in the black-only Lincoln Gardens on the South Side of Chicago, Armstrong could make enough money to quit his day jobs.” (Wikipedia)
• Blue Horizon by Sidney Bechet (1944). Blue Horizon (Sidney Bechet) — geography for Louis Armstrong “During this time, Armstrong recorded with Clarence Williams (a friend from New Orleans), the Williams Blue Five, Sidney Bechet, and blues singers Alberta Hunter, Ma Rainey, and Bessie Smith.” (en.wikipedia.org)
• Mood Indigo by Duke Ellington. Mood Indigo (Duke Ellington) — peer for Louis Armstrong “Duke Ellington's orchestra went to Roseland to catch Armstrong's performances.” (en.wikipedia.org)
• Ain't Misbehavin' by Fats Waller. Ain't Misbehavin' (Fats Waller) — peer for Louis Armstrong “=== Emerging as a vocalist === Armstrong returned to New York in 1929, where he played in the pit orchestra for the musical Hot Chocolates, an all-black revue written by Andy Razaf and pianist Fats Waller.” (en.wikipedia.org)
• A Monday Date by Earl Hines (1928). A Monday Date (Earl Hines) — collaborator for Louis Armstrong “After separating from Lil, Armstrong started to play at the Sunset Café for Al Capone's associate Joe Glaser in the Carroll Dickerson Orchestra, with Earl Hines on piano, which was renamed Louis Armstrong and his Stompers.” (en.wikipedia.org)
• Ella Fitzgerald Sings the George and Ira Gershwin Song Book by Ella Fitzgerald (1959). Ella Fitzgerald Sings the George and Ira Gershwin Song Book (Ella Fitzgerald) — collaborator for Louis Armstrong “He collaborated with Ella Fitzgerald, producing three records together: Ella and Louis (1956), Ella and Louis Again (1957), and Porgy and Bess (1959).” (en.wikipedia.org)
• Fate Marable. Armstrong traveled as a member of Marable's band. “He traveled with the band of Fate Marable , which toured on the steamboat Sidney with the Streckfus Steamers line up and down the Mississippi River.” (Wikipedia)
• Fletcher Henderson Orchestra. Armstrong joined the Fletcher Henderson Orchestra. “Armstrong was invited to go to New York City to play with the Fletcher Henderson Orchestra, the top African-American band of the time.” (Wikipedia)
• Clarence Williams. Armstrong recorded with Williams. “During this time, Armstrong recorded with Clarence Williams (a friend from New Orleans), the Williams Blue Five, Sidney Bechet , and blues singers Alberta Hunter , Ma Rainey , and Bessie Smith .” (Wikipedia)
• Alberta Hunter. Armstrong recorded with Hunter. “During this time, Armstrong recorded with Clarence Williams (a friend from New Orleans), the Williams Blue Five, Sidney Bechet , and blues singers Alberta Hunter , Ma Rainey , and Bessie Smith .” (Wikipedia)
• Ma Rainey. Armstrong recorded with Rainey. “During this time, Armstrong recorded with Clarence Williams (a friend from New Orleans), the Williams Blue Five, Sidney Bechet , and blues singers Alberta Hunter , Ma Rainey , and Bessie Smith .” (Wikipedia)
• Erskine Tate. Armstrong played with Tate's ensemble. “Armstrong also played with Erskine Tate 's Little Symphony, mostly at the Vendome Theatre.” (Wikipedia)
• Jack Teagarden. Armstrong performed with Teagarden. “Armstrong also led a highly successful small-group jazz concert at New York Town Hall on May 17, 1947, featuring him with trombonist/singer Jack Teagarden .” (Wikipedia)
• Jimmie Rodgers. The article identifies an earlier Armstrong performance backing Rodgers. “Armstrong appeared on the October 28, 1970, Johnny Cash Show , where he sang Nat King Cole 's hit " Ramblin' Rose " and joined Cash to re-create his performance backing Jimmie Rodgers on "Blue Yodel No. 9".” (Wikipedia)
• Kid Ory's band. Armstrong took Oliver's place in Ory's band. “In 1918, Armstrong's mentor, King Oliver , decided to go north and resigned his position in Kid Ory's band; Armstrong replaced him.” (Wikipedia)
• Tuxedo Brass Band. Armstrong played second trumpet in the band. “Armstrong also became the second trumpet for the Tuxedo Brass Band .” (Wikipedia)
• Lil Hardin Armstrong Band. Armstrong was a member of Lil Hardin Armstrong's band. “For a time, he was a member of the Lil Hardin Armstrong Band and worked for his wife.” (Wikipedia)
• Ain't Misbehavin' by Fats Waller and Andy Razaf. Armstrong performed a rendition of the song in Hot Chocolates. “Armstrong returned to New York in 1929, where he played in the pit orchestra for the musical Hot Chocolates , an all-black revue written by Andy Razaf and pianist Fats Waller . Armstrong made a cameo appearance as a vocalist, regularly s…” (Wikipedia)
• Stardust by Hoagy Carmichael. Armstrong recorded a successful interpretation of Carmichael's song. “Armstrong's interpretation of Carmichael's " Stardust " became one of the most successful versions of this song ever recorded, showcasing Armstrong's unique vocal sound and style” (Wikipedia)
• Lazy River by Sidney Arodin and Hoagy Carmichael. Armstrong recorded a reworking of Arodin and Carmichael's song. “Armstrong's radical re-working of Sidney Arodin and Carmichael's " Lazy River ", recorded in 1931, encapsulated his groundbreaking approach to melody and phrasing.” (Wikipedia)
• Rockin' Chair by Hoagy Carmichael. Armstrong and Teagarden performed and recorded Carmichael's song. “During the concert, Armstrong and Teagarden performed a duet on Hoagy Carmichael's " Rockin' Chair " they then recorded for Okeh Records .” (Wikipedia)
• Ramblin' Rose by Nat King Cole. Armstrong sang a song identified as a Nat King Cole hit. “Armstrong appeared on the October 28, 1970, Johnny Cash Show , where he sang Nat King Cole 's hit " Ramblin' Rose " and joined Cash to re-create his performance backing Jimmie Rodgers on "Blue Yodel No. 9".” (Wikipedia)
• If I Could Be with You (One Hour Tonight) by James P. Johnson and Henry Creamer. Tyle identifies Armstrong’s recording of the Johnson–Creamer song. “But perhaps one of the best-loved recordings was Louis Armstrong ’s version from August, 1930, recorded with Les Hite’s band in Los Angeles” (JazzStandards.com)
• Tiger Rag by Original Dixieland Jass Band (1918). Tiger Rag (Original Dixieland Jass Band) — geography for Louis Armstrong “"Margie" has been recorded by Louis Armstrong, who also covered the band's "Tiger Rag", Ray Charles, Al Jolson, Duke Ellington and His Orchestra in 1935, the Billy Kyle Swing Club Band, Claude Hopkins, Red Nichols, Django Reinhardt, Geor…” (en.wikipedia.org)
• St. Louis Blues by Bessie Smith (1925). St. Louis Blues (Bessie Smith) — peer for Louis Armstrong “During this time, Armstrong recorded with Clarence Williams (a friend from New Orleans), the Williams Blue Five, Sidney Bechet, and blues singers Alberta Hunter, Ma Rainey, and Bessie Smith.” (en.wikipedia.org)
• Hot Miss Lil and Her Hot Shots by Lil Hardin Armstrong (1936). Hot Miss Lil and Her Hot Shots (Lil Hardin Armstrong) — collaborator for Louis Armstrong “For a time, he was a member of the Lil Hardin Armstrong Band and worked for his wife.” (en.wikipedia.org)
• Black Bottom Stomp by Jelly Roll Morton's Red Hot Peppers (1926). Black Bottom Stomp (Jelly Roll Morton's Red Hot Peppers) — geography for Louis Armstrong

Who Louis Armstrong influenced

• Billie Holiday (1915). Article states Holiday first heard Armstrong's records as a young girl, an early influence. (also via West End Blues, Lady in Satin) “Around this time, she first heard the records of Louis Armstrong and Bessie Smith .” (Wikipedia)
• Tony Bennett (1926). Bennett cites Louis Armstrong as a vocal influence. (also via Louis Armstrong Plays W. C. Handy) “So I listened to Sinatra. I listened to Bing Crosby. I listened to Louis Armstrong.” (Fresh Air Archive (NPR))
• Bing Crosby. Crosby admired and copied Armstrong. (also via West End Blues) “I'm proud to acknowledge my debt to the 'Reverend Satchelmouth' ... He is the beginning and the end of music in America.” (Louis Armstrong Society Jazz Band)
• Django Reinhardt. Louis Armstrong's music was among influences that introduced Reinhardt to jazz. (also via West End Blues) “he was introduced to American jazz by an acquaintance, Émile Savitry, whose record collection included such musical luminaries as Louis Armstrong, Duke Ellington, Joe Venuti, Eddie Lang, and Lonnie Johnson.” (Wikipedia)
• Langston Hughes (1902). The article says Armstrong was among the musicians whose sound shaped Hughes's writing. (also via Famous Negro Music Makers) “The sound of jazz, along with musicians such as Armstrong, helped shape Hughes as a writer.” (Wikipedia)
• Dizzy Gillespie (1917). West End Blues (Louis Armstrong) — titan for Dizzy Gillespie (via West End Blues, Groovin' High) “He promised that if he were elected, the White House would be renamed the Blues House, and he would have a cabinet composed of Duke Ellington (Secretary of State), Miles Davis (Director of the CIA), Max Roach (Secretary of Defense), Char…” (en.wikipedia.org)
• Toni Morrison (1931). Morrison cites musicians' self-given nicknames, like Louis Armstrong's 'Satchmo,' as part of the naming tradition that informs the symbolic naming in her fiction. “And then you think of the musicians - Satchmo, Louis Armstrong. What is Satchmo? That's Satchel Mouth.” (Fresh Air (NPR/WHYY))
• Moms Mabley (1894). Mabley performed a musical tribute to Louis Armstrong during a live set. “she opened for Ike & Tina Turner at the Greek Theatre and sang a tribute to Louis Armstrong as part of her set” (Wikipedia)
• Groovin' High by Dizzy Gillespie (1945). Groovin' High (Dizzy Gillespie) — legacy for Louis Armstrong “His honorary pallbearers included Bing Crosby, Ella Fitzgerald, Duke Ellington, Dizzy Gillespie, Pearl Bailey, Count Basie, Harry James, Frank Sinatra, Ed Sullivan, Earl Wilson, Benny Goodman, Alan King, Johnny Carson and David Frost.” (en.wikipedia.org)
• Think of One by Wynton Marsalis (1983). Think of One (Wynton Marsalis) — legacy for Louis Armstrong “It speaks to us all...I'm sure that, somewhere in the firmament, Buddy Bolden, Louis Armstrong and legions of others are smiling down on you." Wynton Marsalis has won the National Medal of Arts, the National Humanities Medal, and been na…” (en.wikipedia.org)
• Lady in Satin by Billie Holiday. Lady in Satin (Billie Holiday) — legacy for Louis Armstrong “In 1947, Armstrong played himself in the movie New Orleans opposite Billie Holiday, which chronicled the demise of the Storyville district and the ensuing exodus of musicians from New Orleans to Chicago.” (en.wikipedia.org)
• Coleman Hawkins. The article identifies Armstrong's influence on Hawkins. “Armstrong's influence on Henderson's tenor sax soloist, Coleman Hawkins , can be judged by listening to the records made by the band during this period.” (Wikipedia)
• Adelaide Hall. Armstrong guided Hall's development as a scat singer. “During Hall's tenure at the venue, she experimented, developed, and expanded her scat singing with Armstrong's guidance and encouragement.” (Wikipedia)
• Dave Brubeck. Armstrong's tours inspired Brubeck's musical. “Armstrong also toured Africa, Europe, and Asia under the sponsorship of the US State Department with great success, earning the nickname "Ambassador Satch" and inspiring Dave Brubeck to compose his jazz musical The Real Ambassadors .” (Wikipedia)
• Julio Cortázar. Cortázar said an Armstrong concert inspired his fictional creatures. “Argentine writer Julio Cortázar , a self-described Armstrong admirer, asserted that a 1952 Louis Armstrong concert at the Théâtre des Champs-Élysées in Paris played a significant role in inspiring him to create the fictional creatures ca…” (Wikipedia)
• The Story of Jazz. The unfilmed segment 'The Story of Jazz' was drawn from Louis Armstrong's autobiography. (via Swing That Music) “Duke Ellington was put under contract to score a segment with the working title, "The Story of Jazz", drawn from Louis Armstrong 's 1936 autobiography, Swing That Music .” (Wikipedia)
• Stardust Memories by Woody Allen (1980). The film features Armstrong's recording in a pivotal scene. (via Stardust) “There is a pivotal scene in Stardust Memories (1980) in which Woody Allen is overwhelmed by a recording of Armstrong's " Stardust " and experiences a nostalgic epiphany.” (Wikipedia)
• Sarah Vaughan. Hot Fives and Sevens (Louis Armstrong) — titan for Sarah Vaughan (via Hot Fives and Sevens) (musicbrainz.org)
• Dorothy Fields. West End Blues (Louis Armstrong) — culture for Dorothy Fields (via West End Blues) (musicbrainz.org)
• Mary Lou Williams (1910). Weather Bird (Louis Armstrong & Earl Hines) — titan for Mary Lou Williams (via Weather Bird)