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<p><img src="https://f4.bcbits.com/img/a1140086509_10.jpg" width="1200" height="1200"/></p>
<p><br></p>
<p>https://www.youtube.com/watch?v=FnLHf2CZnxA </p>
<p><em>Electronic / Bass</em> <em>/ Dub </em></p>
<p><br></p>
<h1><strong>Hardcore Smoker </strong></h1>
<p><strong>@dudu-hoffman </strong></p>
<p><strong> </strong></p>
<p><br></p>
<p><a href="https://duduhoffman.bandcamp.com/album/idirt-ep"><strong>Bandcamp </strong></a><a href="https://soundcloud.com/dudu-hoffman"><strong>SoundCloud</strong></a></p>
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| permlink | classic-musician-daily-louis-armstrong-201771t175433625z |
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| title | "CLASSIC MUSICIAN DAILY : Louis Armstrong" |
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| body | "https://www.youtube.com/watch?v=BlDgQOd3p-0
Louis Armstrong ,Conceived August 4, 1901 New Orleans, Louisiana, U.S.
Died July 6, 1971 (matured 69) Crown, Queens, New York, U.S.
Reason for death Heart assault , Different names "Satchmo" "Satch" "Pops"
Occupation , Artist arranger artist , trumpet , vocalist
Louis Armstrong (August 4, 1901 – July 6, 1971), nicknamed Satchmo, Satch, or Pops was an American trumpeter, writer, vocalist and infrequent performing artist who was a standout amongst the most powerful figures in jazz. His vocation spread over five decades, from the 1920s to the 1960s, and diverse periods in jazz. Coming to conspicuousness in the 1920s as an "innovative" trumpet and cornet player, Armstrong was a foundational impact in jazz, moving the concentration of the music from aggregate ad lib to solo performance.With his immediately unmistakable gravelly voice, Armstrong was additionally a persuasive vocalist, showing incredible mastery as an improviser, twisting the verses and tune of a tune for expressive purposes. He was likewise talented at scat singing.
Famous for his charming stage nearness and voice practically as much with respect to his trumpet-playing, Armstrong's impact broadens well past jazz, and before the finish of his profession in the 1960s, he was broadly viewed as a significant impact on prevalent music by and large. Armstrong was one of the main really well known African-American performers to "traverse", whose skin shading was auxiliary to his music in an America that was to a great degree racially isolated. He once in a while freely politicized his race, regularly to the daunt of kindred African Americans, yet took an all around pitched remain for integration in the Little Rock emergency. His aesthetics and identity permitted him socially adequate access to the higher classes of American culture which were exceedingly limited for dark men of his time.
Armstrong regularly expressed that he was conceived on July 4, 1900, a date that has been noted in numerous histories. Despite the fact that he died in 1971, it was not until the mid-1980s that his actual birth date, August 4, 1901, was found by the analyst Tad Jones through the examination of birth records.
Armstrong was naturally introduced to a poor family in New Orleans, Louisiana, and was the grandson of slaves. He spent his childhood in neediness, in a harsh neighborhood known as the Battlefield, which was a piece of the Storyville legitimate prostitution region. His dad, William Armstrong (1881–1933), surrendered the family when Louis was a newborn child and brought up with another lady. His mom, Mary "Mayann" Albert (1886–1927), at that point left Louis and his more youthful sister, Beatrice Armstrong Collins (1903–1987), under the watchful eye of his grandma, Josephine Armstrong, and now and again his uncle Isaac. At five, he moved back to live with his mom, her relatives and a parade of "stepfathers".
He went to the Fisk School for Boys, where he in all likelihood had an early presentation to music. He acquired some cash by offering daily papers, conveying coal, singing in the city around evening time, and furthermore by finding disposed of nourishment and pitching it to eateries, however, it was insufficient to keep his mom from prostitution. He hung out in move corridors up close and personal, where he watched everything from salacious moving to the quadrille. For additional cash, he likewise pulled coal to Storyville and tuned into the groups playing in the houses of ill-repute and move lobbies, particularly Pete Lala's, the place Joe "Lord" Oliver executed and in addition different celebrated performers who might drop into stick.
In the wake of dropping out of the Fisk School at age eleven, Armstrong joined a quartet of young men who sang in the lanes for cash. He likewise began to cause harm. Cornet player Bunk Johnson said he showed Armstrong (at that point 11) to play by ear at Dago Tony's Tonk in New Orleans,in spite of the fact that in his later years Armstrong gave the credit to Oliver. Armstrong scarcely glanced back at his childhood as the most exceedingly bad of times yet drew motivation from it rather: "Every time I close my eyes blowing that trumpet of mine—I look ideal in the core of good old New Orleans... It has given me something to live for."
He likewise worked for a Lithuanian-Jewish settler family, the Karnofskys, who had a garbage pulling business and gave him odd employments. They took him in and treated him like family; knowing he lived without a father, they bolstered and sustained him He later composed a journal of his association with the Karnofskys, Louis Armstrong + the Jewish Family in New Orleans, La., the Year of 1907. In it he portrayed his disclosure that this family was likewise subject to segregation by "other white people" who felt that they were superior to anything Jews: "I was just seven years of age, however, I could without much of a stretch see the indecent treatment that the White Folks were giving the poor Jewish family whom I worked for." Armstrong wore a Star of David pendant for whatever remains of his life and expounded on what he gained from them: "how to live—genuine and determination." The impact of Karnofsky is recollected in New Orleans by the Karnofsky Project, a charitable association committed to tolerating gave melodic instruments to "place them under the control of an enthusiastic youngster who couldn't generally participate in a magnificent learning experience."
Armstrong with his initial trumpet teacher, Peter Davis, in 1965
Armstrong built up his cornet playing abilities by playing in the band of the New Orleans Home for Colored Waifs, where he had been sent numerous circumstances for general wrongdoing, most prominently to fire his stepfather's gun into the air at a New Year's Eve festivity (it was just an unfilled shot, as police records affirm). Teacher Peter Davis (who often showed up at the home at the demand of its executive, Captain Joseph Jones) imparted train in and gave melodic preparing to the generally self-educated Armstrong. In the long run, Davis made Armstrong the band pioneer. The home band played around New Orleans and the thirteen-year-old Louis started to draw consideration by his cornet playing, beginning him on a melodic career. At fourteen he was discharged from the home, living again with his dad and new stepmother, Gertrude, and after that back with his mom and hence back to the roads and their enticements. Armstrong got his initial move corridor work at Henry Ponce's, the place Black Benny turned into his defender and guide. He pulled coal by day and played his cornet during the evening.
He played in the city's continuous metal band parades and turned into more established artists each possibility he got, gaining from Bunk Johnson, Buddy Petit, Kid Ory, or more all, Joe "Lord" Oliver, who went about as a coach and father figure to the youthful artist. Afterward, he played in metal groups and riverboats of New Orleans and started going with the very much respected band of Fate Marable, which visited on a steamboat all over the Mississippi River. He portrayed his time with Marable as "heading off to the University," since it gave him a substantially more extensive experience working with composed courses of action.
In 1919, Joe Oliver chose to go north and surrendered his position in Kid Ory's band; Armstrong supplanted him. He additionally turned out to be the second trumpet for the Tuxedo Brass Band
All through his riverboat encounter, Armstrong's musicianship started to develop and extend. At twenty, he could read music and begun to be included in broadened trumpet performances, one of the principal jazzmen to do this, infusing his own particular identity and style into his performance turns. He had figured out how to make an exceptional sound and furthermore began utilizing singing and patter in his performances. In 1922, Armstrong joined the mass migration to Chicago, where he had been welcomed by his tutor, Joe "Ruler" Oliver, to join his Creole Jazz Band and where he could make an adequate salary so that he never again expected to supplement his music with day work employments. It was a blast time in Chicago and however race relations were poor, the city was abounding with employments accessible for the African American community, who were making great wages in plants and had a bounty to spend on excitement.
Oliver's band was among the most persuasive jazz groups in Chicago in the mid-1920s when Chicago was the focal point of the jazz universe. Armstrong lived extravagantly in Chicago, in his own loft with his own particular private shower (his first). Energized as he was to be in Chicago, he started his profession long
PLEASE NOTE I SHARED THIS INFORMATION FOR EDUCATION PURPOSES AND DONT OWN THE FOOTAGE HOPE YOU GUYS LEARN FROM THE FOOTAGE ABOVE" |
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hiveblocks