JAZZ NIGHTS

By 1929 Louis Armstrong was one of the brightest stars in the music firmament, but he was not secure financially. At that time, jazz was still not accepted or appreciated by the mainstream public. Like ragtime, it was considered a somewhat corrupt form of legitimate music, whose popularity and acceptance was centered in the African American communities, where jazz was born and nurtured. The music industry produced records for separate consumers: “race” records were intended for blacks, a distinct commercial market. Race records could be bought by anyone, however, and Armstrong commanded a considerable following within the larger jazz community and among lovers of his music at home and abroad.

MUSIC SELECTION

Armstrong’s popularity was primarily in the African American community until he left Chicago and returned to New York in 1929. He took a job in the band at Connie’s Inn, a popular Harlem nightclub, and also sang the show’s featured number, “Ain’t Misbehavin’,” which became his first big recorded hit. His combination of singing and playing made him a sensation in New York; white musicians and audiences loved his style. He began concentrating on popular songs and leading his own big band, whose job would be to back up his playing and singing.

Armstrong’s singing style was unique: his voice was gravelly, but flexible and expressive. With crystal-clear diction, he could put almost any song across. He used his voice the same way he played his trumpet—with masterful inflection and phrasing. He recorded a variety of songs by Hoagy Carmichael, Harold Arlen, Eubie Blake, Andy Razaf, and other outstanding lyricists and composers. He had great influence on the singing styles of the best-known singers of the time, including the hugely popular Bing Crosby and Billie Holiday. Armstrong was on the way to becoming the first great, universally admired “crossover” artist, equally loved and respected by fans of all races.

“Ain’t Misbehavin’” by Andy Razaf, Thomas “Fats” Waller, and H. Brooks

Lyrics:

“No one to talk with, all by myself

No one to walk with, but I’m happy on the shelf

Ain’t Misbehavin’, I’m saving my love for you.

I know for certain, the one I love

I’m through with flirtin,’ it’s just you I’m thinking of

Ain’t Misbehavin’, I’m saving my love for you.

Like Jack Horner in the corner, don’t go nowhere

What do I care, your kisses are worth waiting for believe me

I don’t stay out late, don’t care to go

I’m home about eight, just me and my radio,

Ain’t Misbehavin’, I’m saving my love for you.

Thomas “Fats”Waller (1904–1943) is best known as one of the greatest of the Harlem stride piano players; he was also a prolific composer. Andy Razaf (1895–1973) was a very prolific and gifted lyricist born in Washington, DC; he was also descended from Madagascar royalty. 

“Memories of You” by Eubie Blake and Andy Razaf

Lyrics:

Waking skies at sunrise,

Every sunset too,

Seems to be bringing me

Memories of You

Here and there, everywhere,

Scenes that we once knew,

And they all just recall

Memories of you.

How I wish I could forget

Those happy yesteryears

That have left a rosary of tears.

Your face beams in my dreams

In spite of all I do,

Everything seems to bring

Memories of you. 

“Memories of You” was a great hit from a 1930s Broadway musical. This beautiful song became a standard of American popular music for many years. The music was composed by James Hubert “Eubie” Blake (1883–1993), a Baltimore-born ragtime pianist who performed regularly from his childhood to his nineties. Blake’s outstanding career had several successful facets: pianist, vaudeville performer, bandleader, and composer of Broadway musicals. He and his partner, Noble Sissle (1889–1975), revolutionized the New York stage when their historic musical Shuffle Along opened in 1921 with an all-black, star-studded cast. Blake’s music brought jazz dance to Broadway, laying the foundation for a distinctly American theatrical form that reached fruition with the musicals of George Gershwin, Cole Porter, Jerome Kern, and others. Blake’s partnership with the great lyricist Andy Razaf resulted in many ballads that were exceptionally beautiful—the words and music were always a perfect fit. When Louis Armstrong recorded this song, his trumpet playing and vocal qualities added a new dimension to an already exquisite composition.

Eubie Blake based the melody of this song on “To A Wild Rose” by Edward MacDowell, the great American composer. Lionel Hampton, the great vibraphone player, is heard on the recording. 

“Star Dust” by Hoagy Carmichael.

Lyrics:

Sometimes I wonder why I spend the lonely night dreaming of a song?

The melody haunts my reverie, and I am once again with you

When our love was new, and each kiss an inspiration,

But that was long ago: now my consolation is in the stardust of a song.

Beside a garden wall, when stars are bright, you are in the arms,

The nightingale tells his fairy tale of paradise, where roses grew.

Though I dream in vain, in my heart it will remain

My stardust melody, the memory of love’s refrain.

“Star Dust” is one of the best-known and beloved popular songs ever written—an enduring masterpiece. Armstrong’s recording of this classic has been called “inspired.” It is an excellent example of his mastery of phrasing and rhythm in both singing and playing. In 1931, when this record was made, his style of singing popular songs was very new. Hoagy Carmichael was a great American songwriter. 

“I’ve Got the World on a String” by Harold Arlen

Lyrics:

I’ve got the world on a string, sittin’ on a rainbow, Got the string around my finger

What a world, what a life, I’m in love!

I’ve got a song that I sing, I can make the rain go, any time I move my finger,

Lucky me, can’t you see I’m in love!

Life is a beautiful thing, as long as I hold the string

I’d be a silly so-and-so, if I should ever let go

I’ve got the world on a string, sittin’ on a rainbow, Got the string around my finger

What a world, what a life, I’m in love!

Armstrong is accompanied by a new band on this recording, which included the excellent young piano player Teddy Wilson and other very fine soloists on trombone and tenor saxophone. Armstrong displays his talents as a showman. His unique singing style combined with his fine playing demonstrates that he is in complete charge. 

“When the Saints Go Marching In”

This was the first recorded jazz version of a Negro spiritual and a hit when it was released in 1938. Its immense popularity made the song the trademark of traditional, early jazz. Armstrong uses his nickname, Satchmo, derived from “Satchelmouth” in his introduction. 

“Blueberry Hill” by Al Lewis, Larry Stock, and Vincent Rose

Louis Armstrong sings with Gordon Jenkins, his orchestra, and choir

Lyrics:

I found my thrill—on Blueberry Hill, on Blueberry Hill when I found you.

The moon stood still—on Blueberry Hill, and lingered until—my dreams came true.

The wind in the willow played—love’s sweet melody

But all of those vows we made—were never to be.

Though we’re apart—you’re part of me still

For you were my thrill—on Blueberry Hill.

Louis Armstrong recorded with both white and black choirs, as well as many different singers. His distinctive voice made him a standout whether singing alone or with others. The secret? He sang like he played and vice versa.