Podcasts about savoy blues

Four sessions featuring different singers with first class jazz accompanists doing a blues repertoire. Albinia Jones (with Dizzy Gillespie, Don Byas, Gene Sedric, Leonard Ware and Sammy Price), Helen Humes (with Herbie Fields, Bobby Stark, Prince Robinson and Leonard Feather), Pleasant Joseph (aka Cousin Joe, with Pete Brown, Leonard Hawkins, Ray Abrams) and Joe Turner (with Pete Johnson, Don Byas, Frankie Newton and Leonard Ware). --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Obi, Nigeria Benue State Joseph Tarka Action Group (Nigeria) Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Dropping Shucks; St. Louis Blues; Cornet Chop Suey; Muggles; When You’re Smiling; Muskrat Ramble; Savoy Blues; Willie the Weeper; Chicago Breakdown; I’m Not Rough; Oriental Strut; Tight Like This; Ory’s Creole Trombone; Basin Street Blues; Sunset […]

When the Dust Settles West Australian Music Industry Awards Western Australia Demography of Australia Townsville Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Don’t Jive Me; A Monday Date; Jazz Lips; Sugar Foot Strut; Wild Man Blues; Savoy Blues; Weather Bird; Keyhole Blues; I’m a Ding Dong Daddy (From Dumas); Don’t Forget to […]

Abduwali Ablet Category:1987 births DJ Butt Gloria Jean Gloria Jean’s Coffees Hungry Jack’s Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: I’m a Ding Dong Daddy (From Dumas); I’m Not Rough; Savoy Blues; No One Else But You; Jazz Lips; Wild Man Blues; Sunset Cafe Stomp; Melancholy Blues; Alligator Crawl; Ain’t Misbehavin’; Georgia […]

Camp Curtin President Lincoln’s 75,000 volunteers Secession in the United States Alexander Hamilton Hamilton (musical) Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: I’m a Ding Dong Daddy (From Dumas); Jazz Lips; Savoy Blues; You Made Me Love You; Weather Bird; Put ’em Down Blues; Willie the Weeper; Oriental Strut; Big Butter and […]

Lili Mirojnick Google Search DuckDuckGo GNOME Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Basin Street Blues; Savoy Blues; Some of These Days; Weary Blues; Black and Blue; That Rhythm Man; Keyhole Blues; Oriental Strut; Hotter Than That; A Monday Date; Song of the Islands; Skip The Gutter; I’m Gonna Gitcha; Muggles; Dropping […]

Turritella Eumetula arctica Mørch Otto Andreas Lowson Mörch Zonitidae Love dart Cupid Valentine’s Day Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Basin Street Blues; Dropping Shucks; I Ain’t Got Nobody; No (Papa No); I’m Not Rough; Don’t Forget to Mess Around; Chicago Breakdown; Wild Man Blues; Skip the Gutter; Savoy Blues; Jazz […]

December 14 (Eastern Orthodox liturgics) 557 Constantinople earthquake Huns Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Got No Blues; Save It Pretty Mama; Muskrat Ramble; I’m Not Rough; Blue, Turning Grey Over You; Alligator Crawl; Sugar Foot Strut; Sweet Little Papa; Savoy Blues; Dropping Shucks; Georgia Grind; Some of These Days; Who’s […]

Bruno Mars discography Bruno Mars Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Melancholy Blues; Georgia Grind; Keyhole Blues; S.O.L. Blues; Weather Bird; Heebie Jeebies; Savoy Blues; Save It Pretty Mama; After You’ve Gone; Beau Koo Jack; Black and Blue; Don’t Jive Me; Jazz Lips; Some of These Days; Got No Blues; I’m […]

List of Mexican films of 1979 El Chanfle Chespirito List of recurring The Simpsons characters Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: I Ain’t Got Nobody; No (Papa No); Muskrat Ramble; When You’re Smiling; Beau Koo Jack; Don’t Forget to Mess Around; Savoy Blues; Fireworks; Sugar Foot Strut; Some of These Days; […]

Iversenfjellet Metres above sea level Satellite Kwangmyŏngsŏng-3 Unit 2 Korean Central News Agency Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: After You’ve Gone; West End Blues; Savoy Blues; Don’t Jive Me; Muskrat Ramble; I Ain’t Got Nobody; I’m Not Rough; I’m a Ding Dong Daddy (From Dumas); Jazz Lips; The Last Time; […]

Burke’s Garden, Virginia Varmint of Burke’s Garden Tazewell County, Virginia Bluefield Blue Jays Appalachian League Howard Johnson Field Howard Johnson’s Howard Deering Johnson Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: St. Louis Blues; Blue, Turning Grey Over You; Got No Blues; Jazz Lips; S.O.L. Blues; Savoy Blues; No One Else But You; […]

Winpak Winnipeg Canadian Museum for Human Rights Albuquerque, New Mexico Better Call Saul Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: S.O.L. Blues, West End Blues; Weather Bird; Sunset Cafe Stomp; Ain’t Misbehavin’; Dallas Blues; Savoy Blues; Sweet Savannah Sue; Song of the Islands; I’m Gonna Gitcha; I’m A Ding Dong Daddy (From […]

Bertilda Samper Acosta Christmas traditions Christmas pyramid Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Black and Blue; Weather Bird; Basin Street Blues; No One Else But You; Got No Blues; Fireworks; Ain’t Misbehavin’; Keyhole Blues; After You’ve Gone; Sugar Foot Strut; I’m Not Rough; Muggles; Savoy Blues; Song of the Islands; Don’t […]

Alphadi Niamey Ténéré Tree List of trees Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Irish Black Bottom; Dropping Shucks; Sweet Savannah Sue; Sweet Little Papa; Save It Pretty Mama; Jazz Lips; Don’t Jive Me; You Made Me Love You; Blue, Turning Grey Over You; Willie the Weeper; Ain’t Misbehavin’; Savoy Blues; West […]

Type 079-class landing ship People’s Liberation Army Navy South Sea Fleet Type 056 corvette Hudong-Zhonghua Shipbuilding List of shipbuilders and shipyards Hyundai Heavy Industries Hyundai Department Store Group Hyundai Department Store Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Irish Black Bottom; When You’re Smiling; Weary Blues; St. Louis Blues; Savoy Blues; Put […]

Mitsubishi Galant VR-4 Rally Finland DKW 3=6 Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: You Made Me Love You; Black and Blue; After You’ve Gone; I’m Not Rough; Hotter Than That; Skip The Gutter; Muskrat Ramble; I Can’t Give You Anything But Love; Savoy Blues; Jazz Lips; Blue, Turning Grey Over You; […]

R. W. Apple, Jr. Rhodes Scholarship John MacBain Trader Classified Media   Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Blue, Turning Grey Over You; Willie the Weeper; Savoy Blues; Skip the Gutter; Sugar Foot Strut; West End Blues; I’m Gonna Gitcha; Georgia Grind; No (Papa No); Muskrat Ramble; The Last Time; Got […]

The Black Album (Prince album) Prince (musician) Minneapolis sound Jimmy Jam and Terry Lewis Jimmy Jam and Terry Lewis production discography Megan Mullally Ron Swanson Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Who’s It?; I’m Not Rough; Potato Head Blues; Hotter Than That; Savoy Blues; Jazz Lips; I Ain’t Got Nobody; Don’t […]

Camron climbing salamander Lungless salamander Mark Twain National Forest Rolla, Missouri Stonehenge replicas and derivatives Carhenge 1,000 Places to See in the USA and Canada Before You Die Kennebunk, Maine Pinkerton Thugs Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Irish Black Bottom; Got No Blues; Savoy Blues; Weary Blues; I Can’t Give […]

Michihiro Michihiro Morita Go (game) Godokoro Meijin International Go Federation International Mind Sports Association Xiangqi Music Credits: Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Ain’t Misbehavin’; Sugar Foot Strut; Some of These Days; No One Else But You; Savoy Blues; Sweet Savannah Sue; Sunset Cafe Stomp; Keyhole Blues; Chicago Breakdown; Heah Me […]

Buphthalmum salicifolium Asteraceae Damned yellow composite Little brown job Birdwatching Twitchers’ vocabulary posh Armenian language Breathy voice Creaky voice Music Credits: Opening Theme: Knockin’ a Jug by Louis Armstrong Episode Music: Some of These Days, Keyhole Blues, I Can’t Give You Anything But Love, Savoy Blues, Sunset Cafe Stomp, Ain’t Misbehavin’, Alligator Crawl, Georgia Grind, […]

The Long Haul has been a non-profit, artist-run organization of affordable artist studios in Parc Extension since 2001. A board of directors oversees its greater vision, while the day to day operations are maintained by founders Vanessa Yanow and John Tinholt. Both are visual artists who started the Long Haul based on a desire to have a non-residential live/work space. Art Talks sought to learn more about the work that goes into running and maintaining such a vital resource to creative practice in Montreal.  In this episode, Vanessa talks about how the space started; balancing personal work and administrative work; the 10 000-Hour Rule; the Long Haul's mandate; the neighbourhood changes over the space's 14 year tenure on Beaumont Avenue;  the community of artists that have come together at the Long Haul; surviving near expulsion; and the benefits of becoming a non-profit organization. This episode was hosted and produced by Yaniya Lee. Podcast logo by Naomi Cook. "Savoy Blues" recording by Louis Armstrong and His Hot Five. "My Heart is a real thing" from the Brahja Waldman's Quintet 2013 album Cosmic Brahjas.  Find out more about the Long Haul here: http://thelonghaulmontreal.blogspot.ca/ and here  https://www.facebook.com/thelonghaulmontrealor look up Vanessa Yanow and John TinholtWrite to arttalksmtl@gmail.com  and subscribe the podcast on iTunes or Tumblr.

“The public don't understand jazz music as we musicians do. A diminished seventh don't mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker's Louis Armstrong's Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong's “Hot Five” recordings, made during the period between 1925 and 1928. Harker's recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American's journey for personal and musical acceptance. Highlights of Harker's song -by-song analysis include Armstrong's “novelty” imitation of a clarinet's cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong's dynamic rhythmic experimentation was inspired by Armstrong's association with the dance team of Brown and McGraw, or how Armstrong's sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong's incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong's own predilection for Guy Lombardo's sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker's studied analyses of Armstrong's solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker's thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay...

“The public don't understand jazz music as we musicians do. A diminished seventh don't mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker's Louis Armstrong's Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong's “Hot Five” recordings, made during the period between 1925 and 1928. Harker's recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American's journey for personal and musical acceptance. Highlights of Harker's song -by-song analysis include Armstrong's “novelty” imitation of a clarinet's cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong's dynamic rhythmic experimentation was inspired by Armstrong's association with the dance team of Brown and McGraw, or how Armstrong's sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong's incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong's own predilection for Guy Lombardo's sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker's studied analyses of Armstrong's solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker's thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

“The public don’t understand jazz music as we musicians do. A diminished seventh don’t mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker’s Louis Armstrong’s Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong’s “Hot Five” recordings, made during the period between 1925 and 1928. Harker’s recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American’s journey for personal and musical acceptance. Highlights of Harker’s song -by-song analysis include Armstrong’s “novelty” imitation of a clarinet’s cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong’s dynamic rhythmic experimentation was inspired by Armstrong’s association with the dance team of Brown and McGraw, or how Armstrong’s sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong’s incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong’s own predilection for Guy Lombardo’s sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker’s studied analyses of Armstrong’s solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker’s thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices

“The public don’t understand jazz music as we musicians do. A diminished seventh don’t mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker’s Louis Armstrong’s Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong’s “Hot Five” recordings, made during the period between 1925 and 1928. Harker’s recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American’s journey for personal and musical acceptance. Highlights of Harker’s song -by-song analysis include Armstrong’s “novelty” imitation of a clarinet’s cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong’s dynamic rhythmic experimentation was inspired by Armstrong’s association with the dance team of Brown and McGraw, or how Armstrong’s sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong’s incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong’s own predilection for Guy Lombardo’s sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker’s studied analyses of Armstrong’s solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker’s thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices

“The public don’t understand jazz music as we musicians do. A diminished seventh don’t mean a thing to them, but they go for high notes. After all, the public is paying. If musicians depended on musicians at the box office they would starve to death.”–Louis Armstrong Brian Harker’s Louis Armstrong’s Hot Five and Hot Seven Recordings (Oxford University Press, 2011) is an artful jambalaya of rigorous musical analysis, thoughtful cultural contexts, and some provocative informed speculation as to how Armstrong absorbed, innovated, and consolidated the music we call jazz. Harker focuses his analysis and discussion on seven of Louis Armstrong’s “Hot Five” recordings, made during the period between 1925 and 1928. Harker’s recording-as-“snap-shot” approach illuminates how Armstrong used novelty, musical narrative, rhythmic variation, harmonic changes, “sweet” and “hot” elements,  and technical virtuosity in his vast recording repertoire. Harker also details how Armstrong relentlessly wedded his drive for self-improvement and creative expression to commercial realities, giving the reader fascinating anecdotes and back stories about this extraordinary African-American’s journey for personal and musical acceptance. Highlights of Harker’s song -by-song analysis include Armstrong’s “novelty” imitation of a clarinet’s cascading arpeggios in “Cornet Chop Suey,” his “telling a story” in “Big Butter and Egg Man,” his negotiation of harmonic changes in “Potato Head Blues,” his crowd-thrilling high note playing in “SOL Blues” and “Gully Low Blues,” his “sweet jazz” elements in “Savoy Blues” and his brilliant amalgam of all the afore-mentioned jazz elements in his masterpiece recording, “West End Blues.” Brian Harker, a Professor of Music at Brigham Young University and former professional trumpet player himself, has spent a good part of his life studying Louis Armstrong. And, he is quite interesting and provocative when he is a speculative detective. Some examples include how he shares the theory that some of Armstrong’s dynamic rhythmic experimentation was inspired by Armstrong’s association with the dance team of Brown and McGraw, or how Armstrong’s sustained high C virtuosity was influenced by his admiration for opera superstar Enrico Caruso as well as his competitive rivalry with trumpeter Reuben Reeves – or how Armstrong’s incorporating elements of “sweet music” (in Savoy Blues) may have been inspired by Armstrong’s own predilection for Guy Lombardo’s sweet jazz as a preferred musical background during his own romantic trysts.  This gives feel and flesh to the book and complements Harker’s studied analyses of Armstrong’s solo transcriptions. Louis Armstrong drew from everything and everyone around him. He constantly tried to improve himself musically and personally and yet, at the same time, resented the “putting on of airs,” all the while negotiating the politics of race and the brutal realities of the music and entertainment world. Harker’s thoughtful cultural introspections gives the reader a greater appreciation for what Armstrong himself had to endure and transcend during the Hot Five recording period of his career. According to Harker, Louis was most proud of his “color barrier” advances in radio and film and saw his Hot Five recordings as simply another pay... Learn more about your ad choices. Visit megaphone.fm/adchoices