Louis Armstrong: His horn and voice changed the world of music
A Fitting Tribute to a Great Artist on the Centenary of his Birthday
On the hundredth anniversary of the birth of Louis Armstrong a celebration in his honor was held at Columbia University, one of America’s most distinguished institutions of higher learning. Titled The Artistry of Pops: Louis Armstrong on his 100th Birthday,” three of the nation’s most outstanding intellectuals and artists – Robert O’Meely, Stanley Crouch and Wynton Marsalis – conducted an ancestor veneration ritual in memory of Louis Armstrong, a great American original.
Robert O’Meely is a Professor of English at Columbia, Director of the Institute for Jazz Studies and a serious Jazz scholar who wrote an important book on Billy Holliday; Stanley Crouch is the nation’s premiere Jazz critic and biographer of Charlie Parker; and Wynton Marsalis is Artistic Director of Jazz at Lincoln Center – the most important Jazz performance and education venue in the world – and leader of the internationally renowned Jazz at Lincoln Center Orchestra, an aggregation of great musicians who can play every genre of jazz without accent.
It is a certainty that almost anyone who takes the time to view this video will be greatly enlightened by the experience. My certainty lies in the fact that I was enlightened by it and I have been writing about Jazz for over 20 years and have published essays about the music in some of the most prestigious journals in the English language. The video begins with an opening address by Dr. O’Meely, rich in eloquence and erudition, it paints a complex portrait of Louis Armstrong that demolished the stereotypical view of him as a simple minded entertainer and borderline clown.
What emerges from Professor O’Meely’s succinct but learned lecture is a compelling portrait of a great artist who changed western music and won devotees among musicians and music lovers all over the world. We learn that the ability to play and instrument and also sing well enough to have a lasting influence on both arts is a very rare feat; the province of genius. Yet, he tells us, this is precisely what Louis Armstrong did.
Pop’s Armstrong Singing
Recording with the magnificent Ella Fitzgerald
One of Pop’s many artistic “children”
In his professorial fashion Dr. O’Meely cited a scholarly text to provide evidence of the influence of Louis Armstrong on the major singers who dominated American jazz and pop music for most of the twentieth century and set the standards many singers still emulate. The Book, “Pops Children,” lets us hear it from the horses’ mouths through the author’s interviews. Among those who pay homage to Pops as an artistic inspiration and guide are Frank Sinatra, Sarah Vaughn, Tony Bennett, Ella Fitzgerald, Lady Day, et al.
O’Meely’s lecture was the ideal introduction to Louis Armstrong, because he enumerates the many facets of Armstrong’s interests and talents and defines the elements that characterize his style and innovations in western music. Although he teases us with glimpses of Armstrong’s multi-faceted personality and varied interests, he reminds us they are laboring under the tyranny of the clock and thus must confine their discourse to the matter of music.
Despite the fact that he is a Professor of English Dr. O’Meely is a fine music critic. Like Crouch and Marsalis he is a protégée of the novelist, essayist, musician Ralph Ellison, and Albert Murray, the recently departed Harlem sage and blues philosopher whose masterpiece, “Stomping the Blues,” is a canonical text on Afro-American music…especially Jazz. Thus O’Meely’s analysis is well informed by a broad knowledge of the history and nature of artistic creation and innovation, and his discussion of Louis Armstrong is conducted within the comparative context of all great art.
As a literary man beguiled by the blues in its many splendored guises, Dr. O’Meeley conjures up the memory of Professor Sterling Brown, a Harvard educated pioneer blues poet and longtime Professor of English at Howard University in Washington, who had jazz musicians play for his class live and who is called out by name as the hippest intellectual in the nation’s capitol in Ledbelly’s famous song “Washington is a Bourgeois Town.”
It was Professor O’Meely who was called upon to make the keynote speech at the dedication of the monumental statute “Invisible Man,” created by Elizabeth Catlett, outside of Ellison’s residence on Riverside Drive, not far from Columbia’s campus. Unlike Sterling Brown, O’ Meely does not need jazz musicians to play for his class because just a few blocks down Broadway from campus is Jazz at Lincoln Center, where the greatest Jazz musicians in the world perform nearly every night. O’Meely is immersed in the Jazz milieu being centrally located in the Jazz capitol of the world he has seen it all, which makes him an ideal critic fully equipped to evaluate the place of Louis Armstrong in American music.
I got a taste of the depth of his erudition when we debated an essay on music and literature written by Albert Murray in a seminar at the Sorbonne in Paris.
Debating the Learned Professor O’Meely at the Sorbonne
A Joint Meeting of the US and European Associations of American Studies
At the conclusion of his learned commentary on the character and contributions of Pops Armstrong, Professor O’Meely turned the floor over to Stanley Crouch and Wynton Marsalis after reading their impressive bonafides to the audience, calling them “two of the smartest people talking about Jazz.” Crouch was introduced first to tumultuous applause, but when Wynton walked on stage, trumpet in hand, the crowd went wild.
In an extended discussion Crouch compared the heroism of people who invent major movements in art or intellectual ideas to those in classical Greek mythology, and Wynton dazzled with his in-depth knowledge of the art of trumpet playing and the history of its development in the USA. As always, his lecture became a “show and tell” when he would demonstrate his point on the trumpet.
This video is a wonderful portrait of Pops which require no further comment, since we have the film. However it is impossible to overstate the importance of the work that O’Meely, Crouch and Marsalis are doing by institutionalizing Jazz in elite, well funded, American cultural and academic institutions such as Lincoln Center and Columbia University.
It is both fitting and proper that this effort should be led by Afro-American artists and intellectuals. Jazz is, after all, Black America’s gift to the nation and America’s gift to world culture. Look, listen and learn about one of the greatest artists and most interesting American men of the 20th century, the trumpet virtuoso that invented both the extended Jazz solo and a distinctly American approach to singing… the Jazz song.
Pops At Carnegie Hall with Kate Middleton 1947
A Sartorial Trend Setter Always sharp as a Tack
The Axe with Which Louis Conquored the World!
This Trumpet was a gift from King George V in 1933
Double click on link to see the video Tribute
Harlem, New York
April 4, 2014