Grammy Award-winning Doug Beavers is of the stature of NYC’s top jazz aficionados who fearlessly push the boundaries of the genre itself. Beavers was an ace trombonist for Eddie Palmieri’s “La Perfecta” band and the current lead trombonist for the Spanish Harlem Orchestra. On his forthcoming new full-length studio album, Sol, Beavers steps into the spotlight like never before.
Sol showcases a dozen original compositions featuring special guests Joe Locke (Kenny Barron, Eddie Henderson) on vibraphone, vocalist Ada Dyer (Chaka Khan, Roberta Flack), Latin jazz vocal sensation Jeremy Bosch (Spanish Harlem Orchestra), and Robby Ameen (Ruben Blades, Dizzy Gillespie) on drums.
Recorded in New York City during the COVID-19 pandemic, Doug Beavers sought to produce an empowering album to help rekindle connections and return to values centered around kindness and compassion. At the heart of Sol, he revisits the sounds of the 1970s when addictive bass riffs, sophisticated horn arrangements, and African rhythms dominated the charts. It wouldn’t be a Beavers recording though if it didn’t have a powerful punch of Latin jazz and the best salsa players/singers NYC has to offer performing on the tracks. Hence, Sol dives deep into an organic alchemy of salsa, jazz, and R&B.
“It was the vibe of the sun telling me everything is going to be OK. I just took my score paper and the music immediately started pouring out,” Doug Beavers recalls. “You know, we’ve all been through a lot in 2020, and I wanted to record a New York album that uplifts people and puts smiles on their faces. I know that sunshine has that natural effect on me, thus I named the album, Sol.”
Sol is set for international release on Friday, December 4, on Circle 9, a brand new subscriber-supported independent record label, recently launched by Doug Beavers.
When talking about the significant birthdays in hip hop, few mean more to the genre than Jay-Z’s. The Brooklyn-bred mogul has turned modest beginnings into a billion-dollar empire while doubling as one of the world’s most popular and influential entertainers. A product of Brooklyn’s Marcy projects, Hov has found success by being a forward thinker and staying ahead of the curve, something he has no problem reminding peers and fans alike. After all, who else could serve as Hip Hop’s “Big Brother?” So, as we wish him a happy 51st birthday, here are the top Jay-Z songs where he lets you know that he sets the trends, we just follow.
Imaginary Players
The fourth track off of his sophomore album, In My Lifetime, Vol. 1, “Imaginary Players” has stood the test of time as one of the premier “sh** talking” records in Hip Hop history. Hov spends nearly four-minutes reminding rappers that their records don’t sell as well as his, they’re not as fly as him and their money simply doesn’t stack up. As part of his earlier discography, it’s always fun to hear Jay – Z brag about cars, money and jewelry before his ascension to mogul status. The intro alone sets the tone for the whole record.
I gotta be like the pioneer to this sh**, you know I was popping that Cristal When all y’all n***** thought it was beer and sh**, you know Wearing that platinum sh** When all y’all chicks thought it was silver and sh** I gotta really be the pioneer of this sh** Bottom line
30 Something
This is an interesting part of Jay – Z’s career. Hip Hop has always been driven by the youth, yet on this record, a 35-year-old Jay tried to convince the world that all the youthful materialism (rims, jewelry, gunplay) that had been a part of the rap culture for decades was now irrelevant.
I’m young enough to know the right car to buy Yet grown enough not to put rims on it I got that six-deuce with curtains so you can’t see me And I didn’t even have to put tints on it I don’t got the bright watch, I got the right watch I don’t buy out the bar, I bought the night spot I got the right stock I got stockbrokers that’s movin’ it like white tops
It was certainly gaudy of him to believe that he could single handedly shift hip hop’s culture to fit where he was at in his own life. But, the fact that he was able to turn this train of thought into an entire album — Kingdom Come — and not get ridiculed is impressive in itself.
On to the Next One
https://youtu.be/AQY7hivw67Q
One of the lead singles off of 2009’s The Blueprint 3 album, this record continues the trend of Jay – Z letting rappers know that they simply do not have the connections that he does, so the moves he make will always be of a higher plateau. The Swizz Beats assisted record sees Hov double down on his new way of thought, letting listeners know that he’s only moving forward and since he’s used to setting trends, this would just be another one that the masses would eventually follow.
I had Oprah chillin’ in the projects, Had her out in Bed Stuy chillin’ on the steps, Drinking quarter waters I gotta be the best, M-J at Summerjam, Obama on the text, Y’all should be afraid of what I’m gonna do next.
He also continues his hilarious vendetta against throwback jerseys, which have been and always will be a staple of Hip Hop culture.
Used to rock a throwback, balling on the corner Now I rock a teller suit, looking like a owner
U Don’t Know
One of the very best records from one of the best album’s in Jay – Z’s discography, “U Don’t Know” is the 6th track off of the original Blueprint album. The record serves as a reminder that Jay – Z’s business acumen was crafted from his time on the street. Backed by thumping drums and horns, Hov reminds everyone that if he’s nothing else, he’ll always be a hustler. From selling crack cocaine, to records, to clothing, he’ll always find a way to remain on top.
I sell ice in the winter, I sell fire in hell I am a hustler baby, I’ll sell water to a well
His ambition alone should serve as motivation.
Could make 40 off a brick but one rhyme could beat that And if somebody would of told ’em that Hov’ would sell clothing Heh, not in this lifetime, wasn’t in my right mind That’s another difference that’s between me and them Heh, I’m smarten up, open the market up
Otis
I invented swag
One of the very best songs of 2011, “Otis” is titled after legendary soul singer Otis Redding because of the heavy sampling of his voice throughout. But make no mistake, this song is 2:58 of unabashed braggadocio. The opening line sets the tone and from there on Hov and ‘Ye take turns letting us know that they’re the hottest sh** out and the biggest trendsetters in the game (and who would argue?).
I made “Jesus Walks” I’m never going to Hell Couture level flow, it’s never going on sale Luxury rap, the Hermes of verses Sophisticated ignorance, write my curses in cursive I get it custom, you a customer You ain’t customed to going through customs You ain’t been nowhere, huh?
After years of turning up his nose at those who would brag about women, cars and jewelry, Jay – Z sounded rejuvenated on this record.
Poppin’ bottles, puttin’ supermodels in the cab, proof I guess I got my swagger back, truth New watch alert, Hublot’s Or the big face Rollie I got two of those Arm out the window through the city I maneuver slow Cock back, snap back See my cut through the holes
We don’t know if Jay – Z will release anymore music, but his historic longevity has allowed us to see the maturation of the most influential figure out of New York City and for that, we can be grateful. While a few of these attempts at leading the charge have been hilariously head scratching, the impact, innovation and hustler’s mentality is something to be revered. Happy Birthday Hova!
Oak & Ash, an alternative rock band from New York today release “New World,” their first single in over three years. With a relevant message of change and hope for better days to come, “New World” is a motivational anthem for everyone who strives to build a better and more accepting world.
“New World” was written for people who are acknowledging today’s mistakes, with a reminder that although the world we live in is full of love, kindness, generosity, and beauty, it has yet to grow out of hate, inequality, injustice, and fear. There is still work to be done in order to eradicate these major issues, but in order to do so, we have to come together.
Produced by multi-Grammy award-winning producer/ engineer, Jacquire King (Kings of Leon, Modest Mouse), “New World” maintains the energy of a live band with added support from Moon Taxi’s Spencer Thomson who adds a layer of synthetic production work to the track.
Oak & Ash captured the energy they bring to live shows and with help from Jacquire, the band was able to continue to spotlight vocals and instruments and stay true to their original sound. The band had been focusing on live performances since their last release and then hit pause due to the pandemic.
Oak & Ash is Rich Tuorto (vocals, guitarist, keyboardist), Chris Tuorto (guitarist), Paul Gramigna (bassist), and Bryan Garbe (drummer). The band got thier start in New York City in 2014 when the Tuorto cousins and long-time friend, Paul, decided to join forces and they haven’t looked back since. Their debut EP, “Slightly Reckless,” was released in 2015 and singles “Step into the Light” and “For You” follwed in 2017. They also celebrated a career-defining moment in March 2017, opening for Bon Jovi at Madison Square Garden.
The Albany Symphony announced that their world premier recording of Christopher Theofanidis‘ Concerto for Viola and Chamber Orchestra has been nominated for a Grammy Award in the Best Classical Instrumental Solo category. The Concerto was recorded on January 8, 2018 at the Troy Savings Bank Music Hall and released by Albany Records. This is the fifth Grammy Nomination in seven years for the Albany Symphony.
“We are thrilled to receive this nomination, which brings attention to Christopher Theofanidis’ magnificent concerto, inspired by Navajo poetry,” said Music Director David Alan Miller. “It’s not every day that a viola concerto gets recognized, but this is arguably the finest concerto for the instrument written in many years. We are so grateful to Richard O’Neill, our astounding viola soloist, and to Silas Brown, our extraordinary producer and engineer. I deeply appreciate the work of our brilliant Albany Symphony musicians. Thanks also to our staff, board and friends at Albany Records, and to all our supporters.”
Composer Christopher Theofanidis also expressed his appreciation. “I was so delighted to receive the news. Richard put so much of himself into the performances and recording of the concerto, and David Alan Miller and the Albany Symphony’s commitment to excellence doing new work shines through in this announcement. It is an honor to have the piece nominated,” he said.
Portrait of Christopher Theofanidis
The Concerto for Viola and Chamber Orchestra was originally written for Kim Kashkashian who sent Theofanidis a collection of Navajo poems that were wildly different in character but had in common a supernatural sense of nature and an extremely evocative vocabulary. Each of the four movements is serious in sentiment, in turns foreboding and volatile, melancholic and questioning, lyrical and dramatic. Theofanidis wrote this work during the tragedy and turmoil of 9/11, starting the piece before and finishing it afterward, and was influenced by being in midtown Manhattan that day.
Viola soloist Richard O’Neill said, “In this dark time for musicians the world over, to receive this nomination for Chris’ moving and important work brought me to tears. David’s vision and unstoppable energy, the beautiful musicians of the Albany Symphony, and the great work of Silas Brown; these forces came together to create a dream team the envy of any musician. I am so incredibly lucky to have such friends and colleagues. In the absence of live performance throughout the US, I hope this recording can give comfort and joy to all that listen.”
The Albany Symphony recording of John Corigliano’s Conjurer with world-famous percussionist Dame Evelyn Glennie won the 2013 GRAMMY for Best Classical Instrumental Solo. The Albany Symphony was then nominated in 2015 and twice in 2019.
Wu Tang Clan released “Hi,” a new single alongside Texas, on Tuesday, December 1.
Recognized as one of the pioneers of the grimy, raw, hard-nosed sound, Wu Tang Clan’s status as international stars is not to be underestimated. They were synonymous with New York for almost three-decades. Their reputation as one of the most influential factions in Hip Hop history has seen their popularity soar in nations throughout the world, one being Scotland.
It was February 9, 1998, when Clan members Method Man and RZA joined Scottish pop-rock outfit, Texas, on stage at the Brit Awards in London. The two factions were performing the remix to the latter’s top 10 UK charting single, “Say What you Want.” Now, over twenty years later, the two groups have collaborated on another trans-cultural record, “Hi.”
Featuring RZA, Ghostface Killah and with vocals from Sharleen Spiteri, the record came about during RZA’s time in Glasgow. Whilst the Clan head honcho was filming a documentary, he connected with Spiteri and subsequently contributed a verse the Wu Tang Clan track, “Hi.”
A fast-paced alternative record, the music video opens up with Top Boy actor, Kadeem Ramsay, watching footage of their iconic performance at the Brit Awards. The television then segues into a more recent interview between RZA and Spiteri in which they discuss their yearn to work together again. Ramsay’s character is a super-fan of the two groups, as his room is filled with posters, memorabilia, as well as a shirt with a picture from the 1998 Brit Awards plastered on it.
Throughout the Wu Tang Clan “Hi” music video, he is seen performing routine tasks such as; picking out an outfit, driving his car and getting a tattoo. It is revealed that he kidnapped Spiteri in an attempt to get the two groups to collaborate once again. Spiteri responds by facetiming RZA, and after a short conversation, he obliges to the request. Spiteri and Ramsay then share a smoke, as she lightly ridicules his poor attempt at tying her up.
Hanukkah is right around the corner and folk-rock Rabbi Gedalya has released “The Lesson of the Flame,” a musical reflection on the need for positive spirituality during difficult situations.
With a spiritual message that is universal, “The Lesson of the Flame” reflects Gedalya’s faith. “Finding ways to get through hardship is central to religion,” says Gedalya, “and I wanted this song to reflect the powerful combination of faith and positivity.”
It’s my first time writing a holiday song, or even writing a song directly about Judaism, for that matter. Even though I wrote the song with the holiday season in mind, it’s about more than just the annual celebration. I wanted to convey the power in continuity and history. This Hanukkah, many of us are experiencing a year of tragedies, but by learning from tradition and remaining faithful we can find better times. I tried to reflect that in ‘The Lesson of the Flame.’
Gedalya
The roots of ‘the flame’ in this case connects to the lighting of the Hanukkah menorah, and the lesson that comes from the eight-day holiday. Jewish men fought against the Greeks around 165 BCE, thus preserving their belief in the Torah. This self-sacrifice merited a miracle which revealed to them divine assistance; thus future generations now have this lesson to remember that even in the darkest of times, we are all capable of receiving divine assistance, especially when putting in effort to see through lies and seek the truth.
The song speaks directly to the power of positivity, especially during times of tribulation.
Finding yourself can be a challenge, especially when times are difficult. This year especially I have seen so many struggle with what is happening in the world. I wanted to make sure they heard a positive message for the holiday, but also I wanted anyone that hears the song to feel – deep down – that their situation can also get better. Now is the time to look inward to find the strength to make it to those better times.
Gedalya
The message of the song is not inherent to a particular faith, but rather speaks to a state of being. Framing ones mind that allows light to enter the darkness and appreciate the blessings of life.
SAINt JHN, an artist from Brooklyn (real name Carlos St John Phillips), released his third album While The World Was Burning as artists continue to use the pandemic as inspiration for their music. His successful hit “Roses (Imanbek Remix)” spent 34 weeks on the Billboard Top 100 and peaked at #4 this past summer. The rest of his discography includes two other albums or “collections” with Ghetto Lenny Love Songs released in 2019 and Collection One in 2018. His commercial success took off in 2019, writing “Brown Skin Girl” for Beyoncé’s album The Lion King: TheGift. While the World Was Burning is a glimpse at SAINt JHN’s endless potential as an artist who can capitalize on using unpredictable times as momentum towards his promising career.
“Sucks To Be You” is the introductory track that successfully sets the tone of While The World Was Burning by reintroducing the world to a different side of SAINt JHN. The repeated lyrics from the chorus, “I said you know who I am, this kid from Brooklyn,” describe an adverse journey from humble beginnings to a successful artist. His honesty about his upbringing coincides with growing apart from someone who supported his initial dreams of wanting to become an artist. SAINt JHN expresses a vulnerable side as an artist who can make an upbeat hit like “Roses” and explain who he is as a person on “Sucks To Be You.”
https://youtu.be/pDsas5WHPXk
SAINt JHN made his TV debut performing “Sucks to Be You” on The Tonight Show With Jimmy Fallon
SAINt JHN gathered a star-studded list of features on this album including 6LACK, Lil Uzi Vert, Future DaBaby, Kehlani, A Boogie Wit Da Hoodie, Kanye, and JID. On “Ransom,” he teamed up with 6LACK and Kehlani to create a complementary vibe for each artist involved. Earlier in the year, he released a music video for “Ransom” featuring only his initial verse. By adding 6LACK And Kehlani, SAINt JHN proves his capability of knowing how to improve a song with the right features. While “Ransom” and “Sucks To Be You” are both tracks that highlight melodies, “Freedom Is Priceless” delivers an up-tempo beat that showcases his lyricism as a rapper.
“Pray 4 Me” is a cautionary tale about the possible repercussions of a rockstar lifestyle. SAINt JHN expresses his deepest fears of fame getting the best of him with lyrics like, “My life now, this highlight now/ Play my mama this if I die right now.” In comparison, Kanye’s featured verse feels superficial and so out of place the song would thrive even more without his verse. “Smack DVD” is the second collaboration between the duo and is available on the re-release version of While the World Was Burning. Kanye has a better verse on “Smack DVD” than on “Pray 4 Me,” but SAINt JHN outshines him on both tracks.
SAINt JHN mentions “Tryin to be the next Kanye” on “Quarantine Wifey,” but his originality is his biggest asset rather than emulating any other artist. Looking back on this year, While the World Was Burning will be a reminder of how music made the uncertain times a little more bearable.
On November 30, 2016, Billy Joel extended his MSG residency continued with his 35th consecutive show at the World’s Most Famous Arena. His first monthly show at the Garden was on January 27, 2014. Joel committed to playing one show a month at the Garden as long as there was a demand for tickets.
Billy broke his own 2006 record for the most consecutive sold-out shows at his thirteenth performance on January 9, 2015. On July 1, 2015, he played his 65th show breaking the record for the most shows at the Garden by a single artist.
Elton John and the Grateful Dead held the record previously. His 74th consecutive MSG monthly show was scheduled for March 2020, but had to be postponed due to COVID-19. The show was initially moved to September, but has now been moved back another year till 2021.
According to a statement on Joel’s website, “Tickets for the original show dates and initial rescheduled show dates will be valid for the corresponding new rescheduled dates in 2021 and 2022.”
Setlist: Billy Joel at MSG, November 30, 2016
Miami 2017, Pressure, Movin’ Out (Anthony’s Song), Vienna, Downeaster Alexa (with Julian Rachlin), Zanzibar, Leningrad, Allentown, New York State of Mind, Root Beer Bag, The Longest Time, My Life, Don’t Ask Me Why, Sometimes a Fantasy, She’s Always a Woman, The River of Dreams, Take it Easy (Eagles Cover), Nessun Dorma, Scenes From an Italian Restaurant, Piano Man
Encore: We Didn’t Start the Fire, Uptown Girl, It’s Still Rock and Roll to Me, Big Shot, Only the Good Die Young, You May be Right
On the heels of back-to-back releases in 2019 and in anticipation of his long-awaited album, The Billy Danze Project, Mash Out Posse’s (M.O.P.) own Billy Danze returns. His 13-song, 37-minute LP We Busy (The Listening Session) is a collaboration with Swiss producer, Too Busy. Known for his aggressive delivery and roughneck subject matter, Danze gained notoriety during the mid ‘90’s and early 2000’s as part of the hardcore Hip Hop duo M.O.P., along with fellow Brownsville native, Lil Fame.
The Mash Out Posse
Recognized as a hardcore Hip Hop legend, Danze looks to present fans with a different point-of-view ahead of his upcoming album. A close associate and frequent collaborator to fabled producer DJ Premier, much of M.O.P.’s sound was rooted in classic hip hop principles. Heavy drums and loud snares, plenty of scratching, as well as distinctive riffs and sound effects, as exemplified by their breakout single, “Ante Up.” While The Billy Danze Project may see the Brooklyn-bred emcee return to his musical roots, he looks to show fans a different side of himself on We Busy.
“We Busy is more of the thinking section that leads to my album. The soulful beats helped me showcase the Billy Danze my audience may not know; I’m painting familiar portraits on an unfamiliar canvas,” Danze commented.
We Busy features notable collaborations from a number of Hip Hop legends and pioneers. Along with production and narration from DJ Premier, guest appearances can be found from Method Man, legendary rapper, producer and one half of Mobb Deep, Havoc, M.O.P cohort Lil Fame, fellow Brooklyn native and Firm member Cormega and renowned West Coast rapper, producer and Dogg Pound member, Daz Dillinger.
With varying production styles, the project sees Danze remain in his own pocket on the Method Man assisted record, “Gotham.” Yet, on the song “Damn” the underground veteran tries his hand at more contemporary beats and flows, delivering his rhymes in a much lighter and playful tone. On records like “One to Grow on,” the aforementioned soulfulness rears its head, as the Havoc assisted record shows a vulnerable side of Danze. he raps about his apprehensions, fears, failures, goals and ambitions.
On August 4, 1901, Louis Armstrong was born in New Orleans. Until the age of five, Armstrong’s grandmother was his caregiver. At the age of six, he attended the Fisk School for Boys, an all black school in New Orleans. While performing odd jobs for the Karnoffsky family, Armstrong heard the early sounds of jazz from King Oliver.
Armstrong and the Karnoffskys bonded over their discrimination. Armstrong faced the obvious racial discrimination, but the Karnoffskys, a Jewish houselhold, also faced discrimination by “other white folks.”
In his early career, Armstrong performed on riverboats along the Mississippi River. This gave him more musical experience, particularly regarding reading music. He improved him trumpet playing, creating his own style and personality.
Chicago
In 1922, he moved to Chicago by invitation of King Oliver. Although race relations were poor, the city was flourishing and Armstrong was bale to find a job. The band, headed by Oliver, soon became one of the most influential bands in Chicago. Armstrong was able to live luxuriously in Chicago. Armstrong made his first recordings with Oliver for Gennett Records.
Louis Armstrong’s second wife, Lil Hardin Armstrong, wanted him to develop his own style apart from Oliver. Her influence eventually undermined Armstrong’s relationship with his mentor, especially concerning his salary and additional money that Oliver held back from Armstrong and other band members.
New York
Armstrong and Oliver parted ways in 1924. Soon after, Armstrong received an invitation to travel to New York and join the Fletcher Henderson Orchestra, the best African-American band at the time. Armstrong adapted to the tightly controlled style of Henderson, playing trumpet and experimenting with the trombone. The other members were affected by Armstrong’s emotional style. His act included singing and telling tales of New Orleans characters, especially preachers.
During this period, Armstrong made numerous recordings with Clarence Williams, Ma Rainey, Bessie Smith, and Alberta Hunter. Additionally, Duke Ellington‘s orchestra went to the Roseland Ballroom to catch Armstrong’s performances.
Return to Chicago
In 1925, Armstrong returned to Chicago. He joined his wife’s band, the Lil Hardin Armstrong Band, but also created the Hot Five. This group included Kid Ory, Johnny Dodds, Johnny St. Cyr, Armstrong, and Lil Armstrong. Over the next year, the group recorded twenty four records. Armstrong’s recordings of “Weather Bird” and “West End Blues” remain today as some of the most famous and influential improvisations.
He began to scat sing (improvised vocal jazz using nonsensical words) and was among the first to record it, on the Hot Five recording “Heebie Jeebies” in 1926. The recording was so popular that the group became the most famous jazz band in the United States, even though they had not performed live to any great extent. Young musicians across the country, black or white, were turned on by Armstrong’s new type of jazz.
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 Hineson piano, which was renamed Louis Armstrong and his Stompers, though Hines was the music director and Glaser managed the orchestra. Hines and Armstrong became fast friends and successful collaborators. It was at the Sunset Café that Armstrong accompanied singer Adelaide Hall. It was during Hall’s tenure at the venue that she experimented, developed and expanded her use and art of Scat singing with Armstrong’s guidance and encouragement
Back to New York
Armstrong returned to New York in 1929, playing in the pit orchestra for a musical with Fats Waller. He also made a cameo appearance as a vocalist, regularly stealing the show with his rendition of “Ain’t Misbehavin’”. His version of the song became his biggest selling record to date.
He soon began working at Connie’s Inn in Harlem, the rival to the Cotton Club. He also continued recording, performing many of Hoagy Carmichael‘s music with “Stardust” becoming the most successful. As with his trumpet playing, Armstrong’s vocal innovations served as a foundation stone for the art of jazz vocal interpretation. His resonant, velvety lower-register tone and bubbling cadences on sides such as “Lazy River” exerted a huge influence on younger white singers such as Bing Crosby.
Throughout the 1920’s, Louis Armstrong played a major impact on the Harlem Renaissance. His impact on the Renaissance influenced other major figures such as Langston Hughes. Within Hughes’ writings, he created many books which held the central idea of jazz and recognition to Armstrong as one of the most important person to be part of the new found love of their culture.
Jazz Revival
After spending many years on the road, Armstrong settled permanently in Queens, New York in 1943 in contentment with his fourth wife, Lucille. After spending many years on the road, Armstrong settled permanently in Queens, New York in 1943 in contentment with his fourth wife, Lucille.
During the 1940s, Armstrong performed at the famed second Cavalcade of Jazz concert held at Wrigley Field in Los Angeles with Lionel Hampton’s band. Following a highly successful small-group jazz concert at New York Town Hall, Armstrong’s manager established a six-piece traditional jazz group featuring Armstrong with Jack Teagarden, Earl Hines and other top swing and Dixieland musicians. Armstrong’s manager named the group Louis Armstrong and His All Stars.
Around the World
By the 1950s, Armstrong became a widely beloved American icon and cultural ambassador. Around the world, he had a fervent following. However, there was an obvious generational gap between Armstrong and younger jazz artists like Miles Davis and Sonny Rollins. The younger generation viewed Armstrong and his act as outdated.
In 1948, Armstrong heard Suzy Delair sing “C’est is bon” at the Nice Jazz Festival. He loved the song and recorded his own in 1950. This became a worldwide success. In the 1960’s, he toured Ghana and Nigeria.
After leaving Decca Records, Armstrong became a freelance artist, but continued touring. This was an intense schedule, but Armstrong had to rest in 1959 when he suffered a heart attack in Italy.
In 1964, after over two years without setting foot in a studio, he recorded his biggest-selling record, “Hello, Dolly!”, originally sung by Carol Channing. Armstrong’s version remained on the Hot 100 for 22 weeks, longer than any other record produced that year, and went to No. 1 making him, at 62 years, 9 months and 5 days, the oldest person ever to accomplish that feat. In the process, he dislodged the Beatles from the No. 1 position they had occupied for 14 consecutive weeks with three different songs.
In March of 1971, Armstrong went against his doctor and played a two week engagement at the Waldorf-Astoria’s Empire room that ended in a heart attack. He was released from the hospital in May, and quickly resumed practicing his trumpet playing. Still hoping to get back on the road, Armstrong died of a heart attack in his sleep on July 6, 1971, a month before his 70th birthday. His honorary pallbearers included Bing Crosby, Ella Fitzgerald, Dizzy Gillespie, Count Basie, Frank Sinatra, Ed Sullivan, and Johnny Carson.
New Orleans’ main airport was renamed Louis Armstrong New Orleans International Airport. In 2002, Armstrong had recordings preserved in the United States National Recording Registry. The U.S. Open’s former main stadium was named the Louis Armstrong Stadium since he lived nearby.
Though Armstrong is widely recognized as a pioneer of scat singing, Ethel Waters precedes his scatting. Billie Holiday said that she always wanted Bessie Smith‘s ‘big’ sound and Armstrong’s feeling in her singing. Other major jazz musicians like Duke Ellington have praised Armstrong through strong testimonials.
