“We all do 'do, re, mi,' but you have got to find the other notes yourself.” Louis meant by this quote how during his childhood, he got abandoned by his family so he never had help with anything at the beginning of his life because he was alone. Eventually, Louis Armstrong would become the most influential jazz virtuoso that had a grim past to help him get to the top. Louis Armstrong played in regular bands such as King Oliver’s Creole Band and Fletcher Henderson band and was signing on with different managers such as Tommy Rockwell and Johnny Collins that would almost destroy his professional jazz career. Joe Glaser, Louis’ final manager would bring him from his lowest point of becoming a jazz sensation. The legacy he left would impact other …show more content…
Although he took on a few day jobs in his early life so he could provide food and money for his family, after work he would roam the town of New Orleans and listen to the different bands. Sometimes the members would let him use one of their instruments and join in while they were practicing. Slowly but surely he would eventually expand his instrumental range to become the most influential jazz musicians of all. Soon Armstrong would train under the tutelage of legendary performers broaden his skill and lead him to success and yet soon after he would play for vile managers that brought him back to the bottom. Joining the Mississippi riverboat band, Louis would learn how to improvise and add a little Armstrong touch to the music. Teaming up with other New Orleans musicians to make the records the “Hot Five” and the “Hot Seven.” By the ‘20s, he would now try his luck up north. Over around a little under a decade, Louis had been playing with the King Oliver’s Creole Band all around the Midwest States. King Oliver and other early jazz musicians called Louis "Dipper Mouth" or "Satchel Mouth", presumably because of his large mouth. Touring in England, people …show more content…
Glaser was a grueling man and swore gratuitously similar to Armstrong’s other managers, however, Glaser was a man Louis had known before and could be trusted. Now, Louis had a good manager who scheduled him for movies and made Louis the first African-American to regularly make appearances on sponsored radio broadcasts. On Broadway he acted and sang on a show called, Swingin’ the Dream. During the ‘30s Armstrong became a music sensation; swing and jazz music had hit its zenith in the ‘30s and ‘40s, Louis and his band played a mixture of jazz and regular music that the public instantly fell for. The United States in 1941 had just joined the Second World War. Musicians were enlisting in the military and if one was still touring (Louis Armstrong) then travel has been hard since most supplies for travel was needed for the war. Once the war ended no one was interested in swing and jazz and they would rather have peace and quiet which put Louis in a tough spot. Following 20 years of prominence and popularity, all of his work was slowly being forgotten. Glaser realized swing bands were a dying art wondering how to bring Louis Armstrong back to fame was a challenge. At the time there was an amelioration of