Born 122 years ago this week, Louis Armstrong's charisma & warmth captivated audiences globally. But, by the 1950s and 1960s, many Black Americans perceived him as outdated, out of touch with civil rights, and hesitant to voice his opinions—labeling him an "Uncle Tom." This deeply wounded Armstrong. But he was a far more complex & nuanced man than they knew.
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Over his fifty-year span in the industry, Louis Daniel Armstrong witnessed jazz evolve from its foundational stages to the bebop, cool, and free forms cherished today. He wasn’t just a gifted trumpeter, Armstrong was also a celebrated singer known for his vocal improvisation and scatting abilities. Today, more than half a century after his death, his vast contributions to Western culture remain highly revered.
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Louis’ early years were spent in New Orleans, LA, where he was born in poverty in 1901. Without a father, the young boy found solace and support with the Karnoffskys, a Lithuanian Jewish family. They embraced young Armstrong, offering him both employment and a nurturing environment.
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Through his interactions with them, he experienced a different facet of racism. In his 1969 memoir, he reflected on witnessing the discrimination the Karnoffskys faced from "other white folks", further shaping his understanding of racial prejudices.
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Louis Armstrong was most influenced by Joe “King” Oliver, a fellow cornet player and mentor, who played a significant role in shaping Armstrong’s early style. Although only 15 years older than Louis, Joe Oliver’s techniques and musical ideas had a lasting impact on Armstrong’s approach to playing the trumpet and improvisation.
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He made groundbreaking recordings in the 1920s and toured overseas as “Ambassador Satchmo,” at one point playing a concert behind the former Iron Curtain and throughout Europe and Africa; all the while upending the racist barriers put in front of him.
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By 1932, young Armstrong was the biggest-selling artist in the recording industry and he began traveling with his orchestra around the country to expand the audience for his unique, and “full, huge, golden” musical sound and scat-singing—a form of improvised jazz singing.
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But it was not easy for Black American musicians on the road at that time. They couldn’t stay overnight in any of the hotels for White people, nor dine in many restaurants because of their skin color, nor have access to public rest rooms. They had to enter the back entrances of venues where they were scheduled to perform and leave the same way.
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But during the Swing Era, which occurred from 1935 until World War II in the 1940s, the music great was also “breaking down one racial barrier after another. Armstrong, for example, was the first Black musician to insert a clause in his performance contracts that stipulated he would not play in any hotel venues where he would be barred from overnight lodgings.
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He was the first Black American musician to assume the role of announcer on radio broadcasts. In 1936, Louis became the first Black musical artist to get featured billing with fellow White performers in a Hollywood, CA, film (Pennies from Heaven), that also starred famed singer Bing Crosby.
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A pivotal aspect of Armstrong's legacy was his role as one of the pioneering Black-American artists to gain widespread acceptance across racial boundaries in mainstream entertainment. While America grappled with deep-seated racism, Armstrong skillfully navigated many of the challenges that Black-Americans confronted from the 1930s onwards.
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Though he enjoyed a level of acclaim and success typically reserved for white stars, he did not remain insulated from the racism of the time. Touring in the deep south, he faced constant rejection and found it hard to secure gigs due to racist promoters. Police harassment was another ordeal, exemplified when he was jailed in Memphis due to baseless suspicions.
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For much of his career, Armstrong tried to steer clear of overt political statements, focusing on his music. This led some to believe he was avoiding the fight for civil rights. Armstrong's role in the civil rights movement offers a unique insight into his views on American race relations. Known for his trumpet skills and singing, Armstrong was a figure of many talents: a goodwill ambassador, film star, writer, and collage artist.
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Despite his prominence, the "Father of Jazz" remained silent on racial issues for a long time. He refrained from marching or appearing alongside civil rights leaders. When questioned about his stance, Armstrong would say, “I don’t get involved in politics. I just blow my horn.”
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Armstrong’s reticence on some racial matters might have been strategic; perhaps he aimed to effect change from the inside by achieving unparalleled success and then pioneering integration in music. As evidence, he was part of historic integrated musical collaborations in 1929.
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Eventually , he faced criticism during his lifetime from some Black activists and intellectuals who labeled him an “Uncle Tom.” Armstrong’s jovial and entertaining stage presence, including his broad smile and tendency to laugh, was sometimes seen as pandering to white audiences or reminiscent of minstrelsy.
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While Armstrong did believe in racial integration and spoke out against segregation, his methods were different than the more confrontational tactics of civil rights activists in the 1950s and 1960s. He believed in winning white audiences over with his talent and humanity.
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Despite these criticisms, many overlooked the nuance of Armstrong's position. As one of the first Black-Americans to be welcomed into elite white circles, he walked a tightrope between two contrasting worlds.
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Highlighting his convictions, Armstrong once even canceled a planned tour of the Soviet Union for the State Department, stating, "The way they're treating my people in the South, the government can go to hell". He asserted that representing a government at odds with its citizens was hypocritical. This outspokenness led to the FBI maintaining a dossier on him, challenging the 'Uncle Tom' narrative.
https://archive.org/details/LouisArmstrongFBI/page/n1/mode/1up
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The smash success of Hello, Dolly! was preceded by a change in attitudes toward Armstrong among younger Black musicians that emerged during the early and mid-1950s.
After years of breaking down all of those racial barriers and being a hero in the Black American community, Louis Armstrong started seeing a shift in his status.
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A new generation of Black jazz musicians like Miles Davis and Dizzy Gillespie viewed him as a relic and pressed him to speak out more against racial injustice.
To Armstrong’s mind, he was leading his fellow Black Americans by example, but now people wanted him to come out and say more.
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The trumpet player did so in 1957 when an incensed mob of White people descended on Little Rock Central High School in Little Rock, AR, as it was being integrated by nine African American students, who became known as the Little Rock Nine. Those hateful actions, which gained national attention, prompted Armstrong to angrily denounce the violence while he was interviewing with the press.
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He soon found that, despite his worldwide celebrity, there would repercussions.
Tomorrow, I will finish up with an illustration of how Louis Armstrong put his career on the line to defend Black civil rights and how Satchmo would have the last say.
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Resources
https://www.tiff.net/events/louis-armstrongs-black-and-blues
https://faroutmagazine.co.uk/louis-armstrong-complex-relationship-with-race/
https://64parishes.org/entry/louis-armstrong
https://www.qgazette.com/articles/louis-armstrong-broke-silence-on-civil-rights-in-1957/
https://64parishes.org/satchmo-jewish-family
https://www.nytimes.com/2022/11/04/movies/louis-armstrong-black-blues.html
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Books
—Armstrong, Louis. Satchmo: My Life in New Orleans. New York: Da Capo Press, 1986.
—Berrett, Joshua. Louis Armstrong and Paul Whiteman: Two Kings of Jazz. New Haven, CT: Yale University Press, 2007.
—Bergreen, Laurence. Louis Armstrong: An Extravagant Life. Crown; Reprint edition, 1998.
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More Books
—Brothers, Thomas. Louis Armstrong’s New Orleans. New York: W. W. Norton, 2007.
—Chilton, John, and Max Jones. Louis, the Louis Armstrong Story, 1900–1971. New York: Da Capo Press, 1988.
—Riccardi, Ricky. The Big Band Years of Louis Armstrong. Oxford University Press; 1st edition, 2020.
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Still More Books
—Riccardi, Ricky. What a Wonderful World: The Magic of Louis Armstrong’s Later Years. Vintage; Reprint edition, 2012.
—Teachout, Terry. Pops: A Life of Louis Armstrong. Houghton Mifflin Harcourt, 2009.
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Thanks for another wonderful thread. I'm always coming back to this tune by Louis Armstrong, a cover of Pharaoh Sanders 'The creator has a masterplan' which he recorded in 1970, about a year before he died. There's something quietly wonderful about how, unlike some of the older jazz musicians and fans, he simply embraced and endorsed the avant garde Pharaoh Sanders and welcomed him in. And of course he plays it with his own loving old school style.
@Deglassco i like this, but at the same time, there's an element to it that's a bit demeaning. "dance for me, negro"
for a long time, white Americans would *only* like a black person if they could entertain.
there was less of this stuff in Europe. The Beatles insisted on playing to mixed audiences when they came to America. they wouldn't play a room that wouldn't let everyone in.
Of course it was strategic. His
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