Texas Hall is a 76,000-square-foot (7,100 m) proscenium theater on the campus of The University of Texas at Arlington in Arlington, Texas . It opened in 1965 and has a seating capacity of 2,625.
82-660: Texas Hall hosts numerous events per year, including concerts, lectures, meetings, theater, and dance. The debut event at Texas Hall was a performance by legendary American jazz trumpeter and singer Louis Armstrong on October 18, 1965. Historic performers who have appeared at Texas Hall include Rihanna , Aerosmith , Maya Angelou , Prime Minister Benazir Bhutto , Pat Boone, Bowling for Soup, Blue Öyster Cult , Harry Chapin, Neil Diamond , Everclear, Focus, Harlem Globetrotters, Houston Ballet, Earvin “Magic” Johnson, James Earl Jones, Judas Priest , Kansas , King Crimson, Kiss , Ludacris, Barry Manilow , Steve Miller Band, MTV Battle of
164-733: A 12-month period starting in November 1925, this quintet produced twenty-four records. Armstrong's band leading style was easygoing, as St. Cyr noted: "One felt so relaxed working with him, and he was very broad-minded ... always did his best to feature each individual." Among the Hot Five and Seven records were "Cornet Chop Suey", "Struttin' With Some Barbecue", "Hotter Than That", and "Potato Head Blues", all featuring highly creative solos by Armstrong. According to Thomas Brothers , recordings such as "Struttin' with Some Barbeque" were so superb, "planned with density and variety, bluesyness, and showiness", that
246-426: A bachelor's degree in chemistry and mathematics. After graduation, Henderson moved to New York City with the intention of attending Columbia University for a master's degree in chemistry. However, there is no evidence that he actually enrolled. He did land a part-time job as a lab assistant in a downtown Manhattan chemistry firm, but this only lasted a year. In New York City, Henderson shared an apartment with
328-887: A better dynamic range was not invented until 1926. Initially, because Armstrong's playing was so loud, Oliver could not be heard on the recording when he played next to Oliver. Armstrong had to stand 15 feet from Oliver in a far corner of the room to remedy this. Lil Hardin , whom Armstrong would marry in 1924, urged Armstrong to seek more prominent billing and develop his style apart from the influence of Oliver. At her suggestion, Armstrong began playing classical music in church concerts to broaden his skills and dressing more stylishly to offset his girth. 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. Armstrong's mother, Mayann Albert, came to visit him in Chicago during
410-545: A brief engagement at the Roseland Ballroom . Although only meant to stay for a few months, the band was brought back for the autumn season. Henderson called on Armstrong for a second time to join the band. On October 13, 1924, history was made when Henderson's band began their re-engagement at Roseland, with Armstrong now in the orchestra. The band quickly became known as the best African American band in New York. By late 1924,
492-399: A brief trumpet solo. Then, the main melody is introduced by sobbing horns, memorably punctuated by Armstrong's growling interjections at the end of each bar: "Yeah! ..."Uh-huh"..."Sure"..."Way down, way down." In the first verse, Armstrong ignores the notated melody and sings as if playing a trumpet solo, pitching most of the first line on a single note and using strongly syncopated phrasing. In
574-451: A duet on Hoagy Carmichael's " Rockin' Chair " they then recorded for Okeh Records . Armstrong's manager, Joe Glaser, changed the Armstrong big band on August 13, 1947, into a six-piece traditional jazz group featuring Armstrong with (initially) Teagarden, Earl Hines and other top swing and Dixieland musicians, most of whom were previously leaders of big bands. The new group was announced at
656-732: A father, they fed and nurtured Armstrong. In his memoir, Louis Armstrong + the Jewish Family in New Orleans, La., the Year of 1907 , he described his discovery that this family was also subject to discrimination by "other white folks" who felt that they were better than Jews: "I was only seven years old but I could easily see the ungodly treatment that the white folks were handing the poor Jewish family whom I worked for." Armstrong wrote about what he learned from them: "how to live—real life and determination." His first musical performance may have been at
738-504: A featured and musically influential band soloist and recording artist. By the 1950s, Armstrong was a national musical icon, appearing regularly in radio and television broadcasts and on film. Armstrong's best known songs include " What a Wonderful World ", " La Vie en Rose ", " Hello, Dolly! ", " On the Sunny Side of the Street ", " Dream a Little Dream of Me ", " When You're Smiling " and " When
820-572: A few records but otherwise struggled. Sidney Bechet became a tailor, later moving to Paris, and Kid Ory returned to New Orleans and raised chickens. Armstrong moved to Los Angeles in 1930 to seek new opportunities. He played at the New Cotton Club in Los Angeles with Lionel Hampton on drums. The band drew the Hollywood crowd, which could still afford a lavish nightlife, while radio broadcasts from
902-423: A focus on his vocal career. His popularity brought together many black and white audiences. Armstrong returned to New York in 1929, where he played in the pit orchestra for the musical Hot Chocolates , an all-black revue written by Andy Razaf and pianist Fats Waller . Armstrong made a cameo appearance as a vocalist, regularly stealing the show with his rendition of " Ain't Misbehavin' ." Armstrong's version of
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#1732851057262984-469: A game due to the audience's up-close view of the court. In 2012, athletic operations moved to the new $ 78 million College Park Center on the east side of campus, leaving Texas Hall to function exclusively as a campus performing arts and lecture venue. The final men's basketball game in Texas Hall was a 63–54 UT Arlington victory against Stephen F. Austin on January 21, 2012. The final intercollegiate game
1066-592: A hero's welcome, and saw old friends. He sponsored a local baseball team called Armstrong's Secret Nine and had a cigar named after him. However, Armstrong was on the road again soon. After a tour across the country shadowed by the mob, he fled to Europe. After returning to the United States, Armstrong undertook several exhausting tours. His agent, Johnny Collins's erratic behavior and his own spending ways left Armstrong short of cash. Breach of contract violations plagued him. Armstrong hired Joe Glaser as his new manager,
1148-420: A key role in bringing improvisatory jazz styles from New Orleans and other areas of the country to New York, where they merged with a dance-band tradition that relied heavily on arrangements written out in musical notation. Henderson created a band that was capable of playing dance music and complex arrangements. Louis Metcalf said: "The sight of Fletcher Henderson's men playing behind music stands brought on
1230-482: A large audience. He began scat singing (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 seldom performed live. 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
1312-460: A memoir called Louis Armstrong + the Jewish Family in New Orleans, LA., the year of 1907 , describing his time working for the Karnoffsky family. Armstrong writes about singing "Russian Lullaby" with the Karnoffsky family when their baby son David was put to bed and credits the family with teaching him to sing "from the heart." Curiously, Armstrong quotes lyrics for it that appear to be the same as
1394-444: A musician. Armstrong found a job at a dance hall owned by Henry Ponce, who had connections to organized crime. He met the six-foot tall drummer Black Benny , who became Armstrong's guide and bodyguard. Around the age of 15, he pimped for a prostitute named Nootsy. However, that relationship failed after she stabbed Armstrong in the shoulder, and his mother choked her nearly to death. Armstrong briefly studied shipping management at
1476-477: A pianist who worked as a musician in a riverboat orchestra. When his roommate was too sick to perform, Henderson substituted, and this soon led to a job as a full-time replacement. In late 1920, he found work as a song demonstrator with the Pace and Handy Music Co. Henderson now found that music would be more profitable than chemistry and left his job as a laboratory chemist to begin a life in music. When Harry Pace left
1558-771: A rough neighborhood known as The Battlefield, on the southern section of Rampart Street . At the age of six, Armstrong started attending the Fisk School for Boys, a school that accepted black children in the racially segregated school system of New Orleans. Armstrong lived with his mother and sister during this time and worked for the Karnoffskys, a family of Lithuanian Jews , at their home . Armstrong helped their sons Morris and Alex collect "rags and bones" and deliver coal. In 1969, while recovering from heart and kidney problems at Beth Israel Hospital in New York City, Armstrong wrote
1640-515: A time, he was a member of the Lil Hardin Armstrong Band and worked for his wife. Armstrong formed Louis Armstrong and his Hot Five and recorded the hits " Potato Head Blues " and "Muggles". The word "muggles" was a slang term for marijuana , something Armstrong often used during his life. The Hot Five included Kid Ory (trombone), Johnny Dodds (clarinet), Johnny St. Cyr (banjo), Lil Armstrong on piano, and usually no drummer. Over
1722-470: A tough mob-connected wheeler-dealer who began straightening out his legal mess, mob troubles, and debts. Armstrong also began to experience problems with his fingers and lips, aggravated by his unorthodox playing style. As a result, Armstrong branched out, developing his vocal style and making his first theatrical appearances. Armstrong appeared in movies again, including Crosby's 1936 hit Pennies from Heaven . In 1937, Armstrong substituted for Rudy Vallee on
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#17328510572621804-526: A trumpet soloist. His resonant, velvety lower-register tone and bubbling cadences on sides such as "Lazy River" greatly influenced younger white singers such as Bing Crosby. The Great Depression of the early 1930s was especially hard on the jazz scene. After a long downward spiral, the Cotton Club closed in 1936, and many musicians stopped playing altogether as club dates evaporated. Bix Beiderbecke died, and Fletcher Henderson's band broke up. King Oliver made
1886-486: A unique sound. Sometimes, the sections would play in call-and-response style, and at other times one section would play supporting riffs behind the other. Henderson was also responsible for bringing Louis Armstrong from Chicago to New York City in October 1924, thus flipping the focal point of jazz in the history of the United States (although Armstrong left the band in November 1925 and returned to Chicago). He also played
1968-544: A well-publicized stand for desegregation in the Little Rock crisis . He could access the upper echelons of American society at a time when this was difficult for Black men. Armstrong is believed to have been born in New Orleans on August 4, 1901, but the date has been heavily debated. Armstrong himself often claimed he was born on July 4, 1900. His parents were Mary Estelle "Mayann" Albert and William Armstrong. Mary Albert
2050-417: A year, making many recordings and appearing in more than 30 films. Fletcher Henderson James Fletcher Hamilton Henderson (December 18, 1897 – December 29, 1952) was an American pianist, bandleader, arranger and composer, important in the development of big band jazz and swing music . He was one of the most prolific black musical arrangers and, along with Duke Ellington , is considered one of
2132-460: The Club DeLisa in Chicago. Other jazz musicians who also played with Henderson included trumpeter Cootie Williams and trombonist Benny Morton . Although Henderson's band was popular, he had little success in managing it and was still little-known outside of New York. His lack of recognition outside of Harlem had to do more with the times in which he lived, apparently lackluster management, and
2214-722: The Grammy Award for Best Male Vocal Performance for Hello, Dolly! in 1965, as well as a posthumous win for the Grammy Lifetime Achievement Award in 1972. His influence crossed musical genres, with inductions into the DownBeat Jazz Hall of Fame , the Rock and Roll Hall of Fame , and the National Rhythm & Blues Hall of Fame , among others. Armstrong was born and raised in New Orleans . Coming to prominence in
2296-625: The Roseland Ballroom , with arrangements by Don Redman . Duke Ellington's orchestra went to Roseland to catch Armstrong's performances. During this time, Armstrong recorded with Clarence Williams (a friend from New Orleans), the Williams Blue Five, Sidney Bechet , and blues singers Alberta Hunter , Ma Rainey , and Bessie Smith . In 1925, Armstrong returned to Chicago largely at the insistence of Lil, who wanted to expand his career and income. In publicity, much to his chagrin, she billed Armstrong as "The World's Greatest Trumpet Player." For
2378-542: The Sunset Café for Al Capone 's associate Joe Glaser in the Carroll Dickerson Orchestra, with Earl Hines on piano, which was renamed Louis Armstrong and his Stompers. However, 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 . During Hall's tenure at
2460-457: The "Russian Lullaby", copyrighted by Irving Berlin in 1927, about 20 years after Armstrong remembered singing it as a child. Gary Zucker, Armstrong's doctor at Beth Israel hospital in 1969, shared Berlin's song lyrics with him, and Armstrong quoted them in the memoir. This inaccuracy may be because he wrote the memoir over 60 years after the events described. Regardless, the Karnoffskys treated Armstrong exceptionally well. Knowing he lived without
2542-502: The 1920s as an inventive trumpet and cornet player, he was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. Around 1922, Armstrong followed his mentor, Joe "King" Oliver , to Chicago to play in Oliver's Creole Jazz Band. Armstrong earned a reputation at " cutting contests ", and his fame reached band leader Fletcher Henderson . Armstrong moved to New York City, where he became
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2624-532: The 1920s for nearly every label, including Vocalion , Paramount , Columbia , Ajax , Pathé , Perfect , Edison , Emerson , Brunswick , and the dime-store labels Banner , Oriole , Regal , Cameo , and Romeo . From 1925 to 1930, he recorded primarily for Columbia and Brunswick/Vocalion under his own name and a series of acoustic recordings as the Dixie Stompers for Harmony Records and associated dime-store labels ( Diva and Velvet Tone ). Besides playing at
2706-438: The 1940s and toured with Ethel Waters again in 1948 and 1949. Henderson suffered a stroke in 1950, resulting in partial paralysis that ended his career as a pianist. He died in New York City in 1952, 11 days after his 55th birthday. Henderson, along with Don Redman, established the formula for swing music . The two broke the band into sections (sax section, trumpet section, etc.). These sections worked together to create
2788-444: The 1940s due to changes in public tastes. Ballrooms closed, and competition from other types of music, especially pop vocals, became more popular than big band music. Under such circumstances, it became impossible to finance a 16-piece touring band. A widespread revival of interest in the 1940s in the traditional jazz of the 1920s made it possible for Armstrong to consider a return to the small-group musical style of his youth. Armstrong
2870-456: The Bands, Nektar, Willie Nelson , Leonard Nimoy, Edward James Olmos, Cal Ripken Jr., Bob Seger , Jerry Seinfeld , Shiva's Headband, Emmitt Smith, The Supremes , Veggie Tales, Forest Whitaker , Johnny Winter and Frank Zappa . Texas Hall has ground-level and balcony seating. Seating on the ground level is 1,273, and the balcony seats 1,352. Prior to the athletic teams vacating Texas Hall, there
2952-595: The CBS radio network and became the first African American to host a sponsored national broadcast. After spending many years on the road, Armstrong settled permanently in Queens, New York, in 1943 with his fourth wife, Lucille. Although subject to the vicissitudes of Tin Pan Alley and the gangster-ridden music business, as well as anti-black prejudice, Armstrong continued to develop his playing. Bookings for big bands tapered off during
3034-583: The French song " C'est si bon " at the Hotel Negresco during the first Nice Jazz Festival . Armstrong was present and loved the song. On June 26, 1950, he recorded the American version of the song (English lyrics by Jerry Seelen ) in New York City with Sy Oliver and his Orchestra. When it was released, the disc was a worldwide success, and the song was then performed by the greatest international singers. Armstrong
3116-654: The RCA ribbon microphone , introduced in 1931, which imparted warmth to vocals and became an intrinsic part of the " crooning " sound of artists like Bing Crosby . Armstrong's interpretation of Carmichael's " Stardust " became one of the most successful versions of this song ever recorded, showcasing Armstrong's unique vocal sound and style and his innovative approach to singing songs that were already standards. Armstrong's radical re-working of Sidney Arodin and Carmichael's " Lazy River ", recorded in 1931, encapsulated his groundbreaking approach to melody and phrasing. The song begins with
3198-554: The Roseland, Henderson played at the Savoy Ballroom in Harlem , playing until 3:30 in the morning. During the 1930s, he recorded for Columbia, Crown (as "Connie's Inn Orchestra"), ARC ( Melotone , Perfect, Oriole, Vocalion), Bluebird , Victor , and Decca . Starting in the early 1920s, he recorded popular hits and jazz tunes. In 1924, he and his band recorded 80 sides. His version of
3280-629: The Saints Go Marching In ". He collaborated with Ella Fitzgerald , producing three records together: Ella and Louis (1956), Ella and Louis Again (1957), and Porgy and Bess (1959). He also appeared in films such as A Rhapsody in Black and Blue (1932), Cabin in the Sky (1943), High Society (1956), Paris Blues (1961), A Man Called Adam (1966), and Hello, Dolly! (1969). With his instantly recognizable, rich, gravelly voice, Armstrong
3362-526: The arrangements by Don Redman were featuring more solo work. Redman arranged Armstrong's repertoire with the King Oliver's Creole Jazz Band , such as turning "Dippermouth Blues" into "Sugar Foot Stomp". Armstrong played in the band for only a year, because he could not grow accustomed to the arrangements and to the "pretension" of the other band members. Henderson's band boasted the formidable arranging talents of Don Redman. After Redman's departure from
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3444-457: The arrangements were probably showcased at the Sunset Café. His recordings soon after with pianist Earl "Fatha" Hines , their famous 1928 " Weather Bird " duet and Armstrong's trumpet introduction to and solo in " West End Blues ", remain some of the most influential improvisations in jazz history. Young trumpet players across the country bought these recordings and memorized his solos. Armstrong
3526-462: The band in 1927, Henderson took on some of the arranging, but Benny Carter was Redman's replacement as saxophone player and arranger from 1930 to 1931, and Henderson also bought scores from freelance musicians (including John Nesbitt from McKinney's Cotton Pickers ). Henderson developed his arranging skills from 1931 to the mid-1930s. His band around 1925 included Armstrong, Howard Scott, Coleman Hawkins (who started with Henderson in 1923, playing
3608-645: The clarinetist made heavy demands on Henderson for fresh charts when his band was engaged for the Let's Dance show in 1934–1935, and that he himself helped his brother complete some of them. The singer Helen Ward also stated that Henderson was delighted to hear the Goodman Orchestra realize his creations with such impeccable musicianship. In 1939, Henderson disbanded his band and joined Goodman's, first as pianist and arranger and then working full-time as staff arranger. Henderson re-formed bands of his own several times in
3690-525: The club connected with younger audiences at home. Bing Crosby and many other celebrities were regulars at the club. In 1931, Armstrong appeared in his first movie, Ex-Flame . He was also convicted of marijuana possession but received a suspended sentence. Armstrong returned to Chicago in late 1931 and played in bands more in the Guy Lombardo vein, and he recorded more standards. When the mob insisted that he get out of town, Armstrong visited New Orleans, had
3772-692: The company to start Black Swan Records , he took Henderson with him to be musical director, a job which lasted from 1921 until 1923. From 1920 to 1923, he primarily played piano accompaniment for blues singers. Henderson toured with the Black Swan Troubadours featuring Ethel Waters from October 1921 to July 1922. After hearing cornetist Louis Armstrong (then around 20 years old) in New Orleans while on tour in April 1922, Henderson sent him an offer, but Armstrong refused because Henderson would not hire Zutty Singleton as well. Henderson's activities up to
3854-506: The custody of his father and his new stepmother, Gertrude. Armstrong lived in this household with two stepbrothers for several months. After Gertrude gave birth to a daughter, Armstrong's father never welcomed him, so Armstrong returned to his mother, Mary Albert. Armstrong had to share a bed in her small home with his mother and sister. His mother still lived in The Battlefield, leaving Armstrong open to old temptations, but he sought work as
3936-466: The early 1920s. Armstrong lived luxuriously in his apartment with his first private bath. Excited to be in Chicago, Armstrong began his career-long pastime of writing letters to friends in New Orleans. Armstrong could blow 200 high Cs in a row. As his reputation grew, Armstrong was challenged to cutting contests by other musicians. Armstrong's first studio recordings were with Oliver for Gennett Records on April 5–6, 1923. They endured several hours on
4018-460: The end of 1923 were mainly recording dates for Black Swan and other labels. His band at this point was only a pick-up unit for recordings, not a regular working band. In January 1924, the recording band became the house band at the Club Alabam at 216 W. 44th St. Despite many erroneous publications indicating otherwise, this 1924 band was Henderson's first working band. In July 1924, the band began
4100-546: The era. Hughes wrote many books that celebrated jazz and recognized Armstrong as one of the leaders of the Harlem Renaissance's newfound love of African-American culture. The sound of jazz, along with musicians such as Armstrong, helped shape Hughes as a writer. Just like the musicians, Hughes wrote his words with jazz. Armstrong changed jazz during the Harlem Renaissance. As "The World's Greatest Trumpet Player" during this time, Armstrong cemented his legacy and continued
4182-567: The hard times that resulted after the 1929 stock market crash. Henderson had a knack for finding talent, but he did not have much luck keeping it. On many occasions he lost talented members to other bandleaders. He also had trouble with finances. When the band split up in 1934, he was forced to sell some of his popular arrangements to Benny Goodman to keep them together. After about 1931, his own arrangements became influential. In addition to arrangements for his band, he wrote arrangements for Teddy Hill , Isham Jones and Benny Goodman. His shoulder
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#17328510572624264-576: The heart of good old New Orleans ... It has given me something to live for." Borrowing his stepfather's gun without permission, Armstrong fired a blank into the air and was arrested on December 31, 1912. He spent the night at New Orleans Juvenile Court and was sentenced the next day to detention at the Colored Waif's Home. Life at the home was spartan. Mattresses were absent, and meals were often little more than bread and molasses. Captain Joseph Jones ran
4346-452: The home like a military camp and used corporal punishment. Armstrong developed his cornet skills by playing in the band. Peter Davis , who frequently appeared at the home at the request of Captain Jones, became Armstrong's first teacher and chose him as the bandleader. With this band, the 13-year-old Armstrong attracted the attention of Kid Ory . On June 14, 1914, Armstrong was released into
4428-401: The last half of 1928, he started recording with a new group: Zutty Singleton (drums), Earl Hines (piano), Jimmy Strong (clarinet), Fred Robinson (trombone), and Mancy Carr (banjo). Armstrong made a huge impact during the 1920s Harlem Renaissance . His music touched well-known writer Langston Hughes . Hughes admired Armstrong and acknowledged him as one of the most recognized musicians of
4510-831: The late 1910s. He traveled with the band of Fate Marable , which toured on the steamboat Sidney with the Streckfus Steamers line up and down the Mississippi River. Marable was proud of Armstrong's musical knowledge, and he insisted that Armstrong and other musicians in his band learn sight reading . Armstrong described his time with Marable as "going to the University" since it gave him a wider experience working with written arrangements . In 1918, Armstrong's mentor, King Oliver , decided to go north and resigned his position in Kid Ory's band; Armstrong replaced him. Armstrong also became
4592-496: The local community college but was forced to quit after being unable to afford the fees. While selling coal in Storyville , he heard spasm bands , groups that played music out of household objects. Armstrong listened to the early sounds of jazz from bands that played in brothels and dance halls, such as Pete Lala's, where King Oliver performed. Early in his career, Armstrong played in brass bands and riverboats in New Orleans, in
4674-541: The most influential arrangers and bandleaders in jazz history. Henderson's influence was vast. He helped bridge the gap between the Dixieland and the swing eras. He was often known as "Smack" Henderson (because of smacking sounds he made with his lips). James Fletcher Hamilton Henderson was born in Cuthbert, Georgia . He was raised in a middle-class African-American family. His father, Fletcher Hamilton Henderson (1857–1943),
4756-486: The opener 67–61. UTA's men's team record at Texas Hall was 351–222, a winning percentage of .613. As an athletic facility, Texas Hall was the home of UT Arlington Mavericks men's basketball , women's basketball, wheelchair basketball , and volleyball . It was one of the most unusual basketball/volleyball venues in America. In 1997 Texas Hall was noted by Sports Illustrated as one of college basketball's best places to watch
4838-483: The opening of Billy Berg's Supper Club. This smaller group was called Louis Armstrong and His All-Stars and included at various times Earl "Fatha" Hines, Barney Bigard , Edmond Hall , Jack Teagarden, Trummy Young , Arvell Shaw , Billy Kyle , Marty Napoleon , Big Sid "Buddy" Catlett , Cozy Cole , Tyree Glenn , Barrett Deems , Mort Herbert , Joe Darensbourg , Eddie Shu , Joe Muranyi and percussionist Danny Barcelona . On February 28, 1948, Suzy Delair sang
4920-488: The pop tune "I Can't Get the One I Want", recorded about June 19, 1924, was issued on at least 23 labels. In addition to Armstrong, lead trumpeters included Henry "Red" Allen , Joe Smith , Rex Stewart , Tommy Ladnier , Doc Cheatham and Roy Eldridge . Lead saxophonists included Coleman Hawkins , Buster Bailey , Benny Carter and Chu Berry . Sun Ra also worked as an arranger during the 1940s, during Henderson's engagement at
5002-480: The rest of his life. Playing second cornet to Oliver in Oliver's Creole Jazz Band in the black-only Lincoln Gardens on the South Side of Chicago, Armstrong could make enough money to quit his day jobs. Although race relations were poor, Chicago was booming. The city had jobs for blacks, who made good wages at factories, with some left for entertainment. Oliver's band was among Chicago's most influential jazz bands in
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#17328510572625084-421: The second stanza, he breaks into an almost entirely improvised melody, which then evolves into a classic passage of Armstrong's scat singing. As with his trumpet playing, Armstrong's vocal innovations served as a foundation for jazz vocal interpretation. The uniquely gravelly coloration of his voice became an archetype that was endlessly imitated. Armstrong's scat singing was enriched by his matchless experience as
5166-553: The second trumpet for the Tuxedo Brass Band . Throughout his riverboat experience, Armstrong's musicianship began to mature and expand. At age 20, he could read music. Armstrong became one of the first jazz musicians to be featured on extended trumpet solos, injecting his own personality and style. Armstrong also started singing in his performances. In 1922, Armstrong moved to Chicago at the invitation of King Oliver, although Armstrong would return to New Orleans periodically for
5248-427: The side of the Karnoffskys' junk wagon. Armstrong tried playing a tin horn to attract customers to distinguish them from other hawkers. Morris Karnoffsky gave Armstrong an advance toward purchasing a cornet from a pawn shop. Later, as an adult, Armstrong wore a Star of David given to him by his Jewish manager, Joe Glaser, until the end of his life, in part in memory of this family who had raised him. When Armstrong
5330-505: The song became his biggest-selling record yet. Armstrong started to work at Connie's Inn in Harlem, chief rival to the Cotton Club , a venue for elaborately staged floor shows, and a front for gangster Dutch Schultz . Armstrong had considerable success with vocal recordings, including versions of songs composed by his old friend Hoagy Carmichael . His 1930s recordings took full advantage of
5412-434: The studies with his mother and further engaged himself in lessons on European art. Although a talented musician, Henderson initially dedicated himself to mathematics and science. At age 18, he moved to Atlanta , Georgia , and changed his name to Fletcher Henderson, giving up James, his grandfather's name. He attended Atlanta University (where he was a member of the fraternity Alpha Phi Alpha ) and graduated in 1920 with
5494-470: The summer of 1923 after being told that Armstrong was "out of work, out of money, hungry, and sick"; Hardin located and decorated an apartment for her to live in while she stayed. Armstrong and Oliver parted amicably in 1924. Shortly afterward, Armstrong was invited to go to New York City to play with the Fletcher Henderson Orchestra, the top African-American band of the time. He switched to
5576-421: The train to remote Richmond, Indiana , and the band was paid little. The quality of the performances was affected by a lack of rehearsal, crude recording equipment, bad acoustics, and a cramped studio. These early recordings were true acoustic , the band playing directly into a large funnel connected directly to the needle making the groove in the master recording. The much improved Electrical recording system with
5658-587: The trumpet to blend in better with the other musicians in his section. Armstrong's influence on Henderson's tenor sax soloist, Coleman Hawkins , can be judged by listening to the records made by the band during this period. Armstrong adapted to Henderson's tightly controlled style, playing the 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. The Henderson Orchestra played in prominent venues for white patrons only, including
5740-460: The tuba parts on a bass saxophone, and quickly moving to tenor saxophone and a leading solo role), Charlie Dixon , Kaiser Marshall , Buster Bailey , Elmer Chambers , Charlie Green , and Ralph Escudero . In 1925, with Henry Troy, he wrote " Gin House Blues ", recorded by Bessie Smith and Nina Simone , among others. His other compositions include " Soft Winds ". Henderson recorded extensively in
5822-464: The venue, she experimented, developed, and expanded her scat singing with Armstrong's guidance and encouragement. In the first half of 1927, Armstrong assembled his Hot Seven group, which added drummer Al "Baby" Dodds and tuba player Pete Briggs while preserving most of his original Hot Five lineup. John Thomas replaced Kid Ory on the trombone. Later that year, Armstrong organized a series of new Hot Five sessions, which resulted in nine more records. In
5904-528: Was 11, he dropped out of school. His mother moved into a one-room house on Perdido Street with Armstrong, Lucy, and her common-law husband, Tom Lee, next door to her brother Ike and his two sons. Armstrong joined a quartet of boys who sang in the streets for money. Cornetist Bunk Johnson said he taught the eleven-year-old to play by ear at Dago Tony's honky tonk. In his later years, Armstrong credited King Oliver. Armstrong said about his youth, "Every time I close my eyes blowing that trumpet of mine—I look right in
5986-435: Was a UTA women's basketball loss on January 28, 2012, against Texas State . Louis Armstrong Louis Daniel Armstrong (August 4, 1901 – July 6, 1971), nicknamed " Satchmo ", " Satch ", and " Pops ", was an American trumpeter and vocalist. He was among the most influential figures in jazz . His career spanned five decades and several eras in the history of jazz. Armstrong received numerous accolades including
6068-409: Was also an influential singer and skillful improviser. He was also skilled at scat singing . By the end of Armstrong's life, his influence had spread to popular music. He was one of the first popular African-American entertainers to "cross over" to wide popularity with white and international audiences. Armstrong rarely publicly discussed racial issues, to the dismay of fellow African Americans, but took
6150-545: Was bleacher seating opposite the theater seating that could sit 600. The stage is over 5,000-square-foot (460 m). Dressing rooms are under the stage. A sound station with a stage view is at the back of the ground-level seating. Texas Hall debuted intercollegiate basketball on December 1, 1965, when the Arlington State College Rebels men hosted the East Texas State Lions . Arlington State lost
6232-456: Was featured as a guest artist with Lionel Hampton's band at the famed second Cavalcade of Jazz concert held at Wrigley Field in Los Angeles, produced by Leon Hefflin Sr. , on October 12, 1946. Armstrong also led a highly successful small-group jazz concert at New York Town Hall on May 17, 1947, featuring him with trombonist/singer Jack Teagarden . During the concert, Armstrong and Teagarden performed
6314-402: Was from Boutte, Louisiana and gave birth at home when she was about 16. Less than a year and a half later, they had a daughter, Beatrice "Mama Lucy" Armstrong (1903–1987), who Albert raised. William Armstrong abandoned the family shortly after that. Louis Armstrong was raised by his grandmother until the age of five, when he was returned to his mother. Armstrong spent his youth in poverty in
6396-571: Was ill. In 1935, Goodman's Orchestra was selected as a house band for the NBC radio program Let's Dance . Since Goodman needed new charts every week for the show, his brother-in-law John Hammond suggested that he purchase some from Henderson. Many of Goodman's hits from the swing era were played by Henderson and his own band in the late 1920s and early 1930s, usually as head arrangements, which he transcribed from his own records and then sold to Goodman. However, his brother Horace Henderson recounted that
6478-404: Was injured in an auto accident in 1928. His wife, Leora, blamed the accident for his diminishing success. She said that John Hammond and Goodman bought Henderson's arrangements to support him, that Goodman always gave Henderson credit for the arrangements and said that he played them better than his own. In addition, Goodman and Hammond organized broadcasts and recordings to help Henderson when he
6560-549: Was now free to develop his style as he wished, which included a heavy dose of effervescent jive, such as "Whip That Thing, Miss Lil" and "Mr. Johnny Dodds, Aw, Do That Clarinet, Boy!" Armstrong also played with Erskine Tate 's Little Symphony, mostly at the Vendome Theatre. They furnished music for silent movies and live shows, including jazz versions of classical music, such as " Madame Butterfly ", which gave Armstrong experience with longer forms of music and with hosting before
6642-435: Was the first jazz musician to appear on the cover of Time magazine on February 21, 1949. He and his All-Stars were featured at the ninth Cavalcade of Jazz concert also at Wrigley Field in Los Angeles produced by Leon Hefflin Sr. held on June 7, 1953, along with Shorty Rogers , Roy Brown , Don Tosti and His Mexican Jazzmen, Earl Bostic , and Nat "King" Cole . Over 30 years, Armstrong played more than 300 performances
6724-401: Was the principal of the nearby Howard Normal Randolph School from 1880 until 1942. Their home is a historic site. Henderson's mother, a teacher, taught him and his brother Horace to play the piano. He began lessons by age six. His father would occasionally lock Fletcher in his room to practice for hours. By age 13, Henderson possessed a keen ability to read music and sense pitch. He pursued
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