The memory of things gone is important to a jazz musician. Things like old folks singing in the moonlight in the back yard on a hot night or something said long ago.
Louis ArmstrongRead
It's America's classical music ... this becomes our tradition ... the bottom line of any country in the world is what did we contribute to the world? ... we contributed Louis Armstrong
Interpretation
Louis Armstrong highlights the importance of American jazz as a cultural contribution to the world.
This quote reflects Louis Armstrong's pride in jazz music as a significant part of American heritage. He emphasizes that each nation should consider its contributions to global culture, asserting that America’s gift, particularly through the artistry of jazz and influence of musicians like himself, enriches the world and creates a lasting tradition that represents the country’s identity.
In practice
In a speech about the influence of American culture, one might reference this quote to emphasize the power of music.
The memory of things gone is important to a jazz musician. Things like old folks singing in the moonlight in the back yard on a hot night or something said long ago.
Making money ain't nothing exciting to me. You might be able to buy a little better booze than the wino on the corner. But you get sick just like the next cat and when you die you're just as graveyard dead as he is.
Very few of the men whose names have become great in the early pioneering of jazz and of swing were trained in music at all. They were born musicians: they felt their music and played by ear and memory. That was the way it was with the great Dixieland Five.
My whole life, my whole soul, my whole spirit is to blow that horn.
I've Got the World on a String.
When I was young and very green, I worte that tune, Sister Kate, and someone said that's fine, let me publish it for you. I'll give you fifty dollars. I didn't know nothing about papers, and business, and I sold it outright.
I spent 15 minutes writing Stand By Your Man, and a lifetime defending it.
I owe very, very much to Mozart; and if one studies, for instance, the way in which I write for string quartet, then one cannot deny that I have learned this directly from Mozart. And I am proud of it!
Pop stardom is not very compelling. I'm much more interested in a relationship between performer and audience that is of equals. I came up through folk music, and there's no pomp and circumstance to the performance. There's no, like, 'I'll be the rock star, you be the adulating fan.'
The blues has been the foundation of all other American music since the beginning.
Radio stations have constructed a narrow door[way], and that's because they don't understand how complex and paradoxical our snap judgments are. It's hard to measure new songs.
Sonnymoon and Quadrants are a couple of bands that really inspire me in terms of the melodics of things and certain tones and just what feels good. It takes me back to the type of music that I grew up on in my household. We played a lot of gangsta rap, but we also played a lot of oldies, and I think that mix is part of what inspires my sound.
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