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
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.
Interpretation
True musical talent often comes from innate ability rather than formal training.
In this quote, Louis Armstrong emphasizes the idea that many of the greatest jazz and swing musicians were not formally trained in music theory but were instead gifted with an innate sense of music. They played from their heart and memory, showing that true artistry is often driven by passion and natural talent rather than conventional education.
In practice
This quote could be shared in a discussion about the importance of natural talent in creative fields.
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.
My whole life, my whole soul, my whole spirit is to blow that horn.
I've Got the World on a String.
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
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'm not a star. I'll never be a Frank Sinatra or Elvis Presley or a Ray Charles. I'm just an imitator, man. I'm doing a very bad imitation on the bass of Jerry Jemmott, Bernard Odum, Jimmy Fielder, Jimmy Blanton, Igor Stravinsky, Jimi Hendrix, John Coltrane, James Brown, Charlie Parker... the cats, man. I'm just backing up the cats.
When I started to sing like myself - as opposed to imitating Nat Cole, which I had done for a while - when I started singing like Ray Charles, it had this spiritual and churchy, this religious or gospel sound. It had this holiness and preachy tone to it. It was very controversial. I got a lot of criticism for it.
In a sense, the music business and I haven't always been the best of bedfellows. Artists often have to fight their corner. Your music goes through these filters of record labels and media, and you're hoping you'll find someone who'll help you get your work into the world.
I get offended when people say, 'So, being a white rapper...and growing up white...after being born white...' It's all I ever hear!
There is no such thing as happy music.
Ultimately, to insist that rock criticism be political is first to insist that the humans who make and enjoy music are embroiled in politics whether they like it or not - and whether they know it or not.
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