What a Wonderful World: The Magic of Louis Armstrong's Later Years

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Much has been written about Louis Armstrong, but the majority of it focuses on the early and middle stages of his career. In this prodigiously researched and richly detailed book, jazz scholar and musician Ricky Riccardi reveals for the first time the genius and remarkable achievements of the last 25 years of Armstrong’s life, providing along the way a comprehensive study of one of the best-known and most accomplished jazz stars of our time. During the last third of his career, Armstrong was often dismissed as a ...

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Overview

Much has been written about Louis Armstrong, but the majority of it focuses on the early and middle stages of his career. In this prodigiously researched and richly detailed book, jazz scholar and musician Ricky Riccardi reveals for the first time the genius and remarkable achievements of the last 25 years of Armstrong’s life, providing along the way a comprehensive study of one of the best-known and most accomplished jazz stars of our time. During the last third of his career, Armstrong was often dismissed as a buffoonish if popular entertainer, but Riccardi shows us instead the inventiveness and depth of his music during this time. These are the years of his highest-charting hits, including “Mack the Knife” and “Hello, Dolly; the famed collaborations with Ella Fitzgerald and Duke Ellington; and his legendary recordings with the All Stars. An eminently readable and insightful book, What a Wonderful World completes and enlarges our understanding of one of America’s greatest and most beloved musical icons.

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Editorial Reviews

Publishers Weekly
The legendary jazz trumpeter's final decades were not a collapse into lame minstrelsy, as critics complain, but a musical efflorescence, according to this exuberant biography. Journalist Riccardi surveys Armstrong's postwar career, during which he churned out recorded covers of forgettable pop tunes, got labeled an Uncle Tom for his grinning, clowning, eye-rolling antics before white audiences, and infuriated jazz purists by making signature tunes out of bland ballads like "Hello, Dolly" and "What a Wonderful World." Riccardi's Satchmo is certainly an eccentric coot, what with his epic marijuana and laxative habits. (He recommended the latter as a cure-all to President Eisenhower and Grace Kelly.) But he's also a consummate entertainer who knew what audiences wanted, took seriously his role as cultural ambassador, and vocally challenged racist conventions. Indeed, Riccardi argues, Armstrong's alleged musical decline actually produced his greatest jazz albums—the author's exegeses of these, based on session tapes, make for a luminous exploration of Armstrong's musicianship—and, yes, some sublime pop standards as well. Riccardi's narrative sometimes bogs down in the minutiae of touring, recording, and overlong reminiscences. But his lively prose and warm engagement with the music make this a satisfying appreciation of Armstrong's legacy. Photos. (June)
Kirkus Reviews

The second half of the trumpeter-singer's career receives a thorough but uneven chronicle.

The story told by Armstrong blogger and jazz pianist Riccardi will be familiar to readers of Terry Teachout's graceful 2009 bioPops. Riccardi takes up the musician's career in 1947, when he formed his long-running combo the All Stars. The author styles his work as a defense of latter-day Satchmo. Armstrong was criticized for vaudevillian tendencies and sticking to a stale repertoire while leaning on pop material in later years, and reviled for his ever-ingratiating onstage demeanor, which was viewed as "handkerchief-head" Uncle Tom antics during the rise of the civil-rights movement. While Riccardi makes a compelling case for Pops as an all-around entertainer who scored major hits with unlikely material like "Mack the Knife" and "Hello, Dolly," some musician sources testify that they could leave the band for years and return to find its set unchanged. Armstrong's status as a black celebrity is more problematic, and complicated by his position as an informal goodwill ambassador on his many tours abroad. Though he was never servile, his symbiotic relationship with his bare-knuckled white manager Joe Glaser, who acted as protector, slave master and bank teller, is a troublesome part of the story. Even when Armstrong spoke out about race relations—as he did in 1957, when he chastised President Eisenhower for his handling of school desegregation in Arkansas—he came under fire from both bigots and blacks. In the end, Armstrong was a compulsive performer who allowed himself to be literally worked to death at the age of 69 in 1971. Riccardi recounts his tale in sometimes excessive detail; unsifted mountains of source material leave newly unearthed gems like a priceless letter from Armstrong to Glaser about marijuana somewhat lost in the shuffle. The smitten writer is also unable to resist the use of superlatives, and his constant abuse of the word "arguably" may make readers want to rap his knuckles with a ruler.

Late Satch gets a deep look, but Riccardi's main theses remain unproven.

Jonathan Yardley
Riccardi writes about Armstrong with self-evident and infectious love. What a Wonderful World could have profited from some judicious pruning…but it is written in a generous spirit and indeed enhances our understanding of just how good Armstrong really was in the postwar years.
—The Washington Post
From the Publisher

The great untold story of postwar jazz. . . . Unique and indispensable. . . . A weathervane that will point the way to all future writings on [Armstrong’s] life and work.” —Terry Teachout, author of Pops: A Life of Louis Armstrong

“An important book. . . . This book sets the standard in assessing and analyzing Armstrong's performances in the second half of his career.” –San Francisco Chronicle

“Mr. Riccardi—writing with the fervor of an advocate, the skill of a critic and the knowingness of a musician—gives us something vivid on every page of What a Wonderful World.” —The Wall Street Journal
 
“An intimate portrait of a singular talent who left us a rich legacy of glorious music and lit up audiences the world over for nearly half a century” –The Christian Science Monitor

“Riccardi writes about Armstrong with self-evident and infectious love. . . . Written in a generous spirit. . . . Enhances our understanding of just how good Armstrong really was in the postwar years.” —The Washington Post
 
"[An] in-depth study. . . . Riccardi has done his homework. . . . He has immersed himself in Armstrong’s papers, his correspondence, his tape-recorded conversations, and has somehow secured countless bootleg recordings of concerts and broadcasts made over a period of decades. From these and other sources, he has drawn a wealth of new information that will change our perspectives on Armstrong’s life and legacy.” —San Francisco Chronicle
 
“Many of Armstrong’s critics charged that his artistic stature diminished after 1931, 1940, 1952…(pick a year). Riccardi’s meticulous research and engaging narrative put that notion to rest. Armstrong’s professionalism, toughness, humor and, most of all, the spirit of his music, emanate from the book’s pages. This is an invaluable addition to the Armstrong bibliography—and a great read.” —Doug Ramsey, Arts Journal
 
“Riccardi…reveals new dimensions in a portrait of a highly familiar pop-culture icon.” —Milwaukee Journal-Sentinel
 
“Riccardi provides a wealth of detail about the music that brought Armstrong his greatest notoriety, from his collaborations with Ella Fitzgerald and Dave Brubeck to his ‘Satchmozation’ of pop gems like ‘Mack the Knife’ and ‘Hello, Dolly’. . . . [Riccardi’s] love for the music is vivid on every page, and he proves adept at expressing the worth of Armstrong’s late-career music. . . . The book’s richest value is in its extensive utilization of quotes from Pops himself. The man who emerges is warm, funny and generous, but also unafraid to speak from the heart. . . . Shines a clear light on a much-neglected period of a great musician’s life.” —JazzTimes
 
“A valuable account.” —Newark Star-Ledger
 
“This is not only a tale of interest to jazz fans or academics but the climactic portion of the inspiring life story of a man who, against all odds, rose from extreme poverty and discrimination to become, indisputably, one of the stellar figures of the twentieth century . . . We need this book.”  —Dan Morgenstern, director of the Institute of Jazz Studies, Rutgers University
 
“[Riccardi] makes a strong case. . . . Recount[s] in extensive detail the trials and vicissitudes—and the triumphs—of the musicians’ later career, beginning with the arrival of bebop in the late 1940s until his death in 1971. . . . You’ll find much to like in What a Wonderful World about the later years of a genuine jazz icon.” —Washington Independent Review of Books
 
“Riccardi brings a unique bag of qualifications to the task, including unprecedented access to private Armstrong archives and thousands of hours of tape recordings of the man himself. . . . The rich details of the musicmaking, colorful personalities, and Armstrong’s life on the road with his beloved All Stars band is priceless.” —Christian Science Monitor
 
“A major work of research and interpretation which for the first time has provided details of the last half of the most colorful and glorious career in the history of jazz." —George Avakian, Producer, Louis Armstrong Plays W. C. Handy
 
“Magical. . . . Deeply and effectively faces the complex question of what it is to be a working artist in the modern world. . . . [Riccardi is] a fine writer. . . . A pleasure to read. . . . Even if you are someone who appreciates Louis Armstrong only casually, you will find in this book a deep, rewarding, honest portrait of a man, an artist, his century.” —JazzLives
 
“A well-wrought biography and flowing read. . . . Riccardi defends [Armstrong] with admirable dispassion.” —New Orleans Magazine

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Product Details

  • ISBN-13: 9780307378446
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 6/21/2011
  • Pages: 400
  • Product dimensions: 6.30 (w) x 9.50 (h) x 1.36 (d)

Meet the Author

Ricky Riccardi

Ricky Riccardi holds a B.A. in journalism and an M.A. in Jazz History and Research from Rutgers University. He has lectured at the Institute of Jazz Studies, at the National Jazz Museum in Harlem, and at the annual Satchmo SummerFest in New Orleans. He is the author of a popular Armstrong blog (dippermouth.blogspot.com) and is himself a jazz pianist. He is the archivist for the Louis Armstrong House Museum. He lives in New Jersey.

 

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Read an Excerpt

Introduction
 
A packed theater in Chicago is in attendance to cheer on one of the most beloved musicians in town, Louis Armstrong. Armstrong walks to center stage, a devilish grin on his face; his eyes widen. He picks up his trumpet and begins blowing a tune from a current Broadway show. The audience goes wild at the mere sound of his horn. Armstrong creates a dazzling solo on the popular song, eliciting shouts from the crowd each time he hits a high note. As he finishes, he launches into a novelty number showcasing his talent as a singer and then transitions to a swinging scat interlude, his eyes closed. As he mugs ever so slightly, the crowd applauds his vocal inventiveness.  
 
Armstrong disappears offstage and returns in tails, a pair of glasses and a funny hat. Impersonating a preacher, he tells some of Bert Williams’s finest vaudeville jokes and delivers a satrical monologue, before resuming on his trumpet. The band plays “Sugar Foot Stomp”—a good old one—and Armstrong swings out with chorus after chorus of blues playing. When he finishes, he bows and grins, closes his eyes, and unleashes a smile to end all smiles.  
 
Was this 1957, or 1967—the latter part of Armstrong’s career when he was derided by some as an Uncle Tom? No, the year was 1927. The Broadway number was Noel Coward’s “Poor Little Rich Girl,” one of Armstrong’s big features with Erskine Tate’s orchestra at the Vendome Theatre. The novelty song he scatted was “Heebie Jeebies” and the preacher routine harked back to his childhood in New Orleans, where he won applause for impersonations and sermons at the local church. A 1927 review found among Armstrong’s personal scrapbooks read, “Erskine Tate’s orchestra at the Vendome Theatre last week was a ‘wow.’ Louis Armstrong, who is one of [Heebie Jeebies’s] pet writers, led the members of the popular orchestra in a ‘prayer’ with his cornet. During his ‘offering’ he wore a high silk hat, frocktail coat and smoked glasses. The fans are still giggling over the act as it was far the most amusing one ever seen here.” Such a review was not uncommon for Armstrong: “But when Luis [sic] Armstrong sang ‘My Baby Knows How,’ to Charles Harris, who slipped a wig over his head and played the role of the baby that Luis was singing about, the fans laughed themselves dizzy. The number was the best Tate had offered since Luis ‘preached the Gospel’ some weeks ago.” Yet another described him with admiration: “This talented musician plays, sings and dances.”    
 
Louis Armstrong won audiences over with showmanship, laughter, and sublime music, starting as early as 1927. It is the Armstrong of that year who is usually made out to be the serious artist, celebrated for the groundbreaking Hot Five and Hot Seven—recordings that announced the singularity of jazz as a true American art form. So it was no surprise that Christopher Porterfi eld’s 2006 Time magazine review of Armstrong’s 1920s work exclaimed “Forget the Satchmo who sang and mugged his way through his later decades, wonderfully entertaining as he was. This is Armstrong the force of nature—exuberant, inspired, irresistible.”   
 
The truth is, Louis Armstrong was a force of nature from the time he fi rst picked up his horn as a teenager until the day he died in 1971. Yet the myth of the “two Armstongs” continues: the young serious artist and the old entertainer. In fact, Armstrong had always been a master showman. Every aspect of his character, including love of entertaining, was formed during his childhood in New Orleans, singing and scatting in a vocal quartet before even learning to play the cornet. When he joined the Fletcher Henderson Orchestra in New York in 1924, Henderson only grudgingly allowed Armstrong’s Bert Williams vaudeville routines on stage, fearing it was too rough around the edges for the predominantly upscale audience. This rankled Armstrong for years: “Yeah, but Fletcher didn’t dig me like Joe Oliver,” Armstrong recalled in a 1960 interview. “He had a million-dollar talent in his band and he never thought enough to let me sing or nothing. He’d go hire a singer, that lived up in Harlem, that night for the recording the next day, who didn’t even know the song. And I’d say, ‘Well, let me sing.’ ‘Nooo, NOOOO!’ All he had was the trumpet in mind. And that’s where he missed the boat. In those days, all Fletcher had to do was keep in his band the things that I’m doing now.”    
 
Even at age twenty-four, Armstrong was confident of his “million-dollar talent” to sing and entertain as well as play the trumpet. When he joined Erskine Tate’s symphony orchestra in Chicago in 1925, Armstrong’s popularity skyrocketed, leading to the vaunted Hot Five recordings for the Okeh label. The Hot Fives and the later Hot Sevens brim with funny bits, though the humorous songs are usually given short shrift.   
 
This dismissal of Armstrong’s later years can be traced back to Gunther Schuller’s 1967 work Early Jazz, which systematically solidified the jazz canon of the 1920s. With a background in classical music, Schuller had no patience for Armstrong’s comedic tendencies and instead focused chiefly on his trumpet playing. Subsequent jazz histories followed Schuller’s lead, rightfully praising tunes like “West End Blues” and “Potato Head Blues,” but at the expense of less serious works such as “Irish Black Bottom” or “That’s When I’ll Come Back to You.” Twenty years later, Schuller followed Early Jazz with The Swing Era, in which he continued to praise Armstrong’s trumpet playing, but grew increasingly weary of his showmanship. By the time he addressed Armstrong’s later years, Schuller was despondent. “But the end was not what it should have been,” He wrote before suggesting that “as America’s unofficial ambassador to the world, this country should have provided him an honorary pension to live out his life in dignity, performing as and when he might, but without the need to scratch out a living as a good- natured buffoon, singing ‘Blueberry Hill’ and ‘What a Wonderful World’ night after night.”   
 
Schuller was wrong. Armstrong didn’t resent singing “Blueberry Hill” every night. When asked in 1968 what single record he would take to a desert island, Armstrong responded, “I’d like to take ‘Blueberry Hill,’ ‘cause right now, it’s like ‘The Star- Spangled Banner’ in America when I sing it.” While Armstrong’s trumpet playing may have grown less exhibitionistic over the years, his singing, swinging, mugging, clowning, and playing the hell out of his horn were the same in 1955 as they were in 1925.   
 
In a 1956 interview Armstrong discussed his longtime drummer Sid Catlett, but might subconsciously have been talking about himself. “Take a man like Sid,” he said. “He never did get his just praise like he should. He would get a write-up, sometime they’d say, ‘Well, he’s more showman now’—showmanship and blah blah. But they ain’t figuring out them notes are comin’ out the horn. And if you stand up there and play and don’t smile or something or show that you’re relaxing, then they call you a deadpan or—I don’t know.” Armstrong knew he was damned if he did and damned if he didn’t. In the late sixties, when riding the wave of “Hello, Dolly!,” Armstrong was asked about the critics of his style of performing. “Aw, I am paid to entertain the people,” Armstrong responded. “If they want me to come on all strutty and cutting up—if that makes ’em happy, why not?”  
 
Some writers accused Armstrong of coasting in his later years, relying on the same songs every night, mugging excessively, not really playing the horn as he once did. Nothing could be farther from the truth. As Dan Morgenstern has said, this period was in fact the most taxing of Armstrong’s career:   
 
He’s out there all the time. He is the master of ceremonies. He is the lead singer. He is the lead player. He’s there on everything. He will be sure to close those ensembles with something that demands a little bit in the way of chops and he’s there from beginning to end. So that happens at a time in his career when he’s already, you know, this is . . . what, 1947? So he’s already in his late forties. This is a time when . . . a brass player of his range and using the kind of, not a non-pressure system but the kind of embouchure and technique that he has, which is very taxing. It’s almost incredible what he can do, you know, and continued to do.
 
Armstrong once said, “I never tried to prove nothing, just always wanted to give a good show. My life has been my music; it’s always come first, but the music ain’t worth nothing if you can’t lay it on the public. The main thing is to live for that audience, ‘cause what you’re there for is to please the people.” Armstrong didn’t consider the venues he played or the size of the audience; he always gave everything he had. “I don’t give a damn how many come in, if it was one or one thousand,” he said in 1960. “I ain’t goin’ play no louder or no softer, and I ain’t goin’ play no less. I might play a little more, but always up to par.” According to Humphrey Lyttelton, the British trumpet player and author, “Those who worked under him would often declare that, if the curtain went up on a show to reveal only a handful of customers in the house, their hearts would sink. They knew that he was about to work them twice as hard.” When a reporter once made the mistake of assuming that Armstrong took it easy when confronted with smaller crowds, Armstrong replied indignantly, “You don’t take it easy, never! One of those guys might have hitch-hiked three hundred miles to hear your band for the first time. He don’t do that to see you take it easy!”
 
Armstrong lived for his fans, not for the hardened jazz critics who wanted to hear “West End Blues” every night. He was an international figure and the most beloved jazz musician of all time on the strength of his music and his personality, by being Armstrong “the artist” and Armstrong “the entertainer.”

From the Hardcover edition.

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Table of Contents

Introduction xi

1 Birth of the All Stars 3

2 Europe, 1948 25

3 King of the Zulus, 1949 32

4 Decca Days, 1950-1951 48

5 Personnel Changes, 1951-1952 62

6 The King of Jazz Meets the King of Swing, 1953 73

7 A Brush with the Law, 1953-1954 85

8 Columbia Masterpieces, 1954-1955 97

9 Ambassador Satch, 1955-1956 112

10 Wrath of the Critics, 1956 133

11 Showdown, 1957 152

12 The Rigors of Touring at Home and Abroad, 1957-1959 169

13 The Vicissitudes of Cardiac Arrest, 1959-1960 183

14 From the Dukes of Dixieland to Dave Brubeck, 1960-1963 190

15 Hello, Dolly! 1964 216

16 From the Iron Curtain to the Crescent City, 1965-1966 230

17 What a Wonderful World, 1967-1968 253

18 Winter of His Discontent, 1968-1970 268

19 Good Evening, Everybody, 1970-1971 285

Acknowledgments 307

Notes 313

Index 347

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Sort by: Showing all of 3 Customer Reviews
  • Posted September 6, 2011

    more from this reviewer

    A very good read. Highly recommended!

    This is a very good read for those who like the famous trumpeter's music and the man himself. There are some up's and down's(happy and sad moments )in Mr. Armstrong's life. This is life. For those who live in NY or visiting -there is a museum dedicated to his legacy in Corona, Queens.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted August 1, 2011

    Fantastic

    Well written, interesting, and informative. This author knows how to get the good stuff on paper. Oh yeah.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted June 19, 2012

    No text was provided for this review.

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