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	Louis Armstrong and his Hot Seven - Wikipedia, the free encyclopedia
		Louis Armstrong and his Hot Seven was a jazz group organized to make a series of recordings for Okeh Records.
		The personnel was largely that of Louis Armstrong and his Hot Five with added personnel.
		The Louis Armstrong recording band as described there, consisting of trumpet, clarinet and trombone backed by a rhythm section of piano and banjo, was augmented during one week in 1927 by the addition of tuba and drums to the rhythm section.
	en.wikipedia.org /wiki/Hot_Seven (125 words)

	Louis Armstrong
		Armstrong was greeted as a hero, but racism marred his return when a White radio announcer refused to mention Armstrong on the air and a free concert that Louis was going to give to the cities' African-American population was cancelled at the last minute.
		The band was renamed Louis Armstrong and his Orchestra and was one of the most popular acts of the Swing era.
		For the next nine years the Louis Armstrong Orchestra continued to tour and release records, but as the 1940s drew to a close the public's taste in Jazz began to shift away from the commercial sounds of the Swing era and big band Jazz.
	www.redhotjazz.com /louie.html (1422 words)

	St. James Encyclopedia of Pop Culture: Louis Armstrong
		Armstrong was one of the first fls seen in feature-length films; in total he appeared in nearly 50.
		Armstrong mastered the school's repertoire of marches and rags, and eventually became the leader of the Home's brass band that frequently played for picnics and parades.
		Armstrong could have easily chosen to pursue a career leading a jazz group, but instead, he opted for broadening his commercial appeal by singing popular tunes and becoming a showman.
	www.findarticles.com /p/articles/mi_g1epc/is_bio/ai_2419200037 (1187 words)

	Louis Armstrong: Hot Five and Seven (1925: Satchmo) \| The Chronicle of Jazz \| Abbeville Press
		Louis Armstrong (dubbed "Satchmo," i.e., satchelmouth) began as a cornetist in early bands led by Kid Ory in New Orleans (1918), King Oliver in Chicago (1922—4) and Fletcher Henderson in New York (1924) before returning to Chicago in 1925 to form his own Hot Five.
		This group, known as the Hot Seven when tuba and drums were added, recorded prolifically on the Okeh label, and their technical brilliance exerted a profound influence on the development of jazz.
		By 1925 Armstrong had changed from playing cornet to the brighter trumpet, and shown himself to be equally accomplished as a singer.
	www.abbeville.com /jazz/056.asp (552 words)

	Louis Armstrong and his Hot Seven
		Louis Armstrong and his Hot Seven were the companion sessions of the Hot Five sides.
		The personel is the same as the first Hot Five records except that John Thomas of Erskine Tate's Vendome Orchestra takes over Kid Ory's place on trombone, Pete Briggs of the Carroll Dickenson Orchestra plays Tuba, and Baby Dodds plays drums.
		The acoustic recording process was often ruined by the vibration created by drums or bass, and recording engineers preferred not to have these instruments in a session or placed them so far from the recording horn, that they can rarely be heard well on the old acoustic recordings.
	www.redhotjazz.com /hot7.html (150 words)

	Bluebird Jazz (Site not responding. Last check: 2007-10-18)
		Armstrong?s improvisation on such as "Heebie Jeebies" (the first record of a scat vocal) and "Cornet Chop Suey" was outdone in spring 1927, when his group was expanded to the Hot Seven and by which time he had switched from cornet to trumpet.
		Armstrong also deployed the song medley for Victor, which had pioneered in the long-playing record, for which the medley was the perfect showcase and vice-versa.
		Armstrong decided to spend much of 1933 and 1934 in Europe, where he was received as a celebrity to be accorded every respect.
	www.bluebirdjazz.com /artists/artist.jsp?id=100369 (1302 words)

	American Masters . Louis Armstrong \| PBS
		Armstrong's HOT FIVE and HOT SEVEN recordings remain to this day some of the best loved of the time.
		Though adamant that these claims were unjust, Armstrong was then in his sixties and primarily concerned with continuing to travel and perform.
		Armstrong's legacy is more than simply his virtuoso trumpet playing (for which nearly every trumpet player since seems indebted), but his great formal innovations as well.
	www.pbs.org /wnet/americanmasters/database/armstrong_l.html (801 words)

	Louis Armstrong: Jazz Moods: Hot - PopMatters Music Review (Site not responding. Last check: 2007-10-18)
		Louis "Pops" Armstrong was an orphan born in New Orleans, Louisiana near the turn of the century who learned to play trumpet in the "ragged" style of that city in the earliest days of jazz.
		On the Hot Fives and Hot Sevens, Armstrong's innovation -- and it is arguably the masterful innovation that made the entire history of jazz possible -- was to privilege individual instrumental soloists to ride over the ensemble in displays of virtuosity and melodic invention that, nevertheless, always responded organically to the group in the moment.
		That is, Louis Armstrong achieves supreme relaxation in his own voice -- a totally organic and personal voice that feels purely spontaneous -- but sets that relaxation in contrast to the set time of the band, which creates a tension and excitement.
	www.popmatters.com /music/reviews/a/armstronglouis-jazzmoods.shtml (1301 words)

	Louis Armstrong - louis-armstrong.net
		The Hot Seven 'experiment' took place in 1927, when the Five's spare and awkward two piece rhythm section was augmented by Baby Dodds on drums and Pete Briggs on tuba.
		Louis' pop profile was strengthened as a result of records with fellow Decca artists the Mills Brothers, Louis Jordan, Tommy Dorsey, and Ella Fitzgerald.
		Louis Armstrong demolished social barriers with the same offhanded grace that he brought to countless U.S. State Department-sponsored tours of foreign countries, especially Africa and Europe.
	louis-armstrong.net (1192 words)

	Jazz . Jazz Greats . Louis Armstrong \| PBS KIDS GO!
		The greatest American jazz musician, Louis Armstrong (1901-1971), was born and raised in the "birthplace of jazz," New Orleans.
		Louis refused, but Henderson tried again in 1924, and this time Louis agreed, so he left Oliver's band to move to New York for the first time.
		The record producer encouraged Louis to keep on singing without the lyrics so he sang the chorus in nonsense syllables and improvised sound with perfect timing--otherwise known as "scat singing." He used his voice like an instrument, a practice he learned singing in his boys quartet in New Orleans.
	pbskids.org /jazz/nowthen/louis.html (759 words)

	Louis Armstrong: A Portrait of the Man and his Music
		Louis Armstrong's place in the pantheon of American popular culture is secure and everlasting.
		In the Twenty-First century, Armstrong's identity as the the single most important innovator in the history of jazz is hidden by the mask of his continuing pop stardom.
		Louis Armstrong thought of himself as an entertainer very much in the mainstream of "show business." He wrote, "I never tried to prove nothing, just always wanted to give a good show.
	www.riverwalk.org /proglist/showpromo/armstrong_man_music.htm (847 words)

	Louis Armstrong (Site not responding. Last check: 2007-10-18)
		Louis, also known as the "Satchmo" began his career at the age of 13 and played in a band at the New Orleans Waifs' home.
		Three years later in 1925, Louis Armstrong then returned to Chicago to start his own band called the Hot Five and sometimes were also known as the Hot Seven.
		Louis Armstrong then became known as a jazz vocalist along with his trumpet and he recorded What A Wonderful World simply one of the most beloved recordings ever produced.
	www.nw-cybermall.com /jazzworld/armstrng.htm (281 words)

	Louis Armstrong \| Complete Hot Five & Hot Seven Recordings
		Louis Armstrong’s Hot Five and Hot Seven recordings are jazz’s Holy Grail, a venerable guide for anyone with the desire to explore the roots of this now century old art.
		Although born the year of Armstrong’s first recordings, he was a Tommy Dorsey and Duke Ellington Man. What Ellington recognized and the thing that makes these 75 year-old recordings significant is the original voice that was Armstrong.
		Armstrong’s Hot Fives band comprised of his wife Lil’ Hardin Armstrong (piano/vocals), Kid Ory (trombone), Johnny Dodds (clarinet), and Johnny St. Cyr (banjo), were supplemented by tuba and drums to make the Hot Sevens.
	www.allaboutjazz.com /reviews/r0900_044.htm (627 words)

	Louis Armstrong: The Complete Hot Fives and Hot Seven Recordings (Site not responding. Last check: 2007-10-18)
		Well, Okay, Armstrong wasn’t the God of Jazz but if anyone can be at least partially credited with recreating jazz in his or her own image Satchmo is one of the top contenders.
		Armstrong took the conventions of New Orleans style jazz, shook it up and added a bit of soloing to help pave the road for modern jazz.
		The sound quality on The Complete Hot Five and Hot Seven Recordings is exceptional particularly considering their age and the source materials.
	www.birdpages.co.uk /magazine2/louisarmstrongcompletehotfivessevens.htm (597 words)

	Louis Armstrong
		In honor of Armstrong's centennial, here is the Thomas Edison of American Music, in the full sunburst glory of his genius.
		Louis Armstrong's Hot Five and Hot Seven Recordings are considered the "Rosetta Stone" of jazz music, influencing every singer, songwriter, instrumentalist, and even dancer from that point forward.
		Armstrong impacted the 20th Century with the same magnitude as a Picasso or an Einstein.
	louis-armstrong.net /newreleases.html (466 words)

	Louis Armstrong \| The Complete Hot Five and Hot Seven Recordings
		Armstrong himself is on record as stating his birthday as July 4, 1900.
		It seems appropriate to accept this bit of improvisation on his birth, as Armstrong is a priceless American Treasure who is as much a part of the American fabric as Washington, Franklin, Roosevelt, and King.
		Between 1925 and 1928, Louis Armstrong entered the Okeh recording studios and carved some 60 acetate sides, using a quintet and septet respectively to comprise his “Hot Fives” and “Hot Sevens”.
	www.allaboutjazz.com /reviews/r0800_131.htm (770 words)

	Louis Armstrong MP3 Downloads - Louis Armstrong Music Downloads - Louis Armstrong Music Videos
		Louis Armstrong's Hot Five was the most influential jazz band of the mid-'20s.
		Opening this second volume of vintage Armstrong, the Hot Five's last three records of 1926 are peppered with hot vocals intended to entertain and amuse.
		Armstrong's version of Fats Waller's "Alligator Crawl" is a miracle of perfect timing and immaculate ease.
	www.mp3.com /albums/228744/summary.html (485 words)

	Music 74 Listening Guides--Armstrong & Ellington (Site not responding. Last check: 2007-10-18)
		Armstrong takes more liberties with the melody than he did it at the beginning of the tune (for instance, notice how he swoops up to a high note right after the first phrase).
		Armstrong plays the melody, with clarinet and trombone joining, New Orleans style, but somewhat in the background, and banjo and piano playing the chords together on each beat in a "chunk-chunk-chunk-chunk" kind of style.
		Armstrong coasts through most of the last A section and then announces with the last note (the "Oh" of "Ohhhhh Dinah!") that he's going to turn up the heat a bit in the next chorus.
	www.duke.edu /~rzman/mus74/listening_guides_la_de.html (6589 words)

	The Complete Hot Five and Hot Seven Recordings - Louis Armstrong
		Similarly, Louis Armstrong, for all intents and purposes the father of jazz, now exists only as more CDs in the racks next to 75 years' worth of subsequent material by other artists, any one of whom may owe him everything or nothing, stylistically.
		It would be easy to dismiss the Hot Five and Hot Seven as "old-time stuff," particularly in light of the instrumentation (trumpet, clarinet, piano, banjo and trombone, with the later addition of tuba and drums).
		It being Armstrong's centennial, the label has pulled out all the stops - the four CDs are enclosed in a hardback book, beautifully printed on glossy paper, with dozens of archival photographs, and a handsome slipcase.
	www.culturevulture.net /Books/Armstrong.htm (641 words)

	PBS - JAZZ A Film By Ken Burns: Places Spaces & Changing Faces - Chicago
		But by July 8, 1922, when Louis Armstrong boarded a train at New Orleans for Chicago, the Windy City was a very different place, especially where jazz was concerned.
		Armstrong had been making $1.50 an evening in New Orleans; in Chicago he could look forward to $52.50 a week, plus roughly the same amount in tips from enthralled customers.
		In setting out for Chicago, Armstrong was joining what came to be called the "Great Migration," a northern exodus that since 1917 had sent more than half a million African-Americans northward — and that would propel a million more to follow before the end of the 1920s.
	www.pbs.org /jazz/places/places_chicago.htm (1829 words)

	PLAY>> CD Review - Louis Armstrong: Complete Hot Five & Hot Seven Recordings
		For baby boomers, who grew up seeing Louis Armstrong on prime-time television variety shows—the aging Negro mugging duets with a stiff white host, grinning and blowing an old-style horn, mopping his face with a white handkerchief—the idea of his importance as an avant-garde musician and representative American comes very hard.
		A 16-page photo gallery—early portraits of Armstrong and his family, shots of New Orleans street life and culture, the bright lights of Chicago, posed photos of various jazz bands that Armstrong played in—ushers the observer back to the dawn-of-jazz-time from which this revolutionary music emerged.
		By way of comparison, Louis Armstrong: Portrait of the Artist as a Young Man, 1923-1934 includes 19 sides that predate the Hot Five, 27 made after the recordings in the Complete set, and 32 that overlap.
	www.union.edu /PUBLIC/LIBRARY/PLAY/2000/reviews_hotfives.html (782 words)

	Anti-Bias Books: African American Music Lesson Plan (Site not responding. Last check: 2007-10-18)
		Louis Armstrong and King Oliver are playing the cornet.
		Louis Armstrong played second cornet with the King Oliver band before forming his own band.
		On a hot, humdrum day, Try meets a man who fills the night with music, using a washboard, comb, spoons, and a pail.
	www.newton.mec.edu /Franklin/Yes/Lessons/Music/music.htm (1714 words)

	1926-1927 by Louis Armstrong & His Hot Five & Hot Seven CD
		The recordings included on LOUIS ARMSTRONG, 1926-1927 are often hailed as among the most important in the development of jazz.
		Between 1925 and 1928, Louis Armstrong assembled groups known as the Hot Fives and Hot Sevens, solely for the purpose of recording (which in itself was unusual for that time).
		One can hear Armstrong literally expanding the vocabulary of jazz as he plays, continually introducing more advanced rhythmic concepts, placing greater emphasis on bent, bluesy notes, extending the instrument's register, and providing ever more room for ever freer improvising.
	www.cduniverse.com /search/xx/music/pid/1065144/a/19261927.htm (473 words)

	Louis Armstrong and his Hot Seven - Encyclopedia, History, Geography and Biography
		Louis Armstrong and his Hot Seven - Encyclopedia, History, Geography and Biography
		This page was last modified 04:54, 17 May 2005.
		This encyclopedia, history, geography and biography article about Louis Armstrong and his Hot Seven contains research on
	www.arikah.net /encyclopedia/Hot_Seven (150 words)

	'Complete Hot Five & Hot Seven Recordings' by Louis Armstrong from The Portsmouth Chorus. (Site not responding. Last check: 2007-10-18)
		As well as every number recorded under the names of the Hot Five and Hot Seven, Columbia have included other work recorded by Armstrong at around the same time--for instance, those by the Hot Five under the name of its pianist, Louis's wife, Lil, as "Lil's Hot Shots".
		Louis Armstrong transmitted an energy to his musicians that propelled them to play what was almost by any measure of judgement completely new jazz.
		The material was treated by the Hot Fives and Sevens with layers of complex dynamics, elevated to ecstatic heights by Armstrong's dazzling execution on trumpet and the pioneering clarinet work of Johnny Dodds.
	www.theportsmouthchorus.com /music-cd/B00004WK37 (520 words)

	[No title] (Site not responding. Last check: 2007-10-18)
		Members of the band who went on to be famous in their own right were: Louis Armstrong, cornetist, and Lil Hardin, pianist (who would become Armstrong's wife).
		Louis Armstrong (1901-1971) He was born in New Orleans to a very poor family.
		Armstrong got his first musical training after being put in a kind of reformatory school (the Colored Waifs Home) after his arrest at the age of 13.
	www.sinc.sunysb.edu /Class/mus304/notes/feb2.htm (1038 words)

	[No title] (Site not responding. Last check: 2007-10-18)
		Louis Armstrong, vocals and trumpet; Billy Kyle, piano; Eddie Shuree, clarinet; Tyree Glenn, trombone; Buddy Catlett, bass; Danny Barcelona, drums; Jewell Brown, vocals.
		SKELETON IN THE CLOSET Louis Armstrong and His Orch.: Armstrong, trumpet and vocal; Bacon, Shelton Hemphill, Henry "Red" Alien, trumpets; George Matthews, George Washington, J.C. Higginbotham, trombones; Holmes, Madison, Pete dark, Albert Nicholas, reeds; same rhythm section as on Nov. 21, 1935.
		THE SONG IS ENDED Louis Armstrong and Ella Fitzgerald with Bob Haggart and Orchestra: Armstrong, trumpet and vocal; Fitzgerald, vocal; Butterfield, trumpet; Stegmeyer, George Koenig, Jack Greenberg, Art Drellinger, Milton Chatz, reeds; Joe Bushkin, piano; Danny Pern.
	isc.nm.ru /mcd/armstrong.txt (2976 words)

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