() I've been a little obsessed with jazz lately (and I have a lot of hobbies...... ), roughly divided as follows:

Dixieland Jazz is an early style of jazz developed between 1917 and 1923 by jazz masters in New Orleans and Chicago, and it is also a branch of traditional New Orleans jazz. Dixieland originally means 'Dixie's Land', a place where the army camped, so it is conceivable that it is related to music such as marches. Most of the materials of this style come from the blues, marches, and the popular music of the time, and even a small section of a certain piece of music, which can be used to extend and extend, which is the abuse of improvisation. Some jazz historians refer to the 'NewOrleans TraditionalJazz' played by 'white' musicians as 'New Orleans TraditionalJazz'; And the 'NewOrleans TraditionalJazz' played by blacks is called New Orleans Traditional Jazz.

The era of big bands originated in the mid-to-late 20s, with Duke Ellington, Count Basie, Benny Goodman and others as the main jazz style, it not only flourished in the swing period of the mid-30s, roaring in the mid-40s, cool jazz and modified roaring in the 50s, zìyóu jazz in the 60s, It can be found in jazz/rock fusion in the '70s and even in the new roar of the '80s. Large orchestras generally have a staff of more than 10 people, including more than 3 small trumpets, more than 2 telescopic trumpets, more than 4 saxophones, and accompaniment instruments such as bass, guitar, drums and piano.

Swing originated around 1930 and reached its peak between 1935 and 1946, with the Sextet led by Benny Goodman, the "King of Swing Music", the most representative of this style. In the mid-to-late 20s, jazz bands were popular in nightclubs, dance halls and other venues in major cities in the United States, and many young music fans were attracted to this place, so there was a need for more music suitable for dancing to satisfy the influx of young and middle classes. Swing music later evolved into accompaniment bands and recital music for cabaret performances (e.g., Duke Ellington regularly performed at Carnegie Hall every year); Swing music is also known as "four-beat jazz" because it is suitable for dancing and has four beats per measure.

Growling (BeboporBop) is literally a loud and boisterous jazz music, its original English name Bebop, Bop or Rebop was used in the early 40s, Rebop may have been derived from the track played by some Latin American bands - 'Arriba' (crying), but no one uses it anymore. Roaring is a kind of rebellious jazz music, which not only inherits the traditional musical elements of New Orleans jazz and swing music, but also innovates, breaks through and revolutionizes the creative concept. Its most important characteristic is the emphasis on highly varied and layered rhythms, and at the same time, the roaring musicians also invent new harmonies to unleash their musical potential and creative power in a wider space. Roaring music is represented by Charlie Parker, Dizzy Gillespie, Thelonious Monk and others, and in the early days it was dominated by small jazz ensembles, and later it was also performed by large orchestras.

CoolJazz generally refers to the music style represented by the ninet led by the little trumpeter Miles Davis (Miles Davis) from 1949 to 1950 for the album "BirthoftheCool" for Capitol Records, and its birth made the mainstream jazz style from the 'hot' of the roaring music style to the 'cold' of the cool music style in the opposite direction, which is a 180-degree reversal of the historical xìng development. Cool jazz represents a restrained and introspective emotion, which is a soft, cool and lyrical subtle feeling; Its tone is not as bright and dazzling as that of ordinary brass vessels, and instead it is soft and graceful. If roaring music is about being passionate, then cool jazz is about introspection. In short, cool jazz is a rebellion against and a review of roaring music, and at the same time awakens the conscious movement of some white musicians on the West Coast of the United States, forming a new jazz stream - West Coast Cool Jazz. THE MOST FAMOUS WORK OF COOL JAZZ IS THE "KINDOFBLUE" BY THE MYRS DAVIES QUINTET.

In the mid-50s, when many people were tired of the bland and sleepy cool jazz, HardBop, which had once lost momentum and took the opportunity to make a comeback, was officially born. Modified Roar is an intense, intense, and difficult style of jazz that is represented by xìng musicians and groups: The Jazz Messengers with drummer Art Blakey and Max Roach's Clifford Brown quintet. Others translate 'HardBop' as 'Hard Roar'. The modified roar has a more harmonious tone, a more clear melody, less improvisational solos, and adds a lot of blues, church salute harmonies, and especially the rhythmic pulsations of the drums. In the late '50s, improved roaring developed into two branches: Soul-Jazz, which combined soul and gospel music; The combination of rhythm and blues, swing music, and soul music is called "funk jazz".

The genre is named after the 1960 album FreeJazz recorded by founder Ornette Coleman, and was represented by the likes of Cecil Taylor and Albert Ayler, with John Coltrane being the later champion. Zìyóu jazz is a musical form that abandons the jazz chord structure that preceded it and re-establishes its own loose and collective improvisational style. It does not follow the script, does not repeat phrases and progresses at an indefinite tempo, but rather shows a musical style that is often interspersed with the wailing of human voices, trumpets or saxophone instruments. The birth of zìyóu jazz has its political and ethnic background, because it was the war song of the black movement for human rights and self-consciousness, so it is closely related to the black civil rights movement in the early 60s.

Rock & Fusion Jazz & Fusion In the mid-60s, the rock music king 'Batch 4' was warmly welcomed by music fans and gradually eroded the jazz scene. Unable to resist this powerful flow of new music and save jazz from a dead end, Miles Davis has taken rock music as a strategy to release two successful albums "InASilentWay" and "BitchesBrew" that combine rock rhythms, electronic instruments and jazz, opening a new door for jazz to be colorful, through which all musical materials can be integrated. With the advent of the rock jazz genre represented by MilesDavis, the so-called 'Fusion' was born, and all the jazz music of this genre until the 80s was called Jazz-Rock-Fusion.

Neo-Bop & Post-Modern BopIn the 80s, in addition to the fusion of jazz and the surviving zìyóu jazz, the development of jazz music seems to have reached the point of being strong, and the jazz music has lost its original focus and focus. Faced with a situation in which every genre of music has been explored by their predecessors, jazz musicians in the 80s can only go back to the past, looking for new themes and creative inspiration from classic jazz. In this wave of cháo, a so-called "neoclassical" or "neo-roar" with a strong emphasis on virtuosity and elegant melody was created in a roaring style, with New Orleans jazz, swing and soul music, with a strong emphasis on virtuosity and elegant melodies. Neoclassicism was the dominant style of jazz in the '80s, but there is a new style of jazz that will become the jazz style of the '90s, perhaps 'Post-ModernBop', which is yet to be verified.

Armstrong should be paddling in swing music

The person who sang "Akisstobuildadreamon" in the opening of F2 is also

If you were to find one of the most influential figures in the early development of jazz, most people would choose Louis and Armstrong. It has been argued that in the various genres of jazz that we can hear today, there is a valuable legacy left by Armstrong.

Armstrong was born on August 4, 1901, into a poor black family in New Orleans. His father was a factory worker and his mother was a maid.

It is worth mentioning that when he was 13 years old, he was sent to a local reformatory because on Christmas Eve he took a revolver that he didn't know where to get it and shot it in the sky. There, a trumpeter, Peter Davis, became Armstrong's trumpet initiation teacher. Armstrong stayed in a penitentiary until he was 18 years old, where he spent the first years of his playing career.

After leaving the penitentiary, Armstrong began to join a band that featured the famous trumpet player Joe Oliver at the time. Oliver was impressed by Armstrong's talent from the beginning and brought him to his band in Chicago.

The thing that excites Armstrong the most is getting into the studio, and the recording engineer has to place his position 20 meters behind the other musicians, because his voice is so powerful that even Oliver can't cover his voice.

By 1925, Armstrong was recognized as one of the world's greatest trumpet players in Chicago. In the same year, he began recording an album that bears his own name. Over the next four years, Armstrong is best known for his recordings with HotFive and HotSeven. These recordings mark the transition of jazz from an ensemble-led to a solo-led one, and have cross-generational significance.

In 1926, at the age of 25, Armstrong was already considered an icon of jazz. His playing notes, dynamics, range, and technique have been envied and imitated by countless players. His playfulness laid the foundation for jazz to separate from traditional black folk songs and outdoor marching music to form a specific style.

After 1926, Armstrong began to have his own band. He came to New York to record his new record while participating in the evenings on a local radio station, which increased his popularity. In 1931 he led his orchestra to England and Europe, where their performances were a great success. Armstrong became a world-recognized jazz virtuoso.

By the time Swing was all the rage, Armstrong's career was still at its peak, and he even participated in the filming of several films. He organized a large swing orchestra, but in the big bands, Armstrong's creative power seemed to be limited, and his performance was far inferior to that of those small bands before this.

In 1947, Armstrong reorganized a small jazz ensemble, which at one time boasted such maestas as Jack Teagarden and Earl Hines. With these great jazz musicians, Armstrong went on his world tour in the 50s and 60s. At the end of 1964, his album 'HelloDolly' was a huge success, which has become known as one of the classics of jazz.

Needless to say, Armstrong is one of the great trumpeters in the history of jazz. In the 20s of this century, not many people could play the C of the treble on the trumpet. Armstrong often played a high C in his performances, and sometimes he played a high F in his performances, which was enough to make him laugh in the music world at the time.

Armstrong's performance is a combination of virtuosity, good rhythm, jīng Zhan's improvisation, captivating notes and a wide range of notes, which makes his performance well communicative with the audience. As a sè experiential player, his greatest characteristic is the fusion of the sense of rhythm with the sense of melody, whether it is improvised or pre-composed.

Armstrong is also one of the great singers of jazz history. He attaches great importance to communication with the audience and strives to make it enjoyable for the audience, which makes him a master of comedic performance. There are often two views of him as an artist and a performer for entertaining the public in general, with those who hold the latter view that a true artist is not intended to entertain the public. But Armstrong argues that even if a person sees music as his life, it doesn't mean that he shouldn't be performed and not appreciated by the public.

Some people will ask why Armstrong is the father of jazz, and wouldn't jazz not be produced without Armstrong? Of course, jazz will still be produced, but without Armstrong, jazz would not have developed like it has today. Armstrong was the first recognized musician in jazz, although jazz was not yet considered a standard of music.

Although Armstrong's performances are slightly exaggerated at times, his grasp of music proves his genius. He combines jazz with blues music. You can hear the influence of Armstrong in the performances of jazz musicians after Armstrong. So most jazz musicians agree that Armstrong is a pioneer of jazz and one of the pioneers of jazz.

Armstrong died on July 6, 1971. He has left behind a rich jazz legacy, with many Armstrong compilations on the market, as well as classic singles such as 'WestEndBlues', 'SavoyBlues', 'PotatoHeadBlues', 'WeatherBird', 'I'mNotRough' and 'HeebieJeebies'.

LOUISARMSTRONG

When it comes to jazz music, the first person that comes to mind is likely to be a clown-like person, lively and cute. He is a singer with a hoarse voice, often holding a trumpet in his hand. In the New Orleans jazz style, he performed works with a simple, dramatic soundtrack of Dixieland jazz. That man was Louis Armstrong. He is a big name in the jazz world that everyone knows and everyone knows. In every book about jazz, his name is mentioned. He is as important to jazz as Bach in classical music and Presley in rock music.

Of course, Armstrong's accomplishments are far from what the simple typological descriptions above can summarize. He is the greatest and most important musician in the history of jazz. He innovated and popularized jazz more than anyone else. It is no exaggeration to say that in a sense, Louis Armstrong made jazz history.

In terms of time, Sidney Becher, another New Orleans jazz musician, appeared before Armstrong, but the glory of being the first jazz solo musician to record undoubtedly belongs to Louis Armstrong. His contribution to the development of Jue Shi Lok is remarkable. It was thanks to his efforts that jazz changed from a form of folk music dominated by ensembles to a musical form that emphasized the creation of zàoxìng improvisational solos. Louis Armstrong played a crucial role in this transformation.

In early jazz playing, most musicians didn't have the concept of improvisation. Even if there is improvisation, it is all done together. The ensemble is the main form of playing, which is very different from today's jazz performance. This was mainly due to the musicians themselves at the time. Most of the performers at that time were black musicians living at the bottom of society. Their musical literacy is generally low, their lack of knowledge of music theory, and their lack of formal training in performance have limited their musical development. Their musical ideas often go beyond what their technique can reach. Sometimes, their devotion to religion outweighs the pursuit of music itself. Their exploration of music is more about expressing their awe of the majesty and power of God. Music is more like an instrument of their faith, like the Indians did before their Creator. Jazz went beyond music to become the best way for blacks to express their religious piety.

In the early days, jazz musicians had little room for formal performances, and they often haunted low-class bars and dance halls, but also low-class jì houses. The unanimous opinion of the critics on jazz is that it is difficult to get into the hall of elegance. More precisely, jazz was not yet a form of dúlì music at the time. Not only does it lack its own characteristics, but it also lacks outstanding musicians who represent xìng. Jazz needs a genius to show up at this moment and make jazz history, earning a place in the temple of jazz music. The burden fell on the shoulders of a black musician from New Orleans. His name was Louis Armstrong.

Louis Armstrong was a very lucky genius. Had he been born twenty years earlier, he might have become a trumpeter of folk songs in jīngcai, a conductor of a street band, lacking musicianship and a single voice, playing all day for funerals and religious ceremonies. If he had been born fifteen years later, or had been born somewhere other than New Orleans, he would have lacked the deep musical soil that had shaped his musical success, and would have buried his extraordinary talent in some hot and humid town in the South.

Among the early jazz musicians, Armstrong was the most talented, with his relaxed blowing style changing heavily from the staccato style of jazz in the early twenties. This change may seem simple today, but it was this change that laid the groundwork for the advent of the swing era of the thirties. It is this seemingly mundane innovation that has brought jazz out of the dark age of exploration. In the thirties, when almost all the ballrooms, bars, and clubs were filled with this very American music, one might not realize that it was Armstrong's contribution. Ten years ago, jazz was the preserve of the lower class of blacks. Ten years later, jazz has become the most popular form of music in the United States. While it was ultimately white musicians who made jazz win the hearts and minds of the American masses, it was Armstrong's efforts that revolutionized the image of jazz, and his musical innovations made jazz a dúlì genre of music. Armstrong proved himself to be a talented performer with his strength. He showed people that it wasn't impossible to have a combination of extraordinary skill and a strong feeling for blues. For nearly two decades, from 1927 to 1940, almost every trumpet player was influenced by Armstrong to some degree. This shows Armstrong's influence on the musicians of his time.

Armstrong wasn't just a trumpet player, he was also extremely successful as a singer. For many years, jazz lovers have been fascinated by his unique voice, the kind of improvisational onomatopoeia full of meaningless, rhythmic syllables. This can't help but be reminiscent of the singing of some avant-garde pop singers in the 90s. Although they adopted the same form of performance, and although they tried to flaunt their predecessors and new cháo, they merely repeated Armstrong's way of singing at the beginning of the century, and they were far inferior in style. One cannot but marvel at Armstrong's sense of innovation. As early as the twenties, Armstrong was the first to successfully use onomatopoeia and eventually made it a major feature of jazz singing. His singing method has influenced every singer in the jazz scene since the thirties. These include the 40s singer Ping Crosby, jazz's most charismatic female singer Billie Hollyday, and the 60-year long-awaited evergreen Frank Sinatra.

In addition, Armstrong's humorous and enthusiastic stage performance style is the main reason why jazz music is popular with the masses. Many young people have developed a love for jazz after listening to or seeing his performances. He is the most frequent jazz musician in any medium, and even today, in the nineties, Armstrong's music is often featured on radio and concert programs. Millions of people came to jazz through Guò Armstrong, and many came to know and eventually love jazz through Guò Armstrong. So no one would be surprised when Armstrong's world tour earned him the nickname "Goodwill Ambassador for the United States." Armstrong's contribution to bringing American culture to the world is immeasurable. (Please note!) He, like boxing champion Ali, is a representative of black people who are not in the mainstream of American society. 〕

Curiously, almost no one in Armstrong's early years anticipated his later great achievements. On August 4, 1901, Louis Armstrong was born in the poorest and most backward black neighborhood in New Orleans, Louisiana, in the southern United States. His birth certificate was not discovered until the eighties, so much so that for a long time his birth date was mistaken for July 4, 1900. Living in the slums, Armstrong loved to sing from an early age, but poverty prevented him from learning formal vocal music, and people did not think that a black man would become a great singer. He sometimes sang in the streets by a boys' choir to earn some pocket money, and sometimes he sang in the church choir. For Armstrong, who came from a poor background, singing was one of the happiest things of his childhood. Singing can make him forget the troubles in life and add a little spice to the difficult life.

On Chinese New Year's Eve 1912, Armstrong got a pistol from a friend, which was not a toy but a real weapon. Excited as never before, the inquisitive Armstrong fired a gun into the air, hoping to see off the misfortunes of the past year and welcome the new year. However, in the silent night sky, the gunshots were exceptionally loud, which not only frightened the surrounding friends, but also alarmed Jǐngcha. Jǐngcha didn't think it was funny, didn't think it was just a teenager's joke. They noticed Armstrong's appearance and decided that it was a threat and a breach of public order. They involuntarily arrested Armstrong and sent him to the "Home for Stray Children" on charges of "illegal possession of a firearm," which is not a charitable public interest organization, but a more "civilized" term for a juvenile correctional facility. Louis Armstrong was only 10 years old. This experience was a turning point in his life. Although it is not a formal conservatory, the greatest musicians of jazz have come out of here. It was in the rì of the "Home of the Stray Child" that the lonely and lonely Armstrong learned to play the cornet.

Two years later, Armstrong left the "home for street children" and started a new life. He played in a variety of jazz and brass bands in New Orlang, and his skills progressed rapidly, showing his extraordinary talent. Kim Oliver, the most famous jazz virtuoso of the time, discovered the young man's potential and decided that the young man had a bright future. In life, Oliver cares about Armstrong; Musically, he was carefully guided. With his help, Armstrong grew into an accomplished cornetist. In 1918, when Oliver left New Orleans, he recommended Armstrong to take his place in the pop band led by trombonist Kidd Awray. Four years later, it was Oliver who invited Armstrong to Chicago to join the "Creole" jazz band he led as the second cornetist.

From 1922 to 1924, Kim Oliver led the best jazz band in the United States at the time. This "Creole" Jazz team has ten members. Although the emphasis is on group improvisation, there is also room for individual soloists. Kim Oliver was a sè cornetist who did not directly influence Armstrong's playing style, but he did inspire Armstrong's potential. It was this highly skilled orchestra that made Armstrong a talented and studious musician who surpassed Oliver in his performance. Luckily, the most influential and representative band of the early twenties, recorded 41 pieces for four records in 1923, giving us the opportunity to enjoy the collaboration of the two maestro Jīng Cai today. Later, under the pianist Lee Harden (the second of Armstrong's four wives), Armstrong left the "Creole" jazz band. His new choice was the Fletcher Handlin Band in New York.

Handlin was an important orchestra conductor in the early history of jazz, and at that time, he led the big orchestra that was unanimously recognized as the most outstanding band in the jazz scene. Still, they didn't know how to play jazz with strong rhythms, how to play improvised solos, how to play blues music. At that time, the general level of musicians in New York was far less than that of those in Chicago, and Armstrong's arrival undoubtedly injected a shot of stimulant into New York jazz. His virtuosity inspired these feel-good New York musicians, who were amazed to discover that there were still such good performers in the world. Inspired by Armstrong, their potential was exploited, and the spark of inspiration exploded under Armstrong's impact, and the Henderson band's skills grew by leaps and bounds, quickly leaving the rest of New York bands far behind. It was at this time that Rensen first felt the impact of Louis Armstrong on jazz. He seemed to be the catalyst that drove the evolution of jazz, and his appearance changed the face of jazz.

In addition to playing in Henderson's Big Band, Armstrong was a frequent ensemble with blues singers, for whom he served as an accompanist. The most famous blues singers of the time, Betsy Smith and Mar Rainey, both played with him. Armstrong's strong, emotionally charged performances greatly influenced Armstrong, adding an important ingredient to his playing style—the blues' sensuality. This sentiment adds more thought to jazz's mere technique. The appeal of music has reached a new level. Armstrong has a knack for drawing on the strengths of a wide range of people, and his experience playing in Clarence Williams' "Blue Sè Quintet" and Sidney Betcher's band has given him valuable experience.

In 1925, the fledgling Louis Armstrong decided to leave New York and return to Chicago to start his own business. He will no longer be a supporting role next to other masters, but will always be the protagonist. Between 1925 and 1927, Armstrong's classics were one after the other. The famous "Hot Five" and "Top 10" series of recordings are masterpieces of this period. His playing partners include Johnny Dws, trombonist Kidd Auray, pianist Leigh Armstrong (his wife) and banjo player Hanny Saintesser.

This period was the height of New Orleans jazz, and there is a very interesting phenomenon: the decline of New Orleans jazz was largely due to the overemphasis on Armstrong's status as a soloist in the band's performances.

IN 1927, ARMSTRONG SWITCHED FROM PLAYING THE CORNET TO PLAYING A TRUMPET WITH A SIMILAR SOUND, AND HIS PERFORMANCE OF THE "CORNERCHOPSUE" SURPRISED HIS TRUMPET-PLAYING PEERS. They were amazed at the addition of a formidable opponent whose style and technique were far ahead of their time. The well-structured, shocking solo performances of "Potato Head" and "Hold the Water Girl Proud" established Armstrong as the twenty-best trumpet soloist.

Armstrong was also very successful as a singer. In the song "HEEBIESJEEBIES", he showed his unique singing voice and excellent singing skills for the first time, and his onomatopoeia became popular.

In 1928, Armstrong formed a new band in the studio, known as the "Savoy Quintet". The characteristics of this band are that the trombone and cornet are no longer the main source of the band, but only used to add color to the music, and the band emphasizes the interaction between the trumpet and the piano. This revolution is yet another innovation in jazz. As a result, jazz broke away from the relatively monotonous form of pure brass instrumental performance in the early days, and the prominence of the piano greatly enriched the expressive power of jazz. The arrival of the famous pianist Earl Haynes made this change possible. The West End Blues stands out for its opening trumpet cadenza that many, even Armstrong himself, consider it one of the greatest singles in jazz history. "Weather Birds" is a classic duet between Armstrong and Haynes, and listeners can see that the two have successfully used every opportunity to perform on the table. Louis's works from the same period, St. James's Frailty and Harbor Street Blues are classics, and they are no less than any other famous version of the future.

Armstrong's band has a very distinctive feature: the "Hot Quintet" and the "Hot Septet" band only perform in public when there is no shortage of members, all of them are in office, every member of the band is indispensable, and their perfect harmony is the secret of the band's success.

The ambitious Armstrong doesn't limit himself to a recording studio or orchestra pit, preferring to showcase his talents on stage with his passion, wit and humor. In Chicago, he performed in big bands led by Erskine Tate and Carol Dickinson. He was undoubtedly an important figure in the big band, and more performances added to his stage performances with opportunities for practice, and he quickly became a performing genius to captivate audiences. People like his jīng color performances, his unique way of singing, and his humorous and witty performances on stage.

From 1929 onwards, Armstrong became a well-deserved leader in the various major bands in which he participated. His one-of-a-kind role evokes the attention of the era's super-popular standard songs, such as the single "I Can Give You a Qiē Except Love", which became a popular classic thanks to Armstrong's singing. Armstrong made the most of his talent and vision, as well as the trust and support of his fans, to push a large number of works to the heights of classics. With the success of these works, Armstrong established himself as a maestro of jazz, and over the next decade, Louis Armstrong became a household name.

Between 1932 and 1934, Armstrong visited Europe twice. In the Old Continent, he was likewise warmly welcomed. Although the Great Depression hit American jazz the other side of the ocean, in Europe, people's enthusiasm for jazz continued unabated, and Armstrong made outstanding contributions to jazz to the world.

At the same time, Armstrong's thriving film career caught Armstrong's attention, and he began to take to the screen to showcase his acting talents. Due to his skin, in the social environment at the time, Armstrong could only play the role of a small actor in the film, however, this did not affect Armstrong's talent in the slightest. He stands out with his charisma, making every little role he plays lifelike.

From this point on, Armstrong began to introduce the swing style to the playing of big bands, and although this was only used as background music for his singing and trumpet solos, the change quickly became a cháo stream of jazz. Later critics agreed that his superlative performance was a duet with Haynes in 1928, and that his recordings for Decca Records from 1935 to 1944 were commercially viable and novel tunes were extremely popular. Like a magician, Armstrong adds magic to every record and every single for himself. In the early forties, he reached the pinnacle of his career.

By the mid-forties, however, it was felt that Louis Armstrong was gradually moving away from his style, that he seemed to have lost the sense of his prime, and that his band status was beginning to decline. His solo and clown-like witty voice is less harmonious than that of his younger, more pop-style accompanists. Some even say that Armstrong is old.

Armstrong defended his position with strength, and he participated in the Hollywood film "New Orleans" with some experienced musicians, which was a huge success. People are re-seeing the humorous, lovable image of Armstrong in the cinema. In 1947, he performed with a small band at the City Concert Hall in Armstrong, where he was warmly received by the audience.

Armstrong's cháo current, in line with the times, disbanded the big band and formed the famous "all-star" band. The band's first six members included trombonist Jack Tigarden and clarinetist Barney Pigard, and soon pianist Earl Haynes joined, and the band quickly became popular. The band is full of stars and brilliance, and it is no less than a hip pop jazz band. While performing Dixieland jazz and swing classics, the "All-Star" band performed comedy repertoire, which received good stage results. Armstrong began to compile a schedule for his tour, and he was overwhelmed with non-stop performances.

After years of touring, as one might expect, critics were tired of the aging Armstrong, who they thought was old and had lost the energy and grace of his former years. He can't create any new music theories, new musical styles, like the younger generation, he is just repeating the success of the past, and the younger generation of jazz listeners are no longer interested in him. If this is the rhetoric of Paul's racially biased white critics, then the criticism of the black civil rights organization is somewhat unfair, and they see Armstrong as an Uncle Tom-like figure (note: the protagonist of Mrs. Stowe's 1852 novel "Uncle Tom's Cabin" is a submissive black representative), believing that he only relies on self-mockery to please the audience, and that he does not know resistance, which is the support of white rule, which breaks Armstrong's heart. In fact, they made the mistake of common sense. IT'S TRUE THAT ARMSTRONG OFTEN USED HIMSELF AS A JOKE IN HIS PERFORMANCES AND HAD A NATURAL SATCHMO (SHORT FOR "LITTLE PACKET") ARE OBJECTIVE FACTS, BUT ONE HARD FACT SHOULD NOT BE OVERLOOKED: ARMSTRONG OFTEN STANDS UP FOR HIS RACE. The most famous occurred during the Southern Campus movement in the '60s, when Armstrong courageously declared his support for the struggle of black Southerners in public despite the threat of white racists. This kind of courage is by no means possessed by a timid "Uncle Tom". Beneath Armstrong's cheerful, carefree exterior lies strength and courage. Unlike radical black musicians, he spread not antagonism and hatred in his musical practice, but friendliness and reconciliation. In this regard, he did more work than anyone else, and he used his music to make whites and blacks sit in the same stands. Maybe they won't reach out to reconcile yet, Armstrong's music has built a bridge of communication between their hearts.

Armstrong broke the stereotypes with his jīng chan skills, and listeners around the world loved his upbeat vocals and his exhilarating trumpet playing. In the performance, he does not think most about how much he is paid and how high his reputation is, but what he cares about most is the people who are worthy of spending money to watch the performance. Armstrong's high level of dedication is impeccable and a role model for every contemporary musician. After the forties, Armstrong's music did not improve much, but so did Johnny Hodges and Troniss Munch of the same period, and we have no reason to doubt Armstrong's talent.

In the fifties, Earl Haynes left the band "All-Star". Tigarten and Pigard were also replaced by Trummy Young and Edmund Hall, respectively. Armstrong occasionally made a big band recording or performed with Ella Fitzgerald. He found that his popularity was still on the rise, and his ranks of fans did not diminish with the passage of time, on the contrary, his music won more and more listeners as a new generation grew. HITS SUCH AS "BILBERRY HILLS", "MACKKNIFE" AND "HELLO, DOLLY" ARE ALL MASTERPIECES OF THIS PERIOD.

Armstrong died on July 6, 1971, and no jazz musician could be as well-known and deeply rooted in the hearts of the people as he was; No one has won the love of people from all over the world like him. His work has been reprinted several times over the past two decades. This has kept Louis Armstrong, one of jazz's greatest names, forever in people's hearts.

Excerpt from the book "Inspiration for the 20th Century - Jazz".

Author, Cheng Gong;