Pearl Angelie Villanueva Mahusay

Student’s Name Professor’s Name Subject DD MM YYYY Louis Armstrong and the Hot Five in 1965 Berlin Concert Louis Armstrong’s All Star, also known as Hot Five, created a music generally described as traditional jazz using the classic or downtown New Orleans style. Where the combination of various stylistic elements was the creative process itself, traditional jazz is a constant change of styles being turned to generate new colors. Their instrumentation, which included a front-liner trumpet, clarinet, trombone, bass, piano and drums (Minn 15), produced an emotional, composite with usually thick texture of rhythm. The clarinet released heavy vibrato and deep tone, and can be recognized within the unit by its plunger growls, and shakes. Trombone, on the other hand, was used as both an alternating streak and a rapid staccato for filling-in. While the piano generates a series of straight plunks, drums used both choked cymbal and light snare to produce a soft and restrained effect. As observed, every performance was relatively structured and second endings with breaks happened frequently. One of the songs entitled “When It's Sleepy Time Down South” exposed the movement of African Americans from South to North and contained such racial stereotypes. Although Armstrong dealt with a decrease in popularity among African-American listeners because of this song (Friedman 123), he still managed to make broader connection using the same song. With a combination of foxtrot and jazz, the music is influenced by a primitive African spirit. In the song "Mack the Knife," Armstrong played a trumpet obbligato followed by an end-break, then flowed back to a rocking chorus (Teachout 1,2). The introductory lyrics: “Dig, man, there goes Mack the Knife!” was played with the trumpet rasped cordially while the throbbing bass and drums laid down a springy beat over a scattered twinkling of piano accompaniment. Came after was a plain refrain from the trumpet mixed with the clarinet and a soft trombone behind it. A 1930 version of the song “Memories of You” performed by Louis Armstrong with Lionel Hampton made the first use of the vibraphone popular in music industry. The ballad of “The Faithful Hussar” talked about a soldier separated from his beloved, and having a terrible sickness is the only way to see the person again, which created a sorrowful flow of music. Immediately after the triumph of his Hello, Dolly! cover, the 1965 East Berlin concert performance of Black and Blue had summarized every racial discrimination Armstrong battled with a smile and a high C. This two-hour performance, known to be unofficially government-sponsored, had earned a prolonged applause from the crowd. The fine distinction of Armstrong's trumpet embouchure, as part of a great treatment, considered his achievement of such intensity and potential in the highest register as well as the wider sociocultural conditions of the music itself. Since the trumpet is considered an instrument full of impulse, it has the ability to motion itself into an abundant allusive presentation of where we read. Whether it is about the bargain of bluesman Robert Johnson and how high notes on the trumpet sounded something like the Nibelung's ring. Armstrong’s trumpet solo displayed a powerful sensation of musical combination from the blending devices such as repeated dotted quarter-notes or dotted-quarter patterns from eighth-notes. These musical standard were eventually intensified to a pioneering level, using its strong blend of stop-time style, motivic character, and vivid formation of harmony. Armstrong’s dynamic and rhythmic portrayal was believed to be influenced by his association with the dance group of Brown and McGraw (Harker 186). His ability to maintain a mastered high C was mainly inspired from Enrico Caruso, an opera superstar, and his positive competition towards other trumpeters. Furthermore, Armstrong’s incorporation of sweet sound components was encouraged through his own inclination to Guy Lombardo’s romantic jazz, during his romantic involvement. Works Cited Minn, Michael. The Louis Armstrong Discography: Twilight (1963 - 1971). 2018. http://michaelminn.net/discographies/armstrong/twilight/index.html. “Louis Armstrong - Berlin 1965.” YouTube, uploaded by wasaexpress, 24 Jan 2013, https://www.youtube.com/watch?v=Y5O-oIUXIjo. Friedman, Ryan Jay. Hollywood's African American Films: The Transition to Sound. Rutgers University Press: 2011. https://books.google.com.ph/books?id=Dtbtl4aE3jUC&pg= PA123&lpg=PA123&dq=describe+rhythm+of+when+it%27s+sleepy+time+down+south&source=bl&ots=FTHDDYxWP2&sig=zjJuJNBRbky-qg063jxzOsvBUao&hl=ceb&sa=X&ved=0ahUKEwii3e6tzK7cAhUO7mEKHTcGC5gQ6AEIajAS#v=onepage&q=describe%20rhythm%20of%20when%20it's%20sleepy%20time%20down%20south&f=false Teachout, Terry. “Mack the Knife”—Louis Armstrong (1956). National Registry: 2015. https://www.loc.gov/programs/static/national-recording-preservation-board/documents/MackTheKnife.pdf Harker, Brian. Louis Armstrong's Hot Five and Hot Seven Recordings, p. 186. Oxford Studies in Recorded Jazz. New York: Oxford University Press, 2011. https://www.jstor.org/ stable/-?read-now=1&seq=1#page_scan_tab_contents