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These are the user uploaded subtitles that are being translated: 1 00:00:11,606 --> 00:00:13,073 Good evening ladies and gentlemen. 2 00:00:13,141 --> 00:00:15,574 I am Mr. Armstrong, 3 00:00:15,643 --> 00:00:19,909 and let's play an old woman and good music for you, 4 00:00:19,980 --> 00:00:23,574 a beautiful number: "I Cover the Waterfront". 5 00:00:23,650 --> 00:00:25,242 "I Cover the Waterfront". 6 00:00:41,632 --> 00:00:43,963 When it is spoken of Louis Armstrong, 7 00:00:44,034 --> 00:00:48,437 It talks about feelings human beings 8 00:00:48,505 --> 00:00:51,996 and of the highest level of musical sophistication. 9 00:00:52,074 --> 00:00:57,602 It's a rare occurrence in the history of music. 10 00:01:01,583 --> 00:01:03,516 He was chosen to bring 11 00:01:03,584 --> 00:01:04,573 the feeling, the message and 12 00:01:04,651 --> 00:01:07,518 the identity of jazz for all. 13 00:01:07,588 --> 00:01:09,522 I brought them to everyone. the musicians. 14 00:01:09,590 --> 00:01:12,854 It took them all over the world. 15 00:01:12,925 --> 00:01:14,893 He is the personification of jazz. 16 00:01:44,286 --> 00:01:47,413 The twentieth century had not yet completed two decades ago when 17 00:01:47,488 --> 00:01:51,924 the first jazz record reached the public in 1917. 18 00:01:51,992 --> 00:01:55,985 But the world had already passed by transformations that no one 19 00:01:56,062 --> 00:01:57,586 could have predicted. 20 00:01:58,631 --> 00:02:02,158 And the unmentionable carnage of the First World War was just 21 00:02:02,234 --> 00:02:03,531 part of this change. 22 00:02:06,571 --> 00:02:11,531 In the new modern world, humans could fly. 23 00:02:13,076 --> 00:02:14,543 Photographic records, by the use of X-rays 24 00:02:14,611 --> 00:02:17,205 allowed to see, through the skin, even the bones. 25 00:02:21,918 --> 00:02:25,217 Sigmund Freud, listening to his patients lying on a div in your office 26 00:02:25,288 --> 00:02:28,484 discovered new ways of understanding the human mind. 27 00:02:32,093 --> 00:02:35,459 Pablo Picasso painted his models from all points of view 28 00:02:35,529 --> 00:02:36,962 at the same time. 29 00:02:38,599 --> 00:02:44,230 And Albert Einstein described a continuous space-time. 30 00:02:45,605 --> 00:02:49,597 Jazz became the soundtrack of this modern world. 31 00:02:56,047 --> 00:02:59,574 The music was still closely linked to ragtime 32 00:02:59,650 --> 00:03:01,913 metallic and vigorous 33 00:03:04,554 --> 00:03:06,920 The soils were practically nonexistent. 34 00:03:11,060 --> 00:03:13,995 But when World War I World has come to an end 35 00:03:14,063 --> 00:03:16,155 and the Jazz Age had its start in earnest 36 00:03:16,231 --> 00:03:19,029 music started to change 37 00:03:24,238 --> 00:03:29,140 The history of jazz became history of two large American cities ... 38 00:03:29,909 --> 00:03:32,878 Chicago where black musicians from New Orleans 39 00:03:32,945 --> 00:03:36,880 found fame and a new public, white. 40 00:03:37,916 --> 00:03:42,012 And New York, where two neighborhoods Times Square, Times Square 41 00:03:42,087 --> 00:03:46,489 and Harlem, housed a dedicated group of musicians 42 00:03:46,557 --> 00:03:50,720 each struggling to find his own voice. 43 00:03:54,097 --> 00:03:58,897 Meanwhile, in Washington D.C., Edward Kennedy Ellington, one thing 44 00:03:58,967 --> 00:04:02,767 middle class pianist who had left school 45 00:04:02,838 --> 00:04:07,570 I was starting to write their own compositions 46 00:04:07,642 --> 00:04:10,735 and wondered if he could be successful as a musician 47 00:04:10,810 --> 00:04:12,539 broader horizons. 48 00:04:14,047 --> 00:04:17,345 And in New Orleans, the cradle of everything 49 00:04:17,416 --> 00:04:22,945 a teenager was playing trumpet in espeluncas, attracting many people 50 00:04:23,022 --> 00:04:26,616 and began to transform into art the turbulent and almost always violent 51 00:04:26,691 --> 00:04:29,182 spinning world around you. 52 00:04:36,900 --> 00:04:39,527 His name was Louis Armstrong. 53 00:04:39,602 --> 00:04:42,833 And for many, your extraordinary genius 54 00:04:42,905 --> 00:04:45,498 seemed to be a godsend. 55 00:04:55,583 --> 00:04:57,551 I do not believe that Louis Armstrong 56 00:04:57,618 --> 00:04:59,209 was a real human being. 57 00:05:00,186 --> 00:05:04,486 I still believe that God sent him to earth 58 00:05:04,557 --> 00:05:09,186 as a special messenger to make people happy. 59 00:05:09,261 --> 00:05:12,024 The music therapy. 60 00:05:12,096 --> 00:05:15,896 For me, music always been so intoxicating 61 00:05:15,967 --> 00:05:20,096 how much alcohol, a base or any drug. 62 00:05:20,170 --> 00:05:23,264 Your sound may stimulate in me 63 00:05:23,340 --> 00:05:28,675 love, happiness, creativity. 64 00:05:28,744 --> 00:05:31,178 I think Armstrong was sent here 65 00:05:31,246 --> 00:05:34,339 as a messenger of God to make people happy. 66 00:05:34,415 --> 00:05:36,849 And that's what he dedicated his life. 67 00:05:39,220 --> 00:05:41,517 In a way, Armstrong 68 00:05:41,588 --> 00:05:45,957 the Bach, the Dante, the Shakespeare of American music. 69 00:05:46,026 --> 00:05:48,653 It comes at a given point of its history. 70 00:05:48,728 --> 00:05:51,891 Not at birth, because it had existed for 30 years, 71 00:05:51,964 --> 00:05:55,126 but when it transforms in an art form. 72 00:05:55,567 --> 00:05:57,797 He is the figure that codes, 73 00:05:57,869 --> 00:06:00,462 that assimilates everything that there was before 74 00:06:00,537 --> 00:06:03,973 and shows the direction of the future. 75 00:06:08,845 --> 00:06:13,475 SECOND EPISODE A DIVA 76 00:06:52,049 --> 00:06:53,983 The trumpet is an instrument sacrificial 77 00:06:54,051 --> 00:06:57,486 the most difficult of wind instruments 78 00:06:57,553 --> 00:07:01,421 which requires more and he played it 79 00:07:01,490 --> 00:07:05,425 with a vigor never seen before 80 00:07:05,493 --> 00:07:06,926 nor after. I do not say that 81 00:07:06,995 --> 00:07:08,929 do not play higher than him. 82 00:07:08,997 --> 00:07:13,933 But with its strength and vigor? No one. 83 00:07:14,001 --> 00:07:15,969 He was everything. 84 00:07:19,505 --> 00:07:22,440 Although I have always believed who was born on July 4 85 00:07:22,508 --> 00:07:27,444 1900, Louis Armstrong, actually came to the world 86 00:07:27,512 --> 00:07:31,447 August 4, 1901 in a violent area 87 00:07:31,515 --> 00:07:36,040 of New Orleans that was called of "Field of Battle". 88 00:07:41,524 --> 00:07:45,459 His father, a day laborer called William Armstrong 89 00:07:45,527 --> 00:07:49,964 I had left the family, and their children rarely saw him. 90 00:07:50,032 --> 00:07:54,468 His mother, Mayann, had only 16 years when he was born 91 00:07:54,535 --> 00:07:57,504 and sometimes prostitute herself to maintain the family. 92 00:08:01,975 --> 00:08:05,410 Armstrong said that, sometimes, I did not know what I was going to eat. 93 00:08:05,478 --> 00:08:07,912 And that sometimes the level of poverty 94 00:08:07,980 --> 00:08:09,743 it was so much that I did not know which would follow. 95 00:08:09,815 --> 00:08:13,079 He had become accustomed to snoring of the stomach. 96 00:08:13,151 --> 00:08:17,417 Fights with knives, firearms, razors, this was the 97 00:08:17,489 --> 00:08:20,924 in which Louis Armstrong grown up. 98 00:08:20,991 --> 00:08:23,425 He saw a certain side of life. 99 00:08:23,494 --> 00:08:26,087 But he saw everything on this side. of life. 100 00:08:26,162 --> 00:08:28,756 No cliché on which it is written. 101 00:08:28,831 --> 00:08:30,093 He did not see this side. according to 102 00:08:30,166 --> 00:08:31,428 Someone from outside, That say: 103 00:08:31,501 --> 00:08:34,435 "What a terrible thing!" He saw the whole picture. 104 00:08:34,503 --> 00:08:39,439 The humor, the beauty, the sordid, he saw everything. 105 00:08:39,507 --> 00:08:40,974 And he understood. 106 00:08:42,510 --> 00:08:46,445 At age seven, he went to work for the Karnoffsky 107 00:08:46,513 --> 00:08:49,448 a family of Jewish immigrants Russians who delivered coal 108 00:08:49,516 --> 00:08:51,450 Storyville prostitutes. 109 00:08:51,518 --> 00:08:55,954 Louis was riding along in the carriage, playing a long, thin horn 110 00:08:56,021 --> 00:08:58,990 in order to advise customers of Karnoffsky they were coming. 111 00:09:00,958 --> 00:09:02,755 It is little boy who 112 00:09:02,827 --> 00:09:05,762 realizes that something is wrong. 113 00:09:05,830 --> 00:09:09,424 Do not know what but you soon realize 114 00:09:09,499 --> 00:09:10,932 of which is the color of your skin. 115 00:09:13,470 --> 00:09:15,130 called "Creole", 116 00:09:15,204 --> 00:09:16,933 see a grown man be called a "little boy" 117 00:09:17,006 --> 00:09:18,098 of depreciative form. 118 00:09:20,476 --> 00:09:23,273 Suddenly, in this Middle, people arrive 119 00:09:23,344 --> 00:09:25,608 just as he will turn 120 00:09:25,680 --> 00:09:29,638 demean your acquaintances, but who treat him well. 121 00:09:31,485 --> 00:09:33,453 They invite you to your house. 122 00:09:33,520 --> 00:09:36,454 They try to take care of him. and feed it 123 00:09:37,490 --> 00:09:41,550 It was then, with the Karnoffsky, still a child, that he understood 124 00:09:41,626 --> 00:09:42,854 that we are all human beings. 125 00:09:44,162 --> 00:09:49,428 Mrs. Karnoffsky insisted that he had dinner well before returning home 126 00:09:49,500 --> 00:09:53,436 and Armstrong never forgot of the goodness of the family. 127 00:09:53,504 --> 00:09:57,098 Throughout his life, he would use the star-of-davi 128 00:09:57,173 --> 00:09:59,539 and the lullabies of Mme. Karnoffsky would be expensive. 129 00:10:03,512 --> 00:10:06,447 One day, Louis discovered a well beaten bugle 130 00:10:06,515 --> 00:10:08,449 in a store window of pawns and asked 131 00:10:08,517 --> 00:10:11,485 to the Karnoffsky five dollars to buy it. 132 00:10:23,028 --> 00:10:25,963 "After blowing it up for a little while," recalled Armstrong. 133 00:10:26,031 --> 00:10:29,966 I realized that I could play Home Sweet Home. 134 00:10:30,034 --> 00:10:32,502 So the blues came. " 135 00:10:39,543 --> 00:10:41,477 I'm sure that, from the 1st. Turn 136 00:10:41,545 --> 00:10:43,478 who picked up the trumpet, he was great. 137 00:10:43,546 --> 00:10:47,482 He was one of these people who have something supernatural. 138 00:10:47,550 --> 00:10:51,986 He had that understanding which comes from the Creator of mankind. 139 00:10:52,053 --> 00:10:55,489 He knew it was good. I really did. 140 00:10:55,557 --> 00:10:59,515 He claimed that his talent it was a godsend. 141 00:10:59,593 --> 00:11:02,926 It said, "You Imagine l no C u 142 00:11:02,997 --> 00:11:05,965 with the archangel Gabriel? I'll send him to the corner. " 143 00:11:07,500 --> 00:11:10,936 Armstrong loved listening to jazz. 144 00:11:11,003 --> 00:11:15,440 A Kid Ory Band Mutt Carey 145 00:11:15,507 --> 00:11:19,772 Bunk Johnson, Freddy Keppard 146 00:11:19,844 --> 00:11:23,439 and Sidney Bechet. 147 00:11:23,514 --> 00:11:26,448 But of all bands which Armstrong heard 148 00:11:26,516 --> 00:11:29,451 the one led by the cornetist King Oliver 149 00:11:29,519 --> 00:11:31,487 was the one that touched him the most. 150 00:11:33,522 --> 00:11:36,457 Joe Oliver was a band-leader dur o. 151 00:11:36,525 --> 00:11:39,960 Hard as pig iron, described a musician. 152 00:11:40,028 --> 00:11:42,963 He started his career. as trombonist and then 153 00:11:43,031 --> 00:11:46,466 passed to the bugle, becoming one of the favorite musicians 154 00:11:46,533 --> 00:11:48,467 in one of the most city ​​heavy goods 155 00:11:48,535 --> 00:11:51,470 Pete Lala's in Storyville. 156 00:11:55,041 --> 00:11:59,137 Armstrong was delivering coal to a prostitute who lived 157 00:11:59,211 --> 00:12:02,407 next to Oliver and took as long as he could 158 00:12:02,480 --> 00:12:04,778 just to listen his dolo touch. 159 00:12:14,490 --> 00:12:17,948 King Oliver created vocal effects like this. 160 00:13:02,798 --> 00:13:06,393 Oliver was a huge guy it's impressive. 161 00:13:06,469 --> 00:13:08,402 His sound was fantastic. He had authority 162 00:13:08,470 --> 00:13:10,404 and he knew how to set up a band. 163 00:13:10,472 --> 00:13:12,406 And Oliver obviously I liked him. 164 00:13:12,474 --> 00:13:15,408 Armstrong could carry his trumpet, which was an honor. 165 00:13:15,476 --> 00:13:19,105 Oliver, in a way, sought to protect him. 166 00:13:20,481 --> 00:13:23,415 "I loved Joe Oliver," said Louis Armstrong. 167 00:13:23,483 --> 00:13:27,920 "He did more for young guys than anyone you know. " 168 00:13:27,987 --> 00:13:31,422 Between one commitment and another, Oliver sometimes stopped in the street. 169 00:13:31,490 --> 00:13:34,459 and gave advice to Armstrong about how to play. 170 00:13:35,993 --> 00:13:39,429 We found J. Oliver when we climbed Rampart Street 171 00:13:39,497 --> 00:13:41,931 and we got a lesson relating to a music 172 00:13:41,999 --> 00:13:44,091 was bothering us. 173 00:13:44,167 --> 00:13:48,433 I said, "Papa Joe, How do you share that? " 174 00:13:48,505 --> 00:13:50,938 It stopped, it does not matter where was going, and showed us, 175 00:13:51,006 --> 00:13:53,941 while the others musicians said: 176 00:13:54,009 --> 00:13:57,774 "No, I have to get there." soon to the Eagle Saloon. " 177 00:13:57,845 --> 00:14:00,336 That's why everyone We adored Joe Oliver. 178 00:14:00,948 --> 00:14:05,043 In 1918, the year in which the Americans went to war 179 00:14:05,118 --> 00:14:09,384 King Oliver left New Orleans, going to great Chicago 180 00:14:09,456 --> 00:14:13,721 and Armstrong replaced him, playing trumpet in his ex band. 181 00:14:13,793 --> 00:14:17,387 His reputation has grown, and soon he also had offers 182 00:14:17,462 --> 00:14:19,054 of work of other cities. 183 00:14:19,130 --> 00:14:23,396 But Armstrong had no intention some of leaving New Orleans. 184 00:14:23,468 --> 00:14:27,403 He was married now with a former prostitute named Daisy. 185 00:14:27,471 --> 00:14:32,407 And, besides, it will already too many musicians to fail. 186 00:14:32,475 --> 00:14:35,410 "No one will let me New Orleans, "he said 187 00:14:35,478 --> 00:14:37,446 "not to be Papa Joe." 188 00:14:42,150 --> 00:14:45,414 In 1920, something happened. Great for jazz. 189 00:14:45,486 --> 00:14:46,919 They enacted the law stupid 190 00:14:46,987 --> 00:14:50,423 of US history: The Dry Law. 191 00:14:50,491 --> 00:14:54,085 From a handful of salons in the whole country 192 00:14:55,161 --> 00:14:58,426 thousands of of clandestine bars. 193 00:14:58,498 --> 00:15:00,362 Especially in the biggest cities. 194 00:15:00,432 --> 00:15:04,368 At one point, Manhattam, in NY there were five thousand of them. 195 00:15:04,436 --> 00:15:08,030 And with the competition to attract the people, there was the music. 196 00:15:08,106 --> 00:15:11,735 So suddenly there work for jazz musicians. 197 00:15:14,444 --> 00:15:16,378 At the same time, The Law Dries vineyard 198 00:15:16,446 --> 00:15:19,381 relaxing customs, producing the opposite effect of the intended. 199 00:15:19,449 --> 00:15:22,383 For example, women they did not drink in salons, 200 00:15:22,451 --> 00:15:25,045 but they certainly drank in clandestine bars. 201 00:15:25,121 --> 00:15:27,384 Thus, the "Jazz Age" became a 202 00:15:27,455 --> 00:15:30,390 symbol type for all this relaxation, 203 00:15:30,458 --> 00:15:33,392 for all this drunkenness, thanks 204 00:15:33,460 --> 00:15:35,394 when everyone drank more than they should 205 00:15:35,462 --> 00:15:38,431 only to challenge a law impossible to enforce. 206 00:15:42,468 --> 00:15:45,904 "In the midst of all this tumultuous effervescence, jazz 207 00:15:45,972 --> 00:15:50,101 followed its course, traveling exultant in the current. 208 00:15:53,478 --> 00:15:57,413 However, the end of civilization has not arrived yet 209 00:15:57,481 --> 00:16:00,678 So, or jazz be tamed and transformed 210 00:16:00,751 --> 00:16:04,345 in an artistic success, or else it will disappear altogether 211 00:16:04,420 --> 00:16:07,014 of our environment as a living force. 212 00:16:07,090 --> 00:16:09,723 But even if it comes to disappear totally, 213 00:16:09,724 --> 00:16:12,356 he will not have existed in vain, 214 00:16:14,350 --> 00:16:18,610 because your record will remain " as an interesting human document 215 00:16:19,100 --> 00:16:24,366 the spirit of the written age in the music of the people. " 216 00:16:24,437 --> 00:16:27,895 R.W.S. Mendel, in "The Appeal Of Jazz" 217 00:16:30,776 --> 00:16:33,370 The United States was now totally amazed by jazz. 218 00:16:33,445 --> 00:16:36,880 But the jazz by which most of Americans went crazy 219 00:16:36,948 --> 00:16:41,385 was still primarily a decorative music. 220 00:16:41,452 --> 00:16:44,887 Frantic, fun, the perfect accompaniment 221 00:16:44,955 --> 00:16:49,391 for fast dance and appropriate times. 222 00:16:49,458 --> 00:16:53,394 It would take the genius of musicians like Louis Armstrong 223 00:16:53,462 --> 00:16:57,397 to broaden your message, deepen your emotion 224 00:16:57,465 --> 00:16:59,695 and transform it into art. 225 00:17:03,404 --> 00:17:06,373 Blessed 226 00:17:23,921 --> 00:17:26,856 My story It's very simple. 227 00:17:26,924 --> 00:17:28,858 You know, like, Once upon a time 228 00:17:28,926 --> 00:17:32,019 beautiful lady and one nice gentleman 229 00:17:32,095 --> 00:17:34,359 that they fell in love and got married. 230 00:17:34,431 --> 00:17:36,695 And God blessed them with a wonderful little boy. 231 00:17:37,766 --> 00:17:40,360 They held him by the hand 232 00:17:40,436 --> 00:17:44,872 they took care of him and spoiled him up to 7 or 8 years of age. 233 00:17:44,939 --> 00:17:47,703 So they put their by the floor 234 00:17:47,775 --> 00:17:51,370 and as soon as they did, he left running through the front door 235 00:17:51,445 --> 00:17:54,380 passed the lawn and crossed the street. 236 00:17:54,448 --> 00:17:57,042 And on reaching the other side, Someone said: 237 00:17:57,117 --> 00:17:59,050 "Hey, Edward, this way." 238 00:17:59,118 --> 00:18:02,315 The kid, there, was me. 239 00:18:02,388 --> 00:18:04,322 At the next corner, they said: 240 00:18:04,390 --> 00:18:06,823 "Edward, to the right. Then turn left. 241 00:18:06,891 --> 00:18:08,324 There's no mistaking it. " And this comes 242 00:18:08,393 --> 00:18:10,657 occurring since then. That 243 00:18:10,729 --> 00:18:12,355 the history. It's my bio. 244 00:18:17,067 --> 00:18:22,333 On April 29, 1899, at 1212 T Street 245 00:18:22,405 --> 00:18:25,340 in a comfortable black neighborhood of middle class, 246 00:18:25,408 --> 00:18:30,709 in northwest Washington D.C., Edward Kennedy Ellington was born. 247 00:18:34,415 --> 00:18:37,350 One day he would be exalted as the greatest of all 248 00:18:37,418 --> 00:18:42,354 the American composers the most prolific and least 249 00:18:42,422 --> 00:18:44,890 recognizable jazz genius. 250 00:18:48,927 --> 00:18:52,863 His father, James Edward Ellington, he was a butler 251 00:18:52,931 --> 00:18:55,865 and sometimes served in the White House. 252 00:18:55,933 --> 00:18:58,868 He was a man of few resources, but who created your family? 253 00:18:58,936 --> 00:19:03,963 said his son, as if it were a millionaire. 254 00:19:04,041 --> 00:19:08,306 Your mother, Daisy, was entirely dedicated to the child. 255 00:19:08,377 --> 00:19:12,814 And she was always the person most important in your life. 256 00:19:12,882 --> 00:19:16,817 "As if I were a child very special, "he recalled. 257 00:19:16,885 --> 00:19:20,343 "my mother would say: Edward, you are blessed. " 258 00:19:21,388 --> 00:19:24,323 I asked him How was your childhood? 259 00:19:24,391 --> 00:19:26,825 if he was taken, was ready 260 00:19:26,894 --> 00:19:29,327 if he was scolding, what kind of boy was he? 261 00:19:29,395 --> 00:19:31,829 He said: "I was treated the p o-de-l . 262 00:19:31,898 --> 00:19:34,867 My mother was very careful. " 263 00:19:35,901 --> 00:19:39,337 Daisy stood at the foot of the bed. every time he got sick. 264 00:19:39,738 --> 00:19:42,331 Every Sunday, she would take him twice the Baptist church 265 00:19:42,406 --> 00:19:46,706 of 19th Street, and took care that he had regular piano lessons. 266 00:19:48,912 --> 00:19:52,006 My grandmother must have demonstrated some 267 00:19:52,082 --> 00:19:55,347 exceptional quality since the beginning to their parents. 268 00:19:55,418 --> 00:19:58,352 And I think your mother he really paid attention. 269 00:19:58,420 --> 00:20:03,356 She identified something different in it. 270 00:20:03,424 --> 00:20:06,018 She would provide him with all 271 00:20:06,094 --> 00:20:11,030 opportunities to use this something different 272 00:20:11,098 --> 00:20:12,690 and take advantage of it. 273 00:20:12,766 --> 00:20:15,030 My mother bought it. sheet music 274 00:20:15,102 --> 00:20:18,366 unbound and played them at the piano. 275 00:20:18,437 --> 00:20:19,699 And I will always remember her playing 276 00:20:19,772 --> 00:20:21,865 "Meditations". It made me cry. 277 00:20:21,941 --> 00:20:26,707 L , on that wall, h a picture from my mother 278 00:20:26,778 --> 00:20:28,746 It was painted after she moved to NY. 279 00:20:31,448 --> 00:20:35,384 Daisy told her son that he did not he should let nothing stop him. 280 00:20:35,452 --> 00:20:39,319 Unpleasant facts and barriers should be 281 00:20:39,389 --> 00:20:44,883 simply be ignored. He could do anything else he did. 282 00:20:44,960 --> 00:20:48,919 And because she believes it, Ellington would always believe. 283 00:20:52,967 --> 00:20:55,185 Your teacher of the fourth year of high school, 284 00:20:55,186 --> 00:20:57,404 on William L. Garrison Junior High School, 285 00:20:57,471 --> 00:21:00,837 emphasized good oratory and good manners. 286 00:21:00,907 --> 00:21:04,842 "As representatives of the black race, we should get respect 287 00:21:04,910 --> 00:21:07,344 for our people, " Ellington remembered. 288 00:21:07,413 --> 00:21:10,712 "They were proud of Queen L . An enormous pride of the race. " 289 00:21:12,750 --> 00:21:15,014 The ways that were taught had much 290 00:21:15,086 --> 00:21:18,021 to do with racial prejudice. 291 00:21:18,089 --> 00:21:22,354 They taught us that our modes, 292 00:21:22,426 --> 00:21:25,020 our sense of what we can do it 293 00:21:25,095 --> 00:21:28,860 would allow us to transpose contempt and insults. 294 00:21:28,931 --> 00:21:31,365 It was always up to us to act in a way 295 00:21:31,434 --> 00:21:33,401 superior to them, because, in fact, we were. 296 00:21:35,770 --> 00:21:41,366 But Ellington was also having another type of education. 297 00:21:41,442 --> 00:21:44,878 It may have been created in a respectable middle-class family, 298 00:21:44,945 --> 00:21:48,038 but at the age of fourteen he began to attend secretly 299 00:21:48,114 --> 00:21:52,380 the billiard room of Frank Holiday, in the Sete Street with the T, 300 00:21:52,452 --> 00:21:56,080 and went to the Gayety Burlesque Theater after classes 301 00:22:00,391 --> 00:22:03,360 Ragtime pianists they became his heris. 302 00:22:07,230 --> 00:22:10,324 Ellington spent hours working on the piano, 303 00:22:10,400 --> 00:22:12,368 with ears in p , according to him. 304 00:22:15,904 --> 00:22:18,839 He loved to play the piano, because the girls looked like 305 00:22:18,907 --> 00:22:22,865 be attracted by pianists, and he was attracted to the girls. 306 00:22:24,412 --> 00:22:27,847 Ellington started to dress with such elegance that both 307 00:22:27,914 --> 00:22:32,374 The family how much friends have spent to call him Duke the Duke. 308 00:22:33,753 --> 00:22:37,347 And he also started composing his own music. 309 00:22:37,423 --> 00:22:40,722 His first piece was called "Soda Fountain Rag". 310 00:22:45,430 --> 00:22:49,365 He soon left school. and formed his own group: 311 00:22:49,433 --> 00:22:52,368 The Duke's Serenaders. 312 00:22:52,436 --> 00:22:55,871 Whenever he was going to perform at a club or in a dance hall, 313 00:22:55,938 --> 00:22:59,396 He was sending a friend to the front. to open the door and announce: 314 00:22:59,475 --> 00:23:03,968 "Get out of the way, because here comes Duke. " 315 00:23:04,045 --> 00:23:06,980 Your elegance and your ability to autopromoo got you 316 00:23:07,048 --> 00:23:11,984 a lot of work. He played ragtime. and soft music to dance in clubs, 317 00:23:12,052 --> 00:23:15,351 embassies and the most elegant White Washington parties. 318 00:23:21,394 --> 00:23:26,990 In January 1923, Duke Ellington, now married and with a small son, 319 00:23:27,065 --> 00:23:31,000 bought a ticket in the section segregated from the Howard Theater 320 00:23:31,068 --> 00:23:33,866 to hear the master of New Orleans, Sidney Bechet. 321 00:23:36,907 --> 00:23:38,875 Ellington never forgot of what he heard that night. 322 00:23:40,911 --> 00:23:44,869 "It came from the soul," he said, "everything came from within." 323 00:23:47,917 --> 00:23:52,012 "No matter what I touched, Bechet seemed to be calling someone. 324 00:23:52,086 --> 00:23:54,219 It was my first date. 325 00:23:54,220 --> 00:23:56,352 with the style of New Orleans, " Ellington remembered. 326 00:23:56,424 --> 00:23:59,483 "It was a sound and a conception entirely new to me. " 327 00:24:02,362 --> 00:24:04,955 As the fervor of the Jazz Age increased, 328 00:24:05,031 --> 00:24:08,296 the career of Ellington he began to take off. 329 00:24:08,367 --> 00:24:11,301 But he felt frustrated playing the type of music 330 00:24:11,369 --> 00:24:15,305 that Washington society wanted to hear. 331 00:24:15,373 --> 00:24:20,309 He longed for something more, I knew I had something to say 332 00:24:20,377 --> 00:24:23,346 and started looking for new worlds to conquer. 333 00:24:28,384 --> 00:24:30,852 CHICAGO 334 00:24:31,387 --> 00:24:34,981 Louis Armstrong was a of my first idols. 335 00:24:35,057 --> 00:24:38,822 I idolized him and wanted to be like him. 336 00:24:38,893 --> 00:24:41,327 I read the story of how King Oliver had 337 00:24:41,395 --> 00:24:45,331 called to Chicago to play with it. 338 00:24:45,399 --> 00:24:47,332 Therefore, always that practiced, 339 00:24:47,400 --> 00:24:50,335 I did it with my trumpet 340 00:24:50,403 --> 00:24:52,666 pointed out from the window, 341 00:24:52,738 --> 00:24:55,832 in the hope that Louis passed, 342 00:24:55,908 --> 00:24:57,341 listen to me and hired me to 343 00:24:57,409 --> 00:25:00,809 play in your band. But Louis never passed 344 00:25:03,181 --> 00:25:07,116 On August 8, 1922, Louis Armstrong boarded 345 00:25:07,184 --> 00:25:11,621 in "Central Illinois" in New Orleans, bound for Chicago. 346 00:25:11,688 --> 00:25:15,623 He was 21 years old, I was separated from the woman 347 00:25:15,691 --> 00:25:19,320 and finally he was going to join to his dolo, King Oliver. 348 00:25:21,363 --> 00:25:23,297 The only person who would make him leave 349 00:25:23,365 --> 00:25:25,629 New Orleans was King Oliver. 350 00:25:25,700 --> 00:25:27,963 Thus, when receiving Oliver's telegram for 351 00:25:28,035 --> 00:25:32,972 who met him in Chicago, his mother made him a sandwich, 352 00:25:33,040 --> 00:25:34,836 he took the train and left. 353 00:25:35,875 --> 00:25:38,810 He carried with him only the case with the horn 354 00:25:38,878 --> 00:25:43,314 and an old case, which contained his shabby, patched tuxedo. 355 00:25:43,382 --> 00:25:47,818 Your mother, Mayann, made sure of which he would wear ceroulas. 356 00:25:47,885 --> 00:25:51,321 She knew that the place to it was very cold, 357 00:25:51,389 --> 00:25:53,016 even in the summer. 358 00:25:55,392 --> 00:25:59,351 Armstrong was joining to the fleeing blacks 359 00:25:59,429 --> 00:26:02,920 suffocating poverty and repressive segregation laws 360 00:26:02,998 --> 00:26:06,263 who continued to rule in the South of the country. 361 00:26:06,335 --> 00:26:08,768 Since the start of the First World War, 362 00:26:08,836 --> 00:26:11,771 hundreds of thousands of men and women had boarded 363 00:26:11,839 --> 00:26:16,775 on trains looking for work and freedom. 364 00:26:16,843 --> 00:26:19,778 This became known as "The Great Migration," 365 00:26:19,846 --> 00:26:22,473 and most of the rails led to Chicago. 366 00:26:25,685 --> 00:26:28,779 He arrives in Chicago, get off the train 367 00:26:28,854 --> 00:26:30,946 and everyone started to giggle 368 00:26:31,022 --> 00:26:32,284 when you see him, then he looks like 369 00:26:32,357 --> 00:26:33,949 with a gravedigger. He wore a 370 00:26:34,025 --> 00:26:36,788 thick black coat, a suit and your hair 371 00:26:36,860 --> 00:26:38,794 was combed foward. 372 00:26:38,862 --> 00:26:40,295 I did not understand the customs of the city. 373 00:26:40,364 --> 00:26:42,628 It took 2min to become the king of 374 00:26:42,700 --> 00:26:44,166 city, but that's one another story. 375 00:26:45,868 --> 00:26:48,803 With Armstrong in the group, Creole Jazz Band 376 00:26:48,871 --> 00:26:50,838 of King Oliver never He played so well. 377 00:26:54,876 --> 00:26:57,810 The two men perfected a duet style in which 378 00:26:57,878 --> 00:27:00,745 Armstrong seemed to know by instinct exactly 379 00:27:00,815 --> 00:27:05,774 what your boss would play and always had the perfect complement. 380 00:27:07,320 --> 00:27:10,777 Nothing like it had ever been heard in Chicago before. 381 00:27:12,825 --> 00:27:14,759 Ran from mouth to mouth that Joe Oliver 382 00:27:14,827 --> 00:27:18,262 had a second cornetist, and that the two were 383 00:27:18,329 --> 00:27:21,264 making breaks and other things. 384 00:27:21,332 --> 00:27:23,266 Which were imperishable. 385 00:27:23,334 --> 00:27:26,769 I listened to Joe Oliver and knew how he played. 386 00:27:26,837 --> 00:27:28,771 I knew practically everything What was he doing. 387 00:27:28,839 --> 00:27:30,773 So I added notes and surprised him. 388 00:27:30,841 --> 00:27:33,308 I could do duets for anything. 389 00:27:37,346 --> 00:27:39,779 I was doing a duet for this. 390 00:27:39,848 --> 00:27:42,783 And all the musicians they thought it was good. 391 00:27:42,851 --> 00:27:46,786 They tried, but no. they concentrated as we did. 392 00:27:46,854 --> 00:27:48,788 They could not do it. Unless 393 00:27:48,856 --> 00:27:51,825 was written. But we never wrote anything. 394 00:27:52,859 --> 00:27:56,295 News stories than Oliver and Armstrong were doing at Lincoln Gardens 395 00:27:56,362 --> 00:27:59,558 spread throughout The city and soon 396 00:27:59,631 --> 00:28:02,259 some white listeners they were also seen. 397 00:28:07,304 --> 00:28:11,240 "When you open the door, the King or Louis trumpets 398 00:28:11,308 --> 00:28:15,744 or both, were heard above all else. 399 00:28:15,812 --> 00:28:20,748 The whole place shook. Tables, chairs, walls, 400 00:28:20,816 --> 00:28:22,784 people moved with the rhythm. 401 00:28:26,321 --> 00:28:31,587 It was hypnosis at the first audition. Armstrong seemed to be able to hear 402 00:28:31,659 --> 00:28:36,288 and play at the same time which Oliver improvised. 403 00:28:38,331 --> 00:28:41,925 So the two of them sewed around each other as women 404 00:28:42,001 --> 00:28:46,802 suspicious talking about the same man. Eddie Condon. " 405 00:28:50,341 --> 00:28:54,777 A young and fascinated musician described that there was so much music in the air 406 00:28:54,845 --> 00:28:58,645 that if someone raised a instrument, he would play alone. 407 00:29:05,955 --> 00:29:11,551 On April 5, 1923, King Oliver, Louis Armstrong 408 00:29:11,626 --> 00:29:14,220 and the Creole Jazz Band boarded a train 409 00:29:14,296 --> 00:29:19,562 from Chicago to Richmond, Indiana, home of Gennett Records. 410 00:29:19,633 --> 00:29:23,591 Louis Armstrong would record for the first time. 411 00:29:24,304 --> 00:29:26,898 The band used to play around 412 00:29:26,973 --> 00:29:32,239 of a metal, and the sound was recorded on a disk of wax. 413 00:29:32,311 --> 00:29:33,573 But they could not work with 414 00:29:34,646 --> 00:29:36,579 Armstrong in the middle, because he drowned the others. 415 00:29:36,647 --> 00:29:38,581 So he had that stay 3m 416 00:29:38,649 --> 00:29:40,583 4.5m behind the others. They put 417 00:29:40,651 --> 00:29:42,584 on the corridor so that your sound stayed 418 00:29:42,652 --> 00:29:45,587 in balance with that of the other musicians. 419 00:29:45,655 --> 00:29:47,589 They recorded a record, it's that 420 00:29:47,657 --> 00:29:49,590 was undoubtedly a mark 421 00:29:49,658 --> 00:29:52,786 in the history of jazz. It was called "Chimes Blues". 422 00:30:04,338 --> 00:30:06,272 As his first solo, have 423 00:30:06,340 --> 00:30:09,275 to Armstrong or trio strain. 424 00:30:09,343 --> 00:30:15,611 They did not ask or want to improvise any note. 425 00:30:15,681 --> 00:30:19,616 But he played with such virtuosity 426 00:30:19,684 --> 00:30:23,620 and thermal intensity who, on hearing it, 427 00:30:23,688 --> 00:30:26,281 the future is perceived. 428 00:30:26,357 --> 00:30:29,292 It's more exciting than all the improvisation 429 00:30:29,360 --> 00:30:31,623 that the set does around him. 430 00:30:31,694 --> 00:30:35,790 And that force, that sacred sound that he has ... 431 00:30:35,865 --> 00:30:39,300 at that moment, it is known that something is coming up 432 00:30:39,368 --> 00:30:41,302 and which will never be contained. 433 00:30:41,370 --> 00:30:42,803 And just two years later he 434 00:30:42,871 --> 00:30:45,805 enters the studio on its own account 435 00:30:45,873 --> 00:30:47,807 and virtually encodes what the jazz 436 00:30:47,875 --> 00:30:49,843 it would be next half century. 437 00:31:24,674 --> 00:31:28,609 I think finally we have what 438 00:31:28,677 --> 00:31:31,271 the musicians call "counting its history ". 439 00:31:31,346 --> 00:31:34,781 One should tell a story, say something personal. 440 00:31:34,848 --> 00:31:36,440 And that's what you have with Louis, 441 00:31:36,517 --> 00:31:40,111 this quality of a human being 442 00:31:40,186 --> 00:31:42,279 chatting with you counting 443 00:31:42,355 --> 00:31:46,291 a coherent history It is fascinating. 444 00:31:46,359 --> 00:31:48,292 I think be the essence 445 00:31:48,360 --> 00:31:49,657 of Armstrong's genius. 446 00:31:52,364 --> 00:31:55,332 NEW YORK 447 00:32:17,318 --> 00:32:21,254 "If you go north, along the Isle of Manhattam, 448 00:32:21,322 --> 00:32:24,256 cross Central Park and get off at Stima Avenue 449 00:32:24,324 --> 00:32:27,537 or at Lenox Avenue, at 110th Street, 450 00:32:28,559 --> 00:32:30,017 you can not leave to be surprised 451 00:32:30,153 --> 00:32:34,230 with the sudden change that you see yourself in people. 452 00:32:42,840 --> 00:32:46,776 In the center and in the lower part from the city you might notice 453 00:32:46,844 --> 00:32:51,940 black faces here and there. But when we left Central Park, 454 00:32:52,015 --> 00:32:54,313 we see you all over. 455 00:32:59,788 --> 00:33:03,723 And as we go up any of these two great articles 456 00:33:03,791 --> 00:33:08,558 from the north, we see more and more black people walking the streets, 457 00:33:08,629 --> 00:33:10,892 looking through the windows, trading in stores, 458 00:33:10,964 --> 00:33:15,060 eating in restaurants, leaving the theaters, 459 00:33:15,135 --> 00:33:20,902 that, near 135th Street, 90 percent of people seen, 460 00:33:20,973 --> 00:33:24,931 including transit guards, they are black 461 00:33:27,311 --> 00:33:30,746 We are glimpsing the Harlem, 462 00:33:30,814 --> 00:33:35,945 the black metropolis. James Weldon Johnson " 463 00:33:39,989 --> 00:33:45,586 The Great Migration continued, and in 1920, 464 00:33:45,627 --> 00:33:47,959 New York was home to more blacks 465 00:33:47,994 --> 00:33:52,155 than any other city from the north, including Chicago. 466 00:33:52,833 --> 00:33:55,174 Most of them lived Uptown, 467 00:33:55,220 --> 00:33:59,406 in a beautiful neighborhood formerly called Harlem. 468 00:34:01,274 --> 00:34:06,540 It was home to the National the Progress of People of Color. 469 00:34:06,611 --> 00:34:10,206 The Urban League Headquarters I was staying in Harlem. 470 00:34:10,282 --> 00:34:12,215 And also Universal Association 471 00:34:12,283 --> 00:34:15,218 for the Progress of the Black, by Marcus Garvey. 472 00:34:16,401 --> 00:34:21,226 Writer James Weldon Johnson, the poet Langston Hughes, 473 00:34:21,624 --> 00:34:27,562 writer Zora Neale Hurston and the civil rights activist, 474 00:34:27,629 --> 00:34:31,895 W. E. B. DuBois, they all lived in Harlem. 475 00:34:31,967 --> 00:34:35,902 Like many other artists who sought to understand 476 00:34:35,970 --> 00:34:38,905 the meaning of being black and American, 477 00:34:38,973 --> 00:34:42,271 part of what would be called the "Harlem Renaissance". 478 00:34:46,313 --> 00:34:49,577 Jazz musicians also were attracted to Harlem. 479 00:34:49,648 --> 00:34:53,743 There was plenty of work in theaters, nightclubs and dance halls. 480 00:34:53,818 --> 00:34:56,252 And, with the metr , Broadway and record labels 481 00:34:56,321 --> 00:34:58,289 they were to a small distance from there. 482 00:35:05,929 --> 00:35:09,193 The Harlem Music Hermis were the masters of a dazzling 483 00:35:09,265 --> 00:35:12,723 virtuoso style of piano: The stride. 484 00:35:15,770 --> 00:35:19,206 "It was orchestral piano", one of his stars is remembered, 485 00:35:19,274 --> 00:35:22,868 "with expanded chords, full, round, 486 00:35:22,943 --> 00:35:24,911 alternated with respect to Right hand. " 487 00:35:37,789 --> 00:35:41,724 Its practitioners called themselves of "tick-fangs", 488 00:35:41,792 --> 00:35:45,228 but the nicknames that gave to each other - "The Bear", 489 00:35:45,296 --> 00:35:50,232 "The Beetle", "The Beast", "The Gross" - they looked more like warriors, 490 00:35:50,300 --> 00:35:53,565 appropriate to the eternal wars of piano, 491 00:35:53,637 --> 00:35:56,605 called "cut contests", that they were locked together. 492 00:36:04,579 --> 00:36:09,174 In the beginning of 1923, Duke Ellington and two old friends, 493 00:36:09,249 --> 00:36:13,515 the drummer Sonny Greer and saxophonist Otto Hardwicke, 494 00:36:13,587 --> 00:36:16,521 moved to Harlem, eager to discover 495 00:36:16,589 --> 00:36:20,184 if they had the talent they needed to win in the city that the musicians 496 00:36:20,259 --> 00:36:23,227 of jazz would soon call of "The Big Apple". 497 00:36:25,597 --> 00:36:29,192 "For us," Ellington recalled, "Harlem had the weather 498 00:36:29,267 --> 00:36:33,225 most glamorous in the world. We had to go there. " 499 00:36:36,607 --> 00:36:40,201 His first job in New York was to accompany a vaudeville musician 500 00:36:40,276 --> 00:36:43,711 named Wilbur Sweatman, which insisted that members 501 00:36:43,779 --> 00:36:48,239 of his band used p -de-arroz to lighten the countenance. 502 00:36:49,952 --> 00:36:54,217 When Sweatman left the city, Ellington and his friends were fighting. 503 00:36:54,288 --> 00:36:56,222 work at all costs, Sometimes cheating on billiards. 504 00:36:56,290 --> 00:36:58,223 to be able to if you feed, 505 00:36:58,291 --> 00:37:02,819 but always listening to the pianists masters of stride. 506 00:37:02,896 --> 00:37:07,161 Willie "the Lion" Smith sympathized with Ellington and his friends. 507 00:37:07,233 --> 00:37:11,169 He drove Ellington to work and encouraged 508 00:37:11,237 --> 00:37:14,205 to try my hand at "cut" contests. 509 00:37:20,577 --> 00:37:26,515 In the fall of 1923, Duke Ellington, Sonny Greer and Otto Hardwicke 510 00:37:26,582 --> 00:37:30,177 moved to the center to play at the Hollywood Inn, 511 00:37:30,253 --> 00:37:35,690 a pork club close to Times Square. 512 00:37:35,757 --> 00:37:37,724 They were part of now a band 513 00:37:37,725 --> 00:37:39,692 of six callers "The Washingtonians" 514 00:37:39,760 --> 00:37:43,696 specialized in music soft to dance. 515 00:37:44,493 --> 00:37:49,889 She was led by the banjo player and small business owner Elmore Snowden. 516 00:37:50,603 --> 00:37:52,696 When the musicians discovered that Snowden was pocketing 517 00:37:52,771 --> 00:37:55,706 more than your part of the payment of the band, 518 00:37:55,774 --> 00:37:59,335 they expelled him and made Duke Ellington the new leader. 519 00:38:01,545 --> 00:38:04,139 "It was at the Hollywood Inn", said Ellington, 520 00:38:04,215 --> 00:38:08,173 "that our music has acquired new colors and features. " 521 00:38:11,221 --> 00:38:16,487 He was absorbing everything: ragtime that he had heard as a boy in Washington; 522 00:38:16,558 --> 00:38:20,653 the most sophisticated style of Harlem stride masters; 523 00:38:20,728 --> 00:38:23,663 and the sound looser, soaked in the blues of New Orleans, 524 00:38:23,731 --> 00:38:27,170 by Sidney Bechet and Louis Armstrong. 525 00:38:28,426 --> 00:38:31,795 All this soon would reflect on your music. 526 00:38:32,739 --> 00:38:36,674 In the beginning, he played music "of society". 527 00:38:36,742 --> 00:38:38,209 He would do ... 528 00:38:46,751 --> 00:38:48,843 I played with this type of vibrato. 529 00:38:48,919 --> 00:38:51,183 And he heard the band. of King Oliver. 530 00:38:51,255 --> 00:38:52,222 It was about ... 531 00:39:06,868 --> 00:39:09,131 He said, "That's it. I want to do. 532 00:39:09,203 --> 00:39:11,467 I want to hear the clarinet, the trombone, 533 00:39:11,539 --> 00:39:15,168 I want this rhythm and the beat in 4/4. " 534 00:39:16,876 --> 00:39:22,814 In 1924, Duke Ellington was doing his name in New York. 535 00:39:22,881 --> 00:39:27,147 He would start recording and managed to sell some songs 536 00:39:27,219 --> 00:39:31,154 for music editors of Tin Pan Alley. 537 00:39:31,222 --> 00:39:36,159 But he was still unsatisfied. And confessed his unhappiness 538 00:39:36,227 --> 00:39:40,162 to his friend Will Marion Cooke, a classical teacher 539 00:39:40,230 --> 00:39:42,198 and composer of Broadway. 540 00:39:45,735 --> 00:39:48,670 During long races of txi by Central Park, 541 00:39:48,738 --> 00:39:50,705 the two were talking about music. 542 00:39:53,575 --> 00:39:55,167 Cooke recommended Ellington that he obtained 543 00:39:55,243 --> 00:39:57,710 a classic formation in the conservatoire. 544 00:39:59,413 --> 00:40:02,678 Ellington felt that no had time for this. 545 00:40:02,750 --> 00:40:05,217 "They are not teaching I want to learn, "he complained. 546 00:40:07,765 --> 00:40:11,700 "In that case," Cooke told him, "first find the logical path; 547 00:40:11,768 --> 00:40:18,047 when you find it, avoid it and let it your inner self manifest and guide you. 548 00:40:18,107 --> 00:40:22,703 Do not try to be anyone not to be you. " 549 00:40:22,778 --> 00:40:26,736 It was advice that Duke Ellington would go on for his entire life. 550 00:40:28,282 --> 00:40:31,217 Duke Ellington knew how to pick up what "could be" 551 00:40:31,285 --> 00:40:33,718 and transform it in something concrete. 552 00:40:33,787 --> 00:40:35,220 He understood what it was I need to 553 00:40:35,288 --> 00:40:38,745 transform something invisible visible. 554 00:41:02,245 --> 00:41:04,679 "We meet for the first time - jazz and me - 555 00:41:04,747 --> 00:41:08,614 I do not dance of the Barbary Coast. 556 00:41:08,750 --> 00:41:12,186 He squealed and roared at me. on an improvised stage, 557 00:41:12,254 --> 00:41:15,689 in the middle of a smoky environment cigarette and beer steaming. 558 00:41:15,756 --> 00:41:20,192 And it hit me hard. Strident Yes. 559 00:41:20,260 --> 00:41:23,525 Rough? Undoubtedly. 560 00:41:23,596 --> 00:41:29,227 Musical? As sure as you're alive. Paul Whiteman " 561 00:41:36,774 --> 00:41:41,210 Paul Whiteman was a violinist from Colorado, 562 00:41:41,278 --> 00:41:43,872 formed in conservatoire, who has abandoned a classic career 563 00:41:43,947 --> 00:41:47,212 after listening to a jazz band one night in S o Francisco. 564 00:41:47,783 --> 00:41:49,717 He was totally amazed. 565 00:41:49,785 --> 00:41:52,219 There was so much force, was funny. 566 00:41:52,288 --> 00:41:53,880 He got up sad and came back 567 00:41:53,956 --> 00:41:56,219 at home at night floating. 568 00:41:56,291 --> 00:41:58,225 He had a good time. 569 00:41:58,293 --> 00:42:00,659 In view of their formation 570 00:42:01,728 --> 00:42:03,662 Your father was a teacher. of music and played 571 00:42:03,730 --> 00:42:05,823 Viola in an orchestra symphonic - 572 00:42:05,899 --> 00:42:09,163 he did not think to play jazz 573 00:42:09,235 --> 00:42:12,204 that way, but in converting it to its mode. 574 00:42:13,739 --> 00:42:16,832 Whiteman was convinced that could find a way to 575 00:42:16,908 --> 00:42:21,174 to orchestrate jazz, to make it even more more commercially viable, 576 00:42:21,246 --> 00:42:24,681 to retain their rhythm and harmony while making him so precise 577 00:42:24,748 --> 00:42:28,684 and predictable the classic music. 578 00:42:28,752 --> 00:42:33,552 His arrangements, he said, to make jazz a lady. 579 00:42:38,594 --> 00:42:43,860 He got his first big success in 1920 with the album "Whispering". 580 00:42:43,931 --> 00:42:47,032 Smooth, broadly orchestrated, 581 00:42:47,475 --> 00:42:49,799 he sold 2 and a half million units, 582 00:42:50,270 --> 00:42:55,902 more than 250 times what "Chimes Blues" of Oliver and Armstrong, would sell. 583 00:42:58,777 --> 00:43:02,144 The Paul Whiteman Orchestra soon became the most celebrated 584 00:43:02,214 --> 00:43:07,150 and imitated from the United States, launching a new trend 585 00:43:07,218 --> 00:43:09,686 In dance music of society. 586 00:43:23,733 --> 00:43:29,170 On February 12, 1924, a crowd appeared 587 00:43:29,237 --> 00:43:33,172 at the Aeolian Hall in New York, to listen to the orchestra of Paul Whiteman 588 00:43:33,240 --> 00:43:38,199 to play what has been announced as a "modern music experiment". 589 00:43:40,747 --> 00:43:43,181 The concert included a brand new work, 590 00:43:43,249 --> 00:43:47,184 specially commissioned to a young New York composer, 591 00:43:47,252 --> 00:43:52,188 son of Russian immigrants, called George Gershwin, 592 00:43:52,256 --> 00:43:55,191 who, like Duke Ellington, had spent hours and hours 593 00:43:55,259 --> 00:43:58,228 listening to black pianists in Harlem. 594 00:44:00,196 --> 00:44:04,132 The music of Gershwin was something entirely new, 595 00:44:04,200 --> 00:44:08,465 a classic piece impregnated of jazz feeling. 596 00:44:08,537 --> 00:44:11,631 And she would become one of the most loved compositions 597 00:44:11,707 --> 00:44:16,666 of all American music: "Rhapsody in Blue". 598 00:44:46,203 --> 00:44:50,161 The concert was a huge success. Four hours of elegant music 599 00:44:50,239 --> 00:44:55,175 and orchestral, with no sign of improvisation. 600 00:44:55,890 --> 00:45:01,447 And almost immediately Paul Whiteman was appointed as the King of Jazz. 601 00:45:02,683 --> 00:45:05,117 Of course it left many blacks, 602 00:45:05,186 --> 00:45:07,620 at the time and then, crazy of life, 603 00:45:07,688 --> 00:45:10,121 because it was too obvious: Paul "White Man" 604 00:45:10,190 --> 00:45:11,623 was the king of jazz. Apparently, 605 00:45:12,692 --> 00:45:16,149 Whiteman himself will never intended to be none of that. 606 00:45:18,697 --> 00:45:22,632 One day critics would accuse Whiteman of diluting the jazz, 607 00:45:22,700 --> 00:45:25,635 and steal it from black Americans. 608 00:45:25,703 --> 00:45:29,661 But Whiteman has always acknowledged the debt he had. 609 00:45:31,208 --> 00:45:33,642 The whites got involved with jazz 610 00:45:33,710 --> 00:45:37,145 not for the purpose to mock the blacks 611 00:45:37,213 --> 00:45:39,647 or devilt them, but taking into account 612 00:45:39,715 --> 00:45:42,149 that was an art form 613 00:45:42,217 --> 00:45:47,154 that they wanted to get express in its own way, 614 00:45:47,222 --> 00:45:49,155 respecting it and raising it. 615 00:45:49,223 --> 00:45:51,657 That makes it Whiteman important. 616 00:45:51,725 --> 00:45:53,659 He wanted to get that music 617 00:45:53,727 --> 00:45:56,160 with its own terms. 618 00:45:56,229 --> 00:45:58,663 This would have a about all those 619 00:45:58,731 --> 00:46:01,131 associated with this music, white or black. 620 00:46:02,669 --> 00:46:06,104 Whiteman was working behind the cloth to black arrangers 621 00:46:06,171 --> 00:46:09,607 and wanted to hire musicians too. black for your orchestra. 622 00:46:09,675 --> 00:46:14,134 But even in the Jazz Age this was impossible. 623 00:46:19,683 --> 00:46:22,618 In the same year of triumph of Whiteman at Aeolian Hall, 624 00:46:22,686 --> 00:46:25,620 a young black band leader, called Fletcher Henderson, 625 00:46:25,688 --> 00:46:29,624 presented in the main salon of New York dances, the Roseland, 626 00:46:29,692 --> 00:46:34,151 Times Square, playing only for whites. 627 00:46:36,698 --> 00:46:39,632 Soft-spoken, Henderson was a son of a piano teacher 628 00:46:39,700 --> 00:46:43,466 and a school principal, and had come Northern New York State 629 00:46:43,537 --> 00:46:47,472 behind a chemistry degree at the University of Columbia. 630 00:46:47,540 --> 00:46:51,135 But when their economies were over, he turned to music 631 00:46:51,210 --> 00:46:54,178 and was swept away by jazz madness. 632 00:46:56,715 --> 00:47:01,083 At Roseland, he became famous for playing music to dance 633 00:47:01,151 --> 00:47:03,585 with a refinement unmatched by any other 634 00:47:03,654 --> 00:47:07,111 black band-leader from James Reese Europe. 635 00:47:09,659 --> 00:47:13,594 There were two kings of the scene of bands in NY. 636 00:47:13,662 --> 00:47:15,095 There was the white king, Paul Whiteman, 637 00:47:15,163 --> 00:47:17,597 that had the best white musicians of the country, 638 00:47:17,666 --> 00:47:19,599 and there was F. Henderson, who had the 639 00:47:19,667 --> 00:47:23,603 best black musicians. They were friends 640 00:47:23,671 --> 00:47:26,639 and if they helped, exchanging arrangements etc. 641 00:47:27,173 --> 00:47:31,610 One night, Whiteman took his band to hear Henderson's. 642 00:47:31,678 --> 00:47:33,110 And then i said to their musicians who, 643 00:47:33,178 --> 00:47:38,115 if Fletcher were white, would be a millionaire. 644 00:47:38,183 --> 00:47:41,117 But like Duke Ellington, Henderson became restless 645 00:47:41,185 --> 00:47:44,621 with conventional dance music that had been playing. 646 00:47:44,689 --> 00:47:47,623 He was determined to create a style of yours. 647 00:47:47,691 --> 00:47:50,967 I wanted to combine elegance of your previous arrangements 648 00:47:51,002 --> 00:47:52,628 with something more exciting, 649 00:47:52,696 --> 00:47:57,792 more stimulating, more spontaneous. 650 00:47:57,867 --> 00:48:01,563 Fletcher Henderson started looking for a soloist, a jazz specialist, 651 00:48:01,636 --> 00:48:05,572 so he called him, that could help him. 652 00:48:05,640 --> 00:48:08,574 He knew of a trumpeter of King Oliver's band in Chicago, 653 00:48:08,642 --> 00:48:13,579 whose genius other musicians they began to speak. 654 00:48:13,647 --> 00:48:18,083 It would take a while, but when managed to convince that specialist 655 00:48:18,151 --> 00:48:22,109 to go to New York, jazz would change forever. 656 00:48:27,159 --> 00:48:31,117 TO MAKE THE ANGELS CHORAREM 657 00:48:32,830 --> 00:48:36,094 For almost two years, Louis Armstrong remained 658 00:48:36,166 --> 00:48:39,602 in the Creole Jazz Band of King Oliver. 659 00:48:39,669 --> 00:48:44,605 There was also in the band a pianist named Lil Hardin. 660 00:48:44,673 --> 00:48:49,132 She was unlike any other a woman Armstrong had known. 661 00:48:50,178 --> 00:48:53,113 I always listened the musicians speak 662 00:48:53,181 --> 00:48:54,614 about little Louis and how 663 00:48:54,682 --> 00:48:56,615 he would be a great trumpeter 664 00:48:56,683 --> 00:48:59,208 Little Louis. And when they brought him 665 00:48:59,286 --> 00:49:01,049 to Dreamland to to know me, 666 00:49:01,121 --> 00:49:04,055 I saw that he was about 100kg. 667 00:49:04,123 --> 00:49:06,717 I asked, "Why do they call him of little Louis, 668 00:49:06,792 --> 00:49:09,056 with all that size? " 669 00:49:09,128 --> 00:49:11,561 I was not at all impressed. 670 00:49:11,629 --> 00:49:12,721 I did not like it at all, 671 00:49:12,797 --> 00:49:16,562 the way of dressing, of the way of speaking. 672 00:49:16,633 --> 00:49:18,066 At last, he climbed the platform. 673 00:49:18,135 --> 00:49:20,729 And I played ... You know, the girls 674 00:49:20,804 --> 00:49:23,068 used leagues to hold the stockings. 675 00:49:23,140 --> 00:49:24,572 When I sat down to touch, 676 00:49:24,640 --> 00:49:27,404 I lowered my socks even the height 677 00:49:27,476 --> 00:49:30,069 below the knee. 678 00:49:30,145 --> 00:49:32,579 A 1a. Thing that Louis saw it was my knee. 679 00:49:32,647 --> 00:49:36,083 And how he looked at him. I thought: "It's better. 680 00:49:36,151 --> 00:49:39,119 he does not transform their ideas in words. " 681 00:49:40,654 --> 00:49:43,003 Lil Hardin was ambitious, 682 00:49:43,051 --> 00:49:46,822 articulated and, like Armstrong, unhappy in marriage. 683 00:49:47,493 --> 00:49:52,088 Despite its first impression, she eventually fell in love with him. 684 00:49:52,164 --> 00:49:58,102 On February 5, 1924, Louis Armstrong, recmm-divorced 685 00:49:58,169 --> 00:50:03,607 of his first wife, he married with Lil Hardin in Chicago. 686 00:50:03,674 --> 00:50:07,109 Lil encouraged Armstrong to follow his own way, but he was 687 00:50:07,177 --> 00:50:11,613 reluctant to leave the man who I still called him Mr. Joe. 688 00:50:11,680 --> 00:50:14,444 He said that he owed her a lot. and that was not right 689 00:50:14,516 --> 00:50:17,610 if it would be successful on its own account. 690 00:50:17,686 --> 00:50:23,624 But Lil persisted: "I do not want to be married to the second trumpeter. 691 00:50:23,691 --> 00:50:25,658 I want you be the first. " 692 00:50:28,695 --> 00:50:32,790 Then, in the spring of 1924, Armstrong received a proposal 693 00:50:32,865 --> 00:50:34,958 that I could not ignore. 694 00:50:35,034 --> 00:50:39,470 Fletcher Henderson wanted he would go to New York. 695 00:50:39,537 --> 00:50:42,631 As on his arrival in Chicago, two years before, 696 00:50:42,707 --> 00:50:46,665 Armstrong's estrangement in New York it was not auspicious. 697 00:50:47,544 --> 00:50:49,637 "Drummer Kaiser Marshall had a car and took us 698 00:50:49,713 --> 00:50:52,648 to the center for know Louis. 699 00:50:52,716 --> 00:50:57,482 He was big and fat and wore tennis shoes. long barrel with tabs. 700 00:50:57,553 --> 00:51:02,751 When I saw that, I thought to myself, Who the hell is this guy? 701 00:51:02,824 --> 00:51:07,123 It can not be Louis Armstrong. ' Don Redman. " 702 00:51:09,664 --> 00:51:13,600 Louis Armstrong, raised in poverty the streets of New Orleans, 703 00:51:13,667 --> 00:51:18,604 it could not be more different than your new and sophisticated employer. 704 00:51:18,672 --> 00:51:22,607 But almost from the start, Armstrong influenced 705 00:51:22,675 --> 00:51:25,143 one in every two musicians of the city. 706 00:51:27,845 --> 00:51:30,439 I came to NY in 1924. It was the first time 707 00:51:31,516 --> 00:51:33,609 I heard Louis live. 708 00:51:33,685 --> 00:51:37,450 Fletcher did not have music for him at this time. 709 00:51:37,521 --> 00:51:41,116 He would sit there, holding the trumpet, 710 00:51:41,191 --> 00:51:43,454 waiting for the time to manor. 711 00:51:43,526 --> 00:51:45,118 And when he arrived the moment he gets 712 00:51:45,194 --> 00:51:47,128 stood up and played made the devil. 713 00:51:47,196 --> 00:51:49,663 The public was delirious. 714 00:51:51,533 --> 00:51:56,128 The Armstrong Solos transformed the band. 715 00:51:56,203 --> 00:52:00,731 Don Redman, the Henderson Arranger, started writing new pieces 716 00:52:00,808 --> 00:52:04,573 which featured the powerful trumpet by Armstrong 717 00:52:04,644 --> 00:52:08,580 and his unrivaled rhythmic sense, what Henderson himself called 718 00:52:08,648 --> 00:52:12,105 of the "balance" of New Orleans by Armstrong. 719 00:52:14,653 --> 00:52:19,419 "One night at Roseland, Armstrong began to play 'Shanghai Shuffle'. 720 00:52:19,490 --> 00:52:25,257 I think they made him play about ten solos. And I was silent, 721 00:52:25,328 --> 00:52:30,094 feeling half-hearted, thinking if he could someday achieve a 722 00:52:30,165 --> 00:52:36,225 small part of Armstrong's greatness. Coleman Hawkins. " 723 00:52:37,206 --> 00:52:39,105 Armstrong transformed the orchestra, 724 00:52:39,173 --> 00:52:42,108 the musicians of it and, in the last instance, 725 00:52:42,176 --> 00:52:44,609 everyone else in NY who were playing jazz, 726 00:52:44,678 --> 00:52:47,112 and popular musicians. 727 00:52:47,180 --> 00:52:49,114 He brought, first, 728 00:52:49,182 --> 00:52:53,117 a tremendous rhythmic animation. 729 00:52:53,185 --> 00:52:56,120 Armstrong was economical. He played 730 00:52:56,188 --> 00:52:58,621 few notes, but each counted 731 00:52:58,690 --> 00:53:00,555 and it represented something. Therefore, 732 00:53:00,625 --> 00:53:03,093 equally important, he brought the blues. 733 00:53:06,130 --> 00:53:08,564 Armstrong demonstrated what the blues 734 00:53:08,632 --> 00:53:11,065 maybe it was the biggest musical gift 735 00:53:11,134 --> 00:53:13,102 already produced in the USA. 736 00:53:16,639 --> 00:53:19,072 He played blues with such conviction, 737 00:53:19,141 --> 00:53:23,077 feeling and vigor that everyone wanted it. 738 00:53:23,145 --> 00:53:26,580 Duke Ellington I was in NY. 739 00:53:26,647 --> 00:53:27,579 He accompanied singers, Had one 740 00:53:27,648 --> 00:53:30,583 small band, but he lacked something. 741 00:53:30,651 --> 00:53:33,118 And he did not know what it was even hear Armstrong. 742 00:53:48,166 --> 00:53:53,102 Suingue take note right at the right time, 743 00:53:53,170 --> 00:53:56,606 neither before nor after. 744 00:53:56,673 --> 00:54:00,039 Therefore, in jazz, that a rhythmic music, 745 00:54:00,109 --> 00:54:04,045 I need to have time and pulse. 746 00:54:04,113 --> 00:54:05,410 By touching, you make ... 747 00:54:07,782 --> 00:54:09,079 it can not be 748 00:54:12,120 --> 00:54:13,087 (I.e. 749 00:54:18,125 --> 00:54:22,060 And keep it up. Do not change. 750 00:54:22,128 --> 00:54:23,655 Like the beat of the heart. 751 00:54:23,690 --> 00:54:25,563 You look at the audience, he understand, 752 00:54:25,631 --> 00:54:27,723 begins to accompany with the p 753 00:54:27,799 --> 00:54:30,563 and then it goes stand up and swing. 754 00:54:30,635 --> 00:54:34,070 This is what makes jazz solo 755 00:54:34,138 --> 00:54:35,605 and with such greatness. 756 00:54:36,640 --> 00:54:39,357 "No one," said one musician, 757 00:54:39,763 --> 00:54:43,302 "I knew what it was to whistle until Louis appears. " 758 00:54:44,647 --> 00:54:47,582 The arrival of Armstrong in September 1924 759 00:54:47,649 --> 00:54:49,583 was fundamental, because he was the most 760 00:54:49,651 --> 00:54:51,414 important musician world jazz 761 00:54:51,487 --> 00:54:53,580 and was at greater city ​​of the country, 762 00:54:53,655 --> 00:54:57,613 teaching your band more important to swing. 763 00:55:07,100 --> 00:55:09,693 He plays dances to young black people in Uptown 764 00:55:09,768 --> 00:55:11,531 and change careers such as those of 765 00:55:11,604 --> 00:55:14,038 Rex Stewart, G. Rogers and musicians 766 00:55:14,106 --> 00:55:16,869 of the saxophone section of Ellington. 767 00:55:16,941 --> 00:55:18,533 Russel Procoe was violinist when 768 00:55:18,610 --> 00:55:20,544 heard Armstrong. He said, "I will play 769 00:55:20,612 --> 00:55:23,045 an appropriate instrument for this music. " 770 00:55:23,113 --> 00:55:26,048 And started playing high saxophone 771 00:55:26,116 --> 00:55:28,050 In addition, nY was the best place 772 00:55:28,118 --> 00:55:30,551 for recordings. Louis Armstrong 773 00:55:30,620 --> 00:55:33,555 can make recordings freelance. 774 00:55:33,623 --> 00:55:37,058 He recorded with Bessie Smith, Ma Rainey, 775 00:55:37,125 --> 00:55:40,390 and Clarence's Blue Five Williams, with Sidney Bechet. 776 00:55:40,462 --> 00:55:41,554 And the disks reach a public who 777 00:55:41,630 --> 00:55:45,725 You can not go to Roseland. or Uptown. 778 00:55:45,799 --> 00:55:47,391 Jazz is signed because Louis came 779 00:55:47,468 --> 00:55:50,095 to NY and taught the world to wheeze. 780 00:55:53,473 --> 00:55:55,566 Ladies and gentlemen, let's give one 781 00:55:55,642 --> 00:55:58,576 Little back in the jungle and we want 782 00:55:58,644 --> 00:56:00,509 that you all follow us. 783 00:56:00,579 --> 00:56:03,013 That tiger is running very fast 784 00:56:03,081 --> 00:56:05,674 and it will be necessary some solos to reach it. 785 00:56:05,750 --> 00:56:08,014 So count on me. Yes sir. 786 00:56:08,085 --> 00:56:09,677 This trumpet Selmer will escape 787 00:56:09,754 --> 00:56:13,052 of you this time. Careful, boys, I'm ready. 788 00:56:48,620 --> 00:56:52,055 Louis Armstrong invented a new style of playing. 789 00:56:52,122 --> 00:56:55,558 He created the coherent soil. 790 00:56:55,626 --> 00:56:59,652 He merged the blues sound with the American popular song. 791 00:56:59,729 --> 00:57:02,994 Armstrong extended the reach of the trumpet. 792 00:57:03,066 --> 00:57:06,501 Created melodic vocabulary and rhythmic 793 00:57:06,568 --> 00:57:08,695 of which big bands wrote the music. 794 00:57:20,080 --> 00:57:21,513 In the last instance, Armstrong 795 00:57:21,581 --> 00:57:23,549 fits the definition of a genius. 796 00:57:26,585 --> 00:57:28,519 I think, in part, for listening 797 00:57:28,587 --> 00:57:30,555 something that no one else hears. 798 00:57:34,092 --> 00:57:38,529 He listened to rhythms, melodies and a sound, 799 00:57:38,596 --> 00:57:44,033 a means of extending your voice on the trumpet. All very original. 800 00:57:44,101 --> 00:57:47,036 The result is so powerful, 801 00:57:47,104 --> 00:57:50,539 spiritual person how much is enough 802 00:57:50,606 --> 00:57:53,074 to make the angels cry. 66902

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