By Laurence Bergreen
The history of jazz began with a gunshot. On New Year's Eve 1912, young Louis Armstrong, then singing for spare change with a street-corner quartet, "borrowed" a .38 revolver from one of the many "stepfathers" who regularly visited his mother. In keeping with a time-honored New Orleans tradition, he fired the gun in the air to welcome in the new year. A police detective standing nearby arrested Louis for illegally discharging a firearm, and he was quickly shipped off to the Colored Waif's Home, a reform school outside New Orleans. It was there that Louis received his first formal instruction in music and was given his first cornet by the school's director. Although he had played the instrument before and had already picked up some tips from legendary cornetist Bunk Johnson, it was at the Waif's Home that young Louis began to emerge as the prodigiously talented and visionary musician who would soon change the face of jazz and American popular music.
In his highly entertaining new biography of Louis Armstrong, Laurence Bergreen sketches an intimate portrait of Armstrong the man and his remarkable life. Making use of Armstrong's voluminous writings and correspondence "" he bought his first typewriter in Chicago in 1922 to keep in touch with his many friends back in New Orleans and "spent almost as much time pounding the keys of his typewriter as he did pumping the valves of his trumpet" "" Bergreen mostly lets Louis speak for himself, and he emerges as an enormously complex, sometimes contradictory figure, but one wholly consumed and intoxicated by the beauty and power of music. In addition to his inveterate letter writing, Armstrong also wrote observations, dirty stories and limericks, and, most importantly of all, reminiscences about his early days in New Orleans, which despite the violence, dire poverty, racism, and hard times he had to confront constantly, he considered the most joyous and exciting days of his life. His writings were largely an attempt to recapture and celebrate the moment in time when jazz was born on the streets of New Orleans, or, in a phrase he used as the title of the first chapter of his autobiography, when "Jazz and I Get Born Together."
As the seminal figure in the early history of jazz and one of the century's most popular entertainers, the broad details of Louis Armstrong's life are well known. Born in New Orleans to the daughter of a former slave sometime in 1901 (not on his symbolic adopted birthday of July 4, 1900); tutored on the cornet and trumpet by Bunk Johnson and Joe "King" Oliver in the streets, whorehouses, and honky-tonks of Storyville, the Crescent City's bustling, wide-open red-light district; summoned by Oliver to join his Creole Jazz Band in Chicago in 1922, where, a few years later, he made the most influential recordings in jazz history with the Hot Fives and Hot Sevens; moved on to New York where he established himself as a major star, and, through forty years of nonstop international touring, recording, and film and television appearances, became one of the most recognizable and beloved personalities in the world.
Armstrong grew up in Storyville in an extraordinarily colorful (and dangerous) world populated largely by gangsters, pimps, and prostitutes, and he felt comfortable around these sorts of people and maintained relationships with them for the rest of his life. His first wife Daisy was a former prostitute who, like many of the women he knew in his youth, always carried a knife in her stockings, and was not afraid to use it to keep the men in her life in line. Joe Glaser, his manipulative and self-promoting manager for thirty-five years, was a convicted rapist and a former pimp and bootlegger, notorious for his connections to the Chicago mob. Armstrong, though, made no distinction between shady characters like these and the dignitaries and denizens of high society he came into contact with in later years. Between shows he would hold court in his dressing room, wearing nothing but his underwear, with a white scarf tied around his head, while fans and admirers representing the broadest cross section of American life "" movie stars and working stiffs, wealthy patrons of the arts and street hustlers "" clamored for his attention. To Louis, these were all his people, black and white, rich and poor, and he treated them all the same.