Famous Musicians From New Orleans

Famous Musicians From New Orleans – An American art form of more than a century, jazz came from the streets of New Orleans. The city has produced some of the world’s greatest jazz musicians, none more celebrated than Louis “Satchmo” Armstrong.

The diverse mix of cultures in New Orleans since the 18th century led to the rise of jazz. The slave trade brought many Africans to the port city, who sometimes gather in Congo square to dance and play music from their hometown. Many were exposed to West Indian culture after passing through the Caribbean. The free people known as Creoles played music from their European and African ancestors. New arrivals from European countries such as Ireland and Germany also arrived, often living near the city and people of color. The melting pot ignited a new genre of music that took shape in the 1890s.

Famous Musicians From New Orleans

Jazz evolved from different styles of music that became popular at the end of the 19th century: ragtime, which was nicknamed “ragging” or improvised songs, blues and church music – all important to the African-American scene in the city. Brass bands of New Orleans began to incorporate these styles in their music and joined with the New Orleans mutual aid and benevolent communities to play at public events. In a city known for its outdoor celebrations, musicians had many opportunities to perform, including during the forums, political meetings, and even the musical funerals that the city is known for. Louis Armstrong, who was born in New Orleans in 1901, said that music brought joy to a special occasion: “After my brother was six feet on the ground, the band would play one of those good old songs like and “No Ramble”. people let go of their anxieties.”

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Armstrong, who toured the world as a jazz ambassador, started out as a boy on the streets of his hometown, singing on street corners to earn change to support his family. He took to New Orleans music and began playing small clubs and parades before Joe “King” Oliver, another horn player, became his coach. When Oliver left for Chicago, Armstrong took his place in the New Orleans band. But it was when Armstrong left New Orleans that his career began to flourish.

After playing on Mississippi riverboats, Armstrong went to Chicago in 1922 to play in Oliver’s band. He then played in New York City with the Fletcher Henderson Orchestra and soon began recording songs, including “West End Blues,” the first popular jazz song. In 1929 Armstrong appeared on Broadway and wrote “Ain’t Misbehavin’.” In the 1930s he began to travel abroad, including to England and Paris, and his fame grew with appearances in films, on the radio, and in theaters, dances and discotheques. In the 1950s Armstrong was a star who was welcomed by more than 100,000 people on a tour of West Africa and eventually wrote the number one hit “Hello Dolly”. Returning to New Orleans, however, would prove to be a special event unto itself.

In 1949 Armstrong accepted an invitation from the Zulu Social Aid and Pleasure Club to be crowned Mardi Gras king. Despite the treatment of African Americans in the segregated South at the time, Armstrong said, “There’s one thing I’ve wanted all my life…to die.” Satchmo (short for “Satchelmouth”, a quip about the size of his mouth) lived until 1971, performing all the while and cementing his hometown’s reputation as the birthplace of jazz. In recent years we have made it a point to publish a number of “Top 10” lists here at So Much Great Music, review America’s Best Bands, list the most perfect albums of popular music, delve into the greatest frontmen of Rock, and also magazine. Best Male/Female. Duets. They were all fun to promote, and are among the most read articles in SMGM’s short history (in terms of generating many of the most comments and often angsty thoughts).

Visit Frenchmen Street

This time we will touch on a very important topic but very important to me: to explain the music of my favorite city, my favorite place, New Orleans. New Orleans is known by many as “The city that cares to forget” (commonly known for the appearance of these words in 1938.

), the phrase that in addition to conveying its bacchanalian reputation for pleasure-seeking carries the double irony that New Orleans is a carefree and unpredictable city. In my experience, the concern has not only forgotten about New Orleans, it has come out into the open.

When viewed objectively—a country rarely associated with a place—New Orleans has a complicated history, in some ways especially in its post-Katrina transformation. But in the end, what is the “brand” of New Orleans? What is the most famous? It is truly amazing, full of legends and mysteries, even from time to time the advent of voodoo; the culture and traditions stand out and are undeniably different from that of any other place in America; it is a city of celebration (in good times and bad), even if it can be, at times, like unbridled chaos; there is French/Spanish/Southern cooking steeped in butter, which alternately finds Creole and Cajun notes or sometimes New American; there are enormous parades, unbearable humidity, Bayou-Bronx accents, patois, endless storms (one type can be turned off in search of shelter from another), and a variety of architectural beauty – from the Garden District estates to the houses of ornate guns and the wrought iron of the French Quarter. balconies.

Arrowhead Jazz Band Led By Ranger Jade Perdue Featuring Jemila Dunham, Victor Campbell, Jazmine Butler & Max Bronstein Presented By The New Orleans Jazz National Historical Park — New Orleans Jazz Museum

However, even beyond all that – New Orleans is, after all, a leg – there is something that I think defines the character of the city, the crossing line (for locals and tourists) that connects the epic and the people. in a busy history that stretches like the banks of the Mississippi River that wraps around the city’s southern border. Yep, you guessed it: music. New Orleans is not only the birthplace of jazz, the only American art form, but also cultivated in it the forgotten origins of R&B and Funk, and from them the flowering of Rock and Roll. It is, more than any other single place, the origin of American popular music. New Orleans is really a city with many names: in addition to the “Forgotten City” there is the “Crescent City”, “The Paris of America”, “The Vieux Carre” (less in part), and simply “NOLA”. .” But, what it could and should be called—no offense to Country Music and Nashville—is “Music City.”

So with the essence of New Orleans now properly distilled, let’s see exactly what we’re doing here. The mission, in a nutshell: Explore the great musical history of the New Orleans name

. It’s a great deal, no doubt. Like a Magnum at Pat O’Brien’s (if you don’t know what that is, get some friends together and plan one next time you’re in town and tell SMGM she recommended it). But to properly deal with this terrible problem, as always, we must first establish a few definitions, guidelines and basic rules.

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First, and most importantly, what quality should determine who is considered the best, and ultimately the greatest, among the countless greats of America’s musical capital? Well, I think there is one

There are many ways to look at this. Consciousness… Is it the most influential? The most important thing in history? Is it too similar? Just be popular? Oh gee, how about the best music collection? It must certainly be a combination or combination of these different types, at least. But, like all these plans, this is subjective, and based on opinion – in this case, mine. Of course. And I thought about this problem from many angles, I believe. So what if we just think about it this way: you have the chance to see one of New Orleans’ best artists, living or dead, in his first performance at Tipitina’s. Or replace The Maple Leaf, Saenger Theatre, Tulane’s U.C. quad, Frenchmen Street alley, Jazzfest stage, everywhere. Who decides? There is a qualifier.

Next, how do you consider simultaneously amazing artists from the eclectic variety of genres that make up the New Orleans scene? Of course, “New Orleans music” is a familiar thing, but that also casts a wide net. Say, from Dixieland to Zydeco. There is no other place where these two groups, for example, can ever be thought of together. It’s like dancing at a funeral. Oh, that’s right, that happens in New Orleans too. As much as we can, our accounting will mix them all and throw them all into one big pot. And back to the original character. Paint the picture “an artist/a show” in your mind’s eye. And the ears.

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Borders And that will be two groups – one good (at least for me) and the second maybe not. First, Hip-hop artists (and

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