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In a 2006 Jerry Jazz Musician interview, the eminent Louis Armstrong scholar Thomas Brothers talks about the city of New Orleans, and how it imprinted itself on a young Louis Armstrong…
...September 18th, 2023
Louis Armstrong scholar and biographer Thomas Brothers talks about the artist’s most fertile period, from his arrival as a young man in Chicago in 1922 to join Joe “King” Oliver, through the years of the “Hot Five and Hot Seven” recordings
...February 7th, 2023
The community of poets, writers, artists and photographers who have recently contributed their work and time to Jerry Jazz Musician to answer this question, “What one song best represents your experience with 2020?”
...December 29th, 2020
In Help! The Beatles, Duke Ellington, and the Magic of Collaboration, Duke University musicologist Thomas Brothers – author of two essential studies of Louis Armstrong – tells a fascinating account of how creative cooperation inspired two of the world’s most celebrated groups.
The following interview with Mr. Brothers about his book — hosted and produced by Jerry Jazz Musician. publisher Joe Maita — was conducted on December 10, 2018.
...February 5th, 2019
. . Photo William Gottlieb/Library of Congress Charlie Parker is frequently found on the lists of noted critics and musicians answering the question, “What are 3 or 4 of your favorite jazz record recordings of the 1940’s?” This photograph by William Gottlieb was taken at Carnegie Hall in New York, c. 1947 . __________ … Continue reading “Reminiscing in Tempo: “What are 3 or 4 of your favorite jazz recordings of the 1940’s?””
...December 4th, 2018
Breaking into the white market without losing his African-American vernacular identity was an amazing achievement for Louis Armstrong — particularly during his era. I talk about this in an excerpt from my recent interview with Thomas Brothers, author of Louis Armstrong: Master Of Modernism.
__________
JJM In the winter of 1925 – 26, while making a name for himself at classy venues like the Dreamland Café and the Vendome Theater, Armstrong was also extending his reputation thanks to the Hot Five series on OKeh Records. The recordings sold in Chicago, but the main target audience was African Americans in the Deep South, where “race records” were immensely popular. What was OKeh’s marketing strategy for this series?
TB Yes, they certainly sold in Chicago, and they sold in all northern cities where there were African-American communities from the Great Migration. The target of these “race records” was of course to appeal to the African-American mass audience, and to do so in a low-budget way. They were not interested in paying musicians any royalties – they would get a flat fee
...June 25th, 2014
In Louis Armstrong: Master of Modernism, Thomas Brothers picks up where he left off with the acclaimed Louis Armstrong’s New Orleans, following the story of the great jazz musician into his most creatively fertile years in the 1920s and early 1930s, when Armstrong created not one but two modern musical styles. Brothers wields his own tremendous skill in making the connections between history and music accessible to everyone as Armstrong shucks and jives across the page. Through Brothers’s expert ears and eyes we meet an Armstrong whose quickness and sureness, so evident in his performances, served him well in his encounters with racism while his music soared across the airwaves into homes all over America.
Brothers discusses his book with Jerry Jazz Musician publisher Joe Maita in an April, 2014 interview.
...June 15th, 2014
In “Louis Armstrong: Master of Modernism, author Thomas Brothers writes about Armstrong’s early fascination with marijuana — an interest that began in Chicago, 1928, while playing the Savoy Ballroom. This interest led to a marijuana possession arrest on November 13, 1930 in the parking lot of Los Angeles’ Cotton Club. “Armstrong was allowed to finish out his night work before they hauled him off to jail around 3:00 A.M.,” Brothers writes.
The following book excerpt begins with a rather humorous transcript from his trial, and then
...March 25th, 2014
On the heels of terrific books on Bud Powell, Charles Mingus, Charlie Parker and Duke Ellington comes Louis Armstrong, Master of Modernism, author and Duke University Music Professor Thomas Brothers’ follow-up to his revered Louis Armstrong’s New Orleans.
In the book’s introduction, Brothers reports that his book picks up where Louis Armstrong’s New Orleans left off, with Armstrong’s 1922 Chicago arrival, and ends ten years later. He writes, “My main thesis is that the success of this nimble-minded musician depended on his ability to skillfully negotiate the musical and social legacies of slavery. Indeed, his career can be understood as a response to these interlocking trajectories.” I have just begun reading it and have been taken in by “Welcome to Chicago,” the book’s first chapter that tells the story of what Armstrong would have seen as he entered Lincoln Gardens for the first time in August, 1922; for example, the racially inflected floor show whose “centerpiece of the presentation is a row of light-skinned dancing girls;” dancing couples in an environment where “correct dancing is insisted upon” (to keep immorality charges at bay); and the local white musicians — “alligators” — described as “the little white boys…motivated to learn the music and cash in.”
I had the privilege of interviewing Thomas Brothers following the publication of Louis Armstrong’s New Orleans, and he has accepted my invitation for an interview about his new book. It is
...March 7th, 2014
New Orleans at the turn of the twentieth century was a complicated city, a rough and beautiful place bursting with energy and excitement. It was a city marked by racial tensions, where the volatile interactions between blacks and whites were further confounded by a substantial Creole population. Yet it was also a city of fervent religious beliefs, where salvation manifested itself in a number of ways. Perhaps abolve all else, New Orleans was a city of music: funeral bands marched through the streets; professional musicians played the popular tunes of the day in dance halls and cabarets; sanctified parishioners raised church roofs with their impassioned voices; and early blues musicians moaned their troubles on street corners and in honky-tonks, late into the night.
...June 12th, 2006
”“Mingus au Paradis” by Manuel J. Grimaldi
The Sunday Poem is published weekly, and strives to include the poet reading their work.... Manuel J. Grimaldi reads his poem at its conclusion
Click here to read previous editions of The Sunday Poem
Click here to read more book excerpts published on Jerry Jazz Musician
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