Louie Armstrong was born in a part of New Orleans,La
known as the "Battlefield" where fighting, killing
rape and murder were common everyday events.
He had no father as his Mother was a prostitute and
provided not much of a home for her several children.
At 7 years old Louis Armstrong was taken in by a Jewish
family that supplied coal in carts to heat the bordello's
of "storyville".. As a child he would ride on the horsecart
and blow a tin horn to announce the arrival of the coal..
He lived in the basement of this families home, and fondly
remembers the reading of stories and the only fair treatment
he had as a child. On New Years eve 1917 he was arrested
for fireing a pistol in the air and sent to a reform school
for black children. His only posession was a old cornet.
-=A=-
Duane Wheeler wrote:
>
> *I watch a lot of Public TV *PBS as well as read
> a variety of secular news magizines to fuel my
> "moderate Independent political views<G>"
>
> And recently there is a series about the US Music
> style called JAZZ! (*I'll be quick to run to the thin ice)
>
> Amazeingly, very few musicians began to play music
> outside of a church! Music.. being a powerfull primal force
> had these young churchmen flock to places where music
> was free flowing and open to expression. Some of these
> places were on "the wrong side of the tracks"...
>
> It's no wonder, that Christian elements heard the influence
> of the Devil in the "Blue" note! Musicians had discovered
> a shift in tempo, and accent on the off-beat.
>
> In the deep south "the Blues" had a direct relation to
> the "spiritual" sang in soulfull style<G> As these songs
> crossed the racial gulf, White folks began to sing the
> songs.. and evolved a folk style common to a blended
> celtic/British heritage of jigs and reels..
>
> Pentecostal churches that I attended, had strong musical
> elements relateing to "country style" or "Bluegrass"
> influenced accoustic sound.
>
> With electric instruments... the sound of my "Holy Roller"
> church at times, combined musical forms with the "blue"
> note and "off-beat" rythms to promote the demonstration
> of the power of "The Holy Ghost and Fire"
>
> *Question..
>
> How much of this was musical contrivence, and how much
> was the work of the "Holy Ghost"? *Was there ever a compromise
> with the fleshly origins of the "blue note?"
>
> -=A=-
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