Page Elghf Ghi‘iii’iis MOTE$ The greatest of all jazz solo- ists, Louis Armstrong and his All Stars bring the best in show business to this year's home coming dance. Beginning at 9:30 pm. Saturday in Darby Gymnasium, Armstrong will play dance music and a short concert in the middle of the eve ning. Playing with Armstrong are Tyree Glenn, trombone and ~vibes; Joe Nuranal, clarindti] Arvell Shaw. bass; Danny Bar- celona, dnlms; Many Napolean, piano; and Jewel Brown, a new guest vocalist. The following. taken from The New Edition of The Erl- cyclopedla of Jan by Leonard Feather, best expresses the per- sonal life history of Louis Arm- strong. Born in New Orleans on July 4, 1900, Louis‘ singing career began several years before he started to play. When he was about seven, he and a group of iriends would sing in the streets for pennies and nickels; he re- calls that he always enjoyed singing, for pleasure and for money, Then on the night of December 31, 1913, he celebrated by running out in the street and firing a gun he had borrowed from his mother without her knowledge. Arrested and sent to the Waifs' Home in New Orleans. he was given a comet to play in the lnstltution‘s band and soon was playing picnics and parades, studying his horn with Peter Davis of the Waiis‘ Home, Alter his release from the home he worked in a variety of jobs and was befriended by Joe (King) Oliver, who was his sole musical influence and men- tor. Later, when Oliver was leading his own band in Chl- cago, he sent for Louis to join him as second cornetist, in July 1922. By this time Louis had had considerable experience in Oliver's previous job as a mem- her or the Kid 0ry band. It was in Chicago that Arm- strong, who had been married briefly in New Orleans to Daisy Parker, met Lilian Hardin, Oli- .ver's pianist, who became the second Mrs. Armstrong. Louis, then working with Lilian in Ollie Powers' Dreamland band, left to join the Fletcher Henderson band in New York. After an ex- tensive road tour with the hand through the spring and summer of 1925, Louis left to return to Chicago and to Dreamland, where Lil now had her own band. Early in 1926 Louis joined the "symphonic jazz" orchestra of Erskine Tate at the Vendome Theatre. A few months later he began doubling in Carroll Dick- ersun's orchestra at the Sunset Cabaret. where he was billed as “Louis Armstrong, World‘s Greatest Trumpet Player." The proprietor of the Sunset was Joe Glaser, who for almost all of the past 30 years has been Armstrong’s manager. It was during this period that he began to make records under his own (Louis Arm~ ltrong's Hot give or Hot Seven); his first tune he‘reoorded as a By KATHY SHEA leader was “My Heart.” From then until December, 1928 a ser- ies of classic sides was re- corded, most of the later ones prominently leaturing Earl Hines, the pianist with whom he had worked in Dickerson‘s hand. These were the records that earned Armstrong a world-wide reputation. By 1929, when he re- turned to New York, he was the ldol not only of the Negro public that had known him for several years but also of white musicians and fans at home and abroad. His technical iacii< lty Was exceptional; his limited reading ability had improved. Most important, the emotional intensity and basic simplicity at his solos, especially when he played the blues, had no paral< Iel in jazz. Back in New York, Louis fronted the Dickerson band at Connie's Inn in Harlem and doubled into a featured role with Leroy Smith's band in the re- vue “Hot Chocolates" at the Hudson Theatre on Broadway. It was in this Show that he introduced “Ain’t Mishehavin’,“ his first popular-song hit per- romance. This was the pivotal point in Armstrong’s career. From this time on he fronted a big band, and used popular songs rather than blues or original instru< mentols for his material. Most of the large orchestras Louis fronted from this time until 1946 tell for short of his own musi- oel standards. Meanwhile. the phenomenal reception of his records over- seas Ied to his first European trip. in June 1932 he was head- lined in the Show at the Lon- don Palladium. it was during this visit that the editor of the London “Melody Maker,” un< wittingly gave him his nick name “Satchmo” by garoling an earlier nickname, "Satcheh mouth." ln 1936 Armstrong went to Hollywood to take part in the film Pennies from Heaven with Bing Crosby. During the next few years, his transition from the status of musicians' ldol to that of personalityrentertainer saw many changes in the mat- ter and manner of his presem rations. His singing played an increasingly dominant role. The greater his impact on the pub- lic, the less important were his musical settings and the less durable his musical contribu- tlons. One of his rare opportunities to appear before the public with a small, improvising jazz group came in 1944 when, celebrating his first Vlctory in the “Esquire" poll, he appeared with fellow- winners in the first jazz con< cert ever held at the Metropol- itan Opera House in New York City, ln1957 after acting in the film New Orleans, Armstrong took his place at the head of a sextet featuring Jack Tea‘ garden, trombone; Barney Bl- gard, clarinet; Dick Cary, piano: Sid Catlett, dnlms, and Arveil Shaw. bass. This belated use of a small group was an im- mediate success and he made it his permanent setting. SCARLET AND BLACK Friday, October 21. I?" This man is: c. Discussing Venezuelan architecture A. Juggling B. Throwing pizzas Hillsboro, Kansas; another is a junior in P0 D. None or these , C is correct, Pictured here, Associate Pro- fessor Peter Van Deursen Haven discusses Venezuelan architecture at Central Univen sity in Caracas with students enrolled in World Campus AfloabChapman College during the Spring 1961 semester at sea. This group was one or many to ran-out over Caracas ror various courserelated field experiences during the several days the 5.5. RYNDAM, campus and dormitory for the traveling students and facility. was docked in the South American port. Professor Haven now teaches art courses at the University of Miaml, Florida. His . students have transferred credits earned aboard the floating campus to their home‘ campuses and have resumed regular classes. One is from South Dakota, majoring in Sociology at Tabor College hi lltical Science at San Francisco State College; a thlrd is a sophomore in Latin Amer-lean Studies at Indiana University and still another a business student at Santa Monica City College in Callfomla. As you read thls, more then 500 students, representing 200 colleges and unlversltlel throughout the country. accompanied by a distinguished faculty, already have embarked from New York (or the Fall 1957 semester which will take them to ports in Europe, Africa and Asia, returning to Los Angsles via Honolulu. Students are now enrolling for the Spring 1953 semester and will depart from Lei [Angeles to engage tn shipboard study supplemented by visits to ports in Peru. Chile. Argentina, Uruguay, Brezll, Senegal, Morocco, Spain, Greece,1urkey,Yugoslavla. Italy, Portugal, The Netherlands and Great Britain, terminating in May tuNew York; To discover how you can include the Spring semester at sea in your college plans, complete the coupon below and mail at onCe. World Campus Afloat , Director of Admissions Chapman College Dmnga. Call/amid 92m r__________________ l 1 Nam LAST Name of SchooL*___ Campus “crush City—____State__2lp_.__ Senior Permanent Address City Interested fur a Fall 19— :1 Spring 19— L_____ FIRST Tel. Stalo__21p_ semester at sea.’ CampusState 1 Presentstatusr I Freshman 1:1 I Sophomore u I Junior’ :1 1 El Graduate :1 I i. l SAFETY INFORMATION: The 5.5. Ryndam,reglstered in the I Netherlands, meets International Safety Standards for I new ships developed in 1943, ___.__._______._._l The mounting interest in Ann- strong as a symbol of Ameri- can jazz led to more frequent appearances abroad. Armstrong during the 19503 enhanced his reputation in the popular music held through re« cordings with elaborate orches- tral settings including large string sections, under the db , rection of Gordon Jenkins, Russ Garcia, and others. Through the years, Armstrong has had major comedy parts in various films. A film and record commemorating some of his travels, entitled Satchmo the Great were released in 1957. Louis has appeared at New- port and most of the other ma- jor jazz festivals. He has won ”Down Beat" and "Melody Maker” polls among others. It is difficult, admittedly, to see in correct perspective Arm- strong's contribution as the first vital jazz soloist to attain world wlde influence as trumpeter, s i n ge r, entertainer, dynamic show business personality and strong force in stimulating in- tel'est in jazz. His style, mel- odicaliy and harmonically Sim< ple by the standards of later jazz trends, achieved in his early records an unprecedented warmth and beauty. His sing- ing, lacking most of the tras ditional vocal quailtles accepted outside the jazz world, had A rhythmic intensity and guttural charm that induced literally thousands of other vocalists to imitate him, just as countless trumpeters through the years reflected the impact of his style. By 1960 Armstrong, set in his ways, improvised com- paratively little; but he retained vocally and instrumentally many of the qualities that had estab« lished him, even though enter- tainment values, by his own ad- mission, meant more to him than the reactions of a minor~ ity of musicians and specialists. The best recording demonstra- ting his early years can be found in the four-volume “Louis Armstrong Story" on Columbia available in Burling Library. Leonard Feather's Encyclope< the of Jazz in the Sixties com tributes additional recent In- formation. During the 19905 Louis Arm- strong became more than ever a symbol of the basic beauty, simplicity, and international ap- peal of traditional American jazz. In 1960 he Visited Africa, in two separate tours, one spon- sored by a soft drink company. the other by the U, S. State Department. In 1961 through 1965, he toured Europe, Asia, and Australia. During his 1965 tour throughout Eastern and Central Europe, Armstrong played belore an audience of Baooo in the Budapest Football Stadium. After several years at cords parative quiescence as a record- ing artist, Armstrong came to the forefront in .1964 With the release of “Hello Dolly”. The best-seller both as a single, and record became a phenomenal in an album. The success of the song, according to its composer, Jerry Herman, was due almost entirely to his gruff, globally, imitated style, During the next two years he concentrated more on his voice than his horn, but retained the brilliance and pull- ity of tone and the gently syn. copated manner of phrasing, marks Of his work, since the first classic Hot Five records of the late 19205. - JD'S RESTAURANT 712V: Main Them-Set. 5 to lo punt Sunday—Neon to in p.m.