Pops: A Life of Louis Armstrong (Hardcover)

~ Terry Teachout (Author)

Editorial Reviews

Amazon.com Review

Amazon Best Books of the Month, December 2009: Crafted with a musician's ear and an historian's eye, Pops is a vibrant biography of the iconic Louis Armstrong that resonates with the same warmth as ol' Satchmo’s distinctive voice. Wall Street Journal critic Terry Teachout draws from a wealth of previously unavailable material – including over 650 reels of Armstrong's own personal tape recordings – to create an engaging profile that slips behind the jazz legend's megawatt smile. Teachout reveals that the beaming visage of "Reverend Satchelmouth" was not a mark of racial subservience, but a clear symbol of Louis's refusal to let anything cloud the joy he derived from blowing his horn. "Faced with the terrible realities of the time and place into which he had been born," explains Teachout, "he didn't repine, but returned love for hatred and sought salvation in work." Armstrong was hardly impervious to the injustices of his era, but in his mind, nothing was more sacred than the music. --Dave Callanan

Product Description
Louis Armstrong was the greatest jazz musician of the twentieth century and a giant of modern American culture. He knocked the Beatles off the top of the charts, wrote the finest of all jazz autobiographies--without a collaborator--and created collages that have been compared to the art of Romare Bearden. The ranks of his admirers included Johnny Cash, Jackson Pollock and Orson Welles. Offstage he was witty, introspective and unexpectedly complex, a beloved colleague with an explosive temper whose larger-than-life personality was tougher and more sharp-edged than his worshipping fans ever knew.

Wall Street Journal arts columnist Terry Teachout has drawn on a cache of important new sources unavailable to previous Armstrong biographers, including hundreds of private recordings of backstage and after-hours conversations that Armstrong made throughout the second half of his life, to craft a sweeping new narrative biography of this towering figure that shares full, accurate versions of such storied events as Armstrong's decision to break up his big band and his quarrel with President Eisenhower for the first time. Certain to be the definitive word on Armstrong for our generation, Pops paints a gripping portrait of the man, his world and his music that will stand alongside Gary Giddins' Bing Crosby: A Pocketful of Dreams and Peter Guralnick's Last Train to Memphis: The Rise of Elvis Presley as a classic biography of a major American musician.

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Amazon Exclusive: A Letter from Terry Teachout, Author of Pops: A Life of Louis Armstrong

Dear Amazon Readers:

Pops: A Life of Louis Armstrong, my new book, is the story of a great artist who was also a good man.

A genius who was born in the gutter--and became a celebrity known in every corner of the world.

A beloved entertainer who was more complex--and much tougher--than his fans ever imagined.

It's not the first Armstrong biography, but it's the first one to tell Satchmo's story accurately. I based it in part on hundreds of private, after-hours recordings made by Armstrong himself, candid tapes in which he tells the amazing tale of his ascent to stardom in blunt, plainspoken language. I'm the first biographer to have had access to those tapes.

Read Pops and you'll learn the facts about his 1930 marijuana arrest, his life-threatening run-in with the gangsters of Chicago, his triumphant Broadway and Hollywood debuts, his complicated love life, and much, much more.

You'll also come away understanding exactly what it was that made him the most influential jazz musician of the twentieth century, an entertainer so irresistibly magnetic that he knocked the Beatles off the top of the charts four decades after he cut his first record.

If you've ever thrilled to the sounds of "West End Blues," "Mack the Knife," "Hello, Dolly!" or "What a Wonderful World," this is the book for you and yours. Give Pops a read and find out all about the man from New Orleans who changed the face of American music.

Sincerely yours,

Terry Teachout

(Photo © Ken Howard)

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Amazon Exclusive: Terry Teachout's Top 10 Louis Armstrong Recordings

In Pops: A Life of Louis Armstrong, I tell the story of a beloved giant of jazz whose greathearted, larger-than-life personality shone through every record he made. Here are ten of my special favorites:

1. "I Gotta Right to Sing the Blues" (1933). Of all Louis Armstrong's records, this is the one I love best. Listen to how he floats atop the beat in the last chorus--he sounds just like a tenor going for a high C.

2. "West End Blues" (1928). The most celebrated of all Armstrong recordings and the quintessence of swing."

3. "Hotter Than That" (1927). “I just played the way I sang," Pops said. His wordless vocal on this Hot Seven track proves it.

4. "Star Dust" (1931). Further proof: listen to how he rewrites the lyrics to this familiar Hoagy Carmichael ballad.

5. "Darling Nelly Gray" (1937). Satchmo transforms an old slave song, backed up by the suavely swinging Mills Brothers.

6. "Jeepers Creepers" (1939). A charming souvenir of Armstrong's film career--he introduced this Johnny Mercer song in "Going Places."

7. "Struttin' with Some Barbecue" (1938). A boiling-hot big-band remake of a classic 1927 Hot Five side in which the trumpeter improves on perfection.

8. "You Rascal, You" (1950). Louis meets Louis in this raucous romp through an Armstrong standard, accompanied to high-spirited effect by Louis Jordan's Tympany Five.

9. "New Orleans Function" (1950). An old-time New Orleans jazz funeral recreated by the All Stars, with Earl Hines on piano and Jack Teagarden on trombone.

10. "Sleepy Time Down South" (1941). Armstrong's theme song, an irreplaceable example of his rich and resplendent lyricism.

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From Publishers Weekly

Starred Review. Following his biographies of H.L. Mencken and George Balanchine, Teachout turns to another mighty pillar of 20th-century American culture, Louis Armstrong, a black man born at the turn of the century in the poorest quarter of New Orleans who by the end of his life was known and loved in every corner of the earth. It may seem odd to speak of someone of Louis Armstrong's stature as needing recuperation, but his popularity has long been held against him by jazz purists and other music critics. Teachout brings a fresh perspective that, while candid about the ways Pops could hold himself back artistically, celebrates his ambition and capacity for renewal. The other knock against Armstrong is that if white Americans loved him so much, he must have been an Uncle Tom, a notion Teachout neatly demolishes. While Armstrong was keenly aware of the social realities of his time, his relentless work ethic was fueled by an equally intense optimism. (His patience, however, was not infinite; he publicly criticized President Eisenhower as having no guts for failing to enforce desegregation—one of the few celebrities who could be so outspoken without suffering substantial backlash.) Teachout's portrait reminds us why we fell in love with Armstrong's music in the first place. B&w photos throughout, many previously unpublished. (Dec. 2)
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Product Details

• Hardcover: 496 pages
• Publisher: Houghton Mifflin Harcourt (December 2, 2009)
• Language: English
• ISBN-10: 0151010897
• ISBN-13: 978-0151010899
• Product Dimensions: 8.8 x 6.3 x 1.5 inches
• Shipping Weight: 1.4 pounds (View shipping rates and policies)
• Average Customer Review: 4.6 out of 5 stars  See all reviews (51 customer reviews)
• Amazon.com Sales Rank: #5,542 in Books (See Bestsellers in Books)

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  #1 in	Books > Biographies & Memoirs > Arts & Literature > Composers & Musicians > Jazz
  #2 in	Books > Entertainment > Music > Musical Genres > Jazz
  #19 in	Books > Biographies & Memoirs > Ethnic & National > African-American & Black

Customer Reviews

Most Helpful Customer Reviews

27 of 30 people found the following review helpful:

4.0 out of 5 stars Easily sets the new standard for Armstrong biographies, November 10, 2009

By	Mark Klobas (Tempe, AZ, USA) - See all my reviews (TOP 1000 REVIEWER)    (VINE VOICE)

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Louis Armstrong stands as one of the legends of twentieth century music. During five decades as a performer he thrilled audiences with his cornet and trumpet virtuosity, while his gravelly voice made him one of the most popular and recognizable singers of his day. Such a career became the stuff of legend, making it difficult to discern the truth underneath. In this book, Terry Teachout undertakes the difficult task to sift though the legend to discover the man underneath.

In this he is aided by Armstrong, who left behind two autobiographies and numerous audio recordings. From them we learn a man unashamed of his impoverished beginnings in the "black Storyville" neighborhood of New Orleans. The musical scene of the town's brothels and clubs provided the young Armstrong with both his early musical education and his first employment. Teachout goes on to describe his journey during the 1920s from promising young cornet player into the headlining talent he became by the end of the decade. Teachout rightly gives this period, one that saw some of his most innovative music, considerable attention, but he challenges critics such as Gunther Schuller who dismiss Armstrong's work with the big bands of the 1930s and 1940s. These decades dominate the biography, taking up eight of the book's twelve chapters. The final chapters chronicle the established entertainer who faced the win challenges of his own age and the disdainful attitude of the younger generation of musicians who followed in his giant footsteps.

In examining Armstrong's life, Teachout brings to bear his skills as detective and storyteller. He succeeds in depicting a very human yet enormously gifted performer, a talented musician who was also a superb entertainer. His book easily supersedes earlier biographies of Armstrong in its thoroughness and readability, yet it remains frustratingly incomplete by itself. For while Teachout does an admirable job of describing Armstrong's music, the book really is best enjoyed when accompanied by the songs Teachout describes. Though the author identified thirty songs in an appendix that can be downloaded by the reader, the sheer amount of music he describes warrants more comprehensive collections, such as The Complete Hot Five and Hot Seven Recordings and Louis Armstrong: The Complete RCA Victor Recordings. It is only when listening to them in conjunction with Teachout's book that the degree of Armstrong's achievement is best understood.

12 of 14 people found the following review helpful:

5.0 out of 5 stars A FIRST RATE BIOGRAPHY OF A TRUE AMERICAN HERO, November 17, 2009

By	David Keymer "David Keymer" (Modesto CA) - See all my reviews (REAL NAME)    (VINE VOICE)

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Pops isn't just a good biography of Louis Armstrong's full and varied life. It's an exceptionally good biography. It shouldn't replace Laurence Bergreen's excellent Louis Armstrong: An Extravagant life (New York Times Notable Book for 1997) in anyone's library. But Teachout's book complements Bergreen's and it stand on its own as a model of sympathetic, scrupulously researched biographical writing. For those who are interested in him, there is little new that they can learn about the well examined life of this American icon.

As soon as popular critics and serious scholars started writing about that uniquely American pop music, jazz, they wrote about Armstrong. They couldn't avoid it because Armstrong, more than any other individual, set the standards and many of the conventions for jazz, in his playing and his singing. (Where would Bing Crosby have been without Louis to imitate?) He wasn't the first great jazz soloist: Sidney Bechet holds that honor by a few years. And Armstrong's seminal group, the Hot Five (later Hot Seven), played outside the recording studio just one time. It was never a working group, never a combo formed to play in the clubs and dance halls where jazz was being forged in the twenties and thirties.

Trying to imagine jazz without Armstrong is like trying to imagine modern art without Picasso or the essay form without Montaigne. His contemporaries knew it and admitted it. Even those who were on the outs with him -Earl Hines, Coleman Hawkins--knew that Louis was The Man. Red Allen, the trumpeter with (to my mind) the most beautiful sound in jazz, wanted nothing more than to sound like Louis. Jack Teagarden tried to play him on the trombone (and succeeded). Even harbingers of modernity like Dizzy Gillespie and Miles Davis, who were offended by what they saw as Armstrong's Uncle Tom antics on stage, admitted that Armstrong was The One.

A virtue of Teachout's fine book is to place Armstrong's on-stage antics and off-stage persona in context. Armstrong was by temperament, especially while performing, a sunny person, who enjoyed performing and did not draw a line between clowning and serious music making. (That's not quite accurate. Music making was the thing he cared about most in the world -even over home and his much beloved wife Lucille--and he was deadly serious about his music, but he didn't find it incongruous to perform well, to appeal to the audience. In short, as Teachout eloquently explains, Armstrong, like many performers of his generation, saw himself as an entertainer as well as and complementary to a musician. He wanted to do well in both guises, and did.

Teachout also does the reader a favor by his sympathetic and wise assessment of Louis's later performances and recordings, from the 1930s on. This is a body of work that many critics dismiss as the wreckage left over after Louis's artistic vision left him. (Even so savvy a critic as Gunther Schuller dismissed Louis's later work as uninspired.) Teachout does not argue for virtues that aren't there in Louis's often dreary big band recordings from the thirties, but he does point to individual recordings of excellence, and I found his assessment of the small group Louis led from 1947 on, the Louis Armstrong All-Stars, convincing. (Like me, Teachout finds Russ Garcia's arrangements for Louis in the late fifties an embarrassment, and, like me, wishes that Ellington and Armstrong had made more out of their one outing together, when all that happened was that Ellington sat in on piano with Louis's All-Stars.) I have decided! It's time for me to listen to more of the Louis of the thirties and forties. I've been missing out on a potential treat! I bought my first jazz record sixty years ago, when I was thirteen. It's time for me to listen to ALL of Louis, not just cherry pick across the decades.

9 of 10 people found the following review helpful:

5.0 out of 5 stars The biography Pops deserves!, November 18, 2009

By	kevnm "kevnm" (Costa Mesa, CA United States) - See all my reviews (VINE VOICE)

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Louis Armstrong's music and personality made him one of the most important and interesting cultural figures of the Twentieth Century. Known around the world as a jazz musician, an actor, a showman, even a memoirist, reactions to his life have revealed cultural shifts, changing values and critical trends for decades. Some see an avant-garde musical genius, others an old-show biz trouper embodying nineteenth century entertainment conventions. Some see him as a pioneer for African American pride, others an Uncle Tom.

His long, complex life and society's complex reactions to it are sensitively traced in Teachout's wonderful biography. The great stories of New Orleans and early years in Chicago and New York are fun and full of the tasty anecdotes that make Armstrong come alive in these pages. At the same time, his musical evolution is evoked through contemporaneous reviews and accounts of those who saw his most electrifying performances. All the while, the author traces the history of society's reaction to Armstrong, his music, his recordings and his persona.

The book is admirably serious for a popular biography, but even more important, it's always fun! Armstrong was a true character and his personality shines through the stories and memories here. That may be the book's greatest value - communicating the humor, the passion, the musical range and the sense of fun this great man brought to audiences for over fifty years.

This is a great, highly recommended book that's sure to increase your appreciation of Armstrong and to send you back to his music with a fresh ear.