Remembering the great Satchmo

| Sunday, March 23, 2003

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Walter Higbee column

In 1965, I was a professor at the University of Nevada. Louis Armstrong and his orchestra came to Reno to perform at Harold's Club. Now, I am a great Louis Armstrong fan. I mentioned this to one of my students, and he asked, "Would you like to go see him?"

I told him I would, but I had heard that Armstrong was playing in Harold's Club's exclusive seventh-floor play room, which was frequented only by high rollers and Hollywood big shots. My student said, "We'll see."

The next day after class, he handed me two tickets to the Louis Armstrong show that night. (The student's wife was the head cashier at Harold's Club.) So that night, there were my wife and I, seated in the exclusive play room.

Louis and his orchestra opened up with "When the Saints Go Marching In." Not only did "the Rev. Satchmo" lead the group with his trumpet in a couple of choruses, but he also did a vocal solo with that inimitable, raspy voice of his. One of the things I remember about that night is the pile of white handkerchiefs that Louis kept on a stool near his place. He used one every few minutes to wipe his face after a particularly sweaty riff.

Unfortunately, Satchmo has been gone from us for about 30 years. Something prompted me to dig out one of his albums in the Giants of Jazz series the other day. I sat right down and listened to all 40 recordings. Armstrong arranged them chronologically, starting with a set from the early 1920s, when he led a quintet called The Hot Five. That set contained classics such as "Gut Bucket Blues," "Cake Walking Babies from Home" and "Heebie Jeebies."

The last set in the series included "Pennies from Heaven," "Marie" and the ever-popular "When the Saints Go Marching In." In between were such Armstrong classics as his theme song, "When It's Sleepy Time Down South," "Potato Head Blues," "Ain't Misbehavin'" and "(What Did I Do to Be So) Black and Blue."

Louis Armstrong was born in New Orleans on, so he always said, July 4, 1900. As a child, he frequented a section of New Orleans that was known for its low life — bars, prostitutes and hot music. On New Year's Eve of 1912, Louis got into some trouble in a dive and was sentenced to spend time in the Colored Waifs' Home. It was there he got his start in music. Released, he soon became the best cornet player in New Orleans.

Although he started in New Orleans, Armstrong made his reputation as a great jazz man in Chicago. As his reputation grew, Louis played New York, San Francisco and other cities, became a recording star and even made several visits to Europe. On one occasion, he played a command performance for the king of England. He opened up by shouting to King George, "This one's for you, Rex!" Louis then broke into a rousing rendition of "I'll Be Glad When You're Dead, You Rascal You!"

For many years, when he was at his prime, Armstrong was billed as this country's Ambassador of Good Will. He toured Europe, Africa and South America. He was always popular wherever he went. There have been other great trumpeters, including Harry James, Al Hirt and Louis Prima. But in my estimation, for clarity, strength and style, none surpassed Louis Armstrong. And Satchmo could sing, too. Ohh, yeah!

Walter Higbee is a retired college educator living in Spearfish. Write him at the Rapid City Journal, Box 450, Rapid City, SD 57709.