A 1928 unaccompanied trumpet cadenza opening a Chicago recording, often called the moment the jazz solo became an art (1928)
'West End Blues' — the King Oliver tune whose opening flourish is the most analysed twelve seconds in jazz.
Popular music · Jazz & blues
1901–1971 · American
New Orleans and Chicago jazz; the first great jazz soloist
Louis Armstrong, the trumpeter and singer from New Orleans known as Satchmo and Pops, turned jazz from a collective ensemble music into an art of the individual soloist. His Hot Five and Hot Seven recordings of 1925–28 rewrote what a jazz solo could be, and his gravel voice and scat singing made him one of the most recognisable entertainers of the twentieth century.
A 1928 unaccompanied trumpet cadenza opening a Chicago recording, often called the moment the jazz solo became an art (1928)
'West End Blues' — the King Oliver tune whose opening flourish is the most analysed twelve seconds in jazz.
A 1926 side on which a dropped lyric sheet supposedly launched wordless vocal improvisation on record (1926)
'Heebie Jeebies' — the scat-singing origin story, told by Armstrong himself and doubted by some scholars.
A 1964 title song from a Broadway musical that ended a fourteen-week run at the top of the American chart by a Liverpool group (1964)
'Hello, Dolly!' — at 62 he became the oldest artist to top the Billboard Hot 100, ending the Beatles' fourteen-week run.
A 1967 ballad of green trees, red roses and blue skies that flopped in America but topped the UK singles chart (1967)
'What a Wonderful World' — a UK number one in 1968, revived in America by the film Good Morning, Vietnam in 1988.
A 1955 recording of a Brecht and Weill ballad about a shark with pearly teeth (1955)
'Mack the Knife' — from The Threepenny Opera; his version preceded Bobby Darin's by four years.
A 1929 Fats Waller song in which the singer insists he is saving all his love for one person (1929)
'Ain't Misbehavin'' — from the revue Hot Chocolates, the hit that took him from jazz bands to popular song.