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Pops: A Life of Louis Armstrong Paperback – Bargain Price, October 7, 2010

4.7 4.7 out of 5 stars 183 ratings

Louis Armstrong is widely known as the greatest jazz musician of the twentieth century. He was a phenomenally gifted and imaginative artist, and an entertainer so irresistibly magnetic that he knocked the Beatles off the top of the charts four decades after he cut his first record. 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 worshiping fans ever knew.

Wall Street Journal critic Terry Teachout has drawn on a cache of important new sources unavailable to previous biographers, including hundreds of candid after-hours recordings made by Armstrong himself, to craft a sweeping new narrative biography. 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’s Bing Crosby and Peter Guralnick’s Last Train to Memphis as a classic biography of a major American musician.

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Editorial Reviews

Review

"Ultimately, Teachout's fine biography shows how much of Armstrong's love of music--and people--was behind that signature million-watt smile." -- Booklist   "Teachout's portrait reminds us why we fell in love with Armstrong's music in the first place." --Publishers Weekly   "A comprehensive, affectionate biography of arguably the single most important figure in the history of jazz...A rewarding jazz biography and a revealing look at a broad swath of American cultural history." --Kirkus Reviews   "Best of all, it smartly--and simply--finds unity in contradiction." --Atlantic Monthly   "Teachout delivers a taut and well-paced work that is astute in its critical judgments and gripping in its chronicle of the trumpeter's life and times." --The Weekly Standard

"...terrific biography..." --The Sunday Times (UK)

"With 'Pops,' his eloquent and important new biography of Armstrong, the critic and cultural historian Terry Teachout restores this jazzman to his deserved place in the pantheon of American artists..." --The New York Times "With prodigious research and a good deal of stylistic grace, the cultural critic has produced a biography as definitive as it is incolclusive about the sources of Armstrong's artistic genius and contradictory personality." --The Cleveland Plain Dealer

"...the most comprehensive and pleasurable account yet of the trumpeter's complex life and personality. Teachout's vivid and accessible portrayal of Armstrong is one of the book's great pleasures: He will make a fan of the most skeptical reader." --Kansas City Star

"...compelling..." --The Los Angeles Times   "Teachout adopts a sophisticated street-level style that mirrors what he loves best about the man known as Satchmo: Armstrong's ability (and willingness) to synthesize high and low culture for an audience as broad as his grin." --Time Out New York

"...a masterpiece." --Seattle Times

"Teachout excels at conveying the interplay between Armstrong the artist and Armstrong the entertainer, and at examining the particular challenge of his legacy." --The New Yorker

About the Author

TERRY TEACHOUT is the drama critic of the Wall Street Journal and the chief culture critic of Commentary. He played jazz professionally before becoming a full-time writer. His books include All in the Dances: A Brief Life of George Balanchine, The Skeptic: A Life of H. L. Mencken, and A Terry Teachout Reader. He blogs about the arts at www.terryteachout.com.

Product details

  • ASIN ‏ : ‎ B004H8GM2G
  • Publisher ‏ : ‎ Mariner Books; Reprint edition (October 7, 2010)
  • Language ‏ : ‎ English
  • Paperback ‏ : ‎ 496 pages
  • ISBN-10 ‏ : ‎ 0547386370
  • ISBN-13 ‏ : ‎ 978-0547386379
  • Item Weight ‏ : ‎ 15.8 ounces
  • Dimensions ‏ : ‎ 1.5 x 5.5 x 8 inches
  • Customer Reviews:
    4.7 4.7 out of 5 stars 183 ratings

About the author

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Terry Teachout
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I'm the drama critic of the Wall Street Journal, the critic-at-large of Commentary, and the author of "Duke: A Life of Duke Ellington," which will be published in October of 2013. I also blog about the arts at www.terryteachout.com. In addition to the books on this page, I've written a play, "Satchmo at the Waldorf," which was produced in 2012 by Shakespeare & Company of Lenox, Mass., Long Wharf Theatre of New Haven, Conn., and Philadelphia's Wilma Theater, and the libretti for two operas by Paul Moravec, "The Letter" and "Danse Russe." "Pops: A Life of Louis Armstrong," which came out in 2009, was my first book about music, but I've been listening to jazz ever since my mother told me to come see Satchmo singing "Hello, Dolly!" on "The Ed Sullivan Show" in 1964, and I was a professional bassist before becoming a full-time writer. Among other things, I've written the liner notes for such albums as Diana Krall's "All for You," Maria Schneider's "Coming About," Karrin Allyson's "Daydream," Marian McPartland's "Just Friends," Luciana Souza's "Neruda," and Roger Kellaway's "Live at the Jazz Standard."

Customer reviews

4.7 out of 5 stars
4.7 out of 5
183 global ratings

Top reviews from the United States

Reviewed in the United States on January 26, 2012
I began reading this book with high expectations, and for the most part they were fulfilled. The author details Armstrong's early life, and the factors which helped shape his character, with a sympathetic touch, without descending into the sort of psychobabble that seems fashionable nowadays. Louis had a symbiotic relationship with Joe Glaser, which afforded him protection and relieved him of responsibility for the day-to-day running of his affairs. The downside of their agreement was that Joe also relieved him of much of his earnings, and kept him hard at work to the point of exhaustion. Whilst much of this was already in the public domain, it's set out here in a very clear and concise fashion, yet Teachout's approach is not judgemental, leaving readers free to draw their own conclusions.

The 12 chapters run to just under 400 pages, augmented by an appendix of 30 key recordings, around 50 pages of source notes, a select biography, and a 25-page index. My only criticism of the book itself is that whilst the paper is adequate for the print, it fails to do justice to the photos, which should have been reproduced separately on gloss quality sheets.

The author seems to have accepted Louis' account of how he came to scat on "Heebie Jeebies", a story which has always struck me as inherently suspect. When the number was published the following July it carried a photo of the Hot Five on the cover (the only piece of sheet music ever to do so) together with a complete transcription of Louis' "skat chorus", but that is not mentioned. In view of the number of times reference is made to Louis' lip splitting, I was surprised that this was attributed solely to his grinding work rate and his propensity for the upper register, omitting any reference to the shape of the mouthpiece he used, although that was another important factor.

Given the evident level of scholarship involved, I was disappointed to come across several factual errors. On page 96 there's a reference to Armstrong being caught out by Okeh as having moonlighted for another company. I believe the recording in question was made for Vocalion, and featured Louis with Perry Bradford's Jazz Phools, but he didn't take the vocal. So it was his playing, not his singing, that gave him away.

His introduction to chapter 7 refers to the Savoy Orpheans accompanying George Gershwin in the London premiere of "Rhapsody in Blue". That premiere took place on October 28, 1925, and the soloist was Billy Mayerl. The Savoy hotel chain employed several bands, and their entertainments manager would ask guitarist Joe Brannelly to scout for musicians when he returned to America on holiday. Carroll Gibbons, Rudy Vallee and others came to England as a result. There was a constant fusion of ideas from America; Ambrose had spent several years there before returning to England, and Americans Roy Fox, Jay Whidden, Jack Harris, and brothers Al & Ray Starita all led dance bands which were more than capable of producing hot dance numbers.

He states that "a number of noted American players, including Buster Bailey, Jimmy Dorsey, and Adrian Rollini, paid brief visits to England around (1927)". This is disingenuous; quite apart from the influences mentioned above Adrian Rollini came to England after the collapse of his ill-fated Club New Yorker band, bringing with him two other ex-members of the California Ramblers, namely trumpeter Chelsea Quealey and alto-saxophonist Bobby Davis, and stayed until the end of 1929. Another visiting fireman was Sylvester Ahola, who likewise came to England in early 1928, and joined Ambrose' Orchestra at the May Fair Hotel, where he played alongside Danny Polo, and was in great demand for recording sessions.

Despite those errors and omissions, and a very biased account of Billy Cotton'sd recording of "Bessie Couldn't Help It", this book should be essential reading for anyone who has an interest in Louis Armstrong and wants to broaden their understanding of the man and his music.
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Reviewed in the United States on November 10, 2015
Aside from phonograph records, my own and on radio (no television in those days) and brief appearances in film and on such as the Bing Crosby radio show, I had the good fortune to see and hear live, Satchmo in his two vehicles of performance during the forties: fronting a big band and, as the big band Swing and Jazz era collapsed, the small group. In the forefront of my memory are his appearance with his band at one of the NYC movie palaces which alternated a stage show with a first run movie in its first showing in the City. As I recall, Ella Fitzgerald was also on the "live" bill with him. Most prominent, is the key event of which Teachout writes, the Town Hall appearance of 1947, not his first in that era but the key test of its possibility, in which he led a small group put together for the appearance, with Jack Teagarden, Bobby Hackett and Bobby Haggard, the only ones I correctly remembered, when I came to that section of the book, although I also was right on target with the announcement that Sidney Bechet, scheduled for the night's session, was said to have been taken ill. The true reason is Teachout's to tell..although his sources seemingly did not give the whole statement as I recall it, that he had suffered a heart attack on the subway coming over. Later I did see Louis at work in a Club with the first of the regular group employed as Armstrong began with the routine that he pursued for the rest of his working life.
Utilizing resources that were not available before his working career, Teachout has done a fine job of portraying a simple yet very complex man who was among those to create the music that was Jazz. He places in social context the New Jazz and gives a balanced portrait of the middle aged and elderly figure who had to confront the inevitable rise of a yet newer Jazz which rejected not only his music but his personal style. For he was always what he wanted to be: not only a player of music but an entertainer, a person who made his audience feel good. Difficult as the task is of providing a balanced view of the struggle between the new and the old, Teachout does a reasonable job of handling it within the confines of a book with limited space to penetrate deeply into the complex intellectual and emotional currents stirred up by changing concepts, not only of music, but of appropriate behavior for members of his Race when facing the public.
Teachout writes clearly, never descending into the intellectualism in content and style, which often produces a mind-dulling prolixity whose occasional emptiness is masked by its incomprehensibility. Perhaps because I came into the World early in his career (he was born the same year as my father was) the book was exciting to me, one which led me to marathon reading, a rarity in my life these days. I can wholeheartedly recommend it not only to fans of Jazz in any era, but also to those who want to see how talent, fierce determination, and a commitment to the virtues of hard work and self-improvement, led someone who started from the Lower Depths, to achieve recognition throughout the world.
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Reviewed in the United States on November 5, 2023
So much appreciated receiving these items when and how they were offered! They are a Christmas gift--so hoping the recipient is pleased!!
Reviewed in the United States on July 6, 2021
Louis Armstrong is a supremely important figure in the story of American popular music. It is difficult to imagine how different music would have evolved had he not lived. Author Terry Teachout chronicles the life of Armstrong in "Pops."

Armstrong was born just after the turn of the twentieth century in New Orleans, and Teachout offers a portrait of the Crescent City of the time and Armstrong's youth there. Armstrong took up jazz and greatly influenced it, and his music took him from New Orleans, as his career blossomed in Chicago and New York, and after that his travels eventually took him to California and Europe.

Armstrong may be best known for his Hot Five and Hot Seven groups, but he led a variety of types of bands across the decades, and toward the end of his career he became the oldest performer to top the pop charts in 1964 with his smash "Hello, Dolly."

Teachout also recalls Armstrong's marriages, stand on civil rights, and other details of his personal life, and notes the recognition Armstrong received following his death of how great he was. Music fans and history buffs alike would enjoy Teachout's biography of this indispensable American.
Reviewed in the United States on July 29, 2021
The Amazon service was fabulous, but in the book there are too many handwritten notes.

Top reviews from other countries

Dave
5.0 out of 5 stars Top Five
Reviewed in Canada on February 3, 2014
The author writes eloquently, has done consummate research and presents a portrait of Louis with many refreshing new insights. I have every other biography, autobiography and scholarly publication about Louis, and this one by Terry Teachout must be included in the top five.

This is an even-handed portrayal, 100% fair and avoids lionizing. On top of it all, it is a heck of a good read; I read it in two sittings.
4 people found this helpful
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Paschel
4.0 out of 5 stars The last and more complete biography of Louis Armstrong
Reviewed in France on April 9, 2014
Louis Armstrong is one of the great black american musician of the twentieth century. An excellent biography, with good musical analysis. See my review (in french) on [...])
Lyndaclegg
5.0 out of 5 stars Pops the Greatest!
Reviewed in the United Kingdom on January 9, 2014
Written from autobiographical material, this is an insight into the life of the Master. Showing the man himself, very good.
maurice gagnon
5.0 out of 5 stars Five Stars
Reviewed in Canada on April 27, 2015
I'm reading it
Frank
5.0 out of 5 stars Five Stars
Reviewed in the United Kingdom on January 9, 2015
Great read