Louis Armstrong and the All Stars 1947 On the Sunny Side of the Street: Released "Satchmo at Symphony Hall" recorded at Symphony Hall, Boston MA on November 30 1947 (released in 1951). Although the Great New York Town Hall Concert May 17 1947 can be considered the "birth of the All Stars" this Boston Concert was "Coming of Age" the six man line up (Trumpet, Trombone, Clarinet, Piano, Bass, Drums) and the inclusion of Barney Bigard and Arvell Shaw became the sound that was to be the foundation for the All Stars even though from time to time the personnel changed; the sound, spirit and intent remained this sound, oh yeh by the way: Satch was there as well: playing, singing and chasing everyone around no one could take it easy when he was in the chair. Velma Middleton assisted (is that the right word) by Satch entertain as they will do together for many years to come. On The Sunny Side Of The Street is a 1930 song with music composed by Jimmy McHugh and lyrics by Dorothy Fields, which was introduced in the Broadway musical Lew Leslie's International Revue. It became a jazz standard. Mr. Satch gives us another vocal lesson :) The Band: Louis Armstrong Tp Voc; Jack Teagarden Tb Voc; Barney Bigard Cl; Dick Cary Pn; Arvell Shaw Bs; Sid Catlett Dr; Velma Middleton Voc. Track 08 of 15.
Louis Armstrong was the greatest of all Jazz musicians. Armstrong defined what it was to play Jazz. His amazing technical abilities, the joy and spontaneity, and amazingly quick, inventive musical mind still dominate Jazz to this day. Only Charlie Parker comes close to having as much influence on the history of Jazz as Louis Armstrong did. Like almost all early Jazz musicians, Louis was from New Orleans. He was from a very poor family and was sent to reform school when he was twelve after firing a gun in the air on New Year's Eve. At the school he learned to play cornet. After being released at age fourteen, he worked selling papers, unloading boats, and selling coal from a cart. He didn't own an instrument at this time, but continued to listen to bands at clubs like the Funky Butt Hall.
The nicknames Satchmo and Satch are short for Satchelmouth. Like many things in Armstrong's life, which was filled with colorful stories both real and imagined, many of his own telling, the nickname has many possible origins.
The most common tale that biographers tell is the story of Armstrong as a young boy dancing for pennies in the streets of New Orleans, who would scoop up the coins off of the streets and stick them into his mouth to avoid having the bigger children steal them from him. Someone dubbed him "satchel mouth" for his mouth acting as a satchel. Another tale is that because of his large mouth, he was nicknamed "satchel mouth" which became shortened to Satchmo.
Early on he was also known as Dipper, short for Dippermouth, a reference to the piece Dippermouth Blues. and something of a riff on his unusual embouchure.
The nickname Pops came from Armstrong's own tendency to forget people's names and simply call them "pops" instead. The nickname was soon turned on Armstrong himself. It was used as the title of a 2010 biography of Armstrong by Terry Teachout.