Louis Armstrong and Paul Whiteman: Two Kings of Jazz

257 Pages·2004·1.26 MB·English

by  Joshua Berrett

LOUIS
ARMSTRONG
&
PAUL
WHITEMAN

LOUIS
ARMSTRONG
&
PAUL
WHITEMAN
TWO KINGS OF JAZZ
J O S H U A B E R R E T T
YALE UNIVERSITY PRESS / NEW HAVEN & LONDON
Published with assistance from the foundation established in memory of Philip
Hamilton McMillan of the Class of 1894, Yale College.
Copyright © 2004 by Yale University. All rights reserved. This book may not
be reproduced, in whole or in part, including illustrations, in any form (beyond
that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and
except by reviewers for the public press), without written permission from the
publishers.
Designed by Mary Valencia
Set in Futura and Meridien type by The Composing Room of Michigan, Inc.
Printed in the United States of America by Vail-Ballou Press.
Library of Congress Cataloging-in-Publication Data
Berrett, Joshua.
Louis Armstrong and Paul Whiteman : two kings of jazz / Joshua Berrett.
p. cm.
Includes bibliographical references and index.
ISBN0-300-10384-0 (cloth : alk. paper)
1. Armstrong, Louis, 1901–1971. 2. Whiteman, Paul, 1890–1967. 3. Jazz
musicians—United States—Biography. I. Title.
ML419.A75B46 2004
781.65(cid:2)092(cid:2)2—dc22
2004004217
A catalogue record for this book is available from the British Library.
The paper in this book meets the guidelines for permanence and durability
of the Committee on Production Guidelines for Book Longevity of the Council
on Library Resources.
10 9 8 7 6 5 4 3 2 1
To my beloved Lynne

CONTENTS
Acknowledgments ix
Introduction xi
1 Beginnings 1
2 Civilization on Trial 37
3 Some Liked It Hot 68
4 Uneasy Lies the Head 99
5 Shared Memory 148
6 Out Chorus 196
Notes 213
General Index 231
Index of Musical Titles 239

ACKNOWLEDGMENTS
A critical mass of colleagues and friends provided much valued help in the
writing of this book. Chris Albertson and Larry Gushee shared vital informa-
tion about Lillian Hardin, her studies at Chicago College of Music, and her pi-
anistic accomplishments as a protégé of Louis Victor Saar. Richard Sudhalter
sharpened my understanding of Whiteman and his arrangers; Dan Morgen-
stern provided special insight into the relationship between Louis Armstrong
and Fletcher Henderson; Krin Gabbard shared copies of rare film footage; and
Michael Cogswell and Peggy Alexander of the Louis Armstrong Archive of-
fered much information about Armstrong and his use of Selmer trumpets as
well as his product endorsements. Sylvia Kennick-Brown of Williams College
was most helpful in making available materials in the Paul Whiteman Collec-
tion; Don Rayno filled in details of Whiteman’s early Denver days and other
vital background; Cynthia Magill, Paul Whiteman’s granddaughter, very kindly
provided some rare photographs; and Julia Scott shared the results of her
research into Jazz at Lincoln Center. Lewis Porter, as always, was a much-
appreciated sounding board for many issues in jazz history and style.
Jim Maher deserves special thanks for the cherished hours spent with
me, generously sharing his personal reminiscences and unpublished work
covering so many topics of this book. The irrepressible Ira Wolff was always
there with yet another rare picking from a book sale. My son Jesse provided
valuable pointers with regard to such matters as “Muscular Christianity,” the
labor movement, and the Scottsboro trial. My beloved wife, Lynne, and close
family members stood by me throughout this roller-coaster ride to make sure
I did not lose my balance. And Mercy College is to be thanked for the sabbat-
ical leave that helped move things along.
In many ways this book is a tribute to the initiative and quiet determina-
tion of Harry Haskell, formerly of Yale University Press. It was he who first
ix