Chronicling an American genius in 'Louis Armstrong: Master of Modernism,' by Thomas Brothers
He Lived to Perform
Context. This is the sole reason Thomas Brothers is dedicating years of his life to writing books chronicling the world and the art of Louis Armstrong. His mission is to provide context concerning the emergence of this musical genius into American culture.
Louis Armstrong: Master of Modernism (W.W. Norton) is the second in Brothersâ chronological depiction of a now maturing artist. The book discusses 1922-1932, a pivotal decade in Armstrongâs life that saw him depart New Orleans for Chicago and begin to make the recordings that would keep his music alive to the present day. Brothers shows that while many of these records demonstrate brilliant performances and should be heralded as genius incarnate, there is a lot more to Armstrongâs story. The author rightly says that, for todayâs audience, the records of Louis Armstrong are the âmain event;â itâs all we have. But to the artist himself, âThese commercial recordings were,â argues Brothers, âmerely a side show.â Armstrong lived for live performance.
Brothers is not afraid to make some startlingly large statements. Socially, the author repeatedly stresses that Armstrong âwas not interested in cultural assimilation.â Musically, Brothers insists that were it not for his remarkably strong understanding of a soloistâs use of harmonic precision in relationship to a songâs melody, Armstrong would have been âa footnote in jazz history.â
What saves the author when skating on this type of interpretive thin ice is his documentation and observation. Brothers defends his positions with such solid research and well-argued logic that his potentially questionable ideas soon emerge as clear, if not unexpectedly obvious. To his credit, the author is quick to indicate when he is presenting conjectureâas when he describes how some distant and unrecorded musician may have sounded. But even here he is convincing in the aural portraits he assembles for the reader.
Brothers dissects Armstrongâs recordings of the 1920s with specific notations worthy of an archeological dig, examining the music with the care it deserves. Not content merely to explain his findings, he also wants the reader to have firsthand awareness of the specimens under discussion. To that end, Brothers cites various places where the original recordings can be heard, pointing to Armstrongâs own demonstrations of the innovations and musical elements being described.
In spite of his meticulous parsing of Armstrongâs playing, Brothers never loses sight of the reason that these records were first purchased and enjoyed. The music was exciting, inspirational and life affirming. Even by means of the imperfect sound reproduction machines of the 1920s, Armstrong connected with a huge number of people, on a global scale.
Master of Modernism continues Brothersâ investigation into the fascinating life that began in the authorâs previous book, Louis Armstrongâs New Orleans. Hereâs hoping he plans to continue his excellent work, taking Armstrongâs story into the 1940s and beyond.